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(in the) Vatican edition, the melodies are evidently arranged according
leaving a system which has given us unity of method and artistic
restoration of the ecclesiastical chant had to depend not only upon
the Pope appointed a Commission, charged with revising the melodies
126 Sowa's Em Anonymer Glosslerter ensur ra
selm Schublger, Dle Sangerschule St. Gallens (Einsiedln: K u. N. Benziger, 1858) See also
ting on the unity of the Latin word, wrote: "The accent IS the soul
the predominating idea seems to have been that of shortening the long
The Typical v.a.tican Edition, with its most purely traditional notation,
1 Maurice. Blanc, L'enseignmeni musical de Solesmes et La p,ure chnftienne (Toledo: Gregorian
16 Die Gregorio;nische Melodien, It p. 396 et seq. Another of Wagner's important contributions was
Sacred Congregation of Rites. Sacred Music andthe Sacred Liturgy, September 3,1958. (Printed
Das Media Vita. In Schweizerisches Jahrbuch
Dramatic and Symbolic Elements in Gregorian
Houdar? also theorized about the oriscus, a strange rhythmic sign found in some manuscripts; it
Methode pratique de chant gre'gorien selon les
Vollaerts' method and scholarship were attacked, however, in a review of the book by Prof. J.
As' aball bounces, striking the floor and springing up again, so
, a tendency towards something, and the arrival is characterized by the
Der Gregorianische Gesang. In Adler: Handbuch
Die germanischen neumen. Frankfurt: M. Frankfurter,
Epistola Guidonis Michaeli Monacho de ignoto
Gradual for the Diocese ot Treves. Trier, 1863.
Gregorian Chant According to the Manuscripts.
La pronunciation romaine du'latin et la chant
La restauration gnigorienne. Paris: V. Retaux,
Melodies liturgiques syriennes et chaldeenes. In
Sur l'importance de la tierce dans l'accompagnement
The Song ofthe Church. New York: Longmans,
. !
. after the authority of the earliest manuscripts, taking account of the
. And the Gregorian Chant which is 10 be used in. every churc~, of
. cut out the rich melismas altogether or combined them into unnatural
. in default of positive melodic, harmonic, metrical, or quantitative
. it must have been very light, for no grammarian of the period makes
. must know well enough that this is not true; that most of the rhythmic
. See also Kirchenmusikalisches Jahrbuch, Ratis"
. the mistakes that certain musicians honestly thought they found in the
. the Renaissance objected to the singing of several notes on unimportant
. then what would happen? The whole of the statistical tables, the whole
. We may make the final descending note more deliberate, a treatment
. ,_ ,t
. "Accentual Cadences in Gregorian Chant," The
Principes pour la bonne execution du chant gre:
The Spirit ofGregorian Chant. Boston: McLaughlin
. "Gregorian Rhythm in the Gregorian Centuries:
Choralwiegendrucke. Regensburg: F. Pustet,
Quelques mots sur la restauration du chant liturgique.
. Elements des gregorianischen gesanges zur einfuhrung
. Die diatonisch-rhythmische harmonisation der
"L'e'cole gre'gorien de Solesmes," Rassegna Gregoriana,
"Sacred Music and the Sacred Liturgy," September
"The Authentic Rhythm of Gregorian Chant," A
"The Measure in Gregorian Music," The Musical
"The Restoration of the Chant," Letter, Caecilia,
"The Restoration of the Chant," Letter, Caecilia,
"Zur Weiterentwicklung der Modalen Rhythmik,"
(Editor), The Irish Musical Monthly. Dublin,
(trans.) Institut Gregorien, An Applied Course
Accent bref ou accent long en chant gregorien?
Anfange der Abendlandischen Musik. Librarie
Cours theorique etpratiquedeplain-chantromain
Der mittelaiterliche Choral: Art und Kerkunftá
Der Mozarbische Kirchengesang und seine Uberlieferung.
Die Essener Neumenhandschriften der Landesund
Die Sangerschule St. Gallens. Einsiedeln: K. u. N.
Esthitique, tMorie, etpratiqueduchantgregorien.
Handbuch der Musikgeschichte. Leipzig: Breitkopf
Introduction to Gregorian Paleography. Toledo:
Introduction to the Vatican Edition ofthe Graduale.
L'art gnfgorien. Les Maitres de la Musique Series.
L'eglise et la musique. Paris: Bernard Grasset,
La cantitene romaine. Paris: Fischbacher, etc.,
La methode de Solesmes, ses principes constitutits,
La question gregorienne en 1904, Saint-Germainen-
La vie musicale de l'eglise. Paris: Bloud and Gay,
Le Rythme tonique dans la poesie liturgique et
Lecture, "Gregorian Chant as Prayer and Art,"
Les idees de S.S. Pie X sur le chant de l'e'glise.
Les origines du chant romain. Paris: Piccard et
Lettre sur le droit liturgique. 1848. Cited by Ga-
Liturgical Music from the Rhythmic Standpoint
Memoire sur les chants liturgiques. (See Cloet:
Micrologus-Guidonis de Disciplina artismusicae.
Monographies gregoriennes:. simples notes
Motu Proprio, April 25, 1904.
Musica Enchiriadis von Hucbald, tr. into German.
Musique et liturgie. Lyon: Janin freres, 1913.
Nuovo osservazioni sulla ritmica gregoriana.
Paleographie musicale. Seventeen volumes published
Quellen zur transformation der antiphonen: Tonar-
See also Strassbourg Caecilia, February, 1906.
Studien zur Rhythmik der Antiphonen. Die Musikforschung,
Textes theoriques, extraits des traites de musique
The Chants ofthe Vatican Graduale. Collegeville:
The Gregorian Melodies. (Einfuhrung in die
The Technique of Gregorian Chironomy, Toledo:
Untersuchungen zu den Gesangstexten und zur
.1I0tll Proprio 1903 1, 2, 15,25
.1licrologus of Guido 5, 11,57
.47 The Laon 239, the Antiphonaie Missarum, was published as Volume X of the fuleographie
.al
.Neumen-Studien was published in Leipzig in two volumes, dated 1895
.Review (1934); then it was printed in pamphlet form, as well as in. MUSIC.and LIturgy In~En?land and
.the .addltlon of certain supplementary signs, with the permission
'J'!1~ "new school" was founded in 1889 when Mocquereau, who
'music of the Catholic Church. Pope Pius X re-affirmed the position of
"a colorful warmth of expression which binds together even more
"aesthetic taste," or, shall we say, his whim? 9
"archaic" than another.
"beat" considered as a "measure." The mensuralists, insisting that the
"brilliant efforts" of the Solesmes monks in the chant restoration, giving
"counting neums" can produce a certain number of "votes," but certainly
"golden age," thanks to musicological and paleographic research of
"Gregorian Rhythm: A Pilgrim's Progress," 3. demonstrating the fact
"ictic". ?ajard rejects this theory, stating that'the nellmis primarily
"Instruction concerning the publication and approval ofbooks containing
"masculine" and "feminine" rhythmic movement. In chant, Jeanmn
"new school" of Dom Mocquereau.' c:;ertainly when contemporary
"official" for the Church, and after still further revisions and alterations,
"Oldest" was not synonymous with "best," they claimed, and,
"Propers" for certain dioceses and religious congregations. (Deer. Auth. S.R.C.
"quare faciem," then there "re-fa" was to be sung.
"rise" and "fall" into a single movement. 21
"sola" occured, then "sol-la" was given as the melody; if the text read
"supreme model of sacred music." 2 Having divested the Medicean
"The most formidable opponent Solesmes ever encountered" 17
(" . it should be given pride of place in liturgical services" according
(1) many points indicate high sounds in the Laon 239;
(1000-1840)
(1840-1900)
(1900-1950)
(1950 TO THE PRESENT)
(2) more tractuli than points are used in the same manuscript for
(3) consecutive sounds of equal pitch are indicated both by tractuli
(4) both signs are used for any degree of the scale; .
(5) the same indifference to pitch is found in both the Nonatohan
(a) complete mutual independence of rhythm and intensity;
(a) the manuscript indications are frequently unclear because of
(b) complete mutual independence of the rhythmic ictus and the
(b) the Vatican edition is defective;
(Bewerunge) 27-29
(Boston: McLaughlin and Reilly, 1939); Dramalic&Symbolic Elements in Gregorian Chant (New York:
(c) the manuscripts contain "many real errors"
(d) few of the manuscripts give any kind of complete rhythmic
(ed. Hermesdorff), 1874.
(Gontier-Fd.
(Gue'ranger-F1806-
(Hermesdorff-G1833-
(i.e. Mocquereau) schools and who attacked Mocquereau; Joseph
(indicated by episemas and Romanian letters, i.e. half-notes), and for
(Konigsberg: E. Steinbacher, 193 • me et des abbreviations hocketing. and double organum. A
(Lambilotte-B1796-
(Leipzig: Breitkopf & Hartel, 1897).
(Occasionally, however, there may be two orthree
(Official edition) 17,25-34,37,40,
(or, perhaps, a benign Providence) that led the Abbot
(P.L. 101. 781); Aure1ian of Re'ome (early 9th century); MusICa DlSClplina; Rem'gJus of.Auxerre (end
(Paris: Bloud & Gay, \929).
(Paris: Piccard et Fils, 1907); A1usique et liturgie (Lyon: Jamn Creres, 1913); La Ule mlJ.Slcale de I egllse
(Paris), IV, VI, VIII.
(proportional), not equalist rendering of chant note values,
(See Bonhomm~: Simple re'ponse a la brochure
(thesis-arsis).20 He also discussed the difference between Riem~lnn's
(tr. into German). In Monatshefte fur Musikgeschichte,
(tr. M~nks of Sl. John', Abbey I Col~ege€'i1ie; Sl. John's Abbey Press, ) 940.
).
)3erlin: Hesses Verlag, 1920. 541 pp.
[M13082.R36 1981] 783.5 80-27616
{i.',.'"
/
\
& Bro., 1943.67 pp.
& Co., 1937. 188 pp. + 59 pp. of plates.
& Hartel, 1920-1923. 5 volumes.
& Reilly Co., 1939.202 pp.
•
•
• ., t 't d' usage frequent., en poesle et en mUSJque. , .
• " 1 '" n ,an me ne, II, 191,365; and "L'Octoechos syrien Etud h' :~~'';::''~'iO~I~~~h T~~;~a~ya~;~ens Christianus. New Series !II, 1913, 82, 277; this lalest. ~so. i~ c~t
• "df
•; 4::::.- g:. $$ %!t . .cE. --*
~
~
~ (trans.), The Rhythm ofPlainsong According to
~ early as the eleventh century, however, a rhythmic disintegration
~ horse, in winning a race, leaps harder and harder as the finish line
~ I
~ i
~- -_-:---'"'7-.
~; I
~;:rt S~. r~~7I~I1Jty of the chronJcler Ekkehard IV and his account of the great importance of the monas~
~:",i
~:iQ~i~f.:;':ii:;e£liitttg;qS:;;5SY~i~~n;:~~n~~'~J.:~~~;"::~~~~ ~~;~~~~s ~~thS~~ilr-;n c~;~~~~~~ez.~
~.'.j
~' . I 1
~'¢let!?l'~!!i!~~"""""""'::.:!!~·::S'1:;:'·"':;''"'*:l-:·-~''I''''iiiiiii ·llii1t.;_~·fliire.·ii··IIiiZilniiiiiiiiiiiiiiiiiiiiiiiiiiiiii$iji'ltliiiiliiiTii.;iiiiiii~iiZiii"'i5iiiiiiiiii;imiiiiiiiiii•7.iiiiliiiiiiiiilj;••
~~ortly after the February 14 decree, three French editors,
~atl~ana and m Italian, English, French, and German versions. 15
~ature, Mocquereau developed his method of chironomy, a projection
~Confi;mation and development" of such principles as th: ~eakness
~d each ictus after passing the post is thetic. To enable the chant
~eums containing two or more notes represented m~tricalfeet. 16 Some
~f to~ic accent o.n the downbeat, Mocquereau taught, presupposes an
~f. a neum is ictic only if not immediately preceded or'followed by an
~I
~i~~~~lf3F~i~~?0~1;~~~c~(:~¥;3€~~e)~~i~:~~~~~E~::I:~~~lth~;~~~~~~~:~J::;~~:~~~~~!~:
~nseparable from the edition itself. Therefore, in the present Gregorian reform,
~rote . in 'fact, . "the less. they c()incide, the better." 28 The accent, m
~u: lkal~che Splczlegen uber das h"iurgischedrama. etc. (Berlin: Liepmannssohn, 1876). Ree~e (Music
1
1
1
1 51
1 Amadee Gastoue; L'ar/ gregorien (Paris: Librarie F.Alean, 1920), p. 130.
1 August Galard, Plainchant (London: Faith Press, 1921), p. 60.
1 Curt Sachs, Rhythm and Tempo: A Study in Musk History (New York: The W. W. Norton
1 Dam Dominic Jahner, A New School of Gregorian Chant (New York: F. Pustet, third edition,
1 Guido, MicrologW!, ed. J. Smits van Waesberghe, CorpW! Scriptorum cU! MW!ica of American
1 Pope Pius X, Motu Proprio on Sacred Music (Vatican, Nov. 22, 1903. Reprinted in The While
1, February, 1958.
1.
1. ~h~n~s (Plain, Gregorian, etc.lhHistory
1. CURT SACHS JOINS THE MENSURALISTS
1. DISINTEGRATION OF THE RHYTHMIC TRADITION
1. SOLESMES AND NEQ-SOLESMES
1. THE ACCENTUALISTS
1. THE PONTIFICAL COMMISSION
1. THE STIMULUS OF GUERANGER
1. THE THEORIES OF GASTOUE
1.-
10
10
10 ,,'\'eumenkunde, first editiun. 1900. . H 1 18951921) Three
10 9 8 7 6 5 4 3 2 1
10 CaecilUz, Vol. 85, No.4, Fall, 1958, p. 393.
10 Dom Andre Mocquereau, Le nombre musical gre'gorien (Tournai: Desclee, 1927), II, p. 619,
10 Gatard, op. cil., p. 40.
10 Summarized from Gatard, op. cit.
10 weigh against Mo('quereau's claims, is based on a misinterpretation of Du Cange of the word tabula.
10. THE ABBE'DELORME
1050 AD.,4 there are clear grounds for disagreement regarding both
11
11
11 f:infuhrung in die Gregorianische ".Jelogl:eTli Let'p~i~: ~r~t~~:r:OlS a;l~86 as l~trodu~tion to
11 J. Robert Carroll, "The Forest and the Trees," Caecilia, Vol. 84, No.2, May 1957.
11 Reese, op_ cit p. 140.
11 Suiberlus Birkle, A Complete and Practical Method ofthe Solesmes Plain Chant (tr. I.e Maistre).
11 Summarized from Gatard, op. cit, and from Molitor, Nachtridentinische ChoraJre{orm (Leipzig:
11 was an incomparable contribution to the literature about plalnsong.
11. THE ANTIPHONSTUDIES OF JAMMERS
116. The Church acknowledges Gregorian chant as specially suited to
117. The typical edition of the books of Gregorian chant is to be completed,
12
12 Gatard, op. cit pp. 51-52.
12 Gregorianische Formenlehre. pp. 291-293.
12 Ibid.
12 Ibid., pp. 4042.
12 Mocquereau, op. ciL, pp. 164-169. 64-168
12 Toledo, The Gregorian Institute of America. 1957.
12. VOS-MEEUS
13
13
13 Adapted from Mocquereau, op. ciL, I, pp. J.,. I tt r ( f k) as calling for energetic emphasis.
13 Carroll, orThe Forest and the Trees," pp. 86-90. Solesmes insists that the alternative to its work
13 Jahner, op. cit., p. 190.
13 Mocquereau. in "L'ecole gre#gorienne de Solesmes," Rassegna Gregoriana, April, 1904, had
13 Pothier, quoted by Galard, op. cit., p. 27 et seq.
13. MARIE PIERIK
14
14 Burge, op. cil p. 328.
14 Carroll, Are the Soles""," Editions Justifiable?, p. 5.
14 Die Cregorianische Me/odien. I, p. 44 et. seq.
14 Muller, Arekiv. fur Musikwissensehaft (Leipzig: Buckeburg, 1918), p. 127.
14 Pothier, Preface to the Vatican Gradual (Reprinted in the Liber Usualis).
14 Ree6et op. cit p. 140, conS~deredd ~~e M= a::~h~es manuscripts; Metz, in addition to t
14 Seep Kirc
14. GUSTAVE REESE
148.
15
15 Able, Die Choratausgabe der RitenkongregaJion (Regensburg: Pustet, 1895land Gmelch, Aktenstucke
15 Apel, op. cll., p. 127.
15 Gustave Reese, Music in the Middle Ages <New York: W. W. Norton, 1940), p. 116.
15 Ibid., p. 6-8.
15 Peter Wagner, Neumenkunde (1905 edition).
15 Reese, op. cit., p. 120.
15 See Liber Usualis. xxlv, 12. . Ie hant regoriLn, Ie melange des pieds,
15. JOSEPH GOGNIATS LITTLE GRAMMAR
1578, but Don Fernando persuaded Philip II to intervene, and the
16
16 "Pour DOllS il demeure etabli fermement que, bz.en avant c. g . " (II 25)
16 Burge, op. cit., p. 334, rn. I.
16 Ibid.
16 Ludwig Bonvin, "'Rhythm as Taught by the Gregorian Masters up to the Twelfth Century, and
16 This Society had been founded by Dr. Witt (d. 1888) and approved by Rome in 1870. Dr. Witt
16. CODETTA
17
17 Dom AlJhelm Dean ouers IS wor
17 Francis Schmitt, Caecilia, Editorial, Vol. 86, No.2, p. 6.
17 Ibid., p. 10. Desrocquettes, however, has written: 1'1••• we consider that the Latin accent is light,
17 Ibid., pp. 344-345.
17 J. Robert Carroll, "The Foresl And The Trees', Caecilia, Vol. 84, No.2. p. 89.
18
18
18 Desrocquetles, p. 25.
18 Mocquereau, quoted in Gatard, op. ciL. pp. 62-63.
18 Wagner, "The Attack on the Vatican Ed~tion:ARejOinder," The Slyria Press (Graz and Vienna).
18- Gerhard Gietmann. Kirchenmusikalisches Jahrbuch (Ratisbon: Pustet, XIX, 1905, p. 53; XX,
18-24, 31-32, 33, 36, 40,45,48-48, 5053,
181/tl~~r8;5~dV~~I~;t6):WUSicaEnchiriadis von Hucbald (Monatshe{te fur Musikgeschkhte, VI,
184.0-1912
1870
1870, the work was carried on by Pothier, whose Graduale was eventually
1875-?
1875)
1881. (German translation by Dom Kienle, 1881;
1881)
1885)
1885)
1885Desrocquettes-
1893Schmitt-
1895. (n.p.)
1897. 241 pp.+ examples.
19
19 Carroll, Are The Solesme. Editions Justifiable?, p. 11.
19 Dom Joseph Gajard, The Rhythm of Plainsong According to the Solesmes &hool (tr. Dam A1dhelm
19 Etude sur Ie rhythm gregorien (Lyon: Etienne Clappe, 1926).
19 Ibid.• pp. 20-21.
19 Marie Plerik, The Song of the Church (New York: Longman•• Gr""n, and Company, 1947),
19,20,30,38,40-42,45-47
1900
1902 and 1903.
1902.30pp.
1904.
1905. 113 pp.
1905.50 pp.
1906
1906
1906, p. 1).
1906. Reprinted in Caecilia, Vol. 86, No.2, Summer,
1907. Reprinted in Caecilia, Vol. 87, No. I (Spring, 1960), pp. 19 and 41.
1907.67 pp.
1910
1912; Kirchensanger (Fribourg), 1910; Revue gre'gorienne
1912. Cited by Johner.
1920
1923
1923. 156 pp 115 pp. ofmusical examples.
1925)':lr.:,;~nciens chants titurgiques (Grenoble: Brotel, 1902); L'arl gregorien (Paris: Librari. Felix
1927
1927, 854 pp. This is the "Bible" of the neo-Solesmes
1929.55 pp.
1930
1931. Cited by Apel.
1933
1933. 104 pp.
1934.
1935. 202 pp.
1936.237 pp.
1939
194 et seq.). Cited ~Y Reese, op. ~it.). p. lud ¡d an extensive foreword in which the author illustrated such
1943
1945).
1946
1946, áConcerning permission to publish liturgical books" (AAS 38, 1946,
1952. 166 pp.
1954
1955, p. 177 et seq. ) which defended the thesis that the equalist system of chant performance came about
1955.
1957; Caecilia, Vol. 84, No.3, August, 1957.
1957; Vol. 84, No.3, August, 1957; Vol. 84, No.4,
1958, pp. 345-377.
1958. 529 pp.
1959.
1i
1I Burge, op. ciL, p. 325.
1nstltute of Musicology, p. 162, If.
2
2 Berno, PrologWJ in Tonariwn; quoted in Gerbert, Scriptores, II,77á78.
2 Dom August Gatard, Plainchant (London: Faith Press, 1921), p. 55.
2 Gustave Reese. Music in the Middle Ages (New York: W. W. Norton, 1940), pp. 115-120.
2 Ibid., pp. 153-154.
2 Peter Wagner, "The Attack on !he Vatican Edition: A Rejoinder." First publisbed in !he Styria
2 Pope Pius X, Motu Proprio, Nov. 22, 1903, paragraph 3.
2 Sachs suggested that the distinction between the short and long
2, 1906: ,y
2, May, 1957.
2. ALTERATION OF THE MELODIES
2. APEL FAVORS POTHIER
2. BEWERUNGE'S ATTACKON THE VATICAN EDITION
2. FLEURY AND THE EPiSEMA
2. LE NOMBRE MUSICAL GREGORIEN
2. SOLESMES
2. THE INTERPRETATION OF THE MANUSCRIPT SIGNS
2'1
20
20 As explained by Riemann, these wouid become. in practice, an iambus) IJ ) I Jand a
20 Ibid., p. 15.
20 Ibid., pp. 3-4. The follOWing material is summari.ed from Gajard's explanation of Solesmes
20 Ibid p. 23.
20 Oskar Fleischer, NeumenáStudien (Leipzig: Friedrich Fleischer, vols., 1895, 1897).
21
21 Caeci/ia. A Review of Catholic Church Music. Quarterly. Omaha, Nebraska.
21 Ibid., p. 22.
21 Ibid" pp, 14-15,
21 Jeannin, op. cit, p. 16, quoting Le nombre~ I, p. 98.
21 Oskar Fleischer, Die Germanischen Neumen (Frankfurt: Verlags-Anslalt AG, 1923).
21, 24, 25, 27-30, 36-38,41,44-45,4748,51,61
22
22 Caecilia, Vol. 84, No.2, May, 1957;, pp. 8D-81. An example of this altitude was the warning of
22 Gajard, op. cit., p. 22. This is the vertical episema or "ictus".
22 Ibid p. 43.
22 Jeannin, op. cit., p. 23. In. 1; p. 26; et pasSIm. .'
22 Plerik, op. cit., pp. 206-209.
22 pp.
22, 1903:
221 pp.
23
23 Caecilia. Vol. 84. No.2, p. 80.
23 Cfr, '~lagner's theories of the virga and the punctum, the vlrga Jacens, etc.
23 Edouard Bernouilli, Die Chorainotenschriji Bei Hymnen und Sequenzen im spateren millelaltar
23 Ibid" p. 44.
23 Mocquereau. quoted by Gajard, op. cit, p. 24.
235-;3~Marje Pierik: The Song ofthe Church (New York: Longmans-Green and Company. J947), pp.
24
24 Caecilia. Vol. 84. No.3. August. 1957; pp. 170-172.
24 Gajard, op, cil., p, 27.
24 Georges Houdard, Le rythme du chanl dit gregorien (Paris: Fischbacher. etc., 1898).
24 Jeannin, ap. cil p. 71 el seq.
245 pp.
25
25 Ibid p. 171.
25 Ibid p. 29,
25 Ibid pp. 88á89.
25 Revue du chant gregorien (May June. 1906). p. 169. Reprinled in Pierik, op. cit.
25,31
25~. B. ~riggs. Recent Research in Plainsong, paper read to members of the Plainsong and Medi.
26
26 Apel, op. cit., p. 130.
26 Ibid pp 50.51 This argumenlignores theract that most chant was not composed in lh~ period
26 Ibid., pp. 171-172.
26 lbid p. 178 ct. f)áeq.
26 Revue d.u chant gregorien (May-June. 1906). p. 169. Reprinted in Pierik, op. cit.
27
27 Caecilia, Vol. 86. No.4. Winter, 1959, p. 127.
27 Mocquereau, quoted by Gajard. op. cil., p. 55.
27 Quoted by Francis Schmitt, Caeci/ia Editorial, Vol. 84. No. L
27 Reese, op. Cit., p. 150. pointed oul a major error in Jeannin's work: "Jeannin concluded from
27,57
28
28 Desrocquettes, Monograhie gregorienne. XIII, 1934, p. 5.
28 Gajard, op. cit. • I h M and
28 Gastoue~ Review of Mocquereau's Le nombre musical gre'gorien. Tribune de SL Gervais. Paris,
28 Seer n IV Choral Offices. (Reprinted in The
28 Tl'ib""rdrSt. Gervais. Paris. XXV, 1928, pp. 143,175. Cited by Apel, op. cU.• p. 153.
28; "Le chant liturgique syrien,' in Journal Jjsiatique.
29
29
29 Downside Review, Autumn. 1956; Coecilia. Vol. 84, No. I. .
29 Gajard. op. cit., pp. 64-65. It is obvious that in spite of (Jajard 5 c aims t at ocquere~u
29 Reese, op. cit., p. 154.
29 The second is the Instruction of 1958; see chapter VIII.
3
3 Archibald Davison, Protestanl Church Music In America (Boston: E. c. Schirmer, 1933), p. 170.
3 Arlbo. De MW!ica, ed. J. Smits van Waesberghe (195 I), p. 49; quoted In Apel, Gregorian Chant,
3 Dom Andie Mocquereaut Le nombre musical gregorien (Tournai: Desclee), Volume I, 1908;
3 Ibid.
3 Ibid quoting Berno's Musica seuprologus in tonarium (in Gerbert, Scriptores. II).
3 Quoted in Gatard, op. cit., p. 56.
3 Wagner, op. cu., p. t5.
3 Willi Apel, Gregorian Chant (Bloomington: Indiana University Press, 1958), p. 128, fn. 3.
3, 1958. Reprinted in Caecilia, Vol. 85, No.4, Fall,
3. BURGE'S DEFENSE OF THE VATICANA \
3. CARROLL'S DEFENSE OF SOLESMES
3. HUGO RIEMANN AND FOUR-SQUARE RHYTHM
3. LOUIS LAMBILOTTE
3. THE MEDICEAN EDITION
3. THE MENSURALISTS
3. THE PALEOGRAPH/E M US/CALE
3] "Declarati~:m on t~e Vatica~ Edition of the Gregorian Liturgical Books and Its Reproduction. n
30
30 Divini Cultus Sanctilatem. December 20, 19, :~ n 1954) . 20. The last four words of
30 Dom Aldhelm Dean. Soksmes-lts Work for Liturgy and Chant (New York: Society of St. Gregá
30,45,50,54
30 Aut~entic Inlerpreta~ion Rega~din? the Rhythm of the Litu~gical Chant According 10 the Vatican
302 pp.
30Dom Desrocquettes. Lecture: "Gregorian Chant as Prayer and Art , NCMEA Nahon onvention,
31
31 Dom Gregory Murray, "Plainsong Rhythm," p. 10. Mocqu.ereau rr~ly admltte onograp lesá
31, 1608, and in August the Pope decided to revise the chant books
32
32 Murray, "Plainsong Rhythm," p. 11. rn. 4, quoting Monographle gregoTlenne. IV, p. 11.
33
33 Murray, "Plainsong Rhythm," pp. 16-17.
33, 35-36, 38-40, 42-43, 45-47, 50-57.
332 Apel, op. cit.• p. 178. . . d' "Z' h'~ fur Wusikwissenschaft, (XVII, 1935, p. 3 ftTextvariationen zur Musics Enchlna IS. :ztsc rtl" . M aft ktat (1279)
333: XXIV, ) 938, p. 351.
34
34 Ibid., pp. 18á19.
35
35 Apel, op. cit., p. 127.
35 The Downside Review, Summer. 1957; COI!cilia. Vol. 84. No.3. pp. 177-199.
35,37
36
36
36 Mocquereau, Monographie grt{gorienne, VII, 1926, p. 31. Gatard also wrote that the th.eoretical
36 Reuue du chant gregorien, XLII, 1938, p. 180; XLIII, 1939. I, 38, 78, Ill. 142.
37
37
37 , Murray suggested that the spread oforganum probably
37 CUed by Reese, op. cit., p. ]40, fn. 1.
37 Including St. Augustine: De Musica (c.388); Cassiodorus (d.575). who Clt~d the De MusICa; St.
371-372) also applies to books on liturgical chant.
38
38 Peter Wagner. Gregorianische Formenl£hre (1931). p. 301. ., .
38 The Downside Review, Downside Abbey, England. January, 1959.
38,40-41,42,45-47
39
39 Murray, op. eiL .
39 This account of Murray's conversion to Solesmes principles was n.rst pubh.shed 1~ The DownsLCie
390, l~6~~~~: op. cit.• p. 289. Apel pays great tribute to Wagner's contribution; see pp. 324. 362, 367,
4
4 Cited by Dam Joseph Gajard in t! I.e chant gregorien et la methode de Solesmes,'" Revue gre:
4 Dam Dominic Jahner, A New School of Gregorian Chant (New York: Puslet, 1925), p. 193.
4 Fleury, Vber Choralrhythmus (Leipzig: Breitkopf & Hartel, ) 907); "The Old Manuscripts of
4 Gustave Reese, MW!ic in the Middle Ages (New York: W. W. Norton Company, 1940), pp. 147á
4 He called on the Pope for an authentic interpretation of his
4 Ibid., pp. 154-155.
4 Mocquereau, Le nombre. I, pp. 8-9.
4 R.>ese, op. cit., p. 127. .
4 This paper was published in the Strassbourg Caecilia, February, 1906.
4, 1963 Constitution on Sacred Liturgy of the Second Vatican
4, Fall, 1958.
4, THE MOVEMENT IN GERMANY
4. A MANUAL BY JOHNER
4. MONSIGNOR SCHMITT AND CAECILIA
4. PETER WAGNER DEFENDS THE VATICANA
4. THE GOSPEL OF SOLESMES, ACCORDING TO GAJARD
40
40 "Gregorian Rhythm," pp. 195-199.
40 Der Gregorionische Rhythmus (Strassburg: Heitz & Co., 1937). H
41
41
41 Die Essener Neumenhandschriften der Land es -und Stadt-Bibliolhek Dusseldorf(Alop enn
41 The Downside Review, January. 1958; COI!cilia, Vol. 85. No.1, February. 1958. pp. 40-50.
42
42 • Accentual Cadences.' p. 47.
42 Anfange der Abendtandischen Musik (Strassbourge: Librarie Heitz, 1955).
42, 45, 48-47
42,50-51
4260).
43
43 "The Problem of Gregorian Rhythm," Acta Musicologica, -XXVIII. fase. IX. 1956.
43 Ibid fn. 13. 44 Ibid., p. 50.
44
44,56
45
45 Gregorian Chant Analyzed and Studied (St. Meinrad. Indiana: Grail Publications, 1951); The
45 The Downside Review. January. 1959; Caecz7ia, Vol. 86, No.2, Summer, 1959. Dam Gregory
46 47
46 Gustave Reese, l!lusic in the Middle Ages (New York: W. W. Norton Company. 1940).
46 J. W. A Vollaerts, S.J., Rhythmic Proportions in Early Medieval Ecclesiastical Chant (Leyden
47
47 Ibid., pp. 123á127 and 140.
47-48,51-53,61-63
48
48 Dom Sunol. O. S. 8 Text Book of Gregorian Chant (English tr. of Metoda completo de Canto
48 Waite has written that it 1& unmistakable that the Gregorian notation was intended to represent
49
49 In Codex 1118 oflhe Paris BibliothequeNalionale;ediled by Dam Ferretti in Vol. XIII of Paleographie
49 Reese, op. cit p. 142. 50 Ibid p. 143. 5\ Ibid p. 144. [Il. 19.
5
5
5 Ape), op. eiL, p, 129.
5 Ibid., pp. 12á17.
5 M. Gentler, quoted by Gatard, op. ciL, p. 60.
5 Paul Henry Lang, Music In Western Civilization (New York: W. W. Norton, 1941), p. 77.
5 Pope Pius X, Motu Proprio, April 25, 1904.
5 The equaUst rhythmic theories of such scholars as Pothier and Mocquereau are evidently based
5 Wagner, op. cit p. 17.
5 Willi Apel, Gregorilm ChanJ (Bloomington: Indiana University Press, 1958).
5. DOM GREGORY MURRAY'S ATTACKS ONSOLESMES
5. PETER WAGNER
5. THE FOUNDING OF THE MENSURAL SCHOOL
5. THE SACRED CONGREGATION OF RITES
50
50 Two folios in the Capitular Archives of Monza, and a third folio in Milan.
50, 59
51 Some of Vollaerts' conclusions regarding the simple neums are significant. Ordinarily, a twonote
52
52 Ibid., p. 146.
52 Vollaerl•• op. cil., p. 217 el seq.
53
53 Ibid., p. \47.
53-58, 60-61
53,62
54
54
54
54 Constitution on the Sat:red Liturgy, Second Vatican Council, December 4, 1963.
54 Ibid., pp. 147-148.
54, 58-58. 60, 62
55
55
55 Gognial, l il/le Grammar of Gregorian Chant (tr. by Ch. Drcisoerner. S. M.) (Fribourg. Switzerá
56
56 An example would be the texl "sudarium et vestes" in the Sequence for Easter.
57
57,58
58
58
58. The decree of the Sacred Congregation of Rites of August 11, 1905the
59
59-60
59. Therefore, the authentic Gregorian chant is that which is found in the
6
6
6 Dom Gatard, PlaiTU:hant (London: The Faith Press, 1921), p. 63. Capitals NOT in the original.
6 Donald Ferguson, A History of Musical Thought (New York: Appleton-Century-Crofts, second
6 GaSloue (L'arl gregorien. Paris: Librarie F. AJean, 1920) listed Pothier's publications: Les
6 Gatard, op. ciL, pp. 55-56.
6 Geschichte der Musiktheorie im IXáXIX Jahrhundert (Berlin: Max Hesses Verlag, 1920); Handbuch
6 Ibid., p. 125.
6 Ibid., p. 90.
6 Rev. Gregory Molitor, Choralwiegendrucke (Regensburg: Pustet. 1904). Cited by Johner.
6, 59
6. OSKAR FLEISCHER
6. SOLESMES' MOST FORMIDABLE OPPONENT"
6. THE VOLLAERTS SOLUTION
60
61
61
61
61-62
62
63
63
64
64
65
66
67
69
69
7
7 Cited by Vasser, "Medieval Quartal Harmony," The Musical Quarterly, XXIlI, 1937, pp. ) 70,
7 Dam Pothi~r. Les melodies gregoriennes (Tournai: Desclee, 1880). (German translation by Dam
7 Dom DominiC Jahner, A New School of Gregorian Chant (New York: Pustet, 1925), p. 189.
7 Edouard de Coussem.aker, Histoire de l'harmonie au moyenage (Paris: V. Didron, 1852).
7 H. Bewerunge, "The Vatican Edition of Plain Chant,' The Irish Ecclesiastical Record, XIX (January
7 Ibid., p. 107,
7 Ibid., pp. 126-127.
7 Summarized from Reese, op. cit., pp. 140-148, and from Pierre Aubry, Le Rythme tonique (Paris:
7, 1907, when the Vatican Edition of the chant was adopted for
7. DIVINI CULTUS SANCTITATEM
7. OTHER EARLY MENSURALIST,S
7. ROME REAFFIRMS THE EQUALIST THEORY
71
71
71
72
73
74
75
76
77
78 79
8
8 ~oth Wagner and T. A Burge, who answered Bewerunge, were quick to point out that the Papal
8 ft L'episerne romanien est presque toujours le signe d'une prolongation. I, p. 16i.
8 Ibid., p. 128.
8 Louis Lambilotte, Clef des melodies gregoriennes dans Ies antiques systemes de notation. et de
8 Pothier, quoted in Gatard. op. cU., pp. 47-48.
8 Quoted in Gatard, op. cit pp. 48-49.
8 Reese, Music in the Middle Ages (New York: W. W. Norton, ) 940), p. 142, fn. 9. Reese cited
8 Summarized from Dam Mocquereau, Le nombre musical gregorlen (Belgium: Desclee, 1908
8. FOR THE FUTURE
8. SOWA AND THE ANTIPHONS
80
80
81
81. John's Abbey Press, 1940. 500 pp. (Translated by
82
83
84 85
84, (February, 1957), p. II, !n. 4.
86, No.2, Summer, 1959; Vol. 86, No.4, Winter, 1959;
88
88 Post Road West, Westport, Connecticut 06881
89
9
9
9 A Vew School of Gregorion Chant (~l'€€' )\)rk; Pustct, IY25); The Chants of the Vatican Graduale
9 Bewerunge, op. ciL, p. 61.
9 Dam Johner, A New &hool of Gregorian Chant (New York' Puslet 1925) p 192
9 Dom Gregory Murray, "Plainsong Rhythm: The Editorial Methods of Solesmes," Caecilia, Vol.
9 Gustave Reese, Music in the Middle Ages (N. Y.: Norton, 1940), p. 140.
9 Ibid., p. 130.
9 Letter of Don Fernando de la Ynfantas to Philip II of Spain, 1577. Quoted in Galard, op. cil.,
9 Pothier, Preface to the Vatican EdiJion of the Gradual (reprinted in the Liber Usualis. p. xiv.).
9. DOM LUCIENDAVID
90
A
a - ut altius elevatur admonet
a "compound beat" with its accent on the downbeat or ictus'
A Belgian Jesuit, Father Louis Lambilotte (1796-1855) undertook
A CCENTUALISTS
a collection of compositions of all times and countries and of all degrees
A division of Congressional Information Service, Inc.
a falling phrase. The fIrst note of each group of notes has an ictus,
A few years before Cimello's letter, Pope Gregory XIII had been
A GLOSSARY OF TECHNICAL TERMS USED IN THE TEXT
a great deal more information; perhaps it is not unreasonable
a great deal of pentatonicism,7 and that the normal order of chant
a Gregorian Mass was responsible for many of his most important
a halved note value. In other words, all the notes in chant, according
A HISTORY
A HISTORY
a hundred years of research and study, there is still Widespread disagreement
a large number of important musical manuscripts dating from the
a long note, but Vollaerts' study indicates that it was not used consistently
A Manual by Johner 36
a matter of accent than of note lengths, and because it originated in
a measure. The measures fonow each other irregularly, however;
a melodIc, not a rhythmic, indication, and that, anyway, the first note
A member of the Commission, to whom the Holy Father had made known
a method of its own, simply as a matter of practical performance,
A more recent word from Solesmes has come from Dom Jean
A neum which occurs between two notes; it is
a Pontifical Commission and assigned its task:
a prolongation, but is definitely perceptible! 49
a question as to whether Bishops might approve Gregorian Chant
a renowned center for chant study, and the Solesmes editions
a similarity in the notation of the melodies in the Metz, Nonatolian,
A single-note neum, usually rendered as an eighthnote.
A single-note neum, usually rendered as an eighthnote.
a single, indivisible pulse is the basic time unit; it is rendered as a
A stress or accent; Solesmes uses it to separate the
A textual addition to theauthorizedliturgicaltexts;
a time when length and brevity of syllables were completely subordinated
A- American
A-1899Delorme-
á1
á1
á44 Vol. 84, No.4, December, 1957. Dom Gregory Murray, in "Gregorian Rhythm in the Gregorian
Abbot Delatte, Nos Quidem. 4 Now, the authority of the Church in
Able, Die Choralausgabe der Ritenkongregation. Regensburg: F. Pustet,
About a hundred years ago, the fIrst attempts at restoring the
about fifty German sequences. 13
about the music of the Church. Her books 46 indicate a sympathy
about the time that musicologists and paleographers were able to
above. If they are struck sharply, all their charm disappears, they become
acc.ent to itself. Therefore, Solesmes normally places the rhyth~i~'i~t~~
Accelerate
accent and the Gregorian music. He discovered occaSIOnal misplaced"
accent i~essentia1ly an elan requiring a repose to follow it'l'heE~.
accent of the neum, the mora vocis, and the bar lines. The rhythm may
accent was independent of the musical "downbeat" in the early Middle
accent; the rhythmic ictus is a repose followingan elan; the Latm t().nlc
accent. 26
accent. These groups are freely mixed into larger and larger rhythmiC
accents. But according to Mocquereau, who insisted that the ictus
Accentual Cadences in Gregorian Chant 57-
accentualist ideas, teaching that all the notes in chant are of equal
Accentualists 2, 16,47,49,51
accept mensuralism in the future, since historical evidence seems to be
accept or reject Mocquereau's teachings completely, since there is no
acceptance of the Pothier theories was included in one of the finest of
According to Apel, the three note values are combined according to
according to the age of the manuscript, and then tabulated. The "votes" of the earliest manuscripts always
according to the mensural system of Dom Jules Jeannin, were issued
according to the number of notes found in a neum appe3.ls to me, because it
accu~ac~. Tho~e. who clamor for the "oldest" place themselves in an
accused Vollaerts of incomplete research, of basing conclusions on partial evidence, of suppressmg eVlá
achieved three different note values: eighth-notes, quarter-notes;
ACKNOWLEDGEMENTS
Acknowledgements xiii
acknowledging receipt of the first copies of the new edition, expressed
Acta Musicologica 44
Acta Musicologica, XXVIII, fasc. IX, 1956.
acts as Pope, chiefly those concerning sacred music and the frequent
Actually, every single correction and selection included in the Vaticana
adaptation of his teacher's system, using three basic note values, was
adapted to each syllable changes its quality and strength by receiving a
additional aid. The Solesmes editions, as no others before or since, have
additions, based on the manuscript indications and on regular Solesmes
adds the vertical episema to indicate the ictus.
adequate and standard praxis of the whole Church, one which, moreover,
Adler, Guido, Handbuch der Musikgeschichte. second edition; Berlin:
Admitting that the rhythmic signs in the Solesmes books are
adopted the equal time values of the words, when quantitative Latin
adoption of mensuralism in the Vatican books? Time will tell. The
affIXed to any succeeding printings. 27
After all, Burge continued, the Church considers the chant to be
After centuries of mutilation and neglect, the plainsong was desperately
After comparison of several antiphons with similar modal and melodic
after that, they became equal in time value, and an accent or stress
after the authority of the earliest manuscripts, taking account of the legitimate
again be given the position it deserved in Catholic worship The ~astoral
Against such a weight of authority and learning, we have but one opponent .
against such innovations as the Greek semi-tones and quarter-tones,
against the mensuralist's opinions on Byzantine rhythm and such other theories as those dealing with
Ages, but that the word accent does have its own intensity, even when
agree that the signs affected only the notes which they accompanied. 60
agree with Jeannin's claim that the episema and the Romanian letters
agreed that at one time, perhaps when organum flourished, Gregorian
Ahie8
AIcuin 57
AIibo 5, 57
aim of this book has been to make available to all concerned with
AIsis-Thesis 3, 16,22-23,36,39,42
áistics could be found in a general manuscript collection. 19 Fleischer's
Aktenstucke der Regensburger Medic(J£ 8
Alean, 1920); COUTS theorique et pratique de plain-chant romain greg-orien (Pari,s:. Bureau de Ja Scho),a
aligned themselves with Pothier, accepting responsibility for the edition.
alism of 2:1 in note lengths. These notes are ordinarily arranged, in
all but impossible to sing, and they were much inferior to the same
all chant should be transcribed into a strict 4-4 metre, with phrases
all editions containing signs of this kind; but, on the other hand, it cannot be
all manuals of the chant; Dom David, who accepted the Solesmes
all the antiphons are essentially in 4-4 metre, is an important
all the contemporary literary evidence indicates,) and that these two note
All the literary evidence of the Gregorian period indicates a mensural
all the particular rules by which the Vatican edition has been made up, but
along Mocquereau's principles, which may have been difficult and
along wIth the Solesmes dogmatism, the "feeling of infallibility which
also arise if "the oldest existing version" were agreed upon as the
also explained the rules for the treatment of the Latin accent.
also provided an Introduction. New York: J. Fischer &
also three kinds of pauses: the word pause, the sentence pause, and
also, accordmg to Reese, the greatest authority on Syrian chant. " 18
Also, wrote Apel, if a rhythmic system existed, evidence comparable
Also. although Mocquereau. Desrocquettes, SUflOl, and others have
Alteration of the Melodies 6
altered and abbreviated in a so-called reform. According to Dom
although Apel would combine this solution wifh that of Houdard,
Although Monsignor Francis Schmitt, the editor of Caecilia, 21
Although Solesmes writers agree that the Romanus letters p, f,
although some ofthem occur as often as twenty times in this one Credo.
Although this exclusively binary and ternary grouping is an essential
AM.), Terce (about 9 AM.), Sext (at noon),
Amadee Gastoue, the noted musicologist (1873-1943), became
Ambrosian hymn metre 36
among the experts about the rhythm of the chant.
an "individual."8
an edited chant, based on his interpretation of the manuscript signs;
an equalist-accentualist position according to the tenets of Dom
an innovation calculated to deprive us of our liberty; they are merely a
An official Vatican chant did become a reality, only to be rejected by
Anciens chants liturgiques 35
ancient books, but also with attention paid to the legitimate tradition
ancient traditional Gregorian Chant and the use by the people of this
and ?rltlclsm. 2. Musical meter and rhythm.
and 1841, the French bishops gradually decided to restore the Roman
and 1897. Volume one, Uber UrsprungundEntzifferungder Neumen,
and 1927), and from Andrew Klarmann, Gregorian Chant Textbook (Toledo: GregorIan InstItute,
and a more critical edition is to be prepared of those books already
and accents. The discussion ofthe Lamentations of Jeremiah,
and Agnus Dei.
and along with the pause, was a form-building element. Birkle noted
and analyzed.
and Aquitanian manuscripts. With few exceptions, whenever
and Aquitanian notations.
and because the organum itself was confined to a very small
and bringing them into relief, the question of reconciliation between
and by points;
and by the thirteenth century, the chant had been almost completely
and c uses a ~ augete (broaden), and n naturallter. (restore normal value .
and circumflex accents of Greek and Latin literature.
and cits. intensity, according to David, are the real elements dictating
and Commemoratio Brevis (in Gerbert: Scriptores. 1.226-227); Berno of Re.dhenau (d.l048). MICroá
and Communion.
and completely, as regards both melodies and the texts.
and controversy can lead only to greater spiritual and aesthetic fulfillment
and criticism from this quarter may be expected.
and dotted quarter-notes. One of Fleischer's most interesting observations
and Dr. Haberl (d.1910) are generally credited with replacing the unchurchlike music then popular in
and essence of chant rhythm, he said, is a musical proportion between
and explanations of the medieval theorists, that his realization of the
and fascinating.
and for all Solesmes' publicity and influence, the fact remains
and Gajard felt it better if it does occur on the up-beat He summarIzed
and Gastoue' (consultants) defended the Vati.cana; thus, they
and Gregorian art, and even upon experience and upon the rules of the sacred
and Gustave Reese, who states that at our present stage of
and have them complete the "reform." Anerio and Soriano were selected,
and he aligned himself with Pothier. Gastoue'believed that it is not
and he provided numerous examples. All movement, he wrote,
and high endeavor, wrote Wagner; the problem is that'it results
and insisted that the Vatican edition must present only the oldest version
And it IS official!
and its arsic or thetic nature.
and its work was handed down in a letter of Cardinal Merry
and k, are used in the manuscripts to indicate intensity, their editions
and lower neighboring tones.
and movement, sonority, the form and matter of rhythm, binary and
and of simple, composite, and ornamental neums; and because the
and of the Sacred Congregation of Rites to leave to the discretion of the
and on September 15, 1593, he gave the Medicean Press in Rome a
and other legislation regarding sacred music. The
and others, both from his manuscript analyses and his quotations
and outspoken critic of Solesmes; and Willi Apel, who has insisted
and p. 66) contradicts Pothier. "' al C
and poetry, and was eventually influenced by them.á
and Practice, Vol. II. of Yale Studies in the History of
and psalm tones.
and purity." 3 As early as May 17, 1901, Pope Leo XIII had officially
and quoted such musicians as Mathis-Lussy, d'Indy,
and research involved in the restoration of the melodies, and the attempts
and Riemann's claim that the ictus naturally corresponded to t.he beginning
and short notes (eighth-notes). These are arranged in a free
and spread of polyphony, this chant,áthis "body of music
and study be completed.
and tempi. It is important for a student to know what is
and that of Columbia University Music Library were wonderfully helpful
and the "ictus" will coincide in a natural, simple manner. In many
and the accents and the pause. Pothier taught that the chant notes are
and the directors there insisted on making their profit. Therefore, on
and the groups are freely mixed into larger rhythmic divisions. The
and the rise of troping; and the eventual overwhelming of the
AND THE SCHOOL OF SOLESMES
AND THE SPREAD OF MENSURAL THOUGHT
AND THE VATICANA
and the words "rhythm" and "intensity" in ancient tradition and in
and these he considered to be a third kind of note of a duration between
and they finished their work in 1612. The Pope refused Raimondi's
and this interpretation is likely to remain the official one for some
and took the editorship of the Vaticana away from Solesmes. Having
and twentieth centuries; they were monks who sangeveryoday in choir
Aneno 7
Anfange der Abendlandischen Musik 42 dealt mostly with the
Anfange der Abendlandischen Musik 44
Angers, examining manuscripts, copying them, and arranging to
Anonymer Glossierter Mensuraltraktat 41
Another Dechevrens pupil was Father Gerhard Gietmann, whose
another ictic note; according to his rules, two ictic notes could not follow
ans, 1 12, p. 221 et seq. An ciled by Jahner.
Anselm Schubiger (1816-1888) was responsible for one of the earliest
Antiphon A remnant of Gregorian antiphonal psalmody; a
antiphon as being true and correct; all the others were rejected as
Antiphoner Liturgical book containing the choir chants for
Antiphons in triple metre, made up essentially of ~n altern~tlOn 0e
antiquity do not hesitate to introduce into their notation all sorts of hybrid
Antoine Dechevrens, S.J., founded mensuralism in 1861; his immediate
any sort of additions, are in true conformity with the aforenamed Vatican
Apel cited an article by Jeannin, "Du si bemol greg-crien," in which
Apel Favors Pothier 50
Apel objected to the exaggerated importance of the rhythmic problem
Apel-A-
Apel, Willi 11, 13-14, 35-38, 40-42, 50-51,
Apel, Willi, Gregorian Chant. Bloomington: Indiana University Press,
Apel, Willi. A Review of Vollaerts' Book, Caecilia, Volume 85, No.
Apostolic Constitution of Pius XI 41
appeared in the Acta Musicologica,43 and a presentation of some of
application of the liturgical texts to melody and rhythm. Mo.cquereau,
approval of the Gogniat theories.
approved this resolution when it was submitted to him by the Secretary of the
April 11, 1911. Reprinted in The White List, (Fourth
April, 1904.
Aquintainian notation 19, 43, 59
Archbishop of Cambrai, appointed a commission to prepare chant
Archiv. fur Musikwissenschaft 8
archives of the country's largest libraries and a reading knowledge
are "tolerated," as long as "the force and meaning of the notes
are believed to have grown out ofthe acute, grave,
are of equal importance with the manuscripts in determining the
are separately articulated, the neums are thereby divided. Then the neum
are the most important element in the rhythm; Amadee Gastoue~ who
are the result of Mocquereau's rules: they have no manuscript warranty.
Are The Solesmes Editions Justifiable? 51-53
are weak, the ends of sections, members, and phrases which coincide
arranged in perpendicular rows, grouped in schools or in countries of
arSIC accent and thetic ending, which is the ictus. The modern theory
Arsis
art and beauty, does not lead to anything less valid than what had
art and history! Apel has named him as one of the most outspoken
Art gregorien, L' 16, 18,35
art refuses to take advantage of the" glimpses mto the mtImate proce~s
art, the heritage of almost two thousand years of Christian worship.
as "modal ambiguity. " 32 •
as a "recitative-like music of an oratorical nature." Birkle discussed
as a half-note if followed by a virga (quarter-note), but as a dotted
as a matter of course. The position of chant as the "official" music of
as a rhythmic edition and supported Its ratIOnale.
as being in agreement with Laon, also. A constant rhythmic
as Car as possible. . ." Further, Gajard's teachings that the melody takes preference over the words (p.S7
as do the subsequent "Statement regarding the publication and approval of
As early as 1880, Pothier had explained his theories of chant
as eighth notes; the climacus and other three-note neums as triplets;
as found in the Vatican chant books are preserved." For the teacher
as four or five notes before another accent is reached. 58
as her own, which she prescribes exclusively for some parts of the liturgy, and
as may be expected to a plausible and practical solution of the rhythmic
as puncta, somewhat in the manner of Pothier.
as specially suited to the Roman liturgy;
as the basis for future scholarly editions! Nevertheless, the Vaticana,
as the quilisma and liquescent podatus were used. Dechevrens
as they are called; provided it is understood that the other regulations of the
as to how the chant was sung in the days of its composition. Since
As Wagner pointed out '5 , there were attempts to make the chant resemble
as well as five ofthe St. Gall manuscripts-to determine the rhythmic
as well as on other rhythmic signs found in various manuscripts. 5
assembled from a study of about two hundred works on the subject are
assistance, from the very beginning to his approvpl of the completed
assume the position of true ecclesiastical authority and, give to the Catholic
assuming that any of the three (schools of ch,mt theory) are really
at chant restoration up to his time; and an explanation of various
at finding the true rhythm.
At Solesmes, Gue'ranger selected Dom Jausions, a young monk
at the elan of the rhythm, and the final syllable at the coming to rest;
at their price, for they, like Mr. Carroll, prefer to think nothing else
Attack on the Vatican Edition: A Rejoinder
aU the versions of each group. The agreements and the differences are counted and subdivided
Aubrey, Pierre 2,5
Aubry-F1874-
Aubry, Pierre, La Musicologie medievale, histoire et methodes. Paris:
Aurelian of Heome 57
Auth. S.R.C. 4178) and the Decree of February 24,1911, which referred to
authentic and what is an editorial addition, however, and the Solesmes
authentic chant, and then, in some future time, some European library
authentic editions of the chant, based on Vollaerts' solution, wrote
authentic Gregorian rhythm, and present weighty evidence of this
author, "remarkable, if scanty in its sources." 9 A second edition appeared
authorized an offIcial Vatican version ofthe plainsong. Heroic labors,
authorized Cardinal del Monte to choose two musicians out of the six
available at all outside New York; several are not available in the English
available only in the larger libraries of a few major cities; many are not
b _ut bene (well) extollatur, vel gravitur, vel teneatur ""
B - Belgian
Bannister, E. M. Monumenti Vaticani diPaleografiaMusicale Latina.
Barenreiter-Verlag zu Kassel, 1935).
Bas, Giulio, Manuale di Canto Ambrosiano. 1929. Cited by Reese as
based on accent, is to place the ictus on the accented syllable every
based on knowledge and understanding, not on blind faith in one
based on notes of equal value.'
based on the idea of differing values for tailed, square, and diamond notes. 12
basis of manuscript evidence was maintained as a goal to be achieved.
be arranged in due proportion. Correct chanting, therefore, is pro- .
be binary and ternary, according to Solesmes theory, but there are
be dependent upon every fresh discovery of archaeology? 14
be gamed from the bibliography of this book.
be imperceptible . . . The simple fact is that the word accent, sung properly
be made in Rome. A public attack by Solesmes partisans on the work
be reproduced only by editors who have the proper authorization, accurately
be shown to be historically unfounded, they may, because of the
be the first to admit that such oversimplification has its drawbacks,
beautiful in musical art. 9
beauty of chant style. Carroll wrote:
beauty of their results, prove that the investigation and the misunderstanding
became the basis for the attempts at melodic and rhythmic reconstruction.
because it was composed on texts in Latin prose; there were no recurrent
Because of his determination to mark as many word-endings as possible
because of the spread of organum.
becomes impractical to go in such matters. ",.
Bede (d.735); De Arte Metrica; St. Aldhelm (d.709); LeuerIV(P.L: 89. ~5); Al~m (d.804); Carmtna
been forced to choose between two completely different approaches to
been substituted, and indicated by the letter c for circa.
before Raimondi printed them. He appointed a commission of Cardinals,
begin the work, and that elected a Pope (Pius X) whose love for the
bel.le~ed It opport~~e to tolerate, under certain guarantees and special restrlctlons,
believe that the chant adopted the equal time values of the
believed in three different chant note values; Georges Houdard, who
believed that the mensuralists have an impressive amount of historical
Benevento notation 19, 59
Benevento, and Aquintaine, and are believed to indicate the lengthening
Benziger, 1858. 60 pp.
Berno of Reichenau (d. 1048) gave evidence that the traditional proportionalism
Berno of Reichenau 5, 49, 57
Bernouilli-G-1867-
Bernouilli, Edouard, Die Choralnotenschrift bei Hymnen und Sequenzen
Bernuilli, Edouard 13, 39
Bertelin 42
Bertelin, and Dumesnil on rhythm and accent. David claimed that the
Besides abbreviating the melodies, Dom Johner wrote, they
better than Solesmes. 30
between 1889 and 1925.
between 1910-1928.
between an elementary rhythm, compound time, and composite
between elementary rhythm and compound time. 26 '
between longs and breves.3
between metrical accent and rhythmical accent, and also Potiron.'s
between obvious rhythmic differences. For example, these lines:
between sections. " 13 -
between the "school of 80Iesmes," the Pothier school, and the
between the two values . I
Bewerunge understood that modern musicians might object to
Bewerunge wrote:
Bewerunge-Ic.
Bewerunge, Rev. H. "The Vatican Edition of the Plain Chant," The
Bewerunge, Rev. H. 27-31
Bewerunge's Attack on the Vatican Edition 27
Bewerunge's attack on the Vatican edition was answered in the
Bialas, M. 32
BIBLIOGRAPHY
BIBLIOGRAPHY
Bibliography: p.
binary and ternary groupings but insisted that the words themselves
binary and ternary groupings.
Birkle-Fc.
Birkle, Suibertus 16-17
Birkle, Suibertus OSB, A Complete and Practical Method ofthe Solesmes
bitter controversy.
bl _ bene levare; tb - bene teneatur; iv - inferius valde
Blanc, Maurice 9
Blanc, Maurice J. "The Musical Teaching of Solesmes and Christian
Blanc, Maurice J., L'enseignment musical de Solesmes et lapriere
bon: Pustet, for years 1899, 1905, 1906, 1908, 1909.
Bonvin-G-1850-1939
Bonvin, Ludwig 12
Bonvin, Ludwig S.J., "Rhythm As Taught by the Gregorian Masters
Bonvin, Ludwig SJ, Rhythm As Taught By the Gregorian Masters
book produced according to exclusively philological-critical rules; a book
book, the rhythmic study, Sowa cited variouschanttheonsts and theIr
Books
books according to the authentic tradition.
books containing liturgical Gregorian Chant" of February 14, 1906 (Deer.
books which contained the melodies, accurately reproduced, but with
books: the vertical episema, to mark the ictus; the horizontal episema,
Bordes, Charles 35
Bordes, I and over the years, published a number of books on Gregorian
Briggs, H. B. 13
Briggs, H. B., Recent Research in Plainsong. London: Plainsong and
Bro., 1943. 67 pp.
Brussels: C.J.A Greuse, 1851. 49 pp.
Buffalo, New York, April 27, 1960. Reported in Musart,
Buffalo. New York. April 27, 1960; quoted in Musart. June. 1960, p. 8.
Burge noted that such distinguished musicologists as Dr. Wagner,
Burge-Ic.
Burge, citing the "unscientific" and "inartistic" work of Solesmes,
Burge, Rev. T. A, OSB. "The Vatican Edition of the Kyrial~ and Its
Burge, T. A 28-30
Burge.
Burge. 10 Father Burge noted that, of all the attacks on the Vaticana,
Burge's Defense of the Vaticana 28
but died (in 1945) without having completed his work or published
but Gue'ranger preferred to delay publication so that Solesmes might
but he indicted the Benedictines severely for their anonymous, and
but in any case, it is independent of the Latin tonic accent, i.e., it may
but it would be well to point out that there is a line beyond which it
but nowhere to the Laon point. Moreover, the passages in St Gall marked
but on the evidence of the manuscripts. which form a solid block. often in
but one note; they altered melodies . they composed new passages in many
But other kinds of sacred music, especially polyphony, are by no means
but rather various traditions, such as those of Gueranger,
but that they have also provided one of the major barriers to
But the members of the Papal Commission, which assembled on
But the really sore point is that the Vatican Graduale is regaining some
but, on the basis of the testimony of the medieval theorists, he
But, warned Bewerunge, the Vaticana could and would not last,
by
by a long; when the neum is lengthened, all three become long. (Solesmes lengthens only the
by a word accent. Mocquereau was so insistent about his theory
by Associated Music Publishers of New York. 17
by Houdard, Fleischer, Bernouilli, and others; and the neum-foot,
by more people, so that the faithful may again take a more active part in the
by Pope Paul VI December 4, 1963.
by Raymond Schlecht (1811-1891); this was, apparently, the earliest
by Solesmes, Father Bewerunge violently criticized the many "errors"
by some performers of the chant, in the matter of harmonized accompaniments,
by the Abbe' G. Delorme. These articles, entitled La question
by the rhythm at intervals of every two or three notes in order to renew or
by the union and fusion of all the syllables drawn ~o itself by t~e to~c
c - ut cito vel celeriter dicatur
C4artres MSS 19-20
cadence . 42
Caecilia 4, 12, 25, 28, 31, 33, 37,38,44, 51,
Caecilia, Vol. 87, No.1, Spring, 1960.
Cagin 27
called for the restoration of the ancient traditional chant. In a second'
called it virga jacens (horizontal virga), and interpreted It as a sl.gn
Canisius, 1939.
Cantorum, 1904); L'eg!ise et ia musique (Paris: Bernard Gr~sse!. 1936); Les orzgl.nes duo chant r~"!'a.m
cantu directa, d.L, Brief Guido's an den Monch Michael
carries the ictus. In the classical period, the Latin toni~ accent
Carroll-Acontemporary
Carroll, currently on the staff of the Gregorian Institute of America.
Carroll, J. Robert 38,51-53,54
Carroll, J. Robert, Are The Solesmes Editions Justifiable? A Monograph.
Carroll, J. Robert. "The Forest and the Trees," Caecilia, Vol. 84, No.
Carroll's Defense of Solesmes 51
Carroll's monograph is a defense of Mocquereau'srhythmicpractices.
Cassiodorus 57
category of notational signs dealing with single notes. Delorme discovered
Catholic Choirmaster, The 57
Catholic liturgical worship, and the decision must be reached in terms
caused by the lack of a semi-tone. Apel referred to thIS transformation"
caused difficulty for the modern musician because of ItS seeml~g VlQlation
caused the equalist execution, since, as Wagner wrote, the singers
cent, would disappear, if one would consent to make tl:e necessary distinction
cent"is some distance from Pothier's insistence that "the accent and rhythm of the word are to be observe
centuries and from various countries, Carroll admitted. "Solesmes will
centuries in her liturgical codices, which she directly proposes to the faithful
centuries, and since staff notation was not in vogue until about
Centuries: The Literary Evidence" (Caecilia. Vol. 84, No.3), cited an article by Vos-Mee'us, ttL'introduction
century uncovered a great deal of information about the golden age
century, attempts at revisions and at abbreviating the melodies resulted
century; perhaps originally intended to accompany
century. 47 This manuscript was more important to him than the St.
century), who had
cert~mly n.o unIversal validity, in Gregorian chant. Whether the "barbaric"
certain Gregorian chants. The volume also contained a chapter on
certainly Rome had the right to insist on the circulation of its official
cha~t had three different note lengths. Dechevrens explained his theory
championed mostly by Peter Wagner. 23
changes and corrections. A Graduale was ready for publication in
changes in a melody, made over the centuries, were often improvements.
CHANT
chant according to the number of notes each contains. 9
chant are mdependent of each other. The Vatican edition of the chant
chant eventually became"Latinized. "
chant for the whole Church were attacked by the Solesmes restorers,
chant ft••• perished some time ago, and is now entirely buried. ~;;
chant gregorien (Paris: A LeClere, 1855); Memoire sur Ies chants liturgiques (Paris: V. Didron, 1857);
Chant have been observed. His Holiness Pope Pius X ratified and
Chant haVing one note to each syllable of the text.
Chant in which a syllable of the text is sung to one
chant is correct and valid, so far as it goes. Whether it is the solution
chant is of especial importance because of the author's attempts to
chant is sung more regularly in the seminaries and religious houses
chant manuscripts; the investigation was limited to the single
Chant really was sung with equal time values, and the mensuralists
chant rhythm. 38
chant romain,34 he re-iterated the Pothier principles, although Apel
chant scholarship: that no manuscripts bearing particular characteristics
chant stood alone in a foreign surrounding of non-metrical language
chant usage the information upon which a course of action could be
chant was surpassed only by his zealous determination that it once
chant were retained: melodic repetitions were eliminated, penultimates
chant, although m the fourth and fifth centuries, the degree of richness
chant, intervals smaller than our diatonic ones occurred m certam
chant, its decline and the eventual restoration are also valuable. Gastoue"
chant, that he alone was responsible for all the variants and corrections.
chant, therefore, moves in long notes, except for ornamental or embellishing
chant, when sung according to the true (sic) rhythmic tradition, is
chant. 25 The appendices included several of Mocquereau's replies to
Chant. Leyden, Holland: E. J. Brill, 1958.
Chant. New York: Desclee, 1964.
Chants ofthe Vatican Gradual 37
Chapter I
Chapter I
Chapter II
Chapter II
Chapter III
Chapter III
Chapter IV
Chapter IV
Chapter IX
Chapter IX
Chapter V
Chapter V
Chapter VI
Chapter VI
Chapter VII
Chapter VIII
Chapter VIII
Chapter Vll
character of the chant are clarified, accordingly. Hartker often
characteristics, the "corrector" retained the notes common to each
charge that Pothier was the sole judge of the new version of the
CHART PLACING THE MAJOR FIGURES
CHART PLACING THE MAJOR FIGURES
charts on the Gloria melodies, which were analyzed. Many
children of the Church, who would deem it as an honor to Jom m the realization
Chironomy
Choralnotenschrift bei Hymnen und Sequenzen
Choralwiegendrucke 6
chrelienne 9
chretienne. Paris: Editions musicales de la Schola Cantorum,
Chromaticism (in Gregorian chant) 11
Chromatische Alteration im Liturgischen
church are almost identical with a mensural (metrical) rendering of
church choir would never produce convincing or artistic chant without some
Church.
churches. The following year, the Pope authorized an official version
Cimello 6
Cimello, a musician, wrote to Cardinal Sirleto in 1579:
circa 1000) lamented that proportionalism in the performance of the
Cit dIg Raymond &hl~h~ 'Chromaticism in Gregorian Chan~' C';'ci/ia,~d. Her';''';dorfr: Trier, 1874.
Cited by Gatard.
Cited by J ohner.
cited inaccuracies in the Vollaerts book, and stated that the tragedy of the whole study was that !he JesUIt
cited states that such editions are "permitted." This is undoubtedly
Cl10raiausgabe der Ritenkongregation, Die 8
claim so proud that archaeology puts forth? And must the music of the Church
claimed that the problem was solved by the kind of preceding movement.
classic prosody in the centuries after St. Gregory; ornaments
clearly implied in, and intelligible from, the notation of the manuscripts,
Clef des melodies gregoriennes 10
clefs, the modes, Gregorian recitations, rules for the perfo~mance of
Clement VIII, Pope ']
closely the members and the phrases, and shows better than anything
cm _celeriter mediocriter; im - inferius mediocriter; tm - tenete medlOcnter.
co-worker Dom Pothier had prepared a Graduale and an Antiphoner,
Co.mposite rhythm is formed, according to Solesmes, by the arsic
Codetta 48
Codex 359, the Codex Hartker, and such theorists as Guido, determined
Codex Hartker - See Hartker
Codex Hartker led him to conclude that, based on the neumatic symbols,
Codex lat. 1492 of the library of the University of LeIpZIg. The fi~st
collaboration with Juline Puyade and Anselmo GhibasLassale.
Columbia University in New York. I am deeply grateful to him for his
comes into the world with the seal of the Holy Father. They have the boldness
comma ( , ), which is a breath mark. 8
CommiSSIon as a whole made these decisions; they were not determined by porn Pothier alone.
Commission is mentioned; the whole brunt of the attack falls upon Dom
Commission, along with Dr. Peter Wagner and other distinguished
Commission, charged with compiling the liturgical books, had expressly
Commission, has written: " . it is nothing less than a misleading of
communions, and responsories) although having free phrases, seem
Company, 1940. 502 pp. The definitive book on the
Company, 1953. 391 pp.
Company, 1953), p. 152.
Company. 1953); Vollaerts, Rhythmic Proportions in Early A-ledieval Ecclesiastical Chant (Ley.den: .E.
compassion on the unwashed, the shameful omniscience and pride" 26
competence of the singers, of which the great teachers and theorists
complained; the carelessness of the copyists; the development of partsinging
Complete and Practical Method ofthe Solesmes
Compline (nightfall).
composed neums the signs retain their meaning. A different sign is
Composite rhythm 22-24
Composition litteraire et composition
Compound time 22-24
compound time. When the ball touches the floor, it "rests" and yet at
comprehensively larger units. Notes make up simple rhythms, which
CONCERNING ITS RHYTHM
CONCERNING ITS RHYTHM
concluded that the prevalent equality in note values, indicated by
CONCLUSIONS
CONCLUSIONS
Conductus
Conductus 44
Congregation of Rites.
consider the possibility of any other system. For members of both
Constitution (1963) on the Sacred Liturgy
Constitution on the Sacred Liturgy
Constitution, Divini Cultus Sanctitatem. The Pope recounted the leg~~
contain no sign for intensity at all. Mocquereau contended that intensity
containing important information on Ambrosian chants
contemporary
contours if "oldest" were the only criterion for the selection of a melodic
contours of the chant, and have provided practical editions which are
contrary, they should shine down on the whole phrase and light it up from
controversy concerning its rhythm
copies already in print need not be recalled, but the official stamp will not be
Coppenrath, 1871. 639 pp.
Copyright 1964 by the author.
cording to rules or schedules; and (3) the single parts of a motif must
corresponding rhythmic signs found in the best manuscripts." 20
Could anything be more absurd? Would any intelligent musician fail to
could not be true, however, Dr. Sachs stated, because there was no
Council, promulgated by Pope Paul VI on December 4, 1963, reinforces
Council. Performance of plainsong leaves much to be desired in many
Council's CONSTITUTION ON LITURGY. Musicologists have been
Cours theorique et pratique 35
Coussemaker, Edmond de, Histoire de l'harmonie au moyen age.
Coussemaker, Edouard de 10
Couturier, Dom 18
critical edition of the books already published (since the restoration by
critical faculties or blind prejudice could fail to recognize them, Burge
criticism of the method . 20 .
Critics (Burge) 28-30
critics of Dom Mocquereau.3 In Les origines, Gastouewrote
Critics," The Irish Ecclesiastical Record, XIX, JanuaryJune,
Crospellier 29
cU! SaintáGervai8) theorized that the custom of using Gregorian phrases as tenors In the polyphonic motets
Curt Sachs Joins the Mensuralists 49
d - ut deprimatur
d.L Kurze Abhandlung Guido's uber die Reglen
d'e'glise, issues during 1934.
D'lndy, V. 42
D~fe~cli~gthe'theory ofb-inary and ternary groupings, Mocquereau
Dam Pothier for the official Vatican chant books, and this interpretation
Danjou, Felix, De l'etatet de l'avenirduchant ecclesiastique en France.
Danjou, Felix. Revue de la musique religieuse, populaire et classique.
Danou 10
dans le chant des eglises chretiennes au moyen age. Paris:
date many of the chant melodies. His comments on the zenith of the
David-F-
David, Dom Lucien 41-42
David, Dom Lucien OSB, Le Rythme verbal et musical dans le chant
David, Dom Lucien, OSB. "Les signes rythmiques d' allongement et
Davidson, Archibald 2
Davison, Archibald, Protestant Church Music in America. Boston:
day to see the partisans of the extreme archaeology defending their biased
day. Musically, the Proper consists of the Introit,
days of Pius X, the liturgical books would contain a chant that had
de Coussemaker, who determined that the neums had their origin in
de Hucbald, Odon, Gui, et Aribon. Saint-Germain-enLaye:
de I VOIverslle d'Ouawa, 1933).
de l'ecole de Solesmes," Revue gregorienne, Paris, November-
de la diaphonie et Is rupture de la tradition gre'gorienne au Xle siecle," (Saem Erudiri. VII,
de la musique religieuse, populaire et classique during 1845-49.8
de Meeus-B-contemp.
De Musica 5
de Saint-Jean l'Evangeliste, 1951. 94 pp.
de St. Gervais, Paris, XIV, 1919.
De Z'etat et de l'avenir du Chantecciesiastique
De'us et Dominus
Dean-Econtemporary
Dean, Dom A1dhelm 20,21,55
Dean, Dom Aldhelm OSB, Solesmes, Its Work for Liturgy and Chant.
Dean) (New York: J. Fischer, 1943).
December 20, 1928. Reprinted in The White List of the
December 4, 1963
December, 1951.
December, 1957; Vol. 85, No.1, February, 1958; Vol.
Dechevrens-F-
Dechevrens, Antoine 11-12,40,44
Dechevrens, AnToine S.J. See Tribune de St. Gervais (Paris), XII,
Dechevrens, Antoine SJ. Les Vraies Melodies gregoriennes, vesperal
decided that each neum had the value of a modern quarter-note; Peter
decided, contains a number of important tones which serve as "modal
declared:
decline of proportionalism wifr1_~~~II1~i.~id~.lb. circa 990) stress~d
decline was well underway two centuries prior to the period considered by Gatard & Aubry.
Decree of the Sacred Congregation of Rites regarding the restoration of Gregorian
decrees of the Holy See, by what is it then to be determined? By archaeology?
decrees of the Sacred Congregation of Rites and the ever-increasing
defender of Mocquereau, who held that the Solesmes signs indicate
Defending the Solesmes Benedictines against the charge of "archaism,"
definitively systemized for universal use. Since chant was sung by
Del Monte, Cardinal 7
del Val on June 24. The Pope, citing his second Motu Proprio, decided
Del Val, Cardinal Merry 27, 33
Del Val, Cardinal Merry. Letter to the Societe d'á editions du chant
Delatte, Abbot 15
deletion of ornamental notes and the text, or both. Vollaerts concluded,
Delorme 42-43, 59
Delorme, Abbe: "La question rythmique gre'gorienne," La Musique
demanding the restoration of the authentic chant to worship was
demonstrated that, despite Solesmes criticism, there was no melodic
dence which did not coincide with his 2:1 proportionalism, and of misreading the medieval theorists. H.e
der Liturgischen Gesangsformen bis zum Ausgange
der musikalischen Kunst. Trier: J. B. Grach, 1876. 125
der Musikgeschichte (Leipzig: Breitkopf & Hartel. 192o-23~ I, ii.
der Musikgeschichte, I, 1929.
der Paulinus Druckerei, 1884. 67 pp.
der Regensburger Medicae (Eichstall, 1912), both cited by Jahner.
des dimanches et tetes del'annee, extraitdel'antiphonaire
des Mittelalters; Volume Two, Neumenkunde (fIrst
Desrocqueties, Dom Jean Hebert 24, 52, 53,
Desrocquetles, Dam J. Hebert OSB, A Simple Introduction to Plainsong.
