Thesis (Ph. D.)--New York University, 1956. / Typescript. Includes bibliographical references (leaves [218]-225).

Thesis (Inaugural-Dissertation)--Freiburg in der Schweiz, 1931. / Includes bibliographical references (p. x-xvi).

Thesis (Ph. D.)--Brandeis University, 1980. / Contains a complete inventory and transcription of the office antiphons in Ms. San Petronio B 79 of the Biblioteca Apostolica Vaticana, Rome.

Includes abstract.|Includes bibliographical references (p. 213-222). / The manuscript Münster (in WestphalialWestfalia), Bistumsarchiv, Freckenhorst, StBonifatius Hs. 53 (D-MÜd PfA 53) is an antiphoner (antiphonary/antiphonal) that theFraterherren of Münster wrote in the middle of the fifteenth century. The plainchantmelodies are in German neumatic notation (Hufnagelschrift) and the texts are in Gothictextualis textura, textualis rotunda, textualis quadrata and textualis semi-quadrata. The studyproceeds from the work of Hans Ossing, Untersuchungen zum Antiphonale Monasteriense(Alopecius-Druck 1537): Ein Vergleich mit den Handschriften des Munsterlandes (Regensburg, 1966). The work consists of: • a description of the codicological and palaeo graphical characteristics together with an overview of the manuscript's content; • a comparative study of: • the Advent responsory texts with reference to Renato-Joanne Hesbert's Corpus Antiphonalium Officii: Fontes earumque prima ordinatio [CAD, vol. 5] (Rome, 1975) and the interactive database on David Hiley's Cantus Planus website at the Institut fur Musikwissenschaft der Universitat Regensburg (http://www.uni-regensburg.de/F akultaetenlphi1_F ak 11Musikwissenschaftl cantusl); • the plainchant melodies of the Christmas Matins responsories (Vigilia Nativitatis Domini and Nativitas Domini) with reference to the Antiphonale Monasteriense, DMÜsa Msc. 433, D-MÜp K' 146, D-MÜd PfA Hs. 113, D-MÜd PfA Hs. 114, D-MÜd PfA Hs. 132, D-MÜd PfA Hs. 91 and D-MÜd PfA Hs. 66; • a diplomatic edition of the plainchant melodies for the historiae (versified officeslrhymed offices) of Sts Gertrude (Gertrudis) of Nivelles, Boniface (Bonifatius/Bonifacius), and Achacius (Achatius) and the ten thousand (10 000) martyrs, which includes D-MÜd PfA Hs 202, B-TO 63, B-TO 64, D-MÜd PfA Hs 199 and D-MÜd PfA Hs 132; • a comparative study of the content of PfA 53 and the Antiphonale Monasteriense derived from electronic indices created according to the guidelines of Cantus: A database for Latin ecclesiastical chant (http://publish.uwo.ca/-cantusl) maintained by Debra Lacoste.

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Mar. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 228-240.

Proefschrift--Amsterdam. / Bibliography: p. [75]-81.

In the early Christian celebrations of the Eucharist the presentation of bread and wine by the deacons was a simple, practical matter surrounded with little or no ceremonial. Liturgical and musical elaboration of this part of the liturgy seems to have taken place first in Africa early in the fifth century concomitant with the development of the laity's role in the offering. The first extensive description of the Western offertory appears in Ordo Romnnus l: the laity did not form a procession and only the existence of an offertory chant is mentioned. Since the compiler of the Ordo does not regard the offertory as similar to the introit and communion (and, therefore, antiphonal) it must have been performed responsorially. A responsorial performance is appropriate for the offertory as it appears in the earliest musical record of the Roman liturgy, the Gregorian Gradual of Mt. Blandin. Thus, the late medieval term, antiphona ad offertorium, does not reflect the authentic form of the offertory. The elaborate verses of the Old-Roman and Gregorian traditions probably existed in the early ninth century. Their gradual disappearance has been attributed to a decline in the people's participation at Mass. In general, the texts of the offertories are drawn from the Psalterium Romanum but in a significant number of cases Old-Roman end Gregorian chant texts agree on a particular reading against the Psalterium Romanum. Two quasi-psalmodic formulae are found in the refrains and verses of many Old-Roman offertories. One of them, Formula B, occurs in virtually all F-mode offertories, frequently repeated many times within a single piece. In Formula A the reciting element (a repeated torculus) is more prominent. Thia formula is also shorter than Formula B (4 elements versus 7). Formula A occurs more frequently in the verses than it does in the refrains. Repetition of melodic material plays an important role in the formal design of the Old-Roman offertories. Forty offertories of a total of ninety four studied have at least one repetition of an entire phrase; in most cases the repetitions are extensive enough to have a unifying force. Small segments of the phrase which is repeated are broken off and subjected to multiple repetitions so that the complete phrase is heard only two or three times. The procedures of adaptation are extremely flexible though the identity of the model phrase is recognizable through all the variants. Repetition of short phrases or motives (generally a a or a a') occurs in both neumatic and melismatic portions of the chant. The Old-Roman melos is pervaded by this mosaic-like working with small motives. An extension of the principle of melodic repetition exists in the many cases (50) of "rhyme" between the ends of verses or between refrain and verse. In about one-third of the Old-Roman offertories at least one verse closes with the same cadence which preceded the detachable conclusion of the refrain (that part of the refrain which is repeated after each verse). In the tritus and tetrardus modes cadences which close a refrain never appear at the end of a verse or as internal cadences. This functional division is not adhered to strictly in the other-two modes. Text repetition, a phenomenon unique to the offertories, demonstrates the common textual basis of Old-Roman and Gregorian chants. All but four of the twenty-three Old-Roman examples observed have parallels in the Gregorian tradition.

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