1.14 — Aurora cum primo mane

NotationDate10th c.; ?
TypeAquitanian
NotesA competent script whose forms vary widely in thickness and whose disposition appears to indicate relative diastematy.
TranscriptDiplomatic
Transcription
 Aurora-Paris1154
Alphanumeric
transcript
1c, 1c, 1b, 1c, 1c, 1b, 1b, 2a, 1b, 1c, 1c, 2b, 1b, 1c, 1b 1b, 1b, 1b, 1c, 1c, 1b, [ ], 1c, 1b, 1b, 1b, 1b, 1b, 1c, 2b 1c, 1c, 1b, 2a, 1c, 1b, 2b, 2a, 1b, 1b, 1b, 2a, 1b, 1b, 1b 1b, 1a, 1b, 1', 1b, 1b, 2b, 2a, 1b, 1c, 1b, 2b, 1b, 1c, 1b
MelodyLittle can be securely recovered from the neumatic notation about the melody, although the relative disposition of the neumes strongly suggests a melody of restricted range, especially in the second line which appears to be made up for the most part of recitation on a monotone (syllables 3-6 and 9-12). The neumes added to the first line of the second strophe differ at only one point from those of the first strophe: the seventh syllable in the second strophe has a two-note neume in place of the single-note neume of the first strophe.
Historical transcripts
 Aurora2c Aurora_Coussemaker
 Aurora2s Aurora_Sesini
 AuroraFetis Aurora_Fetis
Musical editions
Coussemaker, Histoire de l’harmonie, tr. 3; Fétis, Histoire générale IV, p. 480; Sesini, Poesia e musica, p. 174

For the principles informing Coussemaker’s reconstruction, see the entry for A solis ortu usque. In this case, his concern to place a melodic
emphasis on regularly accented syllables is achieved by realising the predominant trochaic pattern in a 2:1 ratio within a 3/4 time signature.
Fétis also follows the same principles that he used for A solis ortu. Similarly to Coussemaker, the overall trochaic accentual scheme is realised in 3/4 with a 2:1 ratio for accented and unaccented syllables. The reading of the neumes is less convincing than Coussemaker: the Aquitanian pes is again taken for a scandicus (1, 8; 3, 8 and 3, 12), the curved tractulus is consistently misunderstood as a pes and a clivis is read as a pes (3, 7). The choice of a plagal F mode is justified by appeal to the heighting of the neumes in relation to the characteristic behaviours of ecclesiastical modes. The employment of a tempo indication at the opening is specific to this reconstruction.
Sesini’s commitment to isosyllabism leads him to an 8+7/4 time signature, while his conviction of stylistic proximity to plainchant leads both to the addition of expressive markings and a preference for a regular mode, in this case mode 1.