6089aR, 6089bR, 7053aR, 10068aR, 11070aR, 13079aR, 14065aR, 16067aR, 17067aR. Andreas PFISTERER, Die Musikforschung, 62 (2009), 170–1.

15023R. Alexander LINGAS, Early Music, 37/2 (2009), 300–2.

16035R. Michel HUGLO, Scriptorium, 62 (2008), 167*–9* (Nr. 455).

16069R. Marie-Noël COLETTE, Revue de musicologie, 95 (2009), 217–19.

17017R. Andreas PFISTERER, Die Musikforschung, 62 (2009), 284–5. – Kate HELSEN, Plainsong & Medieval Music, 19, 1 (2010), 81–4.

17018R. Emma HORNBY, Music & Letters, 90 (2009), 166–8.

17035R. Andreas PFISTERER, Die Musikforschung, 62 (2009), 385–6.

17036R. Christelle CAZAUX-KOWALSKI, Revue de musicologie, 95 (2009), 214–17.

17052R. Kate HELSEN, Plainsong & Medieval Music, 18, 2 (2009), 208–12.

17071R. Ludwig FINSCHER, Österreichische Musikzeitschrift, 65/3–4 (2010), 103–4. – Klaus-Jürgen SACHS, Die Musikforschung, 62 (2009), 382–3.

18006R. Nicola TANGARI, Rivista internazionale di musica sacra, Nuova serie 30/2 (2009), 185–96.

18014R. Christian MEYER, Scriptorium, 62 (2008), 48*–9* (Nr. 150).

18017R. Ann BUCKLEY, Early Music, 37/2 (2009), 306. – Jürgen SCHAARWÄCHTER, Die Musikforschung, 61 (2008), 289–90.

18045R. Eduardo Henrik AUBERT, Revue de musicologie, 95 (2009), 211–12. – Michel HUGLO, Scriptorium, 62 (2008), 264*–5* (Nr. 649).

18054.Harmonia mundi. Musica mondana e musica celeste fra Antichità e Medioevo. Atti del Convegno internazionale di studi (Roma, 14–15 dicembre 2005), ed. Marta CRISTIANI, Cecilia PANTI and Graziano PERILLO, Micrologus' Library 29 (Florence: SISMEL – Editrice del Galuzzo, 2007): [Addition:] (c) Marta CRISTIANI, ‘Dal sensibile all’intelligibile. La musica nell'enciclopedia del sapere tra Antichità e Medioevo’, 15–56. (d) Christian MEYER, ‘L’Âme du monde dans la rationalité musicale: ou l'expérience sensible d'un ordre intelligible’, 57–75. (e) Ernesto S. MAINOLDI, ‘La scuola eriugeniana e l’insegnamento musicale tardo-carolingo’, 115–28. (f) Anna MORELLI, ‘Armonia cosmica, ‘musica humana’ e canto liturgico nel pensiero musicale alto-medievale’, 145–66. (g) Angelo RUSCONI, ‘Guido d’Arezzo teorico di un nuovo insegnamento’, 201–10.

18056R. Pieter MANNAERTS, Scriptorium, 62 (2008), 216*–17* (Nr. 552).

18068R. Marie-Louise EGBERS, Tijdschrift voor gregoriaans, 34 (2009), 67–9.

18071.Hispania Vetus. Manuscritos litúrgico-musicales: de los orígenes visigóticos a la transición francorromana (siglos IX–XII), ed. Susana ZAPKE [Additions:] Foreword by Anscari M. MUNDÓ, Introduction by Susana ZAPKE (Bilbao: Fundación BBVA, 2007). – Hispania Vetus. Musical-Liturgical Manuscripts: From Visigothic Origins to the Franco-Roman Transition (9th–12th Centuries), ed. Susana ZAPKE (Bilbao: Fundación BBVA, 2007): English Edition:

Part One: Research:

(a) Ludwig VONES, ‘The Substitution of the Hispanic Liturgy by the Roman Rite in the Kingdoms of the Iberian Peninsula’, 41–59. (b) Michel HUGLO, ‘The Musica Isidori Tradition in the Iberian Peninsula’, 61–92. (c) Manuel C. DÍAZ Y DÍAZ, ‘Some Incidental Notes on Music Manuscripts’, 93–111. (d) Maria José AZEVEDO SANTOS, ‘Paleographic Tendencies in 10th–12th Century Notated Liturgical Fragments from Portugal’, 113–25. (dd) Eva CASTRO CARIDAD, ‘The Hispanic Texts In diem Circumcisionis Domini’, 127–39. (e) Gunilla IVERSEN, ‘Osanna vox laudabilia. Vocabulary and Compositional Forms in Sanctus Tropes in Iberian Liturgical Manuscripts’, 141–57. (f) Maricarmen GÓMEZ, ‘From the Iudicii signum to the Song of the Sybil: Early Testimony’, 159–73. (g) Barbara HAGGH, ‘The Historia for St. Dominic of Silos in British Library, Add. ms. 30850’, 175–87. (h) Susana ZAPKE, ‘From Spanish Notations to Aquitanian Notation (9th–12th Centuries)’, 189–243.

Part Two:

(i) Catalogue of Manuscripts by Maria José AZEVEDO SANTOS, M.^a Dolores BARRIOS MARTÍNEZ, Màrius BERNADÓ, Susan BOYNTON, Eva CASTRO CARIDAD, Marco Daniel DUARTE, Maricarmen GÓMEZ, Ramón GONZÁLVES RUIZ, Miguel S. GROS, José LÓPEZ-CALO, Shin NISHIMAGI, M.^a Concepción PEÑAS GARCÍA, Elisa RUIZ GARCÍA, Miguel C. VIVANCOS, Susana ZAPKE, 245–427. (k) Bibliography of the Catalogue of Manuscripts, 429–45. (l) Appendices, 447–80.

Reviews. Eduardo Henrik AUBERT, Revue de musicologie, 95 (2009), 212–14. – John CALDWELL, Plainsong & Medieval Music, 18, 2 (2009), 201–8. – Michael KLAPER, Die Musikforschung, 62 (2009), 384–5. – Lorenzo CANDELARIA, Notes, 66, 2 (2009), 295–7.

19001.Antiphonarium ecclesiae parochialis urbis Kranj [facsimile with introduction in English], 2 vols, ed. Jurij SNOJ and Gabriella GILANYI, Musicalia Danubiana 23 (Budapest: Hungarian Academy of Sciences, 2007). Facsimile of SI-Lna Rkp 18 and 19 (olim 17 and 18).

Review. Barbara HAGGH, Scriptorium, 62 (2008), 120* (Nr. 354).

19002.Das Antiphonar von St. Peter. Codex Vindobonensis Ser. n. 2700 der Österreichischen Nationalbibliothek, 2 vols, Farbfaksimile, Kommentar von Franz UNTERKIRCHER und Otto DEMUS, Glanzlichter der Buchkunst 18, 1–2 (Graz: Akademische Druck- und Verlagsanstalt, 2009). First published in Codices selecti 21 (Graz: Akademische Druck- und Verlagsanstalt, 1969–73); the Kommentarband was published in 1974.

19003.Usus psallendi ecclesiae Vercellensis, Studia et editionem paravit I. BRUSA adlaborante F. DELL'ORO, Monumenta Italiae Liturgica 4 (Roma: C.L.V. – Edizioni Liturgiche, 2009).

19004.Sicardi Cremonensis Episcopi Mitralis de Officiis, ed. Gábor SARBAK and Lorenz WEINRICH, Corpus Christianorum Continuatio Medievalis 228 (Turnhout: Brepols, 2008).

19005.Prosdocimo de' Beldomandi's Plana musica and Musica speculativa. New Critical Texts, Translations, Annotations and Indices, ed. Jan HERLINGER, Studies in the History of Music Theory and Literature 4 (Urbana and Chicago: University of Illinois Press, 2008).

Review. Giuliano DI BACCO, Plainsong & Medieval Music, 18, 2 (2009), 212–16.

19006.Liber Gradualis iuxta ordinem cantum Missae ad usum privatum, ex codicibus antiquioribus ac probatis restauratus, cura et studio Alberti TURCO, I. Tempus Adventus (Verona: Edizioni Melosantiqua, 2009). Including 2 CDs.

Review. Heinrich RUMPHORST, Beiträge zur Gregorianik, 48 (2009), 115–24.

19007.Das deutsche Kirchenlied. Kritische Gesamtausgabe der Melodien. Abteilung II: Geistliche Gesänge des deutschen Mittelalters. Melodien und Texte handschriftlicher Überlieferung bis um 1530. Institut für hymnologische und musikethnologische Studien e. V., Köln – Musikwissenschaftliches Institut der Universität Zürich. Band 3: Gesänge I-M (Nr. 331–536). In Verbindung mit Mechthild SOBIELA-CAANITZ, Cristina HOSPENTHAL und Max SCHIENDORFER, ed. Max LÜTOLF (Kassel etc.: Bärenreiter, 2009). Band 1: Gesänge A–D, Band 2: Gesänge E–H, Band 5: Zyklische Sammlungen, Band 6: Kritischer Bericht see 15008a–d.

19008. Charles M. ATKINSON, The Critical Nexus. Tone-System, Mode, and Notation in Early Medieval Music, AMS Studies in Music (New York: Oxford University Press, 2009).

Reviews. John CALDWELL, Music and Letters, 91 (2010), 248–251. – Joseph DYER, Plainsong & Medieval Music, 19, 2 (2010), 199–206.

19009. James BOYCE, Carmelite Liturgy and Spiritual Identity. The Choir Books of Kraków, Medieval Church Studies 16 (Turnhout: Brepols, 2008). Concerning PL-Kkarm Codices 1 to 36 – PL-WRzno 12025/IV.

19010. Anton von EUW, Die St. Galler Buchkunst vom 8. bis zum Ende des 11. Jahrhunderts, 2 vols. (Textband and Tafelband), Monasterium Sancti Galli 3 (St Gallen: Verlag am Klosterhof, 2008).

