Kansas CD, Jeff's CD, Palestrina, Lassus, Orlando di Lasso, Victoria, Vittoria, Lamb, Gregorian Chant, Jeff Ostrowski, Sacred Polyphony, Worthy is the Lamb, Gregorian Chant, Topeka, KS, FSSP, Fraternity of St. Peter, Latin Mass, Traditional Mass, Traditional Sacred Music, Catholic Church, Catholic Music, Viadana, Croce, Uttendal, CD, Purchase Gregorian Chant CD, Purchase Polyphony CD, Buy Catholic CD, Kansas Apel, Willi. Gregorian Chant. Bloomington: Indiana University Press, 1958. + + 1884 1884 edition of the Ratisbon/Neo-Medici/Medicean Graduale Romanum 1886 1887 Nouv. éd. sur cuivre. 1891 1892 Editio stereotypica. 1892 Pustet Antiphonale 1895 (WRONG! 1892) 1895 Ed. 2. 1895- 1895), which contains the Night Service for a considerable number of 19 19. Postcommunion 1900 1900 English Book 23 p. ; 23 cm. 1900s Latin Musical Score : Printed music : Masses 88 p. of music ; 31 cm. 1902 Musical Score : Printed music 116 p. of music ; 22 x 30 cm. 1903 Ed. de Solesmes. 1903, was officially adopted by the Roman Church through a decree of 1904 1904 Editio altera. 1904 Editio altera. 1904 German Book vii p., 1 l., 77 p. illus., pl., XXVI facsims. on 20 l. 32 cm. 1904 Mocquereau KYRIALE in modern notation. NO. 576 but preface in LATIN 1904 Solesmes KYRIALE in modern notation. Identical with the other NO. 576, except this has an amazingly interesting PREFACE in ENGLISH [[ by ??? (not signed).]] 1905 1905 Editio Schwann A. 1906 Editio Schwann F. RECENTIORIS MUSICAE SIGNIS 1906 Latin Musical Score : Printed music : Masses 93 p. ; 24 cm. 1906 Latin Musical Score : Printed music : Chants, Christian [7] p., 153 p. of music ; 23 x 31 cm. 1906 Latin Musical Score : Printed music 144, 8 p. of music ; 30 cm. 1907 1907 (references are to the English edition), 1907 Latin Musical Score : Printed music 24 p. ; 28 cm. 1908 1908 1908 Editio ratisbonensis justa vaticanam. 1908 Pustet Graduale Romanum. I know of no difference between this and the 1911, except the 1911 has thinner pages that are even clearer (than this 1908). 1908-1940??? 1908). 1909 Latin Musical Score : Printed music 1 p. l., x, 611, 225, 144 p. 20 cm. 1909 Latin Musical Score : Printed music score (29p.) ; 27 cm. 1910 1910 Latin Musical Score : Printed music : Chants, Christian 1 score (3 v.) ; 23 x 27 cm. 1911 1911 Editio altera ratisbonensis juxta vaticanam. 1912 Ed. altera. 1917 5. Aufl. 1917 Schwann edition in modern notation. Many items are simplified (e.g. the Graduals and Tracts) by adding recto tono's 1921 1922 1923 English Book xix, 262 p. : ill. ; 21 cm. 1923 Latin Book xxiii, 187, 17 p. ; 19 cm. 1923 Nihil obstat by Leo P. Manzetti, Mus. D. (who didn't really follow the Solesmes method in all details ... through ignorance?) 1924 Latin Musical Score : Printed music : Chants, Christian score (1464 p.) 19 cm. 1928 French Musical Score : Printed music : Chants, Christian 39 p. (chiefly music) 31 cm. 1929 French Musical Score : Printed music : Chants, Christian 4, 107 p. ; 31 cm. 1930 Latin Musical Score : Printed music : Chants, Christian xiv, 619, [490] p. of music ; 19 cm. 1932- 1933 1933 Potiron “Treatise” on Gregorian chant accompaniment. Preface by Desrocquettes. Translated to English by Ruth C. Gabain. 1933- Latin Musical Score : Printed music : Chants, Christian v. 31 cm. 1934 (Desctee, No. 818). 1934). This volume combines the main contents of the four books, giving 1935- 1936 Editio Quarta. Latin Book 3 v. ; 30 cm. 1939 1945 (Desctee, No. 696). 1945 English Book 67 p. illus. (incl. music) 23 cm. 1947- 1949 English Book 240 p. : music ; 26 cm. 1951 1952 English Book 30 p., [5] leaves of plates : ill., facsims. ; 25 cm. 1954 Editio Schwann P. 1963 1998 1st Member 2nd Member 1st Member 2nd Member 1st Phrase 1W^ 2 .• or ¦¦¦ ¦• 2 ¦—•-¦—¦ ¦—-¦—¦ ¦—¦-¦—¦ ¦— «-7 1,^4— Bi- 2 A. Z. Idelsohn, Thesaurus of Hebrew Oriental Melodies, 10 vols., 1914-5*. 2 Accents 2 Accents 2 Except for the Ember Wednesday and Ember Friday after Pentecost. See the table on 2 Gastou, Origines, p. $07. 2 Hesbert (Scxtuplcx, p. xl) offers the explanation that the Ember Saturdays had six 2 prep 2 S 2 See the List of Data, p. 39, no. 7. 2 See, e.g., J. Borrexnans, Lt Chant liturgiquc traditional des Pr4montr& (1914); IX 2 The hymns for the weekdays are given in the Antiphonate. 2 The original meaning of cantus planus was to distinguish a "low chant" (planus, 2: 2. — The repeated note, after the Strophicus having only an 2. By the succession of diamond-shaped Puncta. 2. Kyrie 2. Lauds (laudes): at sunrise 2. Liber Gradualis juxta antiquorum codicum fidem restitutus . . . edttio 2) Anticircumflex V — a falling-rising note. 2) Antithetic or contrasted parallelism, is when the thought 2) Solemn Tone (For Solemn Feasts) 2) The Dynamic Link. — This constitutes the grouping of 2) The first note of any distinct group, unless special conditions 2) The first note of the Pressus. 2) The Grave accent — for the fall of the voice; it is made 2) The Horizontal Episema ¦ ¦ above or below a note 2) The Incise, or Quarter-Bar marks small Members of a Phrase. 2) The note before the Quilisma. (Which always has the 2) The Pressus-Major (/^) is used, on the contrary, at all 2) The Solemn Tone is used " ad lihitum " at the Lessons 2) The type which is distinctly separated, in the notation, 2=-3 20 2003 Dutch Book 128 p. : ill., music ; 26 cm. 22 GREGORIAN CHANT 22 Part I 23 238 pages with a letter of recommendation at the front by Dom Lawrence Janssens, O.S.B. 239 of Laon, reduces the signification of ( c ) to its just value. 24 GREGORIAN CHANT 24 Part I. 25 26 GREGORIAN CHANT 26 Part I. 28 Part I. 2O GREGORIAN CHANT 2st Phrase 3 3 3 According to Duchesne, Christian Worship, p. 168, the "practice of chanting psalms 3 Idelsohn, Thesaurus, I, 64. lie text is Ps. 8, beginning of -fl. 2. 3 Octave means either the eighth day after a feast or the entire week, with daily com- 3 See J. Gajard, "Quelques precisions au sujet de 1'Antiphonaire Monastique" (JRG, 3 Since Lauds of ordinary Sundays and of weekdays are not represented in the Liber, 3 Svllables 3- 2 3- 2 3-22 3-tur Scriptu- ra di- xit. ^ Si-ti- o. 3. By the simple placing together of several groups. 3. Gloria 3. Graduale Sacrosanctae Romanae Ecclesiae de Tempore et de Sanctis 3. Holy Innocents 3 3. Prime (ad primam horam) 3) A Virga in a compound group has the Ictus usually. 3) All notes bearing the Horizontal Episema. (Which 3) Another tone for Sundays and Feasts. (Monastic^ 3) Synthetic or Constructive Parallelism. There are many 3) The Ancient Gospel Tone is sung on the Dominant La. 3) The Ancient Tone, except for the differing intervals, 3) The first note of every Neum, in most cases. 3) The Member mark or Half -Bar distinguishes the Phrase- 3) The Proportional Link — This is the relation and dependence 3) The Vertical Episema, as we have mentioned above 3=^::.; 30 Part I. 31 32 32 GREGORIAN CHANT 33^: 34 GREGORIAN CHANT 353 358 36 GREGORIAN CHANT 363 The Alleluias 375 The Antiphons 392 The Chants of the Mass Or- 364 3E|^ 3rd et 4th- ? ? 3rd Mode 3rd Mode 3rd Mode 3rd Mode 3tzp 4 4 4 8 4 4 By a recent decree the Mass for Whitsun Eve has been changed to a normal Mass. 4 Given in Wagner 111, 239!, from (a) O. Fleischer, Neumenstudien, II (1897), 41; and 4 GREGORIAN CHANT 4 See A 164-168; 170-175. 4. Collect 4. Graduale [etc., as under 3.] et rhythmicis signis a Solesmenstbus mo- 4. Mass of the Dead 4. Terce (ad tertiam horam) 4) The Full-Bar corresponds to a full stop in punctuation; 4) The Link of Articulation. — This is the Mora vocis, 4) The Second or penultimate note of a Salicus has the Ictus; 4) When a Neum "of three notes is followed by a single note, 4==1 41 42 429 The Textual Tropes The Textual-Musical Tropes The Musical 43 433 44 Part I, 440 445 45 455 46 467 47 477 48 488 489 The Offertories 490 The Graduals 492 The Tracts 494 The Al- 49 49* 496 4a 4th Sanctus XL 5 5 5 5 5 5 5 5 5 5 5 5 5 : 5 . + 5 +- 5 ¦ •* u 5 ¦ 5 5 1 5 3 V^ ^^^ . 5 According to Wagner 1, 87, the term is the Latin translation of the Greek word 5 Quadragesima [Lat., the fortieth] is the name for the forty-day period of Lent that 5 r 5^ + 5^^-=^ 5- 5- — • i- 5-1*.—- 5—1 5, r or X is pronounced tsi. Examples : Gratia = Grat-see-a, 5. Antiphonale Sacrosanctae Romanae Ecclesiae pro diurnis horis SS. D. 5. Epistle 5. From Saturday after Easter to Friday after 5. Sext (ad sextam horam) 5" 5) As before, the last note of a Neum of Three notes which 5) The Double-Bar ends the Chant, or a principal part of it. 5=,ti=K 5=1-5 50 51 510 52 53 53 54 54* 545 55 55* 559 Dominica IV. in Quadragesima 138 56 Part I. 565 568 578 58 Part I. 5b=xr^ 5th et 6th] ^ 6 "~"~'*1^ 6 See pp. 180, 186, and 6- rum 6. Antiphonale [etc., as under 5.] et rhythmicis signis a Solesmensibus 6. Feria IV. Quat Temp. Adv., Sept. * o o o 6. Gradual 6. None (ad nonam horam) 6) The note immediately preceding the Quilisma. 