Chants in the Nidaros repertory show influences from different geographical regions. Previous research has focused on the hypothesis of dual transmission in which repertoire reached Norway in two separate streams, one German and one Anglo-French, and where the mixing of the two traditions took place after they reached Scandinavia. The present case study of the sequence Iohannes Iesu Christo seeks to differentiate this view by showing that the notion of monolithic “German” and “Anglo-French” practices can be further refined to reveal regional differences and chronological layers that may be helpful in analysing sequence transmission. In contrast to earlier studies on the Nidaros sequence repertory, the present study gives evidence to support the notion that mixed melodic traditions found in the Nidaros manuscripts were imported from regions on the Continent. The results presented suggest that the melodic blending did not happen in Nidaros and that it was by no means unique to this region. Melodic variants in the Nidaros transmission of Iohannes Iesu Christo instead bear witness to contact between medieval Nidaros and specific regions on the Continent.

Keywords: Nidaros, medieval chant, Notker, sequence, chant transmission, medieval manuscripts.