17004R. Zsuzsa CZAGÁNY, Zenetudományi Dolgozatok (2008), 359–69. Summary in German 370–1. – Barbara HAGGH, Scriptorium, 63 (2009), 118* (Nr. 305) – Andrea KOVÁCS, Plainsong & Medieval Music, 19/2 (2010), 218–22.

17027R. Susana ZAPKE, Musik in Bayern, 72–73 (2007–2008) (Tutzing: Verlag Hans Schneider, 2010), 215–19. – Pieter MANNAERTS, Music & Letters, 91 (2010), 245–8.

17038R. Ann-Katrin ZIMMERMANN, Die Musikforschung, 63 (2010), 305–7.

17063R. Hubert Iwo SIEKIERKA, Studia gregoriańskie, 1 (2008), 87–93.

18015R. Franz Karl PRASSL, Beiträge für Gregorianik, 49 (2010), 95.

18016R. David HILEY, Plainsong & Medieval Music, 19/2 (2010), 208–13.

18043R. Alexander PATSCHOVSKY, Deutsches Archiv für Erforschung des Mittelalters, 64 (2008), 702–3.

18063R. Hubert Iwo SIEKIERKA, Studia gregoriańskie, 2 (2009), 145–52.

18064R. Mariusz BIAŁKOWSKI, Studia gregoriańskie, 2 (2009), 153–7.

18072R. Michel HUGLO, Scriptorium, 63 (2009), 54* (Nr. 134), Essays: 6* (Nr. 12), 8* (Nr. 17), 12* (Nr. 26), 21* (Nr. 54), 47* (Nr. 115), 54*–5* (Nr. 136), 55* (Nr. 138), 58* (Nr. 143), 81* (Nr. 208), 84* (Nr. 214), 113* (Nr. 298), 129* (Nr. 338), 187*–8* (Nr. 473), 237*–8* (Nr. 613), 241* (Nr. 627).

19008R. Stefano MENGOZZI, Journal of Musicological Research, 29 (2010), 265–8.

19013R. Linda Maria KOLDAU, Die Musikforschung, 63 (2010), 423–5.

19018R. Stefan KLÖCKNER, Musica sacra, 130 (2010), 282.

19019R. Kate HELSEN, Early Music, 39/1 (2011), 93–5.

20001.Bratislavský antifonár II (Hanov kódex), CD-ROM, Edícia Memoria Slovaciae – medii aevi manuscripta, ed. Július SOPKO, L'ubomir JANKOVIČ, Dušan BURAN (Martin: Slovenská národná knižnica, 2000). Concerning SK-BRm EC Lad. 4 (Knauz 5).

20002.Bratislavský antifonár I, CD-ROM, Edícia Memoria Slovaciae – medii aevi manuscripta, ed. Július SOPKO, L'ubomir JANKOVIČ, Dušan BURAN (Martin: Slovenská národná knižnica, 2004). Concerning SK-BRm EC Lad. 3 (Knauz 3).

20003.Bratislavský antifonár III. CD-ROM, ed. Július SOPKO, L'ubomir JANKOVIČ, Dušan BURAN, Edícia Memoria Slovaciae medii aevi manuscripta (Martin: Slovenská národná knižnica, 2006). Concerning SK-BRm EC Lad. 6 (Knauz 1).

20004.Bratislavský antifonár IV. CD-ROM, ed. Július SOPKO, L'ubomir JANKOVIČ, Dušan BURAN, Edícia Memoria Slovaciae medii aevi manuscripta (Martin: Slovenská národná knižnica, 2007). Concerning SK-BRm EC Lad. 2 (Knauz 2).

20005.Bratislavský antifonár V. CD-ROM, ed. Július SOPKO, L'ubomir JANKOVIČ, Dušan BURAN, Edícia Memoria Slovaciae medii aevi manuscripta (Martin: Slovenská národná knižnica, 2007). Concerning SK-BRm (Knauz 17).

20006.Antiphonale Scepusiense – Spišský Antifonár, ed. Rastislav ADAMKO, Eva VESELOVSKÁ, Juraj ŠEDIVÝ (Ružomberok: Katolícka univerzita v Ružomberku – Edičné stredisko Pedagogickej fakulty, 2008). Concerning SK-Sk Mus. 2. Including a facsimile edition, a CD-ROM and introductions:

(a) Juraj ŠEDIVÝ, ‘Písmo Spišskeho antifonára v stredoeurópskom kontexte. Paleografická analýza – The Spiš Antiphonary in the Context of Central Europe. The Palaeographic Analysis’, 9–15, 97–104. (b) Eva VESELOVSKÁ, ‘Notácia. Hudobnopaleografická analýza kódexu – Notation. Musical Palaeographic Analysis of the Codex’, 17–28, 105–16. (c) Rastislav ADAMKO, ‘Obsah rukopisu – The Manuscript's Content’, 29, 117 – ‘Kalendár – The Calendar’, 30–7, 118–25 – ‘Klasifikácia liturgickej tradicie ofícií – The Classification of the Offices’ Liturgical Tradition', 39–93, 127–39.

Review. Barbara HAGGH, Scriptorium, 63 (2009), 177* (Nr. 302).

For the Graduale Scepusiense see 17004.

20007.Das Hamburger Antiphonar ND VI 471. Ein wiederentdecktes Musikdenkmal des 15. Jahrhunderts aus dem Hamburger Dom. Einführung Edition und Faksimile. Bearbeitet von Viacheslav KARTSOVNIK (†), ed. Jürgen NEUBACHER, Publikationen der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky 4 (Wiesbaden: Dr Ludwig Reichert Verlag, 2010):

(a) Viacheslav KARTSOVNIK, ‘Historia de Compassione Gloriosissimae Virginis Mariae – das älteste vollständig erhaltene Werk der Hamburger Musikgeschichte’, 13–16. (b) Hans-Walter STORK, Jürgen NEUBACHER, ‘Das Annen-Offizium’, 17–18. (c) Hans-Walter STORK, ‘Die Antiphonarhandschrift ND VI 471: Bemerkungen zu ihrer Geschichte und Kodikologie’, 19–30. Including a CD.

20008.Graduale Romanum ad usum monasterii Paulinorum de Újhely (1623), ed. Janka SZENDREI, Musicalia Danubiana 24 (Budapest: Magyar tudományos akadémia zenetudományi intézet, 2010). Including a CD. Concerning H-Bu A 115.

20009.Das Hainricus-Missale. Vollständige Faksimile-Ausgabe der Handschrift MS M. 711 (bisher auch “Hainricus-Sakramentar”) aus The Morgan Library & Museum New York, Kommentar, ed. Hans Ulrich RUDOLF, Codices Selecti, Commentarium, Vol. CX* (Graz: Akademische Druck- und Verlagsanstalt, 2010):

I. Historische Aspekte (2 Essays); II. Material und Einrichtung, Schrift und Schreiber, Buchmalerei (6 Essays); III. Der Einband (2 Essays); IV. Inhalt und Funktion:

(a) Felix HEINZER, ‘Das “Hainricus-Sacrista”-Missale im Zusammenhang mit der Weingartener Liturgietradition’, 209–16. (b) Hanna ZÜHLKE, ‘Das Hainricus-Missale als liturgisches Gesangbuch’, 217–55.

A colour facsimile ‘Codices Selecti Vol. CX’ and a so-called ‘Erstkommentar’ were published in 2005, see 15001.

20010.Missale Strigoniense 1484: id est missale secundum almae ecclesiae Strigoniensis, impressum Nurenbergae apud Anthonium Koburger, anno Domini MCCCCLXXXIIII (RMK III 7), ed. Blasius [= Balázs] DÉRI, Monumenta Ritualia Hungarica 1, Bibliotheca Scriptorum Medii Recentisque Aevorum, Series Nova 16 (Budapest: Argumentum Kiadó, 2009). Printed Missal from Esztergom, Hungary. Including an introduction in English translated by Peter DOHERTY, seven colour facsimiles from the incunabulum H-Bn Inc. 177, complete edition of the text, an Apparatus criticus, annotations and indexes.

20011.Ordinarius Strigonienis: impressum pluries Nurenbergae, Venetiis et Lugduni annis Domini 1493–1520 (RMK III Suppl. I 5031, RMK III 35, 134, 165, 166, 238), ed. Nicolaus Stephanus [= Miklos István] FÖLDVÁRY, Monumenta Ritualia Hungarica 2, Bibliotheca Scriptorum Medii Recentisque Aevorum, Series Nova 17 (Budapest: Argumentum Kiadó, 2009). Printed Ordinaries from Esztergom, Hungary. Including an introduction in English translated by Peter DOHERTY, eight facsimiles from different editions, text edition based on six printed ordinaries from c.1493–1496, 1496, 1505, 1509, 1510, 1520, indexes.

20012.Troparium Prosarium Ecclesiae Cathedralis Vicensis. Edició facsimilar, ed. Miguel S. GROS I PUJOL, Biblioteca litúrgica catalana 6 (Barcelona: Institut d'Estudis Catalans, 2010).

20013.Historia Sancti Ludgeri. Introduction and Edition by Morné BEZUIDENHOUT. Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/15 (Ottawa: Institute for Mediaeval Music, 2010).

20014.Historia Sancti Reguli Episcopi et Martiris. Introduction and Edition by Benjamin BRAND. Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/16 (Ottawa: Institute for Mediaeval Music, 2010).

20015.The Offices and Masses of St. Knud Lavard († 1131) (Kiel, Univ. Libr. MS S. H. 8 A 8). Produced in facsimile, transcribed and edited by John BERGSAGEL, 2 vol. (1: Facsimile; 2: Edition). Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/17a and 17b (Ottawa: Institute for Mediaeval Music, 2010). Concerning D-KIu S. H. 8 A 8.

20016.Historia Sancti Stephani Regis. Introduction and Edition by László DOBSZAY. Published in the series HISTORIAE, series editors László DOBSZAY, Barbara HAGGH and Roman HANKELN for the Study Group ‘Cantus planus’ of the International Musicological Society, Wissenschaftliche Abhandlungen – Musicological Studies 65/18 (Ottawa: Institute for Mediaeval Music, 2010).

20017.Prosules de la messe 3: Prosules de l'offertoire, ed. Gunilla BJÖRKVALL, Acta Universitatis Stockholmiensis, Corpus Troporum XI (Stockholm: [Distributor] eddy.se.ab, Visby, 2009).

20018.Tropes du propre de la messe, 5. Fêtes des Saints et de la Croix et de la Transfiguration, 2 vols. (A: Introduction et commentaires, B: Édition), ed. Ritva Maria JACOBSSON, Acta Universitatis Stockholmiensis, Corpus Troporum X (Stockholm: [Distributor] eddy.se.ab, Visby, 2011). Volume B includes Addenda and Corrigenda to CT I, CT III and CT IX.

20019. Inga BEHRENDT, Der Seckauer Liber ordinarius von 1345 (A-Gu 756). Edition und Kommentar, Diss. Graz, Universität für Musik und Darstellende Kunst, 2009.

20020.Cantus 21. Mémoires du chant. Le livre de musique d'Isidore de Séville à Edmond de Coussemaker, ed. Bruno BOUCKAERT (Lille: Alamire Neerpelt & Ad Fugam, 2007).

Review. Christelle CAZAUX-KOWALSKI, Scriptorium, 63 (2009), 15*–16*.

20021. Franz-Rudolf WEINERT, Mainzer Domliturgie zu Beginn des 16. Jahrhunderts. Der Liber Ordinarius der Mainzer Domkirche, Pietas Liturgica, Studia, 20 (Tübingen and Basel: A. Francke, 2008). Concerning D-MZp 92. Including a Facsimile-CD.

20022.Laus Divina. Proposta per un nuovo Antifonale Romano, ed. Frans KOK (Colfelice: Edizioni Calithes, 2010).

20023.Graduale Novum – Editio Magis Critica Iuxta SC 117 seu Graduale Sanctae Romanae Ecclesiae Pauli PP. VI cura recognitum, ad exemplar ordinis cantus missae dispositum, luce codicum antiquiorum restitutum nutu Sancti Oecumenici Concilii Vaticani II, neumis Laudunensibus et Sangallensibus ornatum, Tomus I: De Dominicis et festis, ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST and Stephan ZIPPE (Regensburg: Con Brio Verlag – in cooperation with Libreria Editrice Vaticana, 2011).

Review. Bernhard SCHMID, Musica sacra, 131 (2011), 133.

20024.Kyriale Cisterciense, Editio Sancrucensis. Et Ordo Missae, ed. Heiligenkreuz, Cistercian Abbey (Heiligenkreuz, Austria: Be&Be-Verlag, 2010).

Review. Stefan KLÖCKNER, Musica sacra, 130 (2010), 282–3.

20025.Tropen zum Kyrie im Graduale Romanum, ed. Anton STINGL jun. (St. Ottilien: Eos Verlag, 2011).

20026. Terence BAILEY, The chants of the Ambrosian offertory: the antiphonas ‘after the gospel’ and the offerendae, Musicological Studies 92 (Ottawa: Institute for Mediaeval Music, 2009).

20027. Constantin FLOROS, The Origins of Western Notation. Revised and Translated by Neil MORAN. With a Report on ‘The Reception of the Universale Neumenkunde, 1970–2010’ (Frankfurt am Main: Peter Lang, 2011):

(a) Neil MORAN, ‘History and Reception of the Universale Neumenkunde, 1970–2010’, 371–8. (b) Luca RICOSSA, ‘Forty Years after Constantin Floros’ Universale Neumenkunde. Some New Insights', 379–85.

First published in German Universale Neumenkunde, 3 vols (Kassel: Bärenreiter, 1970), including a revised and translated edition of Vol. II (Ursprung und Deutung der lateinischen Neumen) and of parts of Vol. III (Die byzantinischen, slavischen und gregorianischen Tonfiguren und Formeln).

20028. Guillaume GROSS, Chanter en polyphonie à Notre-Dame de Paris aux 12e et 13e siècles, Studia Artistarum: Études sur la Faculté des arts dans les Universités médiévales 14 (Turnhout: Brepols, 2007).

Review. Thomas B. PAYNE, Plainsong & Medieval Music, 19/2 (2010), 213–17.

20029. Emma HORNBY, Medieval Liturgical Chant and Patristic Exegesis: Words and Music in the Second-Mode Tracts, Studies in Medieval and Renaissance Music 9 (Woodbridge: The Boydell Press, 2009).

20030. Gunilla IVERSEN, Laus Angelica. Poetry in the Medieval Mass, ed. Jane FLYNN, translated by William FLYNN, Medieval Church Studies 5 (Turnhout: Brepols, 2010). First published in French Chanter avec les anges: Poésie dans la Messe médiévale, interprétations et commentaires (Paris: Les Éditions du Cerf, 2001), see 12030.

20031.Ordinariums-Gesänge in Mitteleuropa. Repertoire-Übersicht und Melodienkatalog, ed. Gábor KISS (translated by Zsuzsa CZAGÁNY and Robert KLUGSEDER), Institut für Musikwissenschaft der Ungarischen Akademie der Wissenschaften, Monumenta Monodica Medii Aevi, Subsidia 6 (Kassel, Basel, London, New York, Prague: Bärenreiter, 2009).

20032. Karin Strinnholm LAGERGREN, Ordet blev sång. Liturgisk musik i katolska kloster 2005–2007 (The word became song. Liturgical song in catholic monasteries 2005–2007), Ph.D. thesis, Göteborgs universitet. In Swedish, with summaries in English and French. Available online: http://hdl.handle.net/2077/20507.

20033. Mauro LUONI (ed.), San Sebastiano. Liturgia Solenne di rito Ambrosiano. Manoscritto di Coarezza di Somma Lombardo, Quaderni di Storia del Territorio Varesino (Varese: P. Macchione editrice, 2010). Includes a CD.

20034. Pieter MANNAERTS, A Collegiate Church on the Divide; Chant and Liturgy at the Church of Our Lady in Tongeren (10th–15th centuries), doctoraatsverhandeling, Katholieke Universiteit Leuven, 2008.

20035. Matthew PEATTIE, The Beneventan Antiphon and the Influence of Beneventan Style in the South Italian Office, Ph.D. diss. Cambridge, MA, Harvard University, 2005.

20036. Eric RICE, Music and Ritual at Charlemagne's Marienkirche in Aachen, Beiträge zur rheinischen Musikgeschichte 174 (Kassel: Verlag Merseburger, 2009).

20037. Anne-Zoé RILLON-MARNE, Philippe le Chancelier et son œuvre: étude sur l'élaboration d'un poétique musicale, doctoral thesis, Université de Poitiers 2008, available online: http://theses.edel.univ-poitiers.fr/theses/2008/Rillon-Anne-Zoe/2008-Rillon-Anne-Zoe-These.pdf.

