caa a22 4500 386312125 CHVBK 20180307111552.0 cr unu---uuuuu 161130e198801 xx s 000 0 eng 10.1017/S0143491800001136 doi S0143491800001136 pii (NATIONALLICENCE)cambridge-10.1017/S0143491800001136 Merkley Paul Tonaries and melodic families of antiphons [Elektronische Daten] [Paul Merkley] One theory of the origin, development and structure of the chant repertoire is that the thousands of individual pieces in it arose from the adaptation of new texts to a small number of melodies, or melodic ‘themes'. First put forward by Gevaert, this theory, which will be referred to here as the thematic theory, has, in different forms, been the basis of studies of the transmission of antiphons, and is now being applied to the repertories of Old-Roman and Ambrosian chant. The main demonstration of the validity of the theory must take place, of course, in studies of the repertoire itself; we shall be convinced if musical and liturgical evidence supports the idea of adaptation and suggests a chronological development. It is nevertheless important to examine music-historical witnesses ancillary to the chant repertoire, for it is often the case that related documents reveal something unexpected about the main repertoire, or serve as a means of confirming points for which evidence is lacking. Copyright © Cambridge University Press 1988 Journal of the Plainsong and Mediaeval Music Society Cambridge University Press 11(1988-01), 13-24 0143-4918 11<13 1988 11 JPM https://doi.org/10.1017/S0143491800001136 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0143491800001136 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Merkley Paul NATIONALLICENCE 773 0- Journal of the Plainsong and Mediaeval Music Society Cambridge University Press 11(1988-01), 13-24 0143-4918 11<13 1988 11 JPM CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge