475:
certain unit like a membrum «Probauit | eum deus | et sci-uit | cor suum» was complete, but not always. If the first note on the next line was expected on the same pitch, an "e" for "equaliter" as a so-called "significant letter" was set instead of a custos. The
Aquitanian notation also had many agogic details, but could be written in a way that groupings would be still visible, even if a large interval separated them. In comparison with contemporary Italian neume notation which tried to display intervals by a vertical adjustment to represent visibly the difference in height like here, the groups always had to stick together and were difficult to write since the dots needed to be connected. Aquitanian neumes not only spared ink in comparison, but their ability to disconnect connected neumes was also much easier to write. It was an ingenious invention of Roger de Chabannes' generation and his nephew improved it, so that the manuscripts of their scriptorium were the finest written in Aquitaine.
482:'s method the tonary worked like a key. The psalmody was indicated afterwards and crucial was the so-called «differentia», the way it ended. At the end of the introit, there was the incipit of the psalm «Domine probasti me» (Ps 138) and the «differentia» was notated with the concluding small doxology «seculorum amen». As such it had to be looked up at the tonary dedicated to the psalmody of the Mass chant genre introit which started on folio 255 recto. Doing this, one finds the differentia in the section of «In primo thono authenti proti». Thus, one understands that the beginning means D re a mi―b fa etc., which was like a stereotype to begin and develop the proper melos of the Dorian church tone.
623:, the incipits of the former introit «Statuit ei dominus» were erased, but new incipits were copied for only two of seventeen tropes, as the redacting scribe tried to adapt the old collection to the text and meaning of the new introit. The very first trope «Plebs devota deus» did not have the new incipits, very likely because Adémar did not regard them as suitable; instead he recomposed the trope. The scribe did not continue his redaction for the rest of the collection, probably finding his efforts no longer useful, but fixed the collection in the tropers of F-Pn lat.
655:
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902:, identifies Adémar as one of the first to write music using the musical notation still in use today. He placed the musical notes above the text, higher or lower according to the pitch: Professor Grier states that "Placement on the vertical axis remains the standard convention for indicating pitch in notation in Western culture and there is far greater weight on pitch than on many other elements such as dynamics and timbre".
363:
text to a number of pre-existing hymns and sequences, also providing proper mass chant for Saint
Martial as apostle and patron of the Monastery. Following the libellum structure of the manuscript, the elements of the mass are not presented continuously, since the alleluia verses preceding the Gospel and offertories of the Mass were separated as "little books" (libelli), while the sequences are written in a third one.
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By repeating the melody of the beginning over the last word of the verse «semitas | suas / deduxit illum», there is a kind of enjambement, because the musical form separates the word from its grammatical context and connects it with the next verse. The musical emphasis is on the word "eternal" with a
1207:
The
Sequentiary begins on folio 205, but is just one folio, and there is another Sequentiary beginning with empty pages starting on folio 101. On folio 166 begins a collection with alleluia verses, but the beginning is missing. This confusion explains, why these two tropes were mistaken as prosulae.
650:
From a grammatical and metrical point of view Adémar's changes of the psalm verses seemed to have adapted the new introit «Probauit eum» to the former «Statuit ei», as if he tried re-troping the old antiphon (the neumes of the incipits show a vague resemblance), but it is clear that he also reworked
366:
The apostolic mass composed for Saint
Martial was exceptionally written unseparated but without the tropes, very likely later on some blank pages of the libellum with the troper of proper chant. The collection dedicated to the birth of the patron saint started separately with newly composed alleluia
265:
of the new troper-prosers, a chant book organised in libellum structure which separated the contents into collections dedicated to chant genres, especially innovative ones such as tropus and sequence and the elaborated chant of the offertorium. This libellum type was rather extravagant and carefully
744:
Adémar did not just change the following verses, he also changed slightly the end of the first line by replacing «sapientia fatur» by «sacra verba profantur». With the new antiphon paraphrasing psalm 138, there is a contrast between the mundane context of the trope and the scriptural context of the
618:
Adémar obviously refined the local tradition and reduced the number of tropes. According to James Grier he added two tropes «Sanctus
Marcialis» and «Christi discipulus» of his own composition, and reworked the first «Plebs devota deus» of this huge collection, to adapt the former celebration of the
362:
As an apostle, Saint
Martial would be entitled to a substantial mass for the celebration of his feast day within a festal octave. Adémar therefore composed a series of hymns, providing both text and music due to his position as cantor at Saint Martial. This he did by troping, i.e. adding additional
474:
These pages of the Troper-Sequentiary give not only evidence of Adémar's skills as a hymnographer and composing cantor, they also show his sophisticated way as a notator of using custodes to help the reader's orientation between the lines. The change to another line was preferably chosen where a
329:
of
Martial as a provincial forgery and the new liturgy as offensive to God. The word spread, and the promising young monk was disgraced. Adémar's reaction was to build forgery upon forgery, inventing a Council of 1031 that confirmed the 'apostolic' status of Martial, even a forged papal letter.
610:
on folio 49 verso reworked with the beginning «Psallite omnes»), «Coronam sacerdocii» which follows the beginning of the old introit «Statuit ei dominus» and divides the second part of the first verse «Testamentum pacis», the trope continues «Quo uniti simus fide» etc. (reworked in F-Pn lat.
874:
Although history shows that the plan to establish Saint
Martial as an apostle succeeded, in the short-term the Mass itself was neglected. In particular after his death, when the Abbey Saint Martial came under Cluniac administration, the Gradual and its redaction of tropes and sequences
130:. Part of this was from the well-recorded notoriety he would achieve from various infamous events, but also because the Abbey in which he worked preserved a huge amount of his literary and musical manuscripts. Unlike other documents there, the Adémar collection was later purchased by
631:. This scribe was very likely Adémar who checked very carefully the change within the intertextual relationship and how the new meaning was generated between trope and antiphon. Thus, it is useful to study his adaption by comparing the version of this trope in the old introit (
598:
But as yet the text said nothing about the patron saint of
Limoges, it was just paraphrasing some verses taken from Psalm 138. They needed to be embellished by additional tropes preceding each verse. And many of these tropes already existed by the time of Roger de Chabannes.
256:
Adémar contributed as a notator to the Abbey's existing chant books learning from his uncle and other manuscripts where he contributed important parts, especially his own compositions. Adémar composed his own musical Mass and Office in the forms developed by the
465:
Finally, recognising the scale of the mass he as cantor had composeed for the monastic community of
Limoges Abbey, it needed to make clear that the local patron saint had now to be considered an apostle. Therefore the rubric said «De sancto apostolo Marciale».
367:
verses (f. 61'-62), office tropes for the same occasion (f. 62'-70), the whole untroped mass (f. 70'-71), tropes and processional antiphons (f. 71'-73'). It was a kind of addition, because the regular proprium tropes had been written already (f. 42-46').
333:
In the long run, Adémar was successful. By the late 11th century, Martial was indeed venerated in Aquitaine as an apostle, though his legend was doubted elsewhere. The reality of this tissue of forgeries was only unravelled in the 1920s, by the historian
1234:
As a comparison for the older custom and how it did change under Adémar, one might consider three Troper Sequentiaries of the Abbey, all known to Adémar. The early one which was already 100 years old, while he worked on the manuscript in question here:
1208:
It led to Grier's interpretation that the book was already organised, when Adémar began his work as a notator and used empty spaces to fill in his hymns in honour of the patron saint. Other parts of the manuscript had been added later.
1119:
show a late development of Adémar's skills, but they were extravagant collections of tropes and sequences and simply compile parts from very different scribes, obviously also from different periods (see appendix A in
1085:, the former was obviously destinated for cathedral services in the Auch region of Aquitaine. The Abbey of Limoges was famous for its tonaries and the sequentiaries, partly developed from the echemata of the tonary.
602:
In the period of 80 years before Roger de Chabannes was cantor the number of tropes for this introitus had grown from three to seventeen. The three oldest tropes were «Haec est psallite» (in
1882:"The Problem of the 'Filioque' and the Letter from the Pilgrim Monks of the Mount of Olives to Pope Leo III and Charlemagne: Is the Letter another Forgery by Adémar of Chabannes?"
188:
1383:
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)
1132:) Adémar as a notator worked on innovations of the neume notation to support the vertical orientation of the reader by inserting custodes. In a later study Grier (
651:
the music carefully to the new text. Except for the last verse, the metric structure was almost identical: «Statuit» (14-8-11-4) and «Probavit» (13-8-11-14).
883:), written about 1075, was conventionally organised and completely dismissed Adémar's contribution to the local tradition of the Abbey Saint Martial in Limoges.
1042:
1098:) proved that manuscripts for a local use in Aquitaine had been written by Adémar in such a great number which only few scribes in history had ever achieved.
859:) this revision had not yet been completed, and the incipits of the new antiphon had not yet been written from the second verse on. In his book James Grier (
17:
1657:
871:, f. 49'-50) simply combined both versions of the same trope with the new introit, so that a cantor had to decide between Pa 1121 and Pa 909.
1507:
1484:
670:
This was the text of the old introit together with the old version of the trope «Plebs devota deo» (the additional troped text is in italics):
1047:
211:, king of the Franks, to 1028. The first two books are scarcely more than a copy of earlier histories of Frankish kings, such as the
1185:) made a whole list of Adémar's compositions (appendix B) with reference to the sources where they had been written by his own hand.
199:
Adémar's life was mainly spent in writing and transcribing chant books and chronicles, and his principal work is a history entitled
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231:. The third book, which deals with the period from 814 to 1028, is of considerable historical importance. It relies partly on the
3523:
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3558:
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1976:
James Grier, "Hoax, History, and Hagiography in Adémar de Chabannes's Texts for the Divine Office," in Robert A. Maxwell (ed),
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Gradual in the usual calendaric order with a troper for ordinary and proper chant as appendix of St. Martial de Limoges (1075)
1960:
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1721:
1684:
1395:
Troper, Tonary, Sequentiary and Proser from Southwestern France, Région d'Auch with diastematic Aquitanian notation (987–96)
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1731:
Grier, James (2006). "The Music is the Message II: Adémar de Chabannes' Music for the Apostolic Office of Saint Martial".
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1306:
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The same trope adapted and recomposed by Adémar de Chabannes to his new introit «Probauit eum» written by his own hand (
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351:
294:. And he supplemented the less than scanty documentation for the alleged 'apostolicity' of Martial, first with a forged
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1995:
1939:
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75:. Much of his career was spent copying and transcribing earlier accounts of Frankish history; his major work was the
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back to 1028, the manuscript already existed, but he was invited to contribute to it as a composer and as a notator.
3287:
3260:
2073:
1371:
Troper from the church St. Salvator Mundi, St. Martial Abbey in Limoges, partly with later added notation (933-936)
619:
patron-saint as a bishop-confessor to his new role as an apostle. As one can see in the former Troper in F-Pn lat.
1838:
253:
of the Abbey between 1010 until his death in 1025. Adémar apparently succeeded his uncle as cantor on his death.
3563:
3538:
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1473:. Chronicon ― Collection des textes pour servir à l'étude et à l'enseignement de l'histoire. Vol. 20. Paris.
155:
64:
3292:
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2407:
2008:
Jerusalem-Konstantinopel-Rom: Die Viten des Michael Synkellos und der Brüder Theodoros und Theophanes Graptoi
899:
615:
on folio 49 verso with an introductory trope «Celsa polorum pontus»), the third trope is «Marcialis meriti».
99:
350:
Missa Sancti Marcialis «De sancto apostolo Marciale» with poetry and music composed by Adémar de Chabannes (
2526:
2441:
2041:
1407:
Troper, Proser, Processional of St. Martial de Limoges, with later added florid organum (late 10th century)
490:
Adémar chose themes from Psalm 138 as his introit, the very same which was used in the related psalmody:
302:. To effect this claim, he composed an "Apostolic Mass" that still exists in Adémar's own hand. The local
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102:, and for composing an associated Mass for Saint Martial. Though he successfully convinced the local
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1952:
An Empire of Memory: The Legend of Charlemagne, the Franks, and Jerusalem before the First Crusade
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Grier, James (2003). "The Music is the Message: Music in the Apostolic Liturgy of Saint Martial".
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One or more of the preceding sentences incorporates text from a publication now in the
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1793:. Corpus Christianorum / Autographa medii aevi. Vol. 7. Turnhout: Brepols Publishers.
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for those parts where he added just the notation or notation and the texts). According to
8:
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Medieval Monks and Their World: Ideas and Realities: Studies in Honor of Richard Sullivan
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Grier, James (1997). "Editing Adémar de Chabannes' liturgy for the Feast of St Martial".
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The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-century Aquitaine
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L'an mille. Oeuvres de Liutprand, Raoul Glaber, Adémar de Chabannes, Adalberon Helgaud
1478:
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111:
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Traditional trope «Plebs deuota deo nostrum» for the Patron Saint Martial of Limoges (
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Troper, Sequentiary, and Tonary of St. Martial de Limoges, Adémar de Chabannes (1025)
135:
1523:
Grier, James (1995). "Roger de Chabannes (d. 1025), Cantor of St Martial, Limoges".
