Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-pjpqr Total loading time: 0 Render date: 2024-06-16T07:27:16.040Z Has data issue: false hasContentIssue false

25 - Liturgy and Plainchant, 1150–1570

from Volume II

Published online by Cambridge University Press:  04 August 2018

Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
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: 2018

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

Abrahamsen, Erik, Dal, Erik, and Glahn, Henrik, eds. Niels Jesperssøns Graduale 1573, Copenhagen: Dan Fog Musikforlag, 1986.Google Scholar
Altenburg, Detlef. “Die Musik in der Fronleichnamsprozession des 14. und 15. Jahrhunderts,” Musica Disciplina 38 (1984), 524.Google Scholar
Ameln, Konrad, Mahrenholz, Christhard, Thomas, Wilhelm, and Gerhardt, Carl, eds. Handbuch der deutschen evangelischen Kirchenmusik. i. Band, Der Altargesang. i. Teil, Die einstimmigen Weisen. Göttingen: Vandenhoek & Ruprecht, 1941.Google Scholar
Angerer, Joachim. Die liturgisch-musikalische Erneuerung der Melker Reform: Studien zur Erforschung der Musikpraxis in den Benediktinerklöstern des 15. Jahrhunderts, Vienna: Österreichische Akademie der Wissenschaften, 1974.Google Scholar
Asketorp, Bodil. “Beobachtungen zu einigen späteren Introitustropen,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 19, ed. Dobszay, László et al., 371–92.Google Scholar
Attinger, Gisela. A Comparative Study of Chant Melodies from Fragments of the Lost Nidaros Antiphoner. Oslo: Unipub forlag; Akademika, 1999.Google Scholar
Attinger, Gisela and Haug, Andreas, eds. The Nidaros Office of the Holy Blood: Liturgical Music in Medieval Norway. Trondheim: Tapir Academic Press, 2004.Google Scholar
Baltzer, Rebecca A. “The Little Office of the Virgin and Mary’s Role at Paris,” in The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography, ed. Fassler, M. and Baltzer, R. A., 463–84.CrossRefGoogle Scholar
Baratz, Lewis Reece. “St. Gudula’s Children: The Boninfanten and Choraelen of the Collegiate Church of Brussels during the Ancien Régime,” in Musicology and Archival Research, ed. Haggh, B., Daelemans, F., and Vanrie, A., 214305.Google Scholar
Baroffio, Giacomo. “I tropi nei codici Italiani. Orientamenti bibliografici e inventario sommario dei manoscritti,” Rivista liturgica 91 (2004), 555–96.Google Scholar
Baroffio, Giacomo and Kim, Eun Ju. “‘Symbolum.’ Le melodie del ‘Credo’ nelle fonti italiane,” Rivista internazionale di musica sacra 20 (1999), 323–46.Google Scholar
Baroffio, Giacomo and Sodi, Manlio, eds. Graduale de Tempore / de Sanctis iuxta ritum sacrosanctae Romanae ecclesiae, Editio Princeps (1614 / 1614–1615). Facsimile, 2 vols. Città del Vaticano: Libreria Editio Vaticana, 2001.Google Scholar
Bezuidenhout, Morné. “The Old and New Historical Views of Gregorian Chant: Papal and Franciscan Plainchant in Thirteenth-Century Rome,” Revista de musicologia 16 (1993), 883900.Google Scholar
Björkvall, Gunilla. “The Continuity of a Genre: Offertory Prosulas in Cambrai B. M. 172 (167) from the Twelfth Century,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 19, ed. Dobszay, László et al., 359–70.Google Scholar
Boyce, James J. “From Rule to Rubric: The Impact of Carmelite Liturgical Legislation upon the Order’s Office Tradition,” Ephemerides liturgicae 108 (1994), 262–98.Google Scholar
