1 00:00:00,330 --> 00:00:13,690 It seems like. 2 00:00:13,690 --> 00:00:19,840 I want to introduce you before we start today, I've got a life singer Benedict, 3 00:00:19,840 --> 00:00:27,100 and he's the Benedict Turner cleric who has been released for today by the director of music at King's College. 4 00:00:27,100 --> 00:00:28,390 Rather healthy. 5 00:00:28,390 --> 00:00:38,560 So you think this would be very pleased to have you to thank you so much for coming this week and the other announcements want to make the most of it? 6 00:00:38,560 --> 00:00:49,560 Is this come back on Tuesday. The special treatment treat when it reaches that we'll be covering is organised that we get three manuscripts. 7 00:00:49,560 --> 00:00:55,110 The three that I'm going to talk about, and because the key to confusing exhibition case is next week, 8 00:00:55,110 --> 00:00:58,650 we can actually this here to look after the next. 9 00:00:58,650 --> 00:01:05,550 So that's a special case and very grateful for that. Good. 10 00:01:05,550 --> 00:01:15,920 Might like to work. Above the Office for Mellitus in a book from St. Augustine's, 11 00:01:15,920 --> 00:01:27,410 this cannot have been written out before 10 91 below a book made at Christchurch, the little gradual taken to Durham by William S. Kelly. 12 00:01:27,410 --> 00:01:33,230 It was made sometime between the late 10 eighties and ten ninety six. 13 00:01:33,230 --> 00:01:37,220 In these two more or less contemporary examples, 14 00:01:37,220 --> 00:01:47,690 we see quite different ways of writing news this into and scribe wrote a long established English music script typified by names written with long, 15 00:01:47,690 --> 00:01:51,350 straight, perpendicular strokes. 16 00:01:51,350 --> 00:02:02,600 Well, the Christchurch scribe wrote with noticeable curves and added little square heads to everything, even the simple point is rendered as a square. 17 00:02:02,600 --> 00:02:10,950 So just look for I mean, it's just a thick band pulled across. 18 00:02:10,950 --> 00:02:19,380 The open space above the text in which names were written was read in terms of higher and lower pitches, 19 00:02:19,380 --> 00:02:26,500 as implied by this movement of signs up the page. Yes. 20 00:02:26,500 --> 00:02:32,440 OK, you can see it at the top, but a straight vertical stroke occupied a good deal of that space. 21 00:02:32,440 --> 00:02:38,800 So where did the actual pitch indicated by it sit? 22 00:02:38,800 --> 00:02:44,680 That was the value of adding square heads to vertical strokes acting to clarify, 23 00:02:44,680 --> 00:02:51,950 meaning these new heads were much more than a simple graphic modification. 24 00:02:51,950 --> 00:03:00,890 The most important result of this extension of new forms was to make it possible to indicate more detail of into public relations, 25 00:03:00,890 --> 00:03:10,520 not just generally higher and lower, as in this notation, which shows four separate pitch levels for deterrence. 26 00:03:10,520 --> 00:03:13,040 And they are really quite I mean, 27 00:03:13,040 --> 00:03:21,400 if you don't worry about the fact that one's a third in the other sizes are four tones, but they're very, very precise. 28 00:03:21,400 --> 00:03:26,950 So we see here a sharp contrast between old and new, the old and calligraphic, 29 00:03:26,950 --> 00:03:31,480 the elegant English music script still written at St. Augustine's in the closing 30 00:03:31,480 --> 00:03:37,630 decade of the 11th century and a quite different music script in use at Christchurch, 31 00:03:37,630 --> 00:03:43,460 possibly written out even a few years before the military office. 32 00:03:43,460 --> 00:03:54,290 New aspects of this Christchurch script included both redesigned news and a new approach to dividing the space between rumoured lines, 33 00:03:54,290 --> 00:04:00,200 allowing a higher proportion of that space for the musical signs. 34 00:04:00,200 --> 00:04:10,010 In the immediate post conquest period, ways of writing music at the two Canterbury houses had diverged despite both having Norman Abbotts. 35 00:04:10,010 --> 00:04:15,590 After ten seventy nine Frank at Christchurch and Scotland at St Augustine's, 36 00:04:15,590 --> 00:04:23,410 one had maintained all practise in the writing out of musical signs, while the other had adopted a new practise. 37 00:04:23,410 --> 00:04:27,670 I know we jump into the next century on the right. 38 00:04:27,670 --> 00:04:37,780 Underneath is the Office of Saint Mildred included in the book, which has Gosselin's Vitae and his account of the translation of Saint Mildred. 39 00:04:37,780 --> 00:04:49,420 The book was certainly made at St. Augustine's. Above is a page of hymns composed by ADMA of Christ Church in honour of Edward King and Martin. 40 00:04:49,420 --> 00:04:57,940 This is set at the front of a collection of the Adams own works. So this is most text hand writing late in his life. 41 00:04:57,940 --> 00:05:05,610 The entry can be dated between 11, 23 and 11:30. That's to say Webbers work that stated it. 42 00:05:05,610 --> 00:05:09,750 In other words, by the third decade of the 12th century at the latest, 43 00:05:09,750 --> 00:05:17,640 the music scribes at both Canterbury houses were writing on tri pointe lines and at both houses using squared. 44 00:05:17,640 --> 00:05:34,880 News connected by curved lines. It's a given of music history that when states appear, the name of the Benedictine monk flashes into everyone's mind. 45 00:05:34,880 --> 00:05:42,970 The current Wikipedia article describes Guido as the inventor or developer of modern stuff notation. 46 00:05:42,970 --> 00:05:49,570 A more careful description in the online group dictionary states he is remembered today 47 00:05:49,570 --> 00:05:56,230 for his development of a system of precise pitch notation through lines and spaces. 48 00:05:56,230 --> 00:06:00,550 Guido was born in the last decade of the 10th century and was active in the 49 00:06:00,550 --> 00:06:07,030 10 20s to 30s long before the two manuscripts we've just seen were written. 50 00:06:07,030 --> 00:06:13,390 The general conclusion has long been that the rest of Europe adopted the Guido Naeun system, read. 51 00:06:13,390 --> 00:06:22,150 In this way, the use of state lines in these Canterbury manuscripts would be linked with the transmission of Guido's ideas, 52 00:06:22,150 --> 00:06:31,550 whether through his theoretical treatises or through actual notations seen by Canterbury scribes. 