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Western Plainchant A Handbook

D A V I D H I L E Y

C L A R E N D O N PRESS O X F O R D 1993

Oxford University Press, Walton Street, Oxford 0x2 6 n p Oxford Seic York Toronto

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and associated companies in Berlin I bad an

Oxford is a trade mark of Oxford University Press

Published in the United States by Oxford University Press Inc., Xeic York

t David Hiley 1993

First published 1993 Reprinted 1993

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British Library Cataloguing in Publication Data

Data available

ISBS 0 19 816289 8

Library of Congress Cataloging in Publication Data Western plainchant: a handbook / David Hiley.

Includes bibliographical references and index. 1. Chants (Plain, Gregorian, etc.) History and criticism.

1. Title.

ML3082.H34 1992 182.3T22 dc20 92 13020

ISBS 0 19 816289 8

Typeset by Hope Services (Abingdon) Ltd. Printed in Great Britain

on acid-free paper by St. Edmundsbury Press, Bury St. Edmunds

http://T01.cn

for Marjorie and Henry

P R E F A C E

I have been up to L o n d o n to get the book I am w r i t i n g , out of the Br i t i sh M u s e u m . I have got a lot of it out, and I shall go again presently to get some m o r e ; and w h e n I have got it a l l , there w i l l be another book . . . So many people were there, gett ing out their books. It doesn't seem to matter everything's being in books already: I don't m i n d it at a l l . There are attendants there on purpose to b r i n g it to y o u . T h a t is how books are made, and it is diff icult to think of any other way. I mean the k i n d called serious . . .

N o doubt the author of any reference book such as the present one could echo the sentiments of Miss Charity Marcon, in Ivy Compton-Burnett's Daughters and Sons. A great deal of my book is indeed got out of others, as the bibliography and references in the text make clear. What justification is there for this, and what is the purpose of the book?

In the first place I wished to provide a book of reference both for those coming new to plainchant and for those needing guidance in the specialist literature. T h e book starts with the assumption, reasonable in this secular age, that many things about the liturgy and its plainchant, even quite basic matters, are unfamiliar to the reader. A t every stage in the encounter with plainchant one comes up against specialist terminology and concepts which constitute a real obstacle. T h a t is in the nature of the subject, for ecclesiastical ritual is essentially exclusive, remote from everyday experience, reserved for specially trained personnel. T o start with essentials does not mean, however, that difficulties have been avoided. I have not, I hope, confused inexperience with lack of intelligence. T h e reader will encounter here many complex problems, both those for which scholars have found solutions and others which remain obscure. I have also illustrated techniques of research and given examples, not just of the music in plainchant sources, but also of their make-up, the way they deploy their material, and their notation.

Those with access to well-equipped libraries will find here sufficient references to further specialist literature. But I have also tried to make the book self-explanatory, and well enough illustrated, so that it will be useful also to anyone interested in and able to read music.

Such a book fulfils a need primarily because of the enormous expansion of plainchant studies in the last few decades. T h e last major work of synthesis in the English language, Apel's Gregorian Chant, is now over thirty years old. It has not, of course, been my intention to try and replace A p e l , let alone the more comprehensive Einfuhrung in die gregorianischen Melodien by Peter Wagner from before the First World War, both of which remain indispensable. But much has been explored and discovered since their day. T h e best modern survey, the article 'Plainchant' by

viii Preface

Kenneth Levy and John Emerson in The New Grove Dictionary, is necessarily brief (but with an excellent bibliography). T h e writings of scholars such as the late Bruno Stableinhis Schriftbild der einstimmigen Musik and articles in Die Musik in Geschichte und Gegenwarttogether practically constitute a textbook on chant. But an up-to-date one-volume work is clearly required.

T h e compression and omissions entailed in such a work are the least pleasant things facing an author. For my own undoubted sins of omission I have tried to make amends in the bibliography, by citing literature to which I could not do justice in the main text. T h e bibliography should go some way towards being a reference tool in itself. In writing the book I tried to take into account literature up to 1990. I take this opportunity to mention the recent appearance of a new chant bibliography with over 4,200 items by Thomas Kohlhase and Giinther Michael Paucker, in Beitrage zur Gregorianik, 9-10 (1990). T o one work which appeared when the main text was all but complete, but whose contents I knew intimately, I have made no reference. I acted as co-editor with Richard Crocker of the new edition of The New Oxford History of Music, i i : The Early Middle Ages to 1300 (Oxford, 1989), and it was not always easy to avoid unconscious borrowing from it. At any rate, that volume now takes its place beside Wagner, Apel , and Stablein's Schriftbild as an essential part of the chant scholar's library.

Historical writing about plainchant is a relatively young phenemonon. Prince-Abbot Mart in Gerbert's De cantu et musica sacra a prima ecclesiae aetate usque ad praesens tempus of 1774, the ancestor of all musicological writing on plainchant, was motivated by the desire to stimulate reforms in the church music of his own time. Knowledge of the past would make men conscious of the malpractices of the present: T desire . . . to lay open to view the astounding abuses in these matters, which in my opinion are the gravest in the discipline of our church' (quoted in p. l v i i i * of Othmar Wessely's introduction to the 1968 reprint of Gerbert's work). T h e work of the great restorers of the late nineteenth and early twentieth centuries was imbued with the spirit of reform, to be achieved, as with Gerbert, through recovery of a former ideal state. Work which is of incalculable value for musicologists sprang from these reforming efforts: the series of facsimiles Paleographie musicale, the volumes of Ij? Graduel romain, the studies of notational practices made by D o m Eugene Cardine and his pupils (I cite here only a few examples from the work of monks of the French Benedictine monastery of Solesmes). However, the fact that more than musicology was involved inevitably affected the selection of information and the use to which it was put. T h i s type of counterpoint between scholars and their material is of course common to all scholarship. In the case of chant studies the consequences of different viewpoint and purposes can be appreciated by comparing Cardine's 'Vue d'ensemble sur le chant gregorien' and Levy and Emerson's 'Plainchant'.

T h e researches of the Benedictine fathers also had a definite practical purpose: the provision of model, definitive chant-books for use in the Roman Church. Consequently, their work was concerned with those chants sung in the Roman liturgy of their own time, but not with parts of the repertory, such as sequences and tropes, which were no

Preface I X

longer admitted, though important in the Middle Ages. In recent years mostly lay scholars have devoted considerable energy to those repertories, and it is perhaps not fanciful to see this partly as a reaction against the bias of earlier chant studies. In my own case, it led among other things to a decision to transcribe all musical examples from original sources, rather than rely on modern service-books, slight though the differences between them may sometimes be.

A great deal of the satisfaction gained from writing a book such as this comes from sorting out problems in one's own mind, for, as the renowned author of a monograph on Lassus succinctly expressed it: 'Nothing clears up a case so much as stating it to another person.' Yet even more satisfying has been the ever-increasing wonderment at the variety and richness of the chant repertory, a delight to anyone working in the area. I hope that the musical examples, at least, will help further the appreciation of these treasures.

L i k e Miss Marcon, I owe a considerable debt to the British Library, but also to the Anselm Hughes Library of Royal Holloway and Bedford New College, University of L o n d o n , where I once taught; to the University of L o n d o n Library at Senate House, and more recently to the Universitatsbibliothek of Regensburg University, where I now teach. Many of my musical examples were transcribed from microfilms, work with which has in many cases been made possible by grants from the Central Research F u n d of the University of L o n d o n . M y principal debt is to the numerous fellow chant scholars from whom I have learned over the years, many of whom could have written a better book than this. It is the fate of textbooks to be used for target-practice, as it were, by better-informed teachers, but I hope my colleagues will find here something they can set before their students with reasonable confidence. Above all, I hope the book will straighten the path of those who, like myself a couple of decades ago, are trying to find their way in an initially foreign, often bewildering, but always fascinating and rewarding musical world.

I am most grateful to the libraries which kindly supplied photographs for the plates. Plates 1, 4-6, 8-9, 11-14, and 18 are published by permission of the British L ibrary ; plates 2, 7, and 16 by permission of the Bodleian Library ; plate 10 by permission of the Syndics of Cambridge University Library ; plate 15 by permission of the Master and Fellows of University College, O x f o r d ; and plate 17 by permission of Edinburgh University Library .

In conclusion I wish to thank those who have played an especially important part in the production of the book: Malcolm Gerratt, who launched the project and fanned it along for several years; Bruce Phillips, who brought it into the safe haven of Oxford University Press, and the staff of O U P , especially Leofranc Holford-Strevens and Bonnie Blackburn, who did far more for the book than an author has a right to expect from his copy-editor. Greatest of all is my debt to my wife A n n , without whose patience and encouragement I should never have reached the end of the long voyage.

D . H .