Boyce, James J. “Rhymed Office Responsory Verses: Style Characteristics and Musical Significance,” in International Musicological Society Study Group Cantus Planus: Papers Read at the Seventh Meeting, Sopron, Hungary, 1995, ed. Dobszay, L., 99121.Google Scholar
Boyle, Leonard E., Gy, Pierre-Marie, and Krupa, Pawełs, eds. Aux origines de la liturgie Dominicaine: Le manuscrit Santa Sabina XIV L1. Paris; Rome: École française de Rome, 2004.Google Scholar
Brewer, Charles E. “The Antiphon Cycle from the Canticum Canticorum in Vyšší Brod, 1 VB 42,” in International Musicological Society Study Group Cantus Planus: Papers Read at the 9th Meeting, Esztergom and Visgrád 1998, ed. Dobszay, L., 97118.Google Scholar
Brewer, Charles E. “The Mensural Significance of Bohemian Chant Notation and Its Origins,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 1990, ed. Dobszay, L. et al., 5568.Google Scholar
Brewer, Charles E.Regina caeli letare / Alle- Domine: From Medieval Trope to Renaissance Tune,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Third Meeting, Tihany, Hungary, 19–24 September 1988, ed. Dobszay, L. et al., 431–48.Google Scholar
Brodde, Otto. “Evangelische Choralkunde (Der gregorianische Choral im evangelischen Gottesdienst),” in Leiturgia: Handbuch des Evangelischen Gottesdienstes, ed. Müller, Karl Ferdinand and Blankenburg, Walter. Vol. iv: Die Musik des Evangelischen Gottesdienstes, Kassel: Stauda, 1961, 343555.Google Scholar
Brunius, Jan, ed. Medieval Book Fragments in Sweden: An International Seminar in Stockholm 13–16 November 2003. Stockholm: Almqvist & Wiksell, 2005.Google Scholar
Caldwell, John. “Crossing the Tridentine Divide: Continuity and Change in Liturgical Chant, 1300–1900,” in Studies in Medieval Chant and Liturgy in Honour of David Hiley, ed. Bailey, Terence and Dobszay, László. Ottawa: Institute of Mediaeval Music, 2007, 105–32.Google Scholar
Caldwell, John. The Oxford History of English Music, vol. i: From the Beginnings to c. 1715. Oxford: Clarendon Press, 1991.Google Scholar
Caldwell, John. “Plainsong and Polyphony, 1250–1550,” in Plainsong in the Age of Polyphony, ed. Kelly, Thomas Forrest, 631.Google Scholar
Cattin, Giulio, Curti, Danilo, and Gozzi, Marco, eds. Il Canto piano nell’era della stampa: Atti del Convegno Internazionale di Studi sul Canto Liturgico nei Secoli XV–XVIII, Trento – Castello del Buonconsiglio, Venezia – Fondazione Ugo e Olga Levi, 9–11 ottobre 1998. Trento: Servizio Beni Librari e Archivistici, 1999.Google Scholar
Colette, Marie-Noël. “Le Salve Regina en Aquitaine au XIIème siècle: L’auteur du Salve,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 1990, ed. Dobszay, L. et al., 521–47.Google Scholar
Dobszay, László. “From ‘Crudelitas’ to ‘Credulitas’: Comments on Saint Stephen’s Historia Rhythmica,” in Political Plainchant? Music, Text and Historical Context of Medieval Saints’ Offices, ed. Hankeln, Roman, 93106.Google Scholar
Dobszay, László. “The Histories of the Pre-Lenten Period,” in Papers Read at the 12th Meeting of the IMS Study Group Cantus Planus, Lillafüred, Hungary, 2004. Aug. 23–28, ed. Dobszay, L., 565–81.Google Scholar
Dobszay, László, ed. “Offizium,” in MGG2, Sachteil, vol. vii: 593609.Google Scholar
Dobszay, László, ed. “The System of the Hungarian Plainsong Sources,” Studia Musicologica Academiae Scientiarum Hungaricae 27 (1985), 3765.Google Scholar
Dobszay, László, ed. International Musicological Society Study Group Cantus Planus: Papers Read at the Sixth Meeting, Eger, Hungary, 1993, 2 vols. Budapest: Hungarian Academy of Sciences, Institute for Musicology, 1995.Google Scholar
