24024R. Catherine CUBITT, Plainsong & Medieval Music, 26/2 (2017), 179–83.

24028R. Christelle CAZAUX-KOWALSKI, Cahiers de civilisation médiévale, 60/240 (2017), 293–4.

24038R. Marie-Noël COLETTE, Études grégoriennes, 45 (2018), 258–60.

24040R. Barbara HAGGH-HUGLO, Cahiers de civilisation médiévale, 60/238 (2017), 187–90.

24041R. James BORDERS, Plainsong & Medieval Music, 26/2 (2017), 206–15.

25005R. James GRIER, Speculum, 92/2 (2017), 519–20. – Xavier PERRIN, Ecclesia Orans, 33/1 (2016), 502–5.

25007R. Alicia SCARCEZ, Ecclesia Orans, 33/1 (2016), 499–502.

25010R. Christian MEYER, Revue de musicologie, 102/2 (2016), 455–6. – Marie-Noël COLETTE, Études grégoriennes, 44 (2017), 283–5.

25012R. Barbara EICHNER, Journal of the American Musicological Society, 71/1 (2018), 255–60. – Margot FASSLER, Music and Letters, 98/2 (2017), 306–8. – John MACINNIS, Notes: Quarterly Journal of the Music Library Association, 73/2 (2016), 300–2. – Stefan MORENT, trans. Ben POPE, German Historical Institute London Bulletin, 39/2 (2017), 59–62.

25017R. Luisa NARDINI, Speculum, 92/1 (2017), 220–2.

25029R. Martin CONRAD, Liturgisches Jahrbuch, 67/1 (2017), 131–2.

26002R. Daniel Alberto ESCOBAR PORTILLO, Ecclesia Orans, 33/2 (2016), 496–9.

26006R. Jurij SNOJ, Plainsong & Medieval Music, 26/2 (2017), 183–5.

26009R. Nicola TANGARI, Études grégoriennes, 45 (2018), 260–5. – Miriam WENDLING, Die Musikforschung, 70/4 (2017), 410–12.

26014R. Irene HOLZER, Die Musikforschung, 71/1 (2018), 67–9.

26015R. Irene HOLZER, Die Musikforschung, 72/1 (2019), 69–71.

26016R. Irene HOLZER, Die Musikforschung, 72/1 (2019), 69–71.

26020R. Geneviève B. BAZINET, Renaissance Quarterly, 70/4 (2017), 1612–13. – Peter V. LOEWEN, Music and Letters, 96/3 (2015), 452–4. – Jennifer S. THOMAS, Notes: Quarterly Journal of the Music Library Association, 72/4 (2016), 760–5.

26029R. Jonathan BLACK, The Journal of Medieval Latin, 26 (2016), 374–6.– James GRIER, Speculum, 93/1 (2018), 232–4.

26034R. Alexander J. FISHER, ‘The history of a curious tone’, Early Music, 41/3 (2013), 502–4. – Mark A. PETERS, Notes: Quarterly Journal of the Music Library Association, 69/2 (2012), 345–7.

26040R. Thomas F.X. NOBLE, The Medieval Review (2018). Available online at: https://scholarworks.iu.edu/journals/index.php/tmr/article/view/18525.

26044R. Peter Woetmann CHRISTOFFERSEN, Danish Yearbook of Musicology, 41/2 (2017), 15–18. – Matthew Cheung SALISBURY, Music and Letters, 98/2 (2017), 293–4.

26054R. Santiago RUIZ TORRES, Ecclesia Orans, 34/1 (2017), 286–9.

26062R. Helen DEEMING, ‘A Celebration of Alejandro Enrique Planchart’, Early Music, 45/2 (2017), 313–15. – Kathleen SEWRIGHT, Notes: Quarterly Journal of the Music Library Association, 73/3 (2017), 540–4.

27/28001. Bilingual Musical Manuscripts (Greek-Church Slavonic) in Rila Monastery, ed. Asen ATANASSOV, Vasja VELINOVA, Elena UZUNOVA, Ivan ZHELEV and Svetlana KUJUMDZIEVA (Sofia: Inprint, 2018).

27/28002. Graduale novum editio magis critica iuxta SC 117 seu Graduale sanctae Romanae Ecclesiae Pauli PP. VI cura recognitum, ad exemplar ordinis cantus missae dispositum, luce codicum antiquiorum restitutum nutu sancti oecumenici concilii Vaticani II, neumis laudunensibus et sangallensibus ornatum, vol. 2, De feriis et sancti, ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST and Stephan ZIPPE (Regensburg: Con Brio / Rome: Libreria Editrice Vaticana, 2018).

27/28003. Guy of Saint-Denis, Tractatus de tonis, ed. and trans. Constant J. MEWS, Carol J. WILLIAMS, John N. CROSSLEY and Catherine JEFFREYS (Kalamazoo: Medieval Institute Publications, 2017).

Review. Joseph DYER, The Medieval Review (2018). Available online at: https://scholarworks.iu.edu/journals/index.php/tmr/article/view/24684.

27/28004. Historiae: Historia Sancti Hilarii Pictaviensis, ed. Barbara HAGGH-HUGLO, Musicological Studies and Documents LXV/28 (Kitchener, ON: Institute of Mediaeval Music, 2018).

27/28005. In Festo Sancti Annonis tibi cantemus. Zwei Offizien zu Ehren des Heiligen Annos, ed. Dirk van BETTERAY (Niederhofen: Blattwelt, 2018).

27/28006. Lectionarium Placentinum Temporale. Edition of a Twelfth Century Lectionary for the Divine Office, 2 vols., ed. Brian MØLLER JENSEN, Millenio medievale 108, Testi 26 (Firenze: SISMEL Edizioni del Galluzzo, 2016).

Review. Charles HILKEN, Speculum, 93/3 (2018), 859–60.

27/28007. Lectionarium Placentinum Sanctorale. Edition of a Twelfth Century Lectionary for the Divine Office, 2 vols., ed. Brian MØLLER JENSEN, Millenio medievale 108*, Testi 26* (Florence: SISMEL Edizioni del Galluzzo, 2018).

Review. Lucien-Jean BORD, Cahiers de civilisation médiévale, 60/239 (2017), 316–18.

27/28008. Mapping Processions: Four Sixteenth-Century Spanish Music Manuscripts in Sydney, ed. David ANDRÉS FERNÁNDEZ, with a foreword by Jane Morlet HARDIE, Musicological Studies 108 (Kitchener, ON: The Institute of Mediæval Music, 2018).

Review. Maricarmen GÓMEZ MUNTANÉ, Medievalia. Revista d'Estudis Medievals, 21/1 (2018), 117–21. – Barbara HAGGH-HUGLO, Plainsong & Medieval Music, 28/1 (2019), 92–7.

27/28009. Medieval Latin Liturgy in English Translation: Teams Documents of Practice, ed. Matthew Cheung SALISBURY (Kalamazoo: Medieval Institute Publications, 2017).

Review. John B. WICKSTROM, The Medieval Review (2018). Available online at: https://scholarworks.iu.edu/journals/index.php/tmr/article/view/26103.

27/28010. Montecassino Archivio dell'Abbazia Cod. 318: Facsimile e commentarii, 2 vols., ed. Mariano DELL'OMO and Nicola TANGARI, Bibliotheca Mediaevalis IV – Archivio Storico di Montecassino. Facsimili e commentarii 3 (Lucca: LIM, 2018). (Vol. 2 is the facsimile; for vol. 1 see 27/28010 under ‘Collections of essays’.)

27/28011. Monuments of Medieval Liturgical Poetry in Hungary. Sequences – Critical Edition of Melodies, ed. Andrea KOVÁCS, Musica Sacra Hungarica 1 (Budapest: Argumentum, Liszt Ferenc Academy of Music Church Music Research Group, 2017).

27/28012. Notker Balbulus Sequenzen. Ausgabe für die Praxis, ed. Stefan MORENT et al. (Sankt Ottilien: EOS, 2017).

Review. Santiago RUIZ TORRES, Ecclesia Orans, 25/2 (2018), 458–61.

27/28013. Officium defunctorum secundum Ritum Mozarabicum cum notis musicis, ed. Luca RICOSSA (Versoix: L. Ricossa, 2016).

27/28014. Officium mortuorum secundum veterem Romanorum morem archibasilicae Sancti Petri, ed. Luca RICOSSA (Versoix: L. Ricossa, 2016).

27/28015. Officium Stellae: Studio comparativo e trascrizione dei testimoni liturgico-musicali, ed. Nausica MORANDI, La Tradizione Musicale 17 (Florence: Edizioni del Galluzzo per la Fondazione Ezio Franceschini, 2016).

Review. Michael L. NORTON, Plainsong & Medieval Music, 27/1 (2018), 76–85. – Elaine Stratton HILD, Speculum, 94/1 (2019), 255–6.

27/28016. Psalterium Currens, ed. Cornelius POUDEROIJEN, OSB, and Eugeen LIVEN D'ABELARDO, with Latin translation by Michiel OP DE COUL and Guus BAL, and English translation by David BARICK (Hilversum: Stichting Psalterium, 2018), 2 vols., 12 CDs and DVD featuring Hartkeriana.

27/28017. Szekvenciák a középkori Magyarországon. Repertoár, tradíciók, dallamok [Sequences in the medieval Hungary: Repertory, traditions, melodies], ed. Andrea KOVÁCS, Musica Sacra Hungarica 2 (Budapest: Argumentum, Liszt Ferenc Academy of Music Church Music Research Group, 2017).

27/28018. The Liber Ymnorum of Notker Balbulus, ed. Calvin M. BOWER (London: Henry Bradshaw Society, 2016). Vol. 1: Text and Music. Vol. 2: Commentary.

Review. William T. FLYNN, Music and Letters, 98/4 (2017), 672–4. – Anthony WARD, Ephemerides Liturgicae, 132 (2018), 380–2.

27/28019. The Office of Saint William of York, ed. John TOY and David HILEY, Wissenschaftliche Abhandlungen/Musicological Studies, LXV/27 (Kitchener, ON: The Institute of Mediaeval Music, 2017).

27/28020. The Scientia artis musice of Hélie Salomon: Teaching Music in the Late Thirteenth Century ed. and trans. Joseph DYER (London: Routledge, 2018).

Review. David HILEY, Music and Letters, 99/3 (2018), 471–2.

27/28021. Vigiliale MDVII. Monumenta et transcripta, ed. Elena Maria ȘORBAN, Quellen der rumänischen Musik 14 (Bucharest: Editura Muzicală, 1986).

27/28022. Benjamin BRAND, Holy Treasure and Sacred Song: Relic Cults and Their Liturgies in Medieval Tuscany (New York: Oxford University Press, 2014).

Review. Daniel J. DICENSO, Journal of the American Musicological Society, 70/2 (2017), 523–8. – Luisa NARDINI, Speculum, 92/1 (2017), 220–2.

27/28023. Gisèle CLÉMENT, Le Processionnal en Aquitaine, IX^e–XIII^e siècle: Genèse d'un livre et d'un répertoire, Musicologie 2 (Paris: Classiques Garnier, 2017).

Review. Marie-Noël COLETTE, Études grégoriennes, 44 (2017), 281–3. – Barbara HAGGH-HUGLO, Scriptorium, 72/1 (2018), 19*, n. 52. – Anne-Zoé RILLON-MARNE, Revue de musicologie, 105/1 (2019), 182–5.

27/28024. Jean-François GOUDESENNE, Émergences du Chant grégorien. Les strates de la branche Neustro-insulaire (687–930), MUSAM – Musicalia Antiquitatis & Medii Aevi 1 (Turnhout: Brepols, 2018).

27/28025. Anthea GRASSELLI, A Proper Definition for the Earliest Adiastematic Notations of Gregorian Chant (New York: Austin Macauley Publishers, 2019).

27/28026. Richard F. GYUG, Liturgy and Law in a Dalmatian City: The Bishop's Book of Kotor (Sankt-Peterburg, BRAN, F. no. 200), Studies and Texts 204, Monumenta Liturgica Beneventana 7 (Toronto: Pontifical Institute of Mediaeval Studies, 2016).

Review. Vadim PROZOROV, Speculum, 93/3 (2018), 854–6.

27/28027. Jeffrey F. HAMBURGER, Eva SCHLOTHEUBER, Susan MARTI and Margot E. FASSLER, Liturgical Life and Latin Learning at Paradies bei Soest, 1300–1425: Inscription and Illumination in the Choir Books of a North German Dominican Convent, 2 vols. (Münster: Aschendorff, 2016).

Review. Cynthia J. CYRUS, Speculum, 94/1 (2019), 215–17. – Nancy van DEUSEN, Journal of the American Musicological Society, 71/2 (2018), 530–4. – Véronique ROUCHON MOUILLERON, Revue de l'art, 200/2 (2018), 76–7. – Diane REILLY, The Medieval Review (2018). Available online at: https://scholarworks.iu.edu/journals/index.php/tmr/article/view/25976.

27/28028. Svetlana KUJUMDZIEVA, The Hymnographic Book of Tropologion: Sources, Liturgy and Chant Repertory (London and New York: Routledge, 2018).

Review. Hieromonk Damaskinos (OLKINUORA) of Xenophontos, Journal of the International Society for Orthodox Church Music, 3/4 (2018), 354–5.

27/28029. Christian MEYER, Catalogue des manuscrits notés du Moyen Age conservés dans les bibliothèques publiques de France: Collections de Bourgogne et d’Île-de-France. Autun, Auxerre, Avallon, Beaune, Chalon-sur-Saône, Dijon, Mâcon, Melun, Provins, Semur-en-Auxois, Sens (Turnhout: Brepols, 2013).

27/28030. Christian MEYER, Catalogue des manuscrits notés du Moyen Age conservés dans les bibliothèques publiques de France: Collections du Nord – Pas-de-Calais et de Picardie. Abbeville, Amiens, Arras, Bergues, Boulogne-sur-Mer, Cambrai (Turnhout: Brepols, 2015).

27/28031. Christian MEYER, Catalogue des manuscrits notés du Moyen Age conservés dans les bibliothèques publiques de France: Collections du Nord – Pas-de-Calais et de Picardie. II: Chantilly, Douai, Laon, Lille, Saint-Omer, Saint-Quentin, Soissons, Valenciennes (Turnhout: Brepols, 2016).

Review. Barbara HAGGH-HUGLO, Cahiers de civilisation médiévale, 60/238 (2017), 190–1.

27/28032. Christian MEYER, Catalogue des manuscrits notés du Moyen Age conservés dans les bibliothèques publiques de France: Collections de Bretagne, du Centre et des Pays-de-la-Loire. Angers, Blois, Bourges, Chartres, Le Mans, Loches, Nantes, Orléans, Rennes, Tours, Vendôme (Turnhout: Brepols, 2017).

27/28033. Christian MEYER, Catalogue des manuscrits notés du Moyen Age conservés dans les bibliothèques publiques de France: Collections d'Auvergne, Rhône-Alpes, de Nouvelle Aquitaine, d'Occitanie, et de Provence – Alpes – Côte d'azur. Aix-en-Provence, Albi, Arles, Auch, Avignon, Bayonne, Bordeaux, Carcassonne, Carpentras, Clermont-Ferrand, Foix, Fréjus, Grasse, Grenoble, Limoges, Lunel, Lyon, Marseille, Mende, Montauban, Montpellier, Moulins, Narbonne, Nice, Nîmes, Périgueux, Perpignan, Poitiers, Saint-Bonnet-le-Château, Saint-Victor-sur-Rhins, Toulouse (Turnhout: Brepols, 2019).

27/28034. Costin MOISIL, Geniu românesc vs. tradiție bizantină: Imaginea cântării bisericești în muzicologia românească [Romanian Genius vs. Byzantine Tradition: The Image of Church Chant in Romanian Musicology] (Bucharest: Editura Muzicală, 2016).

27/28035. Costin MOISIL, Construcția unei identități românești în muzica bisericească [The Construction of a Romanian Identity in Church Music] (Bucharest: Editura Universității Naționale de Muzică București, 2018).

27/28036. Gregory MYERS, Music and Ritual in Medieval Slavia Orthodoxa: The Exaltation of the Holy Cross, ed. Peter M. KRAKAUER, Varia Musicologica 23 (Bern: Peter Lang, 2018).

27/28037. Luisa NARDINI, Interlacing Traditions: Neo-Gregorian Chant Propers in Beneventan Manuscripts, Monumenta liturgica beneventana 8 (Toronto: Pontifical Institute of Mediaeval Studies, 2016).

Review. Therese BRUGGISSER-LANKER, Mittellateinisches Jahrbuch, 52 (2017), 496–8. – Elsa DE LUCA, Music and Letters, 99/2 (2018), 276–8. – James V. MAIELLO, Fontes Artis Musicae, 64/3 (2017), 315–19. – Matthew PEATTIE, ‘Post-Gregorian chant in southern Italy’, Early Music, 45/3 (2017), 470–1. – Nicola TANGARI, Rivista Internazionale di Musica Sacra, 38 (2017), 411–23. – Giovanni VARELLI, Rivista Italiana di Musicologia, 53 (2018), 213–18. – Bibiana VERGINE, Journal of the American Musicological Society, 71/3 (2018), 839–42.

27/28038. Michael L. NORTON, Liturgical Drama and the Reimagining of Medieval Theater (Kalamazoo: Medieval Institute Publications, 2017).

Review. Melanie BATOFF, Speculum, 94/1 (2019), 259–61.

27/28039. Susan RANKIN, Writing Sounds in Carolingian Europe: The Invention of Musical Notation (Cambridge: Cambridge University Press, 2018).

27/28040. Ramón SAIZ-PARDO HURTADO, Le opportunità del tempo. Angelo De Santi e la Scuola Superiore di Musica Sacra, Historiae musicae cultores (Firenze: Olschki, 2017).

27/28041. Catherine SAUCIER, A Paradise of Priests: Singing the Civic and Episcopal Hagiography of Medieval Liège, Eastman Studies in Music (Woodbridge: Boydell & Brewer, 2014).

Review. Karl KÜGLE, Journal of the American Musicological Society, 70/3 (2017), 857–60.

27/28042. Anton STINGL jun., Die Konjunktion “et” als Schlüssel zur Liqueszenz (Sankt Ottilien: EOS, 2017).

27/28043. Anton STINGL jun., Alleluia, dulce carmen. Aspekte des gregorianischen Alleluia (Sankt Ottilien: EOS, 2018).

27/28044. Markus UHL, Die römische Choralreform in der Folge des Trienter Konzils und die Editio Medicaea 1614/15 (Hildesheim et al.: Olms, 2018).

27/28045. Eva VESELOVSKÁ, Rastislav ADAMKO and Janka BEDNÁRIKOVÁ, Stredoveké pramene cirkevnej hudby na Slovensku [The sources of medieval Church music in Slovakia] (Bratislava: Slovenská muzikologická spoločnosť – Ústav hudobnej vedy SAV, 2017).

27/28046. Jacques VIRET, Le chant grégorien (Paris: Eyrolles 2017).

27/28047. Maura ZÁTONYI, Hildegard von Bingen, Zugänge zum Denken des Mittelalters 8 (Münster: Aschendorff, 2017).

Review. Debra L. STOUDT, Speculum, 94/2 (2019), 605–6.

