and B
were required by the same chant.(from Lat. cantus planus; Fr. plainchant; Ger. Choral; It. canto plano).
The official monophonic unison chant (originally unaccompanied) of the Christian liturgies. The term, though general, is used to refer particularly to the chant repertories with Latin texts – that is, those of the five major Western Christian liturgies – or in a more restricted sense to the repertory of Franco-Roman chant (Gregorian chant). A third meaning refers to a style of measured ecclesiastical music, often accompanied by a bassoon, serpent or organ, cultivated in Roman Catholic France during the 17th to 19th centuries (see Plain-chant musical). This article is concerned with the chant of the Roman and derived rites considered historically, including its place within Christian chant as a whole and its relationship to the liturgy that it serves.
1. Introduction: chant in East and West.
2. History to the 10th century.
6. Expansion of the repertory.
7. Chant in the religious orders.
8. Chant in northern and central europe.
10. Developments from 1500 to 1800.
11. Restoration and reform in the 19th century.
12. 20th-century developments.
KENNETH LEVY/R (1), JOHN A. EMERSON (2–11, with JANE BELLINGHAM and DAVID HILEY; 11(iii) with BENNETT ZON)
The roots of the liturgical chant of the Christian Churches lie partly in established Jewish Synagogue practice of the apostolic period, partly in new developments within early Christianity itself and partly in pagan music at the diverse centres where the first churches were established (see Christian Church, music of the early, and Jewish music, §II). Three centres exercised primary influence, Jerusalem, Antioch and Rome, and Constantinople, established as the eastern capital of the Roman Empire in the 4th century, became a fourth. In the centuries after the Edict of Milan (313), when freedom of Christian worship was sanctioned, there developed distinct families of Eastern and Western (Latin) rites, each local rite having its own liturgy and music. The music can be studied, however, only where notation permits: notation appears nowhere before the 9th century, and precise representation of pitch is not found in liturgical books until the 11th century.
The chief representative of the Eastern liturgies is the Greek rite of Constantinople (see Byzantine chant). This seems to have developed from Antiochean and Palestinian elements; it may have been subject also to Roman influence, since it was due to Rome that the ancient site of Byzantium was endowed with a new imperial status. From the 10th century, many manuscripts provide evidence of the Byzantine rite and its music; by the 13th century, the full repertory of Byzantine chant had been copied in a notation as unambiguous as the notation for Western Gregorian chant of the same period. The repertories of other Eastern rites, however, can be studied only through literary and liturgical documents and from modern practice (on the assumption that some aspects of early practice have filtered down through oral tradition). This is true of the historically influential Syrian rites and the old Palestinian (Melkite), Nestorian and Chaldean rites (see Syrian church music) as well as the Coptic rite (see Coptic church music). The Georgian rite is in some respects the best evidence of early liturgical and musical practice at Jerusalem; noted Georgian hymn collections survive from the 10th century, but their notation is incomplete and transcription is problematic (see Georgia, §II). The Armenian rite has similar noted manuscripts from the 13th and 14th centuries, and the Ethiopian rite from the 14th century (see Armenia, §II, and Ethiopia, §II). The Constantinopolitan liturgy and its music were taken over en bloc by the Slavs in the late 9th century; very full noted traditions survive from the 11th, 12th and 13th centuries, and for a time these reflected the Byzantine tradition quite faithfully. After the 13th-century Mongol invasions the Slavonic tradition became less dependent on the Byzantine Church (see Russian and Slavonic church music).
In the Latin liturgies it became common to preserve the chant through notation. Of the medieval chant repertories of Italy, three survive complete: the Gregorian (still the official chant of the Roman Catholic Church), Old Roman and Ambrosian (see Ambrosian chant; Gregorian chant; and Old Roman chant). The origins of the Gregorian are obscure; although it bears the name of Gregory the Great (590–604), it is no longer thought that this repertory represents Roman chant at the time of his papacy. It may represent a Roman recension of chant of the late 7th century or early 8th, or a Frankish recension of a Roman repertory carried out in the late 8th and early 9th centuries with the addition of some local obsolescent Gallican elements (see Gallican chant). The Old Roman chant poses a related problem. It survives only in five manuscripts from the 11th century to the early 13th from Rome and its environs. No other chant dialect appears in Roman manuscripts before the 13th century. Old Roman is variously viewed as the stylistic forerunner, in part, of the Gregorian repertory; or, in a refinement of this view, as the normal, older usage of Rome that survived in the region of Rome even after the newer Gregorian usage had spread throughout Western Europe; or, on the contrary, as a chant dialect reserved for papal ceremonial while the Gregorian was used in ordinary celebration; or as a late, stylistically degraded outgrowth of the Gregorian repertory. The complex history of the Roman rite and its music, and the problematic relationship between the Gregorian and Old Roman repertories are discussed below (§2(ii)).
The third substantially surviving medieval Italian repertory is the chant of the region of Milan, called Ambrosian after the 4th-century bishop of that city (see Ambrosian chant). Ambrosian chant is in use at Milan to the present. There are fragmentary remains of two other Italian repertories. The more substantial of these, dating from the 10th, 11th and 12th centuries, comes from the Beneventan zone of south Italy, which stretches across the peninsula from Naples and Monte Cassino in the west to Bari in the east and even reaches across the Adriatic to the coast of Dalmatia (see Beneventan chant). From north-east Italy there are isolated 11th- and 12th-century survivals of a chant repertory that may have had considerable importance, since what is preserved comes from Ravenna (see Ravenna chant). A centre for similar developments may also have been the influential patriarchate of Aquileia-Grado further to the north-east (see Aquileia). All these five medieval Italian dialects, but particularly the amply preserved Gregorian, Old Roman and Ambrosian, share some basic musical material. Corresponding chants in the various liturgies are melodically related. Thus in some instances an ‘old-Italian’ chant layer can be discerned behind the stylized regional variants. The recovery of this layer constitutes one of the major challenges in plainchant study.
As part of the movement towards political and liturgical unification begun in regions ruled by the Carolingians in the mid-8th century, all the local musical rites except the Ambrosian were progressively suppressed in favour of the Gregorian. Of the once-flourishing Gallican chant sung throughout Merovingian Gaul and elsewhere in the Frankish kingdoms, only isolated traces survive in manuscripts dating from the 9th to the 12th centuries. Some Gallican material, however, may have been perpetuated in the Gregorian tradition, particularly among its alleluia verses, offertories, processional antiphons (see Litany, §I, 3(iii), and Processional) and Ordinary chants. The Mozarabic (Old Spanish) rite developed in the Visigothic kingdom in early medieval Spain from the end of the 5th century and continued to flourish in Christian communities during the period of Arab dominance from 711 until its suppression in favour of the Gregorian liturgy in 1085 (see Mozarabic chant).
Table 1 presents a comparative synopsis of the principal chants of the Mozarabic, Roman and Ambrosian Masses (items in parentheses are sung infrequently).
The music of one other main Western rite, the Celtic, is almost completely lost. This rite developed principally in Ireland after the missionary work of St Patrick in the 5th century. Its early liturgy was very similar to that of the Gallican Church, and like the Gallican rite it varied from centre to centre. The Visigothic Church is also thought to have influenced the character of the Celtic liturgy. From the second half of the 7th century, however, the Church of Rome began to exert considerable influence in Ireland, as it did in Anglo-Saxon England at the same time, and the liturgy became increasingly romanized. By the time Irish notation first appeared, at the beginning of the 11th century, Roman plainchant had extinguished the native Celtic music (see Celtic chant).
(ii) The origins of Gregorian Chant.
(iii) The origins of plainchant notation.
Plainchant, §2: History to the 10th century
Consolidation of liturgical practices and the systematic compilation of lists of prayer formularies (libelli missarum) for local use in the Western Church began during the 4th, 5th and 6th centuries. This process is manifest in the oldest surviving Mass book of the Western liturgies, the so-called Leonine Sacramentary (also known as the Verona Collection: I-VEcap LXXXV (80); ed. Mohlberg, D1956), composed during the first quarter of the 7th century. As far as is known, this fragment containing 1331 collects and other prayers is a composite collection of Roman libelli missarum assembled for use at Verona some time between about 560 and 600. Most of its material is attributed to the work of earlier popes: Damasus (pontificate 366–84), Leo I (440–61), Gelasius I (492–6) and Vigilius (537–55). Although the prayers collected in the Leonine Sacramentary were clearly composed for specific feasts, there is no evidence to suggest that they were used as a Proper of the Mass, that is, specific formularies created for and permanently assigned to individual dates in the liturgical year; rather, the celebrant could choose from a libellus a variety of prayers relevant to each feast or he could compose his own. There is also some evidence that the texts of non-biblical chants were composed on a similarly ad hoc basis. Consequently, in the absence of any Proper for the texts of the Eucharist there could be no Proper for the music. References in medieval literature to the institution by various popes of ‘chants for the liturgical year’ probably refer to the collection and arrangement of libelli and should not be interpreted as evidence for the development of a musical Proper. McKinnon (F1995, pp.201–02) has argued that a Proper repertory could have been created only by a group of cantors devoted to the cultivation and preservation of chant; the single group of this kind known to have existed in the Western Church before the Carolingian era is the Roman Schola Cantorum, founded probably in the second half of the 7th century. According to McKinnon, the chants of the other major Western liturgies were performed by soloists who largely improvised the melodies they sang, although the simple chants sung by the congregation must have had fixed melodies.
Most of what is known about the early history of the music of the Divine Office comes from the surviving Latin monastic regulae (‘Rules’), which began to appear in the late 4th century and usually contain descriptions of the cursus – the division of the Psalter throughout the week. Among the most important pre-Carolingian regulae were the 5th-century Instituta of Cassian, used at Lérins; the early 6th-century Regula magistri, written for an unknown monastery near Rome; the Rule of Benedict of Nursia, composed sometime between c530 and c560 for the abbey of Monte Cassino (see Forman and Sullivan, F1997); the regulae of Caesarius, bishop of Arles (c470–542); and those of Columbanus (d 615), the Irish monk and founder of Luxeuil and Bobbio. Before the 9th century, monasteries in Francia were free to choose or compile their own Rule and the singing of the cursus varied from community to community. During the reign of Louis the Pious (814–40), however, a series of decrees were issued, imposing on Frankish communities the Rule of Benedict and the canonical Rule of Chrodegang. Although none of these regulae describes the actual sound of monastic chanting, they reveal that all full members of the community were expected to know the entire Psalter by heart and to participate in the singing of the Office, which included both choral and solo chanting. However, some Rules, notably the Regula Benedicti, state that the solo psalmody should not proceed by order of seniority of the monks, as was the case in many monasteries, but that only those who were able to edify the listeners should be permitted to chant.
Before the the mid-8th century, when the Carolingians assumed political power in the Frankish lands, the liturgical practices of the Western Churches were very diverse. Although the pope held authority over doctrinal matters, he exercised no jurisdiction over the manner in which worship was conducted outside the Roman Church. Even within separate kingdoms liturgical uniformity was unusual; the Gallican rite, in particular, embraced many local traditions. Only in the Visigothic Church in the second half of the 7th century did the bishops of Toledo assume authority over the Old Spanish liturgy and demanded uniformity of worship throughout the kingdom. The Anglo-Saxon Church established by Augustine of Canterbury in 597 is thought to have used a mixture of rites derived mainly from the Irish, Gallican and Roman Churches (Cubitt, F1996), but by the mid-8th century uniformity of liturgy was demanded by the archbishop of Canterbury. At the Council of Clovesho in 747 it was declared that the Anglo-Saxon Church should follow the same liturgy as practised in Rome. In particular, the Anglo-Saxons revered Gregory the Great as the founder of their Church, and by the 8th century they also regarded him as the source of their liturgy. The emulation of the Roman rite by the Anglo-Saxons is particularly significant for the history of Western plainchant, for it is clear that their desire for conformity with Rome was not limited to the texts of the rite but also extended to its music, although it is impossible to judge the extent to which such ideals were enforced in practice. Furthermore, it is likely that the legend of Gregory the Great as the author of the chant repertory which bears his name may have its origins in the English Church (Hiley, C1993, pp.506–07).
Plainchant, §2: History to the 10th century
A fundamental policy of the early Carolingian monarchy, one that began under Pippin the Short (751–68) and continued first under Pippin’s son Charlemagne (768–814) then under Charlemagne’s son Louis the Pious and his grandsons Lothar, Pippin and Charles, was the reform of ecclesiastical discipline and the imposition of religious unity among the Franks and their subject peoples. An important means by which the Carolingians pursued their ideal of religious unity was through the promotion of uniformity in worship. They aimed to replace the diverse Gallican traditions by a single rite – that of the Roman Church (see Vogel, F1965 and 1966).
The first attempt to standardize the liturgy of the Frankish Church occurred during the reign of Pippin the Short and was probably implemented under his direction. A new sacramentary was issued that had been created from a mixture of Gallican and Roman elements; this type of Mass book is known as the ‘8th-century Gelasian’ or the ‘Frankish–Gelasian’ Sacramentary. One of its earliest surviving examplars is the Gellone Sacramentary (F-Pn lat.12048; ed. Dumas, D1981), probably copied between 790 and 800 at Meaux for Cambrai Cathedral, but given to the abbey of Gellone in 807 (see Gamber, D1963, 2/1968, no.855; and Moreton, D1976). Although copies of the 8th-century Gelasian Sacramentary were disseminated widely and rapidly, their presence only exacerbated the liturgical confusion in the Carolingian Church. Under Charlemagne, therefore, a second sacramentary was declared the standard Mass book of the Frankish Church. In order to give his liturgical reforms more authority Charlemagne asked the pope for a pure (‘inmixtum’) copy of the sacramentary of Pope Gregory. The book sent by Pope Hadrian I (772–95), which arrived in Francia some time between 784 and 791, was deposited in the palace library as an exemplar from which further copies could be made. Although the original manuscript of the sacramentary, known as the ‘Hadrianum’, is no longer extant, a single early copy of it survives in the sacramentary of Cambrai (F-CA 164), written in 811 or 812 under the direction of Hildoard of Cambrai (see Gamber, op. cit., no.720). This manuscript carries the title: ‘In nomine Domini. Hic sacramentorum de circulo anni exposito a sancto Gregorio papa Romano editum ex authentico libro bibliothecae cubiculi scriptum’ (‘In the name of the Lord. This copy of the sacramentary for the liturgical year composed by Saint Gregory, the Pope of Rome, was written using the exemplar of the authentic book of the palace library’).
The Hadrianum, however, proved to be unsatisfactory in two respects. First, it was clearly not the ‘pure’, authentic text of Gregory the Great that Charlemagne had requested, for it included a number of formularies added since the death of Gregory I in 604, of which the latest were added during the pontificate of Gregory III (731–41). Secondly, the Hadrianum was a papal sacramentary, that is, a book containing the prayers recited by the pope at stational masses, and as such it gave no formularies for the Sundays after Epiphany, Easter and Pentecost, neither did it provide prayers for the special liturgies for funerals, votive masses etc. These apparent lacunae in the sacramentary decreed to be the Frankish standard were filled only during the reign of Charlemagne’s son, Louis the Pious (814–40), when Benedict of Aniane (c750–821), an Aquitanian monk and architect of many of Louis’ church reforms, completed his supplement to the Hadrianum (see Wallace-Hadrill, F1983, pp.258–303; Vogel, B1966, Eng. trans., pp.79–92), with the missing material compiled from other sacramentary texts; some uniquely Gallican feasts and services were also included. Benedict not only carefully distinguished his own work from the text of the original Hadrianum but also distinguished between the prayers he thought were composed by Gregory the Great and the later Roman additions. Several Carolingian manuscripts of the supplemented Hadrianum are extant, notably F-AUT 19 copied around 845 in Marmoutier near Tours.
The Hadrianum and its supplement did not immediately replace the other sacramentaries still circulating in Francia in the early 9th century, but it eventually supplanted the other texts to become the standard Mass book of the Frankish Church and was the sacramentary known to the most important liturgical commentators of the 9th century, including Amalarius of Metz (c775–c850) and Walahfrid Strabo (c805–49). (For an edition of the Hadrianum and its supplement, see Deshusses, F1971–82.)
Although most of the documentary sources for the Carolingian Church reforms concern the romanization of the sacramentary and the other liturgical texts, there is also evidence that the same ideals shaped the development of plainchant under the early Carolingians. The earliest descriptions of the reform of chant were written during the reign of Charlemagne, but several of them date the beginnings of the policy of replacing Gallican melodies with those of Rome to the reign of Pippin, in particular to the visit of Pope Stephen II to Francia in 752–4. According to Paul the Deacon (c783) Bishop Chrodegang of Metz (742–66), who had escorted Pope Stephen to Francia in 752, began to instruct his clergy at Metz in the Roman manner of chanting (PL, xcv, 709). Chrodegang also established a stational liturgy based on the papal rite and formed a schola cantorum to perform the chant (Andrieu, F1930); this was probably the first such choir to be introduced into Francia (see McKinnon, F1995). Pippin’s brother, Bishop Remedius of Rouen, also taught his clergy Roman chant. A letter from Pope Paul I (MGH, Epistolae, iii, 1892, pp.553–4) written in 761/2 describes how Remedius’s monks were unable to learn Roman chant fully from Simeon, a member of the Roman Schola Cantorum, before he was recalled to Rome, and how Remedius then sent his monks to Rome to continue their instruction in the Schola itself. Pope Paul also sent Pippin two Roman chant books, an ‘antiphonale’ and a ‘responsale’ (see MGH, Epistolae, iii, 1892, p.529); neither one is extant.
Under Charlemagne a number of royal decrees promoted and enforced the Roman rite and its chant throughout Francia. The most important was the Admonitio generalis issued in 789 which stated that all the clergy should learn and practise the Roman chant correctly in conformity with Pippin’s attempt to abolish the Gallican chant for the sake of unanimity with the Roman Church (MGH, Capitularia, i, 1883, p.61). In order to further knowledge of Roman chant scholae cantorum were established in several cathedrals and monasteries and royal envoys (missi) were sent to churches to ensure that the liturgy and its chant were correctly performed.
While the texts of the Roman liturgy could be introduced into Frankish churches by the dissemination of manuscripts, the learning of Roman chant must have been a much more difficult process, for without notation music could only have been transmitted orally. This raises several important questions about the success of Frankish attempts to introduce Roman chant and the nature of the relationship between the music sung in Rome in the late 8th and early 9th centuries and that sung in Francia at the same time.
The Carolingian belief that Gregory was the source of their chant was stated at the head of the earliest extant Frankish chant book, the Mont Blandin Antiphoner (B-Br lat.10127–44, ff.90–115; see Gamber, D1963, 2/1968, nos.1320, 856), a gradual copied in about 800, later owned by the abbey of Mont Blandin near Ghent (see fig.1). The same belief was also enshrined in the hexameter verses that prefaced many medieval chant books, among the earliest of which is the Monza Cantatorium (I-MZ CIX; ed. Hesbert, D1935/R, p.2), probably copied in about 800 in north-east France: ‘Gregorius praesul meritis et nomine dignus … composuit hunc libellum musicae artis scholae cantorum in nomine Dei summi’ (‘Bishop Gregory, worthy in his merits and name … composed this little book of the art of music for the Schola Cantorum in the name of the highest God’; see Stäblein, F1968). By the middle of the 9th century the legend of Gregory I’s composition of the Roman chant repertory had spread from Francia to Rome itself: a letter from Pope Leo IV written in the 850s threatened an abbot with excommunication if he and his monks did not perform the chant handed down by Pope Gregory I (MGH, Epistolae, v, 603). Later in the 9th century John the Deacon (b c824; d before 882), a monk of Monte Cassino, wrote a Vita sancti Gregorii (c873–5; PL, lxxv, 60–242) at the request of Pope John VIII (872–82) in which Gregory I was presented as the composer of Roman chant. By the time the Hartker Antiphoner was copied (c980–1011) the legend had developed into the story that the melodies of plainchant were dictated to the Pope by the Holy Spirit in the form of a dove (see fig.2; on the development of the legend see Treitler, I1974, and Hiley, C1993, pp.503–13).
Present-day scholars have rejected this image of Gregory as composer of plainchant. Van Dijk (G1961) proposed that the reform of the Roman liturgy by Pope Gregory II (715–31) had been mistakenly attributed to Gregory I by his Carolingian apologists, a theory also explored by Stäblein (F1968). There is no evidence contemporary with Gregory I to suggest that his contribution to the liturgy amounted to much more than the writing of some prayers and perhaps the compilation of a libellus missarum, and none of the accounts of Gregory’s life written before the Carolingian era mentions any particular interest in music. Schmidt (F1980), however, concluded that it was possible that Pope Gregory’s involvement was greater than current scholarship gives him credit for.
Contemporary with the belief that Gregory the Great was the source of Carolingian chant are a number of writings indicating that the repertory performed in Francia during the 9th century was not the same as that sung in Rome. When Amalarius of Metz revised the antiphoner in the 830s he found that there were differences between the texts and ordo sung in Rome and those performed in Metz; Walahfrid Strabo (d 849) accepted that elements of the Gallican chant were still present in the so-called Roman rite of the Frankish Church. John the Deacon, the Roman author of the Vita of Pope Gregory the Great noticed differences between the music of the Franks and that sung in Rome and accused the ‘barbaric’ Gauls and Germans of being incapable of learning Roman chant. Notker Balbulus (c840–912) of St Gallen responded in an account written some time between 883 and 885: he accused the Romans of deliberate attempts to sabotage the reform of Frankish chant during the reign of Charlemagne by teaching the northern cantors incorrect melodies (see Van Dijk, ‘Papal Schola’, F1963).
Unfortunately there is no means of directly comparing the music sung in Rome with that sung in Francia during the Carolingian era. Notation developed in Francia in the 9th century and fully-notated chant books are known only from the end of that century; notated books from Rome, however, survive only from the 11th century onwards. The repertory notated in the Frankish chant manuscripts is known as Gregorian chant and is clearly closely related to that preserved in the Roman manuscripts, but there are sufficient differences between the two for the Roman repertory to be recognized as a variant tradition, commonly known as Old Roman chant. Stäblein (G1950) was the first to emphasize the importance of this music, although it was already known to Mocquereau (PalMus, 1st ser., ii, 1891/R) and Andoyer (G1911–12, pp.69, 107). Since the 1950s several theories have been advanced to explain the relationship between the Gregorian and Old Roman chants and to address the question of how successful the Franks were in importing Roman music.
Some scholars have argued that both repertories were sung in Rome. Stäblein thought that the Old Roman chant was that sung in Rome at the time of Gregory the Great and that the Gregorian chant developed from it during the papacy of Vitalian (657–72), the probable founder of the Schola Cantorum. The liturgist Van Dijk, however, suggested that the differences in the Gregorian and Old Roman music reflected the existence of two different rites in Rome from the time of Vitalian: the Gregorian repertory being the chant of the papal rite and the Old Roman that of the urban churches (‘Gregory the Great’, F1963). Smits van Waesberghe offered a variant of this theme: the Old Roman chant was the original repertory of the Roman Church and the papal chapel and the Gregorian was a development of it that emerged during the 7th century in the basilical monasteries. The theories of Van Dijk and Smits van Waesberghe make several assumptions: that the music of these repertories changed little between their creation and the date they were first notated; that the Frankish adoption of Roman chant was limited to only one of the co-existent repertories in Rome; and that the Carolingians were on the whole successful in reproducing the original melodies. Hucke, on the other hand, pointed to the accounts of contemporary writers such as John and Deacon and Notker and argued that the Gregorian chant resulted from the imperfect transmission of the music sung in Rome to Frankish cantors at the end of the 8th century and the virtual separation of the two repertories from around 800 when Charlemagne decreed that all Frankish cantors were to learn the ‘Roman’ rite from the schola cantorum at Metz (MGH, Capitularia, i, 1881, p.121). (For further details of the theories see Old Roman chant, §2).
These widely differing theories concerning the origins of Gregorian chant reveal just how little is known about plainchant during the early Middle Ages. The relationships between different chant traditions are obscure, and very little is understood about the processes involved in the creation of melodies, how and by whom they were performed, and how they were transmitted. Of particular importance is the question of the degree to which melodies were fixed. Many of the arguments have centred on the nature of the Roman Schola Cantorum and the role it played in the creation and maintenance of Roman chant. Its precise origins are obscure; traditionally, its foundation was ascribed to Gregory the Great, a view maintained by Van Dijk (‘Gregory the Great’, F1963), but this theory is now generally rejected. The earliest clear evidence for its existence appears only at the end of the 7th century, in the biography of Pope Sergius I (d 701) in the Liber pontificalis (ed. Duchesne, F1886–92), which describes how the young Sergius was handed over to the prior cantorum for training. The Schola Cantorum is now generally thought to have been established some time in the second half of the 7th century (McKinnon, ‘The Eighth-Century Frankish-Roman Communion Cycle’, F1992; Dyer, F1993). By the time Ordo romanus I (ed. Andrieu, F1931–61/R, ii, 67–108) was composed, probably at the beginning of the 8th century, the structure of the Schola was firmly established. According to this Ordo it was led by the primicerius (or prior), whose duties included beginning and ending the chants of the liturgy, and three other sub-deacons known as the secundus, tertius and quartus (also called the archiparaphonista); the other adult members of the Schola, probably clerics in minor orders, were called paraphonistae, and the young pupils the paraphonistae infantes. The exact size of the Schola Cantorum is not known. (See also Schola Cantorum (i)).
The Roman Schola Cantorum is the only institution dedicated to the teaching and performance of chant known to have been formed in the West before the Carolingian era. Research by McKinnon (‘The Eighth-Century Frankish-Roman Communion Cycle’, F1992) suggests that it was largely responsible for the formation of the musical Proper in the Roman rite and the development of a high degree of melodic fixity in the Roman repertory. According to McKinnon the Roman musical Proper emerged quickly over a few generations beginning sometime in the second half of the 7th century and continuing into the early 8th, the reign of Pope Gregory II (715–31) being particularly significant. The idea of a fixed melodic repertory, therefore, developed in Rome and was later adopted by the Carolingians when they began to replace the Gallican chant with the chant of the Roman Schola Cantorum. The earliest fully notated chant books, all of which were written in Francia, display a remarkable uniformity in the plainchant melodies sung throughout the Frankish Church. The variants that these manuscripts contain, though persistent, are not significant enough to detract from the overall impression of a high degree of melodic fixity in the Gregorian repertory.
A peculiar feature of Gregorian chant is its adherence to a system of classification by which chants are categorized within eight modes according to musical characteristics irrespective of their liturgical function. Although the theory of the eight modes, as it developed from the 9th century onwards, classifies melodies by their cadence note (final), ambitus and reciting note, mode also carries implications of melodic idiom, characteristic turns of phrase, which defy easy theoretical definition. Such melodic characteristics were sometimes represented in theoretical writings and in tonaries by a set of eight short melodic phrases associated with syllables such as noeanne, noeagis etc., probably borrowed from Byzantine chant (see Bailey, L1974). While the word ‘tonus’ was at first preferred for this complex of meanings, ‘modus’ gradually became more usual (‘tonus’ referring to the harmonic interval, especially in polyphony) (see Atkinson, L1987 and 1995). A distinction is still commonly made between the theoretical concept of ‘mode’ and the formulas for singing psalm verses or responsory verses, usually called ‘tones’.
The first concrete evidence for the classification of Gregorian chants in eight tones or modes is the fragmentary Tonary of St Riquier, F-Pn lat.13159, ff.167–167v (see Gamber, D1963, 2/1968, no.1367; and Huglo, D1971, pp.25–6), dating from just before 800 and contained in the Psalter of Charlemagne copied at the abbey of St Riquier in northern France. The modal system already existed at an earlier date, however, in the Eastern Churches. It was taken up by the Franks at the time of the establishment of Gregorian chant in Francia, presumably from Byzantine practice. Apart from the earlier evidence for the oktōēchos, Aurelian of Réôme (fl 840s) says that it was adapted from the Greeks, as are also the Latin names given to the modes (protus authentus/plagalis etc.). (See Mode, §II; Oktōēchos; and Psalm, §II, 6–7.)
It is probable that the classification of the repertory according to melodic type aided the efforts of Frankish cantors to learn and perform the new repertory, particularly the psalmodic chants in which the mode of the antiphon determined the tone of the psalm verse. The composition of tonaries (liturgical books listing chant incipits classified according to the eight modes; see Tonary) containing a large number of chants indicates that such books served as a reference tool for cantors, for example the Carolingian Tonary of Metz compiled in the first half of the 9th century (F-ME 351; ed. Lipphardt, L1965). However, it is clear that the development of the system of the eight modes also served a theoretical purpose as early as the reign of Charlemagne. The Tonary of St Riquier was probably designed as a didactic or theoretical text, for only a few chants are classified according to their modes and not all of the chant types listed (introits, graduals, alleluias, offertories and communions) contain psalm verses. It is likely that this tonary was written to demonstrate that the whole of the repertory conformed to the system. The same belief is found in many of the early medieval treatises on music theory, beginning with the anonymous work known as the De octo tonis which formed the basis of part of Aurelian of Réôme’s Musica disciplina (c840–50). With the composition of the anonymous treatise Alia musica in the second half of the 9th century the eight modes were identified (erroneously) with the seven octave species of ancient Greek theory. The authentic modes were the Dorian, Phrygian, Lydian and Mixolydian; and the plagal the Hypodorian, Hypophrygian, Hypolydian and the Hypomixolydian.
Although the Carolingians were convinced that their so-called Roman chant conformed to the system of the eight modes, the evidence of the notated melodies and several theorists shows that the Gregorian repertory was not originally composed in accordance with such a system. There is no evidence that the eight modes were recognized in Rome until Gregorian chant was introduced there. A significant number of Gregorian melodies are classified differently in different places and at different times, and some chants display a kind of modal ambiguity that was frequently a problem for medieval theorists. The conviction that this system encapsulated an ideal state of the repertory, however, was so strong that theorists often ‘corrected’ chants or sections of chants to bring the ‘corrupt’ melodies into line with the appropriate mode; in fact, most such melodies probably belonged to a stratum of Gregorian chant that was in use before the establishment of modal theory. This process of ‘correction’ may account for some of the differences between the Gregorian and Old Roman repertories.
Plainchant, §2: History to the 10th century
Few present-day scholars of medieval music would disagree with the premise that early chant melodies dating from before the time of Pippin (751–68) were transmitted from generation to generation by oral methods alone. Isidore of Seville, writing in the first half of the 7th century, said that music had to be memorized because there was no means of writing the sound, and there is no evidence that music notation existed in the medieval West before the Carolingian era. The melody for the prosula Psalle modulamina in D-Mbs Clm 9543 (see ex.2) is possibly the earliest datable example of medieval notation (see Levy, F1995, esp.172, n.5). The chant is followed in the manuscript by the colophon of the scribe Engyldeo, known to have been a cleric at St Emmeram in Regensburg between 817 and 834 (see Möller, La tradizione dei tropi liturgici, M1985 and 1987, pp.279–96), and Bischoff (F1940) believes the notated piece to be in his hand, although this has not been universally accepted.
The earliest unambiguous evidence of the use of notation occurs in the Musica disciplina, a treatise written in the 840s by Aurelian of Réôme. Examples of neumes are rare before the appearance of fully notated chant books for the Mass at the very end of the 9th century (for a checklist of 9th-century notated manuscripts see Notation, §III, 1, Table 2). Fully notated antiphoners containing the music for the Office did not appear until a century later. Some have argued that a large number of 9th-century notated sources have been lost and that the writing of music was therefore much more widespread than the surviving evidence suggests. Levy, in particular, has suggested that fully notated chant books existed as early as the reign of Charlemagne and that these were kept in the palace library, together with the Hadrianum and other liturgical texts, as the authoritative exemplars for the teaching of chant (I1987). In Levy’s view this exemplar was central to Charlemagne’s policy of transmitting Roman chant accurately throughout Francia. However, no direct evidence for such a manuscript survives, and most scholars believe that the scarcity of notation before the turn of the 10th century is a true reflection of how little notation was used during the 9th century (Corbin, J.i 1977; Hughes, I1993, pp.65–6).
The notation found in the early chant books is neumatic, that is, it represents the outline of a melody without specifying the intervals or pitches. Cantors had first to learn a melody by oral methods before they could read it in the notation. The main purpose of such notation was to serve as a reminder of the melody, and the earliest notated chant books were probably used for reference rather than performance. Although specific pitch notations were developed by theorists in the second half of the 9th century, the notation of exact pitch in chant books was not used until the 11th century when several different methods appeared. Heighted point neumes are found in notated chant books from Aquitaine in the early 11th century, and an alphabetic system of defining pitch is found in the Dijon Tonary (F-MOf H 159) and some manuscripts from Normandy and England. At the same time Guido of Arezzo propagated the use of the staff with coloured lines or clefs to designate F and C. The development of notations that specified pitch should not be regarded as an ‘improvement’ on the earlier neumes but as evidence of the changing relationship between the performance and notation of liturgical music and the methods used in teaching and learning plainchant.
Attempts to recover the rhythmical traditions of the 8th, 9th and 10th centuries remain highly speculative. A few neume systems contain special signs thought to be indications of rhythm: St Gallen neumes and those from Laon contain significative (or ‘Romanus’) letters and supplementary signs (episemata), some of which concern the rhythm of the melody, but the exact interpretation of these signs is unclear. Some scholars have suggested that Gregorian chant was performed according to the quantities employed, for example in Latin metrical verse; others, including the monks of Solesmes, believe that the chant was more basically sung in equal notes but with rhythmic nuances.
As with many other aspects of early chant history, the origins of plainchant notation are obscure. A number of different explanations concern the shape of the neumes. Some scholars maintain that neumes are graphic representations of cheironomic gestures – the movement of the precentor’s hands as he directed the singers (see Mocquereau, PalMus, 1st ser., i, 1889/R; Huglo ‘La chironomie médiévale’, I1963). Others believe that Western notation was derived from Byzantine ekphonetic notation, a system used to direct the recitation of lections. Another group has suggested that the neumes owe their form to the accents of classical prosody, whether directly from manuals of Latin grammar or indirectly via Byzantium (see Atkinson, I1995). Treitler (I1982; ‘Reading and Singing’ and ‘Die Entstehung’, I1984) has proposed that neumes developed from the various punctuation signs – question marks, points, commas etc. – employed by Carolingian scribes to aid readers in the delivery of texts. However, it may be that none of these theories alone can adequately account for the shape of the neumes and that Carolingian notation evolved independently of any pre-existent source (see Notation, §III, 1).
Most scholars would hold that the extant varieties of Carolingian notation all derive from a common origin, but they disagree as to the exact nature of this origin. Some argue in favour of a single primitive system of neumes as the source of all the later notations; others consider it more likely that the diversity evident in the extant neumatic systems arose from a set of commonly held concepts about the function of notation and how musical sounds should be represented (Hughes, I1987; Arlt, Musicologie médiévale: Paris 1982, J.i 1982). It is certain, however, that neumes were subject to considerable change and adaptation in different Frankish centres throughout the 9th century. The three earliest extant notated graduals, all written around 900 (CH-SGs 339 from St Gallen, F-CHRm 47 from Brittany; LA 239 from Laon), display neumes of different shapes, and several other notational types appear in 10th-century manuscripts. Early notations are generally defined according to their geographical origin: Lotharingian, Breton, Aquitanian, central French, German, Anglo-Saxon, Beneventan and north Italian. The St Gallen and French notations are sometimes called ‘accent’ or ‘stroke’ notations, in which one pen-stroke may represent several notes; Aquitanian, Breton and Lorraine notations are termed ‘point’ neumes, because almost every note is indicated by a separate dot or dash.
Despite the different origins of early notated chant books and the variation in the styles of neumation, the most remarkable feature of the melodic repertory is its uniformity. Variants in the melodies are generally minor and were probably caused by differing opinions about how the melodies were to be sung rather than by scribal error (see Hughes, I1987; I1993). The same variants are often found in groups of manuscripts copied in the same region.
The transition from an oral tradition to the earliest types of written plainchant notation and the role of notation in maintaining the uniformity of the tradition during the 9th century are the subject of considerable debate. Levy’s argument for the existence of a notated exemplar during the reign of Charlemagne assumes that the melodic repertory was largely fixed by the end of the 8th century. This assumption is supported by Hughes (I1987, esp. 377), but whereas Levy argues that the uniformity in the manuscripts resulted from the use and copying of notated chant books, Hughes maintains that the chant had acquired a fixed melodic form well before the appearance of the earliest surviving notated manuscripts and that cantors were capable of performing almost all their chants from memory with very little variation. Treitler and Hucke, however, have argued that performance of the Gregorian repertory was not necessarily frozen into uniformity by the advent of notation. In the era of oral transmission cantors would have ‘reconstructed’ chants at each performance according to their knowledge of traditional forms and melodic materials. To some extent this would continue to be true when notated books were available for reference (see Hucke, I1980, p.466).
The determined efforts by medieval scribes to make records of the liturgy according to some kind of orderly plan paradoxically led to an almost endless diversity. Balboni’s attempts (see D1961 and 1985) to classify liturgical books by general type, though admirable, failed to deal adequately with the books’ internal differences. Diversity among the original medieval sources, however, does not necessarily imply disorder (a confusion that can easily occur when such a multiformity is viewed from the perspective of modern liturgical books): it is rare to find an unsystematic anthology of liturgical music (see Huglo, D1988).
Four general categories of plainchant book may be distinguished: the Mass book, the Office book, books containing ‘paraliturgical’ chants and didactic books. The principal types of chant book for the Mass are the gradual and the noted missal. Office chants are found in the antiphoner and in the noted breviary with psalter and hymnal. Chants to be performed during liturgical processions were commonly included in Mass books at the appropriate place in the liturgical year. In the Later Middle Ages they were frequently collected in a book of their own, the processional. Later medieval forms, which have largely fallen from use, are the paraliturgical chants (various chants consisting of musical and/or textual additions to the established liturgy): tropes, sequences, prosulas, sequentiae and versus. These occur in several configurations: in separate volumes (e.g. troparia, sequentiaria, versaria); in distinct sections within medieval Mass books; or inserted either singly or in groups within individual Mass Propers. The tonary and certain kinds of abbreviated gradual and antiphoner are pedagogical directories that assisted the cantor in the proper selection and performance of chants.
Other types of liturgical directory prominent during the Middle Ages were the ordinal (Liber ordinarius) and the Consuetudines monasticae (for modern editions of the latter see Hallinger, Q1963–). The ordinal was a code of rubrics and incipits of formularies, chants and readings, and indicated the order for celebrating the services in a particular church or monastery. The Ordines romani (ed. Andrieu, F1931–61/R), a collection of 50 formerly independent ordines, the earliest of which dates from the early 8th century, are a particularly valuable source of evidence for the development of the Romano-Frankish rite. The monastic customaries include regulations concerning chanting by monks in both liturgical and non-liturgical contexts. Such ordinals and customaries have come to play an increasingly important role in plainchant research (see Angerer, Q1977; Fassler, Q1985; Foley, Q1988; Vellekoop, D1996).
See also Liturgy and liturgical books, §II, and articles on individual books.
Only a small proportion of the medieval sources that once existed are extant today; many manuscripts have been lost to war, fire, water and, in some cases, deliberate destruction. Books containing the texts or music for liturgies that were no longer practised were often neglected, which explains why so few books of the Gallican rite survived the imposition of the Gregorian liturgy. The books of some ecclesiastical centres have been preserved in greater numbers than others. St Gallen, Limoges, Rouen and Benevento, for example, are still represented relatively fully by manuscript sources, but only a handful of early musical sources has survived from such major medieval religious establishments as Cluny, Camaldoli, Nevers, Tegernsee, Metz, Corbie, St Albans, Gorze and Nonantola. The survival of pre-Albigensian musical treasures from churches in southern France, such as Arles, Narbonne, Carcassonne, Albi, Toulouse, Rodez, Aurillac, Béziers, Moissac, Bordeaux and Tulle, can be attributed more to their luxuriant decoration than to their musical and liturgical content. In England and Scandinavia the systematic destruction of ‘popish’ books during the Reformation is well known.
Establishing an uncontested origin or date for some medieval liturgical manuscripts is, on occasion, virtually impossible. One of the most important advances relating to these problems was the realization that the series of alleluias used at Mass for the 23 Sundays after Pentecost frequently adhered to established local traditions that had persisted for decades or even centuries (Frere, D1894, p.l; Beyssac, D1921). For example, a given set of post-Pentecostal alleluias in manuscript ‘x’ of known origin may closely match a series in manuscript ‘y’, thus strongly suggesting that both sources were copied for a specific church, although the manuscripts may have been copied decades apart.
Three 11th-century series of post-Pentecostal alleluias are shown in Table 2. The St Denis (Paris) series was firmly implanted by the mid-11th century (see the eight manuscripts cited by Robertson, D1991, p.106). That used by the Augustinians (Canons Regular) at the abbey of St Victor in Paris is based on the gradual F-Pa 197, ff.80v–104v, dating from 1270–97, and the St Victor ordinal, Pn lat.14452, ff.64–83v, dating from about 1200 (see the manuscript descriptions in Fassler, Q1993). The Cluniac series is taken from the 11th-century Cluniac gradual F-Pn lat.1087, f.87ff.
Even after centuries of obscurity, chant books in private possession have continued to come to light, including the Cadouin collection (see Corbin, D1954), the gradual of St Cecilia di Trastevere (Hourlier and Huglo, G1952), the Weingarten Troper (Irtenkauf, D1954), the Nevers Troper (Huglo, M1957), the Wolffheim Antiphoner (Emerson, D1958–63), the St Albans Miscellany (Hartzell, D1975), the Mont-Renaud Antiphoner (PalMus, 1st ser., xvi, 1955–6) and the Feininger collection (Gozzi, D1994).
Hesbert’s Antiphonale missarum sextuplex (D1935/R), an edition of the Monza, Rheinau, Mont-Blandin, Compiègne, Corbie and Senlis graduals, is the principal documentary means of determining the size and content of the Gregorian Mass repertory performed in the Carolingian Church. In these late 8th- to early 10th-century sources the number of chant texts (any instances of musical notation are additions) agrees closely with the contents of the 11th-century noted gradual from St Gallen, Switzerland, CH-SGs 339 (facs. in PalMus, 1st ser., i, 1889/R), which was surveyed by Peter Wagner (C2/1901, i, 205) (see Table 3).
Comparable statistics for the size and nature of the Gregorian Office repertory are not yet available. The documentary basis of all Office studies is the earliest source F-Pn lat.17346, ff.31v–107, a complete Office antiphoner from Compiègne in France, dating almost certainly from 877 (see Huglo, D1993); this unique antiphoner contains a hybrid collection of older liturgical formularies plus newly composed Offices from northern France. From that time to the 16th century a huge number of special Offices were composed in honour of local saints, such as St Thomas of Canterbury, St Louis IX, king of France, or St David, patron of Wales (see Hughes, O1983).
Biblical texts, particularly the Psalter, formed the basis of worship in the Western Churches, although some liturgies admitted a greater number of non-biblical texts than others. Various Latin translations of the psalms existed during the early Middle Ages, producing variations in the texts of chants. The Roman Psalter remained the version used in the Roman Church until the 16th century. The Gallican Psalter, one of the several translations produced by St Jerome, was favoured by the Gallican Church and declared to be the official version of the Frankish Church by Charlemagne. It forms the principal source of Gregorian psalmody, but many Gregorian psalmic texts also derive from the Roman Psalter, thereby proving their Roman rather than Frankish origin. (For a study of these early psalters and the readings of chant texts, see Dyer, F1984; see also Psalter, liturgical).
Most biblical chant texts are rather brief excerpts taken directly from the scriptures; others, such as the communion Videns Dominus flentes sorores Lazari for Friday of the fourth week in Lent (John xi.33, 35, 43–4, 39), are made up from several passages; and some are paraphrases of the scriptures. The predominance of biblical texts in the basic repertory of Mass chant Propers (about 630 melodies in CH-SGs 339) is shown in Table 4 (after Wagner, C2/1901, i, 205).
Chants not normally using biblical texts include many Office antiphons, processional antiphons, Ordinary chants, creeds, acclamations, preces, litanies, historiae or special Offices for local saints, hymns, sequences and most tropes. Accounting for the textual variants between chant books is a problem sometimes encountered in plainchant research; some of the variation can undoubtedly be attributed to the transmission of distinctive biblical readings belonging to local traditions (for examples see Gallican chant, §5).
The oldest stratum of Gregorian chant may have consisted of a nucleus of about 630 melodies, but so far it has been virtually impossible to estimate the total number of chants used in conjunction with all the medieval Western liturgies. However, it is possible to draw some general conclusions from data collected from a variety of repertorial surveys (the figures cited below should nevertheless be treated with caution).
An extensive index listing about 11,000 chant incipits of the Gregorian repertory based on 19 sources, including modern published chant books, five manuscripts and several scholarly studies, was compiled by Bryden and Hughes (B1969). Scholars collecting and studying the Ordinary chants of the Mass have identified (discounting variants and transpositions) 226 Kyrie melodies (Landwehr-Melnicki, K1955/R), 56 Gloria melodies (Bosse, K1955), 230 Sanctus melodies (Thannabaur, K1962) and 226 Agnus Dei melodies (Schildbach, K1967). Comparable melodic surveys have been made of other classes of chant: 410 alleluia melodies to about the year 1100 (Schlager, K1965), 110 offertory verses (Ott, K1935) and 732 prosulas to Office responsories (Hofmann-Brandt, M1973).
A vast number of Latin versified texts were set to a repertory of well-known hymn tunes; Stäblein (K1956/R) published 557 melodies from ten medieval hymnals and other sources. As for the paraliturgical genres, Van Deusen (M1986) drew attention to over 1400 sequence melodies and 3000 sequence texts in 1400 major extant sources – the sheer quantity of manuscripts containing the sequence is itself testimony to the genre’s importance and longevity; Blume published the texts of 495 tropes to the Ordinary of the Mass (AH, xlvii, 1905/R) and 786 tropes to Proper chants of the Mass (AH, xlix, 1906/R); Weiss (M1970) edited 352 introit trope melodies from twelve 10th- and 11th-century manuscripts from southern France.
Hesbert’s monumental comparison of 12 secular and monastic antiphoners from the central Middle Ages (CAO, vii–xii, 1963–79) emphasizes the complexity of the sung Office liturgy. The manuscripts that he collated contain about 185 invitatories, 4300 antiphons, 1900 responsories and 325 versicles. It must be kept in mind, however, that these numbers would increase dramatically if all the known metrical and non-metrical chants from special Offices for local saints venerated throughout Western Europe were taken into consideration. In addition, a series of antiphoners frequently containing items not found in CAO have been edited in the CANTUS series (see Collamore and Metzinger, The Bamberg Antiphoner, D1990; Olexy, D1992; Steiner, D1996). Randel (H1973) indexed approximately 5000 musical items of the Mozarabic rite, including many hymns that presumably had sung texts but for which the manuscripts do not provide notation.
From a purely formalistic and stylistic standpoint, plainchant melodies of all types, both liturgical and paraliturgical, may conveniently be separated into three classes according to the ornateness of their melodies: syllabic, neumatic and melismatic. In the first group each individual syllable of the text is normally set to one note; in the second, small clusters of two to ten or so notes may accompany a syllable; chants in the third group are essentially neumatic in style, but with florid passages embedded in them (in rare cases a single syllable may be sung to several hundred notes) (see ex.1).
Each liturgical category of chant is in general characterized by a specific melodic type. Scriptural readings, prayers, litanies, Glorias, sequences, creeds, psalms, antiphons, short responsories (responsoria brevia), most hymns, salutations and doxologies are normally syllabic. The principal neumatic categories are tropes, introits, Sanctus and Agnus Dei melodies and communions. Graduals, Kyries, alleluias, tracts, offertories, the Great Responsories (responsoria prolixa) and preces are neumatic types that often contain extensive melismas.
It would be quite wrong, however, to suppose that the relatively simple syllabic chants invariably belong to a stratum of music historically older than the neumatic and melismatic melodies. The degree of melodic complexity is determined much more by the musical competence of the performer(s) involved: priest, congregation, trained schola or soloist(s).
Another common means of distinguishing plainchant melodies is by their internal musical structure. Three main forms are usually cited: chants sung to reciting notes or recitation formulae; repetitive and strophic forms; and a wide variety of ‘free’ forms.
Collects, Epistles, Gospels, prefaces, short chapters, doxologies and a variety of blessings and salutations are generally chanted isosyllabically on a monotone, their total length and phrase structure being determined by the text. More elaborate varieties of these liturgical recitatives are introit verses, communion verses, psalms and canticles, which are also sung to a monotone but with the beginning, middle and end of each verse punctuated by brief intonation, flex, mediant and cadential formulae in the manner of simple psalmody.
Two classes of chant, the hymn and the sequence, are well known for their distinctive formal structure and repetitive types of melody. The hymn is a strophic form in which, for example, each four-line stanza of the traditional iambic dimeter or octosyllabic text is sung to the same melody. Sequences are characterized by a striking form of coupled melodic phrases (strophes), frequently, but not always, paired in series (ABBCCDD etc.).
Peter Wagner (Einführung, iii, C1921/R) and, following him, Apel (C1958) made a distinction between ‘gebundene’ and ‘freie Formen’. By ‘gebunden’ (‘bound’, ‘tied’) Wagner meant a type of delivery that remained constant whatever text was being sung, as for prayer, lesson and psalm tones (Apel: ‘liturgical recitative’). The ‘freie Formen’ (Apel: ‘free forms’) were those where the melody would differ substantially from piece to piece (as in introits, graduals, alleluias, tracts, offertories and communions). The currency that the word ‘free’ thus gained may have contributed to an impression that the chants lack shape and sense, which is far from being the case. Their internal structure is largely determined by the syntactical structure of the text, reflected, for example, in the deployment of cadences. Many within a particular type are linked to each other by common melodic formulae. Many alleluias contain internal repetition.
From
the standpoint of musical analysis, modality is probably the single most
homogeneous feature of Gregorian plainchant. This sense of uniformity has been
greatly enhanced through the assignation of mode numbers to melodies in modern
chant books published since 1905, even though some of the designations conflict
with the testimony of early treatises and tonaries. Melodies are classified
according to their final cadence notes and the range or ambitus of their
melodies. (The reciting note or tenor of simple psalmody could also be added to
the classification.) When this system reached its maturity in the 11th century,
medieval theorists normally assigned an ambitus of an octave to each mode,
whose position was determined by the final cadence note of the mode. Among the
four authentic modes the lowest note of the ambitus was the final note; among
the plagal modes the ambitus began five semitones below the final note (see Table 5). Some chants, particularly if they are in a plagal mode,
do not cadence regularly but are considered to be transposed and to end on an
alternative final note. This transposition was done ‘not in order to bring them
into a more convenient range, but because of the intervallic structure of the
melody’ (Apel, C1958), particularly if, for example, both B and B were required by the same chant.
See above §2(ii); see also Mode, §II.
The plainchant repertory is frequently divided into three general families according to the manner of performance: antiphonal chants, sung by two alternating groups of singers; responsorial chants, sung by a soloist (or soloists) in alternation with the choir; chants sung entirely by the celebrant, the soloist or the choir. According to present practice, the psalms, antiphons, invitatories, introits and communions are sung antiphonally by two semichoruses; the Great and short responsories, gradual, alleluia and offertory are sung responsorially; the collects, prefaces, Pater noster, various salutations and doxologies etc. are among the solo chants sung or intoned directly by the Mass celebrant. Considered more closely from a historical perspective and not simply from the basis of modern usage, this seemingly orderly classification is subject to many exceptions and conjectures. For example, some scholars consider the offertory an antiphonal chant; others believe it was responsorial. Hucke (K1970, pp.193–4) admitted three forms: an antiphonal type, a responsorial type and a middle or ‘mixed’ type. Later, Dyer (K1982, p.30) concluded that there is no evidence whatsoever to support the commonly held view that the offertory’s mode of performance changed from responsorial to antiphonal: ‘Neither the Ordines romani, the medieval liturgists and music theorists (with the possible exception of Aurelian), nor the Gregorian tonaries imply anything other than a responsorial refrain with a few verses. None of them regard the offertory the way they do the antiphonal chants of the Mass, the Introit and Communion’.
