Très bonne nouvelle !

Après avoir quelques temps disparu, tous les volumes des Sacris Erudiri sont de nouveau en ligne et téléchargeables !

Encore une fois, vive Archive.org...

Chers amis,

Chers membres du Réseau Musicologie Médiévale,

Dans cette période particulière que nous traversons, je me suis fait un peu plus discret sur les réseaux sociaux, mais je n'ai pas arrêté le travail pour MM et MMMO, bien au contraire !!!

J'ai laissé beaucoup d'entre vous sans réponses à leurs messages ces derniers temps et je vous prie de bien vouloir m'en excuser, je vais réparer cela au plus vite.

Je dois malheureusement commencer ce point d'actualité par la triste nouvelle de la disparition de deux membres de Musicologie Médiévale qui tous deux soutenaient financièrement la publication de mes travaux sur MM et MMMO.

Qu'ils soient remerciés pour toujours dans leurs engagements !

Ulrike Hascher-Burger
(14 juin 1955- 21 avril 2020)

Guy Robert
(22 mars 1943 - 31 mars 2020)

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Dans la MMMO Database :

7384 sources

36710 chants

1388 Contributions dans CI

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Plusieurs nouveaux manuscrits ont été indexés pour MMMO

Graduel de Quedlinburg (D-B : Ms mus 40078) par Franco Ackermans

Missel des Abruzzes du XIème siècle (I-Rvat : Vat lat 4770) Par Franco Ackermans

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Depuis maintenant quelques mois Franco Ackermans m'aide à la relecture des index ce qui permet à MMMO de garder une bonne cadence de publication.

Les 10 manuscrits suivant ont été intégralement indexés mais en première lecture seulement.

Graduel de Saint Gall (CH-SGs : Cod 340) par Isabel Arias Villanueva

Le sanctoral du bréviaire de l'Église du Patriarcat latin de Jérusalem (F-CH : Ms 50) par Fedon Nicolaou

Graduel de Noyon (GB-Lbl : Egerton 857) par Franco Ackermans

Graduel du Nord de l'Italie (I-Bc : Q 9) par Martina Cocci

Graduel "vieux-romain" du Latran (I-Rvat : Vat lat 5319) par Dominique Gatté

Graduel du Mont-Renaud par Dominique Gatté

Graduel de Corbie (F-Pn Ms Lat 18010) par Michel Gatté

Graduel cistercien de Morimondo (F-Pn Nouv acq Lat 1414) par Richard Chalot

Graduel à l’usage de la Grande Chartreuse (F-G : Ms 0084 (Ms. 395 Rés.)) par Franco Ackermans

Fragments d'un graduel de Narbonne (F-NAR : Ms 164) par Cristina Alís Raurich

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Beaucoup d'autres manuscrits sont en cours d'indexation, comme vous pouvez le voir sur le fichier "MMMO work in progress" qui est mis quotidiennement à jour.

Dans ce fichier, vous pouvez aussi voir les sources en attentes de rejoindre MMMO dans l'onglet "Mss to add" :

Récemment plusieurs manuscrits de la Bibliothèque Royale de Belgique ont été mis en ligne et j'en ai déjà intégré plusieurs à MMMO comme le missel de Saint-Martin de Quenast :

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Dans le réseau Musicologie Médiévale :

Le 16 mars, Julia Craig-McFeely a fait part de la découverte d'un nouveau fragment de motets à la BNF

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Le 7 avril a débuté une très intéressante discussion lancée par Nikola Antonov

Klara Mechkova's books on Tetraphony and Triphony

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Oliver Gerlach a annoncé la tenu d'un symposium à Thessaloniki au moins de Juin :

First International Musicological Symposium: MELISMATIC CHANT REPERTORIES Thessaloniki, 12–14 June, 2020

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Daniel Saulnier a annoncé la parution du volume 1 de l'Antiphonale romanum  - In Dominicis et Festis, Ad Laudes cum Invitatoriis (2020)

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Père Jacques-Marie Guilmard vient de publié aux éditions de Solesmes un recueil de ses études sur l'origine du chant grégorien 

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Jean-François Goudesenne à annoncé la publication des actes d'un colloque ayant eu lieu à trèves en novembre 2018

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Robert Klugseder a annoncé la publication récente de trois ordinaires 

Editions of Libri ordinarii of the Metropolitan District of Salzburg

Dear friends, I would like to present to you two books by Bulgarian researcher musicologist and professor of music history Klara Mechkova.

Over the last decade, she has published two books on Tetraphonia and Triphonia as the major systems of Byzantine music.

The Oktaechon System of the Byzantine Music in the Theoretical Text Sources. The Tetraphonia (2009)

Мечкова, Клара. Осмогласната система на византийската музика в изворовите теоретични текстове. Тетрафонията. - В. Търново: АБАГАР, 2009, 230 с. ISBN 978-954-427-850-2 COBISS.BG-ID 1231216868

1. The Oktaechon System of Byzantine Music in the Theoretical Text Sources. The Tetraphonia (2009). The book follows strictly the medieval Byzantine sources. The researcher examines in detail key issues of Byzantine music theory, makes a detailed and in-depth analysis of the St. John Koukouzeli's wheel (Τροχός). Klara Mechkova pays special attention to terms and issues such as φωνή, ήχος (functional theory of the echoi), the discrepancy between the order and naming of the Ancient Greek scales and Byzantine scales, the relation between music and theology in the medieval Byzantium.

Main Topics:

• The theological background related to the specifics, contents, and time of appearance of the Byzantine theoretical texts
• The idea of phone in the Byzantine music system and medieval treatises
• Phone and the accompanying terms in the text sources
• Phone - the definition
• The quality of the note and phone
• Phone and Tetraphonia
• The melos of the note
• The melos of the note and the polysyllabic naming of the notes
• The melos of the note and the interval matter of phone
• Tetraphonia and genus
• Metrophonia and parallage
• The functionality of tetraphonia. The Oktaechia.
• The tetraphonia features: 1) the tetraphonia as a hypostatic union; 2) the principle of the corresponding pair phone-tetraphonia; 3) the principle of the circular motion-tetraphonia; 4) the common operations ot the both principles
• The tetraphonia and mastering of the acoustic space
• The Oktaechia: 1) the principle of the corresponding pairs; 2) the tetraphonia and the filling of scales of the echoi
• The principle of the circular motion in the Oktaechia
• The Wheel of the St. John Koukouzelis: 1) the meaning of the small circles; 2) the meaning of the Tree; 3) the optimal variant of the circular motion in the Wheel and the small circles of the Wheel; 4) the second element of the Wheel; 5) the maximal variant of the circular motion in the Tree and the Wheel; 6) the spiral motion in the Tree; 7) the central body of the Wheel; 8) about the Wheel as a musical incarnation of the theological idea about the "saved space"
• The Ancient naming of the scales and Byzantine echoi in the treatise of Agiopolitis. The principle of circular motion. The treatise Vaticanus Graecus 871. The principle of the corresponding pairs echoi in to the Koukouzeli's Wheel.
• A functional theory of the echoi: the historical and theological background; the meaning of the term ήχος; the theological aspect of the terms κύριος and πλάγιος.
• The main ideas into the treatise of the Monk Gabriel (Codex Lavra 610): γνωριστική and δηλωτική idea; mesos, diplasmos, naos.

The Triphonia in the Tetraphonic Musical System and in the Life of the Byzantine Oktaechon (2018)

Мечкова, Клара. Трифонията в тетрафоничната музикална система и в живота на византийското осмогласие. - Пловдив: Астарта, 2018, 291 с. ISBN 978 – 954 - 350-265-3 COBISS.BG-ID 1288298724

2. The Triphonia in the Tetraphonic Musical System and in the Life of the Byzantine Oktaechon (2018). The book is a continuation of the first with an emphasis on the Triphonia as a subsystem of Byzantine music. The author makes a detailed analysis on the graphic of John Plusiadinos (Η σωφοτάτη παραλλαγή). Also, in this book she translates and analyzes the δοξαστικό Θεαρχίω νεύματι by various Byzantine sources. She pays special attention to terms such as φθορά, νανά, λέγετος, νενανώ and others key concepts. The question about the tonal system is also addressed in this book. She mentions the testimony of Chrysanthos about the three types of tonal intervals and traces the connection with the sources of Arabic music in the Middle Ages. It suggests that Arab musicians may have borrowed the idea of the intervals from the medieval Byzantium (there is no direct evidence, so this remains only a scientific assumption and hypothesis).

Klara Mechkova's research focus is on the musical systems, functional analysis, and the way these major components of music work, following strictly Byzantine music sources. In addition, she has deep knowledge and gives credit to the Three Teachers' reform. On one hand, she traces the continuity between medieval Byzantine music and the music of The Modern Times (the Three teachers' reform). On the other hand, she does not make the mistake of fully identifying or completely negating any connection between the Middle Ages and Modern Times (as many Western researchers make).

Main Topics:

• The Triphonia in into the contemporary science and the medieval text sources
• The basics of Triphonia: 1) definition; 2) the functionality of the triphonia and tetraphonia; 3) a functional relationships between the triphonia and tetraphonia; 4) the melodic "holdingness" and "unholdingness" as a prerequisite for a functional "holdingness" and "unholdingness"
• The Triphonia as a phtora: 1) different kind of modulations in the echoi; 2) the double parallage
• The "turnover" of the Triphonia: 1) the monophonia; 2) an extended (compound) triphonia
• Acoustic parameters in to the Byzantine music system: 1) the hypothesis; 2) the idea of the "unequal fourths"; 3) the "unequal fourths" in to the context of the Byzantine echoi
• Nana, nenano, legetos
• The Triphonia in to the didactic aids: 1) "Η σοφοτάτη παραλλαγή" of John Plousiadenos; 2) the method of John Laskaris
• The Triphonia into the manuscripts
• The Byzantine music system by the example of the sticheron "Θεαρχίω νεύματι".