20038. Stefania RONCROFFI, Psallite sapienter: codici musicali delle Domenicane bolognesi, Historiae Musicae Cultores 118 (Florence: Casa Editrice Leo Olschki, 2009).

20039. Franco SEGALA, Trovata pagina di pergamena con notazione musicale (sec. XII) nell'Archivio storico della Curia diocesana di Verona, Studi e documenti di storia e liturgia – Minima 1 (Verona: ASCV, 2010). Concerning a bifolio of an Antiphoner in the fondo Pergamene e carte antiche (tit. I/7), B.10, cart.3.

20040. Philip Carl SMITH, The Hymns of the Medieval Dominican Liturgy, 1250–1369. A Thesis for the Degree of Bachelor of Arts. Submitted to the College of Arts and Letters of the University of Notre Dame, Indiana, 2008. Available online: www.musicasacra.com/dominican/Studies/smith-medieval_hymnal-2008.pdf.

20041. Anne-Élisabeth URFELS-CAPOT, Le Sanctoral de l'Office dominicain (1254–1256) (Paris: Champion, 2007).

20042.Il Canto Fratto. Un repertorio da conservare e da studiare. Atti dei convegni tenuti a Radda in Chianti dal 2005 al 2008, vol. II, ed. Giacomo BAROFFIO and Michele MANGANELLI (Radda in Chianti: Corale S. Niccolò, 2010):

(a) Juan Carlos ASENSIO PALACIOS, ‘El canto fratto en España: los Cantorales de cardinal Cisneros’, 11–25. (b) Domenico de CESARE, ‘Il graduale-kyriale 11 di Ruvo di Puglia: il canto fratto e la messa a canone’, 27–70. (c) Eun Ju KIM, ‘La Salve regina in canto fratto’, 71–87. (d) Marcello MAZZETTI, Livio TICLI, ‘Prassi esecutiva del Canto Fratto in alcuni trattati italiani (secoli XVI–XIX)’, 89–110. (e) Michele MANGANELLI, ‘Il Manoscritto M 30 della Biblioteca Michele Manganelli’, 111–20. (f) Luca Basilio RICOSSA, ‘Il Canto Fratto nelle liturgie missionarie presso i popoli amerindi del Nordamerica (California e foreste del nordest degli Stati Uniti e Canada)’, 121–7. (g) Nicola TANGARI, ‘Il canto fratto nei manoscritti di Montecassino’, 129–53. (h) Stefania RONCROFFI, ‘Fonti di canto fratto nell’Abbazia di San Benedetto Polirone',155–71.

‘Il Canto Fratto … Atti dei convegni tenuti a Radda in Chianti 1999–2004’ see 16047.

20043.Heinrich Glarean oder: Die Rettung der Musik aus dem Geist der Antike?, V. Trossinger Symposium zur Renaissancemusikforschung, Rottweil, 28. und 29 April 2005, troja – Trossinger Jahrbuch für Renaissancemusik, 5 (2005), ed. Nicole SCHWINDT (Kassel: Bärenreiter, 2006):

(a) Andreas TRAUB and Winfried HECHT, ‘Choralquellen aus Rottweil’, 103–12. (b) Andreas TRAUB, ‘Die Choralüberlieferung bei Glarean’, 115–34. (c) Stefan MORENT, ‘Eruditio una cum pietate iuncta – Zu Glareans Choralverständnis’, 135–45. (d) Christian MEYER, ‘Zur “Konstruktion” der antiken Musiktheorie bei Glarean’, 147–59.

20044.The current state of Byzantine musical studies after 75 years of Monumenta Musicae Byzantinae. Acts of the Internationale Conference held at Carlsberg Academy, Copenhagen, 16–17 June, 2006, Bollettino della Badia Greca di Grottaferrata, Terza serie, Vol. 3 (2006):

(a) Maria ALEXANDRU, ‘Preliminary remarks on the historiography of Byzantine music and hymnography’, 13–48. (b) A. BUGGE, ‘Constantine-Cyril and Methodius apostles (teachers) of the Slavs’, 49–52. (c) Francesco D'AIUTO, ‘Per la storia dei libri liturgico-innografici bizantini: un progetto di catalogazione dei manoscritti piu antichi’, 53–66. (d) S. G. ENGBERG, ‘The Prophetologion and the Triple-lection theory. The genesis of a liturgical book’, 67–92. (e) Giralomo GAROFALO, ‘Father Bartolomeo Di Salvo and his transcription of the Byzantine chants among the Albanians in Sicily’, 93–116. (f) Š. MARINČAK, ‘The importance of the MMB series for the research into the early Byzantine-Slavic music in Central Europe’, 117–28. (g) I. PAPATHANASIOU, ‘The significance of the Monumenta Musicae Byzantinae for the study of the heirmological tradition’, 129–38. (h) Bjarne SCHARTAU, ‘Towards the Editio maior of the “Hagiopolites”’, 139–42. (i) Nicolas SCHIDLOVSKY, ‘Neumation and musical identity in early medieval Russia’, 143–58. (k) Christian TROELSGÅRD, ‘Transcription of Byzantine chant: Problems, possibilities, formats’, 159–66. (l) Gerda WOLFRAM, ‘Klassisch-griechische und patristische Elemente in der spätantiken und postbyzantinischen theoretischen Schriften zur Kirchenmusik’, 167–74.

20045.Religious Music in the Meeting Roads of Various Traditions, 14th International Musicological Congress Bydgoszcz, September 13th–17th, 2006, Chairman of the Congress Irena PONIATOWSKA, Musica Antiqua Europae Orientalis, Acta Musicologica 14 (Bydgoszcz: Copyright Filharmonia Pomorska – Druk: Zakład Poligraficzny Adam Blum, 2008):

(a) Nino ALBAROSA, ‘Gregorianischer Choral in Europa’, 25–7. (b) David HILEY, ‘Vita and historia, biography and chant cycle. The shaping of liturgical offices for medieval saints’, 29–42. (c) Danica PETROVIĆ, ‘The orthodox chant traditions of the Balkans at the Bydgoszcz conferences 1966–1991–2003’, 43–53. (d) Svetlana KUJUMDZIEVA, ‘In searching for the earliest oktoechoi: the book of the tropologion’, 55–63. (e) Anna CZEKANOWSKA, ‘From Lvov to Balkan and/or vice versa. On the research on Moldo-Walachian transmission’, 65–71. (f) Olena SHEVCHUK, ‘Hymnography texts of Ukrainian notated heirmologia: On the problem of the 16–17th centuries South Slavonic influence’, 89–97.

20046.Celesti Sirene. Musica e monachesimo dal medioevo all'Ottocento. Atti del Seminario Internazionale San Severo di Puglia, 7–9 Marzo 2008, ed. Annamaria BONSANTE and Roberto Matteo PASQUANDREA (Foggia: Claudio Grenzi Ed., 2010):

(a) Annamaria BONSANTE, ‘Musica e clausura in antico regime: uno sguardo al caso delle Benedettine di San Severo’, XIV–XXII. (b) Dinko FABRIS, ‘Angeli humanati e celesti sirene nei chiostri dell’Europa moderna', 1–13. (c) Giacomo BAROFFIO, ‘Musica – liturgia – preghiera nelle comunità monastiche femminili’, 15–33. (d) Anselmo SUSCA, ‘Iter liturgico-musicale nei monasteri di Puglia e Basilicata’, con interventi di Maria Antonietta CAROLA, Maria Teresa di LORENZO, Nadia MASINI, 35–52. (e) Patrizia DURANTE, ‘Il canto ‘gregoriano’ nella tradizione liturgica degli ordini monastici di Terra d’Otranto', 53–61. (f) Stefania RONCROFFI, ‘Canti nel monastero di Sant’Agnese in Bologna dal manoscritto 595 del Museo Civico Medievale', 63–72. (g) Cesarino RUINI, ‘Due frati copisti Pugliesi per le Dominicane di Gravina nella collezione Feininger di Trento’, 95–101.

20047.Musica e liturgie nel medioevo bresciano (secoli XI–XV). Atti dell'incontro nazionale di studio (Brescia, 3–4 aprile 2008), ed. Maria Teresa Rosa BAREZZANI, and Rodobaldo TIBALDI, storia, cultura e società 2 (Brescia: Fondazione civiltà bresciana, 2009):

(a) Simona GAVINELLI, ‘Testimonianze grafiche e culti santorali a Brescia’, 25–57. (b) Giampaolo ROPA, ‘Un inno medievale di San Pietro nella versione bresciana’, 59–77. (c) Maria Teresa Rosa BAREZZANI, ‘Note intorno all’ufficio liturgico dei santi patroni di Brescia', 79–126. (d) Giacomo BAROFFIO, ‘Il culto dei santi bresciani Faustino e Giovitta nell’Italia meridionale', 127–31. (e) Rodobaldo TIBALDI, ‘L’ufficio liturgico di santa Giulia (Graduale-Breviario, cod. Oxford, Bodl. Libr. Canon. Lit. 366, sec. XI)', 133–89. (f) Gianni BERGAMSCHI, ‘Il carme Ergo, pii fratres e gli inni per santa Giulia’, 191–247. (g) Stefania VITALE, ‘Calendari brescani a confronto (secoli XI–XV)’, 249–306. (h) Roberto MIGLIORATI, ‘Musica e liturgia nelle cronache bresciane: uno sguardo sulle processioni delle Sante Croci’, 307–19. (i) Marco GOZZI, ‘Due codici francescani del tardo Quattrocento in Biblioteca Queriniana’, 541–67. (k) Remo LOMBARDI, ‘Per un catalogo dei manoscritti musicali della Queriniana’, 569–84. (l) Lucinia SPECIALE, ‘Apocalisse e liturgici: il ciclo dell’Exultet', 585–611.

20048.Kirchenmusik in der Diözese Würzburg – Studien und Quellen vom 16. bis 20. Jahrhundert, ed. Dieter KIRSCH and Ulrich KONRAD, Quellen und Forschungen zur Geschichte des Bistums und Hochstifts Würzburg 64 (Würzburg: Kommissionsverlag Ferdinand Schöningh, 2010). [9: ‘Vorträge der Tagung Te Deum laudamus. Kirchenmusik im Bistum Würzburg … 11. und 12. April 2008’]:

(a) Bernhard JANZ, ‘Stationen der Kirchenmusik im Bistum Würzburg’, 40–55. Concerning a fragment (bifolio) from an eleventh-century Würzburg Gradual with facsimile (D-WÜu Itf 286). (b) Christoph BECK, ‘Haec est alma dies. Der heilige Kilian in der Liturgie unter Julius Echter’, 56–73. Concerning the Introit Multi tribulationes and its Trope Haec est alma dies, and the Sequence Adoranda veneranda trinitatis est usia in the printed Graduale Herbipolense 1583.

20049.Medieval Sacred Chant: from Japan to Portugal – Canto sacro medieval: do Japão a Portugal, Conference proceedings Lisbon 2008, ed. Manuel Pedro FERREIRA, Estudos musicológicos 5 (Lisbon: Edições Colibri, Centro de Estudos de Sociologia e Estética Musical, 2008):

Christian Music (I): Old Roman, Byzantine and Russian Chant

(a) Svetlana POLIAKOVA, ‘Russian Liturgical Chant Books from the 11th-14th Centuries and Their Function in Liturgical Practice’, 93–110. (b) Ivan MOODY, ‘Some Current Areas of Research on Orthodox Chant and Their Impact on Performance’, 111–16. (c) Kenneth LEVY, ‘On Byzantine and Old-Roman Drones’, 117–12. Includes discussion of GB-Lbl Add. 29988.

(II): Gregorian Chant and Beyond

(d) Manuel Pedro FERREIRA, ‘The Lamentation of Asterix: Conclusit vias meas inimicus’, 125–57. (e) Estelle JOUBERT, ‘Aspects of Mode in the Office of Thomas Becket: New Tunes from the Dioceses of Trier’, 159–71. Concerning D-TRb 480, 482, 486, 491, 492, 494, 495, 499, 500a, 501a, 521. (f) Marie-Noël COLETTE, ‘Le prosaire de l’ordre de Grandmont (Paris, BnF n. a. 2680, XIV^e s, in)', 173–201.

(III): The Notation of Monody in the Iberian Peninsula

(g) João Pedro d'ALVARENGA, ‘Breves notas sobre a representação do meio-tom nos manuscritos litúrgicos medievais portugueses, ou o mito da “notação portuguesa”’, 203–19. Concerning P-Pm Ms. 1135, Santa Cruz 83; P-Ln Alc. 162; P-Pm Ms. 858, Santa Cruz 77; P-BRd s. s. fragm of Antiphoner, s. xiii; P-Pm Ms. 830, Santa Cruz 67. (h) Nicolas BELL, ‘Observations on the Monophonic Conductus of the Las Huelgas Codex’, 221–9. Concerning E-BUlh ix. (i) José Maria Pedrosa CARDOSO, ‘A mensuralidade na monodia litúrgica portuguesa do sécolo XVI’, 231–57.

20050.Il codice di Busto. Capitolare ed evangelistario ambrosiani del secolo IX. Atto del convegno del 17 maggio 2009 et approfondimenti, ed. Franco BERTOLLI and Norberto VALLI, Quaderni della Capitolare 9 (Busto Arsizio: La Provvidenza, 2010):

(a) Franco BERTOLLI, ‘Esplorazioni mirate’, 63–138 (Chapter VI: I segni della ‘cantillatio’, 131–8).

20051.Städtische Kulte im Mittelalter, ed. Susanne EHRICH and Jörg OBERSTE, Forum Mittelalter 6 (Regensburg: Schnell & Steiner, 2010) [‘Die Internationale Jahrestagung des Forums Mittelalter (12–14 November 2009)’, Regensburg]:

(a) Roman HANKELN, ‘Exulta civitas Ratisbona! … – Reflexe politisch-sozialer Identität in den Offiziumsgesängen zur Ehre der Regensburger Stadtpatrone und ihr mittelalterlicher europäischer Kontext’, 217–35. (b) John BERGSAGEL, ‘Benedictus dominus Iesus Christus, qui Sanctum Kanutum Syalandie prefecit patronum! St. Knud Lavard († 1131) as patron on Zealand and in the Baltic Sea area’, 237–48. Concerning D-KIu S. H. 8 A 8.

20052.Musique et musiciens en Lorraine. Actes du colloque d'Epinal Théâtre municipale, 28 novembre 2009, ed. Yves FERRATON (Langres, 2010):

(a) Yves CHARTIER, ‘De la Seille à l’Irlande. Le manuscrit Rep. I. 8. 93 de Leipzig et le chant liturgique messin au X^e siècle', 189–216.

20053.Beiträge zur Gregorianik, 49 (2010), ed. Christian DOSTAL, Johannes Berchmans GÖSCHL, Cornelius POUDEROIJEN, Franz Karl PRASSL, Heinrich RUMPHORST, Stephan ZIPPE (Regensburg: ConBrio Verlagsgesellschaft):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Michael ANDERL, Inga BEHRENDT, Rupert FISCHER (†), Johannes Berchmans GÖSCHL, Bernhard HUBER, Liobgid KOCH, Josef KOHLHÄUFL, Daniel RÖSLER, Heinrich RUMPHORST, Alexander SCHWEITZER, Anton STINGL jun, Stephan ZIPPE, ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 27’, 9–35. (b) Heinrich RUMPHORST, ‘Die neogregorianische Communio Beatam me dicent’, 37–9. (c) Roman HANKELN, ‘Offertorienverse in A, Y & Co: Probleme und Potenziale aquitanischer Offertorienüberlieferung (11.–12. Jahrhundert)’, 41–59. Concerning F-Pn lat. 776, 903 etc. (d) Andreas PFISTERER, ‘Ziele und Methoden in der Geschichte der Choralrestitution’, 61–74. (e) Rupert FISCHER (†), ‘Appendix zum Graduale Triplex’, 75–85.

20054.Beiträge zur Gregorianik, 50 (2010):

(a) Franco ACKERMANS, Luigi AGUSTONI (†), Michael 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 28’, 17–34. (b) Anhang: Heinrich RUMPHORST, ‘Melodierestitution und neogregorianische Gesänge’, 35–47. (c) Franz Karl PRASSL, ‘Codex St. Gallen 342 – das älteste vollständige Graduale aus St. Gallen (Teil 1)’, 49–80.

20055.Études grégoriennes, 37 (2010). Revue annuelle publiée sous la direction de D. Daniel SAULNIER (Abbaye Saint-Pierre de Solesmes, 2010):

(a) Daniel SAULNIER, ‘Des variantes musicales dans la tradition manuscrite des antiennes du répertoire romano-franc’, 5–15. (b) Daniel SAULNIER, ‘Les antiennes dans la tradition romano-franque’, 17–59. (c) Michel HUGLO, ‘Karl Gustav Fellerer à Solesmes en dicembre 1940’, 61–7. (d) Paul BLANCHON (†), ‘Deuxième voyage paléographique (Allemagne)’, 69–188. (e) D[aniel] S[AULNIER], ‘Les fragments notés de Solesmes’, 189. Available online: www.archives.sarthe.com.pageLibre00010c2f.asp.

