western plainchant
TRANSCRIPT
< / f
7. fZl
L o n d o n , B r i t i s h L i b r a r y , H a r l e y 4951, fo. 298
v
, s h o w i n g the start of the s e c t i o n for m o d e 3 in
t h e
D A V I D H I L E Y
C L A R E N D O N PRESS • O X F O R D
1993
Oxford 0x2 6np
Xairobi
Melbourne Auckland Madrid
Oxford is a tr ade mark of Oxford Universit y
Publi shed i n the Uni ted Stat es by
Oxford Universit y Press Inc., Xeic York
t
Reprinted 1993
Al l rights reserved. So part of this publi cati on way be reproduced,
stored n a retri eval system, or transmit ted, in any orm or by any means,
without t he prior permission in wr i ti ng of Oxford Universit y Press.
Within the UK, excepti ons are al lowed in respect of any ai r deali ng for the
purpose of research or pri vat e study, or crit icism or revi ew, as permit ted
under the Copyri ght, Designs and Patents Act, 1988, or in the case of
reprographic reproduct ion in accordance wi th the terms of t he i cences
issued by the Copyri ght Li censing Agency. Enquir ies concerni ng
reproduct ion outside
at the address above
Data available
Library of Congress Cataloging i n Publi cati on Data
Western plai nchant: a handbook / David Hiley.
Includes bibl iographical
1. Chants (Plain, Gregori an, etc.) Hi story and criticism.
1. Tit le.
ISBS 0 19 816289 8
Typeset by Hope Serv ices (Abi ngdon) Lt d.
Pri nted in Great Britain
on acid-f ree paper by
St . Edmundsbury Press, Bury St. Edmunds
P R E F A C E
I h a v e been up to L o n d o n to get the b o o k I am w r i t i n g , out of the B r i t i s h M u s e u m .
I h a v e got a lot of it out, and I s h a l l go a g a i n p r e s e n t l y to get some m o r e ; and
w h e n I h a v e got it a l l , there w i l l be another b o o k . . . So m a n y p e o p l e w e r e there,
g e t t i n g out t h e i r b o o k s . It d o e s n ' t seem to matter e v e r y t h i n g ' s
b e i n g in b o o k s
a l r e a d y : I d o n ' t m i n d it at a l l . There are attendants there on p u r p o s e to b r i n g it to
y o u . T h a t is ho w b o o k s are m a d e , and it is d i f f i c u l t to t h i n k of any other wa y. I
m e a n the k i n d c a l l e d s e r i o u s . . .
N o doubt the author of any reference book such as the present one could echo the
sentiments of Miss Charity Marcon, in Ivy Compton-Burnett's Daughters and Sons.
A great deal of my book is indeed got out of others, as the bibliography and references
i n the text make clear. What justification is there for this, and what is the purpose of
the book?
In the first place I wished to provide a book of reference both for those c oming new
to plainchant and for those needing guidance in the specialist literature. T h e book
starts with the assumption, reasonable in this secular age, that many things about the
liturgy and its plainchant, even quite basic matters, are unfamiliar to the reader. At
every stage in the encounter with plainchant one comes up against specialist
terminology and concepts which constitute a real obstacle. T hat is in the nature of the
subject, for ecclesiastical ritual is essentially exclusive, remote from everyday
experience, reserved for specially trained personnel . T o start
with essentials does not
mean, however, that
difficulties have been avoided. I have not, I hope, co nfused
inexperience with lack of intelligence. The reader w i l l encounter here many complex
problems, both those for which scholars have found solutions and others which
remain obsc ure. I have also illustrated techniques of research and given examples, not
just of the music in plainchant sources, but also of their make-up, the way they
deploy their material, and their notation.
Those with access to well-equipped libraries
w i l l
further
specialist literature. But I have also tried to make the book self-explanatory,
and well that w i l l useful
able to read music.
Such a book fulfils a need primarily because of the enormous expansion of
plainchant studies in the last few decades. T h e last major work of synthesis in the
English language, Apel's Gregorian Chant, is now over thirty years o ld. It has not , of
course, been my intention to try and replace A p e l , let alone the more comprehensive
Einfuhrung in die gregorianischen Melodien by Peter Wagner from before the First
World War, both of which remain indispensable. But mu ch has been explored and
v i i i Preface
Kenneth Levy and John Emerson in The New Grove Dictionary, is necessarily brief
(but with an excellent bibliography). T he writings of scholars such as the late Bruno
Stablein—his Schriftbild der einstimmigen Musik and articles in Die Musik in
Geschichte und Gegenwart—together practically constitute a textbook on chant. But
an up-to-date one-vo lume work is clearly required.
T h e co mpressio n and omissions entailed in such a work are the least pleasant things
facing an author. Fo r my own undo ubted sins of omissio n I have tried to make
amends in the bibliography, by citing literature to which I could not do justice in the
main text. T he biblio graphy shoul d go some way towards being a
reference
take
take
this
opportunity to mention the recent appearance of a new chant bibliography with over
4,200 items by T ho mas Kohl hase and Giint her Mi chael Paucker, in Beitrage zur
Gregorianik, 9-10 (1990). T o one work which appeared when the main text was all
but co mplete, but whose contents I knew intimately, I have made no reference. I
acted
as co-editor with Ric hard Croc ker of the new edition of The New Oxford History
of Music, i i : The Early Middle Ages to 1300 (Oxford,
1989),
easy
to avoid unconscious borrowing from it. At any rate, that volume now takes its place
beside Wagner, A p e l , and Stablein's Schriftbild as an essential part of the chant
scholar's library.
Historical writing about plainchant is a relatively young phenemono n. Prince-
Abbot Martin Gerbert's De cantu et musica sacra a prima ecclesiae aetate usque ad
praesens tempus of 1774, the ancestor of all musicological writing on plainchant, was
motivated by the desire to stimulate reforms in the churc h music of his own time.
Knowledge of the past would make men conscious of the malpractices of the present:
T desire . . . to lay open to view the astounding abuses in these
matters, which in my
opinion are the gravest in the discipline of our chur ch' (quo ted in p. l v i i i * of Othmar
Wessely's introductio n to the 1968 reprint of Gerbert's work) . T he work of the great
restorers of the late nineteenth and early twentieth centuries was imbued with the
spirit
of reform, to be achieved, as with Gerbert , through recovery of a former ideal
state. Work which is of incalculable value for musicologists sprang from these
reforming efforts: the series of facsimiles Paleographie musicale, the vo lumes of Ij?
Graduel romain, the studies of notational practices made by D o m Eugene Cardi ne
a n d his pupils (I cite here only a few examples from the work of monks of the Frenc h
Benedictine monastery of Solesmes). However, the fact that more than musicology
was invol ved inevitably affected the selection of info rmation and the use to which it
was put. T his type of counterpoint between scholars and their material is of course
co mmon to all scholarship. In the case of chant studies the consequences of different
viewpoint and purposes can be appreciated by co mparing Cardine's 'Vue d'ensemble
sur le chant gregorien' and Le v y and Emerson's 'Plainchant'.
T h e researches of the Benedictine
fathers
also had a definite practical purpose: the
provision of model, definitive chant-books for use in the Ro man Chu rch. Consequently,
their work was concerned with those chants sung in the Roman liturgy of their own
I X
longer admitted, though important in the M i d d l e Ages. In recent years mostly lay
scholars have devoted considerable energy to those repertories, and it is perhaps not
fanciful to see this partly as a reaction against the bias of earlier chant studies. In my
own case, it led amo ng other things to a decision to transcribe all music al examples
from original sources, rather than rely on modern service-books, slight though the
differences between them may sometimes be.
A great deal of the satisfaction gained fro m writing a book suc h as this comes from
sorting out problems in one's own mind, for, as the renowned author of a monograph
on Lassus succinctly expressed it: 'Nothing clears up a case so much as stating it to
another person.' Yet even more satisfying has been the ever-increasing wonderment at
the variety and richness of the chant reperto ry, a delight to anyone working in the
area. I hope that the musical examples, at least, w i l l help further the appreciation of
these treasures.
Like Miss M arco n, I owe a considerable debt to the British Li brary , but also to the
Anselm Hu ghes Li bra ry of Royal Ho lloway and Bedford New College, University of
London, where I once taught; to the University of London L ibrary at Senate Ho use,
and more recently to the Universitatsbiblio thek of Regensburg Univ ersity, where I
now
teach. Many of my musical examples were transcribed from microfilms, work
with which has in many cases been made possible by grants from the Central Research
Fund of the Univ ersity of London. M y principal debt is to the numerous fellow chant
scholars from whom I have learned over the years, many of whom cou ld have written
a better book than this. It is the fate of textbooks to be used for target-practice, as it
were, by better-informed teachers, but I hope my colleagues w i l l find here something
they can set before their students with reasonable confidence. Abo ve al l, I hope the
book w i l l straighten the path of those who, like myself a co uple of decades ago, are
trying to find their way in an initially fo reign, often bewil dering, but always
fascinating and rewarding musical world.
I am most grateful to the libraries which kindly supplied photo graphs for the plates.
Plates 1, 4-6 , 8-9 , 11-14, and 18 are published by permission of the British Libr ary ;
plates 2, 7, and 16 by permission of the Bodleian Libr ary ; plate 10 by permissio n of
the Syndic s of Cambridge Univ ersi ty Li brar y; plate 15 by permission of the Master
and Fellows of University College, Oxford; and plate 17 by permission of Edi nburgh
University Library.
In conclusion I wish to thank those who have played an especially important part in
the production of the book: Malcolm Gerratt, who launched the project and fanned it
along for several years; Bruce Phillips, who brought it into the safe haven of Oxford
University Press, and the staff of O U P , especially Leo franc Hol fo rd-S trevens and
Bonnie Blackburn, who did far more for the book than an author has a right to expect
from his co py-editor. Greatest of all is my debt to my wife A n n, without whose
patience and encouragement I shoul d never have reached the end of the long voyage.
D . H .
Analytical Table xii
Abbreviations xxxi
Bibliography xxxiii
II. Chant Genres 46
I V .
403
Music
T he ory 442
V I . Plainc hant up to the Ei ghth Century 478
VII.
VIII . Gregorian Chant and Other Chant Repertories 524
IX. Persons and Places 563
X . Reformations of Grego rian Chant 608
X I .
Index of Text and Music Incipits 631
Index
Index of
A N A L Y T I C A L T A B L E
I . P L A I N C H A N T I N T H E L I T U R G Y
L I . I n t r o d u c t i o n 1
1 .2 . L i t u r g y a n d W o r s h i p 2
1 .3 . T h e C h u r c h Y e a r 7
1 . 4 . T h e D a i l y R o u n d 16
1 . 5 . M a s s " 2 2
1 . 6 . O f f i c e 2 5
(i ) T h e N i g h t O f f i c e ( M a t i n s , V i g i l s , o r N o c t u r n s ) i n S e c u l a r U s e 25
( ii ) T h e N i g h t O f f i c e i n M o n a s t i c U s e 2 7
( i ii ) L a u d s i n S e c u l a r U s e 2 8
( iv ) L u d s i n M o n a s t i c U s e 2 8
( v ) V e s p e r s i n S e c u l a r U s e 2 8
( v i) V e s p e r s i n M o n a s t i c U s e 2 9
( v i i) C o m p l i n e 2 9
( v i i i ) P r i m e , T e r c e , Sext, a n d N o n e 3 0
1 . 7 . P r o c e s s i o n s 3 0
1 .8 . C e r e m o n i e s o f H o l y W e e k 3 2
( i) G e n e r a l 3 3
( ii ) P a l m S u n d a y 33
( ii i ) M a u n d y T h u r s d a y 34
( iv ) G o o d F r i d a y 36
(v )
H o l y
S a t u r d a y o r E a s t e r E v e 3 8
( v i ) E a s t e r S u n d a y 3 9
1 . 9 . T h e 'Feast o f F o o l s ' a n d R e l a t e d C u s t o m s 3 9
1 .1 0. O t h e r S e r v i c e s : B a p t i s m , C o n f i r m a t i o n , O r d i n a t i o n , C o r o n a t i o n ,
M a r r i a g e , B u r i a l , D e d i c a t i o n 4 2
I I . C H A N T G E N R E S
>' I I . 1 . I n t r o d u c t i o n 4 6
1 1. 2. R e c i t a t i o n F o r m u l a s f o r P r a y e r s a n d L e s s o n s 4 7
( i) G e n e r a l 4 7
( i i ) P r a y e r s 4 9
( i i i ) L e s s o n s 5 4
1 1 .3 . T o n e s f o r P s a l m s a n d O t h e r C h a n t s 5 8
( i ) P s a l m s 5 8
( ii ) O t h e r P s a l m T o n e s : T h e P a r a p t e r e s , T o n u s p e r e g r i n u s 6 2
( i ii ) T o n e s f o r t h e C a n t i c l e s M a g n i f i c a t a n d B e n e d i c t u s 6 4
( iv ) T o n e s f o r t h e P s a l m V e r s e s o f I n t r o i t s a n d C o m m u n i o n s 6 4
( v i ) Tones for the
I n v i t a t o r y P s a l m
66
( v i i ) Benedictus es domine Dens pat ru m nostnon in the S a t u r d a y M a s s
o f
E m b e r W e e k s
68
( v i i i ) T e
D e u m l a u d a m u s
68
I I
4 . T h e G r e a t R e s p o n s o r i e s of the N i g h t O f f i ce
6 9
( i ) I n t r o d u c t i o n
6 9
( ii ) R e p e r t o r y , T e x t s ,
and
71
( i v ) C e n t o n i z a t i o n
7 4
7 6
G r a d u a l s and Tracts
7 6
( i ) I n t r o d u c t i o n
7 6
( i i ) G r a d u a l s in a: T h e ' I u s t u s ut p a l m a ' G r o u p
77
( i i i ) G r a d u a l s F
8 0
( iv ) O t h e r G r a d u a l s
81
M o d e
. 6 .
S h o r t R e s p o n s o r i e s
85
I
. 7 .
88
( i ) I n t r o d u c t i o n
88
or
P s a lt er A n t i p h o n s
91
( ii i) A n t i p h o n s
for the
of
the
N i g h t O f f i ce ,
and
9 2
( i v ) A n t i p h o n s for the M a g n i f i c a t and B e n e d i c t u s
9 6
T h e
G r e a t O - A n t i p h o n s
98
I I . 8 .
I n v i t a t o r y A n t i p h o n s
9 9
I I
. 9 .
P r o c es s io n a l A n t i p h o n s
9 9
( i ) I n t r o d u c t i o n
100
( ii ) R o g a t i o n A n t i p h o n s
101
( ii i ) P a l m S u n d a y A n t i p h o n s
102
( i v ) A n t i p h o n s
for
O t h e r O c c a s i o n s
102
10.
M a r i a n A n t i p h o n s
I I 1 1 .
109
( i ) I n t r o d u c t i o n
109
( i i ) I n t r o i t s
in
3
110
( i i i ) C o m p a r i s o n w i t h O f f i ce A n t i p h o n s
and
R e s p o n s o r i e s
114
C o m m u n i o n s
116
116
of
C o m m u n i o n s w i t h P s a l m
and
117
( i i i ) Some F - m o d e C o m m u n i o n s
118
( i v ) C o m m u n i o n s
and
R e s p o n s o r i e s
120
13 .
121
( i ) I n t r o d u c t i o n
121
122
( i i i ) T h e M e l o d i e s of the O f f e r t o r y R e s p o n d
122
( i v) V e r s e M e l o d i e s
126
11.14. A l l e l u i a s 1 30
( i) I n t r o d u c t i o n 1 30
( i i) T h e E a r l i e r a n d L a t e r S t y l e s 1 3 2
( i i i) R h y m e d A l l e l u i a s a n d L a t e M e d i e v a l M e l o d i e s 136
11.15. H y m n s 1 4 0
( i) I n t r o d u c t i o n 1 40
( i i )
Texts
141
( i i i) M u s i c 1 4 2
( iv ) P r o c e s s i o n a l H m n s 1 46
11.16. C h a n t s f o r t h e O r d i n a r y o f M a s s 1 48
11.17. K y r i e e l e i s o n 1 5 0
( i ) K y r i e e l e i s o n a s a L i t a n y 1 5 0
( i i ) K y r i e e l e i s o n after t h e I n t r o i t a t M a s s 1 51
( i ii ) E a r l y M e l o d i e s 1 52
( iv ) I t a l i a n M e l o d i e s 1 54
( v) M e l o d i c T y p e s 1 55
* ( v i ) L a t e r M e l o d i e s 155
11.18. G l o r i a i n e x c e l s i s D e o 1 5 6
( i) I n t r o d u c t i o n 1 56
( i i) R e c i t a t i o n T y p e s 1 57
( i i i ) T h r o u g h - c o m p o s e d M e l o d i e s 1 59
11.19. S a n c t u s 1 61
( i) T h e O l d e s t M e l o d i e s 1 61
( i i ) O t h e r M e l o d i e s 1 62
11.20. A g n u s D e i 165
11.21. C r e d o 1 68
11.22. Sequences 172
( i) I n t r o d u c t i o n 1 7 2
( i i ) E a r l y
Sequences
w i t h P a r a l l e l - V e r s e S t r u c t u r e 1 73
( i ii ) N o t a t i o n : P e r f o r m a n c e ; P a r t i a l l y T e x t e d M e l o d i e s 1 80
( i v ) S h o r t A p a r a l l e l
Sequences 181
( v ) I t a l i a n Sequences 183
( vi ) T h e E a r l y H i s t o r y o f t h e
Sequence
185
( v i i ) R h y m e d Sequences 189
11.23.