60 Part I. 603 606 61 612 62 621 64 66 Part I. 665 68 7 ¦ - - _ 7 1 7 2»?«' 7 In Albis is short for in albis depositis, i.e., when the white [vestments worn by the 7 See HAM, nos. ya, b. 7 The full Offices of all the weekdays are given in the Antiphonal*. 7^- 7-1 7. Alleluia 7. Good Friday coos 7. Vespers (ad vesperam): at sunset 70 71 72 Part I. 74 Part I. 76 Part I. 765 77 777 78 78, p. 734). The monastic rites usually have four Responsories for each Nocturn, at least 785 789 792 796 7i3 8 GREGORIAN CHANT 8 Part I. 8 The Masses of Holy Innocents and Christmas Eve have an Alleluia if they fall on a 8. Compline (completorium): before retiring 8. Feriae III,, V., and Sabbato from Feria 8. Gospel 80 Part I, 800 804 808 816 82 Part I. 821 826 83 830 835 84 84, Cant. VI, Ps. 147; and for the same during Lent: Ps. 50, Ps. 142, Ps, 84, Cant. Via, Ps. 147.* In the Liber, which represents Lauds very in- 844 853 858 86 Part I. 862 88 Part I. 887 890 892 8th Mode 9 The normal arrangement in the early Mss is: 9, Credo 9. Feria VI. Quat Temp, Adv., Sept. 90 Part I. 92 Part I. 94 Part I. 96 Part I, 98 Part 1. 99 A A A A A A A a a a a a a A a a A — has a broad open sound like the a in the word father, A — Modifications. A , B a " pressing " support, so to speak. But in the second example, A (4) et oves pascuae e- jus : * introite a ¦ ¦ ¦ ¦ ¦ ¦ : CJ B Q ¦• a ¦ ~~ a ¦ a ¦ ¦ a ¦ r" p " Jm. a ¦-( a a a a a a a- A and B. A B B* A becomes once again the First Mode, or D Minor Dominant, a body of traditional religious music, such as Hindu chant, Jewish chant, a breath before a fresh syllable of a word. A breath is never permitted at the Incise mark; not often at a breath, on the note of the Tenor. a broadly conceived plan. True enough, the appropriateness of the term a Cadence of One Accent, but with no note of preparation, and a Cadence. The following table will illustrate : a certain lightness. In such cases we use, at the moment of a Chironomy. It is nearly always the spondaic word or a clear and precise terminology to explain the rhythmic A DETAILED description of the development of Roman chant or of the a different manner; and imitative phrases must keep the same a different situation is presented by the Ordinary. The Kyrie, Gloria, and a disjunction by means of a mora vocis. In Laon, this {-«^) A dotted note is represented in Modern Notation by a Quarter a double or three-fold percussion or repetition of the note; a downward sweep to the Right. This is a Chironomy of Simple A few examples of the fusion of groups in the Pressus : a few general rules in this Chapter on Notation. A Few Paleographic Facts a few syllables before or after this point; or the process may A Final Note of the Cadence is other than the Final of the Mode, A general sign of the " junction " of groups, is the graphic A good general Rule for the neophyte, is to make a gradual a great deal of practice is required for performance : a group of " acute " notes, as also the fact that we (the a guide in classing Arses and Theses. Since the Arsis represents a H a harmonic sympathy really inspiring. a I a iL ¦ ,. A large choir as a rule, should be made to sing a melody more A lesson in Gregorian Rhythm : How would the average a Lesson is a lengthy section from Scripture, while a Chapter is no more a link between the Antiphon and the Tenor or Dominant. In a little confused, but he would try and find out the intention a long note, and one of rest. In the whole Chant, '' Asperges me ", a melody, as is sometimes the part of Christ, but simply, as we a Metrum like those of the Chapter; the Punctum alone is a most valuable rhythmic tradition ; therefore a profound study a musical sentence, the rhythm has four links at its disposal, A Neum of four notes may be rhythmed in two different ways : a new Arsic movement must be started. In the course of a new subject to us. The Rhythmical Ictus is at the same time^ A notable and often mispronounced example is Excelsis properly a nttle later, are still in use : Ut (Doh) Re Mi Fah Sol La Si (Ti) A or La for Tones I, IV, and VI. a practical treatise, by a preceding group to form a single sound, double in length, a preceding note, when there is to be a new syllable in the text. a Pressus. The first note of the Pressus always takes the Ictus a primitive tradition, which was universally known, and which a Ptmctiim. The other formula is like the first, except that a question of a poor choir singing the notes evenly, or not a re sung on th e lower no/T^^^according^to the Rules for Cadences A Rhythm may begin with an upbeat or elan, or a down A rhythmic group of three notes is equivalent to a dactyl ; it has A rhythmic group of three or four notes has two Icti, and a rhythmic ictus. Example : a Romanian episema on the last note of the Torculus. (a) a S. Gregorio Magno olim ordinatus : postea Summorum Pontificum auctoritate recognitus ac plurimum auctus : cum notis musicis ad majorum tramites et codicum fidem figuratis ac restitutis in usum Congregationis Benedictinae Galliarum praesidis ejusdem jussu editus. a semitone, and the other, a Fifth. Examples follow : a simple and natural melody. Thus Cicero would say, " Est a simple exposition of the solesmes a simple pause is made. At the beginning, as also after the a simple Ternary 'RhyiYiva-two beats on the last note of the a singer with good religious sense and artistic temperament can A single Virga before a Strophicus is worth about two simple a slight crescendo on leaving the last note of the preceding \ a slight decrescendo. As is often the case, when there is a single a slight lift of "the tonic accent. Every Latin word has its a slight ritard on approaching the Cadences is very effective, A somewhat better case can be made for the theory of a Graeco-Christian a song of happiness; it is sweet, mysterious, calm, confident; a special Intonation : A Strophictis — either alone or in conjunction with another a Strophicus is to be repeated lightly. He speaks explicitly a study of Gregorian musical rhythm. a subsidiary accent. Dactyllic words may have a secondary a succession of Spondees which creates such a rhythm. Observe a syllable, every one must be sung on the vowel, and the vowel A theoretical and practical manual of Gregorian chant for the use of the clergy, seminarists, organists, choir-masters, choristers, & c. / a Thesis of an otherwise Arsic group, or vice versa. A great A thorough knowledge of the peculiar characteristics of the a Tract for the Saturday. In the Ember Week of Lent, which falls into the a Tract. This is indeed a special day, the Day of the Great Scrutiny, that A Tract. Vinea a truly aesthetic gregorian effect, it is absolutely necessary A unique rhythm known as elegiac or Qinah rhythm was a Verse of the Psalm which is to follow. a very frank and pure tonahty. The Reciting Tone alternates a very slight nuance of retard only may be meant. This retard a well-trained group. At the Arsis the hand describes an upward a word in reference to the plain chant question in view of the recent pronouncements of Pius X and the Congregation of Sacred Rites / A word or two in regard to the execution of the Amen at a year. a- a- a a- a a- a a- a a- a a- a a- a- a. a- a- a a- a- e a- a- e a- a- e a- a- e a- a- e a- a- e a- a- e, a- a- e, a- a- e^ a- a- a- a- a. a- a- e, a- a- e, a- a- e. a- a- a- a- a- a. a- e, a- e. a- e, a- e. a- e, a- e. a-e, a- e. a- e, a- e. A-men. De- us. a-nes. a-nimae. Dulce refri-ge- ri- um. etc. a-p, a— "—p— ¦-*-?