Trope (i)

1. Historical overview.

The medieval terminology was far from consistent (Odelman, C1975), and scholars in the late 19th and early 20th centuries expanded it (thus compounding the problem) to include even the sequence and its proses, the conductus, verse songs that sometimes replaced the Benedicamus Domino, and the upper voices of early Ars Antiqua motets. Despite efforts by Crocker (C1966) and others to clarify this terminology, the influential work of the Corpus Troporum research team in Stockholm has led to the acceptance of the three categories listed above as closely related enough to be studied as part of the phenomenon of troping. Following Huglo (D1978), they have adopted the terms ‘meloform trope’ for the first category, ‘melogene trope’ for the second, and ‘logogene trope’ for the third. Nonetheless, the repertorial distribution of chant sources from the 9th century to the 11th suggests that in the Middle Ages the second of these categories, most often called ‘prosula’, was a genre related to but quite distinct from that of tropes. Most tropers contain prosulas, but often as a separate series; more telling, however, in manuscripts containing a gradual and a troper (e.g. F-Pn 903 or I-Ra 123), the prosulas are copied in the gradual section, while the tropes are in the troper section (see also Prosula).

Even when dealing with those categories that were invariably called tropes in the Middle Ages, modern scholars still face problems of terminology, since what is today commonly called ‘a trope’ – for example, the introduction and interpolations added to a given introit antiphon in a given manuscript – was viewed in the Middle Ages as a set of tropes (hence the plural rubric ‘tropi’ found almost universally in medieval sources). For this reason the distinction introduced by the editors of the Corpus Troporum between a trope – which medieval scribes would have regarded as a set of tropes – and a trope element or verse – which is what medieval scribes called a trope – has become important.

The earliest known specific mention of tropes is a decree of the Council of Meaux (848) condemning a number of new practices in the performance of the liturgy (Silagi, C1983–4). These practices were specifically the prosae sung to the sequentia after the alleluia and the tropes to the Gloria. By implication the canon appears to condemn prosulas as well as all tropes similar to those of the Gloria, that is, the Proper tropes. It is probably no coincidence that the earliest surviving manuscripts to transmit the new genres, such as D-Mb 14843, I-Vc and Rv Reg.1553, largely transmit prosulas, prosae and Gloria tropes together with a few introit tropes. It is worth noting that the Council considered the melismatic sequentiae after the alleluia to be part of the venerable traditions being corrupted by the new uses, and that by 848 sequentiae and perhaps other purely melismatic tropes were viewed as an old repertory. In any event the Council’s decree predates by only a few years the earliest of the Norman raids on Jumièges (951 and 962). One of the monks who fled from that abbey to St Gallen took with him a book containing a number of prosae, or, as Notker called them, versus ad sequentias, which represent, if only by the witness of Notker’s dedicatory letter to Liutward of Vercelli, the first known collection of an extended repertory of the new kinds of pieces mentioned by the Council fathers.

Presuambly, then, trope composition began sometime in the first half of the 9th century, and it affected almost exclusively the newly imposed Gregorian chant. Given that trope repertories probably began as local additions to the Gregorian chant, it is not surprising to find in some tropes a continuation of melodic and textual traditions that existed in the different locales before the adoption of Gregorian chant, albeit modified by the very presence and prestige of the Gregorian repertory (Planchart, C1988; see also Gallican chant). The lack of an ‘official’ status encouraged the textual and melodic reworking of tropes, which do not show the stability of Gregorian chant. The surviving early 9th-century trope repertory probably consists for the most part of those pieces that appear in substantially the same form throughout Europe. Scholars view such patterns of transmission as an indication that these pieces were disseminated before the division of the Carolingian Empire in 843.

Despite the opposition evinced in the decree of the Council of Meaux, the repertory appears to have grown substantially, at least in certain centres, between 850 and 950. The sections of F-Pn lat.1240 that can be dated to about 930 show not only an expanded repertory but also one that was building upon an already established body of works, since the manuscript contains a number of trope verses given as incipits, indicating that the verses in full are expansions of a known repertory. Further, a number of pieces in this source use a neumatic notation from northern France instead of the Aquitanian notation found throughout most of the manuscript (Emerson, B1993; Evans, B1970), suggesting an active importation of northern repertory into Aquitaine. Similarly, the redating of the earliest St Gallen tropers proposed by Arlt and Rankin (A1996) shows an immense repertory being copied at St Gallen in the second quarter of the 10th century, which is in itself a vast expansion of the tropes found in A-Wn 1609.

An expansion of the different trope repertories and their spread throughout Europe continued throughout the 10th century, but with some exceptions, such as the immense Aquitanian anthology in F-Pn lat.1118 and the fragment of an apparently even larger troper in I-Rv Reg.222, the individual regional traditions became relatively stable by the early 11th century. Tropes may originally have been largely a monastic phenomenon, but it should be noted that a substantial number of sources come from cathedrals and secular churches as well.

Tropes came under increasing attack, however, from various monastic reform movements, particularly the Cluniac, which eliminated all Proper tropes from its liturgy, and the Cistercian, which allowed no room for them in the reform of its chant. Fassler (D1990) has shown that a similar attack on tropes was carried out by the Augustinian canons in the 12th and 13th centuries. In any event the typical late 10th- or early 11th-century troper contained a considerable collection of Proper tropes with a substantial complement of Ordinary tropes followed by proses and sometimes sequentiae, each in a separate section or more rarely interspersed with each other according to the liturgical year. By contrast, most of the late 11th- and early 12th-century tropes transmit a ‘single series’ consisting of Kyrie verses, Gloria tropes, proses, Sanctus tropes, Agnus tropes and some Ite missa est and Benedicamus Domino tropes. When Proper tropes are present in later sources they consist for the most part of a few introductions to the introit. The changed format of the sources lends some validity to the classification proposed by Gautier (C1886) of a ‘first’ and ‘second’ epoch in the creation and dissemination of the tropes. Because every trope category had a different evolution and characteristics, they are better described category by category.

2. Melodic tropes.

Purely melodic tropes appear to be connected with only two repertories: the introit and the Gloria. There is also a repertory of melismatic additions to the Office reponsories.

(i) Introit.

Melismatic additions to the introit have been partly catalogued and discussed by Huglo (D1978). They are, by and large, restricted to two sets of sources: Aquitanian manuscripts of the 10th–12th centuries; and the three earliest tropes of the St Gallen orbit, all 10th century, A-Wn 1609, CH-SGs 381 and 484.

The Aquitanian sources show only one set of melodic tropes for any given introit. The tropes may expand any of the phrases of the introit antiphon as well as the end of the psalm verse and the amen of the doxology. In no source have these additional melismas been found with text added to them. (For editions of some Aquitanian melodic tropes see Weiss, D1970; Evans, C1961; Sevestre, in Jonsson, H1975; and Sevestre, D1980.) Outside Aquitaine and St Gallen only one other source transmits melodic introit tropes, a mid-11th-century gradual-troper from the abbey of St Vaast in Arras (F-CHRm 75), which has a number of melodic expansions of several doxologies and one complete melodic troping of the antiphon Ex ore infantium.

The East Frankish repertory of melodic introit tropes is considerably larger. As in Aquitaine the melismata extend some of the phrases of the introit antiphon, the end of the psalm and the amen of the doxology, but the sources often show several sets of melismatic tropes for a given introit. Further, some textual tropes copied in close proximity to the melismatic tropes can be shown to be settings of the same melodies. (A detailed catalogue of the East Frankish melodic tropes has been compiled by Haug, D1990.)

East Frankish melodic tropes disappear from all sources later than the mid-10th century, and thus the only recoverable melodies are those that can be shown to have been used in textual tropes that survive in later sources with diastematic notation (see example in Hiley, C1993, pp.198–9). Their presence only in the earliest St Gallen sources suggested to Weakland (C1958) that they represented the earliest layer of tropes, a hypothesis expanded by Huglo (D1978), who proposed that the earliest layer of interpolation tropes with text (as opposed to texted introductions) began as prosulas written to these melismas. Both hypotheses are ultimately impossible to substantiate. The addition of melismata to traditional chants to render them more solemn appears a number of times thoughout the history of plainchant and is not simply an ‘early’ trait. Further, one characteristic of the prosula repertory, the settings of multiple texts to a given melody, is absent from the repertory of texted tropes.

One last type of melodic trope loosely connected with the introit may be noted: Weiss (D1964) has drawn attention to a group of Aquitanian introit tropes that in some sources have been expanded by the use of melodic tropes within the texted verses.

(ii) Gloria.

Purely melismatic tropes to the Gloria in excelsis Deo are restricted to the three early sources from the St Gallen orbit (see §2(i) above); as with the melodic tropes to the introit, some of the melismatic additions are also provided in these same sources with texts in the manner of a prosula. It appears that all the texted Gloria tropes whose provenance can be traced to St Gallen originated as textings of melismatic tropes (Rönnau, Die Tropen, E1967).

The Aquitanian manuscripts transmit three tropes that may have been derived originally from a single melismatic troping of Gloria IV: Carmine digno, Quem cuncta laudant and Angelica iam Pater use the same set of melodies for the trope verses and are copied in the same manner as prosulas and some sequences in these manuscripts, that is, with melismas that replicate the music of the trope verse following or preceding each verse in the different sources. As regards the nature and scope of the repertory of melodic or melodically derived texted tropes for the introit and the Gloria, the parallels between the St Gallen and Aquitanian sources are both striking and suggestive.

(iii) Office responsories.

The earliest documentary evidence for the existence of any kind of trope is connected with the melismatic additions to the Office responsories. In a much cited passage, Amalarius of Metz, writing in about 840, reports that a neuma triplex was sung near the end of the Matins responsory for St John the Evangelist, In medio ecclesiae, which modern singers had transferred to the end of the Christmas responsory Descendit de caelis at the words ‘fabricae mundi’ (Hiley, C1993, pp.200ff). The melisma, in its association with the Christmas responsory, gave rise to a large repertory of prosula texts, but what is important here is the evidence for the addition of a melisma, taken from another chant, to the responsory Descendit de caelis. The repertory of melismatic tropes to the responsories remains essentially uncharted. Holman (G1963) and Steiner (G1973) have shown that some of the melismata were taken from offertories and their verses and even from sequentiae. Counterparts to these melismatic additions to the responsories are also found in the Ambrosian rite. The presence of extended melismas at the end of the responsories cannot, however, always be regarded as evidence that they are additions (Kelly, G1974). In later sources, perhaps under the influence of the prosula and the prose, some responsory melismas are provided with reduplicated phrases derived from their own melodic material.