T r o p e s 1 96
( i) I n t r o d u c t i o n 1 96
( i i ) A d d e d M e l i s m a s i n I n t r o i t s 1 97
( i i i ) A d d e d M e l i s m a s i n G l o r i a s 1 99
( i v ) A d d e d R e s p o n s o r y M e l i s m a s 2 00
( v) P r o s u l a s f o r O f f e r t o r i e s a n d A l l e l u i a s 2 0
( v i) R e s p o n s o r y P r o s u l a s 2 0 4
( v i i i ) K y r i e s w i t h
L a t i n T e x t , K y r i e P r o s u l a s , a n d K y r i e T r o p e s 2 11
( ix ) B e n e d i c a m u s C h a n t s w i t h E x t e n d e d T e x t , P r o s u l a s , a n d T r o p e s 2 13
(x ) I n t r o i t , O f f e r to r y , a n d C o m m u n i o n T r o p e s ; Sequence T r o p e s 2 15
( x i ) G l o r i a , S a n c t u s , a n d A g n u s T r o p e s 2 2 3
V 11.24. L a t i n l i t u r g i c a l songs 238
( i) I n t r o d u c t i o n 2 38
( ii ) V e r s u s i n E a r l y A q u i t a n i a n M a n u s c r i p t s ; v e rs u s w i t h ' D o u b l e
C u r s u s '
239
( i ii ) T w e l f t h - c e n t u r y S o n g s : T e x t u a l a n d M u s i c a l S t y l e 2 41
( iv ) T w e l f t h - c e n t u r y S o n g s : L i t u r g i c a l F u n c t i o n 2 48
11.25. L i t u r g i c a l D r a m a s 2 50
(i ) L i t u r g y a n d D r a m a 2 51
( i i ) T h e Quern queritis
D i a l o g u e 2 5 2
( i i i )
Easter
C e r e m o n i e s f r o m t he E l e v e n t h C e n t u r y O n w a r d 25 5
( iv ) C h r i s t m a s a n d E p i p h a n y C e r e m o n i e s ; R a c h e l ' s a n d M a r y ' s L a m e n t s 2 63
(v ) R h y m e d C e r e m o n i e s ; th e F l e u r y P l a y b o o k ; t he Ludus Danielis 2 6 6
11.26. O f f i c e s w i t h V e r s e Texts 273
11.27. M e t r e , A c c e n t , R h y t h m , a n d R h y m e i n L i t u r g i c a l
Texts
279
( i) M e t r e a n d Stress 280
( i i) R h y m e 2 8 4
( i ii ) P r o s e R h y t h m ( C u r s u s ) a n d P r o s e R h y m e 2 85
I I I . L I T U R G I C A L B O O K S A N D P L A I N C H A N T S O U R C E S
I I I . 1 . I n t r o d u c t i o n 2 87
111.2. O r d i n e s R o m a m 2 89
111.3. Sacramentaries
a n d L e c t i o n a r i e s 2 91
(i )
Sacramentaries
291
( i i ) L e c t i o n a r i e s 2 9 3
111.4. G r a d u a l s ( M a s s A n t i p h o n e r s ) a n d C a n t a t o r ia 29 5
( i) I n t r o d u c t i o n 2 95
( ii ) G r a d u a l s w i t h o u t N o t a t i o n 2 96
( i ii ) N o t a t e d G r a d u a l s 2 99
111.5. A n t i p h o n e r s ( O f f ic e A n t i p h o n e r s ) 303
( i) T h e E a r l i e s t A n t i p h o n e r s 3 04
( ii ) T y p e s o f M a n u s c r i p t a n d C a l e n d r i c O r g a n i z a t i o n 3 05
( i i i ) C o m p a r i s o n of Sources 307
111.6. P s a l t e r s , H y m n a l s , C o l l e c ta r s , O f f i ce L e c t i o n a r i e s 3 08
( i ) P s a l t e r s 3 0 8
( i i) H y m n a l s 3 10
( i i i ) C o l l e c t a r s 3 1 1
( i v ) O f f i c e l e c t i o n a r i e s 3 1 3
I I 1 .7 . S e q u e n t i a r i e s , T r o p e r s , a n d K y r i a l e s 3 13
I I 1 . 8. P r o c e s s i o n a l s 3 1 7
111.9. M i s s a l s 3 19
111.10. B r e v i a r i e s 3 2 0
I I I . 1 1. C o m p e n d i a 32 1
111.12. P o n t i f i c a l s a n d R i t u a l s 3 2 4
( i) P o n t i f i c a l s a n d B e n e d i c t i o n a l s 3 2 4
( ii ) R i t u a l s , M a n u a l s , o r A g e n d a 3 24
I I I . 1 4. T o n a r i e s 3 25
(i ) D e f i n i t i o n a n d F u n c t i o n 3 26
( ii ) T y p e - M e l o d i e s f o r t he E i g h t M o d e s 3 31
( i ii ) H o w P s a l m Tones w e r e S p e c i f i e d 3 3 3
I I I . 1 5. I d e n t i f y i n g a n d D e s c r i b i n g C h a n t - B o o k s 3 35
I V . N O T A T I O N
I V . 1 . I n t r o d u c t i o n 3 4 0
( i) P r e l i m i n a r y 3 4 0
( i i) T h e S i g n s i n M o n t p e l l i e r H . 1 59 3 41
( i i i ) N e u m e 3 4 5
I V . 2 . R e g i o n a l Styles 346
( i) F r e n c h a n d G e r m a n N o t a t i o n 3 47
( ii ) P a l a e o f r a n k i s h , L a o n , B r e t o n , a n d A q u i t a n i a n N o t a t i o n s 3 47
( i i i) T y p e s R e l a t ed to F r e n c h - G e r m a n N o t a t i o n 351
( i v) O t h e r I t a l i a n N o t a t i o n s 3 5 2
( v) E x a m p l e s 3 53
I V . 3 . L i q u e s c e n c e , O r i s c u s , Q u i l i s m a ; O t h e r S p e c i a l S i g n s 3 57
( i) S i g n s f o r L i q u e s c e n c e 3 5 7
( ii ) Q u i l i s m a 3 58
( i i i ) O r i s c u s 3 5 9
( i v ) V i r g a s t r a t a , P r e s s u s , P e s s t r a t u s , P e s q u a s s u s , S a l i c u s 3 6 0
I V . 4 . T h e O r i g i n s o f C h a n t N o t a t i o n 3 61
( i) I n t r o d u c t i o n 3 6 2
( i i) E a r l y E x a m p l e s 3 6 2
( i i i ) E a r l y References t o N o t a t i o n 3 6 4
( i v ) P a r a l l e l Systems 364
(a ) P r o s o d i c A c c e n t s 3 65
(b ) P u n c t u a t i o n 3 66
( c) E k p h o n e t i c N o t a t i o n 3 67
(d ) B y z a n t i n e N o t a t i o n 3 69
( v) T h e ' C h e i r o n o m i c ' T h e o r y 3 70
( vi ) T h e E a r l y T r a n s m i s s i o n o f C h a n t 3 70
( v i i )
Some
C o n c l u s i o n s 371
I V . 5 . T h e N o t a t i o n o f R h y t h m 373
( i) R h y t h m i c E l e m e n t s i n E a r l y N o t a t i o n s 3 74
( ii ) R h y t h m i n S i m p l e A n t i p h o n s 3 80
( i ii ) C a r d i n e ' s ' G r e g o r i a n S e m i o l o g y ' 3 82
( iv ) T h e E v i d e n c e o f T h e o r i s t s 3 84
( v) C o n c l u s i o n s 3 85
I V . 6 . P i t c h - N o t a t i o n 38 6
( i) F r o m t h e N i n t h C e n t u r y to W i l l i a m o f D i j o n 3 86
( i i) G u i d o o f A r e z z o 3 88
( i i i ) S t a f f - N o t a t i o n i n D i f f e r e n t L a n d s 3 89
I V . 7 . T h e o r i s t s ' N o t a t i o n s 3 92
I V . 9 . M o d e r n T r a n s c r i p t i o n 398
( 1 ) T h e L i t u r g i c a l C o n t e x t 399
( i i ) T r a n s c r i p t i o n 400
( i i i ) T r a n s c r i p t i o n f r o m Staffless N o t a t i o n s 400
P L A T E S
F r o n t i s p i e c e i i
P l a t e 1. L o n d o n , B r i t i s h L i b r a r y , H a r l e y 1117 406
P l a t e 2. O x f o r d , B o d l e i a n L i b r a r y , Lat . l i t u r g . d. 3 408
P l a t e 3. L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 857 410
P l a t e 4. L o n d o n , B r i t i s h L i b r a r y , H a r l e y 110 412
P l a t e 5. L o n d o n , B r i t i s h L i b r a r y , A d d . 30850 414
P l a t e 6. L o n d o n , B r i t i s h L i b r a r y , A d d . 19768 416
P l a t e 7. O x f o r d , B o d l e i a n L i b r a r y , C a n o n i c i l i t u r g . 350 418
P l a t e 8. L o n d o n , B r i t i s h L i b r a r y , A r u n d e l 156 420
P l a t e 9. L o n d o n , B r i t i s h L i b r a r y , R o y a l 8. C. x i i i 422
P l a t e
10. C a m b r i d g e , U n i v e r s i t y L i b r a r y , L I . 2. 10 424
P l a t e 11. L o n d o n , B r i t i s h L i b r a r y , A d d . 10335 426
P l a t e
12. L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 3511 428
P l a t e
13. L o n d o n , B r i t i s h L i b r a r y , A d d . 29988 430
P l a t e
14. L o n d o n , B r i t i s h L i b r a r y , A d d . 17302 432
P l a t e
15. O x f o r d , U n i v e r s i t y C o l l e g e 148 434
P l a t e
16. O x f o r d , B o d l e i a n L i b r a r y , Lat . l i t u r g . a. 4 436
P l a t e
17. E d i n b u r g h , U n i v e r s i t y L i b r a r y 33 438
P l a t e
18. L o n d o n , B r i t i s h L i b r a r y , p r i n t ed b o o k
I B . 8668 440
V . P L A I N C H A N T A N D
E A R L Y
M U S I C T H E O R Y
V . l . I n t r o d u c t i o n 442
V . 2 . T h e L e g a c y of A n t i q u i t y 443
V . 3 . A P i t c h S y s t e m for P l a i n c h a n t 447
( i ) I n t r o d u c t i o n 447
( i i ) H u c b a l d of S a i n t - A m a n d 448
( i i i ) T h e Enchinadis G r o u p of Treatises 452
V . 4 . T h e M o d e s 454
( i ) G e n e r a l 454
( ii ) A u r e l i a n of Reome 456
( i i i ) R e g i n o
of P r u m 458
( i v ) N o m e n c l a t u r e 459
(v) G r e e k N a m e s and O c t a v e Species 461
( v i ) I t a l i a n T h e o r y : T h e Dialogus de musica 463
( v i i ) G u i d o of A r e z z o 466
( v i i i ) S o u t h G e r m a n W r i t e rs 470
( i x ) M o d a l T h e o r y in S o u t h G e r m a n y 472
(x) L a t e r Syntheses • 476
V I . P L A I N C H A N T U P T O T H E E I G H T H C E N T U R Y
V I . 1 . I n t r o d u c t i o n 4 7 8
V I . 2 .
T h e C h u r c h e s o f C h r i s t e n d o m 4 80
V I . 3 . T h e E a r l y C h u r c h 4 84
V I . 4 . O f f i c e C h a n t s before t h e E i g h t h C e n t u r y 4 87
V I . 5 . M a s s C h a n t s before t h e E i g h t h C e n t u r y 4 94
( i) T h e G r a d u a l * 4 95
( i i) T h e I n t r o i t a n d O t h e r C h a n t s a t t h e Start o f M a s s 4 9 6
( i ii ) T h e C h a n t s at C o m m u n i o n 4 98
( i v) T h e O f f e r t o r y 4 9 9
( v) T h e C h a n t s b e s i d e th e L e s s o n s 500
V I . 6 . G r e g o r y t h e G r e a t 5 03
( i) I n t r o d u c t i o n 5 03
( ii ) G r e g o r y a n d t h e Deacons 5 0 4
( i ii ) G r e g o r y a n d t h e A l l e l u i a 5 0 4
( i v ) I s i d o r e o f S e v i l l e ; t h e Liberpontificalis; t h e L i s t o f C h a n t ' E d i t o r s '
i n O r d o R o m a n u s X I X 5 05
(v) T h e A n g l o - S a x o n T r a d i t i o n 5 06
( vi ) T h e B i o g r a p h i e s b y P a u l W a r n e f r i d a n d J o h n H y m m o n i d e s 5 08
( vi i) T h e 'G r e g o r i a n ' Sacramentary 509
( v i i i ) T h e P r o l o g u e Gregorius
praesul 510
X ' (i x ) T h e R e c e p t i o n o f t h e G r e g o r y L e g e n d i n t h e N i n t h C e n t u r y a n d
L a t e r ; t he D o v e ; t he M o d e s 51 1
( x ) G r e g o r y a n d t h e L e n t e n C o m m u n i o n s 5 11
( x i ) C o n c l u s i o n s 5 13
V I I . T H E
C A R O L I N G
I A N C E N T U R Y
V I I . 1 . I n t r o d u c t i o n 5 1 4
V I I . 2 . T h e E s t a b l i s h m e n t o f R o m a n C h a n t i n F r a n c i a 5 14
V I 1 . 3 . T h e F r a n k i s h E x p a n s i o n o f t he C h a n t R e p e r t o r y 5 18
V I I . 4 . T h e C o d i f i c a t i o n o f P l a i n c h a n t 5 20
V I 1 . 5 . T h e P la c e o f M u s i c i n t he C a r o l i n g i a n Renaissance 521
V I I I . G R E G O R I A N C H A N T A N D O T H E R
C H A N T R E P E R T O R I E S
V I I I . l . I n t r o d u c t i o n 5 24
V I I I . 2 . T h e I n f l u e n c e o f B y z a n t i u m 5 25
( i) I n t r o d u c t i o n 5 25
( ii ) T h e S y s t e m o f E i g h t M o d e s 5 27
( i i i ) A n t i p h o n s f o r t he A d o r a t i o n o f t he C r o s s an d O t h e r C h a n t s i n O l d
I t a l i a n R e p e r t o r i e s 5 2 7
( iv ) T h e T r i s a g i o n 5 2 8
( v) T h e F r a n k i s h ' m i s s a graeca' 528
( v i) T h e C o m m u n i o n Omnes qui in Christo 529
( v i i i ) T e x t u a l C o n c o r d a n c e s w i t h o u t M u s i c a l S i m i l a r i t y 529
( i x )
T h e Veterem hominem A n t i p h o n s
for the
of
530
V I I I . 3 . O l d I t a l i a n C h a n t I : R o m e 530
( i ) I n t r o d u c t i o n
530
of
O l d R o m a n C h a n t
531
( ii i) E x a m p l e s : C o m m u n i o n s 532
( i v ) G r a d u a l s
533
(v ) n t i p h o n s 533
( v i ) O f f e r t o r i e s 534
( vi i ) A l l e l u i a s
538
( v i i i ) O r a l T r a d i t i o n 539
V I I I . 4 . O l d I t a l i a n C h a n t I I : M i l a n 540
V I I I . 5 .
O l d
I t a l i a n C h a n t
I I I : Benevento 549
V I I I . 6 . G a l l i c a n C h a n t 552
VI11.7. O l d S p a n i s h ( M o z a r a b i c ) C h a n t 557
V I I I .8. C o n c l u s io n s
560
I X . P E R S O N S A N D P L A C E S
I X .
1.
I n t r o d u c t i o n
563
I X . 2 . A m a l a r i u s of M e t z 569
I X . 3 . St G a l l 571
I . 4 . C l u n y
574
I X . 5 . W i l l i a m of D i j o n 578
I X . 6 . E n g l a n d
before
and after the N o r m a n C o n q u e s t 580
I X . 7 . N o r t h I t a l ia n T r a d i t i o n s
585
I X . 8 . Benevento and M o n t e c a s s in o 589
I X . 9 . R o m e
an d the
F r a n c i s c a n s
594
and
S a i n t - M a r t i a l
at
596
I X . 1 1. T h e H i s p a n i c P e n i n s u la after the Reconquest 601
I X . 12. N o r t h e r n and E a s t e rn E u r o p e 604
( i ) S c a n d i n a v i a
and
604
( i i ) P o l a n d 605
( i i i ) C z e c h o s l o v a k i a 606
( i v ) H u n g a r y
607
, X . R E F O R M A T I O N S O F G R E G O R I A N C H A N T
X . l . I n t r o d u c t i o n 608
X . 2 . T h e C i s t e r c i a n s 609
X . 3 . T h e
D o m i n i c a n s
611
X . 4 . C h a n t in O t h e r R e l i g i o u s O r d e r s 613
( i ) T h e C a r t h u s i a n s 613
( i i )
T h e
P r e m o n s t r a t e n s i a n s
614
X . 5 . h e ' M e d i c e a n ' G r a d u a l (1614 -15 ) 615
X I . T H E R E S T O R A T I O N O F M E D I E V A L C H A N T
X I . 1 . T h e R e t u r n t o t h e Source 622
X I . 2 . Solesmes a n d t h e V a t i c a n E d i t i o n 6 2 4
I L L U S T R A T I O N S
Plates
F o r l i s t s e c a b o v e , p . x v i i .
Maps
I V . 2 . 1 . C e n t r e s w h e r e L a o n n o t a t i o n w a s u s e d
3 5 0
I X . 1 . 1 .
T h e a r c h d i o c e s e s o f l a te m e d i e v a l E u r o p e
5 6 5
I X . 1 . 2 . E c c l e s i a s t i c a l m a p o f I t a l y
5 6 6
I X . 1 . 3 .
E c c l e s i a s t i c a l m a p of G e r m a n y
5 6 7
I X . 1 . 4 .
E c c l e s i a s t i c a l m a p o f F r a n c e
5 6 8
I X . 4 . 1 .
M o n a s t e r i e s f o l l o w i n g t h e u s e o f C l u n y , S a i n t - B e n i g n e a t D i j o n , o r B e e
5 7 7
V . 4 . 1
G u i d o n i a n h a n d after M u n i c h , B a y e r i s c h e S t a a t s b i b l i o t h e k , e l m 14965b
4 6 9
T A B L E S
1.3.1. T h e C h u r c h y e a r : th e f i x e d p a r t d e p e n d e n t u p o n C h r i s t m a s 12
1.3.2. T h e C h u r c h y e a r : t h e m o v a b l e p a r t d e p e n d e n t o n E a s t e r 13
1.3.3. K a l e n d a r f o r O c t o b e r : C a m b r i d g e , C o r p u s C h r i s t i C o l l e g e 3 91 1 4 - 1 5
1.3.4. S a i n t s w i d e l y c e l e b r a t e d i n t h e R o m a n C h u r c h 17
1.4.1. T h e l i t u r g i c a l h o r a r i u m at
C l u n y
i n t h e l a te e l e v e n t h c e n t u r y 2 0
1.4.2. P s a l m s a l l o t t e d t o o f f i ce h o u r s , f e r i a l c u r s u s 21
1.6.1. P s a l m s a t f e r i a l V e s p e r s 2 9
I . 9 . 1 . B e a u v a i s C i r c u m c is i o n o f f i c e , F i r s t V e s p e r s 4 3
I I . 7 . 1 . A n t i p h o n themes o r p r o t o t y p e m e l o d i e s 91
I I . 1 1 . 1 . R e c i t i n g notes i n i n t r o i t m e l o d i e s 115
11.23.1. T r o p e s f o r t h e E a s t e r i n t r o i t Resunexi i n W i n c h e s t e r s o u r c e s 2 17
11.23.2. G l o r i a t r o p e
sets
s t a r t i n g O laudabilis rex 226-7
11.23.3. F a r s e d A p o s t l e s ' C r e e d i n L a o n 2 6 3 2 3 4
111.4.1. I n t e r l o c k i n g T e m p o r a l e a n d S a n c t o ra l e i n R o m a n u se 3 00
111.4.2. D i s p o s i t i o n o f T e m p o r a l e a n d S a n c t o r a le i n F r a n k i s h u se 301
111.4.3. Separate T e m p o r a l e a n d S a n c t o r a l e i n l a te r m e d i e v a l u se 3 02
I I I .5 .1 . D e p l o y m e n t o f m a t e r i a l i n t w o a n t i p h o n e r s 3 0
I I I .8 .1 . C o n t e n t s o f t h e C a s t l e A c r e p r o c e s s i o n a l 3 18
I I I . 1 5 . 1 . R e s p o n s o r i e s i n t h e N i g h t O f f i c e o f S t A n d r e w 337
I V . 1 .1 . N o t a t i o n a l s i g n s i n M o n t p e l l i e r , F a c u l t e d e M e d e c i n e I I . 1 59 342-3
I V . 2 . 1 . F r e n c h a n d G e r m a n n o t a t io n a l s ig n s 3 48
I V . 2 . 2 . P a l a e o f r a n k i s h , L a o n , B r e t o n , a n d A q u i t a n ia n n o t a t i o n a l s i g n s 3 4 9
I V . 2 . 3 . S i g n s r e l a te d t o F r e n c h - G e r m a n n o t a t i o n 3 52
I V . 2 . 4 . O t h e r I t a l i a n n o t a t i o n s 3 53
I V . 3 . 1 . S p e c i a l s i g n s i n S t G a l l a n d L a o n n o t a t i o n 3 61
I V . 4 . 1 . P r o s o d i c accents 366
I V . 4 . 2 . B y z a n t i n e e k p h o n e t i c s ig n s 3 68
I V . 4 . 3 . A c c e n t s , e k p h o n e t i c s i g n s , a n d n e u m e s ( B y z a n t i n e ) 3 69
I V . 6 . 1 . S p e c i a l s i g n s a t t h e s e m i t o n e step i n M o n t p e l l i e r , F a c u l t e d e M e d e c i n e I I . 1 59 3 88
I V . 6 . 2 . L a t e f o r m s d e r i v e d f r o m L a o n a n d G e r m a n n o t a t io n 3 90
V . 2 . 1 . G r e a t e r a n d L e s s e r P e r f e c t S y s t e m , d i a t o n i c g e n u s 4 4 6
V . 4 . 1 . G r e e k a n d m e d i e v a l m o d a l n a m e s 4 6 2
V . 4 . 2 . W r i t e r s o n m u s i c t h e o r y i n s o u t h G e r m a n y i n t h e e l e v e n t h c e n t u r y 4 7 2
V I . 5 . 1 . C h a n t s a t t h e start o f mass i n f o u r r i t e s 4 9 7
Tables xxiii
I X . 3 . 1 . S o u r c e s g r o u p e d a c c o r d i n g t o t h e i r m u s i c a l v a r i a n t s 5 7 4
I X . 1 0 . 1 . A q u i t a n i a n s o u r c e s t o c. 1200 597
M U S I C E X A M P L E S
E x . I1.2.1. V e r s i c l e s and responses 48
E x .
