Notation, SUI Ls West n, plainchant St ee I i gf 44 ae 4 aces WN od clnthet dts of Smt ne amaee Bb © Me eed ag As oor poy (Mare po © A cindnd qinpot fir ref @ PEMD sorte | Phe tg 20 BLP LSP Teper etl id bat 6 ait oe teak Foye anad me me nimfecir a. omnia gaye J stole J he i eA & 6 pe a & dels ger fe gfe Um & atram.al maget quece~ Covabtal 3 tee df sa Al ol dds f lps lw fe Ai fet Ae fltsthshe, cone nmr muna a muer® rum oe ft x notated ‘Aquitaine was conservative, but less so, and for ¢ diferent reason. By the mi-lIth centary is books — but often i fiquescenc) is very pleasant’ (Mireloens, egularly used a single dry-point line (occasionally ‘outed, and the point neumes, always tending towards century. In polyphoaic mus unusually exact distematy, were by this time precisely ghted: thus a book such asthe well-known St Yrieix gradual, F-Pn lat.903 (PalMus, xi), is among the France and England, Changes of attitede arest “unambiguously he east by virtue ofits alphabetical ‘spirit of the age" is thus evident in many progresive piece notated, a common system being: forthe Ist mod. fn F line, 2 G (suble Beneventan notation was simular and clef appear regulary doa of the staf caligraphicaly this view would not be Gregory from Po correct. But the medieval psyche is credited with inhibi- te tions about fixing neumes of unstable pitch on to fixed plained” them were no longer performed or even understood ~ this in, 103). Sine Schubige’s Die Sa tum is partly the reason for present-day uncertainty about them, Guido of Arezzo advised singers that even Oona oe itd so el Drs J apt =item hes Alphabetical notation in a ament on the death of ctr tt nl nh ee am the Conqueror (d 1087) (F-Pa 1a.625, {230 compo aperto as late as the 1Sth century Tiquescence was optional: there is no harm in per forming them more fully, not quescing, if you wi 0) But liquewent neumee dig survive into the Ith sing square notation the Simple iquascent neume became known as the ‘ph (fold) alter its characteristic notated shape in romth smi thie eadable compete iturpieal_ abandonment of omamental subeties ae disemibein tury Dijon tonry is perhaps the notation of rhythm after the urn of the millennium, Te line was often "Keyed tothe made of the ( ) Rhythm. Indications of rhythmic llferetiation between notes are found in many TOtk- and. Ut century chant hooks. They take the form of signing leners (already mentioned above in connection with pitch) and modifications of the new 14D, 3rd G, ath F, Sth A, th F, 70h, 8th 975, pi, n.372 liste 28 manuscripts) slow 10 take up th Guidonian staff and clef, for the same reason as Signifcative letters are concerned with melody and Auitanian, Although not fa fom their place of origin, expression, but mosty with rhythm. (A. ist fllosing only inthe scond half of the 12th century id the staff Notker Balbulut's citation of them in a leer to a otherwise unknown monk, Lantberis, i given i NEUMATIC NOTATIONS, Sl, 3) Ekkehard IV of St Gall nservatism sas perhaps not merel atavistic. Only German manuscripts reained separate (d_ 1036) attributed thei invention to. Romans, Signs forthe orsamental neues after the 12th cent (ain many centres they wer been sidthat such neumescould not suri Roman cantor whe, i 790, sith scond cantor Peer jznoredinthe 11th). thas was forced by illness to break a journey to Metz at St heintrodve- Gall, He had brought an authentic antphone of St adrian I, to which be added i alphabet signfativa’- Notker Balbus late f= toa certain friend’ (ie. Lanter Monuments Germanise historise, Seiptors, i 189, cerchue St. Galle 858, pp, 10) they have been known as “Romane Bucstaben' Romanian letters: Mocquerea, lM A simpler explanation is that in most centre ditoaal the pa angular pier indicat coupe, inal ps the fora unc, ako has Selvey ued fo TALI favourite theory th Gallzan sas die “Agro owed the cose there ae penses the work emplas Gas be to Ein Since $i well be whose re research 9) Ry sree the tion of that the Should be simple Phrases (1958) shythm 6 plication AS evi (the peri