C O N T E N T S

Analytical Table xii

List of Illustrations xxi

List of Tables xxii

List ofMusic Examples xxi v

Note on Music Examples xxx

Abbreviations xxxi

Bibliography xxxiii

I. Plainchant in the Liturgy 1

II. Chant Genres 46

III. Liturgical Books and Plainchant Sources 287

I V . Notation 340

Plates 403

V . Plainchant and Early Music Theory 442

V I . Plainchant up to the Eighth Century 478

V I I . T h e Carolingian Century 514

V I I I . Gregorian Chant and Other Chant Repertories 524

I X . Persons and Places 563

X . Reformations of Gregorian Chant 608

X I . T h e Restoration of Medieval Chant 622

Index of Text and Music Incipits 631

Index of Manuscript and Printed Sources 638

Index of Names and Terms 643

A N A L Y T I C A L T A B L E

I . P L A I N C H A N T I N T H E L I T U R G Y

L I . Introduct ion 1 1.2. L i t u r g y and Worship 2 1.3. T h e C h u r c h Year 7 1.4. T h e D a i l y R o u n d 16 1.5. Mass " 22 1.6. Office 25

(i) T h e N i g h t Office (Mat ins , V i g i l s , or Nocturns) in Secular Use 25 (ii) T h e N i g h t Office in Monast ic Use 27

(iii) L a u d s in Secular Use 28 (iv) L a u d s in Monast ic Use 28 (v) Vespers in Secular Use 28

(vi) Vespers i n Monast ic Use 29 (vii) C o m p l i n e 29

(viii) P r i m e , Terce , Sext, and N o n e 30 1.7. Processions 30 1.8. Ceremonies of H o l y Week 32

(i) General 33 (ii) P a l m Sunday 33

(iii) M a u n d y T h u r s d a y 34 (iv) G o o d F r i d a y 36 (v) H o l y Saturday or Easter Eve 38

(vi) Easter Sunday 39 1.9. T h e 'Feast of Fools ' and Related Customs 39 1.10. Other Services: Bapt ism, Conf i rmat ion , O r d i n a t i o n , C o r o n a t i o n ,

Marr iage , B u r i a l , Dedicat ion 42

I I . C H A N T G E N R E S

>' I I . 1. Introduct ion 46 11.2. Recitation Formulas for Prayers and Lessons 47

(i) General 47 (ii) Prayers 49

(iii) Lessons 54 11.3. Tones for Psalms and Other Chants 58

(i) Psalms 58 (ii) Other Psalm T o n e s : T h e Parapteres, T o n u s peregrinus 62

(iii) Tones for the Canticles Magnificat and Benedictus 64 (iv) Tones for the Psalm Verses of Introits and C o m m u n i o n s 64 (v) Tones for Responsory Verses 65

Analytical Table x i i i

(vi) Tone s for the Invitatory Psalm 66 (vii) Benedictus es domine Dens pat rum nostnon in the Saturday Mass

of the E m b e r Weeks 68 (viii) T e D e u m laudamus 68

II 4. T h e Great Responsories of the N i g h t Office 69 (i) Introduct ion 69

(ii) Repertory, Texts , and F o r m 69 (iii) M u s i c 71 (iv) Centonizat ion 74 (v) Mel i smas 76

II .5. Graduals and Tracts 76 (i) Introduct ion 76

(ii) Graduals in a: T h e 'Iustus ut palma' G r o u p 77 (iii) Graduals i n F 80 (iv) Other Graduals 81 (v) Trac ts 82

(vi) Trac ts in M o d e 2 82 (vii) Trac ts in M o d e 8 83

II .6. Short Responsories 85 II .7. A n t i p h o n s 88

(i) Introduct ion 88 (ii) Fer ia l or Psalter A n t i p h o n s 91

(iii) A n t i p h o n s for the Psalms of Vespers, the N i g h t Office, and L a u d s 92 (iv) A n t i p h o n s for the Magnif icat and Benedictus 96 (v) T h e Great O - A n t i p h o n s 98

II .8. Invitatory A n t i p h o n s 99 II .9. Processional A n t i p h o n s 99

(i) Introduct ion 100 (ii) Rogation A n t i p h o n s 101

(iii) P a l m Sunday A n t i p h o n s 102 (iv) A n t i p h o n s for Other Occasions 102

II 10. M a r i a n A n t i p h o n s 104 II 11. Introits 109

(i) Introduct ion 109 (ii) Introits in M o d e 3 110

(iii) C o m p a r i s o n w i t h Office A n t i p h o n s and Responsories 114 II 12. C o m m u n i o n s 116

(i) General 116 (ii) G r o u p s of C o m m u n i o n s w i t h Psalm and Gospe l Tex ts 117

(iii) Some F - m o d e C o m m u n i o n s 118 (iv) C o m m u n i o n s and Responsories 120

II 13. Offertories 121 (i) Introduct ion 121

(ii) Texts 122 (iii) T h e Melodies of the Offertory Respond 122 (iv) Verse Melodies 126

11.14. Al le lu ias 130 (i) Introduct ion 130

(ii) T h e Ear l ier and Later Styles 132 (iii) R h y m e d Alle luias and Late Medieva l Melodies 136

11.15. H y m n s 140 (i) Introduct ion 140

(ii) Texts 141 (iii) M u s i c 142 (iv) Processional H y m n s 146

11.16. Chants for the O r d i n a r y of Mass 148 11.17. K y r i e eleison 150

(i) K y r i e eleison as a L i t a n y 150 (ii) K y r i e eleison after the Introit at Mass 151

(iii) Ear ly Melodies 152 (iv) Italian Melodies 154 (v) M e l o d i c T y p e s 155

* ( v i ) Later Melodies 155 11.18. G l o r i a in excelsis Deo 156

(i) Introduct ion 156 (ii) Recitat ion T y p e s 157

(iii) Through-composed Melodies 159 11.19. Sanctus 161

(i) T h e Oldest Melodies 161 (ii) Other Melodies 162

11.20. A g n u s D e i 165 11.21. Credo 168 11.22. Sequences 172

(i) Introduct ion 172 (ii) Ear ly Sequences w i t h Parallel-Verse Structure 173

(iii) N o t a t i o n : Performance; Partially Tex ted Melodies 180 (iv) Short Aparal le l Sequences 181 (v) Italian Sequences 183

(vi) T h e Ear ly His tory of the Sequence 185 (vii) R h y m e d Sequences 189

11.23. Tropes 196 (i) Introduct ion 196

(ii) A d d e d Mel ismas in Introits 197 (iii) A d d e d Mel ismas in Glor ias 199 (iv) A d d e d Responsory Mel ismas 200 (v) Prosulas for Offertories and Al le luias 201

(vi) Responsory Prosulas 204 (vii) Other Prosulas 209

(viii) K y r i e s w i t h L a t i n T e x t , K y r i e Prosulas, and K y r i e T r o p e s 211 (ix) Benedicamus Chants with Extended T e x t , Prosulas, and T r o p e s 213 (x) Introit , Offertory, and C o m m u n i o n T r o p e s ; Sequence T r o p e s 215

(xi) G l o r i a , Sanctus, and A g n u s T ro pe s 223 (xii) Farsed Lessons, Creeds, and Paternoster 233

V 11.24. L a t i n l i turgical songs 238 (i) In t roduct ion 238

(ii) Versus in Ear ly Aqui tan ian M a n u s c r i p t s ; versus wi th ' D o u b l e C u r s u s ' 239

(ii i) T w e l f t h - c e n t u r y Songs: Textua l and M u s i c a l Style 241 (iv) T w e l f t h - c e n t u r y Songs: L i t u r g i c a l F u n c t i o n 248

11.25. L i t u r g i c a l D r a m a s 250 (i) L i t u r g y and D r a m a 251

(ii) T h e Quern queritis Dialogue 252 (i i i) Easter Ceremonies f rom the Eleventh Century O n w a r d 255 (iv) Chr is tmas and Epiphany Ceremonies ; Rachel's and M a r y ' s Laments 263 (v) R h y m e d Ceremonies ; the F leury Playbook; the Ludus Danielis 266

11.26. Offices w i t h Verse Texts 273 11.27. M e t r e , Accent , R h y t h m , and R h y m e i n L i t u r g i c a l Texts 279

(i) M e t r e and Stress 280 (ii) R h y m e 284

(iii) Prose R h y t h m (Cursus) and Prose R h y m e 285

I I I . L I T U R G I C A L B O O K S A N D P L A I N C H A N T S O U R C E S

I I I . 1. In t roduct ion 287 111.2. O r d i n e s R o m a m 289 111.3. Sacramentaries and Lectionaries 291

(i) Sacramentaries 291 (ii) Lect ionaries 293

111.4. G r a d u a l s (Mass Antiphoners) and Cantatoria 295 (i) In troduct ion 295

(ii) Graduals without Notat ion 296 (iii) Notated Graduals 299

111.5. A n t i p h o n e r s (Office Ant iphoners) 303 (i) T h e Earliest Ant iphoners 304

(ii) T y p e s of Manuscr ip t and Calendric Organizat ion 305 (ii i) C o m p a r i s o n of Sources 307

111.6. Psalters, H y m n a l s , Collectars, Office Lectionaries 308 (i) Psalters 308

(ii) H y m n a l s 310 (iii) Collectars 311 (iv) Office lectionaries 313

II 1.7. Sequentiaries, T r o p e r s , and K y r i a l e s 313 II 1.8. Processionals 317 111.9. Missals 319 111.10. Breviaries 320 I I I . 11. C o m p e n d i a 321 111.12. Pontif icals and Rituals 324

(i) Pontificals and Benedictionals 324 (ii) Ri tuals , Manuals , or Agenda 324

I I I . 13. Ordina ls and Customaries 325

I I I . 14. Tonar ies 325 (i) Def in i t ion and F u n c t i o n 326

(ii) T y p e - M e l o d i e s for the Eight Modes 331 (iii) H o w Psalm Tones were Specified 333

I I I . 15. Ident i fy ing and Descr ib ing Chant-Books 335

I V . N O T A T I O N

I V . 1. Introduct ion 340 (i) Pre l iminary 340

(ii) T h e Signs in Montpel l ie r H . 159 341 (iii) N e u m e 345

I V . 2 . Regional Styles 346 (i) F r e n c h and G e r m a n Notat ion 347

(ii) Palaeofrankish, L a o n , Breton, and A q u i t a n i a n Notat ions 347 (iii) T y p e s Related to F r e n c h - G e r m a n Notat ion 351 (iv) Other Italian Notat ions 352 (v) Examples 353

I V . 3 . Liquescence, Oriscus , Q u i l i s m a ; Other Special Signs 357 (i) Signs for Liquescence 357

(ii) Q u i l i s m a 358 (iii) Oriscus 359 (iv) V i r g a strata, Pressus, Pes stratus, Pes quassus, Salicus 360

I V . 4 . T h e Or ig ins of Chant Notat ion 361 (i) Introduct ion 362

(ii) Ear ly Examples 362 (iii) Ear ly References to Notat ion 364 (iv) Parallel Systems 364