Dobszay, László, ed. ed. International Musicological Society Study Group Cantus Planus. Papers Read at the Seventh Meeting, Sopron, Hungary, 1995. Budapest: Hungarian Academy of Sciences. Institute for Musicology, 1998.Google Scholar
Dobszay, László, ed. Papers Read at the 12th Meeting of the IMS Study Group Cantus Planus, Lillafüred, Hungary, 2004. Aug. 23–28, Budapest: Hungarian Academy of Sciences. Institute for Musicology, 2006.Google Scholar
Dobszay, László, ed. The Past in the Present. Papers Read at the IMS Intercongressional Symposium and the 10th Meeting of the Cantus Planus, Budapest and Visegrád, 2000, vol. ii. Budapest: Ferenc Liszt Academy of Music, 2003.Google Scholar
Dobszay, László and Szendrei, Janka, eds. Antiphonen, Monumenta Monodica Medii Aevi 5. Kassel: Bärenreiter, 1999.Google Scholar
Dobszay, László et al., eds. International Musicological Society Study Group Cantus Planus. Papers Read at the Third Meeting, Tihany, Hungary, 19–24 September 1988, Budapest: Hungarian Academy of Sciences. Institute for Musicology, 1990.Google Scholar
Dobszay, László et al., eds. International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 1990, Budapest: Hungarian Academy of Sciences. Institute for Musicology, 1992.Google Scholar
Dörr, Friedrich, Schlager, Karlheinz, and Wohnhaas, Theodor. “Das Ulrichsoffizium des Udalschalk von Maisach. Autor – Musikalische Gestalt – Nachdichtung,” in Bischof Ulrich von Augsburg 890–973. Seine Zeit – sein Leben – seine Verehrung. Festschrift aus Anlaß des tausendjährigen Jubiläums seiner Kanonisation im Jahre 993, ed. Weitlauff, Manfred, Jahrbuch des Vereins für Augsburger Bistumsgeschichte 2627 (1992–93). Weißenhorn, 1993, 751–82.Google Scholar
Dyer, Joseph. “Chant Theory and Philosophy in the Late Thirteenth Century,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 1990, ed. Dobszay, L. et al., 99117.Google Scholar
Dyer, Joseph. “Singing with Proper Refinement from De modo bene cantandi (1474) by Conrad von Zabern,” Early Music 6 (1978), 207–27.Google Scholar
Fassler, Margot. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris. Cambridge University Press, 1993.Google Scholar
Fassler, Margot. “Music and the Miraculous: Mary in the Mid-Thirteenth-Century Dominican Sequence Repertory,” in Aux origines de la liturgie Dominicaine: Le manuscrit Santa Sabina XIV L1, ed. Boyle, L., Gy, P-M., and Krupa, P., 229–78.Google Scholar
Fassler, Margot 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. Oxford University Press, 2000.Google Scholar
Felder, Hilarin. Die liturgischen Reimofficien auf die Heiligen Franciscus und Antonius gedichtet und componiert von Fr. Julian von Speier (d. ca. 1250). Freiburg: Universitäts-Buchhandlung Veith, 1901.Google Scholar
Fellerer, Karl Gustav, ed. Geschichte der katholischen Kirchenmusik, vol. i: Von den Anfängen bis zum Tridentinum. Kassel: Bärenreiter, 1972.Google Scholar
Ferenczi, Ilona. “Das Psalterium Strigoniense (1515) als eine Quelle der ungarischsprachigen Graduale,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 1990, ed. Dobszay, L. et al., 579–85.Google Scholar
Flotzinger, Rudolf. “Zur Melodiebildung der Notre-Dame Organa,” in The Past in the Present. Papers Read at the IMS Intercongressional Symposium and the 10th meeting of the Cantus Planus, Budapest and Visegrád, 2000, ed. Dobszay, L., vol. ii: 515–27.Google Scholar
