Tonary - Knowledge

438:

apud eos laetantis adverbia: quantoque maior est vocis concentus, eo plures inscribuntur syllabae: ut in authento proto, qui principium est, sex inseruntur syllabae, videlicet hae Noeane Nonannoeane; in authentu deuteri: in authentu triti, quoniam minoris sunt metri, quinque tantummodo eis inscribuntur syllabae, ut est Noioeane. In plagis autem eorum consimilis est litteratura, scilicet Noeane, sive secundum quosdam Noeacis. Memoratus denique adiunxit graecus, huiusmodi, inquiens, nostra in lingua videntur habere consimilitudinem, qualem arantes sive angarias minantes exprimere solent, excepto quod haec laetantis tantummodo sit vox, nihilque aliud exprimentis, estque tonorum in se continens modulationem.

442:

rather expressions of joy. And the greater the harmony of the voice, the more syllables were inscribed to the tone: as in the "authentus protus" which was the first, they used six syllables as "Noeane" or "Nonannoeane"; for "authentus tritus", which was smaller in measure , five syllables as "Noioeane" were inscribed. In plagal tones the letters were similar to "Noeane", as "Noeacis" according to them. When I asked him, if there might be something similar in our language, the Greek added, that I should rather think of something expressed by charioteers or ploughing peasants, when their voice had nothing else than this joy. The same contained the modulation of the tones .

372:) to find the right psalmody according to the mode and the melodic ending of the antiphon, which was sung as a refrain during the recitation of the psalm. A Greek psaltes would sing a completely different melody according to the echos indicated by the modal signature, while Frankish cantors had to remember the melody of a certain Roman chant before they communicated their idea of its mode and its psalmody in a tonary—for all the cantors who would follow them. In this process of chant transmission, which followed Charlemagne's reform, the so-called "Gregorian chant" or Franco-Roman chant, as it was written down about 150 years after the reform, was born. 670: 636:

and Burgundy. Probably the oral tradition of the melody was no longer properly working since the early 11th century, or there was still a need in a lot of regions to teach certain cantors an unknown tradition, or the tradition itself had to change under certain innovations of cantors who were in charge of an institutional reform. Studies of the reforms of various regions in Spain, Germany, Italy, and France have found evidence for all these cases whatever was the centre of each reform which had taken place between the late 10th and the 12th centuries. The monk Hartvic added some Dasia signs for certain

840:) have survived with a tonary using central French neume notation, in its style very close to the chant books of Cluny. The «Bibliothèque interuniversitaire de Médecin» still conserves the only manuscript with alphabetic notation which can be dated back to William's time. Thanks to the creative and innovative achievements of William as a cantor, reformer and architect, the local monasteries which he reformed, did not simply adapt to customs of the Cluniac reform, he contributed to the history of Norman chant his own local school which was as well inspired by elements of the local 487: 1232:, 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 5893: 4490: 5903: 4480: 1825:) 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 ( 790: 927:. They were used in all possible combinations which turned improvisation into composition, and composition into improvisation. The imitation of these forms in Spain, and Italy were caused by papal reforms which tried to organize the church provinces in newly conquered territories or territories which conserved older rites, because reforms could hardly be established for a long time. 1766:. 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. 999:

they were established soon, as Bernard became one of the most important and powerful churchmen involved in crusade policies which clearly corresponded to the refused aristocratic ambitions within the Cluniac Association. During Bernard's liturgical reform the tonary still served as an important tool and its modal patterns formed the basis of the corrections made by

907:

131 verso there is another alleluia made of the same intonation, but here the same intonation is rather artificially cut into segments for the words of the sequence «Almifona». Here, the improvised melodic structure developed by a repetitive use of the intonation formula had turned into a sophisticated composition which dealt with the syllables of poetry.

102: 1239:), 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.). 1363:

It is not easy to prove this or another practice for medieval chant, neither for Greek nor for Latin singers, but concerning performance practice this is quite a controversial topic which can be solved in different ways. It is possible that the Orthodox practice today helps the singers to sing subtle

363:

of the first generation (10th century), written by Frankish cantors, report many details about accentuation and ornamentation, but the melodic structure was remembered orally by tropes. Sometimes a tonary was attached to these manuscripts, and the cantors could use it by looking for the incipit of an

635:

Nevertheless, the tonary was not replaced by these manuscripts. While the first generation of notated manuscripts became less and less readable until the end of the 10th century, the production of tonaries as useful appendix highly increased, especially in Aquitania, the Loire valley (Île-de-France)

437:

Caeterum nomina, quae ipsis inscribuntur tonis, ut est in primo tono Nonaneane, et in secundo Noeane, et caetera quaeque, moveri solet animus, quid in se contineant significationis? Etenim quemdam interrogavi graecum, in latina quid interpretarentur lingua? respondit, se nihil interpretari, sed esse

1020:

notators already started in a diastematic form, and the local scribes used the same opportunity to codify their own tradition, and in a second step of a reform which could not earlier be realized until a political conquest allowed the domination of a certain region, they had to deal with a codified

998:

were codified to support the Cistercian cantors, while they were cleaning the corrupted tradition of plainchant. Despite certain ambitions concerning the performance practice of polyphonic organum, the first generation of reformers around Bernard did not allow these Cluniac practices. Nevertheless,

906:

of this tone (ranging between C and G), but the sequentiary (folio 114 recto) is opened by an "improvised" alleluia of the same tone simply made by a similar intonation which is also using the plagal fourth A-D under the final note D according to the Carolingian concept of the plagal mode. On folio

785:

in a second row, which defined the pitches of the melody precisely according to the Boethian diagramm. Like any other chant manuscript around 1000, the book was not written for a use during a ceremony, it was a "book of memory" for cantors who alone had the competence of reading and writing neumes,

1024:

From this point of view, several tonaries, already transmitted by earlier French sources, can be found in later copies in Italian manuscripts, often written in French scriptoria and their neume notation. Nevertheless, a lot of Italian cantors were authors of tonaries which played a key role during

918:

was not only a problematic accumulation of political power during the crusades among aristocratic churchmen, which caused rebellions in several Benedictine monasteries and the foundation of new anti-Cluniac reform orders, they also cultivated new forms of chant performance which dealt with poetry,

857:

was educated by his uncle Roger de Chabannes at the Saint-Martial Abbey of Limoges and this school redacted the first chant manuscripts by additional modal signatures and a remarkable production of tonaries, which Michel Huglo called the "Saint-Martial group" or the monastic tonaries of Aquitaine.

660:

During the late 10th and the 11th century, the early use of a second alphabetical pitch notation was soon replaced by a new diastematic form of neume notation, which indicated the pitch by the vertical position of the neumes, while their groups indicated by ligatures were still visible. Aquitanian

441:

My mind was usually moved by some of the names, which were inscribed for the tones, as "Nonaneane" for the protus, and "Noeane" for the deuterus. Did they have any significance? So I asked a Greek, how these could be translated into Latin. He answered that they did not mean anything, but they were

862:

showed little interest in the local repertoire of the Limoges tropers, a local contribution which had been ignored during their reforms, although the richly illustrated Aquitanian tonaries (especially the "Toulouse group") had obviously inspired the column sculptures dedicated to the eight church

1291:

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

141:

The earliest tonaries, written during the 8th century, were very short and simple without any visible reference to psalmody. Tonaries of the 9th century already ordered a huge repertoire of psalmodic chant into sections of psalmtone endings, even if their melody was not indicated or indicated by

375:

The function of the tonary within chant transmission explains why local schools of Latin chant can be studied by their tonary. Hence, the tonary was still substantial for every chant reform between the 10th and the 12th centuries, like the reform of the Cluniac Monastic Association (tonaries of

979:

During this long period Cluny's power and influence on less and less successful crusades which were well reflected in certain chant genres like conductus and motet, caused a decline and an increasing resistance among the monastic communities of the Cluniac Association between Paris, Burgundy,

129:

assisted the memorization of chant. The exact order was related to the elements of the "tetrachord of the finales" (D—E—F—G) which were called "Protus, Deuterus, Tritus", and "Tetrardus". Each of them served as the finalis of two toni—the "authentic" (ascending into the higher octave) and the

1638:(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. 350:

for the first time. Nevertheless, it was the difference between Greek and Latin chant sources, especially the particular function of the tonary in chant transmission, that led Peter Jeffery to the conclusion that the huge repertoire of Roman chant was classified according to the

615:, and after this "incipit" of the soloist the choir continued. These changes between precantor and choir were usually indicated by an asterisk or by the use of maiuscula at the beginning the chant text. The psalmody could be indicated by an incipit of the required psalm and the 1021:

chant repertory which was supposed to be "Roman". The transfer was done by written transmission, and this explains certain cross-references which can be studied in detail by the notated chant repertory, but more easily by the copies and the local neumes used in tonaries.

1269:) 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. 786:

and the responsibility to organize the chant sung during the liturgical year. During his reforms, several Abbeys followed his example and his system was used by the teachers of the local grammar schools which included the daily practice of singing the liturgy.

1726:(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 570:

or the treatise collection of Montecassino (Ms. Q318, p. 122–125), but no one became so popular than a compilation of verses taken from the New Testament which started with "Primum querite regnum dei". Usually each verse is finished by a long melisma or

420:

In Carolingian times each of the eight sections was opened by an intonation formula using the names like "Nonannoeane" for the authentic and "Noeagis" or "Noeais" for the plagal tones. In the living traditions of Orthodox chant, these formulas were called

1738:. 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 ( 910:

A central line, usually on F or G, was added and helped to recognize their horizontal organization, during the 12th century a second line was added until they were replaced by a pentagramm in square notation by the second half of the 12th century.

1754:, 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 966:

allowed the solistic organum singer to indicate the basis degree of the cantus by an individual intonation in the higher octave, while the finale octave of each section was prepared by an paenultima ornament, which had developed by the "meeting"

824:

was established in the conquered Island. His fully notated tonaries were only copied in Brittany and Normandy, the Norman-Sicilian manuscripts rather imitated the libellum structure of the Aquitanian troper-sequentiaries, and only a few of them

346:. It was probably a coincidence that Pope Adrian I supported the Eastern Octoechos reform, but it is also evident that Carolingian diplomates present at the synode did not get interested in the communication of the modes by intonations called 2020:

Tonary in red ink ("Primus igitur lydius...") of the "Ratio breviter super musicum cum tonario " (Tonary of Leyden) with Lorrain neumes and Greek terminology (close to the "alia musica" compilation) in a treatise collection near Liège (ca.

220:(for mass chants) or antiphonary (for the office chant of the Vigils and the Hours) according to the liturgical year. The tonus of the antiphonal chant genres is indicated by later added rubrics as "ATe" for "Autentus Tetrardus" (see the 858:

Adémar was the next generation after William of Volpiano and he was the final touch in a long row of notators who used the diastematic form of Aquitanian neume notation which was well developed during the late 10th century. But the

197:, called "Quomodo ex quatuor Sonorum vi omnes toni producantur", already used the fifth of the Protus (D—a) for an illustration, how alleluia melodies are developed by the use of the intonation formula for the "Autentus protus". 478:) or "Aannes" (enechema of the echos varys) which can be found in very few tonaries between Liège, Paris, Fleury, and Chartres. Two of these tonaries have treatises and use a lot of Greek terms taken from Ancient Greek theory. 1011:

The local liturgical traditions in large parts of Italy remained stable, because there was simply no written transmission which could interfere with any reform until the end of the 10th century. A lot of local neumes used by

2276:"Musica seu Prologus in Tonarium" with tonary after the prologue, Greek names according to Hucbald are used for the finales, Saint Gall neumes have been added to the intonation formulas, Monastery Lorsch (mid 11th century) 247:

of the mode, its pitches represented by letters or later by diastematic neume notation. Subsections followed the different chant genres quoted as examples for the represented tone. Antiphonal refrains in psalm recitation

1132:

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

185:) refused the Dasia tone system, because it displayed tetraphonic tone system and not the systema teleion (corresponding to the white keys of the keyboard) which had all the pitches needed for the "melos of the echoi" ( 852:

The Aquitanian innovation due to an analytical diastematic notation can be traced back to a 10th-century development which culminated with a systematic redaction of local manuscripts by a family of prominent cantors:

781:, and within these sections the chant was ordered according to the cycle of the liturgical year starting with advent. He used the neumes of Cluny, the central French forms, without changing them, but he added an 546:). But since the 10th century, also biblical verses were used. They were composed together in one antiphon with each verse changing the tone and referring to the number of the tonus according to the system of 1842:) 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. 1346:, 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 3855: 603:. Concerning the earliest fully notated chant manuscripts, it seems that the practice of singing the intonation formulas was soon replaced by another practice, that a soloist intoned the beginning of an 3523:

Nardini, Luisa (2003), "Montecassino, Archivio della Badia, ms. 318: Observations on the Second Tonary Mass Repertory", in Antolini, Bianca Maria; Gialdroni, Teresa Maria; Pugliese, Annunziato (eds.),

575:

which clearly show its potential to become a tool of improvisation and composition as well. The origin of these verses is unknown. In some tonaries, they replaced the Carolingian intonations as in the

980:Île-de-France, and Aquitaine. New monastic orders were founded in order to establish anti-Cluniac counter-reforms. The most important was certainly created among Cistercians by a reform group around 1538:

played a key role concerning the Cluniac needs for an extravagant liturgy. Hence, it is hardly surprising that they were more productive concerning tonaries than any other local school in Europe.

988:

were disregarded as a corruption of the Roman tradition, but the new books ordered from the scriptoria of Laon and Metz did not satisfy the expectations of the reformers. Instead rules based on

6226: 1758:. 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 472:νὲ ἅγιε and the Latin name "Noeagis", used as a general name for all four plagal tones. But there are some more obvious cases as particular names like "Aianeoeane" (enechema of the Mesos 209:

As a treatise they usually describe the octave, fifth and fourth species of each tone, but also their modal characteristics like microtonal shifts or the change to another melodic frame.

2664:

Elaborated theoretic tonary with neumes of St Gall by Berno of Reichenau in a collection of the Abbey Saint Peter at Merseburg transferred to the Cistercian Abbey of Altzelle (ca. 1075)

1680:) 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 3591:

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

816:

were not the first, and there were a lot of later abbots who founded monasteries not only in Normandy, but also in the conquered territories of Northern, and Southern Italy, including

121:

Tonaries were particularly important as part of the written transmission of plainchant, although they already changed the oral chant transmission of Frankish cantors entirely before

7928: 303:

During the Carolingian reform the tonary played a key role in the organization and the transfer of Roman chant, which had to be sung by Frankish cantors according to Charlemagne's

1425:, 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 466:

by a series of procession antiphons used for the feast of Epiphany. Although the Latin names were not identical, there is some resemblance between the intonation formula of the

2253:"De consona tonorum diversitate" with tonary, in "Bernonis Epistolae cum sermonibus et hymnis", St. Gall Abbey, copy of a dedicated collection for King Henry III (11th century) 652:

which he copied in this manuscript, and thus he discovered a new way of using them: as an additional explanation or second pitch notation interpreting the adiastematic neumes.

7757: 1203:

Both systems were used by Byzantine psaltes and among them the former was never expected to contain all the degrees of the mode, as they were used "in the melos of the echoi".

2364:

Abridged Antiphonary from the church St. Salvator Mundi, St. Martial Abbey in Limoges, with later modal classifications by Roger & Adémar de Chabannes (late 10th century)

146:. Most of the tonaries which have survived until now can be dated back to the 11th and 12th centuries, while some were written during later centuries, especially in Germany. 1973:

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)

1564: 782: 687:

elaborated the concept of an additional letter notation and created a new form of tonary which became an important part of his monastic reforms, he did the first reform for

425:" and they were used by a protopsaltes to communicate the basis tone for the ison-singers (a kind of bordun) as well as the first note of the chant for the other singers. 77:

chants not associated with formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an appendix to other liturgical books such as

6219: 1567:). The Boethian diagramm was already used since centuries, with exception of the symbols of the tetraphonic Dasia system which were used in certain treatises since the 1451:, 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 2015: 1033:, whose treatises were used during the Cistercian and Beneventan reform, while there is no source which testify the use of tonaries among Roman cantors. The famous 224:

of Corbie and Saint-Denis) or the Roman Ordinals I-VIII according to Hucbald's system, as we can find it in the early Troper-Sequentiary of St. Géraud in Aurillac (

3094:

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

958:. Since 1100, the florid organum reproduced the original function of the earlier intonation formula as it can be found in the tonaries. An initial ornament called 243:

The most common form was the shortest one which had no theoretical explanation. Since the late 9th century each section started with an intonation formula and the

1851:

The term "repertorio neo-gregoriano" is taken from Luisa Nardini who also studied the Montecassino tonary and its role in the transmission of the Mass repertory (

3589:

Raasted, Jørgen (1988). "Die Jubili Finales und die Verwendung von interkalierten Vokalisen in der Gesangspraxis der Byzantiner". In Brandl, Rudolf Maria (ed.).

902:) which was probably written in Limoges during the 10th century. The intonation of the "plagi protus" (on folio 105 verso) is rather exposing the melos used in 6212: 7561: 1329:, 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 1318:) 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 1350:

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 (

930:

The diastematic notation of Aquitanian cantors and their most innovative use in tropes and punctum contra punctum polyphony which can be also found in the

130:"plagal" one (descending into the lower fourth). The eight tones were ordered in these pairs: "Autentus protus, Plagi Proti, Autentus Deuterus" etc. Since 6267: 1801:

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

462:

among Byzantine psaltes, was obviously not familiar to Aurelian of Réôme. It was probably imported by a Byzantine legacy, when they introduced the Greek

2131:

Tonary fragment on two pages with St Gall neumes inserted at the end of a Hexameter version of Apostolic Acts by Arator Diaconus, Augsburg? (about 1000)

327:

were written much later, during the last decades of the 10th century, and the oral transmission of Gregorian chant is proved by additions of neumes in

757:

Several Aquitanian troper-sequentiaries had a libellum structure which sorted the genres in separate books like alleluia verses (as the first part of

7699: 1265:) referred to an episode of a Byzantine legacy in Aachen, who celebrated troparia (processional antiphons) for the feast of Epiphany. Oliver Strunk ( 2629: 1151: 1045:, was compiled in the province of Milan, while only "Formulas quas vobis", a tonary used in Montecassino and Southern Italy, was written by another 6193: 90: 894:). All of these books of the local secular cathedral rite have a tonary libellum. The oldest one is the Troper Sequentiary of the Auch region ( 3570:

Phillips, Nancy (2000), "Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert", in Ertelt, Thomas; Zaminer, Frieder (eds.),

355:

a posteriori. While early manuscripts of Greek chant always used modal signatures (even before neume notation was used), the fully notated

8117: 260:), usually represented by its text incipit, were sorted according to various terminations used in psalmody, the so-called "differentiae". 3316:

Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.).

