Editor's Preface | |
Conference Program | |
Welcome | |
David Hughes: An Informal Portrait | |
De Accentibus Toni Oritur Nota Quae Dicitur Neuma: Prosodic Accents, the Accent Theory, and the Paleofrankish Script | p. 17 |
Chant Notation in Eleventh-Century Roman Manuscripts | p. 43 |
The Antiphon Cantantibus Organis and Dante's Organi Del Mondo | p. 59 |
Thoughts on Responsories | p. 77 |
Prolegomena to a History of Music and Liturgy at Rome in the Middle Ages | p. 87 |
The Tabula Monochordi of Magister Nicolaus de Luduno | p. 117 |
The Repertory of Sequences at Winchester | p. 153 |
The Origin of the Monodic Chants in the Codex Calixtinus | p. 195 |
Rome and Jerusalem: From Oral Tradition to Written Repertory in Two Ancient Liturgical Centers | p. 207 |
Structure and Ornament in Chant: The Case of the Beneventan Exultet | p. 249 |
Gregorian Chant and Oral Transmission | p. 277 |
Antiphonal Psalmody in Christian Antiquity and Early Middle Ages | p. 287 |
A Sommacampagna Codex of the Italian Ars Nova? | p. 317 |
Notes On The Tropes in Manuscripts of the Rite of Aquileia | p. 333 |
Ways of Telling Stories | p. 371 |
Guido's Theory of Organum after Guido: Transmission - Adaptation - Transformation | p. 395 |
Rithmus | p. 415 |
Once More, Music and Language in Medieval Song | p. 441 |
Ut Hic: Announcing a Study of Musical Examples in the Thirteenth-Century Music Treatises | p. 471 |
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