It is almost axiomatic that over the centuries performing practice was to some extent modified. Originally, choral antiphons appear to have been sung as a refrain between the verses of the Office psalms, but they have now disappeared. The introit, formerly a processional psalm, was sung antiphonally either by two semichoruses or by a lector and cantor. During the reign of Pope Leo I (440–61) the gradual was still a full psalm, but by the 6th century the text had probably been reduced to a single verse with an elaborate melody sung by a soloist. Even the grand counter-movement of 10th- and 11th-century liturgical expansion, the age of troping and Cluniac prolixity, was short-lived. By the mid-13th century the ornate melismatic verses of the offertory and the psalm verses of the communion had virtually disappeared, except in most German sources.
The performance of the principal Mozarabic chants – the antiphons, responsories, psalmi, clamores, threni, laudes and vespertini – has been reviewed at length by Randel (‘Responsorial Psalmody’, H1969), and some of his interpretations differ from those advanced by Brou and by Brockett. There is disagreement, for example, over whether the responsory was sung by one, two or three soloists, by three choirs, or by a combination of soloists and choir (see Brockett, H1968, p.141); on the other hand, a passage in the second prologue of the 10th-century León Antiphoner (E-L 8; see Brou and Vives, H1953–9) provides almost indisputable evidence that the Mozarabic antiphon was sung by two alternating choirs (see Randel, op. cit., 87).
The performance of Ambrosian chant in Milan towards the beginning of the 12th century is well documented (see Weakland, H1966/R; and Borella, H1964, pp.141ff). The duties of singers at the Ambrosian Mass and at Vespers and the manner of performing various chants are described in the ordinal of Beroldus (ed. Magistretti, H1894/R) written shortly after 1125 and in the chronicle of Landulphus senior (c1085).
See also Performing practice, §I, 2(i).
For more detailed discussion of the various Mass and Office chants see their individual articles.
(v) Conductus, versus, cantio.
(vii) Liturgical dramas, laments.
Plainchant, §6: Expansion of the repertory
In its common generic sense, troping designates the intercalation or addition of music or texts, or both, to pre-existing chants. Specific musical forms associated, correctly or mistakenly, with troping are the trope, prosula and sequence. It is advisable, however, to distinguish them according to clear liturgical and compositional criteria. In particular, not all can be regarded as additions to already existing chants. The notion of ‘a single, clear explanation … for the confusing wealth of musical forms introduced in the 9th- and 10th-centuries … a ruling idea of a process whereby all medieval music was necessarily and intimately tied to preexisting materials’ is illusory (Crocker, M1966).
The group of scholars at Stockholm University working on the Corpus Troporum project proposed that tropes added to the Gregorian repertory be divided into three categories: ‘logogene’, in which a verse (or ‘element’) of chant was inserted before or between the phrases of a pre-existing chant; ‘melogene’, in which a newly composed text was set to the notes of a previously vocalized melody, one syllable per note; and ‘meloform’, or pure, wordless melismas, attached to the cadences of chants (usually the introit and Gloria). Logogene tropes are most commonly found with the introit and Gloria, but also with the offertory and communion; their texts frequently point up the the theme of the feast day, to which the texts of the parent chants often bear a less tangible relationship, and the added verses generally respect the melodic style and tonality of the parent chant. Melogene tropes are most commonly found with the alleluias and offertory, frequently also with the Office responsory.
The survey by Odelmann (M1975), while revealing much variety in medieval practice, makes it clear that the term ‘tropus’ was used primarily to refer to the logogene category, and this nomenclature is retained here. An added text of the melogene type was usually referred to as a ‘prosa’ or ‘prosula’ (see §6(ii) below). The sequentia sequence (also sometimes called ‘prosa’) is a largely self-contained liturgical genre with its own independent musical form (for separate discussion see §6(iv)).
The texts of trope verses for introit, offertory and communion that have been edited in the series Corpus Troporum (by 1999 only those for Christmas, Easter and Marian feasts had appeared), from manuscripts mostly of the 10th to 12th centuries from all over Europe, already number many hundreds. Since the manuscript sources are highly variable in their selection of verses and in variant readings, musical editions have tended to concentrate on small groups of sources from particular areas (Aquitaine: Weiss and Evans; Benevento: Planchart; Nonantola: Borders). Gloria tropes have been studied by Rönnau, Falconer and others, but are not yet available in substantial numbers in modern editions.
After the 12th century, the logogene type of trope rapidly fell out of use, but a late and rather special example of it lived on: the famous Marian trope ‘Spiritus et alme’ to the Mass Gloria (see Schmid, M1988). Literary devices such as simple rhyme (‘Christe’/‘Paraclete’, ‘Patris’/‘Matris’) and the matching of syllables helped bind its six lines to the older Mass text. The melody of the parent Gloria text is still in use as Vatican/Solesmes Gloria IX (GR, A.i 1908). The oldest known copy is found in F-R U.158, ff.40–40v, which is noted with 11th-century Norman neumes (see Hesbert, D1954, p.64 and pls.lxiv–lxv) (see fig.3):
Domine
Fili unigenite, Jesu Christe,
(1) ‘Spiritus et alme orphanorum Paraclete’,
Domine Deus, Agnus Dei, Filius Patris,
(2) ‘Primogenitus Marie, virginis matris’,
… suscipe deprecationem nostram
(3) ‘Ad Marie gloriam’,
… Quoniam tu solus sanctus,
(4) ‘Mariam sanctificans’,
Tu solus Dominus,
(5) ‘Mariam gubernans’,
Tu solus altissimus
(6) ‘Mariam coronans’,
Jesu Christe
The duality of thought in the trope, acclaiming the Trinity and the Blessed Virgin Mary, was imitated by subsequent medieval and Renaissance composers. For example, the fourth, fifth and sixth phrases were joined to a troped Sanctus (from Marxer, R1908, p.105):
Sanctus,
Pater omnipotens, ‘Mariam coronans’,
Sanctus, Filius unigenitus, ‘Mariam gubernans’,
Sanctus, Spiritus Paraclitus, ‘Mariam sanctificans’,
Dominus Deus Sabaoth [etc.]
In yet another adaptation, the ‘Spiritus’ lines were taken apart and interlaced into another poetic text (from Bukofzer, M1942, 165–6):
‘Mariam’
matrem gratie,
Rex regis regni glorie,
Matrem pie ‘sanctificans’.
‘Mariam’ sine crimine,
Omni pleni dulcedine,
Virgo matrem semper verans
Matrem Filio ‘gubernans’ [etc.]
In an anonymous three-part doubly troped polyphonic Gloria from Italy, the ‘Spiritus’ trope appears to have gained the status of an accepted Gregorian text, for it is combined with the tetrameter trope ‘Clementie pax baiula’ (PMFC, xii, 1976, no.9, pp.30–37):
Domine
Fili unigenite, Jesu Christe.
‘Spiritus et alme orphanorum Paraclete’
[EMSP]Ex Patre semper genitus,
[EMSP]Per flamen dulcis halitus,
[EMSP]Ut flos novus est editus,
[EMSP]Virga Jesse fecundata.
Domine Deus, Agnus Dei, Filius Patris.
‘Primogenitus Marie, virginis matris’
[EMSP]Agnus Dei pacificus,
[EMSP]Ysaac risus celitus [etc.]
On 8 August 1562 bishops at the Council of Trent declared that references to the Virgin Mary in the Trinitarian Gloria in excelsis were particularly inappropriate (Concilium tridentinum, viii: Actorum, ed. S. Ehses, Freiburg, 1919, p.917, lines 28–30), and the trope, in any form or context, was deleted from the liturgy.
The oldest reference to Kyrie tropes was once thought to be that by Amalarius of Metz in the third edition (c832) of his Liber officialis (iii; see Hanssens, F1948–50, ii, 283):
Ac
ideo dicant cantores:
Kyrie eleison, Domine pater, miserere,
Christe eleison, miserere, qui nos redemisti sanguine tuo, et iterum:
Kyrie eleison, Domine, Spiritus Sancte, miserere.
However, Jonsson (M1973) has shown convincingly that these interpolations have nothing to do with tropes but are exegetical comments by Amalarius on the Trinity.
Although a number of logogene-type trope verses were composed for the Kyrie, principally in the area of southern Germany (see Bjork, M1980), the genesis of many other Kyries with Latin verses presents special difficulties. These are the Kyries where the Latin verses have the same melodies as the Greek acclamations, and, moreover, seem to add text to the melody on the principle of one syllable per note. In other words, they look like melogene-type prosulas. Since the earliest sources (mainly Aquitanian) of these pieces already contain the Latin verses, it cannot be proved that the melody existed before the Latin verses were composed, that is, they may well have been conceived simultaneously (see Crocker, M1966, p.196; and Bjork, K1976). The designations ‘trope’ and ‘prosula’ are, therefore, both misleading from a historical point of view; the compositions are a special festal type of Kyrie with Latin verses. (See also Kyrie eleison and Trope (i).)
According to the Liber pontificalis, a biographical history of the popes in Rome (see Noble, F1985), the Agnus Dei was introduced into the Mass as a separate chant, unconnected with the Gloria in excelsis, by Pope Sergius I (687–701), and was sung by both clergy and congregation at the rite of the Fraction (breaking of the bread). Later 8th- and 9th-century accounts state that it was sung by the Schola Cantorum and performed during the Kiss of Peace. In his study of this Ordinary chant, Atkinson (M1975) regarded the earliest verses as distinctive tropes added to the ancient text: ‘one can, without hesitation, speak of the Agnus Dei and its tropes, even with regard to its earliest settings’. His chronological categories take into consideration a hypothesis advanced by Huglo (M1975). According to this theory, which has since become central to many early chant studies, the regionalization of the early trope repertory reflects the political division of the Carolingian Empire from about 843 (the Treaty of Verdun) to shortly after 870 (the Colloquy of Meersen). Agnus tropes found in both East and West Frankish manuscripts, which display few variant melodic readings, represent the oldest layer (before 850); a second group of trope texts found in both regions but set to different melodies was written between 850 and 875; a third class was written after 875, and these tropes are restricted to one of the two geographical zones. The appearance of poetic and symmetrical texts is characteristic of 10th-century troping techniques.
The terms ‘farsing’ and ‘glossing’ have also been used as synonyms for troping (see Farse). ‘Farsa’ often occurred in connection with a special type of troping used in the Epistle in some of the festal liturgies of the Christmas season (New Year, Epiphany etc.; see §6(v) below). Here verses of the lesson alternated with phrases borrowed from pre-existing chants (sequences, hymns etc.). The terms were also employed for certain ‘troped’ devotional songs popular especially in Bohemia during the 14th and 15th centuries (see Göllner, S1988).
See also Trope (i).
Plainchant, §6: Expansion of the repertory
A prosula is a text added syllabically to a pre-existing melisma. One of the oldest recorded examples is Psalle modulamina, in D-Mbs Clm 9543, f.119v, for the alleluia with verse Christus resurgens; this alleluia is not to be found in the earliest graduals (see Hesbert’s Antiphonale missarum sextuplex, D1935/R, 102–03) or in the late 9th-century full gradual-antiphoner F-AI 44, but is now assigned to the fourth Sunday after Easter. The manuscript D-Mbs Clm 9543 may be the oldest datable source of neumatic notation. For each note of the original melody a syllable of new text is provided, the complete alleluia text being itself incorporated, syllable by syllable, in the new prosula. A transcription (by Richard Crocker) of Psalle modulamina is given in ex.2 (the words in capitals represent the text of the original verse).
More common than the texting of a complete melody in this fashion was the texting of individual melismas within a chant, particularly those of the alleluia, offertory verse and the Great Responsories (responsoria prolixa) of the Office. (See, respectively, Marcusson, M1976; Hankeln, O1998; Hofmann-Brandt, M1973.) Since many such melismas display an internal repeat structure (e.g. AABBC), the result may resemble a miniature sequence. In many cases these small sequence-like compositions may have been newly composed as a unit, rather than having originated in the texting of a pre-existing melisma.
A substantial collection of 91 alleluia, offertory and responsory prosulas is found in F-Pn lat.1118, ff.115–31, an Aquitanian troper dating from 985–96 (see Steiner, M1969). In prosulation the neume forms of the original melismatic notation, particularly such integral binary and ternary combinations as the quilisma, podatus, cephalicus and epiphonus, were often separated, in a somewhat unorthodox manner, into individual notes, and each component note of the neume was assigned a text syllable. Evidence of this splitting can be observed in the alleluia prosula Laudetur omnis tibi caterva (see ex.3) from F-Pn lat.903, the gradual-troper-proser of St Yrieix-la-Perche, near Limoges (see PalMus, 1st ser., xiii, 1925/R, p.173, lines 6, 8–10).
The dual notation (melismatic/texted) of prosulas has raised many questions about the method of performance: simultaneous or alternatim (see, for example, Hofmann-Brandt, M1973, pp.148–9; Kelly, M1974; More, P1965–6, pp.121–2). The same question has been raised in connection with sequences, which in most early sources were also set out in both melismatic and texted form.
See also Prosula.
Plainchant, §6: Expansion of the repertory
Since the presence or absence of responsory melismas is somewhat variable in the manuscript tradition, it is not always clear whether they were there from the beginning (whatever that may mean) or additions to a parent responsory. Some appear to have led a semi-independent life, as in the case of the famous ‘threefold melisma’ (the ‘neuma triplex’ or ‘trifarium neuma’) described by Amalarius of Metz in his Liber de ordine antiphonarii (18; see Hanssens, F1948–50, iii, 56). According to Amalarius this neumed melisma (see Kelly, M1988) originally belonged to the Christmas responsory In medio ecclesiae (CAO, iv, 1970, no.6913) for the feast of St John the Evangelist (28 December), but singers of his day, the ‘moderni cantores’, transferred it to the Christmas responsory Descendit de caelis (ibid., no.6411), which ended with the phrase ‘lux et decus universae fabricae mundi’. Prosulation of the last two words of the triple melisma, ‘fabrice mundi’, and one of its associate texts, Facinora nostra relaxari mundi gloriam, that is, the addition of words to the interpolated neumed melodic melisma, may already have begun in the late 9th century.
Added melismas of a different sort are to be found as embellishments of numerous introits and Glorias, above all in early manuscripts from St Gallen (CH-SGs 484 and 381; see Huglo, M1978; and Haug, Cantus planus IV, M1990). Many of these, too, were texted by the customary method, one syllable for each note of the melisma.
Plainchant, §6: Expansion of the repertory
The term ‘sequentia’ is used here to refer to the textless melismas of varying length and melodic complexity designed to replace the repetition of the liturgical Jubilus of the alleluia of the Mass with a more extended melody: alleluia–jubilus–verse–sequentia. There is controversy as to whether such melodies were actually performed as textless melismas, or whether they were texted from the beginning – the state in which they are known from the late 9th century onwards. The earliest references to such melodies do indeed imply a textless state. The oldest record occurs in the Codex Blandiniensis of the end of the 8th century (ff.114v–115; for manuscript details see §2(ii) above; see also Hesbert, D1935/R, 198), where six alleluia incipits – Jubilate Deo; Dominus regnavit; Beatus vir; Te decet hymnus; Cantate Domino canticum novum; Confitemini Domino – are followed by the rubric ‘cum sequentia’. Writing between two and four decades later, Amalarius of Metz (Liber officialis, iii, 16; see Hanssens, F1948–50, ii, 304) alluded to the sequentia as ‘jubilatio quam cantores sequentiam vocant’ (‘this jubilatio which the singers call a sequentia’). The term also appears in the late 9th-century Ordo romanus V (see Andrieu, F1931–61/R, ii, 215). Again, Amalarius (Liber de ordine antiphonarii, 18; see Hanssens, op. cit., iii, 56) related that when the pope celebrated Easter Vespers the alleluia was adorned with verses and sequentiae; such melodies do indeed survive in sources of Old Roman chant, and much longer ones in Ambrosian alleluias (see Bailey, H1983). Most interesting are the canons of the Synod of Meaux in 845, which not only mention the sequentia as a solemn part of the alleluia but also forbid the addition of texts (‘quaslibet compositiones, quas prosas vocant’) (see Liturgische Tropen, M1983–4, p.vii).
Only one surviving manuscript of the 9th century, F-AUT S28 (24), transmits sequentiae in musical notation, but the texts that Notker of St Gallen composed to sequence melodies – some 40 texts to 33 different melodies – afford at least partial evidence of what melodies were known in the late 9th century (Notker’s work was completed in 884). Exactly which melodies were known to Amalarius or the delegates to the Synod of Meaux has not been determined; those cited in the Blandiniensis can be identified with reasonable certainty. But the balance of the evidence seems to favour the existence of at least a moderate number of untexted sequentiae early in the 9th century, the practice of texting them already being known by the middle of the century. (See also Sequentia.)
The sequences found in manuscripts from the early 10th century onwards are usually transmitted in both melismatic and texted forms. It is, however, difficult to say exactly how many of the melodies thus recorded date back to the early 9th century. Some may have been relatively recently composed as a unity, that is, text and music being conceived simultaneously. Crocker in particular (M1973) has stressed this view of the genre; indeed, he would argue that most if not all of the sequences that have come down to us were texted from the start. At the same time, a few notated collections of sequence melodies survive without any texts. For example, F-CHRm 47, dating from about 900, is the oldest; CH-SGs 484 is a St Gallen melody collection, copied in the second quarter of the 10th century; and in the late 11th century, most sequences at Cluny (among other places) were still sung without texts. The fact that very many sequence melodies were texted more than once also shows that to some extent the melodies were regarded as independent musical entities. A famous account of the composition of texts for sequence melodies is to be found in the ‘proemium’ that Notker of St Gallen wrote for his sequence collection. In early French and English sources it was customary to copy sequence melodies in one part of a manuscript, their texts in another. A peculiarity of many early sources is the names given to the melodies (different names in different areas). Some relate to alleluia verses, others (in French sources) to sequence texts, while many are colourful appellatives whose meanings seem quite obscure, such as Metensis, Aurea, Planctus cigni and Ploratum (see fig.4).
Planchart (Recherches nouvelles sur les tropes liturgiques, M1993, pp.371–2, n.5) has underlined the confusion in terminology that exists between the terms sequentia and prosa:
The problems are as old as the repertory itself in that, west of the Rhine, the purely melodic addition to the alleluia was called sequentia, and the text to the sequentia – and by extension the entire piece – was called prosa. East of the Rhine, sequentiae were virtually never copied as separate pieces, instead they were entered in the margin of the texts to which they were sung, which were provided with no music other than the marginal sequentiae. The singer had thus the possibility of singing the melody with or without words. East Franks used the term sequentia for the entire combination of words and music. Independent sequentiae were all but unknown in Italy, where virtually all manuscripts transmit the text with the music set directly above it. Yet, the Italians adopted the West Frankish terminology, where the text with its music was called prosa or prose, and the purely melodic work was called sequentia.
The sequence was the single most important genre with an independent musical structure to emerge during the 9th century. Its normal position within the Mass was between the alleluia verse and the reading of the Gospel. In its standard form it is a syllabic chant consisting of a series of paired verses (e.g. ABBCCDD etc.), each line of a pair usually having the same number of syllables and the same musical phrase. The strophes vary in length, long ones being frequently placed in immediate contrast next to shorter ones. A distinct modal relationship often exists between the final note of the composition and its many internal cadences. The origin of the sequence’s distinctive double-verse structure is not clear. De Goede (M1965, pp.lix–lx), Stäblein (M1978) and other scholars have discussed a small group of topical songs dating from between approximately 840 and 880 in a similar double-versicle form, but the verse structure of these pieces is quite different from that of the sequence and they are not liturgical compositions. As Huglo and Phillips (M1982) assert:
There is no need to insist further that the identification of these texts as ‘archaic sequences’ rests on questionable grounds. Aspects of their text structure, content, and early manuscript tradition simply do not support a ninth- and tenth-century function as sequences of the mass. It is our twentieth-century approach to the music of that era which is the principal difficulty here. We know nothing of the early use of these texts, and most seem to have been of very limited dispersion.
The parallel structure characteristic of normal sequences occurs in a Gallican preface for the Easter Vigil, the contestatio Quam mirabilis sit, which is made up of 25 double and triple strophes. This contestatio is found in a 7th- or 8th-century leaf in the Escorial Library (E-E). According to Levy (M1971, p.59), however, the piece was probably sung to a flexible recitative and not to an already existing melisma.
A small number of sequences in the early sources are much shorter than the majority and lack the parallel versicle structure. These short ‘a-parallel’ sequences (surveyed by Kohrs, M1978) appear to be associated with less important feasts.
From the 11th century, other styles were cultivated based on a new approach to rhyme and accent. By the end of the 12th century fully rhymed sequences in regular accentual verse were already entering the repertory in large numbers. The regularity of the texts made it possible to use different pre-existing melodies for the same text, while the usual process of contrafacture, providing new texts for established melodies, continued as before. Many texts composed by the Parisian canon Adam of St Victor (fl first half of the 12th century) gained special popularity. (For a discussion of the Victorine sequences used in Paris, see Fassler, M1993).
See also Sequence (i).
Plainchant, §6: Expansion of the repertory
A number of 12th- and early 13th-century sources contain Latin songs, variously named conductus or versus, mostly in accentual, rhyming verse, which exhibit strophic and refrain forms of the utmost variety and inventiveness. The manuscripts fall into two groups. Song collections with relatively little indication of the liturgical function of the songs are F-Pn lat.1139, 3719 and 3549 (from Aquitaine; many songs set polyphonically), GB-Lbl Add.36881 (from ?France; many polyphonic), Cu Ff.i.17 (from ?England; many polyphonic), and E-Mn 288, 289 and 19421 (from Norman Sicily). Many of the same songs and others like them are also found in sources of the special festal liturgies of the Christmas season associated with the ‘Feast of Fools’ on New Year’s Day, the Feast of the Circumcision. These are the New Year’s Day Office of Sens (F-SE 46; ed. Villetard, O1907), the New Year’s Day Office of Beauvais (GB-Lbl Egerton 2615; ed. Arlt, O1970), the Epiphany Office of Laon (F-LA 263), and the St James Office of Santiago de Compostela (E-SC, ed. Wagner, O1931; many polyphonic songs). The picture that emerges is one where the songs are used as substitutes for traditional chants, especially for the versicle Benedicamus Domino: Deo gratias, and for accompanying liturgical actions (entrances and exits, the procession of the reader to the lectern, etc.).
Such songs subsequently take their place in an extensive literature of rhymed prayers and devotional verse poetry cultivated in southern Germany, Switzerland, Austria, Bohemia and Poland from the late 13th century to the 17th. Many of these Latin poems were published by Mone (K1853–5/R) and Dreves (AH, D1886–1922/R, i, xx, xxi, xxxviii, xlvb).
Among the favourite objects of this pious devotion were the Trinity, Corpus Christi, the Holy Cross, patron saints, the angels and, above all, the Virgin Mary. A few of the earlier songs reveal Hussite sympathies, such as the Corpus Christi chant Jesus Christus nostra salus (AH, xlvb, 1904/R, no.105), which contains as an acrostic the name I–O–H–A–N–N–E–S, the Latinized first name of Jan Hus (see H. Kaminsky: A History of the Hussite Revolution, Berkeley, 1967; and David, S1995). It is often difficult to determine the function of these pieces because the sources provide few helpful titles or rubrics; they may have been sung generally at Vespers, during processions and for private devotions. A clue pointing to some formal use in a service is the frequent inclusion of the terminal abbreviation Evovae of the doxology. It is also interesting to note that many of these moderately short poems are in trochaic metre, popular for marches or processions.
The texts of these poems and songs are deeply imbued with stylized symbolism expressed in botanical, astronomical, musical and biblical metaphors. Many are constructed on an acrostic scheme or contain glosses from the Lord’s Prayer, Ave Maria or Salve regina. Among the lengthy metrical Marian psalters, some of which have musical prologues, each of the 150 verses may begin with stock acclamations, such as ‘Ave’, ‘Salve’, ‘Vale’ or ‘Eia’. The musical forms are highly variable. Strict poetic forms tend to follow regular patterns such as aab, aabbc or similar arrangements. Macaronic texts and musical refrains are used, but not to the same extent as in the contemporary English carol. On the other hand, through-composed melodies, which contain at most a few brief internal repeats, are associated with poems lacking end-lines, free poetic metre, or artificial constructions such as the alphabetic acrostic in ex.4.
A Cantional is a collection of these devotional songs and other chants brought together either as a separate section within a gradual, antiphoner or processional, or as an independent book. Most of the music is monophonic with Latin texts, but polyphonic pieces and vernacular translations often appear. The principal manuscript cantionals are CZ-HK II.A.6 (olim 43) (16th century); Pnm XIII.A.2 (16th century); Pu III.D.10 (15th century), V.H.11 (14th century), VI.B.24 (16th century), VI.C.20a (15th or 16th century), X.E.2 (15th or 16th century); VB 42 (dated 1410); D-Bsb germ.8˚ 180 (15th century) and 280 (15th or 16th century); EN 314 (14th century); Mbs Cgm 716 (probably from Tegernsee, c1430), Clm 5539 (15th century); Mu 2˚ 156, the Moosburg Gradual (14th century); TRs 322 (1994); PL-WRk 58 (15th century).
Plainchant, §6: Expansion of the repertory
Another group of Bohemian liturgical songs with Latin and Czech texts are the Rorate chants, a repertory of Masses and cantiones linked with the introit for the fourth Sunday in Advent, Rorate coeli. These votive chants, which were used during the season of Advent, probably originated in Prague in about the mid-14th century and enjoyed wide circulation from the 16th century onwards (see Mráček, M1978).
Plainchant, §6: Expansion of the repertory
There has been much discussion about the time and place of origin of the famous dialogue between the Marys and angel(s) at the tomb of Christ, Quem queritis in sepulchro, which is generally seen as marking the beginning of the so-called ‘liturgical drama’. The earliest sources are roughly contemporaneous, F-Pn lat.1240 from Limoges and CH-SGs 484 from St Gallen, both from the 930s, and this suggests a date of composition around the beginning of the century, perhaps earlier. By the end of the 10th century Quem queritis was quite widely known, but the centre of diffusion remains unclear. Whatever its original purpose, it came to occupy one of three standard places in the liturgy: (1) as part of the procession before Mass on Easter Day, the procession making a station by a ‘sepulchre’; (2) as an introduction to the introit at Mass on Easter Day; (3) at the end of the Night Office on Easter morning, following the final responsory. (For a discussion of origins see Rankin, N1983–4, and Davril, N1995; on liturgical function see McGee, N1976, and Bjork, N1980.)
At its simplest Quem queritis in sepulchro is no more than the question of the angel(s), the reply of the Marys and the assertion of Christ’s resurrection by the angel(s), but supplementary verses were usually added. The dialogue was also adapted to the Christmas season, as an exchange between the midwives at the stable and the shepherds seeking the infant Christ, and for Ascension, where angels ask the apostles whom they believe to have risen into heaven. From the 11th century onwards extra scenes from the Easter story were also given a dramatic form. Particularly interesting is the way in which pre-existing Office antiphons and responsories with biblical texts might be drafted in as part of a new ceremony. Sometimes they retained their original liturgical melody, which might cause changes of mode from one item to another; sometimes they received a new setting, with unified musical material (see Rankin, N1981).
Another important development of the 11th century was a revision of the old dialogue Quem queritis in sepulchro, with new text and music (the central verses in E mode instead of D). The new version was made in south Germany, although the actual place is not definitely known. The incipits of the central chants are as follows:Already further scenes are indicated here, with the participation of Mary Magdalen (Ad monumentum venimus). Currevant duo simul is a liturgical antiphon, sung by the choir to explain that Peter and John run to the tomb. The sequence Victime paschali laudes, which includes elements of dialogue, and the German hymn Christ ist erstanden, after the triumphal announcement of Christ’s resurrection, were frequently worked into the ceremony.
From the 12th century, texts in accentual, rhyming verse become increasingly common, sometimes replacing earlier prose chants, more often as part of new scenes or whole new plays. In many cases the connection with the liturgy appears tenuous, and a distinction seems appropriate between the older type of liturgical ceremony with a representational element, and the newer dramatic play, although such a distinction is difficult to define precisely or to apply in individual cases. Some of the earliest representations of the Epiphany story (the Magi seeking Jesus, Herod, the Slaughter of the Innocents) seem to go well beyond reasonable liturgical bounds (see Drumbl, N1981) and suggest non-liturgical origins. Other plays on sacred matter but with no obvious liturgical connection are the Sponsus play, about the wise and foolish virgins awaiting the ‘sponsus’ (bridegroom), in F-Pn 1139 (early 12th century, from Limoges) and the verse plays about the miracles of St Nicholas, in F-O 201 (early 13th century, known as the ‘Fleury Playbook’, perhaps from the cathedral school at Orléans). These plays are linked by the use of strophic verse, where the same music may be used for several strophes (in the case of one of the Nicholas plays, for all strophes). By contrast, the Ludus Danielis composed by students of the cathedral school of Beauvais (in GB-Lbl Egerton 2615, early 13th century) is astoundingly rich and varied in musical material, mixing the occasional reference to liturgical melodies and conductus from the Circumcision repertory with a large number of original compositions.
The episode of the Slaughter of the Innocents inspired a number of laments of the mother Rachel. Far more numerous, at least in Italian and German sources, are laments sung by the Virgin Mary beneath the cross. Although both types connect loosely with a large repertory of non-liturgical laments (or planctus; see Yearley, N1981), the Marian laments, at least, had a place in the regular liturgy, often being sung after the Reproaches during the Adoration of the Cross on Good Friday. (The many German examples are known in the secondary literature as ‘Marienklagen’.)
See also Medieval drama, and Planctus.
Plainchant, §6: Expansion of the repertory
The most ambitious compound musical form that flourished in the central Middle Ages was the Office in honour of local saints. Such Offices frequently contained more than 40 separate chants and a plethora of recited prayers: invitatories, antiphons, responsories, versicles, hymns, canticles, collects, psalms, lessons etc.
The three nocturns of the night Office, Matins (Ad matutinum), generally followed one of two main schemes. Among the monastic (‘regular’) orders, who lived according to the Rule of St Benedict (ed. A. de Vogüé, La Règle de Saint Benoît, Paris, 1971–7), the Office adhered to the ‘monastic cursus’. Matins was made up of 13 antiphons and psalms, 12 lessons and 12 responsories, the 1st and 2nd nocturns each consisting of 6 antiphons and psalms, 4 lessons and 4 responsories, and the 3rd (‘Ad cantica’) of 1 antiphon with its canticles, 4 lessons and 4 responsories. At diocesan (‘secular’) establishments, where the Office was said according to the ‘canonical’ or ‘Roman’ cursus, Matins consisted of 9 antiphons and psalms, 9 lessons and 9 responsories, equally distributed among the three nocturns. Not all medieval Offices followed these schemes rigidly, however; Hesbert (CAO, ii, 1965, p.vii) demonstrated that some Offices in the early 11th-century Hartker Antiphoner from St Gallen (PalMus, 2nd ser., i, 1970), display a ‘mixed’ cursus. Taken together, the antiphon, lesson, and responsory texts in both the canonical and monastic Offices were called the ‘historia’, a term that can be traced back to the early 9th century (see P.J.G. Lehmann: Erforschung des Mittelalters, v, Stuttgart, 1962, pp.1–93). Among the oldest Gregorian Offices the historiae texts were derived primarily from the scriptures and the writings of the Church Fathers, but the texts of later patronal Offices were based on hagiographical sources, such as the lives (vitae) of the saints, stories of sufferings (passiones), stories pertaining to the recovery or the transfer (translationes) of relics, and stories of miracles, sermons etc. In these patronal Offices the narrative continuity of the saint’s biography was carried on at some length in the lessons, while the normally brief antiphon and responsory texts provided a pious commentary.
The technique of creating a single liturgical formulary from an older vita is shown in the following example. Here, an antiphon from the oldest surviving Office of St Valeria of Limoges (in F-Pn lat.1085, ff.79–81v) is derived from the Vita antiquior of St Martial, the first bishop of Limoges, which dates from before 846 (see Emerson, O1965):
At the basilica of St Salvatoris Mundi in Limoges, eight feasts commemorating St Martial were introduced into the local liturgy at various times between 930 and 1550. These included his ‘Natalis’ (30 June and its Octave, 7 July), the first Translation of his relics to Solignac (10 and 17 October), the second Translation to Mons Gaudii (12 and 19 November), the ‘Apparitio Martialis’ (16 June) and an Office said on certain Thursdays. For purposes of identification the principal ‘Natalis’ Office of Martial (30 June) is referred to as the ‘Venerandam’, a name tag taken from its first distinctive patronal formula, the antiphon Venerandam beatissimi patroni nostri domni Martialis. In fact, the ‘Venerandam’ Office in a truncated form (dating from before 932 in F-Pn lat.1240, f.68) served as a ‘mother’ Office: as these various feasts entered the basilical liturgy over the decades, this prototype Office was reformatted, frequently with new patronal material, to create Offices for the new ‘offspring’ feasts. The two examples that follow indicate the manner by which patronal Offices were often assembled using the practice of shifting pre-existing liturgical formulae from one source to another.
The first concerns the ‘Apparitio’ feast of St Martial on 16 June; dating from shortly before 1200, it commemorated the miraculous manifestation of Christ to Martial 15 days before the saint’s death (i.e. his ‘natalis’ or ‘birth’ into heaven – 30 June – according to the Vita prolixior, a lengthy and highly imaginative recension of the Vita antiquior). In this particular case, some of the original ‘Venerandam’ responsories for Matins (first column) were transferred to the later monastic rhymed Office of Martial, Martialis festum recolens Aquitania plaude (second column) found in F-Pn lat.5240, ff.116v–119v:
The second example is a feast unique to Notre Dame in Paris (4 December), the canonical Office In susceptione reliquiarum, probably composed between 1180 and 1200 (see Wright, O1985; and Baltzer, O1988), commemorating the reception of five relics into the newly built gothic cathedral. Based on F-Pn lat.15181, f.361v, this was a composite Office, ‘cut wholecloth from pre-existing liturgical materials’ (see Wright, op. cit., 7); its nine Matins responsories, for example, were borrowed from five different feasts:
These local saints’ Offices were initially composed in the Frankish empire.
The dating of the Compiègne gradual–antiphoner (F-Pn lat.17436) to 877 (Huglo, D1993) indicates that the Offices for such northern French saints as Medardus, bishop of Noyon (8 June), Crispinus and Crispinianus, martyrs of Soissons (25 October), Vedastus, bishop of Arras (6 February), Quintinus, martyr of St Quentin (31 October), and Germanus, bishop of Paris (28 May), were in circulation before 877.
As new patronal feast-days entered the liturgy, especially after the 11th century, hundreds of new Offices were composed, frequently with texts in alliterative prose, and, from the 12th century, in accentual, rhymed verse. The tunes of the chants accompanying these texts were frequently arranged in modal order, as found in the first nocturn of the monastic Valeria Office cited above:
For basic studies of rhymed and versified Offices, see Hughes, O1983 and O1994–6; see also Versified Office.
From an examination of the extensive literature about Cluny, it is clear that the monastery, exempt from episcopal and lay control since its foundation in 910, was the dominant monastic institution in Western Europe at least until 1175. Under the direction of a remarkable succession of abbots, Berno (910–27), Odo (927–42), Aymard (942–54), Majolus (954–93), Odilo (994–1049) and Hugh (1049–1109), the monastery set patterns of reform that influenced the entire Church. The Rule of St Benedict was followed fervently; there was a marked tendency towards uniformity, since Cluny’s many provincial dependencies were administered directly from the monastery; and there was a strong emphasis on contemplative spirituality.
An elaborate liturgy occupied most of the monks’ daily life at Cluny, yet there are few substantial modern studies of the Cluniac liturgy (see Rosenwein, Q1971). It has been suggested that Cluny was not creative in its liturgy – ‘the monastery borrowed and did not create’ (Hunt, Q1967, p.109) – and that there were few unprecedented customs (see Rosenwein, op. cit., 132). Plainchant practice at the monastery is also poorly documented (but see Steiner, Q1984). Liturgical books with musical notation that are known to have been used at Cluny itself are rare (see Hourlier, Q1951, pp.231–2); they were probably destroyed when the monastery was pillaged in the 16th, 17th and 18th centuries. The major 11th-century source F-Pn lat.1087 (a gradual, proser, kyriale and sequentiary; see Sources, MS, §I) may not, in fact, be from the monastery at all, even though it contains the Office of St Odilo, the patron saint of Cluny (see fig.5). Research into Cluniac plainchant is of necessity based primarily on documents from the monasteries dependent on Cluny (see Huglo, Q1957, pp.81–2; and Hourlier, Q1959).
During the abbacy of Hugh of Cluny, an obscure monk named Bernard was directed to codify the traditional liturgical and administrative practices of the monastery. The resulting institutionalized customary of Bernard (ed. M. Herrgott, Vetus disciplina monastica, Paris, 1726, pp.134–364) was probably compiled between 1078 and 1082 (see Bishko, Q1961, pp.53–4), or compiled about 1075 and revised between 1084 and 1086 (see Hallinger, Q1970, pp.212–13). Less than a decade later (1083–5) Ulrich of Cluny prepared another customary, heavily indebted to Bernard’s work, for Wilhelm of Hirsau (PL, cxlix, 635–778).
The liturgical usage of Cluny is also reflected in the order of chanted services adopted by houses dependent on Cluny. The basilica of St Salvatoris Mundi at the monastery of St Martial in Limoges is a good example. In September 1062 this monastery was forcibly reformed by a contingent of Cluniac monks and placed under the ecclesiastical province of Bourges; Adémar de Chabannes was installed as abbot, and the basilica remained under Cluniac rule for 472 years, until 1535. Soon after the reform, the Cluniac alleluia cycle (see above, §4) was used in a gradual and two prosers from the basilica (F-Pn lat.1132, 1134 and 1137). Later sources from the basilica that date from the 12th to the 16th centuries adhere closely to the Cluniac order of service codified by Bernard; these include F-Pn lat.1320 and 1042 (editions of Bernard’s Ordo officii and Ordo missae), lat.741 (a capitulary and collectarium), lat.810 (a lectionary) and LG 4 (a breviary copied in 1491).
See also Cluniac monks, and Benedictine monks.
The development of the other major religious orders took place in two stages. Three monastic orders were founded in the 11th and 12th centuries: the Carthusians in 1084, the Cistercians in 1098 and the Premonstratensians in 1120 (see Carthusian monks; Cistercian monks; Premonstratensian canons). The two mendicant orders followed later: the Franciscans in 1209 and Dominicans in 1217 (see Franciscan friars and Dominican friars).
Much of this type of monasticism, with a zealous emphasis on poverty, simplicity, solitude and a return to strict conformity to the Rule of St Benedict, had its roots in such 11th-century centres as Camaldoli, Fonte Avellana and Vallombrosa. Even though the formal establishment of the Augustinians took place in 1256 with the ‘Great Union’, a loose federation of canons already existed in Italy and southern France as early as 1039 (see Augustinian canons). Monastic reforms of a localized nature occurred about 1100 at Savigny, Fontévrault, and Grandmont, near Limoges.
Several studies of plainchant in the various monastic orders have appeared, including those by Lambres (Q1970) and Becker (Q1971) on Carthusian chant, Marosszéki (Q1952) on Cistercian, Lefèvre (Q1957) and Weyns (Q1973) on Premonstratensian, Hüschen (‘Franziskaner’, MGG1) on Franciscan, and Delalande (Q1949) on Dominican, but for a number of reasons no adequate overview of this music has so far been possible. Firstly, there has been a tendency to neglect the monastic repertory because it is thought to represent the beginnings of a ‘decadent’ or ‘debased’ chant, one that deteriorated progressively until the restoration reforms of the late 19th century. Secondly, research in this field has often lacked objectivity and breadth of perspective because it has been carried out by ardent apologists for particular religious orders. Thirdly, and more seriously, there are no substantial studies of Cluniac chant, the precursor of all these monastic chant repertories; undue emphasis is placed on the Cistercian reforms as the ‘crest of a wave’, the implication being that the liturgy of Cluny was simply a ponderous forerunner of a more enlightened use that evolved at Cîteaux.
Over 40 years separate the foundation of the Carthusian order in 1084 by St Bruno and the first Consuetudines cartusiae (PL, cliii, 635–760) in 1127 by Guigo, fifth prior of the Grande Chartreuse. No music manuscripts have been identified from this formative period, but it is now generally conceded that the early Carthusians, despite their severe ascetic and solitary life, did use plainchant. Later investigations have concentrated on two underlying problems: the nature of the primitive liturgy and the origins of Carthusian chant.
Becker’s work (Q1971) seems to confirm what had long been suspected: that the original Carthusian breviary and antiphoner followed the Roman (secular) cursus, with nine lessons and nine responsories prescribed for Matins; and that by the time of Guigo, the Carthusian Office had become ‘monasticized’, with 12 antiphons, 12 lessons and 12 responsories as the norm. Concerning the origins of this chant, Becker postulated that the prototype of the Carthusian antiphoner was compiled during the abbacy of Landuin, prior from 1090 to 1100, but it is not known who prepared this redaction or precisely when it was undertaken.
The first Carthusian books may well have drawn on the practice of such religious establishments as Reims, St Ruf, Sèche-Fontaine, Vienne, Grenoble and Lyons, which were associated with St Bruno and his companions. The categorical statement that the ‘predominant and exclusive influence in the formation of the Carthusian liturgy was the rite of the primatial See of Lyons’ (New Catholic Encyclopedia, iii, New York, 1967, p.167) is not acceptable. Lambres (Q1970) pointed out that the Carthusian series of graduals and alleluias for the Pentecost season agrees very closely with that of Grenoble. Later, Becker (Q1975, pp.151–2) produced evidence that the canonical liturgy of Grandmont exerted an important influence on the formation of the Carthusian Office.
The
prologue to the Carthusian antiphoner, Institutionis heremitice gravitas,
written before 1132, is usually attributed to Guigo (but see the conflicting
views of Becker, Q1971, pp.183–4, and Lambres, Q1973, pp.216–17, concerning its
authorship). Though very brief and unspecific, it is unlike Bernard’s Prologus
to the Cistercian antiphoner (c1147) in that it sets forth the general
principles of Carthusian plainchant reform. Firstly, ‘since the gravity of
eremitical life does not permit much time to be spent in the study of the
chant’, the compilers drastically reduced and simplified the entire repertory.
This simplification assisted the hermits in memorizing the rules and melodies
of plainchant. Secondly, texts that were not authentically biblical, such as
those taken from the Apocrypha, those based on lives of the saints, or texts of
private poetic inspiration, were suppressed. Thirdly, lengthy melodic melismas
were discouraged, ornamental neumes that required special performance, such as
the quilisma, were abandoned, and vertical bars were added to the
melodies to assist the singers (see Lambres, Q1970, pp.23–4). Use or exclusion
of the B in Carthusian
chant was not uniform (see Carthusian monks).
There are understandable reasons for the interest of scholars in 12th-century Cistercian chant reforms. The stylistic changes initiated at Cîteaux are historically important; the modifications to the melodies can be readily observed in the sources; the principles of melodic and modal revision are supported by the evidence of a group of early Cistercian musical treatises; and traditional Cluniac liturgical and musical practice can usefully be studied in the light of Cistercian reforms.
The basic Cistercian treatises (PL, clxxxii, 1121–66) have been reviewed by Sweeney (Q1972, pp.48–9). According to the Exordium parvum (compiled c1111), one of the early documents of Cistercian history, Robert, abbot of Molesme, together with 21 monks broke away from the monastery because of ‘hindering circumstances’ and founded a community at Cîteaux, near Dijon. For the next 40 years, during the tenures of Alberic (1099–1109) and Stephen Harding (1109–32), practically nothing is known of musical practice, except that the Carta carita prior of 1119 called for uniformity in all liturgical books and chanting. After 1140 the picture begins to change. Two unique musical statements – a prologue, Bernardus humilis Abbas Clarevallis, and a preface, Cantum quem Cisterciensis ordinis (ed. Guentner, Q1974) – were included in the Cistercian antiphoner of about 1147.
The author of the prologue, undoubtedly Bernard of Clairvaux (1090–1153), described the origins of Cistercian chant. The founding fathers of the order were dissatisfied with their chant books and dispatched several men (scribes) to Metz to transcribe and bring back a copy of the cathedral’s antiphoner, which was considered to be authentically Gregorian. Although the newly acquired books were found to be corrupt, they were used for many years. Eventually a committee of brethren deemed to be well instructed in the practice and theory of chant authorized Bernard to supervise the books’ revision. Waddell (‘The Origin and Early Evolution of the Cistercian Antiphonary’, Q1970) expressed his conviction that this pre-Bernardine Messine chant survives in two 13th-century manuscripts, F-ME 83 (from the Benedictine monastery of St Arnould) and ME 461 (from Metz Cathedral).
Guy
d’Eu, a monk at Clairvaux, is generally regarded as the author of the preface (see
Guido of Eu and Tonary, §6(iv)). This treatise contains the rudiments of
Cistercian chant theory. Those responsisble for correcting the antiphoner
deliberately pursued a course that they considered ‘natural’: ‘chant melodies
should conform with certain natural laws rather than perpetuate corrupt usage’.
Chant books from Reims, Beauvais, Amiens, Soissons and Metz were singled out as
particularly objectionable. A number of fundamental principles were set out in
the preface: the unity of the mode must be maintained and cadence notes should
belong to their proper maneria (the four modes of D, E, F and G);
melodies should be modified so that their normal range would lie within the
octave and their outer limits would never exceed a ten-note ambitus; B in the musical notation
should be excluded wherever possible; long melismas should be shortened;
textual repetitions should be avoided; the scribes (notators) should preserve
the integrity of proper neumatic structures and not separate them or join them
together at will; and Guy insisted that the neumae, the enēchēmata
(intonation formulae), should be corrected so that the maneria of each
mode was clearly recognizable. As a result of the implementation of these
‘natural’ laws, the Cistercian sources contain many transposed and truncated
melodies. One of the most easily detected stylistic adjustments made in
Cistercian chant is the abbreviated melisma, as occurs, for example, in the
alleluia Dominus dixit ad me for the first Mass of Christmas Day (ex.5).
Another well-known text commonly found appended to Cistercian chant sources is the Tonale sancti Bernardi (PL, clxxxii, 1153–4), a musical treatise that also sets out the reform principles of the Cistercians. Huglo (Les tonaires, L1971, pp.357–8) identified three versions, some conforming to the original and others abridged. The complex history of the Cistercian hymnal was reviewed by Kaul (see Q1948: xiii, 1951, p.257), Stäblein edited 86 melodies from A-HE 20 (12th- or 13th-century) and other manuscripts (K1956/R), and Waddell later edited the Cistercian hymnary anew (Q1984). Most sections of the prototype manuscript used to correct the copies (correctorium, Normalkodex), a collection of 15 liturgical books compiled in 1179 and 1191 to ensure uniformity of Cistercian liturgical texts and melodies, are now lost (F-Dm 114; see Leroquais, D1934, pp.333–4).
(ii) Denmark, Norway, Sweden and Finland.
Plainchant, §8: Chant in northern and central europe
A significant phase in the history of the Western Church from about 950 to 1350 was the conversion of Scandinavia and central Europe. This expansion of Latin Christianity into Iceland and Norway in the north and to Croatia and Dalmatia in the south began with the decisive defeat of the Magyars and Slavs by Otto I at the Lech river near Augsburg in the summer of 955. Evangelization under the Ottonian emperors followed, leading first to the formation of national kingdoms and then to modern states. The consolidation of Christianity among the Slavs, Bulgar-Turks, Magyars, Uzhs, Pechenegs and Kumans adhered to a general pattern (see Falvy, S1987). At first, influential ruling families were accepted into the Church, then networks of dioceses were formed, among them Magdeburg (955), Poznań (968), Prague (973), Esztergom (1000), Lund (then part of Denmark, 1060) and Zagreb (1094). At the same time Benedictine monasteries were founded and by the 13th century the influx of other monastic and mendicant orders was well under way.
From a musical standpoint this process of Christianization raises several fundamental questions concerning the types of liturgical book that were brought into these lands by missionaries, the types of musical notation they contained, and the types of plainchant that were transmitted to the new dioceses.
As the conversion proceeded, cults of local saints grew up, and by the late 11th century these confessors and martyrs were beginning to be recognized officially in local liturgies; for example, Thorlac of Skálholt in Iceland; Magnus in the Orkney Islands; Olaf II Haraldsson, Hallvard and Sunniva in Norway; Anskar and Canute in Denmark; Eric, Bridget (Birgitta) and Sigfrid in Sweden; Henry in Finland; Stanislas, Adalbert (Wojciech), Hedwig (Jadwiga), Hyacinth (Jacek) and Florian in Poland; Stephen (István), Emeric (Imre) and Ladislas (László) in Hungary; and Ludmilla and Wenceslas (Václav) in Bohemia.
When the construction of monasteries, cathedrals and churches was well under way, scriptoria were set up in ecclesiastical schools. Locally produced liturgical books copied after the late 12th century tended increasingly to conform to newly codified orders of service. Specific diocesan uses became well entrenched from Nidaros (Trondheim) and Linköping to Esztergom and Zagreb. Study of the ordinals and customaries reflecting these uses is valuable for the light they cast on the tradition of the imported liturgies and music, and for the means they provide for determining the nature of later reforms, which, in some cases, lasted well into the 18th century.
A good deal of research has been carried out into Polish, Czech, Hungarian and Croatian plainchant, particularly in the area of manuscript studies; extensive work has also been done on the national sequence collections of Hungary (Rajeczky), Norway (Eggen), Sweden (Moberg) and Poland (Kowalewicz and Pikulik).
Plainchant, §8: Chant in northern and central europe
The conversion of the three Scandinavian kingdoms of Denmark, Norway and Sweden can be traced back to the founding of the German archbishopric of Bremen-Hamburg in 864. In Denmark, during the tenure of Bishop Adaldag (937–88), dioceses were set up in Schleswig, Ribe and Århus (all in 948), Odense (956) and Oldenburg (967/8). Although the Christianization of Denmark had been undertaken from Germany, the conversion of Norway during the Viking age came chiefly from England and Ireland in the reigns of King Håkon the Good (935–96) and King Olaf I Tryggvessøn (995–1000). In Sweden missionary efforts during the 9th and 10th centuries were largely unsuccessful; the new faith slowly replaced pagan religions after the baptism of Olof Skötkonung in about 1000 and his sons Anund Jakob (c1022–50) and Edmund (c1050–60). In Iceland Irish hermits settled as early as the 8th century, but it was not until 1000 that the national parliament, the Althing, accepted Christianity as the national faith. During the 11th century, three northern sees came under the administration of the Bremen-Hamburg archbishopric, then at the peak of its influence: Nidaros in Norway (c1029–1103), Skálholt in Iceland (1060) and the Danish province of Skänke (1060).
During this period of conversion and the establishment of bishoprics, the liturgies and music that were introduced into Scandinavia emanated from Germany, France and England. However, the scarcity of manuscript sources resulting from the widespread destruction of medieval liturgical books during the early Reformation in the wake of strong anti-papal sentiment has created special problems for the study of early Scandinavian liturgy and chant. Practically all the surviving original sources are strips of parchment that were used to reinforce the spines of 16th- and 17th-century tax records and books. Danish sources are exceptionally rare; 12 notated manuscripts dating from the 12th to the 16th centuries have been listed by Asketorp (S1984). Over 2300 Norwegian fragments recovered from old tax lists are retained by the Norwegian State Archives (Record Office) in Oslo, and there are many fragments in several Swedish libraries, particularly the University Library in Stockholm. The Icelandic fragments are now chiefly in the Reykjavik National Museum and the Arnamagnaena Collection at the University Library in Copenhagen (see Gjerløw, S1980). In Finland about 10,000 leaves are housed in the Helsinki University Library. While many of the earliest Finnish musical fragments are notated in German or Messine (Lorraine) neumes and appear to have been copied from, or at least based on, models from the diocese of Cologne (Haapanen, S1924), a surprising number of fragments are English or derive from English traditions (Taitto, S1992). Similarly, while the scattered melodies in the 12th-century Manuale norvegicum (ed. Faehn, S1962, with musical commentary by Stäblein), a priest’s handbook of the Norwegian rite of Nidaros, are essentially Messine forms from north-west Europe (the Low Countries and northern France), Gjerløw has shown that the roots of the Nidaros liturgy are English (S1961, 1968, 1979; see also Attinger, S1998).