I 1.2.2.
F r o m
the B l e s s i n g of the F o n t on E a s t e r Eve
50
1.2.3.
F r o m the E x u l t e t
52
E x . I 1.2.4. F r o m a l i t a n y on R o g a t i o n T u e s d a y 53
E x . I 1.2.5 . Paler noster
54
1.2.6.
F r o m the G o s p e l on the feast of St J o h n the E v a n g e l i s t 55
E x . I
1.2.7.
F r o m the G e n e a l o g y a c c o r d i n g to St M a t t h e w
5 7
1.2.8.
F r o m the G e n e a l o g y a c c o r d i n g to St L u k e 58
E x .
I
1.3.1.
T h e e i g h t p s a l m
tones
59-60
E x . I 1.3.2. A n t i p h o n Scitote quia prope est, w i t h p s a l m - t o n e 61
E x . I
1.3.3.
C a d e n c e s f r o m the Commemoratio brevis
62
I
1.3.4.
T o n u s p e r e g r i n u s
63
1.3.5.
A n t i p h o n w i t h ' p a r a p t e r ' p s a l m tone
63
1.3.6.
P s a l m verses for i n t r o i t s
64
E x . I 1.3.7.
V e r s e s of the r e s p o n s o r i e s Salvatorem expectant us, Aitdite verbum,
a n d
Ecce virgo concipiet
1.3.8.
I n v i t a t o r y tone
6 7
E x . I1.4.1. R e s p o n d s of f o u r r e s p o n s o r i e s
72
78
E x . I 1.5.2.
F r o m G r a d u a M w / w a nostra
V . Laqueus contritus est
80
E x . I 1.5.3. F r o m G r a d u a l Exaltabo te V . Domine Dens mens 81
E x .
I 1.5.4.
84
1.6.1.
S h o r t r e s p o n s o r y Super te lerusalem
86
E x . I 1.6.2.
S h o r t r e s p o n s o r y Resurrexit Dominus
8 7
1.6.3.
F e r i a l a n t i p h o n s Credidi a n d Portio mea 8 7
E x . I
1.7.1.
P s a l t e r a n t i p h o n s 92
E x .
I 1.7.2.
A n t i p h o n s w i t h the m e l o d y G e v a e r t t h e m e 29
93
1.7.3.
A n t i p h o n s w i t h the m e l o d y G e v a e r t t h e m e 36
94
E x . I 1.7.4. A n t i p h o n s 95
E x .
I 1.7.5.
M a g n i f i c a t a n t i p h o n s
9 7
E x . I1.8.1.
I n v i t a t o r y a n t i p h o n Ouoniam Deus magnus and p a r t of r e s p o n s o r y
Tolle anna tua
E x .
I1.9.1. P r o c e s s i o n a l a n t i p h o n Ego sunt Deus 101
E x . I 1.9.2.
F r o m the p r o c e s s io n a l a n t i p h o n Collegentnt pontifices 102
E x . I
1.9.3.
P r o c e s s i o n a l a n t i p h o n Ego sum alpha et to
103
I
1.10.1.
M a r i a n a n t i p h o n Sub tuunt presidium
105
E x . I 1.10.2.
M a r i a n a n t i p h o n Speciosa facta es in two v e r s i o n s
106
1.10.3.
F r o m M a r i a n a n t i p h o n s Alma redemptoris mater a n d Sake
regina
107
E x .
I 1.10.4.
M a r i a n a n t i p h o n Aurei nontinis Maria
107
1.10.5.
M a r i a n a n t i p h o n Trinitatis thalamum
108
E x . I
1.11.1. M o d e 3 i n t r o i t o p e n i n g s
111
1.11.2.
M o d e 3 i n t r o i t cadences
112
1.11.3.
R e c i t a t i o n a r o u n d c in m o d e 3 i n t r o i t s
113
1.11.4.
F r o m i n t r o i t Ecce oculi
113
legifer
noster a n d i n t r o i t Timete Dominion
114
1.12.1.
M o d e 6 c o m m u n i o n s
118
E x . I 1.12 .2. C o m m u n i o n Dicit Dominus implete hydrias
119
1.12.3.
Diffusa est gracia as c o m m u n i o n and r e s p o n s o r y
120
E x . I
1.13.1. O f f e r t o r y r e s p o n d Ad te Domine levavi
123
1.13.2.
O f f e r t o r y r e s p o n d In die sollempnitatis
124
E x . I
1.13.3. O f f e r t o r y r e s p o n d Jubilate Deo universa terra
125
E x . I
1.13.4. F r o m o f f e r t o r y r e s p o n d Tollite portas
127
E x . I
1.13.5. S e c o n d verse of o f f e r t o r y
Tollite
portas
128
1.13.6.
V e r s e s of o f f e r t o r y Iubilate Deo universa terra
129
132
1.14.2.
A n o t h e r m e l o d y for Alleluia Dominus dixit ad me
133
134
138
139
verses for A lleluia 0 Matia rubens rosa
139
143
H y m n Somno refect is artubus
143
E x . I
1.15.3. T w o m e l o d ie s for h y m n Ecce iam noctis
144
Pange
lingua
145
145
E x . I
1.15.6. F r o m p r o c e s s i o n a l hymn Ardua spes mundi
147
151
K y r i e
55, V a t i c a n ad l i b . V I
153
1.17.3.
K y r i e 68, V a t i c a n X I V
154
1.17.4.
K y r i e 155, V a t i c a n X V
154
E x . I 1.17.5.
K y r i e 77 and K y r i e 52
155
97
156
156
C a d e n t i a l
f i g u r e s (a-d) and i n t o n a t i o n f g ur e (e) f r o m G l o r i a 39
158
G l o r i a 2
159
160
E x .
1.19.1. G r e e k Sanctus and L a t i n Sanctus 66
163
O l d
R o m a n A g n u s ; A g n u s 226
167
168
170
E x . II .21.2.
F r o m C r e d o by L u l l y
171
175
175
182
189
E x . II
192
193
E x . II .23.1.
T r o p e verses Dilectus iste Domini, etc. for
i n t r o i t /;/ medio ecclesie
1 9 8 - 9
E x . 11.23.2.
V e r s e Ostende nobis for o f f e r t o r y Benedixisti, w i t h p r o s u l a s Da nobis
famulis a n d Da nobis potenti
202
E x . I] .23.3.
Alleluia Concussion est mare w i t h p r o s u l a Angelas Michael 203
E x . II .23.4.
R e s p o n s o r y Beatus Nicholaus w i t h p r o s u l a Oportet devota mente
206
E x . 11 .23.5.
R e s p o n s o r y 0 mater nostra
w i t h p r o s u l a Eterna virgo memorie
207
.23.6.
F r o m G l o r i a 56 ( V a t i c a n I V ) w i t h t r o p e verses 0 gloria
sanctorum, etc., R e g n u m p r o s u la 0 rexglorie
208
210
212
E x . U
[.23.9. K y r i e 55 w i t h t r o p e verses Chris te redemptor, etc.
213
E x . I i
[.23.10. B e n e d i c a m u s chant Eia nunc pueri
214
E x . I]
.23.11. B e n e d i c a m u s chants
215
E x . U .23.12. T r o p e verses Ecce iam Iohannes, etc. for i n t r o i t /;/ medio
ecclesie
218-19
E x . I]
.23.13. T r o p e verse Deus paterfiliurn suum a n d start of i n t r o i t Puer natus est
222
.23.14.
I n t r o d u c t o r y verses Ilodie cantandus est, etc. and start of i n t r o i t Puer
natus est
E x . 11
.23.15. G l o r i a 39 w i t h t r o p e verses 0 laudabilis rex, etc. and S c e p t r u m
p r o s u l a Lumen etemum
228-30
.23.16.
Sanctus 56 ( V a t i c a n III) w i t h t r o p e verses Summe
pater, etc. an d
O s a n n a p r o s u l a s Omnes tua gratia ^nd Martyr Christi gratia
2 3 0 - 1
E x . 11
.23.17. A g n u s 15 w i t h t r o p e verses P r o cunctis deductus, etc.
232
.23.18.
A g n u s 81a w i t h t r o p e verses Ad dextrarn patris, etc. a n d Ilumanum
genus, etc.
233
E x . 11 .23.19. F a r s e d C r e d o
235-6
.23.20.
I n t r o d u c t o r y verse
iMitdes Deo for a f a r s e d e p i s t l e
237
E x . 11
.23.21. Start of f a r s e d l e s s o n
w i t h verses Ce que Ysaies nos escrit, etc.
237
Sancte Paule pastor bone 241
E x . 11
.24.2. B e n e d i c a m u s song Lux ornni festa populo
243
11
.24.3.
L a t i n s o n g Letabundi iubilemus
E x . 11
.24.4. L a t i n s o n g Natus est, natus est 245
E x . I]
.24.5. B e n e d i c a m u s s o n g Thesaurus nove grade
246
E x .
II.24.6. L a t i n s o n g Plebs Domini hac die
246
II.24.7.
L a t i n s o n g / k ^ mater salvatoris 247
E x .
II.24.8. M a c a r o n i c s o n g Be deu hoi mais
248
258-9
260
E x . II.25.7.
F r o m the T o u r s Easter p l a y
268-9
E x . II.25.8.
S o n g Adam novus veterem f r o m F l e u r y P e r e g r i n u s p l a y
270
E x .
272
E x .
II.26.1. R e s p o n s o r y Videns Rome vir beatus
275
A n t i p h o n Gregorius vigiliis
276
A n t i p h o n s
f r o m the o f f i c e of St D o m i n i c 277
E x . II.26.4. A n t i p h o n s
f r o m the o f f i c e s of St D o m i n i c and St T h o m a s of C a n t e r b u r y 278
E x . II.26.5. R e s p o n s o r y Post sex annos 279
E x . III.14.1. E x t r a c t f r o m a t o n a r y , p a r t of the t h i r d tone
327
E x . III.14.2. T y p e - m e l o d i e s f r o m a t o n a r y
332
E x .
III.14.3. F r o m the G l o r i a tones
334
I V . 1 . 1 .
C o m m u n i o n Ego sum vitis vera
344
Beatus ille servus
E x .
I V . 2 . 2 . C o m m u n i o n Quis dabit ex Sion 356
E x .
I V . 3 . 1 . F r o m g r a d u a l Exultabunt sancti V .
Cantate Domino
I V . 3 . 2 .
E x a m p l e s of o r i s c u s
359
E x .
I V . 4 . 1 . O p e n i n g s of m o d e 3 i n t r o i t s (St G a l l n o t a t i o n )
372
E x .
I V . 5 . 1 . F r o m o f f e r t o r y
Benedictus es Domine 375
5.2.
N o r m a l and m o d i f i e d s i g n s in St G a l l n o t a t i o n (select ion) 376
E x .
I V . 5 . 3 .
N o r m a l and ' l o n g e r ' s i g n s in L a o n n o t a t io n (selection) 377
E x .
I V . 5 . 4 . A s t a n d a r d p h r a se f r o m m o d e 5 g r a d u a ls ( A p e l F l ) w i t h L a o n and St
G a l l n o t a t i o n 378
E x .
I V . 5 . 5 . P o s s i b l e g r a d a t i o n s of d u r a t i o n in pes and c l i vi s ( L a o n and St G a l l
n o t a t i o n s )
378
E x . I V . 5 . 6 . M e n s u r a l t r a n s c r i p t i o n of passages f r o m Alleluia Pascha nostrum 379
E x .
I V . 5 . 7 . M e n s u r a l t r a n s c r i p t i o n of passages horn Alleluia Pascha nostrum 380
E x .
I V . 5 . 8 .
A n t i p h o n s w i t h the same m e l o d y 381
E x .
I V . 6 . 1 . A l p h a b e t i c n o t a ti o n a-p 387
E x .
I V . 7 . 1 . H u c b a l d ' s l e tt e r- n o ta t io n 393
E x .
I V . 7 . 2 .
D a s i a s i g n s in the Enchiriadis g r o u p of treatises
393
I V . 7.3.
B o e t h i u s ' p i t c h - l e t t e r s 394
E x . I V . 7 . 4 .
P i t c h - l e t t e r s in the
Dialogus de musica
and G u i d o of A r e z z o 395
E x .
I V . 7 . 5 . H e r m a n n u s C o n t r a c t u s ' i n te r va l n o t a t io n 396
E x . I V . 8 . 1 .
C o m m u n i o n Pascha nostrum
398
Music Examples
E x .
V . 2 . 1 .
B o e t h i u s ' d i v i s i o n of the m o n o c h o r d
445
V . 2 . 2 .
Species of i n t e r v a l s
447
V . 3 . 1 .
A n t i p h o n Ecce vere Israelii a n o t a t e d by H u c b a l on six ' s t r i n g s '
449
H u c b a l d ' s
a r r a n g e m e n t of a s c e n d i n g t e t r a c h o r d s
450
E x .
V . 3 . 3 . I n t r o i t Statuit ei as d e s c r i b e d by H u c b a l d 450
E x .
H u c b a l d ' s
l e t t e r - n o t a t i o n
451
E x .
V . 3 . 5 . E x a m p l e s in p r o t u s m o d e f r o m
Music a enchiriadis
E x . V . 4 . 1 .
P s a l m - v e r s e cadences and o p e n i n g s of m o d e 1 i n t r o i t s c i t e d by A u r c l i a n
o f R e o m e 457
E x .
V . 4 . 2 . D i v i s i o n of the m o n o c h o r d in
Dialogus de rnusica
V . 4 . 3 .
N o t e s r e q u i r e d to notate a n t i p h o n Domine qui operati, v a r i o u s v e r s i o n s 465
E x . V . 4 . 4 .
Ranges of chants in the e i g h t m o d e s , Dialogus de rnusica 465
E x .
V . 4 . 5 .
' S i m i l i t u d e s ' of notes to the v a r io u s m o d e s , Dialogus de rnusica 466
E x .
y
G u i d o of A r e z z o 467
E x .
V . 4 . 7 .
A n t i p h o n Diligite Dominion 468
E x . V . 4 . 8 . T h e modi vocum, G u i d o of A r e z z o
470
E x . V . 4 . 9 . N o t e s r e q u i r e d to notate c o m m u n i o n De fructu, two v e r s i o n s 474
E x .
V.4.10
M o d a l q u a l i t i e s of notes,
H e r m a n n u s C o n t r a c t u s 475
E x .
V I I I . 3 . 1 . O l d R o m a n and G r e g o r i a n v e rs io n s of c o m m u n i o n Revelabitur gloria
Domini 532
E x . VIII .3 .2 .
G r a d u a l verses Celt enarrant and In manibus portabunt te 534
E x .
VIII .3 .3 .
A n t i p h o n s in O l d R o m a n and G r e g o r i a n v e r s io n s 535
E x .
VIII .3 .4 .
O l d R o m a n and G r e g o r i a n v e r s io n s of o f f e r t o r y
verse Qui propitiatur
E x .
VII I . 3 . 5 . O l d R o m a n and G r e g o r i a n v e r s io n s of verse Quoniam angelis f r o m
o f f e r t o r y Scapulis suis
537
verse of A lleluia Palatum corrneum
538
E x . V I I I . 4 . 1 .
T r a n s i t o r i u m Convertirnini omnes
543
VIII .4 .2 .
R e s p o n s o r i u m cum i n f a n t i b u s Sperent in te
545
E x .
VIII .4 .3 . Melodiae of A m b r o s i a n A l l e l u i a V I
546
VIII .4 .4 .
G r e g o r i a n , Ol d R o m a n , and A m b r o s i a n v er s io n s of i n t r o i t / i n g r e s s a
Invocavit me
V I I I . 5 . 1 .
A m b r o s i a n and O l d B e n e v e n ta n v e rs i o n s of c o m m u n i o n Ilymnum canite
551
V I I I . 6 . 1 .
P r o c e s s i o n a l a n t i p h o n Cum audisset populus
555
E x .
VIII .6 .2 . P a r t of o f f e r to r y Sanctificavit Moyses in O l d S p a n i s h , G r e g o r i a n ,
A m b r o s i a n ,
and O l d R o m a n v e r si o n s 556-7
E x . I X . 7 . 1 .
T r o p e verses Qui die at patn\ etc. for i n t r o i t Resurrexi 587
E x . I X . 7 . 2 . Sequence Clara gaudia festa paschalia
588
I X . 8 . 1 .
R o g a t i o n a n t i p h o n Peccavimus Domine 592
E x .
I X . 8 . 2 .
Start of fa r s e d l e s s o n w i t h verses Ad laudern regis glorie, etc.
593
I X . 1 0 . 1 .
R e s p o n s o r y 0 sancte Dei apostole 599-
-600
X . 3 . 1 .
F r o m g r a d u a l Exurge Domine in G r e g o r i a n and C i s t e r c i a n - D o m i n i c a n
v e r s i o n s 612
Music Examples xxix
E x . X . 5 . 1 . M e d i e v a l a n d M c d i c c a n v e rs io n s of g r a d u a l Omnes de Saba 617
E x . X . 6 . 1 .