53 00:06:31,550 --> 00:06:42,200 And if we could not see more than the extant examples from St. Augustine's, it might be difficult to argue against this inherited view. 54 00:06:42,200 --> 00:06:51,710 Yet the examples from Christchurch written between the conquest and the 11 toes thoroughly contradict this historical hypothesis. 55 00:06:51,710 --> 00:06:58,880 So these examples reveal a process of change captured in the manuscripts in separate steps moving from the old, 56 00:06:58,880 --> 00:07:07,040 insular in the old English script to eventually News Online's the changeover from news written in 57 00:07:07,040 --> 00:07:17,380 Campo Operative in open space to notes written on lines was not accomplished in one direct step. 58 00:07:17,380 --> 00:07:24,010 None of those separate stages in the process of change has any connexion to the Guido Indian model, 59 00:07:24,010 --> 00:07:30,520 even when writing on lines, the Canterbury examples are distinctive neither using the F and C cliffs. 60 00:07:30,520 --> 00:07:39,220 Recommended by Guido Noor using the yellow and red ink for those lines that he recommends. 61 00:07:39,220 --> 00:07:46,120 I'm certainly not the first musicologist who's tried to diminish credos responsibility for what was effectively a 62 00:07:46,120 --> 00:07:55,170 widespread change in musical practise reflected in diverse modifications to musical scripts in different parts of Europe. 63 00:07:55,170 --> 00:08:02,830 Yet in the past, attention has been overwhelmingly directed to the newly introduced lines and how they were made. 64 00:08:02,830 --> 00:08:11,850 What I offer today is a study of how the placing of signs in the open space over the text changes over time. 65 00:08:11,850 --> 00:08:19,950 The Christchurch survivors provide an unusually detailed record of musical notations written in this crucial period of change, 66 00:08:19,950 --> 00:08:23,190 as it can be reconstructed through those notations. 67 00:08:23,190 --> 00:08:32,160 That process of change in musical understanding of the writing space was underway long before the introduction of lines. 68 00:08:32,160 --> 00:08:39,060 On that basis, it's possible to interrogate changing understandings of the use and meaning of musical notations 69 00:08:39,060 --> 00:08:48,760 without resorting to the teleological projection of the musical stuff as an inevitable goal. 70 00:08:48,760 --> 00:08:52,330 Before talking about the technical details of the Christchurch notations, 71 00:08:52,330 --> 00:09:00,580 I need to provide some information about the relation of the post conquest Christchurch notations to previous notations. 72 00:09:00,580 --> 00:09:05,050 That is in relation to the placement of names over the text. 73 00:09:05,050 --> 00:09:12,970 And I should also say something about the relation of the post conquest Christchurch notations to Norman music scripts. 74 00:09:12,970 --> 00:09:21,180 So first, I'll just quickly juxtapose some examples of English and Norman music writing. 75 00:09:21,180 --> 00:09:29,340 But Bosworth Soltan was made in the last quarter of the 10th century, but clearly used over a long period. 76 00:09:29,340 --> 00:09:35,100 Here you can see two contrasting notations, both added well into the 11th century. 77 00:09:35,100 --> 00:09:43,200 So at the top, this is an entry written out annotated in the second quarter of the 11th century. 78 00:09:43,200 --> 00:09:47,700 At the bottom, you see part of the original manuscript the late 10th century manuscript, 79 00:09:47,700 --> 00:09:59,910 but with a notation written in a quite different music script with the same squared hand heads that we saw a few minutes ago. 80 00:09:59,910 --> 00:10:09,570 This second notation is like several added to a Christchurch hymnal, which had been made in the middle 11th century without notation, 81 00:10:09,570 --> 00:10:12,600 although written in The Soldier with more finesse, 82 00:10:12,600 --> 00:10:20,820 the news in both entries shown here you squared forms of the names for a single note and for two rising notes. 83 00:10:20,820 --> 00:10:26,200 So. Let's see up here. 84 00:10:26,200 --> 00:10:32,140 OK, that's a single note. And you see it square. This single note, and that's two rising notes. 85 00:10:32,140 --> 00:10:41,710 Two rising note. And then the new four two falling notes. 86 00:10:41,710 --> 00:10:52,540 That's here to fully notes here. Here. Which is which is really quite a run for finished with a horizontal stroke. 87 00:10:52,540 --> 00:10:57,790 Discovering the provenance of those new ways of writing musical notes is rather easy 88 00:10:57,790 --> 00:11:03,160 for these same forms can be quickly found in notations written in Norman Houses. 89 00:11:03,160 --> 00:11:06,370 In the third and fourth quarters of the 11th century. 90 00:11:06,370 --> 00:11:12,460 Now, at this point, I should admit that when my husband read this lecture, he said, You've got to explain this. 91 00:11:12,460 --> 00:11:15,820 It would take another, you know, another half hour for me to do it. 92 00:11:15,820 --> 00:11:23,810 You're just going to have to believe me and trust me. It would have been a sixth line lecture, I'm afraid. 93 00:11:23,810 --> 00:11:30,410 So please believe me. And what is interesting in the Canterbury hymnal is that both kinds of music script, 94 00:11:30,410 --> 00:11:37,280 insular and Norman are written alongside each other and probably contemporaneously 95 00:11:37,280 --> 00:11:43,400 here and on a recto and verso of the same folio notation for the hymn us. 96 00:11:43,400 --> 00:11:48,590 Ezra at the top is written in the old English music script. 97 00:11:48,590 --> 00:11:53,760 Well, notation for a chain of Agni is written in the Norman script. 98 00:11:53,760 --> 00:11:59,160 Indeed, because of the contrast of the English script, and it's like the early date, 99 00:11:59,160 --> 00:12:10,040 and I think we have to say that this the this notation done here was written by a Norman. 100 00:12:10,040 --> 00:12:13,440 That is it's not only a normal rotation, but it's a No. 101 00:12:13,440 --> 00:12:20,480 One rotation written by a woman. This appears to provide the earliest evidence in an English manuscript of the 102 00:12:20,480 --> 00:12:28,870 scrabble techniques introduced by Norman's arriving in England after the conquest. 103 00:12:28,870 --> 00:12:35,500 The other introductory explanation that I just promised you is about how the open space over the text was 104 00:12:35,500 --> 00:12:42,820 exploited in relation to the Nordic pitch in notations written before the second half of the 11th century. 