Unfortunately, Klara Mechkova's books are only available in Bulgarian for the time being.

Colloque%20Trier%20PdT%20001.jpg

Une belle et somptueuse publication, nourrie et illustrée, à l'issue d'un colloque et d'une magnifique exposition à la bibliothèque de la Ville de Trèves (Trier) en novembre 2018.

Un chapitre regroupe quatre articles de J.-F. Goudesenne, S. Rankin, I. Reznikoff et A. Westwell sur la Liturgie & Musique (pp. 443-523).

Des contributions à bien d'autres articles de nombreuses disciplines, qui apportent quelques idées neuves à la question de la renaissance carolingienne et à une interprétation plus fine et nuancée de la transmission du cantus. Et même quelques contre-vérités qui nourriront les débats de la communauté des "grégorianistes" !

à suivre donc...

Colloque%20Trier%20Table%20A%20001.jpg  

Colloque%20Trier%20Table%20001.jpg

Colloque%20Trier%20PdT%20002.jpg

Fragment (sans doute d'Allemagne de l'Ouest) illustrant ma conférence d'hier
dans le cadre des festivités des 800 ans de la cathérale de Metz
"La notation musicale dans les manuscrits liturgiques de la cathédrale de Metz"

Dans la MMMO Database :

7370 sources

19219 chants

1207 Contributions in CI

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Fragment de graduel aquitain BNF Lat. 5387

http://musmed.eu/source/13177

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Dans le réseau Musicologie Médiévale :

Publié par Elsa De Luca :
Early Music from the East and the West: Reusing the Past in a Modern Context at Escola Superior de Música

I-Bc : Q 03 (Fr 022)

Dans la MMMO Database :

7369 sources

18571 chants

1206 Contributions in CI

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New full index by Martina Cocci!

Graduale de Brixia (Bergamo, MA 239)

http://musmed.eu/source/8805

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Début de la mise en valeur des collections de fragments, avec notices individuelles pour chaque source.

Voir par exemple Bologna Q.3

http://musmed.eu/rism/603

(I-Bc : Q 03 (Fr 022)

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Dans le réseau Musicologie Médiévale :

Le sacramentaire de Lodrino - La plus ancienne notation ambrosienne

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Annonce de la Journées d'études "Chants pour une cathédrale : entre culte et culture" à Metz dans laquelle j'aurai le plaisir de parler des manuscrits notés de la Cathédrale Saint-Etienne et de l'évolution de la notation lotharingienne à partir du IXème siècle

I-Rvat : Vat lat 04770

Dans la MMMO Database :

7343 sources

16972 chants

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New full index by Franco Ackermans!

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Mise en place des espaces de recherche par projet :

CANTUS IMPERII

MMMO welcomes the Cantus Imperii project indexes medieval manuscript between the 8th and the 14th centuries, from areas corresponding to Charlemagne’s Empire.
These indexes will allow to compare full texts of chants and rediscover diverse chant traditions.
Sources
Browse chants

CANTUS ROMANUS

Indexing project for Old Roman manuscripts (Work in progress).
Sources
Browse chants

CANTUS ITALICUS

Indexing project for manuscripts from Italy, with particular importance for central and southern Italy.
Sources
Browse chants

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Dans le réseau Musicologie Médiévale :

Call for Papers:
Rhythm in Music and the Arts in the Late Middle Ages, 16-18 November 2020, Prague
Lenka Hlávková (Mráčková)

Dans la MMMO Database :

Nouvelles options de téléchargement et de vue d'ensemble des index :

--------------------------------

Index en cours de réalisation par Leo Lousberg :

Dans la MMMO Database :

Deux projets d'indexations sont maintenant accueillis sur notre site :

CANTUS IMPERII
MMMO welcomes the Cantus Imperii project indexes medieval manuscript between the 8th and the 15th centuries, from areas corresponding to Charlemagne’s Empire.
These indexes will allow to compare full texts of chants and rediscover diverse chant traditions

Sources

Sources

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J'ai terminé l'index de la partie graduel du Saint-Maure (F-Pn Ms Lat 12584) !

Maintenant, j'attaque l'antiphonaire !!!

http://musmed.eu/source/13399

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Index en cours de réalisation par Martina Cocci pour MMMO :

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MMMO dans les réseaux sociaux

Reprise des publications de la semaine passée sur les réseau sociaux

D-B Ms theol lat fol 366
Essais de plumes en neumes paléofrancs d'un manuscrit de Werden
http://musmed.eu/source/27293

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I-Rvat Pal. lat. 1765
Prosule du répons Verbum caro factum est

http://musmed.eu/source/27299

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I-Rvat : Ross.1169.pt.A, 39r-42v
Beaux fragments d'un antiphonaire cistercien !
http://musmed.eu/source/27536

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BAV, Ross.1169.pt.A
Une pièce inconnu en addition marginale !
http://musmed.eu/source/27487

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Hymne pour Saint Mayeul
F-Pn Ms Lat 05611
http://musmed.eu/source/28422

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Même l'antiphonaire du Mont-Renaud conserve des surprises !
L'offertoire pour le vendredi des Quatres temps de l'avent semble être unique à Noyon.
Les seules concordances que j'ai trouvé sont dans les autre source de Noyon :
London, BL, Egerton MS 857 (Graduel de la fin du XIème siècle)
Abbeville, BM, Ms 7 (Missel du XIIIème siècle)
http://musmed.eu/source/9475 (Index en cours)

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Dans le réseau Musicologie Médiévale :

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Pietro Moroni nous informe d'un évènement à l'Archivio di Stato di Como autour de fragments musicaux-liturgiques

Non impedias musicam. Mostra di frammenti liturgici dell'Archivio di Stato di Como

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Raúl Lacilla Crespo à publié les informations concernant les cours de Besalú/Lleida

International Course on Medieval Music Performance of Besalú/Lleida

Cette semaine a encore été très riche sur Musicologie Médiévale et MMMO.

Dans le réseau Musicologie Médiévale :

Jean-François Goudesenne à partagé un appel à contribution pour un livre collectif :

SCRIPTOR, CANTOR & NOTATOR :
Matérialités du son dans les Manuscrits de Chant

Français

Anglais

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Dans le Forum, un nouveau venu est à la recherche du facsimilé du manuscrit de Y Goddodin.

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Dans la MMMO Database :

Je reprends ici, ce que j'ai publié sur les réseaux sociaux cette dernière semaine qui sont représentatifs des sources les plus intéressantes que j'ai révisées ou indexées

Large fragment d'un pontifical italien conservé à Troyes (F-T : Ms 2272)

Il est intéressant de constater une nouvelle fois la proximité avec la notation lotharigienne, surtout dans la partie sur lignes.
http://musmed.eu/source/24865

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D-B Ms Gall. Qu. 048
Rare fragment de bréviaire en notation bretonne sur lignes

http://musmed.eu/source/8810

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Une version bénévaintaine de la prose Inviolata ?

D-Mbs Clm 23621 (IIv-Ir)
Inviolata [...] -ti rosa acutis [s]pinis mollissima progenita. Sic prophetata tu Eve stirpe creata. Quem tuo decore atque sine macula nobis miserrimis edideras, atque casta et inmaculata permansisti.

http://musmed.eu/source/12375

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Tullium, Ordo Judicialis (D-ERu : Ms 380)

--------------------------------

Je continue toujours l'accueil et le management des nouveaux contributeurs aux index, qui sont au nombre de 7 !

Nouvel Index en cours de réalisation par Dominique Crochu :

Antiphonaire de l'abbaye de Saint-Denis du XIIème siècle (Lettre D du CAO)

Scriptor%20Cantor%20Notator_Brepols_Musam_4F.pdf

Scriptor%20Cantor%20Notator_Brepols_Musam_CFP.pdf

Scriptor%20Cantor%20Notator_Brepols_Musam_4F.pdf

Depuis l'annonce de l'index des pièces notées du missel de Compiègne sur MMMO, je n'ai pas donné de nouvelles de la base de données.

Je reprends ici, ce que j'ai publié sur les réseaux sociaux cette dernière semaine.

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Nouvel index en cours pour MMMO : Graduel et antiphonaire du XIème siècle de Saint Maur-des-Fossés (F-Pn : Ms Lat 12584)

http://musmed.eu/source/13399?page=1

Ce manuscrit à ma surprise contient quelques lettres significatives :

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De belles additions de Fleury ajoutées à MMMO/Cantus-Index (F-Pn : Ms Lat 7581)

http://musmed.eu/source/13234

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Media vita... (I-Rvat : Archivio di San Pietro F 15)http://musmed.eu/source/14746

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--------------------------

Bordeaux, BM, Ms 8

http://musmed.eu/chant/24087

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Mise à jour des manuscrits notés de la Bibliothèque municipale de Boulogne-sur-Mer (17 sources)

http://musmed.eu/rism/631

A voir à Boulogne (F-BSM : Ms 102) : 

Vers de Prosper d'Aquitaine en essai de plume en notation mixte franque et paléofranque.

http://musmed.eu/source/24199

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Bourg-en-Bresse, BM, Ms 36 :
Très intéressant fragment de missel noté du XIème siècle qui contenait des antiennes de processions.

http://musmed.eu/source/8956

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Probatio pennae (F-RS : Ms 438)

http://musmed.eu/source/24438

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Suite à une erreur de ma part, toutes les mentions XIIIème siècle avaient disparues.
Après plusieurs mois d'indisponibilité le filtre sur XIIIème siècle est enfin de retour !

http://musmed.eu/sources?century%5B%5D=4328&rism=All&country=All&city=All&order=All&field_genres_tid=All&field_literary_or_theoretical_wo_tid=All&field_persons_tid=All

--------------------------

Suite à mon appel : "Do you want to make index for MMMO Database?" j'ai reçu quelques propositions de contribution dont : Franco Ackermans qui réalise en ce moment l'index du graduel de Narbonne (F-Pn Ms Lat 780) et y a trouvé un introït inédit pour le 4 dimanche de l'Avent (Dominica vacat) :
Domine deus virtutum convertere respice de caelo...
La mélodie est la même que celle de l'introït Dum medium silentium.

http://musmed.eu/source/12990

Je ferai le point la semaine prochaine sur les autres contributions en cours.

