Journal of the Plainsong & Medieval Music Society (poi Plainsong & Medieval Music Society)

JOURNAL OF THE PLAINSONG & MEDIEVAL MUSIC SOCIETY (poi PLAINSONG & MEDIEVAL MUSIC SOCIETY)

PER. GB. 12

-ABROMOV-VAN RIJK (E.), Evidence for a revised dating of the anonymous fourteenth-century Italian treatise Capitulum de vocibus applicatis verbis, Vol. 16, part 1 (2007), pp. 19-30

-ALBAROSA (N.), The Pontificio Istituto di Musica Sacra in Rome and the semiological school of Dom Eugène Cardine, Vol. 6 (1983), pp. 26-33

-ANDERSON (M.A.), Enhancing the Ave Maria in the Ars Antiqua, Vol. 19, part 1 (2010), pp. 35-66

-ATCHISON (M.), Bien me sui aperceuz: monophonic chanson and motetus, Vol. 4, part 1 (1995), pp. 1-12

-BAILEY (T.), A lost Ambrosian antiphoner of Southern Italy, Vol. 17, part 1 (2008), pp. 1-22

  • Ambrosian chant in southern Italy, Vol. 6 (1983), pp. 1-7
  • Ambrosian processions to the baptisteries, Vol. 15, part 1 (2006), pp. 29-42
  • Introits and ingressae – Milan and Rome: the elaboration of chant melodies, the operation of musical memory, Vol. 19, part 2 (2010), pp. 89-122
  • Milanese melodic tropes, Vol. 11 (1988), pp. 1-12

-BAIN (J.), Tonal structure and the melodic role of chromatic inflections in the musico f Machaut, Vol. 14, part 1 (2005), pp. 59-88

-BENHAM (H.), ‘Stroke’ and ‘strene’ notation in fifteenth- and sixteenth-century equal-note cantus firmi, Vol. 2, part 2 (1993), pp. 153-168

-BENT (M.), A new canonic Gloria and the changing profile of Dunstaple, Vol. 5, part 1 (1996), pp. 45-68

-BERNHARD (M.), The Lexicon Music Latinum of the Bavarian Academy of Sciences, Vol. 13 (1990), pp. 79-82

  • The Seligenstadt tonary, Vol. 13, part 2 (2004), pp. 107-126

-BJORK (D.), Early settings of the Kyrie eleison and the problem of genre definition, Vol. 3 (1980), pp. 40-48

-BJÖRKVALL (G.) & STEINER (R.), Some prosulas for offertory antiphons, Vol. 5 (1982), pp. 13-35

-BLEZZARD (J.), RYLE (S.) & ALEXANDER (J.), New perspectives on the Feast of the Crown of Thorns, Vol. 10 (1987), pp. 23-53

-BOE (J.), Deus Israel and Roman introits, Vol. 14, part 2 (2005), pp. 125-168

  • The ‘lost’ palimpsest Kyries in the Vatican manuscript Urbinas Latinus 602, Vol. 8 (1985), pp. 1-24
  • The Roman Missa sponsalicia, Vol. 11, part 2 (2002), pp. 127-166

-BOYCE (J.J.), The Office of St. Mary of Salome, Vol. 11 (1987), pp. 25-47

-BRAND (B.), The vigils of medieval Tuscany, Vol. 17, part 2 (2008), pp. 23-54

-BROCKETT (C.W.), Osanna! New light on the Palm Sunday processional antiphon series, Vol. 9, part 2 (2000), pp. 95-130

-BROTHERS (T.), Contenance angloise and accidental in some motets by Du Fay, Vol. 6, part 1 (1997), pp. 21-52

-BROWN (T.), Another Mirror of Lovers? Order, structure and allusion in Machaut’s motets, Vol. 10, part 2 (2001), pp. 121-134

-BROWN (J.), PATTERSON (S.) & HILEY (D), Further observations on W1:

  • David Hiley: Introduction, Vol. 4 (1981), pp. 53-54
  • Julian Brown: Notes on the handwritings and the marginal drawings, Vol. 4 (1981), pp. 55-58
  • Sonia Patterson: The flourished initials, Vol. 4 (1981), pp. 59-66
  • David Hiley: The ordinary of mass chants and the sequences, Vol. 4 (1981), pp. 67-80

-BUCKLE (A.), An English composer in royal and aristocratic service: Robert Chirbury, c. 1380-1454, Vol. 15, part 2 (2006), pp. 109-122

-BUTTERFIELD (A.), The language of medieval music: two thirteenth-century motets, Vol. 2, part 1, (1993), pp. 1-16

-CALDWELL (J.), St Ethelbert, King and Martyr: his cult and office in the West of England, Vol. 10, part 1 (2001), pp. 39-46

  • Susana Zapke, ed., Hispania Vetus: Musical-Liturgical Manuscripts from Visigothic Origins to the Franco-Roman Transition (9th – 12th Centuries), Vol. 18, part 2 (2009), pp. 201-207

-CLAIRE (J.), TRANS. KELLY (T.F.), Modality in western chant: an overview, Vol. 17, part 2 (2008), pp. 101-128

-CLARK (A.V.), New tenor sources for fourteenth-century motets, Vol. 8, part 2 (1999), pp. 107-132

-CLARK (S.), ‘S’en dirai chançonete’ : hearing text and music in a medieval motet, Vol. 16, part 1 (2007), pp. 31-60

-COLETTE (M.N.), The melodic nucleus derived from anaphoral chant: ‘signature tune’ of Kyrie eleison melodies, Vol. 17, part 2 (2008), pp. 129-146

-CONNOLLY (T.H.), Traces of a Jewish-Christian community at S.Cecilia in Trastevere, Vol. 7, part 1 (1998), pp. 1-20

-CROCKER (R.), Gregorian studies in the twenty-first century, Vol. 4, part 1 (1995), pp. 33-86

  • Two recent editions of Aquitanian polyphony, Vol. 3, part 1 (1994), pp. 57-102

-CURTIS (L.), Simon Mellet, scribe of Cambrai Cathedral, Vol. 8, part 2 (1999), pp. 133-166

-DAVIS (L.F.), Tonary-letters in twelfth-century Lambach, Vol. 5, part 2 (1996), pp. 131-152

-DEEMING (H.), The song and the page: experiments with form and layout in manuscripts of medieval Latin song, Vol. 15, part 1 (2006), pp. 1-28

-DESMOND (K.), New light on Jacobus, author of Speculum musicae, Vol. 9, part 1 (2000), pp. 19-40

-DI BACCO (G.), Jan Herlinger, ed., Prosdocimo de’ Beldomandi’s Plana musica and Musica speculativa, Vol. 18, part 2 (2009), pp. 212-216

-DICKEY (T.J.), ‘Jerusalem, Convertere’: The De Quadris Lamentations of Jeremiah, early modern Tuscany, and a new manuscript source, Vol. 15, part 2 (2006), pp. 123-142

-DILLON (E.), Bruce W. Holsinger, Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer, Vol. 11, part 2 (2002), pp. 203-211

-DOBSZAY (L.), Plainchant in medieval Hungary, Vol. 13 (1990), pp. 49-78

-DUBOWCHIK (R.T.), A Jerusalem chant for the Holy Cross in the Byzantine, Latin and Eastern rites, Vol. 5, part 2 (1996), pp. 113-130

-DYER (J.), Charles M. Atkinson, The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music, Vol. 19, part 2 (2010), pp. 201-207

  • Leandra Scappaticci, Codice e liturgia a Bobbio. Testi, musica e scrittura, Vol. 18, part 1 (2009), pp. 85-89

-EDWARDS (O.T.), A fourteenth-century Welsh Sarum antiphonal: National Library of Wales ms. 20541, Vol. 10 (1987), pp. 15-22

