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additional sections of antiphons, tropes, prosulas, and prosas following the gradual,
however, were not published in PM13. In the ensuing decades, Clyde Brockett published
an article about the entire repertory of antiphons of Pa903, including those from the
unpublished section. 7 Cheryl Frasch analyzed the diastematic notational system of
Aquitanian neumes in Pa903 that permits accurate determination of pitch in the absence
of clef and staff (the latter were not used in Aquitanian notation). 8 The concordances of
various chant genres with Pa903 and the other Aquitanian sources have also been
published for alleluias 9 and for Lenten offertories and all of the offertory prosulas. 10 The
tropes of Pa903 have been included in various studies: introit and communion tropes,
tropes of the Mass Ordinary, and contributions to the larger trope repertory produced at
St. Martial of Limoges, a leading center of early trope composition. 11 Finally, by virtue
of its transmission of traditional Gallican chant and other specialized repertories, Pa903
7 C.W. Brockett, “Unpublished Antiphons and Antiphon Series Found in the Gradual of St.
Yrieix,” Musica Disciplina 26 (1972): 5-35.
8 Cheryl Crawford Frasch, “Notation as a Guide to Modality in the Offertories of Paris, B.N. lat.
903,” in 2 Vols. Ph. D. diss., The Ohio State University, 1986.
9 Sr. Anthony Marie Herzo, “Five Aquitainian Graduals: Their Mass Propers and Alleluia
Cycles,” Ph.D. diss., University of Southern California, 1966; and Amanda Schmidt Burt, “The Alleluias
in the Manuscript Paris, Bibliotheque Nationale, f. lat. 903,” Ph.D. diss., The Catholic University of
America, 1969.
10 Grover Allen Pitman, “The Lenten Offertories of the Aquitanian Manuscripts,” Ph. D. diss.,
The Catholic University of America, 1972. Roman Hankeln, Die Offertoriumsprosuln der aquitanischen
Handschriften voruntersuchungen zur Edition de-s acquitanischen Offertoriumscorpus und seiner
Erweiterungen, Band I Darstellung, Band II Indices, Tafeln, kritischer Bericht, Band III Edition
(Tutzing: Verlegt bei Hans Schneider, 1999).
11 Greta Mary Hair, “Troped Introits and Communions from Eleventh-Century Aquitaine
Manuscript Paris Bibliothèque Nationale fonds Latin 903 : A Study in Musical Reconstruction,” Thesis
(Ph. D.) in 3 vols.University of Sydney, 1988. Also David A. Bjork, The Aquitaine Kyrie Repertory of the
Tenth and Eleventh Centuries, Richard Crocker, ed. (Aldershot, UK: Ashgate Publishing Limited, 2003),
and Gunilla Iversen, “A Thematic Study on Tropes from Different Traditions,” in Pax et Spientia: Studies
in the Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson, Corpus
Troporum (Stockhom: Almqvist And Wiksell, 1986) 28: 23-58. A study of Limousin troping style is given
in Jacques Chailley, “Les anciens tropaires et séquentiaires de l’école de saint-Martial de Limoges (X˚- XI˚
s),” Études gregoriennes II (1957): 163-188.
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