9005R. Ilona FERENCZI, Jahrbuch für Liturgik und Hymnologie, 51 (2012), 266.

11005R. Ilona FERENCZI, Jahrbuch für Liturgik und Hymnologie, 51 (2012), 266.

11008R. Ilona FERENCZI, Jahrbuch für Liturgik und Hymnologie, 51 (2012), 267.

17008R. Erika HONISCH, Early Music, 40/4 (2012), 699–701.

17023. Anja HEILMANN, Boethius' Musiktheorie … [Addition:] Hypomnemata. Untersuchungen zur Antike und zu ihrem Nachleben 171.

17023R. Daniel GLOWOTZ, Die Musikforschung, 65 (2012), 267–8.

18005R. Erika HONISCH, Early Music, 40/4 (2012), 699–701.

19008R. Thomas LEITMEIR, Fontes, 59 (2012), 60–1.

19016R. Andreas PFISTERER, Beiträge zur Gregorianik, 53 (2012), 145–7.

19019R. Joseph DYER, Early Music History, 30 (2011), 249–61.

19054R. Christelle CAZAUX-KOWALSKY, Revue de musicologie, 97 (2011), 145–7.

20030R. Kate HELSEN, Early Music, 40/2 (2012), 307–8. – Matthew WARD, Plainsong & Medieval Music, 21, 1 (2012), 83–4.

20062R. Lisa COLTON, Early Music, 40/2 (2012), 308–9.

20070R. Michel HUGLO, Scriptorium, 65 (2011), 202* (no. 472); 143* (no. 322), 176* (no. 404), 198*–199* (no. 464), 200* (no. 466).

20070bR. Barbara HAGGH, Scriptorium, 65 (2011), 178* (no. 414).

20070cR. L. R., Études grégoriennes, 39 (2012), 311–12.

20070eR. L. R., Études grégoriennes, 39 (2012), 312.

20072R. Jenny STRATFORD, Scriptorium, 65 (2011), 230* (no. 523); 201* (no. 469), 231* (no. 526).

20092R. Pierre HAMBLENNE, Scriptorium, 65 (2011), 56*–57* (no. 136).

21001R. Michel HUGLO, Scriptorium, 65 (2011), 38* (no. 71). – L. R., Études grégoriennes, 39 (2012), 308–9.

21002R. Barbara HAGGH-HUGLO, Études gregoriennes, 39 (2012), 307–8.

21007R. Erika HONISCH, Early Music, 40/4 (2012), 699–701.

21011. Alexandra [correctly:] Alessandra FIORI …

21011R. Michel HUGLO, Scriptorium, 65 (2011), 177* (no. 409). – L. R., Études grégoriennes, 39 (2012), 310–11.

21014R. Karl-Georg PFÄNDTNER, Scriptorium, 65 (2011), 64*–65* (no. 156).

21024R. Diane TOULIATOS-MILES, Notes, 69 (2012), 101–3.

21027R. Jörg NEIJENHUIS, Jahrbuch für Liturgik und Hymnologie, 51 (2012), 119–20.

21051b. Addition: David N. BELL, ‘Chrysogonus Waddell (1930–2008). A bibliography: Supplement’, Cîteaux, 62 (2011), 343–4.

21056R. Claire MAÎTRE, Scriptorium, 65 (2011), 223*–225* (no. 512). – Miriam WENDLING, Fontes, 59 (2012), 61–3.

21070R. Barbara HAGGH, Scriptorium, 65 (2011), 178* (no. 414).

21072R. Michel HUGLO, Scriptorium, 65 (2011), 63*–64* (no. 154). – L. R., Études grégoriennes, 39 (2012), 309.

21075. Constant J. MEWS, ‘Gregory the Great …’, Journal of Medieval History, [addition:] 37/2 (2011), 125–44.

22001.Messale di Ranchio – copia anastatica del volumine liturgico Baltimora, Walters Art Gallery, Ms. W. 11 pergamenaceo, sec. XI ex., cc. 253, cm 28×17, appartemento al monastero benedettino camaldolese di Sant'Ambrogio di Ranchio (Diocesi di Sarsina), ed. Marino MENGOZZI (Cesena: Editrice Stilgraf, 2009).

22002.Hymnodia Hispanica, ed. José CASTRO SANCHEZ, Corpus Christianorum, Series Latina 167 (Turnhout: Brepols, 2010).

Review. Daniel SAULNIER, Scriptorium, 65 (2011), 179*–180* (no. 418).

22003. Robert KLUGSEDER, unter Mitarbeit von Alexander RAUSCH, Ausgewählte mittelalterliche Musikfragmente der Österreichischen Nationalbibliotehk Wien, Codices Manuscripti, Supplementum 5 (Purkersdorf: Verlag Brüder Hollinek, 2011).

22004. Robert KLUGSEDER, mit Beiträgen von Alexander RAUSCH, Martin ROLAND und Hanna ZÜHLKE, Quellen zur mittelalterlichen Musik- und Liturgiegeschichte des Klosters Mondsee, Codices Manuscripti Supplementi 7 (Purkersdorf: Verlag Brüder Hollinek, 2012). Concerns manuscripts and fragments in A-LIa, A-LIs, A-LIkatholisch-theologische universitätsbibliothek, and A-Wn.

22005.Cantus fractus italiano: un'antologia, ed. Marco GOZZI, Musica mensurabilis 4 (Hildesheim, Zürich, New York: Georg Olms Verlag, 2012) [all'interno del Progetto RAPHAEL Rhythmic And Proportional Hidden or Actual Elements in Plainchant (1350–1750) – Il canto piano con elementi mensurali (1350–1750)]:

(a) Marco GOZZI, ‘Prefazione’, 1–40.

Secoli XIII–XIV

(b) Marco GOZZI, ‘Sequenze’, 43–134 (75–134 transcriptions No. 1–32, concerns F-Pn lat. 1343, I-Sc G.III.2, I-Sconvento di santa maria dei servi G, I-Rvat Vat. lat. 9340, 2854, I-TOD 73, I-Tn F.I.4, I-PAac F-4).

Secolo XIV

(c) Marco GOZZI, ‘I prototipi del canto fratto: Credo regis e Credo cardinalis’, 137–54 (145–54 transcriptions No. 33–35, concerns I-MZ L 12, I-PAac F-9, I-Pc A20*). (d) Fabrizio MASTROIANNI, ‘Il Credo Regis di Todi’, 155–64 (162–4 transcription No. 36, concerns I-TOD 73). (e) Jenny CAMPANELLA, ‘Il Credo di Roisan’, 165–71 (169–71 transcription No. 37, concerns I-AO 13). (f) Marco GOZZI, ‘La Missa di Parma’, 173–82 (178–82 transcriptions No. 38–41, I-PAac F-4). (g) Antonella CAPPELLETTI, ‘Una Passione di Como’, 183–99 (195–99 transcription No. 42, concerns I-COs 16). (h) Diego TOIGO, ‘Una Passione di Parma’, 201–8 (205–8 transcriptions No. 43a–43b, concerns I-PAac AC 03). (i) David MERLIN, ‘La Passione di un frammento veronese’, 209–19 (216–19 transcriptions No. 44–45, concerns I-VEcap cartella 5).

Secolo XV

(k) Diego TOIGO, ‘Una Passione di Cividale, Museo Archeologico Nazionale, ms. XXIV’, 223–32 (226–32 transcription No. 46, concerns I-CFm XXIV). (l) Marina TOFFETTI, ‘Inni da un Salterio-Innario cremonese’, 233–46 (239–46 transcriptions No. 47–54, concerns I-CRsd XII). (m) David MERLIN, ‘Inni benedettini da un Salterio-Innario veronese’, 247–58 (253–8 transcriptions No. 55–57, concerns I-VEc 745). (n) Marco GOZZI, ‘La sequenza Mittit ad Virginem ricostruita da Tr 92’, 259–64 (263–4 transcription No. 58, concerns I-TRbc 1379 [Tr 92]). (o) Roberto SETTE, ‘La Gloria con tropo Spiritus et alme in diocese di Trento’, 265–71 (270–1 transcription No. 59, concerns Graduale Augustense, Basel, 1511). (p) Marco GOZZI, ‘Polifonie nel Cantorino francescano della Biblioteca musicale Laurence Feininger’, 273–98 (276–98 transcriptions No. 60–69, concerns I-TRfeininger FC 133).

Secolo XVI–XVII

(q) Radobaldo TIBALDI, ‘Inni nella trascrizione di G. M. Asola (1592)’, 301–56 (319–56 transcriptions No. 70–93, concerns G. M. Asola, Canto fermo sopra Messe, Himni … Venezia, 1592). (r) Nicola TANGARI, ‘Una Messa e un Credo Cassinesi’, 357–69 (362–9 transcriptions No. 94–98, concerns I-ACERENZAbiblioteca arcivescovile A.5.7.18). (s) Domenico de CESARE, ‘Il Credo a Canone di Molfetta’, 371–82 (379–82 transcription No. 99, concerns I-MFad Libri Corali 20). (t) Daniele TORELLI, ‘I Credo di Ludovico Viadana (1619)’, 383–98 (389–98 transcriptions No. 100–105, concerns Lodovico Viadana, Ventiquattro Credo, Venezia, 1619). (u) Elsa DE LUCA, ‘L'aggiunta manoscritta all'Editio Medicaea di Trento: un Ordinarium, un Credo e un Lauda Sion’, 399–430 (412–30 transcriptions No. 106–108, concerns manuscript addition to Graduale Romanum, Roma: Medicaea, 1614 in I-TRfeininger FSG 19). (v) Jenny CAMPANELLA, ‘Un Ordinario aostano’, 431–7 (434–7 transcription No. 409 concerns I-AOasr 12).

Secolo XVIII

(w) Paola DESSÌ, ‘La Messa da Requiem di Faenza’, 441–53 (447–53 transcriptions No. 110–116, concerns I-FZs s. n.). (x) Marco GOZZI, ‘La Missa Regina a due voci dei Francescani trentini’, 455–68 (457–68 transcriptions No. 117–121, concerns I-TRsf Sala 101). (y) Giulia GABRIELLI, ‘Dies irae in canto fratto nei manoscrotti francescani trentini’, 469–511 (491–511 transcriptions No. 122–128, concerns I-TRsf 327, Sala 24, 78, 101, 119).

Review. (ed.), Rivista internazionale di musica sacra, 33/1–2 (2012), 479–81.

22006.Die heilige Klara in Kult und Liturgie, ed. Leonhard LEHMANN and Johannes SCHNEIDER, Werkstatt Franziskanische Forschung 5 – Vena vivida. Texte zu Klara von Assisi und ihrer Bewegung II, ed. Werkstatt Franziskanische Forschung in Verbindung mit der Fachstelle Franziskanische Forschung, Münster (Norderstedt: Verlag Books on Demand, 2010). Includes liturgical texts of Mass and Office in Latin and in German translation.

Review. Florian MAIR, Archivum Franciscanum, 104 (2011), 356–8.

22007.Der Liber Ordinarius des Speyerer Domes aus dem 15. Jahrhundert (Generallandesarchiv Karlsruhe, Abt. 67, Kopialbücher 452): Zum Gottesdienst eines Domkapitels an der Saliergrablege. Textedition und Einführung, ed. Andreas ODENTHAL and Erwin FRAUENKNECHT, Liturgiewissenschaftliche Quellen und Forschungen 99 (Münster: Aschendorff Verlag, 2012).

22008.Ademarus Cabannensis. Opera liturgica et poetica – Musica cum textibus, ed. James GRIER, Corpus Christianorum – Continuatio Mediaevalis [CCCM] 245, 245A (Turnout: Brepols, 2012).

22009.Johannes de Grocheio: Ars Musice, ed. Contant J. MEWS, John N. CROSSLEY, Catherine JEFFREYS, Leigh. McKINNON, Carol J. WILLIAMS (Kalamazoo, MI: Medieval Institute Publications, 2011).

Review. Joseph DYER, [published online in] The Medieval Review, 12.05.17 (25 May 2012).

22010.Hieronymus Moravus. Tractatus de musica, ed. Christian MEYER, Guy LOBRICHON, C. HERTEL-GEAY, Corpus Christianorum – Continuatio Mediaevalis [CCCM] 250 (Turnout: Brepols, 2012). Concerns F-Pn lat. 16663.

22011.Glossa maior in institutionem musicam Boethii, ed. Michael BERNHARD and Calvin BOWER, Kommentar- und Registerband, Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission 12 (Munich: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C. H. Beck, 2011). Last part of the edition of Glossa maior in institutionem musicam Boethii, published 1993, 1994, and 1996 (Editionsband I, II, III).

22012.Traditio Iohannis Hollandrini, Band I: Die Lehrtradition des Johannes Hollandrinus, ed. Michael BERNHARD and Elżbieta WITKOWSKA-ZAREMBA, Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission 19 (Munich: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C. H. Beck, 2010).

22013.Traditio Iohannis Hollandrini, Band II: Die Traktate I–III, ed. Michael BERNHARD and Elżbieta WITKOWSKA-ZAREMBA, Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission 20 (Munich: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C. H. Beck, 2010).

22014.Traditio Iohannis Hollandrini, Band III: Die Traktate IV–VIII, ed. Michael BERNHARD and Elżbieta WITKOWSKA-ZAREMBA, Bayerische Akademie der Wissenschaften. Veröffentlichungen der Musikhistorischen Kommission 21 (Munich: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C. H. Beck, 2011).

22015. Brian Møller JENSEN, The Story of Justina and Cyprian of Antioch, as told in a Medieval Lectionary from Piacenza. Edition with Introduction and Translation, Studia Latina Stockholmiensia 57 (Stockholm: Stockholm University, 2012). Concerns I-PCd 63 (Text-Edition) and I-PCd 65.

22016.In Principio. Gregoriaanse gezangen op teksten uit het bijbelboek Genesis, ed. Gerard LÜCKER, Ger STEEGHS and Math. VLEUGELS (Linne/The Netherlands: Private edition by Ger Steeghs [gerst01@planet.nl], 2011).

22017.Het gezongen Hooglied. Gregoriaanse gezangen, uitgebreide en herziene uitgave, ed. Gerard LÜCKER, Ger STEEGHS and Math. VLEUGELS (Linne/The Netherlands: Private edition by Ger Steeghs [gerst01@planet.nl], 2012). First edition 2006.

22018.Tropen zum Gloria, Sanctus und Agnus Dei im Graduale Romanum, ed. Anton STINGL jun. (St. Ottilien: Eos Verlag, 2012). Tropen zum Kyrie see 20025.

Review. Heinrich RUMPHORST, Beiträge zur Gregorianik, 54 (2012), 88–91.

22019. Jiří ŽŮREK, Graduale Bohemorum. Proprium Sanctorum. Introduction and Edition (Prague: Krystal OP, 2011).

22020. Alison ALTSTATT, The Music and Liturgy of Kloster Preetz: Anna von Buchwald's Buch im Chor in its Fifteenth-Century Context, Ph.D. diss., University of Oregon 2011.

22021. Giacomo BAROFFIO, Corpus Antiphonarum Italicum Textus (CAIT), website http://musicologia.unipv-it/baroffio

22022. Giacomo BAROFFIO, Corpus Responsoriale Italicum Textus (CRIT), website http://musicologia.unipv-it/baroffio

22023. Giacomo BAROFFIO, Dizionario liturgico, Website http://musicologia.unipv-it/baroffio/materiali/Diz_lit_A-E.zip

22024. Giacomo BAROFFIO, Iter Liturgicum Italicum. Editio maior, Instrumenta 1 (Stroncone: Associazione San Michele Arcangelo, 2011).

22025. Giacomo BAROFFIO, Nomina Codicum. Nome origine committenza destinazione dei codici liturgici italiani, Instrumenta 2 (Stroncone: Associazione San Michele Arcangelo, 2011).

22026. Cristina BERNARDI, Tre uffici liturgico-musicali del vescovo di Padova Pietro Barozzi (1443–1507), Tesi do laurea, Università di Padova 2010.

22027. Fred BÜTTNER, Das Klauselrepertoire der Handschrift Saint-Victor (Paris, BN, lat. 15139). Eine Studie zur mehrstimmigen Komposition im 13. Jahrhundert (Lecce: Edizioni Milella di Lecce Spacio Vivo s. r. l., 2011).

22028. Thomas CSANADY, Breviarium monalium Seccoviensium – über einige so genannte Seckauer Nonnenbreviere, diss. Universität für Musik und Darstellende Kunst, Graz 2008.

22029. Raymond DITTRICH, Bischöfliche Zentralbibliothek Regensburg. Die Liturgika der Proskeschen Musikabteilung. Drucke und Handschriften der Signaturengruppe Ch mit einem Anhang der handschriftlichen Gesangbücher aus den Signaturengruppen Kk und Kp, Teil 1: Drucke, Teil 2: Handschriften, Preface by Paul MAI, Kataloge Bayerischer Musiksammlungen, ed. Bayerische Staatsbibliothek, 14/15 (Munich: G. Henle Verlag, 2010).

Review. Berthold SCHMID, Musica sacra, 132 (2012), 334–5.

22030. Alicia M. DOYLE, The Repertory of Tropes in Paris, Bibliothèque Nationale fonds Latin 1118. A Comparative Study of Tenth Century Aquitanian Concordances and Transmission, 2 vol., Ph.D. diss. University of California, Santa Barbara 2000.

22031. Nicolae GHEORGHIŢĂ, Byzantine chant between Constantinople and the Danubian Principalities, Studies in Byzantine Musicology (Bucharest, 2010).

22032. Hans-Jakob GERLINGS, Der Codex 376 der Stiftsbibliothek von St. Gallen. Kodikologische Erfassung, Repertoireanalyse und paläographische Studien (Berlin: Logos Verlag, 2012).

22033. Marco GOZZI, I codici liturgici di Castel Tirolo, con saggi di Roberto SETTE e con facsimili integrali nel CD-ROM allegato, Monumenta Liturgiae et Cantus 1 (Lucca: Libreria Musicale Italiana, 2012).

Concerns I-CASTEL TIROLO 60 and 61.

22034. Barbara HAGGH and Frédéric BILLIET, Ars musica septentrionalis. De l'interprétation du patrimoine musical à l'historiographie (Paris: Presses de l'Université Paris-Sorbonne, 2011).

22035. Irene HOLZER, Die zwei Salzburger Rupertus-Offizien Eia laude condigna Hodie posito corpore. Mit dem Anhang Das Virgil-Offizium Pangens chorus dulce melos von Jürg STENZL, Salzburger Stier, Veröffentlichungen aus der Abteilung Musik- und Tanzwissenschaft der Universität Salzburg 6 (Würzburg: Verlag Königshausen & Neumann, 2012).

Includes editions of the Historia de Sancto Ruperto (A-Sn 28 D 13 with neums of A-Wn Ser. N. 2700), of the Officium de Sancto Ruperto (A-Vor 259/II) and of the Historia de Sancto Virgilio (A-Wn 547).

22036. Godehard JOPPICH, Gregorianik in Geschichte und Gegenwart. Eine Lehrschau von Godehard Joppich (Münsterschwarzach: Vier-Türme-Verlag, 2012).

22037. Remo LOMBARDI, Codici liturgici musicali del Fondo Manoscritti della Biblioteca Queriniana, Annali Queriniani. Mongraphie 16 (Brescia: La Compagnia della Stampa / Massetti Rodella Editori, 2012).

22038. Mario MAITILASSO, Gli Exultet di Troia. Un Patrimonio di Storia, di Fede e d'Arte (Foggia: Claudio Grenzi editore, 2012). Concerns I-TROad 1–3.

Review. (ed.), Rivista internazionale di musica sacra, 33/1–2 (2012), 481.

22039. Giampaolo MELE, Manuale di innologia. Introduzione all'innodia dei secoli IV–XVII in Occidente, I: Fonti e strumenti, Repertorium Hymnologicum Novissimum (1841–2012). Presentazione di Antonio PIRAS, Prefazione di Giacomo BAROFFIO, Studi e Ricerche di Cultura Religiosa, Testi e monografie 2 (Cagliari: PFTS University Press, 2012).

Review. (ed.), Rivista internazionale di musica sacra, 33/1–2 (2012), 477–9.

22040. Reka MIKLÓS, Das Graduale A-Gu 444 – Index und Kommentar, Wissenschaftliche Masterarbeit, Universität für Musik und darstellende Kunst, Graz 2010.

22041. Vera MINAZZI, Cesarino RUINI (ed.), Atlante storico della musica ne Medioevo. Progetto editoriale di Vera MINAZZI, Introduzione e conclusioni di F. Alberto GALLO (Milan: Jaca Book, 2011).

22042. Rosy MOFFA BOSCO, Fondi musicali dell'archivio ebraico Terracini, Fondo Saluzzo, Fondo Alessandria. Manoscritti di musica sinagogale dell'Ottocento, Catalogo di fondi musicali del Piemonte 8 (Torino, Lucca: Regione Piemonte, Libreria Musicale Italiana, 2012). Includes 242 compositions with thematic incipits.

22043. Francesco PETAZZI, Il canto ambrosiano dalle origini al IX secolo. Silloge ragionata degli studi recenti, Quaderni Ambrosiani. Studi e Ricerche 5 (Lucca: Libreria Musicale Italiana, 2012, second enlarged edition). First published in 2005, see 17031.

22044. Carmen PETCU, Paleografia e semiologia del neuma pes isolato su sillaba nel codice Benevento 33, diss. Pontificio Istituto di Musica Sacra, Rome, 2010. A part of the dissertation is published in Studi Gregoriani, 26 (2010). See 22081d.

22045. Roberto PIA, Musica et Scolica enchiriadis. I titoli, attribuzione dell'opera e sua datazione, le edizioni e i codici, le fonti letterarie e gli insegnamenti musicali (n. p.: Editorial Circulo Rojo, 2011).

22046. Susanna POLLONI, I più antichi codici liturgici della Biblioteca Capitolare di Verona (secc. V–XI). Catalogo descrittivo, Studi e documenti di storia e liturgica 45 (Verona: Archivio Storico Curia Diocesano, 2012).

Review. (ed.), Rivista internazionale di musica sacra, 33/1–2 (2012), 475–7.

22047. Juan Pablo RUBIO, La recepción del rito francoromano en Castillia (ss. XI–XII). Las tradiciones litúrgicas locales a través del Responsorial del Proprium de Tempore (Città del Vaticano: Libreria Editrice Vaticana, 2011).

22048. Gregor SCHRÄDER, Ein XML-Datenformat zur zur Respräsentation kritischer Musikedition unter besonderer Berücksichtigung von Neumennotation, Studienarbeit, Universität Tübingen 2007. Website: www.dimused.uni-tuebingen.de/downloads/studienarbeit.pdf

22049. Franco SEGALA, Sacra Libreria. Libri liturgici e liturgia a Verona nel Quattrocento, Studi e documenti di storia e liturgia 43 (Verona: Archivio Storico Curia Diocesana, 2011).

22050. Roberto SETTE, Il Graduale di Castel Tirolo (sec. XII), Ph.D. diss. Trento, Università degli Studi, 2007–2008. Concerns I-CASTEL TIROLO 60.

22051. William M. SHERRIL, The Gradual of St. Yrieix in Eleventh-Century Aquitaine, Ph.D. diss., Austin, The University of Texas 2011. Concerns F-Pn lat. 903.

22052. John Arthur SMITH, Music in ancient Judaism and early Christianity (Farham, Surrey, and Burlington, VT: Ashgate, 2011).

Review. Jeremy MONTAGU, Early Music, 40/2 (2012), 319–20.

22053. Katarina ŠTER, Poznosrednjeveška monastična recepcija koralnega enoglasja na primeru antifonarjev iz žičke kartuzije, diss. University of Ljubljana 2010.

