1. Life, and problems of identification

2. Work
     Notre Dame School    Magnus liber organi    Pérotin's musical forms and style    Pérotin's compositions    List of works  

3. Influences

4. See also

5. Notes

6. References

7. Bibliography
     Books    Historical sources    Chapters    Dictionaries and encyclopaedias    Articles    Audiovisual    Websites    Scores  

8. List of selected recordings

{{infobox person

Perotinus Magnus (fl. c. 1200), (Pérotin the Great, Magister Perotinus) was a composer from around the late 12th century, associated with the Notre Dame school of polyphony in Paris and the ars antiqua musical style. The title Magister Perotinus, means that he was licensed to teach. The only information on his life with any degree of certainty comes from an anonymous English student at Notre Dame known as Anonymous IV. It is assumed that he was French and named Pérotin, a diminutive of Peter, but attempts to match him with persons in other documents remain speculative.

Life, and problems of identification

Pérotin, about whom little is known, most likely lived around the end of the 12th and beginning of the 13th century and is presumed to have been French.{{sfn|Roesner|2001}} The only definitive information on his life comes from a brief mention attributed to the musical theorist Johannes de Garlandia{{efn|Sed proprietas praedieta vix tenetur in aliquibus, quod patet in quadruplieibus magistri Perrotini per totum in principio magni voluminis, quae quadrupla optima reperiuntur et proportionata et in eolore eonservata, ut manifeste ibidem patet{{sfn|Garlandia|1972|loc=i:96}}}}{{efn|Johannes de Garland was long thought to be the author, but is more likely to have been the editor of an existing manuscript}} (fl.c.1270–1320) in his De Mensurabili Musica,{{sfn|Garlandia|1994}}{{sfn|Baltzer|2001}}{{sfn|Waite|1960}} and four references{{sfn|Dittmer|1959|loc=21,36,40,66}} in the works of an English student, known today as Anonymous IV,{{efn|At one stage Anonymous IV was thought to be a pupil of Johannes de Garlandia, but this is unlikely,{{sfn|Baltzer|2001}} and the name is a misnomer, derived from the title of notes by Charles-Edmond-Henri de Coussemaker, Anonymus IV. These were probably notes taken by the student in lectures{{sfn|Taruskin|2006|loc=242}}}}{{sfn|Wright|1989|loc=288}}{{sfn|Anonymous IV|1967|loc=i:46}} including this, most commonly cited paragraph;{{sfn|Dittmer|1959|loc=36}}

These rules were used in many older books; this was so during and after the time of Perotinus the Great. Nevertheless, they did not know how to distinguish these notes from those which will be presented shortly. This was so even since the time of Leo, because two ligated notes were put for the durational value of a brevis longa, and in a similar manner, three ligated notes were quite often used for a longa brevis, longa. People say Maître Leonin was the best composer of Organum (optimus organista), he composed the Great Organum Book for the gradual and antiphonary in order to prolong the divine service. This book remained in use until the time of the great Perotin who abridged it and composed clausules and sections that were many in number and better because he was the best composer of descant (optimus discantor). This Magister Perotinus made the best quadrupla, such as Viderunt and Sederunt, with an abundance of striking musical embellishments [colores armonicae artis]; likewise, the noblest tripla, such as Alleluia, Posui adiutorium and [Alleluia], Nativitas etc. He also made three-voice conductus, such as Salvatoris hodie, and two-voice conductus, such as Dum sigillum summi Patris, and also, among many others, monophonic conductus, such as Beata viscera etc. The book, that is, the books of Magister Perotinus, were in use in the choir of the Paris cathedral of the Blessed Virgin up to the time of Magister Robertus de Sabilone,{{efn|Robertus de Sabilone fl. 1250{{sfn|Jenny|1942}}}} and from his time up to the present day.{{efn|Et nota, quod magister Leoninus, secundum quod dicebatur, fuit optimus organista, qui fecit magnum librumorgani de gradali et antifonario pro servitio divino multiplicando. Et fuit in usu usque ad tempus Perotini Magni, qui abbreviavit eundem et fecit clausulas sive puncta plurima meliora, quoniam optimus discantor erat, et melior quam Leoninus erat. Sed hoc non [est] dicendum de subtilitate organi etc. Ipse vero magister Perotinus fecit quadrupla optima sicut Viderunt, Sederunt cum habundantia colorum armonicae artis (...) similiter est tripla plurima nobilissima sicut Alleluia Posui adiutorium Nativitas}}{{sfn|Vellard|1986}}{{sfn|Haines|2006}}{{sfn|Roesner|2001}}

There have been many speculative attempts to identify Pérotin with members of the Notre Dame administration,{{efn|For instance the elaborate reconstruction of his career by Craig Wright{{sfn|Wright|1989|loc=294}}}} but these have not generally been accepted.{{sfn|Roesner|2001}}{{sfn|EWB|2004}} Of the several people with that name (Petrus) that have been suggested, the commonest are Petrus Cantor (died 1197), a theologian and a Petrus, who was Succentor at Notre Dame ca. 1207–1238.{{sfn|Jenny|1942}}{{sfn|Wright|1989|loc=294}}{{sfn|Tischler|1950}} Of these two, Petrus Succentor has been suggested as more probable, in part on chronological grounds, and partly because of the succentor's role in overseeing the celebration of the liturgy in the cathedral (whose choir was dedicated 1182),{{sfn|Roesner|2001}} but this is purely speculative, resting on an assumption that the composer held some important rank in the cathedral hierarchy.{{sfn|Tischler|1950}}{{sfn|Roesner|2018}}

Pérotin is considered to be the most important member of the Notre Dame school of polyphony, a group of composers working at or near the cathedral in Paris from about 1160 to 1250, creators of the ars antiqua style.{{sfn|Asensio|1997}} The dates of Pérotin's life and works have long been a subject of debate,{{sfn| Gastoué|1917}} but are generally thought to be from about 1155/60 (or earlier) to around 1200/05 (or later), based on the evolution of French choral writing during this time (see Works), in particular, his apparent absence from the flowering of the French motet that occurred after 1210.{{sfn|Tischler|1950}}{{sfn|Tischler|1963}}{{sfn|Sanders|1967}}

Pérotin was one of very few composers of his day whose name has been preserved, and can be reliably attached to individual compositions, most of which have been transcribed.{{sfn|Anderson|1972}} Anonymous IV called him Magister Perotinus (Pérotinus the Master).{{sfn|Pinegar|1995}} The title, employed also by Johannes de Garlandia, means that Perotinus, like Léonin, earned the degree magister artium, almost certainly in Paris, and that he was licensed to teach. However, only Anonymous IV employed the superlative Perotinus Magnus (Perotinus the Great).{{sfn|Wright|1989|loc=288}} The name Perotinus, the Latin diminutive of Petrus, is assumed to be derived from the French name Pérotin, diminutive of Pierre. However "Petrus" was one of the most common names in the Ile de France during the High Middle Ages, making further identification difficult.{{sfn|Wright|1989|loc=288}} The diminutive was presumably a mark of respect bestowed by his colleagues. The title Magnus was a mark of the esteem in which he was held, even long after his death.{{sfn|Roesner|2001}}

