Skip to main content Accessibility help
×
Hostname: page-component-5c6d5d7d68-qks25 Total loading time: 0 Render date: 2024-09-02T06:48:42.687Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  22 September 2009

James Grier
Affiliation:
University of Western Ontario
Get access
Type
Chapter
Information
The Musical World of a Medieval Monk
Adémar de Chabannes in Eleventh-century Aquitaine
, pp. 336 - 358
Publisher: Cambridge University Press
Print publication year: 2006

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adémar de Chabannes. Chronicon, ed. P. Bourgain, R. Landes and G. Pon, Ademari Cabannensis Opera Omnia Pars I. Corpus Christianorum Continuatio Mediaevalis, 129. Turnhout, 1999.
Adémar de ChabannesEpistola de apostolatu sancti Martialis, in PL 141: cols. 89–112.
Adémar de ChabannesSermones tres Ademari, in PL 141: cols. 115–24.
[Adémar de Chabannes]. Acta concilii lemovicensis II, in PL 142: cols. 1353–1400. Reprinted from Philippe Labbe and Gabriel Cossart, eds., Sacrosancta concilia, 16 vols. (Paris, 1671–72), 9: cols. 869–910; also printed in Giovanni Mansi, ed., Sacrorum conciliorum noua et amplissima collectio, 31 vols. (Venice, 1759–98), 19: cols. 507–48.
[Adémar de Chabannes]Commemoratio abbatum lemovicensium basilice S. Marcialis apostoli, in Chroniques de Saint‐Martial de Limoges, ed. H. Duplès‐Agier. Paris, 1874, pp. 1–27.
Agustoni, Luigi, and Johannes Berchmans Göschl. Einführung in die Interpretation des Gregorianischen Chorals, 2: Aesthetik, 2 parts. Bosse‐Musik‐Paperback, 31. Regensburg, 1992.
AH Analecta hymnica, 55 vols., ed. Guido Maria Dreves, Clemens Blume and Henry M. Bannister. Leipzig, 1886–1922.
Amalarius of Metz. Amalarii episcopi opera liturgica omnia, ed. Jean Michel Hanssens. Studi e Testi, 138–40. Vatican City, 1948–50.
AMS Antiphonale missarum sextuplex, ed. René‐Jean Hesbert. Brussels, 1935; repr. Rome, 1967.
Annales lemovicenses, in MGH, Scriptores, 2, ed. Georg Heinrich Pertz. Hanover, 1829; repr. Stuttgart and New York, 1963, pp. 251–52.
Anthologia latina, 2 vols. in 5, ed. Franz Buecheler, Alexander Riese and Ernst Lommatzsch. Leipzig, 1894–1926.
Apel, Willi. Gregorian Chant. Bloomington and London, 1958.Google Scholar
Arbellot, [ François. “Cathédrale de Limoges: Histoire et description.” Bulletin de la Société Archéologique et Historique du Limousin 3 (1848), 169–248.Google Scholar
Arbellot, [ FrançoisDocuments inédits sur l'apostolat de Saint Martial et sur l'antiquité des églises de France. Paris and Limoges, 1860.Google Scholar
Aribo. De musica, ed. Jos. Smits van Waesberghe. Corpus Scriptorum de Musica, 2. Rome, 1951.
Arlt, Wulf. “Anschaulichkeit und analytischer charakter Kriterien der Beschreibung und Analyse früher Neumenschriften,” in Musicologie médiévale, ed. Huglo, pp. 29–55.
Arlt, WulfKomponieren im Galluskloster um 900: Tuotilos Tropen Hodie cantandus est zur Weihnacht und Quoniam dominus Iesus Christus zum Fest des Iohannes evangelista.” Schweizer Jahrbuch für Musikwissenschaft, new ser., 15 (1995), 41–70.Google Scholar
Arlt, Wulf“Liturgischer Gesang und gesungene Dichtung im Koster St. Gallen,” in Das Kloster St. Gallen im Mittelalter: Die kulturelle Blüte vom 8. bis zum 12. Jahrhundert, ed. Ochsenbein, Peter. Stuttgart, 1999, pp. 137–65 (notes pp. 253–60).Google Scholar
Arlt, Wulf, and Björkvall, Gunilla, eds. Recherches nouvelles sur les tropes liturgiques. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 36. Stockholm, 1993.Google Scholar
Arlt, Wulf, and Rankin, Susan, eds. Stiftsbibliothek Sankt Gallen Codices 484 & 381. 3 vols. Winterthur, 1996.Google Scholar
Atkinson, Charles M. “De accentibus toni oritur nota quae dicitur neuma: Prosodic Accents, the Accent Theory, and the Paleofrankish Script,” in Essays on Medieval Music, ed. Boone, pp. 17–42.
Aubrun, Michel. L'ancien diocèse de Limoges des origines au milieu du XIe siècle. Publications de l'Institut d'Études du Massif Central, 21. Clermont‐Ferrand, 1981.
Auda, Antoine. L'école musicale liégeoise au Xe siècle: Etienne de Liège. Académie Royale de Belgique, Classe des Beaux‐Arts, Mémoires, 2, fasc. 1. Brussels, 1923.
Augustine of Hippo. Confessionum libri XIII, ed. Luc Verheijen, Corpus Christianorum Series Latina, 27. Turnhout, 1981.
Augustine of HippoEnarrationes in Psalmos, 3 vols., ed. Eligius Dekkers and Johannes Fraipont, Corpus Christianorum Series Latina, 38–40. Turnhout, 1956.
Aurelian of Réôme. Musica disciplina, ed. Lawrence Gushee. Corpus Scriptorum de Musica, 21. N.p., 1975.
Babb, Warren, trans. Hucbald, Guido, and John on Music: Three Medieval Treatises, ed. Claude V. Palisca. Music Theory Translation Series, 3. New Haven, 1978.Google Scholar
Bannister, Henry Marriott. Anglo‐French Sequelae, ed. Anselm Hughes. Burnham and London, 1934.Google Scholar
Bannister, Henry MarriottThe Earliest French Troper and Its Date.” Journal of Theological Studies 2 (1901), 420–29.CrossRefGoogle Scholar
Bannister, Henry MarriottUn tropaire‐prosier de Moissac.” Revue d'Histoire et de Littérature Religieuses 8 (1903), 554–81.Google Scholar
Barclay, Barbara Marian. “The Medieval Repertory of Polyphonic Untroped Benedicamus Domino Settings.” 2 vols. Ph.D. diss., University of California, Los Angeles, 1977.
Barrett, Sam. “Music and Writing: On the Compilation of Paris Bibliothèque Nationale lat. 1154.” Early Music History 16 (1997), 55–96.CrossRefGoogle Scholar
Barrière, Bernadette. “Adémar et sa famille,” in Splendeurs de St‐Martial de Limoges au temps d'Adémar de Chabannes, ed. Barrière, Bernadette, Cantié, Geneviève and Notin, Véronique. Limoges, 1995, pp. 56–60.Google Scholar
Becquet, Jean. “Le bullaire du Limousin.” Bulletin de la Société Archéologique et Historique du Limousin 100 (1973), 111–49.Google Scholar
Becquet, JeanLe concile de Limoges de 1031.” Bulletin de la Société Archéologique et Historique du Limousin 128 (2000), 23–64.Google Scholar
Bellet, Charles‐Félix. L'ancienne vie de Saint Martial et la prose rythmée. Paris, 1897. (First published in Université Catholique, new ser., 24 [1897], 321–52.)
Benedict of Nursia. Regula, ed. Adalbert de Vogüé and Jean Neufville. La règle de Saint Benoît. 6 vols. Sources Chrétiennes, 181–86. Paris, 1971–77.
Les Bénédictins du Bouveret. Colophons de manuscrits occidentaux des origines au XVIe siècle. 6 vols. Spicilegii Friburgensis Subsidia 2–7. Fribourg, 1965–82.
Bent, Margaret. “Some Criteria for Establishing Relationships between Sources of Late‐Medieval Polyphony,” in Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, ed. Fenlon, Iain. Cambridge, 1981, pp. 295–317.Google Scholar
Berger, Hugo. Untersuchungen zu den Psalmdifferenzen. Kölner Beiträge zur Musikforschung, 37. Regensburg, 1966.Google Scholar
Berschin, Walter, and Hiley, David, eds. Die Offizien des Mittelalters: Dichtung und Musik. Regensburger Studien zur Musikgeschichte, 1. Tutzing, 1999.Google Scholar
Betteray, Dirk. “Die Liqueszenz und ihre oratorische Bedeutung untersucht am Beispiel des Wortstammes ‘Salv’ – ein Annäherungsversuch.” Beiträge zur Gregorianik 23 (1997), 53–63.Google Scholar
Bielitz, Mathias. Zum Bezeichneten der Neumen, insbesondere der Liqueszenz: Ein Hypothesenansatz zum Verhältnis von Musik und Sprache, zur diatonischen Rationalität, zur Bewegungs‐ und Raum‐Analogie, zur Enstehung der Neumenschrift und zur Rezeption des Gregorianischen Chorals in Benevent. Neckargemünd, 1998.
Birch, W. de G., ed. “Vita sanctissimi Martialis apostoli: The Life of St. Martial by Aurelianus, from a Manuscript in the British Museum.” Journal of the British Archaeological Association 28 (1872), 353–90. Reprinted separately (London, 1872).CrossRefGoogle Scholar
Björkvall, Gunilla, and Andreas Haug. “Sequence and Versus: On the History of Rhythmical Poetry in the Eleventh Century,” in Latin Culture in the Eleventh Century, ed. Herren et al., 1:57–82.
Björkvall, Gunilla, and Andreas Haug“Text und Musik im Trinitätsoffizium Stephans von Lüttich: Beobachtungen und Überlegungen aus mittellateinischer und musikhistorischer Sicht,” in Die Offizien des Mittelalters, ed. Berschin and Hiley, pp. 1–24.
Björkvall, Gunilla, Gunilla Iversen and Ritva Jonsson, eds. CT 3.
Boethius, Anicius Manlius Severinus. De institutione musica, ed. Friedlein, Gottfried, in De institutione arithmetica libri duo, De institutione musica libri quinque, accedit Geometria quae fertur Boetii. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana. Leipzig, 1867; repr. Frankfurt am Main, 1966, pp. 175–371.Google Scholar
Boone, Graeme M., ed. Essays on Medieval Music in Honor of David G. Hughes. Isham Library Papers, 4. Cambridge, MA, 1995.Google Scholar
Boussel, Patrice. Des reliques et de leur bon usage. Paris, 1971.Google Scholar
Boyce, James John. “The Office of St. Mary of Salome.” Journal of the Plainsong and Mediaeval Music Society 11 (1988), 25–47.CrossRefGoogle Scholar
Boyce, James JohnThe Office of the Three Marys in the Carmelite Liturgy.” Journal of the Plainsong and Mediaeval Music Society 12 (1989), 1–38.Google Scholar
Boyce, James John“Rhymed Office Responsory Verses: Style Characteristics and Musical Significance,” in Cantus planus: Papers Read at the 7th Meeting, Sopron, Hungary, 1995, ed. Dobszay, László. Budapest, 1998, pp. 99–121.Google Scholar
Bryden, John R., and Hughes, David G., compilers. An Index of Gregorian Chant. 2 vols. Cambridge, MA, 1969.Google Scholar
Cahn, Peter, and Heimer, Ann‐Katrin, eds. De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper. Helmut Hucke zum 60. Geburtstag. Musikwissenschaftliche Publikationen, Hochschule für Darstellende Kunst, 2. Hildesheim, 1993.Google Scholar
Callahan, Daniel F.Ademar of Chabannes and His Insertions into Bede's Expositio actuum apostolorum.” Analecta Bollandiana 111 (1993), 385–400.CrossRefGoogle Scholar
Callahan, Daniel F.Adémar of Chabannes, Apocalypticism and the Peace Council of Limoges of 1031.” Revue Bénédictine 101 (1991), 32–49.CrossRefGoogle Scholar
Callahan, Daniel F.The Sermons of Adémar of Chabannes and the Cult of St. Martial of Limoges.” Revue Bénédictine 86 (1976), 251–95.CrossRefGoogle Scholar
CANTUS. An Aquitanian Antiphoner: Toledo, Biblioteca capitular, 44.2. Wissenschaftliche Abhandlungen, 55 no. 1. Ottawa, 1992.
CANTUSPiacenza, Biblioteca Capitolare 65. Wissenschaftliche Abhandlungen, 55 no. 2. Ottawa, 1993.
CAO Corpus antiphonalium officii, 6 vols., ed. René‐Jean Hesbert. Rerum Ecclesiasticarum Documenta, Series Maior, Fontes 7–12. Rome, 1963–79.
Cappelli, A.Cronologia, cronografia e calendario perpetuo dal principio dell'èra cristiana ai nostri giorni, 5th edn. Milan, 1983.Google Scholar
Carlson, Rachel Golden. “Striking Ornaments: Complexities of Sense and Song in Aquitanian ‘Versus’.” Music & Letters 84 (2003), 527–56.CrossRefGoogle Scholar
Castaigne, Eusèbe. “Dissertation sur le lieu de naissance et sur la famille du chroniqueur Adémar, moine de l'abbaye de Saint‐Cybard d'Angoulême, faussement surnommé de Chabanais, né vers 988 et mort vers 1030.” Bulletin de la Société Archéologique et Historique de la Charente 4 (1850), 80–96.Google Scholar
Catalogus codicum hagiographicorum latinorum antiquiorum saeculo XVI qui asservantur in Bibliotheca Nationale Parisiensi, 1. Brussels and Paris, 1889.
Chagny, André. Cluny et son empire, 4th edn. Lyon and Paris, 1949.Google Scholar
Chailley, Jacques. “Les anciens tropaires et séquentiaires de l'école de Saint‐Martial de Limoges (Xe‐XIe s.).” Études Grégoriennes 2 (1957), 163–88.Google Scholar
Chailley, JacquesL'école musicale de Saint Martial de Limoges jusqu'à la fin du XIe siècle. Paris, 1960.Google Scholar
Champeval, J.‐B., ed. “Chroniques de Saint‐Martial de Limoges, Supplément,” Bulletin de la Société Archéologique et Historique du Limousin 42 (1894), 304–91.Google Scholar
Chartier, Yves. L'œuvre musicale d'Hucbald de Saint‐Amand: Les compositions et le traité de musique. Cahiers d'Études Médiévales, Cahier spécial 5. N.p., 1995.
Cicero, Marcus Tullius. De diuinatione, ed. Remo Giomini, in De diuinatione, De fato, Timaeus. M. Tulli Ciceronis Scripta Quae Manserunt Omnia, 46. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana. Leipzig, 1975, pp. 1–148.
Clément‐Dumas, Gisèle (see also Dumas, Gisèle). Des moines aux troubadours IXe–XIIIe siècle: La musique médiévale en Languedoc et en Catalogne. Musique et Patrimoine en Languedoc‐Roussillon. Montpellier, 2004.Google Scholar
Cluny in Lombardia: Atti del Convegno storico celebrativo del IX centenario della fondazione del priorato clunicacense de Pontida (22–25 aprile 1977). 2 vols. “Italia Benedettina”: Studi e Documenti di Storia Monastica a Cura del Centro Storico Benedettino Italiano, 1. Cesena, 1979–81.
Colette, M. N. “Le graduel‐antiphonaire, Albi, Bibliothèque municipale 44: Une notation protoaquitaine rythmique,” in Cantus Planus: Papers Read at the Sixth Meeting, Eger, Hungary, 1993, 2 vols., ed. László Dobszay. Budapest, 1995, 1:117–39.
Commentarius anonymus in Micrologum Guidonis Aretini, in Expositiones in Micrologum, ed. Smits van Waesberghe, pp. 95–172.
Corbin, Solange. “Les notations neumatiques en France à l'époque carolingienne.” Revue d'Histoire de l'Église de France 38 (1952), 225–32.Google Scholar
Cousin, Patrice. “L'expansion clunisienne sous l'abbatiat de saint Odilon,” in A Cluny: Congrès scientifique, fête et cérémonies liturgiques en l'honneur des saints abbés Odon et Odilon 9–11 juillet 1949. Dijon, 1949, pp. 186–91.
Cowdrey, H. E. J.The Cluniacs and the Gregorian Reform. Oxford, 1970.Google Scholar
Crocker, Richard L.The Early Medieval Sequence. Berkeley, Los Angeles and London, 1977.Google Scholar
Crocker, Richard L.“The Repertoire of Proses at Saint Martial de Limoges (Tenth and Eleventh Centuries).” 2 vols. Ph.D. diss., Yale University, 1957.
Crocker, Richard L.The Repertory of Proses at Saint Martial de Limoges in the 10th Century. Journal of the American Musicological Society 11 (1958), 149–64.CrossRefGoogle Scholar
Crocker, Richard L.Some Ninth‐Century Sequences.” Journal of the American Musicological Society 20 (1967), 367–402.CrossRefGoogle Scholar
CT 1 Ritva Jonsson, ed. Corpus troporum, 1: Tropes du propre de la messe, 1: Cycle de Nöel. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 21. Stockholm, 1975.
CT 2 Olof Marcusson, ed. Corpus troporum, 2: Prosules de la messe, 1: Tropes de l'alleluia. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 22. Stockholm, 1976.
CT 3 Gunilla Björkvall, Gunilla Iversen and Ritva Jonsson, eds. Corpus troporum, 3: Tropes du propre de la messe, 2: Cycle de Pâques. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 25. Stockholm, 1982.
CT 4 Gunilla Iversen, ed. Corpus troporum, 4: Tropes de l'Agnus dei. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 26. Stockholm, 1980.
CT 7 Gunilla Iversen, ed. Corpus troporum, 7: Tropes de l'ordinaire de la messe: Tropes du Sanctus. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 34. Stockholm, 1990.
Curtius, E. R.Die Musen im Mittelalter: Erster Teil, bis 1100.” Zeitschrift für romanische Philologie 59 (1939), 129–88.CrossRefGoogle Scholar
Daux, Camille, and [Morelot, Stephen. Deux livres choraux monastiques des Xe et XIe siècles. Paris, 1899.Google Scholar
Daux, Camille, ed. Tropaire‐Prosier de l'abbaye Saint‐Martin de Montauriol. Bibliothèque Liturgique, 9. Paris, 1901.Google Scholar
Davis, Lisa Fagin. The Gottschalk Antiphonary: Music and Liturgy in Twelfth‐Century Lambach. Cambridge Studies in Palaeography and Codicology, 8. Cambridge, 2000.Google Scholar
Delisle, Léopold. Le cabinet des manuscrits de la Bibliothèque Impériale. 4 vols. Histoire Générale de Paris. Paris, 1868–81; repr. Amsterdam, 1969 and New York, 1974.Google Scholar
Delisle, LéopoldLes manuscrits de Saint‐Martial de Limoges: Réimpression textuelle du Catalogue publié en 1730.” Bulletin de la Société Archéologique et Historique du Limousin 43 (1895), 1–60.Google Scholar
Delisle, LéopoldNotice sur les manuscrits originaux d'Adémar de Chabannes.” Notices et extraits des manuscrits de la Bibliothèque Nationale et autres bibliothèques 35 (1896), 241–358.Google Scholar
Deloche, M.Pagi et vicairies du Limousin aux IXe, Xe et XIe siècles. Paris, 1899.Google Scholar
Devalette, Jacques, Barrière, Bernadette, Comet, Georges and Conte, Patrice. La peste de feu: Le miracle des ardents et l'ergotisme en Limousin au moyen âge. L'Archéothèque, “Les Cahiers d'Archea,” 3. Limoges, 1994.Google Scholar
Díaz y Díaz, Manuel C., Piñeiro, María Araceli Garcia and Trigo, Pilar del Oro. El codice calixtino de la catedral de Santiago: Estudio codicológico y de contenido. Monografías de Compostellanum, 2. Santiago de Compostela, 1988.Google Scholar
Dobszay, László. “Zur Stilistik der Melodien des Emmeram‐Offiziums,” in Die Offizien des Mittelalters, ed. Berschin and Hiley, pp. 87–107.
Doyle, Alicia Mee. “The Repertory of Tropes in Paris, Bibliothèque Nationale fonds Latin 1118: A Comparative Study of Tenth‐Century Aquitanian Concordances and Transmission.” 2 vols. Ph.D. diss., University of California, Santa Barbara, 2000.
Dreves, Guido Maria, Clemens Blume and Henry M. Bannister, eds. AH.
Duchesne, Louis. “Saint‐Martial de Limoges.” Annales du Midi 4 (1892), 289–330.CrossRefGoogle Scholar
Duchesne, Louis, ed. Le liber pontificalis: Texte, introduction et commentaire, 2nd edn. 3 vols. Paris, 1955–57.Google Scholar
Duguet, Jacques. “L'ascendance d'Adémar de Chabannes.” Bulletins et Mémoires de la Société Archéologique et Historique de la Charente 148 (1992), 13–15.Google Scholar
Dumas, Gisèle (see also Clément‐Dumas, Gisèle). “Le processional en Aquitaine: Histoire d'un livre (Xe‐XIIIe s.).” Études Grégoriennes 29 (2001), 9–33.Google Scholar
École nationale des chartes. Conseils pour l'édition des textes médiévaux, 1: Conseils généraux, ed. Françoise Vieillard and Olivier Guyotjeannin. Paris, 2001.
Elfving, Lars. Étude lexicographique sur les séquences limousines. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensis, 7. Stockholm, 1962.Google Scholar
Emerson, John A.Albi, Bibliothèque Municipale Rochegude, Manuscript 44: A Complete Ninth‐Century Gradual and Antiphoner from Southern France, ed. Lila Collamore. Wissenschaftliche Abhandlungen, 77. Ottawa, 2002.Google Scholar
Emerson, John A.An Edition of Four Medieval Offices Dedicated to Saint Martial de Limoges: Their Literary Origins and Liturgical Development, ed. James Grier. Studies in Music from the University of Western Ontario, 18 (for 1999). London, ON, 2004.Google Scholar
Emerson, John A.Fragments of a Troper from Saint Martial de Limoges.” Scriptorium 16 (1962), 369–72.CrossRefGoogle Scholar
Emerson, John A.“Neglected Aspects of the Oldest Full Troper (Paris, Bibliothèque nationale, lat. 1240),” in Recherches nouvelles sur les tropes liturgiques, ed. Arlt and Björkvall, pp. 193–217.
Emerson, John A.Two Newly Identified Offices for Saints Valeria and Austriclinianus by Adémar de Chabannes (MS Paris, Bibl. Nat., Latin 909, FOLS. 79–85v).” Speculum 40 (1965), 31–46.CrossRefGoogle Scholar
Evans, Paul. The Early Trope Repertory of Saint Martial de Limoges. Princeton Studies in Music, 2. Princeton, 1970.Google Scholar
Evans, Paul“Northern French Elements in an Early Aquitanian Troper,” in Speculum musicae artis: Festgabe für Heinrich Husmann zum 60. Geburtstag am 16. Dezember 1968, ed. Becker, Heinz and Gerlach, Reinhard. Munich, 1970, pp. 103–10.Google Scholar
Evans, Paul“The Tropi Ad Sequentiam,” in Studies in Music History: Essays for Oliver Strunk, ed. Powers, Harold. Princeton, 1968, pp. 73–82.Google Scholar
Falconer, Keith. “The Modes before the Modes: Antiphon and Differentia in Western Chant,” in The Study of Medieval Chant, Paths and Bridges, East and West: In Honor of Kenneth Levy, ed. Jeffery, Peter. Woodbridge and Rochester, NY, 2001, pp. 131–45.Google Scholar
Falconer, KeithSome Early Tropes to the Gloria. Quaderni di Musica/Realtà, 30. Modena, 1993.Google Scholar
Fassler, Margot. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth‐Century Paris. Cambridge Studies in Medieval and Renaissance Music. Cambridge, 1993.Google Scholar
Fassler, MargotMary's Nativity, Fulbert of Chartres, and the Stirps Iesse: Liturgical Innovation circa 1000 and Its Afterlife.” Speculum 75 (2000), 389–434.CrossRefGoogle Scholar
Fassler, MargotThe Office of the Cantor in Early Western Monastic Rules and Customaries: A Preliminary Investigation.” Early Music History 5 (1985), 29–51.CrossRefGoogle Scholar
Fassler, Margot E., and Baltzer, Rebecca A., eds. The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography, Written in Honor of Professor Ruth Steiner. New York, 2000.Google Scholar
Feder, Georg. Musikphilologie: Eine Einführung in die musikalische Textkritik, Hermeneutik und Editionstechnik. Die Musikwissenschaft: Einführungen in Gegenstand, Methoden und Ergebnisse ihrer Disziplinen. Darmstadt, 1987.
Ferretti, Paolo M.Estetica gregoriana: Trattato delle forme musicali del canto gregoriano. Vol. 1. Rome, 1934.Google Scholar
Finesinger, Sol Baruch. Musical Instruments in the Old Testament. Baltimore, 1926.Google Scholar
Fischer, Rupert. “Epiphonus oder Cephalicus?Beiträge zur Gregorianik 8 (1989), 5–28.Google Scholar
Fischer, Rupert“I neumi del cod. Paris, Bibliothèque Nationale de France, lat. 776,” trans. Nino Albarosa, in Il cod. Paris Bibliothèque Nationale de France lat. 776 sec. XI Graduale di Gaillac, ed. Nino Albarosa, Heinrich Rumphorst and Alberto Turco. Codices Gregoriani, 3. Padua, 2001, pp. xxv–xxxi (an expanded form of “Paris Bibliothèque Nationale lat. 776: Graduale von Albi,” Beiträge zur Gregorianik 23 [1997], 89–111 at 96–103).
Fischer, RupertParis Bibliothèque Nationale lat. 903: Graduale von St. Yrieix.” Beiträge zur Gregorianik 25 (1998), 105–19.Google Scholar
Franca, Umberto. Le antifone bibliche dopo Pentecoste. Studia Anselmiana, 73, Analecta Liturgica, 4. Rome, 1977.Google Scholar
Frassetto, Michael. “Resurrection of the Body: Eleventh‐Century Evidence from the Sermons of Ademar of Chabannes.” Journal of Religious History 26 (2002), 235–49.CrossRefGoogle Scholar
Frassetto, MichaelThe Writings of Ademar of Chabannes, the Peace of 994, and the ‘Terrors of the Year 1000’.” Journal of Medieval History 27 (2001), 241–55.CrossRefGoogle Scholar
Freistedt, Heinrich. Die liqueszierenden Noten des Gregorianischen Chorals: Ein Beitrag zur Notationskunde. Veröffentlichungen der Gregorianischen Akademie zu Freiburg, 14. Freiburg, 1929.Google Scholar
Frere, Walter Howard, ed. Antiphonale sarisburiense: A Reproduction in Facsimile of a Manuscript of the Thirteenth Century. London, 1901–24; repr. Farnborough, 1966.Google Scholar
Froger, Jacques. “L'édition mauriste du Graduel et les lacunes du ‘Compendiensis’.” Études Grégoriennes 11 (1970), 159–73.Google Scholar
Froger, JacquesL'épitre de Notker sur les ‘lettres significatives’: Édition critique.” Études Grégoriennes 5 (1962), 23–71.Google Scholar
Froger, Jacques“Le lieu de destination et de provenance du ‘Compendiensis’,” in Ut mens concordet: Festschrift Eugène Cardine zum 75. Geburtstag, ed. Göschl, Johannes Berchmans. St. Ottilien, 1980, pp. 338–53.Google Scholar
Fuller, Sarah Ann. “Aquitanian Polyphony of the Eleventh and Twelfth Centuries.” 3 vols. Ph.D. diss., University of California, Berkeley, 1969.
Fuller, Sarah AnnThe Myth of ‘Saint Martial’ Polyphony: A Study of the Sources.” Musica Disciplina 33 (1979), 5–26.Google Scholar
Gaborit‐Chopin, D.La décoration des manuscrits à Saint‐Martial de Limoges et en Limousin du IXe au XIIe siècle. Mémoires et Documents Publiés par la Société de l'École des Chartes, 17. Paris and Geneva, 1969.Google Scholar
Gauthier, Marie‐Madeleine S.La légende de sainte Valérie et les émaux champlevés de Limoges.” Bulletin de la Société Archéologique et Historique du Limousin 86 (1955), 35–80.Google Scholar
Gautier, Léon. Histoire de la poésie liturgique au moyen âge: Les tropes. Paris, 1886.Google Scholar
Geary, Patrick J.Furta sacra: Thefts of Relics in the Central Middle Ages, rev. edn. Princeton, 1990.Google Scholar
Gelineau, Joseph S. J.Chant et musique dans le culte chrétien: Principes, lois et applications. Kinnor, 1. Paris, 1962.Google Scholar
Geoffrey of Vigeois. Chronica, in Novae bibliothecae manuscriptorum librorum, 2: Rerum aquitanicarum, praesertim bituricensium, uberrima collectio, ed. Philippe Labbe. Paris, 1657, pp. 279–342.
Göschl, Johannes B.Semiologische Untersuchungen zum Phänomen der gregorianischen Liqueszenz: Der isolierte dreistufige Epiphonus praepunctis, ein Sonderproblem der Liqueszenzforschung. 2 vols. Forschungen zur Älteren Musikgeschichte, 3. Vienna, 1980.Google Scholar
Grabar, André. Martyrium: Recherches sur le culte des reliques et l'art chrétien antique. 2 vols. Paris, 1946; repr. London, 1972.Google Scholar
Gregory of Tours. Libri octo miraculorum, ed. Bruno Krusch. MGH, Scriptores Rerum Merovingicarum, 1, part 2. Hanover, 1885, pp. 451–820.
Gregory of ToursHistoria Francorum, 2nd edn, ed. Bruno Krusch and Wilhelm Levison. MGH, Scriptores Rerum Merouingicarum, 1, part 1. Hanover, 1937–51.
Grier, James. “Adémar de Chabannes, Carolingian Musical Practices, and Nota Romana.” Journal of the American Musicological Society 56 (2003), 43–98.CrossRefGoogle Scholar
Grier, JamesThe Critical Editing of Music: History, Method, and Practice. Cambridge, 1996.Google Scholar
Grier, James“The Divine Office at Saint‐Martial in the Early Eleventh Century: Paris, BNF lat. 1085,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 179–204.
Grier, James“Ecce sanctum quem deus elegit Marcialem apostolum: Adémar de Chabannes and the Tropes for the Feast of Saint Martial,” in Beyond the Moon: Festschrift Luther Dittmer, ed. Gillingham, Bryan and Merkley, Paul. Wissenschaftliche Abhandlungen, 53. Ottawa, 1990, pp. 28–74.Google Scholar
Grier, JamesEditing Adémar de Chabannes' Liturgy for the Feast of St Martial.” Plainsong and Medieval Music 6 (1997), 97–118. (An updated version of the article of the same title in Music Discourse from Classical to Early Modern Times: Editing and Translating Texts, ed. Maria Rika Maniates, Conference on Editorial Problems, no. 26: 1990 [Toronto, 1997], pp. 17–43, but the version of Table 3 in the latter [p. 28], is free of the errors in the updated version [p. 108].)CrossRefGoogle Scholar
Grier, James“Liturgy and Rhetoric in the Service of Fraud: Adémar de Chabannes and the Apostolicity of Saint Martial,” in Latin Culture in the Eleventh Century, ed. Herren et al., 1:384–97.
Grier, JamesThe Music is the Message: Music in the Apostolic Liturgy of Saint Martial.” Plainsong and Medieval Music 12 (2003), 1–14.CrossRefGoogle Scholar
Grier, JamesThe Music is the Message II: Adémar de Chabannes' Music for the Apostolic Office of Saint Martial.” Plainsong and Medieval Music 15 (2006), 43–54.CrossRefGoogle Scholar
Grier, JamesThe Musical Autographs of Adémar de Chabannes (989–1034).” Early Music History 24 (2005), 125–68.CrossRefGoogle Scholar
Grier, JamesA New Voice in the Monastery: Tropes and Versus from Eleventh‐ and Twelfth‐Century Aquitaine.” Speculum 69 (1994), 1023–69.CrossRefGoogle Scholar
Grier, JamesRoger de Chabannes (d. 1025), Cantor of St Martial, Limoges.” Early Music History 14 (1995), 53–119.CrossRefGoogle Scholar
Grier, JamesScribal Practices in the Aquitanian Versaria of the Twelfth Century: Towards a Typology of Error and Variant.” Journal of the American Musicological Society 45 (1992), 373–427.CrossRefGoogle Scholar
Grier, JamesScriptio interrupta: Adémar de Chabannes and the Production of Paris, Bibliothèque Nationale de France, MS latin 909.” Scriptorium 51 (1997), 234–50.CrossRefGoogle Scholar
Grier, JamesSome Codicological Observations on the Aquitanian Versaria.” Musica Disciplina 44 (1990), 5–56.Google Scholar
Guerra, Jose. “Notas críticas sobre el origen del culto sepulcral a Santiago en Compostela.” La ciencia tomista 88 (1961), 417–74, 559–90.Google Scholar
d'Arezzo, Guido. Micrologus, ed. Jos. Smits van Waesberghe. Corpus Scriptorum de Musica, 4. N.p., 1955.Google Scholar
d'Arezzo, GuidoPrologus in Antiphonarium, ed. Joseph Smits van Waesberghe. Divitiae Musicae Artis Collectae, ser. A, 3. Buren, 1975.Google Scholar
Gurlitt, Wilibald. Zur Bedeutsgeschichte von musicus und cantor bei Isidor von Sevilla. Akademie der Wissenschaften und der Literatur in Mainz, Geistes‐ und sozialwissenschaftliche Klasse, Abhandlungen, Jahrgang 1950, no. 7. Wiesbaden, 1950.
Hahn, Cynthia. “Interpictoriality in the Limoges Chasses of Stephen, Martial, and Valerie,” in Image and Belief: Studies in Celebration of the Eightieth Anniversary of the Index of Christian Art, ed. Colum Hourihane. Index of Christian Art, Occasional Papers, 3. Princeton, 1999, pp. 109–24.
Hahn, Cynthia“Valerie's Gift: A Narrative Enamel Chasse from Limoges,” in Reading Medieval Images: The Art Historian and the Object, ed. Sears, Elizabeth and Thomas, Thelma K.. Arbor, Ann, 2002, pp. 187–200.CrossRefGoogle Scholar
Handschin, Jacques. “Über Estampie und Sequenz II.” Zeitschrift für Musikwissenschaft 13 (1930), 113–32.Google Scholar
Die Handschrift St. Gallen Stiftsbibliothek 359 Cantatorium. Monumenta Palaeographica Gregoriana, 3. Münsterschwarzach, n.d.
Die Handschrift St. Gallen Stiftsbibliothek 390 Antiphonarium Hartkeri. Monumenta Palaeographica Gregoriana, 4, 1. Münsterschwarzach, n.d.
Die Handschrift St. Gallen Stiftsbibliothek 391 Antiphonarium Hartkeri. Monumenta Palaeographica Gregoriana, 4, 2. Münsterschwarzach, n.d.
“Handschriften aus der Universitätsbibliothek in Leiden.” Archiv der Gesellschaft für ältere deutsche Geschichtskunde 8 (1843), 570–78.
Hanssens, Jean M., , S. J.Le texte du ‘Liber officialis’ d'Amalaire.” Ephemerides Liturgicae 47 (1933), 113–25, 225–48, 313–28, 413–24, 493–505, ibid. 48 (1934), 66–79, 223–32, 549–69, ibid. 49 (1935), 413–35.Google Scholar
Harper, John. The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century: A Historical Introduction and Guide for Students and Musicians. Oxford, 1991.Google Scholar
Hartmann, Wilfried, ed. MGH, Leges 4 (sic; earlier volumes in the sub‐series Concilia are labeled as belonging to series 3 of Leges, whereas the sub‐series Constitutiones is designated series 4), Concilia 3. Hannover, 1984.
Haug, Andreas. Gesungene und schriftlich dargestellte Sequenz: Beobachtungen zum Schriftbild der ältesten ostfränkischen Sequenzenhandschriften. Tübinger Beiträge zur Musikwissenschaft, 12. Neuhausen‐Stuttgart, 1987.Google Scholar
Haug, Andreas“Ein neues Textdokument zur Entstehungsgeschichte der Sequenz,” in Festschrift Ulrich Siegele zum 60. Geburtstag, ed. Faber, Rudolf, Förster, Anton, Ryschawy, Hans, Schmoll‐Barthel, Jutta and Stoll, Rolf W.. Kassel, 1991, pp. 9–19.Google Scholar
Haug, AndreasZur Interpretation der Liqueszenzneumen.” Archiv für Musikwissenschaft 50 (1993), 85–100.CrossRefGoogle Scholar
Havet, Louis. Manuel de critique verbale appliquée aux textes latins. Paris, 1911.Google Scholar
Head, Thomas. “The Development of the Peace of God in Aquitaine (970–1005).” Speculum 74 (1999), 656–86.CrossRefGoogle Scholar
Head, Thomas“The Judgment of God: Andrew of Fleury's Account of the Peace League of Bourges,” in The Peace of God, ed. Head and Landes, pp. 219–38.
Head, Thomas, and Landes, Richard, eds. The Peace of God: Social Violence and Religious Response in France around the Year 1000. Ithaca and London, 1992.Google Scholar
Hebborn, Barbara. Die Dasia‐Notation. Orpheus Schriftenreihe zu Grundfragen der Musik, 79. Bonn, 1995.Google Scholar
Heisler, Maria‐Elisabeth. “Die Problematik des ‘germanischen’ oder ‘deutschen’ Choraldialekts.” Studia Musicologica 27 (1985), 67–82.CrossRefGoogle Scholar
Herren, Michael W., C. J. McDonough and Ross G. Arthur, eds. Latin Culture in the Eleventh Century: Proceedings of the Third International Conference on Medieval Latin Studies, Cambridge, September 9–12 1998. 2 vols. Publications of the Journal of Medieval Latin, 5. Turnhout, 2002.