Several studies of early Scandinavian liturgy and chant have therefore been devoted to the earliest printed books containing complete liturgies, including the Breviarium nidrosiense (Paris, 1519) and Missale nidrosiense (Copenhagen, 1519); the Missale aboense (Lübeck, 1488); the Missale lundense (Paris, 1514) and Breviarium lundense (Paris, 1517); the Breviarium arosiense (Basle, 1513); the Missale upsalense vetus (Lübeck, 1484), Missale upsalense novum (Basle, 1513), Breviarium upsalense (Stockholm, 1496) and Breviarium strengense (Stockholm, 1496).
A definitive discussion of compositional techniques is difficult until further studies are made, but generally speaking most of the new chants were adaptations. The hymnographers set their new texts to well-known melodies, a representative example being the great, late 12th-century Olaf sequence Lux illuxit laetabunda, which honours the major patron and King of Norway, St Olaf II Haraldsson (ex.6). At least seven of its melodic phrases (‘timbres’) have been identified as direct borrowings from the repertory of Adam of St Victor (fl first half of the 12th century). Both Reiss (S1912) and Sandvik (S1941) believed that the anonymous author studied in Paris, but Eggen (S1968, p.221) was probably correct when he concluded ‘that the composer … probably was a Norwegian, well versed in the international style of sequence melodies, [and] that he mainly leaned upon Anglo-French patterns instead of German ones’.
Plainchant, §8: Chant in northern and central europe
The evangelization of Poland began in 966 with the conversion of Duke Mieszko I, founder of the Piast dynasty that ruled the nation until 1386. With the erection of the first bishoprics in Poznań, Wrocław, Kraków, Gniezno and Kołobrzeg between 968 and about 1000, the Latin rite was introduced into Poland, particularly through Bohemia (see Schenk, S1969, 2/1987, pp.145ff).
A wide variety of chant sources survives in Polish libraries (lists of these manuscripts have appeared from time to time in the journal Musica medii aevi). Feicht (S1965), in his survey of early Polish music, divided the development of chant into three historical periods: a Benedictine phase (968–1150), a Cistercian phase (1175–1230) and a Franciscan-Roman phase (after 1240). Węcowski (S1968) showed that south-German musical practice strongly influenced the early Benedictine books. German neumatic notation is found in the sacramentary of Tyniec (PL-Wn 302) copied in Cologne in about 1060; the Ordinarius pontificalis antiquus copied in the archdiocese of Salzburg at about the end of the 11th century (WRk 149); the Evangelarium of Płock (Kz 1207) of about 1130; and the Missale plenarium (GNd 149; facs. in Biegański and Woronczak, S1970–72) from Niederaltaich, dating from between 1070 and 1131. Among the oldest known Polish chants are those for St Adalbert (Wojciech), consecrated Bishop of Prague in 982. These include his metrical Office Benedic regem cunctorum, the antiphon Magna vox laude sonora, and the sequence Annua recolamus sancti Adalberti gaudia commemorating the translation of his relics to Rome in 1000. The edition by Kowalewicz, Morawski and Reginek (S1991) of hymns in Polish sources contains 71 breviary hymn tunes set to 159 texts, including the important Gaude mater Polonia, dedicated to St Stanislas, bishop of Kraków (inaugurated 1072), martyr, and the first Pole to be canonized (1253).
The first Cistercian monasteries in Poland were founded in about 1149 at Brzeźnica-Jędrzejów, Ląd and Lekno, but their reformed liturgy and chant seems to have had little impact on established diocesan use and remained confined to the order. Several important 13th- and 14th-century music manuscripts (PL-Pa 69; PE 118–19, 156–204, L 13, L 21, L 35; WRu I.F.411–18) survive from the abbeys of Lubiąz (founded 1175), Henryków (1227), Paradyź (1234), Kamieniec Ząbkowicki (1239) and Pelplin (1258). A study by Morawski (Polska liryka muzyczna, S1973) of a set of 49 Cistercian sequences, found in seven graduals, indicates that they originated at St Gallen and other Benedictine monasteries in southern Germany.
At Kraków the Franciscans founded a house in 1237; at least six others followed during the next 20 years. The oldest surviving book in Poland used by the friars is the gradual of the Poor Clares covent in Kraków, copied in the period between approximately 1234 and 1260 (PL-Kklar 205). A companion manuscript is the Franciscan gradual of Płock dating from about 1280 (PLd VI.3.5). Other significant noted manuscripts are in libraries in Stary Sącz, Gniezno and Kraków.
The pervasive influence of German and French elements in medieval Polish liturgy and music has been demonstrated by Pikulik in his general survey of 475 sequences from 26 diocesan and 23 monastic manuscripts (S1973). In addition to the Cistercian group, the Imbramowice and Kraków Premonstratensian sequences and the Franciscan repertory were formed in Bavaria and Switzerland. But among the Premonstratensian graduals from Wrocław and Czerwinsk and the Dominican books, French types dominate, especially those of Adam of St Victor. The writing of native sequences occurred mainly at the Jagellonian University in Kraków, founded in 1364. Most of the new metrical texts were set to well-known foreign melodies.
Active composition of patronal liturgies in Poland continued into the 17th century. In addition to the Office of St Adalbert, several historiae were composed commemorating the major patrons of Poland. The Office of St Stanislas, Dies adest celebres (AH, v, 1889/R, p.223), was written by a Dominican friar, Wincenty of Kielce (c1253–5); the Office of St Hedwig (Jadwiga), Fulget in orbe dies (AH, xxvi, 1897/R, p.86), dates from the end of the 13th century; and the Office of St Hyacinth (Jacek), Adest dies celebres (AH, xlva, 1904/R, p.115), was written by three Dominicans, Ezjasz of Lipnica (d 1609) and the friars Adam and Andrzej.
Plainchant, §8: Chant in northern and central europe
The evangelization of Moravia began in 863, by SS Cyril and Methodius of the Byzantine Church, but the destruction caused by the Magyar invasions halted the progress of this Christianization. It was rather from Bavaria that Roman Christianity with its liturgy and music became established, the bishopric of Prague in Bohemia being created in 973 (archbishopric 1344), that of Olomouc in Moravia in 1063. Important monastic foundations also date back to the 10th century, for example, the Benedictine convent of St George (Jiří) in Prague in 967, followed later by the houses of the Premonstratensians (Strahov, Prague, 1140) and Cistercians (Sedlec, 1143). German chant traditions are, not surprisingly, evident in early sources of chant from Bohemia. German neumatic notation is found as late as the 14th century, although staff notation (Messine) was introduced by Vitus, dean of St Vitus’s (Wojtěch’s) cathedral, Prague, in the mid-13th century (examples in Hutter, S1930, 1931; Plocek, S1973).
Proper Offices for the national saints Adalbert, Procopius, Wenceslas and Ludmila have survived (Patier, S1970, S1986). Bohemia was strongly involved in the production of new Ordinary of Mass melodies, votive antiphons, and especially cantiones (see §6(v) above; see also Orel, S1922) in the 14th and 15th centuries, although from the surviving sources it is not always clear in some individual cases whether a piece originated in Bohemia or in south Germany or Austria. During the Hussite period large numbers of Latin chants were translated into the national language (surviving in CZ-Pnm II.C.7, the Jistebnice Cantional, from the 1420s). Another individual development is associated with the Utraquists from the 1540s, in whose books liturgical melodies are treated on the one hand to revision in syllabic style, on the other also to the addition of new melismas.
Plainchant, §8: Chant in northern and central europe
The Christianization of the Magyars reached a critical stage in 955 with the baptism of Géza (reigned 972–97), prince of the Árpád dynasty, and his son and successor Prince Vajk, later St Stephen (István), king of Hungary (997–1038, canonized 1083). King Stephen founded ten bishoprics at Esztergom (Lat. Strigonium; Ger. Gran), Györ (Raab), Székesfehérvár (Stuhlweissenburg), Veszprém (Wesprim), Kalocsa, Bihar, Pécs (Fünfkirchen), Nyitra (Neutra), Vác (Waitzen) and Csanád. During the same period Benedictine monasteries were founded at Pannonhalma (Martinsberg), Bakonybél, and Pécsvárad (see Dobszay, ‘Plainchant in Medieval Hungary’, S1990). After tribal revolts in 1047 and 1063, Christianity was firmly established by St Ladislas (László; reigned 1077–95); Croatia and Dalmatia were brought under Hungarian control by his nephew Coloman (Kálmán) I (1095–1116). In an effort to retain a uniform Roman liturgy, the Hungarian bishops in about 1100 prescribed the order of service in Bernold of Constance’s Micrologus de ecclesiasticis officiis. Until 1630 two diocesan rites dominated the Hungarian liturgy: the primatial use at Esztergom and the archbishopric use at Kalocsa. The origins of these liturgies are believed to go back to about 1094.
The earliest surviving plainchant manuscripts in Hungary are notated in German neumes (see Szendrei, S1983, esp. 56–70, and ‘Die Geschichte der Graner Choralnotation, S1988). They include a group of manuscripts copied shortly before 1092 and taken to Zagreb at about the time the diocese was founded in 1094 (see (vi) below). The oldest fully notated chant book from Hungary is a secular antiphoner, A-Gu 211 (Codex Albensis; facs. edn by Falvy and Mezey, S1963), from Székesfehérvár; dating from the first half of the 12th century, it shows strong south German influences, particularly of the Bavarian regions (Passau and Niederaltaich). The order of service seems to follow the Esztergom use.
Descriptive studies of other Hungarian chant sources have been made by Rajeczky and Radó (S1956, 2/1982), Szigeti (S1963), Radó (S1973), Szendrei (S1981) and Dobszay (S1985). Radó’s Libri liturgici manuscripti bibliothecarum Hungariae (S1973) includes studies of the Pray Manuscript, a sacramentary dating from 1192–5 in Messine notation (no.2); nine missals from Pozsony (Pressburg, Bratislava) (nos.11–14, 27–9, 45–6); the 13th-century Missal of Hungary (no.6); the Vác Manuscript of 1423 (no.40); the missal of George Pálóczi, 1423–39 (no.41); the Liber variarum cantionum of 1516 (no.72); the Esztergom pontifical and antiphoner (nos.145 and 180); the Kaschau gradual (no.173); the graduals of Cardinal Bakócz and King Ladislas II (nos.171–2); and an antiphoner from Györ Cathedral (no.181). Facsimiles of the principal Hungarian chant books have been published: the Esztergom noted missal (ed. Szendrei and Ribarič, D1982) and the Esztergom noted breviary (ed. Szendrei, D1998); and Szendrei has transcribed the Esztergom gradual (D1990–93). The complete Hungarian antiphon repertory has been edited by Dobszay and Szendrei (D1999).
The earliest chants produced in Hungary by local poets and composers include an Office for St Stephen, Ave beate Stephane, for 20 August, in the Székesfehérvár Antiphoner (ff.114–114v); and three other Offices (ed. Falvy, Drei Reimoffizien, S1968): Confessor Christi Stephane, for St Stephen; Laetare, Pannonia, for Emeric, his son (d 1031); and Fons eternae pietatis, for St Ladislas (canonized 1192). Two Offices for St Elizabeth of Hungary (canonized 1253), Gaudeat Hungaria and Laetare Germania, have also been edited (Haggh, O1995), but these did not originate in Hungary.
Plainchant, §8: Chant in northern and central europe
In medieval Slovenia and Croatia, two Christian liturgies co-existed. The rural Slavonic rite was written in Greek-derived Glagolitic script dating from the 9th century and used particularly in northern Dalmatia (see Gamber, S1957; and Martinić, S1981). In the metropolitan cities a modern Cyrillic alphabet was frequently used with the Roman rite. The reconstruction of Slavonic chant has been largely based on chant sung today in the dioceses of Krk, Senj, Zadar and Šibenik. (See also Glagolitic Mass, Glagolitic chant.)
The Roman rite in Croatia, according to Grgić (S1970, pp.125–6), can be separated into two distinct zones each characterized by a distinct palaeographical tradition. Among the monasteries founded in the 11th century along the Adriatic coast, such as Kotor, Zadar, Šibenik, Trogir, Split and Dubrovnik, there is a strong south-Italian tradition emanating from Monte Cassino and Bari. The liturgy, musical notation and script are distinctly Beneventan (see Beneventan chant). On the other hand, Carolingian minuscule, German neumatic notation and their later Gothic counterparts dominated in Slovenia and other areas controlled by the German empire and Hungarian monarchy.
A considerable number of medieval liturgical manuscripts survive from this region; pioneer work in identifying them was carried out by Morin and Kniewald, but of special importance is the work of Vidaković (S1960), which shows how deeply Latin medieval notation penetrated into south-east Europe. The earliest manuscripts containing German neumatic notation are associated with the ‘Zagreb’ liturgy. These books were brought to Croatia from Hungary when the diocese of Zagreb was established in 1094, during the period when Ladislas I and Coloman (reigned 1095–1116) placed Croatia and Slovenia under Hungarian rule in 1096–7. The Agenda pontificalis of Bishop Hartwick (HV-Zu MR 165) originated at Györ in north-west Hungary; Hudovský (S1971) has shown that the musical notation was added at several stages during the 11th, 12th and 13th centuries. A benedictional (Zu MR 89) was copied at Esztergom before 1083 (see Hudovský, S1967) and a sacramentary (Zu MR 126) was taken to Zagreb from Hungary by Bishop Duh in the late 11th century.
Among the early Beneventan manuscripts, part of the 11th-century Missale plenum was copied at Monte Cassino and part in Dalmatia (see Hudovský, S1965). Specimens of Beneventan notation occur among the Exultet chants in three Gospel books: the St Mary’s Evangeliary (GB-Ob Can lat.61), the Osar (‘St Nicholas’) Evangeliary (I-Rvat Borg.lat.339) and the St Simeon Evangeliary (D-Bsb theol.lat. 4˚ 278).
After the conquest of the ancient Amerindian nations of Peru, Mexico and the south-western part of the North America by the Spanish colonists, networks of administrative jurisdiction were set up by early 16th- and 17th-century missionary fathers. In many respects the ecclesiastical history of New Spain resembles the evangelization of Scandinavia and eastern Europe some five centuries earlier. At first liturgies and sacred music imported from the Old World were used, but these were rapidly supplemented and modified to harmonize with local native languages and customs. Despite the survival of much evidence, both direct and indirect, knowledge of this chant repertory is still superficial, no doubt largely because it has been regarded as one of the ‘corrupt’ post-Tridentine versions. Nevertheless, when viewed in its own historical and social setting, this chant has an interest of its own.
Plainchant sources used in the New World can be separated into three general categories: liturgical books with musical notation issued by well-known publishing houses in Italy, Germany, France, Spain and Portugal and introduced by the missionaries; chant books printed in the Americas, especially in Mexico; and manuscripts produced locally. About a dozen extant Mexican incunabula with plainchant melodies were printed before 1600, the earliest being the Augustinian ordinary of 1556 (see Spell, T1929; and Stevenson, T1966). In archival surveys of South American libraries, Spiess and Stanford (T1969) and Stevenson (T1970) have recorded no fewer than 350 extant plainchant manuscripts. However, since the primary interest of these scholars has been directed towards polyphonic music, their descriptions of chant books rarely go beyond brief notices. For example, in the Bogotá Cathedral archive there are ‘32 atlas-size plainchant choirbooks expensively copied on vellum between 1606 and 1608 by the professional music scribe and miniaturist, Francisco de Páramo’ (Stevenson, T1970, p.3); and in the cathedral library at Puebla (Mexico) there are about 128 plainchant tomes with illuminations mainly by Lagarto (see Spiess and Stanford, op. cit., 27). Plainchant manuscripts are also found in other Latin American cities, including Mexico City, Quito, and Cuzco (Peru).
Even as late as the early 19th century, manuscript choirbooks were being produced in the Californian missions (see Ray and Engbeck, T1974). From 1769 until 1834, when they were secularized, a chain of 21 Franciscan missions flourished along the central coast of California (see Koegel, T1993). Among these interesting late sources, for example, is a Mass book compiled in 1831 by Padre Narcisco Durán (1776–1846) for the church of St Joseph at the Mission of S José (extract in fig.6). In his solicitous Prologo (Eng. trans. in da Silva, T1941, p.29), Durán explained his need to simplify plainchant melodies for the Amerindian neophytes. Graduals and offertories were considered too complicated and were not sung; most introits were derived from the melody of Gaudeamus omnes, the introit for the feast of the Assumption; and alleluias and communions were chanted to several melodies of the 6th tone. In order to assist the singers, he laid down the rule that chant was to be accompanied in unison by instruments. With all the practical instincts of a good choir director, Durán recommended that the older, married, trained musicians be provided with ‘domestic employment, such as weaving, shoemaking or smithying, in order to have them always on hand when there is singing or playing to be done’.
Plainchant, §10: Developments from 1500 to 1800
In 1536 a bull of convocation was issued by Pope Paul III (pontificate 1534–49) convening the 19th Ecumenical Council of the Western Church, the Council of Trent (1545–63). The purpose of this Council, held in Trent (at that time Austrian), was to clarify doctrinal beliefs and legislate for disciplinary reforms within the Church as a reaction to the Protestant Reformation, in particular to combat the religious reforms of Luther, Zwingli and Calvin. Over a period of 18 years, 25 sessions were held in three separate sittings. Decrees relating specifically to church music were issued on 17 September 1562. The most important pronouncements appeared in the proceedings of session XXII, chapter IX, canon IX, which confirmed the sacrificial character of the Mass and Eucharist: Decretum de observandis et evitandis in celebratione missarum (‘Decree concerning the things to be observed and to be avoided in the celebration of Mass’; see Concilium tridentinum, ix: Actorum, ed. S. Ehses, Freiburg, 1924, pp.962–3).
The bishops unanimously agreed in the September session: (1) that any simony, irreverence and superstition be banished from Mass; (2) that any unknown priest be forbidden to celebrate Mass; (3) that music be uplifting for the faithful; (4) that spoken words or sung liturgy be clearly intelligible; (5) that all music, whether for the organ or voices, which contained things deemed lascivious or impure (‘lascivum aut impurum’) be excluded; and (5) that all conversations, walking about, or distracting noise be repudiated during Mass. In Session XXIV (11 November 1563), Canon XII: Decretum de reformatione lectum (see Concilium tridentinum, ix: Actorum, ed. S. Ehses, Freiburg, 1924, p.984), rather vague instructions were issued that provincial synods could establish musical practices according to the local needs and customs of the people. The decrees relating to music that were adopted at the Council of Trent set out broad principles and instructions and were generally couched in negative language; they were not directly implemented by the Council itself, but were put into practice by a series of papal actions during the next 70 years up to 1634.
The initial attempts to introduce a uniform and universal recitation of the Office and Mass in accordance with the mandates of the Council were completed during the pontificates of Pius IV (1559–65) and Pius V (1566–72). In October 1563 a commission was established to reform the breviary and missal. Publication of the reformed Roman breviary was announced on 9 July 1568, and of the corrected Roman missal in a bull dated 14 July 1570. All dioceses were obliged to use the missal. (For a review of the impact of the 1570 missal on south-German dioceses, see Opraem, U1995.)
It is generally accepted that the large repertory of medieval sequences was suppressed from the liturgy at this time. Only four were included in the Faletti-Variscum edition of the 1570 missal: Victimae Paschali laudes (written by Wipo, c995–c1050) for Easter and Easter week; Veni Sancte Spiritus (by Innocent III, pontificate 1198–1216) for Pentecost and Pentecost week; Lauda Sion (by Thomas Aquinas, c1225–74) for Corpus Christi; and Dies irae (by Thomas of Celano, d c1250) for the Commemoration of the Dead. Given this missal’s chaotic publishing history (see A. Ward, Ephemerides liturgicae, cxi, 1997, pp.49–54), it is possible that different editions contain the sequence Stabat mater (by Jacopone da Todi, d 1306). Two important revisions of the 1570 Pian missal were issued: one in 1604 under Clement VIII (1592–1605), and the other in 1634 during the pontificate of Urban VIII (1623–44).
Once the new official liturgical texts had been proclaimed, efforts were begun to adapt standard chant melodies to them. On 25 October 1577 Palestrina and Annibale Zoilo were commissioned by Gregory XIII ‘to purge, correct, and reform Gregorian chant’, but their work was never completed (see Molitor, U1901–2/R, 297). In 1582 Giovanni Guidetti, a student and friend of Palestrina, published in Rome the first complete post-Tridentine chant book, the Directorium chori ad usum sacrosanctae basilicae vaticanae et aliarum cathedralium et collegiatarum ecclesiarum. It continued to be republished until 1750 and contained the basic elements for singing the Divine Office: cadence formulae, the principal psalms, hymns, versicles, short responsories, reciting notes for psalms, lessons, Gospels and prayers. A unique feature of the Directorium was Guidetti’s use of proportional notation: the semibrevis, or diamond-shaped note, had the value of a half-tempus, the brevis, or square note, equalled one tempus, and the dotted brevis cum semicirculo, or square note surmounted by a pause sign, was equivalent to two tempi (see fig.7).
These rhythmic notes were frequently explained in later treatises and singing manuals on plainchant, such as G.C. Marinelli’s Via retta della voce corale (Bologna, 1671/R); Lorenzo Penna’s Direttorio del canto fermo (Modena, 1689); Andrea di Modena’s Canto harmonico (Modena, 1690/R); Giuseppe Frezza dalle Grotte’s Il cantore ecclesiastico (Padua, 1698); O. Rosa de Cairano’s Regole del canto fermo detto gregoriano (Naples, 1788); and J.G. Mettenleiter’s Enchiridion chorale (Regensburg, 1853). (On the instrumental accompaniment of plainchant from the 16th century, see §11 below.)
The most important chant book conforming to the reforms of the Council of Trent was the new Roman gradual. On 31 May 1608 Paul V (pontificate 1605–21) granted G.B. Raimondi printing rights, and six musicians were commissioned as editors – Felice Anerio, Pietro Felini, Ruggiero Giovannelli, Curzio Mancini, Giovanni Maria Nanino and Francesco Soriano. By 1611 the membership had dwindled to two members, Anerio and Soriano, both of whom, like Guidetti, had been closely associated with Palestrina. When Raimondi died on 13 February 1614 publication was transferred to the Medici Press in Rome; the Graduale … iuxta ritum sacrosanctae romanae ecclesiae cum cantu, Pauli V. pontificis maximi iussu reformatio … ex typographica Medicaea appeared in two volumes, in 1614 (Temporale) and 1615 (Sanctorale).
The
Anerio-Soriano Medicean edition of the gradual strongly reflected 16th- and
17th-century humanist interest in the relationship between text and melody. The
liturgical texts were revised to ‘improve’ the quality and character of the
Latin, cadential patterns were reshaped, certain stereotyped melodic figures
were associated with certain words, melodic clichés were introduced to
‘explain’ words, melodies were made more tonal by the introduction of the B, melismas were
abbreviated, and accentual declamation was introduced to improve the
intelligibility of the chanted text. For example, some typical melodic and
tonal variants may be observed in the Medicean version of the first responsory
for Easter Matins (ex.7).
During the interim period between the papal commission to Palestrina and the appearance of the Medicean gradual, various ‘reformed’ graduals were brought out by Venetian publishers, the first, by Gardano, in 1591, followed by a new version, by Giunta, in 1596. The latter became the basis of a Venetian chant tradition that continued into the late 18th century through successive editions by Giunta, Cieras, Baba, Baglioni and Pezzana. The texts were the standard ones of earlier centuries, although some were slightly revised in accordance with the new missal. By 1618 an independent ‘reformed’ gradual was issued in Ingolstadt, and a further one appeared in 1620 in Antwerp. By 1627 the first of a series of editions constituting a Parisian tradition had been published. Minor similarities are evident between certain traditions, but borrowings on a wider scale are generally rare. The importance of the Medicean gradual derived from Rome’s position as an ecclesiastical centre, but its readings had little if any influence elsewhere. Various religious orders also created their own versions, in some cases much earlier than the date the reworkings were first documented. The different readings existed side by side with more traditional ones almost wholly rooted in 15th- and 16th-century chant practice. In general, Giunta and his Venetian successors pruned the medieval melodies most heavily, while greater floridity is evident in the sources from further north. Despite the appearance of many chant treatises describing a range of rhythmic values, only a few values are used in the practical manuals. The most frequent, apart from the standard square shape, is the diamond-shaped semibrevis; representing half the normal value, it was associated with weak syllables following accented antepenultimate or even earlier syllables.
The modern Roman breviary in use before the Second Vatican Council is substantially the Pianum of 1568 with the revisions it underwent under Clement VIII (1602) and Urban VIII (1631). The latter reform is particularly important in the history of plainchant, because it introduced significant recasting of the traditional Office hymns. Under the direction of four classically trained Jesuits, Famiano Strada, Tarquinio Galuzzi, Girolamo Petrucci and Matthias Sarbiewski, 952 corrections were made to the 98 hymns included in the breviary (see Lenti, U1993, p.31). In their zeal to restore classical metre and prose to the Latin texts, the revisers recast some hymns and in so doing created almost unrecognizable substitutes. These changes in the hymn texts were sanctioned by the Congregation of Rites on 29 March 1629, and the newly revised Breviarium romanum was approved by Urban VIII (1623–44) on 25 January 1631 (see Lenti, op.cit., 32). The following example shows a single hymn in its original and revised versions (from Daniel, M1841–56/R, i, 239).
In defence of these revised Jesuit hymns, now often considered ‘decadent’, Pocknee (U1954, p.2) observed that ‘the later hymns have a rugged sincerity, a biblical tone, and a clear presentment of the facts of belief which more than atoned for the change of literary style’. Although the revised hymns were made obligatory for the Church at large, most of the monastic orders – the Dominicans, Benedictines, Cistercians, Carthusians and the Papal Chapel itself – rejected Urban’s revised hymnal and maintained the earlier forms.
The process of standardization that began at Trent has, unfortunately, often been misunderstood. The Council was, in fact, a truly conservative movement. No new liturgy was set forth (the terms ‘Tridentine Mass’ and ‘Tridentine Office’ are misleading); religious establishments throughout Europe were required to follow prescribed customs and normative usage as well as to use ‘corrected’ liturgical books. Furthermore, the intended musical reforms were not realized, for despite the official imprimatur affixed to most chant books – Ex decreto Sacrosancti Concilii Tridentini restituti – a bewildering variety of chant melodies continued to flourish for another 300 years.
Plainchant, §10: Developments from 1500 to 1800
The French nationalistic tradition of relative independence from Rome in both political and ecclesiastical affairs has its roots in the early Middle Ages. During the 17th and 18th centuries a particularly strong surge of anti-papal feeling caused a widespread theological schism within the ranks of the French national church. The Declaratio cleri gallicani (19 March 1682), known as the ‘Four Gallican Articles’, was issued by the dissenting bishop Jacques Bossuet (1627–1704) and resulted in major changes in the liturgy and church music. In the diocese of Paris under Archbishop François de Harlay de Champvallon (1625–95), a revised ‘neo-Gallican’ breviary was published in 1680, followed by the antiphoner in 1681, the missal in 1684 and the gradual in 1689 (see Launay, U1993, p.292). In these books many of the standard liturgical formularies were suppressed and replaced with substitutes.
Even more radical editions appeared under Charles de Vintimille du Lac (archbishop of Paris, 1729–46), and these were adopted by more than 50 French dioceses. In the Vintimille edition only 21 original hymns were retained, although new hymns by contemporary hymnographers abounded: 85 by Jean-Baptiste de Santeüil (d 1697), nearly 100 by Charles Coffin (d 1742; see fig.8) and 97 by lesser-known French authors.
Closely associated with these neo-Gallican reforms was the introduction of a distinctive type of music known as the ‘chant figuré’, sung in a measured and ornamented style. The most important treatises explaining the performance of this measured chant were written by Guillaume-Gabriel Nivers, Léonard Poisson, Jean Lebeuf and François de La Feillée. In his Méthode nouvelle pour apprendre parfaitement les règles du plain-chant et de la psalmodie, avec des messes et autres ouvrages en plain-chant figuré et musical (Poitiers, 3/1775, pp.96–116), La Feillée provided a detailed explanation of the types of notes and principles of performance. In addition to elision, tremolo, accidentals and prolongation signs, the basic note values were as follows: the quarrées ordinaires à queue (large square notes with a descending stem to the right); the quarrées sans queues (large square notes); the demi-quarrées à queue (small square notes with a descending stem to the left); the demi-quarrées sans queue (small square notes); the grandes brèves (large diamond-shaped notes); and the petites brèves (small diamond-shaped notes) (see Launay, op. cit., esp. 413–31, and pls.45–7).
Despite the outward simplicity of this metrical system, performance of chant figuré required sophisticated improvisatory skills, including tremolo, vibrato, portamento and ornaments. In order to maintain measure, the choirs were frequently accompanied in unison by a bass instrument, such as a serpent, ophicleide, bassoon, trombone, double bass etc. (see Lebeuf, U1741/R, p.177; and C. Burney: The Present State of Music in France and Italy, London, 1771, 2/1773/R, 10ff). Performance of this chant was highly expressive. Verses in the Messe musicale of La Feillée, which were sung by a soloist and a choir in alternation, indicate frequent shifts in tempo from lent, lentement or gravement to gai or gracieusement (see fig.9).
Another type of metrical plainchant was commonly practised in the neo-Gallican liturgy, ‘l’art du fleuretis ou Chant sur le livre’ (Lebeuf, U1741, p.110). Chant sur le livre (also termed ‘contrapunctum’, ‘descant’ or ‘fleuretis’) was counterpoint improvised at sight by trained singers to the melodies of the regular service books (see Prim, U1961). Responsories, antiphons and introits in particular were subject to this type of accompaniment. The plainchant melody was usually sung in strict measured cantus firmus style by strong bass voices accompanied in unison by a bassoon or serpent, while the florid descant melodies were improvised above it. Harmonic and metrical rules were set out in at least ten treatises, especially by Etienne Loulié, Sébastien de Brossard, René Ouvrard and Pierre-Louis Pollio (see Montagnier, ‘Les sources manuscrites’, U1995).
The Gallican plainchant practised between the mid-17th century to the second Restoration of the monarchy in France (1815–30) has been dismissed with hostility and ridicule, especially by 19th- and 20th-century Roman Catholic clerics and writers. Gallican hymnody, chant figuré, chant sur le livre and the reformation of the liturgy by humanists during the ancien régime have generally been epitomized as insipid, decadent and barbarous – ‘un chant étriqué, mesquin, pauvre, horriblement mutilé, une sorte d’habit d’arlequin composé de pièces décousues’ (N. Cloet: Mémoire sur le choix des livres de chant liturgique, Paris, 1856). In reality neo-Gallican plainchant is a large, self-contained corpus of music with its own historical and liturgical setting, deserving further detailed research.
See also Neo-Gallican chant and Plain-chant musical.
(ii) Germany and the Cecilian movement.
(iv) The reformed editions of Solesmes.
Plainchant, §11: Restoration and reform in the 19th century
With the Concordat of 7 October 1801 between Napoleon I and Pius VII (pontificate 1800–23) and later concordats of reconciliation (see Gaudemet and others, U1987, 17–29), the forces of separatism and secularism and the confiscation of Church property, onslaughts to which the Roman Church had been subjected during the Enlightenment, gradually subsided. The decline of such political and religious theories as Febronianism, Gallicanism, Josephinism, Jansenism and monarchical absolutism led to spiritual renewal and a golden epoch of ecclesiology during the 19th century.
The 40 years between the publication of Félix Danjou’s De l’état et de l’avenir du chant ecclésiastique en France (Paris, 1844) and the Liber gradualis (Tournai, 1883) prepared by Dom Joseph Pothier marked a significant period of chant reform. With the success of the Ultramontane movement in France (see Moulinet, U1997), by the 1840s it was generally recognized that the Harlay and Vintimille chant books were unsuitable and needed to be replaced by books that once again conformed to the Roman liturgy. This need had been expressed three decades earlier by Choron in his Considérations sur la nécessité de rétablir le chant de l’église de Rome dans toutes les églises de l’Empire français (Paris, 1811). Despite repeated calls for unity, return to the old Tridentine use proceeded very slowly, diocese by diocese (see especially E.-G. Jouve: Du mouvement liturgique en France durant le XIXe siècle, Paris, 1860). Ecclesiastical officials and music scholars were sharply divided as to which chant melodies should be used. Many favoured a return to the early Medicean chant books; others considered that the chants in these books were debased in comparison with the ones in 11th-, 12th- and 13th-century sources in Guidonian notation. A third group defended the authenticity of the early neumatic manuscripts even though the latter were practically indecipherable at the time. Scholars and dilettantes of widely differing persuasions entered the debate, including Pietro Alfieri, Adrien de La Fage, Félix Danjou, Théodore Nisard (né Normand), Nicholas Cloet, Félix Clément, Nicholas Janssen, C.C. Bogaerts, Edmond Duval, Jules Tardif, Louis Lambillotte, Anselm Schubiger, Padre J. Dufour, Stephen Morelot, Augustin Gontier, Louis Vitet, Charles Vervoitte and Alexandre Vincent.
In 1847 Danjou discovered the important 11th-century tonary of St Bénigne de Dijon, F-MOf H 159 (facs. in PalMus, 1st ser., vii–viii, 1901–5/R; see fig.10), a manuscript with unique, doubly notated melodies in French neumatic and alphabetical notations. A hand-copied transcription of the manuscript by Nisard (completed 1851; F-Pn lat.8881, formerly suppl. lat.1307) was used as the basis of the Reims-Cambrai Graduale romanum complectens missas (Paris, 1851), which represents the first serious attempt to restore medieval chant to modern books. The editors, P.C.C. Bogaerts and E. Duval, defended their work in Etudes sur les livres choraux qui ont servi de base dans la publication des livres de chant grégorien édités à Malines (Mechelen, 1855), but reactions to the Reims-Cambrai editions were frequently sour. La Fage’s De la reproduction des livres du plain-chant romain (Paris, 1853) is a thinly disguised polemic against the Reims-Cambrai gradual. Louis Vitet (Journal des savants, 1854, p.92) was astonished that a group of four notes in the Paris gradual of 1826 had been replaced in the Reims-Cambrai edition by a melisma of 48 notes. And Nisard (‘Du rythme dans le plain-chant’, U1856), defending his own conservative, post-Tridentine-style Gradual et vesperal romains (Rennes, 1855), considered impossible the ‘radical and revolutionary’ attempt to replace current chant melodies by a literal return to the ‘chants of St Gregory’, as the Reims-Cambrai edition proposed.
During the middle decades of the 19th century two terms, already in favour, were widely adopted by liturgical commentators: ‘decadent’, to describe any form, style or era of plainchant that ran counter to self-established theories of what constituted ‘authentic’ chant melodies and/or chant performance; and ‘restoration’ (Fr. ‘restauration’), used to characterize efforts to restore plainchant to its proper place in the Roman liturgy, as for example, Michel Couturier in his Décadence et restauration de la musique religieuse (Paris, 1862), or Anselm Schubiger in Die Restauration des Kirchengesangs und der Kirchenmusik durch das künftige allgemeine Concilium (Zürich, 1869).
Another effort to restore Gregorian chant resulted in the publication by Louis Lambillotte of a facsimile of the late 9th-century cantatorium of St Gallen, CH-SGs 359. Although it was claimed that the engraved plates were authentic reproductions of the original neumes, they soon proved to be completely unreliable, and Lambillotte’s posthumous Graduale romanum (Paris, 1857), ostensibly based on this manuscript, contained truncated melodies. As regards the printing of plainchant, it was a monk of the Cistercian abbey of Notre-Dame de Réconfort, Geoffroy de Marnef, who, according to La Fage (Plain-chant, ii, 1861, p.80), was the first French printer to make a special font of plainchant musical characters.
Three other pioneering works appeared in the mid-19th century: Coussemaker’s Histoire de l’harmonie au Moyen-Age (Paris, 1852/R), the first comprehensive review of medieval notations based on modern critical methods, which set a standard for subsequent serious palaeographical investigations of chant neumes and rhythm; Joseph d’Ortigue’s Dictionnaire liturgique, historique et théorique de plain-chant (Paris, 1853/R), the first major dictionary of terms relating to plainchant, containing lengthy excerpts from the works of a wide variety of contemporary scholars, among them Nisard, Lebeuf, Fétis, Rousseau, Coussemaker, Jumilhac, Danjou, Baini, Poisson, Forkel, Lambillotte, Brossard, Du Cange and Kiesewetter; and La Fage’s Cours complet de plain-chant (Paris, 1855–6), containing the first substantial bibliography of plainchant sources – 282 items are classified according to printed liturgical books, music treatises and practical performance manuals.
An article in D’Ortigue’s dictionary on the instrumental accompaniment of plainchant is particularly illuminating and holds a special place in the extensive literature on the subject (see Söhner, U1931; and Wagener, U1964). This practice was well known even at the time of Adriano Banchieri’s L’organo suonarino (Venice, 1605, 2/1611, 3/1638/R) and assumed a major role in the performance of plainchant after the development of the thoroughbass in stile nuovo church music. A veritable deluge of practical manuals were published from the 17th century instructing the organist on the problems of rhythm, the choice and placement of chords, the use of homophonic and contrapuntal accompaniments, the rules for harmonizing each mode, the roles of intonation and cadential formulae, the use of embellishments and how to transpose (see ex.8).
In May 1860 over 50 people interested in plainchant reform attended a congress held at Erard’s in Paris concerned with the restoration of plainchant and religious music (see De la musique religieuse: Paris 1860 and Mechelen 1863 and 1864, ed. T.J. de Vroye, Paris, 1866). 80 different chant books and manuals published mostly between 1854 to 1860 were presented for consideration, and topics under discussion included the true character of church music, plainchant accompaniment, the place of choral societies, the performance of church music in certain dioceses and the proper performance of liturgical chant.
In France the performance methods promoted by Louis Niedermeyer at his Institut de Musique d’Eglise (founded 1835) were printed in La maîtrise: journal de musique religieuse (1857–61) and in his Traité théorique et pratique de l’accompagnement du plain-chant (Paris, 1857, 2/1878; Eng. trans., 1905). These publications exerted considerable influence for over a century (see M. Galerne: L’Ecole Niedermeyer, Paris, 1928). Among the better-known 19th-century chant treatises are those by Bogler (1808), Schiedermayer (1828), Stehlin (U1842), Toepler (1848), Benz (1850), Stein (1853), Clément (1854), Nisard (1854, 1860), Gevaert (1856), Miné (1863), Labat (1864) and Hermesdorff (1865–7).
Plainchant, §11: Restoration and reform in the 19th century
During much of the 19th century the emphasis on church music in Germany was confined largely to the development of church choirs and the revival of Renaissance and Baroque polyphonic music; it was at this time that the Palestrina cult began to flourish under such advocates as A.F.J. Thibaut, Giuseppe Baini and Carl von Winterfeld (see Comes, W1974–5; and W. Kirsch and others, eds.: Palestrina und die Kirchenmusik im 19. Jahrhundert, Regensburg, 1989). With the appointment in 1830 of Karl Proske as a canon of the Alte Kapelle in Regensburg, that city soon became the centre of this revival activity in Germany. Important editions of the polyphonic masters appeared in Proske’s Musica Divina (Regensburg, 1853–76/R) and Selectus Novus Missarum (Regensburg, 1855–61/R), and in Franz Commer’s Collectio Operum Musicorum Batavorum Saeculi XVI (Berlin, 1844–58), Musica Sacra (Berlin, 1839–42, continuing as Selectio Modorum, 1860–87) and Cantica Sacra (Berlin, 1870).
Further reforms took place in the last third of the century with the rise of the Cecilian movement, which had its roots in the scholarship of Proske and Commer (see W. Kirsch: ‘Caecilianismus’, MGG2). In 1868 the Bavarian priest F.X. Witt founded the Allgemeine Cäcilien-Verein für Katholische Kirchenmusik; based initially in the German cathedral town of Regensburg, this organization, dedicated to the improvement of church music not only in Germany but throughout Europe and the Americas, advocated the performance of 16th-century polyphony, the Palestrina vocal style, and the reform of plainchant and organ playing. Witt propagated his theories in two music periodicals, the Fliegende Blätter für katholische Kirchenmusik (1866–) and Musica sacra (1868–), both of which he founded (see Lickleder, U1988). Cecilian societies were also founded in America, of which the most important centre was that in Milwaukee, Wisconsin, influenced by John Martin Henni (1805–81), first archbishop of Milwaukee, and John Baptist Singenberger (1848–1924), editor of Caecilia: Vereinsorgan des Amerikanischen Caecilien-Vereins (founded in 1874). (For a review of the Cecilian movement in Italy, see Moneta Caglio, U1983.)
Reform of the German plainchant books was carried out in publications by the firm of Friedrich Pustet in Regensburg, which had been granted a privilege (1 October 1868 ) by the Sacred Congregation of Rites in Rome to publish all the official chant books of the Church according to the Medicean edition. Accordingly, the new Regensburg gradual of 1871, edited by F.X. Haberl, was largely a reprint of the Medicean edition of 1614–15; the Pustet antiphoner of 1878 was based on two editions (Venice, 1585, and Antwerp, 1611). On 4 August 1871 Pius IX officially sanctioned the Pustet editions as the authentic form of Gregorian chant, a decree that was reaffirmed in papal letters (30 May 1873, 15 November 1878) and by decrees of the Sacred Congregation of Rites (26 April 1883, 7 July 1894).
Plainchant, §11: Restoration and reform in the 19th century
The revival of plainchant in England had begun during the 18th century with the Roman Catholic scribe and publisher John Francis Wade (1711/12–86). His manuscripts and printed books circulated widely throughout the London embassy chapels and among many aristocratic Catholic families. Wade’s earliest works consist of hand-copied manuscripts and books with pre-printed staves and text onto and above which plainchant was notated by hand. Manuscripts dating from 1737 to the 1770s cover most liturgical functions. Wade’s first printed books without plainchant were English–Latin vesperals. Other plainchant scribes and publishers were active during Wade’s lifetime, but those manuscripts that have survived from private aristocratic and embassy chapels are generally considered of inferior quality to Wade’s. Printed sources include The Art of Singing (London, 1748) published by Thomas Meighan and The True Method to Learn the Church Plain-Song (London, 1748) published by James Marmaduke. James Coghlan introduced movable Gregorian type (previous publications were engraved) with An Essay on the Church Plain Chant (London, 1782), a work indebted to Wade and perhaps wrongly attributed to Samuel Webbe the elder.
In the 19th century the revival continued unabated with the works of the Catholic publisher Vincent Novello, the earliest of which, A Collection of Sacred Music (London, 1811), included Gregorian arrangements of Samuel Wesley’s texts. An abortive Wesley-Novello project to publish comprehensive Gregorian books is evidenced in letters, which also prove that Novello’s arrangements were based partly on Wade. Novello’s publications were superseded in the late 1840s by those of John Lambert.
In the Anglican Church, the plainchant revival was spawned by the Oxford Movement and the Cambridge Ecclesiological Society. The first significant publication was Alexander Reinagle’s A Collection of Psalm & Hymn Tunes (London, 1839). Richard Redhead’s Laudes diurnae (London, 1843) enjoyed brief popularity but was criticized for retaining Latin prosody at the expense of English accentuation. William Dyce’s version of Merbecke’s The Book of Common Prayer Noted, which was published in London in 1843, provides rules for good English prosody, although these are not always easy to apply in The Psalter (London, 1849), where notes are provided for each syllable of text only for examples of each tone, not for the complete Psalter.
The 19th-century English plainchant revival produced many aesthetic controversies. Anglican plainchant apologetics surfaced in music magazines such as The Choir and Musical Record, The Musical Times, The Musical World and The Quarterly Musical Magazine, and in religious periodicals such as The British Critic, The Christian Remembrancer, The Ecclesiologist and The Parish Choir. Concerns included English versus Latin rules of prosody, the nature of accompaniment, the social/moral role of Gregorian chant, and the use of English versus Roman sources. Catholic apologetics are found in The Tablet and The Dublin Review and receive a Christological context in the writings of Henry Formby.
The late 19th century saw an expansion of the English plainchant revival. In 1888 moves were made to found an English branch of the Cecilians out of the old Catholic Gregorian Association, and in the same year the Plainsong and Mediaeval Music Society met for the first time. In 1929 the Society of St Gregory was also founded to address issues relating to the Catholic liturgy. Owing in part to problems of applicability, 20th-century Anglican publications are varied in their reliance on Solesmes and other Continental scholarship. Catholic publications of the same period, unlike many of their 19th-century antecedents, derive from sources formally approved by Rome.
In Ireland, the Irish Society of St Cecilia was founded by Nicholas Donnelly in 1878. His ideas on reform, as well as those of Witt, were circulated by means of his periodical Lyra ecclesiastica (1878–93) (see Daly, U1993). Early plainchant books published in Ireland included an Officium defunctorum cum suo cantu by Patrick Wogan (Dublin, 1793) and A Plain and Concise Method of Learning the Gregorian Note: also a Collection of Church Music, Selected from the Roman Antiphonary and Gradual by Patrick Hoey (Dublin, 1800). Wogan also published High Mass and Sunday Vespers as Sung in Most of the Different Roman Catholic Chapels throughout the United Kingdom (1818) (see Zon, U1996; and also White and Lawrence, U1993).
Plainchant, §11: Restoration and reform in the 19th century
The major editions of chant books issued in the second half of the 19th century, the Reims-Cambrai gradual and antiphoner (1851 and 1852), the Nisard gradual (1857), the two editions of the gradual edited by Michael Hermesdorff (Trier, 1863 and 1876) and Haberl’s Regensburg gradual and antiphoner (1871 and 1878), represent scholarly, ‘Romantic’ attempts to restore the pre-eminence of plainchant in the Roman liturgy. These books were, however, outflanked by a vigorous campaign to restore the melodies of the earliest chant manuscripts, a far more radical restoration than that so far attempted, and rejecting the outright revival of the Medicean gradual by Haberl. The restoration culminated in the editions issued by the Benedictine monks of Solesmes between 1883 and the end of World War I. From the time of the monastery’s reconstitution in 1833 by Dom Prosper Guéranger (see Johnson, U1984), the monastic and liturgical renewal there reflected Ultramontane ideas – the centralization of Church government in Rome, the independence of the Church from secular authority and the infallibility of the Pope even in administrative decisions. Guéranger rejected neo-Gallicanism, and his views on 17th- and 18th-century liturgy and music, expressed in particularly negative terms in the Institutions liturgiques (Paris, 1840–51, 2/1878–85), formed the theoretical and philosophical basis of all subsequent chant reform by the Solesmes Benedictines.
Rousseau (U1945) and Combe (U1969), two historians of Solesmes, traced the beginnings of serious chant studies at the abbey to about 1856, when Dom Paul Jausions began transcribing the Rollington Processional, a 13th- or 14th-century English manuscript. This was nearly 20 years after the re-establishment of the monastery, at a time when the Reims-Cambrai editions were already in use. In 1860 Jausions was joined by Dom Joseph Pothier, destined to become the most respected figure in the restoration movement, and they began a laborious 20-year project of preparing completely new chant books for the Solesmes Congregation based on early neumatic sources.
Like the other chant book editors (Bogaerts, Clément, Nivers, Hermesdorff and Haberl), Pothier published his own treatise (Les mélodies grégoriennes d’après la tradition, Tournai, 1880/R), in which he defined his general editorial policies and theories of restoration, explained the rudiments of neumatic and staff notation, and at the same time put forward an oratorical interpretation of rhythm. Gregorian notation had no fixed and absolute note values; therefore the chant was sung in a natural, non-metrical style. Organization of the melody was controlled by two oratorical determinants: the tonic accent of the Latin text and the natural divisions of the text into words and phrases. Pothier’s ideas were influenced by the Méthode raisonnée de plainchant: le plain-chant considéré dans son rythme, sa tonalité et ses modes of Abbé Augustin Gontier (Paris, 1859).
A striking feature of Pothier’s Liber gradualis of 1883, apart from its typically romantic preface referring to Pope Gregory the Great as author of the Roman gradual, is its distinctive musical notation. Under Pothier’s direction new musical type was engraved by Desclée, Lefebvre & Cie in Tournai, Belgium. The hybrid design of these typographical neume characters was modelled on the notation of 13th- and 14th-century French manuscripts. Special ornamental signs representing the quilisma, cephalicus and epiphonus were adapted from pre-13th-century Guidonian practice (see Schmidt, U1895–6). An explanation of how to perform these neumes has been frequently included in introductions to the Solesmes chant books, such as the modern Liber usualis. The Pothier-Desclée-Solesmes font, which is noted for its diversity of type characters and its ability to depict liquescent neumes (see fig.11), is still used by some scholars for contemporary transcriptions of early plainchant notations. But there is also a tendency to move away from the Solesmes font to the use of isolated black note heads without stems (see Hiley, C1993).
The modern era of plainchant palaeography began in 1889 with another Solesmes enterprise, the series Paléographie Musicale: les Principaux Manuscrits de Chant … Publiés en Fac-Similés Phototypiques (PalMus; see Solesmes, §4). This was the first significant attempt to adapt the new technology of photography to the study of plainchant notation. The manuscripts were not always reproduced in their entirety; paraliturgical sections, for example, were omitted.
A century before the Paléographie Musicale began to appear, engraved specimens of neumes were used as illustrations, some on polychromatic plates, by Gerbert, Jumilhac, Martini, Hawkins, Forkel, Burney and others; like the unusable Lambillotte ‘facsimile’ of CH-SGs 359, however, these hand-made imitations could not match the accuracy of the later photographic reproductions.
The final decree by the Sacred Congregation of Rites supporting Haberl’s Regensburg edition of the chant books, the Quod sanctus Augustinus, appeared on 7 July 1894, and by 1901 Pustet’s privilege to publish the official chant books had been withdrawn. Among the last Pustet publications was the Regensburg-New York-Cincinnati missal of 1889 whose title publicized the earlier reforms of the Council of Trent and those made under Pius V (pontificate 1566–72), Clement VIII (1592–1605), Urban VIII (1623–44) and Leo XIII (1877–1903). The revocation came at the culmination of a complex and often bitter struggle between factions supporting the Allgemeine Cäcilien-Verein on the one side and the Benedictines of Solesmes on the other. The dispute seen from the Solesmes position was chronicled in detail by Combe (U1969), and Haberl’s lengthy first-hand account (U1902) remains an invaluable source for understanding the other point of view.
Leo XIII had long maintained a benevolent attitude towards Haberl and Pustet, but even before the pope’s death in 1903 there was a move to replace the Pustet chant books with those of Solesmes, and his successor Pius X (pontificate 1903–14), almost immediately after being elected, took decisive action. In his famous motu proprio of 22 November 1903, Tra le sollecitudini, Pius X defined the nature and kinds of sacred music, the role of singers, the use of instruments in worship and the length and performance of church music. The highest type of sacred music was the ancient chant of the liturgical manuscripts ‘which the most recent studies [i.e. those of Solesmes] have so happily restored to their integrity and purity’. He also encouraged the use of classical polyphony and permitted ‘figured music’ and falsobordoni on certain occasions.
Within two months of the appearance of the motu proprio, on 8 January 1904, the Congregation urged that the traditional chant be introduced as quickly as possible; the Vatican edition was officially announced during a general congress held between 4 and 9 April 1904. A second motu proprio of implementation was issued on 25 April 1904 stating that publishing rights for the new books would remain with the Vatican; that the restored melodies should conform to the ancient codices; that a special commission of ten members (with Pothier as president) and ten consultants should be appointed to supervise the new editions; and that the monks of Solesmes were to be entrusted with the editing of the music. Despite repeated clashes within the commission over editorial policies and the loss of editorship by Solesmes, three major Vatican chant books were published: the Kyriale seu ordinarium missae (1905), the Graduale sacrosanctae romanae ecclesiae (1908) and the Antiphonale sacrosanctae romanae ecclesiae (1912).
Once the kyriale had been published (see Grospellier, U1905–06), the differences of opinion that divided the commission reached public notice. Dispute centered largely on the antiquity of the manuscripts used to prepare the editions. The ‘archaeological school’ (Solesmes) insisted that the readings be taken from the oldest accessible sources, whereas the ‘traditionalists’ (such as Pothier, Gastoué and Peter Wagner), considered it important that the choral tradition of the late Middle Ages also be represented. Since the criteria adopted by the commission favoured the traditionalist position and inclined more to practical wisdom than to abstract theory, manuscripts representing various national practices were used, some dating from as late as the 14th and 15th centuries. The diversity allowed in the Vatican edition exposed the commission to criticism on the most fundamental aesthetic level.
