Tonary - Wikipedia

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Tonary
From Wikipedia, the free encyclopedia

A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of
Gregorian chant according to the Gregorian mode (tonus) of their melodies within the eight-mode system.
Tonaries often include Office antiphons, the mode of which determines the recitation formula for the
accompanying text (the psalm tone if the antiphon is sung with a psalm, or canticle tone if the antiphon is
sung with a canticle), but a tonary may also or instead list responsories or Mass chants not associated with
formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an
appendix to other liturgical books such as antiphonaries, graduals, tropers, and prosers, and are often
included in collections of musical treatises.

Contents
1 Function and form
1.1 The different forms of a tonary
1.2 The tonary's function in chant transmission
2 The Carolingian names or "Byzantine" intonations for the 8 tones
3 The later practice of the intonation verses
4 Cross-references between tonaries during the reforms between the 10th and the 13th century
4.1 The Cluniac reforms and the counter-reforms
4.1.1 William of Volpiano and the Norman line
4.1.2 The Aquitanian tonaries and the Winchester Troper
4.1.3 Tonaries of the reform orders
4.2 The tonaries in Italy
5 See also
5.1 Persons
5.2 Treatises
5.3 Abbeys and cathedrals
6 References
7 Bibliography
7.1 Sources
7.1.1 Carolingian tonaries and gradual-sacramentaries (8th9th century)
7.1.2 Lorrain cantors
7.1.3 Alemannic cantors
7.1.4 Aquitanian cantors
7.1.5 Parisian and Cluniac cantors
7.1.6 Cistercian cantors
7.1.7 Dominican cantors
7.1.8 Italian cantors
7.1.9 Anglosaxon cantors
7.1.10 Norman cantors
7.2 Editions of theoretical tonaries
7.3 Studies
8 External links

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Function and form

Tonaries were
particularly important as
part of the written
transmission of
plainchant, although they
already changed the oral
chant transmission of
Frankish cantors entirely
before musical notation
was used systematically
in fully notated chant
books.[1] Since the
Carolingian reform the
ordering according to the
Octoechos assisted the
memorization of chant.
The exact order was
related to the elements of
the "tetrachord of the
The earliest Tonary: the fragment of Saint-Riquier (Paris, Bibliothque Nationale de
finales" (DEFG)
France, fonds lat., Ms. 13159, fol. 167r)
which were called
"Protus, Deuterus,
Tritus", and "Tetrardus". Each of them served as the finalis of two tonithe "authentic" (ascending into the
higher octave) and the "plagal" one (descending into the lower fourth). The eight tones were ordered in these
pairs: "Autentus protus, Plagi Proti, Autentus Deuterus" etc. Since Hucbald of Saint-Amand the eight tones
were simply numbered according to this order: Tonus I-VIII. Aquitanian cantors usually used both names for
each section.
The earliest tonaries, written during the 8th century, were very short and simple without any visible
reference to psalmody. Tonaries of the 9th century already ordered a huge repertoire of psalmodic chant into
sections of psalmtone endings, even if their melody was not indicated or indicated by later added neumes.[2]
Most of the tonaries which have survived until now can be dated back to the 11th and 12th centuries, while
some were written during later centuries, especially in Germany.
The treatise form usually served as a bridge between the Octoechos theory and the daily practice of prayer:
memorizing and performing the liturgy as chant and reciting the psalms. This can be studied at a 10thcentury treatise called Commemoratio brevis de tonis et psalmis modulandis, which used the Dasia-signs of
the Musica enchiriadis treatise (9th century) in order to transcribe the melodic endings or terminations of
psalmody.[3] 11th-century theorists like Guido of Arezzo (Regulae rhythmicae) or Hermann of Reichenau
(Musica) refused the Dasia tone system, because it displayed tetraphonic tone system and not the systema
teleion (corresponding to the white keys of the keyboard) which had all the pitches needed for the "melos of
the echoi" (ex sonorum copulatione in "Musica enchiriadis", emmelis sonorum in the compilation "alia

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musica").[4] Nevertheless, the first example of the eighth chapter in Musica enchiriadis, called "Quomodo ex
quatuor Sonorum vi omnes toni producantur", already used the fifth of the Protus (D-a) for an illustration,
how alleluia melodies are developed by the use of the intonation formula for the "Autentus protus".[5]

The different forms of a tonary

Tonaries can differ substantially in length and shape:
As a treatise they usually describe the octave, fifth and fourth species of each tone, but also their
modal characteristics like microtonal shifts or the change to another melodic frame.
It can also be an abridged form or breviary, which just show the sacramentary (for mass chants) or
antiphonary (for the office chant of the Vigils and the Hours) according to the liturgical year. The
tonus of the antiphonal chant genres is indicated by later added rubrics as "ATe" for "Autentus
Tetrardus" (see the Gradual-Sacramentaries of Corbie and Saint-Denis) or the Roman Ordinals I-VIII
according to Hucbald's system, as we can find it in the early Troper-Sequentiary of St. Graud in
Aurillac (F-Pn lat. 1084) and the abridged Antiphonary of St. Martial (F-Pn lat. 1085).
The most common form was the shortest one which had no theoretical explanation. Since the late 9th
century each section started with an intonation formula and the psalmody of the mode, its pitches
represented by letters or later by diastematic neume notation. Subsections followed the different chant
genres quoted as examples for the represented tone. Antiphonal refrains in psalm recitation (antiphons
like introits and communiones), usually represented by its text incipit, were sorted according to
various terminations used in psalmody, the so-called "differentiae".[6]
A very rare form of tonary is a fully notated one, which shows every chant genre (not only the
antiphonal ones with psalmody as introit and communio of the proper mass) ordered according to its
tonus. A very famous example is the full tonary for mass chant by Abbot William of Volpiano, written
for his Abbey St. Benignus of Dijon (F-MOf H.159).

The tonary's function in chant transmission

During the Carolingian reform the tonary played a key role in the organization and the transfer of Roman
chant, which had to be sung by Frankish cantors according to Charlemagne's admonitio generalis after it was
decreed in 789. The historical background was the Second Council of Nicaea in 787 during which Pope
Adrian I accepted the Eastern Octoechos reform also for the Roman church. Fully notated neume
manuscripts like the gradual and the antiphonary were written much later during the last decades of the 10th
century, and the oral transmission of Gregorian chant is only testified by additions of neumes in
sacramentaries. In the tonary the whole repertory of "Gregorian chant" was ordered according to its modal
classification of the Octoechos.
Michel Huglo developed in his dissertation the hypothesis about an original tonary which preceded the Metz
tonary and the tonary of St. Riquier.[7] It was probably a coincidence, that Pope Adrian I supported the
Eastern Octoechos reform, but it is also evident that Carolingian diplomates present at the synode did not get
interest in the communication of the modes by intonations called enechemata for the first time.[8]
Nevertheless, it was the difference between Greek and Latin chant sources and especially the particular
function of the tonary in chant transmission, which led Peter Jeffery to the conclusion, that the huge
repertoire of Roman chant was classified according to the Octoechos a posteriori.[9] While early manuscripts
of Greek chant always used modal signatures (even before neume notation was used), the fully notated
graduals and antiphonaries of the first generation (10th century), written by Frankish cantors, report a lot of
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details about accentuation and ornamentation, but the melodic structure was remembered orally by tropes.
Sometimes a tonary was attached to these manuscripts, and the cantors could use it by looking for the incipit
of an antiphon in question (e.g. an introit ot communio), in order to find the right psalmody according to the
mode and the melodic ending of the antiphon, which was sung as a refrain during the recitation of the psalm.
A Greek psaltes would sing a completely different melody according to the echos indicated by the modal
signature, while Frankish cantors had to remember the melody of a certain Roman chant, before they
communicated their idea of its mode and its psalmody in a tonaryfor all the cantors who will follow them.
In this complex process of chant transmission, which followed Charlemagne's reform, the so-called
"Gregorian chant" or Franco-Roman chant, as it was written down about 150 years after the reform, was
born.
The tonary's function within chant transmission explains, why local schools of Latin chant can be studied by
their tonary. Hence, the tonary was still substantial for every chant reform between the 10th and the 12th
centuries, like the reform of the Cluniac Monastic Association (tonaries of Aquitania, Paris, and Fleury,[10]
but also in Northern Spain[11]), the reform of a monastic orders like the one around Bernard of Clairvaux for
the Cistercians (Tonale Sci Bernardi), a papal reform, like Abbot Desiderius realized at the Abbey
Montecassino (Tonary of Montecassino), or the reform of some monasteries of a certain region, as Abbot
William of Volpiano did for certain Abbeys in Burgundy and Normandy (William of Volpiano's TonerGradual and Antiphonary).

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

In Carolingian times each of the eight sections was opened by an intonation formula using the names like
"Nonannoeane" for the authentic and "Noeagis" or "Noeais" for the plagal tones. In the living traditions of
Orthodox chant, these formulas were called "enechemata" and they were used by a protopsaltes to
communicate the basis tone for the ison-singers (a kind of bordun) as well as the first note of the chant for
the other singers.[12]
In his theoretical tonary "Musica disciplina", Aurelian of Rme asked a Greek about the meaning of the
intonation syllables used in Latin tonaries:

Caeterum nomina, quae ipsis inscribuntur tonis, ut est in primo tono Nonaneane, et in
secundo Noeane, et caetera quaeque, moveri solet animus, quid in se contineant
significationis? Etenim quemdam interrogavi graecum, in latina quid interpretarentur lingua?
respondit, se nihil interpretari, sed esse apud eos laetantis adverbia: quantoque maior est
vocis concentus, eo plures inscribuntur syllabae: ut in authento proto, qui principium est, sex
inseruntur syllabae, videlicet hae Noeane Nonannoeane; in authentu deuteri: in authentu triti,
quoniam minoris sunt metri, quinque tantummodo eis inscribuntur syllabae, ut est Noioeane.
In plagis autem eorum consimilis est litteratura, scilicet Noeane, sive secundum quosdam
Noeacis. Memoratus denique adiunxit graecus, huiusmodi, inquiens, nostra in lingua videntur
habere consimilitudinem, qualem arantes sive angarias minantes exprimere solent, excepto
quod haec laetantis tantummodo sit vox, nihilque aliud exprimentis, estque tonorum in se
continens modulationem.[13]

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My mind was usually moved by some of the names, which were inscribed for the tones, as
"Nonan[no]eane" for the protus, and "Noeane" for the deuterus. Did they have any significance?
So I asked a Greek, how these could be translated into Latin. He answered that they did not
mean anything, but they were rather expressions of joy. And the greater the harmony of the
voice, the more syllables were inscribed to the tone: as in the "authentus protus" which was the
first, they used six syllables as "No[neno]eane" or "Nonannoeane"; for "authentus tritus", which
was smaller in measure [not so much worth], five syllables as "Noioeane" were inscribed. In
plagal tones the letters were similar to "Noeane", as "Noeacis" according to them. When I asked
him, if there might be something similar in our language, the Greek added, that I should rather
think of something expressed by charioteers or ploughing peasants, when their voice had
nothing else than this joy. The same contained the modulation of the tones [during their
intonation].
The practice of using abstract syllables for the intonation, as it was common for the use of enechemata
among Byzantine psaltes, was obviously not familiar to Aurelian of Rme.[14] It was probably imported by
a Byzantine legacy, when they introduced the Greek Octoechos by a series of procession antiphons used for
the feast of Epiphany.[15] Although the Latin names were not identical, there is some resemblance between
the intonation formula of the echos plagios tetartos and the Latin name "Noeagis", used as a general
name for all four plagal tones. But there are some more obvious cases as particular names like "Aianeoeane"
(enechema of the Mesos Tetartos) or "Aannes" (enechema of the echos varys) which can be found in very
few tonaries between Lige, Paris, Fleury, and Chartres. Two of these tonaries have treatises and use a lot of
Greek terms taken from Ancient Greek theory.[16]

The later practice of the intonation verses

The oldest tonaries,
especially the
Carolingian like those of
St. Riquier, Metz,
Reichenau and the
earliest tonary in a troper
of Limoges (F-Pn lat.
1240), only used the socalled "Byzantine"
intonation formulas, as
they were discussed by
Aurelian of Rme
(Musica disciplina),
Regino of Prm
(Tonarius), and Berno of
Reichenau
(Tonarium).[17] But since
the 10th century, also
biblical verses were used.
https://en.wikipedia.org/wiki/Tonary

Tonary about 1000: Intonation and psalmody of "Plagi protus" notated in Dasia signs
(Bamberg, State Library, Msc.Var.1, fol. 44r)

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They were composed together in one antiphon with each verse changing the tone and referring to the number
of the tonus according to the system of Hucbald (Tonus primus, secundus, terius etc.), similar to Guido of
Arezzo's use of the solmization hymn "Ut queant laxis". They were several different antiphons as they can be
found in the Hartker-Antiphonary or the treatise collection of Montecassino (Ms. Q318, p. 122-125), but no
one became so popular than a compilation of verses taken from the New Testament which started with
"Primum querite regnum dei".[18] Usually each verse is finished by a long melisma or neuma which clearly
show its potential to become a tool of improvisation and composition as well. The origin of these verses is
unknown. In some tonaries, they replaced the Carolingian intonations as in the tonary by Berno of
Reichenau, but more often they were written under them or alternated with them in the subsections like in a
certain group which Michel Huglo (1971) called the "Toulouse tonaries" (F-Pn lat. 776, F-Pn lat. 1118, GBLbl Harley 4951), but also in the tonary of Montecassino. Concerning the earliest fully notated chant
manuscripts, it seems that the practice of singing the intonation formulas was soon replaced by another
practice, that a soloist intoned the beginning of an antiphon, responsorium, or alleluia, and after this "incipit"
of the soloist the choir continued. These changes between precantor and choir were usually indicated by an
asterisk or by the use of maiuscula at the beginning the chant text. The psalmody could be indicated by an
incipit of the required psalm and the differentia notated over the syllables EVOVAE after the communio or
introit antiphon.

