1 00:00:11,000 --> 00:00:16,160 Thank you. So I am talking about the music notation in the meeting manuscripts. 2 00:00:17,180 --> 00:00:23,090 The first music notations from the Middle Ages showed a high degree of geographical variation, 3 00:00:23,990 --> 00:00:29,060 whereas nowadays we are using the same classical music notation all over the world. 4 00:00:29,780 --> 00:00:36,020 Medieval notations varied from region to region, each using its own set of characters. 5 00:00:37,040 --> 00:00:45,650 Well, they have in common is that they had not been written on steps, but initially in the margins alongside the texts. 6 00:00:46,340 --> 00:01:01,650 You see that? Here. So uh, and later above the text in the, in an open space between two lines you see here this is the text and this is the notation. 7 00:01:01,950 --> 00:01:09,359 So, and then there are six the text and again the notation around the year 2000, 8 00:01:09,360 --> 00:01:14,880 the first manuscripts appeared in Italy with music notation written on staff lines. 9 00:01:15,780 --> 00:01:20,669 The stuff system was a big success during the next through the three centuries. 10 00:01:20,670 --> 00:01:26,430 It spread across the entire continent, from south to north and from west to east. 11 00:01:27,850 --> 00:01:39,280 Around 1300. The stuff notation had been introduced in the whole of Europe as infrastructure got better and travelling became more and more easy. 12 00:01:39,790 --> 00:01:43,180 But even music notation became increasingly uniform. 13 00:01:44,620 --> 00:01:53,800 Towards the end of the Middle Ages, around 1500, the number of notational types types had been reduced to two major systems of music notation, 14 00:01:54,250 --> 00:01:58,240 rhythmic notation and notation without rhythmic indication. 15 00:01:59,320 --> 00:02:04,810 Lane notation was used notably for liturgical manuscripts of motif, monophonic chant. 16 00:02:04,930 --> 00:02:08,020 And here again, two main types can be distinguished. 17 00:02:08,380 --> 00:02:20,410 And that is. Gothic notation in countries north of maps and in the east east of the Rhine and square notation in the country, south of the Alps. 18 00:02:20,710 --> 00:02:28,310 And in the west, west of the Rhine. But whereas the stuff system spread out over the whole of Europe, 19 00:02:29,270 --> 00:02:36,200 some northern German convents continued to use Starfleet's notation until the 16th century as well. 20 00:02:36,800 --> 00:02:40,970 And one of these convents was the Cistercian nunnery of meeting and. 21 00:02:43,180 --> 00:02:50,530 In Oxford libraries for manuscripts from reading and have been preserved in the it had to this. 22 00:02:50,830 --> 00:02:55,170 Then I must have woke him up. Oh. 23 00:02:56,110 --> 00:03:05,510 Oh, yes. Yes. Yes. All of them use gothic notation typical for late medieval liturgical manuscripts in northern Germany. 24 00:03:06,560 --> 00:03:11,389 But there are some particularities in these manuscripts, as in others, 25 00:03:11,390 --> 00:03:20,870 from median to staff notation is used next to staff notation and which kind words are written in which manuscript and which specifically 26 00:03:20,870 --> 00:03:30,800 the exact ecological conditions where required will be the questions I deal with today and now we have to switch to the visualiser. 27 00:03:32,720 --> 00:03:37,540 Okay. And let's begin with one place you went. 28 00:03:37,940 --> 00:03:41,080 Oh, yes, that's the one. Oh, sorry. Yes, that's the one. 29 00:03:41,090 --> 00:03:46,100 Yes. And the main part of this prayer book, Stateless Notation, has been used, 30 00:03:46,490 --> 00:03:50,750 whereas in the additional part, chant has been written on staffs with clefts. 31 00:03:51,820 --> 00:03:58,090 On Folio 90, Eric told us this one. We see the exhibit of scientific studies. 32 00:04:00,490 --> 00:04:10,130 Read it here. It's small lending, insipid of a service fest, ideas, a procession, the evensong in the Easter vigil. 33 00:04:10,760 --> 00:04:16,160 It is evident that this page has not been written in accordance with musical conventions. 34 00:04:16,490 --> 00:04:19,800 But those of a prayer book it. 35 00:04:20,210 --> 00:04:25,340 Oh, sorry. Each line is filled with text with no space left for stuffs. 36 00:04:26,300 --> 00:04:31,430 The music notation is squeezed into the small space between the text lines. 37 00:04:34,700 --> 00:04:42,850 You see it here? This is the music notation. And the notation is in red colour so it can be seen on first sight. 38 00:04:43,840 --> 00:04:50,740 And the additional part from Folio 284 recto on works. 39 00:05:03,240 --> 00:05:09,420 The layout is adapted to musical needs with enough space for staff notation with clefs. 40 00:05:16,210 --> 00:05:26,390 Yes, this one. This layout conforms to a liturgical chant book, not a prayer book. 41 00:05:27,110 --> 00:05:38,300 However, a third manner of writing music notation can be found in one on Folio, 60, 36 Verso and 37 Recto. 42 00:05:53,190 --> 00:05:56,300 Yes. Thank you. This one. Yes. 43 00:05:56,900 --> 00:06:00,080 The curious trope. Curious island of lava. 44 00:06:00,290 --> 00:06:05,510 This is this one here begins. Begins with staff notation. 45 00:06:05,750 --> 00:06:10,010 But after two lines, it continues stuffiness. So we have here. 46 00:06:10,370 --> 00:06:15,740 Yeah, we have the stuff notation. And here it's only space left, but no stuff. 47 00:06:18,610 --> 00:06:21,640 Uh. It continues. Staff lives here. 48 00:06:21,670 --> 00:06:27,010 The layout combines elements from both staff notation and staff list notation. 49 00:06:27,370 --> 00:06:31,899 Each second text line is left empty, providing space for staff lists. 50 00:06:31,900 --> 00:06:43,030 But the magic notation that means the pitch is not shown as accurately as with staff lines, but the well-known melody can be reconstructed easily. 51 00:06:44,670 --> 00:07:02,450 Now we are going to go to. Yeah. 52 00:07:09,030 --> 00:07:28,780 I'm an 81 year old. This was a. 53 00:07:30,360 --> 00:07:38,130 Yes. Thank you. Yes. In oh two, music notation has been used in the first two parts. 54 00:07:38,790 --> 00:07:42,690 We see some insipid sort of music notation in the liturgy of the burial. 55 00:07:43,020 --> 00:07:47,250 On Folio 81 Verso all with stuffs. 56 00:07:49,270 --> 00:07:53,180 So let's see. Here. And here. Here. And so on. 57 00:07:55,190 --> 00:08:02,720 As is usually the case in liturgical manuscripts, the letters of the Chinese texts are smaller than those of the prayers. 58 00:08:03,620 --> 00:08:08,179 This can see it here. Very good. So this this text is smaller. 59 00:08:08,180 --> 00:08:15,310 The letters are smaller than these ones. To gain space for staff. 60 00:08:15,990 --> 00:08:19,410 For staff lines, leaving one text line empty. 61 00:08:19,440 --> 00:08:24,180 So you see here this text line is left empty. 62 00:08:24,570 --> 00:08:28,350 Here, the text I was going through. So this space is left empty. 63 00:08:29,070 --> 00:08:32,879 To gain space for the. For the staff. 64 00:08:32,880 --> 00:08:40,540 For the node. However, only one line is given with the insipid of the chanting question. 65 00:08:41,740 --> 00:08:47,440 So only not the whole know the whole antiphon, but it's only a one liner for the insipid. 66 00:08:49,610 --> 00:08:57,380 In this part of the manuscript, the texts spoken by the provost were more important than the Antiphon sung by the choir. 67 00:08:57,860 --> 00:09:07,490 In contrary the first part, the liver. Ordinary use is almost completely focussed on liturgical music, most of it written on staff lines. 68 00:09:08,120 --> 00:09:21,680 Could we go to 49 or please? But here too, differences can be observed on four folio, 49 Verso and following Lotus Salvatori, 69 00:09:21,690 --> 00:09:27,150 a well-known Latin Easter sequence sung by the priests, had been interpolated with a German. 70 00:09:27,630 --> 00:09:30,780 Christ is of standard sung by the parish community. 71 00:09:32,130 --> 00:09:39,209 Whereas the Latin text is written completely down on it only the insipid and the end of the German lines. 72 00:09:39,210 --> 00:09:43,830 They have been recorded. Can see it, for instance. 73 00:09:44,420 --> 00:09:48,670 Neil. Coast to coast, same period. 74 00:09:48,980 --> 00:09:52,870 So. So it's. It's a squeeze together. 75 00:09:52,880 --> 00:09:57,770 Only the beginning. And then percentage is the end of the laser. 76 00:10:01,250 --> 00:10:06,860 Again, this is due to the function of the book. The provost only needed the Latin chant. 77 00:10:07,250 --> 00:10:10,310 Some indications of the German laser were sufficient for him. 78 00:10:12,290 --> 00:10:16,630 No, we are not. We are going to all three. The college manuscript, please. 79 00:10:30,590 --> 00:10:34,100 And the folio 149 is. 80 00:11:05,860 --> 00:11:18,750 Yes. Thank you. Yeah. In oh three, music notation has been added only once to a further unknown hymn in honour of Saint Maurice on Folio 149 Recto. 81 00:11:18,790 --> 00:11:28,150 This is this one again. This hymn is adapted to the lay out of the prayer book with no space, excess space left for music notation. 82 00:11:29,300 --> 00:11:37,490 As is typical for hymns only, the first stanza has been notated and the beginning of the second one until the end of the line. 83 00:11:39,010 --> 00:11:42,460 See, that's the beginning of the second stanza. This is the first one. 84 00:11:44,830 --> 00:11:47,980 Uh, could we go, please, to the following. 85 00:11:50,390 --> 00:12:02,310 149 Verso. While the other stanzas on folio 149 Verso let's hear above. 86 00:12:03,480 --> 00:12:09,150 Have remained without music. They have been sung to the same melody. 87 00:12:09,150 --> 00:12:15,480 So they needed no music notation at all. Oh four, finally. 88 00:12:15,540 --> 00:12:20,100 So. We are going very quickly through the madness. 89 00:12:20,330 --> 00:12:35,280 It's. And then 103 rectal, please. 90 00:12:55,670 --> 00:13:04,850 So au4 finally mainly contains established notation on Folio 103 recto the insipid of the antiphon intended in me. 91 00:13:04,850 --> 00:13:10,160 It Saudi me is heartless between the lines and said here. 92 00:13:10,550 --> 00:13:13,790 That's the insipid of the antiphon. And this is the notation. 93 00:13:18,430 --> 00:13:23,260 Probably as a later edition in the right corner above the world. 94 00:13:23,270 --> 00:13:26,370 Karate. Yeah. 95 00:13:27,150 --> 00:13:33,540 In the case of the Santa Claus, he told me the simple melody in which the song had to be sung, 96 00:13:34,110 --> 00:13:37,620 combined with the first through the first three notes of this tune. 97 00:13:38,770 --> 00:13:43,150 In contrast on Folio 277, we also. 98 00:13:45,040 --> 00:13:55,090 The response of the office of the dead. So they need to some activity is written in the manner of liturgical books on staff lines with clefs. 99 00:14:08,240 --> 00:14:15,560 And that's logical because it's again, it's a liturgical liturgical part manuscript part in the in this book. 100 00:14:17,780 --> 00:14:23,570 Yes. So they to this one. So you have again, stuff, lines and cliffs. 101 00:14:31,090 --> 00:14:34,600 Could we switch to the switch back? Yes, please. 