2944:

Tonary in a Guidonian treatise collection of Norman-Italian origin attached to the Troper-Proser of the Abbey St. Évroult (12th century)

8127: 7551: 3923: 288: 5940: 3635: 3121: 661:

and English cantors in Winchester were the first who developed a diastematic form, which could be written in such an analytical way.

579:, but more often they were written under them or alternated with them in the subsections like in a certain group which Michel Huglo ( 3614:

A Musicological Offering to Otto Kinkeldey Upon the Occasion of His 80th Anniversary — Journal of the American Musicological Society

8023: 6936: 4526: 3544:"Origine d'un 'libellus' guidonien provenant de l'abbaye de Saint-Evroult: Paris, BnF, lat. 10508, f. 136–159 (fin du XIIe siècle)" 2830: 2819: 2808: 7825: 7417: 5064: 2307:

Tonary with square notation in a collection of music treatises from the Augustine convent Saint Thomas of Leipzig (14th century)

8147: 8031: 5556: 3435:

Huglo, Michel (2000), "Grundlagen und Ansätze der mittelalterlichen Musiktheorie", in Ertelt, Thomas; Zaminer, Frieder (eds.),

126: 3318:

Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald

2824:"De octo tonora per ordinem" in a Collection of Music Theory Treatises, Abbey St. Benedict of Montecassino (late 11th century) 3598: 3579: 3532: 3463: 3444: 3363: 3344: 3325: 3306: 3220: 3199: 2835:

Tonary in Beneventan neumes in a Collection of Music Theory Treatises, Abbey St. Benedict of Montecassino (late 11th century)

1779:) who also described the characteristics of Cistercian tonaries and the various redactions of Bernard of Clairvaux's preface. 1600: 1314:). The answer of the musicologist's question concerning the centre of the Aquitanian school lay simply there. Rather lately ( 1307: 1261:

In a long essay dedicated to the Latin treatises and the knowledge that Latin cantors had about music theory, Michel Huglo (

7949: 7016: 4556: 1746:) might be found behind the diastematic Aquitanian neume notation—an assumption which clearly illustrates the weak side of 169:

treatise (9th century) in order to transcribe the melodic endings or terminations of psalmody. 11th-century theorists like

7011: 3454:

Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering",

3299:

Studies of the Dark Continent in European Music History – Collected Essays on Traditions of Religious Chant in the Balkans

8011: 7884: 6748: 6738: 2813:"Formulas super ad nos" in a Collection of Music Theory Treatises, Abbey St. Benedict of Montecassino (late 11th century) 1705:, pp. 22–24) emphasized this creative or poetic function in their description of Western and Eastern intonation formulas. 1669: 895: 883: 833: 797: 674: 233: 225: 110: 8107: 7247: 5398: 4890: 3297:

Gerlach, Oliver (2011). "Mikrotöne im Oktōīchos – oder über die Vermittlung mittelalterlicher Musiktheorie und Musik".

1068:", i.e. the Roman-Frankish redaction between the first generation of fully notated manuscripts (since the 1050s), the 8041: 6963: 5985: 3691: 2871: 2848: 2230:) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006–1028) 276: 5780: 2901: 263:

A very rare form of tonary is a fully notated one, which shows every chant genre (not only the antiphonal ones with

7856: 7810: 6810: 5765: 5738: 4551: 4389: 331:. In the tonary, the whole repertory of "Gregorian chant" was ordered according to its modal classification of the 1364:

intonation changes, which are no longer practiced in Western music, while maqam singers usually sing without ison.

826: 7651: 7507: 7392: 6048: 5760: 125:

was used systematically in fully notated chant books. Since the Carolingian reform the ordering according to the

7188: 6624: 5770: 5019: 707: 7682: 7422: 7412: 6906: 6295: 5076: 4684: 4566: 3916: 1995: 1417:, "AIANEOEANE": p.141; "AANNES": p.160), and some tonaries are of particular interest as Hartvic's copy of the 630: 150: 935: 8122: 7979: 7921: 5933: 4885: 3574:, Geschichte der Musiktheorie, vol. 4, Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 293–324, 1618:

Guillaume de Volpiano: Fécamp et l' histoire normande: Actes du colloque tenu à Fécamp les 15 et 16 juin 2001

1497: 3439:, Geschichte der Musiktheorie, vol. 4, Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 17–102, 8102: 7723: 7625: 5004: 4919: 4519: 3429:, Publications de la Société française de musicologie, vol. 2, Paris: Société française de musicologie 2047:

Psalmody of the Communiones in the Gradual and Notker's Sequentiary from the Einsiedeln Monastery (960–970)

700: 1911:

Gradual-Sacramentary, Sequentiary, and Antiphonary of the Abbey Saint-Corneille de Compiègne (ca. 860–880)

669: 8167: 7163: 6405: 4424: 4288: 2271: 2162:

Notker Balbulus, Theodulfus Aurelianensis: 2nd Tonary in the Troper and Sequentiary from Reichenau (1001)

153:

theory and the daily practice of prayer: memorizing and performing the liturgy as chant and reciting the

1810: 7994: 7556: 7287: 6753: 5883: 5748: 4546: 3358:. Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo: Cambridge University Press. 7260: 3230:

Chailley, Jacques (1985). "Les huit tons de la musique et l'éthos des modes aux chapiteaux de Cluny".

3160:

Meyer, Christian (2003). Meyer, Christian (ed.). "Discipulus: Quid est tonus? — Tonale Cisterziense".