Besides the problems of determining the authenticity of the restored melodies, there was the difficulty of the restoration of the melodies’ original rhythmic structure. By the mid-19th century many scholars, including Fétis, Coussemaker, Danjou, Nisard, Vitet, La Fage, Cloet, Lambillotte, Vincent, Jumilhac and Baini, had faced this problem. And even at this time opinion was divided as to whether chant should be performed in a free oratorical manner without measured note values, or according to some metrical scheme. Between 1895 and 1914, just as the Vatican editions were being prepared, argument among scholars on this matter was at its most intense.
The early mensuralists, among whom were Hugo Riemann, Antoine Dechevrens, Ludwig Bonvin, Georges Houdard, Oskar Fleischer, Eduard Bernoulli and Peter Wagner, conjectured that chant was sung to notes of unequal value that usually bore a proportional 2:1 relationship. The results of their rhythmic interpretations, however, were widely divergent. In the editions of Dechevrens a large number of notes are reduced to the status of rapid ornaments (U1902/R). Many of the rhythmic interpretations rely to a greater or lesser extent on the sophisticated detail in the notation of the early manuscripts from St Gallen (CH-SGs 359, 339), Einsiedeln (E 121) and Laon (F-LA 239), which indicate rhythmic, dynamic or agogic aspects of performance. This was also one of the principal sources of disagreement between Pothier and Mocquereau, Pothier regarding the notation as a local, passing phenomenon, Mocquereau arguing that it was an essential element of the earliest recoverable state of Gregorian chant. In accordance with Pothier’s views, the Sacred Congregation of Rites authorized the use of one uniform musical notation in the Vatican editions (11 and 14 August 1905, 14 February 1906, 7 August 1907, 8 April 1908); the addition of certain rhythmic signs was tolerated only under exceptional circumstances.
In 1905, the same year that the Vatican kyriale appeared, the firm of Desclée published a Kyriale seu ordinarium missae cum cantu gregoriano ad exemplar editionis vaticanae concinnatum et rhythmicis signis a solesmensibus monachis diligenter ornatum, which reflected the rhythmic theories of Dom André Mocquereau. The basis of the ‘méthode bénédictine’ advocated by Solesmes, which stood in direct opposition to mensuralist theories, was set out by Mocquereau in Le nombre musical grégorien (1908–27). While retaining Pothier’s basic ideas of free rhythm, Mocquereau developed an intricate theory of rhythmic motion deriving from the free binary and ternary metres of Greek and Latin rhetoric, although he was careful to point out that Gregorian rhythm was specifically musical and independent of speech rhythm. He denied a distinction between the punctum or virga, either in terms of their duration or their intensity: the punctum represented a low-pitched sound, not a quaver, and the virga was a higher-pitched note, not equivalent to a crotchet. Two types of pulse, basic and composite, comprising one, two or three notes, were the constituent members of the melodic phrase. In the Solesmes editions these pulses were indicated by special notational signs – the vertical and horizontal strokes and bars, the rhythmic point (punctum mora), and the comma (a short breath mark). The rhythmic movement of these pulses was affected by dynamic modifications, the contrasts of ‘élan’ and ‘repos’, which can be compared roughly to upbeat (arsis) and downbeat (thesis). As a practical aid, Mocquereau devised cheironomic gestures in the form of undulating lines that were sometimes superimposed on the melodies to depict the ebb and flow of the arsis and thesis movement (see fig.12).
Although much labour and ‘Romantic’ scholarship went into the preparation of the Pothier, Vatican and Solesmes chant books, the latter cannot be considered critical editions in any sense, because they lack commentaries and do not specify the manuscript sources of each melody. Special collections, such as the Solesmes Variae preces (1896) and Carl Ott’s Offertoriale (1935) (see Steiner, K1966, p.164), provide some clues to the sources. However, the modern chant books are by and large functional compilations. To the inexperienced student, these books can easily seem to possess an absolute authority, both musically and liturgically, and can stand as formidable barriers to a true understanding and appreciation of the immense diversity of medieval chant. Such an understanding may be further impeded by the widespread use of textbooks based almost entirely on these publications (for example, Apel’s Gregorian Chant, C1958).
In the later decades of the 20th century an offshoot of the Solesmes school emerged whose adherents associated themselves with the palaeographic theories of the Solesmes Benedictine monk Dom Eugène Cardine (1905–88). This is the field of Gregorian semiology (‘Sémiologie grégorienne’), which extends and modifies the earlier work at Solesmes on the rhythmic detail of the early neumed manuscripts. The principal features of this detail reside in the use of supplementary strokes (episemata) attached to the St Gallen neumes, letters (‘significative’ or ‘Romanus’ letters) complementing the neumes, the modification of normal neume shapes to indicate peculiarities of delivery, and the way in which notes are grouped (reflected in the ‘coupure neumatique’, or ‘neumatic break’). The wealth of detail is indeed impressive. For example, Smits van Waesberghe (J.i 1936–42, ii, p.250) reported that over 32,300 rhythmic letters occur in CH-E 121 (facs. in PalMus, 1st ser., iv, 1894/R), over 4100 in SGs 359 (PalMus, 2nd ser., ii, 1924/R) and over 12,900 in SGs 390 and 391 (PalMus, 2nd ser., i, 1900/R).
The new investigation of these rhythmic signs is important in two respects: firstly, it has stimulated considerable interest in close reading of primary sources; second, and perhaps more fundamentally, it may contribute to a better historical and musicological understanding of early chant. Semiotics has gained widespread popularity in other fields of music (see J.-J. Nattiez: ‘Reflections on the Development of Semiology in Music’, MAn, viii, 1989, pp.21–75; and J.M. Joncas: ‘Musical Semiotics and Liturgical Musicology: Theoretical Foundations and Analytic Techniques’, Ecclesia orans, viii, 1991–2, pp.181–206); but despite the extraordinary claims made for Gregorian semiology, not least by Cardine himself – ‘semiology is the entrance necessary for all knowledge of Gregorian chant’ – it is probably still too early to assess its practical implications. Most semiological chant research is published in Etudes grégoriennes, Rivista internazionale di musica sacra, Beiträge zur Gregorianik and Studi gregoriani.
A development of great importance in the history of Western plainchant began on 4 December 1963 when the Second Vatican Council (11 October 1962 to 8 December 1965) promulgated its first official document ‘The Constitution on the Sacred Liturgy’ (Acta apostolicae sedis, lvi, 1964, pp.128–9). Outwardly, the article in chapter 5, ‘Of Sacred Music’, seems very similar to earlier 20th-century legislation on church music, such as Pius X’s Tra le sollecitudini of 22 November 1903 (Acta sanctae sedis, xxxvi, 1903–04, pp.329–39); the Divini cultus sanctitatem of 20 December 1928 (Acta apostolicae sedis, xxi, 1929, pp.33–41); the Mediator Dei et hominum of 20 November 1947 (ibid., xxxix, 1947, pp.588–91); the Musica sacra disciplina of 25 December 1955 (ibid., xlviii, 1956, pp.5–25); and the Instructio de musica sacra et sacra liturgia of 3 December 1958 (ibid., l, 1958, pp.630–63). Gregorian chant is extolled in fashionable 19th-century jargon, and acknowledgment is given in the manner expected to sacred polyphony, the typical editions, the use of the organ and the role of the modern composer (Articles 113, 116, 117, 120, 121).
Nevertheless, the true intent of liturgical renewal expressed elsewhere in the Constitution is scarcely traditional. Faced with an increasingly secularized society, the Council sought to retain the allegiance of the faithful by endorsing a new pastoral theology of ‘active participation’ (‘actuosa participatio’; see Articles 14, 21, 30 etc.). Unlike the reforms brought about by the Council of Trent, which were conservative in that they sought to standardize and retain existing liturgical practice throughout Europe, the reforms of the Second Council have been regarded by many as essentially contrary to any form of liturgical development known in the past. Fundamental changes have taken place that have profoundly affected the nature and function of traditional Gregorian chant: vernacular languages have largely replaced Latin (Articles 36, 54), completely new liturgical formularies have been introduced, and the structures of the Mass, Office and the liturgical year have been revised (Articles 50, 107 etc.). (See also Liturgy of the Hours, and Ordo cantus missae.)
Despite the Instructio de musica in sacra liturgia (Acta apostolicae sedis, lix, 1967, pp.300–20) issued by the Sacred Congregation of Rites on 5 March 1967 to implement the articles of chapter 6, a widespread debate over the democratization of church music continues. Some regard the juridical documents on sacred music published since 1900, the Vatican and Solesmes chant books and later liturgical publications (such as the Roman gradual of 1974, the Graduale triplex of 1979 and the Psalterium, cum cantu gregoriano of 1981) as out of touch with the realities of the post-Conciliar period. Others regard the widespread promotion of the type of ‘liturgical’ music exemplified by songs in popular idiom, often with a strong socio-political message, slender theological content and variable musical and literary merit, as utterly alien to the Church’s heritage; in terms of its melodic and harmonic style, its circumstances of performance (generally young, untrained voices against an accompaniment of guitars, percussion, electronic keyboards etc.) and its secular ethos, much of this music is barely distinguishable from certain genres of pop music.
Given the periodic nature of liturgical reform – approximately every 60 years since the Council of Trent – one might predict that in about the year 2025 another Council will have to be called to deal with, among other things, the liturgical and musical chaos resulting from too liberal an interpretation of ‘actuosa participatio’ and from the virtual abandonment by the Church of its traditional musical patrimony. At that time it might be well to return some semblance of orthodoxy to the celebration of the liturgy and to restore cantus planus to its central place within the Roman rite.
See also Roman Catholic church music and Notation, §III, 1.
a: modern editions and related literature
b: bibliographies, discographies
c: surveys of chant and liturgy; methodology
e: computer programs and databases
g: old roman chant; relationship with gregorian chant
i: oral transmission; beginnings of notation
k: the proper and ordinary chants of mass and office, hymnody, processional chants
n: liturgical dramas, planctus, marienklagen
o: studies of specific medieval masses, offices, feasts, hagiography
q: plainchant and liturgy in the religious orders
r: chant dialects, regional variants, institutions, personalities
s: scandinavia and central europe
u: from the council of trent to the present
D = no. in lists of Société de St Jean l’Evangéliste, Desclée & Cie, Tournai, printers to the Holy See and the Sacred Congregation of Rites.
Antiphonale missarum juxta ritum sanctae ecclesiae mediolanensis, ed. G.M. Suñol (Rome, 1935), D 816 [Ambrosian]
Antiphonale monasticum pro diurnis horis (Tournai, 1934), D 818 [AM]
Antiphonale romanum-seraphicum pro horis diurnis (Paris, 1928), D 834 [Franciscan]
Antiphonale sacrosanctae romanae ecclesiae (Rome, 1912), D 820 [AR]
Antiphonarii cisterciensis … auctoritate Gabrielis Sortais editi (Westmalle, 1954–5)
Antiphonarium cisterciense auctoritate Dominici Rogues editum (Westmalle, 1947)
Compendium gradualis et antiphonalis romani pro dominicis et festis (Paris, 1924), D 790c
Delectus missarum e graduali romano: a Selection of Masses from the Roman Gradual, Vatican Version. Modern Notation with Rhythmical Signs, Fischer edition, 4370 (New York, 1919) [chants notated in quavers and crotchets]
Dominicale romanum cantus ad missam, vesperas, completorium et benedictionem SS. Sacramenti in dominicis et festis praecipuis (Tournai, 1949), D 865
Graduale cisterciense auctoritate R.D. Hermanni Josephi Smets (Westmalle, 1934)
Graduale juxta ritum sacri Ordinis Praedicatorum auctoritate … Emmanuelis Suarez (Rome, 1950) [Dominican]
Graduale juxta ritum sacri Ordinis Praedicatorum auctoritate Hyacinthi M. Cormier (Rome, 1923) [Dominican]
Graduale romanum … editio Schwann P (Düsseldorf, 1953)
Graduale romanum … restitutum et editum Pauli VI (Solesmes, 1974) [follows liturgical reforms of Vatican II]
Graduale sacrosanctae romanae ecclesiae (Rome, 1908), D 696 [GR]
Graduale sacrosanctae romanae ecclesiae (Burnham, 1930) [Plainsong and Mediaeval Music Society pubn]
Graduale triplex, seu Graduale romanum Pauli PP. VI cura recognitum & rhythmicis signis a Solesmensibus monachis ornatum, neumis laudunensibus (cod. 239) et sangallensibus (codicum San Gallensis 359 et Einsidlensis 121) nunc auctum (Solesmes, 1979)
Hymnarium cisterciense auctoritate Gabrielis Sortais editum (Westmalle, 1952)
Hymni de tempore et de sanctis in textu antiquo et novo cum tonis usitatis in congregatione gallica O.S.B. (Solesmes, 1885)
Liber hymnarius cum invitatoriis & aliquibus responsoriis (Solesmes, 1982))
Liber responsorialis pro festis I. classis et communi sanctorum juxta ritum monasticum (Solesmes, 1894), D 831
Liber usualis missae et officii pro dominicis et festis I vel II. classis (Rome, 1921), D 780
The Liber Usualis with Introduction and Rubrics in English Edited by the Benedictines of Solesmes (Tournai, 1934), D 801 [LU]
Liber vesperalis juxta ritum sanctae ecclesiae mediolanensis, ed. G. M. Suñol (Rome, 1939), D 811 [Ambrosian]
Mass and Vespers with Gregorian Chant for Sundays and Holy Days: Latin and English Text Edited by the Benedictines of the Solesmes Congregation (Tournai, 1957), D 805
Missale romanum auctoritate Pauli PP. VI promulgatum: Ordo missae in cantu (Solesmes, 1975)
Offertoriale, sive Versus offertoriorum cantus gregoriani (Paris, 1935), D 837
Praefationes in cantu missale romanum auctoritate Pauli P. VI promulgatum (Solesmes, 1972)
Processionale monasticum ad usum congregationis gallicae Ordinis Sancti Benedicti (Solesmes, 1893), D 830
Processionarium juxta ritum sacri Ordinis Praedicatorum auctoritate … Emmanuelis Suarez (Rome, 1949) [Dominican]
Processionarium juxta ritum s. Ordinis Praedicatorum auctoritate … Hyacinthe Marie Cormier (Rome, 1913) [Dominican]
Proprium de tempore pro partibus Gradualis romani ... cantum gregorianum harmonice modulavit ad normam editionis rhythmicae a Solesmensibus monachis exaratae, ed. J. Baas (Paris, 1925), D 761H [org accomp. to part of the 1908 Solesmes GR]
Psalterium monasticum (Solesmes, 1981)
Variae preces ex liturgia, tum hodierna tum antiqua (Solesmes, 1896), D 808
Vesperale romanum, cum cantu gregoriano (Tournai, 1924), D 840
H. Vinck: ‘Quelques documents inédits concernant l’édition du Graduale romanum 1908’, Ephemerides liturgicae, lxxxvi (1972), 290–98
F. Haberl: Das Kyriale romanum: liturgische und musikalische Aspekte (Bonn, 1975)
F. Haberl: Das Graduale romanum: liturgische und musikalische Aspekte, i: Die antiphonalen Gesänge, Introitus und Communio (Bonn, 1976)
L. Kunz: ‘Die Editio Vaticana’, Geschichte der katholischen Kirchenmusik, ed. K.G. Fellerer, ii (Kassel, 1976), 287–93
J. Froger: ‘The Critical Edition of the Roman Gradual by the Monks of Solesmes’, JPMMS, i (1978), 81–97
T. Schnitker and W.A. Slaby, eds.: Concordantia verbalia missalis romani (Münster, 1983)
D.M. Fournier: ‘Sources scripturaires et provenance liturgique des pièces de chant du graduel de Paul VI’, EG, xxi (1986), 49–96 [Old Testament]; xxii (1988), 109–75 [Psalms]; xxiii (1989), 27–70 [conclusion]
R.F. Hayburn: ‘Printed Editions of the Chant Books’, Sacred Music, cxv/2 (1988), 19–25 [selective list of sources pubd between 1476–1987]
J.A. Emerson: ‘Desclée’, Music Printing and Publishing, ed. D.W. Krummel and S. Sadie (London and New York, 1990)
J.M. Guilmard: Tonaire des pièces de la messe selon le Graduale triplex et l’Offertoriale triplex (Solesmes, 1991)
P. Jeffery: ‘The New Chantbooks from Solesmes’, Notes, xlvii (1991), 1039–63
D.M. Fournier: Concordance textuelle du Graduale romanum triplex et des versets de l’Offertoriale triplex (Solesmes, 1996)
L. Agustoni and others: ‘Vorschläge zur Restitution von Melodien des Graduale romanum’, Beiträge zur Gregorianik, xxi– (1996–)
C. Marbach, ed.: Carmina scripturarum, scilicet antiphonas et responsoria ex sacro scripturae fonte in libros liturgicos sanctae ecclesiae romanae derivata (Strasbourg, 1907/R)
G.M. Suñol: Introducció a la paleografía musical gregoriana (Montserrat, 1925; Fr. trans., enlarged, 1935) [with extensive bibliography up to the 1920s]
U. Bomm: ‘Gregorianischer Gesang’, Archiv für Liturgiewissenschaft, i (1950), 397–443, iv (1955), 184–222; vi (1959), 256–90; vii (1962), 470–511; ix (1965), 232–77; xiv (1972), 283–328 [annotated bibliography]
J. Smits van Waesberghe: ‘L’état actuel des recherches scientifiques dans le domaine du chant grégorien (jusqu’au 1er avril 1957)’, Congrès de musique sacrée III: Paris 1957, 206–17
H. Walther, ed.: Initia carminum ac versuum medii aevi posterioris latinorum/Alphabetisches Verzeichnis der Versänfange mittellateinischer Dichtungen (Göttingen, 1959, 2/1969)
W. Lipphardt: ‘Der gegenwärtige Stand der Gregorianik-Forschung’, IMSCR IX: Salzburg 1964, ii, 156–66
C. Vogel: Introduction aux sources de l’histoire du culte chrétien au Moyen Age (Turin, 1966/R; Eng. trans., rev., 1986, as Medieval Liturgy: an Introduction to the Sources)
J.R. Bryden and D.G. Hughes: An Index of Gregorian Chant (Cambridge, MA, 1969)
A. Hughes: Medieval Music: the Sixth Liberal Art (Toronto, 1974, 2/1980) [over 2000 bibliographical entries]
M. Huglo: ‘Etat des recherches sur le chant grégorien de 1964 à 1975’, Congrès grégorien international: Strasbourg 1975, 36–46
D. Schaller and E. Könsgen, eds.: Initia carminum latinorum saeculo undecimo antiquiorum: bibliographisches Repertorium für die lateinische Dichtung der Antike und des frühen Mittelalters (Göttingen, 1977)
Revue des sciences philosophiques et théologiques, lxiii– (1979–) [incl. ‘Bulletin de liturgie’, ed. P.-M Gy: a regular series of bibliographical reports incl. plainchant reviews]
R.W. Pfaff: Medieval Latin Liturgy: a Select Bibliography (Toronto, 1982)
R. Steiner: ‘Directions for Chant Research in the 1980s’, JM, i (1982), 34–8
W. Heckenbach: ‘Gregorianik-Forschung zwischen 1972–1983’, KJb, lxvii (1983), 105–14
J. Viret: ‘Dix années de recherche grégorienne: 1975–1985’, Congrès de chant grégorien: Paris 1985 [ReM, nos.379–80 (1985)], 159–69
B. Rajeczky: ‘Trends der heutigen Choralforschung’, Cantus planus III: Tihány 1988, 93–8 [a survey of 20th-century scholarly pubns on plainchant]
E.C. Hansen: Nineteenth-Century European Catholicism: an Annotated Bibliography of Secondary Works in English (New York, 1989)
T. Kohlhase and G.M. Paucker: Bibliographie gregorianischer Choral, Beiträge zur Gregorianik, ix–x (1990); xv–xvi (1993) [comprehensive chant bibliography of secondary sources, with more than 4250 entries]
J.F. Weber: A Gregorian Chant Discography (Utica, NY, 1990)
Plainsong and Medieval Music [PMM], i– (1992–) [incl. ‘Liturgical Chant Bibliography’, ed. P. Jeffery; ‘Recordings: Recent Releases of Plainchant’, ed. J.F. Weber: important and wide-ranging compilations, regularly updated, of published studies/lists of recordings with commentary]
D. Hiley: Western Plainchant: a Handbook (Oxford, 1993) [detailed survey of plainchant, incl. extensive retrospective bibliography, pp.xxxi–xcvii]
Ephemerides liturgicae, cvii– (1993–) [incl. ‘Studia recentiora de sacra liturgia’, ed. A. Ward: a regular series of bibliographical reports incl. plainchant studies]
I. Fernández de la Cuesta: ‘Libros de música litúrgica impresos en España ante de 1900, II: siglos XV y XVI’, Música, iii (1996), 11–29 [approximately 145 printed liturgical books dating from 1485–1600 in 170 different libraries]
M. Huglo: ‘La recherche en musicologie médiévale au XXe siècle’, Cahiers de civilisation médiévale, xxxix (1996), 67–84
D. Hiley: ‘Writings on Western Plainchant in the 1980s and 1990s’, AcM, lxix (1997), 53–93 [with bibliography, pp.70–93]
G.R. Hill and N.L. Stephens, eds.: Collected Editions, Historical Series & Sets, & Monuments of Music: a Bibliography (Berkeley, 1997) [see esp. under ‘Catholic Church’]
PL
MGG2
E. Martène, ed.: De antiquis ecclesiae ritibus (Antwerp, 2/1736–8/R)
M. Gerbert: De cantu et musica sacra a prima ecclesiae aetate usque ad praesens tempus (St Blasien, 1774/R)
P. Batiffol: Histoire du bréviaire romain (Paris, 1893, 3/1911; Eng. trans., 1912)
S. Bäumer: Geschichte des Breviers (Freiburg, 1895; Fr. trans., 1905)
F.E. Brightman: Liturgies Eastern and Western, being the Texts, Original or Translated of the Principal Liturgies of the Church (Oxford, 1896/R)
A. Ebner: Quellen und Forschungen zur Geschichte und Kunstgeschichte des Missale romanum im Mittelalter: Iter italicum (Freiburg, 1896/R)
P. Wagner: Einführung in die gregorianischen Melodien: ein Handbuch der Choralwissenschaft, i: Ursprung und Entwicklung der liturgischen Gesangsformen bis zum Ausgang des Mittelalters (Leipzig, 2/1901, 3/1911/R; Eng. trans., 1901/R); ii: Neumenkunde: Paläographie des liturgischen Gesanges (Leipzig, 1905, 2/1912/R); iii: Gregorianische Formenlehre: eine choralische Stilkunde (Leipzig, 1921/R)
F. Cabrol and H. Leclercq, eds.: Dictionnaire d’archéologie chrétienne et de liturgie (Paris, 1903–53)
A. Gastoué: L’art grégorien (Paris, 1911, 3/1920/R)
A. Gastoué: Musique et liturgie: le graduel et l’antiphonaire romains: histoire et description (Lyons, 1913/R)
E. Bishop: Liturgica historica: Papers on the Liturgy and Religious Life of the Western Church (Oxford, 1918/R)
L. Duchesne: Origines du culte chrétien: étude sur la liturgie latine avant Charlemagne (Paris, 5/1920, Eng. trans., 1927/R)
L. Eisenhofer: Katholische Liturgik (Freiburg, 1924, 4/1937 as Grundriss der katholischen Liturgik, rev. 5/1950 by J. Lechner as Grundriss der Liturgik des römischen Ritus, 6/1953 as Liturgik des römischen Ritus; Eng. trans., 1961)
M. Buchberger, ed.: Lexikon für Theologie und Kirche (Freiburg, 1930–38, 3/1993–7)
P. Ferretti: Estetica gregoriana ossia Trattato delle forme musicali del canto gregoriano, i (Rome, 1934/R; Fr. trans., 1938); ii ed. and completed P.M. Ernetti as Estetica gregoriana dei recitativi liturgici (Venice, 1964)
M. Andrieu, ed. Le pontifical romain du Moyen-Age (Vatican City, 1938–41)
G. Dix: The Shape of the Liturgy (London, 1945, 2/1947/R)
J.A. Jungmann: Missarum sollemnia: eine genetische Erklärung der römischen Messe (Vienna, 1948, 5/1962; Eng. trans., 1951–5/R as The Mass of the Roman Rite)
W. Apel: Gregorian Chant (Bloomington, IN, 1958, 2/1990)
F.Ll. Harrison: ‘The Liturgy and its Plainsong’, Music in Medieval Britain (London, 1958, 4/1980), 46–103
S. Corbin: L’église à la conquête de sa musique (Paris, 1960)
F. Tack: Der gregorianische Choral, Mw, xviii (1960; Eng. trans., 1960)
G. Nocilli: La messa romana: suo sviluppo nella liturgia e nel canto (Venice, 1961)
G.G. Willis: Essays in Early Roman Liturgy (London, 1964)
C. Vogel: Introduction aux sources de l’histoire du culte chrétien au Moyen Age (1966/R; Eng. trans., rev., 1986, as Medieval Liturgy: an Introduction to the Sources)
G.G. Willis: Further Essays in Early Roman Liturgy (London, 1968)
J. Porte, ed.: Encyclopédie des musiques sacrées (Paris, 1968–70)
D. Nicholson, ed.: A Dictionary of Plainsong (Mount Angel Abbey, OR, 1971)
A.J. Bescond: Le chant grégorien (Paris, 1972)
K.G. Fellerer, ed.: Geschichte der katholischen Kirchenmusik (Kassel, 1972–6)
B. Stäblein: Schriftbild der einstimmigen Musik, Musikgeschichte in Bildern, iii/4 (Leipzig, 1975)
G. Cattin: Il Medioevo, I, Storia della musica, i/2 (Turin, 1979, enlarged 2/1991 as La monodia nel Medioevo; Eng. trans., 1984, as Music of the Middle Ages, I)
R.F. Hayburn: Papal Legislation on Sacred Music 95ad to 1977ad (Collegeville, MN, 1979)
D. Hiley: ‘Recent Research on the Origins of Western Chant’, EMc, xvi (1988), 203–13
H. Hucke: ‘Choralforschung und Musikwissenschaft’, Das musikalische Kunstwerk: Festschrift Carl Dahlhaus, ed. H Danuser and others (Laaber, 1988), 131–41
A. Hughes: Style and Symbol: Medieval Music, 800–1453 (Ottawa, 1989)
R. Crocker and D. Hiley, eds.: The Early Middle Ages to 1300, NOHM, ii (1990) [incl. K. Levy: ‘Latin Chant Outside the Roman Tradition’, 69–110, 733–43; R. Crocker: ‘Liturgical Materials of Roman Chant’, 111–45, 743–51; R. Crocker: Chants of the Roman Office’, 146–73; R. Crocker: ‘Chants of the Roman Mass’, 174–222; R. Crocker: ‘Medieval Chant’, 225–309; S. Rankin: ‘Liturgical Drama’, 310–56, 751–7]
P.-M. Gy: La liturgie dans l’histoire (Paris, 1990)
J.W. McKinnon, ed.: Antiquity and the Middle Ages: from Ancient Greece to the 15th Century (London, 1990) [incl ‘Christian Antiquity’, 68–87; ‘The Emergence of Gregorian Chant in the Carolingian Era’, 89–119; D. Hiley: ‘Plainchant Transfigured: Innovation and Reformation through the Ages’, 120–42]
J. Harper: The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century: a Historical Introduction and Guide for Students and Musicians (Oxford, 1991)
H. Möller and R. Stephan, eds.: Die Musik des Mittelalters (Laaber, 1991) [incl. R. Steiner: ‘Einfuhrung und Verbreitung der lateinischen liturgischen Gesänge in der Karolingerzeit’, 33–53; L. Treitler: ‘Mündliche und schriftliche Überlieferung: Anfänge der musikalischen Notation’, 54–93; A. Haug: ‘Neue Ansatze im 9. Jahrhundert’, 94–128; H. Möller: ‘Institutionen, Musikleben, Musiktheorie’, 129–99]
L. Treitler: ‘The Politics of Reception: Tailoring the Present as Fulfillment of a Desired Past’, JRMA, cxvi (1991), 280–98
P. Jeffery: Re-envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant (Chicago, 1992)
D. Hiley: Western Plainchant: a Handbook (Oxford, 1993)
M. Walter: Grundlagen der Musik des Mittelalters: Schrift – Zeit – Raum (Stuttgart, 1994) [incl. an extensive bibliography of the secondary literature, 323–65]
R. Flotzinger and G. Gruber, eds.: Musikgeschichte Österreichs, i: Von den Anfängen zum Barock (Vienna, 2/1995), esp. chaps.3–4
C. Johnson and A. Ward: ‘Edmund Bishop’s The Genius of the Roman Rite: its Context, Import, and Promotion’, Ephemerides liturgicae, cx (1996), 401–44
manuscripts, facsimiles, incunabula, history of liturgical books, catalogues
PalMus [see Solesmes, §4]
G.M. Dreves, C. Blume and H.M. Bannister, eds.: Analecta hymnica medii aevi (Leipzig, 1886–1922/R)
U. Chevalier: Repertorium hymnologicum (Leuven and Brussels, 1892–1921)
W.H. Frere, ed.: Graduale sarisburiense [GS] (London, 1894/R) [facs.]
W.H. Frere: Bibliotheca musico-liturgica: a Descriptive Handlist of the Musical and Latin-Liturgical MSS of the Middle Ages Preserved in the Libraries of Great Britain and Ireland (London, 1894–1932/R)
W.H. Frere, ed.: Antiphonale sarisburiense [AS] (London, 1901–25/R) [facs.]
H. Loriquet, J. Pothier and A. Collette, eds.: Le graduel de l’église cathédrale de Rouen au XIIIe siècle (Rouen, 1907) [facs. of F-Pn lat.904]
H.M. Bannister: Monumenti vaticani di paleografia musicale latina (Leipzig, 1913/R)
G. Beyssac: ‘Notes sur un graduel-sacramentaire de St Pierre de Bantz du XIIe siècle’, Revue bénédictine, xxxiii (1921) 190–200
V.M. Leroquais: Les sacramentaires et les missels manuscrits des bibliothèques publiques de France (Paris, 1924)
P. Wagner, ed.: Das Graduale der St. Thomaskirche zu Leipzig (14. Jahrhundert) (Leipzig, 1930–32/R) [facs.]
M. Andrieu, ed.: Les Ordines romani du haut Moyen-Age (Leuven, 1931–56/R)
V. Leroquais: Les bréviaires manuscrits des bibliothèques publiques de France (Paris, 1934)
R.-J. Hesbert, ed.: Antiphonale missarum sextuplex [AMS] (Brussels, 1935/R)
M. Andrieu: Le pontifical romain au Moyen-Age (Rome, 1938–41)
J.M. Hanssens, ed.: Amalarii episcopi opera liturgica omnia (Vatican City, 1948–50)
P. Siffrin: ‘Eine Schwesterhandschrift des Graduale von Monza: Reste zu Berlin, Cleveland und Trier’, Ephemerides liturgicae, lxiv (1950), 53–80 [a 9th-century fragment of 4 bifolia from north-east France]
S. Corbin: ‘Le fonds manuscrit de Cadouin’, Bulletin de la Société historique et archéologique du Périgord, lxxxi, suppl. (1954), 1–34
R.-J. Hesbert: Les manuscrits musicaux de Jumièges, Monumenta musicae sacrae, ii (Mâcon, 1954)
W. Irtenkauf: Das neuerworbene Weingartner Troper der Stuttgarter Landesbibliothek (Cod. brev. 160)’, AMw, xi (1954), 280–95
G. Vecchi, ed.: Troparium sequentiarium nonantulanum: Cod. Casanat. 1741, MLMI, 1st ser., Latina, i (1955) [facs.]
F. Bussi: L’antifonario graduale della basilica di S. Antonino in Piacenza (sec. XII) (Piacenza, 1956)
L.C. Mohlberg, ed.: Sacramentarium veronese (Rome, 1956, 3/1978) [edn of Leonine Sacramentary]
Le graduel romain: édition critique par les moines de Solesmes (Solesmes, 1957–)
J. Emerson: ‘The Recovery of the Wolffheim Antiphoner’, AnnM, vi (1958–63), 69–97
P.-M. Gy: ‘Collectaire, rituel, processional’, Revue des sciences philosophiques et théologiques, xliv (1960), 441–69
L.C. Mohlberg and P. Siffrin: Liber sacramentorum romanae ecclesiae ordinis anni circuli (Rome, 1960)
D. Balboni: ‘Nomenclatura per la catalogazione dei liturgici’, Ephemerides liturgicae, lxxv (1961), 223–36; xcix (1985), 517–24
K. Meyer-Baer: Liturgical Music Incunabula: a Descriptive Catalogue (London, 1962)
K. Gamber: Codices liturgici latini antiquiores (Fribourg, 1963, 2/1968; suppl., ed. B. Baroffio and others, 1988)
C. Vogel and R. Elze: Le pontifical romano-germanique du Xe siècle (Rome, 1963–72)
R.-J. Hesbert, ed.: Corpus antiphonalium officii [CAO], vii–xii (1963–79)
H. Husmann, ed.: Tropen- und Sequenzenhandschriften, RISM, B/V/1 (1964)
R.-J. Hesbert: Le tropaire-prosaire de Dublin: manuscrit Add. 710 de l’Université de Cambridge (vers 1360) (Rouen, 1966) [facs.]
C. Vogel: Introduction aux sources de l’histoire du culte chrétien au Moyen Age (1966/R; Eng. trans., rev., 1986, as Medieval Liturgy: an Introduction to the Sources)
L. Feininger: Repertorium cantus plani (Trent, 1969–71)
W. Heckenbach: Das Antiphonar von Ahrweiler (Cologne, 1971)
M. Huglo: Les tonaires: inventaire, analyse, comparaison (Paris, 1971)
J. Stenzl: Repertorium der liturgischen Musikhandschriften der Diözesen Sitten, Lausanne und Genf (Fribourg, 1972)
F.E. Hansen: H 159 Montpellier: Tonary of St. Bénigne of Dijon (Copenhagen, 1974)
K.D. Hartzell: ‘A St. Albans Miscellany in New York’, Mittellateinisches Jb, x (1975), 20–61
B. Moreton: The Eighth-Century Gelasian Sacramentary: a Study in Tradition (Oxford, 1976)
N. Stuart: ‘Melodic Corrections in an Eleventh-Century Gradual (Paris, B.N., lat. 903)’, JPMMS, ii (1979), 2–10
R. Pynson, ed.: Processionale ad usum Sarum: 1502, i (Clarabricken, Co. Kilkenny, 1980) [facs.]
A. Dumas, ed.: Liber sacramentorum Gellonensis (Turnhout, 1981)
R.-J. Hesbert, ed.: Le graduel de Saint-Denis: manuscrit 384 de la Bibliothèque Mazarine de Paris (Paris 1981) [facs.]
A. Hughes: ‘Medieval Liturgical Books in Twenty-Three Spanish Libraries: Provisional Inventories’, Traditio, xxxviii (1982), 365–94
A. Hughes: Medieval Manuscripts for Mass and Office (Toronto, 1982)
K H. Staub, P. Ulveling and F. Unterkircher, eds.: Echternacher Sakramentar und Antiphonar: vollstandige Faksimile-Ausgabe im Originalformat der Handschrift 1946 aus dem Besitz der Hessischen Landes- und Hochschulbibliothek Darmstadt (Graz, 1982)
J. Szendrei and R. Ribarič, eds.: Missale notatum strigoniense ante 1341 in Posonio (Budapest, 1982)
L. Treitler: ‘Paleography and Semiotics’, Musicologie médiévale: Paris 1982, 17–27
M.C. Peñas García: La música en los evangeliarios españoles (Madrid, 1983) [comparative study of chant tunes]
Die Handschrift St. Gallen, Stiftsbibliothek 359: Cantatorium, Monumenta palaeographica gregoriana, iii (Münsterschwarzach, 1984) [facs.]
I. Fernández de la Cuesta, ed.: Antiphonale silense: British Library Mss. Add.30850: introducción, indices y edición (Madrid, 1985) [facs.]
H. Gneuss: ‘Liturgical Books in Anglo-Saxon England and their Old English Terminology’, Learning and Literature in Anglo-Saxon England: Studies Presented to Peter Clemoes, ed. M. Lapidge and H. Gneuss (Cambridge, 1985), 91–142
G. Björkvall: Les deux tropaires d’Apt, mss. 17 et 18: inventaire analytique des mss. et édition des textes uniques (Stockholm, 1986)
Die Handschrift Bamberg, Staatsbibliothek, Lit. 6, Monumenta palaeographica gregoriana, ii (Münsterschwarzach, 1986) [facs.]
G.M. Paucker: Das Graduale Msc. lit. 6 der Staatsbibliothek Bamberg: eine Handschriften-Monographie unter besonderer Berücksichtigung des Repertoires und der Notation (Regensburg, 1986)
Tradizione manoscritta e pratica musicale: i codici di Puglia: Bari 1986
M. Lütolf, ed.: Das Graduale von Santa Cecilia in Trastevere (Cod. Bodmer 74) (Cologny-Geneva, 1987) [facs.]
B.G. Baroffio: ‘I manoscritti liturgici italiani: richerche, studi, catalogazione (1980–1987)’, Le fonti musicali in Italia, i (1987), 65–126; ii (1988), 89–134; iii (1989), 91–118; v (1991), 7–129
M. Huglo: Les livres de chant liturgique (Turnhout, 1988)
C. Lamagat: Le fonds des manuscripts médiévaux de la Bibliothèque d’Albi: étude paléographique et approche musicale (diss., U. of Toulouse II, 1988)
A.E. Planchart: ‘Fragments, Palimpsests, and Marginalia’, JM, lxv (1988), 293–339
O.T. Edwards: ‘How Many Sarum Antiphonals were there in England and Wales in the Middle of the Sixteenth Century?’, Revue bénédictine, xcix (1989), 155–80
Die Handschrift St. Gallen, Stiftsbibliothek 390[–391]: Antiphonarium Hartkeri, Monumenta palaeographica gregoriana, iv (Münsterschwarzach, 1989) [facs.]
M. Kreuels: Indizes der Handschriften zu Graduale Triplex und Offertoriale Triplex (Regensburg, 1989) [CH-SGs 359, 339, 376, 390/91, E 121; D-BAs lit.6; F-LA 239,CHRm 47, Mont-Renaud (Noyon), MOf H 159, Pn lat.776 (Albi), lat.903 (St. Yrieix); I-BV 33, 34, Rvat 10673, Ra 123 ; A-Gu 807 (Klosterneuburg)]
M.P. Bezuidenhout: An Italian Office Book of the Late Thirteenth Century (Cape Town, 1990) [transcr. of a MS in the Grey Collection of SA-Csa]
L. Collamore and J.P. Metzinger, eds.: The Bamberg Antiphoner, Staatsbibliothek, lit. 25 (Washington DC, 1990) [printout from CANTUS index in machine-readable form]
L. Collamore and J.P. Metzinger, eds.: Frere’s Index to the Antiphons of the Sarum Antiphoner: an Expanded Version (London, 1990)
L. Dobszay, ed.: Corpus Antiphonalium Officii – Ecclesiarium Centralis Europae, I/A: Salzburg (Temporale) (Budapest, 1990) [pubn derived from CAO–ECE database]
H. Möller, ed.: Das Quedlinburger Antiphonar (Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus. ms. 40047) (Tutzing, 1990) [incl. facs.]
J. Szendrei, ed.: Graduale strigoniense (s. XV/XVI) (Budapest, 1990–93)
R. Flotzinger: Choralhandschriften österreichischer Provenienz in der Bodleian Library, Oxford (Vienna, 1991)
E. Lagnier: Corpus musica hymnorum augustanum (Aosta, 1991)
O. Lang, ed.: Codex 121 Einsiedeln: Graduale und Sequenzen Notkers von St. Gallen (Weinheim, 1991) [facs.]
A.W. Robertson: The Service-Books of the Royal Abbey of Saint-Denis: Images of Ritual and Music in the Middle Ages (Oxford, 1991)
M.K. Duggan: Italian Music Incunabula: Printers and Type (Berkeley, 1992) [a history of printed musical notation in Italy, a list of libraries holding incunabula and a chronological index of printed Italian liturgical books to 1500]
D. Hiley, ed.: Missale carnotense: Chartres, Codex 520, MMMA, iv/1–2 (1992) [facs.]
R.T. Olexy, ed.: An Aquitanian Antiphoner: Toledo, Biblioteca capitular, 44.2 (Ottawa, 1992) [printout from CANTUS index in machine-readable form]
M. Huglo: ‘Observations codicologiques sur l’antiphonaire de Compiègne (Paris, B.N. lat. 17436)’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 117–30
T. Karp: ‘The Cataloging of Chant Manuscripts as an Aid to Critical Editions and Chant History’, Music Reference Services Quarterly, ii/3–4 (1993), 241–69
E. Palazzo: Histoire des livres liturgiques: le Moyen Age: des origines au XIIIe siècle (Paris, 1993)
C. Rodriguez Suso: La monodía litúrgica en el pais Vasco: fragmentos con notación musical de los siglos XII al XVIII (Bilbao, 1993)
Z. Czagány, ed.: Corpus Antiphonalium Officii – Ecclesiarium Centralis Europae, II/A: Bamberg (Temporale) (Budapest, 1994) [pubn derived from CAO–ECE database]
M. Gozzi, ed.: Le fonti liturgiche a stampa della Biblioteca musicale L. Feininger (Trent, 1994)
A. Hänggi and P. Ladner, eds.: Missale basileense saec. XI (Codex Gressly) (Fribourg, 1994) [facs.]
B.G. Baroffio and S.J. Kim, eds.: Bibliotheca apostolica vaticana, Archivio S. Pietro B 79: Antifonario della Basilica di S. Pietro (sec. XII) (Rome, 1995) [facs.]
W. Arlt and S. Rankin, eds.: Stiftsbibliothek Sankt Gallen Codices 484 & 381 (Winterthur, 1996) [facs.]
R. Crosatti, ed.: Il codice Brescia biblioteca capitolare 13, ‘Liber antiphonarius divinorum officiorum’ cum notis musicis scriptus circa saeculum XIII: studio codicologico-liturgico-musicale del più antico antifonario della cattedrale de Brescia (Cremona, 1996)
Z. Czagány, ed.: Corpus Antiphonalium Officii – Ecclesiarium Centralis Europae, III/A: Praha (Temporale) (Budapest, 1996) [pubn derived from CAO–ECE database]
I. Fernández de la Cuesta: ‘Libros de música litúrgica impresos en España ante de 1900, II: siglos XV y XVI’, Música, iii (1996), 11–29 [approximately 145 printed liturgical books dating between 1485–1600 in 170 different libraries]
D. Hiley, ed.: Moosburger Graduale: München, Universitätsbibliothek, 20 Cod. ms. 156 (Tutzing, 1996) [facs.]
R. Steiner, ed.: The Zwiefalten Antiphoner: Karlsruhe, Badische Landesbibliothek, Aug. perg. LX. (Ottawa, 1996) [printout from CANTUS index in machine-readable form]
K. Vellekoop, ed.: Liber ordinarius Sancte Marie Traiectensis: the Ordinal of St Mary’s Church, Utrecht (Ms. London, British Library, Add.9769) (Amsterdam, 1996)
R. Camilot-Oswald: Die liturgischen Musikhandschriften aus dem mittelalterlichen Patriarchat Aquileia, MMMA, Subsidia, ii (1997)
O.T. Edwards, ed.: National Library of Wales MS. 20541 E: the Penpont Antiphonal (Ottawa, 1997) [facs.]
