[1]
Alfonso and Modern Humanities Research Association 2015. Alfonso X, the learned: Cantigas de Santa Maria : an anthology. Modern Humanities Research Association.
[2]
Anglés, H. et al. 1943. La música de las Cantigas de Santa María. Diputación Provincial de Barcelona: Biblioteca Central.
[3]
Anglès, H. 1954. Mozarabic chant. Early medieval music up to 1300. Oxford University Press. 81–91.
[4]
Bollo-Panadero, M.D. 2008. Heretics and Infidels: The                              as Ideological Instrument of Cultural Codification. Romance Quarterly. 55, 3 (July 2008), 163–174. https://doi.org/10.3200/RQTR.55.3.163-174.
[5]
Burns, R.I. 1990. Emperor of culture: Alfonso X the Learned of Castile and his thirteenth-century Renaissance. University of Pennsylvania Press.
[6]
Cantigas de Santa Maria for Singers: http://www.cantigasdesantamaria.com/.
[7]
CATALUNYA, D. and GUTIÉRREZ, C.J. 2013. Mozarabic preces in Ars Nova notation: a new fourteenth-century fragment discovered in Spain. Plainsong and Medieval Music. 22, 02 (Oct. 2013), 153–167. https://doi.org/10.1017/S096113711300003X.
[8]
Cohen, J. 2002. Women and Music in Medieval Spain’s Three Cultures. Medieval woman’s song: cross-cultural approaches. University of Pennsylvania Press. 66–80.
[9]
Collins, R. 2002. ‘Continuity and loss in Medieval Spanish Culture: the evidence of MS Silos Archivo Monástico 4’. Medieval Spain: culture, conflict, and coexistence : studies in honour of Angus MacKay. Palgrave Macmillan.
[10]
Colloquium on The Codex Calixtinus and the Shrine of St. James 1992. The Codex Calixtinus and the Shrine of St. James. Gunter Narr Verlag.
[11]
Corrigan, V. 2000. Music and the pilgrimage’. The pilgrimage to Compostela in the Middle Ages. Routledge. 43–68.
[12]
Crocker, R.L. and Hiley, D. 1990. The Early Middle Ages to 1300. Oxford University Press.
[13]
Crocker, R.L. and Hiley, D. 1990. The Early Middle Ages to 1300. Oxford University Press.
[14]
Crocker, R.L. and Hiley, D. 1990. The Early Middle Ages to 1300. Oxford University Press.
[15]
Díaz y Díaz, M.C. 1980. Literary Aspects of the Visigothic Liturgy’. Visigothic Spain: new approaches. Clarendon Press. 61–76.
[16]
Emma HornbyRebecca Maloy Music and Meaning in Old Hispanic Lenten Chants.
[17]
Flory, D.A. 2000. Marian representations in the miracle tales of thirteenth-century Spain and France. Catholic University of America Press.
[18]
Gonzálvez Ruiz, R. 1985. The Persistence of the Mozarabic Liturgy in Toledo after A.D. 1080. Santiago, Saint-Denis, and Saint Peter: the reception of the Roman liturgy in León-Castile in 1080. Fordham University Press. 157–185.
[19]
Higini Anglès 1940. Hispanic Musical Culture from the 6th to the 14th Century. The Musical Quarterly. 26, 4 (1940), 494–528.
[20]
Higini Anglès 1940. Hispanic Musical Culture from the 6th to the 14th Century. The Musical Quarterly. 26, 4 (1940), 494–528.
[21]
Hiley, D. 1993. Notation. Western plainchant: a handbook. Clarendon Press. 340–401.
[22]
Hiley, D. 1992. Two unnoticed pieces of medieval polyphony. Plainsong and Medieval Music. 1, 02 (Oct. 1992). https://doi.org/10.1017/S0961137100001753.
[23]
Hohler, C. 1972. A Note on Jacobus. Journal of the Warburg and Courtauld Institutes. 35, (1972). https://doi.org/10.2307/750921.
[24]
Hornby, E. and Maloy, R. 2016. Biblical commentary in the Old Hispanic liturgy: a Passiontide case study. Early Music. 44, 3 (Aug. 2016), 383–394. https://doi.org/10.1093/em/caw075.
[25]
HORNBY, E. and MALOY, R. 2016. Melodic dialects in Old Hispanic chant. Plainsong and Medieval Music. 25, 01 (Apr. 2016), 37–72. https://doi.org/10.1017/S0961137115000200.
[26]
Hornby, E. and Maloy, R. 2013. Music and Meaning in Old Hispanic Lenten Chants: Psalmi, threni and the Easter Vigil Canticles. Boydell & Brewer.
[27]
Huglo, M. 2011. Toward a scientific palaeography of music. The calligraphy of medieval music. J.D. Haines, ed. Brepols. 13–19.
[28]
Joseph T., S. 2013. "Music and musical performance in the texts of the Cantigas de Santa Marias”. Analizar, interpretar, hacer música: de las Cantigas de Santa María a la organología : escritos in memoriam Gerardo V. Huseby. M. Plesch, ed. Gourmet Musical Editions.
[29]
Klinck, A.L. and Rasmussen, A.M. 2002. Medieval woman’s song: cross-cultural approaches. University of Pennsylvania Press.
[30]
Kulp-Hill, K. et al. 2000. Songs of Holy Mary of Alfonso X, the Wise: a translation of the Cantigas de Santa María. Arizona Center for Medieval and Renaissance Studies.
