Skip to main content Accessibility help
×
Hostname: page-component-76fb5796d-dfsvx Total loading time: 0 Render date: 2024-04-29T17:23:24.777Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  24 March 2022

Mary Channen Caldwell
Affiliation:
University of Pennsylvania
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2022

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

Ahlquist, Karen, ed. Chorus and Community. University of Illinois Press, 2006.Google Scholar
Ahn, Dongmyung. “Beastly yet Lofty Burdens: The Donkey and the Subdeacon in the Middle Ages.” In L’Humain et l’animal dans la France médiévale (XIIe–XVe s.): Human and Animal in Medieval France (12th–15th c.), edited by Fabry-Tehranchi, Irène and Russakoff, Anna D., 145160. Rodopi, 2014.Google Scholar
Ahn, Dongmyung “The Exegetical Function of the Conductus in MS Egerton 2615.” PhD diss., The Graduate Center, City University of New York, 2018.Google Scholar
Ameln, Konrad. “‘Resonet in Laudibus’ – ‘Joseph, lieber Joseph mein.’” Jahrbuch für Liturgik und Hymnologie 15 (1970): 52112.Google Scholar
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Revised ed. Verso, 2006 [1983].Google Scholar
Anderson, Gordon A.Notre Dame and Related Conductus: A Catalogue Raisonné.” Miscellanea musicologica 6–7 (1972–1974): 153229 and 181.Google Scholar
Anderson, Gordon A.Nove Geniture: Three Variant Polyphonic Settings of a Notre Dame Conductus.” Studies in Music, 9 (1975): 818.Google Scholar
Anderson, Gordon A.Thirteenth-Century Conductus: Obiter Dicta.” The Musical Quarterly 58 (1972): 349364.Google Scholar
Anderson, Gordon A., ed. Notre-Dame and Related Conductus: Opera Omnia. The Institute of Mediaeval Music, Ltd., 1979–.Google Scholar
Anderson, Michael Alan. “Enhancing the Ave Maria in the Ars Antiqua.” Plainsong and Medieval Music 19 (2010): 3565.Google Scholar
Anderson, Michael AlanFire, Foliage and Fury: Vestiges of Midsummer Ritual in Motets for John the Baptist.” Early Music History 30 (2011): 153.CrossRefGoogle Scholar
Anglés, Higinio. “El ‘Llibre Vermell’ de Montserrat y los cantos y la danza sacra de los peregrinos durante el siglo XIV.” Anuario musical 10 (1955): 4578.Google Scholar
Applegate, Celia. “The Building of Community through Choral Singing.” In Nineteenth-Century Choral Music, edited by Di Grazia, Donna M., 320. Routledge, 2013.Google Scholar
Arlt, Wulf. Ein Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und musikalischen Bedeutung. 2 vols. Arno Volk Verlag, 1970.Google Scholar
Arlt, WulfDas Eine und die vielen Lieder: Zur historischen Stellung der neuen Liedkunst des fruhen 12. Jahrhunderts.In Festschrift Rudolf Bockholdt zum 60. Geburtstag, edited by Dubowy, Norbert and Meyer-Eller, Sören, 113127. Ludwig, 1990.Google Scholar
Arlt, WulfEinstimmige Lieder des 12. Jahrhunderts und Mehrstimmiges in französischen Handschriften des 16. Jahrhunderts aus Le Puy.” Schweizer Beiträge zur Musikwissenschaft 3 (1978): 747.Google Scholar
Arlt, WulfHymnus und ‘Neues Lied’: Aspekte des Strophischen.” In Der lateinische Hymnus im Mittelalter: Überlieferung – Ästhetik – Ausstrahlung, edited by Haug, Andreas, März, Christoph, and Welker, Lorenz, 133–136. Bärenreiter, 2004.Google Scholar
Arlt, WulfJehannot de Lescurel and the Function of Musical Language in the ‘Roman de Fauvel’ as presented in BN fr. 146.” In Fauvel Studies: Allegory, Chronicle, Music and Image in Paris, Bibliothèque Nationale de France, MS français 146, edited by Bent, Margaret, and Wathey, Andrew, 2534. Clarendon Press, 1998.Google Scholar
Arlt, WulfNova cantica: Grundsätzliches und Spezielles zur Interpretation musikalischer Texte des Mittelalters.” Basler Jahrbuch für historische Musikpraxis 10 (1986): 1362.Google Scholar
Arlt, WulfThe Office for the Feast of the Circumcision from Le Puy.” In The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography: Written in Honor of Professor Ruth Steiner, edited by Fassler, Margot E. and Baltzer, Rebecca A., translated by Kruckenberg, Lori, Landerkin, Kelly, and Fassler, Margot E., 324343. Oxford University Press, 2000.Google Scholar
Arlt, WulfSequence and ‘Neues Lied.’” In La Sequenza Medievale: Atti del convegno internazionale, Milano, 7–8 aprile 1984, edited by Ziino, Agostino, 318. Libreria musicale italiana, 1992.Google Scholar
Arlt, Wulf, Stauffacher, Mathias, and Hascher, Ulrike, eds. Engelberg Stiftsbibliothek Codex 314. Schweizerische Musikdenkmäler 11. Amadeus Verlag, 1986.Google Scholar
Asensio Palacios, Juan Carlos. “Neuma, espacio y liturgia: La ordenación sonora en Compostela según el Codex Calixtinus.” Medievalia 17 (2014): 131152.CrossRefGoogle Scholar
Asensio Palacios, Juan Carlos, ed. Symposium El Codex Calixtinus en la Europa del Siglo XII: Música, arte, codicología y liturgia. Instituto Nacional de las Artes Escénicas y de la Música, 2011.Google Scholar
Aubrey, Elizabeth. “The Eleventh Fascicle of the Manuscript Florence, Biblioteca Mediceo-Laurenziana, Pluteus 29.1: A Critical Edition and Commentary.” MM, University of Maryland, 1975.Google Scholar
Aubrey, ElizabethFrench Monophony.” In A Performer’s Guide to Medieval Music, edited by Duffin, Ross W., 134143. Indiana University Press, 2000.Google Scholar
Aubrey, ElizabethReconsidering ‘High Style’ and ‘Low Style’ in Medieval Song.” Journal of Music Theory 52 (2008): 75122.CrossRefGoogle Scholar
Aubry, Pierre. La Musique et les musiciens d’église en Normandie au XIIIe siècle, d’après le “Journal des visites pastorales” d’Odon Rigaud. Minkoff Reprint, 1972 [1906].Google Scholar
Aubry, Pierre, and Misset, Eugène. Les Proses d’Adam de Saint-Victor: texte et musique. précédées d’une étude critique. H. Welter, 1900.Google Scholar
Augustine, Bishop of Hippo. Sermons on the Liturgical Seasons. Translated by Sister Muldowney, Mary Sarah. The Fathers of the Church: A New Translation 38. The Catholic University of America Press, 1959.Google Scholar
Bailey, Terence. The Processions of Sarum and the Western Church. Pontifical Institute of Mediaeval Studies, 1971.Google Scholar
Bakhtin, Mikhail. The Dialogic Imagination: Four Essays. Edited by Holquist, Michael and translated by Caryl Emerson. University of Texas Press, 1981.Google Scholar
Baldwin, John W.The Image of the Jongleur in Northern France around 1200.” Speculum 72 (1997): 635663.Google Scholar
Baltzer, Rebecca A. “Performance Practice, the Notre-Dame Calendar, and the Earliest Latin Liturgical Motets.” Paper presented at conference, “Das musikgeschichtliche Ereignis ‘Notre-Dame,’” Herzog August Bibliothek, Wolfenbüttel, April 1985; online in Archivum de Musica Medii Aevi (Musicologie Médiévale – Centre de médiévistique Jean Schneider, CNRS / Université de Lorraine) (2013): www.musmed.fr/AdMMAe/Baltzer,%20Performance%20Practice.pdf.Google Scholar
Baltzer, Rebecca A.Thirteenth-Century Illuminated Miniatures and the Date of the Florence Manuscript.” Journal of the American Musicological Society 25 (1972): 118.CrossRefGoogle Scholar
Barnard, Jennifer A. “The Journey of the Soul: The Role of Music in the Ludus super Anticlaudianum of Adam de la Bassée.” PhD diss., University of Bristol, 2008.Google Scholar
Bartlett, Robert. Why Can the Dead Do Such Great Things? Saints and Worshippers from the Martyrs to the Reformation. Princeton University Press, 2013.Google Scholar
Bartsch, Karl. “Alt- und Mittelhochdeutsches aus Engelberg.” Germania 18 (1873): 4572.Google Scholar
Basochis, Guidonis de. Liber epistularum Guidonis de Basochis. Edited by Adolfsson, Herbert. Acta Universitatis Stockholmiensis: Studia Latina Stockholmiensia 18. Almqvist & Wiksell, 1969.Google Scholar
Baumgarten, Elisheva, and Galinsky, Judah D., eds. Jews and Christians in Thirteenth-Century France. Palgrave Macmillan, 2015.CrossRefGoogle Scholar
Béthune, Evrard of. Graecismus. Edited by Wrobel, Johannes. Olms, 1887.Google Scholar
Björkvall, Gunilla, and Haug, Andreas. “Sequence and Versus: On the History of Rhythmical Poetry in the Eleventh Century.” In Latin Culture in the Eleventh Century: Proceedings of the Third International Conference on Medieval Latin Studies, Cambridge, September 9–12, 1998, edited by Herren, Michael W., McDonough, C. J., and Arthur, Ross G., 5782. Publications of the Journal of Medieval Latin 5/1–2. Brepols, 2002.Google Scholar
Blackburn, Bonnie, and Holford-Strevens, Leofranc. The Oxford Companion to the Year. Oxford University Press, 1999.Google Scholar
Bonnin, Théodose, ed. Regestrum visitationum archiepiscopi Rothomagensis: Journal des visites pastorales d’Eude Rigaud, archevêque de Rouen, MCCXLVIII–MCCLXIX. A. Le Brument, 1852.Google Scholar
Boogaard, Nico H. J. van den. Rondeaux et refrains du XIIe siècle au début du XIVe. Éditions Klincksieck, 1969.Google Scholar
Boudeau, Océane. “La question des variantes dans les nova cantica de l’office de la Circoncision de Sens.” In Les Noces de philologie et musicologie: Textes et musiques du Moyen Âge, edited by Cazaux-Kowalski, Christelle, Chaillou-Amadieu, Christelle, Rillon-Marne, Anne-Zoé, and Zinelli, Fabio, 97124. Classiques Garnier, 2018.Google Scholar
