An extensive bibliography can also be found in Stevens, John and Rastall, Richard, s.v. “Medieval Drama,” in NG2, vol. xvi: 261–67.Google Scholar

de la Halle, Adam. Le Jeu de Robin et Marion, ed. Shwam-Baird, Shira I., Garland Library of Medieval Literature Series A, vol. 94. New York: Garland, 1994; music ed. Sheuerman, Milton G. Jr., 93–108.Google Scholar

Ashley, Kathleen, and NeCastro, Gerard, eds. Mankind, TEAMS: Middle English Text Series. Kalamazoo, MI: Medieval Institute Publications, 2010.Google Scholar

Avalle, d’A. S. and Monterosso, R., eds. Sponsus: dramma delle vergini prudenti e delle vergini stolte. Milan: Ricciardi, 1965.Google Scholar

Axton, Richard and Stevens, John, trans. Medieval French Plays. Oxford: Blackwell, 1971.Google Scholar

Baker, Donald C., Murphy, John L., and Hall, Louis B. Jr., eds. The Late Medieval Religious Plays of Bodleian Mss Digby 133 and E Museo 160, Early English Text Society O.S. 283. Oxford University Press, 1982.Google Scholar

Barr, Cyrilla. The Monophonic Lauda and the Lay Religious Confraternities of Tuscany and Umbria in the Late Middle Ages, Early Drama, Art, and Music Monograph Series 10. Kalamazoo, MI: Medieval Institute Publications, 1988.Google Scholar

Bartholomaeis, Vincenzo de. Laude drammatiche e Rappresentazioni sacre, 3 vols. Florence: Le Monnier, 1943.Google Scholar

Bartsch, Karl. Chrestomathie provençale (1904), 6th ed., ed. Koschwitz, Eduard. Geneva: Slatkine, 1973.Google Scholar

Beadle, Richard, ed. The York Plays. Oxford University Press, 1982.Google Scholar

Bevington, David. Medieval Drama. Boston: Houghton Mifflin, 1975.Google Scholar

Bowles, Edmund A. “The Role of Musical Instruments in Medieval Sacred Drama,” The Musical Quarterly 45 (1959), 67–84.Google Scholar

Brown, Howard Mayer. Music in the French Secular Theater, 1400–1550. Cambridge, MA: Harvard University Press, 1963.Google Scholar

Campbell, Thomas P. and Davidson, Clifford. The Fleury Playbook: Essays and Studies, EDAM monograph series 7. Kalamazoo, MI: Medieval Institute Publications, 1985.Google Scholar

Chailley, Jacques. “La nature musicale du Jeu du Robin et Marion,” in Mélanges d’histoire du théâtre du Moyen Age et de la Renaissance offerts à Gustave Cohen. Paris: Nizet, 1951, 111–17.Google Scholar

Chailley, Jacques. ed., Le Jeu du Robin et Marion. Paris: Choudens, 1986.Google Scholar

Chambers, E. K. The Mediaeval Stage, 2 vols. Oxford University Press, 1903.Google Scholar

Cohen, Gustave. Le livre de conduite de régisseur et le compute des dépenses pour la mystère de la Passion joué à Mons en 1501. Strasbourg: Istra, 1925.Google Scholar

Coleman, William, ed. Philippe de Mézières’ Campaign for the Feast of Mary’s Presentation,Toronto Medieval Latin Texts 11. Toronto: Pontifical Institute of Mediaeval Studies, 1981.Google Scholar

Corbin, Solange. La déposition liturgique du Christ au Vendredi Saint: Sa place dans l’histoire des rites et du théâtre religieux. Paris: Les Belles Lettres, 1960.Google Scholar

Coussemaker, Edmond de, ed. Drames liturgiques du Moyen-Age. Rennes: H. Vater, 1860.Google Scholar

Davidson, Clifford, Walsh, Martin, and Broos, Ton J., eds. Everyman and Its Dutch Original, Elckerlijc. Kalamazoo, MI: Medieval Institute Publications, 2007.Google Scholar