Here is just a short description, how it works, since I realised that even experienced members who are inscribed here since many years, seem not to understand. Dominique might put a link from the page  « aide » (“help”) to this blogue entry.

One important information right at the beginning: nobody is obliged to tag own posts and you are usually free to delete or to change your posts or your tags, whenever you like!

If you leave the last field at the foot open, it will not cause that you cannot publish it. On the other hand, tags are one of those little things which make this forum work. You just need to understand how it does.

How to find existing tags on your phone

First of all, tags are not visible on the mobile version of this network, but if you use Ning with the browser of your computer, it should work. If you need the tags consulting Musicologie médiévale from your mobile phone, you need to switch to “desktop view”.

Whether the use of tags might be useful

Please think carefully about how and whether you would like to use tags!

Tags are particularly helpful, if you share an information about sources and resources available online (manuscripts, articles or those studies which might be consulted regularly over many decades doing a particular research, online).

They might be not so useful, if you just would like to get feedback about something very particular, but it is up to you to decide (especially if the feedback you got was very helpful), whether it might be also useful for others...

Tags must be commonly used keywords

In case you decide to tag content posted by you, please consider that a tag will not start earlier to work until there is another post which has the same tag. A tag starts precisely to work when you click on it and you have more than one entry with the same tag. As bad example which should not be followed, I used two tags here which are actually pointless, because there are no second blog posts tagged as “help“ nor as “tags”! Nevertheless, in exceptional cases where you are confident that content with a future tag might show up soon, you can use such isolated tags as a suggestion to other users who might look for a tag like this.

If this is understood, you will soon realise that url-links are not suitable at all to be used as a tag, since I have seen it many times. Please choose tags as keywords with respect to those already chosen as tags by others. You can also use RISM sigla (or any other common ones) as tags, if there is more than one entry about one and the same manuscript and it has been used by others. Hence, you might consider, whether certain keywords are too specific and these sigla should rather be used for libraries than just for one manuscript, unless such a specific use does make sense.  You can also make tags work by adding tags to older posts made by others, if you have administrative rights. This works only, if you have founded groupes here and it works only there.

Which entries will be sorted by a tag

Another important thing: tags do not work here throughout the whole forum, but only within the same category. If I will use a tag for this post, it will only work within posts or entries made under “Blogue”. If you go to “Home” you will see, how Dominique has used tags to sort older entries at “Billets de blogue”. You can also check, how tags work in my groups about Byzantine or Beneventan chant, but if you post something there, you can also leave the trouble of tagging to me, because I usually tag most of the posts there, so that others will find it also in future. But you should understand that tags only coordinate discussions or posts made within one group, within “Blogue”, “Forum” or “Videos”. If you prefer to leave the choice to administrators who might know the common tags better, please do not hesitate to contact us.

How to use several words as just one tag

I also used in my groups certain tags as they had been introduced by Dominique such as “Manuscrits” for manuscripts online or “Articles en-ligne” for articles published under open access conditions. Please note that it cannot be always avoided that one tag has more than just one word. If you just type “articles en-ligne”, it will be understood as two tags “articles“ and “en-ligne”, even without having written a comma to divide these as two tags!

What do you have to do to make several words work as just one tag?

You put non-typographical quotation marks around them and you must also follow the use of majuscules of an existing tag, otherwise it will not work.

Within blogs posted at “Blogue” the tag “Articles en-ligne” will only work, if you type articles with majuscule and by the use of quotation marks you make both words work as one tag, like here: “"Articles en-ligne"”.

How to change existing tags

The better way to change tags is to choose the option "edit post/discussion etc.", because if you add a tag with the option “edit your tags”, you might discover that the former ones have gone after you had saved the changes. In order to prevent this you can still use “edit your tags”, but you first cut the former tags with CTRL+X and then you save the former post with empty tags. With the option “add tags” you copy again the former tags and add after a comma another tag which was still missing.

Technical problems

Note that there was also a period over more than one year, that one of those members with administrative rights made by accident a configuration which prevented tags to work any longer. I had to report it to Ning-administrators and they needed months to fix the problem. Please, if you observe something similar, do not hesitate to report it to Dominique or to post it as a statut to inform other members about a malfunction.

Thank you for your attention and happy tagging!

Call for Papers:  Music Encoding Conference, 26-29 May, 2020 (Boston, MA)

The Music Encoding Conference is the annual meeting of the Music Encoding Initiative (MEI) community and all who are interested in the digital representation of music.  We are pleased to announce our call for papers, posters, panels, and workshops. The deadline for submission is 22 December 2019. (Note that this is a firm deadline--there will be no extensions.)

Music encoding is a critical component for fields and areas of study including computational or digital musicology, digital editions, symbolic music information retrieval, and digital libraries. This event brings together specialists from various music research communities, including technologists, librarians, music scholars, and students and provides an opportunity for learning and engaging with and from each other.

The MEC will take place 26-29 May 2020 at Tufts University in Medford, MA (in metropolitan Boston), hosted by Tisch Library and Lilly Music Library. It is co-sponsored with the Digital Scholarship Group at Northeastern University Library. 

For detailed information about the venue and local arrangements, see the MEC website:  https://music-encoding.org/conference/2020/.

Background

The study of music encoding and its applications has emerged as a critical area of interest among scholars, librarians, publishers, and the wider music industry. The Music Encoding Conference has emerged as the foremost international forum where researchers and practitioners from across these varied fields can meet and explore new developments in music encoding and its use. The Conference celebrates a multidisciplinary program, combining the latest advances from established music encodings, novel technical proposals and encoding extensions, and the presentation or evaluation of new practical applications of music encoding (e.g. in academic study, libraries, editions, commercial products). 

Pre-conference workshops provide an opportunity to quickly engage with best practice in the community. Newcomers are encouraged to submit to the main program with articulations of the potential for music encoding in their work, highlighting strengths and weaknesses of existing approaches within this context. 

Following the formal program an unconference session fosters collaboration in the community through the meeting of Interest Groups, and self-selected discussions on hot topics that emerge during the conference. Interest Groups can also choose to meet May 24, 25, or 26 in various spaces generously provided by the host library. (Please be in touch with conference organizers with requests reserve these spaces.)

The program welcomes contributions from all those working on, or with, any music encoding. In addition, the Conference serves as a focus event for the Music Encoding Initiative community, with its annual community meeting scheduled the day following the main program. We in particular seek to broaden the scope of musical repertories considered, and to provide a welcoming, inclusive community for all who are interested in this work.

Participants are encouraged to attend all four days of the MEC:

• May 26: pre-conference workshops, keynote speaker, and opening reception

• May 27: main conference (papers, posters, sessions)

• May 28: main conference (papers, posters, sessions, and closing keynote)

• May 29: community day (open community meeting in the morning, hackathon and interest groups)

Topics

The conference welcomes contributions from all those who are developing or applying music encodings in their work and research. Topics include, but are not limited to:

• data structures for music encoding

• music encoding standardisation

• music encoding interoperability / universality

• methodologies for encoding, music editing, description and analysis

• computational analysis of encoded music

• rendering of symbolic music data in audio and graphical forms

• conceptual encoding of relationships between multimodal music forms (e.g. symbolic music data, encoded text, facsimile images, audio)

• capture, interchange, and re-purposing of musical data and metadata

• ontologies, authority files, and linked data in music encoding and description

• (symbolic) music information retrieval using music encoding

• evaluation of music encodings

• best practice in approaches to music encoding

and the use or application of music encodings in:

• music theory and analysis

• digital musicology and, more broadly, digital humanities

• music digital libraries

• digital editions

• bibliographies and bibliographic studies

• catalogues

• collection management

• composition

• performance

• teaching and learning

• search and browsing

• multimedia music presentation, exploration, and exhibition

Submissions

Authors are invited to upload their anonymized submission for review to our Conftool website: https://www.conftool.net/music-encoding2020/.  

The final (and definitive) deadline for all submissions is 22 December 2019. Conftool accepts abstracts as PDF files only. The submission to Conftool must include:

• name(s) of author(s)

• title

• abstract (see below for maximum lengths)

• current or most recent institutional affiliation of author(s) and e-mail address

• proposal type: paper, poster, panel session, or workshop

• all identifying information must be provided in the corresponding fields of Conftool only, while the submitted PDF must anonymize the author’s details.

Paper and poster proposals must include an abstract of no more than 1000 words. Relevant bibliographic references may be included above this limit. Panel discussion proposal abstracts must be no longer than 2000 words, and describe the topic and nature of the discussion, along with short biographies of the participants. Panel discussions are not expected to be a set of papers which could otherwise be submitted as individual papers.

Proposals for half- or full-day pre-conference workshops, to be held on May 26th, should include the duration of the proposed workshop, as well as its logistical and technical requirements.

The program committee will communicate the results of its deliberations on or about January 31, 2020.

In case of questions, feel free to contact: conference2020@music-encoding.org. 

