< / f
7. fZl
L o n d o n , B r i t i s h L i b r a r y , H a r l e y 4951,
fo. 298
v
, s h o w i n g the start of the s e c
t i o n for m o d e 3 in
t h e
D A V I D H I L E Y
C L A R E N D O N PRESS • O X F O R D
1993
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cati on Data
Western plai nchant: a handbook / David Hiley.
Includes bibl iographical
1. Chants (Plain, Gregori an, etc.) Hi story and
criticism.
1. Tit le.
ISBS 0 19 816289 8
Typeset by Hope Serv ices (Abi ngdon) Lt d.
Pri nted in Great Britain
on acid-f ree paper by
St . Edmundsbury Press, Bury St. Edmunds
P R E F A C E
I h a v e been up to L o n d o n to
get the b o o k I am w r i t i n g , out of
the B r i t i s h M u s e u m .
I h a v e got a lot of it out, and I s h a l
l go a g a i n p r e s e n t l y to
get some m o r e ; and
w h e n I h a v e got it a l l ,
there w i l l be another b o o k . . .
So m a n y p e o p l e w e r e there,
g e t t i n g out t h e i r b o o k s . It
d o e s n ' t seem to matter e v e r y t h
i n g ' s
b e i n g in b o o k s
a l r e a d y : I d o n ' t m i n d it
at a l l . There are attendants
there on p u r p o s e to b r i n g it
to
y o u . T h a t is ho w b o o k s are
m a d e , and it is d i f f i c u l t to t
h i n k of any other wa y. I
m e a n the k i n d c a l l e d s e r i o
u s . . .
N o doubt the author of any reference book such as the
present one could echo the
sentiments of Miss Charity Marcon, in Ivy
Compton-Burnett's Daughters and Sons.
A great deal of my book is indeed got out of others, as
the bibliography and references
i n the text make clear. What justification
is there for this, and what is the purpose of
the book?
In the first place I wished to provide a book of reference
both for those c oming new
to plainchant and for those needing guidance in the specialist
literature. T h e book
starts with the assumption, reasonable in this secular
age, that many things about the
liturgy and its plainchant, even quite basic matters, are
unfamiliar to the reader. At
every stage in the encounter with
plainchant one comes up against specialist
terminology and concepts which constitute a real
obstacle. T hat is in the nature of the
subject, for ecclesiastical ritual is essentially exclusive,
remote from everyday
experience, reserved for specially trained personnel . T o
start
with essentials does not
mean, however, that
difficulties have been avoided. I have not, I hope, co
nfused
inexperience with lack of intelligence. The
reader w i l l encounter here many complex
problems, both those for which scholars
have found solutions and others which
remain obsc ure. I have also illustrated techniques of
research and given examples, not
just of the music in plainchant sources, but also of their make-up,
the way they
deploy their material, and their notation.
Those with access to well-equipped
libraries
w i l l
further
specialist literature. But I have also tried to make the
book self-explanatory,
and well that w i l l useful
able to read music.
Such a book fulfils a need primarily
because of the enormous expansion of
plainchant studies in the last few decades. T h e last major
work of synthesis in the
English language, Apel's Gregorian Chant,
is now over thirty years o ld. It has not , of
course, been my intention to try and replace A p e l ,
let alone the more comprehensive
Einfuhrung in die gregorianischen Melodien by
Peter Wagner from before the First
World War, both of which remain indispensable.
But mu ch has been explored and
v i i i Preface
Kenneth Levy and John Emerson in The New Grove Dictionary, is
necessarily brief
(but with an excellent bibliography). T he writings of
scholars such as the late Bruno
Stablein—his Schriftbild der einstimmigen Musik
and articles in Die Musik in
Geschichte und Gegenwart—together practically
constitute a textbook on chant.
But
an up-to-date one-vo lume work is clearly required.
T h e co mpressio n and omissions entailed in such a work are
the least pleasant things
facing an author. Fo r my own undo ubted sins of omissio n I have
tried to make
amends in the bibliography, by citing literature to
which I could not do justice in the
main text. T he biblio graphy shoul d go
some way towards being a
reference
take
take
this
opportunity to mention the recent appearance of a
new chant bibliography with over
4,200 items by T ho mas Kohl hase and Giint her Mi chael
Paucker, in Beitrage zur
Gregorianik, 9-10 (1990). T o one work which
appeared when the main text was all
but co mplete, but whose contents I knew intimately, I
have made no reference. I
acted
as co-editor with Ric hard Croc ker of the new edition
of The New Oxford History
of Music, i i : The Early Middle Ages
to 1300 (Oxford,
1989),
easy
to avoid unconscious borrowing from it. At any rate,
that volume now takes its place
beside Wagner, A p e l , and Stablein's
Schriftbild as an essential part of the
chant
scholar's library.
Historical writing about plainchant is a relatively young phenemono
n. Prince-
Abbot Martin Gerbert's De cantu et
musica sacra a prima ecclesiae aetate
usque ad
praesens tempus of 1774, the ancestor of
all musicological writing on plainchant, was
motivated by the desire to stimulate reforms in the churc h music
of his own time.
Knowledge of the past would make men conscious of the
malpractices of the present:
T desire . . . to lay open to view the astounding
abuses in these
matters, which in my
opinion are the gravest in the discipline of our
chur ch' (quo ted in p. l v i i i * of Othmar
Wessely's introductio n to the 1968 reprint of Gerbert's work) . T
he work of the great
restorers of the late nineteenth and early
twentieth centuries was imbued with the
spirit
of reform, to be achieved, as with Gerbert , through
recovery of a former ideal
state. Work which is of incalculable value for musicologists
sprang from these
reforming efforts: the series of facsimiles
Paleographie musicale, the vo lumes of Ij?
Graduel romain, the studies of notational
practices made by D o m Eugene Cardi ne
a n d his pupils (I cite here only a few
examples from the work of monks of the Frenc h
Benedictine monastery of Solesmes). However, the fact
that more than musicology
was invol ved inevitably affected the selection of info rmation and
the use to which it
was put. T his type of counterpoint between scholars and their
material is of course
co mmon to all scholarship. In the case of
chant studies the consequences of different
viewpoint and purposes can be appreciated by co mparing Cardine's
'Vue d'ensemble
sur le chant gregorien' and Le v y and Emerson's
'Plainchant'.
T h e researches of the Benedictine
fathers
also had a definite practical purpose: the
provision of model, definitive chant-books for use in the Ro man
Chu rch. Consequently,
their work was concerned with those chants sung in the
Roman liturgy of their own
I X
longer admitted, though important in the M i d d l e
Ages. In recent years mostly lay
scholars have devoted considerable energy to those
repertories, and it is perhaps not
fanciful to see this partly as a reaction against the bias of
earlier chant studies. In my
own case, it led amo ng other things to a decision to
transcribe all music al examples
from original sources, rather than rely on modern
service-books, slight though the
differences between them may sometimes be.
A great deal of the satisfaction gained fro m writing
a book suc h as this comes from
sorting out problems in one's own mind, for, as the
renowned author of a monograph
on Lassus succinctly expressed it: 'Nothing
clears up a case so much as stating it to
another person.' Yet even more satisfying has been the
ever-increasing wonderment at
the variety and richness of the chant reperto ry, a delight to
anyone working in the
area. I hope that the musical examples, at
least, w i l l help further the appreciation of
these treasures.
Like Miss M arco n, I owe a considerable debt to the
British Li brary , but also to the
Anselm Hu ghes Li bra ry of Royal Ho lloway and Bedford New
College, University of
London, where I once taught; to the University of
London L ibrary at Senate Ho use,
and more recently to the Universitatsbiblio thek of
Regensburg Univ ersity, where I
now
teach. Many of my musical examples were
transcribed from microfilms, work
with which has in many cases been made possible
by grants from the Central Research
Fund of the Univ ersity of London. M y principal
debt is to the numerous fellow chant
scholars from whom I have learned over the years, many of whom cou
ld have written
a better book than this. It is the fate of
textbooks to be used for target-practice, as it
were, by better-informed teachers, but I hope my
colleagues w i l l find here something
they can set before their students with reasonable confidence. Abo
ve al l, I hope the
book w i l l straighten the path of those
who, like myself a co uple of decades ago, are
trying to find their way in an
initially fo reign, often bewil dering, but always
fascinating and rewarding musical world.
I am most grateful to the libraries which kindly
supplied photo graphs for the plates.
Plates 1, 4-6 , 8-9 , 11-14, and 18 are published by
permission of the British Libr ary ;
plates 2, 7, and 16 by permission of the Bodleian Libr ary ; plate
10 by permissio n of
the Syndic s of Cambridge Univ ersi ty Li brar y; plate 15 by
permission of the Master
and Fellows of University College, Oxford; and
plate 17 by permission of Edi nburgh
University Library.
In conclusion I wish to thank those who have played an
especially important part in
the production of the book: Malcolm Gerratt, who
launched the project and fanned it
along for several years; Bruce Phillips, who
brought it into the safe haven of Oxford
University Press, and the staff of O U P , especially Leo
franc Hol fo rd-S trevens and
Bonnie Blackburn, who did far more for the book than an
author has a right to expect
from his co py-editor. Greatest of all is my debt to my wife
A n n, without whose
patience and encouragement I shoul d never have reached the end of
the long voyage.
D . H .
Analytical Table xii
Abbreviations xxxi
Bibliography xxxiii
II. Chant Genres 46
I V .
403
Music
T he ory 442
V I . Plainc hant up to the Ei ghth Century 478
VII.
VIII . Gregorian Chant and Other Chant Repertories 524
IX. Persons and Places 563
X . Reformations of Grego rian Chant 608
X I .
