where a systematic collection of organa can be found in the troper part—the so-called "Winchester Troper". The earliest polyphony developed in a rather secular context and Cluny played a prominent role in it. What was exactly the role of the Abbey of Saint Martial for a school of anonymous cantors associated with Aquitanian polyphony? The earliest evidence can be found in an older Troper-Proser with libellum structure (F-Pn lat. 1120). In some late additions cantors made exemplifications of a polyphonic performance of organum similar to those additions in the Gradual of the Abbey of Saint-Maur-des-Fossés (F-Pn lat. 12584, fol. 306). Under Cluniac influence the latter abbey developed an extravagant liturgy since 1006, when it was ruled by a new Abbot, who was sent from Cluny, where he had served as a cantor. The polyphony can be easily recognized, because the notator used a method similar to a modern score. There had been other methods as well. Some later additions in the early Troper-Proser (F-Pn lat. 1120) on folio 73v and on 77v look monophonic on the first sight, but the melody is organized in pairs so that each verse of it has to be sung together with an organum voice. The organum voice simply sings the text of the first verse with the melody notated with the text of the second one, and the cantus does vice versa repeat the melody of the first verse, while the singers applies it to the text of the second verse. On folio 81r and 105r we have three early examples of later added florid organum. Its notation technique had already developed in the monophonic manuscripts notated in parts by Adémar, in cases where the scribe of the text did not leave enough space for the neumes. The notator already used vertical strokes, which do indicate how the melismas have been coordinated with the syllables. On folio 105 recto, a «Benedicamus domino» was notated separately from the florid organum. Both techniques of polyphonic performance, the punctum contra punctum (discant) and florid organum as puncta contra punctum have been once discussed in a 15th-century treatise from Italy, which had been obviously associated with the treatise "Ad organum faciendum" of Aquitanian provenance. The manuscripts of Aquitanian polyphony In comparison with the few late traces of a polyphonic singing in the earlier manuscripts, the four main manuscripts and a lot of similar manuscripts of Aquitaine are so