9041R & 14038R. David HILEY, Music & Letters, 89 (2008), 490–3.

13036R. Hubert Iwo SIEKIERKA, Studia Teologiczno-Historyczne Śląska Opolskiego, 23 (2003), 361–4.

14038R. See 9041R.

15017R. P. HAMBLENNE, Scriptorium, 61 (2007), 12* (Nr. 26).

15023R. Sam BARRETT, Plainsong & Medieval Music, 17, 1 (2008), 92–4.

15024R. Christian BERGER, Die Musikforschung, 61 (2008), 282–3.

15045.Antiqva Habita Consvetudine. Contributi per una storia della musica liturgica del Patriarcato di Aquileia, Atti del colloquio internazionale, Portogruaro, 20 ottobre 2001, ed. Lucio CRISTANTE (Trieste: Edizioni Università di Trieste, 2004): [additions:] (b) Janka SZENDREI, ‘Il canto gregoriano tra Italia e Ungheria: un primo sondaggio’, 113–26.

15059R, 15060R. Joseph DYER, Plainsong & Medieval Music, 17, 1 (2008), 81–92.

16018R. Marina TOFFETTI, Rivista Italiana di Musicologia, 40 (2005), 361–4. – R. THIEFFRY, Scriptorium, 61 (2007), 52*-3* (Nr. 139).

16026R. Christian MEYER, Scriptorium, 61 (2007), 158*–9* (Nr. 371). – Andreas PFISTERER, Die Musikforschung, 61 (2008), 157. – Elżbieta WITKOWSKA-ZAREMBA, Plainsong & Medieval Music, 17, 2 (2008), 195–7.

16035R. Rebecca A. BALTZER, Journal of the American Musicological Society, 61 (2008), 207–10. – Emma HORNBY, Music & Letters, 89 (2008), 242–4. – Alejandro Enrique PLANCHART, Plainsong & Medieval Music, 17, 2 (2008), 181–92.

16069R. Barbara HAGGH, Scriptorium, 61 (2007), 151*–3* (Nr. 360). – Emma HORNBY, Music & Letters, 89 (2008), 242–4. – Maike SMIT, Die Musikforschung, 61 (2008), 384–5.

17001R. Emma HORNBY, Early Music, 36/4 (2008), 635–6.

17002R. Christian MEYER, Scriptorium, 61 (2007), 131*–2* (Nr. 316). – Daniel SAULNIER, Études grégoriennes, 35 (2008), 186–7.

17017R. Barbara BOISITS, Österreichische Musikzeitschrift, 63 (2008), Heft 6, 81–2.

17018R. B.-M. TOCK, Scriptorium, 61 (2007), 18*–19* (Nr. 41). – Giacomo BAROFFIO, Rivista internazionale di musica sacra, Nuova serie, 29/1 (2008), 205–6. – Scott G. BRUCE, Journal of the American Musicological Society, 61 (2008), 418–22.

17032R. Gundela BOBETH, Österreichische Musikzeitschrift, 63 (2008), Heft 11–12, 88–9.

17038. Jürg STENZL, Der Klang des Hohen Liedes … [additions:] 2 volumes: Textband, Notenband … (Würzburg: Verlag Königshausen & Neumann, 2008 [not 2007]).

17041R. Barbara HAGGH, Scriptorium, 61 (2007), 163*–4* (Nr. 371).

17048.Sant'Anselmo di Nonantola … [additions:] ed. Riccardo FANGAREZZI, Paolo GOLINELLI and Alba Maria ORSELLI.

17061R. Christian MEYER, Scriptorium, 61 (2007), 183* (Nr. 434), [17061b:] 172* (Nr. 407), [17061c:] 172*–3* (Nr. 408).

17065R. R. KÖPF, Scriptorium, 61 (2007), 23*–4* (Nr. 56).

17100. Robert KLUGSEDER … [additions:] 37–67.

18001.Tallin, Eesti Ajaloomuuseum (Tallin, Historical Museum), MS 237.1.238a (XIX.184; 240750), ed. Victoria GONCHAROVA, Publications of Mediaeval Musical Manuscripts 35 (Ottawa: The Institute of Mediaeval Music, 2008). Antiphonal-Gradual from Preetz (near Kiel) copied c.1525. Written in ‘Hufnagel’ notation.

18002.Antiphonarium Letaniarum. Processionale ambrosiano del 1492, Milano, Biblioteca dell'Università Cattolica del Sacro Cuore Manoscritto UC MS 5, Bibliotheca Medievalis 1, ed. Giacomo BAROFFIO and Eun Ju KIM (Lucca: Libreria Musicale Italiana, 2008).

18003.Historia Sancti Quirini – Historia Sancti Chrysogoni aus dem Benediktinerkloster Tegernsee. Einführung und Edition von Robert KLUGSEDER. Herausgegeben im Rahmen der Reihe HISTORIAE. Hgg. László DOBSZAY, Barbara HAGGH und Roman HANKELN für die Forschungsgruppe ‘Cantus planus’ der Internationalen Gesellschaft für Musikwissenschaft, Wissenschaftliche Abhandlungen – Musicological Studies 65/14 (Ottawa, 2008). Concerning D-Mbs Clm 19266, 19285, 19302, 19556, 23008, 23009, 23011, 23013, 23015, 23016, Fragment 29316–19, D-Mu 2°175, 176. HISTORIAE 1–13 see 6017, 6018, 8008, 10006, 12013, 13011, 13012, 13013, 14004, 14005, 16007, 16008, 16009.

18004.St Eriks Hystoria: The Historia of St. Erik, King and Martyr, and Patron Saint of Sweden, ed. by Ann-Marie NILSSON (Bromma: Reimers, 2003).

18005.Tropi Proprii Missae, ed. Hana VLHOVÁ-WÖRNER, Repertorium Troporum Bohemiae Medii Aevi, Pars I (Prague: Editio Bärenreiter, 2004). Pars II see 17008.

18006.The Ordinal of Montecassino and Benevento. Breviarium sive Ordo Officiorum, 11th Century, ed. Thomas Forrest KELLY, Spicilegium Friburgense 45 (Fribourg: Academic Press, 2008).

18007.Ad noticiam iam musice artius intrare volentibus – Christo igitur domino moduracionibus psallere volentibus. Dva středověké chorální traktáty z klášterní knihovny ve Vyšším Brodě – Zwei mittelalterliche Choraltraktate aus der Klosterbibliothek in Hohenfurt. Edidit, commentario testimoniisque instruxit et in linquam Bohemicam vertit – K vydání připravil, komentářem a testimonii opatřil a z latinského originálu přeložil, ed. Martin HORYNA, Universitatis Bohemiae Meridionalis & Association for Central European Culture Studies, Clavis Monumentorum Musicorum Regni Bohemiae, Series B; III (Prague: Vydalo nakladatelství KLP – Koniasch Latin Press, 2005). Including Facsimiles of CZ-VB XXXIV, fols. 33v–38v, CZ-Pu XI D 7, fols. 21v, 23, and CZ-VB 1 VB 40, fols. 1–6.

18008. Alexander RAUSCH, Der spätmittelalterliche Choraltraktat aus der Kartause Gaming (Niederösterreich). Einführung und Edition, Musica Mediaevalis Europae Occidentalis, 9 (Tutzing: Verlag Hans Schneider, 2008). Concerning A-Wn 12811.

18009. Iwo Hubert SIEKIERKA, Oficjum rytmiczne św. Francziska z Asyżu – restytucja mzyczna, Biblioteka Ośrodka Studiów Franciszkańskich 3 (Kraków: Distribution: Hurtawnia Artykułow ‘Św. Franciszek’, 2006). Including a melodic trancription of the Officium rhythmicum S. Francisci of the MSS CH-SGs 389, D-Ma 12° Cmm 1, I-Ad 5 and I-Rvat Vat. lat. 8737.

18010.Rituale Romanum Pauli V Pontifici maximi jussu editum … Ssmi D. N. Pii Papae XII auctoritate ordinatum et auctum. Editio typica 1952. Edizione anastatica e introduzione a cura di Manlio SODI – Alessandro TONIOLO, Monumenta Liturgica Piana, 2 (Vatican City: Libreria Editrice Vaticana, 2008).

18011. Giacomo BAROFFIO, L'arte del canto liturgico. Intellettuale armonia e suono ideale (Milan: I. S. U Università Cattolica, 2008).

18012. Robert BERNAGIEWICZ, Recepcja tradycji neumatycznych w notacji Graduału Wiślickiego w świetle neum liquescentes (Ząbki, 1999). Concerning PL-KI RL 1.

Review. Hubert Iwo SIEKIERKA, Studia Teologiczno-Historyczne Śląska Opolskiego, 24 (2004), 427–32.

18012a. Benjamin BRAND, Liturgical Ceremony at the Cathedral of Lucca, 1275–1500, Ph.D. diss, Yale University, 2006.

18013. Lorenzo CANDELARIA, The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo, Eastman Studies in Music 51 (Rochester NY and Woodbridge: Rochester Press, 2008).

18014. Barry Frederic Hunter GRAHAM, Bohemian and Moravian Graduals 1420–1620 (Turnhout: Brepols, 2006). Including descriptions of 134 gradual manuscripts.

Review. J. MAREK, Scriptorium, 61 (2007), 200*–1* (Nr. 471).

18015. Jacques-Marie GUILMARD, Guide pratique de chant grégorien. Les récitatifs, la prononciation, la psalmodie, les chants du prêtre à la Messe (Saint-Céneré: Téqui, 2007). Including a CD.

Review. Nino ALBAROSA, Studi gregoriani, 24 (2008), 133.

18016. K.D. HARTZELL, Catalogue of Manuscripts Written or Owned in England up to 1200 Containing Music (Woodbridge: Boydell Press in association with the Plainsong & Medieval Music Society, 2006).

Reviews. Nicolas BELL, Brio, 44/2 (Autumn/Winter 2007), 59–62. – S. THIEFFRY, Scriptorium, 61 (2007), 204*–5* (Nr. 483). – Emma HORNBY, Early Music, 36/1 (2008), 112–13. – Cynthia J. CYRUS, Speculum, 83 (2008), 708–09. – Susan RANKIN and Michael GULLICK, Early Music History, 28 (2009), 262–85.

18017. Sally HARPER, Music in Welsh Culture before 1650: A Study of the Principal Sources (Aldershot: Ashgate, 2007).

Review. Ceridwen LLOYD-MORGAN, Plainsong & Medieval Music, 18, 1 (2009), 81–5.

18018. Sven HELANDER, Den medeltida Uppsalaliturgin: Studier i helgolängd, tidegärd och mässa (Lund: Arcus, 2001).

18019. Katherine Eve HELSEN, The Great Responsories of the Divine Office: aspects of structure and transmission, Ph.D. thesis. University of Regensburg, 2008. Available online at http://www.opus-bayern.de/uni-regensburg/frontdoor.php?source_opus=1031&la=de. Concerning F-Pn lat. 12044.

18020. Irene HOLZER, Zwei Salzburger Rupertus-Offizien, Diplomarbeit, University of Salzburg, 2007.

18021. Pieter MANNAERTS and Els VERCAMMEN, Inventaris van de muziekcollectie van het begijnhof Sint-Catharina in Turnhout (Leuven: Resonant, 2005).

18022. Christian MEYER, Catalogue des manuscrits notés du Moyen Age. Collections d'Alsace, de Franche-Comté et de Lorraine. I. Colmar, Bibliothèque Municipale. Catalogue des manuscrits notés du Moyen Age conservés dans les bibliothèques publiques de France (Turnhout: Brepols, 2006).

Reviews. Michel HUGLO, Scriptorium, 61 (2007), 173*–4* (Nr. 412). – Michel HUGLO, Plainsong & Medieval Music, 17, 2 (2008), 198–9. – Daniel SAULNIER, Études grégoriennes, 35 (2008), 185–6.

18023. Anna MORELLI, Il ‘Musica disciplina’ di Aureliano di Réôme. Fondamenti teorico-disciplinari dell'ars musica nel IX secolo (Udine: Forum, 2007).

18024. Judith H. OLIVER, Singing with Angels. Liturgy, Music and Art in the Gradual of Gisela von Kersenbrock (Turnhout: Brepols, 2007). Concerning D-OSdom.

