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Glaschu
Intérêt principal (principal interest)
Grégorien, Théorie musicale, Manuscrits (paléographie)
Présentation: travaux et (ou) intérêts (Presentation: works and (or) interests)
The practical realisation today of the musical metre and verbal metre of Gregorian chant with the Gaelic harp.
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"I regard the first two notes of (salvasti) me in the gradual Exaltabo te as exemplifying syncopation.
I also regard the fifth and sixth notes of sum in the Laon 239 notation of the gradual In Deo speravit as exemplifying syncopation.
Then there are…"
I also regard the fifth and sixth notes of sum in the Laon 239 notation of the gradual In Deo speravit as exemplifying syncopation.
Then there are…"
"Tenor uero id est ultimae uocis mora. qui in sillaba quantuluscumque est. amplior in parte. diutissimus uero in distinctione. signum in his diuisionis existit. Sicque opus est. ut quasi metricis pedibus cantilena plaudatur. et aliae uoces ab aliis…"
"Tenor uero id est ultimae uocis mora. qui in sillaba quantuluscumque est. amplior in parte. diutissimus uero in distinctione. signum in his diuisionis existit. Sicque opus est. ut quasi metricis pedibus cantilena plaudatur. et aliae uoces ab aliis…"
"<I've seen this long-substitution all over the Alleluias. But it is also in the more standard repertory as well. The opening figure D-F-G-F of Introit Dominus dixit, found also a few other Mode 2 neumatic antiphons, is properly interpreted as…"
"<The contrary example you gave from Alleluia Jubilate Deo highlights the parallel between Laon and St. Gall of a short-long on one hand and a long-long on the other. I think the most reasonable explanation here is that the second note is indeed a…"
"<Case 2: Written transmission, i.e. manuscript copying, increases the odds that an otherwise inconsequential vocal effect, such as liquescence, epenthetics, or whatever, be perpetuated. I think this is the chief reason why the 'Jerusalem' example…"
"<Case 1: If you have heard "Ad te levavi" or a similar figure only ever sung with that 'liquescent' lower D between the first two syllables, then you are far less likely to omit the D, however the D is performed, because the D is ingrained in the…"
"Point 2a is a good analysis and I would only add that N can produce a schwa as well.
With regard to point 2b, I would note that liquescence is a linguistically determined feature and that the stress of verbal syllables never falls on the consonant…"
With regard to point 2b, I would note that liquescence is a linguistically determined feature and that the stress of verbal syllables never falls on the consonant…"
"I am grateful to everyone for engaging in public discussion in this way. I think this point is very important to discuss publicly. My own culture makes much use of epenthetic vowels in speech alone and, ever since starting to examine the subject,…"
"My own reading of the Commemoratio brevis does not regard it as presenting the tremula as a brief note. I will present the passage and an English translation in order to refer to it clearly.
Tenor uero id est ultimae uocis mora. qui in sillaba…"
Tenor uero id est ultimae uocis mora. qui in sillaba…"
"I wouldn't say that the ambiguity is restricted to usage, though. Taking as an example his qui tribulato in the verse Juxta est of the gradual Clamaverunt justi (p346 in the Graduale Novum), yes, there may be a significance to the absence of a…"
"Sgr Ricossa,
Rapprochement between Solesmes and mensural approaches can be very difficult to achieve and discussion unnecessarily fraught. If the Solesmes advocates cannot even agree that the notation is rhythmically unclear and ambiguous, it is…"
Rapprochement between Solesmes and mensural approaches can be very difficult to achieve and discussion unnecessarily fraught. If the Solesmes advocates cannot even agree that the notation is rhythmically unclear and ambiguous, it is…"
"Fr Weber,
I am grateful to you in turn for gracing my response with a reply. I hope you can understand why mensuralists react they way they do too. On one occasion, a supporter of a Solesmes approach claimed to welcome engagement and critique but…"
I am grateful to you in turn for gracing my response with a reply. I hope you can understand why mensuralists react they way they do too. On one occasion, a supporter of a Solesmes approach claimed to welcome engagement and critique but…"
"With regard to (memo)ria(lis) and (ce)lebra(bitis) in the offertory Erit vobis, the idea of a rhythmic weight or stress on the C seems to me to be an assumption coming from a given musical background. In Scottish vocal slurs, the musical weight or…"
"I reproduced that transcription because it was at hand at home. It is of a soloistic rendering by an extremely skilled singer. Unskilled singers in a congregation in Egypt can sing in a plainer manner that comes closer to the likes of what we see…"
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