19011. Constantin FLOROS, The Origins of Russian Music. Introduction to the Kondakarian Notation. Revised, translated, and with a chapter on relationships between Latin, Byzantine and Slavonic Church Music by Neil K. MORAN (Frankfurt am Main etc.: Peter Lang, 2009). Moran's chapter was first published in German in 2007 (‘Wechselbeziehungen zwischen dem lateinischen, byzantinischen und slavischen Kirchengesang …’), see 17107.

19012. Jeffrey F. HAMBURGER, ed., Leaves from Paradise: The Cult of John the Evangelist at the Dominican Convent of Paradies bei Soest (Cambridge, MA: Harvard University Press, 2008). (Details at www.hup.harvard.edu/catalog/HAMLEA.html.)

19013. Ulrike HASCHER-BURGER, Verborgene Klänge: Inventar der handschriftlich überlieferten Musik aus den Lüneburger Frauenklöstern bis ca. 1550. Mit einer Darstellung der Musik-Ikonographie von Ulrike VOLKHARDT (Hildesheim, Zürich, New York: Georg Olms Verlag, 2008). Concerning the convents of Ebstorf, Isenhagen, Lüne, Medingen, Walsrode and Wienhausen.

19014. David HILEY, Gregorian Chant, Cambridge Introductions to Music (Cambridge: Cambridge University Press, 2009).

19015. Cristina HOSPENTHAL, Tropen zum Ordinarium missae in St. Gallen. Untersuchungen zu den Beständen in den Handschriften St. Gallen, Stiftsbibliothek 381, 484, 376, 378, 380 und 382, Ph.D. diss., University of Basel (2007).

19016. Stefan KLÖCKNER, Handbuch Gregorianik. Einführung in Geschichte, Theorie und Praxis des Gregorianischen Chorals (Regensburg: ConBrio Verlagsgesellschaft, 2009).

19017. Andrea KOVÁCS, Kalocsa-Zagreb (Sanctorale), Corpus Antiphonalium Officii – Ecclesiarum Centralis Europae, VI/B, Redaction of the series: László DOBSZAY (Budapest: MTA Zenetudományi Intézet – Institute for Musicology of the Hungarian Academy of Sciences, 2008).

19018. Liborius Olaf LUMMA, Qui manducat carnem meam et bibit sanguinem meum. Theologische Implikationen der Gregorianischen Communio-Antiphonen de evangelio im Messproprium des Temporale, Liturgica Oenipontana 5 (Vienna: LIT-Verlag, 2009). Theol.D. diss., University of Innsbruck.

19019. Rebecca MALOY, Inside the Offertory: Aspects of Chronology and Transmission (New York: Oxford University Press, 2010). Includes a companion website that features ninety-four chant melodies, presenting Gregorian and Roman versions in side-by-side transcriptions.

19020. Fiona McALPINE, Tonal Consciousness and the Medieval West, Varia Musicologica 10 (Bern: Peter Lang, 2008).

Review. David WULSTAN, Plainsong & Medieval Music, 19, 1 (2010), 84–7.

19021. Robert Josef Ferdinand MEHLHART, Warum Mehrstimmigkeit? Das historische Umfeld, der liturgische Ort und die Frage nach der Bedeutung von früher notierter Mehrstimmigkeit / Musica enchiriadis, Diplomarbeit, University of Vienna, 2008.

19022. Helene NOLTHENIUS, Muziek tussen hemel en aarde. De wereld van het Gregoriaans, 3e druk, met een inleiding en bijgewerkte bibliografie door Etty MULDER (Nijmegen: Uitgeverij Vantilt, 2009). First published Amsterdam: E. Querido's Uitgeverij B. V., 1981.

Review. Jolanda KWAST, Tijdschrift voor gregoriaans, 34 (2009), 136–9. See 19041k.

19023. Bernhard PAUL, Musik zu Ehren des hl. Leopold. Zur Musikgeschichte des Chorherrenstiftes Klosterneuburg, Ph.D. diss., Universität für Musik und darstellende Kunst, Vienna (2008).

19024. Daniel SAULNIER, Gregorian Chant. A Guide to the History and Liturgy, translated by Mary BERRY (Brewster, MA: Paraclete Press, 2009). First published in French in 1995 as Le chant grégorien quelques jalons, see 7037.

19025. Maike SMIT, Media vita in morte sumus. Studien zur Überlieferung und zu den textlich-musikalischen Erweiterungen einer mittelalterlichen Antiphon, Ph.D. diss., University of Basel (2008).

19026. Rainer STICHEL, Beiträge zur frühen Geschichte des Psalters und zur Wirkungsgeschichte der Psalmen, Abhandlungen der Nordrhein-Westfälischen Akademie der Wissenschaften 116 (Paderborn, Munich, Vienna, Zurich: Verlag Ferdinand Schöningh, 2007).

19027. Anne Bagnall YARDLEY, Performing Piety: Musical Culture in Medieval English Nunneries (New York: Palgrave Macmillan, 2006).

Review. Lisa COLTON, Early Music, 37/2 (2009), 299–300.

19028.Itinerari e stratificazioni dei tropi. San Marco, l'Italia settentrionale e le regioni transalpine. Testi d'un Convegno e di Sessioni di studio negli anni 1992–1995, ed. Wulf ARLT and Giulio CATTIN, Serie IV. Collezione speciale per la musica veneta. A. Monumenti 2 (Venezia: Edizione Fondazione Levi, 2008):

(a) Giulio CATTIN, ‘Il cammino di una ricerca: da un interesse tematico personale a un progetto internazionale di gruppo’, XIII–XIV. (b) Wulf ARLT, ‘Introduzione / Einführung’, 3–15, 16–28. Parte prima: Tropi in Italia settentrionale (c) Gunilla BJÖRKVALL, ‘French Tropes in Northern Italy’, 31–71. (d) Wulf ARLT, ‘Die Präsenz des St. Galler Tropenrepertoires der Handschriften SG 484 und 381 in Italien bis ins frühe 12. Jahrhundert’, 73–136. (e) Andreas HAUG, ‘Tropen im südostdeutschen und nordostitalienischen Raum: Untersuchungen zu ihren Überlieferungswegen’, 137–175. (f) Susan RANKIN, ‘“Quem quaeritis” en voyage in Italy’, 177–207. (g) Martin STEINMANN, ‘Paläographische Bemerkungen zum Tropar Douce 222 in Oxford’, 209–15. Parte seconda: Il tropario di San Marco – Edizione e commento [Concerning D-B Mus. ms. 40608] (h) Wulf ARLT, ‘Avvertenza / Vorbemerkung’, 221–2, 223–4. (i) Ritva JACOBSSON, ‘Introduction to the Edition of the Texts’, 225–7. (k) Ritva JACOBSSON, Wulf ARLT, ‘In natale Domini. In nocte. Tropha’, 229–35. (l) Ritva JACOBSSON, Susan K. RANKIN, ‘In die natalis Domini. Tropha’, 237–48. (m) Ritva JACOBSSON, Andreas HAUG, ‘In natale sancti Stephani. Tropha’, 249–66. (n) Ritva JACOBSSON, Andreas HAUG, ‘In natale sancti Iohannis. In die. Tropha’, 267–81. (o) Ritva JACOBSSON, Wulf ARLT, ‘In Epiphania Domini. Tropha’, 293–96. (p) Ritva JACOBSSON, Susan K. RANKIN, ‘In Purificatione sancte Marie. Tropha’, 297–308. (q) Ritva JACOBSSON, Andreas HAUG, ‘In die sancto Pasce. Tropha’, 309–23. (r) Ritva JACOBSSON, Bodil ASKETORP, ‘In dedicatione ecclesie, Tropha’, 325–41. (s) Ritva JACOBSSON, Susan K. RANKIN, ‘In die Ascensionis. Tropha’, 343–63. (t) Ritva JACOBSSON, Susan K. RANKIN, ‘In die sancto Pentecostes. Tropha’, 365–74. (u) Ritva JACOBSSON, Wulf ARLT, ‘In die sancti Iohannis Baptiste. Ad missam maiorem. Tropha’, 375–410. (v) Ritva JACOBSSON, Wulf ARLT, ‘In die sancti Petri. Tropha’, 411–20. (w) Ritva JACOBSSON, Wulf ARLT, ‘In sancti Laurentii. In die. Tropha’, 421–33. (x) Ritva JACOBSSON, Susan RANKIN, ‘In die Assumptionis. Tropha’, 435–43. (y) Ritva JACOBSSON, Wulf ARLT, ‘In Omnium Sanctorum. In die. Tropha’, 445–61. (z) Ritva JACOBSSON, Susan RANKIN, ‘In die sancti Martini confessoris. Tropha’, 463–9. (aa) Ritva JACOBSSON, Wulf ARLT, ‘In die sancti Andree. Tropha’, 471–86. (bb) Ritva JACOBSSON, ‘Repertory, Character and Style of the Venice Troper. Some Remarks’, 489–98. (cc) Wulf ARLT, ‘Inquadramento conclusivo e in prospettiva / Einordnung und Ausblick’, 499–518, 519–39.

