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Dom Jacques-Marie Guilmard. Tonaire des piéces de la messe selon le Graduale triplex et l' Offertoriale triplex. Etudes Grégoriennes, Subsidia Gregoriana, 2. Sablé-sur-Sarthe: Editions de l'Abbaye Saint-Pierre de Solesmes, 1990.
Published online by Cambridge University Press: 12 September 2008
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References
1 Published in facsimile as Paléographie musicale 8 (Tournai, 1905; repr. Berne, 1972) and completely transcribed in Hansen, F. E., H159 Montpellier (Copenhagen, 1974).Google Scholar
2 For this last see Merkley, P., ‘Tonaries and Melodic Families of Antiphons’, Journal of the Plainsong and Medieval Music Society, 11 (1988), 13–24.CrossRefGoogle Scholar
3 Many of these cases are discussed in Gustav Jacobsthal's famous Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche (Berlin, 1897; repr. Hildesheim, 1970) and in Urbanus Bomm, Der Wechsel der Modalitätsbestimmung in der Tradition der Messgesänge im IX. bis XIII. Jahrhundert (Einsiedeln, 1929; repr. New York, 1975).
4 Huglo, M., Le tonaires: inventaire, analyse, comparaison, Publications de la société française de musicologie, ser. 3, tome 2 (Paris, 1971)Google Scholar; Lipphardt, W., Der karolingische Tonar von Metz, Liturgiewissenschaftliche Quellen und Forschungen, Heft 43 (Munster, 1965).Google Scholar
5 This is not as easy a task with Gregorian chant as it is with the Old Roman repertory; see, for example, Nowacki, E., ‘Text Declamation as a Determinant of Melodic Form in the Old Roman Eighth-Mode Tracts’, Early Music History, 6 (1986), 193–225.CrossRefGoogle Scholar
6 Indizes der Handschriften zu Graduale Triplex und Offertoriale Triplex, Beiträge zur Gregorianik, Sonderheft(Regensburg, 1981).