Review. Lorenzo CANDELARIA, Early Music, 36/4 (2008), 625–6.

18025. Åslaug OMMUNDSEN, Books, Scribes and Sequences in Medieval Norway, Ph. D. thesis, University of Bergen, 2007. ISBN 978-82-308-0387-5 (print version); available online at http://hdl.handle.net/1956/2252.

18026. Giulio PEROTTI and Enrico TARABINI, Ufficio della beata Vergine Maria e dei Defunti: Per la Confraternità della Beata Vergine Assunta in Morbegno (Morbegno: Oros, 2006).

18027. Arturo Tello RUIZ-PÉREZ, Transferencias del canto medieval: los tropos del ‘ordinarium missae’ en los manuscritos españoles, Ph.D. thesis, Universidad Complutense, Madrid, 2008. Available online at http://eprints.ucm.es/7758/.

18028. Leandra SCAPPATICCI, Codice e liturgia a Bobbio. Testi, musica e scrittura (secoli Xex. – XII), Monumenta Studia Instrumenta Liturgica 49 (Vatican City: Libreria Editrice Vaticana, 2008).

Review. Joseph DYER, Plainsong & Medieval Music, 18, 1 (2009), 85–9.

18029. Iwo H. SIEKIERKA, Muzyka a liturgia – zagadnienia wybrane (Wrocław: Wydawnictwo św. Antoniego, 2005).

18030. Iwo Hubert SIEKIERKA, Notacja sangalleńska i metzeńska jako współczesne źródło interpretacji chorału gregoriańskiego (Opole: Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2005). Concerning CH-E 121, CH-SGs 359 and F-LA 239.

18031. Iwo Hubert SIEKIERKA, Notacja antifonarzy z Bambergu w świetle zapisu sankt galleńskiego kodeksu Hartkera (Kraków: Księgarnia akademicka, 2006). Concerning CH-SGs 390/391, D-BAs Lit. 22, 23, 24, 25, 26.

18032. Iwo Hubert SIEKIERKA, Modalność chorału gregoriańskiego – zagadnienia wstępne (Kraków: Księgarnia akademicka, 2006).

18033. Hans SMOLDEREN, De Ambrosiaanse Gezangen. Liturgische muziek tussen autonomie en oprukkende unifromiteit, Verhandeling aangeboden tot het bekomen van de graad van licentiaat in de musicologie, Leuven, Katholieke Universiteit 1998–1999. Now available online at http://www.ethesis.net/ambrosiaanse/ambrosiaanse_inhoud.htm.

18034. Janka SZENDREI, Az Alleluia, Egyházzenei Füzetek II/1 (Budapest: A Liszt Ferenc Zeneművészeti Főiskola Egyházzenei Tanszéke és a Magyar Egyházzenei Társaság, 1995). University handbook.

18035. Janka SZENDREI, Az himnusz, Egyházzenei Füzetek I/9 (Budapest: A Liszt Ferenc Zeneművészeti Főiskola Egyházzenei Tanszéke és a Magyar Egyházzenei Társaság, 2000). University handbook.

18036. Janka SZENDREI, A ‘Verbum caro’ responzóriumtípusz, Egyházzenei Füzetek II/7 (Budapest: MTA – Liszt Ferenc Zeneművészeti Egyetem Egyházzenei Intézete és a Magyar Egyházzenei Társaság, 2003). University handbook.

18037. Janka SZENDREI, A ‘Mos patriae’ kialakulása 1341 előtti hangjegyes forrásaink tükrében (Budapest: Balassi Kiado, 2005). Concerning A-GÜ I/43, A-Gu 211, CZ-Ps DE I 7, H-Bn Ny 1, HR-Zu MR 89, MR 126, MR 165, SK-BRm EC Lad 3, TR-Itks Deissmann 60.

18038. Janka SZENDREI, Az responsorium – The Responsory, Egyházzenei Füzetek II/3 (Budapest: MTA-TKI – Liszt Ferenc Zeneművészeti Egyetem Egyházzenei Kutatócsoport & Magyar Egyházzenei Társaság, 2007). University handbook.

18039. Marica TACCONI, Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore (Cambridge: Cambridge University Press, 2005).

Review. Susan BOYNTON, Music & Letters, 89 (2008), 487–90.

18040. Diane TOULIATOS, A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece. Byzantine Chant and Other Music Repertory Recovered (Aldershot: Ashgate, 2009).

18041. Alberto TURCO, La scrittura musicale del canto gregoriano, 2 volumes, Antiquae monodiae eruditio 2–3 (Verona: Melosantiqua, 2006).

Review. Mauro CASADEI TURRONI MONTI, Studi gregoriani, 24 (2008), 134.

18042. Eva VESELOVSKÁ, Mittelalterliche liturgische Kodizes mit Notation in den Archivbeständen von Bratislava II (Bratislava: Institut für Musikwissenschaft der Slowakischen Akademie der Wissenschaften, 2006). Including 72 plates. Vol. I (2002) see 17041.

Review. Barbara HAGGH, Scriptorium, 61 (2007), 164* (Nr. 372).

18043. Chrysogonus WADDELL, The Primitive Cistercian Breviary (Staatsbibliothek zu Berlin, Preussischer Kulturbesitz, Ms. Lat. Oct. 402) with Variants from the ‘Bernardine’ Cistercian Breviary, Spicilegium Friburgense 44 (Fribourg: Academic Press, 2007).

Review. J.-B. LEFÈVRE, Revue bénédictine, 118 (2008). 185.

18044. David Russell WILLIAMS and C. Matthew BALENSUELA, Music Theory from Boethius to Zarlino: A Bibliography and Guide, Harmonologia 14 (Hillsdale, NY: Pendragon Press, 2007).

Review. Nicolas BELL, Plainsong & Medieval Music, 17, 2 (2008), 200–1.

18045. Susana ZAPKE, Fragmentos litúrgico-musicales de la edad media en archivos de Aragón (Huesca: Instituto de Estudios Altoaragoneses. Diputación General de Aragón, 2007).

18046. Jan M. ZIOLKOWSKI, Nota Bene. Reading Classics and Writing Melodies in the Early Middle Ages, Publications of The Journal of Medieval Latin 7 (Turnhout: Brepols, 2007).

Review. Michel HUGLO, Scriptorium, 61 (2007), 290*–1* (Nr. 673). – Leofranc HOLFORD-STREVENS, Early Music, 36/4 (2008), 621–2.

18047.Miscellanea Musicologica, 37 (2003), [Kolokvium Kolekce liturgických knih Arnošta z Pardubic (Geneze, výzdoba, repertoár a historický kontext), usktečněné v Praze – Kolloquium Kollektion liturgischer Bücher des Arnestus von Pardubice (Gründung, Ausschmückung, Repertoire und historischer Kontext), Prag 20.–22.11.1997]. Universitas Carolina Pragensis, Facultas Philosophica (Prague: Univerzita Karlova z Praze, Nakladatelstvi Karolinum, 2003):

(a) Hana Jana HLAVÁČKOVÁ, ‘Die Illumination der liturgischen Handschriften des Arnestus von Pardubice’, 47–62. (b) David EBEN, ‘Die Benedictus-Antiphonen von Quatember-Mittwoch und Quatember-Freitag im Prager Ritus’, 63–8. (c) Hana VLHOVÁ, ‘Das Sequentiar des Arnestus von Pardubice: das Repertoire und sein Verhältnis zum ‘Prager Ritus’, 69–88. (d) Jana VOZKOVÁ, ‘Die Offertorien im Graduale des Arnestus von Pardubice’, 89–104. (e) Zsuzsa CZAGÁNY, ‘Bemerkungen zum Prager Offizium’, 105–10. (f) Roman HANKELN, ‘Eine Tegernseer (?) Handschrift des 15. Jahrhunderts im europäischen Kontext. Zu Zusammensetzung und Stil des Repertoires von D-Mbs cgm 716’, 111–31. (g) ‘Handschriften aus der Sammlung des Arnestus von Pardubice, Register’, 133–6. (h) Zsuzsa CZAGÁNY, ‘Antiphonale Arnesti, tomus I, P VI/1’, 139–95. (i) Zsuzsa CZAGÁNY, ‘Antiphonale Arnesti, tomus II, P VI/2’, 196–235. (k) Jiří ŽŮREK, ‘Antiphonale Arnesti, tomus III, P VI/3’, 236–68. (l) Jana VOZKOVÁ, ‘Graduale Arnesti, P VII’, 269–83. (m) Hana VLHOVÁ, ‘Sequentiarium Arnesti, P VIII’, 284–9. (n) Jana VLHOVÁ, ‘Ordinarium Arnesti, P IX’, 290–3.

18048.From Dead of Night to End of Day: The Medieval Customs of Cluny – Du cœur de la nuit à la fin du jour: Les coutumes clunisiennes au moyen âge, ed. Susan BOYNTON and Isabelle COCHELIN, Disciplina Monastica 3 (Turnhout: Brepols, 2005) [16: … International Medieval Congress at Leeds in 2001, and conference … of the Centre d’études médiévales at Auxerre in 2002]:

(a) Anselme DAVRIL, ‘Coutumiers directifs et coutumiers descriptifs d'Ulrich à Bernard de Cluny’, 23–8. (b) Isabelle COCHELIN, ‘Évolution des coutumiers monastiques dessinée à partir de l’étude de Bernard’, 29–66. (c) Gert MELVILLE, ‘Action, Text, and Validity: On Re-examining Cluny's Consuetudines and Statutes’, 67–83. (d) Marc SAURETTE, ‘Excavating and Renovating Ancient Texts: seventeenth- and eighteenth-century editions of Bernard of Cluny's Consuetudines and early-modern monastic scholarship’, 85–107. (e) Susan BOYNTON, ‘The Customaries of Bernard and Ulrich as Liturgical Sources’, 109–30. (f) Jennifer A. HARRIS, ‘Building Heaven on Earth: Cluny as locus sanctissimus in the Eleventh Century’, 131–51. (g) Michel HUGLO, ‘L'office du dimanche de Pâques à Cluny au Moyen-Âge’, 153–62. (h) Diane REILLY, ‘The Cluniac Giant Bible and the Ordo librorum ad legendum: a reassessment of monastic Bible reading and Cluniac customary instructions’, 163–89. (i) Kristina KRÜGER, ‘Monastic Customs and Liturgy in the Light of Architectural Evidence: a Case Study on Processions (Eleventh-Twelfth Centuries)’, 191–220. (k) Carolyn Marino MALONE, ‘Interprétation des pratiques liturgiques à Saint-Bénigne de Dijon d'après ses coutumiers d'inspiration clunienne’, 221–50. (l) Franz NEISKE, ‘Ratio et ritus dans les coutumiers monastiques’, 251–72. (m) Scott G. BRUCE, ‘Monastic Sign Language in the Cluniac Customaries’, 273–86. (n) Riccardo CRISTIANI, ‘Integration and Marginalization: Dealing with the Sick in Eleventh-Century Cluny’, 287–5. (o) Frederick S. PAXTON, ‘Death by Customary at Eleventh-Century Cluny’, 318. (p) ‘Liber Tramitis, Prologue et préface – Liber Tramitis, Prologue and Preface. Lt. Vatican, BAV Vat. Lat. 6808, ff. 9r–10v’, 319–27. (q) ‘Coutumier d'Ulrich de Zell, épître dédicatoire et Proemium – Ulrich of Zell's Customary, Dedicatory Epistle and Prooemium, Ulr, Paris, BNF, 18353 (II), ff. 1r–3r’, 329–47. (r) ‘Coutumier de Bernard de Cluny, épître dédicatoire – Bernard of Cluny's Customary, Dedicatory Epistle, Bern, Paris, BNF, Lat. 13875, ff. 6r–v’, 349–53.

Review. Emma HORNBY, Plainsong & Medieval Music, 17, 2 (2008), 192–5.

