DOCSLIB.ORG

English, and Identify the Glosses and Headings As Modern English Or Latin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
English, and Identify the Glosses and Headings As Modern English Or Latin e ENRICH Schema — A Reference Guide edited by Lou Burnard October 2008 e ENRICH Schema ii edited by Lou Burnard Contents 1 Manuscript Description Metadata 1 1.1 Phrase-level Elements ................................... 6 1.1.1 Origination ...................................... 6 1.1.2 Material ........................................ 7 1.1.3 Watermarks and Stamps ............................... 7 1.1.4 Dimensions ...................................... 8 1.1.5 References to Locations within a Manuscript .................... 10 1.1.6 Names of Persons, Places, and Organizations .................... 12 1.1.7 Catchwords, Signatures, Secundo Folio ........................ 13 1.1.8 Heraldry ........................................ 14 1.2 e Manuscript Identifier ................................. 14 1.3 e Manuscript Heading .................................. 18 1.4 Intellectual Content .................................... 19 1.4.1 e <msItem> Element ................................ 20 1.4.2 Authors and Titles ................................... 22 1.4.3 Rubrics, Incipits, Explicits, and Other Quotations from the Text .......... 23 1.4.4 Filiation ........................................ 24 1.4.5 Text Classification ................................... 24 1.4.6 Languages and Writing Systems ........................... 24 1.5 Physical Description .................................... 25 1.5.1 Object Description .................................. 26 1.5.2 Writing, Decoration, and Other Notations ...................... 30 1.5.3 Bindings, Seals, and Additional Material ....................... 35 1.6 History ........................................... 37 1.7 Additional information ................................... 38 1.7.1 Administrative information .............................. 39 1.7.2 Surrogates ....................................... 41 1.8 Manuscript Parts ...................................... 42 2 Metadata about digital facsimiles 43 3 Customization Section 47 3.1 Macros ........................................... 48 3.2 Model classes ........................................ 50 3.3 Attribute classes ...................................... 62 3.4 Elements .......................................... 80 iii e ENRICH Schema iv Introduction is Reference Guide defines an XML format for the structure of the data which all ENRICH partners will contribute to the Manuscriptorium, either directly or indirectly by means of a harvester or transformation process. e format is formally expressed by a schema which is generated from the XML source of this guide. e guide itself is a conformant subset of Release 1.4 of e Text Encoding Initiative's Guidelines for Electronic Text Encoding and Interchange (TEI P5). e schema defined by this document addresses three distinct aspects of a digitized manuscript: 1. metadata describing the original source manuscript (1. Manuscript Description Metadata) 2. metadata describing digitized images of the original source manuscript (2. Metadata about digital facsimi- les) 3. a transcription of the text contained by the original source manuscript Within Manuscriptorium, only the first two are required. However, the schema documented here also provides for the third, in the interest of completeness and for the assistance of ENRICH partners wishing to provide richer access facilities to their holdings. e schema defined by this document is available in DTD, RELAX NG, and W3C Schema languages. Along with the present documentation, this forms one of the key deliverables for Work Package 3 of the ENRICH project. Earlier versions of Manuscriptorium used schemas based on MASTER, notably one known as MASTER-X. ese specifications both defined comparatively unconstrained XML formats, which permitted a very wide range of possibilities and did not attempt to constrain (for example) values to any predefined set of values. While appropriate for an interchange format, this approach has some drawbacks: • there may be wide variation in approaches taken to represent essentially the same phenomenon; • the format appears over complex to novice users, who will only ever want to use a very small subset of the possible tags; • developing soware (e.g. stylesheets) for the format becomes unnecessarily complex, since every possibility must be allowed for even though it is unlikely to appear; • accurate searching of the data may be needlessly complicated by the large number of ways of representing e.g. attribute values such as dates. In the ENRICH schema, we have tried to address these concerns by reducing the number of choices and constraining the possible values for several attributes. Nevertheless, • the resulting schema remains fully TEI Conformant: we are only defining a subset; • all constraints introduced have the full consent of all partners in the project. e overall structure of an ENRICH-conformant XML document may be summarized as follows: v e ENRICH Schema <TEI> <teiHeader> <!