ABSTRACT
The early sources which can be assigned to the monastery of St Emmeram at Regensburg - Bamberg Staatsbibliothek, Munich Bayerische Staatsbibliothek clm – have by no means identical trope repertories. Most tropes are anonymous compositions, like so much of medieval chant. A further example from the St Emmeram trope repertory enables us, exceptionally, to lift the veil of anonymity and perceive the human agent. Lack of space forbids a detailed discussion of the make-up of the St Emmeram repertory for the ordinary of mass. There is unfortunately little trace of contact between the trope repertories at Chartres and St Emmeram: apart from the case cited, Provins 12, from Chartres, contains none of the unusual pieces of the St Emmeram repertory. The case of Otloh of St Emmeram cannot have been unique. The analysis of transmission patterns and of literary and musical style is the key which enables us to unlock the doors of this repertory, as of others.