-EDWARDS (W.), Phrasing in medieval song: perspectives from traditional music, Vol. 5, part 1 (1996), pp. 1-22

-EVERIST (M.), A new source for the polyphonic conductus: MS 117* in Sidney Sussex College, Cambridge, Vol. 3, part 2 (1994), pp. 149-168

-FALLOWS (D.), Josquin and Milan, Vol. 5, part 1 (1996), pp. 69-80

-FAST (S.), Bakhtin and the discourse of late medieval music theory, Vol. 5, part 2 (1996), pp. 175-192

-FERREIRA (M.PP.), Rondeau and virelai: the music of Andalus and the Cantigas de Santa Maria, Vol. 13, part 2 (2004), pp. 127-140

-FLOYD (M.), Processional chants in English monastic sources, Vol. 13 (1990), pp. 1-48

-FUGLER (PP.), The Lambeth and Caius Choirbooks, Vol. 6 (1983), pp. 15-25

-GAPOSCHKIN (M.C.), Philip the Fair, the Dominicans, and the liturgical Office for Louis IX: new perspectives on Ludovicus Decus Regnantium, Vol. 13, part 1 (2004), pp. 33-62

-GASTON (R.W.), Iconography and liturgy at St Mark’s, Vol. 2, part 2 (1993), pp. 181-190

-GOUDESENNE (J.F.), A typology of historiae in West Francia (8-10 c.), Vol. 13, part 1 (2004), pp. 1-32

-GRIER (J.), Editing Adémar de Chabannes’ liturgy for the Feast of St Martial, Vol. 6, part 2 (1997), pp. 97-118

  • The music is the message II: Adé,ar de Chabannes’ music for the apostolic Office of Saint Martial, Vol. 15, part 2 (2006), pp. 43-54

-GROSS (G.), Organum at Notre-Dame in the twelth and thirteenth centuries: rhetoric in words and music, Vol. 15, part 2 (2006), pp. 87-108

-HAINES (J.), Friedrich Ludwig’s ‘Musicology of the Future’: a commentary and translation, Vol. 12, part 2 (2003), pp. 129-164

  • The ‘modal theory’, fencing and the death of Pierre Aubry, Vol. 6, part 2 (1997), pp. 143-150

-HALMO (J.), A Sarum antiphoner and other medieval Office manuscripts from England and France, Vol. 11, part 2 (2002), pp. 113-126

-HANKELN (R.), ‘Properization’ and formal changes in high medieval saints’ offices: the offices for Saints Henry and Kunigunde of Bamberg, Vol. 10, part 1 (2001), pp. 3-22

-HANNICK (C.), Reference materials on Byzantine and Old Slavic music and hymnography, Vol. 13 (1990), pp. 83-89

-HARRIS (S.), The Byzantine prokeimena, Vol. 3, part 2 (1994), pp. 133-148

-HELSEN (K.), Dirk van Betteray, Quomodo cantabimus canticum Domini in terra aliena. Liqueszenzen als Schlüssel zur Textinterpretation: eine semiologiche Untersuchung an Sankt Galler  Quellen, Vol. 19, part 1 (2010), pp. 81-83

  • Roman Hankeln, ed., The Offertory and its Verses: Research, Past, Present and Future, Vol. 18, part 2 (2009), pp. 208-211
  • The use of melodic formulas in Responsories: constancy and variability in the manuscript tradition, Vol. 18, part 1 (2009), pp. 61-76

-HESBERT (R.J.), The Sarum antiphoner – its sources and influence, Vol. 3 (1980), pp. 49-55

-HILEY (D.), K.D. Hartzell, Catalogue of Manuscripts Written or Owned in England up to 1200 Containing Music, Vol. 19, part 2 (2010), pp. 208-212

  • Ordinary of mass chants in English, North French and Sicilian manuscripts, Vol. 9 (1986), part I
  • Ordinary of mass chants in English, North French and Sicilian manuscripts, Vol. 9 (1986), part II
  • The music of prose offices in honour of English saints, Vol. 10, part 1 (2001), pp. 23-38

