The Taifa kingdom Toledo, an important domaine of the Mozarabic rite, was conquered by the Castilian King Alfonso VI in 1085. After he gave his daughters in marriage to Aquitanian und Burgundian aristocrats, the Council of Burgos had already decreed the introduction of the Roman rite in 1080. Hence, reforms can be studied by the distribution of Aquitanian manuscripts in Spain. See also the study of chant manuscripts by Manuel Ferreira (2007). Ferreira, Manuel Pedro (2007). Bailey, Terence; Dobszay, László (eds.). "Cluny at Fynystere: One Use, Three Fragments". Studies in Medieval Chant and Liturgy in Honour of David Hiley: 179–228. Retrieved 30 October 2012.
archive.org
The effects of the Cluniac Monastic Association on these reforms were often considered, neglected, and reconsidered by various musicologists. Background was a discussion among historians around a book of Dominique Iogna-Prat, originally published in French in 1998 (see the English translation by Graham Robert Edwards: Iogna-Prat, Dominique (2002). Order & exclusion: Cluny and Christendom face heresy, Judaism, and Islam 1000–1150. Conjunctions of religion & power in the medieval past. Ithaca, N.Y.: Cornell UP. ISBN978-0-8014-3708-3.). The answer of the musicologist's question concerning the centre of the Aquitanian school lay simply there. Rather lately (2006) Bryan Gillingham tried a general study of the role that Cluny played in the written chant transmission between the 11th and the 13th centuries. Already in 1985Jacques Chailley studied an allegorical sculpture in the sanctuary of Cluny Abbey, an important monument of the Cluniac approach to the tonary and its eight-mode system; according to him the sanctuary with the sculpture was inaugurated by Pope Urban II. Gillingham, Bryan (2006). Music in the Cluniac Ecclesia: A Pilot Project. Ottawa: Institute of Mediaeval Music. ISBN978-1-896926-73-5. Chailley, Jacques (1985). "Les huit tons de la musique et l'éthos des modes aux chapiteaux de Cluny". Acta Musicologica. 57 (1): 73–95. doi:10.2307/932690. ISSN0001-6241. JSTOR932690.
archives-ouvertes.fr
hal.archives-ouvertes.fr
Part of a 15th-century chant treatise about improvised polyphony was once attributed to Limoges, later it was identified as an appendix to Abbot Guido's Regulae about habits of the Cistercian rite (Sweeney 1992). The edition of Ms. 2284 Bibliothèque Sainte Geneviève (Coussemaker, Sweeney) has been revised recently by an edition (Meyer 2009) based on four other sources. According to Christian Meyer there was no explicit rule in the treatise which excluded polyphonic performances of plainchant from the Cistercian rite, despite the fact, that reform orders had been founded with monks, who had left their former monastic communities, after a Cluniac abbot had taken over and changed the local rite with new practices including polyphonic performance ("cum organo"). Sweeney, Cecily Pauline (1992). "Unlocking the Mystery of the Regulae de arte musica". Musica Disciplina. 46: 243–267. JSTOR20532365. Abbot Guido (1864–76), "Regulae de arte musica", in Coussemaker, Edmond de (ed.), Scriptorum de musica medii aevi nova series a Gerbertina altera, vol. 2 (Hildesheim 1963 reprint ed.), Paris: Durand, pp. 150–192. Abbot Guido (1989). Sweeney, Cecily (ed.). "The Regulae organi Guidonis Abbatis and 12th Century Organum/Discant Treatises". Musica Disciplina. 43: 27–30. Retrieved 8 July 2012. Meyer, Christian, ed. (2009). Le traité dit de Saint-Martial revisité et réédité. Retrieved 8 July 2012.
bnf.fr
gallica.bnf.fr
E.g. a tonary added to Aurelian's theoretical one in a manuscript of the Abbey Saint-Amand (F-VAL148)—an important centre of the Carolingian Renaissance, has some intonation formulas in later added Paleofrankish neumes. Aurelian of Réôme. "Valenciennes, Bibliothèque municipale, Ms. 148, fol. 71v-86v". 3 tonaries "Quae ipsis inscribantur tonis" with some intonations in later added Paleofrankish neumes within "Musica disciplina" (ch. IX-XIX), Saint-Amand Abbey (ca. 880–885). Gallica. Retrieved 8 October 2012.
