""... so that the actual durations are, perhaps, 1.75, 0.25, and 1. ... so that 1.66 + 0.34 + 1 and 1.85 + 0.15 + 1 are both perceived by the ear as interpretations approximately equal to 1.75 + 0.25 + 1, as long as the total duration of the first…"

"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…"

"Concerning the Micrologus:
"Tenor" in Guido's own usage is the duration of any note, not just the end of a phrase. (I will address "ultimae vocis mora" later in this post.) Also from Guido:
Musica vox fit motione; motio autem habet in se tenorem qui…"

"Alasdair, I do not see the discrepancy you see between the Commemoratio brevis and the performance tradition.  My replies to each of your points:

that the example of the antiphon Ego sum via indicates that a single pitch on a syllable is regarded…"

"One can further argue that it is not the norm for communal Christian chant to allow pitches of intermediate metrical values to knock the regularity of the rhythm off kilter such that a regular rhythm is no longer to be heard; that it is the norm to…"

"I would advance the argument that, because of its dating, Einsiedeln 121 ties into then contemporary sung repertoire which, by its very nature, exhibits “ingenuity”. I would also advance the argument that one can only copy from manuscripts…"

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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…"

"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…"

"A/the tenor, that is, the 'mora' of the last note - which, however small it is in a syllable, is larger in a part and longest in a distinction - is a sign of division in these. And so it is necessary that the melody should be clapped as if with…"

""I have never thought of liquescence as being particularly connected either with melody transmission or consonant clusters, as you mention in point3."
Case 1: If you have heard "Ad te levavi" or a similar figure only ever sung with that 'liquescent'…"