Work

Notre Dame School

The reign of Louis VII (1137–1180) witnessed a period of cultural innovation, in which appeared the Notre Dame school of musical composition, and the contributions of Léonin, who prepared two-part choral settings (organa) for all the major liturgical festivals.{{sfn|Cedarville|2018}} This period in musical history has been described as a paradigm shift of lasting consequence in musical notation and rhythmic composition, with the development of the organum, clausula, conductus and motet.{{sfn|Bradley|2018|loc=1}} The innovative nature of the Notre Dame style stands in contrast to its predecessor, that of the Abbey of St Martial, Limoges, replacing the monodic (monophonic) Gregorian chant with polyphony (more than one voice singing at a time). This was the beginning of polyphonic European church music. Organum at its roots involves simple doubling (organum duplum or organum purum) of a chant at intervals of a fourth or fifth, above or below.{{sfn|Sherr|2019}} This school also marked a transition from music that was essentially performance to a less ephemeral entity that was committed to parchment, preserved and transmitted to history. It is also the beginning of the idea of composers and compositions, the introduction of more than two voices and the treatment of vernacular texts. For the first time, rhythm became as important as pitch, to the extent that the music of this era came to be known as musica mensurabilis (music that can be measured). These developments and the notation that evolved laid the foundations of musical practice for centuries. The surviving manuscripts from the thirteenth century together with the contemporaneous treatises on musical theory constitute the musical era of ars antiqua. The Notre Dame repertory spread throughout Europe. In Paris polyphony was being performed in the late 1190s but later sources imply that some of the compositions date back as far as the 1160s. Although often linked to the construction of the cathedral itself, construction commenced in 1163 and the altar consecrated in 1182. However there was evidence of musical creativity there from the early twelfth century.{{sfn|Roesner|2018}}

Léonin's work was distinguished by two distinctive organum styles, purum and discantus.{{sfn|Sherr|2019}}{{sfn|Tischler|1950}} This early polyphonic organa was still firmly based on Gregorian chant, to which a second voice was added. The chant was called the tenor (cantus firmus or vox principalis),{{sfn|Johnson|2012|loc=24}} which literally “holds” (Latin: tenere) the melody.{{sfn|Johnson|2012|loc=24}} The tenor is based on an existing plainsong melody from the liturgical repertoire (such as the Alleluia, Verse or Gradual, from the Mass, or a Responsory or Benedicamus from the Office). This quotation of plainchant melody is a defining characteristic of thirteenth century musical genres.{{sfn|Bradley|2018|loc=3}} In organum purum the tenor part was drawn out into long pedal points, while the upper part or duplum contrasted with it in a much freer rhythm, consisting of melisms (melismatic or several notes per syllable, compared to syllabic, a single note per syllable). In the second, discantus, style, the tenor was allowed to be melismatic, and the notes were quicker and more regular with the upper part becoming equally rhythmic. These more rhythmic sections were known as clausulae (puncta).{{sfn|Tischler|1950}} Another innovation was the standardization of note forms, and Léonin's new square notes were quickly adopted. Although he developed the discantus style, Léonin's strength was as a writer of organum purum.{{sfn|Tischler|1950}} The singing of organa fell into disuse by the mid thirteenth century.{{sfn|Jenny|1942}} Associated with the Notre Dame school, was Johannes de Garlandia, whose De mensurabili provided a theoretical basis, for Notre Dame polyphony is essentially musica mensurabilis, music that is measured in time. In his treatise, he defines three forms of polyphony, organum in speciali, copula, and discant, which are defined by the relationship of the voices to each other and by the rhythmic flow of each voice.{{sfn|Roesner|2018}}

Magnus liber organi

Léonin compiled his compositions into a book, the Magnus liber organi (Great Organum Book), around 1160. Pérotin's works are preserved in this compilation of early polyphonic church music, which was in the collection of the cathedral of Notre Dame in Paris.{{efn|Three different versions of the Magnus liber exist, and also some additional fragments{{sfn|Tischler|1984}}}} The Magnus liber also contains the work of his successors.{{sfn|Tischler|1984}} In addition to two-part organa, rhis book contains three- and four-part compositions in four distinct forms: organa, clausulae, conducti and motets, and three distinct styles. In the organum style the upper voices are highly mobile over a tenor voice moving in long unmeasured notes. The discant style has the tenor moving in measured notes, but still more slowly than the upper voices. The third style has all voices moving note on note, and is largely limited to conductus.{{sfn|Wallace|1993}} The surviving sources all commence with a four-voice organal setting of the Christmas Gradual, Viderunt omnes,{{efn|Viderunt omnes fines terrae All the ends of the earth have seen}} believed to be Pérotin's, as most likely did the original Liber.{{sfn|Baltzer|1987}} However, the manuscripts and fragments that survive{{efn|One of the earliest, ca. 1227 being the Beauvais manuscript{{sfn|GB-Lbl Egerton 2615|2019}}}} date well into the thirteenth century, meaning that they are preserved in a form notated by musicians working several generations following Léonin and Pérotin.{{sfn|Fassler|1987}}{{sfn|Bradley|2018|loc=4}} This collection of music constitutes the earliest known record of polyphony to have the stability and circulation achieved earlier by monophonic Gregorian chant.{{sfn|Roesner|2018}}

Pérotin's musical forms and style

Louis VII was succeeded by his son Philip II in 1179 and his reign was marked by integration and revision of the cultural shifts that had transpired under his father.{{sfn|Tischler|1950}} It was during this time that the compositions of Pérotin first appeared, and a shift towards a more predominant discantus style.{{sfn|Tischler|1950}} Pérotin is best known for his composition of both liturgical organa and non-liturgical conducti in which the voices move note on note. He pioneered the styles of organum triplum and organum quadruplum (three and four-part polyphony){{sfn|EB|2016}}{{sfn|Perotin|1999}} and his Viderunt omnes and Sederunt principes,{{efn|Sederunt principes et adversum me loquebantur Princes sat and plotted against me}} Graduals for Christmas{{efn|At Notre Dame Viderunt was sung at the new feast of the Circumcision on January 1{{sfn|Taruskin|2006|loc=243}}}} and the feast of St Stephen's Day (December 26) respectively{{sfn|Latham|2011|loc=Sederunt principes}}{{sfn|Latham|2011|loc=Viderunt omnes}} are among only a few organa quadrupla known, early polyphony having been restricted to two-part compositions.{{sfn|Tischler|1963}}{{sfn|Perotin|1999}} With the addition of further parts, the compositions became known as motets, the most important form of polyphony of the period. Pérotin's two Graduals for the Christmas season represent the highest point of his style, with a large scale tonal design in which the massive pedal points sustain the swings between consecutive harmonies, and an intricate interplay among the three upper voices.{{sfn|Hiley|2011}} Pérotin also furthered the development of musical notation, moving it further from improvisation.{{sfn|Wallace|1993}} Despite this, we know nothing of how these works came about.{{sfn|Bradley|2018|loc=4}}

