NEUM
769
NEUM
reproduced, by kind permission of the editors, from
the "Pal(5ographie Musicale". Illustration I ("Pal.
Mus.", Ill, pi. 179) represents the type of the Anglo-
Saxon neums of the eleventh century. The piece is a
trope for the Introit "In medio". The three portions
pes subpunctis, on the last syllable of salutifere. The
strophicus (on med) has here no distinct sign, but is
written with the ordinary virga sign. The oriscus,
however, is clearly marked. Thus we have a virga
with oriscus (also called franculus) on the first sylla-
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tctct dotritnuf
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at^
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1 1
-Moz.\R,vBlc Liber Ordinitm (a. d. 1052)
Library of St. Dominic, Silos
of the Introit itself are merely indicated by the cues
In Med., El impleb., and Stola. The signs for the
single notes are the plain virga and the round punc-
tuni, the former on the last syllable of iohannis, the
second and third syllables of adimplens, etc., the latter
on the second syllable of Gratia, the second syllable of
Dei, the first of iohannis, etc. In the podatus the
gravis is a short horizontal stroke, the acutus a
straight virga joining almost at a right angle; see third
syllable of Gratia, third of salutifere, third of dogmata,
etc. There is also a second form consisting of a dis-
jointed punctura and virga, see third syllable of
Gloria (last line on left page), first syllable of xristus
ble of Gratia, and the full pressus (virga, oriscus, and
punetum) on the first syllable of pectus, the first of
fluxerunt, etc. The quilisma is shown on the second
syllable of celsa, where we first have a punetum, serv-
ing as the starting-point, then the triple curve of the
quilisma itself, to which the virga stroke, representing
the highest note, is attached. We have it again on
the second syllable of impleb., where a second virga
follows, the whole figure representing the notes/ gab^r.
A less usual sign is found on the first syllable of
cams (last line, right page). The quilisma there is
followed by a climacus in which the three signs, acutus
and two graves are joined together: />7 .
/ r-'-fi 'Jl
III. V. — Aquitanian Notation (XI Century)
BibliothSque Nationale, Paris, Fonds latin. No. 1134
(first line of right page), third syllable of (tternum
(fourth line). This is considered as indicating a long
form of the podatus. The Uquescent form (epi-
phonus) is marked by a rounding of the angle; see sec-
ond syllable of iohannis, third syllable of fluxerunt.
The clivis shows the curved angle, as on second sylla-
ble of pectus, second and fourth of salutifere. The
Illustration II ("Pal^ogr. Mus.", IV, pi. A) is from
a MS. written in the monastery of Einsiedeln at
the end of the tenth or the beginning of the eleventh
century. It belongs to the St. Gall school of notation.
The affinity of this school to the Auf^lo-Saxon i.s evi-
dent. There are, however, a number of pecniliarities.
First we find a greater variety of signs. Thus the
liquescent form (cephalicus), somewhat shortened, is virga appears in two forms, one slightly curved to the
seen on the third syllable of iohannem (first line on
right page). The torculus is seen on the first syllable
of adimplens, first syllable of docenle (fourth line),
etc. On the first syllable of celsa we have the torculus
liquescens, the last gravis being shortened. The por-
rectus is easily recognizable on the first syllable of
Stola. A climacus occurs on the second syllable of
docenle (fourth line) being followed by an epiphonus; a
X.— 49
right and vanishing at the top, the other straighter
and with a thickening at the top. This second vari-
ety arises, graphically, from its being drawn down-
wards, the pen spreading itself a little at the start of
the stroke. For the rendering it indicates a longer
form of the note. We find the first form on the first
syllable of Ostende, the fifth of misericordiam, etc., the
second on the second syllable of Osterulc (first sign),