Boulton, Maureen McCann, Barry, ed. The Old French Évangile de l’Enfance: An Edition. Pontifical Institute of Mediaeval Studies, Studies and Texts 70. Pontifical Institute of Mediaeval Studies, 1984.Google Scholar
Boulton, Maureen The Song in the Story: Lyric Insertions in French Narrative Fiction, 1200–1400. University of Pennsylvania Press, 1993.Google Scholar
Boynton, Susan. “Boy Singers in Monasteries and Cathedrals.” In Young Choristers, 650–1700, edited by Boynton, Susan and Rice, Eric, 3748. Boydell Press, 2008.Google Scholar
Boynton, SusanWork and Play in Sacred Music and Its Social Context, c. 1050–1250.” In The Use and Abuse of Time in Christian History: Papers Read at the 1999 Summer Meeting and the 2000 Winter Meeting of the Ecclesiastical History Society, edited by Swanson, R. N., 5779. Boydell Press, 2002.Google Scholar
Bradley, Catherine A.Contrafacta and Transcribed Motets: Vernacular Influences on Latin Motets and Clausulae in the Florence Manuscript.” Early Music History 32 (2013): 170.Google Scholar
Bradley, Catherine A.Ordering in the Motet Fascicles of the Florence Manuscript.” Plainsong and Medieval Music 22 (2013): 3764.CrossRefGoogle Scholar
Bradley, Catherine A. Polyphony in Medieval Paris: The Art of Composing with Plainchant. Cambridge University Press, 2018.Google Scholar
Branner, Robert. “The Johannes Grusch Atelier and the Continental Origins of the William of Devon Painter.” The Art Bulletin 54 (1972): 2430.CrossRefGoogle Scholar
Brewer, Charles E.In Search of Lost Melodies: The Latin Songs of Graz 756.” In Dies est leticie: Essays on Chant in Honour of Janka Szendrei, edited by Hiley, David and Kiss, Gábor, 93109. Institute of Mediaeval Music, 2008.Google Scholar
Brewer, Charles E.The Songs of Johannes Decanus.” Plainsong and Medieval Music 20 (2011): 3149.Google Scholar
Buettner, Brigitte. “Past Presents: New Year’s Gifts at the Valois Courts, ca. 1400.” The Art Bulletin 83 (2001): 598625.Google Scholar
Bugyis, Katie Ann-Marie, Kraebel, A. B., and Fassler, Margot E., eds. Medieval Cantors and Their Craft: Music, Liturgy and the Shaping of History, 800–1500. York Medieval Press and Boydell and Brewer, 2017.Google Scholar
Bukofzer, Manfred F.Interrelations Between Conductus and Clausula.” Annales musicologiques 1 (1953): 65103.Google Scholar
Burke, Peter. Languages and Communities in Early Modern Europe. Cambridge University Press, 2004.Google Scholar
Butterfield, Ardis. The Familiar Enemy: Chaucer, Language, and Nation in the Hundred Years War. Oxford University Press, 2009.CrossRefGoogle Scholar
Butterfield, ArdisPoems Without Form? Maiden in the mor lay Revisited.” In Readings in Medieval Textuality: Essays in Honour of A. C. Spearing, edited by Cervone, Cristina Maria and Vance Smith, D., 169194. D. S. Brewer, 2016.Google Scholar
Butterfield, Ardis Poetry and Music in Medieval France: From Jean Renart to Guillaume de Machaut. Cambridge University Press, 2002.Google Scholar
Butterfield, ArdisRepetition and Variation in the Thirteenth-Century Refrain.” Journal of the Royal Musical Association 116 (1991): 123.Google Scholar
Caldwell, Mary Channen. “Cueing Refrains in the Medieval Conductus.” Journal of the Royal Musical Association 143 (2018): 273324.Google Scholar
Caldwell, Mary ChannenLitanic Songs for the Virgin: Rhetoric, Repetition, and Marian Refrains in Medieval Latin Song.” In The Litany in Arts and Cultures, edited by Sadowski, Witold and Marsciani, Francesco. Studia Traditionis Theologiae 36, 143174. Brepols, 2020.Google Scholar
Caldwell, Mary ChannenA Medieval Patchwork Song: Poetry, Prayer and Music in a Thirteenth-Century Conductus.” Plainsong and Medieval Music 25 (2016): 139165.Google Scholar
Caldwell, Mary Channen “‘Pax Gallie’: The Songs of Tours 927.” In The Jeu d’Adam: MS Tours 927 and the Provenance of the Play, edited by Chaguinian, Christophe. Early Drama, Art, and Music Monograph Series, 87176. Medieval Institute Publications, 2017.Google Scholar
Caldwell, Mary Channen “Singing Cato: Poetic Grammar and Moral Citation in Medieval Latin Song.” Music & Letters 102 (2021): 191–233.CrossRefGoogle Scholar
Caldwell, Mary Channen “Singing, Dancing, and Rejoicing in the Round: Latin Sacred Songs with Refrains, circa 1000–1582.” PhD diss., University of Chicago, 2013.Google Scholar
Caldwell, Mary ChannenTexting Vocality: Musical and Material Poetics of the Voice in Medieval Latin Song.” In Ars Antiqua: Music and Culture in Europe, c. 1150–1330, edited by Bevilacqua, Gregorio and Payne, Thomas. Speculum Musicae 40, 3370. Brepols, 2020.Google Scholar
Caldwell, Mary Channen “Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853.” Journal of the American Musicological Society 74 (2021): 91–156.Google Scholar
Carlson, Rachel Golden. “Devotion to the Virgin Mary in Twelfth-Century Aquitanian Versus.” 2 vols. PhD diss., University of North Carolina at Chapel Hill, 2000.Google Scholar
Carlson, Rachel Golden. “Striking Ornaments: Complexities of Sense and Song in Aquitanian ‘Versus’.” Music & Letters 84 (2003): 527556.Google Scholar
Carlson, Rachel Golden. “Two Paths to Daniel’s Mountain: Poetic-Musical Unity in Aquitanian Versus.” The Journal of Musicology 23 (2006): 620646.CrossRefGoogle Scholar
Cazal, Yvonne. Les Voix du peuple-Verbum Dei: Le bilinguisme latin–langue vulgaire au moyen âge. Publications romanes et françaises 223. Droz, 1998.Google Scholar
Chaganti, Seeta. Strange Footing: Poetic Form and Dance in the Late Middle Ages. The University of Chicago Press, 2018.Google Scholar
Chaguinian, Christophe, ed. The Jeu d’Adam: MS Tours 927 and the Provenance of the Play. Early Drama, Art, and Music Monograph Series. Medieval Institute Publications, 2017.Google Scholar
Chambers, E. K. The Mediaeval Stage. 2 vols. Clarendon Press, 1903.Google Scholar
Fleury-Husson, Jules François (dit Champfleury). “Danses dans les églises et les couvents.” Le Bibliophile francais: Gazette illustrée des amateurs de livres, d’estampes et de haute curiosité 3 (1869): 265273.Google Scholar
Cheney, Christopher R.Rules for the Observance of Feast-Days in Medieval England.” Bulletin of the Institute of Historical Research 34 (1961): 117147.Google Scholar
Chevalier, Ulysse. Ordinaires de l’église cathédrale de Laon (XIIe et XIIIe siècles): Suivis de deux mystères liturgiques. A. Picard, 1897.Google Scholar
Chevalier, Ulysse. Prosolarium Ecclesiae Aniciensis: Office en vers de la Circoncision en usage dans l’église du Puy. A. Picard, 1894.Google Scholar
Ciglbauer, Jan. “Quoting, Rethinking and Copying: A Few Remarks on the Tradition of the Monophonic Cantio in Central Europe.” Hudebni Veda 51 (2014): 2132.Google Scholar
Colette, Marie-Noël. “Leta cohors fidelium. Annus novus in gaudio. Un air vagant en quête d’origine (XIe–XIIe siècle).” In La rigueur et la passion: Mélanges en l’honneur de Pascale Bourgain, edited by Giraud, Cédric and Poirel, Dominique, 199216. Brepols Publishers, 2016.Google Scholar
Colledge, Edmund. The Latin Poems of Richard Ledrede, O.F.M., Bishop of Ossory, 1317–1360. Pontifical Institute of Mediaeval Studies, 1974.Google Scholar
Colton, Lisa. Angel Song: Medieval English Music in History. Routledge, 2017.Google Scholar
Connolly, Daniel K. The Maps of Matthew Paris: Medieval Journeys through Space, Time and Liturgy. The Boydell Press, 2009.Google Scholar
Connor, Steven. “Choralities.” Twentieth-Century Music 13 (2016): 323.CrossRefGoogle Scholar
Copeland, Rita, and Sluiter, Ineke, eds. Medieval Grammar and Rhetoric: Language Arts and Literary Theory, AD 300–1475. Oxford University Press, 2009.Google Scholar
Corrigan, Vincent. “The Codex Calixtinus and the French Connection: The Office for St. James in Northern France.” In Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard, edited by Buckley, Ann and Cyrus, Cynthia J., 318. Medieval Institute Publications, 2011.Google Scholar
Cressy, David. Bonfires and Bells: National Memory and the Protestant Calendar in Elizabethan and Stuart England. Weidenfeld and Nicolson, 1989.Google Scholar
Crocker, Richard L. An Introduction to Gregorian Chant. Yale University Press, 2000.Google Scholar
Crocker, Richard L.Two Recent Editions of Aquitanian Polyphony.” Plainsong and Medieval Music 3 (1994): 57101.Google Scholar
Cunningham, Martin G., ed. Alfonso X, el Sábio: Cantigas de Loor. University College Dublin Press, 2000.Google Scholar
Curtis, Edmund. “The Spoken Languages of Medieval Ireland.” Studies: An Irish Quarterly Review 8 (1919): 234254.Google Scholar
Curtius, Ernst Robert. European Literature and the Latin Middle Ages. Translated by Willard R. Trask. Princeton University Press, 2013 [1953].CrossRefGoogle Scholar
Dahhaoui, Yann. “Enfant-évêque et fête des fous: Un loisir ritualisé pour jeunes clercs?” In Freizeit und Vergnügen vom 14. bis zum 20. Jahrhundert, edited by Schumacher, Beatrice, Gilomen, Hans-Jörg, and Tissot, Laurent, 3346. Chronos, 2005.Google Scholar
Dahhaoui, YannLe pape de Saint-Étienne: Fête des Saints-Innocents et imitation du cérémonial pontifical à Besançon.” In Mémoires de cours: Études offertes à Agostino Paravacini Bagliani, edited by Andenmatten, Bernard, Chène, Catherine, Ostorero, Martine, and Pibiri, Eva, 141158. Université de Lausanne, 2008.Google Scholar
