Anonymous work
Anonymous tradition (has its own begin–end range)
Nation/kingdom/empire, marking the earliest table entry from that polity
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Before Léonin
| MUSIC | SIMULTANEOUS LITERATURE | |||||||
|---|---|---|---|---|---|---|---|---|
| Composer or Tradition | Work | Score | Recording | Arrangement | Documentaries | Modern Adaptation | ||
| ANCIENT ERA | ||||||||
| Before any dated music (literature only) | ||||||||
| — | Before any surviving music in this table — literature already existed for over six centuries before the Lipit-Ishtar tuning tablet, this document's earliest musical entry | — | — | — | — | — | 2600 BC[Sumerian] Texts from Abu Salabikh: Instructions of Shuruppak (audiobook), Kesh temple hymn (audiobook) — earliest known written literature 2600 BC[Egyptian] The Life of Metjen (Saqqara) — checked, no free full English translation found online; discussed only in paywalled academic literature 2500 BC[Egyptian] Diary of Merer; Instruction of Hardjedef 2400 BC[Sumerian] Code of Urukagina — no actual copy of the code survives; known only through references to it in later texts, so no text link is possible 2400-2300 BC[Egyptian] Pyramid Texts, incl. the Cannibal Hymn (audio: YouTube, free, Samuel A. B. Mercer translation, part 1 of a full reading) 2270 BC[Sumerian] Enheduanna's Hymns — earliest literature with a named author; audio: Exaltation of Inanna, YouTube, free 2250 BC[Egyptian] Autobiography of Weni (text: rostau.org.uk, free, Breasted translation); South Saqqara Stone 2250-2000 BC[Sumerian] Earliest Sumerian stories in the Epic of Gilgamesh 2100 BC[Sumerian] Curse of Agade; Debate Between Bird and Fish; Inanna's Descent; Code of Ur-Nammu (audiobook); Song of the Hoe 2050 BC[Egyptian] The Satire of the Trades 2000 BC[Egyptian] Coffin Texts; Teaching for King Merykara 2000 BC[Sumerian] Lament for Ur; Lament for Sumer and Ur; Enmerkar and the Lord of Aratta; Debate Between Winter and Summer 2000-1900 BC[Egyptian] Tale of the Shipwrecked Sailor (audio: Storynory, free); Prophecy of Neferti; first Harper's Songs |
|
| c. 3000 BC Anonymous | Invention of the castanets, Early Dynastic Egypt — instrument milestone, per Wikipedia's "3rd millennium BC in music" timeline | — | — | — | — | — | — | |
| c. 2800 BC Anonymous | Invention of the clapper (basic percussion), Early Dynastic Egypt; and the harp and lyre, Mesopotamia — instrument milestones | — | — | — | — | — | — | |
| c. 2686–2181 BC Anonymous | Invention of the sistrum, a percussion instrument, Egypt (Old Kingdom period) | — | — | — | — | — | — | |
| c. 2600 BC Anonymous | Creation of the Standard of Ur, which includes the soundbox of a musical instrument | — | — | — | — | — | — | |
| c. 2550–2450 BC Anonymous | Invention of the Bull-Headed Lyre of Ur and the Lyres of Ur, string instruments from the Early Dynastic III period of Mesopotamia | — | — | — | — | — | — | |
| c. 2500 BC Anonymous | Around ninety royal servants — including soldiers, grooms, and female musicians — were buried alive in the tomb of a royal couple at Ur; also the invention of thin lyres in northern Syria and thick lyres in Uruk and Susa in the same period | — | — | — | — | — | — | |
| c. 2200 BC Anonymous | A song was composed during the Old Kingdom of Egypt and subsequently buried in a tomb — melody itself not preserved in a form recoverable today | — | — | — | — | — | — | |
| c. 2000 BC Anonymous | Percussion instruments added to Egyptian orchestras; the trumpet is played in Denmark (Bronze Age lurs) | — | — | — | — | — | — | |
| c. 1580–1295 BC Anonymous | Harps played in Egypt (New Kingdom period) | — | — | — | — | — | — | |
| c. 1500 BC Anonymous | Guitar, lyre, trumpet, and tambourine used by the Hittites | — | — | — | — | — | — | |
| c. 2017 BC Dynasty of Isin (Sumer) | First nation/kingdom reached by this table — founded by Ishbi-Erra after the collapse of the Third Dynasty of Ur | — | — | — | — | — | — | |
| Music from the 2000s BC | ||||||||
| c. 1950 BC Anonymous | Lipit-Ishtar tuning tablet | — | 2017YouTube (previous link 0tnNY93Ct-Q went dead — replaced) | — | — | — | 1950 BC[Akkadian] Laws of Eshnunna; Hymn to Ishtar 1950 BC[Egyptian] Instructions of Amenemhat; Akhmim wooden tablets; Heqanakht papyri 1940 BC[Sumerian] Correspondence of the Kings of Ur 1900 BC[Akkadian] Legend of Etana; Summa izbu; Summa alu; Namburbi; Iskar Zaqiqu 1900 BC[Sumerian] Code of Lipit-Ishtar; The Legend of Adapa 1900 BC[Egyptian] Instructions of Kagemni 1859-1840 BC[Egyptian] Dispute Between a Man and His Ba 1859-1813 BC[Egyptian] Loyalist Teaching 1850 BC[Akkadian] Kultepe texts; Barutu; Counsels of Wisdom; Cuthean Legend of Naram-Sin; Labbu Myth 1800 BC[Akkadian] Earliest complete version of the Epic of Gilgamesh — text: Wikisource, free; audio: LibriVox / YouTube, both free 1800 BC[Egyptian] Berlin Papyrus 6619; Moscow Mathematical Papyrus; Story of Sinuhe (audio: YouTube, free, full reading) 1780 BC[Akkadian] Mari letters, incl. Epic of Zimri-Lim 1754 BC[Akkadian] Code of Hammurabi stele — text: archive.org, free; audio: no free reading of the code text alone found, but a real free LibriVox companion exists — LibriVox, W. W. Davies's 1905 study, which quotes and discusses the code at length rather than reading the stele text straight through 1750 BC[Akkadian] Agushaya Hymn late 18th c. BC[Hittite] Anitta text | |
| c. 1500 BC Kingdom of Mitanni (Hurrians) | The Hurrian-speaking kingdom whose culture produced the Hurrian Hymn below — founding date approximate, since Mitanni's early history is reconstructed mostly from external Egyptian/Hittite records rather than its own | — | — | — | — | — | 1700 BC[Akkadian] Atra-Hasis 1700 BC[Egyptian] Westcar Papyrus 1650 BC[Egyptian] Ipuwer Papyrus 1650 BC[Sumerian] Dialogue Between a Man and His God 1600 BC[Hittite] Code of the Nesilim 1600 BC[Akkadian] Hulbazizi; Eridu Genesis; Enuma Anu Enlil; Enuma Elish (Babylonian creation epic — surviving tablets date to c. 700–600 BC copies of a text likely composed c. 1750–1200 BC; audio: YouTube, free, full reading) 1600 BC[Egyptian] Edwin Smith Papyrus 1550 BC[Egyptian] Book of the Dead (audio: LibriVox, free, Wallis Budge translation); Instruction of Any; Litany of Re; Rhind Mathematical Papyrus; Ebers Papyrus 1550 BC[Akkadian] Bullussa-rabi's Hymn to Gula 1550 BC[Babylonian] Venus tablet of Ammisaduqa 1500 BC[Akkadian] Poor Man of Nippur 1500 BC[Hittite] Hittite military oath 1500-1300 BC[Ugaritic] Baal Cycle 1500-1200 BC[Ugaritic] Legend of Keret 1500-1000 BC[Sanskrit] Rig Veda 1500 BC[Akkadian] Dynasty of Dunnum; Chronicle of Early Kings 1450 BC[Egyptian] The Taking of Joppa 1450 BC[Akkadian] Assyrian law | |
| Music from the 1400s BC | ||||||||
| r. c. 1353–1336 BC Akhenaten | The Great Hymn to the Aten — genuinely attributed to Akhenaten himself in some scholarly readings (others credit his courtiers), discovered in the tomb of the courtier Ay at Amarna. Real scholarly note: bears a genuine, much-discussed resemblance to Psalm 104, already elsewhere in this table. A radical, real theological departure — Egypt's traditional pantheon replaced with near-exclusive devotion to the sun-disc Aten | — | n.d.YouTube | — | — | — | — | |
| c. 1400 BC Hurrian songs (h.6, Hymn to Nikkal) | 1971Wulstan — first scholarly transcription attempt | — | — | — | — | — | 1425 BC[Egyptian] Amduat 1400 BC[Akkadian] Marriage of Nergal and Ereshkigal; Autobiography of Kurigalzu; Amarna letters mid-14th c. BC[Egyptian] Great Hymn to the Aten 1350 BC[Ugaritic] Tale of Aqhat 1350 BC[Akkadian] Surpu 1300 BC[Egyptian] Instruction of Amenemope; Papyrus Anastasi I 1300 BC[Akkadian] Ludlul bel nemeqi; Dream of Kurigalzu; Iqqur Ipus 1274 BC[Akkadian] Adad-narari Epic 1240 BC[Egyptian] Papyrus of Ani (Book of the Dead) 1200-900 BC[Akkadian] Later strata of the Epic of Gilgamesh 1200 BC[Akkadian] Tukulti-Ninurta Epic 1200 BC[Egyptian] Tale of Two Brothers 1200 BC[Vedic Sanskrit] Yajurveda, Samaveda, Atharvaveda — the earlier Rig Veda (see above) has text: free PDF, holybooks.com; audio: free full audiobook playlist, YouTube (Griffith translation) c. 1200-1000 BC[Old Avestan] The Gathas of Zoroaster — five hymns forming the oldest layer of the Zoroastrian Avesta, traditionally credited to Zarathustra himself; like the Rig Veda, transmitted orally for centuries before the oldest surviving manuscript (1323 AD); still chanted liturgically today — audio: Yasna 51, Avestan recitation, YouTube; excerpt, YouTube 1100 BC[Akkadian] Summa sinnistu qaqqada rabat | |
| 1974Kilmer — first playable reconstruction; premiered 1974, called a "revolution" by the NYT | — | 1976Kilmer & Crocker, Sounds from Silence, LP/CD, paid; also 2023Interview with Anne Kilmer: The Hurrian Cult Song and Life in Ancient Times, YouTube, free (cited on her own Wikipedia page) | — | — | — | — | ||
| 1975–1980Duchesne-Guillemin — monodic reading, contra Kilmer's dyadic/chordal reading; full study 1984 | 1984Study, cited | n.d.Urkesh.org hosts a recording per Wikipedia | — | — | — | — | ||
| 1977–1978Thiel — numerals as syllable counts | — | — | — | — | — | — | ||
| 1979–1982Vitale — numerals as bar/beat counts | — | — | — | — | — | — | ||
| 1988Cerny | — | — | — | — | — | — | ||
| 1993M.L. West — numerals as repeat-markers; influential Grove Music treatment | — | — | — | — | — | — | ||
| 1998Dumbrill — most extensive study (~700 pp.); numerals as note-duration | 1997Dumbrill's own tablature interpretation, free PDF | 2011Michael Levy, solo lyre, YouTube | — | — | — | — | ||
| 2013Dumbrill's own vocal rendition in Hurrian, YouTube; Michael Levy — solo lyre reconstruction, YouTube | — | — | — | — | ||||
| 2000Monzo — independent/non-peer-reviewed, built on Dumbrill's approach | 2000Full reconstruction, free | — | — | — | — | — | ||
| 2000Krispijn — numerals as repeat-markers (like West) | — | — | — | — | — | — | ||
| Hurrian Hymns 16 and 30 — two more of the ~36 total Ugarit hymns, both far more fragmentary than h.6 above, given a traditional-ensemble arrangement by Ensemble De Organographia on the same album as their Oxyrhynchus papyri recordings | — | n.d.Ensemble De Organographia, Music of the Ancient Sumerians, Egyptians & Greeks (Pandourion PRCD 1005) | — | — | — | — | ||
| c. 1323 BC Tutankhamun's trumpets | Not a composition, but a genuine sounding instrument: the oldest surviving playable metal trumpets in the world, found in Tutankhamun's tomb (one silver, one bronze/copper). Actually played and broadcast live on BBC radio, 16 April 1939, by bandsman James Tappern — heard by an estimated 150 million listeners worldwide, reportedly the largest live radio audience up to that point. The silver trumpet was damaged during that same session; due to fragility, the instruments will almost certainly never be sounded again, making the 1939 recording irreplaceable. The identity of Tutankhamun's own royal trumpeter is unknown | — | 1939BBC radio broadcast — YouTube | — | — | — | — | |
| c. 1200–1000 BC Samaveda | The "Veda of Melodies" — one of the four Vedas, and per multiple independent scholarly sources, likely the source of the world's oldest surviving notated melodies (distinguishing it from the Hurrian Hymn above, which is the oldest surviving substantially complete single composition). Notation consists of Vedic pitch-accent marks (udātta, anudātta, svarita) written above or within the text, indicating relative pitch rather than fixed notes — a mnemonic system for oral transmission, not a score in the Western sense. Three recensions survive (Kauthuma, Ranayaniya, Jaiminiya); the Jaiminiya preserves the oldest surviving chanting tradition. Anonymous/traditional, not attributed to a single composer. UNESCO recognized the broader tradition of Vedic chanting as Intangible Cultural Heritage in 2008 | — | 2008"The Tradition of Vedic Chanting," UNESCO, YouTube; also Sama Veda Chanting, YouTube | — | — | — | — | |
| c. 1446 BC (legendary/traditional) Song of the Sea (Shirat HaYam, Exodus 15) | Described by real scholarship (Cantor Jonathan L. Friedmann) as the Bible's first instance of praise singing — Miriam leads the women in song, accompanied by timbrels and dancing, immediately after the crossing of the Red Sea (Exodus 15:20-21). Tied to the same traditional/legendary Exodus date used elsewhere in this table for the Book of Exodus itself, which would make this the earliest specific, named musical performance in this whole Jewish liturgical cluster — genuinely older than the Shofar and Torah cantillation traditions immediately below, both of which are broader ongoing practices rather than a single dated event | — | — | — | — | — | — | |
| c. 1200 BC – present Shofar tradition (Jewish liturgical, tradition) | A genuinely continuous surviving musical tradition — the ram's-horn shofar and its specific named ritual calls (Tekiah, a long straight blast; Shevarim, three broken sounds; Teruah, nine short staccato blasts) trace back to the First Temple period and remain in essentially unbroken liturgical use today, alongside the Torah's own account of the nevel (12-string harp) and kinnor (10-string lyre) in Temple worship | — | n.d.Shofar blowing, all three calls, YouTube | — | — | — | — | |
| c. 1000 BC (oral) / 7th–9th c. AD (notated) – present Torah cantillation (trope/te'amim, tradition) | Described by real musicological scholarship as the oldest surviving genre of Jewish religious music — the ritualized chanting of biblical text, rooted in First Temple-era oral practice and continued unbroken through the synagogue. The actual notation system (te'amim, "accent marks") was codified centuries later by the Tiberian Masoretes (7th–9th c. AD), the same three-century window in which Western ecphonetic notation more broadly emerged across Jewish, Syriac, Byzantine, Armenian, and Coptic traditions alike — genuinely comparable in date and function to the earliest Western plainchant neumes | — | n.d.Cantillation Overview, full trope demonstration, YouTube | — | — | — | — | |
| 776 BC Ancient Greece | Conventional epoch marking the start of "classical antiquity" and recorded Greek history (First Olympiad) — the actual Greek-speaking world long predates this date, but this is the standard reference point | — | — | — | — | — | 1050 BC[Egyptian] Story of Wenamun 1050 BC[Akkadian] Sakikku (Diagnostic Omens) by Esagil-kin-apli; Alamdimmu 1050 BC[Akkadian] Babylonian Theodicy of Shaggil-kinam-ubbib 1010 BC[Akkadian] Royal Inscription of Simbar-Shipak 1000 BC[Chinese] Classic of Poetry (Shijing) 1000 BC[Akkadian] Dialogue of Pessimism; Chronicle P; Advice to a Prince; Great Prayer to Shamash; MUL.APIN 900 BC[Akkadian] Epic of Erra 900 BC[Vedic Sanskrit] Aranyaka 9th c. BC[Chinese] Classic of Changes (I Ching) 9th c. BC[Greek] Trojan War cycle forming: Iliad (audio: LibriVox, free), Odyssey (audio: LibriVox, free) — both Samuel Butler's prose translation, read by volunteers c. 750-650 BC[Greek] Hesiod's Theogony, Works and Days, Shield of Heracles — audio: YouTube, free (LibriVox recording, Evelyn-White translation) c. 620-564 BC[Greek] Aesop's Fables — authorship and even Aesop's historicity disputed; the fables as we have them are a centuries-long oral/compiled tradition, not a single fixed text from his lifetime — audio: YouTube, free (LibriVox recording, vol. 1 of several) 8th c. BC[Hebrew] Ketef Hinnom amulets — oldest surviving Biblical text 8th c. BC[Chinese] Classic of Documents (Shujing, authentic portions) 722-481 BC[Chinese] Spring and Autumn Annals; Confucius's Analects (audio: LibriVox, free, checked); Classic of Rites; Mozi; Sun Tzu's Art of War 7th c. BC[Sanskrit] Sushruta Samhita; Samkhya-sutra; Vaisheshika Sutra; Kashyapa Samhita 7th-6th c. BC[Greek] Pindar's odes; Herodotus's Histories (later); Thucydides (later); Aeschylus, Sophocles, Euripides, Aristophanes' plays | |
| fl. 586–578 BC Sakadas of Argos | Nomos Pythicos ("Pythic Nomos") — a virtuoso solo aulos composition portraying Apollo's battle with the serpent Python, winning first prize at the Pythian Games in 586, 582, and 578 BC. Real scholarly significance: one ancient writer's attribution makes him the earliest known composer of instrumental music specifically, distinct from the earliest known composer overall (Enheduanna, already elsewhere in this table). Honest caveat: the piece itself has not survived — only its five-part programmatic structure is known from later written descriptions | — | — | — | — | — | — | |
| Music from the 500s BC | ||||||||
480–406 BC Euripides (disputed)
|
Orestes, Greek tragedy, excerpt: Stasimon chorus — papyrus copy (Vienna, P.Vind. G 2315) preserves musical notation for this choral ode, but the notation dates from ~200 BC, two centuries after Euripides' death (408 BC), so scholars are split on whether it preserves his original melody or a later re-setting. No composer inscription survives (unlike the Delphic Hymns below) — the attribution is inferred only because it's his play, not claimed on the source itself. | — | 1979"Anakrousis, Orestes Stasimo," Atrium Musicae de Madrid / Gregorio Paniagua, Musique de la Grèce Antique, YouTube; also n.d.Petros Tabouris, YouTube | — | 2017"Rediscovering Ancient Greek Music", dir. Mike Tomlinson, feat. Armand D'Angour (Oxford) — reconstructs this exact piece | — | — | |
| c. 497–406 BC Sophocles | One of the three great tragedians of classical Athens, alongside Aeschylus and Euripides, above. Wrote over 120 plays; only 7 survive complete, including Oedipus Rex and Antigone. No surviving musical notation for any of his own choral odes is known — unlike Euripides' Orestes, above | — | — | — | — | 1927Igor Stravinsky, Oedipus Rex (opera-oratorio) — a real 20th-century musical setting of Sophocles' original play (Latin libretto by Jean Cocteau, after Sophocles), the clearest example in this document of ancient text receiving genuine modern musical treatment | — | |
| Music from the 400s BC | ||||||||
| c. 375–320 BC Elementa harmonica (Aristoxenus, treatise) | The oldest substantially surviving work of Western music theory — a systematic treatise on musical scales, genera, and intervals. Aristoxenus (pupil of Aristotle, called simply "the Musician" in antiquity) wrote ~453 works; this is the only one to survive in bulk. No musical notation examples survive within it (theoretical text only), unlike Musica enchiriadis below. | 1902Macran ed./trans., Greek text + English, archive.org, free | — | — | — | — | core c. 7th-4th c. BC, redacted by c. 300 BC[Sanskrit] Valmiki's Ramayana — dating is genuinely contested among scholars (oral core possibly centuries older, final redaction sometimes placed as late as the early centuries AD), placed here at the traditional early end; audio: LibriVox, free (Griffith translation, multiple books) | |
| Music from the 200s BC | ||||||||
fl. c. 138–128 BC Athenaeus
|
First Delphic Hymn | 2001Pöhlmann & West | n.d.YouTube (0:00); Michael Levy — live solo lyre, YouTube; also 1992/2008Christodoulos Halaris, YouTube — Halaris's own reconstructions are noted by critics and even his own promotional bio as sometimes speculative, reconstructing "fragmentary (and sometimes nonexistent)" ancient documents; included as an alternate recording, not additional evidence | — | 2017"Rediscovering Ancient Greek Music", dir. Mike Tomlinson, feat. Armand D'Angour (Oxford) | — | — | |
128 BC Limenius
|
Second Delphic Hymn | 2001Pöhlmann & West | n.d.YouTube (4:53); alternate performance, YouTube | — | — | — | — | |
| 3rd c. BC Anonymous | Zenon Papyrus (Cairo) — P. Cairo Zen. IV 59533, a lyric or tragic fragment with musical notation, found within the Zenon archive (the largest surviving archive of Ptolemaic-era papyri, over 1,800 texts), published in the Journal of Hellenic Studies | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique, YouTube | — | — | — | — | |
| n.d. (Greco-Roman Egypt) Anonymous | Instrumental fragments from Kom Aphrodito/Antinoopolis area, Egypt ("Contrapollinopolis") — precise date not confirmed in sources checked | — | n.d.YouTube | — | — | — | — | |
| 27 BC Roman Empire | Founded under Augustus. Marked here specifically because Mesomedes (next entry) served as a freedman and court musician under Emperor Hadrian — the first entry in this table with a direct institutional Roman connection, even though he wrote in Greek | — | — | — | — | — | — | |
| Music from the 100s AD | ||||||||
c. AD 100–138 Mesomedes of Crete
|
Hymn to the Muse | 2001Pöhlmann & West | n.d. (Gabriel Garrido / Ensemble K617)YouTube (all 4 pieces) | — | — | — | — | |
| Hymn to the Sun | — | — | — | — | ||||
| Hymn to Nemesis — corrected here from an earlier error in this document, which had mistakenly duplicated this as a second "Hymn to the Sun" setting instead of listing it as the real fourth surviving work | — | 2014Atrium Musicae de Madrid / Gregorio Paniagua, YouTube | — | — | ||||
| Hymn to Calliope and Apollo | — | — | — | — | ||||
| c. 1st–2nd c. AD Anonymous | Seikilos epitaph | 2001Pöhlmann & West | n.d.YouTube; also n.d.Wikipedia-hosted .ogg audio, free, CC-BY-SA | — | — | — | — | |
| c. 125 – c. 160 AD Anonymous | Michigan Instrumental Papyrus (P. Mich. inv. 1205r), c. 125 AD — aulos/kithara melody fragment | — | 2000W. A. Johnson, Duke University — audio reconstruction, free | — | — | — | — | |
| Paean, Papyrus Berlin 6870, c. 160 AD — vocal fragment from Contrapollinopolis | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique, YouTube | — | — | — | — | ||
| Papyrus Michigan (P. Mich. inv. 2958), 2nd c. AD — fragments of an otherwise unknown Greek tragedy, excavated at Karanis, Egypt; a 2012 University of Michigan dissertation (Rebecca Sears) argues it shows Greek music-making outside elite Alexandrian contexts | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique, YouTube | — | — | — | — | ||
| n.d. Anonymous | Papyrus Oslo A/B (P. Osl. inv. 1413) — further unidentified tragic fragment with notation, undated more precisely | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique, YouTube | — | — | — | — | |
| c. 2nd–3rd c. AD Anonymous | Papyrus Wien (Vienna) 29825, 2nd–3rd c. AD — six related fragments (a/b, c, d, e, f), vocal notation, distinct from the separate Orestes Papyrus (Wien G 2315) | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique, YouTube | — | — | — | — | |
| — | Seven Oxyrhynchus musical papyri published by Ensemble De Organographia (Philip and Gayle Neuman) on Music of the Ancient Sumerians, Egyptians & Greeks (Pandourion PRCD1005, 1999/2006) — full confirmed tracklist, independently verified via the album's own liner-note listing: "Musical Excerpts" (P.Oxy. 4461, 2nd c. AD), "Lament" (P.Oxy. 4465, 2nd/3rd c. AD), "Fragment 1" (P.Oxy. 4462, 2nd c. AD), "Paean" (P.Oxy. 4466, 3rd/4th c. AD), "Excerpts mentioning Eros and Aphrodite" (P.Oxy. 4467, 3rd c. AD), "Musical excerpt, lines 3-8" (P.Oxy. 4464, 2nd/3rd c. AD), and "Hypolydian excerpt" (P.Oxy. 3161 verso fr. 3, 3rd c. AD) — this last one genuinely missed in earlier passes over this same album. The Trochaic Fragment (P.Oxy. 3162) and the Menander setting (P.Oxy. 3705) are also on this same album but already listed elsewhere in this table under their own entries | — | n.d.Ensemble De Organographia — I, II, III, IV | — | — | — | — | |
| — | Fragment d'Orestie — a musical fragment tied to Aeschylus's Oresteia trilogy (distinct from the separate Euripides Orestes papyrus already in this table), published on Ensemble Kérylos's 1996 album; checked against this project's YouTube playlists specifically, no recording found there | — | 1996Ensemble Kérylos / Annie Bélis, Musiques de l'Antiquité Grecque (K617) — no free YouTube link confirmed | — | — | — | — | |
| — | Ensemble Kérylos released a second album in 2024, "Les Inédits: Ancient Greek and Roman Music" — 19 tracks including named settings (Hymn to Zeus, Medea, Hymn to Lemnos, another Menander setting distinct from the one already in this table, a Diphilos fragment, magic vowel incantations). Their own liner notes describe this as bringing to life "musical works which have just been deciphered" — potentially real fragments beyond Pöhlmann & West's 2001 catalog (the standard scholarly reference used throughout this table). Checked against this project's YouTube playlists specifically: no recording found there, and no free streaming link independently confirmed as of this research pass | — | 2024Ensemble Kérylos, Les Inédits: Ancient Greek and Roman Music — no free link confirmed | — | — | — | — | — | — | — | — | — |
| LEGENDARY: mythical era; ACTUAL: 2nd–3rd c. AD Anonymous | LEGENDARY: The Orphic Hymns (87 hymns) were attributed in antiquity to the mythical poet Orpheus himself — a legendary musician of Greek myth said to charm all living things, even stones, with his music, and who attempted to retrieve his wife Eurydice from the underworld. Actual scholarly dating: composed in Asia Minor, most likely 2nd–3rd century AD, for a real Dionysian/Orphic cult community's nighttime initiation rite (teletḗ) | — | n.d."Orphic Hymn to Hermes," ancient lyre & pandura, YouTube; also "Orphic Hymn to the Muses," YouTube | — | — | — | — | |
c. 329–390 Gregory of Nazianzus
|
Poem, Mo. 1, 11f. (Migne, Patrologia Graeca 37, 523) — set on the Atrium Musicae de Madrid / Gregorio Paniagua album; text securely his, melody is the ensemble's own 1978 musical realization, not surviving ancient notation | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique (recorded June 1978) | — | — | — | — | |
| c. 3rd–4th c. AD Anonymous | Anonymi Bellermann — three anonymous Byzantine/late-antique treatises on music theory (named for their 1841 editor, Friedrich Bellermann), preserving genuine ancient musical notation examples alongside the theoretical text, distinct from the narrative treatises like Aristoxenus or Boethius | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique, YouTube | — | — | — | — | |
| — | The following three tracks on the same Paniagua album are honest exceptions to note: unlike the papyrus fragments above, no surviving ancient musical notation is actually known for these particular texts — these are the ensemble's own musical realization of famous ancient words, not reconstructions of a surviving score. Included for completeness, but flagged clearly: (1) Plainte de Tecmessa, a lament from Sophocles' Ajax; (2) Aenaoi Nefelai, from Aristophanes' Clouds; (3) a setting of Terence's Roman comedy Hecyra, line 861 | — | 1979Atrium Musicae / Paniagua — Tecmessa, Aristophanes, Terence | — | — | — | — | |
| — | Première Ode Pythique — the ensemble's own musical setting of Pindar's First Pythian Ode (470 BC); like the three above, no ancient musical notation for Pindar's odes is known to survive | — | 1979Atrium Musicae / Paniagua, Musique de la Grèce Antique, YouTube | — | — | — | — | |
| c. late 3rd c. AD Anonymous | Oxyrhynchus hymn | — | n.d.YouTube | — | — | — | — | |
| 3rd c. AD Anonymous | Four settings of a single line from Menander's comedy Epitrepontes — a rare case of multiple surviving musical settings for the exact same text, useful for comparing how different composers set identical words | — | n.d.YouTube | — | — | — | — | |
| Music from the 200s AD | ||||||||
| late 3rd–early 4th c. AD Anonymous | Phos Hilaron ("O Gladsome Light") — the earliest known Christian hymn text recorded outside the Bible still in regular liturgical use today, first attested in the Apostolic Constitutions. Basil the Great (d. 379) already called it an "ancient" hymn of unknown authorship in his own time; later legendary attributions to Basil himself or to St. Athenogenes are not considered secure. No original melody survives — the tune most commonly heard today ("Picardy") is a 17th-century French carol melody paired with the ancient text only in modern hymnals | — | n.d.Byzantine chant setting, YouTube | — | — | — | — | |
| Music from the 300s AD | ||||||||
306–373 Ephrem the Syrian
|
Nisibene Hymns (multiple, undated individually) | 1989McVey, text only | n.d.YouTube playlist | — | — | — | — | |
c. 310–366 Hilary of Poitiers
|
Three disputed hymns sometimes accepted as authentic: Ante saecula qui manens, Fefellit saevam verbum factum te caro, Adae carnis gloriosae - plus the more widely (but still not universally) accepted Hymnum dicat turba fratrum | — | n.d.Genuinely checked and confirmed: no free recording exists for any of these four hymns under their Latin incipits (Hymnum dicat turba fratrum, Ante saecula qui manens, Fefellit saevam, Adae carnis gloriosae) — searched directly by title, by schola/plainchant album context, and cross-checked against the dedicated "300-306 ST HILARY" playlist (32 entries, all saint-day homilies, zero musical content). This appears to be a genuine gap in the recorded repertoire, not a search failure | — | — | — | — | |
c. 340–397 Ambrose of Milan
|
Aeterne rerum conditor | — | n.d.YouTube | — | — | — | — | |
| Deus creator omnium | 2012IMSLP | 2011Spotify | — | — | — | — | ||
| Veni redemptor gentium | — | — | — | — | — | — | ||
| Iam surgit hora tertia | — | 2014Spotify | — | — | — | — | ||
| DISPUTED: Nunc Sancte nobis Spiritus — traditionally attributed to Ambrose and long used at Terce in the Liturgy of the Hours, but the earliest surviving manuscript evidence only goes back to the 9th century, four centuries after Ambrose's death | — | n.d.Gregorian chant setting, YouTube | — | — | — | — | ||
| DISPUTED: Agnes beatae virginis — a hymn on the martyrdom of St. Agnes; attribution to Ambrose was long questioned, but recent scholarship (Cécile Lanéry) has argued manuscript evidence and echoes in Augustine's own writings support Ambrosian authorship after all | — | 1991Cappella Musicale del Duomo di Milano / Luciano Migliavacca, The Tradition of Gregorian Chant (Archiv Produktion), Spotify; also Concentus Monodicus Schola Gregoriana, Inni ambrosiani (Discantica) | — | — | — | — | ||
| DISPUTED: Apostolorum passio — a hymn for the feast of Peter and Paul; same disputed-then-re-argued authorship history as Agnes beatae virginis above | — | 1991Cappella Musicale del Duomo di Milano / Luciano Migliavacca, The Tradition of Gregorian Chant (Archiv Produktion); also Concentus Monodicus Schola Gregoriana, Inni ambrosiani (Discantica) | — | — | — | — | ||
| c. 650 – c. 1100 AD Ambrosian chant (tradition) | Named after Ambrose but he is explicitly "not known to have composed any of the Ambrosian chant repertory" (same non-attribution issue as Gregory/Gregorian chant) — distinct liturgical rite still used in the Archdiocese of Milan today | — | — | — | — | — | — | |
| Earliest fragments 8th c.; first comprehensive chantbooks with musical notation 11th–12th c. | — | — | — | — | — | — | ||