27/28048. Church Music and Icons: Windows to Heaven. Proceedings of the Fifth International Conference on Orthodox Church Music, University of Eastern Finland, Joensuu, Finland, 3–9 June 2013, ed. Ivan MOODY and Maria TAKALA-ROSZCZENKO, Publications of the International Society for Orthodox Church Music 6 (Joensuu: The International Society for Orthodox Church Music, 2015):

(a) Flora KRITIKOU, ‘Abbot Sisoes’ Lamentation: A Composition with Iconographical Origins’, 126–37. (b) Achilleas CHALDAEAKES, ‘Illustrating Melodies: Iconographical Instructions in Byzantine Music Theory and Practice’, 138–52. (c) Costin MOISIL, ‘An Icon, a Pilgrimage, and a Few Songs’, 212–18. (d) Gregory MYERS, ‘Archibischop John of Novgorod and the Singing of a Kontakion – Some Musical Evidence’, 312–18. (e) Yulia ARTAMONOVA, ‘The Earliest Hymns to Saint Iosif Volotsky from the Eparchial Collection’, 345–9. (f) Aleksey GUDKOV, ‘Eating the Scroll: The Motif of Creative Initiation in the Iconography of Romanos the Melodist’, 417–28. (g) Melita MUDRI-ZUBACZ, ‘Liturgical Song as an Aural Icon: Towards a Theology of Sound and Participation’, 456–78.

27/28049. Creating Liturgically: Hymnography and Music. Proceedings on the Sixth International Conference of Orthodox Church Music, University of Eastern Finland, Joensuu, Finland, 8–14 June 2015, ed. Ivan MOODY and Maria TAKALA-ROSZCZENKO, Publications of the International Society for Orthodox Church Music 7 (Joensuu: The International Society for Orthodox Church Music, 2017):

(a) Gregory TUCKER, ‘Examples of Intertextuality in Byzantine Hymnography, or How the Liturgy Creates a World’, 39–45. (b) Victoria LEGKIKH, ‘On the Question of the Heritage of Michael, a Sixteenth-Century Hymnographer: The Mechanism of the Creation of a Service’, 69–80. (c) Šimon MARINČÁK, ‘The Transmission of Byzantine Melodies to the Slavic World from Selected Sources’, 81–94. (d) Tuuli LUKKALA, ‘Adapting Znamenny Chant to Other Languages – Conventions, Diversity, Experiences’, 122–38. (e) Vladimir MOROSAN, ‘A Collective Platform for the Creation of a Comprehensive Database of Znamenny Chantlets’, 139–61. (f) Dimitrios BALAGEORGOS, ‘Music and Words from the Liturgical Tradition of Jerusalem’, 162–76. (g) Flora KRITIKOU, ‘The Challenge of Writing New Poetry and Music: The Case of the Stichera Idiomela by Manuel Chrysaphes’, 177–88. (h) Maria TAKALA-ROSCZCENKO, ‘The Italo-Byzantine Roots of Ruthenian Hymnography for the Feast of the Holy Eucharist’, 219–26. (i) Alexandra IONIŢĂ, ‘Old Wine in New Wineskins: Romans 9–11 as a Possible Biblical Source for New Hymnography for Holy Week’, 228–43. (j) Marios CHRISTOU, ‘Development and Motivic Elaboration in the Third Mode Kratema of St. John Koukouzelis’, 300–11. (k) Giuseppe SANFRATELLO, ‘Creative Performance in the Liturgy: A Formulaic Melodic Language in the Sicilian-Albanian Chant Tradition’, 312–23. (l) Svetlana KUJUMDZIEVA, ‘The Rila Musical Manuscripts. A Tool for the Reconstruction of Music History’, 324–33. (m) Costin MOISIL, ‘Expecting the Unexpected: Tailoring Chants for the Liturgy of the Faithful’, 334–40. (n) Maria MATSUSHIMA JUNKO, ‘A Short History of Japanese Orthodox Music: St. Nikolai's Mission, Congregational Singing, and the Bessarabia-Bukovina Tradition’, 341–8. (o) Hierodeacon Hierotheos (PETROVIĆ), ‘Byzantine Church Music in Serbia at the Turn of the 21st Century Based on the Experience of the Monastic Community of the Kovilj Monastery. Reawakening, Development, Problems, Reception, Contemporariness and Perspectives’, 349–62. (p) Andrew MELLAS, ‘Felling Liturgically. Reflections on Byzantine Hymnography and Compunction’, 392–413. (q) Ionuţ-Gabriel NASTASĂ, ‘The Development of Church Music of the Byzantine Tradition in the 20th Century Moldavia’, 421–35. (r) Monk Damaskinos (OLKINUORA), ‘Deciphering the Theological Dimensions of Musical and Poetry Intertextuality in Byzantine Hymnography: The Case of the Great Feasts of the Theotokos’, 436–45. (s) Constantin GORDON, ‘Creating Hymnography in Today's Romania. The Office of Saint Brȃncoveanu’, 446–55. (t) Emmanouil DOUNDOULAKIS, ‘Unknown Contemporary Cretan Hymnographers and Their Unpublished Hymns’, 456–69. (u) Nicolae GHEORGHIŢA, ‘Between Russia and Byzantium. Liturgical Musical Practices in the Principality of Moldavia in the 18th Century and the First Half of the 19th Century’, 470–92. (v) Maria RIZZUTO, ‘Coptic Liturgical Chant in Italy. The Hymns Thok te ti Gom and Gholghotha’, 493–500. (w) Marko MÄKINEN, ‘The Path of the Creation of an Akathist “Rejoice, Holy Mother Maria, Martyr of Ravensbrück”’, 515–35. (x) Galina ALEKSEEVA, ‘Methodical bases of the Process of Adaptation of Orthodox Singing Culture to Other Cultures’, 536–41. (y) Dávid PANCZA, ‘The Question of Rhythm in the Middle Byzantine Chant’, 542–63.

27/28050. Da Napoli a Napoli: Musica e musicologia senza confini. Proceedings of the International Conference of IAML, Naples 20–25 July 2008, ed. Mauro AMATO, Cesare CORSI and Tiziana GRANDE (Lucca: Libreria Musicale Italiana, 2014):

(a) Luisa NARDINI, ‘I manoscritti musicali della Biblioteca Nazionale di Napoli. Il caso dell'Innario VI G.29’, 15–20.

27/28051. Das Trienter Konzil und seine Rezeption in Ungarn des 16. und 17. Jahrhunderts, ed. Márta FATA, András FORGÓ, Gabriele HAUG-MORITZ and Anton SCHINDLING, Reformationsgeschichtliche Studien und Texte 171 (Münster: Aschendorff, 2019):

(a) Ágnes PAPP, ‘Synodenbeschlüsse und Gemeindegesang in Ungarn im 17. Jahrhundert. Die Ausgaben des Gesangbuchs Cantus Catholici’, 247–60. (b) Gabriella GILÁNYI, ‘Der einstimmige lateinische Gesang in Ungarn nach dem Tridentischen Konzil’, 260–88.

27/28052. Europäische Musikkultur im Kontext des Konstanzer Konzils, ed. Stefan MORENT, Silke LEOPOLD and Joachim STEINHEUER (Ostfildern: Thorbecke, 2017):

(a) Anette LÖFFLER, ‘Liturgische Handschriften in der Bibliothek Benedikts XIII. Eine Spurensuche’, 59–94. (b) Stefan MORENT, ‘Choraltraditionen im süddeutschen Raum im frühen 15. Jahrhundert und die Bestände liturgisch-musikalischer Fragmente des Konstanzer Stadtarchivs’, 95–114.

27/28053. Gesten gestalten: Spielräume zwischen Sichtbarkeit und Hörbarkeit, ed. Constanze RORA and Martina SICHARDT, Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ Leipzig – Schriften 15 (Hildesheim et al.: Olms, 2018):

(a) Andreas PFISTERER, ‘Schriftzeichen – Handzeichen – musikalische Bewegung im Frühmittelalter’, 169–79.

27/28054. Jeanne d'Arc en Histoire et en Musique. Actes du Colloque de Domremy (4 juin 2014 et 25 avril 2015), ed. Catherine GUYON and Nadège TAUREAU, dossier of Annales de l'Est, 2 (2015):

(a) Jean-François GOUDESENNE, ‘Panorama des sources liturgiques en France (1380–1430): revisiter le contexte musical de l’épopée johannique’, 21–35.

27/28055. La cathédrale de Reims, ed. Patrick DEMOUY et al. (Paris: Presses Universitaires de Paris-Sorbonne, 2017):

(a) Jean-François GOUDESENNE, ‘Apports d'un premier Ordo Remensis à l'histoire liturgique et musicale (milieu du XIIe siècle)‘, 459–76.

27/28056. Maria in Hymnus und Sequenz. Interdisziplinäre mediävistische Perspektiven, ed. Eva ROTHENBERGER and Lydia WEGENER, Liturgie und Volkssprache 1 (Berlin and Boston: De Gruyter, 2017):

(a) Stefan ROSMER, ‘Carmina pulchra de beata virgine. Maria in spätmittelalterlichen cantiones, cantica, conductus und Tropen’, 289–320.

27/28057. Musik der mittelalterlichen Metropole: Räume, Identitäten und Kontexte der Musik in Köln und Mainz, ca. 900–1400. Tagungsbericht Mainz/Köln Oktober 2014, ed. Fabian KOLB, Beiträge zur rheinischen Musikgeschichte 179 (Kassel: Merseburger 2016):

(a) Fabian KOLB, ‘Musik und urbane Identität. Aspekte und Tendenzen musikalischer Profilierung in Köln und Mainz zwischen Hoch- und Spätmittelalter’, 47–97. (b) Andreas HAUG, ‘Handschrift und Geschichte. Vorwiegend Methodisches zum Thema “Mainz in der Musikgeschichte des zehnten Jahrhunderts”’, 99–123. (c) Henry PARKES, ‘Troping in Mainz and the (Re-)Construction of Metropolitan Identity’, 125–37. (d) Michael KLAPER, ‘Die “Rheinische Gruppe” in der Geografie der Tropen. Mainz, die Reichenau und eine neue Tropenquelle des späten Mittelalters’, 139–55. (e) Lori KRUCKENBERG, ‘Zu den Propriumstropen in der liturgischen Musikpraxis des Kölner Raums’, 157–97. (f) Klaus PIETSCHMANN, ‘“Audire meruit dulcisonam coelesti militiae melodiam”. Musik und Heiligkeit im mittelalterlichen Köln und Mainz’, 199–217. (g) Stefan MORENT, ‘Musikalische Heiligenverehrung im mittelalterlichen Köln’, 219–34. (h) Susanne WITTEKIND, ‘Das “hillich Coelne”. Musik und Kunst als identitätsstiftende Medien für Stadt und Konvente?’, 235–57. (i) Thomas SCHMIDT, ‘Zur Existenz und zum Phänotyp “urbaner” Musikquellen des Spätmittelalters’, 279–99. (j) Christian BERGER, ‘Tonsystem und Modus-Lehre in den Quaestiones in musica des Rudolf von St. Trond’, 423–36. (k) Therese BRUGGISSER-LANKER, ‘“Os meum aperui”. Musik und visionäre Liturgieexegese bei Rupert von Deutz’, 437–64. (l) Wolfgang FUHRMANN, ‘Rhetorik der Verinnerlichung. “Close Listening” im Cantuagium des Heinrich Eger von Kalkar’, 491–517.

27/28058. Proceedings of the 7th International Workshop on Folk Music Analysis, 14–16 June 2017, Málaga, Spain, ed. Isabel BARBANCHO, Lorenzo J. TARDÓN and Alberto PEINADO (Málaga: Universidad de Málaga et al., 2017). Available online at: http://fma2017.uma.es/proceedings.html:

(a) Geert MAESSEN and Peter van KRANENBURG, ‘A Semi-Automatic Method to Produce Singable Melodies for the Lost Chant of the Mozarabic Rite’, 60–5.

27/28059. Proceedings of the 18th International Society for Music Information Retrieval Conference, Suzhou, China, 23–27 October 2017, ed. Xiao HU, Jo CUNNINGHAM, Doug TURNBULL and Zhiyao DUAN (Suzhou: International Society for Music Information Retrieval, 2017). Available online at: https://ismir2017.smcnus.org/proceedings/:

(a) Geert MAESSEN and Peter van KRANENBURG, ‘Comparing Offertory Melodies of Five Medieval Christian Chant Traditions’, 204–10. Available online at: https://ismir2017.smcnus.org/wp-content/uploads/2017/10/174_Paper.pdf.

27/28060. Proceedings of the 8th International Workshop on Folk Music Analysis, 26–29 June 2018, Thessaloniki, Greece, ed. Andre HOLZAPFEL and Aggelos PIKRAKIS (Thessaloniki: Aristotle University of Thessaloniki, 2018). Available online at: http://fma2018.mus.auth.gr/proceedings.html:

(a) Geert MAESSEN and Darrell CONKLIN, ‘Two Methods to Compute Melodies for the Lost Chant of the Mozarabic Rite’, 31–4. (b) Geert MAESSEN and Peter van KRANENBURG, ‘A Non-Melodic Characteristic to Compare the Music of Medieval Chant Traditions’, 78–9.

27/28061. Sources of Identity: Makers, Owners and Users of Music Sources, ed. Lisa COLTON and Tim SHEPHARD (Turnhout: Brepols, 2017):

(a) Sophie BURTON, ‘Remnants of Identity: Two Beneventan Masses for All Saints in Benevento, Biblioteca Capitolare MS 40’, 39–50. (b) Océane BOUDEAU, ‘The Precentor's Book from Sens Cathedral (Sens, Médiathèque Jean-Christophe Rufin, MS 6)’ (translated by Frédéric DUFEU), 51–61.

Review. Matthew LAUBE, Music and Letters, 99/2 (2018), 285–7.

27/28062. Theorie und Geschichte der Monodie: Bericht der Internationalen Tagung Wien 2014, ed. Maria PISCHLÖGER and Martin CZERNIN, Theorie und Geschichte der Monodie 8 (Brünn: Tribun EU, 2016):

(a) Ziva GUSSEINOWA, ‘Die Besonderheiten der Znammennaja Notation um die Wende des 15. zum 16. Jahrhundert’, 173–92 [article in Russian, 193–212]. (b) Angela HACHAYANZ, ‘Zur Frage der Einschubsilben im liturgischen Gesang (nach den Handschriften aus dem 17. Jahrhundert)’, 213–28 [article in Russian, 229–44]. (c) Evgenia IGNATENKO, ‘Griechisch-byzantinische Quellen der Oktoechos 1769 von Kallistrat aus Kiew’, 245–70 [article in Russian, 271–94]. (d) David MERLIN, ‘Die Melodien des von Witterburger 1519 gedruckten Antiphonars’, 327–52 [article in Russian, 353–78]. (e) Ionuţ-Gabriel NASTASĂ, ‘Eucharistische Gesänge in den von der Putna Gesangschule überlieferten Handschriften des 15. und 16. Jahrhunderts’, 379–404 [article in Romanian, 405–30]. (f) Jaako OLKINUORA, ‘Die “rhetorische” Melodik in den byzantinischen Hymnen der Darstellung Marien im Tempel’, 431–44 [article in Russian, 445–56]. (g) Dávid PANCZA, ‘Die melodische Struktur der altbyzantinischen Stichera des zweiten Echos’, 457–78 [article in Russian, 479–500]. (h) Natalia PARFENTIEVA, ‘Stichera “Na Podoben” im Schaffen von Zaren Iwan dem Schrecklichen’, 521–32 [article in Russian, 533–44]. (i) Maria TAKALA-ROSZCZENKO, ‘“Te Deum” im östlichen Ritus des 17. und 18. Jahrhunderts in polnisch-litauischen Gebieten’, 595–620 [article in Russian, 621–44]. (j) Tetiana TESLIA, ‘Hymn Svite Tykhyi (Phos Hilaron) as Noted in Note Lined Hirmologions of the 16th and 17th Centuries’, 645–56 [article in Russian, 657–68]. (k) Kateryna ZAGNITKO, ‘Zur Geschichte der Erforschung der gregorianischen Gesangsquellen in der Handschriftensammlung in Lemberg’, 669–82 [article in Russian, 683–91.]

27/28063. Theorie und Geschichte der Monodie: Bericht der Internationalen Tagung Wien 2016, 2 vols., ed. Maria PISCHLÖGER, Theorie und Geschichte der Monodie 9 (Brünn: Tribun EU, 2018):

(a) Stefan HARKOV, ‘Frühere Formen der Neumennotierung vom 9. und 10. Jahrhundert: Einige Beobachtungen’, vol. 1, 69–89 [article in English, 91–110]. (b) Dávid PANCZA, ‘Die melodische Struktur der altbyzantinischen Stichera des zweiten Echos’, vol. 1, 209–31. (c) Irina SHEHOVTSOVA, ‘Über die Typologie griechischer Gesangshandschriften (anhand der Moskauer Sammlung)’, vol. 1, 315–28 [article in Russian, 329–41]. (d) Galina ALEKSEEVA, ‘Kern, Radikal oder Kadenz: Was ist wichtiger in der byzantinischen und altrussischen Melodik? Der theoretische Diskurs’, vol., 2, 483–92 [article in Russian, 493–502]. (e) Gayane AMIRAGHYAN, ‘Die Besonderheit der modalen Melodik im Neu-Dschulfaer oder Indo-Armenischer Gesang der Armenischen geistlichen Musik’, vol. 2, 503–21 [article in Russian, 523–41]. (f) Anna AREWSCHATJAN, ‘Tradition des melismatischen geistlichen Gesangsschaffen mittelalterlichen Armeniens (5.–15. Jahrhundert)’, vol. 2, 543–55 [article in Russian, 557–69]. (g) Irina GERASIMOVA, ‘Zur Frage der Deutung der Gesänge mit “seltsamen B-Zeichen” in Kiewer Notation: Fortsetzung der Polemik’, vol. 2, 603–24 [article in Russian, 625–45]. (h) Dávid PANCZA, ‘Die melodische Struktur der altbyzantinischen Stichera des zweiten plagialen Echos’, vol. 2, 693–706 [article in Russian, 707–20]. (i) Andreas PFISTERER, ‘Beobachtungen zum mittelbyzantinischen Kontakion’, vol. 2, 755–70 [Russian translation, 771–91]. (j) Olga SCHUMILINA, ‘Zum strophischen Prinzip in der strukturellen Organisation der Melodik ukrainischen kirchlicher Monodie der 17.–18. Jahrhunderte’, vol. 2, 792–802 [article in Russian, 803–16]. (k) Nina-Maria WANEK, ‘Untersuchungen zur Entstehung und Verbreitung der sog. Missa graeca’, vol. 2, 817–26 [Russian translation, 827–59].

27/28064. Una musica est universalis. L'eredità culturale di Giulio Cattin, Atti documenti e testi 1, ed. Antonio LOVATO (Padua: Presso la sede dell'Accademia, 2018):

(a) Angelo RUSCONI, ‘Un graduale gregoriano in notazione ambrosiana (Monza, Biblioteca capitolare, c 14/77)’, 49–63. (b) Marco GOZZI, ‘Le melodie cortonesi: nuove acquisizioni sull'aspetto ritmico’, 65–96. (c) Anna VILDERA, ‘Rilettura del Planctus Mariae dei Processionali Padovani (XIV–XV secolo)’, 97–110. (d) Diego TOIGO, ‘Il Cantus ecclesiasisticus Passionis di Giovan Domenico Guidetti’, 111–27.

27/28065. Beiträge zur Gregorianik, 63 (2017), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Liobgid KOCH, Josef KOHLHÄUFL, Stefan METZ, Daniel RÖSLER, Heinrich RUMPHORST, Gregor SCHULLER, Anton STINGL jun., Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 40’, 9–45. (b) Stephan ZIPPE, ‘Corrigendum zum Heft 62’, 46–7. (c) Heinrich RUMPHORST, ‘Vierzig Jahre Arbeitskreis Melodierestitution‘, 49–65. (d) Franco ACKERMANS, ‘Moduswechsel bzw. chromatische Töne in ihrem Textzusammenhang’, 67–88. (e) Alessandro DE LILLO, ‘Die Vervollständigung des authentischen Repertoires im Gregorianischen Chorals: Zum Stand der Forschung’, 89–101. (f) ‘Index der bisher restituierten Gesänge’, 117–24.

