evovae

In the publicke ſervice of the Romiſh Maſſe there are words truly ridiculous, and which never were other then worthleſſe, as Evovae, Miſerere nobis, & Stabat mater doloroſa, and many the like, which nevertheleſſe in the Church of Rome are not ridiculous, becauſe they are authoriſed by the divine ſervice.

[1630, Peter du Moulin, “An Examination of Our Adversaries Reasons: Especially of Those of Mounsieur the Cardinal du Perron”, in Richard Baylie, transl., The Antibarbarian: Or, A Treatise Concerning an Unknowne Tongue. […], London: […] George Miller, for George Edwards, […], →OCLC, pages 211–212

In the ancient breviaries and antiphonies, &c., the word EVOVAE frequently occurs, written under certain notes preceding the psalms appropriated to certain offices. […] Now to find the tone of the chant, we must take the first note of the Evovae, which is the dominant, or the prevailing, or reciting note of the chant (not the dominant as now technically understood by musicians): and we must take the last note of the Antiphon which follows the Psalm at length: […]

1854, William Farquhar Hook, “GREGORIAN CHANT”, in A Church Dictionary, 7th edition, London: John Murray, […], →OCLC, page 361, column 2

Thus the Antiphonies of the first and second tones terminate in the final Re; if the first note of the evovae is La, the Antiphony is of the first tone; if the first note is Fa, the Antiphony is of the second tone, and so forth.

1858, Eugene Vetromile, chapter III, in Ahiamihewintuhangan; the Prayer Song, New York, N.Y.: Edward Dunigan & Brother, (James B. Kirker,) […], →OCLC, section II (Further Directions for Finding the Tone to which a Text Belongs), pages 19–20

[D]ifferent forms of the same mode or tone would arise, and these were called Evovae and sometimes differentiae, finitiones, conclusiones, and species seculorum. […] [T]he Evovae must be regarded as containing the germ of the present accepted views respecting accent, as may be seen by comparing the following forms.

1875, John Robert Lunn, “EVOVAE”, in William Smith, Samuel Cheetham, editors, A Dictionary of Christian Antiquities. […], volume I, London: John Murray, […], →OCLC, page 635, column 3

The first note of the evovae—the prevailing or reciting note of the chant—and the final note of the antiphon give the tone of the chant. This word, or rather this compages of letters, has, of course, no connexion whatever with the Bacchic shout of Io or Evoe. I should not allude here to this silly story were it not that on several occasions I have heard it repeated by persons who noticed the presence of the evovae in one or other of the books exhibited, and who evidently believed in its truth.

1886 November, W[illiam] H[enry] James Weale, “Liturgical Books. (Without Musical Notation.)”, in Historical Music Loan Exhibition, Albert Hall, London. June–October, 1885: A Descriptive Catalogue of Rare Manuscripts & Printed Books, Chiefly Liturgical, […], London: Bernard Quaritch, […], →OCLC, footnote 3, page 31