Fundamental work in recent decades on a variety of related topics can still leave one uncertain what individual documents mean by ‘organum’, particularly those prepared by clerks unversed in musical vocabulary. This essay looks at several types of document to ask whether they mean an organ, a siren, a wind instrument, a tool, a book, a gospel, or even Mass and Office. Paradoxically, the more ‘versatile’ the word, the likelier that organs were familiar.

Machaut's first twenty motets appear, identically ordered, in a group of manuscripts copied under the composer's supervision. This order highlights connections between individual motets. Proportional relationships between six motets, and an allusion to the mid-point of Le Roman de la rose in the tenth motet, suggest that Machaut intended the motet group to be self-contained and sub-divided into two groups of ten.

The present essay explores the cantus firmus use, structure, style and origins of a three-voice Kyrie and Gloria in Trent Codex 89, both of which use the Tenor of Conrad Paumann's lied Wiplich figur as their cantus firmus. Both movements may have been part of a Mass cycle which now lacks its subsequent movements. Comparisons are drawn between these movements and the similar Missa Wünschlichen schön in order to suggest that the two works may be the work of the same anonymous composer. Further comparisons are also made with works in the Strahov manuscript, Trent 89 and Trent 88, suggesting that at least some of the latter might also be the work of the same man.

Liturgical chant bibliography 10 maintains the format established in the most recent editions of the bibliography: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous years' bibliographies (mainly reviews) will be found immediately following this introduction.