This somehow reminded me of one version of the Symbolum Apostolorum I posted a few weeks ago. It was taken from a farsed Credo which appeared in David Hiley's Western Plainchant: a handbook, pp. 235-236. The similarities are profound.

Wha? Credo 7? Do you know anything about its source/origin?

There is quite interesting interpretation of this piece given on New Liturgical Movement webpage (in comments) by Richard Llewellyn. Maybe someone [e.g. Richard Llewellyn himself :-) ] could answer me some questions regarding such kind of interpretation.

1. Does this interpretation flow in completely obvious way from Moravia "Tractatus de musica" or do we need some creative deduction/thinking to build such interpretation?
2. Is it known that Moravia's work presents universal rules of interpretation in XIIIc. or rather Moravia wrote one of many/few treatises in this age, which differ in their meaning?

And the final and more general question: do you think that any interpretation of Gregorian chant can be liturgically used or do you rather accept some interpretations as more natural and suitable for liturgy, while more "experimental/exotic" ways should be used outside liturgy?

Uncle! I keep coming back to this thread looking for answers to these burning questions. Can anyone help?

1. How did this Credo get its number?
2. Why wasn't it included in the Liber Usualis?

Sometime ago, I posted Credo VII, which is hardly in any chant books that I know of. To me it is an exciting discovery. And yet, some a bit ago, Peter Kwasniewski sent me another version of what purports to be Credo VII. He is not entirely sure where he picked it up.

Here is the full chant.

Any ideas?

Well, I think I've posted all the information I have. Someone at NLM said that it would be likely that, because the Kyriale credos end in VI, any extant Credo would be marked as VII, without coordination between them. That sounded plausible to me.

I can also look up the email of the first one sent to me.