In his monographical study (2006) James Grier regard two manuscripts (F-Pn lat. 909 and 1121) as documents of Adémar's work as a cantor and notator. Both of them have a tonary which offer insights to the modal framework of Adémar's school according to the local concept of the octoechos. Grier, James (2006). The musical world of a medieval monk: Adémar de Chabannes in eleventh-century Aquitaine. Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo: Cambridge University Press. ISBN978-0-521-85628-7. "Paris, Bibliothèque Nationale, fonds lat., Ms. 909, fol. 251–257'". Troper, Sequentiary, and Tonary of St. Martial de Limoges (11th century). Retrieved 30 December 2011. "Paris, Bibliothèque Nationale, fonds lat., Ms. 1121, fol. 202–206'". Troper, Sequentiary, and Tonary of St. Martial de Limoges, Adémar de Chabannes (11th century). Retrieved 30 December 2011.
See folio 131 verso of the Troper Sequentiary. Jørgen Raasted (1988) and Oliver Gerlach (2011, pp. 22–24) emphasized this creative or poetic function in their description of Western and Eastern intonation formulas. Raasted, Jørgen (1988). "Die Jubili Finales und die Verwendung von interkalierten Vokalisen in der Gesangspraxis der Byzantiner". In Brandl, Rudolf Maria (ed.). Griechische Musik und Europa: Antike, Byzanz, Volksmusik der Neuzeit; Symposion "Die Beziehung der griechischen Musik zur Europäischen Musiktradition" vom 9. – 11. Mai 1986 in Würzburg. Orbis musicarum. Aachen: Ed. Herodot. pp. 67–80. ISBN978-3-924007-77-5. Gerlach, Oliver (2011). "Mikrotöne im Oktōīchos – oder über die Vermittlung mittelalterlicher Musiktheorie und Musik". Studies of the Dark Continent in European Music History – Collected Essays on Traditions of Religious Chant in the Balkans. Rome: Aracne. pp. 7–24. ISBN978-88-548-3840-6.
books.google.com
The modal patterns, memorized by a short formula, and the deductive classification of chant played an active part in the process of oral transmission. Thus, Anna Maria Busse Berger dedicated a whole chapter of her book Medieval Music and the Art of Memory (2005, pp. 47–84) to the tonary, in which she described the relationship between music and the medieval art of memory. Busse Berger, Anna Maria (2005), Medieval Music and the Art of Memory, Berkeley, Los Angeles: University of California Press, ISBN978-0-19-514888-6.
The practice of differentiae, terminations which were also called "divisio, diffinitio", or "formula", corresponded to the melodic beginning of the antiphons and was developed during the later 9th century. Hence, the different terminations of psalmody became a subsection of each section dedicated to the antiphons of the mass or the nocturn. There are tonaries which exemplified the whole psalmody with the small doxology ("Gloria patri") written out with neumes or letters (see the Dasia-signs used in D-BAsVar.1), but there was also the abridged form to notate just the termination over the vowels EVOVAE of the last six syllables: "seculorum. Amen." Often the eight sections for the eight tones were repeated for other chant genres without psalmody or different chant books as gradual and antiphonary (Responsories, Alleluia, Offertories etc.). Hoger of Werden. "Staatsbibliothek Bamberg, Msc.Var.1, fol. 42'-46'". Fragment of Commemoratio brevis de tonis et psalmis modulandis in a music theory treatise collection from Werden? (about 1000). Retrieved 16 April 2024.
