in which this music is notated in the manuscript has taxed the
scholarship of would-be interpreters ever since its rediscovery
by Lewis Morris in the early eighteenth century. It is unique,
in that it is unlike any other system of musical notation yet
known. Also, the tradition of the music which it contains died
out early in the seventeenth century, as did the theoretical knowledge
necessary to understand it.
The musicologist and harpist Peter Greenhill
has dedicated decades of intensive research not only into the
manuscript itself, but into related materials from the seventeenth
century and earlier, in the quest for an interpretation of the
music which will satisfy both scholars and musicians, and will
make it accessible to a wide public. These pages summarise the
results of this research and should give the reader some idea
of how Peter Greenhill's realisations of the pieces as recorded
by Paul Dooley have been achieved.