3. Purely textual tropes.

The addition of text to a pre-existing melisma was usually labelled ‘prosula’, ‘prosa or ‘verba’ by medieval scribes. As noted above, some of the early East Frankish introit tropes may have arisen in this manner, but by and large the prosula repertory remains distinct from the tropes in its grouping within the sources and even in the kinds of sources that transmit it. The principal loci of prosula or prose composition were the melismas of the gradual, the alleluia, the offertory verses, the ‘Osanna’ of the Sanctus, the trope verse Regnum tuum solidum near the end of a number of Gloria tropes, and the melismas – added or original – in the Matins responsories (see Prosula; for further discussion of prosulas to the Regnum tuum solidum and the ‘Osanna’, see §4 (ii) (b–c) below).

There are two other repertories that pose special problems. The first concerns the verses to the Kyrie eleison. As Bjork has shown (‘Early Repertories’, ‘Early Settings’, ‘The Kyrie Trope’, E1980), what are commonly called ‘Kyrie tropes’ are for the most part not tropes (although true Kyrie tropes do exist) but prosula-like settings. The distinction is important because most of the medieval Kyries that survive seem to have begun not as melismatic Kyries nor yet as tropes but as elaborate compositions where Latin invocations preceded (or followed) the melismatic ones. It is significant that scribes and singers alike treated them as prosulas in the sense that over time they provided multiple textings for the melodies. (For a discussion of these Latin Kyries and their closely related Kyrie verses, see §IV, 2(i) below.)

The second problematic repertory consists of the proses added to the second melodies sung on the repeat of the alleluia respond after the verse, that is, the sequentiae. This repertory, though a product of the same impulse to increase the splendour and solemnity of the chant that gave rise to tropes and prosulas, developed from the early 9th century onwards distinct characteristics that mark it as an independent genre requiring a separate investigation (see Sequence (i), and Sequentia).

(ii) Ordinary of the Mass.

4. Textual and melodic tropes.

Tropes consisting of musical and textual introductions, with or without further interpolations to the Proper and Ordinary chants of the Mass as well as to some chants of the Office, constitute by far the vast majority of the surviving repertories.

(i) Proper of the Mass.

(iii) Office chants.

BIBLIOGRAPHY

(i) Proper of the Mass.

(a) Introit.

Tropes to the introit survive in sources from virtually all regions of Europe and consist most frequenly of a simple introduction or an introduction followed by one or more intercalations to the introit antiphon (ex.1). Less frequent are introductions to the psalm, the verse ad repetendum and the doxology. A few tropes to the doxology contain intercalations that divide the doxology at the ‘sicut erat’.

A small number of introit tropes are found in both East Frankish and West Frankish sources, suggesting that they are early enough to have come into circulation before the division of the Carolingian Empire with the Treaty of Verdun in 843; most, however, tend largely to have either an East Frankish or a West Frankish tradition. As local traditions developed within each area in the course of the 9th and 10th centuries, introductions and intercalatory phrases were combined with each other in a vast variety of patterns; these patterns changed widely from one local tradition to another but tended to remain relatively stable within each tradition. (These variations can be gathered from the tables in Jonsson, H1975, and Björkvall and others, H1982; further discussions appear in Planchart, B1977 and D1994.) Melodies for tropes are also unstable in their transmission across boundaries and parallel to some extent the recombining of the trope elements mentioned above. Notable among the melodic changes is the large-scale reworking of the melodies for a considerable number of tropes transmitted with the same texts but with different melodies in northern France and in Aquitaine (Reier, B1981).

In a few instances textual transmission of introit tropes from one region to another was not literal in terms of the individual trope verses but rather involved the composition of new works based upon a received model (Planchart, C1988).

Tropes to the psalm and doxology occurred considerably less frequently than tropes to the introit antiphon and were seldom transmitted from one tradition to another. The few exceptions involve transmission from the northern French and English tradition to Aquitaine, or the transmission of tropes to the psalm or doxology in one tradition as tropes to the antiphon in another.

Textually the great majority of the introit tropes consist of phrases that introduce or provide a context for the phrases of the introit itself or else represent a commentary upon the text of the official chant. This relationship between the trope and the official text is reflected both in the performance (tropes being sung by the soloists and the introit antiphon by the choir) and in the music, which in some works appears to reflect the music of the official chant while in others it provides a distinct contrast. A group of south Italian introit tropes, however, appears to consist of deliberately self-referential works, where the trope verses and their melodies make their own point independently of the chant they ornament (Planchart, D1994).

Closely related to but distinct from the introit tropes is a small group of works found essentially in northern France and England and labelled in English sources ‘versus ante officium’ and in northern France ‘versus ad processionem’. These represent introductions to the entire Mass and are then followed by the first of the introit tropes. Some were introit tropes imported from elsewhere and used in this manner, such as the adaption of Tuotilo’s Hodi cantandus est nobis puer in northern France and England, but some are local productions that seem to have been intended from the start as a versus ante officium.

Related to the versus ante officium is one of the most famous of the early introductions to the introit, the Easter dialogue Quem queritis in sepulchro, the fons et origo of liturgical drama (for its early history see Hardison, C1965; De Boor, H1967; and Drumbl, D1981). Drumbl proposed that this dialogue arose in the late 8th or early 9th century as part of a separate ceremony before the Easter Mass. During its transmission to the different regions it developed in three distinct manners that were virtually independent of each other (Planchart, D1994): in northern France and England it became the visitatio sepulchri and as such part of the Easter Eve procession, while in Germany, after a very early appearance as an introit trope (in CH-SGs 381 and 484), it also became the visitatio sepulchri; in Aquitaine and Spain it was invariably an introit trope and spawned parodies for a number of other feasts, including Christmas, St Stephen, St John the Baptist and Ascension; and in Italy it was invariably a versus sung immediately before the Mass, making it the only Italian equivalent of the northern versus ante officium. Significantly, early examples of liturgical dramas directly dependent upon the Quem queritis are found only in the regions where it was a visitatio sepulchri. Further, when the Aquitanian parodies of the Quem queritis as tropes for other feasts were imported north they were treated always as a versus ante officium rather than as a trope. (See also Medieval drama, §II.)

From an early date introit tropes were drawn from a number of sources, including scriptual texts (often from the same scriptual source as the introit antiphon) and hymns, but newly composed texts, some in metric or rhythmic verse and some in prose, are equally frequent. It has been suggested that Proper tropes of the earliest layers may be viewed either as invitations to sing a chant (Husmann, C1959) or as attempts to create a liturgical context for the often neutral biblical texts that make much of the Mass chants (Stäblein, C1963). In some manuscripts, such as F-Pn lat.9448, tropes seem to be carefully chosen to integrate the Propers into a specific theological plan (Jonsson, C1983).

The use of phrases drawn from the same scriptural sources as the introit antiphon means that in a number of instances the text of a trope element may appear in the same manuscript used also as verses ad repetendum. Thus, in a number of cases where manuscript rubrication is absent or ambiguous, the only way of determining the difference between a trope and a verse ad repetendum is whether or not the text is provided with a psalm tone or with an independent melody. Conversely, there are a few instances of non-scriptural texts that share the stylistic traits of tropes in terms of their texts, but which survive now only as verses ad repetendum (Steiner, D1993).

Introit tropes are the only tropes of the Proper of the Mass that were added to chants from outside the Gregorian repertory. The Old Roman Gradual from S Cecilia in Trastevere transmits a single introit trope for the Christmas introit Puer natus est and a trope text (transmitted as such in the St Gallen manuscripts) as the verse ad repetendum for the Easter introit.

As the popularity of tropes waned in the 12th century, introit tropes were among the few that survived in some centres until the 14th and 15th centuries. In most cases they were reduced to simple introductions without any intercalatory lines, although late East European manuscripts transmit a number of the St Gallen tropes with intercalatory verses (Haug, D1995). A small repertory of introit tropes composed in the 12th and 13th centuries survives in late sources, but these have not been studied extensively. In a few cases these late tropes consist of textual and melodic borrowings from hymns and even proses of the Victorine tradition.

(b) Gradual.

Several early 20th-century studies of tropes, including Analecta Hymnica Medii Aevi (Dreves, Blume and Bannister, xlix, H1906/R) contain many items as tropes to the gradual, but these are mostly prosulas written to fit the melismas of the graduals and their verses. There is, however, a minuscule repertory of true tropes to the gradual, that is, introductions to the respond with an independent melody. Some of these seem to be introit tropes pressed into service as introductions to the gradual, but two Aquitanian sources transmit a few pieces that survive only as gradual introductions. Typical of these is the following (F-Pn n.a.lat.1871, f.15r): AD R(ESPONSORIUM)Cantibus altithronis tua reperimus cantica laudum suscipe petimus pie rex canora fratrum quae caecinit in laude Christo: Haec dies

(c) Alleluia.

As in the case of the gradual, true tropes to the alleluia are a small repertory easily confused with prosulas. One example in CH-SGs 484, O redemptor omnium, may be the result of a scribal confusion, since the scribe entered it in SGs 381 as an offertory trope, and the piece retains this function in all later concordances. The trope to the Easter Eve alleluia in the Minden Troper, PL-Kj (olim D-Bsb) Cod.Theor.IV°11, f.45r, is presented unequivocally with an extended rubric and consists of one of the classic functions of a trope – an invitation to the celebrant to intone the alleluia.POST LECTIONEM ANTE ALLELUIA CANTETUR ISTA LAUSIam domnus optatas reddit laudes pascha cum Christo adest favete [MS: habete] cui canentes: Alleluia V. Confitemini

(Further examples of true tropes to the alleluia appear in Marcusson, H1976, although they are not labelled as such in this edition.)

(d) Sequentia.