19029.Il canto fratto: l'altro gregoriano. Atti del convegno internazionale di studi (Parma-Arezzo, 3–6 dicembre 2003), ed. Marco GOZZI and Francesco LUISI, con esemplificazioni musicali in CD, Miscellanea musicologica 7 (Rome: Torre d'Orfeo Editrice, 2005):

(a) Marco GOZZI, ‘Il canto fratto: prima classificazione dei fenomeni e primi esiti del progetto RAPHAEL’, 7–58. Progetto RAPHAEL = Rhythmic And Proportional Hidden or Actual ELements in Plainchant (1350–1650): computerised census and integral restoration of a neglected musical repertoire. (b) Alba SCOTTI, ‘Individualità e pragmatismo delle notazioni di brani di polifonia semplice in manoscritti italiani’, 59–68. (c) Paola BESUTTI, ‘Il Credo Cardinalis nei testimoni di area lombarda: ipercorrettismo o diverse tradizioni?’, 69–84. (d) Giacomo BAROFFIO, Eun Ju KIM, ‘La tradizione francescano-veneta del Credo in canto fratto’, 85–91. (e) Giulia GABRIELLI, ‘Il manoscritto 327 della Fondazione Biblioteca San Bernardino di Trento’, 93–120. (f) Lorenzo PONGILUPPI, ‘Canto fratto nei codici del monastero benedettino di San Pietro di Modena: aspetti della notazione’, 121–52. (g) Michele MANGANELLI, ‘I Cistercensi e il canto fratto: un piccolo libro di Messe diffuso nell’ordine di san Bernardo dal XVII al XVIII secolo’, 153–70. (h) Francesco FACCHIN, ‘Un esempio tardivo di canto fratto? I gesuiti e la musica nelle missioni rurali’, 171–84. (i) Cesarino RUINI, ‘Esempi di notazione mensurale nei codici liturgici della Biblioteca musicale L. Feininger di Trento’, 185–202. (k) Fabrizio MASTROIANNI, ‘Alcuni manoscritti con canto fratto della Biblioteca della Porziuncola di Asissi’, 203–12. (l) Giampaolo MELE, ‘Due Credo inediti, “Sardo” e “Maltés”, in una fonte con canto fratto del secolo XVIII’, 213–38. (m) Màrius BERNADÓ, ‘Adaptación y cambio en repertorio de himnos durante los siglos XV y XVI: algunas observaciones sobre la práctica del canto mensurale en fuentes ibéricas’, 239–79. (n) Herminio GONZÁLEZ-BARRIONUEVO, ‘El canto llano mensural de la Catedral de Sevilla dentro del contexto español’, 281–319. (o) Cristina MENZEL SANSÓ, ‘Canto fratto nei libri liturgici della cattedrale di Maiorca’, 321–38. (p) Luca RICOSSA, ‘I cantorali mozarabici e il ritmo gregoriano’, 339–45. (q) Nicolas BELL, ‘Between Mensural and Non-Mensural Notation in Sequences in the Fourteenth Century’, 347–57. (r) John BERGSAGEL, ‘Some Early Examples of Rhythmic Notation in Plainchant Sources’, 359–68. (s) Viacheslav KARTSOVNIK, ‘Lamentations of Parisian Celestines: an unusual fifteenth-century chant notation’, 369–83. (t) James BORDERS, ‘Rhythmic Performance of accentus in Early Sixteenth-Century Rome’, 385–405. (u) Peter WENCKE, ‘Rhythmic Elements in Liturgical Recitative as Found in the Cantorale Literature 1500–1600 in the Biblioteca Vaticana’, 407–14. (v) Hyun-Ah KIM, ‘Proportional Notation in John Merbecke's The Booke of Common Praier Noted (1550)’, 415–29. (w) Salvatore DE SALVO FATTOR, ‘Annotazioni sulla tradizione a stampa dei Credo in canto fratto nei testimoni della Biblioteca L. Feininger di Trento’, 431–45. (x) Daniele TORELLI, ‘Notazioni ritmiche e canto fratto nelle edizioni non liturgiche tra Cinquecento e Seicento’, 447–92. (y) Angelo RUSCONI, ‘Il ritmo del canto gregoriano nei trattati italiani del Seicento e del Settecento’, 493–505. (z) Marco GOZZI, ‘Esempi di canto fratto italiano: il CD audio allegato’, 507–46. (aa) Indice dei manoscritti, Indice delle edizioni, Indice generale dei nomi, dei luoghi, dei canti e dei soggeti, 547–58, 559–68, 569–98.

19030.Identity and Locality in Early European Music, 1028–1740, ed. Jason STOESSEL (Aldershot: Ashgate, 2009) [XIX: ‘… presented at the 29th National Conference of the Musicological Society of Australia, University of New England, Armidale, 27 September to 1 October 2006’.]:

(a) James GRIER, ‘Adémar de Chabannes at the Nexus of Tradition and Innovation’, 13–26. (b) Kathleen E. NELSON, ‘Seeking Early Practice for the Exultet in Iberia’, 27–36. (c) Jane Morlet HARDIE, ‘Regional and Royal: Aspects of Practice in Three Portuguese Prints of the Lamentations of Jeremiah (1543–1595)’, 37–54. (d) Greta J. OLSON, ‘Plainsong in Eastern Spain and the tono valenciano’, 55–80. (e) Reinhard STROHM, ‘Late-Medieval Sacred Songs: Tradition, Memory and History’, 129–48.

19031.Vom Preis des Fortschritts. Gewinn und Verlust in der Musikgeschichte, ed. Andreas HAUG and Andreas DORSCHEL, Studien zur Wertungsforschung 49 (Vienna, London, New York: Universal-Edition, 2008) [9: ‘Symposion … 4. bis 6. Mai 2007 an der Kunstuniversität Graz’]:

(a) Andreas HAUG, ‘Gewinn und Verlust in der Musikgeschichte’, 11–31. First published in Schweizer Jahrbuch für Musikwissenschaft, Neue Folge, 23 (2003), 15–33, see 15078a.(b) Max HAAS, ‘Musik als Werk. Leseversuche eines unklaren Problems’, 55–87. (c) Sam BARRETT, ‘Reflections on Music Writing: Coming to Terms with Gain and Loss in Early Medieval Song’, 89–109. (d) Susan RANKIN, ‘Thirteenth-Century Notations of Music and Arts of Performance’, 110–40. (e) Rob C. WEGMAN, ‘Roads Taken and Not Taken in Medieval Music: The Case of False Counterpoint’, 142–60. (f) Birgit LODES, ‘Musikdruck als Medienrevolution? Das ‘Ereignis’ Petrucci’, 161–94. Including abstracts in English.

19032.Antiphonaria: Studien zu Quellen und Gesänge des mittelalterlichen Offiziums, ed. David HILEY, Regensburger Studien zur Musikgeschichte 7 (Tutzing: Verlag Hans Schneider, 2009) [VII: ‘The present volume of essays has its origin in a workshop held at Regensburg from 27 September to 1 October 2006’]:

(a) Terence BAILEY, ‘The Milanese Gospel-Processions and the antiphonae ante evangelium’, 1–15. (b) Giacomo BAROFFIO, ‘Antiphonaria Italica’, 17–32. (c) Gionata BRUSA, ‘Il più antico testimone dell’Ufficio vercellese: L'Antifonario plenario-tonario Vercelli, Bibl. Cap., cod. LXII, 33–51'. Including a CD-Rom ‘Inventario’. (d) László DOBSZAY, ‘The Dichotomy between Defining a Rite and Analysing an Antiphonale’, 53–9. (e) Barbara HAGGH, ‘Towards a History of Chant in Northwest Europe: The Place of the Antiphoner’, 61–79. (f) Kate HELSEN, ‘Questions about Recurrent Melodic Material in the Great Responsories’, 81–9. (g) David HILEY, ‘Post-Pentecost Antiphons’, 91–8. (h) David HILEY, ‘Antiphons Transmitted with Varying or Different Melodies’, 99–135. (i) Michel HUGLO, ‘Note sur le RISM, Série ANTIPHONARIA’, 137–41. (k) Michel HUGLO, ‘A Statistical Survey of Notated Liturgical Manuscripts’, 143–5. (l) Debra LACOSTE, ‘Similarities in Responsory Series Represented by Hierarchical Diagrams: New Tools for Determining Manuscript Affiliation’, 147–69. (m) Ike de LOOS, ‘Modes and Melodies in the Great Responsories’, 171–200. (n) Andreas PFISTERER, ‘Vorläufige Hinweise zur Choraltradition der Windesheimer Kongregation’, 201–6. (o) Ruth STEINER, ‘Musical Interpolations into the Liturgical Reading of the Book of Job’, 207–18.

19033.Fra Josip Ante Soldo. Život i djelo [Friar Josip Ante Soldo: Life and Work], Zbornik radova sa simpozija održanog u Sinju, 6. listopada 2006 [Papers and proceedings from the conference held in Sinj on October 6, 2006], ed. Fra Zvonko TOLIĆ (Sinj, 2008):

(a) Hana BREKO KUSTURA, ‘Fra Josip Ante Soldo: glazbenik i muzikolog’, 117–36. Concerning Friar Josip Ante Soldo, musician and music historian.

19034.Elisabeth von Thüringen und die neue Frömmigkeit in Europa, ed. Christa BERTELSMEIER-KIERST [Beiträge des Wissenschaftlichen Symposions anlässlich des 800. Geburtstages der heiligen Elisabeth von Thüringen, 16. bis 19. Mai 2007 in Marburg], Kulturgeschichtliche Beiträge zum Mittelalter und zur frühen Neuzeit 1 (Frankfurt am Main: Peter Lang, 2008):

(a) Stefan MORENT, ‘Letare Germania. Zur musikalisch-poetischen Elisabeth-Verehrung im Mittelalter’, 105–32. (b) Anette LÖFFLER, ‘Elisabeth in der Liturgie des Deutschen Ordens’, 133–49.