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but converted his paraphrasing antiphon to a less personal one than the psalm text:
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district, had actually lived centuries earlier, and was in fact one of the original
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Communications and Power in Medieval Europe. The Carolingian and Ottonian Centuries
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2006:
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Grier, James (2005). "The Musical Autographs of Adémar de Chabannes (989–1034)".
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250:
134:, and thus spared from the substantial destruction of documents there during the
839:—Troped introit for the apostle Saint Martial rearranged by Adémar de Chabannes
338:. Mainstream Catholic historians ignored Saltet's revelations until the 1990s.
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1857:"Un nouveau manuscrit du texte tronqué de la Chronique d'Adhémar de Chabannes"
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1536:
639:, f. 46) with the revision, or rather the re-composition, of the new introit (
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Relics, Apocalypse, and the Deceits of History: Ademar of Chabannes, 989-1034
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1581:
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1033:
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The only problem was to understand what was the church tone. Here similar to
283:
275:
95:
2476:
1872:
1760:
Grier, James (2013). "Adémar de Chabannes (989–1034) and musical literacy".
1051:. Vol. 1 (11th ed.). Cambridge University Press. pp. 191–192.
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207:. This is in three books and deals with Frankish history from the reign of
192:
159:
146:
1987:
Inventing Latin Heretics: Byzantines and the Filioque in the Ninth Century
1907:"Ademar of Chabannes, Charlemagne and the Pilgrimage to Jerusalem of 1033"
163:
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In fact, they did not yet exist in the rich collection of F-Pn lat. 1120.
952:
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1931:
Jerusalem and the Cross in the Life and Writings of Ademar of Chabannes
171:
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1496:. Mémoires du passé pour servir au temps présent. Vol. 6. Paris.
208:
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36:
The intonation formulas for the 8 tones according to the Aquitanian
3323:
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486:
The introit and Adémar as a composer of proper chant and its tropes
222:
131:
829:
Illuminated by the apostolic height are those He sent on the acres
237:, to which Adémar himself added a final notice for the year 1028.
158:, he passed his life as a monk both there and at the monastery of
3237:
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3144:
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2119:
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2026:
1980:(University Park, PA, Pennsylvania State University press, 2010).
1820:
London, 1994. Inaugural lecture, first published as Karl Leyser,
1288:
They share both the second part beginning with «Pastori ex imio».
318:
287:
60:
1431:
Troper, Sequentiary, and Tonary of St. Martial de Limoges (1032)
2960:
2882:
2377:
586:—Adémar de Chabannes' new introit for Saint Martial as apostle
303:
279:
262:
187:
103:
56:
37:
736:—Troped introit opening the Mass for the patron Saint Martial
32:
27:
11th-century French monk, composer, scribe and literary forger
3232:
3156:
307:
107:
1471:"Chronicon Aquitanicum et Francicum» or «Historia Francorum"
817:
The very same is Martial, the very high alumnus of the Lord
261:
of his uncle Roger, using modal patterns documented in the
52:
863:) mentions that the scribe of a later Troper Sequentiary (
811:
Indeed we adore men through whom holy words are predicted
1443:
Troper and Sequentiary of St. Martial de Limoges (1050s)
266:
made by collecting a range of individual contributions.
126:, more is known about the life of Adémar than any other
823:
God called Him of the stirps of Israel king of the same
3440:
1451:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1132"
1439:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1119"
1415:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1121"
1403:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1120"
1391:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1118"
1379:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1085"
1367:"Paris, Bibliothèque Nationale, fonds lat., Ms. 1240"
727:
so that the same would have the dignity of priesthood
531:
24 And see if there might be any restlessness in me*
114:
exposed his forgery and damaged Adémar's reputation.
1427:"Paris, Bibliothèque Nationale, fonds lat., Ms. 909"
1355:
Liber manualis or notebooks of Ademar of Chabannes,
1329:"Canadian musicologist makes 900 year old discovery"
1978:
Representing History, 900–1300: Art, Music, History
1006:
927:
386:
Gradual «Principes populorum» V. «Elegit dominus» (
298:of Martial, as if composed by Martial's successor,
249:, he was educated by his uncle Roger de Chabannes,
240:
1656:
724:to call the founding servant of Limoges the patron
1163:
502:17 mihi autem nimis honorificati sunt amici tui*
500:tu cognovisti sessionem meam et surrectionem meam
3500:
1829:"Adhémar De Chabannes | Frankish historian"
778:Nempe uirum colimus de quo sacra verba profantur
469:
1816:Leyser, Karl. "The Ascent of Latin Europe." In
807:People devoted to our God, receive now the song
712:Indeed we adore men through whom wisdom appears
708:People devoted to our God, receive now the song
310:seem to have cooperated in the project and the
523:17 How honoured are also thy friends unto me*
2042:
1762:Journal of the American Musicological Society
715:He established for him the testament of peace
521:Thou knowest my downsitting and mine uprising
341:
796:Culmine apostolico clarum quem misit in arua
784:Ipse est martialis domini praecelsus alumnus
774:Plebs deuota deo nostrum nunc suscipe carmen
718:and raised publicly at his beatifying altars
679:Plebs deuota deo nostrum nunc suscipe carmen
504:Deus nimis confirmati sunt principatus eorum
166:. Adémar died around 1034, most probably at
2692:
790:Hisraelis quem stirpe deus rex ipse uocauit
695:Lemouicis famulum statuens dicare pathronum
542:Liber Psalmorum iuxta Septuaginta emendatus
525:O God, how great has proved the sum of them
519:2 Lord, Thou hast tried and recognised me*
2049:
2035:
1990:. Kalamazoo: Western Michigan University.
1827:
1506:: CS1 maint: location missing publisher (
1483:: CS1 maint: location missing publisher (
1326:
958:
799:et nimis confortatus est principatus eius
683:Nempe uirum colimus de quo sapientia fatur
566:et nimis confortatus est principatus eius
191:Adémar de Chabannes manuscript drawing of
510:24 et vide si via iniquitatis in me est*
314:was first sung on Sunday, 3 August 1029.
1948:
1927:
1913:. Leiden-Boston: Brill. pp. 71–80.
