1 (Ars Antiqua) 14 (Ars Nova) 13 1160 1260 13 < > (Franco vn K ln, 1250-1280 )< >(Petrus de Cruce, 13 ), 12,, 150,,,, (Modal notation) (ligature),,,,, 13, < > < >, 13 14 1 < > (Franconian notation) < >, < > 1280 (Ars cantus mensurabilis),,, 1 )
20 <> (duplex longa), (longa), (brevis), (semibrevis),, <>, 1 : (1 ) [1] <>,,, (brevis recta) (brevis altera),, <>, (Sqare Notation) (conjunctura, ) 13, <> 1/3 2/3, 1/3, 2/3, <> : 1) '(signum perfectionis) (2 ae) 2), (2 b) 3),,,,, (2 c) 1 4),, (2 d) ) 1275 < >(Dietricus)1/2 < >(Magister Lambertus) 1/3 2/3 1275 2 3 ) ) < > < > < >
3 [2] < > (signum perfection), (2 e) <>, (proprietas) (perfectio), (, ),,,,, (3 ) [3] < >,,,,,, < >,,,, ( ),,, :, (4 ) [4] < > < > 1 1/3 ) < >
20 2/3, < > < >, < >, < >(Philippe de Vitry, 1291-1361), < >(Marchettus de Padua, 1305-1326 ) < >(Johannes de Muris, 1300-1350) < > < > 13 < >, < > < > (punctus divisionis) < > B SS SSS SS SSS SS B 1 < > < > < > 1 semibreves secundae, tertiae, quartae, quintae, sextae, septimae, octavae, nonae 1 < > < > < >(Jacques de Lige, 1260-1330 ) ' (Speculum musicae),,,,,, ( nunc duas semibreves ponerent inequales; nunc tres equales, nunc quatuor, quinque, sex, septem, octo vel novem ) 1 1/3, 1/4 1/9 1 (equales)'(tres), < > < > ( ) 1 (5 ) [5] < > ) Willi Apel, The Notation of Polyphonic Music: 900-1600 (The Medieval Academy of America: Cambridge), 1961, p318 ) Richard Rastall, The Notation of Western Music (New York: St Martin's Press), 1982, p57 ) Rastall,, p58 ) Edmond de Coussemaker, Scriptorum de Musica Medii Aevi: Novam Seriem a ) Apel,, p322 ) Rastall,, p58 ) Apel,, p320 Gerbertina alteram (Hildesheim: Georg Olms), 1963, II, p429
5 2 (French Ars Nova Notation),, < >, 1322 1323 <> 14, 13 14,, 14 14,, (punctus additionis)(punctum demonstrationis), (punctus syncopationis), <> (Ars Nova Musicae, 1319), 1 < > <>,,, < > <>, 13 <>(Walter Odington, 1298-1316 ) 1,, (minima) 13 < > (Johannes de Garlandia), < > 1,,,, <> 13 ) Rastall,, p58 ) Apel,, p338 (Roman de Fauvel), ) Apel,, p338
20 1 <>, <>,, (maximodus) (modus), (modus perfectus), (modus imperfectus) (tempus), (tempus perfectum), (tempus imperfectum) (prolatio), (prolatio maior), (prolatio minor),, < >, 1, (6 ), 1 [6],,, (7 ) ) < >(Guillaume de Machaut, 1300-1377),, : Carl Parrish, The Notation of Medieval Music (New York: Pendragon Press), 1978, p144 ) Leon Plantinga, "Philippe de Vitry's Ars Nova: A translation," Journal of Music Theory, 1961, vol V, pp216-7 ) Rastall,, p70 ) < > quatre prolacions'
7 [7] <>, (8 ) [8] <>,, (9-a ) (imperfectio ad partem, ),, 1 (9-b ) [9], 1 ) Rastall,, p72 ),
20, 1,,, (10 ) [10], 1,, 1, < > <>,, (11 ) [11], ) Homer Ulrich & Paul A Pisk, A History of Music and Music Style (Rupert Hart-Davis: London), 1969, p84 ) Rastall,, p76 ) 10-a, ) ) 14 (Roman de Fauvel) : 1314 < >(Gervais de Bus) <Chaillou de Pesstain>, 130 < >
9 1 (tempora) 1 : : : : : 1 3 14, (trecento) 1 14, 1300, < >(Marchettus de Padua, 1305-1326 ) (Pomerium musicae mensuratae, 1318) 1 ' ', 14,, (divisione) < >, 1 < >,, ) Rastall,, p73 ) ) Apel,, p347 ) 1300,, 14 mille trecento' ) < >(J wolf> 1309, < >1320 14 1320 (Apel,, p368) <>(Albert Seay)1321 1326 : Albert Seay, Music in the Medieval World (Prentice-Hall, Inc: New Jersey), 2nd Edition, 1975, p150 1322 1323 < >, ) < >,, < > (Apel,, p369)
20 1 (12 ) [12], 1, (prima), (secunda), 1 (tertia) (prima) ' '(binaria) (ternaria) 1, (quaternaria), (senaria imperfecta), (senaria perfecta), (novenaria), (octonaria), (duodenaria), (i) (p) q, n, o, d 1 (13 ) [13], 1/41/12 1/4, 1/6, 1/8 ) Apel,, p370 ) (measure) (Parrish,, p213) ) (divisiones secundae) (< >'quatre prolacions') ) Richard H Hoppin, Medieval Music (WW Norton & Co: New York), 1978, p436 ) <>(Prosdocimus de Beldemandis,? -1428) (Margaret Bent, "Notation, III, 3: Western, c1260-1500," The New Grove Dictionary of Music and Musicians, 20 vols ed Stanley Sadie (London: Macmillian Publishers Limited), vol 13, p366)
11,,, (alteration) (via naturae, ) (14-a ) (via artis, ) (14-bc ) (semibreves signatae caudatae), (semibrevis major) (semibrevis minima), :, (14-a ), [14 ], :, :, : (dragma), :
20 1,, 15,,,, 1 [15] < > ', 1 (16 ) < >,, ( ) 1, (),,, G (Gallica), Y Y ( ),, 1 [16] ) Parrish,, p172 ) Apel,, p374 ) Hoppin,, p437 ) ) Parrish,, p218 ) Hoppin,, p437
13 5 6 1 14 14 15, < >< >,,, (Mixed Notation), 1 The Development of Mensural Notations : From the Franconian Notation to the Mixed Notation Eulmee Park The history of musical notation began in the late ninth century with the appearance of a neumatic notation Since then, various types of neumatic notations had been emerged for notating monophonic chant In general, neumatic notations are non-diastematic notations that show only the approximate contour of a melody The development of a diastematic notation which is precise with respect to pitch began in the eleventh century These neumatic notations, however, still could not show precise duration The late twelfth century saw an important step in the development of notation, as a certain degree of mensurality came to be indicated in the newly invented modal notation Modal notation employed ligatures to indicate duration based on the rhythmic modes Since the same ligatures might have different meaning according to the context, however, the modal notation system was ambiguous at times As the texture of musical compositions became more and more complex, many theorists and composers in the second quarter of the thirteenth century felt the necessity of a new notational system to indicate durations with any precision The result of these needs was eventually the mensural notation It was Franco of Cologne who built a system in which the duration of every note could be indicated by a distinctive notational sign for the first time The general rules established by Franco of Cologne provided the starting point for all future development in the notation of Western music It is the aim of this paper to present the development of mensural notations from the latter part of the thirteenth century when the first mensural notation appeared, to the late fourteenth century when the mixed notation appeared ) Rastall,, p69 ) Apel,, p385