ABSTRACT
A cursory survey indicates that approximately 40 percent of the repertory is devoted to works attributable to Notker, whose memory remained vivid in the minds of a number of persons active in sixteenth-century Germany. The unevenness of the distribution of the Notkerian Sequences among late sources of the Germanic orbit is, in fact, quite marked. The ultimate basis for Notker's Sequence is the second-mode Alleluia Confitemini Domino et invocate, which occurs in a wide variety of liturgical assignments. Schlager's thematic catalog of Alleluia melodies indicates that the chant is given in a score of early German sources, including the well-known sources from St. Gall, Bamberg and Einsiedeln. Notker, however, was not working directly with the Alleluia itself but with an intermediate source, an early sequentia. The sequentia is normally thought of as a replacement for the repeat of the Alleluia, and it probably was so in most instances.