18049.The Appearances of Medieval Rituals. The Play of Construction and Modification, ed. Nils Holger PETERSEN, Mette Birkedal BRUUN, Jeremy LLEWELLYN, and Eyolf ØSTREM, Disputatio 3 (Turnhout: Brepols, 2004) [vii: The majority of articles … are revisions of papers presented at the first international conference of the Centre for the Study of the Cultural Heritage of Medieval Rituals at the University of Copenhagen in December 2002]:

(a) Nils Holger PETERSEN, ‘Carolingian Music, Ritual, and Theology’, 13–31. (b) Donnalee DOX, ‘Roman Theatre and Roman Rite: Twelfth-Century Transformations in Allegory, Ritual, and the Idea of Theatre’, 34–48. (c) Wim VERBAAL, ‘Bernard of Clairvaux's Sermons for the Liturgical Year: A Literary Liturgy’, 49–66. (d) Mette Birkedal BRUUN, ‘Procession and Comtemplation in Bernard of Clairvaux's First Sermon for Palm Sunday’, 67–82. (e) Andreas HAUG, ‘Ritual and Repetition: The Ambiguities of Refrains’, 83–96. (f) Jeremy LLEWELLYN, ‘A Paulinus of Aquileia versus in Eleventh-century Italy’, 97–122.

Review. Helen DEEMING, Music & Letters, 87,1 (2006), 82–5.

18050.Medieval Book Fragments in Sweden. An International Seminar in Stockholm 13–16 November 2003, ed. Jan BRUNIUS, Kungl. Vitterhets Historie och Antikvitets Akademien, Konferenser 58 (Stockholm: Distributed by Almqvist & Wiksell, 2005):

(a) Jan BRUNIUS, ‘Medieval manuscript fragments in the National Archives – a survey’, 9–17. (b) Felix HEINZER, ‘Cutting the tradition – Changing attitudes towards liturgy’, 18–26. (c) Andreas HAUG, ‘Überreste von Überresten. Fragmente mittelalterlicher Handschriften als musikgeschichtliche Quellen’, 27–30. (d) Michael GULLICK, ‘Preliminary observations on Romanesque manuscript fragments of English, Norman and Swedish origin in the Riksarkivet (Stockholm)’, 31–82. (e) K.D. HARTZELL, ‘Some early English liturgical fragments in Sweden’, 83–98. (f) John TOY, ‘The fragments reveal new evidence of the cult of English saints in Sweden’, 99–108. (g) Ann-Marie NILSSON, ‘Saints’ offices in the fragments’, 184–209.

Review. S. THIEFFRY, Scriptorium, 61 (2007), 21* (Nr. 45).

18051.Präsenz und Verwendung der Heiligen Schrift im christlichen Frühmittelalter: exegetische Literatur und liturgische Texte, ed. Patrizia CARMASSI, [7: ‘Ergebnis eines Arbeitsgesprächs an der Herzog August Bibliothek zu Wolfenbüttel, das vom 6. bis 9. März 2005 im Bibelssaal der Bibliotheca Augusta stattfand’], Wolfenbütteler Mittelalter-Studien 20 (Wiesbaden: Harrassowitz Verlag, 2008):

(a) Franz Karl PRASSL, ‘Gregorianische Gesänge als klingende Exegese im Kontext der Liturgie’, 323–57.

18052.Hagiologija: kultovi u kontekstu, Zbornik radova prvog kongresa ‘Hagiothece’ održanog u Dubrovniku u listopadu 2005, ed. Ana MARINKOVIĆ i Trpimir VEDRIŠ (Zagreb: Leykam International d. d., 2008):

(a) Hana BREKO KUSTURA, ‘Iz repertoara hrvatskih srednjovjekovnih glazbenih kodeksa-napjevici u čast lokalnih svetaca’, 77–87. Concerning unicum chants from Croatian medieval sources – chants in honour of local saints.

18053.Nuove ricerche su codici in scrittura latina dell'Ambrosiana. Atti del Convegno Milano, 6–7 ottobre 2005, Bibliotheca Erudita 31, ed. Mirella FERRARI and Marco NAVONI (Milan: Vita e Pensiero, 2007):

(a) Giacomo BAROFFIO, ‘Frammenti liturgici nell'Ambrosiana’, 99–108. (b) Marco NAVONI, ‘Il manoscritto Trotti 251: la costruzione di un messale’, 109–25. (c) Lisa LONGHI, ‘Nuovi manoscritti liturgici di casa d'Este’, 307–16.

18054.Harmonia mundi. Musica mondana e musica celeste fra Antichità e Medioevo. Atti del Convegno internazionale di studi (Roma, 14–15 dicembre 2005), ed. Marta CRISTIANI, Cecilia PANTI and Graziano PERILLO, Micrologus’ Library 29 (Florence: SISMEL – Editrice del Galuzzo, 2007):

(a) Michael BERNHARD, ‘Il De institutione musica di Boezio nell'alto Medioevo’, 77–93. (b) Giacomo BAROFFIO, ‘L'ordine liturgico. Cielo e terra nel canto gregoriano’, 129–43.

18055.The Cult of St Paul in the Christian Churches and in the Maltese Tradition, Acts of the International Symposium, 26–27 June 2006, ed. John AZZOPARDI (Malta: Wignacourt Museum, 2006):

(a) Giacomo BAROFFIO, ‘Vas Electionis: Appunti sul culto di San Paolo nella liturgia latina’, 31–54.

18056.La place de la musique dans la culture médiévale. Actes du Colloque organisé à la Fondation Singer-Polignac le mercredi octobre 2006, ed. Olivier CULLIN (Turnhout: Brepols, 2007):

(a) Michel LEMOINE, ‘Saint Augustin et la musique’, 11–21. (b) Jean Marie FRITZ, ‘La réception médiévale des mythes antiques d'invention de la musique’, 23–38. (c) Daniel SAULNIER, ‘Le Verbe et la musique’, 39–45. (d) Gunilla IVERSEN, ‘Le son de la lyre des vertus. Sur la musique dans la poésie liturgique médiévale’, 47–69. (e) Jacques VERGER, ‘La musique et le son chez Vincent de Beauvais et les encyclopédistes du XIII^e siècle’, 71–85. (f) Olivier CULLIN, ‘L’œil de l'esprit: la musique, la mémoire et l’écriture au Moyen Âge’, 87–98.

18057.Carlo Magno e le Alpi. Atti del XVIII Congresso internazionale di studio sull'alto medioevo, Susa, 19–20 ottobre 2006 – Novalesa, 21 ottobre 2006, Atti dei Congressi 18 (Spoleto, Centro Italiano di Studi sull'Alto Medioevo, 2007):

(a) Giacomo BAROFFIO, ‘Manoscritti liturgici e musicali sull'arco alpino fra i secoli IX e XII’, 141–50.

18058.XI Jornadas de Canto Gregoriano. De la monodia a la polifonía. De los neumos gregorianos a los atriles de las orquestras, Zaragoza, November, 13–19, 2006 – XII Jornadas de Canto Gregoriano. Pervivencia de la tradición monástica en el pueblo. Cómo el pueblo sintió, cantó y entendió lo que los monjes vivieron, cantaron y platicaron en su monasterio, Zaragoza, November, 14–28, 2007, ed. Luis PRENSA and Pedro CALAHORRA (Zaragoza: Institución ‘Fernando El Católico’, 2008):

XI Jornadas: (a) Pedro CALAHORRA MARTÍNEZ, ‘El Requiem gregoriano en el talante polifónico’, 11–23. (b) Daniel VEGA CERNUDA, ‘De Gregorio Magno (540–604) a Juan Sebastián Bach (1685–1750)’, 25–62. (c) José SIERRA PÉREZ, ‘El canto gregoriano en los cimientos del edificio de la polifonía’, 63–98.

XII Jornadas: (d) Agustín UBIETO ARTETA, ‘Aspectos mágicos del mundo monacal medieval: leyendas, exvotos y reliquias’, 125–51. (e) Miguel MANZANO ALONSO, ‘Ecos del Canto Gregoriano en la música litúrgica de tradición oral’, 153–97. (f) José Luis GARCÍA REMIRO, ‘De cómo la vida monástica impregnó el lenguaje del pueblo con formas de hablar y expresiones que todivía perduran en nuestro idioma’, 199–242.

Jornadas de Canto Gregoriano see 9058 (1.1996), 9059 (2.1997), 10044 (3.1998), 10045 (4.1999), 12057 (5.2000), 15048 (6/7.2001/2002), 16057 (8.2003), 16058 (9/10. 2004/2005).

18059.Passagen. 18. Kongress der Internationalen Gesellschaft für Musikwissenschaft, Zürich, 10. bis 15. Juli 2007. Programm – Transitions. 18th Congress of the International Musicological Society. Programme, ed. Hans-Joachim HINRICHSEN and Laurenz LÜTTEKEN in cooperation with Cristina URCHUEGUÍA (Kassel etc.: Bärenreiter, 2007). This is a collection of abstracts, not full articles.

I. From Antiquity to Renaissance: Symposien-Symposia: Transition and Transformation in the Medieval Office, Organizer: IMS Study Group ‘Cantus Planus’:

Session I: Form and Transformation in Medieval Responsories:

(a) Ike de LOOS, ‘Old Roman and Gregorian Responsories’, 13. (b) Kate HELSEN, ‘The Use of Melodic Formulas in Responsories – Constancy and Variability in the Manuscript Tradition’, 13–14. (c) László DOBSZAY, ‘The Responsory: Type and Modulation’, 14. (d) Debra LACOSTE, ‘Responsory Tones at Klosterneuburg’, 14. (e) Gabriella GILÁNYI, ‘Against the Change? Later Corrections to the Responsory Melodies in the Franciscan Antiponale H-Bu Cod. Lat. 118’, 14. (f) James BORDERS, ‘A Woman's Place: On the Chronology of Offices for Virgins Martyrs’, 15.

Session II: Between Old and New: The Medieval ‘Historia’:

(g) Ritva Maria JACOBSSON, ‘Sicut apis prudentissima – On Liturgical Collection and Conflict’, 15. (h) Jean-François GOUDESENNE, ‘L'antifonario Novarese. Une exportation franque en Lombardie à l’époque carolingienne comparable à Benevent’, 15–16. (i) Marius BERNADÓ, ‘The Medieval Cult and Office of St. Cucuphas’, 16. (k) Kathleen NELSON, ‘The Historia of St. Hilary of Poitiers in Spanish Sources of the 11th and Early 12th Centuries’, 16. (l) Morné BEZUIDENHOUT, ‘Tradition and Innovation in the Historia of St. Liudger, First Bishop of Münster’, 16–17. (m) Zszuzsa CZAGÁNY, ‘Frühe Historien im mitteleuropäischen Raum: die ‘zweite Linie’, 17. (n) Ann BUCKLEY, ‘Source Materials for the Liturgical Veneration of St. Brigit (Brigida) of Ireland’, 17–18. (o) Hilkka-Liisa VUORI, ‘The Cantus sororum Melodies of Great Responsories: Their Background and Use’, 18. (p) Volker SCHIER, ‘More than the Sum of its Parts: The Birgittine Liturgy as Superadditive Phenomenon’, 18.

Transition in Neumatic Notations, Organizer: IMS Study Group ‘Cantus Planus’, Session I: Marks and Signs in West and East:

(q) Peter JEFFERY, ‘Prosodia imago musicæ. Accent and Punctuation Marks as Background to the Earliest Neumes’, 19. (r) Barbara HAGGH-HUGLO, Michel HUGLO, ‘From Letters of the Passion to Significative Letters. The Evidence from St. Gall and Einsiedeln’, 19. (s) Stefan ENGELS, ‘Austrian Liturgical Manuscripts with Adiastematic Neumes – New Insights’, 19–20. (t) Jurij SNOJ, ‘Some Reflections of the Origins of the Messine-German Types of Notation’, 20. (u) Ioannis ARVANITIS, ‘The Transition to the “Long” Interpretation of Byzantine Musical Notation. The Work of Akakios Chalkeopoulos (16th Century)’, 20. (v) Janka SZENDREI, ‘Graz 807 und gotische Notation’, 21. (w) Alexander VOVK, ‘Punctum contra punctum: Byzantine Neumes versus Staff Notation’, 21. (x) Alexej JAROPOLOV, ‘From Comments on the Chants to Comments on the Script’, 21–22.

Session II: Manuscripts:

(y) Christelle CAZAUX-KOWALSKI, ‘La notation de Novalèse dans le Palimpseste de Turin (F-Pn Gr 2631) et les sources de la sphère novalésane (X^e–XII^e siècle)’, 22. (z) Sandra MARTANI, ‘Ein unbekanntes Heirmologion des 12. Jhs.’, 22. (aa) Marie-Noël COLETTE, ‘Catalogue des manuscrits notés de la BNF, Paris’, 22–3. (bb) Susana ZAPKE, ‘Marginalia: Glossen und Neumen in westgotischen Handschriften’, 23.