R. Steiner, ed.: Utrecht Bibliotheek der Rijksuniversiteit MS 406 (3.J.7) (Ottawa, 1997) [facs.]
J. Szendrei, ed.: Breviarium notatum strigoniense (s. XIII) (Budapest, 1998) [facs. of CZ-Pst DE. I. 7]
L. Dobszay and J. Szendrei, eds.: Antiphonen, MMMA, v (1999)
K. Ottosen: ‘The Latin Office of the Dead: a Computer Analysis of Two Thousand Texts’, Computer Applications to Medieval Studies, ed. A. Gilmour-Bryson (Kalamazoo, MI, 1984), 81–7
D. Crawford: ‘Surveying Renaissance Liturgical Materials: Methodology and the Computer’, SM, xxx (1988), 345–54
L. Dobszay: ‘The Program CAO-ECE’, SM, xxx (1988), 355–60
L. Dobszay and G. Proszeky: CAO–ECE: a Preliminary Report (Budapest, 1988)
J. Grier: ‘Lachmann, Bedier and the Bipartite Stemma: towards a Responsible Application of the Common-Error Method’, Revue d’histoire des textes, xviii (1988), 263–78
F. Tirro: ‘Melody and the Markoff-Chain Model: a Gregorian Hymn Repertory’, Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, ed. E. Narmour and R.A. Solie (Stuyvesant, NY, 1988), 229–60
W.B. Hewlett and E. Selfridge-Field: ‘Encoding Neumes and Mensural Notation’, and an ‘Optical Recognition of Musical Data’, Computing in Musicology, vi (1990), 23–45
W. McGee and P. Merkley: ‘The Optical Scanning of Medieval Music’, Computers and the Humanities, xxv (1991), 47–53
R. Steiner: ‘Directions for Chant Research in the 1990s: the Impact of Chant Data Bases’, IMSCR XV: Madrid 1992, 695–705
P.R. Cook: ‘SPASM, a Real-Time Vocal Tract Physical Model Controller; and Singer, the Companion Softward Synthesis System’, Computer Music Journal, xvii (1993), 30–44
E. Häkli: ‘From Neumes to Network: Music in the Helsinki University Library’, FAM, xl (1993), 11–16
T.J. Mathiesen: ‘Transmitting Text and Graphics in Online Databases: the Thesaurus Musicarum Latinarum Model’, Computing in Musicology, ix (1993–4), 33–58 [TML: a database designed to contain the entire corpus of Latin music theory written during the Middle Ages and early Renaissance]
M. Haas: ‘Über einige Möglichkeiten der computergestützen Erforschung liturgischer Einstimmigkeit’, Max Lütolf zum 60. Geburtstag: Festschrift, ed. B. Hangartner and U. Fischer (Basel, 1994), 75–97
R. Steiner: ‘CANTUS: a Data Base for Gregorian Chant’, Archiv für Liturgiewissenschaft, xxxvii (1995), 87–8
L. Duchesne, ed.: Le Liber pontificalis: texte, introduction et commentaire (Paris, 1886–92, enlarged 2/1955–7 by C. Vogel)
F.A. Gevaert: Les origines du chant liturgique de l’église latine (Ghent, 1890/R)
G. Morin: Les véritables origines du chant grégorien (St Gérard, 1890, 2/1904)
V. Krause, ed.: Walahfrid Strabo: De exordiis et incrementis, MGH, Capitularia, ii (1892), 473–516; repr. with commentary and trans. by A. Harting-Corrêa (Leiden, 1996)
A. Gastoué: Les origines du chant romain: l’antiphonaire grégorien (Paris, 1907/R)
H. Netzer: L’introduction de la messe romain en France sous les Carolingiens (Paris, 1910/R)
C. Silva-Tarouca: ‘Giovanni “archicantor” di S. Pietro a Roma e l’Ordo romanus da lui composta’, Atti della Pontificia accademia romana di archeologia, 3rd ser., Memorie, i (1923), 159–219
M. Andrieu: ‘Règlement d’Angilramne de Metz (768–91), fixant les honoraires de quelques fonctions liturgiques’, Revue des sciences religieuses, x (1930), 349–69
J. Quasten: Musik und Gesang in den Kulten der heidnischen Antike und christlichen Frühzeit (Münster, 1930, 2/1973; Eng. trans., 1983)
W.H. Frere: Studies in Early Roman Liturgy (London, 1930–35)
M. Andrieu, ed.: Les Ordines romani du haut Moyen-Age (Leuven, 1931–61)
T. Klauser: ‘Die liturgischen Austauschbeziehungen zwischen der römischen und der fränkisch-deutschen Kirche vom 8.–11. Jh.’, Historisches Jb der Görresgesellschaft, liii (1933), 169–89
J.-B. Pelt: Etudes sur la cathédrale de Metz: la liturgie (Metz, 1937)
B. Bischoff: Die süddeutschen Schreibschulen und Bibliotheken in der Karolingerzeit (Leipzig, 1940, 2/1960)
C.W. Dugmore: The Influence of the Synagogue upon the Divine Office (Oxford, 1944, 2/1964)
E. Wellesz: Eastern Elements in Western Chant: Studies in the Early History of Ecclesiastical Music, MMB, Subsidia, ii (1947/R)
J.M. Hanssens, ed.: Amalarii episcopi opera liturgica omnia (Vatican City, 1948–50)
A. Chavasse: ‘Les plus anciens types du lectionnaire et de l’antiphonaire romains de la messe’, Revue bénédictine, lxii (1952), 3–94
A. Baumstark: Liturgie comparée: principes et méthodes pour l’étude historique des liturgies chrétiennes (Chevetogne, 3/1953; Eng. trans., 1958)
C. Hohler: ‘The Type of Sacramentary Used by St. Boniface’, Sankt Bonifatius: Gedenkgabe zum zwölfhundertsten Todestag (Fulda, 1954), 89–93
H. Hucke: ‘Die Einführung des gregorianischen Gesangs im Frankenreich’, Römische Quartalschrift, xlix (1954), 172–87
H. Hucke: ‘Die Tradition des gregorianischen Gesanges in der römischen Schola cantorum’, Katholische Kirchenmusik II: Vienna 1954, 120–23
J. Smits van Waesberghe: ‘Neues über die Schola cantorum zu Rom’, Katholische Kirchenmusik II: Vienna 1954, 111–19
H. Hucke: ‘Die Entstehung der Überlieferung von einer musikalischen Tätigkeit Gregors des Grossen’, Mf, viii (1955), 259–64
G. Ellard: Master Alcuin, Liturgist: a Partner of our Piety (Chicago, 1956)
K. Gamber: Wege zum Urgregorianum (Beuron, 1956)
G. Ferrari: Early Roman Monasteries: Notes for the History of the Monasteries and Convents at Rome from the V through the X Century (Vatican City, 1957)
H. Ashworth: ‘Did St. Augustine Bring the Gregorianum to England?’, Ephemerides liturgicae, lxxii (1958), 39–43
C.-A. Moberg: ‘Gregorianische Reflexionen’, Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), 559–83
C. Vogel: ‘Les échanges liturgiques entre Rome et les pays francs jusqu’à l’époque de Charlemagne’, Le chiese nei regni dell’Europa occidentale: Spoleto 1959 [Settimane di studio del Centro italiano di studi sull’alto Medioevo, vii (1960)], 185–95
L. Wallach: Alcuin and Charlemagne: Studies in Carolingian History and Literature (Ithaca, NY, 1959/R)
E. Werner: The Sacred Bridge: the Interdependence of Liturgy and Music in Synagogue and Church during the First Millennium (London and New York, 1959–84/R)
S. Corbin: ‘La cantillation des rituels chrétiens’, RdM, xlvii (1961), 3–36
S.J.P. Van Dijk: ‘Gregory the Great, Founder of the Urban Schola Cantorum’, Ephemerides liturgicae, lxxvii (1963), 335–56
S.J.P. Van Dijk: ‘Papal Schola “versus” Charlemagne’, Organicae voces: Festschrift Joseph Smits van Waesberghe, ed. P. Fischer (Amsterdam, 1963), 21–30
C. Vogel and R. Elze, eds.: Le pontifical romano-germanique du dixième siècle (Vatican City, 1963–72)
A. Burda: ‘Gregor der Grosse als Musiker’, Mf, xvii (1964), 388–93
A. de Vogüé, ed.: Regula magistri (Paris, 1964)
H. Hucke: ‘War Gregor der Grosse doch Musiker?’, Mf, xviii (1965), 390–93
C. Vogel: ‘La réforme cultuelle sous Pepin le Bref et sous Charlemagne’, Die karolingische Renaissance, ed. E. Patzelt (Graz, 1965), 171–242
H. Anglès: ‘Sakraler Gesang und Musik in den Schriften Gregors des Grossen’, Essays Presented to Egon Wellesz, ed. J. Westrup (Oxford, 1966), 33–42
C. Vogel: ‘La réforme liturgique sous Charlemagne’, Karl der Grosse: Lebenswerk und Nachleben, ed. W. Braunfels, ii (Düsseldorf, 1966), 217–32
A. Burda: ‘Nochmals Gregor der Grosse als Musiker’, Mf, xx (1967), 154–66
B. Stäblein: ‘Gregorius praesul, der Prolog zum römischen Antiphonale’, Musik und Verlag: Karl Vötterle zum 65. Geburtstag, ed. R. Baum and W. Rehm (Kassel, 1968), 537–61
N. Mitchell: ‘Ordo psallendi in the Rule: Historical Perspectives’, American Benedictine Review, xx (1969), 505–27
M. Schuler: ‘Die Musik an den Höfen der Karolinger’, AMw, xxvii (1970), 23–40
B. Stäblein: ‘Nochmals zur angeblichen Entstehung des gregorianischen Chorals im Frankenreich’, AMw, xxvii (1970), 110–21
D.M. Hope: The Leonine Sacramentary: a Reassessment of its Nature and Purpose (London, 1971)
J. Deshusses: Le sacramentaire grégorien: ses principales formes d’après les plus anciens manuscrits (Fribourg, 1971–82)
J. Deshusses: ‘Les messes d’Alcuin’, Archiv für Liturgiewissenschaft, xiv (1972), 7–41
M. Huglo: ‘Römische-frankische Liturgie’, Geschichte der katholischen Kirchenmusik, ed. K.G. Fellerer, i (Kassel, 1972), 233–44
P.A.B. Llewellyn: ‘The Roman Church in the Seventh Century: the Legacy of Gregory I’, Journal of Ecclesiastical History, xxv (1974), 363–80
B. Stäblein: ‘Die Entstehung des gregorianischen Chorals’, Mf, xxvii (1974), 5–17
C.E. Hohler: ‘Some Service-Books of the Later Saxon Church’, Tenth-Century Studies: Essays in Commemoration of the Millennium of the Council of Winchester and Regularis concordia, ed. D. Parsons (London, 1975)
H. Hucke: ‘Karolingische Renaissance und Gregorianischer Gesang’, Mf, xxviii (1975), 4–18
J. Stenzl: ‘Bewahrende und verändernde musikalische Überlieferung’, AMz, xxxii (1975), 117–23
R. McKitterick: The Frankish Church and the Carolingian Reforms, 798–895 (London, 1977)
E. Ewig: ‘Saint Chrodegang et la reforme de l’èglise franque’, Spätantikes und fränkisches Gallien, ii, ed. H. Atsma (Munich, 1979), 232–59
M. Huglo: ‘Les remaniements de l’antiphonaire grégorien au IXe siècle: Hélisachar, Agobard, Amalaire’, Culto cristiano, politica imperiale carolingia: Todi 1977 (Todi, 1979), 87–120
R.-J. Hesbert: ‘L’antiphonaire d’Amalaire’, Ephemerides liturgicae, xciv (1980), 176–94
H. Hucke: ‘Toward a New Historical View of Gregorian Chant’, JAMS, xxxiii (1980), 437–67
H. Schmidt: ‘Gregorianik: Legende oder Wahrheit?’, Ars musica, musica scientia: Festschrift Heinrich Hüschen, ed. D. Altenburg (Cologne, 1980), 400–11
J. Dyer: ‘Augustine and the “Hymni ante oblationem”: the Earliest Offertory Chants?’, Revue des études augustiniennes, xxvii (1981), 85–99
E. Foley: ‘The Cantor in Historical Perspective’, Worship, lvi (1982), 194–213
J.M. Wallace-Hadrill: The Frankish Church (Oxford, 1983)
J. Dyer: ‘Latin Psalters, Old Roman and Gregorian Chants’, KJb, lxviii (1984), 11–30
P. Jeffery: ‘The Introduction of Psalmody into the Roman Church by Pope Celestine I’, Archiv für Liturgiewissenschaft, xxvi (1984), 147–55
J.A. Smith: ‘The Ancient Synagogue, the Early Church and Singing’, ML (1984), 1–16
J. Dyer: ‘Psalmody and the Roman Mass’, Studies in Music from the University of Western Ontario, x (1985), 1–24
T.F.X. Noble: ‘A New Look at the Liber Pontificalis’, Archivum historiae pontificiae, xxiii (1985), 347–58
J.W. McKinnon: ‘On the Question of Psalmody in the Ancient Synagogue’, EMH, vi (1986), 159–91
J.W. McKinnon: ‘The Fourth-Century Origin of the Gradual’, EMH, vii (1987), 91–106
H. Hucke: ‘Choralforschung und Musikwissenschaft’, Das musikalische Kunstwerk: Festschrift Carl Dahlhaus, ed. H. Danuser and others. (Laaber, 1988), 131–4
H. Hucke: ‘Gregorianische Fragen’, Mf, xli (1988), 304–30
B.G. Baroffio: ‘Il canto gregoriano nel secolo VIII’, Lateinische Kultur im VIII. Jahrhundert: Traube-Gedenkschrift, ed. A. Lehner and W. Berschin (St Ottilien, 1989), 9–23
J. Dyer: ‘The Singing of Psalms in the Early-Medieval Office’, Speculum, lxiv (1989), 535–78
M. Huglo: ‘Trois livres manuscrits présentés par Helisachar’, Revue bénédictine, cv (1989), 272–85
H. Hucke: ‘Die Entstehung des gregorianischen Gesangs’, Neue Musik und Tradition: Festschrift Rudolf Stephan zum 65. Geburtstag, ed. J. Kuckertz and others (Laaber, 1990), 11–23
P. Jeffery: ‘Jerusalem and Rome (and Constantinople): the Musical Heritage of Two Great Cities in the Formation of the Medieval Chant Traditions’, Cantus planus IV: Pécs 1990, 163–74
P. Bernard: ‘Les alleluia mélismatiques dans le chant romain: recherches sur la genèse de l’alleluia de la messe romaine’, Rivista internazionale di musica sacra, xii (1991), 286–362
O. Cullin: ‘De la psalmodie sans refrain à la psalmodie responsoriale: transformation et conservation dans les répertoires liturgiques latins’, RdM, lxxvii (1991), 5–24
P.F. Bradshaw: The Search for the Origins of Christian Worship: Sources and Methods for the Study of Early Liturgy (London and New York, 1992)
P. Jeffery: ‘The Lost Tradition of Early Christian Jerusalem: some Possible Melodic Survivals in the Byzantine and Latin Chant Traditions’, EMH, xi (1992), 151–90
J.W. McKinnon: ‘Antoine Chavasse and the Dating of Early Chant’, PMM, i (1992), 123–47
J.W. McKinnon: ‘The Eighth-Century Frankish-Roman Communion Cycle’, JAMS, xlv (1992), 179–227
D. Praet: ‘Explaining the Christianization of the Roman Empire: Older Theories and Recent Developments’, Sacris erudiri, xxxiii (1992–3), 5–119
J. Dyer: ‘The Schola Cantorum and its Roman Milieu in the Early Middle Ages’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 19–40
A. Haug: ‘Zur Interpretation der Liqueszenzneumen’, AMw, l (1993), 85–100
M. Huglo: ‘D’Helisachar à Abbon de Fleury’, Revue bénédictine, civ (1994), 204–30
P. Jeffery: ‘The Earliest Christian Chant Repertory Recovered: the Gregorian Witness to Jerusalem Chant’, JAMS, xlvii (1994), 1–38
S. Rankin: ‘Carolingian Music’, Carolingian Culture: Emulation and Innovation, ed. R. McKitterick (Cambridge, 1994), 274–316
J. Dyer: ‘Prolegomena to a History of Music and Liturgy at Rome in the Middle Ages’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 87–115
P. Jeffery: ‘Rome and Jerusalem: From Oral Tradition to Written Repertory in Two Ancient Liturgical Centers’, ibid., 207–47
K. Levy: ‘Abbot Hélisachar’s Antiphoner’, JAMS, xlviii (1995), 171–86
J. McKinnon: ‘Lector Chant versus Schola Chant: a Question of Historical Plausibility’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 201–11
E. Nowacki: ‘Antiphonal Psalmody in Christian Antiquity and Early Middle Ages’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 287–315
P. Bernard: ‘David mutatus in melius, L’origine et la signification de la centonisation des chants liturgiques au VIe siècle par la Schola cantorum romaine’, Musica e storia, iv (1996), 5–66
C. Cubitt: ‘Unity and Diversity in the Early Anglo-Saxon Liturgy’, Unity and Diversity in the Church: Nottingham 1994, ed. R.N. Swanson (Oxford, 1996), 45–57
R. McKitterick: ‘Unity and Diversity in the Carolingian Church’, ibid., 59–82
B. Scharf: ‘Le origini della monodia sacra in volgare in Francia e in Germania’, Rivista internazionale di musica sacra, xv (1994), 18–70
J.A. Smith: ‘First-Century Christian Singing and its Relationship to Contemporary Jewish Religious Song’, ML, lxxv (1994), 1–15
M. Forman and T. Sullivan: ‘The Latin Cenobitic Rules: A.D. 400–700: Editions and Translations’, American Benedictine Review, xlviii (1997), 52–68
R. Andoyer: ‘Le chant romain antégrégorien’, Revue du chant grégorien, xx (1911–12), 69–75, 107–114
B. Stäblein: ‘Alt- und neurömischer Choral’, GfMKB: Lüneburg 1950, 53–6
B. Stäblein: ‘Zur Frühgeschichte des römischen Chorals’, Congresso di musica sacra [I]: Rome 1950, 271–5
J. Hourlier and M. Huglo: ‘Un important témoin du chant “vieux–romain”: le graduel de Sainte-Cécile du Trastevère’, Revue grégorienne, xxxi (1952), 26–37
M. Huglo: ‘Le chant “vieux–romain”: liste des manuscrits et témoins indirects’, Sacris erudiri, vi (1954), 96–124
H. Hucke: ‘Gregorianischer Gesang in altrömischer und fränkischer Überlieferung’, AMw, xii (1955), 74–87
S.J.P. Van Dijk: ‘The Urban and Papal Rites in Seventh and Eighth-Century Rome’, Sacris erudiri, xii (1961), 411–87
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S.J.P. Van Dijk: ‘Recent Developments in the Study of the Old-Roman Rite’, Papers Presented to the 4th International Conference on Patristic Studies: Oxford 1963, ed. F.L. Cross [Studia patristica, viii (1966)], 299–319
P.F. Cutter: ‘The Old-Roman Chant Tradition: Oral or Written?’, JAMS, xx (1967), 167–81
M. Huglo: ‘Les diverses mélodies du Te decet laus: à propos du vieux–romain’, JbLH, xii (1967), 111–16
B. Stäblein: ‘Kann der gregorianische Choral im Frankenreich entstanden sein?’, AMw, xxiv (1967), 153–69
S.J.P. Van Dijk: ‘The Medieval Easter Vespers of the Roman Clergy’, Sacris erudiri, xix (1969–70), 261–363
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H. Wagenaar-Nolthenius: ‘Ein Münchener Mixtum: gregorianische Melodien zu altrömischen Texten’, AcM, xlv (1973), 249–55
T.H. Connolly: ‘The Graduale of S. Cecilia in Trastevere and the Old Roman Tradition’, JAMS, xxviii (1975), 413–58
H. van der Werf: The Emergence of Gregorian Chant: a Comparative Study of Ambrosian, Roman, and Gregorian Chant (Rochester, NY, 1983)
S. Klöckner: Analytische Untersuchungen an 16 Introiten im 1. Ton des altrömischen und des fränkisch-gregorianischen Repertoires hinsichtlich einer bewussten melodischen Abhängigkeit, Beiträge zur Gregorianik, v (1988) [whole issue]
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P. Bernard: ‘Bilan historiographique de la question des rapports entre les chants vieux–romains et grégoriens’, Ecclesia orans, xi (1994), 323–53
P. Bernard: ‘Les verses des alléluias et des offertoires: témoins de l’histoire de la culture à Rome entre 560–742’, Musica e storia, iii (1995), 5–40
M.-N. Colette: ‘Grégorien et vieux–romain: deux méthodes différentes de collectage de mélodies traditionelles?’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 37–52
P. Bernard: Du chant romain au chant grégorien (IVe-XIIIe siècle) (Paris, 1996)
P. Bernard: ‘Les chants propres de la messe dans les répertoires grégorien et romain ancien: essai d’édition pratique des variantes textuelles’, Ephemerides liturgicae, cx (1996), 210–51
P. Bernard: ‘Les variantes textuelles des chant du propre de la messe dans les répertoires grégorien et romain ancien: index des pièces’, Ephemerides liturgicae, cx (1996), 445–50
Ambrosian, Beneventan, Celtic, Gallican, Mozarabic
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P. Cagin: ‘L’antiphonaire ambrosien’, Antiphonarium ambrosianum du Musée britannique, PalMus, 1st ser., v (1896/R), 1–200
A. Gatard and P. Lejay: ‘Ambrosien (chant, rite)’, Dictionnaire d’archéologie chrétienne et de liturgie, ed. F. Cabrol and H. Leclercq, i (Paris, 1903), 1353–442
R. Andoyer: ‘L’ancienne liturgie de Bénévent’, Revue du chant grégorien, xx (1911–12), 176–83; xxi (1912–13), 14–20, 44–51, 81–5, 112–15, 144–8, 169–74; xxii (1913–14), 8–11, 41–4, 80–83, 106–11, 141–5, 170–72; xxiii (1919–20), 42–4, 116–18, 182–3; xxiv (1920–21), 48–50, 87–9, 146–8, 182–5
W.C. Bishop: The Mozarabic and Ambrosian Rites: Four Essays in Comparative Liturgiology, ed. C.L. Feltoe (London, 1924)
P. Wagner: ‘Über den altspanischen, mozarabischen Kirchengesang’, Musikhistorischer Kongress: Vienna 1927, 234–6
G. Prado: ‘Mozarabic Melodics’, Speculum, iii (1928), 218–38
P. Wagner: ‘Der mozarabische Kirchengesang und seine Überlieferung’, Spanische Forschungen der Görresgesellschaft, 1st ser.: Gesammelte Aufsätze zur Kulturgeschichte Spaniens, i (1928), 102–41
C. Rojo and G. Prado: El canto mozárabe (Barcelona, 1929)
C. Rojo: ‘The Gregorian Antiphonary of Silos and the Spanish Melody of the Lamentations’, Speculum, v (1930), 306–24
P. Wagner: ‘Untersuchungen zu den Gesangstexten und zur responsorialen Psalmodie der altspanischen Liturgie’, Spanische Forschungen der Görregesellschaft, 1st ser.: Gesammelte Aufsätze zur Kulturgeschichte Spaniens, ii (1930), 67–113
R.-J. Hesbert: ‘La tradition bénéventaine’, Le codex 10673 de la Bibliothèque vaticane, PalMus, 1st ser., xiv (1931–6), 60–479
W.S. Porter: ‘Studies in the Mozarabic Office, I: the Verona Orationale and the Leon Antiphoner’, Journal of Theological Studies, xxxv (1934), 266–86
F. Cabrol: ‘Mozarabe (la liturgie)’, Dictionnaire d’archéologie chrétienne et de liturgie, ed. F. Cabrol and H. Leclercq, xii (Paris, 1935), 390–491
W.S. Porter: ‘Cantica mozarabici officii’, Ephemerides liturgicae, xlix (1935), 126–55
R.-J. Hesbert: ‘Etude sur la notation bénéventaine’, Le codex VI.34 de la Bibliothèque capitulaire de Bénévent, PalMus, 1st ser., xv (1937/R), 71–161
R.-J. Hesbert: ‘L’Antiphonale missarum de l’ancien rite bénéventain’, Ephemerides liturgicae, lii (1938), 28–66, 141–58; liii (1939), 168–90; lix (1945), 69–95; lx (1946), 103–41; lxi (1947), 153–210
G.M. Suñol: ‘La restaurazione ambrosiana’, Ambrosius, xiv (1938), 145–50, 174–6, 196–200, 296–304; xv (1939), 113–16; xvi (1940), 12–16, 108–12
A. Gastoué: Le chant gallican (Grenoble, 1939)
M. Avery: ‘The Beneventan Lections for the Vigil of Easter and the Ambrosian Chant Banned by Pope Stephen IX at Montecassino’, Studi gregoriani, i (1947), 433–58
L. Brou: ‘Etudes sur la liturgie mozarabe: le trisagion de la messe d’après les sources manuscrites’, Ephemerides liturgicae, lxi (1947), 309–34
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L. Brou: ‘L’alleluia dans la liturgie mozarabe: étude liturgico-musicale d’après les manuscrits de chant’, AnM, vi (1951), 3–90
L. Brou: ‘Séquences et tropes dans la liturgie mozarabe’, Hispania sacra, iv (1951), 27–41
L. Brou and J. Vives, eds.: Antifonario visigótico mozárabe de la Catedral de León (Barcelona, 1953–9)
L. Brou: ‘Le joyau des antiphonaires latins’, Archivos leoneses, viii (1954), 7–114
L. Brou: ‘Le psautier liturgique wisigothique et les éditions critiques des psautiers latins’, Hispania sacra, viii (1955), 337–60
E. Cattaneo: ‘Il canto ambrosiano: istituzioni ecclesiastiche milanesi’, Storia di Milano, iv (Milan, 1955), 580–724
M. Huglo: ‘Les preces des graduels aquitains empruntées à la liturgie hispanique’, Hispania sacra, viii (1955), 361–83
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W.S. Porter: The Gallican Rite (London, 1958)
G.B. Baroffio: Die Offertorien der ambrosianischen Kirche: Vorstudie zur kritischen Ausgaben der mailändischen Gesänge (Cologne, 1964)
P. Borella: Il rito ambrosiano (Brescia, 1964)
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R.G. Weakland: ‘The Performance of Ambrosian Chant in the Twelfth Century’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 856–66
G.B. Baroffio: ‘Die mailändische Überlieferung des Offertoriums Sanctificavit’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 1–8
J. Quasten: ‘Gallican Rites’, New Catholic Encyclopedia, vi (New York, 1967)
H. Sanden: ‘Le déchiffrement des neumes latins et visigothiques mozarabes’, AnM, xxii (1967), 65–87
C.W. Brockett: Antiphons, Responsories and Other Chants of the Mozarabic Rite (Brooklyn, NY, 1968)
D.M. Randel: ‘Responsorial Psalmody in the Mozarabic Rite’, EG, x (1969), 87–116
D.M. Randel: The Responsorial Psalm Tones for the Mozarabic Office (Princeton, NJ, 1969)
K. Levy: ‘The Italian Neophytes’ Chants’, JAMS, xxiii (1970), 181–227
K. Gamber: ‘Der Ordo Romanus IV: ein Dokument der ravennatischen Liturgie des 8. Jh.’, Römische Quartalschrift, lxvi (1971), 154–70
T. Connolly: ‘Introits and Archetypes: some Archaisms of the Old Roman Chant’, JAMS, xxv (1972), 157–74
T. Connolly: The Introits of the Old Roman Chant (diss., Harvard U., 1972)
K.G. Fellerer, ed.: Geschichte der katholischen Kirchenmusik, i (Kassel, 1972) [incl. B. Baroffio: ‘Ambrosianische Liturgie’, 191–204; H. Anglès: ‘Spanisch-mozarabische Liturgie’, 208–19; M. Huglo: ‘Altgallikanische Liturgie’, 219–33; M. Huglo: ‘Römisch-fränkische Liturgie’, 233–44]
P. Ernetti, ed.: Tradizione musicale aquileiense-patriarchina (Venice, 1973)
D.M. Randel: An Index to the Chant of the Mozarabic Rite (Princeton, NJ, 1973)
A. van der Mensbrugghe: ‘The “Trecanum” of the Expositio missae gallicanae of S. Germanus of Paris (VI c.): its Identification and Tradition’, Papers Presented to the 6th International Conference on Patristic Studies: Oxford 1971, ed. E.A. Livingstone [Studia patristica, xiii (1975)], 430–33
D.M. Randel: ‘Antiphonal Psalmody in the Mozarabic Rite’, IMSCR XII: Berkeley 1977, 414–22
T. Bailey: ‘Ambrosian Psalmody: an Introduction’, Rivista internazionale di musica sacra, i (1980), 82–99
J. Boe: ‘A New Source for Old Beneventan Chant: the Santa Sophia Maundy in MS Ottoboni lat. 145’, AcM, lii (1980), 122–33
A. Turco: ‘Il repertorio dell’ufficio ambrosiano’, Rivista internazionale di musica sacra, iii (1982), 127–224
T. Bailey: The Ambrosian Alleluias (Egham, 1983)
T. Bailey: ‘Ambrosian Chant in Southern Italy’, JPMMS, vi (1983), 1–7
T.F. Kelly: ‘Palimpsest Evidence of an Old-Beneventan Gradual’, KJb, lxvii (1983), 5–23
Die Handschrift Benevento, Biblioteca capitolare 33, Monumenta palaeographica gregoriana, i (Münsterschwarzach, 1984) [facs.]
K. Levy: ‘Toledo, Rome, and the Legacy of Gaul’, EMH, iv (1984), 49–99
M. Huglo: ‘L’ancien chant bénéventain’, Ecclesia orans, ii (1985), 265–93; also pubd in SM, xxvii (1985), 83–95; [incl. a table of chants in the Old Beneventan gradual]
T.F. Kelly: ‘Montecassino and the Old-Beneventan Chant’, EMH, v (1985), 53–83
D.M. Randel: ‘El antiguo rito hispánico y la salmodía primitiva en occidente’, RdMc, viii (1985), 229–38
A.E. Planchart: ‘The Interaction between Montecassino and Benevento’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 385–407
G. Barracane: ‘Il rito beneventano dell’Exultet’, Tradizione manoscritta e pratica musicale: i codici di Puglia: Bari 1986, 63–82
T. Bailey: The Ambrosian Cantus (Ottawa, 1987)
B.G. Baroffio: ‘La liturgia e il canto ambrosiano: prospettive di ricerca’, IMSCR XIV: Bologna 1987, ii, 65–8
T.F. Kelly: ‘Non-Gregorian Music in an Antiphoner of Benevento’, JM, v (1987), 478–97 [study of I-BV V.21]
T.F. Kelly: ‘Beneventan and Milanese chant’, JRMA, cxii (1987–8), 173–95
T. Bailey: ‘Milanese Melodic Tropes’, JPMMS, xi (1988), 1–12
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T.F. Kelly: ‘Une nouvelle source pour l’office vieux–bénéventain’, EG, xxii (1988), 5–23
O. Cullin: ‘La repertoire de la psalmodie in directum dans les traditions liturgiques latines, I:. La tradition hispanique’, EG, xxiii (1989), 99–139
T.F. Kelly: The Beneventan Chant (Cambridge, 1989)
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B. Ferretti: ‘La messa di pasqua nell’antica liturgia musicale beneventana’, Bénédictina, xxxvii (1990), 461–82
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J. Claire: ‘Le cantatorium romain et le cantatorium gallican: étude comparée des premières formes musicales de la psalmodie’, Orbis musicae, x (1990–91), 50–86
N. Albarosa and A. Turco, eds: Benevento, Biblioteca capitolare 40 (Padua, 1991) [facs.]
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M.P. Ferreira: ‘Three Fragments from Lamego’, ibid., 457–76
M. Huglo: ‘Recherches sur les tons psalmodiques de l’ancienne liturgie hispanique’, ibid., 477–90
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C. Rodrígues Suso: ‘El manuscrito 9 del monasterio de Silos y algunos problemas relativos a la adopción de la liturgia romana en la Península Ibérica’, RdMc, xv (1992), 474–510
A. Turco: Il canto antico di Milano: la salmodia alleluiatica e antifonata nelle fonti manoscritte (Rome, 1992)
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T. Bailey: Antiphon and Psalm in the Ambrosian Office (Ottawa, 1994)
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T.F. Kelly: ‘A Beneventan Borrowing in the Saint Cecilia Gradual’, Max Lütolf zum 60. Geburtstag: Festschrift, ed. B. Hangartner and U. Fischer (Basel, 1994), 11–20
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T.F. Kelly: ‘The Liturgical Rotulus at Benevento’, ibid., 167–186
T.F. Kelly: ‘Structure and Ornament in Chant: the Case of the Beneventan Exultet’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 249–76
J. Borders and L. Brunner, eds.: Early Medieval Chants from Nonantola, RRMMA, xxx–xxxiii (1996)
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M. Huglo: ‘Tradition orale et tradition écrite dans la transmission des mélodies grégoriennes’, Studien zur Tradition in der Musik: Kurt von Fischer zum 60. Geburtstag, ed. H.H. Eggebrecht and M. Lütolf (Munich, 1973), 31–42
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L. Treitler: ‘“Centonate” Chant: Übles Flickwerk or E pluribus unus?’, JAMS, xxviii (1975), 1–23
K. Levy: ‘Mediterranean Musical Liturgies: the Quest for Origins’, IMSCR XII: Berkeley 1977, 413–14
E.J. Revell: ‘Hebrew Accents and Greek Ekphonetic Neumes’, Studies in Eastern Chant, iv, ed. M. Velimirovi (Crestwood, NY, 1979), 140–70
R.-J. Hesbert: ‘L’antiphonaire d’Amalaire’, Ephemerides liturgicae, xciv (1980), 176–94
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R.-J. Hesbert: ‘The Sarum Antiphoner: its Sources and Influence’, JPMMS, iii (1980), 49–55
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L. Treitler: ‘Oral, Written, and Literate Process in the Transmission of Medieval Music’, Speculum, lvi (1981), 471–91
D. Hughes: ‘Variants in Antiphon Families: Notation and Tradition’, IMSCR XIII: Strasbourg 1982c, ii, 29–47
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L. Treitler: ‘Reading and Singing: on the Genesis of Occidental Music-Writing’, EMH, iv (1984), 135–208
D.G. Hughes: ‘Evidence for the Traditional View of the Transmission of Gregorian Chant’, JAMS, xl (1987), 377–404
K. Levy: ‘Charlemagne’s Archetype of Gregorian chant’, JAMS, xl (1987) 1–30
K. Levy: ‘On the Origin of Neumes’, EMH, vii (1987), 59–90
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L. Treitler: ‘The Early History of Music Writing’, JAMS, xxxv (1987), 238–79
J.A. Caldwell: ‘From Cantor to Parchment: Linguistic Aspects of Early Western Notation’, Musica antiqua VIII: Bydgoszcz 1988, 219–32
A. Haug: ‘Zum Wechselspiel von Schrift und Gedächtnis im Zeitalter der Neumen’, Cantus planus III: Tihány 1988, 33–47
K. Schlager: ‘Zur Überlieferung von Melismen im gregorianischen Choral’, SM, xxx (1988), 431–6
K. Levy: ‘On Gregorian Orality’, JAMS, xliii (1990), 185–227
M.M. Alonso: ‘Música de tradicion oral y romanticismo’, RdMc, xiv (1991), 325–53
L. Treitler: ‘Medieval Improvisation’, World of Music, xxx/3 (1991), 66–91
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L. Dobszay: ‘The Debate about the Oral and Written Transmission of Chant’, IMSCR XV: Madrid 1992 [RdMc, xvi (1993)], 706–29
P. Jeffery: Re-envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant (Chicago, 1992)
L. Treitler: ‘The Unwritten and Written Transmission of Medieval Chant and the Start-up of Musical Notation’, JM, x (1992), 131–91
D.G. Hughes: ‘The Implications of Variants for Chant Transmission’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 65–73
C. Atkinson: ‘De accentibus toni oritur nota quae dicitur neuma: Prosodic Accents, the Accent Theory, and the Paleofrankish Script’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 17–42
K. Levy: ‘Gregorian Chant and Oral Transmission’, ibid., 277–86
E. Bernoulli: Die Choralnotenschrift bei Hymnen und Sequenzen (Leipzig, 1898/R)
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J. Smits van Waesberghe: Muziekgeschiedenis der Middeleeuwen (Tilburg, 1936–42)
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E. Jammers: ‘Die paleofränkische Neumenschrift’, Scriptorium, vii (1953), 235–59
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J.W.A. Vollaerts: Rhythmic Proportions in Early Medieval Ecclesiastical Chant (Leiden, 1958, 2/1960)
M. Huglo: ‘Le domaine de la notation bretonne’, AcM, xxxv (1963), 54–84
J. Rayburn: Gregorian Chant: a History of the Controversy concerning its Rhythm (New York, 1964)
E. Jammers: Tafeln zur Neumenschrift (Tutzing, 1965)
M. Huglo: ‘Règlements du XIIIe siècle pour la transcription des livres notés’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 121–33
E. Cardine: ‘Neume’, EG, x (1969), 13–28
C. Floros: Universale Neumenkunde (Kassel, 1970)
A. Moderini: La notazione neumatica di Nonantola (Cremona, 1970)
J. Boe: ‘Rhythmical Notation in the Beneventan Gloria Trope Aureas arces’, MD, xxix (1975), 5–42
M. Haas: ‘Probleme einer Universalen Neumenkunde’, Forum musicologicum, i (1975), 305–22 [concerns Floros, 1970]
B. Stäblein: Schriftbild der einstimmigen Musik, Musikgeschichte in Bildern, iii/4 (Leipzig, 1975)
S. Corbin: Die Neumen (Cologne, 1977)
M.-C. Billecocq: ‘Lettres ajoutées à la notation neumatique du Codex 239 de Laon’, EG, xvii (1978), 7–144
M.T.R. Barezzani: La notazione neumatica di un codice Bresciano (secolo XI) (Cremona, 1981)
M. Huglo: ‘La tradition musicale aquitaine: répertoire et notation’, Liturgie et musique (IX–XIV s.), Cahiers de Fanjeaux, xvii (Toulouse, 1982), 253–68
Musicologie médiévale: Paris 1982 [incl. W. Arlt: ‘Anschaulichkeit und analytischer Charakter: Kriterien der Beschreibung und Analyse früher Neumenschriften’, 29–55; L. Treitler: ‘Paleography and Semiotics’, 17–27; M.-E. Duchez: ‘Des neumes à la portée’, 57–60; D. Jourdan-Hemmerdinger: ‘Aspects méconnus des théories et notations antiques et de leur transmission’, 67–99; D. Escudier: ‘La notation musicale de Saint-Vaast d’Arras: étude d’une particularité graphique’, 107–20; S. Rankin: ‘Neumatic Notations in Anglo-Saxon England’, 129–44; Y. Chartier: ‘Hucbald de Saint-Amand et la notation musicale’, 145–55; N. Phillips: ‘The Dasia Notation and its Manuscript Tradition’, 157–73; J. Mas: ‘La notation catalane’, 183–6]
J. Boe: ‘The Beneventan Apostrophus in South Italian Notation A.D. 1000–1100’, EMH, iii (1983), 43–66
M.-N. Colette: ‘La notation du demi–ton dans le manuscrit Paris, B.N. lat. 1139 et dans quelques manuscrits du sud de la France’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 297–311
H. González Barrionuevo: ‘Présence de signes additionnels de type mélodique dans la notation “mozarabe” du nord de l’Espagne’, RdMc, ix (1986), 11–27
A.C. Santosuosso: Letter Notations in the Middle Ages (Ottawa, 1989)
B.G. Baroffio: ‘Le grafie musicali nei manoscritti liturgici del secolo XII nell’Italia settentrionale: avvio a una ricerca’, Cantus planus IV: Pécs 1990, 1–16
M. Huglo: ‘Bilan de 50 années de recherches (1939–1989) sur les notations musicales de 850 à 1300’, AcM, lxii (1990), 224–59
K. Levy: ‘On Gregorian Orality’, JAMS, xliii (1990), 185–227
F.C. Lochner: ‘La notation d’Echternach reconsidéree’, RBM, xliv (1990), 41–55
J. Szendrei: ‘Linienschriften des zwölften Jahrhunderts auf süddeutschem Gebiet’, Cantus planus IV: Pécs 1990, 17–30
M.-N. Colette: ‘Indications rythmiques dans les neumes et direction melodique’, RdM, lxxviii (1992), 201–35
J. Szendrei: ‘Die Gültigkeit der heutigen Notationskarten’, IMSCR XV: Madrid 1992, 744–57 [with maps]
W. Arlt: ‘Die Intervallnotationen des Hermannus Contractus in Gradualien des 11. und 12. Jahrhunderts: das Basler Fragment N I 6 Nr. 63 und der Engelberger Codex 1003’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 243–56
H. Möller: ‘Deutsche Neumenschriften ausserhalb St. Gallens’, ibid., 225–42
A. Odenkirchen: ‘13 Neumentafeln in tabellarischer Übersicht’, ibid., 257–62
K. Schlager: ‘Aenigmata in campo aperto: Marginalien zum Umgang mit Neumen’, KJb, lxxvii (1993), 7–15
J. Boe: ‘Chant Notation in Eleventh-Century Roman Manuscripts’, Essays on Medieval Music in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 43–57
B. Hebborn: Die Dasia-Notation (Bonn, 1995)
J. Szendrei: ‘Quilisma und Diastematie’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 317–40
T.J. McGee: ‘Ornamental Neumes and Early Notation’, Performance Practice Review, ix (1996), 39–65
C.R. Suso: ‘La notation aquitaine au Pays Basque’, EG, xxv (1997), 37–44
P.M. Arbogast: ‘The Small Punctum as Isolated Note in Codex Laon 239’, EG, iii (1959), 83–133
L. Agustoni: Gregorianischer Choral: Elemente und Vortragslehre mit besonderer Berücksichtigung der Neumenkunde (Freiburg, 1963)
C. Kelly: The Cursive Torculus Design in the Codex St. Gall 359 and its Rhythmical Significance: a Paleographical and Semiological Study (St Meinrad, IN, 1964)
W. Wiesli: Das Quilisma im Codex 359 der Stiftsbibliothek St. Gallen: eine paläographisch-semiologische Studie (Immensee, 1966)
E. Cardine: Semiologia gregoriana (Rome, 1968; Eng. trans., 1982); Fr. trans. in EG, xi (1970), 1–158
E. Cardine: ‘Neume’, EG, x (1969), 13–28
J. Dabrowski: ‘Le signe ST dans le codex 121 d’Einsiedeln’, EG, xii (1971), 65–86, appx 1–12
A.M.W.J. Kurris: ‘Les coupures expressives dans la notation du manuscrit Angelica 123’, EG, xii (1971), 13–63
N. Albarosa: ‘Comportamento delle virghe nei gruppi subbipunctes resupini seguiti da clivis finale nel Codice Laon 239’, EG, xiii (1972), 15–52
L.F. Heiman: ‘The Rhythmic Value of the Final Descending Note after a Punctum in Neumes of Codex 239 of the Library of Laon: a Paleographic-Semiological Study’, EG, xiii (1972), 151–224
N. Albarosa: ‘La scuola gregoriana de Eugène Cardine’, RIM, ix (1974), 269–97; xii (1977), 136–52
N. Albarosa: ‘La notazione neumatica de Nonantola: critica di una lettura’, RIM, xiv (1979), 225–310
S. Balducci: ‘L’interpretazione dei gruppi strofici alla luce delle notazioni antiche’, EG, xviii (1979), 5–96
L. Agustoni: ‘Valore delle note gregoriane’, Rivista internazionale di musica sacra, i (1980), 49–60, 129–70, 275–89
J.B. Göschl: Semiologische Untersuchungen zum Phänomen der gregorianischen Liqueszenz: der isolierte dreistufige Epiphonus Praepunctis, ein Sonderproblem der Liqueszenzforschung (Vienna, 1980)
J.B. Göschl, ed.: Ut mens concordet voci: Festschrift Eugène Cardine (St Ottilien, 1980) [incl. bibliography of E. Cardine’s writings and a list of semiology theses presented at the Pontificio Istituto di Musica Sacra, Rome]
H. Rumphorst: ‘Untersuchung zu zwei Formen des isolierten Pes Subbipunctis in den Handschriften E, C und L: Beitrag zur Frage des Zusammenhangs zwischen Text und Melodie’, EG, xix (1980), 25–88
N. Albarosa: ‘Paleografi non semiologi?’, Musicologie médiévale: Paris 1982, 101–05
N. Albarosa: ‘The Pontificio Istituto de Musica Sacra in Rome and the Semiological School of Dom Eugène Cardine’, JPMMS, vi (1983), 26–33
L. Agustoni: ‘Die gregorianische Semiologie und Eugène Cardine: eine neue Seite in der Geschichte der Restauration des gregorianischen Chorals’, Beiträge zur Gregorianik, i (1985), 9–22
H. González Barrionuevo: ‘El pes initio debilis en las principales familias neumáticas gregorianas’, España en la música de occidente: Salamanca 1985, i, 69–74
G. Joppich: ‘Der Torculus specialis als musikalische Interpunktionsneume: Vorbereitete Endartikulation als Mittel zur Interpretation des Textes’, Beiträge zur Gregorianik, ii (1986), 74–113
G. Joppich: ‘Die Bivirga auf der Endsilbe eines Wortes: ein Beitrag zur Frage des Wort–Ton–Verhältnisses im gregorianischen Choral’, Beiträge zur Gregorianik, iii (1986), 73–95
L. Agustoni: ‘Die Frage der Tonstufen Si und Mi’, Beiträge zur Gregorianik, iv (1987), 47–102
R. Fischer: ‘Die Ausführung der reperkutierten Noten, ein wesentliches Kennzeichen der Interpretation des gregorianischen Chorals’, Rivista internazionale di musica sacra, viii (1987), 5–75
L. Agustoni and J.B. Göschl, eds.: Einführung in die Interpretation des gregorianischen Chorals (Regensburg, 1987–92)
H. Kersken: Der dreitönige isolierte Salicus (3tiS) und seine Beziehung zum Text: ein Beitrag zum Wort-Ton-Verhältnis im gregorianischen Choral, Beiträge zur Gregorianik, vi (1988) [whole issue]
EG, xxiii (1989) [contains 9 articles generally about chant semiology, incl. E. Cardine: ‘Les limites de la sémiologie en chant grégorien’, 5–10; N. Albarosa: ‘Le torculus en fin de neume cadentiel’, 71–98; J. Claire: ‘La notation musicale de l’Antiphonale romanum’, 153–61]
R. Fischer: ‘Epiphonus oder Cephalicus?’, Beiträge zur Gregorianik, viii (1989), 5–28
H. González Barrionuevo: ‘Dos grafiás especiales del “scandicus” en la notación “mozarabe” del norte de España’, AnM, xliv (1989), 5–21
H. González Barrionuevo: ‘La grafia del “salicus” en la notación “mozarabe” de tipo vertical’, RdMc, xii (1989), 397–411
A. Turco: ‘Semiologia e notazione estetico-modale del pes quassus’, Studi gregoriana, v (1989), 71–102, vi (1990), 157–89
S. Amoruso and M.G. Cavuoto: ‘Cilium, elemento segnico beneventano’, Studi gregoriana, vi (1990), 123–55
D. Fournier: Sémio-esthétique du chant grégorien d’après le Graduel neumé de Dom Cardine, (Solesmes, 1990)
J. Claire: ‘Dom Eugène Cardine (1905–1988)’, Beiträge zur Gregorianik, xii (1992), 11–26
M.-N. Colette: ‘Indications rythmiques dans les neumes et direction melodique’, RdM, lxxviii (1992), 201–35
H. González Barrionuevo: ‘Los codices “mozarabes” del archivo de Silos: aspectos paleográficos y semiológicos de su notación neumática’, RdMc, xv (1992), 403–72
R. Sassenscheidt: Die Neumengruppe Distropha und Climacus: eine paläographisch-semiologische Untersuchung, Beiträge zur Gregorianik, xii (1992) [whole issue]
studies of history and style
F.J. Mone, ed.: Lateinische Hymnen des Mittelalters (Freiburg, 1853–5/R)
A. Mocquereau: ‘De l’influence de l’accent tonique latin et du cursus sur la structure mélodique et rythmique de la phrase grégorienne’, Le répons-graduel Justus ut palma, deuxième partie, PalMus, 1st ser., iii (1892/R), 7–77; Le codex 121 de la Bibliothèque d’Einsiedeln, PalMus, 1st ser., iv (1894/R), 25–204
F.A. Gevaert: La mélopée antique dans le chant de l’église latine (Ghent, 1895–6/R)
A. Mocquereau: ‘Du rôle et de la place de l’accent tonique latin dans le rythme grégorien’, Antiphonarium tonale missarum, PalMus, 1st ser., vii (1901/R), 19–377
J. Jeannin: Etudes sur le rythme grégorien (Lyons, 1926)
H. Potiron: La modalité grégorienne (Tournai, 1928)
U. Bomm: Der Wechsel der Modalitätsbestimmung in der Tradition der Messegesänge im IX.–XIII. Jahrhundert (Einsiedeln, 1929/R)
R.-J. Hesbert: ‘La messe Omnes gentes du 7e dimanche après Pentecôte et “l’Antiphonal missarum” romain’, Revue grégorienne, xvii (1932), 81–9, 170–79; xviii (1933), 1–14
P. Ferretti: Estetica gregoriana, ossia trattato delle forme musicali del canto gregoriano, (Rome, 1934/R; Fr. trans., 1938)
C. Ott, ed.: Offertoriale, sive Versus offertoriorum cantus gregoriani (Paris, 1935)
H. Sowa: Quellen zur Transformation der Antiphonen: Tonar- und Rhythmusstudien (Kassel, 1935)
E. Jammers: Der gregorianische Rhythmus: antiphonale Studien mit einer Übertragung der Introitus- und Offiziumsantiphonen des 1. Tones (Strasbourg, 1937, 2/1981)
D. Johner: Wort und Ton im Choral: ein Beitrag zur Aesthetik des gregorianischen Gesanges (Leipzig, 1940)
L. Brou: ‘Les chants en langue grecque dans les liturgies latines’, Sacris erudiri, i (1948), 165–80; iv (1952), 226–38
L. Brou: ‘Marie “Destructrice de toutes les hérésies” et la belle légende du répons Gaude Maria virgo’, Ephemerides liturgicae, lxii (1948), 321–53; lxv (1951), 28–33
J. Froger: ‘L’alleluia dans l’usage romain et la réforme de Saint Grégoire’, Ephemerides liturgicae, lxii (1948), 6–48
H. Potiron: L’analyse modale du chant grégorien (Tournai, 1948)
J. Froger: Les chants de la messe au VIIIe et IXe siècles (Tournai, 1950)
G. Benoît-Castelli: ‘Le “Praeconium paschale”’, Ephemerides liturgicae, lxvii (1953), 309–34
H. Hucke: ‘Musikalische Formen der Offiziumsantiphonen’, KJb, xxxvii (1953), 7–33
J. Gajard: ‘Les recitations modales des 3e et 4e modes et les manuscrits bénéventains et aquitains’, EG, i (1954), 9–45
D. Bosse: Untersuchung einstimmiger mittelalterlicher Melodien zum ‘Gloria in excelsis Deo’ (Regensburg, 1955)
M. Landwehr-Melnicki: Das einstimmige Kyrie des lateinischen Mittelalters (Regensburg, 1955/R)
B. Stäblein, ed.: Hymnen I: die mittelalterlichen Hymnenmelodien des Abendlandes, MMMA, i (1956/R)
H. Hucke: ‘Zum Probleme des Rhythmus im gregorianischen Gesang’, IMSCR VII: Cologne 1958, 141–2
C.-A. Moberg: ‘Zur Melodiegeschichte des Pange lingua Hymnus’, Jb für Liturgik und Hymnologie, v (1960), 46–74
P.J. Thannabaur: Das einstimmige Sanctus der römischen Messe in der handschriftlichen Überlieferung des 11. bis 16. Jahrhunderts (Munich, 1962)
J. Claire: ‘L’évolution modale dans les répertoires liturgiques occidentaux’, Revue grégorienne, xl (1962), 196–211, 229–48; xli (1963), 49–62, 77–102, 127–51
J. Claire: ‘La psalmodie responsoriale antique’, Revue grégorienne, xli (1963), 8–29, 49–62, 77–102
R.-J. Hesbert: ‘Un antique offertoire de la Pentecôte: Factus est repente’, Organicae voces: Festschrift Joseph Smits van Waesberghe, ed. P. Fischer (Amsterdam, 1963), 59–69
L. Robert: ‘Les chants du célébrant: les oraisons’, Revue grégorienne, xli (1963), 113–26
J. Szövérffy: Die Annalen der lateinischen Hymnendichtung (Berlin, 1964–5)
P. Mittler: Melodieuntersuchung zu den dorischen Hymnen der lateinischen Liturgie im Mittelalter (Siegburg, 1965)
K. Schlager: Thematischer Katalog der ältesten Alleluia-Melodien aus Handschriften des 10. und 11. Jahrhunderts, ausgenommen das ambrosianische, alt-spanische und alt-römische Repertoire (Munich, 1965)
D.G. Hughes: ‘The Sources of Christus manens’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J LaRue and others (New York, 1966/R), 423–34