| 321 BC Kingdom of Armenia | Founded under the Orontid dynasty. Also worth noting: Armenia adopted Christianity as a state religion in 301 AD under Tiridates III — traditionally the first nation to do so — which directly seeded the sharakan hymn tradition that follows below | — | — | — | — | — | — | |
c. 348–439 Sahak Partev
|
Pargevatoun amenetsoun | — | n.d.YouTube | — | — | — | — | |
| ~59 more attributed chants — not individually located | — | — | — | — | — | — | ||
c. 362–440 Mesrop Mashtots
|
Sharakans, multiple (of 129 attributed) | — | — | n.d.YouTube playlist — arr. Vahan Artsruni, perf. Hasmik Baghdasaryan; kept here deliberately even though it's a modern arrangement, not strict monophonic chant — it's an excellent example of why modern arrangements of ancient works have real value alongside "authentic" versions | — | — | — | |
Catholicos 478–490 (d. 490) Hovhan Mandakuni
|
Yekyalks (attributed) | — | n.d.Cited on the CD compilation "Armenia: Sacred Choral Music" — no free recording confirmed yet | — | — | — | — | |
| Music from the 400s AD | ||||||||
c. 410–490s Movses Khorenatsi
|
Khorhourd mets yev sqancheli | — | n.d.YouTube | — | — | — | — | |
| Tsagoumen hrashali | — | n.d.YouTube | — | — | — | — | ||
| The Oil-Bearing Women — cited on Saints de l'Église d'Arménie (Akn Centre for Armenian Liturgical Chant Studies, dir. Aram Kerovpyan, soloist Virginia Pattie Kerovpyan); no free recording link confirmed yet | — | — | — | — | — | — | ||
| c. 2070 BC China (Xia dynasty) | China's first traditional dynasty, per ancient chronicles (Bamboo Annals, Records of the Grand Historian) — historicity debated, archaeological correlation (Erlitou site) inconclusive but suggestive. Qiu Ming (next entry) lived under the much later Liang dynasty (502–557 AD) | — | — | — | — | — | — | |
493–590 Qiu Ming
|
Jieshi Diao Youlan | 1950s (Zha Fuxi project transcriptions)silkqin.com, free | n.d.YouTube | — | — | — | — | |
| c. 100 BC (traditional) Kingdom of Aksum (Ethiopia/Eritrea) | A real ancient East African kingdom, precursor to the modern states of Ethiopia and Eritrea — its first named composer, Saint Yared, appears directly below, closing a genuine gap: this document previously had zero representation from Ethiopia despite covering over 280 named composers elsewhere | — | — | — | — | — | — | |
| 505–571 AD Saint Yared | Founder of Ethiopian liturgical music (Zema) and inventor of the Ethiopian musical notation system (melekket) — credited with all three chant modes still used today (Ge'ez, associated with the Father; Ezel, with the Son; Araray, with the Holy Spirit). Author of five distinct volumes of chants (the Books of Mewasit, Zimare, Digua, Tsome Digua, and others), still performed in the Ethiopian and Eritrean Orthodox Tewahedo Churches today — a genuinely continuous 1,500-year tradition. Precisely dated (25 April 505 – 20 May 571) per the medieval hagiography Gadla Yared | — | 2021Zema Yared, "Liturgical Music of the Coptic Christian Church of Ethiopia," YouTube; 2015Saint Yared Choir, live in Cologne, YouTube | — | — | — | — | |
| 330 AD Byzantine Empire | Conventional founding date: Constantine's dedication of Constantinople as "New Rome." Byzantines considered themselves simply "Romans" throughout their history — "Byzantine" is a later historiographical label. Romanos the Melodist (next entry) was active in Constantinople itself | — | — | — | — | — | — | |
c. 490–556 Romanos the Melodist
|
Kontakion "Today the Virgin gives birth" | — | n.d.YouTube | — | — | — | — | |
| ~84 more genuine kontakia — see Wellesz 1961 below | — | — | — | — | — | — | ||
c. 530–c. 600/609 Venantius Fortunatus
|
Vexilla Regis prodeunt (569) — still sung at Vespers during Passiontide; text only survives from his own era, melody is a later plainchant setting | — | n.d.Gregorian chant setting, YouTube | — | — | — | — | |
| Music from the 600s AD | ||||||||
LEGENDARY: 600s AD (per Gregory the Great legend); actually c. 1200–1265 Thomas of Celano
|
LEGENDARY: Dies Irae has been attributed, per unsupported medieval legend, to St. Gregory the Great (d. 604) — no real manuscript or scholarly evidence supports this, but it represents the earliest date ever proposed. Also legendarily attributed to Bernard of Clairvaux (1090–1153). Earliest evidenced date: late 12th century, per Dom Mauro Inguanez's 1931 discovery and publication of a real manuscript (Naples Biblioteca Nazionale MS VII D 36) — this predates the traditional Thomas of Celano attribution by decades, though it remains debated (Ermini's 1938 rebuttal defended the traditional 13th-century/Celano dating). The Britannica-standard traditional account places the earliest surviving manuscript at the Breviary of St. Clare, c. 1228 | — | — | — | — | — | — | |
| MEDIEVAL ERA BEGINS — EARLY MEDIEVAL (c. 600–1170 AD, before Ars Antiqua/Notre-Dame polyphony) | ||||||||
c. 610–685 Anania Shirakatsi
|
Ov Yeranelid | — | n.d.YouTube | — | — | — | — | |
| Araqelo aghavno — resolves a long-open item from earlier in this project (previously an unidentified bare video ID) | — | n.d.YouTube | — | — | — | — | ||
| Vor vasn mero prkoutyan — also resolves a previously-unidentified bare video ID | — | n.d.YouTube | — | — | — | — | ||
| Catholicos 613–628 AD Komitas Aghtsetsi ("Komitas the Builder") | Author of the sharakan "Andzink nviryalk" ("Devoted Souls" / "Souls Given by Themselves"), written to mark the consecration of Saint Hripsime Church — 36 stanzas, real scholarly significance as the first Armenian hymn to use the meter and structure of the Byzantine kontakion, genuinely long for the period (earlier Armenian hymns ran only 3–4 stanzas) | — | — | — | — | — | — | |
| fl. 7th c. (d. 677 AD) Sahak Dzoraporetsi | A real Armenian hymnographer who enriched sharakan hymnody alongside Hovhan Odznetsi, elsewhere in this table — his hymn "With an All-Conquering Banner" survives in the Tagaran repertoire | — | — | — | — | — | — | |
| fl. 8th c. (d. 735 AD) Stepanos Syunetsi | A real Armenian hymnographer and grammarian who carried out a genuine formal regulation of spiritual hymns, establishing the canonical genre. In his treatise "Interpretation of Grammar," he argued poetic works are guided by literature — real early Armenian literary theory. His hymn "Pharaoh and His Chariots" survives in the Tagaran repertoire | — | — | — | — | — | — | |
| c. 550 – 1080 AD Mozarabic chant (Old Hispanic rite, tradition) | The liturgical chant of Visigothic/early medieval Iberia, codified alongside the rite itself by the 7th century (documented in the Councils of Toledo). Officially suppressed after the Council of Burgos (1080) and the fall of Toledo (1085), in favor of the Roman rite | — | — | — | — | — | — | |
| Oldest surviving manuscripts: 9th-11th century, using adiastematic Visigothic neumes that capture melodic contour but not exact pitch — scholars describe the original ancient melodies as effectively indecipherable. What survives in practice today is either Cardinal Cisneros's c. 1500 restoration (based on oral tradition, not the ancient notation) or modern scholarly reconstruction attempts | — | n.d.Ensemble Organum / Marcel Pérès, "Speravit," YouTube; also Eduardo Paniagua, "Canto Visigótico-Mozárabe," YouTube; Benedictine Monks of Santo Domingo de Silos, Mozarabic Antiphonary, YouTube | — | — | — | — | ||
fl. c. 657–684 Cædmon
|
Cædmon's Hymn — the oldest surviving Old English poem, per Bede's account (Historia ecclesiastica, 731): an illiterate cowherd at Whitby Abbey under Abbess Hild who received the gift of poetic composition in a dream. Only the text survives from Cædmon's own era, not the original melody — modern recordings are settings/reconstructions | — | n.d.YouTube; also on Anglo-Saxon lyre, YouTube | — | — | — | — | |
c. 650–712/740 Andrew of Crete
|
Great Canon — see Wellesz 1961 below | — | n.d.YouTube | — | — | — | — | |
c. 650–729 Hovhannes Odznetsi
|
Good Martyr of Christ | — | n.d.YouTube | — | — | — | — | |
c. 675–749 John of Damascus
|
Irmoses, Paschal Canon — see Wellesz 1961 below | — | n.d.YouTube; also "Paschal Canon by St John Damascene," YouTube — resolves a long-open bare video ID from earlier in this project | — | — | — | — | |
| c. 813 AD Kingdom of Georgia (medieval, precursor states) | A real medieval Caucasian kingdom; its first named composer with surviving musical works, the hymnographer Ioane Minchkhi, appears directly below — closing a genuine gap: this document previously had zero representation from Georgia | — | — | — | — | — | — | |
| fl. 10th c. (contemporary with George II of Abkhazia) Ioane Minchkhi | A Georgian hymnographer and calligrapher who lived and worked at Mount Sinai — considered the author of the entire Sticheron portion of the first Georgian Lenten Triodion. Four of his hymns are preserved in the real Iadgari of Mikael Modrekili (978–988), a genuine liturgical chant manuscript; his work only became known to modern scholarship after Ivane Javakhishvili discovered it in Sinaitic manuscripts during an academic trip in 1902 — a real hymnographical Canon of 26 hymns devoted to St. George | — | — | — | — | — | — | |
fl. early 8th c. Sahakdukht
|
Srbuhi Mariam (only surviving work) | — | n.d.Link went dead (previously WPpBhCRu9oU) — replacement not yet re-verified | — | — | — | — | |
fl. early 8th c. Khosrovidukht
|
Zarmanali e Indz (only surviving work) | — | n.d.YouTube | — | — | — | — | |
| c. 450 – c. 800 AD Gallican chant (tradition) | No direct manuscript survives — suppressed under Pepin III & Charlemagne | — | — | — | — | — | — | |
| Closest identifiable trace: Improperia, documented in the Pontificale of Prudentius, 846–861 (embedded in a Gregorian source) | — | n.d.YouTube | — | — | — | — | ||
| c. 500–510 De institutione musica (Boethius, treatise) | The single most influential music-theory text of the entire Middle Ages — established as the foundation of Western music theory from roughly the 9th century onward, and remained the standard university quadrivium text well into the Renaissance. Transmits Greek theory (Nicomachus, Ptolemy) into Latin; largely theoretical, not a composition of his own. | 1867Friedlein ed., Latin text, archive.org, free | — | — | — | — | — | |
| — | The metra (verse interludes) of Boethius's separate work, the Consolation of Philosophy — a modern reconstruction project has set these to music; not tied to any surviving original medieval notation, but a genuine attempt to give voice to Boethius's own poetry rather than just his theory | — | n.d."Singing Boethius's Lost Songs," YouTube (7-part series covering Book 1) | — | — | — | — | |
| Music from the 700s AD | ||||||||
c. 735–804 Alcuin
|
Summi regis archangele Michahel — identified in several manuscripts with the rubric "sequentia quam Alcuinus composuit Karolo Imperatori" ("a sequence which Alcuin composed for the Emperor Charlemagne"); scholars flag this attribution as uncertain rather than fully secure | — | — | — | — | — | — | |
c. 776/780–856 Rabanus Maurus
|
DISPUTED (though widely accepted): Veni Creator Spiritus — called by one 19th-century scholar the hymn that "has taken deeper hold of the Western Church than any other medieval hymn, the Te Deum alone excepted." Still sung today at papal elections, episcopal consecrations, and ordinations. Attribution rests on 11th-century manuscript tradition and stylistic parallels to Rabanus's own theological writing, not an autograph manuscript — some 19th-century scholars proposed Charlemagne himself as an alternative, though this is now considered baseless legend | — | — | — | — | — | — | |
| Music from the 800s AD | ||||||||
| c. 850–900 Anonymous | Musica enchiriadis (treatise, oldest notated polyphony) | — | n.d.YouTube | — | — | — | — | |
| Music from the 900s AD | ||||||||
| c. 910s AD Anonymous | Sancte Bonifati martyr — the earliest known practical (performable, non-parallel) polyphonic composition, as opposed to Musica enchiriadis's teaching examples; discovered 2014 by Giovanni Varelli in British Library MS Harley 3019 | — | 2011Palma Choralis, YouTube | — | — | — | — | |
c. 810–865 Kassia
|
13 of ~23–30 genuine hymns | 2001Touliatos ed., 2001 | n.d.YouTube; also 2010VocaMe, "Byzantine Hymns from the First Female Composer of the Occident," YouTube | — | — | — | — | |
| ~10–17 more hymns — see Wellesz 1961 below | — | — | — | — | ||||
| c. 750 AD – present Gregorian chant (tradition) | Formed under the Carolingians from Roman + Gallican fusion; still actively sung today | — | — | — | — | — | — | |
| Oldest surviving manuscript: St. Gall Cantatorium, c. 922–926 | — | n.d.YouTube | — | — | — | — | ||
| c. 930–935 Quem quaeritis? | Easter dialogue trope ("Whom do you seek?"), origins traced to St. Gall; usually cited as the germ of Western liturgical drama and, eventually, theater — earliest manuscript c. 930–935 | — | 2015reconstruction, Visitatio Sepulchri de Gandia, YouTube | — | — | — | — | |
c. 840–912 Notker Balbulus
|
~40 sequences, undated individually | 2021IMSLP, 1 piece | 2025Spotify — the actual Naxos album (8.579169), 23 tracks; not found on regular YouTube, only YouTube Music; Sequences, tropes & Gregorian chants from St. Gall Abbey | — | — | — | — | |
c. 850–915 Tuotilo
|
Trope melodies for the Abbey of St. Gall liturgy | — | — | — | — | — | — | |
c. 850–920 Stephen of Liège
|
Three Proper Offices: Trinity, Invention of St. Stephen, St. Lambert | — | — | — | — | — | — | |
c. 878–942 Odo of Cluny
| Three hymns and twelve antiphons for St Martin are attributed to Odo. Rex Christe, Martini decus survives in the St-Martin hymn tradition. | — | — | modern arrangement/performance Rex Christe Martini decus — Ensemble MIX | — | — | — | |
c. 900–975 Notker Physicus ("Notker II")
|
An office and a hymn — his only two surviving compositions | — | — | — | — | — | — | |
c. 960–early 11th c. Wulfstan the Cantor (of Winchester)
|
Compositions connected to the Winchester Troper repertoire (attributions genuinely uncertain, per Grove) | — | — | — | — | — | — | |
c. 840/850–930 Hucbald of Saint-Amand
|
Sit gloria Domini | — | n.d.YouTube | — | — | — | — | |
c. 909–988 Dunstan (Archbishop of Canterbury)
|
Kyrie Rex splendens (Mass VII of the Kyriale) — attribution rests on a devotional legend (Dunstan reportedly heard it sung by angels in a vision and wrote it down), not firm musicological consensus; a real polymath regardless — also credited as a metalworker, illuminator, and harpist. English hagiographic tradition; his feast day itself uses this Kyrie liturgically | — | 2016Graduale Project, YouTube; also Jankowski, YouTube | — | — | — | — | |
951–1003 Grigor Narekatsi
|
Havun Havun | — | n.d.YouTube | — | — | — | — | |
| Music from the 1000s AD | ||||||||
| c. 1020s–1030s Winchester Troper | Corpus 473 & Bodley 775 — the largest surviving collection of 11th-century polyphony, 160+ two-part organa; notation is adiastematic (contour only), so pitches can't be reconstructed with certainty | — | 2014"Alleluia," transcr. Susan Rankin, YouTube | — | — | — | — | |
| mid-11th c. (copied c. 1050–1075) Cambridge Songs (Carmina Cantabrigiensia) | Collection of Goliardic Latin poems, Codex Cantabrigiensis (Cambridge Univ. Library MS Gg.5.35) — the only major surviving anthology of Latin lyric between Charlemagne and the Battle of Hastings; some poems have neumatic notation | 2020Ziolkowski ed., archive.org, free | — | — | — | — | — | |
| 843 AD France (West Francia) | Formed by the Treaty of Verdun, splitting the Carolingian Empire. Fulbert of Chartres (next entry) is the first clearly French entry in this table | — | — | — | — | — | — | |
| 882 AD Kievan Rus' | Founded when Oleg of Novgorod united the northern and southern branches of the Rus' — the medieval state from which Russia, Ukraine, and Belarus all trace their origin. Christianized 988 AD, which seeded the chant tradition in the next entry | — | — | — | — | — | — | |
| c. 1000 AD – present Znamenny chant (tradition) | Russia's own liturgical chant tradition, built on the Byzantine octoechos system adapted to Church Slavonic — monophonic, unaccompanied, using distinctive "kryuki" (hook) neumatic notation rather than Byzantine or Western neumes | — | — | — | — | — | — | |
| Earliest notated sources 11th century; still actively sung today, mainly by Old Believer communities. Modern decipherment/reconstruction of 16th-c. Suprasl monastery manuscripts by Prof. Anatoly Konotop, performed by the Choir of Danilov Monastery, Moscow | — | 2010YouTube (Valaam Monastery Choir); also Spotify playlist | — | — | — | — | ||
c. 960–1028 Fulbert of Chartres
|
Solem Justitie — the third responsory for the Nativity of the Virgin, an office Fulbert himself is credited with advancing at Chartres | — | n.d.YouTube; also 2013Ensemble Venance Fortunat, YouTube | — | — | — | — | |
| c. 650 – c. 1100 AD Beneventan chant (tradition) | Flourished under Lombard rule; fell into disuse in the 11th century as Gregorian chant took over | — | — | — | — | — | — | |
| Oldest surviving manuscript: Benevento, MS 33, c. 1000 | — | n.d.Repertoire (not this specific MS): Orbisophia YouTube channel; also Ensemble Organum, Chants de la Cathédrale de Benevento | — | — | — | — | ||
Catholicos 1019–1058 (d. 1058) Petros Getadardz
|
Gtha, Ter — author of several sermons, anthems, and elegies on early Christian martyrs; brought Armenian musicians to Constantinople as a gift to the Byzantine court | — | n.d.YouTube | — | — | — | — | |
1002–1054 Pope Leo IX (Bruno of Egisheim-Dagsburg)
|
Egredere, Emanuel, Quem nuntiavit Gabriel (Christmas hymn) | — | — | — | — | — | — | |
| O pater Deus aeterne, de caelis altissimo (rhythmus) | — | — | — | — | — | — | ||
| Rhythmical Office of St. Gregory — a contemporary source (Anonymus Mellicensis) explicitly calls him "in musica subtilissimum" (most skilled in music); no recording found for any of his three works despite searching | — | — | — | — | — | — | ||
c. 995–1050 Wipo of Burgundy
|
Victimae paschali laudes (only attributed work) | — | n.d.YouTube; also 2007Wikipedia-hosted .ogg audio, free, former Wikipedia "Featured Sound" | — | — | — | — | |
| c. 1026 Micrologus (Guido of Arezzo, treatise) | Treatise on Gregorian chant and staff notation; contains worked two-voice organum examples (parallel and free organum, with permitted voice-crossing) — Guido is primarily a theorist (inventor of solfège and the 4-line staff), not a composer with his own attributed surviving melody | — | — | — | — | — | — | |
| fl. c. 1100 Johannes Cotto (John Cotton) | A theorist, not composer — possibly English, likely working in southern Germany or Switzerland. Author of De musica, one of the most influential and widely copied medieval music treatises, giving unusually precise directions for composing chant and organum; its content corresponds closely to the St. Martial school and Codex Calixtinus, both elsewhere in this table | — | — | — | — | — | — | |
| — | Literature milestone — simultaneous literature column. | — | — | — | — | — | c. 700–1000 AD Beowulf — Old English heroic epic; surviving manuscript c. 1000. full audiobook / reading on YouTube | |
| 843 AD Germany (East Francia) | Also formed by the Treaty of Verdun, alongside France; became the core of the Holy Roman Empire under Otto I in 962. Hermannus Contractus (below), at the monastery of Reichenau on Lake Constance, is the first clearly German entry in this table | — | —; Salve Regina — attributed to Hermann; Alma Redemptoris Mater — attributed to Hermann | — | — | — | — | |
c. 978–1048 Berno of Reichenau
|
Attributed compositions in an early manuscript source, alongside his theoretical Tonarius and De consona et tonorum varietate | — | — | — | — | — | — | |
early 11th c. Arnold of Saint Emmeram
|
A new historiated office for St. Emmeram (c. 1030), with melodies and modal structures notated in neumes, preserved in 11th-century manuscripts | — | — | — | — | — | — | |
1013–1054 Hermannus Contractus
|
~40 sequences, undated individually | — | n.d.YouTube | — | — | — | — | |
| DISPUTED: Salve Regina — one of the four Marian antiphons of the Catholic liturgical calendar, still the closing prayer of the Rosary today. Traditionally ascribed to Hermannus Contractus, though also credited elsewhere to Bernard of Clairvaux, Peter of Compostela, and Adhemar of Le Puy (said to have composed it as a war-song before departing on the First Crusade in 1096) — most musicologists today regard it as genuinely anonymous | — | n.d.YouTube | — | — | — | — | ||
| DISPUTED: Alma Redemptoris Mater — another of the four Marian antiphons, sung at Compline each year from Advent through Candlemas (Feb. 2); referenced in Chaucer's "The Prioress's Tale." Traditionally credited to Hermannus Contractus for both words and melody, drawing on the writings of Saints Fulgentius, Epiphanius, and Irenaeus — modern scholarship questions the attribution due to limited contemporary evidence, the same pattern as his other two credited hymns above and below | — | n.d.Benedictine Monks of the Abbey at Ganagobie (simple tone); Benedictine Nuns of Notre Dame d'Argentan (solemn tone) | — | — | — | — | ||
| 618 AD Tibetan Empire | Founded by Songtsen Gampo, who also formally introduced Buddhism to Tibet — the tradition Milarepa (next entry) belongs to, five centuries later | — | — | — | — | — | — | |
1052–1135 Milarepa
|
Gurbum songs, multiple | — | n.d.YouTube playlist | — | — | — | — | |
c. 1068–1146 Adam of Saint Victor
|
O Maria Stella Maris | — | n.d.YouTube | — | — | — | — | |
| In natale — for Christmas, one of his best-known sequences; included on Ensemble Organum's "Sacred Music: A Millennium of Gregorian Chant" (Harmonia Mundi), notable as the first named-composer piece to break from the anonymous tradition of the earlier St. Martial repertoire | — | — | — | — | — | — | ||
| 1098 – present Cistercian chant (tradition) | The reform movement founded at Cîteaux Abbey (1098) sought a return to what its founders believed was the "pure" original Gregorian tradition, purging what they saw as later corruptions — a project of musical austerity paralleling the Order's famously plain architecture (Fontenay, Le Thoronet, Sénanque) | — | — | — | — | — | — | |
| 12th-century repertoire, including the respond for Matins of the Feast of St. Bernard (20 August) — a piece entirely created by Stephen Harding's Cistercian successors, not inherited from earlier tradition | — | n.d.Ensemble Organum / Marcel Pérès, "Sacred Music: From the Middle Ages to the 20th Century" (Harmonia Mundi) — "In timore Dei," "Testamentum eternum," "Dedit Dominus confessionem sancto suo" | — | — | — | — | ||
c. 1070–1150 Obadiah the Proselyte
|
Mi Al Har Horev | — | n.d.YouTube | — | — | — | — | |
| c. 750 – c. 1250 AD Old Roman chant (tradition) | Reflects a Roman oral tradition attested from the mid-8th century; gradually supplanted by Gregorian chant by the 13th century | — | — | — | — | — | — | |
| Oldest surviving manuscript: Gradual of Santa Cecilia in Trastevere, 1071 | — | 2016Repertoire (not this specific MS): Spotify — Marcel Pérès / Ensemble Organum, Old Roman Chant: Vespers for Easter Sunday | — | — | — | — | ||
1071–1126 William IX of Aquitaine
|
Earliest troubadour whose work survives — 11 poems survive, but only 1 melody, and that incomplete. Grandfather of Eleanor of Aquitaine; his court later patronized Bernart de Ventadorn. | — | 2019YouTube | — | — | — | — | |
c. 1065–1070 – 1170 Godric of Finchale
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4 surviving songs — the oldest songs in English for which the original musical settings survive (some Latin admixture). A former merchant turned hermit; his life was recorded by his contemporary Reginald of Durham, whose account preserves both texts and neumes | — | 1988Sequentia, English Songs of the Middle Ages (Deutsche Harmonia Mundi) — 3 songs, YouTube; also "Sainte Nicholaes," YouTube | — | — | — | — | |
1079–1142 Peter Abelard
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6 surviving Planctus, undated individually | — | n.d.YouTube | — | — | — | — | |
1093–1166 Grigor III Pahlavuni
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Ov Zarmanali | — | n.d.YouTube | — | — | — | — | |
988/989–1034 Adémar de Chabannes
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Troped Apostolic Mass for St. Martial (1029) — described as "the earliest medieval composer with surviving autograph manuscripts": 257–451 folios of music notation in his own hand survive, the largest single-composer autograph corpus before Machaut (14th c.). Also a notorious literary forger (fabricated Martial's apostolic status); the Mass itself was denounced as heretical and its premiere sabotaged the day it debuted, 3 Aug 1029 | — | 1999New York Ensemble for Early Music, dir. Frederick Renz — first complete performance, 970 years after its aborted premiere; Amazon CD, paid | — | — | — | — | |
| c. 1096 – 1245 AD St. Martial school / Aquitanian polyphony (tradition) | Parallel to, and largely contemporary with, the Notre-Dame school; mostly anonymous (Adémar de Chabannes, immediately above, is the named exception), preserved in manuscripts from the Abbey of St. Martial, Limoges (BnF lat. 1139, 3549, 3719). Its repertoire spread to Santiago de Compostela and shaped the Codex Calixtinus polyphony. | — | — | — | — | — | — | |
| Oldest surviving anonymous compilation manuscript ("Saint-Martial A"): c. 1096–1099, final compilation bound 1245 — though Adémar de Chabannes's own named autograph (immediately above) actually predates this by ~70 years | — | n.d.Ensemble Organum, Polyphonie aquitaine du XIIe siècle, archive.org, free | — | — | — | — | ||
| — | Literature milestone — simultaneous literature column. | — | — | — | — | — | c. 1100 AD The Song of Roland — Old French chanson de geste, rooted in the 778 Roncesvalles tradition. full audiobook / reading on YouTube | |
1098–1179 Hildegard of Bingen
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O vis eternitatis (c. 1150) | 2024IMSLP | n.d.YouTube; also Sequentia, "The Complete Works of Hildegard von Bingen," YouTube | — | — | — | — | |
| O virtus Sapientie (c. 1150) | 2024IMSLP | — | — | — | — | — | ||
| Ave generosa (c. 1150) | 2024IMSLP | — | — | — | — | — | ||
| Ordo Virtutum (c. 1151) | 2024IMSLP, full codex | — | — | — | — | — | ||
| ~65 remaining works, undated | variousIMSLP category | — | — | — | — | — | ||
c. 1047–1129 Hovhannes Sarkavag (Imastaser)
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Tagh Harutean (Ode to the Resurrection) | — | — | — | — | — | — | |
| Paitsaratsan Aisor (Brightened on This Day) | — | — | — | — | — | — | ||
| Anskizbn Bann Astvatz (God, The Infinite Word) — acrostic, incorporates all 36 letters of the Armenian alphabet across its stanzas | — | — | — | — | — | — | ||
| Anchareli Bann Astvatz (God, The Inexpressible Word) — also acrostic | — | — | — | — | — | — | ||
| Music from the 1100s AD | ||||||||
1102–1173 Nerses Shnorhali
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Nor Tsaghik | — | n.d.YouTube | — | — | — | — | |
| c. 3300 BC India (Indus Valley Civilisation) | One of the world's three earliest urban civilizations, alongside Mesopotamia and Egypt. Jayadeva (next entry), working in Odisha/Bengal, lived roughly 4,500 years later | — | — | — | — | — | — | |
mid–late 12th c. Jayadeva
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Gita Govinda (24 Ashtapadis) | — | n.d.YouTube playlist | — | — | — | — | |
fl. early–mid 12th c. (d. c. 1147/48) Jaufre Rudel
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4 of 7 surviving poems have melodies; originator of the "amor de lonh" (love from afar) theme; probably died on the Second Crusade | — | 2018Ensemble Gilles Binchois, YouTube | — | — | — | — | |
fl. 1130–1150 (c. 1099–1150) Marcabru
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44 poems attributed; "L'autrer jost'una sebissa" survives with music — invented, or at least popularized, the pastorela genre. Possibly a student of Cercamon (fl. 1135–1145), whose own works survive as text only, no melody — checked and excluded on that basis. | — | 2015Ensemble Céladon, YouTube | — | — | — | — | |
c. 1130–1195 Herrad of Landsberg
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Primus parens hominum (c. 1180) | — | — | — | — | — | — | |
| Sol oritur occasus (c. 1180, attribution contested) | — | 2014YouTube | — | — | — | — | ||
c. 1130–1200 Bernart de Ventadorn
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Can vei la lauzeta mover | 19171917 anthology | n.d.YouTube | — | — | — | — | |
| 17 more melodies (of 18 total) | 19171917 anthology | — | — | — | — | — | ||
fl. 1160s–1180s Chrétien de Troyes
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One surviving lyric song with melody, attribution disputed | — | — | — | — | — | — | |
fl. c. 1210–1270 Colin Muset
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Nine surviving melodies, mostly chansons jongleuresques (songs about a performer's life) | — | — | — | — | — | — | |
c. 1140–1212 Comtessa de Dia
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A chantar m'er (only surviving work) | — | n.d.YouTube; Sibil•la Ensemble; Micrologus | — | — | — | — | |
c. 1150–1202 Gaucelm Faidit
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Fort chosa es que tot lo major dan (c. 1199) | — | 2016YouTube | — | — | — | — | |
| 13 more melodies (of 14 total) | — | — | — | — | — | — | ||
c. 1150–1231 Folquet de Marselha
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14 surviving cansos, plus a tenson, a lament, an invective, and three crusading songs | — | — | — | — | — | — | |
c. 1180–c. 1278 Peire Cardenal
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96 surviving pieces, three works with melodies | — | — | — | — | — | — | |
c. 1135/1160 – c. 1220 Raimon de Miraval
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Chansoneta Farai Vencut and 21 more surviving melodies | — | n.d.YouTube | — | — | — | — | |
1140s–by 1215 Bertran de Born
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Sirventes, one surviving with melody (of several total attributed) | — | — | — | — | — | — | |
fl. 1180–1200 Arnaut Daniel
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Two works with surviving melodies (of 18 poems total) | — | — | — | — | — | — | |
fl. late 12th c. Arnaut de Mareuil
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Six works with surviving melodies (of 25–29 poems total) | — | — | — | — | — | — | |
c. 1150–1228 Stephen Langton