In addition to his own compositions, as noted by Anonymous IV, Pérotin set about revising the Magnus Liber Organi.{{sfn|Tischler|1950}} Léonin's added duplum required skill, and had to be sung fast with up to 40 notes to one of the underlying chant, as a result of which the actual text progressed very slowly. Pérotin shortened these passages, while adding further voice parts to enrich the harmony.{{sfn|Wilson-Dickson|2003|loc=51}} The degree to which he did this has been debated due to the phrase abbreviavit eundem by Anonymous IV. Usually translated as abbreviate, it has been surmised that he shortened the Magnus liber by replacing organum purum with discant clausulae or simply replacing existing clausulae with shorter ones. Some 154 clausulae have been attributed to Pérotin but many other clausulae are elaborate compositions that would actually expand the compositions in the Liber, and these stylistically resemble his known works which are on a much grander scale than those of his predecessor, and hence do not represent "abbreviation". An alternative rendering of abbreviavit is to write down, suggesting that he actually prepared a new edition using his better developed system of rhythmic notation, including mensural notation, as mentioned by Anonymous IV.{{sfn|Roesner|2001}}{{sfn|Berger|1996}}

Two styles emerged from the organum duplum, the "florid" and "discant" (discantus). The former was more typical of Léonin, the latter of Pérotin, though this indirect attribution has been challenged.{{sfn|Berger|2005|loc=40}} Anonymous IV described Léonin as optimus organista (the best composer of organa) but Pérotin, who revised the former's Magnus Liber Organi (Great Organum Book), as optimus discantor referring to his discant composition.,{{sfn|Vellard|1986}} In the original discant organum duplum, the second voice follows the cantus firmus, note on note but at an interval, usually a fourth above. By contrast, in the florid organum, the upper or vox organilis voice wove shorter notes around the longer notes of the lower tenor chant.{{sfn|Johnson|2012|loc=24}}{{sfn|Planchart|2000|loc=30}}

Pérotin's compositions

Anonymous IV mentions a number of compositions which he attributes to Pérotin,{{sfn|Roesner|2001}} including the four-voice Viderunt omnes and Sederunt principes, and the three-voice Alleluia "Posui adiutorium" and Alleluia "Nativitas".{{sfn|Anonymous IV|1967|loc=1:46, 82}} Johannes de Garlandia states that the Magnus Liber commences with Perotin's four-part organa, and makes specific reference to the notation in the three-part Alleluya, Posui adiutorium.{{efn|Alia regula de eodem. Sed non probatur per istam artem, sed bene probatur per exemplum, quod invenitur in Alleluja Posui adjutorium, in triplo scilicet quatuor cum proprietate et perfectione et tres et tres et tres cum proprietate etc., ut sumitur in hoc exemplo}}{{sfn|Waite|1960}} Other works are attributed to him by later scholars, such as Heinrich Husmann, on stylistic grounds,{{sfn|Husmann|1940}} all in the organum style, as well as the two-voice Dum sigillum summi Patris and the monophonic Beata viscera{{efn|O blessed womb}}{{efn|{{harvnb|Asensio|1997}} maintains that the Beata was attributed to Pérotin by Anonymous IV {{sfn|Asensio|1997}}}} in the conductus style.{{sfn|Roesner|2001}} (The conductus sets a rhymed Latin poem called a sequence to a repeated melody, much like a contemporary hymn.) By tradition, the four-part pieces of the Notre Dame school have been attributed to Pérotin, leaving the two-part pieces to Léonin.{{sfn|Asensio|1997}} The former include the three-part conductus Salvator hodie.{{sfn|Gattermayer|2006|loc=94}}{{sfn|Perotin|1970}} The latter is placed in the Mass for the Circumcision in a 13th century French manuscript.{{sfn|GB-Lbl Egerton 2615|2019}}{{sfn|Roesner|2001}} Of these, the best known works are his Viderunt omnes and Sederunt principes.{{sfn|Wallace|1993}} These have been described as representing the peak of musical development of the time.{{sfn|Jenny|1942}}{{sfn|Hiley|2011}}

Most of Pérotin's works are in polyphonic form of discant, including the quadrupla and tripla. Here the upper voices move in discant, as rhythmic counterpoint above the sustained tenor notes. This is consistent with Anonymous IV's description of him as optimus discantor. However, like Léonin, he is likely to have composed in every musical genre and style known to Notre Dame polyphony.{{sfn|Roesner|2018}}

Pérotin's dates of activity have been approximated from some late 12th century edicts (Statuta et donationes piae){{sfn|Migne|1855|loc=70–74}} of the Bishop of Paris, Odo (Eudes de Sully){{efn|Odo de Soliaco Parisiensis Episcopus}} (1196–1208), in 1198 and 1199. Rebuked by Pierre de Capuano, the papal legate of the time, the bishop sought to reform the rituals around the Christmas season, forbidding the boistrous costumed performances that existed at the time, in particular, the Feast of Fools.{{sfn|Wright|1989|loc=239}} His preference was for elaborate music in its stead,{{sfn|Taruskin|2006|loc=243}}{{sfn|Gross|2011}} calling for performance in organa triplo vel quadruplo for the Responsory and Benedicamus and other settings.{{efn|Matutini ab episcopo, vel decano, vel capellano incipiantur ordine debito consummandi, hoc adjecto quod tertium et sextum responsorium in organo (vel in triplo, vel in quadruplo) cantabuntur Matins by the bishop or dean or chaplain shall be conducted in the proper order so that the 3rd and 6th responsories be sung with organum (either in triple, or in quadruple (for an English translation of the 11998 edict, see {{harvtxt|Wright|1989|loc=239}}){{sfn|Migne|1855|loc=72}}{{sfn|Huglo|1982|loc=103}}}}{{sfn|Wallace|1993}} The bishop's edicts are quite specific, and suggest that Pérotin's organum quadruplum Viderunt omnes was written for Christmas 1198, and his other organum quadruplum Sederunt Principes was composed for Saint Stephen's Day 1199, for the dedication of a new wing of the Notre Dame Cathedral.{{efn|The bishop's letters attest to the development of organum duplum at Notre-Dame from the 1160s and its subsequent integration into all the great feasts of the liturgical calendar, not only in the responsorial chants of the Mass proper but also the Benedicamus Domino of vespers{{sfn|Gross|2011}}}} If written after this, they could not have been written till late 1200 or 1201, since for most of 1200 France lay under an interdict of Pope Innocent III which suppressed the celebration of church services.{{sfn|Clarke|2007|loc=179}} Hans Tischler dates the revision of the Magnus Liber to around 1180/90.{{sfn|Tischler|1950}} Between the accounts of Anonymous IV, the episcopal edicts and the arrangements in the Magnus liber, the key compositions appear to be corroborated and assigned to this period.{{sfn|Taruskin|2006|loc=243}}