1904:
1879:
1854:
1791:Ademarvs Cabannensis monachvs et mvsicvs
1037:
1012:
747:
689:Extulit atque suis coram altaribus almis
653:
527:23 Search me, O God, and know my heart*
345:
186:
110:of its authenticity, the traveling monk
31:
2683:
2587:List of Galician-Portuguese troubadours
1983:
1677:10.1093/gmo/9781561592630.article.52477
814:God tried him and saw through his heart
573:God tried him and saw through his heart
498:2 Domine probasti me et cognovisti me*
182:
67:, where he was a central figure in the
14:
3501:
1807:
933:
2030:
1654:
1522:
1169:
1018:
560:Probauit eum deus et sciuit cor suum
508:interroga me et cognosce semitas meas
274:He embraced the developing tale that
269:
40:, which was partly notated by Adémar
2004:
1327:Montgomery, Marc (22 October 2014).
894:, Professor of Music History in the
781:Probauit eum deus et sciuit cor suum
767:
686:Statuit ei dominus testamentum pacis
672:
554:
506:23 proba me Deus et scito cor meum*
492:
321:was disrupted by a travelling monk,
2413:Other troubadours and trobairitz...
2011:. Stuttgart: Franz Steiner Verlag.
1955:. Oxford: Oxford University Press.
1861:Bibliothèque de l'école des chartes
577:guided the same on the eternal way
408:Offertorium «Diligo uirginitatem» (
24:
2056:
1847:
1198:within the alleluia verse section.
826:guided the same on the eternal way
533:and lead me on to the eternal way
201:Chronicon Aquitanicum et Francicum
117:
77:Chronicon Aquitanicum et Francicum
59:, historian, poet, grammarian and
25:
18:Chronicon Aquitanicum et Francicum
3575:
595:melisma in the higher register.
453:Sequence «Apostolorum gloriosa» (
397:All «Alleluia» V. «Beati oculi» (
81:Chronicle of Aquitaine and France
3486:
3474:
3462:
3450:
3423:
3414:
3413:
1025:
241:Cantor, hymnographer and notator
3554:French male non-fiction writers
1320:
1300:
1291:
1282:
1228:
1211:
1201:
1188:
1175:
1147:
1101:
1088:
1068:
1055:
832:and so mighty is His principle
698:ut sit illi sacerdocis dignitas
579:and so mighty is His principle
86:He is well-known for forging a
71:, an important center of early
65:Abbey of Saint Martial, Limoges
3524:11th-century French historians
1562:Plainsong & Medieval Music
1468:
993:
980:
967:
939:
911:
544:(selected verses from Ps 138)
317:Unfortunately for Adémar, the
156:Abbey Saint-Martial de Limoges
13:
1:
3559:11th-century writers in Latin
2408:William IX, Duke of Aquitaine
1839:Encyclopædia Britannica, Inc.
1730:
1491:
1222:
905:
900:University of Western Ontario
529:Question me, and know my ways
470:Adémar's technique as notator
325:, who denounced the improved
245:When Adémar joined the Abbey
63:. He was associated with the
1928:Callahan, Daniel F. (2016).
1905:Callahan, Daniel F. (2006).
1880:Callahan, Daniel F. (1992).
1788:
1759:
1733:Plainsong and Medieval Music
1707:
1701:UK public library membership
1625:
1599:Plainsong and Medieval Music
1596:
1559:
1469:Jules Chavanon, ed. (1897).
1449:
1437:
1413:
1401:
1389:
1377:
1365:
1310:
1252:
1240:
1218:
1182:
1157:
1133:
1129:
1121:
1112:
1095:
1082:
1078:
1062:
1000:
987:
974:
946:
880:
868:
860:
852:
793:deduxit illum in uia aeterna
663:
636:
624:
620:
612:
607:
564:deduxit illum in uia aeterna
7:
2079:List of musical instruments
1492:Edmond Pognon, ed. (1947).
1462:
1425:
1361:Leiden University Libraries
1268:
1141:
1116:
921:
896:Don Wright Faculty of Music
757:
644:
628:
512:et deduc me in via aeterna
458:
443:
432:
427:Communio «Nolite gaudere» (
413:
402:
391:
376:
355:
154:of France. Educated at the
10:
3580:
1949:Gabriele, Matthew (2011).
1855:Bourgain, Pascale (1985).
1822:The Ascent of Latin Europe
1774:10.1525/jams.2013.66.3.605
1714:Cambridge University Press
1515:
1349:
1333:Radio Canada International
847:In Adémar's older troper (
721:and he made him the leader
342:The Mass for Saint Martial
3395:
3347:
3316:
3253:
3122:
3051:
2992:
2941:Matheus de Sancto Johanne
2936:Johannes Symonis Hasprois
2871:
2867:
2793:
2747:
2712:
2679:
2610:
2606:
2597:
2582:Galician-Portuguese lyric
2527:Jehan le Cuvelier d'Arras
2442:Andrieu Contredit d'Arras
2427:
2276:
2218:
2214:
2205:
2087:
2064:
1745:10.1017/S0961137106000246
1640:10.1017/S0261127905000100
1611:10.1017/S0961137103003012
1574:10.1017/S0961137100001303
1537:10.1017/s0261127900001443
1136:) dated Adémar's work on
886:
438:Sequence «Arce polorum» (
422:V2. «Designatus a domino»
419:V1. «Praeceptum a domino»
214:Liber Historiae Francorum
170:, where he had gone on a
3519:People from Haute-Vienne
2971:Antonio Zacara da Teramo
1984:Kolbaba, Tia M. (2008).
1934:. Leiden-Boston: Brill.
1812:. Cambridge: Harvard UP.
1808:Landes, Richard (1995).
771:
676:
558:
496:
371:Introit «Probauit eum» (
247:Saint Martial of Limoges
177:
98:was one of the original
55:, active as a composer,
51:) was a French/Frankish
2497:Gillebert de Berneville
2074:List of music theorists
1973:. London: Abacus, 2009.
1873:10.3406/bec.1985.450372
1834:Encyclopædia Britannica
1669:Oxford University Press
1048:Encyclopædia Britannica
228:Annales regni Francorum
145:, a village in today's
3564:11th-century composers
3539:French Christian monks
2770:Gherardello da Firenze
2457:Le Chastelain de Couci
2250:Philippe le Chancelier
2005:Sode, Claudia (2001).
820:He understood his ways
804:
765:
705:
692:et principem fecit eum
667:
575:He understood his ways
571:
562:cognouit semitas suas
517:
359:
196:
47:(988/989 – 1034; also
41:
3534:French male composers
3079:Johannes de Garlandia
2393:Raimbaut de Vaqueiras
1789:Grier, James (2018).
1708:Grier, James (2006).
1658:"Adémar de Chabannes"
1655:Grier, James (2001).