22054. Arturo TELLO RUIZ-PÉREZ, Transmisión del canto litúrgico en la Edad Media. Los tropos del Ordinarium Missae en España, 2 vols. (Saarbrücken: LAP ALMBERT/Editorial Académica Española, 2011). See 18027. Volume 2 includes an edition of tropes.

22055. Eva VESELOVSKÁ, Catalogus fragmentorum cum notis musicis medii aevi a civitati Schemnitziensi, Catalogus fragmentorum cum notis musicis medii aevi in Slovacia, 2 (Bratislava: Institut für Musikwissenschaft der Slovakischen Akademie der Wissenschaften, 2011).

Vol. 1 see 21026.

22056. Anna VILDERA, Il Caeremoniale Marciano di Bartolomeo Bonifacio, Diss., Università degli Studi di Padova 2004. Concerns I-Vnm Lat. III 172 (2276).

22057.Schriftkultur zwischen Donau und Adria bis zum 13. Jahrhundert. Akten der Akademie Friesach ‘Stadt und Kultur im Mittelalter’ Friesach (Kärnten, 11.–15. September 2002, ed. Reinhard HÄRTEL, Günther HÖDL †, Cesare SCALON & Peter ŠTIH, red. by Christian DOMENIG (Klagenfurt: Wieser Verlag, 2008):

(a) Nino ALBAROSA, ‘Verschiedene Notenschriften in der Erzbischöflichen Bibliothek zu Udine’, 203–10. Concerns I-UDba 39 (Beneventan notation), I-UDba 79 (‘ancienne d'Italie’), I-UDba 234 (German notation).

22058.Dulce Melos. La poesia tardantico e medievale. Atti del III Convegno internazionale di studi (Vienna, 15–18 nov. 2004), ed. Victoria PANAGL, Quaderni del Centro internazionale di studi sulla poesia greca e Latina in etè tardantico e medievale 3 (Alessandria: Edizioni dell'Orso, 2007):

(a) Karl SMOLAK, ‘Ymnus de Sancto Augustino episcopo (Leipzig, Univ.-Bibl. MS 255, 137v)’, 375–86.

22059.Theorie und Geschichte der Monodie – TEORIQ I ISTORIQ MONODII. Bericht der Internationalen Tagung Wien 2006, ed. Martin CZERNIN and Maria PISCHLÖGER, Theorie und Geschichte der Monodie 4 (Brno: Tribun EU, s.r.o., 2012):

(a) Andreas PFISTERER, ‘Überlegungen zur Frühgeschichte der Psalmodie’, 429–37 (in Russian 439–47).

Includes essays concerning the Eastern Chant by Alexandrel BARNEA, Alexandra BUDU, Elena CHIRCEV, Natalia DOZHINA, Oliver GERLACH, Vitaly GOLOVANTENKO, Maria KACHMAR, Pavel KOROTKICH, Alexander KOVALENIN, Inge KREUZ, Gabriela OCNEANU, Maria PISCHLÖGER, Elena SAKOVITSCH, Tatjana SCHWETZ, Svetlana TSCHERKASOVA.

22060.Papsttum und Kirchenmusik vom Mittelalter bis zu Benedikt XVI. Positionen – Entwicklungen – Kontexte, ed. Klaus PIETSCHMANN, Analecta musicologica, Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom, 47 (Kassel, etc.: Bärenreiter, 2012) [8: ‘Beiträge einer Tagung, die im November 2006 von der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom in Zusammenarbeit mit dem Musikwissenschaftlichen Institut der Universität Zürich ausgerichtet wurde’]:

(a) Daniela MÜLLER, ‘Päpstliche Intentionen und Einflussmöglichkeiten auf den cultus divinus im Hoch- und Spätmittelalter’, 12–27. (b) Wolfgang FUHRMANN, ‘Semper reformanda – Motiv- und Argumentationstraditionen der liturgisch-musikalischen Reform’, 28–56. (c) Galliano CILIBERTI, ‘Oltre la “Docta sanctorum patrum”. L'idea papale di musica e liturgica nei ceremoniali pontifici del medioevo (1271–1401)’, 57–66. (d) Franz KÖRNDLE, ‘Liturgieverständnis an der Schwelle zur Neuzeit. Die Bulle “Docta sanctorum patrum” Papst Johannes' XXII. und ihre Anwendung’, 67–80. (e) Marco GOZZI, ‘La nuova immagine del canto cristiano liturgico. Elementi ritmici, polifonia semplice e contesti rituali nella storia del cosidetto gregoriano’, 81–94. (f) Melanie WALD-FUHRMANN, ‘Philologie am Heiligen Geist. Zum Verhältnis von Programmatik und Methode der nachtridentinischen Choralreformen’, 95–123. (g) Jörg BÖLLING, ‘Zur Erneuerung der Liturgie in Kurie und Kirche durch das Konzil von Trient (1545–1563). Konzeption – Diskussion – Realisation’, 124–45. (h) Johannes HOYER, ‘Die Rolle der Päpste im Streit um die Choralreform im ausgehenden 19. Jahrhundert’, 276–85. (i) Jo HERMANS, ‘Das Motuproprio Pius' X. Die liturgische Sicht auf die Kirchenmusik’, 286–95. (k) Eckhard JASCHINSKI, ‘Akzidenz oder integraler Teil der Liturgie? Die theologischen Positionen zur Kirchenmusik in den Beschlüssen des Zweiten Vatikanums’, 296–301. (l) Franz Karl PRASSL, ‘Gregorianik am Scheideweg. Das Zweite Vatikanum und die Liturgiereform’, 302–27.

Review. Heinrich RUMPHORST, Beiträge zur Gregorianik, 54 (2012), 79–88.

22061.Ambrosiana at Harvard: New Sources of Milanese Chant, ed. Thomas Forrest KELLY and Matthew MUGMON, Houghton Library Studies 3 (Cambridge, MA: Houghton Library of the Harvard College Library – Distributed by Harvard University Press, 2010) [Conference at Harvard University, Cambridge, MA, 2007]:

(a) Jessica BERENBEIM and Matthias RÖDER, ‘Milanese Chant in the Monastery? Notes on a Reunited Ambrosian Manuscript’, 5–21. Concerning US-CAh Typ 299 and I-GLRsam M. (b) Matthew MUGMON, ‘Long-lost Siblings? Houghton's Summer Manuscript and its Possible Counterpart’, 23–32. Concerning GB-Ob Lat. liturg. a. 4, I-Ma M 99 sup., US-CAh Lat. 389. (c) Anna ZAYARUZNAYA, ‘In Defense of Green Lines, or The Notation of B-flat in Early Ambrosian Antiphoners’, 33–56. Concerning GB-Lbl Add. 34209, I-Md II. F. 2. 2, US-CAh Lat. 388. (d) Angelo RUSCONI, ‘Ambrosian Chant: New Manuscripts and New Problems’, 57–77. Concerning I-MCOarchivio santo stefano A, B, C, D, E. (e) Thomas Forrest KELLY, ‘The Notation of Ambrosian Chant in the Eleventh Century’, 79–95. (f) Michel HUGLO, ‘Psalmody in the Ambrosian Rite: Oberservations on Liturgy and Music’, 97–124. Concerning F-Pn lat. 11947, I-Ma T 27 sup. (g) Terence BAILEY, ‘Christmas Masses in the Ambrosian Liturgy’, 125–36. Concerning GB-Lbl Add. 34209, I-VIM A, B, US-CAh Lat. 388. (h) Sasha SIEM, ‘The Making and Breaking of Restrictive Chains: A Closer Look at the Melodiae of Ambrosian Chant’, 137–52. Concerning GB-Ob Lat. liturg. a. 4, US-CAh Lat. 389. (i) John Z. McKAY, ‘Responsory Verse Formulas in the Ambrosian Winter Repertory’, 153–72. Concerning GB-Lbl Add. 34209.

Review. Barbara HAGGH, Scriptorium, 65 (2011), 135*–136* (no. 306).

22062.Pietro Barozzi. Un vescovo del Rinascimento (Padova: Istituto per la Storia ecclesiastica padovana, 2012) [Padova, Museo Diocesano, 18–20 October 2007]:

(a) Antonio LOVATO, ‘Cultura umanistica e pratica del canto piano nella cattedrale di Padova al tempo di Pietro Barozzi’, 339–53.

22063.Sarsina e la Valle del Savio tra Roma e Ravenna, Atti del convegno (Sarsina, 23–26 ottobre 2008), ed. Marino MENGOZZI, Studi romagnoli 70 (Cesena: Società di Studi Romagnoli, 2009):

(a) Mauro CASADEI TURRONI MONTI, ‘Il messale di Ranchio e I suoi neumi tra Ravenna e Pomposa’, 259–67. Concerns US-BAw W. 11.

22064.Theorie und Geschichte der Monodie – TEORIQ I ISTORIQ MONODII. Bericht der Internationalen Tagung Wien 2008, ed. Martin CZERNIN and Maria PISCHLÖGER, Theorie und Geschichte der Monodie 5 (Brno: Tribun EU, s.r.o., 2012):

(a) David MERLIN, ‘Die Offizien zu Ehren des heiligen Leopold III. Babenberg’, 341–59 (in Russian 361–80). (b) Andreas PFISTERER, ‘Das Alleluia O κυριος εβασιλευσεν / Dominus regnavit: Musikalische Überlieferung in Byzanz und Rom’, 381–8’, (in Russian 389–96).

Includes essays concerning the Eastern Chant by Alexandrel BARNEA, Alexandra BUDU, Elena CHIRCEV, Violina GALAIKU, Lydia GAVRJUSCHINA, Oliver GERLACH, Maria KACHMAR, Inge KREUZ, Alexander LUKASCHEVITSCH, Melitina MAKAROVSKAYA, Sergey MATZNEV, Lubov TERLETZKAYA.

22065.Inspiration – Rezeption. Böhmische Buchmalerei des 14. und 15. Jahrhunderts. Tagungsband zum internationalen Kolloquium ‘Böhmische Buchmalerei’, Kunsthistorisches Institut der Universität Wien 4.–6. September 2009, ed. Susanne RISCHPLER and Maria THEISEN, Codices Manuscripti, Supplementum 6 (Purkersdorf: Verlag Brüder Hollinek, 2012):

(a) Alois HAIDINGER, ‘Bemerkungen zur Entstehung des Großen Antiphonars Klosterneuburg, Stiftsbibliothek, Cod. 65–68’, 73–80. (b) Eva VESELOVSKÁ, ‘Der böhmische Einfluß auf mitteleuropäische Musikhandschriften des 14. und 15. Jahrhunderts unter Berücksichtigung illuminierter Codices. Mit Abb. 1–13 und Tabelle A’, 95–109, ‘Anhang’, 110–115. Including 13 facsimile with musical notation. The ‘Anhang’ includes lists of mss.: ‘Handschriften mit böhmischer Notation in der Tschechischen Republik’ (79 mss.), ‘Handschriften mit böhmischer Notation im Ausland’ (100 mss.), ‘Weitere Notationssysteme illuminierter Handschriften in Böhmen’ (125 mss.).

22066.Theorie und Geschichte der Monodie – TEORIQ I ISTORIQ MONODII. Bericht der Internationalen Tagung Wien 2010, ed. Martin CZERNIN and Maria PISCHLÖGER, Theorie und Geschichte der Monodie 6 (Brno: Tribun EU, s.r.o., 2012):

(a) David MERLIN, ‘Cantus fractus in der Handschrift A-Wn 15501 mit besonderer Berücksichtigung der zweistimmigen Credo-Vertonungen’, 273–306 (in Russian 307–39). (b) Andreas PFISTERER, ‘Zur Platzierung des Melismas im Gregorianischen Gesangs’, 413–19 (in Russian 421–8).

Includes essays concerning the Eastern Chant by Galina ALEKSEEVA, Alexandrel BARNEA, Alexandra BUDU, Elena CHIRCEV, Vitaly GOLOVATENKO, Ziwar GUSEINOVA, Inge KREUZ, Melitina MAKAROVSKAJA, Sergij MATZNEV, Natalia MOSSJAGINA, Jaakko OLKINUORA, David PANCZA, Maria TAKAL-ROSZCZENKO, Bianca TEMES, Dmitry TSCHERNYAK, Nadezhda TSCHIKUNOVA.

