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Chapter 1: The Making of the Middle Ages

Barrett, Sam. “Performing Medieval Music.” Journal of the Royal Music Association 130, no. 1 (2005): 119–35.

Biddick, Kathleen. “Translating the Foreskin.” In Queering the Middle Ages, ed. Glenn Burger and Steven F. Kruger, 193–212. Medieval Cultures 27. Minneapolis: University of Minnesota Press, 2001.

Courtney, Paul. “The Tyranny of Constructs: Some Thoughts on Periodisation and Change.” In The Age of Transition: The Archaeology of English Culture, 1400–1600, ed. David Gaimster and Paul Stamper. Society for Medieval Archaeology 15. Oxford: Oxbow Books, 1997.

Crocker, Richard L., and David Hiley, eds. The New Oxford History of Music. Vol. 2, The Early Middle Ages to 1300. Oxford and New York: Oxford University Press, 1990.

Davis, Kathleen. Periodization and Sovereignty: How Ideas of Feudalism and Secularization Govern the Politics of Time. Middle Ages series. Philadelphia: University of Pennsylvania Press, 2008.

Duffin, Ross W., ed. A Performer’s Guide to Medieval Music. Performer’s Guides to Early Music. Bloomington: Indiana University Press, 2000.

Everist, Mark, ed. The Cambridge Companion to Medieval Music. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press, 2011.

Fassler, Margot E. “The Liturgical Framework of Time and the Representation of History.” In Representing History, 900–1300: Art, Music, History, ed. Robert A. Maxwell, 149­–71. University Park: Pennsylvania State University Press, 2010.

Haines, John. Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. Cambridge and New York: Cambridge University Press, 2004.

Hoppin, Richard H. Medieval Music. Norton Introduction to Music History. New York: Norton, 1978.

Kreutziger-Herr, Annette. “Imagining Medieval Music: A Short History.” In Correspondences: Medievalism in Scholarship and the Arts, ed. Tom Shippey and Martin Arnold, 81–109. Studies in Medievalism 14. Cambridge: D. S. Brewer, 2005.

Meconi, Honey. Medieval Music. Library of Essays on Music Performance Practice. Burlington, VT: Ashgate, 2011.

Reese, Gustave. Music in the Middle Ages: With an Introduction on the Music of Ancient Times. New York: Norton, 1940.

Skinner, Patricia. “Confronting the ‘Medieval’ in Medieval History: The Jewish Example.” Past & Present 181 (November 2003): 219–47.

Strohm, Reinhard, and Bonnie Blackburn, eds. Music as Concept and Practice in the Late Middle Ages. The New Oxford History of Music, vol. 3, part 1. Oxford: Oxford University Press, 2001.

Warren, Joyce W., and Margaret Dickie, eds. Challenging Boundaries: Gender and Periodization. Athens, GA, and London: University of Georgia Press, 2000.

Yudkin, Jeremy. Music in Medieval Europe. Prentice-Hall History of Music. Englewood Cliffs, NJ: Prentice Hall, 1989.

Chapter 2: The Foundations of the Western Middle Ages: Music and Music Theory in the Late Roman Empire

Aurelius Augustinus. De musica liber VI. Critical edition with a translation and an introduction by Martin Jacobsson. Stockholm: Almqvist & Wiksell International, 2002.

Burns, Paul C.. “Augustine’s Distinctive Use of the Psalms in the Confessions: The Role of Music and Recitation.” Augustinian Studies 24 (1993): 133–46; repr. in Forms of Devotion: Conversion, Worship, Spirituality, and Asceticism, ed. Everett Ferguson, 157–70. Recent Studies in Early Christianity 5. New York: Garland, 1999.

Chamberlain, David. “Philosophy of Music in the Consolatio of Boethius.” Speculum 45 (January 1970): 80–97.

Hentschel, Frank. “The Sensuous Music Aesthetics of the Middle Ages: The Cases of Augustine, Jacques de Liège and Guido of Arezzo.” Plainsong and Medieval Music 20, no. 1 (2011): 1–29.

Hochschild, Paige E. Memory in Augustine’s Theological Anthropology. Oxford Early Christian Studies. Oxford: Oxford University Press, 2012.

James, Edward. “The Rise and Function of the Concept ‘Late Antiquity.’” Journal of Late Antiquity 1, no. 1 (2008): 20–30.

Jeffery, Peter. “Rome and Jerusalem: From Oral Tradition to Written Repertory in Two Ancient Liturgical Centers.” In Essays on Medieval Music in Honor of David G. Hughes, ed. Graeme Boone, 207–47. Isham Library Papers 4. Cambridge, MA: Harvard University Department of Music, 1995).

Lauxtermann, Marc D. “Medieval Latin and Byzantine Accentual Metrics.” In Poesia dell’ alto medioevo europeo: manuscritti, lingua e musica dei ritmi latini, ed. Francesco Stella, 107–17. Florence: SISMEL edizioni del Galluzzo, 2000.

Martyn, John. “Gregory the Great: On Organs and on Equipping Monasteries.” Medievalia et Humanistica 30 (2004): 107–13.

McKinnon, James, ed. Music in Early Christian Literature. Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1987.

