Porter, Dot2023-05-232022-07-272022-07-272022-07-27https://repository.upenn.edu/handle/20.500.14332/46635Miniature manuscript of music and prayers from a monastic context. The manuscript has a pedagogical slant, beginning with the seven tones and some of the ordinary chants (Kyrie, Gloria, Ite missa est) written out repeatedly in different tones. It ends with a diagram of a Guidonian hand, a tool attributed to the 11th-century musical theorist Guido d'Arezzo and used in the 12th through 16th centuries for teaching sight-singing, and a ladder diagram of the gamut. Most of the content of the manuscript consists of brief chants for the liturgical cycle, with more extensive chants for Holy Week, including part of the Lamentations of Jeremiah (f. 54v-58r), and for the Office of and Mass for the Dead (Officium defunctorum, Missa pro defunctoris). The only antiphons indicated from the sanctoral cycle are for the Finding of the Holy Cross (May 3, f. 30r) and the Apparition of Saint Michael (May 8, f. 30v). Beginning of musical notation (primus tonus, secundus tonus) now lacking, perhaps 1-2 leaves; a catchword on the last leaf of musical notation suggests that at least one more gathering is missing between the last two. The musical notation is followed by prayers to Saint Michael, Saint Helena, and Saint Katherine of Alexandria, and a number of prayers for the death and burial of different categories of people, including priests, parents, and members of the order, with brief rubrics.Guido d'ArezzoCatholic Church -- Liturgy -- TextsCatholic ChurchLiturgicsGregorian chants -- ManuscriptsGregorian chantsSinging -- Instruction and study -- Early works to 1800Singing -- Instruction and studyTonariusTextsCodices (bound manuscripts)ChoirbooksGregorian chantsManuscripts Latin -- 15th centuryManuscripts Renaissance.Medieval StudiesMusicMusic PedagogyRenaissance StudiesArticle