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Gallican Chant 72
(i) Historical Importance 72
(ii) Sources 74
(iii) Chants of the Mass 75
(iv) Chants of the Office 80
(v) Suppression of the Liturgy 81
Mozarabic Chant 81
(i) The Visigothic Period 81
(ii) Sources 83
(iii) Notation 84
(iv) Musical Forms of the Liturgy 84
(v) Character of the Original Music 89
(vi) Abolition of the Liturgy 90
IV. GREGORIAN CHANT. By HIGINI ANGLÈS 92
Musical Value and Principal Features 92
Formation of Roman Liturgical Chant 94
Perfection of Gregorian Chant 96
Diffusion and Decay 99
Modern Restoration 102
Sources and Notation 105
Melodic Types and Tonality 109
Musical Forms 112
V. TROPE, SEQUENCE, AND CONDUCTUS. By JACQUES HANDSCHIN
, Professor of Musicology, University of Basle 		128
Terminology 128
Origins 130
Prototypes in Ambrosian Chant 131
Prototypes at Nonantola 136
Gallican Prototypes 138
Roman Prototypes 139
General Historical Situation (c. 800) 140
Adaptation of Texts 146
Historical Position of the Trope and Sequence 148
Early Sources 152
An Example of the Sequence 154
Music and Text 158
Changes of Style 160
Tropes of the First Period 165
Tropes of the Second Period 171
The Conductus 171
VI. LITURGICAL DRAMA. By W. L. SMOLDON 175
General History 175

-x-

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Publication Information: Book Title: Early Medieval Music, up to 1300. Contributors: Dom Anselm Hughes - editor. Publisher: Geoffrey Cumberlege; Oxford University Press. Place of Publication: London. Publication Year: 1954. Page Number: x.
    
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