The content and structure of liturgies of double monasteries is a little researched topic. By studying the Order of the Birgittines, founded by St. Birgitta of Sweden (c. 1303-1373), we gain insight into one example of how these liturgies could be organised. While the Birgittine brothers observed the diocesan liturgy, the Birgittine sisters observed a Marian-centered devotion. The diocesan liturgy observed the liturgical year while the sisters’ liturgy was more static and only observed Marian fest days. The two liturgies were said in succession, where the brother’s Office was treated as an added office and the sisters’ Office was regarded as the main Office. In particular earlier research has examined the sisters’ Divine Office the Cantus sororum but systematic studies of the Birgittine double liturgy have until now been lacking. The Cantus sororum is a mix of standard chants from the Gregorian repertoire and unique compositions. This is the only Office repertoire to have been compiled to be performed by only women. The main conclusion is that the liturgies of the both groups together formed one devotional unity here called a greater liturgy, where the liturgical year was observed with a distinct Marian focus giving the Birgittine liturgy a unique character. In order to grasp the complete Birgittine liturgy including sisters, brothers, Mass, and Office repertoires, the topic is treated as a chantscape: a landscape of chant, which is s development of the concept soundscape coined by musicologist and composer Richard Murray Schafer. Through this lens, relations in the Birgittine liturgy between its different items can more easily be studied and made visible in order to observe how systematically structured this liturgy was and how the parts corresponded into one unit.