465:
2961:
636:, 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
2951:
516:
365:
349:
756:
608:, 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
1259:), 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.
1214:. 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
643:
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
603:
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
504:—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
1233:, 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.
1197:
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
787:
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
1020:; 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.
1133:
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
596:. 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
543:
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
2150:
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
564:
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
1248:(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.
1094:
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.
694:
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:
548:
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
1346:
1255:
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
1114:
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).
975:
1101:
38:
1081:
1048:
771:
716:
704:
464:
1121:
1008:
656:, 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.
1853:, 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.
914:
863:
1144:
897:
880:
741:
950:
825:
632:
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
1027:
807:
1866:, 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.
587:
1183:
supports this interpretation. This interpretation is also put into practice by the
Washington Cappella Antiqua, under the current direction of Patrick Jacobson.
2032:
426:
Presumably these were intended only as mnemonics for melodies learned by ear. The earliest extant manuscripts (9th–10th centuries) of such neumes include:
556:, quilisma, and liquescent neumes, indicate particular vocal treatments for these notes. This system of square notation is standard in modern chantbooks.
293:. This seems plausible given the well-documented peak of musical composition and cultural activity in major cities of the empire (now regions of southern
108:
between neumes, and the creation of a four-line musical staff that identified particular pitches. Neumes do not generally indicate rhythm, but additional
1360:
392:. Cheironomic neumes indicated changes in pitch and duration within each syllable, but did not attempt to specify the pitches of individual notes, the
2282:
1757:
Hiley, "Chant", p. 44. "The performance of chant in equal note lengths from the 13th century onwards is well supported by contemporary statements."
50:
1206:
There are other uncommon neume shapes thought to indicate special types of vocal performance, though their precise meaning is a matter of debate:
932:
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.
940:
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.
321:, 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
1682:
1156:
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
2394:
484:
in southern Italy) were written at varying distances from the text to indicate the overall shape of the melody; such neumes are called
2353:
2362:
2337:
665:
552:, placed at the end of a system, showed which pitch came next at the start of the following system. Special neumes such as the
1655:
2295:
1837:
1482:
1240:
is a single-note neume, usually found added as an auxiliary note to another neume. The name may derive from either the Greek
1550:
508:; in Germany, a variant called Gothic neumes continued to be used until the 16th century. This variant is also known as
1832:, edited by Terence Bailey and Alma Colk Santosuosso, 163–80 (Farnham, Surrey: Ashgate Publishing, 2007), p. 170.
1558:
368:
Digraphic neumes in an 11th-century manuscript from Dijon. Letter names for individual notes in the neume are provided.
1331:– in several stages, old Byzantine, middle Byzantine, late Byzantine and post-Byzantine, and neo-Byzantine (reformed).
1218:
meaning, but there is "an admitted lack of conclusiveness in the arguments in favor of notes smaller than a semitone."
2250:
2220:
2204:
2186:
2167:
2141:
2125:
2101:
1932:
1797:
1635:
1474:
2860:
1990:
669:
17:
2387:
1714:
570:
1672:, Journal of the American Musicological Society, Vol. 56, No. 1 (Spring, 2003), pp. 43–98, retrieved July 2007
2108:
with chant notation in three forms, one above the other, for easy comparison: Laon, St. Gall, and square note
388:
or accent marks. A single neume could represent a single pitch, or a series of pitches all sung on the same
2279:
compares, inter alia, modern and chant notations. It is also a handy reference for all the types of neumes.
2046:
2011:
372:
The earliest
Western notation for chant appears in the 9th century. These early staffless neumes, called
2895:
2759:
1884:
1575:
686:
on the lines and spaces, unlike modern music notation, which uses five lines. Chant does not rely on any
96:
The earliest neumes were inflective marks that indicated the general shape but not necessarily the exact
2332:
2323:
2305:
1948:
1732:
672:
591:
1570:
2301:
David Hiley and Janka Szendrei: "Notation", Grove Music Online, ed. L. Macy (Accessed June 12, 2006),
2990:
2964:
2855:
2830:
2621:
2380:
2068:
1595:
1524:
492:
neumes, which showed the relative pitches between neumes. A few manuscripts from the same period use
1413:
can be enhanced with Medieval 2, a third-party package devoted to early music and especially neumes.
1311:
of polyphony, certain patterns of neumes were used to represent particular rhythmic patterns called
2985:
2865:
2815:
2704:
2611:
1615:
221:
2954:
2825:
1600:
1529:
1393:
396:
between pitches within a neume, or the relative starting pitches of different syllables' neumes.
258:. As such they resemble functionally a similar system used for the notation of recitation of the
1913:, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
1900:, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
848:
When two notes are one above the other, as in the podatus, the lower note is always sung first.
2504:
1354:
380:, appeared as freeform wavy lines above the text. Various scholars see these as deriving from
236:
was probably sung since the earliest days of the church, for centuries it was transmitted only
133:
2314:
1403:
is a software especially written for that purpose. With its own GABC-Syntax and together with
104:
to be sung. Later developments included the use of heightened neumes that showed the relative
2936:
2800:
2499:
1537:
640:
cites exceptions in which certain notes, such as the final notes of a chant, are lengthened.