E x t r a c t s
f r o m Graduel de Pans,1754 619-20
E x .
X 1 . 1 . 1 .
N O T E O N M U S I C E X A M P L E S
Slurs are used only for notes joined in the same sign in the original notation.
h = oriscus A- = neume at the semitone step ('mi-neume')
w
r A B C DEFGabc de f g
a
a
t
"etc.
A B B R E V I A T I O N S
AcM Acta musicologica
AfMw Archiv fur Musikwissenschaft
A H Analecta hymnica medii aevi, ed. G u i d o M a r i a D r e v e s , C l e m e n s B l u m e , and
H e n r y M a r r i o t t B a n n i s t e r , 55 v o l s . ( L e i p z i g , 1886-1922); Register, ed. M a x
L u t o l f , 3 v o l s . ( B e r n e , 1978). T e x t e d i t i o n s of h y m n s : 2, 4, 11-12, 14, 16, 19,
2 2 - 3 , 27, 43, 48, 50- 2 ; of r h y m e d o f f i c e s : 5, 13, 17-18, 24-6, 28, 45; of
sequences: 7-10, 34, 37, 39-40, 42, 44, 53-5; of t r o p e s : 47, 49. For i n d i v i d u a l
v o l u m e s see B i b l i o g r a p h y
AM Antiphonale monasticum pro diurnis horis
( T o u r n a i , 1934)
AM S Rene-Jean H e s b e r t , Antiphonale missarum sextuplex ( B r u s s e l s , 1935) [ M o n z a ,
B a s i l i c a S. G i o v a n n i , C I X : ' M o d o e t i e n s i s ' ; Z u r i c h , Z e n t r a l b i b l i o t h e k , R h e i n a u 30:
' R h e n a u g i e n s i s ' ; B r u s s e l s , B i b l i o t h e q u e R o y a l e , 10127-10144: ' B l a n d i n i e n s i s ' ;
P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 17436: ' C o m p e n d i e n s i s ' ; P a r i s , B i b l i o t h e q u e
N a t i o n a l e , lat. 12050: ' C o r b i e n s i s ' ; P a r i s , B i b l i o t h e q u e S a i n t e - G e n e v i e v e , 111:
' S i l v a n e c t e n s i s ' ]
A f t Antiphonale sacrosanctae Romanae ecclesiae ( R o m e , 1912)
AS Antiphonale Sarisburiense: A Reproduction in Facsimile of a Manuscript of the
Thirteenth Century, ed. W a l t e r H o w a r d F r e r e ( L o n d o n , 1901-24)
BzG Beitrdge zur Gregorianik
CAO Corpus antiphonalium officii, ed. Rene-Jea n H e s b e r t ( R e r u m e c c le s i a s t i ca r u m
d o c u m e n t a , Series m a i o r , F o n t e s , 7-12 ; R o m e , 1963-79). For i n d i v i d u a l v o l u m e s
see B i b l i o g r a p h y
C C M C o r p u s c o n s u e t u d i n u m m o n a s t i ca r u m , ed. K a s s i u s H a l l i n g e r ( S i e g b u r g , 1963- ).
F o r i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
C M C o n s u e t u d i n e s m o n a s t ic a e , ed. B r u n o A l b e r s . For i n d i v i d u a l v o l u m e s see
B i b l i o g r a p h y
C S E d m o n d de C o u s s e m a k e r , Scriptorum de rnusica medii aevi novam seriem . . . , 4
v o l s . ( P a r i s , 1864, 1867, 1869, 1876)
C S M C o r p u s s c r i p t o r u m de r n u s i c a ( R o m e , 1950- ). F or i n d i v i d u a l v o l u m e s see
B i b l i o g r a p h y
C T C o r p u s t r o p o r u m ( S t u d i a L a t i n a S t o c k h o l m i e n s i a ; S t o c k h o l m , 197 5- ). F or
i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
DACL F e r n a n d C a b r o l , H e n r i L e c l e r c q , and H e n r i M a r r o u (eds.), Dictionnaire d'archeologie
chretienne et de liturgie, 15 v o l s , in 30 ( P a r i s , 1907-53)
D M A D i v i t i a e m u s i c a e a r t i s , ed. J o s e p h S m i t s van W a e s b e r g h e ( B u r e n , 1975 - ). F or
i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
EG Etudes gregoriennes
EL Ephemerides liturgicae
xxxii Abbreviations
G S M a r t i n G e r b e r t , Scriptores ecclesiastic de rnusica sacra potissimum, 3 v o l s .
( S a n k t - B l a s i e n , 1 78 4 ) [ to b e u s e d i n c o n j u n c t i o n w i t h B e r n h a r d 1 98 9]
G T Graduate triplex, e d . M a r i e - C l a i r e B i l l e c o c q a n d R u p e r t F i s c h e r
(Solesmes,
1979)
[Graduate Romanum o f 1 9 7 4 w i t h n e u m e s o f L a o n 2 3 9 , E i n s i e d e l n 12 1, S t G a l l
3 5 9 a n d 3 3 9 , e t c . ]
IIMT H a n s - H e i n r i c h E g g e b re c h t (ed.), Handworterbuch de r musikalischen Terrninologie
( M a i n z , 1 9 7 1 - )
JAMS Journal of the American Musicological Society
JPMMS Journal of the Plainsong & Mediaeval Music Society
Kmjb
LR Liber responsorialis pro festis I. classis et communi sanctorum
juxta ritum
dominicis
et festis I. vet II. classis ( R o m e , 1 92 1)
M D Musica disciplina
Mf Die Musikforschung
M GG F r i e d r i c h B l u m e (ed.), D ie Musik in Geschichte an d Gegenwari: Allgerneine
Enzyklopddie de r Musik, 17 v o l s . ( K a s s e l , 1949-86)
M G H M o n u m e n t a G e r m a n i a e h i s to r i ca . F o r i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
M M M A M o n u m e n t a m o n o d i c a m e d i i a e vi ( K a s s e l , 1 9 5 6 - ) . F o r i n d i v i d u a l v o l u m e s s e e
B i b l i o g r a p h y
M o n u m e n t a m u s ic a e sacrae, e d . Rene-Jean H e s b e r t . F o r i n d i v i d u a l v o l u m e s s ee
B i b l i o g r a p h y
M Q Musical Quarterly
NCE The New Catholic Encyclopedia, 15 v o l s . ( N e w Y o r k , 1 9 67 ; s u p p l e m e n t a r y v o l s .
1 9 7 4 , 1 9 7 9 )
N G S t a n l e y S a d i e
(ed.),
The New Grove Dictionary of Music an d Musicians, 2 0 v o l s .
( L o n d o n ,
1980)
P a l M u s P a l e o g r a p h i e m u s i c a l e : L e s p r i n c i p a u x m a n u s c r i t s d e c h a n t g r e g o r i e n , a m b r o s i e n ,
m o z a r a b e , g a l l i c a n [ p r e m i e r s e r i e , d e u x i e m e s e r i e ] . F o r i n d i v i d u a l v o l u m e s s ee
B i b l i o g r a p h y
P L P a t r o l o g i a e c u r s u s c o m p l e t u s , series l a t i n a , e d . J . - P . M i g n e , 2 21 v o l s . ( P a r i s , 1844-64)
RB Revue benedictine
RG Revue gregorienne
RIM Rivista italiana di
R I S M R e p e r t o i r e i n t e rn a t i o n a l d es s o u rc es m u s i ca l es ( M u n i c h a n d D u i s b u r g ) . F o r
i n d i v i d u a l v o l u m e s s ee B i b l i o g r a p h y
SM H Studia
musicologica Academiae scientiarwn Hungaricae
B I B L I O G R A P H Y
A B A T E , G . , 'II p r i m i t i v o b r e v i a r i o f r a n c e s ca n o ' , Miscellanea francescana, 60 (1960), 47 -2 40 .
A B E R T , H E R M A N N , Die aesthetischen Grundsdtze der mittelalterlichen Melodiebildung ( H a l l e ,
1905).
D ie Musikanschauung des Mittelalters und Hire Grundlagen ( H a l l e , 1905).
A B R A H A M S E N , E R I K , Elements romans et allemands dans le chant gregorien et la chanson
populaire en Danemark ( P u b l i c a t i o n s de l ' A c a d e m i e g r e g o r i e n n e de F r i b o u r g (Suisse), 11;
C o p e n h a g e n , 1923).
Acta sanctorum collecta . . . a Sociis Bollandianis ( A n t w e r p , 1643 - ; 3r d ed n. , P a r i s and
B r u s s e l s , 1863- ).
Acta sanctorum ordinis sancti Benedicti, ed. Jean M a b i l l o n , L u c d ' A c h e r y , et al., 9 v o l s .
( P a n s , 1668-1701).
A D L E R F e s t s c h r i f t 1930 = Studien zur Musikgeschichte: Festschrift fur Guido Adler ( V i e n n a ,
1930).
A G U S T O N I , L U I G I , Gregorianischer Choral: Elemente und Vortragslehre mit besonderer
Berucksichtigung der Neumenkunde ( F r i b o u r g , 1963).
' D i e F r a g e der T o n s t u f e n SI und M I ' , BzG
4 (1987), 47 -1 01 .
a n d G O S C H L , Johannes B e r c h m a n s , Einfuhning in die Interpretation des Gregorianischen
Chorals, 1: Grundlagen ( R e g e n s b u r g , 1987).
A H 2 (1887) = Hymnarius Moissiacensis: Das Hymnar der Abtei Moissac im 10. Jahrhundert
nach einer Handschrift der Rossiana, ed. G u i d o M a r i a D r e v e s .
A H 4 (1888) = llyrnni inediti: Liturgische Hymnen des Mittelalters aus handschriftlichen
Breviarien, Antiphonalien und Processionalien, ed. D r e v e s .
A H 5 (1889), 13 (1892), 18 (1894), 24 (1896), 25 -6 (1897), 28 (1898) , 45 (1904) =
Historiae
Hiythrnicae: Liturgische Reimoffizien des Mittelalters aus Handschriften und Wiegendnicken,
e d . D r e v e s .
A H 7 (1889) = Prosarium L^emovicense: Die Prosen der Abtei St. Martial zu Limoges, aus
Troparien des 10., 11. und 12. Jahrhunderts,
ed. D r e v e s .
A H 8-9 (1890), 10 (1891) = Sequentiae ineditae: Liturgische Prosen des Mittelalters aus
Handschriften und Fruhdrucken, ed. D r e v e s .
A H 11 (1891), 12 (1892) , 19 (1895), 22 (1895), 23 (1896), 43 (1903) = Hymni inediti:
Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken
, ed. D r e v e s .
A H 13 see A H 5.
A H 14 (1893) = Hymnarius Severinianus: Das Hymnar der Abtei S. Severin in Neapel nach
den Codices Vaticanus 7172 und Parisinus 1092,
ed. D r e v e s .
A H 16 (1894) = Hymnodia Hiberica: Spanische Hymnen des Mittelalters aus liturgischen
Handschriften und Druckwerken romischen Ordos, ed. D r e v e s .
A H 17 (1894) = Hymnodia Hiberica: Liturgische Reimoffizien aus spanischen Brevieren. Im
Anhange: Carmina Compostellana, die Lie der des s.g. Codex Calixtinus, ed. D r e v e s .
A H \%see A H 5.
A H 19, 22, 23 see A H 11.
5.
= Hymnodia Gotica: Die mozarabischen Hymnen des alt-spanischen Ritus aus
handschriftlichen und gedruckten Quellen, ed. C l e m e n s B l u m e .
A H 34 ( 1 9 0 0 ) , 37 ( 1 9 0 1 ) , 39 ( 1 9 0 2 ) , 42 ( 1 9 0 3 ) , 44 ( 1 9 0 4 ) = Sequentiae ineditae: Liturgische
Prose?i des Mittelalters aus Handschriften und Friihdrucken, ed. B l u m e .
A H 4 0 ( 1 9 0 2 )
= Sequentiae ineditae: Liturgische Prosen des Mittelalters aus Handschriften
und Fruhdrucken, ed. H e n r y M a r r i o t t B a n n i s t e r .
A H 42 see
11.
5.
A H
47( 1 9 0 5 ) Tropi graduates: Tropen des Missale im Mittelalter. I. Tropen zum
Ordinarium Missae. Aus handschriftlichen Quellen, ed. B l u m e and B a n n i s t e r .
A H 4 8 ( 1 9 0 5 ) , 5 0 ( 1 9 0 7 )
= Hymnographi Latini: Lateinische Hymnendichter des Mittelalters
aus gedruckten und ungedruckten Quellen, ed. D r e v e s .
A H 4 9 ( 1 9 0 6 ) = Tropi graduates: Tropen des Missale imMittelalter. II. Tropen zum Proprium
Missae. Aus handschriftlichen Quellen, ed. B l u m e .
A H 50 see A H 48.
A H 5 1 ( 1 9 0 8 ) = Thesauri hymnologici hymnarium:
Die
Hymnen
des
5.-11. Jahrhunderts
und die irisch-keltische Hymnodie aus den dltesten Quellen, ed. B l u m e .
A H 52
12.-16.
Jahrhunderts aus den dltesten Quellen, ed. B l u m e .
A H 5 3 ( 1 9 1 1 ) = Thesauri hymnologici prosarium: Liturgische Prosen erster Epoche aus den
Sequenzenschulen des Abendlandes, insbesondere die demNotkerus Balbulus zugeschriebenen,
nebst Skizze iiber den Ursprung der Sequenz, aufgrund der Melodien aus den Quellen des
10.-16. Jahrhunderts, ed. B l u m e and B a n n i s t e r .
A H 5 4 ( 1 9 1 5 ) = Thesauri hymnologici prosarium: Liturgische Prosen des Ubergangsstiles und
der zweiten Epoche, insbesondere
Handschriften
und
Friihdrucken, ed. B l u m e and B a n n i s t e r .
A H 5 5 ( 1 9 2 2 ) = Thesauri hymnologici prosarium: Liturgische Prosen zweiter Epoche auf Feste
der Heiligen nebst eiriem Anhange: Hymnologie des Gelderlandes und des Haariemer
Gebietes aus Handschriften und Fruhdrucken, ed. B l u m e .
A I K A A , E R M O , ' E i n m a r i a n i sc h e r G l o r i a - T r o p u s ' , p a p e r r ea d at the
F i r s t E u r o p e a n
Science
F o u n d a t i o n I n t e r n a ti o n a l W o r k s h o p on T r o p e s , M u n i c h , 19 83 .
A L B A R O S A , N I N O , ' L a scuola gregonana di Eugene Car dine' , RIM 9
( 1 9 7 4 ) , 2 6 9 - 9 7 ; 1 2 ( 1 9 7 7 )
1 3 6 - 5 2 .
' T h e P o n t i f k i o I s t i tu t o di M u s i c a
Sacra in R o m e and the
S e m i o l o g i c a l S c h o o l of D o m
E u g e n e C a r d i n e ' , JPMMS 6( 1 9 8 3 ) , 2 6 - 3 3 .
' P a l e o g r a f i non s e m i o l o g i ? ' ,
in H u g l o 1 9 8 7 , 1 0 1 - 5 .
A l b e r s see C M .
A L B R E C H T ( H A N S ) G e d e n k s c h r i f t 1962 =W i l f r i e d B r e n n e c k e and H a n s H a a s e (eds.), Hans
Albrecht
in
Memoriam ( K a s s e l , 1 9 6 2 ) .
A L B R E C H T ( O T T O ) F e s t s c h r i f t 1 9 8 0 =J o h n W a l t e r H i l l
(ed.), Studies in
Musicology
in
Honor
f
Otto
E.
Albrecht ( K a s s e l , 1 9 8 0 ) .
A L F O N Z O , P I O , L'antifonario delTUffizio Romano: Note suite origini
delta composizione dei
/ responsori biblici delVUffizio Romano ( L a t e r a n u m , N S , 2/1; R o m e , 1936).
A L L / W O R T H , C H R I S T O P H E R , ' T h e M e d i e v a l P r o c e s s i o n a l : D o n a u e s c h i n g e n M S 882', EL 84
(1970), 169-86.
A L M E I D A , F O R T U N A T O D E , Historia da igreja em Portugal,
8 v o l s , in 4 ( C o i m b r a , 1910-22;
2 n d edn., 1930).
A M E L L I , A M B R O G I O M . , ' L ' e p i g r a m m a di P a o l o D i a c o n o i n t o r n o al c an t o G r e g o r i a n o e
A m b r o s i a n o ' . Memorie storiche forogiuliesi, 9 (1913), 153-75 .
A M I E T ,
R O B E R T , ' U n b r e v i a i r e
note du x i v
e
s i e c l e de la p r i m a t i a l e S a i n t - J e a n de L y o n ' , EG
15 (1975), 201-6.
' L e L i b e r m i s t i cu s de C o m b r e t , au d i o ce s e d ' E l n e ' , EG 20 (1981), 5-68.
A N D E R S E N , M . G E E R T , and R A A S T E D , J 0 R G E N , Inventar over Det kongelige Biblioteks
fragmentsamling [ I n v e n t o r y of the F r a g m e n t C o l l e c t i o n in the R o y a l L i b r a r y ] ( H j a e l p e m id l e r ,
6; C o p e n h a g e n , 1983).
A N D E R S O N , G O R D O N A . (ed.), The Las Huelgas Manuscript, Burgos, Monasterio de las
Huelgas, 2 v o l s . ( C o r p u s m e n s u r a b i l i s m u s i c a e , 79; R o m e , 1982).
A N D E R S O N ( G O R D O N ) G e d e n k s c h r i f t 1984 = Gordon Athol Anderson (1929-1981) in
memoriam, 2 v o ls . ( H e n r y v i l l e - O t t a w a - B i n n i n g e n , 1984).
A N D E R S O N , W A R R E N , 'Alypius ' , NG.
A N D O Y E R , R A P H A E L , ' L e C h a n t r o m a i n a n t eg r e g o r i e n ' , RCG 20 (191 1-12 ), 69-7 5, 1 07-1 4.
' L ' A n c i e n n e L i t u r g i e de B e n e v e n t ' , RCG 20 (1911 -12), 17 6-83 ; 21 (191 2-13 ), 14- 20,
44-51 , 8 1- 5, 112-15 , 144-8, 169-74; 22 (1913-14), 8-11 , 41 -4 , 80 -3 , 106-11, 141-5,
170-2; 23 (1919-20), 44-50, 116-18, 151-3, 182-3; 24 (1920-1), 48-50, 87-9, 146-8,
182-5.
A N D R I E U , M I C H E L , ' R e g l e m e n t d ' A n g i l r a m n e de M e t z (768-791) f i x a n t les h o n o r a i r e s de
q u e l q u e s f o n c t i o n s l i t u r g i q u e s ' ,
Revue des sciences religieuses, 10 (1930), 34 9- 69.
Les Ordines Romani du haut moyen age ( S p i c i l e g i u m s a c r u m L o v a n i e n s e , 11, 23-4,
2 8 - 9 ; L o u v a i n , 1931-61).
Le Pontifical romain au moyen age ( S t u d i e t e s t i , 86-8, 99; R o m e , 1938-41).