Donovan, Richard B. The Liturgical Drama in Mediaeval Spain. Toronto: Pontifical Institute of Mediaeval Studies, 1958.Google Scholar

Dox, Donnalee. The Idea of the Theater in Latin Christian Thought: Augustine to the Fourteenth Century. Ann Arbor: University of Michigan Press, 2004.Google Scholar

Dreimüller, Karl. Die Musik des Alsfelder Passionsspiels. Vienna, n.p., 1936.Google Scholar

Dutka, Joanna. Music in the English Mystery Plays. Kalamazoo, MI: Medieval Institute Publications, 1980.Google Scholar

Elliott, Kenneth and Shire, Helena M., eds. Music of Scotland 1500–1700, Musica Britannica xv. London: Stainer & Bell, 1957.Google Scholar

Encina, Juan. Obras dramáticas i, ed. Gimeno, Rosalie. Madrid: Istmo, 1975.Google Scholar

Encina, Juan. Teatro, ed. Gimeno, Rosalie. Madrid: Alhambra, 1977.Google Scholar

Evans, M. Blakemore. The Passion Play of Lucerne: An Historical and Critical Introduction. New York: Modern Language Association of America, 1943.Google Scholar

Falvey, Kathleen C. “Italian Vernacular Religious Drama of the Fourteenth to Sixteenth Centuries: A Select Bibliography of the Laude Drammatiche and the Sacre Rappresentazioni,” Research Opportunities in Renaissance Drama 26 (1983), 125–44.Google Scholar

Fernandez, Lucas. Farsas y églogas, ed. Moreno, Juan Miguel Valero. Salamanca: Ediciones Universidad de Salamanca, 2002–04.Google Scholar

Flanigan, C. Clifford. “Liturgical Drama and Dramatic Liturgy: A Study of the Quem Queritis Easter Dialogue and Its Cultic Context.” Ph.D. dissertation, Washington University, 1973.Google Scholar

Flanigan, C. Clifford. “Medieval Latin Music-Drama,” in The Theatre of Medieval Europe: New Research in Early Drama, ed. Simon, Eckehard. Cambridge University Press, 1991, 21–41.CrossRefGoogle Scholar

Flanigan, C. Clifford. “Medieval Liturgy and the Arts: Visitatio Sepulchri as Paradigm,” in Liturgy and the Arts in the Middle Ages: Studies in Honour of C. Clifford Flanigan, ed. Lillie, Eva Louise and Petersen, Nils Holger Copenhagen: Museum Tusculanum Press, 1993, 9–35.Google Scholar

Frank, Grace. The Medieval French Drama. Oxford: Clarendon Press, 1964.Google Scholar

Froning, Richard. Das Drama des Mittelalters, 3 vols. Stuttgart: Union Deutsche Verlagsgesellschaft, 1891–92.Google Scholar

Handschin, Jacques. “Das Weihnachts-Mysterium von Rouen als musikgeschichtliche Quelle,” Acta Musicologica 7 (1935), 97–110.Google Scholar

Hardison, Osborne B. Christian Rite and Christian Drama in the Middle Ages. Baltimore: Johns Hopkins University Press, 1965.Google Scholar

Hiley, David. Western Plainchant: A Handbook. Oxford University Press, 1993, esp. 250–73.Google Scholar

Hoepffner, Ernest. “Les intermèdes musicaux dans le Jeu provençal de Sainte-Agnès,” in Mélanges d’histoire du théâtre du Moyen Âge et de la Renaissance offerts à Gustave Cohen. Paris: Nizet, 1951, 97–104.Google Scholar

Janota, Johannes. Frankfurter Dirigierrolle, Frankfurter Passionsspiel. Mit den Paralleltexten der “Frankfurter Dirigierrolle,” des “Alsfelder Passionsspiels,” des “Heidelberger Passionsspiels,” des “Frankfurter Osterspielfragments” und des “Fritzlarer Passionsspielfragments,” Die Hessische Passionsspielgruppe, vol. i. Tübingen: Niemeyer, 1997.Google Scholar