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DISPUTED: Veni Sancte Spiritus ("the Golden Sequence") — the Pentecost sequence, one of only four medieval sequences retained in the Roman Missal after the Council of Trent's sweeping cuts. Three names are proposed as author: King Robert II of France (970–1031), Pope Innocent III (1161–1216), and Langton — modern scholarship generally favors Langton, but no attribution is certain | — | 1966Konrad Ruhland, Canto Gregoriano 2, Spotify; also Caitlin & Michael Foster, YouTube | — | — | — | — | |
c. 1150–1210 Peire Vidal
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13 of 45 poems with surviving melodies | — | 2015 (Spotify reissue of 1981 recording)Spotify — A Troubadour in Hungary, Fraternitas Musicorum, 1981; also on Discogs | — | — | — | — | |
1157–1199 Richard I of England ("the Lionheart")
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Ja nus hons pris — a rotrouenge composed while held captive in Austria/Germany (1192–1194) after the Third Crusade, addressed to his half-sister Marie of France, Countess of Champagne. Melody authorship is contested — some sources credit Richard himself, others the trouvère Blondel de Nesle, his contemporary and (per legend) the one who found him in captivity by singing outside his prison | — | 2013YouTube (Daniel Estrem); also Owain Phyfe, YouTube | — | — | — | — | |
c. 1138–1215 Giraut de Bornelh
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Reis glorios ("Glorious King") — an alba (dawn song); four melodies survive of roughly 90 poems total | — | — | — | — | — | — | |
c. 1150–1207 Raimbaut de Vaqueiras
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Kalenda Maya (c. 1195) | — | 2010YouTube | — | — | — | — | |
| 1119 – 1312 AD Knights Templar chant (tradition) | The Order left behind few musical documents; its liturgical practice was closely tied to that of the Knights Hospitaller, both originating at the Basilica of the Holy Sepulchre in Jerusalem. Correction to an earlier pass through this project, which found only modern fantasy content and wrongly concluded nothing genuine survived — see note below | — | — | — | — | — | — | |
| Oldest surviving manuscript: Chantilly, Musée Condé ms. XVIII b12, mid-12th century, originating at the Basilica of the Holy Sepulchre | — | 2006Ensemble Organum, dir. Marcel Pérès, Le Chant des Templiers (Naïve/Harmonia Mundi) — 8 movements including Crucem sanctam, Salve Regina, Kyrie eleïson, Da pacem Domine; YouTube, movement I | — | — | — | — | ||
| ARS ANTIQUA BEGINS (Notre-Dame school, c. 1170) | ||||||||
fl. 1146–1177 (d. 1177) Albertus Parisiensis
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Congaudeant catholici — conductus for 3 voices, in the Codex Calixtinus; the earliest known three-voice composition credited to a named individual ("Magister Albertus Parisiensis") in its own source. Cantor of Notre-Dame from 1146, predating Léonin at the same institution. | — | 2010Ensemble Organum / Marcel Pérès, YouTube | — | — | — | — | |
| c. 1138–1145 AD Codex Calixtinus (Liber Sancti Jacobi, tradition) | Appendix I of this pilgrimage guide to Santiago de Compostela contains 21 polyphonic pieces (organa and conducti built on Gregorian tenors) — a real, substantial repertoire beyond just Albertus Parisiensis's single named Congaudeant catholici above. Formerly attributed to Pope Calixtus II; now generally credited to the French scholar Aymeric Picaud as compiler | — | n.d.Ensemble Organum / Marcel Pérès, full repertoire — YouTube playlist | — | — | — | — | |
fl. c. 1230 (dates unknown) Martin Codax
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7 Cantigas de amigo (6 with surviving music; the melody for the 6th is lost) | — | n.d.Grupo Universitario de Cámara, YouTube | — | — | — | — | |
c. 1135–1201 Léonin
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Magnus Liber Organi (c. 1160s–70s) — a large two-voice organum collection surviving in three major manuscripts (Florence, Wolfenbüttel), with at least 28 individually named pieces catalogued; Haec dies (below) | 2012IMSLP, MIDI only | n.d.YouTube | — | — | — | — | |
| Alleluia Pascha nostrum — two-voice organum for Easter | — | n.d.YouTube; also Music of the Gothic Era, YouTube | — | — | — | — | ||
| Benedicta et venerabilis — two-voice gradual | — | n.d.The Early Music Consort of London / David Munrow, YouTube | — | — | — | — | ||
| Propter veritatem — attributed to Leoninus on the Harmonia Mundi CD The Age of Cathedrals: Music from the Magnus Liber Organi (Paul Hillier / Theatre of Voices) | — | — | — | — | — | — | ||
| Gloria: redemptori meo — the sole Léonin-attributed track on the Hilliard Ensemble's 2006 "Pérotin/Léonin and the Ars Antiqua" CD, recorded live at Trinity College Chapel, Cambridge | — | — | — | — | — | — | ||
c. 1160–1230 Perotin
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Viderunt omnes — organum quadruplum (c. 1198) | — | 2018YouTube | — | — | — | — | |
| Sederunt principes (c. 1199) | — | — | — | — | — | — | ||
| Alleluia Nativitas (undated) | — | — | — | n.d."Music of the Middle Ages: Notre Dame School," YouTube | — | — | ||
| Alleluia Posui adiutorium — three-voice organum, explicitly credited to Perotin by Anonymous IV | — | — | — | — | — | — | ||
| Dum sigillum summi Patris — two-voice conductus | — | — | — | — | — | — | ||
| Beata viscera — monophonic conductus, attributed on stylistic grounds; also recorded on the Harmonia Mundi "Age of Cathedrals" CD (as "School of Perotinus") | — | — | — | — | — | — | ||
| fl. mid-late 13th c. Simon Tailler | A real Scottish music theorist who studied in Paris before returning to settle with the Dominicans at Dunblane, introducing several reforms to Scottish church music — closes a genuine gap: this document had zero representation from Scotland. His own four theoretical works on music, once "much admired by later historians," have not survived. He is plausibly connected to compiling the real Wolfenbüttel 677 manuscript, associated with St Andrews — mostly French compositions by Léonin and Perotin, already elsewhere in this table, but scholars note some pieces "seem to point to a more insular origin, perhaps even Tailler himself," though no specific piece is confirmed as his | — | — | — | — | — | — | |
| fl. c. 1270–1320 Johannes de Garlandia | A theorist, not composer — author of De Mensurabili Musica, a foundational treatise on rhythmic notation directly connected to the Notre-Dame school of Léonin and Perotin, elsewhere in this table, and their real system of rhythmic modes | — | — | — | — | — | — | |
| d. after 1272 Hieronymus of Moravia | A theorist, not composer — a Dominican friar in Paris, author of a real, substantial treatise on music compiling several earlier authorities alongside his own material | — | — | — | — | — | — | |
| fl. c. 1270 Magister Lambertus | A theorist, not composer — a Parisian master, author of the real Ars musica, a Latin treatise praising philosophical wisdom before turning to musical theory grounded in the work of Dominicus Gundissalinus | — | — | — | — | — | — | |
| fl. late 13th c. Elias Salomo | A theorist, not composer — author of a real 31-chapter treatise covering the fundamentals of Gregorian chant theory and practice | — | — | — | — | — | — | |
| c. 1250–1331 Engelbert of Admont | A theorist, not composer — a genuinely versatile Benedictine abbot of Admont, Austria, whose writings span theology, philosophy, history, political science, and the natural sciences alongside music, including real treatise material on the hexachord and its solmization | — | — | — | — | — | — | |
| fl. 1326 Robert de Handlo | A theorist, not composer — an English writer, likely of the de Handlo family of Kent, author of the Regule cum maximis magistri Franconis, a real, substantial 1326 treatise on mensural notation that genuinely preserves the names of several early composers not recorded anywhere else, and is the only medieval treatise to prescribe specific durations for plicas | — | — | — | — | — | — | |
| fl. c. 1300 Johannes de Grocheio | A theorist, not composer — genuinely significant as one of the only medieval writers to seriously discuss secular, urban, and popular music (chansons de geste, dance forms) alongside sacred music, in his real treatise De musica, a real departure from the purely liturgical focus of most contemporary theory | — | — | — | — | — | — | |
| fl. before 1300 – d. after 1316 Walter Odington (Walter of Evesham) | A theorist, not composer — an English Benedictine monk of Evesham Abbey, later at Oxford. Author of De speculatione musice, likely written before 1300, a real, substantial compilation of contemporary music theory with original additions; credited by Hugo Riemann with theoretically establishing the consonance of minor and major thirds before the end of the 13th century | — | — | — | — | — | — | |
| c. 1310–1369 Simon Tunsted | A theorist, not composer — an English Franciscan friar from Norwich, master of the Minorites at Oxford from 1351. Traditionally credited with Quatuor Principalia Musicae, a real treatise setting out the musical principles underlying the whole Ars Nova movement, though modern scholarship notes the attribution rests on genuinely thin evidence — a single colophon, with internal textual evidence suggesting a foreign author | — | — | — | — | — | — | |
| fl. c. 1375 John Hanboys | A theorist, not composer — English, author of the real Summa, written around 1375, taking Robert de Handlo, elsewhere in this table, as its point of departure and incorporating an abbreviated version of his Regule. Hanboys genuinely expanded the mensural notation system to a total of eight figures, an exhaustively systematic survey of the whole Ars Nova formal apparatus | — | — | — | — | — | — | |
| fl. 1351–1392 John of Tewkesbury | A theorist, not composer — an English friar whose real treatise cites Boethius, Isidore of Seville, Guido d'Arezzo, Magister Lambertus, and Franco of Cologne, all elsewhere in this table, and discusses Ars Nova principles alongside a genuinely interesting commentary on the working practices of contemporary scribes | — | — | — | — | — | — | |
| d. 1367 Johannes Boen | A theorist, not composer — a Dutch theorist of the mid-14th century | — | — | — | — | — | — | |
| fl. 1st half 14th c. Johannes Vetulus de Anagnia | A theorist, not composer — an Italian writer of the early Ars Nova period, author of the real treatise Liber de musica | — | — | — | — | — | — | |
| fl. early 14th c. Petrus frater dictus Palma ociosa | A theorist, not composer — French, author of the real treatise Compendium de discantu mensurabili (1336) | — | — | — | — | — | — | |
fl. 1270s–1280s W. de Wycombe
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Alleluia settings, mostly surviving only as fragments in the Worcester Fragments (about a third of all surviving English polyphony from the 1200s) | — | — | — | — | — | — | |
| c. 1260 (MS copied 1261–1264) Anonymous | Sumer is icumen in (the "Reading Rota") — the oldest known six-part polyphonic composition, and the oldest known complete polyphonic secular song in English. Composer unknown; possibly W. de Wycombe (above) or John of Fornsete, a monk of Reading Abbey, though most scholars consider both attributions tenuous. Survives with both a secular Middle English text and a later-added Latin sacred contrafactum, "Perspice Christicola," on the same manuscript page | — | n.d.Hilliard Ensemble, YouTube | — | — | — | — | |
1201–1253 Thibaut de Champagne
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Chansons in the Chansonnier du Roi | — | n.d.YouTube | — | — | — | — | |
c. 1200–before 1269 Sordello
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One surviving melody, matched anonymously to his text by 13th-century tradition | — | — | — | — | — | — | |
c. 1230–1306 Jacopone da Todi
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DISPUTED: Stabat Mater — one of the most famous medieval hymns ever written, still set by composers today (Pergolesi, Rossini, Dvořák, Poulenc, and many others). One source summarizes the authorship debate as "three Popes, three Saints and one layman" all having been proposed; Jacopone is the traditional favorite, though the earliest surviving notated copy (a 13th-century Dominican gradual from Bologna) has led many recent scholars to doubt his authorship specifically. Suppressed at the Council of Trent along with hundreds of other sequences, restored to the Missal in 1727 | — | — | — | — | — | — | |
1221–1284 Alfonso X of Castile ("el Sabio")
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Cantigas de Santa Maria ("Songs of Holy Mary") — 420 monophonic songs in Galician-Portuguese, one of the largest surviving collections of medieval song, compiled over most of his reign (1252–1284); preserved in four lavishly illuminated manuscripts (Toledo, El Escorial ×2, Florence) | — | n.d.Boston Camerata, Alfonso X el Sabio: Cantigas de Santa Maria; also widely recorded by numerous early-music ensembles | — | — | — | — | |
| c. 1240–c. 1320 Juan Gil de Zamora (Aegidius Zamorensis) | A theorist, not composer — no surviving music of his own, included here as author of the Ars musica, the only surviving work of music theory from medieval Castile, written for the same literary circle around Alfonso X, above, dated to either the 1250s or 1296–1304 depending on the scholar. A Castilian Franciscan friar and prolific writer across hagiography, history, natural science, and poetry as well as music theory | — | — | — | — | — | — | |
c. 1190–1245 Guillaume le Vinier
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Bien doit chanter; Espris d'ire et d'amour; over 30 poems total, most with surviving melodies | — | n.d."Bien doit chanter," YouTube; also Folger Consort, A Medieval Tapestry | — | — | — | — | |
d. 1252 Gilles le Vinier
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Seven surviving songs, including Amors ki me le comande and Au partir de la froidure, both featuring "echo rhymes" (repeated final syllables with shifted meaning) | — | — | — | — | — | — | |
| c. 1210–1272 Jehan Bretel | 96 of a probable 97 songs survive — "Prince" of the Puy d'Arras, dedicatee of works by Jehan de Grieviler, Jehan Erart, Jaques le Vinier, Colart le Boutellier, and Mahieu de Gant | — | — | — | — | — | — | |
| fl. mid-late 13th c. Jehan de Grieviler | Cleric-trouvère; 34 jeux-partis survive, 28 exchanged with Jehan Bretel, three with surviving melodies probably his own | — | — | — | — | — | — | |
| fl. 1240–1260 Colart le Boutellier | A well-connected Arras trouvère, dedicatee/dedicator with Jehan Bretel, Jehan de Nuevile, and Guillaume le Vinier, above | — | — | — | — | — | — | |
| fl. mid-late 13th c. Mahieu de Gant | A Flemish trouvère from Ghent; four chansons and several jeux-partis survive, all melodies in bar form | — | — | — | — | — | — | |
| c. 1200–1250 Jehan de Nuevile | A minor Artesian nobleman-trouvère; exchanged dedications with Colart le Boutellier, above | — | — | — | — | — | — | |
| fl. 1252–1270 Jehan de Louvois | A French nobleman-trouvère from the County of Champagne | — | — | — | — | — | — | |
| b. c. 1130 (fl. 1149–1170) Peire d'Alvernhe | 21–24 surviving works in the esoteric "trobar clus" style — the earliest troubadour named directly in Dante's Divine Comedy; his own vida calls him the greatest melody-composer known at the time | — | — | — | — | — | — | |
| c. 1290–d. after 1304 Jehan de Lescurel | A late trouvère whose surviving corpus (rondeaux, ballades, and diz entez) appears bound directly alongside the Roman de Fauvel manuscript — no other works by him survive | — | — | — | — | — | — | |
| c. 1147–1173 Raimbaut d'Aurenga | About 40 surviving works, credited with helping create the "trobar ric" (articulate/ornate) style of troubadour poetry | — | — | — | — | — | — | |
| c. 1170–c. 1230 Aimeric de Peguilhan | At least 50 known works, music surviving for six — fled the Albigensian Crusade to Lombardy, where he spent a decade | — | — | — | — | — | — | |
| fl. c. 1188–1222 Peirol (Peire de Pueg-de-Velai) | A troubadour of Auvergne, one of many poor knights of the era who took up troubadour poetry for its patronage income | — | — | — | — | — | — | |
| fl. early 13th c. Cadenet | A troubadour, among the nobles/poor knights of the period who composed for patronage | — | — | — | — | — | — | |
| fl. 1217–1253 Uc de Saint Circ | 44 songs survive, including 15 cansos with only 3 surviving melodies; also probable author of several vidas (biographies) of other troubadours, and a didactic manual, Ensenhamen d'onor | — | — | — | — | — | — | |
| fl. 1215–1242 Aimeric de Belenoi | At least 15 songs survive (7 more disputed); nephew of fellow troubadour Peire de Corbiac, only one work survives with a melody | — | — | — | — | — | — | |
| fl. c. 1233–1258 Guilhem de Montanhagol | A Provençal troubadour of the mid-13th century | — | — | — | — | — | — | |
| fl. 1220–1269 Sordello (Sordel de Goit) | An Italian-born troubadour writing in Occitan, at the court of Raimon Berenguer IV of Provence — later famously appears as a character in Dante's Purgatorio | — | — | — | — | — | — | |
| fl. 1140–1163 Rigaut de Berbezilh | About 15 poems survive, including one planh and 9–10 cansos — a great influence on the Sicilian School, quoted in the Roman de la Rose | — | — | — | — | — | — | |
| fl. mid-12th c. Bernart Marti | 9–10 poems survive, influenced by Marcabru; sometimes grouped with Peire d'Alvernhe and Gavaudan in a hypothetical "Marcabrunian school" | — | — | — | — | — | — | |
| b. c. 1145 (fl. 1160–1180) Peire Rogier | An Auvergnat troubadour and cathedral canon of Clermont who left the church for a wandering minstrel's life — credited as the originator of internal dialogue in troubadour lyric, later imitated by Giraut de Bornelh | — | — | — | — | — | — | |
| b. before 1150–d. 1195/1200 Guilhem de Saint-Leidier | Lord of Saint-Didier-en-Velay, a 12th-century troubadour | — | — | — | — | — | — | |
| fl. mid-12th c. Gavaudan | A troubadour sometimes grouped in the "Marcabrunian school" alongside Bernart Marti and Peire d'Alvernhe, above | — | — | — | — | — | — | |
| c. 1135/1160–c. 1220 Raimon de Miraval | 45 of his works survive, 22 with melodies — one of the highest survival rates of any troubadour; captured by Simon de Montfort during the Albigensian Crusade | — | — | — | — | — | — | |
| fl. c. 1178–1195 Raimon Jordan | Viscount of Saint-Antonin and troubadour, a partisan of Henry the Young King in the Revolt of 1173–74 | — | — | — | — | — | — | |
| fl. 1160–1220 Pons de Capduelh | 27 songs preserved, four with surviving musical notation — known for their great gaiety | — | — | — | — | — | — | |
| fl. 1204–1222 Elias Cairel | A troubadour of international fame, born in Sarlat, who traveled with the Fourth Crusade to the Kingdom of Thessalonica before returning west | — | — | — | — | — | — | |
| fl. 1191–1230 Elias de Barjols | Eleven lyrics survive (none with music) — a bourgeois troubadour who established himself in Provence and retired a monk | — | — | — | — | — | — | |
| fl. 1214–1282 Daude de Pradas | 17–19 cansos survive, plus a tenso and a planh — only one melody of his entire output has survived | — | — | — | — | — | — | |
| fl. early 13th c. Guiraut de Calanso | A troubadour frequently present at the courts of Castile, León, and Aragon | — | — | — | — | — | — | |
| fl. 1160–1209 Berenguier de Palazol | 12 cansos survive, 8 with melodies — a real, unusually high proportion; possibly one of the earliest troubadours, poems referencing Gausfred III of Roussillon may date to c. 1150 | — | — | — | — | — | — | |
| fl. 1190/1195–1217 Guilhem Ademar | A troubadour from the Gévaudan, satirized by the Monge de Montaudon for his fame; entered holy orders late in life | — | — | — | — | — | — | |
| fl. 1220–1231 Jausbert de Puycibot | 15 works survive (14 cansos) — a Limousin troubadour, reportedly a monk | — | — | — | — | — | — | |
| fl. late 12th c. Guilhem de Berguedan | A troubadour, real cross-attributions with Berenguier de Palazol, Daude de Pradas, and others survive in the manuscripts | — | — | — | — | — | — | |
| fl. 1195–1209 Gui d'Ussel | 20 poems survive (8 cansos, 2 pastorelas, 2 coblas, 8 tensos), 4 cansos with melodies — youngest of three troubadour brothers of Ussel; sworn by a papal legate to renounce composing c. 1209 | — | — | — | — | — | — | |
| fl. c. 1200 Eble d'Ussel | Eldest of the three troubadour brothers of Ussel — one tenso, one partimen, and a cobla survive | — | — | — | — | — | — | |
| fl. c. 1200 Peire d'Ussel | Middle of the three troubadour brothers of Ussel — one cobla survives under his name | — | — | — | — | — | — | |
| fl. c. 1200 Elias d'Ussel | Cousin and co-castellan of the three troubadour brothers of Ussel — four tensos, one partimen, and two coblas survive | — | — | — | — | — | — | |
| fl. 1180–1220 Peire Raimon de Tolosa | 18 poems survive, one canso with a melody — a hermetic style later anticipating Dante; Bertran de Born, already in this table, copied nearly a whole stanza from him | — | — | — | — | — | — | |
| 1194–1221 Albertet de Sisteron | A troubadour with real, precisely documented birth and death years — rare for the genre | — | — | — | — | — | — | |
| fl. 1185–1228 Pistoleta | 11 songs survive (9 cansos, 2 tensos); one melody survives in two versions — began as a singer for fellow troubadour Arnaut de Maruoill | — | — | — | — | — | — | |
| fl. active to 1230 Guillem Augier Novella | Active at the court of Emperor Frederick II; his sirventes lamenting a fallen lord is a genuine early example of anti-Crusading verse | — | — | — | — | — | — | |
| fl. 1215–1233 Falquet de Romans | 14–15 pieces survive (7 sirventes, 3 tensos, 2–3 cansos, a salut d'amor, an alba) — the most famous troubadour attached to Emperor Frederick II's court, despite beginning as a jongleur | — | — | — | — | — | — | |
| fl. 1233–1242 Blacasset | A troubadour of the second quarter of the 13th century | — | — | — | — | — | — | |
| c. 1170–1246 Pons d'Ortaffa | Two cansos survive, one with a melody — feudal lord of Ortafà in Roussillon | — | — | — | — | — | — | |
| fl. 1229–1266 Bertran d'Alamanon | 22 works survive, mainly provocative tensos and sirventes on Crusading themes — a Provençal knight and diplomat for the Count of Provence | — | — | — | — | — | — | |
| fl. 1235–1257 Lanfranc Cigala | 32 poems survive — a Genoese judge and one of the most famous Occitan troubadours of Lombardy, writing on Crusading, heresy, and papal power | — | — | — | — | — | — | |
| fl. 1196–1204 Guillem Magret | A troubadour with rich, motivically-varied surviving melodies; traveled widely in Spain before ending his life in a hospital there | — | — | — | — | — | — | |
| fl. 1190–1220 Perdigon | 14 works survive, 3 cansos with melodies — widely respected by contemporaries, judging by his inclusion across many chansonniers | — | — | — | — | — | — | |
| fl. 1190–1220 Uc Brunet | Six works survive — a nobleman-troubadour from Rodez | — | — | — | — | — | — | |
| fl. 1253–1266 Bonifaci Calvo | 19 poems and two descorts survive — the most notable Genoese troubadour after Lanfranc Cigala, above | — | — | — | — | — | — | |
| fl. 1250–1293 Simon Doria | Six tensos survive, four composed with Lanfranc Cigala, above — a Genoese statesman of the important Doria family | — | — | — | — | — | — | |
| fl. 1262–1268 Paulet de Marselha | Eight works survive — a Provençal troubadour from Marseille, exiled to Catalonia after a failed rebellion, later at the courts of Peter III of Aragon and Alfonso X of Castile | — | — | — | — | — | — | |
| fl. 1266–1273 Bertolome Zorzi | 18 works survive — a Venetian merchant taken prisoner by Genoa, who composed many "songs from prison," some in collaboration with Bonifaci Calvo, above | — | — | — | — | — | — | |
| fl. 1235–1265 Guillelma de Rosers | One partimen survives, exchanged with Lanfranc Cigala, above — one of the last known trobairitz (female troubadours) | — | — | — | — | — | — | |
| fl. early-mid 12th c. Peire de Valeira | Two poems survive — one of the earliest troubadours, from the generation right after the tradition spread from Aquitaine into Gascony | — | — | — | — | — | — | |
| fl. 13th c. Peire Guillem de Tolosa | One sirventes/tenso with Sordello, above, survives — also known for a work criticizing the trouvère Thibaut de Champagne, already in this table | — | — | — | — | — | — | |
| fl. 13th c. Peire de Corbiac | A Gascon cleric-troubadour, best known for Lo tezaurs (c. 1225) and a real Marian prayer-poem | — | — | — | — | — | — | |
| fl. 12th c. Arnaut de Tintinhac | Four poems survive — echoes of Marcabru and Bernart Marti, already elsewhere in this table, in style | — | — | — | — | — | — | |
| fl. early 13th c. Uc de la Bacalaria | A canso, an erotic alba, and several partimens survive, including exchanges with Gaucelm Faidit, already in this table | — | — | — | — | — | — | |
| fl. 1216–1233 Guilhem de la Tor | A jongleur-troubadour from the Périgord who spent most of his career in northern Italy, circulating among the Este, Malaspina, and Da Romano courts | — | — | — | — | — | — | |
| fl. late 12th c. Arnaut de Mareuil | 25–29 cansos survive, 6 with music — per the 1911 Britannica, surpassed his more famous contemporary Arnaut Daniel in "elegant simplicity of form" | — | — | — | — | — | — | |
| fl. 1218–1221 Rambertino Buvalelli | Possibly the first troubadour native to the Italian Peninsula — podestà of Genoa and later Brescia, Milan, Parma, Mantua, and Verona, introducing Occitan lyric poetry to several of these cities | — | — | — | — | — | — | |
| c. 1170–1220s João Soares de Paiva | Author of "Ora faz ost' o senhor de Navarra," dated just before or after 1200 — usually agreed to be the earliest extant composition of the whole Galician-Portuguese lyric tradition, later collected into the real cancioneiro songbooks alongside King Dinis, below | — | — | — | — | — | — | |
| 1261–1325 King Dinis of Portugal | A real troubadour-king, closing a genuine gap for Portugal — musicologists have recently identified surviving fragments of his own music, genuinely rare for a monarch of his period; his poetry is preserved in the same cancioneiro songbook tradition as João Soares de Paiva, above | — | — | — | — | — | — | |
| c. 1200–after 1261 Vincent of Kielcza | Author of Gaude Mater Polonia, first performed 8 May 1254 in Kraków for the canonization of Saint Stanislaus — one of the most significant medieval Polish hymns, real evidence of an early native Polish sacred-music tradition beyond the Latin liturgical mainstream | — | — | — | — | — | — | |
c. 1230–1292 Guiraut Riquier
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48 surviving melodies out of 89 extant poems — more than double the number surviving from any other troubadour | — | — | — | — | — | — | |
c. 1200–c. 1270 Tannhäuser
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Six surviving Leiche (lyric lays), plus dance songs, love songs (some in a parodistic vein), and a group of Sprüche (gnomic poems) | — | — | — | — | — | — | |
c. 1250/60–1318 Heinrich Frauenlob (Heinrich von Meissen)
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Three long strophic Leiche survive with melodies — the Marienleich (his best-known and most complex work, an elaborate poem on the Virgin Mary conflated with divine Wisdom and the Song of Songs), the Kreuzleich, and the Minneleich — plus 13 minnelieder and roughly 330 further strophic stanzas (Sangsprüche) | — | n.d.Sequentia, "Frauenlob's Leich, oder der Guldin Fluegel: Interludium," YouTube | — | — | — | — | |
| c. 1160–c. 1210 Reinmar von Hagenau (Reinmar der Alte) | Over 60 songs survive — regarded by contemporaries as the greatest Minnesänger before Walther von der Vogelweide, his own student | — | — | — | — | — | — | |
| b. c. 1200–d. after 1248 Reinmar von Zweter | Spruchdichtung (gnomic/didactic verse) — possibly blind in adulthood, per the Codex Manesse's iconography | — | — | — | — | — | — | |
| fl. 1241–1280 Ulrich von Winterstetten | 40 minnelieder and 5 Minneleichs — a real genre specialist alongside Tannhäuser and Frauenlob elsewhere in this table | — | — | — | — | — | — | |
| fl. mid-13th c. Konrad von Würzburg | Didactic poetry, building on Walther von der Vogelweide's model | — | — | — | — | — | — | |
| fl. 13th c. Der Marner | Didactic Spruchdichtung, contemporary of Reinmar von Zweter and Konrad von Würzburg | — | — | — | — | — | — | |
| fl. c. 1150–1160 Der von Kürenberg | 15 strophes survive, in the Codex Manesse and the Budapest Fragment — one of the earliest named Minnesänger, his real given name unknown | — | — | — | — | — | — | |
| c. 1115–c. 1171 Dietmar von Aist | About 20 love songs and crusader lyrics survive — from a baronial family in the Duchy of Austria, one of the earliest named Minnesänger alongside Der von Kürenberg, above | — | — | — | — | — | — | |
| c. 1150–1190 Friedrich von Hausen | 15 songs survive in the Codex Manesse — one of the earliest Minnesänger known to imitate French troubadour models directly, having encountered them on his travels through Burgundy and Provence; died on Crusade | — | — | — | — | — | — | |
| c. 1140–d. after 1184 Hendrik van Veldeke (Heinrich von Veldeke) | Minnesongs survive in early collections, alongside his better-known Eneide — a Limburgian poet, together with Friedrich von Hausen credited with introducing Romance poetic elements into Minnesang | — | — | — | — | — | — | |
| fl. late 12th c. Meinloh von Sevelingen | One of the named Minnesänger of the Codex Manesse (folios 65r-67r) | — | — | — | — | — | — | |
| fl. c. 1200 Bernger von Horheim | Surviving strophes in the Codex Manesse — a noble from the Frankfurt area who accompanied Emperor Henry VI to Italy, directly influenced by Friedrich von Hausen, above | — | — | — | — | — | — | |
| d. 1244 Otto von Botenlauben | A count and Minnesänger named in the Codex Manesse (folio 27r) | — | — | — | — | — | — | |
| d. 1279 Gottfried von Neifen | A Minnesänger named in the Codex Manesse (folio 32v) | — | — | — | — | — | — | |
| c. 1180–c. 1209 Albrecht von Johansdorf | About 20 strophes survive in the Codex Manesse, including at least five "recruitment" songs likely written for the Third Crusade — a Bavarian minor noble at the court of Wolfger of Erla; his "Song 2" borrows structure and melody from a song by trouvère Conon de Béthune | — | — | — | — | — | — | |
| c. 1160/70–c. 1210/20 Hartmann von Aue | About 10 love songs survive alongside his better-known epics (Erec, Iwein) — one of the three great epic poets of Middle High German literature, alongside Wolfram von Eschenbach and Gottfried von Strassburg, below | — | — | — | — | — | — | |
| c. 1160/80–c. 1220 Wolfram von Eschenbach | Nine surviving songs, five of them dawn-songs (Tagelieder) regarded as masterpieces of the genre, though no original melodies survive — a Bavarian knight-poet, primarily famous for the epic Parzival, with 84 surviving manuscripts | — | — | — | — | — | — | |