Cross-references between tonaries during the reforms between the

10th and the 13th century
Nevertheless, the tonary was not replaced by these manuscripts. While the first generation of notated
manuscripts became less and less readable until the end of the 10th century, the production of tonaries as
useful appendix highly increased, especially in Aquitania, the Loire valley (le-de-France) and Burgundy.
Probably the oral tradition of the melody was no longer properly working since the early 11th century, or
there was still a need in a lot of regions to teach certain cantors an unknown tradition, or the tradition itself
had to change under certain innovations of cantors who were in charge of an institutional reform. Studies of
the reforms of various regions in Spain, Germany, Italy, and France have found evidence for all these cases
whatever was the centre of each reform which had taken place between the late 10th and the 12th centuries.
The monk Hartvic added some Dasia signs for certain differentiae as a kind of rubric or comment on the
margin (Tonary of St. Emmeram, Regensburg). He knew them from the treatises Musica and Scholica
enchiriadis which he copied in this manuscript, and thus he discovered a new way of using them: as an
additional explanation or second pitch notation interpreting the adiastematic neumes.

The Cluniac reforms and the counter-reforms

During the late 10th and the 11th century, the early use of a second alphabetical pitch notation was soon
replaced by a new diastematic form of neume notation, which indicated the pitch by the vertical position of
the neumes, while their groups indicated by ligatures were still visible. Aquitanian and English cantors in
Winchester were the first who developed a diastematic form, which could be written in such an analytical
way.
William of Volpiano and the Norman line

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William of Volpiano elaborated the concept of an additional letter notation and created a new form of tonary
which became an important part of his monastic reforms, he did the first reform for Cluny, after he became
abbot of St. Benignus of Dijon in Burgundy. Since 1001 he changed to the Abbey of Fcamp, after he was
asked by the Norman Duke Richard II to guide secular and monastic reforms in the Duchy of Normandy.
The fully notated tonary which he wrote for St. Benignus (F-MOf H159), is following the order of other
tonaries, which were created under the influence of the Cluniac Monastic Association.[19] These tonaries
usually had sections dedicated to the antiphonary and the gradual, within the gradual and the antiphonary
there were subsections like the antiphons which were sung as refrains during psalm recitation (introits and
communions), responsories (the introduction of epistle readings), but also other genres of the proper mass
chant as alleluia verses (the introduction of gospels), and offertories (a soloistic processional antiphon for the
procession of the gifts). Several Aquitanian troper-sequentiaries had a libellum structure which sorted the
genres in separate
books like
alleluia verses (as
the first part of
sequentiaries and
tractus
collections),
offertorials, and
tropers. But
William of
Volpiano
subdivided these
books into eight
parts according to
the octoechos
system like the
tonary, or the
troparia in the
Byzantine book
Octoechos, and
within these
sections the chant
was ordered
according to the
cycle of the
liturgical year
starting with
advent. He used
"Plagi Protus" intonation in the Tonary of the Auch region (Aquitaine, end 10th century): Paris,
the neumes of
Bibliothque Nationale, fonds lat., Ms. 1118, fol. 105v
Cluny, the central
French forms,
without changing them, but he added an own system of alphabetic notation in a second row, which defined
the pitches of the melody precisely according to the Boethian diagramm.[20] Like any other chant manuscript
around 1000, the book was not written for a use during a ceremony, it was a "book of memory" for cantors

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who alone had the competence of reading and writing neumes, and the responsibility to organize the chant
sung during the liturgical year. During his reforms, several Abbeys followed his example and his system was
used by the teachers of the local grammar schools which included the daily practice of singing the liturgy.[21]
William's reform and its monastic foundations of Fcamp and the construction of the Abbey on the island of
Mont Saint-Michel were not the first, and there were a lot of later abbots who founded monasteries not only
in Normandy,[22] but also in the conquered territories of Northern, and Southern Italy, including Arabian
Sicily, after the Norman Kingdom was established in the conquered Island. His fully notated tonaries were
only copied in Brittany and Normandy, the Norman-Sicilian manuscripts rather imitated the libellum
structure of the Aquitanian troper-sequentiaries, and only a few of them (E-Mn 288, F-Pn lat. 10508) have
survived with a tonary using central French neume notation, in its style very close to the chant books of
Cluny.[23] The Bibliothque interuniversitaire de Mdecin still conserves the only manuscript with
alphabetic notation which can be dated back to William's time. Thanks to the creative and innovative
achievements of William as a cantor, reformer and architect, the local monasteries which he reformed, did
not simply adapt to customs of the Cluniac reform, he contributed to the history of Norman chant his own
local school which was as well inspired by elements of the local Norman tradition as by innovations of the
Cluniac reform.
The Aquitanian tonaries and the Winchester Troper
The Aquitanian innovation can be traced back to a very prominent cantor within the Cluniac reforms:
Admar de Chabannes was educated by his uncle Roger de Chabannes at the Saint-Martial Abbey of
Limoges and this school redacted the first chant manuscripts by additional modal signatures and a
remarkable production of tonaries, which Michel Huglo called the "Saint-Martial group" or the monastic
tonaries of Aquitaine. Admar was the next generation after William of Volpiano and he was one of the first
notators who used the diastematic form of Aquitanian neume notation, which had already been developed
during the late 10th century.[24]
Another tonary corpus of the same region was Huglo's "Toulouse groupe" around the Gradual of the Sainttienne cathedral in Toulouse (Harley 4951, Pa 1118, and Pa 776). All of these books of the local secular
cathedral rite have a tonary libellum. The oldest one is the Troper Sequentiary Pa 1118 of the Auch region
which was probably written in Limoges by the end of the 10th century. The intonation of the "plagi protus"
(on folio 105 verso) is rather exposing the melos used in Old Roman chant of this tone (ranging between C
and G), but the sequentiary (folio 114 recto) is opened by an "improvised" alleluia of the same tone simply
made by a similar intonation which is also using the plagal fourth A-D under the final note D according to
the Carolingian concept of the plagal mode. On folio 131 verso there is another alleluia made of the same
intonation, but here the same intonation is rather artificially cut into segments for the words of the sequence
Almifona. Here, the improvised melodic structure developed by a repetitive use of the intonation formula
had turned into a sophisticated composition which dealt with the syllables of poetry.[25]
A central line, usually on F or G, was added and helped to recognize their horizontal organization, during the
12th century a second line was added until they were replaced by a pentagramm in square notation by the
second half of the 12th century.[26]