Herrmann‐Mascard, Nicole. Les reliques des saints: Formation coutumière d'un droit. Société d'Histoire du Droit, Collection d'Histoire Institutionnelle et Sociale, 6. Paris, 1975.Google Scholar
Herzo, Sister Anthony Marie. “Five Aquitanian Graduals: Their Mass Propers and Alleluia Cycles.” Ph.D. diss., University of Southern California, 1966.
Hesbert, R.‐J.L'interprétation de l'‘equaliter’ dans les manuscrits sangalliens.” Revue Grégorienne 18 (1933), 161–73.Google Scholar
Hesbert, R.‐J., ed. AMS.
Hesbert, R.‐J.CAO.
Hiley, David. “The Historia of St. Julian of Le Mans by Létald of Micy: Some Comments and Questions about a North French Office of the Early Eleventh Century,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 444–62.
Hiley, DavidWestern Plainchant: A Handbook. Oxford, 1993.Google Scholar
Hiley, David“Das Wolfgang‐Offizium des Hermannus Contractus: Zum Wechselspiel von Modustheorie und Gesangspraxis in der Mitte des 11. Jahrhunderts,” in Die Offizien des Mittelalters, ed. Berschin and Hiley, pp. 129–42.
Hiley, DavidWritings on Western Plainchant in the 1980s and 1990s.” Acta Musicologica 69 (1997), 53–93.CrossRefGoogle Scholar
Hiley, David, ed. Historia sancti Emmerammi Arnoldi Vohburgensis circa 1030. Wissenschaftliche Abhandlungen, 65 no. 2. Ottawa, 1996.Google Scholar
Hoffmann, Hartmut. Gottesfriede und Treuga Dei. MGH, Schriften, 20. Stuttgart, 1964.Google Scholar
Hofmann‐Brandt, Helma. “Die Tropen zu den Responsorien des Officiums.” 2 vols. Inaugural‐Dissertation, Friedrich‐Alexander University, 1971.
Holder‐Egger, O.Notizen von S. Eparch in Angoulême und S. Martial in Limoges.” Neues Archiv 7 (1882), 630–37.Google Scholar
Holman, Hans‐Jörgen. “Melismatic Tropes in the Responsories for Matins.” Journal of the American Musicological Society 16 (1963), 36–46.CrossRefGoogle Scholar
Holsinger, Bruce W.Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Figurae: Reading Medieval Culture. Stanford, 2001.Google Scholar
Hooreman, Paul. “Saint‐Martial de Limoges au temps de l'abbé Odolric (1025–1040): Essai sur une pièce oubliée du répertoire limousin.” Revue Belge de Musicologie 3 (1949), 5–36.CrossRefGoogle Scholar
Hourlier, Jacques, and Michel Huglo. “Notation paléofranque,” rev. of Jacques Handschin, “Eine alte Neumenschrift,” Acta Musicologica 22 (1950), 25 (1953), Ewald Jammers, Die Essener Neumenhandschriften der Landes‐ und Stadtbibliothek Düsseldorf, and idem, “Die palaeofrankische Neumenschrift,” Scriptorium 7 (1953), in Études Grégoriennes 2 (1957), 212–19.
Hucbald of Saint Amand. Musica, ed. Chartier, in L'œuvre musicale d'Hucbald de Saint‐Amand, pp. 136–213.
Hucke, Helmut. “Das Responsorium,” in Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. Arlt, Wulf, Lichtenhahn, Ernst and Oesch, Hans. Bern and Munich, 1973, pp. 144–91.Google Scholar
Hughes, Andrew. Medieval Manuscripts for Mass and Office: A Guide to Their Organization and Terminology. Toronto, 1982.Google Scholar
Hughes, AndrewModal Order and Disorder in the Rhymed Office.” Musica Disciplina 37 (1983), 29–51.Google Scholar
Huglo, Michel. “Codicologie et musicologie,” in Miscellanea codicologica F. Masai dicata MCMLXXIX, 2 vols., ed. Cockshaw, Pierre, Garand, Monique‐Cécile and Jodogne, Pierre. Les Publications de Scriptorium, 8. Gand, 1979, 1:71–82.Google Scholar
Huglo, Michel“Les Libelli de tropes et les premiers tropaires‐prosaires,” in Pax et sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, ed. Jacobsson, Ritva. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 29. Stockholm, 1986, pp. 13–22.Google Scholar
Huglo, MichelLes livres de chant liturgique. Typologie des Sources du Moyen Age Occidental, 52. Turnhout, 1988.Google Scholar
Huglo, MichelLes noms des neumes et leur origine.” Études Grégoriennes 1 (1954), 53–67.Google Scholar
Huglo, Michel“Observations codicologiques sur l'antiphonaire de Compiègne (Paris, B. N. lat. 17436),” in De musica et cantu, ed. Cahn and Heimer, pp. 117–30.
Huglo, MichelLes tonaires: Inventaire, analyse, comparaison. Publications de la Société Française de Musicologie, ser. 3, 2. Paris, 1971.
Huglo, Michel“La tradition musicale aquitaine: Répertoire et notation,” in Liturgie et musique (IXe–XIVe s.). Cahiers de Fanjeaux, 17. Toulouse, 1982, pp. 253–68.
Huglo, Michel, ed. Musicologie médiévale: Notations et séquences. Paris, 1987.Google Scholar
Hunt, Noreen. Cluny under Saint Hugh 1049–1109. London, 1967.Google Scholar
Hüschen, Heinrich. “Berufsbewusstsein und Selbstverständnis von Musicus und Cantor im Mittelalter,” in Beiträge zum Berufsbewusstsein des mittelalterlichen Menschen, ed. Wilpert, Paul. Miscellanea Mediaevalia, 3. Berlin, 1964, pp. 225–38.CrossRefGoogle Scholar
Husmann, Heinrich. “Alleluia, Vers und Sequenz.” Annales Musicologiques 4 (1956), 19–53.Google Scholar
Husmann, HeinrichDie Handschrift Rheinau 71 der Zentralbibliothek Zürich und die Frage nach Echtheit und Entstehung der St. Galler Sequenzen und Notkerschen Prosen.” Acta Musicologica 38 (1966), 118–49.CrossRefGoogle Scholar
Husmann, HeinrichTropen‐ und Sequenzenhandschriften. Répertoire International des Sources Musicales, B V1. Munich, 1964.Google Scholar
Isidore of Seville. De ecclesiasticis officiis, ed. Christopher M. Lawson, Corpus Christianorum Series Latina, 113. Turnhout, 1989.
Isidore of SevilleEtymologiae, 2 vols., ed. W. M. Lindsay. Scriptorum Classicorum Bibliotheca Oxoniensis. Oxford, 1911.
Itier, Bernard. Chronique, ed. Jean‐Loup Lemaître. Les Classiques de l'Histoire de France au Moyen Age, 39. Paris, 1998.Google Scholar
Iversen, Gunilla. Chanter avec les anges: Poésie dans la messe médiévale, interprétations et commentaires. Patrimoines Christianisme. Paris, 2001.Google Scholar
Iversen, Gunilla, ed. CT 4, 7.
Jacobsson, Ritva (see also Jonsson, Ritva). “The Antiphoner of Compiègne: Paris, BNF lat. 17436,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 147–78.
Jacobsson, Ritva (see also Jonsson, Ritva)“Att tillverka en apostel: Bibliotekshistoria och hagiografi,” in Bibliotek: Tradition och utveckling – Festskrift till Lars‐Erik Sanner den 18 januari 1991. Stockholm, 1991, pp. 242–61.
Jammers, Ewald. “Rhythmen und Hymnen in einer St. Galler Handschrift des 9. Jahrhunderts,” in Festschrift Bruno Stäblein zum 70. Geburtstag, ed. Ruhnke, Martin. Kassel, , 1967, pp. 134–42.Google Scholar
Joannis XIX papae epistolae et diplomata, in PL 141: cols. 1115–60.
Jonsson, Ritva (see also Jacobsson, Ritva). Historia: Études sur la genèse des offices versifiés. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensis, 15. Stockholm, 1968.Google Scholar
Jonsson, Ritva, ed. CT 1.
Kaiser, Reinhold. Bischofsherrschaft zwischen Königtum und Fürstenmacht: Studien zur bishöflichen Stadtherrschaft im westfränkisch‐französischen Reich im frühen und hohen Mittelalter. Pariser Historische Studien, 17. Bonn, 1981.
Kelly, Thomas Forrest. “Melisma and Prosula: The Performance of Responsory Tropes,” in Liturgische Tropen, ed. Silagi, pp. 163–80.
Kelly, Thomas ForrestMelodic Elaboration in Responsory Melismas.” Journal of the American Musicological Society 27 (1974), 461–74.CrossRefGoogle Scholar
Kelly, Thomas ForrestNeuma triplex.” Acta Musicologica 60 (1988), 1–30.CrossRefGoogle Scholar
Kelly, Thomas Forrest“Responsory Tropes.” Ph.D. diss., Harvard University, 1973.
King, James C., ed. Sangallensia in Washington: The Arts and Letters in Medieval and Baroque St. Gall Viewed from the Late Twentieth Century. New York, 1993.Google Scholar
Knapp, J. Merrill. The Magic of Opera. New York, 1972.Google Scholar
Kolari, Eino. Musikinstrumente und ihre Verwendung im alten Testament: Eine lexikalische und kulturgeschichtliche Untersuchung. Helsinki, 1947.Google Scholar
Kottje, Raymund, and Maurer, Helmut, eds. Monastische Reformen im 9. und 10. Jahrhundert. Vorträge und Forschungen, 38. Sigmaringen, 1989.Google Scholar
Lair, Jules. Études critiques sur divers textes des Xe et XIe siècles, 2: Historia d'Adémar de Chabannes. Paris, 1899.Google Scholar
Landes, Richard. “L'accession des Capétiens: Une reconsidération selon les sources aquitaines,” in Religion et culture autour de l'an mil: Royaume capétien et Lotharingie, ed. Iogna‐Prat, Dominique and Picard, Jean‐Charles. Paris, 1990, pp. 151–66.Google Scholar
Landes, RichardAutour d'Adémar de Chabannes (†1034): Précisions chronologiques au sujet du Limousin vers l'An Mil.” Bulletin de la Société Archéologique et Historique du Limousin 122 (1994), 23–54.Google Scholar
Landes, Richard“Between Aristocracy and Heresy: Popular Participation in the Limousin Peace of God, 994–1033,” in The Peace of God, ed. Head and Landes, pp. 184–218.
Landes, RichardThe Dynamics of Heresy and Reform in Limoges: A Study of Popular Participation in the ‘Peace of God’ (994–1033).” Historical Reflections 14 (1987), 467–511.Google Scholar
Landes, RichardA Libellus from St. Martial of Limoges Written in the Time of Ademar of Chabannes (989–1034): ‘Un faux à retardement’.” Scriptorium 37 (1983), 178–204.CrossRefGoogle Scholar
Landes, RichardRelics, Apocalypse, and the Deceits of History: Ademar of Chabannes, 989–1034. Harvard Historical Studies, 117. Cambridge, MA, 1995.Google Scholar
Lapeyre, Jean. “La notation aquitaine et les origines de la notation musicale d'après les anciens manuscrits d'Albi.” Tribune Saint‐Gervais 13 (1907), 193–98, 226–36, 255–62, 275–86.Google Scholar
Lasteyrie, Charles. L'abbaye de Saint‐Martial de Limoges: Étude historique, économique et archéologique précédée de recherches nouvelles sur la vie du saint. Paris, 1901.Google Scholar
Lasteyrie, Robert. Étude sur les comtes et vicomtes de Limoges antérieurs a l'an 1000. Bibliothèque de l'École des Hautes Études, Sciences Philologiques et Historiques, 18. Paris, 1874; repr. Geneva, 1977.Google Scholar
Legner, Anton, ed. Reliquien, Verehrung und Verklärung: Skizzen und Noten zur Thematik und Katalog der Kölner Sammlung Louis Peters im Schnütgen‐Museum. Cologne, 1989.Google Scholar
Lemaître, Jean‐Loup. “Sainte Valérie, sa vie et son culte d'après des textes limousins,” in Valérie et Thomas Becket: De l'influence des princes Plantagenêt dans l'oeuvre de Limoges. Limoges, 1999, pp. 19–45.
Leroquais, Victor. Les bréviaires manuscrits des bibliothèques publiques de France. 6 vols. Paris, 1934.Google Scholar
Leroquais, VictorLes livres d'heures manuscrits de la Bibliothèque nationale. 3 vols. Paris, 1927.Google Scholar
Leroquais, VictorLes sacramentaires et les missels manuscrits des bibliothèques publiques de France. 4 vols. Paris, 1924.Google Scholar
Leroux, Alfred, and Bosvieux, Auguste, eds. Chartes, chroniques et mémoriaux, pour servir à l'histoire de la Marche et du Limousin. Tulle, 1886.Google Scholar
Levillain, Léon. “Adémar de Chabannes, généalogiste.” Bulletin de la Société de l'Ouest ser. 3, 10 (1934–35), 237–63.Google Scholar
Levy, Kenneth. “Toledo, Rome and the Legacy of Gaul.” Early Music History 4 (1984), 49–99.CrossRefGoogle Scholar
Lipphardt, Walther. Der karolingische Tonar von Metz. Liturgiewissenschaftliche Quellen und Forschungen, 43. Münster Westfalen, 1965.Google Scholar
Luscombe, David. “Denis the Pseudo‐Areopagite in the Middle Ages from Hilduin to Lorenzo Valla,” in Fälschungen im Mittelalter: Internationaler Kongreβ der Monumenta Germaniae Historica München, 16.–19. September 1986: 1, Kongreβdaten und Festvorträge: Literatur und Fälschung. Monumenta Germaniae Historica, Schriften, 33, 1. Hannover, 1988, pp. 133–52.
Mager, Hans‐Erich. “Studien über das Verhältnis der Cluniacenser zum Eigenkirchenwesen,” in Neue Forschungen über Cluny und die Cluniacenser, ed. Tellenbach, Gerd. Freiburg, 1959, pp. 169–217.Google Scholar
Marcusson, Olof, ed. CT 2.
McGee, Timothy J.The Sound of Medieval Song: Ornamentation and Vocal Style according to the Treatises. Oxford Monographs on Music. Oxford, 1998.Google Scholar
McKinnon, James W.Musical Instruments in Medieval Psalm Commentaries and Psalters.” Journal of the American Musicological Society 21 (1968), 3–20.CrossRefGoogle Scholar
McKinnon, James W., ed. Music in Early Christian Literature. Cambridge Readings in the Literature of Music. Cambridge, 1987.CrossRefGoogle Scholar
Méhu, Didier. Paix et communautés autour de l'abbaye de Cluny (Xe–Xve siècle). Collection d'Histoire et d'Archéologie Médiévales, 9. Lyon, 2001.
Merkley, Paul. Modal Assignment in Northern Tonaries. Wissenschaftliche Abhandlungen, 56. Ottawa, 1992.Google Scholar
Merkley, PaulTonaries and Melodic Families of Antiphons.” Journal of the Plainsong and Mediaeval Music Society 11 (1988), 13–24.CrossRefGoogle Scholar
Metrologus, in Expositiones in Micrologum, ed. Smits van Waesberghe, pp. 61–92.
Meyier, K. A.. Codices Vossiani Latini, 3: Codices in octavo. Codices Manuscripti, 15. Leiden, 1977.Google Scholar
MGH Monumenta Germaniae Historica.
Misset, E., and Weale, W. H. I.. Analecta liturgica. 2 vols. In 3. Lille and Bruges, 18881901.Google Scholar
MMMA 3 Weiß, Günther, ed. Introitus‐tropen, 1: Das Repertoire der südfranzösischen Tropare des 10. und 11. Jahrhunderts. Monumenta Monodica Medii Aevi, 3. Kassel, Basel, Tours and London, 1970.
MMMA 7 Schlager, Karlheinz, ed. Alleluia‐Melodien, 1: bis 1100, Monumenta Monodica Medii Aevi, 7. Kassel, Basel, Paris, London and New York, 1968.
Molhuijsen, P. C.Die Tironiana der Universitäts‐Bibliothek in Leiden.” Archiv für Stenographie 54 (1902), 161–73.Google Scholar
Möller, Hartmut. “Office Compositions from St. Gall: Saints Gallus and Otmar,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 237–56.
Möller, Hartmut“Tonartlich geordnete Offizien in den Klöstern des Früh‐ und Hochmittelalters: Konzept, Komposition, Überlieferung,” in Die Klöster als Pflegestätten von Musik und Kunst: 850 Jahre Michaelstein, ed. Fleischhauer, Günter, Ruf, Wolfgang, Siegmund, Bert and Zschoch, Frieder. Michaelsteiner Konferenzberichte, 55. Michaelstein, 1999, pp. 97–110.Google Scholar
Mönchemeier, Reinhard. Amalar von Metz, sein Leben und seine Schriften: Ein Beitrag zur theologischen Litteraturgeschichte und zur Geschichte der lateinischen Liturgie im Mittelalter. Münster in Westfalen, 1893.Google Scholar
Montagu, Jeremy. Musical Instruments of the Bible. Lanham, MD, and London, 2002.Google Scholar
Nadaud, Joseph. Nobiliaire du diocèse et de la généralité de Limoges. Vol. 1. 2nd edn. Limoges, 1882; repr, Paris, 1974.Google Scholar
Novack, Saul. “The Analysis of Pre‐Baroque Music,” in Aspects of Schenkerian Theory, ed. Beach, David. New Haven and London, 1983, pp. 113–33.Google Scholar
Odelman, Eva. “Comment a‐t‐on appelé les tropes? Obervations sur les rubriques des tropes des Xe et XIe siècles.” Cahiers de Civilisation Médiévale Xe–XIIe siècles 18 (1975), 15–36.CrossRefGoogle Scholar
Offertoriale triplex cum versiculis. Solesmes, 1985.
O'Grady, Deidre. The Last Troubadours: Poetic Drama in Italian Opera 1597–1887. London and New York, 1991.Google Scholar
Omlin, Ephrem. Die Sankt‐Gallischen Tonarbuchstaben: Ein Beitrag zur Entwicklungsgeschichte der Offiziumsantiphonen in Bezug auf ihre Tonarten und Psalmkadenzen, Veröffentlichungen der Gregorianischen Akademie zu Freiburg (Schweiz), 18. Regensburg, 1934.Google Scholar
PalMus 2 Le répons‐graduel Justus ut palma reproduit en fac‐similé. Paléographie Musicale, 2. Solesmes, 1891–92.
PalMus 10 Antiphonale missarum sancti Gregorii IXe–Xe siècle: Codex 239 de la Bibliothèque de Laon. Paléographie Musicale, 10. Solesmes, 1909–12.
PalMus 13 Le codex 903 de la Bibliothèque Nationale de Paris (XIe siècle): Graduel de Saint‐Yrieix. Paléographie Musicale, 13. Tournay, 1925–30.
PalMus ser. 2, 1 Antiphonale officii monastici écrit par le B. Hartker: No 390–391 de la Bibliothèque de Saint‐Gall. New edn. Paléographie Musicale, ser. 2, 1. Bern, 1970.
