All his melodies are written in bar form, with no mensural notation.

Two, possibly three, have their melodies preserved in mensural notation.

Mensural notation was extensively described and codified by contemporary theorists.

Thanks to the development of mensural notation, his vision was realized and became common practice with his disciples.

The note derives from the semiminima of mensural notation.

"Fusa" derives from the mensural notation corresponding to the modern eighth note.

None of them survive in mensural notation.

Mensural notation is the musical notation system used in European music from the later part of the 13th century until about 1600.

After around 1600, mensural notation gradually evolved into modern bar notation.

Mensural notation differed from the modern system in that the values of each note were more strongly context-dependent.

The system of note types used in mensural notation closely corresponds to the modern system.

Mensural notation generally uses C and F clefs, on various lines.

They are characteristic of neumatic (chant) and mensural notation.

None are recorded in mensural notation.

In effect, he made a compromise between the ancient white mensural notation with a rigid tactus and the modern notion of tempo.

This new rhythmic system was the foundation for mensural notation system and the ars nova style.

The whole note derives from the semibrevis of mensural notation, and this is the origin of the British name.

See Mensural notation for examples.

None survive in mensural notation, but this has not prevented the suggestion that "De chanter" is in the second mode.

In the system of late medieval mensural notation, this is achieved by applying three different mensuration rules to the three repetitions.

Very rarely, mensural notation also used yet smaller subdivisions, such as the semifusa (corresponding to the sixteenth note or semiquaver).

In mensural notation, diminution of the duration of note shapes is the most common function of coloration.

See mensural notation (ligatures).

But it is not just in the matter of white notation in 3/2 passages that we can discern the traditions of mensural notation.

In Renaissance works the uppermost melodic line is given in normal mensural notation on a staff, and the tablature given below each note.