Pérotin composed music to at least five of the poems of the Chancellor of the cathedral, Philippe le Chancelier (Philip the Chancellor).{{sfn|Vauchez|2000|loc=Pérotin}} Philip, also a canon there, held that title at the cathedral from 1218 till his death in 1236,{{sfn|Wright|1989|loc=289}} suggesting a possible later date for Pérotin's setting of the former's Beata viscera (ca. 1220), or at least a terminus ante quem.{{sfn|Roesner|2001}} Others believe this poem was written much earlier, and hence place Pérotin's death as no later than 1205,{{sfn|Tischler|1950}} the bishop's edicts implying that Pérotin's work was well before this.{{efn|It cannot be ascertained with certainty that Pérotin's works were not written before the episcopal edict{{sfn|Roesner|2001}}}}{{sfn|Taruskin|2006|loc=243}} Philip appears to have written a number of poems with the intention of them being set to music by Pérotin,{{efn|set as clausulae{{sfn|Tischler|1950}}}} and with him is given credit for the development of the motet.{{sfn|Wright|1989|loc=295}}

List of works

Anonymous IV identified seven works, that he presumably considered worthy of singling out, and these represent the only direct attribution. Subsequent authors have attributed works on stylistic and chronological grounds. These include Friedrich Ludwig (1910),{{sfn|Ludwig|1978}} Heinrich Husmann (1940),{{sfn|Husmann|1940}} Hans Tischler (1950){{sfn|Tischler|1950}} and Ethel Thurston (1970).{{sfn|Perotin|1970}} Husmann added an additional nine three-part organa, and five clausula to which Ludwig added numerous other clausula.{{sfn|Roesner|2001}} Other authors have attributed all the 3 part organa in the Magnus Liber to Pérotin, which is unlikely. Nevertheless, two of the only three known 4 part organa can be attributed to him.{{sfn|Tischler|1950}}

Key: Anonymous IV (A), Johannes de Garlandia (G), Tischler (Ti), Thurston (Th), Husmann (H).{{sfn|Wright|1989|loc=pp. 288–289}}{{sfn|Hiley|2011}}{{sfn|Roesner|2001}} Numbers refer to folios in the F manuscript of the Magnus liber.{{sfn|IMSLP|2019}}

4 part organa

• Viderunt omnes, continued with organal motet Homo cum mandato{{sfn|Perotin|1999}} (A)(Ti)(Th)(H) F1
• Sederunt principes, with organal motet De Stephani roseo{{sfn|Perotin|1999}} (A)(Ti)(Th)(H)
• Sederunt principes, continued with organal motet Adesse festina{{sfn|Perotin|1999}} (A)(Th)(H)

3 part organa

• Alleluia nativitas{{sfn|Vellard|1986}} (A)(Ti)(Th)(H) F31
• Alleluia, Posui adiutorium (A)(G)(Ti)(H) F36
• Alleluia, Dies sanctificatus (Ti)
• Alleluia, Pascha nostrum (Ti)(H)
• Alleluia, Dilexit Andream (H)
• Stirps Yesse (Ti)
• Virgo (Ti)(H)
• Sancte Germane(H)
• Terribilis(H)
• Exiit sermo (H)

Conductus

• French conductus motet Se i'ai ame: Ex semine (Th)
• 3 part Conductus Salvatoris hodie (A)(Ti)(Th)(H) F307
• 2 part Conductus Dum sigillum summi patris (A)(Ti)(Th)(H) F344
• 1 part Conductus Beata viscera Marie virginis{{sfn|Vellard|1986}} (A)(Ti)(Th)(H)
• 5 Benedicamus Domino (Ti) (3 (H))

3 part clausulas

• In odorem (H)
• Et illuminare (H)
• Et gaudebit (H)
• Et exaltavi (H)

2 part clausulas (numerous (H))

Doubtful

• 4 part Clausula Mors (H){{sfn|Tischler|1950}}

Influences

Pérotin has been described as the first modern composer in the Western tradition, radically transforming the work of his predecessors from a largely improvisatory technique to a distinct musical architecture.{{sfn|Wright|1989|loc=289}} Pérotin's music has influenced modern minimalist composers such as Steve Reich, particularly in Reich's work Proverb.{{sfn|Reich|2019}}{{sfn|Lewis|2018}}

