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| Preface and Acknowledgment | |
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| Bibliography | |
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| The Liturgy and its Development | |
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| Definition and Terminology | |
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| The Structure of the Liturgy | |
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| The Liturgical Year | |
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| The Liturgical Day | |
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| The Liturgical Books | |
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| Ordinary and Proper | |
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| The Office Hours | |
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| The Mass | |
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| Exceptional Masses | |
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| Origin and Development to c. 600 | |
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| The Pre-Christian Roots | |
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| Historical Data from the First to the Eigth Centuries | |
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| From the First Century to c. 380 | |
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| From Damasus to Gregory | |
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| The Development after 600 | |
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| The Sources | |
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| The Cycle of Feasts | |
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| The Mass Formularies | |
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| The Music | |
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| General Aspects of the Chant | |
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| The Texts | |
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| The Psalms | |
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| Psalm Verses | |
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| Non-psalmodic Texts | |
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| The Notation | |
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| The Standard Notation | |
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| The Basic Neumes | |
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| The Liquescent Neumes | |
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| The Repercussive Neumes | |
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| The Early Neumes | |
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| The Development of Neumatic Notation | |
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| The Notation of the Solesmes Books | |
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| The Problem of Rhythm | |
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| The Tonality | |
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| The Church Modes | |
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| Modal Classification and Distribution | |
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| Modal Characteristics of the Melodies | |
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| The Regular Chants | |
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| Limited Range | |
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| Excessive Range | |
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| The B-flat | |
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| Transposition | |
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| Modal Ambiguity | |
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| Methods and Forms of Psalmody | |
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| Direct Psalmody | |
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| Responsorial Psalmody | |
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| Antiphonal Psalmody | |
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| Questions of Performance | |
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| Stylistic Analysis | |
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| The Liturgical Recitative | |
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| General Observations | |
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| The Tones for the Readings and Prayers | |
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| The Psalm Tones | |
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| Psalm Tones and Psalm Texts | |
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| Psalm Tones and Antiphons | |
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| The Tones of the Canticles | |
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| The Tones for the Introits | |
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| The Tones for the Great Responsories | |
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| The Tones of the Invitatory Psalm | |
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| The Short Responsories | |
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| The Free Compositions: General Aspects | |
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| Characteristics of Melodic Design | |
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| Total Range | |
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| Phrase Structure | |
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| Melodic Progressions | |
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| Repetition of Melodic Units | |
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| Cadences | |
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| Melody and Text | |
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| Textual and Melodic Phrases | |
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| The Textual Accent | |
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| The Sustaining (Melismatic) Accent | |
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| The Tonic Accent | |
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| The Cursus | |
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| Expression, Mood, Word-Painting | |
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| The Free Compositions According to Types | |
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| The Introits | |
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| The Communions | |
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| The Tracts | |
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| The Tracts of the Eighth Mode | |
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| The Tracts of the Second Mode | |
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| The Great Responsories | |
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| The Responsories of Mode 2 | |
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| The Responsories of Mode 8 | |
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| The Other Responsories | |
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| The Graduals | |
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| The Graduals of Mode 5 | |
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| The Graduals of Mode 1 | |
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| The Graduals of Modes 3 and 4 | |
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| The Graduals of Modes 7 and 8 | |
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| The Gradual-Type Justus ut Palma | |
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| The Offertories | |
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| The Alleluias | |
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| The Antiphons | |
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| The Chants of the Mass Ordinary | |
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| The Kyrie | |
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| The Gloria | |
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| The Credo | |
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| The Sanctus | |
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| The Agnus Dei | |
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| The Mass Ordinary as a Cycle | |
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| The Hymns | |
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| The Tropes | |
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| The Textual Tropes | |
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| The Textual-Musical Tropes | |
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| The Musical Tropes | |
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| The Sequences | |
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| Ambrosian Chant | |
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| The Liturgical Year | |
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| The Liturgical Day | |
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| The Psalm Tones | |
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| The Office Chants | |
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| The Ordinary Chants of the Mass | |
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| The Proper Chants of the Mass | |
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| Modality | |
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| Concluding Remarks | |
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| The Old-Roman Chant | |
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| The Sources for the Mass Chants | |
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| The Introits | |
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| The Communions | |
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| The Offertories | |
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| The Graduals | |
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| The Tracts | |
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| The Alleluias | |
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| The Sources for the Office Chants | |
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| The Responsories | |
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| The Antiphons | |
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| The Problem of Chronology | |
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| Conclusion: Prolegomena to a History of Gregorian Style | |
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| Index | |