Desrocquettes, Dom J. Hebert, OSB. Monographie gregorienne, XIII,
determine the version used, unless the "votes" 8fe equal; in that case, lots may be cast for the decision.
determined that all the antiphons are essentially in 4-4 metre; Dom
determined, information they could possess without access to the
developing rhythmic controversy.
development of a standard of chant practice throughout the universal
devote further study to the manuscripts. 5 'When Jausions died in
did nothing, however, to halt the publication of the Kyriale Vaticanum
Die Essener Neumenhandschriften der Landes -und StadtBibliothek
died less than a month after makingthe agreement. His son, Hyginus,
differences in the time values of the notes.
different rhythm for the other. But these Solesmes markings
different. Conversely, Mocquereau seemed unable to differentiate
differentiated between the Solesmes (i. e. Pothier), and neo-Solesmes
directive that referred to the "authority of the earliest manuscripts,"
dIrector to assign to each ictus in the composition its arsic or thetic
Directorum Chori 16
dis mo
disagreement about the rhythm. Three principal divisions of opinion
discarded' instead single pulses were grouped into two or three pulses,
discoveries, theories, and evidence are awaited with gr,eat interest!
discovery of the rhythmic proportions of this early medieval ecclesiastical
discussed the use of ornamental notes, due either to the text (e.g.
discussed these neums, demonstrating that it is the long note,
Disintegration of the Rhythmic Tradition . 5
distribution throughout the world.
Diuini Cultus Sanctitatem 41
divided, and where it is advisable to add grace-notes, ornaments, etc. 8
Divine Office are said. These are Matins (during
Divini Cultus Sanetitatem 40
divisions; the resulting "balance between sections" is provided by the
do little to convince one of Solesmes' claims to authenticity.
does a musical line progress, according to the Solesmes theory of
Dom Aldhelm Dean, for example, has written:
Dom David discussed intensity and rhythm, Latin pronunciation in
Dom Desrocquettes to music educators. that caution be used in leaving a system which has given the
Dom Gatard (Plainchant, London: The Faith Press, 1921, p. 46) and Pierre Aubry (Tribune
Dom Gatard was a Solesmes historian; Dom Aldhelm Dean, a
Dom Gregory Murray, in a review, referred to a periodical entitled
Dom Gregory Murray's Attack on Solesmes 54
Dom Janssens (members of the Commission), and Moisenet, Crospellier,
Dom Johner (A New School of Gregorian Chant, New York: Pustet, 1925, pp. 188-193) noted
Dom Joseph Gajard (1885- -), pupil of Mocquereau and the
Dom Joseph Gajard, present choir-master at Solesmes, has stressed
DOM JOSEPH POTHIER
DOM JOSEPH POTHIER
Dom Joseph Pothier, the melodic problem is today considered
Dom Lucien David (1875-??) was a Benedictine foll?wer of the
Dom LUCien David 41
Dom Murray believed that the Belgian Jesuit, Vollaerts, had at
Dom Murray replied that Dean
Dom Murray's major essays have appeared in The Downside
Dom Pothier has defied the evidence of the MSS. In some cases, as we have
Dom Suibertus Birkle explained Pothier's description of the chant
Dom Sunol, as typical:
Dominus Deus. Therefore, some of Mocquereau's theories, especially
Dominus Genitor.
Don Fernando de la Ynfantas, a Spanish musician, did not agree
dotted half~notes were used.
double-dotted notes.
doubled note values, and the letter "c" (for celeriter) was a sign for
doubled; the letters c and m reminding the singer of the exact observance
Downside Review, January, 1958; Caecilia, Vol. 85, No.
Downside Review, The 42, 55-58
Dr. J. W. A Vollaerts, a Belgian Jesuit (1901-1956),46 has suggested
Dr. Peter Wagner was at first a proponent of the Pothier-style of
Dr. Peter Wagner, replying to Bewerunge, noted that the Jesuit
Dr. Wagner had presented a paper to the Strassbourg Chant Congress
Dr. Wagner put it:
drama, etc. Berlin: L. Liepmannssohn, 1876.160
Dramatic and Symbolic Elements in
Dreisoerner, S.M.) Fribourg, Switzerland: Oeuvre St.
du B. Hartker. Paris: G. Beauchesne, 1902. Three parts
Du Cange40
du chant gregorien. Paris, 1861 (?).
du P. Lambilotte.) Paris: J. Lecoffre, 1855.48pp.
du plainchant. Le Mans, La Province du Maine, 1911,
Du si bemol gregorien 40
duced by a proper treatment of accents, pauses, and note durations. 12
due to the Widespread circulation the Solesmes books have achieved
Dumesnil42
duration, stating that all the evidence-of the medieval theoretical
duration, the rhythm being free, that is, non-metrical; the basic rhythmic
During the centuries of the chant's "golden age", the Roman repertory
during the numerous revisions and re-writings of this work.
during the period under consideration is that, for the first time,
Dusseldorf, 41 was a discussion of the codices, their con-
dwelt at length on the Benedictine disobedience to the commands of
e _ut equaliter sonetur (e. g. unison)
E - English
e::ast, ?e~ause the ictus deals only with movement and not intensity.
E:dlhon,. Letter of Cardm~l Martmelhl Prefect of the Sacred Congregation of Rites, to Monsignor
E. C. Schirmer, 1933. 182 pp.
each begi~ning with an ictus which is independent of the Latin ton~c
each bound tends to slow the forward movement and eventually to
each day. Musically, the Ordinary is made up of
each monastery or group of monasteries m.ay have evolved
each of which is "oldest" and "purest". Brought together hO€~~ver
earlier sho~1d worry about a phrase here or there being more or less
EARLY ATTEMPTS AT RESTORATION
EARLY ATTEMPTS AT RESTORATION (1840-1900) 9
ease of execution. For many, the Papal authorization of the
Ecclesiastical Chant 6, 58-61
ecclesiastical offices, as was the case in ancient times . 1
Ecole gregorien de Solesmes (Mocquereau)
Editi e Cura della Biblioteca Vaticana. Lipsia-Ottone
editings which now distinguish the Solesmes editions to have been
edition (without supplementary rhythmic signs of any kind) that the average
edition in three parts, 1901-1905; third edition, 1911,
edition of its official status, Pius was able to cite the "recent studies" at
edition of the chant is a rhythmic edition, and that the Vatican preface,
edition of the chant unsatisfactory, too, stating that it was based more
edition, 1905; second edition, 1912); Volume Three,
edition, Lyon: Janin freres, 1922. 152 pp.
edition, New York: Society of S1. Gregory, 1954), p. 12.
edition, Ratisbon & New York: F. Pustet, 1925. 363 pp.
edition:
edition. 1948), p. 41.
Edition. 26
editions actually provide a completely aesthetically satisfying
editions do not make any distinction. The ictus, Apel wrote, is perhaps
edItions du Chant gregorienne, requested a ruling on the Solesmes
editions have never been used and will probably never be used, wrote
editions in liturgical usage, for they have helped choirs and congregations
editions resemble practical editions of Bach, including phrasings, dynamics,
editor of the Tribune de St. Gervais in Paris after the death of Charles
editorial markings, he stated that, since most people have neither the
editorial policy. This policy is founded on the following considerations:
editorial that replied to J. Robert Carroll. Monsignor Schmitt wrote
editorializing, Desrocquettes warned the world against
editors had therefore developed their own method ofchant restoration.
Edouard Bernouilli's major work 23 was a history of the attempts
Eglise et la musique, I' 35
Einfuhrung in die Gregorianische MeLodien
Ekkehard IV 11
element in the Solesmes theory, it is unsupported by literary evidence from
element.
Elementary rhythm 22-24
else the ultimate unity of the period. " 23
elsewhere, chiefly through the Society of Sl Caecilia"
embellishment.
emphasis is a figment of the imagination! -w
emphasizing a secondary, rather than the main, syl~able of.a wo.rd
Enchiriadis 11 and the Micrologus of Guido d' Arezzo. 12 And Dom
encouraged, ever since the time of Pius XII, to continue and even to
end of that tendency. Thus the little vertical sign which we place on the note of
endings.
enormous complexity; since the chant is sung in unison and (ideally)
Enseignment musical de SoLesmes et La pri'ere
enthusiasm that caused young Father Sarto, as a pansh pnest,
entire body of St. Gall manuscripts and found that the total number
entire Church, and that the added Solesmes rhythmic signs were "toierated,"
entire Church,29 the Sacred Congregation of Rites decreed:
Episema
Episema 3, 19, 22-23,36,39-40,43,45-46,
episema and the letters t, x, and a requiring that a note value be
episema, found in the MSS. is understood
episema. He considered the types of melodies and their adaptation
equal in duration because they do not have absolute values in their relation
equalist-accentualist theories of Pothier for the official chant books,
Ernst C. Krohn, musicologist of the 81. Louis University Library, go
especially early examples in the antiphons. In the seco~d part of ~e
especially in the matter of the Latin accent. He criticized Mocquereau's
especially to know how the accents can be kept, and also the short syllables
Especially valuable compilation of various Papal decrees
essay in The Irish Ecclesiastical Record for January, 1906.7 Armed
Essener Neumenhandschri[ten der Landesund-
Esthetique, thEorie, et pratiquedu chant
et l'age d'or gregorien." Inhis other writings, Jeannin wrote, he,proved
Etienne GIoppe, 1926. 234 pp.
Etude sur le rythme gregorien. 19
Etude sur Ze rythme gregorien 11, 38-40
eval MUSIC Society, London. Published by the Society, London, Messrs. Vincent, 1898.
even valuable, but which were not artistic or scientific! 13
ever-changing Solesmes editions appeared, having been adopted by
everytwo or tl1r~~~Inple1Je~ts. '
evidence for study in the history of that civilization and in the evolution
evidence of the eleventh century theoretical writers indicates, this was
evidence on their side, although the Solesmes editions at least do agree
evidence, seem to have ended the five decades ahead of the
evident from the notation, of course, but they must be considered in any fair
evolution from Greek and Latin poetry. 16 Part three treated the
evolved: the Accentualist school, that of Solesmes, and the various
Ewald Jammers (1897-?), whose study of the antiphons in the
Examen du Memoire sur les chants liturgiques de R.P.
example indicating the opposite practice or indifference in the matter,
examples of tropes, and also of the conductus, and there was an excellent
examples, Father Murray demonstrated that this would provide a
excellent sources. 2.
except by regulation from Rome, and the Vatican moves very slowly
exchanged and shared, the present situation must not be disparaged.
excluded from liturgical celebrations, so long as they accord with the spirit
executed uniformly in every respect. Moreover, it is well known that the Pontifical
Exeter (England): Catholic Records Press, 1937.35 pp.
existed at no time, at any given place. 23
existed in chant only as gradual crescendi and diminuendi;
exists. '5
exists. The Gregorian composers, said Gastoue, followed whatever
extending over a whole group, or even senes of groupS.
extends to the whole of the compound time which it commands, and it keeps
extensive journeys to study chant manuscripts, and was successful
f
f
f
F - French
f - ut cum fragore feriatur
f .
F-c. 1934
factor in syllabic chant, but denied that the question was really so
Faith Press, 1921. 70 pp.
faith. This unique repertory, incomparably melodic and superbly devotional,
faithful, that the settlement of the Plain Chant must be dependent upon the
false additions!
far as to maintain that a five-note neum should be sung in exactly the same
Father Alexandre Fleury, S.J., (d. 1913), emphasized the importance
Father Antoine Dechevrens, S. J. (1840-1912) founded a mensural
Father Burge attacked Bewerunge's claim that, simply because
Father Ludwig Bonvin, S.J. (1850-1939) was a mensuralist follower
Father Michael Hermesdorff, the organist at 'the Cathedral of
Father Vollaerts reminded his readers that because the singers
Fcontemporary
February 1, 1964
February 1, 1964
Felis 10
felt that he did not do so very clearly. 35 The Gregorian music itself
Ferguson, Donald 2, 24
Ferguson, Donald N., A History ofMusical Thought. Second edition,
Fernando de las Ynfantas, Don 6, 7
fictitious trappings that usually go with present-day performance, the ictus,
fifteen-year monopoly in the printing of the chant books; the "reform"
Fils, 1907. 307 pp.
final paragraph of the 1958 Instruction by the S. C. R. It is interesting
finally included in the Solesmes series, Monographks-gregoriennes.
Finally, the approbation which the Sacred Congregation of Rites bestowed
finding the notes with "modal function" in each Gregorian melody
first American writers to follow Gastoue'in differentiating between the
First edition, 1905.
Fischbacher, etc., 1898. 263 pp.
fj
Fleischer favored the theory of the cheironomic basis of medieval
Fleischer-G-1856-
Fleischer, Oskar 12-13,39
Fleischer, Oskar, Neumen-Studien. Leipzig: Friedrich Fleischer, two
Fleischer's other major work was Die Germanischen Neumen.
Fleury and the Episema 36
Fleury-F-d. 1913
Fleury, Alexandre 36
Fleury, Alexandre SJ, Uber-Choralrhythmus. Publication ofthe International
Fleury, Alexandre, S.J. "The Old Manuscripts oJ Two Gregorian
Fleury, S.J., who theorized that all the notes in chant are quarter
followed, not questioned; uniformity of interpretation and polished
followers were LudWig Bonvin and Gerhard Gietmann, both
following an arsis.
For assistance regarding clarillcation of goals and purposes, limitations
For example, the rhythm of these word groupings is identical:
for example, was practically exhaustive. In these transcriptions, Fleischer
for extra syllables. The passage, in other words, is to be sung without
for Foreign Missions, set about comparing a number of manuscripts
For fuller discussion of this problem, see Sachs, Rhythm and Tempo (New York, W. W. Norton
for his comments and corrections of the early projection of this study.
for length, that is, as a quarter-note. This doubled note. value was mcreased
for most cases the only actuating principle that could be assigned is his
for so long in this country and elsewhere is evidently broken.
for the correct performance; no other rhythmic signs need to be added.
for the equalist-accentualist position of Pothier; she was one of the
For the Future 62
For the musicologist and the music historian, the choice is not so
for the myriad examples that are a falling and a rising? Mo(:quereau
for these five reasons:
for those who study, teach, and sing this great treasury of
fore, the Latin accent and.the ictus do not necessarily coincide;9aj~d
Forest and the Trees, The 35-51
FOREWORD
Foreword ,. xi
formation of his theories.
formerly one of Solesmes' supporters, now one of its bitter enemies;
forms of plainsong notes. It is clear from the writers of the eleventh century. however, that the rhythmic
found a remarkable number of manuscripts which match the Laon
found in the manuscripts, The horizontal episema signified a doubled
found in the most ancient documents. Contrariwise, it was emphasized that
found only in the oldest manuscripts, for even they are separated by
Fourth edition, 1954. 94 pages+8-pagesupplement.
Fr~.ncis Xavier ~aberl. Domestic Prelate and President of the Association of St. CaeciJia in Germany,
free rhythm. Later, the distinguished musicologist.favored meas~:~~
free, is that of ordinary speech," has influenced all the accentualists.
from a departure to an arrivaL The feeling of repose, not dependent
from any idea of force or lengthening out. It is a common fault to assimilate
from the 9th to the mid-13th century.
from the ninth to the fifteenth centuries, and a Graduale and Antiphoner
from the norm were probably local and temporary forms of expression.
from the points of view of music and speech. The position of the acute,
from the theoretical treatises of the fourth-to-twelfth centuries. Furthermore,
from this "next certain ictus" he, by another of his rules, counted back
from whom all the attacks, directly or indirectly, emanate. 12
Fulgentius Valesius, who had invented a new manuscript type
full of abbreviated neums and altered rhythms. 8
function of the horizontal episema is to indicate that embellishment
functions." These tones are the central part of the measures, and the
fur Musikwissenschaft, I, 1924.
fur Musikwissenschaft, XVII, 1935.
FURTHER SOLESMES CONTROVERSY
FURTHER SOLESMES CONTROVERSY AND THE
Furthermore, it is an assumption to state that authentic chant is
furthermore, the chant could never be finally settled in its melodic
fusion of equal or unequal simple rhythms. The pauses are also vitally
g _ut in gutture garruletur gradatim Same pitches
G - German
gained a virtual monopoly in many parts of the western world. The
gained fairly wide application, and they may provide an indication of a
Gajard agreed with Pothier that the Latin tonic accent is the rhythmic
Gajard-F-
Gajard, Dom Joseph 10,21-24, 55
Gajard, Dom Joseph OSB, The Rhythm of Plainsong According to
Gajard, Dom Joseph OSB. "Rythme gre'gorien etterminologie," Revue
Gal ard wrote,
Gal ard; It allows shades of expression, is like an indication of a slight
Gall manuscript and in the Solesmes transcription, Carroll defended
Gall manuscripts (which have been the basis for most of,the Solesmes
Gall manuscripts-a fourth notational system:
Gall notations are simply ambiguous and could possibly be interpreted
Gall, the St. Gall Codex 359, which he then edited and reproduced.
Gastoue-F1873-
Gastoue, Amade'e, Les anciens chants liturgiques. Grenoble: Brotel,
Gastoue, Amade'e. Review of Le nombre musical gre'gorien, Tribune
Gastoue, Amadee 16,18,29,33,35-36,45
Gatard stated that the Benedictines had placed at Rome's disposal
Gatard-E1862-
Gatard, Dom 5-7, 9, 10, 15, 17, 18-19,21,
Gatard, Dom August OSB, Plainchant. Church Music Monographs
gave a more natural and a mote intense rhythmic ictus . " and that
Ge
Georges Louis Houdar~(1860-1913),after study of the St. Gall
Germanischen Neumen 12-13
Germany with more liturgically-suitable music, and with stimulating a renewed interest in the chant, although,
Gervais, Paris, XXV, 1928. '
Gesang der Abendlandischen Kirchell
Geschichte der Kirchenmusik 11
Geschichte der Musiktheorie im IX-XIX
Gevaert, Musique de l'antiquite. Volume II. Cited by Dom Mocquereau.
Gietmann-G-c.1905
Gietmann, Gerhard 12
Gietmann, Gerhard, Choralia. (In Kirchenmusikalisches Jahrbuch,
Giraud, Cardinal 9
given in the Solesmes Liber Usualis.
given the same value, the same duration.6
given to a particular syllable became the rhythmical element. Ferguson
gl'CRoriollo. first edition, 1905), p. 73. Quoted by Reese.
Gloriosi are almost identical, the one obviously a variant of the
GLOSSARY OF TECHNICAL TERMS 84
Gmelch, Joseph, Aktenstucke der Regensburger Medicae. Eichstatt:
Gmelch8
gn!gorien, June 9, 1906. In Revue du chant gnfgorien,
gn!gorien, XLII, 1938; XLIII, 1939.
God forbid! . . . It is surely a startling proposition to put before the
Gogniat offered a careful explanation of the Gregorian notation
Gogniat-Sc.
Gogniat, Joseph 47-48
Gogniat, Joseph, Little Grammar of Gregorian Chant, (tr. by Charles
Gogniat, who noted that the Vatican edition is a rhythmic edition an.d
Gogniat. The four elements of the rhythm are the Latin accent, the
gone before, said Reese; even if the Solesmes views should ultimately
Gontier, Augustin, Methode raisonnee de plain chant. Cited in Catier:
Gontier, M. 9-10
Gontier's early (1859) definition of chant as "an inflected recitation
gorien, XXIX, 22.
gorien. Cited by Mocquereau.
Gousset, Archbishop 9
Graduai, and that by this means, the work of the Director of the Solesmes
Gradual and Alleluia or Tract, Sequence, Offertory,
Gradual for the Diocese of Treves 11
Gradual, with numerous alterations. This edition, published by Cardinal
Graduale for the Second Sunday of Lent, in his book, together with the complete neumatic notation from
Graduale in 1883, and other volumes of the restored chant followed
Graduate
grave, and circumflex accents in the history of neum development
grave, and circumflex accents into neums, discussed the kinds of
gre'gorien, David had great influence in the dissemination of chant
gre'gorienne authentique," 36 David advanced the theory that the
great Benedictine on the liturgy of the Church.
Greek word meaning "sign;" in chant, the horizontal
Greeks distinguished between two kinds of rhythmic movement, ,hat
Green, and Company, 1947.273 pp.
GREENWOOD PRESS, PUBLISHERS
Gregonan accent. As director of the periodical, Revue du chant
GREGORIAN
Gregorian Chant (Ape!) 11. 14,35-38. 41-
Gregorian Chant 45
Gregorian Chant Analyzed and Studied 45
Gregorian Chant As Prayer and Art 24, 53
GREGORIAN CHANT d
Gregorian Chant may now be completed. It would be regrettable, he
Gregorian chant of the most florid nature, with
Gregorian Chant reached its zenith in the eighth and ninth centuries,
Gregorian Chant Textbook 3
Gregorian chant, are permitted, provided that the force and meaning of the
Gregorian Chant, named for Pope Gregory I (590-604), who is
GREGORIAN CHANT: A history of the
Gregorian chant.
Gregorian Institute of America 51
Gregorian Institute of America, 1945. 148 pp.
Gregorian Institute of America, 1955. 92 pp.
Gregorian melodies in similar or identical form to those of the chant's
Gregorian melodies, the controversy assumed more definite shape.
Gregorian melody. Mocquereau traced the development of the acute,
Gregorian music altogether because it is archaic, but found it difficult
Gregorian Rhythm in the Gregorian Centuries
Gregorian Rhythm: A Pilgrim's Progress 57
Gregorianische ~lodien, Die 37-38
Gregorianische Formenlehre (1921). Part One appeared
Gregorianische Formenlehre 37, 57
Gregorianische Melodien.) First edition, 1895; second
Gregorianische Rhythmus, Der 43
gregorianischen choralmelodien. Leipzig: Breitkopf &
gregorien 10
gregorien, Paris: H. Herelle, 1926. 15 pp.
gregorien. Grenoble: Librarie Saint-Gregoire, 1929. 61
gregorien. Paris: Bureau de la Schola Cantorum, 1904.
gregorienne, Paris, September-October, 1952.
gregorienns. III) that all the vertical episemas and all the doubhng dots In the SoJesmes Credo lwere
Gregory Murray.
Gregory of America (New York: Society of St. Gregory, 1954, fourth edition), p. 23.
Gregory the Great, Pope I, 29. 35
Gregory XIII, Pope 6
ground maIntaInS and Increases the movement; after the post is passed,
groupings and to the theory of the ictus. Dom Gregory Murray
groupings can actually be resolved into one of these types.á
groupings. The final section of the book dealt with accent and duration.
groups and awkward rhythms, and treated the melodic repetitions with incredible
groups of people, some method had to be devised to keep them together;
groups of tones were performed in equal note values, however, the
groups of two or three. It is up to the physio-psychologist, then, to
groups, an awareness of the probable historical validity of the mensural
GROWING OPPOSITION TO SOLESMES
gtv~ng.all the tradltl~nal rhythm, comprises, without a doubt, all necessary
Gue'ranger credit for providing the impetus for the new edition of
Gue'ranger, Dom Prosper Louis Pascal OSB, Institutions liturgiques.
Gueranger of Solesmes to start the movement toward restoration
Gueranger, Darn Prosper 9-10, 14, 18,44,45
Gueranger's successor as abbot, to found a schola at 8olesmes. 2
Guido of Arezzo 5, 11, 13,57,60
Gustave Reese 45
Gustave Reese dted Wagner's important writings on the influence
Gustave Reese, in Music in the Middle Ages,46 acknowledged the
H. Keller, 1930. 2 vols.
h12 Raymond Schlecht, Micrologus-Guidonis de Disciplina ortis music"" (Monatshe{te fur Musikgesc
Haberl, "Authentic Interpretation Regarding the Rhythm
Haberl, Felix 8, 34
had 'to be kept together." Murray also repudiated his earlier work,
had been ordained in 1879, was encouraged by Dom Couturier,
had begun, and theoretical writel:s. of the' period ~~tedthis
had called for the reproduction of the melodies in the manner in which
had limited circulation and was little-used outside Italy; in time, it
half-notes for the long notes. His book also dealt WIth early organu ,
Handbuch der Musikgeschichte 36
Harrasowitz, MDCCCCXIII. Two folio volumes.
Hartel, 1913. 136 pp.
Hartker, Blessed 11, 13, 34, 43, 58, 60
Harvard Psychological Studies 18
has been a defender of Solesmes. In an essay, "The Forest and the
has been authentically published by Ihe Church from Ihe Vallean Press.
has been immediately withdrawn. In the circumstances the
has been solved, in large measure through the "magnifIcent example
has concluded that not only do Solesmes theories lack historical validity,
has inherited from the ancient fathers, which she has jealously guarded for
has opened the pages of that journal to the presentation of equalist, .
has summarized Solesmes method as insisting on the complete mutual
has written:
have been unsuccessfully trying to find in the chant. The chant melodies
have evolved: the accentualist, Solesmes, and the mensuralist (proportional
have many of them loaned to Solesmes. As early as 1866 he and his
have only two kinds of markings, the episema and the Romanian letters.
have the same value as notes or syllables which are expressed. 6
have their own rhythms, arid that the toriicaccentof the words may
Having decided that the first note of a neum has an ictus, he
Having projected their own notions, in spite of innume;able requests. , .