[31]
Levy, K. 1987. Old-Hispanic chant in its European context. España en la música de Occidente: actas del Congreso Internacional celebrado en Salamanca, 29 de octubre - 5 de noviembre de 1985, ‘Año Europeo de la Música’. Instituto Nacional de los Artes Escénicas y de la Música. 3–14.
[32]
López-Calo, J. et al. 2001. El Códice Calixtino y la música de su tiempo: actas del simposio organizado por la Fundación Pedro Barrié de la Maza en A Coruña y Santiago de Compostela, 20-23 de septiembre de 1999. Fundación Pedro Barrié de la Maza.
[33]
Maloy, R. 2014. Old Hispanic Chant and the Early History of Plainsong. Journal of the American Musicological Society. 67, 1 (Apr. 2014), 1–76. https://doi.org/10.1525/jams.2014.67.1.1.
[34]
Manuel Pedro Ferreira UNDERSTANDING THE CANTIGAS: PRELIMINARY STEPS.
[35]
Nadeau, Nils Andre ‘Pro sonorum diversitate vel novitate’: The singing of scripture in the Hispano-Visigothic votive masses.
[36]
O’Callaghan, J.F. 1993. The learned king: the reign of Alfonso X of Castile. University of Pennsylvania Press.
[37]
Page, C. 2010. Singers in the Making of Europe. The Christian West and its singers: the first thousand years. Yale University Press. 493–522.
[38]
Page, C. 2010. The Christian West and its singers: the first thousand years. Yale University Press.
[39]
Parkinson, S. 2000. Cobras e son: papers on the text, music, and manuscripts of the ‘Cantigas de Santa Maria’. Legenda.
[40]
Parkinson, S. 2013. How to Eat a Spider. Alfonso X: Cantiga de Santa Maria 225. Reading literature in Portuguese: commentaries in honour of Tom Earle. C.P. Alonso and S. Parkinson, eds. Legenda. 5–14.
[41]
PORTER, A.W.S. 1934. STUDIES IN THE MOZARABIC OFFICE. The Journal of Theological Studies. os-XXXV, 139 (1934), 266–286. https://doi.org/10.1093/jts/os-XXXV.139.266.
[42]
Randel, D.M. 1969. The responsorial psalm tones for the mozarabic office. Princeton University Press.
[43]
Randel, D.M. and Nadeau, N. Mozarabic chant. Grove Music Online.
[44]
Rankin, S. 2011. ON THE TREATMENT OF PITCH IN EARLY MUSIC WRITING. Early Music History. 30, (Oct. 2011), 105–175. https://doi.org/10.1017/S0261127911000039.
[45]
Richard, C. ‘Rhythm in Early Polyphony’. Current musicology. Music Department, Columbia University.
[46]
Sara Lipton 2008. Where Are the Gothic Jewish Women? On the Non-Iconography of the Jewess in the Cantigas de Santa Maria. Jewish History. 22, 1 (2008), 139–177.
[47]
Sarah, F. 1990. "Early Polyphony”. The Early Middle Ages to 1300. Oxford University Press.
[48]
Sarah Fuller 1977. An Anonymous Treatise ‘Dictus de Sancto Martiale’: A New Source for Cistercian Music Theory. Musica Disciplina. 31, (1977), 5–30.
[49]
SUSAN BOYNTON 2002. A LOST MOZARABIC LITURGICAL MANUSCRIPT REDISCOVERED: NEW YORK, HISPANIC SOCIETY OF AMERICA, B2916, OLIM TOLEDO, BIBLIOTECA CAPITULAR, 33.2. Traditio. 57, (2002), 189–215.
[50]
Susana, Z. 2011. ‘Dating Neumes According to Their Morphology The Corpus of Toledo’. The calligraphy of medieval music. J.D. Haines, ed. Brepols.
[51]
Treitler, L. 2011. What kind of thing is musical notation? Reflections on musical meaning and its representations. Indiana University Press. 107–160.
[52]
Werf, H. van der 1993. The oldest extant part music and the origin of western polyphony. The author.
[53]
Wulstan, D. 2009. A Pretty Paella: The Alfonsine                              and their Connexions with Other Repertories. Al-Masaq. 21, 2 (Aug. 2009), 191–227. https://doi.org/10.1080/09503110902875491.
[54]
Wulstan, D. 1982. The Muwaššaḥ and Zaǧal Revisited. Journal of the American Oriental Society. 102, 2 (Apr. 1982). https://doi.org/10.2307/602526.
[55]
Zapke, S. et al. 2007. Hispania vetus: musical-liturgical manuscripts from Visigothic origins to the Franco-Roman transition (9th-12th centuries). Fundación BBVA.
[56]
1928. Mozarabic Melodics. Speculum. 3, 2 (Apr. 1928), 218–238. https://doi.org/10.2307/2848057.
[57]
1930. The Gregorian Antiphonary of Silos and the Spanish Melody of the Lamentations. Speculum. 5, 3 (July 1930), 306–324. https://doi.org/10.2307/2848747.
[58]
1993. THE IBERIAN PENINSULA AND THE FORMATION OF EARLY WESTERN CHANT. Revista de Musicología. 16, 1 (1993). https://doi.org/10.2307/20795901.
[59]
1993. THE OLD HISPANIC RITE AS EVIDENCE FOR THE EARLIEST FORMS OF THE WESTERN CHRISTIAN LITURGIES. Revista de Musicología. 16, 1 (1993). https://doi.org/10.2307/20795905.