Ser o ser. Life and Death in Iberian Musical Culture, Organizers: Jane Morlet HARDIE, Maricarmen GÓMEZ:

(cc) Juan Carlos ASENSIO, ‘Peculiaridades modales en el Officium Defunctorum hispánico’, 24. (dd) Kathleen NELSON, ‘From the darkness of the Lamentations to the Light of the Exultet’, 24–5. (ee) Grayson WAGSTAFF, ‘Matins for the Dead, Royal Exequias, and Pre-Tridentine Liturgies in Spain’, 25. (ff) Maricarmen GÓMEZ, ‘The Dance of the Death’, 25. (gg) Juan RUIZ, ‘Música tras la muerte. Fundaciones votivas y espacios rituales en la Sevilla del Renacimento’, 26. (hh) Jane Morlet HARDIE, ‘Three 16th-Century Portugese Lamentations of Jeremiah’, 26. (ii) Greta OLSON, ‘The Burial of Christ’, 26.

The Old Russian Chants on the Boundaries of Ages, Organizer: Florentina PANCHENKO:

(kk) Elena NAOUMOVA, ‘The Byzantine and The Old Russian Chants of the Early Period’, 27. (ll) Natalia RAMAZANOVA, ‘The Byzantine Hymnographers Memory in the Russian Singing Manuscripts’, 27. (mm) Ekaterina PLETYOVA, ‘Liturgical and Musical Reforms of the 15th Century in Russia’, 28. (nn) Albina KRUCHININA, ‘Pahomiy Logophet Hymnography in the Old Russian Neumed Manuscripts’, 28. (oo) Ekaterina SMIRNOVA, ‘The Russian early Polyphony on the Boundary between Middle Ages and New Ages’, 28. (pp) Florentina PANCHENKO, ‘Variety of the Styles in Russian Church Singing in the Last Half of the 17th Century and in the Beginning of the 18th Century’, 29.

Freie Referate – Free Paper Groups: Medieval Music I: Liturgy, Chair: Max LÜTOLF:

(qq) Gisèle CLEMENT-DUMAS, ‘Transmission of Visigothic Liturgy within the Romano-Frankish Liturgy. Antiphons and preces in “Catalano-Languedociens” Manuscripts’, 33. (rr) Gábor KISS, ‘Archaism or Territorial Characteristics? An Italian Melodic Taste as Manifested in the Old Roman Ordinary Repertory’, 33–4. (ss) Clyde BROCKETT, ‘Vatican Library Reginensis latinum 334: A Presentation Manuscript?’, 34. (tt) Arturo Tello RUIZ-PÉREZ, ‘De Toulouse a Toledo. Un ejemplo de transmisión cultural del canto a través de los tropos del ordinario’, 34. (uu) Stefania RONCROFFI, ‘Music and Liturgy at St. Mary Magdalen's Convent in Bologna’, 35. (vv) Gregory A. MYERS, ‘The Winds of Change. Liturgical Reforms and Musical Transitions in the 14th Century’, 35.

Medieval Music II: Notation, Chair: David HILEY:

(ww) Benjamin BREUER, ‘Time and Pitch in Réôme: ‘Modulatio’ and the Interpretation of Frankish Notation’, 36. (xx) Stefan MORENT, ‘Intervallnotation Hermanns des Lahmen im Cod. brev. 123 der WLB Stuttgart’, 36–7.

Exkursionen – Excursions: Einsiedeln: Medieval Chant at St. Gall and Einsiedeln, Organizer: IMS Study Group ‘Cantus planus’, Chair: Charles M. ATKINSON:

(yy) Jeremy LLEWELLYN, ‘Medieval Manuscripts at Einsiedeln with Musical Notation: A Preliminary Catalogue’, 49. (zz) David HILEY, ‘Gesangszyklen (historiæ) zu Ehren St. Galler Heiligen’, 49. (aaa) Calvin M. BOWER, ‘Another Look at Notker's Liber Ymnorum’, 50. (bbb) Lori KRUCKENBERG, ‘A New Kind of Song or Work-In-Progress? Transition and the Sequence, ca. 1100’, 50. (ccc) Franz Karl PRASSL, ‘St. Galler Neumen und Aufführungspraxis – Einige neuere Perspektiven’, 50. (ddd) Dirk van BETTERAY, ‘Der Codex E 121 und die adiastematischen Sankt Galler Gradualien als Schrift gewordene Zeugnisse einer (frühen) Anpassung des Gregorianischen Chorals an konkrete Bedingungen’, 51.

II. 17th & 18th Centuries: Freie Referate – Free Paper Groups: 17th Century Music II; Composers and Institutions, Chair: Margaret MURATA:

(eee) Natalia MOSYAGINA, ‘The ‘Strange Voices’ in the Znamenny Chant in the Second Half of the 17th Century’, 77.

Sacred Music II: 18th & Early 19th Centuy, Chair: Therese BRUGGISSER-LANKER:

(fff) Yuliya V. ARTAMONOVA, ‘Podobia from the Hilandar Collection: Transmission or Transition’, 90–1.

VI. Theory and Methods: Freie Referate – Free Paper Groups: Music Theory I: Aspects from Antiquity to Renaissance, Chair: Klaus-Jürgen SACHS:

(ggg) Charles M. ATKINSON, ‘From topos to eidos: Aristides and Ptolemy on the Identification of tonos’, 238.

Methodology IV: Reception of ‘Early Music’, Chair: Philippe VENDRIX:

(hhh) Stefano MENGOZZI, ‘Inventor Musicæ: Guido of Arezzo in the Italian Risorgimento’, 249. (iii) Jennifer BAIN, ‘“The Enemy is Polyphony”. Germany and the Restoration of Plainchant’, 249–50. (kkk) Jean-Pierre NOISEUX, ‘Le Tonaire de Dom Pothier et la genèse du Liber Gradualis’, 250.

VII. Interdisciplinary Perspectives: Symposien – Symposia: Das klingende Himmelreich. Historische Konzepte einer anagogisch wirksamen Musik:

(lll) Anja HEILMANN, ‘Boethius’ Musiktheorie im Kontext der neuplatonischen Mathematikkonzeption’, 271.

Appendix: Organizer: IMS Study Group ‘Cantus planus’: Liturgy and Music, Chair: David EBEN:

(mmm) Joseph DYER, ‘Observations, Liturgical and Musical, about the Palm Sunday Procession in Medieval Rome’, 327. (nnn) Nils Holger PETERSEN, ‘Medieval Liturgy and the Idea of “The Elevated”’, 327.

Iberia, Chair: Susana ZAPKE:

(ooo) Carmen Julia GUTIÈRREZ, ‘Caminos de ida y vuelta: la circulación de un repertorio tropado en la Edad Media’, 328. (ppp) Sebastián SALVADÓ, ‘Plainchant Traditions of Post-Conquest Majorca. The Cistercians and the Catalan Crusade of James the Conqueror (1213–1276)’, 328. (qqq) Jane Morlet HARDIE, ‘Spanish Liturgical Manuscripts at the University of Sydney’, 328–9. (rrr) James BOYCE, ‘Passages into the Early Modern Era. Adapting Chant Books after the Council of Trent’, 329.

Alpine Saints and Office Manuscripts, Chair: Lori KRUCKENBERG:

(sss) Bernhard HANGARTNER, ‘Historia des Hl. Fintan von Rheinau’, 329. (ttt) Margot FASSLER, Tova CHOATE, ‘Engelberg 103: Window on the Liturgical Practices of Hildegard?’, 330. (uuu) Martin CZERNIN, ‘Das Fest des heiligen Benedikt in österreichischen neumierten Handschriften’, 330.

Solesmes, Chair: Michael HUGLO:

(vvv) Jean-Pierre NOISEUX, ‘Le Tonaire de dom Pothier et la genèse du Liber Gradualis’, 330–1. See (hhh).

Eastern European Developments, Chair: Elżbieta WITKOWSKA-ZAREMBA:

(www) Hana VLHOVA-WÖRNER, ‘The Hussite Revolution and the Creation of the Vernacular Chant Repertory in the Early 15th Century’, 331. (xxx) Anette PAPP, ‘Gregorian Antiphons in Unitarian Sources’, 331–2.

Pitch, Chair: Joseph DYER:

(yyy) Shin NISHIMAGI, ‘Analyse d'un terme rare figurant dans un libellus de traité provenant de Saint-Martial de Limoges, F-Pn lat. 3713 (XII^e s.)’, 332. (zzz) Elżbieta WITKOWSKA-ZAREMBA, ‘Visual Representations of the Pitch System in Late Medieval Chant Treatises’, 332.

Hymns, Chair: Carmen Julia GUTIÉRREZ:

(aaaa) Fiona McALPINE, ‘Variant Finals in Hymns’, 333. (bbbb) Susan BOYNTON, ‘Varieties of Annotation and Adaption in Five Monastic Hymnaries from the Central Middle Ages’, 333. (cccc) Fumiko NIIYAMA, ‘Ein gemeinsames Merkmal der Nonnberger Hymnare aus der Zeit um 1500 und des Einsiedler Hymnars Cod. 366 aus dem 12, Jh.’, 333–4. Concerning A-Sn 23 D 25, A-Sn 28 D 14 and CH-E 366.

Progress Report, Chair: Barbara HAGGH-HUGLO:

(dddd) Debra LACOSTE, Andrew MITCHELL, ‘Electronic Research Tools for Chant Scholarship: The Cantus Database’, 334.

18060.Storia & Arte nella scrittura. L'Archivio Storico Diocesano di Palermo a 10 anni dalla riapertura al pubblico (1997–2007). Atti del Convegno Internazionale di Studi: Palermo, Palazzo Arcivescovile – Palazzo Alliata di Villafranca, 9–10 novembre 2007, ed. Giovanni TRAVAGLIATO (Santa Flavia: Editrice Centro Studi Aurora Onlus, 2008):

(a) Giacomo BAROFFIO, ‘La tradizione liturgico-musicale a Palermo e nella Sicilia normanna’, 355–70. (b) Pietro SORCI, ‘La Liturgia secundum consuetudinem Panormitanae Ecclesiae nei codici conservati nell'ASDPa’, 407–23.

18061.Beiträge zur Gregorianik, 45 (2008), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Johannes POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft, 2008):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Michael ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Heinrich RUMPHORST, Alexander SCHWEITZER, Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 23’, 9–40. (b) Franz Karl PRASSL, ‘Gregorianische Gesänge als Zeugnisse für patristisches Schriftverständnis’, 41–56. (c) Karl Leo HELLER, ‘Hinweise zum Stimmklang in gregorianischen Handschriften. Überlegungen zu einer klanglichen Interpretation der Oriscus-Graphien’, 57–68. (d) ‘Index der bisher restituierten Gesänge’, 80–3.

18062.Beiträge zur Gregorianik, 46 (2008), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Johannes POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft, 2008):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Michael ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Heinrich RUMPHORST, Alexander SCHWEITZER, Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 24’, 11–21. (b) Heinrich RUMPHORST, ‘Neogregorianische Gesänge’, 23–50. (c) Juan Carlos ASENSIO PALACIOS, ‘Die Interpretation der Spätgregorianik im Lichte der Semiologie’, 51–69. Concerning Codex Calixtinus. (d) M. Dolores AGUIRRE, ‘Gregorianischer Choral als Gesang der Gemeinde?’, 71–86. (e) Nino ALBAROSA, ‘Die Entwicklung der semiologischen Interpretation’, 87–93.

18063.Études grégoriennes, 35 (2008). Revue annuelle publiée sous la direction de Dom Daniel SAULNIER (Abbaye Saint-Pierre de Solesmes, 2008):

(a) Jean CLAIRE (†), ‘Le chant vieux-milanais (1)’, 5–103. (b) La Rédaction, ‘Note sur le ‘Récit de voyage paléographique’, 105–6. (c) Paul BLANCHON (†), ‘Premier voyage paléographique de D. Blanchon et D. Ménager (récit de Dom Blanchon). Voyage en Italie, 17 Août–11 et 14 Décembre 1904’, 107–73. (d) Daniel SAULNIER, ‘Les racines de l'interprétation grégorienne de dom Eugène Cardine’, 175–84.