Program Committee

• Vincent Besson, Centre d'études supérieures de la Renaissance, Université de Tours

• Margrethe Bue, National Library of Norway

• Joy Calico, Vanderbilt University

• Elsa De Luca, NOVA University of Lisbon

• Richard Freedman (Committee Chair), Haverford College

• Stefan Münnich, University of Basel

• Anna Plaksin, Max Weber Stiftung, Bonn

• David Weigl, University of Music and Performing Arts Vienna

Local organizing Committee

• Anna Kijas (Committee Chair), Head, Lilly Music Library, Tufts University

• Julie-Ann Bryson, Library Coordinator, Lilly Music Library, Tufts University

• Sarah Connell, Assistant Director, Women Writers Project, Northeastern University

• Julia Flanders, Digital Scholarship Group Director, Northeastern University

• Jessica Fulkerson, Lecturer in Music, Tufts University

MEC%20CfP%202020.pdf

In the present blog I’ll try to avoid terminologies and elements of Greek chant that, for one with no intimacy with the subject -a Gregorianist for example – can be perceived as foreign, difficult and laborious to deal with; mainly something exotic that should be left to those devoted to (Latin and / or Greek) music theory. I am aware that it could appear as more “neutral” and “unbiased” if I chose to simply list the online sources, but I prefer to go into more detail, adding some comments in the end about modern vocabularies. Addressing Latin chant specialists about online sources of Musica Enchiriadis is, after all, more straight-forward than informing them about Greek chant theory stuff. Last but not least, those who still believe that “it’s all Greek” to them can enjoy the diagrams and the schemes of the MSS; some of them are really beautiful.

A small introduction

The earliest Byzantine MSS of ancient Greek music theory (below I give the links of about 130 online MSS from 11th century onwards) appear to us –believe it or not- only after the 11th century. The D-Heu: Cod. Pal. gr. 281 (Mathiesen, 1988 No 14 [=Math. 14]) is written on 14 January of 1040 (or 6548 W.E.). The other MSS of 11th and 12th centuries are I-Vnm: Gr. app. cl. VI/3 (coll. 1347) (Math. 270, Vitrac 2019 [=Vitrac] p. 142, Acerbi-Gioffreda 2019, p. 655), I-Vnm: Gr. 307 (coll. 1027) (Math. 261, Vitrac p. 142) and later I-Rvat: Gr. 2338 (Math. 234, Acerbi-Gioffreda 2019 Va [13th century], p. 661) with I-Vnm: Gr. app. cl. VI/10 (coll. 1300) (Math. 273, Düring 79 M, additionally the 14th century hand of Grēgoras has been identified [Bianconi 2005, p. 413 No 12, Acerbi 2016, p. 186, No 10, e.g. he added the numbers and titles of chapters of book I of Ptolemaios’s Harmonica, see also Vitrac, p. 66 and p. 142]). But for us it is important to know the relation of them (and of the later ones) to medieval music.

Indeed, some of the, for example, 13th and 14th century Greek manuscripts that contain the treatises of ancient musicographers (who go back to 4th century B.C.), are full of medieval scholia and paratextual diagrams (mainly on Claudios Ptolemaios’s Harmonica [2nd century A.D.]) about Greek chant theory; a good deal of them (especially those connecting ēchoi to the names Dōrios, Phrygios etc.) never published. But first, let us begin with a useful note which shall underline the importance of these relatively late sources about the modern prospects of medieval chant in general.

A pattern? The earlier the sources the later the socio-cultural entity

We do not have in our disposal – in contrast to Latin chant- any text of chant theory in Greek (excluding few ekphonetic signs lists) from the 1st millennium. But in the neumes table of M. Lavra Γ 67, f. 159r (10th / beginning 11th century) there is the following - not rudimentary- chant theory sentence: the voices are seven, but the ēchoi four, three mesoi, two phthorai and four plagioi, voice 1st, voice 2nd, voice 3rd, voice 4th, voice 5th, voice 6th, voice 7th, that is the “fin(e)-al” (τελεία, more economically in French: “fin-al,” a medieval Latin speaking scholar would tended to translate it with the meaning of perfect, David Cohen, “‘The imperfect Seeks Its Perfection’: Harmonic Progression, Directed Motion, and Aristotelian Physics,’’ Music Theory Spectrum, Vol. 23, No. 2 [Autumn, 2001], p. 155 with n. 58 and 62). The, now conventionally named, Hagiopolitēs is a 14th century manuscript; we do not know how the 1st millennium appearance(s) of this treatise was. The first question is what happened and, given the cultural importance of medieval Jerusalem and New Rome, an earlier material didn’t reach us. As most people of M.M. know, the same question applies to the scarcity of indigenous sources from Old Rome before the Carolingian times [1*], not to mention theoretical treatises or even something like “primitive” considerations of – let us accept the linear phraseology for the moment – a not “full-fledged” Octoēchos. Rome was -and still continues frequently to be- thrown inferentially, together with any kind of material that “we” do not feel comfortable / understand, into the convenient box with the label “pre-theoretical period” (of exactly what and concerning whom?). The problematic on such speculations acquires even more importance if one thinks that we have MSS of Boethius’s De Institutione Musica already from 9th century – thanks to the preferences of the new Carolingian realm - and that the first Greek text of the Harmonica of Claudios Ptolemaios (who is quoted by Boethius) is appeared only in an above-mentioned 12th century MS (the MS Math. 273). Indeed, the sources that reached us [2*] didn’t appear in the past ex nihilo and / since, among others, they are the residues of many of historico-ideological sieves (like the issue of the existence of an Old Tropologion in Greek).

[1*] I am not referring here, of course, to the later notated sources of the so-called Old Roman chant.

[2*] Of disparate nature; as for the much better studied mathematical material see now, Vitrac, 2019, and for music already in Barbera’s edition of the Euclidean Division of the Canon (1991), especially pp. 104-111, see also p. 205 and n. 6 of my contribution to the 13th meeting of Cantus Planus (2006, here).

How music historiographies could be a projection to the past of modern conceptual frameworks

Let us now return to our subject. Surprisingly enough some of the above mentioned scholia / diagrams reflect, among others, Hagiopolitan music theory topics by quoting - and thus connecting them to - certain chapters of the Harmonica. One can assume that such an important material would attract the attention of the scholars of Byzantine chant of the 20th century, but this wasn’t the case and the aforesaid material remained a terra incognita. Why this happened is mainly the work of the ethnomusicologist of the future (here I give only some samples), but it is so amusing that Jorgen Raasted in his, “Quis Quid Ubi Quibus Auxilis… Notes on the transmission of the Hagiopolites,” Scriptorium 42-1 (1988), p.91 (Persée), passed just next to this Hagiopolitan material of Vat. gr. 192 since he referred to this MS but had not had the chance to consult it!

One can find such kind of information sporadically not in studies of Greek chant but in the book Ancient Greek Music Theory, by Thomas J. Mathiesen, RISM (BXI), 1988. In the bibliography (and mainly in the description of some MSS) Mathiesen gives information that there are interlineated and marginal scholia (extensively or not) mainly to the Harmonica of Ptolemaios and in some cases he understands that they have relation to Greek chant theory. Interestingly, he uses an atypical wording about the modern classification of Byzantine music theory in two classes (indeed, medieval reality appears to be more complex if one consults the MSS of ancient Greek music theory): “There are at least two major classes of Byzantine music theory, one dealing primarily with practical problems of musical notation and liturgical chant (the papadikai), and the other representing an archaicizing attempt to preserve ancient Greek music theory and philosophy and to apply it to Byzantine music theory” (emphasis mine). As a matter of fact the phrasing is not inaccurate if one recalls that even the earliest papadikai of the 14th century, report also a certain correlation of Dōrios Phrygios etc. with (i.e. apply them to) the numbering of the ēchoi in which, for example, the Lydios / Hypolydios is correlated to 2nd / pl.2nd ēchos respectively. Moreover, the papadikai system was also a product of intellectual (and “archaicizing”) effort (not only about the above mentioned correlation) [3*]. But for the above Mathiesen’s (1988) passage and his wider rationale and decisions see pp. xxx-xxxi (and about his hopes - some of them relative to our subject here - on p. xxxv-xxxvi). In my opinion, the high degree of isolation of these two frameworks in modern academia 1) on ancient Greek music and 2) on Greek (and other Eastern and Oriental) chant is the main reason that all this material remained unpublished, not catalogued and uncommented. A fitting analogy would be the scholia on Martianus Capella and Boethius having the same treatment. Adding to that is the seemingly established approach (based on our reconstructions) that Byzantine chant theory (whatever relation “had” this theory to actual practice) and ancient Greek music theory (whatever relation “had” this theory to actual practice) are treated as more separate entities in accordance to the degree of interaction they really had (especially after the documentation of the MSS of the 13th or 14th centuries we will see below). So this little presentation of online MSS is concerned with this “gray area” [4*] between the somewhat well-defined boarders of these two modern disciplines beginning the discussion with a primary selection of some online MSS just to realize the Byzantine chant status of affairs (or, the “accepted facts”) during the 20th century (and the first fifth of the 21st). The D. Touliatos-Banker, “Check List of Byzantine Musical Manuscripts in the Vatican Library,” Manuscripta. A Journal for Manuscript research 31 (1987) has to be seen under this paragraph’s prospect.

[3*] The exceptional use of a Hagiopolitan correlation in a papadikē would just demonstrate that a) in performance practice the results would be not of so much difference (at least, for us) and b) that all that theoretical effort and different streams was something important (for them), not only in terms of periphery-center.

