Notation | Date | 1336 CE | |||
Type | Late Laon | ||||
Notes | This notated hymn forms part of a Hymnal of the regular canonesses of the Abbey of St Mary Magdalene in Klosterneuburg. The late Laon notation on coloured lines represents an advanced stage of the same script as the Gradual Graz, Universitätsbibliothek 807, probably also from Klosterneuburg, and the Klosterneuburg, Stiftsbibilothek Antiphoners 1010, 1012 and 1013, as well as a number of fragments from Austrian and South German libraries. The date and origin of the manuscript is signalled by notes on folios 1r and 123r. | ||||
Transcript | Diplomatic Transcription | Gratuletur-Klosternuburg1000-1 Gratuletur-Klosterneuburg1000-2 | |||
Alphanumeric transcript | 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 3b, 1c, 1c, "2b", 1c, 2a, 1c, 2b, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c || 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 3b, 1c, 1c, "2b", 1c, 2a, 1c, 2b, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c || 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, "2b", 3c, 1c, 2a, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 3b, 1c, 1c, 1c, 1c, 2a, 1c, 2b, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, "2b", 3c, 1c, 2a, 1c || 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 3b, 1c, 1c, 1c, 1c, 2a, 1c, 2b, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c || 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c | 1c, 1c, 1c, 1c, 1c, 1c, 3b, 1c, 1c, 1c, 1c, 2a, 1c, 2b, 1c || 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2b, 2b, 3c, 1c, 2a, 1c | ||||
Comparison between neumes | XGratuletur | ||||
Melody | The melody of the first and third lines is identical, resulting in a melodic pattern that may be labelled as: A, B, A. The melodic movement is mostly by step, which sets into even sharper relief the rising fifth at the caesurae of the first and third lines. All lines open on the boundary pitch c, and close either on c or the final g. Within the line, the caesurae are all marked by relatively open cadences onto f. The overall C-c axis of the melody with g as a point of rest sets it apart from the modal system of Gregorian chant. With the exception of liquescences, no melodic adjustments are made between verses. | ||||
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