PalMus ser. 2, 2 Cantatorium (IXe siècle): No 359 de la Bibliothèque de Saint‐Gall. Paléographie Musicale, ser. 2, 2. Tournai, 1924; repr. Bern, 1968.
Phillips, Nancy. “The Dasia Notation and Its Manuscript Tradition,” in Musicologie médiévale, ed. Huglo, pp. 157–73.
Phillips, Nancy“Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert,” trans. Gudrun Tillmann‐Budde, in Geschichte der Musiktheorie, 4: Die Lehre von einstimmigen liturgischen Gesang, ed. Ertelet, Thomas and Zaminer, Frieder. Darmstadt, 2000, pp. 293–623.Google Scholar
PL Patrologiae cursus completus: Series latina, 221 vols., ed. J.‐P. Migne. Paris, 1844–64.
Planchart, Alejandro Enrique. “Fragments, Palimpsests, and Marginalia.” Journal of Musicology 6 (1988), 293–339.CrossRefGoogle Scholar
Planchart, Alejandro Enrique“Old Wine in New Bottles,” in De musica et cantu, ed. Cahn and Heimer, pp. 41–64.
Planchart, Alejandro EnriqueOn the Nature of Transmission and Change in Trope Repertories.” Journal of the American Musicological Society 41 (1988), 215–49.CrossRefGoogle Scholar
Planchart, Alejandro EnriqueThe Repertory of Tropes at Winchester. 2 vols. Princeton, 1977.Google Scholar
Planchart, Alejandro Enrique“The Transmission of Medieval Chant,” in Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, ed. Fenlon, Iain. Cambridge, 1981, pp. 347–63.Google Scholar
Poeck, Dietrich W.Cluniacensis ecclesia: Der cluniacensische Klosterverband (10–12. Jahrhundert). Münstersche Mittelalter‐Schriften, 71. Munich, 1998.Google Scholar
Pothier, Joseph. “La note liquescente dans le chant grégorien d'après Guy d'Arezzo.” Revue du Chant Grégorien 21 (1912), 3–8.Google Scholar
Prinz, Otto, ed. Mittellateinisches Wörterbuch bis zum ausgehenden 13. Jahrhundert. Vol. 1. Munich, 1967.Google Scholar
Racinet, Philippe. “L'expansion de Cluny sous Hugues Ier de Semur,” in Le gouvernement d'Hugues de Semur à Cluny: Actes du Colloque scientifique international, Cluny, septembre 1988. Cluny, 1990, pp. 93–131.
Rankin, Susan. “Carolingian Music,” in Carolingian Culture: Emulation and Innovation, ed. McKitterick, Rosamond. Cambridge, 1994, pp. 274–316.Google Scholar
Rankin, SusanThe Earliest Sources of Notker's Sequences: St Gallen, Vadiana 317, and Paris, Bibliothèque Nationale lat. 10587.” Early Music History 10 (1991), 201–33.CrossRefGoogle Scholar
Rankin, Susan“From Tuotilo to the First Manuscripts: The Shaping of a Trope Repertory at Saint Gall,” in Recherches nouvelles sur les tropes liturgiques, ed. Arlt and Björkvall, pp. 395–413.
Rankin, SusanNotker und Tuotilo: Schöpferische Gestalter in einer neuen Zeit.” Schweizer Jahrbuch für Musikwissenschaft, new ser., 11 (1991), 17–42.Google Scholar
Rankin, Susan“The Song School of St Gall in the Later Ninth Century,” in Sangallensia in Washington, ed. King, pp. 173–98.
Rankin, Susan“Ways of Telling Stories,” in Essays on Medieval Music, ed. Boone, pp. 371–94.
Reckow, Fritz. “Organum‐Begriff und frühe Mehrstimmigkeit: Zugleich ein Beitrag zur Bedeutung des ‘Instrumentalen’ in der spätantiken und mittelalterlichen Musiktheorie,” in Forum Musicologicum: Basler Beiträge zur Musikgeschichte, 1: Basler Studien zur Musikgeschichte, ed. Oesch, Hans and Arlt, Wulf. Bern, 1975, pp. 31–167.Google Scholar
Reynolds, L. D., and Wilson, N. G.. Scribes and Scholars: A Guide to the Transmission of Greek and Latin Literature. 3rd edn. Oxford, 1991.Google Scholar
Riché, Pierre. Les écoles et l'enseignement dans l'occident chrétien de la fin du Ve siècle au milieu du XIe siècle. 3rd edn. Paris, 1999.Google Scholar
Rivain, C.Textes bas‐latins des IXe et Xe siècles.” Bulletin de la Société Archéologique et Historique du Limousin 27 (1879), 337–41.Google Scholar
Robertson, Anne Walters. “Benedicamus Domino: The Unwritten Tradition.” Journal of the American Musicological Society 41 (1988), 1–62.CrossRefGoogle Scholar
Robertson, Anne WaltersThe Service‐Books of the Royal Abbey of Saint‐Denis: Images of Ritual and Music in the Middle Ages. Oxford Monographs on Music. Oxford, 1991.Google Scholar
Rönnau, Klaus. Die Tropen zum Gloria in excelsis Deo: Unter besonderer Berücksichtigung des Repertoires der St. Martial‐Handschriften. Wiesbaden, 1967.Google Scholar
Rosenwein, Barbara H.To Be the Neighbor of Saint Peter: The Social Meaning of Cluny's Property, 909–1049. Ithaca and London, 1989.Google Scholar
Russell, Carlton Thrasher. “The Southern French Tonary in the Tenth and Eleventh Centuries.” Ph.D. diss., Princeton University, 1966.
Sackur, Ernst. Die Cluniacenser in ihrer kirchlichen und allgemeingeschichtlichen Wirksamkeit bis zur Mitte des elften Jahrhunderts. 2 vols. Halle, 1892–94.Google Scholar
Saenger, Paul. Space between Words: The Origins of Silent Reading. Figurae: Reading Medieval Culture. Stanford, 1997.Google Scholar
Saltet, Louis. “Un cas de mythomanie historique bien documenté: Adémar de Chabannes (988–1034).” Bulletin de Littérature Ecclésiastique 32 (1931), 149–65.Google Scholar
Saltet, LouisUne discussion sur Saint Martial entre un Lombard et un Limousin en 1029.” Bulletin de Littérature Ecclésiastique 26 (1925), 161–86, 279–302.Google Scholar
Saltet, LouisLes faux d'Adémar de Chabannes: Prétendues décisions sur Saint Martial au concile de Bourges du 1er novembre 1031.” Bulletin de Littérature Ecclésiastique 27 (1926), 145–60.Google Scholar
Saltet, LouisUne prétendue lettre de Jean XIX sur Saint Martial fabriquée par Adémar de Chabannes.” Bulletin de Littérature Ecclésiastique 27 (1926), 117–39.Google Scholar
Saxer, Victor. Le culte de Marie Madeleine en occident des origines à la fin du moyen âge. 2 vols. Cahiers d'Archéologie et d'Histoire, 3. Auxerre and Paris, 1959.Google Scholar
Schaller, Dieter. “Frühmittelalterliche lateinische Dichtung in einer ehemals St. Galler Handschrift.” Zeitschrift für Deutsches Altertum und Deutsche Literatur 93 (1964), 272–91.Google Scholar
Schlager, Karlheinz. “Die Neumenschrift im Licht der Melismentextierung.” Archiv für Musikwissenschaft 38 (1981), 296–316.CrossRefGoogle Scholar
Schlager, KarlheinzThematischer Katalog der ältesten Alleluia‐Melodien aus Handschriften des 10. und 11. Jahrhunderts, ausgenommen das ambrosianische, alt‐römische und alt‐spanische Repertoire. Erlanger Arbeiten zur Musikwissenschaft, 2. Munich, 1965.Google Scholar
Schlager, Karlheinz, ed. MMMA 7.
Schubiger, Anselm. Die Sängerschule St. Gallens vom 8. bis 12. Jahrhundert: Ein Beitrag zur Gesanggeschichte des Mittelalters. Einsiedeln, 1858.Google Scholar
Schulenberg, David. “Modes, Prolongation, and Analysis.” Journal of Musicology 4 (1985–86), 303–29.CrossRefGoogle Scholar
Semmler, Josef. “Benediktinische Reform und kaiserliches Privileg: Zur Frage des institutionellen Zusammenschlusses der Klöster um Benedikt von Aniane,” in Institutionen und Geschichte: Theoretische Aspekte und mittelalterliche Befunde, ed. Gert Melville. Norm und Struktur: Studien zum Sozialen Wandel in Mittelalter und Früher Neuzeit, 1. Cologne, Weimar and Vienna, 1992, pp. 259–93. Also published in Società, istituzioni, spiritualità: Studi in onore di Cinzio Violante. 2 vols. Collectanea, 1. Spoleto, 1994, 2:787–823.
Semmler, Josef“Episcopi potestas und karolingische Klosterpolitik,” in Mönchtum, Episkopat und Adel zur Gründungszeit des Klosters Reichenau, ed. Borst, Arno. Vorträge und Forschungen, 20. Sigmaringen, 1974, pp. 305–95.Google Scholar
Semmler, Josef“Karl der Grosse und das fränkische Mönchtum,” in Karl der Grosse: Lebenswerk und Nachleben, 2: Das geistige Leben, ed. Bischoff, Bernhard. Düsseldorf, 1965, pp. 255–89.Google Scholar
Semmler, Josef“Mönche und Kanoniker im Frankenreiche Pippins III. und Karls des Groβen,” in Untersuchungen zu Kloster und Stift. Veröffentlichungen des Max‐Planck‐Instituts für Geschichte, 68, Studien zur Germania Sacra, 14. Göttingen, 1980, pp. 78–111.
Semmler, JosefPippin III. und die fränkischen Klöster.” Francia 3 (1975), 88–146.Google Scholar
Sendrey, Alfred. Music in Ancient Israel. New York, 1969.Google Scholar
Sevestre, Nicole. “Quelques réflexions sur les notations neumatiques,” in Requirentes modos musicos: Mélanges offerts à Dom Jean Claire, ed. Saulnier, Daniel and Albert, Micheline. Solesmes, 1995, pp. 249–56.Google Scholar
Silagi, Gabriel. “Vorwort,” in Liturgische Tropen, ed. Silagi, pp. VII–X.
Silagi, Gabriel, ed. Liturgische Tropen: Referate zweier Colloquien des Corpus Troporum in München (1983) und Canterbury (1984). Münchener Beiträge zur Mediävistik und Renaissance‐Forschung, 36. Munich, 1985.Google Scholar
Smith, Patrick J.The Tenth Muse: A Historical Study of the Opera Libretto. New York, 1970.Google Scholar
Smits van Waesberghe, Jos. Muziekgeschiedenis der Middeleeuwen, 2: Verklaring der Letterteekens (litterae significatiuae) in het gregoriaansche Neumenschrift van Sint Gallen: Een Onderzoek naar de historische Waarde van den zoogenaamden Notker‐Brief en naar den Oorsprong en de Beteekenis der Letterteekens in St. Gallen. Nederlandsche Muziekhistorische en Muziekpaedagogische Studiën, A. Tilburg, 1939–42.
Smits van Waesberghe, Jos“Neue Kompositionen des Johannes von Metz (um 975), Hucbalds von St. Amand und Sigeberts von Gembloux?” in Speculum musicae artis: Festgabe für Heinrich Husmann zum 60. Geburtstag am 16. Dezember 1968, ed. Becker, Heinz and Gerlach, Reinhard. Munich, 1970, pp. 285–303.Google Scholar
Smits van Waesberghe, Jos., ed. Expositiones in Micrologum Guidonis Aretini. Musicologica Medii Aevi, 1. Amsterdam, 1957.Google Scholar
Sohn, Andreas. Der Abbatiat Ademars von Saint‐Martial de Limoges (1063–1114): Ein Beitrag zur Geschichte des cluniacensischen Klösterverbandes. Beiträge zur Geschichte des Alten Mönchtums und des Benediktinertums, 37. Münster in Westfallen, 1989.
Spanke, Hans. “Die Londoner St. Martial‐Conductushandschrift.” Butlletí de la Biblioteca de Catalunya 8 (1928–32), 280–300 (repr. in Hygini Anglés, Scripta musicologica, 3 vols., ed. Iosephi López‐Calo, Raccolta di Studi e Testi, 131–33 [Rome, 1975–76], 3:1067–91).
Spanke, HansRhythmen‐ und Sequenzenstudien.” Studi Medievali, new ser., 4 (1931), 286–320.Google Scholar
Spanke, HansSt. Martial‐Studien: Ein Beitrag zur frühromanischen Metrik.” Zeitschrift für Französische Sprache und Literatur, 54 (1931), 282–317, 385–422.Google Scholar
Stäblein, Bruno. “Notkeriana.” Archiv für Musikwissenschaft 19/20 (1962–63), 84–99.Google Scholar
Steinen, Wolfram von. Notker der Dichter und seine geistige Welt. 2 vols. Bern, 1948.Google Scholar
Steiner, Ruth. “Hartker's Antiphoner and the Oral Tradition of Chant at St. Gall,” in Sangallensia in Washington, ed. King, pp. 199–212.
Steiner, RuthThe Prosulae of the MS Paris, Bibliothèque Nationale, f. lat. 1118.” Journal of the American Musicological Society 22 (1969), 367–93.CrossRefGoogle Scholar
Steiner, RuthSome Melismas for Office Responsories.” Journal of the American Musicological Society 26 (1973), 108–31.CrossRefGoogle Scholar
Tolhurst, J. B. L., ed. The Customary of the Cathedral Priory Church of Norwich. Henry Bradshaw Society, 82. London, 1948.Google Scholar
Töpfer, Bernhard. Volk und Kirche zur Zeit der beginnenden Gottesfriedensbewegung in Frankreich. Neue Beiträge zur Geschichtswissenschaft, 1. Berlin, 1957.Google Scholar
Treitler, Leo. “The Aquitanian Repertories of Sacred Monody in the Eleventh and Twelfth Centuries.” 3 vols. Ph.D. diss., Princeton University, 1967.
Treitler, Leo“Observations on the Transmission of Some Aquitanian Tropes,” in Forum musicologicum: Basler Beiträge zur Musikgeschichte, 3: Aktuelle Fragen der musikbezogenen Mittelalterforschung: Texte zu einem Basler Kolloquium des Jahres 1975, ed. Hans Oesch and Wulf Arlt. Winterthur, 1982, pp. 11–60.
Treitler, LeoOral, Written, and Literate Process in the Transmission of Medieval Music.” Speculum 56 (1981), 471–91.CrossRefGoogle Scholar
Treitler, LeoReading and Singing: On the Genesis of Occidental Music‐Writing.” Early Music History 4 (1984), 135–208.CrossRefGoogle Scholar
Unverricht, Hubert. “Die Dasia‐Notation und ihre Interpretation,” in Ars musica musica scientia: Festschrift Heinrich Hüschen, ed. Altenburg, Detlef. Beiträge zur Rheinischen Musikgeschichte, 126. Cologne, 1980, pp. 444–48.Google Scholar
Valous, Guy. Le monachisme clunisien des origines au XVe siècle: Vie intérieure des monastères et organisation de l'ordre, 2nd edn. 2 vols. Paris, 1970.Google Scholar
Dam, Raymond. Leadership and Community in Late Antique Gaul. The Transformation of the Classical Heritage, 8. Berkeley, Los Angeles and London, 1985.Google Scholar
Van Doren, Rombaut. Étude sur l'influence de l'abbaye de Saint‐Gall (VIIIe au XIe siècle). Académie Royale de Belgique, Classe des Beaux‐Arts, Mémoires, 2, fasc. 3. Brussels, 1925 (also published as Université de Louvain, Recueil de Travaux Publiés par les Membres des Conférences d'Histoire et de Philologie, ser. 2, 6. Louvain, 1925).
Vezin, Jean. “Un nouveau manuscrit autographe d'Adémar de Chabannes (Paris, Bibl. nat., lat. 7231).” Bulletin de la Société nationale des antiquaires de France (1965), pp. 44–52.Google Scholar
Violante, Cinzio, Amleto Spicciani and Giovanni Spinelli, eds. L'Italia nel quadro dell'espansione europea del monachesimo cluniacense: Atti del Convegno Internazionale di storia medievale, Pescia, 26–28 novembre 1981. “Italia Benedettina:” Studi e Documenti di Storia Monastica a Cura del Centro Storico Benedettino Italiano, 8. Cesena, 1985.
Voigt, Karl. Die karolingische Klosterpolitik und der Niedergang des westfränkischen Königtums: Laienäbte und Klosterinhaber. Kirchenrechtliche Abhandlungen, 90–91. Stuttgart, 1917; repr. Amsterdam, 1965.Google Scholar
Wagner, Peter. Einführung in die gregorianischen Melodien: Ein Handbuch der Choralwissenschaft, 2: Neumenkunde: Paläographie des liturgischen Gesanges. 2nd edn. Leipzig, 1912. 3: Gregorianische Formenlehre: Eine choralische Stilkunde. Leipzig, 1921.
Wagner, Peter“Germanisches und Romanisches im frühmittelalterlichen Kirchengesang,” in Bericht über den I. musikwissenschaftlichen Kongreβ der deutschen Musikgesellschaft in Leipzig vom 4. bis 8. Juni 1925. Leipzig, 1926, pp. 21–34.
Wagner, Peter, ed. Das Graduale der St. Thomaskirche zu Leipzig, 2, Publikationen älterer Musik, 7. Leipzig, 1932.Google Scholar
Walter, Michael. Grundlagen der Musik des Mittelalters: Schrift – Zeit – Raum. Stuttgart and Weimar, 1994.CrossRefGoogle Scholar
Weakland, Rembert. “The Compositions of Hucbald.” Études Grégoriennes 3 (1959), 155–62.Google Scholar
Weiβ, Günther, ed. MMMA 3.
Weiss, Johann. Die musikalischen Instrumente in den heiligen Schriften des alten Testamentes. Graz, 1895.Google Scholar
Williams, Peter. “The Meaning of organum: Some Case Studies.” Plainsong and Medieval Music 10 (2001), 103–20.CrossRefGoogle Scholar
Wollasch, Joachim. Cluny – “Licht der Welt”: Aufstieg und Niedergang der klösterlichen Gemeinschaft. Zurich, 1996.Google Scholar
Zielinski, Herbert. “Die Kloster‐ und Kirchengründungen der Karolinger,” in Beiträge zu Geschichte und Struktur der mittelalterlichen Germania Sacra, ed. Crusius, Irene. Veröffentlichungen des Max‐Planck‐Instituts für Geschichte, 93, Studien zur Germania Sacra, 17. Göttingen, 1989, pp. 95–134.Google Scholar
Ziolkowski, Jan M. “Classical Influences on Medieval Latin Views of Poetic Inspiration,” in Latin Poetry and the Classical Tradition: Essays in Medieval and Renaissance Literature, ed. Godman, Peter and Murray, Oswyn. Oxford‐Warburg Studies. Oxford, 1990, pp. 15–38.Google Scholar
Adémar de Chabannes. Chronicon, ed. P. Bourgain, R. Landes and G. Pon, Ademari Cabannensis Opera Omnia Pars I. Corpus Christianorum Continuatio Mediaevalis, 129. Turnhout, 1999.