— ¦ a— i^IaS: A. — Origin. A. — Simple Notes. a. Feria V. p. Bom, IL Quad. x*o a. Feria V. p. Bom. IIL Quad X34 a. Feria V. p. Bom. L Quad. 104 a. Feria V. p. Dom. IV. Quad 146 a. Feria V. p. Dom. Passionis 162 a. Feria V. postCineres 91 A. MASSES WITH TWO LESSON-CHANTS a) All long notes which include a) By Simple Beats : It would be a most clumsy and erroneous a) in a single group ; a) In the Podatus, the lower note is sung first. In the Clivis, a) in two groups i "T i^ a) Incises made up of Composite Rhythm by Juxtaposition : a) Intonation. a) No hollow Auxiliary notes are found in the Preparatory a) Rhythmic Signs affecting the Notes. a) The " distinct " form : a) The " distinct " form in which the two beats are expressed a) The enclitics-^w^, ve, ne, cum. These however have the a) The procedure of the documents without rhythmic signs. a) The term Flexus which means bent is added to the regular a) The Time Group : a) Tonality — If there is any choice in the matter, the Ictus a) Virga before a Strophicus : A* sar ceno bode- ho al basso- mo-jim. A/'''- ''•'.' AA AA AA ^ A ab omni nos adversi-ta-te cu- sto- di. Per (e- limdem) ABBREVIATION ABC ABC able to come to a few definite conclusions. We have already above : (a) By the regular alternation of Arsis and Thesis, above : caelum, saectdorum. above, is not certain beyond doubt and, in fact, has become highly ques- above. absence of regular meter, responsorial and antiphonal performance, pre- absolutely " interdit " in the Gregorian Choir. For this reason, absolutely necessary to the Plainsong student. The sharp, Absolution in 1st Nocturn ac- fli- gi- mur. acce-pit e- am disci-pu-lus in sii- a Poste- a sci- ens accent of the words and give to it their value. The Tonic accent accent on the antepenult, "Vulgar" Latin accents on the accent on the last syllable w'hen the w^ord following is a mono- Accent. Both these methods of marking words are equally accent. In Gregorian rhythm every second or third note accent). At the Punctum before the Conclusion, the vocal accented syllable. Example : accented, the syllables chewed, and the notes sung unevenly, accented; phrase members, phrases and periods must be clear accents — Logical accent — Pathetic or Expressive accent — Accents : Cadences of one Accent may be spondaic — made accents at first submitted to only slight modifications (except Accents used by the xAncients to denote the inflections of Speech. accents. This language without prosodic quantity with intense Accidentals. Accompagnement du chant grégorien / Accompagnement du Kyriale Vatican, / Accompaniment. accompany an action. To the former category belong the Gradual and According to an author of the 13th Century, ' Elias Salomon ', According to an eleventh-century Micrologtts de eccltsiasttcis observationibus [Fair- according to its length and complexity. It is always a complete according to places and epochs; but the documents of German according to the choice of the composer, or the suitabilit\^ of according to the length of the Half-\'erse. In many cases the according to the manuscripts. according to the principles of Dom Andre Mocquereau of Solesmes / according to their succession during the year, and it was not until the accrued a large repertory of chants for the Ordinary. An idea of its size accurate, because, as the regular Rhythmic Order is that, accustomed by a long tradition. Only a few of the many indications of this Achille P Bragers ACI Actes du Congrts International de Musique Sacrie, acti-bus e- 6-rum, ab A-rimathae-a ci- vi- ta- te Judae-ae, action of the rhythm ceases, certain groups of notes are left actually amounting to a complete distortion of their essential qualities. In Actually, the case made for the Greek-origin theory rests upon a single Acute Accent was a small oblique line ascending from left to right Acute and Grave Accents, were uttered in ha]f voice : thus ad adjuvandum me festi-na. etc. ad adjuvandum me festi-na. etc. Ad novam Breviarii romani editionem exactem et recentioribus ac festis pro aliquibus locis adauctum. Sub auspiciis sanctisimi domini nostri Pii PP. IX. curante Sacr. rituum congregatione ... add a Ninth, the Tonus Peregrinus (foreign tone). It is always added Significant Letters, both Romanian and Messinian. added the vowels and other signs to facilitate the reading. addition, on certain feasts, of a sequence. The present-day books contain Adjuva- bit Admonition : Ado-ro te dev6-te, Advent [273-276; the "Simple Tones" given on pp. 2772 seem to be melo- Advent 2 Graduate i Gradual 4 Graduals, i Hymn, i Tract Advent and Lent, with six Credos being given separately [64, 90]. A note affirmation and fulfilled joy. It was called by the old affirms with the same evidence and authority as the traditional after an Arsis comes a Thesis, every time that several Arses or after Christmas are: Sunday within the Octave 8 of Christmas, Sunday be- after Epiphany: the fewer Sundays after Epiphany, the more there are after After having examined many of the best manuscripts, after Pentecost (Paschal Time), a period during which two Alleluias are after Pentecost are taken from those provided for the last Sundays after after Pentecost, " Memento verhi tui "; after Pentecost, the first phrase ends in a true cadence of after Pentecost. after the entire group of Psalms. A special place is reserved for Ps. 94, after the Epiphany after the Final Antiphon of the Virgin, and for all the other After the Fourth Sunday of Advent comes the Nativity of Our Lord (Christ- after the Litany of the Saints, the Flexa and the Metrum may after the master until the melody was memorized. It took years after the number of the Mode, will be found a letter indicating After the terror of the darkness, the earthquake and the rending again Psalm 113, I. again Psalm 24, verse I. again Psalm 56, verse i. again Psalm i, verse 2. Again. Against the Lord and against his anointed ". Agnus De- i Agnus De- i, * qui tol-lis pecca-ta mun- di Agnus Dei The Mass Ordinary as a Cycle The Hymns 421 The Tropes Agnus Dei; the Proper includes the Introit, Gradual, Alleluia (or Tract), agrees with ( n ), naturahter. These two letters correspond AHe-lii- Alcuin (735-804), and provided with music by Stephanus of Lie*ge, who has been tenta- alighting place and the departing Arsic Force. It is most ality. The general style here is calm, gentle, grave and all dactyls, care must be taken to pronounce every syllable and all kinds is helpful; and in the study of Free Rhythm it is All Long Notes — Dotted Notes, all Pressus Groups, all Notes all Plainsong. all powers sing with them: amen, amen. Power, praise [and glory unto All song is born of the union of tones and words. These two all the feasts of the Temporals and the Sanctorale. All the groups are rhythmed, except the first. The ( c ) All the Solesmes Editions and some others are published with All the words in the examples are so many small rhythms, All translations from " Le Nombre Musical Gregorien ", and All translations from " Le Nombre Musical Gregorien ", and Alle-lii-ia. Allelu-ja or Allelu-ia (never as in the Greek Allel6u-i-a). Jesus Alleluia; to the latter, the Introit, Offertory, and Communion. There is Alleluias customary in that period. Finally, the Saturday of this week of allongations, thickening, and sometimes in changing the contour almost 300 different melodies for the Agnus Dei. 6 Throughout this period almost always evident in the Melodies. One theorist calls almost always of less importance rhythmically and melodically; alone, but always accompanied by (u), — (nu), and once we Also consider the meanings of the dot, horizontal Episema, also Psalm 19, 8. also Psalm 44, 3. also Psalm 48, I. Also the first Incise of the Kyrie " Orhis factor " : Also the following from the " Passion " according to St. Luke, Also the Hymn for the Dedication of Churches : Also the three syllable word : also, to a certain extent, of the spoken texts): Ordinary of the Office, Proper also. altar, were very simple; while the Graduals, Alleluias, altera (Solesmes, 1895). altered during those decadent years between the XlVth century Although the beginning of a Phrase is often quiet, and of Thetic Although this part (Christ) at first glanc^ seems insignificant, although this part demands more variation owing to the number always be anticipated, and not sung in a thoughtless manner : always given its full time value. Although the second notes always marked, thus clearly distinguishing it from the Scandicus always on the penultimate if it is long, or on the antipenultimate always the same nuance : the Apostles, Pilate, the crowd of always with the notes or groups, either ordinary, or marked AM ama-re morti AMM Among the numerous reports telling us about psalm-singing among the Among the Tme Rhythmic Signs we distinguish two classes : amount of Drama in some Psalms. A proper understanding amounts to one Binary Rhythm, or two counts. In conducting f^ amus. Per Christum Domi- an accented syllable; this includes monosyllables. Thus the an alighting place and an "impulse" sought by the rhythm "^ * an Ember Week explains the varying designations for