Alleluya nativitas

The manuscript the edition cites

• Montpellier, Bibliothèque interuniversitaire de Montpellier, H 196

  Folios

  9r–12v (stated by the edition's metadata.yaml ('Montpellier Codex', 'No. 7, fol(s)/pages 9-12v'), which also links 2 library images that the library files as 196009rZ.jpg and 196009vZ.jpg; the library's IIIF manifest in Foli@ gives the pages from 9r to 12v these paginations)

  On this site

  Montpellier, Bibliothèque interuniversitaire de Montpellier, H 196

  IIIF manifest

  ged.scdi-montpellier.fr

  Library’s statement

  Fourni par les Bibliothèques des Universités de Montpellier - Service de coopération documentaire interuniversitaire

  Rights

  Domaine public

  At the library

  Images at the library

  DIAMM

  source record · composition record

Checks

Schema

Valid MEI 5.1 with each of: lxml (libxml2) RelaxNG (mei-CMN); lxml (libxml2) RelaxNG (mei-all); Jing 20241231 (mei-CMN); Jing 20241231 (mei-all); SchXslt 1.10.1 on Saxon-HE 12.5 (mei-CMN); SchXslt 1.10.1 on Saxon-HE 12.5 (mei-all)

Against the edition

Every note (368) and syllable (12) matches the edition’s own MIDI file in pitch, onset and duration.

Engraving

Verovio 6.3.0-425dd7b, 2 pages

How the encoding was made

• All notes, rests and syllables come from the source edition's LilyPond file at the pinned commit, converted mechanically. Nothing was transcribed from the manuscript for this encoding.
• Pitch, onset and duration of every note and the placement of every syllable were checked automatically against the edition's own MIDI file (checks/midi-compare.json).
• Accidentals: written accidentals are encoded where LilyPond's default accidental rule prints them in the edition; sounding alterations are given in @accid.ges on every other altered note. Accidentals the edition marks with its \ficta command (printed above the note) are encoded as editorial accidentals (accid with func='edit', place='above').
• Each voice carries the text 'Al-le-lu-ya.' as verse 1 of its staff, as in the edition; the long melismata are marked in the edition with manual melisma commands, which decide where the syllables fall. Lyrics, punctuation and spelling are copied from the edition.
• The score sets no time signature before the music; every voice opens with 9/8 and changes to 6/8 in the second measure. The 9/8 is encoded as the opening time signature, and the change as a time signature change at the second measure.
• The tenor holds its notes over several measures: the edition writes them as breves and dotted half notes, each followed by spacer rests, and hides the tenor's bar lines while it holds them, so that each long note is printed once. MEI measures share their bar lines across the staves, so each long note is encoded as notes tied across the bar lines it sounds through (checks/conversion-report.json, tiedNoteHeadsAddedAtBarLines), and the spacer rests as invisible rests of plain values (spacersWrittenAsPlainValues). The tenor's opening breve sounds through the change from 9/8 to 6/8, which is written in the cantus and the altus; it is divided at the change (eventsSplitAtTimeChangesOfOtherParts). The pitch, onset and length of every tenor note are unchanged.
• The edition hides the tenor's bar lines while the tenor holds its long notes (\override Staff.BarLine.transparent, switched on and off in the tenor's music) and hides the tenor's time signatures throughout (\override Staff.TimeSignature.stencil = ##f). These layout settings are read and not encoded: the encoding draws the tenor's bar lines and time signatures like those of the other voices.
• Beams follow LilyPond's automatic beaming in 9/8 and 6/8, which the edition leaves on; they are recorded as beams in the MEI. Layout instructions of the edition (page size, staff size, system spacing) and its ambitus signs at the start of each staff are not encoded.

Where the encoding differs from the edition

• The tenor's long notes, which the edition prints once each with hidden bar lines, are encoded as notes tied across the bar lines they sound through; the spacer rests that follow them are invisible rests.
• The tenor's hidden bar lines and hidden time signatures are drawn in the encoding. MEI can hide one staff's time signature (staffDef/@meter.visible), but the converter does not encode this setting.
• Ambitus signs printed at the start of each staff in the edition (produced by its layout file) are not encoded.
• System and page breaks follow Verovio's layout, not the edition's.
• Voice names (cantus, altus, tenor) exist only as LilyPond context names; they are recorded here but not encoded as staff labels, as the edition does not print them.
• The edition's MIDI tempo (quarter note = 140) is not encoded.
• Verovio may draw lyric hyphens and extender lines in other places than LilyPond, which drops hyphens where space is short.

Licences in full

This MEI file is a mechanical conversion of Monique Rio's edition (St Cecilia Press, https://stcpress.org), which is licensed CC BY 4.0 according to the publisher's statement and the edition's own score footer. Because the licence badge on the publisher's page links to CC BY-SA 4.0, the conversion is released under CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/), which satisfies either reading. Attribution: edition by Monique Rio, St Cecilia Press; MEI conversion by Motetus (AEM Ventures SRL). Changes: converted from LilyPond to MEI 5.1; see the encodingDesc and revisionDesc.