18064.Studi Gregoriani, 24 (2008), ed. Mauro CASADEI TURRONI MONTI (Rome: Torre d'Orfeo Editrice S. r. l., 2008):

(a) Francesco LUISI, Giovanni CONTI, ‘Nino Albarosa “Doctor Musicae Sacris Honoris Causa” al Pontificio Istituto di Musica Sacra (23 maggio 2008)’, 5–10. (b) 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 VIII’, 11–36. First published in German: ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 8’, Beiträge zur Gregorianik, 28 (1999), 7–33. (c) Johannes Berchmans GÖSCHL, ‘Cento anni di Graduale Romanum’, 37–59. First published in German: ‘100 Jahre Graduale Romanum’, Beiträge zur Gregorianik, 44 (2007), 67–85. (d) Nino ALBAROSA, ‘Lo sviluppo dell'interpretazione semiologica’, 61–9. (e) Karl-Leo HELLER, ‘Indicazione sulla sonorità vocale in manoscritti gregoriani. Indagini per un'interpretazione sonora delle grafie con oriscus’, 71–83. (f) Giovanni CONTI, ‘Le fonti medievali della direzione’, 85–106. (g) Ivo Hubert SIEKIERKA, ‘Una pagina beneventana dal codice 2551 della Biblioteca Universitaria di Bologna’, 107–21. Including facsimiles. (h) Mauro CASADEI TURRONI MONTI, ‘Nota su un frammento gregoriano nell'incunabulo 159.70 della Biblioteca Malatestiana de Cesena’, 123–31. Including a facsimile, concerning a fragment of a Missale notatum from Italy, end of eleventh century.

18065.Tijdschrift voor Gregoriaans, 33 (2008), Redactie: Katrijn KUYPERS, Arnoud HEERINGS, Gerrit van OSCH, Albert KOOPMANS, uitgave van de Stichting Amici Cantus Gregoriani, Administratie: J. KWAST, Driebergen-Rijsenburg:

(a) Alfons KURRIS, Régis de la HAYE, ‘Het officie van de H. Lambertus (2)’, 2–6. Part (1) see 17064g. (b) Pieter MANNAERTS, ‘Guido Adler, het gregoriaans congres in Arezzo, 1882 (2)’, 12–16. Part (1) see 17064h. (c) Franco ACKERMANS, ‘Zingen uit het Liber Antiphonarius’, 21–4. (d) Jan van BIEZEN, ‘Het ritme van de Latijnse hymnen (2)’, 25–9. Part (1) see 17064k. (e) Marie-Louise EGBERS, ‘Wie zoekt, vindt? De spiritualiteit van het gregoriaans’, 42–4. (f) Alfons KURRIS, Régis de la HAYE, ‘Bisschop Stefanus van Luik en het officie van de Inventio Sancti Stephani’, 45–51. (g) Pieter MANNAERTS, ‘Het daghet in den oosten’, nieuw onderzoek naar muziek in begijnhoven’, 62–8. (h) Régis de la HAYE, Alfons KURRIS, ‘Stefanus van Luik en het officie van de Drieëenheid’, 89–96. (i) Stefan KLÖCKNER, ‘Komt samen allen die haar lief hebt. De introitus Laetare Ierusalem: Een jubelzang van de kerk van Christus in de tijd voor Pasen’, 105–8 (1), 135–42 (2). (k) Louis KREKELBERG, ‘Cor meum’, 148–9. Concerning the melisma Cor meum in the Offertorium Benedictus es … in labiis, Versus Viam iniquitatis.

18066.A due. Musical Essays in Honour of John D. Bergsagel & Heinrich W. Schwab – Musikalische Aufsätze zu Ehren von John D. Bergsagel & Heinrich W. Schwab, ed. Ole KONGSTED, Niels KRABBE, Michael KUBE, Morton MICHELSEN with the assistance of Lisbeth LARSEN, Danish Humanist Texts and Studies 37 (Copenhagen: The Royal Library & Section of Musicology, University of Copenhagen. Available from Museum Tusculanum Press, 2008):

(a) Rudolf FLOTZINGER, ‘Die Organa des vatikanischen Traktats’, 148–60. Concerning I-Rvat Ottob. lat. 3025. (b) Roman HANKELN, ‘Old and New in Medieval Chant: Finding Methods of Investigating an Unknown Region’, 161–80. (c) David HILEY, ‘The Office Chants for St Oswald, King of Northumbria and Martyr’, 244–59.

18067.Annäherungen. Festschrift für Jürg Stenzl zum 65. Geburtstag, ed. Ulrich MOSCH, Matthias SCHMIDT and Silvia WÄLLI (Saarbrücken: Pfau Verlag, 2007):

(a) Felix HEINZER, ‘Rupertus – novus Gallus? Die älteste Sequenz auf den Salzburger Gründungsheiligen als Ursprungserzählung’, 21–37. (b) Silvia WÄLLI, ‘Bamberg, Seeon oder Regensburg? Zu den Propriumstropen in Codex Wien, ÖNB 1845’, 38–52. (c) Franz Karl PRASSL, ‘Nova et vetera. Zum Salzburger Liber Ordinarius und seinen Kontexten’, 53–69. Concerning A-Su M II 6.

18068.Beghinae in cantu instructae. Muzikaal erfgoed uit Vlaamse begijnhoven (middeleeuwen – eind 18de eeuw), ed. Pieter MANNAERTS, Centre d’Études Supérieures de la Renaissance, Collection “Epitome musical” (Turnhout: Brepols, 2007):

(a) Walter SIMONS, ‘Begijnen, liturgie en muziek in de middeleuwen: een verkenning’, 15–25. (b) Barbara HAGGH, ‘De Brugse begijnen en de Bloedprocessie’, 27–50. (c) Pieter MANNAERTS, ‘Authenticiteit en inventie: samenstelling, verspreiding en herkomst van de officies voor de heilige Begga’, 51–78. (d) Alexander BLACHLY, ‘Het Ave verum corpus uit het Mechelse begijnhof: eenvoudige polyfonie voor de Devotio moderna’, 97–105. (e) ‘Repertorium van muziek uit Vlaamse begijnhoven: 1. Inleiding (Pieter MANNAERTS, Els VERCAMMEN), 2. Repertorium (Els VERCAMMEN, Pieter MANNAERTS), 3. Een tipje van de sluier: begijnhofmuziek in Europese context (Pieter MANNAERTS)’, 137–46, 147–230, 231–8.

18069.De musica disserenda, IV/1 (Ljubljana: Muzikološki inštitut, 2008):

(a) Debra LACOSTE, ‘Responsory tones at Klosterneuburg’, 7–21. (b) Alexej JAROPOLOV, ‘From comments on the chants to comments on the script’, 23–34. (c) Fiona McALPINE, ‘“Arripui Hymnarium”: variant finals in hymns’, 35–44. (d) Stefan ENGELS, ‘Die Notation des Millstätter Sakramentars’, 47–60. Concerning A-Kla 6/35. (e) Susana ZAPKE, ‘Kritische Anmerkungen zur Topographie der westgotischen Notation’, 61–77. (f) Anette H. PAPP, ‘Die Antiphonen der unitarischen Quellen’, 79–91. (g) Ann BUCKLEY, ‘Peregrini pro Christo: the Irish church in medieval Europe as reflected in liturgical sources for the veneration of its missionary saints’, 93–104. (h) Franz Karl PRASSL, ‘St. Galler Neumen – Protokolle erklungener Musik? Einige Perspektiven zu Fragen der Aufführungspraxis’, 107–18.

18070.Dies est leticie. Essays on chant in Honour of Janka Szendrei, ed. David HILEY and Gábor KISS, a joint publication: Institute for Musicology of the Hungarian Academy of Sciences – Institut für Musikwissenschaft, Universität Regensburg – The Institute of Mediaeval Music Ottawa, Canada, Wissenschaftliche Abhandlungen – Musicological Studies 90 (Ottawa: The Institute of Mediaeval Music, 2008):

(a) Terence BAILEY, ‘The Ambrosian Lucernaria’, 5–44. (b) Giacomo BAROFFIO, Eun Ju KIM, ‘Una nuova fonte di antifone: il processionale Vercelli CCXXXII’, 45–66. (c) James BOYCE, ‘Gregorian Chant in León: The Choirbooks of the Real Colegiata de San Isidoro’, 67–92. (d) Charles E. BREWER, ‘In Search of Lost Melodies: the Latin Songs of Graz 756’, 93–109. (e) Marie-Noël COLETTE, ‘Enigmes neumatiques (F-Pn lat. 12273, F-Pn Médailles, inv. 298; I-Rvat, reg. lat. 1529)’, 111–37 (f) Zsuzsa CZAGÁNY, ‘Adalbert-Offizien im mitteleuropäischen Raum’, 139–57. Concerning CZ-Pak P 6/2, H-Efkö I/3/2, PL-Kk 52. (g) László DOBSZAY, ‘An Old Responsory – with a Wide Range of Variants’, 159–210. (h) Joseph DYER, ‘The Power of Music According to Two Medieval Commentators’, 211–35. (i) Stefan ENGELS, ‘Ein ungarisches Fragment im Franziskanerkloster in Schwaz’, 237–42. Concerning A-SW Fragment 6a. (k) Gabriella GILÁNYI, ‘Against Change? Later Corrections to Responsory Melodies in the Franciscan Antiphoner H-Bu Cod. lat. 118, 119, 121, 122’, 243–54. (l) Roman HANKELN, ‘Die Patroklus-Neumenfragmente der Universitätsbibliothek Helsinki: Spuren einer westfälischen Lokalhistoria als Indiz überregionaler liturgisch-musikalischer Beziehungen während des Mittelalters?’, 255–75. Concerning FIN-Hy Br 13. (m) David HILEY, ‘Cycles of Chants (Historiae) in Honour of the Saints of St. Gall’, 277–94. Concerning SS. Gallus, Otmarus, Wiborada, Remaclus and Fides, and the MSS CH-SGs 388, 391 and 541. (n) Michel HUGLO & Barbara HAGGH, ‘Notes sur l'origine du Graduel de Graz UB 807’, 295–305. (o) Gunilla IVERSEN, ‘Regnum tuum solidum in Ivory Diptychs and Liturgical Manuscripts. Oberservations on Early Prosulas in the Gloria Chant’, 307–32. Concerning F-Pn Cabinet des Médailles, diptychs 3263, 3264, 3266. (p) Theodore KARP, ‘Sequences of the Eighteenth and Nineteenth Centuries’, 333–48. (q) Viacheslav KARTSOVNIK, ‘Heiliger Wikinger und heiliger Mönch: Über den gregorianischen Gesang im Kiever Reich’, 349–64. (r) Gábor KISS, ‘Notation, Designation, Practice – Tables and Repertory of the Ordinary in Graduale CO 195’, 365–91. Concerning CZ-OLzemský archiv CO 195. (s) Jerzy MORAWSKI, ‘The Te Deum laudamus in Polish Manuscripts from the Late Middle Ages – Liturgical-Musical Traditions’, 393–412. (t) Nils Holger PETERSEN, ‘Devotion and Dramaticity in the Bordesholmer Marienklage (1476)’, 413–27. Concerning D-KIu Bord. 53. (u) Franz Karl PRASSL, ‘Zur liturgische Herkunft des Antiphonars A-VOR 287’, 429–61. (v) Jurij SNOJ, ‘The Gradual of Stična/Sittich’, 463–83. Concerning SI-Las Collectanea I, fasc. 1. (w) Ruth STEINER, ‘The Transmission of Antiphons in Two Oral Chant Cultures’, 485–500. (x) Hana VLHOVÁ-WÖRNER, ‘Cum tuba praedicationis et voce magna. Tropes about the Last Judgement in the Pre-Reformation Bohemia’, 501–26. Concerning CZ-Pu V H 11. (y) ‘Selected Writings and Recordings of Janka Szendrei’, 549–59.