See also

• Medieval music
• Music history of France

Notes

References

Bibliography

Books

• {{cite book|last=Alwes|first=Chester L.|title=A History of Western Choral Music|url=https://books.google.com/books?id=K4W-CQAAQBAJ|date= 2015|publisher=Oxford University Press|isbn=978-0-19-045772-3|ref=harv}}
• {{cite book|last=Berger|first=Anna Maria Busse|title=Medieval Music and the Art of Memory|url=https://books.google.com/books?id=ZbJXB4NvwXcC|date=2005|publisher=University of California Press|isbn=978-0-520-93064-3|ref=harv}}
• {{cite book|last=Bradley|first=Catherine A.|title=Polyphony in Medieval Paris: The Art of Composing with Plainchant|url=https://books.google.com/books?id=H7ViDwAAQBAJ|date= 2018|publisher=Cambridge University Press|isbn=978-1-108-41858-4|ref=harv}}
• {{cite book|last=Burrows|first=John|title=The Complete Classical Music Guide|url=https://books.google.com/books?id=w5hGTCM8WE0C|date= 2012|publisher=DK Publishing|isbn=978-1-4654-0134-2|ref=harv}}
• {{cite book|last=Clarke|first=Peter D.|title=The Interdict in the Thirteenth Century: A Question of Collective Guilt|url=https://books.google.com/books?id=SEEVDAAAQBAJ|date= 2007|publisher=OUP Oxford|isbn=978-0-19-920860-9|ref=harv}}
• {{cite book|editor-last=Duffin|editor-first=Ross W.|title=A Performer's Guide to Medieval Music|url=https://books.google.com/books?id=z9xDFnIMRssC|year=2000|publisher=Indiana University Press|isbn=0-253-21533-1|ref=harv}}
• {{cite book|editor-last1=Everist|editor-first1=Mark|editor-last2=Kelly|editor-first2=Thomas Forrest|editorlink1=Mark Everist|editorlink2=Thomas Forrest Kelly| title=The Cambridge History of Medieval Music|url=https://books.google.com/books?id=THNqDwAAQBAJ|date= 2018|publisher=Cambridge University Press|isbn=978-1-108-57707-6|ref=harv}}
• {{cite book|editor-last1=Finscher|editor-first1=Ludwig|editor-last2=Mahling|editor-first2=Christoph-Hellmut|editorlink1=Ludwig Finscher|title=Festschrift für Walter Wiora zum 30. Dezember 1966|url=https://books.google.com/books?id=turZAAAAMAAJ|year=1967|publisher=Bärenreiter|location=Kassel|ref=harv}}
• {{cite book|last=Flotzinger|first=Rudolf|authorlink=:de:Rudolf Flotzinger|title=Perotinus Musicus: Wegbereiter abendländischen Komponierens|url=https://books.google.com/books?id=z1sZAQAAIAAJ|year=2000|publisher=Schott|location=Mainz|isbn=978-3-7957-0431-5|language=de|ref=harv}}
• {{cite book|last=Flotzinger|first=Rudolf|authormask=1|title=Von Léonin zu Pérotin: der musikalische Paradigmenwechel in Paris um 1210|url=https://books.google.ca/books?id=SoT9zWVFQfQC|year=2007|publisher=Peter Lang|isbn=978-3-03910-987-6|language=de|ref=harv}}
• {{cite book|last=Gattermayer|first=Elena Bonoldi|title=Bianca di Castiglia: regina di Francia e madre di un santo|url=https://books.google.com/books?id=qt1QtnSr2fcC|year=2006|publisher=Editoriale Jaca Book|location=Milan|isbn=978-88-16-40727-5|language=Italian|ref=harv}}
• {{cite book|last=Hayburn|first=Robert F.|title=Papal legislation on sacred music, 95 A.D. to 1977 A.D.|url=https://books.google.com/books?id=4e8XAQAAIAAJ|year=1979|publisher=Liturgical Press|location=Collegeville|isbn=978-0-8146-1012-1|ref=harv}}
• {{cite book|last=Hoppin|first=Richard H.|authorlink=Richard Hoppin|title=Medieval Music|url=https://books.google.com/books?id=1yBwQgAACAAJ|year=1978|publisher=W. W. Norton|location=New York|isbn=978-0-393-09090-1|ref=harv}}, also available [https://archive.org/details/medievalmusic00hopp here] on the Internet Archive
• {{cite book|last=Huglo|first=Michel|title=Les Débuts de la polyphonie à Paris: les premiers "organa" parisiens|trans-title=The Beginnings Of Polyphony At Paris: The First Parisian Organa|url=https://books.google.com/books?id=SbICcgAACAAJ|date=1982|publisher=Amadeus|location=Basel|language=fr|ref=harv}} ([https://www.academia.edu/28750427/Huglo_Michel_The_Beginnings_of_Polyphony_at_Paris_1982_ English trans. Rob C. Wegman])
• {{cite book|last=Husmann|first=Heinrich|authorlink=Heinrich Husmann|title=Die Drei-und vierstimmigen Notre-Dame-Organa: Kritische gesamtausgabe|url=https://books.google.com/books?id=Wcz6AAAAMAAJ|year=1940|publisher=G. Olms|location=Leipzig|language=de|ref=harv}}
• {{cite book|last=John of Salisbury|authorlink=John of Salisbury|authormask=1||editor1-last=Pike |editor1-first=Joseph B|title=Frivolities of courtiers and footprints of philosophers: being a translation of the first, second, and third books and selections from the seventh and eighth books of the Policraticus of John of Salisbury|url=https://books.google.com/books?id=E306AAAAMAAJ|year=1938||orig-year=1159|publisher=The University of Minnesota Press|location=Minneapolis|ref=harv}} ([https://web.archive.org/web/20180516214317/https://www.fd.unl.pt/docentes_docs/ma/amh_ma_446_salisbury%20policraticus%20.pdf full text] on Internet Archive)
• {{cite book|last=Johnson|first=Julian|authorlink=Julian Johnson (academic)|title=Classical Music: A Beginner's Guide|url=https://books.google.com/books?id=DYFTliRmOvUC|date= 2012|publisher=Oneworld Publications|isbn=978-1-78074-141-3|ref=harv}}
• {{cite book|editor-last1=Kelly|editor-first1=Thomas Forrest|title=Plainsong in the Age of Polyphony|url=https://books.google.com/books?id=0zY9AAAAIAAJ|date= 1992|publisher=Cambridge University Press|isbn=978-0-521-40160-9|ref=harv}}
• {{cite book|last=Kirkman|first=Andrew|title=The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival|url=https://books.google.com/books?id=skIG-CEe24cC|date= 2010|publisher=Cambridge University Press|isbn=978-0-521-11412-7|ref=harv}}
• {{cite book|last=Ludwig|first=Friedrich|authorlink=Friedrich Ludwig (musicologist)|title=Repertorium organorum recentioris et motetorum vetustissimi stili|url=https://books.google.com/books?id=f09LAAAAYAAJ|year=1978|publisher=Institute of Mediaeval Music|location=Assen|language=de|ref=harv}}
• {{cite book|editor-last1=Marien|editor-first1=Evelyn|editor-last2=Heinen|editor-first2=Andreas|title=Musikwissenschaft im Phonomarkt: Alte Musik und CD-Produktion|trans-title=Musicology in the Phonomarket: Early Music and CD Production|url=https://books.google.com/books?id=WxwJAQAAMAAJ|year=2002|publisher=Florian Noetzel Verlag|location=Wilhelmshaven|isbn=978-3-7959-0809-6|ref=harv}}
• {{cite book|last=Page|first=Christopher|authorlink=Christopher Page|title=The Owl and the Nightingale: Musical Life and Ideas in France 1100-1300|url=https://books.google.com/books?id=fhxhOldxBSgC|date=1990|publisher=University of California Press|isbn=978-0-520-06944-2|ref=harv}}
• {{cite book|last1=Parrish|first1=Carl|last2=Ohl|first2=John F.|title=Masterpieces of Music Before 1750|url=https://books.google.com/books?id=kfO7AQAAQBAJ|date= 2013|publisher=Courier Corporation|isbn=978-0-486-14310-1|ref=harv}}
• {{cite book|last=Perotin|editor-last=Thurston|editor-first=Ethel|title=The works of Perotin|url=https://books.google.com/books?id=GRH8AAAAMAAJ|year=1970|publisher=Edwin F. Kalmus|ref=harv}}
  • {{cite journal |last1= Anderson |first1=Gordon A.|title=The Works of Perotin by Ethel Thurston |journal=Music & Letters |date=April 1972 |volume=53 |issue=2 |pages=224–230 |type=Review|jstor=733642|ref=harv}}
• {{cite book|last=Perotin|title=Viderunt omnes, Sederunt (Miniature Score)|url=https://books.google.com/books?id=O4Y6JEF2YzkC|date= 1999|publisher=Kalmus|isbn=978-1-4574-6877-3|ref=harv}}
• {{cite book |editor1-last=Riehn |editor1-first=Rainer |editor2-last=Metzger |editor2-first=Heinz-Klaus |editorlink1=Rainer Riehn|editorlink2=Heinz-Klaus Metzger|title=Musik-Konzepte 107: Perotinus Magnus |url=https://books.google.ca/books?id=7WkZAQAAIAAJ|date=January 2000 |publisher=edition text + kritik|location=Munich |isbn=3-88377-629-7|language=de|ref=harv}} see also Musik-Konzepte
• {{cite book|editor-last=Roesner|editor-first=Edward H.|editorlink=Edward Roesner|title=Ars antiqua: Organum, Conductus, Motet|url=https://books.google.com/books?id=AzArDwAAQBAJ|date= 2009|publisher=Taylor & Francis|isbn=978-1-351-57583-6|ref=harv}}
• {{cite book|last=Taruskin|first=Richard|authorlink=Richard Taruskin|title=Music from the Earliest Notations to the Sixteenth Century: The Oxford History of Western Music Vol. 1|url=https://books.google.com/books?id=iCKDKHjHjwwC|date= 2006|publisher=Oxford University Press|isbn=978-0-19-979604-5|ref=harv}}
• {{cite book|last=Wilson-Dickson|first=Andrew|authorlink=Andrew Wilson-Dickson|title=The Story of Christian Music: From Gregorian Chant to Black Gospel. An Authoritative Illustrated Guide to All the Major Traditions of Music for Worship|url=https://books.google.com/books?id=qVKpwxIgCiYC|year=2003|publisher=Fortress Press|isbn=978-0-8006-3474-2|ref=harv}}
• {{cite book|last1=Wright|first1=Craig|authorlink=Craig M. Wright|title=Music and Ceremony at Notre Dame of Paris, 500-1550|url=https://books.google.com/books?id=_Cc9AAAAIAAJ|date= 1989|publisher=CUP Archive|isbn=978-0-521-24492-3|ref=harv}}