R. Steiner: ‘Some Questions about the Gregorian Offertories and their Verses’, JAMS, xix (1966), 162–81
H. Hucke: ‘Tractusstudien’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 116–20
E. Jammers: ‘Rhythmen und Hymnen in einer St. Galler Handschrift des 9. Jahrhunderts’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 134–42
S. Kojima: ‘Die Ostergradualien Haec dies und ihr Verhältnis zu den Tractus des II. und VIII. Tons’, Colloquium amicorum: Joseph Schmidt-Görg zum 70. Geburtstag, ed. S. Kross and H. Schmidt (Bonn, 1967), 146–78
M. Robert: ‘Les adieux à l’alleluia’, EG, vii (1967), 41–51
H. Potiron: ‘Théoriciens de la modalité’, EG, viii (1967), 29–37
B. Rajeczky: ‘Le chant grégorien, est-il mesuré?’, EG, viii (1967), 21–8
M. Schildbach: Das einstimmige Agnus Dei und seine handschriftliche Überlieferung vom 10. bis zum 16. Jahrhundert (Erlangen, 1967)
K. Schlager: ‘Anmerkungen zu den zweiten Alleluia-Versen’, AMw, xxiv (1967), 199–219
H. Darré: ‘De l’usage des hymnes dans l’église des origines à Saint Grégoire-le-Grand’, EG, ix (1968), 25–36
H. Gneuss: Hymnar und Hymnen im englischen Mittelalter (Tübingen, 1968)
L. Treitler: ‘On the Structure of the Alleluia Melisma: a Western Tendency in Western Chant’, Studies in Music History: Essays for Oliver Strunk, ed. H.S. Powers (Princeton, 1968), 59–72
K. Schlager: Alleluia-Melodien, MMMA, vii, viii (1968–87)
B. Rajeczky: ‘Zur Frage der Verzierung im Choral’, SM, xi (1969), 34–54
J. Chailley: ‘Une nouvelle méthode d’approche pour l’analyse modale du chant grégorien’, Speculum musicae artis: Festgabe für Heinrich Husmann, ed. H. Becker and R. Gerlach (Munich, 1970), 85–92
H. Hucke: ‘Die Texte der Offertorien’, Speculum musicae artis: Festgabe für Heinrich Husmann, ed. H. Becker and R. Gerlach (Munich, 1970), 193–203
M. Huglo: ‘Les listes alléluiatiques dans les témoins du graduel grégorien’, ibid., 219–27
K. Levy: ‘The Italian Neophytes’ Chants’, JAMS, xxiii (1970), 181–227
T. Bailey: The Processions of Sarum and the Western Church (Toronto, 1971)
R. Erbacher: ‘Tonus peregrinus’: aus der Geschichte eines Psalmtons (Münsterschwarzach, 1971)
I. Müller: ‘Zu hochmittelalterlichen Hymnensammlungen süddeutscher Klöster’, Ephemerides liturgicae, lxxxv (1971), 121–49
C.W. Brockett: ‘Unpublished Antiphons and Antiphon Series in the Gradual of St-Yrieix’, MD, xxvi (1972), 5–35
R.-J. Hesbert: ‘La théologie du répertoire grégorien’, Musica e arte figurativa nei secoli X–XII: Todi 1972, 103–32
J. Drumbl: ‘Die Improperien in der lateinischen Liturgie’, Archiv für Liturgiewissenschaft, xv (1973), 68–100
J. Hourlier: ‘Notes sur l’antiphonie’, Gattungen der Musik in Einzeldarstellungen: Gedenkschrift für Leo Schrade, ed. W. Arlt and others (Berne, 1973), 116–43
H. Hucke: ‘Das Responsorium’, ibid., 144–91
E. Jammers: Das Alleluia in der gregorianischen Messe: eine Studie über seine Entstehung und Entwicklung (Münster, 1973)
R. Steiner: ‘Some Melismas for Office Responsories’, JAMS, xxvi (1973), 108–31
E. Jammers: ‘Gregorianischer Rhythmus, was ist das?’, AMw, xxxi (1974), 290–311
T.F. Kelly: ‘Melodic Elaboration in Responsory Melismas’, JAMS xxvii (1974), 461–74
C.D. Roederer: ‘Can We Identify an Aquitanian Chant Style?’, JAMS, xxvii (1974), 75–99
J. Claire: ‘Les répertoires liturgiques latins avant l’octoéchos, I: L’office férial romano-franc’, EG, xv (1975), 5–192
E. Ferrari–Barassi: ‘I modi ecclesiastici nei trattati musicale dell’età carolingia: nascita e crescita di una teoria’, Studi musicali, iv (1975) 3–56
T. Bailey: ‘Accentual and Cursive Cadences in Gregorian Psalmody’, JAMS, xxix (1976), 463–71
D.A. Bjork: The Kyrie Repertory in Aquitanian Manuscripts of the Tenth and Eleventh Centuries (diss., U. of California, Berkeley, 1976)
T. Miazga: Die Melodien des einstimmigen Credo der römisch-katholischen lateinischen Kirche (Graz, 1976)
E.T. Moneta Caglio: Lo jubilus e le origini della salmodia responsoriale (Milan, 1977)
H. Avenary: ‘Reflections on the Origins of the Alleluia-Jubilus’, Orbis musicae, vi (1978) 34–42
R. Le Roux: ‘Répons du triduo sacro et de Pâques’, EG, xviii (1979), 157–76
T. Miazga: Die Gesänge zur Osterprozession in den handschriftlichen Überlieferungen vom 10. bis zum 19. Jahrhundert (Graz, 1979)
D.A. Bjork: ‘Early Repertories of the Kyrie eleison’, KJb, lxiii–lxiv (1980), 9–43
W. Heckenbach: ‘Reponsoriale Communio-Antiphonen’, Ars musica, musica scientia, Festschrift Heinrich Hüschen, ed. D. Altenburg (Cologne, 1980), 224–32
C. Schmidt: ‘Modus und Melodiegestalt: Untersuchungen zu Offiziumsantiphonen’, Forum musicologicum, ii (1980), 13–43
J. Udovich: ‘The Magnificat Antiphons for the Ferial Office’, JPMMS, iii (1980), 1–15
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
A. Madrignac: ‘Les formules centons des alleluias anciens’, EG, xx (1981), 3–4; xxi (1986), 27–45
C.M. Atkinson: ‘Zur Entstehung und Überlieferung der “Missa graeca”’, AMw, xxxix (1982), 113–45
J. Boe: ‘Gloria A and the Roman Easter Vigil Ordinary’, MD, xxxvi (1982), 5–37
J. Dyer: ‘The Offertory Chant of the Roman Liturgy and its Musical Form’, Studi musicali, xi (1982), 3–30
IMSCR XIII: Strasbourg 1982a [Schweizer Jb für Musikwissenschaft, new ser., ii (1982)] [incl. W. Arlt: ‘Funktion, Gattung und Form im liturgischen Gesang des frühen und hohen Mittelalters: eine Einführung’, 13–26; M. Huglo: ‘Le répons-graduel de la messe: évolution de la forme: permanence de la fonction’, 53–73, 74–7; R. Steiner: ‘The Canticle of the Three Children as a Chant of the Roman Mass’, 81–90; K. Levy: ‘A Gregorian Processional Antiphon’, 91–102; L. Treitler: ‘From Ritual through Language to Music’, 109–23]
R. Steiner: ‘Reconstructing the Repertory of Invitatory Tones and their Uses at Cluny in the Late 11th Century’, Musicologie médiévale: Paris 1982, 175–82
R. Jonsson and L. Treitler: Medieval Music and Language: a Reconsideration of the Relationship (New York, 1983)
K. Levy: ‘Toledo, Rome, and the Legacy of Gaul’, EMH, iv (1984), 49–99 [discusses a distinctive class of over two dozen Offertory texts]
J.W. McKinnon: ‘The Fifteen Temple Steps and the Gradual Psalms’, Imago musicae, i (1984), 29–49
K. Ottosen: ‘The Latin Office of the Dead: a Computer Analysis of Two Thousand Texts’, Computer Applications to Medieval Studies, ed. A. Gilmour-Bryson (Kalamazoo, MI, 1984), 81–7
R. Steiner: ‘Antiphons for the Benedicite at Lauds’, JPMMS, vii (1984), 1–17
J. Jeanneteau: Los modos gregorianos: historia – analisis – estética (Silos, 1985)
S. Rankin: ‘The Liturgical Background of the Old English Advent Lyrics: a Reappraisal’, Learning and Literature in Anglo-Saxon England: Studies Presented to Peter Clemoes, ed. M. Lapidge and H. Gneuss (Cambridge, 1985), 317–40 [discusses the Advent ‘O’ antiphons]
B. Ribay: ‘La modalité grégorienne’, Musica e liturgia nella cultura mediterranea: Venice 1985, 221–52
J. Boe: ‘Italian and Roman Verses for Kyrie eleyson in the MSS Cologny-Gèneve, Bibliotheca Bodmeriana 74 and Vaticanus latinus 5319’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 337–84
J. Claire: ‘Les psaumes graduels au coeur de la liturgie quadragésimale’, EG, xxi (1986), 5–12
R.L. Crocker: ‘Matins Antiphons at St. Denis’, JAMS, xxxix (1986), 441–90
D. Hiley: ‘Ordinary of Mass Chants in English, North French and Sicilian Manuscripts’, JPMMS, ix (1986), 1–128
J. Stevens: Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350 (Cambridge, 1986)
K.-W. Gümpel: ‘Gregorian Chant and musica ficta: New Observations from Spanish Theory of the Early Renaissance’, Recerca musicològica, vi–vii (1986–7), 5–27; rev. version, in Ger., in AMw, xlvii (1990), 120–47
L. Agustoni: ‘Die Frage der Tonstufen SI und MI’, Beiträge zur Gregorianik, iv (1987), 47–102 [whole issue]
J. Boe: ‘Hymns and Poems at Mass in Eleventh-Century Southern Italy (Other than Sequences)’, IMSCR XIV: Bologna 1987, iii, 515–41
H. Hucke: ‘Musik und Sprache im gregorianischen Gesang’, Musica antiqua VIII: Bydgoszcz 1988, 449–56
A. Hughes: ‘Antiphons and Acclamations: the Politics of Music in the Coronation Service of Edward II, 1308’, JM, vi (1988), 150–68 [discusses the antiphon Unxerunt Salomonem]
J.W. McKinnon: ‘The Patristic Jubilus and the Alleluia of the Mass’, Cantus planus III: Tihány 1988, 61–70
J.W. McKinnon: ‘The Roman Post–Pentecostal Communion Series’, ibid., 175–86
B. Ribay: ‘Les graduels en IIA’, EG, xxii (1988), 443–107
A.W. Robertson: ‘Benedicamus Domino: the Unwritten Tradition, JAMS, xli (1988), 1–62
K. Schlager: ‘Zur Überlieferung von Melismen im gregorianischen Choral’, SM, xxx (1988), 431–6
S. Žak: ‘Sollemnis oblatio: Studien zum Offertorium im Mittelalter’, KJb, lxxii (1988), 27–51
C.M. Atkinson: ‘The Doxa, the Pisteuo, and the Ellenici fratres: some Anomalies in the Transmission of the Chants of the “Missa graeca”’, JM, vii (1989), 81–106
F. Buttner: ‘Zur Geschichte der Marienantiphon Salve regina’, AMw, xlvi (1989), 257–70
J.G. Davies: ‘A Fourteenth Century Processional for Pilgrims in the Holy Land’, Hispania sacra, xli (1989), 421–9
J. Dyer: ‘Monastic Psalmody of the Middle Ages’, Revue bénédictine, xcix (1989), 41–74
J. Dyer: ‘The Singing of Psalms in the Early Medieval Office’, Speculum, lxiv (1989), 535–78
G. Mele: ‘Una sconosciuta antifona mariana in B.A.V. Ottob. Lat. 527 e in A.C.O., P. Xlll (Sardegna)’, Studi gregoriani, v (1989), 59–70
A. Traub: Hucbald von Saint-Amand ‘De harmonico institutione’, Beiträge zur Gregorianik, vii (1989) [whole issue]
T. Bailey: ‘Word-Painting and the Romantic Interpretation of Chant’, Beyond the Moon: Festschrift Luther Dittmer, ed. B. Gillingham and P. Merkley (Ottawa, 1990), 1–15
M.-N. Colette: ‘Le Salve Regina en Aquitaine au XIIème siècle: l’auteur du Salve’, Cantus planus IV: Pécs 1990, 521–47
M. Floyd: ‘Processional Chants in English Monastic Sources’, JPMMS, xiii (1990), 1–45
T.C. Karp: ‘Interrelationships among Gregorian Chants: an Alternative View of Creativity in Early Chant’, Studies in Musical Sources and Style: Essays in Honor of Jan LaRue, ed. E.K. Wolf and E.H. Roesner (Madison, WI, 1990), 1–40
R. Steiner: ‘The Parable of the Talents in Liturgy and Chant’, Essays in Musicology: a Tribute to Alvin Johnson, ed. L. Lockwood and E.H. Roesner (Philadelphia, 1990), 1–15
A.B. Yardley: ‘The Marriage of Heaven and Earth: a Late Medieval Source of the Consecratio virginum’, CMc, nos.45–7 (1990), 305–24 [Sanders Fs issue, ed. P.M. Lefferts and L.L. Perkins]
T.J. Knoblach: ‘The O Antiphons’, Ephemerides liturgicae, cvi (1992), 177–204
J. McKinnon: ‘The Eighth-Century Frankish-Roman Communion Cycle’, JAMS, xlv (1992), 179–227
C.M. Atkinson: ‘Further Thoughts on the Origin of the Missa graeca’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 75–93
E. Nowacki: ‘Constantinople – Aachen – Rome: the Transmission of Veterem hominem’, ibid., 95–115 [concerns the antiphons for the Octave of Epiphany]
R. Steiner: ‘Holocausta medullata: an Offertory for St. Saturninus’, ibid., 263–74
N. Sevestre: ‘La liturgie de la Dédicace et ses hymnes’, Max Lütolf zum 60. Geburtstag: Festschrift, ed. B. Hangartner and U. Fischer (Basel, 1994), 59–64
G.M. Boone, ed,: Essays on Medieval Music: in Honor of David G. Hughes (Cambridge, MA, 1995 [incl. T.H. Connolly: ‘The Antiphon Cantantibus organis and Dante’s Organi Dei mondo’, 59–75; R.L. Crocker: ‘Thoughts on Responsories’, 77–85; E. Nowacki: ‘Antiphonal Psalmody in Christian Antiquity and Early Middle Ages’, 287–315; L. Treitler: ‘Once More, Music and Language in Medieval Song’, 441–69]
S. Dieudonné: ‘Introït de la fête de la Présentation Suscepimus’, Requirentes modos musicos: mélanges offerts à Dom Jean Claire, ed. D. Saulnier (Solesmes, 1995), 275–94
J. Halmo: Hymns for the Paschal-Triduum in the Medieval Office (Ottawa, 1995); see also Worship, lv (1981), 137–59
T. Karp: The Offertory In die solemnitatis’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 151–65
G. Kiss: ‘Die Beziehung zwischen Ungebundenheit und Traditionalismus im Messordinarium’, ibid., 187–200
C. Maître: ‘La modalité archaïque dans le répertoire d’Autun’, Requirentes modos musicos: mélanges offerts à Dom Jean Claire, ed. D. Saulnier (Solesmes, 1995), 179–91
R. Steiner: ‘Antiphons for Lauds on the Octave of Christmas’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 307–315
J.W. McKinnon: ‘Preface to the Study of the Alleluia’, EMH, xv (1996), 213–49
I.B. Milfull: The Hymns of the Anglo-Saxon Church: a Study and Edition of the Durham Hymnal (Cambridge, 1996)
D. Saulnier: ‘Modes orientaux et modes grégoriens’, EG, xxv (1997), 45–61
L. Treitler: ‘Language and the Interpretation of Music’, Music and Meaning, ed. J. Robinson (Ithaca, NY, 1997), 23–56
GerbertS, i, 26–7 [Pseudo-Alcuin: De octo tonis]
E. Omlin: Die Sankt-Gallischen Tonarbuchstaben (Engelberg, 1934)
J. Smits van Waesberghe, ed.: Johannes Afflighemensis: De musica cum tonario, CSM, i (1950)
J. Smits van Waesberghe, ed.: Aribonis: De musica, CSM, ii (1951)
J. Smits van Waesberghe: ‘The Musical Notation of Guido of Arezzo’, MD, v (1951), 15–53 [Eng. trans. of pp.47–85 of De musico-paedagogico et theoretico Guidone Aretino, Florence, 1953]
M. Huglo: ‘Un tonaire du graduel de la fin du XIIIe siècle (Paris, B.N. lat.13,159)’, Revue grégorienne, xxxi (1952), 176–86, 224–33
K. Meyer: ‘The Eight Gregorian Modes on the Cluny Capitals’, Art Bulletin, xxxiv (1952), 75–94
J. Smits van Waesberghe, ed.: Guidonis Aretini: Micrologus, CSM, iv (1955)
M. Huglo: ‘Le tonaire de Saint-Bénigne de Dijon (Montpellier H. 159)’, AnnM, iv (1956), 7–18
R. Weakland: ‘Hucbald as Musician and Theorist’, MQ, xlii (1956), 66–84
P. Fischer and J. Smits van Waesberghe, eds.: The Theory of Music from the Carolingian Era up to 1400, i: Descriptive Catalogue of Manuscripts, RISM, B/III/1 (1961)
Z. Falvy: ‘Zur Frage von Differenzen der Psalmodie’, SMw, xxv (1962), 160–73
F.J. Léon Tello: Estudios de historia de la teoría musical (Madrid, 1962)
J. Chailley, ed.: Alia musica: traité de musique du IXe siècle (Paris, 1965)
W. Lipphardt, ed.: Der karolingische Tonar von Metz (Münster, 1965)
M. Huglo: ‘Un théoricien du XIe siècle: Henri d’Augsbourg’, RdM, liii (1967), 53–9
H. Potiron: ‘Théoriciens de la modalité’, EG, viii (1967), 29–37
P. Fischer, ed.: The Theory of Music from the Carolingian Era up to 1400, ii: Italy, RISM, B/III/2 (1968)
M. Huglo: ‘Un troisième témoin du “tonaire carolingien”’, AcM, xl (1968), 22–8
J. Ponte, ed. and trans.: Aurelianus Reomensis: the Discipline of Music (Musica disciplina) (Colorado Springs, CO, 1968)
M. Huglo: ‘L’auteur du “Dialogue sur la musique” attribué à Odon’, RdM, lv (1969), 119–71
J. Smits van Waesberghe: Musikerziehung: Lehre und Theorie der Musik im Mittelalter (Leipzig, 1969)
M. Huglo: ‘Der Prolog des Odo zugeschriebenen “Dialogus de musica”’, AMw, xxviii (1971), 134–46
M. Huglo: Les tonaires: inventaire, analyse, comparaison (Paris, 1971)
L.A. Gushee: ‘Questions of Genre in Medieval Treatises on Music’, Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. W. Arlt and others (Berne, 1973), 365–433
T. Seebass: Musikdarstellung und Psalterillustration im frühen Mittelalter: Studien, ausgehend von einer Ikonologie der Handschrift Paris, Bibliothèque nationale, fonds latin 1118 (Berne, 1973)
T. Bailey: The Intonation Formulas of Western Chant: Studies and Texts (Toronto, 1974)
L. Gushee, ed.: Aureliani Reomensis Musica disciplina, CSM, xxi (1975)
R.A. Skeris: ‘Chroma theou’: on the Origins and Theological Interpretation of the Musical Imagery Used by the Ecclesiastical Writers (Altötting, 1976)
M. Bielitz: Musik und Grammatik: Studien zur mittelalterlichen Musiktheorie (Munich, 1977)
T. Bailey: ‘De modis musicis: a New Edition and Explanation’, KJb, lxi–lxii (1977–8), 47–60
W. Babb, C.V. Palisca and A.E. Planchart, eds.: Hucbald, Guido, and John on Music: Three Medieval Treatises (New Haven, CT, 1978)
T. Bailey, ed.: ‘Commemoratio brevis et tonis et psalmis modulandis’: Introduction, Critical Edition, Translation (Ottawa, 1979)
M. Bernhard: Wortkonkordanz zu Anicius Manlius Severinus Boethius ‘De institutione musica’ (Munich, 1979)
A. Seay, ed.: G. Martinez de Biscargui: Arte de canto llano [1538] (Colorado Springs, CO, 1979)
J. Snyder: ‘Non-Diatonic Tones in Plainsong: Theinred of Dover versus Guido d’Arezzo’, IMSCR XIII: Strasbourg 1982c, ii, 49–67
N.C. Phillips: ‘Musica et Scolica enchiriadis’: its Literary, Theoretical, and Musical Sources (diss., New York U., 1984)
M.A. Ester-Sala: ‘Difusió en català de l’obra de J. Bermudo a l’Ordinarium barcinonense de 1569’, Recerca musicològica, v (1985), 13–43
P.A. Merkley: Conflicting Assignments of Antiphons in Italian Tonaries (diss., Harvard U., 1985)
P. Merkley: ‘The Transmission of Tonaries in Italy’, Studies in Music from the University of Western Ontario, x (1985), 51–74
M. Huglo and C. Meyer, eds.: The Theory of Music, iii: Manuscripts from the Carolingian Era to c. 1500 in the Federal Republic of Germany (D-brd), RISM, B/III/3 (1986)
K.-W. Gümpel: ‘Gregorian Chant and Musica ficta: New Observations from Spanish Theory of the Early Renaissance’, Recerca musicològica, vi–vii (1986–7), 5–27; rev. version, in Ger., in AMw, xlvii (1990), 120–47
M. Huglo: ‘Les formules d’intonations noeane noeagis en Orient et en Occident’, Aspects de la musique liturgique au Moyen Age: Royaumont de 1986, 1987 and 1988, 43–53
J. Raasted: ‘The laetantis adverbia of Aurelian’s Greek Informant’, ibid., 55–66
N. Sevestre: ‘Quelques documents d’iconographie musicale médiévale: l’image et l’école autour de l’an mil’, Imago musicae, iv (1987), 23–34 [concerns illustrations in the tonary of F-Pn lat.1118]
C.M. Atkinson: ‘Harmonia and the Modi, quos abusive tonos dicimus’, IMSCR XIV: Bologna 1987, iii, 485–500
M. Bernhard, ed.: Anonymi saeculi decimi vel undecimi tractatus de musica ‘Dulce ingenium musicae’ (Munich, 1987)
Music Theory and its Sources: Antiquity and the Middle Ages: South Bend, IN, 1987 [incl. M. Bernhard: ‘Glosses on Boethius’, 136–49; M. Huglo: ‘The Study of Ancient Sources of Music Theory in the Medieval University’, 150–72; J.W. McKinnon: ‘Music Theory and its Sources: Antiquity and the Middle Ages’, 258–64]
Cantus planus III: Tihány 1988 [incl. C.M. Atkinson: ‘From Vitium to Tonus acquisitus: on the Evolution of the Notation Matrix of Medieval Chant’, 181–97; J. Dyer: ‘The Monastic Origins of Western Music Theory’, 199–225; M. Bernhard: ‘Didaktische Verse zur Musiktheorie des Mittelalters’, 227–36; Z. Czagány: ‘Fragment eines Anonymen Musik traktats des XV. Jahrhunderts aus Leutschau’, 237–44; C. Maître: ‘Etude lexicologique d’un traité dit de Saint Martial’, 257–65]
J. Chailley and J. Viret: ‘Le symbolisme de la gamme’, ReM, nos.408–9 (1988), 1–150
M. Huglo: ‘Bibliographie des éditions et études relatives à la théorie musicale du Moyen Age (1972–1987)’, AcM, lx (1988), 229–72
M. Huglo: ‘Notice sur deux nouveaux manuscrits d’Aristote en latin (Munich, Bayerische Staatsbibliothek, Clm 14272, Baltimore MD, the George Peabody Library, Inv. 159413)’, Scriptorium, xlii (1988), 183–90
R. Killam: ‘Solmization with the Guidonian Hand: an Historical Introduction to Modal Counterpoint’, Journal of Music Theory Pedagogy, ii (1988), 251–73
P. Merkley: ‘Tonaries and Melodic Families of Antiphons’, JPMMS, xi (1988), 13–24
W. Sayers: ‘Irish Evidence for the De harmonia tonorum of Wulfstan of Winchester’, Mediaevalia, xiv (1988), 23–38
M. Bernhard: ‘Clavis Gerberti’: eine Revision von Martin Gerberts ‘Scriptores ecclesiastici de musica sacra potissimum’ (St. Blasien, 1784) (Munich, 1989)
C.M. Bower and C.V. Palisca, ed. and trans.: Anicius Manlius Severinus Boethius: Fundamentals of Music (New Haven, CT, 1989)
B. Sullivan: ‘Interpretive Models of Guido of Arezzo’s Micrologus’, Comitatus, xx (1989), 20–42
M. Bernhard: ‘The Lexicon musicum latinum of the Bavarian Academy of Sciences’, JPMMS, xiii (1990), 79–82
M. Bernhard, ed.: Quellen und Studien zur Musiktheorie des Mittelalters, i (Munich, 1990)
M. Bernhard: ‘Überlieferung und Fortleben der antiken lateinischen Musiktheorie im Mittelalter’, ‘Das musikalische Fachschriften im lateinischen Mittelalter’, Geschichte der Musiktheorie, ed. F. Zaminer, iii: Rezeption des antiken Fachs im Mittelalter (Darmstadt, 1990), 7–35, 37–103
Cantus planus IV: Pécs 1990 [incl. H. Möller: ‘Der Tonarius Bernonis: Rätsel um Gerberts Ausgabe’, 69–86; J. Dyer: ‘Chant Theory and Philosophy in the Late Thirteenth Century’, 99–117; E. Witkowska-Zaremba: ‘Music between Quadrivium and Ars canendi: Musica speculativa by Johannes de Muris and its Reception in Central and East-Central Europe’, 119–26; Z. Czagány: ‘Ein Diffinitorium musicum aus dem späten 15. Jahrhundert’, 127–39; L. Vikarius: ‘Pro cognicione cantus: a Theoretical Compilation’, 141–61]
M. Huglo: ‘La réception de Calcidius et des Commentarii de Macrobe a l’époque carolingienne’, Scriptorium, xliv (1990), 3–20
R.P. Maddox: ‘Spatium and intervallum: the Development of Technical Terms for “Interval” in Medieval Treatises’, Musicology Australia, xiii (1990), 23–7
G. Marzi, ed.: Anicius Manlius Severinus Boethius: De Institutione Musica (Rome, 1990)
P. Merkley: ‘Tonaries, Differentiae, Termination Formulas, and the Reception of Chant’, Beyond the Moon: Festschrift Luther Dittmer, ed. B. Gillingham and P. Merkley (Ottawa, 1990), 183–94
K.-J. Sachs: ‘Musikalische Elementarlehre im Mittelalter’, Geschichte der Musiktheorie, ed. F. Zaminer, iii: Rezeption des antiken Fachs im Mittelalter (Darmstadt, 1990), 105–61
C. Page, ed.: The ‘Summa musice’: a Thirteenth-Century Manual for Singers (Cambridge, 1991)
K. Slocum: ‘Musica coelestis: a Fourteenth Century Image of Cosmic Music’, Studia mystica, xiv/2–3 (1991), 3–12
M. Bernhard, ed.: ‘Lexicon musicum latinum medii aevi’: Wörterbuch der lateinischen Musikterminologie des Mittelalters bis zum Ausgang des 15. Jahrhunderts, i: Quellenverzeichnis (Munich, 1992) [a bibliography of secondary sources and a list of published treatises concerning medieval theory]
C. Meyer, M. Huglo and N.C. Phillips, eds.: The Theory of Music, iv: Manuscripts from the Carolingian Era up to c. 1500 in Great Britain and in the United States: a Descriptive Catalogue, RISM, B/III/1 (1992)
C. Page: ‘A Treatise on Musicians from ?c. 1400: the Tractatulus de differentiis et gradibus cantorum by Arnulf de St Ghislain’, JRMA, cxvii (1992), 1–21
W. Arlt: ‘Die Intervallnotationen des Hermannus Contractus in Gradualien des 11. und 12. Jahrhunderts: das Basler Fragment N I 6 Nr. 63 und der Engelberger Codex 1003’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 243–56
M. Bernhard and C.M. Bower, eds.: Glossa maior in institutionem musicam Boethii (Munich, 1993)
M. Huglo: ‘Les diagrammes d’harmonique interpolés dans les manuscrits hispaniques de la Musica Isidori’, Scriptorium, xlviii (1994), 171–86
C.M. Atkinson: ‘Johannes Afflighemensis as a Historian of Mode’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 1–10
M. Bernhard: ‘Traditionen im mittelalterlichen Tonsystem’, Altes im Neuen: Festschrift Theodor Göllner zum 65. Geburtstag, ed. B. Edelmann and M.H. Schmid (Tutzing, 1995), 11–23
M. Huglo: ‘Exercitia vocum’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 117–23 [concerns early vocal exercises used at various churches]
E. Witkowska-Zaremba: ‘Mi contra fa and Divisio toni’, ibid., 331–340
C. Meyer: ‘Mensura monochordi’: la division du monocorde (IXe–XVe siècles) (Paris, 1996)
J.M.H. Smith: ‘A Hagiographer at Work: Hucbald and the Library at Saint-Amand’, Revue bénédictine, cvi (1996), 151–71
C.W. Brockett, ed.: Anonymi ‘De modorum formulis et tonarius’, CSM, xxxvii (1997)
C. Meyer, E. Witkowska-Zaremba and K.-W. Gümpel, eds.: The Theory of Music, v: Manuscripts from the Carolingian Era up to c. 1500 in the Czech Republic, Poland, Portugal and Spain: a Descriptive Catalogue, RISM B/III/5 (1997)
tropes, sequences, conductus, versus, cantiones
MGG2 (‘Cantio’; J. Cerny)
F.J. Wolf: Über die Lais, Sequenzen und Leiche (Heidelberg, 1841/R)
H.A. Daniel: Thesaurus hymnologicus sive hymnorum canticorum sequentiarum circa annum MD usitarum collectio amplessima (Leipzig, 1841–56/R)
K. Bartsch, ed.: Die lateinischen Sequenzen des Mittelalters in musikalischer und rhythmischer Beziehung (Rostock, 1868/R)
J. Kehrein: Lateinische Sequenzen des Mittelalters aus Handschriften und Drucken (Mainz, 1873/R)
A. Reiners: Die Tropen-, Prosen-, und Präfations-Gesängen des feierlichen Hochamtes im Mittelalter (Luxembourg, 1884)
L. Gautier: Histoire de la poésie liturgique au Moyen Age, i: Les tropes (Paris, 1886/R)
W.H. Frere, ed.: The Winchester Troper from MSS of the Xth and XIth Centuries (London, 1894/R)
E. Misset and P. Aubry: Les proses d’Adam de Saint-Victor: texte et musique (Paris, 1900/R)
O. Drinkwelder: Ein deutsches Sequentiar aus dem Ende des 12. Jahrhunderts (Graz, 1914)
J. Handschin: ‘Über Estampie und Sequenz’, ZMw, xii (1929–30), 1–20; xiii (1930–31), 113–32
H. Spanke: ‘Rhythmen- und Sequenzstudien’, Studi medievali, new ser., iv (1931), 286–320
F. Gennrich: Grundriss einer Formenlehre des mittelalterlichen Liedes als Grundlage einer musikalischen Formenlehre des Liedes (Halle, 1932/R)
H. Spanke: ‘Zur Geschichte der lateinischen nichtliturgischen Sequenz’, Speculum, vii (1932), 367–82
A. Hughes, ed.: Anglo-French Sequelae Edited from the Papers of the Late Dr. Henry Marriott Bannister (London, 1934/R)
A. Schmitz: ‘Ein schlesisches Cantional aus dem 15. Jahrhundert (Hs. Graz 756)’, AMf, i (1936), 385–423
H. Spanke: ‘Die Kompositionskunst der Sequenzen Adams von St. Victor’, Studi medievali, new ser., xiv (1941), 1–30
M. Bukofzer: ‘Speculative Thinking in Mediaeval Music’, Speculum, xvii (1942), 165–80
W. von den Steinen: ‘Die Anfänge der Sequenzdichtung’, Zeitschrift für schweizerische Kirchengeschichte, xl (1946), 190–212, 241–68; xli (1947), 19–48, 122–62
W. von den Steinen: Notker der Dichter und seine geistige Welt (Berne, 1948/R)
L. Brou: ‘Séquences et tropes dans la liturgie mozarabe’, Hispania sacra, iv (1951), 1–15
R.-J. Hesbert: Le prosaire de la Sainte-Chapelle (Mâcon, 1952) [facs.]
J. Handschin: ‘Trope, Sequence and Conductus’, NOHM, ii (1954), 128–74
H. Husmann: ‘Die Sankt Galler Sequenztradition bei Notker und Ekkehard’, AcM, xxvi (1954), 6–18
H. Husmann: ‘Sequenz und Prosa’, AnnM, ii (1954), 61–91
E. Jammers: Der mittelalterliche Choral: Art und Herkunft (Mainz, 1954)
L. Kunz: ‘Textrhythmus und Zahlenkomposition in frühen Sequenzen’, Mf, viii (1955), 403–11
G. Vecchi, ed.: Troparium sequentiarium nonantulanum: Cod. Casanat. 1741, MLMI, 1st ser., Latina, i (1955) [facs.]
H. Husmann: ‘Die Alleluia und Sequenzen der Mater-Gruppe’, Musikwissenschaftlicher Kongress: Vienna 1956, 276–84
H. Husmann: ‘Alleluia, Vers und Sequenz’, AnnM, iv (1956), 19–53
H. Husmann: ‘Die älteste erreichbare Gestalt des St. Galler Tropariums’, AMw, xiii (1956), 25–41
W. Irtenkauf: ‘Das Seckauer Cantionarium vom Jahre 1345 (Hs. Graz 756)’, AMw, xiii (1956), 116–41
M. Huglo: ‘Un nouveau prosaire nivernais’, Ephemerides liturgicae, lxxi (1957), 3–30
J. Smits van Waesberghe: ‘Over het ontstaan van sequens en prosula en beider oorsprenkelijke uitvoeringswijze’, Orgaan K.N.T.V., xii/Sept (1957), 1–57
R.L. Crocker: ‘The Repertory of Proses at Saint Martial de Limoges in the 10th Century’, JAMS, xi (1958), 149–64
J. Smits van Waesberghe: ‘Zur ursprünglichen Vortragsweisen der Prosulen, Sequenzen und Organa’, IMSCR VII: Cologne 1958, 251–4
R. Weakland: ‘The Beginnings of Troping’, MQ, xliv (1958), 477–88
H. Husmann: ‘Alleluia, Sequenz und Prosa im altspanischen Choral’, Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), 407–15
H. Husmann: ‘Sinn und Wesen der Tropen, veranschaulicht an den Introitus-Tropen des Weihnachtsfestes’, AMw, xvi (1959), 135–47
F. Labhardt: Das Sequentiar Cod. 546 der Stiftsbibliothek von St. Gallen und seine Quellen (Berne, 1959–63)
P. Evans: ‘Some Reflections on the Origin of the Trope’, JAMS, xiv (1961), 119–30
R.-J. Hesbert: Le prosaire d’Aix–la-Chapelle: manuscrit 13 du chapitre d’Aix-la-Chapelle (XIIIe siècle, début) (Rouen, 1961) [facs.]
L. Elfving: Etude lexicographique sur les séquences limousines (Stockholm, 1962)
H. Husmann: ‘Die Sequenz Duo tres’, In memoriam Jacques Handschin, ed. H. Anglés and others (Strasbourg, 1962), 66–72
J. Smits van Waesberghe: ‘Die Imitation der Sequenztechnik in den Hosanna-Prosulen’, Festschrift Karl Gustav Fellerer zum 60. Geburtstag, ed. H. Hüschen (Regensburg, 1962/R), 485–90
B. Stäblein: ‘Der Tropus Dies sanctificatus zum Alleluia Dies sanctificatus’, SMw, xxv (1962), 504–15
P. Damilano: ‘Laudi latine in un antifonario bobbiese del Trecento’, CHM, iii (1962–3), 15–57
B. Stäblein: ‘Notkeriana’, AMw, xix–xx (1962–3), 84–99
H.J. Holman: ‘Melismatic Tropes in the Responsories for Matins’, JAMS, xvi (1963), 36–46
B. Stäblein: ‘Zum Verständnis des “klassischen” Tropus’, AcM, xxxv (1963), 84–95
B. Stäblein: ‘Zwei Textierungen des Alleluia Christus resurgens in St. Emmeram, Regensburg’, Organicae voces: Festschrift Joseph Smits van Waesberghe, ed. P. Fischer (Amsterdam 1963), 157–67
J.A. Emerson: ‘Über Entstehung und Inhalt von MüD (München, Bayer. Staatsbibl., Cgm. 716)’, KJb, xlviii (1964), 33–60
H. Husmann, ed.: Tropen- und Sequenzenhandschriften, RISM, B/V/1 (1964)
B. Stäblein: ‘Die Sequenzmelodie “Concordia” und ihr geschichtlicher Hintergrund’, Festschrift Hans Engel, ed. H. Heussner (Kassel, 1964), 364–92
G. Weiss: ‘Zum Problem der Gruppierung südfranzösischer Tropare’, AMw, xxi (1964), 163–71
P. Dronke: ‘The Beginnings of the Sequence’, Beiträge zur Geschichte der deutschen Sprache und Literatur, lxxxvii (1965), 43–73
N. de Goede, ed.: The Utrecht Prosarium, MMN, vi (1965)
R.L. Crocker: ‘The Troping Hypothesis’, MQ, lii (1966), 183–203
D. Hughes: ‘Further Notes on the Grouping of the Aquitanian Tropers’, JAMS, xix (1966), 3–12
R.L. Crocker: ‘Some Ninth-Century Sequences’, JAMS, xx (1967), 367–402
P. Damilano: ‘Sequenze bobbiesi’, RMI, ii (1967), 3–35
K. Rönnau: ‘Regnum tuum solidum’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 195–205
K. Rönnau: Die Tropen zum ‘Gloria in excelsis Deo’, unter besonderer Berücksichtigung des Repertoires der St. Martial-Handschriften (Wiesbaden, 1967)
B. Stäblein: ‘“Psalle symphonizando”’, Festschrift für Walter Wiora, ed. L. Finscher and C.-H. Mahling (Kassel, 1967), 221–8
P.J. Thannabaur: ‘Anmerkungen zur Verbreitung und Struktur der Hosanna-Tropen im deutschsprachigen Raum und den Ostländern’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 250–59
G. Weiss: ‘Zur Rolle Italiens im frühen Tropenschaffen: Beobachtungen zu den Vertonungen der Introitus-Tropen Quem nasci mundo und Quod prisco vates’, ibid., 287–92
P. Evans: ‘The Tropi ad sequentiam’, Studies in Music History: Essays for Oliver Strunk, ed. H.S. Powers (Princeton, 1968), 73–82
R. Steiner: ‘The Prosulae of the MS Paris, Bibliothèque Nationale, f. lat. 1118’, JAMS, xxii (1969), 367–93
H. Anglès: ‘Eine Sequenzensammlung mit Mensuralnotation und volkstümlichen Melodien (Paris, B.N. lat. 1343)’, Speculum musicae artis: Festgabe für Heinrich Husmann, ed. H. Becker and R. Gerlach (Munich, 1970), 9–18
P. Evans: The Early Trope Repertory of Saint Martial de Limoges (Princeton, NJ, 1970)
P. Evans: ‘Northern French Elements in an Early Aquitanian Troper’, Speculum musicae artis: Festgabe für Heinrich Husmann, ed. H. Becker and R. Gerlach (Munich, 1970), 103–10
R.-J. Hesbert: Le tropaire-prosaire de Dublin: manuscrit Add. 710 de l’Université de Cambridge (vers 1360) (Rouen, 1970) [facs.]
R. Steiner: ‘The Responsories and Prosa for St. Stephen’s Day at Salisbury’, MQ, lvi (1970), 162–82
G. Weiss, ed.: Introitus-Tropen, i: Das Repertoire der südfranzösischen Tropare des 10. und 11. Jahrhunderts, MMMA, iii (1970)
K. Levy: ‘Lux de luce: the Origin of an Italian Sequence’, MQ, lxxii (1971), 40–61
D.G. Hughes: ‘Music for St. Stephen at Laon’, Words and Music: the Scholar’s View: a Medley of Problems and Solutions Compiled in Honor of A. Tillman Merritt, ed. L. Berman (Cambridge, MA, 1972), 137–59
H. Vogt: Die Sequenzen der Graduale Abdinghof aus Paderborn (Münster, 1972)
R.L. Crocker: ‘The Sequence’, Gattungen der Musik in Einzeldarstellungen: Gedenkschrift für Leo Schrade, ed. W. Arlt and others (Berne, 1973), 269–322
H. Hofmann-Brandt: Die Tropen zu den Responsorien des Offiziums (Kassel, 1973)
R. Jonsson: ‘Amalaire de Metz et les tropes du Kyrie eleison’, Classica et mediaevalia: Francisco Blatt septuagenario dedicata (Copenhagen, 1973), 510–40
W. Lipphardt: ‘Magnum nomen Domini Emanuel: zur Frühgeschichte der Cantio Resonet in laudibus’, Jb für Liturgik und Hymnologie, xvii (1973), 194–204
J.D. Anderson: ‘Tropes: a Reappraisal’, American Benedictine Review, xxv (1974), 364–76
T.F. Kelly: ‘Melodic Elaboration in Responsory Melismas’, JAMS, xxvii (1974), 461–74
C.M. Atkinson: The Earliest Settings of the Agnus Dei and its Tropes (diss., U. of North Carolina, 1975)
A. Holschneider: ‘Instrumental Titles to the Sequentiae of the Winchester Tropers’, Essays on Opera and English Music in Honour of Sir Jack Westrup, ed. F.W. Sterfeld, N. Fortune and E. Olleson (Oxford, 1975), 8–18
M. Huglo: ‘De monodiska handskrifternas fördelning i två grupper, öst och väst’, Nordiskt kollokvium III i latinsk liturgiforskning: Esbo 1975 (Helsinki, 1975), 47–65
R. Jonsson: Corpus troporum, i: Tropes du propre de la messe, pt 1: Cycle de noël (Stockholm, 1975)
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
O. Marcusson: Corpus troporum, ii: Prosules de la messe, pt 1: Tropes de l’alleluia (Stockholm, 1976)
L. Brunner: The Sequences of Verona, Biblioteca Capitolare, CVII and the Italian Sequence Tradition (diss., U. of North Carolina, 1977)
R.L. Crocker: The Early Medieval Sequence (Berkeley, 1977)
J. Mráček: ‘Sources of Rorate chants in Bohemia’, Hudební veda, xiv (1977), 230–41
A.E. Planchart: The Repertory of Tropes at Winchester (Princeton, NJ, 1977)
H. Spanke: Studien zu Sequenz, Lai und Leich , ed. U. Aarburg (Darmstadt, 1977) [repr. of eight articles pubd 1931–41]
B. Stäblein: ‘Pater noster-Tropen’, Sacerdos et cantus gregoriani magister: Festschrift Ferdinand Haberl, ed. F.A. Stein (Regensburg, 1977), 247–78
M. Huglo: ‘Aux origines des tropes d’interpolation: le trope méloforme d’introït’, RdM, lxiv (1978), 5–54
K.H. Kohrs: Die apparallelen Sequenzen (Munich, 1978)
J.S. Mráček: ‘Some Observations on the Manuscript Prague, Státní Knihovna, XVII F 45 as a Source for the Study of Czech Rorate Chants’, Musica antiqua V: Bydgoszcz 1978, 483–92
B. Stäblein: ‘Einiges Neues zum Thema “archaische Sequenz”’, Festschrift Georg von Dadelsen, ed. T. Kohlhase and V. Scherliess (Neuhausen-Stuttgart, 1978), 352–83
K. Vellekoop: ‘Dies ire dies illa’: Studien zur Frühgeschichte einer Sequenz (Bilthoven, 1978)
H. Vogt: ‘Die Sequenzen des Paderborner Graduale Abdinghof und die Sequenzen der Bursfelder Kongregation’, Musica antiqua V: Bydgoszcz 1978, 403–14
M. Huglo: ‘On the Origins of the Troper-Proser’, JPMMS, ii (1979), 11–18
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
G.M. Hair: ‘Editorial Problems and Solutions Concerning the Offertory Tropes for Christmas Day from Ms Paris BN fonds latin 903’, MMA, xi (1980), 226–57
G. Iversen: Corpus troporum, iv: Tropes de l’Agnus Dei (Stockholm, 1980)
N. Silvestre: ‘The Aquitanian Tropes of the Easter Introit: a Musical Analysis’, JPMMS, iii (1980), 26–39
N. Van Deusen: ‘The Sequence Repertory of Nevers Cathedral’, Forum musicologicum, ii (1980), 44–59
L.W. Brunner: ‘A Perspective on the Southern Italian Sequence: the Second Tonary of the Manuscript Monte Cassino 318’, EMH, i (1981), 117–64
P. Dronke: ‘Virgines caste’, Lateinische Dichtungen des X. und XI. Jahrhunderts: Festgabe für Walther Bulst, ed. W. Berschin and R. Düchting (Heidelberg, 1981), 93–117
D. Hiley: ‘The Ordinary of Mass Chants and the Sequences [in W1]’, JPMMS, iv (1981), 67–81
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. Schaller: ‘Die Paulus-Sequenz Ekkeharts I. von St. Gallen’, Lateinische Dichtungen des X. und XI. Jahrhunderts: Festgabe für Walther Bulst, ed. W. Berschin and R. Düchting (Heidelberg, 1981), 186–220
W. Arlt: ‘Zur Interpretation der Tropen’, Forum musicologicum, iii (1982), 61–90
G. Björkvall and R. Steiner: ‘Some Prosulas for Offertory Antiphons’, JPMMS, v (1982), 13–35
D. Hiley: ‘The Rhymed Sequence in England: a Preliminary Survey’, Musicologie médiévale: Paris 1982, 227–46
M. Huglo: ‘Origine et diffusion de la séquence parisienne: introduction’, ibid., 209–12
M. Huglo and N. Phillips: ‘The Versus Rex caeli: Another Look at the So-Called Archaic Sequence’, JPMMS, v (1982), 36–43
A.E. Planchart: ‘About Tropes’, IMSCR XIII: Strasbourg 1982a [Schweizer Jb für Musikwissenschaft, new ser., ii (1982)], 125–35
N. Van Deusen: ‘The Medieval Latin Sequence: a Complete Catalogue of the Sources and Editions of the Texts and Melodies’, JPMMS, v (1982), 56–60
N. Van Deusen: ‘Polymelodic Sequences and a Second Epoch of Sequence Composition’, Musicologie médiévale: Paris 1982, 213–25
G. Björkvall, R. Jonsson and G. Iversen: ‘Le Corpus troporum: une équipe de recherche sur les tropes liturgiques du Moyen Age’, Studi medievali, xxiv (1983), 907–34
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
K. Schlager: ‘Trinitas, unitas, deitas: a Trope for the Sanctus of Mass’, JPMMS, vi (1983), 8–14
Liturgische Tropen: Munich 1983 and Canterbury 1984 [incl. H. Hucke: ‘Zur melodischen Überlieferung der Tropen’, 107–24; S. Rankin: ‘Musical and Ritual Aspects of Quem queritis’, 181–92]
K. Falconer: ‘Early Versions of the Gloria Trope Pax sempiterna Christus’, JPMMS, vii (1984), 18–27
M. Fassler: ‘Who was Adam of St. Victor? The Evidence of the Sequence Manuscripts’, JAMS, xxxvii (1984), 233–69
T.F. Kelly: ‘Introducing the Gloria in excelsis’, JAMS, xxxviii (1984), 479–506
La sequenza medievale: Milan 1984, iii [L. Brunner: ‘The Italian Sequence and Stylistic Pluralism: Observations about the Music of the Sequences for Easter Season from Southern Italy’, 19–44; M.-N. Colette: ‘Transcription rhythmique de séquences dans les manuscrits de Saint-Gall’, 59–70; G. Cattin: ‘Sequenza nell’area ravennate: abbozzo di analisi testuale’, 45–57; P. Damilano: ‘La sequenza musicale a Bobbio: dipendenze e analogie con la produzione sangallese e limosina’, 71–9; B. Gillingham: ‘Atavism and Innovation in a Late Medieval Proser’, 87–104; D. Hiley: ‘The Sequentiary of Chartres, Bibliothèque municipale, Ms 47’, 105–17; M. Huglo: ‘Les séquences instrumentales’, 119–27; A. Roncaglia: ‘Sequenza adamiana e strofa zagialesca’, 141–54; A. Ziino: ‘Sequenza in una fonte sconosciuta dell’Italia centrale’, 155–71]
C. Waddell, ed.: The Twelfth-Century Cistercian Hymnal (Kalamazoo, MI, 1984) [i: Introduction and Commentary; ii: Edition]
B. Gillingham: ‘Atavism and Innovation in a Late Medieval Proser’, Studies in Music from the University of Western Ontario, x (1985), 79–103 [concerns F-Pn lat.5247]
A.E. Planchart: ‘Italian Tropes’, Mosaic, xviii/4 (1985), 11–58
V. Plocek and A. Traub: Zwei Studien zur ältesten geistlichen Musik in Böhmen (Cologne and Giessen, 1985)
L. Treitler: ‘Oral and Literate Style in the Regional Transmission of Tropes’, SM, xxvii (1985), 171–83
La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987 [incl. P.-M. Gy: ‘La géographie des tropes dans la géographie liturgique du Moyen Age carolingien et postcarolingien’, 13–24; G. Cremascoli: ‘Les tropes: théologie et invocation’, 25–38; G. Iversen: ‘Sur la géographie des tropes du Sanctus’, 39–62; A. Dennery: ‘Le chant des tropes et des séquences et des prosules dans l’ouest, aux XIe-XIIIe siècles’, 63–77; C. Leonardi: ‘La tematica del Cristo re nei tropi dell’alleluia e dell’Agnus Dei’, 79–86; B.M. Jensen: ‘Maria visits St. Gallen’, 87–93; E. Palazzo: ‘Confrontation du répertoire des tropes et du cycle iconographique du tropaire d’Autun’, 95–123 + 17 pls.; D. Hiley: ‘Cluny, Sequences and Tropes’, 125–38; M. Huglo: ‘Centres de composition des tropes et cercles de diffusion’, 139–44; R. Jacobsson: ‘Contribution à la géographie des saints’, 145–82; G. Orlandi: ‘Metrical Problems in Tropes’, 183–96; E. Odelman: ‘Les prosules limousines de Wolfenbüttel (ms Cod. Guelf. 79 Gud. lat)’, 197–205; G. Björkvall: ‘La relation entre les deux tropaires d’Apt’, 207–25; E. Castro: ‘Le long chemin de Moissac à S. Millan (Le troparium de la Real Acad. Hist., Aemil. 51)’, 243–63; N. Sevestre: ‘La diffusion de certains tropes en l’honneur de Saint Jean-Baptiste du sud de l’Aquitaine au Languedoc’, 265–78; H. Möller: ‘Die Prosula Psalle modulamina (Mü 9543) und ihre musikhistorische Bedeutung’, 279–96; P. Rutter: ‘The Epiphany Trope Cycle in Paris, Bibliothèque Nationale, fonds latin 1240’, 313–24; J. Boe: ‘Italian and Roman Verses for Kyrie leyson in the MSS Cologny-Genève, Bibliotheca Bodmerian a 74 and Vaticanus latinus 5319’, 337–84; A.E. Planchart: ‘The Interaction between Montecassino and Benevento’, 385–407; W. Arlt: ‘Von den einzelnen Aufzeichnungen der Tropen zur Rekonstrucktion der Geschichte’, 439–79]
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
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
G. Iversen: ‘Pax et sapientia: a Thematic Study on Tropes from Different Traditions’, ibid., 23–58
R. Jacobsson and L. Treitler: ‘Tropes and the Concept of Genre’, ibid., 59–89
E. Nowacki: ‘Text Declamation as a Determinant of Melodic Form in the Old Roman Eighth-Mode Tracts’, EMH, vi (1986), 193–226
N. Van Deusen: ‘The Use and Significance of the Sequence’, MD, xl (1986), 5–47
J.M. Borders: ‘The Northern and Central Italian Trope Repertoire and its Transmission’, IMSCR XIV: Bologna 1987, iii, 543–53
A. Haug: Gesungene und schriftlich dargestellte Sequenz: Beobachtungen zum Schriftbild der ältesten ostfränkischen Sequenzenhandschriften (Neuhausen-Stuttgart, 1987)
H. Becker: ‘Theologie in Hymnen. Die Himmelfahrtssequenz Omnes gentes plaudite’, Capella antiqua München: Festschrift zum 25jährigen Bestehen, ed. T. Drescher (Tutzing, 1988), 11–121
Cantus planus III: Tihány 1988 [incl. L.W. Brunner: ‘Two Missing Fascicles of Pistoia C.121 Recovered’, 1–20; D. Hiley: ‘Editing the Winchester Sequence Repertory of ca. 1000’, 99–113; H. Binford-Walsh: ‘The Ordering of Melody in Aquitanian Chant: a Study of Mode One Introit Tropes’, 327–39; B. Déri: ‘Zu den Tropen des Introitus In medio ecclesiae: die Introitus-Tropen im Kontext der Messe und des Offiziums’, 341–53; G. Björkvall: ‘Offertory Prosulas for Advent in Italian and Aquitanian Manuscripts’, 377–400; C. Hospenthal: ‘Tropen in Handschriften aus dem Kloster Rheinau’, 401–14; C.E. Brewer: ‘Regina celi letare…Alle-Domine: from Medieval Trope to Renaissance Tune’, 431–48]
M.L. Göllner: ‘Migrant Tropes in the Late Middle Ages’, Capella antiqua München: Festschrift zum 25jährigen Bestehen, ed. T. Drescher (Tutzing, 1988), 175–87
J. Grier: ‘The Stemma of the Aquitanian Versaria’, JAMS, xli (1988), 250–88
T.F. Kelly: ‘Neuma triplex’, AcM, lx (1988), 1–30
A.E. Planchart: ‘On the Nature of Transmission and Change in Trope Repertories’, JAMS, xli (1988), 215–49
B. Schmid, ed.: Der Gloria-Tropus Spiritus et alme bis zur Mitte des 15. Jahrhunderts (Tutzing, 1988)
A. Dennery: Le chant postgrégorien: tropes, séquences et prosules (Paris, 1989)
D. Hiley: ‘Rouen, Bibliotheque Municipale, MS 249 (A. 280) and the Early Paris Repertory of Ordinary of Mass Chants and Sequences’, ML, lxx (1989), 467–82
C. Roederer: Festive Troped Masses from the Eleventh Century: Christmas and Easter in the Aquitaine (Madison, WI, 1989)
J. Boe and A.E. Planchart, eds.: Beneventanum troporum corpus, RRMMA, xvi–xxviii (1989–97)
B. Baroffio: ‘I tropi d’introito e i canti pasquali in un graduale italiano del sec. XIII (Monza, Bibl. Capit., K11)’, Studi in onore di Giulio Cattin, ed. F. Luisi (Rome, 1990), 3–14
Cantus planus IV: Pécs 1990 [incl. M. Fassler: ‘The Disappearance of the Proper Tropes and the Rise of the Late Sequence: New Evidence from Chartres’, 319–35; D. Hiley: ‘Some Observations on the Repertory of Tropes at St. Emmeram, Regensburg’, 337–57; G. Björkvall: ‘The Continuity of a Genre: Offertory Prosulas in Cambrai B.M. 172 (167) from the Twelfth Century’, 359–70; B. Asketorp: ‘Beobachtungen zu einigen späteren Introitustropen’, 371–92; J. Borders: ‘Tropes and the New Philology’, 393–406; E.C. Teviotdale: ‘Some Thoughts on the Place of Origin of the Cotton Troper’, 407–12; A. Haug: ‘Das ostfränkische Repertoire der meloformen Introitustropen’, 413–26; G. Iversen: ‘Splendor Patris: on Influence and Genre Definition. Victorine Proses Reflected in the Sanctus’, 427–44; H. Binford-Walsh: ‘The Internal Stability of Aquitanian Introit Tropes’, 445–54; B. Déri: ‘Die Teile und das Ganze: die Struktur von Ales diei nuntius (Prudentius, Cathemerion 1)’, 469–84]