Dahhaoui, YannVoyages d’un prélat festif: Un ‘évêque des Innocents’ dans son évêché.” Revue historique 639 (2006): 677693.Google Scholar
Damilano, Don Piero. “Fonti musicali della lauda polifonica intorno alla metà del sec. XV.” In Collectanea historiae musicae 3, 5990. Leo S. Olschki, 1963.Google Scholar
Damilano, Don Piero. “Laudi latine in un Antifonario bobbiese del Trecento.” In Collectanea historiae musicae 3, 1590. Leo S. Olschki, 1963.Google Scholar
Davidson, Clifford. Festivals and Plays in Late Medieval Britain. Ashgate, 2007.Google Scholar
Davidson, Clifford. “Violence and the Saint Play.” Studies in Philology 98 (2001): 292314.Google Scholar
Davis, Adam J. The Holy Bureaucrat: Eudes Rigaud and Religious Reform in Thirteenth-Century Normandy. Cornell University Press, 2006.Google Scholar
Davis, Natalie Zemon. The Gift in Sixteenth-Century France. University of Wisconsin Press, 2000.Google Scholar
Davis, Natalie Zemon. Society and Culture in Early Modern France: Eight Essays. Stanford University Press, 1975.CrossRefGoogle Scholar
Deeming, Helen. “An English Monastic Miscellany: The Reading Manuscript of Sumer is icumen in.” In Manuscripts and Medieval Song: Inscription, Performance, Context, edited by Deeming, Helen and Leach, Elizabeth Eva, 116140. Cambridge University Press, 2015.Google Scholar
Deeming, HelenIsolated Jottings? The Compilation, Preparation, and Use of Song Sources from Thirteenth-Century Britain.” Journal of the Alamire Foundation 6 (2014): 139152.CrossRefGoogle Scholar
Deeming, HelenLatin Song I: Songs and Songbooks from the Ninth to the Thirteenth Century.” In The Cambridge History of Medieval Music, edited by Everist, Mark and Kelly, Thomas Forrest, 1020–1047. Cambridge University Press, 2018.Google Scholar
Deeming, HelenMultilingual Networks in Twelfth- and Thirteenth-Century Song.” In Language in Medieval Britain: Networks and Exchanges: Proceedings of the 2013 Harlaxton Symposium, edited by Carruthers, Mary. Harlaxton Medieval Studies 25, 127143. Shaun Tyas, 2015.Google Scholar
Deeming, HelenMusic and Contemplation in the Twelfth-Century Dulcis Jesu memoria.” Journal of the Royal Musical Association 139 (2014): 139.Google Scholar
Deeming, HelenMusic, Memory and Mobility: Citation and Contrafactum in Thirteenth-Century Sequence Repertories.” In Citation, Intertextuality and Memory in the Middle Ages and Renaissance, edited by Bacco, Giuliano Di and Plumley, Yolanda, 6781. Liverpool University Press, 2013.Google Scholar
Deeming, Helen, ed. Songs in British Sources, c. 1150–1300, Musica Britannica 95. Stainer & Bell, 2013.Google Scholar
Deeming, Helen, and Leach, Elizabeth Eva, eds. Manuscripts and Medieval Song: Inscription, Performance, Context. Cambridge University Press, 2015.Google Scholar
Delale, Sarah, and Delle, Jean-Dominique Luche, . “Le Temps de la fête: Introduction.” Questes: Revue pluridisciplinaire d’études médiévales 31 (2015): 1132.Google Scholar
Denifle, Heinrich, and Chatelain, Aemilio, eds. Chartularium Universitatis Parisiensis. 4 vols. Paris, 1889–1897.Google Scholar
Diehl, Patrick S. The Medieval European Religious Lyric: An Ars Poetica. University of California Press, 1985.CrossRefGoogle Scholar
Dillon, Emma. “The Art of Interpolation in the ‘Roman de Fauvel.’” The Journal of Musicology 19 (2002): 223263.Google Scholar
Dillon, EmmaUnwriting Medieval Song.” New Literary History 46 (2015): 595622.Google Scholar
Doss-Quinby, Eglal. Les Refrains chez les trouvères du XIIe siècle au début du XIVe. American University Studies ser. II: Romance Languages and Literature. Peter Lang, 1984.Google Scholar
Doss-Quinby, Eglal, Rosenberg, Samuel N., and Aubrey, Elizabeth, eds. The Old French Ballette: Oxford, Bodleian Library, Ms Douce 308. Droz, 2006.Google Scholar
Dronke, Peter. “The Lyrical Compositions of Philip the Chancellor.” Studi medievali 28 (1987): 563592.Google Scholar
Dronke, Peter The Medieval Lyric. 3rd ed. D. S. Brewer, 1996 [1968].Google Scholar
Drummond, Henry T. “Accommodating Poetic, Linear Narratives with Cyclical, Repetition-Based Musical-Poetic Structures in the Cantigas de Santa Maria.” DPhil thesis, University of Oxford, 2017.Google Scholar
Drummond, Henry T.Linear Narratives in Cyclical Form: The Hunt for Reason in the Cantigas de Santa Maria.” Music Analysis 38 (2019): 80108.Google Scholar
Duffy, Eamon. The Stripping of the Altars: Traditional Religion in England, c. 1400–c. 1580. 2nd ed. Yale University Press, 2005 [1992].Google Scholar
Dunn, E. Catherine. “The Farced Epistle as Dramatic Form in the Twelfth-Century Renaissance.” Comparative Drama 29 (1995): 363381.Google Scholar
Dunn, E. Catherine The Gallican Saint’s Life and the Late Roman Dramatic Tradition. Catholic University of America Press, 1989.Google Scholar
Duys, Kathryn A.Performing Vernacular Song in Monastic Culture: The Lectio Divina in Gautier de Coinci’s Miracles de Nostre Dame.” In Cultural Performances in Medieval France: Essays in Honor of Nancy Freeman Regalado, edited by Doss-Quinby, Eglal, Krueger, Roberta L., and Burns, E. Jane, 123133. D. S. Brewer, 2007.Google Scholar
Echard, Siân. “Ledred, Richard.” In The Encyclopedia of Medieval Literature in Britain, edited by Echard, Siân and Rouse, Robert, 11581159. John Wiley & Sons, Inc, 2017.Google Scholar
Einbinder, Susan L. Beautiful Death: Jewish Poetry and Martyrdom in Medieval France. Princeton University Press, 2002.Google Scholar
Engelhardt, Christian Moritz. Herrad von Landsperg, Aebtissin zu Hohenburg, oder St. Odilien, im Elsass, in zwölften Jahrhundert und ihr Werk: Hortus deliciarum. J. G. Cotta, 1818.Google Scholar
Engels, Stefan. “Die liturgischen Handschriften aus St. Lambrecht (Steiermark).” In Cantus Planus: Study Group of the International Musicological Society: Papers Read at the 16th Meeting, Vienna, Austria, 2011, edited by Klugseder, Robert, 135142. Österreichische Akademie der Wissenschaften, Kommission für Musikforschung, 2012.Google Scholar
Everist, Mark. Discovering Medieval Song: Latin Poetry and Music in the Conductus. Cambridge University Press, 2018.Google Scholar
Everist, Mark French Motets in the Thirteenth Century: Music, Poetry and Genre. Cambridge University Press, 1994.Google Scholar
Everist, MarkLe conduit à nombre de voix variable (1150–1250).” In Les Noces de philologie et musicologie: Textes et musiques du Moyen Âge, edited by Cazaux-Kowalski, Christelle, Chaillou-Amadieu, Christelle, Rillon-Marne, Anne-Zoé, and Zinelli, Fabio, 329344. Classiques Garnier, 2018.Google Scholar
Everist, MarkThe Variable-Voice Conductus.” In Music and Instruments of the Middle Ages: Essays in Honour of Christopher Page, edited by Knighton, Tess and Skinner, David, 195219. Boydell & Brewer, 2020.CrossRefGoogle Scholar
Falck, Robert. The Notre Dame Conductus: A Study of the Repertory. Musicological studies/Wissenschaftliche Abhandlungen 33. Institute of Mediæval Music, 1981.Google Scholar
Falck, RobertParody and Contrafactum: A Terminological Clarification.” The Musical Quarterly 65 (1979): 121.Google Scholar
Falck, Robert “‘Rondellus’, Canon, and Related Types before 1300.” Journal of the American Musicological Society 25 (1972): 3857.Google Scholar
Fallows, David. “English Song Repertories of the Mid-Fifteenth Century.” Proceedings of the Royal Musical Association 103 (1976–1977): 6179.Google Scholar
Fallows, David Henry V and the Earliest English Carols: 1413–1440. Routledge, 2018.Google Scholar
Farmer, Sharon. Communities of Saint Martin: Legend and Ritual in Medieval Tours. Cornell University Press, 1991.Google Scholar
Fassler, Margot E.Accent, Meter, and Rhythm in Medieval Treatises ‘De Rithmis.’” The Journal of Musicology 5 (1987): 164190.Google Scholar
Fassler, Margot E.The Feast of Fools and Danielis Ludus: Popular Tradition in a Medieval Cathedral Play.” In Plainsong in the Age of Polyphony, edited by Kelly, Thomas Forrest, 6599. Cambridge University Press, 1992.Google Scholar
Fassler, Margot E. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris. 2nd ed. Cambridge University Press, 2011 [1993].Google Scholar
Fassler, Margot E.The Liturgical Framework of Time and the Representation of History.” In Representing History, 900–1300: Art, Music, History, edited by Maxwell, Robert A., 149171. Pennsylvania State University Press, 2010.Google Scholar
Filotas, Bernadette. Pagan Survivals, Superstitions and Popular Cultures in Early Medieval Pastoral Literature. Pontifical Institute of Mediaeval Studies, 2005.Google Scholar
Fischer, Kurt von. “Neue Quellen mehrstimmiger Musik des 15. Jahrhunderts aus Schweizerischen Klostern.” In Renaissance-Muziek 1400–1600: Donum Natalicium René Bernard Lenaerts, edited by Robijns, Jozef, 293301. Katholieke Universiteit, Seminarie voor Muziekwetenschap, 1969.Google Scholar
Fowler, Maria Vedder. “Musical Interpolations in Thirteenth- and Fourteenth-Century French Narratives.” 2 vols. PhD diss., Yale University, 1979.Google Scholar
Frantzen, Johann J. A. A.Ein spätes Zeugniß deutscher lateinischer Klerikerdichtung.” Neophilologus 6 (1921): 130136.Google Scholar
Frith, Simon. Performing Rites: On the Value of Popular Music. Harvard University Press, 1996.Google Scholar
Fuller, Sarah. “Aquitanian Polyphony of the Eleventh and Twelfth Centuries.” 3 vols. PhD diss., University of California, Berkeley, 1969.Google Scholar
Fuller, SarahHidden Polyphony, a Reappraisal.” Journal of the American Musicological Society 24 (1971): 169192.Google Scholar
Garlandia, Johannes de. Concerning Measured Music (De mensurabili musica). Translated by Birnbaum., Stanley H. Colorado College of Music Press Translations 9. Colorado College of Music Press, 1978.Google Scholar
Gazeau, Véronique, and Jacques Le Maho. “Les Origines du culte de saint Nicolas en Normandie.” In Alle origini dell’Europa: Il culto di San Nicola tra Oriente e Occidente, Italia–Francia. Atti del convegno Bari 2–4 dicembre 2010, edited by Cioffari, Gerardo and Laghezza, Angela. Nicolaus Studi Storici, 143160. Bari, 2011.Google Scholar
Genette, Gérard. Narrative Discourse: An Essay in Method. Translated by Lewin, Jane E.. Cornell University Press, 1980.Google Scholar
Gennrich, Friedrich. “Deutsche Rondeaux.” Beiträge zur Geschichte der deutschen Sprache und Literatur 72 (1950): 130141.Google Scholar
Gennrich, FriedrichLateinische Kontrafakta altfranzösischer Lieder.” Zeitschrift für romanische Philologie 50 (1930): 187207.Google Scholar
Gennrich, Friedrich Lateinische Liedkontrafaktur; eine Auswahl lateinischer Conductus mit ihren volkssprachigen Vorbildern. Musikwissenschaftliche Studienbibliothek. 2 vols. Darmstadt, 1956.Google Scholar
Gilhus, Ingvild Salid. “Carnival in Religion: The Feast of Fools in France.” Numen 37 (1990): 2452.Google Scholar
Gillingham, Bryan. A Critical Study of Secular Medieval Latin Song. Institute of Mediaeval Music, 1995.Google Scholar
Giraldus, Cambrensis. Giraldi Cambrensis Opera. Edited by Brewer, J. S., Dimock, James F., and Warner, George F.. 8 vols. Longman & Co, 1861–1891.Google Scholar
Golden, Rachel May. Mapping Medieval Identities in Occitanian Crusade Song. Oxford University Press, 2020.Google Scholar
Göllner, Marie Louise, ed. The Manuscript Cod. lat. 5539 of the Bavarian State Library, Musicological Studies and Documents 43. Hänssler-Verlag, American Institute of Musicology, 1993.Google Scholar
Gougaud, Louis. “La Danse dans les églises.” Revue d’histoire ecclésiastique 15 (1914): 5–22, 229–245.Google Scholar
Green, Rosalie, ed. Herrad of Hohenbourg: Hortus deliciarum. 2 vols. Warburg Institute and Brill, 1979.Google Scholar
Greene, Richard L., ed. The Early English Carols. 2nd ed. Clarendon Press, 1977.Google Scholar
Greene, Richard L. The Lyrics of the Red Book of Ossory. Blackwell for the Society for the Study of Mediaeval Languages and Literature, 1974.Google Scholar
Grier, James. “Some Codicological Observations on the Aquitanian Versaria.” Musica Disciplina 44 (1990): 556.Google Scholar
Griffiths, Fiona J. The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century. University of Pennsylvania Press, 2007.Google Scholar
Grocheio, Johannes de. Ars musice. Edited by Mews, Constant J., Crossley, John N., Jeffreys, Catherine, McKinnon, Leigh, and Williams, Carol J.. Medieval Institute Publications, 2011.Google Scholar
Gröninger, Eduard. Repertoire-Untersuchungen zum mehrstimmigen Notre Dame-Conductus. Kölner Beiträge zur Musikforschung 2. G. Bosse, 1939.Google Scholar
Gross, Guillaume. Chanter en polyphonie à Notre-Dame de Paris aux 12e et 13e siècles. Brepols, 2007.Google Scholar
Gross, GuillaumeOrganum at Notre Dame in the 12th and 13th Centuries: Rhetoric in Words and Music.” Plainsong and Medieval Music 15 (2006): 87108.Google Scholar
Gross, GuillaumeL’Organum aux xiie et xiiie siècles: Le discours musical comme stratégie de communication ou la légitimation implicite de l’autorité épiscopale.” Revue historique 659 (2011): 487510.Google Scholar
Grossel, Marie-Geneviève. “Trouveresses messines: La lyrique courtoise dans les textes des beguines (autour du ms. perdu Bibl. Metz 535).” In Uns clers ait dit que chanson en ferait: Mélanges de langue, d’histoire et de littérature offerts à Jean-Charles Herbin, edited by Grossel, Marie-Geneviève, Martin, Jean-Pierre, Nys, Ludovic, Ott, Muriel, and Suard, François, 331342. Presses universitaires de Valenciennes, 2019.Google Scholar
Guérard, Benjamin Charles, Edme, ed. Cartulaire de l’église Notre-Dame de Paris. 4 vols. Crapelet, 1850.Google Scholar
Gurevich, Aaron J.Medieval Chronotope.” Theoretische geschiedenis 22 (1995): 225240.Google Scholar
Haggh, Barbara, and Huglo, Michel. “Magnus liber: Maius munus. Origine et destinée du manuscrit F.” Revue de musicologie 90 (2004): 193230.Google Scholar
Hahn, Cynthia J. Portrayed on the Heart: Narrative Effect in Pictorial Lives of Saints from the Tenth through the Thirteenth Century. University of California Press, 2001.Google Scholar
Haines, John. “Le Chant vulgaire dans l’Église à la fête de saint Étienne.” In The Church and Vernacular Literature in Medieval France, edited by Kullmann, Dorothea, 161175. Pontifical Institute of Mediaeval Studies, 2009.Google Scholar
Haines, John Medieval Song in Romance Languages. Cambridge University Press, 2010.Google Scholar
Haines, John Satire in the Songs of Renart le nouvel. Droz, 2010.Google Scholar
Halsberghe, Gaston H. The Cult of Sol Invictus. Brill, 1972.Google Scholar
Handschin, Jacques. “Angelomontana polyphonica.” Schweizerisches Jahrbuch für Musikwissenschaft 3 (1928): 6495.Google Scholar
Handschin, JacquesDie Schweiz, welche sang (Ueber mittelalterliche Cantionen aus schweizerischen Handschriften).” In Festschrift für Karl Nef zum 60 geburtstag (22. August 1933) dargebracht von Schülern und Freunden, edited by Refardt, Hans Ehinger Edgar, Merian, Wilhelm, and Mohr, Ernst, 102133. Kommissions-Verlag Gebrüder Hug, 1933.Google Scholar
Hankeln, Roman. “Reflections of War and Violence in Early and High Medieval Saints’ Offices.” Plainsong and Medieval Music 23 (2014): 530.Google Scholar
Harris, Max. “Claiming Pagan Origins for Carnival: Bacchanalia, Saturnalia, and Kalends.” European Medieval Drama 10 (2006): 57107.Google Scholar
Harris, Max. “A Rough and Holy Liturgy: A Reassessment of the Feast of Fools.” In “Risus Sacer–Sacrum Risible”: Interaktionsfelder von Sakralität und Gelächter im kulturellen und historischen Wandel, edited by Gvozdeva, Katja and Röcke, Werner, 77100. Peter Lang, 2009.Google Scholar
Harris, Max. Sacred Folly: A New History of the Feast of Fools. Cornell University Press, 2011.Google Scholar
Harrison, Frank Ll. “Benedicamus, Conductus, Carol: A Newly-Discovered Source.” Acta Musicologica 37 (1965): 3548.Google Scholar
Harvey, Barbara. “Work and Festa Ferianda in Medieval England.” The Journal of Ecclesiastical History 23 (1972): 289308.Google Scholar
Hasenohr, Geneviève. “D’une ‘poésie de béguine’ à une ‘poétique des béguines’: Aperçus sur la forme et la reception des textes (France, XIIIe–XIVe s.).” Comptes rendus des séances de l’Académie des Inscriptions et Belles Lettres 150 (2006): 913943.Google Scholar
Haskins, Charles H.The Life of Medieval Students as Illustrated by Their Letters.” The American Historical Review 3 (1898): 203229.Google Scholar
Hassig, Deborah. Medieval Bestiaries: Text, Image, Ideology. Cambridge University Press, 1995.Google Scholar
Haug, Andreas. “Kennen wir die Melodie zu einem Lied des ersten Trobador? Ein Versuch in wissenschaftlichem Wunschdenken.” In Projektion – Reflexion – Ferne: Räumliche Vorstellungen und Denkfiguren im Mittelalter, edited by Glauch, Sonja, Köbele, Susanne, and Störmer-Caysa, Uta, 369390. De Gruyter, 2011.Google Scholar
Haug, AndreasMusikalische Lyrik im Mittelalter.” In Musikalische Lyrik, edited by Danuser, Hermann. Handbuch der musikalischen Gattungen, 59129. Laaber-Verlag, 2004.Google Scholar
Haug, AndreasRitual and Repetition: The Ambiguities of Refrains.” Translated by Llewellyn, Jeremy. In The Appearances of Medieval Rituals: The Play of Construction and Modification, edited by Petersen, Nils Holger, Bruun, Mette Birkedal, Llewellyn, Jeremy, and Østrem, Eyolf, 8396. Brepols, 2004.Google Scholar
Haug, AndreasTropes.” In The Cambridge History of Medieval Music, edited by Everist, Mark and Kelly, Thomas Forrest, 263299. Cambridge University Press, 2018.Google Scholar
Hauréau, Barthélémy. Notice sur le numéro 15131 des manuscrits latins de la bibliothèque nationale. Imprimerie nationale, 1889. Taken from the Notices et extraits des manuscrits de la Bibliothèque Nationale et autres bibliothèques, vol. XXXIII, 1st part.Google Scholar
Hiley, David. Western Plainchant: A Handbook. Clarendon Press, 1993.Google Scholar
Hiley, David, ed. Moosburger Graduale: München, Universitätsbibliothek, 20 Cod. ms. 156. H. Schneider, 1996.Google Scholar
Hollander, John. “Breaking into Song: Some Notes on Refrain.” In Lyric Poetry: Beyond New Criticism, edited by Hošek, Chaviva and Parker, Patricia, 7389. Cornell University Press, 1985.Google Scholar
Hughes, Andrew. “The ‘Ludus super Anticlaudianum’ of Adam de la Bassée.” Journal of the American Musicological Society 23 (1970): 125.Google Scholar