Historical sources

• {{cite book|last=Anonymous IV|authorlink=Anonymous IV|editor-last=Reckow|editor-first=Fritz|title=Der Musiktraktat des Anonymus 4 (Beihefte zum Archiv für Musikwissenschaft 4–5) 2 vols.: De mensuris et discantu|trans-title=The Musical Treatise of Anonymous IV: Supplements to the Archive of Musicology: Concerning measures and discants|url=https://books.google.com/books?id=sK8JAQAAMAAJ|year=1967|pages=1:22–89|publisher=Franz Steiner Verlag|location=Wiesbaden|language=de|ref=harv}}, see also
  • {{cite book|editor-last=Coussemaker|editor-first=Charles Edmond Henri De|editorlink=Edmond de Coussemaker|title=Scriptorum de Musica Medii Aevi. Nova series a Gerbertina altera 4 vols.|chapter= Anonymous 4. De mensuris et discantu|pages=1:327–64|url=https://books.google.com/books?id=ykB6jwEACAAJ|date= 2015|origyear=1864–1876 Durand: Paris|publisher=BiblioBazaar|isbn=978-1-346-24291-0|ref=harv}}, English translation available as,
  • {{cite book|last=Dittmer|first=Luther A.|title=Anonymous IV concerning the measurement of polyphonic song|url=https://books.google.com/books?id=0V0VAwAAQBAJ|year=1959|publisher=Institute of Mediaeval Music|location=New York|isbn=978-5-88245-081-5|ref=harv}} ([https://archive.org/details/anonymousivconce00ditt full text available on]) Internet Archive
• {{cite book |last1=Garlandia |first1=Johannes de |authorlink=Johannes de Garlandia (music theorist)|editor-last1= Hayes|editor-first1=Stephen E.|display-editors=etal|title=De Mensurabili Musica positio |date=1994|origyear=c. 1240 |publisher=University of Indiana |url=http://www.chmtl.indiana.edu/tml/13th/GARDMMP_TEXT.html |language=la|ref=harv}}
• {{cite book|last1=Garlandia|first1=Johannes de|authorlink=Johannes de Garlandia (music theorist)|authormask=1|editor-last1=Reimer|editor-first=Erich|title= De mensurabili musica 2 vols.|url=https://books.google.com/books?id=gS0YAQAAIAAJ|year=1972|publisher=Franz Steiner Verlag|location=Wiesbaden|language=la|ref=harv}} (attributed) (full text: Volume 1 Volume 2)
• {{cite book|editor-last=Migne|editor-first=Jacques-Paul|title=Patrologiae latina cursus completus ... series secunda|url=https://books.google.com/books?id=BZ9BAAAAcAAJ|year=1855|publisher=Aqud Editorem|language=la|ref=harv}}

Chapters

• {{cite book |last1=Hiley |first1=David |title=Pérotin [ Perotinus Magnus] |date=2011|url= http://www.oxfordreference.com/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-5102|ref=harv}}, in {{harvtxt|Latham|2011}}
• {{cite book |last1=Morent |first1=Stefan |title=Der "wahre" Perotin? – Überlegungen zum Verhältnis zwischen Musikwissenschaft und Aufführungspraxis |trans-title=The "true" Perotin? - Reflections on the Relationship between Musicology and Performance Practice|date=2002 |pages=69−79}}, in {{harvtxt|Marien|Heinen|2002}}
• {{cite book |last1=Planchart |first1=Alejandro Enrique |authorlink=Alejandro Planchart|title=Organum |date=2000 |pages=23–51|ref=harv}}, in {{harvtxt|Duffin|2000}}
• {{cite book |last1=Roesner |first1=Edward H |title=Notre Dame |date=2018 |pages=834–880|ref=harv}}. in {{harvtxt|Everist|Kelly|2018}}
• {{cite book |last1=Sanders |first1=Ernest H.| authorlink=Ernest H. Sanders|title=The Question of Perotin's Œuvre and Dates |date=1967 |pages=241–249|ref=harv}}, in {{harvtxt|Finscher |Mahling|1967}}