(a) Prosodic Accents 365 (b) Punctuat ion 366 (c) Ekphonet ic Notat ion 367 (d) Byzantine Notat ion 369

(v) T h e ' C h e i r o n o m i c ' T h e o r y 370 (vi) T h e Ear ly Transmiss ion of Chant 370

(vii) Some Conclusions 371 I V . 5 . T h e Notat ion of R h y t h m 373

(i) R h y t h m i c Elements in Ear ly Notations 374 (ii) R h y t h m in S imple A n t i p h o n s 380

(iii) Cardine 's 'Gregor ian Semiology' 382 (iv) T h e Evidence of Theorists 384 (v) Conclusions 385

I V . 6 . P i t c h - N o t a t i o n 386 (i) F r o m the N i n t h Century to W i l l i a m of D i j o n 386

(ii) G u i d o of Arezzo 388 (iii) S taf f -Notat ion in Different L a n d s 389

I V . 7 . Theor is ts ' Notat ions 392 I V . 8 . Pr inted Chant -Books 395

I V . 9 . M o d e r n T r a n s c r i p t i o n 398 (1) T h e L i t u r g i c a l Context 399

(ii) T r a n s c r i p t i o n 400 (iii) T r a n s c r i p t i o n f rom Staffless Notat ions 400

P L A T E S

Frontispiece i i Plate 1. L o n d o n , B r i t i s h L i b r a r y , Har ley 1117 406 Plate 2. O x f o r d , Bodleian L i b r a r y , L a t . l i turg . d . 3 408 Plate 3. L o n d o n , B r i t i s h L i b r a r y , Egerton 857 410 Plate 4. L o n d o n , B r i t i s h L i b r a r y , Har ley 110 412 Plate 5. L o n d o n , B r i t i s h L i b r a r y , A d d . 30850 414 Plate 6. L o n d o n , B r i t i s h L i b r a r y , A d d . 19768 416 Plate 7. O x f o r d , Bodleian L i b r a r y , Canonic i l i turg . 350 418 Plate 8. L o n d o n , B r i t i s h L i b r a r y , A r u n d e l 156 420 Plate 9. L o n d o n , B r i t i s h L i b r a r y , Royal 8. C . x i i i 422 Plate 10. C a m b r i d g e , Univers i ty L i b r a r y , L I . 2. 10 424 Plate 11. L o n d o n , B r i t i s h L i b r a r y , A d d . 10335 426 Plate 12. L o n d o n , Br i t i sh L i b r a r y , Egerton 3511 428 Plate 13. L o n d o n , B r i t i s h L i b r a r y , A d d . 29988 430 Plate 14. L o n d o n , B r i t i s h L i b r a r y , A d d . 17302 432 Plate 15. O x f o r d , U n i v e r s i t y College 148 434 Plate 16. O x f o r d , Bodleian L i b r a r y , L a t . l i turg . a. 4 436 Plate 17. E d i n b u r g h , Univers i ty L i b r a r y 33 438 Plate 18. L o n d o n , B r i t i s h L i b r a r y , printed book I B . 8668 440

V . P L A I N C H A N T A N D E A R L Y M U S I C T H E O R Y

V . l . In troduct ion 442 V . 2 . T h e Legacy of A n t i q u i t y 443 V . 3 . A Pi tch System for Plainchant 447

(i) In troduct ion 447 (ii) H u c b a l d of S a i n t - A m a n d 448

(iii) T h e Enchinadis G r o u p of Treatises 452 V . 4 . T h e M o d e s 454

(i) General 454 (ii) A u r e l i a n of Reome 456

(iii) Regino of P r u m 458 (iv) Nomencla ture 459 (v) Greek Names and Octave Species 461

(vi) Italian T h e o r y : T h e Dialogus de musica 463 (vii) G u i d o of Arezzo 466

(vii i ) S o u t h G e r m a n Writers 470 (ix) M o d a l T h e o r y in South G e r m a n y 472 (x) Later Syntheses 476

V I . P L A I N C H A N T U P T O T H E E I G H T H C E N T U R Y

V I . 1. In t roduct ion 478 V I . 2 . T h e Churches of Chr i s tendom 480 V I . 3 . T h e Ear ly C h u r c h 484 V I . 4. Office Chants before the E ighth Century 487 V I . 5. Mass Chants before the E i g h t h Century 494

(i) T h e G r a d u a l * 495 (ii) T h e Introit and Other Chants at the Start of Mass 496

(iii) T h e Chants at C o m m u n i o n 498 (iv) T h e Offertory 499 (v) T h e Chants beside the Lessons 500

V I . 6 . Gregory the Great 503 (i) Introduct ion 503

(ii) Gregory and the Deacons 504 (iii) Gregory and the A l l e l u i a 504 (iv) Isidore of Sevi l le ; the Liberpontificalis; the L i s t of Chant ' E d i t o r s '

in O r d o Romanus X I X 505 (v) T h e A n g l o - S a x o n T r a d i t i o n 506

(vi) T h e Biographies by Paul Warnefr id and J o h n H y m m o n i d e s 508 (vii) T h e 'Gregor ian ' Sacramentary 509

(viii) T h e Prologue Gregorius praesul 510 X'(ix) T h e Reception of the Gregory Legend in the N i n t h C e n t u r y and

L a t e r ; the D o v e ; the M o d e s 511 (x) Gregory and the L e n t e n C o m m u n i o n s 511

(xi) Conclusions 513

i V I I . T H E C A R O L I N G I A N C E N T U R Y

V I I . 1. Introduct ion 514 V I I . 2. T h e Establishment of R o m a n Chant in Francia 514 V I 1 . 3 . T h e Frankish Expansion of the Chant Repertory 518 V I I . 4 . T h e Codif icat ion of Plainchant 520 V I 1 . 5 . T h e Place of M u s i c in the Carol ingian Renaissance 521

V I I I . G R E G O R I A N C H A N T A N D O T H E R C H A N T R E P E R T O R I E S

V I I I . l . Introduct ion 524 V I I I . 2 . T h e Influence of B y z a n t i u m 525

(i) Introduct ion 525 (ii) T h e System of Eight Modes 527

(iii) A n t i p h o n s for the Adorat ion of the Cross and Other Chants in O l d Italian Repertories 527

(iv) T h e Tr i sag ion 528 (v) T h e Frankish 'missa graeca' 528

(vi) T h e C o m m u n i o n Omnes qui in Christo 529 (vii) T h e Byzantine Al le luias 529

(vi i i ) T e x t u a l Concordances without M u s i c a l S imi lar i ty 529 (ix) T h e Veterem hominem A n t i p h o n s for the Octave of E p i p h a n y 530

V I I I . 3 . O l d Ital ian Chant I : Rome 530 (i) In troduct ion 530

(ii) Sources and Studies of O l d R o m a n Chant 531 (iii) E x a m p l e s : C o m m u n i o n s 532 (iv) Graduals 533 (v) A n t i p h o n s 533

(vi) Offertories 534 (vii) Al le lu ias 538

(vii i ) O r a l T r a d i t i o n 539 V I I I . 4 . O l d Italian Chant I I : M i l a n 540 V I I I . 5 . O l d Italian Chant I I I : Benevento 549 V I I I . 6 . G a l l i c a n Chant 552 VI11 .7 . O l d Spanish (Mozarabic) Chant 557 V I I I . 8 . Conc lus ions 560

I X . P E R S O N S A N D P L A C E S

I X . 1. In t roduct ion 563 I X . 2 . A m a l a r i u s of M e t z 569 I X . 3 . St G a l l 571 I X . 4. C l u n y 574 I X . 5 . W i l l i a m of D i j o n 578 I X . 6 . E n g l a n d before and after the N o r m a n Conquest 580 I X . 7 . N o r t h Italian T r a d i t i o n s 585 I X . 8 . Benevento and Montecassino 589 I X . 9 . R o m e and the Franciscans 594 I X . 10. A q u i t a i n e and Sa in t -Mar t ia l at L imoges 596 I X . 11. T h e H i s p a n i c Peninsula after the Reconquest 601 I X . 12. N o r t h e r n and Eastern Europe 604

(i) Scandinavia and Iceland 604 (ii) Po land 605

(iii) Czechoslovakia 606 (iv) H u n g a r y 607

, X . R E F O R M A T I O N S O F G R E G O R I A N C H A N T

X . l . In t roduct ion 608 X . 2 . T h e Cistercians 609 X . 3 . T h e D o m i n i c a n s 611 X . 4 . Chant in Other Rel igious Orders 613

(i) T h e Carthusians 613 (ii) T h e Premonstratensians 614

X . 5 . T h e ' M e d i c e a n ' G r a d u a l (1614-15) 615 X . 6 . N e o - G a l l i c a n Chant 618

X I . T H E R E S T O R A T I O N O F M E D I E V A L C H A N T

X I . 1. T h e Re turn to the Source 622 X I . 2 . Solesmes and the Vatican E d i t i o n 624 X I . 3 . Practical Edi t ions and Scholarly Research 628

I L L U S T R A T I O N S

Plates

F o r list sec above, p . x v i i .