Hughes, Andrew Medieval Manuscripts for Mass and Office: A Guide to Their Organization and Terminology. University of Toronto Press, 1982.Google Scholar
Huglo, Michel. Les Manuscrits du Processional. Vol. 2. G. Henle Verlag, 2004.Google Scholar
Humphrey, Chris. The Politics of Carnival: Festive Misrule in Medieval England. Manchester University Press, 2001.Google Scholar
Hunt, Richard. “The Collections of a Monk of Bardney: A Dismembered Rawlinson Manuscript.” Mediaeval and Renaissance Studies 5 (1961): 2842.Google Scholar
Huot, Sylvia. From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry. Cornell University Press, 1987.Google Scholar
Hutton, Ronald. Stations of the Sun: A History of the Ritual Year in Britain. Oxford, 1996.Google Scholar
Hutton, Ronald The Rise and Fall of Merry England: The Ritual Year 1400–1700. Oxford University Press, 1996 [1994].Google Scholar
Ibos-Augé, Anne. Chanter et lire dans le récit médiéval: La fonction des insertions lyriques dans les oeuvres narratives et didactiques d’oïl aux XIIIe et XIVe siècles. 2 vols. Peter Lang, 2010.Google Scholar
Irtenkauf, Wolfgang. “Das Seckauer Cantionarium vom Jahre 1345 (Hs. Graz 756).” Archiv für Musikwissenschaft 13 (1956): 116141.Google Scholar
Iversen, Gunilla. Laus angelica: Poetry in the Medieval Mass. Translated by William Flynn. Medieval Church Studies 5. Brepols, 2010.Google Scholar
Iversen, GunillaLe Son de la lyre des vertus: Sur la musique dans la poésie liturgique médiévale.” In La Place de la musique dans la culture médiévale: Colloque organisé à la Fondation Singer-Polignac le mercredi 25 octobre 2006, edited by Clouzot, Martine, Zink, Michel, and Cullin, Olivier, 4769. Brepols, 2007.Google Scholar
Iversen, Gunilla “‘Verba canendi’ in Tropes and Sequences.” In Latin Culture in the Eleventh Century: Proceedings of the Third International Conference on Medieval Studies, Cambridge, September 9–12, 1998, edited by Herren, Michael W., McDonough, C. J., and Arthur, Ross G., 1:444473. Brepols, 2002.Google Scholar
Jacobsson, Ritva, and Treitler, Leo. “Tropes and the Concept of Genre.” In Pax et sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, edited by Jacobsson, Ritva, 5989. Almqvist & Wiksell International, 1986.Google Scholar
Jans, Markus. “‘Ad haec sollempnia’: Zur Aufführungspraxis eines zweistimmig überlieferten Refrains in einer Handschrift von Le Puy.” In Beredte Musik: Konversationen zum 80. Geburtstag von Wulf Arlt, edited by Kirnbauer, Martin, 195203. Schwabe Verlag, 2019.Google Scholar
Jeanroy, Alfred, ed. Les Chansons de Guillaume IX, duc d’Aquitaine (1071–1127). 2nd ed. H. Champion, 1927.Google Scholar
Johnson, Susan M.The Role of the Refrain in the Pastourelles à refrain.” In Literary and Historical Perspectives of the Middle Ages: Proceedings of the 1981 SEMA Meeting, edited by Cummins, Patricia Willett, Connell, Charles W., and Conner, Patrick W., 7892. West Virginia University Press, 1982.Google Scholar
Jones, Charles W.The Norman Cult of Sts Catherine and Nicholas, saec XI.” In Hommages à André Boutemy, edited by Cambier, Guy, 216230. Latomus, 1976.Google Scholar
Jones, Charles W. Saint Nicholas of Myra, Bari, and Manhattan: Biography of a Legend. The University of Chicago Press, 1978.Google Scholar
Jonsson, Ritva. “The Liturgical Function of the Tropes.” In Research on Tropes: Proceedings of a Symposium Organized by the Royal Academy of Literature, History and Antiquities and the Corpus Troporum, Stockholm, June 1–3, 1981, edited by Iversen, Gunilla, 99123. Almqvist & Wiksell International, 1983.Google Scholar
Jordan, William C.Exclusion and the Yearning to Belong: Evidence from the History of Thirteenth-Century France.” In Difference and Identity in Francia and Medieval France, edited by Cohen, Meredith and Firnhaber-Baker, Justine, 13–24. Ashgate, 2010.Google Scholar
Jordan, William C. The French Monarchy and the Jews: From Philip Augustus to the Last Capetians. University of Pennsylvania Press, 1989.Google Scholar
Keller, John Esten, and Cash, Annette Grant. Daily Life Depicted in the Cantigas de Santa Maria. University of Kentucky Press, 1998.Google Scholar
Kiening, Christian. “Mediating the Passion in Time and Space.” In Temporality and Mediality in Late Medieval and Early Modern Culture, edited by Kiening, Christian and Stercken, Martina, 115146. Brepols, 2018.Google Scholar
Kinney, Clare Regan. Strategies of Poetic Narrative: Chaucer, Spenser, Milton, Eliot. Cambridge University Press, 1992.Google Scholar
Klein, Dorothea, Burrichter, Brigitte, and Haug, Andreas, eds. Das mittelalterliche Tanzlied (1100–1300): Lieder zum Tanz – Tanz im Lied. Würzburger Beiträge zur deutschen Philologie 37. Königshausen & Neumann, 2012.Google Scholar
Knäble, Philip. Eine tanzende Kirche: Initiation, Ritual und Liturgie im spätmittelalterlichen Frankreich. Böhlau Verlag, 2016.Google Scholar
Knäble, PhilipL’Harmonie des sphères et la danse dans le contexte clérical au Moyen Âge.” Médiévales 66 (2014): 6580.Google Scholar
Knox, Philip. “Circularity and Linearity: The Idea of the Lyric and the Idea of the Book in the Cent Ballades of Jean le Seneschal.” New Medieval Literatures 16 (2016): 213249.Google Scholar
Kornrumpf, Gisela. “Rondeaux des Barfüßers vom Main? Spuren einer deutschen Liedmode des 14. Jahrhunderts in Kremsmünster, Engelberg und Mainz.” In “Ieglicher sang sein eigen ticht”: Germanistische und musikwissenschaftliche Beiträge zum deutschen Lied im Spätmittelalter, edited by März, Christoph, Welker, Lorenz, and Zotz, Nicola, 5773. Reichert Verlag, 2011.Google Scholar
Kruckenberg, Lori. “Neumatizing the Sequence: Special Performances of Sequences in the Central Middle Ages.” Journal of the American Musicological Society 59 (2006): 243317.Google Scholar
Kruckenberg, LoriThe Relationship between the Festal Office and the New Sequence: Evidence from Medieval Picardy.” Journal of the Alamire Foundation 5 (2013): 201233.Google Scholar
Kruckenberg, LoriTwo Sequentiae Novae at Nidaros: Celeste organum and Stola iocunditatis.” In The Sequences of Nidaros: A Nordic Repertory and Its European Context, edited by Kruckenberg, Lori and Haug, Andreas, 367411. Tapir Academic Press, 2006.Google Scholar
La Rue, Donna. “Tripudium: Its Use in Sources from 200 BCE to 1600 CE.” ARTS 7 (1995): 2529.Google Scholar
Lacaze, Charlotte. The “Vie de St. Denis” Manuscript: (Paris, Bibliothèque nationale, Ms. fr. 2090–2092). Garland Publishing, 1979.Google Scholar
Ladner, Pascal. “Ein spätmittelalterlicher Liber Ordinarius Officii aus der Diözese Lausanne.” Zeitschrift für schweizerische Kirchengeschichte = Revue d’histoire ecclésiastique suisse 64 (1970): 1103.Google Scholar
Lagueux, Robert Charles. “Glossing Christmas: Liturgy, Music, Exegesis, and Drama in High Medieval Laon.” PhD diss., Yale University, 2004.Google Scholar
Långfors, Arthur. Notices des manuscrits 535 de la bibliothèque de Metz et 10047 des Nouvelles acquisitions du fond français de la Bibliothèque nationale. Notices et extraits des manuscrits de la Bibliothèque nationale et autres bibliothèques 42. Académie des inscritions et belles-lettres, 1933.Google Scholar
Lanham, Richard A. A Handlist of Rhetorical Terms. 2nd ed. University of California Press, 1991.Google Scholar
Larkowski, Charles Stephen. “The ‘De musica mensurabili positio’ of Johannes de Garlandia: Translation and Commentary.” PhD diss., Michigan State University, 1977.Google Scholar
Latzke, Therese. “Zu dem Gedicht ‘De papa scolastico’ des Abaelardschülers Hilarius.” Mittellateinisches Jahrbuch 13 (1978): 8699.Google Scholar
Lawler, Traugott, ed. The Parisiana Poetria of John of Garland. Yale University Press, 1974.Google Scholar
Lawlor, Hugh Jackson. “Calendar of the Liber Ruber of the Diocese of Ossory.” Proceedings of the Royal Irish Academy. Section C: Archaeology, Celtic Studies, History, Linguistics, Literature 27 (1908): 159208.Google Scholar
Leach, Elizabeth Eva. “A Courtly Compilation: The Douce Chansonnier.” In Manuscripts and Medieval Song: Inscription, Performance, Context, edited by Deeming, Helen and Leach, Elizabeth Eva, 221246. Cambridge University Press, 2015.Google Scholar
Leach, Elizabeth Eva. “Learning French by Singing in 14th-Century England.” Early Music 33 (2005): 253270.Google Scholar
Leach, Elizabeth Eva. “Nature’s Forge and Mechanical Production: Writing, Reading and Performing Song.” In Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages, edited by Carruthers, Mary, 7295. Cambridge University Press, 2010.Google Scholar
Leach, Elizabeth Eva. Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. Cornell University Press, 2007.Google Scholar
Le Goff, Jacques. In Search of Sacred Time: Jacobus de Voragine and the Golden Legend. Translated by Cochrane, Lydia G.. Princeton University Press, 2014 [2011].Google Scholar
Leisibach, Joseph. Die liturgischen Handschriften des Kantons Freiburg (ohne Kantonsbibliothek). Universitätsverlag Freiburg Schweiz, 1977.Google Scholar
“Lettre écrite de Besançon sur un terme de la basse Latinité, et sur une Danse Ecclésiastique qui s’y faisoit le jour de Pâques.” Mercure de France (September 1742): 19301955.Google Scholar
