P-BRad (Braga) Arquivo Distrital Pastas de fragmentos, 169
The melodies are written around a single red line in Aquitanian notation of the Portuguese variety (use of lozenge-shaped punctum to indicate the degree below the semitone), with occasional use of a custos. The long rubric for the blessing and imposition of the ashes contains references to abbot, prior and armarius, which put it immediately in the Cluniac orbit. Comparing the text with the extant versions of Cluniac customaries written between c. 1030 and 1090, it is possible to conclude that it depends basically on Bernard’s redaction (the only one stemming from Cluny itself and dated from 1070 to 1085–1090). From the musical point of view, the situation is markedly different. Many studies confirmed the absence in Cluny of any unifying effort concerning melodic details, even when a new selection and order of chants in the reformed Abbeys follow Cluniac liturgical use. The comparison of the melody of communion Manducaverunt with that sung at Cluny shows that the fragment adopts the melodic tradition of the local See.
Manuel Pedro FERREIRA, "Cluny at Fynystere: One Use, Three Fragments", in Terence Bailey e László Dobszay (ed.), Studies in Medieval Chant and Liturgy in Honour of David Hiley, Ottawa - Budapest: The Institute of Mediaeval Music/Hungarian Academy of Sciences (Institute for Musicology), 2007, pp. 179-228, with full transcription of the verso text, retaining the original orthography. Manuel Pedro FERREIRA, Cluny no cabo do mundo: um costume, três fragmentos, in "Aspectos da Música Medieval no Ocidente Peninsular", Volume II - Música Eclesiástica, Estudos Musicológicos 34, pp. 83-118, with full transcription of the verso text, retaining the original orthography on p. 100-1 and color reproduction of the verso side of the fragment on plate X. Partial reproduction of the fragment (the communion antiphon Manducaverunt) in Monodia Sacra Medieval. [Programa do] Colóquio internacional, 2–5/6/2005 (Lisboa: CML, 2005), p. 34.