The Voynich Manuscript Performs a Canon A Six-State Notational Structure and Its Musical Realization Part III of the Voynich–Sumerian–Medieval Music Structural Reconstruction Series

Parts I and II of this series established that the Voynich Manuscript’s symbol sequences exhibit a six-state inventory, two recurrent axes, local operations, and non-random transition structure, all internally coherent as a musical notational system. Part III transfers that structure outside the manuscript. The confirmed 101-note pitch sequence of Johannes Ciconia’s proportional canon Le ray au soleyl is placed on a 4:3:1 source progression derived from the canon text, and Voynich-derived operations — c/i timing, Lunar rest structure, complementary voice alternation, and content delay — are applied sequentially. Each stage is evaluated separately. The c/i timing placement raises pairwise consonance from 50.30% to 54.79% without reducing density. Lunar rest placement raises it further to 76.21%, partly by reducing pair exposure. A complementary fourth voice then reoccupies the vacated space, and a one-sector delay produces a further +3.77 percentage point increase under fixed occupancy and fixed pair exposure. Negative controls — naive overlay, Cross timing injection, forced simultaneous connection — all reduce consonance. Temporary Solar withdrawal and re-entry leave the score nearly unchanged (81.99% → 81.87%). When the newly confirmed pitch sequence is inserted into the recovered structure, pairwise consonance is 78.31%. Its observed pitch order lies above the mean of 100 randomized pitch orders (+4.81 percentage points), but the permutation test does not reach conventional significance (p = .079). The central claim of this paper is that the Voynich Manuscript contains a musical structure. What remains deliberately open is whether the realization presented here represents the unique or historically correct realization of Le ray au soleyl. That question is left to the listener.