19035.Papers Read at the 13th Meeting of the IMS Study Group CANTUS PLANUS, Niederaltaich/Germany, 2006, Aug. 29.–Sept. 4., ed. Barbara HAGGH and László DOBSZAY (Budapest: Institute for Musicology of the Hungarian Academy of Sciences, 2009):

(a) Barbara HAGGH, ‘Introduction to the Meeting – Introduction to the Opening by Charles ATKINSON’, 7–9. (b) Charles M. ATKINSON, ‘Ars grammatica and the ars musica in the Carolingian School: Glosses on Martianus Capella and Boethius’, 11–32. (c) Rebecca A. BALTZER, ‘A Gallican Remnant in the Paris Mass: Episcopal Benedictions’, 33–52. (d) Dirk van BETTERAY, ‘Ät aschendit in tschälum? Ein wichtiges Indiz zur Aussprache des Lateinischen in adiastematischen Gradualhandschriften der St. Galler Stiftsbibliothek’, 53–70. (e) Hilde M. BINFORD, ‘The “Loblied” of the Old Order Amisch: Tracing the Oral Tradition of a 420-year Old Tune’, 71–83. (f) James BORDERS, ‘Distribution of Chants for the Consecration of Nuns’, 85–103. (g) Clyde BROCKETT, ‘The Repertory of Processional Antiphons: Work-in-Progress’, 105–17. (h) Christelle CAZAUX-KOWALSKI, ‘Le Processionnal du Palimpsest de Turin (Paris, BnF ms. Grec 2631)’, 119–42. (i) Zsuzsa CZAGÁNY, ‘Historia sancti Mathiae apostoli – Wege eines spätmittelalterlichen Reihenoffiziums zwischen Prag und Trier’, 143–56. (k) Cristina DI ZIO, ‘Il culto e la liturgia per San Severo, vescovo di Ravenna’, 157–82. (l) László DOBSZAY, ‘Short Remarks about the Antiphons of Christmas Vespers’, 183–202. (m) Pávlos EREVNÍDIS, ‘The Geography of Music, Cross-Cultural Comparison and a Mid-13th-Century Event Described by the Byzantine Theorist George Pachymeres’, 203–18. (n) Judit FEHÉR, ‘Ornate Tones? A Particular Group of Short Responsories’, 219–32. (o) Gabriella GILÁNYI, ‘Usual Chant, Unique Mode – Melodic Alternatives of tempus per annum in the 15th-Century Antiphoners from Kranj’, 233–45. Concerning SI-Lna 18, 19. (p) Jean-François GOUDESENNE, ‘Un missel de Noyon et ses versets d’offertoire (XIIIe s. 3/4): incidences sur l'histoire de la transmission du cantus en Occident’, 247–80. Concerning F-AB 7. (q) Roman HANKELN, ‘Report on the Series Historiae’, 281–2. (r) Katherine HELSEN, ‘Comparisons of Manuscript Tradition in the Use of Melodic Phrases in Great Responsories’, 283–93. (s) David HILEY, ‘Anglo-Saxon Saints in Hesse: The Proper Offices for St. Boniface and St. Wigbert’, 295–306. Concerning D-Mbs Clm 18956. (t) Marit HØYE, ‘The Kyrie Chant – Some Aspects of the Early Transmission and of Relationships between Northern and Southern Repertories’, 307–15. (u) Michel HUGLO, ‘Les prologues de l’antiphonaire mozarabe de León’, 317–25. Concerning E-L 8. (v) Gunilla IVERSEN, ‘Report from the Sapientia-Project’, 327–34. (w) Theodore KARP, ‘The Year 1738 in Chant’, 335–41. (x) Robert KLUGSEDER, ‘Quellen des Gregorianischen Chorals aus dem Benediktinerkloster Niederaltaich’, 343–77. Concerning D-Mbs Clm 14741, A-Ks perg. 39, D-Mbs Clm 9480. (y) Debra LACOSTE, ‘Cantus: A Database for Latin Ecclesiastical Chant’, 379–89. (z) Claire MAÎTRE, ‘Les répons de psalmis à l’abbaye de Saint-Denis’, 391–426. (aa) Rebecca MALOY, ‘Offertory Melodies in Rome, Francia, and Milan’, 427–39. (bb) Maja MARCUSSEN, ‘Modal Concepts and Melodic Language in West Frankish Introit Trope Repertories’, 441–54. (cc) Fumiko NIIYAMA-KALICKI, ‘Der Ritus des Begräbnisses einer Äbtissin vom Stift Nonnberg zu Salzburg: Beispiel für den lebendigen Austausch zwischen den mittelalterlichen Frauenklöstern in Salzburg’, 455–76. (dd) Ann-Marie NILSSON, ‘Chants for the Translatio beate Katarine in Vadstena 1489’, 477–90. Concerning S-Uu C. 472, 473, 481. (ee) Shin NISHIMAGI, ‘L’origine du tonaire principal du De modis (Cambrai, Médiathèque municipale, Ms. 172, fin du XIIe s.)’, 491–501. (ff) Edward NOWACKI, ‘The Misunderstood Confinalis’, 503–17. (gg) Ivana PERKOVIĆ, ‘Serbian Chant: Perspectives on the History of Its Analysis’, 519–34. (hh) Andreas PFISTERER, ‘Hesbert, Amalar und die fränkische Responsorienkomposition’, 535–46. (ii) Volker SCHIER, ‘The Late Arrival of an Early Saint: Sixtus Tucher's Donation of the Feast of Saint Monica’, 547–70. Concerning US-NYpm M. 905. (kk) Jurij SNOJ, ‘Graduals from the Charterhouses Žiče (Seiz) and Bistra (Freudenthal)’, 571–88. Concerning SI-Ln 22, A-Gu 376. (ll) Caitlin SNYDER, Alison ALTSTATT, ‘Notker's Clare sanctorum and the Western Salus eterna Tradition: Preliminary Remarks’, 589–623. (mm) Janka SZENDREI, ‘Überlegungen zur Tradition und Melodiegestalt des Responsoriums Verbum caro factum est’, 625–46. (nn) Anna VILDERA, ‘Melodic Variants in the Chant for the Annunciation Office in Paduan Processionals’, 647–65. (oo) Jerome F. WEBER, ‘Laudes regiae on records’, 667–82. (pp) Travis N. YEAGER, ‘The Old Office of St. Emmeram: A New Source Recovered’, 683–9. Concerning US-BLl Poole 27.

19036.Pellegrinaggi e santuari di San Michele nell'Occidente medievale – Pèlerinages et sanctuaires de Saint-Michel dans l'Occident médiéval. Atti del Secondo Convegno Internazionale dedicato all'Arcangelo Michele, Atti del XVI Convegno Sacrense (Sacra di San Michele, 26–29 settembre 2007), ed. Giampietro CASIRAGHI and Giuseppe SERGI (Bari: Edipuglia, 2009):

(a) Giacomo BAROFFIO, ‘Liturgia e musica alla Sacra’, 43–65.

19037.Fonte Avellana nel secolo di Pier Damiani. Atti del XXIX Convegno del centro Studi Avellaniti Fonte Avellana 29–31 agosto 2007, ed. Nicolangelo D'ACUNTO (San Pietro in Cariano: Il Segno dei Gabrielli, 2008):

(a) Ugo FACCHINI, ‘La liturgia a Fonte Avellana al tempo di Pier Damiani’, 251–83. (b) Giacomo BAROFFIO, ‘La musica a Fonte Avellana nel secolo XI’, 285–307. (c) Massimiliano BASSETTI, ‘Libri, scrittura e scriture a Fonte Avellana’, 309–82. (d) Pierluigi RICCIARDELLO, ‘Il culto dei santi a Fonte Avellana nel medioevo’, 383–456.

19038.Beiträge zur Gregorianik, 47 (2009), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Michael ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Heinrich RUMPHORST, Alexander SCHWEITZER, Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 25’, 9–43. (b) Heinrich RUMPHORST, ‘Der Tractus Ab ortu solis und seine Melodiequellen’, 45–65. (c) Kees POUDEROIJEN, Ike de LOOS, ‘Wer ist Hartker? Die Entstehung des Hartkerischen Antiphonars’, 67–86.

19039.Beiträge zur Gregorianik, 48 (2009), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Michael ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Heinrich RUMPHORST, Alexander SCHWEITZER, Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 26’, 9–40. (b) Anton STINGL jun., ‘Die Anrede “Domine” in den Propriumsgesängen des Gregorianischen Chorals’, 41–111.

19040.Études grégoriennes, 36 (2009): Lingua mea calamus scribe. Mélange offerts à madame Marie-Noël Colette par ses collègues, étudiants et amis, édités par Daniel SAULNIER, Katarina LIVLJANIC et Christelle CAZAUX-KOWALSKI, comité scientifique Susan RANKIN, Gunilla IVERSEN, Daniel SAULNIER (Abbaye Saint-Pierre de Solesmes, 2009):

(a) Nino ALBAROSA, ‘Un elemento formulistico rivelatore’, 3–17. (b) Charles M. ATKINSON, ‘Frutolf (?) the Magician’, 19–34. (c) Giacomo BAROFFIO, ‘Un inedito processionale polironiano Mantova, Biblioteca Comunale Teresiana, 270’, 35–48. (d) Christelle CAZAUX-KOWALSKI, ‘La table du graduel palimpseste de Turin: quelques réflexions sur la facture et la destination d’un manuscrit atypique (F-Pn grec 2631)’, 49–62. (e) Gisèle CLÉMENT-DUMAS and Isabelle FABRE, ‘Saint Étienne et l’amant courtois: jeux sur la figure du martyr dans le motet S'amours/Au renouveler/Ecce de Pierre de la Croix’, 63–87. (f) Martine CLOUZOT, ‘Musique et performance d’un miroir princier: jongleurs et ménestrels dans le roman d'Alexandre d'Oxford’, 89–100. (g) Joseph DYER, ‘Advent and the Antiphonale Missarum’, 101–29. (h) Barbara HAGGH and Michel HUGLO, ‘Les notations musicales en usages dans l’Autun’, 131–45. (i) Roman HANKELN, ‘Zur musikstilistischen Einordnung mittelalterlicher Heiligenoffizien’, 147–57. (k) David HILEY, ‘Dulce lignum maior et minor’, 159–72. (l) Gunilla IVERSEN, ‘Maiestas Domini dans le chant du Gloria. Prosules du Gloria en Aquitaine’, 173–205. (m) Thomas F. KELLY, ‘Fragments of a Notated Missal in “Bari-type” Beneventan Script’, 207–21. Concerning N-O, Schøyen Collection 063 + US-CAh Typ 701 + US-NYpm Breslauer Collection. (n) Jean-Loup LEMAITRE, ‘L’ordinaire de l'abbaye de Pébrac (1301)’, 223–52. Concerning F-Pn lat. 16814, fols. 53–8. (o) Katarina LIVLJANIC, ‘Lamentations de Jérémie glagolitiques sur l’île de Hvar en Croatie: peut on “traduire” le chant?’, 253–73. (p) Christian MEYER, ‘L’hymnaire de Remiremont. Quelques observations à propos d'Epinal, Ms. 223, f. 1r–79v’, 275–93. (q) Eric PALAZZO, ‘L’avenir des recherches sur les livres liturgiques du moyen âge occidental’, 295–304. (r) Nils Holger PETERSEN, ‘The Concept of Liturgical Drama: Charles-Edmond de Coussemaker and Charles Magnin’, 305–14. (s) Alejandro Enrique PLANCHART, ‘The Prose South of Rome’, 315–42. (t) Carmen RODRIGUEZ-SUSO, ‘Conflictos modales en el Renacimiento’, 343–54. (u) Daniel SAULNIER, ‘Quand Noël tombait un dimanche’, 355–61. (v) ‘Bibliographie’, 363–8.