787:cognouit semitas suas
751:
657:
349:
234:Chronicon Aquitanicum
190:
35:
3400:Also music theorist*
3084:Johannes de Grocheio
2901:Conradus de Pistoria
2888:Philippus de Caserta
2837:Philippus de Caserta
2806:Antonello da Caserta
2755:Andreas de Florentia
2646:Guillaume de Machaut
2307:Bernart de Ventadorn
2292:Aimeric de Peguilhan
2235:Albertus Parisiensis
2185:Adam of Saint Victor
2145:Saint Martial school
2102:Notker the Stammerer
1898:10.1484/J.RB.4.01280
1043:Adhemar de Chabannes
278:, the third century
183:Adémar as chronicler
124:Guillaume de Machaut
69:Saint Martial school
49:Adhémar de Chabannes
3011:Contenance angloise
2801:Bartolino da Padova
2700:Marchetto da Padova
2631:Magister Franciscus
2507:Guillaume le Vinier
2502:Gontier de Soignies
2447:Audefroi le Bastart
2333:Folquet de Marselha
2190:Wulfstan the Cantor
2180:Hildegard of Bingen
2150:Adémar de Chabannes
2135:Fulbert of Chartres
2097:Abbey of Saint Gall
2089:Early (before 1150)
1628:Early Music History
1525:Early Music History
1194:Duplicate on folio
480:William of Volpiano
141:Adémar was born at
92:Aurelian of Limoges
45:Adémar de Chabannes
3339:Neo-Medieval music
3329:Medieval folk rock
3109:Berno of Reichenau
3089:Iacobus de Ispania
2931:Petrus de Goscalch
2832:Niccolò da Perugia
2827:Grazioso da Padova
2775:Lorenzo da Firenze
2735:Vincenzo da Rimini
2720:Giovanni da Cascia
2552:Other trouvères...
2537:Perrin d'Angicourt
2487:Gautier de Dargies
2462:Chrétien de Troyes
2398:Raimon de Miravalh
2388:Raimbaut d'Aurenga
1664:Grove Music Online
766:
668:
360:
323:Benedict of Chiusa
270:Adémar's forgeries
205:Historia Francorum
197:
112:Benedict of Chiusa
42:
3438:
3437:
3406:Renaissance music
3114:Aurelian of Réôme
3099:Johannes de Muris
3069:Franco of Cologne
3047:
3046:
3029:Arnold de Lantins
2988:
2987:
2984:
2983:
2911:Johannes Cuvelier
2863:
2862:
2859:
2858:
2855:
2854:
2822:Giovanni Mazzuoli
2817:Matteo da Perugia
2789:
2788:
2765:Francesco Landini
2743:
2742:
2725:Jacopo da Bologna
2708:
2707:
2675:
2674:
2671:
2670:
2662:Philippe de Vitry
2641:Jehan de Lescurel
2562:
2561:
2547:Raoul de Soissons
2492:Gautier d'Espinal
2482:Gautier de Coincy
2423:
2422:
2343:Giraut de Bornelh
2322:Cerverí de Girona
2302:Arnaut de Mareuil
2272:
2271:
2268:
2267:
2230:Notre-Dame school
2140:Heriger of Lobbes
2069:List of composers
1962:978-0-19-161640-2
1886:Revue Bénédictine
1800:978-2-503-52395-8
1723:978-0-521-85628-7
1699:(subscription or
1686:978-1-56159-263-0
1263:(17 tropes); and
1107:Both manuscripts
845:
844:
742:
741:
592:
591:
550:
549:
195:in Adémar's hand.
136:French Revolution
128:medieval composer
94:, that indicated
90:, purportedly by
16:(Redirected from
3571:
3529:French composers
3491:
3490:
3479:
3478:
3477:
3467:
3466:
3465:
3455:
3454:
3453:
3446:
3427:
3417:
3416:
3223:Liturgical drama
2990:
2989:
2897:
2894:Johannes Ciconia
2869:
2868:
2865:
2864:
2847:Zacara da Teramo
2811:Johannes Ciconia
2791:
2790:
2781:Paolo da Firenze
2760:Donato da Cascia
2745:
2744:
2710:
2709:
2690:
2689:
2681:
2680:
2677:
2676:
2665:
2608:
2607:
2604:
2603:
2599:Late (1300–1400)
2542:Philippe de Rémi
2472:Conon de Béthune
2452:Blondel de Nesle
2437:Adam de la Halle
2425:
2424:
2363:Peire d'Alvernha
2274:
2273:
2261:
2216:
2215:
2212:
2211:
2207:High (1150–1300)
2196:Wipo of Burgundy
2161:
2131:
2123:
2114:Stephen of Liège
2051:
2044:
2037:
2028:
2027:
2022:
2001:
1966:
1945:
1924:
1901:
1876:
1842:
1813:
1804:
1785:
1756:
1727:
1704:
1697:
1695:
1693:
1660:
1651:
1622:
1593:
1556:
1511:
1505:
1497:
1488:
1482:
1474:
1458:
1446:
1434:
1422:
1410:
1398:
1386:
1374:
1344:
1343:
1341:
1339:
1324:
1318:
1304:
1298:
1295:
1289:
1286:
1280:
1232:
1226:
1215:
1209:
1205:
1199:
1192:
1186:
1179:
1173:
1167:
1161:
1151:
1145:
1105:
1099:
1092:
1086:
1072:
1066:
1059:
1053:
1052:
1031:
1029:
1028:
1022:
1016:
1010:
1004:
997:
991:
984:
978:
971:
965:
956:
950:
943:
937:
931:
925:
924:, fol. 251r-254r
915:
768:
673:
555:
493:
461:, f. 199'-201').
122:Besides perhaps
21:
3579:
3578:
3574:
3573:
3572:
3570:
3569:
3568:
3499:
3498:
3497:
3485:
3475:
3473:
3463:
3461:
3457:Classical music
3451:
3449:
3441:
3439:
3434:
3433:
3410:
3391:
3343:
3312:
3249:
3199:Gregorian chant
3118:
3104:Walter Odington
3064:Guido of Arezzo
3043:
3000:Johannes Alanus
2980:
2956:Jacob Senleches
2892:
2851:
2785:
2739:
2704:
2667:
2660:
2593:
2558:
2419:
2348:Guiraut Riquier
2327:Comtessa de Dia
2312:Bertran de Born
2280:
2264:
2258:Petrus de Cruce
2256:
2201:
2165:Notker Physicus
2156:
2126:
2118:
2083:
2060:
2055:
2025:
2019:
1998:
1963:
1942:
1921:
1892:(1–2): 75–134.
1850:
1848:Further reading
1845:
1841:1 January 2020.
1824:. Oxford, 1986.