454:
337:
326:
496:
notation in which note names are included below the neumes. Shortly after this, one to four
2631:
2429:
1623:
629:
290:
113:
1969:
8:
2870:
2850:
2319:
Kenneth Levy: "Plainchant", Grove Music Online, ed. L. Macy (Accessed January 20, 2006),
1707:
1666:
1400:
1180:
2900:
2359:
578:
2522:
2239:
1190:
605:
450:
1654:, "Plainchant", Grove Music Online, edited by Laura Macy (Accessed January 20, 2006),
2916:
2664:
2424:
2419:
2246:
2216:
2200:
2182:
2163:
2137:
2121:
2097:
2026:
1928:
1833:
1793:
1694:
1631:
1478:
1470:
1436:
1410:
1350:
1308:
1071:
The interpretation of these markings is the subject of great dispute among scholars.
637:
585:
of the earliest manuscripts and published them in a series of 12 publications called
501:
431:
1494:
2875:
2679:
2654:
2606:
2479:
2403:
1441:
1407:
it provides high quality output of square notation neumes and also St. Gall neumes.
1366:
1324:
Ekphonetic neumes annotating the melodic recitation of (Christian) holy scriptures.
1267:
in many manuscripts, usually interpreted to indicate variations in tempo, e.g. c =
1058:
Like a dot in modern notation, lengthens the preceding note, typically doubling it
400:
393:
322:
117:
86:
64:
1505:
512:, as the used neumes resemble the nails (Hufnägel) one uses to attach horseshoes.
2769:
2764:
2649:
2616:
2532:
2366:
2327:
2309:
1580:
1518:
1328:
318:
310:
255:
31:
2926:
2639:
2494:
2231:
Einführung in die Gregorianischen Melodien. Ein Handbuch der Choralwissenschaft
1446:
1423:
1376:
1335:
1295:
Neumes were used for notating other kinds of melody than plainchant, including
687:
644:
of chant by imposing musical meter on the chant in various ways. Musicologist
574:
333:
237:
153:
125:
2273:
2199:, Ross Duffin, ed., pp. 1–22. Bloomington, IN: Indiana University Press.
600:(although there are also published editions of this book in modern notation).
423:
church musicians to retain the performance nuances used by the Roman singers.
2979:
2931:
2790:
2709:
2581:
2537:
2474:
2454:
2411:
2343:
2159:
1880:
1566:
1312:
1176:
683:
645:
597:
566:
497:
408:
196:
175:
129:
105:
90:
2845:
2835:
2810:
2721:
2684:
2586:
2574:
2564:
2527:
2514:
2464:
1651:
1370:
1186:
1017:
569:, to the chants. In the 19th century the monks of the Benedictine abbey of
531:
By the 13th century, the neumes of Gregorian chant were usually written in
252:
97:
2181:. Cambridge and New York: Clarendon Press and Cambridge University Press.
247:
origin and were used to notate inflections in the quasi-emmelic (melodic)
2921:
2795:
2774:
2751:
2736:
2549:
2484:
2459:
2434:
2174:
1728:
1389:
1284:
1199:
974:
458:
416:
385:
1300:
690:
or key; the clefs are only to establish the half and whole steps of the
384:
hand-gestures, from the ekphonetic notation of Byzantine chant, or from
289:. A prevalent view is that neumatic notation was first developed in the
2820:
2694:
2559:
2554:
1369:– an early form of Western music notation used in 9th and 10th-century
1303:
melodies, monophonic versus and conductus, and the individual lines of
1296:
1135:
381:
314:
248:
137:
1422:
Some open fonts for neumes are available, which can be used by common
468:
Cistercian neumes, St. Denis/St. Evrault, North France, 12th century.
2890:
2880:
2840:
2805:
2689:
2449:
1669:
Ademar de Chabannes, Carolingian Musical Practices, and "Nota Romana"
1304:
1215:
1100:
612:; chants with typically one multi-note neume per syllable are called
582:
481:
444:
259:
1864:
Themes and Variations: Writings on Music in Honor of Rulan Chao Pian
1851:
Themes and Variations: Writings on Music in Honor of Rulan Chao Pian
985:
One or more notes appended at the end of a neume; this example is a
652:, "have an impressive amount of historical evidence on their side" (
2741:
2726:
2569:
2544:
2372:
1619:(c.814), which was provided neumatic notation in the 10th century,
1416:
1080:
515:
480:
In the early 11th century, Beneventan neumes (from the churches of
389:
364:
278:
178:
1814:. Cambridge, Massachusetts: Harvard University Press. p. 572.