Dictionaries and encyclopaedias

• {{cite encyclopedia |title=Perotin |url=https://www.encyclopedia.com/literature-and-arts/performing-arts/music-history/perotin |website=Encyclopedia of World Biography |publisher=Gale Group |date=2004|accessdate=14 January 2019|ref={{harvid|EWB|2004}}}}
• {{cite encyclopedia|last1=Baltzer |first1=Rebecca A. |title=Johannes de Garlandia [Johannes Gallicus ]|date=2001|website=Oxford Music Online: Grove Music Online |publisher=OUP |doi=10.1093/gmo/9781561592630.article.14358|ref=harv }} (subscription access)
• {{cite encyclopaedia |last1=Encyclopaedia Britannica |authorlink=Encyclopaedia Britannica|title=Pérotin |url=https://www.britannica.com/biography/Perotin |accessdate=15 January 2019 |date=2016|ref={{harvid|EB|2016}}}}
• {{cite encyclopaedia|editor-last=Emmerson|editor-first=Richard K.|title=Key Figures in Medieval Europe: An Encyclopedia|url=https://books.google.com/books?id=BhyOAQAAQBAJ|date= 2013|publisher=Routledge|isbn=978-1-136-77519-2|ref=harv}}
• {{cite book|editor-last1=Kennedy|editor-first1=Michael|editorlink=Michael Kennedy (music critic)|title=The Oxford Dictionary of Music|url=https://books.google.com/books?id=FcozAQAAIAAJ|year=2006|edition=2nd|publisher=Oxford University Press|isbn=978-0-19-861459-3|ref=harv}}, later edition available on line at Oxford Music (subscription access)
• {{cite encyclopaedia|editor-last1=Kibler|editor-first1=William W.|editor-last2=Zinn|editor-first2=Grover A.|title=Medieval France: An Encyclopedia|url=https://books.google.com/books?id=MQoKeohhNkMC|year=1995|publisher=Psychology Press|isbn=978-0-8240-4444-2|ref=harv}}
  • {{cite encyclopaedia |last1=Pinegar |first1=Sandra |title=Pérotin |date=1995 |pages=1356–1357|ref=harv}}, reprinted in {{harvtxt|Emmerson|2013|loc=513}}
• {{cite encyclopedia|last1=Roesner |first1=Edward |title=Perotinus [Perrotinus, Perotinus Magnus, Magister Perotinus, Pérotin] |date=2001|website=Oxford Music Online: Grove Music Online |publisher=OUP |doi=10.1093/gmo/9781561592630.article.40465|ref=harv }} (subscription access), on line version of earlier
  • {{cite book |last1=Bent |first1=Ian |authorlink=Ian Bent|title= Pérotin|date=1980 |pages=14:540–43}}, in {{harvtxt|Sadie|1980}}
• {{cite book|editor-last=Sadie|editor-first=Stanley|editorlink=Stanley Sadie|title=The New Grove Dictionary of Music and Musicians 20 vols.|url=https://books.google.com/books?id=51INAQAAIAAJ|year=1980|edition=1st|publisher=Macmillan Publishers|location=London|isbn=978-0-333-23111-1|ref=harv}}, see also The New Grove Dictionary of Music and Musicians
• {{cite book|editor-last1=Vauchez|editor-first1=André|editorlink=André Vauchez|title=Encyclopedia of the Middle Ages: 2 vols.|url=https://books.google.com/books?id=ejQOAQAAMAAJ|year=2000|publisher=Fitzroy Dearborn Publishers, Incorporated|ref=harv}}

Articles

• {{cite journal |last1=Asensio |first1=Juan Carlos |title=Before Quasimodo: Very Early Polyphony |journal=Early Music |date=February 1997 |volume=25 |issue=1 |pages=145–147 |type=Review|jstor=3128176|ref=harv}}
• {{cite journal |last1=Baltzer |first1=Rebecca A. |title=Notre Dame Manuscripts and Their Owners: Lost and Found |journal=The Journal of Musicology |date=July 1987 |volume=5 |issue=3 |pages=380–399 |doi=10.2307/763698|jstor=63698|ref=harv}}
• {{cite journal |last1=Berger |first1=Anna Maria Busse |authorlink=Anna Maria Busse Berger|title=Mnemotechnics and Notre Dame Polyphony |journal=The Journal of Musicology |date=July 1996 |volume=14 |issue=3 |pages=263–298 |doi=10.2307/764059|ref=harv}}
• {{cite journal |last1=Fassler |first1=Margot E. |authorlink=Margot Fassler|title=The Role of the Parisian Sequence in the Evolution of Notre-Dame Polyphony |journal=Speculum |date=April 1987 |volume=62 |issue=2 |pages=345–374 |doi=10.2307/2855230|jstor=2855230|ref=harv}}
• {{cite journal |last1=Gastoué |first1=Amédée |authorlink=Amédée Gastoué|others=trans. H. Morette|title=Three Centuries of French Mediæval Music: New Conclusions and Some Notes |journal=The Musical Quarterly |date=April 1917 |volume=3 |issue=2 |pages=173–188 |jstor=738083|ref=harv}}
• {{cite journal |last1=Haines |first1=John |title=Anonymous IV as an Informant on the Craft of Music Writing |journal=Journal of Musicology |date=2006 |volume=23 |issue=3 |pages=375–425 |doi=10.1525/jm.2006.23.3.375 |jstor=jm.2006.23.3.375 |issn=0277-9269|ref=harv}}
• {{cite journal |last1=Gross |first1=Guillaume |title=La repetitio dans les organa quadruples de Pérotin: Nature rhétorique de l'organisation du discours musica |journal=Musurgia |date=2001 |volume=8 |issue=1 |pages=7–29 |jstor=40591215|ref=harv}}
• {{cite journal |last1=Gross |first1=Guillaume |authormask=1|title=L'organum aux xiie et xiiie siècles: le discours musical comme stratégie de communication ou la légitimation implicite de l'autorité épiscopale |trans-title=The Organum in the Twelfth and Thirteenth Centuries: Musical Discourse as Communication Strategy or the Implicit Legitimating of Episcopal Authority|url=https://www.cairn-int.info/article-E_RHIS_113_0487--the-organum-in-the-twelfth-and.htm|journal=Revue historique |date=2011 |volume=659 |issue=3 |pages=487–510 |doi=10.3917/rhis.113.0487|language=fr|ref=harv}}
• {{cite journal |last1=Heerings |first1=Arnoud |title=Perotinus |journal=Gregoriusblad: Tijdschrift tot Bevordering van Liturgische Muziek |date=2005 |volume=129 |issue=1 |pages=53–57 |url=https://openmusiclibrary.org/article/553090/|ref=harv}}
• {{cite journal |last1=Jenny |first1=Herbert J. |title=Perotin's "Viderunt omnes" |journal=Bulletin of the American Musicological Society |date=August 1942 |issue=6 |pages=20–21 |doi=10.2307/829204|ref=harv}}
• {{cite journal |last1=Roesner |first1=E. H. |title=Who 'made' the Magnus liber? |journal=Early Music History |date=2001 |volume=20 |pages=227–266|jstor=853793 |ref=harv}}, reprinted in {{harvtxt|Roesner|2009|loc=pp. 155–194}}
• {{cite journal |last1=Tischler |first1=Hans |authorlink=Hans Tischler|title=New Historical Aspects of the Parisian Organa |journal=Speculum |date=January 1950 |volume=25 |issue=1 |pages=21–35 |doi=10.2307/2850001|ref=harv}}
• {{cite journal |last1=Tischler |first1=Hans |authorlink=Hans Tischler|authormask=1|title=The Dates of Perotin |journal=Journal of the American Musicological Society |date=July 1963 |volume=16 |issue=2 |pages=240–241 |doi=10.2307/829944 |jstor=29944|ref=harv}}
• {{cite journal |last1=Tischler |first1=Hans |authorlink=Hans Tischler|authormask=1|title=New data on the evolution of the Parisian organa |journal=Journal of Musicological Research |date=1984 |volume=5 |issue=1-3 |pages=85–91 |doi=10.1080/01411898408574546|ref=harv}}
• {{cite journal |last1=Tischler |first1=Hans |authorlink=Hans Tischler|authormask=1|title=The Evolution of the "Magnus Liber Organi" |journal=The Musical Quarterly |date=Spring 1984a |volume=70 |issue=2 |pages=163–174 |jstor=742208|ref=harv}}
• {{cite journal |last1=Waite |first1=William G. |authorlink=William Waite|title=Johannes de Garlandia, Poet and Musician |journal=Speculum |date=April 1960 |volume=35 |issue=2 |pages=179–195 |doi=10.2307/2851338|ref=harv}}
• {{cite journal |last1=Wallace |first1=Robin |title=The role of style in the Notre‐Dame period: A preliminary study |journal=Journal of Musicological Research |date=January 1993 |volume=12 |issue=4 |pages=253–271 |doi=10.1080/01411899308574670|ref=harv}}