105 00:12:42,820 --> 00:12:53,010 The basic signs themselves in code simple directional information, so you have a single note which is written. 106 00:12:53,010 --> 00:13:01,650 Just as a stroke and then you've got to know it's descending so that it goes up and down and then tuna is rising across enough. 107 00:13:01,650 --> 00:13:05,670 And then this is across up and down. So low, high, low. 108 00:13:05,670 --> 00:13:14,210 I'm very deliberately not using the Latin names for these because nobody would follow what I was trying to say. 109 00:13:14,210 --> 00:13:24,120 For single news, directional information was recorded by the choice of sign along, vertical stroke was higher than a simple point. 110 00:13:24,120 --> 00:13:33,910 So the syllable Benedictus. Has got a long stroke because you go up to it. 111 00:13:33,910 --> 00:13:39,730 Whereas Parchin has got just a puncture because you go down to it. 112 00:13:39,730 --> 00:13:45,200 It's as simple as that. And then there are a few refinements. 113 00:13:45,200 --> 00:13:54,710 There's a special sign that indicates the repetition of a pitch. It's this sign here called in a risk is. 114 00:13:54,710 --> 00:13:59,990 And there are letters that mean higher or lower or the same pitch. 115 00:13:59,990 --> 00:14:05,720 I mean, you've heard already about equality. This you can see outside the room, it's in the exhibition case. 116 00:14:05,720 --> 00:14:09,680 And each time it says E, it means this is the same pitch as the one before. 117 00:14:09,680 --> 00:14:11,840 But if it says L, it means go up. 118 00:14:11,840 --> 00:14:20,030 So you see there that you see, that's the scribed reached that highest point, but the next note has got to be higher, so he has to write it. 119 00:14:20,030 --> 00:14:32,140 And if he's being healthy and this is for use as a good done, this is probably, you know, don't go up too far. 120 00:14:32,140 --> 00:14:40,690 Now, all of this information was intended to guide a musically trained reader to recall a melody already held in the memory. 121 00:14:40,690 --> 00:14:52,200 It's all suggestive. This approach to the writing of science depended on antique Greek theory, whereby musical sound was described in physical terms, 122 00:14:52,200 --> 00:15:00,190 that's the basis for the metaphorical descriptions of acute or shrill signs as high and heavy signs as low. 123 00:15:00,190 --> 00:15:10,930 And health, and it's also the basis for writing that moves higher and lower on a page to indicate higher and lower science. 124 00:15:10,930 --> 00:15:21,580 In the old, enigmatic notations, this understanding provided a framework for reading news but did not control the formation of individual signs. 125 00:15:21,580 --> 00:15:26,080 So here the new for all room. 126 00:15:26,080 --> 00:15:32,890 You can see that the new goes up and then done, and then it goes even higher up and down, but actually the picture's going down. 127 00:15:32,890 --> 00:15:37,600 And ABH and it goes up and then even further up and then done, 128 00:15:37,600 --> 00:15:43,400 but the pitch of the last note is the same as the pitch of the first note, which I've written it quite a different place. 129 00:15:43,400 --> 00:15:47,380 And I thought Benedict could sing these things for you so that you could just 130 00:15:47,380 --> 00:15:52,420 look at the new and hear the music so that Benedict to sing one after the other. 131 00:15:52,420 --> 00:16:03,110 But oh. 132 00:16:03,110 --> 00:16:09,320 Said thank you. I'm afraid it's a hard thing for a singer to do, to have to sing lots of little bits, but that's what he has to do. 133 00:16:09,320 --> 00:16:19,510 At the end, he gets to sing a big piece. Right. 134 00:16:19,510 --> 00:16:32,570 This is just to show you the first three notes. And here you can see that they're going up, up, up, but actually they just mean the same page. 135 00:16:32,570 --> 00:16:42,470 And the design of individual Nunes did not result from an intention to indicate pitches in a fully iconic fashion. 136 00:16:42,470 --> 00:16:50,660 More importantly, reading this script depends not only on understanding the meaning of individual written signs, 137 00:16:50,660 --> 00:16:57,000 but also on perceptions of how they sit in the space above the text. 138 00:16:57,000 --> 00:17:02,610 The open space or camp will appear to as it was named by Henry Marriott, Bannister, 139 00:17:02,610 --> 00:17:07,860 I think deserves to be remembered here because he was the acting sub librarian of the Bolton 140 00:17:07,860 --> 00:17:16,350 Library between 1917 and his death on February the 16th 1919 from the famous Spanish flu. 141 00:17:16,350 --> 00:17:24,420 Anyway, he named that come through a parachute. This camp apparently was used in different ways by different music scripts. 142 00:17:24,420 --> 00:17:31,680 In the old English music script, all long lines of names were written in diagonal strings, moving up the page, 143 00:17:31,680 --> 00:17:37,290 whatever their pitch content and returning to just above the text for successive syllables. 144 00:17:37,290 --> 00:17:45,120 So the news for this passage, I thought Kwekwe was a nice fit to look at because you can see the news just going up and up and up and up, 145 00:17:45,120 --> 00:17:51,450 but actually the music comes down and Benedict is going to sing it. Cool. 146 00:17:51,450 --> 00:18:02,900 Oh. Oh, cool, uh, thanks. 147 00:18:02,900 --> 00:18:10,490 So the space over the text was not perceived as mapped with fixed positions as we are used to thinking of it. 148 00:18:10,490 --> 00:18:17,120 But it was a space which accommodated general information about direction of movement from one Newman to the next. 149 00:18:17,120 --> 00:18:29,360 Rather than being understood by scribes as static and fixed, this space was perceived as dynamic and constantly interactive with processes of record. 150 00:18:29,360 --> 00:18:37,880 Scribes and Pagliuca in the room will by now have seen that this habit of moving upwards on the page is the result of writing quickly. 151 00:18:37,880 --> 00:18:46,270 Each successive stroke made without adjusting the position of the writing hand, it's sort of a natural behaviour. 152 00:18:46,270 --> 00:18:54,100 So no one last comment on early mediaeval notations from the beginnings of music writing in the early 19th century. 