A N D R I E U F e s t s c h r i f t 1956 =
Melanges en VhonneurdeM. Michel Andrieu ( S t r a s b u r g , 1956).
A N G E R E R , J O A C H I M F R I D O L I N , Die liturgisch-musikalische Emeuerung der Melker Reform:
Studien zur Erforschung der Musikpraxis in den Benediktinerklbstern des 15. Jahrhunderts
( O s t e r re i ch i s ch e A k a d e m i e der W i s s e n s c h a f t e n , P h i l o l o g i s c h - h i s t o r i s c h e K l a s s e , 287;
V i e n n a , 1974).
' D i e C o n s u e t u d i n e s M o n a s t i ca e als Q u e l l e fur die M u s i k w i s s e n s c h a f t ' , in H a b e r i
F e s t s c h r i f t 1977, 237.
Lateinische und deutsche Gesdnge aus der Zeit der Melker Reform ( F o r s c h u n g e n zur
a l t e r e n M u s i k g e s c h i c h t e , 2; V i e n n a , 1979).
A N G L E S , H I G I N I , ' E p i s t o l a f a r c i d a del m a r t i r i de Sant E s t e v e ' , Vida cristiana, 9 (1922), 69-
7 5 .
(ed.), El codex musical de I^as Huelgas (Miisica a veus dels segles XIII-XIV), 3 v o l s .
( B i b l i o t e c a de C a t a l u n y a , P u b l i ca c i o n s del D e p a r ta m e n t de M u s i c a , 6; B a r c e l o n a , 1931).
La musica a Catalunya fins al segle XIII ( B i b l i o t e c a de C a t a l u n y a , P u b l i c a c io n s del
D e p a r t a m e n t de M u s i c a , 10; B a r c e l o n a , 1935).
' L a m u s i c a m e d i e v a l en T o l e d o h a s ta el s i g l o X T , Gesammelte Aufsdtze zur
Kulturgeschichte Spaniens, 7 ( S p a n is c h e F o r s c h u n g e n der G o r r e s g e s e l l s c h a f t , 1st se r. ;
M i n i s t e r , 1938), 1-68.
A N G L E S , I I I G I N I and
S U B I R A ,
J O S E , Catdlogo musical de la Biblioteca nacional de Madrid, 1:
Manuscritos ( B a r c e l o n a , 1946).
A N G L E S F e s t s c h r i f t 1958-61 = Misceldnea en homenaje a Monsehor Higinio Angles, 2 v o l s .
( B a r c e l o n a , 1958, 1961).
Antifonario visigotico
mozdrabe
de la catedral de Leon ( M o n u m e n t a H i s p a n i a e s a cr a , serie
l i t u r g i c a , v/2; M a d r i d , 1953) (see al so B r o u and V i v e s 1959).
Antiphonale Hispaniae vet us (s. X-XI). Biblioteca de la Universidad de Zaragoza (Saragossa,
1986).
Antiphonale missamm juxta ritum sanctae ecclesiae Mediolanensis [ed. G . M . S u r i o l ] ( R o m e ,
1935).
(1943).
Antiphonale
Pataviense f\Vien 1519), ed. K a r l h e i n z S ch l a g er (Das E r b e d e u t s c h e r M u s i k , 88;
K a s s e l , 1985).
Antiphonale Silense: British Library Mss. Add. 30.850, ed. I s m a e l F e r n a n d e z de la C u e s t a
( M a d r i d , 1985).
Antiphonar von St. Peter [ V i e n n a , N a t i o n a l b i b l i o t h e k , series n o v a 2700], 2 v o l s . ( C o d i c e s
s e l e c t i , 21; G r a z , 1969-73, 1974).
A P E L , W I L L I , Gregorian Chant ( B l o o m i n g t o n , I nd . , 1958).
A R C H E R , P E T E R , The Christian Calendar and the Gregorian Reform (New Y o r k , 1941).
A R L T , W U L F , Bin Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und
musikalischen Bedeutung, 2 v o ls . ( C o l o g n e , 1970).
' E i n s t i m m i g e L i e d e r des 12. J a h r h u n d e r t s un d M e h r s t i m m i g e s in f r a n z o s i s c h e n
H a n d s c h r i f t e n des 16. J a h r h u n d e r t s aus Le P u y ' , Schweizer Beitrage zur Musikwissenschaft, 3
(1978), 7-47.
' Z u r
I n t e r p r e t a t i o n der T r o p e n ' , Forum musicologicum, 3 (1982), 61- 90 .
a n d S T A U F F A C H E R , M A T T H I A S , Engelberg Stiftsbibliothek Codex 314 ( W i n t c r t h u r , 1986).
A R N E S E , R A F F A E L E , / codici notati delta Biblioteca nazionale di Napoli ( F l o r e n c e , 1967).
A R N O U X , G . , Musique platonicienne—dme du monde ( P a r i s , 1960).
A S H W O R T H , H E N R Y , ' D i d St. A u g u s t i n e B r i n g the G r e g o r i a n u m to E n g l a n d V E L 72 (1958), 39-
4 3 .
'
7. fZl
L o n d o n , B r i t i s h L i b r a r y , H a r l e y 4951, fo. 298
v
, s h o w i n g the start of the s e c t i o n for m o d e 3 in
t h e
D A V I D H I L E Y
C L A R E N D O N PRESS • O X F O R D
1993
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Xairobi
Melbourne Auckland Madrid
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Publi shed i n the Uni ted Stat es by
Oxford Universit y Press Inc., Xeic York
t
Reprinted 1993
Al l rights reserved. So part of this publi cati on way be reproduced,
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Data available
Library of Congress Cataloging i n Publi cati on Data
Western plai nchant: a handbook / David Hiley.
Includes bibl iographical
1. Chants (Plain, Gregori an, etc.) Hi story and criticism.
1. Tit le.
ISBS 0 19 816289 8
Typeset by Hope Serv ices (Abi ngdon) Lt d.
Pri nted in Great Britain
on acid-f ree paper by
St . Edmundsbury Press, Bury St. Edmunds
P R E F A C E
I h a v e been up to L o n d o n to get the b o o k I am w r i t i n g , out of the B r i t i s h M u s e u m .
I h a v e got a lot of it out, and I s h a l l go a g a i n p r e s e n t l y to get some m o r e ; and
w h e n I h a v e got it a l l , there w i l l be another b o o k . . . So m a n y p e o p l e w e r e there,
g e t t i n g out t h e i r b o o k s . It d o e s n ' t seem to matter e v e r y t h i n g ' s
b e i n g in b o o k s
a l r e a d y : I d o n ' t m i n d it at a l l . There are attendants there on p u r p o s e to b r i n g it to
y o u . T h a t is ho w b o o k s are m a d e , and it is d i f f i c u l t to t h i n k of any other wa y. I
m e a n the k i n d c a l l e d s e r i o u s . . .
N o doubt the author of any reference book such as the present one could echo the
sentiments of Miss Charity Marcon, in Ivy Compton-Burnett's Daughters and Sons.
A great deal of my book is indeed got out of others, as the bibliography and references
i n the text make clear. What justification is there for this, and what is the purpose of
the book?
In the first place I wished to provide a book of reference both for those c oming new
to plainchant and for those needing guidance in the specialist literature. T h e book
starts with the assumption, reasonable in this secular age, that many things about the
liturgy and its plainchant, even quite basic matters, are unfamiliar to the reader. At
every stage in the encounter with plainchant one comes up against specialist
terminology and concepts which constitute a real obstacle. T hat is in the nature of the
subject, for ecclesiastical ritual is essentially exclusive, remote from everyday
experience, reserved for specially trained personnel . T o start
with essentials does not
mean, however, that
difficulties have been avoided. I have not, I hope, co nfused
inexperience with lack of intelligence. The reader w i l l encounter here many complex
problems, both those for which scholars have found solutions and others which
remain obsc ure. I have also illustrated techniques of research and given examples, not
just of the music in plainchant sources, but also of their make-up, the way they
deploy their material, and their notation.
Those with access to well-equipped libraries
w i l l
further
specialist literature. But I have also tried to make the book self-explanatory,
and well that w i l l useful
able to read music.
Such a book fulfils a need primarily because of the enormous expansion of
plainchant studies in the last few decades. T h e last major work of synthesis in the
English language, Apel's Gregorian Chant, is now over thirty years o ld. It has not , of
course, been my intention to try and replace A p e l , let alone the more comprehensive
Einfuhrung in die gregorianischen Melodien by Peter Wagner from before the First
World War, both of which remain indispensable. But mu ch has been explored and
v i i i Preface
Kenneth Levy and John Emerson in The New Grove Dictionary, is necessarily brief
(but with an excellent bibliography). T he writings of scholars such as the late Bruno
Stablein—his Schriftbild der einstimmigen Musik and articles in Die Musik in
Geschichte und Gegenwart—together practically constitute a textbook on chant. But
an up-to-date one-vo lume work is clearly required.
T h e co mpressio n and omissions entailed in such a work are the least pleasant things
facing an author. Fo r my own undo ubted sins of omissio n I have tried to make
amends in the bibliography, by citing literature to which I could not do justice in the
main text. T he biblio graphy shoul d go some way towards being a
reference
take
take
this
opportunity to mention the recent appearance of a new chant bibliography with over
4,200 items by T ho mas Kohl hase and Giint her Mi chael Paucker, in Beitrage zur
Gregorianik, 9-10 (1990). T o one work which appeared when the main text was all
but co mplete, but whose contents I knew intimately, I have made no reference. I
acted
as co-editor with Ric hard Croc ker of the new edition of The New Oxford History
of Music, i i : The Early Middle Ages to 1300 (Oxford,
1989),
easy
to avoid unconscious borrowing from it. At any rate, that volume now takes its place
beside Wagner, A p e l , and Stablein's Schriftbild as an essential part of the chant
scholar's library.
Historical writing about plainchant is a relatively young phenemono n. Prince-
Abbot Martin Gerbert's De cantu et musica sacra a prima ecclesiae aetate usque ad
praesens tempus of 1774, the ancestor of all musicological writing on plainchant, was
motivated by the desire to stimulate reforms in the churc h music of his own time.
Knowledge of the past would make men conscious of the malpractices of the present:
T desire . . . to lay open to view the astounding abuses in these
matters, which in my
opinion are the gravest in the discipline of our chur ch' (quo ted in p. l v i i i * of Othmar
Wessely's introductio n to the 1968 reprint of Gerbert's work) . T he work of the great
restorers of the late nineteenth and early twentieth centuries was imbued with the
spirit
of reform, to be achieved, as with Gerbert , through recovery of a former ideal
state. Work which is of incalculable value for musicologists sprang from these
reforming efforts: the series of facsimiles Paleographie musicale, the vo lumes of Ij?
Graduel romain, the studies of notational practices made by D o m Eugene Cardi ne
a n d his pupils (I cite here only a few examples from the work of monks of the Frenc h
Benedictine monastery of Solesmes). However, the fact that more than musicology
was invol ved inevitably affected the selection of info rmation and the use to which it
was put. T his type of counterpoint between scholars and their material is of course
co mmon to all scholarship. In the case of chant studies the consequences of different
viewpoint and purposes can be appreciated by co mparing Cardine's 'Vue d'ensemble
sur le chant gregorien' and Le v y and Emerson's 'Plainchant'.
T h e researches of the Benedictine
fathers
also had a definite practical purpose: the
provision of model, definitive chant-books for use in the Ro man Chu rch. Consequently,
their work was concerned with those chants sung in the Roman liturgy of their own
I X
longer admitted, though important in the M i d d l e Ages. In recent years mostly lay
scholars have devoted considerable energy to those repertories, and it is perhaps not
fanciful to see this partly as a reaction against the bias of earlier chant studies. In my
own case, it led amo ng other things to a decision to transcribe all music al examples
from original sources, rather than rely on modern service-books, slight though the
differences between them may sometimes be.
A great deal of the satisfaction gained fro m writing a book suc h as this comes from
sorting out problems in one's own mind, for, as the renowned author of a monograph
on Lassus succinctly expressed it: 'Nothing clears up a case so much as stating it to
another person.' Yet even more satisfying has been the ever-increasing wonderment at
the variety and richness of the chant reperto ry, a delight to anyone working in the
area. I hope that the musical examples, at least, w i l l help further the appreciation of
these treasures.
Like Miss M arco n, I owe a considerable debt to the British Li brary , but also to the
Anselm Hu ghes Li bra ry of Royal Ho lloway and Bedford New College, University of
London, where I once taught; to the University of London L ibrary at Senate Ho use,
and more recently to the Universitatsbiblio thek of Regensburg Univ ersity, where I
now
teach. Many of my musical examples were transcribed from microfilms, work
with which has in many cases been made possible by grants from the Central Research
Fund of the Univ ersity of London. M y principal debt is to the numerous fellow chant
scholars from whom I have learned over the years, many of whom cou ld have written
a better book than this. It is the fate of textbooks to be used for target-practice, as it
were, by better-informed teachers, but I hope my colleagues w i l l find here something
they can set before their students with reasonable confidence. Abo ve al l, I hope the
book w i l l straighten the path of those who, like myself a co uple of decades ago, are
trying to find their way in an initially fo reign, often bewil dering, but always
fascinating and rewarding musical world.
I am most grateful to the libraries which kindly supplied photo graphs for the plates.
Plates 1, 4-6 , 8-9 , 11-14, and 18 are published by permission of the British Libr ary ;
plates 2, 7, and 16 by permission of the Bodleian Libr ary ; plate 10 by permissio n of
the Syndic s of Cambridge Univ ersi ty Li brar y; plate 15 by permission of the Master
and Fellows of University College, Oxford; and plate 17 by permission of Edi nburgh
University Library.
In conclusion I wish to thank those who have played an especially important part in
the production of the book: Malcolm Gerratt, who launched the project and fanned it
along for several years; Bruce Phillips, who brought it into the safe haven of Oxford
University Press, and the staff of O U P , especially Leo franc Hol fo rd-S trevens and
Bonnie Blackburn, who did far more for the book than an author has a right to expect
from his co py-editor. Greatest of all is my debt to my wife A n n, without whose
patience and encouragement I shoul d never have reached the end of the long voyage.
D . H .
Analytical Table xii
Abbreviations xxxi
Bibliography xxxiii
II. Chant Genres 46
I V .
403
Music
T he ory 442
V I . Plainc hant up to the Ei ghth Century 478
VII.
VIII . Gregorian Chant and Other Chant Repertories 524
IX. Persons and Places 563
X . Reformations of Grego rian Chant 608
X I .
Index of Text and Music Incipits 631
Index
Index of
A N A L Y T I C A L T A B L E
I . P L A I N C H A N T I N T H E L I T U R G Y
L I . I n t r o d u c t i o n 1
1 .2 . L i t u r g y a n d W o r s h i p 2
1 .3 . T h e C h u r c h Y e a r 7
1 . 4 . T h e D a i l y R o u n d 16
1 . 5 . M a s s " 2 2
1 . 6 . O f f i c e 2 5
(i ) T h e N i g h t O f f i c e ( M a t i n s , V i g i l s , o r N o c t u r n s ) i n S e c u l a r U s e 25
( ii ) T h e N i g h t O f f i c e i n M o n a s t i c U s e 2 7
( i ii ) L a u d s i n S e c u l a r U s e 2 8
( iv ) L u d s i n M o n a s t i c U s e 2 8
( v ) V e s p e r s i n S e c u l a r U s e 2 8
( v i) V e s p e r s i n M o n a s t i c U s e 2 9
( v i i) C o m p l i n e 2 9
( v i i i ) P r i m e , T e r c e , Sext, a n d N o n e 3 0
1 . 7 . P r o c e s s i o n s 3 0
1 .8 . C e r e m o n i e s o f H o l y W e e k 3 2
( i) G e n e r a l 3 3
( ii ) P a l m S u n d a y 33
( ii i ) M a u n d y T h u r s d a y 34
( iv ) G o o d F r i d a y 36
(v )
H o l y
S a t u r d a y o r E a s t e r E v e 3 8
( v i ) E a s t e r S u n d a y 3 9
1 . 9 . T h e 'Feast o f F o o l s ' a n d R e l a t e d C u s t o m s 3 9
1 .1 0. O t h e r S e r v i c e s : B a p t i s m , C o n f i r m a t i o n , O r d i n a t i o n , C o r o n a t i o n ,
M a r r i a g e , B u r i a l , D e d i c a t i o n 4 2
I I . C H A N T G E N R E S
>' I I . 1 . I n t r o d u c t i o n 4 6
1 1. 2. R e c i t a t i o n F o r m u l a s f o r P r a y e r s a n d L e s s o n s 4 7
( i) G e n e r a l 4 7
( i i ) P r a y e r s 4 9
( i i i ) L e s s o n s 5 4
1 1 .3 . T o n e s f o r P s a l m s a n d O t h e r C h a n t s 5 8
( i ) P s a l m s 5 8
( ii ) O t h e r P s a l m T o n e s : T h e P a r a p t e r e s , T o n u s p e r e g r i n u s 6 2
( i ii ) T o n e s f o r t h e C a n t i c l e s M a g n i f i c a t a n d B e n e d i c t u s 6 4
( iv ) T o n e s f o r t h e P s a l m V e r s e s o f I n t r o i t s a n d C o m m u n i o n s 6 4
( v i ) Tones for the
I n v i t a t o r y P s a l m
66
( v i i ) Benedictus es domine Dens pat ru m nostnon in the S a t u r d a y M a s s
o f
E m b e r W e e k s
68
( v i i i ) T e
D e u m l a u d a m u s
68
I I
4 . T h e G r e a t R e s p o n s o r i e s of the N i g h t O f f i ce
6 9
( i ) I n t r o d u c t i o n
6 9
( ii ) R e p e r t o r y , T e x t s ,
and
71
( i v ) C e n t o n i z a t i o n
7 4
7 6
G r a d u a l s and Tracts
7 6
( i ) I n t r o d u c t i o n
7 6
( i i ) G r a d u a l s in a: T h e ' I u s t u s ut p a l m a ' G r o u p
77
( i i i ) G r a d u a l s F
8 0
( iv ) O t h e r G r a d u a l s
81
M o d e
. 6 .
S h o r t R e s p o n s o r i e s
85
I
. 7 .
88
( i ) I n t r o d u c t i o n
88
or
P s a lt er A n t i p h o n s
91
( ii i) A n t i p h o n s
for the
of
the
N i g h t O f f i ce ,
and
9 2
( i v ) A n t i p h o n s for the M a g n i f i c a t and B e n e d i c t u s
9 6
T h e
G r e a t O - A n t i p h o n s
98
I I . 8 .
I n v i t a t o r y A n t i p h o n s
9 9
I I
. 9 .
P r o c es s io n a l A n t i p h o n s
9 9
( i ) I n t r o d u c t i o n
100
( ii ) R o g a t i o n A n t i p h o n s
101
( ii i ) P a l m S u n d a y A n t i p h o n s
102
( i v ) A n t i p h o n s
for
O t h e r O c c a s i o n s
102
10.
M a r i a n A n t i p h o n s
I I 1 1 .