Janota, Johannes. Die Hessische Passionsspielgruppe, 6 vols. Tübingen: Niemeyer, 1996–.Google Scholar

Jeanroy, Alfred and Gérold, T héodore, eds. Le Jeu de Sainte Agnès, drame provençal du XIV^e siècle. Paris: Champion, 1931.Google Scholar

Johnston, Alexandra F. and Hüsken, Wim, eds. English Parish Drama, Ludus 1. Amsterdam: Rodopi,1996.Google Scholar

King, Pamela M. and Davidson, Clifford, eds. The Coventry Corpus Christi Plays, Early Drama, Art, and Music Monograph Series 27. Kalamazoo, MI: Medieval Institute Publications, 2000.Google Scholar

Klausner, David N., ed., The Castle of Perseverance, TEAMS: Middle English Text Series. Kalamazoo, MI: Medieval Institute Publications, 2010.Google Scholar

Klausner, David N., ed., “Music,” in A Companion to the Medieval Theatre, ed. Vince, Ronald. New York: Greenwood, 1989, 257–64.Google Scholar

Klausner, David N., ed., “Vernacular Drama,” in A Performer’s Guide to Medieval Music, ed. Duffin, Ross. Bloomington: Indiana University Press, 2000, 253–63.Google Scholar

Klausner, David N., ed., Two Moral Interludes: “The Pride of Life” and “Wisdom,” TEAMS: Middle English Text Series. Kalamazoo, MI: Medieval Institute Publications, 2009.Google Scholar

Kubinyi, András. “Spielleute und Musiker von Buda in der Jagello-Epoche,” Studia Musicologia Academiae Scientiarum Hungaricae 9 (1967), 77–97.Google Scholar

Kümin, Beat. “Music in the English Parish, c. 1400–1600,” in Music and Musicians in Renaissance Cities and Towns, ed. Kisby, Fiona. Cambridge University Press, 2001, 70–81.Google Scholar

Larson, Orville K. “Bishop Abraham of Souzdal’s Description of Sacre Rappresentazioni,” Educational Theatre Journal 9/3 (1957), 208–13.Google Scholar

Lewanski, Julian. Dramaty staropolskie, 6 vols. Warsaw: Państwowy Instytut Wydawniczy, 1959–63.Google Scholar

Lipphardt, Walther. “Das hessische Weihnachtspiel,” Convivium symbolicum 2 (1958).Google Scholar

Lipphardt, Walther. Lateinische Osterfeiern und Osterspiele, 6 vols. Berlin: de Gruyter, 1975–81.Google Scholar

Lipphardt, Walther. “Marienklage und Liturgie,” Jahrbuch für Liturgiewissenschaft 12 (1932), 198–205.Google Scholar

Lipphardt, Walther. “Studien zu den Marienklagen,” Beiträge zur Geschichte der deutschen Sprache und Literatur 58 (1934), 390–444.Google Scholar

Lipphardt, Walther. Die Weisen des lateinische Osterspiele des 12. und 13. Jahrhunderts. Kassel: Bärenreiter, 1948.Google Scholar

Livermore, Ann. “The Spanish Dramatists and Their Use of Music,” Music & Letters 25 (1944), 140–49.CrossRefGoogle Scholar

Longtin, Mario and Lemaire, Jacques, eds. Le Mystère de sainte Barbe en cinq journées. Orléans: Paradigme, forthcoming.Google Scholar

Lozano, Tomás. Cantemus al alba: Origins of Songs, Sounds, and Liturgical Drama of Hispanic New Mexico, ed. and trans. Montoya, Rima. Albuquerque: University of New Mexico Press, 2007.Google Scholar

Lumiansky, Robert M., and Mills, David, eds. The Chester Mystery Cycle, 2 vols., Early English Text Society Supplementary Series 3–4. London: Oxford University Press, 1974.Google Scholar

Lumiansky, R.M., and Mills, David, eds. The Chester Mystery Cycle: Essays and Documents. Chapel Hill: University of North Carolina Press, 1983.Google Scholar

