The abbey Maria Refugie offers a rare opportunity to examine their chant and liturgyduring a period of six hundred years. This abbey belongs to the Order of the Birgittines,founded by St. Birgitta of Sweden (ca. 1303–1373) in the fourteenth century. The Birgittines’primarily liturgical feature is the sisters’ unique divine office Cantus sororumwhich is the only liturgical repertoire compiled to be performed only by women. Abouta hundred liturgical notated books from the late fifteenth century up to the present dayare preserved in Maria Refugie’s abbey library. This allows a unique chance to studychant transmission over time in one single liturgical milieu. The sources show that the chant tradition was exceptionally persistent to change but that the community undertookrevisions of the repertoire when liturgical conditions or new musical trends calledfor it. This shows how the members in Maria Refugie negotiated with the liturgical heritage,never throwing it overboard, but were in constant dialogue with how to interpretit according to changing musical taste and liturgical conditions. In this paper a representativepart of the material will highlight both how the Birgittine Order’s identity wasmaintained musically and textually, and how revisions allowed for updating the Birgittineliturgy and its chant. Special emphasis will be given to how intertextual relationscreated a Birgittine chantscape, which is a developed concept, building on composer andmusicologist R. Murray Schafer’s soundscape concept. This newly created concept is away of looking at how music creates meaning to its practitioners beyond its text.