Index of Text and Music
Incipits 631
Index
Index of
A N A L Y T I C A L T A B L E
I . P L A I N C H A N T I N T H E L I T U R G
Y
L I . I n t r o d u c t i o n 1
1 .2 . L i t u r g y a n d W o r s h i p 2
1 .3 . T h e C h u r c h Y e a r 7
1 . 4 . T h e D a i l y R o u n d 16
1 . 5 . M a s s " 2 2
1 . 6 . O f f i c e 2 5
(i ) T h e N i g h t O f f i c e ( M a t i n s , V i g i l s
, o r N o c t u r n s ) i n S e c u l a r U s e 25
( ii ) T h e N i g h t O f f i c e i n M o n a s t i c U s e 2
7
( i ii ) L a u d s i n S e c u l a r U s e 2 8
( iv ) L u d s i n M o n a s t i c U s e 2 8
( v ) V e s p e r s i n S e c u l a r U s e 2 8
( v i) V e s p e r s i n M o n a s t i c U s e 2 9
( v i i) C o m p l i n e 2 9
( v i i i ) P r i m e , T e r c e , Sext, a n d N
o n e 3 0
1 . 7 . P r o c e s s i o n s 3 0
1 .8 . C e r e m o n i e s o f H o l y W e e k 3
2
( i) G e n e r a l 3 3
( ii ) P a l m S u n d a y 33
( ii i ) M a u n d y T h u r s d a y 34
( iv ) G o o d F r i d a y 36
(v )
H o l y
S a t u r d a y o r E a s t e r E v e 3 8
( v i ) E a s t e r S u n d a y 3 9
1 . 9 . T h e 'Feast o f F o o l s ' a n d R e l a t e
d C u s t o m s 3 9
1 .1 0. O t h e r S e r v i c e s : B a p t i s m , C o n f i r m a
t i o n , O r d i n a t i o n , C o r o n a t i o n ,
M a r r i a g e , B u r i a l , D e d i c a t i o n 4
2
I I . C H A N T G E N R E S
>' I I . 1 . I n t r o d u c t i o n 4 6
1 1. 2. R e c i t a t i o n F o r m u l a s f o r P r a y e r s a n
d L e s s o n s 4 7
( i) G e n e r a l 4 7
( i i ) P r a y e r s 4 9
( i i i ) L e s s o n s 5 4
1 1 .3 . T o n e s f o r P s a l m s a n d O t h e r C h a n t s 5
8
( i ) P s a l m s 5 8
( ii ) O t h e r P s a l m T o n e s : T h e P a r a p t e r e s ,
T o n u s p e r e g r i n u s 6 2
( i ii ) T o n e s f o r t h e C a n t i c l e s M a g n i f i c a
t a n d B e n e d i c t u s 6 4
( iv ) T o n e s f o r t h e P s a l m V e r s e s o f I n t r o i
t s a n d C o m m u n i o n s 6 4
( v i ) Tones for the
I n v i t a t o r y P s a l m
66
( v i i ) Benedictus es domine Dens pat ru m
nostnon in the S a t u r d a y M a s s
o f
E m b e r W e e k s
68
( v i i i ) T e
D e u m l a u d a m u s
68
I I
4 . T h e G r e a t R e s p o n s o r i e s of the N i
g h t O f f i ce
6 9
( i ) I n t r o d u c t i o n
6 9
( ii ) R e p e r t o r y , T e x t s ,
and
71
( i v ) C e n t o n i z a t i o n
7 4
7 6
G r a d u a l s and Tracts
7 6
( i ) I n t r o d u c t i o n
7 6
( i i ) G r a d u a l s in a: T h e ' I u s
t u s ut p a l m a ' G r o u p
77
( i i i ) G r a d u a l s F
8 0
( iv ) O t h e r G r a d u a l s
81
M o d e
. 6 .
S h o r t R e s p o n s o r i e s
85
I
. 7 .
88
( i ) I n t r o d u c t i o n
88
or
P s a lt er A n t i p h o n s
91
( ii i) A n t i p h o n s
for the
of
the
N i g h t O f f i ce ,
and
9 2
( i v ) A n t i p h o n s for the M a g n i f i c a
t and B e n e d i c t u s
9 6
T h e
G r e a t O - A n t i p h o n s
98
I I . 8 .
I n v i t a t o r y A n t i p h o n s
9 9
I I
. 9 .
P r o c es s io n a l A n t i p h o n s
9 9
( i ) I n t r o d u c t i o n
100
( ii ) R o g a t i o n A n t i p h o n s
101
( ii i ) P a l m S u n d a y A n t i p h o n s
102
( i v ) A n t i p h o n s
for
O t h e r O c c a s i o n s
102
10.
M a r i a n A n t i p h o n s
I I 1 1 .
109
( i ) I n t r o d u c t i o n
109
( i i ) I n t r o i t s
in
3
110
( i i i ) C o m p a r i s o n w i t h O f f i ce A n t
i p h o n s
and
R e s p o n s o r i e s
114
C o m m u n i o n s
116
116
of
C o m m u n i o n s w i t h P s a l m
and
117
( i i i ) Some F - m o d e C o m m u n i o n s
118
( i v ) C o m m u n i o n s
and
R e s p o n s o r i e s
120
13 .
121
( i ) I n t r o d u c t i o n
121
122
( i i i ) T h e M e l o d i e s of the O f
f e r t o r y R e s p o n d
122
( i v) V e r s e M e l o d i e s
126
11.14. A l l e l u i a s 1 30
( i) I n t r o d u c t i o n 1 30
( i i) T h e E a r l i e r a n d L a t e r S t y l e s 1 3 2
( i i i) R h y m e d A l l e l u i a s a n d L a t e M e d i e v a
l M e l o d i e s 136
11.15. H y m n s 1 4 0
( i) I n t r o d u c t i o n 1 40
( i i )
Texts
141
( i i i) M u s i c 1 4 2
( iv ) P r o c e s s i o n a l H m n s 1 46
11.16. C h a n t s f o r t h e O r d i n a r y o f M a s s 1
48
11.17. K y r i e e l e i s o n 1 5 0
( i ) K y r i e e l e i s o n a s a L i t a n y 1 5
0
( i i ) K y r i e e l e i s o n after t h
e I n t r o i t a t M a s s 1 51
( i ii ) E a r l y M e l o d i e s 1 52
( iv ) I t a l i a n M e l o d i e s 1 54
( v) M e l o d i c T y p e s 1 55
* ( v i ) L a t e r M e l o d i e s 155
11.18. G l o r i a i n e x c e l s i s D e o 1 5
6
( i) I n t r o d u c t i o n 1 56
( i i) R e c i t a t i o n T y p e s 1 57
( i i i ) T h r o u g h - c o m p o s e d M e l o d i e s 1
59
11.19. S a n c t u s 1 61
( i) T h e O l d e s t M e l o d i e s 1 61
( i i ) O t h e r M e l o d i e s 1 62
11.20. A g n u s D e i 165
11.21. C r e d o 1 68
11.22. Sequences 172
( i) I n t r o d u c t i o n 1 7 2
( i i ) E a r l y
Sequences
w i t h P a r a l l e l - V e r s e S t r u c t u r e
1 73
( i ii ) N o t a t i o n : P e r f o r m a n c e ; P a r t i a l l
y T e x t e d M e l o d i e s 1 80
( i v ) S h o r t A p a r a l l e l
Sequences 181
( v ) I t a l i a n Sequences 183
( vi ) T h e E a r l y H i s t o r y o f t h e
Sequence
185
( v i i ) R h y m e d Sequences 189
11.23.
T r o p e s 1 96
( i) I n t r o d u c t i o n 1 96
( i i ) A d d e d M e l i s m a s i n I n t r o i t s
1 97
( i i i ) A d d e d M e l i s m a s i n G l o r i a s
1 99
( i v ) A d d e d R e s p o n s o r y M e l i s m a s
2 00
( v) P r o s u l a s f o r O f f e r t o r i e s a n d A l l e l u
i a s 2 0
( v i) R e s p o n s o r y P r o s u l a s 2 0 4
( v i i i ) K y r i e s w i t h
L a t i n T e x t , K y r i e P r o s u l
a s , a n d K y r i e T r o p e s 2 11
( ix ) B e n e d i c a m u s C h a n t s w i t h E x t
e n d e d T e x t , P r o s u l a s , a n d T r o p e s 2 13
(x ) I n t r o i t , O f f e r to r y , a n d C o m m u n i o n T r
o p e s ; Sequence T r o p e s 2 15
( x i ) G l o r i a , S a n c t u s , a n d A g n u s T
r o p e s 2 2 3
V 11.24. L a t i n l i t u r g i c a l
songs 238
( i) I n t r o d u c t i o n 2 38
( ii ) V e r s u s i n E a r l y A q u i t a n i a n M a n u s c r
i p t s ; v e rs u s w i t h ' D o u b l e
C u r s u s '
239
( i ii ) T w e l f t h - c e n t u r y S o n g s : T e x t u a l a
n d M u s i c a l S t y l e 2 41
( iv ) T w e l f t h - c e n t u r y S o n g s : L i t u r g i c a
l F u n c t i o n 2 48
11.25. L i t u r g i c a l D r a m a s 2 50
(i ) L i t u r g y a n d D r a m a 2 51
( i i ) T h e Quern queritis
D i a l o g u e 2 5 2
( i i i )
Easter
C e r e m o n i e s f r o m t he E l e v e n t h C e n t u r
y O n w a r d 25 5
( iv ) C h r i s t m a s a n d E p i p h a n y C e r e m o n i e s
; R a c h e l ' s a n d M a r y ' s L a m e n t s 2 63
(v ) R h y m e d C e r e m o n i e s ; th e F l e u r y P l a y b o
o k ; t he Ludus Danielis 2 6 6
11.26. O f f i c e s w i t h V e r s e
Texts 273
11.27. M e t r e , A c c e n t , R h y t h m , a n d R h y m
e i n L i t u r g i c a l
Texts
279
( i) M e t r e a n d Stress 280
( i i) R h y m e 2 8 4
( i ii ) P r o s e R h y t h m ( C u r s u s ) a n d P r o s e R h
y m e 2 85
I I I . L I T U R G I C A L B O O K S A N D P L
A I N C H A N T S O U R C E S
I I I . 1 . I n t r o d u c t i o n 2 87
111.2. O r d i n e s R o m a m 2 89
111.3. Sacramentaries
a n d L e c t i o n a r i e s 2 91
(i )
Sacramentaries
291
( i i ) L e c t i o n a r i e s 2 9 3
111.4. G r a d u a l s ( M a s s A n t i p h o n e r s ) a n
d C a n t a t o r ia 29 5
( i) I n t r o d u c t i o n 2 95
( ii ) G r a d u a l s w i t h o u t N o t a t i o n 2 96
( i ii ) N o t a t e d G r a d u a l s 2 99
111.5. A n t i p h o n e r s ( O f f ic e A n t i p h o n e r
s ) 303
( i) T h e E a r l i e s t A n t i p h o n e r s 3 04
( ii ) T y p e s o f M a n u s c r i p t a n d C a l e n d r i c O
r g a n i z a t i o n 3 05
( i i i ) C o m p a r i s o n of Sources 307
111.6. P s a l t e r s , H y m n a l s , C o l l e c ta r s ,
O f f i ce L e c t i o n a r i e s 3 08
( i ) P s a l t e r s 3 0 8
( i i) H y m n a l s 3 10
( i i i ) C o l l e c t a r s 3 1 1
( i v ) O f f i c e l e c t i o n a r i e s 3 1 3
I I 1 .7 . S e q u e n t i a r i e s , T r o p e r s , a n d K y r
i a l e s 3 13
