LCB 3 (1994), pp. 204–5. Peter JEFFERY, Re-Envisioning Past Musical Cultures … (Chicago and London, 1992). Review. Costin MOISIL, Musicology Today, 9–12 (January–December 2012), 231–3 [in English].

10014R. Stefan K. LANGENBAHN, Archiv für Liturgiewissenschaft, 51 (2009), 146.

12046R. Angelus A. HÄUSSLING, Archiv für Liturgiewissenschaft, 51 (2009), 146–8.

15097. Anne J. DUGGAN … [Addition:] 161–182. Reprint: Anne J. DUGGAN, Thomas Becket: Friends, Networks, Texts and Cult, Variorum Collected Studies Series CS877 (Aldershot: Ashgate, 2007), No. XI.

16035R. Susan BOYNTON, H-France Review, 10 (March 2010), 189–92.

18006R. Alexander ZERFASS, Archiv für Liturgiewissenschaft, 54 (2012), 161.

18024R. Susan BOYNTON, Manuscripta, (2010), 275–81.

18071R. Alexander OLIVAR, Archiv für Liturgiewissenschaft, 53 (2011), 276.

19009R. Susan BOYNTON, Church History: Studies in Christianity and Culture, 81 (2012), 175–7.

19031R. Reinhard KAPP, Musicologica Austriaca, 30 (2011), 200–16.

19043R. Angelus A. HÄUSSLING, Archiv für Liturgiewissenschaft, 51 (2009), 143–4.

20007R. Christian MEYER, Scriptorium, 66 (2012), 50*–51* (no. 119).

20012R. Alexander OLIVAR, Archiv für Liturgiewissenschaft, 53 (2011), 273–4. Pierre-Maurice BOGAERT, Revue bénédictine, 122 (2012), 194–5.

21008R. Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 230*–213* (nr. 529). – Daniel SAULNIER, Scriptorium, 66 (2012), 196*–197* (no. 449).

21014R. Angelus A. HÄUSSLING, Archiv für Liturgiewissenschaft, 52 (2010), 303–4.

21024R. Andreas PFISTERER, Die Musikforschung, 67 (2014), 61.

21034R. Kate HELSEN, Plainsong & Medieval Music, 22,1 (2013), 95–8.

21044R. Alexandra BUCKLE, Fontes, 60 (2013), 26–8. – Christian MEYER, Scriptorium, 66 (2012), 142* (no. 329), concerning the essays: 135* (no. 311) [Baroffio], 141*–142* (no. 326) [Busse-Berger], 147*–148* (no. 345) [Cullin], 248*–149* (no. 347) [Derolez], 149* (no. 350) [Deuffic], 153* (no. 361) [Earp], 160* (no. 372) [Fassler], 170* (no. 399) [Haggh], 170*–171* (no. 400) [Haines], 176* (no. 407) [Hiley], 178*–179* (no. 412, 413, 414) [Huglo], 215* (no. 494) [Rankin], 237*–238* (no. 547) [Zapke].

22002R. Pierre-Maurice BOGAERT, Revue bénédictine, 122 (2012), 404.

22003R. Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 182*–183* (no. 426).

22007R. Jörg NEIJENHUIS, Jahrbuch für Liturgik und Hymnologie, 52 (2013), 104–5.

22011R. Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 167*–168* (no. 391).

22019R. Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 168*–169* (no. 393).

22027R. Catherine A. BRADLEY, Plainsong & Medieval Music, 22,1 (2013), 98–101.

22070R. Nino ALBAROSA, Studi gregoriani, 28 (2012), 178. – Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 193*–195* (no. 455).

22071R. Giovanni VARELLI, Plainsong & Medieval Music, 22,2 (2013), 237–40.

22085.Bologna e il secolo XI. Storia, cultura, economia, istituzioni, diritto … (Bologna: Bononia University Press, 2011): Addition: (f) Cesarino RUINI, ‘Il codice Angelica 123. Musica e politica tra i secoli XI e XII’, 239–52.

22094R. Heinrich RUMPHORST, Beiträge zur Gregorianik, 55 (2013), 107–8.

23001.Montecassino, Archivio dell'Abbazia, ms. 542, Antiphonaire (12^ème siècle), ed. Katarina LIVLJANIĆ, Paléographie musicale, vol. XXIII (Solesmes: Les Éditions de Solesmes, 2014).

Includes ‘I. Description du manuscrit’, 9–11, ‘II. Écriture’, 13–19, ‘III. Notation musicale’, 21–7, ‘IV. Organisation des offices’, 29–36’, ‘V. Bibliographie’, 37–43, ‘VI. Index du manuscript – Règles éditoriales’, 45–53, ‘VII. Index des pieces de chant dans l'ordre du manuscrit’, 55–110, ‘VIII. Répertoires des pièces’, 111–42. Colour facsimile pl. 1–194.

23002. Benigno M. COMOLLI, Raffaella GANNA, Alfredo LUCIONI, Mauro LUONI, Alessandro RIGANTI, Monasteri Fruttuariensi nel Seprio. Contiene cd musicale: Antifonale ambrosiano-monastico della Badia di Ganna Gruppo vocal Antiqua Laus, ed. Mauro LUONI (Varese: P. Macchioni Editrice, 2012):

Including a facsimile of the Antiphoner of Ganna, 51–108.

(a) Alfredo LUCIONI, ‘San Benigno di Fruttuaria nella storia monastica europea’, 9–13. (b) Alfredo LUCIONI, ‘I monasteri fruttuariensi nel Seprio: Voltorre, Ganna, Caronno, Pertusella, Castiglione Olona’, 15–21. (c) Mauro LUONI, ‘Chiostro di Voltorre: petre che cantano?’, 34–7. (d) Benigno M. COMOLLI, ‘Un codice ambrosiano-monastico della Badia di Ganna’, 38–9 [ristampa di un articolo del 1964]. (e) Alessandro RIGANTI, ‘Trascrizione dell'Antifonario di Ganna’, 140–8 (in notazione quadrata) – ‘Traduzione dell'Antifonario di Ganna’, 140–8. (f) Alessandro RIGANTI, ‘Analisi dell'Antifonario di Ganna e note sulle scelte interpretative nella registrazione discografica’, 149–72. (g) Alessandro RIGANTI, ‘Le sessanta mascherine nascoste nei capilettera dell'Antifonario di Ganna’, 173–5.

The Antifonario di Ganna is an unknown liturgical book of Ambrosian rite.

23003. Giacomo BAROFFIO, Eun Ju KIM, Mauro LUONI, Marco NAVONI, Alessandro RIGANTI, Angelo RUSCONI, Canonica San Vittore – Bedero in Valtravaglia – Antifonario Ambrosiano Codice B XII secolo. DVD Antifonario digitalizzato – CD Liturgia S. Vittore – Antiqua Laus (Varese: P. Macchioni Editrice, 2012):

(a) Marco NAVONI, ‘Il Codice B dei Bedero. Lettura storico-liturgica di un antifonario ambrosiano del secolo XII’, 9–19. (b) Angelo RUSCONI, ‘La notazione dell'antifonario ambrosiano di Bedero B’, 20–42. (c) Alessandro RIGANTI, ‘I canti liturgici dei Vespri e´della Messa di san Vittore nel Codice B’, 43–82 (trascrizioni in notazione gotica lombarda e quadrata). (d) Sergio ALFIERI, Alessandro RIGANTI, Angelo RUSCONI, ‘Glossario’, 83–6. (e) Mauro LUONI, ‘La diffusione del culto di san Vittore’, 87–189 – ‘Brani musicali registrati’ 190. (f) Giacomo BAROFFIO, Eun Ju KIM, ‘Indici topografico e analitico’, DVD allegato.

23004.Antiphonarium Ambrosianum Pars Aestiva, Pieve di Travaglia – Brezzo di Bedero, Collegiata Propositurale di San Vittore 2013. Colour facsimile, CD-ROM.

(a) Aldo ROSCIO, ‘Gli antifonari liturgici di Bedero in Valtravaglia’, 7–21. (b) Giacomo BAROFFIO, Eun Ju KIM, ‘Indice topografico’, 357–97.

23005.Kálmáncsai Graduál, 2 vols. (Coloured Facsimile; Transcription and Commentary by Ilona FERENCZI and Gábor PAP) (Kecskemét: Nemzeti kincseinkért egyesület, 2005). Including a CD.

The so-called Kálmáncsai Graduál is a liturgical book written between c.1622 and 1626 for the Reformed Church in Hungary, now housed in H-CSg 19.504/H. It includes melodies of the Roman gradual, antiphoner and hymnary with texts in Hungarian.

23006.Kleinüberlieferung mehrstimmiger Musik vor 1550 in deutschem Sprachgebiet.

(a) Vol. 1: Die Notre-Dame-Fragmente aus dem Besitz von Johannes Wolf, ed. Martin STAEHELIN, Nachrichten der Akademie der Wissenschaften in Göttingen. I. Philologisch-Historische Klasse, Jahrgang 1999, Nr. 6 (Göttingen: Vandenhoeck & Ruprecht, 1999).

Vols. 2 (2001) and 3 (2001) do not concern plainsong and medieval music.

(b) Vol. 4: Fragmente und versprengte Überlieferung des 14. bis 16. Jahrhunderts aus dem mittleren und nördlichen Deutschland, ed. Joachim LÜDTKE, Nachrichten der Akademie der Wissenschaften in Göttingen. I. Philologisch-Historische Klasse, Jahrgang 2001, Nr. 6 (Göttingen: Vandenhoeck & Ruprecht, 2001).

Vol. 5 (2001) does not concern plainsong and medieval music.

(c) Vol. 6: Fragmente und versprengte Überlieferung des 15. und 16. Jahrhunderts im nördlichen und westlichen Deutschland, ed. Joachim LÜDTKE, Nachrichten der Akademie der Wissenschaften in Göttingen. I. Philologisch-Historische Klasse, Jahrgang 2002, Nr. 4 (Göttingen: Vandenhoeck & Ruprecht, 2002).

(d) Vol. 7: Ein neues Fragment zum Magnus liber organi, ed. Peter Christian JACOBSEN, Nachrichten der Akademie der Wissenschaften in Göttingen. I. Philologisch-Historische Klasse, Jahrgang 2006, Nr. 3 (Göttingen: Vandenhoeck & Ruprecht, 2006). Concerns a cover fragment in the incunabel D-Nst 304.2°.

(e) Vol. 8: Neue Quellen zur Musik des 13. bis 16. Jahrhunderts in München, Solothurn und Augsburg, ed. Armin BRINZING, Sonderdruck aus ‘Studien zur Philologie und zur Musikwissenschaft’, p. 246–92 (Berlin, New York: Walter de Gruyter, 2009).

(f) Vol. 9: Neue Quellen des Spätmittelalters aus Deutschland und der Schweiz, ed. Martin STAEHELIN, Abhandlungen der Akademie der Wissenschaften zu Göttingen, Neue Folge, 15 (Berlin, Boston: Walter de Gruyter, 2012).

Review. Eva M. MASCHKE, Die Musikforschung, 67 (2014), 65–8 (vol. 1–9).

23007.Het liederenhandschrift Berlijn 190. Hs. Staatsbibliothek zu Berlin – Preußischer Kulturbesitz germ. oct. 190, ed. Thom MERTENS, Dieuke E. van der POEL (redaction), Gisela GERRITSEN-GEYWITZ, Koen GOUDRIAAN, Hermina JOLDERSMA, Ike de LOOS (†) and Johan OOSTERMAN, m. m. v. Amand BERTELOOT, Middeleeuwse Verzamelhandschriften uit de Nederlanden 12 (Hilversum: Uitgeverij Verloren, 2013).

Complete critical edition (melodies and texts) of the so-called Utrechter Liederbuch, 15th century. RISM B IV 3 (1972), 328: “f. 4–34 (Lagen A-C) meist lat., mehrst. Lieder; f. 35–38 (Lage D) niederld. Lieder (einst.); f. 39–72 (Lagen E-H) meist lat., einst. Lieder, Sequenzen, Antiphonen, Responsorien; f. 72–183v (ab Lage I) vorwiegend niederld. Liedtexte, dazwischen ein Tropar (f. 83–95), z. T. mit Melodien; f. 183v/184 Sanctus Tropus”.

23008.Los cantorales mozárabes de Cisneros. Catedral de Toledo, 2 vols, ed. Férnandez COLLADO, Alfredo RODRÍGUEZ GONZÁLEZ, Isidoro CASTAÑEDA TORDERA (Toledo: Cabildo de la Catedral Primada de Toledo, 2011).

23009.Los himnos de la tradición. El himnario de Liturgia Horarum y otros himnos de la tradición litúrgica. Texto Traducción Notas Espiritualidad, ed. Félix Maria AROCENA (Madrid: Biblioteca de Autores Cristianos, 2013). Edition of the 291 latin hymns of the Liturgica Horarum and of 213 hymns of other liturgical traditions.

23010.El processoner de la Seu d'Urgell imprès l'any 1527, ed. Francesc Xavier ALTÉS, Edició facsimil monocroma amb introducció i índex, Societet Catalana d'Estudis Litúrgics: Biblioteca Litúrgica Catalana 4 (Barcelona: Institut d'Estudis Catalans, 2007).

Review. Alexander OLIVAR, Archiv für Liturgiewissenschaft, 53 (2011), 278–9.

23011. Gundela BOBETH, Antike Verse in mittelalterlichen Vertonungen. Neumierungen in Vergil-, Statius-, Lucian- und Terenz-Handschriften, Monumenta Monodica Medii Aevi 5 (Kassel etc.: Bärenreiter-Verlag, 2013).

23012. László DOBSZAY, Janka SZENDREI (eds.) with the collaboration of Beáta MESZÉNA, Responsories I: Modes 1–3; II: Modes 4–8 (Budapest: Balassi Kiadó, 2013).

23013.Vespers, Matins & Lauds of St Kentingern, Patron Saint of Glasgow, ed. Greta-Mary HAIR, Betty I. KNOTT, Musica Scottica, Editions of Early Scottish Music 6 (Glasgow: Musica Scotica Trust, 2011). Includes 9 plates.

Reviews. John BERGSAGEL, Plainsong & Medieval Music, 22 (2013), 241–6 – Ann BUCKLEY, Óenach: FMRSI Review, 3.2 (2011), 19–26 – Michel HUGLO, Scriptorium 66 (2012), 49*–50* (Nr. 117).

23014.Legend of Scottish Saints. Readings Hymns and Prayers for the Commemorations of Scottish Saints in the Aberdeen Breviary, ed. Alan MACQUARRIE with Rachel BUTTER and contributions by Simon TAYLOR and Gilbert MÁRKUS (Dublin: Four Courts Press, 2012). Concerns the printed Aberdeen Breviary Edinburgh, 1510.

Review. R. GODDING, Analecta Bollandiana, 131 (2013), 209–10.

23015.L'Office de la Couronne d'épines à Sens, ed. Brigitte ARNAUD and Annie DENNERY. Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/19 (Lions Bay: The Institute of Mediaeval Music, 2012). Concerns the Office of the ‘Crown of Thorns’.

23016.Historia Sancti Demetrii, ed. Zsuzsa CZAGANY and Péter TÓTH. Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/20 (Lions Bay, Canada: The Institute of Mediaeval Music, 2013).

23017.Historia Sancti Galli, ed. Ernst TREMP, Walter BERSCHIN and David HILEY. Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/21 (Lions Bay: The Institute of Mediaeval Music, 2012).

23018.Hermannus Contractus (1013–1054): Historia sancti Magni, ed. Walter BERSCHIN and David HILEY. Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/22 (Lions Bay: The Institute of Mediaeval Music, 2013).

23019.Traditio Iohannis Hollandrini, Band IV: Die Traktate IX- XIV, ed. Michael BERNHARD and Elżbieta WITKOWSKA-ZAREMBA, Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission 22 (Munich: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C. H. Beck, 2013). Vols. I (2010), II (2010), III (2011) see 22013–22015.

23020.Liber Gradualis iuxta ordinem cantum Missae ad usum privatum, ex codicibus antiquioribus ac probatis restauratus, ed. Alberto TURCO, Vol. II. Tempus Nativitatis; Vol. III. Tempus Quadragesimae, 1: in Dominicis; Vol. IV. Hebdomada sancta; Vol. V. Tempus paschale, 1: in Dominicis et in Festo Ascensionis (Verona: Edizioni Melosantiqua, 2010, 2011, 2012, 2013). Including 2 CDs in vols. II and III, 3 CDs in vol. IV, 4 CDs in vol. V. Vol. I. Tempus Adventus (2009) see 19006.

23021. Alberto TURCO, Liber Gradualis. Ricognizione codicologica ed esposizione analitica per una restituzione ‘magis critica’ delle melodie, I. Tempus Adventus, Subsidia I (Verona: Edizioni Melosantiqua, 2013).

23022.Il Messale Gallicano di Messina. Missale secundum consuetudinem Gallicorum et Messanensis Ecclesie della biblioteca Agatina del Seminario di Catania (1499). Edizione anastatica, Introduzione e Appendice, a cura di Pietro SORCI & Gaetano ZITO, Presentazione di Salvatore GRISTINA, Monumenta Studia Instrumenta Liturgica (Città del Vaticano: Libreria Editrice Vaticana, 2009).

Review. Ulrike BAUER-EBERHARDT, Scriptorium, 66 (2012), 81* (Nr. 191).

23023. Nino ALBAROSA, Una caratteristica della notazione sangallese: la lettera i sotto il Cephalicus, 2 vols. [I: ‘Kommentar’, II: Schede esemplificative] (Rome: Torre d'Orfeo Editrice, 2013).

23024. Diogo ALTE DA VEIGA, O Alleluia na monodia litúrgica em Portugal até 1600: comparações melódicas, Master's thesis, Nova University of Lisbon, 2009.

23025. Terence BAILEY, Offertorium and Offerenda: Kinship and Structure, Wissenschaftliche Abhandlungen – Musicological Studies 99 (Lions Bay, Canada: The Institute of Mediaeval Music, 2012).

23026. Jesse BILLETT, The Divine Office in Anglo-Saxon England, 597-c.1000, Ph.D. diss., University of Cambridge, 2009.

23027. Susan BOYNTON, Silent Music, Medieval Songs and the Construction of History in Eighteenth-Century Spain (New York: Oxford University Press, 2011).

Review. Richard HITCHCOCK, Plainsong & Medieval Music, 22 (2013), 247–8.

23028. Tadeusz BRATKOWSKI, Officium divinum de tempore w rękopiśmiennych antyfonarzych zakonów benedyktyńskich w Polsce od XV od XIX wieku (Rzeszów: URz, 2013).

23029. Orsolya CSOMÓ, The Manuscript 541 of the Bibliothèque Mazarine, Paris. The Processional of Chalons-en-Champagne (Budapest: Institute for Musicology of the Hungarian Academy of Sciences, 2011). Dated 1544.

Review. Michel HUGLO, Scriptorium, 66 (2012), 24*–25* (Nr. 57).

23030. Olivier DIARD, [Rouen] Répertoire des manuscrits liturgiques en Haute-Normandie, t. I, Jumièges, vol. 1, Sources fondamentales des Offices (X^e – XVI^e s.), Publications des Universités de Rouen et du Havre (Mont-Saint-Avignon, 2011).

Review. Christian MEYER, Scriptorium, 66 (2012), 100*–101* (Nr. 237).

23031. Katharine ELLIS, The Politics of Plainchant in fin-de-siècle France, Royal Musical Association Monographs 20 (Farham, Surrey, and Burlington, VT: Ashgate, 2013).

23032. Miklós István FÖLDVÁRY, Rubrica Strigoniensis. A középkori Esztergom liturgiájának normaszövegei [Rubrica Strigoniensis. The Normative Texts of the Medieval Esztergom Liturgy], Ph.D. diss., Budapest, Eötvös Loránd Tudományegyetem, Nyelvtudományi Doktoriskola, ókortudományi Program, 2008.

Available on-line at http://latin.elte.hu/munkatarsak/FM_files/disszertacio.shtml.

23033. Czesław GRAJEWSKI, Antyfony Officium Divinum w świetle traktatów i tonariuszy IX-XIV wieku (Warsaw: UKSW, 2013)

23034. Andrew J. HICKS, Music, Myth, and Metaphysics: Harmony in Twelfth-Century Cosmology and Natural Philosophy, Ph.D. diss., University of Toronto, 2011.

23035. Frank HÖNDGEN, ‘Herrliche Stadt unseres Gottes! All meine Quellen sind in dir’. Die Antiphonen des muttersprachlichen Stundengebets der Abtei Münsterschwarzach – eine Studie zur Entstehungsgeschichte und kompositorischen Struktur, 2 vols., Diss. Universität für Musik und darstellende Kunst, Graz, Austria, 2012.

23036. Andrew HUGHES, The Versified Office: Sources, Poetry, and Chants, 2 vols., Wissenschaftliche Abhandlungen – Musicological Studies 97/1–2 (Lions Bay, Canada: The Institute of Mediaeval Music, 2011).

Review. Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 177*–178* (Nr. 410).

23037. Andrew HUGHES (in collaboration with) Matthew Cheung SALISBURY and Heather ROBBINS, Cataloguing Discrepancies. The Printed York Breviary of 1493 (Toronto: University of Toronto Press, 2011).

Review. Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 182*–183* (Nr. 411).

23038. J. KUBIENIEC, Uniwerslizm i swoistośź w średniowiecznach antyfonarzach krakowskich, Acta Musicologica Universitatis Cracoviensis 14 (Krakow: Musica Iagellonica, 2006).

23039. Karin Strinnholm LAGERGREN, Ordet blev sång. Liturgisk sång i katolska kloster 2005–2007, Skrifter från musikvetenskap, Göteborg universitet 94 (Skellefteå: Artos, 2009). Available online at http://hdl.handle.net/2077/20507. See also 20032 (Ph.D. diss. University of Göteborg).

23040. Marius LINNENBORN, Der Gesang der Kinder in der Liturgie: Eine liturgiewissenschaftliche Untersuchung zur Geschichte des Chorgesangs, Studien zur Pastoralliturgie 26 (Regensburg: Verlag Friedrich Pustet, 2010).

Review. Stefan RAU, Archiv für Liturgiewissenschaft, 54 (2012), 243–4.

23041. Maria Cecilia Pia MANELLI, Il canto dell'Ufficio divino nella Basilica di San Pietro secondo le rubriche e il repertorio del manoscritto Archivio San Pietro B 79 (sec. XII), Tesi di Dottorato, Roma, Pontificio Istituto di Musica Sacra, 2011.

23042. Anne-Marie NILSSON, Sånger till fyra kyrkofester i skara stift (Skara: Skara Stiftshistorika Sällskap, 2011). In Swedish with English summary.

Review. Barbara HAGGH-HUGLO, Scriptorium, 66 (2012), 203*–204* (no. 465).

23043. Christopher PAGE, The Christian West and Its Singers: The First Thousand Years (New Haven, CT, and London: Yale University Press, 2010).

Review. Elizabeth AUBREY, Journal of the American Musicological Society, 66 (2013), 297–304.

23044. Juan SADIA, Rubio PABLO, La recepción del rito Francorromano en Castilla (SS. XI-XII). Les tradiciones litùrgicals locales a través del Responsorial del Proprium de Tempore (Città del Vaticano: Libreria Editrice Vaticana, 2011).

Review. Michel HUGLO, Scriptorium, 66 (2012), 102*–103* (no. 244).

23045. Manfred Hermann SCHMID, Notationskunde. Schrift und Komposition 900–1900, Bärenreiter Studienbücher Musik 18 (Kassel, Basel, London, New York, Paris: Bärenreiter, 2012).

Including Chapter 3: ‘Schrift der Theorie und Schrift der Praxis. Auf dem Weg zu einer komplexen Notenschrift 500–1100’, 25–51, Chapter 4: ‘Die Vereinigung zweier gegensätzlicher Schriftprinzipien’, 52–63, Chapter 5: ‘Schriftformen der Mehrstimmigkeit im 11. und 12. Jahrhundert’, 64–87, Chapter 6: ‘Der Hinzugewinn des Rhythmus in den Notre-Dame- und Motetten-Handschriften des 13. Jahrhunnderts’, 88–114.

23046. Johan SCHOENMAKERS, Liturgische rituelen en gebruiken in het sticht voor adellijke dames in Thorn (Maastricht, RHCL, toegangsnr. 18.A nr. 523, circa 1550), Diss. Universiteit van Tilburg, 2014.

23047. Rainer STRAUB, Die singenden Steine von Monreale. Über die Geheimnisse des sizilianischen Kreuzgangs, Fotographien: Roberto SIGISMONDI, Grafiken: Rainer STRAUB, jun. (Salzburg: Verlag Anton Pustet, 2012). Includes a CD (Grazer Choralschola, Franz Karl PRASSL). Concerns the Communio Ecce virgo concipiet and the Introitus Nunc scio vere.

Review. Heinrich RUMPHORST, Beiträge zur Gregorianik, 55 (2013), 101–5.

Rainer STRAUB, Die singenden Steine von Moissac (2009) see 21023.

23048. Blair SULLIVAN, The Classical Analogy between Speech and Music and its Transmission in Carolingian Music Theory, Medieval and Renaissance Texts and Studies 400 (Tempe: Arizona Center for Medieval & Renaissance Studies, 2011).

Review. Mariken TEEUWEN, Plainsong & Medieval Music, 22 (2013), 93–5.

23049. Györgyi TÁBORSZKY, Studien zu Repertoire und liturgischer Verwendung von Sequenzen in mittelalterlichen österreichischen Benediktinerklöstern, Diss. Universität für Musik und darstellende Kunst, Graz, Austria, 2012.

23050. Anikó TÓTH, Sequentiák a protestáns graduálokban [Sequences in Protestant Graduals], DLA doktori értekezés, Liszt Ferenc Zeneművésti Egyetem, 28. számú művészeti- és művelődéstörténeti tudományok besorolású doktori iskola, Budapest, 2011. Available on-line at http://lfze.hu/netfolder/public/PublicNet/Doktori%20dolgozatok/toth_aniko/disszertacio.pdf.

23051. Stefania VITALE, I manoscritti liturgico-musicali del Museo Diocesano di Brescia, tesi di dottorato in DAMS – Storia e critica delle culture e dei beni musicali, Università degli Studi di Torino, a. a. 2012–2013.

23052. Matthew WARD, The Ordinary Trope Repertory of St Albans Abbey in the Twelfth Century, Ph.D. diss., University of Cambridge, 2013.

23053. Piotr WIŚNIEWSKI, Śpiewy późnośredniowieczne w antyfonarzach płockich z XV/XVI wieku na podstawie responsordiów ‘Matutinum’ (Lublin: Polihymnia, 2010).

23054.Música y archivos en la Iglesia. Actas del XXI Congreso de la Asociación de Archiveros de la Iglesia en España, celebrado en Santander (12 al 16 septiembre de 2005). Edición dirigida por Augustín Hevía BALLINA, Memoria Ecclesiae 31 (Oviedo: Asociación de Archiveros de la Iglesia de España, 2008):

(a) Manuel REY OLLEROS, ‘Códices de musica litúrgica en los archivos de la Iglesia: catalogación y estudio, conservación y restauración’, 177–210. (b) Eladio MÉNDEZ VENEGAS, ‘Libros litúrgicos (cantorales y de lectura) de la Orden de Santiago en el siglo XV en el marco de la actual diócesis de Mérida-Badajoz’, 321–39. (c) José MELGARES RAYA, ‘Los libros corales de la catedral de Jaén’, 369–78. (d) Francisco Javier LARA LARA, ‘Los libros de coro y la música gregoriana en los archivos de la Iglesia: fidelidad y tradición’, 531–56. (e) Michael NOONE, Skinnar GRAEME, Ángel FERNÁNDEZ COLLADO, ‘El fondo de cantorales de canto llano de la catedral de Toledo. Informe y catálogo provisional’, 585–631. (f) Luis SIERRA NAVA, ‘Lorenzana y el canto gregoriano. Papeles de música en el fondo Lorenzana de Toledo’, 679–84.

23055.Schriftkultur und religiöse Zentren im norddeutschen Raum, ed. Patrizia CARMASSI, Eva SCHLOTHEUBER, Almut BREITENBACH, Wolfenbütteler Mittelalter-Studien 24 (Wiesbaden: Harrassowitz Verlag, 2014) [13: ‘Arbeitsgespräch … 2009 in der Herzog August Bibliothek’]:

(a) Felix HEINZER, ‘Claustrum non manufactum – Innenräume normativer Schriftlichkeit’, 141–65. (b) Jeffrey F. HAMBURGER, ‘Penance in Paradise. Lenten Imagery in Liturgical Manuscripts from the Dominican Convent of Paradise bei Soest’, 167–224. (c) Franz Karl PRASSL, ‘Das Mindener Graduale der HAB Wolfenbüttel, Cod. Guelf. 1008 Helmst. Beobachtungen zur liturgischen und musikalischen Überlieferung’, 227–68. (d) Tuomas HEIKKILÄ, ‘Einflüsse deutscher Schriftlichkeit in der mittelalterlichen Buchkultur Finnlands’, 413–31. (d) Jan BRUNIUS, ‘Zentrum und Peripherie. Fragmente deutscher Handschriften in Schwedisch-Finnland als Zeugnisse mittelalterlicher Buchkultur’, 413–31.

23056.Papers Read at the 15th Meeting of the IMS Study Group CANTUS PLANUS, Dobogókő/Hungary, 2009, Aug. 23–9, ed. Barbara HAGGH-HUGLO, Debra LACOSTE with the members of the Cantus Planus Advisory Board Nicolas BELL, Christelle CAZAUX-KOWALSKI, Jeremy LLEWELLYN, Christian TROELGÅRD, Anna VILDERA, 3 vols. (Lions Bay: The Institute of Mediaeval Music, 2013):

Volume 1

(a) Barbara HAGGH-HUGLO, ‘Opening Remarks’, 1–4. (b) Christian TROELSGÅRD, ‘Songs for the Theotokos: Pieces of Papyrus and the Early Byzantine Theotokia’, 5–24. (c) Joseph DYER, ‘Katakosmēson ton nymphōna sou Siōn – Adorna thalamum tuum Sion: East and West in the Medieval Roman Celebration of Candlemas’, 25–49. (d) Terence BAILEY, ‘Rome, Milan, and the Confractoria’, 51–76. (e) Michel HUGLO†,’ Observations about Chant with Texts Translated from Greek into Latin’, 77–92. (f) Kate HELSEN, ‘“The Stream or the Source”? Comparing Gregorian and Old Roman Great Responsories’, 93–108. (g) Emma HORNBY and Rebecca MALOY, ‘Analysis of Old Hispanic Chant: Problems and Proposals’, 109–32. (h) Diogo ALTE DA VEIGA, ‘Alleluia. Venite ad Lusitaniam. A Comparative Study of Monophonic Alleluias in Pre-1600 Portuguese Sources’, 133–61. (i) Balázs DERI, ‘The Coptic Psalmos: Text and Architext, or, Composing in an Oral Music High Culture’, 163–92. (k) Manuel Pedro FERREIRA, ‘Congregati sunt inimici nostri: A Survey, the Holy War, and the Order of St Jerome’, 193–220. (l) Mara FORTU, ‘The Medieval Musical Manuscripts of the Cistercian Order in Portugal and Galicia’, 221–41. (m) Hanna ZÜHLKE, ‘Codex 14208 of the Austrian National Library in Vienna: A Witness to the Medieval Liturgical Practice of the Teutonic Order?’, 243–60. (n) Gunilla IVERSEN, ‘Expressing the Ineffable: Music in the Texts of Medieval Latin Liturgical Poetry’, 261–82. (o) Ann-Marie NILSSON, ‘The Relationship of Text to Melody in Chants with Different Meters Adapted to the Same Melody’, 283–314. (p) Charles E. BREWER, ‘Two Fragmentary Latin Song Collections from Thirteenth-Century Normandy’, 315–42. Concerns F-EV 2 and 39. (q) Erika KIHLMAN, ‘Medieval Sequence Commentaries: Traditions and Techniques’, 343–59.

Volume 2

(r) Gábor KISS, ‘Comparative Research into Medieval Mass Repertories’, 361–84. (s) Matthew WARD, ‘Trinity College, Cambridge, “Ms. Fragment 2”: New Evidence for the Mutable Transmission and Notation of Chant in the Later Middle Ages’, 385–404. A bifolium from a Sarum missal, 14th–15th c. (t) Orsolya CSOMÓ, ‘The Liturgical Placement of Three Processional Antiphons’, 405–24. (u) James BORDERS, ‘The Transmission of Non-CAO Antiphons in Later Medieval Pontificals’, 425–58. (v) Miklós István FÖLDVÁRY, ‘A Recent Survey of Catalonian and Mallorcan Ordinals and its Contribution to the Editorial Approach to Normative Liturgical Texts’, 459–72. (w) Inga BEHRENDT, ‘Die Notation im Seckauer Liber ordinarius der Handschrift A-Gu 756 von 1345 und ein Einblick in die Rekonstruierung der Kyrie-Melodien anhand der Neumierung’, 473–90. (x) Oliver GERLACH, ‘Religious Chant in the Late Ottoman Empire between Petros Bereketēs and Hamamîzade İsmail Dede Efendi’, 491–526. (y) Gabriella GILÁNYI, ‘Lenten Chants on the Raising of Lazarus in Early Mediterranean Antiphoners’, 527–42. (z) Cesarino RUINI, ‘Nota Romana in Aemilia: Documenti sulla diffusione della notazione dell'Italia centrale nella diocese di Reggio Emilia’, 543–56. Concerns different mss. in I-RE. (aa) Miriam Monroe WENDLING, ‘Pitch Clarification in Twelfth-Century Bamberg’, 557–76. Concerns D-BAs Lit. 9, 11, 22, 23 and 24, including eight colour facsimiles. (bb) Svetlana POLIAKOVA, ‘The Manuscript Sin 319 and Voskr 27: Innovation in Russian Liturgical Practice at the End of the Twelfth Century’, 577–95. Concerns mss. in RUS-Mim. (cc) Jurij SNOJ, ‘The Franciscans in Carniola and their Chant’, 597–617. Concerns SI-Lf Gradual I, II, Antiphoner (olim Inv.-No. 6771–3). (dd) Ana ČIZMIĆ, ‘The Dubrovnik Antiphoner’, 619–28. Concerns HR-Dsmb C(4), D (5), F (6), E (3).