Gancarczyk, Paweł. “Cantus Planus multiplex in Polen: Von einer mündlichen Tradition zur Notenschrift,” in The Past in the Present. Papers Read at the IMS Intercongressional Symposium and the 10th Meeting of the Cantus Planus, Budapest and Visegrád, 2000, ed. Dobszay, L., vol. ii: 483–95.Google Scholar
Goncharova, Victoria. “Latin Chant Manuscripts in Library Collections in the Baltic Countries and the Ukraine,” in International Musicological Society Study Group Cantus Planus: Papers Read at the 6th Meeting, Eger, Hungary, 1993, ed. Dobszay, L., 321–66.Google Scholar
Gozzi, Marco. “Il canto fratto nei libri liturgici de Quattrocento e del primo Cinquecento: L’area trentina,” Rivista Italiana di Musicologia 38 (2003), 340.Google Scholar
Grassin, Séverine. “Cistercian Polyphonic Repertoire of the 14th Century: Past, Present, Future,” in The Past in the Present. Papers Read at the IMS Intercongressional Symposium and the 10th Meeting of the Cantus Planus, Budapest and Visegrád, 2000, ed. Dobszay, L., vol. ii: 497513.Google Scholar
Haggh, Barbara. “The Aostan Sources for the ‘Recollectio Festorum Beatae Mariae Virginis’ by Guillaume Du Fay,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Third Meeting, Tihany, Hungary, 19–24 September 1988, ed. Dobszay, L. et al., 355–75.Google Scholar
Haggh, Barbara. “Guillaume Du Fay and the Evolution of the Liturgy at Cambrai Cathedral in the Fifteenth Century,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary 3–8 September, 1990, ed. Dobszay, L. et al., 549–69.Google Scholar
Haggh, Barbara. “Guillaume Du Fay, Teacher and Theorist, and His Chant for Cambrai Cathedral,” in Papers Read at the 12th Meeting of the IMS Study Group Cantus Planus, Lillafüred, Hungary, 2004. Aug. 23–28, ed. Dobszay, L., 817–44.Google Scholar
Haggh, Barbara. “Reconstructing the Plainchant Repertory of Brussels and Its Chronology,” in Musicology and Archival Research, ed. Haggh, B., Daelemans, F., and Vanrie, A., 177212.Google Scholar
Haggh, Barbara, Daelemans, Frank, and Vanrie, André, eds. Musicology and Archival Research. Brussels: Archives et Bibliothèques de Belgique, 1994.Google Scholar
Hammer, Hubert-Gabriel. Die Allelujagesänge in der Choralüberlieferung der Abtei Altenberg: Beitrag zur Geschichte des Zisterzienserchorals. Köln: Volk, 1968.Google Scholar
Hankeln, Roman. “Eystein’s Liturgy and Its European Music,” in Archbishop Eystein as Legislator: The European Connection, ed. Iversen, Tore. Trondheim: Tapir Academic Press, 2011, 133–57.Google Scholar
Hankeln, Roman. “Old and New in Medieval Chant: Finding Methods of Investigating an Unknown Region,” in A due: Musical Essays in Honour of John D. Bergsagel and Heinrich W. Schwab, ed. Kongsted, Ole et al. Copenhagen: Museum Tusculanum Press, 2008, 161–80.Google Scholar
Hankeln, Roman. “St. Olav’s Augustine-Responsories: Contrafactum Technique and Political Message,” in Political Plainchant? Music, Text and Historical Context of Medieval Saints’ Offices, ed. Hankeln, R., 171–99.Google Scholar
Hankeln, Roman. “Eine Tegernseer(?) Handschrift des 15. Jahrhunderts im europäischen Kontext. Zu Zusammensetzung und Stil des Repertoires von D-Mbs cgm 716,” Miscellanea Musicologica 37 (2003), 111–31.Google Scholar
Hankeln, Roman. “Zur musikstilistischen Einordnung mittelalterlicher Heiligenoffizien,” in “Lingua mea calamus scribae. Mélanges offerts à madame Marie-Noël Colette,” ed. Daniel Saulnier, Katarina Livljanic, and Christelle Cazaux-Kowalski, Études grégoriennes 26 (2009), 147–57.Google Scholar