20056.Studi Gregoriani, 25 (2009), 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 VIII’, 5–12. First published in German: ‘Vorschläge zur Restitution von Melodien des Graduale Romanum. Teil 8’, see 9064. (b) Alberto TURCO, ‘La bemollizzazione dell’Antiphonale Monasticum. Liber Antiphonarius, I – de Tempore', 13–38. (c) Nino ALBAROSA, ‘Un diverso tipo de epiphonus praepiunctis’, 39–49. First published 2008, see 18077a. (d) Sr Maria Cecilia Pia MANELLI, ‘Il canto romano antico nel manoscritto Archivio San Pietro B 79’, 51–84. (e) Herminio GONZÁLEZ-BARRIONUEVO, ‘El tórculus initio débilis en el Códice de Laon 239 (parte I)’, 85–119. (f) Ivo Hubert SIEKIERKA, ‘Tabula neumarum nel Cod. Ivrea, Bibl. Cap. CVI’, 121–37.

20057.Studia gregoriańskie, 1 (2008), Ośrodek Śpiewu Gregoriańskiego im. ks. Zdzisława Bernata – Pod patronatem Asscociazione internazionale studi di canto gregoriano, Redakcja naukowa Mariusz BIAŁKOWSKI, Opracowanie redakcyjne Grażyna JEŻEWSKA, Skład i łamanie Justyna NOWACZYK (Poznań: Wydawnictwo świętego wojciecha, 2008):

(a) Nino ALBAROSA, ‘Rozwój interpretacij semiologicznej chorału gregoriańskiego’, 13–24. (b) Robert BERNAGIEWICZ, ‘O scandicus quilismaticus raz jeszcze. Przyczynek do badań nad kodeksem Sankt Gallen 376’, 25–41. (c) Hubert Iwo SIEKIERKA, ‘Oratio Jeremiae Prophetae w kodeksie PK 145 Biblioteki Kapituły Metropolitalnej w Krakowie’, 43–54. (d) Mariusz BIAŁKOWSKI, ‘Dramaturgia Liturgii Eucharystii’, 55–86.

20058.Studia gregoriańskie, 2 (2009), Ośrodek Śpiewu Gregoriańskiego im. ks. Zdzisława Bernata jako Międzynarodowe stowarzyszenie studiów śpiewu gregoriańskiego – Sekcja polska, Redakcja naukowa Mariusz BIAŁKOWSKI, Opracowanie redakcyjne Grażyna JEŻEWSKA, Skład i łamanie Justyna NOWACZYK (Poznań: Święti Wojciech wydawnictwo, 2009):

(a) Johannes Berchmans GÖSCHL, ‘100 lat Graduale Romanum’, 11–43. First published in German: ‘100 Jahre Graduale Romanum’, see 17059c. (b) Bernard SAWICKI, ‘Chorał gregoriański śpiewem liturgicznym Kościola’, 45–82. (c) Ján VELBACKÝ, ‘Od psalmodii in directum do antyfony na offertorium’, 83–107. (d) Mariusz BIAŁKOWSKI, ‘Modalność chorału gregoriańskiego w świetle wyników badań w 2. połowie XX w.’, 109–43.

20059.Tijdschrift voor Gregoriaans, 35 (2010), Redactie: Katrijn KUYPERS, Arnoud HEERINGS, Gerrit van OSCH, Albert KOOPMANS, uitgave van de Stichting Amici Cantus Gregoriani, Administratie: J. KWAST, Driebergen-Rijsenburg:

(a) Martin CLAES, ‘Augustinus’ blijmoedigheid onder het juk van de genietingen der oren', 8–13. (b) Louis KREKELBERG, ‘Het responsorium Verbum caro’, 17–24. (c) Geert MAESSEN, ‘Zin en onzin van de “restitities” in de Beiträge zur Gregorianik’, 48–53, 87–95. Review. Bernhard PFEIFFER, Beiträge zur Gregorianik, 50 (2010), 99–100. (d) Pieter MANNAERTS, ‘Bisschoppen, magden, martelaren: heiligenofficies uit de Lage Landen’, 107–13. (e) Franco ACKERMANS, ‘Grillig gregoriaans (3) Communio Amen dico … quod uni’, 130–6.

Part (1) and (2) see 19041f.

20060. Thomas Forrest KELLY, The Practice of Medieval Music. Studies in Chant and Performance, Variorum Collected Studies Series CS954 (Farnham, Surrey and Burlington, VT: Ashgate, 2010). Including thirteen essays concerning Roman Matters (I–II), Embellishing the Liturgy (III–VIII), Singing from Scrolls (IX–XI) and Later Medieval Music (XII–XIII).

20061.Beghinae in cantu instructae. Musical patrimony in Flemish beguinages (Middle Ages–Late 18th C.), ed. Pieter MANNAERTS, Centre d'Études Supérieures de la Renaissance, Collection “Epitome musical” (Turnhout: Brepols, 2009):

(a) Walter SIMONS, ‘Beguines, Liturgy and Music in the Middle Ages: An Exploration’, 15–25. (b) Barbara HAGGH, ‘The Beguines of Bruges and the Procession of the Holy Blood’, 27–50. (c) Pieter MANNAERTS, ‘Authenticity and Invention: Composition, Distribution and Origin of the Offices for St. Begga’, 51–76. (d) Alexander BLACHLY, ‘The Mechelen Ave verum corpus: Simple Polyphony for the Devotio Moderna’, 99–107. (e) ‘Repertory of Musical Sources from Flemish Beguinages: 1. Introduction (Pieter MANNAERTS, Els VERCAMMEN), 2. Repertory (Els VERCAMMEN, Pieter MANNAERTS), 3. Lifting the Veil: Musical Beguinage Sources in a European Context (Pieter MANNAERTS)’, 137–48, 149–240, 241–8.

First published 2007 in Dutch: Beghinae in cantu instructae. Muzikaal erfgoed uit Vlaamse begijnhoven (middeleeuwen – eind 18de eeuw) (Turnhout: Brepols) see 18068.

20062.The Cambridge Companion to Medieval Music, ed. Mark EVERIST (Cambridge: Cambridge University Press, 2011):

Part 1 – Repertory, styles and techniques: (a) Susan BOYNTON, ‘Plainsong’, 9–25. (b) Michael McGRADE, ‘Enriching the Gregorian heritage’, 26–45. (c) Sarah FULLER, ‘Early polyphony to circa 1200’, 46–66. (d) Mark EVERIST, ‘The thirteenth century’, 67–86. (e) Elizabeth Eva LEACH, ‘The fourteenth century’, 87–103.

Part 2 – Topography: (f) Peter M. LEFFERTS, ‘England’, 107–20. (g) Marco GOZZI, ‘Italy to 1300’, 121–35. (h) Marco GOZZI, ‘The trecento’, 136–60 (i) Nicolas BELL, ‘The Iberian peninsula’, 161–70. (k) Robert CURRY, ‘Music east of the Rhine’, 171–82.

Part 3 – Themes, topics and trajectories: (l) Sam BARRETT, ‘Music and liturgy’, 185–204. (m) Ardis BUTTERFIELD, ‘Vernacular poetry and music’, 205–24. (n) Leofranc HOLFORD-STREVENS, ‘Latin poetry and music’, 225–40. (o) Peter M. LEFFERTS, ‘Compositional trajectories’, 241–62. (p) Rebecca A. BALTZER, ‘Ecclesiastical foundations and secular institutions’, 263–75. (q) Dolores PESCE, ‘Theory and notation’, 276–90. (r) Emma DILLON, ‘Music manuscripts’, 291–319. (s) Christopher PAGE, ‘The geography of medieval music’, 320–34. (t) Lawrence EARP, ‘Reception’, 335–70.

20063.Essays on the History of English Music in Honour of John Caldwell. Sources, Style, Performance, Historiography, ed. Emma HORNBY and David MAW (Woodbridge: The Boydell Press, 2010):

(a) Sally HARPER, ‘Traces of Lost Late Medieval Offices? The Sanctologium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl. 1350)’, 1–21. (b) David HILEY, ‘The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, F.4.10’, 22–46. (c) Emma HORNBY, ‘Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf’, 47–65. Concerning London, Private Collection Mr R.A. Linenthal, Hartzell's Catalogue No. 199. (d) Christopher PAGE, ‘The Carol in Anglo-Saxon Canterbury?’, 259–69. (e) John Arthur SMITH, ‘Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church’, 298–310.