Leverage, Paula. Reception and Memory: A Cognitive Approach to the Chansons de Geste. Editions Rodopi, 2010.Google Scholar
Levitsky, Anne Adele. “Song Personified: The Tornadas of Raimon de Miraval.” Mediaevalia 39 (2018): 1757.Google Scholar
Le Vot, Gérard. “La Tradition musicale des épîtres farcies de la Saint-Étienne en langues romanes.” Revue de musicologie 73 (1987): 6182.Google Scholar
Linskill, Joseph. Saint-Léger: Étude de la langue du manuscrit de Clermont-Ferrand. Suivie d’une édition critique du texte avec commentaire et Glossaire. Droz, 1937.Google Scholar
Lipphardt, Walther. “‘Magnum nomen Domini Emanuel’: Zur Frühgeschichte der Cantio ‘Resonet in laudibus.’” Jahrbuch für Liturgik und Hymnologie 17 (1972): 194204.Google Scholar
Lipphardt, WaltherZur Herkunft der Carmina Burana.” In Literatur und Bildende Kunst im Tiroler Mittelalter, edited by Egon, Kühebacher, 209223. Kowatsch, 1982.Google Scholar
Llewellyn, Jeremy. “Nova Cantica.” In The Cambridge History of Medieval Music, edited by Everist, Mark and Kelly, Thomas Forrest, 147175. Cambridge University Press, 2018.Google Scholar
Longère, Jean. La Prédication médiévale. Etudes augustiniennes, 1983.Google Scholar
Ludwig, Friedrich. Repertorium Organorum Recentioris et Motetorum Vetustissimi Stili. 2 vols. M. Niemeyer, 1910.Google Scholar
Mannaerts, Pieter. “Musiek en musiektheorie in handschriften uit Ten Duinen en Ter Doest.” Novi Monasterii 6 (2007): 320.Google Scholar
Margulis, Elizabeth Hellmuth. On Repeat: How Music Plays the Mind. Oxford University Press, 2014.Google Scholar
Marshall, John H.Pour l’étude des Contrafacta dans la poésie des troubadours.” Romania 101 (1980): 289335.Google Scholar
Marshall, Judith M. “A Late Eleventh-Century Manuscript from St. Martial de Limoges: Paris, Bibliothèque nationale, fonds Latin no. 1139.” PhD diss., Yale University, 1961.Google Scholar
Martène, Edmond. Tractatus de antiqua ecclesiae disciplina in divinis celebrandis officiis … aliisque probatis auctoribus permultis. Anisson & Joannis Posuel, 1706.Google Scholar
März, Christoph. “Pange lingua per omnia verbo et melodia: Zu den Anfängen poetischer Hymnennachbildung in deutscher Sprache.” In Der lateinische Hymnus im Mittelalter: Überlieferung – Ästhetik – Ausstrahlung, edited by Haug, Andreas, März, Christoph, and Welker, Lorenz, 279299. Bärenreiter, 2004.Google Scholar
Masani Ricci, Massimo. Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: Storia e catalogo comparato. Edizioni ETS, 2002.Google Scholar
Maurey, Yossi. Medieval Music, Legend, and the Cult of St. Martin: The Local Foundations of a Universal Saint. Cambridge University Press, 2014.Google Scholar
Mazzeo, Jacopo. “The Two-Part Conductus: Morphology, Dating and Authorship.” PhD diss., University of Southampton, 2015.Google Scholar
McGee, Timothy J. Medieval Instrumental Dances. Indiana University Press, 1989.Google Scholar
McGrade, Michael. “Enriching the Gregorian Heritage.” In The Cambridge Companion to Medieval Music, edited by Everist, Mark, 2645. Cambridge University Press, 2011.Google Scholar
McHale, Brian. “Beginning to Think about Narrative in Poetry.” Narrative 17 (2009): 1130.Google Scholar
McNeill, William H. Keeping Together in Time: Dance and Drill in Human History. Harvard University Press, 1995.Google Scholar
Messenger, Ruth Ellis. “Medieval Processional Hymns before 1100.” Transactions and Proceedings of the American Philological Association 80 (1949): 375392.Google Scholar
Messenger, Ruth EllisProcessional Hymnody in the Later Middle Ages.” Transactions and Proceedings of the American Philological Association 81 (1950): 185199.Google Scholar
Mettman, Walter, ed. Afonso X, o Sábio: Cantigas de Santa Maria, Vol. 3. Universidade, 1964.Google Scholar
Mews, Constant J.Liturgists and Dance in the Twelfth Century: The Witness of John Beleth and Sicard of Cremona.” Church History 78 (2009): 512548.Google Scholar
Meyer, Paul. “Chanson à Jésus-Christ en sixains latins et français.” Bulletin de la Société des anciens textes français 37 (1911): 5356.Google Scholar
Meyer, PaulChansons religieuses en latin et en français.” Bulletin de la Société des anciens textes français 37 (1911): 9299.Google Scholar
Meyer, PaulNotice du ms. 535 de la Bibliotheque Municipale de Metz.” Bulletin de la Société des anciens textes français 11 (1886): 4176.Google Scholar
Meyer, PaulTable d’un ancien recueil de chansons latines et françaises.” Bulletin de la Société des anciens textes français 24 (1898): 95102.Google Scholar
Miller, Tanya Stabler. The Beguines of Medieval Paris: Gender, Patronage, and Spiritual Authority. University of Pennsylvania Press, 2014.Google Scholar
Milway, Michael. “Boy Bishops in Early Modern Europe: Ritual, Myth, and Reality.” In The Dramatic Tradition of the Middle Ages, edited by Davidson, Clifford, 8797. AMS Press, Inc., 2005.Google Scholar
Mondschein, Ken, and Casey, Denis. “Time and Timekeeping.” In Handbook of Medieval Culture: Fundamental Aspects and Conditions of the European Middle Ages, edited by Classen, Albrecht, 16571679. De Gruyter, 2015.Google Scholar
Morabito, Raffaele. “The Italian Cantari between Orality and Writing.” In Medieval Oral Literature, edited by Reichl, Karl, 371386. De Gruyter, 2012.Google Scholar
Mousseau, Juliet, ed. Adam of Saint-Victor: Sequences. Peeters, 2013.Google Scholar
Muir, Edward. Ritual in Early Modern Europe. 2nd ed. Cambridge University Press, 2005.Google Scholar
Mullally, Robert. The Carole: A Study of a Medieval Dance. Ashgate, 2011.Google Scholar
Murphy, Diane. Medieval Mystery Plays as Popular Culture: Performing the Lives of Saints. The Edwin Mellen Press, 2006.Google Scholar
Murphy, James J.The Teaching of Latin as a Second Language in the 12th Century.” Historiographia Linguistica 7 (1980): 159175.Google Scholar
Murray, David. Poetry in Motion: Languages and Lyrics in the European Middle Ages. Brepols, 2019.Google Scholar
Nelson, Ingrid. Lyric Tactics: Poetry, Genre, and Practice in Later Medieval England. University of Pennsylvania Press, 2016.Google Scholar
Neville, Grace. “French Language and Literature in Medieval Ireland.” Etudes irlandaises 15 (1990): 2335.Google Scholar
Norberg, Dag. An Introduction to the Study of Medieval Latin Versification. Translated by Grant C. Roti and Jacqueline de La Chapelle Skubly. Catholic University of America Press, 2004.Google Scholar
Nörrenberg, Constantin. “Ein Aachener Dichter des 14. Jahrhunderts.” Zeitschrift des Aachener Geschichtsvereins 11 (1889): 5066.Google Scholar
Norton, Michael L. Liturgical Drama and the Reimagining of Medieval Theater. Medieval Institute Publications, 2017.Google Scholar
O’Sullivan, Daniel E.Contrafacture.” In Handbook of Medieval Studies: Terms – Methods – Trends, edited by Classen, Albrecht, 14781481. De Gruyter, 2010.Google Scholar
O’Sullivan, Daniel E. Marian Devotion in Thirteenth-Century French Lyric. University of Toronto Press, 2005.Google Scholar
O’Sullivan, Daniel E.On connaît la chanson: La contrafacture des mélodies des trouvères dans le Ludus super Anticlaudianum d’Adam de la Bassée.” Cahiers de recherches médiévales et humanistes 26 (2013): 109127.Google Scholar
O’Sullivan, Jeremiah F., ed. The Register of Eudes of Rouen. Columbia University Press, 1964.Google Scholar
Pächt, Otto. The Rise of Pictorial Narrative in Twelfth-Century England. Clarendon Press, 1962.Google Scholar
Paden, William D.Troubadours and Jews.” In Études de langue et de littérature médiévales offertes à Peter T. Ricketts à l’occasion de son 70ème anniversaire, edited by Buckley, Ann and Billy, Dominique, 471484. Brepols, 2005.Google Scholar
Page, Christopher. Latin Poetry and Conductus Rhythm in Medieval France. Royal Musical Association, 1997.Google Scholar
Page, Christopher The Owl and the Nightingale: Musical Life and Ideas in France, 1100–1300. University of California Press, 1989.Google Scholar
Page, ChristopherThe Performance of Ars Antiqua Motets.” Early Music 16 (1988): 147164.Google Scholar
Page, Christopher Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France, 1100–1300. J. M. Dent and Sons, Ltd., 1987.Google Scholar
Parkes, Malcolm B.The Influence of the Concepts of Ordinatio and Compilatio on the Development of the Book.” In Medieval Learning and Literature: Essays Presented to Richard William Hunt, edited by Alexander, J. J. G. and Gibson, M. T., 115141. Clarendon Press, 1976.Google Scholar
Payne, Thomas. “Aurelianus civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor.” Speculum 75 (2000): 589614.Google Scholar
Payne, ThomasChancellor versus Bishop: The Conflict between Philip the Chancellor and Guillaume d’Auvergne in Poetry and Music.” In Philippe le Chancelier: Prédicateur, théologien et poète parisien du début du XIIIe siècle, edited by Dahan, Gilbert and Anne-Zoé, Rillon-Marne. Bibliothèque d’histoire culturelle du Moyen Âge 19, 265306. Brepols, 2017.Google Scholar
Payne, ThomasDatable ‘Notre Dame’ Conductus: New Historical Observations on Style and Technique (for Ernest Sanders).” Current Musicology 64 (2001): 104151.Google Scholar
