Old Hispanic Notation and the Early Written Transmission of Chant: A Palaeographical Case Study of a Liber Misticus (British Library, Add. MS 30845)

关于早期无音调的格里高利圣歌符号(Neumes)的含义以及每个符号的功能使用，人们已经做了很多工作，其中大部分是建立在卡丁的Semiologia Gregoriana(1968)的基础上的。然而，对中世纪早期伊比利亚符号的研究很少，在10世纪和11世纪保存了古老的西班牙人圣歌。此外，不可能使用后来的西班牙裔圣歌的音调版本来解释伊比利亚符号，因为只有24个古老的西班牙裔圣歌被用音调保存下来。关于单个Neume在基本层面上的含义，仍有一些根本性的问题需要回答：Neume中包含的音符数量以及它们是上升还是下降。在我的博士学位中，我将研究在反复出现的旋律公式中如何使用个别的Neume形状，以阐明非音调记号的使用以及早期圣歌书面传播中特定符号的含义。

Much work has been done on the meaning of early unpitched Gregorian chant notation (neumes) and where each sign is used functionally, much of it building on Cardine's Semiologia Gregoriana (1968). However, very little research has been undertaken on the early medieval Iberian notation in which Old Hispanic chant was preserved in the 10th and 11th centuries. Furthermore, it is not possible to use later pitched versions of Old Hispanic chants to inform our interpretations of Iberian notation, since only twenty-four Old Hispanic chants were preserved using pitch. There are still fundamental questions to be answered regarding the meaning of individual neumes at a basic level: the number of notes contained in a neume and whether they rise or fall. In my PhD, I will examine how individual neume shapes are used in recurring melodic formulas to shed light on the use of unpitched notation and the meaning of specific signs in the early written transmission of chant.