| Preface and Acknowledgment | p. xi |
| Bibliography | p. xiii |
| The Liturgy and its Development | |
| Definition and Terminology | p. 3 |
| The Structure of the Liturgy | p. 6 |
| The Liturgical Year | p. 6 |
| The Liturgical Day | p. 13 |
| The Liturgical Books | p. 15 |
| Ordinary and Proper | p. 17 |
| The Office Hours | p. 19 |
| The Mass | p. 23 |
| Exceptional Masses | p. 28 |
| Origin and Development to c. 600 | p. 33 |
| The Pre-Christian Roots | p. 34 |
| Historical Data from the First to the Eigth Centuries | p. 38 |
| From the First Century to c. 380 | p. 43 |
| From Damasus to Gregory | p. 46 |
| The Development after 600 | p. 51 |
| The Sources | p. 51 |
| The Cycle of Feasts | p. 56 |
| The Mass Formularies | p. 61 |
| The Music | p. 74 |
| General Aspects of the Chant | |
| The Texts | p. 87 |
| The Psalms | p. 87 |
| Psalm Verses | p. 89 |
| Non-psalmodic Texts | p. 95 |
| The Notation | p. 99 |
| The Standard Notation | p. 100 |
| The Basic Neumes | |
| The Liquescent Neumes | |
| The Repercussive Neumes | |
| The Early Neumes | p. 108 |
| The Development of Neumatic Notation | p. 118 |
| The Notation of the Solesmes Books | p. 123 |
| The Problem of Rhythm | p. 126 |
| The Tonality | p. 133 |
| The Church Modes | p. 133 |
| Modal Classification and Distribution | p. 137 |
| Modal Characteristics of the Melodies | p. 140 |
| The Regular Chants | |
| Limited Range | |
| Excessive Range | |
| The B-flat | |
| Transposition | |
| Modal Ambiguity | |
| Methods and Forms of Psalmody | p. 179 |
| Direct Psalmody | p. 179 |
| Responsorial Psalmody | p. 180 |
| Antiphonal Psalmody | p. 185 |
| Questions of Performance | p. 196 |
| Stylistic Analysis | |
| The Liturgical Recitative | p. 201 |
| General Observations | p. 201 |
| The Tones for the Readings and Prayers | p. 203 |
| The Psalm Tones | p. 208 |
| Psalm Tones and Psalm Texts | p. 214 |
| Psalm Tones and Antiphons | p. 217 |
| The Tones of the Canticles | p. 226 |
| The Tones for the Introits | p. 228 |
| The Tones for the Great Responsories | p. 234 |
| The Tones of the Invitatory Psalm | p. 241 |
| The Short Responsories | p. 244 |
| The Free Compositions: General Aspects | p. 246 |
| Characteristics of Melodic Design | p. 247 |
| Total Range | |
| Phrase Structure | |
| Melodic Progressions | |
| Repetition of Melodic Units | |
| Cadences | |
| Melody and Text | p. 266 |
| Textual and Melodic Phrases | |
| The Textual Accent | |
| The Sustaining (Melismatic) Accent | |
| The Tonic Accent | |
| The Cursus | |
| Expression, Mood, Word-Painting | |
| The Free Compositions According to Types | p. 305 |
| The Introits | p. 305 |
| The Communions | p. 311 |
| The Tracts | p. 312 |
| The Tracts of the Eighth Mode | |
| The Tracts of the Second Mode | |
| The Great Responsories | p. 330 |
| The Responsories of Mode 2 | |
| The Responsories of Mode 8 | |
| The Other Responsories | |
| The Graduals | p. 344 |
| The Graduals of Mode 5 | |
| The Graduals of Mode 1 | |
| The Graduals of Modes 3 and 4 | |
| The Graduals of Modes 7 and 8 | |
| The Gradual-Type Justus ut Palma | |
| The Offertories | p. 363 |
| The Alleluias | p. 375 |
| The Antiphons | p. 392 |
| The Chants of the Mass Ordinary | p. 405 |
| The Kyrie | |
| The Gloria | |
| The Credo | |
| The Sanctus | |
| The Agnus Dei | |
| The Mass Ordinary as a Cycle | |
| The Hymns | p. 421 |
| The Tropes | p. 429 |
| The Textual Tropes | |
| The Textual-Musical Tropes | |
| The Musical Tropes | |
| The Sequences | p. 442 |
| Ambrosian Chant | p. 465 |
| The Liturgical Year | p. 467 |
| The Liturgical Day | p. 468 |
| The Psalm Tones | p. 470 |
| The Office Chants | p. 472 |
| The Ordinary Chants of the Mass | p. 475 |
| The Proper Chants of the Mass | p. 476 |
| Modality | p. 480 |
| Concluding Remarks | p. 481 |
| The Old-Roman Chant | p. 484 |
| The Sources for the Mass Chants | p. 485 |
| The Introits | p. 487 |
| The Communions | p. 489 |
| The Offertories | p. 490 |
| The Graduals | p. 492 |
| The Tracts | p. 494 |
| The Alleluias | p. 496 |
| The Sources for the Office Chants | p. 499 |
| The Responsories | p. 500 |
| The Antiphons | p. 502 |
| The Problem of Chronology | p. 503 |
| Conclusion: Prolegomena to a History of Gregorian Style | p. 507 |
| Index | p. 517 |
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