[4*] As André Barbera, J.A.M.S., 43 2, 1990, p. 363 named it in his review of Mathiesen (1988) referring also to the importance of Vat. gr. 191 and connecting it, after A. Turyn of course, mainly to Maximos Planoudēs

N.B. A somehow exhaustive list of MSS, persons and scholia, given the problems of Düring’s edition of the Harmonica of Ptolemaios, could be possible only after a real critical edition of this text (Mathiesen, 1988, p. xxxiv and 2000, p. 432) and the inclusion of further paleographical studies (especially after the identification of the inks via spectral imaging) of the relative MSS. But the progress already made in the last few decades is of remarkable importance and any kind of skepticism based on the latest or future technologies (implying that the current state is not “convincing enough”) would be unfair, only alluding on supposed “neutrality” and an absence of “bias” and “ideology” of the wo/man who expresses such skepticism. The field is continuously being studied, with new additions being published; regarding earlier “codicological and palaeographic units” of the MSS we are dealing with, see now F. Acerbi-A. Gioffreda, “Harmonica membra disjecta,” Greek Roman and Byzantine Studies 59 4, Winter 2019 [=Acerbi-Gioffreda 2019] (here), accessed 24 November 2019. And one can also add the Mathiesen’s (1992) “Hermes or Clio…” (here), especially on p. 4 (on Why and How these treatises survived), p. 7 and pp. 14-15 with n. 22.

Below, slowly but surely, I have advanced my older work on the subject by giving a selection of eight MSS that include Greek chant information mainly on two - and occasionally on more - chant related topics i.e., α) on the I.16 of Ptolm. Harm. i.e., concerning the medieval use of equal diatonic genre and β) on the II.10 of Ptolm. Harm. i.e., concerning the correlation of Dōrios Phrygios etc. with the numbering of the ēchoi.

Eight online MSS with Greek chant information

 1.

I-Vat: Gr. 191 (Math. 214 [13th], Dür. 64 W [13th /14th], Acerbi 2016 p. 195, Vitrac [1296-1298] p. 145)

Content and Bibliographic References and at Pinakes (here)

According to Ingemar Düring, the editor of Harmonica (1930), it is stemming from the m-class and gives rise to the recension of its own subclass [W]. This is one of the most studied codices in relation to the included astronomical and mathematical material. Importantly, in some scholia the hand (the revisoris manus R of A. Turyn) of the intellectual and deacon Ioannēs Pothos Pediasimos recently has been identified (Pérez Martín, 2010) and he “assembled, and annotated at least between 1296 and 1302/3 the early Palaiologan mathematical encyclopaedia in Vat. gr. 191” (Acerbi 2016, p. 183 No. 3). His hand is also responsible for some crucial chant related scholia, within Harmonica, and a small theoretical text just after it. What, at first glance, we have here is:

α) As far as Ptol. Harm. I.16 (entitled, in Jon Solomon’s tr.: How Many and Which Genera Are More Familiar to the Hearing), on f. 331r, there is not any remarkable marginal or interlinear scholion in connection to equal diatonic.

β) Referencing to II.10 of Harmonica, on f. 340r, there is one extra correlation of the names Dōrios Phrygios etc. with the ordinals (and additionally, here, to the martyriai [modal signatures]) of the ēchoi. This correlation was the most proximate to the more widespread of the Latin chant and is different to the Hagiopolitan and the one of the Bryennios’s stream. I transliterate and provisionally translate in English:

Dōrios (is the name of) the 1st ēchos, Phrygios the 2nd, Lydios the 3rd, Mixolydios the 4th, Hypodōrios the plagios of the 1st, Hypophrygios the plagios of the 2nd, Hypolydios the plagios of the 3rd, that is the Varys, Hypomixolydios the plagios of the 4th. Ptolemaios, not properly (?!), says that the ēchoi of them are seven. And other people, speaking nonsense, name them otherwise. (emphasis mine, then follows the same nomenclature and the relative martyriai, I transliterate:)

Picture 1

The pneumata (spirits) are four, hypsilē, chamēlē, kentēma and elaphron, because we are in need of pneuma (both) for ascending and descending.

The tension in the wording is indicative of the tension among personalities of the time. Here most probably it is the monk Maximos Planoudēs (his friend Manuēl Bryennios and the historian and deacon George Pachymerēs represent the same ēchoi correlation stream [see them on f.101v of the autograph of Pachymerēs I-Ra: Gr. 38, not included in Math.]) that is implied to “speaking nonsense.” Remind also that –not only- in Hagiopolitēs the “schemes of diapason” are not numbered, as I wrote some years before, here in M.M., in the ancient way from 1 to 7 but from 2 to 8 (the online MSS that contain this form of Anōnymos III passage are: [Math. 87=] F-Pn: Gr. 2458 68r-v, [Math. 89=] F-Pn: Gr. 2460 27v, F-Pn: [Math. 95=] Gr. 2532  82r-v, [Math. 219=] I-Vat: Gr. 221 pp. 388, [Math. 230=] I-Vat: Gr. 1364 f. 134v, [Math. 238=] I-Vat: Barb. gr. 265 p. 458, [Math. 253=] I-Vat: Ross. gr. 977 pp. 178-179 and of course its ρ recension, the Hagiopolitēs MS F-Pn: Gr. 360 f. 229v together with the EG-MSsc: Gr. 1764, f. 94r-v [the very last MS, numbered 299, that Mathiesen decided to include in his Catalogue]). Vincent (p.224) already at 1847 realized that there is an interesting variation here and, reasonably, felt the need of an explanation.

Additionally, we have a totally unknown and unpublished small theoretical chant text on f. 359v, just after the Harmonica, with strong affinity, even in wording, to Pseudo-Damaskēnos [=Ps-D] text. Thus, we can legitimately label it as proto-pseudodamaskēnos and it is also important for the “pre-history” of Ps-D. The earliest testimony of the latter belongs to the 15th century. I provisionally translate the half of the whole text, in order to understand some of its content. It is also interesting regarding modern phraseologies about Latin chant in which we see terms like sign and neume. The relative concordances to Ps-D are given in parentheses as its editors did not use at all this early (as far as the Byzantine chant) text:

The principal (κύριοι) tonoi (are) ison, oligon and apostrophos (Ps-D 42-43): oxeia and petastē (are) so-called tonoi because they (are) dominated and diminished (συστέλλονται) (Ps-D 44) by the ison: as tonoi (are) called also the compound (σύνθετα) signs (contra [?] in Ps-D 49), but signs (σημάδια) (are) called when they are placed and written, and tonoi when they are sung (Ps-D 50-51):-

Ēchos and melos are different, because ēchos precedes melos (Ps-D 79-80), and there is not melos without ēchos, but ēchos exists without melos, and the ēchos always begins with the ison, but the melos begins with tonos and pneuma (spirit):

Psalm (is) melody with the use of a musical instrument, but Ōdē (is) the one with the use of mouth and without an instrument (Ps-D 85-88). The tonoi (are) fifteen since the (main) frets / bridges [5*] in Music are fifteen (Ps-D 152-153), and Ptolemaios said all these:-...

And then continues with another categorization of the 24 signs.

That means that the above text, one of the oldest best dated complete [6*] treatises of Greek chant, is not found in a papadikē and the like “church” MSS, as most people would expect, but just next to Ptolemaios, in a MS of ancient Greek music theory! This is an example of how “innocent” prospects predispose modern narrative as well as… findings.

Of the other online subclasses of Harmonica’s m-class we have 1) the E i.e., I-Vat: Gr. 186 (Math. 210, Vitrac p. 145, 13th c.), 2) the I-Vat: Pal. gr. 60 (Math. 242, Vitrac p. 165, where we see for α) the “softer of the intense diatonic” together with “equal diatonic” in the same scheme on f. 16r [like BNF gr. 2450, see below] and for β) ēchoi and enēchēmata (the intonation syllables of the ēchoi), on f. 26r in the order of Bryennios / Grēgoras) and 3) the 13th century I-Vat: Pal. gr. 95 (Math. 243, Dür. 73 13th/14th century, Pinakes [here]) of the M subclass.

[5*] Καβάλια / kavália (or καβάλλια / kavállia in Hagiopolitēs, as well as κάβαλα / kávala in other sources of Ps-D), in the edition of Ps-D a not good reading is adopted: kavála, see MS Dionysiou 570, 8r; best translation in French: chevalet (=almost a transliteration). In modern Greek something like καβαλάρηδες or better γέφυρες / περντέδες (from Ottoman-Turkish perde).

[6*] Complete, because there was plenty of space - in this initially blank page- for Pediasimos to continue to write if there was more text to add, but he didn’t. This text is not like 1) the (one) question-(one) answer material of the MS RUS-SPsc: Gr. 495, ff. 1v-4v, or 2) collections of en-ēchēmata (in-tonation formulas of the ēchoi) (here) without theoretical text, or 3) neumes material like F-Pn: Gr 260 ff. 253v or even 4) the dated 1289 F-Pn: Gr. 261 ff. 139v-140r that includes headings, and on f. 140v we have the oldest testimony - in the form of a “table”- of the widespread nomenclature of the papadikai. Here is not the place to discuss these –and more- cases (and their one by one labeling).

2.

I-Vat: Gr. 192 (Math. 215 [13th], Dür. 65 V [13th /14th], Vitrac p. 145 [second half of 13th century])

Bibliographic References and at Pinakes (here)

This is a “mathematical miscellany” stemming from the m-class that gives rise to the recension of Düring’s subclass labeled V. It seems that this MS is the immediate (not entirely in chronological terms) predecessor of Vat. gr. 191 and unfortunately, it didn’t acquire so much –and not only - paleographical attention like that until now (consider e.g., the above Bibliographic References where some 11 works are sited in relation to the 116 for the Vat. gr. 191). As far as the content there are learned scholia written within and after the Harmonica linking it to the Hagiopolitan theoretical tradition of the Greek chant. But in this case we have one personality that published such an important material of scholia. He was the French polymath Théodore Reinach (1860-1928) in his - more than a century before – “Fragments Musicologiques Inédits,” Revue des Études Grecques, Tome X, No 39, July-September 1897, pp. 313-327 (Persée). Reinach transcribed and commented the theoretical texts / diagrams found - only after - the main texts of the MS Vat. gr. 192, leaving aside the scholia within the Harmonica. I will not elaborate, for the moment, on Reinach’s work. In relation to Greek chant and Ptolemaios we have the α) on f. 201v (and f. 223 [here there is only the name of “softer of the intense diatonic,” on that, see the next MS below] i.e., two times) and the β) on f. 225v (a scheme using whole tones and leimmata and in an name-order that Bryennios’s stream inverts in an absolute manner) respectively. Terms like mesos, phthora, enēchēmata, epēchēmata and apēchēmata and a trochos like scheme on f. 227r are found.

