The origin of the word _sequentia_ itself, in the phrase _sequentia cum prosa_ has often been discussed because of its significance in tracing the musical development of the forms in question. To some scholars _sequentia_ means merely _sequela_, _i.e._ notes following the _a_ of the _alleluia_, a simple and tenable theory. To the great majority, however, _sequentia_ is a translation of the Greek _akoulouthia_. In fact it has been generally accepted as such, although _sequentia_ conveys the idea of continuation in the Greek word rather than its technical meaning of a continuation specifically of songs, etc. If this is valid, Greek influence upon the origin of the sequence is inferred.[5] Another form of the theory of Greek influence is evident in the suggestion that _sequentia_ means _hirmos_, that is, a regular continuation of tones. _Hirmos_ may refer to poetry also.[6] A derivation of _sequentia_ from Greek terms, if proven, would of course, buttress the theory of Byzantine influence upon the whole development; but the weakness of the derivation from _akoulouthia_, for example, is its dependence upon a misunderstanding of the Greek form of worship to which the word applies.[7] An entirely different suggestion as to origin arises from the formula used in the liturgy to announce the Gospel, _Sequentia Sancti Evangelii secundum_ _etc._[8] Often some practical consideration, extraneous condition or unrelated incidental circumstance has affected liturgical change or development. Consequently, even a slight suggestion like this provokes thought. Whatever may be the correct origin of the word _sequentia_ the place of origin of the sequence is generally conceded to have been France sometime in the eighth century. The part played by other lands in the origin of the _sequentia cum prosa_ cannot be wholly determined at present. It must suffice to study the evidence available. It has been demonstrated how the early French sequences have a closer tie with the _alleluia_ and how the word is sometimes retained to introduce the _prosae_ which accompany the music. There is considerable evidence supporting French priority over the Germans in the creation of these new musical forms, the chief centers of composition being St. Martial, Luxeuil, Fleury-sur-Loire, and Moissac, the outstanding rival of St. Martial. An origin for the sequence in France is independently probable due to the interest in liturgical music stimulated by Charlemagne, who, as shown in the preceding chapter, favored Gregorian and Byzantine innovations at the expense of Gallican forms.