E. Castro: ‘Los tropos de la misa en los costumarios catalanes más antiguos’, De musica hispana et aliis: miscelánea en honor al Prof. Dr. José López-Calo, ed. E. Casares and C. Villanueva (Santiago de Compostela, 1990), 55–75
J. Grier: ‘Ecce sanctum quem Deus elegit Marcialem apostolum: Adémar de Chabannes and the Tropes for the Feast of Saint Martial’, Beyond the Moon: Festschrift Luther Dittmer, ed. B. Gillingham and P. Merkley (Ottawa, 1990), 28–99
C. Hospenthal: ‘Beobachtungen zu den Ite missa est im Tropenbestand der Handschriften aus dem Kloster Rheinau’, Schweizer Jb für Musikwissenschaft, new ser., x (1990), 11–18
C. Hospenthal: ‘Tropen im Rheinauer Handschriftenbestand der Zentralbibliothek Zurich nach Gattungen’, Schweizer Jb für Musikwissenschaft, new ser., x (1990), 19–31
G. Iversen: Corpus troporum, vii: Tropes du Sanctus: introduction et édition critique (Stockholm, 1990)
J.A. Diamond: A Tradition of Three Tropes (Ottawa, 1991)
A. Haug: ‘Neue Ansätze im 9. Jahrhundert’, Die Musik des Mittelalters, ed. H. Möller and R. Stephan (Laaber, 1991), 94–128
B.M. Jensen: ‘An Interpretation of the Tropes of the Inventio Sanctae Crucis in London, British Library, Cotton MS Caligula A XIV’, Ecclesia orans, viii (1991), 305–25
S. Rankin: ‘The Earliest Sources of Notker’s Sequences: St. Gallen, Vadiana 317, and Paris, Bibliothèque Nationale lat. 10587’, EMH, x (1991), 201–33
S. Rankin: ‘Notker und Tuotilo: schöpferische Gestalter in einer neuen Zeit’, Schweizer Jb für Musikwissenschaft, new ser., xi (1991), 17–42
G. Björkvall and A. Haug: ‘Primus init Stephanus: eine Sankt Galler Prudentius-Vertonung aus dem zehnten Jahrhundert’, AMw, xlix (1992), 57–78
F. Büttner: ‘Welche Bedeutung hat die Uberschrift Cignea für Notkers Sequenz Gaude maria virgo?’, Mf, xlv (1992), 162–3
IMSCR XV: Madrid 1992, ii [incl. G. Iversen: ‘The Mirror of Music: Symbol and Reality in the text of Clangat hodie’, 771–89; C.M. Atkinson: ‘Music and Meaning in Clangat hodie’, 790–806; G. Björkvall and A. Haug: ‘Texting Melismas: Criteria for and Problems in Analyzing Melogene Tropes’, 807–31; B. Møller-Jensen: ‘Arthemius, Candida and Paulina in Piacenza: an Interpretation of the Sequence Adeste hodie festum’, 832–47; E. Teviotdale: ‘The Affair of John Marshal’, 848–55]
V. Schier: ‘Propriumstropen in der Würzburger Domliturgie: ein Beitrag zu Form und Funktion der Tropen im späten Mittelalter’, KJb, lxxvi (1992), 3–43
J. Stevens: ‘Samson dux fortissime: an International Latin Song’, PMM, i (1992), 1–40
G. Björkvall: ‘Prosody, Metre and Rhetorical Devices in the Unique Tropes of Apt 17’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 203–23
J. Emerson: ‘Neglected Aspects of the Oldest Full Troper (Paris, Bibliothèque nationale, lat. 1240)’, ibid., 193–217
K. Falconer: Some Early Tropes to the Gloria (Modena, 1993)
M. Fassler: Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris (Cambridge, 1993)
G. Iversen: ‘On the Iconography of Praise in the Sanctus and its Tropes’, De musica et cantu: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 271–308
R. Jacobsson and L. Treitler: ‘Sketching Liturgical Archetypes: Hodie surrexit leo fortis’, ibid., 157–202
R. Jacobsson: ‘Unica in the Cotton Caligula Troper’, Music in the Medieval English Liturgy, ed. S. Rankin and D. Hiley (Oxford, 1993), 11–45
M.A. Leach: ‘On Re-Creation in Medieval Music: some Melodic and Textual Relationships among Gloria Tropes’, Ars lyrica, vii (1993), 25–46
Recherches nouvelles sur les tropes liturgiques [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993) [incl. W. Arlt: ‘Schichten und Wege in der Überlieferung der älteren Tropen zum Introitus Nunc scio vere des Petrus-Festes’, 13–93; C.M. Atkinson: ‘Text, Music, and the Persistence of Memory in Dulcis est cantica’, 95–117; G. Björkvall and A. Haug: ‘Tropentypen in Sankt Gallen’, 119–74; M.-N. Colette: ‘Jubilus et trope dans le Gloria in excelsis Deo’, 175–91; M.S. Gros i Pujol: ‘Les tropes d’introït du graduel de Saint-Félix de Gérone: Gérone Bib. Sem., Ms. 4’, 219–29; P.-M. Gy: ‘L’hypothèse lotharingienne et la diffusion des tropes [in Metz, MS 452, destroyed in 1944]’, 231–7; D. Hiley: ‘Provins Bibliothèque Municipale 12 (24): a 13th-Century Gradual with Tropes from Chartres Cathedral’, 239–69; G. Iversen: ‘Continuité et renouvellement à Nevers: réflexions sur le répertoire du prosaire-tropaire nivernais, Paris B.N. n.a. lat. 3126’, 271–308; 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’, 309–41; C. Maître: ‘A propos de quelques tropes dans un manuscrit cistercien’, 343–59; D. Norberg: ‘Problèmes métriques dans les séquences, les offices, et les tropes’, 361–9; A.E. Planchart: ‘An Aquitanian Sequentia in Italian Sources’, 371–93; S. Rankin: ‘From Tuotilo to the First Manuscripts: the Shaping of a Trope Repertory at Saint Gall’, 395–413; N. Sevestre: ‘Prose ou vers?’, 429–39; R. Steiner: ‘Non-Psalm Verses for Introits and Communions’, 441–7]
J. Grier: ‘A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine’, Speculum, lxix (1994), 1023–69
B. Scharf: ‘Le origini della monodia sacra in volgare in Francia e in Germania’, Rivista internazionale di musica sacra, xv (1994), 18–70
W. Arlt: ‘Komponieren im Galluskloster um 900: Tuotilos Tropen Hodie cantandus est zur Weihnacht und Quoniam Dominus Iesus Christus zum Fest des Iohannes evangelista’, Schweizerisches Jb für Musikwissenschaft, new ser., xv (1995), 41–70
A. Haug: Troparia tardiva: Repertorium später Tropenquellen aus dem deutschsprachigen Raum, MMMA, Subsidia, i (1995)
D. Hiley: ‘The Repertory of Sequences at Winchester’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 153–93
G. Iversen: ‘Cantans – orans – exultans: Interpretations of Chants of the Introit Liturgy’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 125–50
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
N. Sevestre: ‘Fragments d’un prosaire aquitain inédit’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 285–95 [late 12th-century frags. from F-MON]
J. Borders and L. Brunner, eds.: Early Medieval Chants from Nonantola, RRMMA, xxx–xxxiii (1996)
B. Møller-Jensen: ‘Written in St. Gallen for Minden: the Introit Tropes to Festivitas omnium sanctorum, in Berlin, Preussische Staatsbibl. Theol. Lat. IV MS. 11’, Ecclesia orans, xiii (1996), 43–64
V. Schier: Tropen zum Fest der Erscheinung des Herrn (Paderborn, 1996) [incl. extensive bibliography, pp.267–86]
M.-N. Colette: ‘Modus, tropus, tonus: tropes d’introïts et théories modales’, EG, xxv (1997), 63–95
R. Crocker: Studies in Medieval Music Theory and the Early Sequence (Aldershot, 1997) [collection of essays pubd 1958–75]
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H. Eggers and W. Irtenkauf: ‘Die Donaueschinger Marienklage’, Carinthia, cxlviii (1958), 359–82
M. Bernard: ‘L’officium stellae nivernais’, RdM, li (1965), 52–65
C.C. Flanigan: ‘The Roman Rite and the Origins of the Liturgical Drama’, University of Toronto Quarterly, xliii (1974), 263–84
C.C. Flanigan: ‘The Liturgical Drama and its Tradition: a Review of Scholarship, 1965–1975’, Research Opportunities in Renaissance Drama, xviii (1975), 86–96
V. Saxer: Le culte de Marie Madeleine en Occident des origines à la fin du Moyen Age (Paris, 1975)
T. McGee: ‘The Liturgical Placement of the Quem quaeritis Dialogue, JAMS, xxix (1976), 1–29
C.W. Brockett: ‘Easter Monday Antiphons and the Peregrinus Play’, KJb, lxi–lxii (1977–8), 29–46
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
C.W. Brockett: ‘The Role of the Office Antiphon in Tenth-Century Liturgical Drama’, MD, xxxiv (1980), 5–27
J. Drumbl: Quem quaeritis : teatro sacro dell'alto Medioevo (Rome, 1981)
S.K. Rankin: ‘The Mary Magdalene Scene in the Visitatio sepulchri Ceremonies’, EMH, i (1981), 117–64
S.K. Rankin: ‘A New English Source of the Visitatio sepulchri’, JPMMS, iv (1981), 1–11
J. Yearley: ‘A Bibliography of Planctus in Latin, Provençal, French, German, English, Italian, Catalan, and Galician-Portuguese, from the Time of Bede to the Early Fifteenth Century’, JPMMS, iv (1981), 12–52
M.L. Norton: The Type II Visitatio sepulchri: a Repertorial Study, (diss., Ohio State U., 1983)
S. Rankin: ‘Musical and Ritual Aspects of Quem queritis’, Liturgische Tropen: Munich 1983 and Canterbury 1984, 181–92
W. Bulst, M.L. Bulst-Thiele and M. Bielitz, eds.: Hilarii Aurelianensis versus et ludi, epistolae: Ludus Danielis Belouacensis (Leiden, 1989), 97–119
E.C. Caridad: ‘El texto y la función litúrgica del Quem quaeritis pascual en el catedral de Vic’, Hispania sacra, xli (1989), 399–420
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M.A. Gómez Pintor: ‘El estudio de un drama litúrgico de Santiago de Compostela: análisis, fuentes y documentación’, De musica hispana et aliis: miscelánea en honor al Prof. Dr. José López-Calo, ed. E. Casares and C. Villanueva (Santiago de Compostela, 1990), 91–110
U. Hennig and A. Traub, eds.: Trierer Marienklage und Osterspiel: Codex 1973/63 der Stadtbibliothek Trier (Goppingen, 1990)
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F. Collins: ‘Ten Years of Medieval Music-Drama: a Retrospective’, Early Drama, Art, and Music Review, xv (1992–3), 12–18
C. Davidson and J.H. Stroupe, eds.: Medieval Drama on the Continent of Europe (Kalamazoo, MI, 1993) [incl. H. Linke: ‘A Survey of Medieval Drama and Theater in Germany’, 17–53; M.L. Norton: ‘Of Stages and Types in Visitatione sepulchri’, 61–102; T.P. Campbell: ‘Cathedral Chapter and Town Council: Cooperative Ceremony and Drama in Medieval Rouen’, 103–13]
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H. Felder: Die liturgischen Reimofficien auf die Heiligen Franciscus und Antonius, gedichtet und componiert durch Fr. Julian von Speier (Freiburg, 1901)
H. Villetard: Office de Pierre de Corbeil (Office de la Circoncision) improprement appelé ‘Office des fous’: text et chant publiés d’après le manuscrit de Sens (XIIIe siècle) (Paris, 1907)
P. Wagner: ‘Zur mittelalterlichen Offiziumskomposition’, KJb, xxi (1908), 13–32
P. Wagner: ‘Die Offizien in poetischer Form’, Einführung in die gregorianischen Melodien, i: Ursprung und Entwicklung der liturgischen Gesangsformen (Leipzig, 3/1911/R), 300
P. Bayart: Les offices de Saint Winnoc et de Saint Oswald d’après le manuscrit 14 de la Bibliothèque de Bergues (Lille, 1926)
J. Gmelch: ‘Unbekannte Reimgebetkompositionen aus Rebdorfer Handschriften’, Festschrift Peter Wagner zum 60. Geburtstag, ed. K. Weinmann (Leipzig, 1926/R), 69–80
E. Jammers: ‘Die Antiphonen der rheinischen Reimoffizien’, Ephemerides liturgicae, xliii (1929), 199–219, 425–51; xliv (1930), 84–99, 342–68
P. Wagner: Die Gesänge der Jakobsliturgie zu Santiago de Compostela aus der sogennanten Codex Calixtinus (Fribourg, 1931)
E. Jammers: Das Karlsoffizium ‘Regali natus’: Einführung, Text und Übertragung in moderne Notenschrift (Strasbourg, 1934/R)
C. Lambot: ‘L’office de la Fête-Dieu: aperçus nouveaux sur ses origines’, Revue bénédictine, liv (1942), 61–123
S. Corbin: ‘Les offices de Sainte-Face’, Bulletin des études portugaises, xii (1947), 1–65
M. Huglo: ‘L’office du dimanche de Pâques dans les monastères bénédictins’, Revue grégorienne, xxx (1951), 191–203
F. Wellner: Drei liturgische Reimoffizien aus dem Kreis der minderen Brüder (Munich, 1951)
L. Brou and A. Wilmart: ‘Un office monastique pour le 2 novembre dans le nord de la France au XIe siècle’, Sacris erudiri, v (1953), 247–330
R.-J. Hesbert: ‘La composition musicale à Jumièges: les offices de St. Philibert et de St. Aycadre’, Jumièges … XIIIe centenaire: Rouen 1954, 977–90
C. Hohler: ‘The Durham Services in Honour of St. Cuthbert’, The Relics of Saint Cuthbert, ed. C.F. Battiscombe (Oxford, 1956), 155–91
J. Schmidt-Görg: ‘Die Sequenzen der heiligen Hildegard’, Studien zur Musikgeschichte des Rheinlands: Festschrift zum 80. Geburtstag von Ludwig Schiedermair, ed. W. Kahl, H. Lemacher and J. Schmidt-Görg (Cologne, 1956), 109–17
H. Villetard: Office de Saint Savinien et de Saint Potentien, premiers évêques de Sens: texte et chant (Paris, 1956)
Y. Delaporte: ‘L’office fécampois de Saint Taurin’, L’abbaye bénédictine de Fécamp: ouvrage scientifique du XIIIe centenaire, 658–1958, ii (Fécamp, 1960), 171–89, 377
L. Brou: ‘L’ancien office de saint Vaast, évêque d’Arras’, EG, iv (1961), 7–42
C.W. Jones: The Saint Nicholas Liturgy and its Literary Relationships (Ninth to Twelfth Centuries) (Berkeley, 1963) [incl. essay by G. Reaney on the music]
R.-J. Hesbert, ed.: Corpus antiphonalium officii [CAO], vii–xii (1963–79)
J.A. Emerson: ‘Two Newly Identified Offices for Saints Valeria and Austriclinianus by Adémar de Chabannes (MS Paris, Bibl. Nat., Latin 909, fols.79–85v)’, Speculum, xl (1965), 31–46
S. Corbin: ‘Miracula beatae Mariae semper virginis’, Cahiers de civilisation médiévale, x (1967), 409–33
C. Hohler: ‘The Proper Office of St. Nicholas and Related Matters with Reference to a Recent Book’, Medium aevum, xxxvi (1967), 40–48
G.M. Oury: ‘Formulaires anciens pour la messe de Saint Martin’, EG, vii (1967), 21–40
M. Ritscher: ‘Zur Musik der heiligen Hildegard’, Colloquium amicorum: Joseph Schmidt-Görg zum 70. Geburtstag, ed. S. Kross and H. Schmidt (Bonn, 1967), 309–26
R. Jonsson: Historia: études sur la genèse des offices versifiés (Stockholm, 1968)
D. Misonne: ‘Office liturgique neumé de la bienheureuse Marie d’Oignies à l’abbaye de Villers au 13e siècle’, Album J. Balon (Namur, 1968), 171–89
L. Weinrich: ‘Dolorum solatium: Text und Musik von Abelards Planctus David’, Mittellateinisches Jb, v (1968), 59–78
P. Barth, I. Ritscher and J. Schmidt-Görg, eds.: Hildegard von Bingen: Lieder (Salzburg, 1969)
D. Grémont: ‘Le culte de Ste.-Foi et de Ste.-Marie-Madeleine à Conques au XIe siècle, d’après le manuscrits de la Chanson de Ste.-Foi’, Revue du Rouergue, xxiii (1969), 165–75
P. Dronke: ‘The Composition of Hildegard of Bingen’s Symphonia’, Sacris erudiri, xix (1969–70), 381–93
W. Arlt: Ein Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und musikalischen Bedeutung (Cologne, 1970)
P. Dronke: Poetic Individuality in the Middle Ages: New Departures in Poetry, 1000–1150 (Oxford, 1970, 2/1986)
D. Stevens: ‘Music in Honor of St. Thomas of Canterbury’, MQ, lvi (1970), 311–48
S. Corbin: ‘L’apparition du lyrisme dans la monodie médiévale: le chant grégorien’, Studi musicali, ii (1973), 73–88
G.M. Oury: ‘La structure cérémonielle des vêpres solennelles dans quelques anciennes liturgies françaises’, Ephemerides liturgicae, lxxxviii (1974), 336–52
W. Berschin: ‘Historia S. Konradi’, Freiburger Diözesan-Archiv, xcv (1975), 107
W. Lipphardt, ed.: Lateinische Osterfeiern und Osterspiele [LOO] (Berlin, 1975–90)
J. Dubois: Un sanctuaire monastique au Moyen-Age: Saint-Fiacre-en Brie (Paris, 1976) [incl. edn of the Offices of St Fiacre]
T. Lundén, ed.: Officium parvum beate Marie Virginis: Vår Frus tidegärd/Den heliga Birgitta och den helige Petrus av Skänninge (Stockholm, 1976) [Brigittine breviary]
M. Bernard: ‘Un recueil inédit du XIIe siècle et la copie aquitaine de l’office versifié de Saint-Grégoire’, EG, xvi (1977), 145–59
D. Sicard: La liturgie de la mort dans l’église latine des origines à la réforme carolingienne (Münster, 1978)
M. Bernard: ‘Les offices versifiés atribués à Léon IX (1002–1054)’, EG, xix (1980), 89–121
W. Berschin: ‘Sanktgallische Offiziendichtung aus ottonischer Zeit’, Lateinische Dichtungen des X. und XI. Jahrhunderts: Festgabe für Walther Bulst, ed. W. Berschin and R. Düchting (Heidelberg, 1981), 13–48
A. Hughes: ‘Chants in the Offices of Thomas of Canterbury and Stanislaus of Poland’, Musica antiqua VI: Bydgoszcz 1982, 267–77
K. Schlager and T. Wohnhaas: ‘Ein Ulrichsoffizium aus Mailand’, Jb des Vereins für Augsburger Bistumsgeschichte, xvi (1982), 122–58
A. Hughes: ‘Modal Order and Disorder in the Rhymed Office’, MD, xxxvii (1983), 29–51
D. Altenburg: ‘Die Musik in der Fronleichnamsprozession des 14. und 15. Jahrhunderts’, MD, xxxviii (1984), 5–25
P. Damilano: ‘Un antico ufficio ritmico della Visitazione nella Biblioteca capitolare di Fossano (Cuneo)’, Rivista internazionale di musica sacra, v (1984), 133–63
K. Ottosen: ‘The Latin Office of the Dead: a Computer Analysis of Two Thousand Texts’, Computer Applications to Medieval Studies, ed. A. Gilmour-Bryson (Kalamazoo, MI, 1984), 81–7
R.M. Thomson: ‘The Music for the Office of St. Edmund, King and Martyr’, ML, lxv (1984), 189–93
C. Wright: ‘The Feast of the Reception of the Relics at Notre Dame of Paris’, Music and Context: Essays for John M. Ward, ed. A.D. Shapiro and P. Benjamin (Cambridge, MA., 1985), 1–13
J. Blezzard, S. Ryle and J. Alexander: ‘New Perspectives on the Feast of the Crown of Thorns’, JPMMS, x (1987), 23–47
B.H. Haggh: ‘The Celebration of the Recollectio festorum Beatae Mariae Virginis, 1457–1987’, IMSCR XIV: Bologna 1987, iii, 559–71
R.A. Baltzer: ‘Another Look at a Composite Office and its History: the Feast of Susceptio reliquiarum in Medieval Paris’, JRMA, cxiii (1988), 1–27
J.J. Boyce: ‘The Office of St. Mary of Salome’, JPMMS, xi (1988), 25–47
N. Bux: ‘La liturgia de San Nicola’, Ephemerides liturgicae, c (1988), 562–608 [incl. edns of the Offices and Masses]
D.F.L. Chadd: ‘The Transmission of historiae for the Offices of Saints: Some Preliminary Considerations’, Medieval Studies: Skara 1988, 87–106
A. Hughes: ‘Chants in the Rhymed Office of St. Thomas of Canterbury’, EMc, xvi (1988), 185–201
A. Hughes: ‘Rhymed Offices’, Dictionary of the Middle Ages, ed. J.R. Strayer, x (New York, 1988), 366–77 [with extensive bibliography]
K. Schlager: ‘Beobachtungen zum Otto-Offizium’, Cantus planus III: Tihány 1988, 115–26
K. Schlager and T. Wohnhaas: ‘Historia Sancti Corbiniani rediviva: die Überlieferung der mittelalterlichen Melodien zum Offizum und der Messe am Corbiniansfest’, Beiträge zur altbayerischen Kirchengeschichte, xxxvii (1988), 21–42
J.J. Boyce: ‘The Office of the Three Marys in the Carmelite Liturgy, after the Manuscripts Mainz, Dom- und Diozesanmuseum, Codex E and Florence, Carmine, Ms. 0’, JPMMS, xii (1989), 1–38
J. Marquardt-Cherry: ‘Ottonian Saints in the Prüm Troper’, Manuscripta, xxxiii (1989), 129–36
W. Berschin, P. Ochsenbein and H. Möller, eds.: ‘Das älteste Gallusoffizium in Lateinische Kultur im X. Jahrhunderts’, Mittellateinisches Jb, xxiv–xxv (1989–90), 11–37
O.T. Edwards: ‘Chant Transference in Rhymed Offices’, Cantus planus IV: Pécs 1990, 503–19
O.T. Edwards: Matins, Lauds and Vespers for St David’s Day: the Medieval Office of the Welsh Patron Saint in the National Library of Wales MS 20541 E (Cambridge, 1990)
A. Hughes: ‘Word Painting in a Twelfth-Century Office’, Beyond the Moon: Festschrift Luther Dittmer, ed. B. Gillingham and P. Merkley (Ottawa, 1990), 16–27
H. van der Werf: ‘The Composition Alleluya vocavit Jesus in the Book named Jacobus’, De musica hispana et aliis: miscelánea en honor al Prof. Dr. José López-Calo, ed. E. Casares and C. Villanueva (Santiago de Compostela, 1990), 197–207
A.B. Yardley: ‘The Marriage of Heaven and Earth: a Late Medieval Source of the Consecratio virginum’, CMc, nos.45–7 (1990), 305–24 [Sanders Fs issue, ed. P.M. Lefferts and L.L. Perkins]
G. Cattin: ‘The Texts of the Offices of Sts. Hylarion and Anne in the Cypriot Manuscript Torino J.II.9’, The Cypriot-French Repertory of the Manuscript Torino J.II.9: Paphos 1992, 249–301
A.E. Davidson, ed.: The ‘Ordo virtutum’ of Hildegard of Bingen (Kalamazoo, MI, 1992) [incl. A.E. Davidson: ‘Music and Performance: Hildegard of Bingen’s Ordo virtutum’, 1–29; R. Potter: ‘The Ordo virtutum: Ancestor of the English Moralities?’, 31–41; P. Sheingorn: ‘The Virtues of Hildegard’s Ordo virtutum; or, It Was a Woman’s World’, 43–62; J.B. Holloway: ‘The Monastic Context of Hildegard’s Ordo virtutum’, 63–77; G. Iversen: ‘Ego humilitatis, regina virtutum: Poetic Language and Literary Structure in Hildegard of Bingen’s Vision of the Virtues’, 79–110; ‘The Ordo virtutum: a Note on Production’, 111–22 and 12 MS facs.]
M. Huglo: ‘Les pièces notées du Codex Calixtinus’, The ‘Codex Calixtinus’ and the Shrine of St. James, ed. J. Williams and A. Stones (Tübingen, 1992), 106–24
W.D. Jordan: ‘An Assessment of a Fifteenth-Century Manuscript Fragment in the Hone Collection Containing Part of a Rhymed Office for St. Vincent Ferrer’, SMA, xxvi (1992), 1–33
J. Boyce: ‘Das Offizium der Darstellung Mariens von Philippe de Mézières: die Handschriften und der Überlieferungsprozess’, KJb, lxxvii (1993), 17–38
A. Hughes: ‘British Rhymed Offices: a Catalogue and Commentary’, Music in the Medieval English Liturgy, ed. S. Rankin and D. Hiley (Oxford, 1993), 239–84
S.E. Roper: Medieval English Benedictine Liturgy: Studies in the Formation, Structure, and Content of the Monastic Votive Office, c. 950–1540 (New York, 1993)
K. Schlager: ‘Digne laude nunc melodya: ein Text zu Ehren der heiligen Elisabeth aus der Handschrift clm 7919 der Bayerischen Staatsbibliothek in München’, Recherches nouvelles sur les tropes liturgiques: recueil d’études [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 415–28
M.J. Bloxam: ‘Plainsong and Polyphony for the Blessed Virgin: Notes on Two Masses by Jacob Obrecht’, JM, xii (1994), 51–75
F. Lifshitz: ‘Beyond Positivism and Genre: Hagiographical Texts as Historical Narrative’, Viator, xxv (1994), 95–113
S. Rankin: ‘The Divine Truth of Scripture: Chant in the Roman de Fauvel’, JAMS, xlvii (1994), 203–43
M.J. Zijlstra: ‘The Office of St. Adalbert: carte de visite of a Late Medieval Dutch Abbey’, PMM, iii (1994), 169–83
A. Hughes: Late Medieval Liturgical Offices: Resources for Electronic Research (Toronto, 1994–6) [i: Texts; ii: Sources and Chants]
B. Haggh, ed.: Two Offices for St Elizabeth of Hungary: ‘Gaudeat hungaria’ and ‘Letare germania’ (Ottawa, 1995)
J. Halmo: Antiphons for Paschal Triduum-Easter in the Medieval Office (Ottawa, 1995)
D. Hiley: ‘What St. Dunstan Heard the Angels Sing: Notes on a Pre-Conquest Historia’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 105–15
M. Huglo: ‘The Origin of the Monodic Chants in the Codex Calixtinus’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 195–205
D. Hiley: Historia sancti Emmerammi Arnoldi Vohburgensis, circa 1030 (Ottawa, 1996)
M. McGrade: ‘Gottschalk of Aachen, the Investiture Controversy, and Music for the Feast of the Divisio apostolorum’, JAMS, xlix (1996), 351–408
C. Page: ‘Marian Texts and Themes in an English Manuscript: a Miscellany in Two Parts’, PMM, v (1996), 23–44 [concerns GB-Cssc 95, dating from 1409]
T. Scandaletti: ‘Una ricognizione sull’ufficio ritmico per S. Francesco, Musica e storia, iv (1996), 67–101
R. Hankeln: Historiae sancti Dionysii Areopagitae: St Emmeram, Regensburg, ca. 1050/16 Jh. (Ottawa, 1998)
A. Kienle: ‘Notizen über das Dirigieren mittelalterlicher Gesangschöre’, VMw, i (1885), 158–69
S.J.P. Van Dijk: ‘Medieval Terminology and Methods of Psalm Singing’, MD, vi (1952), 7–26
C. Gindele: ‘Doppelchor und Psalmvortrag im Frühmittelalter’, Mf, vi (1953), 296–300
H. Hucke: ‘Improvisation im gregorianischen Gesang’, KJb, xxxviii (1954), 5–8
Mother Thomas More [M. Berry]: ‘The Performance of Plainsong in the Late Middle Ages and the Sixteenth Century’, PRMA, xcii (1965–6), 121–34
J.A. Caldwell: ‘The Organ in the Medieval Latin Liturgy ... 800–1500’, PRMA, xciii (1966–7), 11–24
W. Suppan: ‘Gedanken des europäischen Musikethnologen zur Aufführungspraxis, vor allem des gregorianischen Chorals, Musica sacra, xci (1971), 173–83
M. Berry: ‘L’exécution du plain-chant à la fin du Moyen Age: l’Intonario Çaragoçano’, Musique, littérature et société au Moyen Age: Paris 1980, 379–85
W. Hillsman: ‘Instrumental Accompaniment of Plain-Chant in France from the Late 18th Century’, GSJ, xxxiii (1980), 8–16
L.W. Brunner: ‘The Performance of Plainchant: some Preliminary Observations of the New Era’, EMc, x (1982), 316–28
M.E. Fassler: ‘The Office of the Cantor in Early Western Monastic Rules and Customaries: a Preliminary Investigation’, EMH, v (1985), 29–51
L. Agustoni and J.B. Göschl: Einführung in die Interpretation des gregorianischen Chorals, i: Grundlagen (Regensburg, 1987)
R. Jackson: Performance Practice, Medieval to Contemporary: a Bibliographic Guide (New York, 1988), esp. 35–59
E. Nowacki: ‘The Performance of Office Antiphons in Twelfth-Century Rome’, Cantus planus III: Tihány 1988, 79–91
H.M. Brown and S. Sadie, eds.: Performance Practice: Music Before 1600 (London, 1989)
P. Gizzi: ‘Gli Instituta patrum de modo psallendi sive cantandi’, Studi gregoriani, v (1989), 39–58
H. Copeman: Singing in Latin, or Pronunciation Explor’d (Oxford, 1990), esp. appx 8, 301–10
N. Sandon: ‘Some Thoughts on Making Liturgical Reconstructions’, Musicology in Ireland, ed. G. Gillen and H. White (Dublin, 1990), 169–80
J.F. Weber: ‘The Phonograph as Witness to Performance Practice of Chant’, Cantus planus IV: Pécs 1990, 607–14
J.F. Weber: ‘Liturgical Reconstruction as Reflected in Recordings’, Historical Performance, iv (1991), 29–37
T.F. Kelly, ed.: Plainsong in the Age of Polyphony (Cambridge, 1992) [incl. J. A. Caldwell: ‘Plainsong and Polyphony, 1250–1550’, 6–31; M. Huglo: ‘Notated Performance Practices in Parisian Chant Manuscripts of the Thirteenth Century’, 32–44; R. Sherr: ‘The Performance of Chant in the Renaissance and its Interactions with Polyphony’, 178–208; I. Fenlon: ‘Patronage, Music, and Liturgy in Renaissance Mantua’, 209–35]
T.J. McGee, A.G. Rigg and D.N. Klausner: Singing Early Music: the Pronunciation of European Languages in the Late Middle Ages and Renaissance (Bloomington, IN, 1996)
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A. Degand: ‘Chartreux (liturgie des)’, Dictionnaire d’archéologie et de liturgie, ed. F. Cabrol and H. Leclercq, iii/1 (Paris, 1913), 1045–71
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P.F. Lefèvre: L’ordinaire de Prémontré d’après des manuscrits du XIIe et du XIIIe siècle (Leuven, 1941)
B. Kaul: ‘Le psautier cistercien’, Collectanea Ordinis Cisterciensium Reformatorum, x (1948), 83–106; xii (1950), 118–51; xiii (1951), 257–72
D. Delalande: Vers la version authentique du graduel grégorien: le graduel des Prêcheurs (Paris, 1949)
P. Thomas: ‘Saint Odon de Cluny et son oeuvre musicale’, A Cluny: Congrès scientifique: fêtes et cérémonies liturgiques en l’honneur des saints abbés Odon et Odilon: Cluny 1949, 171–80
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U. Franca: ‘Antiphonale-lectionarium monasterii Fontis Avellanae’, Katholische Kirchenmusik II: (Vienna, 1954), 129–37
G. de Valous: ‘Cluny’, Dictionnaire d’histoire et de géographie ecclésiastique, xiii (Paris, 1956), 35–174
M. Huglo: ‘Trois anciens manuscrits liturgiques d’Auvergne’, Bulletin historique et scientifique de l’Auvergne, lxxvii (1957), 81–104
P.F. Lefèvre: La liturgie de Prémontré: histoire, formulaire, chant et cérémonial (Leuven, 1957)
K.W. Gümpel: ‘Zur Interpretation der Tonus-Definition des Tonale Sancti Bernardi’, Akademie der Wissenschaften und der Literatur in Mainz, no.2 (1959), 25–51
K. Hallinger: ‘Kluny’s Bräuche zur Zeit Hugos des Grossen (1049–1109): Prolegomena zur Neuherausgabe des Bernhard und Udalrich von Kluny’, Zeitschrift der Savigny-Stiftung für Rechtsgeschichte, Kanonistische Abt., xlv (1959), 99–140
J. Hourlier: ‘Le bréviaire de Saint-Taurin: un livre liturgique clunisien à l’usage de l’Echelle-Saint-Aurin (Paris, B.N. lat. 12601)’, EG, iii (1959), 163–73
P. Schmitz: ‘La liturgie de Cluny’, Spiritualità cluniacense: Todi 1958, (Todi, 1960), 83–99
S.J.P. Van Dijk and J.H. Walker: The Origins of the Modern Roman Liturgy: the Liturgy of the Papal Court and the Franciscan Order in the Thirteenth Century (London, 1960)
C.J. Bishko: ‘Liturgical Intercession at Cluny for the King-Emperors of Leon’, Studia monastica, iii (1961), 53–76
B. Hamilton: ‘The Monastic Revival in Tenth Century Rome’, Studia monastica, iv (1962), 35–68
R. Monterosso: ‘Canto gregoriano e riforma tra cluniacensi e cistercensi’, Chiesa e riforma: Todi 1963, 191–220
K. Hallinger, ed.: Corpus consuetudinum monasticarum (Siegburg, 1963–)
J. Hourlier: Saint Odilon abbé de Cluny (Leuven, 1964)
J. Becquet: ‘Le coutumier clunisien de Maillezais’, Revue Mabillon, no.119 (1965), 1–44
N. Hunt: Cluny under Saint Hugh 1049–1109 (London, 1967)
N.I. Weyns: ‘Le missel prémontré’, Analecta praemonstratensia, xliii (1967), 203–25
R. Cortese-Esposito: ‘Analogie e contrasti fra Cîteaux e Cluny’, Cîteaux, xix (1968), 5–39
H.G. Hammer: Die Allelujagesänge in der Choralüberlieferung der Abtei Altenberg: Beitrag zur Geschichte des Zisterzienserchorals (Cologne, 1968)
D. Meade: ‘From Turmoil to Solidarity: the Emergence of the Vallumbrosan Monastic Congregation’, American Benedictine Review, xix (1968), 323–57
W. Kurze: ‘Zur Geschichte Camaldolis im Zeitalter der Reform’, Miscellanea del Centro di studi medioevali, v (1969), 399–415
S.J.P. Van Dijk: ‘Ursprung und Inhalt der franziskanischen Liturgie des 13. Jahrhunderts’, Franziskanische Studien, li (1969), 86–116, 192–217
H.E.J. Cowdrey: The Cluniacs and the Gregorian Reform (Oxford, 1970)
K. Hallinger: ‘Herkunft und Überlieferung der Consuetudo Sigiberti’, Zeitschrift der Savigny-Stiftung für Rechtsgeschichte, Kanonistische Abt., lvi (1970), 194–242, esp. 212
B.M. Lambres: ‘Le chant des Chartreux’, RBM, xxiv (1970), 17–41
J. Patricia: ‘Un processional cistercien du XVe sieclè’, EG, xi (1970), 193–205
G. de Valous: Le monachisme clunisien des origines au XVe siècle (Paris, 2/1970)
C. Waddell: ‘Monastic Liturgy: Prologue to the Cistercian Antiphonary’, The Works of Bernard of Clairvaux, i (Spencer, MA, 1970), 153–62
C. Waddell: ‘The Origin and Early Evolution of the Cistercian Antiphonary: Reflections on Two Cistercian Chant Reforms’, The Cistercian Spirit: a Symposium, ed. M.B. Pennington (Spencer, MA, 1970), 190–223
H.J. Becker: Die Responsorien des Kartäuserbreviers: Untersuchungen zur Urform und Herkunft das Antiphonars der Kartäuse (Munich, 1971)
B.H. Rosenwein: ‘Feudal War and Monastic Peace: Cluniac Liturgy as Ritual Aggression’, Viator, ii (1971), 129–57
C. Waddell: ‘The Early Cistercian Experience of Liturgy’, Rule and Life: an Interdisciplinary Symposium, ed. M.B. Pennington (Spencer, MA, 1971), 77–116
B.K. Lackner: The Eleventh-Century Background of Cîteaux (Washington DC, 1972)
P.F. Lefèvre: ‘Les répons prolixes aux heures diurnes du “triduum sacrum” dans la liturgie canoniale’, Analecta praemonstratensia, xlviii (1972), 5–19
F.J. Smith: ‘Some Aspects of Mediaeval Music Theory and Praxis: the Ordo Minorum and its Place in Cultural History’, Franciscan Studies, xxxii (1972), 187–202
C.P. Sweeney: The Musical Treatise Formerly Attributed to John Wylde and the Cistercian Reform (diss., U. of California, Los Angeles, 1972)
B.M. Lambres: ‘L’antiphonaire des Chartreux’, EG, xiv (1973), 213–18
N.I. Weyns, ed.: Antiphonale missarum praemonstratense (Averbode, 1973)
F.J. Guentner, ed.: Epistola S. Bernardi de revisione cantus cisterciense, et Tractatus scriptus ab auctore incerto cisterciense, CSM, xxiv (1974)
O. d’Angers: ‘Le chant liturgique dans l’Ordre de Saint-François aux origines’, Etudes franciscaines, xxv (1975), 157–306
H.J. Becker: Das Tonale Guigos I: ein Beitrag zur Geschichte des liturgischen Gesanges und der Ars Musica im Mittelalter (Munich, 1975)
G. Constable: Medieval Monasticism: a Select Bibliography (Toronto, 1976)
J.F. Angerer: ‘Die Consuetudines monasticae als Quelle für die Musikwissenschaft’, Sacerdos et cantus gregoriani Magister: Festschrift Ferdinand Haberl, ed. F.A. Stein (Regensburg, 1977), 23–37
M. Huglo: ‘Les livres liturgiques de la Chaise-Dieu’, Revue bénédictine, lxxxvii (1977), 289–348
P. Tirot: ‘Un Ordo missae monastique: Cluny, Cîteaux, la Chartreuse’, Ephemerides liturgicae, xcv (1981), 44–120, 220–51
R. Steiner: ‘The Music for a Cluny Office of Saint Benedict’, Monasticism and the Arts, ed. T.G. Verdon (Syracuse, NY, 1984), 81–114
C. Waddell, ed.: The Twelfth-Century Cistercian Hymnal (Kalamazoo, MI, 1984)
M.E. Fassler: ‘The Office of the Cantor in Early Western Monastic Rules and Customaries: a Preliminary Investigation’, EMH, v (1985), 29–51
B. Jessberger: Ein dominikanisches Graduale aus dem Anfang des 14. Jahrhunderts: Cod. 173 d. Diözesanbibliothek Köln (Berlin, 1986)
J.J. Boyce: ‘Two Antiphonals of Pisa: their Place in the Carmelite Liturgy’, Manuscripta, xxxi (1987), 147–65
M. Tarrini and A. de Floriani: ‘Codici musicali dei secoli XII–XIII negli archivi e nella Biblioteca civica di Savona’, NA, new ser., v (1987), 7–34 [discusses a Carthusian gradual and a Franciscan gradual from the 13th century]
E. Foley: ‘The “Libri ordinarii”: an Introduction’, Ephemerides liturgicae, cii (1988), 129–37
J.J. Boyce: ‘The Medieval Carmelite Office Tradition’, AcM, lxii (1990), 119–51
C. Steyn: ‘Manuscript Grey 7 a 27 in the South African Library, Cape Town: the Identity of a Liturgical Book’, South African Journal of Musicology, xi (1991), 107–25 [study of a 13th-century Premonstratensian gradual, kyriale, sacramentary and calendar from Roggenburg in the Augsburg diocese]
C. Veroli: ‘La revisione musicale bernardina e il graduale cisterciense’, Analecta cisterciensa, xlvii (1991), 3–141; xlviii (1992), 3–104; xlix (1993), 147–256
M. Bezuidenhout: ‘The Old and New Historical Views of Gregorian Chant: Papal and Franciscan Plainchant in Thirteenth-Century Rome’, IMSCR XV: Madrid 1992 [RdMc, xvi (1993)], 883–900
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C. Dumont and M. Coune: ‘L’hymne Dulcis Iesu memoria: le jubilus serait-il d’Aelred de Rievaulx?’, Collectanea cisterciensia, lv (1993), 233–43
M. Fassler: Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris (Cambridge, 1993)
W.D. Jordan: ‘An Introductory Description and Commentary Concerning the Identification of Four Twelfth Century Musico-Liturgical Manuscripts from the Cistercian Monastery of Las Huelgas, Burgos’, Cîteaux, xliv (1993), 152–236
L. Prensa: ‘Hacia una recuperación de la liturgia de la Orden del Santo Sepulcro’, Nassarre: revista aragonesa de musicología, ix (1993), 181–210
R. Steiner: ‘Marian Antiphons at Cluny and Lewes’, Music in the Medieval English Liturgy, ed. S. Rankin and D. Hiley (Oxford, 1993), 175–204
J.J. Boyce: ‘From Rule to Rubric: the Impact of Carmelite Liturgical Legislation upon the Order’s Office Tradition’, Ephemerides liturgicae, cviii (1994), 262–98
C. Veroli: ‘La revisione cisterciense del canto liturgico; un compromesso tra rinnovamento e conservazione’, Rivista internazionale di musica sacra, xv (1994), 88–155
A. Schubiger: Die Sängerschule St. Gallens von achten bis zwölften Jahrhundert (Einsiedeln and New York, 1858/R)
O. Marxer: Zur spätmittelalterlichen Choralgeschichte St. Gallens: der Codex 546 der St. Galler Stiftsbibliotek (St Gallen, 1908)
R. van Doren: Etude sur l’influence musicale de l’abbaye de Saint-Gall (VIIIe au XIe siècle (Brussels, 1925)
H. Anglès: La música a Catalunya fins al segle XIII (Barcelona, 1935/R)
S. Corbin: Essai sur la musique religieuse portugaise au Moyen-Age 1100–1385 (Paris, 1952)
G. Benoît-Castelli and M. Huglo: ‘L’origine bretonne du graduel no.47 de la bibliothèque de Chartres’, EG, i (1954), 173–8
J. Gajard: ‘Les récitations modales des 3e et 4e modes et les manuscrits bénéventains et aquitains’, EG, i (1954), 9–45
Y. Delaporte: ‘Fulbert de Chartres et l’école chartraine de chant liturgique au XIe siècle’, EG, ii (1957), 51–81
J. Chailley: L’école musicale de Saint Martial de Limoges jusqu’à la fin du XIe siècle (Paris, 1960)
H. Husmann: ‘Studien zur geschichtlichen Stellung der Liturgie Kopenhagens (unter Zugrundelegung des Missale von 1510)’, DAM, ii (1962), 3–58
P. Dronke, ed.: ‘Hildegard of Bingen as Poetess and Dramatist’, Poetic Individuality in the Middle Ages: New Departures in Poetry, 1000–1150 (Oxford, 1970), 150–92
G. Ropa: ‘Liturgia, cultura e tradizione in Padania nei secoli XI–XIII’, Quadrivium, xiii (1972), 17–176
K. Schlager: ‘Über den Choralgesang in Mainz’, Archiv für mittelrheinische Kirchengeschichte, xxvii (1975), 19–26
W. Lipphardt: ‘Musik in den österreichischen Klöstern der Babenbergerzeit’, Musicologica austriaca, ii (1979), 48–68
R.-J. Hesbert: ‘Les antiphonaires monastiques insulaires’, Revue bénédictine, xcii (1982), 358–75
M. Huglo: ‘La tradition musicale aquitaine: répertoire et notation’, Liturgie et musique (IX–XIV s.), Cahiers de Fanjeaux, xvii (Toulouse, 1982), 253–68
A. Tomasello: Music and Ritual at Papal Avignon, 1309–1403 (Ann Arbor, 1983)
J. Oberhuber: Kirchenmusikalische Praxis in Südtirol (Innsbruck, 1984)
N. Sandon, ed.: The Use of Salisbury (Moreton Hampstead, 1984–)
Musica e liturgia nella cultura mediterranea: Venice 1985
D. Hiley: ‘Thurston of Caen and Plainchant at Glastonbury: Musicological Reflections on the Norman Conquest’, Proceedings of the British Academy, lxxii (1986), 57–90
M. Huglo: ‘L’antiphonaire: archétype ou répertoire originel?’, Grégoire le Grand: Chantilly 1982, ed. J. Fontaine, R. Gillet and S. Pellistrandi (Paris, 1986), 661–9
K. Ottosen: L’antiphonaire latin au Moyen-Age: réorganisation des séries de répons de l’Avent classés par R.-J. Hesbert (Rome, 1986)
S. Engels: ‘Einige Beobachtungen zur Liturgie und den liturgischen Gesängen im mittelalterlichen Salzburg’, Musicologica austriaca, vii (1987), 37–57
IMSCR XIV: Bologna 1987, i [incl. M. Huglo: ‘L’enseignement de la musique dans les universités médiévales’, 30–37]; ii [incl. P. Besutti: ‘Testi e melodie per la liturgia della Capella di Santa Barbara in Mantova’, 68–77; E. Lagnier: ‘Il rito e il canto della Valle d’Aosta’, 110–14; G. Mele: ‘Primo sondaggio sulle fonti liturgiche della Sardegna’, 114–19; G. Pressacco: ‘La tradizione liturgico-musicale di Aquileia’, 119–29; C. Ruini: ‘Caratteri peculiari del canto liturgico a Reggio Emilia?’, 130–49; D. Hiley: ‘The Chant of Norman Sicily: Interaction between the Norman and Italian Traditions’, 379–91]; iii [incl. A.W. Robertson: ‘The Transmission of Music and Liturgy from Saint-Denis to Saint-Corneille of Compiègne’, 505–14]
H. Möller: ‘Zur Reichenauer Offiziumstradition der Jahrtausendwende’, SM, xxix (1987), 35–61
D. Hiley: ‘The Chant of Norman Sicily: Interaction Between the Norman and Italian Traditions’, SM, xxx (1988), 379–9
D. Hiley: ‘Editing the Winchester Sequence Repertory of ca. 1000’, Cantus planus III: Tihány 1988, 99–113.
A. Hughes: ‘Antiphons and Acclamations: the Politics of Music in the Coronation Service of Edward II, 1308’, JM, vi (1988), 150–68
E. Lipsmeier: ‘The Liber Ordinarius by Konrad von Mure and Palm Sunday Observance in Thirteenth Century Zurich’, Manuscripta, xxxii (1988), 139–45
J. Morawski: ‘Recherches sur les variantes régionales dans le chant grégorien’, SM, xxx (1988), 403–14
B. Newman: Saint Hildegard of Bingen: ‘Symphonia’: a Critical Edition of the ‘Symphonia armonie celestium revelationum’ (Symphony of the Harmony of Celestial Revelations), with Introduction, Translations, and Commentary (Ithaca, NY, 1988)
P. Ullmann: ‘Die Offiziumstrukturen in der Fastenzeit und die Bestimmung von Diözesanriten’, Cantus planus III: Tihány 1988, 21–31
I. Woods: ‘The Scottish Medieval Church: Sources and Information’, Medieval Studies: Skara 1988, 107–16
D. Hiley: ‘Rouen, Bibliotheque Municipale, MS 249 (A. 280) and the Early Paris Repertory of Ordinary of Mass Chants and Sequences’, ML, lxx (1989), 467–82
R. Termolen: Hildegard von Bingen: Biographie (Augsburg, 1989)
C.M. Wright: Music and Ceremony at Notre Dame of Paris, 500–1550 (Cambridge, 1989), esp. 3–139
J.A. Barbosa: ‘A musica na liturgia bracarense nos seculos XII e XIII: o repertorio musical da missa nos fragmentos de codices do Arquivo Distrital de Braga’, Modus, iii (1989–92), 81–260 and 11 pls
R. Cogan: ‘Hildegard’s Fractal Antiphon’, Sonus, xi (1990), 1–19
S. Flanagan: ‘Hildegard and the Global Possibilities of Music’, Sonus, xi (1990), 20–32
M. Floyd: ‘Processional Chants in English Monastic Sources’, JPMMS, xiii (1990), 1–48
X. Frisque: ‘Un reflet de l’école liégeoise de chant grégorien à travers les manuscrits de l’ancienne collégiale Sainte-Croix à Liège’, Bulletin de la Société liégeoise de musicologie, lxviii (1990), 1–30
J.M. Llorens: ‘Prestancia del canto gregoriano en la Capilla palatina de los papas’, De musica hispana et aliis: miscelánea en honor al Prof. Dr. José López-Calo, ed. E. Casares and C. Villanueva (Santiago de Compostela, 1990), 145–61
M.R. Pfau: ‘Mode and Melody Types in Hildegard von Bingen’s Symphonia’, Sonus, xi (1990), 53–71
M.T. Levy: Migration of the Liturgy of the Divine Office of the Roman Rite into Portugal Using as Example Codex 4* of Arouca (North Sydney, 1991)
P. van Poucke, ed.: Hildegard of Bingen: ‘Symphonia harmoniae caelestium revelationum’: Dendermonde, St.-Pieters & Paulusabdij, ms. Cod. 9 (Peer, 1991) [facs. edn]
F.K. Prassl: ‘Choral in Kärntner Quellen: Beobachtungen zur Überlieferung von Messgesängen in zwei Missalien des 12. Jahrhunderts’, Musicologica austriaca, x (1991), 53–102
A.W. Robertson: The Service-Books of the Royal Abbey of Saint-Denis: Images of Ritual and Music in the Middle Ages (Oxford, 1991)
R.A. Baltzer: ‘The Geography of the Liturgy at Notre-Dame of Paris’, Plainsong in the Age of Polyphony, ed. T.F. Kelly (Cambridge, 1992), 45–64
A.E. Davidson, ed.: The ‘Ordo virtutum’ of Hildegard of Bingen (Kalamazoo, MI, 1992)
I. Fenlon: ‘Patronage, Music and Liturgy in Renaissance Mantua’, Plainsong in the Age of Polyphony, ed. T.F. Kelly (Cambridge, 1992), 209–35
S. Rankin: ‘Notker und Tuotilo: schöpferische Gestalter in einer neuen Zeit’, Schweizer Jb für Musikwissenschaft, new ser., xi (1992), 17–42
B. Haggh: ‘Reconstructing the Plainchant Repertory of Brussels and its Chronology’, Musicology and Archival Research: Brussels 1993, 177–212
K. Ottosen: The Responsories and Versicles of the Latin Office of the Dead (Århus, 1993)
S. Rankin and D. Hiley, eds.: Music in the Medieval English Liturgy (Oxford, 1993) [incl. M. Huglo: ‘Remarks on the Alleluia and Responsory Series in the Winchester Troper’, 47–58; D. Hiley: ‘Post-Pentecost Alleluias in Medieval British Liturgies’, 145–74
K. Schlager: ‘Hildegard von Bingen im Spiegel der Choralforschung: Ruckschau und Ausblick’, Recherches nouvelles sur les tropes liturgiques: recueil d’études [Huglo Fs], ed. W. Arlt and G. Björkvall (Stockholm, 1993), 309–23
R. Sherr: ‘Music and the Renaissance Papacy: the Papal Choir and the Fondo Cappella Sistina’, Rome Reborn: the Vatican Library and Renaissance Culture, ed. A. Grafton (Washington DC, 1993), 199–223
D. Hiley: ‘Chant Composition at Canterbury after the Norman Conquest’, Max Lütolf zum 60. Geburtstag: Festschrift, ed. B. Hangartner and U. Fischer (Basel, 1994), 31–46
B. Scharf: ‘Le origini della monodia sacra in volgare in Francia e in Germania’, Rivista internazionale di musica sacra, xv (1994), 18–70
B. Haggh: ‘The Late-Medieval Liturgical Books of Cambrai Cathedral: a Brief Survey of the Evidence’, Laborare fratres in unum: Festschrift László Dobszay zum 60. Geburtstag, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 79–85
J.M.H. Smith: ‘A Hagiographer at Work: Hucbald and the Library of Saint-Amand’, Revue bénédictine, cvi (1996), 151–71
R. Le Roux: ‘Les répons de Noël et son octave’, EG, xxv (1997), 13–36
G. Reiss: Musiken ved den middelalderlige Olavsdyrkelse i Norden (Christiania, 1912)
A. Maliniemi: Zur Überlieferung der lateinischen Olavus-Legende (Helsinki, 1920)
T. Haapanen: Verzeichnis der mittelalterlichen Handschriftenfragmente in der Universitätsbibliothek zu Helsingfors (Helsinki, 1922–32) [concerns missals, graduals, lectionaries and breviaries]
T. Haapanen: Die Neumenfragmente der Universitätsbibliothek Helsingfors: eine Studie zur ältesten nordischen Musikgeschichte (Helsinki, 1924)
C.-A. Moberg: Über die schwedischen Sequenzen: eine musikgeschichtliche Studie (Uppsala, 1927)
C.-A. Moberg: ‘Kleine Bemerkungen zum Codex Upsal. C. 23’, STMf, xi (1930), 37–52
T. Schmid: ‘Franziskanische Elemente im mittelalterlichen Kult Schwedens’, Franziskanische Studien, xxiv (1937), 59–86
B. Dickins: ‘The Cult of S. Olave in the British Isles’, Saga-Book of the Viking Society for Northern Research, xii/2 (1940), 53–80
