and influence on less and less successful crusades which were well reflected in certain chant genres like conductus and motet, caused a decline and an increasing resistance among the monastic communities of the Cluniac Association between Paris, Burgundy, Île-de-France, and Aquitaine. New monastic orders were founded in order to establish anti-Cluniac counter-reforms. The most important was certainly created among Cistercians by a reform group around St. Bernard of Clairvaux. The innovations and corrections of Roman-Frankish chant during the Cluniac reforms were disregarded as a corruption of the Roman tradition, but the new books ordered from the scriptoria of Laon and Metz did not satisfy the expectations of the reformers. Instead rules based on Guido of Arezzo's Micrologus were codified to support the Cistercian cantors, while they were cleaning the corrupted tradition of plainchant. Despite certain ambitions concerning the performance practice of polyphonic organum, the first generation of reformers around Bernard did not allow these Cluniac practices. Nevertheless, they were established soon, as Bernard became one of the most important and powerful churchman involved in crusade policies which clearly corresponded to the refused aristocratic ambitions within the Cluniac Association. During Bernard's liturgical reform the tonary still served as an important tool and its modal patterns formed the basis of the corrections made by Cistercian cantors. The tonaries in Italy The local liturgical traditions in large parts of Italy remained stable, because there was simply no written transmission which could interfere with any reform until the end of the 10th century. A lot of local neumes used by Beneventan and Old Roman notators already started in a diastematic form, and the local scribes used the same opportunity to codify their own tradition, and in a second step of a reform which could not earlier be realized until a political conquest allowed the domination of a certain region, they had to deal with a codified chant repertory which was supposed to be "Roman". The transfer was done by written transmission, and this explains certain cross-references which can be studied in detail by the notated chant repertory, but more easily by the copies and the local neumes used in tonaries. From this point of view, several tonaries, already transmitted by earlier French sources, can be found in later copies in Italian manuscripts, often written in French scriptoria and their neume notation. Nevertheless, a lot of Italian cantors were authors of tonaries which played a