Volume 3

(ee) Henry PARKES, ‘The Composition of English Saints' Offices in the Tenth and Eleventh Centuries’, 629–47. (ff) Pieter MANNAERTS, ‘A New Source for the Liturgical Office of St Vincent, Tongeren, Stadsarchief (B-TOa), Sint-Jacobsgasthuis 61’, 649–65. Includes facsimiles of the cover recto and verso. (gg) Andrea KOVÁCS, ‘Un Ufficio sconosciuto di san Gerardo di Csanád’, 667–90. (hh) David HILEY, ‘The Chants for St Verena of Zurzach and Other Historiae of the Lake Constance Region’, 691–707. (ii) Sarah Ann LONG, ‘The Office for the Translation of St Nicholas in Fifteenth-Century Parisian Confraternity Manuscripts’, 709–29. Conerns F-Pm 464. (kk) James BOYCE†, ‘Making a Saint Orthodox: Honoring St Albert of Sicily’, 731–46. Includes four facsimiles of Rome, Santa Maria in Traspontina, Codex G. (ll) Thomas László CSANÁDY, ‘“Tangere cymbalum”: On the Meaning of Cymbals in the Daily Life of Religious Communities of the Canons Regular in the High Middle Ages’, 747–56. (mm) Stefan ENGELS, ‘Zum Wesen liturgischer Spiele’, 757–68. (nn) Diego TOIGO, ‘Dalla contemplatio alla compassio: Tendenze espressive in Passioni italiane fra Medioevo e Rinascimento’, 769–84. Includes two facsimiles of I-Bu 2893. (oo) Anna VILDERA, ‘Dramatic Frameworks in the Office of St Daniel, levita et martyr of Padua’, 785–806. Includes two facsimiles of I-Pc B 14. (pp) Nausica MORANDI, ‘The Hungarian 7Officium stellae within a European Network of Epiphany Dramas’, 807–20. (qq) Lanfranco MENGA, ‘Realizzare oggi un dramma liturgico’, 821–8. (rr) Jerome F. WEBER, ‘Gallican Chant before the Octoechos’, 829–34. (ss) Michel HUGLO†, ‘Response to Jerome Weber’, 835–8. (tt) Marit HØYE, ‘Two Early Kyrie Chants’, 839–54. (uu) Robert BERNAGIEWICZ, ‘Some Traces of the ‘Enchiriadis’ System in Justus ut palma Graduals’, 855–70. (vv) Alexey YAROPOLOV, ‘From Orbit to Landscape: The Deployment of the Octoichos (with Introduction by Christian TROELSGÅRD)’, 871–908. (ww) Geert MAESSEN, ‘Fluxus: Music Notation for Performing Tenth-Century Chant – A Performer's Opinion on Music Notation’, 909–28. (xx) Karin Strinnholm LAGERGREN, ‘Monastic Liturgical Singing after the Second Vatican Council’, 929–38. (yy) Debra LACOSTE, ‘Cantus: A Database for Latin Ecclesiastical Chant: Progress Report, August 2009’, 939–43. (zz) Inga BEHRENDT, Sarah LONG, Pieter MANNAERTS, ‘Antiphonaria, Inventories of Antiphoners in Belgian Flanders: Report 2009’, 945–8.

23057.City, Chant, and the Topography of Early Music [In Honor of Thomas Forrest Kelly], ed. Michael Scott CUTHBERT, Sean GALLAGHER, Christopher WOLFF, Isham Library Papers 8 – Harvard Publications in Music 23 (Cambridge, MA, London: distributed by Harvard University Press, 2013):

(Preface, ix: in 2009, some of the world's most distinguished scholars of medieval music gathered on the campus of Harvard University in order to pay tribute to one of their most esteemed colleagues, our own Thomas Forrest Kelly.… City, chant, and the Topography of Early Music' took place Friday through Sunday, October 2–4, 2009).

(a) Craig WRIGHT, ‘Quantification in Medieval Paris and How it Changed Western Music’, 3–26. (b) David HILEY, ‘Surge, Petre! Sets of Chants for St. Peter in Benevento, Peterborough, and Some Places in Between’, 73–99. (c) Katarina LIVLJANIĆ, ‘The Genealogy According to St. Luke in Beneventan Dalmatia’, 101–22. (d) Matthew G. PEATTIE, ‘Beneventan Music and Gregorian Modality. Evidence of Modal Change in the Melodic Fund of the Old Beneventan Chant’, 123–44. (e) Andreas PFISTERER, ‘Easter Vigil Canticles from Italy’, 145–62. (f) Árni Heimir INGÓLFSSON, ‘Echoes from the Periphery. Rask 98, Modal Change, and Oral Transmission in Seventeenth-Century Iceland’, 165–87. Concerns DK-Kar Rask 98. (g) Susan BOYNTON, ‘Reproducing the Middle Ages in Eighteenth-Century Toledo’, 189–204. (h) Andreas HAUG, ‘Ways of Singing Hexameter in Tenth-Century Europe’, 207–28. (i) Susan RANKIN, ‘Beyond the Boundaries of Roman-Frankish Chant. Alcuin's de laude Dei and Other Early Medieval Sources of Office Chants’, 229–62. (k) Marie-Noël COLETTE, ‘Un fragment de tropaire aquitain peu connu (ParisBN, nouv. acq. lat. 2444, ff. 5–6)’, 265–74. (l) Michel HUGLO† and Barbara HAGGH with Leofranc HOLFORD-STREVENS, ‘The Topography of Music Theory in Paris, 900–1450’, 275–334.

23058.Musica mediaeva liturgica. Zborník príspevkov z muzikologickej konferencie konanej dňa 4.-5. Mája 2010, ed. Rastislav ADAMKO (Ružomberok: Verbum, 2010):

(a) Eva SELECKÁ MÂRZA, Andreea MÂRZA, ‘Uvahy o stredovekom knižnom fonde slovenského pôvodu v sedmohradskej Alba Iulii (zlomky notovaných kódexov) – Reflections on medieval book collection of Slovak origin in Transylvanian Alba Iulia (fragments of codices written in staff notation)’, 8–35. (b) Rastislav ADAMKO, ‘Spišsky liturgický kalendár na základe zachovaných rukopisov v Spišskej kapitule a Alba Iulii – The Spiš calendar on the basis of the preserved liturgical manuscripts in the Spiš Chapter and Alba Iulia’, 36–67. (c) Janka BEDNÁRIKOVÁ, ‘Adiastematické fragmentary gregoriánskeho chorálu v knižnici Battyaneum v Alba Iulii – Gregorian chant adiastematic fragments of Slovak provenience in Batthaneum library in Alba Iulia’, 68–92. (d) Franz Karl PRASSL, ‘Liturgia a hudba v salzburskom Dóme a v blízkom opátstve sv. Petra v 12 storičí – popis vzt'ahu podl'a pôvodných prameňov – Liturgie und Musik im Salzburger Dom und in der benachbarten Abtei St. Peter im 12. Jahrhundert – eine Verhältnisbestimmung anhand der Hauptquellen’, 94–125. (e) Jurij SNOJ, ‘Oficium sv. Maura z Poreca / Parenzo – The Office of S. Maurus of Poreč / Parenzo’, 126–41. (f) Eva VESELOVSKÁ, ‘Stredoveké skriptorium Bratislavskej kapituly, špecifiká a vplyvy produkcie notovaných rukopisov – Medieval scriptorium of the Bratislava Chapter, particularities and influence of the notated manuscripts production’, 142–71. (g) Jakub KUBIENIEC, ‘Ako rastie tradícia – prípad Tynieckého opátstva – How tradition grows – the Case of the Tyniec Abbey’, 172–91. (h) Sylvia URDOVÁ, ‘Poznámky k hudobnému repertoáru Proprium de Sanctis v notovanom breviári z Debna z roku 1375 vo fonde kolegiálnej knižnice v Prešove – Observations on the Proprium de Sanctis musical repertory in the notated breviary from Debno of 1375 in the collection of the collection of the Collegial Library of Prešov’, 192–211. (i) Jana VOZKOVÁ, ‘Choralní ofertoria jako hudebně historický a ediční problém (přínos českých pramenů k řešení problematiky) – Plainchant offertories as a problem of music history and editoral practice (Bohemian sources as an instrument of solution’, 121–27. (k) Robert BERNAGIEWICZ, ‘Klement z Piotrkowa. Knaz – ucenec – hudobník – redaktor – Klemens from Piotrków. A priest – scholar – musician – redactor’, 228–41 (–252).

Parallel Slovak and English texts, the essay of Franz Karl Praßl: parallel Slovak and German texts.

23059.Dal mondo antico all'universo medievale: nuove modulazioni di lingue e di culture. Atti di un convegno del 2011, ed. Rosa Bianca FINAZZI and Paola PONTANI (Milan: EDUCatt, 2013):

(a) Giacomo BAROFFIO, ‘Continuità e rottura con il mondo antico nella liturgia romana’, 7–11. (b) Guido MILANESE, ‘Il ‘nuovo latino’ carolingio: alcune testimonianze’, 73–91 (87–91 concerns the neumae liquescentes).

23060.La musica sacra nella Milano del Settecento. Atti del convegno internazionale. Milano, 17–18 maggio 2011, ed. Cesare FERTONANI, Raffaele MELLACE, Claudio TOSCANI (Milan: LED Edizioni Universitarie di Lettere Economia Diritto, 2014):

(a) Giacomo BAROFFIO, ‘Introduzione’, vii–xi. (b) Christoph RIEDO, ‘Tra rito ambrosiano e rito romano: la musica nelle chiese di Milano e la circolazione delle sue fonti’, 1–24. (c) Daniele TORELLI, ‘Liturgia e canto nell'editoria milanese tra Sei e Settecento: libri liturgico-musicali e trattati’, 35–64.

23061.Actes du Colloque d'Auxerre – Notarum figura: L'écriture musicale et le monde des signes au 9e siècle. Auxerre, Centre d'études médiévales, 17–18 juin 2011, ed. Eduardo Henrik AUBERT and Susan RANKIN, Études grégoriennes, 40 (2013), publié sous la direction de Patrick HALA:

(a) Daniela von ARETIN, ‘The Chicken and the Egg. Music Theory and the Genesis of Musical Notation’, 1–27. (b) Charles ATKINSON, ‘The Anonymus Vaticanus in speculo’, 29–56. Concerns I-Rvat Pal. lat. 235. (c) Eduardo Henrik AUBERT, ‘When the Roman liturgy became Frankish – Sound, Performance and Sublation in the Eighth and Ninth Centuries’, 57–160. (d) Sam BARRETT, ‘Neumes in a Ninth-Century Verse Collection and the Early History of Messine Notation at Laon’, 161–89. Concerns CH-BEb 455. (e) Marie-Noël COLETTE, ‘Scribere qui nescit, sensum deus augeat illi: Remarques sur quelques témoignages de l'apprentissage de la notation musicale’, 191–212. (f) Fabrizio CRIVELLO, ‘High-Grade Manuscripts and Neumatic Notation in the Carolingian Era: Examples and Observations’, 213–24. Concerns D-B theol. lat. fol. 58 –F-LA 239 – F-Pn lat. 17436 – I-MZ Tesoro inv. n. 88. (g) Jeremy LLEWELLYN, ‘Grammar, Writing and Chant: Notker the Editor and the Epistola ad Lantbertum’, 225–41. (h) Daniel SAULNIER, ‘Nouvelles perspectives sur la coupure neumatique’, 243–52. (i) Giovanni VARELLI, ‘The Early Written Transmission of Chant in Northern Italy: The Evidence of Milan, Biblioteca Ambrosiana, B 48 sup., ff. 141–142’, 253–81. (k) Susana ZAPKE, ‘Coexistencia de signos y funciones en la cultura visigótica escrita: Notas marginales’, 283–91.