E. Sandvik: ‘Lux illuxit letabunda’, Symbolae osloenses, xxi (1941), 117–22
B. Stromberg, ed.: Missale lundense av år 1514 (Malmö, 1946) [facs.]
T. Schmid: ‘Svenska sekvenser’, Fornvännen, xlix (1954), 211–24
H. Johansson: Den medeltida liturgien i Skara stift (Lund, 1956)
S. Helander: Ordinarius Lincopensis ca. 1400 och dess liturgiska förebilder (Lund, 1957)
R.A. Ottósson, ed.: Sancti Thorlaci episcopi officia rhythmica et proprium missae in AM 241 A folio (Copenhagen, 1959)
T. Schmid, ed.: Graduale arosiense impressum (Malmö, 1959–65)
C.G. Undhagen, ed.: Birger Gregerssons Birgitta-officium (Uppsala, 1960)
L. Gjerløw: ‘Adoratio crucis’: the Regularis concordia and the Decreta Lanfranci: Manuscript Studies in the Early Medieval Church of Norway (Oslo, 1961)
N.L. Wallin: ‘Hymnus in honorem sancti Magni comitis Orchadiae: Codex Upsaliensis C. 233’, STMf, xliii (1961), 339–54
H. Faehn, ed.: Manuale norvegicum (Oslo, 1962)
Breviaria ad usum ritu[m]q[ue] sacros[an]cte[m] nidrosien[sis] eccl[es]ie (Oslo, 1964) [facs. edn of Breviarium nidrosiense (Paris, 1519)]
A. Önnerfors: ‘Zur Offiziendichtung im schwedischen Mittelalter mit einer Edition des Birger Gregersson zugeschriebenen “Officium S. Botuida”’, Mittellateinisches Jb, iii (1966), 55–93
E. Eggen: The Sequences of the Archbishopric of Nidaros (Copenhagen, 1968)
L. Gjerløw, ed.: Ordo nidrosiensis ecclesiae (ordubók) (Oslo, 1968)
L. Gjerløw: ‘Votive Masses Found in Oslo’, Ephemerides liturgicae, lxxxiv (1970), 113–28
F. Birkeli: ‘The Earliest Missionary Activities from England to Norway’, Nottingham Mediaeval Studies, xv (1971), 27–37
J. Bergsagel: ‘Anglo-Scandinavian Musical Relations before 1700’, IMSCR XI: Copenhagen 1972, 263–70
I. Milveden: ‘Neue Funde zur Brynolphus-Kritik’, STMf, liv (1972), 5–51
T. Lundén, ed.: Officium parvum beate Marie Virginis: Vår Frus tidegärd/Den heliga Birgitta och den helige Petrus av Skänninge (Stockholm, 1976) [Brigittine breviary]
L. Gjerløw, ed.: Antiphonarium nidrosiensis ecclesiae (Oslo, 1979)
L. Gjerløw, ed.: Liturgica islandica (Copenhagen, 1980)
B. Asketorp: ‘The Musical Contents of Two Danish Pontificals from the Late Middle Ages’, JPMMS, vii (1984), 28–46
K. Falconer: ‘A Kyrie and Three Gloria Tropes in a Norwegian Manuscript Fragment’, STMf, lxvii (1985), 77–88
A.E. Davidson, ed.: Holy Week and Easter Ceremonies and Dramas from Medieval Sweden, (Kalamazoo, MI, 1990)
V. Servatius: Cantus sororum: Musik- und liturgiegeschichtliche Studien zu den Antiphonen des birgittinischen Eigenrepertoires (Uppsala, 1990)
C.-A. Moberg and A.-M. Nilsson: Die liturgischen Hymnen in Schweden, II (Uppsala, 1991)
N.H. Petersen: ‘Another Visitatio sepulchri from Scandinavia’, Early Drama, Art, and Music Review, xiv (1991–2), 10–21
I. Taitto, ed.: Documenta gregoriana: latinalasien kirkkolaulun lähteitä Suomessa [Source documents of Latin church music in Finland] (Helsinki, 1992)
G. Attinger: A Comparative Study of Chant Melodies from Fragments of the Lost Nidaros Antiphoner (diss., U. of Oslo, 1998)
D. Orel, V. Hornof and V. Vosyka: Český Kancionál [A Czech hymnbook] (Prague, 1921, 5/1936)
D. Orel: Kancionál Franusův z roku [The Franus hymnbook from 1505] (Prague, 1922)
J. Hutter: Česká notace [Czech notation], ii: Nota choralis (Prague, 1930)
J. Hutter: Notationis bohemicae antiquae specimina selecta e codicibus bohemicis, II: Nota choralis (Prague, 1931)
D. Orel: Hudební prvky svatováclavske [St Wenceslas elements in music] (Prague, 1937–9)
B. Rajeczky and P. Radó, eds.: Melodiarum hungariae medii aevi, i: Hymnen und Sequenzen/Himnuszok és sequentiák (Budapest, 1956, 2/1982)
K. Gamber: ‘Das Glagolitische Sakramentar der Slavenapostel Cyrill und Method und seine lateinische Vorlage’, Ostkirchliche Studien, vi (1957), 165–7
P. Spunar: ‘Das Troparium des Prager Dekans Vit (Prag Kapitelbibliothek, Cim 4)’, Scriptorium, ix (1957), 50–62
C. Kniewald: ‘Officium et Missa de Conceptione et Nativitate BMV secundum consuetudinem veterem Zagrabiensem’, Ephemerides liturgicae, lxxiii (1959), 3–21
A. Vidakovič: ‘I nuovi confini della scrittura neumatica musicale nell’Europa sud-est’, SMw, xxiv (1960), 5–12
G. Birkner: ‘Eine “Sequentia sancti Johannis confessoris” in Trogir (Dalmatien)’, Musik des Ostens, ii (1963), 91–7
Z. Falvy and L. Mezey, eds.: Codex albensis: ein Antiphonar aus dem 12. Jahrhundert (Graz, 1963) [facs. edn]
K. Szigeti: ‘Denkmäler des gregorianischen Chorals aus dem ungarischen Mittelalter, SM, iv (1963), 129–72
H. Kowalewica, ed.: Cantica medii aevi polono-latina, i: Sequentiae (Warsaw, 1964)
H. Feicht: ‘Muzyka liturgiczna w polskim ś’redniowieczu’ [Liturgical music in the Polish Middle Ages], Musica medii aevi, i (1965), 9–52
Z. Hudovský: ‘Missale beneventanum MR 166 della Biblioteca metropolitana a Zagrabia’, Jucunda laudatio, iii (1965), 306
H. Feicht, ed.: Muzyka staropolska/Old Polish Music (Kraków, 1966)
K. Biegański: ‘Fragment jednego z najstarszych zabytków diastematycznych w Polsce (dodatek do ms. 149 Bibl. kapit. gnieźnieńskiej – fr. 149)’ [A fragment of one of the oldest diastematic sources in Poland (the supplement to Gniezno, Bibl. kapit., MS 149, frag.149)], Studia Hieronymo Feicht septuagenario dedicata, ed. Z. Lissa (Kraków, 1967), 96–119
J. Höfler: ‘Rekonstrukcija srednjeveškega sekvenciarija v osrednji Sloveniji’ [Reconstruction of the medieval sequencer in central Slovenia], MZ, iii (1967), 5–15 [with Eng. summary]
J. Höfler and I. Klemenčič:Glasbeni rokopisi in tiski na Slovenskem do leta 1800: katalog [Music MSS and printed music in Slovenia before 1800] (Ljubljana, 1967)
Z. Hudovský: ‘Benedictionale MR 89 of the Metropolitan Library in Zagreb’, SM, ix (1967), 55–75
B. Bujić: ‘Zadarski neumatski fragmenti v Oxfordu’ [Neumatic fragments of Zadar in Oxford], MZ, iv (1968), 28–33
Z. Falvy, ed.: Drei Reimoffizien aus Ungarn und ihre Musik (Budapest, 1968)
J. Węcowski: ‘Początki chorału benedyktyńskiego w Polsce (968–1150)’ [The beginnings of Benedictine chant in Poland], Musica medii aevi, ii (1968), 40–51
B. Bartkowski: ‘Graduał kanoników regularnych z Czerwińska’ [The gradual of the canons regular of Czerwińsk], Musica medii aevi, iii (1969), 130–51
Z. Bernat: ‘Pontyfikał wrocławski z XII wieku jako zabytek muzyczny’ [A 12th-century Wroclaw pontifical as a musical source], Musica medii aevi, iii (1969), 7–29
H. Feicht: ‘An Outline of the History of Polish Religious Music’, Poland’s Millennium of Catholicism, ed. M. Rechowicz (Lublin, 1969), 499–553
E. Hinz: ‘Notacja muzyczna graduału Rkp. 118/119 z Biblioteki Seminarium Duchownego w Pelplinie’ [The musical notation of the gradual MS 118–19 from the Seminary Library at Pelplin], Musica medii aevi, iii (1969), 43–58
H. Kowalewicz and J. Pikulik: ‘Najstarsza sekwencja o św. Wojciechu: Annua recolamus’ [The oldest sequence of St Adalbert: Annua recolamus], Musica medii aevi, iii (1969), 30–42
T. Maciejewski: ‘Kyriale cysterskie w najstarszych rękopisach polskich (XIII i XIV wiek)’ [The Cistercian kyriale in the oldest Polish manuscripts, 13th and 14th century], Musica medii aevi, iii (1969), 59–89
J. Pikulik: ‘Sekwencje Notkera Balbulusa w polskich rękopisach muzycznych’ [The sequences of Notker Balbulus in Polish musical MSS], Archiwa, biblioteki i muzea kościelne, xviii (1969), 65–80
W. Schenk: ‘Aus der Geschichte der Liturgie in Polen’, Poland’s Millennium of Catholicism, ed. M. Rechowicz (Lublin, 1969, 2/1987), 145–221
M. Grgić: ‘Glazbena djelatnost u Hrvatskoj u 11. stoljeću’ [Musical activity in Croatia in the 11th century], Zadarska revija, xix (1970), 125–32
D. Patier: ‘Un office rythmique tchèque du XIVème siècle: étude comparative avec quelques offices hongrois’, SM, xii (1970), 41–129 [Procopius]
K. Biegański and J. Woronczak, eds.: Missale plenarium: Bibl. capit. gnesnensis, MS. 149, AMP, xi–xii (1970–72) [facs.]
Z. Hudovský: ‘Neumatski rukopis Agenda pontificalis MR 165 Metropolitanske knjiznice u Zagrebu’ [The MS Agenda pontificalis with neumes, MR 165 of the Zagreb Metropolitan Library], Arti musices: musikološki zbornik, ii (1971), 17–30
J. Pikulik: ‘Franciszkańskie Ordinarium missae w średniowiecznej Polsce’ [The Franciscan Mass Ordinary in medieval Poland], Studia theologica varsaviensia, ix (1971), 111–30
J. Pikulik: ‘Polskie oficja rymowane o św. Wojciechu’ [The Polish rhymed Offices for St Adalbert], Stan badán nad muzyka religijnką w kulturze polskiej: Warsaw 1971, 306–72 [also in Fr.]
J. Morawski, ed.: Średniowiecze/The Middle Ages, MAP, i/1–2 (1972)
V. Plocek: ‘Eine neu aufgefundene Sequenz von der heiligen Dorothea und ihre Beziehung zu Jenštejns Decet huius’, De musica disputationes pragenses, i (1972), 120–48
J. Szendrei: ‘Die Tedeum-Melodie im Kodex Peer’, SM, xiv (1972), 169–201
B. Bartkowski: ‘Visitatio sepulchri w polskich przekazach średniowiecznych’, [Visitatio sepulchri in Polish medieval MSS], Musica medii aevi, iv (1973), 129–63
T. Maciejewski: ‘Graduał z Chełmna’ [The Chełmno Gradual], Musica medii aevi, iv (1973), 164–245
J. Morawski: Polska liryka muzyczna w średniowieczu: repertuar sekwencyjny cystersów (XIII–XVI w.) [Polish musical lyric in the Middle Ages: the Cistercians’ sequence repertory (13th–16th centuries)] (Warsaw, 1973),
J. Pikulik: Sekwencje polskie, Musica medii aevi, iv (1973); v (1976) [whole issues]
V. Plocek: Catalogus codicum notis musicis instructorum qui in Bibliotheca publica rei publicae bohemicae socialisticae in Bibliotheca universitatis Pragensis servantur (Prague, 1973) [describes 243 MS sources with musical notation in CS-Pu]
P. Radó: Libri liturgici manuscripti bibliothecarum Hungariae et limitropharum regionum (Budapest, 1973)
J. Szendrei: ‘Te deum als ungarischer Volksgesang im Mittelalter’, SM, xv (1973), 303–34
J. Andreis: Music in Croatia (Zagreb, 1974, enlarged 2/1982)
H. Feicht: Studia nad muzyką polskiego średniowiecza [Studies in the music of the Polish Middle Ages] (Kraków, 1975)
H. Ostrzolek: ‘Spiewy gregorianskie w “Pontificale” biskupów krakowskich z XI-XII w.’ [Gregorian chant in the pontifical of the Kraków bishops from the 11th and 12th centuries], Studia gdanskie, ii (1976), 185–210
F. Zagiba: Musikgeschichte Mitteleuropas, i: Von den Anfängen bis zum Ende des 10. Jahrhunderts (Vienna, 1976), esp. 62–106 [incl. extensive bibliography]
K. Dola: ‘Liturgia wielkiego tygodnia w katedrze wrocławskiej w XV wieku’ [The Holy Week liturgy in Wrocław cathedral in the 15th century], Studia teologiczno-historyczne śląska opolskiego, vii (1979) 179–215
J. Pikulik: ‘Śpiewy ordinarium Ungaricum w polskich rękopisach przedtrydenckich’, [Ungaricum chants from the Ordinary in pre-Tridentine Polish MSS], Muzyka, xxv/3 (1980), 37–52
F. Pokorný: ‘Mährens Musik im Mittelalter’, Hudební veda (1980), no.1, 36–52
J. Martinić: Glagolitische Gesänge Mitteldalmatiens (Regensburg, 1981)
J. Szendrei: A magyar középkor hangjegyes forrásai [Notated manuscripts in medieval Hungary] (Budapest, 1981) [with a catalogue of 1098 facs.]
J. Szendrei and R. Rybarič, eds.: Missale notatum strigoniense ante 1341 in Posonio, (Budapest, 1982) [facs. edn and critical study]
J. Snoj: ‘Fragmenti srednjeveških koralnih rokopisov v ljubljanski Semeniški knjižnici’, [Frags. of medieval chant MSS in the Ljubljana Seminary Library], MZ, xix (1983), 5–16
J. Szendrei: Középkori hangjegyírások magyarországon [Medieval notation in Hungary] (Budapest, 1983) [with Ger. summary]
Nové poznatky o dějinách starsš české a slovenské hudby: Prague 1984 [with Ger. summaries; 22 articles on Bohemian music and Czech-texted Gregorian chant of the 16th-century]
L. Dobszay: ‘The System of the Hungarian Plainsong Sources’, SM, xxvii (1985), 37–65
V. Plocek and A. Traub: Zwei Studien zur ältesten geistlichen Musik in Böhmen (Cologne and Giessen, 1985)
B. Rajeczky: ‘Gregorianische Gesänge in der ungarischen Volkstradition’, SM, xxvii (1985), 5–22
P. Ullmann: ‘Bericht über die vergleichende Repertoire-Analyse der Brevaire aus Ungarn’, SM, xxvii (1985), 185–92
R.F. Gyug: ‘Tropes and Prosulas in Dalmatian Sources of the Twelfth and Thirteenth Centuries’, La tradizione dei tropi liturgici: Paris 1985 and Perugia 1987, 409–38
J. Pikulik: ‘Les tropes du kyrie et du sanctus dans les graduels polonais médiévaux’, ibid., 325–35
W. Domanski: ‘Der accentus des gregorianischen Gesangs im Musiktraktat De accentuum ecclesiasticorum exquisita ratione von Georg Liban aus Liegnitz/Legnica’, Musik des Ostens, x (1986), 9–18
W. Domanski: ‘Teoria muzyki w traktatach chorało-wych Sebastiana z Felsztyn’ [Theory of music in the plainsong treatises of Sebastian of Feleztyna], Musica medii aevi, vii (1986) 184–249
T. Miazga: Wielkanocne śpiewy procesyjne [Polish Easter processional chants] (Graz, 1986)
D. Patier: ‘L’office rythmique de sainte Ludmila’, EG, xxi (1986) 49–96
A. Reginek: ‘Śpiewy pasji chorałowej w Polsce w XV i XVI wieku’ [The plainsong Passion chant in Poland in the 15th and 16th centuries], Musica medii aevi, vii (1986), 55–116
E. Witkowska-Zaremba: ‘Ars musica’ w krakowskich traktatach muzycznych XVI wieku [The ars musica in Kraków plainchant treatises of the 16th century] (Kraków, 1986)
Z. Falvy: ‘Middle-East European Court Music (11–16th Centuries): a Preliminary Survey’, SM, xxix (1987), 63–105
I. Babioch: ‘Liber generationis w polskich zródlach Średniowiecznych’ [The Liber generationis in Polish medieval sources], Muzyka, xxxiii/1 (1988), 3–30
Cantus planus III: Tihány 1988 [incl. J. Mezei: ‘Zur Problematik des “germanischen” Choraldialekts’, 49–60; K. Schlager: ‘Beobachtungen zum Otto-Offizium’, 115–25; P. Halász: ‘Offices of the Magdalene in Central Europe’, 127–42; L. Dobszay: ‘Experiences in the Musical Classification of Antiphons’, 143–56; A.-M. Nilsson: ‘A Hymn in Hystorie of Swedish Saints’, 165–80; J. Török: ‘Officium rhythmicum des Sancto Paulo’, 267–74; J. Szendrei: ‘Tropenbestand der ungarischen Handschriften’, 297–325; C.E. Brewer: ‘Regina celi letare … Alle-Domine: from Medieval Trope to Renaissance Tune’, 431–48]
M. Demović: ‘Neumatski fragment dubrovačkog beneventanskog pontifikala’ [A neumatic fragment of the Dubrovnik Beneventan pontifical], Rad Jugoslavenske akademije znanosti i umjetnosti, ccccix (1988), 225–53
I. Ferenczi, ed.: Graduale ecclesiae hungaricae epperiensis 1635 (Budapest, 1988)
M.L. Göllner: ‘Migrant Tropes in the Late Middle Ages’, Capella antiqua München: Festschrift zum 25jährigen Bestehen, ed. T. Drescher (Tutzing, 1988), 175–87
Medieval Studies: Skara 1988 [incl: A.-M. Nilsson and M. Hedlund: ‘Some Music Manuscripts from Medieval Sweden’, 17–30; A.-M. Nilsson and J. Ling: ‘The Medieval Music of the Monastery, the Cathedral, the Palace and the Pauper’s Dwelling’, 37–56; V. Servatius: ‘Some Remarks on Rhythmical Interpretation of Missale scarense’, 57–66; A.-M. Nilsson: ‘Adest dies leticie: Studies on Hymn Melodies in Medieval Sweden’, 67–85; I. Woods: ‘The Scottish Medieval Church: Sources and Information’, 107–16]
J. Mezei: ‘Közép-európai dallamvariánsok az adventi responzóriumokban’ [Melodic variants of the Advent responsories in Central Europe], Zenetudományi dolgozatok, (1988), 43–60
J. Morawski: ‘Recherches sur les variantes régionales dans le chant grégorien’, SM, xxx (1988), 403–14
I. Pawlak: Graduały piotrkowskie jako przekaz chorału gregoriańskiego w Polsce po Soborze Trydenckim [The Piotrków graduals as transmitters of Gregorian chant in Poland after the Council of Trent] (Lublin, 1988)
R. Rybaric: ‘Die Musik im Krönungsritual der Königen von Ungarn’, Musica antiqua VIII: Bydgoszcz 1988, 877–8
J. Szendrei: ‘Choralnotationen in Mitteleuropa’, SM, xxx (1988), 437–46
J. Szendrei: ‘Die Geschichte der Graner Choralnotation’, SM, xxx (1988), 5–234
P. Ullmann ‘Inhalt und Redaktionweisen im Adventsteil der Graner Offiziumsquellen’, SM, xxx (1988) 447–54
I. Ferenczi: ‘Die ungarische Gregorianik im 16. und 17. Jahrhundert’, JbLH, xxxii (1989), 158–65
J. Snoj: ‘Fragmenti srednjeveških koralnih rokopisov s poznogotsko notacijo v Ljubljani’, [Frags. of medieval chant MSS in late gothic notation in Ljubljana], MZ, xxv (1989), 143–60
Cantus planus IV: Pécs 1990 [incl. J. Szendrei: ‘Linienschriften des zwölften Jahrhunderts auf suddeutschem Gebiet’, 17–30; C.E. Brewer: ‘The Mensural Significance of Bohemian Chant Notation and its Origins’, 55–68; E. Witkowska-Zaremba: ‘Music between Quadrivium and Ars canendi: musica speculativa by Johannes de Muris and its Reception in Central and East-Central Europe’, 119–26; J. Novotná: ‘Die Offertorienverse mit Tropen im Repertoire des Prager Metropolitankapitels’, 455–62; H. Vlhová: ‘Das Repertorium der Sequenzen in Böhmen bis 1400’, 463–8; A.-M. Nilsson: ‘The Liturgical Hymns in Sweden: an Edition’, 485–502; D. Eben: ‘Die Bedeutung des Arnestus von Pardubitz in der Entwicklung des Prager Offiziums’, 571–7; I. Ferenczi: ‘Das Psalterium strigoniense (1515) als eine Quelle der ungarischsprachigen Graduale’, 579–85]
L. Dobszay: ‘Plainchant in Medieval Hungary’, JPMMS, xiii (1990), 49–78 [with extensive bibliography on Hung. chant]
R.F. Gyug, ed.: Missale ragusinum: the Missal of Dubrovnik (Oxford, Bodleian Library, Canon. Liturg. 342) with an Introductory Study (Toronto, 1990)
D.R. Holeton: ‘The Office of Jan Hus: an Unrecorded Antiphonary in the Metropolitican Library of Estergom’, Time and Community: in Honor of Thomas J. Talley, ed. J.N. Alexander (Washington DC, 1990), 137–52
J. Szendrei, ed.: Graduale strigoniense (s. XV/XVI) (Budapest, 1990–93)
G. Doliner: ‘Traditional Church Singing in Kraljevica (Croatia): the Work of Lujza Kozinović’, World of Music, xxxiii/2 (1991), 50–62
W. Gončarowa: ‘Do zagadnienia lokalnych tradycji w chorale (na podstawie wybranych rękopisów Średniowiecznych z Leningradu) [The problem of local tradition in plainchant (on the basis of selected medieval MSS from Leningrad)]’, Muzyka, xxxvi/1 (1991), 3–43
H. Kowalewicz, J. Morawski and A. Reginek, eds.: Hymny polskie, Musica medii aevi, viii (1991) [whole issue, incl. edn of Polish hymns, pp.7–141; and the hymn repertory of the Kraków diocese, pp.142–392 and 43 pls]
D.R. Holeton: ‘Two Hussite Latin Antiphonaries’, Ephemerides liturgicae, cvi (1992), 75–80
R.S. Miller: The Repertory of MS MR 8: a Medieval Pauline Antiphoner (diss., U. of California, Santa Barbara, 1992)
J. Morawski: ‘Versiculus: z badań nad recytatywem liturgicznym w Polsce’[The versiculus: research into liturgical recitative in Poland], Muzyka, xxxvii/4 (1992), 3–59
H. Vlhová: ‘Die Ordinarium-Tropen im Troparium des Prager Dekans Vit’, Cantus Planus V: Éger 1993, 763–79
L. Dobszay: ‘Local Compositions in the Office Temporale’, Max Lütolf zum 60. Geburtstag: Festschrift, ed. B. Hangartner and U. Fischer (Basel, 1994), 65–74
J. Snoj: ‘Aleluje velikonocnega casa v ljubljanskih srednjeveskih rokopisih’ [Alleluias of Paschal Time in the medieval MSS of Ljubljana], MZ, xxx (1994), 19–37
Z.V. David: ‘The Strange Fate of Czech Utraquism: the Second Century, 1517–1621’, Journal of Ecclesiatical History, xlvi (1995), 641–8
D.R. Holeton: ‘The Evolution of Utraquist Liturgy: a Precursor of Western Liturgical Reform’, Studia liturgica, xxv (1995), 1–31
Z. Czagány, ed.: Corpus Antiphonalium Officii – Ecclesiarium Centralis Europae, III/A: Praha (Temporale) (Budapest, 1996) [pubn derived from CAO–ECE database]
T.M.M. Czepiel: Music at the Royal Court and Chapel in Poland, c. 1543–1600 (New York and London, 1996), esp. chap.2
Z. Czagány: ‘Egy 13. századi graduále két töredéke’ [Two frags. of a 13th-century gradual], Magyar könyvszemle, cxii (1996), 145–55 [H-Bn E 76, frag. containing an early 13th-century ex. of Graner (Hung.) notation]
H. Vhlová: ‘Die Fronleichnamsmesse in Böhmen: ein Beitrag zur spätmittelalterichen Choraltradition’, Schweizer Jb für Musikwissenschaft, new ser., xvi (1996), 13–36 [concerns, in part, the Hussite liturgy]
L.M. Spell: ‘The First Music-Books Printed in America’, MQ, xv (1929), 50–54
A.B. McGill: ‘Old Mission Music’, MQ, xxiv (1938), 186–93
O.F. da Silva, ed.: Mission Music of California: a Collection of Old California Mission Hymns and Masses (Los Angeles, 1941/R)
J.B. Rael: ‘New Mexican Spanish Feasts’, California Folklore Quarterly, i (1942), 83–90
G. Chase: A Guide to Latin American Music (Washington DC, 1945, enlarged 2/1962/R as A Guide to the Music of Latin America)
R. Stevenson: Music in Mexico: a Historical Survey (New York, 1952/R)
R. Stevenson: ‘Sixteenth and Eighteenth-Century Resources in Mexico, pts I–III’, FAM, i (1954), 69–78; ii (1955), 10–15; xxv (1978), 156–87
R. Stevenson: The Music of Peru: Aboriginal and Viceroyal Epochs (Washington DC, 1960), 56–112
R. Stevenson: ‘A Newly Discovered Mexican Sixteenth-Century Musical Imprint’, Yearbook, Inter-American Institute for Musical Research, ii (1966), 91–100
R. Stevenson: ‘Latin America, Music in’, New Catholic Encyclopedia, viii (New York, 1967)
N.A. Benson: ‘Music in the California Missions: 1602–1848’, Student Musicologists at Minnesota, iii (1968–9), 128–67; (1969–70), 104–25
L.B. Spiess and E.T. Stanford: An Introduction to Certain Mexican Musical Archives (Detroit, 1969)
R. Stevenson: Renaissance and Baroque Musical Sources in the Americas (Washington DC, 1970)
M.D. Ray and J.H. Engbeck: Gloria Dei: the Story of California Mission Music (Sacramento, CA, 1974)
M. Crouch and W.J. Summers: ‘An Annotated Bibliography and Commentary Concerning Mission Music of Alta California, 1769–1836’, CMc, no.22 (1976), 88–99
W.J. Summers: ‘Spanish Music in California, 1769–1840: a Reassessment’, IMSCR XII: Berkeley 1977, 360–80
R.M. Gormley: The Liturgical Music of the California Missions, 1769–1833, (diss., Catholic U. of America, Washington DC, 1992)
A.E. Lemmon: ‘Toward an International Inventory of Colonial Spanish American Cathedral Music Archives’, IMSCR XV: Madrid 1992 [RdMc, xvi (1993)], 92–8
L. Waisman: ‘Viva Maria! La música para la Virgen en las misiones de Chiquitos’, Latin American Music Review, xiii (1992), 213–25
J. Koegel: ‘Spanish Mission Music from California: Past, Present, and Future Research’, American Music Research Center Journal, iii (1993), 78–111 [with an extensive bibliography]
MGG2 (‘Caecilianismus’; W. Kirsch)
G. Nivers: Dissertation sur le chant grégorien (Paris, 1683)
G. Nivers: Méthode certaine pour apprendre le plein-chant de l’église (Paris, 1699, 3/1745)
J. Lebeuf: Traité historique et pratique sur le chant ecclésiastique (Paris, 1741/R)
L. Poisson: Nouvelle méthode, ou Traité théorique et pratique du plain-chant(Paris, 1745)
F. de La Feillée: Méthode nouvelle pour apprendre parfaitement les règles du plain-chant et de la psalmodie (Poitiers, 1748, 4/1784)
Abbé Oudoux: Méthode nouvelle pour apprendre facilement le plain-chant (Paris, 1772, 2/1776)
Imbert: Nouvelle méthode, ou Principes raisonnés du plein-chant (Paris, 1780)
A. Choron: Considérations sur la nécessité de rétablir le chant de l’église de Rome dans toutes les églises de l’Empire français (Paris, 1811)
J.B. Schiedermayr: Theoretisch-praktische Chorallehre zum Gebrauche beym katholischen Kirchen-Ritus (Linz, 1828)
J. Antony: Archäologisch-liturgisches Lehrbuch des gregorianischen Kirchengesangs (Münster, 1829)
P. Alfieri: Saggio storico teorico pratico del canto gregoriano o romano per istruzione degli ecclesiastici (Rome, 1835)
P. Guéranger: Institutions liturgiques (Paris, 1840–51, 2/1878–85)
S. Stehlin: Tonarten des Choralgesanges, nach alten Urkunden durch beigefügte Übersetzungen in Figuralnoten erklärt (Vienna, 1842)
F. Danjou: De l’état et de l’avenir du chant ecclésiastique en France (Paris, 1844)
E. Duval: L’organiste grégorien, ou Accompagnement d’orgue d’après les vrais principes du chant grégorien (Mechelen, 1845)
N.A. Janssen: Les vrais principes du chant grégorien (Mechelen, 1845)
S. Morelot: ‘Du vandalisme musical dans les églises’, Revue de la musique religieuse, populaire et classique (1845), 129
P.B. de Jumilhac: La science et la pratique du plain-chant, où tout ce qui appartient à la pratique est établi par les principes de la science (Paris, 2/1847)
L. Lambillotte: Antiphonaire de Saint Grégoire: facsimilé du manuscrit de Saint-Gall (Brussels, 1851, 2/1867)
N. Cloet: De la restauration du chant liturgique, ou Ce qui est à faire pour arriver à posséder le meilleur chant romain possible (Plancy, 1852)
C.-E.-H. de Coussemaker: Histoire de l’harmonie au Moyen-Age (Paris, 1852/R)
F. Raillard: Explication des neumes ou anciens signes de notation musicale pour servir à la restauration complète du chant grégorien (Paris, 1852)
A. de La Fage: De la reproduction des livres de plain-chant romain (Paris, 1853)
J. d’Ortigue: Dictionnaire liturgique, historique et théorique de plain-chant et de musique d’église (Paris, 1853/R)
J. Tardif: ‘Essai sur les neumes’, Bibliothèque de l’Ecole des Chartes, 3rd ser., iv (1853), 4–28
E.-G. Jouve: Du chant liturgique, état actuel de la question: quelle serait la meilleure manière de la résoudre? (Avignon, 1854)
P.C.C. Bogaerts and E. Duval: Etudes sur les livres choraux qui ont servi de base dans la publication des livres de chant grégorien édités à Malines (Mechelen, 1855)
A. de La Fage: Cours complet de plain-chant, ou Nouveau traité méthodique et raisonné du chant liturgique de l’église latine (Paris, 1855)
E.-G. Jouve: Dictionnaire d’esthétique chrétienne, ou Théorie du beau dans l’art chrétien, l’architecture, la musique, la peinture, la sculpture et leurs dérivés (Paris, 1856)
T. Nisard [Normand]: Etudes sur la restauration du chant grégorien au XIXe siècle (Rennes, 1856)
P. Alfieri: Prodromo sulla restaurazione de’ libri di canto ecclesiastico detto gregoriano (Rome, 1857)
J. Dufour: Mémoire sur les chants liturgiques restaurés par le R. P. Lambillotte (Paris, 1857)
L. Niedermeyer and J. d’Ortigue: Traité théorique et pratique de l’accompagnement du plain-chant (Paris, 1857, 2/1878; Eng trans, 1905)
T. Nisard [Normand]: Du rythme dans le plain-chant (Rennes, 1857)
C.J. Vervoitte: ‘Considérations sur le chant ecclésiastique à propos du retour à la liturgie romaine’, Précis analytique des travaux de l’Académie impériale des sciences, belles-lettres et arts de Rouen (1857), 406–55
A. de La Fage: Routine pour accompagner le plain-chant (Paris, 1858)
A.M. Gontier: Méthode raisonnée de plain-chant: le plain-chant considéré dans son rythme, sa tonalité et ses modes (Paris, 1859)
F. Clément: Histoire générale de la musique religieuse (Paris, 1860)
E.-G. Jouve: Du mouvement liturgique en France durant le XIXe siècle (Paris, 1860)
F. Raillard: Mémoire sur la restauration du chant grégorien (Paris, 1862)
J. Pothier: Les mélodies grégoriennes d’après la tradition (Tournai, 1880/R)
P. Schmetz: Dom Pothiers Liber gradualis, Tournayer Ausgabe: seine historische und praktische Bedeutung (Mainz, 1884)
P. Schmetz: Die Harmonisierung des gregorianischen Choralgesanges: ein Handbuch zur Erlernung der Choralbegleitung (Düsseldorf, 1885, 2/1894)
T. Nisard [Normand]: L’archéologie musicale et le vrai chant grégorien: ouvrage posthume publié par les soins de M. Aloys Kunc (Paris, 1890)
Schmidt: ‘La typographie et le plain-chant’, Revue du chant grégorien, iv (1895–6), 36–9, 59–62
F. Mantel: ‘M. Danjou et le manuscrit bilingue de Montpellier’, Revue du chant grégorien, v (1896–7), 10–13, 30–32, 61–2, 90–93
R. Molitor: Die nach-tridentinische Choral-Reform zu Rom: ein Beitrag zur Musikgeschichte des XVI. und XVII. Jahrhunderts (Leipzig, 1901–2/R)
Concilium Tridentinum: diariorum, actorum, epistolarum, tractatuum nova collectio (Freiburg, 1901–38/R)
A. Dechevrens: Les vraies mélodies grégoriennes (Paris, 1902/R)
F.X. Haberl: ‘Geschichte und Wert der offiziellen Choralbücher’, KJb, xxvii (1902), 134–92
A. Grospellier: ‘Bibliographie grégorienne: les éditions du kyriale ou de l’ordinaire de la messe’, Revue du chant grégorien, xiv (1905–06), 73–83, 115–19
H. Bewerunge: ‘The Vatican Edition of Plain-Chant’, Irish Ecclesiastical Record, 4th ser., xix (1906), 44–63; xx (1906), 414–28; repr. in Caecilia [New York], lxxxvi (1959), 44
T. Burge: ‘The Vatican Edition of the ‘Kyriale’ and its Critics’, Irish Ecclesiastical Record, 4th ser., xix (1906), 324–45; repr. in Caecilia [New York], lxxxvi (1959), 324
L. David: ‘L’édition vaticane du graduel romain’, Revue du chant grégorien, xvi (1907–8), 125–30
A. Grospellier: ‘Le graduel romain de l’édition vaticane’, ibid., 115–25
A. Mocquereau: Le nombre musical grégorienne, ou Rhythmique grégorienne, i (Tournai, 1908; Eng trans., 1932); ii (Tournai, 1927)
G. Molitor: Die diatonisch-rhythmische Harmonisation der gregorianischen Choralmelodien (Leipzig, 1913)
A. Gastoué: ‘Les livres de plain-chant en France, de 1583 à 1634’, Tribune de Saint-Gervais, xx/1 (1914), 1–4; xx/2 (1914), 29–33
K. Weinmann: Das Konzil von Trient und die Kirchenmusik (Leipzig, 1919/R)
J.H. Arnold: Plainsong Accompaniment (London, 1927, 2/1964)
H. Potiron: Cours d’accompagnement du chant grégorien (Paris, 1928; Eng. trans., 1933)
A.L. Mayer: ‘Liturgie, Aufklärung, und Klassizismus’, Jb für Liturgiewissenschaft, ix (1929), 67–127
A.L. Mayer: ‘Liturgie, Romantik, und Restauration’, Jb für Liturgiewissenschaft, x (1930), 77–141
L. Söhner: Die Geschichte der Begleitung des gregorianischen Chorals in Deutschland vornehmlich im 18. Jahrhundert (Augsburg, 1931)
F. Peeters: Practische methode voor gregoriaansche begleiding/Méthodie pratique pour l’accompagnement du chant grégorien (Mechelen, 1943)
H. Jedin: ‘Das Konzil von Trient und die Reform der liturgischen Bücher’, Ephemerides liturgicae, lix (1945), 5–37
O. Rousseau: Histoire du mouvement liturgique: esquisse historique depuis le début du XIXe siècle jusqu’au pontificat de Pie X (Paris, 1945)
J.V. Higginson: Revival of Gregorian Chant: its Influence on English Hymnody (New York, 1949)
J. Gajard: La méthode de Solesmes, ses principes constitutifs, ses règles pratiques d’interprétation (Tournai, 1951)
C.E. Pocknee: The French Diocesan Hymns and their Melodies (London, 1954)
K.G. Fellerer: ‘Zur Choralbewegung im 19. Jahrhundert’, KJb, xli (1957), 136–46
P. Kirchhoffer: ‘Exercices progressifs préparatoires à l’accompagnement du chant grégorien’, Revue grégorienne, xxxix (1960), 174–241
K.G. Fellerer: ‘Der semifigurato-Vortrag der Hymnen und Sequenzen im 18. Jahrhundert’, STMf, xliii (1961), 135–43
J. Prim: ‘Chant sur le Livre in French Churches in the 18th Century’, JAMS, xiv (1961), 37–49
U. Bomm: ‘Von Sinne und Wert der Editio vaticana’, Musicus – Magister: Festgabe für Theobald Schrems zur Vollendung des 70. Lebensjahres, ed. G.P. Köllner (Regensburg, 1963), 63–75
K.G. Fellerer: ‘Gregorianischer Choral und Orgelspiel im 18. Jahrhundert’, Organicae voces: Festschrift Joseph Smits van Waesberghe, ed. P. Fischer (Amsterdam, 1963), 31–7
J. Pruett: ‘The Breviary Reform of 1632: its Effect on the Hymns’, Caecilia [New York], xc (1963), 23
H. Beck: ‘Das Konzil von Trient und die Probleme der Kirchenmusik’, KJb, xlviii (1964), 108–17
H. Wagener: Die Begleitung des gregorianischen Chorals im neunzehnten Jahrhundert (Regensburg, 1964)
A. Milner: ‘Music in a Vernacular Catholic Liturgy’, PRMA, xci (1964–5), 21–32
Die Kirchenmusik und das II. Vatikanische Konzil: Graz 1964 (Graz, 1965)
E. Keller: Die Konstanzer Liturgiereform unter Ignaz Heinrich von Wessenberg (Freiburg, 1965)
F. Grasemann: ‘Die Franziskanermesse des 17. und 18. Jahrhunderts’, SMw, xxvii (1966), 72–124
‘Die Kirchenmusik nach dem II. vatikanischen Konzil’, ÖMz, xxi (1966), 665–719 [special issue]
C.S. Phillips: The Church in France 1789–1848: a Study in Revival (New York, 1966)
Sacred Music and Liturgy Reform after Vatican II: Chicago-Milwaukee 1966
K.G. Fellerer: ‘Zur Melodik der Officiums-Psalmen im 19. Jahrhundert’, Essays in Musicology: a Birthday Offering for Willi Apel, ed. H. Tischler (Bloomington, IN, 1968), 19–24
P. Combe: Histoire de la restauration du chant grégorien d’après des documents inédits: Solesmes et l’édition vaticane (Solesmes 1969)
K.G. Fellerer: ‘Melchior Hittorps De divinis officiis, Köln 1568 als kirchenmusikalische Quelle’, Musa – mens – musici: im Gedenken an Walther Vetter (Leipzig, 1969), 45–50
V. Vajta: ‘Worship in a Secularized Age’, Studia liturgica, vii (1970), 72–95
L. Soltner: ‘Les anciens Bénédictins français et la restauration de Solesmes par Dom Guéranger’, Revue Mabillon, nos.240–62 (1970–75), 401–41
M. Pfaff: ‘Die liturgische Einstimmigkeit in ihren Editionen nach 1600’, Musikalische Edition im Wandel des historischen Bewusstseins, ed. T.G. Georgiades (Kassel, 1971), 50–61
H. Wagener: ‘Zur Choralbegleitung im 19./20. Jahrhundert’, KJb, lv (1971) 61–78
K.G. Fellerer: ‘Zu Choralpflege und Chorallehre im 17./18 Jahrhundert’, KJb, lvi (1972), 51–72
J. Schuh: Johann Michael Sailer und die Erneuerung der Kirchenmusik: zur Vorgeschichte der cäcilianischen Reformbewegung in der ersten Hälfte des 19. Jahrhunderts (diss., U. of Cologne, 1972)
K.G. Fellerer: ‘Zur kirchlichen Monodie nach dem Tridentium’, KJb, lvii (1973), 45–55
W. Pruitt: ‘Bibliographies des oeuvres de Guillaume Gabriel Nivers’, RMFC, xiii (1973), 133–56 [a list of Niver’s edns of Gregorian chant, plainchant compositions and books on Gregorian chant]
J. Angerer: Die liturgisch-musikalische Erneuerung der Melker Reform: Studien zur Erforschung der Musikpraxis in den Benediktinerklöstern des 15 Jh. (Vienna, 1974)
G. Bereths: Beiträge zur Geschichte der Trierer Dommusik (Mainz, 1974)
C. Brinkmann: Albert Gereon Stein (1808–1881): Kirchenmusik und Musikerziehung (Cologne, 1974)
P. Harnoncourt: ‘Katholische Kirchenmusik vom Cäcilianismus bis zur Gegenwart’, Traditionen und Reformen in der Kirchenmusik: Festschrift für Konrad Ameln, ed. G. Schuhmacher (Kassel, 1974), 78–133
B. Van Wye: ‘Gregorian Influences in French Organ Music before the Motu proprio’, JAMS, xxvii (1974), 1–24
L. Comes: La melodia palestriniana e il canto gregoriano (Venice, 1974–5)
K.G. Fellerer: ‘Zur Choral-Restauration in Frankreich um die Mitte des 19. Jahrhunderts’, KJb, lviii–ix (1974–5), 135–47
T. Bailey: ‘The Intervention of Scholarship in Gregorian Chant’, Journal of the Canadian Association of University Schools of Music, v (1975), 1–9
G. Stefani: Musica e religione nell’Italia barocca (Palermo, 1975)
M.-N. Colette: Le répertoire des rogations d’après un processionnal de Poitiers (XVIème siècle) (Paris, 1976)
F.A. Stein, ed: Sacerdos et cantus gregoriani magister: Festschrift Ferdinand Haberl (Regensburg, 1977) [articles generally concerning 19th-century chant, incl. H. Beck: ‘Aufgaben für die Musikwissenschaft bei der Erforschung des Cäcilianismus’, 51–9; A. Scharnagl: ‘Franz Xaver Haberl (1840–1910): Musiker und Musikforscher’, 233–45]
G.M. Steinschulte: Die Ward-Bewegung: Studien zur Realisierung der Kirchenmusikreform Papst Pius X. in der ersten Hälfte des 20. Jahrhunderts (Regensburg, 1979)
J. Claire: ‘Dom André Mocquereau: cinquante ans après sa mort’, EG, xix (1980), 3–23
W. Hillsman: ‘Instrumental Accompaniment of Plain-Chant in France from the Late 18th Century’, GSJ, xxxiii (1980), 8–16
D. Launay: ‘Un esprit critique au temps de Jumilhac: Dom Jacques Le Clerc, bénédictin de la congrégation de Saint Maur’, EG, xix (1980), 197–219
F. Brovelli: ‘Per uno studio de l’Année liturgique di P. Guéranger: contributo alla storia nel movimento liturgico’, Ephemerides liturgicae, xcv (1981), 145–219
A. Scharnagl: ‘Regensburger Notendrucker und Musikverlage’, Festgabe Hans Schneider, ed. H. Leuchtmann (Tutzing, 1981), 99–116
E.J. Traversaro: ‘Un manuale di cantus firmus in un manoscritto della Biblioteca civica Berio’, Berio, xxi/2 (1981), 5–21
K.G. Fellerer: ‘Kirchenmusikalische Reformbestrebungen um 1800’, AnMc, no.21 (1982), 393–409
E. Weber: Le Concile de Trente et la musique: de la Réforme à la Contre-réforme (Paris, 1982)
J. Roche: ‘Musica diversa di Compietà: Compline and its Music in Seventeenth-Century Italy’, PRMA, cix (1982–3), 60–79
A. Bugnini: La riforma liturgica, 1948–1975 (Rome, 1983; Eng. trans., 1990)
E. Moneta Caglio: ‘Il movimento Ceciliano e la musica corale da chiesa’, Marco Enrico Bossi e il movimento ceciliano: Como 1983 [Rivista internazionale di musica sacra, v/3–4 (1984)], 273–97
H. Hucke: ‘Das Dekret Docta sanctorum patrum Papst Johannes XXII’, MD, xxxviii (1984), 119–31
C. Johnson: Prosper Guéranger (1805–1875): a Liturgical Theologian: an Introduction to his Liturgical Writings and Work (Rome, 1984)
J. Roche: North Italian Church Music in the Age of Monteverdi (Oxford, 1984), esp. chaps.1–3
Der Caecilianismus: Eichstätt 1985 [incl. H. Unverricht: ‘Die Choralreformbemühungen unter den Caecilanern’, 109–23]
J. da Costa Rodrigues: ‘Les répercussions humanistes sur le plain-chant, I’, Chant choral, xlvii (1985), 273–97
D. Nicholson: Liturgical Music in Benedictine Monasticism: a Post-Vatican II Survey, i: The Monasteries of Monks (Mount Angel Abbey, OR, 1986)
J. Gaudemet and others: Administration et église: du concordat a la séparation de l’église et de l’état (Geneva, 1987)
T. Minagawa: ‘Oratio christianorum occultorum in Japonia (16th Cent.)’, IMSCR XIV: Bologna 1987, iii, 39–43
E. Cardine: ‘La notation du chant grégorien aux XVIIe–XIXe siècles’, AnM, xliii (1988), 9–33
C. Lickleder: Choral und figurierte Kirchenmusik in der Sicht Franz Xaver Witts anhand der ‘Fliegenden Blätter’ und der ‘Musica Sacra’ (Regensburg, 1988)
C. Lickleder: ‘Franz Xaver Witts reformatorischer Ansatz’, Musik in Bayern, xxxvii (1988), 69–92
H. Schröder: ‘Anmerkungen zur Geschichte und zum Funktionswandel katholischer Kirchenmusik im dritten Reich’, KJb, lxxii (1988), 137–65
H.E. Smither: ‘The Function of Music in the Forty Hours Devotion of 17th- and 18th-Century Italy’, Music from the Middle Ages through the Twentieth Century: Essays in Honor of Gwynn McPeek, ed. C.P. Comberiati and M.C. Steel (New York, 1988), 149–74
G.M. Steinschulte: ‘Ecriture oder Nombre musical?: zur Kommunikationspotenz des gregorianischen Chorals jenseits von Notation und Text’, Die Sprache der Musik: Festschrift Klaus Wolfgang Niemöller zum 60. Geburtstag, ed. J.P. Fricke and others (Regensburg, 1989), 527–42
J.A. Svoboda: ‘In psalmum Venite antiphonae seu invitatoria breviarii Vitoniani (1777) et breviarii Maurini (1787)’, Ephemerides liturgicae, ciii (1989), 462–500
T. Bailey: ‘Word-Painting and the Romantic Interpretation of Chant’, Beyond the Moon: Festschrift Luther Dittmer, ed. B. Gillingham and P. Merkley (Ottawa, 1990), 1–15
B.E. Ford: ‘Charles Winfred Douglas and Adaption of Plainsong to English Words in the United States’, The Hymnal: 1982 Companion, ed. R.F. Glover (New York, 1990), 194–214
R.A. Weaver: ‘Plainchant Adaption in England’, ibid., 177–93
H. White and N. Lawrence: ‘Towards a History of the Cecilian Movement in Ireland: an Assessment of the Writings of Heinrich Bewerunge (1862–1923), with a Catalogue of his Publications and Manuscripts’, Music and the Church, ed. G. Gillen and H. White (Dublin, 1990), 78–107
V. Donella: ‘La musica sacro-liturgica negli insegnamenti di Paolo VI e di Giovanni Paolo II’, Rivista internazionale di musica sacra, xii (1991), 42–62 [with references to legislative decrees regarding chant, 1963–85]
I. Fernández de la Cuesta: ‘La restauración del canto gregoriano en la España del siglo XIX’, RdMc, xiv (1991), 481–8
J. Harper: The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century: an Historical Introduction and Guide for Students and Musicians (Oxford, 1991), 166–87 [esp. chap.11: ‘The Reformed Liturgy of the Church of England (1549–1662)’]
M. Olarte: ‘Evolución de la forma lamentación en la música española del siglo XIX’, RdMc, xiv (1991), 497–9
J. Claire: ‘Dom Eugène Cardine (1905–1988)’, Beiträge zur Gregorianik, xii (1992), 11–26
E. Weber: ‘L’intelligibilité du texte dans la crise religieuse et musicale du XVIe siècle: incidences du Concile de Trente’, EG, xxiv (1992), 195–202
J. Bettley: ‘L’ultima hora canonica del giorno: Music for the Office of Compline in Northern Italy in the Second Half of the Sixteenth Century’, ML, lxxiv (1993), 163–214
K.A. Daly: ‘The Irish Society of Saint Cecilia’, Sacred Music, cxx/2 (1993), 15–25
D. Launay: La musique religieuse en France du Concile de Trente à 1804 (Paris, 1993)
V.A. Lenti: ‘Urban VIII and the Latin Hymnal’, Sacred Music, cxx/3 (1993), 30–33
H. White and N. Lawrence: ‘Towards a History of the Cecilian Movement in Ireland … the Writings of Heinrich Bewerunge 1862–1923’, Irish Musical Studies, ii, ed. G. Gillen and H. White (Blackrock, 1993), 78–107
J. Bettley: ‘The Office of Holy Week at St Mark’s, Venice, in the Late 16th Century, and the Musical Contributions of Giovanni Croce’, EMc, xxii (1994), 45–60
V. Donella: ‘Le vie della musica sacra dopo il Concilio di Trento’, Rivista internazionale di musica sacra, xv (1994), 299–310
A. Luppi: ‘La musica sacra e il valore teologico della musica in G.W. Leibniz’, Rivista internazionale di musica sacra, xv (1994), 25–52
C.-H. Mahling, ed.: Studien zur Kirchenmusik im 19. Jahrhundert: Friedrich Wilhelm Riedel zum 60. Geburtstag (Tutzing, 1994) [10 essays on 19th-century German chant, incl. H. Mathy: ‘Aspekte katholischer Kirchen- und Musikgeschichte im 19. Jahrhundert’, 1–12; J. Stenzl: ‘Zum gregorianischen Choral im 19. Jahrhundert anhand peripherer Quellen’, 88–104]
R. Arnold: The English Hymn: Studies in a Genre (New York, 1995)
L. Bianchi: Palestrina nella vita nelle opere nel suo tempo (Rome, 1995) [incl. ‘Il Concilio Trento e Palestrina’, 87–142; ‘Palestrina e la riforma del canto gregoriano’, 163–85]
K.A. Daly: Catholic Church Music in Ireland, 1878–1903: the Cecilian Reform Movement (Blackrock, and Portland, OR, 1995)
J.-P. Montagnier: ‘Le chant sur le livre au XVIIIe siècle: les traités de Louis-Joseph Marchand et Henry Madin’, RdM, lxxxi (1995), 37–63 [lists 12 printed theoretical sources and a résumé of rules]
J.-P. Montagnier: ‘Les sources manuscrites françaises du Chant sur le livre aux XVIIe et XVIIIe siécles’, RBM, xlix (1995), 79–100
D.D. Opraem: ‘Vom Diözesanmessbuch zum Missale Romanum Pius’ V (1570)’, Archiv für Liturgiewissenschaft, xxxvii (1995), 304–46 [concerns published Mass books in southern Germany c1570]
R.M. Wilson: Anglican Chant and Chanting in England, Scotland, and America, 1660–1820 (Oxford, 1996) [incl. extensive bibliography, pp.307–23]
B.M. Zon: ‘The Origin of “Adeste fideles”’, EMc, xxiv (1996), 279–88 [contains a list of 18th-century Eng. plainchant pubns and MSS]
B.M. Zon: ‘The Revival of Plainchant in the Roman Catholic Church in Ireland, 1777–1858: Some Sources and their Commerce with England’, Irish Musical Studies, v, ed. P.F. Devine and H. White (Blackrock, 1996), 251–61
K. Bergeron: Decadent Enchantments: the Revival of Gregorian Chant at Solesmes (Berkeley, 1997)
D. Moulinet: ‘Un réseau ultramontain en France au milieu du 19e siècle’, Revue d’histoire ecclésiastique, xcii (1997), 70–125
B. Zon: ‘Plainchant in Nineteenth-Century England: a Review of Some Major Publications of the Period’, PMM, vi (1997), 53–74
B. Zon: The English Plainchant Revival (Oxford, 1999)