-HOLDER (S.), The noted Cluniac breviary-missal of Lewes: Fitzwilliam Museum manuscript 69, Vol. 8 (1985), pp. 25-32

-HOLFORD-STREVENS (L.), Tinctoris on the great composers, Vol. 5, part 2 (1996), pp. 193-200

-HOLSINGER (B.W.), The vision of music in a Lollard florilegium: Cantus in the Middle English Rosarium theologie, Vol. 8, part 2 (1999), pp. 95-106

-HOONDERT (M.J.M.), The ‘restoration’ of plainchant in the Premonstratensian Order, Vol. 18, part 2 (2009), pp. 163-200

-HORNBY (E.), Stanislav Tuksar, ed. Srednjovjekovne glabzene culture Jadrana – Medieval Music Cultures of the Adriatic, Vol. 11, part 2 (2002),pp. 212-213

  • The transmission history of the Proper chant for St Gregory: the eighth-mode tract Beatus vir, Vol. 12, part 2 (2003), pp. 97-128

-HOWLETT (D.), Busnois’ motet In hydraulis: an exercise in textual reconstruction and analysis, Vol. 4, part 2 (1995), pp. 185-192

-HUGHES (A.), Late medieval rhymed offices, Vol. 8 (1985), pp. 33-49

-HUGHES (D.G.), The alleluia Dies sanctificatus and alleluia Vidimus stellam as examples of late chant transmission, Vol. 7, part 2 (1998), pp. 101-128

  • The paschal alleluia in medieval France, Vol. 14, part 1 (2004), pp. 11-58

-HUGLO (M.), On the origins of the troper-poser, Vol. 2 (1979), pp. 11-18

-JEFFERY (PP.), Liturgical chant bibliography 2, Vol. 2, part 2 (1993), pp. 169-180

  • Liturgical chant bibliography 3, Vol. 3, part 2 (1994), pp. 195-206
  • Liturgical chant bibliography 4, Vol. 4, part 2 (1995), pp. 193-202
  • Liturgical chant bibliography 5, Vol. 5, part 2 (1996), pp. 201-210

-JEFFRIES (H.M.), Job descriptions, nepotism, and part-time work: the minstrels and trumpeters of the court of Edward IV of England (1461-83), Vol. 12, part 2 (2003), pp. 165-178

-JENSEN (B.M.), Hodie puer natus est nobis: The celebration of Christmas at Piacenza in 1142, Vol. 8, part 1 (1999), pp. 15-38

-JOSSELYN – CRANSON (H.), Moderate psallendo: Musical participation in worship among Gilbertine nuns, Vol. 16, part 2 (2007), pp. 173-186

-JOUBERT (E.), New music in the Office of Thomas Becket from the Diocese of Trier, Vol. 18, part 1 (2009), pp. 33-60

-KARP (T.), Chants for the post-Tridentine Mass Proper, Vol. 14, part 2 (2005), pp. 183-198

-KELLY (T.F.), New evidence of the old Beneventan chant, Vol. 9, part 2 (2000), pp. 81-94

-KIDWELL (S.A.), Elaboration through exhortation: troping motets for the Common of Martyrs, Vol. 5, part 2 (1996), pp. 153-174

-KNIGHTON (T.), A newly discovered keyboard source (Gonzalo de Baena’s Arte noua inuentada per aprender a tanger, Lisbon, 1540): a preliminary report, Vol. 5, part 1 (1996), pp. 81-112

  • New light on musical aspects of troubadour revival in Spain, Vol. 2, part 1 (1993), pp. 75-86

-KOVÁCS (A.), Amantius Akimjak, Rastislav Adamko and Janka Bednáriková, eds., Spišskỳ Graduál Juraja z Kežmarku z roku 1426: Graduale Scepusiense Georgii de Kesmark anni 1426, Vol. 19, part 2 (2010), pp. 218-222