For example in the 11th-century treatise compilation "alia musica" (Chailley 1965, "AIANEOEANE": p.141; "AANNES": p.160), and some tonaries are of particular interest as Hartvic's copy of the Chartres tonary and the second tonary of the Troper-Sequentiary of Reichenau, which uses "ANANEAGIES" for the "Autenticus Protus" and "AIANEAGIES" for the "Autenticus Deuterus". Unlike the Guidonian concept of "b fa", the plagios tritos which was called echos varys ("grave mode") by Greek psaltes, did not avoid the tritone to the basis and finalis F. The pure fourth was only used by the enharmonic phthora nana. According to Oliver Gerlach (2012) the very sophisticated intonation of the diatonic Mesos tetartos, known by the name ἅγια νεανὲ among Greek psaltes, was imitated by Latin cantors for certain phrygian compositions of the Gregorian repertory, among them the Communio Confessio et pulchritudo. Michel Huglo (NGrove) classified these tonaries as "transitional group" which he dated already to the 10th century. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175–181". Theoretical tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. Chailley, Jacques, ed. (1965), Alia musica (Traité de musique du IXe siècle): Édition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Âge, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 62'-64'". Tonary with Dasia signs from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. "Staatsbibliothek Bamberg, Msc.Lit.5, fol. 187–196". Notker Balbulus, Theodulfus Aurelianensis: 2nd Tonary in the Troper and Sequentiary from Reichenau (1001). Retrieved 16 April 2024. Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Turnhout: Brepols. pp. 172–183. ISBN978-2-503-54153-2. Huglo, Michel (2001). "Tonary". New Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.28104.
The verses inserted before the tonary of Reichenau are obviously a later addition:
"Staatsbibliothek Bamberg, Msc.Lit.5, folio 4 verso". Retrieved 16 April 2024. This version has very elaborated neumae after each verse.
For example in the 11th-century treatise compilation "alia musica" (Chailley 1965, "AIANEOEANE": p.141; "AANNES": p.160), and some tonaries are of particular interest as Hartvic's copy of the Chartres tonary and the second tonary of the Troper-Sequentiary of Reichenau, which uses "ANANEAGIES" for the "Autenticus Protus" and "AIANEAGIES" for the "Autenticus Deuterus". Unlike the Guidonian concept of "b fa", the plagios tritos which was called echos varys ("grave mode") by Greek psaltes, did not avoid the tritone to the basis and finalis F. The pure fourth was only used by the enharmonic phthora nana. According to Oliver Gerlach (2012) the very sophisticated intonation of the diatonic Mesos tetartos, known by the name ἅγια νεανὲ among Greek psaltes, was imitated by Latin cantors for certain phrygian compositions of the Gregorian repertory, among them the Communio Confessio et pulchritudo. Michel Huglo (NGrove) classified these tonaries as "transitional group" which he dated already to the 10th century. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175–181". Theoretical tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. Chailley, Jacques, ed. (1965), Alia musica (Traité de musique du IXe siècle): Édition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Âge, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 62'-64'". Tonary with Dasia signs from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. "Staatsbibliothek Bamberg, Msc.Lit.5, fol. 187–196". Notker Balbulus, Theodulfus Aurelianensis: 2nd Tonary in the Troper and Sequentiary from Reichenau (1001). Retrieved 16 April 2024. Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Turnhout: Brepols. pp. 172–183. ISBN978-2-503-54153-2. Huglo, Michel (2001). "Tonary". New Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.28104.
doi.org
The effects of the Cluniac Monastic Association on these reforms were often considered, neglected, and reconsidered by various musicologists. Background was a discussion among historians around a book of Dominique Iogna-Prat, originally published in French in 1998 (see the English translation by Graham Robert Edwards: Iogna-Prat, Dominique (2002). Order & exclusion: Cluny and Christendom face heresy, Judaism, and Islam 1000–1150. Conjunctions of religion & power in the medieval past. Ithaca, N.Y.: Cornell UP. ISBN978-0-8014-3708-3.). The answer of the musicologist's question concerning the centre of the Aquitanian school lay simply there. Rather lately (2006) Bryan Gillingham tried a general study of the role that Cluny played in the written chant transmission between the 11th and the 13th centuries. Already in 1985Jacques Chailley studied an allegorical sculpture in the sanctuary of Cluny Abbey, an important monument of the Cluniac approach to the tonary and its eight-mode system; according to him the sanctuary with the sculpture was inaugurated by Pope Urban II. Gillingham, Bryan (2006). Music in the Cluniac Ecclesia: A Pilot Project. Ottawa: Institute of Mediaeval Music. ISBN978-1-896926-73-5. Chailley, Jacques (1985). "Les huit tons de la musique et l'éthos des modes aux chapiteaux de Cluny". Acta Musicologica. 57 (1): 73–95. doi:10.2307/932690. ISSN0001-6241. JSTOR932690.
For example in the 11th-century treatise compilation "alia musica" (Chailley 1965, "AIANEOEANE": p.141; "AANNES": p.160), and some tonaries are of particular interest as Hartvic's copy of the Chartres tonary and the second tonary of the Troper-Sequentiary of Reichenau, which uses "ANANEAGIES" for the "Autenticus Protus" and "AIANEAGIES" for the "Autenticus Deuterus". Unlike the Guidonian concept of "b fa", the plagios tritos which was called echos varys ("grave mode") by Greek psaltes, did not avoid the tritone to the basis and finalis F. The pure fourth was only used by the enharmonic phthora nana. According to Oliver Gerlach (2012) the very sophisticated intonation of the diatonic Mesos tetartos, known by the name ἅγια νεανὲ among Greek psaltes, was imitated by Latin cantors for certain phrygian compositions of the Gregorian repertory, among them the Communio Confessio et pulchritudo. Michel Huglo (NGrove) classified these tonaries as "transitional group" which he dated already to the 10th century. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175–181". Theoretical tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. Chailley, Jacques, ed. (1965), Alia musica (Traité de musique du IXe siècle): Édition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Âge, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 62'-64'". Tonary with Dasia signs from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. "Staatsbibliothek Bamberg, Msc.Lit.5, fol. 187–196". Notker Balbulus, Theodulfus Aurelianensis: 2nd Tonary in the Troper and Sequentiary from Reichenau (1001). Retrieved 16 April 2024. Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Turnhout: Brepols. pp. 172–183. ISBN978-2-503-54153-2. Huglo, Michel (2001). "Tonary". New Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.28104.
Gazeau, Véronique (2002). "Guillaume de Volpiano en Normandie: état des questions". Guillaume de Volpiano: Fécamp et l' histoire normande: Actes du colloque tenu à Fécamp les 15 et 16 juin 2001. Tabularia « Études ». Vol. 2. Caen: CRAHM. pp. 35–46. doi:10.4000/tabularia.1756. Olivier Diard's study (2000) of a late copy of his tonary and antiphonary for the Abbey of Fécamp (Rouen, Bibliothèque municipale, Ms. 254, olim A.190) emphasized that William of Volpiano had not only introduced customs of Saint Bénigne and own compositions — as it was common among Cluniac reformers — in Normandy, but he also integrated and reinforced Norman customs by his school. Diard, Olivier (2000). Les offices propres dans le sanctoral normand, étude liturgique et musicale (Xe-XVe siècles) (Thesis). Paris: PhD, Université de Paris IV-Sorbonne.
Already the Musica and Scolica enchiriadis (9th century) used rows defined by Dasian signs, and placed the syllables of the chant text according to the pitches sung with them. The odd tone system was a repetition of four tetrachord elements represented by four signs which were obviously taken from the Hagiopolitan Octoechos and Greek tetraphonic tone system: protus, deuterus, tritus, and tetrardus. These four Dasian signs and their derivations were used in a lot of tonaries. The innovation of the 10th century was the design of neumes which were so detailed, that they kept plenty of information concerning ornaments and accents. Rebecca Maloy (2009) even assumed that the use of transposition (mentioned as "absonia" in Scolica enchiriadis) might be found behind the diastematic Aquitanian neume notation—an assumption which clearly illustrates the weak side of Adémar's notation in comparison with the letter notation invented by William of Volpiano, which came never in use outside Normandy. Until this time very complex modal structures and microtonal shifts could be notated, as Maloy demonstrated by the most complex example of written transmission: the notation of the soloistic chant genre offertory. But Western notation did never develop modal signatures and the melodic structure was directly deduced by the diastematic notation. A second radical simplification became necessary, and so solmization was invented by Guido of Arezzo. On the background of his innovation, the later square notation was rather a reduction of the neume ligatures to a pure pitch notation, their performance was changed radically by an oral tradition of singing ornaments, of performing ligatures in a rhythmic way, and of more or less primitive models of polyphony which was no longer visible in the chant books of the 13th century. Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition". Early Music History. 28: 61–96. doi:10.1017/S0261127909000369. S2CID192197222.