19041.Tijdschrift voor Gregoriaans, 34 (2009), Redactie: Katrijn KUYPERS, Arnoud HEERINGS, Gerrit van OSCH, Albert KOOPMANS, uitgave van de Stichting Amici Cantus Gregoriani, Administratie: J. KWAST, Driebergen-Rijsenburg:

(a) Koenraad OUWENS, ‘Pascha, Sacrum Triduum, Goede Week’, 2–6. (b) Martijn SCHRAMA, ‘Augustinus over de beleving van de Goede Week, twee brieven aan Januarius’, 7–11. (c) Gerard ROUWHORST, ‘Pasen in de Syrischtalige kerken in Jerusalem in de vierde eeuw’, 12–17. (d) Arnoud HEERINGS, ‘Het ambrosiaanse Postevangelium ‘Coenae tuae’ van Witte Donderdag’, 33–7. (e) Gerrit van OSCH, ‘Praeconium Paschale Exsultet’, 41–3. (f) Franco ACKERMANS, ‘Grillig gregoriaans (1) Introitus Deus in adiutorium’, (2) Communio Data est mihi, 51–5, 92–8. (g) Pieter MANNAERTS, ‘Letare mater nostra Iherusalem: Het Augustinus-officie in het antifonarium Tsgrooten’, (1) 61–9, (2) 102–9. Concerning B-Gu. (h) Geert MAESSEN, ‘Hetzelfde of anders? over de gregoriaanse traditie tot aan de Renaissance’, 115–20. (i) Katrijn KUYPERS, ‘Muziek uit vrouwenkloosters op de Lüneburger Heide, een onderzoek naar de muzikale praktijk in de Duitse Moderne Devotie’, 128–35. Concerning the publication of Ulrike HASCHER-BURGER (see 19013). (k) Jolanda KWAST, ‘Helene Nolthenius: haar gregoriaanse studie vanuit rede en vervoering’, 136–9. (l) Hendrik Vanden ABEELE, ‘Wat doen middeleeuwse zangboeken met een hedendaags uitvoerder van gregoriaans?’, 143–9.

19042. Felix HEINZER, Klosterreform und mittelalterliche Buchkultur im deutschen Südwesten, Mittellateinische Studien und Texte 39 (Leiden, Boston: Brill, 2008). Collection of 19 essays [X: ‘… von der Philosophisch-Historischen Fakultät der Universität Basel im Winter 2000/2001 als Habilitationsschrift angenommen …’, XI: ‘Redaktionelle Eingriffe betreffen … Druckfehler und Ähnliches sowie Nachträge wichtiger Ergänzungen des Forschungsstandes (nur in unabdingbar erscheinenden Fällen) bibliographischer Daten sowie Querverweise auf Beiträge, die ebenfalls in diesen Band aufgenommen wurden’]:

I. Die Reichenau in karolingischer und ottonischer Zeit (3 essays):

(a) ‘“Marcus Decus Germaniae”. Il culto del patrono Veneziano a Reichenau. Relazioni e specificità’, 64–82. First published 1995, see 7055b.

II. Hochmittelalterliche Benediktinerreform: Hirsau und sein Kreis (9 essays):

(b) ‘Der Hirsauer “Liber Ordinarius” ‘, 185–223. First published 1992, see 6129.(c) ‘Liturgischer Hymnus und monastische Reform. Zur Rekonstruktion des Hirsauer Hymnars’, 224–56. First published 2004, see 14043c.(d) ‘Sequenzen auf Wanderschaft – Transferszenarien am Beispiel von “Rex regum dei agne” und “Sancti merita Benedicti”’, 286–99. First published 2005, see 15073c.(e) ‘Musik und Liturgie zwischen Reform und Repräsentation. Ein Graduale-Sequentiar des frühen 13. Jahrhunderts aus der schwäbischen Abtei Weingarten (Wien, Kunsthistorisches Museum, Hs. 4981)’, 365–85. First published 2007, see 17071d.

III. Zisterzienser und Zisterzienserinnen (4 essays):

(f) ‘Maulbronn und die Buchkultur Südwestdeutschland im 12. und 13. Jahrhundert’, 409–36. First published 1999, see 10058a.

IV. Reformen am Vorabend der Reformation (3 essays):

(g) ‘Die Lorcher Chorbücher im Spannungsfeld von klösterlicher Reform und landesherrlichem Anspruch’, 523–50. First published 2004, see 15050b.

19043.Ausgewählte liturgische Fragmente aus der Bischöflichen Zentralbibliothek Regensburg. Aus Anlass des fünfzigjährigen Bestehens des Liturgiewissenschaftlichen Instituts Regensburg (Institutum Liturgicum Ratisbonense), ed. Karl Joseph BENZ unter Mitarbeit von Raymond DITTRICH, Bischöfliches Zentralarchiv und Bischöfliche Zentralbibliothek Regensburg, Kataloge und Schriften 23 (Regensburg: Verlag Schnell & Steiner, 2007):

(a) Karl Josef BENZ, ‘50 Jahre Institutum Liturgicum Ratisbonense’, 9–15. (b) Karl Joseph BENZ, ‘Die Fragmentensammlung der Bischöflichen Zentralbibliothek in Regensburg’, 16–18. (c) Raymond DITTRICH, ‘Zur Notierung der liturgischen Fragmente’, 19–22. (d) Karl Joseph BENZ, ‘Katalog ausgewählter Fragmente’, 23–159. Including forty-five notated fragments with coloured plates.

Review. Christian MEYER, Scriptorium, 62 (2008), 221* (Nr. 561).

19044.Die ac Nocte. I codici liturgici di Oristano dal Giudicato d'Arborea al'età spagnola (secoli XI–XVII), ed. Giampaolo MELE (Cagliari: AM&D Edizioni, 2009), including a CD:

(a) Renata SERRA, ‘Per una storia dei codici miniati della sardegna’, 3–5. (b) Roberto CORONEO, ‘I codici miniati della Cattedrale di Oristano: storia degli studi’, 7–14. (c) Giampaolo MELE, ‘Note storiche, paleografiche, codicologiche e liturgico-musicali sui manoscritti arborensi’, 15–73. (d) Giacomo BAROFFIO, Eun Ju KIM, ‘Liturgia e musica nei manoscritti di Oristano’, 75–96. (e) Valentino PACE, ‘I codici miniati duecenteschi della Cattedrale di Oristano’, 97–140. (f) Federica TONIOLO, ‘Le miniature nei codici liturgici del XIV e XV secolo della Cattedrale di Oristano’, 141–94. (g) Nicola TANGARI, ‘“Tabulae”, indici e cataloghi: i codici liturgico-musicali e l’esperienza di Oristano’, 195–211. (h) Giampaolo MELE, ‘Catalogo analitico’, ‘Orientamento bibliografico’, 215–352, 353–66. (i) Giacomo BAROFFIO, Eun Ju KIM, Giampaolo MELE, ‘Tabella A: Manoscritti Ufficio delle Ore. Tabella B: Manoscritti Messa’, 367–73, 375–81. (k) Giampaolo MELE, ‘Glossario e vari indici: canti, santi, manoscritti, illustrazioni, nomi, luoghi’, 385–420.

19045.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 (München: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C. H. Beck, Munich, 1992–).

See 6089a, b, 7053a, 10068a, 11070a, 13079a, 14065a, 16067a, 17067a: Fascicles 1 (1992), 2 (1995), 3 (1997), 4 (2000), 5 (2001), 6 (2003), 7 (2004), 8 (2006), 1 [2nd augmented edition] (2006), 9 (2007).

(a) Fascicle 10: gutturalis – lichanos, 2009. Collaborators Christian BERKTOLD (H–hypophrygius), Michael BERNHARD (gutturalis–gymel, I–K), Calvin M. BOWER (English translation), Daniela SADGORSKI (L–lichanos).

19046.Chant and its Origins, ed. Thomas Forrest KELLY, Music in Medieval Europe [7 volumes], Series Editor: Thomas Forrest KELLY (Aldershot: Ashgate, 2009). Including an introduction by Thomas Forrest KELLY (pp. xi–xix):

Part I: General Overview of Scholarship:

(a) [1] Richard CROCKER, ‘Gregorian Studies in the Twenty-First Century’, Plainsong & Medieval Music, 4 (1995), 33–86 [3–56]. (b) [2] David HILEY, ‘Writings on Western Plainchant in the 1980s and 1990s’, Acta Musicologica, 69 (1997), 53–93 [57–97].

Part II: Early History:

(c) [3] Peter JEFFERY, ‘Jerusalem and Rome (and Constantinople): The Musical Heritage of Two Great Cities in the Formation of the Medieval Chant Traditions’, Cantus Planus: Papers Read at the Fourth Meeting Pécs, Hungary, 3–8 September 1990 (Budapest, 1992), 163–74 [101–12]. (d) [4] Joseph DYER, ‘The Singing of Psalms in the Early-Medieval Office’, Speculum, 64 (1989), 535–78 [113–56]. (e) [5] James McKINNON, ‘The Eighth-Century Frankish-Roman Communion Cycle’, Journal of the American Musicological Society (JAMS), 45 (1992), 179–227 [157–205].

Part III: Editions and Repertories:

(f) [6] Jacques FROGER, ‘The Critical Edition of the Roman Gradual by the Monks of Solesmes’, Journal of the Plainsong & Mediaeval Music Society, 1 (1978), 81–97 [209–25]. (g) [7] Hartmut MÖLLER, ‘Research on the Antiphoner – Problems and Perspectives’, Journal of the Plainsong & Mediaeval Music Society, 10 (1987), 1–14 [227–40].