27/28066. Beiträge zur Gregorianik, 64 (2017), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Liobgid KOCH, Josef KOHLHÄUFL, Stefan METZ, Daniel RÖSLER, Heinrich RUMPHORST, Gregor SCHULLER, Anton STINGL jun., Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 41’, 9–43. (b) Heinrich RUMPHORST, ‘Beobachtungen zum Introitus Stabant iuxta crucem’, 45–52. (c) Bernhard PFEIFFER, ‘Korrektur zur Sequenz Victimae paschali laudes’, 53. (d) Christoph HÖNERLAGE, ‘Centoniation in den Gradualien des V. Modus: Musikalische Formeln als Mittel der assoziativen Textdeutung’, 55–87. (e) Stephan KLARER, ‘Stimmtechnische Voraussetzungen einer semiologisch orientierten Aufführungspraxis’, 89–98. (f) Jun NISHIWAKI, ‘Amalar und seine Auslegung von den O-Antiphonen: Zum Verständnis des Gregorianischen Repertoires in der Karolingerzeit’, 99–104. (g) ‘Index der bisher restituierten Gesänge’, 116–23.

27/28067. Beiträge zur Gregorianik, 65/66 (2018), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Christoph HÖNERLAGE, Liobgid KOCH, Josef KOHLHÄUFL, Stefan METZ, Daniel RÖSLER, Heinrich RUMPHORST, Anton STINGL jun., Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien in Ergänzung des Graduale Romanum. Teil 42’, 9–46. (b) Heinrich RUMPHORST, ‘CO. Nos autem gloriari – Beobachtungen zu einer Fassung der Communio Nos autem gloriari oportet’, 47–51. (c) Susan RANKIN, ‘Vor Sankt Gallen: Klänge einfangen – Notationen gestalten – Musik aufschreiben zwischen 800 und 900‘ (Übers. von Franz Karl Praßl und Severin Praßl), 53–74. (d) Louis KREKELERG, ‘Das Responsorium prolixum Descendit de caelis’, 75–114. (e) Franz Karl PRASSL, ‘Gedanken zur Zukunft der Semiologie in Forschung und liturgischer Praxis’, 115–27. (f) ‘Index der bisher restituierten Gesänge’, 156–63.

27/28068. Études grégoriennes, 44 (2017). Revue annuelle publiée sous la direction de Patrick HALA OSB, mise en page par Patrick HALA et Arnaud de CASTELBAJAC OSB (Solesmes: Les Éditions de Solesmes):

(a) Andreas PFISTERER, ‘Les répons néo-bénéventains: Un répertoire inconnu?’, 1–14 [for the chant examples, see Études grégoriennes, 45 (2018), 253–5.]. (b) Véronique DUBOIS, ‘Le tonaire noté du manuscrit de Gaillac, Paris, BNF Lat. 776. Édition des incipit (2^epartie)’, 15–92. (c) Océane BOUDEAU, ‘Un nouvel office de la Circoncision de Sens conservé à la Österreichische Nationalbibliothek (fragm. 660)’, 93–110. (d) Barbara HAGGH-HUGLO with Eric PADŻIORA, Simon POLSON and Rachel RUISARD, ‘New and Borrowed Chant in New Spain and Mexico: The Offices for the Espousal of the Virgin, the Seven Sorrows of the Virgin, the Virgin of the Pillar, and the Virgin of Guadalupe’, 111–75. (e) Heinrich RUMPHORST, ‘Introitustext und Schriftquelle im alten Testament (ohne Psalmen) – ein Vergleich’, 177–235.

27/28069. Études grégoriennes, 45 (2018). Revue annuelle publiée sous la direction de Patrick HALA OSB, mise en page par Patrick HALA et Arnaud de CASTELBAJAC OSB (Solesmes: Les Éditions de Solesmes):

(a) Giulio MINNITI, ‘Nota Beneventana: A Study of Early Southern-Central Italian Musical Notation’, 1–70. (b) Mark DEBROCK, Pieter MANNAERTS, ‘Liquescence et force articulatoire. Une approche phonétique du chant grégorien’, 71–106. (c) Joseph DYER, ‘The Image of the Cantor in the Writings of Amalar of Metz’, 107–42. (d) Ezio AIMASSO, ‘Reliquie di un Antiphonario nel Rotulo di S. Teobaldo’, 143–78. (e) Alicia SCARCEZ, ‘Les sources du responsorial cistercien (partie 2)’, 179–252. (f) Andreas PFISTERER ‘Illustrations relatives à l'article “Les répons néo-bénéventains: Un répertoire inconnu?”, paru dans Études grégoriennes 2017, p. 1–14’, 253–5.

27/28070. A Companion to Medieval Toledo: Reconsidering the Canons, ed. Yasmine BEALE-RIVAYA and Jason BUSIC, Brill's Companions to European History 16 (Leiden and Boston: Brill, 2018):

(a) Raquel ROJO CARRILLO, ‘Old Hispanic chant manuscripts of Toledo: testimonies of a local or of a wider tradition?’, 97–139.

27/28071. A-R Online Music Anthology (Middleton: A_R Editions, Inc., 2017). Available online at: www.armusicanthology.com:

(a) Jennifer BAIN, ‘Genre and Hildegard of Bingen's Ordo virtutum’.

27/28072. Analytical Essays on Music by Women Composers: Secular and Sacred Music to 1900, ed. Brenda RAVENSCROFT and Laurel PARSONS (New York: Oxford University Press, 2018):

(a) Jennifer BAIN, ‘Varied Repetition in Hildegard's Sequence for St. Rupert: O Ierusalem aurea civitas’, 11–46.

27/28073. Aural Architecture in Byzantium: Music, Acoustics, and Ritual, ed. Bissera PENTCHEVA (Abingdon and New York: Routledge, 2018):

(a) Peter JEFFERY, ‘Aural Architecture in Jerusalem, Rome, Constantinople, and Alexandria’, 14–31. (b) Christina MARANCI, ‘The Great Outdoors: Liturgical Encounters with the Early Medieval Armenian Church’, 32–51. (c) Christian TROELSGÅRD, ‘Byzantine Chant Notation: Written Documents in an Aural Tradition’, 52–77. (d) Walter D. RAY, ‘Understanding Liturgy in the Byzantine Liturgical Commentaries’, 78–100. (e) Laura STEENBERGE, ‘We Who Musically Represent the Cherubim’, 143–62. (f) Wieslaw WOSZCZYK, ‘The Acoustics of Hagia Sophia: A Scientific Approach to the Humanities and Sacred Space’, 176–97.

Review. Amy PAPALEXANDROU, Journal of Orthodox Christian Studies, 1/1 (2018), 113–14.

27/28074. Beredte Musik. Konversationen zum 80. Geburtstag von Wulf Arlt, ed. Martin KIRNBAUER, Schola Cantorum Basiliensis, Scripta 8 (Basilea: Schwabe, 2019):

(a) Charles M. ATKINSON, ‘The Short, Happy Life of Agnus Dei… Eia et eia’, 1–10. (b) Calvin BOWER, ‘A sequentia unica from 11th-Century Trier: Some Thoughts on its Character and Formation’, 59–70. (c) Agnieszka BUDZINSKA-BENNETT, ‘Chant Quote in Ludus Danielis: Merito hec patimus Revisited’, 71–7. (d) Andreas HAUG, ‘Zeittafel zu einer ungeschriebenen Musikgeschichte der Karolingerzeit’, 143–52. (e) Felix HEINZER, ‘Morgenröte im Treppenhaus. Beobachtungen zu Ave consugens aurora im Festoffizium von Le Puy’, 153–66. (f) Ritva JACOBSSON, ‘Ein rätselhafter Tropentext’, 189–94. (g) Kelly LANDERKIN, ‘Adsit Johannes Baptiste. An “Hidden” Benedicamus Domino’, 229–35. (h) Konstantin VOIGT, ‘Congaudeat ecclesia, De laudis und Halleluja. Strophenlied und Semantik um 1100’, 437–48. (i) Hana VLHOVÁ-WÖRNER, ‘Novum sidus orientis: New Identification Perspectives’, 457–66. (j) Hanna ZÜHLKE, ‘Das Offizium für das Fest der Transfiguratio domini im Benediktinerkloster Prüfening. Ein Quellenbericht’, 539–49.

27/28075. Chant, Liturgy, and the Inheritance of Rome. Essays in Honour of Joseph Dyer, ed. Daniel DICENSO and Rebecca MALOY, Henry Bradshaw Society, Subsidia 8 (London: Boydell Press, 2017):

(a) Charles M. ATKINSON, ‘Doxa en ipsistis Theo: Its Textual and Melodic Tradition in the “Missa graeca”’, 3–32. (b) Charles B. McCLENDON, ‘The Changing Roles of Old Saint Peter's in Late Antique and Early Medieval Rome’, 33–46. (c) John F. ROMANO, ‘The Archdeacon, Power, and Liturgy before 1000’, 47–80. (d) Edward NOWACKI, ‘The Earliest Antiphons of the Roman Office’, 81–142. (e) Thomas Forrest KELLY, ‘The Paschal Vigil in Medieval Rome’, 143–88. (f) Catherine CARVER, ‘As the Bells Toll: Parish Proximity in Medieval Rome’, 189–206. (g) David GANZ, ‘The Moment of Scrutiny in the Missale Gallicanum Vetus and the Instruction of Catechumens in Merovingian and Carolingian Francia’, 207–24. (h) Emma HORNBY, ‘Melodic Style and the Transmission History of the Beneventan Easter Vigil Canticles’, 217–44. (i) Luisa NARDINI, ‘Fitting New Texts into Old Melodies: The Diffusion and Technique of Prosulas for Tracts and Graduals’, 245–68. (j) Susan RANKIN, ‘Singing the Psalter in the Early Middle Ages’, 271–90. (k) Barbara HAGGH-HUGLO, ‘The Tonality of the Numerical Offices in Cambrai, Médiathèque municipale, MS 38’, 291–314. (l) Daniel J. DICENSO, ‘Revisiting the Admonitio generalis’, 315–72. (m) James BORDERS, ‘An Overlooked Source of the Pontifical romain du XII^e siècle and its Chants: Lyon, Bibliothèque des Facultés Catholiques, MS Réserve 1/0011 (olim MS 2)’, 373–404. (n) Susan BOYNTON, ‘Music and the Cluniac Vision of History in Paris, Bibliothèque nationale de France, MS lat. 17716’, 407–30. (o) Christopher PAGE, ‘To Chant in a Vale of Tears’, 431–40. (p) William MAHRT, ‘Melodic Trope as Modal Rhetoric’, 441–58. (q) David HILEY, ‘Invictissimus summi regis bellator Georgius: Proper Office Chants for St George in South German Manuscripts’, 459–88. (r) Rebecca A. BALTZER, ‘Notre-Dame and the Challenge of the Sainte-Chapelle in Thirteenth-Century Paris’, 489–524. (s) Mary E. WOLINSKI, ‘Music for the Confraternity of St James in Paris’, 525–42.

Review. James GRIER, Plainsong & Medieval Music, 28/1 (2019), 77–9. – Uwe Michael LANG, Antiphon: A Journal for Liturgical Renewal, 22/3 (2018), 302–3. – Constant J. MEWS, Parergon, 35/2 (2018), 207–8.

27/28076. Ein Kleid aus Noten. Mittelalterliche Basler Choralhandschriften als Bucheinbände, ed. Matteo NANNI, Caroline SCHÄRLI and Florian EFFELSBERG (Basilea: Schwabe, 2014):

(a) Martin STAEHELIN, ‘Einführung in die Arbeit an älteren Musikfragmenten’, 13–29. (b) Frank LABHARDT (†), ‘Die mittelalterliche Choralfragmente des Basler Staatsarchivs’, 31–39. (c) Irene HOLZER, ‘Liturgische Gesangsbücher’, 41–50. (d) Caroline SCHÄRLI, ‘Vom doppelten Buchschmuck der Choraleinbände’, 61–93. (e) Matteo NANNI, ‘Das Heilige und das Profane. Liturgische Choralfragmente als Zeugnisse von Geschichte’, 139–52. (f) Jaronas SCHEURER, ‘Das Archiv und sein Inhalt’, 155–8. (g) Bettina THOMMEN, ‘Pergament und Tinte – eine (kultur)historische Betrachtung’, 158–61. (h) Johannes JOSEPH, ‘Recyceltes Layout – Gedanken zur Frage der Intention einer mise en page in liturgischen Choralfragmenten’, 161–3. (i) Cristina PILEGGI, ‘Versteckte Geschichten im Bucheinband’, 164–6.

Review. Andreas JANKE, Die Musikforschung, 70/2 (2017), 171–2.

27/28077. Encyclopedia of the Bible and Its Reception, ed. Christine HELMER et al. (Berlin: De Gruyter, 2009–).

27/28078. Erklingendes Wort: Festschrift für Stefan Klöckner zum 60. Geburtstag, ed. Markus UHL and Christoph WEYER, Schriftenreihe des Allgemeinen Cäcilien-Verbandes für Deutschland 24 (Münsterschwarzach: Vier-Türme-Verlag, 2018):

(a) Franco ACKERMANS, ‘Zur Melodie des OF Ave Maria’, 25–44. (b) Frank HÖNDGEN, ‘Der geheime Vorrat – Das muttersprachliche Offiziums der Abtei Münsterschwarzach und seine Bezüge zum Repertoire des Gregorianischen Chorals’, 89–100. (c) Justina C. METZDORF, OSB, ‘Die Melodie Gottes, oder Warum Christen singen – Ein Streifzug durch die Theologie des Singens bei den Kirchenvätern’, 113–20. (d) Franz Karl PRASSL, ‘Notation in einem Liber Ordinarius – Ein Beispiel von Salzburg’, 155–64. (e) Robert PERNPEINTNER and Marius SCHWEMMER, ‘“Ad hanc vocem Christi martyres Dionysius, Rusticus, et Eleutherius in agonia roborati …” – Betrachtung zu der derzeit ältesten greifbaren Musikquelle aus dem Bistum Passau’, 177–84. (f) Markus UHL, ‘Klingende Vielfalt – Diastematische Handschriften als eigenständige musikalische Zeugnisse’, 185–94. (g) Christoph WEYER, ‘Zu 37rv im Codex Mscr. Desd. A 199 – Paläographische und historische Untersuchung’, 195–200. (h) Marcel ZIJLSTRA, ‘Cantus Romanus und Gregor der Große’, 201–8.

27/28079. Frammenti di un discorso storico: Per una grammatica dell'aldilà del frammento, ed. Caterina TRISTANO (Spoleto: Fondazione Centro italiano di studi sull'alto medioevo, 2019):

(a) Nicola TANGARI, ‘I frammenti liturgico-musicali di Città di Castello come esempio’, 319–81.

27/28080. Geschichte der Liturgie in den Kirchen des Westens. Rituelle Entwicklungen, theologische Konzepte und kulturelle Kontexte, Vol. 1: Von der Antike bis zur Neuzeit, ed. Jürgen BÄRSCH and Benedikt KRANEMANN (Münster: Aschendorff, 2018):

(a) Gerard ROUWHORST, ‘Liturgie in der Alten Kirche des Ostens’, 155–200. (b) Martin KLÖCKENER, ‘Liturgie in der Alten Kirche des Westens’, 201–69. (c) Arnold ANGENENDT, Liturgie im Frühmittelalter’, 273–92. (d) Martin KLÖCKENER, ‘Liturgische Quellen des Frühmittelalter’, 293–328. (e) Jürgen BÄRSCH, ‘Liturgie im Hoch- und Spätmittelalter’, 329–76. (f) Andreas HEINZ, ‘Nichtrömische Liturgiefamilien des Westens. Mit einem Ausblick auf die Gegenwart’, 377–421.

27/28081. Geschichte und Gegenwart des musikalischen Hörens. Diskurse – Geschichte(n) – Poetiken, ed. Klaus ARINGER, Franz Karl PRASSL, Peter REVERS and Christian UTZ, Rombach Wissenschaften. Klang-Reden 17 (Freiburg i.B. et al.: Rombach, 2017):

(a) Franz Karl PRASSL, ‘Der pawlowsche Hund und die Liturgie. Hören und Wiedererkennen im Gregorianischen Choral’, 155–74. (b) Stefan ENGELS, ‘Perzeption und Rezeption des Gregorianischen Chorals von seiner Restauration bis heute’, 175–88.

27/28082. Hic est Martinus. Der heilige Martin in Kunst und Musik, ed. Diözesanmuseum Rottenburg and Melanie PRANGE, PARTICIPARE! Publikationen des Diözesanmuseums Rottenburg 2 (Ostfildern: Thorbecke, 2016):

(a) Inga BEHRENDT, ‘Hic est Martinus. Das erste Reponsorium des Martinusoffiziums’, 75–80.

27/28083. Knowing Bodies, Passionate Souls: Sense Perceptions in Byzantium, ed. Susan Ashbrook HARVEY and Margaret MULLETT (Washington, DC: Dumbarton Oaks Publications, 2017):

(a) Spyridon ANTONOPOULOS, ‘Kalophonia and the Phenomenon of Embellishment in Byzantine Psalmody’, 87–110.

27/28084. Kodikologie und Paläographie im Digitalen Zeitalter/Codicology and Paleography in the Digital Age 4, ed. Hannah BUSCH, Franz FISCHER and Patrick SAHLE, with the cooperation of Philip HEGEL and Celiz KRAUSE, Schriften des Instituts für Dokumentologie und Editorik Köln 11 (Norderstedt: Books on Demand, 2017):

(a) Inga BEHRENDT, Jennifer BAIN and Kate HELSEN, ‘MEI Kodierung der frühesten Notation in linienlosen Neumen’, 281–96.

27/28085. Les Noces de Musicologie et Philologie: Textes et musique au Moyen Âge, ed. Christelle CAZAUX-KOWALSKI, Christelle CHAILLOU-AMADIEU, Anne-Zoé RILLON-MARNE and Fabio ZINELLI (Paris: Classiques Garnier, 2017):

(a) Océane BOUDEAU, ‘La question des variantes dans les nova cantica de l'office de la Circoncision de Sens’, 97–124. (b) Marie-Noël COLETTE, ‘Tropes et prosules: Poésie et musique’, 149–62. (c) Susan RANKIN, ‘Writing and Reading. Word and Sound in the Ninth Century’, 175–94.

27/28086. Libri Seccovienses. Studien zur Bibliothek des Augustiner Chorherrenstiftes Seckau, ed. Thomas László CSANÁDY and Erich RENHART (Graz: Unipress Graz Verlag, 2018):

(a) Franz Karl PRASSL, ‘Das Seckauer “Graduale Magnum” UBG ms. 17’, 109–36. (b) Réka MIKLÓS, ‘Der letzte Seckauer Liber Ordinarius UBG ms. 1566’, 137–54.

27/28087. Lisboa Medieval: Gentes, Espaços e Poderes, ed. João Luís FONTES et al. (Lisboa: Instituto de Estudos Medievais, 2017):

(a) Manuel Pedro FERREIRA, ‘São Vicente em Lisboa: dois protagonistas (leitura histórica de um fragmento musical)’, 205–22.

27/28088. Luz, Cor e Ouro. Estudos sobre manuscritos iluminados, ed. Catarina Fernandes BARREIRA, e-book (Lisboa: Biblioteca Nacional de Portugal, 2017):

(a) Manuel Pedro FERREIRA, ‘Breves notas sobre o Iluminado 115’, 311–16.

27/28089. Making and Breaking the Rules: Discussions, Implementation and Consequences of Dominican Legislation, ed. Cornelia LINDE (Oxford: Oxford University Press, 2018):

(a) Eleanor J. GIRAUD, ‘Totum officium bene correctum habeatur in domo: Uniformity in the Dominican Liturgy’, 153–72. (b) Hrvoje BEBAN, ‘Nullus scienter litteram aut notam mutet: Dominicans (Dis)Obeying the Regulations for the Copying of Chant Books. An Example from Late Medieval Dalmatia’, 173–88.

27/28090. Medieval Cantors and their Craft: Music, Liturgy and the Shaping of History, 800–1500, ed. Katie Ann-Marie BUGYIS, A. B. KRAEBEL and Margot FASSLER (Woodbridge: York Medieval Press/Boydell & Brewer, 2017):

(a) David GANZ, ‘Historia: Some Lexicographical Considerations’, 8–22. (b) Rosamond McKITTERICK, ‘Liturgy and History in the Early Middle Ages’, 23–40. (c) Susan RANKIN, ‘Notker Bibliothecarius’, 41–58. (d) Lori KRUCKENBERG, ‘Singing History: Chant in Ekkehard IV's Casus sancti Galli’, 59–88. (e) James GRIER, ‘Adémar de Chabannes (989–1034) as Musicologist’, 90–102. (f) Henry PARKES, ‘Cantor or Canonicus? In Search of Musicians and Liturgists in Eleventh-Century Constance’, 103–24. (g) Margot FASSLER, ‘Shaping the Historical Dunstan: Many Lives and a Musical Office’, 125–50. (h) Katie Ann-Marie BUGYIS, ‘Female Monastic Cantors and Sacristans in Central Medieval England: Four Sketches’, 151–71. (i) Tessa WEBER, ‘Cantor, Sacrist or Prior? The Provision of Books in Anglo-Norman England’, 172–189. (j) Charlie ROZIER, ‘Symeon of Durham as Cantor and Historian at Durham Cathedral Priory, c. 1090–1129’, 190–206. (k) Lauren L. WHITNAH, ‘Reshaping History in the Cult of Æbbe of Coldingham’, 207–21. (l) Paul A. HAYWARD, ‘William of Malmesbury as a Cantor-Historian’, 222–39. (m) Sigbjorn Olsen SONNESYN, ‘Lex orandi, lex scribendi? The Role of Historiography in the Liturgical Life of William of Malmesbury’, 240–54. (n) A. B. KRAEBEL, ‘Of the Making of Little Books: The Minor Works of William of Newburgh’, 255–76. (o) Cara ASPESI, ‘The Cantors of the Holy Sepulchre and their Contribution to Crusade History and Frankish Identity’, 278–96. (p) Alison I. BEACH, ‘Shaping Liturgy, Shaping History: A Cantor-Historian from Twelfth-Century Peterhausen’, 297–309. (q) Peter JEFFERY, ‘The Roman Liturgical Tradition According to a Twelfth-Century Roman Cantor’, 310–25. (r) Anna de BAKKER, ‘A Life in Hours: Goswin of Bossut's Office for Arnulf of Villers’, 326–39. (s) Claire Taylor JONES, ‘Writing History to Make History: Johannes Meyer's Chronicles of Reform’, 340–56.

Review. Joseph DYER, Plainsong & Medieval Music, 27/1 (2018), 71–6. – Barbara HAGGH-HUGLO, Scriptorium, 72/1 (2018), 58*–59*, n. 159; 6*, n. 9; 7*, n. 15; 12*–13*, n. 36; 22*–23*, n 62; 32*, n. 82; 39*–40*, n. 105; 45*, n. 112; 52*, nn. 128 and 130; 55*, nn. 142 and 143; 68*, n. 179; 73*–74*, n. 194; 76*, n. 200; 81*, n. 215; 89*, n. 242. – Barbara HAGGH-HUGLO, Études grégoriennes, 45 (2018), 265–8. – Benjamin POHL, The English Historical Review, 134/566 (2019), 179–81.

27/28091. MENSCHEN, BILDER, SPRACHE, DINGE. Wege der Kommunikation zwischen Byzanz und dem Westen 2: Menschen und Worte, ed. Falko DAIM, Dominik HEHER and Claudia RAPP, Byzanz zwischen Orient und Okzident 9/2 (Mainz: Schnell & Steiner, 2018):

(a) Nina-Maria WANEK, ‘Missa graeca: Mythen und Fakten um griechische Gesänge in westlichen Handschriften’, 113–28.

27/28010. Montecassino Archivio dell'Abbazia Cod. 318: Facsimile e commentarii, 2 vols., ed. Mariano DELL'OMO and Nicola TANGARI, Bibliotheca Mediaevalis, IV – Archivio Storico di Montecassino. Facsimili e commentarii, 3 (Lucca: LIM, 2018). (Vol. 2 is the facsimile, see 27/28010 under ‘Editions and facsimile editions’):

(a) Mariano DELL'OMO, ‘Descrizione del manoscritto Montecassino 318’, ix–xxxvii. (b) Francis NEWTON, ‘Montecassino 318: Its Home and its Date’, xxxvii–xlii. (c) Giulia OROFINO, ‘La decorazione del manoscritto Montecassino 318’, xliii–lii. (d) Thomas Forrest KELLY, ‘The Role of Montecassino 318 in the Musical History of the Middle Ages’, lii–lx. (e) Angelo RUSCONI, ‘Le notazioni musicali di Montecassino 318’, lxi–lxx. (f) Luisa NARDINI, ‘I due tonari a confronto’, lxxi–lxxxiii. (g) Maddalena SPARAGNA, ‘Un sondaggio sul testo del Micrologus: l'apparato di glosse interlineari di Montecassino 318’, lxxxiii–cvi. (h) Nicola TANGARI, ‘Montecassino 318 nella tradizione e negli studi’, cvii–cxliv. (i) Nicola TANGARI (ed.), ‘Appendice I: Ricostruzione delle pagine difficilmente leggibili’, cxlv–clxxviii. (j) Luisa NARDINI and Bibiana VERGINE (eds.), ‘Appendice II: Indici del primo e del secondo tonario’, clxxxi–cxiv.

27/28092. Music and Culture in the Middle Ages and Beyond: Liturgy, Sources, Symbolism, ed. Benjamin BRAND and David J. ROTHENBERG (Cambridge: Cambridge University Press, 2016):

(a) Thomas Forrest KELLY, ‘Music and Liturgy in Medieval Capua’, 13–27. (b) Barbara HAGGH-HUGLO, ‘The Model Antiphon Series Primum quaerite in Hucbald's Office In plateis and in other Post-Carolingian Chant’, 28–54. (c) Benjamin BRAND, ‘Singing from the Pulpit’, 55–71.

Review. Helen DEEMING, ‘Essays for Craig Wright’, Early Music, 45/3 (2017), 471–3. – Karen DESMOND, Music and Letters, 99/2 (2018), 278–81. – Magnus WILLIAMSON, Renaissance Quarterly, 71/1 (2018), 372–4.

27/28093. Music in Dark Times: Europe East and West, 1930–1950, ed. Valentina SANDU-DEDIU (Bucharest: Editura Universității Naționale de Muzică București, 2016):

(a) Costin MOISIL, ‘Byzantium, Folklore, Race: National Church Music in Interwar Romania’, 79–92 (reprinted in Musicology Today, see 27/28156).

27/28094. Music, Liturgy, and the Veneration of Saints of the Medieval Irish Church in a European Context, ed. Ann BUCKLEY (Turnhout: Brepols, 2017):

(a) Michel HUGLO, ‘A Study of Early Irish Chant’, 1–22. (b) Barbara HAGGH-HUGLO, ‘Proper Offices for Saints and the Historia: Their History and Historiography, and the Case of the Historia for St Livinus’, 23–50. (c) Nils Holger PETERSEN, ‘Locality and Distance in Cults of Saints in Medieval Norway’, 51–66. (d) Jean-Michel PICARD, ‘Omnes sancti chori Hiberniae sanctorum orate pro nobis: Manuscript Evidence for the Cult of Irish Saints in Medieval Europe’, 67–78. (e) Sara G. CASEY, ‘Songs for the Peregrini: Propers for Irish Saints in Continental Manuscripts’, 79–100. (f) Bernhard HANGARTNER, ‘The Historia of St Fintan of Rheinau’, 101–22. (g) Pieter MANNAERTS, ‘Letetur Hybernia, Jubilans Antverpia: The Chant and Cult of St Dympna of Ghee’, 123–160. (h) Ann BUCKLEY, ‘From Hymn to Historia: Liturgical Veneration of Local Saints in the Medieval Irish Church’, 161–85. (i) Senan FURLONG, ‘The Medieval Office of St Patrick’, 185–204. (j) Patrick BRANNON, ‘A Divine Office Celebration for the Feast of St Canice at Kilkenny Cathedral’, 205–22. (k) Betty I. KNOTT, ‘Possible Irish Influences in the Office for St Kentigern, Patron Saint of Glasgow’, 223–30. (l) Greta-Mary HAIR, ‘Why St Andrew? Why Not St Columba as Patron Saint of Scotland?’, 231–6. (m) Ciaran O'DRISCOLL, ‘Reconstructing First Vespers for the Feast of St Brendan, Abbot of Clonfert, from the Common Office of a Confessor Abbot, According to the Sarum Rite’, 237–52. (n) Sally HARPER, ‘Shaping an “Indigenous” Liturgy: The Case for Medieval Wales’, 253–65. (o) Patricia M. RUMSEY, ‘The Significance of the Liturgia Horarium in the Nauigatio sancti Brendani in its Modelling of a Sacramental Christian Life’, 267–78. (p) Neil Xavier O'DONOGHUE, ‘The Use of the Eucharistic Chrismal in Pre-Norman Ireland’, 279–90. (q) Liam TRACEY, ‘Celtic Mists: The Search for a Celtic Rite’, 291–304.

Review. Constant J. MEWS, Parergon, 35/1 (2018), 150–2.

27/28095. Musica ed esperienza religiosa, ed. Mauro CASADEI TURRONI MONTI and Cesarino RUINI (Milano: Franco Angeli, 2017):

(a) Cesarino RUINI, ‘Il primo orizzonte cristiano e il Medioevo: concezione e impiego della musica’, 23–8.

27/28096. Musical Exchanges, 1100–1650: Iberian Connections, ed. Manuel Pedro FERREIRA, Iberian Early Music Studies 2 (Kassel: Edition Reichenberger, 2016):

(a) Manuel Pedro FERREIRA, ‘Emulation and Hybridisation in Iberia: A Medieval Background’, 3–18. (b) Arturo TELLO RUIZ-PÉREZ, ‘Center and Periphery Again: Could Spain be Considered an Independent Tradition of Liturgical Song?’, 21–30. (c) Kathleen E. NELSON, ‘The Notated Exultet in Braga's Missal de Mateus: Known Tradition or New Composition?’, 31–48. (d) Diogo Alte DA VEIGA, ‘Twelfth and Thirteenth-Century Breviary Fragments in Moissac and the Rite of Braga: Some Preliminary Insights’, 49–58. (e) Kate HELSEN, ‘The European Affiliations of MS Porto BPM 1151’, 59–68.

Review. Cristina DIEGO PACHECO, Renaissance Quarterly, 71/3 (2018), 1174–5. – Michael NOONE, trans. José Máximo LEZA, ‘Intercambios musicales, ampliación de horizontes y micro-musicología’, Revista de Musicología, 41/1 (2018), 268–76.

27/28097. ’Nationes-Begriffe’ im mittelalterlichen Musikschrifttum. Politische und regionale Gemeinschaftsnamen in musikbezogenen Quellen, 800–1400, ed. Frank HENTSCHEL (Berlin and Boston: De Gruyter, 2016):

(a) Marian WEISS, ‘Der Graecus bei Aurelianus Reomensis: ein byzantinischer Griechischlehrer im Westen?’, 7–10. (b) Marian WEISS, ‘Zu den Griechischkenntnissen in St. Gallen um 900: die ellinici fratres bei Notker Balbulus’, 11–15. (c) Frank HENTSCHEL, ‘Die sprachgeschichtliche Bedeutung der Alemanni bei Notker Balbulus und ihre Umdeutung in der späteren Rezeption’, 15–22. (d) Marian WEISS and Frank HENTSCHEL, ‘Übernahme byzantinischer Kirchentöne: Graeci bei Aurelianus Reomensis sowie Autoren des 11. Jahrhunderts’, 29–36. (e) Frank HENTSCHEL, ‘Byzantinische Orgelschenkungen: Graeci in den Quatuor principalia’, 36–38. (f) Marie WINKELMÜLLER, ‘Die “mos … veteranorum cantorum” des Aurelianus Reomensis und die Stellung der gallikanischen Liturgie im Westfrankenreich des späten 9. Jahrhunderts’, 39. (g) Marie WINKELMÜLLER, ‘Politische Unifikationsbestrebungen im Konflikt mit der Wahrung lokaler Tradition: Gallia tota im Gedicht “Olim romulea” (Montecassino 318)’, 41–50. (h) Gunnar WIEGAND, ‘Choraldialekte der Teutonici, Itali und Romani nach Theoger von Metz’, 50–51. (i) Gunnar WIEGAND, ‘Teutonici bevorzugen Sprünge, Langobardi stufenweise Melodik’, 51–63. (j) Frank HENTSCHEL, ‘“Habitus” und musikalische Spezifik regionaler Gemeinschaften: Hispani, Latini, Teutonici und Galli bei Guido von Arezzo und seinen Rezipienten’, 63–77. (k) Karen DESMOND, ‘Zur “englischen” Prägung des Tonale secundum usum ecclesiarum Anglie et Francie des Amerus/Alvredus’, 77–89. (l) Frank HENTSCHEL, ‘Die geografische Verbreitung der Memoriersilben Ut, Re, Mi, Fa, Sol, La: Angli, Francigenae, Alemanni und Itali bei Johannes dictus Cotto sive Affligemensis’, 93–103. (m) Marie WINKELMÜLLER, ‘Falsche und richtige, zulässige und unzulässige Texte in der Liturgie: Gallia(e) in Bernos Abhandlung De varia psalmorum atque cantuum modulatione’, 169–82. (n) Joseph DYER, ‘Gallici vs. “monaci” bei Elias Salomo’, 185–96. (o) Karen DESMOND, ‘Katzenmusik in der Kirche: Elias Salomo über den Verfall der geistlichen Musik’, 197–204. (p) Marie WINKELMÜLLER, ‘Elias Salomo und die Guidonische Hand bei den Provinciales sive Tolosani’, 204–09. (q) Frank HENTSCHEL, ‘Musik der Heimat und Musik der Fremde: Galli, Germani und Teutonici bei Guido de Sancto Dionysio’, 225–36. (r) Marian WEISS, ‘Umgrenzung des “Heiligen Römischen Reiches” in der Summa musice’, 247–55. (s) Gunnar WIEGAND, ‘Beispiele von politischer Instrumentalisierung? Apulienses und Calabri bei Guido de Arezzo und Guido de Sancto Dionysio’, 261–8. (t) Gunnar WIEGAND, ‘Aurelian und das italicum regnum in einer Handschrift um 1400’, 268–72.

27/28098. New Europe College Ştefan Odobleja Program Yearbook 2012–2013, ed. Irina VAINOVSKI-MIHAI (Bucharest: New Europe College, 2014):

(a) Costin MOISIL, ‘Problems of Identity in the Orthodox Church Music in Transylvania’, 123–46.

27/28099. O clero secular medieval e as suas catedrais: novas perspectivas e abordagens, ed. Anísio Miguel DE SOUSA SARAIVA e Maria do Rosário BARBOSA MORUJÃO, Estudos de História Religiosa 16 (Lisboa: CEHR, 2014):

(a) Manuel Pedro FERREIRA, ‘Liturgia bracarense: origens, fontes, posteridade’, 123–40.

27/28100. Património e Devoção, ed. Elisa Maria Maia DA SILVA LESSA and Maria Marta LOBO DE ARAÚJO (Braga: Câmara Municipal de Braga e Santa Casa da Misericórdia de Braga, 2018):

(a) Manuel Pedro FERREIRA, ‘Um panorama histórico da música na Sé de Braga até 1550’, 27–45.

27/28101. Sciences du quadrivium au Mont-Cassin: Regards croisés sur le manuscrit Montecassino, Archivio dell'Abbazia 318, ed. Laura ALBIERO and Isabelle DRAELANTS, Bibliologia 51 (Turnhout: Brepols, 2018):

(a) Laura ALBIERO, ‘Le manuscrit Montecassino 318: Aspects codicologiques et paléographiques’, 15–35. (b) Mariano DELL'OMO, ‘La biblioteca di Montecassino nell'alto medioevo: una collezione in progress da Teodemaro a Desiderio’, 37–60. (c)

Jean-Baptiste GUILLAUMIN, ‘Les extraits de traités de musique tardo-antiques intégrés dans le manuscrit Montecassino 318’, 115–55. (d) Christian MEYER, ‘Une anthologie au carrefour des savoirs et des cultures’, 159–93. (e) Angelo RUSCONI, ‘Il ms. Montecassino 318 e la tradizione di Guido d'Arezzo’, 195–213. (f) Luisa NARDINI, ‘Regional Musical Culture and the Copying of Mass Chants in the Second Tonary of Ms. Montecassino 318’, 217–29. (g) Alejandro PLANCHART, ‘The Proses of the Second Tonary of Ms. Montecassino 318’, 231–53. (h) Bibiana VERGINE, ‘The Hymns of the Second Tonary of Ms. Montecassino 318’, 255–89. (i) Laura ALBIERO, ‘“Ita facit romana ecclesia”: Un ordinaire de Rome pour le Mont-Cassin’, 291–309. (j) Anne GRONDEUX, ‘Notes sur les gloses du manuscrit Montecassino 318’, 313–26. (k) Matthew PEATTIE, ‘Neumatic Notation in Ms. Montecassino 318’, 317–40. (l) Laura ALBIERO, ‘Édition des Tonaires’, 343–483.

27/28102. Prozessionen und ihre Gesänge in der mittelalterlichen Stadt. Gestalt – Hermeneutik – Repräsentationen, ed. Harald BUCHINGER, David HILEY, Sabine REICHERT and Edith FEISTNER, Forum Mittelalter-Studien 13 (Regensburg: Schnell & Steiner, 2017):

(a) Joseph DYER, ‘City Streets as Sacred Space: The Topography of Processions in Medieval Rome’, 13–33. (b) Terence BAILEY, ‘Processions and their chants in Medieval Milan’, 35–44. (c) Andrew J. M. IRVING, ‘Processions at the Cross-Roads: Processions in Twelfth-Century Benevento and in the Chronicle of Falco Beneventanus’, 45–66. (d) Andreas ODENTHAL, ‘Was ist Sakraltopographie? Eine Problemanzeige aus liturgiewissenschaftlicher Sicht nach dem “spatial turn”’, 67–78. (e) Antonio LOVATO, ‘The Procession in Ramis Palmarum at the Cathedral of Padua and in the Venetian area’, 79–100. (f) Jürgen BÄRSCH, ‘Liturgische Sachkultur und ihre rituelle Präsenz in mittelalterlichen Prozessionen: Überlegungen zu Funktion und Bedeutung materieller Ausstattung gottesdienstlicher Züge’, 101–18. (g) Albert DIETL, ‘Per totum murorum ambitum: Papst Leos IV. Bau und Einweihungsprozession der civitas Leoniana’, 119–60. (h) Antje DIENER-STAECKLING, ‘Repräsentativ und untrennbar verbunden: Prozession und Musik als feststehender Bestandteil der mittelalterlichen Ratswahl’, 161–72. (i) Sabine REICHERT, ‘Im Schatten der Kathedrale? Spätmittelalterliche Fronleichnamsprozessionen in Trier und Osnabrück’, 173–86. (j) Anna VILDERA, ‘Roles of Power in Paduan Processional Itineraries’, 187–200. (k) Yossi MAUREY, ‘Mapping Liturgical Space in Medieval Tours: Processions as Instruments of Power’, 201–8. (l) Andreas PFISTERER, ‘Überlegungen zu den Gattungen der Prozessionsgesänge’, 209–16. (m) Reinhard MESSNER, ‘Zur theologischen Interpretation von Prozessionsantiphonen am Beispiel einiger Antiphonen für den Karfreitag und den Ostermorgen’, 217–30. (n) David HILEY, ‘Old and new in the processional chants in Soissons circa 1200’, 231–46. (o) Harald BUCHINGER, ‘Funktion und Frömmigkeit des sonntäglichen Lustrationsumgangs: Eine Vorstudie zur Prähistorie des Prozessionales’, 247–303.

