454:
2950:
625:, do indicate the lengthening of notes. Common modern practice, following the Solesmes interpretation, is to perform Gregorian chant with no beat or regular metric accent, in which time is free, allowing the text to determine the accent and the melodic contour to determine phrasing. By the 13th century, with the widespread use of square notation, it is believed that most chant was sung with each note getting approximately an equal value, although
2940:
505:
354:
338:
745:
597:, neumes must have been "broken" between syllables to facilitate the coordination of parts.) However, a single syllable may be sung to so many notes that several neumes in succession are used to notate it. The single-note neumes indicate that only a single note corresponds to that syllable. Chants that primarily use single-note neumes are called
1248:), in which case the pressus indicates three notes; if the initial neume is a pes, then the compound indicates a four-note group. Just as with the oriscus itself, the interpretation is unsure. When chant came to be notated on a staff, the oriscus was normally represented as having the same pitch as the immediately preceding note.
1203:. The orthodox Solesme interpretation of this obscure three-note neume is a unison plus a third below, but there are other possibilities. It appears to have originated at St. Gall, though it is also widespread in French chant sources from the 10th and 11th centuries. It has been proposed that it may have a
632:
The
Solesmes school, represented by Dom Pothier and Dom Mocquereau, supports a rhythm of equal values per note, allowing for lengthening and shortening of note values for musical purposes. A second school of thought, including Wagner, Jammers, and Lipphardt, supports different rhythmic realizations
592:
As a general rule, the notes of a single neume are never sung to more than one syllable; all three pitches of a three-note neume, for example, must all be sung on the same syllable. (This is not universally accepted; Richard
Crocker has argued that in the special case of the early Aquitanian
493:—clarified the exact relationship between pitches. One line was marked as representing a particular pitch, usually C or F. These neumes resembled the same thin, scripty style of the chironomic notation. By the 11th century, chironomic neumes had evolved into
1222:, usually of the same pitch. They probably differed from normal repeated notes (virgae or puncta) in the way they were sung. Although there is some doubt on the matter, most modern writers accept Aurelian of Réôme's description of a staccato reiteration.
1186:
manuscripts that combine chironomic neumes with letter-names. In places where other manuscripts have quilismas these digraphs often have a strange symbol in place of a letter, suggesting to some scholars the use of a pitch outside the
776:
The virga and punctum are sung identically. Scholars disagree on whether the bipunctum indicates a note twice as long, or whether the same note should be re-articulated. When this latter interpretation is favoured, it may be called a
1009:; only occurs on B, and is placed before the entire neume, or group of neumes, rather than immediately before the affected note. Its effect typically lasts the length of a word and is reinserted if needed on the next word.
1122:
Can occur on almost any type of neume pointing up or down; usually associated with certain letter combinations such as double consonants, consonant pairs, or diphthongs in the text; usually interpreted as a kind of
585:. They also assembled definitive versions of many of the chants, and developed a standardized form of the square-note notation that was adopted by the Catholic Church and is still in use in publications such as the
532:
shown here. In square notation, small groups of ascending notes on a syllable are shown as stacked squares, read from bottom to top, while descending notes are written with diamonds read from left to right. In
2139:
Constantin, Floros. "Universale
Neumenkunde" (Universal Theory of Neumes); three-volume covering all major styles and schools of neumatic musical notation in three major divisions: Byzantine, Gregorian and
553:
Various manuscripts and printed editions of
Gregorian chant, using varying styles of square-note neumes, circulated throughout the Catholic Church for centuries. Some editions added rhythmic patterns, or
1237:(little hill). Its intended manner of performance is not clear. Although a microtonal interpretation has been suggested, there is possible contradicting evidence in the Dijon tonary, Montpellier H. 159.
1083:
Indicates a subsidiary accent when there are five or more notes in a neume group. This marking was an invention of the
Solesmes interpreters, rather than a marking from the original manuscripts.
683:
or hexachord scale: "ut", "re", "mi", "fa", "sol", "la", "ti", "ut". The clef bracketing a line indicates the location "ut" in the case of the C clef, or "fa" in the case of the F clef as shown:
537:
chants, in which a syllable may be sung to a large number of notes, a series of smaller such groups of neumes are written in succession, read from left to right. A special symbol called the
1335:
1244:
is a compound neume, usually involving an initial neume followed by an oriscus and a punctum. The initial neume may be a virga (in which case the virga + oriscus may be together called a
1103:
Used over a single note or a group of notes (as shown), essentially ignored in the
Solesmes interpretation; other scholars treat it as indicating a lengthening or stress on the note(s).
964:
1090:
27:
1070:
1037:
760:
705:
693:
453:
1110:
997:
645:, p. 146), but the equal-note Solesmes interpretation has permeated the musical world, apparently due to its ease of learning and resonance with modern musical taste.
1842:, edited by Bell Yung and Joseph S. C. Lam, 8–30 (Cambridge, Massachusetts: Harvard University Press; Hong Kong: The Chinese University Press Press, 1994), pp. 13–14.
903:
852:
1133:
886:
869:
730:
939:
814:
621:
for
Gregorian chant. Because of the ambiguity of medieval musical notation, the question of rhythm in Gregorian chant is contested by scholars. Some neumes, such as the
1016:
796:
1855:, edited by Bell Yung and Joseph S. C. Lam, 8–30 (Cambridge, Massachusetts: Harvard University Press; Hong Kong: The Chinese University Press Press, 1994), p. 26.