109
( i ) I n t r o d u c t i o n
109
( i i ) I n t r o i t s
in
3
110
( i i i ) C o m p a r i s o n w i t h O f f i ce A n t i p h o n s
and
R e s p o n s o r i e s
114
C o m m u n i o n s
116
116
of
C o m m u n i o n s w i t h P s a l m
and
117
( i i i ) Some F - m o d e C o m m u n i o n s
118
( i v ) C o m m u n i o n s
and
R e s p o n s o r i e s
120
13 .
121
( i ) I n t r o d u c t i o n
121
122
( i i i ) T h e M e l o d i e s of the O f f e r t o r y R e s p o n d
122
( i v) V e r s e M e l o d i e s
126
11.14. A l l e l u i a s 1 30
( i) I n t r o d u c t i o n 1 30
( i i) T h e E a r l i e r a n d L a t e r S t y l e s 1 3 2
( i i i) R h y m e d A l l e l u i a s a n d L a t e M e d i e v a l M e l o d i e s 136
11.15. H y m n s 1 4 0
( i) I n t r o d u c t i o n 1 40
( i i )
Texts
141
( i i i) M u s i c 1 4 2
( iv ) P r o c e s s i o n a l H m n s 1 46
11.16. C h a n t s f o r t h e O r d i n a r y o f M a s s 1 48
11.17. K y r i e e l e i s o n 1 5 0
( i ) K y r i e e l e i s o n a s a L i t a n y 1 5 0
( i i ) K y r i e e l e i s o n after t h e I n t r o i t a t M a s s 1 51
( i ii ) E a r l y M e l o d i e s 1 52
( iv ) I t a l i a n M e l o d i e s 1 54
( v) M e l o d i c T y p e s 1 55
* ( v i ) L a t e r M e l o d i e s 155
11.18. G l o r i a i n e x c e l s i s D e o 1 5 6
( i) I n t r o d u c t i o n 1 56
( i i) R e c i t a t i o n T y p e s 1 57
( i i i ) T h r o u g h - c o m p o s e d M e l o d i e s 1 59
11.19. S a n c t u s 1 61
( i) T h e O l d e s t M e l o d i e s 1 61
( i i ) O t h e r M e l o d i e s 1 62
11.20. A g n u s D e i 165
11.21. C r e d o 1 68
11.22. Sequences 172
( i) I n t r o d u c t i o n 1 7 2
( i i ) E a r l y
Sequences
w i t h P a r a l l e l - V e r s e S t r u c t u r e 1 73
( i ii ) N o t a t i o n : P e r f o r m a n c e ; P a r t i a l l y T e x t e d M e l o d i e s 1 80
( i v ) S h o r t A p a r a l l e l
Sequences 181
( v ) I t a l i a n Sequences 183
( vi ) T h e E a r l y H i s t o r y o f t h e
Sequence
185
( v i i ) R h y m e d Sequences 189
11.23.
T r o p e s 1 96
( i) I n t r o d u c t i o n 1 96
( i i ) A d d e d M e l i s m a s i n I n t r o i t s 1 97
( i i i ) A d d e d M e l i s m a s i n G l o r i a s 1 99
( i v ) A d d e d R e s p o n s o r y M e l i s m a s 2 00
( v) P r o s u l a s f o r O f f e r t o r i e s a n d A l l e l u i a s 2 0
( v i) R e s p o n s o r y P r o s u l a s 2 0 4
( v i i i ) K y r i e s w i t h
L a t i n T e x t , K y r i e P r o s u l a s , a n d K y r i e T r o p e s 2 11
( ix ) B e n e d i c a m u s C h a n t s w i t h E x t e n d e d T e x t , P r o s u l a s , a n d T r o p e s 2 13
(x ) I n t r o i t , O f f e r to r y , a n d C o m m u n i o n T r o p e s ; Sequence T r o p e s 2 15
( x i ) G l o r i a , S a n c t u s , a n d A g n u s T r o p e s 2 2 3
V 11.24. L a t i n l i t u r g i c a l songs 238
( i) I n t r o d u c t i o n 2 38
( ii ) V e r s u s i n E a r l y A q u i t a n i a n M a n u s c r i p t s ; v e rs u s w i t h ' D o u b l e
C u r s u s '
239
( i ii ) T w e l f t h - c e n t u r y S o n g s : T e x t u a l a n d M u s i c a l S t y l e 2 41
( iv ) T w e l f t h - c e n t u r y S o n g s : L i t u r g i c a l F u n c t i o n 2 48
11.25. L i t u r g i c a l D r a m a s 2 50
(i ) L i t u r g y a n d D r a m a 2 51
( i i ) T h e Quern queritis
D i a l o g u e 2 5 2
( i i i )
Easter
C e r e m o n i e s f r o m t he E l e v e n t h C e n t u r y O n w a r d 25 5
( iv ) C h r i s t m a s a n d E p i p h a n y C e r e m o n i e s ; R a c h e l ' s a n d M a r y ' s L a m e n t s 2 63
(v ) R h y m e d C e r e m o n i e s ; th e F l e u r y P l a y b o o k ; t he Ludus Danielis 2 6 6
11.26. O f f i c e s w i t h V e r s e Texts 273
11.27. M e t r e , A c c e n t , R h y t h m , a n d R h y m e i n L i t u r g i c a l
Texts
279
( i) M e t r e a n d Stress 280
( i i) R h y m e 2 8 4
( i ii ) P r o s e R h y t h m ( C u r s u s ) a n d P r o s e R h y m e 2 85
I I I . L I T U R G I C A L B O O K S A N D P L A I N C H A N T S O U R C E S
I I I . 1 . I n t r o d u c t i o n 2 87
111.2. O r d i n e s R o m a m 2 89
111.3. Sacramentaries
a n d L e c t i o n a r i e s 2 91
(i )
Sacramentaries
291
( i i ) L e c t i o n a r i e s 2 9 3
111.4. G r a d u a l s ( M a s s A n t i p h o n e r s ) a n d C a n t a t o r ia 29 5
( i) I n t r o d u c t i o n 2 95
( ii ) G r a d u a l s w i t h o u t N o t a t i o n 2 96
( i ii ) N o t a t e d G r a d u a l s 2 99
111.5. A n t i p h o n e r s ( O f f ic e A n t i p h o n e r s ) 303
( i) T h e E a r l i e s t A n t i p h o n e r s 3 04
( ii ) T y p e s o f M a n u s c r i p t a n d C a l e n d r i c O r g a n i z a t i o n 3 05
( i i i ) C o m p a r i s o n of Sources 307
111.6. P s a l t e r s , H y m n a l s , C o l l e c ta r s , O f f i ce L e c t i o n a r i e s 3 08
( i ) P s a l t e r s 3 0 8
( i i) H y m n a l s 3 10
( i i i ) C o l l e c t a r s 3 1 1
( i v ) O f f i c e l e c t i o n a r i e s 3 1 3
I I 1 .7 . S e q u e n t i a r i e s , T r o p e r s , a n d K y r i a l e s 3 13
I I 1 . 8. P r o c e s s i o n a l s 3 1 7
111.9. M i s s a l s 3 19
111.10. B r e v i a r i e s 3 2 0
I I I . 1 1. C o m p e n d i a 32 1
111.12. P o n t i f i c a l s a n d R i t u a l s 3 2 4
( i) P o n t i f i c a l s a n d B e n e d i c t i o n a l s 3 2 4
( ii ) R i t u a l s , M a n u a l s , o r A g e n d a 3 24
I I I . 1 4. T o n a r i e s 3 25
(i ) D e f i n i t i o n a n d F u n c t i o n 3 26
( ii ) T y p e - M e l o d i e s f o r t he E i g h t M o d e s 3 31
( i ii ) H o w P s a l m Tones w e r e S p e c i f i e d 3 3 3
I I I . 1 5. I d e n t i f y i n g a n d D e s c r i b i n g C h a n t - B o o k s 3 35
I V . N O T A T I O N
I V . 1 . I n t r o d u c t i o n 3 4 0
( i) P r e l i m i n a r y 3 4 0
( i i) T h e S i g n s i n M o n t p e l l i e r H . 1 59 3 41
( i i i ) N e u m e 3 4 5
I V . 2 . R e g i o n a l Styles 346
( i) F r e n c h a n d G e r m a n N o t a t i o n 3 47
( ii ) P a l a e o f r a n k i s h , L a o n , B r e t o n , a n d A q u i t a n i a n N o t a t i o n s 3 47
( i i i) T y p e s R e l a t ed to F r e n c h - G e r m a n N o t a t i o n 351
( i v) O t h e r I t a l i a n N o t a t i o n s 3 5 2
( v) E x a m p l e s 3 53
I V . 3 . L i q u e s c e n c e , O r i s c u s , Q u i l i s m a ; O t h e r S p e c i a l S i g n s 3 57
( i) S i g n s f o r L i q u e s c e n c e 3 5 7
( ii ) Q u i l i s m a 3 58
( i i i ) O r i s c u s 3 5 9
( i v ) V i r g a s t r a t a , P r e s s u s , P e s s t r a t u s , P e s q u a s s u s , S a l i c u s 3 6 0
I V . 4 . T h e O r i g i n s o f C h a n t N o t a t i o n 3 61
( i) I n t r o d u c t i o n 3 6 2
( i i) E a r l y E x a m p l e s 3 6 2
( i i i ) E a r l y References t o N o t a t i o n 3 6 4
( i v ) P a r a l l e l Systems 364
(a ) P r o s o d i c A c c e n t s 3 65
(b ) P u n c t u a t i o n 3 66
( c) E k p h o n e t i c N o t a t i o n 3 67
(d ) B y z a n t i n e N o t a t i o n 3 69
( v) T h e ' C h e i r o n o m i c ' T h e o r y 3 70
( vi ) T h e E a r l y T r a n s m i s s i o n o f C h a n t 3 70
( v i i )
Some
C o n c l u s i o n s 371
I V . 5 . T h e N o t a t i o n o f R h y t h m 373
( i) R h y t h m i c E l e m e n t s i n E a r l y N o t a t i o n s 3 74
( ii ) R h y t h m i n S i m p l e A n t i p h o n s 3 80
( i ii ) C a r d i n e ' s ' G r e g o r i a n S e m i o l o g y ' 3 82
( iv ) T h e E v i d e n c e o f T h e o r i s t s 3 84
( v) C o n c l u s i o n s 3 85
I V . 6 . P i t c h - N o t a t i o n 38 6
( i) F r o m t h e N i n t h C e n t u r y to W i l l i a m o f D i j o n 3 86
( i i) G u i d o o f A r e z z o 3 88
( i i i ) S t a f f - N o t a t i o n i n D i f f e r e n t L a n d s 3 89
I V . 7 . T h e o r i s t s ' N o t a t i o n s 3 92
I V . 9 . M o d e r n T r a n s c r i p t i o n 398
( 1 ) T h e L i t u r g i c a l C o n t e x t 399
( i i ) T r a n s c r i p t i o n 400
( i i i ) T r a n s c r i p t i o n f r o m Staffless N o t a t i o n s 400
P L A T E S
F r o n t i s p i e c e i i
P l a t e 1. L o n d o n , B r i t i s h L i b r a r y , H a r l e y 1117 406
P l a t e 2. O x f o r d , B o d l e i a n L i b r a r y , Lat . l i t u r g . d. 3 408
P l a t e 3. L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 857 410
P l a t e 4. L o n d o n , B r i t i s h L i b r a r y , H a r l e y 110 412
P l a t e 5. L o n d o n , B r i t i s h L i b r a r y , A d d . 30850 414
P l a t e 6. L o n d o n , B r i t i s h L i b r a r y , A d d . 19768 416
P l a t e 7. O x f o r d , B o d l e i a n L i b r a r y , C a n o n i c i l i t u r g . 350 418
P l a t e 8. L o n d o n , B r i t i s h L i b r a r y , A r u n d e l 156 420
P l a t e 9. L o n d o n , B r i t i s h L i b r a r y , R o y a l 8. C. x i i i 422
P l a t e
10. C a m b r i d g e , U n i v e r s i t y L i b r a r y , L I . 2. 10 424
P l a t e 11. L o n d o n , B r i t i s h L i b r a r y , A d d . 10335 426
P l a t e
12. L o n d o n , B r i t i s h L i b r a r y , E g e r t o n 3511 428
P l a t e
13. L o n d o n , B r i t i s h L i b r a r y , A d d . 29988 430
P l a t e
14. L o n d o n , B r i t i s h L i b r a r y , A d d . 17302 432
P l a t e
15. O x f o r d , U n i v e r s i t y C o l l e g e 148 434
P l a t e
16. O x f o r d , B o d l e i a n L i b r a r y , Lat . l i t u r g . a. 4 436
P l a t e
17. E d i n b u r g h , U n i v e r s i t y L i b r a r y 33 438
P l a t e
18. L o n d o n , B r i t i s h L i b r a r y , p r i n t ed b o o k
I B . 8668 440
V . P L A I N C H A N T A N D
E A R L Y
M U S I C T H E O R Y
V . l . I n t r o d u c t i o n 442
V . 2 . T h e L e g a c y of A n t i q u i t y 443
V . 3 . A P i t c h S y s t e m for P l a i n c h a n t 447
( i ) I n t r o d u c t i o n 447
( i i ) H u c b a l d of S a i n t - A m a n d 448
( i i i ) T h e Enchinadis G r o u p of Treatises 452
V . 4 . T h e M o d e s 454
( i ) G e n e r a l 454
( ii ) A u r e l i a n of Reome 456
( i i i ) R e g i n o
of P r u m 458
( i v ) N o m e n c l a t u r e 459
(v) G r e e k N a m e s and O c t a v e Species 461
( v i ) I t a l i a n T h e o r y : T h e Dialogus de musica 463
( v i i ) G u i d o of A r e z z o 466
( v i i i ) S o u t h G e r m a n W r i t e rs 470
( i x ) M o d a l T h e o r y in S o u t h G e r m a n y 472
(x) L a t e r Syntheses • 476
V I . P L A I N C H A N T U P T O T H E E I G H T H C E N T U R Y
V I . 1 . I n t r o d u c t i o n 4 7 8
V I . 2 .
T h e C h u r c h e s o f C h r i s t e n d o m 4 80
V I . 3 . T h e E a r l y C h u r c h 4 84
V I . 4 . O f f i c e C h a n t s before t h e E i g h t h C e n t u r y 4 87
V I . 5 . M a s s C h a n t s before t h e E i g h t h C e n t u r y 4 94
( i) T h e G r a d u a l * 4 95
( i i) T h e I n t r o i t a n d O t h e r C h a n t s a t t h e Start o f M a s s 4 9 6
( i ii ) T h e C h a n t s at C o m m u n i o n 4 98
( i v) T h e O f f e r t o r y 4 9 9
( v) T h e C h a n t s b e s i d e th e L e s s o n s 500
V I . 6 . G r e g o r y t h e G r e a t 5 03
( i) I n t r o d u c t i o n 5 03
( ii ) G r e g o r y a n d t h e Deacons 5 0 4
( i ii ) G r e g o r y a n d t h e A l l e l u i a 5 0 4
( i v ) I s i d o r e o f S e v i l l e ; t h e Liberpontificalis; t h e L i s t o f C h a n t ' E d i t o r s '
i n O r d o R o m a n u s X I X 5 05
(v) T h e A n g l o - S a x o n T r a d i t i o n 5 06
( vi ) T h e B i o g r a p h i e s b y P a u l W a r n e f r i d a n d J o h n H y m m o n i d e s 5 08
( vi i) T h e 'G r e g o r i a n ' Sacramentary 509
( v i i i ) T h e P r o l o g u e Gregorius
praesul 510
X ' (i x ) T h e R e c e p t i o n o f t h e G r e g o r y L e g e n d i n t h e N i n t h C e n t u r y a n d
L a t e r ; t he D o v e ; t he M o d e s 51 1
( x ) G r e g o r y a n d t h e L e n t e n C o m m u n i o n s 5 11
( x i ) C o n c l u s i o n s 5 13
V I I . T H E
C A R O L I N G
I A N C E N T U R Y
V I I . 1 . I n t r o d u c t i o n 5 1 4
V I I . 2 . T h e E s t a b l i s h m e n t o f R o m a n C h a n t i n F r a n c i a 5 14
V I 1 . 3 . T h e F r a n k i s h E x p a n s i o n o f t he C h a n t R e p e r t o r y 5 18
V I I . 4 . T h e C o d i f i c a t i o n o f P l a i n c h a n t 5 20
V I 1 . 5 . T h e P la c e o f M u s i c i n t he C a r o l i n g i a n Renaissance 521
V I I I . G R E G O R I A N C H A N T A N D O T H E R
C H A N T R E P E R T O R I E S
V I I I . l . I n t r o d u c t i o n 5 24
V I I I . 2 . T h e I n f l u e n c e o f B y z a n t i u m 5 25
( i) I n t r o d u c t i o n 5 25
( ii ) T h e S y s t e m o f E i g h t M o d e s 5 27
( i i i ) A n t i p h o n s f o r t he A d o r a t i o n o f t he C r o s s an d O t h e r C h a n t s i n O l d
I t a l i a n R e p e r t o r i e s 5 2 7
( iv ) T h e T r i s a g i o n 5 2 8
( v) T h e F r a n k i s h ' m i s s a graeca' 528
( v i) T h e C o m m u n i o n Omnes qui in Christo 529
( v i i i ) T e x t u a l C o n c o r d a n c e s w i t h o u t M u s i c a l S i m i l a r i t y 529
( i x )
T h e Veterem hominem A n t i p h o n s
for the
of
530
V I I I . 3 . O l d I t a l i a n C h a n t I : R o m e 530
( i ) I n t r o d u c t i o n
530
of
O l d R o m a n C h a n t
531
( ii i) E x a m p l e s : C o m m u n i o n s 532
( i v ) G r a d u a l s
533
(v ) n t i p h o n s 533
( v i ) O f f e r t o r i e s 534
( vi i ) A l l e l u i a s
538
( v i i i ) O r a l T r a d i t i o n 539
V I I I . 4 . O l d I t a l i a n C h a n t I I : M i l a n 540
V I I I . 5 .
O l d
I t a l i a n C h a n t
I I I : Benevento 549
V I I I . 6 . G a l l i c a n C h a n t 552
VI11.7. O l d S p a n i s h ( M o z a r a b i c ) C h a n t 557
V I I I .8. C o n c l u s io n s
560
I X . P E R S O N S A N D P L A C E S
I X .
1.