18071.Hispania Vetus. Manuscritos litúrgico-musicales: de los orígenes visigóticos a la transición francorromana (siglos IX–XII), ed. Susana ZAPKE (Bilbao: Fundación BBVA, 2007). Also published in English translation as Hispania Vetus. Musical-Liturgical Manuscripts: From Visigothic Origins to the Franco-Roman Transition (9th–12th Centuries):

(a) Ludwig VONES, ‘La sustitución de la liturgia hispana por el rito romano en los reinos de la Peninsula Ibérica’, 43–59. (b) Michel HUGLO, ‘La tradición de la Musica Isidori en la Peninsula Ibérica’, 61–92. (c) Manuel C. DÍAZ Y DÍAZ, ‘Notas de pasada sobre manuscritos musicados’, 93–111. (d) Maria José AZEVEDO SANTOS, ‘Las tendencias gráficas en los fragmentos litúrgico-musicales de Portugal (siglos X-XII)’, 113–25. (e) Gunilla IVERSEN, ‘Osanna vox laudabilis. Vocabulario y formas compositivas de los tropos del sanctus en los manuscritos litúrgico-musicales de la Peninsula Ibérica’, 141–58. (f) Maricarmen GOMEZ, ‘Del Iudicii signum al Cantio de la Sibila: primeros testimonios’, 159–73. (g) Barbara HAGGH, ‘La historia en honor de santo Domingo de Silos en la British Library, Add. ms. 30850’, 175–87. (h) Susana ZAPKE, ‘Sistema de notación enla Peninsula Ibérica: de las notaciones hispanas a la notación aquitana (siglos IX–XII)’, 189–243.

Review. John CALDWELL, Plainsong and Medieval Music, 18,2 (2009), 203–10.

18072.Hortus Troporum. Florilegium in honorem Gunillae Iversen. A Festschrift in Honour of Professor Gunilla Iversen at the Occasion of her Retirement as Chair of Latin at Stockholm University, ed. Alexander ANDRÉE and Erika KIHLMAN, Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia 54 (Stockholm: Stockholm Universitet, 2008. Distributed by eddy.se ab, Visby):

(a) Nicolas BELL, ‘A Sequence Collection from Périgueux: British Library, Egerton MS 945’, 3–11. (b) Dirk van BETTERAY, ‘The Sequence Victime novali zynke ses – a Melodical Restitution in Accordance with the Neumes’, 12–20. Concerning the Officium lusorum in the Codex Buranus D-Mbs Clm 4660 (not 4460!). (c) Gunilla BJÖRKVALL and Ritva JACOBSSON, ‘Diadema salutare and Synagoga praeparavit: Two Sequences for the Spinea Corona in Sweden’, 21–46. (d) Susan BOYNTON, ‘An early Notated “Song of the Sybil”’, 47–56. Concerning E-E S.I.16. (e) Marie-Noël COLETTE, ‘Le prosulaire de Moissac: Paris, BnF, n. a. l., 1871, 3^e quart du XI^e siècle’, 57–84. (f) Barbara HAGGH, ‘Simon of St Victor and the Sequence Repertory at Cambrai Cathedral’, 85–98. (g) Viacheslav KARTSOVNIK, ‘Honorius Augustodunensis of Regensburg, Liturgical tropes, and a Sequence by Notker Balbulus’, 99–117. (h) Fumiko NIIYAMA-KALICKI, ‘Marian Sequences from the Library of Stift Nonnberg, Salzburg: A Musical Example from Munich, BSB, Cgm 101’, 118–23. (i) Peter STOLZ, ‘Les Artes liberales et la louange de la Vierge: la séquence mariale Si fuerit in triuio’, 124–37. (k) Hana VLHOVÁ-WÖRNER, ‘Three; Nine; Nine and Three: Forms of kyrie Tropes in the Late Medieval Tradition’, 138–51. (l) Giacomo BAROFFIO, ‘Prosunzola. Le prosule alleluiatiche del graduale Bodmer 74’, 155–61. (m) Andrew HUGHES, ‘Defacing Becket: Damaged Books for the Office’, 162–75. (n) Michel HUGLO, ‘Notes sur l'origine du “pontifical de Poitiers” (Paris, Bibliothèque de l'Arsenal, Ms 227)’, 176–88. (o) Brian M. JENSEN, ‘Alcuin and Pseudo-Alcuin in Codex Placentinus 6’, 189–99. (p) Nils Holger PETERSEN, ‘A Note on the ‘Medieval’ Passion Liturgy in San Marco, Venice, in the Eighteenth Century’, 200–9. (q) Susana ZAPKE, ‘History, Passion Stories, and Legend in the Liturgical Poetry of the Eleventh and Twelfth Centuries’, 210–25. (r) Gilbert DAHAN, ‘La matière biblique dans le Planctus de Dina de Pierre Abélard’, 255–67.

18073.Miscellània litúrgica catalana, 12 (Barcelona: Institut d'Estudis Catalans; Societata Catalana d'Estudis Litúrgics, 2004):

(a) Gabriel BAYÉS, ‘De collectes sàlmiques a antífones: primers testimonis de l'evolució de l'any litúrgic a l'ofici catedral hispànic’, 15–21. (b) Karl-Werner GÜMPEL, ‘El Breviarium de musica i els Versus Monocordi del monjo Oliba de Ripoll’, 23–57. See 11061f. (c) Gabriel ROURA I GÜIBAS, ‘El processoner de la catedral de Girona de 1619’, 385–97.

18074.Musica Ecclesiastica – Ars Sacra. Kirchenmusik als liturgische Kunst, ed. Franz KÖRNDLE, Festgabe für Friedrich Wilhelm Riedel, Kirchenmusikalische Studien 11 (Sinzig: studio. verlag, 2007):

(a) Clemens LASHOFER, ‘Die Regula Benedicti – Fundamentum abendländischer Kirchenmusik’, 13–26. (b) Franz KÖRNDLE, ‘Res una valde incredibilis – Bedingungen für die Kirchenmusik im Mittelalter’, 55–72.

18075.Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik begründet von Friedrich Blume. Zweite, neubearbeitete Ausgabe, ed. Ludwig FINSCHER, 26 Bände in zwei Teilen. Sachteil in neun Bänden, Personenteil in siebzehn Bänden. Mit einem Register zum Sachteil, [new:] einem Register zum Personenteil und einem Supplement (Kassel, Basel, New York, Prague: Bärenreiter, and Stuttgart, Weimar: Metzler, 1994–2008).

Sachteil see 6092a–e, 7059a–b, 8077a–b, 9085a: 1 (1994), 2 (1995), 3 (1995), 4 (1996), 5 (1996), 6 (1997), 7 (1997), 8 (1998), 9 (1998), Register (1999). Personenteil see 9085b–c, 10070a–b, 11071a–b, 12071a–b, 13080a–b, 14068a–b, 15066a–b, 16071a–b, 17068a–b: 1 (1999), 2 (1999), 3 (2000), 4 (2000), 5 (2001), 6 (2001), 7 (2002), 8 (2002), 9 (2003), 10 (2003), 11 (2004), 12 (2004), 13 (2005), 14 (2005), 15 (2006), 16 (2006), 17 (2007), Register (2007). (a) Supplement, 2008: Calcidius, Michel HUGLO, 85–8. Ennodius von Pavia, 188 (Céline URLACHER). Gardner, Johann von, Svetlana ZVEREVA, 232–3. Hugo von Orléans, Michel HUGLO, 349–50. Klostermusik, Hermann ULLRICH, 408–15. Severos von Antiocheia, Christian HANNICK, 832–3. Szendrei, Janka, Ágnes WATZATKA, 901–2. Vellekoop, Cornelis, Martin van SCHAIK, 1012–13. Wenssler, Michael, Cordula SCOBEL, 1101–2. Wulfstanus Wintoniensis, Michael KLAPER, 1163–4. Zadar, 1174–9 (Zdravko BLAŽEKOVIĆ).

18076.Praise No Less Than Charity. Studies in Honor of M. Chrysogonus Waddell, Monk of Gethsemani Abbey. Contributions from Colleagues, Confrères, and Friends on the Occasion of the Fiftieth Anniversary of His Monastic Profession, ed. E. Rozanne ELDER, Cistercian Studies 193 (Kalamazoo, Michigan: Cistercian Studies, 2002):

(a) Adalbert de VOGÜÉ, ‘One Last Trace of Psalm Prayers?’, 17–30. (b) Pascal COLLOMB, ‘La liturgie et le récit. L'exemple du Grand Exorde de Cîteaux’, 31–52. (c) Claire MAÎTRE, ‘A propos des chants du célébrant dans le manuscrit Dijon, 114’, 53–83.

18077.Psallite sapienter. A 80 éves Béres György köszöntése – Festschrift zum 80. Geburtstag von Georg Béres, ed. István VERBÉNYI (Budapest: Szent István Társulat, 2008):

(a) Nino ALBAROSA, ‘Un diverso tipo di epiphonus praepunctis’, 29–38. (b) Joachim F. ANGERER, ‘Vom Graduale Romanum, dem Handexemplar des fr. E. Cardine, Ex Libris Sacrarii S. Petri Solesmensis Ad Usum Hospitum zum Graduel neumé bzw. Graduale Triplex’, 39–60. (c) István ANGI, ‘Az éthoszrendek szimbolikája a gregorián ének történetében’, 61–98. (d) István BAÁN, ‘Görög katolikus liturgikus reformkísérlet a II. Vatikáni Zsinat után’, 99–111. (e) Harald G. BUCHINGER, ‘Gregor der Große und die abendländische Liturgiegeschichte: Schlüssel- oder Identifikationsfigur?’, 113–54. (f) László DOBSZAY, ‘Az élő gregorián’, 155–63. (g) Ilona FERENCZI, ‘“Más-képpen: a mint itt mi nálink ünnepi-napokon szoktak az Templomban énekleni.” – Egy XVII. századi eperjesi imádságos könyv énekeiről’, 165–81. (h) Johannes Berchmans GÖSCHL, ‘Zurück zu den Ursprüngen – Zur Frage der Melodierestitution des gregorianischen Messpropriums’, 183–210. (i) Anselm GRÜN, ‘Die spirituelle Wirkung der acht Tonarten des Chorals’, 211–22. (k) Godehard JOPPICH, ‘Ritenuto, Ritardando und Accelerando. Ein Brief’, 237–84. (l) Xaver KAINZBAUER, ‘Die Virga quilismata’, 285–320. (m) Dezső KARASSZON, ‘Magyar “Crux fidelis” 1636-ból’, 321–9. Concerning the so-called Öreg Gradual, a Protestant Hungarian gradual, printed in Alba Julia, Romania (formerly Gyulafehérvár, in German Karlsburg, in Transylvania), 1636. (n) Stefan KLÖCKNER, ‘“Omne verbum sonat”. Zur Semantik der Neumen’, 331–48. (o) Alfons KURRIS, Franco ACKERMANS, ‘Die Neumentrennung als Textinterpretation in den Antiphonen des 1. und 8. Modus im Schriftbild Hartker’, 349–69. (p) Franz Karl PRASSL, ‘Codex St. Gallen 342 – eine wichtige Quelle für semiologische Studien’, 401–33. (q) Heinrich RUMPHORST, ‘Die Tristropha im Kontext – Überblick und Einzelbeobachtungen’, 435–70. (r) Ferenc SAPSZON, ‘A gregorián ének betanítása’, 471–9. (s) Zoltán SZILÁRDFY, ‘“Vita, dulcedo et spes nostra salve”. Köszöntő Mozart és Hermannus Contractus féyében’, 481–4. (t) Margit TÓTH, ‘Rövid ismertetés a kopt zenéről’, 484–92. (u) Alberto TURCO, ‘Antico Milanese. Le Messe di Natale’, 499–529. (v) István VERBÉNYI, ‘“Veni ad salvandum nos”. A Messiás tevékenysége az Ó-antifónákban’, 531–45. (w) Stephan ZIPPE, ‘Notation von Liqueszenztönen im Liniensystem. Ein Problem der melodischen Restitution’, 547–57.

