The author analyses the Office Ave gemma claritatis of St. Catherine of Alexandria. It appears in only few sources, mainly from France and Central Europe (Poland, Hungary). The author has singled out six main groups of manuscripts and old prints in which the chant repertoire is similar. The analytical material shows that the arrangement of antiphons in the Office was more stable than the arrangement of responsories. The Lauds turned out to be the most resistant to changes.
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