1801:
1724:
1698:
1691:
1689:
1687:
1518:
1499:
1498:
1476:
1475:
1465:
1352:
1347:
1337:
1335:
1325:
1321:
1305:
1301:
1296:
1292:
1287:
1283:
1233:
1229:
1216:
1212:
1206:
1202:
1193:
1189:
1180:
1176:
1168:
1164:
1152:
1148:
1106:
1102:
1093:
1089:
1073:
1069:
1060:
1056:
1041:, ed. (1911). "
1026:
1024:
1023:
1019:
1011:
1007:
998:
994:
985:
981:
972:
968:
957:
953:
944:
940:
932:
928:
916:
912:
908:
889:
834:
831:
827:
825:
821:
819:
815:
813:
809:
801:
798:
794:
792:
788:
786:
782:
780:
776:
731:
728:
726:
722:
720:
716:
714:
710:
702:
699:
697:
693:
691:
687:
685:
681:
581:
578:
576:
574:
568:
565:
563:
561:
535:
532:
530:
528:
526:
524:
522:
520:
514:
511:
509:
507:
505:
503:
501:
499:
488:
472:
344:
300:Bishop Aurelian
272:
243:
185:
180:
120:
118:Life and career
61:literary forger
28:
23:
22:
15:
12:
11:
5:
3577:
3567:
3566:
3561:
3556:
3551:
3546:
3541:
3536:
3531:
3526:
3521:
3516:
3511:
3496:
3495:
3483:
3471:
3459:
3436:
3435:
3432:
3431:
3421:
3403:
3402:
3401:
3397:
3396:
3393:
3392:
3390:
3389:
3388:
3387:
3382:
3377:
3372:
3367:
3357:
3351:
3349:
3345:
3344:
3342:
3341:
3336:
3334:Medieval metal
3331:
3326:
3320:
3318:
3314:
3313:
3311:
3310:
3305:
3300:
3295:
3290:
3285:
3280:
3275:
3274:
3273:
3268:
3257:
3255:
3251:
3250:
3248:
3247:
3240:
3235:
3230:
3225:
3220:
3219:
3218:
3208:
3207:
3206:
3204:Pope Gregory I
3196:
3191:
3190:
3189:
3184:
3179:
3169:
3164:
3159:
3154:
3153:
3152:
3142:
3137:
3132:
3126:
3124:
3120:
3119:
3117:
3116:
3111:
3106:
3101:
3096:
3091:
3086:
3081:
3076:
3074:Johannes Cotto
3071:
3066:
3061:
3055:
3053:
3049:
3048:
3045:
3044:
3042:
3041:
3036:
3031:
3026:
3021:
3016:
3015:
3014:
3005:John Dunstaple
3002:
2996:
2994:
2986:
2985:
2982:
2981:
2979:
2978:
2973:
2968:
2966:Johannes Susay
2963:
2958:
2953:
2948:
2946:Gacian Reyneau
2943:
2938:
2933:
2928:
2926:Martinus Fabri
2923:
2918:
2913:
2908:
2903:
2898:
2890:
2885:
2879:
2877:
2861:
2860:
2857:
2856:
2853:
2852:
2850:
2849:
2844:
2839:
2834:
2829:
2824:
2819:
2814:
2808:
2803:
2797:
2795:
2794:3rd generation
2787:
2786:
2784:
2783:
2778:
2772:
2767:
2762:
2757:
2751:
2749:
2748:2nd generation
2741:
2740:
2738:
2737:
2732:
2727:
2722:
2716:
2714:
2713:1st generation
2706:
2705:
2703:
2702:
2696:
2694:
2687:
2673:
2672:
2669:
2668:
2666:
2658:
2656:Jehan Vaillant
2653:
2648:
2643:
2638:
2633:
2628:
2626:Denis Le Grant
2623:
2618:
2616:
2601:
2595:
2594:
2592:
2591:
2590:
2589:
2579:
2574:
2569:
2563:
2560:
2559:
2557:
2556:
2555:
2554:
2544:
2539:
2534:
2532:Moniot d'Arras
2529:
2524:
2519:
2514:
2512:Guiot de Dijon
2509:
2504:
2499:
2494:
2489:
2484:
2479:
2474:
2469:
2464:
2459:
2454:
2449:
2444:
2439:
2433:
2431:
2421:
2420:
2418:
2417:
2416:
2415:
2405:
2400:
2395:
2390:
2385:
2380:
2375:
2370:
2368:Peire Cardenal
2365:
2360:
2355:
2350:
2345:
2340:
2338:Gaucelm Faidit
2335:
2330:
2324:
2319:
2314:
2309:
2304:
2299:
2294:
2288:
2286:
2270:
2269:
2266:
2265:
2263:
2262:
2254:
2253:
2252:
2247:
2242:
2237:
2226:
2224:
2209:
2203:
2202:
2200:
2199:
2193:
2187:
2182:
2177:
2172:
2167:
2162:
2154:
2153:
2152:
2142:
2137:
2132:
2124:
2116:
2111:
2110:
2109:
2104:
2093:
2091:
2085:
2084:
2082:
2081:
2076:
2071:
2065:
2062:
2061:
2058:Medieval music
2054:
2053:
2046:
2039:
2031:
2024:
2023:
2017:
2002:
1996:
1981:
1974:
1969:Holland, Tom.
1967:
1961:
1946:
1940:
1925:
1919:
1902:
1877:
1851:
1849:
1846:
1844:
1843:
1825:
1814:
1805:
1799:
1786:
1768:(3): 605–638.
