1.7 — Anima nimis misera

NotazioneDatazionesec. X; ?
TipoFrench
NoteA notation of mixed French styles whose variety of forms suggests an early date, perhaps the tenth century. The single note sign is notable in so far as a dash, whose angle of ascent from left to right varies either side of the diagonal, is used on all occasions. The pes (2a) is varied in form, featuring both conjunct forms, the angle of whose ascenders differs widely, and disjunct forms that most closely resemble those found in Breton scripts. The variously conjunct scandicus (3a) also shows similarities to the construction of the form found in Breton scripts. The single element climacus (3b) in the shape of a vertically descending 'm' resembles the Palaeofrankish form. The disposition of signs is perhaps indicative of relative diastematy: comparison with the melody recorded in Pa lat. 1154 for the same text, with which the melody recorded here suggests certain similarities, is inconclusive. The ink of the notation is now light brown in colour and is barely visible in places. The descenders of the notation are darker brown in shade as in the text hand. Text and notation are possibly by the same hand.
TrascrizioneTrascrizioni
diplomatiche		 Anima-Paris2373i
Trascrizione
alfanumerica		3a, 1a, [ ], 1a, 1c, 2a, 2a, 2a | "2b", 2a, 1a, 3b, 1a, 2a, 1a, 1a | 1a, 1a, 2a, 1a, 1c, 2a, 1c, 1c | "2b", 1a, 2a, 2b, 1c, 1a, 2a, 1' | 1a, 1c, 2a, 1c, 2a | 4e, 4b, 2a, 1', 1c, 3'''a | 3'''a, 3'''a, 1c, 2b, 1c, 4c, 1a, 1a || 2a, 1a, 1a, [ ], 1c, 2a, 1b, 2a | 1c, 2a, 1a, 3b, 1a, 2a, 1a, [ ] | 1a, 1a, [ ], [ ], [ ], [ ], 2a, 1c, 1c | 1c, 1a, 2a, 1c, 1', 1a, [ ], 1c | 1a, 1c, [ ], 1c, 2a | 4e, 4b, 3''a, [ ], [ ], 2''x | 3'''a, 3'''a, 2a, [ ], [ ], 4c, 1a || 3a
Tavole
di confronto		 XAnimanimis-1   XAnimanimis-2
MelodiaNo systematic patterns of repetition within the strophe can be observed. The indicated melodies for the first two strophes are virtually identical, suggesting melodic repetition by strophe. The melody of the refrain is more melismatic in style from quia onwards.
TrasmissioneThe two surviving notated melodies share several points of similarity in melodic profile, although they are far from identical since there are clear points of difference on at least two syllables per line. The correlation in the placement of melismas of three or more pitches lends weight to any assertion of proximity, although in the refrain these melismas often differ in details of melodic contour. It is not possible to come to any firm conclusion about the relation between the two notated melodies. Although they share several points of similarity in melodic profile, they are far from identical since there are points of difference on at least two syllables per line. The correlation in the placement of melismas of three or more pitches lends weight to any assertion of proximity, although in the refrain these melismas often differ in details of melodic contour.