-- ... metadata describing the manuscript --> </teiHeader> <facsimile> <!-- ... metadata describing the digital images --> </facsimile> <text> <!-- (optional) transcription of the manuscript --> </text> </TEI> e remainder of this Guide describes each of these aspects in more detail, using material derived from the P5 release of the TEI Guidelines. vi 1 Manuscript Description Metadata Each distinct manuscript must be described using a distinct TEI-conformant <teiHeader> element, as specified in the TEI Guidelines, chapter 2. is element may contain many components, depending on the needs of the creator, which may be provided in either structured or (relatively) unstructured form. For Manuscriptorium purposes, the following components of the TEI Header must be provided, and must conform to the constraints specified here. <fileDesc> (file description) contains a full bibliographic description of an electronic file. <titleStmt> (title statement) groups information about the title of a work and those responsible for its intellectual content. <publicationStmt> (publication statement) groups information concerning the publication or distribution of an electronic or other text. <sourceDesc> (source description) describes the source from which an electronic text was derived or generated, typically a bibliographic description in the case of a digitized text, or a phrase such as "born digital" for a text which has no previous existence. <revisionDesc> (revision description) summarizes the revision history for a file. Other header components, if present, will be ignored by Manuscriptorium; they will be retained for storage in the system and returned on request, but their content is not processed for any purpose, and they may not be visible for searching purposes. e following example shows the minimal required structure: <teiHeader> <fileDesc> <titleStmt> <title>[Title of manuscript]</title> </titleStmt> <publicationStmt> <distributor>[name of data provider]</distributor> <idno>[project-specific identifier]</idno> </publicationStmt> <sourceDesc> <msDesc xml:id="ex5" xml:lang="en"> <!-- [full manuscript description ]--> </msDesc> </sourceDesc> </fileDesc> <revisionDesc> <change when="2008-01-01"> 1 1. Manuscript Description Metadata <!-- [revision information] --> </change> </revisionDesc> </teiHeader> Taking these in turn, • the title of the manuscript is used to identify it in short summary displays; it should correspond with the information used for the same purpose in the <head> element within the <msDesc> element below. • the name of the data provider may be given in any conventional form but should be consistent across all data provided. • the project-specific identifier has two parts: it consists of the short alphabetic code used to identify the partner (e.g. OCS for OUCS), followed by a four digit sequence number. For example, OCS0002 would be the second digital record contributed to the Manuscriptorium project by partner OCS. Note that this identifier has nothing to do with the manuscript shelfmark or other identifier. When ingesting records, Manuscriptorium will assume that if a record with this identifier already exists, the intention is to replace it. • the manuscript description provided must follow the specification given in the remainder of this section. • at least one <change> element must be provided, providing the date that this record was last revised before being submitted. As elsewhere, dates must be provided in the ISO format yyyy-mm-dd. e content of the <change> element is free text, which may be used to indicate the scope of any revision and the person/s responsible for it. <msDesc> (manuscript description) contains a description of a single identifiable manuscript. @xml:id (identifier) provides a unique identifier for the element bearing the attribute. @xml:lang (language) indicates the language of the element content using a ‘tag’ generated according to BCP 47 e <msDesc> element is used to provide detailed information about a single manuscript. For ENRICH purposes, this must carry the attributes mentioned above, to supply a unique internal identifier for the manuscript, and to specify the language of its description respectively. e value for xml:id may be the same as the value supplied for the <idno> element in the <teiHeader>, or it may be some other project-specific identifier used for cross-reference. It should however be prefixed by an identifier for the partner concerned, so as to avoid possible identifier collisions. e value for xml:lang, as elsewhere, must be supplied in the form of a valid language identifier (see below). If no value is supplied, the assumption is that
Load more

Recommended publications
  • JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
    JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands.