I I 1 . 8. P r o c e s s i o n a l s 3 1 7
111.9. M i s s a l s 3 19
111.10. B r e v i a r i e s 3 2 0
I I I . 1 1. C o m p e n d i a 32 1
111.12. P o n t i f i c a l s a n d R i t u a l s 3 2 4
( i) P o n t i f i c a l s a n d B e n e d i c t i o n a l s 3 2
4
( ii ) R i t u a l s , M a n u a l s , o r A g e n d a 3 24
I I I . 1 4. T o n a r i e s 3 25
(i ) D e f i n i t i o n a n d F u n c t i o n 3 26
( ii ) T y p e - M e l o d i e s f o r t he E i g h t M o d e s 3
31
( i ii ) H o w P s a l m Tones w e r e S p e c i f i e
d 3 3 3
I I I . 1 5. I d e n t i f y i n g a n d D e s c r i b i n g C h a
n t - B o o k s 3 35
I V . N O T A T I O N
I V . 1 . I n t r o d u c t i o n 3 4 0
( i) P r e l i m i n a r y 3 4 0
( i i) T h e S i g n s i n M o n t p e l l i e r H . 1 59 3
41
( i i i ) N e u m e 3 4 5
I V . 2 . R e g i o n a l Styles 346
( i) F r e n c h a n d G e r m a n N o t a t i o n 3 47
( ii ) P a l a e o f r a n k i s h , L a o n , B r e t o n , a n d
A q u i t a n i a n N o t a t i o n s 3 47
( i i i) T y p e s R e l a t ed to F r e n c h - G e r m a n N o t
a t i o n 351
( i v) O t h e r I t a l i a n N o t a t i o n s 3 5 2
( v) E x a m p l e s 3 53
I V . 3 . L i q u e s c e n c e , O r i s c u s , Q u i l i s
m a ; O t h e r S p e c i a l S i g n s 3 57
( i) S i g n s f o r L i q u e s c e n c e 3 5 7
( ii ) Q u i l i s m a 3 58
( i i i ) O r i s c u s 3 5 9
( i v ) V i r g a s t r a t a , P r e s s u s , P
e s s t r a t u s , P e s q u a s s u s , S a l i c u s
3 6 0
I V . 4 . T h e O r i g i n s o f C h a n t N o t a t i o n 3
61
( i) I n t r o d u c t i o n 3 6 2
( i i) E a r l y E x a m p l e s 3 6 2
( i i i ) E a r l y References t o N o t a t i o n 3 6
4
( i v ) P a r a l l e l Systems 364
(a ) P r o s o d i c A c c e n t s 3 65
(b ) P u n c t u a t i o n 3 66
( c) E k p h o n e t i c N o t a t i o n 3 67
(d ) B y z a n t i n e N o t a t i o n 3 69
( v) T h e ' C h e i r o n o m i c ' T h e o r y 3 70
( vi ) T h e E a r l y T r a n s m i s s i o n o f C h a n t 3
70
( v i i )
Some
C o n c l u s i o n s 371
I V . 5 . T h e N o t a t i o n o f R h y t h m 373
( i) R h y t h m i c E l e m e n t s i n E a r l y N o t a t i o n
s 3 74
( ii ) R h y t h m i n S i m p l e A n t i p h o n s 3 80
( i ii ) C a r d i n e ' s ' G r e g o r i a n S e m i o l o g y '
3 82
( iv ) T h e E v i d e n c e o f T h e o r i s t s 3 84
( v) C o n c l u s i o n s 3 85
I V . 6 . P i t c h - N o t a t i o n 38 6
( i) F r o m t h e N i n t h C e n t u r y to W
i l l i a m o f D i j o n 3 86
( i i) G u i d o o f A r e z z o 3 88
( i i i ) S t a f f - N o t a t i o n i n D i f f e r e n t L a n d
s 3 89
I V . 7 . T h e o r i s t s ' N o t a t i o n s 3 92
I V . 9 . M o d e r n T r a n s c r i p t i o n 398
( 1 ) T h e L i t u r g i c a l C o n t e x
t 399
( i i ) T r a n s c r i p t i o n 400
( i i i ) T r a n s c r i p t i o n f r o m Staffless N
o t a t i o n s 400
P L A T E S
F r o n t i s p i e c e i i
P l a t e 1. L o n d o n , B r i t i s h L i b r a r y
, H a r l e y 1117 406
P l a t e 2. O x f o r d , B o d l e i a n L i b r a r
y , Lat . l i t u r g . d. 3 408
P l a t e 3. L o n d o n , B r i t i s h L i b r a r y
, E g e r t o n 857 410
P l a t e 4. L o n d o n , B r i t i s h L i b r a r y
, H a r l e y 110 412
P l a t e 5. L o n d o n , B r i t i s h L i b r a r y
, A d d . 30850 414
P l a t e 6. L o n d o n , B r i t i s h L i b r a r y
, A d d . 19768 416
P l a t e 7. O x f o r d , B o d l e i a n L i b r a r
y , C a n o n i c i l i t u r g . 350 418
P l a t e 8. L o n d o n , B r i t i s h L i b r a r y
, A r u n d e l 156 420
P l a t e 9. L o n d o n , B r i t i s h L i b r a r y
, R o y a l 8. C. x i i i 422
P l a t e
10. C a m b r i d g e , U n i v e r s i t y L i b r a r y
, L I . 2. 10 424
P l a t e 11. L o n d o n , B r i t i s h L i b r a r y
, A d d . 10335 426
P l a t e
12. L o n d o n , B r i t i s h L i b r a r y ,
E g e r t o n 3511 428
P l a t e
13. L o n d o n , B r i t i s h L i b r a r y , A d d
. 29988 430
P l a t e
14. L o n d o n , B r i t i s h L i b r a r y , A d d
. 17302 432
P l a t e
15. O x f o r d , U n i v e r s i t y C o l l e g e 148
434
P l a t e
16. O x f o r d , B o d l e i a n L i b r a r y , Lat
. l i t u r g . a. 4 436
P l a t e
17. E d i n b u r g h , U n i v e r s i t y L i b r a r
y 33 438
P l a t e
18. L o n d o n , B r i t i s h L i b r a r y , p r i n t
ed b o o k
I B . 8668 440
V . P L A I N C H A N T A N D
E A R L Y
M U S I C T H E O R Y
V . l . I n t r o d u c t i o n 442
V . 2 . T h e L e g a c y of A n t i q u i
t y 443
V . 3 . A P i t c h S y s t e m for
P l a i n c h a n t 447
( i ) I n t r o d u c t i o n 447
( i i ) H u c b a l d of S a i n t - A m a n d
448
( i i i ) T h e Enchinadis G r o u p
of Treatises 452
V . 4 . T h e M o d e s 454
( i ) G e n e r a l 454
( ii ) A u r e l i a n of Reome 456
( i i i ) R e g i n o
of P r u m 458
( i v ) N o m e n c l a t u r e 459
(v) G r e e k N a m e s and O c t a v e
Species 461
( v i ) I t a l i a n T h e o r y : T h
e Dialogus de musica 463
( v i i ) G u i d o of A r e z z o 466
( v i i i ) S o u t h G e r m a n W r i t e rs
470
( i x ) M o d a l T h e o r y in S o u t h
G e r m a n y 472
(x) L a t e r Syntheses • 476
V I . P L A I N C H A N T U P T O T H E E I G H
T H C E N T U R Y
V I . 1 . I n t r o d u c t i o n 4 7 8
V I . 2 .
T h e C h u r c h e s o f C h r i s t e n d o m 4 80
V I . 3 . T h e E a r l y C h u r c h 4 84
V I . 4 . O f f i c e C h a n t s before t h e E
i g h t h C e n t u r y 4 87
V I . 5 . M a s s C h a n t s before t h e E i g
h t h C e n t u r y 4 94
( i) T h e G r a d u a l * 4 95
( i i) T h e I n t r o i t a n d O t h e r C h a n t s a t t h
e Start o f M a s s 4 9 6
( i ii ) T h e C h a n t s at C o m m u n i o n 4 98
( i v) T h e O f f e r t o r y 4 9 9
( v) T h e C h a n t s b e s i d e th e L e s
s o n s 500
V I . 6 . G r e g o r y t h e G r e a t 5 03
( i) I n t r o d u c t i o n 5 03
( ii ) G r e g o r y a n d t h e Deacons 5 0 4
( i ii ) G r e g o r y a n d t h e A l l e l u i a 5 0
4
( i v ) I s i d o r e o f S e v i l l e ; t h e
Liberpontificalis; t h e L i s t o f C h a n t ' E d i t o r
s '
i n O r d o R o m a n u s X I X 5 05
(v) T h e A n g l o - S a x o n T r a d i t i o n 5 06
( vi ) T h e B i o g r a p h i e s b y P a u l W a r n e f r i d a
n d J o h n H y m m o n i d e s 5 08
( vi i) T h e 'G r e g o r i a n ' Sacramentary
509
( v i i i ) T h e P r o l o g u e Gregorius
praesul 510
X ' (i x ) T h e R e c e p t i o n o f t h e G r e g o r y L e g e
n d i n t h e N i n t h C e n t u r y a n d
L a t e r ; t he D o v e ; t he M o d e s 51 1
( x ) G r e g o r y a n d t h e L e n t e n C o m m u n i o n s 5
11
( x i ) C o n c l u s i o n s 5 13
V I I . T H E
C A R O L I N G
I A N C E N T U R Y
V I I . 1 . I n t r o d u c t i o n 5 1 4
V I I . 2 . T h e E s t a b l i s h m e n t o f R o m a n C h
a n t i n F r a n c i a 5 14
V I 1 . 3 . T h e F r a n k i s h E x p a n s i o n o f t he C h a
n t R e p e r t o r y 5 18
V I I . 4 . T h e C o d i f i c a t i o n o f P l a i n c h a n t 5
20
V I 1 . 5 . T h e P la c e o f M u s i c i n t he C a r o l i n g i
a n Renaissance 521
V I I I . G R E G O R I A N C H A N T A N D
O T H E R
C H A N T R E P E R T O R I E S
V I I I . l . I n t r o d u c t i o n 5 24
V I I I . 2 . T h e I n f l u e n c e o f B y z a n t
i u m 5 25
( i) I n t r o d u c t i o n 5 25
( ii ) T h e S y s t e m o f E i g h t M o d e s 5 27
( i i i ) A n t i p h o n s f o r t he A d o r a t i o n o f t he C
r o s s an d O t h e r C h a n t s i n O l d
I t a l i a n R e p e r t o r i e s 5 2 7
( iv ) T h e T r i s a g i o n 5 2 8
( v) T h e F r a n k i s h ' m i s s a graeca'
528
( v i) T h e C o m m u n i o n Omnes qui in
Christo 529
( v i i i ) T e x t u a l C o n c o r d a n c e s w i t h o u
t M u s i c a l S i m i l a r i t y 529
( i x )
T h e Veterem hominem A n t i p h o n s
for the
of
530
V I I I . 3 . O l d I t a l i a n C h a n t I
: R o m e 530
( i ) I n t r o d u c t i o n
530
of
O l d R o m a n C h a n t
531
( ii i) E x a m p l e s : C o m m u n i o n s 532
( i v ) G r a d u a l s
533
(v ) n t i p h o n s 533
( v i ) O f f e r t o r i e s 534
( vi i ) A l l e l u i a s
538
( v i i i ) O r a l T r a d i t i o n 539
V I I I . 4 . O l d I t a l i a n C h a n t I I
: M i l a n 540
V I I I . 5 .