Audiovisual

• Hillier, Paul (1989). "Perotin". program notes to The Hilliard Ensemble: Perotin. CD ECM New Series 1385 (837-751-2). Munich: ECM Records.
• {{cite AV media |last= Vellard |first=Dominique|authorlink=Dominique Vellard|date= 1986|title= Ecole de Notre-Dame de Paris 1163–1245: Monodies et polyphones vocales|medium= CD |url= https://harmonicclassics.com/album/H_CD_8611/|access-date= 15 January 2019|format= Liner notes|location=Paris |publisher= Harmonic Classics|id= HCD8611 |ref=harv }}

Websites

• {{cite book|last=Latham|first=Alison|title=The Oxford Companion to Music|url=https://books.google.com/books?id=ghY5AwEACAAJ|year=2011|publisher=Oxford University Press|isbn=978-0-19-957903-7|ref=harv}}, (subscription access) see also Oxford Companion to Music
• {{cite web |last1=Lewis |first1=Andrew |title=Reich's Proverb In Dialogue with Medieval Masters |url=https://www.bellavoce.org/learn/2018/2/21/reichs-proverb-in-dialogue-with-medieval-masters |website=Bella Voce |publisher=School of Theatre & Music, University of Illinois, Chicago |accessdate=9 February 2019 |date=February 21, 2018|ref=harv}}
• {{cite web |last1=McComb |first1=Todd M. |title=Perotin (fl.c.1200) – A discography |url=http://www.medieval.org/emfaq/composers/perotin.html |publisher=Medieval Music & Arts Foundation |accessdate=16 January 2019 |date=2019|ref=harv}}
• {{cite web |last1=Reich |first1=Steve |authorlink=Steve Reich|title=Steve Reich. Proverb (1995) |url=http://www.boosey.com/pages/cr/catalogue/cat_detail?musicid=557 |website=Composers |publisher=Boosey and Hawkes |accessdate=20 January 2019 |date=2019|ref=harv}}
• {{cite web |last1=Sherr |first1=Richard |title=Early Polyphony: Some Defintions |url=https://sophia.smith.edu/~rsherr/earlypol.htm |publisher=Department of Music, Smith College |accessdate=16 January 2019|ref={{harvid|Sherr|2019}}}}
• {{cite web |title=Magnus Liber Organi circa 1250 |url=https://digitalcommons.cedarville.edu/sing_polyphony/2/ |website=Early Polyphony |publisher=Centennial Library, Cedarville University |accessdate=29 January 2019 |location=Cedarville, Ohio |date=2018|ref={{harvid|Cedarville|2018}}}} includes access to complete text of Magnus Liber
• {{cite web |title=Medieval music and memory |url=https://bibliolore.org/2016/07/21/medieval-music-and-memory/ |website=(RILM) Répertoire International de Littérature Musicale: Bibliolore |publisher=RILM. City University of New York |accessdate=29 January 2019 |date=21 July 2016|ref={{harvid|RILM|2016}}}}
• {{cite web |last1=Daolmi |first1=Davide |title=Storia della musica medioevale e rinascimentale |url=http://www.examenapium.it/meri-old |website=Temporum Stirpis Musica |publisher=Dipartimento di Beni culturali e ambientali, Università degli Studi di Milano |accessdate=18 February 2019}}
  • {{cite web|last= Garlandia|first=Johannes de|title=De mensurabili musica|url=http://www.examenapium.it/meri-old/garlandia.htm}}
• {{cite web |title= GB-Lbl Egerton 2615: Motets, in an Office for the Feast of the Circumsion; Hymns, Miracle play on the history of Daniel (ff. 95-108) |url=https://www.bl.uk/catalogues/illuminatedmanuscripts/record.asp?MSID=6666&CollID=28&NStart=2615 |website=Catalogue of Illuminated Manuscripts |publisher=Beauvais Cathedral (British Library) |accessdate=4 March 2019|lang=la, fr|ref={{harvid|GB-Lbl Egerton 2615|2019}}}} (2nd quarter of the 13th century, probably between 1227 and 1234)

Scores

• {{cite web |title=Magnus Liber Organi |url=https://imslp.org/wiki/Magnus_Liber_Organi_(Various) |publisher=IMSLP |accessdate=1 February 2019|ref={{harvid|IMSLP|2019}}}} (includes detailed contents of I-Fl MS Pluteus 29.1)
• {{cite web |title= Pérotin |url= https://imslp.org/wiki/Category:P%C3%A9rotin |publisher=IMSLP |accessdate=12 February 2019|ref={{harvid|IMSLP|2019a}}}}
• {{cite web |title=Pérotin |url=http://www1.cpdl.org/wiki/index.php/P%C3%A9rotin |publisher=Choral Public Domain Library |accessdate=12 February 2019 |date=30 September 2017|ref={{harvid|CPDL|2017}}}}

List of selected recordings

 for discography, see {{harvtxt|McComb|2019}}

• {{cite AV media |last1=Chanticleer |authorlink=Chanticleer (ensemble)|date= 1991|title= Psallite! A Renaissance Christmas |medium= CD|language= Latin|url= |format= |time= |location= |publisher= |id= |ref=harv }}
  • {{cite AV media |last=Perotin|title=Benedicamus Domino|date=1991|url=https://songmetro.com/track/1387330/Benedicamus+Domino|accessdate=16 January 2019|ref=harv}} (audio and visual)
• [https://archive.is/20121224132029/http://www.the-sixteen.org.uk/page/3153/COR16078+Sacred+Music/92 Gothic Revolution – Sacred Music]The Sixteen, Harry Christophers, Simon Russell Beale CORO DVD
• Messe de la Nativité de la Vierge. Ensemble Organum, Marcel Pérès. Harmonia Mundi 901538 (1995).
• Perotin. The Hilliard Ensemble, CD ECM New Series, 837–751–2
• [https://web.archive.org/web/20130808051100/http://tonusperegrinus.1equalmusic.com/Details/593?Title=leonin---perotin--sacred-music-from-notre-dame-cathedral Sacred Music From Notre-Dame Cathedral], Tonus Peregrinus; Antony Pitts, CD NAXOS 8.557340 (2005)

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