He also noted that some letters are lOUD in e )
he attempted to answer some of the criticism of Solesmes editorial
He bolstered his thesis with quotations from the decrees of the Sacred
He commissioned Palestrina and Zoilo to perform the revisions,
He considered it essentially an embellishment, perhaps rendered as a
he m.anuscnpts must be treated with critical prudence and a consIderatIOn
He published, in 1863, a Graduale for the Diocese of Treves, based
He quarreled with the Solesmes interpretation of the chant manuscripts;
He utilized the manuscripts only, discounting the writings of the medieval
he wrote, "are nothing but a modern way of reproducing the
he wrote, was practically based on a double-method: that of Pothier'~
Hebert Desrocquettes. Criticizing the present-day attacks on Solesmes
Heinrich Sowa, who rendered the antiphons in triple metre, alternating
Heitz, Strassbourg, 1955. 187 pp.
hensanger, Freiburg, 1910; Revue gregorienne, Tournai, Nos. 4, 6, 8; Tribune de Saintrvau,
Herein lies one of the ironies that are 50 often the consequence of ex~reme
heritage of the people.- The Roman chant travelled with the missionaries,
Hermesdorff, Michael 11
Hermesdorff, Michael, Micrologus Guidonis de Disciplina artis musicae,
His discussion of the Romanus letters, found in some 8t. Gall
his earlier Graduale revisions. Palestrina stated that he had "corrected"
his fifteen-year study of historical and manuscnpt eVIdence, are detailed
his first work was a reproduction of the distorted Nivers chant at
His Holiness was pleased to receive this gracious gift and had, furthermore,
his ideas of free rhythm. But his doctrine that the verbal accent is_ tile
His list of the medieval theorists (c. 500-1100) whose writings are
his own; none had any basis in the manuscripts. . .
his pupils carried on the teachings of Pothier. this theory of the independence of verbal and mUSical a~
his studies. He willed his manuscripts to Dom Francis de Mee'us,
his teacher's complex rhythmic theories in a series of lectures which
his theories are so intricate and complex that a chapter is devoted to
his will with full firmness and clarity in a private audience, awoke the next
Histoire de l'harmonie au moyen age 10
historical exactitude and ingenious fancy. "8
historical validity of the theory is, " to put it mildly, higWy questionable."
history of a neum can be followed in its formation, its variations, and its corruptions .
History ofMusical Thought 2, 24
history, the study of styles, and the science of paleography. Further
Holland: E. J. Brill, 1958). '
horizontal episema (--), a line placed over the notes and having
horizontal episema (considered a sign of lengthening in the St. Gall
Houdard-F-1860-1913
Houdard, Georges Louis 13,39,44,51
Houdard, Georges Louis, Le rythme du chant dit gregorien. Paris:
how the Papal Commission had worked, how selections between various
however, not necessarily so significant, because to the medieval copyist
however, that the normal order is arsis-thesis.
hrase and the pause. The final part of the book was devoted to a
Hucbald 19,57
Hugo Riemann and Four-Square Rhythm 36
Hyginus 7
hymn metre.6 He also believed that Gregorian chant contains
I
I
I
I
i
I
I - Irish
i - iusum vel inferius insinuat
I - levare neumam
I "
I am especially grateful to Dr. Murphy for his editorial suggestions.
I am indebted to Dr. Walter Rubsamen of the University of California
I do not hesitate to say that most of the controversy on Gregorian rhythm,
I Pope Pius X, Motu Proprio. April 25. 1904.
I, Reihe I, 1929.
I,.
I. htle.
i~
Ictus
Ictus 3, 19-20, 22-24, 39, 45-46, 50-52, 55,
ictus is thus an end and a beginning; a thesis and also an arsis. It is
Idea ~f the importance and scope of Dr. Wagner's contribution may
idea will place their own efforts in better perspective. So will the
ideas of rhythm. . " . d
If no methods of chant survive in a universally used edition save that of
if not approved, was ever-more firmly established, due to the
If the direction of the Chant of the Church is not to be determined by official
II
II, 1930.
IIi
III, 1950. Cited by Apel.
IL BOOKS
IlL PERIODICALS
im spiiteren mittelaUer. Leipzig: Breitkopf & Hartel,
immediately, and it was bitter; Dr. Peter Wagner, a member of the
importance to the medieval singer than printed music is to the Contemporary
important accentualists were Suibertus Birkle, who explained the
important manuscripts.
important: even though not indicated in theneumatic notation,they
importunings that the whole Church be compelled to adopt
impressive historical evidence; the accentualists can prove that at
impulse of the music is determined by the accent of the Latin word.
In "Accentual Cadences in Gregorian Chant" 41 Father Murray
In "Plainsong Rhythm: The Editorial Methods of Solesmes," 29
In "Textvariationen zur Musica Enchlnadis,. Sowa .e~a.It.ll~;
in 1876, but a projected, revised third edition was not completed.
in 1889, and the seventeenth (final) volume was published in 1925.
In 1903, the monopoly held by Pustet in Ratisbon in the publishing
in a free, non-metred rhythm based on notes of equal length.
In a report to the influential Plainsong and Medieval Music Society
In a review,lo Apel summarized his position:
in accord with Solesmes theory, sOl:nds the same, as far as intensity is concerned,
in Accordance with the Oriental Usage," (The Messenger, XLVI, 1906), p. 465; "Liturgical Music from
in all of Solesmes writing, he quoted a dissembling, non-definition by
In all texts, whether of lessons, Psalmody, or chants, the accent and rhythm
In all the liturgical recitatives . we must remember that, if the cadence
in America in Caecilia.
In an analysis of a section of the Gradual, Eripe me, from the St.
In an essay, "Les signes rythmiques d'allongement et la tradition
in an indefensible position, wrote Waesberghe. While some of VoUaerts' methods were scientific, some
in both German and English,16 and several chant Masses, realized
In Ccreclila. Vol. 85. No.4. Fall. 1958). pp. 345á377.
in churches and chapels and monasteries, was the subject of
in copying a manuscript of the library of the Monastery of St.
In Der Gregorianische Rhythmus,'o Jammers noted that Pius X
in die vatikanische choralausgabe. Regensburg:
in English in 1907 as Introduction to the Gregorian
in Etude de science musicale (1898) and then proposed, in Les Vrazes
in existence were the works of monks of precisely the same
in favor of the "traditionalist" members of the Commission,
In Germany, Heinrich Sowa worked on a rendition ?f th~
in Gregorian Chant. (Paris). Toledo: The Gregorian
in Gregorian melody, the accompaniment of chant, and the methods
in his archaeological explorations because he did not know the history
In his attempt to explain the ictus, Carroll contradicted official
in his encouragement of further research. The Second Vatican Council,
In his essay, Carroll noted that Solesmes is taking advantage of
in its epochal CONSTITUTION ON THE SACRED LITURGY (pro- .
in locating and making available quantities of materials. To Mr.
in modern music. He transcribed the punctum and virga (singlenote
In Monatshefte fur Musikgeschichte, VI, 1874;
in music education. But, he wrote, since the primary obligation of the
in need of revival; it was a fortuitous combination of circumstances
in one vol.
in order that all may abide by them and that the chant of the Church be
in others, a morbid fear of the tritone made him introduce changes . But
in our time. Certainly the chant is a vital force in twentieth-century liturgy
in our time. Of course the chant had rhythm, but rhythm is not
in progress; perhaps conclusive evidence will be forthcoming
in regular 4-4 or 2-4 metre, basing his theory on his interpretation of
in rising passages as well as the long syllables in descending passages; also
In Solesmes theory, Pothier's equal note values and free rhythm
In some cases, all the manuscripts except the 8t. Gall agree
In space of the musical rhythm, showing both the place of each ictus
In Spanische Forshungen der Gorresgessellschaft,
in spite of all the decrees and pronouncements from Rome that Pothier
In spite of numerous careless mistakes by copyists throughout
In spite of the efforts of the publishers, however, the new edition
in such matters. In an Instruction on Sacred Music and the Sacred
In t e ~id~le ~es, New York: Norton, 1940, p. 122) claimed thaI Schubiger piaced too much credence
In the chapter on "Liquescent Neums and Ornamental Notes,"
in the Chartres library, published in the 1914 volume ofthe
In the early days of the Church, and into the early Middle Ages,
In the first, "Double Direction of Movement," Jeannin noted that the
in the Gregorian "recitations." The Solesmes rule that the first
In the Institutions liturgiques, Gueranger had written: "When a
in the liturgical and the Gregorian revival. Then he wrote:
in the manuscripts are not indications of rhythmic nuances, but are
in the manuscripts were not indications of rhythmic nuances that
in the manuscripts: short lines (episemas) added to the neums, and
In the meantime, Th. Nisard had attempted the publication of
in the melismatic chant, account must be taken of the composed neums
in the Motu Proprio of Piux X (1903), calling for a general return
in the music; they place the stress on the tonic accent of the
in the mutilation of the traditional chant. About 1850, considerable
In the neumatic and melismatic chants particularly, I would admit subtle'
in the past fifty years. At any rate, the monopoly held by Solesmes
In the past hundred years a notable Gregorian revival has given
in the Rassegna Gregoriana in July-August. Cagin's attack
in the same way.
in the St. Gall manuscripts. Father Vollaerts totalled the
in the use ofdistinct signs for marking long and short notes. Two basic
In thi~ work, he concluded that the measure and the rhythm in
in three volumes: Volume One, Ursprung und Entwicklung
in TM Cathooc Choinnaster in America; translated into French and 1ssued In La revue gregonenne, and
in transcription.
in twos and marked another ictus on the second syllable of Pange;
in which the author distinguished between transformatw, ~ change
in which the notes have an unfixed value, the rhythm of which, essentially
In~ensIty of LatIn accent or gravity of ictus which simply does not
Incise 20, 21
include~ also the rhythmical form of the melodies, which, consequently, is
included an eleventh-century treatise which has been p~es~rved In the
Includes index.
inconsistency. 13
incorporated because of a special theory of rhythm which is now obsolete.)
independence of rhythm and intensity and of the rhythmic ictus and
INDEX --------------- .= :8.7
INDEX 87
Indiana: Grail Publications, 1951. 126 pp.
indicates a mensural rendering of the chant. The Anfange also contained
indicating modal changes. The tonary is followed by a s~ort treatise,
indication to the contrary, an accent of itself indicates rhythm. 33
individuals such an important and essential element as the rhythm of the
ins~ead, the Latin word is really an "elementary rhythm", with it~
InSIS . t7 th . d the
insisted on the practical value of their "rhythmic" editions, wrote
insisted that the punctum and the virga were equal in duration, since
insistence on the note.
Institute of America, 1952); Gustave Reese, Mw;icinth£ Middle Ages (New York, Norton, HMO).
Institute of America, 1956. 147 pp.
Institutions liturgiques 9
Instruction of 1958 61, 62
intact to the end of the sixteenth century 6 ,but then even they were
intended from the beginning and with the open approval of the Holy See
Intensity, while important in the rhythmic synthesis, is not essential
interest in such a restoration now seemed ripe.
interest was aroused in a revival of the authentic chant, and
interested in the chant neums. He contributed one major principle to
interpreting these measures involve two ways of considering rhythm:
into conformity with each new discovery. Is this a scientific basis to rest a
into the fmal of another mode, and transpositio, a change ~nt~ a cofinal,
introduced by Dom Mocquereau . have been admitted into the Vatican
INTRODUCTION
INTRODUCTION 1
Introduction to the Gregorian Melodies 37
Irish Ecclesiastical Record 27-30
Irish Ecclesiastical Record, XIX, January-June, 1906.
is a clear and logical explanation ofthe Vollaerts theories.
IS approached; therefore, unable to stop once the line is crossed it
is as simple and natural as the principles advocated by Pothier. 2s
is between the official Vatican version and the edited Solesmes version.
is chaos; others believe rejection of Solesmes would lead to wider acceptance of the Vatican edition and
is composed of groups or motifs of two or three notes, and every second
is concerned.
is constructed on an accentual principle, then logic demands that the decisive
is exactly that, and nothing more.
is immediately preceded by an accented syllable on an isolated note,
is incredible, for certainly the monks and writers of the ninth century
is not only unscientific and inartistic, but also at variance with
is perfect and is actually better than Solesmes." (Lecture, "Gregorian Chant as Prayer and Art," opening
is the cessation of repose; all movement supposes a repose immediately
is the essential element, in fact, the soul of the chant rhythm, the
is the grouping of sounds into a synthesis, achieved by a series of
is to be avoided; J. Smits van Waesberghe, who felt that a 2:1 proportionalism
is too rigid and insisted on nuances;Dom Gregory Murray,
IS usually a ~Jgn ~or a note added to the end of a neum, either on the same pitch or a step above it. Solesm~
is weaker if the nature of the corresponding syllable needs less emphasis .
is, consequently, the Chant proper to the Roman Church, the only chant she
ISBN 0-313-22811-6 (lib. bdg.)
Issues dated 1845-1849.
it follows; the vertical episema (I), which marks the ictus; and the
It has always been and still is absolutely foreign to the mind of the Holy Father
it has the effect of lengthening the note immediately
It is desirable also that an edition be prepared containing the simpler
It is difficult to see how this change of rhythm - assuming that it took
It is impossible, wrote Gatard, to discover the principles which
It is necessary in reforming plainchant to have a knowledge of metre, and
It is not on the disputed texts that we have based our Solesmes teaching.
It is possible to criticize Solesmes for their uniform application of
It is the purpose of this study to make available to scholars and
It is with the conflict and controversy among these three opposing
it makes no mention of any controversy whatsoever) After recounting
it occurs on what Solesmes considers an upbeat.
it seemed that no two mensuralists could agree on anything, except
it should be given pride ofplace in liturgical services.
it to the accent of the words and give it their value. In itself it may be
it was considered good for its time, although the old prejudices regarding
IT WAS HE CAME TO BE BOTH EDITOR AND JUDGE IN THE LAST
It was very quickly apparent after the publication of the "pure" Vatican
It was, of course, in the twelfth century that staff notation became
It would be difficult to see any definite principle in all the cases where
its own time in the matter. "Why, then, the great pretence, the great
ix
j,
J. Brill, 1958); and Waite, The Rhythm of Twelfth-Century Polyphony (New Haven: Yale Umverslty
J. Robert Carroll of the staffofthe Gregorian Institute of America,
j""--
J~annin's major contribution to the Gregorian controversy was the
Jacobsthal, G. 11
Jahrhundert 36
Jammers concluded that there was no real fixed Gregorian tradition,
Jammers-G-1897Reese-
Jammers, Ewald 43-44
Jammers, Ewald, Der Gregorianische Rhythmus. Strassbourg: Heitz
Janssens, Dom 29
January, 1959; Caecilia, Vol. 86, No.2, Summer, 1959.
Jausion's death in 1870 had continued his paleographic and archaeological
Jausions-Fd.
Jausions, Dom 10, 15
Jeannin noting that the vertical episema is a Solesmes sign and is not
Jeannin quoted Mocquereau to the effect that the arsis-thesif movement
Jeannin stated, because they do not follow the manuscript indications,
Jeannin sympathized with the Solesmes desire for an adequate
Jeannin-F-1866-1933
Jeannin, Dom Jules 12, 38-40, 44
Jeannin, Dom Jules OSB, Etudes sur le rythme gregorien. Lyons:
Jeannin, Dom Jules OSB. "Du si bemol gre'gorien," Tribune de St.
Jeannin, however, disagreed, stating that the two kinds of movement
Jeannin's anti-Solesmes essays, chiefly those dealing with the interpretation
Jeannin's treatment of the oriscus was lengthy and enlightening.
Jesuits. Other important mensuralists have been Oskar Fleischer, who
John Rayburn
John Rayburn
JOHN RAYBURN
Johner-G1874-
Johner,
Johner, Dom Dominic 5-6, 8, II, 15, 35-37
Johner, Dom Dominic OSB, A New School ofGregorian Chant. Third
Joseph Gogniat, a friend and pupil of Peter Wagner, was a follower
Joseph Gogniat's Little Grammar 47
Juget, Des signes rythmiques de Dom Mocquereau et de leur malfaisance.
June, 1960, p. 8.
k - cIange
keeps on ~ovi~g. Befo.re reaching the winning post, each pace on the
Kienle, 1881, same pub~jsheT).
kind, with personalities as well as principles involved.
Kirchenmusikalisches Jahrbuch 12
Kirchensanger 11
Klarmann, Andrew 3
Klarmann, Andrew Francis, Gregorian Chant Textbook. Toledo: The
knew more about the subject at hand than did those of the nineteenth
knowledge of chant history; the former has only created five decades of confusion.
knowledge, there is no need to say that any of the schools of chant
Konigsberg: E. Steinbacher, 1930. Barenreiter: Verlag
Kyriale
Kyrie tropes. 20
L
l sdhod
L VATICAN DECREES
L'art gregorien is one of the most fascinating of all histories of
l'elat et de l'avenir du chant ecclesiastique. In 1847 Danjou discovered
l'unile'dans Ies chants liturgiques (Brussels: C. J. A Gruese, 1851); EstMtique, theorie, et pratique du
l).,sdcc, 1964).
l~rl
la chant gregorien." Regarding verbal and musical accentuation, he
La musique d'e'glise, which published, in 1934, a series of articles
la tradition gre'gorienne authentique," Revue du chant
LambiJotte, Louis 10
Lambilotte, Louis SJ, Clef des melodies gregoriennes dans les antiques
Lambilotte.) Paris: Didron, 1857. 109 pp.
Lamentations of Jeremiah 12
land: Oeuvre SI. Canisius, 1939).
Lang, Paul Henry 2
Lang, Paul Henry, Music in Western Civilization. New York: W. W.
language.
Laon 239 MSS 43, 59, 61
Laon manuscript in the Metz notation, dating from the ninth or tenth
Laon manuscripts remains to be seen.
large number of manuscripts of different age and provenance agree
last found the key to the authentic Gregorian rhythm, and called upon
Latin tonic accent 29
Latin words themselves have an arsis-thesis effect; the rhythm of the
lation of his predecessor and cited the progress that had been rna
laws of rhythm, the natural rhythm and accent of the words, neumatic
Laye: MirvauIt, 1904.58 pp.
Le nombre musical gre'gorien (1908 and 1927)claimed the restoration
Le nombre musical gregorien 18
least by many Belgian musicologists.
Lecoffre 9, 32
led the attack for Solesmes against the Vatican edition, and J. Robert
led the attack of the Solesmes supporters on the new Kyriale in an
legitimate tradition of past ages, as well as of the actual use of the liturgy of
Leipzig: Breitkopf & Hartel. Part I, reprinted in Caecilia,
lend themselves to a flexible, variable rhythmic scheme, almost
lengthy explanatory sentences.
Leo XIII, Pope 15
Lethielleux, M. 32
letter c are to be sung short-the others are all long, whether marked
letter. Reese has noted that generally the letter affects the neum, 11 bl,lt
Letters concerning the melodies:
Letters concerning the rhythm:
letters written above the neums. Episemas are found, according to
Lettre sur le droit liturgique 9
Leuckarl, 2 volumes, 1901, 1902).
Lhoumeau 39
Li$C ofthe SocreCy ofSt. Gregory in America, fourth edition, New York, 1954), pp. 7-10.
Liber Gradualis (Pothier) 16
Liber Usualis 20
Library or Congress Cataloging in Publication Data
library. It included several pages of beautifully reproduced
lifted up, and rounded off like an arch, Is not heavy or strongly stressed, is arsle and not thellc. to
limited. Most musicologists who have studied the matter are convinced
Lipphardt, Walther, Die Weisen der Lateinischen Osterspiele. Im Barenreiter
liquescent notes), or to embellishment (anticipations, passing tones,
lists of "approved music" are, on the other hand, somewhat
Lite .YheApel, Gregortan Chant, p. 161. The work by Jacobsthal is Die ChromatiscM Alteration im
Literally, "lifting;" in chant, the rising melodic
Literally, "lowering;" in Solesmes theory, the repose
Literary Evidence." 3. Mocquereau's attitude toward the medieval
Little Grammar of Gregorian Chant 47-48
Liturgical book containing the chants for the Ordinary
Liturgical book containing the parts of the Mass
liturgical feasts. The second part of the book discussed th: history of
liturgical hymology, for example. One cann~t sup:rfic~allY reject various
liturgique 10
liturgiques, the first two volumes of which appeared in 1840
Liturgischen Drama 11
Liturgists such as Peter Wagner have claimed that Fleischer failed
liturgy to their dioceses. Gue'ranger published his important Lettre
Liturgy, dated September 3, 1958, the Sacred Congregation of Rites
liturgy . "
logic accent (functioning to the sentence as the tonic accent does to the
logus in Tonariwn (In Gerberl: Scriptores, II. 77-78); Guido of Arezzo (d. ~lCca 1050): MICrologus ~nd
London: L. J. Cary, 1963.
long and short notes in the manner ofthe first rhythmIC mode. Th
long and short notes; Delorme, who found in severa! notational systems
long note, not the short, gives the chant its motion and that the true
lost. Palestrina agreed to "correct" the Sanctorale himself, but he
lOT. A Burge, OSB, "The Vatican Edition of the KyriDle and its Critics, "The Irish Ecclesiastical
Louis Lambilotte 10
low sounds;
Lowering the notes
m _ mediocriter; often used with other letters: e.g., am - altms medlOcnt~r; .
m 1!eumenku~de comparing melodic figures as they appear in the
m a mode of singing which has nowhere and never existed!
m- mediocriter moderari melodiam
M~~srs. BlaIs, Lecoffr~, and Lethielleux, members of the Societe d'
Macdougall, R. 18
Mainly because of the scholarship of the Solesmes Benedictine,
Mainz: B. Schott, 1954. 102 pp.
major work of legislation, the Pope called for the restoration of the
make the chant easier for modern choirs to sing were the ones who
make up sections (incises), then members, phrases, and periods.
making available microfllms of the Vatican Library chant collections.
making available to scholars the Pale'ographie musicale.
managed to wrangle in support of "his" edition!
Mans, M. Gontier, who published, with Gue'ranger, a Methode
manuscript and the bibliography.
manuscript signs, and criticized Mocquereau for concerning himself
manuscript signs, when the work of the chant restoration was attempted.
manuscript, since all the authentic rhythmic signs concern the lengths
manuscripts and the medieval theorists to prove that the evidence
manuscripts or in the works of the medieval theorists. True, there are
manuscripts than some other versions. Bewerunge claimed to be vigorously
manuscripts there as an indication of how the chant was generally
manuscripts which were unclear; he did not give cogent reasons for his c.onclusions; and he even ret~aced
manuscripts, is important. There are two mai~ types of rhythmic signs
manuscripts, it is less-worthy than the Solesmes versions. This principle
manuscripts.
manuscripts. The rest of the Commission, favoring the "legitimate
manuscripts), and the Romanus letters were indications of exactly
Many friends have been generous with time and with helpful suggestions
many neums, or even dozens of neums, on one
Marie Pierik 45
Marie Pierik has been influential as a popular historian writing
Martinelli, Cardinal 34
Martinelli, Cardinal Sebastian. Letter to Monsignor Francis Xavier
matching a specific neum in one with a specific neum in another, he
material, heavy, grovelling. 21
Mathis-Lussy 42
matter of public record. From the following summary, however, it is
matters as the ligatur.es, the long s:nd
may be dearly heard, how the syllables should be joined, not separated or
may be lengthened, as is done in some of the manuscripts. VolJaerts presented a full transcription of the
may correctly place this "decline in authenticity" as recently as the
may not have been the same as that of the sixth century solo chants.
May-June, 1906, p. 169.
md.lcatlO~s and sufficIent for practical purposes. Nevertheless, the Holy Father
mean by an ictus, wrote Reese; after failing to find a clear definition
meaning of the Laon neums. In the comparison, consistently
meaning of the word measure and the ancient meaning of that word,
meaning of those words. The wrangling and fighting started almost
means solved, and that, on the basis of his knowledge and understanding
meant. Dom'Andre Mocquereau (1849-1930), a pupil of Pothier, was
Meanwhile, the principle that the Vatican edition was official for the
measure is not a strong beat, but really a momentary repose after
Mechlin Gradual 8
Mechlin: H. Dessain, 1908. Reprinted in the Liber
Medicean Press 7
MediceanGradual7, 15,21
Medici, Cardinal 7
Medieval Music Society, Messrs. Vincent, 1898.
Medieval Quartal Harmony 36
Mee'us in a letter to the editor of Caecilia.44
Mee'us-Vos. "The Problem of Gregorian Rhythm," ActaMusicologica,
Meeus, de 44
melismas in Gregorian chant result from (the intention to counteract rather
melismas in the chant, and observed that this procedure of
melismata . they added short ornaments where frequently there had been
Melismatic Chant
melo~ies, and that chant was made diatonic with the invention of staff
melodic contours apart from their rhythmic elements, and when
melodic motives, which are to be sung in a rather slow tempo. By
Melodies gre'goriennes, Les 16
melodies gregoriennes (1880); Liber Gradualis (1883); Directorum Chori (1884); Liber Gradualis.
Melodies gregoriennes (1902) that the Vesper antiphons be rendered
Melodies liturgiques 38
melodies of the Church,30
melodies sung according to the Solesmes system. 25
melodies, and he presented paleographic evidence for his work .on the
melodies, for use in small churches. 54
melodies; those indicating rhythm; and those modifying a preceding
Melodies: Part I: Origin and Development ofthe forms
melodies. He accepted the Solesmes principles of binary and ternary
melody and rhythm. There is general agreement thatthe melodic problem
melody could then be distorted into the kind of "counter-rhythm" that
melody inevitably involved the rhythm, for it is impossible to consider
melody. It is inconceivable, Murray wrote, that if the rhythm of one
member of the Solesmes community.
Memoire sur les chants liturgiques 10
men, working independently, inevitably developed varying theories
Mensural systems. Each of the three has made an enormous contribution
mensural theorists, attacking Solesmes with vigor, venom, and historical
mensural transcriptions. At any rate,
mensuralist, and various other interpretations of chant, he belongs
MENSURALISTS
Mensuralists 2-3, II, 13, 35, 46, 48-49
merely a modern representation of the signs in the ancient manuscripts.
Messenger, The 35
Methode raisonee de plain chant 9
methods of Dom Pothier is strongly to be recommended.
