key role during Carolingian, Cluniac, and anti-Cluniac reforms in France and Lake Constance. As example, William of Volpiano from Piedmont, Guido of Arezzo, whose treatises were used during the Cistercian and Beneventan reform, while there is no source which testify the use of tonaries among Roman cantors. The famous Dialogus, falsely ascribed to Odo of Cluny, the second Abbot of Cluny Abbey, was compiled in the province of Milan, while only "Formulas quas vobis", a tonary used in Montecassino and Southern Italy, was written by another Odo, Abbot of Arezzo. Older traditions like Old-Roman, Ambrosian, as well as Old-Beneventan manuscripts follow own modal patterns which are not identical with those of "Gregorian chant", i.e. the Roman-Frankish redaction between the first generation of fully notated manuscripts (since the 1050s), the Cluniac reforms (11th century), and the "Neo-Gregorian reforms" of the late 11th and 12th centuries in centres like Montecassino and Benevento, or in reform orders like Cistercians or Dominicans etc. The Norman-Sicilian tonary shows a great resemblance with manuscripts written in Cluny. See also Persons Treatises Micrologus Musica and Scolica enchiriadis Abbeys and cathedrals References Bibliography Sources Carolingian tonaries and gradual-sacramentaries (8th–9th century) Lorrain cantors Alemannic cantors Aquitanian cantors Parisian and Cluniac cantors Cistercian cantors Dominican cantors Italian cantors Anglosaxon cantors Norman cantors Editions of theoretical tonaries . . . . . . . . . . . Studies . . . . . . External links Ancient Greek music Catholic liturgical books Christian chants Classical and art music traditions Medieval manuscripts Medieval music manuscript sources Modes (music) Musical notation Music books Music illuminated manuscripts Music sources Music theory Western plainchant