Macardle, Peter. The St. Gall Passion Play: Music and Performance. Amsterdam: Rodopi, 2007.Google Scholar

Maddox, Donald and Sturm-Maddox, Sara, eds. Parisian Confraternity Drama of the Fourteenth Century: The Miracles de Nostre Dame par personnages. Turnhout: Brepols, 2008.Google Scholar

Meier, Rudolph, ed. Das Innsbrucker Osterspiel. Stuttgart: Reclam, 1963.Google Scholar

Meredith, Peter and Tailby, John. The Staging of Religious Drama in the Later Middle Ages: Texts and Documents in English Translation, Early Drama, Art and Music Monograph Series 4. Kalamazoo, MI: Medieval Institute Publications, 1982, esp. 152–59 (music) and 173–75 (dance).Google Scholar

Milchsack, Gustav. Egerer Fronleichnamsspiel. Tübingen: Literarischen Vereins in Stuttgart, 1881.Google Scholar

Muir, Lynette. Liturgy and Drama in the Anglo-Norman Adam. Oxford University Press, 1973.Google Scholar

Norris, Edwin, ed. The Ancient Cornish Drama, 2 vols. Oxford University Press, 1859.Google Scholar

Ogden, D. H., ed. The Play of Daniel: Critical Essays, with a Transcription of the Music by A. Marcel J. Zijlstra. Kalamazoo, MI, Medieval Institute Publications, 1996.Google Scholar

Osthoff, Helmut. “Deutsche Liedweisen und Wechselgesänge im mittelalterlichen Drama,” Archiv für Musikforschung 7 (1942).Google Scholar

Osthoff, Helmut. Die Musik im Drama des deutschen Mittelalters: Quellen und Forschungsziele. Kassel: Bärenreiter, 1943.Google Scholar

Petersen, Nils Holger. “Biblical Reception, Representational Ritual, and the Question of ‘Liturgical Drama,’” in Sapientia et Eloquentia: Meaning and Function in Liturgical Poetry, Music, Drama, and Biblical Commentary in the Middle Ages, ed. Iversen, Gunilla and Bell, Nicolas. Turnhout: Brepols, 2009, 163–201.Google Scholar

Rankin, Susan. “The Music of the Medieval Liturgical Drama in France and in England.” Ph.D. dissertation, University of Cambridge, 1981.Google Scholar

Rankin, Susan. “Shrewsbury School Manuscript vi: A Medieval Part Book?” Proceedings of the Royal Musical Association 102 (1975–76), 129–44.Google Scholar

Rastall, Richard. The Heavens Singing: Music in Early English Religious Drama i. Cambridge: D. S. Brewer, 1993.Google Scholar

Rastall, Richard, Minstrels Playing: Music in Early English Religious Drama ii. Cambridge: D. S. Brewer, 2001.Google Scholar

Rastall, Richard, “Music and Liturgy in Everyman: Some Aspects of Production,” in Leeds Studies in English N.S. 29: Essays in Honour of Peter Meredith, ed. Batt, Catherine. Leeds University, 1998, 305–14.Google Scholar

Rastall, Richard, “Music in the Cycle” in The Chester Mystery Cycle: Essays and Documents, ed. Lumiansky, R. M. and Mills, David. Chapel Hill: University of North Carolina Press, 1983, 111–64.Google Scholar

Records of Early English Drama. Toronto: University of Toronto Press, 1979–2010; Woodbridge: Boydell & Brewer, 2010–.Google Scholar

Romeu i Figueras, Josep, ed. Teatre hagiographic, 3 vols. Barcelona: Barcino, 1957.Google Scholar

Salazar, A. “Music in the Primitive Spanish Theatre before Lope de Vega,” Papers of the American Musicological Society (1938), 94–108.Google Scholar

Schuler, Ernst. Die Musik der Osterfeiern, Osterspiele und Passionen des Mittelalters. Kassel: Bärenreiter, 1951.Google Scholar