18078.Studies in Medieval Chant and Liturgy in Honour of David Hiley, ed. Terence BAILEY and László DOBSZAY, a joint publication: Institute for Musicology Budapest, Hungary – The Institute of Mediaeval Music Ottawa, Canada, Wissenschaftliche Abhandlungen – Musicological Studies 87 (Ottawa: The Institute of Mediaeval Music, 2007):

(a) Terence BAILEY, ‘The Ambrosian responsoria gradalia: Their Place in the Liturgy; the Adaption of a Type-melody’, 3–28. (b) Giacomo BAROFFIO, Eun Ju KIM, ‘Reconditio Sanctorum: un inedito ufficio ritmico italiano (Tortona, Bibl. Capitolare, B, 178r)’, 29–43. (c) Michael BERNHARD, Calvin M. BOWER, ‘The Ps.-Guidonian Tractatus correctorius multorum errorum’ 45–77. (d) Walter BERSCHIN, ‘Das sanktgallische Wiborada-Offizium des XI. Jahrhunderts’, 79–85. (e) Susan BOYNTON, ‘Uses of the Liber Tramitis at the Abbey of Farfa’, 87–104. (f) John CALDWELL, ‘Crossing the Tridentine Divide: Continuity and Change in Liturgical Chant, 1300–1900’, 105–32. (g) László DOBSZAY, ‘Tres vidit et unum adoravit’, 133–48. (h) Joseph DYER, ‘Raymund Schlecht: A Forgotten Nineteenth-Century Choralforscher’, 149–77. (i) Manuel Pedro FERREIRA, ‘Cluny at Fynystere: One Use, Three Fragments’, 179–228. (k) Bryan GILLINGHAM, ‘The Provenance of Cambridge, University Library, Ff. I. 17 (1)’, 229–45. (l) Barbara HAGGH, ‘The Office of St. Jean of Réôme: Its Notation, Music and Message’, 247–74. (m) Roman HANKELN, ‘Texting Techniques in St Olav's Augustine-Responsories’, 275–93. (n) Michel HUGLO, ‘Remarques sur l'antiphonaire vieux-romain de Londres (British Library, Additional MS 29988’, 295–307. (o) Gunilla IVERSEN, ‘Prudentia prudentium: An Extraordinary Gloria-trope from St Alban in Mainz’, 309–22. Concerning GB-Lbl Add. 19768. (p) Ritva Maria JACOBSSON, ‘Petro ad ostium pulsanti – On the Interplay of Roles in Saints’ Tropes’, 323–39. (q) Thomas Forrest KELLY, ‘Sequences at Sens’, 341–67. Concerning F-Pn lat. 1206, F-Pn n. a. lat. 115, F-SEm 16, 17, F-Pn lat. 10502. (r) Edward NOWACKI, ‘The Distributional Evidence for Orality’, 369–83. (s) Ruth STEINER, ‘Lenten Antiphons in euangelio’, 385–412. (t) Janka SZENDREI, ‘“Altius canuntur?” Durandus on the Performance of the Te deum’, 413–24. (u) Christian TROELSGÅRD, ‘The Byzantine Office for the Translation of Saint Nicholas to Bari (AD 1087)’, 425–42. (v) Hana VLHOVÁ-WÖRNER, ‘Die späten Ordinariumstropen im Graduale aus Moosburg’, 443–72. Concerning D-Mu 2°156. (w) Roman HANKELN, ‘The Writings of David Hiley’, 473–90.

18079.Modus, Revista do Instituto Gregoriano de Lisbõa 6 (2002–2006):

(a) Annie DENNERY, ‘Le chant grégorien. Un chant formulaire, centonisé et structurel: les avatars du Benedicamus Domino’, 19–31. (b) Jacques VIRET, ‘La musique céleste: approches cosmologique, théologique, liturgique, mystique’, 45–78. (c) Maire EGAN-BUFFET, ‘La musique du drame liturgique de Pâques: The Dublin Visitatio Sepulchri Play’, 107–10.

18080.Musica e storia, 11/3 (2003) (Venice: Fondazione Ugo ed Olga Levi):

(a) László DOBSZAY, ‘Aquileia between Central Europe and Italy: The Officia Divina’, 401–26. (b) Janka SZENDREI, ‘Laetabitur deserta – Italienische Einflüsse im mitteleuropäischen Choral’, 427–43. (c) Giacomo BAROFFIO, ‘Tropi e sequenze in Italia: nuove testimonianze’, 445–64 (see 15085). (d) Lucia BOSCOLO, ‘Gli Uffici propri dei santi Ilario e Taziano, Donato e Giorgio secondo la tradizione della Diocesi di Aquileia’, 465–546. (e) Anna VILDERA, ‘Le antifone dell'Ordinario padovano con riferimento al repertorio Nord Orientale europeo’, 537–74. (f) Marco GOZZI, ‘Il canto liturgico nella diocesi di Trento in relazione al repertorio del Nord-Est europeo’, 575–617.

18081.Musica e storia, 14/2 (2006):

(a) Alba SCOTTI, ‘Una nuova tendenza compositiva nel repertorio dei tropi dei responsori nel patriarcato di Aquileia’, 221–44. (b) Marco GOZZI, ‘Alle origini del canto fratto: il Credo Cardinalis’, 245–301. (c) Jurij SNOJ, ‘Two Melodic Versions of the Office of SS Hellarus and Tacianus’, 303–21. (d) Janka SZENDREI, ‘Melodische Neuschöpfung in einer Gruppe spätmittelalterlicher Alleluia-Gesänge’, 323–7. (e) Massimiliano LOCANTO, ‘La tradizione dei tropi liturgici a Pistoia nel XII secolo. Uno sguardo d'insieme sul manoscritto Pistoia, Archivio Capitolare, C 121’, 381–477. (f) Angelo RUSCONI, ‘Esempi di canti neo-ambrosiani’, 479–86.

18082.Musica e storia, 14/3 (2006): La didattica dell'ascolto, ed. Giuseppina LA FACE BIANCONI, Round Table I: ‘Musica medievale e rinascimentale. Alleluia Dies sanctificatus (In Nativitate Domini, ad missam in die)’:

(a) Cristina BALDO, ‘Ascolto musicale, filo d'Arianna nel labirinto sonore’, 545–61. (b) Mario CARROZZO, ‘Il cantus obscurior e la mente bicamerale. Strategie di ascolto del canto liturgico nella didattica per gli adulti’, 563–78. (c) Daniele SABAINO, ‘Per un'integrazione di musica e cultura. Spunti tematici interdisciplinari per lezione a studenti universitari di discipline umanistiche’, 579–90.

18083.Plainsong & Medieval Music, 17, 1 (2008):

(a) Terence BAILEY, ‘A lost Ambrosian antiphoner of Southern Italy’, 1–22. Concerning I-Rvat Ottoboni lat. 3 (f. 1a r-v), including facsimiles and transcriptions. (b) Benjamin BRAND, ‘The vigils of medieval Tuscany’, 23–54. (c) Andreas PFISTERER, ‘Italian and Gallican alleluia psalmody’, 55–68. (d) Jerome F. WEBER, ‘Recent recordings of plainchant’, 69–80.

18084.Plainsong & Medieval Music, 17, 2 (2008):

(a) ‘Dom Jean Claire, OSB (1920–2006)’, iii–iv. (b) Jean CLAIRE (†), ‘Modality in western chant: an overview’, 101–27. (c) Marie-Noël COLETTE, ‘The melodic nucleus derived from anaphoral chant: “signature tune” of Kyrie eleison melodies’, 129–46. (d) Jerome F. WEBER, ‘Discography of Dom Jean Claire directing the monks of Solesmes’, 147–152.

18085.Rivista internazionale di musica sacra, Nuova serie 28/1 (2007), ed. Giacomo BAROFFIO (Lucca: LIM Editrice):

(a) Martin ŠTRBÁK, ‘Die ältesten erreichbaren Offiziumsantiphonen des Palmsonntags (II)’, 7–66. Part (I) see 17075a. (b) Eun Ju KIM, ‘“Puer natus”: osservazioni sulla tradizione musicale di un introito’, 67–96. (c) Rado Ioan MUREŞAN, ‘L’ “Octoechos” della Chiesa greco-cattolica romena secondo il modo di canare della Cattedrale di Blaj’, 97–117. (d) Brian M. JENSEN, ‘Saints celebrated with a Proper Mass in Piacenza in the XI–XIV Centuries’, 119–31. (e) Gionata BRUSA, ‘Il “Liber Ordinarius Ecclesiae Vercellensis”’, 133–69. (f) Giacomo BAROFFIO, ‘Il “Dialogus de musica” e l'antifona “Deum trinum et unum”’, 171–2. (g) Patrizia DURANTE, ‘Manoscritti con canto fratto a Nardò e Leverano’, 173–214. Including 26 facsimiles.

18086.Rivista internazionale di musica sacra, Nuova serie 28/2 (2007), ed. Giacomo BAROFFIO (Lucca: LIM Editrice):

(a) Fabio LODATO, ‘Fonti ambrosiane: la festa della Purificazione’, 7–184. (b) Anton STINGL jun., ‘Die Repetenda zur Antiphona ad communionem’, 185–201. (c) Giacomo BAROFFIO, ‘Una battuta di caccia: le antifone vaganti’, 203–7.

18087.Rivista internazionale di musica sacra, Nuova serie 29/1 (2008), ed. Giacomo BAROFFIO (Lucca: LIM Editrice):

(a) Elsa DE LUCA, ‘Il canto dell'Exultet nella liturgia beneventana’, 63–104. (b) Anton STINGL jun., ‘Die neutestamentlichen Kommunionverse im Graduale von Albi’, 105–22. Concerning F-Pn lat. 776. (c) Gionata BRUSA, ‘Antifona ante evangelium: nuove testimonianze italiane. I-Ante evangelium a Vercelli’, 123–7. (d) Giacomo BAROFFIO, ‘Antifona ante evangelium: nuove testimonianze italiane. II-Ante evangelium a Montecassino’, 129–30. (e) Martin ŠTRBÁK, ‘Die ältesten erreichbaren Offiziumsantiphonen des Palmsonntags (III)’, 133–68. Part (I) see 17075a, Part (II) see 18085a. (f) Giacomo BAROFFIO, ‘Patrimonio librario – Codici liturgici - TAV’, 195–202.

18088.Rivista internazionale di musica sacra, Nuova serie 29/2 (2008), ed. Giacomo BAROFFIO (Lucca: LIM Editrice):

(a) Giacomo BAROFFIO, ‘Musica – liturgia – preghiera nelle comunità monastiche femminili’,15–36. (b) Martin ŠTRBÁK, ‘Die ältesten erreichbaren Offiziumsantiphonen des Palmsonntags (IV)’, 7–66. Part (I) see 17057a, Part (II) see 18085a, Part (III) see 18087e. (c) Eun Ju KIM, ‘La Salve regina solenne nelle tradizioni medievali’, 59–94. (d) Luca Basilio RICOSSA, ‘L'Antiphonale Missarum milanese Iuxta Ritum Sanctae Ecclesiae Mediolanensis’, 117–23. (e) Domenico de CESARE, ‘I due kyriali di Molfetta e un Credo a canone’, 125–59. (f) David MERLIN, ‘Testimoni veronesi di canto fratto’, 161–86.

18089.Iacopone da Todi e l'arte umbra nel Duecento. Catalogo della mostra, Todi, Palazzi Comunali, Museo Pinacoteca 2 dicembre 2006 – 2 maggio 2007, ed. Enrico MENESTÒ and Fabio BISOGNI (Milan: Skira, 2006).

Review. Guido MILANESE, Rivista internazionale di musica sacra, 29/1 (2008), 206–8.

18090. Giacomo BAROFFIO, ‘San Pier Damiani e la tradizione liturgico-musicale avellanita’, La Nota, 5/11, 2005–2006, 7–12.

18091. Giacomo BAROFFIO, ‘La tradizione liturgico-musicale a Novara nel medioevo’, Diocesi di Novara, ed. Luciano VACCARO and Dorino TUNIZ, Storia religiosa della Lombardia. Complementi 2 (Brescia: Editrice La Scuola, 2007), 489–504.

18092. Giacomo BAROFFIO, ‘La tradizione musicale degli Inni di sant'Ambrogio’, Studia Ambrosiana. Ricerche e studi su Ambrogio e la sua epoca, 2 (2008), 251–61.

18093. Giacomo BAROFFIO, ‘Nota Romana: l'espansione delle notazioni italiane e l'area d'influsso dei Canossa’, Matilde e il tesoro dei Canossa tra castelli, monasteri e città, ed. Arturo CALZONA (Cinisello Balsamo: Silvana Editoriale, 2008), 165–75.