O l d
I t a l i a n C h a n t
I I I : Benevento 549
V I I I . 6 . G a l l i c a n C h a n t 552
VI11.7. O l d S p a n i s h ( M o z a r a b i c ) C h a
n t 557
V I I I .8. C o n c l u s io n s
560
I X . P E R S O N S A N D P L A C E S
I X .
1.
I n t r o d u c t i o n
563
I X . 2 . A m a l a r i u s of M e t z 569
I X . 3 . St G a l l 571
I . 4 . C l u n y
574
I X . 5 . W i l l i a m of D i j o n
578
I X . 6 . E n g l a n d
before
and after the N o r m a n C o n q u e s
t 580
I X . 7 . N o r t h I t a l ia n T r a d i t i o n s
585
I X . 8 . Benevento and M o n t e c a s s in
o 589
I X . 9 . R o m e
an d the
F r a n c i s c a n s
594
and
S a i n t - M a r t i a l
at
596
I X . 1 1. T h e H i s p a n i c P e n i n s u la
after the Reconquest 601
I X . 12. N o r t h e r n and E a s t e rn E
u r o p e 604
( i ) S c a n d i n a v i a
and
604
( i i ) P o l a n d 605
( i i i ) C z e c h o s l o v a k i a 606
( i v ) H u n g a r y
607
, X . R E F O R M A T I O N S O F G R E G O
R I A N C H A N T
X . l . I n t r o d u c t i o n 608
X . 2 . T h e C i s t e r c i a n s 609
X . 3 . T h e
D o m i n i c a n s
611
X . 4 . C h a n t in O t h e r R e l i g i o u s O r d
e r s 613
( i ) T h e C a r t h u s i a n s 613
( i i )
T h e
P r e m o n s t r a t e n s i a n s
614
X . 5 . h e ' M e d i c e a n ' G r a d u a l
(1614 -15 ) 615
X I . T H E R E S T O R A T I O N O F M E D I E V A L
C H A N T
X I . 1 . T h e R e t u r n t o t h e Source
622
X I . 2 . Solesmes a n d t h e V a t i c a n E d i t i
o n 6 2 4
I L L U S T R A T I O N S
Plates
F o r l i s t s e c a b o v e , p . x v i i
.
Maps
I V . 2 . 1 . C e n t r e s w h e r e L a o n n
o t a t i o n w a s u s e d
3 5 0
I X . 1 . 1 .
T h e a r c h d i o c e s e s o f l a te m e d i e v a l E u r o p
e
5 6 5
I X . 1 . 2 . E c c l e s i a s t i c a l m a p o f I t a l y
5 6 6
I X . 1 . 3 .
E c c l e s i a s t i c a l m a p of G e r m a n y
5 6 7
I X . 1 . 4 .
E c c l e s i a s t i c a l m a p o f F r a n c e
5 6 8
I X . 4 . 1 .
M o n a s t e r i e s f o l l o w i n g t h e u s e o
f C l u n y , S a i n t - B e n i g n e a t D i
j o n , o r B e e
5 7 7
V . 4 . 1
G u i d o n i a n h a n d after M u n i c h
, B a y e r i s c h e S t a a t s b i b l i o t h e k , e l
m 14965b
4 6 9
T A B L E S
1.3.1. T h e C h u r c h y e a r : th e f i x e
d p a r t d e p e n d e n t u p o n C h r i s t m a s
12
1.3.2. T h e C h u r c h y e a r : t h e m o v a
b l e p a r t d e p e n d e n t o n E a s t e r 13
1.3.3. K a l e n d a r f o r O c t o b e r : C a m b r i d g
e , C o r p u s C h r i s t i C o l l e g e 3 91 1 4 -
1 5
1.3.4. S a i n t s w i d e l y c e l e b r a t
e d i n t h e R o m a n C h u r c h 17
1.4.1. T h e l i t u r g i c a l h o r a r i u m
at
C l u n y
i n t h e l a te e l e v e n t h c e n t u r y 2 0
1.4.2. P s a l m s a l l o t t e d t o o f f i ce h o u r s ,
f e r i a l c u r s u s 21
1.6.1. P s a l m s a t f e r i a l V e s p e r s 2 9
I . 9 . 1 . B e a u v a i s C i r c u m c is i o n o f
f i c e , F i r s t V e s p e r s 4 3
I I . 7 . 1 . A n t i p h o n themes o r p r o t
o t y p e m e l o d i e s 91
I I . 1 1 . 1 . R e c i t i n g notes i n i n t r o i t
m e l o d i e s 115
11.23.1. T r o p e s f o r t h e E a s t e r i n t r o i
t Resunexi i n W i n c h e s t e r s o u r c e s 2
17
11.23.2. G l o r i a t r o p e
sets
s t a r t i n g O laudabilis rex
226-7
11.23.3. F a r s e d A p o s t l e s ' C r e e d i n L
a o n 2 6 3 2 3 4
111.4.1. I n t e r l o c k i n g T e m p o r a l e a n d S a
n c t o ra l e i n R o m a n u se 3 00
111.4.2. D i s p o s i t i o n o f T e m p o r a l e a n d S
a n c t o r a le i n F r a n k i s h u se 301
111.4.3. Separate T e m p o r a l e a n d S a n c t o r
a l e i n l a te r m e d i e v a l u se 3 02
I I I .5 .1 . D e p l o y m e n t o f m a t e r i a l i n t w
o a n t i p h o n e r s 3 0
I I I .8 .1 . C o n t e n t s o f t h e C a s t l e A c r e p
r o c e s s i o n a l 3 18
I I I . 1 5 . 1 . R e s p o n s o r i e s i n t h e N i g h
t O f f i c e o f S t A n d r e w 337
I V . 1 .1 . N o t a t i o n a l s i g n s i n M o n t
p e l l i e r , F a c u l t e d e M e d e c i n e I I . 1
59 342-3
I V . 2 . 1 . F r e n c h a n d G e r m a n n o t a t io n a
l s ig n s 3 48
I V . 2 . 2 . P a l a e o f r a n k i s h , L a o n ,
B r e t o n , a n d A q u i t a n ia n n o t a t i o
n a l s i g n s 3 4 9
I V . 2 . 3 . S i g n s r e l a te d t o F r e n c h - G e r m a n
n o t a t i o n 3 52
I V . 2 . 4 . O t h e r I t a l i a n n o t a t i o n s 3 53
I V . 3 . 1 . S p e c i a l s i g n s i n S t G a l
l a n d L a o n n o t a t i o n 3 61
I V . 4 . 1 . P r o s o d i c accents 366
I V . 4 . 2 . B y z a n t i n e e k p h o n e t i c s ig n s 3
68
I V . 4 . 3 . A c c e n t s , e k p h o n e t i c s i g n s , a n d
n e u m e s ( B y z a n t i n e ) 3 69
I V . 6 . 1 . S p e c i a l s i g n s a t t h e s e m i t o n
e step i n M o n t p e l l i e r , F a c
u l t e d e M e d e c i n e I I . 1 59 3 88
I V . 6 . 2 . L a t e f o r m s d e r i v e d f r o m L
a o n a n d G e r m a n n o t a t io n 3 90
V . 2 . 1 . G r e a t e r a n d L e s s e r P e r f e c t S y
s t e m , d i a t o n i c g e n u s 4 4 6
V . 4 . 1 . G r e e k a n d m e d i e v a l m o d a l n a m e
s 4 6 2
V . 4 . 2 . W r i t e r s o n m u s i c t h e o r y i n s o u
t h G e r m a n y i n t h e e l e v e n t h c e n t u r y 4 7
2
V I . 5 . 1 . C h a n t s a t t h e start o
f mass i n f o u r r i t e s 4 9 7
Tables xxiii
I X . 3 . 1 . S o u r c e s g r o u p e d a c c o r d i n g t o t h
e i r m u s i c a l v a r i a n t s 5 7 4
I X . 1 0 . 1 . A q u i t a n i a n s o u r c e s t o
c. 1200 597
M U S I C E X A M P L E S
E x . I1.2.1. V e r s i c l e s and responses 48
E x .
I 1.2.2.
F r o m
the B l e s s i n g of the F o n t
on E a s t e r Eve
50
1.2.3.
F r o m the E x u l t e t
52
E x . I 1.2.4. F r o m a l i t a n
y on R o g a t i o n T u e s d a y 53
E x . I 1.2.5 . Paler noster
54
1.2.6.
F r o m the G o s p e l on the feast of St J
o h n the E v a n g e l i s t 55
E x . I
1.2.7.
F r o m the G e n e a l o g y a c c o r d i n g
to St M a t t h e w
5 7
1.2.8.
F r o m the G e n e a l o g y a c c o r d i n g
to St L u k e 58
E x .
I
1.3.1.
T h e e i g h t p s a l m
tones
59-60
E x . I 1.3.2. A n t i p h o n Scitote quia
prope est, w i t h p s a l m - t o n e 61
E x . I
1.3.3.
C a d e n c e s f r o m the Commemoratio
brevis
62
I
1.3.4.