27/28103. Resounding Images: Medieval Intersections of Art, Music, and Sound, ed. Susan BOYNTON and Diane J. REILLY, Studies in the Visual Culture of the Middle Ages 9 (Turnhout: Brepols, 2015):

(a) Elizabeth VALDEZ DEL ÁLAMO, ‘Hearing the Image at Santo Domingo de Silos’, 71–90. (b) Sébastien BIAY, ‘Building a Church with Music: The Plainchant Capitals at Cluny, c. 1100’, 221–36. (c) Margot E. FASSLER and Jeffrey F. HAMBURGER, ‘The Desert in Paradise: A Newly Discovered Office for John the Baptist from Paradies bei Soest and its Place in the Dominican Liturgy’, 251–79. (d) Michael CURSCHMANN, ‘Integrating Anselm: Pictures and the Liturgy in a Twelfth-Century Manuscript of the “Orationes sive Meditationes”’, 295–312.

Review. Rebecca MALOY, Speculum, 92/2 (2017), 505–7.

27/28104. The Cambridge History of Medieval Music, ed. Mark EVERIST and Thomas F. KELLY, Vol. 1 (Cambridge: Cambridge University Press, 2018):

(a) Peter JEFFERY, ‘Musical Legacies from the Ancient World’, 15–68. (b) Andreas PFISTERER, ‘Origins and Transmission of Franco-Roman Chant’, 69–91. (c) Joseph DYER, ‘Sources of Romano-Frankish Liturgy and Music’, 92–122. (d) Terence BAILEY, ‘Regional Liturgies: Spanish, Beneventan, Gallican, Milanese’, 123–46. (e) Jeremy LLEWELLYN, ‘Nova cantica’, 147–75. (f) Margot FASSLER, ‘Music and Prosopography’, 176–209. (g) Katarina LIVLJANIC and Benjamin BAGBY, ‘The Silence of Medieval Singers’, S. 210–35. (h) Thomas F. KELLY, ‘Notation I.’, 236–62. (i) Andreas HAUG, ‘Tropes’, 263–99. (j) Lori KRUCKENBERG, ‘Sequence’, 300–56. (k) Thomas CHRISTENSEN, ‘Music Theory’, 357–81. (l) Anna Maria BUSSE BERGER, ‘Teaching and Learning Music’, 475–99. (m) Stanley BOORMAN, ‘The Sources’, 527–61. (n) John HAINES, ‘The Revival of Medieval Music’, 561–81. (o) Timothy J. McGEE, ‘Medieval Performance Practice’, 582–608. (p) John POTTER, ‘Issues in the Modern Performance of Medieval Music’, 609–24.

27/28105. The Jeu d'Adam: MS Tours 927 and the Provenance of the Play, ed. Christophe CHAGUINIAN, Early Drama, Art, and Music Monograph 32 (Kalamazoo: Medieval Institute Publications, 2017):

(a) Océane BOUDEAU, ‘The Responsoria of the Ordo representacionis Ade’, 65–86. (b) Michael L. NORTON, ‘Observations on the Tours Ludus Paschalis’, 177–258.

27/28106. The Oxford Handbook of Music and Censorship, ed. Patricia HALL (Oxford: Oxford University Press, 2017):

(a) Luisa NARDINI, ‘The Quest of Gallican Remnants in Gregorian Manuscripts’, 7–38.

27/28107. The Routledge Companion to Medieval Iconography, ed. Colum HOURIHANE (New York: Routledge, 2017):

(a) Susan BOYNTON, ‘The Visual Representation of Music and Sound’, 483–95.

27/28108. Zenetudományi írások 1998 [Musicological Writings 1998], ed. László FERENC (Bukarest: Kriterion, 1999):

(a) Elena Maria ȘORBAN, ‘Liturgikus énekek Kapisztrán Szent János tiszteletére. Batthyaneum, Ms. I.3’ [Liturgical Chants in honor of Saint John of Capestrano. Batthyaneum Library, Ms. I.3], 52–7.

27/28109. Zenetudományi Dolgozatok [Musicological Studies] 2015 –2016: In memoriam Gábor Kiss, ed. Gabriella GILÁNYI and Gabor KISS (Budapest: Institute for Musicology of the Hungarian Academy of Sciences, Research Centre for the Humanities, 2018):

(a) Zsuzsa CZAGÁNY, ‘A Váradi Antifonále Mihály-zsolozsmája‘ [Das Michaelsoffizium im Waradiner Antiphonar], 15–23. (b) Gabriella GILÁNYI, ‘Használatitól a műremekig: a 15. századi hangjelzett esztergom-budai kódexek’ [From Ordinary to Masterpiece: The 15th-century notated Esztergom–Buda codices], 24–36. (c) Ágnes PAPP, ‘A tonus peregrinus zsoltárdallamának változatai a középkortól a 20. századig’, [Melodievarianten der Psalmformel Tonus peregrinus vom Mittelalter bis zum 20. Jahrhundert], 37–60. (d) Anna SANDA, ‘“Sapientia aedificavit” – Egy késő középkori ünnep kodifikációjának és zsolozsmaváltozatainak állomásai’ [“Sapientia aedificavit” – Phasen der Entstehung des Offiziums und der Kodifikation eines spätmittelalterlichen Festes], 61–88.

27/28110. 800 Jahre Diözese Graz-Seckau. Von der Gründung bis zur Gegenwart, ed. Michaela SOHN-KRONTHALER, Rudolf K. HÖFER and Alois RUHRI (Wien et al.: Styria, 2018):

(a) Franz Karl PRASSL, ‘Musik im Gottesdienst’, 375–97.

27/28111. Judith E. DIETZ, with essays by Jean-Jacques van ORMELINGEN and Jennifer BAIN, Century of Silence: The Discovery of the Salzinnes Antiphonal (Halifax: Art Gallery of Nova Scotia, 2017). Exhibition Catalogue:

(a) Jennifer BAIN, ‘Liturgy and Music in the Salzinnes Antiphonal’, 184–98.

27/28112. Cister no Douro, ed. Luis SEBASTIAN and Nuno RESENDE (Lamego: Direcção Regional de Cultura do Norte/Museu de Lamego/Vale do Varosa, 2015). Exhibition Catalogue:

(a) Manuel Pedro FERREIRA, ‘A música na Ordem de Cister e os antifonários de Arouca’, 34–9.

27/28113. Laura ALBIERO, ‘Proselli e Prose dei Responsori dell'Ufficio nel Brevario di Carcassone’, Vox antiqua, 9 (2016 [published in 2019]), 49–113.

27/28114. Jesús ALTURO I PERUCHO and Tània ALAIX I GIMBERT, ‘La notació musical datada més antiga d'Europa’, Miscel·lània Liturgica Catalana, 25 (2017), 53–83.

27/28115. Cesare ALZATI, ‘Liturgia della ecclesia e liturgia del monastero nella tradizione ambrosiana’, Hortus artium medievalium. Journal for the International Research Center for Late Antiquity and Middle Ages, 23/1 (2017), 50–7.

27/28116. David ANDRÉS FERNÁNDEZ and Cristina MARTÍ MARTÍNEZ, ‘Fragmentos de códices litúrgico-musicales en España: apuntes para una historiografía y una propuesta de descripción’, Hispania Sacra, 69/139 (2017), 49–60.

27/28117. Spyridon ANTONOPOULOS, Sharon E. J. GERSTEL, Chris KYRIAKAKIS, Konstantinos T. RAPTIS and James DONAHUE, ‘Soundscapes of Byzantium’, Speculum, 92/1 (2017), 321–35.

27/28118. Terence BAILEY, ‘Pitch series in chant composition: a demonstration’, Plainsong & Medieval Music, 27/1 (2018), 27–40.

27/28119. Jennifer BAIN, ‘History of a Book: Hildegard of Bingen's “Riesencodex” and World War II’, Plainsong & Medieval Music, 27/2 (2018), 143–70.

27/28120. Walter BERSCHIN, ‘Ottenburana. Aus Handschriften des 12. und 13. Jahrhunderts’, Studien und Mitteilungen zur Geschichte des Benediktinerordens und seiner Zweige, 127 (2016), 177–90.

Review. Barbara HAGGH-HUGLO, Scriptorium, 72/1 (2018), 8*, n. 20.

27/28121. Michael S. CARLIN, ‘The rite of matrimony (“ordo qualiter agant illi qui nubere volunt”) in the ritual of San Isidoro, León (León, Archivo de la Real Colegiata de Sant Isidoro, cod. 12)’, Miscel·lània Liturgica Catalana, 26 (2018), 179–201.

27/28122. David CATALUNYA, ‘The Customary of the Royal Convent of Las Huelgas: Female Liturgy, Female Scribes’, Medievalia. Revista d'Estudis Medievals, 20/1 (2017), 91–160.

27/28123. Christelle CAZAUX-KOWALSKI, ‘Autour du manuel de paléographie grégorienne de Gregori Maria Sunyol. Polémiques politiques et musicologiques’, Revue de Musicologie, 104 (2018), 460–78.

27/28124. James COOK, ‘Early music online survey: a round-up of recent websites relating to early music’, Early Music, 46/4 (2018), 683–5.

27/28125. Elsa DE LUCA, ‘Musical Cryptography and the Early History of the “León Antiphoner”’, Early Music History, 36 (2017), 105–58.

27/28126. Marlène DUHR, ‘Zur Bedeutung der luxemburgischen Zeitschrift Cäcilia für die Reform der katholischen Kirchenmusik im 19. Jahrhundert’, Kirchenmusikalisches Jahrbuch, 101 (2017), 101–15.

27/28127. Joseph DYER, ‘Didactic images in a thirteenth-century French music theory treatise: The Scientia artis musice of Hélie Salomon’, Plainsong & Medieval Music, 28/1 (2019), 1–27.

27/28128. Sharon E. J. GERSTEL, Chris KYRIAKAKIS, Konstantinos T. RAPTIS, Spyridon ANTONOPOULOS and James DONAHUE, ‘Soundscapes of Byzantium: The Acheiropoietos Basilica and the Cathedral of Hagia Sophia in Thessaloniki’, Hesperia, 87/1 (2018), 177–213.

27/28129. Marianne C.E. GILLION, ‘“Shall the dead arise and praise you?” Revisions to the Missa pro defunctis in Italian printed graduals, 1591–1621’, Troja, 13 (2014 [published in 2017]), 59–80.

27/28130. Eleanor J. GIRAUD, ‘Melodic Lection Marks in Latin Manuscripts for Mass’, Scriptorium, 71/1 (2017), 3–37.

27/28131. Jean-François GOUDESENNE, ‘Le manteau partagé des liturgies oubliées (vii^e–xi^e siècles): Comment les églises de l'Europe latine chantaient saint Martin’, La lettre de Ligugé, 356 (2016), 4–33.

27/28132. Jean-François GOUDESENNE, ‘Les offices des saints et la formation du paysage liturgique provençal: Modélisations et réseaux ecclésiastiques (x^e–xii^e siècles)’, Provence historique, 259 (2016), 39–56.

27/28133. Miquel dels Sants GROS I PUJOL, ‘Els sis missals de la catedral de Vic a mitjan segle X’, Miscel·lània Liturgica Catalana, 25 (2017), 85–98.

27/28134. Miquel dels Sants GROS I PUJOL, ‘Fragments de passioner i de leccionari del santoral de la Biblioteca Episcopal de Vic dels segles IX–XIII’, Miscel·lània Liturgica Catalana, 26 (2018), 97–145.

27/28135. Anna GUDAYOL TORELLÓ, ‘Bibliografia litúrgica musical de Karl-Werner Gümpel’, Miscel·lània Liturgica Catalana, 25 (2017), 23–36.

27/28136. Anna GUDAYOL TORELLÓ and M. Rosa MONTALT, ‘Música litúrgica a la Biblioteca de Catalunya I: Llibres de cant litúrgic manuscrits’, Miscel·lània Liturgica Catalana, 25 (2017), 137–289.

27/28137. Carmen Julia GUTIÉRREZ, ‘El canto mozárabe como modelo de construcción de una identidad nacional’, Mélanges de la Casa de Velazquez: Exégèse et lectio divina dans la péninsule Ibérique médiévale, 49/1 (2019), 185–222.

27/28138. Carmen Julia GUTIÉRREZ, ‘El Prosario Tropario polifónico de San Esteban de Burgos’, Studi Musicali, 9/2 (2018), 247–332.

27/28139. John HAINES, ‘Entre le mouvement et la voix. La Revue de Musicologie et la musicologie médiévale au XX^e siècle’, Revue de Musicologie, 104 (2018), 329–48.

27/28140. Kate HELSEN, Jennifer BAIN and Inga BEHRENDT, ‘A Morphology of Medieval Notations in the Optical Neume Recognition Project’, Arti musices, 48/2 (2017), 241–66.

27/28141. Michael KLAPER, ‘Komponist und Komponieren im frühen Mittelalter zwischen Umbruch und Kontinuität’, Das Mittelalter, 22 (2017), 257–70.

27/28142. Michael KLAPER and Alba SCOTTI, ‘Redaktion und Liturgisierung: Zu den Psalmtonangaben in der Überlieferung der Gesänge Hildegards von Bingen’, Die Musikforschung, 70/1 (2017), 2–22.

27/28143. Andrea KOVÁCS, ‘Graduale Strigoniense? Rítusidegen elemek a Bakócz-graduáléban’ [Graduale Strigoniense? Ritually alien elements in the Bakócz Gradual], Magyar Zene, 55/2 (2017), 121–39.

27/28144. Andrea KOVÁCS, ‘Vergente mundi vespere. Egy ismeretlen Szent László-himnusz a Szepességben és Sittenben’ [Vergente mundi vespere. Un hymne inconnu à Saint Ladislas, retrouvé en pays de Zips et à Sitten], Magyar Könyvszemle, 134/2 (2018), 125–35.

27/28145. Andrea KOVÁCS, ‘A középkori magyar liturgia Géza kori elemei?’ [Elements of the Age of Geza of the medieval Hungarian liturgy?], Magyar Zene, 56/1 (2018), 25–46.

27/28146. Jószef KURTA and Elena Maria ȘORBAN, ‘Egy egykor csíki ferences használatban volt 1596-os velencei Antiphonarium’ [A Venetian Antiphonary from 1596, Once Used by the Franciscans of Csík], A Csíki Székely Múzeum Évkönyve 2010 [The 2010 Yearbook of the Székely Museum of Csík] (2010), 323–30.

27/28147. Karin Strinnholm LAGERGREN, ‘The invitatory antiphons in Cantus sororum: a unique repertoire in a world of standard chant’, Plainsong & Medieval Music, 27/2 (2018), 121–42.

27/28148. Tuuli LUKKALA, ‘Kielet ja käännökset kirkkolaulun sovittamisen haasteina – znamennilaulun sovittajien koke-muksia’ [‘Languages and translations as a challenge in adapting church chant – experiences of adapters of Znamenny chant’], Ortodoksia, 57 (2017), 121–49.

27/28149. William MAHRT, ‘Gregorian Chant in the Season of Lent’, Antiphon: A Journal for Liturgical Renewal, 21/2 (2017), 93–114.

27/28150. Claire MAITRE, ‘Une nouvelle base de données pour le chant et la liturgie médiévales’, Scriptorium, 71/1 (2017), 141–2.

27/28151. Claire MAITRE, ‘Une nouvelle base de données pour le chant et la liturgie médiévales’, Revue Mabillon, 28 (2017), 171–4.

27/28152. M. Cecilia Pia MANELLI, FI, ‘L'antifonario Archivio San Pietro B79 tra antifonia e organum’, Vox antiqua, 9 (2016 [published in 2019]), 13–68.

27/28153. Ascensión MAZUELA-ANGUITA, ‘“Música Para Los Reconciliados”: Music, Emotion, and Inquisitorial “Autos de Fe” in early Modern Hispanic Cities’, Music and Letters, 98/2 (2017), 175–203.

27/28154. Didier MÉHU, ‘L'ordination de l’évêque au début du XI^esiècle à partir des pontificaux de Roda et de Vic’, Miscel·lània Liturgica Catalana, 26 (2018), 51–96.

27/28155. Christian MEYER, ‘L'Epistola ad Dardanum. Le texte et sa tradition. Édition et traduction’, Rivista internazionale di Musica Sacra, 39 (2018), 9–49.

27/28156. Guido MILANESE, ‘Latin Pronunciation and Gregorian Chant’, Vox antiqua, 10 (2017 [published in 2019]), 27–44.

27/28157. Costin MOISIL, ‘“You Have to Sing Them Correctly!” Notation and Performance in Cunțană Chant”, Musicology Today: Journal of the National University of Music Bucharest 19 (2014), 116–27.

27/28158. Costin MOISIL, ‘Byzantium, Folklore, Race: National Church Music in Interwar Romania’, Musicology Today: Journal of the National University of Music Bucharest, 28 (2016), 277–89 (reprinted in Music in Dark Times, see 27/28093a).

27/28159. Stefan MORENT, ‘Zu einigen Aktivitäten der Digital Musicology auf dem Gebiet der Älteren Musik’, Die Musikforschung, 71/4 (2018), 358–65.

27/28160. Henry PARKES, ‘Behind Hartker's Antiphoner: Neglected Fragments of the Earliest Sankt Gallen Tonary’, Early Music History, 37 (2018), 183–246.

27/28161. Bissera V. PENTCHEVA and Jonathan S. ABEL, ‘Icons of Sound: Auralizing the Lost Voice of Hagia Sophia’, Speculum, 92/1 (2017), 336–60.

27/28162. Mercedes PÉREZ VIDAL, ‘La liturgia procesional de completas en el ámbito de los monasterios femeninos de la Orden de Predicadores en Castilla’, Hispania Sacra, 69/139 (2017), 81–99.

27/28163. Franz Karl PRASSL, ‘“Unter deinen Schutz und Schirm”. Ein ökumenischer Mariengesang der ungeteilten Christenheit’, Singende Kirche, 65 (2018), 5–7.

27/28164. Franz Karl PRASSL, ‘Der Salzburger Liber Ordinarius (1198) und seine Bearbeitungen als Hinweis auf theologische, liturgische (und musikalische) Veränderungen’, editio. Internationales Jahrbuch für Editionswissenschaft, 31(2017), 32–58.

27/28165. Franck QUOËX (†) and Zachary THOMAS, ‘Ritual and Sacred Chant in the Ordo Romanus Primus (Seventh-Eighth Century)’, Antiphon: A Journal for Liturgical Renewal, 22/2 (2018), 199–219.

27/28166. Cesarino RUINI, ‘Guido d'Arezzo e Matilde di Canossa: intrecci tra politica e musica’, Polifonie: Storia e teoria della coralità / History and Theory of Choral Music, Nuova serie, 5 (2017), 7–15.

27/28167. Santiago RUIZ TORRES, ‘La recepción del Te matrem (dei) laudamus en la geografía litúrgica y extralitúrgica de la Península Ibérica’, Ecclesia Orans, 35/1 (2018), 97–146.

27/28168. Santiago RUIZ TORRES, ‘New evidence concerning the origin of the monophonic chants in the Codex Calixtinus’, Plainsong & Medieval Music, 26/2 (2017), 79–94.

