The manuscript 3314/15 of the Universitäts- und Landesbibliothek at Darmstadt (originally from Seligenstadt) contains a fragment of a mid-twelfth-century tonary that is essentially identical to interpolations in the tonary of Theoger of Metz transmitted in the manuscript Kassel, 4o Mss. Math. 1. The Seligenstadt tonary is of especial interest, inasmuch as it is one of the first sources to cite differentiae peregrinae in addition to the ordinary differentiae for the psalm tones in each of the ecclesiastical modes. These irregular differentiae were designated ‘peregrinae’ for the first time by Berno. Differentiae peregrinae are occasionally mentioned in the south German cultural sphere during the twelfth century, but by the fourteenth and fifteenth centuries they were being discussed frequently. It is precisely at this time that the fourth differentia of the eighth ecclesiastical mode came to be known as the ‘tonus peregrinus’.

Between the eighth and the thirteenth centuries the southern part of the Iberian Peninsula was dominated by its Arab and Berber conquerors and their direct political heirs. In this large and rich territory, called Andalus, an original mixture of Eastern and Western cultural elements gradually emerged. The southward expansion of the northern Christian kingdoms, beginning in the eleventh century, eventually displaced, circumscribed and debilitated Andalusian culture, which finally found in northwestern Africa its only stable refuge. Although the literary and artistic achievements of Andalus have long attracted attention, the place of music in medieval Andalusian culture has not lately been subject to close scrutiny. The present study, based largely on the analysis of Andalusian survivals in contemporary North African musical traditions, will attempt to identify what could have been the most typical musical forms of Andalusian song and evaluate their possible influence on the thirteenth-century Cantigas de Santa Maria and French secular song.

New photographic images and digital restoration have finally permitted the integral restoration and transcription of several diminutions from the manuscript Faenza, Biblioteca Comunale Manfrediana 117, hitherto impossible because of illegible passages. Above all, it has been possible to restore two completely new pieces: a Kyrie Orbis factor (virtually complete) and part of its corresponding Gloria dominicalis (Vatican Edition XI). The two new pieces are here transcribed and published for the first time, along with the completion of the diminution of Jacopo da Bologna's madrigal Sotto l'impero with the aid of photographic material and virtual restoration.

In her article on Edward IV's household minstrels Helen Marsh Jeffries asked many pertinent questions and went much of the way towards answering them. There is more information available than she suggested, however, so that some of her speculations were unnecessary and others less well informed than they might have been. The royal minstrels, far from being ignored by scholars, have been discussed as thoroughly as the evidence allows by the historian Rosalind Conklin (now Conklin Hays) and myself. I should therefore like here to take up some of the ideas contained in her article, to add to her commentary and to place some of her comments in context. This process will not always result in a clearer picture, but it will perhaps paint a fuller and more helpful one in some respects.

Liturgical chant bibliography 13 maintains the division of material established in previous editions of the bibliography: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies (mostly reviews) directly follow this introduction.