Dear Aaron,
I think providing one form per neume is pretty reasonable for most
purposes, though it might be useful to have hooks in the code to somehow
indicate "alternate form", with the understanding that it would have to
be added to the font as well
Sure. Can you tell me what you think of the "Ambitus" paragraph of
http://gregoriochant.org/dokuwiki/doku.php/gregowiki:language ?
Idem: just one form or 4*4*4 with the ambitus?
The climacus, in my experience, is a very static shape, the steps are
always single pitches so there aren't that many variations and no
interval differences to worry about
Ok.
Also, did you count the episemus in your key neumes?
It would take a scholar more familiar with the work then I, but I think
nearly every neume has some sort of liquescent form. There are also
looped forms of some notes, which are weird enough to have meaning, but
I don't think we always know what. (see
http://www.wiglaf.org/aaronm/travel/LondonRome2012/Organized/Manuscripts/tn/Benevento-Benevento%20Cathedral-9.jpg.html
looking over "in me")
Ok.
On the other hand, I don't know of episemus in Beneventan notation
Ok!
One thing that might help is that in my limited experience the truely
bizarre neumes are NOT in the gregorian repertoire but in the Old
Beneventan Chant.
Oh, this changes everything!
It would take some work with the facsimiles, but the
actual set of all Beneventan Neumes used for gregorian chants might be
somewhat smaller then all possible neumes.
That's a highly valuable information. It might be a good idea to
double-check with an expert (do you know any?) if you're not sure, but
it's very good!
Anyways, having Gregorio able to draw facsimile of Beneventan chant
would be an interesting task, but let's start by simple things!
As for font design, I would say pick one manuscript and base on that,
rather then trying to make an "ideal" font
Absolutely agreed. The question is how to chose the manuscript and thus
the font? Do you have a personal preference? You seem to know many
things on the topic so you certainly have an idea? Reading Paléographie
Musicale XV (p. 154), the middle notation of the second half of XIth and
XIIth century seem the most adapted, but I have absolutely no experience
on this topic. What do you think? Sister Maria, maybe you have an
opinion on this?
Thank you,
--
Elie
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