37:
2716:
2699:
2674:
2659:
2644:
2601:
2444:
691:
553:
545:
302:
244:
169:
163:
157:
2731:
2669:
2596:
1830:
Music in Medieval Europe: Studies in Honour of Bryan Gillingham
1404:
1276:
1047:
770:
715:
703:
420:
306:
294:
282:
109:
101:
2294:
Oliver Gerlach (Ensemble Ison): Performing Western Plainchant—
2591:
2489:
2469:
1559:
1551:
1342:
1120:
1007:
628:
The Solesmes monks also determined, based on their research,
357:
298:
286:
263:
233:
215:
210:
204:
199:
121:
112:
were sometimes juxtaposed with neumes to indicate changes in
70:
42:
2320:
2302:
1467:
Textbook of Gregorian Chant According to the Solesmes Method
913:
862:
2439:
1991:"Lilypond Notation Reference – Typesetting Gregorian Chant"
1143:
896:
879:
740:
668:" (archive from 10 June 2006, accessed 12 September 2014),
536:
438:
412:
329:
music and the reformed neume notation remains alive today.
136:. Neumatic notation remains standard in modern editions of
2348:
949:
824:
67:
1972:(in German). Klemm Music Technology (for Robert Piéchaud)
1620:
1193:. The support for this interpretation lies in some early
1026:
806:
755:
348:
85:) is the basic element of Western and Eastern systems of
2162:, eds., pp. 37–54. New York: W.W. Norton & Co.
1041:
indicates what the first note of the next staff will be
336:") are on the whole even more difficult to decipher and
277:
Around the 9th century neumes began to become shorthand
2014:. Marello.org. Archived from the original on 2016-10-31
1792:, fourth edition. Cambridge: Harvard University Press.
1396:, software that allows the user to use neumes is rare.
2296:
Introduction into the Latin Neumes of the 10th century
1925:
Els manuscrits musicals a Catalunya fins al segle XIII
30:"Daseia" redirects here. For the Greek diacritic, see
2128:. Facsimiles of early adiastamatic chant manuscripts.
1638:), 225 n54. For the lyrics, see Peter Godman (1985),
616:, and those with many neumes per syllable are called
476:. Variation of the letter F to the left of each line.
2340:, showing the same chant in many different notations
184:
1922:
243:The earliest known systems involving neumes are of
73:
2333:Comparative table of cheironomic and square neumes
2238:
1517:
535:on a staff with four lines and three spaces and a
1628:Charlemagne: The Formation of a European Identity
1349:. These neumes have not been deciphered, but the
2977:
2031:: CS1 maint: bot: original URL status unknown (
1592:
1287:). The Solesmes editions omit all such letters.
317:and printed form is far larger than that of the
1911:The New Grove Dictionary of Music and Musicians
1898:The New Grove Dictionary of Music and Musicians
1877:The New Grove Dictionary of Music and Musicians
1824:David Hughes, "The Musical Text of the Introit
1675:
1642:(Norman: University of Oklahoma Press), 206–11.
1516:
2315:Font package for writing post-Byzantine neumes
500:lines—an innovation traditionally ascribed to
128:to indicate certain patterns of rhythm called
2388:
2136:. Bloomington, IN: Indiana University Press.
340:than Byzantine or Gregorian neume notations.
447:neumes (southern France, also used in Spain)
399:There is evidence that the earliest Western
1640:Latin Poetry of the Carolingian Renaissance
220:("sign"), or else directly from Greek as a
190:
2950:
2395:
2381:
1809:
1334:Neumes of Slavic chant (Slavic neumes or "
623:
360:verses in unheightened cheironomic neumes.
274:meaning quasi-melodic recitation of text.
1788:Don Michael Randel (ed.). 2003. "Neume".
474:Offertorium. In omnem terram exivit sonus
2210:
2096:(1979). Tournai: Desclée & Socii.
1927:. Lleida: Institut d'Estudis Ilerdencs.
1630:(Cambridge: Cambridge University Press,
1307:songs. In some traditions, such as the
666:Basic & Liquescent Aquitanian Neumes
514:
470:(Quon)iam prevenisti eum in benedictione
463:
363:
347:
36:
2283:Singing Gregorian Chant: Pitch and Mode
2156:Performance Practice: Music before 1600
1875:David Hiley, "Distropha, tristropha ",
1862:David Hughes, "An Enigmatic Neume", in
1849:David Hughes, "An Enigmatic Neume", in
1727:
1419:is able to produce output using neumes.
1202:system represented by the letter names.
1168:Other interpretations of the quilisma:
996:
14:
2978:
2236:
2195:Mahrt, William P. (2000). "Chant". In
2114:(1953). Tournai: Desclée & Socii.
664:Examples of neumes may be seen here: "
437:Messine neumes (from the monastery of
124:. Neumatic notation was later used in
2376:
2197:A Performer's Guide to Medieval Music
2173:
2066:
1923:Garrigosa i Massana, Joaquim (2003).
1887:(London: Macmillan Publishers, 2001).
1066:
527:, was scripted using square notation.
343:
309:) at that time. The corpus of extant
183:, in turn from either medieval Latin
2402:
2344:Catholic Encyclopedia entry for Neum
2131:
1613:One of the earliest examples is the
1538:participating institution membership
968:because it involves a repeated note
960:a note appended to the beginning is
559:
539:marker, as in the 14th–15th century
152:entered the English language in the
89:prior to the invention of five-line
2049:. Monastery Saint Meinrad Archabbey
1812:Harvard Dictionary of Music, 2nd ed
1683:"Gregorian Chant - Classical Music"
1392:usually focuses on modern European
1383:
1160:note is to be lengthened slightly.