23062.Simpozionul Internaţional de Muzicologie Bizantină: 300 de ani de românire (1713–2013). Ediţia a II-a, 12 decembrie 2013, ed. Nicolae GHEORGHIŢĂ, Costin MOISIL, Daniel SUCEAVA (Bucharest: Editura Universităţii Naţionale de Muzică Bucureşti – Glissando, 2013):

(a) Ozana ALEXANDRESCU, ‘Ioan Kampazournas în Ţara Românească’ [Ioannes Kampazournas in Wallachia], 33–7. (b) Sebastian BARBU-BUCUR, ‘Un anastasimatar necunoscut scris de Ianuarie Monahul’ [An unknown Anastasimatararion written by Ianuarie the Monk], 38–53. (c) Filotheu BĂLAN, ‘Câteva exegeze în notaţie hrisantică ale Ieromonahului Macarie din Psaltichia Ieromonahului Filothei’ [Some exegesis in Chrysanthine notation from Filothei the Hiermonk's Psaltichie Romănească by Macarie the Hiermonk], 54–93. (d) Elena CHIRCEV, ‘Psaltichia rumănească şi două semnături: Filothei Jipa şi Sebastian Barbu-Bucur’ [The Psaltichie Rumănească and two signatures: Filothei Jipa and Sebastian Barbu-Bucur], 94–101. (e) Viorel COSMA, ‘Constantin Erbiceanu, un precursor valoros al bizantinologiei noastre muzicale, dar nedreptăţit de istorie’ [Constantin Erbiceanu, an outstanding forerunner of the Romanian Byzantine Musicology, but neglected by the history], 111–23. (f) Irina-Zamfira DĂNILĂ, ‘Ponderea cântărilor în limba română în manuscrisele psaltice din Arhivele Naţionale din Iaşi’ [The ratio of the chants in Romanian in the Psaltic manuscripts in the National Archives of Iaşi], 124–41. (g) Alexandru-Marius DUMITRESCU, ‘Cântările Învierii, de la Filothei sin Agăi Jipei la Anastasimatarul uniformizat – repere’ [The hymns of the Resurrection, from Filothei sin Agăi Jipei to Anastasimatarul uniformizat], 142–82. (h) Nicolae GHEORGHIŢĂ, ‘Muzicile Prinţului: muzică, ceremonii şi reprezentări ale puterii princiare la curţile Valahiei şi Moldovei (secolul XVII – primele decenii ale secolului al XIX-lea. Partea I’ [The music of the prince: music, ceremonies and representations of the princely power at the courts of Walachia and Moldavia (seventeenth–early nineteenth century, Part one], 183–205. (i) Vasile GRĂJDIAN, ‘Ipostaze ale românirii în cântarea bisericească de tradiţie bizantină din Transilvania. Troparul Învierii – glas I’ [Hypostases of the Romanianisation in the church singing of Byzantine tradition from Transylvania. Troparion of the Resurrection], 206–24. (k) Mihail HARBUZARU, ‘Manuscrisele psaltice de la Mănăstirea Sinaia în contextul românirii muzicii bisericeşti’ [The psaltic manuscripts in Sinaia monastery in the context of adaption of Byzantine chant into Romanian], 225–38. (l) Ion ISĂROIU, ‘Filothei sin Agăi Jipei, 300 de ani de la prima Psaltichie rumănească (1713–2013) şi procesul de ‘românire’ a cântărilor bisericeşti’ [Filothei sin Agăi Jipei, 300 years since the first Romanian Psaltichie (1713–2013) and the process of ‘Romanianisation’ of church chants], 239–68. (m) Iane KODJABASHIJA, ‘Romanian church singing on the territory of Macedonia’, 269–79. (n) Adrian-Cristian MAZILIŢA, ‘Cratimele în lumina manuscrisului grecesc nr. 9 de la Arhivele Naţionale din Drobeta Turnu Severin’ [The Kratemata in the light of Greek manuscript no. 9 in National Archives, Dobreta Turnu Severin], 280–306. (o) Costin MOISIL, ‘Un veac de singurătate. Românirea cântărilor în vechea notaţie ‘ [One hundred years of solitude. The ‘Romanianisation’ of chants in old notation], 307–16. (p) Nicu MOLDOVEANU, ‘De la prima carte de psaltichie românească (1713) la Dicţionarul de muzică bisericească românească (2013)’ [From the first Romanian manuscripts in Byzantine notation (1713) to the ‘Dictionary of Romanian Church Music’ (2013)], 317–26. (q) Gabriela OCNEANU, ‘Importanţa studiilor arhid. Sebastian Barbu-Bucur asupra Psaltichiei rumăneşti a lui Filothei si Agăi Jipei’ [The importance of Archdeacon Sebastian Barbu-Bucur's research on the Psaltichie rumănească by Filothei sin Agăi Jipei], 327–30. (r) Jaakko OLKINUORA, ‘Problems and possibilities of adapting Byzantine music into Finnish’, 331–43. (s) Gabriel-Constantin OPREA, ‘Grupul Stavropoleos la 20 de ani de la înfiinţare’ [Stavropoleos Choir at its twentieth anniversary], 344–50. (t) Codruţ-Dumitru SCURTU, ‘Aspecte privind paternitatea cântărilor mitropolitului Iosif Naniescu (1818–1902)’ [Contributions to the topic of paternity of chants ascribed to bishop Iosif Naniescu (1818–1902)], 365–81. (u) Constantin SECARĂ, ‘Particularităţi stilistice în procesul de românire la Filothei sin Agăi Jipei. Studiu de caz: Canonul Floriilor’ [Stylistic features in the process of translating into Romanian at Filothei sin Agăi Jipei. Case study: the Palm Sunday canon], 382–420. (v) Vasile STANCIU, ‘Aspecte ale românirii cântărilor bisericeşti în colecţii transilvănene din secolele XIX–XXI’ [Aspects of ‘Romanianisation’ in Transylvanian chant books of the nineteenth–twentieth centuries], 421–40. (w) Daniel SUCEAVA, ‘Ptolemeu, Filotei Sinaitul şi Filothei fiul agăi Jipa’ [Ptolemy, Philotheos of Sinai, and Filothei Jipa], 441–56. (x) Răzvan-Constantin ŞTEFAN, ‘Tradiţie şi continuitate în interpretarea melosului bizantin românesc’ [Tradition and continuity in the interpretation of the Byzantine melos in Romanian language], 457–69. (y) Vasile VASILE, ‘Activitatea lui Anton Pann de exighisire şi de românire a cântărilor bisericeşti’ [The exegesis and ‘Romanianisation’ of church chant by Anton Pann], 470–99. Abstract and keywords in English, 516–33.

23063.Beiträge zur Gregorianik, 55 (2013), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Martin ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Daniel RÖSLER, Heinrich RUMPHORST, Alexander SCHWEITZER, Anton STINGL jun., Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 33’, 9–63. (b) Heinrich RUMPHORST, ‘Weitere Beobachtungen zur Alleluja-Typusmelodie im II. Modus’, 65–8. (c) Anton STINGL jun., ‘Ein “illegaler” Ton im Responsorium Collegerunt pontifices. Probleme der Buchstabennotation bei Guido von Arezzo’, 69–74. (d) Franz Karl PRASSL, ‘Codex St. Gallen 342 – das älteste vollständige Graduale aus St. Gallen (Teil 2)’, 75–100. Part 1 see 20054c.

23064.Beiträge zur Gregorianik, 56 (2013), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Martin ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Liobgid KOCH, Josef KOHLHÄUFL, Stefan METZ, Daniel RÖSLER, Heinrich RUMPHORST, Anton STINGL jun., Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 34’, 9–58. (b) Anton STINGL jun., ‘Das Alleluia Dispersit, dedit pauperibus. Ein Alleluia für den Hl. Hieronymus Ämiliani – Adaption oder Centonisation?’, 59–67. (c) Heinrich RUMPHORST, ‘Der neogregorianische Introitus Redemisti nos’, 69–75. (d) Neil McEWAN, ‘tenete und episema als wichtige Elemente der Neumennotation im zehnten und elften Jahrhundert für die Interpretation des Chorals’, 77–94.

23065.Estudios Gregorianos, Revista de la Asociación Hispana para el Estudio del Canto Gregoriano (AHisECGre), Año 3 – Numéro 3 (2008–2010), ed. Juan Carlos ASENSIO PALACIOS (Abadía de Santa Cruz, Valle de los Caídos – Madrid, 2012):

(a) M. Dolores AGUIRRE, ‘El canto gregoriano es el canto de la asamblea’. Published in German 2008 in Beiträge zur Gregorianik, see 18062d. (b) José Ignacio GONZÁLEZ VILLANUEVA, ‘Pauta metodológica en el estudio de las piezas gregorianas. Aportaciones prácticas’. (c) Guillermo Fernández RODRIGUEZ-ESCALONA, ‘La cantilación de la épica medieval’.

23066.Études grégoriennes, 40 (2013) see 23061.

23067.Studi Gregoriani, 28 (2012), ed. Mauro CASADEI TURRONI MONTI (Rome: Torre d'Orfeo Editrice S. r. l., 2013):

(a) Luigi AGUSTONI (†), Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Liobgid KOCH, Heinrich RUMPHORST, Alexander SCHWEITZER, Stephan ZIPPE, ‘Proposte per la restituzione di melodie del Graduale Romanum, parte X’, 3–33. First published in German 2000 in Beiträge zur Gregorianik, see 10055a. (b) Maria Cecilia Pia MANELLI, ‘Il canto dell'Ufficio divino nella basilica di San Pietro secondo le rubriche e il repertorio del manoscritto Archivio San Pietro B 79 (sec. XII)’, 35–93. Extract from her dissertation see 23041. (c) Nino ALBAROSA, ‘Torculus a chuisura di neuma cadenzale’, 95–129. First published Bologna, University, 1984. (d) Alberto TURCO, ‘Per una restituzione melodica ‘magis critica’ del Graduale Romanum Alleluia Surrexit dominus vere’, 131–6. (e) Iwo Hubert SIEKIERKA, ‘La notazione metense nella tradizione slesiana del canto gregoriano dei secoli XIII–XVIII, nei codici dell Biblioteca capitolare di Wrocław’, 137–63. Including eight facsimiles. (f) Mattia ROSSI, ‘Il canto gregoriano nella raffigurazione estetico-musicale del Purgatorio dantesco’, 165–74.

23068.Tijdschrift voor Gregoriaans, 38 (2013), Redactie: Katrijn KUYPERS, Arnoud HEERINGS, Gerrit van OSCH, Albert KOOPMANS, uitgave van de Stichting Amici Cantus Gregoriani, Administratie J. KWAST, Driebergen-Rijsenburg:

(a) Ger van der WERF, ‘De hymne Gloria laus (2)’, 2–8. (b) Johannes Berchmans GÖSCHL, ‘Eenheid in verscheidenheid (2) (3)’, 9–15, 42–5. Part 1 see 22083e. (c) Pieter MANNAERTS, ‘Het Nikolaas-officie (2)’, 16–22. Part 1 see 22083f. (d) Joost van GEMERT, ‘Graduales uit de negentiende eeuw tussen traditie en aanpassing: Louis Lambillote en Michael Hermesdorff’, 27–34. Concerns the printed Graduale Romanum (Paris: Le Clerc et soc., 1857) and Graduale / juxta usum / ecclesiae cathedralis Trevirensis dispositum … edidit / Michael Hermesdorff (Treviris: Leistenschneider, 1863). (e) Geert MAESSEN, ‘Threnos, tractus en lamentation: Oudspaanse gezangen voor de Vasten en de Goede Week (1)’, 46–53. Concerns E-L 8. (f) Marietrees BROEREN, Anne-Marieke KOOT, ‘Hildegard van Bingen: Karitas habundat in omnia’, 64–70. (g) Louis KREKELBERG, ‘Christus is opgestanden en Victimae Paschali. Een reconstructie met behulp van vier Nederlandse handschriften’, 79–89, 114–121. Concerns NL-M 523 RA Limburg 18a collectie handschriften – NL-Nu 402 – NL-Au I C 17 – F-SO Réserve 43. (h) Arnoud HEERINGS, ‘Toekomst of verlede? Einige gedachten naar aanleidung van het graduale Adjutor in opportunitatibus’, 92–8.

23069. Charles BURNETT, Numeral and Arithmetic in the Middle Ages, Ashgate Variorum Collected Studies Series (Farnham, Surrey, 2010). Including eleven essays 1996–2007. Concerns also Theory of Music; see the review of Michel Huglo.

Review. Michel HUGLO, Scriptorium, 66 (2012), 18* (Nr. 36).

23070. Rudolf FLOTZINGER, Das sogenannte Organum. Zu den Anfängen der kirchlichen Mehrstimmigkeit im Abendland, ed. Federico CELESTINI and Gregor KOKORZ (Graz: Akademische Druck- und Verlagsanstalt, 2011).

Review. Stefan ENGELS, Musicologica Austriaca, 30 (2011), 195–9.

23071. Godehard JOPPICH, Cantate canticum novum. Gesammelte Studien anlässlich des 80. Geburtstages von Godehard Joppich, Geleitwort von Benno MALFÈR, Vorwort von Anselm GRÜN (Münsterschwarzach: Vier-Türme-Verlag, 2013). Includes eleven studies, one unpublished:

(a) ‘Einige Gedanken zur Gregorianik’, 11–13. First published 1990. (b) ‘Der Torculus specialis als musikalische Interpunktionsneume’, 15–54. First published 1986. (c) ‘Die rhetorische Komponente in der Notation des Codex 121 von Einsiedeln’, 55–110. First published 1991, see LCB 1, p. 184. (d) ‘Vom Schrifttwort zum Klangwort’, 111–27. Unpublished. (e) ‘Vom Schriftwort zum Klagwort (2. Fassung)’, 129–62. First published 1995. (f) ‘Ein Beitrag zum Verhältnis Text und Ton im Gregorianischen Choral’, 163–92. First published 1995, see 6133. (g) ‘Christologie im Gregorianischen Choral’, 193–214. First published 1995. (h) ‘Bemerkungen zu den drei Fragmenten aus Pergamenthandschriften des Klosters Wennigsen’, 215–39. Including six facsimiles. First published in Antje BUSCH-SPREVESLAGE, ed., Die Klosterkirche in Wennigsen (Osnabrück, 1999). (i) ‘Der späte gregorianische Choral’, 241–63. First published in Italian ‘Il canto gregoriano tardivo’, Antiqua habita consutudine, Atti del colloquio iternazionale (Portogruano 20 otobre 2001), ed. Lucio CRISTANTE (Trieste, 2004). (k) ‘Ritenuto, Ritardando und Accelerando’, 265–312. First published 2008, see 18077k. (l) ‘Die Liqueszenz. Eine semiologische Studie im Codex Hartker St., Gallen 390/391’, 313–88. Unpublished.

Review. Anton STINGL, jun., Beiträge zur Gregorianik, 55 (2013), 105–7.

23072. Costin MOISIL, Românirea cântărilor, un meşteşug şi multe controverse. Studii de muzicologie bizantină [The ‘Romanianisation’ of chants: a technique and a multitude of controversies (Bucharest: Editura Muzicală, 2012). A collection of ten essays with addition of some notes:

(a) pp. 9–23. See 14048e. (b) pp. 24–47. See 19084. (c) ‘Despre românire în prefeţele lui Macarie Ieromonahul şi Anton Pann’ [The adaption of Byzantine chant into Romanian in the forewords of Macarie the Hieromonk and Anton Pann], 48–69. (d) pp. 70–95. See 13072. (e) p. 96–119. See 17051h. (f) pp. 120–33. See 21048m. (g) pp. 134–49. See 21032a. (h) ‘Procesul de românire şi adaptarea la muzicalitatea limbii’ [The adaption of Byzantine chant into Romania and the adaption to the musicality of the language]’, 150–8. (i) ‘Tradiţii păstrate, tradiţii pierduta. Cazul picioarelor ternare în cântarea bisericească românească’ [Preserved traditions, lost traditions. The case of ternary feet of the Romanian chant], 159–73. (k) ‘Rolul naţionalismului în modelarea cântării bisericeşti româneşti înainte de Primul Război Mondial. Cazul Liturghiei Sf. Ioan Gură de Aur’ [The role of the nationalism in modelling the Romanian chant before the First World War. The case of the liturgy of St John Chrysostom], 174–85.

23073. Andreas ODENTHAL, Liturgie vom frühen Mittelalter bis zum Zeitalter der Konfessionalisierung. Studien zur Geschichte des Gottesdienstes, Spätmittelalter, Humanismus, Reformation. Studies in the Late Middle Ages, Humanism and the Reformation 61 (Tübingen: Mohr, Siebeck, 2011).

[V: ,,Aufsätze … werden in überarbeiteter Form erneut abgedruckt. Offensichtliche Fehler werden korrigiert, die wichtigste Sekundärliteratur nachgetragen, sodann ein einheitliches Zitationssystem mit ausführlichem Literaturverzeichnis erstellt und allzu offensichtliche Wiederholungen eliminiert.”].

23074. Walter BERSCHIN and Martin HELLMANN, Hermann der Lahme. Gelehrter und Dichter (1013–1054), Reichenauer Texte und Bilder 11 (Dritte, erweitere Auflage, Heidelberg: Mattes Verlag, 2013 [First published 2004]):

(a) Walter BERSCHIN, ‘Hermann der Lahme. Leben und Werk in Übersicht’, 15–32 (pp. 20–2 and 30–1 concern his musical works). (b) Walter BERSCHIN, ‘Hermann der Lahme als Sequenzendichter. Mit Diskussion der Antiphonen Salve regina und Alma redemptoris mater’, 73–105.

23075.Lexicon Musicum Latinum Medii Aevi. Wörterbuch der lateinischen Musikterminologie des Mittelalters bis zum Ausgang des 15. Jahrhunderts – Dictionary of Medieval Latin Musical Terminology to the End of the 15th Century, ed. Michael BERNHARD (Munich: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C.H. Beck, Munich, 1992–).

(a) Fascicle 14: pausabilis – psalmodia, 2013. Collaborators Daniela von ARETIN (pausabilis-progressio, propassus-properchant, propulso-psalmodia), Christian BERKTOLD (prolatio-prolationalis), Michael BERNHARD (proprietas), Calvin M. BOWER (English Translation), Ruth KONSTANCIAK (Editorial Assistance).

See 6089a, b, 7053a, 10068a, 11070a, 13079a, 14065a, 16067a, 17067a, 19045a, 20067a, 21046a, 22088a: Fascicles 1 (1992), 2 (1995), 3 (1997), 4 (2000), 5 (2001), 6 (2003), 7 (2004), 8 (2006), 1 [2nd augmented edition] (2006), 9 (2007), 10 (2009), 11 (2010), 12 (2012), 13 (2012).

23076.Musica. Geistliche und weltliche Musik des Mittelalters, ed. Vera MINAZZI, Cesarino RUINI, Introduction and conclusion by F. Alberto GALLO (Freiburg, Basel, Vienna: Herder, 2011).

Including many facsimiles. Essays by Giacomo BAROFFIO, Frédéric BILLIET, Christopher BONFIELD, Susan BOYNTON, Anna Maria BUSSE BERGER, Mauro CASADEI TURRONI MONTI, Christelle CAZAUX-KOWALSKI, Ettore CIRILLO, Martine CLOUZOT, Paola DESSI, Margot E. FASSLER, Riccardo FEDRIGA, Elena FERRARI BARASSI, Manuel Pedro FERREIRA, Alessandra FIORI, Jean-Marie FRITZ, F. Alberto GALLO, Paweł GANCARCZYK. Emmanouil GIANNOPOULOS, Paolo GOZZA, Nicoletta GUIDOBALDI, David HILEY, Sofia LANNUTTI, Elizabeth Eva LEACH, Silvia LUSUARDI SIENA, Pieter MANNAERTS, Sandra MARTANI, Francesco MARTELLOTTA, Vera MINAZZI, Neil MORAN, Alan V. MURRAY, Elisabetta NERI, Massimo PARODI, Nils Holger PETERSEN, Alejandro PLANCHART, Susan RANKIN, Donatella RESTANI, Anne Walters ROBERTSON, Stefania RONCROFFI, Cesarino RUINI, Tilman SEEBASS, Dorit TANAY, Christian TROELSGÅRD, Vasco ZARA, Sławomira ŻERAŃSKA-KOMINEK.

First published in Italian: Atlante storico della musica nel Medioevo (Milan, 2011) see 22041.

23077.A Musicological Gift: Libro Homenaje for Jane Morlet Hardie, ed. Kathleen NELSON and Maricarmen GÓMEZ, Wissenschaftliche Abhandlungen – Musicological Studies 101 (Lions Bay, BC, Canada: The Institute of Mediaeval Music, 2013):

(a) ‘Publications by Jane Morlet Hardie’, xi–xiii. (b) Juan Carlos ASENSIO, ‘Canto llano y fabordón en el coro del Real Monasterio de El Escorial en la primera mitad del siglo XVIII’, 1–18. (c) Manuel Pedro FERREIRA, ‘The Lisbon Office for the Translation of St. Vincent’, 57–86. (d) Thomas Forrest KELLY, ‘The Lamentations of Jeremiah in the Beneventan Zone’, 147–56. (e) Kathleen NELSON, ‘The Exultet at Vic during the Era of Bishop Oliba’, 213–30. (f) Greta OLSON, ‘Marian Antiphons in Post-Tridentine Spain and their Practice in Valencia’, 231–54. (g) Juan RUIZ JIMÉNEZ, ‘Un Psalterium-Hymnarium hispalense en la Biblioteca del Orfeó Catalá (Barcelona)’, 283–312. (h) Arturo TELLO RUIZ-PÉREZ, ‘Europa en el camino hacia Toledo. Un a presentación de los repertorios de tropos y secuencias toledanos’, 325–54. (i) Grayson WAGSTAFF, ‘A Lost Responsory, Pre-Tridentine Versions of Matins in Spain, and Influences from Local Liturgies of France’, 355–72. (k) Sergi ZAUNER, ‘Salmodia romana en España antes del Concilio de Trento’, 273–90.

23078.‘Quod ore cantas corde credas’. Studi in onore di Giacomo Baroffio Dahnk, ed. Leandra SCAPPATICCI, Monumenta Studia Instrumenta Liturgica 70 (Città del Vaticano: Libreria Editrice Vaticana, 2013):

(a) Giulio CATTIN, ‘A Giacomo Baroffio’, 21–8.

I. Iter monasticum: Liturgia, spazio e tradizione

(b) Gregorio PENCO, ‘Ascesi monastica e cultura tra tardo antico e alto Medioevo’, 31–9. (c) Leandra SCAPPATICCI, ‘Pregare in monastero: appunti per una “architettura” dello spazio liturgico extra ecclesiam’, 41–50. Concerns the sacramentary F-Pn lat. 2812. (d) Brian Møller JENSEN, ‘Tacere et audire discipulum convenit: Smaragdus of Saint-Mihiel, Hildegard of Bingen and Juan de Torquemada comment on chap. 6 De taciturnitate in Regula Benedicti’, 51–63. (e) Nicola TANGARI, ‘Quidquid antiqui. Inni per S. Benedetto nelle fonti cassinesi tra XV e XVI secolo’, 65–87. (f) Francesco G. B. TROLESE, ‘Descrizione quattrocentesca di un paramento acquistato dall'abate Ludovico Barbo per Santa Giustina di Padova (1430)’, 89–99.

II. Iter orientale: Ricerche musicali d'archivio di testimonianze greche, bizantine, ebraiche e arabe

(g) Mauro PERANI, ‘Iter hebraicum italicum. L'Italia crocevia dei viaggi die manoscritti ebraici per le rotte e i paesi del Mediterraneo’, 101–27. (h) Amnon SHILOAH, ‘The origin and purpose of music as reported in Hebrew and Arabic writings’, 129–43. (i) Marco D'AGOSTINO, Sandra MARTANI, ‘Il ms. crypt. E. γ. III: un heirmologion italo-greco’, 145–69.

III. Iter italicum: Manoscritti musicali attraverso la storia delle biblioteche

(k) Antonio MANFREDI, ‘I Vat. lat. 1202 e 1203 da Montecassino alla Vaticana delle origini con alcune postille di Biondo Flavio’, 173–88. (l) Mirella FERRARI, ‘Per la datazione del Liber magistri di Piacenza (Biblioteca Capitolare della Cattedrale, cod. 65) ‘, 189–202. (m) Marco NAVONI, ‘Il manoscritto A 2 inf. della Biblioteca Ambrosiana: analisi di un libro liturgico del secolo XIII’, 203–28.

IV. Stratificazioni musicali: Canto romano antico, ambrosiano e repertorio del medioevo europeo

(n) Peter JEFFERY, ‘A Lost Roman Chant for the Reconciliation of Penitents?’, 231–8. (o) Terence BAILEY, ‘The adoption of the Roman respond-gradual in Milan’, 239–55. (p) Angelo RUSCONI, ‘Rhythmic notations in Ambrosian books’, 257–75. (q) Joseph DYER, ‘The Chronology of the Lenten Weekday Communions’, 277–91. (r) Manuel Pedro FERREIRA, ‘Dating a Fragment: A Cistercian Litany and its Historical Context’, 293–313. Concerns P-Ln M. Mus. f. 11. (s) Juan Carlos ASENSIO, ‘Peculiaridades modales en el Officium Defunctorum hispánico (ss. VIII-XII)’, 315–33. (t) Giampaolo MELE, ‘Nota sul Cantus Sibyllae e un testimonium recenziore del Senyal del Judici (Alghero)’, 335–52. (u) Jean-François GOUDESENNE, ‘Translations de reliques et circulation de répertoires musicaux entre Soissons et Novara au IX^e s.’, 353–77. Concerns the Historia of Saint Medardus. (v) David HILEY, ‘Notes on manuscript F.K. Mus. 71 of the Fürst Thurn und Taxis Hofbibliothek, Regensburg, the so-called ‘“Codex Hammon”’, 379–95. (w) László DOBSZAY, ‘Fulget dies ista a late 12th-century fragment’, 397–402. Concerns SI-Ln 29. (x) Janka SZENDREI, ‘The Contrafact Vere felicem/Convertimini’, 403–11. Concerns the Historia of Saint Gregory the Great.

V. Scrivere in musica: Notazioni in picturis et libris

(y) Thomas Forrest KELLY, ‘Picturing sound in medieval manuscripts’, 415–26. (z) Michel HUGLO, Barbara HAGGH-HUGLO, ‘Des lettres de la passion aux lettres significatives notkériennes’, 427–36. (aa) Nino ALBAROSA, ‘Pes+Epiphonus’, 437–51. (bb) Marie-Noël COLETTE, ‘Un nouveau Responsorial témoin de la notation de Novalèse (Paris, Bibliothèque nationale de France, n. a. l. 2444 f. 1–2, X^e s.)’, 453–62. (cc) Marco GOZZI, ‘“Notazione quadrata” e indicazioni ritmiche nei libri liturgici dei secoli XIV–XVIII’, 463–94. (dd) Laura MAURI VIGEVANI, ‘Benedicamus domino. Musica negli affreschi di San Lorenzo a Colle Ciupi (Monteriggioni, Siena)’, 495–508 – ‘Benedicamus Domino e Ite missa est in codici senesi tra Duecento e Trecento (Fig. 5–24)’, 509–15 – Appendice storico-documentaria, a cura di Alessia ZOMBARDO’, 516–17.

VI. Esperienze polivocali dei secoli XIII, XIV e XV

(ee) Agostino ZIINO, ‘Mottetti a due voci in un codice francescano della fine del XIII secolo’, 521–60. Concerns I-Roma, Convento dei Frati Francescani Irlandesi di S. Isidoro 1/90, including eight facsimiles. (ff) Rodobaldo TIBALDI, ‘Testimonianze di prassi polivocali nel “Codice di San Guido” (Acqui Terme, Archivio Vescovile, ms. F 21 cartella 3/4)’, 561–85. Including five facsimiles. (gg) Alejandro Enrique PLANCHART, ‘The Liturgy of San Giacomo Maggiore and Guillaume Du Fay’, 587–605. Concerns Bologna.

VI. Practica musicae e prospettive storiographiche

(hh) Guido MILANESE, ‘Varianti, errori e trasmissione del testo “gregoriano”’, 609–22. (ii) Eun Ju Anastasia KIM, ‘Christus factus est: in margine ad alcune incisione del responsorio graduale’, 623–31. (kk) Manlio SODI, ‘Parola di Dio e canto nella Messa. Tra communicazione, cultura e animazione’, 633–55. (ll) ‘Gli scritti di Giacomo Baroffio Dahnk’, 657–92 – ‘Indici’, 693–735.

Review. Leandra SCAPPATICCI, Vox Antiqua, 2 (I/2013), 143–4.

23079.Santa Maria Assunta di Praglia. Storia, arte, vita di un'abbazia benedettina, ed. Chiara CESCHI, Mauro MACCARINELLI, Paola VETTORE FERRARO (Abbazia di Praglia: Edizione Scritti monastici, 2013):

(a) Giordana Mariana CANOVA, ‘Liturgia e cultura nei codici miniati di Praglia’, 463–85. (b) Anna VILDERA, ‘Musica e liturgia nel medioevo’, 545–55.

23080. V zajetí středověkého obrazu. Kniha studií k jubileu Karla Stejskala, ed. Klára BENEŠOVA and Jan CHLÍBEC (Prague: NLN, 2011):

(a) Pavel R. POKORNÝ, ‘Antifonář z Vorau’, 65–6. Concerns A-VOR 259. (b) Milada STUDNIČKOVÁ, ‘Resurrexi. Neznámé vyobrazeni zmrtvýchvstaní krista z misálu českého původu’, 80–5.

Review. Pavel SPUNAR, Scriptorium, 66 (2012), 214* (no. 491), 229* (no. 525).

23081.Wim van Gerven, pionier van de gregoriaanse semiologie in Nederland. 197 partituren met inleidingen van Martin Hoondert, Pieter Mannaerts, Marcel Zijstra e. a. Een uitgave ter gelegenheid van het tienjarig bestaan van Trio Gregoriana en de 100e uitzending van Bonum est, ed. Geert MAESSEN (Amsterdam: Gregoriana, 2012).

Includes essays by Jan van BIEZEN, Jacqueline ELEMANS, Wim van GERVEN, Martijn de GRAAF BIERBRAUWER, Martin HOONDERT, Dirk van KAMPEN, Kees KOK, Alfons KURRIS, Geert MAESSEN, Pieter MANNAERTS, Martin SPAINK, Egmont SWAAN, Henk WAARDENBURG, Marcel ZIJLSTRA.

23082.Brescia Sacra. Memorie storiche della diocesi di Brescia, 16/1–2 (2011):

(a) Giampaolo ROPA, ‘L'inno “Ubi caritas” di Paolino d'Aquileia. Esegesi e storia di un messagio’, 7–37. (b) Maria Teresa Rosa BAREZZANI, ‘“Ubi caritas”: postille e note sulla liturgia bresciana’, 39–60. (c) Maria Teresa Rosa BAREZZANI, ‘Antifone bizantine nella liturgia bresciana’, 123–60.

23083.Musicology Today. Journal of the National University of Music Bucharest, 16 (2013), ed. Nicolae GHEORGHIŢĂ:

(a) Gregory MYERS, ‘Troparian tis Litys: the Processional Chant in the Liturgical Practices of the Medieval Slavs’, ten pages. (b) Yulia ARTAMONOVA, ‘Kondakarian Chant: Trying to Restore the Modal Patterns’, eight pages. (c) Vesna-Sara PENO, ‘Post-Byzantine Chanting Tradition in the Serbian Monastery of Hilandar on Mount Athos’, seven pages. Available online at www.musicologytoday.ro/index.php.

23084.Pecia. Le livre et l'écrit, 21 (2011):

(a) Olivier CULLIN, ‘Le Graduel de Bellelay, aux origins de la liturgie prémontré’, 11–17. Concerns CH-P 18. (b) John HAINES, ‘Perspectives médiévales sur la note carrées’, 19–35. (c) Brian Møller JENSEN, ‘The Bolognese martyrs Vitalis and Agricola in Ambrose and codex Angelicus 123’, 185–95. Concerns I-Ra 123.

23085.Plainsong & Medieval Music, 22, 1 (2013):

(a) Emma HORNBY, ‘Text and formula in the Milanese cantus’, 1–35. Concerns GB-Lbl Add. 34209. (b) Catherine A. BRADLEY, ‘Ordering in the motet fascicles of the Florence manuscript’, 23–39. Concerns I-Fl Plut, 29, 1 (“F”). (c) Jerome F. WEBER, ‘Recent recordings of plainchant’, 87–91.

23086.Plainsong & Medieval Music, 22, 2 (2013):

(a) Alejandro Enrique PLANCHART, ‘What the Beneventans heard and how they sang’, 117–52. (b) David CATALUNYA and Carmen Julia GUTIÉRREZ, ‘Mozarabic preces in Ars Nova notation: a new fourteenth-century fragment discovered in Spain’, 153–67. Concerns the fragment 17 of the private archiv of Manel [Anscari] Mundó, now E-MO 1519. (c) Stefano MENGOZZI, ‘The heptachordal basis of hexchordal theory: on the semiotics of musical notation in the Middle Ages’, 169–94.

23087.Rivista internazionale di musica sacra, Nuova serie 34/1–2 (2013), ed. Giacomo BAROFFIO (Lucca: LIM Editrice):

(a) Gionata BRUSA, Simona GAVINELLI, ‘Il più antico innario ambrosiano tra i manoscritti dell Biblioteca civica di Trino’, 9–97. Includes pp. 63–97 a complete facsimile of MS Trino 2. (b) Stefania VITALE, ‘Gli inni nei manoscritti del Museo Diocesano di Brescia. Repertorio’, 99–153. (c) Maria Teresa Rosa BAREZZANI, ‘Sant'Eustachio nell’Île-de-France’, 191–255. (d) Gionata BRUSA, ‘Un frammento di graduale proveniente dall'Archivio di Stato di Fossano’, 369–73.

23088.Vox Antiqua, 2 (I/2013) Commentaria de Cantu Gregoriano, Musica antiqua, Musica sacra et Historia liturgica – International Journal of Gregorian Chant, Early Music, Sacred Music & Liturgical History, Journal of the Cantus Gregoriani Helvetici Cultores, Società svizzera studi di Canto gregoriano, ed. Giovanni CONTI, Marco FERRERO (Lugano: Quilisma Press):

(a) Luigi AGUSTONI, ‘La Semiologia gregoriana e Eugène Cardine’, 15–25. First published in Ut mens concordat voci. Festschrift Eugène Cardine zum 75. Geburtstag, ed. Johannes Berchmans GÖSCHL (St Ottilien: Eos-Verlag, 1980), 19–25. (b) Johannes Berchmans GÖSCHL, ‘Unity in Diversity. Fundamentals of the Interpretation of Gregorian Chant’, 27–47. Published in Dutch 2012/2013 in Tijdschrift voor Gregoriaans, see 22083e and 23068b, in German 2011 in Beiträge zur Gregorianik, see 21036b, in Italian 2011 in Studi gregoriani, see 22082b. (c) Riccardo ZOIA, ‘L'ipermetria strofica negli inni ambrosiani: confronto tra fonti, analisi semiologica e valutazioni interpretative’, 49–69. (d) Ján VELBACKY, ‘Lo sviluppo liturgico-musicale del canto dell’Offertorium’, 115–35

23089. Laura ALBIERO, ‘Tra necessità e rappresentazione: gestione dello spazio nei manoscritti liturgico-musicali nei secoli XI-XII’, Litterae caelestes, 4 (2012), 193–210.

23090. Eduardo Henrik AUBERT, ‘Historicizing Neumatic Notation: Medieval Neumes as Cultural Artifacts of Early Modern Time’, Studies in medievalism, 21 (2012), 65–87.

23091. Giacomo BAROFFIO, ‘I libri liturgici musicali’, I libri dei patriarchi. Un percorso nella cultura scritta del Friuli medievale, ed. Cesare SCALON, Deputazione di Storia Patria per il Friuli – Istituto Pio Paschini per la Storia della Chiesa in Friuli (Pasian di Prato [Udine]: Litho Stampa, s. a. [2013]), 157–87.

Includes many colour facsimiles, concerns GB-Ob Canon. Lit. 340 (Graduale di Moggio, c1216), I-CFm XCI (Breviario di Cividale, Sec. XII ex.-XIII in.), I-Rvat Rossi 76 (olim VII 18) (Graduale aquileiese, Sec. XIII), I-UDba 2 (olim Oct. 2) (Graduale aquileiese, Sec. XIII), I-CFm XLI (Antifonario di Cividale, Sec. XIII-XIV), I-CFm LVI (Graduale di Cividale, Sec. XIII, post 1291), I-GO B (Antifonario di Aquileia, Sec. XIII-XIV), I-GO I (Tropario, Sequenziario, Kyriale aquileiese, Sec. XIV), I-CFm CI (Processionale di Cividale, Sec. XV/2), I-UDba 80 (F.21.III.6) (Innario di Moggio, Sec. XIV).

23092. Harald BUCHINGER, ‘Osterprozessionen und ihre Gesänge im Früh- und Hochmittelalter. Annäherung an ein interdisziplinäres Forschungsfeld’, colloquium collegarum. Festschrift für David Hiley zum 65. Geburtstag, ed. Wolfgang HORN and Fabian WEBER, Regensburger Studien zur Musikgeschichte 10 (Tutzing: Verlag Hans Schneider, 2013), 9–87.

23093. David CATALUNYA, ‘Ars Subtilior en Toledo? Un indicio en el códice M1361 de la Biblioteca Nacional de Madrid’, Anuario Musical, 66 (2011), 3–46.

23094. Thomas László CSANÁDY, ‘Eine bislang unentdeckt gebliebene Handschrift des 12. Jahrhunderts aus St. Nikola vor Passau (?): Der Liber Ordinarius Ms 208 der Universitätsbibliothek Graz’, Archiv für Liturgiewissenschaft, 51 (2009), 109–18.

23095. Martin CZERNIN, ‘Liturgisch-musikalische Handschriften und Fragmente im Archiv der Gesellschaft der Musikfreunde’, Studien zur Musikwissenschaft. Beihefte der Denkmäler der Tonkunst in Österreich, 57 (Tutzing: Verlag Hans Schneider, 2013), 45–92. Including twenty facsimiles.

23096. Verena FÖRSTER BINZ, ‘Ungeklärte Fragen zu den Handschriften Codex Calixtinus und Ripoll 99’, Anuario Musical, 59 (2004), 3–22.

Concerns E-SC s. n. and E-Bac Ripoll 99. Available online at http://anuariomusical.revistas.csic.es.

23097. Emmanouel GIANNOPOULOS, ‘Ecclesiatical Musical Manuscripts in the Gennadius Library’, Exploring Greek Manuscripts in the Gennadius Library, ed. Maria L. POLITI and Eleni PAPPA, Gennadeion Monographs 6 (Princeton, NJ: American School of Classical Studies at Athens in Collaboration with the Greek Paleographical Society, 2011), 21–32.

Review. Silvio BERNARDINELLO, Scriptorium, 66 (2012), 165*–166* (Nr. 387).

23098. Miquel dels Sants GROS I PUJOL, ‘El coŀlectari-ordinari de l'abadia de Santa Maria de la Grassa (París, BnF, ms. lat. 933)’, Misceŀlània Litúrgica Catalana, 16 (2008), 203–453.

23099. Miquel dels Sants GROS I PUJOL, ‘Fragments d'un antifonari de l'ofici diví de Besiers (Tarragona, Arxiu Hist. Arxid., Frag. 19/1)’, Misceŀlània Litúrgica Catalana, 17 (2009), 47–81.

23100. Miquel dels Sants GROS I PUJOL, ‘El processoner antic de la catedral de Tortosa (Tortosa, Arx. Cap., ms. 267)’, Misceŀlània Litúrgica Catalana, 18 (2010), 279–322.

23101. Carmen Julia GUTIÉRREZ, ‘Avatares de un repertorio marginal: la preces de la liturgia hispánica’, Revista de Musicología, 25 (2012), 17–47.

23102. David HILEY, ‘Hermannus Contractus zum 1000. Jubiläum. Zwei Beispiele für die Kompositionskunst von Hermannus Contractus’, Musica sacra, 133 (2013), Heft 3, 146–9.

23103. Michel HUGLO, ‘Les livres de chant notes à Cluny. Une survie à Solesmes?’, Revue Mabillon, N.S. 22 (t. 23) (2011), 39–51, Summary 437.

Review. Barbara HAGGH, Scriptorium, 66 (2012), 52* (Nr. 127).

23104. Robert KLUGSEDER, ‘Der mittelalterliche Liber ordinarius der Diözese Passau. Entstehungs- und Wirkungsgeschichte’, Studien zur Musikwissenschaft. Beihefte der Denkmäler der Tonkunst in Österreich, 57 (Tutzing: Verlag Hans Schneider, 2013), 11–43.

23105. Stefan LANGENBAHN, ‘Das “Pastor bonus”-Motiv im Proprium Thomas Beckets. Zur Genese und Rezeption von Liturgietexten im Geflecht von Kanonisation und Heiligenimage’, Archiv für Liturgiewissenschaft, 53 (2011), 1–74.

23106. Martin MÖLLER, ‘Noch einmal: Der “Trierer Choralstreit”’, Kirchenmusikalisches Jahrbuch, 95 (2011) (Paderborn: Verlag Ferdinand Schöningh, 2012), 53–74. Concerns the Editio Medicaea and the Gradual edition of Michael Hermesdorff (1833–85), Trier, Germany.

23107. Neil MORAN, ‘Altrömische Offertoriums-Gesänge in medialen Tonarten. Zum Verhältnis des byzantinischen zum altrömischen und gregorianischen Choral’, Byzantinische Zeitschrift, 106 (2013), 65–82.

23108. Luisa NARDINI, ‘The St. Peter Connection and the Acquisition of a Roman Offertory in Bologna and Benevento’, Medieval Studies, 72 (2010), 39–74.

23109. Maurizio PERUGI, ‘La Séquence de saint Eulalie et la poème Virgo parens. Remarques sur les teste composant les additions du ms. Valenciennes, BM, 150’, Cahiers de civilisation médiévale, 54 (2010), 21–47.

Review. Jacques Charles LEMAIRE, Scriptorium, 66 (2012), 91* (Nr. 214).

23110. Franz Karl PRASSL, ‘Wovon man nicht sprechen kann, davon muss man singen: Gregorianischer Choral als Ausdruck von Glaubenserfahrung und erklingender Theologie von den Karolingern bis heute’, Homiletische Präsenz. Predigt und Rhetorik, ed. Michael MEYER-BLANCK, Jörg SEIP, Bernhard SPIELBERG, Ökumenische Studien zur Predigt 7 (München: Don Bosco, 2010), 190–205.

23111. Franz Karl PRASSL, ‘Trinitätsmotive in der Kirchenmusik am Beispiel des gregorianischen Chorals’, Trinität. Die Drei-Einheit Gottes im theologischen und künstlerischen Diskurs, ed. Peter EBENBAUER, Erich RENHART (Graz: Grazer Universitätsverlag, 2012), 175–92.

23112. Franz Karl PRASSL, ‘Die Psalmenauslegung der Kirchenväter im Lichte des gregorianischen Chorals am Beispiel des Weihnachtsfestes’, Heiliger Dienst, 66 (2012), 34–44.

23113. Franz Karl PRASSL, ‘Die Angst und ihre Überwindung am Beispiel gregorianischer Gesänge’, Angst. Lähmender Stillstand und Motor des Fortschritts, Grazer Humboldt-Kolleg 6.–9. Juni 2011 (Tübingen: Stauffenberg Verlag, 2012), 337–45.

23114. Franz Karl PRASSL, ‘Anmerkungen zur Orgelbegleitung gregorianischer Gesänge’, Theorien des Planyversums. Gedanken, Artikel, Kompositionen. Peter Planyavsky zum 65. Geburtstag (Wien, Berlin: LIT, 2012), 93–119.

23115. Franz Karl PRASSL, ‘Die Lamentationen im St. Lambrechter Antiphonale A-Gu 29’, Orgelbau, Orgelspiel und Kirchenmusik einst und jetzt, ed. Manfred NOVAK, Musik, Forschung und Wissenschaft 5 (Wien, Berlin: LIT, 2013), 145–61.

23116. Jürg STENZL, ‘Das Admonter Antiphonar-Fragment aus Cod. 285 (A-Frag)’, Anzeiger der philosophisch-historischen Klasse, Österreichischen Akademie der Wissenschaften, 141 (2006), 2. Halbband, 117–58.

23117. Katarina ŠTER, ‘Between uniformity and diversity: Medieval antiphoners of the Charterhouse Žiče in the University Library of Graz’, Analecta cartusiana (Salzburg: Institut für Anglistik und Amerikanistik der Universität Salzburg, 2012), 69–102.

23118. Ernst TREMP, Franziska SCHNOOR, ‘[Bericht] Die Sequenzen Notkers des Stammlers zu neuem Leben erweckt’, MusikTheorie, 28 (2013), 182. Concerns the project ‘e-sequence’.