Methods of Solesmes," The Score and 1, M.A Magazine,
methods.
Metodo completo de Canto Gregoriano 45
metre; Dom Jeannin, who insisted on two note values arranged in free
metres.
metres. It was probably sung in regular tempo; deviations
metrical music of later times, there may have existed an isolated and
Metz notation 19-20,43,59
Middle Ages, and he published the results of his studies in the Revue
mIght or might not be a quarter-tone. Houdard considered il a short ornament involving both upper
Mirvault, 1912.35 pp.
misunderstood the teaching of Solesmes. His musical examples were
MOCQUEREAU
Mocquereau also discussed chironomy, as' cited by Hucbald (c.840930),
MOCQUEREAU AND THE SCHOOL OF SOLESMES 18
Mocquereau quoted his teacher: "Each word must form a whole. The
Mocquereau stated that it sometimes affects only the single note over
Mocquereau with the attempt at a restoration of the rhythm and for
Mocquereau wrote that his restoration of the chant was based on
Mocquereau-F1849-
Mocquereau, Dom Andre 3,5,16-24,27,29,
Mocquereau, Dom Andre' OSB, Le nombre musical gregorien. Tournai,
Mocquereau, Dom Andre' OSB. "Les principes rythmiques gre'gorienne
Mocquereau, Gastoue" wrote:
Mocquereau's adaptation of the signs for prolongation, while ignoring
Mocquereau's finest contribution.
Mocquereau's methods; however, statements such as this:
Modern rhythmic signs, in our Solesmes choir books, are no new invention,
modern signs in order to make the Chant easier to be sung. 16
modern way of reproducing the rhythmic signs found in the best MSS., and
Modifications of the preceding letters:
Moissent, M. 29
Molitor, Gregory 67
Molitor, R., Nachtridentinische Choral-reform. Leipzig: Leuckart,2
Monks of St. John's Abbey. TheoriginalGermanedition
Monograph. Graz and Vienna: The Styria Press, 1907.
Monographies gre'goriennes 54, 55, 57
Monophonic or polyphonic song of the 12th-13th
Monsignor Schmitt agreed that the Solesmes system is simply
Monsignor Schmitt and Caecilia 53
Monsignor Schmitt. He continued:
Mora vocis 48
more thaI1 two centuries from the time of Gregory. Problems would
most of the extant relevant manuscripts date from the ninth and following
Motions of a conductor's hand, intended to indicate
Motu Proprio 1904 15, 25-27
Motu Proprio, April 25, 1904, the Pope established a Pontifical Commission,
Motu Proprio. But the Benedictines, in no mood for moderation, insisted
movement; it is the end of a precedingmovement, rather than the start
movement.
mulgated by Pope Paul VI on December 4, 1963), has ordered further
Muller 8
Muller, Archiv~ fur Musikwissenschaft. Leipzig: Buckeburg, 1918.
Muller, one of the first to attack the Medicean book, wrote: "in
Murray attacked the entire ictus and binary-ternary theory of Solesmes,
Murray concluded that any hesitation in attributing a rhythmic sig,
Murray derided the Solesmes claim that their rhythmic signs are
Murray in his study of Credo I, especially if it is immediately preceded
Murray noted that the two Gregorian melodies of the Pange Lingua
Murray surmised that the edited Solesmes books have been widely
Murray-E-1905-
Murray, _Dom Gregory 3-4, 42-44, 54-58, 61
Murray, Dom Gregory OSB, Gregorian Rhythm: A Pilgrim's Progress.
Murray, Dom Gregory, OSB. "Plainsong Rhythm: The Editorial
Murray, for they provided the vital clue to the problem of the authentic
Murray, Gregorian Chant According to the ManuscriplS (London: L. J. Cary, 1963).
Murray, O.S.B. (b. 1905). A one-time supporter of Solesmes, (Desrocquettes
Murray; 45 their magnificent task of restoring the pure and authentic
Murray's book Gregorian Chant According to the Manuscripts
Murrett, John C., The Message of the Mass Melodies. Collegeville:
Music and Liturgy 57
Music Educator's Association national convention,
Music in the Middle Ages 1-2, 5, 9, 11, 17,
Music in Western Civilization 2
Music Series, Leo Schrade, editor. New Haven: Yale
Music Teachers National Association, Proceedings. Vol. X, 1915.
music was changed to those syllables. For example, if the Latin word
music. The first half of the book considered the manuscripts;
Musica (in Gerber!: Scriptores, n. 227).
Musica Enchiriadis II, 44
Musica mensurabilis 5
Musica plana 5
musical accent ("absolute verbal cacophony"), but found the Vatican
musical examples.
musical gregorieTl.3 In these volumes, he asserted that 80lesmes had
musicale (1910).15
musicale 11
musicale.
musician and scholar cannot be minimized.
musician. Therefore, the positive indication of any sort in
Musicological and paleographic studies in the first half of this
musicologists. Because of his international reputation in
Musikalisches Spicileigen uber das
Musikgesellschaft. Leipzig: Breitkopf & Hartel,
Musique de l'eglise 42-43
Musique et liturgie 35
muslcale.
must be conceded. He quoted Lhoumeau's solution as distinguishing
must be pronounced in a single movement, the accented syllable being
must therefore, in a large measure, be restored to the functions of public worship .
Nachtridentinische Choralreform 7
nay contradictory, rhythms for the spondaic and dactylic forms of the same
neighboring t9nes, etc.), basing this part of his study on the work of
neo-Solesmes theories of Mocquereau.)
Neum
neum consists of two short notes; ifthe neum is lengthened, however, then both notes must be lengthened.
neum in melismatic chant. The result is a free, non-metered rhythm,
neum notation. The book also discussed the "recitations" in chant
neum unless that neum were immediately preceded or followed by
neum.'O Wagner's monumental study, Die Gregorwmsche Me . en
Neumatic Chant
neumatic notation, the melodic form and modality of the chant, and
Neumen, analyzed various works from the point of view of neumnotation
Neumenkunde 29, 37
Neumenstudien 12
neums exactly. The book gives numerous examples of this correspondence.
neums in the manuscripts, and that Solesmes scholars themselves
neums, their rhythmic origins, and the episema principle. 8
neums. The book included an analysis of some of the melodIes, es.
neums) as quarter notes; the podatusandclivis (two-note neums)
never before written works on the science of chant, hts lIturgIcal dIScoveries"
New School of Gregorian Chant, A 5, 11,15,
New theories were offered by almost every student of the problem, and
New York
New York
New York: Appleton-Century-Crofts, 1948.641 pp.
New York: J. F. Wagner, 1904). pp. 33-35.
New York: Society of S1. Gregory, 1954, p. 23).
New York: Society of St. Gregory. (n.d.) Cited by Dom
nificance to these signs is dispelled when reference is made to the 8t.
Nisard, Th. 10
No longer were new editions prepared on the shaky foundations
no support for their rhythmic ideas.
no two mensural systems agree, much must still remain to be discovered
no weight at all, because for every example he cites, an even larger
No. 21, London, October, 1957. Reprinted in TheDownside
No.1, February, 1957.
Nombre Musical Gregorien, Le 3, 16, 18-24,
Nonatolian notation 19,43,59
None (about 3 P.M.), Vespers (evening), and
none of the other chant scholars claims for himself" 23 argues against
normally mdlcates its proper time value. However, when the penultimate note is short, then the final note
Norton Company, 1941. 1107 pp.
Nos Quidem 15
not dull or mechanical. "The .much criticized rhythmic signs of Solesmes,"
not the short, which gives the chant its motion.
not true Gregorian art!
notation had been made by Fe'l:is (1784-1871). In 1844, Danjou,
notation, melodic form and modality, and the Romanian letters and
notatIon, whe? these semi-tones were accordingly raised or lowered:~
note groups, and the pressus, oriscus, strophicus, SalICUS, and
note of each neum takes an ictus is not correct, he wrote; when a neum
Note on what flimsy grounds the much-desired "officia] commendation" is projected.
note value to him, and he cited "errors" in the Solesmes transcriptions
note values without metre, ascribing a fixed metnc~ s~stem to lodi
note values; in their realizations, no two agree.
note-values in plainchant: long notes (the equivalent of our quarternotes),
note; and the comma, which marks the breath. Mocquereau considered
noted that at Solesmes each neum and neum-group is numbered; the "restorer" writes in horizontal columns
notes found in the Vatican books of liturgical chant are preserved. 53
notes in question quite arbitrarily upon the accented syllables. 7
notes to a syllable.)
notes were grouped d J or J d , without bar lines. Sowa's boo~ also
notes, except for doubled ones and halved ones; Hugo Riemann,
notes, in a proportion of 1:2, must have been under attack as early as
notes, longs and shorts. Most mensuralists believe in a proporti.<>n'
notes. The contemporary writers insist again and again on a careful distinction
noting that no literary evidence from the past gives any sup~ort
November 22, 1903. Reprinted in The White List of the
now widely used in churches, monasteries, and schools.
now-lost area of plain-chant. His book, he stated, contributed to the
nuances of rhythm on the basis of Houdard's theory, the merits of which, it, 0
numerous errors of fact! The most serious of these was the repeated
o Salutaris Hdstia
o.S.B., of the Abbey of St-Andre in Belgium. Dom Mee'us has been at
observance of the accent of the Latin words were of vital importance.
observe that the first line is iambic and the second trochaic? Could any musician
obvious that áthe challenges and the strife were of the most acrimonious
obviously never head of such a thing as a spondaic cadence with a hiccup
occasions, especially in syllabic chant, where there is a longer succession
of "the supreme law of all vocal music"-that regardmg the
of 8t. Gall, near the end ofthe eighth c(!ntury. Q?:t~d_ insisted that
of 9th century); In Gerber!: Scrip/ores, I. 68); Hucbald of St. Armand (d.circa 930): Scholia E1J£hznadis
of a great number of episemas.
of a new movement. This essential element of Solesmes theory was
of a noble Papal initiative, they somehow consider it as honorable to
of a rhapsodic character, similar to that of much folk music. But the
of America (New York: Sociely of S1. Gregory, fourth edition, 1954), p. 12. -
of an article dealing with chromaticism in Gregorian Chant in 1874,
of any chant melody that could be found in existing or available
of any given set of manuscripts. Some of the latter have added greatly to our
of art, as a liVing music of uniform style. The archaeological
of Cardinal Medici in Rome."
of chant in the schools and choirs, therefore, the only possible choice
of classical L~tin poetry, but rather in the sixth and (ollowing centuries. when Gajard's grammarIan was
Of course there were conflicts of opinion and interest; so many
of courSe, this Mechlin edition was completely unsatisfactory.
of course) is a question of movement as well as of intensity; it
of Dechevrens, who attempted to modify the earlier Jesuit's
of Dom Joseph Pothier. There is, however, continuing and widespread
of Dom Mocquereau," 28 j) Murray, after years of research and study,
of each measure receiving a stress; when, about the twelfth century,
of earlier incorrect or mutilated versions. Even though there
of equal duration, claiming that the evidence points to two kinds of
of equal length came about with the growth and spread of polyphony
of equal length, rather than by a regularly recurring stress. 5. Reese
of execution are laid down and inculcated in the preface of the Roman Gradual
of Februa~ 14, 1906, however, the addition ofcertain rhythmic signs
of four measures, on the basis of the text, 'arbitrarily forced into Ambrosian
of Gregorian forms; and volume three explamed Gregonan th b/~
of interest came from Dr. Edward Arthur Lippman, musicologist at
Of interest was Mocquereau's description of the work at Solesmes:
of knowledge of the historical development of the Vaticana and of
of later manuscripts and the practical use of the present-day liturgy"
of Li'ege. He studied the problem ofchant rhythm for almost fifty years,
of liturgical books expired, I and the new Pope, Pius X, lost no
of liturgical chant to the end of the Middle Ages; volume two co~sidered
of London in 1898, H. B. Briggs denounced Houdard's theories.
of manuscripts available, this was not really a critical edition, but
of notes accordmg to ItS manuscript tradition testifies to labor diligence,.
of notes, as both Mocquereau and Gajard admitted. 3.
of notes, longs and breves, in a proportion of 2:1 or some modification
of objectives, suggestions regarding form and format, and for
of our venerable melodIes." (Simple Introduction to Plainsong, p. 26).
of passages marked with a c (for celeriter) equalled the total number
of pauses for breathing cut up the neums in "disastrous fashion. " 2
of Pothier and the "new school" or neo-Solesmes of Mocquereau,
of rendering chant.
of restoring the traditional melodies in their integrity and purity.
of Rheims re-established the Roman liturgy; he and Cardinal Giraud,
of rising and falling (i. e. arsis-thesis) and that of falling and rising
of Rites as full of errors.10
of Rites for some particular church or religious community, and so it must
of scholarship" of the Solesmes Benedictines,5 and especially
of several countries, attacked Pothier again and again.
of several languages. It is as wrong for a supporter of the Vaticana
of short sounds in the Laon manuscripts. From this he drew the conclusion
of Solesmes during the first decade of this century is not a
of study than ever before, and most Catholic schools teach"Gregorian"
of that proportion. These notes are grouped, in various mensural
of the accent and the ictus really means. 17
of the accentualist school of Dom Pothier, and was opposed to
of the chant, if no positive indication ofhow it was actually performed.
of the chant; 15 his rhythmic. theories are still tl1.e ones given official .
of the Commission that it was not to be assembled again.
of the conclusions hitherto come to, would have to be revised and brought
OF THE CONTROVERSY
OF THE CONTROVERSY
OF THE CONTROVERSY
OF THE CONTROVERSy 83
of the Decree is that the latter requires that the integrity of. the typical notation
of the early medieval rhythm has been worthwhile. Still,
of the episema in the chant manuscripts. In his theory, the
of the episemas and neums. 24
of the final Latin syllable, the independence of the rhythmIC lctu~ and
of the Gregorian repertory to be prepared.
of the Gregorian rhythm is likely to remain the official one for
of the history of art" 19 offered by a study of medi~val ch~nges m
of the history of musical art.
of the Latin liturgy. 22
of the liturgical action, as laid down in Article 30.
of the Liturgical Chant According to the Vatican Edition,"
of the long or short note.
of the manuscripts is. One must either accept the fact of doubled note
of the Mass-the eighteen Gregorian Masses,
of the measure.
of the milieu which produced them, he insisted, and, because
of the neums. 27
of the Ordlnanes, permittende Ordinario, and also with great circumspection.
of the Papal Commission had appeared in an article in the People's
of the problem, whatever practical solution one chooses, it
of the rhythm in all western vocal music is the same for the Gregorian
of the rhythmic importance of word endings and the relative unimportance
of the Saints, but that since Zollo had died, his papers were probably
of the School of Solesmes and its defenders before the rest of the chant
of the text is best brought out. 9
of the thirteenth and following centuries had 8 fatal effect on the chant rhythm, and that its decay
of the thirteenth century, the true chant was lost.
of the value of the neum.9 '!'ll~~~!!~rs,'Y.!'itte!LabQvethel1eum~are
of the Vatican books away from Solesmes, the Benedictines took their
of the Vatican edition, blaming them all on Pothier, who alone, he
of the word are to be observed' as faraspossible, for thus it is that the meaning
of the word." He considered, in order, the sectron, e peno ,
of the, authentic Gregorian Chant on the basis of the natural
of their own , Has a religious society the right to show contempt for
of their theories of binary and ternary rhythms. And yet these sticklers for
of this Benedictine community. The essays have been reprmted
of time and culture than lack of interest. Among Catholics, the fact
of two and three beats respectively, wrote MacDougall; all longer
of unaccented syllables, and therefore there may be as many
of variants in the melodies, and medieval folksongs, hymns, and sequences.
of various mensural renderings of neums and chant pieces, samples
of word accents that he completely ignored melodic motives,
Of{u:e for the Dead (1887); Monastic Processional (1888); VariaePreces (1888); Antiphonary (1891)
Office
often cited in the current controversy for evidence as to how the chant
often, alas! do not really know what they are talking about. 36
ofthe Liturgical Chant up to the end ofthe Middle Ages.
ofthe Society of St. Gregory ofAmerica, (Fourth edition,
Old Manuscripts of Two Gregorian Schools
older manuscripts; in this case, chaos in the printed books would result.
on an "off-the-beat" accent; that peculiar phenomenon was invented almost a
on April 3, 1905, appealing for moderation in the chant quarrel.
on August 14, 1905, accompanied by a Papal decree urging its prompt
on congregational participation in Catholic worship. Furtherresearch
on fanaticism. •
On February 18, 1910, in the first of two documents dealing with
on his work in German libraries. This Gradual was, according to one
on its side, if a workable, historically-based system can be worked
on one reading, we may be sure we have found the Gregorian
on the "ages of chant decadence" than on the"golden age" of the
on the chant of this period.
on the final syllable of the word, because, in their teaching, the Latin
on the ground. "8 Also, Pothier taught:
on the Liturgy (1963) directing that a new critical edition
on the neighboring neums. A virga with episema was given
on the other, an untraditional garment is draped over the melodIes
on the principles that govern the relationship between the ~atm :~xt.ual
on the right path . there is no need, in the present state of our knowledge,
on their point of view, and the rift in the Commission grew
On these grounds, Gregorian Chant has always been regarded as the
once described him as "one of the most brilliant disciples
Once more, pressures were renewed to have this edition made
one another. The ictus, therefore, in SolesIIl~seditio.ns, comes after
one edition, backed by substantial musicological opinion, will heavily
one kind of measure of origin, The principal mensural systems of
One of Mocquereau's_fiI!est.~.~':ll!i~uE-_()E.s_!Qsc;~Q!~I)~!p_YI'~sJh:e
one of the finest ever written. Johner discuss~d such .elements as notation
One of the rmest histories of Gregorian music.
One of the strangest things, for example, was that wherever the Latin
One of today's most vocal opponents of Solesmes is Dom Gregory
one raises the foot, and by thesis, the moment when one replaces it
only after long groping, in the 13th century. 53
only by comparing them with later versions on staves. Solesmes then
only justified, but actually are needed, to provide uniformity and
only the function of an alighting or resting place. It can be readily understood
only the Sunday Masses, that Zollo had done the Proper and Common
onto the accented syllables; they introduced a new and arbitrary rhythm,
Opening Session, Liturgical Department, National Ca~holie
opens the way to continued study and to more critical study. And a
opposed to such selection on the basis of the aesthetic taste of
OPPOSITION TO SOLESMES (1900-1950) 35
opposition to the authors . We therefore base our theory on the unshakeable
opposition to the public press. The Solesmes scholars had the right
or definition of the ictus in their special sense of the word, as a down-beat essentially
or free in rhythm, for some chants (such as hymns) are, by their nature,
or may not coincide with it. Solesmes uses four rhythmic-signs: the
or may not coincide with the melodic rhythm.
or more neums (usually two to four notes).
or the other version was originally as Solesmes has given it, that the
or thetic function played by each ictus in the phrase. Gajard explained:
or third note following an accent must receive a new accent; (2) .
or were handed down only in more recent manuscripts."
or whether it is merely the solution to the rhythmic problems of the
oratorical rhythm and that of Mocquereau's musical and natural
Ordinaries in their own Dioceses may give the Imprimatur to editions of
Ordinary
organist at Notre Dame de Paris, published a pamphlet entitled De
Organum
organum came into greater use, it was necessary that the long and
organum of the eleventh and twelfth centuries. Included were many
origin-such as the Aquitanian,49 Nonatolian,50 and Beneventum,
origin; the whole arranged neum py neum, in parallel ~olumns, so that the
Origines du chant romain, Les 35
Oriscus 13, 20, 40
ornaments, for example, about which no human being knows.
ory),(n.d.).p.18. . dIM h'
Oskar Fleischer (1856-1933), an early mensuralist, was greatly
Oskar Fleischer 12
Other developments in Germany included the appt!arance in print
Other Early Mensuralists 13
other manuscript signs. Four editorial signs are used in the Solesmes
other possible position (sic) which may be considered. 13
other schools of chant theory. But for all their research and scholarship,
other. But Solesmes edited them with contradictory rhythms, each
Our younger monks undertook the transcription on synoptic tables of a
out in great detail an elaborate system of rhythmic interpretation for
out that "Pothier" frequently selected a version which appears in fewer
out the meaning of the text, but also give the music its motion. Other
out. Certainly the mensural studies are of enormous value in music
outweigh the more-easily performed edited version, which is "tolerated, "
over a virga at phrase endings as a sign for a "double-long". The
over by Dom Pothier. THIS IS NOT THE PLACE TO RECORD HOW
p _ pressionem vel perfectionem
p.132.
p.16.
p.49.
p.8).
pages of musical examples according to mensural principles.,"
pages of The Irish Ecclesiastical Record by the Benedictine, T. A
paleographic and musical studies; and by Solesmes, as well as by
paleographic importance. Further study is vital, of course, for, since
paleographical considerations, but also was to draw upon history, musical
Paleographie musicale 19,21,45, 59
Paleographie musicale. 10
Paleographie musicale. Begun as a refutation of the then-popular
Palestrina 6, 7
Palestrina and Zoilo agreed, and it was determined that the chant
Papal principles in the matter.
Papal principles, and re-affirming the Solesmes position, was published
Papal satisfaction. The letter, dated June 9, 1906, reads in part:
Paper of Cologne, April 5, 1905. An order was sent to the President
Parasoli, Leonard 7
Paris: A LeClere, 1855.418 pp.
Paris: Desbarres, 1844. 69 pp.
Paris: Herelle, 1929. 12 pp.
Paris: Librarie Felix Alean, 1920. 206 pp.
Paris: Soye et Fils, 1904. 28 pp.
Paris: V. Didron, 1852. 374 pp.
part is a tonary of antiphons, some of which receive commenta~Ies
part of the essay was devoted to a counting of short alternative melodic
part of the liturgy in a very few cathedrals, churches, and abbeys.
Part one of Le nombre considered the origin of rhythm, repose
Part two concerned the application of rhythmic principles to the
Part two of David's book was entitled "Le rythme d'intensitie et
Part two of Le nombre also discussed the notes and intervals, the
particularly when its historical basis is perceived to be so shaky.
passages which occur in various manuscripts, and then pointing
Paul V a fifteen-year monopoly in the printing of choir books on May
Paul V, Pope 7
pecially of the Introit antiphons; the appendix also controned many
penul!lma~e ~ote.) Finally, a ?e.cendlng group of three notes i. represented by three signs; each of these
People's Paper 26
performance can thus result, with ease and with a limited amount of
performance that conformed not to its golden age, but rather to a
performed. This theory has been supported by the discovery of manuscripts
Perhaps the most significant fact about the attempts at chant restoration
Perhaps, wrote Reese, the three modern points of view all have
period as the literary treatises. Father Murray suggested tha.t Solesmes
Periodicals
persuaded to have the chant "corrected according to the laws of music."
Peter Wagner 37
Peter Wagner Defends the Vaticana 30
Philip II, King of Spain 6-7
philosophy. In his treatment of rhythm and musicians, he noted errors
phrase. " 3 The earliest follower of this principle was the canon of Le
phrases is arsis-thesis, and not thesis-arsis.8
Pierik considered the equalist theories of Pothier to have been the
Pierik, Marie 12-13, 32, 45
Pierik, Marie, Gregorian Chant Analyzed and Studied, St. Meinrad,
Pius IX, Pope 8
Pius X in his decree of August 7, 1907.
Pius X, Pope t, 2, 15,25-27,30,33,41,43,
Pius X, Pope. Motu Proprio, "Among the cares of the pastoral office, "
Pius X) is to be prepared. It is heartening to note that studies are consistently
Pius XI, Pope 41
Pius XI, Pope. Apostolic Constitution, "Divini Cultus Sanctitatem,"
Pius XII, Pope 48
Pius XII, Pope. Musica Sacra Disciplina, December 25, 1955.
place -. could affect the picture. There is no other way of dealing with it than
place the ictus . on ~e accented syllable. would be, we maintain, to spoil the rhythm and melody .
placement is, of course, a matter of judgement, but it is based on a
places, of course, but improvement would seem to be more a matter
places; they set about lightening all the short penultimates, and loading notes
Plain Chant 17
Plain Chant. (tr. Le Maistre). New York: Joseph F.
plain chant. The chapter on Gregory and the spread of the Roman
Plainchant (Gatard) 5, 9, 15, 18-19,27,57
Plainchant is an inflected recitation in which the notes have an unfixed
plainchant were not mistakes, but rather confirmations of all that is most
Plainsong & Medieval Music Society 13
plainsong during the past hundred years than was accomplished in
Plainsong Rhythm: The Editorial Methods of
plan for any melody.
poetry, this was achieved by a higher pitch.
Polyglot Press 6
polyphony until the twelfth century, except for the early two-part organums;
polyphony; theorists, however, are silent regarding the manner in
Pope Gregory had founded the Polyglot Press earlier, however,
Pope Pius IX did declare it official. 15 Pustet, in Ratisbon,
Pope Pius X, in his Motu Proprio dated November 22, 1903,
Pope Pius XII. This letter indicates, at the least, very high ecclesiastical
position, it does not appropriate the intensity thus bestowed upon it; its stress
positions presented in chironomy. Throughout Mocquereau stressed
positive statement of a position, sinc.e he a.ccepted the Vatican edItion
posjtion, contrariwise, considered it to be a fixed, unchanging thing,
possessed in the previous thousand years. In our time, we possess the
possesses, is a treasure not limited to members of the Roman
possible to determine for certain whether the chant should be measured
Pothier and on him alone. II
Pothier considered the final syllable of a word thetic and thus most
Pothier doctrines in terms of accents and pauses; Dom Johner, whose
Pothier doctrines; this book has nothing to do with the
Pothier had worked with Dom Jausions at Solesmes, and after
Pothier with the restoration of the melodic outlines of the chant, and
Pothier-F1835-
Pothier, Dechevrens, Houdard, Wagner, Jeannin, etc. He quoted the
Pothier, Dom Joseph 2-3, 5, 10, 14-17, 18,
Pothier, Dom Joseph OSB, Les melodies gregoriennes. Tournai: Deselee,
Pothier, probably the most important of these, taught that
Pothier, was named by the Pope to be chairman of the Commission.