2504:

Tonary (12th century) of the Gradual and Antiphonary of the Abbey Saint-Maur-des-Fossés (11th century)

1681: 1384: 1141:) to the tonary, in which she described the relationship between music and the medieval art of memory. 774: 338:

Michel Huglo developed in his dissertation the hypothesis about an original tonary which preceded the

8137: 8112: 7752: 7747: 5743: 5418: 5413: 5059: 4493: 4384: 4359: 4150: 3909: 3609: 2634:

Tonary of Amerus' treatise "Practica artis musice" in the motet collection Bamberg, Paris (1275–1285)

2157: 7113: 3748: 3525:"Et facciam dolçi canti" : Studi in onore di Agostino Ziino in occasione del suo 65. compleanno 2785: 2454: 1072:(11th century), and the "Neo-Gregorian reforms" of the late 11th and 12th centuries in centres like 8000: 7909: 6822: 6732: 5926: 4394: 4344: 4233: 4140: 3097:, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis 2138: 2102: 1470: 981: 308: 3792: 3085:, vol. 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 125–152 3073:, vol. 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 247–250 3058:, vol. 2 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 114–124 3016:, vol. 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 213–229 2974:, vol. 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 152–173 2741:

Tonary with square neumes in the Poissy Antiphonal, Monastery of Saint-Louis de Poissy (1335–1345)

1527: 221: 7939: 7820: 7731: 7670: 7581: 6983: 6617: 6467: 5896: 5044: 4974: 4512: 4483: 4354: 3543: 1531: 1158: 6204: 5755: 3043:, vol. 2 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 79–91 2989:, vol. 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 27–63 2736: 8152: 8132: 8052: 8046: 7835: 7830: 7493: 7427: 6572: 5980: 5906: 5785: 5591: 5247: 4934: 4033: 3841:"Manuscriptorium: Building Virtual Research Environment for the Sphere of Historical Resources" 2980: 1964: 1727: 1459:) classified these tonaries as "transitional group" which he dated already to the 10th century. 1213: 1101: 523: 463: 429: 352: 332: 316: 106: 4627: 3389: 2691:"Vienna, Österreichische Nationalbibliothek, Cod. 1799**, fol. 216r-222v (Digit. No. 454-467)" 2295:

List of enechemata and tonary with St. Gall neumes in a music theory collection (13th century)

2291:"Wolfenbüttel, Herzog-August Bibliothek, Cod. Guelf. 1050 Helmstedt (cat. 1152), fol. 16'-27'" 1747: 1183: 854: 8157: 7945: 7767: 7138: 6916: 6650: 5847: 5162: 5014: 4870: 4865: 4727: 4465: 4329: 4028: 2659: 2383:

Troper, Sequentiary, and Tonary of St. Martial de Limoges, Adémar de Chabannes (11th century)

2302: 2290: 1648: 1233: 1175: 746:(the conclusion of epistle readings), but also other genres of the proper mass chant such as 495: 458:

The practice of using abstract syllables for the intonation, as it was common for the use of

415: 5309: 4939: 3269:

Les offices propres dans le sanctoral normand, étude liturgique et musicale (Xe-XVe siècles)

2518: 2499: 2435: 2416: 2397: 2378: 2340: 2321: 2221: 2197: 1945: 1879: 1694: 1216: 1150:

E.g. a tonary added to Aurelian's theoretical one in a manuscript of the Abbey Saint-Amand (

789: 631:

Cross-references between tonaries during the reforms between the 10th and the 13th centuries

193:

in the compilation "alia musica"). Nevertheless, the first example of the eighth chapter in

8142: 8080: 8068: 7362: 7133: 6946: 6899: 6776: 6762: 6723: 6472: 6365: 6068: 5659: 5654: 5561: 5378: 5365: 5314: 5283: 5232: 5123: 4969: 4784: 4769: 4712: 4662: 4622: 4579: 4160: 3958: 2939: 2762: 2717: 2671: 2606: 2564: 2537: 2473: 2177: 1968: 1535: 718:), is following the order of other tonaries, which were created under the influence of the 389: 178: 134:

of Saint-Amand the eight tones were simply numbered according to this order: Tonus I-VIII.

35: 5029: 4799: 3374: 2722:

Tonary with letter notation in the Music Treatise of Jerome of Moravia (late 13th century)

2587: 2359: 2126: 1906: 8: 8061: 8006: 7967: 7620: 7407: 7265: 6832: 6805: 6727: 6257: 6041: 5862: 5857: 5705: 5488: 5278: 5177: 5108: 4984: 4979: 4924: 4840: 4810: 4667: 4657: 4612: 4574: 4399: 4379: 3473:

Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition".

2897: 2771:

in a French treatise collection for the Dominican Collegio Colbert, Venice (11th century)

1926: 1751: 1722: 1026: 1025:

Carolingian, Cluniac, and anti-Cluniac reforms in France and Lake Constance. As example,

778: 684: 405: 280: 7143: 4949: 4591: 4429: 2478:

Gradual and Tonary from the Cathedral of SS Just et Pastor, Narbonne (late 11th century)

7805: 7762: 7711: 7693: 7601: 7571: 7205: 7045: 6841: 6772: 6704: 6643: 5816: 5806: 5775: 5586: 5566: 5408: 5304: 5252: 5212: 5197: 5113: 4964: 4875: 4647: 4051: 3644: 3633:

Sweeney, Cecily Pauline (1992). "Unlocking the Mystery of the Regulae de arte musica".