Part IV: Analytical Studies:

(h) [8] László DOBSZAY, ‘Some Remarks on Jean Claire's Octoechos’, Cantus Planus: Papers Read at the Seventh Meeting Sopron, Hungary, 1995 (Budapest, 1998), 179–94 [243–58]. (i) [9] Joseph DYER, ‘The Offertory Chant of the Roman Liturgy and its Musical Form’, Studi Musicali, 11 (1982), 3–30 [259–86]. (k) [10] Edward NOWACKI, ‘The Gregorian Office Antiphons and the Comparative Method’, Journal of Musicology, 4 (1985), 243–75 [287–319].

Part V: Roman and Frankish Chant:

(l) [11] Willi APEL, ‘The Central Problem of Gregorian Chant’, JAMS, 9 (1956), 118–28 [323–32]. (m) [12] Bruno STÄBLEIN, ‘Die Entstehung des gregorianischen Chorals’, Die Musikforschung, 27 (1974), 5–13 [333–45]. (n) [13] Paul F. CUTTER, ‘The Question of the “Old-Roman” Chant: A Reappraisal’, Acta Musicologica, 39 (1967), 2–20 [347–65]. (o) [14] S.J.P. van DIJK, ‘Papal Schola versus Charlemagne’, Pieter Fischer (ed.), Organicae Voces: Festschrift Joseph Smits van Waesberghe (Amsterdam, 1963), 21–30 [367–76]. (p) [15] Thomas H. CONOLLY, ‘Introits and Archetypes: Some Archaisms of the Old Roman Chant’, JAMS, 25 (1972), 157–74 [377–94]. (q) [16] Helmut HUCKE, ‘Towards a New Historical View of Gregorian Chant’, JAMS, 33 (1980), 437–67 [395–425]. (r) [17] Kenneth LEVY, ‘Gregorian Chant and the Romans’, JAMS, 56 (2003), 5–41 [427–63]. (s) [18] Andreas PFISTERER, ‘Remarks on Roman and non-Roman Offertories’, Plainsong & Medieval Music, 14 (2005), 169–81 [465–77].

Part VI: Other Chant Traditions:

(t) [19] Terence BAILEY, ‘The Development and Chronology of the Ambrosian Sanctorale: The Evidence of the Antiphon Texts’, Margot E. Fassler and Rebecca A. Baltzer (eds), The Divine Office in the Latin Middle Ages (Oxford, 2000), 257–77 [481–501]. (u) [20] Thomas Forrest KELLY, ‘The Beneventan Chant’, Studia Musicologica Academiae Scientiarum Hungaricae, 30 (1988), 393–7 [503–7]. (v) [21] Don M. RANDEL, ‘The Old Hispanic Rite as Evidence for the Earliest Forms of the Western Christian Liturgies’, International Musicological Society Congress Report XV: Madrid 1992, 491–6 [509–14].

19047.Oral and Written Transmission in Chant, ed. Thomas Forrest KELLY, Music in Medieval Europe [7 volumes], Series Editor: Thomas Forrest KELLY (Aldershot: Ashgate, 2009). Including an introduction by Thomas Forrest KELLY (pp. xi–xvi):

Part I: Music Writing:

(a) [1] Leo TREITLER, ‘The Early History of Music Writing in the West’, JAMS, 35 (1982), 237–79 [3–45]. (b) [2] Charles M. ATKINSON, ‘De Accentibus Toni Oritur Nota Quae Dicitur Neuma: Prosodic Accents, the Accent Theory, and the Paleofrankish Script’, Graeme M. Boone (ed.), Essays on Medieval Music in Honor of David G. Hughes (Cambridge, MA, 1995), 17–42 [47–72].

Part II: Notation and Performance:

(c) [3] Mary BERRY, ‘Gregorian Chant: The Restoration of the Chant and Seventy-Five Years of Recording’, Early Music, 7 (1979), 197–217 [75–90]. (d) [4] Nino ALBAROSA, ‘The Pontificio Istituto di Musica Sacra in Rome and the Semiological School of Dom Eugène Cardine’, Journal of the Plainsong & Mediaeval Music Society, 6 (1983), 26–33 [91–8]. (e) [5] Lance W. BRUNNER, ‘The Performance of Plainchant: Some Preliminary Observations of the New Era’, Early Music, 10 (1982), 316–28 [99–111].

Part III: Oral and Written Transmission:

(f) [6] Leo TREITLER, ‘Homer and Gregory: The Transmission of Epic Poetry and Plainchant’, The Musical Quarterly, 60 (1974), 333–72 [115–54]. (g) [7] Leo TREITLER, ‘“Centonate” Chant: Übles Flickwerk or E pluribus unus?’, JAMS, 28 (1975), 1–23 [155–77]. (h) [8] David G. HUGHES, ‘Evidence for the Traditional View of the Transmission of Gregorian Chant’, JAMS, 40 (1987), 377–400 [179–206]. (i) [9] Kenneth LEVY, ‘Charlemagne's Archetype of Gregorian Chant’, JAMS, 40 (1987), 1–30 [207–36]. (k) [10] Leo TREITLER, ‘“Communications”, concerning Levy and Hughes, above – Levy's response; Hughes's response’, JAMS, 41 (1988), 566–75, 575–8, 578–9 [237–50]. (l) [11] László DOBSZAY, ‘The Debate about the Oral and Written Transmission of Chant’, International Musicological Society Congress Report XV: Madrid 1992, Revista de Musicología, 16 (1993), 706–29 [251–74]. (m) [12] Kenneth LEVY, ‘On Gregorian Orality’, JAMS, 43 (1990), 185–227 [275–317]. (n) [13] Emma HORNBY, ‘The Transmission of Western Chant in the 8th and 9th Centuries: Evaluating Kenneth Levy's Reading of the Evidence’, The Journal of Musicology, 21 (2004), 418–57 [319–58]. (o) [14] Edward NOWACKI, ‘Chant Research at the Turn of the Century and the Analytical Programme of Helmut Hucke’, Plainsong & Medieval Music, 7 (1998), 47–71 [359–83]. (p) [15] Susan RANKIN, ‘Ways of Telling Stories’, Graeme M. Boone (ed.), Essays on Medieval Music in Honor of David G. Hughes (Cambridge, MA, 1995), 371–94 [385–408]. (q) [16] Theodore KARP, ‘Interrelationships among Gregorian Chants: An Alternative View of Creativity in Early Chant’, Eugene K. Wolf and Edward H. Roesner (eds.), Studies in Musical Sources and Style: Essays in Honor of Jan LaRue (Madison, WI, 1990), 1–40 [409–48].

19048.Embellishing the Liturgy: Tropes and Polyphony, ed. Alejandro Enrique PLANCHART, Music in Medieval Europe [7 volumes], Series Editor: Thomas Forrest KELLY (Aldershot: Ashgate, 2009). Including an introduction by Alejandro Enrique PLANCHART (pp. xi–liv):

Part I: Tropes in General:

(a) [1] Richard L. CROCKER, ‘The Troping Hypothesis’, The Musical Quarterly, 52 (1966), 183–203 [3–23]. (b) [2] David HILEY, ‘Some Observations on the Interrelationships between Trope Repertories’, Gunilla Iversen (ed.), Research on Tropes: Proceedings of a Symposium Organized by the Royal Academy of Literature, History and Antiquities and the Corpus Troporum, Stockholm, June 1–3, 1981 (Stockholm, 1983), 29–37 [25–33]. (c) [3] Michel HUGLO, ‘Aux origines des tropes d’interpolation: le trope méloforme d'introït’, Revue de Musicologie, 64 (1978), 5–54 [35–84]. (d) [4] Michel HUGLO, ‘Les “Libelli” de tropes et les premiers tropaires-prosaires’, Ritva Jacobsson (ed.), Pax et Sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson (Stockholm, 1986), 13–22 [85–94]. (e) [5] Ritva JACOBSSON and Leo TREITLER, ‘Tropes and the Concept of Genre’, Ritva Jacobsson (ed.), Pax et Sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson (Stockholm, 1986), 59–89 [95–125]. (f) [6] John G. JOHNSTONE, ‘Beyond a Chant: “Tui sunt caeli” and its Tropes’, Studies in the History of Music, I: Music and Language (New York, 1983), 24–37 [127–40]. (g) [7] Ritva JONSSON, ‘The Liturgical Function of the Tropes’, Gunilla Iversen (ed.), Research on Tropes: Proceedings of a Symposium Organized by the Royal Academy of Literature, History and Antiquities and the Corpus Troporum, Stockholm, June 1–3, 1981 (Stockholm, 1983), 99–123 [141–65]. (h) [8] Alejandro Enrique PLANCHART, ‘On the Nature of Transmission and Change in Trope Repertories’, JAMS, 41 (1988), 215–49 [167–201]. (i) [9] Bruno STÄBLEIN, ‘Zum Verständnis des “klassischen” Tropus’, Acta Musicologica, 35 (1963), 84–95 [203–16].

Part II: Aquitaine and the West:

(k) [10] Paul EVANS, ‘Northern French Elements in an Early Aquitanian Troper’, Heinz Becker and Reinhard Gerlach (eds.), Speculum Musicae Artis: Festgabe für Heinrich Husmann (Munich, 1970), 103–10 [219–26]. (l) [11] James GRIER, ‘A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine’, Speculum, 69 (1994), 1023–69 [227–73]. (m) [12] David G. HUGHES, ‘Further Notes on the Grouping of the Aquitanian Tropers’, JAMS, 19 (1966), 3–12 [275–84].

