# Generation of Melodies for the Lost Chant of the Mozarabic Rite
## 3 Results
### Template Creation  
Templates were compiled for 22 Mozarabic chants from the Leon antiphoner (see Appendix A.2). Reasons for the choice of these 22 pieces include: the complexity of the chants; a representative selection from the Leon antiphonary; and possibilities for different thematic units for performance. The choice included 12 sacrificia, 8 responsories, a sono and a Benedictus, many for Easter time, and ten chants for the least of [PERSON]. As described above, these templates encode neume contours, intra-opus patterns, ranges, and some defined pitches. Templates for each piece were based on enhanced digital images of the Leon antiphonary by manually representing the neumatic notation of Leon in contour letters. This was based on the findings of [PERSON] and [PERSON] [3] and further on the work of [PERSON] [29] who described the meaning of the neumes and partially their interpretation.  
For the correct transcription of words and syllables we made use of the text edition by [PERSON] and [PERSON] [30]. We carefully looked for intra-opus patterns--sequences of neumes that are repeated--and manually marked these using brackets (see Figures 1 and 2). First and last pitches, as well as ranges, were arbitrarily chosen based on Gregorian chants on the same places of the liturgical calendar [31; 32]. [PERSON] [33] associates the verses of nearly 600 responsories with one of 7 psqlm tones: A, B, C, D, E, F and G. Since the pitches of two tone-B verses are known (of the responsories _Ece ego viam_ and _Dies mei transierunt_), most pitches of our four tone-B verses (of _Haec dicit Dominus iustitia_, _Zacarias_, _Unde mici_ and _Me aportet_) were defined by these. Because the actual verse texts determine the neumatic structure of these verses, different tone-B verses can differ considerably, although they are closely related. Therefore it was not possible to define all pitches of our tone-B responsory verses.  
Most of the 22 pieces have _repetendae_, longer parts of the chant that should be repeated after a verse. In the manuscript the repetendum is only copied the first time and the subsequent occurrences are simply indicated with the first word of the text. Our encoding, however, copied them always completely, thus creating longer intra-opus patterns. Responsories nearly always have the general form I-R-V-R, and sacrificial I-R-II-R-III-R where I is the initium, R the repetendum, V the verse, and II and III the second and third parts. To conform to the melodic behaviour of the related genre of the offertory in Gregorian chant, we assigned a different range to the final (third) part of sacrificia (SCR) compared to the rest. Since the offertory is the only genre with this feature, the range for all other genres is the same throughout the piece.  
Table 2 (bottom) provides some descriptive statistics of the template set. These templates provide very challenging generation tasks, with long sequences, many defined pitches, and over one-half of all notes covered by intra-opus patterns that must be respected in generated pieces. One-third of the events on average are under no specified contour constraint, thus necessitating a good statistical model to compensate and choose good melodic material for these positions.