for the 11th century. Roger and Adémar de Chabannes and the troper-sequentiary Adémar de Chabannes was educated as a cantor and poet by his uncle Roger de Chabannes. The manuscripts written or revised by Roger de Chabannes together with his nephew, were created in the form of troper-prosers and sequentiaries with a new diastematic form of neume notation (F-Pn lat. 1240, 1120, 1121, 909), which became soon much more popular than the letter notation of William of Volpiano. They belonged to a new type of chant book which was no longer simply a liturgical book, but rather collected new poetry based on liturgical forms (in music as well as in poetry). This new form of chant book consisted of several books ("libelli") - the "proser" or "troper" for verses and tropes, the "sequentiary" for prosulae and sequences (troped elaborated alleluia refrains), the processional with processional antiphons, the offertorial for offertories etc. and the tonary. This new structural form soon spread beyond Aquitaine becoming popular in France and Normandy, due in part to the Cluniac Monastic Order, which was expanding its influence and adopted the work of the school of cantors at the Abbey of Saint-Martial for liturgical use. Cluny Abbey was founded by William I and already in Adémar's time its laic association had gained its power over more and more abbeys, their cantors and their scriptoriums. Adémar's fruitless efforts to become an abbot at Saint Cybard of Angoulême was a personal disappointment, but his ambitions were quite symptomatic for monasteries under Cluniac influence. According to James Grier, Adémar de Chabannes also contributed within two troper-sequentiaries (F-Pn lat. 1121, 909) which have the finest tonaries of the region. He regards this late activity as a craftship which he learnt from his uncle, while he was revising older manuscripts, often by adding modal signatures to earlier manuscripts. But the intonation formulas of the tonaries had as well an explicit creative function, which can be demonstrated by an earlier manuscript already written in diastematic neumes. Some composed sequences of this earlier troper-proser-sequentiary (F-Pn lat. 1118, fol. 114r) are nothing else than a simple repetition of a more and more elaborated intonation, but the verse units cut the melodic motive into different parts, often against its modal structure. These early permutation technique already anticipated later isorhythmic composition techniques. Early polyphony and the Cluniac influence on liturgical reforms The scriptorium of Limoges continued its