I n t r o d u c t i o n
563
I X . 2 . A m a l a r i u s of M e t z 569
I X . 3 . St G a l l 571
I . 4 . C l u n y
574
I X . 5 . W i l l i a m of D i j o n 578
I X . 6 . E n g l a n d
before
and after the N o r m a n C o n q u e s t 580
I X . 7 . N o r t h I t a l ia n T r a d i t i o n s
585
I X . 8 . Benevento and M o n t e c a s s in o 589
I X . 9 . R o m e
an d the
F r a n c i s c a n s
594
and
S a i n t - M a r t i a l
at
596
I X . 1 1. T h e H i s p a n i c P e n i n s u la after the Reconquest 601
I X . 12. N o r t h e r n and E a s t e rn E u r o p e 604
( i ) S c a n d i n a v i a
and
604
( i i ) P o l a n d 605
( i i i ) C z e c h o s l o v a k i a 606
( i v ) H u n g a r y
607
, X . R E F O R M A T I O N S O F G R E G O R I A N C H A N T
X . l . I n t r o d u c t i o n 608
X . 2 . T h e C i s t e r c i a n s 609
X . 3 . T h e
D o m i n i c a n s
611
X . 4 . C h a n t in O t h e r R e l i g i o u s O r d e r s 613
( i ) T h e C a r t h u s i a n s 613
( i i )
T h e
P r e m o n s t r a t e n s i a n s
614
X . 5 . h e ' M e d i c e a n ' G r a d u a l (1614 -15 ) 615
X I . T H E R E S T O R A T I O N O F M E D I E V A L C H A N T
X I . 1 . T h e R e t u r n t o t h e Source 622
X I . 2 . Solesmes a n d t h e V a t i c a n E d i t i o n 6 2 4
I L L U S T R A T I O N S
Plates
F o r l i s t s e c a b o v e , p . x v i i .
Maps
I V . 2 . 1 . C e n t r e s w h e r e L a o n n o t a t i o n w a s u s e d
3 5 0
I X . 1 . 1 .
T h e a r c h d i o c e s e s o f l a te m e d i e v a l E u r o p e
5 6 5
I X . 1 . 2 . E c c l e s i a s t i c a l m a p o f I t a l y
5 6 6
I X . 1 . 3 .
E c c l e s i a s t i c a l m a p of G e r m a n y
5 6 7
I X . 1 . 4 .
E c c l e s i a s t i c a l m a p o f F r a n c e
5 6 8
I X . 4 . 1 .
M o n a s t e r i e s f o l l o w i n g t h e u s e o f C l u n y , S a i n t - B e n i g n e a t D i j o n , o r B e e
5 7 7
V . 4 . 1
G u i d o n i a n h a n d after M u n i c h , B a y e r i s c h e S t a a t s b i b l i o t h e k , e l m 14965b
4 6 9
T A B L E S
1.3.1. T h e C h u r c h y e a r : th e f i x e d p a r t d e p e n d e n t u p o n C h r i s t m a s 12
1.3.2. T h e C h u r c h y e a r : t h e m o v a b l e p a r t d e p e n d e n t o n E a s t e r 13
1.3.3. K a l e n d a r f o r O c t o b e r : C a m b r i d g e , C o r p u s C h r i s t i C o l l e g e 3 91 1 4 - 1 5
1.3.4. S a i n t s w i d e l y c e l e b r a t e d i n t h e R o m a n C h u r c h 17
1.4.1. T h e l i t u r g i c a l h o r a r i u m at
C l u n y
i n t h e l a te e l e v e n t h c e n t u r y 2 0
1.4.2. P s a l m s a l l o t t e d t o o f f i ce h o u r s , f e r i a l c u r s u s 21
1.6.1. P s a l m s a t f e r i a l V e s p e r s 2 9
I . 9 . 1 . B e a u v a i s C i r c u m c is i o n o f f i c e , F i r s t V e s p e r s 4 3
I I . 7 . 1 . A n t i p h o n themes o r p r o t o t y p e m e l o d i e s 91
I I . 1 1 . 1 . R e c i t i n g notes i n i n t r o i t m e l o d i e s 115
11.23.1. T r o p e s f o r t h e E a s t e r i n t r o i t Resunexi i n W i n c h e s t e r s o u r c e s 2 17
11.23.2. G l o r i a t r o p e
sets
s t a r t i n g O laudabilis rex 226-7
11.23.3. F a r s e d A p o s t l e s ' C r e e d i n L a o n 2 6 3 2 3 4
111.4.1. I n t e r l o c k i n g T e m p o r a l e a n d S a n c t o ra l e i n R o m a n u se 3 00
111.4.2. D i s p o s i t i o n o f T e m p o r a l e a n d S a n c t o r a le i n F r a n k i s h u se 301
111.4.3. Separate T e m p o r a l e a n d S a n c t o r a l e i n l a te r m e d i e v a l u se 3 02
I I I .5 .1 . D e p l o y m e n t o f m a t e r i a l i n t w o a n t i p h o n e r s 3 0
I I I .8 .1 . C o n t e n t s o f t h e C a s t l e A c r e p r o c e s s i o n a l 3 18
I I I . 1 5 . 1 . R e s p o n s o r i e s i n t h e N i g h t O f f i c e o f S t A n d r e w 337
I V . 1 .1 . N o t a t i o n a l s i g n s i n M o n t p e l l i e r , F a c u l t e d e M e d e c i n e I I . 1 59 342-3
I V . 2 . 1 . F r e n c h a n d G e r m a n n o t a t io n a l s ig n s 3 48
I V . 2 . 2 . P a l a e o f r a n k i s h , L a o n , B r e t o n , a n d A q u i t a n ia n n o t a t i o n a l s i g n s 3 4 9
I V . 2 . 3 . S i g n s r e l a te d t o F r e n c h - G e r m a n n o t a t i o n 3 52
I V . 2 . 4 . O t h e r I t a l i a n n o t a t i o n s 3 53
I V . 3 . 1 . S p e c i a l s i g n s i n S t G a l l a n d L a o n n o t a t i o n 3 61
I V . 4 . 1 . P r o s o d i c accents 366
I V . 4 . 2 . B y z a n t i n e e k p h o n e t i c s ig n s 3 68
I V . 4 . 3 . A c c e n t s , e k p h o n e t i c s i g n s , a n d n e u m e s ( B y z a n t i n e ) 3 69
I V . 6 . 1 . S p e c i a l s i g n s a t t h e s e m i t o n e step i n M o n t p e l l i e r , F a c u l t e d e M e d e c i n e I I . 1 59 3 88
I V . 6 . 2 . L a t e f o r m s d e r i v e d f r o m L a o n a n d G e r m a n n o t a t io n 3 90
V . 2 . 1 . G r e a t e r a n d L e s s e r P e r f e c t S y s t e m , d i a t o n i c g e n u s 4 4 6
V . 4 . 1 . G r e e k a n d m e d i e v a l m o d a l n a m e s 4 6 2
V . 4 . 2 . W r i t e r s o n m u s i c t h e o r y i n s o u t h G e r m a n y i n t h e e l e v e n t h c e n t u r y 4 7 2
V I . 5 . 1 . C h a n t s a t t h e start o f mass i n f o u r r i t e s 4 9 7
Tables xxiii
I X . 3 . 1 . S o u r c e s g r o u p e d a c c o r d i n g t o t h e i r m u s i c a l v a r i a n t s 5 7 4
I X . 1 0 . 1 . A q u i t a n i a n s o u r c e s t o c. 1200 597
M U S I C E X A M P L E S
E x . I1.2.1. V e r s i c l e s and responses 48
E x .
I 1.2.2.
F r o m
the B l e s s i n g of the F o n t on E a s t e r Eve
50
1.2.3.
F r o m the E x u l t e t
52
E x . I 1.2.4. F r o m a l i t a n y on R o g a t i o n T u e s d a y 53
E x . I 1.2.5 . Paler noster
54
1.2.6.
F r o m the G o s p e l on the feast of St J o h n the E v a n g e l i s t 55
E x . I
1.2.7.
F r o m the G e n e a l o g y a c c o r d i n g to St M a t t h e w
5 7
1.2.8.
F r o m the G e n e a l o g y a c c o r d i n g to St L u k e 58
E x .
I
1.3.1.
T h e e i g h t p s a l m
tones
59-60
E x . I 1.3.2. A n t i p h o n Scitote quia prope est, w i t h p s a l m - t o n e 61
E x . I
1.3.3.
C a d e n c e s f r o m the Commemoratio brevis
62
I
1.3.4.
T o n u s p e r e g r i n u s
63
1.3.5.
A n t i p h o n w i t h ' p a r a p t e r ' p s a l m tone
63
1.3.6.
P s a l m verses for i n t r o i t s
64
E x . I 1.3.7.
V e r s e s of the r e s p o n s o r i e s Salvatorem expectant us, Aitdite verbum,
a n d
Ecce virgo concipiet
1.3.8.
I n v i t a t o r y tone
6 7
E x . I1.4.1. R e s p o n d s of f o u r r e s p o n s o r i e s
72
78
E x . I 1.5.2.
F r o m G r a d u a M w / w a nostra
V . Laqueus contritus est
80
E x . I 1.5.3. F r o m G r a d u a l Exaltabo te V . Domine Dens mens 81
E x .
I 1.5.4.
84
1.6.1.
S h o r t r e s p o n s o r y Super te lerusalem
86
E x . I 1.6.2.
S h o r t r e s p o n s o r y Resurrexit Dominus
8 7
1.6.3.
F e r i a l a n t i p h o n s Credidi a n d Portio mea 8 7
E x . I
1.7.1.
P s a l t e r a n t i p h o n s 92
E x .
I 1.7.2.
A n t i p h o n s w i t h the m e l o d y G e v a e r t t h e m e 29
93
1.7.3.
A n t i p h o n s w i t h the m e l o d y G e v a e r t t h e m e 36
94
E x . I 1.7.4. A n t i p h o n s 95
E x .
I 1.7.5.
M a g n i f i c a t a n t i p h o n s
9 7
E x . I1.8.1.
I n v i t a t o r y a n t i p h o n Ouoniam Deus magnus and p a r t of r e s p o n s o r y
Tolle anna tua
E x .
I1.9.1. P r o c e s s i o n a l a n t i p h o n Ego sunt Deus 101
E x . I 1.9.2.
F r o m the p r o c e s s io n a l a n t i p h o n Collegentnt pontifices 102
E x . I
1.9.3.
P r o c e s s i o n a l a n t i p h o n Ego sum alpha et to
103
I
1.10.1.
M a r i a n a n t i p h o n Sub tuunt presidium
105
E x . I 1.10.2.
M a r i a n a n t i p h o n Speciosa facta es in two v e r s i o n s
106
1.10.3.
F r o m M a r i a n a n t i p h o n s Alma redemptoris mater a n d Sake
regina
107
E x .
I 1.10.4.
M a r i a n a n t i p h o n Aurei nontinis Maria
107
1.10.5.
M a r i a n a n t i p h o n Trinitatis thalamum
108
E x . I
1.11.1. M o d e 3 i n t r o i t o p e n i n g s
111
1.11.2.
M o d e 3 i n t r o i t cadences
112
1.11.3.
R e c i t a t i o n a r o u n d c in m o d e 3 i n t r o i t s
113
1.11.4.
F r o m i n t r o i t Ecce oculi
113
legifer
noster a n d i n t r o i t Timete Dominion
114
1.12.1.
M o d e 6 c o m m u n i o n s
118
E x . I 1.12 .2. C o m m u n i o n Dicit Dominus implete hydrias
119
1.12.3.
Diffusa est gracia as c o m m u n i o n and r e s p o n s o r y
120
E x . I
1.13.1. O f f e r t o r y r e s p o n d Ad te Domine levavi
123
1.13.2.
O f f e r t o r y r e s p o n d In die sollempnitatis
124
E x . I
1.13.3. O f f e r t o r y r e s p o n d Jubilate Deo universa terra
125
E x . I
1.13.4. F r o m o f f e r t o r y r e s p o n d Tollite portas
127
E x . I
1.13.5. S e c o n d verse of o f f e r t o r y
Tollite
portas
128
1.13.6.
V e r s e s of o f f e r t o r y Iubilate Deo universa terra
129
132
1.14.2.
A n o t h e r m e l o d y for Alleluia Dominus dixit ad me
133
134
138
139
verses for A lleluia 0 Matia rubens rosa
139
143
H y m n Somno refect is artubus
143
E x . I
1.15.3. T w o m e l o d ie s for h y m n Ecce iam noctis
144
Pange
lingua
145
145
E x . I
1.15.6. F r o m p r o c e s s i o n a l hymn Ardua spes mundi
147
151
K y r i e
55, V a t i c a n ad l i b . V I
153
1.17.3.
K y r i e 68, V a t i c a n X I V
154
1.17.4.
K y r i e 155, V a t i c a n X V
154
E x . I 1.17.5.
K y r i e 77 and K y r i e 52
155
97
156
156
C a d e n t i a l
f i g u r e s (a-d) and i n t o n a t i o n f g ur e (e) f r o m G l o r i a 39
158
G l o r i a 2
159
160
E x .
1.19.1. G r e e k Sanctus and L a t i n Sanctus 66
163
O l d
R o m a n A g n u s ; A g n u s 226
167
168
170
E x . II .21.2.
F r o m C r e d o by L u l l y
171
175
175
182
189
E x . II
192
193
E x . II .23.1.
T r o p e verses Dilectus iste Domini, etc. for
i n t r o i t /;/ medio ecclesie
1 9 8 - 9
E x . 11.23.2.
V e r s e Ostende nobis for o f f e r t o r y Benedixisti, w i t h p r o s u l a s Da nobis
famulis a n d Da nobis potenti
202
E x . I] .23.3.
Alleluia Concussion est mare w i t h p r o s u l a Angelas Michael 203
E x . II .23.4.
R e s p o n s o r y Beatus Nicholaus w i t h p r o s u l a Oportet devota mente
206
E x . 11 .23.5.
R e s p o n s o r y 0 mater nostra
w i t h p r o s u l a Eterna virgo memorie
207
.23.6.
F r o m G l o r i a 56 ( V a t i c a n I V ) w i t h t r o p e verses 0 gloria
sanctorum, etc., R e g n u m p r o s u la 0 rexglorie
208
210
212
E x . U
[.23.9. K y r i e 55 w i t h t r o p e verses Chris te redemptor, etc.
213
E x . I i
[.23.10. B e n e d i c a m u s chant Eia nunc pueri
214
E x . I]
.23.11. B e n e d i c a m u s chants
215
E x . U .23.12. T r o p e verses Ecce iam Iohannes, etc. for i n t r o i t /;/ medio
ecclesie
218-19
E x . I]
.23.13. T r o p e verse Deus paterfiliurn suum a n d start of i n t r o i t Puer natus est
222
.23.14.
I n t r o d u c t o r y verses Ilodie cantandus est, etc. and start of i n t r o i t Puer
natus est
E x . 11
.23.15. G l o r i a 39 w i t h t r o p e verses 0 laudabilis rex, etc. and S c e p t r u m
p r o s u l a Lumen etemum
228-30
.23.16.
Sanctus 56 ( V a t i c a n III) w i t h t r o p e verses Summe
pater, etc. an d
O s a n n a p r o s u l a s Omnes tua gratia ^nd Martyr Christi gratia
2 3 0 - 1
E x . 11
.23.17. A g n u s 15 w i t h t r o p e verses P r o cunctis deductus, etc.
232
.23.18.
A g n u s 81a w i t h t r o p e verses Ad dextrarn patris, etc. a n d Ilumanum
genus, etc.
233
E x . 11 .23.19. F a r s e d C r e d o
235-6
.23.20.
I n t r o d u c t o r y verse
iMitdes Deo for a f a r s e d e p i s t l e
237
E x . 11
.23.21. Start of f a r s e d l e s s o n
w i t h verses Ce que Ysaies nos escrit, etc.
237
Sancte Paule pastor bone 241
E x . 11
.24.2. B e n e d i c a m u s song Lux ornni festa populo
243
11
.24.3.
L a t i n s o n g Letabundi iubilemus
E x . 11
.24.4. L a t i n s o n g Natus est, natus est 245
E x . I]
.24.5. B e n e d i c a m u s s o n g Thesaurus nove grade
246
E x .
II.24.6. L a t i n s o n g Plebs Domini hac die
246
II.24.7.
L a t i n s o n g / k ^ mater salvatoris 247
E x .
II.24.8. M a c a r o n i c s o n g Be deu hoi mais
248
258-9
260
E x . II.25.7.
F r o m the T o u r s Easter p l a y
268-9
E x . II.25.8.
S o n g Adam novus veterem f r o m F l e u r y P e r e g r i n u s p l a y
270
E x .
272
E x .
II.26.1. R e s p o n s o r y Videns Rome vir beatus
275
A n t i p h o n Gregorius vigiliis
276
A n t i p h o n s
f r o m the o f f i c e of St D o m i n i c 277
E x . II.26.4. A n t i p h o n s
f r o m the o f f i c e s of St D o m i n i c and St T h o m a s of C a n t e r b u r y 278
E x . II.26.5. R e s p o n s o r y Post sex annos 279
E x . III.14.1. E x t r a c t f r o m a t o n a r y , p a r t of the t h i r d tone
327
E x . III.14.2. T y p e - m e l o d i e s f r o m a t o n a r y
332
E x .
III.14.3. F r o m the G l o r i a tones
334
I V . 1 . 1 .
C o m m u n i o n Ego sum vitis vera
344
Beatus ille servus
E x .
I V . 2 . 2 . C o m m u n i o n Quis dabit ex Sion 356
E x .
I V . 3 . 1 . F r o m g r a d u a l Exultabunt sancti V .
Cantate Domino
I V . 3 . 2 .
E x a m p l e s of o r i s c u s
359
E x .
I V . 4 . 1 . O p e n i n g s of m o d e 3 i n t r o i t s (St G a l l n o t a t i o n )
372
E x .
I V . 5 . 1 . F r o m o f f e r t o r y
Benedictus es Domine 375
5.2.
N o r m a l and m o d i f i e d s i g n s in St G a l l n o t a t i o n (select ion) 376
E x .
I V . 5 . 3 .
N o r m a l and ' l o n g e r ' s i g n s in L a o n n o t a t io n (selection) 377
E x .
I V . 5 . 4 . A s t a n d a r d p h r a se f r o m m o d e 5 g r a d u a ls ( A p e l F l ) w i t h L a o n and St
G a l l n o t a t i o n 378
E x .
I V . 5 . 5 . P o s s i b l e g r a d a t i o n s of d u r a t i o n in pes and c l i vi s ( L a o n and St G a l l
n o t a t i o n s )
378
E x . I V . 5 . 6 . M e n s u r a l t r a n s c r i p t i o n of passages f r o m Alleluia Pascha nostrum 379
E x .
I V . 5 . 7 . M e n s u r a l t r a n s c r i p t i o n of passages horn Alleluia Pascha nostrum 380
E x .
I V . 5 . 8 .
A n t i p h o n s w i t h the same m e l o d y 381
E x .
I V . 6 . 1 . A l p h a b e t i c n o t a ti o n a-p 387
E x .
I V . 7 . 1 . H u c b a l d ' s l e tt e r- n o ta t io n 393
E x .
I V . 7 . 2 .
D a s i a s i g n s in the Enchiriadis g r o u p of treatises
393
I V . 7.3.
B o e t h i u s ' p i t c h - l e t t e r s 394
E x . I V . 7 . 4 .
P i t c h - l e t t e r s in the
Dialogus de musica
and G u i d o of A r e z z o 395
E x .
I V . 7 . 5 . H e r m a n n u s C o n t r a c t u s ' i n te r va l n o t a t io n 396
E x . I V . 8 . 1 .
C o m m u n i o n Pascha nostrum
398
Music Examples
E x .
V . 2 . 1 .
B o e t h i u s ' d i v i s i o n of the m o n o c h o r d
445
V . 2 . 2 .
Species of i n t e r v a l s
447
V . 3 . 1 .