Other online MSS of this subclass [V] of Harmonica are F-Pn: Gr. 2451 (Math. 80) and F-Pn: Gr. 2453 (Math. 82).

3.

F-Pn: Coislin gr. 173 (Math. 103 [15th], Dür. 51 [14th], see Acerbi 2016, p. 151, Vitrac p.154 [first half of 14th]) see also: Notice rédigée par Anne Lapasset, Fevrier 2015 (here) and at Pinakes (here)

On f.1 there is a possession note of the Megistē Lavra monastery at Mount Athos / Greece. Christos Terzēs in his edition of Dionysios (Athens, 2010, p. 115*) believes that the hands had not been identified (quoting Mathiesen, 1988) and that the MS is produced in Mount Athos. As far as the Harmonica the text belongs to Düring’s g-class that represents the recension of Nicēphoros Grēgoras (ca. summer 1293/June 1294 - 1358/1361 [after Divna Manolova’s Dissertation, Budapest, 2014, academia.edu]). Indeed, “concerning the musical treatises, I-Vat.: Gr. 198 [Math. 218, Vitrac p. 146] is an apograph of Paris gr. 173” (Acerbi 2016, p.160). Note among Grēgoras’s autograph scholia (Bianconi, 2005, p. 415, No 25), the partly autograph one at the beginning of Harmonica on f. 32r (B. Mondrain, “Maxime Planoude, Nicéphore Grégoras et Ptolémée,” Palaeoslavica 10, 2002, p. 321 n.26).

α) On f.58r as scholion to I.16 of Harmonica. Here Ptolemaios begins accepting that the diatonic genera in general are more familiar to hearing than the enharmonic and the soft chromatic and continues extensively with the equal diatonic genus. Then he presents some other genera and their tunings / positions in musical instruments, and finally, he “can hardly fail to accept” the ditonal diatonic (roughly saying, the one using semitones and whole tones). But, since the “equal diatonic is a logical modification [and “more even / ὁμαλώτερον”] of the intense diatonic” (Mathiesen, 2000, pp. 450-451) the scheme here, together with “equal diatonic,” gives another title - referencing the position (numbers 24 to 18) – to it, this is the “softer of the intense diatonic”; thus uses the same ratios! The naming of the equal diatonic as (and its connection to) softer (μαλακώτερον, see also in Ptolm. Harm. I.12.28ff.) of the intense diatonic, has important consequences for the use of equal diatonic in the theory and the actual musical praxis in medieval times. A variation of this scheme exists also in the next F-Pn: Gr. 2540 (and I shall transliterate that form there).

β) On f. 74v, in relation to II.10, a scheme is given with the correlations of Dōrios Phrygios etc. with the ēchoi, their enēchēmata and the four phthorai. This correlation, at first glance, is the same as the tradition of Bryennios i.e, the prōtos ēchos is placed at the highest position (Hypermixolydios). For the moment, I have not any definitive opinion if it is exactly the same system as the one of Bryennios since we know that Grēgoras’s work consisted of, more or less, a new “adjustment” of the ancient material in order “to save the phenomena.” Here is a transliterated form of that diagram:

 Picture 2

See also the trochos like schemes on ff. 110v-111r.

Other online MSS of this Grēgoras’s recension of Harmonica are: GB-Ob: Bar. gr. 124 (Math. 134), F-Pn: Coislin gr. 336 (Math. 105), and F-Pn: Gr. 2456 (Math. 86) (from [?, Math. p. 226] I-Vat.: Gr. 2365 [Math. 235]), I-Rvat: Pal. gr. 389 (Math. 245), I-Rvat: Pal. gr. 390 (Math. 246).

4.

F-Pn: Gr. 2450 (Math. 79 [14th], Dür. 42 [14th /15th], Acerbi 2016 p. 152, [about 1335], Vitrac p.157 [about 1335]) see also: Notice rédigée par Anne Lapasset, Fevrier 2015 (here) and at Pinakes (here).

According to Düring’s Harmonica edition the text of this MS belongs to the g^p-subclass that stems from the main Grēgoras’s g-class. Is this a representation of a separate choice (to the degree Düring’s classes are reliable), in relation to the text / content, of (or someone close to) him? His hand is identified in some scholia of the ff. 57r, 59r, 71v, 72v, 73r. (Pérez Martín, 2008). As far as the schemes in relation to Greek chant the α) and the β) of F-Pn: Gr. 173 are found on 32r (in a different form but “better” as for our understanding) and 53r (again in Bryennios’s order) respectively. A transliterated form of that 32r diagram is the following:

Picture 3  

See also the trochos like scheme on 89v.

Other online MSS that belong to the g^p recension of Harmonica are I-Vat: Gr. 221 (Math. 219, ēchoi, phthorai and enēchēmata on p. 106), I-Vat: Barb. gr. 265 (Math. 238, ēchoi, phthorai and enēchēmata on p. 138) that we’ve already met and note the transcription of Ismaël Boulliau (in 1656), in F-Pn: Sup. gr. 292 (Math. 111).

5.

F-Pn : Coislin gr. 172 (Math. 102 [15th], Dür. 50 [14th /15th], Vitrac [14th /15th] p.154) see also: Notice rédigée par Anne Lapasset, Mars 2015 (here) and at Pinakes (here).

It is somewhat posterior to the aforementioned F-Pn: Coislin gr. 173, but this time its Harmonica, according to Düring, belongs to his f-class stemming from D-Mbs: Cod. gr. 361a (Math. 22 [13th-16th], Dur. 28 [13th-16th], see Vitrac p. 153, Acerbi-Gioffreda 2019 Mo, [2nd half of 13th century] p. 659). Again, is this a representation of one more separate choice, in relation to the text / content, of (or someone close to) Grēgoras? The relative scheme of α) is found on f. 13r (with no reference to “softer of the intense diatonic”). Note the diagrams on ff. 17r-18v on dynamis and thesis phenomena in relation to Ptolem. Harm. II.5-6.

There is another online MS that belongs to f-class the I-Vat: Barb. gr. 257 (Math. 237).

6.

I-Vat: Gr. 187 (Math. 211 [14th], Dür, 61 [14th], Vitrac [14th] p. 145)

Bibliographic References and at Pinakes (here)

This is a MS that represents the circle of the monk Barlaam the Calabrian as the I-Vat: Gr. 196 (Math. 217 [14th], Dür, 66 [14th], Vitrac p. 146 [14th]) and F-Pn: Gr. 2452 [Math. 82]). Note the diagrams on ff. 32r, 34v and 35r on thesis and dynamis phenomena in relation to Ptolem. Harm. II.5-6.

7.

I-Vat: Gr. 176 (Math. 208 [14th], Dür. 58 [14th], Vitrac [14th] p. 145)

Bibliographic References, and Pinakes (here).

Acerbi (2016, p. 173) notes: “A further recension of Harmonica was redacted by Isaac Argyros, whose fair copy is preserved (but recall that Argyros was used to correct in scribendo) in the autograph Vat. Gr. 176, ff. 101r-159v.” It is the A-subclass of Grēgoras’s g-class but this time “favoring the readings of the f-class” (Mathiesen 2000, p. 431).

The other online MS that belong to the same reduction of Harmonica is the F-Pn: Sup. gr. 449 (Math. 114).

8.

F-Pn: Sup. gr. 1101 (not in Math., A. Gastoué 70 [14th]) See a description (here) and Pinakes (here)

The MS contains mainly the early translations of Maximos Planoudēs into Greek of Boethius’s, De Consolatione Philosophiae, Cicero’s, Somnium Scipionis and Macrobius’s Commentary on it and other material. But importantly enough for us, at the last folia, there are music related schemes on 162r, 163v, 164r and 165v. Also another small music related scholion on 137r. On 162r we see the correlation of ēchoi with the Dōrios Phrygios etc. in the order of Bryennios / Grēgoras (ie. prōtos ēchos placed in the position of Hypermixolydios) and a trochos like diagram; compare it with two small schemes in the later F-Pn: Gr. 2339 f.59v. On f. 163v there is a scheme of the 7- and 8-stringed lyres of Hermēs (or Orpheus in other MSS) and Pythagoras respectively. See them in F-Pn: Gr. 2339 f. 60v, and, together with Bryennios’s MSS, on f. 47r of Pachymerēs’s aforementioned autograph I-Ra: Gr. 38).

A note on modern classifications and vocabularies

Indeed, why 20th century people didn’t “see” all this set of sources of Ptolemaios with their relative to Byzantine chant material and why the studies for chant wasn’t so decisive as the other disciplines (especially for the medieval Greek MSS on mathematics, see Vitrac, 2019, 6.B, p. 48 and 7.B, p. 59)? A possible answer of mine is already known to the list of Μ.Μ.: “we” “see” only what we have pre-theorized to see or more simply, when two people look at the same direction (and set of things) they do not acknowledge (and taxonomize) the same phenomena, although ‘all of them’ are there. Think of the results if they look at different directions….