27/28169. Santiago RUIZ TORRES, ‘Una edición singular de canto llano en los albores del siglo XIX: el gradual de la misa impreso por José Doblado’, Neuma. Revista de Música y Docencia Musical, 10/1 (2017), 12–35.

27/28170. Santiago RUIZ TORRES and Juan Pablo RUBIO SADIA, ‘Los fragmentos de códices litúrgicos del Archivo de la Colegiata de Alquézar: catálogo y análisis comparado’, Miscel·lània Liturgica Catalana, 26 (2018), 203–44.

27/28171. Santiago RUIZ TORRES and Juan Pablo RUBIO SADIA, ‘Fragmentos de códices litúrgico-musicales del Archivo Diocesano de Barbastro (Carpeta n° 66)’, Nassarre. Revista Aragonesa de Musicología, 33 (2018), 281–343.

27/28172. Santiago RUIZ TORRES and Juan Pablo RUBIO SADIA, ‘Catálogo de los fragmentos litúrgico-musicales del obispado de Sigüenza (siglos XI-XVI)’, Medievalia. Revista d'Estudis Medievals, 20/1 (2017), 225–64.

27/28173. Matthew Cheung SALISBURY, ‘Stability and variation in office chants of the Sarum Sanctorale’, Plainsong & Medieval Music, 27/1 (2018), 1–26.

27/28174. Giuseppe SANFRATELLO, ‘Traces of “Simple Psalmody” in late- and post-Byzantine musical manuscripts: melodic, modal and textual analysis of the Kekragarion Tradition’, Cahiers de l'Institut du Moyen-Âge Grec et Latin, 86 (2017), 1–63.

27/28175. Alicia SCARCEZ, ‘Découvert d'un second antiphonaire cistercien primitif: Le manuscrit 6 de l'abbaye Notre-Dame de Tamié (Savoie)’, Archiv für Liturgiewissenschaft, 58/59 (2016/17), 127–38.

27/28176. Stephanie SELTMANN, ‘Kein Buch mit sieben Siegeln. Vier Fragen zum Gregorianischen Choral’, Musik und Kirche. Zeitschrift für Kirchenmusik, 87 (2017), 140–7.

27/28177. Innocent SMITH, ‘Progressive Solemnity and the Dominican Liturgy’, Sacred Music, 144/4 (2017), 42–53.

27/28178. Elena Maria ȘORBAN, ‘Gregorián a Reneszanszkórban’ [Gregorian Chant in Transylvanian Renaissance], Müvelödes, 5 (2000), 4–5.

27/28179. Elena Maria ȘORBAN, ‘Erdélyi középkori katolikus graduálé-kódexek’ [Transylvanian Medieval Catholic Graduals], Református Szemle, 4 (2011), 417–22.

27/28180. Elena Maria ȘORBAN, ‘Monodia liturgică medievală de tradiţie apuseană, în surse manuscrise româneşti’ [Liturgical Medieval Monophony of Western Tradition in Romanian Manuscript Sources], Studii de sinteză. 2011–2012 (Bucharest: Editura Universității Naționale de Muzică, 2012), 380–408.

27/28181. Elena Maria ȘORBAN, ‘L’éducation musicale dans la Transylvanie médiévale’, Studia Musica Universitatis “Babeș-Bólyai”, 2 (2016), 33–46.

27/28182. Elena Maria ȘORBAN, ‘The Medieval Anti-Ottoman Combat and Its Emblematic Figure Saint Ioannes da Capistrano in Late Transylvanian Franciscan Plainchant’, Musicology Today: Journal of the National University of Music Bucharest, 32/4 (2017), 207–18.

27/28183. Nicola TANGARI, ‘Tre frammenti liturgico-musicali di recupero nell'Archivio storico comunale di Acquapendente’, Incunabula: Miscellanea di studi e ricerche sul territorio del Lago di Bolsena, 2 (2018), 139–54.

27/28184. Nicola TANGARI, ‘Benevento, Benevento e ancora Benevento. Tre recenti studi sul repertorio monodico dell'Italia meridionale’, Rivista Internazionale di Musica Sacra, 38/1–2 (2017), 411–23.

27/28185. Arturo TELLO RUIZ-PÉREZ, ‘The Troper-Proser Huesca, Chapter Library, MS 4: A Vestige of Cluny?’, Journal of Medieval Iberian Studies, 9/2 (2017), 184–205.

27/28186. Paul TOMBEUR, ‘Le chant monastique au XI^e siècle: Le chant grégorien. Le vécu à l'abbaye de Saint-Trond’, Hortus artium medievalium. Journal for the International Research Center for Late Antiquity and Middle Ages, 23/1 (2017), 58–65.

27/28187. Enrique TORIJA RODRÍGUEZ, ‘La Iglesia de Toledo en la Edad Media: organización institucional y formas de vida religiosa. Estado de la cuestión: archivos y descripción de manuscritos’, Hispania Sacra, 69/139 (2017), 31–47.

27/28188. Christian TROELSGÅRD, ‘Den græske lyre – et musikarkæologisk eksperiment’, Antikkens venner, 112 (2017), 4–17.

27/28189. Markus UHL, ‘Die römische Choralreform in der Folge des Trienter Konzils und die Editio Medicaea von 1614/15’, Musica Sacra, 137 (2017), 266–7 and 326–7.

27/28190. Miguel C. VIVANCOS, ‘La liturgia hispana en los folios introductorios del Antifonario de León’, Ecclesia Orans, 33/1 (2016), 93–125.

27/28191. Konstantin VOIGT, ‘Donnersöhne – Intertextualität und Intermedialität im Offertorium des Codex Calixistinus’, Kirchenmusikalisches Jahrbuch, 100 (2016), 11–24.

27/28192. Nina-Maria WANEK, ‘The Greek and Latin Cherubikon’, Plainsong & Medieval Music, 26/2 (2017), 95–114.

27/28193. Nicola ZANINI, ‘Luigi Agustoni: Passion for the Liturgy’, Vox antiqua, 10 (2017 [published in 2019]), 13–26.

27/28194. Sean DUNNAHOE, ‘English and German influences in the production of music-liturgical manuscripts in Sweden up to the thirteenth century’ (London: Royal Holloway, University of London, 2017).

27/28195. Christoph HÖNERLAGE, ‘Centonisation als Interpretation. Formelfunktionen und Wort-Tonverhältnis in den Gradualien des fünften Modus’ (Graz: Universität für Musik und darstellende Kunst Graz, 2017).

27/28196. Leo A. J. LOUSBERG, ‘Microtones According to Augustine: Neumes, Semiotics and Rhetoric in Romano-Frankish Liturgical Chant’ (Utrecht: Utrecht University, 2018).

27/28197. Raquel ROJO CARRILLO, ‘Text, Liturgy and Music in the Old Hispanic rite: The vespertinus genre’ (Bristol: University of Bristol, 2017).

27/28198. Giuseppe SANFRATELLO, ‘The Byzantine Chant Heritage in Sicily: Dynamics of oral transmission, musical heterogeneity, techniques of safeguarding’ (Copenhagen: Københavns Universitet, Det Humanistiske Fakultet, 2017).

27/28199. Antiphonale synopticum/Graduale synopticum. Die Offiziumsantiphonen und das Messproprium des Gregorianischen Chorals, http://gregorianik.uni-regensburg.de/.

27/28200. Bibliographie des Musikschrifttums Online [including, among others, publications on Liturgical Chant], www.musikbibliographie.de/.

27/28201. CANTUS: A Database for Latin Ecclesiastical Chant, http://cantusdatabase.org/.

27/28202. Cantus Index, http://cantusdatabase.org/search.

27/28203. Cantus Planus, www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/cantus/.

27/28204. Catalogue thématique des Séquences (CthS), www.musmed.fr/CMN/proseq/proseq_presentation.htm.

27/28205. Chant Editing and Analysis Program, https://neumes.org.uk.

27/28206. Comparatio des chants liturgiques médiévaux, http://comparatio.irht.cnrs.fr/.

27/28207. Digital Image Archive of Medieval Music (DIAMM), www.diamm.ac.uk/.

27/28208. Global Chant Database, http://globalchant.org/.

27/28209. Gregorian Chant Repertoire, Gregorianisches Repertoire, Répertoire grégorien, https://gregorien.info/.

27/28210. Hungarian Chant Database, http://hun-chant.eu/.

27/28211. Lexicon musicum latinum medii aevi (LmL), www.lml.badw-muenchen.de/das-projekt.html.

27/28212. MANNO – Manuscrits notés en neumes en Occident, http://saprat.ephe.sorbonne.fr/manuscrits-notes-en-neumes-en-occident-manno--26.htm.

27/28213. Medieval fragments: Remnants of Old Hispanic chant/Fragmentos medievales: vestigios del canto hispánico/Fragmentos medievais: vestígios do canto hispânico, expo.neumes.org.uk.

27/28214. Medieval Music Manuscripts Online database (MMMO), http://musmed.eu/.

27/28215. Monumenta Musicae Byzantinae, www.igl.ku.dk/MMB/.

27/28216. Música Hispánica: Spanish Early Music Manuscripts database, http://musicahispanica.eu/.

27/28217. Musicologie Médiévale, http://gregorian-chant.ning.com/.

27/28218. Musikalische Quellen des Mittelalters in der österreichischen Nationalbibliothek, http://saprat.ephe.sorbonne.fr/manuscrits-notes-en-neumes-en-occident-manno--26.htm.

27/28219. Oxford Music Online, Grove Music Online [including, among others, entries on Liturgical Chant], www.oxfordmusiconline.com/.

27/28220. Plainchant Sources in Poland/Cantus planus in Polonia, http://cantus.edu.pl/.

27/28221. Portuguese Early Music Database (PEM), http://pemdatabase.eu/.

27/28222. Répertoire International des Sources Musicales, www.rism.org.uk/.

27/28223. Slovak Early Music Database/Cantus planus in Slovacia, http://cantus.sk/.

27/28224. Thesaurus Musicarum Latinarum (TML), www.chmtl.indiana.edu/tml/.

Ackermans, F. 27/28065a, 27/28065d,  27/28066a, 27/28067a, 27/28078a

Adamko, R. 27/28045

Adémar de Chabannes 27/28090e

Agustoni, L. 27/28065a, 27/28066a, 27/  28067a, 27/28193

Aimasso, E. 27/28069d

Alaix i Gimbert, T. 27/28114

Albiero, L. 27/28101, 27/28101a, 27/  28101i, 27/28101l, 27/28113

Alekseeva, G. 27/28049x, 27/28063d

Alturo i Perucho, J. 27/28114

Alzati, C. 27/28115

Amalar of Metz 27/28066f, 27/28069c

Amato, M. 27/28050

Amiraghyan, G. 27/28063e

Andrés Fernández, D. 27/28008, 27/  28116

Angelo De Santi 27/28040

Angenendt, A. 27/28080c

Anselm 27/28103d

Antonopoulos, S. 27/28083a, 27/28117,  27/28128

Aspesi, C. 27/28090o

Arewschatjan, A. 27/28063f

Aringer, K. 27/28081

Arnulf of Villers 27/28090r

Artamonova, Y. 27/28048e

Atanassov, A. 27/28001

Atkinson, C.M. 27/28074a, 27/28075a

Augustine 27/28196

Bagby, B. 27/28104g

Bailey, T. 27/28102b, 27/28104d, 27/  28118

Bain, J. 27/28071a, 27/28072a, 27/  28084a, 27/28111, 27/28111a, 27/  28119, 27/28140

Bakker, A. de 27/28090r

Bal, G. 27/28016

Balageorgos, D. 27/28049f

Baltzer, R.A. 27/28075r

Barbancho, I. 27/28058

Barbosa Morujão, M.D.R. 27/28099

Barick, D. 27/28016

Barreira, C.F. 27/28088

Bärsch, J. 27/28080, 27/28080e, 27/  28102f

Batoff, M. 27/28038R

Bazinet, G.B. 26020R

Beach, A.I. 27/28090p

Beale-Rivaya, Y. 27/28070

Beban, H. 27/28089b

Bednáriková, J. 27/28045

Behrendt, I. 27/28065a, 27/28066a, 27/28067a, 27/28082a, 27/28084a, 27/28140

Benedict XIII. 27/28052a

Berger, C. 27/28057j

Berschin, W. 27/28120

Betteray, D. van 27/28005

Biay, S. 27/28103b

Black, J. 26029R

Boorman, S. 27/28104m

Bord, L.-J. 27/28007R

Borders, J. 24041R, 27/28075m

Boudeau, O. 27/28061b, 27/28068c, 27/  28085a, 27/28105a

Bower, C.M. 27/28018, 27/28074b

Boynton, S. 27/28075n, 27/28103, 27/  28107a

Brand, B. 27/28022, 27/28092, 27/  28092c

Brannon, P. 27/28094j

Bruggisser-Lanker, T. 27/28037R, 27/  28057k

Buchinger, H. 27/28102, 27/28102o

Buckley, A. 27/28094, 27/28094h

Budzinska-Bennett, A. 27/28074c

Bugyis, K.A.-M. 27/28090, 27/28090h

Burton, S. 27/28061a

Busch, H. 27/28084

Busic, J. 27/28070

Busse Berger, A.M. 27/28104l

Carlin, M.S. 27/28121

Carver, C. 27/28075f

Casadei Turroni Monti, M. 27/28095

Casey, S.G. 27/28094e

Castelbajac, A. de 27/28068, 27/28069

Catalunya, D. 27/28122

Cattin, G. 27/28064

Cazaux-Kowalski, C. 24028R, 27/28085,  27/28123

Chaguinian, C. 27/28105

Chaillou-Amadieu, C. 27/28085

Chaldaeakes, A. 27/28048b

Christensen, T. 27/28104k

Christoffersen, P.W. 26044R

Christou, M. 27/28049j

Clément, G. 27/28023

Colette, M.-N. 24038R, 25010R, 27/  28023R, 27/28085b

Colton, L. 27/28061.

Conklin, D. 27/28060a

Conrad, M. 25029R

Cook, J. 27/28124

Corsi, C. 27/28050

Crossley, J.N. 27/28003

Csanády, T.L. 27/28086

Cubitt, C. 24024R.

Cunningham, J. 27/28059

Curschmann, M. 27/28103d

Cyrus, C.J. 27/28027R

Czagány, Z. 27/28109a

Czernin, M. 27/28062

Da Silva Lessa, E.M.M. 27/28100

Da Veiga, D.A. 27/28096d

Daim, F. 27/28091

De Lillo, A. 27/28065e

De Luca, E. 27/28037R, 27/28125

De Sousa Saraiva, A. 27/28099

Debrock, M. 27/28069b

Deeming, H. 26062R, 27/28092R

Dell'Omo, M. 27/28010, 27/28010a, 27/  28101b

Demouy, P. 27/28055

Desiderio 27/28101b

Desmond, K. 27/28092R, 27/28097k,  27/28097o

Deusen, N. Van 27/28027R

DiCenso, D. 27/28022R, 27/28075, 27/  28075l

Diego Pacheco, C. 27/28096R

Dietl, A. 27/28102g

Diener-Staeckling, A. 27/28102h

Dietz, J.E. 27/28111

Diözesanmuseum Rottenburg 27/28082

Donahue, J. 27/28117, 27/28128

Dostal, C. 27/28002, 27/28065, 27/  28066, 27/28067

Doundoulakis, E. 27/28049t

Draelants, I. 27/28101

Duan, Z. 27/28059

Dubois, V. 27/28068b

Dufeu, F. 27/28061b

Duhr, M. 27/28126

Dunnahoe, S. 27/28194

Dyer, J. 27/28003R, 27/28020, 27/  28069c, 27/28090R, 27/28097n, 27/  28102a, 27/28104c, 27/28127

Effelsberg, F. 27/28076

Eichner, B. 25012R

Ekkehard IV 27/28090d

Engels, S. 27/28081b

Escobar Portillo, D.A., 26002R

Everist, M. 27/28104

Fassler, M. 25012R, 27/28027, 27/28090,  27/28090g, 27/28103c, 27/28104f

Fata, M. 27/28051

Feistner, E. 27/28102

Ferenc, L. 27/28108

Ferreira, M.P. 27/28087a, 27/28088a,  27/28096, 27/28096a, 27/28099a, 27/  28100a, 27/28112a

Fischer, F. 27/28084

Fischer, R. 27/28065a, 27/28066a, 27/  28067a

Fisher, A.J. 26034R

Flynn, W.T. 27/28018R

Fontes, J.L. 27/28087

Forgó, A. 27/28051

Fuhrmann, W. 27/28057l

Furlong, S. 27/28094i

Ganz, D. 27/28075g, 27/28090a

Gerasimova, I. 27/28063g

Gerstel, S.E.J. 27/28117, 27/28128

Gheorghiţa, N. 27/28049u

Gilányi, G. 27/28051b, 27/28109, 27/  28109b

Gillion, M.C.E. 27/28129

Giovan Domenico Guidetti 27/28064d

Giraud, E.J. 27/28089a, 27/28130

Gómez Muntané, M. 27/28008R

Gordon, C. 27/28049s

Göschl, J.B. 27/28002, 27/28065, 27/  28065a, 27/28066, 27/28066a, 27/  28067, 27/28067a

Goswin of Bossut 27/28090r

Goudesenne, J.-F. 27/28024, 27/28054a,  27/28055a, 27/28131, 27/28132

Gozzi, M. 27/28064b

Grande, T. 27/28050

Grasselli, A. 27/28025

Grier, J. 25005R, 26029R, 27/28075R,  27/28090e

Grondeux, A. 27/28101j

Gros i Pujol, M.d.S. 27/28133, 27/28134

Gudayol Torelló, A. 27/28135, 27/28136

Gudkov, A. 27/28048f

Guillaumin, J.-B. 27/28101c

Guido D'Arezzo 27/28101e, 27/28166

Gusseinowa, Z. 27/28062a

Gutiérrez, C.J. 27/28137, 27/28138

Guy of Saint-Denis 27/28003

Guyon, C. 27/28054

Gyug, R. F. 27/28026

Hachayanz, A. 27/28062b

Haggh-Huglo, B. 24040R, 27/28004, 27/  28008R, 27/28023R, 27/28031R, 27/  28068d, 27/28075k, 27/28090R, 27/  28092b, 27/28094b, 27/28120R

Haines, J. 27/28104n, 27/28139

Hair, G.-M. 27/28094l

Hala, P. 27/28068, 27/28069

Hall, P. 27/28106

Hamburger, J.F. 27/28027, 27/28103c

Hangartner, B. 27/28094f

Hardie, J.M. 27/28008

Harkov, S. 27/28063a

Harper, S. 27/28094n

Hartker 27/28160

Hartkeriana 27/28016

Harvey, S.A. 27/28083

Haug, A. 27/28057b, 27/28074d, 27/  28104i

Haug-Moritz, G. 27/28051

Hayward, P.A. 27/28090l

Hegel, P. 27/28084

Heher, D. 27/28091

Heinrich Eger von Kalkar 27/28057l

Heinz, A. 27/28080f

Heinzer, F. 27/28074e

Hélie Salomon 27/28020, 27/28097n,  27/28097o, 27/28097p, 27/28127

Helmer, C. 27/28077

Helsen, K. 27/28084a, 27/28096e, 27/  28140

Hentschel, F. 27/28097, 27/28097c, 27/  28097d, 27/28097e, 27/28097j, 27/  28097l, 27/28097q

Hermannus Contractus 25005R

Hild, E.S. 27/28015R

Hildegard of Bingen 25012R, 27/28047,  27/28119, 27/28142

Hiley, D. 27/28019, 27/28020R, 27/  28075q, 27/28102, 27/28102n

Hilken, C. 27/28006R

Hochschule für Musik und Theater  „Felix Mendelssohn Bartholdy”  Leipzig 27/28053

Höfer, R.K. 27/28110

Holzer, I. 26014R, 26015R, 26016R, 27/  28076c

Holzapfel, A. 27/28060

Höndgen, F. 27/28078b

Hönerlage, C. 27/28066d, 27/28067a,  27/28195

Hornby, E. 27/28075h

Hourihane, C. 27/28107

Hu, X. 27/28059

Hucbald 27/28092b

Huglo, M. 27/28094a

Ignatenko, E. 27/28062c

Ioniţă, A. 27/28049i

Irving, A.J.M. 27/28102c

Jacobsson, R. 27/28074f

Janke, A. 27/28076R

Jeanne d'Arc 27/28054

Jeffery, P. 27/28073a, 27/28090q, 27/  28104a

Jeffreys, C. 27/28003

Jerome 27/28155

John of Novgorod 27/28048d

Jones, C.T. 27/28090s

Johannes Hollandrinus 26015R, 26016R

Johannes Meyer 27/28090s

José Doblado 27/28169

Joseph, J. 27/28076h

Karl-Werner Gümpel 27/28135

Kelly, T.F. 27/28010d, 27/28075e, 27/  28092a, 27/28104, 27/28104h

Kirnbauer, M. 27/28074

Kiss, G. 27/28109

Klaper, M. 27/28057d, 27/28141, 27/  28142

Klarer, S. 27/28066e

Klöckener, M. 27/28080b, 27/28080d

Knott, B.I. 27/28094k

Koch, L. 27/28065a, 27/28066a, 27/  28067a

Kohlhäufl, J. 27/28065a, 27/28066a, 27/  28067a

Kolb, F. 27/28057, 27/28057a

Kovács, A. 27/28011, 27/28017, 27/  28143, 27/28144, 27/28145

Kraebel, A.B. 27/28090, 27/28090n

Kranemann, B. 27/28080

Kranenburg, P. van 27/28058a, 27/  28059a, 27/28060b

Krause, C. 27/28084

Krekelerg, L. 27/28067d

Kritikou, F. 27/28048a, 27/28049g

Kruckenberg, L. 27/28057e, 27/28090d,  27/28104j

Kügle, K. 27/28041R

Kujumdzieva, S. 27/28001, 27/28028,  27/28049l

Kurta, J. 27/28146

Kyriakakis, C. 27/28117, 27/28128

Labhardt, F. 27/28076b

Lagergren, K.S. 27/28147

Lang, U.M. 27/28075R

Landerkin, K. 27/28074g

Laube, M. 27/28061R

Legkikh, V. 27/28049b

Leopold, S. 27/28052

Leza, J.M. 27/28096R

Linde, C. 27/28089

Liven d'Abelardo, E. 27/28016

Livljanic, K. 27/28104g

Llewellyn, J. 27/28104e

Lobo de Araújo, M.M. 27/28100

Loewen, P.V. 26020R.