Hankeln, Roman. ed. Political Plainchant? Music, Text and Historical Context of Medieval Saints’ Offices. Ottawa: Institute of Mediaeval Music, 2009.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: Clarendon Press, 1991.Google Scholar
Haug, Andreas. “Sankt Gallen,” in MGG2, Sachteil, vol. viii: cols. 948–69.Google Scholar
Hiley, David. “Der Gregorianische Gesang bei den Kartäusern und im Kloster Prüll,” in 1000 Jahre Kultur in Karthaus-Prüll. Geschichte und Forschung vor den Toren Regensburgs. Festschrift zum Jubiläum des ehemaligen Klosters. Regensburg: Pustet, 1997, 236–43.Google Scholar
Hiley, David. “The Music of Prose Offices in Honour of English Saints,” Plainsong and Medieval Music 10 (2001), 2337.Google Scholar
Hiley, David. “The Office of the Transfiguration by Peter the Venerable, Abbot of Cluny (1122–1156) in the Manuscript Paris, Bibliothèque nationale de France, fonds latin 17716,” in Procession, Performance, Liturgy, and Ritual: Essays in Honor of Bryan R. Gillingham, ed. Van Deusen, Nancy. Ottawa: Institute of Mediaeval Music, 2007, 224–40.Google Scholar
Hiley, David. “Style and Structure in Early Offices of the Sanctorale,” in Western Plainchant in the First Millennium: Studies in the Medieval Liturgy and Its Music: Written in Honor of James W. McKinnon, ed. Gallagher, Sean et al. Aldershot: Ashgate, 2003, 157–79.Google Scholar
Hiley, David. Western Plainchant: A Handbook. Oxford: Clarendon Press, 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. Dichtung und Musik, ed. Berschin, Walter and Hiley, David. Tutzing: Schneider, 1999, 129–42.Google Scholar
Hiley, David. “Zur englischen Hymnenüberlieferung,” in Der lateinische Hymnus im Mittelalter. Überlieferung – Ästhetik – Ausstrahlung, ed. Haug, Andreas, März, Christoph, and Welker, Lorenz. Kassel: Bärenreiter, 2004, 199214.Google Scholar
Hiley, David. ed. Moosburger Graduale: München, Universitätsbibliothek, 20 Cod. ms. 156, Faksimile, Tutzing: Schneider, 1996.Google Scholar
Hiley, David and Huglo, Michel. “Choralreform,” in MGG2, Sachteil, vol. ii: cols. 848–63.Google Scholar
historiae, , ed. Czagány, Z., Haggh, B., and Hankeln, R., for the Study Group “Cantus Planus” of the International Musicological Society, Musicological Studies 65/1–27, Ottawa: Institute of Mediaeval Music.Google Scholar
Hospenthal, Christina. “Musik und Text in deutschsprachigen Tropen,” Revista de musicologia, 16 (1993), 856–71.Google Scholar
Hughes, Andrew. Late Medieval Liturgical Offices: Resources for Electronic Research, Vol. i Texts, Vol. ii Sources and Chants, Toronto: Pontifical Institute of Mediaeval Studies, 1994–96.Google Scholar
Hughes, Andrew. “Late Medieval Plainchant for the Divine Office,” in Music as Concept and Practice in the Late Middle Ages, ed. Strohm, Reinhard and Blackburn, Bonnie J.. Oxford University Press, 2001, 3196.CrossRefGoogle Scholar
Hughes, Andrew. The Versified Office: Sources, Poetry, and Chants, 2 vols., Musicological Studies 97/1. Lions Bay, BC: The Institute of Mediaeval Music, 2011–12.Google Scholar
Huglo, Michel. “Exercitia vocum,” in Szendrei, Janka and Hiley, David (eds.) 1995. Laborare fratres in unum. Festschrift László Dobszay zum 60. Geburtstag, Hildesheim: Weidmann, 1995, 117–23.Google Scholar
Huglo, Michel. “Liturgische Gesangbücher,” in MGG2, Sachteil, vol. v: cols. 1412–37.Google Scholar
Huglo, Michel. “Notated Performance Practices in Parisian Chant Manuscripts of the Thirteenth Century,” in Plainsong in the Age of Polyphony, ed. Kelly, Thomas Forrest, 3244.Google Scholar