Adémar de ChabannesEpistola de apostolatu sancti Martialis, in PL 141: cols. 89–112.
Adémar de ChabannesSermones tres Ademari, in PL 141: cols. 115–24.
[Adémar de Chabannes]. Acta concilii lemovicensis II, in PL 142: cols. 1353–1400. Reprinted from Philippe Labbe and Gabriel Cossart, eds., Sacrosancta concilia, 16 vols. (Paris, 1671–72), 9: cols. 869–910; also printed in Giovanni Mansi, ed., Sacrorum conciliorum noua et amplissima collectio, 31 vols. (Venice, 1759–98), 19: cols. 507–48.
[Adémar de Chabannes]Commemoratio abbatum lemovicensium basilice S. Marcialis apostoli, in Chroniques de Saint‐Martial de Limoges, ed. H. Duplès‐Agier. Paris, 1874, pp. 1–27.
Agustoni, Luigi, and Johannes Berchmans Göschl. Einführung in die Interpretation des Gregorianischen Chorals, 2: Aesthetik, 2 parts. Bosse‐Musik‐Paperback, 31. Regensburg, 1992.
AH Analecta hymnica, 55 vols., ed. Guido Maria Dreves, Clemens Blume and Henry M. Bannister. Leipzig, 1886–1922.
Amalarius of Metz. Amalarii episcopi opera liturgica omnia, ed. Jean Michel Hanssens. Studi e Testi, 138–40. Vatican City, 1948–50.
AMS Antiphonale missarum sextuplex, ed. René‐Jean Hesbert. Brussels, 1935; repr. Rome, 1967.
Annales lemovicenses, in MGH, Scriptores, 2, ed. Georg Heinrich Pertz. Hanover, 1829; repr. Stuttgart and New York, 1963, pp. 251–52.
Anthologia latina, 2 vols. in 5, ed. Franz Buecheler, Alexander Riese and Ernst Lommatzsch. Leipzig, 1894–1926.
Apel, Willi. Gregorian Chant. Bloomington and London, 1958.Google Scholar
Arbellot, [ François. “Cathédrale de Limoges: Histoire et description.” Bulletin de la Société Archéologique et Historique du Limousin 3 (1848), 169–248.Google Scholar
Arbellot, [ FrançoisDocuments inédits sur l'apostolat de Saint Martial et sur l'antiquité des églises de France. Paris and Limoges, 1860.Google Scholar
Aribo. De musica, ed. Jos. Smits van Waesberghe. Corpus Scriptorum de Musica, 2. Rome, 1951.
Arlt, Wulf. “Anschaulichkeit und analytischer charakter Kriterien der Beschreibung und Analyse früher Neumenschriften,” in Musicologie médiévale, ed. Huglo, pp. 29–55.
Arlt, WulfKomponieren im Galluskloster um 900: Tuotilos Tropen Hodie cantandus est zur Weihnacht und Quoniam dominus Iesus Christus zum Fest des Iohannes evangelista.” Schweizer Jahrbuch für Musikwissenschaft, new ser., 15 (1995), 41–70.Google Scholar
Arlt, Wulf“Liturgischer Gesang und gesungene Dichtung im Koster St. Gallen,” in Das Kloster St. Gallen im Mittelalter: Die kulturelle Blüte vom 8. bis zum 12. Jahrhundert, ed. Ochsenbein, Peter. Stuttgart, 1999, pp. 137–65 (notes pp. 253–60).Google Scholar
Arlt, Wulf, and Björkvall, Gunilla, eds. Recherches nouvelles sur les tropes liturgiques. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 36. Stockholm, 1993.Google Scholar
Arlt, Wulf, and Rankin, Susan, eds. Stiftsbibliothek Sankt Gallen Codices 484 & 381. 3 vols. Winterthur, 1996.Google Scholar
Atkinson, Charles M. “De accentibus toni oritur nota quae dicitur neuma: Prosodic Accents, the Accent Theory, and the Paleofrankish Script,” in Essays on Medieval Music, ed. Boone, pp. 17–42.
Aubrun, Michel. L'ancien diocèse de Limoges des origines au milieu du XIe siècle. Publications de l'Institut d'Études du Massif Central, 21. Clermont‐Ferrand, 1981.
Auda, Antoine. L'école musicale liégeoise au Xe siècle: Etienne de Liège. Académie Royale de Belgique, Classe des Beaux‐Arts, Mémoires, 2, fasc. 1. Brussels, 1923.
Augustine of Hippo. Confessionum libri XIII, ed. Luc Verheijen, Corpus Christianorum Series Latina, 27. Turnhout, 1981.
Augustine of HippoEnarrationes in Psalmos, 3 vols., ed. Eligius Dekkers and Johannes Fraipont, Corpus Christianorum Series Latina, 38–40. Turnhout, 1956.
Aurelian of Réôme. Musica disciplina, ed. Lawrence Gushee. Corpus Scriptorum de Musica, 21. N.p., 1975.
Babb, Warren, trans. Hucbald, Guido, and John on Music: Three Medieval Treatises, ed. Claude V. Palisca. Music Theory Translation Series, 3. New Haven, 1978.Google Scholar
Bannister, Henry Marriott. Anglo‐French Sequelae, ed. Anselm Hughes. Burnham and London, 1934.Google Scholar
Bannister, Henry MarriottThe Earliest French Troper and Its Date.” Journal of Theological Studies 2 (1901), 420–29.CrossRefGoogle Scholar
Bannister, Henry MarriottUn tropaire‐prosier de Moissac.” Revue d'Histoire et de Littérature Religieuses 8 (1903), 554–81.Google Scholar
Barclay, Barbara Marian. “The Medieval Repertory of Polyphonic Untroped Benedicamus Domino Settings.” 2 vols. Ph.D. diss., University of California, Los Angeles, 1977.
Barrett, Sam. “Music and Writing: On the Compilation of Paris Bibliothèque Nationale lat. 1154.” Early Music History 16 (1997), 55–96.CrossRefGoogle Scholar
Barrière, Bernadette. “Adémar et sa famille,” in Splendeurs de St‐Martial de Limoges au temps d'Adémar de Chabannes, ed. Barrière, Bernadette, Cantié, Geneviève and Notin, Véronique. Limoges, 1995, pp. 56–60.Google Scholar
Becquet, Jean. “Le bullaire du Limousin.” Bulletin de la Société Archéologique et Historique du Limousin 100 (1973), 111–49.Google Scholar
Becquet, JeanLe concile de Limoges de 1031.” Bulletin de la Société Archéologique et Historique du Limousin 128 (2000), 23–64.Google Scholar
Bellet, Charles‐Félix. L'ancienne vie de Saint Martial et la prose rythmée. Paris, 1897. (First published in Université Catholique, new ser., 24 [1897], 321–52.)
Benedict of Nursia. Regula, ed. Adalbert de Vogüé and Jean Neufville. La règle de Saint Benoît. 6 vols. Sources Chrétiennes, 181–86. Paris, 1971–77.
Les Bénédictins du Bouveret. Colophons de manuscrits occidentaux des origines au XVIe siècle. 6 vols. Spicilegii Friburgensis Subsidia 2–7. Fribourg, 1965–82.
Bent, Margaret. “Some Criteria for Establishing Relationships between Sources of Late‐Medieval Polyphony,” in Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, ed. Fenlon, Iain. Cambridge, 1981, pp. 295–317.Google Scholar
Berger, Hugo. Untersuchungen zu den Psalmdifferenzen. Kölner Beiträge zur Musikforschung, 37. Regensburg, 1966.Google Scholar
Berschin, Walter, and Hiley, David, eds. Die Offizien des Mittelalters: Dichtung und Musik. Regensburger Studien zur Musikgeschichte, 1. Tutzing, 1999.Google Scholar
Betteray, Dirk. “Die Liqueszenz und ihre oratorische Bedeutung untersucht am Beispiel des Wortstammes ‘Salv’ – ein Annäherungsversuch.” Beiträge zur Gregorianik 23 (1997), 53–63.Google Scholar
Bielitz, Mathias. Zum Bezeichneten der Neumen, insbesondere der Liqueszenz: Ein Hypothesenansatz zum Verhältnis von Musik und Sprache, zur diatonischen Rationalität, zur Bewegungs‐ und Raum‐Analogie, zur Enstehung der Neumenschrift und zur Rezeption des Gregorianischen Chorals in Benevent. Neckargemünd, 1998.
Birch, W. de G., ed. “Vita sanctissimi Martialis apostoli: The Life of St. Martial by Aurelianus, from a Manuscript in the British Museum.” Journal of the British Archaeological Association 28 (1872), 353–90. Reprinted separately (London, 1872).CrossRefGoogle Scholar
Björkvall, Gunilla, and Andreas Haug. “Sequence and Versus: On the History of Rhythmical Poetry in the Eleventh Century,” in Latin Culture in the Eleventh Century, ed. Herren et al., 1:57–82.
Björkvall, Gunilla, and Andreas Haug“Text und Musik im Trinitätsoffizium Stephans von Lüttich: Beobachtungen und Überlegungen aus mittellateinischer und musikhistorischer Sicht,” in Die Offizien des Mittelalters, ed. Berschin and Hiley, pp. 1–24.
Björkvall, Gunilla, Gunilla Iversen and Ritva Jonsson, eds. CT 3.
Boethius, Anicius Manlius Severinus. De institutione musica, ed. Friedlein, Gottfried, in De institutione arithmetica libri duo, De institutione musica libri quinque, accedit Geometria quae fertur Boetii. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana. Leipzig, 1867; repr. Frankfurt am Main, 1966, pp. 175–371.Google Scholar
Boone, Graeme M., ed. Essays on Medieval Music in Honor of David G. Hughes. Isham Library Papers, 4. Cambridge, MA, 1995.Google Scholar
Boussel, Patrice. Des reliques et de leur bon usage. Paris, 1971.Google Scholar
Boyce, James John. “The Office of St. Mary of Salome.” Journal of the Plainsong and Mediaeval Music Society 11 (1988), 25–47.CrossRefGoogle Scholar
Boyce, James JohnThe Office of the Three Marys in the Carmelite Liturgy.” Journal of the Plainsong and Mediaeval Music Society 12 (1989), 1–38.Google Scholar
Boyce, James John“Rhymed Office Responsory Verses: Style Characteristics and Musical Significance,” in Cantus planus: Papers Read at the 7th Meeting, Sopron, Hungary, 1995, ed. Dobszay, László. Budapest, 1998, pp. 99–121.Google Scholar
Bryden, John R., and Hughes, David G., compilers. An Index of Gregorian Chant. 2 vols. Cambridge, MA, 1969.Google Scholar
Cahn, Peter, and Heimer, Ann‐Katrin, eds. De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper. Helmut Hucke zum 60. Geburtstag. Musikwissenschaftliche Publikationen, Hochschule für Darstellende Kunst, 2. Hildesheim, 1993.Google Scholar
Callahan, Daniel F.Ademar of Chabannes and His Insertions into Bede's Expositio actuum apostolorum.” Analecta Bollandiana 111 (1993), 385–400.CrossRefGoogle Scholar
Callahan, Daniel F.Adémar of Chabannes, Apocalypticism and the Peace Council of Limoges of 1031.” Revue Bénédictine 101 (1991), 32–49.CrossRefGoogle Scholar
Callahan, Daniel F.The Sermons of Adémar of Chabannes and the Cult of St. Martial of Limoges.” Revue Bénédictine 86 (1976), 251–95.CrossRefGoogle Scholar
CANTUS. An Aquitanian Antiphoner: Toledo, Biblioteca capitular, 44.2. Wissenschaftliche Abhandlungen, 55 no. 1. Ottawa, 1992.
CANTUSPiacenza, Biblioteca Capitolare 65. Wissenschaftliche Abhandlungen, 55 no. 2. Ottawa, 1993.
CAO Corpus antiphonalium officii, 6 vols., ed. René‐Jean Hesbert. Rerum Ecclesiasticarum Documenta, Series Maior, Fontes 7–12. Rome, 1963–79.
Cappelli, A.Cronologia, cronografia e calendario perpetuo dal principio dell'èra cristiana ai nostri giorni, 5th edn. Milan, 1983.Google Scholar
Carlson, Rachel Golden. “Striking Ornaments: Complexities of Sense and Song in Aquitanian ‘Versus’.” Music & Letters 84 (2003), 527–56.CrossRefGoogle Scholar
Castaigne, Eusèbe. “Dissertation sur le lieu de naissance et sur la famille du chroniqueur Adémar, moine de l'abbaye de Saint‐Cybard d'Angoulême, faussement surnommé de Chabanais, né vers 988 et mort vers 1030.” Bulletin de la Société Archéologique et Historique de la Charente 4 (1850), 80–96.Google Scholar
Catalogus codicum hagiographicorum latinorum antiquiorum saeculo XVI qui asservantur in Bibliotheca Nationale Parisiensi, 1. Brussels and Paris, 1889.
Chagny, André. Cluny et son empire, 4th edn. Lyon and Paris, 1949.Google Scholar
Chailley, Jacques. “Les anciens tropaires et séquentiaires de l'école de Saint‐Martial de Limoges (Xe‐XIe s.).” Études Grégoriennes 2 (1957), 163–88.Google Scholar
Chailley, JacquesL'école musicale de Saint Martial de Limoges jusqu'à la fin du XIe siècle. Paris, 1960.Google Scholar
Champeval, J.‐B., ed. “Chroniques de Saint‐Martial de Limoges, Supplément,” Bulletin de la Société Archéologique et Historique du Limousin 42 (1894), 304–91.Google Scholar
Chartier, Yves. L'œuvre musicale d'Hucbald de Saint‐Amand: Les compositions et le traité de musique. Cahiers d'Études Médiévales, Cahier spécial 5. N.p., 1995.
Cicero, Marcus Tullius. De diuinatione, ed. Remo Giomini, in De diuinatione, De fato, Timaeus. M. Tulli Ciceronis Scripta Quae Manserunt Omnia, 46. Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana. Leipzig, 1975, pp. 1–148.
Clément‐Dumas, Gisèle (see also Dumas, Gisèle). Des moines aux troubadours IXe–XIIIe siècle: La musique médiévale en Languedoc et en Catalogne. Musique et Patrimoine en Languedoc‐Roussillon. Montpellier, 2004.Google Scholar
Cluny in Lombardia: Atti del Convegno storico celebrativo del IX centenario della fondazione del priorato clunicacense de Pontida (22–25 aprile 1977). 2 vols. “Italia Benedettina”: Studi e Documenti di Storia Monastica a Cura del Centro Storico Benedettino Italiano, 1. Cesena, 1979–81.
Colette, M. N. “Le graduel‐antiphonaire, Albi, Bibliothèque municipale 44: Une notation protoaquitaine rythmique,” in Cantus Planus: Papers Read at the Sixth Meeting, Eger, Hungary, 1993, 2 vols., ed. László Dobszay. Budapest, 1995, 1:117–39.
Commentarius anonymus in Micrologum Guidonis Aretini, in Expositiones in Micrologum, ed. Smits van Waesberghe, pp. 95–172.
Corbin, Solange. “Les notations neumatiques en France à l'époque carolingienne.” Revue d'Histoire de l'Église de France 38 (1952), 225–32.Google Scholar
Cousin, Patrice. “L'expansion clunisienne sous l'abbatiat de saint Odilon,” in A Cluny: Congrès scientifique, fête et cérémonies liturgiques en l'honneur des saints abbés Odon et Odilon 9–11 juillet 1949. Dijon, 1949, pp. 186–91.
Cowdrey, H. E. J.The Cluniacs and the Gregorian Reform. Oxford, 1970.Google Scholar
Crocker, Richard L.The Early Medieval Sequence. Berkeley, Los Angeles and London, 1977.Google Scholar
Crocker, Richard L.“The Repertoire of Proses at Saint Martial de Limoges (Tenth and Eleventh Centuries).” 2 vols. Ph.D. diss., Yale University, 1957.
Crocker, Richard L.The Repertory of Proses at Saint Martial de Limoges in the 10th Century. Journal of the American Musicological Society 11 (1958), 149–64.CrossRefGoogle Scholar
Crocker, Richard L.Some Ninth‐Century Sequences.” Journal of the American Musicological Society 20 (1967), 367–402.CrossRefGoogle Scholar
CT 1 Ritva Jonsson, ed. Corpus troporum, 1: Tropes du propre de la messe, 1: Cycle de Nöel. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 21. Stockholm, 1975.
CT 2 Olof Marcusson, ed. Corpus troporum, 2: Prosules de la messe, 1: Tropes de l'alleluia. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 22. Stockholm, 1976.
CT 3 Gunilla Björkvall, Gunilla Iversen and Ritva Jonsson, eds. Corpus troporum, 3: Tropes du propre de la messe, 2: Cycle de Pâques. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 25. Stockholm, 1982.
CT 4 Gunilla Iversen, ed. Corpus troporum, 4: Tropes de l'Agnus dei. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 26. Stockholm, 1980.
CT 7 Gunilla Iversen, ed. Corpus troporum, 7: Tropes de l'ordinaire de la messe: Tropes du Sanctus. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 34. Stockholm, 1990.
Curtius, E. R.Die Musen im Mittelalter: Erster Teil, bis 1100.” Zeitschrift für romanische Philologie 59 (1939), 129–88.CrossRefGoogle Scholar
Daux, Camille, and [Morelot, Stephen. Deux livres choraux monastiques des Xe et XIe siècles. Paris, 1899.Google Scholar
Daux, Camille, ed. Tropaire‐Prosier de l'abbaye Saint‐Martin de Montauriol. Bibliothèque Liturgique, 9. Paris, 1901.Google Scholar
Davis, Lisa Fagin. The Gottschalk Antiphonary: Music and Liturgy in Twelfth‐Century Lambach. Cambridge Studies in Palaeography and Codicology, 8. Cambridge, 2000.Google Scholar
Delisle, Léopold. Le cabinet des manuscrits de la Bibliothèque Impériale. 4 vols. Histoire Générale de Paris. Paris, 1868–81; repr. Amsterdam, 1969 and New York, 1974.Google Scholar
Delisle, LéopoldLes manuscrits de Saint‐Martial de Limoges: Réimpression textuelle du Catalogue publié en 1730.” Bulletin de la Société Archéologique et Historique du Limousin 43 (1895), 1–60.Google Scholar
Delisle, LéopoldNotice sur les manuscrits originaux d'Adémar de Chabannes.” Notices et extraits des manuscrits de la Bibliothèque Nationale et autres bibliothèques 35 (1896), 241–358.Google Scholar
Deloche, M.Pagi et vicairies du Limousin aux IXe, Xe et XIe siècles. Paris, 1899.Google Scholar
Devalette, Jacques, Barrière, Bernadette, Comet, Georges and Conte, Patrice. La peste de feu: Le miracle des ardents et l'ergotisme en Limousin au moyen âge. L'Archéothèque, “Les Cahiers d'Archea,” 3. Limoges, 1994.Google Scholar
Díaz y Díaz, Manuel C., Piñeiro, María Araceli Garcia and Trigo, Pilar del Oro. El codice calixtino de la catedral de Santiago: Estudio codicológico y de contenido. Monografías de Compostellanum, 2. Santiago de Compostela, 1988.Google Scholar
Dobszay, László. “Zur Stilistik der Melodien des Emmeram‐Offiziums,” in Die Offizien des Mittelalters, ed. Berschin and Hiley, pp. 87–107.
