Bibliographic record
Abstract
Abstract: This article focuses on the peculiarities of the Old Hispanic and Aquitanian musical nota-tions, as found in Iberian liturgical manuscripts from the 10th to the mid-16th centuries, and it proposes some reconsiderations of previous scholarship on Iberian music palaeography. Specifically, this pa-laeographical survey engages with two changes that occurred in music writing in the Peninsula in the period under consideration. Firstly, the Old Hispanic notation was replaced by Aquitanian notation at the end of the 11th century. Subsequently, the graphical appearance of Aquitanian notation changed due to the influence of the Gothic script. These two changes developed in quite different ways: the first was swift and rapid whereas the second was slow and gradual. In this overview, I present some pre-viously neglected sources as illustrative examples of Aquitanian notation. These sources have been studied for the first time recently and are now available for consultation in the “Portuguese Early Music Database”. Resumen: Este artículo se centra en las peculiaridades de las principales muestras de notación musical hispana y aquitana conservadas en los manuscritos litúrgicos peninsulares de los siglos X a mediados del XVI, proponiendo reconsiderar el estado de la cuestión desde el campo de la paleografía musical peninsular. Específicamente, esta aproximación paleográfica se orienta alrededor de los dos cambios principales que marcaron la escritura de música en la Península en el período bajo consideración: la substitución de la notación hispánica tradicional por la notación aquitana a finales del siglo XI, y el cambio gráfico que muestra la notación aquitana por influencia de la escritura gótica. La forma en la que ambos cambios se desarrollaron fue considerablemente desigual; precipitada y rápida en el primer caso, lenta y gradual en el segundo. En esta visión de conjunto, se presentan como ejemplos ilustrativos de notación aquitana fuentes que habían pasado desapercibidas hasta hace poco y que están ahora disponibles para su consulta en la “Portuguese Early Music Database”.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.004 | 0.006 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.005 | 0.001 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.013 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".