153 00:18:54,100 --> 00:19:02,020 There were always two distinct directions of travel records of the kind that we've just seen indicate note groupings, 154 00:19:02,020 --> 00:19:10,660 articulation, a variety of types of nuance and above all, the relation between text, syllables and a melodic pattern. 155 00:19:10,660 --> 00:19:20,230 But there was another quite different approach, which is often present in 19th century records of music theory, which indicates interval detail. 156 00:19:20,230 --> 00:19:28,810 Precisely the first kind of script was orientated towards quality of sound and correct delivery. 157 00:19:28,810 --> 00:19:34,710 While the second, as shown here, was concerned with tonal grammar. 158 00:19:34,710 --> 00:19:41,040 There's simply no question about early mediaeval musicians not knowing how to notate exact pitch. 159 00:19:41,040 --> 00:19:47,860 They did know putting champ books chose not to use those techniques. 160 00:19:47,860 --> 00:20:00,160 No, I'm going to talk through a series of examples of musical notations written at Christchurch between the middle 11th century and the 20s. 161 00:20:00,160 --> 00:20:07,240 The Canterbury benediction was made in the second quarter of the 11th century, and at some mid-century point, 162 00:20:07,240 --> 00:20:14,920 the hymn already common was entered beside the Christmas celebrated on Monday Thursday. 163 00:20:14,920 --> 00:20:20,680 This version of Old Attempt or is not the same as that which came to England within the Romano German Pontifical, 164 00:20:20,680 --> 00:20:28,750 underlining the early date of this addition. But I show it here to illustrate a habit. 165 00:20:28,750 --> 00:20:31,780 Oh, I'm sorry, there's a spelling mistake here which lots of people will see, 166 00:20:31,780 --> 00:20:36,700 and I apologise for the spelling mistake I should hear to illustrate a habit which can be seen widely in 167 00:20:36,700 --> 00:20:43,690 mid-century English notations that of writing the long vertical stroke in shorter and longer lengths, 168 00:20:43,690 --> 00:20:49,560 and those lengths indicate lower and higher pitches. So here you can see a bit of it. 169 00:20:49,560 --> 00:20:58,350 But here you can see really clearly the low point and then a long stroke, a longer stroke on an even longer stroke. 170 00:20:58,350 --> 00:21:07,900 Thank you. Oh, you would accent more to war. 171 00:21:07,900 --> 00:21:11,950 Great, thanks. Um. 172 00:21:11,950 --> 00:21:20,590 So now in notation for the him estate confessor added to the buzz with Salter at sometime in the second half of the century, 173 00:21:20,590 --> 00:21:28,270 the same kind of information about the relation of successive notes is conveyed not by lengthening or shortening 174 00:21:28,270 --> 00:21:34,570 the vertical strokes by simply but simply by placing the news at different heights in the space above the text. 175 00:21:34,570 --> 00:21:39,460 So this is very clear here you see that just really moving up and down. 176 00:21:39,460 --> 00:21:44,940 And again, we're going to get a musical illustration. So. 177 00:21:44,940 --> 00:21:56,430 He used to call first or a dinosaur and keep. 178 00:21:56,430 --> 00:22:04,650 So this potential for indicating higher and lower single notes had been available since the beginnings of pneumatic notation in the 9th century, 179 00:22:04,650 --> 00:22:08,280 but it was really exploited in the early period. 180 00:22:08,280 --> 00:22:15,840 It's worth reminding ourselves that the written musical record had always been a roosa was created in relation to memory, 181 00:22:15,840 --> 00:22:26,520 not vice versa, and did not have to include such nuance in order to be comprehensible and usable by a well-trained reader. 182 00:22:26,520 --> 00:22:33,400 So not to move to notations written after 10 66 at Christchurch. 183 00:22:33,400 --> 00:22:40,170 We've already seen what I believe to be the earliest examples of new mistreatment by Normans at Christchurch for him, 184 00:22:40,170 --> 00:22:49,160 the conversation 12, was made at Christchurch in the middle of the century, but as a book with musical notation. 185 00:22:49,160 --> 00:22:53,120 Norman scribes entered notation for several hymns. 186 00:22:53,120 --> 00:23:01,700 Such entries were surely made in order to secure him melodies which were different from those being sung at Christchurch, 187 00:23:01,700 --> 00:23:13,060 apart from musical recitation of the soul to hymns, were the one musical element of the daily offices in which all monks would be expected to join. 188 00:23:13,060 --> 00:23:21,530 And I think we all know the extent to which a change from familiar to unfamiliar hymn melody can make life difficult. 189 00:23:21,530 --> 00:23:32,410 So it's no surprise to find the earliest signs of Norman driven change in musical practises at Christchurch in a hymnal. 190 00:23:32,410 --> 00:23:35,650 Other hymns were added to the collection and here, 191 00:23:35,650 --> 00:23:44,140 combined with a text hunt that Michael Golic tells me is either English or a Norman writing in an English fashion, whatever that means. 192 00:23:44,140 --> 00:23:49,750 The new seem more square than those four even more square than those four chorus movie, 193 00:23:49,750 --> 00:23:58,150 and this marked movement of the news in the space above the text, especially above the top line of the page where there was space to do it. 194 00:23:58,150 --> 00:24:03,580 So the scribe here has been able to differentiate between four different pitch levels, 195 00:24:03,580 --> 00:24:07,960 even if the interval relation of those levels remains on clarified. 196 00:24:07,960 --> 00:24:17,110 It so happens that because one can find the same chin and it's possible, it's possible to see that those four levels are s.d. a death. 197 00:24:17,110 --> 00:24:24,700 And you can see that here, but it's really striking how extremely precise it is. 198 00:24:24,700 --> 00:24:29,620 In as much as notations written well after the text they accompany can be dated. 199 00:24:29,620 --> 00:24:34,510 The normal notations in this hymnal must be associated with land frank and the monks he 200 00:24:34,510 --> 00:24:44,500 brought with him a wide estimate of their date would set them between 10 70 and 10 90. 201 00:24:44,500 --> 00:24:53,650 No Corpus 44, is the pontifical made in one of the two Canterbury houses in the middle 11th century in its first form. 202 00:24:53,650 --> 00:25:03,630 The book was on notated. Later, and certainly at Christchurch, various scribes added notation for specific offices. 