T o n u s p e r e g r i n u s
63
1.3.5.
A n t i p h o n w i t h ' p a r a p t e r ' p s a l m
tone
63
1.3.6.
P s a l m verses for i n t r o i t s
64
E x . I 1.3.7.
V e r s e s of the r e s p o n s o r i e s
Salvatorem expectant us, Aitdite verbum,
a n d
Ecce virgo concipiet
1.3.8.
I n v i t a t o r y tone
6 7
E x . I1.4.1. R e s p o n d s of f o u r r e s p
o n s o r i e s
72
78
E x . I 1.5.2.
F r o m G r a d u a M w / w a nostra
V . Laqueus contritus est
80
E x . I 1.5.3. F r o m G r a d u a l Exaltabo
te V . Domine Dens mens 81
E x .
I 1.5.4.
84
1.6.1.
S h o r t r e s p o n s o r y Super te lerusalem
86
E x . I 1.6.2.
S h o r t r e s p o n s o r y Resurrexit Dominus
8 7
1.6.3.
F e r i a l a n t i p h o n s Credidi a n
d Portio mea 8 7
E x . I
1.7.1.
P s a l t e r a n t i p h o n s 92
E x .
I 1.7.2.
A n t i p h o n s w i t h the m e l o d y G e v a
e r t t h e m e 29
93
1.7.3.
A n t i p h o n s w i t h the m e l o d y G e v a
e r t t h e m e 36
94
E x . I 1.7.4. A n t i p h o n s 95
E x .
I 1.7.5.
M a g n i f i c a t a n t i p h o n s
9 7
E x . I1.8.1.
I n v i t a t o r y a n t i p h o n Ouoniam Deus
magnus and p a r t of r e s p o n s o r
y
Tolle anna tua
E x .
I1.9.1. P r o c e s s i o n a l a n t i p h o
n Ego sunt Deus 101
E x . I 1.9.2.
F r o m the p r o c e s s io n a l a n t i p h o
n Collegentnt pontifices 102
E x . I
1.9.3.
P r o c e s s i o n a l a n t i p h o n Ego sum
alpha et to
103
I
1.10.1.
M a r i a n a n t i p h o n Sub tuunt presidium
105
E x . I 1.10.2.
M a r i a n a n t i p h o n Speciosa facta
es in two v e r s i o n s
106
1.10.3.
F r o m M a r i a n a n t i p h o n s Alma
redemptoris mater a n d Sake
regina
107
E x .
I 1.10.4.
M a r i a n a n t i p h o n Aurei nontinis
Maria
107
1.10.5.
M a r i a n a n t i p h o n Trinitatis thalamum
108
E x . I
1.11.1. M o d e 3 i n t r o i t o p e n i n g s
111
1.11.2.
M o d e 3 i n t r o i t cadences
112
1.11.3.
R e c i t a t i o n a r o u n d c in m o d
e 3 i n t r o i t s
113
1.11.4.
F r o m i n t r o i t Ecce oculi
113
legifer
noster a n d i n t r o i t Timete
Dominion
114
1.12.1.
M o d e 6 c o m m u n i o n s
118
E x . I 1.12 .2. C o m m u n i o n Dicit
Dominus implete hydrias
119
1.12.3.
Diffusa est gracia as c o m m u n i o n
and r e s p o n s o r y
120
E x . I
1.13.1. O f f e r t o r y r e s p o n d Ad te Domine
levavi
123
1.13.2.
O f f e r t o r y r e s p o n d In die sollempnitatis
124
E x . I
1.13.3. O f f e r t o r y r e s p o n d Jubilate Deo
universa terra
125
E x . I
1.13.4. F r o m o f f e r t o r y r e s p o n d
Tollite portas
127
E x . I
1.13.5. S e c o n d verse of o f f e r t o r
y
Tollite
portas
128
1.13.6.
V e r s e s of o f f e r t o r y Iubilate
Deo universa terra
129
132
1.14.2.
A n o t h e r m e l o d y for Alleluia Dominus
dixit ad me
133
134
138
139
verses for A lleluia 0 Matia
rubens rosa
139
143
H y m n Somno refect is artubus
143
E x . I
1.15.3. T w o m e l o d ie s for h y m
n Ecce iam noctis
144
Pange
lingua
145
145
E x . I
1.15.6. F r o m p r o c e s s i o n a l hymn
Ardua spes mundi
147
151
K y r i e
55, V a t i c a n ad l i b . V
I
153
1.17.3.
K y r i e 68, V a t i c a n X I V
154
1.17.4.
K y r i e 155, V a t i c a n X V
154
E x . I 1.17.5.
K y r i e 77 and K y r i e 52
155
97
156
156
C a d e n t i a l
f i g u r e s (a-d) and i n t o n a t i o n f g
ur e (e) f r o m G l o r i a 39
158
G l o r i a 2
159
160
E x .
1.19.1. G r e e k Sanctus and L a t i
n Sanctus 66
163
O l d
R o m a n A g n u s ; A g n u s 226
167
168
170
E x . II .21.2.
F r o m C r e d o by L u l l y
171
175
175
182
189
E x . II
192
193
E x . II .23.1.
T r o p e verses Dilectus iste Domini,
etc. for
i n t r o i t /;/ medio ecclesie
1 9 8 - 9
E x . 11.23.2.
V e r s e Ostende nobis for o f f e r t o r
y Benedixisti, w i t h p r o s u l a
s Da nobis
famulis a n d Da nobis potenti
202
E x . I] .23.3.
Alleluia Concussion est mare w i t h p r o
s u l a Angelas Michael 203
E x . II .23.4.
R e s p o n s o r y Beatus Nicholaus w i t h p r
o s u l a Oportet devota mente
206
E x . 11 .23.5.
R e s p o n s o r y 0 mater nostra
w i t h p r o s u l a Eterna virgo memorie
207
.23.6.
F r o m G l o r i a 56 ( V a t i c a n I V
) w i t h t r o p e verses 0 gloria
sanctorum, etc., R e g n u m p r o s u la 0
rexglorie
208
210
212
E x . U
[.23.9. K y r i e 55 w i t h t r o p e
verses Chris te redemptor, etc.
213
E x . I i
[.23.10. B e n e d i c a m u s chant Eia nunc
pueri
214
E x . I]
.23.11. B e n e d i c a m u s chants
215
E x . U .23.12. T r o p e verses Ecce
iam Iohannes, etc. for i n t r o i t
/;/ medio
ecclesie
218-19
E x . I]
.23.13. T r o p e verse Deus paterfiliurn
suum a n d start of i n t r o i t Puer
natus est
222
.23.14.
I n t r o d u c t o r y verses Ilodie cantandus
est, etc. and start of i n t r o i t
Puer
natus est
E x . 11
.23.15. G l o r i a 39 w i t h t r o p e
verses 0 laudabilis rex, etc. and S c e p t r u
m
p r o s u l a Lumen etemum
228-30
.23.16.
Sanctus 56 ( V a t i c a n III) w i t
h t r o p e verses Summe
pater, etc. an d
O s a n n a p r o s u l a s Omnes tua gratia
^nd Martyr Christi gratia
2 3 0 - 1
E x . 11
.23.17. A g n u s 15 w i t h t r o p e
verses P r o cunctis deductus, etc.
232
.23.18.
A g n u s 81a w i t h t r o p e
verses Ad dextrarn patris, etc. a n d
Ilumanum
genus, etc.
233
E x . 11 .23.19. F a r s e d C r e d o
235-6
.23.20.
I n t r o d u c t o r y verse
iMitdes Deo for a f a r s e d e p i s t l
e
237
E x . 11
.23.21. Start of f a r s e d l e s s o n
w i t h verses Ce que Ysaies nos escrit,
etc.
237
Sancte Paule pastor bone 241
E x . 11
.24.2. B e n e d i c a m u s song Lux
ornni festa populo
243
11
.24.3.
L a t i n s o n g Letabundi iubilemus
E x . 11
.24.4. L a t i n s o n g Natus est, natus est 245
E x . I]
.24.5. B e n e d i c a m u s s o n g Thesaurus nove
grade
246
E x .
II.24.6. L a t i n s o n g Plebs Domini hac die
246
II.24.7.
L a t i n s o n g / k ^ mater salvatoris
247
E x .
II.24.8. M a c a r o n i c s o n g Be deu hoi mais
248
258-9
260
E x . II.25.7.
F r o m the T o u r s Easter p l a y
268-9
E x . II.25.8.
S o n g Adam novus veterem f r o m F l e u r
y P e r e g r i n u s p l a y
270
E x .
272
E x .
II.26.1. R e s p o n s o r y Videns Rome
vir beatus
275
A n t i p h o n Gregorius vigiliis
276
A n t i p h o n s
f r o m the o f f i c e of St D o m i
n i c 277
E x . II.26.4. A n t i p h o n s
f r o m the o f f i c e s of St D o
m i n i c and St T h o m a s of C a n t e r
b u r y 278
E x . II.26.5. R e s p o n s o r y Post sex annos
279
E x . III.14.1. E x t r a c t f r o m a t o n a r y , p
a r t of the t h i r d tone
327
E x . III.14.2. T y p e - m e l o d i e s f r o m a t o
n a r y
332
E x .
III.14.3. F r o m the G l o r i a tones
334
I V . 1 . 1 .
C o m m u n i o n Ego sum vitis vera
344
Beatus ille servus
E x .
I V . 2 . 2 . C o m m u n i o n Quis dabit ex
Sion 356
E x .
I V . 3 . 1 . F r o m g r a d u a l Exultabunt
sancti V .
Cantate Domino
I V . 3 . 2 .
E x a m p l e s of o r i s c u s
359
E x .
I V . 4 . 1 . O p e n i n g s of m o d e 3
i n t r o i t s (St G a l l n o t a t i o n
)
372
E x .
I V . 5 . 1 . F r o m o f f e r t o r y
Benedictus es Domine 375
5.2.
N o r m a l and m o d i f i e d s i g n s in
St G a l l n o t a t i o n (select ion) 376
E x .
I V . 5 . 3 .
N o r m a l and ' l o n g e r ' s i g n s
in L a o n n o t a t io n (selection) 377
E x .
I V . 5 . 4 . A s t a n d a r d p h r a se f r o m m o d
e 5 g r a d u a ls ( A p e l F l ) w i t
h L a o n and St
G a l l n o t a t i o n 378
E x .