A n t i p h o n Ecce vere Israelii a n o t a t e d by H u c b a l on six ' s t r i n g s '
449
H u c b a l d ' s
a r r a n g e m e n t of a s c e n d i n g t e t r a c h o r d s
450
E x .
V . 3 . 3 . I n t r o i t Statuit ei as d e s c r i b e d by H u c b a l d 450
E x .
H u c b a l d ' s
l e t t e r - n o t a t i o n
451
E x .
V . 3 . 5 . E x a m p l e s in p r o t u s m o d e f r o m
Music a enchiriadis
E x . V . 4 . 1 .
P s a l m - v e r s e cadences and o p e n i n g s of m o d e 1 i n t r o i t s c i t e d by A u r c l i a n
o f R e o m e 457
E x .
V . 4 . 2 . D i v i s i o n of the m o n o c h o r d in
Dialogus de rnusica
V . 4 . 3 .
N o t e s r e q u i r e d to notate a n t i p h o n Domine qui operati, v a r i o u s v e r s i o n s 465
E x . V . 4 . 4 .
Ranges of chants in the e i g h t m o d e s , Dialogus de rnusica 465
E x .
V . 4 . 5 .
' S i m i l i t u d e s ' of notes to the v a r io u s m o d e s , Dialogus de rnusica 466
E x .
y
G u i d o of A r e z z o 467
E x .
V . 4 . 7 .
A n t i p h o n Diligite Dominion 468
E x . V . 4 . 8 . T h e modi vocum, G u i d o of A r e z z o
470
E x . V . 4 . 9 . N o t e s r e q u i r e d to notate c o m m u n i o n De fructu, two v e r s i o n s 474
E x .
V.4.10
M o d a l q u a l i t i e s of notes,
H e r m a n n u s C o n t r a c t u s 475
E x .
V I I I . 3 . 1 . O l d R o m a n and G r e g o r i a n v e rs io n s of c o m m u n i o n Revelabitur gloria
Domini 532
E x . VIII .3 .2 .
G r a d u a l verses Celt enarrant and In manibus portabunt te 534
E x .
VIII .3 .3 .
A n t i p h o n s in O l d R o m a n and G r e g o r i a n v e r s io n s 535
E x .
VIII .3 .4 .
O l d R o m a n and G r e g o r i a n v e r s io n s of o f f e r t o r y
verse Qui propitiatur
E x .
VII I . 3 . 5 . O l d R o m a n and G r e g o r i a n v e r s io n s of verse Quoniam angelis f r o m
o f f e r t o r y Scapulis suis
537
verse of A lleluia Palatum corrneum
538
E x . V I I I . 4 . 1 .
T r a n s i t o r i u m Convertirnini omnes
543
VIII .4 .2 .
R e s p o n s o r i u m cum i n f a n t i b u s Sperent in te
545
E x .
VIII .4 .3 . Melodiae of A m b r o s i a n A l l e l u i a V I
546
VIII .4 .4 .
G r e g o r i a n , Ol d R o m a n , and A m b r o s i a n v er s io n s of i n t r o i t / i n g r e s s a
Invocavit me
V I I I . 5 . 1 .
A m b r o s i a n and O l d B e n e v e n ta n v e rs i o n s of c o m m u n i o n Ilymnum canite
551
V I I I . 6 . 1 .
P r o c e s s i o n a l a n t i p h o n Cum audisset populus
555
E x .
VIII .6 .2 . P a r t of o f f e r to r y Sanctificavit Moyses in O l d S p a n i s h , G r e g o r i a n ,
A m b r o s i a n ,
and O l d R o m a n v e r si o n s 556-7
E x . I X . 7 . 1 .
T r o p e verses Qui die at patn\ etc. for i n t r o i t Resurrexi 587
E x . I X . 7 . 2 . Sequence Clara gaudia festa paschalia
588
I X . 8 . 1 .
R o g a t i o n a n t i p h o n Peccavimus Domine 592
E x .
I X . 8 . 2 .
Start of fa r s e d l e s s o n w i t h verses Ad laudern regis glorie, etc.
593
I X . 1 0 . 1 .
R e s p o n s o r y 0 sancte Dei apostole 599-
-600
X . 3 . 1 .
F r o m g r a d u a l Exurge Domine in G r e g o r i a n and C i s t e r c i a n - D o m i n i c a n
v e r s i o n s 612
Music Examples xxix
E x . X . 5 . 1 . M e d i e v a l a n d M c d i c c a n v e rs io n s of g r a d u a l Omnes de Saba 617
E x . X . 6 . 1 .
E x t r a c t s
f r o m Graduel de Pans,1754 619-20
E x .
X 1 . 1 . 1 .
N O T E O N M U S I C E X A M P L E S
Slurs are used only for notes joined in the same sign in the original notation.
h = oriscus A- = neume at the semitone step ('mi-neume')
w
r A B C DEFGabc de f g
a
a
t
"etc.
A B B R E V I A T I O N S
AcM Acta musicologica
AfMw Archiv fur Musikwissenschaft
A H Analecta hymnica medii aevi, ed. G u i d o M a r i a D r e v e s , C l e m e n s B l u m e , and
H e n r y M a r r i o t t B a n n i s t e r , 55 v o l s . ( L e i p z i g , 1886-1922); Register, ed. M a x
L u t o l f , 3 v o l s . ( B e r n e , 1978). T e x t e d i t i o n s of h y m n s : 2, 4, 11-12, 14, 16, 19,
2 2 - 3 , 27, 43, 48, 50- 2 ; of r h y m e d o f f i c e s : 5, 13, 17-18, 24-6, 28, 45; of
sequences: 7-10, 34, 37, 39-40, 42, 44, 53-5; of t r o p e s : 47, 49. For i n d i v i d u a l
v o l u m e s see B i b l i o g r a p h y
AM Antiphonale monasticum pro diurnis horis
( T o u r n a i , 1934)
AM S Rene-Jean H e s b e r t , Antiphonale missarum sextuplex ( B r u s s e l s , 1935) [ M o n z a ,
B a s i l i c a S. G i o v a n n i , C I X : ' M o d o e t i e n s i s ' ; Z u r i c h , Z e n t r a l b i b l i o t h e k , R h e i n a u 30:
' R h e n a u g i e n s i s ' ; B r u s s e l s , B i b l i o t h e q u e R o y a l e , 10127-10144: ' B l a n d i n i e n s i s ' ;
P a r i s , B i b l i o t h e q u e N a t i o n a l e , lat. 17436: ' C o m p e n d i e n s i s ' ; P a r i s , B i b l i o t h e q u e
N a t i o n a l e , lat. 12050: ' C o r b i e n s i s ' ; P a r i s , B i b l i o t h e q u e S a i n t e - G e n e v i e v e , 111:
' S i l v a n e c t e n s i s ' ]
A f t Antiphonale sacrosanctae Romanae ecclesiae ( R o m e , 1912)
AS Antiphonale Sarisburiense: A Reproduction in Facsimile of a Manuscript of the
Thirteenth Century, ed. W a l t e r H o w a r d F r e r e ( L o n d o n , 1901-24)
BzG Beitrdge zur Gregorianik
CAO Corpus antiphonalium officii, ed. Rene-Jea n H e s b e r t ( R e r u m e c c le s i a s t i ca r u m
d o c u m e n t a , Series m a i o r , F o n t e s , 7-12 ; R o m e , 1963-79). For i n d i v i d u a l v o l u m e s
see B i b l i o g r a p h y
C C M C o r p u s c o n s u e t u d i n u m m o n a s t i ca r u m , ed. K a s s i u s H a l l i n g e r ( S i e g b u r g , 1963- ).
F o r i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
C M C o n s u e t u d i n e s m o n a s t ic a e , ed. B r u n o A l b e r s . For i n d i v i d u a l v o l u m e s see
B i b l i o g r a p h y
C S E d m o n d de C o u s s e m a k e r , Scriptorum de rnusica medii aevi novam seriem . . . , 4
v o l s . ( P a r i s , 1864, 1867, 1869, 1876)
C S M C o r p u s s c r i p t o r u m de r n u s i c a ( R o m e , 1950- ). F or i n d i v i d u a l v o l u m e s see
B i b l i o g r a p h y
C T C o r p u s t r o p o r u m ( S t u d i a L a t i n a S t o c k h o l m i e n s i a ; S t o c k h o l m , 197 5- ). F or
i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
DACL F e r n a n d C a b r o l , H e n r i L e c l e r c q , and H e n r i M a r r o u (eds.), Dictionnaire d'archeologie
chretienne et de liturgie, 15 v o l s , in 30 ( P a r i s , 1907-53)
D M A D i v i t i a e m u s i c a e a r t i s , ed. J o s e p h S m i t s van W a e s b e r g h e ( B u r e n , 1975 - ). F or
i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
EG Etudes gregoriennes
EL Ephemerides liturgicae
xxxii Abbreviations
G S M a r t i n G e r b e r t , Scriptores ecclesiastic de rnusica sacra potissimum, 3 v o l s .
( S a n k t - B l a s i e n , 1 78 4 ) [ to b e u s e d i n c o n j u n c t i o n w i t h B e r n h a r d 1 98 9]
G T Graduate triplex, e d . M a r i e - C l a i r e B i l l e c o c q a n d R u p e r t F i s c h e r
(Solesmes,
1979)
[Graduate Romanum o f 1 9 7 4 w i t h n e u m e s o f L a o n 2 3 9 , E i n s i e d e l n 12 1, S t G a l l
3 5 9 a n d 3 3 9 , e t c . ]
IIMT H a n s - H e i n r i c h E g g e b re c h t (ed.), Handworterbuch de r musikalischen Terrninologie
( M a i n z , 1 9 7 1 - )
JAMS Journal of the American Musicological Society
JPMMS Journal of the Plainsong & Mediaeval Music Society
Kmjb
LR Liber responsorialis pro festis I. classis et communi sanctorum
juxta ritum
dominicis
et festis I. vet II. classis ( R o m e , 1 92 1)
M D Musica disciplina
Mf Die Musikforschung
M GG F r i e d r i c h B l u m e (ed.), D ie Musik in Geschichte an d Gegenwari: Allgerneine
Enzyklopddie de r Musik, 17 v o l s . ( K a s s e l , 1949-86)
M G H M o n u m e n t a G e r m a n i a e h i s to r i ca . F o r i n d i v i d u a l v o l u m e s see B i b l i o g r a p h y
M M M A M o n u m e n t a m o n o d i c a m e d i i a e vi ( K a s s e l , 1 9 5 6 - ) . F o r i n d i v i d u a l v o l u m e s s e e
B i b l i o g r a p h y
M o n u m e n t a m u s ic a e sacrae, e d . Rene-Jean H e s b e r t . F o r i n d i v i d u a l v o l u m e s s ee
B i b l i o g r a p h y
M Q Musical Quarterly
NCE The New Catholic Encyclopedia, 15 v o l s . ( N e w Y o r k , 1 9 67 ; s u p p l e m e n t a r y v o l s .
1 9 7 4 , 1 9 7 9 )
N G S t a n l e y S a d i e
(ed.),
The New Grove Dictionary of Music an d Musicians, 2 0 v o l s .
( L o n d o n ,
1980)
P a l M u s P a l e o g r a p h i e m u s i c a l e : L e s p r i n c i p a u x m a n u s c r i t s d e c h a n t g r e g o r i e n , a m b r o s i e n ,
m o z a r a b e , g a l l i c a n [ p r e m i e r s e r i e , d e u x i e m e s e r i e ] . F o r i n d i v i d u a l v o l u m e s s ee
B i b l i o g r a p h y
P L P a t r o l o g i a e c u r s u s c o m p l e t u s , series l a t i n a , e d . J . - P . M i g n e , 2 21 v o l s . ( P a r i s , 1844-64)
RB Revue benedictine
RG Revue gregorienne
RIM Rivista italiana di
R I S M R e p e r t o i r e i n t e rn a t i o n a l d es s o u rc es m u s i ca l es ( M u n i c h a n d D u i s b u r g ) . F o r
i n d i v i d u a l v o l u m e s s ee B i b l i o g r a p h y
SM H Studia
musicologica Academiae scientiarwn Hungaricae
B I B L I O G R A P H Y
A B A T E , G . , 'II p r i m i t i v o b r e v i a r i o f r a n c e s ca n o ' , Miscellanea francescana, 60 (1960), 47 -2 40 .
A B E R T , H E R M A N N , Die aesthetischen Grundsdtze der mittelalterlichen Melodiebildung ( H a l l e ,
1905).
D ie Musikanschauung des Mittelalters und Hire Grundlagen ( H a l l e , 1905).
A B R A H A M S E N , E R I K , Elements romans et allemands dans le chant gregorien et la chanson
populaire en Danemark ( P u b l i c a t i o n s de l ' A c a d e m i e g r e g o r i e n n e de F r i b o u r g (Suisse), 11;
C o p e n h a g e n , 1923).
Acta sanctorum collecta . . . a Sociis Bollandianis ( A n t w e r p , 1643 - ; 3r d ed n. , P a r i s and
B r u s s e l s , 1863- ).
Acta sanctorum ordinis sancti Benedicti, ed. Jean M a b i l l o n , L u c d ' A c h e r y , et al., 9 v o l s .
( P a n s , 1668-1701).
A D L E R F e s t s c h r i f t 1930 = Studien zur Musikgeschichte: Festschrift fur Guido Adler ( V i e n n a ,
1930).
A G U S T O N I , L U I G I , Gregorianischer Choral: Elemente und Vortragslehre mit besonderer
Berucksichtigung der Neumenkunde ( F r i b o u r g , 1963).
' D i e F r a g e der T o n s t u f e n SI und M I ' , BzG
4 (1987), 47 -1 01 .
a n d G O S C H L , Johannes B e r c h m a n s , Einfuhning in die Interpretation des Gregorianischen
Chorals, 1: Grundlagen ( R e g e n s b u r g , 1987).
A H 2 (1887) = Hymnarius Moissiacensis: Das Hymnar der Abtei Moissac im 10. Jahrhundert
nach einer Handschrift der Rossiana, ed. G u i d o M a r i a D r e v e s .
A H 4 (1888) = llyrnni inediti: Liturgische Hymnen des Mittelalters aus handschriftlichen
Breviarien, Antiphonalien und Processionalien, ed. D r e v e s .
A H 5 (1889), 13 (1892), 18 (1894), 24 (1896), 25 -6 (1897), 28 (1898) , 45 (1904) =
Historiae
Hiythrnicae: Liturgische Reimoffizien des Mittelalters aus Handschriften und Wiegendnicken,
e d . D r e v e s .
A H 7 (1889) = Prosarium L^emovicense: Die Prosen der Abtei St. Martial zu Limoges, aus
Troparien des 10., 11. und 12. Jahrhunderts,
ed. D r e v e s .
A H 8-9 (1890), 10 (1891) = Sequentiae ineditae: Liturgische Prosen des Mittelalters aus
Handschriften und Fruhdrucken, ed. D r e v e s .
A H 11 (1891), 12 (1892) , 19 (1895), 22 (1895), 23 (1896), 43 (1903) = Hymni inediti:
Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken
, ed. D r e v e s .
A H 13 see A H 5.
A H 14 (1893) = Hymnarius Severinianus: Das Hymnar der Abtei S. Severin in Neapel nach
den Codices Vaticanus 7172 und Parisinus 1092,
ed. D r e v e s .
A H 16 (1894) = Hymnodia Hiberica: Spanische Hymnen des Mittelalters aus liturgischen
Handschriften und Druckwerken romischen Ordos, ed. D r e v e s .
A H 17 (1894) = Hymnodia Hiberica: Liturgische Reimoffizien aus spanischen Brevieren. Im
Anhange: Carmina Compostellana, die Lie der des s.g. Codex Calixtinus, ed. D r e v e s .
A H \%see A H 5.
A H 19, 22, 23 see A H 11.
5.
= Hymnodia Gotica: Die mozarabischen Hymnen des alt-spanischen Ritus aus
handschriftlichen und gedruckten Quellen, ed. C l e m e n s B l u m e .
A H 34 ( 1 9 0 0 ) , 37 ( 1 9 0 1 ) , 39 ( 1 9 0 2 ) , 42 ( 1 9 0 3 ) , 44 ( 1 9 0 4 ) = Sequentiae ineditae: Liturgische
Prose?i des Mittelalters aus Handschriften und Friihdrucken, ed. B l u m e .
A H 4 0 ( 1 9 0 2 )
= Sequentiae ineditae: Liturgische Prosen des Mittelalters aus Handschriften
und Fruhdrucken, ed. H e n r y M a r r i o t t B a n n i s t e r .
A H 42 see
11.
5.
A H
47( 1 9 0 5 ) Tropi graduates: Tropen des Missale im Mittelalter. I. Tropen zum
Ordinarium Missae. Aus handschriftlichen Quellen, ed. B l u m e and B a n n i s t e r .
A H 4 8 ( 1 9 0 5 ) , 5 0 ( 1 9 0 7 )
= Hymnographi Latini: Lateinische Hymnendichter des Mittelalters
aus gedruckten und ungedruckten Quellen, ed. D r e v e s .
A H 4 9 ( 1 9 0 6 ) = Tropi graduates: Tropen des Missale imMittelalter. II. Tropen zum Proprium
Missae. Aus handschriftlichen Quellen, ed. B l u m e .
A H 50 see A H 48.
A H 5 1 ( 1 9 0 8 ) = Thesauri hymnologici hymnarium:
Die
Hymnen
des
5.-11. Jahrhunderts
und die irisch-keltische Hymnodie aus den dltesten Quellen, ed. B l u m e .
A H 52
12.-16.
Jahrhunderts aus den dltesten Quellen, ed. B l u m e .
A H 5 3 ( 1 9 1 1 ) = Thesauri hymnologici prosarium: Liturgische Prosen erster Epoche aus den
Sequenzenschulen des Abendlandes, insbesondere die demNotkerus Balbulus zugeschriebenen,
nebst Skizze iiber den Ursprung der Sequenz, aufgrund der Melodien aus den Quellen des
10.-16. Jahrhunderts, ed. B l u m e and B a n n i s t e r .
A H 5 4 ( 1 9 1 5 ) = Thesauri hymnologici prosarium: Liturgische Prosen des Ubergangsstiles und
der zweiten Epoche, insbesondere
Handschriften
und
Friihdrucken, ed. B l u m e and B a n n i s t e r .
A H 5 5 ( 1 9 2 2 ) = Thesauri hymnologici prosarium: Liturgische Prosen zweiter Epoche auf Feste
der Heiligen nebst eiriem Anhange: Hymnologie des Gelderlandes und des Haariemer
Gebietes aus Handschriften und Fruhdrucken, ed. B l u m e .
A I K A A , E R M O , ' E i n m a r i a n i sc h e r G l o r i a - T r o p u s ' , p a p e r r ea d at the
F i r s t E u r o p e a n
Science
F o u n d a t i o n I n t e r n a ti o n a l W o r k s h o p on T r o p e s , M u n i c h , 19 83 .
A L B A R O S A , N I N O , ' L a scuola gregonana di Eugene Car dine' , RIM 9
( 1 9 7 4 ) , 2 6 9 - 9 7 ; 1 2 ( 1 9 7 7 )
1 3 6 - 5 2 .
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'