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Thanks to Aquitanian
cantors the network of
the Cluniac Monastic
Association was not only
a problematic
accumulation of political
power during the
crusades among
aristocratic churchmen,
which caused rebellions
in several Benedictine
monasteries and the
foundation of new antiCluniac reform orders,
they also cultivated new
forms of chant
performance which dealt
with poetry, and
polyphony like discantus
and organum. They were
used in all possible
combinations which
turned improvisation into
composition, and
composition into
improvisation. The
imitation of these forms
in Spain, and Italy were
caused by papal reforms
which tried to organize
the church provinces in
newly conquered
territories or territories
which conserved older
rites, because reforms
could hardly be
established for a long
time.
The diastematic notation
of Aquitanian cantors and
their most innovative use
in tropes and punctum
contra punctum
polyphony which can be
also found in the Chartres
cathedral, the Abbey
Saint-Maur-des-Fosss
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Sequentiary from Aquitaine, end 10th century (Paris, Bibliothque Nationale, fonds lat.,
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near Paris, and Fleury

Ms. 1118, fol. 114r)
Abbey, also influenced
the Winchester troper (see its tonary), the earliest and hugest collection of early organum or discantus. Since
1100, the florid organum reproduced the original function of the earlier intonation formula as it can be found
in the tonaries. An initial ornament called principium ante principium ("beginning before the beginning") in
the Notre Dame school allowed the solistic organum singer to indicate the basis degree of the cantus by an
individual intonation in the higher octave, while the finale octave of each section was prepared by an
paenultima ornament, which had developed by the "meeting" (occursus) of chant and organum voice.
Tonaries of the reform orders
During this long period Cluny's power and influence on less and less successful crusades which were well
reflected in certain chant genres like conductus and motet, caused a decline and an increasing resistance
among the monastic communities of the Cluniac Association between Paris, Burgundy, le-de-France, and
Aquitaine. New monastic orders were founded in order to establish anti-Cluniac counter-reforms. The most
important was certainly created among Cistercians by a reform group around St. Bernard of Clairvaux.[27]
The innovations and corrections of Roman-Frankish chant during the Cluniac reforms were disregarded as a
corruption of the Roman tradition, but the new books ordered from the scriptoria of Laon and Metz did not
satisfy the expectations of the reformers. Instead rules based on Guido of Arezzo's Micrologus were codified
to support the Cistercian cantors, while they were cleaning the corrupted tradition of plainchant.[28] Despite
certain ambitions concerning the performance practice of polyphonic organum, the first generation of
reformers around Bernard did not allow these Cluniac practices.[29] Nevertheless, they were established
soon, as Bernard became one of the most important and powerful churchman involved in crusade policies
which clearly corresponded to the refused aristocratic ambitions within the Cluniac Association. During
Bernard's liturgical reform the tonary still served as an important tool and its modal patterns formed the basis
of the corrections made by Cistercian cantors.[30]

The tonaries in Italy

The local liturgical traditions in large parts of Italy remained stable, because there was simply no written
transmission which could interfere with any reform until the end of the 10th century. A lot of local neumes
used by Beneventan and Old Roman notators already started in a diastematic form, and the local scribes used
the same opportunity to codify their own tradition, and in a second step of a reform which could not earlier
be realized until a political conquest allowed the domination of a certain region, they had to deal with a
codified chant repertory which was supposed to be "Roman". The transfer was done by written transmission,
and this explains certain cross-references which can be studied in detail by the notated chant repertory, but
more easily by the copies and the local neumes used in tonaries.
From this point of view, several tonaries, already transmitted by earlier French sources, can be found in later
copies in Italian manuscripts, often written in French scriptoria and their neume notation. Nevertheless, a lot
of Italian cantors were authors of tonaries which played a key role during Carolingian, Cluniac, and antiCluniac reforms in France and Lake Constance. As example, William of Volpiano from Piedmont, Guido of
Arezzo, whose treatises were used during the Cistercian and Beneventan reform, while there is no source
which testify the use of tonaries among Roman cantors. The famous Dialogus, falsely ascribed to Odo of

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Cluny, the second Abbot of Cluny Abbey, was compiled in the province of Milan, while only "Formulas
quas vobis", a tonary used in Montecassino and Southern Italy, was written by another Odo, Abbot of
Arezzo.
Older traditions like Old-Roman, Ambrosian, as well as Old-Beneventan manuscripts follow own modal
patterns which are not identical with those of "Gregorian chant", i.e. the Roman-Frankish redaction between
the first generation of fully notated manuscripts (since the 1050s), the Cluniac reforms (11th century), and
the "Neo-Gregorian reforms" of the late 11th and 12th centuries in centres like Montecassino and
Benevento,[31] or in reform orders like Cistercians or Dominicans etc. The Norman-Sicilian tonary shows a
great resemblance with manuscripts written in Cluny.

See also
Antiphon
Antiphonary
Breviary
Cistercians
Cluniac reforms
Dominican Order
Guidonian Hand
Hagiopolitan Octoechos
Mass
Neume
Normans
Psalms
Psalm tone
Responsory
Roman Gradual
Sacramentary
Solfge
Solmization
Tonary of the Abbey Saint Bnigne, Dijon
Troper
Winchester Troper

Persons
Admar de Chabannes
Pope Adrian I
Aurelian of Rme
Bernard of Clairvaux
Berno of Reichenau
Charlemagne
Abbot Desiderius
Saint Dominic
Guido of Arezzo
Hermann of Reichenau
Hucbald
Jerome of Moravia
https://en.wikipedia.org/wiki/Tonary

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Judith of Brittany
Majolus of Cluny
Notker the Stammerer
Odo of Arezzo
Odo of Cluny
Otto I, Holy Roman Emperor
Regino of Prm
Richard II, Duke of Normandy
Robert of Molesme
William of Volpiano
Wulfstan the Cantor