20064.Handbuch der musikalischen Gattungen, Vol. 17, 2: Kantate, Ältere geistliche Musik, Schauspielmusik, ed. Siegfried MAUSER and Elisabeth SCHMIERER (Laaber: Laaber Verlag, 2010):

(a) Stefan KLÖCKNER, ‘Gattungen der liturgischen Einstimmigkeit’, 173–97, 338 (Bibliography). (b) Siegfried MAUSER, ‘Das Organum zwischen Aufführungspraxis und Gattungsanspruch’, 199–202, 338 (Bibliography).

20065.I corali di Nicolò di Giacomo della Collegiata di San Giovanni in Persiceto, ed. Daniele BENATI, Laura MARCHESINI (Argelato: Minerva Edizioni, 2009):

(a) Giacomo BAROFFIO, ‘Aspetti codicologici, liturgici e musicali’, 41–64. (b) 104 ‘Tavole’, ed. Giacomo BAROFFIO and Laura MARCHESINI, 65–143.

20066.Le Jardin de musique, Association Musique Ancienne en Sorbonne (Paris: Université Paris-Sorbonne, 2006), Vol. 3:

(a) Brigitte ARNAUD, ‘Les Tonaires du diocèse de Sens’, 23–36. (b) Juan Carlos ASENSIO PALACIOS, ‘… Et hi unum sunt … Plain-chant, chant tolédan et chant mozarabe dans l’Èspagne des XV^e et XVI^e siècles', 59–84.

20067.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 11: lichanos – minuo, 2010. Collaborators Christian BERKTOLD (M – minuo), Calvin M. BOWER (English Translation), Ruth KONSTANCIAK (Editorial Assistance), Daniela SADGORSKI (lichanos – lyricus).

See 6089a, b, 7053a, 10068a, 11070a, 13079a, 14065a, 16067a, 17067a, 19045a: 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).

20068.Meer dan muziek alleen. In memoriam Kees Vellekoop, ed. R.E.V. STUIP, Utrechtse bijdragen tot de mediëvistiek 20 (Hilversum: Uitgeverij Verloren, 2004):

(a) Jaap van BENTHEIM, ‘“Curas gere mei finis”. Over de relatie tussen rijmgebed Dies ire dies illa en de melodie van de sequens’, 31–8. (b) Calvin M. BOWER, ‘The Sequence Repertoire of the Diocese of Utrecht Enlightened by Four Libri Ordinarii of the Diocese’, 59–86. Concerning NL-Uhua (HUA = Het Utrechts Archief), Domkapittel 67, NL-Uhua Oudmunster 395, GB-Lbl Add. 9769, F-Pn n. a. lat. 328. (c) Gisela and Wim GERRITSEN, ‘De Ordinarius van Sint-Salvator; codicologische en editietechnische aspecten’, 87–111. Concerning NL-Uhua Oudmunster 395, including 5 Facsimiles (without notation). (d) Bram van den HOVEN van GENDEREN, ‘Een ordinarius uit 1576 voor de votiefmissen op de dagen van de week in het kapittel van Sint-Marie te Utrecht’, 143–70. (e) Ike de LOOS (†), ‘Van kaarsen en kerken; liturgie, paraliturgie of géén liturgie?’, 221–37. (f) Rudolf RASCH, ‘Gregoriaans met kruisen en mollen’, 271–90. (g) Eddie VETTER, ‘Tekst en muziek in eenstimmige gezangen uit de twaalfde eeuw’, 329–42.

20069.The Musicologist and Source Documentary Evidence. A Book of Essays in Honour of Professor Piotr Poźniak on his 70th Birthday (Kraków: Musica Jagellonica, 2009):

(a) Giacomo BAROFFIO, ‘Le celebrazioni pasquali in una Chiesa dell’Italia medioevale', 29–48. (b) David HILEY, ‘Three sequences in the Missale plenarium of Niederaltaich/Gniezno’, 49–58. Concerning PL-GNd 149. (c) Nino ALBAROSA, ‘Un diverso tipo di epiphonus praepunctis 2’, 59–66. (d) Fabio CARBONI, Agostino ZIINO, ‘Tre inni polifonici in un codice umbro del tardo Quattrocento’, 87–110. Concerning I-FOLc A-X-II-12.

20070.Musik des Mittelalters und der Renaissance. Festschrift Klaus Jürgen Sachs zum 80. Geburtstag, ed. Rainer KLEINERTZ, Christoph FLAMM and Wolf FROBENIUS, Veröffentlichung des Staatlichen Instituts für Musikforschung 18, Studien zur Geschichte der Musiktheorie 8 (Hildesheim, Zürich, New York: Georg Olms Verlag, 2010):

(a) Charles M. ATKINSON, ‘Fifteen Modes versus Eight: On the Background of a Medieval and Renaissance Theoretical Conflict’, 1–13. (b) Michel HUGLO, ‘La Théorie musical à Corbie aux VIII^e et IX^e siècle’, 15–27. (c) Michael BERNHARD, Michele C. FERRARI, ‘Aliquid super quibusdam regulis modulationum. Eine unbekannte musiktheoretische Schrift Aurelians von Réôme (?) in einer Mainzer Handschrift der Jahrtausendwende (Gotha, Forschungsbibliothek Memb. I 58)’, 29–48. (d) Frank HENTSCHEL, ‘“Ille Teutonicus, iste vero Gallus”: Volksgruppe und Mentalität bei Guido von Arezzo’, 49–57. (e) Honey MECONI, ‘Hildegard's Lingua ignota and Music’, 59–79. (f) David HILEY, ‘Die Gesänge mit Intervallnotation im Clm 14965a (Bamberg?, 12. Jahrhundert, später St. Emmeram Regensburg)’, 81–92. (g) Roman HANKELN, ‘Schwerter und Pflugscharen: Zum Reflex des Geschichtlichen in der liturgischen Einstimmigkeit des Mittelalters’, 93–114. (h) Christian MEYER, ‘Quelques Remarques à propos du Tractatus de musica faussement attribué à Lambert-Aristote’, 115–27.

20071.Quomodo cantabimus canticum? Studies in Honor of Edward H. Roesner, ed. David Butler CANNATA, Gabriela Ilnitchi CURRIE, Rena Charnin MUELLER and John Louis NÁDAS, Miscellanea 7 (Middleton, WI: American Institute of Musicology, 2008):

(a) Susan RANKIN, ‘The Making of Carolingian Mass Chant Books’, 37–63. (b) Andreas HAUG, ‘Re-reading Notker's Preface’, 65–80. Concerning F-Pn lat. 10578. (c) Bonnie J. BLACKBURN, ‘Properchant: English Theory at Home and Abroad, with an Excursus on Amerus/Alnredus and his Tradition’, 81–98. (d) Michel HUGLO, ‘The Manuscript Processionals of Notre Dame of Paris’, 99–101. (e) Rebecca A. BALTZER, ‘The Manuscript Makers of W₁: Further Evidence for an Early Date’, 103–20.

20072.The Study of Medieval Manuscripts of England: Festschrift in Honor of Richard W. Pfaff, ed. George Hardin BROWN and Linda Ehrsam VOIGTS, Medieval and Renaissance Studies Texts and Studies 384 – Arizona Studies in the Middle Ages and the Renaissance 35 (Tempe, AZ: ACMRS [Arizona Center for Medieval and Renaissance Studies] and Turnhout: Brepols Publishers, 2010):

(a) Janet SORRENTINO, ‘Rebellion and Perseverance: The Profession of Lay Brothers in the Order of Sempringham and the Votive Mass for Conversi’, 3–40. (b) Christopher A. JONES, ‘A Lost Treatise by Amalarius: New Evidence from the Twelfth Century’, 41–67. (c) Elizabeth C. TEVIOTDALE, ‘Pembroke College 302: Abbreviated Gospel Book or Gospel Lectionary?’, 69–99. (d) Andrew HUGHES, ‘Page Design for the Becket Vigil: Making Something Out of Nothing’, 101–27. (e) William P. MAHRT, ‘The Role of Old Sarum in the Processions at Salisbury Cathedral’, 129–41. (f) Nigel MORGAN, ‘The Sanctorals of Early Sarum Missals and Breviaries, c. 1250 – c. 1350’, 143–62. (g) Sherry REAMES, ‘Unexpected Texts for Saints in Sarum Breviary Manuscripts’, 163–84. (h) ‘List of Publications by Richard W. Pfaff’, 389–401.

20073.Zenetudományi Dolgozatok 2008. Falvy Zoltán 80. születésnapja tiszteletére (Budapest: MTA Zenetudományi Intézet, 2008) [Festschrift in honour of Zoltán Falvy on his 80th Birthday]:

(a) Janka SZENDREI, ‘A Medgyesi Prosarium’, 13–36. Summary in English ‘A Prosary from Medgyes (Transylvania/Romania)’, 37. Including eight facsimiles, concerning the prosarium (c.1450) in Mediaş, Romania (in Hungarian Medgyes, in German Mediasch), Parohia Evanghelica, Inv. 913. (b) Gabrielle GILÁNYI, ‘Aquileia, Salzburg és Hirsau kapcsolata – A 11–12. századi himnuszrepertoár’, 39–69. Summary in English ‘Connections between Aquileia, Salzburg and Hirsau – Hymn Repertories in the 11th–12th century’, 70. (c) Gábor KISS, ‘Egy késő-középkori műfajfüggetlen dallamstílus Közep-Európában’, 71–91. Summary in English ‘A Late Medieval Genre-Independent Melodic Style in Central Europe’, 92. (d) Ágnes PAPP, ‘Scipio álma és a zsoltárdifferenciák rangsora’, 93–112. Summary in German ‘Scipios Traum und die Hierarchie der Psalmdifferenzen’, 113. (e) Ilona FERENCZI, ‘A Tornai graduál (1611–1613). Egy nemrég előkerült kolligátum “ceremoniális” részének antifonái’, 115–132. Summary in German ‘Das Gradual von Torna (1611–1613). Die Antiphonen aus dem “zeremoniellen” Teil eines unlängst aufgefundenen Konvoluts’, 133. Concerning H-SA, including 5 facsimiles.

20074.Plainsong & Medieval Music, 19/2 (2010):

(a) Terence BAILEY, ‘Introits and ingressae – Milan and Rome: the elaboration of chant melodies, the operation of musical memory’, 89–122. (b) Matthew G. PEATTIE, ‘Transcribing the Benevantan chant’, 139–67.

20075.Rivista internazionale di musica sacra, Nuova serie 31/1 (2010), ed. Giacomo BAROFFIO (Lucca: LIM Editrice):

(a) Giacomo BAROFFIO, ‘Il canto gregoriano a Roma. Il canto gregoriano da Roma: ricordi in un cammino tra ricerca e ipotesi’, 5–10. (b) Matteo GARZETTI, ‘Lucernari ambrosiani: la tradizione manoscritta delle melodie’, 13–160. (c) Giacomo BAROFFIO, ‘Lo spazio concettuale e reale della filologia liturgica’, 169–92.

20076.Ex tenebris ad lucem. Frammenti di codici liturgico-musicali della Biblioteca Statale di Cremona. Saggio introduttivo e annotazioni al catalogo di Giacomo BAROFFIO, Catalogo a cura di Leandra SCAPPATICCI. Trascrizioni musicali di Eun Ju KIM, Mostra 30 (Cremona: Biblioteca Statale, 2009).

Exhibition catalogue.

20077.L'Arte in Puglia dal Medioevo al Settecento. Il Medioevo, ed. Francesco ABBATE (Rome: De Luca, 2010). Exhibition catalogue, for a description of the liturgical manuscripts see musicologia.unipv.it/baroffio/.

20078. Francesc Xavier ALTÉS I AGUILÓ, ‘El llibre místic de Sant Romà de les Bons (Andorra) (Biblioteca de l’Abadia de Montserrat, ms. 72)', Miscel·lània litúrgica catalana, 13 (2005), 47–277.

20079. Giacomo BAROFFIO, ‘Mater Virgo Regina. Maria nei testi liturgici e devozionali del XII secolo’, Theotokos, 18/2 (2010), 445–97.

20080. Giacomo BAROFFIO, ‘Testo – musica – immaginazione [correctly ‘immagine’] nei libri liturgici tra conflittualità e armonizzazione’, Come nasce un manoscritto miniato. Scriptoria, tecniche, modelli e materiali, ed. Francesca Flores D'ARCAIS and Fabrizio CRIVELLO (Modena: Fr.C. Panini, 2010), 25–48.

20081. Anke BÖDEKER, ‘Das teilneumierte Plenarmissale München Clm 23281’, Musik in Bayern, 72-73 (2007–08) (Tutzing: Verlag Hans Schneider, 2010), 11–43.

20082. Hana BREKO KUSTURA, ‘Armonia concinnans, nostra canat mela melli … Primjer predaje sekvencne melodije Mater u pulskom mislu iz 11. stoljeća – Armonia concinnans, nostra canat mela melli … An Example of the Transmission of the Sequence Melody Mater in the 11th-Century Missale from Pula’, Musicologie sans frontières. Musicology without frontiers. Essays in honour of Stanislav Tuksar, ed. I. CAVALLINI and H. WHITE. Series Muzikološki zbornici 13 (Zagreb: HMD, 2010), 31–44.

20083. Hana BREKO KUSTURA, ‘Die Musikkultur Dalmatiens im Mittelalter’, Dalmatien als europäischer Kulturraum, ed. W. POTTHOFF, A. JAKIR, M. TROGRLIĆ, N. TRUNTE (Split, 2010), 549–559.

20084. Hana BREKO KUSTURA, ‘Svjedočanstvo Notkerove zbirke Liber ymnorum iz Hrvatske: Sekvencijar najstarijega pulskog misala (HR-ŠIBf) iz 11. stoljeća. Paleografska i repertoarna analiza [Notker's Liber ymnorum from Croatia: Sequentiary of the oldest Missal of Pula (HR-ŠIBf) 11th century. Paleographical analysis and reportorial investigation]’, Croatica Christiana Periodica, god. XXXIII, 63 (Zagreb, 2009), 1–42.

20085. Emma CONDELLO, ‘Minima Trisultina. Prime note per una ricostrizione della biblioteca della Certosa di Trisulti, secoli XI-XIV’, Alethes Philia. Studi in onore di Giacarlo Prato, 2 vol., ed. Marco D'AGOSTINO and Paola DEGNI (Spoleto: Centro Italiano di Studi sull'Alto Medioevo (CISAM), 2010), I, 191–263. Including descriptions of different manuscripts from the Charterhouse of Trisulti.

20086. Michael EMBACH, ‘Eine mittelalterliche Handschrift aus der Benediktinerabtei Fleury. Das Missale Hs. 187 der Bibliothek des Bischöflichen Priesterseminars in Trier’, Kurtiersches Jahrbuch, 47 (2007), 151–9, four plates. Concerning an eleventh-century missale notatum.

20087. Stig Simeon R. FRØYSHOV, ‘The Early Development of the Liturgical Eight-Mode System in Jerusalem’, St Vladimir's Theological Quarterly, 51, 2–3 (2007), 139–78.

20088. Bernardo FUEYO SUÁREZ, ‘El Exemplar de la liturgia dominicana de Salamanca (Manuscrito San Esteban SAL-CL.01)’, Archivio Dominicano, 28 (Salamanca: Editorial San Esteban, 2007), 81–118.

20089. Andreas HAUG, ‘Anmerkungen zum Andechser Missale’, Musikalische Überlieferung und musikalische Edition. Gesammelte Aufsätze, ed. Martin STAEHELIN, Nachrichten der Akademie der Wissenschaften zu Göttingen, I. Philologisch-historische Klasse, Jahrgang 2006, Nr. 2 – Thomas Kohlhase zum 65. Geburtstag am 10. Juli 2006 (Göttingen: Vandenhoeck & Ruprecht, 2006), 76–89. Concerning D-Mbs Clm 3005, including six facsimiles.

20090. Andreas HEINZ, ‘Ein liturgisches Lied auf den Bekennerbischof Paulinus von Trier († 358): die vergessene Paulinus-Sequenz der Trierer Diözesanliturgie’, Kurtriersches Jahrbuch, 48 (2008), 17–29.

20091. James HOGG, ‘A Vauvert Liturgical Manuscript on sale in Paris’, Analecta Cartusiana 278 (Salzburg: Institut für Anglistik und Amerikanistik Universität Salzburg, 2009), 77–86. Concerning a liturgical psalter and noted diurnale (Use of the Carthusians of Vauvert-lès-Paris), c.1260–1290, offered for sale by Les Enluminures, Le Louvre des Antiquaires, Paris, formerly in the collection of Sir Thomas Phillipps, Cheltenham, MS 1312.

