About the Authors Maria José Azevedo Santos earned a doctorate in Medieval History at the University of Coimbra (1989) and is professor of Paleography and Diplomatics, a member of the Institute of Paleography and Diplomatics and a researcher at the Center of History of Society and Culture at the same university. Head of the Arquivo da Universidade de Coimbra and elected member of the International Latin Paleography Committee, she has devoted most of her research and teaching to medieval Latin and Portuguese paleography, diplomatics and codicology, fields in which she has given lectures and seminars at prestigious European universities and scientific institutions (Universidad Autónoma de Barcelona, the universities of Alcalá de Henares, León, Salamanca, Louvain la Neuve, and the Czech Academy of Sciences). She has written numerous pioneering publications in a field of study in which there is a paucity of tradition of research in Portugal, such as De la visigótica a la carolina. La escritura en Portugal de 882 a 1172 (1994), directed by Manuel C. Díaz y Díaz, with which she earned her doctorate and which is the first Portuguese work on medieval Latin diplomatics and paleography. M.ª Dolores Barrios Martínez graduated in arts from the University of Zaragoza, is head of the Archivo General de la Diputación Provincial de Huesca, and runs the Archivo Capitular of Huesca. Director of the Remembrance Collection of the Study Institute of Upper Aragón, she specializes in medieval history and has published several works on the history of Aragón: Libro del Castillo de Sesa (1982), Una explotación agrícola del siglo xiii (Sesa, Huesca) (1983), Mujeres aragonesas del siglo xi (2004), and Documentos de Montearagón (1058-1205) (2004). Màrius Bernadó studied music at the Barcelona Conservatory and graduated in Philosophy and Art History (specialising in Music) from the Universidad Autónoma de Barcelona and in Liturgy from the Faculty of Theology of Catalonia. A lecturer in the History of Music at the University of Lleida, he works primarily on 15th-16th century plainsong, especially through the study of liturgical documents. He runs the DeMusica collection of the Reichenberger publishing house and has published, among other articles, “Sobre el origen y la procedencia de la tradición himnódica hispánica a fines de la Edad Media” and “Adaptación y cambio en repertorios de himnos durante los siglos xv and xvi: algunas observaciones sobre la práctica del canto mensural en fuentes ibéricas”. In collaboration with Maricarmen Gómez Muntané, he edited the Actas del Coloquio Internacional Fuentes Musicales en la Península Ibérica (ca. 1250ca. 1550). Susan Boynton studied musicology at Yale University, earned a doctorate in Musicology at Brandeis University, an MA in Medieval Studies at Yale University, and a diploma in Medieval Studies at the Catholic University of Louvain-la-Neuve. An associate professor in the Department of Music at Columbia University, her main areas of research are Medieval Latin hymnaries, hymn glosses, monastic consuetudines and liturgical usage at the abbeys of Farfa and Cluny. Among her publications are “A Lost Mozarabic Liturgical Manuscript Rediscovered. New York, Hispanic Society of America, B2916, olim Toledo, Chapter Library, 33.2” (2002), “Orality, Literacy, and the Early Notation of the Office Hymns” (2003), “The Didactic Function and Context of Eleventh-Century Glossed Hymnaries” (2004), “The Theological Role of Office Hymns in a Ninth-Century Trinitarian Controversy” (2005) and Shaping a Monastic Identity. Liturgy and History at the Imperial Abbey of Farfa, 1000-1125 (2006). She is currently writing a book on Andrés Marcos Burriel’s study of the Visigothic manuscripts in the Cathedral of Toledo. 478 hispania vetus: musical-liturgical manuscripts Eva M.ª Castro Caridad has a doctorate from the University of Santiago de Compostela and is professor of Latin Philology there. Her doctoral thesis, supervised by professor Manuel C. Díaz y Díaz, focused on the study of the liturgical tropes in the mass that have survived in Hispanic manuscripts, research that earned her the Extraordinary Doctorate Award. She has done research at Stockholm and Cambridge universities. Her work has focused on religious poetry, especially liturgical poetry, and Medieval Latin dramas, fields in which, among others, the following publications stand out: Tropos y troparios hispánicos (1991), Teatro Medieval 1: El drama litúrgico (1997), and Dramas escolares latinos (siglos xii-xiii) (2001). Manuel Cecilio Díaz y Díaz has a doctorate in Classical Philology from the University of Madrid and doctorates honoris causa from the universities of Lisbon, Salamanca, León and Coimbra. He has lectured in Latin Philology at the universities of Valencia (1953), Salamanca (1956), and Santiago de Compostela (1968-1989), where he is a professor emeritus. A National Research Prize winner (1998), he has published, among other works, Libros y librerías en la Rioja altomedieval (1979), Códices visigóticos en la monarquía leonesa (1983), and Manuscritos visigóticos del sur de la Península (1995). Marco Daniel Duarte is a graduate and doctoral student in the History of Art in the Faculty of Arts at the University of Coimbra and is a corresponding member of the Portuguese Academy of History and a member of the Department of Liturgy and Sacred Music of the diocese of Guarda. He has been awarded a scholarship by the Portuguese Ministry of Science, Technology and Higher Education Foundation for Science and Technology. His area of specialization is religious art, especially in the fields of iconography and iconology. Among his most important publications are Cunhar e tecer as cortes de Leiria de 1254 (2006) and Arte sacro en Fátima. Una peregrinación estética (2006). Maricarmen Gómez Muntané studied Music at the Liceo Conservatory and Musicology at Göttingen University and earned a doctorate in Philosophy and Letters at the University of Barcelona. She has lectured on Early Music at the Universidad Autónoma de Barcelona since 1997 and has been visiting professor at Princeton University (1989-1990), at the University of North Texas (1996) and at the École Normale Supérieure in Paris (2003); Director-at-Large of the International Society of Musicology (1987-1997) and has collaborated on numerous international studies. Her publications include La música en la casa real catalanoaragonesa 1336-1432 (1979), which won the National Musicology Prize (1977), El Llibre Vermell de Montserrat (1990), El Canto de la Sibila (1996, 1997), La música medieval en España (2001), and El Cancionero de Uppsala (2003). She is currently preparing a critical edition on the musical genre of the ensalada. Ramón Gonzálvez Ruiz graduated in Ecclesiastical History and Theology from the Gregorian University in Rome, obtained a diploma in archival studies from the Vatican University, and earned a doctorate in Medieval History at the Universidad Complutense de Madrid. Emeritus archivist canon at the Cathedral of Toledo and director of the Royal Academy of Fine Art and Historical Sciences of Toledo, he is professor in the History of the Church at the San Ildefonso Theological Institute in Toledo, professor at the University College of Toledo and a corresponding member of the Royal Academy of History (Madrid) and Real Academia de Bellas Artes de Sant Jordi (Barcelona). His main research area is the medieval history of the Church of Toledo, focusing especially on subjects linked with books, culture, the Mozarabic liturgy and ethnic-religious minorities. He is the author of Hombres y libros de Toledo (1997) and “Blas Ortiz y su mundo”. La Catedral de Toledo 1549, según el doctor Blas Ortiz, Descripción Graphica y Elegantissima de la S. Iglesia de Toledo (1999), and has also supervised and coordinated La Biblia de san Luis de la Catedral de Toledo (2003, 2004) and Cuatro estudios sobre la imprenta incunable de Toledo (2006). He is currently preparing a book titled Historia de la Iglesia de Toledo. Miquel Sants Gros Pujol studied Liturgy and Gregorian Chant at the Advanced Liturgy Institute at the Catholic Institute in Paris, at the École des Chartes and at the Gregorian Chant Institute also in Paris. A Presbyter in the Bishopric of Vic, he is currently head of the Archivo-Biblioteca Episcopal in the city and diocese of Vic and chairman of the Catalonian Society of Liturgical Studies, a branch of the Institute of Catalonian Studies. His main research area is the liturgical history of the Catalonian/Narbonne tradition, a subject on which he has published widely. He has also edited Els tropers prosers de la Catedral de Vic (1999). Barbara Haggh graduated in Germanic Philology from the University of Nebraska-Lincoln, earned a doctorate in Musicology from the University of Illinois-Urbana, and lectures on Musicology in the School of Music at the University of Maryland. She has been awarded scholarships by the American Council of Learned Societies (ACLS), International Research and Exchanges about the authors (IREX), National Endowment for the Humanities (NEH), American Philosophy Society, the British Academy, the Catholic University of Louvain, the Leverhulme Trust and the Free University of Brussels, and her research fields focus on Carolingian theory, early notational systems, the cultural background of Paris in the 13th century, and lost or little-studied musical repertoires: offices of the saints, late plainsong, urban music, and music on manuscript fragments. She has written more than fifty articles on medieval sacred monody, the theory of music, urban music, and the