And some final notes on the grand narrative of the society, the time and our vocabulary remembering Christian Troelsgård’s, “Ancient Musical Theory in Byzantine Enviroments,” Cahiers de l’Institute du Moyen-Âge Grec et Latin 56 (1988), (here) in p. 229 where he writes: “On the other hand we find an increasing interest [7*] in copying, exerpting and commenting on the remains of ancient theory [are we sure that there wasn’t an – perhaps even more – “increasing interest” before?]. It is an accepted fact that these activities were centered around two different milieus in Byzantine society, the church [7*] on the one side and the scholarly circles of quadrivial study [7*] on the other. But I think there are some very important points or area of contact and interaction between these milieus.” And also, in the concluding p. 237, he speaks of “… the interaction between the two hemispheres [7*] of the musical culture of Byzantium. They imply that the Byzantines took a far more active and dynamic interest in the ancient musical theory than usually accepted.”

In my view, and after what we saw here, we can speak of an even far more active and dynamic interest in the ancient Greek theory and this, not only because we added the Harmonica, the main sholiated treatise in relation to chant.

But as it becomes obvious, the issue isn’t exactly the potential infinite discussions (past or future) on a degree of interaction of “two” domains. All these medieval theoretical constructions in this kind of sources are related to the everyday ecclesiastical music of the ordinary – differentiating, case by case, on degree of knowledge- faithful people (and psaltes). In contrast with other branches of knowledge, like Geometry or Arithmetic (with problems that sometimes still a modern wo/man, can’t understand), the ecclesiastical music circles or “parties” of people (recorded by the sources [remember the “many people” / πολλοì of Bryennios]), give us an idea about our narrative on the structure of that world. These intellectuals weren’t debating as isolated personalities because, among others, they had a vision about their society as a whole. I ask and explain: in our mind, where do we have to place an intellectual? Over, next to, in parallel or among ordinary people? Especially if we remember the other similar ecclesiastical case of theological debates among highly educated people (we met some of them already above) like Barlaam, Grēgoras, and others, not music related figures, like Grēgorios Palamas etc. who were also supported by their (larger or smaller) circles or “parties.”

Last but not least, referring to the current vocabulary (I will not criticize, for the moment, nation-centered vocabularies here in Greece) used on music related issues of the time: a generalized view of “church” and “scholarly circles of quadrivial study” would be misleading [8*] since a lot of the personalities (belonged to all the theoretical streams) we are dealing of were highly educated clerics, monks etc. And again, we have the same problematic with the “theoretical hemispheres.” In which MSS, who is theorizing, at what music(s) exactly? Are there more than two interacted “spheres” (including their “middle grounds,” a] and b], as I described them in my above given paper, pp. 217-218), thus not “hemispheres,” that we have to use in the narrative of the earlier or later medieval chant?

[7*] This is not a comment on what (and when) meant by “increasing interest,” “scholarly circles of quadrivial study,” “church” etc. as I have no intention to interfere in any kind of interpretation of “what the X scholar means,” but I make use of this quotation in order to express my skepticism – separately- on the use of certain terms.                 

[8*] Giving room even to potential polarization and not interaction, in other words, this could be a case of ‘glass half empty and glass half full’ within the same proposition.

MORE SELECTED BIBLIOGRAPHY

Acerbi, Fabio. “Funzioni e modalità di transmissione delle notazioni numeriche nella trattatistica mathematica Greca: Due esempi paradigmatici.” Segno e Testo 11 (2013). (academia.edu)

----------------. “Byzantine recensions of Greek mathematical and astronomical texts: A survey.” Estudios Bizantinos 4 (1016). (academia.edu)

Bianconi, Daniele. “La biblioteca di Cora tra Massimo Planude e Niceforo Gregora. Una Questione di mani.” Segno e Testo 3 (2005).

----------------.“La controversia palamitica. Figure, libri e mani.” Segno e Testo 6 (2008). (academia.edu)

Düring, Ingemar (ed). Die Harmonielehre des Klaudios Ptolemaios. Göteborg, 1930.

Gastoué, Amédée. Catalogue des manuscrits de musique Byzantine de la Bibliothèque de Paris et des Bibliothèques publiques de France. Paris, 1907. (Archive.org)

Mathiesen, Thomas. Ancient Greek Music Theory. A catalogue raisonné of manuscripts (RISM, B XI). München, 1988.

---------------. Apollo's Lyre : Greek music and music theory in antiquity and the Middle Ages.Lincoln and London, 2000.

Mondrain, Brigitte. "Les écritures dans les manuscrits byzantins du XIVè siècle." Rivista di Studi Bizantini e Neoellenici (2008).

Pérez Martín, Inmaculada, “El estilo Hodegos y su proyección en las escrituras constantinopolitanas.” Segno e Testo 6 (2008). (academia.edu)

----------------. “L’ecriture de l’hypatos Jean Pothos Pédiasimos d’après ses scholies aux Elementa d’ Euclide.” Scriptorium 64 (2010). (Persée) and (academia.edu)

Ruelle, Charles-Émile. Études sur l’ancienne musique grecque. Paris, 1875. (BSBdigital)

Turyn, Alexandrer. Codices Graeci Vaticani saeculis XIII et XIV scripti annorumque notis instructi. Citta del Vaticano, 1964.

Vincent, Alexandre Joseph Hidulphe. Notice sur divers manuscrits Grecs relatifs à la musique. Paris, 1847. (Gallica)

Vitrac, Bernard. “Quand? Comment? Pourquoi les textes mathématiques grecs sont-ils parvenus en Occident?” (academia.edu), April 2019, accessed 29 November 2019.

Wolfram, Gerda – Hannick, Christian (eds). Die Erotapokriseis des Pseudo-Johannes Damaskenos zum Kirchengesang. Vienna, 1997.

THE ONLINE GREEK MANUSCRIPTS OF ANCIENT MUSIC THEORY

The links of the online MSS that has relation to the Harmonica of Claudios Ptolemaios are given above, together with a small description of some of them, since this is the treatise that medieval Greek speaking theorists scholiated the most in connection to chant theory. The other online MSS of ancient Greek musicographers I have located so far are the following (the MSS links that have already given in the above text are just referred to below with no link):

AUSTRIA

Wien, Österreichische Nationalbibliothek

A-Wn: Cod. Phil. gr. 64 (Math. 2), A-Wn: Cod. Phil. gr. 176 (Math. 5, Vitrac p.194).

GERMANY

Heidelberg, Universitätsbibliothek

D-Heu: Cod. Pal. gr. 281 (Math. 14), D-Heu: Cod. Pal. gr. 415 (Math. 15).

Leipzig, Universitätsbibliothek

D-Leu: Rep. I 2 (Math. 39).

München, Bayerische Staatsbibliothek

D-Mbs: Cod. gr. 104 (Math. 17, Vitrac p.179), D-Mbs: Cod. gr. 301 (Math. 21, Vitrac p.180), D-Mbs: Cod. gr. 385 (Math. 23, Vitrac p.180), D-Mbs: Cod. gr. 403 (Math. 24, Vitrac p. 180), D-Mbs: Cod. gr. 418 (Math. 25), D-Mbs: Cod. gr. 487 (Math. 26).

Wolfenbüttel, Herzog August Bibliothek

D-W: Cod. Guelf. 3 Gud. gr. (Math. 29, Vitrac p.195).

SPAIN

Madrid, Bibliotheca Nacional

E-Mn: Gr. 4621 (Math. 57, together with C. Laskarēs the codex has a relation to Sultan Cem), E-Mn: Gr. 4625 (Math. 58), E-Mn: Gr. 4678 (Math. 59), E-Mn: Gr. 4690 (Math. 60), E-Mn: Gr. 4692 (Math. 61).

FRANCE

Paris, Bibliothèque Nationale de France, Fonds Grec

F-Pn: Gr. 1671 (Math. 66), F-Pn: Gr. 1672 (Math. 67), F-Pn: Gr. 1806 (Math. 68, Vitrac p.185), F-Pn: Gr. 1819 (Math. 70, Vitrac p.185) F-Pn: Gr. 1820 (Math. 71, Vitrac p.185), F-Pn: Gr. 2013 (Math. 72), F-Pn: Gr. 2014 (Math. 73, Vitrac p.185), F-Pn: Gr. 2379 (Math. 74, Vitrac p.188), F-Pn: Gr. 2381 (Math. 75), F-Pn: Gr. 2397 (Math.-, Vitrac p.188) F-Pn: Gr. 2430 (Math. 77, Vitrac p.188), F-Pn: Gr. 2449 (Math. 78), F-Pn: Gr. 2450 (Math. 79), F-Pn: Gr 2451 (Math. 80, Vitrac p.188), F-Pn: Gr 2452 (Math. 81, Vitrac p.188), F-Pn: Gr 2453 (Math. 82, Vitrac p.188), F-Pn: Gr. 2454 (Math. 83, Vitrac p.188), F-Pn: Gr. 2455 (Math. 84), F-Pn: Gr 2456 (Math. 85, Vitrac p.188), F-Pn: Gr. 2458 (Math. 87), F-Pn: Gr. 2459 (Math. 88, Vitrac p.188), F-Pn: Gr. 2460 (Math. 89, Vitrac p.188), F-Pn: Gr. 2461 (Math. 90, Vitrac p.157), F-Pn: Gr. 2462 (Math. 91), F-Pn: Gr. 2463 (Math. 92), F-Pn: Gr. 2464 (Math. 93), F-Pn: Gr. 2531 (Math. 94, Vitrac p.189), F-Pn: Gr. 2532 (Math. 95), F-Pn: Gr. 2533 (Math. 96), F-Pn: Gr. 2534 (Math. 97), F-Pn: Gr. 2535 (Math. 98, Vitrac p.188), F-Pn: Gr. 2549 (Math. 99), F-Pn: Gr. 2622 (Math. 100), F-Pn: Gr. 3027 (Math. 101, Vitrac p.190).

Paris, Bibliothèque Nationale de France, Fonds Coislin

F-Pn: Coislin 172 (Math. 102), F-Pn: Coislin 173 (Math. 103), F-Pn: Coislin 174 (Math. 104, Vitrac p.154), F-Pn: Coislin 336 (Math. 105, Vitrac p.185).

Paris, Bibliothèque Nationale de France, Fonds Supplément Grec

F-Pn: Sup. gr. 20 (Math. 106), F-Pn: Sup. gr. 59 (Math. 107, Vitrac p.190), F-Pn: Sup. gr. 160 (Math. 108), F-Pn: Sup. gr. 195 (Math. 109, Vitrac p.190), F-Pn: Sup. gr. 213 (Math. 110, Vitrac p.190), F-Pn: Sup. gr. 292 (Math. 111, Vitrac p.190), F-Pn: Sup. gr. 335 (Math. 112, Vitrac p.190), F-Pn: Sup. gr. 336 (Math. 113, Vitrac p.190), F-Pn: Sup. gr. 449 (Math. 114, Vitrac p.190), F-Pn: Sup. gr. 450 (Math. 115, Vitrac p.190), F-Pn: Sup. gr. 1101 (Math. -).

GREAT BRITAIN

London, British Library

GB-Lbm: Harley gr. 5691 (Math. 128), GB-Lbm: Additional 19353 (Math. 130, Vitrac p.175).

Oxford, Bodleian Library

GB-Ob: Barocci gr. 41 (Math. 133, Vitrac p.182), GB-Ob: Barocci gr. 124 (Math. 134, Vitrac p.182).

Oxford, Magdalen College Library

GB-Omc: Magdalen Col. gr. 12 (Math. 150), GB-Omc: Magdalen Col. gr. 13 (Math. 151, Vitrac p.184).

ITALY

Bologna, Biblioteca Universitaria

I-Bu: Gr. 2048, v.1 (Math. 154, Vitrac p.162), I-Bu: Gr. 2048, v.2 (Math. 155, Vitrac p.162), I-Bu: Gr. 2048, v.5 (Math. 156, Vitrac p.162), I-Bu: Gr. 2280 (Math. 157, Vitrac p.162), I-Bu: Gr. 2432 (Math. 158, Vitrac p.162), I-Bu: Gr. 2700 (Math. 159).

Firenze, Biblioteca Medicea Laurenziana

I-Fl: Ms Plut.28.11 (Math. 160), I-Fl: Ms Plut.28.12 (Math. 161), I-Fl: Ms Plut.56.1 (Math. 162), I-Fl: Ms Plut.58.29 (Math. 163, Vitrac p. 151), I-Fl: Ms Plut.59.1 (Math. 164), I-Fl: Ms Plut.80.5 (Math. 165), I-Fl: Ms Plut.80.21 (Math. 166), I-Fl: Ms Plut.80.22 (Math. 167), I-Fl: Ms Plut.80.30 (Math. 168), I-Fl: Ms Plut.86.3 (Math. 169).

Napoli, Biblioteca Nazionale

I-Nn: Gr. 261 (f. 53r, Math. 202, Vitrac p. 153).

Roma, Biblioteca Angelica

I-Ra: Gr. 35 (Math. 205), I-Ra: Gr. 101 (Math. 206).

Citta del Vaticano, Biblioteca Apostolica Vaticana

I-Rvat: Gr. 139 (Math. 207), I-Rvat: Gr. 176 (Math. 208), I-Rvat: Gr. 186 (Math. 210, Vitrac p. 145), I-Rvat: Gr. 187 (Math. 211), I-Rvat: Gr. 191 (Math. 214), I-Rvat: Gr. 192 (Math. 215), I-Rvat: Gr. 196 (Math. 217), I-Rvat: Gr. 198 (Math. 218), I-Rvat: Gr. 221 (Math. 219, Vitrac p.166), I-Rvat: Gr. 1013 (Math. 221), I-Rvat: Gr. 1033 (Math. 222), I-Rvat: Gr. 1048 (Math. 225, Vitrac p.167), I-Rvat: Gr. 1060 (Math. 226), I-Rvat: Gr. 1364 (Math. 230, Vitrac p.167), I-Rvat: Gr. 1374 (Math. 231), I-Rvat: Gr. 2338 (Math. 234), I-Rvat: Gr. 2365 (Math. 235, Vitrac p.168), I-Rvat: Barb. gr. 257 (Math. 237), I-Rvat: Barb. gr. 265 (Math. 238, Vitrac p.164), I-Rvat: Barb. gr. 278 (not in Math.), I-Rvat: Ottob. gr. 372 (Math. 237), I-Rvat: Pal. gr. 53 (Math. 241), I-Rvat: Pal. gr. 60 (Math. 242, Vitrac p.165), I-Rvat: Pal. gr. 95 (Math. 243), I-Rvat: Pal. gr. 303 (Math. 244, Vitrac p.165), I-Rvat: Pal. gr. 389 (Math. 245, Vitrac p.165), I-Rvat: Pal. gr. 390 (Math. 246, Vitrac p.165), I-Rvat: Pal. gr. 392 (Math. 247), I-Rvat: Reg. gr. 80 (Math. 248), I-Vat: Ross. 977 (Math. 253, Vitrac p.165), I-Vat: Ross. 986 (Math. 254), I-Vat: Urb. gr. 78 (Math. 256, Vitrac p.166), I-Vat: Urb. gr. 99 (Math. 257).

Venezia, Biblioteca Nazionale Marciana

I-Vnm: Gr. app. cl. VI/3 (coll. 1347).

SWEDEN

Uppsala, Universitetsbiblioteket

S-Uu: Gr. 45 (Math. 292, Vitrac p.193), S-Uu: Gr. 47 (Math. 293, Vitrac p.193), S-Uu: Gr. 52 (Math. 294, Vitrac p.193).

UNITED STATES

New Haven, Connecticut, Yale University, Beinecke Rare Book and Manuscript

US-NHub: MS 208 (f.30v, Math. 295)

EGYPT

Mount Sinai, St. Catherine’s Monastery

EG-MSsc: Gr. 1764 (Math. 299).

Additionally, a small collection of online MSS of BNF that include medieval music theory (some of them referred to in Vincent [1847]) is given below although I didn’t include, for example, all the Pachymerēs, Pediasimos etc. music related MSS. All these MSS need a fresh look together with the similar MSS of other libraries.

F-Pn: Gr. 2338, F-Pn: Gr. 2339, F-Pn: Gr. 2340, F-Pn: Gr. 2341, F-Pn: Gr 2448 see Notice rédigée par Anne Lapasset Mars 2015 (here) and (Pinakes), F-Pn: Gr. 2536, F-Pn: Gr. 2762 see: Notice rédigée par Morgane CARIOU (here) and (Pinakes).

And also: F-Pn: Gr. 1810 see: Notice rédigée par Jocelyn Groisard (novembre 2008) (here), F-Pn: Sup. gr. 51.

Eric Werner's famous and classical studies about the way, how Christian chant developed out of Synagogal chant is available online. The book has a detailed general index (names, places and terms), a huge glossary, and a scriptural index. The study was many times reviewed and discussed still decades after its publication in 1959 (see tag "Tropologion” within the Byzantine group).

Dear colleagues,

Would someone be interested to contribute to a session concerning a comparative study of Paleofrankish neumes between

East and West ? 

Comparing melodies for Mass or Elder Historiae from 9th c. (for ex. s. Dionysius) between french western sources like Soissons (BnF lat. 15614) or Nevers with german ones (Düsseldorf) could confirm the hypotheses defended by Wulf Arlt 9 years ago in Royaumont…  

Don't hesitate to contact me, in the aim to reach a group of 3 or 4 papers...

Deadline 31st oct.

Truly yours

Jean-Fr. Goudesenne

 Soissons_notateur_pal%C3%A9ofranc_All_Nonne_cor_BnF_lat_15614_f.226_Missel_de_S_M%C3%A9dard_de_%5B...%5D_btv1b90680985.jpg

Chers membres du Réseau Musicologie Médiévale,

Le 2 août dernier, je me suis permis de faire appel à votre générosité pour le maintien du réseau Musicologie Médiévale et pour le travail qui en est fait quotidiennement ainsi que pour MMMO (voir l’annonce).

Je remercie encore une fois ceux qui ont déjà répondu à notre premier appel et en particulier ceux qui nous sont fidèles tous les ans.

Seulement vos dons peuvent aider la réalisation de mes travaux que je partage en continu pour vous tous :
-MMMO commence à prendre un peu de place dans Cantus-Index

http://cantusindex.org/id/g00489 

-Régulièrement je vous informe des découvertes importantes, notamment en nouvelles sources polyphoniques, comme ces nouvelles sources de motets 
New c13th polyphony in Klagenfurt for Pentecost  

New 13th C. motets in Portugal - Las Huelgas and Firenze concordances

-Je vous présente aussi régulièrement de nouvelles source de notation primitives 

Surrexit, non est hic ! (very early aquitaine notation)

Notation de Nonantola : 3 nouvelles petites sources (en-ligne)

Tout ce travail de recherche représentes un nombre toujours grandissant d'heure de travail...

Si vous désirez encore soutenir « Musicologie médiévale » et MMMO, vous pouvez m’envoyer un versement via PayPal à l'adresse suivante: domgatte@gmail.com. Si vous ne disposez par de comte Paypal, vous pouvez faire un virement bancaire :

Aussi, vous pouvez envoyer un chèque à adresser à mon nom (Dominique Gatté) à l’adresse suivante :

Dominique Gatté
4, La Touche Larcher
56800 Campénéac

Je vous remercie d’avance pour votre générosité  !

Amicalement,

Dominique Gatté