Chants based on Crucem tuam in the second medial mode are examined in Greek, Slavonic and Latin sources. Central to the discussion is the role of Jerusalem in the dissemination of the modal system. On the Latin side, the emphasis is on Old Roman melodies, showing how they reproduce the prototypes more faithfully than Beneventan or Frankish melodies. The analysis does not support certain conclusions regarding the origins of the modal system and the relationship of Old Roman and Gregorian melodies advanced by Robert Snow, Helmut Hucke and Leo Treitler.

Pistoia, Archivio capitolare, manuscripts C.119, C.120 and C.121 – two twelfth-century graduals and a troper from the cathedral of San Zeno – are relatively small, undecorated choirbooks copied during a time when the cathedral chapter gained unprecedented wealth, power and autonomy. This study closely connects the choirbooks to their cultural milieu and specifically to two high-ranking Pistoiese clerics who were likely involved in their manufacture. By examining the political and social environment in which they were created, this article places the manuscripts in a specific historical context and uses paleographical and historical evidence to date them between 1108 and as early as 1116.

The Ave Maria remains the most widely repeated prayer in Christian devotional life, and music has played a critical role in its formation and propagation. This article reviews the essential contribution of music in the dissemination of texts based on the original verses from the gospel of Luke, with new evidence concerning the tradition of affixing a petition to the core devotion. While the Ave Maria remained unfixed in form and function until the sixteenth century, this article presents three significant examples from the corpus of Ars Antiqua polyphony in which versions of the text that include both the biblical verses and a supplicatory conclusion are not only used, but are also emphasised through polyphonic techniques.