Part III: St Gall and the East:

(n) [13] Gunilla BJÖRKVALL and Andreas HAUG, ‘Tropentypen in Sankt Gallen’, Wulf Arlt and Gunilla Björkvall (eds.), Recherches nouvelles sur les tropes liturgiques (Stockholm, 1993), 119–74 [287–342]. (o) [14] David HILEY, ‘Some Observations on the Repertory of Tropes at St Emmeram, Regensburg’, Cantus Planus: Papers Read at the Fourth Meeting Pécs, Hungary, 3–8 September 1990 (Budapest, 1992), 337–57 [343–63]. (p) [15] Susan RANKIN, ‘From Tuotilo to the First Manuscripts: The Shaping of a Trope Repertory at Saint Gall’, Wulf Arlt and Gunilla Björkvall (eds.), Recherches nouvelles sur les tropes liturgiques (Stockholm, 1993), 395–413 [365–83].

Part IV: The Ordinary:

(q) [16] Charles M. ATKINSON, ‘The Earliest Agnus Dei Melody and its Tropes’, JAMS, 30 (1977), 1–19 [387–405]. (r) [17] David A. BJORK, ‘The Kyrie Trope’, JAMS, 33 (1980), 1–41 [407–47]. (s) [18] Gunilla IVERSEN, ‘Pax et Sapientia: a Thematic Study on Tropes from Different Traditions’, Ritva Jacobsson (ed.), Pax et Sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson (Stockholm, 1986), 23–58 [449–84]. (t) [19] Thomas Forrest KELLY, ‘Introducing the Gloria in Excelsis’, JAMS, 37 (1984), 479–506 [485–512].

Part V: Tropes in the Office:

(u) [20] Hans-Jörgen HOLMAN, ‘Melismatic Tropes in the Responsories for Matins’, JAMS, 16 (1963), 36–46 [515–25]. (v) [21] Thomas Forrest KELLY, ‘New Music from Old: The Structuring of Responsory Prosas’, JAMS, 30 (1977), 366–90 [527–551].

19049.Poets and Singers: On Latin and Vernacular Monophonic Song, ed. Elizabeth AUBREY, Music in Medieval Europe [7 volumes], Series Editor: Thomas Forrest KELLY (Aldershot: Ashgate, 2009).

19050.Ars antiqua: Organum, Conductus, Motet, ed. Edward H. ROESNER, Music in Medieval Europe [7 volumes], Series Editor: Thomas Forrest KELLY (Aldershot: Ashgate, 2009).

19051.Ars nova: French and Italian Music in the Fourteenth Century, ed. John L. NÁDAS and Michael Scott CUTHBERT, Music in Medieval Europe [7 volumes], Series Editor: Thomas Forrest KELLY (Aldershot: Ashgate, 2009).

19052.Instruments and their Music in the Middle Ages, ed. Timothy J. McGEE, Music in Medieval Europe [7 volumes], Series Editor: Thomas Forrest KELLY (Aldershot: Ashgate, 2009).

19053.Political Plainchant? Music, Text and Historical Context of Medieval Saints' Offices, ed. Roman HANKELN, Musicological Studies 111 (Ottawa: The Institute of Mediaeval Music, 2009): (a) Roman HANKELN, ‘A Blasphemous Paradox? Approaches to Socio-Political Aspects of Medieval Western Plainchant’, 1–11. (b) Jean-François GOUDESENNE, ‘Historiae from Alta Italia and their Frankish Models: a Progressive “Romanisation” by the Carolingian Franks (750–950)’, 13–29. (c) Susana ZAPKE, ‘New Politics – New Cults: the Cross and Sword in Times of Political Transition on the Iberian Peninsula (9th–12th c.)’, 31–42. (d) John CALDWELL, ‘St. Ethelbert, King and Martyr: a Royal Migration and a Migrating Cult’, 43–7. (e) John BERGSAGEL, ‘Between Politics and Devotion: the Canonization of Knud Lavard and Edward Confessor’, 49–58. (f) M. Cecilia GAPOSCHKIN, ‘Political Ideas in Liturgical Offices of Saint Louis’, 59–80. (g) Janka SZENDREI, ‘Commune pro missionariis? Die ältesten Offiziumsgesänge für König Stephan, den Heiligen’, 81–92. (h) László DOBSZAY, ‘From ‘crudelitas’ to ‘credulitas’: Comments on Saint Stephen's Historia Rhythmica’, 93–106. (i) Andrew HUGHES, ‘REX sub deo et lege: SANCTUS sub ecclesia’, 107–54. (k) Ann-Marie NILSSON, ‘St. Erik's Two Bodies and Chants’, 155–69. (l) Roman HANKELN, ‘St. Olav's Augustine-Responsories: Contrafactum Technique and Political’, 171–99.

19054.Sapientia et Eloquentia. Meaning and Function in Liturgical Poetry, Music, Drama and Biblical Commentary in the Middle Ages, ed. Gunilla IVERSEN and Nicolas BELL, Disputatio 11 (Turnhout: Brepols, 2009) [IX: ‘… project Sapientia- Eloquentia ... The members of the project met regularly to discuss the work in progress']: (a) Gunilla IVERSEN, ‘Singing “Alleluia” in Ninth-Century Poetry’, 9–58. (b) Marie-Noël COLETTE, ‘The Place and Function of Music in a Liturgical Context: The Earliest Witnesses of Sequences and Versus ad sequentias in the Antiphoner of Charles the Bald and Other Early Sources’, 59–93. Concerning F-Pn lat. 17436. (c) Marcia Sá CAVALCANTE SCHUBACK, ‘Nunc et in aevum: On St Augustine – Time, Music, and Theology’, 95–114. (d) Nils Holger PETERSEN, ‘Biblical Reception, Representational Ritual, and the Question of “Liturgical Drama”’, 164–201. (e) Gunilla IVERSEN, ‘From Jubilus to Learned Exegesis: New Liturgical Poetry in Twelfth-Century Nevers’, 203–58. (f) Marie-Noël COLETTE, ‘A Witness to Poetic and Musical Invention in the Twelfth Century: The Troper-Proser of Nevers (BnF n. a. lat. 3126)’, 259–300. (g) William T. FLYNN, ‘Letters, Liturgy, and Identity: The Use of Epithalamica at the Paraclete’, 301–48. (h) Nicolas BELL, ‘Readings and Interpretations of Boethius's De institutione musica in the Later Middle Ages’, 365–80. (i) Erika KIHLMAN, ‘Understanding a Text: Presentation and Edition of a Sequence Commentary in Oxford, Bodleian Library, Auct. F. 6. 8’, 381–455. (k) ‘Anthology of Texts and Music’, 457–506. Concerning a Report from the Sapientia-Project see 19035v.

19055.The Sounds and Sights of Performance in Early Music. Essays in Honour of Timothy J. McGee, ed. Maureen EPP and Brian E. POWER (Aldershot: Ashgate, 2009): (a) Andrew HUGHES, ‘The Story of O: A Variant in the Becket Office’, 27–59. (b) Jennifer BAIN, ‘Hooked on Ecstasy: Performance “Practice”’ and the Reception of the Music of Hildegard of Bingen’, 253–73. (c) ‘Publications of Timothy McGee’, 275–8.

19056.Plainsong & Medieval Music, 18, 1 (2009): (a) Mary BERRY (1927–2008): Susan RANKIN, ‘Memoir and bibliography’, Jerome F. WEBER, ‘Discography’, 1–6, 7–10. (b) Alejandro Enrique PLANCHART, ‘Connecting the Dots: Guillaume Du Fay and Savoy during the Schism’, 11–32. (c) Estelle JOUBERT, ‘New Music in the Office of Thomas Becket from the Diocese of Trier’, 33–60. Concerning D-TRb 480, 482, 486, 491, 492, 494, 495, 499, 500a, 501a, 521. (d) Kate HELSEN, ‘The Use of Melodic Formulas in Responsories: Constancy and Variability in the Manuscript Tradition’, 61–75. (e) Jerome F. WEBER, ‘Recent Recordings of Plainchant’, 77–80.

19057.Plainsong & Medieval Music, 18, 2 (2009): (a) Martin J. M. HOONDERT, ‘The ‘Restoration’ of Plainchant in the Premonstratensian Order’, 141–61.

19058.Plainsong & Medieval Music, 19, 1 (2010): (a) Neil MORAN, ‘A Second Medial Mode Palestinian Chant in Old Roman, Beneventan and Frankish sources’, 1–19. (b) James Vincent MAIELLO, ‘On the Manufacture and Dating of the Pistoia Choirbooks’, 21–33. Concerning I-PS C. 119, C. 120, C. 121. (c) Michael Alan ANDERSON, ‘Enhancing the Ave Maria in the Ars Antiqua’, 35–65. (d) Jerome F. WEBER, ‘Recent Recordings of Plainchant’, 67–81.

19059.Rivista internazionale di musica sacra, Nuova serie 30/1 (2009), ed. Giacomo BAROFFIO (Lucca: LIM Editrice): (a) Père GUILMARD, ‘La Litanie Majeure et les processions de la Messe. Repertoire de chant à Rome et en Gaule dans la deuxième partie du 8^e siècle’, 7–61. (b) Bettina RUCHTI, ‘Kritische Analyse einiger Sequenzen Notkers und ihre Überlieferungen’, 63–118. (c) Gionata BRUSA, ‘La notazione nonantolana a Vercelli’, 119–40. (d) Giacomo BAROFFIO, ‘Ancora su Pistoia, Archivio Arcivescovile R 69, 171r-175v’, 141–51. (e) Eun Ju KIM, ‘Hodie gloriosi martyres Cesidius et socii triumphantes: la messa di san Cesidio nel Graduale di Trasacco’, 153–6. Concerning I-AVZcv. (f) Paolo GIORGI, ‘Pietro Gnocchi, musico bresciano (1689–1775). Un nuovo capitulo della musica liturgica del XVIII secolo’, 157–207.

19060.Rivista internazionale di musica sacra, Nuova serie 30/2 (2009), ed. Giacomo BAROFFIO (Lucca: LIM Editrice): (a) Giacomo BAROFFIO, ‘Gregoriano ed Eucaristia’, 7–24. (b) Laura ALBIERO, ‘I canti della messa nei frammenti dell’Archivio di Stato di Pavia. Canto, memoria, scrittura’, 67–95. (c) Gionata BRUSA, ‘“Colligere fragmenta ne pereant”. Maculature liturgiche nella Biblioteca Capitolare di Vercelli’, 97–135. (d) Fabrizio MASTROIANNI, Cristina MASTROIANNI, ‘Il Graduale Romano Antico Vat. lat. 5319: alcune correzione alla trascrizione’, 165–83. (e) Nicola TANGARI, ‘Una recente edizione del “Liber ordinarius” di Montecassino e Benevento’, 185–96. Concerning 18006.