1757:
1728:
1722:
1705:
1685:
1652:
1623:
1594:
1557:
1519:
1517:
1514:
1513:
1512:
1489:
1464:
1461:
1460:
1459:
1447:
1435:
1423:
1411:
1399:
1387:
1375:
1363:
1351:
1348:
1346:
1345:
1319:
1299:
1290:
1281:
1227:
1210:
1200:
1187:
1174:
1162:
1146:
1100:
1087:
1067:
1054:
1039:Chisholm, Hugh
1017:
1005:
992:
979:
966:
951:
938:
926:
909:
907:
904:
888:
885:
843:
842:
840:
836:
835:
802:
740:
739:
737:
733:
732:
703:
590:
589:
587:
583:
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343:
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271:
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242:
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184:
181:
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176:
119:
116:
73:medieval music
26:
9:
6:
4:
3:
2:
3576:
3565:
3562:
3560:
3557:
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3552:
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3286:
3284:
3281:
3279:
3276:
3272:
3269:
3267:
3264:
3263:
3262:
3261:British Isles
3259:
3258:
3256:
3252:
3246:
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3239:
3236:
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3226:
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3147:
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3143:
3141:
3138:
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3133:
3131:
3128:
3127:
3125:
3123:Musical forms
3121:
3115:
3112:
3110:
3107:
3105:
3102:
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3097:
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3039:W. de Wycombe
3037:
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2906:Baude Cordier
2904:
2902:
2899:
2895:
2891:
2889:
2886:
2884:
2881:
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2878:
2876:
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2874:Ars subtilior
2870:
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2730:Maestro Piero
2728:
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2718:
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2711:
2701:
2698:
2697:
2695:
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2678:
2663:
2659:
2657:
2654:
2652:
2651:P. des Molins
2649:
2647:
2644:
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2639:
2637:
2634:
2632:
2629:
2627:
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2325:
2323:
2320:
2318:
2315:
2313:
2310:
2308:
2305:
2303:
2300:
2298:
2297:Arnaut Daniel
2295:
2293:
2290:
2289:
2287:
2284:
2279:
2275:
2259:
2255:
2251:
2248:
2246:
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2241:
2238:
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2222:
2217:
2213:
2210:
2208:
2204:
2197:
2194:
2191:
2188:
2186:
2183:
2181:
2178:
2176:
2175:Peter Abelard
2173:
2171:
2168:
2166:
2163:
2159:
2158:Odo of Arezzo
2155:
2151:
2148:
2147:
2146:
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2129:
2125:
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2117:
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2100:
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2086:
2080:
2077:
2075:
2072:
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2067:
2066:
2063:
2059:
2052:
2047:
2045:
2040:
2038:
2033:
2032:
2029:
2020:
2018:9783515078528
2014:
2010:
2009:
2003:
1999:
1997:9781580441339
1993:
1989:
1988:
1982:
1979:
1975:
1972:
1968:
1964:
1958:
1954:
1953:
1947:
1943:
1941:9789004313682
1937:
1933:
1932:
1926:
1922:
1920:9789047411369
1916:
1912:
1908:
1903:
1899:
1895:
1891:
1887:
1883:
1878:
1874:
1870:
1866:
1862:
1858:
1853:
1852:
1840:
1836:
1835:
1830:
1826:
1823:
1819:
1815:
1811:
1806:
1802:
1796:
1792:
1787:
1783:
1779:
1775:
1771:
1767:
1763:
1758:
1754:
1750:
1746:
1742:
1738:
1734:
1729:
1725:
1719:
1715:
1712:. Cambridge:
1711:
1706:
1702:
1688:
1682:
1678:
1674:
1670:
1666:
1665:
1659:
1653:
1649:
1645:
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1637:
1633:
1629:
1624:
1620:
1616:
1612:
1608:
1604:
1600:
1595:
1591:
1587:
1583:
1579:
1575:
1571:
1568:(2): 97–118.
1567:
1563:
1558:
1554:
1550:
1546:
1542:
1538:
1534:
1530:
1526:
1521:
1520:
1509:
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1408:
1404:
1400:
1396:
1392:
1388:
1384:
1380:
1376:
1372:
1368:
1364:
1362:
1359:, 1023-1025,
1358:
1354:
1353:
1334:
1330:
1323:
1316:
1312:
1308:
1303:
1294:
1285:
1278:
1274:
1270:
1266:
1262:
1258:
1254:
1250:
1246:
1242:
1238:
1231:
1224:
1220:
1214:
1204:
1197:
1191:
1184:
1183:2006, 330-335
1181:James Grier (
1178:
1171:
1166:
1160:, ff. 28v-32v
1159:
1155:
1150:
1143:
1139:
1135:
1131:
1127:
1123:
1118:
1114:
1110:
1104:
1097:
1091:
1084:
1080:
1076:
1071:
1064:
1058:
1050:
1049:
1044:
1040:
1035:
1034:public domain
1021:
1014:
1013:Chisholm 1911
1009:
1002:
996:
989:
983:
976:
970:
963:
961:
955:
948:
942:
936:, p. 77.
935:
930:
923:
919:
914:
910:
903:
901:
897:
893:
884:
882:
878:
872:
870:
866:
862:
858:
854:
850:
841:
838:
837:
833:
830:
824:
818:
812:
808:
803:
800:
797:
791:
785:
779:
775:
770:
769:
763:
759:
755:
750:
746:
738:
735:
734:
730:
725:
719:
713:
709:
704:
701:
696:
690:
684:
680:
675:
674:
671:
665:
661:
656:
652:
648:
646:
642:
638:
634:
630:
626:
622:
616:
614:
609:
605:
600:
596:
588:
585:
584:
580:
570:
567:
557:
556:
553:
546:
543:
539:
538:
534:
516:
513:
495:
494:
491:
483:
481:
476:
467:
460:
456:
452:
449:
445:
441:
437:
434:
430:
426:
421:
418:
417:
416:, f. 71-71')
415:
411:
407:
404:
400:
396:
393:
389:
385:
382:
378:
374:
370:
369:
368:
364:
357:
353:
348:
339:
337:
331:
328:
324:
320:
315:
313:
309:
305:
301:
297:
293:
289:
285:
284:Christianized
281:
277:
276:Saint Martial
267:
264:
260:
254:
252:
248:
238:
236:
235:
230:
229:
224:
220:
216:
215:
210:
206:
202:
194:
189:
175:
173:
169:
165:
161:
157:
153:
152:
148:
144:
139:
137:
133:
129:
125:
115:
113:
109:
105:
101:
97:
96:Saint Martial
93:
89:
84:
82:
78:
74:
70:
66:
62:
58:
54:
50:
46:
39:
34:
30:
19:
3404:
3370:Architecture
3242:
3194:Geisslerlied
3172:Formes fixes
3094:Notker Labeo
3059:Anonymous IV
3034:Leonel Power
3019:Thomas Fabri
3009:
2872:
2693:Predecessors
2611:
2517:Jehan Bretel
2353:Jaufre Rudel
2219:
2149:
2128:Odo of Cluny
2007:
1986:
1977:
1970:
1951:
1930:
1910:
1889:
1885:
1867:(1): 153–9.
1864:
1860:
1832:
1821:
1817:
1809:
1790:
1765:
1761:
1739:(1): 43–54.
1736:
1732:
1709:
1690:. Retrieved
1662:
1631:
1627:
1602:
1598:
1565:
1561:
1528:
1524:
1493:
1470:
1454:
1442:
1430:
1418:
1406:
1394:
1382:
1370:
1336:. Retrieved
1332:
1322:
1302:
1293:
1284:
1279:(10 tropes).
1247:(3 tropes);
1230:
1213:
1203:
1190:
1177:
1165:
1149:
1103:
1090:
1070:
1057:
1046:
1020:
1008:
995:
982:
969:
959:
954:
941:
929:
913:
890:
873:
846:
828:
822:
816:
810:
806:
805:
795:
789:
783:
777:
773:
772:
743:
723:
717:
711:
707:
706:
700:in aeternum
694:
688:
682:
678:
677:
669:
649:
617:
601:
597:
593:
572:
559:
551:
541:
518:
497:
489:
477:
473:
464:
394:, f. 70'-71)
365:
361:
336:Louis Saltet
332:
326:
316:
295:
273:
259:local school
255:
244:
232:
226:
219:Continuation
218:
212:
204:
200:
198:
160:Saint-Cybard
149:
147:Haute-Vienne
140:
121:
87:
85:
80:
76:
48:
44:
43:
29:
3514:1034 deaths
3509:980s births
3493:Middle Ages
3360:Middle Ages
3355:Early music
3317:Derivations
3150:Chansonnier
2522:Jehan Erart
2467:Colin Muset
2373:Peire Vidal
2221:Ars antiqua
1837:. Chicago:
1692:1 September
1634:: 125–168.
1605:(1): 1–14.
1126:James Grier
934:Landes 1995
892:James Grier
647:, f. 42).
151:département
3503:Categories
3385:Philosophy
3380:Literature
3348:Background
3254:Traditions
2621:F. Andrieu
2477:Gace Brulé
2317:Castelloza
2283:Trobairitz
2278:Troubadour
2170:St. Godric
1971:Millennium
1667:. Oxford:
1531:: 53–119.
1338:27 October
1170:Grier 2001
1122:Grier 2006
1115:and later
960:Britannica
906:References
745:antiphon:
193:St. Cybard
172:pilgrimage
3469:Biography
3298:Lithuania
3162:Conductus
3052:Theorists
3024:Roy Henry
2951:Rodericus
2842:Sant Omer
2577:Minnesang
1782:1547-3848
1753:162870563
1703:required)
1648:194078301
1619:162554319
1590:162538876
1582:0961-1371
1553:193229234
1502:cite book
1479:cite book
1357:MS VLO 15
1134:2013, 609
988:2006, 1-2
861:2006, 309
435:, f. 71')
405:, f. 71).
358:, f. 70')
209:Pharamond
168:Jerusalem
164:Angoulême
143:Chabannes
3549:Tonaries
3419:Category
3324:Bardcore
3303:Portugal
3271:Scotland
3244:Planctus
3228:Madrigal
3167:Estampie
3130:Antiphon
2685:Trecento
2613:Ars nova
2572:Goliards
2429:Trouvère
2403:Sordello
2383:Perdigon
2358:Marcabru
1463:Editions
1130:2006, 22
729:forever
666:, f. 29)
292:apostles
263:tonaries
225:and the
223:Fredegar
132:Louis XV
100:apostles
3544:Forgers
3443:Portals
3288:Germany
3266:England
3238:Organum
3216:Tydorel
3187:Virelai
3182:Rondeau
3177:Ballade
3145:Chanson
2921:Egidius
2916:Egardus
2636:Grimace
2567:Casella
2245:Pérotin
2120:Hucbald
2107:Tuotilo
1516:Studies
1350:Sources
1217:Grier (
1094:Grier (
1061:Grier (
1036::
1001:2006, 2
999:Grier (
986:Grier (
975:2006, 1
973:Grier (
947:2006, 3
945:Grier (
898:at the
319:liturgy
288:Limoges
3429:Portal
3375:Poetry
3283:France
3278:Cyprus
2993:Others
2976:Trebor
2961:Solage
2883:Borlet
2378:Peirol
2281:&
2240:Léonin
2015:
1994:
1959:
1938:
1917:
1797:
1780:
1751:
1720:
1683:
1646:
1617:
1588:
1580:
1551:
1545:853930
1543:
1030:
887:Legacy
450:-199')
304:bishop
280:bishop
251:cantor
217:, the
104:bishop
57:scribe
38:tonary
3481:Music
3308:Spain
3293:Italy
3233:Motet
3157:Chant
3140:Carol
3135:Canso
1749:S2CID
1644:S2CID
1615:S2CID
1586:S2CID
1549:S2CID
1541:JSTOR
1317:-46'.
1313:, f.
1309:lat.
1271:, f.
1267:lat.
1255:, f.
1251:lat.
1243:, f.
1239:lat.
1156:lat.
1140:lat.
1111:lat.
1077:lat.
920:lat.
879:lat.
867:lat.
855:, f.
851:lat.
764:-42')
760:, f.
756:lat.
662:lat.
643:lat.
635:lat.
606:lat.
457:lat.
446:, f.
442:lat.
431:lat.
412:lat.
401:lat.
390:lat.
379:, f.
375:lat.
354:lat.
308:abbot
178:Works
108:abbot
2013:ISBN
1992:ISBN
1957:ISBN
1936:ISBN
1915:ISBN
1795:ISBN
1778:ISSN
1718:ISBN
1694:2020
1681:ISBN
1578:ISSN
1508:link
1485:link
1340:2014
1311:1120
1307:F-Pn
1265:F-Pn
1253:1120
1249:F-Pn
1241:1240
1237:F-Pn
1223:2006
1219:2003
1158:1121
1154:F-Pn
1138:F-Pn
1113:1121
1109:F-Pn
1096:2005
1083:1120
1081:and
1079:1118
1075:F-Pn
1063:2006
962:2020
918:F-Pn
881:1132
877:F-Pn
869:1119
865:F-Pn
853:1121
849:F-Pn
754:F-Pn
664:1121
660:F-Pn
641:F-Pn
637:1120
633:F-Pn
627:and
625:1121
621:1120
613:1120
608:1120
604:F-Pn
455:F-Pn
440:F-Pn
429:F-Pn
410:F-Pn
399:F-Pn
388:F-Pn
373:F-Pn
352:F-Pn
327:Vita
312:mass
306:and
296:Life
286:the
282:who
106:and
88:Vita
53:monk
3365:Art
3211:Lai
1894:doi
1890:102
1869:doi
1865:143
1770:doi
1741:doi
1673:doi
1636:doi
1607:doi
1570:doi
1533:doi
1269:909
1261:50'
1196:178
1142:909
1117:909
1045:".
922:909
758:909
645:909
629:909
459:909
448:198
444:909
433:909
414:909
403:909
392:909
381:70'
377:909
356:909
221:of
203:or
162:at
83:).
3505::
1909:.
1888:.
1884:.
1863:.
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