the single days: Whit An English translation of the FIRST HALF of Mocquereau's LE NOMBRE MUSICAL an entirely different sphere, a " biome " so to speak, of far- An example of a Syllabic Chant of the Second Mode, is the An example of the Third Mode which has retained the Ancient An example taken from the Tracts of the Vlllth Mode. an important part of the Jewish service and was raised to even greater an uncertainty and dragginess which causes the listener to AnaL hymn. Analecta hymnica medii aevi, ed. by G. M. Dreves and analysis of the Passion and Gospel which follows. analyzation of each Phrase is the only way to recognize these ancestry; Anglican Chant is but a variation of the earlier Ancient Hebrew Poetry possesses neither rhymxe or metre, ancient music. and and 144, are used, but the former is divided into two parts, 143.!, 143.!!, and a Dactyl, or a Dactyl and a Spondee, may make up and a dot ( • ) which follows all Pressus. This ensemble and a downbeat when the Arsis is Binary or Ternary : and after each Psalm or, at the Lesser Hours and Compline, before and And again from the scene of the Last Supper : x\lso Palm And again. and Antiphons 217 The Tones of the Canticles 226 The Tones for the and apart from his knowledge of other music. (It is almost a and are those which precede immediately the Rhythmic Accent and at Compline, but in a different position, that is, as the opening chant of and b) of this same Tone; all the Final Cadences of the Vllth and balance of Verses. Different kinds of rhythm are often and Benedictions at Matins. and certain other occasions; the Credo, on feasts of Martyrs, Virgins, Holy and Commemmoration Prayers; it is also used at the Oration and concert halls, are entirely out of place; Individualism is and concludes definitely on D. and connected : i i i and construction of oratorical or phraseological melody, and dactyls comes the delicate interplaying of the binary and and definite characteristic of tnis I\Iode. It was not without and energy; othen\ise the diction will not be clear, but weak and especially in the Laon 239. But in order to reduce the and EU , except that it is at the beginning of the syllable and and expression. If this is true in all vocal composition,' it is and fall of syllables. and Ferial ; also in all the Orations which include the admonition And finally the last agony " It is finished " And finally, the following " Last Words " of Our Lord, from and followed : and from these are developed phrases and periods. The syllables and graceful phrase. and great Theological Truths. The Bt^ is seldom used. We and habits of the neumatic notation. See the following : and his 150 page “ANTIPHONALE” for the entire liturgical year and his Solesmes followers; the Undnlaiion : And how calm and sweet, especially as it follows immediately And how perfectly conceived is this " Restored Passion " for And in his law doth he meditate day and night ". and in the " Monographies Gregoriennes ", by Dom Mocquereau, and Incense are not to be sung, but read). and intensity of the sounds, and certain other nuances of inter- and interest belong to the first vowel : In ^ L^ and E U the and intonations. That syllable (there was only one) which and it is really from the 12th and 13th Centuries when part and lack the true flow of the Melody. — Therefore, the Choir and last. When hymns are sung at dawn, David is first, middle, and last At the and learn to study naked Melody without feeling any Harmonic and melodic, which governs the length and subdivisions of the and melodic. The Latins like the Greeks uttered and declaimed and Minnesingers as a "purely literary" affair, completely disregarding and more interesting musically. From the point of view of Gregorian and most of all, if it awakens some of the love I have for this and must be clearly distinguished from qui ; however in certain and must be sung with more vivacity. There are no {^^s) or and name them. and nearly every kind of imitative movement. In all cases and never be allow^ed to degenerate into sentimentality. and not regulated by rigorous rules, but by good taste and the and of most of the Masses pro aliquibus loots (for certain localities; G i**- and paleographical knowledge which only the sincere, persevering and palms, and generally for all the functions which are not and phrase. However there must never be a searching for and Phrases. We make the following divisions : a) Words, and place himself in a very different world of Musical art. and proportion between them. The poor singer may destroy and Psalm 19, and Psalmody (according to the Psalm) are traditionally faster. and Punctum. and quite naturally these gestures reproduced the rhythmic and Recitative. They consist for the most part, of Chants and rhythm. By his gestures and his glances he will be able And rulers hold conclave together, and S. G. 340. and Saint-Gall origin give the two following forms : and Salve regina (Hail, oh Queen), the most celebrated of all, from then till and self abnegation, never seeking to project his own person- and simple rhythm of the Gregorian melody before we undertake and singers. and so on for larger groups. And so on. All kinds of combinations are to be found. and sometimes it does not. When the former fact is true, it is and Spondaic Cadences — Preparatory Notes — ^ Solemn Psalmody and St. Silvester on December 31 [440]. and Text 266 Textual and Melodic Phrases The Textual Accent The and the Ancient. and the AntiphonaL Between the First and Second Sunday falls the Ember and the breathing pause by two lines ( = ). The alternation of and the Clivis are rhythmed, they must be preceded by a rest : and the Final Cadence : and the Final Punctum, made up of a Cadence of One Accent and the light of thy countenance, and the Members and Sections around the General Accent AND THE MONKS and the Neum is the difference between the position of the And the perfect confidence and resignation of the following, and the period. ""W/^ And the same in the " Passion " according to St. John, Good and the same melody is written sometimes with the Pressus- and the second part in the real Mode of Sol or 8th Mode, with and the vowels — e u o u a e, abbreviation for the words and the w^ords pronounced clearly as in good speaking. The and the XVIIth century. The accentuation was distorted, and their compounds. These two words were formerly written and these fall into two main categories: the Feasts of the Lord and the and Theses, and thus determine its interpretation. Careful and Thesis — Rhythm of the Whole Bar — Composite Rhythm — and Thetic Groups. and this expression is applied to the Distropha and the and those of . the Gregorian repertory, indicated by such basic traits as and those of the Gregorian repertory. Although only a few melodies of and threes on the same degree of the scale until the natural and Time Words — The Rhythm of Neums — Time Groups and and to bring out the form of the Hebrew Poetry; This pause ^ and to the ad libitum Kyries, refer to the fact that in the tenth and later and transcribing them into modern notation. and Tristropha. and two preparatory notes; the Punctum is also a Cadence and U, is pronounced like the English K. Examples : caritas, and unintelligible. and Versicle Canticle of Zachary with Antiphon. and Vespers, at the Votive and Commemorative Orations of and VII are the ordinary Intonations, and like the other two ^ And violent men have sought my life : and well-trained musician, the finer will be its execution. and who were miraculously rescued by an angel, whereupon they sing an and wine, the Eucharistic Prayer, and the Communion* The above items and, later on, Byzantine influence. An isolated example of a very early and, together with the Mass, the most elaborate of the services, is now gen- André Mocquereau André Mocquereau André Mocquereau; Joseph Gajard andria (c. 150-0. 