576:
1172:
supports this interpretation. This interpretation is also put into practice by the
Washington Cappella Antiqua, under the current direction of Patrick Jacobson.
2021:
415:
Presumably these were intended only as mnemonics for melodies learned by ear. The earliest extant manuscripts (9th–10th centuries) of such neumes include:
545:, quilisma, and liquescent neumes, indicate particular vocal treatments for these notes. This system of square notation is standard in modern chantbooks.
282:. This seems plausible given the well-documented peak of musical composition and cultural activity in major cities of the empire (now regions of southern
97:
between neumes, and the creation of a four-line musical staff that identified particular pitches. Neumes do not generally indicate rhythm, but additional
1349:
381:. Cheironomic neumes indicated changes in pitch and duration within each syllable, but did not attempt to specify the pitches of individual notes, the
2271:
1746:
Hiley, "Chant", p. 44. "The performance of chant in equal note lengths from the 13th century onwards is well supported by contemporary statements."
39:
1195:
There are other uncommon neume shapes thought to indicate special types of vocal performance, though their precise meaning is a matter of debate:
921:
The fact that the first two notes of the porrectus are connected as a diagonal rather than as individual notes seems to be a scribe's shortcut.
929:
Several neumes in a row can be juxtaposed for a single syllable, but the following usages have specific names. These are only a few examples.
310:, due in part to the fact that neumes fell into disuse in the west after the rise of modern staff notation and with it the new techniques of
1671:
1145:
Always as part of a multi-note neume, usually a climacus, this sign is a matter of great dispute; the
Solesmes interpretation is that the
2383:
473:
in southern Italy) were written at varying distances from the text to indicate the overall shape of the melody; such neumes are called
2342:
2351:
2326:
654:
541:, placed at the end of a system, showed which pitch came next at the start of the following system. Special neumes such as the
1644:
2284:
1826:
1471:
1229:
is a single-note neume, usually found added as an auxiliary note to another neume. The name may derive from either the Greek
1539:
497:; in Germany, a variant called Gothic neumes continued to be used until the 16th century. This variant is also known as
1821:, edited by Terence Bailey and Alma Colk Santosuosso, 163–80 (Farnham, Surrey: Ashgate Publishing, 2007), p. 170.
1547:
357:
Digraphic neumes in an 11th-century manuscript from Dijon. Letter names for individual notes in the neume are provided.
1320:– in several stages, old Byzantine, middle Byzantine, late Byzantine and post-Byzantine, and neo-Byzantine (reformed).
1207:
meaning, but there is "an admitted lack of conclusiveness in the arguments in favor of notes smaller than a semitone."
2239:
2209:
2193:
2175:
2156:
2130:
2114:
2090:
1921:
1786:
1624:
1463:
2849:
1979:
658:
2376:
1703:
559:
1661:, Journal of the American Musicological Society, Vol. 56, No. 1 (Spring, 2003), pp. 43–98, retrieved July 2007
2097:
with chant notation in three forms, one above the other, for easy comparison: Laon, St. Gall, and square note
377:
or accent marks. A single neume could represent a single pitch, or a series of pitches all sung on the same
2268:
compares, inter alia, modern and chant notations. It is also a handy reference for all the types of neumes.
2035:
2000:
361:
The earliest
Western notation for chant appears in the 9th century. These early staffless neumes, called
2884:
2748:
1873:
1564:
675:
on the lines and spaces, unlike modern music notation, which uses five lines. Chant does not rely on any
85:
The earliest neumes were inflective marks that indicated the general shape but not necessarily the exact
2321:
2312:
2294:
1937:
1721:
661:
580:
1559:
2290:
David Hiley and Janka Szendrei: "Notation", Grove Music Online, ed. L. Macy (Accessed June 12, 2006),
2979:
2953:
2844:
2819:
2610:
2369:
2057:
1584:
1513:
481:
neumes, which showed the relative pitches between neumes. A few manuscripts from the same period use
1402:
can be enhanced with Medieval 2, a third-party package devoted to early music and especially neumes.
1300:
of polyphony, certain patterns of neumes were used to represent particular rhythmic patterns called
2974:
2854:
2804:
2693:
2600:
1604:
210:
2943:
2814:
1589:
1518:
1382:
385:
between pitches within a neume, or the relative starting pitches of different syllables' neumes.
247:. As such they resemble functionally a similar system used for the notation of recitation of the
1902:, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
1889:, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
837:
When two notes are one above the other, as in the podatus, the lower note is always sung first.
2493:
1343:
369:, appeared as freeform wavy lines above the text. Various scholars see these as deriving from
225:
was probably sung since the earliest days of the church, for centuries it was transmitted only
122:
2303:
1392:
is a software especially written for that purpose. With its own GABC-Syntax and together with
93:
to be sung. Later developments included the use of heightened neumes that showed the relative
2925:
2789:
2488:
1526:
629:
cites exceptions in which certain notes, such as the final notes of a chant, are lengthened.
