The entries on the following pages list, in alphabetical order, the chants Hermann cites in the course of his treatise. The genres are those given by Hermann, as are the modes and maneriae. Possible identifications with extant literature are given along with, to the extent possible, their liturgical assignments and identifying numbers from CAO and the CANTUS database. Twenty chants match Hermann's description in incipit, genre, and mode; these may be considered positively identified and are marked *. Positive identification, however, does not mean that there are no difficulties. Prophetae praedicaverunt, for example, matches Hermann's description in terms of both mode and range in several sources, but the melodies found in WA and Utr, while similar, display significant variants. It seems unlikely that we can be certain that we know any of these melodies exactly as Hermann knew them. Two chants cannot be identified with any certainty at all; they are marked †. Identification of the remaining chants is insecure to some degree. Uncertainties of identification and of mode are often due to the short incipits given by Hermann and notation in unheighted neumes and/or without clefs in the sources. In one instance the sources disagree: the Rochester Codex lists Respice domine as an example of a third-mode responsory, but the Vienna Codex reads Respice in me (and the Kassel fragment mentions neither). For the former, CAO lists three distinct chants with this incipit, in modes 1, 7/8 (G), and 7; for the latter, one chant is listed, in mode 7. Another difficulty occurs when there are multiple chants with the incipit given by Hermann, as with Tota pulchra. Finally, there is the problem of mode: even when chants of a given incipit can be found, none may be in the mode Hermann specifies. For example, Hermann cites Hodie nobis as a responsory of the sixth mode; of the two responsories with this incipit, Hodie nobis caelorum rex is in mode 5, and Hodie nobis de caelo pax is in mode 8. It is possible that Hermann assigned to the sixth mode a chant that others assigned to the fifth; mistaking the eighth mode for the sixth seems less likely. But matching the mode does not always make for a positive identification: there are at least three mode 4 antiphons beginning “Tota pulchra.”