Identifying Fifteenth-Century Musical Notation in the Voynich Script System Part II of the Voynich–Sumerian–Medieval Music Structural Reconstruction Series

The investigation retains all notational candidates satisfying four observable conditions (repetition, partial variation, independence from depicted subject, persistence of skeleton) and tests which candidate surfaces under independent observation systems. Musical notation satisfies all four; other candidates fail on independence from depicted subject. Re-transcription from the original images yields six series fitting the 2 × 3 lattice of the divisiones without excess or deficiency. A two-layer structure is identified: a state skeleton (q / I / p / n / o / d) specifying division of the breve, and local operations (c / i) specifying note values within it. Two transition axes, p/o and d/n, are observed. In the EMMSAP corpus, no piece exhibits coexistence of d–n and p–o transitions in the same work; within the manuscript, 19.7% of words in f14r carry both axes. Transition networks on f68v2 show strong state dependence (Solar χ² = 142.7, p = 1.81 × 10⁻¹⁸; Lunar χ² = 206.7, p = 1.56 × 10⁻³⁰). The o → Ip → o cycle significantly exceeds random arrangement. No significant difference is detected between the overall Solar and Lunar transition distributions (p = .184), despite minimal vocabulary overlap. An EMMSAP-wide structural search, using the two-axis pattern as matching condition, independently surfaced works by Johannes Ciconia. Candidate correspondences with Le ray au soleyl are confirmed in subject, structure, and ratio. The claim of this paper: the Voynich Manuscript is a working notebook of musical structure. External numerical verification is carried out in Part III.