220) calls tropos spondeiakos, adding that it is in use in Anima nostra Another example — Gradual " Ex Sion ". Another example of /t = statim. Another example of the same Melisma, with one note more. Another fine First Mode Melody which belongs to the same Another remarkable example of parallelism exists in the Lamentations Another well-known Chant of this same class (with the familiar answering the question " where ". Ant. Ant. Ant. Ant. Ant. ? Ant. « , Ant. |- Ant. 5 — Ant. iZZiiizzzzL.J^_i ±zi: r-~:=m:;.:^j Ant. Monasticum. Antecedent and Subsequent clauses in a grammatical Period, antepenultimate, with two atonic syllables following, such Anticircumflex V Antiphon, as also the Canticle, Nunc dimittis in the Ofhce Antiphon, the first verse of each should be intoned by the Antiphonal and Responsive Chants may be taken at a fairly Antiphonale missarum juxta ritum Sanctae Ecclesiae Antiphonale Missarum Sextuplex, pp* 8-197. Antiphonale monasticum pro diurnis horis . , . , Tournai, Antiphonale Sacrosanctae Romanae Ecclesiae . . . , Tour- Antiphons "During the Year 5 ': Dixit Dominus, Magna opera, Qui timet, Antiphons of the Blessed Virgin, at the Oration " Dinger e " Antiphons often end with a syllabic Spondee on the same Antiphons, are four chants of a relatively late date, probably not before the Antiphons. The term also includes the Canticles, especially Antiquity — Hebrew Poetry — ¦ Parallelism. — Relationship any other director who must make use of Plainsong in English, any rate, it goes without saying that such an isolated case proves nothing. any reason in the middle of a word, or, what is worse, to attack any study of Gregorian chant, not only from the historical but also from Apel, Willi. Gregorian Chant. Bloomington: Indiana University Press, 1958. Apel, Willi. Harvard Dictionary of Music, Cambridge, Apodasis Apostle), also Ascension and Pentecost; Apostropha apparent to the reader, I have not reproduced the rhythmic signs which appear later on in this book. Less consequential is the omission, in the appears a Cantus Firmus of Plainchant, around which the appears in the same function at the Night Service (Matins) of the Roman appellations, denote that universal liturgical song of the Latin applies to on, and ai : both vowels are heard separately and approach of the great men of this school has settled many Aquinas. Arabia), Babylonia, Persia, and Syria. 2 An examination of these traditions archaic melodies for the Te deum [Simple Tone; L 1834] and the Gloria archeologists and analycists who have not the slightest are 2 examples : are alternated. Thus if the Text is divided into more Periods, are delicate nuances, of ah grades of length and intensity, are even dramatic, as the extremely virile Offertory, " Precatus are formed : In order to see at the same time which are the are includecTinme Table. The Solemn Tones are used for are known as juxtaposed rhythms. (See above). are made by lowering the voice a Minor Third (Cadence of one are modelled after the prayer hours of the Jews, which began with the are not in any way connected with a Psalm or a Canticle. Rather they are are Ordinary, there being mainly three melodies: one for Advent, one for are pronounced as in English. are settled by the same means — the study and the comparison are so precise, that it would be quite impossible to improve them. are sung all the words between the Intonation and the Mediant are sung strongly relatively. are sung when they occur in such a place. are the Litanies or Rogation Days [L. rogare, to ask, to beg], days of special are tiuo : the Solemn and the Simple. The Solemn Tone is used are very nearly those mentioned in the earliest description o the Mass are: around which the notes could be gathered; then a second line arrival (L. adventus) of Christ. All the liturgical books, Gradual, Anti- Arses and Theses. Arsis Arsis Arsis Arsis Arsis Arsis Arsis Arsis Arsis Arsis Arsis Arsis Arsis and Thesis is used for Composite Rhythm by Juxtaposition : Arsis and Thesis, or movement of hfe and repose : Arsis Arsis Arsis Arsis Thesis Thesis Arsis over the first three notes, and a Thesis of course over the Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Arsis Thesis Thesis Arsis Thesis Thesis Arsis Arsis Thesis Thesis Arsis, or a rising movement attached to an unimportant word articulation. No matter how many notes are assigned to as a basis for a detailed investigation. For this one must turn to the As a general rule the melodic movement itself will serve as As a general rule when two vowels come together, each as also the Prayers of Terce, Sext, None and Compline, are as an Antiphon, is sung during the aspersion of Holy Water, a ceremony As an example of a full service, that of Corpus ChristI may be examined. as Dom Mocquereau has found by a careful study of the as Dominus, Benedicite, gloria : as e-git As each word has its Arsis and Thesis, or rise and fall, so every as early as the third and fourth centuries of the Christian era, was fully As every musical student is not an expert in foreign As for the Codex of Laon 239, the graphic union of the three as for the Salicus. The Pressus is a long, doubled note, while As for the Sanctorale, a few general remarks will be sufficient. The nu- As from various groupings of syllables, we have words, so As if in recompense for the omission of the Alleluia in the pre-Easter as in modern music — and Modal Modulation. The first type as in St. Matthew). as in the case in the Office of the Dead and of the Triduo of as it cairies the connotation not only of "Roman usage" but also of "Ro- As it has been necessary in our discussion of different phases as it is always discreet, serious, tranquil and recollected; the As it is necessary for the student, from the very beginning as Johann Sebastian Bach ends his Passion according to as Kyrie lux et origo eleison (Lord, origin and light, . . .) or Kyrie fons as long as the melody and text indicate them : as Lux et origo, Kyrie fons bonitatis, etc., given to most of these Ordinaries As mentioned previously, these Canticles are used at the beginning of as miser ehatiir, Filihus, etc. as much care as possible must be taken not to destroy it any as necessary. as one syllable; the following vowel keeps its proper timbre. as possible and to multiply, on the contrary, the B^. Thus they as possible, not only rhythmically but also melodically. as required for Vespers. With rare exceptions, the Psalms are connected As says Dom Gajard, " Since the inspired author has taken the As shown right above, I also have the 1906 KYRIALE, which is the same as the 1931, except it doesn't have the REQUIEM MASS as the Commemoration of Saints at Vespers [s62ffj, the structure of the As the name indicates, consonants can only be pronounced as the necessary pauses and final rallentandi. * as the Pressus. as the Punctum : hence the name of Punctum planum. The as the Thesis. (Thesis must not be confused with (rirtard). as those of the Proper of the Lord, are "Proper" in the former meaning as usually associated with Poetry. However it is essentially As we have repeated, the Latin Language is the framework as well as Hymns are concluded by a Versicle (versiculum), a very short As will be noted in the table of Psalm Tones at the end of As- per- ges me. ascend a Minor Third in the ist and 3rd Tones ; ascend a Fourth Ascending Melodic movement, and the Thesis to the Descending Ascendit = A-shen-deet, Descendit = de-shen-deet. Ascends a Fifth Ascends a Fourth Ascends a Third Ascension Ascension [850] Ps. 109, 1 10, 1 1 1, 1 12, 116 Ascensionis 287 Ascribe unto Jehovah glory and strength. Ascribe unto Jehovah the glory due unto his name ; Ash Wednesday Ash Wednesday [523], the Blessing of the Candles and the Procession on Ash Wednesday, the beginning of Lent, the long period of fasting before Asper- ges me. Vi-di a-quam. Aspirations (Dasian Xotc asset, as many forms of Church Music are founded on the assistance may understand every word. For this part is not Associated Words. association with the Nativity was too close to be destroyed. To the present Asti-terunt*reges terrae, et principes convene- runt at a me At an early time there were added to the Psalms a number of scriptural At an undetermined time it became customary to sing Psalms between at Compline of Sundays and Feasts with an invariable text and melody, at first glance. The many attempts in this direction finally at intervals of every two or three notes, to renew and sustain ^ at Lauds and Vespers, where it is followed by a Hymn. Short Responsories at least, was the original state of affairs when the Mass normally had three at length the relation of the Rhythmic Ictus to certain Neums. at Prime, at the Orations of the Ofhce of the burial of the at Solesmes with the greatest art. At the " colon " when the words of another are about to be At the " Preface", at the Altar, to which the singers respond. Many times an at the base of the two groups prevents a pause of any kind, At the beginning of each Antiphon in most Chant Books, at the end of each one is repeated the Final Punctum. At the end of Prime after the " Short Lesson ", is chanted : at the end of the " or emus " and at the Conckision, a vocal at the end of the Phrase. at the end of this Chapter). at the end. at the indexes shows that in the Liber a considerable number of chants at the Mediant of the Third Tone, as also Final Cadences a) At the Pater Noster. At the Pontical Blessing. at the same pitch ; or a Punctum and a Neum may meet to form at the same time becomes strong : Fusion on the same syllable at the same time destroyed the rhythmic tradition. at the same time, the end of one binary or ternary group, and at the unison by the Strophicus : at the unison, there must be some kind of repercussion. at the unison. To try to drag them out in one long sound is At this period we have the appearance of primary and secondary At this point the permanent rules for accentuation are made ation (y. 57-88) is used for the Canticle of Daniel, Benedicite omnia opera ative of an entirely different approach to melodic design* A typically atque a pecca-to-rum vincu-lis abso- lii- attached Ictus Attached Ictus attained. Without this subordination of accents, there will attempting to transcend the many valuable works on the subject. attention to the Latin accentuation, the pauses, etc. A clear attracts the rhythmic ictus. We have spoken of the function audits AUe- 111- ia. * auf grund der forschungs-resultate und unter beihülfe der mitglieder des Vereins zur erforschung alter choral-handschriften August Wiltberger; Carl Wiltberger Aurelian of Reome, in the IXth Century, is very precise aus der vorchristlichen Musik" (KJ, XXIV); E. Werner, "The Common Ground in the Auszug aus der vatikanischen Ausgabe des Graduale Romanum : mit deutscher Ubersetzung der Rubriken und Texte : Ausgabe Schwann S1 in moderner Notenschrift. autem in dicendo qiUdam Cantus ohscurior". — (Orat. XVIII). Author: Birkle, Suitbertus, 1876-1926. Author: Birkle, Suitbertus, 1876-1926. authorities are not w^ell-grounded musicians, but simply authorities, the Church of Rome being no longer interested in this matter authorized in the Vatican Editions may be employed. Ave Ma- ri- a,*gra-ti- a ple-na, Dominus tecum: etc. Ave Maria, and the Tantum ergo of Thomas Luis de Victoria. B B B B ¦ B ¦ ¦ b ¦¦¦¦¦¦ b 1 B a B a a a a B B B- B I ¦ ¦ ¦ B Q : B- ' B B B B B Tract. Attende B^ is present in this Mode, it bears a still closer resemblance B- ¦ ! B. B. — Neums of two Notes. b. Dominica IV. Adventus 21 b. Fourth Sunday of Advent b. In Vigilia Ascensionis 284 b. InLitaniis 274 B. MASSES WITH ONE LESSON-CHANT b. Rogation Days, Litanies B. V. M. (Blessed Virgin Mary) or Canticum B.M.V. (Beatae Mariae B.C.) and the ensuing dispersion of the Jews, Thus we can form at least a B.VM. b) All the monosyllabic endings — ce, pse, dem, met. b) Dominant (ist Half of Verse). b) in two groups : b) Incises made up of Composite Rhythm by Contraction : b) Melodic Patterns — In Plainsong as in modern music, we b) Members of Phrases, c) Phrases. b) The Scandicus and the Climacus may, without changing B* back from the Tonic accent and give every second syllable back to the Accented Syllable (in words of two syllables). background, should dare the conducting of Plainsong without Baltimore : John Murphy Co., Baltimore, John Murphy & Co., Bamberg ht. 6; but the same letter is joined to the second in basic importance. Thus, the Kyrie belongs to the Ordinary of the Mass basically a history of the Gregorian movement in Holland from the time of the Pius X Motu proprio until Vatican 2 Basically, there are many versions of all these books. Haberl was constantly changing and revising the Pustet Neo-Medicea, at least the correct way to notate/perform it. Basically, these are Ordinary, Psalms 109, no, in, m, 113 being assigned bato), on which there remains only one lesson-chant, the Gradual* An ex- be called into being the form and soul of the word. be connected in meaning with what follows. be excluded from any music. However, because of the be like the i in milk — inimicus is pronounced eeneemeecoos . be made in the manner of the " In directum " of the Psalmody. be made up of less than four, or more than six syllables. be made very subtle, if there is a large group, by dividing the be made without considering all these facts and many others. be no coherence or sense to the phrases. However, there must be no exaggeration, but as in all art, discretion, restraint, and be remembered that the Ictus has nothing ot do with length be sung in the original Latin. But, I should prefer it in English be taken not to pass over it as in cultivated English. It is be taken to the letter; in this case the (n) never replaces be two Arses or two Theses, according to the rise and fall of be two Icti in succession). Be- a- Be- a- tus be- a-tiis Andre- as Aposto-lus... et re- ctor : i-ta apiid bears the Ictus, it marks both the end of the word and the end beat : , beat may be slightly shortened according to the syllable of the beat or alighting point (the terms upbeat and downbeat must beat rhythm in words of three or four syllables. (Of course Beat, and the Thesis, or resting point, or alighting point, is the beat, so do a succession of compound beats make up the Incise beats do not make themselves felt at determined intervals. beats, as the dot following it indicates. We say" " about ", beats. All other rhythms are but multiples of these. The beautiful rendition. became fairly easy. Because in English there are more strong syllables than in because it occurs in every Mass with the same text and with a limited num- because often the value is reduced in a suite of Strophicus with because they are not conclusive; another note, — a double note Because thou hadst favour unto them ". because we have a definite Ictus — a podatus — on the last becomes Podatus ~^ been restored to new life after centuries of neglect and indifference, sub- before all other elements; primitive peoples know no other before Christ, and continues to the end of the fourth century before that time. Only after the Council of Trent (1545-63), which abolished before the 12th Century, only general designations such as Before the Agmis Dei. beginning of each Intonation. It will be observed that the being careful to give full value to each note of the torculus being heard only on the last note at the moment of passing being limited to a single Chapter followed by a Short Responsory, except being nine for Matins, five for Vespers, four for Lauds, and three for each belong to two different syllables, Examples : pro-ut, coutuntur belonged to the word itself. Example : bene-di- cat et ab omni ma-lo de-fendat : et ad vitam perdii- bene-di-cat nos Pa-ter aeternus. A-men. De Acti-bus Apo- bene-di-cat nos Pa-ter aeternus. R/. Amen. bene-di-cat nos Pa-ter aeternus. R/. Amen.... Aposto-16-rum. .., Bene-dicti- 6-ne perpe- tu- a * Benedicite omnia opera (Daniel 3:56-58) [A 4]. Benedict! (AM)> which was published in 1934 by the same Benedictine Benedictine owns this as well. On the racks. Benediction Benediction (First Lesson) benefit of the whole. The matter of breathing will be important ber of melodies which vary only according to certain general categories of ber of these Sundays varies from a minimum of twenty-three to a maxi- Bergeron, Katherine. “Representation, Reproduction, and the Revival of Gregorian Chant at Solesmes.” BERKELEY Berry, Mary. “The Restoration of Chant and Seventy-five Years of Recording.” Early Music 7 (1979): 197- better than the first method, but still not the best method betueen DO and LA, finally coming to rest on LA, the favourite between each verse. As these Antiphons were WTitten in any between groups goes back to the group before it : Between Incises the individual Arsis and Thesis of the simple between notes and groups usually means disjunction. But between the Classical Latin accent and that of the later centuries : between the different letters and combinations of letters. Also between the lections in the Mass is as old as these lections themselves, and both go back between the two forms, is clear. Out side of this, the between these groups.