Nevmy |

Late Lat., unit the number neuma, from the Greek. Pneyuma – breath

1) The signs of musical writing used in Europe in the Middle Ages, predominately. in the Catholic singing (see Gregorian chant). N. were placed above the verbal text and only reminded the singer of the direction of movement of the melody in the chants known to him. Signs of non-binding notation were largely borrowed from other Greek. designations of speech accents – raising and lowering the intonations of speech, which determine its expressiveness. In N., they found the embodiment and signs of cheironomy – the control of the choir with the help of conditional movements of the hands and fingers. N. systems existed in many. ancient cultures (Egypt, India, Palestine, Persia, Syria, etc.). A developed system of demented writing developed in Byzantium; Catholic N. have Byzantium. origin. Notation systems similar in principle to non-permanent writing existed in Bulgaria, Serbia, Armenia (see Khazy), Russia (kondakar notation, hook or banner writing – see Kondakar singing, Kryuki). In Zap. Europe varied in many ways. local varieties associated with the Catholic. the liturgy of the demented writing; Benevetian (the center of the swarm was the city of Benevento in Southern Italy), Middle Italian, North French, Aquitaine, Anglo-Norman, German or St. Gallen (the center of the swarm was the city of St. Gallen in Switzerland), etc. They differed significantly in the inscriptions of non-mandatory characters, the predominant use of one or another of them. The widely developed N. system served to record the melodically developed parts of the Catholic. church services. Here existed N., denoting otd. sounds or groups of sounds falling on one syllable of the text (lat. virga and punctum), voice moves up (lat. pes or podatus) and down (lat. flexa or clinis), etc. N. derivatives were also used, representing combinations basic. Some varieties of N. served to designate methods of performance and melodic. jewelry.

The oldest monument of the Catholic Church that has come down to us. dementia writing refers to the 9th century. (Kept in Munich “Code 9543”, written down between 817 and 834).

The emergence of a deranged letter met the requirements of the muses. practices. The use of the same texts with diff. music required that the singer could quickly remember exactly which tune he should perform, and demented recording helped him in this. Compared with alphabetic notation, non-manual writing had an important advantage – melodic. the line was depicted in it very clearly. However, it also had serious drawbacks – since the exact pitch of the sounds was not fixed, there were difficulties in deciphering the recordings of tunes, and the singers were forced to memorize all the chants. Therefore, already in the 9th century. many muses. activists expressed dissatisfaction with this system. Attempts have been made to improve the non-manual writing. Beginning around the 9th c. in the West, letters began to be added to N., specifying the height of sounds or the intervals between them. One such system was introduced by the monk Hermann Khromy (Hermannus Contractus – 11th century). It provided for the exact designation of each interval of the melody. The initial letters of words were added to N., denoting a move for a certain interval: e – equisonus (unison), s – semitonium (semitone), t – tone (tone), ts – tone cum semitonio (small third), tt -ditonus (large third), d – diatessaron (quart), D – diapente (fifth), D s – diapente cum semitonio (small sixth), D t – diapente cum tono (large sixth).

With the introduction of lines over text to accommodate them, new creatures have occurred. restructuring this system. For the first time, the musical line was used in con. 10th c. in the monastery of Korbi (chronological record 986). Initially, its pitch value was not constant; later, the pitch f of a small octave was assigned to it. Following the first line, a second one, c1, was introduced. Line f was drawn in red, and line c1 in yellow. Improved this notation muses. theorist, monk Guido d’Arezzo (Italian: Guido d’Arezzo); he applied four lines in terts ratio; the height of each of them was determined by coloring or a key sign in the form of a letter designation. The fourth line was placed by Guido d’Arezzo, depending on the need, above or below:

H. began to be placed on the lines and between them; then. the uncertainty of the pitch meaning of non-pronounced signs was overcome. After the introduction of musical notation, the lines themselves also changed—primarily on the basis of the Franco-Norman system of notes, the so-called musical notes arose and began to develop rapidly. square notation (nota quadrata). The name of choral notation was assigned to this system; it differed from the demented linear writing only in the style of musical signs. There were two main varieties of choral notation – Roman and German. The question of rhythm in the Gregorian church remains not fully clarified. singing of the period of non-mental notation. There are two points of view: according to the first, the rhythm of the tunes was determined by speech accents and was mostly uniform; according to the second – rhythmic. differentiation still existed and was denoted by some H. and complement. letters.

2) Anniversaries – melismatic. decorations in Gregorian chant, performed on one syllable or vowel, predominately. at the end of the antiphon, hallelujah, etc. Since these vocal graces were usually performed in one breath, they were also called pneuma (from Latin pneuma – breath).

3) Wed. centuries, also a separate sound, sung by one pli several. sounds a syllable of a tune, sometimes a whole tune.

References: Грубер R. И., История музыкальной культуры, т. 1, ч. 2, M. — Л., 1941; Fleischer О, Neumenstudien, Vol. 1-2, Lpz., 1895-97, Vol. 3, В, 1904, Wagner PJ, Introduction to the Gregorian Melodies, Vol. 2 — Neumenkunde, Lpz., 1905, 1912, Hildesheim — Wiesbaden, 1962 ; Wolf J., Handbuch der Notationkunde, Vol. 1, Lpz., 1913; его же, Die Tonschriften, Breslau, 1924; Agustioni L, Notation neumatique et interprйtation, «Revue Grйgorienne», 1951, n 30; Huglo M., Les noms des neumes et leur origine, «Etudes Gregoriennes», 1954, No 1; Jammers E., The material and intellectual prerequisites for the emergence of neume writing, “German Quarterly Journal for Literary Science and Intellectual History”, 1958, year 32, H. 4, его же, Studies on Neumenschnften, neume manuscripts and neumatic music, в сб Library and Science, Vol 2, 1965; Cardine E., Neumes et rythme, «Etudes grígoriennes», 1959, No 3; Kunz L., Antiquity elements in early medieval neumes, «Kirchenmusikalisches Jahrbuch», 1962 (year 46); Floros С., Universale Neumenkunde, vols. 1-3, Kassel, 1970; Apel W., The Notation of Polyphonic Music 900-1600, Lpz., 1970.

V. A. Vakhromeev