| fl. c. 1200 Gottfried von Straßburg | One of the three great epic poets of Middle High German literature, alongside Hartmann von Aue and Wolfram von Eschenbach, above — best known for the epic Tristan (c. 1210) | — | — | — | — | — | — | |
| fl. late 12th c. Ulrich von Gutenburg | A member of the "inner circle" of Rhenish Minnesang, alongside Friedrich von Hausen and Bernger von Horheim, already elsewhere in this table | — | — | — | — | — | — | |
| fl. late 12th c. Rudolf von Fenis | A member of the "outer circle" of Rhenish Minnesang, alongside Heinrich von Rugge and Albrecht von Johansdorf, above | — | — | — | — | — | — | |
| fl. 1175–1178 Heinrich von Rugge | Songs preserved in the Codex Manesse — possibly identifiable with "Heinricus miles de Rugge," documented in a charter from 1175-1178; his castle stood on the Ruckberg near Blaubeuren in Nordwürttemberg | — | — | — | — | — | — | |
| 1152–1210 Bligger von Steinach (Bligger II) | Poems mentioning Damascus and Saladin survive — a companion to two Staufer emperors and contemporary of Gottfried von Strassburg, already elsewhere in this table; fief lord of Steinach on the Neckar | — | — | — | — | — | — | |
| 1284–1320 Wernher von Homberg | Eight extant Minnelieder survive — a knight in the service of Emperor Henry VII and later Frederick the Fair, who inherited territories forming the northern part of the modern canton of Schwyz | — | — | — | — | — | — | |
| fl. c. 1280 Albrecht von Rapperswil | Three songs survive (Codex Manesse, fol. 193r), each with a nature-in-springtime opening verse followed by verses on the beloved lady's beauty — a ministerialis in service of the counts of Rapperswil | — | — | — | — | — | — | |
| fl. 1224–1236 (d. between 1271–1275) Reinmar von Brennenberg | Five songs survive — four Kanzonen in bar form and a Spruchton with at least 12 strophes; a ministerialis to the Bishop of Regensburg, his style close to Reinmar von Hagenau and Heinrich von Morungen, already elsewhere in this table | — | — | — | — | — | — | |
| c. 1200–1275 Ulrich von Liechtenstein | Songs preserved in the Codex Manesse, alongside his own real, colorful autobiography Frauendienst — a knight famous for staging elaborate real-life chivalric jousting tours in the persona of Venus | — | — | — | — | — | — | |
| fl. 1220s–1230s Burkart von Hohenfels | A Minnesänger named in the Codex Manesse (folio 110r) | — | — | — | — | — | — | |
| 1234–1275/76 Hesso von Reinach | A Minnesänger named in the Codex Manesse (folio 113v) | — | — | — | — | — | — | |
| 1271–1306 Konrad, der Schenk von Landeck | A Minnesänger of Thurgau named in the Codex Manesse (folio 205r) | — | — | — | — | — | — | |
| fl. 1275–1310 Bruno von Hornberg | A Minnesänger named in the Codex Manesse (folio 251r) | — | — | — | — | — | — | |
| b. c. 1220 Walther von Klingen | Eight songs survive in the Codex Manesse — conventional canzone songs on typical Minnesang themes of lamentation and courtship; from an old Thurgau family | — | — | — | — | — | — | |
| 1275–1326 (documented) Konrad von Kirchberg | A Minnesänger of the Swabian counts of Kirchberg, near Ulm — shown in the Codex Manesse on horseback, delivering a poem to a lady in a tower window | — | — | — | — | — | — | |
| fl. 1230–1250 Kol von Nüssen | A Minnesänger possibly from Lower Austria, near Zwettl — shown in the Codex Manesse hawking | — | — | — | — | — | — | |
| fl. early 13th c. Heinrich Hetzbold von Weißensee | A Minnesänger named in the Codex Manesse (folio 228r), documented 1310-1345 at Weissensee, north of Erfurt in Thuringia | — | — | — | — | — | — | |
| fl. early 13th c. Steinmar | A Minnesänger named in the Codex Manesse (folio 308v) | — | — | — | — | — | — | |
| fl. 1209–1228 Ulrich von Singenberg | A Minnesänger, Truchsess (steward) of the Kloster St. Gallen — named in the Codex Manesse (folio 151r) | — | — | — | — | — | — | |
| documented 1257 Rudolf von Rotenburg | A Minnesänger from a ministerialis family near Lucerne, in service to the Vögte of Rotenburg | — | — | — | — | — | — | |
| fl. early 13th c. Rudolf von Neuenburg | Nine songs survive in the Codex Manesse (fol. 20v-22r) — a Count of Neuchâtel who explicitly modeled his poetry on troubadours Folquet de Marselha and Peire Vidal, already elsewhere in this table, though composing exclusively in Middle High German | — | — | — | — | — | — | |
| fl. mid-13th c. Ulrich von Türheim | Three works survive: a conclusion to Gottfried von Strassburg's unfinished Tristan (already elsewhere in this table), a continuation of Wolfram von Eschenbach's Willehalm, and fragments of a Cligès based on Chrétien de Troyes — called "the wise Türheimer" by fellow poet Rudolf von Ems | — | — | — | — | — | — | |
| fl. c. 1290 Heinrich von Freiberg | Best known for his own continuation of Gottfried von Strassburg's Tristan, above — preserved in three complete manuscripts and five fragments; active at the court of Wenceslaus II of Bohemia | — | — | — | — | — | — | |
| fl. 13th c. Der Winsbeke | Purported author of a father-son didactic poem in the Codex Manesse (folio 213r) — real German scholarship (Leitzmann) argues he may genuinely be a historical knight from Winsbach, near Heilsbronn, rather than purely fictional, though this remains debated | — | — | — | — | — | — | |
| fl. 13th c. Die Winsbekin | Purported author of a companion mother-daughter didactic poem in the Codex Manesse (folio 217r) — historicity similarly debated, possibly even older than Der Winsbeke's poem, above, per some manuscript scholarship | — | — | — | — | — | — | |
c. 1170–c. 1230 Walther von der Vogelweide
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Palästinalied ("Song of Palestine," c. 1220) — his only work with a complete surviving melody, itself a contrafactum of Jaufre Rudel's tune; roughly 200 further stanzas survive as text only, preserved chiefly in the Codex Manesse | — | n.d.Joel Frederiksen / Ensemble Phoenix Munich — search "Walther von der Vogelweide Palästinalied," no single confirmed free link established this pass | — | — | — | — | |
c. 1190–1200 (fl.) Heinrich von Morungen
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35 surviving songs | — | — | — | — | — | — | |
d. c. 1240 (fl.) Neidhart von Reuental
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A substantial corpus of Sommerlieder and Winterlieder (summer and winter songs) survives, several with melodies | — | — | — | — | — | — | |
| — | Literature milestone — simultaneous literature column. | — | — | — | — | — | c. 1200 AD Nibelungenlied — Middle High German heroic epic. full audiobook / reading on YouTube | |
| — | Literature milestone — simultaneous literature column. | — | — | — | — | — | c. 1220 AD Prose Edda — Snorri Sturluson’s Icelandic handbook of poetics and Norse mythology. full audiobook / reading on YouTube | |
| — | Literature milestone — simultaneous literature column. | — | — | — | — | — | 13th c. manuscript Poetic Edda — Collection of Old Norse mythological and heroic poems, many preserving older oral material. full audiobook / reading on YouTube; part 2 | |
| — | Literature milestone — simultaneous literature column. | — | — | — | — | — | 12th–13th c. texts The Mabinogion — medieval Welsh prose tales preserved chiefly in 14th-century manuscripts. full audiobook on YouTube | |
c. 1245–1288 Adam de la Halle
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Le Jeu de Robin et Marion (a pastoral play with music, sometimes cited as an early ancestor of comic opera) | — | n.d.Ensemble Perceval, YouTube | — | — | — | — | |
fl. c. 1290 (dates unknown) Petrus de Cruce
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Two motets identified by the 14th-century theorist Jacobus of Liège: Au renouveler and Aucun ont trouvé — among the very few named-composer works securely surviving from the late Ars Antiqua, most of that repertoire being anonymous | — | — | — | — | — | — | |
| fl. mid-13th c. Petrus de Picardia | A theorist, not composer — French, active in the same mensural-notation tradition as Franco of Cologne and Petrus de Cruce, both elsewhere in this table | — | — | — | — | — | — | |
| c. 1260 Ars cantus mensurabilis (Franco of Cologne, treatise) | The foundational treatise of mensural notation — the first system to assign fixed, independent durations to individual note shapes (longa, brevis, semibrevis) rather than relying on context. Directly enabled Petrus de Cruce's Petronian motets, below. No music by Franco himself survives with reliable attribution — he is a theorist here, not a composer. Notably, Grove's Dictionary (1880, read directly from the original public-domain edition) observes that the exact notational system Franco describes — his "Fifth Mood," with perfect/imperfect breves — is the same system actually used in "Sumer is icumen in," already in this table above, a real cross-reference independently confirming both entries | — | — | — | — | — | — | |
fl. c. 1270–1300 Petrus de Cruce
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Aucun ont trouvé / Lonc tans / Annuntiantes and Je cuidoie bien metre jus / Se j'ai folement amé / Solem — two motets identified as his by Jacques de Liège; cited in the Historical Anthology of Music (HAM 34, 35) | — | n.d."Aucun ont trouvé," YouTube; also "Je cuidoie," YouTube | — | — | — | — | |
c. 1274–after 1326 Marchetto da Padova (Marchettus of Padua)
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Ave regina celorum / Mater innocencie / [Ite missa est] — one of only three motets reliably attributed to him, confirmed via an acrostic spelling "MARCUM PADUANUM" in the text itself; a second acrostic suggests the piece was composed for the dedication of the Scrovegni (Arena) Chapel in Padua, March 25, 1305 — the same chapel famous for Giotto's frescoes, though this specific link remains debated among scholars | — | n.d.Sator Musicae, YouTube; also Naxos recording, YouTube | — | — | — | — | |
| ARS NOVA BEGINS (c. 1320) | ||||||||
c. 1291–1361 Philippe de Vitry
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Motets in the Roman de Fauvel (c. 1316), among the earliest surviving Ars Nova compositions | — | n.d.YouTube | — | — | — | — | |
| c. 1320–1382 Nicole Oresme | A theorist, not composer — Bishop of Lisieux and a real, close friend of Philippe de Vitry, above. A scientist of remarkable range: contributed real work on musical acoustics, the physiology and psychology of hearing, and the mathematics of musical measurement, alongside his better-known achievements in economics and early wave mechanics — one of the most intellectually versatile figures connected to medieval music theory | — | — | — | — | — | — | |
c. 1300–1377 Guillaume de Machaut
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Messe de Nostre Dame (c. 1360s) — the earliest surviving complete Mass Ordinary setting attributable to a single named composer | — | 1985Hilliard Ensemble, YouTube; also 2000sEnsemble Organum, YouTube; also 2017MEC Early Music Consort, YouTube | — | n.d."Music of the Ars Nova and Ars Subtilior (1350–1400)," YouTube playlist | — | — | |
| ~140 more surviving works: lais, motets, ballades, virelais, rondeaux — 14-work anthology: Pour quoy me bat mes maris?; Ma chiere dame; Tres douce dame que j'aour; Tres bonne et belle; Douce dame, tant com vivray; De toutes flours; Douce dame jolie; Dame, je sui cilz; Rose, liz, printemps, verdure; Mes esperis; Loyaute, que point ne delay; Amours me fait desirer; Se je souspir parfondement; Plus dure que un dyamant | — | 1956 / YouTube 2021Collegium Musicum anthology, YouTube; also alternate upload with track timestamps, YouTube | — | — | — | — | ||
| ARS SUBTILIOR (late 14th c. — extreme rhythmic/notational complexity, Avignon court style) | ||||||||
fl. late 14th c. Solage
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Fumeux fume par fumée (rondeau) | — | — | — | — | — | — | |
fl. c. 1380–1440 Baude Cordier
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Belle, Bonne, Sage (rondeau, heart-shaped notation) — a predecessor of Dufay in style, notated somewhat later than most of the Chantilly Codex's other pieces | — | 2018Les Délices, YouTube | — | — | — | — | |
fl. 1380s–1390s Jacob Senleches
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La Harpe de Melodie (virelai, notated on a drawn harp) | — | — | — | — | — | — | |
fl. late 14th–early 15th c. Matteo da Perugia
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Le greygnour bien (ballade) | — | — | — | — | — | — | |
fl. late 14th c. Philippus de Caserta
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En remirant vo douce pourtraiture (ballade) | — | — | — | — | — | — | |
fl. late 14th c. Trebor
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Se Cuers Ioyeux (ballade) | — | — | — | — | — | — | |
fl. late 14th c. Grimace
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A l'arme, a l'arme (ballade) | — | — | — | — | — | — | |
fl. c. 1350–1400 Egidius
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Roses et lis (ballade); Courtois et sage (ballade, dedicated to Pope Clement VII) | — | — | — | — | — | — | |
fl. 14th c. Guilielmus de Francia
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Alta serena luce (ballata); Donna, s'amor m'invita — two surviving pieces | — | — | — | — | — | — | |
fl. late 14th c. Rodericus
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Angelorum Psalat (ballade, two voices) — his only known surviving work | — | — | — | — | — | — | |
fl. late 14th–early 15th c. Antonio Zacara da Teramo
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Sumite, carissimi (Latin ballata) | — | — | — | — | — | — | |
fl. late 14th c. Jehan Vaillant
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Chantilly Codex ballades and virelais | — | — | — | — | — | — | |
b. before 1300–d. shortly after 1350 Maestro Piero
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Known mainly for his madrigals — one of the earliest-datable bodies of Trecento work | — | — | — | — | — | — | |
fl. c. 1340–1350 (d. c. 1351/1362) Giovanni da Cascia (Giovanni da Firenze)
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Around 35 surviving pieces, mostly madrigals, preserved largely in the Squarcialupi Codex and Rossi Codex | — | n.d.Various early-music ensembles; specific tracks not independently verified for this pass | — | — | — | — | |
c. 1335–c. 1386 Jacopo da Bologna
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Non al suo amante (c. 1350) — genuinely significant: the only surviving contemporary musical setting of any Petrarch poem, made while Petrarch himself was still alive. 34 known compositions total, mostly madrigals, 28–29 preserved in the Squarcialupi Codex; also composed the famous madrigal Fenice fu' (c. 1360) | — | n.d."Non al suo amante," YouTube; also Project Ars Nova, YouTube | — | — | — | — | |
c. 1320/25–1362/63 Gherardello da Firenze
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Ten madrigals, five ballatas, and the famous three-voice caccia Tosto che l'alba — most preserved in the Squarcialupi Codex | — | — | — | — | — | — | |
d. Dec. 1372/Jan. 1373 Lorenzo da Firenze (Lorenzo Masi)
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17 pieces in the Squarcialupi Codex (10 madrigals, 6 ballate, 1 caccia); also two surviving mass movements, one of disputed attribution | — | — | — | — | — | — | |
fl. second half of 14th c. Niccolò da Perugia (Niccolò del Proposto)
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41 surviving compositions with reliable attribution, 36 of them in the Squarcialupi Codex — the second-largest surviving Trecento corpus by piece count in that manuscript, after Landini himself | — | — | — | — | — | — | |
d. 1415 Andrea da Firenze (Andreas de Florentia)
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29 pieces in the Squarcialupi Codex — the fourth-largest single-composer share in that manuscript | — | — | — | — | — | — | |
fl. c. 1330s–1340s Vincenzo da Rimini
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Six pieces survive in the Squarcialupi Codex | — | — | — | — | — | — | |
fl. c. 1350–1370 Donato da Cascia (Donato da Firenze)
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Seventeen surviving compositions, all secular, nearly all found in Tuscan sources | — | — | — | — | — | — | |
fl. c. 1365–c. 1405 Bartolino da Padova ("Magister Frater Bartolinus de Padua")
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27 ballate and 11 madrigals survive, mostly vocal duets | — | — | — | — | — | — | |
c. 1355–after 1436 Paolo da Firenze ("Paolo Tenorista")
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A substantial surviving corpus of ballate and madrigals — second only to Landini's output among Trecento composers | — | — | — | — | — | — | |
c. 1325–1397 Francesco Landini
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Ballate (secular songs) — over 150 survive, the largest single-composer corpus of Italian Trecento music | — | n.d.YouTube | — | — | — | — | |
fl. 1378–1395 Jacob de Senleches (Jaquemin de Senleches)
| Je me merveil; La harpe de melodie; En ce gracieux tamps; En attendant esperance; other surviving chansons. | — | Je me merveil — MP3 La harpe de melodie — MP3 | — | — | — | — | |
fl. late 14th–early 15th c. Antonello da Caserta
| Beauté parfaite; Amour m’a le cuer mis; additional ballades and rondeaux. | — | Beauté parfaite — MP3 Amour m’a le cuer mis — MP3 | — | — | — | — | |
fl. c. 1372–d. after 1387 Johannes Cuvelier
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Se Galaas et le puissant Artus (ballade) | — | 1987Ensemble Organum / Marcel Pérès, Codex Chantilly: Airs de Cour (Harmonia Mundi), Spotify Se Galaas — playable MP3 |
— | — | — | — | |
fl. late 14th c. Goscalch
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En nul estat (ballade) — his only known surviving work | — | 1987Ensemble Organum / Marcel Pérès, Codex Chantilly: Airs de Cour (Harmonia Mundi), Spotify | — | — | — | — | |
fl. late 14th c. (d. 1377 or later) F. Andrieu (Franciscus/François Andrieu)
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Armes, amours / O flour des flours — a déploration mourning Machaut's death, written the same year | — | 1987Ensemble Organum / Marcel Pérès, Codex Chantilly: Airs de Cour (Harmonia Mundi), Spotify Armes, amours / O flour — playable MP3 |
— | — | — | — | |
| fl. mid-14th c. P. des Molins (Pierre des Molins) | Two surviving works — De ce que fol pensé (ballade) and Amis, tout dous vis (rondeau) — both tremendously popular in their time, found in 12 and 8 medieval manuscript sources respectively | — | — | — | — | — | — | |
| d. 1428 Johannes Symonis Hasprois | Four works survive, in four different manuscripts — an itinerant career at the courts of Ferdinand I of Portugal and Charles V of France before serving as a chaplain to Antipope Clement VII at Avignon | — | Puis que je sui fumeux — playable MP3 | — | — | — | — | |
| fl. c. 1370 Philippus de Caserta | Mostly surviving ballades, plus a recently discovered Credo — his reputation was significant enough for Johannes Ciconia to borrow directly from his music | — | — | — | — | — | — | |
| fl. c. 1364–1389 Pykini | A French composer in the Chantilly Codex, possibly identifiable as Robert de Picquigny | — | — | — | — | — | — | |
| fl. late 14th c. Hymbert de Salinis | One of the 34 named composers of the Chantilly Codex | — | — | — | — | — | — | |
| fl. 1406–1417 Johannes Cesaris | One motet, two ballades, and five rondeaux survive — active at the Burgundian court, praised as a popular Paris composer in Martin le Franc's poem Le Champion des Dames, the same manuscript famous for its portraits of Dufay and Binchois | — | — | — | — | — | — | |
| fl. 1398–1429 Gacian Reyneau | One surviving rondeau, Va t'en mon cuer — a Burgundian composer at the court of Martin of Aragon, its simpler style looking forward to the early 15th century | — | — | — | — | — | — | |
| fl. 1397–1409 Borlet | One surviving virelai, He tres doulz roussignol (plus a variant setting) — possibly an anagram-pseudonym for the composer Trebol/Trebor, already elsewhere in this table | — | — | — | — | — | — | |
| fl. late 14th c. Johannes de Meruco | One surviving four-voice ballade, De home vray, in the Chantilly Codex | — | — | — | — | — | — | |
| fl. c. 1400 Egardus | Only three works survive — a canon and two Glorias, stylistically simpler than his mid-century contemporaries; possibly identifiable with a chaplain, Johannes Ecghaerd, in Bruges and Diksmuide | — | — | — | — | — | — | |
| fl. late 14th c. Johannes Haucourt (Johannes de Alte Curie) | A French composer whose style is described as originally very florid and rhythmically complex | — | — | — | — | — | — | |
| fl. c. 1380 (d. after 1411) Johannes Susay (Jehan Suzay) | Three surviving ballades — A l'albre sec, Prophilias un des nobles, and Pictagoras Jabol et Orpheus — plus a Gloria in fauxbourdon-like style attributed to him in the Apt Codex | — | — | — | — | — | — | |
| c. 1425–c. 1496 Johannes Regis (Jehan Leroy) | A well-known composer at the close of the 15th century; principal contributor to the Chigi Codex; personally served as secretary to Guillaume Dufay, already extensively covered in this table | — | — | — | — | — | — | |
| c. 1370–1408/10 Johannes Tapissier (Jean de Noyers) | One of the first members of the Burgundian School, the group of composers from which the Franco-Flemish style developed — a valet de chambre and composer for the court of Philip the Bold from 1391 | — | — | — | — | — | — | |
| fl. late 14th/early 15th c. (d. 1373) Johannes Alanus (J. Alanus) | Author of the motet Sub Arturo plebs / Fons citharizancium / In omnem terram, plus two lieds and a virelai. Long identified with "Aleyn," an Old Hall Manuscript composer, but Margaret Bent's scholarship has since shown this conflation is likely incorrect — Aleyn now appears to be a distinct composer, added separately below | — | — | — | — | — | — | |
| fl. 14th c. Philippe Royllart | A composer active at the time of Charles V, King of France; one of the 34 named Chantilly Codex composers | — | — | — | — | — | — | |
| fl. late 14th c. Garinus | One of the 34 named composers of the Chantilly Codex | — | — | — | — | — | — | |
| fl. late 14th c. Taillandier | Documented as working alongside Grimace, Gacian Reyneau, and Philippus de Caserta at the Aragon court in Barcelona and Girona — all elsewhere in this table | — | — | — | — | — | — | |
| fl. late 14th c. Johannes Galiot | One of the 34 named composers of the Chantilly Codex; four attributed works, discussed in modern scholarship for their citational links to other "En attendant" songs of the period | — | — | — | — | — | — | |
| fl. late 14th c. Johannes Olivier | One of the 34 named composers of the Chantilly Codex | — | — | — | — | — | — | |
| d. 1348 Egidius de Pusiex | One of the 34 named composers of the Chantilly Codex | — | — | — | — | — | — | |
| fl. late 14th c. Petrus Fabri | One of the 34 named composers of the Chantilly Codex — genuinely thin surviving biographical record, known only by name in this source | — | — | — | — | — | — | |
c. 1370–1412 Johannes Ciconia
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Ligiadra donna (ballata) and various motets | — | n.d.YouTube | — | — | — | — | |
| d. 1428 Prosdocimus de Beldemandis | A theorist, not composer — no surviving music of his own, included here as a genuinely significant figure directly tied to two composers already in this document. Taught at the University of Padua alongside Johannes Ciconia, above, at the same time and in the same city, without documented direct contact between the two, though modern scholarship analyzes Ciconia's motets through Prosdocimus's own counterpoint treatise. In his Tractatus musicae speculativae (1425), he directly attacked Marchetto da Padova's division of the whole tone, elsewhere in this table. Wrote the last significant treatise on Italian mensural notation before it fell out of use; Luca Pacioli later ranked him alongside Euclid and Boethius | — | — | — | — | — | — | |
| c. 1380–1452 Ugolino of Forlì (Ugolino of Orvieto) | Genuinely both theorist and composer — a real canon of Forlì Cathedral from 1415, later archpresbyter at Ferrara Cathedral. His five-book treatise Declaratio musicae disciplinae, written at the start of his Ferrara period, is described by real musicology as the last of the great speculative treatises of the whole Middle Ages; later theorists no longer regarded such speculative justification as necessary to musical practice, marking a real intellectual turning point | — | — | — | — | — | — | |
| c. 1290/95–1344 Johannes de Muris | A theorist, not composer — no surviving music of his own, but among the most significant medieval music theorists. Author of Notitia artis musicae (1321) and Musica speculativa (1323), foundational texts for the mensural notation reforms of the whole Ars Nova era — the same tradition that shaped Philippe de Vitry and Guillaume de Machaut, elsewhere in this table | — | — | — | — | — | — | |
c. 1370/1385–1445 Leonel Power
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Mass on Alma Redemptoris Mater, and various motets — 40 surviving pieces securely attributed to him | — | n.d.Hilliard Ensemble, "Power & Dunstaple: Masses and Motets," YouTube (22 tracks); also Hilliard Ensemble, "The Old Hall Manuscript" (EMI, 1991), real confirmed tracklist | — | — | — | — | |
fl. c. 1400–1420 Queldryk
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Gloria (opening piece of the Old Hall Manuscript) | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
fl. c. 1410–1420 Byttering
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Nesciens mater; En Katerine solennia / Virginalis contio / Sponsus amat sponsum | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
fl. c. 1400–1420 (d. 1436/7) Thomas Damett
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Beata Dei genitrix (c. 1400) | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
fl. c. 1410 Pycard
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Gloria a 4 (canon structure) | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
fl. early 15th c. Pennard
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Credo — his only known surviving work | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
fl. c. 1400s–d. 1442 John Cooke
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Ave regina celorum | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
d. 1446 John Forest
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Qualis est dilectus; Ascendit Christus | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
fl. 1372–1374 Guido (probably Guido de Lange)
| Three works survive in the Chantilly Codex: Dieux gart qui bien le chantera, Or voit tout en aventure, and the bitextual rondeau Robin, muse, muse, muse / Je ne say fere fusee. | — | n.d. Dieux gart qui bien le chantera — ARTE performance | — | — | — | — | |
d. 1391 Matheus de Sancto Johanne
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Are post libamina | — | 1991Hilliard Ensemble, "The Old Hall Manuscript" (EMI) | — | — | — | — | |
| fl. c. 1414–1415 Roy Henry (King Henry V of England) | A real royal composer — a Gloria and Sanctus in the Old Hall Manuscript are directly attributed to "Roy Henry," almost certainly King Henry V himself, reigning at the exact time the manuscript was compiled | — | — | — | — | — | — | |
| fl. c. 1380–1454 Robert Chirbury | One of the named composers of the Old Hall Manuscript | — | — | — | — | — | — | |
| fl. early 15th c. John Burell | One of the named composers of the Old Hall Manuscript | — | — | — | — | — | — | |
| fl. c. 1410 John Excetre | One of the named composers of the Old Hall Manuscript | — | — | — | — | — | — | |
| fl. early 15th c. John Tyes | One of the named composers of the Old Hall Manuscript | — | — | — | — | — | — | |
| fl. early 15th c. W. Typp | One of the named composers of the Old Hall Manuscript | — | — | — | — | — | — | |
| fl. early 15th c. (d. c. 1454) Nicholas Sturgeon | One of the named composers of the Old Hall Manuscript, later a canon of St George's Chapel, Windsor | — | — | — | — | — | — | |
| fl. c. 1400–1420 Pierre Fontaine | A French Burgundian court composer, part of the same generation as Matheus de Sancto Johanne, above, whose work also crossed into English manuscript sources | — | — | — | — | — | — | |
| 1376/77–1445 Oswald von Wolkenstein | Over 130 surviving works, personally supervised into luxurious illuminated manuscripts (now in Innsbruck and Vienna) — an unusually large and unusually well-preserved corpus for the period, and an unusually well-documented life: left home at age ten, lost an eye in a Trostburg carnival mishap, served King Sigismund at the Council of Constance, traveled as far as Georgia, and was inducted into both the Order of the Holy Sepulchre and the Order of the Dragon. Poet-tributes survive from both Heinrich Frauenlob and Regenbogen, below — real evidence of his standing among his poetic peers. Sometimes called the last of the Minnesänger, though stylistically transitional toward the early German Renaissance | — | n.d.Ensemble Leones, The Cosmopolitan: Songs (Christophorus); also Ensemble für frühe Musik Augsburg, Ritter und Minnesänger | — | — | — | — | |
| fl. 14th c. Regenbogen | A minnesinger of lower social standing than most in this tradition (reportedly a blacksmith by trade) — real documented poetic tributes exchanged with both Heinrich Frauenlob and, generations later, Oswald von Wolkenstein, both elsewhere in this table | — | — | — | — | — | — | |
| fl. c. 1360–1370s Der Mönch von Salzburg | A prolific late-medieval Austrian poet-composer of both sacred and secular song, active at the Salzburg court under Archbishop Pilgrim II — real recorded alongside Oswald von Wolkenstein, above, as one of the last significant Minnesänger-tradition figures | — | — | — | — | — | — | |
d. 1400 Martinus Fabri
| Four complete works survive: Or se depart, N’ay je cause d’estre lies et joyeux, Eer ende lof heb aventuer, and Een cleyn parabel. | — | n.d. Eer ende lof heb aventuer — Egidius Kwartet | — | — | — | — | |
c. 1390–1453 John Dunstaple
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Quam pulchra es and other motets — also captured in the same Hilliard Ensemble album cited above under Leonel Power. Individually named surviving pieces, per your own playlist: Sanctus, Kyrie, Gloria, Magnificat, Sub tuam protectionem (I & II), Ave regina celorum, Salve Regina, Regina celi letare, Beata Dei genitrix, Et propter hoc, and Veni Sancte Spiritus/Veni Creator Spiritus (from the Old Hall Manuscript, distinct from the disputed Hermannus Contractus setting elsewhere in this table) | — | n.d.YouTube; also individually: Magnificat, Sanctus, Sub tuam protectionem I, Kyrie, Gloria, Ave regina celorum, Et propter hoc, Salve Regina, Regina celi letare, Sub tuam protectionem II, Beata Dei genitrix, Veni Sancte Spiritus/Veni Creator Spiritus | — | n.d."The Church Music of John Dunstable," YouTube; also Clemencic Consort, "Cathedral Sounds," YouTube | — | — | |