Pothier. 9 In A New School of Gregorian Chant, John,er mad.e.no
Pothier's writings, even to his basic definition of rhythm as "balance i
Potiron 39
pp.
pp.
pp.
pp.
pp. 206-209.
pp. This is a reprint of the rules for interpretation as
pp.39-61.
PP'T supplement.
practical editions, (including a number oftheir own rhythmic signs,
practically placed the archaeological point of view out of bounds,
practice lost its justification. Willi Apel has commented:
practice was understandable in connection with the early medieval
Prayer," The Gregorian Review, II, 1, January-February,
preceding it.
preceding it. 7
Preface to the Vatican Gradual 16-17
prehensive work on the writing of the medieval theorists.
prepared at Solesmes, and giving them official approbation, and presided
present choirmaster at Solesmes, provided a superb explanation of
present which one simply could not push aside because they were more modern
Press (Graz and Vienna). 1907, Reprinted in Caecilia, Vol. 87, No.1, (Spring, 1960), p. 15.
Press, 1954).
pride of place in liturgical services.
principes et La notation de l'edition vaticane. Second
Principes pour la bonne execution 66
principle of the independence of intensity from both measure and
Printed in the United States of America
problem in chant restoration is merely to locate them. The foundation
Problem of Gregorian Rhythm 44
problem of the chant rhythm constitutes a basis for widespread and
problem of the rhythmic interpretation of the chant; research and
problem, Apel wrote; the main premises of Pothier's theory are
procedure seemed best to them under given circumstances, without
Prologus in Tonarium 5
Proper
Proprio by Pope Pius X, ordering the restoration of the chant to the
Protestant Church Music in America 2
proved the Vaticana so full of errors that it cannot possibly be used
provided that it is presented as what it really is; not historical truth but a
psalm tones and cadences, and there were transcriptions of several
psalmody and other non-metrical texts. Thus the verbal accent
Psychological Studies, Vol. 1. Only two rhythmical units exist, those
public opinion, if people are told that the differences . were limited
publication of material engaging in the theories of chant rhythm has
published in 1883, and Antiphoner in 1891.
published in the Kirchenmusikalisches Jahrbuch. 18
published since the restoration by St. Pius X
published the edition, and it was widely distributed in Germany and
Punctum
punctum or a virga. The pulses are grouped into twos and threes,
punctum, hedeclared, was the fund.a!Uentfil neumatic.element. 7 .
purity.
Pustet, 1909. 177 pp.
puts an ictus in the one version on the second syllable of lingua; then
quantitative, dynamic, melodic, harmonic, or metrical. Without some
quarter-note if followed by a punctum (eighth-note); and such ornaments
quarter-notes, dotted eighth-notes, and eighth-notes, plus occasional
Quarterly, XI, 1929.
Quellen zur Transformation der Antiphonen
Quelques mots sur la restauration du chant
Quelques mots sur la restauration du chant Iiturgique (Paris: J. LeCoffre, 1855).
Question rythmiquegregorienne, La 42-43
Quilisma
quilisma.'5
quite. metrical, while others (such as some introits, offertories,
quoted Prof. Robert Macdougall's studies concerning experiments
quoted the 10th century theorist, Hartker and other medieval theorists
Quoting extensively from the theoretical writers concerning proportionalism
quoting Pothier's Prr."nciples pour La bonne execution du Chant gregorien, 1891.
r m~ th' ee basic note ~alue5, quarter-notes, half-notes, and very good table of hgatures was inC u e , an r
R00093 12844
Rahsbon, Bavaria. Dated Rome, February 18, 1910. Reprinted in The White List of the Society of St.
Raillard, Abbe' F., Explication des neumes, ou anciens signes de nogregoriano.)
Raimondi 7
Raimondi, the director of the Medicean Press, obtained from Pope
Raising the notes
raisonnee de plain chant, in 1859. Here a definition of Gregorian
Rassegna Gregoriana 27, 29
rather precise directions, the episema and the letters t, x, and a requiring
rather than as a recognition of rhythm as a standardized musical
rather to the phrasing; the rhythmic identity is due to the identical
Ratingen, 1952. 36 pp.
rationale, as it is for a Solesmes-indoctrinated teacher to refuse to
Ratisbon (Pustet) chant books (the Medicean edition), this photographic
Rayburn, John.
realization that the problem of the authentic chant rhythm is by no
really a mental division by the performer of beats of equal force into
recent mensuraHst.
recent research to make corrections in its editions, having already
reception of the Holy Eucharist.
recognized the labors of the Solesmes Benedictines in his Brief to the
Record, XIX (January to June, 1906), Reprinted in Caecilia, Vol. 86, No.4, Winter, 1959.
redouble their efforts to find the, authentic rhythm, if such a thing existed.
Reese pointed out that the letters in question stand over individual
Reese wrote that most modern mensuralists agree with Jeannin
Reese, Gustave I, '2, 5,9, 11, 17, 19-20,36,
Reese, Gustave, Music in the Middle Ages. New York: W. W. Norton
Reese, in the manuscripts of 8t. Gall, Metz, Chartres, Nonantola,
refusal to consider the Latin tonic accent the determining factor in
regard to "rules". In Les anciens, the author transcribed all the neums
regarded as an approbation. The conclusion to l:iedrawn from the very terms
regarding actual medieval practice. He also discussed the various
Regarding intensity 14
regarding plainsong rhythm-especially in view of the Second Vatican
Regarding the two kinds of note values, long and short, Jeannin
regardless of the demands of art or liturgy. Solesmes' system of
regularly, before his appointment to the Papal Commission. 6
reinforcing its previous declaration of January 25, 1911, replied: '
relief from the "unnatural, highly improbable, and rather absurd"
Remegius of Auxerre 57
remember that they are historically suspect. 54
rendered in one movement. " 10
rendition will probably remain with us for a long time. This is quite all right,
Rennes in 1848; then he reproduced the same chant at Digne in 1858.
replaced by figured music in practical usage. In the sixteenth
repose after a previous elan, and the end of an elementary rhythm. 22
repose or downbeat, is no indication whatever of intensity, but solely of the
represent from one to four or more notes. Neums
represent the oral teaching of a master. (Plainchanl. p. 44). .'
Reprint of the 1964 ed. published in New York.
Reprinted in 1981 by Greenwood Press
Reprinted in Caecilia, Vol. 86, No.2, Summer, 1959.
Reprinted with the permission ofJohn Rayburn.
reproduction of chant manuscripts proved the Ratisbon books
Research and study, therefore, continue.
RESORT: it is enough to notice that the majority of the variant readings .
responsible for the rhythmic principles that are now synonymous with
responsorialen Psalmodie der altspanischen Liturgie. In
restoratIO':l of the oldest chant forms; there are too many things-the
restoration: those written before the eleventh century were illegible,
restortion was reaffirmed in 1928 by Pope Pius XI in his ApoStO~IC
Review of the book by Vollaerts. The Downside Review,
Review, Autumn, 1956, and in Caecilia, Vol. 84,
Review, the journal of the Downside Abbey in England; he is a ~ember
revised his theories again in Composition litteraire et composition
reVISIOn of the Vaticana is authorized. Will this lead to an eventual
revival. Jausions studied in the libraries of Paris, Le Mans and
Revue du chant gregorien 33, 42
Revue gregorien 10, 57
rh. ythdmic signs from the Sbacred Congregation o'f Rites 24 The repIy,
rhyth3m1icHseiginnr5i.ch Sowa, Quellen zur TransJ' ormatt'on der Antiphonen.' Tonar und Rhythmusstudien (Der
Rhythm and Tempo &. 49-50
rhythm as the "order of movement. "
rhythm claiming to be the "correct" one, the rhythm inherent in the
rhythm formed by freely-mixed groups ("measures"), not necessarily
rhythm from the beginning.
rhythm in its ictic theory. Dom Andr~Mocquereau founded this
rhythm in Le's melodies gre15oriennes, in which he advanced his equalist-
rhythm is the spring (elan) and the repose, the complete movement
Rhythm is, therefore, a "unity", a "fusion" of the elements of
Rhythm of Plainsong According to the
rhythm of the chant. For the Catholic world, Rome has adopted the
Rhythm of Twelfth-Century Polyphony, The
rhythm was formulated:
Rhythm, according to Solesmes, is based on little steps, each made
rhythm, astaughtby Dom Pothier.
rhythm, the Solesmes authorities were to adopt an attitude of intransigence.
rhythm? 34
rhythm. But, in any case, both were wrong, for there are two basic
rhythm. The rhythm of chant, Mocquereau wrote, is produced by the
rhythm.I' From his study of the manuscripts, he determined that the
Rhythm), New York, 1904, pp. 23-46.
rhythmic edition of the chant, but stated that the Solesmes editors
rhythmic elements of Gregorian chant. Many of the materials
rhythmic flow alternates between arsis, a rising phrase, and thesis,
Rhythmic Proportions in Early Medieval
rhythmic signs to melodies which range from the eighth to the sixteenth
rhythmic signs; a letter written to them by Cardinal Merry del Val,
rhythmic structure of these melodies is so free that it varies from individual
rhythmic system of Solesmes, nor on the other hand the mensuralistic system
rhythmic system of various long and short note values; when the
rhythmic version of one could possibly evolve his completely
rhythms. It is time to protest against this pretention, so little justified.
Riemann-G-1849-1919
Riemann, Hugo 36, 39
Riemann, Hugo, Geschichte der MusiktheorieimIX-XIXJahrhundert.
Riemann's articles on Greek music and its possible influence on Western music, but cautioned the reader
Riemann's Geschichte der Musiktheori£ lm IXáXIX Jahrhundert as important chiefly as a com~
rising phrase (arsis) and the falling phrase (thesis). Solesmes distinguished
Ritard
Robert Pace, Howard Murphy, and Erling Hunt of Columbia.
rock of the well-established facts of paleography, not on the shifting
romain. Ottawa: Les Editions de l'Universite' d'Ottawa,
Romanian letters of the 8t. Gall manuscripts called for a type of chant
Romanus letters in the MSS 19.20, 36, 40,
Rome has long-since adopted the equalist-accentualist theories of
Rome ReaffIrms the Equalist Theory 61
Rome, February 18, 1910. Reprinted in The White List
Rome: Desclee. Societe de Saint-Jean l'Evangeliste.
Rr~d()minating rhythmic element was disputed. Mocquereau worked
rule in the performance of syllabic chant is that the word must be
Rythme du chant dit gregorien 13
Rythme tonique, Le 2
Rythme verbal et musicale, Le 41-42
rythmique gre'gorienne, were of enormous importance, according to
s
s - sursum 'scandere
S - Swiss
s transcTI.bes It as a punctum. Ape] (op. ei/., p. 112) is uncertain as to its meaning, but suggests it
S, 1904.
Sach~A-1881-1959
Sachs, Curt 6, 49-50
Sachs, Curt, Rhythm and Tempo, New York: The W. W. Norton
Sachs, who sided with the mensuralists on the basis of the medieval
Sacred Congregation of Rites 15, 32-34. 47.
Sacred Congregation of Rites, April]l, 1911. Reprinted in The 'White List ofihe Society of St. Gregorv
Sacred Congregation of Rites. 3\
Sacred Congregation ofRites. "Declaration on the Vatican Edition of
Sacred Music and the Sacred Liturgy 61
Saeris Erudiri 44
said to have been first used by the legendary Roman singer, Romanus,
said, had the power of selecting one version of a given melody over
Saint Adlhelm 57
Saint Augustine 57
Saint Bede 57
same publisher.)
Sanctus melodies were transcribed in mensural notation, as well, and
sands of the medieval authors, who not only contradict one another, but
Sangerschule St. Gallens, Die 11
say. 13
Schlecht, Raymond 11
Schlecht, Raymond, Geschichte der Kirchenmusik. Regensburg: A
Schlecht, Raymond. "Chromaticism in Gregorian Chant," Trier Caecilia
Schmitt, Francis 12, 33, 53-54
Schmitt, Rev. Francis. Editorials in Caecilia, Vol. J4, No.2, May,
scholar who defends his own glory with such undue partiality! 28
scholarship, was a photographic reproduction of many of the most
School has received an official commendation. 6
school, and devoted his life to the study of the manuscripts and the
school," for the mensuralists are agreed only on the theory of nonequal
Schools," The Messenger, XLVI, 1906.
Schubiger, Dom Anselm 11
Schubiger, Dom Anselm OSB, Musikalische spicilegien uber das liturgische
scripts, contained elaborate reconstructions of many chant melodies;
Se
second edition (1885); Hymnal(1885); Office, Feastofthe Nativity (1885); Offi£e for Holy Week (1886);
Second Vatican Council
Second Vatican Council: Constitution on the Sacred Liturgy. Promulgated
section on organum in the Musica Enchiriadis, with examples
seems to indicate, is puzzling, wrote Reese; perhaps the ictus is
seems to me, have been slighted or overlooked altogether. I would not go so :
seen, he followed a special current of tradition against the general tradition;
selection in the Vaticana which was not justified by one or more manuscripts.
Series, No.4 (ed. by Rev. H. V. Hughes). London: The
Series, Vol. 3. Potsdam: Akademische
ses regles pratiques d'interpretation. Tournai: Societe
session, Liturgical Department. NCMEA National Convention, 1960. Reported in Musart, June, 1960.
settle the problem of how the ictus is communicated in performance,
several alternate versions that appear in the manuscripts. The major
Several monks from áthe Abbey of Solesmes were placed on the Pontifical
short notes of chant be equalized so that the singers could keep together.
short notes, and for the double-longs which occur at certain
short notes, the mensural studies are of enormous musicological and
short text set to syllabic or neumatic chant and
short, ornamental notes by the regular, ordinary notes. 62
shortened, different time values given to the notes; the addition
should always be respected . 2.
should be considered authentic unless some ofthe same character
should be so easily discounted:
should come at the ends of the words, these two phrases are rhythmically
should pragmatically support these editions because they have proved
should yield a copy of a still earlier manuscript:
Sign used for the writing of the chant; a neum may
Signes rythmiques 42
signs allows him, by a peculiar abuse, to go to the very end of his design,
signs are used for long notes: a tractulus and a virga, and even in
signs concern the lengths of the notes. 9
signs in the Solesmes editions are purely editorial additions, and that, unfortunately,
signs may be allowed (tolerated), was reaffirmed in a Declaration by
signs were used for a single note.
similarities for indicating long and short notes; Jammers, who
Simple Introduction to Plainsong 52
simple method outlined in the preface of the Vatican Graduale has been in use
simple, because Gregorian rhythm (which is not indicated by the notation,
since all the evidence has pointed to a mensural interpretation of the
SInce It IS not actually stronger than the up-beat, it cannot attract the
since the intervals of the earlier, staffless neums could be determined
since the note is already long without it; rather, it reminds the singer
Since there is no controversy when no one cares about a theory,
Since there is no such thing as the rhythm of Gregorian Chant, the equalist
since, according to Solesmes, it is neither a stress, a shortening, nor
sing the old chant melodies, and their value has been proved
singer of the exact observance of the long or short note. 2. Jeannin
single ictus mark as such in any ancient manuscript; all the authentic rhythmic
Sirleto, Cardinal 6
Slgmficant, too, was Wagner's evidence for his theory that the virga
slgne y the Cardinal Secretary of the Congregation wa:s dated Ma
small ground in this country. And this is disturbing, because there may be
SmIts van Wae.berghe of the Umversity of Amsterdam in Caecilia, Vol. 87, No.3, pp. 128-137. Dr.
Societe d 'editions du chant gre'gorien 32
Societe de Saint-Jean l' Evangeliste. Nine volumes published
Society of SI. Gregory 34
Society of St. Cecilia 8
Society of St. Gregory of America, (Fourth edition, New
Society of St. Gregory of America, The White List of The Society of
Society of St. Gregory ofAmerica, (Fourth edition, New
SOI1~ of the Church (New York: Longmans, Green. & Company, 1947); TheSpirito{GregoriQJl Chant
Soles:Ues theory, 'canbe on the up-beat as well as on the down-b.eat,
SOLESMES
Solesmes 3
Solesmes 55-56
Solesmes and elsewhere which were restoring the chant to its "integrity
Solesmes and Neo-Solesmes 18
Solesmes books, a word other than "tolerated" is used; the paragraph
Solesmes defenders have been the Irish Jesuit, H. Bewerunge, who
Solesmes denies the theoretical assertion that the Latin word resembles
Solesmes doctrine. He wrote that Solesmes believes that the Latin
Solesmes dots and dashes are not needed. The rhythm is based on
Solesmes editions provide no means of distinguishing between
Solesmes examines individual notes and groups, "scraps ofmelod " 22
Solesmes fails to do this, their work has no claim to historical
Solesmes free rhythm, claiming that it was based on the rhythmic
Solesmes has given for the alternate version. No one knowing Mocquereau's
Solesmes ictus theory, or else render the chant impossible to sing because
Solesmes lengthens only the first. Likewise, a neum of three notes consists of two short notes followed.
Solesmes markings of these cadences. 44
Solesmes method in these two theses:
Solesmes monks was to the Church, rather than to musicology, utility
Solesmes position) is a lie, for the Vatican edition existed before the
Solesmes scholars have made it difficult to ascertain just what they
Solesmes School 21-24
Solesmes school of Pothier and the neo-Solesmes school of Mocquereau.
Solesmes teaches, therefore, that the melody and the text in chant
Solesmes theory, of motivations and purposes, as well as of comparative
Solesmes theory. Generally, they deny that all the notes in chant are.
Solesmes to publicly acknowledge that their own books were merely
SOLESMES VS. THE VATICANA
SOLESMES VS. THE VATICANA 25
Solesmes, Benedictines of, Liber Usualis. Tournai: Desclee, 1952. 1921
Solesmes, Its Work for Liturgy and Chant
Solesmes, just what does Mr. Carroll think the Roman Polyglot Press is? The
Solesmes, meanwhile, had printed 100,000 copies of its Kyriale,
Solesmes, therefore, attempts to place the rhythmic signs in accordance
Solesmes. Benedictines of 2, 10, 15, 25-27,
Solesmes. Method (School) of 2, 3, 13, 17,
Solesmes' "c~itical ~ethod" of examiningeach single note or group
Solesmes' "Most Formidable Opponent" 38
solution, regardless of historical exactitude
solved. Since the chant was (ideally) sung unaccompanied, in unison,
some historical justification; perhaps the early chant rhythm was not
some indications of a rhythmic nature in the St. Gall manuscripts, but
Some mensuralists have contended that the chant was sung, up
some speeial questions about the approval of books on the chant of the
some time in music history (perhaps as late as the twelfth 'century),
some time. This is because the chant may not be replaced or altered
Some writers have suggested that the Gregorian composers wrote
sometimes a few interpolated words, sometimes
somewhat simplified, has, it is hoped, given the reader the essential
Song of the Church. The 12-13, 32, 45
Soriano 7
sounded in a Decree of the Sacred Congregation of Rites, dated January
Sowa and the Antiphons 41
Sowa-G-c. 1931
Sowa, Heinrich 41
Sowa, Heinrich, Ein Anonymer Glossierter Mensuraltrakat, 1279.
Sowa, Heinrich. "Textvariationen zur Musica Enchiriadis," Zeitschrlft
Sp - Spanish
Spanische Forshungen der Gorresgesellschaft, I, Reihe
Special efforts are to bemade to restore the use of the Gregorian Chant
specific rhythmic valuesj he believed that the metrical system of the chant was so firmly established that
spent a lifetime in study and defense of a strictly 2:1 proportionalism which is not taken senous)y, at
Spirit of Gregorian Chant 45
SPREAD OF MENSURAL THOUGHT (1950 to the Present) 49
St. Gall MSS. 10-11, 13, 19. 36-37, 42-43,
St. Gregory of America. New York: Society of St. Gregory,
stab this initiative in the back; they arouse and maintain opposition to an
Stadt Bibliothek Dusseldorf43-44
Stadt- Bibliothek Dusseldorf. Alop Henn Verlag
start of an~ther. But in terms oftheir function, composite rhythm states
started; no one would deny the importance and influence of this
statIstJc~ method is, thus, acienial of any melodic tradition. This fact, .
status in the Vatican books. Since it is "Pothier~chant" which iss.!l.Ilg !
steps taken by other investigators, in one case by van Waesberghe, hImself. In summary, the r~vlewe.r
Sterck, Cardinal 8
Sterk, claimed that the manuscripts were of little value in chant
stop it. Compound time notes that each contact of the horse's feet with
Strassbourg Chant Congress 26
stressed by Gajard:
strong or weak; it only gains its dynamic or quantitative value from the note
stronger accent if the syllable to which it belongs is strongly accented, but it
structure ~f Gregorian melody, emotional implicatIOns of themtervals
stubbornness has caused from the days of Pius X to the present
studies and decisions of a school of archaeologists, and not upon Rome. 17
studies and paleographic research culminated, in 1903, in a Motu
studies of enormous diffIculty and expense, have restored the melodic
studies of the mensuraJists continue, even though, for the time being,
studies. After twenty-four years of work, he brought out his
study have resulted in the publication of many important works on
study in the chant; the "typical edition" is to be completed and a more
study of the authentic tradition. "15
study of the matter, for it pre-dated by twenty-four years the standard
study), because, unlike St. Gall, Laon has an amount of consistency
style (sic) . until we are satisfied that another system is perfect and is actually
subject.
Substantiating his claim that the changes in the Vaticana were
subtly varying the speed of performing the neums in melismatic
succession of measures, in each of which the tonic. verbal accent occupies
succession with the verbal (tonic) accent occupying preferential place;
such a state by March and April, 1905, that some decision had to
such emphasis, rhythm is either absent or imperceptible, and an ictus,
such obvious practical and artistic improvements that only impaired
suitable for neumatic ornamentation, and Mocquereau wrote:
sung before and after a psalm or canticle.
Sunol-Spd.
Sunol, Dom 45, 52
Sunol, Dom OSB, Text Book of Gregorian Chant. 1930. (English
supplied this. aid. 14
supposed to have arranged and codified it, is the traditional official
supreme model for sacred music . The ancient traditional Gregorian Chant
sur la droit liturgique in 1848; in the same year, Archbishop Gousset
sural systems; whether or not Rome ever adopts a series of long and
sustain its flight until it reaches its final resting place. The ictus must be divorced
Syllabic Chant
syllable of the text.
syllables became accentual in the fifth century; the word accent is considered
syllables, and either entirely removed such "barbarisms" or placed the
synonymous with a fixed rhythmic system, which so many scholars
Syrian Chant 38
system (at the very beginning of the Christian era) and the
system of chant about 1861, with definite measured (rather than free)
system or another, or in the disciples of one school or another. The
system, but without the use of bar lines. His theories were published
systemes de notation, et de l'unite dans les chants liturgiques.
systems, in from two to eight "beats", each "beat" being considered
t - trahere vel tenere
t"ah~ V, 1873). See also, Schlecht, Gesch.chte der Kirchenmusik (Regensburg: Coppenralh, 1871 ~
t\
TABLE OF CONTENTS
table, drawn up by placing each version in parallel alignment-the versions
Taking the word Roma, for example, he noted that the two syllables
tal e~isema, does not involve the rhythmic ictus, according to
talion musicale, pour servir a la restauration complete
Tantum ergo Sacramentum
tard.
teachers a summary of the theories and solutions regarding the problematic
Teachers National Association, Vol. X, 1915, p. 215.
teaching of Dom Pothier. In Le rythme verbal et muslcal dans Ie
tents, with explanations and examples, of the manuscripts in the Dusseldorf
terna1res. quaternaires, qumw::es. eth~ UDd as the best. English equivalent of the French incise.
ternary groupings, quantitative rhythm, the rhythmi,c ictus, and the
Tesson, M. 9
text bore any similarity to the musical solfege (sol-fa) syllables, the
Textbook of Gregorian Chan145
Textvariation zur Musica Enchiriadis 41
Th: yatican edition of the Kyriale, published August 15, 1905,
than a thousand years ago adds great interest and meaning.
than in the voice," IS Carroll wrote:
than over-emphasize the text) or from plain indifference, it is impo~sible to
thanks for valuable suggestions concerning source materials and for
that each ICtuS of the horse prior to passing the winning line is arsic
that each neumin chant has the same value in time as a quarternote
that every alteration is a deterioration. Suc~ a shor~-sl.ghted vIew 01
that historical evidence is on the side of one or the other of the men68
that in the St. Gall manuscripts, only the notes affected by the
that in this particular chant, there is no need for the addition of notes
that liturgical oriental music, both Jewish and Christian, is based on
that Mocquereau's examples of chant practice in the manuscripts carry
that musical rhythm is actually indicated by emphasis of some sort,
that of binary and ternary groupings and the ictus, Apel believed.
that other members of their faith worshipped to the same music more
That part of the Mass which varies from day to
that perhaps, between the periods of the Greek and Roman metrical
that Pius X had given charge of editing the new chant books to Solesmes,
that plainsong rhythm was free; they believe, however, that it was a
that Solesmes signs are not needed; Father Schmitt, editor of Caecilw
that such a "correction" was desirable, and he wrote simultaneously
that the accentualist position is only a, not necessarily the, solution
that the chant had only two kinds of notes, long and short, and not
that the chant was not made up of notes of equal time value.
that the official Vatican version was a Pothier (accentualist) document.
that the rhythmic decline was hastened because some theorists treated musica plana and musica mensurabilis
that there is never any ill spoken about other systems, that there is peacepeace
that this must be so in order to safeguard the unity of the compound beat.
that to tell readers there is no alternative to Solesmes (the present
that was older; that among the later variants many real improvements were
that would enjoin upon the future of church music only that which is to be
that' all the notes in chant are of equal length or duration, and also
the "point where rhythms are welded together". 24 The first beat of a
The Abbe Delorme 42
The Abbe' Joseph Vos was a Belgian musicologist of the Diocese
the accent and rhythm of the words, carefully observed, not only bring
the accent of the Latin language and the arrangement of neums, wrote
the accent, therefore, represents the arsis, and the final syllable the
the accents, the acute accent being the arsis; the grave, the thesis; and
The Accentualist theory, it will be recalled, holds that the chant
The Accentualists 2
The accentualists, headed by Dom Joseph Pothier, point out that,
The actual reason for the collapse of tradition was the fact that the quasimetrical
the ad libitum chants, and the Mass for the Dead.
the additions, Romanian letters, and signs in the 8t. Gall manuscripts,
the adtiphons, hy'mns, ordinary and variable Mass chants, an~ speCial
The amusing part is that these rhythmic signs have absolutely no claim
The Antiphon Studies of Jammers 43
the archaeological point of view, stressed the part of the Papal
the area of chant studies, the Solesmes Benedictine, Dom Joseph
the authentic rhythmic interpretation of the chant as binding on the
the bad penmanship or carelessness of the copyist;
the basis of a study of the same manuscripts, have reached different conclusions. Vollaerts left his work
the basis of the former Papal Brief, they continued to make their
The Belgian musicologist offered convincing proof to Apel, Murray,
the Benedictines had been regularly using.