Payne, ThomasLatin Song II: The Music and Texts of the Conductus.” In The Cambridge History of Medieval Music, edited by Everist, Mark and Kelly, Thomas Forrest, 1048–1078. Cambridge University Press, 2018.Google Scholar
Payne, Thomas “Poetry, Politics, and Polyphony: Philip the Chancellor’s Contribution to the Music of the Notre Dame School.” PhD diss., University of Chicago, 1991.Google Scholar
Payne, Thomas, ed. Motets and Prosulas: Philip the Chancellor. Recent Researches in the Music of the Middle Ages and Early Renaissance 41. A-R Editions, 2011.Google Scholar
Peraino, Judith A.Et pui conmencha a canter: Refrains, Motets and Melody in the Thirteenth-Century Narrative Renart le nouvel.” Plainsong and Medieval Music 6 (1997): 116.Google Scholar
Peraino, Judith A. Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut. Oxford University Press, 2011.Google Scholar
Peraino, Judith A.Listening to the Sirens: Music as Queer Ethical Practice.” GLQ: A Journal of Lesbian and Gay Studies 9 (2003): 433470.Google Scholar
Peraino, Judith A. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. University of California Press, 2006.Google Scholar
Peraino, Judith A. “New Music, Notions of Genre, and the ‘Manuscrit du Roi’ circa 1300.” PhD diss., University of California, 1995.Google Scholar
Petzsch, Christoph. “Ostschwäbische Rondeaux vor 1400.” Beiträge zur Geschichte der deutschen Sprache und Literatur 98 (1976): 384394.Google Scholar
Phythian-Adams, Charles. “Ceremony and the Citizen: The Communal Year at Coventry 1450–1550.” In Crisis and Order in English Towns, 1500–1700, edited by Clark, Peter and Slack, Paul, 5785. Routledge and K. Paul, 1972.Google Scholar
Plumley, Yolanda. The Art of Grafted Song: Citation and Allusion in the Age of Machaut. Oxford University Press, 2013.Google Scholar
Plumley, YolandaFrench Lyrics and Songs for the New Year, ca. 1380–1420.” In The Cambridge History of Fifteenth-Century Music, edited by Busse Berger, Anna Maria and Rodin, Jesse, 374400. Cambridge University Press, 2015.Google Scholar
Poteat, Hubert McNeill. “The Functions of Repetition in Latin Poetry.” The Classical Weekly 12 (1919): 139142.Google Scholar
Poteat, Hubert McNeillThe Functions of Repetition in Latin Poetry (Concluded).” The Classical Weekly 12 (1919): 145150.Google Scholar
Prévot, Brigitte. “Festum baculi : Fête du bâton ou fête des fous à Châlons, au Moyen Age.” In Poésie et rhétorique du non-sens: Littérature médievale, littérature orale, edited by Grossel, Marie-Geneviève and Mougin, Sylvie, 207237. Éditions et Presses universitaires de Reims, 2004.Google Scholar
Purcell-Joiner, Lauren Elizabeth. “Veil and Tonsure: Stuttgart 95, Devotional Music, and the Discursive Construction of Gender in Thirteenth-Century Double Houses.” PhD diss., University of Oregon, 2017.Google Scholar
Quasten, Johannes. Music and Worship in Pagan and Christian Antiquity. Translated by Ramsey, Boniface. National Association of Pastoral Musicians, 1983 [1973].Google Scholar
Quinlan, Meghan. “Repetition as Rebirth: A Sung Epitaph for Gautier de Coinci.” Music & Letters 101 (2020): 623656.Google Scholar
Ragnard, Isabelle. “Les Chansons d’étrennes aux XIVe et XVe siècles.” In Poètes et musiciens dans l’espace bourguignon: Les artistes et leurs mécènes. Rencontres de Dordrecht (23 au 26 septembre 2004), edited by Cauchies, Jean-Marie, 105127. Publication du Centre européen d’Études bourguignonnes (XIVe–XVIe s.), 2005.Google Scholar
Reckow, Fritz. “Conductus.” In Handwörterbuch der musikalischen Terminologie, edited by Eggebrecht, Hans Heinrich and Reckow, Fritz, 111. Franz Steiner Verlag, 1973.Google Scholar
Reckow, Fritz Der Musiktraktat des Anonymus 4. Beihefte zum Archiv für Musikwissenschaft 4–5. 2 vols. Franz Steiner Verlag, 1967.Google Scholar
Reckow, FritzRondellus/rondeau, rota.” In Handwörterbuch der musikalischen Terminologie, edited by Eggebrecht, Hans Heinrich and Reckow, Fritz, 17. Franz Steiner Verlag, 1972.Google Scholar
Regalado, Nancy Freeman. “The Songs of Jehannot de Lescurel in Paris, BnF, MS fr. 146: Love Lyrics, Moral Wisdom and the Material Book.” In Poetry, Knowledge and Community in Late Medieval France, edited by Dixon, Rebecca and Sinclair, Finn E., 151172. D. S. Brewer, 2008.Google Scholar
Reimer, Erich, ed. Johannes de Garlandia: De mensurabili musica. Kritische Edition mit Kommentar und Interpretation der Notationslehre. 2 vols. Beihefte zum Archiv für Musikwissenschaft 1011. Franz Steiner Verlag, 1972.Google Scholar
Rigg, A. G.The Red Book of Ossory.” Medium Aevum 46 (1977): 269278.Google Scholar
Rillon-Marne, Anne-Zoé. “Exultemus sobrie: Gestualité et rythmique des rondeaux latins du manuscrit de Florence (Pluteus 29.1).” Le Jardin de musique 9 (2018): 2548.Google Scholar
Rillon-Marne, Anne-Zoé Homo considera: La pastorale lyrique de Philippe le Chancelier. Une étude des conduits monodiques. Brepols, 2012.Google Scholar
Rimmer, Joan. “Carole, Rondeau and Branle in Ireland 1300–1800: Part 1. The Walling of New Ross and Dance Texts in the Red Book of Ossory.” Dance Research: The Journal of the Society for Dance Research 7 (1989): 2046.Google Scholar
Robertson, Anne Walters. “The Savior, the Woman, and the Head of the Dragon in the Caput Masses and Motet.” Journal of the American Musicological Society 59 (2006): 537630.Google Scholar
Robson, Charles Alan. Maurice of Sully and the Medieval Vernacular Homily. With the Text of Maurice’s French Homilies from a Sens Cathedral Chapter MS. Basil Blackwell, 1952.Google Scholar
Rodgers, Edith Cooperrider. Discussion of Holidays in the Later Middle Ages. Columbia University Press, 1940.Google Scholar
Roesner, Edward H., ed. Antiphonarium, seu, Magnus liber de gradali et antiphonario: Color Microfiche Edition of the Manuscript Firenze, Biblioteca Medicea Laurenziana Pluteus 29.1: Introduction to the “Notre-Dame Manuscript” F. Codices illuminati medii aevi 45. H. Lengenfelder, 1996.Google Scholar
Rokseth, Yvonne. “Danses cléricales du XIIIe siecle.” In Mélanges 1945 des Publications de la Faculté des Lettres de Strasbourg, edited by Université de Strasbourg Faculté des Lettres, 93126. Les Belles Lettres, 1947.Google Scholar
Roolfs, Friedel Helga. “Das Wienhäuser Liederbuch: Eine kodikologische Annäherung.” In Passion und Ostern in den Lüneburger Klöstern: Bericht des VIII. Ebstorfer Kolloquiums, Kloster Ebstorf, 25. bis 29. März 2009, edited by Koldau, Linda Maria, 245263. Kloster Ebstorf, 2010.Google Scholar
Ross, Leslie. Text, Image, Message: Saints in Medieval Manuscript Illustrations. Greenwood Press, 1994.Google Scholar
Rothenberg, David J. The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music. Oxford University Press, 2011.Google Scholar
Rothenberg, David J.The Marian Symbolism of Spring, ca. 1200–ca. 1500: Two Case Studies.” Journal of the American Musicological Society 59 (2006): 319398.Google Scholar
Saint-Cricq, Gaël. “Formes types dans le motet du XIIIe siècle: Étude d’un processus répétitif.” 2 vols. PhD diss., University of Southampton, 2009.Google Scholar
Saint-Cricq, Gaël, Doss-Quinby, Eglal, and Rosenberg, Samuel N., eds. Motets from the Chansonnier de Noailles. Recent Researches in the Music of the Middle Ages and Early Renaissance 42. A-R Editions, 2017.Google Scholar
Saltzstein, Jennifer. The Refrain and the Rise of the Vernacular in Medieval French Music and Poetry. D. S. Brewer, 2013.Google Scholar
Saltzstein, JenniferSongs of Nature in Medieval Northern France: Landscape, Identity, and Environment.” Journal of the American Musicological Society 72 (2019): 115180.Google Scholar
Sanders, Ernest H.Rithmus.” In Essays on Medieval Music: In Honor of David G. Hughes, edited by Boone, Graeme M., 415440. Harvard University Press, 1995.Google Scholar
Schlager, Karlheinz. “Cantiones.” In Geschichte der katholischen Kirchenmusik. Unter Mitarbeit zahlreicher Forscher des In- und Auslandes, edited by Fellerer, Karl Gustav, 286293. Bärenreiter-Verlag, 1972.Google Scholar
Schmidt, Victor M.Painting and Individual Devotion in Late Medieval Italy: The Case of Saint Catherine of Alexandria.” In Visions of Holiness: Art and Devotion in Renaissance Italy, edited by Ladis, Andrew and Zuraw, Shelley E., 2136. Georgia Museum of Art, University of Georgia, 2001.Google Scholar
Schmidt-Beste, Thomas. “Psallite noe! Christmas Carols, the Devotio Moderna, and the Renaissance Motet.” In Das Erzbistum Köln in der Musikgeschichte des 15. und 16. Jahrhunderts, edited by Pietschmann, Klaus, 213231. Merseburger, 2008.Google Scholar
Schum, Wilhelm. Beschreibendes Verzeichnis der Amplonianischen Handschriften-Sammlung zu Erfurt. Weidmannsche Buchhandlung, 1887.Google Scholar
Seebass, Tilman. “Prospettive dell’iconografia musicale: Considerazioni di un medievalista.” Rivista italiana di musicologia 18 (1983): 6786.Google Scholar
Seville, Isidore of. Isidore of Seville: De ecclesiasticis officiis. Translated by Thomas L. Knoebel. Ancient Christian Writers 61. Newman Press, 2008.Google Scholar