Doyle, Alicia Mee. “The Repertory of Tropes in Paris, Bibliothèque Nationale fonds Latin 1118: A Comparative Study of Tenth‐Century Aquitanian Concordances and Transmission.” 2 vols. Ph.D. diss., University of California, Santa Barbara, 2000.
Dreves, Guido Maria, Clemens Blume and Henry M. Bannister, eds. AH.
Duchesne, Louis. “Saint‐Martial de Limoges.” Annales du Midi 4 (1892), 289–330.CrossRefGoogle Scholar
Duchesne, Louis, ed. Le liber pontificalis: Texte, introduction et commentaire, 2nd edn. 3 vols. Paris, 1955–57.Google Scholar
Duguet, Jacques. “L'ascendance d'Adémar de Chabannes.” Bulletins et Mémoires de la Société Archéologique et Historique de la Charente 148 (1992), 13–15.Google Scholar
Dumas, Gisèle (see also Clément‐Dumas, Gisèle). “Le processional en Aquitaine: Histoire d'un livre (Xe‐XIIIe s.).” Études Grégoriennes 29 (2001), 9–33.Google Scholar
École nationale des chartes. Conseils pour l'édition des textes médiévaux, 1: Conseils généraux, ed. Françoise Vieillard and Olivier Guyotjeannin. Paris, 2001.
Elfving, Lars. Étude lexicographique sur les séquences limousines. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensis, 7. Stockholm, 1962.Google Scholar
Emerson, John A.Albi, Bibliothèque Municipale Rochegude, Manuscript 44: A Complete Ninth‐Century Gradual and Antiphoner from Southern France, ed. Lila Collamore. Wissenschaftliche Abhandlungen, 77. Ottawa, 2002.Google Scholar
Emerson, John A.An Edition of Four Medieval Offices Dedicated to Saint Martial de Limoges: Their Literary Origins and Liturgical Development, ed. James Grier. Studies in Music from the University of Western Ontario, 18 (for 1999). London, ON, 2004.Google Scholar
Emerson, John A.Fragments of a Troper from Saint Martial de Limoges.” Scriptorium 16 (1962), 369–72.CrossRefGoogle Scholar
Emerson, John A.“Neglected Aspects of the Oldest Full Troper (Paris, Bibliothèque nationale, lat. 1240),” in Recherches nouvelles sur les tropes liturgiques, ed. Arlt and Björkvall, pp. 193–217.
Emerson, John A.Two Newly Identified Offices for Saints Valeria and Austriclinianus by Adémar de Chabannes (MS Paris, Bibl. Nat., Latin 909, FOLS. 79–85v).” Speculum 40 (1965), 31–46.CrossRefGoogle Scholar
Evans, Paul. The Early Trope Repertory of Saint Martial de Limoges. Princeton Studies in Music, 2. Princeton, 1970.Google Scholar
Evans, Paul“Northern French Elements in an Early Aquitanian Troper,” in Speculum musicae artis: Festgabe für Heinrich Husmann zum 60. Geburtstag am 16. Dezember 1968, ed. Becker, Heinz and Gerlach, Reinhard. Munich, 1970, pp. 103–10.Google Scholar
Evans, Paul“The Tropi Ad Sequentiam,” in Studies in Music History: Essays for Oliver Strunk, ed. Powers, Harold. Princeton, 1968, pp. 73–82.Google Scholar
Falconer, Keith. “The Modes before the Modes: Antiphon and Differentia in Western Chant,” in The Study of Medieval Chant, Paths and Bridges, East and West: In Honor of Kenneth Levy, ed. Jeffery, Peter. Woodbridge and Rochester, NY, 2001, pp. 131–45.Google Scholar
Falconer, KeithSome Early Tropes to the Gloria. Quaderni di Musica/Realtà, 30. Modena, 1993.Google Scholar
Fassler, Margot. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth‐Century Paris. Cambridge Studies in Medieval and Renaissance Music. Cambridge, 1993.Google Scholar
Fassler, MargotMary's Nativity, Fulbert of Chartres, and the Stirps Iesse: Liturgical Innovation circa 1000 and Its Afterlife.” Speculum 75 (2000), 389–434.CrossRefGoogle Scholar
Fassler, MargotThe Office of the Cantor in Early Western Monastic Rules and Customaries: A Preliminary Investigation.” Early Music History 5 (1985), 29–51.CrossRefGoogle Scholar
Fassler, Margot E., and Baltzer, Rebecca A., eds. The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography, Written in Honor of Professor Ruth Steiner. New York, 2000.Google Scholar
Feder, Georg. Musikphilologie: Eine Einführung in die musikalische Textkritik, Hermeneutik und Editionstechnik. Die Musikwissenschaft: Einführungen in Gegenstand, Methoden und Ergebnisse ihrer Disziplinen. Darmstadt, 1987.
Ferretti, Paolo M.Estetica gregoriana: Trattato delle forme musicali del canto gregoriano. Vol. 1. Rome, 1934.Google Scholar
Finesinger, Sol Baruch. Musical Instruments in the Old Testament. Baltimore, 1926.Google Scholar
Fischer, Rupert. “Epiphonus oder Cephalicus?Beiträge zur Gregorianik 8 (1989), 5–28.Google Scholar
Fischer, Rupert“I neumi del cod. Paris, Bibliothèque Nationale de France, lat. 776,” trans. Nino Albarosa, in Il cod. Paris Bibliothèque Nationale de France lat. 776 sec. XI Graduale di Gaillac, ed. Nino Albarosa, Heinrich Rumphorst and Alberto Turco. Codices Gregoriani, 3. Padua, 2001, pp. xxv–xxxi (an expanded form of “Paris Bibliothèque Nationale lat. 776: Graduale von Albi,” Beiträge zur Gregorianik 23 [1997], 89–111 at 96–103).
Fischer, RupertParis Bibliothèque Nationale lat. 903: Graduale von St. Yrieix.” Beiträge zur Gregorianik 25 (1998), 105–19.Google Scholar
Franca, Umberto. Le antifone bibliche dopo Pentecoste. Studia Anselmiana, 73, Analecta Liturgica, 4. Rome, 1977.Google Scholar
Frassetto, Michael. “Resurrection of the Body: Eleventh‐Century Evidence from the Sermons of Ademar of Chabannes.” Journal of Religious History 26 (2002), 235–49.CrossRefGoogle Scholar
Frassetto, MichaelThe Writings of Ademar of Chabannes, the Peace of 994, and the ‘Terrors of the Year 1000’.” Journal of Medieval History 27 (2001), 241–55.CrossRefGoogle Scholar
Freistedt, Heinrich. Die liqueszierenden Noten des Gregorianischen Chorals: Ein Beitrag zur Notationskunde. Veröffentlichungen der Gregorianischen Akademie zu Freiburg, 14. Freiburg, 1929.Google Scholar
Frere, Walter Howard, ed. Antiphonale sarisburiense: A Reproduction in Facsimile of a Manuscript of the Thirteenth Century. London, 1901–24; repr. Farnborough, 1966.Google Scholar
Froger, Jacques. “L'édition mauriste du Graduel et les lacunes du ‘Compendiensis’.” Études Grégoriennes 11 (1970), 159–73.Google Scholar
Froger, JacquesL'épitre de Notker sur les ‘lettres significatives’: Édition critique.” Études Grégoriennes 5 (1962), 23–71.Google Scholar
Froger, Jacques“Le lieu de destination et de provenance du ‘Compendiensis’,” in Ut mens concordet: Festschrift Eugène Cardine zum 75. Geburtstag, ed. Göschl, Johannes Berchmans. St. Ottilien, 1980, pp. 338–53.Google Scholar
Fuller, Sarah Ann. “Aquitanian Polyphony of the Eleventh and Twelfth Centuries.” 3 vols. Ph.D. diss., University of California, Berkeley, 1969.
Fuller, Sarah AnnThe Myth of ‘Saint Martial’ Polyphony: A Study of the Sources.” Musica Disciplina 33 (1979), 5–26.Google Scholar
Gaborit‐Chopin, D.La décoration des manuscrits à Saint‐Martial de Limoges et en Limousin du IXe au XIIe siècle. Mémoires et Documents Publiés par la Société de l'École des Chartes, 17. Paris and Geneva, 1969.Google Scholar
Gauthier, Marie‐Madeleine S.La légende de sainte Valérie et les émaux champlevés de Limoges.” Bulletin de la Société Archéologique et Historique du Limousin 86 (1955), 35–80.Google Scholar
Gautier, Léon. Histoire de la poésie liturgique au moyen âge: Les tropes. Paris, 1886.Google Scholar
Geary, Patrick J.Furta sacra: Thefts of Relics in the Central Middle Ages, rev. edn. Princeton, 1990.Google Scholar
Gelineau, Joseph S. J.Chant et musique dans le culte chrétien: Principes, lois et applications. Kinnor, 1. Paris, 1962.Google Scholar
Geoffrey of Vigeois. Chronica, in Novae bibliothecae manuscriptorum librorum, 2: Rerum aquitanicarum, praesertim bituricensium, uberrima collectio, ed. Philippe Labbe. Paris, 1657, pp. 279–342.
Göschl, Johannes B.Semiologische Untersuchungen zum Phänomen der gregorianischen Liqueszenz: Der isolierte dreistufige Epiphonus praepunctis, ein Sonderproblem der Liqueszenzforschung. 2 vols. Forschungen zur Älteren Musikgeschichte, 3. Vienna, 1980.Google Scholar
Grabar, André. Martyrium: Recherches sur le culte des reliques et l'art chrétien antique. 2 vols. Paris, 1946; repr. London, 1972.Google Scholar
Gregory of Tours. Libri octo miraculorum, ed. Bruno Krusch. MGH, Scriptores Rerum Merovingicarum, 1, part 2. Hanover, 1885, pp. 451–820.
Gregory of ToursHistoria Francorum, 2nd edn, ed. Bruno Krusch and Wilhelm Levison. MGH, Scriptores Rerum Merouingicarum, 1, part 1. Hanover, 1937–51.
Grier, James. “Adémar de Chabannes, Carolingian Musical Practices, and Nota Romana.” Journal of the American Musicological Society 56 (2003), 43–98.CrossRefGoogle Scholar
Grier, JamesThe Critical Editing of Music: History, Method, and Practice. Cambridge, 1996.Google Scholar
Grier, James“The Divine Office at Saint‐Martial in the Early Eleventh Century: Paris, BNF lat. 1085,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 179–204.
Grier, James“Ecce sanctum quem deus elegit Marcialem apostolum: Adémar de Chabannes and the Tropes for the Feast of Saint Martial,” in Beyond the Moon: Festschrift Luther Dittmer, ed. Gillingham, Bryan and Merkley, Paul. Wissenschaftliche Abhandlungen, 53. Ottawa, 1990, pp. 28–74.Google Scholar
Grier, JamesEditing Adémar de Chabannes' Liturgy for the Feast of St Martial.” Plainsong and Medieval Music 6 (1997), 97–118. (An updated version of the article of the same title in Music Discourse from Classical to Early Modern Times: Editing and Translating Texts, ed. Maria Rika Maniates, Conference on Editorial Problems, no. 26: 1990 [Toronto, 1997], pp. 17–43, but the version of Table 3 in the latter [p. 28], is free of the errors in the updated version [p. 108].)CrossRefGoogle Scholar
Grier, James“Liturgy and Rhetoric in the Service of Fraud: Adémar de Chabannes and the Apostolicity of Saint Martial,” in Latin Culture in the Eleventh Century, ed. Herren et al., 1:384–97.
Grier, JamesThe Music is the Message: Music in the Apostolic Liturgy of Saint Martial.” Plainsong and Medieval Music 12 (2003), 1–14.CrossRefGoogle Scholar
Grier, JamesThe Music is the Message II: Adémar de Chabannes' Music for the Apostolic Office of Saint Martial.” Plainsong and Medieval Music 15 (2006), 43–54.CrossRefGoogle Scholar
Grier, JamesThe Musical Autographs of Adémar de Chabannes (989–1034).” Early Music History 24 (2005), 125–68.CrossRefGoogle Scholar
Grier, JamesA New Voice in the Monastery: Tropes and Versus from Eleventh‐ and Twelfth‐Century Aquitaine.” Speculum 69 (1994), 1023–69.CrossRefGoogle Scholar
Grier, JamesRoger de Chabannes (d. 1025), Cantor of St Martial, Limoges.” Early Music History 14 (1995), 53–119.CrossRefGoogle Scholar
Grier, JamesScribal Practices in the Aquitanian Versaria of the Twelfth Century: Towards a Typology of Error and Variant.” Journal of the American Musicological Society 45 (1992), 373–427.CrossRefGoogle Scholar
Grier, JamesScriptio interrupta: Adémar de Chabannes and the Production of Paris, Bibliothèque Nationale de France, MS latin 909.” Scriptorium 51 (1997), 234–50.CrossRefGoogle Scholar
Grier, JamesSome Codicological Observations on the Aquitanian Versaria.” Musica Disciplina 44 (1990), 5–56.Google Scholar
Guerra, Jose. “Notas críticas sobre el origen del culto sepulcral a Santiago en Compostela.” La ciencia tomista 88 (1961), 417–74, 559–90.Google Scholar
d'Arezzo, Guido. Micrologus, ed. Jos. Smits van Waesberghe. Corpus Scriptorum de Musica, 4. N.p., 1955.Google Scholar
d'Arezzo, GuidoPrologus in Antiphonarium, ed. Joseph Smits van Waesberghe. Divitiae Musicae Artis Collectae, ser. A, 3. Buren, 1975.Google Scholar
Gurlitt, Wilibald. Zur Bedeutsgeschichte von musicus und cantor bei Isidor von Sevilla. Akademie der Wissenschaften und der Literatur in Mainz, Geistes‐ und sozialwissenschaftliche Klasse, Abhandlungen, Jahrgang 1950, no. 7. Wiesbaden, 1950.
Hahn, Cynthia. “Interpictoriality in the Limoges Chasses of Stephen, Martial, and Valerie,” in Image and Belief: Studies in Celebration of the Eightieth Anniversary of the Index of Christian Art, ed. Colum Hourihane. Index of Christian Art, Occasional Papers, 3. Princeton, 1999, pp. 109–24.
Hahn, Cynthia“Valerie's Gift: A Narrative Enamel Chasse from Limoges,” in Reading Medieval Images: The Art Historian and the Object, ed. Sears, Elizabeth and Thomas, Thelma K.. Arbor, Ann, 2002, pp. 187–200.CrossRefGoogle Scholar
Handschin, Jacques. “Über Estampie und Sequenz II.” Zeitschrift für Musikwissenschaft 13 (1930), 113–32.Google Scholar
Die Handschrift St. Gallen Stiftsbibliothek 359 Cantatorium. Monumenta Palaeographica Gregoriana, 3. Münsterschwarzach, n.d.
Die Handschrift St. Gallen Stiftsbibliothek 390 Antiphonarium Hartkeri. Monumenta Palaeographica Gregoriana, 4, 1. Münsterschwarzach, n.d.
Die Handschrift St. Gallen Stiftsbibliothek 391 Antiphonarium Hartkeri. Monumenta Palaeographica Gregoriana, 4, 2. Münsterschwarzach, n.d.
“Handschriften aus der Universitätsbibliothek in Leiden.” Archiv der Gesellschaft für ältere deutsche Geschichtskunde 8 (1843), 570–78.
Hanssens, Jean M., , S. J.Le texte du ‘Liber officialis’ d'Amalaire.” Ephemerides Liturgicae 47 (1933), 113–25, 225–48, 313–28, 413–24, 493–505, ibid. 48 (1934), 66–79, 223–32, 549–69, ibid. 49 (1935), 413–35.Google Scholar
Harper, John. The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century: A Historical Introduction and Guide for Students and Musicians. Oxford, 1991.Google Scholar
Hartmann, Wilfried, ed. MGH, Leges 4 (sic; earlier volumes in the sub‐series Concilia are labeled as belonging to series 3 of Leges, whereas the sub‐series Constitutiones is designated series 4), Concilia 3. Hannover, 1984.
Haug, Andreas. Gesungene und schriftlich dargestellte Sequenz: Beobachtungen zum Schriftbild der ältesten ostfränkischen Sequenzenhandschriften. Tübinger Beiträge zur Musikwissenschaft, 12. Neuhausen‐Stuttgart, 1987.Google Scholar
Haug, Andreas“Ein neues Textdokument zur Entstehungsgeschichte der Sequenz,” in Festschrift Ulrich Siegele zum 60. Geburtstag, ed. Faber, Rudolf, Förster, Anton, Ryschawy, Hans, Schmoll‐Barthel, Jutta and Stoll, Rolf W.. Kassel, 1991, pp. 9–19.Google Scholar
Haug, AndreasZur Interpretation der Liqueszenzneumen.” Archiv für Musikwissenschaft 50 (1993), 85–100.CrossRefGoogle Scholar
Havet, Louis. Manuel de critique verbale appliquée aux textes latins. Paris, 1911.Google Scholar
Head, Thomas. “The Development of the Peace of God in Aquitaine (970–1005).” Speculum 74 (1999), 656–86.CrossRefGoogle Scholar
Head, Thomas“The Judgment of God: Andrew of Fleury's Account of the Peace League of Bourges,” in The Peace of God, ed. Head and Landes, pp. 219–38.
Head, Thomas, and Landes, Richard, eds. The Peace of God: Social Violence and Religious Response in France around the Year 1000. Ithaca and London, 1992.Google Scholar
Hebborn, Barbara. Die Dasia‐Notation. Orpheus Schriftenreihe zu Grundfragen der Musik, 79. Bonn, 1995.Google Scholar
Heisler, Maria‐Elisabeth. “Die Problematik des ‘germanischen’ oder ‘deutschen’ Choraldialekts.” Studia Musicologica 27 (1985), 67–82.CrossRefGoogle Scholar
Herren, Michael W., C. J. McDonough and Ross G. Arthur, eds. Latin Culture in the Eleventh Century: Proceedings of the Third International Conference on Medieval Latin Studies, Cambridge, September 9–12 1998. 2 vols. Publications of the Journal of Medieval Latin, 5. Turnhout, 2002.
Herrmann‐Mascard, Nicole. Les reliques des saints: Formation coutumière d'un droit. Société d'Histoire du Droit, Collection d'Histoire Institutionnelle et Sociale, 6. Paris, 1975.Google Scholar
Herzo, Sister Anthony Marie. “Five Aquitanian Graduals: Their Mass Propers and Alleluia Cycles.” Ph.D. diss., University of Southern California, 1966.