The Benedictines have not conspired to avoid authenticity, Carroll
the Benedlctine editions are not faithful editions of the chant,
the bitter personal attack on Dom Pothier who, himself, was a
the Blessed Hartker. The role of the short note and the general rhythmic
The book is especially noteworthy as a manual of chant, perhaps
The Canonical hours at which the prayers of the
the centuries, the Gregorian melodies themselves had been preserved
The champions of the archaeological cause (i.e. Solesmes) wanted a
the chant actually was sung in notes of equal duration; and the Solesmes
The chant continued to be sung, of course, during the succeeding
the chant manuscripts themselves and the medieval theoretical treatises
the chant more importance in liturgy (and in musicology) than it had
the chant neum notation, modal theory, liturgy ~ the plam~ong, the
The Chant of the Roman Church, one of the greatest treasures civilization
the chant restoration, the Holy Father decided that it was the "traditionalists"
The chant teacher or performer, of course, must make a decision
the chant, based on an intensive study of the manuscripts. Although
The chant, however, had no metrical plan (as did Greek music),
the chant's "golden age"; !he basic premise is that of free, un-metered
the cheironomic drawings, and the like. A return to the simple and direct
The Church acknowledges Gregorian chant
the Church with regard to the chant in a historic decree of November
the circumflex formed by the conjunction of arsis and thesis. The
the classical period, the elements of duration, melody, and intensity,
The commission, headed by M. Tesson, director of the Seminary
The complete story of the bitter controversy which developed between
The Constitution on the Sacred Liturgy of the second Vatican
the credence that is given to the melodic indications.7
The crux of the quarrel was this: the Solesmes Benedictines, representinK
the deadlock in the Commission in the hope of Papal surrender. But
THE DECLINE OF THE CHANT: A SURVEY
THE DECLINE OF THE CHANT: A SURVEY (1000-1840) 5
the direction of the melody.
The dissension among members of the Commission had reached
the doubling of the note value, and c and m reminding the
The dream of Pope Pius X for the restoration of Gregorian chant
The earliest type of polyphonic music, that written
the effect of a ritard; the dot ( . ), which doubles the value of the note
the eleven manuscripts he considered most important; this is an example of the scholarship typical of his
the eleventh century, for Berno, the Abbot of Reichenau (d. 1048),
the eleventh century, the authentic rhythmic tradition was disappearing,
The eminent musicologist Curt Sachs refused, in Rhythm & Tempo,
the entrance or procession of a priest.
The episema . corresponds again and again to the Laon tractulus,
the episema and other rhythmic signs accounted for the strictly proportional
The equalist doctrine of Pothier was given official status on August
the equalist theory is the "official" Roman policy. Possibly Rome will
The equalist-accentualist position of Dom Pothier comes as close
The essay, with its enumeration of passages from various manuscripts
the essentials of Vos' theory of chant reconstruction was made by
the fact of the two basic note values.
The fact that Rome has given official status to the equalist-accentualist
The final paragraph of the 1963 Constitution on Sacred Liturgy
The first attempt at deciphering the manuscript signs of the Gregorian
The first note of a neum does not always have an ictus, wrote
The first part of Le rythme was concerned with verbal rhythm.
The first part of Sowa's volume dealt with the tonal studIes. He
The fIrst suggestion that a history of this sort might be of value and
The Founding of the Mensural School . 11
the four-note neums as sixteenth notes; and so forth. These theories
The Frenchman had been unsuccessful, Briggs claimed, in attempting
The Gospel of Solesmes According to Gajard . 21
the Gregorian .\lelodles. Vol. II 1S Neumenkunde, Vol. 11 1 Gregori
The Gregorian Institute of America, 1951. 32 pp.
the Gregorian Liturgical Books and Its Reproduction,"
The Gregorian melodies are to be restored in their integrity and identity,
the Gregorian melodies through his liturgical studies. He credited
the Gregorian song of the Mass and the Office was a part of the living
the ground is both thetic and arsicj each is the end of 'one elan and the
The half-century herein discussed might be labeled a time of actionreaction.
The historian Amade~ Gastoue~ in L'art gregorien, drew a distinction
the Holy See. Pius X's call for a chant restoration based on "the most
The idea of grouping rhythmic units without stress, as this definition
the idea that in chant the music is more important than the words, and
the individual variants shOWing only the plasticity of the chant.
The Interpretation of the Manuscript Signs 10
The introduction to Gogniat's book consists of a letter from the
the investigation of historical evidence, and he has rejected them.
The Irish Jesuit, H. Bewerunge, a professor at Maynooth College,
the Isle of Wight in September, 1904, could not even agree on the
the Kyrie, Gloria, Credo, Sanctus (Benedictus),
the Latin tonic accent. Dom Jean Hebert Desrocquettes has recently
the latter half, the chant theorists.
The laws of chant form were three, taught Pothier: (1) the chant:
the least allusion to it. it is not until the sixth century that we find a grammarian
The Literary Evidence," The Downside Review, Summer,
the liturgical Gregorian Chant" (Deer. Auth. S.R.C. 4166)-remains in force,
The Liturgical Press, 1960. 173 pp.
the long and short notes. Further, he interpreted an episema
The long-awaited decision of Pope Pius X regarding the Commission
the manuscripts is a most definite one; the absence of such a sign is,
the manuscripts of liturgical music, the~r contents, ~nd a :t~r y
The Medicean Edition 7
the melodic, rhythmic, and dynamic' elements of the musical form,
the mensuralist pointed to numerous contradictions between equally
The mensuralists (proportionalists) are the chief challengers of
The Mensuralists 3
The mensuralists agree with Solesmes and with the accentualists
the mensuralists claim, the episemas and the Romanian letters
The Mensuralists deny that an the notes in the chant are of equal
The mensuralists deny that this equality of note values was the
the Midclle Ages, though neglected today, is the mingling of short and longer
the Mocquereau-Solesme~~editions,the importance of this Benedictine
the most ancient version of a melody was not always retained. He
the most controversial point of the Solesmes editions, for there is no
The Movement in Germany 11
the MS. signs and the Solesmes additions. 31
The musicians failed to agree, however, and a Brief of March 6, 1611,
The musicologist Amadee Gastoue" objected to the imposition of
The musicologist's answers to direct charges of ~ewer~nge, based on
the name of the French Abbey.
the natural laws of rhythm, the natural rhythm and accent of the word,
the nature of the Gregorian neum, and the part played by the Latin tonic ac-
The need for an authentic restoration of the Gregorian repertory
the neum-time, representing each neum as a time value, and favored
the neums of the Codex Hartker as being variable, their length depending
the neums rhythm the modes, the liturgical serVices, psalmo~y,
the new books, which appeared in 1614-15 in the Stamperia Orientale
the night), Lauds (at daybreak), Prime (about 6
the occasional emplo=/ment of Ihe word tabula in medieval writings on plainsong that castanets were
the Office.
The official commendation attached to the Desclee books through a misunderstanding
the one by Bewerunge was the most detailed and searching; but it contained
The outstanding trait of Gregorian cantillation, mentioned all through
The Paleographie musicale 21
the Papal decisions. Anyone, artist or not, could reconstruct old music
The Papal efforts to provide an authentic and artistically restored
The part of the Mass which remains the same for
the past. Similarly, the Solesmes writers can adduce no ancient description
the period of equalist performance: that is, all the notes were probably
the period pause. II -,
The place of the controversial Solesmes editions is clarified by the
The Pontifical Commission 25
the Pope could not yield, of course, and when he took the editorship
The position of Pope Pius X regarding the chant and the liturgic~
the position of the ictus, and this is what the Solesmes theory of the independence
The practicians of Plain-Chant must not let themselves be dominated by a
the preferential place.
the preparation of the Vatican Kyriale. A statement opposing the
the previous legislation on sacred music in the liturgy (Chapter
the previous seven hundred. The next century will undoubtedly produce
the principles of metrical feet. 6
the privately added rhythmic signs, the Sacred Congregation of Rites
the Psalms. ass 0 IS tlme . the texts of 606 are from the Bible, and of these, 439 are from
The quarrel at first, as is clear, was regarding melody, not rhythm.
The re-organized Commission, with Dom Pothier presiding, began
the reformer must understand how chants may be shortened, how the words
the restoration of the true chant tradition.I As a result of his Institutions
the results ofall their chant research, as well as the literary rights
the rhythm of the chant? Mocquereau's theories were wrong, he srod,
the rhythmiC modal system of Notre Damewas bas.d on it (The Rhythm of Twelfth-Century fulyphony.
the Rhythmic Standpoint up to the Twelfth Century," (Proceedings of the Music Tecu:hers National Associatio~
The rhythmical ictus is simply a dip ofthe voice, an alighting place sought
THE RISE OF MENSURALISM AND
THE RISE OF MENSURALISM AND GROWING
the rising tonic accent, intensified by the following metrical accent. 22
the Roman church has been consistently re-affirmed, even in the December
the Roman faith stands ." 3 began to decline, to wither. By the end
the Roman liturgy: therefore, other things being equal, it should be given
The Romanian letters are of three types: those dealing with the
THE ROMANIAN LETTERS OF THE MANUSCRIPTS 13
The Romanian signs may have represented a local usage that in time
the rule does not apply;
The Sacred Congregation of Rites and The Vaticana 32
the Sacred Congregation of Rites, dated April 11, 1911. In answer to
the same melody was found in two or more of the notations, two distinct
the same time derives the impetus for its next bounce. In chant, each
The second section of the book consists of one-hundred and fifteen
The second study was entitled" La mesure dans Ie chant liturgique
The second volume of Le nombre, which appeared m 1927, defended
the shortened notes (eighth-notes) indicated by the sign "celeriter." 4
The signs, called rhythmica, which have been privately introduced into
The simple fact is that intensity belongs to the word accent, regardless of
The Solesmes account of this controversy is interesting, because
The Solesmes attack was first aimed at the Vaticana selection of melodic
The Solesmes monks, with all the paleographic resources at
the Solesmes rhythmic theories were imposed upon the traditional
The Solesmes school of Dom Mocquereau retained Pothier's theory
the Solesmes School. (tr. Dom Dean.) New York: J. Fischer
the Solesmes School. By Dom Joseph Gajard. DomDean
the Solesmes signs on the Vatican melodies. In a bitter attack on
the Solesmes, as opposed to historical, method!
The staff of the New York Public Library Music Reference Room
The Stimulus of Gueranger 9
The stress of one tone over others. In classical
The stubborn willfulness of Solesmes was attacked in a Caecilia
The studies of Hugo Riemann (1849-1919) convinced him that
The subject of chant rhythm is not a closed one, as Pius XII noted
the subject, but conclusions seem to be far from defmitive solution.
the supporters of the Vatican edition of the chant and the Benedictines
The Theories of Gastoue 35
the theories of Mocquereau.55 His main thesis was that the Vatican
The theory that the abandonment oflong and short notes for notes
The three editors, in their new chant publications, did not use the
The tolerance which Dom Mocquereau obtained from Romefor his rhythmic
the traditional values ofproportionalism anaTts musical importan~! ;
The true musical interpretation of every syllabic cadence, in chant
The true solution to the manuscript signs was found by Edouard
The truth concerning the work of the Papal Commission was wellknown
The two signs cannot have a melodic significance, wrote Murray,
the union of two-and-three part motifs is free and does not occur ac- .
the universal Church. In his Preface to the Vaticana, Pothier explained
the variations in the manuscript texts of the MuslCa EnchlnadLS.
The various Solesmes doctrines were reVIewed, and several chant com-
the Vaticana does not follow in every detail the reading of the oldest
The Vaticana was scientifically and artistically sound! And
the verbal and the musical accent is solved, wrote Mee'us. This restoration
the very music about which they wrote. Also, the best music manuscripts
The very Solesmes writers who sneered at Pothier's attempts to
The Vollaerts Solution 58
the will of the head of the Church before the whole world? Has it the right to
the word accent, the arsis and the thesi~, and the nature of the IctuS.
The word endings here make no difference to the rhythm at all, but
The writings of Dom Dominic Johner, a.s.B. (1874-1954), indicate
The years since 1950 have not brought a definite solution to the
the~ ~roduce melodies which _hav~_I!~y~r_existed in that 'form. Th~
their chant restoration, used the manuscripts of this and later periods,
their disposal, are in a better position than anyone else to prepare
their neums so that the first note was always what'Solesmes terms
them later in this work, the major concepts may be summarized thus:
themselves cannot tell what the exact value ofthe rhythmic indications
then open war against the Vatican books:
then Papal Secretary of State, Cardinal Eugenio Pacelli, who became
then, he taught, we have "the authentic Gregorian rhythm!"
Then, in a second Motu Proprio, April 25, 1904, the Pope established
theoretical works dealing with chant:
theoretical writings; the Jesuit Vollaerts, who demonstrated that the
theories may be adopted in the future, although the Church will take
theories of chant interpretation.
theories of Dom Pothier is no barrier to further investigation
theories of rhythm. Bernouilli, apupil of Fleischer, provided examples
theories of the interpretation of Gregorian Chant rhythm that this book
theoriques et pratiques sur l'edition vaticane. Rome:
theorists. The Pale'ographie musicale, a great contribution to
theory is wrong. Reese noted that the mensuralists present the most
theory over Solesmes "oldest, most ancient melody":
theory, and that Mocquereau's Le nombre is a purely theoretical
theory.
theory.
There are areas in Europe-including Rome-where the Solesmes
there are nuances under each heading, long and short, he said. In ignoring the work of experts who, on
There are really two studies in the Etude sur le rythme gregori.m.
There has been greater accomplishment in the literature about
There is general agreement that the episema is a mark signifying
There is no historical foundation for Mocquereau's major theory,
There is no need to strike the accents in order to emphasize them; on the
there is no regular metrical pattprn. Therereally is no "mensural
There is not a single passage, as far as 1 can see, in which the Pontifical
There seems to be, at this time, no solution to the problem of the
there was an analysis of "tradition"in some of the Gregorian anthems.
There was extensive discussion of the episema and its functions,
there was no reason or necessity for noting long durations repeatedly.
There was, obviously, controversy over, the interpretation of the
there were two note values in the Gregorian Chant, a long and a short, (as
there, is no real harmonic problem. But today, even after more than
Therefore, Mocquereau placed the ictus on all notes marked with the
therefore, other things being equal,
therefore, that the episema is not mainly to mark a long note,
these "correctors" used in their Medicean Graduale:
these are so limited and so vague that they cannot possibly be given
These articles examined the notation of some of the more important
these books made for scholae cantorum, and furnished with rhythmical signs,
these letters were not peculiar to 8t. _Gall, but were set down in the
These qualities (i.e. holiness, goodness of form, true artistic worth, uniá
Thesis
thesis of the word. 7 "By arsis," he wrote, "I mean the moment when
they had no right to attempt to discredit before the whole Church the
they have _,refused to collaborate even to the present hour U~li~e obedie~t
they were first artistically conceived, and asked rhetorically: what was
things to explain, and the tight pedagogy of Solesmes should not be asked
third edition (1895).
thirteenth-and-fourteenth-century writers, had been true of Gregorian
This discussion of his further studies, especially of the St. Gall manu-
this edition, the Choral melody bleeds at a thousand places. " 14
This explanation of basic Solesmes theory, although brief ~d
This idea of proper treatment, of proportion, ran through all of i
This is a reprint of the original 1964 edition.
This is especially true in the light of the present increased emphasis
This practical problem must be met by everyone actively engaged in
This principle is borne out in the writings of the Blessed Hartker (tenth
This teaching, that the Vaticana is the official version of the chant,
this was the most important development in early music. 6 '!'he accentualists
those concerning ictus, are clearly wrong. David agreed with Mocquereau,
those for acceleration, serve only to make his editions "a mixture of
thought to indicate vibrato. In Solesmes editions,
thousand years after his death. 43
three kinds of accents in Pothier doctrine: the Latin tonic accent, the
Three main schools of thought regarding Gregorian rhythm have
three, as Dechevrens and other early mensuralists believed. They also
Thus .the. Decree of February 14 does not in an absolute manner condemn
thus obtained. 21
Thus, whether it is considered good or bad, the ictus cannot be said to
ti tIl
time as One of two or three notes, but the idea of subtly varying the speed
time as well. All the theoretical evidence, according to Jeannin, indicates
time in issuing his famed Motu Proprio of November 22, 1903. In this
time nor the inclination for specialized study, such editions are not
time, and composite rhythm in the Gregorian "section." Elementary
time, and to lengthen the accented syllable in the spondaic cadences,
time,22 and held, with Wagner, that if Solesmes had prevailed in the
time. The Solesmes rhythmic signs, added to the official Vatican version,
to .th.e officIal Vatican edition had been "tolerated" under special restnetlOns.
to a~mlt fran~y that the "supreme law of vocal music" had no validity,
to accent. Accent was, therefore, a melodic element in the chant,
to be full of errors. yolume One ofthe Paleographie musicale appeared
to be the principal rhythmic determinant in the music resulting
to be the theory that Rome adopted. As research continues, other
to be used in all Roman churches, but that certain private rhythmic
to different texts, making the addition of notes necessary. He also
To E.E.R. and J.AR, with love and deepest gratitude.
to each other; this is because chant is chiefly dedamatory, more
to either principle; nor is there any ictus mark, as such, in any ancient
to explain itself to anyone but Solesmes. Students of Solesmes teachers say
to fit his vast array of facts into his preconceived theory, and he also
to further mensural study.
To GUE!ranger, of course, goes most of the credit for getting the movement
to have metrical cadences.
to hold their own view on chant theory, of course, Burge wrote, but
to hope for some definite solutions, especially in the light of the Constitution
to indicate a broadening of the tempo. Solesmes
to individual, and more especially from generation to generation.
to June, 1906). Reprinted in Caecilia. Vol. 86, No.4, Winter, 1959.
to mark the single melodies of the Vatican edition in that particular rhythm.
to note that, for the first time in Vatican decrees dealing with the
To Pothier go ~§Ill0stofthe credit for the restored melogic outlines
To Pothier, the correct pronunciation and perfect articulation and
to recount "the valiant jousts" of the mensuralists vs. the accentualists,
to reject any of the three views as wholly wrong. 52
to reject the Solesmes books out-of-hand, without understanding their
to Solesmes, Burge wrote, and it was most unpleasant to consider
To Solesmes, therefore, the Latin word is a true rhythm formed
to Solesmes, this is not so. The Solesmes authorities insist on two different,
to that existing for the melodies would be found either in the
To the Abbot of Solesmes in the mid-nineteenth century, Dom
to the ancient melodies of the Church. The following year, the Pope
to the CONSTITUTION) and in twentieth-century scholarship.
to the formation of elementary rhythm; its role is that of providing
to the medieval man, and not a collection of petrified rows of notes. " 2~
to the modern singer exactly how the chant was sung in past centuries;
to the Pope and to King Philip II that
to the Pothier school. Without minimizing the importance of the Solesmes
to the problem of chant rhythm, however, with universal applications,
to the problem, but that it is the best compromise possible in our time.
to the quarrel of a few monks. "2
to the restored unity of the chant came from Dom Mocquereau. 24
to the Roman liturgy has gradually been more-and-more realized;
to the system of the so-called free rhythm, for which the principal rules
to the twelfth century, in irregularly grouped measures, the first note
to the worship of the Church and to musicology by the study
to their books. At the same time,
To them, too, I am deeply grateful.
to this mensuralist, were quarter-notes, except for the prolonged notes
to those of Delorme. His system was based mainly on his study of the
to triple value (a dotted quarter-note) by the eplsema. .
to understand the connection of words and phrases, to place the neums well .
to understand why those who accepted the music of thirteen centuries
to warn against its acceptance, and wish even to substitute for it a chantbook
today in Catholic school~ aIlcl. churches, at least by those who reject
today. I
together with the Solesmes rhythmic signs, is usable, and musicians
together with the traditional chant notation, is all that is necessary
Toledo: Gregorian Institute of America, 1935.41
Toledo: The Gregorian Institute of America, 1957.
Tonic Accent
tools with which to consider the Solesmes position in the gradually
towers in the development of western culture and provides
trace of the vertical episema in any medieval source, and the whole
tradition and the rhythmic decay: the negligence and the in-
tradition of past ages, as well as ofthe actual use of the Liturgy of today. 5
tradition, therefore, underlies all the manuscripts under consideration,
tradition" approach, insisted that, in some cases, the oldest available
traditional Gregorian chant were made, attempts which culminated
transition in Western music generally towards rhythmi~ systematizing, acheived,
transitory period in its history. 37
translated into German the medieval theoretical treatise, the Musica
translation by Durford of Melodo completo de Canto
Translator Dom Aldhelm Dean, in his introduction, noted that
treatises as well as of the manuscripts-indicates at least two kinds
treatises on music in worship and in music theory. But with the development
Trees," 11 and a monograph, Are The Solesmes Editions Justifiable? I'
Treves (Trier) also attempted a study and comparison of manuscripts.
Tribune de St. Gervais 33, 35, 40
tried to complete the work, but it was rejected by the Sacred Congregation
trochee J ) IJ ) IJ. This, however, does not lake into account Ihe difference between reet and
Trope
Tropes 44
troubador-trouvere rhythm. (Reese, op. cit pp. 41á42: p. 429; p. 85, fn. 25: p. 209, fn. 41 ~ He considered
true Gregorian rhythm, are opposed to the Solesmes binary and ternary
true that rhythm is only a rising and a falling, how does one account
Turin: Societa tipografico editrice nazionale, 1930. 31
turn or a trill. 25
twelfth century. But this "decline", if judged solely on the grounds of
tWhihsitpe aLriasgtr0a1phtheseSeomcietoty.I0g1noSLre Gcraemgopryelte0\y1AthmeenPcOaS,SI!b'1~1'~yh~1an~ .prjvat;l~ introduced" (Le. Solesmes)
two centuries, and even after the thirteenth century expansion of
Two Gregorian SChools," The Messenger, XLVI, 1906, p. 344. Fleury did not concern himself with the
two or more centuries before the invention of staff notation. By
Two volumes. Volume I, 1908, 429 pp.; Volume II,
typical Vatican editions, or which is approved by the Sacred Congregation
Uber Choralrhythmus 36
uber einen unbekannten Gesang. Trier: Commissipn-Verlag
unaccompanied, there is no harmonic problem. Still, even today, the
und- rhythmusstudien. Kassel: Barenreiter-Verlag,
under the circumstances a more recent version could merit priority over one
understood its desire to be the authoritative center for Gregonan art;
undertaken by religious and lay musicologists, and paleographic
Une page d'histoire locale au subjet de la restauration
unequalled in purity and style, and eloquent of everything for which
unfailing encouragement and support, lowe an enormous debt to Professors
Unfortunately however, his Graduale and Antiphoner (1856) are
unhesitatingly aligned himself with the mensural school. Wrote Sachs:
unimaginative.
unity of the word and the music. 12 However, Wagner conclude~, the
universally since the time it appeared. What is true is that the first negation
University Press, 1954. 133 pp. + 254 pp. oftranscriptions.
unsclen:lfic posItIon, for there is no possibility of a philological-critical
until the fIfth century, Latin syllables were measured quantitatively;
up of a "departure" and an "arrival". Since the ends of Latin words
up to the Twelfth Century," The Messenger, XLVI, 1906.
Up to the Twelfth Century. (In Fleury: On Gregorian
up to the Twelfth Century. In Proceedings of the Music
upon either intensity or length, is characterized by
upon the Roman Gradual by order of the Holy Father extends not only to
urgu;c Gesang der Abendlandischen Kirche, 1897~
Ursprung, Otto, Die Katholische Kirchenmusik. Handbuch der Musikwissenschaft
us 7 -
used because they permit a cut-and-dried method which need only be
used the episema and the letter c to compensate for the addition or
used to accompany the singing of the chant. This