Transcribing the Beneventan chant

2010 ◽  
Vol 19 (2) ◽  
pp. 139-167 ◽  
Author(s):  
Matthew G. Peattie
Keyword(s):  
Systematic Overview ◽  
Comparative Examination ◽  
Staff Line

ABSTRACTThe Beneventan Mass Propers are preserved in sources that are notated, for the most part, in campo aperto – without staff lines or clefs to indicate the pitch or placement of the semitone. Despite the absence of pitch-specific notation, it is possible to discern a great deal about the pitch of the Beneventan chant and to propose verifiable transcriptions. This article provides a systematic overview of the pitch placement of the Beneventan repertory through a study of the formulaic structure of the chant and through a comparative examination of the small number of exemplars of Beneventan chant notated on a staff line.

scholarly journals HMM-based writer identification in music score documents without staff-line removal

2017 ◽  
Vol 89 ◽  
pp. 222-240 ◽  
Author(s):  
Partha Pratim Roy ◽  
Ayan Kumar Bhunia ◽  
Umapada Pal
Keyword(s):  
Writer Identification ◽  
Music Score ◽  
Staff Line

Old Beneventan Melodies in a Breviary at Naples: New Evidence of Old Beneventan Music for the Office

2012 ◽  
Vol 29 (3) ◽  
pp. 239-261
Author(s):  
Matthew Peattie
Keyword(s):  
Eighth Century ◽  
Musical Style ◽  
Divine Office ◽  
Modal Properties ◽  
History Of ◽  
New Evidence ◽  
The City ◽  
The Church ◽  
Staff Line

This article discusses previously undocumented examples of music for the old Beneventan divine office in a manuscript housed in the Archivio Storico Diocesano in Naples (Cod. Misc. 1, fasc. VII). The breviary, which was copied at the scriptorium of Santa Sofia, Benevento, in 1161, transmits two unica—canticle antiphons for the feast of St. Mercurius—in Beneventan style. It also preserves a Beneventan-style antiphon for the Holy Twelve Brothers of Benevento that is not transmitted in previously published sources of Beneventan chant. The discovery of music in Beneventan style for St. Mercurius is of importance to the history of the old Beneventan rite, as it attests to the continued production of the distinctive formulaic style of the Beneventan rite into the later eighth century. The relics of Mercurius, a military saint of Byzantium, were enshrined at the altar of Santa Sofia at Benevento in 768, and Mercurius was adopted as patron of the court, the church of Santa Sofia, and the city of Benevento. Despite the establishment of the cult of St. Mercurius in the second half of the eighth century, until now no musical record has indicated the presence of old Beneventan music for this feast (there is no extant Beneventan mass proper for Mercurius, and the documented sources for the divine office preserve only Romano-Beneventan or neo-Gregorian-style music). I consider the St. Mercurius antiphons within the context of the musical style of the old Beneventan rite and argue that they should be included in the Beneventan canon on the basis of musical style. As pitch-specific exemplars of the distinctive formulaic style of the Beneventan chant, this source is of particular value to the study of Beneventan pitch and modality. Notated in fully heightened Beneventan neumes on a staff line, these antiphons are among the few surviving witnesses of the old Beneventan repertory that preserve the distinctive modal properties of the repertory in pitch-specific notation. I introduce the music of these antiphons and consider their importance as witnesses to the continued production and copying of Beneventan music from the late eighth to the twelfth centuries.

Staff-line Removal for Music Score Images using U-net

2020 ◽  
Vol 26 (1) ◽  
pp. 26-31
Author(s):  
Minh Tran Trieu ◽  
GueeSang Lee
Keyword(s):  
Music Score ◽  
Staff Line
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