The Process of Printing the Notation in the Manuals ad Sacramenta Published in Nagasaki in 1605

这本400页的圣礼手册是1605年由长崎大学的耶稣会传教出版社出版的。正如用黑色和朱红色印刷的扉页清楚表明的那样，《手册和圣礼》的目的是作为七件圣礼中五件的管理手册。此外，这本书还提供了如何举行基督教葬礼仪式的详细说明。十九标记的圣歌穿插在仪式中的“圣礼”在这礼仪书的后半部分值得特别注意。旋律的“气动”符号用黑色印在朱红色五线谱的线条和空间上，每个五线谱下面都加了圣歌的文字。印刷音乐比印刷简单的文字需要更大的技术，《圣歌手册》提供了这种技术的一个很好的例子，其中五线谱的朱红色线条和圣歌旋律的黑色音符（新音符）…更多的是在两个阶段的过程中分开印刷的。在这十九首格里高利圣歌中，十三首是在葬礼上唱的赞美诗，而其余六首是主教在当地教堂正式访问时使用的。几乎所有用于葬礼的圣歌都呈现出复杂的旋律，这对于当时的日本基督徒来说是很难掌握的。这条规则的一个例外是第三首圣歌，《上帝保佑我》，摘自《诗篇》，由一个简单的四音符旋律组成，想必整个会众都很容易唱出来。另一方面；在主教探访时唱的两首圣歌，Veni Creator Spiritus和Tantum ergo，是更精致的赞美诗，分为几节。虽然这两种圣歌对信徒来说都是相当大的音乐挑战，但与其余四种圣歌的复杂性相比，后两种圣歌仍然不那么难以掌握，只要会众有机会定期听到赞美诗。至于在手册中发现的Tantum ergo，它被认为是葡萄牙和西班牙本土的旋律；事实上，在这位西班牙作曲家的一部作品中，它就成为了中心主题。这两首现存的小探子旋律见证了当时东西方文化交流的深度。少

The Manuale ad Sacramenta, this 400-page sacramentary was printed on the Jesuit Mission Press at the college in Nagasaki in 1605. As the title-page, printed in black and vermilion, clearly indicates, the purpose of the Manuale ad Sacramenta was to serve as a handbook for the administration of five of the seven sacraments. Moreover, the book provides detailed instructions on how to conduct the rite of Christian Burial.The nineteen notated chants interspersed among the rites for "Sacramentals" in the latter half of this liturgical book merit particular attention. The angular "neumatic" notation of the melodies is printed in black on the lines and in the spaces of vermilion-coloured five-line staves, with the text of the chant added below each staff. Printing music required much greater technical skill than printing simple text, and the Manuale ad Sacramenta affords a fine example of such technique, in which the vermilion lines of the staves and the black notes(neums) of the chant melodie … More s were printed separately in a two-stage process.Of these nineteen Gregorian chants, thirteen were intended as hymns to be sung during burial rites, whereas the remaining six were intended for use during the official visitation of local churches by the bishop. Almost all of the chants used for burial rites present complex melodies which would have been very difficult for the Japanese Christians of the time to master. One exception to this rule is the third chant, the Miserere mei Deus, taken from the book of Psalms, which consists in a simple four-note melody and which presumably could have been easily sung by the whole congregation.On the other hand ; two of the chants sung during episcopal visitation, the Veni Creator Spiritus and the Tantum ergo, were more elaborate hymns divided into several verses. Although both of these chants presented a considerable musical challenge to the faithful, in comparison with the complexity of the remaining four chants, the latter two would still have been less difficult to master, provided that the congregation was afforded the opportunity to hear the hymns sung regularly.As for the Tantum ergo found in the Manuale, it is thought to be a melody native to Portugal and Spain ; in fact, it appears as the central theme in one of the works of the Spanish composer. These two surviving melodies of the Tantum ergo bear witness to the depth of the cultural exchange that took place at the time between East and West. Less