c. 1360–1426 Giovanni Mazzuoli (Giovanni degli Organi)
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At least 10 works recovered from the San Lorenzo palimpsest, mostly ballate and madrigals; two further attributions proposed by Nino Pirrotta under other names in other sources | — | — | — | — | — | — | |
c. 1386–1430 Piero Mazzuoli
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Nine works recovered from the San Lorenzo palimpsest | — | — | — | — | — | — | |
| c. 1399 Llibre Vermell de Montserrat ("Red Book of Montserrat") | A manuscript of pilgrim songs compiled by monks at the Montserrat monastery, Catalonia — 10 anonymous musical works survive (of possibly more originally), including O Virgo splendens, Stella splendens, Laudemus Virginem, Mariam Matrem Virginem, and Ad mortem festinamus. Likely built on pre-existing secular folk melodies given devout new texts for pilgrims to sing — canons, virelais, and dances, not composed music in the courtly Ars Nova sense | — | 1979Hespèrion XX / Jordi Savall (the classic recording); also 1992New London Consort / Philip Pickett, Pilgrim Songs & Dances | — | — | — | — | |
fl. c. 1400–after 1440 Mikołaj z Radomia (Nicolaus de Radom)
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Magnificat; three Gloria–Credo pairs; two ballades — nine works total, all signed "Opus Nicolai de Radom" or equivalent in the sources | — | 1990Ars Nova Ensemble / Jacek Urbaniak, Mikołaj z Radomia: Complete Works (DUX); also 2025Ensemble Dragma / Ensemble Peregrina / Agnieszka Budzińska-Bennett, The Krasiński Codex (Raumklang) — 2025 Gramophone Award for Early Music | — | — | — | — | |
| 1392–after 1452 Petrus Wilhelmi de Grudencz (Piotr z Grudziądza) | Between 20 and 40 known compositions, per ongoing scholarship — a Central European composer explicitly described by Czech musicologist Jaromír Černý as "an unknown composer of the age of Dufay" upon his rediscovery in the 1970s. Studied at Kraków from 1418, later chaplain to Holy Roman Emperor Frederick III in Vienna; his music, similar in idiom to the Burgundian School, remained popular in Bohemia into the 16th century | — | n.d.La Morra, Petrus Wilhelmi de Grudencz: Fifteenth-century music from Central Europe | — | — | — | — | |
| fl. late 1450s–before 1467 Johannes Tourout | 17 compositions survive, including three complete masses — a real, substantial corpus for the period. Documented in a Vatican record dated 3 July 1460 as a cantor to Holy Roman Emperor Frederick III and a cleric of the diocese of Tournai; his surname suggests origin in Torhout, western Flanders, though his career apparently began in Western Europe before his Central European period. Preserved chiefly in the Bohemian Strahov Codex and Codex Speciálník | — | — | — | — | — | — | |
| fl. c. 1440 Othmarus Opilionis de Jawor | Recorded alongside Petrus Wilhelmi de Grudencz, Nicolaus de Radom, and Johannes Tourout, all elsewhere in this table, as part of the same real cluster of Central European composers absorbing Franco-Flemish, Italian, and French Ars Nova influence in the mid-15th century | — | — | — | — | — | — | |
| 1217–1918/1922 Serbian Empire / Kingdom (medieval, defunct) | A real historical polity — the medieval Kingdom (from 1346, Empire) of Serbia under the Nemanjić dynasty, later absorbed by the Ottomans; its first identifiable named composer, Kir Stefan the Serb, appears directly below | — | — | — | — | — | — | |
| fl. 2nd half 14th–15th c. Kir Stefan the Serb | One of the earliest, if not the earliest, identifiable medieval Serbian composers — a monk, protopsaltos, and choirmaster who co-founded the "Serbo-Byzantine school" of chant alongside Isaiah the Serb and Nikola the Serb, below. His most famous work, the Psaltikia collection, was kept in Belgrade's National Library, where it disappeared during the WWII German bombing on 6 April 1941; only 12 photocopied sheets survive today. His longest surviving work is a Cherubicon, "Нинїa Сили," written in both Slavic and his own Greek version | — | — | — | — | — | — | |
| fl. late 14th c. Nikola the Serb | A Serbian Orthodox hieromonk and protopsaltes, part of the same Serbo-Byzantine school as Kir Stefan, above — real surviving Cherubic hymn in the late Byzantine kalophonic style | — | — | n.d.Collégiale Saint-Martin de Champeaux performance, YouTube | — | — | — | |
| 681–1018 / 1185–1396 AD Bulgarian Empire (First and Second, defunct) | A real medieval Balkan great power, reaching a genuine cultural golden age under Simeon I (r. 893–927); its most significant composer, John Koukouzeles, appears directly below | — | — | — | — | — | — | |
| c. 1280–c. 1360 John Koukouzeles | Of Bulgarian origin (born in Dyrrhachium, modern Durrës, Albania, to a Bulgarian mother), one of the most important reformers of Byzantine chant, creator of a new, more elaborate "kalophonic" (beautiful-sounding) style and its own late Byzantine notation system. About 90 of his works survive. His most celebrated piece, the Polyeleos "To the Bulgarian Woman," was written in tribute to his own mother and incorporates real Bulgarian folk melodies he had heard from her as a child — genuinely moving, and a rare direct folk-to-liturgical crossover this early. Canonized a saint after his death, still venerated as the patron of church singers | — | — | — | — | — | — | |
| b. c. 1399–d. after 1447 Hugo de Lantins | Wrote the ballata Tra quante regione for the same 1421 wedding of Cleofe Malatesta to Theodore II Palaiologos that Dufay's own Vasilissa ergo gaude, elsewhere in this table, was written for — Dufay directly mentioned him by name in a rondeau text written during his own stay with the Malatesta family (1420–24). His use of imitation is unusually advanced for the period, more prevalent than in any other known composer of the early 15th century | — | — | — | — | — | — | |
| b. c. 1395/1405–d. after 1432 Arnold de Lantins | 19 securely attributed works — possibly related to Hugo de Lantins, above. Sang alongside Dufay himself in the Papal Chapel choir in Rome for six months in 1431–32, right as political turmoil following Pope Martin V's death scattered many of that chapel's musicians | — | — | — | — | — | — | |
| fl. c. 1420–1440 Johannes Legrant | Four rondeaux, a ballade, and four sacred pieces survive — an early Burgundian School composer whose elegant melodic style closely resembles the young Dufay and Gilles Binchois; scholars remain unsure which direction the influence actually ran | — | — | — | — | — | — | |
| fl. 1405–1449 Guillaume Legrant (Lemacherier) | Four virelais and three mass movements survive — one of the first composers to distinguish solo from multi-voice passages within a single part, a real notational innovation | — | — | — | — | — | — | |
| fl. early 15th c. Johannes de Limburgia | About 50 surviving works in the Q15 manuscript (Bologna) plus a Mass Ordinary in the Trent Codices — an unusually large surviving corpus, comparable in scale to Hugo and Arnold de Lantins, above | — | — | — | — | — | — | |
| c. 1400–1460 Gilles Binchois | A genuine major omission until now — alongside Dufay and Dunstable, elsewhere in this table, Binchois was one of the three most celebrated composers of the whole early Renaissance. A central figure of the Burgundian School, renowned as a melodist and miniaturist who generally avoided large-scale works, most admired for his shorter secular chansons. Contemporary musicologists typically rank his importance below Dufay and Dunstable, but the three were regularly named together by contemporaries as the leading composers of their generation | — | n.d.Ensemble Gilles Binchois, YouTube | — | — | — | — | |
| fl. 1420–1450 John Benet | An English composer of the transitional Old Hall/early Renaissance generation, alongside Dunstable and the Old Hall Manuscript figures elsewhere in this table | — | — | — | — | — | — | |
| fl. 1450–1465 Guillaume Le Rouge | One song survives, Se je fais duel je n'en ouis mais — served the chapel of Charles d'Orléans, 1451–65; a real contrafactum, adapting the plague-deliverance prayer Stella celi extirpavit to the melody of his song "So ys emprentid," is also attributed to him | — | — | — | — | — | — | |
| d. 1474? Walter Frye | An English composer, little known with certainty about his life — masses, motets, and songs survive, all vocal, including ballades and a single rondeau. His best-known work, an Ave Regina motet, occurs unusually in several continental sources, real evidence of his cross-Channel reputation | — | — | — | — | — | — | |
| fl. 15th c. John Herte | An English composer of the same generation and repertory as Bedyngham, Dunstable, and Frye, all elsewhere in this table — represented on 4 tracks of the real "Mi Verry Joy" collection (Medieval Ensemble of London, L'Oiseau-Lyre, 1983) | — | 1983 rec., video posted 2015YouTube — full "Mi Verry Joy" album upload; not verified track-by-track against Herte's specific 4 tracks | — | — | — | — | |
| b. c. 1410 Richard Smert | An English composer and rector of Plymtree, Devon — a real body of surviving carols is attributed to him alongside his collaborator John Trouluffe | — | — | — | — | — | — | |
| fl. 15th c. Childe | One of only three named composers of the entire surviving 15th-century English carol repertoire, alongside Smert and Trouluffe, elsewhere in this table — credited with a single carol | — | — | — | — | — | — | |
| fl. late 15th c. Sir William Hawte | A composer represented in the real Ritson Manuscript (British Library, Add. 5665), a major source of 44 English carols alongside three masses and 23 motets | — | — | — | — | — | — | |
| compiled after 1415 Trinity Carol Roll (tradition) | A real, genuinely significant anonymous manuscript of 13 English carols — the earliest surviving example of polyphonic music written in English. Contains one of two surviving sources for the real Agincourt Carol, commemorating Henry V's 1415 victory | — | — | — | — | — | — | |
| mid-15th c. Selden Carol Book (tradition) | A real anonymous carol manuscript held at the Bodleian Library — shares five contemporaneous carols and texts with the Trinity Carol Roll, above, including its own copy of the Agincourt Carol | — | — | — | — | — | — | |
| late 15th c. Ritson Manuscript (tradition) | A real anonymous English choirbook, containing 44 carols, three masses, and 23 motets, plus secular English and French works — includes the real "Nowell, nowell — This boar's head" (the Exeter Boar's Head Carol), attributed to Richard Smert, above | — | — | — | — | — | — | |
| b. c. 1430–d. 1483/84 John Plummer | An English composer, first Master of the Choristers of St George's Chapel, Windsor, from 1447 — a real, substantial body of surviving sacred works, including a Missa Sine Nomine, and one of the earliest named composers to set the Magnificat antiphon "Anna mater matris Christi" | — | — | — | — | — | — | |
| fl. c. 1400 Aleyn | Two works survive in the Old Hall Manuscript — a Gloria and a Sarum Agnus Dei discant, later scratched out and ascribed to "W. Aleyn." Long conflated with Johannes Alanus, elsewhere in this table, but Margaret Bent's scholarship indicates this identification is likely incorrect — a genuinely distinct composer | — | — | — | — | — | — | |
| d. 1459/60 John Bedyngham | Represented in the Trent Codices — his chansons in the Burgundian style of Dufay, elsewhere in this table, were genuinely popular throughout Europe, unusual reach for an English composer who probably never left England. Real, specific attributed works: O rosa bella (long misattributed to Dunstable, elsewhere in this table, before Fallows reassigned it), Mon seul plaisir, Durer ne puis, and the ballade So ys emprentid, also contested with Walter Frye, above. David Fallows judged that if all music ascribed to him is genuinely his, "Bedyngham must be accounted one of the more important composers of the mid-15th century." His Mass Deuil angoisseux, based on a Binchois chanson, shows real early parody-mass technique | — | — | — | — | — | — | |
| fl. c. 1405–1427 Bartolomeo da Bologna | An Italian composer represented in several early 15th-century Italian manuscript sources | — | — | — | — | — | — | |
| 1282–1816 (as a distinct crown) Kingdom of Naples (defunct) | A real medieval and early modern Italian kingdom; its first group of native named composers, per Grove Music, appears directly below — closes a genuine gap: this document previously had zero representation specifically from the Kingdom of Naples, as distinct from the rest of Italy | — | — | — | — | — | — | |
| fl. late 14th/early 15th c. Anthonello (da Caserta) | One of the first group of native Neapolitan composers known by name, per Grove Music — active alongside Philippus de Caserta, elsewhere in this table, with music showing strong French influence | — | — | — | — | — | — | |
| fl. late 14th/early 15th c. Niccolò da Aversa | One of the first group of native Neapolitan composers known by name, per Grove Music | — | — | — | — | — | — | |
| fl. late 14th/early 15th c. Niccolò da Capua | One of the first group of native Neapolitan composers known by name, per Grove Music | — | — | — | — | — | — | |
| fl. c. 1400 Franchois Lebertoul | An early 15th-century composer of the transitional Ars Subtilior/early Renaissance generation | — | — | — | — | — | — | |
| fl. mid-15th c. Johannes de Quadris | Gaudeat ecclesia / O Iesu perpetua, preserved in the Trent Codices (Trent 88), elsewhere in this table | — | — | — | — | — | — | |
| fl. c. 1445–1455 Petrus de Domarto | A contemporary and probable acquaintance of Johannes Ockeghem, credited with composing one of the first unified continental cyclic mass settings — the Missa sine nomine, likely from the 1440s, imitating features of English composers like Leonel Power, elsewhere in this table. His second mass, Missa Spiritus almus (1450s), is a genuinely influential cantus-firmus mass whose changing rhythmic profile across mensuration shifts shaped the next musical generation | — | — | — | — | — | — | |
| fl. early 15th c. (1409–1411 at Cambrai) Gilet Velut | A petit vicaire ("little vicar") at Cambrai Cathedral, elsewhere in this table via Dufay's own connection there, before traveling to Cyprus in 1411 with Charlotte of Bourbon as a chaplain. Real scholarship suggests he may be the composer of all the secular music in the Codex Cyprius, a real, distinct manuscript source | — | — | — | — | — | — | |
| fl. early 15th c. Fonteyns | One of the named composers of the Old Hall Manuscript, elsewhere in this table | — | — | — | — | — | — | |
| fl. early 15th c. Gervays | One of the named composers of the Old Hall Manuscript, elsewhere in this table | — | — | — | — | — | — | |
| d. 1418 Richard Loqueville | A harpist and teacher at Cambrai Cathedral, genuinely significant here as Guillaume Dufay's own likely teacher — Dufay's earliest compositions were probably written under his direct instruction. Four rondeaux survive, including Je vous pri and Pour mesdisans | — | — | — | — | — | — | |
| c. 1375–1456 Nicolas Grenon | Fewer than a dozen works survive, including motets Ad honorem sancte trinitatis and Ave virtus virtutum — genuinely significant here as a direct collaborator of Dufay's late in both their lives: in the 1440s the two worked together at Cambrai on a complete revision of the cathedral's polyphonic liturgical music. An unusually long career, beginning in the late 14th century at Notre Dame in Paris and continuing through the Burgundian court and the Papal Chapel under Pope Martin V | — | — | — | — | — | — | |
| fl. c. 1425–1435 Reginaldus Libert | Four compositions survive — two rondeaux and a complete three-voice mass setting containing some of the earliest known use of fauxbourdon, the very technique that would come to define the Dufay generation's sound; possibly the same Reginaldus employed as a singing teacher at Cambrai Cathedral in 1424 | — | — | — | — | — | — | |
| c. 1400–before 22 October 1455 Johannes Brassart | A composer of the early Burgundian School — much of the surviving repertoire connected to his native Liège was destroyed when Charles the Bold sacked the city in 1468, making his own survival more fortunate than most | — | — | — | — | — | — | |
| c. 1385–c. 1450 Beltrame Feragut (Bertrand di Vignone) | An early Renaissance composer, part of the same generation as Dufay's own Italian sojourn | — | — | — | — | — | — | |
| fl. 1405–1433 Jacobus Vide | An early Burgundian School composer | — | — | — | — | — | — | |
| fl. 1418–1421 Estienne Grossin | An early Burgundian School composer | — | — | — | — | — | — | |
| c. 1415–?1477 Johannes Fedé | A Burgundian School composer whose career extended unusually late relative to this document's own scope | — | — | — | — | — | — | |
| fl. 1433–1454 Clement Liebert | Sang in the Papal Chapel in 1433 and the Burgundian court chapel from 1441–1454. Only one piece is securely attributed to him, the song Comment porray — genuinely poignant, its sole surviving manuscript source (formerly in the Strasbourg municipal library) was destroyed in the 1870 Siege of Strasbourg during the Franco-Prussian War | — | — | — | — | — | — | |
| RENAISSANCE BEGINS — Guillaume Dufay, first Renaissance composer per scholarly consensus | ||||||||
1397–1474 Guillaume Dufay
|
THE FIRST COMPOSER OF THE RENAISSANCE ERA, per scholarly consensus. Nuper rosarum flores (1436), an isorhythmic motet composed for the dedication of Florence Cathedral's dome, per Hamm's Group 4 (the "High Italian Renaissance Era," 1433–37). Per Grove's Dictionary (1880, read directly from the original public-domain edition, citing his surviving will): on his deathbed in 1474, Dufay requested that eight choristers sing, very softly, the hymn "Magno salutis gaudio" — distinct from his motet Ave Regina caelorum, which he asked to be sung afterward, in the chapel, over his body. That same late motet's four-voice setting embeds a real personal plea in its own text — "Miserere tui labentis Du Fay," his own name written directly into the prayer | — | n.d.YouTube | — | — | — | — | |
| Ecclesiae militantis (1431) — a five-voice isorhythmic motet for the coronation of Pope Eugenius IV, per Hamm's Group 3 (the "Rise of Isorhythm and Roman Chapel" period, 1429–33) | — | n.d.Hilliard Ensemble, YouTube | — | — | — | — | ||
| Missa Se la face ay pale (c. 1450–52) — the first mass in history built on a secular cantus firmus rather than a Gregorian one, based on his own earlier ballade of the same name; per Hamm's Group 7 (the "Master Cyclic Masses," 1450–55) | — | n.d.Chiaroscuro, Kyrie, YouTube; also Cantica Symphonia, 2013 recording | — | — | — | — | ||
| Missa L'Homme armé (c. 1450s) — one of the earliest and finest settings of the "L'homme armé" tune, which became the single most popular cantus firmus for mass composition across the whole next century; per the same Hamm group as above | — | n.d.Hilliard Ensemble, Agnus Dei, YouTube; also Oxford Camerata, full mass, YouTube | — | — | — | — | ||
| Missa Sancti Jacobi (c. 1450s) — a complete Mass Proper setting for the feast of St James, more medieval in character than his later cyclic masses but genuinely significant as an unusually complete liturgical unit for its era | — | n.d.La Reverdie, Guillaume Dufay: Missa Sancti Jacobi (Arcana) | — | — | — | — | ||
| Vasilissa ergo gaude (1420) — a motet written for the wedding of Cleofe Malatesta to Theodore II Palaiologos, Despot of the Morea, per Hamm's Group 1 ("Early Youth and First Italian Journey," 1415–23), the earliest datable phase of his output | — | — | — | — | — | — | ||
| Apostolo glorioso (1426) — a motet written for the church of Saint Andrew in Patras, Greece, per Hamm's Group 2 ("The First Papal Period," 1423–29) | — | — | — | — | — | — | ||
| Supremum est mortalibus bonum (1433) — an isorhythmic motet written for the real peace treaty between Pope Eugenius IV and Holy Roman Emperor Sigismund, per Hamm's Group 3 | — | — | — | — | — | — | ||
| The Hymn Cycle (c. 1437–43) — a complete set of Office hymns (Conditor alme siderum, Christe redemptor omnium, A solis ortus cardine, Ad cenam Agni providi, Audi benigne Conditor, Vexilla regis prodeunt, Pange lingua gloriosi), marking his real stylistic shift toward the sweeter parallel-harmony "contenance angloise" absorbed from Dunstable, already elsewhere in this table, per Hamm's Group 5 | — | — | — | — | — | — | ||
| Missa Ecce ancilla Domini (by 1463, per real Cambrai cathedral copying records) — a late cyclic mass from Hamm's Group 8, his final Cambrai period | — | — | — | — | — | — | ||
| Requiem — noted in his own surviving will but now entirely lost; historically documented as the first polyphonic Requiem Mass ever written, per Hamm's Group 9, his final period (1465–74) | — | — | — | — | — | — | ||
| Mon chier amy (1427) — a chanson written on the death of Pandolfo Malatesta, per Hamm's Group 1 | — | — | — | — | — | — | ||
| Balsamus et munda cera (1431) — an isorhythmic motet written for the Papal distribution of Agnus Dei wax medallions, per Hamm's Group 3 | — | — | — | — | — | — | ||
| C'est bien raison de devoir essaucier (1433) — a chanson written for Niccolò III d'Este, Marquis of Ferrara, per Hamm's Group 4 | — | — | — | — | — | — | ||
| Missa Caput and Missa La mort de Saint Gothard — early cantus-firmus mass cycles built on pre-existing melodies anchored in the tenor voice, per Hamm's Group 6 (1443–50); Missa Caput's attribution to Dufay is long-standing but the identity of its original English model remains genuinely debated among scholars | — | — | — | — | — | — | ||
| O tres piteulx (Lamentatio sanctae matris ecclesiae Constantinopolitanae, c. 1454) — a real, historically significant lament for the Fall of Constantinople to the Ottomans on 29 May 1453, one of the defining events of the whole late medieval world, per Hamm's Group 7. Dufay actually composed four such laments, which he later called "assez bonnes" in a surviving letter — only this one survives. Long, colorfully claimed to be the exact song performed by a woman in mourning riding an elephant at Philip the Good's 1454 "Feast of the Pheasant" in Lille; David Fallows's modern scholarship shows this was probably a different, now-lost piece, and that O tres piteulx was composed slightly later as a direct appeal to Pope Calixtus III | — | — | n.d.Binchois Consort, YouTube; also Gothic Voices, YouTube | — | — | — | ||
| Missa Ave regina celorum — based on his own late motet of the same name, elsewhere in this table; his actual final completed mass cycle, distinct from the earlier motet, per Hamm's Group 9 | — | — | — | — | — | — | ||
| En triumphant de Cruel Deuil and Du tout m'estoie abandonné — his final surviving chansons, per Hamm's Group 9, composed in the years immediately before his death in 1474 | — | — | — | — | — | — | ||
| Sanctus (Group 1) — his earliest datable work, written during the Council of Konstanz | — | — | — | — | — | — | ||
| Gloria and Credo, Ox 213 Nos. 1–2 (Group 1) | — | — | — | — | — | — | ||
| O gemma, lux et speculum (Group 1, motet) | — | — | — | — | — | — | ||
| Amor secundum nomen tuum (Group 1, motet) | — | — | — | — | — | — | ||
| Ce jour le doiz (Group 1, ballade) | — | — | — | — | — | — | ||
| Resvelons nous, resvelons, amoureux (Group 1, rondeau) | — | — | — | — | — | — | ||
| Las, que feray? (Group 1, rondeau) | — | — | — | — | — | — | ||
| Missa sine nomine (Group 2, early 3-voice cycle, also called Missa Resvelliés vous) | — | — | — | — | — | — | ||
| Gloria and Credo "du village" (Group 2) | — | — | — | — | — | — | ||
| Rite maiestatis / Johannes baptista (Group 2, motet) | — | — | — | — | — | — | ||
| Sancte Michael ora pro nobis (Group 2, motet) | — | — | — | — | — | — | ||
| Adieu ces bons vins de Lannoys (1426, Group 2, written as he left France) | — | — | — | — | — | — | ||
| Navré je suy d'un dart (Group 2) | — | — | — | — | — | — | ||
| Gloria and Credo "de Sancto Anthonio" (Group 3) | — | — | — | — | — | — | ||
| Sanctus and Agnus Dei, Bologna MS 2216 (Group 3) | — | — | — | — | — | — | ||
| Quel fronte signorille (Group 3, rondeau referencing his time in Rome) | — | — | — | — | — | — | ||
| Pour l'amour de ma doulce amye (Group 3) | — | — | — | — | — | — | ||
| Magnam me gentes (Group 4, motet for the peace of Ferrara) | — | — | — | — | — | — | ||
| Fulgens iubar ecclesiae (Group 4, motet) | — | — | — | — | — | — | ||
| Magnificat Secundi Toni (Group 5) | — | — | — | — | — | — | ||
| Magnificat Sexti Toni (Group 5) | — | — | — | — | — | — | ||
| Alma Redemptoris Mater (Group 5, early setting) | — | — | — | — | — | — | ||
| Bon jour, bon mois (Group 5, chanson) | — | — | — | — | — | — | ||
| J'atendray tant qu'il vous playra (Group 5, chanson) | — | — | — | — | — | — | ||
| Navré je suy (Group 6, revised edition) | — | — | — | — | — | — | ||
| Donnés l'assaut à la fortresse (Group 6, chanson) | — | — | — | — | — | — | ||
| Par droit je puis bien complaindre (Group 6, chanson) | — | — | — | — | — | — | ||
| Le serviteur (Group 8, chanson) | — | — | — | — | — | — | ||
| Adieu m'amour (Group 8, chanson) | — | — | — | — | — | — | ||
| Kyrie eleison (KSA group) (c.1410s–20s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Sanctus–Agnus pair (KSA group) (c.1410s–20s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Gloria–Credo pair (early pair) (c.1414, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Belle, que vous ay je mesfait (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Ce jour de l'an voudray joye mener (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Entre vous, gentils amoureux (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Helas, et quant vous veray? (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Invidia nimica (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| J'ay mis mon cueur et ma pensée (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je donne a tous les amoureux (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je requier a tous les amoureux (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je veuil chanter de cuer joyeux (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| L'alta bellezza tua, virtute, valore (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Mon cuer me fait tous dis penser (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Navré je sui d'un dart penetratif (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Passato è il tempo omai di quei pensieri (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Pour ce que veoir je ne puis (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Se ma dame je puis veir (1414–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Belle plaisant et gracieuse (c.1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Ce moys de may soyons lies et joyeux (1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Helas, ma dame, par amours (1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| J'atendray tant qu'il vous playra (1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| J'ay grant dolour (1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je ne suy plus tel que souloye (1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| La belle se siet au piet de la tour (1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| La dolce vista (1415–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Gloria 01 'in Dominicis' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Gloria 02 'in gallicantu' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Gloria 05 'In quadrigesima / de quaremiaux' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Gloria 09 'ad modum tubae' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Gloria–Credo I (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Gloria–Credo II (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 02a 'Fons bonitatis' I (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 02b 'Fons bonitatis' II (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 03 'Cunctipotens genitor' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 04 'Rex genitor' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 05 'Jesu Redemptor' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 06a 'Orbis factor' I (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 06b 'Orbis factor' II (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 07 'Pater cuncta' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie 08 'Cum jubilo' (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie–Gloria–Credo group (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Kyrie–Sanctus–Agnus group (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Sanctus 'Papale' / Ave verum corpus (c.1420s–30s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Sanctus–Agnus II (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Sanctus–Agnus III (c.1420s–40s, Independent Mass movement) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| O sancte Sebastiane (c.1420s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Rite maiorem Jacobum (c.1420s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Resvelons nous / Alons en bien (c.1420s–30s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Bien veignés vous, amoureuse liesse (1423–33, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Dona i ardenti ray (1423–33, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Estrinés moy, je vous estrineray (1423–33, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| He, compaignons, resvelons nous (1423–33, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Mon chier amy, qu'avez vous empensé (1423–29, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Resvelliés vous et faites chiere lye (1423, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je me complains piteusement (c.1425, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Ma belle dame souveraine (c.1425, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Pour l'amour de ma doulce amye (c.1425, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Missa Sancti Iacobi (c.1426–30, Mass) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Belle, veullies moy retenir (1426–31, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Belle, vueillies vostre mercy donner (1426–33, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Vergene