648:said that the second group, called
27:System of medieval musical notation
24:
2233:. Leipzig: Breitkopf & Härtel.
1290:
935:
682:Neumes are written on a four-line
25:
3002:
2354:The Intonation of the Eight Tones
2261:
2154:Hiley, David (1990). "Chant". In
1810:Willi Apel, ed. (1972). "Neume".
325:, while the Eastern tradition of
2960:
2959:
2949:
1142:
1119:
1099:
1079:
1046:
1025:
1006:
973:
948:
912:
895:
878:
861:
823:
805:
769:
754:
739:
714:
702:
659:
227:
224:or an adaptation of the former.
63:
2071:(in Spanish). Gregoriani Cantus
2060:
2039:
2004:
1983:
1962:
1941:
1916:
1903:
1890:
1869:
1856:
1843:
1818:
1803:
1782:
1773:
1760:
1751:
1721:
729:
266:. This early system was called
2179:Western Plainchant: A Handbook
2047:"Liturgical Music / Downloads"
1660:
1645:
1607:
1586:
1544:
1510:
1499:
1488:
1459:
1341:Mozarabic or Hispanic neumes (
1318:
851:
174:in the 15th century, from the
132:, and eventually evolved into
13:
1:
2213:Antiquity and the Middle Ages
2211:McKinnon, James, ed. (1990).
2086:
1275:(hold) (an early form of the
2298:(Accessed November 26, 2009)
1879:, second edition, edited by
1229:are groups of two and three
795:
216:
205:
143:
7:
2760:History of music publishing
2104:, a special edition of the
1993:. Lilypond Development Team
1790:Harvard Dictionary of Music
1430:
1037:At the end of a staff, the
434:, in modern-day Switzerland
415:around 800, as a result of
354:Iubilate deo universa terra
270:, from the Greek ἐκφώνησις
45:XI (Orbis Factor) from the
10:
3007:
1560:
1552:
211:
200:
29:
2965:Category:Musical notation
2945:
2909:
2831:Numbered musical notation
2783:
2750:
2630:
2622:Scientific pitch notation
2513:
2410:
2338:Samples of early notation
2158:, Howard Mayer Brown and
1596:Oxford English Dictionary
1525:Oxford English Dictionary
1353:varies somewhat from the
332:Slavic neume notations ("
195:, the former either from
2612:Helmholtz pitch notation
2241:Music of the Middle Ages
2067:Alzate P., Juan Andrés.
1951:. MakeMusic. 6 June 2017
1909:David Hiley, "Pressus",
1616:Planctus de obitu Karoli
1452:
677:
654:Music in the Middle Ages
411:-lines), was created at
403:, in the form of neumes
2955:List of musical symbols
2826:Nashville Number System
1713:CS1 maint: url-status (
1601:Oxford University Press
1576:A Greek–English Lexicon
1530:Oxford University Press
1265:litterae significativae
1016:Same meaning as modern
890:Three notes descending
624:Rhythmic interpretation
179:
170:
164:
158:
134:modern musical notation
2505:Transposing instrument
2237:Wilson, David (1990).
2229:Wagner, Peter. (1911)
987:scandicus subbipunctis
873:Three notes ascending
581:(1849–1930) collected
528:
477:
369:
361:
191:
185:
54:
2321:(subscription access)
2303:(subscription access)
2118:Paléographie musicale
1779:Mahrt "Chant", p. 18.
1656:(subscription access)
1567:Liddell, Henry George
1379:uses a type of neume.
818:Two notes descending
588:Paléographie musicale
525:Graduale Aboense
518:
467:
367:
351:
327:Greek orthodox church
40:
2132:Apel, Willi (1990).
2012:"CaeciliaeCaeciliae"
1970:"Medieval 2 website"
1949:"Medieval 2 release"
1624:Rosamond McKitterick
1495:Chants of the Church
997:Other basic markings
964:; this example is a
840:Two notes ascending
630:performance practice
579:Dom André Mocquereau
441:in northeast France)
291:Eastern Roman Empire
281:aids for the proper
81:; sometimes spelled
2851:Percussion notation
2069:"Fuentes musicales"
1739:. Oxford University
1737:Oxford Music Online
1528:(Online ed.).
1465:Dom Gregory Sunol,
1283:(lengthen, as in a
1181:Stanford University
1111:(horizontal stroke)
268:ekphonetic notation
262:, the holy book of
2369:Byzantine notation
2365:2010-12-16 at the
2356:Byzantine notation
2326:2008-05-16 at the
2308:2008-05-16 at the
2267:Learning Resources
2245:. Schirmer Books.
1896:Anon., "Oriscus",
1704:|archive-url=
1179:—William Mahrt of
1067:Interpretive marks
790:repercussive neume
606:St. Martial school
575:Dom Joseph Pothier
529:
478:
370:
362:
344:Western plainchant
55:
53:to it interpreted.
2973:
2972:
2917:Mensural notation
2360:Music for Vespers
2215:. Prentice Hall.
1838:978-0-7546-5239-7
1536:(Subscription or
1483:978-0-7661-7241-8
1437:Mensural notation
1390:notation software
1351:Mozarabic liturgy
1347:Visigothic script
1309:Notre Dame school
1164:
1163:
1091:(vertical stroke)
1062:
1061:
992:
991:
928:
927:
844:
843:
783:
782:
725:
724:
638:Jerome of Moravia
604:polyphony of the
560:Solesmes notation
510:Hufnagel notation
432:abbey of St. Gall
16:(Redirected from
2998:
2991:Musical notation
2963:
2962:
2953:
2952:
2816:Graphic notation
2480:Rehearsal letter
2404:Musical notation
2397:
2390:
2383:
2374:
2373:
2256:
2244:
2226:
2192:
2147:
2106:Graduale Romanum
2094:Graduale triplex
2080:
2079:
2077:
2076:
2064:
2058:
2057:
2055:
2054:
2043:
2037:
2036:
2030:
2022:
2020:
2019:
2008:
2002:
2001:
1999:
1998:
1987:
1981:
1980:
1978:
1977:
1966:
1960:
1959:
1957:
1956:
1945:
1939:
1938:
1920:
1914:
1907:
1901:
1894:
1888:
1873:
1867:
1860:
1854:
1847:
1841:
1822:
1816:
1815:
1807:
1801:
1786:
1780:
1777:
1771:
1764:
1758:
1755:
1749:
1748:
1746:
1744:
1725:
1719:
1718:
1711:
1705:
1700:
1698:
1690:
1687:sites.google.com
1679:
1673:
1664:
1658:
1649:
1643:
1611:
1605:
1604:
1599:(2nd ed.).
1590:
1584:
1563:
1562:
1555:
1554:
1548:
1542:
1541:
1533:
1521:
1514:
1508:
1503:
1497:
1492:
1486:
1463:
1442:Musical notation
1426:or scorewriters.
1384:Digital notation
1367:Daseian notation
1361:Catalan notation
1146:
1127:Liquescent neume
1123:
1103:
1083:
1076:
1075:
1050:
1029:
1010:
1003:
1002:
977:
952:
945:
944:
916:
899:
882:
865:
858:
857:
827:
809:
802:
801:
773:
758:
743:
736:
735:
718:
706:
699:
698:
577:(1835–1923) and
541:Graduale Aboense
401:musical notation
323:polyphonic music
219:
214:
213:
208:
203:
202:
194:
188:
182:
173:
167:
161:
87:musical notation
80:
79:
76:
75:
72:
69:
21:
3006:
3005:
3001:
3000:
2999:
2997:
2996:
2995:
2986:Christian music
2976:
2975:
2974:
2969:
2941:
2905:
2779:
2770:Music publisher
2765:Music engraving
2746:
2626:
2617:Letter notation
2509:
2406:
2401:
2367:Wayback Machine
2328:Wayback Machine
2310:Wayback Machine
2264:
2259:
2253:
2223:
2189:
2144:
2134:Gregorian Chant
2089:
2084:
2083:
2074:
2072:
2065:
2061:
2052:
2050:
2045:
2044:
2040:
2024:
2023:
2017:
2015:
2010:
2009:
2005:
1996:
1994:
1989:
1988:
1984:
1975:
1973:
1968:
1967:
1963:
1954:
1952:
1947:
1946:
1942:
1935:
1921:
1917:
1908:
1904:
1895:
1891:
1874:
1870:
1861:
1857:
1848:
1844:
1823:
1819:
1808:
1804:
1787:
1783:
1778:
1774:
1768:Gregorian Chant
1765:
1761:
1756:
1752:
1742:
1740:
1726:
1722:
1712:
1703:
1701:
1692:
1691:
1681:
1680:
1676:
1665:
1661:
1650:
1646:
1612:
1608:
1591:
1587:
1581:Perseus Project
1549:
1545:
1535:
1515:
1511:
1504:
1500:
1493:
1489:
1464:
1460:
1455:
1433:
1424:office software
1386:
1345:), also called
1329:Byzantine music
1321:
1293:
1291:Other functions
1263:There are also
1153:(squiggly note)
1152:
1129:
1110:
1090:
1069:
999:
966:podatus pressus
938:
936:Compound neumes
854:
798:
779:("two points")
732:
680:
662:
626:
573:, particularly
562:
533:square notation
521:Gaudeamus omnes
506:square notation
405:in campo aperto
378:in campo aperto
346:
319:Gregorian chant
311:Byzantine music
256:holy scriptures
230:
146:
66:
62:
35:
32:Rough breathing
28:
23:
22:
18:Square notation
15:
12:
11:
5:
3004:
2994:
2993:
2988:
2971:
2970:
2968:
2967:
2957:
2946:
2943:
2942:
2940:
2939:
2934:
2929:
2924:
2919:
2913:
2911:
2907:
2906:
2904:
2903:
2898:
2893:
2888:
2883:
2878:
2873:
2868:
2863:
2858:
2853:
2848:
2843:
2838:
2833:
2828:
2823:
2818:
2813:
2808:
2803:
2798:
2793:
2787:
2785:
2781:
2780:
2778:
2777:
2772:
2767:
2762:
2756:
2754:
2748:
2747:
2745:
2744:
2739:
2734:
2729:
2724:
2719:
2714:
2713:
2712:
2707:
2702:
2697:
2692:
2687:
2677:
2672:
2667:
2662:
2657:
2652:
2647:
2642:
2636:
2634:
2628:
2627:
2625:
2624:
2619:
2614:
2609:
2604:
2599:
2594:
2589:
2584:
2579:
2578:
2577:
2572:
2567:
2557:
2552:
2547:
2542:
2541:
2540:
2535:
2530:
2519:
2517:
2511:
2510:
2508:
2507:
2502:
2497:
2495:Time signature
2492:
2487:
2482:
2477:
2472:
2467:
2462:
2457:
2452:
2447:
2442:
2437:
2432:
2427:
2422:
2416:
2414:
2408:
2407:
2400:
2399:
2392:
2385:
2377:
2371:
2370:
2357:
2351:
2349:Solesmes Abbey
2346:
2341:
2335:
2330:
2317:
2312:
2299:
2291:
2290:
2286:
2285:
2280:
2269:
2268:
2263:
2262:External links
2260:
2258:
2257:
2251:
2234:
2227:
2221:
2208:
2193:
2187:
2171:
2152:
2148:
2142:
2129:
2115:
2109:
2090:
2088:
2085:
2082:
2081:
2059:
2038:
2003:
1982:
1961:
1940:
1933:
1915:
1902:
1889:
1868:
1855:
1842:
1817:
1802:
1781:
1772:
1759:
1750:
1720:
1674:
1659:
1644:
1606:
1585:
1543:
1509:
1498:
1487:
1457:
1456:
1454:
1451:
1450:
1449:
1447:Znamenny Chant
1444:
1439:
1432:
1429:
1428:
1427:
1420:
1414:
1408:
1394:music notation
1385:
1382:
1381:
1380:
1377:Buddhist chant
1374:
1364:
1358:
1339:
1336:Znamenny Chant
1332:
1325:
1320:
1317:
1313:rhythmic modes
1292:
1289:
1261:
1260:
1249:
1234:
1219:
1204:
1203:
1184:
1166:
1165:
1162:
1161:
1154:
1147:
1139:
1138:
1131:
1124:
1116:
1115:
1112:
1104:
1096:
1095:
1092:
1084:
1068:
1065:
1064:
1063:
1060:
1059:
1056:
1051:
1043:
1042:
1035:
1030:
1022:
1021:
1014:
1011:
998:
995:
994:
993:
990:
989:
983:
978:
970:
969:
958:
953:
937:
934:
930:
929:
926:
925:
922:
917:
909:
908:
905:
900:
892:
891:
888:
883:
875:
874:
871:
866:
853:
850:
846:
845:
842:
841:
838:
828:
820:
819:
816:
810:
797:
794:
785:
784:
781:
780:
774:
766:
765:
759:
751:
750:
744:
731:
728:
727:
726:
723:
722:
719:
711:
710:
707:
688:absolute pitch
679:
676:
661:
658:
625:
622:
592:French article
561:
558:
502:Guido d'Arezzo
462:
461:
448:
442:
435:
419:'s desire for
345:
342:
334:Znamenny Chant
285:recitation of
229:
226:
209:('breath') or
154:Middle English
145:
142:
130:rhythmic modes
126:medieval music
26:
9:
6:
4:
3:
2:
3003:
2992:
2989:
2987:
2984:
2983:
2981:
2966:
2958:
2956:
2948:
2947:
2944:
2938:
2937:Transcription
2935:
2933:
2932:Sight-reading
2930:
2928:
2927:Perfect pitch
2925:
2923:
2920:
2918:
2915:
2914:
2912:
2908:
2902:
2899:
2897:
2894:
2892:
2889:
2887:
2884:
2882:
2879:
2877:
2874:
2872:
2869:
2867:
2864:
2862:
2861:Ancient Greek
2859:
2857:
2854:
2852:
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2817:
2814:
2812:
2809:
2807:
2804:
2802:
2801:Chord diagram
2799:
2797:
2794:
2792:
2791:Braille music
2789:
2788:
2786:
2784:Other systems
2782:
2776:
2773:
2771:
2768:
2766:
2763:
2761:
2758:
2757:
2755:
2753:
2749:
2743:
2740:
2738:
2735:
2733:
2730:
2728:
2725:
2723:
2720:
2718:
2715:
2711:
2708:
2706:
2703:
2701:
2698:
2696:
2693:
2691:
2688:
2686:
2683:
2682:
2681:
2678:
2676:
2673:
2671:
2668:
2666:
2663:
2661:
2658:
2656:
2653:
2651:
2648:
2646:
2643:
2641:
2638:
2637:
2635:
2633:
2629:
2623:
2620:
2618:
2615:
2613:
2610:
2608:
2605:
2603:
2600:
2598:
2595:
2593:
2590:
2588:
2585:
2583:
2580:
2576:
2573:
2571:
2568:
2566:
2563:
2562:
2561:
2558:
2556:
2553:
2551:
2548:
2546:
2543:
2539:
2536:
2534:
2531:
2529:
2526:
2525:
2524:
2521:
2520:
2518:
2516:
2515:Musical notes
2512:
2506:
2503:
2501:
2500:Transposition
2498:
2496:
2493:
2491:
2488:
2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2463:
2461:
2458:
2456:
2455:Key signature
2453:
2451:
2448:
2446:
2443:
2441:
2438:
2436:
2433:
2431:
2428:
2426:
2423:
2421:
2418:
2417:
2415:
2413:
2409:
2405:
2398:
2393:
2391:
2386:
2384:
2379:
2378:
2375:
2368:
2364:
2361:
2358:
2355:
2352:
2350:
2347:
2345:
2342:
2339:
2336:
2334:
2331:
2329:
2325:
2322:
2318:
2316:
2313:
2311:
2307:
2304:
2300:
2297:
2293:
2292:
2288:
2287:
2284:
2281:
2278:
2277:
2276:Liber Usualis
2271:
2270:
2266:
2265:
2254:
2252:0-02-872951-X
2248:
2243:
2242:
2235:
2232:
2228:
2224:
2222:0-13-036153-4
2218:
2214:
2209:
2206:
2205:0-253-33752-6
2202:
2198:
2194:
2190:
2188:0-19-816572-2
2184:
2180:
2176:
2172:
2169:
2168:0-393-02807-0
2165:
2161:
2160:Stanley Sadie
2157:
2153:
2149:
2145:
2143:0-253-20601-4
2139:
2135:
2130:
2127:
2126:2-85274-219-5
2123:
2119:
2116:
2113:
2112:Liber usualis
2110:
2107:
2103:
2102:2-85274-094-X
2099:
2095:
2092:
2091:
2070:
2063:
2048:
2042:
2034:
2028:
2013:
2007:
1992:
1986:
1971:
1965:
1950:
1944:
1936:
1934:9788489943742
1930:
1926:
1919:
1912:
1906:
1899:
1893:
1886:
1882:
1881:Stanley Sadie
1878:
1872:
1865:
1859:
1852:
1846:
1839:
1835:
1831:
1827:
1821:
1813:
1806:
1799:
1798:0-674-01163-5
1795:
1791:
1785:
1776:
1769:
1763:
1754:
1738:
1734:
1730:
1724:
1716:
1709:
1696:
1688:
1684:
1678:
1671:
1670:
1663:
1657:
1653:
1648:
1641:
1637:
1636:0-521-88672-4
1633:
1629:
1625:
1622:
1618:
1617:
1610:
1602:
1598:
1597:
1589:
1582:
1578:
1577:
1572:
1571:Scott, Robert
1568:
1564:
1556:
1547:
1539:
1531:
1527:
1526:
1520:
1513:
1507:
1506:Liber Usualis
1502:
1496:
1491:
1484:
1480:
1476:
1475:0-7661-7241-4
1472:
1468:
1462:
1458:
1448:
1445:
1443:
1440:
1438:
1435:
1434:
1425:
1421:
1418:
1415:
1412:
1409:
1406:
1402:
1399:
1398:
1397:
1395:
1391:
1378:
1375:
1372:
1368:
1365:
1362:
1359:
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1316:
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1137:
1132:
1128:
1125:
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1118:
1117:
1113:
1109:
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1098:
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1057:
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1023:
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1001:
1000:
988:
984:
982:
979:
976:
972:
971:
967:
963:
959:
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954:
951:
947:
946:
943:
942:
941:
933:
923:
921:
918:
915:
911:
910:
907:down-up-down
906:
904:
901:
898:
894:
893:
889:
887:
884:
881:
877:
876:
872:
870:
867:
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689:
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675:
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670:
667:
660:Illustrations
657:
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647:
646:Gustave Reese
641:
639:
635:
631:
621:
619:
615:
611:
607:
601:
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598:Liber Usualis
595:
593:
589:
584:
580:
576:
572:
568:
557:
555:
551:
547:
542:
538:
534:
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2836:Klavarskribo
2811:Figured bass
2685:Appoggiatura
2632:Articulation
2430:Abbreviation
2275:
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2196:
2178:
2175:Hiley, David
2155:
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2093:
2073:. Retrieved
2062:
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2006:
1995:. Retrieved
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1885:John Tyrrell
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1371:music theory
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1271:(fast), t =
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1257:virga strata
1256:
1252:
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1187:Quarter-tone
1172:
1167:
1157:
1149:
1130:(small note)
1126:
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815:("by slope")
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746:
730:Single notes
681:
663:
653:
650:mensuralists
649:
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114:articulation
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82:
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41:A sample of
2922:Music stand
2796:Chord chart
2775:Scorewriter
2752:Sheet music
2550:Dotted note
2485:Repeat sign
2460:Ledger line
1729:David Hiley
1319:Other types
1244:(limit) or
1231:apostrophes
1200:solmization
1106:Horizontal
962:praepunctis
956:Praepunctis
924:up-down-up
852:Three notes
490:diastematic
459:Montpellier
417:Charlemagne
386:punctuation
382:cheironomic
374:cheironomic
2980:Categories
2896:Shakuhachi
2871:Ekphonetic
2856:Simplified
2821:Lead sheet
2695:Grace note
2560:Note value
2555:Grace note
2523:Accidental
2087:References
2075:2024-09-16
2053:2024-09-16
2018:2024-09-16
1997:2016-08-12
1976:2024-09-16
1955:2017-06-17
1743:5 February
1733:"Hufnagel"
1540:required.)