Jung, Jacqueline E.Seeing through Screens: The Gothic Choir Enclosure as Frame,” in Gerstel, Sharon E., ed., Thresholds of the Sacred: Architectural, Art Historical, Liturgical, and Theological Perspectives on Religious Screens, East and West. Washington, DC: Dumbarton Oaks Research Library, 2006, 184213.Google Scholar
Jungmann, Josef Andreas. Missarum sollemnia. Eine genetische Erklärung der römischen Messe, 2 vols., 2nd ed. Freiburg: Herder, 1949.Google Scholar
Karp, Theodore. An Introduction to the Post-Tridentine Mass Proper, 2 vols. Middleton, WI: American Institute of Musicology, 2005.Google Scholar
Karp, Theodore. “Some Notkerian Sequences in Germanic Print Culture of the Fifteenth and Sixteenth Centuries,” in Western Plainchant in the First Millenium: Studies in the Medieval Liturgy and Its Music, ed. Gallagher, Sean, Haar, James, Nádas, John, and Striplin, Timothy. Aldershot: Ashgate, 2003, 399428.Google Scholar
Kelly, Thomas Forrest, ed. Plainsong in the Age of Polyphony. Cambridge University Press. 1992.Google Scholar
Kiss, Gábor. “The ‘liedhafte’ E-Melodik,” Studia Musicologica Academiae Scientiarum Hungaricae 40 (1999), 315–24.Google Scholar
Kiss, Gábor. Ordinariums-Gesänge in Mitteleuropa. Repertoire-Übersicht und Melodienkatalog, Monumenta Monodica Medii Aevi, Subsidia 6. Kassel: Bärenreiter, 2010.Google Scholar
Klauser, Theodor. A Short History of the Western Liturgy: An Account and Some Reflections, 2nd ed. Oxford University Press, 1979.Google Scholar
Klugseder, Robert. Quellen des Gregorianischen Chorals für das Offizium aus dem Kloster St. Ulrich und Afra Augsburg. Tutzing: Schneider, 2008.Google Scholar
Kruckenberg, Lori and Haug, Andreas, eds. The Sequences of Nidaros: A Nordic Repertory and Its European Context. Trondheim: Tapir Academic Press, 2006.Google Scholar
Leaver, Robin A. 2008. “Lutheran Church Music,” Grove Music Online.Google Scholar
Lossius, Lucas. Psalmodia, hoc est Cantica Sacra Veteris Ecclesiae Selecta … Noribergae, 1553. Digitized at: www.digitale-sammlungen.de/~db/0002/bsb00029543/images/.Google Scholar
Mathiesen, Thomas J.The Office of the New Feast of Corpus Christi in the Regimen Animarum at Brigham Young University,” Journal of Musicology 2 (1983), 1344.Google Scholar
McGrade, Michael. “Affirmations of Royalty: Liturgical Music in the Collegiate Church of Saint Mary in Aachen, 1050–1350.” Ph.D. dissertation, University of Chicago, Ann Arbor, 1998.Google Scholar
Miazga, Tadeusz. Die Melodien des einstimmigen Credo der römisch-katholischen lateinischen Kirche: eine Untersuchung der Melodien in den handschriftlichen Überlieferungen mit besonderer Berücksichtigung der polnischen Handschriften. Graz: Akademische Druck- und Verlags-Anstalt, 1976.Google Scholar
Moberg, Carl-Allan. Die liturgischen Hymnen in Schweden. Stockholm: Almqvist & Wiksell International, 1947.Google Scholar
Molitor, Raphael. Deutsche Choralwiegendrucke. Ein Beitrag zur Geschichte des Chorals und des Notendruckes in Deutschland. Regensburg: Pustet, 1904.Google Scholar
Mundal, Marièl Eikeset. “Niels Jesperssøns Graduale 1573: Plassering i europeisk kyrkjemusikalsk tradisjon og nyskaping.” Master’s dissertation, Trondheim University, 2011.Google Scholar
Niemöller, Klaus Wolfgang. Untersuchungen zu Musikpflege und Musikunterricht an den deutschen Lateinschulen vom ausgehenden Mittelalter bis um 1600, Regensburg: Bosse, 1969.Google Scholar
