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20 Willi Apel, Gregorian Chant, 126. P. Mahrt, “Sacred Music: Chant,” in A Performer’s Guide to
21 Ibid., 127. Singing Early Music, 17.
22 Lance W. Brunner, “The Performance of Plainchant: Some 41 Timothy McGee, “‘Ornamental’ Neumes and Early Nota-
Preliminary Observations of the New Era,” Early Music tion,” 56.
10, no. 3 (1982): 318–19, http://www.jstor.org.proxyiub. 42 The quilisma is represented by some editors, such as Pfau,
uits.iu.edu/stable/3126197. Brunner makes a distinc- as a repeated pitch and the higher note occurring togeth-
tion between the “Equalist” style of the 1904 Vatican er under a slur without a graphic symbol to indicate a
Council and the later “Solesmes” style that additional- special performance element.
ly allowed for longer and shorter note values, with the 43 Liber Usualis, (1962), xij.
musical pulse being grouped into two or three pitches 44 Willi Apel, Gregorian Chant, 115; William P. Mahrt, “Chant,”
independent of the syllabic stress of the text, with the in A Performer’s Guide to Medieval Music ed. Ross Duffin (Indi-
“Equalist” style being more text-driven. ana University Press 2000), 17; David Hiley, Western Plain-
23 Ibid. chant, 358. Trillo here referring to the seventeenth-century
24 Willi Apel, Gregorian Chant, 130–31. Apel’s summary is definition of a rearticulated note that increases in rapidity;
based on the work of Solesmes Monk and Gregorian gruppetto implying a four-note turn including the pitch above
chant scholar Dom Joseph Pothier. and below the primary note.
25 Ibid., 130. 45 Timothy McGee, The Sound of Medieval Song, 18.
26 Liber Usualis, xx. 46 Ibid., 22.
27 David Hiley, Western Plainchant, 373. The other scholars ref- 47 Ibid., 20.
erenced in this sentence include a similar indication of 48 Newman, introduction to Symphonia, 30.
rhythmic differentiation between individual neumes and 49 Mahrt, “Sacred Music: Chant,” 16-17; McGee, The Sound
neume groups. of Medieval Song, 20.
28 Timothy McGee, “Medieval Performance Practice” in The 50 Special thanks to Dr. David MacNeil for the inspiration he
Cambridge History of Medieval Music, ed. Mark Everist and provided in score markings.
Thomas Forrest Kelly (Cambridge University Press: 51 Barbara Newman, introduction to Hildegard, Symphonia,
2018), 585. 31-32.
29 Liber Usualis, xiv. 52 Ibid., 31.
30 Timothy J. McGee, The Sound of Medieval Song: Ornamentation 53 Hildegard, The Letters of Hildegard of Bingen, trans. Joseph L.
and Vocal Style According to the Treatises (Oxford: Clarendon Baird, and Radd K. Ehrman (New York: Oxford Univer-
Press, 1998), 43. The term “ornamental” is to be un- sity Press, 1994) vol. I, Letter 23, 78.
derstood as “something added to the musical phrase in 54 John D. White, “The Musical World of Hildegard of Bin-
order to grace it,” not something “additional.” gen,” 13. White describes a vision in Scivias entitled “The
31 Timothy J. McGee, “‘Ornamental’ Neumes and Early No- Vision of the Virtues.”
tation,” Performance Practice Review 9, no. 1, article 5 (1996): 55 Mark D. Pell, Laura Monetta, Silke Paulmann, and Sonja A.
41. DOI: 10.5642/perfpr.199609.01.05 Kotz, “Recognizing Emotions in a Foreign Language,”
32 Ibid., 53. An example of bistropha from Riesencodex: Journal of Nonverbal Behavior 33 (2009): 107–108, https://
33 Liber Usualis, summarizing Guido d’Arezzo, xij. doi.org/10.1007/s10919-008-0065-7.
34 David Hiley, Western Plainchant, 357. 56 1 Corinthians 13:12.
35 Timothy McGee, The Sound of Medieval Song, 48. 57 Frederick C. Bartlett, Remembering: A Study in Experimental and
36 Willi Apel, Gregorian Chant, 104. Social Psychology (Cambridge University Press,1964), 213
37 Grove Music Online, s.v. “Oriscus,” (2001). in Treitler, “The ‘Unwritten’ and ‘Written Transmis-
38 Timothy McGee, The Sound of Medieval Song, 55-56 and Mc- sion.’”
Gee, “‘Ornamental’ Neumes and Early Notation,” 56. 58 Hildegard, The Letters of Hildegard of Bingen, vol. I, Letter
39 David Hiley, Western Plainchant, 359–60. 32r, 100.
40 Liber Usualis, xij. A similar description is found in William

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