-KOZACHEK (T.), Tonal neumes in Anglo-Saxon and Anglo-Norman pontificals, Vol. 6, part 2 (1997), pp. 119-142

-IRVING (J.), John Blitheman’s keyboard plainsongs: another ‘kind’ of composition?, Vol. 3, part 2 (1994), pp. 185-194

-LEACH (E.E.), Anne Walters Robertson, Guillaume de Machaut and Reims: Context and Meaning in His Musical Works, Vol. 13, part 1 (2004), pp. 95-101

  • Machaut’s balades with four voices, Vol. 10, part 1 (2001), pp. 47-80
  • Machaut’s peer, Thomas Paien, Vol. 18, part 2 (2009), pp. 91-112

-LEECH-WILKINSON  (D.), Aversa parverse?, Vol. 6, part 2 (1997), pp. 17-20

  • Le Voir Dit and La Messe de Nostre Dame: aspects of genre and style in the late works of Machaut, Vol. 2, part 1 (1993), pp. 43-74
  • Le Voir Dit: a reconstruction and guide for musicians, Vol. 2, part 2 (1993), pp. 103-140

-LEFFERTS (PP.M.), Gareth Curtis, ed. Fifteenth-Century Liturgical Music, IV: Early Masses and Mass-Pairs, Vol. 12, part 2 (2003), pp. 213-222

  • Signature-systems and tonal types in the fourteenth-century French chanson, Vol. 4, part 2 (1995), pp. 117-148

-LEWIS (A.), Anti-semitism in early fifteenth-century motet: Tu, nephanda, Vol. 3, part 1 (1994), pp. 45-56

-LLOYD-MORGAN (C.), Sally Harper, Music in Welsh Culture before 1650: A Study of the Principal Sources, Vol. 18, part 1 (2009), pp. 81-84

-MAIELLO (J.V.), On the manufacture and dating of the Pistoia choirbooks, Vol. 19, part 1 (2010), pp. 21-34

-MAKRIS (E.), The chromatic scales of the Deuteros modes in theory and practice, Vol. 14, part 1 (2005), pp. 1-10

-MALCOLM (J.), The Ampleforth fragments: a preliminary survey, Vol. 7, part 2 (1998), pp. 129-140

-MARCEL (A.) & ZIJLSTRA (J.), The Office of St Adalbert: Carte de visite of a late medieval Dutch abbey, Vol. 3, part 2 (1994), pp. 169-184

-McALPINE (F.), Authenticity and ‘auteur’: the songs of Hugues de Berzé, Vol. 4, part  1 (1995), pp. 13-32

-MEMELSDORFF (PP.), New music in the Codex Faenza 117, Vol. 13, part 2 (2004), pp. 141-162

-MERKLEY (PP.), Tonaries and melodic families of antiphons, Vol. 11 (1988), pp. 13-24

-MEWS (C.J.), Heloise and liturgical experience at the Paraclete, Vol. 11, part 1 (2002), pp. 25-36

-MITCHELL (R.J.), A forgotten Mass and its composer, Vol. 10, part 2 (2001), pp. 135-154

  • Reconstructing a fragmentary Gloria, Vol. 4, part 2 (1995), pp. 149-184
  • The Advenisti/Lauda Syon composer and his likely contributions to the later Trent Codices, Vol. 13, part 1, pp. 63-86

-MOLLER (H.), Research on the antiphoner – problems and perspectives, Vol. 10 (1987), pp. 1-14

-MOODY (I.), Recordings of non-Western chant and polyphony, Vol. 6, part.2 (1997), pp. 89-95

-MORAN (N.), A second medial mode Palestinian chant in Old Roman, Beneventan and Frankish sources, Vol. 19, part 1 (2010), pp. 1-20

  • Byzantine castrati, Vol. 11, part 2 (2002), pp. 99-112

-MYERS (G.), The medieval Russian Kondakar and the choirbook from Kastoria: a paleographical study in Byzantine and Slavic musical relations, Vol. 7, part 1 (1998), pp. 21-46

-NARDINI (L.), Aliens in disguise: Byzantine and Gallican chants in the Latin liturgy, Vol. 16, part 2 (2007), pp. 145-172

-NELSON (K.E.), A fragment of medieval polyphony in the Archivo Histórico Provincial of Zamora, Vol. 2, part 2 (1993), pp. 141-152

-NOWACKI (E.), Chant research at the turn of the century and the analytical programme of Helmut Hucke, Vol. 7, part 1 (1998), pp. 47-72

-PAGE (C.), Johannes de Grocheio on secular music: a corrected text and a new translation, Vol. 2, part 1 (1993), pp. 17-42

  • Marian texts and themes in an English manuscript: a miscellany in two parts, Vol. 5, part 1 (1996), pp. 23-44

-PAUCKER (G.M.), Liturgical chant bibliography 6, Vol. 6, part 2 (1997), pp. 151-174

  • Liturgical chant bibliography 7, Vol. 7, part 2 (1998), pp. 141-159
  • Liturgical chant bibliography 8, Vol. 8, part 1 (1999), pp. 55-80
  • Liturgical chant bibliography 9, Vol. 9, part 2 (2000), pp. 131-202
  • Liturgical chant bibliography 10, Vol. 10, part 2 (2001), pp. 185-200
  • Liturgical chant bibliography 11, Vol. 11, part 2 (2002), pp. 167-202
  • Liturgical chant bibliography 12, Vol. 12, part 2 (2003), pp. 179-212
  • Liturgical chant bibliography 13, Vol. 13, part 2 (2004), pp. 171-202
  • Liturgical chant bibliography 14, Vol. 14, part 2 (2005), pp. 199-224
  • Liturgical chant bibliography 15, Vol. 15, part 2 (2006), pp. 143-172
  • Liturgical chant bibliography 16, Vol. 16, part 2 (2007), pp. 187-216
  • Liturgical chant bibliography 17, Vol. 17, part 2 (2008), pp. 153-180
  • Liturgical chant bibliography 18, Vol. 18, part 2 (2009), pp. 163-200
  • Liturgical chant bibliography 19, Vol. 19, part 2 (2010), pp. 169-200

-PAYNE (T.B.), Guillaume Gross, Chanter en polyphonie à Notre-Dame de Paris aux 12e et 13e siècles, Vol. 19, part 2 (2010), pp. 213-217

-PEATTIE (M.G.), Transcribing the Beneventan chant, Vol. 19, part 2 (2010), pp. 139-168

-PERAINO (J.A.), Et pui conmencha a canter: refrains, motets and melody in the thirteenth-century narrative Renart le nouvel, Vol. 6, part 1 (1997), pp. 1-16

-PHILLIPS (N.) & HUGLO (M.), The versus Rex caeli – another look at the so-called archaic sequence, Vol. 5 (1982), pp. 36-43

-PFISTERER (A.), Italian and Gallican alleluia psalmody, Vol. 17, part 1 (2008), pp. 55-68

  • Remarks on Roman and non-Roman offertories, Vol. 14, part 2 (2005), pp. 169-182

-PLANCHART (A.E.), Connecting the dots: Guillaume Du Fay and Savoy during the schism, Vol. 18, part 1 (2009), pp. 11-32

-RANKIN (S.K.), A new English source of the Visitatio Sepulchri, Vol. 4 (1981), pp. 1-11

-RASTALL (R.), The minstrels and trumpeters of Edward IV: some further thoughts, Vol. 13, part 2 (2004), pp. 163-170

-ROSENFELD (R.A.), Technologies for musical drafts, twelfth century and later, Vol. 11, part 1 (2002), pp. 45-64

-ROTTER-BROMAN (S.), The manifestation of musical time in Italian ballatas around 1400: the case of Andrea da Firenze’s Non più doglie ebbe Dio, Vol. 19, part 2 (2010), pp. 123-138