Treatises
Micrologus
Musica and Scolica enchiriadis

Abbeys and cathedrals

Saint-Amand Abbey
Abbey Saint Bnigne, Dijon
Chartres cathedral
Cteaux Abbey
Abbey of Cluny
Corbie Abbey
Abbey Saint Denis
St. Emmeram's Abbey
Cathdrale Saint-tienne de Toulouse
Fcamp Abbey
Fleury Abbey
Abbey of Saint Gall
Abbey of Saint-Germain-des-Prs
Abbey of Saint Martial, Limoges
Saint-Maur-des-Fosss
Montecassino
Mont Saint-Michel
Notre Dame de Paris
Santa Sofia, Benevento
Winchester Abbey
Winchester Cathedral

References
1. The modal patterns, memorized by a short formula, and the deductive classification of chant played an active part in
the process of oral transmission, so Anna Maria Busse Berger dedicated a whole chapter of her book (2005, pp. 4784) to the tonary, in which she described the relationship between music and the medieval art of memory.
2. E.g. a tonary added to Aurelian's theoretical one in a manuscript of the Abbey Saint-Amand (F-VAL 148)an
important centre of the Carolingian Renaissance, has some intonation formulas in later added Paleofrankish neumes.
3. An early copy of the Commemoratio brevis in a music theory collection written about 1000 (D-BAs Var.1). A list of
the sources can be found here: "Commemoratio brevis". Retrieved 4 January 2012.
https://en.wikipedia.org/wiki/Tonary

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4. Both systems were used by Byzantine psaltes and among them the former was never expected to contain all the
degrees of the mode, as they were used "in the melos of the echoi".
5. See the copy from the Abbey St. Emmeram "(D-Mbs clm 14272, fol.156)". Retrieved 4 January 2012.
6. The practice of differentiae, terminations which were also called "divisio, diffinitio", or "formula", corresponded to
the melodic beginning of the antiphons and was developed during the later 9th century. Hence, the different
terminations of psalmody became a subsection of each section dedicated to the antiphons of the mass or the nocturn.
There are tonaries which exemplified the whole psalmody with the small doxology ("Gloria patri") written out with
neumes or letters (see the Dasia-signs used in Bamberg, State Library, Msc.Var.1), but there was also the abridged
form to notate just the termination over the vowels EVOVAE of the last six syllables: "seculorum. Amen." Often the
eight sections for the eight tones were repeated for other chant genres without psalmody or different chant books as
gradual and antiphonary (Responsories, Alleluia, Offertories etc.).
7. Huglo (1971).
8. In a long essay dedicated to the Latin treatises and the knowledge that Latin cantors had about music theory, Michel
Huglo (2000) referred to an episode of a Byzantine legacy in Aachen, who celebrated troparia (processional
antiphons) for the feast of Epiphany. Oliver Strunk (1960) had already published about this visit, but through Walter
Berschin's essays about the Carolingian visits of Byzantine legacies Michel Huglo became convinced that this
exchange could already have happened before his self-nomination as an Emperor of both Roman Empires.
9. Jeffery (2001).
10. The impact of the Cluniac Monastic Association on these reforms was often considered, neglected, and re-considered
by various musicologists. Background was a discussion among historians around a book of Dominique Iogna-Prat,
which was originally published in French in 1998 (see the English translation by Graham Robert Edwards: IognaPrat, Dominique (2002). Order & exclusion: Cluny and Christendom face heresy, Judaism, and Islam 1000-1150.
Conjunctions of religion & power in the medieval past. Ithaca, N.Y.: Cornell UP. ISBN 978-0-8014-3708-3.). The
answer of the musicologist's question concerning the centre of the Aquitanian school laid simply there. Rather lately
(2006) Bryan Gillingham tried a general study of the role that Cluny played in the written chant transmission
between the 11th and the 13th century. Already in 1985 Jacques Chailley studied an allegorical sculpture in the
sanctuary of Cluny Abbey which is an important monument of the Cluniac approach to the tonary and its eight-mode
system, according to him the sanctuary with the sculpture was inaugurated by Pope Urban II.
11. The Taifa kingdom Toledo, an important domaine of the Mozarabic rite, was conquered by the Castilian King
Alfonso VI in 1085. After he gave his daughters in marriage to Aquitanian und Burgundian aristocrats, the Council
of Burgos had already decreed the introduction of the Roman rite in 1080. Hence, reforms can be studied by the
distribution of Aquitanian manuscripts in Spain. See also the study of chant manuscripts by Manuel Ferreira (2007).
12. It is not easy to prove this or another practice for medieval chant, neither for Greek nor for Latin singers, but
concerning performance practice this is quite a controversial topic which is solved in different ways. It is possible
that the Orthodox practice today helps the singers to sing subtle intonation changes, which are no longer practiced in
Western music, while maqam singers usually sing without ison. It is as well possible to perform florid organa in a
monodic way without the cantus in the tenor as a second voice.
13. Aurelianus Reomensis: "Musica disciplina" (Gerbert 1784, p. 42).
14. It was a coincidence that Carolingian cantors used more syllables for the Autentus protus, like the enechema of the
echos protos as it was used by Greek psaltes (see Octoechos).
15. Huglo (2000).
16. For example in the 11th-century treatise compilation "alia musica" (Chailley 1965, "AIANEOEANE": p.141;
"AANNES": p.160), and some tonaries are of particular interest as Hartvic's copy of the Chartres tonary and the
second tonary of the Troper-Sequentiary of Reichenau, which uses "ANANEAGIES" for the "Autenticus Protus" and
"AIANEAGIES" for the "Autenticus Deuterus". Unlike the Guidonian concept of "b fa", the plagios tritos which was
called echos varys ("grave mode") by Greek psaltes, did not avoid the tritone to the basis and finalis F. The pure
fourth was only used by the enharmonic phthora nana. According to Oliver Gerlach (2012) the very sophisticated
intonation of the diatonic Mesos Tetartos, known by the name among Greek psaltes, was imitated by
Latin cantors for certain phrygian compositions of the Gregorian repertory, among them the Communio Confessio et
pulchritudo. Michel Huglo (NGrove) classified these tonaries as "transitional group" which he dated already to the
10th century.
17. The verses inserted before the tonary of Reichenau are obviously a later addition: "Staatsbibliothek Bamberg,
Msc.Lit.5, folio 4 verso". Retrieved 3 January 2012. This version has very elaborated neumae after each verse.
18. A list of a lot of tonaries which use these verses, can be found here: "crits anonymes du Xe sicle sur la musique".
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musicologie.org. Retrieved 2 January 2012.

19. The Cluniac reforms can be verified in tonaries written in Cluny and Fleury Abbey, certain Abbeys around Paris as
Saint-Maur-des-Fosss, Saint-Denis, but also in Burgundy and Aquitaine. The creativity of Aquitanian cantors
played a key role concerning the Cluniac needs for an extravagant liturgy. Hence, it is hardly surprising that they
were more productive concerning tonaries than any other local school in Europe.
20. See Huglo's study of this particular tonary (1956). Including the enharmonic diesis which were represented by signs
as "" for E diesis, "" for b diesis, and the last sign written from the right to the left for a diesis (see the figure in the
main article). The Boethian diagramm was already used since centuries, with exception of the symbols of the
tetraphonic Dasia system which were used in certain treatises since the Musica and Scolica enchiriadis (Phillips
2000).
21. Gazeau, Vronique; Monique Goullet (2008). Guillaume de Volpiano. Un Rformateur en son temps (962 - 1031).
Caen: Publications du CRAHM. ISBN 978-2-902685-61-5.
22. Gazeau, Vronique (2002). Guillaume de Volpiano en Normandie: tat des questions. Tabularia tudes . 2. Caen:
CRAHM. pp. 3546. Olivier Diard's study (2000) of a late copy of his tonary and antiphonary for the Abbey of
Fcamp (Rouen, Bibliothque municipale, Ms. 254, olim A.190) emphasized that William of Volpiano had not only
introduced customs of Saint Bnigne and own compositions as it was common among Cluniac reformers in
Normandy, but he also integrated and reinforced Norman customs by his school.
23. About the Sicilian origin of the tonary in the Troper-Proser of the Saint-vroult Abbey, see Shin Nishimagi (2008).
24. In his monographical study (2006) James Grier regard the manuscripts Pa 909 and Pa 1121 as documents of
Admar's work as a cantor and notator. Both of them have a tonary which offer insights to the modal framework of
Admar's school according to the local concept of the octoechos.
25. See folio 131 verso (http://gallica.bnf.fr/ark:/12148/btv1b8432314k/f272.image) of the Troper Sequentiary. Jrgen
Raasted (1988) and Oliver Gerlach (2011, pp. 22-24) emphasized this creative or poetic function in their description
of Western and Eastern intonation formulas.
26. Already the Musica and Scolica enchiriadis (9th century) used rows defined by Dasian signs, and placed the syllables
of the chant text according to the pitches sung with them. The odd tone system was a repetition of four tetrachord
elements represented by four signs which were obviously taken from the Hagiopolitan Octoechos and Greek
tetraphonic tone system: protus, deuterus, tritus, and tetrardus. These four Dasian signs and their derivations were
used in a lot of tonaries. The innovation of the 10th century was the design of neumes which were so detailed, that
they kept plenty of information concerning ornaments and accents. Rebecca Maloy (2009) even assumed that the use
of transposition (mentioned as "absonia" in Scolica enchiriadis) might be found behind the diastematic Aquitanian
neume notationan assumption which clearly illustrates the weak side of Admar's notation in comparison with the
letter notation invented by William of Volpiano, which came never in use outside Normandy. Until this time very
complex modal structures and microtonal shifts could be notated, as Maloy demonstrated by the most complex
example of written transmission: the notation of the soloistic chant genre offertory. But Western notation did never
develop modal signatures and the melodic structure was directly deduced by the diastematic notation. A second
radical simplification became necessary, and so solmization was invented by Guido of Arezzo. On the background of
his innovation, the later square notation was rather a reduction of the neume ligatures to a pure pitch notation, their
performance was changed radically by an oral tradition of singing ornaments, of performing ligatures in a rhythmic
way, and of more or less primitive models of polyphony which was no longer visible in the chant books of the 13th
century.
27. A list of the sources can be found in Christian Meyer's essay (2003) who also described the characteristics of
Cistercian tonaries and the various redactions of Bernard of Clairvaux's preface.
28. His prologue and treatise of the chant reform have survived in the 13th-century Antiphoner of Rein (fol. Ir-IIIr).
29. Part of a 15th-century chant treatise about improvised polyphony was once attributed to Limoges, later it was
identified as an appendix to Abbot Guido's Regulae about habits of the Cistercian rite (Sweeney 1992). The edition
of Ms. 2284 Bibliothque Sainte Genevive Paris (Coussemaker, Sweeney) has been revised recently by an edition
(Meyer 2009) based on four other sources. According to Christian Meyer there was no explicit rule in the treatise
which excluded polyphonic performances of plainchant from the Cistercian rite, despite the fact, that reform orders
had been founded with monks, who had left their former monastic communities, after a Cluniac abbot had taken over
and changed the local rite with new practices including polyphonic performance (cum organo).
30. According to Christian Meyer (2003) the tonary in the Milanese Antiphonary of the Abbey St. Mary of Morimondo
is one of the most complete sources which is very close to those used in the Cistercian foundations in Austria,
Germany, and Poland.
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31. The term "repertorio neo-gregoriano" is taken from Luisa Nardini who also studied the Montecassino tonary and its
role in the transmission of the Mass repertory (Nardini 2003).

Bibliography
Sources
Carolingian tonaries and gradual-sacramentaries (8th9th century)
"Paris, Bibliothque Nationale de France, fonds. lat., Ms. 13159, fol. 167-167' ". Tonaryfragment of St.
Riquier in the "Psalter of Charlemagne" (ed. by Huglo 1952, 225-227; 1971, 26-28). Retrieved
15 January 2012.
"Paris, Bibliothque Nationale de France, fonds. lat., Ms. 17436, fol. 29". Gradual-Sacramentary,
Sequentiary, and Antiphonary of the Abbey Saint-Corneille de Compigne (ca. 860-880). Retrieved
15 January 2012.
Rodrade. "Paris, Bibliothque Nationale, fonds lat., Ms. 12050, fol. 3-16". Gradual-Sacramentary
ordered by the Bishop of Amiens for Corbie (about 853). Retrieved 30 December 2011.
"Laon, Bibliothque municipale, Ms. 118, fol. A.1'-A.12' ". Gradual-Sacramentary and Lectionary of
the Abbey Saint-Denis (late 9th century). Retrieved 22 March 2012.
Aurelian of Rme. "Valenciennes, Bibliothque municipale, Ms. 148, fol. 71v-86v". 3 tonaries
"Quae ipsis inscribantur tonis" with some intonations in later added Paleofrankish neumes within
"Musica disciplina" (ch. IX-XIX), Saint-Amand Abbey (ca. 880-885). Gallica. Retrieved 8 October
2012.
Lorrain cantors
"Metz, Mdiathque, Ms. 351, fol. 66-76". Tonary of Metz (copied 878). Retrieved 27 July 2014.
"Prague, Nrodn knihovna (drve Universitn knihovna), Ms. XIX.C.26, fol. 1-11". Tonary in red ink
("Primus igitur lydius...") of the "Ratio breviter super musicum cum tonario [fol. 4r]" (Tonary of
Leyden) with Lorrain neumes and Greek terminology (close to the "alia musica" compilation) in a
treatise collection near Lige (ca. 1100). Retrieved 22 March 2012.
Alemannic cantors
"Staatsbibliothek Bamberg, Msc.Lit.5, fol. 5-27". Tonary of Reichenau (copied 1001 in Reichenau).
Retrieved 30 December 2011.
Hartker. "St. Gallen, Stiftsbibliothek, Cod. Sang. 390, p. 1-5". Antiphonary of the Abbey St. Gall (10th
century). Retrieved 30 December 2011.
Hartker. "St. Gallen, Stiftsbibliothek, Cod. Sang. 391, p. 18, 261-264". Antiphonary of the Abbey St.
Gall (10th century). Retrieved 30 December 2011.
"Einsiedeln, Stiftsbibliothek, Ms. 121, p. 417-427". Psalmody of the Communiones in the Gradual and
Notker's Sequentiary from the Einsiedeln Monastery (960-970). Retrieved 4 January 2012.
Hoger of Werden. "Staatsbibliothek Bamberg, Msc.Var.1, fol. 42'-46' ". Fragment of Commemoratio
brevis de tonis et psalmis modulandis in a music theory treatise collection from Werden? (about 1000).
Retrieved 30 December 2011.
"Staatsbibliothek Bamberg, Msc.Lit.5, fol. 187-196". Notker Balbulus, Theodulfus Aurelianensis: 2nd
Tonary in the Troper and Sequentiary from Reichenau (1001). Retrieved 30 December 2011.
Hartvic (copist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 62'-64' ". Tonary with
Dasia signs from the Abbey St. Emmeram, Regensburg (1006-1028). Retrieved 2 January 2012.
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Hartvic (copist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 173'-174". Fragment of
Commemoratio brevis de tonis et psalmis modulandis with Dasia signs from the Abbey St. Emmeram,
Regensburg (1006-1028). Retrieved 2 January 2012.
Hartvic (copist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175-181". Theoretical
tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional
tonary rubrics from the Abbey St. Emmeram, Regensburg (1006-1028). Retrieved 2 January 2012.
Berno of Reichenau. "St. Gallen, Stiftsbibliothek, Cod. Sang. 898, p. 225". "De consona tonorum
diversitate" with tonary, in "Bernonis Epistolae cum sermonibus et hymnis", St. Gall Abbey, copy of a
dedicated collection for King Henry III (11th century). Retrieved 30 December 2011.
Berno of Reichenau. "Rome, Biblioteca Apostolica Vaticana, Pal. lat. 1344, fol. 1933' ". "Musica seu
Prologus in Tonarium" with tonary after the prologue, Greek names according to Hucbald are used
for the finales, Lorsch (mid 11th century). Retrieved 22 October 2013.
"Wolfenbttel, Herzog-August Bibliothek, Cod. Guelf. 1050 Helmstedt (cat. 1152), fol. 16'-27' ". List
of enechemata and Carolingian tonary with St. Gall neumes in a music theory collection (second half
of the 11th century). Retrieved 30 December 2011.
Aquitanian cantors
"Paris, Bibliothque Nationale, fonds lat., Ms. 1240, fol. 62'-64' ". Troper from the church St. Salvator
Mundi, St. Martial Abbey in Limoges (933-936). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 1084, fol. 155-164' ". Troper, Tonary, Sequentiary and
Proser from St. Graud, Aurillac (late 10th century). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 1085, fol. 3'-110' ". Abridged Antiphonary from the
church St. Salvator Mundi, St. Martial Abbey in Limoges, with later modal classifications by Roger &
Admar de Chabannes (late 10th century). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 1121, fol. 202-206' ". Troper, Sequentiary, and Tonary
of St. Martial de Limoges, Admar de Chabannes (11th century). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 909, fol. 251-257' ". Troper, Sequentiary, and Tonary of
St. Martial de Limoges (11th century). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 1118, fol. 104-113' ". Troper, Tonary, Sequentiary and
Proser from Southwestern France, Rgion d'Auch (98796). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 776, fol. 147-154' ". Tonary fragment at the end of the
Gradual of Saint-Michel-de-Gaillac (Albi, about 1079). Retrieved 20 December 2012.
"London, British Library, Harley 4951, fol. 295'301' ". Gradual of Saint-Etienne of Toulouse,
including a tonary (late 11th century). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 780, fol. 123'-130". Gradual and Tonary from the
Cathedral of SS Just et Pastor, Narbonne (late 11th century). Retrieved 30 December 2011.
Parisian and Cluniac cantors
"Paris, Bibliothque Nationale, fonds lat., Ms. 12584, fol. 216". Tonary (12th century) of the Gradual
and Antiphonary of the Abbey Saint-Maur-des-Fosss (11th century). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 13252, fol. 71-76' ". Tonary in a Troper for the Abbey
St.-Germain-des-Prs, Paris (11th century). Retrieved 30 December 2011.
"Paris, Bibliothque Nationale, fonds lat., Ms. 8663, fol. 50'-51". Tonary compilation "Alia musica" in
a treatise collection from Fleury Abbey (11th century). Retrieved 15 January 2012.
"Paris, Bibliothque Nationale, fonds lat., Ms. 7211, fol. 54-71". Tonary compilation "Alia musica" in
a treatise collection from St-Pierre de Luxeuil (12th century). Retrieved 15 January 2012.
"Paris, Bibliothque Nationale, fonds lat., Ms. 17296, fol. 11' ". Antiphonary of Saint-Denis Abbey
with rubrified differentiae (about 1140-50). Retrieved 15 January 2012.
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"Paris, Bibliothque Nationale, Ms. Nouv. Acq. Lat. 443, fol. 29-33". Tonary fragment in a manuscript
from Fleury Abbey (about 1200). Retrieved 2 January 2012.
"Bamberg, Staatsbibliothek, Msc.Lit.115, fol. 68'-74". Tonary of Amerus' treatise "Practica artis
musice" in the motet collection Bamberg, Paris (1275-1285). Retrieved 4 April 2014.
Cistercian cantors
Berno of Reichenau. "Leipzig, Universittsbibliothek, Ms. 1493, fol. 53-60". Tonary with neumes of St
Gall within the treatise by Berno of Reichenau in a collection of the Abbey Saint Peter at Merseburg
transferred to the Cistercian Abbey of Altzelle (ca. 1075).
"Paris, Bibliothque Nationale, nouv. acq. lat., Ms. 1410, fol. 159'-166' ". Antiphonary of the Abbey St.
Mary of Morimondo in the Diocese of Milan (12th century). Retrieved 30 December 2011.
"Vienna, sterreichische Nationalbibliothek, Cod. 1799**, fol. 216r-222v (Digit. No. 454-467)".
Tonary of the Cistercian Antiphoner, Rein (1225-1249). Austrian National Library. Retrieved 14 April
2012.
Dominican cantors
"Paris, Bibliothque Nationale, fonds lat., Ms. 16663, fol. 54'-57". Tonary with letter notation in the
Music Treatise of Jerome of Moravia (late 13th century). Retrieved 30 December 2011.
"State Library of Victoria, RARESF 096.1, Ms. R66A, fol. 1'-4". Tonary with square neumes in the
Poissy Antiphonal, Monastery of Saint-Louis de Poissy (1335-1345). Retrieved 16 May 2012.
Italian cantors
"Paris, Bibliothque Nationale, fonds lat., Ms. 7202, fol. 52' ". Tonary with Dasia notation in
Inchiriadon in a French treatise collection for the Domenican Collegio Colbert, Venice (11th century).
Retrieved 30 December 2011.
"Rome, Biblioteca Casanatense, Ms. 54, fol. 102'-103". Reichenau Tonary (copy in an 11th-century
manuscript from Nonantola). Retrieved 30 December 2011.
Odo of Arezzo, "Montecassino, Biblioteca Abbaziale, Ms. Q318, pp. 126-127", "Formulas super ad
nos" in a Collection of Music Theory Treatises, Abbey St. Benedict of Montecassino (late 11th century)
"Montecassino, Biblioteca Abbaziale, Ms. Q318, pp. 122-123", "De octo tonora per ordinem" in a
Collection of Music Theory Treatises, Abbey St. Benedict of Montecassino (late 11th century)
"Montecassino, Biblioteca Abbaziale, Ms. Q318, pp. 127-157", Tonary in Beneventan neumes in a
Collection of Music Theory Treatises, Abbey St. Benedict of Montecassino (late 11th century)
Anglosaxon cantors
"Cambridge, Corpus Christi College, Parker Library, Ms. 260, fol. 51'-53' ". Fragment of
Commemoratio brevis de tonis et psalmis modulandis in a treatise collection from Christ Church,
Canterbury (late 10th century). Retrieved 4 January 2012.
"Cambridge, Corpus Christi College, Parker Library, Ms. 473, fol. 70-73' ". Tonary of the Winchester
Troper (11th century). Retrieved 30 December 2011.
Norman cantors
William of Volpiano. "Montpellier, Bibliothque Inter-Universitaire, Section Mdecine, Ms. H159,
pp.7-322". Toner-Gradual & Antiphonary of the Abbey St. Bnigne in Dijon (late 10th century).
https://en.wikipedia.org/wiki/Tonary

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Retrieved 30 December 2011.

"Madrid, Biblioteca nacional, Ms. 288, fol. 4-12". Tonary in a Norman-Sicilian Troper-Sequentiary
(about 1100). Retrieved 30 December 2011.
"Paris, Bibliothque nationale, fonds latin, ms. 10508, fol. 150'-156' ". Tonary in a Guidonian treatise
collection of Norman-Italian origin attached to the Troper-Proser of the Abbey St. vroult (12th
century). Retrieved 2 June 2011.

Editions of theoretical tonaries

Anonymous (1784), "Musica enchiriadis", in Gerbert, Martin, Scriptores ecclesiastici de musica sacra
potissimum, 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 152173.
Aurelianus Reomensis (1784), "Musica disciplina", in Gerbert, Martin, Scriptores ecclesiastici de
musica sacra potissimum, 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 2763.
Regino Prumiensis (186476), "Tonarius", in Coussemaker, Edmond de, Scriptorum de musica medii
aevi nova series a Gerbertina altera, 2 (Hildesheim 1963 reprint ed.), Paris: Durand, pp. 173.
Gerbert, Martin, ed. (1784), "Commemoratio brevis de tonis et psalmis modulandis", Scriptores
ecclesiastici de musica sacra potissimum, 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis SanBlasianis, pp. 213229.
Schmid, Hans, ed. (1981), "Inchiriadon", Musica et scolica enchiriadis una cum aliquibus tractatulis
adiunctis, 3, Munich: C. H. Beck, pp. 187205.
Berno Augiensis (1784), "Tonarius", in Gerbert, Martin, Scriptores ecclesiastici de musica sacra
potissimum, 2 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 7991.
Berno Augiensis (1784), "De consona tonorum diversitate", in Gerbert, Martin, Scriptores ecclesiastici
de musica sacra potissimum, 2 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 114
124.
Odo of Arezzo (1784), "Tonarium", in Gerbert, Martin, Scriptores ecclesiastici de musica sacra
potissimum, 1 (Hildesheim 1963 reprint ed.), St Blaise: Typis San-Blasianis, pp. 247250.
Gerbert, Martin, ed. (1784), "Alia musica", Scriptores ecclesiastici de musica sacra potissimum, 1
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External links
Bernhard, Michael; Meyer, Christian. "Sources of Medieval Music Theory". Bayerische Akademie der
Wissenschaften online. Retrieved 16 January 2012.
Gerbert, Martin. Scriptores ecclesiastici de musica sacra potissimum. Typ. San Blasien. Retrieved
22 March 2012.
"Thesaurus Musicarum Latinarum". Index for the 9th-11th century. Jacobs School of Music Indiana
University Bloomington, IN 47405. Retrieved 22 March 2012.
"CMN: Catalogue des manuscrits nots des bibliothques publiques de France". Paris, Bibliothque
nationale de France, fonds latin. Universit Nancy. Retrieved 22 March 2012.
"Gallica Bibliothque numrique". BnF, Manuscrits carolingiens.
"e-codices Virtual Manuscript Library of Switzerland". Medieval Institute, Universit Fribourg.
Retrieved 22 March 2012.
"Mnchener Digitalisierungszentrum". Bayerische Staatsbibliothek. Retrieved 22 March 2012.
"Handschriften der Kaiser-Heinrich-Bibliothek". Staatsbibliothek Bamberg. Retrieved 22 March 2012.
"Manuscrits mdivaux messins numriss". Les Bibliothques-Mdiathques de Metz. Retrieved
22 March 2012.
"Ville de Laon, Bibliothque municipale Les Manuscrits". Ministre de la culture et de la
communication. Retrieved 22 March 2012.
"Manuscriptorium: Building Virtual Research Environment for the Sphere of Historical Resources".
Retrieved 22 March 2012.
"Biblioteca Digital Hispnica". Biblioteca Nacional de Espaa. Retrieved 22 March 2012.
"British Library Digitised Manuscripts". London, British Library. Retrieved 22 March 2012.
"Parker Library on the web". Corpus Christi College and the Stanford University Libraries. Retrieved
22 March 2012.
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Categories: Ancient Greek music Catholic liturgical books Chants Classical and art music traditions
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