diastematic

Men can sport the gap, too, but culturally, there has always been a mystique about diastematic women.

For the first time, it proves that the diastematic Neume script (written on staves) is of rhythmical significance.

Les Blank's Gap-Toothed Women is a documentary film about diastematic women.

In surviving manuscripts these pieces have been notated in diastematic neumes which resist reliable transcription.

Aquitanian and English cantors in Winchester were the first who developed a diastematic form, which could be written in such an analytical way.

These lists prefer the use of Byzantine round notation, which had developed during the late 12th century from the late diastematic Coislin type.

Paleofrankish neumes are adiastematic and no manuscripts with the Latin cherubikon have survived in diastematic neumes.

But the intonation formulas of the tonaries had as well an explicit creative function, which can be demonstrated by an earlier manuscript already written in diastematic neumes.

After the first generation of fully notated neume manuscripts written since the early 10th century, the particular notation system represent a transition between the adiastematic and diastematic neumes.

Since the late 9th century each section started with an intonation formula and the psalmody of the mode, its pitches represented by letters or later by diastematic neume notation.

Adémar was the next generation after William of Volpiano and he was one of the first notators who used the diastematic form of Aquitanian neume notation, which had already been developed during the late 10th century.

The last leaf was added from another book to use the blank versoside for additions on the last pages written by other hands, chant notated in adiastematic neumes but without alphabetic notation and even diastematic neumes with alphabetic notation (fol.

During the 9th through 11th centuries a number of systems were developed to specify pitch more precisely, including diastematic neumes whose height on the page corresponded with their absolute pitch level (Longobardian and Beneventan manuscripts from Italy show this technique around AD 1000).

During the late 10th and the 11th century, the early use of a second alphabetical pitch notation was soon replaced by a new diastematic form of neume notation, which indicated the pitch by the vertical position of the neumes, while their groups indicated by ligatures were still visible.

In the early 11th century, Beneventan neumes (from the churches of Benevento in southern Italy) were written at varying distances from the text to indicate the overall shape of the melody; such neumes are called "heightened" or "diastematic" neumes, which showed the relative pitches between neumes.

The manuscripts written or revised by Roger de Chabannes together with his nephew, were created in the form of troper-prosers and sequentiaries with a new diastematic form of neume notation (Pa 1240, 1120, 1121, 909), which became soon much more popular than the letter notation of William of Volpiano.