102 00:14:40,780 --> 00:14:43,870 Yes. Thank you. Well, then we have to go. 103 00:14:45,900 --> 00:14:53,940 This meeting in manuscripts in Oxford and abroad show a wide range of layout concerning music notation. 104 00:14:54,420 --> 00:14:57,150 The choice was not made at random. 105 00:14:57,720 --> 00:15:06,000 First of all, the layout of the music notation depended on the function of the manuscript in books for liturgical use as oh two. 106 00:15:06,240 --> 00:15:13,340 It was necessary to write music as clear as possible to guarantee effortless development of the liturgy. 107 00:15:14,570 --> 00:15:21,260 In a private sort or so forth. Music notation is exceptional in liturgical sorters, 108 00:15:21,260 --> 00:15:33,770 and here we have the liturgical sort of hildesheim from meeting in to in liturgical quarters only and and a few other charts accompanying the Psalms. 109 00:15:33,920 --> 00:15:39,200 So music notation used here, but it's a liturgical, liturgical sort of. 110 00:15:39,200 --> 00:15:42,980 So you have stuff lines and, and clefs. 111 00:15:47,320 --> 00:15:51,900 This is the 1478 preview. Yes. 112 00:15:52,020 --> 00:15:57,550 Yeah. Yeah. And in FreshBooks, normal. 113 00:15:57,640 --> 00:16:02,330 Normally no music. Any prayer books. Oh, no. 114 00:16:03,520 --> 00:16:11,110 And prayer books. Normally, normally no music was written at all in this respect. 115 00:16:11,260 --> 00:16:14,860 Meeting a prayer book such as a one, an oath. We are unique. 116 00:16:15,370 --> 00:16:25,090 Music notation here probably has been used as an edge to memory squeezed between the lines due to the layout of this kind of manuscripts. 117 00:16:26,470 --> 00:16:29,740 Prayer books had to be handed and handy and compact. 118 00:16:30,190 --> 00:16:33,730 There was no superfluous space left for music notation. 119 00:16:34,420 --> 00:16:38,049 Thus using stylus notation didn't mean the nines. 120 00:16:38,050 --> 00:16:41,860 We are not familiar with the notation or convention conventions of that time. 121 00:16:43,180 --> 00:16:51,430 As demonstrated you, O'Toole, for instance, are small choirs with songs or chant notated for Love, as in oh one. 122 00:16:52,360 --> 00:16:59,680 The choice of staff has notation in prior books is rather due to a creative handling of this manuscript type. 123 00:17:00,430 --> 00:17:07,330 And that brings me to the last, at last to the question why should music notation be added to prayer books at all? 124 00:17:08,740 --> 00:17:13,660 Meeting and prayer books combine three types the types of texts, prayers, 125 00:17:13,930 --> 00:17:19,270 meditations and liturgical chant grouped together in liturgical thematic order. 126 00:17:20,350 --> 00:17:24,400 As we know, the late medieval reform movement of the modern devotion, 127 00:17:24,880 --> 00:17:32,050 the spiritual background of the monastic reform in Lower Saxony regarded music as a catalyst for emotions. 128 00:17:32,950 --> 00:17:41,110 In their concept, meditation had to be combined with singing and prayer to achieve successful spiritual growth. 129 00:17:42,130 --> 00:17:50,290 The meaning of prayer books date from the time after the monastic reform, when the ideas of the modern devotion had already taken root at meeting, 130 00:17:50,290 --> 00:17:55,390 and they manifested themselves in this new kind of prayer books, 131 00:17:55,780 --> 00:18:05,350 combining prayers with meditations and liturgical chants to sing in private context, loudly in the mouth or quietly in the heart. 132 00:18:05,620 --> 00:18:09,419 Thank you. Yeah. 133 00:18:09,420 --> 00:18:14,250 I think I did a mistake not to encourage a round of applause. 134 00:18:14,460 --> 00:18:18,940 We should have really a round of applause for all the four speakers that have gone so far. 135 00:18:18,960 --> 00:18:19,320 Please.