Hesbert, R.‐J.L'interprétation de l'‘equaliter’ dans les manuscrits sangalliens.” Revue Grégorienne 18 (1933), 161–73.Google Scholar
Hesbert, R.‐J., ed. AMS.
Hesbert, R.‐J.CAO.
Hiley, David. “The Historia of St. Julian of Le Mans by Létald of Micy: Some Comments and Questions about a North French Office of the Early Eleventh Century,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 444–62.
Hiley, DavidWestern Plainchant: A Handbook. Oxford, 1993.Google Scholar
Hiley, David“Das Wolfgang‐Offizium des Hermannus Contractus: Zum Wechselspiel von Modustheorie und Gesangspraxis in der Mitte des 11. Jahrhunderts,” in Die Offizien des Mittelalters, ed. Berschin and Hiley, pp. 129–42.
Hiley, DavidWritings on Western Plainchant in the 1980s and 1990s.” Acta Musicologica 69 (1997), 53–93.CrossRefGoogle Scholar
Hiley, David, ed. Historia sancti Emmerammi Arnoldi Vohburgensis circa 1030. Wissenschaftliche Abhandlungen, 65 no. 2. Ottawa, 1996.Google Scholar
Hoffmann, Hartmut. Gottesfriede und Treuga Dei. MGH, Schriften, 20. Stuttgart, 1964.Google Scholar
Hofmann‐Brandt, Helma. “Die Tropen zu den Responsorien des Officiums.” 2 vols. Inaugural‐Dissertation, Friedrich‐Alexander University, 1971.
Holder‐Egger, O.Notizen von S. Eparch in Angoulême und S. Martial in Limoges.” Neues Archiv 7 (1882), 630–37.Google Scholar
Holman, Hans‐Jörgen. “Melismatic Tropes in the Responsories for Matins.” Journal of the American Musicological Society 16 (1963), 36–46.CrossRefGoogle Scholar
Holsinger, Bruce W.Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Figurae: Reading Medieval Culture. Stanford, 2001.Google Scholar
Hooreman, Paul. “Saint‐Martial de Limoges au temps de l'abbé Odolric (1025–1040): Essai sur une pièce oubliée du répertoire limousin.” Revue Belge de Musicologie 3 (1949), 5–36.CrossRefGoogle Scholar
Hourlier, Jacques, and Michel Huglo. “Notation paléofranque,” rev. of Jacques Handschin, “Eine alte Neumenschrift,” Acta Musicologica 22 (1950), 25 (1953), Ewald Jammers, Die Essener Neumenhandschriften der Landes‐ und Stadtbibliothek Düsseldorf, and idem, “Die palaeofrankische Neumenschrift,” Scriptorium 7 (1953), in Études Grégoriennes 2 (1957), 212–19.
Hucbald of Saint Amand. Musica, ed. Chartier, in L'œuvre musicale d'Hucbald de Saint‐Amand, pp. 136–213.
Hucke, Helmut. “Das Responsorium,” in Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. Arlt, Wulf, Lichtenhahn, Ernst and Oesch, Hans. Bern and Munich, 1973, pp. 144–91.Google Scholar
Hughes, Andrew. Medieval Manuscripts for Mass and Office: A Guide to Their Organization and Terminology. Toronto, 1982.Google Scholar
Hughes, AndrewModal Order and Disorder in the Rhymed Office.” Musica Disciplina 37 (1983), 29–51.Google Scholar
Huglo, Michel. “Codicologie et musicologie,” in Miscellanea codicologica F. Masai dicata MCMLXXIX, 2 vols., ed. Cockshaw, Pierre, Garand, Monique‐Cécile and Jodogne, Pierre. Les Publications de Scriptorium, 8. Gand, 1979, 1:71–82.Google Scholar
Huglo, Michel“Les Libelli de tropes et les premiers tropaires‐prosaires,” in Pax et sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, ed. Jacobsson, Ritva. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia, 29. Stockholm, 1986, pp. 13–22.Google Scholar
Huglo, MichelLes livres de chant liturgique. Typologie des Sources du Moyen Age Occidental, 52. Turnhout, 1988.Google Scholar
Huglo, MichelLes noms des neumes et leur origine.” Études Grégoriennes 1 (1954), 53–67.Google Scholar
Huglo, Michel“Observations codicologiques sur l'antiphonaire de Compiègne (Paris, B. N. lat. 17436),” in De musica et cantu, ed. Cahn and Heimer, pp. 117–30.
Huglo, MichelLes tonaires: Inventaire, analyse, comparaison. Publications de la Société Française de Musicologie, ser. 3, 2. Paris, 1971.
Huglo, Michel“La tradition musicale aquitaine: Répertoire et notation,” in Liturgie et musique (IXe–XIVe s.). Cahiers de Fanjeaux, 17. Toulouse, 1982, pp. 253–68.
Huglo, Michel, ed. Musicologie médiévale: Notations et séquences. Paris, 1987.Google Scholar
Hunt, Noreen. Cluny under Saint Hugh 1049–1109. London, 1967.Google Scholar
Hüschen, Heinrich. “Berufsbewusstsein und Selbstverständnis von Musicus und Cantor im Mittelalter,” in Beiträge zum Berufsbewusstsein des mittelalterlichen Menschen, ed. Wilpert, Paul. Miscellanea Mediaevalia, 3. Berlin, 1964, pp. 225–38.CrossRefGoogle Scholar
Husmann, Heinrich. “Alleluia, Vers und Sequenz.” Annales Musicologiques 4 (1956), 19–53.Google Scholar
Husmann, HeinrichDie Handschrift Rheinau 71 der Zentralbibliothek Zürich und die Frage nach Echtheit und Entstehung der St. Galler Sequenzen und Notkerschen Prosen.” Acta Musicologica 38 (1966), 118–49.CrossRefGoogle Scholar
Husmann, HeinrichTropen‐ und Sequenzenhandschriften. Répertoire International des Sources Musicales, B V1. Munich, 1964.Google Scholar
Isidore of Seville. De ecclesiasticis officiis, ed. Christopher M. Lawson, Corpus Christianorum Series Latina, 113. Turnhout, 1989.
Isidore of SevilleEtymologiae, 2 vols., ed. W. M. Lindsay. Scriptorum Classicorum Bibliotheca Oxoniensis. Oxford, 1911.
Itier, Bernard. Chronique, ed. Jean‐Loup Lemaître. Les Classiques de l'Histoire de France au Moyen Age, 39. Paris, 1998.Google Scholar
Iversen, Gunilla. Chanter avec les anges: Poésie dans la messe médiévale, interprétations et commentaires. Patrimoines Christianisme. Paris, 2001.Google Scholar
Iversen, Gunilla, ed. CT 4, 7.
Jacobsson, Ritva (see also Jonsson, Ritva). “The Antiphoner of Compiègne: Paris, BNF lat. 17436,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 147–78.
Jacobsson, Ritva (see also Jonsson, Ritva)“Att tillverka en apostel: Bibliotekshistoria och hagiografi,” in Bibliotek: Tradition och utveckling – Festskrift till Lars‐Erik Sanner den 18 januari 1991. Stockholm, 1991, pp. 242–61.
Jammers, Ewald. “Rhythmen und Hymnen in einer St. Galler Handschrift des 9. Jahrhunderts,” in Festschrift Bruno Stäblein zum 70. Geburtstag, ed. Ruhnke, Martin. Kassel, , 1967, pp. 134–42.Google Scholar
Joannis XIX papae epistolae et diplomata, in PL 141: cols. 1115–60.
Jonsson, Ritva (see also Jacobsson, Ritva). Historia: Études sur la genèse des offices versifiés. Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensis, 15. Stockholm, 1968.Google Scholar
Jonsson, Ritva, ed. CT 1.
Kaiser, Reinhold. Bischofsherrschaft zwischen Königtum und Fürstenmacht: Studien zur bishöflichen Stadtherrschaft im westfränkisch‐französischen Reich im frühen und hohen Mittelalter. Pariser Historische Studien, 17. Bonn, 1981.
Kelly, Thomas Forrest. “Melisma and Prosula: The Performance of Responsory Tropes,” in Liturgische Tropen, ed. Silagi, pp. 163–80.
Kelly, Thomas ForrestMelodic Elaboration in Responsory Melismas.” Journal of the American Musicological Society 27 (1974), 461–74.CrossRefGoogle Scholar
Kelly, Thomas ForrestNeuma triplex.” Acta Musicologica 60 (1988), 1–30.CrossRefGoogle Scholar
Kelly, Thomas Forrest“Responsory Tropes.” Ph.D. diss., Harvard University, 1973.
King, James C., ed. Sangallensia in Washington: The Arts and Letters in Medieval and Baroque St. Gall Viewed from the Late Twentieth Century. New York, 1993.Google Scholar
Knapp, J. Merrill. The Magic of Opera. New York, 1972.Google Scholar
Kolari, Eino. Musikinstrumente und ihre Verwendung im alten Testament: Eine lexikalische und kulturgeschichtliche Untersuchung. Helsinki, 1947.Google Scholar
Kottje, Raymund, and Maurer, Helmut, eds. Monastische Reformen im 9. und 10. Jahrhundert. Vorträge und Forschungen, 38. Sigmaringen, 1989.Google Scholar
Lair, Jules. Études critiques sur divers textes des Xe et XIe siècles, 2: Historia d'Adémar de Chabannes. Paris, 1899.Google Scholar
Landes, Richard. “L'accession des Capétiens: Une reconsidération selon les sources aquitaines,” in Religion et culture autour de l'an mil: Royaume capétien et Lotharingie, ed. Iogna‐Prat, Dominique and Picard, Jean‐Charles. Paris, 1990, pp. 151–66.Google Scholar
Landes, RichardAutour d'Adémar de Chabannes (†1034): Précisions chronologiques au sujet du Limousin vers l'An Mil.” Bulletin de la Société Archéologique et Historique du Limousin 122 (1994), 23–54.Google Scholar
Landes, Richard“Between Aristocracy and Heresy: Popular Participation in the Limousin Peace of God, 994–1033,” in The Peace of God, ed. Head and Landes, pp. 184–218.
Landes, RichardThe Dynamics of Heresy and Reform in Limoges: A Study of Popular Participation in the ‘Peace of God’ (994–1033).” Historical Reflections 14 (1987), 467–511.Google Scholar
Landes, RichardA Libellus from St. Martial of Limoges Written in the Time of Ademar of Chabannes (989–1034): ‘Un faux à retardement’.” Scriptorium 37 (1983), 178–204.CrossRefGoogle Scholar
Landes, RichardRelics, Apocalypse, and the Deceits of History: Ademar of Chabannes, 989–1034. Harvard Historical Studies, 117. Cambridge, MA, 1995.Google Scholar
Lapeyre, Jean. “La notation aquitaine et les origines de la notation musicale d'après les anciens manuscrits d'Albi.” Tribune Saint‐Gervais 13 (1907), 193–98, 226–36, 255–62, 275–86.Google Scholar
Lasteyrie, Charles. L'abbaye de Saint‐Martial de Limoges: Étude historique, économique et archéologique précédée de recherches nouvelles sur la vie du saint. Paris, 1901.Google Scholar
Lasteyrie, Robert. Étude sur les comtes et vicomtes de Limoges antérieurs a l'an 1000. Bibliothèque de l'École des Hautes Études, Sciences Philologiques et Historiques, 18. Paris, 1874; repr. Geneva, 1977.Google Scholar
Legner, Anton, ed. Reliquien, Verehrung und Verklärung: Skizzen und Noten zur Thematik und Katalog der Kölner Sammlung Louis Peters im Schnütgen‐Museum. Cologne, 1989.Google Scholar
Lemaître, Jean‐Loup. “Sainte Valérie, sa vie et son culte d'après des textes limousins,” in Valérie et Thomas Becket: De l'influence des princes Plantagenêt dans l'oeuvre de Limoges. Limoges, 1999, pp. 19–45.
Leroquais, Victor. Les bréviaires manuscrits des bibliothèques publiques de France. 6 vols. Paris, 1934.Google Scholar
Leroquais, VictorLes livres d'heures manuscrits de la Bibliothèque nationale. 3 vols. Paris, 1927.Google Scholar
Leroquais, VictorLes sacramentaires et les missels manuscrits des bibliothèques publiques de France. 4 vols. Paris, 1924.Google Scholar
Leroux, Alfred, and Bosvieux, Auguste, eds. Chartes, chroniques et mémoriaux, pour servir à l'histoire de la Marche et du Limousin. Tulle, 1886.Google Scholar
Levillain, Léon. “Adémar de Chabannes, généalogiste.” Bulletin de la Société de l'Ouest ser. 3, 10 (1934–35), 237–63.Google Scholar
Levy, Kenneth. “Toledo, Rome and the Legacy of Gaul.” Early Music History 4 (1984), 49–99.CrossRefGoogle Scholar
Lipphardt, Walther. Der karolingische Tonar von Metz. Liturgiewissenschaftliche Quellen und Forschungen, 43. Münster Westfalen, 1965.Google Scholar
Luscombe, David. “Denis the Pseudo‐Areopagite in the Middle Ages from Hilduin to Lorenzo Valla,” in Fälschungen im Mittelalter: Internationaler Kongreβ der Monumenta Germaniae Historica München, 16.–19. September 1986: 1, Kongreβdaten und Festvorträge: Literatur und Fälschung. Monumenta Germaniae Historica, Schriften, 33, 1. Hannover, 1988, pp. 133–52.
Mager, Hans‐Erich. “Studien über das Verhältnis der Cluniacenser zum Eigenkirchenwesen,” in Neue Forschungen über Cluny und die Cluniacenser, ed. Tellenbach, Gerd. Freiburg, 1959, pp. 169–217.Google Scholar
Marcusson, Olof, ed. CT 2.
McGee, Timothy J.The Sound of Medieval Song: Ornamentation and Vocal Style according to the Treatises. Oxford Monographs on Music. Oxford, 1998.Google Scholar
McKinnon, James W.Musical Instruments in Medieval Psalm Commentaries and Psalters.” Journal of the American Musicological Society 21 (1968), 3–20.CrossRefGoogle Scholar
McKinnon, James W., ed. Music in Early Christian Literature. Cambridge Readings in the Literature of Music. Cambridge, 1987.CrossRefGoogle Scholar
Méhu, Didier. Paix et communautés autour de l'abbaye de Cluny (Xe–Xve siècle). Collection d'Histoire et d'Archéologie Médiévales, 9. Lyon, 2001.
Merkley, Paul. Modal Assignment in Northern Tonaries. Wissenschaftliche Abhandlungen, 56. Ottawa, 1992.Google Scholar
Merkley, PaulTonaries and Melodic Families of Antiphons.” Journal of the Plainsong and Mediaeval Music Society 11 (1988), 13–24.CrossRefGoogle Scholar
Metrologus, in Expositiones in Micrologum, ed. Smits van Waesberghe, pp. 61–92.
Meyier, K. A.. Codices Vossiani Latini, 3: Codices in octavo. Codices Manuscripti, 15. Leiden, 1977.Google Scholar
MGH Monumenta Germaniae Historica.
Misset, E., and Weale, W. H. I.. Analecta liturgica. 2 vols. In 3. Lille and Bruges, 18881901.Google Scholar
MMMA 3 Weiß, Günther, ed. Introitus‐tropen, 1: Das Repertoire der südfranzösischen Tropare des 10. und 11. Jahrhunderts. Monumenta Monodica Medii Aevi, 3. Kassel, Basel, Tours and London, 1970.
MMMA 7 Schlager, Karlheinz, ed. Alleluia‐Melodien, 1: bis 1100, Monumenta Monodica Medii Aevi, 7. Kassel, Basel, Paris, London and New York, 1968.
Molhuijsen, P. C.Die Tironiana der Universitäts‐Bibliothek in Leiden.” Archiv für Stenographie 54 (1902), 161–73.Google Scholar
Möller, Hartmut. “Office Compositions from St. Gall: Saints Gallus and Otmar,” in The Divine Office in the Latin Middle Ages, ed. Fassler and Baltzer, pp. 237–56.
Möller, Hartmut“Tonartlich geordnete Offizien in den Klöstern des Früh‐ und Hochmittelalters: Konzept, Komposition, Überlieferung,” in Die Klöster als Pflegestätten von Musik und Kunst: 850 Jahre Michaelstein, ed. Fleischhauer, Günter, Ruf, Wolfgang, Siegmund, Bert and Zschoch, Frieder. Michaelsteiner Konferenzberichte, 55. Michaelstein, 1999, pp. 97–110.Google Scholar
Mönchemeier, Reinhard. Amalar von Metz, sein Leben und seine Schriften: Ein Beitrag zur theologischen Litteraturgeschichte und zur Geschichte der lateinischen Liturgie im Mittelalter. Münster in Westfalen, 1893.Google Scholar
Montagu, Jeremy. Musical Instruments of the Bible. Lanham, MD, and London, 2002.Google Scholar
Nadaud, Joseph. Nobiliaire du diocèse et de la généralité de Limoges. Vol. 1. 2nd edn. Limoges, 1882; repr, Paris, 1974.Google Scholar
Novack, Saul. “The Analysis of Pre‐Baroque Music,” in Aspects of Schenkerian Theory, ed. Beach, David. New Haven and London, 1983, pp. 113–33.Google Scholar
Odelman, Eva. “Comment a‐t‐on appelé les tropes? Obervations sur les rubriques des tropes des Xe et XIe siècles.” Cahiers de Civilisation Médiévale Xe–XIIe siècles 18 (1975), 15–36.CrossRefGoogle Scholar
Offertoriale triplex cum versiculis. Solesmes, 1985.
O'Grady, Deidre. The Last Troubadours: Poetic Drama in Italian Opera 1597–1887. London and New York, 1991.Google Scholar
Omlin, Ephrem. Die Sankt‐Gallischen Tonarbuchstaben: Ein Beitrag zur Entwicklungsgeschichte der Offiziumsantiphonen in Bezug auf ihre Tonarten und Psalmkadenzen, Veröffentlichungen der Gregorianischen Akademie zu Freiburg (Schweiz), 18. Regensburg, 1934.Google Scholar
PalMus 2 Le répons‐graduel Justus ut palma reproduit en fac‐similé. Paléographie Musicale, 2. Solesmes, 1891–92.
PalMus 10 Antiphonale missarum sancti Gregorii IXe–Xe siècle: Codex 239 de la Bibliothèque de Laon. Paléographie Musicale, 10. Solesmes, 1909–12.
PalMus 13 Le codex 903 de la Bibliothèque Nationale de Paris (XIe siècle): Graduel de Saint‐Yrieix. Paléographie Musicale, 13. Tournay, 1925–30.
PalMus ser. 2, 1 Antiphonale officii monastici écrit par le B. Hartker: No 390–391 de la Bibliothèque de Saint‐Gall. New edn. Paléographie Musicale, ser. 2, 1. Bern, 1970.
PalMus ser. 2, 2 Cantatorium (IXe siècle): No 359 de la Bibliothèque de Saint‐Gall. Paléographie Musicale, ser. 2, 2. Tournai, 1924; repr. Bern, 1968.
Phillips, Nancy. “The Dasia Notation and Its Manuscript Tradition,” in Musicologie médiévale, ed. Huglo, pp. 157–73.
