A third theory emphasizes the metrical form of the _alleluia_ melody as the determining factor in creating a new poetical rhythm.[20] Here, the desire to create fitting expressions of praise is not explained so much as the form in which the praises are cast. Von Winterfeld thought that rhythmical prose was inseparable from the liturgical music which had already been composed, just as the Greek chorus and the Wagnerian music drama found their complement in a dignified and sonorous prose rhythm.[21] This theory may well be called the liturgical. It is most significant for the lyrical movement in general since a new metrical form is created differing from the Ambrosian meter or the revived classical meters popular among Carolingian poets. The lyric is born again, as Meyer expresses it, in the music of the church.[22] A poem arises consisting of a series of parallel strophes with introduction and conclusion, a lyric counterpart to the musical phrases of the _sequentia_. II. Sequences of the German School The importance played by St. Gall in the development of the sequence has given rise to the theory that it originated there. Present-day opinion, as indicated above, concedes that sequences arose in France and that St. Gall is not a place of origin but like St. Martial, a prominent center for their composition and diffusion. Other centers were Metz, Murbach, Fulda, Echternach, Kremünster and St. Florian. Reichenau, too, was important in music and in the spread of sequence poetry.[23] Notker Balbulus, (840?-912), was largely responsible for the enviable reputation enjoyed by St. Gall. Born in Switzerland, Notker had entered the Benedictine monastery at St. Gall as a child to be educated and there he continued as a member of the Order until his death. A pupil and later a teacher of the music school in the period of Louis the Pious and Louis the German, he shared the life of the Abbey during the height of its reputation, when its doors were open to travelers from every land and every rank of society. Notker himself tells of the refugee from the French monastery of Jumièges who brought with him his famous Antiphonary. Tradition has it that Notker composed words to fit the forms of the _alleluia-iubilus_, note for note, already in use in his monastery, and thus originated the sequence, finding his inspiration, not in the Ambrosian hymns but in the liturgy.[24] The Jumièges Antiphonary reached St. Gall about 860, by which time _prosae_ were already known in France. There is evidence, moreover, from manuscripts, that texts existed before Notker’s time in St. Gall. He is not their first composer nor are the sequences emanating from St. Gall necessarily all Notker’s work. “Notkerian” means for sequences what “Ambrosian” means for hymns.