3511: 3490: 3456:

The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy

3356:

The musical world of a medieval monk: Adémar de Chabannes in eleventh-century Aquitaine

3255: 3169: 3049: 3034: 2965: 2655: 2440:

Tonary fragment at the end of the Gradual of Saint-Michel-de-Gaillac (Albi, about 1079)

2421:

Troper, Tonary, Sequentiary and Proser from Southwestern France, Région d'Auch (987–96)

2267: 2244: 1716: 1302:. Conjunctions of religion & power in the medieval past. Ithaca, N.Y.: Cornell UP. 931: 871: 539: 491: 165: 2042: 1635: 1298:

Order & exclusion: Cluny and Christendom face heresy, Judaism, and Islam 1000–1150

809: 696: 522:), only used the so-called "Byzantine" intonation formulas, as they were discussed by 65:

if the antiphon is sung with a psalm, or canticle tone if the antiphon is sung with a

8162: 7984: 7899: 7894: 7606: 7347: 7215: 7090: 6815: 6708: 6684: 6603: 6541: 6523: 6173: 6057: 6015: 5995: 5902: 5688: 5576: 5546: 5506: 5453: 5388: 5299: 5294: 5242: 5202: 5139: 5118: 5024: 5009: 4959: 4820: 4779: 4707: 4617: 4445: 4193: 3953: 3948: 3687: 3594: 3575: 3528: 3494: 3459: 3440: 3359: 3340: 3321: 3302: 3247: 3216: 3195: 2906:

Toner-Gradual & Antiphonary of the Abbey St. Bénigne in Dijon (late 10th century)

2676:

Antiphonary of the Abbey St. Mary of Morimondo in the Diocese of Milan (12th century)

1596: 1303: 1296: 963: 943: 817: 813: 793: 758: 739: 711: 692: 620: 432:

asked a Greek about the meaning of the intonation syllables used in Latin tonaries:

369: 284: 272: 257: 61:, the mode of which determines the recitation formula for the accompanying text (the 6594: 2995: 2920: 2345:

Troper, Tonary, Sequentiary and Proser from St. Géraud, Aurillac (late 10th century)

2248: 2082: 2062: 1872: 1616:

Gazeau, Véronique (2002). "Guillaume de Volpiano en Normandie: état des questions".

673:"Plagi Protus" intonation in the Tonary of the Auch region (Aquitaine, 11th cent.): 531: 7933: 7916: 7904: 7844: 7743: 7686: 7610: 7591: 7586: 7534: 7529: 7367: 7303: 7276: 7227: 6869: 6798: 6767: 6743: 6677: 6577: 6303: 6158: 5700: 5448: 5371: 5324: 5288: 5258: 5237: 4929: 4914: 4673: 4404: 4208: 4183: 4135: 4008: 3932: 3482: 3385: 3239: 3010:

Gerbert, Martin, ed. (1784), "Commemoratio brevis de tonis et psalmis modulandis",

1621: 1468:

The verses inserted before the tonary of Reichenau are obviously a later addition:

1322: 1061: 1013: 773:. But William of Volpiano subdivided these books into eight parts according to the 388:, but also in Northern Spain), the reform of a monastic orders like the one around 122: 101: 3103:

Abbot Guido (1864–76), "Regulae de arte musica", in Coussemaker, Edmond de (ed.),

866:

Another tonary corpus of the same region was Huglo's "Toulouse groupe" around the

7989: 7955: 7815: 7717: 7665: 7566: 7481: 7148: 7040: 6864: 6613: 6556: 6502: 6440: 6410: 6328: 6318: 6313: 6274: 6262: 6243: 6188: 6183: 6178: 6147: 6091: 6081: 5965: 5949: 5852: 5676: 5581: 5541: 5477: 5433: 4825: 4804: 4789: 4735: 4642: 4298: 4293: 4178: 4145: 4061: 3681: 3210: 3189: 3109:, vol. 2 (Hildesheim 1963 reprint ed.), Paris: Durand, pp. 150–192 2326:

Troper from the church St. Salvator Mundi, St. Martial Abbey in Limoges (933–936)

1763: 1590: 1065: 1057: 1053: 1030: 1017: 989: 985: 915: 903: 875: 762: 719: 592: 563: 555: 486: 275:

of the proper mass) ordered according to its tonus. A very famous example is the

170: 55: 43: 31: 3824: 3117:"The Regulae organi Guidonis Abbatis and 12th Century Organum/Discant Treatises" 3053: 3038: 3011: 1880:"Paris, Bibliothèque Nationale de France, fonds. lat., Ms. 13159, fol. 167-167'" 1788:

His prologue and treatise of the chant reform have survived in the 13th-century

7889: 7799: 7661: 7524: 7070: 7050: 7028: 7023: 6991: 6941: 6837: 6323: 6308: 6235: 6168: 6153: 6123: 6096: 6076: 6034: 5990: 5960: 5811: 5681: 5671: 5551: 5482: 5443: 5423: 5403: 5133: 5103: 4989: 4845: 4815: 4535: 4455: 4168: 4023: 3143: 3092: 3080: 3068: 3023: 2999: 2984: 2969: 1950:

Gradual-Sacramentary and Lectionary of the Abbey Saint-Denis (late 9th century)

1343: 559: 74: 47: 6608: 3486: 3004:, vol. 2 (Hildesheim 1963 reprint ed.), Paris: Durand, pp. 1–73 1551:). Including the enharmonic diesis which were represented by signs as "Τ" for 8096: 7861: 7840: 7631: 7454: 7449: 7270: 6827: 6788: 6783: 6673: 6392: 6354: 6026: 5975: 5617: 5516: 5383: 5351: 5207: 5128: 4774: 4652: 4635: 4460: 4319: 4238: 4110: 4066: 4003: 3983: 3940: 3808: 3728: 3251: 3064: 1330: 1064:

manuscripts follow own modal patterns which are not identical with those of "

1046: 863:

tones at the apsis of Cluny III whose monumental construction began in 1088.

821: 770: 727: 312: 86: 4954: 3874:. London, British Library (currently vandalised service due to cyber freaks) 3116: 3104: 2592:

Antiphonary of Saint-Denis Abbey with rubrified differentiae (about 1140–50)

2459:

Gradual of Saint-Etienne of Toulouse, including a tonary (late 11th century)

1884:

Tonaryfragment of St. Riquier in the "Psalter of Charlemagne" (ed. by Huglo

1620:. Tabularia « Études ». Vol. 2. Caen: CRAHM. pp. 35–46. 8074: 8036: 8017: 7576: 7460: 7352: 7292: 7282: 7128: 7035: 6973: 6894: 6689: 6639: 6420: 6285: 6163: 6133: 6118: 6113: 6106: 6086: 6010: 6000: 5842: 5649: 5612: 5571: 5536: 5511: 5496: 4994: 4830: 4605: 4374: 4364: 4339: 4250: 4213: 4115: 4103: 4093: 4056: 4043: 3993: 3729:"CMN: Catalogue des manuscrits notés des bibliothèques publiques de France" 3424: 3191:

The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music

2857:

in a treatise collection from Christ Church, Canterbury (late 10th century)

2612: 2547: 2523:

Tonary in a Troper for the Abbey St.-Germain-des-Prés, Paris (11th century)

2016:"Prague, Národní knihovna (dríve Universitní knihovna), Ms. 273, fol. 1–11" 1931:

Gradual-Sacramentary ordered by the Bishop of Amiens for Corbie (about 853)

1625: 1523: 1438: 1038: 939: 608: 397: 385: 328: 319:

reform also for the Roman church. Fully notated neume manuscripts like the

217: 2849:"Cambridge, Corpus Christi College, Parker Library, Ms. 260, fol. 51'-53'" 2672:"Paris, Bibliothèque Nationale, nouv. acq. lat., Ms. 1410, fol. 159'-166'" 2182:

Tonary with Dasia signs from the Abbey St. Emmeram, Regensburg (1006–1028)

1907:"Paris, Bibliothèque Nationale de France, fonds. lat., Ms. 17436, fol. 29" 1373:

It was a coincidence that Carolingian cantors used more syllables for the

7879: 7793: 7736: 7471: 7255: 7173: 7158: 7118: 7080: 7006: 6848: 6382: 6376: 6360: 5970: 5837: 5832: 5627: 4999: 4944: 4850: 4698: 4450: 4324: 4303: 4280: 4265: 4078: 4013: 3988: 3963: 3397:

Huglo, Michel (1952). "Un tonaire du graduel de la fin du VIIIe siècle".

2872:"Cambridge, Corpus Christi College, Parker Library, Ms. 473, fol. 70–73'" 1759: 1519: 1326: 1089: 1042: 859: 730:, within the gradual and the antiphonary there were subsections like the 723: 688: 360: 324: 78: 54:) of their melodies within the eight-mode system. Tonaries often include 4906: 3648: 3276:

Ferreira, Manuel Pedro (2007). Bailey, Terence; Dobszay, László (eds.).

2402:

Troper, Sequentiary, and Tonary of St. Martial de Limoges (11th century)

1742:) even assumed that the use of transposition (mentioned as "absonia" in 490:

Tonary about 1000: Intonation and psalmody of "Plagi protus" notated in

7850: 7596: 7488: 7296: 7178: 7108: 7065: 6996: 6516: 6512: 6479: 6447: 6370: 6239: 6005: 5428: 5098: 4794: 4760: 4755: 4349: 4223: 4088: 4083: 3664: 3551:

Bulletin of the Institute for Mediterranean Studies (Waseda University)

3515: 3173: 2940:"Paris, Bibliothèque nationale, fonds latin, ms. 10508, fol. 150'-156'" 2690: 1495:

A list of a lot of tonaries which use these verses, can be found here:

1347: 1112: 1077: 994: 743: 408:

did for certain Abbeys in Burgundy and Normandy (William of Volpiano's

70: 62: 4722: 3887: 3259: 1106: 754:(a soloistic processional antiphon for the procession of the gifts). 7973: 7960: 7676: 7544: 7539: 7518: 7476: 7195: 7168: 6968: 6958: 6793: 6718: 6668: 6561: 6430: 6415: 6400: 6280: 6138: 5639: 5501: 5319: 5054: 4419: 4409: 4369: 4334: 4218: 3978: 3776: 3379: 3025:

Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis

1755: 984:. The innovations and corrections of Roman-Frankish chant during the 766: 751: 566:". They were several different antiphons as they can be found in the 4717: 3052:(1784), "De consona tonorum diversitate", in Gerbert, Martin (ed.), 2902:"Montpellier, Bibliothèque Interuniversitaire de Médecine, Ms. H159" 2607:"Paris, Bibliothèque Nationale, Ms. Nouv. Acq. Lat. 443, fol. 29–33" 2417:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1118, fol. 104–113'" 2379:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1121, fol. 202–206'" 2341:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1084, fol. 155–164'" 1647:

About the Sicilian origin of the tonary in the Troper-Proser of the

847: 7786: 7705: 7640: 7372: 7342: 7337: 7318: 7237: 6926: 6911: 6713: 6546: 6507: 6425: 6348: 5801: 5721: 5644: 5607: 5090: 4880: 4860: 4835: 4270: 4255: 4098: 4073: 3901: 3760: 3277: 3243: 2718:"Paris, Bibliothèque Nationale, fonds lat., Ms. 16663, fol. 54'-57" 2573:" in a treatise collection from St-Pierre de Luxeuil (12th century) 2519:"Paris, Bibliothèque Nationale, fonds lat., Ms. 13252, fol. 71–76'" 2474:"Paris, Bibliothèque Nationale, fonds lat., Ms. 780, fol. 123'-130" 2436:"Paris, Bibliothèque Nationale, fonds lat., Ms. 776, fol. 147–154'" 2398:"Paris, Bibliothèque Nationale, fonds lat., Ms. 909, fol. 251–257'" 2360:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1085, fol. 3'-110'" 2322:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1240, fol. 62'-64'" 2272:"Rome, Biblioteca Apostolica Vaticana, Pal. lat. 1344, fol. 19–33'" 2206:

with Dasia signs from the Abbey St. Emmeram, Regensburg (1006–1028)

2198:"Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 173'-174" 1161:, has some intonation formulas in later added Paleofrankish neumes. 747: 731: 612: 604: 404:), or the reform of some monasteries of a certain region, as Abbot 264: 244: 213: 66: 58: 5918: 3840: 3502:

Meyer, Christian (2003). "Le tonaire cistercien et sa tradition".

