Musicologie Médiévale

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Utrecht Universiteitsbibliotheek (NL-Uu)

Hs. 416 (Hs 2 F 4)
XIV (1375-1400) ▪ Evangeliarum in usum Ecclesiae S. Petri Trajecti ad Rhenum, lectures avec neumes et accents, passions avec lettres de hauteur de récitation. 186v-187v Liber generationis..., 189v Puer natus in Bethleem… à deux voix, notation à clous sur lignes

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Brussels Ms. II 270, fol. 137v-138r ("Handschrift Koning"). A similar kind of notation with minims and puncta instead of semibreves and breves.

Last version of my transcription: https://dl.dropboxusercontent.com/u/25848931/Puer%20Natus02.pdf

It's a nice little piece!

The upper voice is plainly the same as the melodies printed in Analecta Hymnica, i.195 (from Prague) and i.196 (from Jistebnicz). But since the two voices exchange their ranges in the middle, plainly it is a two-voice piece: no wonder those two melodies in AH looked meaningless.

Thank you very much David !

David Fallows a dit :

The upper voice is plainly the same as the melodies printed in Analecta Hymnica...

If I can attach, here is the version from the Prague manuscript, pretty reliably dated to the early 14th century.

Sorry: I don't know how to attach. Dominique, or somebody, can you tell me now to download a pdf file into this space? 

Attachments:

Phew: it seems to be there. The mensuration here is all my own, but the pitches and the text underlay are from the MS. In my view, the two-voice piece was there at the beginning of the 14th century.

Thanks for sharing all these pieces, very interesting. AA

Perhaps Ulrike Hasche-Burger could say a bit more about this, but this type of 'semi-mensural' repetoire from the Low Countries is very conservative, in other words it might be 15th century as well. From the counterpoint I find it hard to tell.

No: I wasn't questioning the date of the copy (though, as you say, it can be seriously hard to tell); merely stating my view that the polyphony existed in the early 14th century, even though the source has only one voice and none of the mensural indications.

Maybe the voice I labeled 'tenor', which is also the one from Prague, circulated as a monophic piece? (Or did I miss that you also found the other voice in AH?)

No: only that single voice in Prague (and in the other AH melody); but it seemed to me -- and I'm happy to be contradicted -- that the crossing of the two voices results in a piece that makes sense, whereas the gradual falling range of the voice you call 'tenor' results in a meaningless melody.

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