19061. Christoph BECK, ‘Adoranda, veneranda Trinitatis est usia. Die mittelalterliche Sequenz zu Ehren der Frankenapostel Kilian, Kolonat und Totnan’, Kirchenmusikalisches Jahrbuch, 92 (2008) (Paderborn: Verlag Ferdinand Schöningh, 2009), 9–23. Concerning the printed Graduale Herbipolense, 1583, and the printed Missale Herbipolense, 1613, including a transcription.

19062. James BOYCE, ‘Picturing the Sacred: The Carmelite Gradual of Krakow’, The Sword, 4 (2004), 42–53. Concerning PL-Kkarm Codex 6 (rkp .perg. 1).

19063. James BOYCE, ‘Elijah among the Carmelites: Adopting and Honoring the Father’, Elijah the Prophet in Jewish and Christian Traditions (South Orange: Institute of Judaeo-Christian Studies, 2008).

19064. Hana BREKO KUSTURA, ‘Najstariji sakramentar srednjovjekovne Istre iz 1050. godine u kontekstu europskih liturgijskih kodeksa’, Zbornik Odsjeka za povijesne znanosti Zavoda za povijesne i drustvene znanosti HAZU [Papers and Proceedings of the Department of Historical Research of the Institute of Historical and Social Research of Croatian Academy of Sciences and Arts], vol. 26, Zagreb, January, 2009, 1–48. Concerning the oldest sacramentary of medieval Istria from 1050 within the context of European liturgical codices, HR-ŠIBf s. n.

19065. Hana BREKO KUSTURA, ‘“Predpovijest” – Glazbena kultura grada Sinja u vremenima prije i neposredno nakon osnutka glazbene skole 1958. (s posebnim osvrtom na povijest franjevacke glazbe)’, Hana BREKO KUSTURA, Osnovna glazbena skola Jakova Gotovca Sinj – A Monography (Split, 2009 – ISBN 978-953–55624–0-5), 13–21. Concerning the musical culture of the town of Sinj in Dalmatia with the history of the Franciscan music of the region, before the constitution of the Musical School in 1958.

19066. Hana BREKO KUSTURA, ‘Iz rukopisno-glazbene riznice samostana dominikanaca u Starom Gradu na Hvaru (15.-16. st.): prilog tradiciji srednjovjekovne “jednostavne polifonije” iz Hrvatske – nove spoznaje’, Humanitas et litterae: Zborník u čast Franje Šanjeka, Festschrift für Franjo Sanjek, ed. Lovorka ČORALIĆ i Slavko SLIŠKOVIĆ (Zagreb: Dominikanska naklada Istina – Kršćanska sadašnjost, 2009), 803–17. From a musical treasure of the Dominican monastery Stari Grad on the island of Hvar in the 15th/16th century: A contribution to a medieval ‘simple polyphony’ from Croatia – new insights.

19067. Pavel BRODSKÝ, ‘Illuminované rukopisky v Christian-Weise-Bibliothek v Žitavě’, Studie o rukopisech, 36 (2005–2006), 243–58. Including 12 plates. Concerning D-ZI A I to VII.

Review. P. SPUNNAR, Scriptorium, 62 (2008), 132*–3* (Nr. 380).

19068. Gionata BRUSA, ‘Maculature liturgiche nel fondo notarile antico dell’Archivio Storico Civico di Vercelli’, Aevum, 83 (2009), 1–76.

19069. Lisa COLTON, ‘Music and Identity in Medieval Bury St Edmunds’, St Edmund, King and Martyr: Changing Images of a Medieval Saint, ed. Anthony BALE (Woodbridge: York Mediaeval Press, 2009), 87–110. Concerning GB-Onc MS 362, Fragment IX.

19070. Zsusa CZAGÁNY, Erzsébet MUCKENHAUPT, Ágnes PAPP, ‘Liturgikus és kottás középkori kódextöredékek a csíksomlyói ferences kolostar egykori könyvtárának állományában [Medieval liturgical fragments from the collection of the Franciscan Cloister at Csíksomlyó]’, A csíki szélely múzeum évkönyve 2005 (Csíkszereda, Romania: Csíki székely múzeum, 2006), 149–231. Summary in English and Romanian. Including a catalogue of notated liturgical fragments from the collection of the Franciscan Cloister at Csíksomlyó found in the Csíki Székely Múzeum at Miercurea-Ciuc, Romania (in Hungarian Csíkszereda).

19071. Joseph DYER, ‘Speculative “Musica” and the Medieval University of Paris’, Music & Letters, 90 (2009), 177–204.

19072. John HAINES, ‘The Origins of the Musical Staff’, The Musical Quarterly, 91 (2008), 327–78.

19073. Jürgen HOFFMANN, ‘Der Adalbertskult im Aachener Marienstift’, Deutsches Archiv für Erforschung des Mittelalters, 62 (2006), 607–17. Including an edition from D-AAm G 20.

19074. Michel HUGLO, ‘Recherches sur la tradition des diagrammes de Calcidius’, Scriptorium, 62 (2008), 185–230, pl. 23–27.

19075. Michael KLAPER, ‘“In keiner Weise auf die Übereinstimmung mit dem alten Gesang verzichten”. Das Verhältnis von Alt und Neu im liturgischen Gesang des Mittelalters und das Ulrichs-Offizium Berns von Reichenau’, Musik in Baden-Württemberg, Jahrbuch, 16 (2009), 99–118.

19076. Frank LAWRENCE, ‘What did they sing at Cashel in 1172?: Winchester, Sarum and Romano-Frankish Chant in Ireland’, Journal of the Society for Musicology in Ireland, 3 (2007–2008), 111–25. (Available online at www.music.ucc.ie/jsmi).

19077. Ike de LOOS, ‘Egmond of Rijnsburg? De liturgische handschriften van een grafelijke abdij’, De abdij van Egmond. Geschreven en beschreven, ed. G.N.M. VIS, Egmondse Studiën 4 (Hilversum: Uitgeverij Verloren, 2002), 103–42.

19078. Ike de LOOS, ‘En toch konden ze zingen en Egmond’, Het klooster Egmond: hortus conclusus, ed. G.N.M. VIS, Egmondse Studiën 5 (Hilversum: Uitgeverij Verloren, 2008), 125–44.

19079. Pieter MANNAERTS, ‘Het Antifonarium Tsgrooten: de eeuwige jeugd van het gregoriaans’, Openbaar Kunstbezit in Vlaanderen, 46 (2008), 8–11. Concerning B-Gu.

19080. T.J.H. McCARTHY, ‘Anonymous I and Prologus in tonarium: Changing Interpretations of Music Theory in Eleventh-Century Germany’, Journal of the Society for Musicology in Ireland, 1 (2005–2006), 19–32. (Available online at www.music.ucc.ie/jsmi).

19081. Martin McNAMARA, ‘Five Irish Psalter Texts’, Proceedings of the Royal Irish Academy, 109 (2009), 37–104. (Available online at www.ria.ie/cgi-bin/ria/papers/100822.pdf).

19082. Christian MEYER, ‘Actualité de la recherche. Catalogues des manuscrits notés de la Bibliothèque Nationale de France et des Bibliothèques des regions’, Revue de musicologie, 95 (2009), 203–10.

19083. Costin MOISIL, ‘A Bibliography of Musicological Works on Orthodox Chant Printed in Romania (1990–2002)’, Zbornik Matice Srpske za scenske umetnosti i muziku, vol. 32–33 (Novi Sad, 2005), 217–34.

19084. Costin MOISIL, ‘Rolul lui Macarie Ieromonahul şi al lui Anton Pann în adaptarea cântărilor în limba română. O cercetare istoriografică’, Acta Musicae Byzantinae, 10 (Iaşi, 2007), 43–52. [The Role of Macarie the Hieromonk and Anton Pann in Adapting Chants in Romanian. A Historiography Research.]

19085. Costin MOISIL, ‘Muzica bisericească naţională în muzicologia românească. Partea I: de la întermeierea României până la primul război mondial’, Portretele muzicii româneşti – 2007, ed. Petruţa MĂNIUŢ (Braşov: Editura Universităţii “Transilvania”, 2007), 128–46. [National church music in Romanian musicology. Part 1: From the foundation of Romania until the First World War.]

19086. Costin MOISIL, ‘Despre originea Canonului din Duminica Floriilor “pre glasul cel rumănesc”’, Studii şi cercetări de istoria artei, seria Teatru, Muzică, Cinematografie, serie nouă, tomul 2 (46) (Bucureşti, 2008), 109–116. [The Origin of Filothei's Palm Sunday Canon revisited.]

19087. Shin NISHIMAGI, ‘Origine d’un “libellus” guidonien provenant de l'abbaye de Saint-Evroult: Paris, BnF, lat. 10508, f. 136–159 (fin du XII^e s.)’, Bulletin of the Institute for Mediterranean Studies (Waseda University) 6 (2008), 185–99.

19088. Ioannis PAPACHRISTOPOULOS, ‘Das Verhältnis von Textinhalt und Musikgestaltung im griechischen Kirchengesang’, Acta musicologica, 81 (2009), 301–52.

19089. Karl-Georg PFÄNDTNER, ‘An Unknown Forchheim Missal in the Free Library of Philadelphia’, Manuscripta 49 (2005), 1, 59–68. Concerning a 15th-century missal including a calendar and sequences from St. Catherine's Hospital at Forchheim near Bamberg, now US-PHf Lewis E 161.

19090. Janka SZENDREI, ‘“Laetabitur deserta”: Olasz repertoárdarabok a közép-európai gregoriánumban’, Magyar Egyházzene, 9 (2001–2002/2), 193–204. Concerning Italian chants in the Gregorian repertory of Central Europe.