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metaphorical language, non-Psalmic offertory verses, and musical characteristics
favoring disjunct melodies and the use of the pes stratus in the chant notation (See
Chapter V). While no one of these “Gallican” elements provides a definitive
identification of Gallican musicianship, they are all identified as reflecting a chant
tradition differing from the Gregorian. The examples in Pa903 reflect the continuing
preference at St. Yrieix for including Gallican-influenced, neo-Gregorian chants and
feasts with textual and musical elements referring back to prior Gallican tradition.
3. Chants Transmitted only by Pa903
Based on concordances with the other Aquitanian graduals and the broader
Gregorian indices, 18 this work lists the neo-Gregorian chants of the Mass and
embellishing chant genres that are found only in Pa903. These repertories (Chapters IV
and V) account for ten neo-Gregorian chants in the Mass genres, thirteen antiphons, and
twenty-six prosulas and prosas: a total of forty-nine chants without concordances to
AMS, CAO, or the other Aquitanian graduals. 19 The antiphons and prosas were
principally reserved to major Gregorian feasts of the temporal with a group assigned to
the neo-Gregorian feast of Aredius. The neo-Gregorian chants for the Mass that were
fully written out in Pa903 were assigned to the neo-Gregorian feasts for Aredius (in five
Mass genres), the Finding of the Cross (introit and alleluia), Barnabas, Martial, and the
Translation of Benedict. These chants are indicative of a vigorous group of musicians
associated with St. Yrieix, who particularly contributed versions of their liturgical music
traditions in the Pa903 gradual.
18 These include the online Globalchant and Cantus-Planus databases, as well as the Bryden and
Hughes Index.
19 Identifying St. Yrieix-unique tropes was beyond the scope of this work.
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