203 00:25:03,630 --> 00:25:10,110 The notation on this page is a little more elegant than some of the additions to the cotton hymnal, 204 00:25:10,110 --> 00:25:16,170 but it's self-evidently of the same kind with thick added strokes to make heads. 205 00:25:16,170 --> 00:25:27,640 And some news still written in curved lines. And there's an important refinement the use of a new to indicate the placement of the semitone. 206 00:25:27,640 --> 00:25:37,210 So this is what I've. This is this one here, and you can see it integrated into a bigger name that. 207 00:25:37,210 --> 00:25:42,950 And it's a zigzag from that signals that the note above is not a tone, but a semi turn away. 208 00:25:42,950 --> 00:25:49,870 And it's now often referred to as the medium. And we're just going to hear this, but thank you. 209 00:25:49,870 --> 00:25:58,530 Just as far as me. Yes. He noted at all high evil, those ha ha ha ha ha. 210 00:25:58,530 --> 00:26:08,680 I mean, Benedict was using that again, just just so that you get the sense of the semitone sound where that name comes. 211 00:26:08,680 --> 00:26:16,420 You tell all your daughters, ha ha ha. 212 00:26:16,420 --> 00:26:21,580 Uh, thank you. 213 00:26:21,580 --> 00:26:31,450 It's worth noticing that the menu is not used to indicate a specific pitch like E or F. 214 00:26:31,450 --> 00:26:37,210 It only appears when the singer is about to engage in a movement by semitone, 215 00:26:37,210 --> 00:26:45,490 so either upwards towards the note above or downwards from the note above to the sound indicated by the new. 216 00:26:45,490 --> 00:26:53,140 Of course, given this conceptual basis, the minimum was not written when the singer was moving below E to D, 217 00:26:53,140 --> 00:27:00,310 which set a futon tone below, and therefore the information would have been wrong. 218 00:27:00,310 --> 00:27:09,880 Then we can compare the record of the same chant in the Caussin gradual Britain in the late 80s early 90s at Christchurch. 219 00:27:09,880 --> 00:27:17,170 The deployment of the signs in the available space is similar and sometimes more precise than in Caucus 44. 220 00:27:17,170 --> 00:27:26,110 The main contrast is that the Caussin rooms are all written with squid rather than curved strokes, and you can see the room again. 221 00:27:26,110 --> 00:27:32,600 He doesn't use it as much as the other scribe, but it's clearly there. 222 00:27:32,600 --> 00:27:40,160 So the process of clarification through squaring new heads had begun long before the Coson Gradual was made, 223 00:27:40,160 --> 00:27:50,630 an entirely new graphic feature in the Coson Notations is the reconfiguration of new shapes in this and to form for the dedication of a church. 224 00:27:50,630 --> 00:28:02,960 The new fosu are written in the Anderson Pontifical Additional five seven three three seven in its old form indicated the movement low, high, low. 225 00:28:02,960 --> 00:28:08,280 So you can see that low, high, low. 226 00:28:08,280 --> 00:28:14,940 This sign conveyed information about the relation between the first and the second notes and between the second and the third, 227 00:28:14,940 --> 00:28:19,080 but not between the first and the third, the equivalent Newman. 228 00:28:19,080 --> 00:28:27,810 The Coson notation has been altered not only to be squared, but also to indicate that the third notes should be sent lower than the first. 229 00:28:27,810 --> 00:28:40,580 So you see, so I know, but this is much higher than this one like this and it has to sing for notes night swore. 230 00:28:40,580 --> 00:28:54,430 Oh. So here I've included a Norman form of this new as written by one mom, said Michelle in the 80s. 231 00:28:54,430 --> 00:29:03,430 It's written as in the earlier English form, without clarification of the relation between the first and third notes in the notation in the case. 232 00:29:03,430 --> 00:29:13,220 And gradually we see an attempt to map the separate elements of a new more precisely within the open space above the text. 233 00:29:13,220 --> 00:29:18,680 More examples of reshaped news include signs for three and four notes. 234 00:29:18,680 --> 00:29:22,610 So here at the top, the old low, high, low, 235 00:29:22,610 --> 00:29:31,280 high sign is reconfigured in such a way as to indicate that the first and last notes are at the same pitch level, 236 00:29:31,280 --> 00:29:38,560 with a second note higher and a third note lower. Thank. 237 00:29:38,560 --> 00:29:47,320 Look, who's this? Uh, thank you. 238 00:29:47,320 --> 00:29:52,010 And you can see there's the old forms of the new, which you can see is. 239 00:29:52,010 --> 00:30:03,500 This notice looks like, I mean, it's written low and this is written high, but it's the same pitch. 240 00:30:03,500 --> 00:30:10,640 One other Christchurch manuscript has notation very like that of the coson gradual but written by a different music scribe. 241 00:30:10,640 --> 00:30:20,330 This is a pontifical night in Trinity College Dublin. The new teacher of this pontifical has been associated by Michael Golic with a very specific 242 00:30:20,330 --> 00:30:28,850 text and allowing him to show that that scribe was active at least between 11 15 and 11 23. 243 00:30:28,850 --> 00:30:34,040 The pronounced closeness of his notation to that of the Caussin gradual suggests 244 00:30:34,040 --> 00:30:38,210 that this scribe might have been trained by someone of an earlier generation. 245 00:30:38,210 --> 00:30:41,960 I mean, I'm not going to agree with too hot so that these are the same scribe. 246 00:30:41,960 --> 00:30:50,330 I'm sure they're not the same scribe, but the relationship of this notation to this is very, very clear. 247 00:30:50,330 --> 00:30:58,460 With the Trinity Pontifical, we've almost reached the end of the Christchurch manuscripts written in news in an open space. 248 00:30:58,460 --> 00:31:03,320 But there's one more and it's perhaps the most extraordinary coffin. 249 00:31:03,320 --> 00:31:08,930 Julius EH6 is a collection of hymns and articles with an entire linear, 250 00:31:08,930 --> 00:31:15,380 exquisite seal and old English probably written at Canterbury in the middle of the century. 251 00:31:15,380 --> 00:31:20,580 The association with Christchurch is not secure, but it's a strong possibility. 252 00:31:20,580 --> 00:31:29,810 In the last decades of the 11th century, two hymns by Peter Damian were added on the last photo. 