I V . 5 . 5 . P o s s i b l e g r a d a t i o n s of d
u r a t i o n in pes and c l i vi s ( L a o n and
St G a l l
n o t a t i o n s )
378
E x . I V . 5 . 6 . M e n s u r a l t r a n s c r i p t i o
n of passages f r o m Alleluia Pascha
nostrum 379
E x .
I V . 5 . 7 . M e n s u r a l t r a n s c r i p t i o
n of passages horn Alleluia Pascha
nostrum 380
E x .
I V . 5 . 8 .
A n t i p h o n s w i t h the same m e l o d y
381
E x .
I V . 6 . 1 . A l p h a b e t i c n o t a ti o n a-p
387
E x .
I V . 7 . 1 . H u c b a l d ' s l e tt e r- n o ta t io n 393
E x .
I V . 7 . 2 .
D a s i a s i g n s in the Enchiriadis g r o u
p of treatises
393
I V . 7.3.
B o e t h i u s ' p i t c h - l e t t e r s 394
E x . I V . 7 . 4 .
P i t c h - l e t t e r s in the
Dialogus de musica
and G u i d o of A r e z z o 395
E x .
I V . 7 . 5 . H e r m a n n u s C o n t r a c t u s ' i n te r va l
n o t a t io n 396
E x . I V . 8 . 1 .
C o m m u n i o n Pascha nostrum
398
Music Examples
E x .
V . 2 . 1 .
B o e t h i u s ' d i v i s i o n of the m o n o c
h o r d
445
V . 2 . 2 .
Species of i n t e r v a l s
447
V . 3 . 1 .
A n t i p h o n Ecce vere Israelii a
n o t a t e d by H u c b a l on six ' s t r
i n g s '
449
H u c b a l d ' s
a r r a n g e m e n t of a s c e n d i n g t e t
r a c h o r d s
450
E x .
V . 3 . 3 . I n t r o i t Statuit ei as d e s c r
i b e d by H u c b a l d 450
E x .
H u c b a l d ' s
l e t t e r - n o t a t i o n
451
E x .
V . 3 . 5 . E x a m p l e s in p r o t u s m o d e f r o
m
Music a enchiriadis
E x . V . 4 . 1 .
P s a l m - v e r s e cadences and o p e n i n g s
of m o d e 1 i n t r o i t s c i t e d
by A u r c l i a n
o f R e o m e 457
E x .
V . 4 . 2 . D i v i s i o n of the m o n o c h o r
d in
Dialogus de rnusica
V . 4 . 3 .
N o t e s r e q u i r e d to notate a n t i p h o
n Domine qui operati, v a r i o u s v e r s i o n
s 465
E x . V . 4 . 4 .
Ranges of chants in the e i g h t m o d e s
, Dialogus de rnusica 465
E x .
V . 4 . 5 .
' S i m i l i t u d e s ' of notes to the v a r io u s m
o d e s , Dialogus de rnusica 466
E x .
y
G u i d o of A r e z z o 467
E x .
V . 4 . 7 .
A n t i p h o n Diligite Dominion 468
E x . V . 4 . 8 . T h e modi vocum, G u i d
o of A r e z z o
470
E x . V . 4 . 9 . N o t e s r e q u i r e d
to notate c o m m u n i o n De fructu,
two v e r s i o n s 474
E x .
V.4.10
M o d a l q u a l i t i e s of notes,
H e r m a n n u s C o n t r a c t u s 475
E x .
V I I I . 3 . 1 . O l d R o m a n and G r e g o r
i a n v e rs io n s of c o m m u n i o
n Revelabitur gloria
Domini 532
E x . VIII .3 .2 .
G r a d u a l verses Celt enarrant and In
manibus portabunt te 534
E x .
VIII .3 .3 .
A n t i p h o n s in O l d R o m a n and G r
e g o r i a n v e r s io n s 535
E x .
VIII .3 .4 .
O l d R o m a n and G r e g o r i a n v e r s io
n s of o f f e r t o r y
verse Qui propitiatur
E x .
VII I . 3 . 5 . O l d R o m a n and G r e g o r i
a n v e r s io n s of verse Quoniam
angelis f r o m
o f f e r t o r y Scapulis suis
537
verse of A lleluia Palatum corrneum
538
E x . V I I I . 4 . 1 .
T r a n s i t o r i u m Convertirnini omnes
543
VIII .4 .2 .
R e s p o n s o r i u m cum i n f a n t i b u s
Sperent in te
545
E x .
VIII .4 .3 . Melodiae of A m b r o s i a n A l l
e l u i a V I
546
VIII .4 .4 .
G r e g o r i a n , Ol d R o m a n , and A m
b r o s i a n v er s io n s of i n t r o i t / i n g r
e s s a
Invocavit me
V I I I . 5 . 1 .
A m b r o s i a n and O l d B e n e v e n ta n v e rs i
o n s of c o m m u n i o n Ilymnum
canite
551
V I I I . 6 . 1 .
P r o c e s s i o n a l a n t i p h o n Cum
audisset populus
555
E x .
VIII .6 .2 . P a r t of o f f e r to r y
Sanctificavit Moyses in O l d S p a n i s h , G r e g o
r i a n ,
A m b r o s i a n ,
and O l d R o m a n v e r si o n s 556-7
E x . I X . 7 . 1 .
T r o p e verses Qui die at patn\ etc. for i
n t r o i t Resurrexi 587
E x . I X . 7 . 2 . Sequence Clara gaudia festa
paschalia
588
I X . 8 . 1 .
R o g a t i o n a n t i p h o n Peccavimus Domine 592
E x .
I X . 8 . 2 .
Start of fa r s e d l e s s o n w i t h
verses Ad laudern regis glorie, etc.
593
I X . 1 0 . 1 .
R e s p o n s o r y 0 sancte Dei
apostole 599-
-600
X . 3 . 1 .
F r o m g r a d u a l Exurge Domine in G r
e g o r i a n and C i s t e r c i a n - D o m i n i c a
n
v e r s i o n s 612
Music Examples xxix
E x . X . 5 . 1 . M e d i e v a l a n d M c d i c c a n v e rs io n
s of g r a d u a l Omnes de Saba
617
E x . X . 6 . 1 .
E x t r a c t s
f r o m Graduel de Pans,1754 619-20
E x .
X 1 . 1 . 1 .
N O T E O N M U S I C E X A M P L E S
Slurs are used only for notes joined in the
same sign in the original notation.
h = oriscus A- = neume at
the semitone step ('mi-neume')
w
r A B C DEFGabc de f g
a
a
t
"etc.
A B B R E V I A T I O N S
AcM Acta musicologica
AfMw Archiv fur Musikwissenschaft
A H Analecta hymnica medii aevi, ed.
G u i d o M a r i a D r e v e s , C l e m e n s B l u
m e , and
H e n r y M a r r i o t t B a n n i s t e r , 55
v o l s . ( L e i p z i g , 1886-1922); Register,
ed. M a x
L u t o l f , 3 v o l s . ( B e r n e ,
1978). T e x t e d i t i o n s of h y m n s
: 2, 4, 11-12, 14, 16, 19,
2 2 - 3 , 27, 43, 48, 50- 2 ; of r h y m e d o f f i c
e s : 5, 13, 17-18, 24-6, 28, 45; of
sequences: 7-10, 34, 37, 39-40, 42, 44, 53-5; of t r o
p e s : 47, 49. For i n d i v i d u a l
v o l u m e s see B i b l i o g r a p h y
AM Antiphonale monasticum pro diurnis horis
( T o u r n a i , 1934)
AM S Rene-Jean H e s b e r t , Antiphonale
missarum sextuplex ( B r u s s e l s ,
1935) [ M o n z a ,
B a s i l i c a S. G i o v a n n i , C I X
: ' M o d o e t i e n s i s ' ; Z u r i c h , Z e
n t r a l b i b l i o t h e k , R h e i n a u 30:
' R h e n a u g i e n s i s ' ; B r u s s e l s , B i b l i o t h e
q u e R o y a l e , 10127-10144: ' B l a n d i n i e n
s i s ' ;
P a r i s , B i b l i o t h e q u e N a t i o n a l e ,
lat. 17436: ' C o m p e n d i e n s i s ' ; P a r i s , B i b
l i o t h e q u e
N a t i o n a l e , lat. 12050: ' C o r b i e n s i s '
; P a r i s , B i b l i o t h e q u e S a i n t e - G e n e v i e v
e , 111:
' S i l v a n e c t e n s i s ' ]
A f t Antiphonale sacrosanctae Romanae
ecclesiae ( R o m e , 1912)
AS Antiphonale Sarisburiense: A Reproduction in Facsimile of a
Manuscript of the
Thirteenth Century, ed. W a l t e r H o w a r d
F r e r e ( L o n d o n , 1901-24)
BzG Beitrdge zur Gregorianik
CAO Corpus antiphonalium officii, ed. Rene-Jea n
H e s b e r t ( R e r u m e c c le s i a s t i ca r u m
d o c u m e n t a , Series m a i o r , F o n t e s
, 7-12 ; R o m e , 1963-79). For i n d i v
i d u a l v o l u m e s
see B i b l i o g r a p h y
C C M C o r p u s c o n s u e t u d i n u m m o n a s t i ca
r u m , ed. K a s s i u s H a l l i n g e r ( S i e g b
u r g , 1963- ).
F o r i n d i v i d u a l v o l u m e s
see B i b l i o g r a p h y
C M C o n s u e t u d i n e s m o n a s t ic a e ,
ed. B r u n o A l b e r s . For i n d i v i d u a
l v o l u m e s see
B i b l i o g r a p h y
C S E d m o n d de C o u s s e m a k e r ,
Scriptorum de rnusica medii aevi novam
seriem . . . , 4
v o l s . ( P a r i s , 1864, 1867, 1869, 1876)
C S M C o r p u s s c r i p t o r u m de r n u s
i c a ( R o m e , 1950- ). F or i n d i v i d u a
l v o l u m e s see
B i b l i o g r a p h y
C T C o r p u s t r o p o r u m ( S t u d i a L a t i n a S t
o c k h o l m i e n s i a ; S t o c k h o l m , 197 5- ). F
or
i n d i v i d u a l v o l u m e s see B i b l i o
g r a p h y
DACL F e r n a n d C a b r o l , H e n r i L e c
l e r c q , and H e n r i M a r r o
u (eds.), Dictionnaire d'archeologie
chretienne et de liturgie, 15 v o l s , in
30 ( P a r i s , 1907-53)
D M A D i v i t i a e m u s i c a e a r t i s ,
ed. J o s e p h S m i t s van W a e s b e r g h e
( B u r e n , 1975 - ). F or
i n d i v i d u a l v o l u m e s see B i b l i o
g r a p h y
EG Etudes gregoriennes
EL Ephemerides liturgicae
xxxii Abbreviations
G S M a r t i n G e r b e r t ,
Scriptores ecclesiastic de rnusica sacra
potissimum, 3 v o l s .