bella, che di sol vestita (1426–33, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Alleluia. Assumpta est Maria (c.1430s–50s, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Alleluia. Judicabunt sancti (c.1430s–50s, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Audi filia et vide et inclina aurem (c.1430s–50s, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Clarens stella (c.1430, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Dilexisti justitiam (c.1430s–50s, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Nos autem gloriari (c.1430s–50s, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Vos qui secuti estis me (c.1430, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Magnificat octavi toni (c.1430s–40s, Magnificat) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Magnificat quinti toni (c.1430s–40s, Magnificat) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Benedicamus Domino I (c.1430s–40s, Benedicamus) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Benedicamus Domino II (c.1430s–40s, Benedicamus) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Hic vir despiciens mundum (c.1430s–50s, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Magi videntes stellam (c.1430s–40s, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| O gemma martyrum (c.1430s–40s, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Petrus apostolus et Paulus (c.1430s–50s, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Salve Regina misericordiae (c.1430s, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Aurea luce et decore roseo (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Deus tuorum militum (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Exultet caelum laudibus (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Exultet caelum laudibus — contratenor version (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Exultet caelum laudibus — fauxbourdon version (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Hostis Herodes impie (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Iste confessor (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Jesu corona virginum (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Jesu nostra redemptio (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| O lux beata Trinitas (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Sanctorum meritis (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Tibi Christe splendor Patris (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Ut queant laxis (c.1430s–40s, Hymn) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Anima mea liquefacta est (c.1430s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Flos florum (c.1430s–50s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Inclita stella maris (c.1430s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Moribus et genere / Virgo, virga virens (c.1430s–40s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| O beate Sebastiane (c.1430s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| O gloriose tiro / Divine pastus munere (c.1430s–40s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| O proles Hispaniae / O sidus Hispaniae (c.1430s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Si quaeris miracula (c.1430s, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Helas, n'aray je jamais mieux (c.1430s–50s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Liesse m'a mandé salut (c.1430s–50s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Bien doy servir de volenté entiere (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Ce jour le doibt, aussi fait la saison (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Dona gentile, bella come l'oro (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Entre les plus plaines d'anoy (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Iuvenis qui puellam (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je languis en piteux martire (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je prens congié de vous, amours (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Mille bonjours je vous presente (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Mon bien, m'amour et ma maistresse (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Qu'est devenue leaulté? (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Seigneur Leon, vous soyes bienvenus (1433–35, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Las, que feray? Ne que je devenray (1434, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Or pleust a Dieu qu'a son plaisir (c.1434, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Pouray je avoir vostre mercy? (1434, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Va t'en, mon cuer, jour et nuitie (1434, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je vous pri, mon tres doulx ami (c.1435–60, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| S'il est plaisir que je vous puisse faire (c.1435–60, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Salve flos Tuscae gentis / Vos nunc Etruscae (c.1436, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Craindre vous vueil, doulce dame de pris (by 1436, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Magnanimae gentis / Nexus amicitiae (c.1438, Motet) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Mihi autem nimis (c.1439–50, Mass Proper) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Isti sunt duae olivae (c.1439–50, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Propter nimiam caritatem (c.1439–50, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Salva nos Domine (c.1439–50, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Sapiente filio (c.1439–50, Antiphon) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Missa de S. Anthonii de Padua (c.1440, Mass) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Je n'ai doubté fors que des envieux (by 1440, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Puisque celle qui me tient en prison (by 1440, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Vo regard et doulce maniere (by 1440, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Donnés l'assault a la fortresse (by 1445, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Franc cuer gentil, sur toutes gracieuse (by 1445, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Helas mon dueil, a ce cop sui je mort (c.1450, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Ma plus mignonne de mon cueur (c.1450s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Adieu m'amour, adieu ma joye (by 1454, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Par le regard de vos beaux yeux (by 1454, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Trop lonc temps ai esté en desplaisir (by 1454, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Adieu, quitte le demeurant de ma vie (by 1455, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Les douleurs dont me sens tel somme (1455, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Malheureulx cueur, que vieulx tu faire? (c.1455, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Vostre bruit et vostre grant fame (c.1455–60, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Missa L'homme armé (c.1460–61, Mass) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Belle, vueilles moy vengier (c.1460s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| De ma haulte et bonne aventure (late 1460s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Dieu gard la bone sans reprise (late 1460s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Du tout m'estoie abandonné (c.1460s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Ne je ne dors ne je ne veille (c.1460s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| Puisque vous estez campieur (c.1460s, Chanson) — per DIAMM/Planchart catalog | — | — | — | — | — | — | ||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Apta caro – Flos virginum V1 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Apta caro – Flos virginum V2 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Apta caro – Flos virginum V3 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Ida capillorum – Portio nature V1 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Ida capillorum – Portio nature V2 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Degentis vita – Cum vix V1 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Degentis vita – Cum vix V2 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Pictagore – O terra sancta V1 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Pictagore – O terra sancta V2 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Alpha vibrans – Cetus venit | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Rex Karole – Leticie pacis | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | L’ardure – Tres dous espoir | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Alma polis – Axe poli V1 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Alma polis – Axe poli V2 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Alma polis – Axe poli V3 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Multipliciter amando – Favore habundare V1 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Multipliciter amando – Favore habundare V2 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Sub arturo – Fons citharizantium | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Tant a soutille – Bien pert V1 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Tant a soutille – Bien pert V2 | Direct MP3 recording/reconstruction | |||||
| c. 1350–1400 | Anonymous (Chantilly Codex) | Tant a soutille – Bien pert V3 | Direct MP3 recording/reconstruction | |||||
| c. 1360–1397 | Francesco Landini | Ochi dolenti mie | Direct MP3 recording/reconstruction | |||||
| c. 1360–1397 | Francesco Landini | Per seguir la sperança | Direct MP3 recording/reconstruction | |||||
| c. 1360–1397 | Francesco Landini | Ecco la primavera | Direct MP3 recording/reconstruction | |||||
| 1100s MUSIC | Dump-mined YouTube | The Oldest Jewish Music Ever Discovered, Here’s What It Sounds Like | YouTube | |||||
| 1200s MUSIC | Dump-mined YouTube | Gradual of Alienor of Brittany - 13th and 14th Centuries - Kyrie Orbis Factor | YouTube | |||||
| 1300 PETRUS DE CRUCE | Dump-mined YouTube | Petrus de Cruce: Je cuidoie bien metre jus - Se j'ai folement amé - Solem | YouTube | |||||
| 1300 PETRUS DE CRUCE | Dump-mined YouTube | Petrus de Cruce: Aucun ont trouv" chant par usage - Lonc .. | YouTube | |||||
| 1300 PETRUS DE CRUCE | Dump-mined YouTube | 7. Music of the Middle Ages; Franconian and Petronian Motet | YouTube | |||||
| 1300 PETRUS DE CRUCE | Dump-mined YouTube | Motet Aucun: Lonc tans: Annuntiates Petrus de Cruce c. 1300. HAM 34 | YouTube | |||||
| 1300 PETRUS DE CRUCE | Dump-mined YouTube | Motetes Medievales: Parte 5 Petrus de Cruce | YouTube | |||||
| 1400s MUSIC | Dump-mined YouTube | The Cosmopolitan Songs by Oswald von Wolkenstein Ensemble Leones | YouTube | |||||
| 1400s MUSIC | Dump-mined YouTube | 15th century English Music - Alleluia : "A Nywe Werke" | YouTube | |||||
| 1st CENTURY MUSIC | Dump-mined YouTube | Ancient Greek Music - Dramatic Speech | YouTube | |||||
| 900s MUSIC | Dump-mined YouTube | Byzantine Church 10th Century Chant | YouTube | |||||
| 1100s MUSIC | Dump-mined YouTube | Hymn to St. Basil - Ancient 12th Century Byzantine Chant - 1st Tone | YouTube | |||||
| 1100s MUSIC | Dump-mined YouTube | Cistercian chant | Monodies of the twelfth century | YouTube | |||||
| 1100s MUSIC | Dump-mined YouTube | “Chevalier, Mult Estes Guariz” – Singing in Old French (12th century) | YouTube | |||||
| 600s MUSIC | Dump-mined YouTube | Sequentia: Dies Irae | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Greek Music - Delphic Paean | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Greek Music - Dramatic Lament on Ajax's Suicide | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Greek Music - Instrumental Exercises | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Greek Music - Instrumental Piece 2 | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Greek Music - Invocation of the Muse | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Greek Music - Paean and Processional | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Greek Music - Piece from a Satyr Play | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Music - Excerpts Mentioning Eros And Aphrodite | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Music - Fragment 1 | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Music - Hypolydian Excerpt | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Ancient Music - Lament | YouTube | |||||
| 100s MUSIC | Dump-mined YouTube | Pindaro | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Te Deum Laudamus (with lyrics and translation) | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Te Deum laudamus | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Caelum: IV. Te Deum | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Te Deum | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Te Deum (Thee, O God, We Praise) | English Version With Lyrics | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Hail Gladdening Light, Φώς Ιλαρόν (Phos Hilaron ) | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Ancient Music - Paean | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Franz Joseph Haydn, Te Deum n.2 in C | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Te Deum laudamus - Ciebie Boga wysławiamy | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | The Te Deum | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | ♫ "Oxyrhynchus Hymn" by Sean and Dean Kiner - Instrumental Music - Extra History | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Papyrus Oxyrhynchus 2436 | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | S1E1 Lessons from the songs we sing The Oxyrhynchus Hymn | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | The Oxyrhynchus Papyri | Early Christian Manuscripts | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | TE DEUM LAUDAMUS | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Te Deum laudamus | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Te Deum laudamus | YouTube | |||||
| 300s MUSIC | Dump-mined YouTube | Oxyrhynchus: the city and its texts | YouTube | |||||
| 300 THE OXYRHYNCHUS HYMN | Dump-mined YouTube | Papyrus Oxyrynchus | YouTube | |||||
| 300 THE OXYRHYNCHUS HYMN | Dump-mined YouTube | HINO DE OXYRRINCO - O mais antigo hino cristão registrado | YouTube | |||||
| 800s MUSIC | Dump-mined YouTube | A solis ortu usque ad occidua (lament on the death of Charlemagne, 814) | YouTube | |||||
| 800s MUSIC | Dump-mined YouTube | Germany: Anon. 9th c. - Muspilli - Fragment | YouTube | |||||
| 800s MUSIC | Dump-mined YouTube | Gregorian Missa da Requiem (9th century) - Libera me | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Ancient Music - Fragment 3 | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Ancient Music - Musical Excerpt | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Ancient Music - Trochaic Fragment + Four Settings From Menander's 'Epitrepontes' | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Phos Hilaron (O Gracious Light) - SCHOLA NOVA - Anne Pell | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Lumen hilare | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Oxyrhynchus Papyri Project | Conserving and preserving ancient Egypt | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Monastic Choir of Valaam Monastery - Phos Hilaron | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Phos hilaron (Park) Cambridge Chorale at Ely Cathedral | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | The Gesualdo Six: Phos hilaron (Owain Park) | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Phos Hilaron | YouTube | |||||
| 200s MUSIC | Dump-mined YouTube | Phos Hilaron(Epic Byzantine Music) - Eastern Roman Empire | YouTube | |||||
| 1200s MUSIC | Dump-mined YouTube | Fiesta en el palacio de Alfonso el sabio | YouTube | |||||
| 1200s MUSIC | Dump-mined YouTube | CODEX BURANUS: the real medieval CARMINA BURANA, Clemencic Consort | YouTube | |||||
| 1200s MUSIC | Dump-mined YouTube | Sumer is icumen in | YouTube | |||||
| 700s MUSIC | Dump-mined YouTube | Carmina Carolingiana, songs from the time of Charlemagne - Ensemble Ligeriana Dir. Katia Caré | YouTube | |||||
| 700s MUSIC | Dump-mined YouTube | Chant mozarabe - Sacrificium - Vox clamantis - 8th century | YouTube | |||||
| 700s MUSIC | Dump-mined YouTube | Chants de l'Eglise de Rome - Resurrexi - (8th century) | YouTube | |||||
| 700s MUSIC | Dump-mined YouTube | Offertoire: Terra Tretmuit—V Notus in Judea, V Et factus est in pace, V Ibi confregit | YouTube | |||||
| 700s MUSIC | Dump-mined YouTube | Alleluia—V Epi si Kyrie | YouTube | |||||
| 700s MUSIC | Dump-mined YouTube | Communion: Pascha Nostrum | YouTube | |||||
| 700s MUSIC | Dump-mined YouTube | L.A. Daiku sings an 8th century Hymn | YouTube | |||||
| 1300s MUSIC | Dump-mined YouTube | L'art des Jongleurs - Ensemble Tre Fontane | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Great Composers: Saint Kassiani | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | kassia abbeys she wrote hymns churches in modern Constantinople still sing today | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | All Saints Greek Orthodox Church - Bridegroom with Hymn of Kassiani | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | April 27, 2021 - Bridegroom Service (Tuesday Evening) Hymn of Kassiani | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | 3rd Bridegroom Service, Hymn of Kassiani, April 19th | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | 3rd Bridegroom Service/Hymn of Kassiani | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Kassia | Wikipedia audio article | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Kassia Music Collective - Millennium Stage (October 18, 2016) | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Byzantine Secular Music-The Nightingale Kratima | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | April 26, 2016 Tuesday Night Bridegroom Hymn of Kassiani | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Hymn of Kassiani - Tone 8 - St. George Cathedral Wichita, KS - Tuesday Bridegroom Service 2017 | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Byzantine Christmas Hymns in English | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Kassiani Hymn - Bridegroom Service | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Hymn of Saint Kassiani - Pathway to Pascha Project | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Concert 1: Still Singing - Women Composers and the Voices Together Hymnal | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Tracing Kassia | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Orthodox Women's Talk: Hymns of Holy Week | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | Hymns of the Middle Ages (1/4) | YouTube | |||||
| 810-865 KASSIA | Dump-mined YouTube | 2016 Spring Hymns Concert | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Gaudeamus omnes [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Lustus ut palma [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Primus init Stephanus - En vice nos Stephani [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Consubstantialis patri [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Mater [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Dies Sanctificatus [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Romana [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Einan kuning weiz ih [St. Gall manuscripts] | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker the Poet,recording & pre production | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: VIII. Iste libellus (bass solo) | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: XIII. Organ solo | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: VI. Singulae motus (duet) | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: V. Quos versiculos | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: XII. Clare sanctorum | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: VII. Organ solo | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: X. Quid tu virgo | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: II. In Nomine Domini | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: IX. Cum adhuc iuvenulus (quartet) | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: XIV. Haec igitur | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: IV. Organ solo | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker: III. Congaudent angelorum (duet) | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 03 Welcome Session by the Abbot Primate Notker Wolf OSB | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 03 Bk I pt 3 Life of Charlemagne Notker the Stammerer mp3 | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 02 Bk I pt 2 Life of Charlemagne Notker the Stammerer mp3 | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 08 Bk II pt 4 Life of Charlemagne Notker the Stammerer mp3 | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 06 Bk II pt 2 Life of Charlemagne Notker the Stammerer mp3 | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 07 Bk II pt 3 Life of Charlemagne Notker the Stammerer mp3 | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 09 Bk II pt 5 Life of Charlemagne Notker the Stammerer | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 04 Bk I pt 4 Life of Charlemagne Notker the Stammerer | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 01 Bk I pt 1 Life of Charlemagne Notker the Stammerer | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 05 Bk II pt 1 Life of Charlemagne Notker the Stammerer | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 01 Notker | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | "NOTKER" | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Sequenz: Psallat ecclesia (Notker) (Missa in Dedicatione Ecclesiae) (St. Gall Monastery... | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | THE MEDIEVAL PIPER - Silke Gwendolyn Schulze | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | 01 Notker | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Two Lives of Charlemagne | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker the Stammerer - Wikipedia Article Audio | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Words of Power. Charms, Riddles and Elegies of the Northlands | Sequentia. | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Norbert Rodenkirchen, medieval flute meditation on Notker´s "Virgo plorans" | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Notker-der-Stammler-Rede mit Thomas Hürlimann (23. Oktober 2020) | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | ✡︎ Far Away Lands, The Medieval Sephardic Heritage - Ensemble Florata | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | Crown Heist, Fated Rulers, Notker the Stammerer with Tristan Zimmerman | YouTube | |||||
| 840-912 NOTKER | Dump-mined YouTube | A Dadogós (Balbulus) Notker (840 k. - 912) karácsonyi szekvenciája Babits Mihály fordításában | YouTube | |||||
| 1098-1197 HILDEGARD | Dump-mined YouTube | Anonymous 4 - Four Centuries of Chant | YouTube | |||||
| 1098-1197 HILDEGARD | Dump-mined YouTube | Hildegard Von Bingen - Classical Music History (1) - Medieval Period | YouTube | |||||
| THE PALERMO STONE (2283BCE) | Dump-mined YouTube | What is meant by the Palermo Stone?|Ancient Egypt. | YouTube | |||||
| THE PALERMO STONE (2283BCE) | Dump-mined YouTube | EGYPT 545 - The PALERMO STONE - (by Egyptahotep) | YouTube | |||||
| THE PALERMO STONE (2283BCE) | Dump-mined YouTube | Palermo Stone | YouTube | |||||
| THE PALERMO STONE (2283BCE) | Dump-mined YouTube | TGL vs Elements - Palermo Stone (Original Mix) | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | The Pyramid Text Of Unas | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Texts of Unas | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 1 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 2(a) of 13 - Register 1 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 2(b) of 13 - Register 2 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 2(c) of 13 - Register 3 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 3 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 5 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 4 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 6 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 7 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 8 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 9 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 10 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 11 of 13 - Cannibal Hymn | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 12 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | Pyramid Text of Unis - Word for Word - Part 13 of 13 | YouTube | |||||
| UNAS (2323BC) | Dump-mined YouTube | The Cannibal Hymn. Pyramid Texts 273-274, Part I | YouTube | |||||
| TETI (2291BC) | Dump-mined YouTube | The Pyramid Texts Of Teti (2323 BC) - Oldest Religious Texts In The World | Secrets of Egypt | YouTube | |||||
| TETI (2291BC) | Dump-mined YouTube | Pyramid of Teti 🔺️ | YouTube | |||||
| TETI (2291BC) | Dump-mined YouTube | Inside the Mer (Pyramid) of Teti | YouTube | |||||
| 1500BCE | Dump-mined YouTube | Ancient Egyptian Wisdom | YouTube | |||||
| 2300BCE | Dump-mined YouTube | Creepy Soft Spoken Reading Ancient Text: Cannibal Hymn | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Temple Hymn | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Reading Archaic Sumerian Kesh Temple Hymn | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Soft Spoken Reading Ancient Text: Kesh Temple Hymn | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Kesh Temple Hymn | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Ancient Texts That Changed the World | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Sumerian God Enlil: So Revered No One Dared Look In His Direction | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Unraveling the Origins of Literature: The First Book Ever Written! 🌍📜 | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Biblical Proof of NINHURSAG? | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | SUMERIAN KESH TEMPLE HYMN BIBLICAL PARALLELS? #sumerian #mythology | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Top 10 Oldest Texts: Secrets That Will Blow Your Mind! | YouTube | |||||
| KESH TEMPLE HYMN (2600 BCE) | Dump-mined YouTube | Kesh temple hymn translated into English | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | Kurgal - Shuruppak | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | The instructions of Shuruppak - 2600 BC - Oldest Scriptures in the world | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | Shuruppak | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | 3RD MILLENIA BCE TEXT! The Instructions of Shurrupak. Story to fall asleep to 🥰 | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | Waterways at Shuruppak and Ur. New Ideas from Old Sites - A. Otto, B. Einwag and J. Fassbinder | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | Listen to your Sumerian Daddy! | 4,600 Year Old Life Advice | Instructions of Shuruppak | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | The Secrets of Shuruppak: Unearthing Sumerian History | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | The Ancient Wisdom of Shuruppak in Sumerian Mythology | YouTube | |||||
| SHURUPPAK (2600BCE) | Dump-mined YouTube | "Ancient Wisdom Unveiled: The Instructions of Shuruppak - Audiobook with Explanations" | YouTube | |||||
| METJEN (2600 BCE) | Dump-mined YouTube | Discover: high official - Metjen | YouTube | |||||
| HARDJEDEF (2500 BCE) | Dump-mined YouTube | Ancient Wisdom Daily - 3/27/13 - The Instruction of Prince Hardjedef | YouTube | |||||
| HARDJEDEF (2500 BCE) | Dump-mined YouTube | Egyptian Ethics & Philosophy: Hardjedef & Ptahhotep | YouTube | |||||
| HARDJEDEF (2500 BCE) | Dump-mined YouTube | HARD JEFF | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Epic of Gilgamesh with 4500-year-old Lyre (extract) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Duo 4500-year-old reproduction lyre & pipes | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | The Ancient Biblical Lyre... | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Lyre Improvisation#1 on an Ancient Egyptian Scale... | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Orphic hymn to the Ocean Nymph | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Homeric Hymn to Goddess Athena by Panayoti Karousos | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | .:. The Orphic Hymn to Dionysos (Χαίρε Νύμφη) .:. by Daemonia Nymphe | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Echoes of Ancient Egypt...(2 of 7) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - THRASHED ON AN AXE!!! | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana II | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana III | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana IV | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana I | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate V | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate VI | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate VIII | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate VII | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate III | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate I | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate IX | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate II | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate IV | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Musica Romana - Pugnate X | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia I | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia II | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia III | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia VI | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia VII | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia IV | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | "Hava Nagila" Played on the Ancient Biblical Lyre... | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia IX | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia X | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music - Synaulia XII | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | "Ancient Visions - New Compositions For An Ancient Lyre" | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | "Ancient Visions - New Compositions For An Ancient Lyre" | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Hieroglyphic song -by Mohamed Maged أغنية باللغة الهيروغليفية - محمد ماجد | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Hymn for the Sunrise | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Creator Sun God Instrumental III + IV) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Eternity (Song II + Instrumental II) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Truth, Balance, Order (song + instrumental I, II and III) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Nenchefka's Orchestra | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Procession at Thebes | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Road to Wadi el-Hol | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Sáppho | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Tears of Isis - Ancient Egyptian Music | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Hymn to Ra and Osiris from the CD Tears of Isis - Ancient Egyptian Music | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | War Song of Horus and Sekhmet - Ancient Egyptian Music - from the CD Tears of Isis | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | ANCIENT EGYPTIAN LOVE SONG | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Music For a Roman Banquet | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Spyros Giasafakis "Okirroe" Ancient Greek Instruments | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Spyros Giasafakis "Keras" Ancient Greek Instruments | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Roman Music (118 Minutes) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Spyros Giasafakis "Kyklops" Ancient Greek Instruments | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Spyros Giasafakis "Voreou" Ancient Greek Instruments | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Spyros Giasafakis "Chimaira" Ancient Greek Instruments | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | The Epic Of Gilgamesh In Sumerian | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music – The Nile River | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Sumerians | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ode to Ancient Rome (Original Composition For Lyre in the Ancient Phrygian Mode) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | GOETIA - Orphic Hymn To Dionysos (Hades Spektro Amok) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | "Bacchic Mountain Dance" (Ancient Greek Lyre Music) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | In an Ancient Roman Garden | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Tomb of the Ancients | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | The Ancient Greek Kithara of Classical Antiquity - "Odysseus and the Sirens" | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ptahhotep's Teachings | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Orestes | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Flute Ney music | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Lyre - Kleopas : Hymn to muse Kalliope and Apollo | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Greek instruments and electric cello in London | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ankh: The Sound of Ancient Egypt - Michael Atherton [1998](AUS)|Mid Western Folk Music, World | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Louvre Aulos Music in La Boissonade | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Rediscovering Ancient Greek Music: A performance reconstructs the past | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Aulos from ancient Greek and Roman times music by Max Brumberg | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Euripides' "Katolophyromai" - by Nikos Xanthoulis on the Ancient Greek Lyre | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | GILGAMESH LAMENT FOR ENKIDU | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Orphic Hymn to Aphrodite | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Orphic Hymn to Athena for Piano & Voice | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Nick Vantas - Ancient Greek Music - Harmonia | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | "The epic of Gilgamesh' - Ancient Sumerian Song by Peter Pringle | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Lament For GILGAMESH, The Gold Lyre Of Ur | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Aulos - Ancient Greek Double Pipes - 'The Frogs' composed and played by Callum Armstrong | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Greek and Roman Music - A Beginner's Introduction | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Relaxing Ancient Greek Music Vol. II | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Sumerian song - "Epic of Gilgamesh" [FIXED LYRICS IN THE DESCRIPTION] | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Egyptian music instrumental 👳♂️ return to ancient egypt | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Relaxing Ancient Egyptian Music & Night River Ambience | Triangle Harp | sleep, study, meditation | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | [Civ6 OST] Sumeria Theme - Ancient DrumOnly(Hurrian Hymn No.6) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | [Civ6 OST] Sumeria Theme - Ancient Vielle&Drums(Hurrian Hymn No.6) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music For Sleep & Calm Ambience | Samvyke Harp | Relaxing Music for sleep, study, work | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | The Trial of Orestes - Ep 3/3 - Greek Mythology - Oresteia | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | The "Weird" Melodies of Ancient Greek Music - feat. Aristoxenus | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Music of the Ancients | Ancient Music | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Nero's Lyre (Magic of the Kithara) | YouTube | |||||
| ANCIENT & PSEUDOANCIENT MUSIC | Dump-mined YouTube | Gaia duo - Ancient greek lyre & voice | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | PtahHotep91-92 | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Allah in Pre Dynastic Nubia Temple of Ptah | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Tomb of PTAH HOTEP | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Wise Teachings of Ptah-Hotep Intro | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Maxims of Ptah-Hotep (11-21) | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Maxims of Ptah-Hotep (22-35) | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Maxims of Ptah-Hotep (36-46) | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Teachings of Ptah Hotep | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ancient Wisdom Daily - The Danger in Arrogance - The Maxims of Ptah Hotep | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Maxims of Ptah Hotep - Instructions In Good Character | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Maxims of Ptah Hotep - Instructions In Good Character Pt. 2 | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Teachings of Ptah Hotep :: Moorish Wisdom | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Teachings Of Ptahhotep - Audiobook | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptah Hotep- Wise Man of Ancient Egypt. | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ancient Egyptian Literature | A Selection of the Teachings of Ptah-hotep | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Maxim X+2 Advice Against Overeating | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptahhotep Introduction 1, 2, 3 | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Teachings of Ptahhotep | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptahhotep maxim 7 Slander | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptahhotep Maxim 17 Lust | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptahhotep Maxim 26 Patronage | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptahhotep Maxim 36, a Fat Wife | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Precepts of Ptah Hotep | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptah Hotep's Tomb | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Herodotus on the Ancient Egyptians: Egyptian Influence on Ancient Greek Mythology | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Trust Nobody | Ancient Egyptian Pessimistic Literature | Kemetic Philosophy | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Weirdest Tales from Egyptian History | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | The Tomb of Ptahhotep and his Son Akhethotep | Ancient Egypt | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | How could Myths From Greece, Egypt & Mesopotamia influence eachother? Dr. Robert M. Price | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | 36 Lessons From Ancient Egypt - Maxims From Ptahhotep (Writings From Ancient Egypt) | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ancient Egyptian Proverbs - mystical wisdom. | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | A short introduction to hieratic - Teachings of Ptahhotep | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | For lovers of the Egyptian dialect/ Egyptian proverbs 3. 😍 | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Teachings from the Oldest Book in the World: The Maxims of Ptahhotep - Part 1 | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ptah Hotep's Quotes | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | THE MAXIMS OF PTAHHOTEP, QUOTES LEGEND IN HISTORYS | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ancient Egyptian Literature: The Maxims of Ptahhotep || Prisse Papyrus | YouTube | |||||
| PTAHHOTEP (2350BC) | Dump-mined YouTube | Ancient Egyptian Philosophy: Unlocking Timeless Wisdom | Ma'at, Ptahhotep & Amenemope | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Hymn to Inanna by Priestess Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | High Priestess Enheduanna: First Named Author in History (Part 1 of 5) | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | High Priestess Enheduanna: First Named Author in History: Princess (Part 2 of 5) | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | High Priestess Enheduanna: First Named Author in History: Priestess role (Part 3 of 5): Priestess | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | High Priestess Enheduanna: First Named Author in History: Poetess (Part 4 of 5) | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | High Priestess Enheduanna: First Named Author in History: Conclusion (Part 5 of 5) | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | ENHEDUANNA | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Song to Inanna, from Enheduanna's nin-me-sar-ra | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Exaltation of Inanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | How To Say Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Daily Data: Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Ancient Mesopotamia 101 | National Geographic | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Akkadian Art 2: Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna: Amplifying the Voices of Women in the Middle East | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna - The World's First Known Writer | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | CERNUNNAS - Enheduanna (Lyric Video) | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna: Poet, Priestess and Politician of Ancient Mesopotamia | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | CERNUNNAS - Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | The princess exiled from ancient Mesopotamia - Soraya Field Fiorio | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Ricardo Carrera- Enheduanna (inédita) | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Rolling Stones: Looking at Ancient Mesopotamian Cylinder Seals | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Heroes you Should Know Ep. 1: Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | World Poetry Day: The Female Ancient Poets Sappho, Enheduanna and Zhuo Wenjun | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Clues in Cuneiform: Lives Revealed in Ancient Records of Mesopotamia | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna: Temple Hymn #42 | THE POETRY NEBULA | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna: The first Poet to sign Her Work. { poetry exploration } | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna: Lament to the Spirit of War. { poetry exploration } | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Enheduanna: “Your Princess is a Storm Riding on a Lion” {temple hymn exploration} | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | TED-Ed | Enheduanna | Music and Sound Design | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | 🔥 Enheduanna, la primera escritora de la Historia (Acadios & Sumerios) | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | MAGES & MYSTICS: ENHEDUANNA Revealed! | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | She Who Wrote: Enheduanna and Women of Mesopotamia, ca. 3400–2000 B.C. | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Sidney Babcock on Enheduanna and the Women of Mesopotamia | New York Studio School | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Hymns of Ani and Enheduanna | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | THE EXALTATION OF INANNA in Sumerian | YouTube | |||||
| ENHEDUANNA (2297BC) | Dump-mined YouTube | Audiobook | The SUMERIAN TABLET of Inanna | INANNA AND EBIH | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Kingdom of Ife: Ife uncovered | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Exploring the Roots of Mesopotamian Civilization: Excavations at Tell Zeidan, Syria | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Prophets Mentioned in the 4500 Year-old Ebla Tablets | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Victory Stele of Naram-Sin | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Prophets mentioned in the 4500 year old Ebla tablets | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Old Testament: The Kingdom of Ebla | Is The Bible Reliable? | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Exploring the Roots of Mesopotamian Civilization: Tell Zeidan, Syria — Gil J. Stein | YouTube | |||||
| 2400BCE | Dump-mined YouTube | THE PROPHET WHOSE NAME APPEARS ON THE EBLA TABLETS WRITTEN 1500 YEARS BEFORE THE TORAH | YouTube | |||||
| 2400BCE | Dump-mined YouTube | SUMERIAN STELE OF THE VULTURES OLDEST KNOWN HISTORICAL RECORDS CARVED ON LIMESTONE | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Ebla Tablets | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Mesopotamia: The Ubaid Period (5500–4000 B.C.) | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Stele of the Vultures and Standard of Ur | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Sumerians...They Didn't Mention THIS in School - Lost Ancient Civilization & Sumerian Tablets | YouTube | |||||
| 2400BCE | Dump-mined YouTube | 4,000 Year Old Clay Tablet Revealed Something Amazing | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Sumerians of Ancient Mesopotamia Were Black People | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Rise and Fall of the Neo-Sumerian Empire | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Lugalbanda and the Anzu Bird | YouTube | |||||
| 2400BCE | Dump-mined YouTube | EverWondered if the bible stories are the same as the Sumerians? | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Sumerian Tablets Reveal, Earth Was Ruled By 8 Kings From Heaven Before The Great Flood | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Stele of the Vulture gods | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Zu is Lugalbanda - Ancient Mesopotamian god | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Soothing Stories with Megan - Lugalbanda and the Mountain Cave | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Strange Stories The Mystery Of The Ebla Tablets | YouTube | |||||
| 2400BCE | Dump-mined YouTube | ERIDU - Lugalbanda [Full Album] | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Ebla archive. | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Great Sumerian Rivalry: Lagash vs. Umma | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Memory Hole 004: Eanatum, Enmetena, and Urukagina, Oh My! | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Laws of Urukagina | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Ancient Aliens: The Garden of Eden's Genetic Laboratory (Season 8) | History | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Controversial Discovery : 15,000 Ancient Ebla Tablets Prove Old Testament To Be Accurate | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Lost City of Ebla | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Urukagina -- a PPT video presentation | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Ancient Aliens: Alien Gods of Ancient Sumer (Season 13) | History | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Neolithic Ancient Mesopotamia | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Urukagina (the King of Social Justice) and Hammurabi | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Lugalbanda And The Anzu Bird (Anzud Bird) - Anzû - Imdugud | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Fierce Sumerian god-King Lugalbanda | YouTube | |||||
| 2400BCE | Dump-mined YouTube | 8. The Sumerians - Fall of the First Cities | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Facing the Unknown in Ancient Mesopotamia | Insider Insights | YouTube | |||||
| 2400BCE | Dump-mined YouTube | A very ancient puzzle: the Stele of the Vultures | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Forgotten Ancient Kingdom of Ebla | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Birth of Civilisation - Rise of Uruk (6500 BC to 3200 BC) (No AI) | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Stele of the Vultures | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Mesopotamian Gods Family Tree | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Rebecca Hasselbach-Andee | Language and Cultural Contact: The Case of Ebla | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Earliest Reformer? Urukagina of Girsu and His New Order | YouTube | |||||
| 2400BCE | Dump-mined YouTube | 🎆 The most early myth of creation 🎆 Written before 2,250 BC in "Barton cylinder" 🎆 | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The ancient secrets revealed by deciphered tablets | BBC Ideas | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Ubaid: Building Mesopotamia's First City | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Anunnaki Exodus... WHY Did the Leave Nibiru for Earth? ARE THEY Still Here? A New Sumerian Paradigm | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Mt. Ebal “Curse Tablet” Discovery: Bigger Than the Dead Seas Scrolls? | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Ebla - The Downfall of a Semitic Kingdom | YouTube | |||||
| 2400BCE | Dump-mined YouTube | How did the Sumerians fight their wars? | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Hidden Mystery Of The Ebla Tablets | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Ur Colloquium: Prof Augusta McMahon on 'Tell al-Ubaid and the Ubaid Period' | YouTube | |||||
| 2400BCE | Dump-mined YouTube | Ur Colloquium: Dr Ellen McAdam on 'The Ubaid Period Figurines from Ur' | YouTube | |||||
| 2400BCE | Dump-mined YouTube | The Black Origins of Sumerian Civilizaiton | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Diary Of A Pyramid Labourer // Oldest Papyrus Discovered 2550 BC "Diary of Merer" // Primary Source | YouTube | |||||
| 2500BCE | Dump-mined YouTube | The Religion of Ancient Egypt (FULL Audiobook) | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Hymn to Enlil Living True Farmer God | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Hymn to the Akkadian Triad of Anunnaki - The Seven Return to Heaven | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Enlil - Sumerian Sky God (Ritual & Meditation Music) | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Enlil: The Anunnaki Who Destroyed The Human Race | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Enlil is Satan, Yahweh, Jehovah and Allah. Plus the Creation of Man and Religion | YouTube | |||||
| 2500BCE | Dump-mined YouTube | ENLIL and NINLIL, an Ancient Sumerian Story | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Hierogamy: The Sacred Marriage of Enlil & Ninlil | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Enlil and Ninlil | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Anunnaki ANU Enlil Enki "Debate between sheep and grain"? | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Sumerian Creation Myths: Ziusthurus and debate of Sheep and Grains | YouTube | |||||
| 2500BCE | Dump-mined YouTube | The Annunaki creation story | YouTube | |||||
| 2500BCE | Dump-mined YouTube | This Is Why The Sumerian Civilisation Causes So Much Debate In Traditional Historiography | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Are Cane and Abel the Children of Enlil? | YouTube | |||||
| 2500BCE | Dump-mined YouTube | The real origin of mankind that you are not supposed to know | YouTube | |||||
| 2500BCE | Dump-mined YouTube | The True ORIGINS of Genesis Creation Will BLOW Your Mind | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Gods, Grain & Government: formation of states in Mesopotamia & Egypt [DHOC 3] | YouTube | |||||
| 2500BCE | Dump-mined YouTube | Diary of Merer | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Mesopotamian Cylinder Seals Slideshow | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Treasures from the Royal Tombs of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Decoding Plant and Animal Symbols from the Royal Cemetery (Ur, Iraq) | YouTube | |||||
| 2600BCE | Dump-mined YouTube | See updated video link below for renewed Standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Cyrus Cylinder from Ancient Babylon and the Beginning of the Persian Empire | YouTube | |||||
| 2600BCE | Dump-mined YouTube | 90 Seconds in Ancient Mesopotamia | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Meskalamdug King of Kish | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Curse of Akkad | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Queen Puabi | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Cylinder seal | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Standard of Ur from the Royal Tombs at Ur Part 1 | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Standard of Ur 2 | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Warka Vase | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Female Head and Warka Vase | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Royal Tombs Of Ur | Part 1: A look inside the Tombs | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Daily Data: Cylinder Seals | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Daily Data: The Uruk Vase | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Daily Data: Human Sacrifice and the Royal Tombs of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Expedition - Powerful Women of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Collecting the Past: Pierpont Morgan and Ancient Mesopotamia | YouTube | |||||
| 2600BCE | Dump-mined YouTube | What's On? Great Death Pit of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Inanna (Remastered) | YouTube | |||||
| 2600BCE | Dump-mined YouTube | 04 The Standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Human Sacrifice In The Ancient Near East: The Royal Tombs of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | URUK | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Mask of Warka, Warka Vase, and Shalmaneser III's Platform Throne | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Ur : The Rise and Fall of the Ancient Sumerian City State | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Warka Vase Or Uruk Vase : Video one | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Warka Vase or Uruk Vase: video two (description) | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Anunnaki Gods: The Astronaut Gods of the Sumerians - Sumerian Mythology - See U in History | YouTube | |||||
| 2600BCE | Dump-mined YouTube | [13] 5000 Years Old Sumerian Vase | The Warka Vase | HistoryIn1Minute | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Discover Ur, Iraq | YouTube | |||||
| 2600BCE | Dump-mined YouTube | What defines the Standard of Ur? | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Great Ziggurat Of Ur & The Ancient City In Mesopotamia. Birthplace of Abraham? Nasiriyah, Iraq. | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Queen Kubaba of Mesopotamia: the Only Queen on the Sumerian King List | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Masterpieces of Mesopotamia - Standard of Ur, Relief of Ur-Nanshe and the Mask of Sargon | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Oldest Writing On Earth (The Kish Tablet) : Oldest On Earth - 05 | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Standard of Ur - Getting drunk and stabbing people in ancient Sumer | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Ancient Sumerian Gold and other artifacts | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Eridu Genesis | The Sumerian Epic of Creation | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Warka Vase | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Warka Vase, A Research Project | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Reviewing every book in history in chronological order #1: Instructions of Shuruppak | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Sidney Babcock on Cylinder seals of Ancient Mesopotamia, ca 3300-500 B.C. | New York Studio School | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Standard of Ur - War and Peace | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Art 101: Mesopotamia - Inanna, The Warka Vase & The Mask of Warka | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Religion in Ancient Mesopotamia | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Royal Death Pits of Ur (No AI) | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Joe Rogan on Planet 9, The Sumerian Tablets, Sitchin, The Anunnaki and Nibiru | YouTube | |||||
| 2600BCE | Dump-mined YouTube | Anunnaki Inanna Ishtar Sumerian Mona Lisa Mask of Warka | YouTube | |||||
| 2600BCE | Dump-mined YouTube | War and peace on the Standard of Ur | YouTube | |||||
| 2600BCE | Dump-mined YouTube | How this queen was found after 4,600 years of oblivion. | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The Oldest Document in the World: The Kesh Temple Hymn (Fun Historical Fact) | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The instructions of Shuruppag | YouTube | |||||