Praßl, Franz. “Choralhandschriften österreichischer Augustinerchorherren im 12. Jahrhundert,” in Gregorianik. Studien zu Notation und Aufführungspraxis, ed. Hochradner, Thomas and Praßl, Franz Karl, Musicologica Austriaca 14/15. Vienna: Musikwissenschaftlicher Verlag, 1996, 932.Google Scholar
Praßl, Franz. “Zur liturgischen Herkunft des Antiphonars A-VOR 287,” in Dies est leticie: Essays on Chant in Honour of Janka Szendrei, ed. Hiley, David and Kiss, Gábor. Ottawa: Institute of Mediaeval Music, 2008, 429–61.Google Scholar
Robertson, Anne W. The Service-Books of the Royal Abbey of Saint-Denis: Images of Ritual and Music in the Middle Ages. Oxford: Clarendon Press, 1991.CrossRefGoogle Scholar
Schier, Volker. “The Cantus Sororum: Nuns Singing for Their Supper, Singing for Saffron, Singing for Salvation,” in Papers Read at the 12th Meeting of the IMS Study Group Cantus Planus, Lillafüred, Hungary, 2004. Aug. 23–28, ed. Dobszay, L., 857–70.Google Scholar
Schlager, Karlheinz, ed. Alleluia-Melodien II ab 1100, Monumenta Monodica Medii Aevi 8. Kassel: Bärenreiter, 1987.Google Scholar
Schlager, Karlheinz, ed. “Ars cantandi – Ars componendi. Texte und Kommentare zum Vortrag und zur Fügung des mittelalterlichen Chorals,” in Die Lehre vom einstimmigen liturgischen Gesang, ed. Ertelt, Thomas and Zaminer, Frieder, Geschichte der Musiktheorie 4. Darmstadt: Wissenschaftliche Buchgesellschaft, 2000.Google Scholar
Schlager, Karlheinz, ed. “Hexameter-Melodien,” in International Musicological Society Study Group Cantus Planus: Papers Read at the 6th Meeting, Eger, Hungary, 1993, ed. Dobszay, L., 629–34.Google Scholar
Schlager, Karlheinz, ed. “Hymnen,” in Geschichte der katholischen Kirchenmusik, vol. i: Von den Anfängen bis zum Tridentinum, ed. Fellerer, K., 282–86.Google Scholar
Schlager, Karlheinz, ed. “Reimoffizien,” in Geschichte der katholischen Kirchenmusik, vol. i: Von den Anfängen bis zum Tridentinum, ed. Fellerer, K., 293–97.Google Scholar
Schlager, Karlheinz and Wohnhaas, Theodor. “Lateinische Antiphonen aus der evangelischen Reichsstadt: Das Inventar des Nürnberger Egidien-Antiphonars von 1724,” Zeitschrift für bayerische Kirchengeschichte 68 (1999), 6276.Google Scholar
Slocum, Kay Brainerd. Liturgies in Honour of Thomas Becket. Toronto: University of Toronto Press, 2004.Google Scholar
Snoj, Jurij. “Graduals from the Charterhouses Žiče (Seiz) and Bistra (Freudenthal),” in Papers Read at the 13th Meeting of the IMS Study Group Cantus Planus, Niederaltaich/Germany, 2006. Aug. 29 – Sept. 4, ed. Haggh, Barbara and Dobszay, László. Budapest: Hungarian Academy of Sciences. Institute for Musicology, 2009, 571–88.Google Scholar
Stein, Franz A. “Ordinariums- und Propriumsgesänge neuer Feste,” in Geschichte der katholischen Kirchenmusik, vol. i: Von den Anfängen bis zum Tridentinum, ed. Fellerer, K., 273–77.Google Scholar
Stenzl, Jürg. Der Klang des Hohen Liedes. Vertonungen des Canticum Canticorum vom 9. bis zum Ende des 15. Jahrhunderts, 2 vols. Würzburg: Königshausen & Neumann, 2008.Google Scholar
Stephan, Rudolf. Teutsch Antiphonal. Quellen und Studien zur Geschichte des deutschen Chorals im 15. Jahrhundert unter besonderer Berücksichtigung der Gesänge und des Breviers. Vienna: Österreichische Akademie der Wissenschaften, 1998.Google Scholar
Suppan, Wolfgang. “Das geistliche Lied in der Landessprache,” in Geschichte der katholischen Kirchenmusik, vol. i: Von den Anfängen bis zum Tridentinum, ed. Fellerer, K., 353–59.Google Scholar