( S a n k t - B l a s i e n , 1 78 4 ) [ to b e u s e d i n c o n j
u n c t i o n w i t h B e r n h a r d 1 98 9]
G T Graduate triplex, e d . M a r i e - C l a i r
e B i l l e c o c q a n d R u p e r t F i s c h e r
(Solesmes,
1979)
[Graduate Romanum o f 1 9 7 4 w i t h n e u
m e s o f L a o n 2 3 9 , E i n s i e d e l n 12 1, S t G a l
l
3 5 9 a n d 3 3 9 , e t c . ]
IIMT H a n s - H e i n r i c h E g g e b re c h t
(ed.), Handworterbuch de r musikalischen
Terrninologie
( M a i n z , 1 9 7 1 - )
JAMS Journal of the American Musicological
Society
JPMMS Journal of the Plainsong &
Mediaeval Music Society
Kmjb
LR Liber responsorialis pro festis
I. classis et communi sanctorum
juxta ritum
dominicis
et festis I. vet II. classis ( R o m
e , 1 92 1)
M D Musica disciplina
Mf Die Musikforschung
M GG F r i e d r i c h B l u m e (ed.), D
ie Musik in Geschichte an d
Gegenwari: Allgerneine
Enzyklopddie de r Musik, 17 v o l s . ( K a s s e
l , 1949-86)
M G H M o n u m e n t a G e r m a n i a e h i s to r i ca .
F o r i n d i v i d u a l v o l u m e s see B i b l i
o g r a p h y
M M M A M o n u m e n t a m o n o d i c a m e d i i a e vi (
K a s s e l , 1 9 5 6 - ) . F o r i n d i v i d u a l v
o l u m e s s e e
B i b l i o g r a p h y
M o n u m e n t a m u s ic a e sacrae, e d
. Rene-Jean H e s b e r t . F o r i n d i v i d u
a l v o l u m e s s ee
B i b l i o g r a p h y
M Q Musical Quarterly
NCE The New Catholic Encyclopedia, 15 v o l s . ( N e w
Y o r k , 1 9 67 ; s u p p l e m e n t a r y v o l s .
1 9 7 4 , 1 9 7 9 )
N G S t a n l e y S a d i e
(ed.),
The New Grove Dictionary of
Music an d Musicians, 2 0 v o l s .
( L o n d o n ,
1980)
P a l M u s P a l e o g r a p h i e m u s i c a l e : L e s p
r i n c i p a u x m a n u s c r i t s d e c h a n t g r e g o r i e
n , a m b r o s i e n ,
m o z a r a b e , g a l l i c a n [ p r e m i e r s e r i e , d e u
x i e m e s e r i e ] . F o r i n d i v i d u a l v o
l u m e s s ee
B i b l i o g r a p h y
P L P a t r o l o g i a e c u r s u s c o m p l e t u s
, series l a t i n a , e d . J . - P . M i g n e , 2 21
v o l s . ( P a r i s , 1844-64)
RB Revue benedictine
RG Revue gregorienne
RIM Rivista italiana di
R I S M R e p e r t o i r e i n t e rn a t i o n a l d es s
o u rc es m u s i ca l es ( M u n i c h a n d D u i s b u r g ) . F
o r
i n d i v i d u a l v o l u m e s s ee B i b l i o g r a p h
y
SM H Studia
musicologica Academiae scientiarwn
Hungaricae
B I B L I O G R A P H Y
A B A T E , G . , 'II p r i m i t i v o b r e v i a r i
o f r a n c e s ca n o ' , Miscellanea
francescana, 60 (1960), 47 -2 40 .
A B E R T , H E R M A N N , Die
aesthetischen Grundsdtze der mittelalterlichen
Melodiebildung ( H a l l e ,
1905).
D ie Musikanschauung des Mittelalters und Hire
Grundlagen ( H a l l e , 1905).
A B R A H A M S E N , E R I K , Elements
romans et allemands dans le
chant gregorien et la chanson
populaire en Danemark ( P u b l i c a t i o n s
de l ' A c a d e m i e g r e g o r i e n n e de F
r i b o u r g (Suisse), 11;
C o p e n h a g e n , 1923).
Acta sanctorum collecta . . . a Sociis
Bollandianis ( A n t w e r p , 1643 - ; 3r d ed n.
, P a r i s and
B r u s s e l s , 1863- ).
Acta sanctorum ordinis sancti Benedicti,
ed. Jean M a b i l l o n , L u c d ' A c h e r y
, et al., 9 v o l s .
( P a n s , 1668-1701).
A D L E R F e s t s c h r i f t 1930 = Studien
zur Musikgeschichte: Festschrift fur Guido Adler ( V i e n n
a ,
1930).
A G U S T O N I , L U I G I , Gregorianischer Choral:
Elemente und Vortragslehre mit besonderer
Berucksichtigung der Neumenkunde ( F r i b o u r g
, 1963).
' D i e F r a g e der T o n s t u f e n SI
und M I ' , BzG
4 (1987), 47 -1 01 .
a n d G O S C H L , Johannes B e r c h m a n s ,
Einfuhning in die Interpretation des Gregorianischen
Chorals, 1: Grundlagen ( R e g e n s b u r g ,
1987).
A H 2 (1887) = Hymnarius Moissiacensis: Das Hymnar der
Abtei Moissac im 10. Jahrhundert
nach einer Handschrift der Rossiana, ed. G
u i d o M a r i a D r e v e s .
A H 4 (1888) = llyrnni inediti: Liturgische
Hymnen des Mittelalters aus handschriftlichen
Breviarien, Antiphonalien und Processionalien, ed. D r
e v e s .
A H 5 (1889), 13 (1892), 18 (1894), 24 (1896), 25 -6 (1897),
28 (1898) , 45 (1904) =
Historiae
Hiythrnicae: Liturgische Reimoffizien des Mittelalters aus
Handschriften und Wiegendnicken,
e d . D r e v e s .
A H 7 (1889) = Prosarium L^emovicense: Die
Prosen der Abtei St. Martial zu Limoges, aus
Troparien des 10., 11. und 12. Jahrhunderts,
ed. D r e v e s .
A H 8-9 (1890), 10 (1891) = Sequentiae ineditae:
Liturgische Prosen des Mittelalters aus
Handschriften und Fruhdrucken, ed. D r e v e s .
A H 11 (1891), 12 (1892) , 19 (1895), 22 (1895), 23 (1896),
43 (1903) = Hymni inediti:
Liturgische Hymnen des Mittelalters aus Handschriften und
Wiegendrucken
, ed. D r e v e s .
A H 13 see A H 5.
A H 14 (1893) = Hymnarius Severinianus: Das Hymnar der
Abtei S. Severin in Neapel nach
den Codices Vaticanus 7172 und Parisinus 1092,
ed. D r e v e s .
A H 16 (1894) = Hymnodia Hiberica: Spanische Hymnen
des Mittelalters aus liturgischen
Handschriften und Druckwerken romischen Ordos, ed. D r
e v e s .
A H 17 (1894) = Hymnodia Hiberica: Liturgische
Reimoffizien aus spanischen Brevieren. Im
Anhange: Carmina Compostellana, die Lie der des s.g.
Codex Calixtinus, ed. D r e v e s .
A H \%see A H 5.
A H 19, 22, 23 see A H 11.
5.
= Hymnodia Gotica: Die mozarabischen
Hymnen des alt-spanischen Ritus aus
handschriftlichen und gedruckten Quellen,
ed. C l e m e n s B l u m e .
A H 34 ( 1 9 0 0 ) , 37 ( 1 9 0 1 ) ,
39 ( 1 9 0 2 ) , 42 ( 1 9 0 3 ) , 44 ( 1
9 0 4 ) = Sequentiae ineditae: Liturgische
Prose?i des Mittelalters
aus Handschriften und Friihdrucken, ed.
B l u m e .
A H 4 0 ( 1 9 0 2 )
= Sequentiae ineditae: Liturgische
Prosen des Mittelalters aus
Handschriften
und Fruhdrucken, ed. H e n r y M a r r i o t t B a n n
i s t e r .
A H 42 see
11.
5.
A H
47( 1 9 0 5 ) Tropi graduates:
Tropen des Missale im Mittelalter. I.
Tropen zum
Ordinarium Missae. Aus handschriftlichen Quellen,
ed. B l u m e and B a n n i s t e r .
A H 4 8 ( 1 9 0 5 ) , 5 0 ( 1 9 0 7
)
= Hymnographi Latini: Lateinische Hymnendichter
des Mittelalters
aus gedruckten und ungedruckten Quellen,
ed. D r e v e s .
A H 4 9 ( 1 9 0 6 ) = Tropi
graduates: Tropen des Missale
imMittelalter. II. Tropen zum Proprium
Missae. Aus handschriftlichen Quellen, ed. B l u m
e .
A H 50 see A H 48.
A H 5 1 ( 1 9 0 8 ) = Thesauri hymnologici
hymnarium:
Die
Hymnen
des
5.-11. Jahrhunderts
und die irisch-keltische Hymnodie aus
den dltesten Quellen, ed. B l u m e .
A H 52
12.-16.
Jahrhunderts aus den dltesten Quellen,
ed. B l u m e .
A H 5 3 ( 1 9 1 1 ) = Thesauri hymnologici
prosarium: Liturgische Prosen erster Epoche aus
den
Sequenzenschulen des Abendlandes,
insbesondere die demNotkerus Balbulus
zugeschriebenen,
nebst Skizze iiber den Ursprung
der Sequenz, aufgrund der Melodien aus
den Quellen des
10.-16. Jahrhunderts, ed. B l u m e and B a
n n i s t e r .
A H 5 4 ( 1 9 1 5 ) = Thesauri hymnologici
prosarium: Liturgische Prosen des Ubergangsstiles
und
der zweiten Epoche, insbesondere
Handschriften
und
Friihdrucken, ed. B l u m e and B a n n i s
t e r .
A H 5 5 ( 1 9 2 2 ) = Thesauri hymnologici
prosarium: Liturgische Prosen zweiter Epoche
auf Feste
der Heiligen nebst eiriem Anhange:
Hymnologie des Gelderlandes und des
Haariemer
Gebietes aus Handschriften
und Fruhdrucken, ed. B l u m e .