1373:treatises.
1355:Roman rite
1327:Neumes of
1305:polyphonic
1297:troubadour
1227:tristropha
1216:microtonal
1191:accidental
1136:grace note
981:Subpunctis
749:("point")
618:melismatic
583:facsimiles
546:melismatic
486:heightened
445:Aquitanian
338:transcribe
315:manuscript
272:ekphonesis
249:recitation
222:corruption
138:plainchant
93:notation.
2891:Swaralipi
2881:Kunkunshi
2841:Tablature
2806:Eye music
2690:Glissando
2665:Fingering
2450:Dal segno
1826:Ressurexi
1770:, p. 127.
1593:"neume".
1269:celeriter
1223:distropha
1195:digraphic
1158:preceding
1086:Vertical
920:Porrectus
869:Scandicus
796:Two notes
777:Bipunctum
494:digraphic
482:Benevento
407:(without
394:intervals
253:Christian
232:Although
148:The word
144:Etymology
2901:Znamenny
2742:Tonguing
2727:Staccato
2680:Ornament
2655:Dynamics
2607:Interval
2570:Notehead
2545:Cue note
2363:Archived
2324:Archived
2306:Archived
2177:(1995).
2027:cite web
1695:cite web
1626:(2008),
1469:, 2003,
1431:See also
1417:Lilypond
1401:Gregorio
1388:Because
1301:trouvère
1150:Quilisma
903:Torculus
886:Climacus
837:("foot")
764:("rod")
614:neumatic
610:syllabic
571:Solesmes
455:Chartres
421:Frankish
390:syllable
356:" shows
279:mnemonic
118:duration
2910:Related
2876:Gamelan
2866:Chinese
2846:Parsons
2717:Portato
2700:Mordent
2675:Marcato
2660:Fermata
2650:Damping
2645:Caesura
2602:Tremolo
2533:natural
2445:Da capo
2151:Slavic.
1706:value (
1603:. 1989.
1579:at the
1519:"neume"
1279:), a =
1253:pressus
1246:ōriskos
1238:oriscus
1108:episema
1088:episema
831:Podatus
747:Punctum
721:F clef
709:C clef
692:solfege
634:pressus
554:oriscus
303:Lebanon
283:melodic
251:of the
245:Aramaic
110:symbols
106:pitches
102:rhythms
2732:Tenuto
2670:Legato
2640:Accent
2597:Tuplet
2249:
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2100:
1931:
1836:
1828:", in
1796:
1766:Apel,
1702:Check
1634:
1553:πνεῦμα
1481:
1473:
1411:Finale
1405:LuaTeX
1277:tenuto
1273:tenete
1212:trigon
1039:custos
1033:Custos
813:Clivis
550:custos
307:Israel
295:Turkey
260:Qur'an
238:orally
206:pneuma
201:πνεῦμα
186:pneuma
156:forms
51:Listen
2886:Neume
2710:Trill
2705:Slide
2592:Tacet
2582:Pitch
2538:sharp
2490:Tempo
2475:Scale
2470:Ossia
2412:Staff
2289:Other
2274:1961
1561:νεῦμα
1534:
1453:Notes
1343:Spain
1242:horos
1177:trill
1173:Shake
762:Virga
684:staff
678:Clefs
567:meter
498:staff
409:staff
358:psalm
299:Syria
287:chant
264:Islam
234:chant
217:neuma
212:νεῦμα
192:neuma
180:neume
165:nevme
159:newme
150:neume
122:tempo
120:, or
98:notes
91:staff
59:neume
2722:Slur
2587:Rest
2575:stem
2565:beam
2528:flat
2465:Mode
2440:Clef
2272:The
2247:ISBN
2217:ISBN
2201:ISBN
2183:ISBN
2164:ISBN
2138:ISBN
2122:ISBN
2098:ISBN
2033:link
1929:ISBN
1883:and
1834:ISBN
1794:ISBN
1745:2015
1715:link
1708:help
1632:ISBN
1479:ISBN
1471:ISBN
1299:and
1281:auge
1251:The
1236:The
1225:and
1221:The
1210:The
1054:Mora
1018:flat
1013:Flat
537:clef
472:and
451:Laon
439:Metz
430:the
413:Metz
305:and
171:neme
83:neum
2737:Tie
2435:Bar
2120:.
1621:cf.
1338:").
1285:tie
1189:or
1175:or
835:Pes
833:or
488:or
376:or
313:in
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100:or
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