"Now the third hour draws nigh." (Adt1 Cia.)
Jam surgit Lora tentia, Qus. Terce [inserted] (Propaii de tempore) [end inserted] S. Ambrose
1) Analecta Hymnica Medii Aevi edited by GM Dreves + C. Bleme
vol I-1886, vol 53-1911 (Vol.50 p.12)
2) Repertorium Hymnologicum - 1st seies in 2 vols 1892 + 1897
I nos I-22256 (#9400)*
3) Meanns p.46 Walpole p.40
MOnastic Hymnanies
Benidistine Cluniac
Augustinian Dominican
Carthusion Fransciscan
Cistercian
[inserted] Meanns [end inserted] Written in France - Cambridge. U.L. Add 3322 Cistercian Brau.
of c. 1250 H. 309-317
Written in Germany - London. B.M. Add 34750 CIstercian H. of XIII to
melodies on 4 lines stave from West of the Rhine
Written in Italy - Rome. Vat. Vat. lat 83 Ps etc of c. 1000,
for Ambrosian rite H. 207-227b.
[inserted] #4400 [end inserted] *Quaduag., Palm, domin, fest. Dom. et. oct.) L.3-8xh,d.
S. Ambrosians BB. Ambrosian (1700-830); Benadines;
Cistere. (1511), lxvjc. Cass.,
I. Williams + Hys. the. from the Parisian Breuiany - 1839.
Gothic names ("Hufnagelschnift") the typical Germanic form
of names in the High Middle Ages.
Whereas the golden age of the cultivation of Gregorian Chant recognized
several signs as standing for the same [?] - 3 for a descending
reume of 3 tones + as many as 6 for Two descending Tones, a single
basic Type is now employed for each number,
/: 1= P =t
climacus ancus
/!/ / v y=L
podatus pas volubilis epiphonus franculus
-Originally the central tone of a melodic figure was fixed by mc[?]
of a single line + line + this Tone could be F, D, GnA. But soon
the mute F is universally fixed, to which is added a C line above or below the others
EN