A I K A A , E R M O , ' E i n m a r i a n i sc h
e r G l o r i a - T r o p u s ' , p a p e r r ea d
at the
F i r s t E u r o p e a n
Science
F o u n d a t i o n I n t e r n a ti o n a l W o r k s h o p
on T r o p e s , M u n i c h , 19 83 .
A L B A R O S A , N I N O , ' L a scuola gregonana di Eugene
Car dine' , RIM 9
( 1 9 7 4 ) , 2 6 9 - 9 7 ; 1 2 ( 1 9 7 7 )
1 3 6 - 5 2 .
' T h e P o n t i f k i o I s t i tu t o di M u s i c
a
Sacra in R o m e and the
S e m i o l o g i c a l S c h o o l of D o
m
E u g e n e C a r d i n e ' , JPMMS 6( 1 9 8 3 ) , 2 6
- 3 3 .
' P a l e o g r a f i non s e m i o l o g i ? ' ,
in H u g l o 1 9 8 7 , 1 0 1 - 5 .
A l b e r s see C M .
A L B R E C H T ( H A N S ) G e d e n k s c h r i f t
1962 =W i l f r i e d B r e n n e c k e and
H a n s H a a s e (eds.), Hans
Albrecht
in
Memoriam ( K a s s e l , 1 9 6 2 ) .
A L B R E C H T ( O T T O ) F e s t s c h r i f t 1 9
8 0 =J o h n W a l t e r H i l l
(ed.), Studies in
Musicology
in
Honor
f
Otto
E.
Albrecht ( K a s s e l , 1 9 8 0 ) .
A L F O N Z O , P I O , L'antifonario delTUffizio
Romano: Note suite origini
delta composizione dei
/ responsori biblici delVUffizio
Romano ( L a t e r a n u m , N S , 2/1; R o m e
, 1936).
A L L / W O R T H , C H R I S T O P H E R , ' T h e M e
d i e v a l P r o c e s s i o n a l : D o n a u e s c h i n g e
n M S 882', EL 84
(1970), 169-86.
A L M E I D A , F O R T U N A T O D E , Historia
da igreja em Portugal,
8 v o l s , in 4 ( C o i m b r a ,
1910-22;
2 n d edn., 1930).
A M E L L I , A M B R O G I O M . , ' L ' e p i g r a
m m a di P a o l o D i a c o n o i n t o r n o
al c an t o G r e g o r i a n o e
A m b r o s i a n o ' . Memorie storiche
forogiuliesi, 9 (1913), 153-75 .
A M I E T ,
R O B E R T , ' U n b r e v i a i r e
note du x i v
e
s i e c l e de la p r i m a t i a l e S a i n t
- J e a n de L y o n ' , EG
15 (1975), 201-6.
' L e L i b e r m i s t i cu s de C o m b r e t
, au d i o ce s e d ' E l n e ' , EG 20
(1981), 5-68.
A N D E R S E N , M . G E E R T , and R A A S T E
D , J 0 R G E N , Inventar over Det
kongelige Biblioteks
fragmentsamling [ I n v e n t o r y of the F r a
g m e n t C o l l e c t i o n in the R o y a l L i b r a
r y ] ( H j a e l p e m id l e r ,
6; C o p e n h a g e n , 1983).
A N D E R S O N , G O R D O N A . (ed.), The Las
Huelgas Manuscript, Burgos, Monasterio de las
Huelgas, 2 v o l s . ( C o r p u s m e n s u r a b i l
i s m u s i c a e , 79; R o m e , 1982).
A N D E R S O N ( G O R D O N ) G e d e n k s c h r i
f t 1984 = Gordon Athol Anderson
(1929-1981) in
memoriam, 2 v o ls . ( H e n r y v i l l e - O t t a w a - B
i n n i n g e n , 1984).
A N D E R S O N , W A R R E N , 'Alypius ' , NG.
A N D O Y E R , R A P H A E L , ' L e C h a n t r o m a
i n a n t eg r e g o r i e n ' , RCG 20 (191 1-12 ),
69-7 5, 1 07-1 4.
' L ' A n c i e n n e L i t u r g i e de B e n e
v e n t ' , RCG 20 (1911 -12), 17 6-83 ; 21 (191 2-13
), 14- 20,
44-51 , 8 1- 5, 112-15 , 144-8, 169-74; 22 (1913-14), 8-11 ,
41 -4 , 80 -3 , 106-11, 141-5,
170-2; 23 (1919-20), 44-50, 116-18, 151-3, 182-3; 24
(1920-1), 48-50, 87-9, 146-8,
182-5.
A N D R I E U , M I C H E L , ' R e g l e m e n t d ' A n g
i l r a m n e de M e t z (768-791) f i x a
n t les h o n o r a i r e s de
q u e l q u e s f o n c t i o n s l i t u r g i q u e s ' ,
Revue des sciences religieuses, 10 (1930),
34 9- 69.
Les Ordines Romani du haut moyen age ( S p i c i
l e g i u m s a c r u m L o v a n i e n s e , 11, 23-4,
2 8 - 9 ; L o u v a i n , 1931-61).
Le Pontifical romain au moyen age ( S t u d
i e t e s t i , 86-8, 99; R o m e ,
1938-41).
A N D R I E U F e s t s c h r i f t 1956 =
Melanges en VhonneurdeM. Michel Andrieu ( S t r a s b
u r g , 1956).
A N G E R E R , J O A C H I M F R I D O L I N , Die
liturgisch-musikalische Emeuerung der Melker Reform:
Studien zur Erforschung der Musikpraxis in den
Benediktinerklbstern des 15. Jahrhunderts
( O s t e r re i ch i s ch e A k a d e m i e der W i s
s e n s c h a f t e n , P h i l o l o g i s c h - h i s t o r i s c
h e K l a s s e , 287;
V i e n n a , 1974).
' D i e C o n s u e t u d i n e s M o n a s t i ca e
als Q u e l l e fur die M u s i k w i s s e n s c
h a f t ' , in H a b e r i
F e s t s c h r i f t 1977, 237.
Lateinische und deutsche Gesdnge aus der Zeit der
Melker Reform ( F o r s c h u n g e n zur
a l t e r e n M u s i k g e s c h i c h t e , 2; V i e
n n a , 1979).
A N G L E S , H I G I N I , ' E p i s t o l a f a r c i d
a del m a r t i r i de Sant E s t e v e
' , Vida cristiana, 9 (1922), 69-
7 5 .
(ed.), El codex musical de I^as Huelgas
(Miisica a veus dels segles
XIII-XIV), 3 v o l s .
( B i b l i o t e c a de C a t a l u n y a , P u b l i
ca c i o n s del D e p a r ta m e n t de M
u s i c a , 6; B a r c e l o n a , 1931).
La musica a Catalunya fins al segle
XIII ( B i b l i o t e c a de C a t a l u n y a ,
P u b l i c a c io n s del
D e p a r t a m e n t de M u s i c a , 10;
B a r c e l o n a , 1935).
' L a m u s i c a m e d i e v a l en T o l e d o
h a s ta el s i g l o X T ,
Gesammelte Aufsdtze zur
Kulturgeschichte Spaniens, 7 ( S p a n is c h e F o r s
c h u n g e n der G o r r e s g e s e l l s c h a f t
, 1st se r. ;
M i n i s t e r , 1938), 1-68.
A N G L E S , I I I G I N I and
S U B I R A ,
J O S E , Catdlogo musical de la Biblioteca nacional
de Madrid, 1:
Manuscritos ( B a r c e l o n a , 1946).
A N G L E S F e s t s c h r i f t 1958-61 =
Misceldnea en homenaje a Monsehor Higinio
Angles, 2 v o l s .
( B a r c e l o n a , 1958, 1961).
Antifonario visigotico
mozdrabe
de la catedral de Leon ( M o n u m e
n t a H i s p a n i a e s a cr a , serie
l i t u r g i c a , v/2; M a d r i d , 1953)
(see al so B r o u and V i v e s
1959).
Antiphonale Hispaniae vet us (s. X-XI). Biblioteca de
la Universidad de Zaragoza (Saragossa,
1986).
Antiphonale missamm juxta ritum sanctae ecclesiae
Mediolanensis [ed. G . M . S u r i o l ] ( R o m e
,
1935).
(1943).
Antiphonale
Pataviense f\Vien 1519), ed. K a r l
h e i n z S ch l a g er (Das E r b e d e u t s c h e
r M u s i k , 88;
K a s s e l , 1985).
Antiphonale Silense: British Library Mss. Add.
30.850, ed. I s m a e l F e r n a n d e z de
la C u e s t a
( M a d r i d , 1985).
Antiphonar von St. Peter [ V i e n n a , N a t i
o n a l b i b l i o t h e k , series n o v a
2700], 2 v o l s . ( C o d i c e s
s e l e c t i , 21; G r a z , 1969-73,
1974).
A P E L , W I L L I , Gregorian Chant ( B l o o m i n g
t o n , I nd . , 1958).
A R C H E R , P E T E R , The Christian Calendar and
the Gregorian Reform (New Y o r k , 1941).
A R L T , W U L F , Bin Festoffizium des Mittelalters aus
Beauvais in seiner liturgischen und
musikalischen Bedeutung, 2 v o ls . ( C o l o g n e
, 1970).
' E i n s t i m m i g e L i e d e r des 12. J a h r h u
n d e r t s un d M e h r s t i m m i g e s
in f r a n z o s i s c h e n
H a n d s c h r i f t e n des 16. J a h r h u n d e r t
s aus Le P u y ' , Schweizer Beitrage zur
Musikwissenschaft, 3
(1978), 7-47.
' Z u r
I n t e r p r e t a t i o n der T r o p e n '
, Forum musicologicum, 3 (1982), 61- 90 .
a n d S T A U F F A C H E R , M A T T H I A S ,
Engelberg Stiftsbibliothek Codex 314 ( W i n t c
r t h u r , 1986).
A R N E S E , R A F F A E L E , / codici
notati delta Biblioteca nazionale di Napoli ( F l
o r e n c e , 1967).
A R N O U X , G . , Musique platonicienne—dme du
monde ( P a r i s , 1960).
A S H W O R T H , H E N R Y , ' D i d St. A u g u
s t i n e B r i n g the G r e g o r i a n u m
to E n g l a n d V E L 72 (1958), 39-
4 3 .
'