indiana.edu
chmtl.indiana.edu
For example in the 11th-century treatise compilation "alia musica" (Chailley 1965, "AIANEOEANE": p.141; "AANNES": p.160), and some tonaries are of particular interest as Hartvic's copy of the Chartres tonary and the second tonary of the Troper-Sequentiary of Reichenau, which uses "ANANEAGIES" for the "Autenticus Protus" and "AIANEAGIES" for the "Autenticus Deuterus". Unlike the Guidonian concept of "b fa", the plagios tritos which was called echos varys ("grave mode") by Greek psaltes, did not avoid the tritone to the basis and finalis F. The pure fourth was only used by the enharmonic phthora nana. According to Oliver Gerlach (2012) the very sophisticated intonation of the diatonic Mesos tetartos, known by the name ἅγια νεανὲ among Greek psaltes, was imitated by Latin cantors for certain phrygian compositions of the Gregorian repertory, among them the Communio Confessio et pulchritudo. Michel Huglo (NGrove) classified these tonaries as "transitional group" which he dated already to the 10th century. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175–181". Theoretical tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. Chailley, Jacques, ed. (1965), Alia musica (Traité de musique du IXe siècle): Édition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Âge, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 62'-64'". Tonary with Dasia signs from the Abbey St. Emmeram, Regensburg (1006–1028). Retrieved 2 January 2012. "Staatsbibliothek Bamberg, Msc.Lit.5, fol. 187–196". Notker Balbulus, Theodulfus Aurelianensis: 2nd Tonary in the Troper and Sequentiary from Reichenau (1001). Retrieved 16 April 2024. Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Turnhout: Brepols. pp. 172–183. ISBN978-2-503-54153-2. Huglo, Michel (2001). "Tonary". New Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.28104.
Part of a 15th-century chant treatise about improvised polyphony was once attributed to Limoges, later it was identified as an appendix to Abbot Guido's Regulae about habits of the Cistercian rite (Sweeney 1992). The edition of Ms. 2284 Bibliothèque Sainte Geneviève (Coussemaker, Sweeney) has been revised recently by an edition (Meyer 2009) based on four other sources. According to Christian Meyer there was no explicit rule in the treatise which excluded polyphonic performances of plainchant from the Cistercian rite, despite the fact, that reform orders had been founded with monks, who had left their former monastic communities, after a Cluniac abbot had taken over and changed the local rite with new practices including polyphonic performance ("cum organo"). Sweeney, Cecily Pauline (1992). "Unlocking the Mystery of the Regulae de arte musica". Musica Disciplina. 46: 243–267. JSTOR20532365. Abbot Guido (1864–76), "Regulae de arte musica", in Coussemaker, Edmond de (ed.), Scriptorum de musica medii aevi nova series a Gerbertina altera, vol. 2 (Hildesheim 1963 reprint ed.), Paris: Durand, pp. 150–192. Abbot Guido (1989). Sweeney, Cecily (ed.). "The Regulae organi Guidonis Abbatis and 12th Century Organum/Discant Treatises". Musica Disciplina. 43: 27–30. Retrieved 8 July 2012. Meyer, Christian, ed. (2009). Le traité dit de Saint-Martial revisité et réédité. Retrieved 8 July 2012.
jstor.org
The effects of the Cluniac Monastic Association on these reforms were often considered, neglected, and reconsidered by various musicologists. Background was a discussion among historians around a book of Dominique Iogna-Prat, originally published in French in 1998 (see the English translation by Graham Robert Edwards: Iogna-Prat, Dominique (2002). Order & exclusion: Cluny and Christendom face heresy, Judaism, and Islam 1000–1150. Conjunctions of religion & power in the medieval past. Ithaca, N.Y.: Cornell UP. ISBN978-0-8014-3708-3.). The answer of the musicologist's question concerning the centre of the Aquitanian school lay simply there. Rather lately (2006) Bryan Gillingham tried a general study of the role that Cluny played in the written chant transmission between the 11th and the 13th centuries. Already in 1985Jacques Chailley studied an allegorical sculpture in the sanctuary of Cluny Abbey, an important monument of the Cluniac approach to the tonary and its eight-mode system; according to him the sanctuary with the sculpture was inaugurated by Pope Urban II. Gillingham, Bryan (2006). Music in the Cluniac Ecclesia: A Pilot Project. Ottawa: Institute of Mediaeval Music. ISBN978-1-896926-73-5. Chailley, Jacques (1985). "Les huit tons de la musique et l'éthos des modes aux chapiteaux de Cluny". Acta Musicologica. 57 (1): 73–95. doi:10.2307/932690. ISSN0001-6241. JSTOR932690.
A list of the sources can be found in Christian Meyer's essay (2003) who also described the characteristics of Cistercian tonaries and the various redactions of Bernard of Clairvaux's preface. Meyer, Christian (2003). "Le tonaire cistercien et sa tradition". Revue de Musicologie. 89 (1): 57–92. JSTOR4494836.
Part of a 15th-century chant treatise about improvised polyphony was once attributed to Limoges, later it was identified as an appendix to Abbot Guido's Regulae about habits of the Cistercian rite (Sweeney 1992). The edition of Ms. 2284 Bibliothèque Sainte Geneviève (Coussemaker, Sweeney) has been revised recently by an edition (Meyer 2009) based on four other sources. According to Christian Meyer there was no explicit rule in the treatise which excluded polyphonic performances of plainchant from the Cistercian rite, despite the fact, that reform orders had been founded with monks, who had left their former monastic communities, after a Cluniac abbot had taken over and changed the local rite with new practices including polyphonic performance ("cum organo"). Sweeney, Cecily Pauline (1992). "Unlocking the Mystery of the Regulae de arte musica". Musica Disciplina. 46: 243–267. JSTOR20532365. Abbot Guido (1864–76), "Regulae de arte musica", in Coussemaker, Edmond de (ed.), Scriptorum de musica medii aevi nova series a Gerbertina altera, vol. 2 (Hildesheim 1963 reprint ed.), Paris: Durand, pp. 150–192. Abbot Guido (1989). Sweeney, Cecily (ed.). "The Regulae organi Guidonis Abbatis and 12th Century Organum/Discant Treatises". Musica Disciplina. 43: 27–30. Retrieved 8 July 2012. Meyer, Christian, ed. (2009). Le traité dit de Saint-Martial revisité et réédité. Retrieved 8 July 2012.
According to Christian Meyer (2003) the tonary in the Milanese Antiphonary of the Abbey St. Mary of Morimondo is one of the most complete sources which is very close to those used in the Cistercian foundations in Austria, Germany, and Poland. Meyer, Christian (2003). Meyer, Christian (ed.). "Discipulus: Quid est tonus? — Tonale Cisterziense". Revue de Musicologie. 89 (1): 77–91. JSTOR4494836.
In a long essay dedicated to the Latin treatises and the knowledge that Latin cantors had about music theory, Michel Huglo (2000) referred to an episode of a Byzantine legacy in Aachen, who celebrated troparia (processional antiphons) for the feast of Epiphany. Oliver Strunk (1960) had already published about this visit, but through Walter Berschin's essays about the Carolingian visits of Byzantine legacies, Michel Huglo became convinced that this exchange could already have happened before his self-nomination as an Emperor of both Roman Empires. Huglo, Michel (2000), "Grundlagen und Ansätze der mittelalterlichen Musiktheorie", in Ertelt, Thomas; Zaminer, Frieder (eds.), Die Lehre vom einstimmigen liturgischen Gesang, Geschichte der Musiktheorie, vol. 4, Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 17–102, ISBN978-3-534-01204-6. Strunk, William Oliver (1960). "The Latin Antiphons of the Oktoechos". A Musicological Offering to Otto Kinkeldey Upon the Occasion of His 80th Anniversary — Journal of the American Musicological Society. 13: 50–67. Retrieved 11 April 2012.
