List of Illustrations          ix
List of Music Examples          xi
List of Tables          xiii
Foreword          xv
Preface          xvii
Manuscript Sigla Used in Tables and Examples          xxi
Other Manuscripts Mentioned          xxiii

1 Toward a Universal Theory of Neumes          3

     Fundamentals          3
     Political, Ecclesiastical, and Musical Connections between Rome and Constantinople in the Sixth, Seventh, and Eighth Centuries          6
     Connections between Byzantine and Middle Latin Music Theory: The Twelve Mode System          8
     Matters of Terminology: neumae, neumata and notae, semadia, tonoi and mele: The Theory of Neumes as a Facet of Paleography and of the Theory of
          Musical Figures          10
     Cheironomy in the West and East          12

2 Byzantine Notations          17

     Characteristics of Byzantine Music          17
     Repertory and Stylistic Diversity of Byzantine Church Music in the “Classical” Period (Tenth to Thirteenth Centuries)          18
     Systems and Stages of Byzantine Notation          19
     Prosodic Signs and Ekphonetic Notation          20
     Characteristics of Chartres and Coislin Notation          24
     Hagiopolitan Classification of the Neume Repertory          25
     Toward a Systematic Classification of the Neume Repertory          27
     Stages of Paleobyzantine Notations          30
     The System of Middle Byzantine Notation          38
     The Modal System of Byzantine Church Music: The Intonation Formulas (echemata) and the martyriai          42
     The Transcription of Adiastematic Neumatic Notation: Parallel Transcriptions and Transcriptions in campo aperto          46

3 Early Slavonic Notations          49

     Synopsis          49
     Views about Sematic Notation prior to 1960          51
     Adaptation of Church Slavonic Texts to Original Greek Melodies          53
     Deciphering Sematic Notation: Parallel Transcriptions and Transcriptions in campo aperto          57
     Views about Kondakarian Notation prior to 1963          63
     Deciphering Kondakarian Notation          65

4 Latin Neumes          73

     The Age of Latin Neumes          73
     Notations without Lines: Adiastematic and Diastematic Neumes          74
     Neumes on Lines          86
     Square Notation and Gothic Notations          87
     The Chant Notation of the Vatican Edition          89
     Names of the Latin Neumes          90
     Classification of Latin Neumes          95
     Simple Neumes           97
     Compound Neumes          98
     Ornamental Neumes          104
     Liquescent Neumes          111
     Significative Letters          113
     Families of Neumes: “Accent” Neumes, “Point” Neumes and “Mixed” Neumes          120
     A Topography of Neumes          122
     Characteristics of Various Regional Notations          124
     The Origin of the Neumes          127
     Recent Publications on Neumatic Notation          131

5 Cheironomy and Music Notation          141
     by Neil K. Moran

Selected Bibliography          153
Index          167