ABSTRACT
In 1949, Paul Hooreman published in the Revue Belge de Musicologie a fine, detailed, comprehensive study, with corrected text and accompanying musical transcription, of these versus. Hooreman denied them any polyphonic character and regarded the two musical lines as variants of the same composition. He did not attempt to justify his stance, except to say that it would be surprising if the monks had been learned in double counterpoint. Taking into account the early date of the copying, notational ambiguity or indifference in vertical positioning is only to be expected. In fact, what makes these Aquitanian versus especially interesting is that the authors know who composed them, who copied them into Paris 909, and also the date, the place and purpose of composition and copying.
