Farfel Notebook 02: Leaves 065-134

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Today, after a long evolution, the melodies of Gregorian Chat, which are contained within the diatonic scale C (n Ut) to B, are noted on a 4 line staff. The lines are counted from the bottom to teh top. The c-clef is placed on the 2nd, 3rd or 4th line + the F-clef is placed almost always on the 3rd line Gregorian notation has 4 signs for rests: the diviso major at the end of a phrase; the diviso minor; the minima; + at teh end of a piece fo finalis. The custos stands at the end of each line of music + indicates the first note of the next line.

note quadrants - developed from the punctum + which from the 13th C or opened from Italy + supplanted other systems. Roman + Germanic Notation - the former subtle differentiation is sacnificed in this change to square notation, so that from the 13+14 centuries on, there are in effect only 2 basic forms of Gregorian notation: the Roman to its Latin nota quadrata; + the Gothic, to its Germanic, originally cursive form which was subsequently supplanted by the coarser "Huntnagel" nemmes. The nota quadrata forcees its entry indirectly into the Germanic-Gothic regions through the choir books of the various monastic orfers especially the Franciscans, which existed in all countries.

Hymnuinm Cistercian in - 8", 1909 Impaim. de la Treppe de Westmalle, Gothic notation is the latest of the distinctive neumatic styles. It originated in the 14th C as a derivative of the Messine notation, the Hufnagal shape of the virga being a German version of the Messine "swallow" Hufnagel type of plaimouny notation found in German + Eastern European manuscripts of the 13-16th C. Developed from the early neumatic notation of the St Fall + southern Germany.

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4 line staff - customarily employed for ecclesiastical chant (Mass) as opposed to the 5 1. staff customary for other music - became widespread in the 12 c. - the vital link between the music of the Middle Ages + the Renaissance is that found in England in the early 15th c. "Sumer Is Icumen In" - one of the most celebrated of all mediaeval musical compositions. - In the 11th c Guido d'Arezzo advocated the use of colored lines on or in the stave to serve as clefs but also used the lettering system which quickly became the usual method. The pitches F + C were 1st represented because they stand above a semitone which it is important to identify. The signs for B flat + B natural were also used. Not until the 15th c did the G clef become common. Other letters such as D + A appear less often.

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76 June 78 Madliger-Schwab Zurich $20.73=40F Psalterium Latino Germanicum Augusburg: Enherd Ratdolt [inserted] (1486-1522) [end inserted] 1499. p. LIIII Ps lxxxi-lxxxii (82+83) Ref: Goff P.1068 BMC II 390 Hain 13511 Cop: HEHL; Hmv Cl. LC Polain (B) 3275 Pr 1914 #(95536) my leaf g6 (of 8) Quanto, 126 leaves, 15-124 numbered I-CX 2 vol. in register 44 lines of German translation 167x124mm; 27 lines of Latin text, 151 mm. 13 woodcut initials (3 repeat) Types 180, Latin title + headings in calendar; 112, Latin text, calopdon; 104 foliation; 92 German title; 76 German text, calendar + register; 61 (?) letters, numbering verses. Ratdolt also printed this same Psalter in 1494 HC 13510 The German translation is printed in the outer + lower margins Enhard Ratdolt had been invited by Bishop Johann von Werdemberg of Augusburg to return from Venice to his native city + undertake the production of service books for the diocese. He arrived in 1486 - worked on into the 16th C + died in 1527 or 8. E. Ratdolt had been drawn to Venice where he printed a number of handsome books from 1476 to 1486, including the 1st edition of Euclids Elementa Geomitriac in 1482. He introduced decorative woodcut borders + initial letters, among other importatnt contributions, both mechanical + antistic, including the 1st seperate title page. 4th edition of the Psalter in Latin + German, the 2nd by Ratdolt. The Psalms end on fol XCVI (m8) + are followed by the Canticles, Catholica Fides etc. -a page for page reprint of Ratdolt's previous edition of 1494 and in the same type. [margin] Fairfax Mussay #346 [end margin] Type 112 - Gothic large text + heading Type. Haebla M93 Has extra forms of many letters at 1st - the Type presents a very different appearence at different stages. 76 - Gothich text type of a very common Venetian form + size. also used at Venican.

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[inserted] from Haebler [end inserted] Enhard Ratdolt was orn at Augusburg about 1447. From 1474 he settled in Venice + with German partners he established a press in 1476 which from 1478 till 1486 he managed alone. The bishops Johann von Wendenberg + Fridrich von Hohenzollern having begged him several Times to settle in Augsburg, he at last complied to thier request All the Types Ratfolt uses are of his own design. His Types without exception are not imitated from manuscript models byt are more or less closely connected to the types of other presses; + of course Ratdolt's types are almost exclusively cut after Italian models. -Augsburg (1486-1527) missals, breviaries + clerical books of [inserted] Z1008 B58I No. 1 Ref. [end inserted] the diocese which issued from his press during the next 20 yrs innane profusion. He brought back to Augsburg to him many of this woodcuts + initial letters + he produced fresh editions of most of the works which had first seen the light at Venice. His printing was hence foreward mostly in Gothic type + certain of his works lack the care + finish bestowed upon all that he did at Venice. With the possible [?u?] caption of the Gospels the most popular book of the Bible in the middle ages was the Psalter. It enhoyed supreme popularity from the 8th C onward + was only superseded by the Book of Homs in the Latin West during the 14th C.

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