NEUM
771
NEUM
(the first punctum connected with the pes in the man-
ner of a torculus and the second, liquescent, bent back
to the left) on the second syllable of coUaiukini and a
porrectus compunctis liquescens on the last syllable
oi filium. The oriscus is found after the podatus on
it stands for alle. The idea of high pitch is expressed
by the f occurring twice on domino. The first time
it refers evidently to the rise of the melody to c, the
second time it probably enjoins a b natural instead of
b flat.
ftor mum t tr clC5«; mnv ^
omm omit. ItOinUi pcqna^
et Irotm vm ec inQ^unc/*
^wciumi im i«a -^maut d
U/ ttflaniema cmmi r (t or
awumr cum^miamfliac.
(Oibifim m
t
■w
^
am ct utmmcmtu
^\:VM^ ; jis'i\'
ain
pi-
nor
C-!.
Rii/iUhis itt^ttlmftfloie
' ♦ a - % i k —
III. VII.— MS. 411 (241) (XIV CEt-TORY)
Biblioth^que Mazarine, Paris
agatlur and the quilisma, consisting of two hooks, on
the second syllable of domino, the second of angeli and
the first of dei, in each case a porrectus being joined
to it.
Another peculiarity of this school is the frequent use of disjoint neums, all of which indicate a prolonga- tion of the notes. Mention was made of a disjoint podatus in conne.xion with the first illustration. We find it here on in and the first syllable of celebrantes. A torculus of this kind is shown in the second syllable of innrlyris. The descending figures are indicated by the puncta placed perpendicularly. Thus we have a clivis on the second syllable of omnes, the second
The comparison with the reading of the Vaticana
will show a close resemblance. We only notice that
on gaudent and angeli the MS. adds a liquescent note
to the podatus and porrectus subbipunctis, and on
celebrantes has (wire a. jxjrrcot us for the strophic clivis,
which suK^csIs (hat tiic apostniplia (oriscus) was sung
slightly hi}{hcr than the la.st note of the clivis, as men-
tioned above.
Illustration IV is taken from an eleventh-century MS. of Silos, written in the Mozarabic notation ("Pal. Mus.", I, pi. II) in order to show that even this is based on the same principles. The usual forms of virga, punctum, podatus, clivis, torculus, porrectus
toa m(pn*^VJmm^{6fitm^nmni}^M \mns^ * |
^^
■biftir
VIII.— Gothic Necms (a. d. 1435)
Catliedral Lilirary, Triur
(before the quilisma) and the third of domino, the
third of angeli (where the lower one got attached
to the 1), etc.; a climacus on angeli, preceding the
quilisma.
We note further the use of literce significalivce. Thus we have the c used in the same sense as in the St. Gall school, on agalhoj. Similarly a t appears at the bottom of the illustration under the word meH. The a on Gaudeamus stands here for augete and is, therefore, synonymous with the t, whereas in St. Gall
will be recognized easily. The other features will be
explained with reference to the modern form of the
Vatican Gradual. The piece occurs in the Roman
Liturgy as Introit of the Saturday after the fourth
Sunday of Lent. On the last syllable of Sitientes the
MS. has a pes subbipunctis, with the puncta joined
together, representing the same notes as the staff no-
tation without the pressus. On the first syllable of
venile the MS, has a clivis instead of the single note of
the Roman version, on the second, the punctum and
