Thank you. So I am talking about the music notation in the meeting manuscripts.
The first music notations from the Middle Ages showed a high degree of geographical variation,
whereas nowadays we are using the same classical music notation all over the world.
Medieval notations varied from region to region, each using its own set of characters.
Well, they have in common is that they had not been written on steps, but initially in the margins alongside the texts.
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.
So, and then there are six the text and again the notation around the year 2000,
the first manuscripts appeared in Italy with music notation written on staff lines.
The stuff system was a big success during the next through the three centuries.
It spread across the entire continent, from south to north and from west to east.
Around 1300. The stuff notation had been introduced in the whole of Europe as infrastructure got better and travelling became more and more easy.
But even music notation became increasingly uniform.
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,
rhythmic notation and notation without rhythmic indication.
Lane notation was used notably for liturgical manuscripts of motif, monophonic chant.
And here again, two main types can be distinguished.
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.
And in the west, west of the Rhine. But whereas the stuff system spread out over the whole of Europe,
some northern German convents continued to use Starfleet's notation until the 16th century as well.
And one of these convents was the Cistercian nunnery of meeting and.
In Oxford libraries for manuscripts from reading and have been preserved in the it had to this.
Then I must have woke him up. Oh.
Oh, yes. Yes. Yes. All of them use gothic notation typical for late medieval liturgical manuscripts in northern Germany.
But there are some particularities in these manuscripts, as in others,
from median to staff notation is used next to staff notation and which kind words are written in which manuscript and which specifically
the exact ecological conditions where required will be the questions I deal with today and now we have to switch to the visualiser.
Okay. And let's begin with one place you went.
Oh, yes, that's the one. Oh, sorry. Yes, that's the one.
Yes. And the main part of this prayer book, Stateless Notation, has been used,
whereas in the additional part, chant has been written on staffs with clefts.
On Folio 90, Eric told us this one. We see the exhibit of scientific studies.
Read it here. It's small lending, insipid of a service fest, ideas, a procession, the evensong in the Easter vigil.
It is evident that this page has not been written in accordance with musical conventions.
But those of a prayer book it.
Oh, sorry. Each line is filled with text with no space left for stuffs.
The music notation is squeezed into the small space between the text lines.
You see it here? This is the music notation. And the notation is in red colour so it can be seen on first sight.
And the additional part from Folio 284 recto on works.
The layout is adapted to musical needs with enough space for staff notation with clefs.
Yes, this one. This layout conforms to a liturgical chant book, not a prayer book.
However, a third manner of writing music notation can be found in one on Folio, 60, 36 Verso and 37 Recto.
Yes. Thank you. This one. Yes.
The curious trope. Curious island of lava.
This is this one here begins. Begins with staff notation.
But after two lines, it continues stuffiness. So we have here.
Yeah, we have the stuff notation. And here it's only space left, but no stuff.
Uh. It continues. Staff lives here.
The layout combines elements from both staff notation and staff list notation.
Each second text line is left empty, providing space for staff lists.
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.
Now we are going to go to. Yeah.
I'm an 81 year old. This was a.
Yes. Thank you. Yes. In oh two, music notation has been used in the first two parts.
We see some insipid sort of music notation in the liturgy of the burial.
On Folio 81 Verso all with stuffs.
So let's see. Here. And here. Here. And so on.
As is usually the case in liturgical manuscripts, the letters of the Chinese texts are smaller than those of the prayers.
This can see it here. Very good. So this this text is smaller.
The letters are smaller than these ones. To gain space for staff.
For staff lines, leaving one text line empty.
So you see here this text line is left empty.
Here, the text I was going through. So this space is left empty.
To gain space for the. For the staff.
For the node. However, only one line is given with the insipid of the chanting question.
So only not the whole know the whole antiphon, but it's only a one liner for the insipid.
In this part of the manuscript, the texts spoken by the provost were more important than the Antiphon sung by the choir.
In contrary the first part, the liver. Ordinary use is almost completely focussed on liturgical music, most of it written on staff lines.
Could we go to 49 or please? But here too, differences can be observed on four folio, 49 Verso and following Lotus Salvatori,
a well-known Latin Easter sequence sung by the priests, had been interpolated with a German.
Christ is of standard sung by the parish community.
Whereas the Latin text is written completely down on it only the insipid and the end of the German lines.
They have been recorded. Can see it, for instance.
Neil. Coast to coast, same period.
So. So it's. It's a squeeze together.
Only the beginning. And then percentage is the end of the laser.
Again, this is due to the function of the book. The provost only needed the Latin chant.
Some indications of the German laser were sufficient for him.
No, we are not. We are going to all three. The college manuscript, please.
And the folio 149 is.
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.
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.
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.
See, that's the beginning of the second stanza. This is the first one.
Uh, could we go, please, to the following.
149 Verso. While the other stanzas on folio 149 Verso let's hear above.
Have remained without music. They have been sung to the same melody.
So they needed no music notation at all. Oh four, finally.
So. We are going very quickly through the madness.
It's. And then 103 rectal, please.
So au4 finally mainly contains established notation on Folio 103 recto the insipid of the antiphon intended in me.
It Saudi me is heartless between the lines and said here.
That's the insipid of the antiphon. And this is the notation.
Probably as a later edition in the right corner above the world.
Karate. Yeah.
In the case of the Santa Claus, he told me the simple melody in which the song had to be sung,
combined with the first through the first three notes of this tune.
In contrast on Folio 277, we also.
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.
And that's logical because it's again, it's a liturgical liturgical part manuscript part in the in this book.
Yes. So they to this one. So you have again, stuff, lines and cliffs.
Could we switch to the switch back? Yes, please.
Yes. Thank you. Well, then we have to go.
This meeting in manuscripts in Oxford and abroad show a wide range of layout concerning music notation.
The choice was not made at random.
First of all, the layout of the music notation depended on the function of the manuscript in books for liturgical use as oh two.
It was necessary to write music as clear as possible to guarantee effortless development of the liturgy.
In a private sort or so forth. Music notation is exceptional in liturgical sorters,
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.
So music notation used here, but it's a liturgical, liturgical sort of.
So you have stuff lines and, and clefs.
This is the 1478 preview. Yes.
Yeah. Yeah. And in FreshBooks, normal.
Normally no music. Any prayer books. Oh, no.
And prayer books. Normally, normally no music was written at all in this respect.
Meeting a prayer book such as a one, an oath. We are unique.
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.
Prayer books had to be handed and handy and compact.
There was no superfluous space left for music notation.
Thus using stylus notation didn't mean the nines.
We are not familiar with the notation or convention conventions of that time.
As demonstrated you, O'Toole, for instance, are small choirs with songs or chant notated for Love, as in oh one.
The choice of staff has notation in prior books is rather due to a creative handling of this manuscript type.
And that brings me to the last, at last to the question why should music notation be added to prayer books at all?
Meeting and prayer books combine three types the types of texts, prayers,
meditations and liturgical chant grouped together in liturgical thematic order.
As we know, the late medieval reform movement of the modern devotion,
the spiritual background of the monastic reform in Lower Saxony regarded music as a catalyst for emotions.
In their concept, meditation had to be combined with singing and prayer to achieve successful spiritual growth.
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,
and they manifested themselves in this new kind of prayer books,
combining prayers with meditations and liturgical chants to sing in private context, loudly in the mouth or quietly in the heart.
Thank you. Yeah.
I think I did a mistake not to encourage a round of applause.
We should have really a round of applause for all the four speakers that have gone so far.
Please.