253 00:31:29,810 --> 00:31:41,030 The notation for these hymns is written with the most extreme degree of movement of numbers up and down the page that I've ever seen before. 254 00:31:41,030 --> 00:31:47,480 Now it seems so it looks really precise and there's lots of space, so I was convinced there were lines. 255 00:31:47,480 --> 00:31:52,190 But I've sat before this manuscript. There are no lines that just are not there. 256 00:31:52,190 --> 00:31:58,820 It's not that they've disappeared, they're not there. And the only lines on the page are those removed for text. 257 00:31:58,820 --> 00:32:04,400 But I did attest to this because obviously it's a hymn. It's a it came, the melody repeats. 258 00:32:04,400 --> 00:32:08,240 So it's possible to print the page out and the parchment quite flat. 259 00:32:08,240 --> 00:32:15,460 It doesn't kind of bubble, so you can print the page out and draw lines on it. And then you discover. 260 00:32:15,460 --> 00:32:22,390 That. I mean, if you can read musical notation, you realise that each one of these transcriptions is different. 261 00:32:22,390 --> 00:32:27,220 And that's what comes out of reading lines on the page. That is, it's nonsensical. 262 00:32:27,220 --> 00:32:33,600 The melody, it looks as if the melodies, the melodies vary from strength to strength, but they don't. 263 00:32:33,600 --> 00:32:44,280 So it's a notation which was written in such a way as to use the generous open space above the text to record pitch information even more extensively. 264 00:32:44,280 --> 00:32:50,100 But even if this scribe was using physical distance to differentiate between pitch levels, 265 00:32:50,100 --> 00:32:55,680 his placing of the notes remains rather imprecise and inconsistent. 266 00:32:55,680 --> 00:33:04,610 He was still working from an old model of music reading, whereby the reader was expected to use memory as the starting point. 267 00:33:04,610 --> 00:33:12,310 Under those conditions, the inconsistency of new placement in parallel melodies would not have been problematic. 268 00:33:12,310 --> 00:33:16,360 Even if more attention was paid to international relations between notes, 269 00:33:16,360 --> 00:33:23,260 this notation was still conceived of as indicating directional movement from one room to the next. 270 00:33:23,260 --> 00:33:34,070 And read as a flow of distinct movements. The open space over the text was not yet mapped in a static fashion, but remained dynamic. 271 00:33:34,070 --> 00:33:41,730 This was the point reached by music scribes working at Christ Church at the end of the 11th century. 272 00:33:41,730 --> 00:33:48,810 And then there were lines in notation for the sequence of DNA resonant, resonant Gowda, 273 00:33:48,810 --> 00:33:55,230 which is what Benedict is going to sing at the end in this notation in of this sequence in honour of St. Dunstan. 274 00:33:55,230 --> 00:33:57,300 The lines are runs dry points. 275 00:33:57,300 --> 00:34:05,490 You might or might not be able to see them, but they are there in the collection of Benedict as domino melodies on the right. 276 00:34:05,490 --> 00:34:13,470 The lines are plummet, ruled. Unfortunately, the use of lead does not help to date the introduction of the state because 277 00:34:13,470 --> 00:34:19,260 Nucléaire observed plummet ruling in two country manuscripts made before 11. 278 00:34:19,260 --> 00:34:27,270 And Michael Tulloch has noted plummet ruling in this in manuscript made in the 1880s that Christchurch. 279 00:34:27,270 --> 00:34:31,820 So that's not the direction that we can fully. 280 00:34:31,820 --> 00:34:40,490 A third early 12th century example of Steve notation written at Christchurch is the entry of hymns in Adler's book that we saw a minute ago. 281 00:34:40,490 --> 00:34:46,370 This dates from the eleven twenties and then there's a fourth example. 282 00:34:46,370 --> 00:34:56,990 This is a book of music theory copied at Christchurch, containing most of the writings of veto threats, as well as other recent music theory texts. 283 00:34:56,990 --> 00:35:03,110 Amongst these four examples, the earliest is likely to be the dance and sequence, 284 00:35:03,110 --> 00:35:10,220 which follows Osbourne's Dunstan Vitae and a set of mass prayers for the Saint Archbishop. 285 00:35:10,220 --> 00:35:17,420 The scribe who wrote out the sequence text was one and the same as the Dunstan feature scribe. 286 00:35:17,420 --> 00:35:25,130 And this manuscript is usually dated. Check the time frame for the introduction of Steve Notation at Christ Church. 287 00:35:25,130 --> 00:35:32,750 Thus, it's between eleven hundred and eleven twenty. 288 00:35:32,750 --> 00:35:39,800 This group of Christchurch spooks offers one further fascinating insight into the process of moving from news 289 00:35:39,800 --> 00:35:49,020 written in camp warfare two to news written on lines since we can see the same scribe writing it in both ways. 290 00:35:49,020 --> 00:35:57,450 This pontifical known Dublin and probably made between 10, 93 and 11 09 includes at the end of its first part, 291 00:35:57,450 --> 00:36:06,390 a ceremony for the public conferring on a new Canterbury archbishop of a pallium blessed in Rome. 292 00:36:06,390 --> 00:36:18,240 This ceremony was added at some undefined time by the scribe, who wrote the Christchurch entry in the Sydney Mortuary Room in 11 22 23. 293 00:36:18,240 --> 00:36:23,850 More significant for his for my purposes than his work as a tech scribe is Michael Goodix 294 00:36:23,850 --> 00:36:28,410 argument that the music was notated by the tech scribe because of the evidence of erasure. 295 00:36:28,410 --> 00:36:37,680 I mean, he's worked it out very clearly for the hand, which notated this later added Pallium ceremony is exactly the same as that, 296 00:36:37,680 --> 00:36:45,950 working earlier in the book, underlining the gap between the books manufacture and the entry of musical notations. 297 00:36:45,950 --> 00:36:53,660 Author appearances of the scribes work showed him to have been active at least between 11 15 and 11 23. 298 00:36:53,660 --> 00:37:01,960 But no look at this juxtaposition. In this lower manuscript corpus for 11, 299 00:37:01,960 --> 00:37:11,140 we can see the same scribes text and probably writing in the 11 twenties and comparison of the notating hands in the Dublin 300 00:37:11,140 --> 00:37:21,760 Pontifical and this Benedict Thomas Domino Collection unquestionably allows the speculation that they are one and the same. 301 00:37:21,760 --> 00:37:29,290 And I've put various coloured circles here so that you can compare the individual news, so I'm. 302 00:37:29,290 --> 00:37:40,310 The sign for two descending notes, which has this very, very clear and curve on the on the upper stroke, which is really quite typical. 303 00:37:40,310 --> 00:37:48,100 Then this funny way of writing this, a risk is here, which you can see here, and there's a menu. 304 00:37:48,100 --> 00:37:56,950 Sign on again there. It really does look like the same script. 305 00:37:56,950 --> 00:38:06,390 Whether or not the notations were actually added by the same hand hardly matters, however, since these ways of writing names are so similar. 306 00:38:06,390 --> 00:38:19,270 That similarity illustrates how directly news could be transferred from the open space to lines as long as they were already reconfigured in shape. 307 00:38:19,270 --> 00:38:25,450 Besides having to prepare the page for writing music in a new way, with lines ruled first. 308 00:38:25,450 --> 00:38:32,720 The music scribe didn't have to change very much except to write the reshaped news precisely. 309 00:38:32,720 --> 00:38:41,010 And then, of course, the scribe had to write clefts so that the position of tones and semi tones would be clarified. 310 00:38:41,010 --> 00:38:51,420 Across the food, Christchurch examples, the choice of class shows a clear preference for the use of three signs d always written larger school 311 00:38:51,420 --> 00:38:58,470 than a b written lowercase to indicate b flat and decide we call natural to indicate b natural. 312 00:38:58,470 --> 00:39:08,800 And here I've been showing you the right thing. All three of these signs can be used on their own or combined with others. 313 00:39:08,800 --> 00:39:18,430 So D and B natural or D and B flat and occasionally another letter is introduced as here you can see E. 314 00:39:18,430 --> 00:39:33,270 Over the natural cliff, when the melody has risen to a higher texture and in a book, we also see a. 315 00:39:33,270 --> 00:39:44,070 In the contemporary St. Augustine's manuscript containing an office for St. Mildred, the same choice of is made d b four b flat b natural b, 316 00:39:44,070 --> 00:39:51,040 combined with the as a supplementary choice and very occasionally f but only verification. 317 00:39:51,040 --> 00:39:56,230 It's worth underlining the historical significance of such choices of Cliff, 318 00:39:56,230 --> 00:40:01,450 since they fully disassociate Christchurch notations from Guido's writings, 319 00:40:01,450 --> 00:40:11,120 even in the manuscript of Guido's texts made at Christchurch in the second quarter of the 12th century. 320 00:40:11,120 --> 00:40:21,170 In this passage, we do advises that a sea lion be written in yellow ink and an F9 in red ink and continues. 321 00:40:21,170 --> 00:40:26,270 And if by a letter by which he means a clef, if by a letter or colour, sorry, 322 00:40:26,270 --> 00:40:34,950 if a letter or colour does not sit between the news, it would be like a well when it does not have a root. 323 00:40:34,950 --> 00:40:45,630 As we have seen, the Christchurch scribe who annotated Peter's examples nonchalantly wrote his usual class were not at all taking no notice at all. 324 00:40:45,630 --> 00:40:51,680 I think we don't in practise described on those same pages. 325 00:40:51,680 --> 00:41:00,440 No, let me make a brief summary of the characteristics that I set out steps in a process of change. 326 00:41:00,440 --> 00:41:08,810 First, the squaring of note heads for some news clarifying position in the open space and thus pitch. 327 00:41:08,810 --> 00:41:16,170 And in an English situation, this is first seen in immediately post conquest annotations. 328 00:41:16,170 --> 00:41:23,550 Second, the exploitation of the open space above the tanks to differentiate pictures, 329 00:41:23,550 --> 00:41:29,070 this is visible to a lesser or greater degree across all of the steps that I've outlined. 330 00:41:29,070 --> 00:41:37,340 Third, further refinement of this process of squaring and the use of a special minion. 331 00:41:37,340 --> 00:41:45,710 Fourth, notations in which names are reshaped to clarify the Interpublic relation of the content. 332 00:41:45,710 --> 00:41:52,470 Fifth, even greater exploitation of the open space to differentiate note heights. 333 00:41:52,470 --> 00:42:01,670 And finally, the introduction of cruise lines and clefts rendering the relation between Ryton position and note pitcher's exact. 334 00:42:01,670 --> 00:42:11,810 At Christchurch, the remodelling of music script from News in Campo operative to news written on lines had been accomplished by the 11. 335 00:42:11,810 --> 00:42:16,460 But these various examples indicate that the process of modification, 336 00:42:16,460 --> 00:42:23,620 which underlies that pivotal change was underway during a period of over 50 years. 337 00:42:23,620 --> 00:42:31,810 We should be very wary of teleological explanation of this decisive change regarding it as an inevitable goal. 338 00:42:31,810 --> 00:42:42,340 And I believe that these examples argue for more emphasis on the process of change than on the eventual relatively stable outcome. 339 00:42:42,340 --> 00:42:48,830 Yet moving the emphasis from result to process, Hartley dismisses the need for explanation. 340 00:42:48,830 --> 00:42:54,580 And it's with that challenge that I shall and this account of the changeover. 341 00:42:54,580 --> 00:43:03,340 Besides the typically squared and hated names that you know, I know so well, there was another kind of musical notation in use in Normandy. 342 00:43:03,340 --> 00:43:09,520 This consisted of a system of letters which recorded individual pictures in this sequence, 343 00:43:09,520 --> 00:43:15,780 the letters f to o are used, but the full system went from A to P. 344 00:43:15,780 --> 00:43:20,820 There are many examples of such letter notations written into English books. 345 00:43:20,820 --> 00:43:28,770 I was here for two hymns by food better shot and added to a known book taken to Durham by William Olsson. 346 00:43:28,770 --> 00:43:34,200 Kind of an example from St. Augustine's. 347 00:43:34,200 --> 00:43:37,200 We already saw this in the last lecture. 348 00:43:37,200 --> 00:43:43,980 This example was probably written in the 1880s and has both letters and news for an end to phone in honour of Saint Augustine. 349 00:43:43,980 --> 00:43:52,440 And it appears just after a group of musical, and she's written unmistakeably by a hand trained at more submission. 350 00:43:52,440 --> 00:43:56,880 There's plenty of evidence that this letter notation system crossed the channel, 351 00:43:56,880 --> 00:44:04,320 but it's equally evident that it was not further adopted where there's enough information to categorise the writing hand. 352 00:44:04,320 --> 00:44:14,470 These letter mutations are always associated with Norman's. With the exception of just one leaf Britain in England in the early 12th century, 353 00:44:14,470 --> 00:44:22,750 and this is the only substantial example of the use of this system written in English and and the rest of what this went with is gone. 354 00:44:22,750 --> 00:44:30,310 No idea if it was a full and if it were not for my consideration of changing ways of thinking about musical notation. 355 00:44:30,310 --> 00:44:32,710 It's not this letter notation that matters, 356 00:44:32,710 --> 00:44:41,050 but the mentality it exposes based on a system which may have been brought to Normandy through the reforms of williamsville piano. 357 00:44:41,050 --> 00:44:48,550 This notation provided exact pitch and into information, as you can see from this Hereford example. 358 00:44:48,550 --> 00:44:54,690 These elements of the musical record are privileged over articulation of note groups. 359 00:44:54,690 --> 00:44:58,770 Although this scribe has indeed separated groups of notes, above all, 360 00:44:58,770 --> 00:45:06,800 it would take rather longer to read this notation than to read a pneumatic notation which spoke quickly to recall. 361 00:45:06,800 --> 00:45:13,790 I note also that many of the Norman instances of use of this notation are for new compositions. 362 00:45:13,790 --> 00:45:23,320 As for this August, an example. Such a notation could provide basic information about melodic shape from which a 363 00:45:23,320 --> 00:45:28,090 reader could first learn a melody recorded in writing rather than learning orally. 364 00:45:28,090 --> 00:45:31,530 And that was an entirely new phenomenon. 365 00:45:31,530 --> 00:45:39,870 With such letter notations, we come back to a common to a contrast already evident in 19th century musical notations between, 366 00:45:39,870 --> 00:45:49,720 on the one hand, the recording of information about articulation and flow and on the other information about tonal grammar. 367 00:45:49,720 --> 00:45:55,810 The new element in these late 11th century letter notations is that Norman counters are using 368 00:45:55,810 --> 00:46:02,770 written means to record interval information in books made not for learning about music theory, 369 00:46:02,770 --> 00:46:08,860 but for practical purposes. That's a sign of altered concern in practical, 370 00:46:08,860 --> 00:46:16,510 written records of music provides a useful clue towards explaining the progressive integration of more and 371 00:46:16,510 --> 00:46:25,090 more detail about melodic movement into Christchurch notations written in the later 11.30 12th centuries. 372 00:46:25,090 --> 00:46:33,610 For all of the various modifications made over a long period between the conquest and the 20s can be explained 373 00:46:33,610 --> 00:46:40,030 as the outcome of a drive towards increasing the amount of antibiotic information represented in writing, 374 00:46:40,030 --> 00:46:44,500 while practise remained largely memory based. 375 00:46:44,500 --> 00:46:52,960 And once we can understand this process of modification of musical notations not only in terms of writing technologies, 376 00:46:52,960 --> 00:47:00,490 but also more significantly as the outcome of a changing balance between memory and reading 377 00:47:00,490 --> 00:47:06,990 in musical practise than the length of the period of change becomes much more explicable. 378 00:47:06,990 --> 00:47:14,970 Once available, new technologies can promote overnight change, but the reshaping of human cognition, 379 00:47:14,970 --> 00:47:26,010 the alteration of habits and above all, the loss of memory treasures, the long and longer timeframes Benedict is going to see. 380 00:47:26,010 --> 00:47:31,770 I thought because we had a day thinking about Canterbury, we should have the sequence in honour of St Dunstan, 381 00:47:31,770 --> 00:47:43,460 which is probably not been performed since the 12th century. 382 00:47:43,460 --> 00:47:59,290 Or yeah, I don't know. I will read one or two, got your year to write a lot of law and order, order, 383 00:47:59,290 --> 00:48:11,640 order Luzardo court order to reduce what I know it is hard to alive and was good enough to. 384 00:48:11,640 --> 00:48:22,030 Next exit in the email, as long as you read your. 385 00:48:22,030 --> 00:48:30,190 So that will give you some more. Oh yeah, and all the. 386 00:48:30,190 --> 00:48:39,000 Was hard, usually are called Oh it about money, oh. 387 00:48:39,000 --> 00:48:53,970 There are and to see an awful lot, and we need a new party and you going to see it, but I'm more like the more. 388 00:48:53,970 --> 00:49:00,510 So sure, Dodge is a law and order her provided rules. 389 00:49:00,510 --> 00:49:11,360 And you can't imagine it, we see use of word will cause across. 390 00:49:11,360 --> 00:49:17,170 100X things loom large was a part of it. 391 00:49:17,170 --> 00:49:22,310 The Regarder model have altered cartels, 392 00:49:22,310 --> 00:49:38,590 so you could turn this programme on Sundays or personal items yearly or to Kaj Larsen hands and other technology. 393 00:49:38,590 --> 00:49:51,490 Well, of course, all you have to put the licencing of suicide is a lot of Bob Woodward's the price sort of the rich and how much, 394 00:49:51,490 --> 00:50:01,810 you know, the challenge for so long. Oh, I see that movie, it was called, what was that about a dodge? 395 00:50:01,810 --> 00:50:15,280 Who? She is hard on hard work, was our a long adhesive on him, on humidity, 396 00:50:15,280 --> 00:50:28,990 the lawyer nor the judge put it to him or it was her sort of alternative on all you determine what. 397 00:50:28,990 --> 00:50:53,350 Sudan signed it, it was a little fast for his wallet and already to Todd, your kid reliable Chris is a long, 398 00:50:53,350 --> 00:51:06,920 cool marquis who I mean, should you go to the store and as he turns sexual, rose 36 or. 399 00:51:06,920 --> 00:51:11,840 Quit her clothes and her wardrobe, her soul. 400 00:51:11,840 --> 00:51:20,300 You will. Cronies of her or. 401 00:51:20,300 --> 00:51:25,400 Diffuse, Christy Hogg loves me. 402 00:51:25,400 --> 00:51:35,081 Oh.