-RUYS (J.F.), Planctus magis quam cantici: The generic significance of Abelard’s planctus, Vol. 11, part 1 (2002), pp. 37-44

-SALISBURY (M.C.), A ‘trivial’ variant: filled thirds in the Office for St Thomas Becket, Vol. 16, part 1 (2007), pp. 1-18

-SCHLAGER (K.), The microfilm archive of medieval music manuscripts at the Institut für Musikwissenschaft of Erlangen-Nürnberg University, Vol. 2 (1979), pp. 61-64

  • Trinitas, unitas, deitas – a trope for the Sacntus of mass, Vol. 6 (1983), pp. 8-14

-SEVESTRE (N.), The Aquitanian tropes of the Easter introit – a musical analysis, Vol. 3 (1980), pp. 26-39

-SLOCUM (K.B.), Prosas for Saint Thomas Becket, Vol. 8, part 2 (1999), pp. 39-54

-STEVENS (J.), Alphabetical check-list of Anglo-Norman songs c. 1150 – c.1350, Vol. 3, part 1 (1994), pp. 1-22

-STUART (N.), Melodic ‘corrections’ in an eleventh-century gradual (Paris, B.N., lat. 903), Vol. 2 (1979), pp. 2-10

-SWITTEN (M.), Versus and troubadours around 1100: A comparative study of refrain technique in the ‘New Song’, Vol. 16, part 2 (2007), pp. 91-144

-UDOVICH (J.), The Magnificat antiphons for the Ferial Office, Vol. 3 (1980), pp. 1-25

-UNDERWOOD (PP.), Melodic traditions in medieval English antiphoners, Vol. 5 (1982), pp. 1-12

-van DEUSEN (N.), Style, nationality and the sequence in the Middle Ages, Vol. 5 (1982), pp. 44-55

  • The medieval Latin sequence: a complete catalogue of the sources and edition of the texts and melodies, Vol. 5 (1982), pp. 56-60

-WEBER (J.F.), Recordings: recent releases of plainchant, Vol. 6, part 2 (1997), pp. 185-195

  • Discography of Dom Jean Claire directing the monks of Solesmes, Vol. 17, part 2 (2008), pp. 147-152

-WHITCOMB (PP.), Teachers, booksellers and taxes: reinvestigating the life and activities of Johannes de Garlandia, Vol. 8, part 1 (1999), pp. 1-14

-WESTERHAUS (A.), A lexicon of contratenor behaviour: case studies of equal-cantus Italian motets from the MS Bologna Q. 15, Vol. 18, part 2 (2009), pp. 113-140

-WIBBERLEY (R.), Ave virgo mater dei: towards a reconstruction, Vol. 9, part 1 (2000), pp. 41-50

-WILLIAMS (PP.), The meaning of organum: some case studies, Vol. 10, part 2 (2001), pp. 103-120

-WRIGHT (PP.), A new attribution to Brassart?, Vol. 3, part 1 (1994), pp. 23-44

-WULSTAN (D.),Fiona McAlpine, Tonal Consciousness and the Medieval West, Vol. 19, part 1 (2010), pp. 84-87

  • Novi modulaminis melos: the music of Heloise and Abelard, Vol. 11, part 1 (2002), pp. 1-24
  • ‘Sumer is icumen in’ – a perpetual puzzle-canon?, Vol. 9, part 1 (2000), pp. 1-18
  • Vocal colour in English sixteenth-century polyphony, Vol. 2 (1979), pp. 19-60

-YEARLEY (J.), A bibliography of planctus (in Latin, Provençal, French, German, English, Italian, Catalan and Galician-Portuguese from the time of Bede to the early fifteenth century, Vol. 4 (1981), pp. 12-52

-ZON (B.), Plainchant in nineteenth-century England: a review of some major publications of the period, Vol. 6, part 1 (1997), pp. 53-74

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