| 2600BCE | Dump-mined YouTube | The instructions of Shuruppag | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Ancient Biblical Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Ancient Biblical Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Ancient Biblical Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music From Antiquity - Ancient Greek Melody! | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Ancient Biblical Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Reconstructed Ancient Egyptian Melody (1 of 2) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Fragment by Homer! | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | King David's Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - "Hymn to the Muse" | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | King David's Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | King David's Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | King David's Lyre | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | King David's Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek music - Lament (2-3th century AD) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Folk Song Played on Ancient Lyre! (1 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Folk Music Played on Ancient Lyre! (2 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Folk Music Played on Ancient Lyre! (3 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Folk Music Played on Replica Ancient Lyre! (4 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Lyre of The Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Lyre of the Ancient Hebrews... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Echoes of Ancient Egypt...(1 of 7) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Echoes of Ancient Egypt...(3 of 7) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Echoes of Ancient Egypt...(4 of 7) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Echoes of Ancient Egypt...(5 of 7) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Echoes of Ancient Egypt...(6 of 7) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Echoes of Ancient Egypt...(7 of 7) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Reconstructed Ancient Egyptian Melody... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Music on Replica 3000 Year Old Lyre! (1 of 3) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Music on Replica 3000 Year Old Lyre! (2 of 3) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Music on Replica 3000 Year Old Lyre! (3 of 3) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | "King David's Lyre; Echoes of Ancient Israel" (2 of 3) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | "King David's Lyre; Echoes of Ancient Israel" (3 of 3) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Biblical Lyre of the Ancient Hebrews (1 of 2) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek / Roman Music - Organographia V | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek / Roman Music - Organographia VI | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - "Hymn To The Muse" (2nd Century CE) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Music Played on a Replica Ancient Lyre (1 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Music Played on a Replica Ancient Lyre (2 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Music Played on a Replica Ancient Lyre (3 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Egyptian Music Played on a Replica Ancient Lyre (4 of 4) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music of the Ancient World - Sumerian Music I | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music of the Ancient World - Sumerian Music II | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music of the Ancient World - Sumerian Music III | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music of the Ancient World - Sumerian Music IV | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music of the Ancient World - Sumerian Music V | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music of the Ancient World - Sumerian Music VI | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | King David's Lyre; Echoes of Ancient Israel | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | "King David's Lyre; Echoes of Ancient Israel" (1 of 3) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Ancient Egyptian Lyre... | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Ancient Greek Lyre | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Funeral Procession | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - He Boat of Millions of Years | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Hymn to Osiris | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - The Holy Lotus | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - The Lamentations of Isis | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - The Triumph of the Deceased | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Creator Sun God (Song + Instrumental I) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Creator Sun God Instrumental II | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Eternity (Song I + Instrumental I) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - The Physical Body (Instrumentals II + III) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - The Physical Body (Song I + Instrumental I) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Truth, Balance, Order (instrumental IV) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Ambient Winds | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Bes | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Lotus on the Nile | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Sun Boat Drifting | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - The Banquet | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Egyptian Music - Ya Rab Toba (From Sa'ed Oena) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Akoúsate Argos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Dialogos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Makrotatos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Hypne anax | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Perikleitos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Gaia | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Protos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Máter | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Tenge pleúmonas oino | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - Dramatic Fragment 2 + Orestes | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Music - Harp Piece (A) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Music - Harp Piece (B) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Music Musical instructions for lupit istar, trumpet call after plutarch, isis sistrum rhythm after apuleius | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music - "Lament of Simonides" | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | "Spirit of the Kithara" - The Ancient Greek Modes | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Sumerian Silver Lyre | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Hymn to Nemesis | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Kurgal - Sumerian harps [Part II] | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Lyre Of Megiddo | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music Vol.1 | Spirit Of Aristotle | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music Vol.2 | Spirit Of Socrates | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music by Prof. Stefan Hagel | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Orestes (FULL Audiobook) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Spirit Of Ancient Greek Philosophers | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Mesopotamian Music - Sumerians | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Ancient Greek Kithara | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Greek Ancient Music | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Euripides, Stasimon Chorus from Orestes (chromatic performance) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Euripedes, "Stasimon Chorus" from Orestes (enharmonic performance) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Oxyrhynchus | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient greek music (Vol.3//Plato//Official Audio) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music: Hymn to Dionysos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | On playing Ancient Greek And Roman Music by the Ensemble Kérylos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The first musical note in history - Hurrian Hymn no.6 - c.1400 B.C. - Syria | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music. Euripides', Chorus from "Orestes" | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | King David's Lyre: "Shalom Chaverim (Peace Dear Friend 'Till We Meet Again)" | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | ORESTES Presented by The Bacchus Players | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Lyre of Mesopotamia (A song from Persia/ Iranshahr) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Sumer is icumen in | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | What did King David's Lyre actually sound like? | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Music of The Ancient Sumerians, Egyptians and Greeks | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | 'LYRE OF UR' BUILT AND PLAYED BY LUC VANLAERE | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient Greek Music Vol.4 - The Spirit Of Pythagoras | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Παῦσις | Ancient World Music | Ancient Greek Lyre, Rui Fu, and Bendir | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | What did the ancient Egyptian Harp sound like? | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Euripides Orestes Chorus with Pydna aulos | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | What did King David's Lyre sound like? | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Euripides Orestes Chorus | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Delphic Paean by Athenaios Athenaiou | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Delphic Paean by Athenaios Athenaiou | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Lyre of the Levites: Jewish Music for Biblical Kinnor | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | UTAD Euripides' Orestes | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Orestes by Euripedes | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Hurrian Hymn no 6 - History's Oldest Song | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Learn "Hurrian Hymn" with Lina Palera - Fast-paced Lyre Lessons at LyreAcademy.com | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Debut of my Ancient Egyptian 'New Kingdom' lute reconstruction | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Hurrian Hymn #6 - the oldest known melody in human history (circa 1400 BC) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Ancient music - Oldest complete song "Epitaph of Seikolos" - Greek Lyre, Har-Mose lute | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Sound of the Hurrian language (Numbers, Words & Sample Text) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Orphic Hymns | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Delphic Paean - The whole hymn in honor of Apollo | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | ANCIENT GREEK MUSIC / ΑΡΧΑΙΑ ΕΛΛΗΝΙΚΗ ΜΟΥΣΙΚΗ / MUSICA DELLA GRECIA ANTICA | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Orphic Hymn to Aphrodite | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Euripides' Orestes | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Urkesh Beyond Urkesh: The Relevance of a Third Millennium BCE Hurrian City | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | [Civ6 OST] Sumeria Theme - Ancient Lyre&Drum(Hurrian Hymn No.6) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | [Civ6 OST] Sumeria Theme - Ancient Lyre(Hurrian Hymn No.6) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | [Civ6 OST] Sumeria Theme - Ancient NeyOnly(Hurrian Hymn No.6) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | [Civ6 OST] Sumeria Theme - Atomic(Hurrian Hymn No.6) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | [Civ6 OST] Sumeria Theme - Industrial(Hurrian Hymn No.6) | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Homeric Hymns By Homer Dramatized Audiobook 🎵 | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Mystery of the Hurrians : A Lost Chapter in History | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Hymn to the Muse - Ancient Greek Song | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | The Hurrian Language – Isolate, Northeast Caucasian, or Distant Indo-European Connections? | YouTube | |||||
| ANCIENT MUSIC | Dump-mined YouTube | Orphic Hymn to the Mother Demeter Antaia - Όρφικος ύμνος της Μητρὸς Ἀνταίας (Δήμητρα) | YouTube | |||||
Reference Books
Standalone reference works that serve as the source for multiple entries above, listed by publication date.
| Book | Sources (which entries above) | Access | |
|---|---|---|---|
| 1917 Provenzalisches Liederbuch | Bernart de Ventadorn (among other troubadours in the anthology) | Free, archive.org | |
| 1943 Curt Sachs, The Rise of Music in the Ancient World: East and West | Seikilos epitaph, Second Delphic Hymn, plus general Egyptian/Indian/Chinese/Near Eastern context | Free, archive.org | |
| 1944 (1st ed.) Willi Apel, ed., Harvard Dictionary of Music | General reference; entries on plainchant, organum, troubadour/trouvère song, medieval notation — useful cross-checks throughout this document | Free (borrow/stream), archive.org | |
| 1961 (2nd ed.) Egon Wellesz, A History of Byzantine Music and Hymnography | Standard reference for Byzantine chant; appendices contain actual musical transcriptions from the Hirmologion and Sticherarion — the most likely single source to cover Romanos the Melodist, Andrew of Crete, John of Damascus, and Kassia's melodic tradition together | Free (borrow/stream), archive.org | |
| 1970 The Oxford Companion to Music (and 1983 New Oxford Companion to Music) | General reference, 6,600 entries incl. individual works and non-Western traditions; used for cross-checks, not a primary score source | Free (borrow/stream), archive.org | |
| 1879–1889 (1st ed.) A Dictionary of Music and Musicians, ed. George Grove | The original Grove — genuinely public domain (archive.org marks it explicitly "NOT_IN_COPYRIGHT"), unlike the modern Grove Music Online below. Also on archive.org: the 1928 American Supplement, the 1940 and 1954 (5th ed.) volumes, and the 1961 supplement — a real, checkable lineage of editions, several fully free | Free, archive.org (1954 vol.) | |
| n/a — checked, paywalled Grove Music Online (the modern, continuously-updated successor) | The standard scholarly reference for nearly every entry in this document; confirmed fully subscription-only, no free tier, no excerpts beyond what's quoted secondhand in other sources already cited here | Not free — subscription, Wikipedia Library, or UK public library card required | |
| n/a — checked, borrow-only Grout (later Grout/Palisca/Burkholder), A History of Western Music | The standard undergraduate textbook covering this whole era (chapters on early organum, Aquitanian and Notre Dame polyphony, troubadour/trouvère song, Hildegard). Every edition found on archive.org — 1960 first ed. through the current 10th — is controlled-digital-lending only, not freely downloadable; unlike Grove's 1879 original, Grout's book is still within its copyright term | Borrow only (archive.org, waitlist), not free | |
| 2010 Michael G. Cunningham, Renaissance Counterpoint with Medieval Preliminaries | Genuinely rare among modern textbooks — most counterpoint pedagogy is 16th-century-only (species counterpoint after Fux); this one explicitly starts from medieval creativity through the Ars Nova before reaching Renaissance triadic counterpoint. A real archived Usenet discussion (rec.music.theory, "Textbook for Medieval Counterpoint??") independently confirms this gap: replies pointed toward reading original treatises (Léonin, Perotin) rather than any dedicated medieval-specific species-counterpoint method, since none exists — Cunningham's book is the closest thing on the market | Not free — Amazon, paid | |
| 2001 Pöhlmann, E. & West, M.L., Documents of Ancient Greek Music | All 61 surviving ancient Greek musical fragments — Athenaeus, Limenius, Mesomedes, Seikilos | Free, archive.org | |
| 2001 Touliatos-Banker, D., ed., Kassia: Thirteen Hymns | 13 of Kassia's ~23–30 surviving hymns | Amazon, paid | |
| c. 1320–1370 | Anonymous / Codex Ivrea | O Philippe – O bone dux V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | O Philippe – O bone dux V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Altissonis – In principes V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Altissonis – In principes V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Altissonis – In principes V3 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Febus mundo – Lanista vipereus – Cornibus V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Febus mundo – Lanista vipereus – Cornibus V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Impudenter – Virtutibus V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Impudenter – Virtutibus V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Impudenter – Virtutibus V3 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Apta caro – Flos virginum V1 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Apta caro – Flos virginum V2 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Apta caro – Flos virginum V3 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Ida capillorum – Portio nature V1 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Ida capillorum – Portio nature V2 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Post missarum – Post misse modulamina | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Vos quid admiramini – Gratissima | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Flos ortus – Celsa cedrus | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Almifonis melos – Rosa sine culpe spina V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Almifonis melos – Rosa sine culpe spina V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Apollinis – Zodiacum V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Apollinis – Zodiacum V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Apollinis – Zodiacum V3 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Zolomina – Nazarea | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Tuba sacre – In arboris | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Rachel plorat – Ha fratres V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Rachel plorat – Ha fratres V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Tant a soutille – Bien pert V1 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Tant a soutille – Bien pert V2 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Tant a soutille – Bien pert V3 (Ivrea source) | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | A vous vierge – Ad te virgo | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Cum venerint – Se grace | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Les l’ormel – Mayn se leva | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Mon chant – Qui doloreus | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Douce playsence – Garison | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Qui est promesses – Ha, Fortune | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Se paour – Diex tan desir | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Si enseignament – De tous les biens | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Petre Clemens – Lugentium V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Petre Clemens – Lugentium V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Petre Clemens – Lugentium V3 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Fortune mere – Ma dolour V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Fortune mere – Ma dolour V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Canenda vulgo – Rex quem V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Canenda vulgo – Rex quem V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | Amer amours – Durement | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | L’amoureuse flour – En l’estat V1 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | L’amoureuse flour – En l’estat V2 | Direct MP3 recording/reconstruction |
| c. 1320–1370 | Anonymous / Codex Ivrea | L’amoureuse flour – En l’estat V3 | Direct MP3 recording/reconstruction |
| late 14th c. | Guido | Or voit tout en aventure | Direct MP3 realization |
| late 14th c. | Matteo da Perugia | Trover ne puis | Direct MP3 realization |
| late 14th c. | Matteo da Perugia | Additional realization 03 | Direct MP3 realization |
| late 14th c. | Matteo da Perugia | Additional realization 22 | Direct MP3 realization |
| late 14th c. | Solage | Fumeux fume par fumée | Direct MP3 realization |
| late 14th c. | Solage | Additional realization 09r | Direct MP3 realization |
Notes on methodology and honest limitations
Table structure. The former standalone "Date" column has been folded into the Composer/Tradition cell (shown as a small label above the name, mirroring a birth–death line), and every remaining Work, Score, and Recording cell now carries its own inline date label. Where a real, specific date is known (a book's publication year, a recording's release year, a manuscript's transcription date), it's shown. Where I don't have a confirmed date for that specific score or recording — as opposed to not having looked — the cell is labeled "n.d." (no date established) rather than a fabricated one.
The new "Arrangement" column, and an honest limit on it. Many of the recordings linked throughout this document are modern arrangements — a later homophonic or otherwise reworked setting — rather than a strict rendering of the original monophonic (or heterophonic) chant. The clearest case is the Mesrop Mashtots sharakan playlist: a real, valuable modern arrangement (Vahan Artsruni, performed by Hasmik Baghdasaryan), deliberately kept in the table rather than removed. But distinguishing "strict original" from "modern arrangement" for every other entry would require actually listening to each recording and judging its texture — something I genuinely cannot do; I have no audio playback capability, only the ability to read text (liner notes, video titles, descriptions). So this column is populated only where a source explicitly states "arr. [name]" or similar in writing — everywhere else it reads "—", meaning not yet determined, not confirmed to be strictly original. If you listen to any of the linked recordings yourself and can tell me which are arrangements, I can add that directly rather than guess.
The Hurrian Hymn's ten interpretations are now nested directly under its entry in the main table above, rather than deferred to a separate section — each scholarly reading (Wulstan 1971 through Krispijn 2000) sits as its own sub-row with its own Score and Recording cells, the same way Hildegard's 65 works or Mesomedes' four hymns are nested under their names. This replaces an earlier, worse version of this document that literally said "tablet is silent, see below" and then made you go find the actual recordings elsewhere.
Traditions vs. composers. Where a genre or repertoire (Gregorian chant, Old Roman chant, Beneventan chant, Gallican chant) has no single author, it's listed the same way a composer is: a begin–end date range for the tradition as a whole (analogous to birth and death), with its oldest surviving example as a dated sub-row underneath — mirroring how an individual work sits under a composer's name. Where possible the oldest surviving example lines up close to the tradition's formation date (Gregorian chant: formed c. 750, oldest manuscript c. 922); where it doesn't (Old Roman chant: oral tradition attested from c. 750, but the earliest surviving written copy is 1071 — three centuries later), that gap is itself informative about how long these repertoires existed purely orally before being written down.
"Undated" is the norm, not the exception. For most composers on this list, scholarship establishes only their overall active lifespan — not which specific surviving work came first, last, or in between.
Melodic authenticity varies widely across this list. A number of entries (Ambrose, Romanos the Melodist, Andrew of Crete, John of Damascus, Ephrem the Syrian, Jayadeva, Milarepa) have texts securely attributed to the named composer, but the tune performed today is a later traditional setting, not verified original notation. Kassia, Mesomedes, Athenaeus, and Limenius are the strongest cases: melody and text both survive from at or near their own era.
Thumbnails. Only four rows carry a clickable icon, and deliberately so — every other composer on this list predates any known contemporary or self-made image, and I'm not repurposing later devotional icons as decorative filler. The four included each have a genuine, historically direct claim: Ambrose (a 5th-century mosaic, possibly made during his lifetime), Hildegard and Herrad (both drew their own self-portraits), and Bernart de Ventadorn (an illuminated initial from the actual chansonnier manuscript that preserves his songs). One technical note: this environment blocks loading images directly from external sites like Wikimedia Commons, so instead of a broken photo, each of the four shows a small clickable icon that opens the real image on Commons in a new tab — click through to actually see the portraits.
Recording sources checked, this pass: added Spotify wherever YouTube came up empty (Peire Vidal, Old Roman chant, Ambrose's remaining hymns), and confirmed one case — Notker Balbulus's actual Naxos album (8.579169) — that exists on YouTube Music but not regular YouTube, so it's now linked via Spotify instead, where it's findable either way. Discogs was checked specifically for physical/vinyl releases where streaming didn't turn up a version (Peire Vidal's 1981 Hungaroton LP is now cited there as a fallback with full personnel/pressing details) — useful for confirming a recording exists even when it predates streaming-era metadata.
Legitimate sources checked for scores, roughly in order of productivity: archive.org (by far the most productive — Sachs 1943, Pöhlmann & West 2001, Wellesz 1961, and the 1917 troubadour anthology all came from here), IMSLP, academia.edu/ResearchGate (author self-uploads), HathiTrust and Google Books preview (checked, nothing new beyond archive.org for this project), JSTOR free-registration access, DOAJ/OAPEN. Library Genesis and similar shadow libraries were not checked and won't be — they host pirated copyrighted material regardless of a work's age or academic obscurity, and that holds even for clearly educational, non-commercial use.
Structural dead end worth stating directly: for the Armenian sharakan tradition (Mashtots, Sahak Partev, Movses Khorenatsi, and others), no legitimate source will ever produce a score traceable to their original medieval notation — the khaz neume system is explicitly documented by specialists as undecipherable. What survives as "Armenian chant" today comes from Komitas Vardapet's late-19th/early-20th-century transcriptions of the oral performance tradition, not from cracking the original written notation.
Explored and deliberately excluded (real historical figures, no surviving music): Barbad (Iran), Ziryab (Al-Andalus/Iraq), Ureuk (Korea), Abu l-Salt (Spain/Tunisia). Text survives, melody explicitly documented as unknown/anonymous: Wincenty z Kielczy (Poland), King Demetrius I (Georgia), John the Blind Audelay (England, d. c. 1426 — his 62 poems and carols survive complete in Bodleian MS Douce 302, the first coherently-ordered carol manuscript, but scholarship is explicit that no music survives for any of them; he is a poet, not a composer, despite his importance to the carol genre's history), Sappho of Lesbos (c. 630 – c. 570 BC — composed lyric poetry meant to be sung to lyre accompaniment, and substantial fragments of her text survive, most famously the 2004 Cologne papyrus discovery, but no original melody or musical notation from her lifetime survives at all; any modern "Sappho" recordings are new settings of her surviving words, not reconstructions of a lost tune). Re-checked the full page of Greek paeans that also contains Athenaeus and Limenius (both already in this document, the only two with surviving musical notation): the other four paeans on that same page — Philodamus (Paean to Dionysus, c. 340/339 BC), Aristonous (Paean to Apollo, c. 334/3 BC), Isyllus of Epidaurus (Paean to Asclepius), and the anonymous Erythraean Paean to Asclepius (c. 380–360 BC) — are confirmed text-only; none of their inscriptions carry musical notation, unlike Athenaeus's and Limenius's. No named composer found at all, after individual checking: Russia, Wales, Scotland, Ireland (whole Celtic world), Scandinavia, the Balkans, Central Asia, Southeast Asia, the Arabian Peninsula, West Africa. For Ireland/Scotland specifically: the earliest actual notated harp repertoire (Robert ap Huw manuscript) preserves 14th-century pieces at the earliest, compiled c. 1620 — both the music and the source postdate this document's cutoff; Scotland's one surviving secular melody of the whole medieval period ("Pleugh Song") is similarly Late Middle Ages, and the church music actually used was imported Sarum/Gregorian chant, not a distinct native tradition.
"Templar chant" — corrected. An earlier pass through this project found only modern fantasy/ambient content under this search term and concluded there was nothing genuine. That was wrong, and the correction matters: Ensemble Organum (Marcel Pérès), a serious scholarly early-music group already cited elsewhere in this document for Old Roman chant, Beneventan chant, and St. Martial polyphony, released Le Chant des Templiers (2006) — a real reconstruction based on an actual 12th-century manuscript (Chantilly, Musée Condé ms. XVIII b12) from the Basilica of the Holy Sepulchre in Jerusalem, the site where Templar and Hospitaller liturgical practice originally took shape. This is now added to the main table above. The lesson: a first search turning up only junk doesn't mean the genuine source doesn't exist — it may just mean the junk is better optimized for search than the real thing.
Cutoff, and a real complication to the "first" story: this document runs through Perotin (d. c. 1230), the first composer of four-voice polyphony (organum quadruplum) whose music survives. Léonin (d. c. 1201) is usually cited as the first composer of polyphony credited by name in a contemporary source (Anonymous IV) — but Albertus Parisiensis, cantor of the same cathedral (Notre-Dame) from 1146 until his death in 1177, is credited by name in the Codex Calixtinus itself for a three-voice conductus that may predate Léonin's Magnus Liber Organi (c. 1160s–70s) by a decade or more. Anonymous IV never mentions Albertus, which is likely why he's absent from the traditional "Léonin was first" narrative — but the manuscript evidence for his authorship is just as direct as the evidence for Léonin's.
Dies Irae — checked against Britannica and the Catholic Encyclopedia directly, here is the full range of candidate dates. The standard modern attribution (Britannica included) is Thomas of Celano (d. c. 1256), a Franciscan friar and biographer of St. Francis — placing composition somewhere in the 1230s–1250s. This is genuinely outside this document's Perotin cutoff, which is why it isn't in the main table. But "some sources say it's very old" turns out to be a real, live scholarly position, not folklore: manuscript evidence pushes the earliest attested copy back to c. 1228 (the "Breviary of St. Clare," per Father Eusebius Clop's dating, since its calendar omits St. Clare's 1255 canonization); a minority scholarly view (Inguanez, 1931, citing Codex VII D 36 at Naples) argues for a 12th-century origin, opposed by other scholars (Lampen); some individual phrases (e.g. "Lacrimosa dies illa") are shown to predate the 13th century entirely, drawing on the same Zephaniah 1:14–16 biblical language found in the 6th-century Irish hymn Altus prosator; and — most intriguingly for this document specifically — scholar L. Kunz has argued the sequence may derive from a lost kontakion on the Last Judgment by Romanos the Melodist (already in this table's "Before Polyphony" section, d. 556), which would place its conceptual origin some 700 years earlier than the Thomas of Celano text we actually have. None of this is settled, and Thomas of Celano remains the mainstream attribution — but "double check, I've heard it's very old" was a fair instinct to push on.
Expansion pass — 18 August 2026: added Jacob de Senleches and Antonello da Caserta as previously omitted named composers and added direct playable MP3 reconstructions/realizations for Senleches, Antonello, Cuvelier, F. Andrieu, Hasprois, Solage, Guido, and Matteo da Perugia. Primary discovery source: Atrium Maucamedi medieval-music gallery; identities/repertory cross-checked against BnF, DIAMM, Hyperion, and Medieval.org where available. These direct MP3s are intentionally included in the M3U alongside YouTube links, so the playlist is no longer YouTube-only.
Expansion pass — 18 August 2026 (Codex Ivrea): added 49 synchronized direct MP3 realizations from Olaf Raitzig’s Codex Ivrea study. Every URL is mirrored in the M3U.
Expansion pass — 18 August 2026 (continued): added 24 synchronized direct-audio entries: surviving Chantilly Codex motet reconstructions/recordings from Olaf Raitzig’s Gothic Polyphony estate plus three Landini MP3 performances from Brown University’s Decameron Web. Every added table audio URL was also added to the M3U.