Maps

I V . 2 .1 . Centres where L a o n notation was used 350 I X . 1 . 1 . T h e archdioceses of late medieval Europe 565 I X . 1 . 2 . Ecclesiastical map of Italy 566 I X . 1 . 3 . Ecclesiastical map of G e r m a n y 567 I X . 1 . 4 . Ecclesiastical map of France 568 I X . 4 . 1 . Monasteries fo l lowing the use of C l u n y , Saint-Benigne at D i j o n , or Bee 577

Figure

V.4 .1 G u i d o n i a n hand after M u n i c h , Bayerische Staatsbibliothek, e lm 14965b 469

T A B L E S

1.3.1. T h e C h u r c h year: the fixed part dependent upon Chr is tmas 12 1.3.2. T h e C h u r c h year : the movable part dependent on Easter 13 1.3.3. K a l e n d a r for O c t o b e r : Cambridge , C o r p u s Chr i s t i College 391 14-15 1.3.4. Saints wide ly celebrated in the R o m a n C h u r c h 17 1.4.1. T h e l i turgical h o r a r i u m at C l u n y in the late eleventh century 20 1.4.2. Psalms allotted to office hours, ferial cursus 21 1.6.1. Psalms at ferial Vespers 29 I. 9 .1 . Beauvais C i r c u m c i s i o n office, First Vespers 43

I I . 7 .1 . A n t i p h o n themes or prototype melodies 91 I I . 11.1. R e c i t i n g notes in introit melodies 115 11.23.1. T r o p e s for the Easter introit Resunexi in Winchester sources 217 11.23.2. G l o r i a trope sets starting O laudabilis rex 226-7 11.23.3. Farsed A p o s t l e s ' C r e e d i n L a o n 263 234

111.4.1. In ter lock ing T e m p o r a l e and Sanctorale in R o m a n use 300 111.4.2. D i s p o s i t i o n of T e m p o r a l e and Sanctorale in Frankish use 301 111.4.3. Separate T e m p o r a l e and Sanctorale in later medieval use 302 I I I . 5 . 1 . D e p l o y m e n t of material in two antiphoners 306 I I I . 8 . 1 . Contents of the Castle Acre processional 318 I I I . 15.1. Responsories in the N i g h t Office of St A n d r e w 337

I V . 1.1. N o t a t i o n a l signs i n M o n t p e l l i e r , Faculte de Medecine I I . 159 342-3 I V . 2 . 1 . F r e n c h and G e r m a n notational signs 348 I V . 2 . 2 . Palaeofrankish, L a o n , Breton, and Aqui tan ian notational signs 349 I V . 2 . 3 . S igns related to F r e n c h - G e r m a n notation 352 I V . 2 . 4 . O t h e r Italian notations 353 I V . 3 . 1 . Special signs in St G a l l and L a o n notation 361 I V . 4 . 1 . Prosodic accents 366 I V . 4 . 2 . Byzant ine ekphonetic signs 368 I V . 4 . 3 . Accents , ekphonetic signs, and neumes (Byzantine) 369 I V . 6 . 1 . Special signs at the semitone step in Montpe l l i e r , Faculte de Medecine I I . 159 388 I V . 6.2. Late forms derived f r o m L a o n and G e r m a n notation 390

V . 2 .1 . Greater and Lesser Perfect System, diatonic genus 446 V . 4 . 1 . Greek and medieval modal names 462 V . 4 .2 . Wr i te rs on music theory in south G e r m a n y in the eleventh century 472

V I . 5 .1 . Chants at the start of mass in four rites 497 V I . 5 . 2 . Chants beside the lessons in four rites 500

Tables xxiii

I X . 3 . 1 . Sources grouped according to their musical variants 574 I X . 10.1. Aqui tan ian sources to c. 1200 597 I X . 10.2. Post-Pentecost alleluia series in L imoges 6 0 1 - 2

M U S I C E X A M P L E S

E x . I 1.2.1. Versicles and responses 48 E x . I 1.2.2. F r o m the Blessing of the Font on Easter Eve 50 E x . I 1.2.3. F r o m the Exultet 52 E x . I 1.2.4. F r o m a litany on Rogation Tuesday 53 E x . I 1.2.5. Paler noster 54 E x . I 1.2.6. F r o m the Gospel on the feast of St John the Evangelist 55 E x . I 1.2.7. F r o m the Genealogy according to St Mat thew 57 E x . I 1.2.8. F r o m the Genealogy according to St L u k e 58 E x . I 1.3.1. T h e eight psalm tones 5 9 - 6 0 E x . I 1.3.2. A n t i p h o n Scitote quia prope est, wi th psalm-tone 61 E x . I 1.3.3. Cadences f rom the Commemoratio brevis 62 E x . I 1.3.4. T o n u s peregrinus 63 E x . I 1.3.5. A n t i p h o n wi th 'parapter' psalm tone 63 E x . I 1.3.6. Psalm verses for introits 64 E x . I 1.3.7. Verses of the responsories Salvatorem expectant us, Aitdite verbum, and

Ecce virgo concipiet 65 E x . I 1.3.8. Invitatory tone 67 E x . I 1.4.1. Responds of four responsories 72 E x . I 1.5.1. G r a d u a l Tecum principium 78 E x . I 1.5.2. F r o m G r a d u a M w / w a nostra V . Laqueus contritus est 80 E x . I 1.5.3. F r o m G r a d u a l Exaltabo te V . Domine Dens mens 81 E x . I 1.5.4. Trac t Iubilate Domino omnis terra 84 E x . I 1.6.1. Short responsory Super te lerusalem 86 E x . I 1.6.2. Short responsory Resurrexit Dominus 87 E x . I 1.6.3. Fer ia l antiphons Credidi and Portio mea 87 E x . I 1.7.1. Psalter antiphons 92 E x . I 1.7.2. A n t i p h o n s wi th the melody Gevaert theme 29 93 E x . I 1.7.3. A n t i p h o n s wi th the melody Gevaert theme 36 94 E x . I 1.7.4. A n t i p h o n s 95 E x . I 1.7.5. Magnificat antiphons 97 E x . I 1.8.1. Invitatory antiphon Ouoniam Deus magnus and part of responsory

Tolle anna tua 99 E x . I 1.9.1. Processional antiphon Ego sunt Deus 101 E x . I 1.9.2. F r o m the processional antiphon Collegentnt pontifices 102 E x . I 1.9.3. Processional antiphon Ego sum alpha et to 103 E x . I 1.10.1. M a r i a n antiphon Sub tuunt presidium 105 E x . I 1.10.2. M a r i a n ant iphon Speciosa facta es in two versions 106 E x . I 1.10.3. F r o m M a r i a n antiphons Alma redemptoris mater and Sake regina 107 E x . I 1.10.4. M a r i a n antiphon Aurei nontinis Maria 107

Music Examples X X V

E x . I 1.10.5. M a r i a n ant iphon Trinitatis thalamum 108 E x . I 1.11.1. M o d e 3 introit openings 111 E x . I 1.11.2. M o d e 3 introit cadences 112 E x . I 1.11.3. Recitation around c in mode 3 introits 113 E x . I 1.11.4. F r o m introit Ecce oculi 113 E x . I 1.11.5. A n t i p h o n Dominus legifer noster and introit Timete Dominion 114 E x . I 1.12.1. M o d e 6 communions 118 E x . I 1.12.2. C o m m u n i o n Dicit Dominus implete hydrias 119 E x . I 1.12.3. Diffusa est gracia as c o m m u n i o n and responsory 120 E x . I 1.13.1. Offertory respond Ad te Domine levavi 123 E x . I 1.13.2. Offertory respond In die sollempnitatis 124 E x . I 1.13.3. Offertory respond Jubilate Deo universa terra 125 E x . I 1.13.4. F r o m offertory respond Tollite portas 127 E x . I 1.13.5. Second verse of offertory Tollite portas 128 E x . I 1.13.6. Verses of offertory Iubilate Deo universa terra 129 E x . I 1.14.1. Alleluia Dominus dixit ad me 132 E x . I 1.14.2. Another melody for Alleluia Dominus dixit ad me 133 E x . I 1.14.3. Alleluia Attendite popule mens 134 E x . I 1.14.4. Alleluia Nuptie facte sunt in Ghana 135 E x . I 1.14.5. Alleluia Veni sponsa Christi 136 E x . I 1.14.6. Alleluia Ante thronum trinitatis 138 E x . I 1.14.7. Alleluia 0 Maria rubens rosa 139 E x . I 1.14.8. T r o p e verses for Alleluia 0 Matia rubens rosa 139 E x . I 1.15.1. H y m n Chnste qui lux es 143 E x . 1 1.15.2. H y m n Somno refect is artubus 143 E x . I 1.15.3. T w o melodies for h y m n Ecce iam noctis 144 E x . I 1.15.4. H y m n Pange lingua 145 E x . I 1.15.5. H y m n Sanctorum mentis 145 E x . I 1.15.6. F r o m processional hymn Ardua spes mundi 147 E x . I 1.17.1. L i t a n y 151 E x . I 1.17.2. K y r i e 55, Vatican ad l i b . V I 153 E x . I 1.17.3. K y r i e 68, Vatican X I V 154 E x . I 1.17.4. K y r i e 155, Vat ican X V 154 E x . I 1.17.5. K y r i e 77 and K y r i e 52 155 E x . T 1.17.6. K y r i e 97 156 E x . I 1.17.7. K y r i e 139 156 E x . I 1.18.1. Cadential figures (a -d) and intonation figure (e) f rom G l o r i a 39 158 E x . I 1.18.2. G l o r i a 2 159 E x . I 1.18.3. G l o r i a 5 160 E x . I 1.19.1. Greek Sanctus and L a t i n Sanctus 66 163 E x . I 1.19.2. Sanctus 68 164 E x . I 1.19.3. Sanctus 216 165 E x . I 1.19.4. Sanctus 98 165 E x . I 1.20.1. O l d R o m a n A g n u s ; A g n u s 226 167 E x . I 1.20.2. Agnus 144 168 E x . I 1.21.1. Credo 170