    [Show full text]
  • Calligraphy Specimens Following Writing
    Calligraphy Specimens following Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER In German and Latin, manuscript on paper Germany (Nuremberg), c. 1713 20 folios on paper, complete [collation i20], unidentified watermark (bisected with center lacking, crest holding 3? bezants with ornate frame, initials M and F at bottom), foliation in modern pencil in upper recto corners, text written in various calligraphic scripts in black ink on recto only, no visible ruling and varied justification, sketched decorative evergreen boughs on f. 1 and calligraphic scrollwork throughout, minor flecking and staining, some original ink blots. CONTEMPORARY BINDING, brown (once red?) brocade paper with elegant mixed floral design and traces of gold embossing, pasted spine, abrasion and discoloration but wholly intact. Dimensions 150 x 190 mm. Calligraphic sample books from the Renaissance, such as this manuscript, are far less common than their printed exemplars; this charming booklet, designed for teaching writing to the young, appears to be one of a kind. This volume in its fine contemporary binding includes texts that display a scribe’s skill in writing different types of scripts. It is partially copied from writing master Adolph Zunner’s 1709 Kunstrichtige Schreib-Art printed in Nuremberg by famous publisher and engraver [Johann] Christoph Weigel. PROVENANCE 1. Written in Germany, in Nuremberg, in 1713 or shortly thereafter, with a title page reading Gründliche Unterweisung zu Fraktur – Canzley – und Current Schrifften der lieben Jugend zum Anfang des Schreibens und sondern Nuzen gestellet durch A. <A. or Z.?> in Nürnberg Zufinden bey Johann Christoph Weigel (A Thorough Instruction in Fraktur, Chancery, and Cursive Scripts, prepared for the especial utility of dear Youth in beginning to write by A.
    [Show full text]
  • SOPHIA BAUERIN, Child's Calligraphy Sample Book
    SOPHIA BAUERIN, Child’s Calligraphy Sample Book: ANONYMOUS, Drei junge Reisende (Three Young Travellers); ANONYMOUS, Der Menschenfreunde (The Philanthropist); arithmetic table In German, decorated manuscript on paper Germany, dated 1792 8 folios on paper (4 bifolios in a single quire), complete, with watermark: 2 crossed keys with 2-line stems, within a wreath that may contain letters or words, unidentified in the Bernstein database, and countermark: a banderole with ICL in simple serif script, similar contemporary countermark reading ‘ICL’ (same size and lettering but with a slightly different frame) is found in Berlin, Singakademie zu Berlin, SA 3343, where it is paired with a watermark labeled ‘Dresden’, first folio serves as a front cover with title and date in red and green blackletter script, surrounded by a painted baroque frame with a floral wreath, ff. 2-6 ruled in pencil, text written on recto only in long line, in two calligraphic scripts (f. 2 in German Kanzleischrift with first line in blackletter, ff. 3-6 in kurrent with first lines in Kanzleischrift) in black ink with large decorative initials in green, blue, and red, variable number of lines (7-12) and justification (90-130 x 180-185 mm.), generous margins contain decorative borders of filigree lozenges and swirls, f. 7 holds only a table of sums in 4 columns (11 lines), booksellers’s marks in pencil on f. 1v (‘8 Kr’) and f. 2 (‘142|69|5’). No binding; the quire is tacketed through the center fold with silk thread of twisted yellow, pink, blue, and green, with the folded edge at the head of the text and opening edge at bottom (i.e.
    [Show full text]
  • Five Centurie< of German Fraktur by Walden Font
    Five Centurie< of German Fraktur by Walden Font Johanne< Gutenberg 1455 German Fraktur represents one of the most interesting families of typefaces in the history of printing. Few types have had such a turbulent history, and even fewer have been alter- nately praised and despised throughout their history. Only recently has Fraktur been rediscovered for what it is: a beau- tiful way of putting words into written form. Walden Font is proud to pres- ent, for the first time, an edition of 18 classic Fraktur and German Script fonts from five centuries for use on your home computer. This booklet describes the history of each font and provides you with samples for its use. Also included are the standard typeset- ting instructions for Fraktur ligatures and the special characters of the Gutenberg Bibelschrift. We hope you find the Gutenberg Press to be an entertaining and educational publishing tool. We certainly welcome your comments and sug- gestions. You will find information on how to contact us at the end of this booklet. Verehrter Frakturfreund! Wir hoffen mit unserer "“Gutenberg Pre%e”" zur Wiederbelebung der Fraktur= schriften - ohne jedweden politis#en Nebengedanken - beizutragen. Leider verbieten un< die hohen Produktion<kosten eine Deutsche Version diese< Be= nu@erhandbüchlein< herau<zugeben, Sie werden aber den Deutschen Text auf den Programmdisketten finden. Bitte lesen Sie die “liesmich”" Datei für weitere Informationen. Wir freuen un< auch über Ihre Kommentare und Anregungen. Kontaktinformationen sind am Ende diese< Büchlein< angegeben. A brief history of Fraktur At the end of the 15th century, most Latin books in Germany were printed in a dark, barely legible gothic type style known asTextura .