- Therefore, every time the synthetic Bewerunge, H. The Vatican Edition of Plain Chant. Dublin: Brown, 1906. Beyond four syllables, words form Composite Rhythm about beyond. It is characterized by a complete transformation of BH bi-tur Bibliography Bibliography xiii binary and ternary group has its individual Arsis and Thesis. binary and ternary group, it also depicts before the eyes of the binary final note. Then count the Double Bar and following binary Thesis of the preceding Incise, thus forming a ternary bis. bis. Bistropha, or Tristropha — It is not practical for the ordinary bj Bl? is not present. However, the effect of the cadence remaining blend them and link them so that the ear may distinguish Blessing of the Baptismal Font, are sung on the First Formula BLOOMINGTON body of the Chant and in the Conclusion, is sung recto tono. bonitatis eleison (Lord, fountain of goodness . . .), the so-called tropes. books of Scripture. The Yemenite psalm melody shown in Fig. ia 3 is prac- books. The chants for the Mass are contained in the Gradual (Graduale), Boston, McLaughlin & Reilly Both are Cadences of One Accent : The first inflects the voice both as to technique and aesthetics, on the part of both both because it is the last syllable of the word, and because Both notes are lengthened. Both preceded 1— ; both the Synagogue and the Christian Church.; the Greeks both untraditional and inartistic. We can, without fear make both vowels must be distinctly heard. The principal emphasis brae- os, e- o quod... vi-du- ae e- 6-rum... Tu autem D6- Brager's Organ Accomp to the Graduale Romanum – I have both Volumes: the entire PROPER OF THE TIME brated with his disciples in imitation of the Jewish Passover* Perhaps the bread and wine, and the distribution of bread and wine among the faith- break " general " rules to better express the meaning of the breathes at the incise or member mark, and the other part bringing up the "Psalms" for Lauds to the same total number, five, as for brosian), or Byzantine. Actually, this term is also open to criticism insofar brought about excellent results. Copyists writing the neums BThe Ember Week of September is fixed to follow after the Feast of the Exaltation Bucknum, David Walter. “The Influence of Friedrich Pustet and Sons, Publishers, on the Cecilian Burge, T. A. “The Vatican edition of the Kyriale and its critics.” The Irish Ecclesiastical Record, 19, Bury St Edmunds, Suffolk : [Pacific, Mo.?] : Kevin Mayhew ; Mel Bay [distributor?], ; ISBN: 0786643692 : 1840031638 but a few more words will not prove detrimental : But folly plucketh it dow^n with her own hands ". but furnish the proper connections with the Antiphon which but if he does decide to transplant it to a new environment, but in spite of these many forms, it is quite easy to discover but most of these were not fixed until the issuance of the Editio Vaticana, but must always be sung to a single syllable. But the artist must be first of all inspired with the part that he But the usual type of modulation in Plainsong is the Modal But the way of the ungodly shall perish ". But thy right hand, and thine arm, but to the Pes quassus was to be added some kind of vocal But we will call upon the name of the Lord our God ". but when the Amen starts on the " upbeat ", of the Arsis, But, while in figured music, the harmony supplies many powerful BY by ( L ), or (-1?). In the Codex 91 of Angers, the ( « ) is never by authorized choirs is to slightly prolong the note preceding by Contraction, the Arsic or Thetic movements are repeated by Dominica (Day of the Lord), while for Saturday the old name Sabbato by fusion in a single sound of two simple beats. (Usually if by its name which is the Greek word for "the fiftieth" (day) the num- by its succession of alighting points and impulses, which keep by Juxtaposition. Although closely followed by each other and by lowering the hand from one Ictus to the next. It is much by Palestrina. The change of meaning occurred about 1300, when the items by Pope Sixtus I (c. iso). The Agnus Dei became a part of the Mass under by pre-Christian Greek antiquity or by the Greek-Byzantine tradition of by Q or NG and followed by another vowel keeps its normal by several theoricians, describes the graphic form of the sign, by simple juxtaposition (rhythmic ictus on the first note of by the melodic outlines, must serve as a rule to be followed in by the Roman philosopher and martyr Justin, 2 which dates from the mid- by the sub-tonic F-G, progression gives to the Cadences a by the time of Gregory this part of the Mass was fully standardized. Quite By themselves the pure neums, with lines or without lines by twos and threes, and place an Ictus on the last syllable of BY WAY OF GENERAL PREFACE it will suffice to say that I have tried Byzantine chant, Russian chant, etc. Different though these various reper- bzt^S^?:^!;^^:??^:^^ c c C — likewise when it precedes these hard vowels A, C — when it comes before E, AE, OE, I and Y is pronounced c , ¦ c ¦ ¦ D n c c c C Clef on 4th Line — Kyrie fons bonitatis. C or Do for Tones HI, (Ancient Tone III has old Dominant B.) c Sunday, Blessed Trinity 907 c. In Festo Sanctiss. Trinitatis 308 c^ C. — Diastematic Notation. C. — Neums of three Notes. C. A-it il- li Je-sus : ^ Amen di-co ti-bi, qui- a etc. C. Et inclinato capite, tradidit spiritum. C. MASSES WITH THREE LESSON-CHANTS C. Passi- o D6mi-ni nostri Je-su Christi se-cundum Mat- C. Qui autem tra-di-dit e- um, de-dit il-lis signum di-cens c. Thursday in Whitsun Week 896 c. Feria V. post Pentecosten 302 c) All the conjunctions — sicut, atque, et. Except when it is c) Also the dots and horizontal Episemas may be added c) Condiicting by Members in Compound Time. — is the perfect c) Flexa. c) Neiims — In the Chapter on Notation, we have discussed c) Neums, d) pauses, e) rhythmical manuscripts. c) The " mixed " form : * c) The Flexa. — Normally there is no pause in the recitation c) The Salicus may or may not have its two first notes at the c) These syllables may be of any nature, accented or atonic, c) These two terms may be used in conjunction : c\^ ca- li- cem, ca- lix is- te. etc. Cadence D Minor Cadence F Major Cadence is prepared by a vocal inflection of one or more notes, Cadence of One Accent, and is a melodic descent to La below Cadence to each Tone. With the Final Cadence, or the Cadence Cadence, and from this to the Final Cadence. For all the Eight Cadence. Cadences and their Rhythm. Cadences of One Accent. Cadences of Two Accents may also be either spondaic or Cadences of Two Accents. Cadences of Two Accents. Cadences whether Mediant or Final may be reduced to two cae- Caeli " , and the Christmas Matins Responsory, " Quern vidistis caelum et terram. y. Bene-di-ci-te. R/. De- us. Domi-nus nos cal items as well as of the prayers, lessons from Scriptures, psalms, etc. cal values and significance cannot be gained without a knowledge of calendar, in which the hours of the day were numbered from six in the CALIFORNIA call for different interpretations. The Act of Faith of the called it, is the Highest in pitch of all the Modes. It seldom called Leger lines are added, as in modern music : called Paschal Time. The next day is Low Sunday, also called Quasimodo called the Acute o^sla. The others (syllables) which preceded called the mora vocis. The second pause, a longer one, closes calligraphic school, are far from preserving the rhythmic can be formed from the fact that, according to recent research, there exist can be indicated thus : can never be divided as in modern or measured music : cannot be expressed by a thoroughly trained conductor with cannot be graphical^ represented. Thus the ancient gram- Canta-te D6mi-no canti-cum no- vum laus Canticle B.V.M. (Magnificat) with Antiphon. Canticles which are found in the Old Testament. The major Canticles are Canticles, etc., are written with changing time signatures, and Canticles, that is, those taken from the New Testament, and the lesser Cantides, being placed between the third and the fourth Psalm and thus Canto Mozdrabe (1929), pp. Cantor as far as the Mediation. Cantor or Cantors. Then the full Choir completes the First Verse. Cantoris and Decani sides of the Cathedral Choir. The Gloria cantum Gregorianum : harmonice modulavit / Capitals — ABCDEFG Cardine, Eugène. Gregorian semiology. Trans., Robert M. Fowels. Solesmes: Desclée, 1982. carried the Grave Accent, in Greek [jacfia. The sign of the Carroll, J. Robert. Are the Solesmes Editions Justifiable? Toledo: Gregorian Institute of America, 1958. case of the (mora vocis) expressed by the horizontal episema ( - ), cat aeternam. Et fide-li- um... requi- escant in pa-ce. Amen. categories : a) Cadences of one Accent, and b) Cadences of two categories, Common of Saints [in 1-1302] and Proper of Saints [1303-176^]. cathedral seems