Music in Medieval Europe: Studies in Honour of Bryan Gillingham

Cover -- Half Title -- Dedication -- Title -- Copyright -- Contents -- List of examples -- List of figures -- List of tables -- List of contributors -- Bibliographical abbreviations -- 1 Two paradigms of orality: the office and the mass -- 2 Salamanca to Sydney: a newly-discovered manuscript of the Lamentations of Jeremiah -- 3 Gregorian responsories based on texts from the Book of Judith -- 4 Modes and modality: a unifying concept for Western chant? -- 5 Réôme, Cluny, Dijon -- 6 The first dictionary of music: the Vocabularium musicum of ms Monte Cassino 318 -- 7 The twilight of troping -- 8 To trope or not to trope? Or, how was that English Gloria performed? -- 9 Why Marian motets on non-Marian tenors? An answer -- 10 Consecrating the house: the Carmelites and the office of the dedication of a church -- 11 A historical context for Guido d'Arezzo's use of distinctio -- 12 The musical text of the introit Resurrexi -- 13 Chants for four masses in the Editio princeps of the Pontificale romanum (1485) -- 14 The double office at St Peter's Basilica on Dominica de Gaudete -- 15 Philip the Chancellor and the conductus prosula: 'motetish' works from the School of Notre-Dame -- 16 Vox - littera - cantus: aspects of voice and vocality in medieval song -- 17 Ambrosian processions of the saints -- 18 Patterns and paleography: revisions, variants, errors, and methods -- 19 Notker in Aquitaine -- 20 The Historia Sancti Magni by Hermannus Contractus (1013-1054) -- Publications of Bryan Gillingham -- Bibliography -- General index -- Index of incipits -- Index of manuscripts cited -- Index of saints