20092. Michel HUGLO, ‘Le traité de musique d’Abbon de Fleury. Identification et analyse', Abbon, un abbé de l'an mil, ed. Annie DUFOUR, Gillette LABORY, Bibliothèque d'Histoire Culturelle du Moyen Âge 6 (Turnhout: Brepols, 2009), 225–39.

20093. Ritva Maria JACOBSSON, ‘Seven Constellations of Introit Tropes in Honour of the Apostle Paul’, Tongues and Texts Unlimited: Studies in Honour of Tore Janson on the Occasion of his Sixtieth Anniversary, ed. Hans AILI and Peter af TRAMPE (Stockholm, 2000), 105–26.

20094. Ritva Maria JACOBSSON, ‘Crux victrix vincit, tropes français pour la fête de la Sainte Croix’, Regards sur la France du Moyen Âge. Melanges offerts à Gunnel Engwall, ed. Olle FERM and Per FÖRNEGÅRD, Sällskapet Runica et Mediaevalia, Centre d'études médiévales de Stockholm (Stockholm, 2009), 359–85.

20095. Michael KLAPER, ‘Hirsch und Hinde. Zum gesanglichen Vortrag althochdeutscher Verse im Spannungsfeld zwischen Kontrafaktur- und Tropenpraxis’, ‘Ieglicher sang sein eigen ticht’. Germanistische und musikwissenschaftliche Beiträge zum deutschen Lied im Mittelalter, ed. Christoph MÄRZ (†), Christoph WELKER and Nicola ZOTZ, Elementa Musicae 4 (Wiesbaden: Dr. Ludwig Reichert Verlag, 2011), 41–56.

20096. Robert KLUGSEDER, ‘Studien zur mittelalterlichen liturgischen Tradition der Klosterneuburger Augustinerklöster St. Maria und St. Magdalena’, Musicologica Austriaca, 27 (2008) (Vienna: Edition Praesens, 2009), 11–43.

20097. Robert KLUGSEDER, ‘Die Notation des Hymnars der Admonter Riesenbibel’, Codices Manuscripti, 73/74 (2010), 9–14. Concerning A-Wn Series nova 2701, 2702.

20098. Robert KLUGSEDER, ‘Die mittelalterliche liturgischen Handschriften der Bibliothek des Deutschen Ordens in Wien’, Codices Manuscripti, 73/74 (2010), 31–42.

20099. Linda Maria KOLDAU, ‘Musik in Lüneburger Klöstern. Interdisziplinäre Ansätze zur Erforschung einer geistlichen Lebensform im Spätmittelalter’, Kirchenmusikalisches Jahrbuch, 93 (2009), 7–28.

20100. Franz KÖRNDLE, ‘Die Bulle “Docta sanctorum patrum”. Überlieferung, Textgestalt und Wirkung’, Die Musikforschung, 63 (2010), 147–65.

20101. Pierluigi LICCIARDELLO, ‘Stabilità e instabilità del testo agiografico. L’agiografia aretina medievale', Filologia mediolatina, 16 (2009), 17–55.

20102. Pieter MANNAERTS, ‘Beatus confessor Allowinus. Bavo-officies in Gentse bronnen’, Musicerende engelen. Bijdragen over het muzikaal erfgoed van de Gentse Sint-Baafskathedraal, Middeleeuwen – eind 18de eeuw, ed. Bruno BOUCKAERT (Ghent: Provinciebestuur Oost-Vlaanderen, 2005), 29–42.

20103. Pieter MANNAERTS, ‘An exception to the rule? The thirteenth-century Cistercian historia for Mary of Oignies’, Journal of the Alamire Foundation, 2 (2010), 233–69.

20104. Pieter MANNAERTS, ‘“O fundatrix begginarum”. St. Begga and her office in early modern beguine scholarship and musical sources’, Early Modern Medievalism (Intersections. Yearbook for Early Modern Studies 15, ed. Alicia MONTOYA, Wim van ANROOIJ and Sophie van ROMBURGH (Leiden: Brill, 2010), 219–48.

20105. Francesca MANZARI, ‘Miniatori napolitani e dell’Italia centrale nei frammenti di corali certosini del XIV secolo raccolti da Vittorio Giovardi', Rivista di storia della miniatura, 14 (2010), 116–38. Concerning I-VRLc 10, f. 1–13 (Graduale, XIVth 3/4 century) and f. 14–38 (Antiphonale, XIVth 2/4).

20106. John R.C. MARTYN, ‘Gregory the Great: On Organ Lessons and on Equipping Monasteries’, Medievalia et humanistica, New Series, 30 (2004), 107–13.

20107. John MARTYN, ‘Gregorian Chant in Spain’, Medievalia et humanistica, New Series, 32 (2006), 1–5.

20108. Christian MEYER, ‘Le tonaire des frères Prêcheurs’, Archivum fratrum praedicatorum, 76 (2006), 117–56.

20109. Christian MEYER, ‘Les vers mnémoniques dans la tradition d’enseignement de la ‘Musica plana’ de Jean de Garlande', La la la … Maître Henri. Mélanges de musicologie offerts à Henri Vanhulst, ed. Christine BALLMAN, Valérie DUFOUR (Turnhout: Brepols, 2009), 17–25.

20110. Stefan MORENT, ‘Beobachtungen zur Intervallnotation Hermanns des Lahmen in Zwiefaltener Quellen des 12. Jahrhunderts’, Mozart im Zentrum. Festschrift für Manfred Hermann Schmid zum 60. Geburtstag, ed. Ann-Katrin ZIMMERMANN and Klaus ARINGER (Tutzing: Verlag Hans Schneider, 2010), 1–13. Concerning D-Sl Cod. brev. 123.

20111. Luisa NARDINI, ‘Roman Intruders in non-Roman Chant Manuscripts: The Cases of Sint lumbi vestri and Domine si tu es’, Acta musicologica, 82 (2010), 1–20.

20112. Shin NISHIMAGI, ‘Un ‘libellus’ de traités musicaux provenant de Saint-Martial de Limoges: Paris, BnF, lat. 3713, fols. 30–44 (XIIIe siècle)’, Parva pro magnis munera. Études de littérature tardo-antique et médiévale offertes à François Dolbeau par ses élèves, ed. Monique GOULLET, Instrumenta patristica et mediaevalia 51 (Turnhout: Brepols, 2009), 305–18.

20113. Alba SCOTTI, Michael KLAPER, ‘Il ruolo della cattedrale nella trasmissione medievale dei tropi ed il caso del duomo di Parma’, Polifonie, 8/2–3 (2008) (published 2010), 9–43.

20114. Ana SUÁREZ BRAGAN GONZÁLEZ, ‘Dos supervivientes visigóticos (Zamora, AHP, fragmentos 15 y 202), Miscel·lània litúrgica catalana, 14 (2006), 119–37. Concerning two parchment folios from eleventh–twelfth century with Aquitanian neumatic notation in the Archivo Histórico Provincial of Zamora.

20115. Yan SUARSANA, ‘Der Hymnus “Veni creator spiritus” in zwei mittelalterlichen Übersetzungen’, Jahrbuch für Liturgik und Hymnologie, 47 (2008) (Göttingen: Vandenhoeck & Ruprecht, 2008), 151–70.

20116. Andreas TRAUB, ‘Musik im Kloster Hirsau’, Calw – Geschichte einer Stadt, Kulturgeschichte III: Kirchenmusik, ed. Archiv der Stadt Calw and Sparkasse Pforzheim Calw (Calw: Stadt Calw, 2009), 9–29.

20117. Andreas TRAUB, ‘Handschriftenfragmente im Hauptstaatsarchiv Stuttgart’, Musik in Baden-Württemberg, Jahrbuch, 17 (2010) (Munich: Strube Verlag, 2010), 31–9. Concerning the fragments D-Shauptstaatsarchiv J 522 E II, Nr. 410, 444, 475 and 477, including facsimiles.

20118. Andreas TRAUB, ‘Ein Missale des 12. Jahrhunderts aus dem Benediktinerkloster Groß-Comburg?’, Musik in Baden-Württemberg, Jahrbuch, 17 (2010) (Munich: Strube Verlag, 2010), 41–9. Concerning five folios of a missale notatum, D-SCHstadtarchiv S01/1428/ÜG.

20119. Andreas TRAUB, ‘Ein Fragment zur Orgelbegleitung von Sequenzen’, Die Musikforschung, 64 (2011), 46–9. Concerning D-Shauptstaatsarchiv J 522 E II, Nr. 815, first half of sixteenth century, including a facsimile.