x x v i Music Examples

E x . II .21.2. F r o m Credo by L u l l y 171 E x . II .22.1. Sequence Clans vocibus 174 E x . II .22.2. F r o m sequence Claris vocibus 175 E x . II .22.3. Start of sequence Eia recolanius 175 E x . II .22.4. Sequence Organicis canamus modulis 176 E x . II .22.5. Sequence Sancti baptiste 177 E x . II .22.6. Sequence Pura Deum 179 E x . II .22.7. Alleluia Ostende and associated sequences 182 E x . II .22.8. Sequence Sancte cruris celebrenms 184 E x . II .22.9. Sequence Victime paschali laudes 189 E x . II .22.10. Sequence Congaudentes exultemus 190-1 E x . II .22.11. Sequence Hodierne lux diei 192 E x . II .22.12. Sequence Para nymph us salutat virginern 193 E x . II .22.13. Sequence Affluens deliciis 195 E x . II .23.1. T r o p e verses Dilectus iste Domini, etc. for introit /;/ medio ecclesie 198-9 E x . 11 .23.2. Verse Ostende nobis for offertory Benedixisti, w i t h prosulas Da nobis

famulis and Da nobis potenti 202 E x . I] .23.3. Alleluia Concussion est mare w i t h prosula Angelas Michael 203 E x . II .23.4. Responsory Beatus Nicholaus wi th prosula Oportet devota mente 206 E x . 11 .23.5. Responsory 0 mater nostra w i t h prosula Eterna virgo memorie 207 E x . 11 .23.6. F r o m G l o r i a 56 (Vatican I V ) wi th trope verses 0 gloria

sanctorum, etc., R e g n u m prosula 0 rexglorie 208

E x . 11 [.23.7. K y r i e Te Chris te supplices 210 E x . 11 [.23.8. K y r i e Eons bonitatis 212 E x . U [.23.9. K y r i e 55 w i t h trope verses Chris te redemptor, etc. 213 E x . I i [.23.10. Benedicamus chant Eia nunc pueri 214 E x . I] [.23.11. Benedicamus chants 215 E x . U .23.12. T r o p e verses Ecce iam Iohannes, etc. for introit /;/ medio ecclesie 218-19 E x . I] [.23.13. T r o p e verse Deus paterfiliurn suum and start of introit Puer natus est 222 E x . 11 [.23.14. Introductory verses Ilodie cantandus est, etc. and start of introit Puer

natus est 222 E x . 11 .23.15. G l o r i a 39 w i t h trope verses 0 laudabilis rex, etc. and Sceptrum

prosula Lumen etemum 228-30 E x . I] .23.16. Sanctus 56 (Vatican III) w i t h trope verses Summe pater, etc. and

Osanna prosulas Omnes tua gratia ^nd Martyr Christi gratia 230-1 E x . 11 [.23.17. A g n u s 15 wi th trope verses Pro cunctis deductus, etc. 232 E x . 11 .23.18. A g n u s 81a w i t h trope verses Ad dextrarn patris, etc. and Ilumanum

genus, etc. 233 E x . 11 .23.19. Farsed Credo 235 -6 E x . 11 .23.20. Introductory verse iMitdes Deo for a farsed epistle 237 E x . 11 .23.21. Start of farsed lesson w i t h verses Ce que Ysaies nos escrit, etc. 237 E x . U .24.1. Start of versus Sancte Paule pastor bone 241 E x . 11 .24.2. Benedicamus song Lux ornni festa populo 243 E x . 11 .24.3. L a t i n song Letabundi iubilemus 244 E x . 11 .24.4. L a t i n song Natus est, natus est 245 E x . I] [.24.5. Benedicamus song Thesaurus nove grade 246

E x . I I .24 .6 . L a t i n song Plebs Domini hac die 246 E x . I I .24 .7 . L a t i n s o n g / k ^ mater salvatoris 247 E x . I I .24 .8 . Macaronic song Be deu hoi mais 248 E x . 11.25.1. Quern queritis 253 E x . I I .25 .2 . Visit at io sepulchri 2 5 6 - 7 E x . I I .25 .3 . T h o m a s scene 2 5 8 - 9 E x . 11.25.4. T h o m a s scene 260 E x . 11.25.5. Visit alio sepulchri 262-3 E x . I I .25 .6 . Lament atio Rachel is 266 E x . I I .25 .7 . F r o m the T o u r s Easter play 2 6 8 - 9 E x . I I .25 .8 . S o n g Adam novus veterem f rom F leury Peregrinus play 270 E x . I I .25 .9 . F r o m the Ludus Danielis 271 E x . 11.25.10. F r o m the Ludus Danielis 272 E x . 11.25.11. F r o m the Ludus Danielis 272 E x . I I . 26 .1 . Responsory Videns Rome vir beatus 275 E x . I I .26 .2 . A n t i p h o n Gregorius vigiliis 276 E x . I I .26 .3 . A n t i p h o n s f r o m the office of St D o m i n i c 277 E x . I I .26 .4 . A n t i p h o n s f rom the offices of St D o m i n i c and St T h o m a s of Canterbury 278 E x . I I .26 .5 . Responsory Post sex annos 279

E x . I I I . 1 4 . 1 . Extract f r o m a tonary, part of the t h i r d tone 327 E x . I I I . 14 .2 . Type-melodies f rom a tonary 332 E x . I I I . 14 .3 . F r o m the G l o r i a tones 334

E x . I V . 1 . 1 . C o m m u n i o n Ego sum vitis vera 344 E x . I V . 2 . 1 . A n t i p h o n Beatus ille servus 355 E x . I V . 2 . 2 . C o m m u n i o n Quis dabit ex Sion 356 E x . I V . 3 . 1 . F r o m gradual Exultabunt sancti V . Cantate Domino 358 E x . I V . 3 . 2 . Examples of oriscus 359 E x . I V . 4 . 1 . Openings of mode 3 introits (St G a l l notation) 372 E x . I V . 5 .1 . F r o m offertory Benedictus es Domine 375 E x . I V . 5.2. N o r m a l and modif ied signs in St G a l l notation (selection) 376 E x . I V . 5 . 3 . N o r m a l and ' longer' signs in L a o n notation (selection) 377 E x . I V . 5 . 4 . A standard phrase f rom mode 5 graduals ( A p e l F l ) w i t h L a o n and St

G a l l notation 378 E x . I V . 5 . 5 . Possible gradations of durat ion i n pes and clivis ( L a o n and St G a l l

notations) 378 E x . I V . 5 . 6 . M e n s u r a l transcript ion of passages f r o m Alleluia Pascha nostrum 379 E x . I V . 5 . 7 . M e n s u r a l transcript ion of passages horn Alleluia Pascha nostrum 380 E x . I V . 5 . 8 . A n t i p h o n s w i t h the same melody 381 E x . I V . 6 . 1 . Alphabet i c notation a-p 387 E x . I V . 7 . 1 . H u c b a l d ' s letter-notation 393 E x . I V . 7 . 2 . Dasia signs in the Enchiriadis group of treatises 393 E x . I V . 7.3. Boethius ' pitch-letters 394 E x . I V . 7 . 4 . Pitch-letters i n the Dialogus de musica and G u i d o of A r e z z o 395 E x . I V . 7 . 5 . H e r m a n n u s Contractus ' interval notation 396 E x . I V . 8 . 1 . C o m m u n i o n Pascha nostrum 398

x x v i i i Music Examples

E x . V . 2 . 1 . Boethius' divis ion of the monochord 445 E x . V . 2 . 2 . Species of intervals 447 E x . V . 3 . 1 . A n t i p h o n Ecce vere Israelii a notated by H u c b a l d on six 'strings' 449 E x . V . 3 . 2 . Hucba ld ' s arrangement of ascending tetrachords 450 E x . V . 3 . 3 . Introit Statuit ei as described by H u c b a l d 450 E x . V . 3 . 4 . Hucba ld ' s letter-notation 451 E x . V . 3 . 5 . Examples in protus mode from Music a enchiriadis 453 E x . V . 4 . 1 . Psalm-verse cadences and openings of mode 1 introits cited by A u r c l i a n

of Reome 457 E x . V . 4 . 2 . D i v i s i o n of the monochord in Dialogus de rnusica 464 E x . V . 4 . 3 . Notes required to notate antiphon Domine qui operati, various versions 465 E x . V . 4 . 4 . Ranges of chants in the eight modes, Dialogus de rnusica 465 E x . V . 4 . 5 . ' S imi l i tudes ' of notes to the various modes, Dialogus de rnusica 466 E x . V . 4 . 6 . H y m n Lit queant laxisy G u i d o of Arezzo 467 E x . V . 4 . 7 . A n t i p h o n Diligite Dominion 468 E x . V . 4 . 8 . T h e modi vocum, G u i d o of Arezzo 470 E x . V . 4 . 9 . Notes required to notate c o m m u n i o n De fructu, two versions 474 E x . V . 4 . 1 0 M o d a l qualities of notes, Hermannus Contractus 475

E x . V I I I . 3 . 1 . O l d R o m a n and Gregor ian versions of c o m m u n i o n Revelabitur gloria Domini 532

E x . V I I I . 3 . 2 . G r a d u a l verses Celt enarrant and In manibus portabunt te 534 E x . V I I I . 3 . 3 . A n t i p h o n s in O l d R o m a n and Gregor ian versions 535 E x . V I I I . 3 . 4 . O l d R o m a n and Gregor ian versions of offertory verse Qui propitiatur 536 E x . V I I I . 3 . 5 . O l d R o m a n and Gregor ian versions of verse Quoniam angelis f r o m

offertory Scapulis suis 537 E x . V I I I . 3 . 6 . First verse of Alleluia Palatum corrneum 538 E x . V I I I . 4 . 1 . T r a n s i t o r i u m Convertirnini omnes 543 E x . V I I I . 4 . 2 . Responsor ium c u m infantibus Sperent in te 545 E x . V I I I . 4 . 3 . Melodiae of A m b r o s i a n A l l e l u i a V I 546 E x . V I I I . 4 . 4 . Gregor ian , O l d R o m a n , and A m b r o s i a n versions of introit/ingressa

Invocavit me 548 E x . V I I I . 5 . 1 . A m b r o s i a n and O l d Beneventan versions of c o m m u n i o n Ilymnum canite 551 E x . V I I I . 6 . 1 . Processional ant iphon Cum audisset populus 555 E x . V I I I . 6 . 2 . Part of offertory Sanctificavit Moyses in O l d Spanish , Gregor ian ,