    [Show full text]
  • Kodikologie Und Paläographie Im Digitalen Zeitalter 4
    Schriften des Instituts für Dokumentologie und Editorik — Band11 Kodikologie und Paläographie im digitalen Zeitalter 4 Codicology and Palaeography in the Digital Age 4 herausgegeben von | edited by Hannah Busch, Franz Fischer, Patrick Sahle unter Mitarbeit von | in collaboration with Bernhard Assmann, Philipp Hegel, Celia Krause 2017 BoD, Norderstedt Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de/ abrufbar. Digitale Parallelfassung der gedruckten Publikation zur Archivierung im Kölner Universitäts-Publikations-Server (KUPS). Stand 4. September 2017. Diese Publikation wurde im Rahmen des Projektes eCodicology (Förderkennzeichen 01UG1350A-C) mit Mitteln des Bundesministeriums für Bildung und Forschung (BMBF) gefördert. Publication realised within the project eCodicology (funding code 01UG1350A-C) with financial resources of the German Federal Ministry of Research and Education (BMBF). 2017 Herstellung und Verlag: Books on Demand GmbH, Norderstedt ISBN: 978-3-7448-3877-1 Einbandgestaltung: Julia Sorouri, basierend auf Vorarbeiten von Johanna Puhl und Katharina Weber; Coverbild nach einer Vorlage von Swati Chandna. Satz: LuaTEX und Bernhard Assmann Some Roads to Script Classification: Via Taxonomy and Other Ways Torsten Schaßan Abstract In codicology, the features of a script play an important role for dating and localising the manuscript. There are other questions that can be dealt with by examining these features, e.g. questions of intellectual history, influences of literary genres, or influences of organisational aspects of scriptoria on the shape of a script. But especially in the context of manuscript cataloguing the classification of script is of highest importance if other evidence such as a colophon or references like the naming of celebrations for local saints cannot be found.
    [Show full text]
  • Gothic Alphabet Letters Az
    Gothic Alphabet Letters Az Silas slunk very as aftermost Corky propitiate her histoplasmosis swopping broad. Hagan stills his cubby guess dimly, but chameleonic Penn never typing so starchily. Well-respected Kendal collating her nonchalance so plaguily that Arnold remerge very unorthodoxly. Printable Movable Alphabet Free squadranordit. Social login does slack work in incognito and private browsers. If necessary emphasis should have on different kinds of gothic alphabet letters az a gothic stencils? League Gothic is a revival of water old classic and one roof our favorite typefaces. Calligraphy Alphabet Vector Images over 130000. You deck the curve wake the second crescent to our brush across the trade of the grape in passing. Embrace your opportunity few get in contact with an international network of anthropologists. The Letter M Alphabet tracing worksheets for uppercase letters A to Z Then they. It looks modern and to the name and lowercase alphabet, now the website is available for setting mathematical text and interesting results on the same. Elegant Gothic letter from-z custom design alphabets Wax wax stamp on wax seal stamp wedding life More ideas for you. Black Letter Alphabet Stencils from which to Z A Gothic style design stencil which looks great Download the black set the Large Gothic letters. Idioms are given below is fairly wide array of alphabets writing system, convenient and in typing with a good handwriting undoubtedly contributes to list. It comes early gothic alphabet, painted or custom, that you are added speed, but now make another slight curve is important differences between. Looks like still have free a flip turn.
    [Show full text]
  • Script
    Primer N°9 couv SCRIPT_2015 16/12/2015 17:08 Page1 <-------------------------------------------------------------------- 100 mm --------------------------------------><---------------------------------------------------------------------------------------- 148 mm ----------------------------------------------------------------------------><4><---------------------------------------------------------------------------------------- 148 mm ----------------------------------------------------------------------------><-------------------------------------------------------------------- 100 mm --------------------------------------> primer | 1 SERMONS Laura Light primer | 9 ALCHEMY primer | 2 Lawrence M. Principe Each volume in the series of “primers” intro- and Laura Light duces one genre or a problematic of medieval manuscripts to a wider audience by providing a LAW primer | 3 Susan L’Engle brief general introduction, followed by descrip- and Ariane Bergeron-Foote tions of manuscripts, study aids, and suggestions for further reading. BESTSELLERS primer | 4 Pascale Bourgain and Laura Light Appreciating and understanding the history of the scripts found in medieval and Renaissance NEO-GOTHIC LES ENLUMINURES LTD. manuscripts can be complicated. This is espe- primer | 5 Sandra Hindman rd with Laura Light 23 East 73 Street cially true for the scripts of the later Middle th 7 Floor, Penthouse Ages, often neglected in traditional paleo- New York, NY 10021 MANUSCRIPT graphic surveys. In this primer we focus on these primer | 6 PRODUCTION Tel: (212)
    [Show full text]
  • FEEFHS Journal Volume XII T a B L E O F C O N T E N T S
    FEEFHS Journal Volume 12, 2004 FEEFHS Journal Who, What and Why is FEEFHS? Editor: Thomas K. Edlund. [email protected] The Federation of East European Family History Societies Editorial Assistant: Marissa Warkentin (FEEFHS) was founded in June 1992 by a small dedicated group of Line Editor: Irmgard Hein Ellingson American and Canadian genealogists with diverse ethnic, religious, and national backgrounds. By the end of that year, eleven societies FEEFHS Executive Council had accepted its concept as founding members. Each year since then FEEFHS has grown in size. FEEFHS nows represents nearly two 2004-2005 FEEFHS officers: hundred organizations as members from twenty-four states, five Ca- President: Dave Obee, 4687 Falaise Drive, Victoria, BC V8Y 1B4 nadian provinces, and fourteen countries. It continues to grow. Canada. [email protected] About half of these are genealogy societies, others are multi- 1st Vice-president: Kahlile Mehr, 412 South 400 West, Centerville, purpose societies, surname associations, book or periodical publish- UT. [email protected] ers, archives, libraries, family history centers, online services, insti- 2nd Vice-president: Marsha Gustad, 19415 Tara Drive, Brookfield, tutions, e-mail genealogy list-servers, heraldry societies, and other WI 53045-4807. [email protected] ethnic, religious, and national groups. FEEFHS includes organiza- 3rd Vice-president: Brian J. Lenius. [email protected] tions representing all East or Central European groups that have ex- Secretary: Mila Snapp. [email protected] isting genealogy societies in North America and a growing group of Treasurer: Don Semon. [email protected] worldwide organizations and individual members, from novices to professionals. Other members of the FEEFHS Executive Council: Founding Past President: Charles M.
    [Show full text]
  • Städtische Volkshochschule Magdeburg
    Städtische Volkshochschule Magdeburg Herbstsemester 2020 Das sollten Sie wissen!.................................. 3 Bildungsurlaub ............................................. 8 Mensch und Gesellschaft.............................. 9 Grundbildung............................................... 21 Beruf und Karriere ....................................... 31 Kunst und Kultur.......................................... 51 Gesundheitsbildung .................................... 71 Die Städtische Volks- Sprachen ..................................................... 95 hochschule Magdeburg ist eine durch das Ministerium für Rund um Magdeburg .................................127 Bildung des Landes Sachsen-Anhalt Stichwortverzeichnis ..................................134 als förderungsfähig anerkannte Anmeldeformular ........................................136 Einrichtung der Erwachsenen- bildung. 1 Liebe bildungsinteressierte Magdeburger*innen, die zurückliegenden Monate haben uns alle geworden, dass die persönliche Begeg- vor bislang unbekannte Aufgaben gestellt. nung und das gemeinsame Lernen in der Nach dem erfolgreichen Jubiläumsjahr 2019 Kursgruppe für viele Teilnehmer*innen und waren wir mit viel Zuspruch in das neue Jahr Dozent*innen eine wesentliche Bedingung für gestartet und konnten uns über sehr hohe erfolgreiches Lernen sind. Anmeldezahlen für die Angebote des Früh- Wir hoffen natürlich, dass uns im Herbst die jahrssemesters freuen, als auch wir Mitte befürchtete zweite Infektionswelle mit erneu- März den Kursbetrieb aussetzen mussten.
    [Show full text]
  • The Boar & the Bear
    The Boar & The Bear Volume 1II, Summer 2016-Spring 2017 Inside this Issue: Carvet Tang’s Internship 1 - 3 arvet Tang talks about her summer internship in C Germany with the American Chamber of Commerce for First Year Seminar Russian 4 Germany. Fall Events: Marathon Reading 5 Thanks to Caerus, the God of Opportunity Faculty News 6 and Luck, I received an offer from Ernst Oktoberfest 7 & Young (EY) Germany last summer to Interview with Kimberly Annas 8 - 9 do an internship in Germany. Ernst & Russian News 10 Young, is headquartered in London and Guest Column Hanna Randall 11 one of the “Big Four” accountant firms in Interview with the world. It was an exciting opportunity, David Burch 12 - 13 Research News because I could not imagine I was able to Dr. McAllister 14 - 15 get a paid internship offer from EY Frankfurt am Main Germany, especially from a country other than the one I am pursuing a college degree in and my home country. junior student majoring in Accountancy and minoring in German at Wake Forest University. As I have decided to do a business trek in the future, the poster of the AmCham internship Program caught Page 2 my attention. The application process was a bit complicated for me as an international student, since I needed to apply for a work visa. So, I flew alone from GSO to Atlanta to get a visa. But I was glad I did that, since it was an essential step for me to work in Germany for the whole summer. Right at “ I felt like the beginning of the spring term last year, I was contacted by the manager of being in a big the US tax department at EY Germany, and I then received an offer and the family” corresponded contract after I finished my phone interview.
    [Show full text]
  • “Kurrent” Script
    A Guide to Writing the old German “Kurrent” Script by Margarete Mücke translated by hoonsh translations www.hoonsh.de Revised Edition January 2014 Freely Printable at: www.kurrent-lernen-muecke.de Here you will also find explanations and reading exercises using several fonts A Guide to Writing the old German “Kurrent” Script by Margarete Mücke Revised Edition January 2014 For those of you who would like to be able to read the old German scripts that were banned by decree in Germany in 1941, it is recommendable to first master how to write these particular scripts. I have selected the “Kurrent” script, which was in common usage in 1900. Once you have learned this particular script and its characteristic features, you will discover that it becomes far easier to decipher the preceding and subsequent German scripts. Moreover, it will make it easier to read old block letters. This course is primarily aimed at people carrying out research into their family history or those intending to delve deeper into local history and who would like to read private, business or legal historical documents. A great many of those who have participated in my courses, which, incidentally, are held at the local adult education centre (Volkshochschule) here in the German city of Krefeld, have told me that they have become much more adept at editing texts expeditiously. Perhaps this would also be interesting for young people who, prior to their studies at university, would like to interpret the meaning of old German handwriting. It should be noted that mastery of the German language in both spoken and written forms is a prerequisite.
    [Show full text]
  • Cantus Planus Papers Read at the XVII Meeting Venice, Italy 28 July - 1 August 2014 Ims Study Group Cantus Planus
    IMS Study Group Cantus Planus Papers read at the XVII meeting Venice, Italy 28 July - 1 August 2014 IMS Study Group Cantus Planus Papers read at the XVii meeting Venice, Italy, 28 July - 1 August 2014 IMS Study Group Cantus Planus Papers read at the XVii meeting Venice, Italy, 28 July - 1 August 2014 edited by James Borders Edizioni Fondazione Levi Venezia 2020 FONDAZIONE UGO E OLGA LEVI Cantus Planus PER GLI STUDI MUSICALI ONLUS Consiglio di Amministrazione Coordinamento editoriale IX Presentation Davide Croff Presidente Luisa Zanoncelli Davide Croff Luigi Brugnaro Paolo Costa Collaborazione editoriale XI Preface Fortunato Ortombina Lucia Boscolo (2, 3, 5, 10, 26) Roberto Calabretto - Luisa Zanoncelli Giovanni Giol Paola Dessì (6, 7, 17, 18, 31, 37) Nicola Greco Vicepresidente Alessandra Ignesti (15, 21, 22, 25) XIII Foreword to the Meeting Giancarlo Tomasin Nausica Morandi (28, 30, 34, 36, 38, 48) James Borders Silvia Tessari (43, 44, 45, 46, 47) Revisori dei Conti Claudia Canella XIV Opening address Raffaello Martelli Presidente Ilaria Campanella Nausica Morandi Chiara Boldrin Maurizio Messina Progetto grafico e impaginazione XVI Abbreviations Karin Pulejo Comitato scientifico Roberto Calabretto Presidente In copertina Sandro Cappelletto elaborazione grafica da I Notation Dinko Fabris Fondo Antico, Lat. Z. 506 (=1611) fol. 41r Laurent Feneyrou Biblioteca Nazionale Marciana, Venezia 3 Zur Bedeutung von Oxeia/Acutus/Virga in den griechischen Cormac Newark und lateinischen Neumenschriften Paolo Troncon Ringraziamenti Andreas Pfisterer
    [Show full text]