Löffler, A. 27/28052a.

Lousberg, L.A.J. 27/28196

Lovato, A. 27/28064, 27/28102e

Lukkala, T. 27/28049d, 27/28148

MacInnis, J. 25012R

Maessen, G. 27/28058a, 27/28059a, 27/  28060a, 27/28060b

Mahrt, W. 27/28075p, 27/28149

Maiello, J.V. 27/28037R

Maitre, C. 27/28150, 27/28151

Mäkinen, M. 27/28049w

Maloy, R. 27/28075, 27/28103R

Manelli, M.C.P. 27/28152

Mannaerts, P. 27/28069b, 27/28094g

Manuel Chrysaphes 27/28049g

Maranci, C. 27/28073b

Marinčák, Š. 27/28049c

Marti, S. 27/28027

Martí Martínez, C. 27/28116

Matilde di Canossa 27/28166

Matsushima Junko, M. 27/28049n

Maurey, Y. 27/28102k

Mazuela-Anguita, A. 27/28153

McClendon, C.B. 27/28075b

McGee, T.J. 27/28104o

McKitterick, R. 27/28090b

Méhu, D. 27/28154

Mellas, A. 27/28049p

Merlin, D. 27/28062d

Messner, R. 27/28102m

Metz, S. 27/28065a, 27/28066a, 27/  28067a

Metzdorf, J.C. 27/28078c

Mews, C.J. 27/28003, 27/28075R, 27/  28094R

Meyer, C. 25010R, 27/28029, 27/28030,  27/28031, 27/28032, 27/28033, 27/  28101d, 27/28155

Michael (sixteenth-century hymnographer) 27/28049b

Miklós, R. 27/28086b

Milanese, G. 27/28156

Minniti, G. 27/28069a

Moisil, C. 27/28034, 27/28035, 27/  28048c, 27/28049m, 27/28093a, 27/  28098a, 27/28157, 27/28158

Møller Jensen, B. 27/28006, 27/28007

Montalt, M.R. 27/28136

Moody, I. 27/28048, 27/28049

Morandi, N. 27/28015

Morent, S. 25012R, 27/28012, 27/28052,  27/28052b, 27/28057g, 27/28159

Morosan, V. 27/28049e

Mudri-Zubacz, M. 27/28048g

Mullett, M. 27/28083

Myers, G. 27/28036, 27/28048d

Nanni, M. 27/28076, 27/28076e

Nardini, L. 25017R, 27/28010f, 27/  28010j, 27/28022R, 27/28037, 27/  28050a, 27/28075i, 27/28101f, 27/  28106a

Nastasă, I.-G. 27/28049q, 27/28062e

Nelson, K.E. 27/28096c

Newton, F. 27/28010b

Nishiwaki, J. 27/28066f

Noble, T.F.X. 26040R

Noone, M. 27/28096R

Norton, M.L. 27/28015R, 27/28038, 27/  28105b

Notker Balbulus 27/28012, 27/28018,  27/28090c

Nowacki, E. 27/28075d

Odenthal, A. 27/28102d

O'Donoghue, N.X. 27/28094p

O'Driscoll, C. 27/28094m

Olkinuora, J. 27/28062f

Olkinuora, M.D. 27/28049r

Olkinuora, H.D. 27/28027R

Op De Coul, M. 27/28016

Ormelingen, J.-J. van 27/28111

Orofino, G. 27/28010c

Padżiora, E. 27/28068d

Page, C. 27/28075o

Pancza, D. 27/28049y, 27/28062g, 27/  28063b, 27/28063h

Papalexandrou, A. 27/28073R

Papp, A. 27/28051a, 27/28109c

Parfentieva, N. 27/28062h

Parkes, H. 27/28057c, 27/28090f, 27/  28160

Parsons, L. 27/28072

Peattie, M. 27/28037R, 27/28101k

Peinado, A. 27/28058

Pentcheva, B. 27/28073, 27/28161

Pérez Vidal, M. 27/28162

Pernpeintner, R. 27/28078e

Perrin, X. 25005R

Peters, M.A. 26034R

Petersen, N.H. 27/28094c

Petrović, H.H. 27/28049o

Pfeiffer, B. 27/28066c

Pfisterer, A. 27/28053a, 27/28063i, 27/  28068a, 27/28069f, 27/28102l, 27/  28104b

Picard, J.-M. 27/28094d

Pietschmann, K. 27/28057f

Pikrakis, A. 27/28060

Pileggi, C. 27/28076i

Pischlöger, M. 27/28062, 27/28063

Planchart, A.E. 26062R, 27/28101g

Pohl, B. 27/28090R

Polson, S. 27/28068d

Pope, B. 25012R

Potter, J. 27/28104p

Pouderoijen, C. 27/28002, 27/28016,  27/28065, 27/28066, 27/28067

Prange, M. P. 27/28082

Prassl, F.K. 27/28002, 27/28065, 27/  28066, 27/28067, 27/28067e, 27/  28078d, 27/28081, 27/28081a, 27/  28086a, 27/28110a, 27/28163, 27/28164

Prozorov, V. 27/28026R

Quoëx, F. 27/28165

Rankin, S. 27/28039, 27/28067c, 27/  28075j, 27/28085c, 27/28090c

Rapp, C. 27/28091

Raptis, K.T. 27/28117, 27/28128

Ravenscroft, B. 27/28072

Ray, W.D. 27/28073d

Reichert, S. 27/28102, 27/28102i

Reilly, D.J. 27/28027R, 27/28103

Renhart, E. 27/28086

Resende, N. 27/28112

Revers, P. 27/28081

Ricossa, L. 27/28014

Rillon-Marne, A.-Z. 27/28023R, 27/  28085

Rizzuto, M. 27/28049v

Rojo Carrillo, R. 27/28070a, 27/28197

Romano, J.F. 27/28075c

Rora, C. 27/28053

Rösler, D. 27/28065ª, 27/28066a, 27/  28067a

Rosmer, S. 27/28056a

Rothenberg, D.J. 27/28092

Rothenberger, E. 27/28056

Rouchon Mouilleron, V. 27/28027R

Rouwhorst, G. 27/28080a

Rozier, C. 27/28090j

Rubio Sadia, J.P. 27/28170, 27/28171,  27/28172

Rudolf von St Trond 27/28057j

Ruhri, A. 27/28110

Ruini, C. 27/28095, 27/28095a, 27/  28166

Ruisard, R. 27/28068d

Ruiz Torres, S. 26054R, 27/28012R, 27/  28167, 27/28168, 27/28169, 27/  28170, 27/28171, 27/28172

Rumphorst, H. 27/28002, 27/28065, 27/  28065a, 27/28065c, 27/28066, 27/  28066a, 27/28066b, 27/28067, 27/  28067a, 27/28067b, 27/28068e

Rumsey, P.M. 27/28094o

Rupert von Deutz 27/28057k

Rusconi, A. 27/28010e, 27/28064a, 27/  28101e

Sahle, P. 27/28084

Saints

Æbbe of Coldingham 27/28090k

All Saints

Andrew 27/28094l

Anna 26020R

Annos 27/28005

Brendan 27/28094m, 27/28094o

Canice 27/28094j

Columba 27/28094l

Domingo de Silos 27/28103a

Donatus 25017R

Dunstan 27/28090g

Dympna of Ghee 27/28094g

Fintan of Rheinau 27/28094f

Fridianus 25017R

George 27/28075q

Hilarius Pictaviensis 27/28004

Iosif Volotsky 27/28048e

John of Capestrano 27/28108a, 27/  28182

John Koukouzelis 27/28049j

John the Baptist 27/28103c

Kentigern 27/28094k

Ladislas 27/28144

Livinus 27/28094b

Martin 25017R, 27/28131

Mary 27/28056, 27/28056a, 27/28163

Minias 25017R

Patrick 27/28094i

Regulus 25017R

Romanos the Melodist 27/28048f

Vincent 27/28087a

William of York 27/28019

Zenobius 25017R

Saiz-Pardo Hurtado, R. 27/28040

Salisbury, M.C. 26044R, 27/28009, 27/  28173

Sanda, A. 27/28109d

Sandu-Dediu, V. 27/28093

Sanfratello, G. 27/28049k, 27/28174,  27/28198

Saucier, C. 27/28041

Scarcez, A. 25007R, 27/28069e, 27/  28175

Schärli, C. 27/28076, 27/28076d

Scheurer, J. 27/28076f

Schindling, A. 27/28051

Schlotheuber, E. 27/28027

Schmidt, T. 27/28057i

Schuller, G. 27/28065a, 27/28066a

Schumilina, O. 27/28063j

Schwemmer, M. 27/28078e

Scotti, A. 27/28142

Sebastian, L. 27/28112

Seltmann, S. 27/28176

Sewright, K. 26062R

Shehovtsova, I. 27/28063c

Shephard, T. 27/28061

Sichard, M. 27/28053

Smith, I. 27/28177

Snoj, J. 26006R

Sohn-Kronthaler, M. 27/28110

Sonnesyn, S.O. 27/28090m

Șorban, E.M. 27/28021, 27/28108a, 27/28146, 27/28178, 27/28179, 27/28180, 27/28181, 27/28182

Sparagna, M. 27/28010g

Staehelin, M. 27/28076a

Steenberge, L. 27/28073e

Ştefan Odobleja 27/28098

Steinheuer, J. 27/28052

Stingl jun., A. 27/28042, 27/28043, 27/  28065a, 27/28066a, 27/28067a

Stoudt, D.L. 27/28047R

Sunyol, G.M. 27/28123

Symeon of Durham 27/28090j

Takala-Roszczenko, M. 27/28048, 27/  28049, 27/28049h, 27/28062i

Tangari, N. 26009R, 27/28010, 27/  28010h, 27/28010i, 27/28037R, 27/  28079a, 27/28183, 27/28184

Tardón, L.J. 27/28058

Taureau, N. 27/28054

Tello Ruiz-Pérez, A. 27/28096b, 27/  28185

Teodomaro 27/28101b

Teslia, T. 27/28062j

Thomas, J.S. 26020R

Thomas, Z. 27/28165

Thommen, B. 27/28076g

Toigo, D. 27/28064d

Tombeur, P. 27/28186

Torija Rodríguez, E. 27/28187

Toy, J. 27/28019

Tracey, L. 27/28094q

Tristano, C. 27/28079

Troelsgård, C. 27/28073c, 27/28188

Tucker, G. 27/28049a

Turnbull, D. 27/28059

Uhl, M. 27/28044, 27/28078, 27/28078f,  27/28189

Utz, C. 27/28081

Uzunova, E. 27/28001

Vainovski-Mihai, I. 27/28098

Valdez del Álamo, E. 27/28103a

Varelli, G. 27/28037R

Velinova, V. 27/28001

Vergine, B. 27/28010j, 27/28037R, 27/  28101h

Veselovská, E. 27/28045

Vildera, A. 27/28064c, 27/28102j

Viret, J. 27/28046

Vivancos, M.C. 27/28190

Vlhová-Wörner, H. 27/28074i

Voigt, K. 27/28074h 27/28191

Wanek, N.-M. 27/28063k, 27/28091,  27/28192

Ward, A. 27/28018R

Weber, T. 27/28090i

Wegener, L. 27/28056

Weiss, M. 27/28097a, 27/28097b, 27/  28097d, 27/28097r

Wendling, M. 26009R,

Weyer, C. 27/28078, 27/28078g

Whitnah, L.L. 27/28090k

Wickstrom, J.B. 27/28009R

Wiegand, G. 27/28097h, 27/28097i, 27/  28097s, 27/28097t

William Fitzherbert see Saint William of York

William of Malmesbury 27/28090l, 27/  28090

William of Newburgh 27/28090n

Williams, C.J. 27/28003

Williamson, M. 27/28092R

Winkelmüller, M. 27/28097f, 27/  28097g, 27/28097m, 27/28097p

Wittekind, S. 27/28057h

Wolinski, M.E. 27/28075s

Woszczyk, W. 27/28073f

Zagnitko, K. 27/28062k

Zanini, N. 27/28193

Zátonyi, M. 27/28047

Zhelev, I. 27/28001

Zijlstra, M. 27/28078h

Zinelli, F. 27/28085

Zippe, S. 27/28002, 27/28065, 27/  28065a, 27/28065b, 27/28066, 27/  28066a, 27/28067, 27/28067a

Zühlke, H. 27/28074j

Adiastematic notations see Musical  notation

Adémar de Chabannes 27/28090e

Admonito Generalis 27/28075l

Agnus dei 27/28074a

Albanian 27/28049k

Alexandria 27/28073a

Alleluia 27/28043

Amalar 27/28066f, 27/28069c

Ambrosian chant and rite 27/28059a,  27/28060b, 27/28097i, 27/28104d,  27/28115

Ancient World 27/28104a

Angelo De Santi 27/28040

Anselm 27/28103d

Antiphoner 27/28062d, 27/28069d, 27/  28109a, 27/28111, 27/28112a, 27/28146, 27/28152, 27/28160, 27/28175, 27/28190, 27/28199

Antiphons 25010R, 27/28066f, 27/  28075d, 27/28092b, 27/ 28102m, 27/28147, 27/28152

Archdeacon 27/28075c

Architecture 27/28073, 27/ 28102g

Armenia/Armenian chant 27/28063e,  27/28063f, 27/28073b

Arnulf of Villers 27/28090r

Augustine 27/28196

Austria 27/28078d, 27/28086, 27/  28109, 27/28164

Australia 27/28008

Autos de Fe 27/28153

Belgium 27/28041, 27/28111, 27/28186

Benedicamus domino 27/28074g

Benedictine 27/28120

Beneventan chant and rite 26009R, 27/  28037, 27/28059a, 27/28061a, 27/28060b, 27/28069a, 28075h, 27/28097g, 27/28102c, 27/28104d, 27/28184

Bible 27/28077

Bibliography 27/28135, 27/28200

Birgittine 27/28147

Bishop's book 27/28026

Braga liturgy 27/28099a, 27/28100a

Breviary 27/28096d, 27/28113

Byzantine chant 27/28034, 27/28048b,  27/28049a, 27/28049c, 27/28049o, 27/28049p, 27/28049q, 27/28049r, 27/28049x, 27/28062c, 27/28062f, 27/28062g, 27/28063b, 27/28063d, 27/28063h, 27/28063i, 27/28073c, 27/28083a, 27/28174, 27/28198, 27/28215

Byzantium 27/28049u, 27/28073, 27/  28083, 27/28083a, 27/28091, 27/28093a, 27/28097a, 27/28097d, 27/28097e, 27/28093a, 27/28117, 27/28128, 27/28158, 27/27161

Canticles 27/28056a, 28075h, 27/28104e

Cantiones 27/28056a

Cantor 27/28069c, 27/28075o, 27/  28089, 27/28090R, 27/28104g

Cantus catholici 27/28051a

Carolingian 27/28039, 27/28066f, 27/  28075b, 27/28074d, 28075g

Catalogue 27/28029, 27/28030, 27/  28031, 27/28031R, 27/28032, 27/28033, 27/28170, 27/28172, 27/28204, 27/28204

Catechumens 28075g

Celtic rite 27/28094q

Centonisation/Formula 27/28049k, 27/  28066d, 27/28195

Chant book 27/28089b, 27/28136

Chant composition/composer 27/  28118, 27/27141, 24028R

Cheironomy 27/28053a

Cherubikon 27/28192

Chromatism 27/28065d, 27/28196

Cistercians 27/28069e, 27/28088, 27/  28112, 27/28112a, 27/28130, 27/28175

Cluniac, Cluny 27/28075n, 27/28103b,  27/28185

Codicology 27/28101a

Communion 27/28067b

Compline 27/28162

Conductus 27/28056a

Constantinople 27/28073a

Coptic chant 27/28049v

Council of Constance 27/28052

Council of Trent 27/28044, 27/28051,  27/28189

Creta 27/28049t

Crusades history 27/28090o

Cryptography 27/28125

Cunțană chant 27/28157

Customary 27/28122

Database 27/28049e, 27/28150, 27/  28151, 27/28201, 27/28202, 27/28203, 27/28207, 27/28208, 27/28209, 27/29210, 27/28211, 27/28212, 27/28214, 27/28216, 27/28220, 27/28221, 27/28223

Dalmatia 27/28026, 27/28089b

Diastematic notation see Musical  notation

Digital humanities 27/28140, 27/28159  and also see Websites and the section  ‘Websites and online databases’ above

Dominican 27/28027, 27/28089, 27/  28089a, 27/28089b, 27/28103c, 27/28103R, 27/28130, 27/28177

Early Irish chant 27/28094a

Easter Vigil 28075h, 27/28096c

Editio Medicaea 27/28044

Ekkehard IV 27/28090d

England 24024R, 27/28009, 27/28024,  27/28097k, 27/28097l, 27/28090h, 27/28090i, 27/28090j, 27/28090l, 27/28090m, 27/28194