Phillips, Nancy“Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert,” trans. Gudrun Tillmann‐Budde, in Geschichte der Musiktheorie, 4: Die Lehre von einstimmigen liturgischen Gesang, ed. Ertelet, Thomas and Zaminer, Frieder. Darmstadt, 2000, pp. 293–623.Google Scholar
PL Patrologiae cursus completus: Series latina, 221 vols., ed. J.‐P. Migne. Paris, 1844–64.
Planchart, Alejandro Enrique. “Fragments, Palimpsests, and Marginalia.” Journal of Musicology 6 (1988), 293–339.CrossRefGoogle Scholar
Planchart, Alejandro Enrique“Old Wine in New Bottles,” in De musica et cantu, ed. Cahn and Heimer, pp. 41–64.
Planchart, Alejandro EnriqueOn the Nature of Transmission and Change in Trope Repertories.” Journal of the American Musicological Society 41 (1988), 215–49.CrossRefGoogle Scholar
Planchart, Alejandro EnriqueThe Repertory of Tropes at Winchester. 2 vols. Princeton, 1977.Google Scholar
Planchart, Alejandro Enrique“The Transmission of Medieval Chant,” in Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, ed. Fenlon, Iain. Cambridge, 1981, pp. 347–63.Google Scholar
Poeck, Dietrich W.Cluniacensis ecclesia: Der cluniacensische Klosterverband (10–12. Jahrhundert). Münstersche Mittelalter‐Schriften, 71. Munich, 1998.Google Scholar
Pothier, Joseph. “La note liquescente dans le chant grégorien d'après Guy d'Arezzo.” Revue du Chant Grégorien 21 (1912), 3–8.Google Scholar
Prinz, Otto, ed. Mittellateinisches Wörterbuch bis zum ausgehenden 13. Jahrhundert. Vol. 1. Munich, 1967.Google Scholar
Racinet, Philippe. “L'expansion de Cluny sous Hugues Ier de Semur,” in Le gouvernement d'Hugues de Semur à Cluny: Actes du Colloque scientifique international, Cluny, septembre 1988. Cluny, 1990, pp. 93–131.
Rankin, Susan. “Carolingian Music,” in Carolingian Culture: Emulation and Innovation, ed. McKitterick, Rosamond. Cambridge, 1994, pp. 274–316.Google Scholar
Rankin, SusanThe Earliest Sources of Notker's Sequences: St Gallen, Vadiana 317, and Paris, Bibliothèque Nationale lat. 10587.” Early Music History 10 (1991), 201–33.CrossRefGoogle Scholar
Rankin, Susan“From Tuotilo to the First Manuscripts: The Shaping of a Trope Repertory at Saint Gall,” in Recherches nouvelles sur les tropes liturgiques, ed. Arlt and Björkvall, pp. 395–413.
Rankin, SusanNotker und Tuotilo: Schöpferische Gestalter in einer neuen Zeit.” Schweizer Jahrbuch für Musikwissenschaft, new ser., 11 (1991), 17–42.Google Scholar
Rankin, Susan“The Song School of St Gall in the Later Ninth Century,” in Sangallensia in Washington, ed. King, pp. 173–98.
Rankin, Susan“Ways of Telling Stories,” in Essays on Medieval Music, ed. Boone, pp. 371–94.
Reckow, Fritz. “Organum‐Begriff und frühe Mehrstimmigkeit: Zugleich ein Beitrag zur Bedeutung des ‘Instrumentalen’ in der spätantiken und mittelalterlichen Musiktheorie,” in Forum Musicologicum: Basler Beiträge zur Musikgeschichte, 1: Basler Studien zur Musikgeschichte, ed. Oesch, Hans and Arlt, Wulf. Bern, 1975, pp. 31–167.Google Scholar
Reynolds, L. D., and Wilson, N. G.. Scribes and Scholars: A Guide to the Transmission of Greek and Latin Literature. 3rd edn. Oxford, 1991.Google Scholar
Riché, Pierre. Les écoles et l'enseignement dans l'occident chrétien de la fin du Ve siècle au milieu du XIe siècle. 3rd edn. Paris, 1999.Google Scholar
Rivain, C.Textes bas‐latins des IXe et Xe siècles.” Bulletin de la Société Archéologique et Historique du Limousin 27 (1879), 337–41.Google Scholar
Robertson, Anne Walters. “Benedicamus Domino: The Unwritten Tradition.” Journal of the American Musicological Society 41 (1988), 1–62.CrossRefGoogle Scholar
Robertson, Anne WaltersThe Service‐Books of the Royal Abbey of Saint‐Denis: Images of Ritual and Music in the Middle Ages. Oxford Monographs on Music. Oxford, 1991.Google Scholar
Rönnau, Klaus. Die Tropen zum Gloria in excelsis Deo: Unter besonderer Berücksichtigung des Repertoires der St. Martial‐Handschriften. Wiesbaden, 1967.Google Scholar
Rosenwein, Barbara H.To Be the Neighbor of Saint Peter: The Social Meaning of Cluny's Property, 909–1049. Ithaca and London, 1989.Google Scholar
Russell, Carlton Thrasher. “The Southern French Tonary in the Tenth and Eleventh Centuries.” Ph.D. diss., Princeton University, 1966.
Sackur, Ernst. Die Cluniacenser in ihrer kirchlichen und allgemeingeschichtlichen Wirksamkeit bis zur Mitte des elften Jahrhunderts. 2 vols. Halle, 1892–94.Google Scholar
Saenger, Paul. Space between Words: The Origins of Silent Reading. Figurae: Reading Medieval Culture. Stanford, 1997.Google Scholar
Saltet, Louis. “Un cas de mythomanie historique bien documenté: Adémar de Chabannes (988–1034).” Bulletin de Littérature Ecclésiastique 32 (1931), 149–65.Google Scholar
Saltet, LouisUne discussion sur Saint Martial entre un Lombard et un Limousin en 1029.” Bulletin de Littérature Ecclésiastique 26 (1925), 161–86, 279–302.Google Scholar
Saltet, LouisLes faux d'Adémar de Chabannes: Prétendues décisions sur Saint Martial au concile de Bourges du 1er novembre 1031.” Bulletin de Littérature Ecclésiastique 27 (1926), 145–60.Google Scholar
Saltet, LouisUne prétendue lettre de Jean XIX sur Saint Martial fabriquée par Adémar de Chabannes.” Bulletin de Littérature Ecclésiastique 27 (1926), 117–39.Google Scholar
Saxer, Victor. Le culte de Marie Madeleine en occident des origines à la fin du moyen âge. 2 vols. Cahiers d'Archéologie et d'Histoire, 3. Auxerre and Paris, 1959.Google Scholar
Schaller, Dieter. “Frühmittelalterliche lateinische Dichtung in einer ehemals St. Galler Handschrift.” Zeitschrift für Deutsches Altertum und Deutsche Literatur 93 (1964), 272–91.Google Scholar
Schlager, Karlheinz. “Die Neumenschrift im Licht der Melismentextierung.” Archiv für Musikwissenschaft 38 (1981), 296–316.CrossRefGoogle Scholar
Schlager, KarlheinzThematischer Katalog der ältesten Alleluia‐Melodien aus Handschriften des 10. und 11. Jahrhunderts, ausgenommen das ambrosianische, alt‐römische und alt‐spanische Repertoire. Erlanger Arbeiten zur Musikwissenschaft, 2. Munich, 1965.Google Scholar
Schlager, Karlheinz, ed. MMMA 7.
Schubiger, Anselm. Die Sängerschule St. Gallens vom 8. bis 12. Jahrhundert: Ein Beitrag zur Gesanggeschichte des Mittelalters. Einsiedeln, 1858.Google Scholar
Schulenberg, David. “Modes, Prolongation, and Analysis.” Journal of Musicology 4 (1985–86), 303–29.CrossRefGoogle Scholar
Semmler, Josef. “Benediktinische Reform und kaiserliches Privileg: Zur Frage des institutionellen Zusammenschlusses der Klöster um Benedikt von Aniane,” in Institutionen und Geschichte: Theoretische Aspekte und mittelalterliche Befunde, ed. Gert Melville. Norm und Struktur: Studien zum Sozialen Wandel in Mittelalter und Früher Neuzeit, 1. Cologne, Weimar and Vienna, 1992, pp. 259–93. Also published in Società, istituzioni, spiritualità: Studi in onore di Cinzio Violante. 2 vols. Collectanea, 1. Spoleto, 1994, 2:787–823.
Semmler, Josef“Episcopi potestas und karolingische Klosterpolitik,” in Mönchtum, Episkopat und Adel zur Gründungszeit des Klosters Reichenau, ed. Borst, Arno. Vorträge und Forschungen, 20. Sigmaringen, 1974, pp. 305–95.Google Scholar
Semmler, Josef“Karl der Grosse und das fränkische Mönchtum,” in Karl der Grosse: Lebenswerk und Nachleben, 2: Das geistige Leben, ed. Bischoff, Bernhard. Düsseldorf, 1965, pp. 255–89.Google Scholar
Semmler, Josef“Mönche und Kanoniker im Frankenreiche Pippins III. und Karls des Groβen,” in Untersuchungen zu Kloster und Stift. Veröffentlichungen des Max‐Planck‐Instituts für Geschichte, 68, Studien zur Germania Sacra, 14. Göttingen, 1980, pp. 78–111.
Semmler, JosefPippin III. und die fränkischen Klöster.” Francia 3 (1975), 88–146.Google Scholar
Sendrey, Alfred. Music in Ancient Israel. New York, 1969.Google Scholar
Sevestre, Nicole. “Quelques réflexions sur les notations neumatiques,” in Requirentes modos musicos: Mélanges offerts à Dom Jean Claire, ed. Saulnier, Daniel and Albert, Micheline. Solesmes, 1995, pp. 249–56.Google Scholar
Silagi, Gabriel. “Vorwort,” in Liturgische Tropen, ed. Silagi, pp. VII–X.
Silagi, Gabriel, ed. Liturgische Tropen: Referate zweier Colloquien des Corpus Troporum in München (1983) und Canterbury (1984). Münchener Beiträge zur Mediävistik und Renaissance‐Forschung, 36. Munich, 1985.Google Scholar
Smith, Patrick J.The Tenth Muse: A Historical Study of the Opera Libretto. New York, 1970.Google Scholar
Smits van Waesberghe, Jos. Muziekgeschiedenis der Middeleeuwen, 2: Verklaring der Letterteekens (litterae significatiuae) in het gregoriaansche Neumenschrift van Sint Gallen: Een Onderzoek naar de historische Waarde van den zoogenaamden Notker‐Brief en naar den Oorsprong en de Beteekenis der Letterteekens in St. Gallen. Nederlandsche Muziekhistorische en Muziekpaedagogische Studiën, A. Tilburg, 1939–42.
Smits van Waesberghe, Jos“Neue Kompositionen des Johannes von Metz (um 975), Hucbalds von St. Amand und Sigeberts von Gembloux?” in Speculum musicae artis: Festgabe für Heinrich Husmann zum 60. Geburtstag am 16. Dezember 1968, ed. Becker, Heinz and Gerlach, Reinhard. Munich, 1970, pp. 285–303.Google Scholar
Smits van Waesberghe, Jos., ed. Expositiones in Micrologum Guidonis Aretini. Musicologica Medii Aevi, 1. Amsterdam, 1957.Google Scholar
Sohn, Andreas. Der Abbatiat Ademars von Saint‐Martial de Limoges (1063–1114): Ein Beitrag zur Geschichte des cluniacensischen Klösterverbandes. Beiträge zur Geschichte des Alten Mönchtums und des Benediktinertums, 37. Münster in Westfallen, 1989.
Spanke, Hans. “Die Londoner St. Martial‐Conductushandschrift.” Butlletí de la Biblioteca de Catalunya 8 (1928–32), 280–300 (repr. in Hygini Anglés, Scripta musicologica, 3 vols., ed. Iosephi López‐Calo, Raccolta di Studi e Testi, 131–33 [Rome, 1975–76], 3:1067–91).
Spanke, HansRhythmen‐ und Sequenzenstudien.” Studi Medievali, new ser., 4 (1931), 286–320.Google Scholar
Spanke, HansSt. Martial‐Studien: Ein Beitrag zur frühromanischen Metrik.” Zeitschrift für Französische Sprache und Literatur, 54 (1931), 282–317, 385–422.Google Scholar
Stäblein, Bruno. “Notkeriana.” Archiv für Musikwissenschaft 19/20 (1962–63), 84–99.Google Scholar
Steinen, Wolfram von. Notker der Dichter und seine geistige Welt. 2 vols. Bern, 1948.Google Scholar
Steiner, Ruth. “Hartker's Antiphoner and the Oral Tradition of Chant at St. Gall,” in Sangallensia in Washington, ed. King, pp. 199–212.
Steiner, RuthThe Prosulae of the MS Paris, Bibliothèque Nationale, f. lat. 1118.” Journal of the American Musicological Society 22 (1969), 367–93.CrossRefGoogle Scholar
Steiner, RuthSome Melismas for Office Responsories.” Journal of the American Musicological Society 26 (1973), 108–31.CrossRefGoogle Scholar
Tolhurst, J. B. L., ed. The Customary of the Cathedral Priory Church of Norwich. Henry Bradshaw Society, 82. London, 1948.Google Scholar
Töpfer, Bernhard. Volk und Kirche zur Zeit der beginnenden Gottesfriedensbewegung in Frankreich. Neue Beiträge zur Geschichtswissenschaft, 1. Berlin, 1957.Google Scholar
Treitler, Leo. “The Aquitanian Repertories of Sacred Monody in the Eleventh and Twelfth Centuries.” 3 vols. Ph.D. diss., Princeton University, 1967.
Treitler, Leo“Observations on the Transmission of Some Aquitanian Tropes,” in Forum musicologicum: Basler Beiträge zur Musikgeschichte, 3: Aktuelle Fragen der musikbezogenen Mittelalterforschung: Texte zu einem Basler Kolloquium des Jahres 1975, ed. Hans Oesch and Wulf Arlt. Winterthur, 1982, pp. 11–60.
Treitler, LeoOral, Written, and Literate Process in the Transmission of Medieval Music.” Speculum 56 (1981), 471–91.CrossRefGoogle Scholar
Treitler, LeoReading and Singing: On the Genesis of Occidental Music‐Writing.” Early Music History 4 (1984), 135–208.CrossRefGoogle Scholar
Unverricht, Hubert. “Die Dasia‐Notation und ihre Interpretation,” in Ars musica musica scientia: Festschrift Heinrich Hüschen, ed. Altenburg, Detlef. Beiträge zur Rheinischen Musikgeschichte, 126. Cologne, 1980, pp. 444–48.Google Scholar
Valous, Guy. Le monachisme clunisien des origines au XVe siècle: Vie intérieure des monastères et organisation de l'ordre, 2nd edn. 2 vols. Paris, 1970.Google Scholar
Dam, Raymond. Leadership and Community in Late Antique Gaul. The Transformation of the Classical Heritage, 8. Berkeley, Los Angeles and London, 1985.Google Scholar
Van Doren, Rombaut. Étude sur l'influence de l'abbaye de Saint‐Gall (VIIIe au XIe siècle). Académie Royale de Belgique, Classe des Beaux‐Arts, Mémoires, 2, fasc. 3. Brussels, 1925 (also published as Université de Louvain, Recueil de Travaux Publiés par les Membres des Conférences d'Histoire et de Philologie, ser. 2, 6. Louvain, 1925).
Vezin, Jean. “Un nouveau manuscrit autographe d'Adémar de Chabannes (Paris, Bibl. nat., lat. 7231).” Bulletin de la Société nationale des antiquaires de France (1965), pp. 44–52.Google Scholar
Violante, Cinzio, Amleto Spicciani and Giovanni Spinelli, eds. L'Italia nel quadro dell'espansione europea del monachesimo cluniacense: Atti del Convegno Internazionale di storia medievale, Pescia, 26–28 novembre 1981. “Italia Benedettina:” Studi e Documenti di Storia Monastica a Cura del Centro Storico Benedettino Italiano, 8. Cesena, 1985.
Voigt, Karl. Die karolingische Klosterpolitik und der Niedergang des westfränkischen Königtums: Laienäbte und Klosterinhaber. Kirchenrechtliche Abhandlungen, 90–91. Stuttgart, 1917; repr. Amsterdam, 1965.Google Scholar
Wagner, Peter. Einführung in die gregorianischen Melodien: Ein Handbuch der Choralwissenschaft, 2: Neumenkunde: Paläographie des liturgischen Gesanges. 2nd edn. Leipzig, 1912. 3: Gregorianische Formenlehre: Eine choralische Stilkunde. Leipzig, 1921.
Wagner, Peter“Germanisches und Romanisches im frühmittelalterlichen Kirchengesang,” in Bericht über den I. musikwissenschaftlichen Kongreβ der deutschen Musikgesellschaft in Leipzig vom 4. bis 8. Juni 1925. Leipzig, 1926, pp. 21–34.
Wagner, Peter, ed. Das Graduale der St. Thomaskirche zu Leipzig, 2, Publikationen älterer Musik, 7. Leipzig, 1932.Google Scholar
Walter, Michael. Grundlagen der Musik des Mittelalters: Schrift – Zeit – Raum. Stuttgart and Weimar, 1994.CrossRefGoogle Scholar
Weakland, Rembert. “The Compositions of Hucbald.” Études Grégoriennes 3 (1959), 155–62.Google Scholar
Weiβ, Günther, ed. MMMA 3.
Weiss, Johann. Die musikalischen Instrumente in den heiligen Schriften des alten Testamentes. Graz, 1895.Google Scholar
Williams, Peter. “The Meaning of organum: Some Case Studies.” Plainsong and Medieval Music 10 (2001), 103–20.CrossRefGoogle Scholar
Wollasch, Joachim. Cluny – “Licht der Welt”: Aufstieg und Niedergang der klösterlichen Gemeinschaft. Zurich, 1996.Google Scholar
Zielinski, Herbert. “Die Kloster‐ und Kirchengründungen der Karolinger,” in Beiträge zu Geschichte und Struktur der mittelalterlichen Germania Sacra, ed. Crusius, Irene. Veröffentlichungen des Max‐Planck‐Instituts für Geschichte, 93, Studien zur Germania Sacra, 17. Göttingen, 1989, pp. 95–134.Google Scholar
Ziolkowski, Jan M. “Classical Influences on Medieval Latin Views of Poetic Inspiration,” in Latin Poetry and the Classical Tradition: Essays in Medieval and Renaissance Literature, ed. Godman, Peter and Murray, Oswyn. Oxford‐Warburg Studies. Oxford, 1990, pp. 15–38.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • James Grier, University of Western Ontario
  • Book: The Musical World of a Medieval Monk
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481802.012
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • James Grier, University of Western Ontario
  • Book: The Musical World of a Medieval Monk
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481802.012
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • James Grier, University of Western Ontario
  • Book: The Musical World of a Medieval Monk
  • Online publication: 22 September 2009
  • Chapter DOI: https://doi.org/10.1017/CBO9780511481802.012
Available formats
×