Sheingorn, Pamela. The Easter Sepulchre in England. Kalamazoo, MI: Medieval Institute Publications, 1987.Google Scholar

Shergold, Norman D. A History of the Spanish Stage from Medieval Times until the End of the Seventeenth Century. Oxford: Clarendon Press, 1967.Google Scholar

Smoldon, W.L. The Music of the Medieval Church Dramas. London: Oxford University Press, 1980.Google Scholar

Smoldon, W.L. ed. Sponsus. London: Oxford University Press, 1972.Google Scholar

Spatz, Nancy. “Church Porches and the Liturgy,” in The Liturgy of the Medieval Church, ed. Heffernan, Thomas J. and Ann Matter, E.. Kalamazoo, MI: Medieval Institute Publications, 2001, 327–67.Google Scholar

Spector, Stephen, ed. The N-Town Plays, Early English Text Society Supplementary Series 11–12, 2 vols. Oxford University Press, 1991.Google Scholar

Stevens, John. “Music in Medieval Drama,” Proceedings of the Royal Musical Association 84 (1958), 81–95.Google Scholar

Stevens, John. Words and Music in the Middle Ages. Cambridge University Press, 1986.Google Scholar

Stevens, John and Rastall, Richard. “Medieval Drama,” in NG2, vol. xvi, 227–67.Google Scholar

Stevens, Martin and Cawley, Arthur C., eds. The Towneley Plays, 2 vols., Early English Text Society Supplementary Series 13–14. Oxford University Press, 1994.Google Scholar

Sticca, Sandro. The Planctus Mariae in the Dramatic Tradition of the Middle Ages. Athens, GA: University of Georgia Press, 1988.Google Scholar

Stokes, Whitley, ed. Beunans Meriasek. London: Trübner, 1872.Google Scholar

Tailby, John E. “Lucerne Revisited: Facts and Questions,” in Leeds Studies in English N.S. 29: Essays in Honour of Peter Meredith, ed. Batt, Catherine. Leeds: Leeds University Press, 1998, 347–58.Google Scholar

Traversa, Vincenzo. The Laude in the Middle Ages. New York: Peter Lang, 1994.Google Scholar

van Dijk, Hans. “The Drama Texts in the Van Hulthem Manuscript,” in Kooper, E., ed., Medieval Dutch Literature in Its European Context. Cambridge University Press, 1994, 283–96.Google Scholar

Veltrusky, Jarmilla F. “Medieval Drama in Bohemia,” Early Drama, Art and Music Review 15 (1993), 51–63.Google Scholar

Veltrusky, Jarmilla F. A Sacred Farce from Medieval Bohemia: Mastičkář. Ann Arbor: Horace H. Rackham School of Graduate Studies, The University of Michigan, 1985.Google Scholar

Vicente, Gil. Obras, ed. Camões, José, 5 vols. Lisbon: Imprensa Nacional-Casa de Moeda, 2002.Google Scholar

Wilkins, Nigel. “Ballade,” in NG2, vol. ii: 551–52.Google Scholar

Wilkins, Nigel. “Music in the 14th-Century Miracles de nostre dame,” Musica Disciplina 28 (1974), 39–75.Google Scholar

Wolf, Klaus. Kommentar zur “Frankfurter Dirigierrolle” und zum “Frankfurter Passionspiele.” Tübingen: 2002; supp. vol. 1 to Die Hessische Passionsspielgruppe, ed. Janota, Johannes.Google Scholar

Woodfill, Walter L. Musicians in English Society. Princeton, NJ: Princeton University Press, 1963.Google Scholar

Wyatt, Diana. “Performance and Ceremonial in Beverley before 1642.” Ph.D. dissertation, University of York, 1983.Google Scholar

Young, Abigail A. “Plays and Players: The Latin Terms for Performance,” REED Newsletter 9/2 (1984)), 56–62; 10/1 (1985), 9–16.Google Scholar

Young, Karl. The Drama of the Medieval Church, 2 vols. Oxford University Press, 1933, repr. 1967.Google Scholar