Sequentia tropes form a small but important repertory found exclusively in Aquitanian sources from the early 10th to the late 11th centuries (see the study by Evans, D1968). They consist of introductions to the sequentia or the prose. In most sources the tropes introduce the melismatic sequentia. Isolated instances connecting them to the gradual seem to be simple scribal errors, but at least one important source, F-Pn lat.1118, used them consistently as introductions to the prose.

(e) Offertory and its verses.

Found in the earliest layers of the Proper trope repertory, offertory tropes were never as numerous as introit tropes and, except for a small group of early international tropes, are largely restricted to a single region or two adjaccent regions. The repertory consists for the most part of introductions to the offertory. In the early layers these introductions are often invitations to sing the offertory; as such they pose the same problems as some of the early introit tropes, for in citing most of the antiphon text they are thus hard to distinguish from the antiphon itself (Johnstone, D1984). Intercalatory tropes occur far less frequently in the offertories than in the introits, and tropes that introduce the offertory verses are relatively rare. Like the tropes to the psalm and the doxology in the case of the introit, tropes to the offertory verses rarely if ever moved from one tradition to another. The main exception is a very early set of paraphrase tropes to the verses of the offertories Tui sunt and Terra tremuit; these tropes survive with a remarkable number of small textual and melodic variants in all the traditions (Johnstone, D1984).

Italian sources transmit a rich repertory of prosulas to offertory melismas, but are particularly poor in offertory tropes; characteristically, some of the few manuscripts that transmit offertory tropes, for example, I-Vc 107, label them prosa. South of Rome only Ab increpatione et ira was ever used. Ex.2

gives the north Italian version of Ab increpatione, which agrees with the East Frankish tradition of this trope: (a) provides a sample of the variants within the offertory trope, and (b) typical paraphrase verse tropes from the oldest layer.

(f) Communion.

Just as the early structure of the communion, consisting of an antiphon, a psalm, verse and a doxology, parallels that of the introit, tropes to the communion present a similar picture to that of the introit tropes except that they were far less plentiful. Tropes to the psalm or doxology of the communion are extremely rare. Like the tropes to the offertory, the communion tropes, with only a few exceptions among the earliest pieces, were seldom transmitted from one region to another. Musically, communion tropes are simpler than tropes to the introit, although there are a few exceptionally elaborate ones. As is the case of the introit, a number of communion psalm verses have trope-like texts and have been mislabelled as tropes by scholars who fail to notice that the music given to the verses is that of a psalm tone. Ex.3 shows the communion trope for the feast of the Purification together with a trope-like psalm verse.

(g) Fraction antiphon.

Throughout Europe, Gregorian codices from the 10th century to the 12th preserve a small number of Fraction antiphons, most likely survivals of the Gallican rite, that continued to be sung in some places until the early 12th century. Their function in the Gregorian rite was not clear, and from one establishment to another they were used as chants that either preceded or followed the communion in certain feasts, most often Easter and Christmas. Two Aquitanian tropers, F-Pn lat.887 and Pn n.a.lat.1871, transmit a trope that introduces the Fraction antiphon. The rubric for this piece in Pn lat.887 makes it clear that this was not a scribal error, even though elsewhere the trope in question is one of the ‘wandering’ introductions to the Agnus Dei.

(h) Lessons and prayers.

The 12th and 13th centuries saw the rise of a small repertory of tropes to the Epistle called farsa in the sources (see Farse). The surviving sources suggest that this repertory arose largely in northern French and Norman cathedrals and that it spread from there thoughout Europe. Most of the farsed Epistles are for feasts of the Christmas season, although there are some for Easter, Pentecost, feast of the Virgin, and St Nicholas. In a few sources certain feasts such as the Circumcision (1 January) were also provided with tropes to the Nicene Creed and to the Pater noster. (For a discussion of the Circumcision liturgy at Sens and Beauvais, see Villetard, B1907, and Arlt, B1970; Pater noster tropes are discussed in Stäblein, F1977.) Lessons and prayer tropes, when newly composed, often follow the newer styles of rhymed and rhythmic poetry, but a number of them are centos of phrases drawn from hymns, proses and older tropes.

(ii) Ordinary of the Mass.

(a) Kyrie.

Discussion of the tropes to the Kyrie eleison presents special problems in that modern scholars have used the term ‘Kyrie trope’ to refer to a vast repertory of Kyrie settings that are not tropes; these settings could best be defined as prosulas or as Latin Kyries (of which there are different types).

As the Kyrie eleison was taken over by the choir, perhaps in the late 9th century, melodies began to be set down and a number of formal strategies were evolved. The simplest one (apart from the singing of the nine invocations with their Greek text set to a melisma) consisted of a melodic scheme AAABBBAAA (or CCC), where each strain was sung twice, once with a Latin text and once with the melismatic Greek text (Orbis factor). A more elaborate melodic scheme contemporary with the first is ABACDCEFE', with each strain sung twice following the pattern given above and where E' is an expanded version of E, often going twice through the first half phrase of the melody followed by an extended cadence (‘Te Christe rex’). A few large-scale Kyries have a similar expansion in the sixth invocation (‘Clemens rector’). A few West Frankish sources transmit an inversion of the order between the Latin and Greek invocations, where the Greek text precedes the Latin Verse.

In Italian Kyries south of Rome all invocations are sung to the same melody, and the Greek invocations precede the Latin verses with the last verse followed by a short Amen. None of the patterns and text settings just described is properly a trope. Many of these melodies were apparently created from the start with their Latin texts but were regarded by medieval musicians as a form of prosula, and, characteristically, many of them were provided in the course of the 10th and 11th centuries with multiple texts, a trait common in the prosula and prose (prosa) repertories but extremely rare in the tropes.

True tropes to the Kyrie eleison are relatively few, less than 25 compared with hundreds of Latin Kyries (see inventory in Bjork, ‘The Kyrie Trope’, E1980), and largely follow three patterns: (1) introductions to the entire Kyrie, which can be either purely melismatic or have Latin verses and melismas; (2) expansions of the previous category that introduce each set of three (or six if the troped Kyrie has Latin verses) invocations (a few exceptional instances do not have a trope for the last three invocations or else add a fourth trope to introduce the extended final invocation); (3) sets of eight tropes interpolated between the nine invocations as follows (K – Kyrie, T – Trope, X – Christe): K T1 K T2 K T3 X T4 X T5 X T6 K T7 K T8 K. Patterns 1 and 2 are found in sources from France, England, Spain and northern Italy; pattern 3 seems to be a German tradition that filtered into those north Italian centres that received some of the St Gallen repertory. Bjork (op. cit.) emphasizes that the main characteristic of a true Kyrie trope is its independence from the melody of the Kyrie itself. That medieval singers and scribes were aware of this is shown by the exceptional attempt in the Winchester tropers to use verses from a Latin Kyrie as a true trope (Planchart, B1977, i, 249–51).

Kyrie tropes disappeared from the repertory during the 12th century, although a few of the East Frankish tropes were still copied in the 13th century in St Gallen. Latin Kyries, however, survived in England until the 16th century and were set to polyphony throughout most of the 15th century. They were known in northern France and the Netherlands, and an exceptional instance of newly composed Latin Kyrie verses appears in each of the six anonymous masses built on L’homme armé in I-Nn VI.34.

(b) Gloria.

These are among the oldest in the repertory, and at least one of them, the late and atypical Spiritus et alme for the Masses of the Blessed Virgin, was in use until the mid-16th century. The fundamental study of Gloria tropes remains that by Rönnau (E1967); though basically a detailed study of a single tradition (Aquitanian), it nevertheless takes into account the other repertories. (For the Italian repertories, Rönnau’s work is complemented by that of Boe, E1990, and Borders and Brunner, E1996.)

Like the Proper tropes, Gloria tropes consist of a series of verses that introduce the different phrases of the Gloria. There were also a few introductions to the entire hymn, which often invited the celebrant to intone the Gloria (Kelly, E1984). Ex.4 presents the trope Laus tua Deus, one of the earliest Gloria tropes, connected with the most widely used Gloria melody of the 10th century, called ‘Gloria A’ by Rönnau. This Gloria did not survive into the modern editions because it has a particularly problematic melodic transmission in the sources with lines and clefs, which give it beginning on f and on g (with and without bs) and ending on e, f or g. In this example the Gloria (4c) is preceded by the introduction Sacerdos Dei excelsi (4a), slightly later than Laus tua Deus (4b) but also widely used (Kelly, E1984). The version of Laus tua Deus is that found in the earliest sources and one that remained stable in the East Frankish region and England. Verses 1–4 are the constituent verses, that is, verses that always appear as part of this trope (verse 4 in the Aquitanian versions is expanded to Qui unus idemque est vereranda trinitas). Verse 5 is a stable verse, that is, one that appears in the great majority of versions. Verses 6–9 probably originated as part of Laus tua Deus (Falconer, E1993) but quickly became wandering verses that were attached to a considerable number of other Gloria tropes. The long melisma of verse 9 also gave rise to a substantial repertory of prosulas.

The earliest layer of Gloria tropes, of which Laus tua Deus is a typical example, remained stable in Germany, northern Italy and England. In France, Aquitaine and southern Italy it was expanded by the addition of wandering verses and of stable verses borrowed from other Gloria tropes so that it contains 12, 18 and even 24 verses (Rönnau, E1967, p.140). The phrases of the Gloria most often introduced by a trope were the litany-like set beginning with ‘Laudamus te’ up to ‘gratias agimus tibi’ and the similar set beginning with ‘Domine Deus’, as well as the final ‘Cum Sancto Spiritu’. As with the Proper tropes, which in terms of their development and distribution the Gloria tropes most closely resemble, few Gloria tropes from the 10th and 11th centuries have the pan-European concordance of Laus tua Deus. When they do they tend to parallel the eventual structure of Laus tua Deus in the different regions: Aquitanian and south Italian Gloria tropes generally have a good number of verses, including recombinations of wandering verses, while northern French, English (pre-Conquest) and German Gloria tropes have far fewer verses and remain stable. The function of a number of Gloria tropes was to render the text Proper for a specific feast; thus Pax sempiterna was a Christmas trope and O gloria sanctorum, originally for St John the Evangelist, could, by changing the name of the saint in the trope verses, be made appropriate to a number of other saints.

The verse Regnum tuum solidum (see ex.4, verse 9) with its long melisma on the word ‘permanebit’ became a widespread wandering verse and gave rise to a substantial repertory of prosulas; the latter often consisted of parallel phrases with alternating syllabic and melismatic settings (see Rönnau, E1967) as well as one or two derived verses, such as Sceptrum cuius nobile, which in turn became the locus of prosula composition. The Regnum verse and its prosulas are often the ornamental climax of any Gloria trope that includes them. Early sources include them in specific Gloria tropes, but some later manuscripts emphasize the wandering nature of the Regnum and its prosulas by presenting a series of such prosulas at the end of the Gloria series, thus indicating that they could be added to a number of the preceding Gloria tropes. A few late manuscripts that transmit no Gloria tropes still retain one or another of the Regnum prosulas as their only ornamentation of the Gloria.

Apart from the Gloria A, the Gloria melodies most often provided with tropes were those of Glorias IV, VI, XI, XIV and XV of the Vatican Edition. In the 11th century a few Glorias with their tropes were composed entirely ad hoc, particularly in southern Italy (Boe, E1990). Tropes to the Gloria, like the Proper tropes, disappeared during the course of the 12th century and only one, the Marian trope Spiritus et alme, which is itself a 12th-century composition associated with Gloria IX for the Lady Mass, survived until its suppression by the Council of Trent.

(c) Sanctus.

Tropes to the Sanctus differ from most of the other tropes so far discussed in that the vast majority begin with the official text rather than with an introduction. Indeed, the nearly complete edition of all surviving Sanctus trope texts up to the end of the 12th century (Iversen, H1990) gives only four introductions in the entire repertory, and the peculiar transmission of one of them, the Aquitanian introduction Sanctus Deus omnipotens Pater, which outside Aquitaine was consistently misread as beginning with the official text, confirms the view that Sanctus introductions were rare and little understood at the time.

Typically, early Sanctus tropes provide short apposite phrases, often in Trinitarian form, following the three statements of the word ‘Sanctus’, followed by lines that function more like other tropes in that they introduce the official text. Ex.5 shows the north Italian version of a very stable late 10th-century Sanctus found in Italy, France and England; it presents the most common structure in terms of where the trope verses intersect the official text.

Absent from this example are two elements found in other Sanctus tropes: an introduction to one or both of the ‘Osanna in excelsis’, and an expansion of the ‘Osanna’ melisma, which was often provided with an extended prosula. The ‘Osanna’ prosula was the element most frequently found, and in a number of Sanctus settings it is the only addition. The most elaborate of the prosulas reveal a double versicle structure in which syllabic and melismatic versions of each segment alternate with each other. (A complete repertory of the texts up to the 12th century is given in Iversen, H1990; studies of individual pieces and groups of related pieces appear in Thannabaur, E1967, Atkinson, E1983–4 and E1993, and Iversen, E1983–4 and H1990.)

A very small repertory of Sanctus tropes, including some new trope texts, survived into the 14th and early 15th centuries. A number of them, such as the Sanctus of the so-called Barcelona Mass, are polytextual motets using a Sanctus trope as one of the texts, but others are polyphonic settings of texts clearly constructed along the lines of the traditional Sanctus tropes or of hymn texts interpolated into the Sanctus. No repertorial studies of the late Sanctus tropes have been undertaken, but polyphonic examples appear in sources such as F-APT 16bis, I-IVc 115, Bc Q15, AO and TRmp 87 and 92.

(d) Agnus Dei.

The official text of the Agnus Dei was still not settled in the 9th and 10th centuries, at which time it consisted of one or more statements of the phrase ‘Agnus Dei qui tollis peccata mundi miserere nobis’ (see Atkinson, E1977, and Iversen, H1980, for two differing views of the situation). The early layer of tropes to the Agnus Dei consists for the most part of verses ending with the works ‘Miserere nobis’, which follow a complete statement of the official text. In a few instances that first invocation is preceded by an introductory verse (see ex.6).

During the course of the 11th century various developments took place: the number of invocations became more consistently restricted to three; the trope verses, both the ones used in the 10th century and those newly composed, came to be framed by the official text, with the trope verse appearing after the phrase ‘Agnus Dei qui tollis peccata mundi’; and the ending of the final invocation came to be changed to the phrase ‘Dona nobis pacem’. As in the case of the Sanctus tropes, a small number of Agnus tropes, including a few new tropes, survived into the 14th and 15th centuries and were set polyphonically. Sources for these late trope settings are the same as those for the Sanctus tropes.

(e) Ite missa est.

These are by far the least studied tropes in the repertory. Even though the Dismissal belongs among the earliest elements of the Mass, tropes for it do not appear in the sources before the very end of the 10th century. There is a single instance in the highly elaborate Christmas Mass in F-Pn lat.1118, and what appears to be a purely melodic trope in APT 18, f.62v. The early 11th-century sources present a clear pattern: tropes to the Ite missa est were rare in France and all but unknown in Spain and England. A small repertory developed in Germany (Hospenthal, E1990), and some examples of this repertory turn up in Italian manuscripts. The pattern of the 11th century remains for the most part unchanged in 12th- and 13th-century sources, and only in the 14th century is there a small expansion of the repertory with late compositions, including polyphonic motets based upon Ite missa est chants with texts that resemble trope texts in the upper voices. Such texts and their settings, both monophonic and polyphonic, were more common in connection with the Benedicamus Domino that closed the Office.

(iii) Office chants.

Apart from the responsory melismas and prosulas mentioned above, tropes to the Office chants arose in the 11th century or even later. In the Office of a few special feasts, notably the Circumcision, the Apostles’ Creed was provided with tropes (Arlt, B1970). In the English Sarum rite the second part of the Marian antiphon Salve regina was provided with a series of five four-line verse tropes. The troped antiphon is not found in plainchant sources before the late 12th century. The trope was included in most English polyphonic settings of the Salve regina from the 14th century until the Reformation (see Williams, G1979).

The largest number of tropes to an Office chant occur in connection with the versicle Benedicamus Domino that closed most of the canonical Hours. Tropes to the Benedicamus Domino seem to have arisen in the early 11th century, since there is a small collection of them in F-Pn lat.887. The early repertory is very similar to that of the tropes to the Ite missa est, consisting of modest interpolation between the two words of the versicle and its response. This kind of Benedicamus trope remained in use until the end of the Middle Ages, and relatively large collections of them appear in Norman (E-Mn 289) and German (D-Mu 156) manuscripts. By the end of the 11th century, however, as the repertory in F-Pn lat.1139 shows, other kinds of Benedicamus Domino tropes were being composed. The new tropes consist of relatively extended poems in rhymed rhythmic verse ending with the words ‘Benedicamus Domino’. Monophonic examples of such versus that could be used in the place of the Benedicamus Domino appear in the late Aquitanian versaria, the Norman-Sicilian tropers and some German sources such as D-Mu 156, where on occasion an independent cantio is used as a Benedicamus trope. Polyphonic settings of such versus are also found in the Aquitanian versaria and among the collections of conductus from the Notre Dame school as well as in Office manuscripts from Sens, Beauvais and Laon. Notre Dame manuscripts also transmit Latin motets built upon Benedicamus Domino chants; these could be used as substitutes in much the same manner that the 14th-century polyphonic Ordinaries made occasional uses of polytextual motets in place of the Ite missa est. Most of these late Benedicamus tropes and versus would appear to retain only a tenuous connection with the liturgy.

b: studies of manuscripts

BIBLIOGRAPHY

A Facsimiles. B Studies of manuscripts. C General: style and procedures. D Tropes for Proper chants. E Tropes for Ordinary chants. F Troped lessons and prayers. G Tropes and prosulas to the Office chants. H Anthologies and studies of texts.

a: facsimiles

c: general – style and procedures

d: tropes for proper chants

e: tropes for ordinary chants

f: troped lessons and prayers

g: tropes and prosulas to the office chants

h: anthologies and studies of texts

a: facsimiles

W.H. Frere, ed.: Graduale sarisburiense (London, 1894/R)

H. Anglès, ed.: El còdex musical de Las Huelgas (Barcelona, 1931/R)

Le codex VI.34 de la Bibliothèque capitulaire de Bénevent, PalMus, 1st ser., xv (1937/R)

Le manuscrit du Mont-Renaud … de Klosterneuburg, PalMus, 1st ser., xix (1955/R)

G. Vecchi, ed.: Troparium sequentiarium nonantulanum: Cod. Casanat. 1741, MLMI, 1st ser., Latina, i (1955)

Le codex 123 de la Bibliothèque Angelica, PalMus, 1st ser., xviii (1969)

R.J. Hesbert, ed.: Le tropaire-prosaire de Dublin: manuscrit Add. 710 de l’Université de Cambridge (vers 1360) (Rouen, 1970)

J.O. Bragança, ed.: Processional tropário de Alcobaça (Lisbon, 1984) [P-Ln 6207]

G. Joppich, ed.: Die Handschrift Bamberg, Staatsbibliothek Lit. 6 (Münsterschwarzach, 1986)

N. Albarosa and A. Turco, eds.: Benevento, Biblioteca capitolare 40: graduale (Padua, 1991) [facs.]

D. Hiley, ed.: Moosburger Graduale: München, Universitätsbibliothek, 2° Cod. ms. 156 (Tutzing, 1996) [facs.]

W. Arlt and S. Rankin, eds.: Stiftsbibliothek Sankt Gallen Codices 484 & 381 (Winterthur, 1996) [facs.]

b: studies of manuscripts

U. Chevalier, ed.: Prosolarium ecclesiae aniciensis: office en vers de la Circoncision en usage dans l’église du Puy (Valence, 1894)

W.H. Frere, ed.: The Winchester Troper from MSS of the Xth and XIth Centuries (London, 1894/R)

H.M. Bannister: ‘The Earliest French Troper and its Date’, Journal of Theological Studies, ii (1901), 420–29 [F-Pn lat.1240]

C. Daux, ed.: Le tropaire-prosier de l’abbaye Saint-Martin de Montauriol (Paris, 1901) [F-Pn n.a.lat.1871]

H.M. Bannister: ‘Un tropaire-prosier de Moissac’, Revue d’histoire et de littérature religieuses, viii (1903), 554–81 [F-Pn n.a.lat.1871]

H. Villetard, ed.: Office de Pierre de Corbeil (Office de la Circoncision) improprement appelé ‘Office des fous’: texte et chant publiés d’après le manuscrit de Sens (XIIIe siècle) (Paris, 1907)

O. Marxer: Zur spätmittelalterlichen Choralgeschichte St. Gallens: der Cod. 546 der St. Galler Stiftsbibliothek (St Gallen, 1908)

P. Wagner: Die Gesänge der Jakobusliturgie zu Santiago de Compostela aus dem sogenannten Codex Calixtinus (Fribourg, 1931)

J. Handschin: ‘The Two Winchester Tropers’, Journal of Theological Studies, xxxvii (1936), 34–49, 156–72

B. Stäblein: ‘Die zwei St. Emmeramer Kantatorien aus dem 11. Jahrhundert’, Jahresbericht des Vereins zur Erforschung der Regensburger Diözesangeschichte, xiii (1939), 231–42

R. von Gemmingen: Die Tropen des Reichenauer Kantatoriums (diss., U. of Heidelberg, 1941) [D-BAs lit.5, part lost]

O. Jaeggi: Il codice 366 di Einsiedeln e il suo posto nella storia musicale di Einsiedeln (diss., U. of Rome, 1947)

H. Pfaff: Die Tropen und Sequenzen der Handschrift Rom Naz. Vitt. Em. 1343 (Sessor. 62) aus Nonantola (diss., U. of Munich, 1948)

W. Irtenkauf: ‘Das neuerworbene Weingartner Tropar der Stuttgarter Landesbibliothek (Cod. brev.160)’, AMw, xi (1954), 280–95

W. Irtenkauf: ‘Das Seckauer Cantionarium vom Jahre 1345 (Hs. Graz 756)’, AMw, xiii (1956), 116–41

F.A. Stein: ‘Das Moosburger Graduale (1354–60) als Quelle geistlicher Volkslieder’, JbLH, ii (1956), 93–7

J. Chailley: ‘Les anciens tropaires et séquentiaires de l’école de Saint-Martial de Limoges (Xe–XIe siècle)’, EG, ii (1957), 163–88

W. Lipphardt: ‘Das Moosburger Cantionale’, JbLH, iii (1957), 113–17

A. Seay: ‘Le manuscrit 695 de la Bibliothèque communale d’Assise’, RdM, xxxix (1957), 10–35

P. Spunar: ‘Das Troparium des Prager Dekans Vit (Prag Kapitelbibliothek, Cim 4)’, Scriptorium, xi (1957), 50–62

W. Irtenkauf: ‘Ein neuer Fund zur liturgischen Ein- und Mehrstimmigkeit des 15. Jahrhunderts’, Mf, xii (1959), 4–12

J. Rau: Tropus und Sequenz im ‘Mainzer Cantatorium (Cod. Lond. Add. 1976–8)’ (diss., U. of Heidelberg, 1959)

J. Marshall: A Late Eleventh-Century Manuscript from St. Martial de Limoges: Paris, Bibliothèque nationale, fonds latin 1139 (diss., Yale U., 1961)

J.A. Emerson: ‘Fragments of a Troper from Saint-Martial de Limoges’, Scriptorium, xvi (1962), 369–72

H. Husmann, ed.: Tropen- und Sequenzenhandschriften, RISM, B/V/1 (1964)

G. Weiss: ‘Zum Problem der Gruppierung südfranzösischer Tropare’, AMw, xxi (1964), 163–71

D. Hughes: ‘Further Notes on the Grouping of the Aquitanian Tropers’, JAMS, xix (1966), 3–12

G. Reaney, ed.: Manuscripts of Polyphonic Music: 11th–Early 14th Century, RISM, B/IV/1 (1966)

H. Husmann: ‘Ein Prosar-Tropar aus St. Frambould in Senlis’, Festschrift für Walter Wiora, ed. L. Finscher and C.-H. Mahling (Kassel, 1967), 229–30 [F-Psg 1297]

A. Holschneider: Die Organa von Winchester (Hildesheim, 1968)

G. de Poerck: ‘Le MS Paris, B.N. lat. 1139: étude codicologique d’un recueil factice de pièces paraliturgiques (XIe–XIIIe siècle)’, Scriptorium, xxiii (1969), 298–312

W. Arlt: Ein Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und musikalischen Bedeutung (Cologne, 1970)

P. Evans: The Early Trope Repertory of Saint Martial de Limoges (Princeton, NJ, 1970)

P. Evans: ‘Northern French Elements in an Early Aquitainian Troper’, Speculum musicae artis: Festgabe für Heinrich Husmann, ed. H. Becker and R. Gerlach (Munich, 1970), 103–10

D.G. Hughes: ‘Music for St. Stephen at Laon’, Words and Music: the Scholar’s View … in Honor of A. Tillman Merritt, ed. L. Berman (Cambridge, MA, 1972), 137–59 [F-LA 263]

J. Stenzl: ‘Zur Kirchenmusik im Berner Münster vor der Reformation’, Festschrift Arnold Geering, ed. V. Ravizza (Berne, 1972), 89–109

S. Rankin: ‘Shrewsbury School, Manuscript VI: a Medieval Part Book?’, PRMA, cii (1975–6), 129–44

A.E. Planchart: The Repertory of Tropes at Winchester (Princeton, NJ, 1977)

N. Van Deusen: Music at Nevers Cathedral: Principal Sources of Mediaeval Chant (Henryville, PA, 1980) [F-Pn lat.9449 and n.a.lat.1235]

G. Cattin: ‘Un témoin des tropes ravennates (Pad 47) dans le cadre de la tradition italienne’, Research on Tropes: Stockholm 1981, 39–58

D. Hiley: The Liturgical Music of Norman Sicily: a Study Centred on Manuscripts 288, 289, 19421 and Vitrina 20–4 of the Biblioteca Nacional, Madrid (diss., U. of London, 1981)

M. R. Lagerlöf: ‘A Book of Songs Placed upon the Altar of the Saviour’, Research on Tropes: Stockholm 1981, 125–78 [F-Pn 9448]

E. Reier: The Introit Trope Repertory at Nevers: MSS Paris B. N. lat. 9449 and Paris B. N. n. a. lat. 1235 (diss., U. of California, Berkeley, 1981)

D. von Heubner: ‘Tropen in Handschriften der Bayerischen Staatsbibiliothek in München’, Liturgische Tropen: Munich 1983 and Canterbury 1984, 203–22

E. Castro: ‘Le long chemin de Moissac à S. Millan (le troparium de la Real Acad. Hist., Aemil. 51)’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 243–63

G. Björkvall: ‘Les deux tropaires d'Apt, mss. 17 et 18’, Corpus troporum, v: Inventaire analytique des manuscrits et édition des textes uniques (Stockholm, 1986), 13–22

A.E. Planchart: ‘Fragments, Palimpsests, and Marginalia’, JM, vi (1988), 293–339

E.C. Teviotdale: ‘Some Thoughts on the Place of Origin of the Cotton Troper’, Cantus Planus IV: Pécs 1990, 407–12

E. Teviotdale: The Cotton Troper (London, British Library, Cotton MS Caligula A. xiv, ff. 1–36): a Study of an Illustrated English Troper of the Eleventh Century (diss., U. of North Carolina, 1991)

W.T. Flynn: Paris Bibliothèque de l’Arsenal, MS 1169: the Hermeneutics of Eleventh-Century Burgundian Tropes and their Implications for Liturgical Theology (diss., Duke U., 1992)

J. Emerson: ‘Neglected Aspects of the Oldest Full Troper (Paris, Bibliothèque nationale, lat. 1240)’, Recherches nouvelles sur les tropes liturgiques: recueil d’études [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 193–217

M.S. Gros i Pujol: ‘Les tropes d'introït du graduel de Saint-Félix de Gérone: Gérone Bib. Sem., Ms. 4’, ibid., 219–29

D. Hiley: ‘Provins, Bibliothèque municipale 12 (24): a 13th-Century Gradual with Tropes from Chartres Cathedral’, ibid., 239–69

P. Rutter: Paris, Bibliothèque nationale, fonds latin 1240: a Transcription and Analysis of the Trope Repertory (diss., U. of London, 1993)

A.E. Planchart: ‘Notes on the Tropes in Manuscripts of the Rite of Aquileia’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 333–69

R. Camilot-Oswald: Die liturgischen Musikhandschriften aus dem mittelalterlichen Patriarchat Aquileia, MMMA, Subsidia, ii (1997)

c: general – style and procedures

MGG1 (‘Saint Martial’, ‘Tropus’; B. Stäblein)

M. Gerbert: De cantu et musica sacra (St Blasien, 1774/R)

A. Schubiger: Die Sängerschule St. Gallens vom achten bis zwölften Jahrhundert (Einsiedeln and New York, 1858/R)

A. Reiners: Die Tropen-, Prosen-, und Präfations-Gesänge des feierlichen Hochamtes im Mittelalter (Luxembourg, 1884)

L. Gautier: Histoire de la poésie liturgique au Moyen Age, i: Les tropes (Paris, 1886/R)

P. Wagner: Einführung in die gregorianischen Melodien, i (Leipzig, 2/1901, 3/1911/R; Eng. trans., 1901/R); iii (Leipzig, 1921/R)

H.F. Muller: ‘Pre-History of the Medieval Drama: the Antecedents of the Tropes and the Conditions of their Appearance’, Zeitschrift für romanische Philologie, xliv (1924–5), 544–75

K. Young: The Drama of the Medieval Church (Oxford, 1933/R)

H. Anglès: La música a Catalunya fins al segle XIII (Barcelona, 1935/R)

L. Brou: ‘Séquences et tropes dans la liturgie mozarabe’, Hispania sacra, iv (1951), 27–41

J. Handschin: ‘Trope, Sequence and Conductus’, NOHM, ii (1954, 2/1990 as The Early Middle Ages to 1300), 128–74

E. Jammers: Der mittelalterliche Choral: Art und Herkunft (Mainz, 1954)

H. Husmann: ‘Die älteste erreichbare Gestalt des St. Galler Tropariums’, AMw, xiii (1956), 25–41

R. Weakland: ‘The Beginnings of Troping’, MQ, xliv (1958), 477–88

H. Husmann: ‘Sinn und Wesen der Tropen veranschaulicht an den Introitustropen des Weihnachtsfestes’, AMw, xvi (1959), 135–47

J. Chailley: L’école musicale de Saint Martial de Limoges jusqu’à la fin du XIe siècle (Paris, 1960)

P. Evans: ‘Some Reflections on the Origin of the Trope’, JAMS, xiv (1961), 119–30

B. Stäblein: ‘Die Unterlegung von Texten unter Melismen: Tropus, Sequenz und andere Formen’, IMSCR VIII: New York 1961, 12–29

E. Jammers: Musik in Byzanz, im päpstlichen Rom und im Frankenreich: der Choral als Musik der Textaussprache (Heidelberg, 1962)

B. Stäblein: ‘Zum Verständnis des “klassischen” Tropus’, AcM, xxxv (1963), 84–95

O.B. Hardison: Christian Rite and Christian Drama in the Middle Ages (Baltimore, 1965)

R.L. Crocker: ‘The Troping Hypothesis’, MQ, lii (1966), 183–203

B. Stäblein: ‘Der “altrömische” Choral in Oberitalien und im deutschen Süden’, Mf, xix (1966), 3–9

O. Strunk: ‘Tropus und Troparion’, Speculum musicae artis: Festgabe für Heinrich Husmann, ed. H. Becker and R. Gerlach (Munich, 1970), 305–11

K. Schlager: ‘Tropen und Sequenzen’, Geschichte der katholischen Kirchenmusik, ed. K.G. Fellerer, i (Kassel, 1972), 297–304

K. Schlager: ‘Zur Definition des Tropus im späten Mittelalter’, GfMKB: Berlin 1974, 261–3

E. Odelman: ‘Comment a-t-on appelé les tropes? Observations sur les rubriques des tropes des Xe et XIe siècles’, Cahiers de civilisation médiévale, xviii (1975), 15–36

L. Treitler: ‘Observations on the Transmission of some Aquitanian Tropes’, Aktuelle Fragen der musikbezogen Mittelalterforschung: Basle 1975 [Forum musicologicum, iii (1982)], 11–60

W. Arlt: ‘Zur Interpretation der Tropen’, ibid., 61–90

M. Huglo: ‘On the Origins of the Troper-Proser’, JPMMS, ii (1979), 11–18

G. Cattin: ‘Kyriale, sequenze e tropi della tradizione padovana in codici benedettini’, S. Benedetto e otto secoli (XII–XIX) di vita monastica nel padovano (Padua, 1980) 87–111

D. Hiley: ‘Some Observations on the Interrelationship between Trope Repertories’, Research on Tropes: Stockholm 1981, 29–37

R. Jonsson: ‘The Liturgical Function of the Tropes’, ibid., 99–123

J. Raasted: ‘Troping Techniques in Byzantine Chant’, ibid., 89–98

K. Schlager: ‘Tropen als Forschungbericht der Musikwissenschaft: vom Lebenslauf eines Melismas’, ibid., 17–28

A.E. Planchart: ‘About Tropes’, IMSCR XIII: Strasbourg 1982, i, 125–35

L. Treitler: ‘From Ritual through Language to Music’, ibid., 109–23

D. Hiley: ‘Quanto c'è di normanno nei tropari siculo-normanni?’, RIM, xviii (1983), 3–28

R. Jonsson and L. Treitler: Medieval Music and Language: a Reconsideration of the Relationship (New York, 1983)

G. Silagi: ‘Vorwort’, Liturgische Tropen: Munich 1983 and Canterbury 1984, vii–x

A.E. Planchart: ‘Italian Tropes’, Mosaic, xviii/4 (1985), 11–58

D. Hiley: ‘Cluny, Sequences and Tropes’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 125–38

M. Huglo: ‘Centres de composition des tropes et cercles de diffusion’, ibid., 139–44

A.E. Planchart: ‘The Interaction between Montecassino and Benevento’, ibid., 385–407

M. Huglo: ‘Les libelli de tropes et les premiers tropaires-prosaires’, Pax et sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, ed. R. Jacobsson (Stockholm, 1986), 13–22

R. Jacobsson and L. Treitler: ‘Tropes and the Concept of Genre’, ibid., 59–89

J. Boe: ‘Hymns and Poems at Mass in Eleventh-Century Southern Italy (Other than Sequences)’, IMSCR XIV: Bologna 1987, iii, 515–41

M. Gros i Pujol: ‘Els més antics testimonis de l'ús dels tropes i de les proses a Catalunya’, Revista catalana de teologia, xii (1987), 117–23

T. Bailey: ‘Milanese Melodic Tropes’, JPMMS, xi (1988), 1–12

M.L. Göllner: ‘Migrant Tropes in the Late Middle Ages’, Capella antiqua München: Festschrift zum 25jährigen Bestehen, ed. T. Drescher (Tutzing, 1988), 175–87

A.E. Planchart: ‘On the Nature of Transmission and Change in Trope Repertories’, JAMS, xli (1988), 215–49

E. Castro Caridad: Tropos y troparios hispánicos (Santiago de Compostela, 1991)

G. Björkvall and A. Haug: ‘Tropentypen in Sankt Gallen’, Recherches nouvelles sur les tropes liturgiques [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 120–74

P.-M. Gy: ‘L'hypothèse lotharingienne et la diffusion des tropes [in Metz, MS 452, destroyed in 1944]’, ibid., 231–7

D. Hiley: Western Plainchant: a Handbook (Oxford, 1993)

C. Maître: ‘A propos de quelques tropes dans un manuscrit cistercien’, Recherches nouvelles sur les tropes liturgiques [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 343–59

S. Rankin: ‘From Tuotilo to the First Manuscripts: the Shaping of a Trope Repertory at Saint Gall’, ibid., 395–413

A.E. Planchart: ‘Old Wine in New Bottles’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 41–64 [concerns chant in Merovingian Gaul]

J. Grier: ‘A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine’, Speculum, lxix (1994), 1023–69

d: tropes for proper chants

MGG1 (‘Introitus’, B. Stäblein)

P. Wagner: ‘Il “Gregorius praesul”’, Rassegna gregoriana, i (1902), 161–4

A. Latil: ‘Les tropes de la semaine de Noël d’après un manuscrit du Mont-Cassin’, Revue du chant grégorien, xi (1902–3), 73–5

A. Latil: ‘Spigolature cassinesi’, Rassegna gregoriana, ii (1903), 5–8

G. Vale: ‘I tropi del ciclo natalizio ad Aquileia’, Rassegna gregoriana, v (1906), 535–40

Y. Delaporte: ‘Le trope Arbiter aeternus pour l’introït du mercredi de Pâques’, Revue grégorienne, xxiv (1939), 140–41

B. Stäblein: ‘Der Tropus “Dies sanctificatus” zum Alleluia “Dies sanctificatus”’, SMw, xxv (1962), 504–15

R. Strehl: ‘Zum Zusammenhang von Tropus and Prosa “Ecce iam Christus”’, Mf, xvii (1964), 269–71

G. Weiss: ‘“Tropierte Introitustropen” im Repertoire der südfranzösischen Handschriften’, Mf, xvii (1964), 266–9

G. Weiss: ‘Zum ‘Ecce iam Christus’’, Mf, xviii (1965), 174–7

G. Weiss: ‘Zur Rolle Italiens im frühen Tropenschaffen: Beobachtungen zu den Vertonungen der Introitus-Tropen Quem nasci mundo und Quod prisco vates’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 287–93

P. Evans: ‘The Tropi ad sequentiam’, Studies in Music History: Essays for Oliver Strunk, ed. H.S. Powers (Princeton, 1968), 73–82

B. Stäblein: ‘Gregorius praesul, der Prolog zum römischen Antiphonale’, Musik und Verlag: Karl Vöterle zum 65. Geburtstag, ed. R. Baum and W. Rehm (Kassel, 1968), 537–61

G. Weiss, ed.: Introitus-Tropen, i: Das Repertoire der südfranzösischen Tropare des 10. und 11. Jahrhunderts, MMMA, iii (1970)

T. McGee: ‘The Liturgical Placement of the Quem quaeritis Dialogue’, JAMS, xxix (1976), 1–29

M. Huglo: ‘Aux origines des tropes d'interpolation: le trope méloforme d'introït’, RdM, lxiv (1978), 5–54

D.A. Bjork: ‘On the Dissemination of Quem quaeritis and the Visitatio sepulchri and the Chronology of their Early Sources’, Comparative Drama, xiv (1980), 46–69

N. Sevestre: ‘The Aquitanian Tropes of the Easter Introit: a Musical Analysis’, JPMMS, iii (1980), 26–39

J. Drumbl: Quem quaeritis: teatro sacro dell'alto Medioevo (Rome, 1981)

J.G. Johnstone: ‘Beyond a Chant: Tui sunt caeli and its Tropes’, Music and Language, ed. E.S. Beebe and others (New York, 1983), 24–37

L. Treitler: ‘Speaking of Jesus’, Liturgische Tropen: Munich 1983 and Canterbury 1984, 125–30

J.G. Johnstone: The Offertory Trope: Origins, Transmission and Function (diss., Ohio State U., 1984)

P. Rutter: ‘The Epiphany Trope Cycle in Paris, Bibliothèque Nationale, fonds latin 1240’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 313–24

H. Binford-Walsh: ‘The Ordering of Melody in Aquitanian Chant: a Study of Mode One Introit Tropes’, Cantus planus Study Session III: Tihány 1988, 327–39

B. Asketorp: ‘Troperna till Dedicatio ecclesiae: en edition i text och musik eller Broder Arnulfs bekannelser’ [Tropes for Dedicatio ecclesiae: an edition with text and music, or Brother Arnulf’s confessions], Ord om ton: 14 uppsatser om musikforskning [Words on music: 14 essays on music research], ed. H. Larsen and S. Norman (Stockholm, 1989), 103–17

B. Asketorp: ‘Beobachtungen zu einigen späteren Introitustropen’, Cantus planus Study Session IV: Pécs 1990, 371–92

M. Fassler: ‘The Disappearance of the Proper Tropes and the Rise of the Late Sequence: New Evidence from Chartres’, ibid., 319–35

A. Haug: ‘Das ostfränkische Repertoire der meloformen Introitustropen’, ibid., 413–26

J. Novotna: ‘Die Offertorienverse mit Tropen im Repertoire des Prager Metropolitankapitels’, ibid., 455–62

W. Arlt: ‘Schichten und Wege in der Überlieferung der älteren Tropen zum Introitus Nunc scio vere des Petrus-Festes’, Recherches nouvelles sur les tropes liturgiques [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 13–93

M. Gros i Pujol: ‘Les tropes d'introït du graduel de Saint-Félix de Gérone: Gérone Bib. Sem., Ms. 4’, ibid., 219–29

R.M. Jacobsson: ‘Poésie liturgique et fond biblique: essai sur quatre complexes de tropes en l'honneur de Saint Pierre apôtre et sur leur transmission’, ibid., 309–41

R. Jacobsson: ‘Unica in the Cotton Caligula Troper’, Music in the Medieval English Liturgy, ed. S. Rankin and D. Hiley (Oxford, 1993), 11–45

R. Jacobsson and L. Treitler: ‘Sketching Liturgical Archetypes: Hodie surrexit leo fortis’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 157–202

R. Steiner: ‘Non-Psalm Verses for Introits and Communions’, Recherches nouvelles sur les tropes liturgiques [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 441–7

A. Planchart, ed.: Beneventanum troporum corpus, i: Tropes to the Proper of the Mass from Southern Italy, A.D. 1000–1250 (Madison, WI, 1994)

A. Haug: Troparia tardiva: Repertorium später Tropenquellen aus dem deutschsprachigen Raum, MMMA, Subsidia, i (1995)

J. Borders, ed.: Early Medieval Chants from Nonantola, ii: Proper Chants and Tropes, RRMMA, xxxi (1996)

e: tropes for ordinary chants

MGG1 (‘Agnus Dei’, ‘Credo’, ‘Gloria in excelsis Deo’, B. Stäblein; ‘Sanctus’, P. Thannabaur)

J. Pothier: ‘“Gloria in excelsis” avec tropes, aux messes de la Ste. Vierge’, Revue du chant grégorien, vi (1897–8), 5–9

J. Pothier: ‘Kyrie “Magne Deus Genitor”’, Revue du chant grégorien, ix (1900–01), 133–7

G. Beyssac: ‘Notes sur le Kyrie “Fons bonitatis”’, Rassenga gregoriana, iii (1904), 531–44

J. Pothier: ‘Kyrie des Anges avec tropes’, Revue du chant grégorien, xiii (1904–5), 81–8

A. Grospiller: ‘Le Kyrie pascal “Lux et origo” avec tropes’, Revue du chant grégorien, xiv (1905–6), 135–8

A. Grospellier: ‘Le “Kyrie Rex splendens” avec tropes’, Revue du chant grégorien, xiv (1905–6), 92–7

L. David: ‘Les “Agnus Dei” de l’Edition Vaticane’, Revue du chant grégorien, xxii (1913–14), 172–80

F. Hospes: ‘Kyrie Sacerdos summe’, Revue du chant grégorien, xxiv (1920–21), 3–6

D. Cécilio: ‘Le Kyrie Omnipotens avec tropes’, Revue du chant grégorien, (1921–2), 97–9

L. David: ‘Le Kyrie des dimanches: Orbis factor’, Revue du chant grégorien, xxvi–xxvii (1922–3), 170–74

P. Wagner: ‘Über Agnus Dei-Tropen’, Musica divina, xv (1927), 43–8

J. Handschin: ‘Zur Frage der melodischen Paraphrasierung im Mittelalter’, ZMw, x (1927–8), 513–59

L. David: ‘La prose “Carmina plebs sedula”’, Revue du chant grégorien, xxxiii (1929), 73–7

P. Wagner: ‘Ein vierstimmiger Agnustropus’, KJb, xxvi (1931), 7–12

W. Lipphardt: ‘Die Kyrietropen in ihrer rhythmischen und melodischen Struktur’, GfMKB: Lüneburg 1950, 56–9

L. Brou: ‘Séquences et tropes dans la liturgie mozarabe’, Hispania sacra, iv (1951), 27–41

S. Kroon: Tibi laus: studier kring den svenska psalmen nr. 199 (Lund, 1953)

D. Bosse: Untersuchung einstimmiger mittelalterlicher Melodien zum ‘Gloria in excelsis Deo’ (Regensburg, 1955)

E. Jammers: Anfänge der abendländischen Musik (Strasbourg, 1955)

M. Landwehr-Melnicki: Das einstimmige Kyrie des lateinischen Mittelalters (Regensburg, 1955/R)

K. Levy: ‘The Byzantine Sanctus and its Modal Tradition in East and West’, AnnM, vi (1958–63), 7–67

J. Smits van Waesberghe: ‘Die Imitation der Sequenztechnik in den Hosanna-Prosulen’, Karl Gustav Fellerer zum 60. Geburtstag, ed. H. Hüschen (Regensburg, 1962), 485–90

P.J. Thannabaur: Das einstimmige Sanctus der römischen Messe in der handschriftlichen Überlieferung des 11. bis 16. Jahrhunderts (Munich, 1962)

K. Rönnau: ‘Regnum tuum solidum’, Festschrift Bruno Stäblein, ed. M. Ruhnke (Kassel, 1967), 195–205

K. Rönnau: Die Tropen zum Gloria in excelsis Deo (Wiesbaden, 1967)

M. Schildbach: Das einstimmige Agnus Dei und seine handschriftliche Überlieferung vom 10. bis zum 16. Jahrhundert (Erlangen, 1967)

P.J. Thannabaur: ‘Anmerkungen zur Verbreitung und Struktur der Hosanna-Tropen im deutschsprachigen Raum und den Ostländern’, Festschrift Bruno Stäblein, ed. M. Ruhnke (Kassel, 1967), 250–59

C. Atkinson: The Earliest Settings of the Agnus Dei and its Tropes (diss., U. of North Carolina, 1975)

C. Atkinson: ‘The Earliest Agnus Dei Melody and its Tropes’, JAMS, xxx (1977), 1–19

D.A. Bjork: ‘Early Repertories of the Kyrie eleison’, KJb , lxiii–lxiv (1980), 9–43

D.A. Bjork: ‘Early Settings of the Kyrie eleison and the Problem of Genre Definition’, JPMMS, iii (1980), 40–48

D.A. Bjork: ‘The Kyrie Trope’, JAMS, xxxiii (1980), 1–41

C.M. Atkinson: ‘O amnos tu theu: the Greek Agnus Dei in the Roman Liturgy from the Eighth to the Eleventh Century’, KJb, lxv (1981), 7–31

D.A. Bjork: ‘The Early Frankish Kyrie Text: a Reappraisal’, Viator, xii (1981), 9–35

F.L. Harrison: ‘Two Liturgical Manuscripts of Dutch Origin in the Bodleian Library in Oxford and Music for the Ordinary of the Mass in Late Medieval Netherlands’, TVNM, xxxii (1982), 76–95

K. Schlager: ‘Trinitas, unitas, deitas: a Trope for the Sanctus of Mass’, JPMMS, vi (1983), 8–14

C. Atkinson: ‘Music as “Mistress of the Words”: Laude Deo ore pio’, Liturgische Tropen: Munich 1983 and Canterbury 1984, 67–82

G. Iversen: ‘Music as Ancilla verbi and words as Ancilla musicae: on the Interpretation of the Musical and Textual Forms of Two Tropes to Osanna in excelsis: Laudes Deo and Trinitas unitas’, ibid., 45–66

K. Falconer: ‘Early Versions of the Gloria Trope Pax sempiterna Christus’, JPMMS, vii (1984), 18–27

T.F. Kelly: ‘Introducing the Gloria in excelsis’, JAMS, xxxviii (1984), 479–506

R. Stephan: ‘Das Schlussstück der Messe von Toulouse’, Analysen: Beiträge zu einer Problemgeschichte des Komponierens: Festschrift für Hans Heinrich Eggebrecht, ed. W. Breig, R. Brinkmann and E. Budde (Wiesbaden, 1984), 40–45

J. Boe: ‘The “Lost” Palimpsest Kyries in the Vatican Manuscript Urbinas latinus 602’, JPMMS, viii (1985), 1–24

K. Falconer: ‘A Kyrie and Three Gloria Tropes in a Norwegian Manuscript Fragment’, STMf, lxvii (1985), 77–88

J. Boe: ‘Italian and Roman Verses for Kyrie leyson in the MSS Cologny-Genève, Bibliotheca Bodmeriana 74 and Vaticanus latinus 5319’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 337–84

G. Iversen: ‘Sur la géographie des tropes du Sanctus’, ibid., 39–62

J. Pikulik: ‘Les tropes du kyrie et du sanctus dans les graduels polonais médiévaux’, ibid., 325–35

D. Hiley: ‘Ordinary of Mass Chants in English, North French and Sicilian Manuscripts’, JPMMS, ix (1986), 1–128

J. Boe, ed.: Beneventanum troporum corpus, ii: Ordinary Chants and Tropes for the Mass from Southern Italy, A.D. 1000–1250, pt 2: Gloria in excelsis, RRMMR, xxii, xxiii–xxiv (1990)

C. Hospenthal: ‘Beobachtungen zu den Ite missa est im Tropenbestand der Handschriften aus dem Kloster Rheinau’, Schweizerisches Jb für Musikwissenschaft, new ser., x (1990), 11–18

G. Iversen: ‘Osanna Dulcis est cantica: on a Group of Compositions Added to the Osanna in excelsis’, Cantus planus Study Session IV: Pécs 1990, 275–96

C.M. Atkinson: ‘Text, Music, and the Persistence of Memory in Dulcis est cantica’, Recherches nouvelles sur les tropes liturgiques [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 95–117

M.-N. Colette: ‘Jubilus et trope dans le Gloria in excelsis Deo’, ibid., 175–91

K. Falconer: Some Early Tropes to the Gloria (Modena, 1993)

J. Borders and L. Brunner, eds.: Early Medieval Chants from Nonantola, i: Ordinary Chants and Tropes, RRMMA, xxx (1996)

f: troped lessons and prayers

MGG1 (‘Epistel’, ‘Evangelium’, ‘Pater noster’; B. Stäblein)

P. Aubry: ‘L'idée religieuse dans la poésie lyrique et la musique française au Moyen Age’, Tribune de Saint-Gervais, iii (1897), 37–40, 52–5, 84–8; iv (1898), 150–54, 202–7, 248–55, 286–8

A. Gastoué: ‘La musique religieuse au Moyen Age’, Tribune de Saint-Gervais, vi (1900), 12–20, 54–8

P. Wagner: ‘Das Dreikönigsspiel zu Freiburg in der Schweiz’, Freiburger Geschichtsblätter, x (1903), 77–101

P. Aubry: La musique et les musiciens d'église en Normandie au XIIIe siècle (Paris, 1906/R)

G. Vale: ‘Una epistola farcita per la festa della Dedicazione della Chiesa’, Rassegna gregoriana, viii (1909), 402–06

M. Sablayrolles: ‘A la recherche des manuscrits grégoriens espagnols: Iter hispanicum’, SIMG, xiii (1911–12), 205–37, 401–31, 509–30

D. Cécilio: ‘Un Pater avec tropes’, Revue du chant grégorien, xxv (1921–2), 130–33

H. Anglès: ‘Epistola farcida del martiri de sant Esteve’, Vida cristiana, x (1922–3), 69–74

L. David: ‘Les origines grégoriennes du chant populaire’, Revue du chant grégorien, xix (1925), 52–7

F. Gennrich: ‘Internationale mittelalterliche Melodien’, ZMw, xi (1928–9), 259–96, 321–48

U. Sesini: Poesia e musica nella latinità cristiana dal III al X secolo (Turin, 1949)

W. Irkentauf: ‘Die Evangelientropierung vornehmlich in der Schweiz’, Zeitschrift für schweizerische Kirchengeschichte, li (1957), 161–72

B. Stäblein: ‘Pater noster-Tropen’, Sacerdos et cantus gregoriani magister: Festschrift Ferdinand Haberl, ed. F.A. Stein (Regensburg, 1977), 247–78

D. von Huebner: ‘Neue Funde zur Kenntnis der Tropen’, Musik in Bayern, xxix (1984), 13–29

g: tropes and prosulas to the office chants

HarrisonMMB

J. Pothier: ‘La prose Inviolata’, Revue du chant grégorien, ii (1893–4), 19–22

A. Grospellier: ‘Les origines d'un Benedicamus Domino’, Revue du chant grégorien, iv (1895–6), 6–14

J. Pothier: ‘Répons “Gaude Maria”’, Revue du chant grégorien, vi (1897–8), 189–93

J. Pothier: ‘Resp. “Ex eius tumba” avec sa prose “Sospitati” de l'office de St. Nicolas’, Revue du chant grégorien, ix (1900–01), 49–52

J. Pothier: ‘Resp. “Descendit de caelis” de l'office de Noël’, Revue du chant grégorien, xi (1902–3), 65–71

G. Beyssac: ‘L'Office de la Circoncision de P. de Corbeil: note complémentaire’, Rassegna gregoriana, vii (1908), 544–7

C. Blume: ‘Inviolata, der älteste Marien-Tropus im Brevier’, Die Kirchenmusik, ix (1908), 41–5

C. Blume: ‘Inviolata Maria und Inviolata integra: die Doppelform des altberühmten Marientropus’, Die Kirchenmusik, x (1909), 65–73

G. Lecroq: ‘Le verset d'offertoire “Magnus” et la prose “Quem aethera”’, Revue du chant grégorien, xxiii (1914–15), 74–80

R.S.: ‘Trois Benedicamus avec tropes’, Revue du chant grégorien, xxix (1925), 1–3

L.R.: ‘Trope natus est in Bethleem’, Revue du chant grégorien, xxx (1926), 161–2

R. de Sainte-Beuve: ‘Les répons de Saint Fulbert de Chartres pour la nativité de la sainte vierge’, Revue grégorienne, xxiii (1928), 121–8, 168–74

H. Spanke: ‘St Martial-Studien: ein Beitrag zur frühromanischen Metrik’, Zeitschrift für französische Sprache und Literature, liv (1930–31), 282–317, 385–422; lvi (1932–33), 450–78

J. Handschin: ‘Die Schweiz, welche sang: über mittelalterliche Cantionen aus schweizerischen Handschriften’, Festschrift Karl Nef zum 60. Geburtstag (Zürich and Leipzig, 1933), 102–33

J. Chailley: ‘Un document sur la danse ecclésiastique’, AcM, xxi (1949), 18–24

M.F. Bukofzer: ‘Interrelations between Conductus and Clausula’, AnnM, i (1953), 65–103

Y. Delaporte: ‘Fulbert de Chartres et l'école chartraine de chant liturgique au XIe siècle’, EG, ii (1957), 51–81

W. Irtenkauf: ‘Einige Ergänzungen zu den lateinischen Liedern des Wienhäuser Liederbuchs’, Mf, x (1957), 217–25

E. Moneta-Caglio: ‘I responsori “cum infantibus” della liturgia ambrosiana’, Fontes ambrosiani, xxxii (1957), 481–578

J. Smits van Waesberghe: ‘Das Nürnberger Osterspiel’, Festchrift Joseph Schmidt- Görg zum 60. Geburtstag, ed. D. Weise (Bonn, 1957), 303–8

G. Vecchi: ‘Tra monodia e polifonia’, CHM, ii (1957), 447–64

D. Catta: ‘Le texte du répons “Descendit” dans les manuscrits’, EG, iii (1959), 75–82

J. Smits van Waesberghe: ‘Die Melodie der Hymne “Puer nobis nascitur”’, KJb, xliv (1960), 27–31

H. Anglès: ‘Die Sequenz und die Verbeta im mittelalterlichen Spanien’, STMf, xliii (1961), 37–47

H.-J. Holman: The Responsoria Prolixa of the Codex Worcester F 160 (diss., Indiana U., 1961)

J.M. Marshall: ‘Hidden Polyphony in a Manuscript from St. Martial de Limoges’, JAMS, xv (1962), 131–44

P. Damilano: ‘Laudi latine in un antifonario bobbiese del Trecento’, CHM, iii (1962–3), 15–57

H.-J. Holman: ‘Melismatic Tropes in the Responsories for Matins’, JAMS, xvi (1963), 36–46

L. Treitler: ‘The Polyphony of St. Martial’, JAMS, xvii (1964), 29–42

F.Ll. Harrison: ‘Benedicamus, Conductus, Carol: a Newly-Discovered Source’, AcM, xxxvii (1965), 35–48

W. Krüger: ‘Ad superni Regis decus’, Mf, xx (1967), 30–44

L. Treitler: The Aquitanian Repertories of Sacred Monody in the Eleventh and Twelfth Centuries (diss., Princeton U., 1967)

S.A. Fuller: Aquitanian Polyphony of the Eleventh and Twelfth Centuries (diss., U. of California, Berkeley, 1969)

R. Steiner: ‘The Prosulas of the MS Paris, Bibliothèque Nationales, f. lat. 1118’, JAMS, xxii (1969), 367–93

C. Allworth: ‘The Medieval Processional: Donaueschingen MS 882’, Ephemerides liturgicae, lxxxiv (1970), 169–86

R. Steiner: ‘The Responsories and Prosa for St. Stephen's Day at Salisbury’, MQ, lvi (1970), 162–82

S. Fuller: ‘Hidden Polyphony: a Reappraisal’, JAMS, xxix (1971), 169–92

H. Hofmann-Brandt: Die Tropen zu den Responsorien des Offiziums (Kassel, 1973)

T. Kelly: Responsory Tropes (diss., Harvard U., 1973)

R. Steiner: ‘Some Melismas for Office Responsories’, JAMS, xxvi (1973), 108–31

T.F. Kelly: ‘Melodic Elaboration in Responsory Melismas’, JAMS, xxvii (1974), 461–74

R. Steiner: ‘The Gregorian Chant Melismas of Christmas Matins’, Essays on Music for Charles Warren Fox, ed. J.C. Graue (Rochester, NY, 1979), 241–53

C. Williams: ‘The Salve Regina Settings in the Eton Choirbook’, MMA, x (1979), 28–37

M. Grattoni: ‘Il Missus ab arce nella tradizione e nelle fonti di Cividale’, Le polifonie primitive di Cividale: Cividale del Friuli 1980, 131–7

C.J. Ruini: ‘Lo strano caso del tropo Verbum Patris hodie’, ibid., 295–310

P. Dronke: ‘Types of Poetic Art in Tropes’, Liturgische Tropen: Munich 1983 and Canterbury 1984, 1–23

T. Kelly: ‘Melisma and Prosula: the Performance of the Responsory Tropes’, ibid., 163–80

C. Hospenthal: ‘Tropen in Handschriften aus dem Kloster Rheinau’, Cantus planus Study Session III: Tihány 1988, 401–14

T.F. Kelly: ‘Neuma triplex’, AcM, lx (1988), 1–30

A.W. Robertson: ‘Benedicamus Domino: the Unwritten Tradition’, JAMS, xli (1988), 1–62

S. Thomann: ‘Zu den superponierenden Benedicamus-Tropen in Saint-Martial: ein Beitrag zur Erforschung früher Mehrstimmigkeit’, KJb, lxxii (1988), 1–19

J. Bergsagel: ‘Nicolai solempnia: Another Polyphonic Benedicamus Domino Trope’, Festskrift Søren Sørensen, ed. F.E. Hansen and others (Copenhagen, 1990), 1–17

B. Schmid: ‘Das Alle Dei filius aus dem Mensural-Codex St Emmeram der Bayerischen Staatsibliothek München (clm 14274) und sein Umfeld’, Musik in Bayern, xlii (1991), 17–50

M. Huglo: ‘Du répons de l'office avec prosule au répons organisé’, Altes im Neuen: Festschrift Theodor Göllner zum 65. Geburtstag, ed. B. Edelmann and M.H. Schmid (Tutzing, 1995), 25–36