Burgundian order of the Golden Fleece. She has edited the earliest office in honor of St. Isabel of Hungary, and published several books of essays on medieval sources and musicology, as well as editing a volume in honor of Herbert Kellman on subjects ranging from Norman poetry to the music of Piazzolla. At the moment she is preparing a monograph on the 9th century treatise, Musica disciplina; several studies on medieval Marian office; and a study on two ordinarium missals from Ghent and Dijon, as well as an article, together with Michel Huglo, on the manuscripts of the Sainte-Chapelle in Paris. Michel Huglo a PhD at the University of Paris IV (Sorbonne) (1969), earned a doctorate in Musicology at the University of Paris X (Sorbonne, 1981), and is main researcher emeritus at the National Center for Scientific Research (CNRS) in Paris, which awarded him the Silver Medal for research (1987). Senior research professor of Musicology in the Department of Musicology and Ethnomusicology at the School of Music of the University of Maryland and corresponding member of the American Musicological Society (1997), he has been a scientific researcher for the CNRS since 1962 and head researcher since 1972, founder of the Musicology section at the Text History and Research Institute (IRHT) in Paris (1976), and professor of Medieval Musical Paleography at the École Pratique des Hautes Études (Paris IV Sorbonne) (1973-1986) and of Latin Paleography with regard to musical sources at the Free University of Brussels (1974-1987). Visiting Professor at the University of Vienna (1990) and New York University (1993), and Visiting Mellon Professor at the Institute for Historical Study at Princeton University (1990-1991), he has also been made a doctor honoris causa by the University of Chicago (1991). He has written more than two hundred articles on the history and sources of Gregorian chant, the theory of medieval music, and the primitive organum; among his most important publications are the edition of Le Graduel Romain 2: Les sources, and inventories of processionals and of manuscripts of music theory in the Middle Ages. Gunilla Iversen has a doctorate in Classical Philology, is professor of Latin and Head of the Latin Department at the University of Stockholm, and head of the international research project Sapientia and Eloquentia: Meaning and Function in the Poetry, Music and Drama of the Medieval Latin Liturgy, and in Biblical Commentaries”. She is a specialist in Latin poetry in the medieval liturgy and is the editor of Studia Latina Stockholmiensia, has edited several volumes in the Corpus Troporum series, and is currently preparing the edition of tropes of the Gloria in excelsis. She is the author of numerous studies on Latin poetry in the Middle Ages, Hildegard of Bingen, and Catullus; one of her most important publications is Chanter avec les anges. Poésie dans la messe médiévale: interprétations et commentaires (2001). José López-Calo has a degree in Arts from the University of Granada and earned a doctorate in History at the University of Santiago de Compostela and in Musicology at the Pontifical Institute of Sacred Music in Rome. A Jesuit priest and professor emeritus of the History of Music at the University of Santiago de Compostela, he is the author of numerous works and articles especially devoted to music in Spanish cathedrals, and he coedited the Diccionario de la música española e hispanoamericana (10 vols., 1999-2002). Among his best-known works are several catalogs of cathedral archives, such as the Catálogo del Archivo de Música de la Catedral de Ávila (1978) and the catalog of the Archivo Capitular of Valladolid (in press), as well as historical monographs on the Middle Ages and the 17th century, especially La música en la Catedral de Granada (1963); La música en la Catedral de Palencia (1980); La música medieval en Galicia (1982); Historia de la música española. Siglo xvii (1983); La música en Galicia (1988); and La música en la Catedral de Burgos (2003). Shin Nishimagi has a doctorate in Musicology and is a postdoctoral researcher at the École Pratique des Hautes Études (4th Section) in Paris. He has studied Musicology at Waseda University in Tokyo and has been a Research Fellow of the Japan Society for the Promotion of Science for Young Scholars. His main research field is the study of manuscript sources, especially medieval liturgical-musical ones. M.ª Concepción Peñas García is a lecturer in Music at the Universidad Pública de Navarra. Her main research areas are the history of sacred peninsular monophony and musical pedagogy. She won the National Musicology prize in 1982 for a study of music in Spanish evangeliaries. A great expert on the liturgical tradition of the popular repertoire in the kingdom of Navarre, among her numerous publications are La música en los evangeliarios españoles (1983), Catálogo de los fondos 479 480 hispania vetus: musical-liturgical manuscripts musicales de la Real Colegiata de Roncesvalles (1995), Música y tradición en Estella (2000), Los cantorales de Cisneros. Estudio y presentación del Cantoral (2004), and Fondos musicales históricos de Navarra. Siglos xii-xvi (2004). Elisa Ruiz García earned a doctorate in Classical Philology at the Universidad Complutense de Madrid. She lectures on Paleography and Diplomatics at the Complutense and has been a professor of Greek at the INEM. Her main areas of research deal with the semiotic and anthropological aspects of written culture, codicology, the history of books and libraries, and the relationship between written culture and religiosity in the 15th century. Her publications include Manual de codicología (1988); Hacia una semiología de la escritura (1992); Catálogo de la Sección de códices de la Real Academia de la Historia (1997); Los libros de Isabel la Católica. Arqueología de un patrimonio escrito (2004); and Libro de horas de los retablos. Ms. Vitr. 25.3 de la Biblioteca Nacional (2005). Miguel Carlos Vivancos Gómez is a monk at the Monastery of Santo Domingo de Silos (Burgos). He is a graduate in Theological Sciences of the Faculty of Theology of Northern Spain (See of Burgos) and earned a doctorate in History at the University of Valladolid. He has been archivist and librarian at the Monastery of Silos and has published numerous works on medieval documents, the codicology and paleography of mainly Visigothic manuscripts, and various subjects related to monastic history. His main publications include Documentación del Monasterio de Santo Domingo de Silos (954-1254) (1988); Glosas y notas marginales de los manuscritos visigóticos del Monasterio de Santo Domingo de Silos (1996); Las glosas silenses (2001); Biblia de san Luis. Catedral Primada de Toledo (2002); and, in collaboration with Fernando Vilches, La regla de San Benito. Traducción castellana del siglo xv para uso de los monasterios de San Millán y Silos (2001). Ludwig Vones has a doctorate in Medieval History from the University of Cologne and is a lecturer there in Medieval History. His main research areas are the medieval history of France and the Iberian Peninsula, the history of the papacy in the Middle Ages, especially in Avignon; cultural and religious exchange in the Iberian Peninsula and the Western Mediterranean; the development and spread of heretical trends and the history of the Staufens and other late-medieval dynasties. He is currently running the Iberia Pontificia-Provincia Tarraconensis research project, which focuses on identifying the relations between the Holy See and the dioceses and churches in the ecclesiastical province of Tarraconense until 1198, with a special emphasis on Catalonia. He is the author, among other publications, of Die ‘Historia Compostellana’ und die Kirchenpolitik des nordwestspanischen Raumes 1070-1130. Ein Beitrag zur Geschichte der Beziehungen zwischen Spanien und dem Papsttum zu Beginn des 12. Jahrhunderts (1980); Geschichte der Iberischen Halbinsel im Mittelalter, 711-1480. Reich-Kronen-Regionen (1993); and Kirchenreform zwischen Kardinalkollegium, Kurie und Klientel (1998). Susana Zapke graduated in Romance Philology and Musicology at the University of Cologne and earned a doctorate in Musicology at the University of Hamburg. She studied piano and double bass at conservatories in San Sebastián, Bayonne and Freiburg. She is a lecturer in Musicology at the universities of Cologne, Stuttgart, Salamanca and Vienna and has been working as a researcher for the BBVA Foundation since 2003. From 1993 to 1998, her research focused on western sacred monophony within the framework of the habilitation project promoted by the Deutsche Forschungsgemeinschaft (DFG) and the Lise-Meitner-Programm (Ministry of Science and Research, Düsseldorf ). Her main fields of research include 9th12th century liturgical-musical sources (with a special emphasis on the Visigothic rite, the transition to the Roman rite and the new genres of medieval Latin lyric poetry), 15th-16th century poetic-musical compositions and the change in formal and aesthetic models in the early decades of the 20th century (modernism, second Viennese school). She has published Falla. Entre la tradición y la vanguardia (1999) and the Spanish version of Constantin Floros’ book Alban Berg-Hanna Fuchs. Un amor epistolar (2005), and her other publications include El Antifonario de San Juan de la Peña, siglos x-xi (1995), Das Antiphonar von Santa Cruz de la Serós, xii Jh. (1996) and Fragmentos litúrgico-musicales de la Edad Media en archivos de Aragón (2007). She is currently preparing a study of Schönberg’s literary works in the context of modernist thought.