443:
326:
315:
485:
notation in which note names are included below the neumes. Shortly after this, one to four
2620:
2418:
1612:
618:
279:
102:
1958:
8:
2859:
2839:
2308:
Kenneth Levy: "Plainchant", Grove Music Online, ed. L. Macy (Accessed January 20, 2006),
1696:
1655:
1389:
1169:
2889:
2348:
567:
2511:
2228:
1179:
594:
439:
1643:, "Plainchant", Grove Music Online, edited by Laura Macy (Accessed January 20, 2006),
2905:
2653:
2413:
2408:
2235:
2205:
2189:
2171:
2152:
2126:
2110:
2086:
2015:
1917:
1822:
1782:
1683:
1620:
1467:
1459:
1425:
1399:
1339:
1297:
1060:
The interpretation of these markings is the subject of great dispute among scholars.
626:
574:
of the earliest manuscripts and published them in a series of 12 publications called
490:
420:
1483:
2864:
2668:
2643:
2595:
2468:
2392:
1430:
1396:
it provides high quality output of square notation neumes and also St. Gall neumes.
1355:
1313:
Ekphonetic neumes annotating the melodic recitation of (Christian) holy scriptures.
1256:
in many manuscripts, usually interpreted to indicate variations in tempo, e.g. c =
1047:
Like a dot in modern notation, lengthens the preceding note, typically doubling it
389:
382:
311:
106:
75:
53:
1494:
501:, as the used neumes resemble the nails (Hufnägel) one uses to attach horseshoes.
2758:
2753:
2638:
2605:
2521:
2355:
2316:
2298:
1569:
1507:
1317:
307:
299:
244:
20:
2915:
2628:
2483:
2220:
Einführung in die Gregorianischen Melodien. Ein Handbuch der Choralwissenschaft
1435:
1412:
1365:
1324:
1284:
Neumes were used for notating other kinds of melody than plainchant, including
676:
633:
of chant by imposing musical meter on the chant in various ways. Musicologist
563:
322:
226:
142:
114:
2262:
2188:, Ross Duffin, ed., pp. 1–22. Bloomington, IN: Indiana University Press.
589:(although there are also published editions of this book in modern notation).
412:
church musicians to retain the performance nuances used by the Roman singers.
2968:
2920:
2779:
2698:
2570:
2526:
2463:
2443:
2400:
2332:
2148:
1869:
1555:
1301:
1165:
672:
634:
586:
555:
486:
397:
185:
164:
118:
94:
79:
2834:
2824:
2799:
2710:
2673:
2575:
2563:
2553:
2516:
2503:
2453:
1640:
1359:
1175:
1006:
558:, to the chants. In the 19th century the monks of the Benedictine abbey of
520:
By the 13th century, the neumes of Gregorian chant were usually written in
241:
86:
2170:. Cambridge and New York: Clarendon Press and Cambridge University Press.
236:
origin and were used to notate inflections in the quasi-emmelic (melodic)
2910:
2784:
2763:
2740:
2725:
2538:
2473:
2448:
2423:
2163:
1717:
1378:
1273:
1188:
963:
447:
405:
374:
1289:
679:
or key; the clefs are only to establish the half and whole steps of the
373:
hand-gestures, from the ekphonetic notation of Byzantine chant, or from
278:. A prevalent view is that neumatic notation was first developed in the
2809:
2683:
2548:
2543:
1358:– an early form of Western music notation used in 9th and 10th-century
1292:
melodies, monophonic versus and conductus, and the individual lines of
1285:
1124:
370:
303:
237:
126:
1411:
Some open fonts for neumes are available, which can be used by common
457:
Cistercian neumes, St. Denis/St. Evrault, North France, 12th century.
2879:
2869:
2829:
2794:
2678:
2438:
1658:
Ademar de Chabannes, Carolingian Musical Practices, and "Nota Romana"
1293:
1204:
1089:
601:; chants with typically one multi-note neume per syllable are called
571:
470:
433:
248:
1853:
Themes and Variations: Writings on Music in Honor of Rulan Chao Pian
1840:
Themes and Variations: Writings on Music in Honor of Rulan Chao Pian
974:
One or more notes appended at the end of a neume; this example is a
641:, "have an impressive amount of historical evidence on their side" (
2730:
2715:
2558:
2533:
2361:
1608:(c.814), which was provided neumatic notation in the 10th century,
1405:
1069:
504:
469:
In the early 11th century, Beneventan neumes (from the churches of
378:
353:
267:
167:
1803:. Cambridge, Massachusetts: Harvard University Press. p. 572.
26:
2705:
2688:
2663:
2648:
2633:
2590:
2433:
680:
542:
534:
291:
233:
158:
152:
146:
2720:
2658:
2585:
1819:
Music in Medieval Europe: Studies in Honour of Bryan Gillingham
1393:
1265:
1036:
759:
704:
692:
409:
295:
283:
271:
98:
90:
2283:
Oliver Gerlach (Ensemble Ison): Performing Western Plainchant—
2580:
2478:
2458:
1548:
1540:
1331:
1109:
996:
617:
The Solesmes monks also determined, based on their research,
346:
287:
275:
252:
222:
204:
199:
193:
188:
110:
101:
were sometimes juxtaposed with neumes to indicate changes in
59:
31:
2309:
2291:
1456:
Textbook of Gregorian Chant According to the Solesmes Method
902:
851:
2428:
1980:"Lilypond Notation Reference – Typesetting Gregorian Chant"
1132:
885:
868:
729:
657:" (archive from 10 June 2006, accessed 12 September 2014),
525:
427:
401:
318:
music and the reformed neume notation remains alive today.
125:. Neumatic notation remains standard in modern editions of
2337:
938:
813:
56:
1961:(in German). Klemm Music Technology (for Robert Piéchaud)
1609:
1182:. The support for this interpretation lies in some early
1015:
795:
744:
337:
74:) is the basic element of Western and Eastern systems of
2151:, eds., pp. 37–54. New York: W.W. Norton & Co.
1030:
indicates what the first note of the next staff will be
325:") are on the whole even more difficult to decipher and
266:
Around the 9th century neumes began to become shorthand
2003:. Marello.org. Archived from the original on 2016-10-31
1781:, fourth edition. Cambridge: Harvard University Press.
1385:, software that allows the user to use neumes is rare.
2285:
Introduction into the Latin Neumes of the 10th century
1914:
Els manuscrits musicals a Catalunya fins al segle XIII
19:"Daseia" redirects here. For the Greek diacritic, see
2117:. Facsimiles of early adiastamatic chant manuscripts.
1627:), 225 n54. For the lyrics, see Peter Godman (1985),
605:, and those with many neumes per syllable are called
465:. Variation of the letter F to the left of each line.
2329:, showing the same chant in many different notations
173:
1911:
232:The earliest known systems involving neumes are of
62:
2322:Comparative table of cheironomic and square neumes
2227:
1506:
524:on a staff with four lines and three spaces and a
1617:Charlemagne: The Formation of a European Identity
1338:. These neumes have not been deciphered, but the
2966:
2020:: CS1 maint: bot: original URL status unknown (
1581:
1276:). The Solesmes editions omit all such letters.
306:and printed form is far larger than that of the
1900:The New Grove Dictionary of Music and Musicians
1887:The New Grove Dictionary of Music and Musicians
1866:The New Grove Dictionary of Music and Musicians
1813:David Hughes, "The Musical Text of the Introit
1664:
1631:(Norman: University of Oklahoma Press), 206–11.
1505:
2304:Font package for writing post-Byzantine neumes
489:lines—an innovation traditionally ascribed to
117:to indicate certain patterns of rhythm called
2377:
2125:. Bloomington, IN: Indiana University Press.
329:than Byzantine or Gregorian neume notations.
436:neumes (southern France, also used in Spain)
388:There is evidence that the earliest Western
1629:Latin Poetry of the Carolingian Renaissance
209:("sign"), or else directly from Greek as a
179:
2939:
2384:
2370:
1798:
1323:Neumes of Slavic chant (Slavic neumes or "
612:
349:verses in unheightened cheironomic neumes.
263:meaning quasi-melodic recitation of text.
1777:Don Michael Randel (ed.). 2003. "Neume".
463:Offertorium. In omnem terram exivit sonus
2199:
2085:(1979). Tournai: Desclée & Socii.
1916:. Lleida: Institut d'Estudis Ilerdencs.
1619:(Cambridge: Cambridge University Press,
1296:songs. In some traditions, such as the
655:Basic & Liquescent Aquitanian Neumes
503:
459:(Quon)iam prevenisti eum in benedictione
452:
352:
336:
25:
2272:Singing Gregorian Chant: Pitch and Mode
2145:Performance Practice: Music before 1600
1864:David Hiley, "Distropha, tristropha ",
1851:David Hughes, "An Enigmatic Neume", in
1838:David Hughes, "An Enigmatic Neume", in
1716:
1408:is able to produce output using neumes.
1191:system represented by the letter names.
1157:Other interpretations of the quilisma:
985:
2967:
2225:
2184:Mahrt, William P. (2000). "Chant". In
2103:(1953). Tournai: Desclée & Socii.
653:Examples of neumes may be seen here: "
426:Messine neumes (from the monastery of
113:. Neumatic notation was later used in
2365:
2186:A Performer's Guide to Medieval Music
2162:
2055:
1912:Garrigosa i Massana, Joaquim (2003).
1876:(London: Macmillan Publishers, 2001).
1055:
516:, was scripted using square notation.
332:
298:) at that time. The corpus of extant
172:, in turn from either medieval Latin
2391:
2333:Catholic Encyclopedia entry for Neum
2120:
1602:One of the earliest examples is the
1527:participating institution membership
957:because it involves a repeated note
949:a note appended to the beginning is
548:
528:marker, as in the 14th–15th century
141:entered the English language in the
78:prior to the invention of five-line
2038:. Monastery Saint Meinrad Archabbey
1801:Harvard Dictionary of Music, 2nd ed
1672:"Gregorian Chant - Classical Music"
1381:usually focuses on modern European
1372:
1149:note is to be lengthened slightly.
637:said that the second group, called
16:System of medieval musical notation
13:
2222:. Leipzig: Breitkopf & Härtel.
1279:
924:
671:Neumes are written on a four-line
14:
2991:
2343:The Intonation of the Eight Tones
2250:
2143:Hiley, David (1990). "Chant". In
1799:Willi Apel, ed. (1972). "Neume".
314:, while the Eastern tradition of
2949:
2948:
2938:
1131:
1108:
1088:
1068:
1035:
1014:
995:
962:
937:
901:
884:
867:
850:
812:
794:
758:
743:
728:
703:
691:
648:
216:
213:or an adaptation of the former.
52:
2060:(in Spanish). Gregoriani Cantus
2049:
2028:
1993:
1972:
1951:
1930:
1905:
1892:
1879:
1858:
1845:
1832:
1807:
1792:
1771:
1762:
1749:
1740:
1710:
718:
255:. This early system was called
2168:Western Plainchant: A Handbook
2036:"Liturgical Music / Downloads"
1649:
1634:
1596:
1575:
1533:
1499:
1488:
1477:
1448:
1330:Mozarabic or Hispanic neumes (
1307:
840:
163:in the 15th century, from the
121:, and eventually evolved into
1:
2202:Antiquity and the Middle Ages
2200:McKinnon, James, ed. (1990).
