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The last significant advance in the state of the art of musical notation occured in the late 1500s to early 1600s, when J. S. Bach and his contemporaries decided that noteheads should be round, as opposed to rectangular and diamondoidal

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Pictured above is a rubricated & illuminated musical manuscript from the 16th or possibly 17th century, hand scribed and illuminated by a monk or monks in a monastery near Seville Spain.  On thick vellum measuring approximately 18 x 12 inches, suggesting it was originally from a choir book, an antiphonal.  The words and notes are large so that the whole choir could read from a single sheet, these having been somewhat expensive to produce. As is common with such old pages which have had only one side displayed, one side of the sheet is somewhat yellowed while the other remains nearly white.  The illustrative components in the margins of the second side are embellished with bits of gold leafing, both within the leafy foliage and the Angel's robe.

The music is fairly straightforward but alas, the lyrics are in Latin. Alas yet again, my latin is horrible, so I suppose it could mean something completely different, but here's my rough analysis: something or other about burnt offerings or sacrifices for the Lord or master; the Kings of Tharsis, Arabia and Sheba offering tribute and giving thought, followed by burnt offerings from gracious yet terrified kings; then all of the people, specifically gentiles, existing together "fervently."   The latter could imply passionately or strongly, perhaps living eternally in The Kingdom of Heaven, though the word fervi or ferui sometimes translates to burning, boiling, or seething hot, so maybe its a melodic indictment of sorts, suggesting Hell-fire and brimstone to those who don't tow the line.  Indeed, the Spanish Inquisition was in full bloom at about the time this was produced.  

Around the turn of the 16th --> 17th century music notation took its more or less present form--not too much different from what had been used for the previous century and a half, other than for the rounded noteheads and the gradual acquisition of various minor embellishments (i.e. clefs, time signatures, flats & sharps, &c.)  In the 15th century it was more common to see staves with four lines as opposed to five.
 

 

 

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