semanticscholar.org
api.semanticscholar.org
Already the Musica and Scolica enchiriadis (9th century) used rows defined by Dasian signs, and placed the syllables of the chant text according to the pitches sung with them. The odd tone system was a repetition of four tetrachord elements represented by four signs which were obviously taken from the Hagiopolitan Octoechos and Greek tetraphonic tone system: protus, deuterus, tritus, and tetrardus. These four Dasian signs and their derivations were used in a lot of tonaries. The innovation of the 10th century was the design of neumes which were so detailed, that they kept plenty of information concerning ornaments and accents. Rebecca Maloy (2009) even assumed that the use of transposition (mentioned as "absonia" in Scolica enchiriadis) might be found behind the diastematic Aquitanian neume notation—an assumption which clearly illustrates the weak side of Adémar's notation in comparison with the letter notation invented by William of Volpiano, which came never in use outside Normandy. Until this time very complex modal structures and microtonal shifts could be notated, as Maloy demonstrated by the most complex example of written transmission: the notation of the soloistic chant genre offertory. But Western notation did never develop modal signatures and the melodic structure was directly deduced by the diastematic notation. A second radical simplification became necessary, and so solmization was invented by Guido of Arezzo. On the background of his innovation, the later square notation was rather a reduction of the neume ligatures to a pure pitch notation, their performance was changed radically by an oral tradition of singing ornaments, of performing ligatures in a rhythmic way, and of more or less primitive models of polyphony which was no longer visible in the chant books of the 13th century. Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition". Early Music History. 28: 61–96. doi:10.1017/S0261127909000369. S2CID192197222.
E.g. a tonary added to Aurelian's theoretical one in a manuscript of the Abbey Saint-Amand (F-VAL148)—an important centre of the Carolingian Renaissance, has some intonation formulas in later added Paleofrankish neumes. Aurelian of Réôme. "Valenciennes, Bibliothèque municipale, Ms. 148, fol. 71v-86v". 3 tonaries "Quae ipsis inscribantur tonis" with some intonations in later added Paleofrankish neumes within "Musica disciplina" (ch. IX-XIX), Saint-Amand Abbey (ca. 880–885). Gallica. Retrieved 8 October 2012.
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The effects of the Cluniac Monastic Association on these reforms were often considered, neglected, and reconsidered by various musicologists. Background was a discussion among historians around a book of Dominique Iogna-Prat, originally published in French in 1998 (see the English translation by Graham Robert Edwards: Iogna-Prat, Dominique (2002). Order & exclusion: Cluny and Christendom face heresy, Judaism, and Islam 1000–1150. Conjunctions of religion & power in the medieval past. Ithaca, N.Y.: Cornell UP. ISBN978-0-8014-3708-3.). The answer of the musicologist's question concerning the centre of the Aquitanian school lay simply there. Rather lately (2006) Bryan Gillingham tried a general study of the role that Cluny played in the written chant transmission between the 11th and the 13th centuries. Already in 1985Jacques Chailley studied an allegorical sculpture in the sanctuary of Cluny Abbey, an important monument of the Cluniac approach to the tonary and its eight-mode system; according to him the sanctuary with the sculpture was inaugurated by Pope Urban II. Gillingham, Bryan (2006). Music in the Cluniac Ecclesia: A Pilot Project. Ottawa: Institute of Mediaeval Music. ISBN978-1-896926-73-5. Chailley, Jacques (1985). "Les huit tons de la musique et l'éthos des modes aux chapiteaux de Cluny". Acta Musicologica. 57 (1): 73–95. doi:10.2307/932690. ISSN0001-6241. JSTOR932690.