Episcopal hagiography see Hagiography

Eucharistic Chrismal 27/28094p

Female monasticism 27/28090h, 27/  28122, 27/28147, 27/28162

Formula see Centonisation/Formula

Fragments see Liturgical manuscript fragments

France 27/28023, 27/28029, 27/28030,  27/28031, 27/28032, 27/28033, 27/28055, 27/28061b, 27/28068c, 27/28074e, 27/28075r, 27/28075s, 27/28085a, 27/28097g, 27/28097j, 27/28097m, 27/28097n, 27/28097o, 27/28097p, 27/28097q, 27/28096d, 27/28102k, 27/28102n, 27/28105, 27/28113, 27/28127, 27/28132, 27/28175

Franciscans 27/28146, 27/28182

Franco-Roman chant see Gregorian chant

Frankish 27/28090o

Gallican chant 27/28097f, 27/28104d,  27/28106a

Germany 27/28027, 27/28052b, 27/  28057, 27/28074b, 27/28074j, 27/28075q, 27/28078b, 27/28078e, 27/28097h, 27/28097i, 27/28097j, 27/28097l, 27/28097q, 27/28097r, 27/28090f, 27/28090p, 27/ 28102i, 27/28120, 27/28194

Giovan Domenico Guidetti 27/28064d

Gloria 26029R

Glosses 27/28010g, 27/28101j

Goswin of Bossut 27/28090r

Gradual (book) 27/28002, 27/28064a,  27/28065a, 27/28067a, 27/28086a, 27/28129, 27/28143, 27/28169, 27/28179

Gradual (chant genre) 27/28066d,  28075i, 27/28195

Greek 27/28004, 27/28062c, 27/28063c,  27/28091a, 27/28097a, 27/28097b, 27/28128, 27/28192

Gregorian chant 27/28002, 27/28024,  27/28025, 27/28042, 27/28043, 27/28046, 27/28051b, 27/28059a, 27/28060b, 27/28062k, 27/28065, 27/28066, 27/28067, 27/28069b, 27/28078, 27/28081a, 27/28081b, 27/28097g, 27/28097h, 27/28097i, 27/28102l, 27/28104b, 27/28106a, 27/28110a, 27/28123, 27/28149, 27/28155, 27/28163, 27/28176, 27/28178, 27/28186, 27/28189, 27/28199

Gregorian restoration see Restoration of Gregorian chant

Gregorian semiology 27/28065, 27/  28066, 27/28067

Guido D'Arezzo 27/28101e, 27/28166

Guidonian hand 27/28097p

Guy of Saint-Denis 27/28003

Hagia Sophia 27/28073f, 27/28128, 27/  28161

Hagiography 27/28041, 27/28082, also see Saints

Hartker 27/28160

Hélie Salomon 27/28020, 27/28097n,  27/28097o, 27/28097p, 27/28127

Hermannus Contractus 25005R

Hildegard of Bingen 25012R, 27/28047,  27/28119

Hirmologion 27/28062j

Hispanic liturgy or rite see Old Hispanic rite

Historiae 27/28004, 27/28094a, 27/  28094f, 27/28094h

Historiography 27/28090m, 27/28094a,  27/28116

Holy Cross 27/28036

Holy Eucharist 27/28049h

Holy Week 27/28049i

Hucbald 27/28092b

Hungary 27/28011, 27/28017, 27/  28051, 27/28109, 27/27143, 27/28145

Hymns 27/28048e, 27/28049t, 27/  28049v, 27/28049w, 27/28056, 27/28062f, 27/28062j, 27/28094h, 27/28101h, 27/28144

Hymnography 27/28049

Iberian Peninsula 27/28058a, 27/  28059a, 27/28060a, 27/28060b, 27/28096, 27/28096R, 27/28185, 27/28167, 27/28190, 27/28197, also see Portugal, Spain and Old Hispanic chant and rite

Iconography 27/28048, 27/28197, 27/  28161

Introitus 27/28066b, 27/28068e

Invitatory antiphons 27/28147

Irish church and saints (medieval) 27/  28094, 27/28094R

Italy (for Rome see Rome) 25017R,  26020R, 27/28010, 27/28023, 27/28049k, 27/28049v, 27/28050, 27/28064b, 27/28064c, 27/28079a, 27/28097h, 27/28097i, 27/28097l, 27/28097s, 27/28097t, 27/28092a, 27/28092c, 27/28101, 27/28102b, 27/28102c, 27/28102e, 27/28102j, 27/28108a, 27/28129, 27/28146, 27/28152, 27/28183, 27/28184, 27/28198

Japan 27/28049n

Jeanne d'Arc 27/28054

Jerome 27/28155

Jerusalem 27/28049f, 27/28073a

John of Novgorod 27/28048d

Johannes Hollandrinus 26015R, 26016R

Johannes Meyer 27/28090s

José Doblado 27/28169

Karl-Werner Gümpel 27/28135

Kekragarion tradition 27/28174

Kontakion 27/28048d, 27/28063i

Kratema 27/28049j

Lamentation 27/28048a, 27/28064c

Latin 27/28027, 27/28042, 27/28156,  27/28192

Latin America 27/28068d, 27/28153

Lauda 27/28064b

Law 27/28026

Lectionary 27/28006, 27/28007, 27/  28130, 27/28134

Lent 27/28149

Liber ordinarius 27/28078d, 27/28086b,  27/28164

Liquescence 27/28042, 27/28069b

Lituania 27/28062i

Liturgical drama see Medieval drama

Liturgical manuscript fragments 27/  28079a, 27/28087a, 27/28096d, 27/28116, 27/28160, 27/28170, 27/28171, 27/28172, 27/28213, 27/28183

Liturgical singers see Medieval singers

Liturgical song 27/28096b

Liturgy 27/28009, 27/28022, 27/28026,  27/28027, 27/28049, 27/28052a, 27/28054a, 27/28055a, 27/28057k, 27/28067e, 27/28073b, 27/28073d, 27/28075, 27/28075c, 27/28075R, 27/28080, 27/28081a, 27/28090, 27/28097f, 27/28090R, 27/28092, 27/28092R, 27/28092a, 27/28092b, 27/28092c, 27/28094, 27/28094R, 27/ 28102d, 27/ 28102f, 27/28103d, 27/28111a, 27/28115, 27/28131, 27/28132, 27/28150, 27/28151, 27/28164, 27/28193, 27/28197, also see Ambrosian chant and rite, Beneventan chant and rite, Old Hispanic chant and rite

Liturgy of the hours 27/28094o

Ludus Danielis 27/28074c

Ludus Paschalis 27/28105b

Luxembourg 27/28126

Mainz 24041R

Manuel Chrysaphes 27/28049g

Manuscript fragments see Liturgical manuscript fragments

Mass chants 27/28037, 27/28101f, 27/  28199

Matilde di Canossa 27/28166

Matrimony 27/28122

Medieval drama 24041R, 27/28038, 27/  28105

Medieval musicology 27/28139, 27/  28217

Medieval singers see Cantor

Melody 27/28053a

Merovingian Francia 28075g

Mexico 27/28068d

Michael (sixteenth-century hymnographer) 27/28049b

Microtones 27/28196

Milanese chant see Ambrosian chant

Missa Graeca 27/28075a, 27/28063k,  27/28091a

Missa pro defunctis 27/28129

Missal 27/28096c, 27/28133

Missale Gallicanum Vetus 28075g

Modern performance of medieval music see Performance

Modus 27/28049j, 27/28057j, 27/  28062g, 27/28063b, 27/28063e, 27/28063h, 27/28065d, 27/28066d, 28075k, 27/28075p, 27/28097d, 27/28109c, 27/28195

Moldavia 27/28049q

Monophonic chants 27/28168

Mozarabic chant see Old Hispanic chant and rite

Music education 27/28104l, 27/28181

Musical analysis 27/28179, 27/28174,  27/28205, 27/28206

Musical editing 27/101l, 27/28155, 27/28205, also see section ‘Editions and facsimile editions’ above.

Musical notation 27/28025, 27/28039,  27/28053a, 27/28062a, 27/28062b, 27/28062j, 27/28063a, 27/28063g, 27/28064a, 27/28067c, 27/28069a, 27/28073c, 27/28078d, 27/28078e, 27/28084a, 27/28085c, 27/28010e, 27/28101k, 27/28104h, 27/28114, 27/28140, 27/28157

Neo-Beneventan chant 27/28068a, 27/  28069f

Neo-Gregorian chant 27/28037,

Neo-Mozarabic chant and rite 27/  28013, 27/28070a

Neumes see Musical notation

Neustria 27/28024

New Spain see Latin America

Norway 27/28094c

Notation see Musical notation

Notker Balbulus 27/28012, 27/28018,  27/28090c

Numerical offices 28075k

Offertory 27/28059a, 27/28078a, 27/  28191

Officium Stellae 27/28015

Oktoechos 27/28062c

Old Roman chant 27/28014, 27/28059a,  27/28060b, 27/28075d, 27/28152

Old Slavic chant 27/28063d

Oral transmission 27/28198

Ordinals 27/28092c, 27/28101i

Ordination of a bishop 27/28154

Ordo Remensis 27/28055a

Ordo representacionis Ade 27/28105a

Ordo romanus primus 27/28165

Ordo virtutum 27/28071

Organ 27/28097e

Organum 27/28152

Orthodox church music 27/28036, 27/  28048, 27/28049n, 27/28049x, 27/28062i, 27/28098a, 27/28161

Office 24024R, 26006R, 26044R, 27/  28005, 27/28013, 27/28014, 27/28019, 27/28021m 27/28049s, 27/28068c, 27/28068d, 27/28074e, 27/28074j, 27/28075q, 27/28078b, 27/28082a, 27/28085a, 27/28089a, 27/28090g, 27/28092b, 27/28094b, 27/28094i, 27/28094j, 27/28094k, 27/28094l, 27/28094m, 27/28103c, 27/28103R, 27/28109d, 27/28132, 27/28173, 27/28199

Old Hispanic chant and rite 27/28058a,  27/28059a, 27/28060a, 27/28060b, 27/28070a, 27/28104d, 27/28125, 27/28137, 27/28197, 27/28190, 27/28197

Paleaography 27/28084, 27/28101a,  27/28123

Palm Sunday 27/28102e

Paschal Vigil 27/28075e

Passion 27/28064d

Passionary 27/28134

Patrology 27/28078c

Performance 27/28066e, 27/28104o,  27/28104p, 27/28157

Pilgrims 27/28094e

Pitch series 27/28118

Poland 27/28062i, 27/28220

Politics 27/28123, 27/28166

Polyphony 26034R

Pontifical 24041R, 27/28075m, 27/  28096c, 27/28154

Portugal 27/28087a, 27/28096c, 27/  28099a, 27/28100a, 27/28112, 27/  28112a, 27/28221, also see Iberian Península

Post-Byzantine chant 27/28174

Post-Carolingian chant 27/28092b

Preaching orders 27/28162 (also see Franciscans)

Precentor's book 27/28061b

Prior 27/28090i

Processional 27/ 28102o

Processions 25010R, 27/28008, 27/  28023, 27/28064c, 27/ 28102, 27/28162

Pronunciation 27/28156

Propers 27/28037, 27/28037R, 27/  28075q, 27/28094a, 27/28094e, 27/28199

Prosary 27/28138

Proser Troper 27/28138, 27/28185

Proses see Sequences

Prosopography 27/28104f

Prosulas 28075i, 27/28085b, 27/28113

Psalm tones 26034R, 27/28142

Psalmody 27/28083a, 27/28174

Psalter 28075j, 27/28097m

Psalterium 27/28016

Pulpits 27/28092c

Religious experience 27/28075o, 27/  28095, 27/28095a

Responsory 27/28067d, 27/28068a, 27/  28069f, 27/28082a, 27/28105a, 27/28113

Restoration of Gregorian chant 27/  28040, 27/28081b, 27/28126

Revival of medieval music 27/28104n

Revue de Musicologie 27/28139

Rhythm 27/28049y, 27/28064b

Rila Monastery 27/28049l

Rite of Braga 27/28096d

Ritual/Rite 27/28036, 27/28062i, 27/ 28102f, 27/28080

Rituale 24041R

Roman chant see Old Roman chant

Romano-Frankish 27/28104c

Rome 27/28014, 27/28073a, 27/28075,  27/28075b, 27/28075e, 28075f, 27/28075R, 27/28097h, 27/28101i, 27/ 28102g, 27/28102a

Romania 27/28034, 27/28035, 27/  28049s, 27/28049u, 27/28062e, 27/28093a, 27/28098a, 27/28109a, 27/28146, 27/28158, 27/28178, 27/28179, 27/28180, 27/28181, 27/28182

Rudolf von St. Trond 27/28057j

Rupert von Deutz 27/28057k

Russia 27/28049u

Ruthenia 27/28049h

Sacred song 27/28022

Sacrist, sacristan 27/28090hi

Saints see Saints in ‘Index of names’  above, and also 26044R, 27/28057g,  27/28094, 27/28094b, 27/28094c, 27/28094d, 27/28131, 27/28132, 27/28134, 27/28173

Sanctity 27/28057f

Sankt Gallen (place) 27/28067c, 27/  28097b, 27/28160

Sarum rite 27/28094m, 27/28130, 27/  28173

Scandinavia 26044R

Scotland 27/28090k, 27/28094k, 27/  28094l

Secular clergy 27/28099, 27/28099a

Semiology see Gregorian semiology

Sequences 26002R, 27/28011, 27/28012,  27/28017, 27/28018, 27/28056, 27/28066c, 27/28072a, 27/28074b, 27/28101g, 27/28104j, 27/28113, 27/28204

Serbia 27/28049o

Slavia 27/28036, 27/28049c

Slovakia 27/28045, 27/28144, 27/28223

Solmisation syllables 27/28097l

Soundscape 27/28117, 27/28128

Sources 27/28054a, 27/28057i, 27/  28061, 27/28062c, 27/28062e, 27/28062k, 27/28069e, 27/28076, 27/28078e, 27/28078g, 27/28080d, 27/28092, 27/28092R, 27/28120, 27/28187, 27/28194, 27/28207, 27/28212, 27/28213, 27/28214, 27/28216, 27/28220, 27/28221, 27/28222

Spain 26002R, 26006R, 26002R,27/  28008, 27/28013, 27/28070, 27/28097j, 27/28104m, 27/28116, 27/28121, 27/28122, 27/28125, 27/28133, 27/28134, 27/28136, 27/28137, 27/28138, 27/28153, 27/28154, 27/28162, 27/28168, 27/28169, 27/28170, 27/28171, 27/28172, 27/28185, 27/28187, 27/28216, and also see Iberian Peninsula

Spanish liturgy see Old Hispanic chant  and rite

Sticheron 27/28049g, 27/28062g, 27/  28062h, 27/28063b, 27/28063h

Sweden 27/28194

Switzerland 27/28076

Symeon of Durham 27/28090j

Te Deum 27/28062i

Te matrem (dei) laudamus 27/28167

Theology 27/28048g, 27/28049r, 27/  28057k, 27/28068e, 27/28078c, 27/28080, 27/ 28102l, 27/28164

Theory, theorists 25005R, 26014R,  26015R, 26016R, 27/28003, 27/28010, 27/28020, 27/28048b, 27/28057j, 27/28057l, 27/28062, 27/28063, 27/28097, 27/28101, 27/28104k, 27/28127, 27/28155

Tonality see Modus

Tonary 27/28068b, 27/28097k, 27/  28010f, 27/28010j, 27/28101f, 27/28101g, 27/28101h, 27/28101l, 27/28160

Tonus peregrinus 26034R

Tracts 28075i

Tropes 26029R, 27/28056a, 27/28057c,  27/28057d, 27/28057e, 27/28074f, 27/28075p, 27/28085b, 27/28104i

Troper 24041R

Troper-Proser see Proser Troper

Tropologion 27/28028

Ukraine 27/28062c, 27/28062k, 27/  28063g, 27/28063j

Vespers 27/28094m, 27/28197

Vespertinus 27/28197

Wales 27/28094n

Websites 27/28124, 27/28150, 27/28151

William of Malmesbury 27/28090l, 27/  28090

William of Newburgh 27/28090n

Znamenny chant 27/28049d, 27/  28049e, 27/28062a, 27/28148

Alba Iulia, Batthyaneum Library, Ms. I.3  27/28108

Albertville, Abbaye Notre Dame de  Tamié, MS 6 27/28175

Aquitanian manuscripts 27/28023

Australia, Sydney, University of Sydney, Fisher Library, Rare Books and Special Collections (AUS-Sfl RB), Add.Ms. 358, Add.Ms 406 (Seville), Add.Ms. 380 (Jeronymite) and Add.Ms. 407 (unknown tradition) 27/28008

Barbastro, Archivo Diocesano, Carpeta n° 66 27/28171

Beneventan manuscripts 27/28037, 27/  28061a

Braga, Arquivo Distrital, MS 1000 27/  28096c

Byzantine musical manuscripts 27/  28174

Cambrai, Médiathèque municipale, MS  38 27/28075k

Codex Calixtinus 27/28168, 27/28191

Cortona, Biblioteca del Comune e dell'Accademia Etrusca, MS 91 27/28064b

Graz, Universitätsbibliothek MS 17 27/  28086a

Graz, Universitätsbibliothek MS 1566  27/28086b

Greek-Church Slavonic musical manuscripts 27/28001, 27/28063c

Halifax, Patrick Power Library, Saint  Mary's University Archives, Salzinnes Antiphonal, 27/28111, 27/28111a

Huesca, Chapter Library, MS 4 27/  28185

León, Archivo de la Real Colegiata de  Sant Isidoro, cod. 12 27/28121

Leuven, Katholieke Universiteit, no  shelf number 27/28119

Lisbon, Biblioteca Nacional de Portugal,  ms. Iluminado 115 27/28088

Lyon, Bibliothèque des Facultés  Catholiques, MS Réserve 1/0011 (olim MS 2) 27/28075m

Montecassino, Archivio dell'Abbazia  Cod. 318 27/28010, 27/28097g, 27/28101

Monza, Biblioteca capitolare MS c14/77  27/28064a

Naples, Biblioteca Nazionale di Napoli,  Innario VI G.29 27/28050

Neo-Mozarabic chant manuscripts 27/  28070a

Notated manuscripts preserved in the  public libraries of France 24040R, 27/28029, 27/28030, 27/28031, 27/28032, 27/28033

Old Hispanic manuscripts 27/28013,  27/28058a, 27/28059a, 27/28060a, 27/28060b, 27/28070a, 27/28104d, 27/28125, 27/28137, 27/28197, 27/28190, 27/28197

Paris, Bibliothèque nationale de France,  MS lat. 776 27/28068b

Paris, Bibliothèque nationale de France,  MS lat. 17716 27/28075n

Piacenza, Biblioteca Capitolare 60–68  27/28006, 27/28007

Porto, Biblioteca Pública Municipal, MS  1134 27/28096c

Porto, Biblioteca Pública Municipal, MS  1151 27/28096e

Post-Byzantine musical manuscripts  27/28174

Manuscripts of the Putna Chant School  27/28062e

Rila manuscripts 27/28049l

Sankt-Peterburg, BRAN, F. no. 200 27/  28026

Sens, Mediathèque Jean-Christophe  Rufin, MS 6 27/28061b

Slovakian manuscripts 27/28045

South German manuscripts 27/28052b,  27/28075q

Swiss manuscripts 27/28076

Tours, Bibliothèque Municipale, MS 927  27/28105

Vatican, Biblioteca Apostolica Vaticana,  Archivio San Pietro, B79 27/28152

Vic, Arxiu i Biblioteca Episcopal, 106  26002R

Wien, Österreichische Nationalbibliothek  fragm. 660 27/28068c

Wiesbaden, Hochschul-und  Landesbibliothek Rhein-Main MS 2  27/28119