Szendrei, Janka. “Crucem sanctam. Ein ungarisches (?) Proprium für die Heilig-Kreuz-Messe,” in Papers Read at the 12th Meeting of the IMS Study Group Cantus Planus, Lillafüred, Hungary, 2004. Aug. 23–28, ed. Dobszay, L., 607–20.Google Scholar
Szendrei, Janka. “Die Geschichte der Graner Choralnotation,” Studia Musicologica Academiae Scientiarum Hungaricae 30 (1988), 5234.Google Scholar
Szendrei, Janka. “Linienschriften des zwölften Jahrhunderts auf süddeutschem Gebiet,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Fourth Meeting, Pécs, Hungary, 3–8 September 1990, ed. Dobszay, L. et al., 1730.Google Scholar
Szendrei, Janka. “On the Prose Historia of St. Augustine,” in The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography. Written in Honor of Professor Ruth Steiner, ed. Fassler, M. and Baltzer, R. A., 430–43.Google Scholar
Szendrei, Janka. “Prager Quellen zum Hirsauer Choral,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Seventh Meeting, Sopron, Hungary, 1995, ed. Dobszay, L., 555–74.Google Scholar
Szendrei, Janka. “Tropenbestand der ungarischen Handschriften,” in International Musicological Society Study Group Cantus Planus. Papers Read at the Third Meeting, Tihany, Hungary, 19–24 September 1988, ed. Dobszay, L. et al., 297325.Google Scholar
Szendrei, Janka. “Ungarn,” in MGG2, Sachteil, vol. ix: cols. 1122–27.Google Scholar
Taft, Robert. The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today, 2nd ed. Collegeville, MN: The Liturgical Press, 1993.Google Scholar
Thannabaur, Peter Josef. Das einstimmige Sanctus der römischen Messe in der handschriftlichen Überlieferung des 11. bis 16. Jahrhunderts. Munich: Ricke, 1962.Google Scholar
Vellekoop, Cornelius. Dies ire dies illa: Studien zur Frühgeschichte einer Sequenz. Bilthoven: Creyghton, 1978.Google Scholar
Vlhová-Wörner, Hana. “Genitor summi filii: A Remarkable Career of a Sanctus Trope,” in Papers Read at the 12th Meeting of the IMS Study Group Cantus Planus, Lillafüred, Hungary, 2004. Aug. 23–28, ed. Dobszay, L., 753–66.Google Scholar
Wagner, Peter. Einführung in die Gregorianischen Melodien: Ein Handbuch der Choralwissenschaft, Part i: Ursprung und Entwicklung der liturgischen Gesangsformen, 3rd ed. Leipzig: Breitkopf and Härtel, 1911.Google Scholar
Wagner, Peter. “Zur mittelalterlichen Offiziumskomposition,” Kirchenmusikalisches Jahrbuch 21 (1908), 1332.Google Scholar
Wittkowska-Zaremba, Elżbieta, ed. Notae Musicae Artis: Musical Notation in Polish Sources, 11th–16th Century. Krakow: Musica Iagellonica, 2001.Google Scholar
Wright, Craig. “Antoine Brumel and Patronage at Paris,” in Music in Medieval and Early Modern Europe, ed. Fenlon, Ian. Cambridge University Press, 1981, 3760.Google Scholar
Wright, Craig. Music and Ceremony at Notre Dame of Paris 500–1550. Cambridge University Press, 1989.Google Scholar
Wright, Craig. “A Sequence for the Dedication of the Cathedral of Florence: Dufay’s(?) Nuper almos rose flores,” in Cantate domino: Musica nei secoli per il Duomo di Firenze; atti del Convegno internazionale di studi (Firenze, 23–25 maggio 1997), ed. Gargiulo, Piero, Giacomelli, Gabriele, and Gianturco, Carolyn. Florence: Edifir, 2001, 5567.Google Scholar
Zumkoller, Adolar. “Augustiner-Eremiten,” in MGG2, Sachteil, vol. i: cols. 1033–39.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.

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.

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.

Available formats
×