Abstract
The Sanctus, a common chant of many liturgies and one of the earliest ordinary chants of the text of which we have a record at least from the 4th century, has aroused the interest of different scholars both musicologists and liturgists1 (s. App. I The Text). As a point of departure for its investigation here, I have taken up one of the basic aims of James McKinnon's paper Compositional Planning in the Roman Mass Proper, namely, to uncover layers of compositional stability and instability within the chant, and thus to establish a chronology for its composition.2 Following this objective I was mainly interested in the context in which Sanctus with neumes appeared systematically in Byzantine-Slavic musical MSS. This context is the liturgy of St. Basil the Great (t 379) in which the chant found its principal place and constituted the heart of the eucharistic Canon. Nowadays the liturgy of St. Basil is performed only ten times throughout the year: as a movable cycle of the first five Sundays in Lent (except on Palm Sunday), on Holy Thursday and the Holy Saturday Easter vigil, and as a fixed cycle on the vigils of Christmas and Epiphany when their days do not fall on Sunday and Monday,
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