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And one of the central features of later manuscripts produced at Saint Martial that these two fragments anticipate is the grouping of liturgical chant by genre rather than liturgical assignment. Under this system, instead of placing in sequence the constituent chants for a given feast across the various liturgical genres, pieces of the same genre, like processional antiphons or Proper tropes, occur together. The fragments in Pa 1834 and 1085 show these genres placed in separate manuscripts, but the eleventh-century codices from Saint Martial, beginning with Pa 1120, collect the liturgical genres into libelli that in turn constitute the component parts of the codex.

Furthermore, he felt he could enlist the enthusiasm of the general population of Limoges through the spectacular Mass he had designed, and, with his skilful manipulation of the Office, the older monks at the abbey. There was one constituency, however, on whose opposition he had not counted, and that was the community of canons at the cathedral. Clearly, he supposed that the bishop’s endorsement of the apostolicity would be sufficient to guarantee at least their complacency if not their open support.

To confirm the musical content of a particular feast, say that of Saint Michael, the cantor or soloist would have to consult each of the libelli in turn. Without an index and often with a sparing supply of rubrics, this task would be prohibitively time-consuming. My conclusion, amplified in Chapter 2 below, is that these books found principal employment among those who needed to learn the full repertory 32 33 Emerson, “Fragments of a Troper,” p. 371b; and CT 3:269–73. See also Planchart, “The Transmission of Medieval Chant,” pp.

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