2075:
1264:(hold) (an early form of the
2287:(Accessed November 26, 2009)
1868:, second edition, edited by
1218:are groups of two and three
784:
205:
194:
132:
7:
2749:History of music publishing
2093:, a special edition of the
1982:. Lilypond Development Team
1779:Harvard Dictionary of Music
1419:
1026:At the end of a staff, the
423:, in modern-day Switzerland
404:around 800, as a result of
343:Iubilate deo universa terra
259:, from the Greek ἐκφώνησις
34:XI (Orbis Factor) from the
10:
2996:
1549:
1541:
200:
189:
18:
2954:Category:Musical notation
2934:
2898:
2820:Numbered musical notation
2772:
2739:
2619:
2611:Scientific pitch notation
2502:
2399:
2327:Samples of early notation
2147:, Howard Mayer Brown and
1585:Oxford English Dictionary
1514:Oxford English Dictionary
1342:varies somewhat from the
321:Slavic neume notations ("
184:, the former either from
2601:Helmholtz pitch notation
2230:Music of the Middle Ages
2056:Alzate P., Juan Andrés.
1940:. MakeMusic. 6 June 2017
1898:David Hiley, "Pressus",
1605:Planctus de obitu Karoli
1441:
666:
643:Music in the Middle Ages
400:-lines), was created at
392:, in the form of neumes
2944:List of musical symbols
2815:Nashville Number System
1702:CS1 maint: url-status (
1590:Oxford University Press
1565:A Greek–English Lexicon
1519:Oxford University Press
1254:litterae significativae
1005:Same meaning as modern
879:Three notes descending
613:Rhythmic interpretation
168:
159:
153:
147:
123:modern musical notation
2494:Transposing instrument
2226:Wilson, David (1990).
2218:Wagner, Peter. (1911)
976:scandicus subbipunctis
862:Three notes ascending
570:(1849–1930) collected
517:
466:
358:
350:
180:
174:
43:
2310:(subscription access)
2292:(subscription access)
2107:Paléographie musicale
1768:Mahrt "Chant", p. 18.
1645:(subscription access)
1556:Liddell, Henry George
1368:uses a type of neume.
807:Two notes descending
577:Paléographie musicale
514:Graduale Aboense
507:
456:
356:
340:
316:Greek orthodox church
29:
2121:Apel, Willi (1990).
2001:"CaeciliaeCaeciliae"
1959:"Medieval 2 website"
1938:"Medieval 2 release"
1613:Rosamond McKitterick
1484:Chants of the Church
986:Other basic markings
953:; this example is a
829:Two notes ascending
619:performance practice
568:Dom André Mocquereau
430:in northeast France)
280:Eastern Roman Empire
270:aids for the proper
70:; sometimes spelled
2840:Percussion notation
2058:"Fuentes musicales"
1728:. Oxford University
1726:Oxford Music Online
1517:(Online ed.).
1454:Dom Gregory Sunol,
1272:(lengthen, as in a
1170:Stanford University
1100:(horizontal stroke)
257:ekphonetic notation
251:, the holy book of
2358:Byzantine notation
2354:2010-12-16 at the
2345:Byzantine notation
2315:2008-05-16 at the
2297:2008-05-16 at the
2256:Learning Resources
2234:. Schirmer Books.
1885:Anon., "Oriscus",
1693:|archive-url=
1168:—William Mahrt of
1056:Interpretive marks
779:repercussive neume
595:St. Martial school
564:Dom Joseph Pothier
518:
467:
359:
351:
333:Western plainchant
44:
42:to it interpreted.
2962:
2961:
2906:Mensural notation
2349:Music for Vespers
2204:. Prentice Hall.
1827:978-0-7546-5239-7
1525:(Subscription or
1472:978-0-7661-7241-8
1426:Mensural notation
1379:notation software
1340:Mozarabic liturgy
1336:Visigothic script
1298:Notre Dame school
1153:
1152:
1080:(vertical stroke)
1051:
1050:
981:
980:
917:
916:
833:
832:
772:
771:
714:
713:
627:Jerome of Moravia
593:polyphony of the
549:Solesmes notation
499:Hufnagel notation
421:abbey of St. Gall
2987:
2980:Musical notation
2952:
2951:
2942:
2941:
2805:Graphic notation
2469:Rehearsal letter
2393:Musical notation
2386:
2379:
2372:
2363:
2362:
2245:
2233:
2215:
2181:
2136:
2095:Graduale Romanum
2083:Graduale triplex
2069:
2068:
2066:
2065:
2053:
2047:
2046:
2044:
2043:
2032:
2026:
2025:
2019:
2011:
2009:
2008:
1997:
1991:
1990:
1988:
1987:
1976:
1970:
1969:
1967:
1966:
1955:
1949:
1948:
1946:
1945:
1934:
1928:
1927:
1909:
1903:
1896:
1890:
1883:
1877:
1862:
1856:
1849:
1843:
1836:
1830:
1811:
1805:
1804:
1796:
1790:
1775:
1769:
1766:
1760:
1753:
1747:
1744:
1738:
1737:
1735:
1733:
1714:
1708:
1707:
1700:
1694:
1689:
1687:
1679:
1676:sites.google.com
1668:
1662:
1653:
1647:
1638:
1632:
1600:
1594:
1593:
1588:(2nd ed.).
