P-G (Guimarães) Arquivo Municipal Alfredo Pimenta N 099

Siglum: 
P-G N 099
Shelfmark: 
N 099
Source type: 
Subcategory of source: 
Category: 
Completeness: 
Document type: 
Date: 
13th cent.
Material: 
Cursus: 
Use: 
Contents: 
The fragment is now in such a poor condition that it is only the comparison with E-Tc 44.1 that allowed the identification of the liturgical feast and chants on fol. A. Indeed, the same chants found on fol. A can be found in the same liturgical order in E-Tc 44.1 for 'Hilarii'. Despite the similarity between these two sources, the comparison showed enough textual variants to suggest that the feasts were copied from different models. The chants on fol. B are usually sung for 'Agnetis' in other sources. The comparison with E-Tc 44.1 showed again some similarities but not an exact correspondence between the choice of chants in the two sources. However, chants on fol. B match the chants for 'Agnetis' in P-BRs (Braga) Arquivo da Sé Ms. 028, which is an early 16th-century Antiphoner for the Cathedral of Braga following the Aquitanian use ('Agnetis' on fols. 23v-27v http://pemdatabase.eu/source/4547). The feast 'Hilarii' is absent from P-BRs Ms. 028.
Page layout: 
Two columns per page.
Condition of document: 
Non-central bifolium fragment currently used as book cover. The external cover (fols. Ar - Bv) is in poor condition and the chants are almost unreadable.
References: 

The office for St. Hilary of Poitiers found in this fragment is quite rare and it appears to have had a relatively small distribution. For a discussion on another Iberian fragment which contains the beginning of the same office see Kathleen E. Nelson, ‘Observations on an Early Twelfth-Century Antiphoner Fragment at Toledo’, in Concordis Modulationis Ordo Ismael Fernández de la Cuesta In Honorem, Robert Stevenson and Emilio Rey Garcia (eds.), Inter-American Music Review, 17 (2007), 17-24.

Description of the notation: 

The axis of the notation is slightly slanted to the right. Medium size neumes. Red line. Custodes. The difference between a lozenge and a more or less square punctum is not always clearly defined. A complicating factor in reading the mode of the chants is the fact that the lozenge is not used consistently. The lozenge was used either isolated or as part of a descending pattern of two or more notes on one syllable. There are two consecutive lozenges forming a clivis on fol. Br, right column, first line, over ‘me’.

Indexing notes: 
Fragment description and musical index created by Elsa De Luca.
Completed on: 
2018-05-16