A m b r o s i a n , and O l d R o m a n versions 556 -7

E x . I X . 7 . 1 . T r o p e verses Qui die at patn\ etc. for introit Resurrexi 587 E x . I X . 7 . 2 . Sequence Clara gaudia festa paschalia 588 E x . I X . 8 .1 . Rogation antiphon Peccavimus Domine 592 E x . I X . 8 . 2 . Start of farsed lesson wi th verses Ad laudern regis glorie, etc. 593 E x . I X . 1 0 . 1 . Responsory 0 sancte Dei apostole 599--600

E x . X . 3 . 1 . F r o m gradual Exurge Domine in Gregor ian and C i s t e r c i a n - D o m i n i c a n versions 612

Music Examples xxix

E x . X . 5 . 1 . Medieva l and M c d i c c a n versions of gradual Omnes de Saba 617 E x . X . 6 . 1 . Extracts f rom Graduel de Pans,1754 619 -20

Ex . X 1 . 1 . 1 . O p e n i n g of gradual Ex urge Domine non prevaleat homo 625

N O T E O N M U S I C E X A M P L E S

Slurs are used only for notes joined in the same sign in the original notation. h = oriscus A- = neume at the semitone step ('mi-neume')

w = quilisma ' = apostropha r 1 = liquescent note Pitch-letters follow Guidonian, not modern practice.

r A B C DEFGabc de f gaa t "etc.

A B B R E V I A T I O N S

AcM Acta musicologica AfMw Archiv fur Musikwissenschaft A H Analecta hymnica medii aevi, ed. G u i d o M a r i a Dreves , Clemens B l u m e , and

H e n r y M a r r i o t t Bannister, 55 vols. ( L e i p z i g , 1886-1922); Register, ed . M a x L u t o l f , 3 vols . (Berne, 1978). T e x t editions of h y m n s : 2, 4, 11-12 , 14, 16, 19, 2 2 - 3 , 27, 43, 48, 5 0 - 2 ; of rhymed offices: 5, 13, 17-18, 2 4 - 6 , 28, 45 ; of sequences: 7 -10 , 34, 37, 39-40 , 42, 44, 5 3 - 5 ; of tropes: 47, 49. F o r i n d i v i d u a l volumes see B ib l iography

AM Antiphonale monasticum pro diurnis horis ( T o u r n a i , 1934) AMS Rene-Jean Hesbert , Antiphonale missarum sextuplex (Brussels, 1935) [ M o n z a ,

Basi l ica S . G i o v a n n i , C I X : 'Modoet iensis ' ; Z u r i c h , Zentra lbibl iothek, Rhe inau 30 : 'Rhenaugiensis ' ; Brussels, Bibl iotheque Royale, 10127-10144: 'B landiniens is ' ; Paris , B ib l io theque Nationale , lat. 17436: 'Compendiens is ' ; Paris , B ib l io theque Nat ionale , lat. 12050: 'Corbiens is ' ; Paris, B ibl iotheque Sainte-Genevieve, 111: 'Silvanectensis']

A f t Antiphonale sacrosanctae Romanae ecclesiae (Rome, 1912) AS Antiphonale Sarisburiense: A Reproduction in Facsimile of a Manuscript of the

Thirteenth Century, ed. Walter H o w a r d Frere ( L o n d o n , 1901-24) BzG Beitrdge zur Gregorianik CAO Corpus antiphonalium officii, ed. Rene-Jean Hesbert ( R e r u m ecclesiasticarum

documenta , Series maior, Fontes, 7 - 1 2 ; Rome, 1963-79). F o r i n d i v i d u a l volumes see B ib l iography

C C M C o r p u s consuetudinum monast icarum, ed. Kassius Hal l inger (S iegburg, 1963- ). F o r i n d i v i d u a l volumes see Bib l iography

C M Consuetudines monasticae, ed. B r u n o Albers . F o r i n d i v i d u a l volumes see B ib l iography

C S E d m o n d de Coussemaker, Scriptorum de rnusica medii aevi novam seriem . . . , 4 vols. (Paris , 1864, 1867, 1869, 1876)

C S M C o r p u s scr ip torum de rnusica (Rome, 1950- ). F o r i n d i v i d u a l volumes see B ib l iography

C T C o r p u s t r o p o r u m (Studia L a t i n a Stockholmiensia ; S t o c k h o l m , 1975- ). F o r i n d i v i d u a l volumes see Bib l iography

DACL Fernand Cabrol , H e n r i Leclercq, and H e n r i Marrou (eds.), Dictionnaire d'archeologie chretienne et de liturgie, 15 vols, in 30 (Paris, 1907-53)

D M A Divi t iae musicae artis, ed. Joseph Smits van Waesberghe (Buren , 1975- ). F o r i n d i v i d u a l volumes see Bib l iography

EG Etudes gregoriennes EL Ephemerides liturgicae EMM Early Music History GR Graduate sacrosanctae Romanae ecclesiae (Rome, 1908)

xxxii Abbreviations

G S M a r t i n Gerber t , Scriptores ecclesiastic! de rnusica sacra potissimum, 3 vols. (Sankt-Blas ien, 1784) [to be used in conjunction w i t h Bernhard 1989]

G T Graduate triplex, ed. M a r i e - C l a i r e Bi l lecocq and Rupert F ischer (Solesmes, 1979) [Graduate Romanum of 1974 w i t h neumes of L a o n 239, E ins iede ln 121, St G a l l 359 and 339, etc.]

IIMT H a n s - H e i n r i c h Eggebrecht (ed.), Handworterbuch der musikalischen Terrninologie ( M a i n z , 1971- )

JAMS Journal of the American Musicological Society JPMMS Journal of the Plainsong & Mediaeval Music Society Kmjb Kirchenmusikalisches Jahrbuch LR Liber responsorialis pro festis I. classis et communi sanctorum juxta ritum

monasticum (Solesmes, 1894) LU Liber usualis missae et officii pro dominicis et festis I. vet II. classis ( R o m e , 1921) MD Musica disciplina Mf Die Musikforschung MGG F r i e d r i c h B l u m e (ed.), Die Musik in Geschichte and Gegenwari: Allgerneine I

Enzyklopddie der Musik, 17 vols. (Kassel , 1949-86) j M G H M o n u m e n t a Germaniae historica. F o r ind iv idua l volumes see B i b l i o g r a p h y M M M A M o n u m e n t a monodica medi i aevi (Kassel , 1956- ). F o r i n d i v i d u a l volumes see

B i b l i o g r a p h y M M S M o n u m e n t a musicae sacrae, ed. Rene-Jean Hesbert . F o r i n d i v i d u a l volumes see

B i b l i o g r a p h y MQ Musical Quarterly NCE The New Catholic Encyclopedia, 15 vols. ( N e w Y o r k , 1967; supplementary vols.

1974, 1979) NG Stanley Sadie (ed.) , The New Grove Dictionary of Music and Musicians, 20 vols.

( L o n d o n , 1980) P a l M u s Paleographie musicale : Les pr inc ipaux manuscrits de chant gregorien, ambrosien,

mozarabe, gallican [premier serie, deuxieme serie]. F o r i n d i v i d u a l volumes see B i b l i o g r a p h y

P L Patrologiae cursus completus, series latina, ed. J . -P . M i g n e , 221 vols. (Paris, 1844-64) RB Revue benedictine RCG Revue du chant gregorien RG Revue gregorienne RIM Rivista italiana di musicologia R I S M Repertoire international des sources musicales ( M u n i c h and D u i s b u r g ) . F o r

i n d i v i d u a l volumes see Bib l iography SMH Studia musicologica Academiae scientiarwn Hungaricae V G A Verof fent l i chungen der Gregorianischen Akademie z u F r e i b u r g in der Schweiz

B I B L I O G R A P H Y

A B A T E , G . , 'II p r i m i t i v o breviario francescano', Miscellanea francescana, 60 (1960), 47 -240 . A B E R T , H E R M A N N , Die aesthetischen Grundsdtze der mittelalterlichen Melodiebildung (Hal le ,

1905). Die Musikanschauung des Mittelalters und Hire Grundlagen (Hal le , 1905).

A B R A H A M S E N , E R I K , Elements romans et allemands dans le chant gregorien et la chanson populaire en Danemark (Publications de l 'Academie gregorienne de F r i b o u r g (Suisse) , 11; Copenhagen , 1923).

Acta sanctorum collecta . . . a Sociis Bollandianis ( A n t w e r p , 1643- ; 3rd e d n . , Paris and Brussels , 1863- ).

Acta sanctorum ordinis sancti Benedicti, ed. Jean M a b i l l o n , L u c d ' A c h e r y , et al., 9 vols. (Pans , 1668-1701).

A D L E R Festschrift 1930 = Studien zur Musikgeschichte: Festschrift fur Guido Adler (Vienna , 1930).

A G U S T O N I , L U I G I , Gregorianischer Choral: Elemente und Vortragslehre mit besonderer Berucksichtigung der Neumenkunde ( F r i b o u r g , 1963).

' D i e Frage der T o n s t u f e n SI u n d M I ' , BzG 4 (1987), 4 7 - 1 0 1 . and G O S C H L , Johannes Berchmans, Einfuhning in die Interpretation des Gregorianischen

Chorals, 1: Grundlagen (Regensburg, 1987). A H 2 (1887) = Hymnarius Moissiacensis: Das Hymnar der Abtei Moissac im 10. Jahrhundert

nach einer Handschrift der Rossiana, ed. G u i d o M a r i a Dreves . A H 4 (1888) = llyrnni inediti: Liturgische Hymnen des Mittelalters aus handschriftlichen

Breviarien, Antiphonalien und Processionalien, ed. Dreves. A H 5 (1889), 13 (1892), 18 (1894), 24 (1896), 2 5 - 6 (1897), 28 (1898), 45 (1904) = Historiae

Hiythrnicae: Liturgische Reimoffizien des Mittelalters aus Handschriften und Wiegendnicken, ed. Dreves .

