Re: Time signature ID and implementation

[Graham King]

On musicological grounds: certainly C2.  In this period, cut-C and C2 were, in 
practice, equivalent despite the latter implying "modus cum tempore."  Please 
don't ask me about _that_, because I'm at the limit of my understanding!
References for this would include:
Apel: The Notation of Polyphonic Music 900-1600, and
DeFord: Tactus, Mensuration and Rhythm in Renaissance Music

On paleographical grounds: certainly C2.  That's what the arabic numeral "2" 
looked like!  Compare with innumerable other manuscripts of this period.
Reference: Capelli: The elements of abbreviation in medieval Latin paleography, 
translated by Heimann and Kay, at pp.19 and 29.

If you're doing a lot of transcription of renaissance music, I strongly 
recommend equipping yourself with these sources.  DeFord is available for a 
modest price as an e-book.  The others are freely available online.  Capelli is 
invaluable for figuring out the impenetrable system of abbreviations ("sigla") 
used by scribes in underlay.

HTH
-- Graham

> On 8 Oct 2020, at 05:35, Adam Griggs <adammgriggs@gmail.com> wrote:
> 
> Hello again lilypond-user,
> 
> Looking for some advice.
> 
> I started with this MS:
> http://www.bl.uk/manuscripts/Viewer.aspx?ref=royal_ms_8_g_vii_fs001r
> 
> Find attached a montage of the time signatures of the four parts.
> 
> That looks like 'C2' to me. Anyone concur?

<snip>