18094. Hana BREKO KUSTURA, ‘Sinjski kantuali fra Petra Kneževića (1767.) u kontekstu ‘polifonie semplice’ i ‘cantus fractusa’ – konkordanca s talijanskim izvorima’, Povijesni prilozi [Historical Contributions], (Zagreb, September 2008), 115–38. Concerning chant books by friar Petar Knežević 1767, in the context of Polifonie semplice and cantus fractus – concordances with the Italian sources.

18095. Hana BREKO KUSTURA, ‘Primjeri jednostavnog višeglasja iz Hrvatske u europskom kontekstu’, Arti musices, 39/1 (Zagreb, 2008), 3–33. Concerning examples of simple polyphony from Croatia in European context.

18096. Virginia BROWN, ‘Two Beneventan Scribes and the Verse of Paulus Diaconus et Monachus in Montecassino, Archivio dell'Abbazia 349’, Segno e Testo, 5 (2007), 227–62. Concerning the Versus Clara beati agnoscere Pauli dogmata qui vult.

18097. Santiago CANTERA MONTENEGRO, ‘Opus Dei y Devotio Moderna – El Directorio de la Horas Canónicas de García Jiménez de Cisneros, O. S. B.’, Studies in Spirituality, 16 (2006), 165–80.

18098. Annie DENNERY, ‘La virtuosité cachée; analyse de deux tropes des chants de la messe, Hodie cantandus est et Terra tremuit’, Le Jardin de musique, Association Musique Ancienne en Sorbonne, 2, 1 (Paris, 2005), 1–15.

18099. D. DI RIENZO, ‘L'hymnus vespertinus di Ennodio’, Bollettino di studi latini, 34 (2005), 626–44.

18100. Joseph DYER, ‘Roman Processions of the Major Litany (litaniae maiores) from the Sixth to the Twelfth Centuries’, Roma Felix: Formation and Reflections of Medieval Rome, ed. Éamonn Ó CARRAGAIN and Carol NEUMAN DE VEGVAR (Aldershot: Ashgate, 2002), 112–37.

18101. Cecilia M. GAPOSCHKIN, ‘Ludovicus decus regnantium and the Ideological Program of Philip the Fair’, Majestas, 10 (2002), 27–90.

18102. John HAINES, ‘A musical fragment from Anglo-Saxon England’, Early Music, 36/2 (2008), 219–29. Concerning a single line of neumatic notation in GB-DRc B.II.30, fol. 24r.

18103. Jane Morlet HARDIE, ‘Spanish Liturgical Music Manuscripts at the University of Sydney: A Preliminary Report’, Fontes Artis Musicae, 55, 1 (2008), 205–22. Concerning AUS-Sfl Fisher RB Add. Ms. 327, 335, 344, 349, 351, 354, 355, 356, 357, 358.

18104. Felix HEINZER, ‘Die “heilige Königstochter” in der Liturgie. Zur Inszenierung Elisabeths im Festoffizium “Laetare Germania”’, Elisabeth von Thüringen – eine europäische Heilige. 3. Thüringer Landesausstellung Wartburg-Eisenach 2007. Aufsätze, ed. Dieter BLUME, Matthias WERNER (Petersberg, 2007), 215–25. See also Catalogue No. 123 Das Reimoffizium “Laetaere Germania” zu Ehren der heiligen Elisabeth, 193–4, including the facsimile of a bifolio (D-EIw 25/96).

18105. Michel HUGLO, ‘L’étude des diagrammes d'harmoniques de Calcidius au Moyen Âge’, Revue de musicologie, 91 (2005), 305–18.

18106. Thomas Forrest KELLY, ‘Old Roman chant and the responsories of Noah: New evidence from Sutri’, Early Music History, 26 (2007), 91–120. Concerning I-Sutri, Archivio Comunale, Frammenti teologici 40 and 41 (end of XIth century).

18107. Linda Maria KOLDAU, ‘Musik in den Frauenklöstern des Alten Reichs’, Kirchenmusikalisches Jahrbuch, 91 (2007), 7–24.

18108. Linda Maria KOLDAU, ‘Die Regel und ihre Ausgestaltung. Voraussetzungen und Methoden zur Erforschung der Musik in Frauenklöstern des Mittelalters und der Frühen Neuzeit’, Die Musikforschung, 61 (2008), 330–48.

18109. Katarina KOPREK, ‘Il manoscritto Cantorale fratrum beatae Mariae Virginis de Monte Carmelo di Dubrovnik (Croazia)’, Teresianum, 59 (2008), 135–45. Concerning HR-Dmb 456 written in 1775.

18110. Elsa MARGUIN-HAMON, ‘Tradition manuscrite de l'oeuvre de Jean de Garlandia’, Revue d'Histoire des Textes, N. S. 1 (2006), 189–257.

18111. Constant J. MEWS, Catherine JEFFREYS, Leigh McKINNON, Carol WILLIAMS, and John N. CROSSLEY, ‘Guy of Saint-Denis and the Compilation of Texts about Music in London, British Library, Harl. MS. 281’, The Electronic British Library Journal, Article 6 2008 (available online at www.bl.uk/eblj/2008articles/article6.hmtl).

18112. Kathleen E. NELSON, ‘Fragments of Medieval Chant Manuscripts at the University of Sydney’, Fontes Artis Musicae, 55, 1 (2008), 223–31. Concerning AUS-Sfl Fisher RB Add. Ms. 1, 327, 339.

18113. Andreas ODENTHAL, ‘“… matutinae, horae, vesperae, completorium maneant …”. Zur Umgestaltung der Offiziumsliturgie in den Kirchen des frühen Luthertums anhand ausgewählter Quellen’, Jahrbuch für Liturgik und Hymnologie, 46 (2007), 89–122.

18114. Lidia PERRI and Donatella BUCCA, ‘Per lo studio dei manoscritti musicali del SS. Salvatore di Messina’, Nuovi Annali della Scuola speciale per archivisti e bibliotecari, 21 (2007), 5–20. Concerning manuscripts of Byzantine chant.

18115. Maria Alessandra PETRETTO, ‘Quid sit intervallum, tonus et semitonium: Denominazioni musicali in Boezio’, Paideia: rivista di filologia, ermeneutica e critica letteraria, 62 (2007), 591–627.

18116. Klaus PIETSCHMANN, ‘Zeit und Ewigkeit. Zum liturgischen Kontext der Gradual- und Alleluia-Gesänge im Magnus Liber Organi’, Archiv für Musikwissenschaft, 66 (2009), 54–68.

18117. Franz Karl PRASSL, ‘Gregorianischer Choral. Editionen und Gesamtdarstellungen’, Archiv für Liturgiewissenschaft, 49 (2007), 194–249.

18118. Franz Karl PRASSL, ‘Liturgie verstehen durch Musik’, Liturgie verstehen. Ansatz, Ziele und Aufgaben der Liturgiewissenschaft, ed. Martin KLÖCKENER, Benedikt KRANEMANN, Angelus A. HÄUSSLING, in collaboration with Stefan K. LANGENBAHN, Archiv für Liturgiewissenschaft, Jahrgang 50, Jubiläumsband (Fribourg: Academic Press, 2008), 356–70.

18119. Luis PRENSA VILLEGAS, ‘La Música en iglesias y monasterios medievales’, Arte y vida cotidiana en la época medieval, ed. Maria del Carmen LACARRA DUCAY (Zaragoza: Institución “Fernando el Católico”, 2008), 49–87 (Actas Arte).

18120. Susan RANKIN, ‘Music for a Late Anglo-Saxon Benedictine Abbey: The Winchester Troper’, British Academy Review, 11 (July 2008), 27–30. Concerning GB-Ccc 473, available online at http://www.britac.ac.uk./pubs/review/_pdfs/11/10-rankin.pdf.

18121. Derek A. RIVARD, ‘Pro iter Agentibus: the ritual blessings of pilgrims and their insignia in a pontifical of southern Italy’, Journal of Medieval History 27, 4 (2001), 365–98. Concerning a pontifical from southern Italy, early thirteenth century.

18122. Angelo RUSCONI, ‘L'Ordalia della croce per il primato del Cantus Romanus sull’ Ambrosianus nel Cod. 318 di Montecassino’, Musica e storia, 13/1 (2005), 5–23.

18123. Leandra SCAPPATICCI and Rodobaldi TIBALDI, ‘Una nuova fonte per lo studio della sequenza e della polifonia liturgica “arcaica”. Acqui Terme, Biblioteca del Seminario, Ms I’, Musica e storia, 11/2 (2003), 197–239.

18124. Leandra SCAPPATICCI, ‘Un nuovo frammento inedito bobbiese’, Nuovi Annali della Scuola Speciale per Archivisti e Bibliotecari, 19 (2005), 41–9. Concerning I-BOBsc frag. 3, fragment of a Missale notatum, first half of twelfth century.

18125. Josef J. SCHMID, ‘Die Messes Royales von Henri Du Mont – Kulturpolitik, Choralreform und Kirchenmusik vom Grand Siècle bis ins 20. Jahrhunderts’, Kirchenmusikalisches Jahrbuch, 91 (2007), 7–24.

18126. Hubert Iwo SIEKIERKA, ‘Najstarsze świadectwa notacji chorału gregoriańskiego’, Liturgia Sacra, 5 (1999), 105–19.

18127. Hubert Iwo SIEKIERKA, ‘Znaczenie artykulacji neumatycznej w chorale gregoriańskim’, Liturgia Sacra, 6 (2000), 85–97.

18128. Hubert Iwo SIEKIERKA, ‘Rytm w chorale gregoriańskim’, Liturgia Sacra, 8 (2002), 75–87.

18129. Hubert Iwo SIEKIERKA, ‘Fragment nr 3 rękopisu muzycznego z Biblioteki Franciszkanów w Opolu’, Studia Franciszkańskie, 14 (2004), 321–337.

18130. Janka SZENDREI, ‘Source Research in Hungary after 1970’, Fragmenta ne pereant. Recupero e studio dei frammenti di manoscritti medievali e rinascimentali riutilizzati in legature, ed. Mauro PERANI and Cesarino RUINI (Ravenna: Longo Editore, 2002), 141–55.

18131. Janka SZENDREI, ‘Magyarországi ágostonos kanonokok misszáléja: Gniezno, Biblioteka Katedralna Ms. 150’, Magyar Egyházzene, 11/2–3 (2003–2004), 267–78. Concerning PL-GNd 150.

18132. Janka SZENDREI, ‘Egy középkor-végi dallamtípus jelentkezése az alleluia-műfajban’, Zenetudományi Dolgozatok, 2005, 111–38. Concerning a late medieval melody type in the Alleluia repertory.

18133. Janka SZENDREI, ‘Egy responzórium hagyományának elágazásai’, Magyar Egyházzene, 14/3 (2006/2007), 243–57. Concerning different branches in the transmission of a responsory.

18134. Janka SZENDREI, ‘Ardua spes mundi: Régio, regnum, locus találkozása egy középkori költeményben’, Zenetudományi Dolgzatok, 2006/2007, 1–8. Concerning Ardua spes mundi: a connection of region, regnum and locus in a medieval poem.

18135. Hana VLHOVA-WÖRNER, ‘Kontrafaktum, Kontrapositum a parafráze – Několik poznámek k repertoáru sekvencí českého původu. – Kontrafaktum, Kontrapositum und Paraphrase – Einige Bemerkungen zum Repertoire der Sequenzen böhmischen Ursprungs’, Querite primum regnum Dei. Sborník příspěvků k poctě Jany Nechutvé. Sammelband für Jana Nechtová. K vydání připravili, ed. Helena KRMÍČKOVA, Anna PUMPROVÁ, Dana RŮŽIČKOVÁ and Libor ŠVANDA (Brno: Matice moravska, 2006), 507–14. Concerning the Sequence Zdráv bud, otče dobrotivy in honour of Saint Wenceslaus in CZ-Pn II C 7.

18136. Susana ZAPKE, ‘The Visigothic dream. The Hispanic rite in the eras of humanism and enlightenment’, Goldberg. Early Music Magazine, 53 (2008), 66–73.

18137. Alexander ZERFASS, ‘Staunen – Fragen – Schweigen. Abaelards Jerusalemhymnus O quanta qualia als Versuch, das Unsagbare zu sagen’, Archiv für Liturgiewissenschaft, 47 (2005), 46–58.