Shahar, Shulamith. “The Boy Bishop’s Feast: A Case-Study in Church Attitudes towards Children in the High and Late Middle Ages.” In The Church and Childhood: Papers Read at the 1993 Summer Meeting and the 1994 Winter Meeting of the Ecclesiastical History Society, edited by Wood, Diana, 243260. Blackwell Publishers, 1994.Google Scholar
Sievers, Heinrich, ed. Das Wienhäuser Liederbuch. 2 vols. Möseler Verlag, 1954.Google Scholar
Silen, Karen. “Dance in Late Thirteenth-Century Paris.” In Dance, Spectacle, and the Body Politick, 1250–1750, edited by Nevile, Jennifer, 6779. Indiana University Press, 2008.Google Scholar
Smith, Nathaniel B. Figures of Repetition in the Old Provençal Lyric: A Study in the Style of the Troubadours. University of North Carolina Studies in the Romance Languages and Literatures 176. Department of Romance Languages, University of North Carolina, 1976.Google Scholar
Smyth, Karen Elaine. Imaginings of Time in Lydgate and Hoccleve’s Verse. Ashgate, 2011.Google Scholar
Spanke, Hans. “Das lateinische Rondeau.” Zeitschrift für französische Sprache und Literatur 53 (1930): 113148.Google Scholar
Spanke, HansDas Mosburger Graduale.” Zeitschrift für romanische Philologie 50 (1930): 582595.Google Scholar
Spanke, HansStudien zur Geschichte des altfranzösischen Liedes. II. Gautier de Coinci.” Archiv für das Studium der Neueren Sprachen und Literaturen 156 (1929): 215232.Google Scholar
Spanke, HansTanzmusik in der Kirche des Mittelalters.” In Studien zur lateinischen und romanischen Lyrik des Mittelalters, edited by Mölk, Ulrich, 105131. G. Olms, 1983.Google Scholar
Spanke, HansZur Formenkunst des ältesten Troubadours.” Studi Medievali New Series 7 (1934): 7284.Google Scholar
Stein, Franz A.Das Moosburger Graduale (1354–60) als Quelle geistlicher Volkslieder.” Jahrbuch für Liturgik und Hymnologie 2 (1956): 9399.Google Scholar
Stemmler, Theo. The Latin Hymns of Richard Ledrede. English Department (Medieval Section) of the University of Mannheim, 1975.Google Scholar
Stemmler, TheoThe Vernacular Snatches in the Red Book of Ossory: A Textual Case-History.” Anglia 95 (1977): 122129.Google Scholar
Stevens, John E. Words and Music in the Middle Ages: Song, Narrative, Dance, and Drama, 1050–1350. Cambridge University Press, 1986.Google Scholar
Stevens, John E., ed. The Later Cambridge Songs: An English Song Collection of the Twelfth Century. Oxford University Press, 2004.Google Scholar
Strohm, Reinhard. “Late-Medieval Sacred Songs: Tradition, Memory and History.” In Identity and Locality in Early Modern Music, 1028–1740, edited by Stoessel, Jason, 129148. Ashgate, 2009.Google Scholar
Strohm, ReinhardSacred Song in the Fifteenth Century: Cantio, Carol, Lauda, Kirchenlied.” In The Cambridge History of Fifteenth-Century Music, edited by Busse Berger, Anna Maria and Rodin, Jesse, 755770. Cambridge University Press, 2015.Google Scholar
Switten, Margaret. “Borrowing, Citation, and Authorship in Gautier de Coinci’s Miracles de Nostre Dame.” In The Medieval Author in Medieval French Literature, edited by Greene, Virginie, 2959. Palgrave Macmillan, 2006.Google Scholar
Switten, MargaretVersus and Troubadours around 1100: A Comparative Study of Refrain Technique in the ‘New Song.’” Plainsong and Medieval Music 16 (2007): 91143.Google Scholar
Symes, Carol. A Common Stage: Theater and Public Life in Medieval Arras. Cornell University Press, 2007.Google Scholar
Szövérffy, Joseph. “The Legends of St. Peter in Medieval Latin Hymns.” Traditio 10 (1954): 275322.Google Scholar
Tanner, Norman P., ed. Decrees of the Ecumenical Councils. 2 vols. Georgetown University Press, 1990.Google Scholar
Thomas, Antoine. “Refrains français de la fin du XIIIe siècle tirés des poésies latines d’un maitre d’école de St-Denis.” In Mélanges de linguistique et de littérature offerts à m. Alfred Jeanroy par ses élèves et ses amis, 497508. Droz, 1928.Google Scholar
Tischler, Hans. Conductus and Contrafacta. Musicological Studies 75. The Institute of Mediaeval Music, 2001.Google Scholar
Traill, David A.More Poems by Philip the Chancellor.” The Journal of Medieval Latin 16 (2006): 164181.Google Scholar
Traill, David A., ed. Carmina Burana. 2 vols. Dumbarton Oaks Medieval Library 48–49. Harvard University Press, 2018.Google Scholar
Treitler, Leo. “Homer and Gregory: The Transmission of Epic Poetry and Plainchant.” The Musical Quarterly 60 (1974): 333372.Google Scholar
Treitler, Leo. “The Polyphony of St. Martial.” Journal of the American Musicological Society 17 (1964): 2942.Google Scholar
Vinsauf, Geoffrey of. Poetria nova: Revised Edition. Translated by Margaret F. Nims and Martin Camargo. Medieval Sources in Translation 49. Pontifical Institute of Medieval Studies, 2010.Google Scholar
Vitz, Evelyn Birge. “The Apocryphal and the Biblical, the Oral and the Written, in Medieval Legends of Christ’s Childhood: The Old French Evangile de L’Enfance.” In Satura: Studies in Medieval Literature in Honour of Robert R. Raymo, edited by Reale, Nancy M. and Sternglantz, Ruth Esther, 124149. Shaun Tyas, 2001.Google Scholar
Vitz, Evelyn Birge, Regalado, Nancy Freeman, and Lawrence, Marilyn, eds. Performing Medieval Narrative. D. S. Brewer, 2005.Google Scholar
Voogt, Ronald Edwin. “Repetition and Structure in the Three- and Four-Part Conductus of the Notre Dame School.” PhD diss., The Ohio State University, 1982.Google Scholar
Voragine, Jacobus de. The Golden Legend: Readings on the Saints. Translated by Ryan, William Granger. Princeton University Press, 2012 [1993].Google Scholar
Ware, R. Dean. “Medieval Chronology: Theory and Practice.” In Medieval Studies: An Introduction, edited by Powell, James M., 252277. Syracuse University Press, 1992.Google Scholar
Weller, Philip. “Vox – littera – cantus: Aspects of Voice and Vocality in Medieval Song.” In Music in Medieval Europe: Studies in Honour of Bryan Gillingham, edited by Bailey, Terence and Santosuosso, Alma, 239262. Ashgate, 2007.Google Scholar
Wenzel, Siegfried. “A New Occurrence of an English Poem from the Red Book of Ossory.” Notes and Queries 228 (1983): 105108.Google Scholar
Wilkins, Nigel, ed. The Works of Jehan de Lescurel: Edited from the MS. Paris, B. N., f. fr. 146. Corpus mensurabilis musicae 30. American Institute of Musicology, 1966.Google Scholar
Williams, Kalian. “The Magnus Liber Organi: An Annotated Bibliography.” Music Reference Services Quarterly 11 (2008): 3765.Google Scholar
Woods, Marjorie Curry. “The Teaching of Poetic Composition in the Later Middle Ages.” In A Short History of Writing Instruction: From Ancient Greece to Modern America, edited by Murphy, James J., 123143. Erlbaum, 2001.Google Scholar
Woodward, Rebekah E. “‘Blinded by the Desire of Riches’: Corruption, Anger and Resolution in the Two‐Part Notre Dame Conductus Repertory.” Music Analysis 38 (2019): 109154.Google Scholar
Wright, Arthur R., and Lones, Thomas E.. British Calendar Customs: England. 3 vols. Glaisher, Ltd., 1936–1940.Google Scholar
Wright, Craig. The Maze and the Warrior: Symbols in Architecture, Theology, and Music. Harvard University Press, 2001.Google Scholar
Wright, Craig Music and Ceremony at Notre Dame of Paris, 500–1550. Cambridge University Press, 1989.Google Scholar
Wulstan, David. “Contrafaction and Centonization in the Cantigas de Santa Maria.” Cantigueiros: Bulletin of the Cantigueiros de Santa Maria 10 (1998): 85109.Google Scholar
Wulstan, David The Emperor’s Old Clothes: The Rhythm of Mediaeval Song. Institute of Mediaeval Music, 2001.Google Scholar
Wyss, Arthur, ed. Die Limburger Chronik des Tilemann Elhen von Wolfhagen, Monumenta Germaniae Historica 4, part 1. 1980 [1883].Google Scholar
Yudkin, Jeremy, ed. The Music Treatise of Anonymous IV: A New Translation. Musicological Studies and Documents 41. American Institute of Musicology and Hänssler-Verlag, 1985.Google Scholar
Zaerr, Linda Marie. Performance and the Middle English Romance. D. S. Brewer, 2012.Google Scholar
Zumthor, Paul. “On the Circularity of Song (with Reference to the Twelfth- and Thirteenth-Century Trouvères).” Translated by R. Carter. In French Literary Theory Today: A Reader, edited by Todorov, Tzvetan, 179191. Cambridge University Press and Editions de la Maison des sciences de l’homme, 1982.Google Scholar
Zumthor, PaulUn problème d’esthétique médiévale: l’utilisation poétique du bilinguisme.” Le Moyen Âge 15 (1960): 301336 and 561594.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
  • Mary Channen Caldwell, University of Pennsylvania
  • Book: Devotional Refrains in Medieval Latin Song
  • Online publication: 24 March 2022
  • Chapter DOI: https://doi.org/10.1017/9781009043298.009
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
  • Mary Channen Caldwell, University of Pennsylvania
  • Book: Devotional Refrains in Medieval Latin Song
  • Online publication: 24 March 2022
  • Chapter DOI: https://doi.org/10.1017/9781009043298.009
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
  • Mary Channen Caldwell, University of Pennsylvania
  • Book: Devotional Refrains in Medieval Latin Song
  • Online publication: 24 March 2022
  • Chapter DOI: https://doi.org/10.1017/9781009043298.009
Available formats
×