Norberg, Dag. An Introduction to the Study of Medieval Latin Versification, trans. Grant C. Roti and Jacqueline de la Chapelle Skubly, ed. Jan Ziolkowski. Washington, DC: Catholic University of America Press, 2004.

Philippart, Guy, with Michel Trigalet. “Latin Hagiography before the Ninth Century: A Synoptic View.” In The Long Morning of Medieval Europe: New Directions in Early Medieval Studies, ed. Jennifer R. Davis and Michael McCormick, 111–29. Burlington, VT: Ashgate, 2008.

Sullivan, Blair. “The Unwritable Sound of Music: The Origins and Implications of Isidore’s Memorial Metaphor.” In The Echo of Music: Essays in Honor of Marie Louise Göllner, 39–54. Detroit Monographs in Musicology 39. Warren, MI.: Harmonie Park Press, 2004.

Verhelst, Stéphane. “The Liturgy of Jerusalem in the Byzantine Period.” In Christians and Christianity in the Holy Land: From the Origins to the Latin Kingdoms, ed. Ora Limor and Guy G. Strousma, 421–26. Cultural Encounters in Late Antiquity and the Middle Ages 5. Turnhout: Brepols, 2006.

Wright, Roger. “Rhythmic Poetry and the Author’s Vernacular.” In Poetry of Early Medieval Europe: Manuscripts, Language and Music of the Rhythmical Latin Texts; III Euroconference for the Digital Edition of the “Corpus of Latin Rhythmical Texts 4th–9th Century,” ed. Edoardo D’Angelo and Francesco Stella, 343–55. Florence: SISMEL edizioni del Galluzzo, 2003.

Chapter 3: Chant and the Carolingians

Apel, Willi. Gregorian Chant. Bloomington: Indiana University Press, 1958.

Cardine, Eugène. Gregorian Semiology, trans. Robert M. Fowels. Sablé-sur-Sarthe: Solesmes, 1982 (original published in French, 1970).

Fassler, Margot. Review of The Christian West and Its Singers: The First One Thousand Years, by Christopher Page, Plainsong and Medieval Music 21, no. 2 (2012): 201–15.

Gallagher, Sean, James Haar, John Nádas, and Timothy Striplin, eds. Western Plainchant in the First Millennium: Studies in the Medieval Liturgy and Its Music. Aldershot, Hants, and Burlington, VT: Ashgate, 2003.

Hankeln, Roman, ed. The Offertory and Its Verses: Research, Past, Present and Future. Proceedings of an International Symposium at the Centre for Medieval Studies, Trondheim, 25 and 26 September 2004. Trondheim: Tapir, 2007.

Hornby, Emma. “The Transmission of Western Chant in the 8th and 9th Centuries: Evaluating Kenneth Levy’s Reading of the Evidence.” Journal of Musicology 21, no. 3  (Summer 2004): 418–57.

Kelly, Thomas Forrest. Chant and Its Origins. Farnham, Surrey: Ashgate, 2009.

———. The Practice of Medieval Music: Studies in Chant and Performance. Variorum Collected Studies. Farnham, Surrey, and Burlington, VT: Ashgate, 2010.

Levy, Kenneth. “Gregorian Chant and the Romans.” Journal of the American Musicological Society 56, no. 1 (Spring 2003): 5–41.

Maloy, Rebecca. “The Word-Music Relationship in the Gregorian and Old Roman Offertories.” Studia Musicologica 45 (2004): 131–48.

McKitterick, Rosamond. Perceptions of the Past in the Early Middle Ages. Conway Lectures in Medieval Studies. Notre Dame, IN: University of Notre Dame Press, 2006.

Nardini, Luisa. “Aliens in Disguise: Byzantine and Gallican Chants in the Latin Liturgy.” Plainsong and Medieval Music 16 (October 2007): 145–72.

Page, Christopher. “Freedom of Movement and the Rise of European Music in the Early Middle Ages.” In Freedom of Movement in the Middle Ages: Proceedings of the 2003 Harlaxton Symposium, ed. Peregrine Horden, 1–18. Harlaxton Medieval Studies 15. Donington: Shaun Tyas, 2007.

Peattie, Matthew. “Transcribing the Beneventan Chant.” Plainsong and Medieval Music 19, no. 2 (October 2010): 139–67.

Petersen, Nils Holger. “Carolingian Music, Ritual, and Theology.” In The Appearances of Medieval Rituals: The Play of Construction and Modification, ed. Nils Holger Petersen et al., 13–31. Turnhout: Brepols, 2004.

Planchart, Alejandro. “The Opening Chant at Easter in the Latin West.” In “Et facciam dolci canti”: Studi in onore di Agostino Ziino in occasione del suo 65o compleanno, ed. Theresa Maria Giadroni et al., 61–96. Lucca: LIM, 2003.

Rankin, Susan. “On the Treatment of Pitch in Early Music Writing.” Early Music History 30 (2011): 105–75.

Chapter 4: The Office, the Mass Ordinary, and Varied Practices of Troping

Arlt, Wulf, and Susan Rankin, eds. Stiftsbibliothek Sankt Gallen Codices 484 & 381 / kommentiert und in Faksimile. Wintherthur, Zurich: Amadeus Verlag; New York: OMI [distributor], 1996.

Berschin, Walter. “Early Medieval Latin Poetry of Mary.” In The Church and Mary: Papers Read at the 2001 Summer Meeting and the 2002 Winter Meeting of the Ecclesiastical History Society, ed. R. N. Swanson, 112–25. Studies in Church History 39. Woodbridge, Suffolk, and Rochester, NY: Boydell Press, 2004.

Billett, Jesse. “The Liturgy of the ‘Roman’ Office in England from the Conversion to the Conquest.” In Rome across Time and Space: Cultural Transmission and the Exchange of Ideas c. 500–1400, ed. Claudia Bolgia et al., 84–110. Cambridge: Cambridge University Press, 2011.

Björkvall, Gunilla, and Andreas Haug. “Performing Latin Verse: Text and Music in Early Medieval Versified Offices.” In The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography, ed. Margot Fassler and Rebecca A. Baltzer, 278–99. Oxford: Oxford University Press, 2000.

Boe, John. “Gloria A and the Roman Easter Vigil Ordinary.” Musica Disciplina 36, (1982): 5–37.

Colette, Marie-Noël, ed. Tropaire séquentiaire prosaire prosulaire de Moissac. Paris, Bibl. Nationale, nouv. acq. lat. 1871. Publications de la Société française de musicologie I/27. Paris, 2006.

Corpus troporum. Editions of trope texts, with commentaries, now in over ten volumes, and published in Stockholm by a team of editors including Gunilla Björkvall, Gunilla Iversen, and Ritva Jacobsson.

Dobszay, László. “Antiphon Variants and Chant Transmissions.” Studia Musicologia 45 (2004): 67–93.

Dyer, Joseph. “The Singing of Psalms in the Early-Medieval Office.” Speculum 64, no. 3 (July 1989): 535–78.

Fassler, Margot. “Filming the Nuns of Regina Laudis: Old and New Evidence for Monastic Studies.” Religion Compass 4, no. 6 (2010): 340–52.

———. “Mary’s Nativity, Fulbert of Chartres, and the Stirps Jesse: Liturgical Innovation circa 1000 and Its Afterlife.” Speculum 75, no. 2 (April 2000): 389–434.

Goudesenne, Jean-François. “A typology of historiae in West Francia (8–10 c.)” Plainsong and Medieval Music 13, no. 1 (2004): 1–31.

Helms, Mary W. “Sacred Landscape and the Early Medieval European Cloister: Unity, Paradise, and the Cosmic Mountain.” Anthropos 97 (2002): 435–53.

Hughes, David G. “The Paschal Alleluia in Medieval France.” Plainsong and Medieval Music 14, no. 1 (2005): 11–57.

Pfisterer, Andreas. “Italian and Gallican Alleluia Psalmody.” Plainsong and Medieval Music 17, no. 1 (2008): 55–68.

Steiner, Ruth. “Hartker’s Antiphoner and the Oral Tradition of Chant at St. Gall.” In
Sangallensia in Washington: The Arts and Letters of Medieval St. Gall Viewed from the Late Twentieth Century, ed. James Cecil King, 199–212. New York: Peter Lang, 1993.

Chapter 5: Sound and Spaces, Theory and Practice in the Eleventh Century

Arlt, Wulf. “Sequence and ‘Neues Lied.’” In La Sequenza medievale: atti del convegno internazionale, Milano, 7–8 aprile 1984, ed. Agostino Ziino, 2–18. Lucca: Libreria Musicale Italiana, 1992.

Björkvall, Gunilla, and Andreas Haug. “Sequence and Versus: On the History of Rhythmical Poetry in the Eleventh Century.” In Latin Culture in the Eleventh Century: Proceedings of the Third International Conference on Medieval Latin Studies Cambridge, September 9–12, 1998. ed. Michael W. Herren et al., 57–82. Publications of the Journal of Medieval Latin 5, vol. 1. Turnhout: Brepols, 2002.

Boynton, Susan. “Liturgy and History at the Abbey of Farfa in the Late Eleventh Century: Hymns of Peter Damian and Other Additions to BAV Chigi C.VI.177.” Sacris Erudiri 39, no. 1 (2000): 317–44.

Boynton, Susan, and Margot Fassler. “The Language, Form, and Performance: The Latin Texts of Monophonic Liturgical Chants.” In the Oxford Handbook of Medieval Latin Literature, ed. Ralph Hexter and David Townsend, 686–730. Oxford: Oxford University Press, 2012.

Boynton, Susan, and Eric Rice, eds. Young Choristers, 650–1700. Studies in Medieval and Renaissance Music 7. Woodbridge, Suffolk, and Rochester, NY: Boydell, 2008.

Currie, Gabriela Ilnitchi. The Play of Meanings: Aribo’s De musica and the Hermeneutics of Musical Thought. Lanham, MD : Scarecrow Press, 2005.

Fredell, Joel. “The Three Clerks and St. Nicholas in Medieval England.” Studies in Philology 92, no. 2 (Spring 1995): 181–202.

Geary, Patrick J. Women at the Beginning: Origin Myths from the Amazons to the Virgin Mary. Princeton, NJ : Princeton University Press, 2006.

Green, Edward. “What Is Chapter 17 of Guido’s Micrologus About? A Proposal for a New Answer.” International Review of the Aesthetics and Sociology of Music 38, no. 2  (December 2007): 143–70. :

Hiley, David. “The Office Chants for St. Oswald, King of Northumbria and Martyr.” In A due: Musical essays in Honour of John D. Bergsagel and Heinrich W. Schwab, ed. Ole Kongsted et al., 244–59. Copenhagen: University of Copenhagen, 2008.

Iversen, Gunilla. Laus Angelica: Poetry in the Medieval Mass, ed. Jane Flynn, trans. William Flynn. Medieval Church Studies 5. Turnhout: Brepols, 2010 (originally published in French, 2001).

Kroll, Norma. “Power and Conflict in Medieval Ritual and Plays: The Re-Invention of Drama.” Studies in Philology 102, no. 4 (Autumn 2005): 452–83.

Kruckenberg, Lori. “The Sequence from 1050–1150 [sic]: Study of a Genre in Change.” PhD diss., University of Iowa, 1997.

Mengozzi, Stefano. “Virtual Segments: The Hexachordal System in the Late Middle Ages.” Journal of Musicology 23, no. 3 (Summer 2006): 426–67.

Seidel, Linda. “Rethinking ‘Romanesque’; Re-Engaging Roman[z].” Gesta 45, no. 2 (2006): 109–23.

Tinkle, Theresa. “Exegesis Reconsidered: The Fleury ‘Slaughter of Innocents’ and the Myth of Ritual Murder.” Journal of English and Germanic Philology 102, no. 2 (April 2003): 211–43.

Chapter 6: Conquest, Changing Tastes, and Pilgrimage in the Twelfth Century

Ashley, Kathleen, and Marilyn Deegan. Being a Pilgrim: Art and Ritual on the Medieval Routes to Santiago. Farnham, Surrey, and Burlington, VT: Lund Humphries, 2009.

Crocker, Richard. “Early Crusade Songs.” In The Holy War, ed. Thomas Patrick Murphy, 78–98. Columbus: Ohio State University Press, 1976.

Dunn, Maryjane, and Linda Kay Davidson, eds. The Pilgrimage to Compostela in the Middle Ages: A Book of Essays. Garland Reference Library of the Humanities 1829; Garland Medieval Casebooks 17. New York: Garland, 1996.

Fuller, Sarah. “Early Polyphony to 1200.” In The Cambridge Companion to Medieval Music, ed. Mark Everist, 46–66. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press, 2011.

Gillingham, Bryan, ed. Paris, Bibliothèque nationale, fonds latin 1139 d’après les manuscrits conservés à la Bibliothèque nationale de Paris. Facsimile. Ottawa: Institute of Mediaeval Music, 1987.

Golb, Norman. “The Music of Obadiah the Proselyte and His Conversion.” Journal of Jewish Studies 18 (1967): 43–63.

Hiley, David. “Changes in English Chant Repertories in the Eleventh Century as Reflected in the Winchester Sequences.” In Proceedings of the Battle Conference 1993, ed. Marjorie Chibnall, 137–54. Anglo-Norman Studies 16. Woodbridge, Suffolk, and Rochester, NY: Boydell, 1994.

Huglo, Michel. “The Origin of the Monodic Chants in the Codex Calixtinus.” In Essays on Medieval Music in Honor of David G. Hughes, ed. Graeme Boone, 195–205. Isham Library Papers 4. Cambridge, MA: Harvard University Department of Music, 1995.

Jacobus: Codex Calixtinus de la Catedral de Santiago de Compostela. Facsimile. Madrid: Kaydeda Ediciones, 1993.

Kosto, Adam J. “Hostages during the First Century of the Crusades.” Medieval Encounters: Jewish, Christian and Muslim Culture in Confluence and Dialogue 9, no. 1  (2003): 3–31.

Low, Peter. “‘You Who Once Were Far Off’: Enlivening Scripture in the Main Portal at Vézelay.” Art Bulletin 85, no. 3 (September 2003): 469–89.

Reilly, Bernard F., ed. Santiago, Saint-Denis, and Saint Peter: The Reception of the Roman Liturgy in León-Castile in 1080. New York: Fordham University Press, 1985.

Rückert, Claudia. “A Reconsideration of the Woman with the Skull on the Puerta de las Platerías of Santiago de Compostela Cathedral.” Gesta 51, no. 2 (2012): 129–46.

Switten, Margaret. “Singing the Second Crusade.” In The Second Crusade and the Cistercians, ed. Michael Gervers, 67–76. New York: St. Martin’s Press, 1992.

Tronzo, William. “The Medieval Object-Enigma, and the Problem of the Capella Palatina in Palermo.” In Late Antique and Medieval Art of the Mediterranean World, ed. Eva R. Hoffman, 367–88. Blackwell Anthologies in Art History. Oxford: Blackwell Publishing, 2007.

Werckmeister, O. K. “Cluny III and the Pilgrimage to Santiago de Compostela.” Gesta 27, no. 1/2 (1988): 103–12.

Chapter 7: Poet-Composers in an Age of the Individual

Bain, Jennifer. “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (Spring 2008): 123–49.

Bell, Thomas J. Peter Abelard after Marriage: The Spiritual Direction of Heloise and Her Nuns through Liturgical Song. Cistercian Studies Series 211. Kalamazoo, MI: Cistercian Publications, 2007.

Cohen, Adam. “Making Memories in a Medieval Miscellany.” Gesta 48, no. 2 (2009): 135–52.

Flynn, William T. “Letters, Liturgy, and Identity: The use of Epithalamica at the Paraclete.” In Sapientia et Eloquentia: Meaning and Function in Liturgical Poetry, Music, Drama, and Biblical Commentary in the Middle Ages, ed. Gunilla Iversen and Nicolas Bell, 301–48. Disputatio 11. Turnhout: Brepols, 2009.

Haines, John. “A Sight-Reading Vielle Player.” In The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee, ed. Maureen Epp and Brian E. Power, 13–26. Farnham, Surrey, and Burlington, VT: Ashgate, 2009.

Hildegard of Bingen. Lieder: Faksimile Riesencodex (Hs. 2) der Hessischen Landesbibliothek Wiesbaden, fol. 466–481v, ed. Lorenz Welker, with comm. by Michael Klaper; trans. Lori Kruckenberg. Facsimile. Wiesbaden: L. Reichert, 1998.

———. Symphonia: A Critical Edition of the Symphonia armonie celestium revelationum [Symphony of the harmony of celestial revelations], 2nd ed., trans. and ed. Barbara Newman, with an essay on the music by Marianne Richert Pfau. Ithaca, NY: Cornell University Press, 1998.

———. Symphonia harmoniae caelestium revelationum: Dendermonde, St.-Pieters & Paulusabdij, Ms. Cod. 9. With an introduction by Peter van Poucke. Facsimile. Peer: Alamire, 1991.

Holsinger, Bruce W. Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford: Stanford University Press, 2001.

Huglo, Michel. “Les débuts de la polyphonie à Paris: Les premiers organa parisiens” [The beginnings of polyphony in Paris: The first Parisian organa]. In Chant grégorien et musique médiévale, 93–163. Variorum Collected Studies 814. Aldershot, Hants, and Burlington, VT: Ashgate, 2005.

Léglu, Catherine. Between Sequence and “Sirventes”: Aspects of Parody in the Troubadour Lyric. Research Monographs in French Studies 8. Oxford: Legenda, 2000.

Mayer-Martin, Donna, and Dorothy Keyser. Thematic Catalogue of Troubadour and Trouvère Melodies. Hillsdale, NY: Pendragon Press, 2011.

Norton, Michael Lee, and Amelia Carr. “Liturgical Manuscripts, Liturgical Practice, and the Women of Klosterneuburg.” Traditio: Studies in Ancient and Medieval History, Thought, and Religion 66 (2011): 67–170.

Ommundsen, Åslaug. “Books, Scribes, and Sequences in Medieval Norway.” 2 vols. PhD diss., University of Bergen, 2006.

Schmitt, Jean-Claude. The Conversion of Herman the Jew: Autobiography, History, and Fiction in the Twelfth Century, trans. Alex J. Novikoff. Middle Ages series. Philadelphia: University of Pennsylvania Press, 2010.

van der Werf, Hendrik, and Gerald A. Bond. The Extant Troubadour Melodies: Transcriptions and Essays for Performers and Scholars. Rochester, NY: Hendrik van der Werf, 1984.

Waddell, Chrysoganus. “The Reform of the Liturgy from a Renaissance Perspective.” In Renaissance and Renewal in the Twelfth Century, ed. Robert Benson, Giles Constable, and Carol Lanham, 88–110. Toronto: University of Toronto Press, 1991. (first edition published in 1982).

Chapter 8: The Thirteenth Century: "Then Truly Was the Time of Singing Come"

Alfonso X. Las cantigas de Santa María: Códice rico, Ms. T-1-1, Real biblioteca del Monasterio de San Lorenzo de El Escorial, ed. Laura Fernández Fernández and Juan Carlos Ruiz Souza. Madrid: Patrimonio Nacional; Testimonio Compañía Editorial, 2011.

Bracken, Paul. “The Myth of the Medieval Minstrel: An Interdisciplinary Approach to Performers and the Chansonnier Repertory.” Viator 33, no. 1 (2002): 100–16.

Brewer, Charles E. “The Cantigas d’amigo of Martin Codax in the Context of Medieval Secular Latin Song. La corónica: A Journal of Medieval Spanish Language and Literature 26, no. 2 (1997–98): 17–28.

Classen, Albrecht. “The Carmina Burana: A Mirror of Latin and Vernacular Literary Traditions from a Cultural-Historical Perspective: Transgression is the Name of the Game.” Neophilologus 94. no. 3 (2010): 477–97.

Doss-Quinby, Eglal, and Samuel N. Rosenberg, with Elizabeth Aubrey, eds. The Old French Ballette: Oxford, Bodleian Library, MS Douce 308. Publications romanes et françaises 239. Geneva: Librairie Droz, 2006.

Galvez, Marisa. Songbook: How Lyrics Became Poetry in Medieval Europe. Chicago: University of Chicago Press, 2012.

Lipton, Sara. “Where Are the Gothic Jewish Women? On the Non-iconography of the Jewess in the Cantigas de Santa Maria.” Jewish History 22, no. 1–2 (2008): 139–77.

Lower, Michael. “The Burning at Mont-Aimé: Thibaut of Champagne’s Preparations for the Baron’s Crusade of 1239.” Journal of Medieval History 29 (2003): 95–108.

Njus, Jesse. “What Did It Mean to Act in the Middle Ages? Elisabeth of Spalbeek and Imitatio Christi.” Theatre Journal 63, no. 1 (March 2011): 1–21.

O’Neill, Mary. Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire. Oxford Monographs on Music. Oxford: Oxford University Press, 2006.

O’Sullivan, Daniel E. “Editing Melodic Variance in Trouvère Song.” Textual Cultures 3, no. 2 (Autumn 2008): 54–70.

Page, Christopher. “Listening to the Trouvères.” Early Music 25, no. 4 (November 1997): 638–50+653–56+659.

Peraino, Judith A. Giving Voice to Love: Song and Self-Expression from the Troubadours to Guilllaume de Machaut. Oxford: Oxford University Press, 2011.

Stevens, John E. Words and Music in the Middle Ages: Song, Narrative, Dance, and Drama, 1050–1350. Cambridge Studies in Music. Cambridge and New York: Cambridge University Press, 1986.

Waldbröl, Dirk van Betteray. “The sequence Victime novali zynke ses—A Melodical Restitution in Accordance with the Neumes.” In Hortus troporum: Florilegium in honorem Gunillae Iversen; A Festschrift in Honour of Professor Gunilla Iversen, ed. Alexander Andrée and Erika Kihlmann, 12–20. Acta Universitatis Stockholmiensis: Studia Latina Stockholmiensia, 54. Stockholm: Stockholms Universitet, 2008.

Chapter 9: Music and Learning in the Thirteenth Century

Atkinson, Charles M. “Franco of Cologne on the Rhythm of Organum Purum.” Early Music History 9 (1990): 1–26.

Baumann, Dorothea. “Acoustics in Gothic Cathedrals: Theory and Practical Experience in the Middle Ages.” In Les orgues gothiques: Actes du colloque de Royaumont, 1995, ed. Marcel Pérès, 37–48. Paris: Créaphis, 2001.

Binski, Paul. “The Heroic Age of Gothic and the Metaphors of Modernism.” >Gesta 52, no. 1 (2013): 3–19.

Bradley, Catherine A. “New Texts for Old Music: Three Early Thirteenth-Century Latin Motets.” Music and Letters 93, no. 2 (2012): 149–69.

Busse Berger, Anna Maria. “Mnemotechnics and Notre Dame Polyphony.” Journal of Musicology 14, no. 3 (Summer 1996): 263–98.

Everist, Mark, ed. Music before 1600. Models of Musical Analysis. Oxford: Blackwell, 1992. [This volume includes analyses by Norman Smith of a thirteenth-century motet; by Leo Treitler of lyrical songs; and by Sarah Fuller of a Machaut ballade, “De toutes flors.”]

Fassler, Margot E. “Music and the Miraculous: Mary in the Mid-Thirteenth-Century Dominican Sequence Repertory.” In Aux origines de la liturgie dominicaine: Le manuscrit Santa Sabina XIV L1., ed. Leonard E. Boyle and Pierre-Marie Gy, 229–78. Paris and Rome: Centre National de la Recherche Scientifique, 2004.

Immel, Steven C. “The Vatican Organum Treatise Re-examined.” Early Music History 20 (2001): 121–72.

Haines, John. “The Footnote Quarrels of the Modal Theory: A Remarkable Episode in the Reception of Medieval Music.” Early Music History 20 (2001): 87–120.

Mannaerts, Pieter. “An Exception to the Rule? The Thirteenth-Century Cistercian Historia for Mary of Oignies.” Journal of the Alamire Foundation 2, no. 2 (2010): 233–69.

Pesce, Dolores. “The Significance of Text in Thirteenth-Century Latin Motets.” Acta musicologica 58, fasc. 1 (January–June1986): 91–117.

Rankin, Susan. “Thirteenth-Century Notations of Music and Arts of Performance.” In Vom Preis des Fortschritts: Gewinn und Verlust in der Musikgeschichte, ed. Andreas Haug and Andreas Dorschel, 110–41. Vienna and New York: Universal Edition, 2008.

Roesner, Edward H. “The Emergence of Musica mensurabilis.” In Studies in Medieval Sources and Style: Essays in Honor of Jan LaRue, ed. Eugene K. Wolf and Edward H. Roesner, 41–74. Madison: A-R Editions, 1990.

Simon, Walter. “Beguines, Liturgy, and Music in the Middle Ages: An Exploration.” In Beghinae in cantu instructae: Music patrimony from Flemish beguinages, ed. Pieter Mannaerts, 15–26. Turnhout: Brepols, 2009.

Treitler, Leo. “Regarding Meter and Rhythm in the Ars Antiqua.” Musical Quarterly 65, no. 4 (October 1979): 524–58.

Whitcomb, Pamela. “Teachers, Booksellers and Taxes: Reinvestigating the Life and Activities of Johannes de Garlandia.” Plainsong and Medieval Music 8, no. 1 (1999): 1–13.

Williams, Kallan. “The Magnus Liber Organi: An Annotated Bibliography.” Music Reference Services Quarterly 11, no. 1 (2008): 37–65.

Chapter 10: Music and Narrative in Fourteenth-Century France

Bolduc, Michelle. “Musical Multilingualism in Le Roman de Fauvel (Paris, Bibliothèque nationale, MS fonds français 146).” In Medieval Multilingualism: The Francophone World and Its Neighbours, ed. Christopher Kleinhenz and Keith Busby, 303–23.  Medieval Texts and Cultures of Northern Europe, 20. Turnhout: Brepols, 2010.

Earp, Lawrence Marshburn. Guillaume de Machaut: A Guide to Research. New York: Garland, 1995.

Emmerson, K. Richard, and David F. Hult, trans. Antichrist and Judgment Day: The Middle French Jour du jugement, with a note on the music by Keith Glaeske. Early European Drama in Translation 2. Asheville, NC: Pendragon Press, 1998.

Enders, Jody. “Music, Delivery, and the Rhetoric of Memory in Guillaume de Machaut’s Remède de Fortune.” PMLA 107, no. 3 (May 1992): 450–64.

Everist, Mark. “Motets, French Tenors, and the Polyphonic Chanson ca. 1300.” Journal of Musicology 24, no. 3 (Summer 2007): 365–406.

Fuller, Sarah. “Concerning Gendered Discourse in Medieval Music Theory: Was the Semitone ‘Gendered Feminine?’” Music Theory Spectrum 33, no. 1 (Spring 2011): 65–89.

———. “A Phantom Treatise of the Fourteenth Century? The Ars nova.” Journal of Musicology 4, no. 1 (Winter 1985–86): 23–50.

Griffith, Karlyn. “Performative Reading and Receiving a Performance of the Jour du jugement in MS Besançon 579.” Comparative Drama 45, no. 2 (2011): 99–126.

Günther, Ursula. “Composers at the Court of the Antipopes in Avignon: Research in the Vatican Archives.” Musicology and Archival Research: Colloquium Proceedings,  Brussels, 22–23.4.1993, ed. Barbara Haggh et al., 328–37. Brussels: Archives et Bibliothèques de Belgique, 1994.

Leach, Elizabeth Eva. Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. Ithaca, NY, and London: Cornell University Press, 2007.

Lilley, Keith D. “Cities of God? Medieval Urban Forms and Their Christian Symbolism.” Transactions of the Institute of British Geographers, new ser. 29, no. 3 (September 2004): 296–313.

Maw, David. “Redemption and Retrospection in Jacques de Liège’s Concept of Cadentia.” Early Music History 29 (2010): 79–118.

Nichols, Stephen G. “Writing the New Middle Ages.” PMLA 120, no. 2 (March 2005): 422–41.

Silen, Karen. “Dance in Thirteenth-Century Paris.” In Dance, Spectacle, and the Body Politick (1250–1750), ed. Jennifer Nevile, 67–79. Bloomington: University of Indiana Press, 2008.

Stone, Anne. “The Ars Subtilior in Paris.” Musica e storia 10 (December 2002): 373–404.

Wright, Craig. The Maze and the Warrior: Symbols in Architecture, Theology, and Music. Cambridge, MA: Harvard University Press, 2001.

Chapter 11: The Fourteenth Century in Italy and England

Abramov-van Rijk, Elena. “The Madrigal Aquil’altera by Jacopo da Bologna and Intertextual Relationships in the Musical Repertory of the Italian Trecento.” Early Music History 28 (2009): 1–37.

Bent, Margaret. “Editing Early Music: The Dilemma of Translation.” Early Music 22, no. 3 (August 1994): 373–74+376–92.

———. “The Fourteenth-Century Italian Motet.” In L’ars nova italiana del Trecento VI, Atti del congresso internazionale “L’Europa e la musica del Trecento,” Certaldo, Palazzo Pretorio, 19–20–21 Iuglio 1984, ed. Giulio Cattin et al., 85–125. Certaldo: Edizioni Polis, 1992.

Bowers, Roger. “The Musicians and Liturgy of the Lady Chapels of the Monastery Church, c. 1235–1540.” In Westminster Abbey: The Lady Chapel of Henry VII, ed. Tim Tatton-Brown and Richard Mortimer, 33–57. Woodbridge, Suffolk: Boydell Press, 2003.

Brand, Benjamin. “The Vigils of Medieval Tuscany.” Plainsong and Medieval Music 17, no. 1 (2008): 23–54.

Brown, George Hardin, and Linda Ehrsam Voigts, eds.  The Study of Medieval Manuscripts of England: Festschrift in Honor of Richard W. Pfaff. Tempe: ACMRS (Arizona Center for Medieval and Renaissance Studies) and Turnhout: Brepols, 2010.

Brown, Howard Mayer. “Ambivalent Trecento Attitudes toward Music: An Iconographical View.” In Music and Context: Essays for John M. Ward, ed. Anne Dhu McLucas, 79–107. Cambridge, MA: Department of Music, Harvard University, 1985.

———. “Fantasia on a Theme by Boccaccio.” Early Music 5, no. 3 (July 1977): 324–39.

Elston, Ashley. “Pain, Plague, and Power in Niccolò Semitecolo’s Reliquary Cupboard for Padua Cathedral.” Gesta 51, no. 2 (2012): 111–27.

Harper, John. “The Vicar Choral in Choir.” In Vicars Choral at English Cathedrals: Cantate Domino; History, Architecture and Archaeology, ed. Richard Hall and David Stocker, 17–22. Oxford: Oxbow Books, 2005.

Harrison, Frank Llewellyn. Music in Medieval Britain. Studies in the History of Music. London: Routledge and Paul, 1958.

Lefferts, Peter M. “Cantilena and Antiphon: Music for the Marian Services in Late Medieval England.” In Studies in Medieval Music: Festschrift for Ernest H. Sanders, ed. Peter M. Lefferts and Brian Seirup. Current Musicology 45–47 (1988­–89): 247–82.

Long, Michael. “Singing Through the Looking Glass: Child’s Play and Learning in Medieval Italy.” Journal of the American Musicological Society 61, no. 2 (Summer 2008): 253–306.

Sandon, Nick. “Mary, Meditations, Monks and Music: Poetry, Prose, Processions and Plagues in a Durham Cathedral Manuscript.” Early Music 10, no. 1 (January 1982): 43–55.

Strohm, Reinhard. Music in Late Medieval Bruges. Oxford: Clarendon Press, 1985.

Summers, William J. “English 14th-Century Polyphonic Music: An Inventory of the Extant Manuscript Sources with Reference to Facsimile and Performing Editions.”  Journal of Musicology 8, no. 2 (Spring 1990):173–226.

Wray, Shona Kelly. “Boccaccio and the Doctors: Medicine and Compassion in the Face of the Plague.” Journal of Medieval History 30, no. 3 (September 2004): 301–22.

Chapter 12: Epilogue: On the Edges

Amstutz, Renate. Ludus de decem virginibus: Recovery of the Sung Liturgical Core of the Thuringian Zehnjungfrauenspiel. Toronto: Pontifical Institute of Mediaeval Studies, 2002.

Anderson, Gordon. “The Notation of the Bamberg and Las Huelgas Manuscripts.” Musica Disciplina 32 (1978): 19–67.

Baumgarten, Elisheva. Mothers and Children: Jewish Family Life in Medieval Europe. Jews, Christians, and Muslims from the Ancient to the Modern World. Princeton, NJ: Princeton University Press, 2004.

Blachly, Alexander. “Archaic Polyphony in Dutch Sources of the Renaissance.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 53, no. 1/2 (2003): 183–227.

Bukofzer, Manfred. “Popular Polyphony in the Middle Ages.” Musical Quarterly 26, no. 1 (January 1940): 31–49.

Carlebach, Elisheva. Palaces of Time: Jewish Calendar and Culture in Early Modern Europe. Cambridge, MA: Belknap Press of Harvard University Press, 2011.

Constable, Olivia Remie. “Regulating Religious Noise: The Council of Vienne, the Mosque Call and Muslim Pilgrimage in the Late Medieval Mediterranean World.” Medieval Encounters 16, no. 1 (2010): 64–95.

Davies, Rebecca J. “The Reception of Conon de Béthune’s Ahi! Amors, com dure departie in Minnesang: Questions of Music and Metrical Form.Jahrbuch der Oswald von Wolkenstein-Gesellschaft 9 (1996–97): 495–508.

Harrison, Anna. “‘I Am Wholly Your Own’: Liturgical Community and Piety among the Nuns of Helfta.Church History 78, no. 3 (September 2009): 549–83.

Long, Sarah. “In Praise of St. Nicholas: Music, Text, and Spirituality in the Masses and Offices of Parisian Trade Confraternity Manuscripts.” Journal of the Alamire Foundation  1, no. 1 (2009): 50–78.

Muir, Carolyn Diskant. “Love and Courtship in the Convent: St. Agnes and the Adult Christ in Two Upper Rhine Manuscripts.” Gesta 47, no. 2 (2008): 123–45.

Strohm, Reinhard. “Late Medieval Sacred Songs: Tradition, Memory, and History.” In Identity and Locality in Early European music, 1028–1740, ed. Jason Stoessel, 129–46. Farnham, Surrey, and Burlington, VT: Ashgate, 2009.

Vlhová-Wörner, Hana. “Three; Nine; Nine and Three: Forms of Kyrie Tropes in the Late Medieval Tradition.” In Hortus troporum: Florilegium in honorem Gunillae Iversen—A Festschrift in Honour of Professor Gunilla Iversen, ed. Alexander Andrée and Erika Kihlman, 138–51. Stockholm: Stockholms Universitet, 2008.

Yri, Kirsten. “Noah Greenberg and the New York Pro Musica: Medievalism and the Cultural Front.” American Music 24, no. 4 (Winter 2006): 421–44.

———. “Thomas Binkley and the Studio der Frühen Musik: Challenging ‘The myth of Westernness.’” Early Music 38, no. 2 (May 2010): 273–80.