Figure 1
Digitization and music information retrieval (MIR) pipeline showing the input and output of each step. The MIR part (green boxes) allows for the semi‑automatic transcription of mensural sources into interpreted scores.
Figure 2
Example of voices written in choirbook layout; each voice is in a different quadrant of the book opening (Thomae et al., 2022a).
Table 1
Mensuration values.
| MODUS | |
| longa–brevis relation | |
 |  |
| perfect modus | imperfect modus |
| perfect longa by default | imperfect longa |
| TEMPUS | |
| brevis–semibrevis relation | |
 |  |
| perfect tempus | imperfect tempus |
| perfect breve by default | imperfect breve |
| PROLATIO | |
| semibrevis–minima relation | |
 |  |
| major prolatio | minor prolatio |
| perfect semibreve by default | imperfect semibreve |
Figure 3
Example of imperfection (a) and alteration (b). Both examples (a and b) show the original in mensural notation on top and its modern transcription below. (a) Same note shape with a perfect (P; triple) and imperfect (I; duple) value. (b) Same note shape with a regular (r; one beat) and altered (A; two beats) value. Notice the presence of a dot of division between the first and second semibrevis.
Figure 4
Verovio Humdrum Viewer with the encoding of the piece in Humdrum **kern (left) and its Verovio rendering (right).
Table 2
Scope of the tools in the transcription pipeline.
| MURET | MP EDITOR | |
|---|---|---|
| SCORING‑UP FUNCTIONALITY | DISSONANCE FILTER (DF) | |
| Recognition of black and white mensural symbols | Ars antiqua, Ars nova, and early Renaissance (does not work well on triple meter pieces written toward the end of the Renaissance, when alteration starts falling into disuse) | Designed for Renaissance music |
Figure 5
MuRET’s transcription interface with agnostic and semantic transcription panels and correction options. (a) Agnostic transcription of the staff‑region image, with correction options for the symbol class (left) and for the line/space positions within the staff (top‑right from agnostic panel). (b) Semantic transcription encoded in **mens and rendered by Verovio, with correction option through the **mens table (left).
Figure 6
Measuring Polyphony Editor. (a) Input editor. (b) Score editor.
Table 3
Example of the conversion from **mens to **kern and the application of the DF on a three‑voice piece. Each group of three adjacent spines provides information for a different voice, tenor (red), altus (green), and superius (blue). The **kern spine contains the voice’s notes in CWMN values, the **xmlid spine contains the corresponding XML IDs of these notes as encoded in the original MEI file, and the **cdata spine contains their corresponding dissonance labels.
| !!!OTL: 6 Missa sobre las voces | ||||||||
| !!!system‑decoration: [(s1,s2,s3)] | ||||||||
| **kern | **xmlid | **cdata | **kern | **xmlid | **cdata | **kern | **xmlid | **cdata |
| *part3 | *part3 | *part3 | *part2 | *part2 | * | *part1 | *part1 | * |
| *staff3 | *staff3 | *staff3 | *staff2 | *staff2 | * | *staff1 | *staff1 | * |
| *I"tenor | * | * | *I"altus | * | * | *I"superius | * | * |
| *clefC3 | * | * | *clefC2 | * | * | *clefG2 | * | * |
| met()_0222 | * | * | *met()_0222 | * | * | *met()_0222 | * | * |
| *MM600 | * | * | *MM600 | * | * | *MM600 | * | * |
| 1G | PART3_A12 | . | 00r | . | . | 00r | . | . |
| 2G | PART3_A15 | . | . | . | . | . | . | . |
| 2A | PART3_A16 | . | . | . | . | . | . | . |
| = | = | = | . | = | = | = | = | = |
| 2B | PART3_A17 | . | . | . | . | . | . | . |
| 2c | PART3_A18 | . | . | . | . | . | . | . |
| 1d | PART3_A19 | . | . | . | . | . | . | . |
| = | = | = | = | = | = | = | = | = |
| 1.e | PART3_A21 | . | 00r | . | . | 1g | PART0_A20 | . |
| . | . | . | . | . | . | 2g | PART0_A23 | . |
| 4d | PART3_A24 | . | . | . | . | 2a | PART0_A25 | . |
| 4c | PART3_A26 | . | . | . | . | . | . | . |
| = | = | = | . | = | = | = | = | = |
| 2d | PART3_A28 | . | . | . | . | 2b | PART0_A27 | . |
| 2e | PART3_A30 | . | . | . | . | 2cc | PART0_A29 | . |
| 2f | PART3_A31 | . | . | . | . | 1dd | PART0_A32 | . |
| 2.g | PART3_A33 | . | . | . | . | . | . | . |
| = | = | = | = | = | = | = | = | = |
| . | . | . | 1c | PART6_A35 | . | 2ee | PART0_A34 | . |
| 4f | PART3_A36 | p | . | . | . | . | . | . |
| 4e | PART3_A37 | . | . | . | . | 1gg | PART0_A38 | . |
| 4d | PART3_A39 | n | . | . | . | . | . | . |
| 2e | PART3_A40 | . | 2c | PART6_A41 | . | . | . | . |
| 2d | PART3_A43 | . | 2d | PART6_A44 | . | 2ff | PART0_A42 | . |
| = | = | = | = | = | = | = | = | = |
| 2c | PART3_A46 | . | 2e | PART6_A47 | . | 2ee | PART0_A45 | . |
| 2d | PART3_A48 | . | 2f | PART6_A49 | . | 1dd | PART0_A50 | . |
| 1B | PART3_A51 | . | 1g | PART6_A52 | . | . | . | . |
| . | . | . | . | . | . | 4cc | PART0_A53 | v |
| . | . | . | . | . | . | 4b | PART0_A54 | . |
| = | = | = | = | = | = | = | = | = |
| 0A | PART3_A56 | . | 0a | PART6_A57 | . | 2cc | PART0_A55 | . |
| = | = | = | = | = | = | = | = | = |
| . | . | . | . | . | . | 2ee | PART0_A58 | . |
| . | . | . | . | . | . | 2ee | PART0_A59 | . |
| . | . | . | . | . | . | 2ee | PART0_A60 | . |
| = | = | = | = | = | = | = | = | = |
| 1r | . | . | 2r | . | . | 2a | PART0_A61 | . |
| . | . | . | 2c | PART6_A64 | . | 1ee | PART0_A65 | . |
| 2r | . | . | 2c | PART6_A67 | . | . | . | . |
| 2e | PART3_A69 | . | 2d | PART6_A70 | V | 2dd | PART0_A68 | V |
| = | = | = | = | = | = | = | = | = |
| 2e | PART3_A72 | . | 2.e | PART6_A73 | . | 2cc | PART0_A71 | . |
| 2e | PART3_A75 | . | . | . | . | 4b | PART0_A74 | . |
| . | . | . | 4f | PART6_A77 | P | 4a | PART0_A76 | n |
| 2A | PART3_A79 | Z | 1g | PART6_A80 | . | 2b | PART0_A78 | Z |
| 1d | PART3_A82 | z | . | . | . | 2ee | PART0_A81 | Z |
| = | = | = | = | = | = | = | = | = |
Figure 7
Rendering of the **kern encoded piece described in Table 3 in Verovio Humdrum Viewer. Ties were added to facilitate readability for notes that go across barlines; these ties are not present in the original file shown in Table 3.
Figure 8
JSON list showing the mapping of XML IDs and corresponding dissonance labels retrieved from the **kern file shown in Table 3.