1579:
1573:
1552:
1551:
1544:
1543:
1537:
1531:
1530:
1522:
1510:
1503:
1497:
1492:
1486:
1481:
1475:
1452:
1431:Musical notation
1415:or scorewriters.
1373:Digital notation
1356:Daseian notation
1350:Catalan notation
1135:
1116:Liquescent neume
1112:
1092:
1072:
1065:
1064:
1039:
1018:
999:
992:
991:
966:
941:
934:
933:
905:
888:
871:
854:
847:
846:
816:
798:
791:
790:
762:
747:
732:
725:
724:
707:
695:
688:
687:
566:(1835–1923) and
530:Graduale Aboense
390:musical notation
312:polyphonic music
208:
203:
202:
197:
192:
191:
183:
177:
171:
162:
156:
150:
76:musical notation
69:
68:
65:
64:
61:
58:
2995:
2994:
2990:
2989:
2988:
2986:
2985:
2984:
2975:Christian music
2965:
2964:
2963:
2958:
2930:
2894:
2768:
2759:Music publisher
2754:Music engraving
2735:
2615:
2606:Letter notation
2498:
2395:
2390:
2356:Wayback Machine
2317:Wayback Machine
2299:Wayback Machine
2253:
2248:
2242:
2212:
2178:
2133:
2123:Gregorian Chant
2078:
2073:
2072:
2063:
2061:
2054:
2050:
2041:
2039:
2034:
2033:
2029:
2013:
2012:
2006:
2004:
1999:
1998:
1994:
1985:
1983:
1978:
1977:
1973:
1964:
1962:
1957:
1956:
1952:
1943:
1941:
1936:
1935:
1931:
1924:
1910:
1906:
1897:
1893:
1884:
1880:
1863:
1859:
1850:
1846:
1837:
1833:
1812:
1808:
1797:
1793:
1776:
1772:
1767:
1763:
1757:Gregorian Chant
1754:
1750:
1745:
1741:
1731:
1729:
1715:
1711:
1701:
1692:
1690:
1681:
1680:
1670:
1669:
1665:
1654:
1650:
1639:
1635:
1601:
1597:
1580:
1576:
1570:Perseus Project
1538:
1534:
1524:
1504:
1500:
1493:
1489:
1482:
1478:
1453:
1449:
1444:
1422:
1413:office software
1375:
1334:), also called
1318:Byzantine music
1310:
1282:
1280:Other functions
1252:There are also
1142:(squiggly note)
1141:
1118:
1099:
1079:
1058:
988:
955:podatus pressus
927:
925:Compound neumes
843:
787:
768:("two points")
721:
669:
651:
615:
562:, particularly
551:
522:square notation
510:Gaudeamus omnes
495:square notation
394:in campo aperto
367:in campo aperto
335:
308:Gregorian chant
300:Byzantine music
245:holy scriptures
219:
135:
55:
51:
24:
21:Rough breathing
17:
12:
11:
5:
2993:
2983:
2982:
2977:
2960:
2959:
2957:
2956:
2946:
2935:
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2929:
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2923:
2918:
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2842:
2837:
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2827:
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2797:
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2598:
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2556:
2546:
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2536:
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2530:
2529:
2524:
2519:
2508:
2506:
2500:
2499:
2497:
2496:
2491:
2486:
2484:Time signature
2481:
2476:
2471:
2466:
2461:
2456:
2451:
2446:
2441:
2436:
2431:
2426:
2421:
2416:
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2403:
2397:
2396:
2389:
2388:
2381:
2374:
2366:
2360:
2359:
2346:
2340:
2338:Solesmes Abbey
2335:
2330:
2324:
2319:
2306:
2301:
2288:
2280:
2279:
2275:
2274:
2269:
2258:
2257:
2252:
2251:External links
2249:
2247:
2246:
2240:
2223:
2216:
2210:
2197:
2182:
2176:
2160:
2141:
2137:
2131:
2118:
2104:
2098:
2079:
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2027:
1992:
1971:
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1857:
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1739:
1709:
1663:
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1595:
1574:
1532:
1498:
1487:
1476:
1446:
1445:
1443:
1440:
1439:
1438:
1436:Znamenny Chant
1433:
1428:
1421:
1418:
1417:
1416:
1409:
1403:
1397:
1383:music notation
1374:
1371:
1370:
1369:
1366:Buddhist chant
1363:
1353:
1347:
1328:
1325:Znamenny Chant
1321:
1314:
1309:
1306:
1302:rhythmic modes
1281:
1278:
1250:
1249:
1238:
1223:
1208:
1193:
1192:
1173:
1155:
1154:
1151:
1150:
1143:
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1128:
1127:
1120:
1113:
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972:
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958:
947:
942:
926:
923:
919:
918:
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914:
911:
906:
898:
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877:
872:
864:
863:
860:
855:
842:
839:
835:
834:
831:
830:
827:
817:
809:
808:
805:
799:
786:
783:
774:
773:
770:
769:
763:
755:
754:
748:
740:
739:
733:
720:
717:
716:
715:
712:
711:
708:
700:
699:
696:
677:absolute pitch
668:
665:
650:
647:
614:
611:
581:French article
550:
547:
491:Guido d'Arezzo
451:
450:
437:
431:
424:
408:'s desire for
334:
331:
323:Znamenny Chant
274:recitation of
218:
215:
198:('breath') or
143:Middle English
134:
131:
119:rhythmic modes
115:medieval music
15:
9:
6:
4:
3:
2:
2992:
2981:
2978:
2976:
2973:
2972:
2970:
2955:
2947:
2945:
2937:
2936:
2933:
2927:
2926:Transcription
2924:
2922:
2921:Sight-reading
2919:
2917:
2916:Perfect pitch
2914:
2912:
2909:
2907:
2904:
2903:
2901:
2897:
2891:
2888:
2886:
2883:
2881:
2878:
2876:
2873:
2871:
2868:
2866:
2863:
2861:
2858:
2856:
2853:
2851:
2850:Ancient Greek
2848:
2846:
2843:
2841:
2838:
2836:
2833:
2831:
2828:
2826:
2823:
2821:
2818:
2816:
2813:
2811:
2808:
2806:
2803:
2801:
2798:
2796:
2793:
2791:
2790:Chord diagram
2788:
2786:
2783:
2781:
2780:Braille music
2778:
2777:
2775:
2773:Other systems
2771:
2765:
2762:
2760:
2757:
2755:
2752:
2750:
2747:
2746:
2744:
2742:
2738:
2732:
2729:
2727:
2724:
2722:
2719:
2717:
2714:
2712:
2709:
2707:
2704:
2700:
2697:
2695:
2692:
2690:
2687:
2685:
2682:
2680:
2677:
2675:
2672:
2671:
2670:
2667:
2665:
2662:
2660:
2657:
2655:
2652:
2650:
2647:
2645:
2642:
2640:
2637:
2635:
2632:
2630:
2627:
2626:
2624:
2622:
2618:
2612:
2609:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2587:
2584:
2582:
2579:
2577:
2574:
2572:
2569:
2565:
2562:
2560:
2557:
2555:
2552:
2551:
2550:
2547:
2545:
2542:
2540:
2537:
2535:
2532:
2528:
2525:
2523:
2520:
2518:
2515:
2514:
2513:
2510:
2509:
2507:
2505:
2504:Musical notes
2501:
2495:
2492:
2490:
2489:Transposition
2487:
2485:
2482:
2480:
2477:
2475:
2472:
2470:
2467:
2465:
2462:
2460:
2457:
2455:
2452:
2450:
2447:
2445:
2444:Key signature
2442:
2440:
2437:
2435:
2432:
2430:
2427:
2425:
2422:
2420:
2417:
2415:
2412:
2410:
2407:
2406:
2404:
2402:
2398:
2394:
2387:
2382:
2380:
2375:
2373:
2368:
2367:
2364:
2357:
2353:
2350:
2347:
2344:
2341:
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2336:
2334:
2331:
2328:
2325:
2323:
2320:
2318:
2314:
2311:
2307:
2305:
2302:
2300:
2296:
2293:
2289:
2286:
2282:
2281:
2277:
2276:
2273:
2270:
2267:
2266:
2265:Liber Usualis
2260:
2259:
2255:
2254:
2243:
2241:0-02-872951-X
2237:
2232:
2231:
2224:
2221:
2217:
2213:
2211:0-13-036153-4
2207:
2203:
2198:
2195:
2194:0-253-33752-6
2191:
2187:
2183:
2179:
2177:0-19-816572-2
2173:
2169:
2165:
2161:
2158:
2157:0-393-02807-0
2154:
2150:
2149:Stanley Sadie
2146:
2142:
2138:
2134:
2132:0-253-20601-4
2128:
2124:
2119:
2116:
2115:2-85274-219-5
2112:
2108:
2105:
2102:
2101:Liber usualis
2099:
2096:
2092:
2091:2-85274-094-X
2088:
2084:
2081:
2080:
2059:
2052:
2037:
2031:
2023:
2017:
2002:
1996:
1981:
1975:
1960:
1954:
1939:
1933:
1925:
1923:9788489943742
1919:
1915:
1908:
1901:
1895:
1888:
1882:
1875:
1871:
1870:Stanley Sadie
1867:
1861:
1854:
1848:
1841:
1835:
1828:
1824:
1820:
1816:
1810:
1802:
1795:
1788:
1787:0-674-01163-5
1784:
1780:
1774:
1765:
1758:
1752:
1743:
1727:
1723:
1719:
1713:
1705:
1698:
1685:
1677:
1673:
1667:
1660:
1659:
1652:
1646:
1642:
1637:
1630:
1626:
1625:0-521-88672-4
1622:
1618:
1614:
1611:
1607:
1606:
1599:
1591:
1587:
1586:
1578:
1571:
1567:
1566:
1561:
1560:Scott, Robert
1557:
1553:
1545:
1536:
1528:
1520:
1516:
1515:
1509:
1502:
1496:
1495:Liber Usualis
1491:
1485:
1480:
1473:
1469:
1465:
1464:0-7661-7241-4
1461:
1457:
1451:
1447:
1437:
1434:
1432:
1429:
1427:
1424:
1423:
1414:
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1407:
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936:
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922:
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907:
904:
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899:
896:down-up-down
895:
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649:Illustrations
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636:
635:Gustave Reese
630:
628:
624:
620:
610:
608:
604:
600:
596:
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588:
587:Liber Usualis
584:
582:
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569:
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544:
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531:
527:
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2800:Figured bass
2674:Appoggiatura
2621:Articulation
2419:Abbreviation
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1119:(small note)
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2911:Music stand
2785:Chord chart
2764:Scorewriter
2741:Sheet music
2539:Dotted note
2474:Repeat sign
2449:Ledger line
1718:David Hiley
1308:Other types
1233:(limit) or
1220:apostrophes
1189:solmization
1095:Horizontal
951:praepunctis
945:Praepunctis
913:up-down-up
841:Three notes
479:diastematic
448:Montpellier
406:Charlemagne
375:punctuation
371:cheironomic
363:cheironomic
2969:Categories
2885:Shakuhachi
2860:Ekphonetic
2845:Simplified
2810:Lead sheet
2684:Grace note
2549:Note value
2544:Grace note
2512:Accidental
2076:References
2064:2024-09-16
2042:2024-09-16
2007:2024-09-16
1986:2016-08-12
1965:2024-09-16
1944:2017-06-17
1732:5 February
1722:"Hufnagel"
1529:required.)
1362:treatises.
1344:Roman rite
1316:Neumes of
1294:polyphonic
1286:troubadour
1216:tristropha
1205:microtonal
1180:accidental
1125:grace note
970:Subpunctis
738:("point")
607:melismatic
572:facsimiles
535:melismatic
475:heightened
434:Aquitanian
327:transcribe
304:manuscript
261:ekphonesis
238:recitation
211:corruption
127:plainchant
82:notation.
2880:Swaralipi
2870:Kunkunshi
2830:Tablature
2795:Eye music
2679:Glissando
2654:Fingering
2439:Dal segno
1815:Ressurexi
1759:, p. 127.
1582:"neume".
1258:celeriter
1212:distropha
1184:digraphic
1147:preceding
1075:Vertical
909:Porrectus
858:Scandicus
785:Two notes
766:Bipunctum
483:digraphic
471:Benevento
396:(without
383:intervals
242:Christian
221:Although
137:The word
133:Etymology
2890:Znamenny
2731:Tonguing
2716:Staccato
2669:Ornament
2644:Dynamics
2596:Interval
2559:Notehead
2534:Cue note
2352:Archived
2313:Archived
2295:Archived
2166:(1995).
2016:cite web
1684:cite web
1615:(2008),
1458:, 2003,
1420:See also
1406:Lilypond
1390:Gregorio
1377:Because
1290:trouvère
1139:Quilisma
892:Torculus
875:Climacus
826:("foot")
753:("rod")
603:neumatic
599:syllabic
560:Solesmes
444:Chartres
410:Frankish
379:syllable
345:" shows
268:mnemonic
107:duration
2899:Related
2865:Gamelan
2855:Chinese
2835:Parsons
2706:Portato
2689:Mordent
2664:Marcato
2649:Fermata
2639:Damping
2634:Caesura
2591:Tremolo
2522:natural
2434:Da capo
2140:Slavic.
1695:value (
1592:. 1989.
1568:at the
1508:"neume"
1268:), a =
1242:pressus
1235:ōriskos
1227:oriscus
1097:episema
1077:episema
820:Podatus
736:Punctum
710:F clef
698:C clef
681:solfege
623:pressus
543:oriscus
292:Lebanon
272:melodic
240:of the
234:Aramaic
99:symbols
95:pitches
91:rhythms
2721:Tenuto
2659:Legato
2629:Accent
2586:Tuplet
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1817:", in
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1755:Apel,
1691:Check
1623:
1542:πνεῦμα
1470:
1462:
1400:Finale
1394:LuaTeX
1266:tenuto
1262:tenete
1201:trigon
1028:custos
1022:Custos
802:Clivis
539:custos
296:Israel
284:Turkey
249:Qur'an
227:orally
195:pneuma
190:πνεῦμα
175:pneuma
145:forms
40:Listen
2875:Neume
2699:Trill
2694:Slide
2581:Tacet
2571:Pitch
2527:sharp
2479:Tempo
2464:Scale
2459:Ossia
2401:Staff
2278:Other
2263:1961
1550:νεῦμα
1523:
1442:Notes
1332:Spain
1231:horos
1166:trill
1162:Shake
751:Virga
673:staff
667:Clefs
556:meter
487:staff
398:staff
347:psalm
288:Syria
276:chant
253:Islam
223:chant
206:neuma
201:νεῦμα
181:neuma
169:neume
154:nevme
148:newme
139:neume
111:tempo
109:, or
87:notes
80:staff
48:neume
2711:Slur
2576:Rest
2564:stem
2554:beam
2517:flat
2454:Mode
2429:Clef
2261:The
2236:ISBN
2206:ISBN
2190:ISBN
2172:ISBN
2153:ISBN
2127:ISBN
2111:ISBN
2087:ISBN
2022:link
1918:ISBN
1872:and
1823:ISBN
1783:ISBN
1734:2015
1704:link
1697:help
1621:ISBN
1468:ISBN
1460:ISBN
1288:and
1270:auge
1240:The
1225:The
1214:and
1210:The
1199:The
1043:Mora
1007:flat
1002:Flat
526:clef
461:and
440:Laon
428:Metz
419:the
402:Metz
294:and
160:neme
72:neum
2726:Tie
2424:Bar
2109:.
1610:cf.
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1274:tie
1178:or
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