A H 7 (1889) = Prosarium L^emovicense: Die Prosen der Abtei St. Martial zu Limoges, aus Troparien des 10., 11. und 12. Jahrhunderts, ed. Dreves .

A H 8 - 9 (1890), 10 (1891) = Sequentiae ineditae: Liturgische Prosen des Mittelalters aus Handschriften und Fruhdrucken, ed. Dreves .

A H 11 (1891), 12 (1892), 19 (1895), 22 (1895), 23 (1896), 43 (1903) = Hymni inediti: Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken, ed . Dreves .

A H 13 see A H 5. A H 14 (1893) = Hymnarius Severinianus: Das Hymnar der Abtei S. Severin in Neapel nach

den Codices Vaticanus 7172 und Parisinus 1092, ed. Dreves . A H 16 (1894) = Hymnodia Hiberica: Spanische Hymnen des Mittelalters aus liturgischen

Handschriften und Druckwerken romischen Ordos, ed. Dreves . A H 17 (1894) = Hymnodia Hiberica: Liturgische Reimoffizien aus spanischen Brevieren. Im

Anhange: Carmina Compostellana, die Lie der des s.g. Codex Calixtinus, ed . Dreves . A H \%see A H 5. A H 19, 22, 23 see A H 11.

A H 2 4 - 6 , 2 8 see A H 5 . A H 2 7 ( 1 8 9 7 ) = Hymnodia Gotica: Die mozarabischen Hymnen des alt-spanischen Ritus aus

handschriftlichen und gedruckten Quellen, ed. Clemens B l u m e . A H 3 4 ( 1 9 0 0 ) , 3 7 ( 1 9 0 1 ) , 3 9 ( 1 9 0 2 ) , 4 2 ( 1 9 0 3 ) , 4 4 ( 1 9 0 4 ) = Sequentiae ineditae: Liturgische

Prose?i des Mittelalters aus Handschriften und Friihdrucken, ed. B l u m e . A H 4 0 ( 1 9 0 2 ) = Sequentiae ineditae: Liturgische Prosen des Mittelalters aus Handschriften

und Fruhdrucken, ed . H e n r y Marr io t t Bannister. A H 4 2 see A H 3 4 . A H 4 3 see A H 1 1 . A H 4 4 see A H 3 4 . A H 4 5 see A H 5 . A H 4 7 ( 1 9 0 5 ) = Tropi graduates: Tropen des Missale im Mittelalter. I. Tropen zum

Ordinarium Missae. Aus handschriftlichen Quellen, ed. B l u m e and Bannister . A H 4 8 ( 1 9 0 5 ) , 5 0 ( 1 9 0 7 ) = Hymnographi Latini: Lateinische Hymnendichter des Mittelalters

aus gedruckten und ungedruckten Quellen, ed. Dreves . A H 4 9 ( 1 9 0 6 ) = Tropi graduates: Tropen des Missale im Mittelalter. II. Tropen zum Proprium

Missae. Aus handschriftlichen Quellen, ed. B l u m e . A H 5 0 see A H 4 8 . A H 5 1 ( 1 9 0 8 ) = Thesauri hymnologici hymnarium: Die Hymnen des Thesaurus Hymnologicus

H. A. Daniels und anderer Hymnen-Ausgaben. I. Die Hymnen des 5.-11. Jahrhunderts und die irisch-keltische Hymnodie aus den dltesten Quellen, ed. B l u m e .

A H 5 2 ( 1 9 0 9 ) = Thesauri hymnologici hymnarium . . . / / . Die Hymnen des 12.-16. Jahrhunderts aus den dltesten Quellen, ed. B l u m e .

A H 5 3 ( 1 9 1 1 ) = Thesauri hymnologici prosarium: Liturgische Prosen erster Epoche aus den Sequenzenschulen des Abendlandes, insbesondere die dem Notkerus Balbulus zugeschriebenen, nebst Skizze iiber den Ursprung der Sequenz, aufgrund der Melodien aus den Quellen des 10.-16. Jahrhunderts, ed. B lume and Bannister.

A H 5 4 ( 1 9 1 5 ) = Thesauri hymnologici prosarium: Liturgische Prosen des Ubergangsstiles und der zweiten Epoche, insbesondere die dem Adam von Sanct Victor zugeschriebenen, aus Handschriften und Friihdrucken, ed. B lume and Bannister.

A H 5 5 ( 1 9 2 2 ) = Thesauri hymnologici prosarium: Liturgische Prosen zweiter Epoche auf Feste der Heiligen nebst eiriem Anhange: Hymnologie des Gelderlandes und des Haariemer Gebietes aus Handschriften und Fruhdrucken, ed. B l u m e .

A I K A A , E R M O , ' E i n marianischer G l o r i a - T r o p u s ' , paper read at the Firs t European Science Foundat ion International Workshop on Tropes , M u n i c h , 1 9 8 3 .

A L B A R O S A , N I N O , ' L a scuola gregonana d i Eugene Cardine ' , RIM 9 ( 1 9 7 4 ) , 2 6 9 - 9 7 ; 1 2 ( 1 9 7 7 ) 1 3 6 - 5 2 .

' T h e P o n t i f k i o Istituto di M u s i c a Sacra in Rome and the Semiological School of D o m Eugene Cardine ' , JPMMS 6 ( 1 9 8 3 ) , 2 6 - 3 3 .

'Paleografi non semiologi?' , in H u g l o 1 9 8 7 , 1 0 1 - 5 . Albers see C M . A L B R E C H T ( H A N S ) Gedenkschri f t 1 9 6 2 = W i l f r i e d Brennecke and Hans Haase (eds.), Hans

Albrecht in Memoriam (Kassel , 1 9 6 2 ) . A L B R E C H T ( O T T O ) Festschrift 1 9 8 0 = John Walter H i l l (ed.), Studies in Musicology in Honor

of Otto E. Albrecht (Kassel , 1 9 8 0 ) . A L F O N Z O , P I O , L'antifonario delTUffizio Romano: Note suite origini delta composizione dei

testi (Monografie l i turgiche, 3 ; Subiaco, 1 9 3 5 ) .

/ responsori biblici delVUffizio Romano (Lateranum, N S , 2/1; R o m e , 1936). A L L / W O R T H , C H R I S T O P H E R , ' T h e Medieva l Processional : Donaueschingen M S 882', EL 84

(1970), 169-86. A L M E I D A , F O R T U N A T O D E , Historia da igreja em Portugal, 8 vols, in 4 ( C o i m b r a , 1910-22;

2 n d e d n . , 1930). A M E L L I , A M B R O G I O M . , ' L ' e p i g r a m m a di Paolo Diacono intorno al canto Gregoriano e

A m b r o s i a n o ' . Memorie storiche forogiuliesi, 9 (1913), 153-75. A M I E T , R O B E R T , ' U n breviaire note du x i v e siecle de la primatiale Saint-Jean de L y o n ' , EG

15 (1975), 201 -6 . ' L e L i b e r mist icus de Combre t , au diocese d 'Elne ' , EG 20 (1981), 5 - 6 8 .

A N D E R S E N , M . G E E R T , and R A A S T E D , J 0 R G E N , Inventar over Det kongelige Biblioteks fragmentsamling [Inventory of the Fragment Collection in the Royal Library] (Hjaelpemidler, 6; Copenhagen, 1983).

A N D E R S O N , G O R D O N A . (ed.) , The Las Huelgas Manuscript, Burgos, Monasterio de las Huelgas, 2 vols. ( C o r p u s mensurabil is musicae, 79; R o m e , 1982).

A N D E R S O N ( G O R D O N ) Gedenkschri f t 1984 = Gordon Athol Anderson (1929-1981) in memoriam, 2 vols. ( H e n r y v i l l e - O t t a w a - B i n n i n g e n , 1984).

A N D E R S O N , W A R R E N , ' A l y p i u s ' , NG.

A N D O Y E R , R A P H A E L , ' L e Chant romain antegregorien', RCG 20 (1911-12) , 69 -75 , 107-14. ' L ' A n c i e n n e L i t u r g i e de Benevent' , RCG 20 (1911-12), 176-83 ; 21 (1912-13) , 14-20,

4 4 - 5 1 , 8 1 - 5 , 112-15, 144-8, 169-74; 22 (1913-14), 8 - 1 1 , 4 1 - 4 , 8 0 - 3 , 106-11 , 141-5 , 1 7 0 - 2 ; 23 (1919-20) , 44 -50 , 116-18, 151-3, 182-3 ; 24 (1920-1) , 48 -50 , 8 7 - 9 , 146-8, 182-5 .

A N D R I E U , M I C H E L , 'Reglement d 'Angi l ramne de M e t z (768-791) fixant les honoraires de quelques fonctions l i turgiques ' , Revue des sciences religieuses, 10 (1930), 349-69 .

Les Ordines Romani du haut moyen age (Spic i leg ium sacrum Lovaniense, 11, 2 3 - 4 , 2 8 - 9 ; L o u v a i n , 1931-61) .

Le Pontifical romain au moyen age (S tudi e testi, 86 -8 , 99; R o m e , 1938-41) . A N D R I E U Festschrift 1956 = Melanges en VhonneurdeM. Michel Andrieu (Strasburg, 1956). A N G E R E R , J O A C H I M F R I D O L I N , Die liturgisch-musikalische Emeuerung der Melker Reform:

Studien zur Erforschung der Musikpraxis in den Benediktinerklbstern des 15. Jahrhunderts (Osterreichische A k a d e m i e der Wissenschaften, Philologisch-historische Klasse , 287; V i e n n a , 1974).

' D i e Consuetudines Monasticae als Quelle fur die Musikwissenschaft ' , in H a b e r i Festschrift 1977, 237.