2538:"Paris, Bibliothèque Nationale, fonds lat., Ms. 8663, fol. 50'-51" 2222:"Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175–181" 2178:"Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 62'-64'" 1429:("grave mode") by Greek psaltes, did not avoid the tritone to the 7377: 7357: 7183: 7075: 7055: 6889: 6697: 6693: 6598: 6582: 6551: 6435: 6234: 6101: 5715: 5693: 5664: 5622: 5393: 5049: 4597: 4584: 4504: 4245: 4228: 4203: 4188: 4173: 4130: 3973: 3715:. Jacobs School of Music Indiana University Bloomington, IN 47405 3708: 2565:"Paris, Bibliothèque Nationale, fonds lat., Ms. 7211, fol. 54–71" 1927:"Paris, Bibliothèque Nationale, fonds lat., Ms. 12050, fol. 3–16" 1873:

Carolingian tonaries and gradual-sacramentaries (8th–9th century)

1826: 955: 951: 841: 735: 624: 547: 365: 356: 320: 268: 253: 131: 82: 39: 3871: 2588:"Paris, Bibliothèque Nationale, fonds lat., Ms. 17296, fol. 11'" 2500:"Paris, Bibliothèque Nationale, fonds lat., Ms. 12584, fol. 216" 703:

to guide secular and monastic reforms in the Duchy of Normandy.

416:

The Carolingian names or "Byzantine" intonations for the 8 tones

7444: 7123: 7060: 7001: 6953: 6931: 6629: 6587: 5438: 5360: 4855: 4260: 4198: 4125: 3106:

Scriptorum de musica medii aevi nova series a Gerbertina altera

3001:

Scriptorum de musica medii aevi nova series a Gerbertina altera

2763:"Paris, Bibliothèque Nationale, fonds lat., Ms. 7202, fol. 52'" 2111:

in a music theory treatise collection from Werden? (about 1000)

2083:"St. Gallen, Stiftsbibliothek, Cod. Sang. 391, p. 1–8, 261–264" 1775:

A list of the sources can be found in Christian Meyer's essay (

1750:'s notation in comparison with the letter notation invented by 396:), a papal reform, like Abbot Desiderius realized at the Abbey 307:

after it was decreed in 789. The historical background was the

154: 3410:

Huglo, Michel (1956). "Le tonaire de Saint-Bénigne de Dijon".

3282:

Studies in Medieval Chant and Liturgy in Honour of David Hiley

2737:"State Library of Victoria, RARESF 096.1, Ms. R66A, fol. 1'-4" 1969:"Valenciennes, Bibliothèque municipale, Ms. 148, fol. 71v-86v" 777:

system like the tonary, or the troparia in the Byzantine book

655: 506:

The oldest tonaries, especially the Carolingian like those of

481: 298: 93:, and are often included in collections of musical treatises. 7382: 7332: 7220: 7200: 7153: 6921: 6634: 6565: 6060: 5710: 5634: 4414: 4120: 4018: 3998: 1592:

Guillaume de Volpiano. Un Réformateur en son temps (962–1031)

1446: 1379: 1088:

tonary shows a great resemblance with manuscripts written in

473: 467: 422: 143: 20: 19:"Tonar" redirects here. For the Japanese reference rate, see 2303:"Leipzig, Universitätsbibliothek, Ms. Thomas 391, fol. 3'-5" 7614: 7466: 7231: 7085: 3968: 2925:

Tonary in a Norman-Sicilian Troper-Sequentiary (about 1100)

2831:"Montecassino, Biblioteca Abbaziale, Ms. Q318, pp. 127–157" 2820:"Montecassino, Biblioteca Abbaziale, Ms. Q318, pp. 122–123" 2809:"Montecassino, Biblioteca Abbaziale, Ms. Q318, pp. 126–127" 1559:, and the last sign written from the right to the left for 1518:

The Cluniac reforms can be verified in tonaries written in

2127:"Dresden, Sächsische Landesbibliothek, Ms. A 199, fol. 37" 1445:) the very sophisticated intonation of the diatonic Mesos 664: 518:

and the earliest tonary in a troper of Limoges (F-Pn lat.

7327: 7210: 3825:"Ville de Laon, Bibliothèque municipale — Les Manuscrits" 3215:, Berkeley, Los Angeles: University of California Press, 1946:"Laon, Bibliothèque municipale, Ms. 118, fol. A.1'-A.12'" 1383:

of the echos protos as it was used by Greek psaltes (see

149:

The treatise form usually served as a bridge between the

3593:. Orbis musicarum. Aachen: Ed. Herodot. pp. 67–80. 3458:, Woodbridge, Suffolk: Boydell Press, pp. 147–209, 2998:(1864–76), "Tonarius", in Coussemaker, Edmond de (ed.), 2968:(1784), "Musica enchiriadis", in Gerbert, Martin (ed.), 1534:, but also in Burgundy and Aquitaine. The creativity of 157:. This can be studied at a 10th-century treatise called 2983:(1784), "Musica disciplina", in Gerbert, Martin (ed.), 2660:"Leipzig, Universitätsbibliothek, Ms. 1493, fol. 53–60" 2249:"St. Gallen, Stiftsbibliothek, Cod. Sang. 898, p. 2–25" 2226:

Theoretical tonary compilation alia musica (manuscript

1634:) of a late copy of his tonary and antiphonary for the 722:. These tonaries usually had sections dedicated to the 205:

Tonaries can differ substantially in length and shape:

3271:(Thesis). Paris: PhD, Université de Paris IV-Sorbonne. 2455:"London, British Library, Harley 4951, fol. 295'–301'" 2063:"St. Gallen, Stiftsbibliothek, Cod. Sang. 390, p. 1-5" 1409:

For example in the 11th-century treatise compilation "

1342:

The Taifa kingdom Toledo, an important domaine of the

3761:"e-codices Virtual Manuscript Library of Switzerland" 2786:"Rome, Biblioteca Casanatense, Ms. 54, fol. 102'-103" 2695:

Tonary of the Cistercian Antiphoner, Rein (1225–1249)

2630:"Bamberg, Staatsbibliothek, Msc.Lit.115, fol. 68'-74" 2087:

Antiphonary of the Abbey St. Gall (late 10th century)

2067:

Antiphonary of the Abbey St. Gall (late 10th century)

1588: 1325:

studied an allegorical sculpture in the sanctuary of

734:

which were sung as refrains during psalm recitation (

3733:

Paris, Bibliothèque nationale de France, fonds latin

3665:"Medieval Music Theory (Research Project 1960-2014)" 1471:"Staatsbibliothek Bamberg, Msc.Lit.5, folio 4 verso" 1423:

second tonary of the Troper-Sequentiary of Reichenau

3683: