At 6:09 PM -0600 11/9/07, Noel Stoutenburg wrote:
To my comment,
Of course, it should be remembered too, that with Hildegard's music, both modern notation AND square notation are anachronisitic, as when she was writing, neither notation system had yet been systematized.

John Howell wrote:

You're suggesting that Guido's notation, developed in the first third of the 11th century, was unknown in the Germanic Kingdoms in the middle of the 12th?

to which I would respond, that no, I was not suggesting that Hildegard was unfamiliar with Guido's notation, but rather that the system of rules applying to square notation as we know them today, is a more recent, and most likely, different, system of organization than existed in her time. In other words, I was not suggesting that Hildegards music was not notated, but rather like round, five line notation, it very likely used very different customs and perhaps different signs (or the same sign to mean different things) than we use now, just as is true of round notation, where the way a contemporary reader would perform the music might be different than a contemporary performer reading from a score of Victoria (to name an example).

Thank you , Noel, and I can understand what you're saying. But since Guido appropriated the very neumatic shapes that had been in use for a couple of centuries previously, and simply regularized them graphically, I don't really see why there would have been much ambiguity. In fact the whole point of his innovations was to remove ambiguity so that something composed in Arezzo and copied in Milano could be accurately read in Munich! (If you knew his system, of course, but according to the infallible Wikipedia his "Micrologos" was the 2nd most copied and recopied ms. of the middle ages right after the works of Boethius.)

John


--
John R. Howell
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
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