Lateinische und deutsche Gesdnge aus der Zeit der Melker Reform (Forschungen zur alteren Musikgeschichte , 2 ; V i e n n a , 1979).

A N G L E S , H I G I N I , 'Epis to la farcida del mart i r i de Sant Esteve', Vida cristiana, 9 (1922), 6 9 -75.

(ed.) , El codex musical de I^as Huelgas (Miisica a veus dels segles XIII-XIV), 3 vols . (Biblioteca de Cata lunya, Publicacions del Departament de M u s i c a , 6; Barcelona, 1931).

La musica a Catalunya fins al segle XIII (Biblioteca de Cata lunya, Publ icacions del Departament de M u s i c a , 10; Barcelona, 1935).

' L a musica medieval en T o l e d o hasta el siglo X T , Gesammelte Aufsdtze zur Kulturgeschichte Spaniens, 7 (Spanische Forschungen der Gorresgesellschaft, 1st ser . ; M i n i s t e r , 1938), 1-68.

Historia de la rnusica medieval en Navarra (Pamplona, 1970).

A N G L E S , I I I G I N I and S U B I R A , J O S E , Catdlogo musical de la Biblioteca nacional de Madrid, 1: Manuscritos (Barcelona, 1946).

A N G L E S Festschrift 1958-61 = Misceldnea en homenaje a Monsehor Higinio Angles, 2 vols. (Barcelona, 1958, 1961).

Antifonario visigotico mozdrabe de la catedral de Leon ( M o n u m e n t a Hispaniae sacra, serie l i turgica , v/2; M a d r i d , 1953) (see also Brou and Vives 1959).

Antiphonale Hispaniae vet us (s. X-XI). Biblioteca de la Universidad de Zaragoza (Saragossa, 1986).

Antiphonale missamm juxta ritum sanctae ecclesiae Mediolanensis [ed. G . M . Suriol] (Rome, 1935).

Antiphonale monasticum secundum traditionem Helveticae Congregationis Benedictinae (1943).

Antiphonale Pataviense f\Vien 1519), ed. K a r l h e i n z Schlager (Das Erbe deutscher M u s i k , 88; K a s s e l , 1985).

Antiphonale Silense: British Library Mss. Add. 30.850, ed. Ismael Fernandez de la Cuesta ( M a d r i d , 1985).

Antiphonar von St. Peter [Vienna, Nat ionalbibl iothek, series nova 2700], 2 vols . (Codices selecti, 2 1 ; G r a z , 1969-73, 1974).

A P E L , W I L L I , Gregorian Chant (B loomington, I n d . , 1958). A R C H E R , P E T E R , The Christian Calendar and the Gregorian Reform ( N e w Y o r k , 1941). A R L T , W U L F , Bin Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und

musikalischen Bedeutung, 2 vols. (Cologne, 1970). ' E i n s t i m m i g e L i e d e r des 12. Jahrhunderts und Mehrs t immiges i n franzosischen

Handschriften des 16. Jahrhunderts aus L e Puy' , Schweizer Beitrage zur Musikwissenschaft, 3 (1978), 7 - 4 7 .

' Z u r Interpretat ion der T r o p e n ' , Forum musicologicum, 3 (1982), 6 1 - 9 0 . and S T A U F F A C H E R , M A T T H I A S , Engelberg Stiftsbibliothek Codex 314 ( W i n t c r t h u r , 1986).

A R N E S E , R A F F A E L E , / codici notati delta Biblioteca nazionale di Napoli (F lorence, 1967). A R N O U X , G . , Musique platoniciennedme du monde (Paris, 1960). A S H W O R T H , H E N R Y , ' D i d St. August ine B r i n g the G r e g o r i a n u m to E n g l a n d V E L 72 (1958), 3 9 -

43. ' T h e L i t u r g i c a l Prayers of St. Gregory the Great ' , Traditio, 15 (1959), 107-61 . ' F u r t h e r Parallels to the " H a d r i a n u m " from St. Gregory the Great 's C o m m e n t a r y on the

Firs t Book of K i n g s ' , Traditio, 16 (I960), 364-73 . A S K E T O R P , B O D I L , ' T h e M u s i c a l Contents of T w o D a n i s h Pontificals f rom the Late M i d d l e

Ages ' , jfPMMS 7 (1984), 28 -46 . A T C H L E Y , E . G . C . F . , Ordo Romanus primus ( L o n d o n , 1905). A T K I N S O N , C H A R L E S M . , ' T h e Earliest Agnus D e i M e l o d y and its Tropes ' , J A M S 30 (1977), 1 -

19. ' O amnos tu then: T h e Greek Agnus D e i in the Roman L i t u r g y f rom the E i g h t h to the

Eleventh C e n t u r y ' , Kmjb 65 (1981), 7 -30 . ' Z u r Ents tehung und Oberl ie ferung der " M i s s a Graeca ' " , AfMiv 39 (1982), 113-45. ' T h e Parapteres: Nothi or Not? ' , MO 68 (1982), 32 -59 . ' O n the Interpretation of Modi, quos abusive tonos dicimus, in Gal lacher and D a m i c o

1989, 147-61 . ' T h e Doxa, the Pisteuo, and the Ellinici F rat res: Some Anomalies in the Transmiss ion of

the Chants of the " M i s s a Graeca ' " , Journal of Musicology, 7 (1989), 81 -106 .

' F r o m " V i t i u m " to " T o n u s acquisi tus" : O n the E v o l u t i o n of the Notat ional M a t r i x of M e d i e v a l Chant ' , in Cantus Planus 1990, 181-97.

'Parapter ' , Handwdrterbuch der musikalischen Tenninologie, ed . H a n s - H e i n r i c h Egge-brecht ( M a i n z , 1971- ).

A U D A , A N T O I N E , LEcole musicale liegeoise au A " ' siecle: Etienne de Liege (Brussels, 1923). I^es Modes et les tons de la musique et specialement de la musique medievale (Academie

royale de Belgique. Classe des beaux arts. Memoires , i i i , pt. 1; Brussels, 1930). Contribution a Vhistoire de Vorigine des modes et des tons gregoriens ( G r e n o b l e , 1932) =

RCG 36 (1932), 3 3 - 9 , 7 2 - 7 , 105-11, 130-2 . A U G U S T I N E , S T , De musica, a Synopsis, ed. W . F . J . K n i g h t ( L o n d o n , 1949).

On Music: De musica. The Fathers of the Church, a New Translation, trans. R . C . Ta l ia ferro (Wri t ings of Saint August ine , 2 ; N e w Y o r k , 1947), 153-379.

A V E N A R Y , H A N O C H , ' T h e N o r t h e r n and Southern Idioms of E a r l y European M u s i c : A N e w A p p r o a c h to an O l d Problem' , AcM 49 (1977), 27 -49 .

A V E R Y , M Y R T I L L A , The Exultet Rolls of South Italy (Princeton, N J , 1936). B A B B , W T A R R E N , Hucbald, Guido, and John on Music, ed . , w i t h introduct ions , by Claude V .

Palisca, index of chants by Ale jandro E n r i q u e Planchart ( N e w H a v e n , C o n n . , 1978). Bagnal l see Y a r d l e y . B A I L E Y , T E R E N C E , The Processions of Sarum and the Western Church ( T o r o n t o , 1971).

The Intonation Fonnulas of Western Chant (Toronto , 1974). 'Accentual and Curs ive Cadences in Gregorian Psalmody' , JAMS 29 (1976), 4 6 3 - 7 1 . ' M o d e s and M y t h ' , Studies in Music from the University of Western Ontario, 1 (1976),

43 -54 . ' A m b r o s i a n P s a l m o d y : A n Introduct ion ' , Studies in Music from the University of

Western Ontario, 2 (1977), 65 -78 . LJe modi's musicis: A N e w E d i t i o n and Explanat ion ' , Isjnjb 6 1 - 2 (1977-8) , 4 7 - 6 0 . ' A m b r o s i a n P s a l m o d y : T h e Formulae ' , Studies in Music from the University of Western

Ontario, 3 (1978), 72 -96 . Commemoratio brevis de tonis et psalrnis modulandis: Introduction, Critical Edition,

Translation (Ottawa, 1979). The Ambrosian Alleluias (Englefield G r e e n , 1983). ' A m b r o s i a n Chant in Southern Italy', JPMMS 6 (1983), 1 -7 . The Ambrosian Cantus (Ottawa, 1987). 'Milanese M e l o d i c Tropes ' , JPMMS 11 (1988), 1-12. and M E R K L E Y , P A U L , The Antiphons of the Ambrosian Office (Ottawa, 1989).

The Melodic Tradition of the Ambrosian Office-Antiphons (Ottawa, 1990). B A L D O V I N , J O H N F . , The Urban Character of Christian Worship: The Origins, Development,

and Meaning of Stational Liturgy (Oriental ia Christ iana analecta, 228; R o m e , 1987). B A L T Z E R , R E B E C C A A . , 'Johannes de Gar landia ' , NG. Bamberg 6 = Die Handschrift Bamberg Staatsbibliothek Lit. 6 ( M o n u m e n t a palaeographica

Gregoriana, 2 ; Munsterschwarzach, [1986]). B A N N I S T E R , H E N R Y M A R R I O T T , Monument! vaticani di paleografia musicale latina, 2 vols.

(Codices e vaticanis selecti, phototypice expressi, 11; L e i p z i g , 1913). see also A H .

B A R A L L I , R A F F A E L L O , ' A proposito d i un piccolo trattato sul canto ecclesiastico in u n manoscritto dei sec. X - X I ' , Rassegna gregoriana, 4 (1905), 5966.

B A R D O S , K O R N L , Volksmusikartige Variierungstechnik in den ungarischen Passionen, 15. bis 18. Jahrhundert (Musicologia Hungar i ca , N S , 5 ; Budapest, 1975).

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