22067.Cathedral, City and Cloister: Essays on Manuscripts, Music and Art In Old and New Worlds, ed. Kathleen NELSON [In memory of James John Boyce O.Carm. (19 November 1949–21 February 2010)], Wissenschaftliche Abhandlungen – Musicological Studies 96 (Ottawa: The Institute of Mediaeval Music, 2011) [xi: ‘Symposium … held in the University of Sydney's Fisher Library, 9–11 July 2008’]:

Part 1 – Sydney and Salamanca: Studies of Sources and Contexts

(a) James BOYCE, ‘Choir Books in Context: The Salamanca Cantorales’, 9–37. (b) James BOYCE, ‘University of Sydney, Fisher Rare Book Additional Manuscript 358: Content and Context’, 39–53. (c) Jane Morlet HARDIE, ‘Spanish Tropes Rivisited: University of Sydney Fisher Rare Book Additional Manuscript 351’, 55–112. (d) Kathleen E. NELSON, ‘University of Sydney, Fisher Rare Book Additional Manuscript 357: A Product of Many Changes’, 113–33. (e) Grayston WAGSTAFF, ‘The Big Sombrero, Dead Professors, and Chant Sources: Aspects of Salamantine Tradition’, 135–53.

Part 2 – Manuscripts, Music and Art: Salamanca, Seville, Valencia and more

(f) Jordi BALLESTER, ‘Musical Iconography in Manuscript Illuminations and Sixteenth-Century Engravings: The Case of King David Playing the Harp in Guadelupe MS 89’, 157–72. (g) Greta J. OLSON, ‘A Seventeenth-Century Valencian Lamentations Chant Book’, 225–43. Concerns E-VAcp MUS/BM-FAV-37. (h) Juan RUIZ JIMÉNEZ, ‘The Libro de la Regla Vieja of the Cathedral of Seville as a Musicological Source’, 245–73. Concerns E-Sc Fondo capitular sección III, 1.

22068.Simposium El Codex Calixtinus en la Europa del siglo XII. Música, Arte, Codicología y Liturgia …, León 15–17 de julio 2010, ed. Juan Carlos ASENSIO (León: CNDM – Madrid: Ministerio de Cultura, 2011):

(a) Elisardo TEMPERÁN VILLAVERDE, ‘Culto y liturgia en torno al sepulcro que guarda la “memoria” del Aóstol Santiago el Mayor’, 17–37. (b) Elisa RUIZ GARCIA, ‘El Codex Calixtinus: un modelo de Work in Progress’, 38–70. (c) José LOPEZ CALO, ‘Dónde y cuándo nació el Códice Calixtino. Aportaciones musicales a la solución de un viejo problema’, 71–107. (d) Eva CASTRO CARIDAD, ‘Aspectos literarios de los Cantica Nova del Codex Calixtinus en el contexto europeo’, 108–25. (e) Giacomo BAROFFIO, ‘Materiali per lo studio del culto di san Giacomo’, 126–44. (f) Susan RANKIN, ‘Cantar con pulchritud': la Polifonía antes del Calixtino’, 145–56. (g) Juan Carlos ASCENSIO PALACIOS, ‘Tropos y Prosas del Calixtino: aspectos musicales’, 157–70. (h) Laura FERNÁNDEZ FERNÁNDEZ, ‘[…] cosas tan deshonestas y feas que valiera harto más no haberlo escrito’. Avatares y memoria del Codicex Calixtinus, 171–90. (i) Josemi LORENZO ARRIBAS, ‘El Códice Calixtino. Recreación musical y recepción discográfica de la sonoridad románica’, 171–90. (k) Santiago RUIZ TORRES, ‘El Oficio de la Traslación del apóstol Santiago en la Baja Edad Media: a propósito de un fragmento de antifonario hallado en la Cadral de Segovia’, 214–27. (l) Arturo TELLO RUIZ-PÉREZ, ‘Cantemus Domino cantica gloriae. Una visión panorámica de la epistolas farcidas en España a partir de la contenida en la misa de Santiago del Codex Calixtinus’, 228–57.

22069.Musikalische und theologische Etüden. Zum Verhältnis von Musik und Theologie, ed. Wolfgang W. MÜLLER, Schriften Ökumenisches Institut Luzern 9 (Zürich: Theologischer Verlag, 2012) [9: ‘Tagung der Professur für Dogmatik … im Herbstsemester 2010 … Theologische Fakultät der Universität Luzern’]:

(a) Lorenz WELKER, ‘Gesang und Liturgie – Musik und Religion. Historische und kulturwissenschaftliche Überlegungen’, 11–46. (b) David HILEY, ‘Mittelalterliche Heiligenoffizien des süddeutschen und alemannischen Raumes’, 215–42.

22070.Actes du Colloque de Royaumont – Manuscrits notes en neumes en Occident, Abbaye de Royaumont 29–31 octobre 2010, ed. Marie-Noël COLETTE and Catherine MASSIP, Études grégoriennes, 39 (2012), ed. Patrick HALA:

(a) Marie-Noël COLETTE, ‘Les fragments et additions marginales notés dans les anciens manuscrits de Corbie conservés à la Bibliothèque nationale de France’, 13–32. (b) Susan RANKIN, ‘Typologies of ninth-century music notations’, 33–49. (c) Wulf ARLT, ‘À propos de la notation “paléofranque”. Observations spécifiques et générales extraites de mon carnet d'atelier’, 51–72. (d) Christelle CAZAUX-KOWALSKI, ‘Peut-on encore parler de “notation de Novalèse”?’, 73–96. (e) Thomas Forrest KELLY, ‘Fragments of musical manuscripts in the Beneventan Zone’, 97–104. (f) Véronique DUBOIS, ‘La notation française du tropaire-prosaire de Saint-Martial (Paris, BnF lat. 1240, X^e siècle)’, 105–23. (g) Edouard Henrik AUBERT & Daniel SAULNIER, ‘Les graphies neumatiques modifiées avec angle droit dans le Graduel de Cluny (Paris BnF lat. 1087)’, 125–48. (h) Manuel Pedro FERREIRA, ‘Les neumes spéviaux du Graduel de Cluny: Essai d'interprétation’, 149–75. Concerns F-Pn lat. 1087. (i) Hélène CAO, ‘Les liquescences du tropaire-prosaire BnF N.a.l. 3126 au XII^e siècle’, 177–94. (k) Océane BOUDEAU, ‘Les notations de deux offices de la Circoncision (Sens, Bibliothèque municipale, MS 46 et Londres, British Library, MS Egerton 2615) comparées, à celle d'autres manuscrits issus des scriptoria de Sens et de Beauvais’, 195–220. (l) Christian MEYER, ‘La notation carrée du plain-chant. Le témoignage d'un traité inédit: Napoli, Biblioteca nazionale, Ms. VIII D 12, f. 24r–32r’, 221–41. (m) Michel HUGLO (†), ‘Dom Eugène Cardine et l'édition critique du Graduel romain’, 293–305.

22071.Musica e liturgica a Montecassino – Music and liturgy at Montecassino in the Middle Ages, ed. Nicola TANGARI, Atti del Simposio internazionale di studi (Cassino, 9–10 dicembre 2010), Scritture e libri del medioevo 10 (Rome: Viella libreria editrice, 2012), [Preface by Thomas Forrest KELLY, Conclusioni by Giacomo BAROFFIO]:

(a) Nicola TANGARI, ‘Musica e liturgia a Montecassino nel medioevo: vent'anni di ricerca’, 11–20. (b) David HILEY, ‘The Historia sancte Caterine in MS Napoli, Biblioteca Nazionale, XIII.G.24. The Earliest Proper Office for St Catherine of Alexandria?’, 21–44. (c) Angelo RUSCONI, ‘Per un'edizione di Montecassino 318’, 45–50. (d) Laura ALBIERO, ‘Frammenti liturgico-musicali nel Martirologio dell'Assunta di Arpino’, 51–78. Includes 10 facs. (e) Marie-Noël COLETTE, ‘Des signes cassiniens dans les manuscrits de Saint-Maur au XII^e siècle’, 79–89. (f) Gunilla IVERSEN, ‘Tropes and Prosulas to Gloria in excelsis in Montecassino’, 91–114. (g) Luisa NARDINI, ‘La messa Vir Dei Benedictus nei manscritti liturgici beneventani e non beneventani’, 115–31. Includes a transcription of the mass proper Vir Dei Benedictus (I-MC 540). (h) Katarina LIVLJANIC, ‘When Isaac Speaks: the Responsory Dixit Isaac patri suo in the Montecassino Antiphonary’, 133–51. Concerns I-MC 542. (i) Mathew PEATTIE, ‘Beneventan Melodic Symptoms in Antiphons at Montecassino’, 153–67. Concerns I-MC 542. (k) Brian Møller JENSEN, ‘Non-biblical Introit Antiphons in Cassinese Liturgical Sources’, 169–75. Concerns I-MC 546 and I-Rvat Urbin. lat. 602. (l) Roger E. REYNOLDS, ‘Liturgical Legislation and Musicians in the Early Medieval Canon Law Collections of Montecassino’, 177–88. (m) Francesco ZIMEI, ‘Da Montecassino all'Umbria’. Nuova luce sul Planctus della Compactio XVIII’, 189–98. (n) Jean-François GOUDESENNE, ‘Montecassino-Glanfeuil-Paris. Circulation et différenciation d'un corpus romano-bénédictin aux IXe-Xe siècles: l'office de saint Maur’, 199–228. (o) Oliver GERLACH, ‘Byzantine Chant and Its Local Traditions in Southern Italy before and after the Reform of Desiderius, Abbot of Montecassino’, 229–47. (p) Marco PALMA, ‘BMB, a Tool for Beneventan Manuscripts’, 249–76. Concerns Bibliografia dei manoscritti in scrittura beneventana, published by Viella of Rome, 1993. Information online see http://edu.let.unicas,it.bmb.

22072.Liturgie in mittelalterlichen Frauenstiften. Forschungen zum Liber Ordinarius, ed. Klaus Gereon BEUCKERS, Essener Forschungen zum Frauenstift 10 (Essen: Klartext Verlag, 2012). [Tagung ‘Essener Arbeitskreis zur Erforschung der Frauenstifte’ 2011]:

(a) Klaus Gereon BEUCKERS, ‘Forschungen zum Liber ordinarius und die Liturgie in mittelalterlichen Frauenstiften. Einige Vorbemerkungen’, 7–23. (b) Brigitta FALK, ‘Der Essener Liber ordinarius. Das Buch und seine Geschichte’, 25–33. (c) Dirk FERLMANN and Philipp KOCHENDÖRFER, ‘Die Restaurierung und Konservierung des Essener Liber ordinarius’, 35–48. Concerns D-ESdomschatzkammer 19 (489). (d) Jürgen BÄRSCH, ‘“… processiones et stationes fiunt quatuor modis in monasterio”. Beobachtungen zu Theologie und Liturgie prozessionaler Vollzüge im Liber ordinarius des Frauenstifts Essen’, 49–69. (e) Anna PAWLIK, ‘Schatzkunst und Funktion. Der Essener Liber ordinarius im Vergleich’, 71–89. (f) Christian POPP, ‘Liturgie im Frauenstift Gandersheim. Zur Überlieferungs- und Textgeschichte sowie zum Quellenwert des Registrum chori ecclesie maioris Gandersemensis’, 113–30. Concerns D-Wa VII B 48. (g) Tobias KANNGIESSER and Andreas ODENTHAL, ‘St. Caecilien in der Kölner Stationsliturgie und der Liber ordinarius der Augustiner-Chorfrauen von 1488’, 131–49. Concerns D-Hs 94 in scrinio (Cod. theol. 1564a). (h) Johan SCHOENMAKERS, ‘Zorg voor het zielenheil. Een kennismaking met rituelen in het damesticht von Thorn rond het jaar 1600’, 151–69. Concerns NL-M 18.A (Jägers), nr. 523. (i) Katrinette BORDARWÉ and Katrin EICHLER, ‘Prozessionen in Regensburger Frauenstiften’, 171–94. Concerns D-Mbs Clm 27301 and D-Rs Rat. ep. 113. (k) Beate BRAUN-NIEHR, ‘Wenn Regiebücher nicht überliefert sind. Über verborgene Anweisungen liturgischer Inszenierung’, 195–214. (l) Tilmann LOHSE, ‘Stand und Perspektiven der Liber-ordinarius-Forschung’, 215–55. (m) Katharina PRIEWE, ‘Auswahlbibliographie zum Thema der Libri ordinarii’, 257–80.

Including a CD with a facsimile of the ‘Essener Liber ordinarius’.

22073.Liturgie e culture tra l'etá di Gregorio Magno e il pontificato di Leone III. Aspetti rituali, ecclesiologici e istituzionali. Atti del convegno Università Europea di Roma 24 e 25 febbraio 2011, ed. Renata SALVARANI, Monumenta Studia Instrumenta Liturgica 64 (Città del Vaticano: Libreria Editrice Vaticana, 2011):

(a) Renata SALVARANI, ‘Storia del Cristianesimo e liturgia’, 9–20. (b) Manlio SODI, ‘Tra Gregorio Magno e Leone III: un tempo che segna definitivamente una ‘traditio’‘, 21–35. (c) Renata SALVARANI, ‘Il modello gerosolimitano e trasformazione nella liturgia di Gerusalemme’, 37–55. (d) Thomas POTT, ‘Influssi orientali sulla liturgia di Costantinopoli: il caso della riforma liturgica studita’, 57–67. (e) Marco BAIS, ‘Liturgia, dogma e identità: l'opera riformatrice di Yovannes Awjnec'i/Ojnec'i’, 69–84. (f) Norberto VALLI, ‘Verso la romanizzazione dell'Occidente: la liturgia ambrosiana e la sua persistente originalità’, 85–106. (g) Giuseppe CUSCITO, ‘Spazi e progettazione architettonico-liturgica per gli edifice di culto fra Trada Antichità e Alto Medioevo’, 107–39. (h) Giacomo BAROFFIO, ‘Liturgie e culture tra l'età di Gregorio Magno (590–604) e il pontificato di Leone III (795–816): le tradizioni musicali’, 141–59. (i) Pietro SORCI, ‘Liturgie papali, liturgie delle basiliche a Roma e genesi degli ordines romani’, 175–200.

22074.O Maria, laude digna. Zborník z vedeckej konferencie, ktorá sa konala 3.–4. mája 2011 v Ružomberku, ed. Rastislav PODPERA (Ružomberok, 2011):

(a) Jana VOZKOVÁ, ‘Chorálni mariánské mše z kláštera sv, Jiří v Praze’, 91–8.

22075.CANTUS PLANUS Study Group of the International Musicological Society. Papers read at the 16th meeting of the IMS Study Group CANTUS PLANUS, Vienna, Austria, 2011 [August 21–7], ed. Robert KLUGSEDER with the members of the CANTUS PLANUS Advisory Board James BORDERS, Christelle CAZAUX-KOWALSKI, Lori KRUCKENBERG, Frank LAWRENCE, Jeremy LLEWELLYN, Christian TROELSGÅRD, Anna VILDERA and Hanna ZÜHLKE (Wien: Österreichische Akademie der Wissenschaften, Kommission für Musikforschung – Druck Purkersdorf: Verlag Brüder Hollinek, 2012):

(a) Diogo ALTE DA VEIGA, ‘Newly discovered Antiphoners in northern Portugal’, 13–19. (b) Charles M. ATKINSON, ‘The Anonymus Vaticanus and the Paleofrankish Script’, 20–6. (c) Terence BAILEY, ‘Tone-series in ecclestical chant’, 27–32. (d) Hrvoje BEBAN, ‘The Dominican Antiphoner from the Badija Franciscan Monastery near Korčula: The Question of Provenance’, 33–7. Concerns HR-Dsmbb III, V, X, XI. (e) Inga BEHRENDT, ‘Beobachtungen zur Seckauer Prozessionspraxis anhand des Liber ordinarius A-Gu 756 von 1345 – Cum vero processionem facimus quasi hostibus armati obviamus’, 38–43. (f) Robert BERNAGIEWICZ, ‘Interrelations between theory and practice. Influence of theorists' pattern-antiphons on initial formulas of some introits and graduals’, 44–50. (g) Dirk van BETTERAY, ‘Famula Dei – textliche und musikalische Besonderheiten in den Meßproprien heiliger Frauen in adiastematischen Handschriften aus St. Gallen und Einsiedeln’, 51–7. (h) James BORDERS, ‘A (Brief) Introduction to Post-Tridentine Pontifical Chants’, 58–65. (i) Hana BREKO KUSTURA, ‘Examples of Liturgical Polyphony from Dalmatia’, 66–71. Concerns HR-ZAb Cartulary of the Benedictine Nunnery of St Maria in Zadar and HR-SGd, includes five troped Benedicamus chants. (k) Charles E. BREWER, ‘The Web of Sources for Planctus ante nescia’, 72–7. (l) Clyde BROCKETT, ‘Processing from Lateran to Hierusalem and Back: A Unique Ritual for the Cross Relic’, 78–83. Concerns CH-E 326, fol. 87r-v. (m) John CALDWELL, ‘Mensura as a technical term in chant theory’, 84–8. (n) Christelle CAZAUX-KOWALSKI, ‘Beyond diastematy: specific and semitonic indications in the gradual of Saint-Yrieix (Paris, Bibliothèque Nationale de France, Latin 903, XIth century)’, 89–95. (o) Orsolya CSOMÓ, ‘Traditionalism and New Influences in an 18th Century Gradual of the Zagreb Cathedral with a Special Focus on the Alleluia Repertory’, 96–101. Concerns HR-Zu MR 6. (p) Zsuzsa CZAGÁNY, ‘Die coniunctae des Corpus Hollandrinum in den mitteleuropäischen Choralhandschriften’, 102–112. (q) Cécile DAVY-RIGAUX, ‘The question of plainchant notation in French Post-Tridentine sources. Towards a specific semiology’, 113–20. (r) Joseph DYER, ‘A Newly Discovered Source of Ordinary Chants in Cantus Planus and Cantus Fractus: A Preliminary Report’, 121–6. Concerns US-B university howard gotlieb archival research center, H. C. Robbins Landon no. 1419. (s) David EBEN, ‘Die Evangeliumsantiphonen der Donnerstage in der Fastenzeit’, 127–34. (t) Stefan ENGELS, ‘Die liturgischen Handschriften aus St. Lambrecht (Steiermark)’, 135–42. Concerns different mss. in A-Gu. (u) Manuel Pedro FERREIRA, ‘A Portuguese plainchant treatise’, 143–8. Concerns P-LE s. n. (15th century) (v) Carmen Julia GUTIÉRREZ, ‘Medieval Music through the Technological Looking-Glass’, 149–58. (w) Andreas HAUG, ‘Corpus monodicum – Die einstimmige Musik des lateinischen Mittelalters’, 159–60. (x) Kate HELSEN, with Inga BEHRENDT and Alan SEXTON, ‘“Venite et videte”: First Result in the Optical Neume Recognation Project’, 161–5. (y) David HILEY and Robert KLUGSEDER, ‘Cantus Planus Regensburg – Web Archive for Gregorian Chant’, 166–7. Concerns www.musikwissenschaft.uni-r.de/cantus. (z) Marit Johanne HØYE, ‘The Sequence Sancti Spiritus in the Nidaros Tradition’, 168–77. Concerns fragments from DK-Kk and N-Ora (aa) Gunilla IVERSEN, ‘Assonance, Variation, Repetition: Editing Prosulas to the Gloria Chant’, 178–85. (bb) Gábor KISS, ‘The Tridentinum as a Watershed in the Evolution of Mass cycles’, 186–92. (cc) Robert KLUGSEDER, ‘Medieval musical manuscripts and fragments in the Austrian National Library (ÖNB), Vienna’, 192–201. (dd) Jan KOLÁČEK and Debra LACOSTE, ‘Renewal, Revival, Rejuvenation: a New Vision for the Cantus Database’, 202–9. (ee) Flora KRITIKOU, ‘Compositions of Credo: Influences of Latin settings on the respective Byzantine ones of Cretan origin (16th–17th cent.)’, 210–17. Concerns I-UDba 265. (ff) Debra LACOSTE, ‘Elastic Melodies: Variants in Responsory Verses’, 218–25. (gg) Sarah Ann LONG, ‘Cultural Intersections in the Transmission of Office Hymns in the Southern Low Countries’, 226–32. Concerns different mss. in B-BRbegijnhof st.elizabeth ‘De Wijngaard’. (hh) Antonio LOVATO, ‘Liturgical-musical sources in the votive processions of the bishop of Padua, Pietro Barozzi (1443–1507)’, 233–41. Concerns different mss. in I-Pc (ii) Rebecca MALOY and Emma HORNBY, ‘Towards a Methodology for Analyzing the Old Hispanic Responsories’, 242–9. Concerns E-L 8. (kk) Elizabeth MARKHAM, ‘Habitable surface, habitable space: Graphic contour and melodic constraints for Buddhist chant in early Japan’, 250–8. (ll) Sandra MARTANI, ‘Vind. Suppl. gr. 121: ein Fragment eines Tetraevangeliars mit ekphonetischer Notation in der Österreichischen Nationalbibliothek’, 259–66. (mm) David MERLIN, ‘Das von Johannes Winterburger gedruckte Antiphonar aus dem Jahr 1519: ein Antiphonale Pataviense?’, 267–75. (nn) Nausica MORANDI, ‘From the rite of the Oblation to the offering scene in the Officium Stellae musico-liturgical drama. Reges Tharsis et insula munera offerent, reges Arabum et Saba dona adducent’, 276–80. (oo) Stefan Johannes MORENT, ‘Digital Editing of chant – tools in progress’, 281–3. (pp) Ann-Marie NILSSON, ‘“Fecit” quattuor historie?’, 284–94. Concerns four Historiae for St Elin, St Eskil, for a Thorn from the crown of Jesus (de spina corone) and the Virgin Mary (office Stella maria) of Bishop Brynolf in DK-Kar Acc 7 hs34, S-HÄa P 1, S-SK mhs 1, S-Sr 7701 and 20316, S-Uu C 23. (rr) Edward NOWACKI, ‘Antiphonal Psalmody in Western Monasticism from the Fourth to the Seventh Century’, 295–300. (ss) Ágnes PAPP, ‘Traditio Iohannis Hollandrini – Tonare’, 301–7. (tt) Matthew PEATTIE, ‘Non Pitch-Specific Notation in Practice and Transcription: Beneventan Chant in campo aperto and in voce’, 309–15. Concerns I-BV 40. (uu) Ivana PERKOVIĆ, ‘Musical references in Serbian hagiography (Žitija) and liturgical poetry (Srbljak)’, 316–20. (vv) Andreas PFISTERER, ‘Zur Vorgeschichte des lateinischen Acht-Tonarten-Systems’, 321–6. (ww) Svetlana POLIAKOVA, ‘A Pair of Manuscripts transmitting the Triodion and Pentekostarion in the Russian Studite Tradition – Identifying the prototypes’, 327–31. Concerns RUS-Mim Sin 319 and Voskr 27. (xx) Franz Karl PRASSL, ‘Gesang an der Peripherie – Die Choralhandschriften in der Bibliothek des Augustiner-Chorherrenstiftes Vorau’, 332–43. (yy) Juan Pablo RUBIO, ‘Un foyer d'avant-garde dans l'introduction du chant grégorien en Castille: La cathédrale de Palencia (1034–1080)’, 344–8. (zz) Cesarino RUINI, ‘Political changes and music writing styles in 11th century Bologna’, 349–54. (aaa) Tereza SEIFERTOVÁ, ‘The Application of the CANTUS Analysis Tool to the Neumed Breviary VI E 4c from, St George's Convent Prague’, 355–60. (bbb) Jurij SNOJ, ‘Ruotlib's notated missal and its historical background’, 361–6. Concerns I-BZmuseo civico 1304. (ccc) Katarina ŠTER, ‘Notation als Spiegel der Veränderungen in der ‘numquam reformata’ Tradition am Beispiel der mittelalterlichen Antiphonarien aus der Kartause Žiče (Seiz/Seitz)’, 367–75. Concerns A-Gu 7, 18, 21, 51, 145, 273. (ddd) György TÁBORSZKY, ‘Das Sequenzenrepertoire der österreichischen Benediktiner’, 376–82. (eee) Nicola TANGARI, ‘Musical liturgical fragments in the Historical Municipal Archive of Casperia (Latium – Italy)’, 383–7. (fff) Arturo TELLO RUIZ-PÉREZ, ‘Castles of faith: The transmission of the Kyrie trope set Deus solus et immensus as an example of liturgical exegesis in the orthodoxy’, 388–93. (ggg) Diego TOIGO, ‘Inedite fonti italiane della Passione in notazione ritmico-proporzionale’, 394–402. Concerns I-PAac O3, I-COs Morimondo 16, I-TVco B.C. (hhh) Santiago Ruiz TORRES, ‘The Hymnic Corpus in the Manuscript Plainsong Choirbooks at Segovia Cathedral’, 403–7. (iii) Christian TROELSGÅRD, ‘The conception of the chant of the “Other”: evidence from medieval literary sources’, 408–12. (kkk) Giovanni VARELLI, ‘Pitch Rhythm and Text-Setting in Palaeofrankish Notation: The Case of London, British Library, Harley MS 3019’, 413–18. (lll) Anna VILDERA, ‘Liturgical contradictions and political consistency in the liturgo-musical tradition of St. Mark's, Venice’, 419–24. (mmm) Jana VOZKOVÁ, ‘Offertoriale Arnesti: A Forthcoming Edition of Plainchant Offertories with Verses from Bohemian Sources’, 425–8. Concerns CZ-Pak Cim. 4 and P. VII, CZ-Pn XIV D 12, CZ-R R 396 and 418. (nnn) Jerome F. WEBER, ‘The New Web site www.chantdiscography.com: A Demonstration’, 429–30. (ooo) Gerda WOLFRAM, ‘Untersuchungen zur lateinischen Tradition des byzantinischen Akathistos Hymnus’, 431–7. (ppp) Hanna ZÜHLKE, ‘Die musikalisch-liturgischen Quellen des Hochmittelalters aus dem österreichischen Benediktinerstift Admont’, 438–51. Concerns A-A 786, D-Au I. 2. 4° 13, A-Wn 1909, P-Lcg L. A. 222 (olim A-A 229a), GB-Ob Canon. liturg. 340, I-UDba 75.

22076.Einstimmig – Mehrstimmig. MusikTheorie – Zeitschrift für Musikwissenschaft (Laaber: Laaber-Verlag, 2012), 27 (2012), Heft 2:

(a) Alejandro Enrique PLANCHART, ‘Polyphonic Proses in the Trent Codices’, 101–11. (b) Barbara HAGGH-HUGLO, ‘Easter Polyphony in the St. Emmeram and Trent Codices’, 112–32. (c) Alexander RAUSCH, ‘Zweistimmige Gesänge in einem unbekannten Mondseer Fragment des 15. Jahrhunderts’, 133–43. Concerns A-Wn Fragm. 123. (d) David J. BURN, ‘Analysing Sixteenth-Century Chant-Based Polyphony. Some Methodological Observations, and a Case-Study from Leonhard Paminger’, 144–61. (e) Reinhard STROHM, ‘Polyphonie und Liedforschung’, 162–75.

Birgit LODES, ‘Zu diesem Heft’, 99: ‘Die regionale Fokussierung erklärt sich aus der Tatsache, dass die meisten Aufsätze aus dem Panel ‘Plainsong in Austrian Polyphony’ hervorgegangen sind, welches … im Rahmen der 16. Jahrestagung der IMS Study Group ‘Cantus planus’ (Wien, 21.–27. August 2011) … stattfand …’.

22077.Musicae Fragmenta. Sonorità recuperate dai restauri dei protocolli notarili dell'Archivio di Stato di Teramo Secoli XIII–XIV. Convegno e Mostra 19 Aprile – 1° Maggio 2012 Archivio di Stato di Teramo, Sede di Sant'Agostino (Teramo: Archivio di Stato, 2012):

(a) Giacomo BAROFFIO, ‘I frammenti liturgici dell'Archivio di Stato di Teramo: alcune osservazioni’, 2–11.

22078.Beiträge zur Gregorianik, 53 (2012), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Martin ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Daniel RÖSLER, Heinrich RUMPHORST, Alexander SCHWEITZER, Anton STINGL jun., Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 31’, 9–51.

(b) Alberto TURCO, ‘Alleluia. Surrexit Dominus vere – Für eine Melodierestitution “magis critica” des Graduale Romanum’, 53–8. (c) Heinrich RUMPHORST, ‘Zum Alleluia Surrexit Dominus und zum Komparativ “magis critica”’, 59–66. (d) Anton STINGL, ‘Das Alleluia Crastina die’, 67–92. (e) Dirk van BETTERAY, ‘Das Geschwisterpaar Benedikt von Nursia und Scholastika. Anzeichen zu soziokulturellen Aspekten des Heiligenkultes in Sankt Galler Messproprien’, 93–102. (f) Alberto TURCO, ‘Neume und Modus. Zusammenfassung einer größeren Studie (ins Deutsche übertragen von Stefan ENGELS)’, 103–35. (g) Bernhard PFEIFFER, ‘Gregorianik im Internet’, 143–4. Additions to ‘Gregorianik im Internet’, Beiträge zur Gregorianik, 44 (2007), 176–7; 48 (2009), 132. (h) Index der bisher restituierten Gesänge, 157–62.

22079.Beiträge zur Gregorianik, 54 (2012), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Martin ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Daniel RÖSLER, Heinrich RUMPHORST, Alexander SCHWEITZER, Anton STINGL jun., Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 32’, 9–48. (b) Anton STINGL jun., ‘Die Versionen des Offertoriums Domine, ad adiuvandum’, 49–53. (c) Franco ACKERMANS, ‘Custos in campo aperto. Ein Hinweis auf Verschiebung der Notationslage’, 55–8. Concerns F-MOf H. 159. (d) Robert BERNAGIEWICZ, ‘Die Musica Enchiriadis und die Aufführungspraxis de Gregorianischen Chorals’, 59–73. German translation by Stefan ENGELS.

22080.Études grégoriennes, 39 (2012) see 22070.

22081.Studi Gregoriani, 26 (2010), ed. Mauro CASADEI TURRONI MONTI (Rome: Torre d'Orfeo Editrice S. r. l., 2010):

(a) Luigi AGUSTONI (†), Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Liobgid KOCH, Heinrich RUMPHORST, Alexander SCHWEITZER, Stephan ZIPPE, ‘Proposte per la restituzione di melodie del Graduale Romanum, parte IX’, 7–19. First published in German: ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 9’, first part, see 10054a. (b) Nino ALBAROSA, ‘Un diverso tipo de epiphonus praepiunctis (2)’, 17–26. Part 1 see 18077a and 20056c. (c) Herminio GONZÁLEZ-BARRIONUEVO, ‘El tórculus initio débilis en el Códice de Laon 239 (parte II)’, 27–81. Part 1 see 20056e. (d) Carmen PETCU, ‘Il neuma pes isolato su sillaba nel Codice Benevento 33’, 83–161. (e) Czesław GRAJEWSKI, ‘Le differentiae dei Salmi come aiuto all'identificazione degli antifonali’, 163–74.

22082.Studi Gregoriani, 27 (2011), ed. Mauro CASADEI TURRONI MONTI (Rome: Torre d'Orfeo Editrice s. r. l., 2009):

(a) Luigi AGUSTONI (†), Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Liobgid KOCH, Heinrich RUMPHORST, Alexander SCHWEITZER, Stephan ZIPPE, ‘Proposte per la restituzione di melodie del Graduale Romanum, parte IX’, 3–19. First published in German: ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 9’, second part, see 10054a. (b) Johannes Berchmans GÖSCHL, ‘Unità nella molteplicità: fondamenti dell'interpretazione del canto gregoriano’, 21–43. (c) Nino ALBAROSA, ‘Mensuralismo e ritmo gregoriano’, 51–60. (d) Julia MOSKVAS, ‘La trasmodalizzaione nel canto gregoriano’, 57–78. (e) Enrique MERELLO-GUELLEMINOT, ‘La entonación del canto gregoriano: consideraciones para su discussión’, 79–86. (f) Agnieszka DWORAKOWSKA, ‘L’Antiphonale delle benedettine di Staniątki come fonte dell'Officium Divinum’, 87–103. (g) Herminio GONZÁLEZ-BARRIONUEVO, ‘El tórculus initio débilis en el Códice de Laon 239 (parte III, tavole)’, 105–134.

22083.Tijdschrift voor Gregoriaans, 37 (2012), Redactie: Katrijn KUYPERS, Arnoud HEERINGS, Gerrit van OSCH, Albert KOOPMANS, uitgave van de Stichting Amici Cantus Gregoriani, Administratie J. KWAST, Driebergen-Rijsenburg:

(a) Rebecca STEWART, ‘Modale manieren voor modale muziek. Modaliteit: een andere definitie’, 2–8. (b) Louis KREKELBERG, ‘Reactie op de bespreking van ‘Het Hooglied en de Liefde’’, 9–12. (c) Thomas OP DE COUL, ‘Gregoriaans in de kartuizerorde (2) (3)’, 13–18, 48–53. (d) Ger van der WERF, ‘De hymne Gloria laus (1)’, 114–20. (e) Johannes Berchmans GÖSCHL, ‘Eenheid in verscheidenheid (1)’, 121–6. (f) Pieter MANNAERTS, ‘Het Nikolaas-officie (1)’, 127–33. (g) Joost van GEMERT, ‘Het Graduale van Reims-Cambrai’, 143–7. Concerns the printed Graduel romain (Paris: Lecoffre, 1874).

22084. Manuel Pedro FERREIRA, Revisiting the Music of Medieval France. From Gallican Chant to Dufay, Variorum Collected Studies Series CS1007 (Farnham, Surrey, and Burlington, VT, 2012). Reprint of ten studies written between 1989 and 2007.

22085.Bologna e il secolo XI. Storia, cultura, economia, istituzioni, diritto, ed. Giovanni FEO and Francesca ROVERSI-MONACO (Bologna: Bononia University Press, 2011):

(a) Laura PASQUINI, ‘Codice Angelica 123: iconografia’, 189–237. – (b) Massimiliano LOCANTO, ‘I tropi liturgici a Bologna nell'XI secolo’, 253–96. – (c) Maddalena MODESTI, ‘La Chiesa di Bologna: i codici e la scuola’, 297–346. – (d) Giovanni FEO, ‘La Chiesa di Bologna e i suoi documenti’, 573–601. (e) Aima CHIARA, ‘Scuola canonicale e filologia liturgica’, 605–14.

22086.Handwörterbuch der musikalischen Terminologie. Im Auftrag der Akademie der Wissenschaften und Literatur Mainz, nach Hans Heinrich EGGEBRECHT, ed. Albrecht RIETHMÜLLER (Stuttgart: Franz Steiner Verlag, 2012). DVD-Edition. First published 1974–2006 in 40 ‘Auslieferungen’.

See 9092 Modus, 13075a Paraphonos, paraphonia, 13075b Sequentia / Sequenz, 14064a Cantilena, 15064a Tonos / tonus, 16065a Tropus.

22087.Heilige – Liturgie – Raum, ed. Dieter R. BAUER, Klaus HEBERS, Hedwig RÖCKELEIN and Felicitas SCHMIEDER, Beiträge zur Hagiographie 8 (Stuttgart: Steiner Verlag, 2010):

(a) Hartmut MÖLLER, ‘Auf der Suche nach dem Corveyer Antiphonar. Die Offiziumsliturgie der Bursfelder Reformklöster’, 49–79. (b) Uta KLEINE, ‘Die Inszenierung des Wortes in der Liturgie am Beispiel rheinischer Heiligenoffizien des Hochmittelalters’, 119–36.

22088.Lexicon Musicum Latinum Medii Aevi. Wörterbuch der lateinischen Musikterminologie des Mittelalters bis zum Ausgang des 15. Jahrhunderts – Dictionary of Medieval Latin Musical Terminology to the End of the 15th Century, ed. Michael BERNHARD (Munich: Verlag der Bayerischen Akademie der Wissenschaften. In Kommission bei dem Verlag C. H. Beck, Munich, 1992–).

(a) Fascicle 13: musicus-pausa, 2012. Collaborators Daniela von ARETIN (N-nymphae, P-pausa), Christian BERKTOLD (musicus), Michael BERNHARD (muta-muto, O-os), Calvin M. BOWER (English Translation), Ruth KONSTANCIAK (Editorial Assistance).

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

22089.Music, Dance, and Society. Medieval and Renaissance Studies in Memory of Ingrid G. Brainard, ed. Ann BUCKLEY and Cynthia J. CYRUS (Kalamazoo, MI: Medieval Institute Publications, 2011):

(a) Vincent CORRIGAN, ‘The Codex Calixtinus and the French Connection: The Office for St. James in Northern France’, 3–18. (b) Clyde BROCKETT, ‘The Roman Processional Antiphon Repertory’, 19–36. (c) Joseph DYER, ‘The Celebration of Candlemas in Medieval Rome’, 37–70. (d) Barbara R. WALTERS, ‘“Laureata plebs fidelis”: A Victorine Sequence from the Feast of Corpus Christi in Thirteenth-Century Liège’, 71–88. (e) Julia W. SHINNICK, ‘A Newly Recognized Polyphonic Christmas Gospel, Liber generationis: And Another Look at the Polyphony in the Manuscript Assisi, Biblioteca del Sacro Convento, MS 695’, 89–128. (f) Alice V. CLARK, ‘Prope est ruina: The Transformation of a Medieval Tenor’, 129–42. (g) Richard J. AGEE, ‘Ideological Clashes in Cinquecento Editon of Plainchant’, 143–58. (h) William Peter MAHRT, ‘Acoustic, Liturgy, and Architecture in Medieval English Cathedrals’, 251–9. (i) Greta-Mary HAIR, ‘“Haec est nimis”: A Trope-Trancription Puzzle’, 260–76.

22090.Pistoia. Un'officina di libro in Toscana dal Medioevo all'Umanesimo, ed. Giancarlo SAVINO (Pistoia, Firenze: Cassa di Risparmo di Pistoia e Pescia: Ed. Polistampa, 2011):

(a) Ada LABRIOLA, ‘Libri miniati per la cattedrale di San Zeno nel XII secolo’, 61–94. – (b) Enrica NERI LUSANNA, ‘I libri miniati del Duecento a Pistoia’, 95–134. (c) Cristina DE BENEDICTIS, ‘La miniatura gotica a Pistoia’, 135–82. (d) Ada LABRIOLA, ‘I libri liturgici e i libri umanistici miniati nella seconda metà del XV secolo’, 183–216. (e) Michele MANGANELLI, ‘I manoscritti musicali dell'area pistoiese’, 217–26. (f) ‘Glossario ragionato delle principali voci liturgico musicali’, 426–41.

22091.Plainsong & Medieval Music, 21/1 (2012):

(a) Terence BAILEY, ‘Ambrosian Mass chants before the Carolingian intervention’, 1–21. (b) Edward NOWACKI, ‘The Latin antiphon and the question of frequency of interpolation’, 23–39. (c) Jerome F. WEBER, ‘Recent recordings of plainchant’, 73–81.

22092.Plainsong & Medieval Music, 21/2 (2012):

(a) Clyde W. BROCKETT, ‘Antiphons for the Adoration of the Cross Replica’, 85–111. (b) George A. HARNE, ‘Unstable embodiments of musical theory and practice in the Speculum musicae’, 113–36.

22093.Rivista internazionale di musica sacra, Nuova serie 33/1–2 (2012), ed. Giacomo BAROFFIO (Lucca: LIM Editrice):

(a) ‘Michel HUGLO (†13 maggio 2012) – Anselmo SUSCA (†1 ottobre 2012)’, 5–10, 11–12. (b) Marta CRIPPA, ‘Le trascrizione di Padre Lorenzo Tardo dell'inno AKAYISTOS’, 15–47. (c) Matteo GARZETTI, ‘Lucernari ambrosiani: descrizione liturgica. Et fit lumen infinitum’, 49–81. (d) Gionata BRUSA, ‘Una recente scoperta: l'Innario ambrosiano di Trino vercellese’, 83. Concerns I-TRINO biblioteca civica 2. (e) Silvia LOMBARDI, ‘I codici musicali di Santa Felicita a Firenze’, 85–124. Concerns Mss 166a, 155a (olim A), 155b (olim B) now US-NHub 42, 155c (olim C), 155d (olim D), 155e (olim E), 155f (olim F), 155g now GB-Ob Canon. liturg. 382 and RUS-Span F. 161. (f) Angelo MAFUCCI, ‘Il messale di Guido d'Arezzo’, 125–7. Concerns I-Rvat Vat. lat. 4772. (g) Ezio AIMASSO, ‘L'antifonario iemale della Chiesa vercellese (Vercelli, Biblioteca Capitolare LXX)’, 129–264. (h) Giacomo BAROFFIO, ‘Variabilità dell'origanico nell'esecuzione del canto piano tra IX e XIV secolo’, 265–9. (i) Mattia ROSSI, ‘Sull’alternatim su un passo dantesco’, 271–5. (k) Marco GOZZI, ‘Lo Stabat mater e il canto fratto: alcune testimonianze francescane’, 359–99. (l) Nicola TANGARI, ‘Alcune versioni dello Stabat mater nei libri corali conservati a Montecassino’, 401–12.

22094.Vox Antiqua, Commentaria de Cantu Gregoriano, Musica antiqua, Musica sacra et Historia liturgica – International Journal of Gregorian Chant, Early Music, Sacred Music & Liturgical History, Journal of the Cantus Gregoriani Helvetici Cultores, Società svizzera studi di Canto gregoriano, ed. Giovanni CONTI, Marco FERRERO (Lugano: Quilisma Press (1/2012):

(a) Glauco Maria CANTARELLA, ‘Cluny, la perfezione e la contraddizione’, 15–29. (b) Giacomo BAROFFIO, ‘San Benedetto Po-Polirone: una tradizione cluniacense in Italia’, 31–71. Concerns the 12th Breviarium notatum I-MAbiblioteca teresiana 133. (c) Inos BIFFI, ‘Cluny: una storia di santi abati. Mirabili santi e uomi stupendi’, 73–90. (d) Marco FERRERO, ‘Aspetti di iconografia cluniacense. Il caso di Lumignano (Vicenza)’, 91–105. (e) Diego FRATELLI, ‘Lapides clamabunt. I mastri, la pietra, la voce’, 107–19. (f) Angelo RUSCONI, Francesco RIVA, ‘I capitelli musicali di Cluny’, 121–55. (g) Gian Franco FREGUGLIA, ‘Maria Maddalena “la magnificata” a Cluny’, 157–71.

22095.San Michele in Isola – Isola della conoscenza. Ottocento anni di storia e cultura camaldolesi nella laguna di Venezia. Mostra organizzata in occasione del millenario della fondazione della congregazione camaldolese (Torino; UTET, 2012). Describes different mss., see Rivista internazionale di musica sacra, 33/1–2 (2012), 486. Exhibition catalogue.

22096. ‘Inventari ASDCA: serie Culto dei santi’, Notiziario Archivio Storico Diocesano Cagliari, no. 18–19, 9 (2011), 41–70.

22097. Laura ALBIERO, ‘Inventio sancti Stephani protomartiris. Note in margine all'ufficio’, Scrineum, 9 (2012), 231–55.

22098. João Pedro d'ALVARENGA, ‘Fragmento de um breviário notado bracarense do século XIII’, Estudos de Musicologia, ed. João Pedro d'ALVARENGA (Lisbon: Colibro, Centro de História da Arte da Universidade de Évora, 2002), 11–33. Concerns a fragment from Braga, Portugal.

22099. Félix María AROCENA, ‘El Himnario del Oficio hispano – The Old Hispanic Hymnal’, Scripta Theologica, 44 (2012), 9–44.

22100. Giacomo BAROFFIO, ‘La trasmissione delle melodie gregoriane nell'Editio Medicea e nelle fonti parallele’, Polyfonie, 6/2 (2006), 11–41, English translation ‘The transmission of Gregorian melodies in the Editio Medicea and in parallel sources’, 43–52.

22101. Giacomo BAROFFIO, ‘Mater virgo regina. Maria nei testi liturgici e devozionali del XII secolo’, Theotokos, 18 (2010), 445–61.

22102. Giacomo BAROFFIO and Eun Ju KIM, ‘Liturgia e canto a San Sisto’, I corali benedettini di San Sisto a Piacenza, ed. Milvia BOLLATI (Bologna: Editrice Compositori, 2011), 95–117.

22103. Ulrike BAUER-EBERHARDT, ‘Ein unbekanntes Antiphonar mit Miniaturen des Benedetto Bordon als Neuerwerbung der Bayerischen Staatsbibliothek’, Codices Manuscripti, 76/77 (2011), 42–50. Concerns D-Mbs Clm 30205, Italy, fifteenth century.

22104. Hrvoje BEBAN, ‘Dominikanski antifonarij Franjevačkog samostana na otoku Badija kod Korčule: analiza rukopisa’, Arti musices, 41/2 (2010), 167–86. Concerns HR-Dsmbb III, V, X, XI.

22105. Emanuele BORSOTTI, ‘Il libro disigillato. Per una fenomenologia cerimoniale dell'evangeliario’, L'evangeliario nella storia e nella liturgia, ed. Valerio ASCARI et al. (Magnano: Ed. Qiqaion – Comunità di Bose, 2011), 23–184.

22106. Therese BRUGGISSER-LANKER, ‘Notker Balbulus – “qui composuit sequentias”’, Musik und Liturgie, (Gossau/Switzerland) 104/1 (2010), 14–19.

22107. Gionata BRUSA, ‘Un ufficio ineditio per s. Anna a Vercelli’, Scrineum, 9 (2012), 257–67.

22108. Roberta CASAVECCHIA, ‘I codici Casin. 98 e 99: la tradizione omiletica a Montecassino all'epoca dell'Abate Desiderio’, Scrineum, 9 (2012), 159–211.

22109. Florence CLOSE, ‘L'office de la Trinité d'Étienne de Liège (901–920). Un témoin de l'heritage liturgique et théologique de la première reforme carolingienne à l'aube du Xe siècle’, Revue belge de philologie et d'histoire 86 (2008), 623–43.

Review. Nicolas RUFFINI-RONZANI, Scriptorium, 65 (2011), 28* (no. 57).

22110. Joseph DYER, ‘The Bible and the Medieval Liturgy (600–1300)’, The New Cambridge History of the Bible, vol. 2, ed. Richard MARSDEN and E. Ann MATTER (Cambridge: Cambridge University Press, 2012), 659–79.

22111. Margot FASSLER, ‘Cataloguing medieval manuscript fragments: a window on the scholar's workshop, with an emphasis on electronic resources’, Perspectives on Medieval Art Learning through Looking, ed. Ena HELLER and Patricia C. PONGRACZ (London, New York: Giles- The Museum of Biblical Art, 2010), 109–254.

22112. Ilona FERENCZI, ‘Conditor alme siderum. Ergänzung zur der Kontrafakturfamilie “Salve regina – Salve rex”’, Jahrbuch für Liturgik und Hymnologie, 51 (2012), 195–202. Addition to Ilona FERENCZI, ‘Salve regina – Salve rex …’ see 16088.

22113. Manuel Pedro FERREIRA, ‘A Música na Catedral de Braga durante a Idade Média: estado da questão’, A Catedral de Braga: Arte Liturgia e Música dos fins do século XI à época tridentina, ed. Ana Maria FERREIRA RODRIGUES (Lisbon: Arte das Musas/Cesem, 2009), 93–135.

22114. Manuel Pedro FERREIRA, ‘O Tratado musical de Leiria’, Art Treatises and their Circulation in Portugal, ed. Ana DUARTE RODRIGUES and Rafael MOREIRA (Lisbon: Scribe, 2011), 179–96.

22115. Giulia GABRIELLI, ‘L'ufficio di san Vigilio’, Studi Trentini. Arte, 90/1 (2011), 15–54.

22116. Paweł GANCARCZYK, ‘Fifteenth- and Sixteenth-Century Polyphony in a Gradual from the Badija Francican Monastery near Korčula’, Arti musices, 39/2 (2008), 255–62. Concern a Gradual in HR-Dsmbb.

22117. Marianne Cecilia GAPOSCHKIN, ‘The Monastic Office for Louis IX of France: Lauda celestis regio’, Revue Mabillon, n. s. 20, t. 81 (2009), 55–86.

Review. A.-V. RAYNAL, Scriptorium, 65 (2011), 43*–44* (no. 100).

22118. Nicolae GHEORGHIŢĂ, ‘Between Byzantium and Venice. Western Music in Crete’, Available online: http://musicologypapers.ro/articole/MP%2027-1-077-093%20-%20NICOLAE%20GHEORGHITA.pdf

22119. Marco GOZZI, ‘L'edizione veneziana del Graduale curate da Vecchi, Balbi e Gabrieli (1591)’, Polyfonie, 5/3 (2005), 9–22. English translation ‘The Venetian edition of the Gradual revised by Vecchi, Balbi and Gabrieli (1591)’, 33–46. Concerns the printed Gradual of 1591, ed. by Orazio Vecchi, Ludovico Balbi and Andrea Gabrieli.

22120. Jacques-Marie GUILMARD, ‘Une antique fête mariale au 1^er janvier dans la ville de Rome?’, Ecclesia orans, 11 (1994), 25–67.

22121. Jacques-Marie GUILMARD, ‘Dom Guéranger et la restauration du chant liturgique’, Ecclesia orans, 22 (2005), 177–97.

22122. Jacques-Marie GUILMARD, ‘La Litanie Majeure et les processions de la Messe – Répertoire de chant Rome et en Gaule dans la deuxième partie du 8^e siècle’, Ecclesia orans, 26 (2009), 59–120. Published also in Rivista internazionale di musica sacra, 30 (2009). See 19059a.

22123. Jacques-Marie GUILMARD, ‘La psalmodie grégorienne aujourdhui’, Ecclesia orans, 29 (2012).

Further Publications of J.-M. GUILMARD, monk of Solesmes, see 12103, 15057b, 18015, 19059a, 21068.

22124. Carmen Julia GUTIÉRREZ, ‘Procedimientos de creación y adaption en los himnos litúrgicos medievales en España: La composición de un repertorio’, Revista de musicología, 27/2 (2004), 815–39.

22125. Carmen Julia GUTIÉRREZ and David CATALUNYA, ‘Arqueología virtual de manuscritos. Tecnología digital avanzada aplicada al studio de manuscritos medievales’, Cuadernos de Música Española e Iberamericana, 20 (2010), 37–48.

22126. Gregor HERZFELD, ‘Süße: Eine Metapher der mittelalterlichen Musiktheorie’, Archiv für Musikwissenschaft, 69 (2012), 1–12.

22127. David HILEY, ‘Remarks on the musical style of some historiae for Bohemian saints’, Littera NIGRO scripta manet. In honorem Jaromír Černy, ed. Jan BAŤA, Jiří KROUPA, Lenka MRÁČKOVÁ, Clavis Monumentorum Musicorum Regni Bohemiae, Series S. [Subsidia] 2 (Prague: Koniasch Latin Press, 2009), 11–22. Concerns the bohemian saints Wenceslaus, Ludmilla and Procopius.

22128. David HILEY, ‘Liturgische Gesangszyklen zur Heiligenverehrung im Mittelalter: das Beispiel der Hl. Katharina’, Roma quanta fuit. Beiträge zur Architektur, Kunst- und Kulturgeschichte von der Antike bis zur Gegenwart. Festschrift für Hans-Christoph Dittscheid zum 60. Geburtstag, ed. Albert DIETL, Gerald DOBLER, Stefan PAULUS and Hans SCHÜLLER (Augsburg: Wißner Verlag, 2010), 315–38.

22129. Eun Ju KIM, ‘La sequenza in ambito bolognese nel secolo XI: il caso “Angelica 123”’, Quaderni del M. Ae S. [=Mediae Aetatis Sodalicium],11 (2008), 49–84.

22130. Robert KLUGSEDER, ‘Neue Forschungsergebnisse zum Graduale Ms. 1 des Oberösterreichischen Landesmuseums in Linz’, Jahrbuch des Oberösterreichischen Musealvereins – Gesellschaft für Landeskunde, vol. 156 (2011), 75–85.

22131. Robert KLUGSEDER, ‘Die Auswirkungen der Melker Reform auf die liturgische Praxis der Klöster’, Studien und Mitteilungen zur Geschichte des Benediktinerordens und seiner Zweige, 123 (2012), 169–209.

22132. Bernhard KÖLBL, ‘Musiktheorie in Druckerpresse und Hörsaal: Eine singuläre Quelle zur Druckgeschichte des Dodekachordons und zu Glareans Unterrichtstätigkeit im Bestand der Konservatoriumsbibliothek Antwerpen’, Acta Musicologica, 84/1 (2012), 19–36. Concerns on pp. 35–42 of the Dodekachordon (for example p. 36 ‘Intonationes Psalmorum’, p. 38 ‘Dodecachordi Gloria Patri & Filio & Spiritui Sancto’).

22133. Massimiliano LOCANTO, ‘Il manoscritto “Roma, biblioteca Angelica, 123” nel quadro della tradizione tropistica italiana’, Quaderni del M. Ae S. [=Mediae Aetatis Sodalicium], 11 (2008), 9–47.

22134. Antonio LOVATO, ‘Musica e liturgia nella canonica Sanctae Mariae Pataviensis ecclesiae’, Canonici delle cattedrali nel medioevo (Sommacampagna: Cierre, 2003), 95–128.

22135. Antonio LOVATO, ‘Cultura umanistica e pratica del canto piano nella cattedrale di Padova al tempo di Pietro Barozzi’, Pietro Barozzi. Un vescovo del Rinascimento (Padova, Museo Diocesano, 18–20 October 2007), (Padova: Istituto per la Storia ecclesiastica padovana, 2012), 339–53.

22136. György MERCZEL, ‘A Gyergyói Graduale’, Magyar Egyházzene, 7 (1999–2000), 187–196. Concerns RO-AJ R IX 57, a Graduale, end of fifteenth century, from the village Lăzarea, Romania (in German Grünberg, in Hungarian Gyergyószárhegy).

Review. Ilona FERENCZI, Jahrbuch für Liturgik und Hymnologie, 51 (2012), 269–70.

22137. Christian MEYER, ‘“Organica efficit reciprocatio”. La théorie de l'inversion des intervalles: vestiges d'un enseignement à l'attention des organistes et des carillonneurs des XIe et XIIe siècles’, Acta Musicologica, 84/1 (2012), 5–17. Concerns D-Mbs Clm 14965a and US-Wc Music Division ML 171 C 77 (Phillips 1281).

22138. Veronika MRÁČKOVÁ, ‘Chorální notace rukopisů kláštera sv. Jiří v Praze’, Hudební věda, 47/2–3 (2010), 131–45.

22139. Shin NISHIMAGI, ‘Le tonaire principal du De modis (XIIe siècle) (Cambrai, Médiathèque municipale, Ms. 172, f. 11r–16r)’, Revue de musicologie, 97 (2011), 111–44.

22140. Greta OLSON, ‘A Post-Tridentine Lamento Chants in Eastern Spain’, Pure Gold: Sacred Music of the Iberian Renaissance. A Homage to Bruno Turner, ed. Tess KNIGHTON and Bernadette NELSON, De Musica 15 (Barcelona: Reichenberger Edition, 2011), 135–52.

22141. Matthew PEATTIE, ‘Old Beneventan Melodies in a Breviary at Naples: New Evidence of Old Beneventan Music for the Office’, The Journal of Musicology, 29 (2012), 239–61. Concerns I-Nasd Cod. Misc. 1, fasc. VII).

22142. Karl-Georg PFÄNDTNER, ‘Zum Entstehungsraum der Bamberger Motettenhandschrift Msc. Lit. 115 – kodikologische und kunsthistorische Argumente’, Acta Musicologica, 84 (2012), 161–6.

22143. Juan Pablo RUBIO, ‘La penetración de la tradición litúrgica catalano-narbonense en el obispado de Palencia en el siglo XI’, Miscel·lània Litúrgica Catalana, 18 (2010), 243–78.

22144. Angelo RUSCONI, ‘La revisione delle melodie gregoriane nei teoretici del XVI secolo’, Polyfonie, 5/3 (2005), 151–63 (English translation ‘The revision of Gregorian melodies in the 16th-century theorists’, 165–77).

22145. Harvey L. SHARRER and Manuel Pedro FERREIRA, ‘A Late Fifteenth-century Portuguese Plainchant Treatise’, Revista Portuguesa de Musicologia, 14–15 (2004–2005), 101–30. Concerns the earliest dated musical treatise in Portugal, copied in 1496.

22146. Jurij SNOJ, ‘Glasbene zvrsti srednjem veku na Slovenskem’, De musica disserenda, VI/1 (2010), 87–111.

22147. Katarina ŠTER, ‘Paleografske značnilnosti rokopisa MS 273 iz Univerzitetne knjižnice v Gradcu’, De musica disserenda, V/1 (2009), 107–135. Concerns A-Gu 273 from the Charterhouse Seiz.

22148. Carol STEYN, ‘The Music Manuscripts of the Grey Collection in Cape Town and their European Connections’, Fontes, 59 (2012), 45–56.

22149. Nicaola TANGARI, ‘Due manoscritti liturgico-musicali del Museo della basilica di Santa Maria Maggiore a Roma’, Humanis divina iunguntur … Un percorso museale della basilica liberiana, ed. Michal JAGOSZ, Studia Liberiana 3 (Roma: Lisanti, 2011), 73–82.

22150. Nicola TANGARI, ‘Frammenti liturgici in pergamena dell'Archivio Storico Comunale di Magliano Sabina’, ‘Books seem to me to be pestilent things’. Studi in onore di Pietro Innocenti per i suoi 65 anni, ed. Varo A. VECCHIARELLI and Cristina CAVALLARO (Manziana: Vecchiarelli, 2011), 1351–68.

22151. Nicola TANGARI, ‘Il testo evangelico’, L'evangeliario di papa Chiaramonti. Storia di un codice del secolo XII, ed. Paola ERRANI and Marco PALMA (Cesena: Ed. Stilgraf, 2012). Concerns I-CEc Piana 3.210.

22152. Andreas TRAUB, ‘Weitere Fragmente von Choralhandschriften’, Musik in Baden-Württemberg. Jahrbuch, 19 (2012), 85–96. Concerns 19 cover fragments in D-Ü and one in D-Sl, including 5 facsimiles.

22153. Céline URLACHER BECHT, ‘La tradition manuscrite des hymnes d'Ennode de Pavie (473/4–521)’, Paideia, 65 (1020), 511–31.

Review. L. R., Études grégoriennes, 39 (2012), 309–10.

22154. Norberto VALLI, ‘La santa Messa in Cena Domini nella liturgia ambrosiana’, Ecclesia orans, 27 (2010), 327–74.

22155. Stefania VITALE, ‘Una Messa “propria” per i santi Faustino e Giovita: il ms. Alpha del Museo Diocesano di Arte Sacra a Brescia’, Scrineum, 9 (2012), 269–303.