to demand more dignity. Cathohc world the Ancient form of the Cantiis Passionis. Catholic Church, I have no right to voice an opinion in matters pertaining Catholic Church. Catholic Church. Catholic church. Catholic Church. Catholic Church. Catholic Church. Catholic Church. Catholic Church. Catholic Church. Catholic Church. Catholic Church. Catholic Church. Catholic Church. Nowhere in music history is the term "tradi- Catholic Church.; Abbaye Saint-Pierre de Solesmes. Catholic Church.; Abbaye Saint-Pierre de Solesmes. Catholic Church.; Abbaye Saint-Pierre de Solesmes. Catholic Church.; Abbaye Saint-Pierre de Solesmes. Catholic Church.; Benedictines. Catholic Church.; Catholic Church. Catholic Church.; Catholic Church. Catholic Church.; Catholic Church.; Catholic Church. Catholic denomination. Catholic Education Series cause a polyphonic Kyrie or Gloria could be performed on practically cause of the greater simplicity of their services. Also the term Day Hours CC — before the same vowels, like tch. — Ecce = etchay. ceived the names Vespers, Matins (subdivided into three Nocturns), and Celebrant celeriter warns the reader or singer not to stop, or " punch '' Celeriter, Natiiraliter. — The Notkerian letter (c ), celeriter, center, principles which are of basic importance in Gregorian chant Pas- Centuries 38 From the First Century to c. 380 43 From Damasus to centuries the Kyrie melodies were provided with additional words, such centuries, the liturgy was regulated, Psalms were assigned to every Office Centurion the contrition of the "good" thief, the promise of century and is prolonged during the whole fifth century and century, readings from the Scriptures, the so-called Lessons (lectio) and Cephaiicus, or ception to this organization occurs on the Wednesday before Passion cerdo-ti- i digni- tas in ae- certain grouping when there could be a choice of two different certain M odes, "the M inor Tlvtvd in terval bec omes__the _Note certain that a mora vocis is meant. The following melisma cess by the monks of Solesmes. Owing to their endeavor an endeavor which Cf. Oddo, De Musica: in gradalibus (GS, 1, 276a) and the Alia musica; antiphona gradalis CH ¦ — is always hard, even before the vowels e, i and y. Chained together in this way the Time Groups form in themsel- Chant do not agree on the pause at the Termination, but at Chant is the " Te Deiim ". Also the heavenly " Gaudens Chant is the Fixed-doh system. It is very easy to find Doh on Chant of Church and Synagogue" (AG1, p. 134). Chant of the " Short Lesson ". Chant on the Tenor is poorly executed : the words are incorrectly chant that developed in the Western part of Europe, probably all out of Chant, chosen for this much smaller book. I wanted to avoid any such chant, Mass plain and simple invariably means the Proper, in opposition to chant, the so-called Old-Roman or City-Roman, a discovery which has shed chant, usually a Responsory (responsorium); the former by a Great Respon- chant: the Gregorian in Rome, the Ambrosian in Milan, the Gallican in Chant. Chant. However, as it is this Composite Rhythm by Contraction Chant. It may occur in either the lower or the upper octave. chant's intimate connection with the Church of Rome, thu$ distinguishing Chanting. ^ (See Exodus XV, I, 20, 21; also I Samuel XVHI, 7). chants and other Tones. Chants are found in this Mode. The Matins Responsor\', chants as well as the chants of the Mass Ordinary. The Mass of Holy chants of Jewish tribes in various parts of the East, mainly Yemen (South chants of the Cistercians, Dominicans, and Premonstratensians are of little Chants of the Mass 476 Modality 480 Concluding Remarks 481 chants remained largely an affair of individual churches or regional CHANTS SPOKEN OR RECITED chants which, however, are found only in the complete books, the Gradual Chants. In tracing the Liturgical developments, it is always r^^ Chap. IV. — Study and Execution of the Strophicus. 183 Chap. IV. — Study and Execution of the Strophicus. 185 Chap. IV. — Study and Execution of the Strophicus. 187 Chapter 1. — The Language of the Chant. 11 CHAPTER I. Chapter I. — The Language of the Chant. 3 Chapter I. — The Language of the Chant. 5 Chapter I. — The Language of the Chant. 7 Chapter I. — The Language of the Chant. 9 Chapter I. — The Rhythmic Signs. 151 CHAPTER I. * Chapter II. CHAPTER II. Chapter II. — Notation. Chapter II. — Notation. Chapter II. — Notation. Chapter II. — Notation. Chapter II. — Notation. 15 Chapter II. — Notation. 21 Chapter II. — Notation. 27 Chapter II. — Notation. 29 Chapter II. — Rhythm and Execution 169 Chapter II. — Rhythm and Execution. Chapter II. — Rhythm and Execution. Chapter II. — Rhythm and Execution. Chapter II. — Rhythm and Execution. 165 Chapter II. — Rhythm and Execution. 173 CHAPTER II. * Chapter III. Chapter III. -^ The Modes — Tonality. Chapter III. — More about the Apostropha-Pressus. 175 Chapter III. — More about the Apostropha-Pressus. 177 Chapter III. — The Modes — Tonality. Chapter III. — The Modes — Tonality. Chapter III. — The Modes — Tonality. Chapter III. — The Modes — Tonality. Chapter III. — The Modes — Tonality. Chapter III. — The Modes — Tonality. CHAPTER III. * Chapter IV. CHAPTER IV. Chapter IV. — Rhythm. Chapter IV. — Rhythm. 59 Chapter IV. — Rhythm. 65 Chapter IV. — Rhythm. 67 Chapter IV. — Rhythm. 69 Chapter IV. — Rhythm. 73 Chapter IV. — Rhythm. 75 Chapter IV. — Rhythm. 77 Chapter IV. — Rhythm. 79 CHAPTER IV. * Chapter lY. = Rhythm. 63 Chapter on Chironomy). CHAPTER ONE CHAPTER THREE CHAPTER TWO CHAPTER V. Chapter V. — Conducting the Chant. Chapter V. — Conducting the Chant. 85 Chapter V. — Conducting the Chant. 87 Chapter VI. Chapter VI. — The Psahiiody. Chapter VI. — The Psahiiody. 91 Chapter VI. — The Psahiiody. 93 Chapter VI. — The Psalmody. Chapter VI. — The Psalmody. Chapter VI. — The Psalmody. Chapter VI. — The Psalmody. 109 Chapter VI. — The Psalmody. 97 CHAPTER VII. Chapter VII. — The Liturgical Recitatives. Chapter VII. — The Liturgical Recitatives. Chapter VII. — The Liturgical Recitatives. Chapter VII. — The Liturgical Recitatives. Chapter VII. — The Liturgical Recitatives. Chapter VII. — The Liturgical Recitatives. Chapter VII. — The Liturgical Recitatives. Chapter VII. — The Liturgical Recitatives. 113 Chapter VII. — The Liturgical Recitatives. 125 Chapter VII. — The Liturgical Recitatives. 127 Chapter VII. — The Liturgical Recitatives. 131 Chapter VII. — The Liturgical Recitatives. 133 Chapter VII. — The Liturgical Recitatives. 137 Chapter VII. — The Liturgical Recitatives. 143 Chapter VII. — The Liturgical Recitatives. 145 CHAPTER VL Chapter XI.) Chapters (capitulum). These terms are somewhat confusing, since actually character and its rhythm. Out of the smooth flow of spondees character inherited from the Sanscrit and Indo-European character of the Chant. Only in extreme cases, when it is character of the music or, in other words, the absence of harmony, counter- character, although it also incorporates elements of an ancient Jewish character, that the discourse is not completed; when we hear character. characteristic B^, making the major third interval. Characteristic Cadences of the Eighth Mode : Characteristic Cadences of the Fourth Mode : Characteristics of Melodic Design 247 Total Range Phrase Structure Characteristics of the Different Modes. Characteristics of the Melodies 140 The Regular Chants Limited Range Chay-chee-lee-ah. Chi -o- no* ble-pht-rou p -r A * out, rho- ts * ita hoi - ty .gt po- too children's manual Chironomy — Origin — Different kinds — Most effective method. Chironomy there is no nuance of dynamics or agogics which Chironomy when the Priest reaches " saectdoritm " , placing an Chironomy, is its relationship to our subject. From Mediaeval Chj Choir choir is slack in attention or expression, more iVrses are necessary. choir to attempt the Mediaeval interpretation of these Neums. choirmaster this choice belongs. If he is well trained he will choirs in the Roman or Anglican Churches, the study of Christ Christ; and S for the Synagogue, or Chorus of the people. Christe e-le- i-son. Ky-ri- e Christe eleison. Et ne nos. Christi, Stabat Mater for the Feast of Seven Dolours, and Dies irae for the Christi. The Bt? is placed at the beginning of the staff, as in Christmas (Nativity) which constitute a period in preparation for the Christmas Eve Chronicler chants on the central notes of the Mode ; the Syna- Church Latin in most cases is pronounced Hke correctly Church, from the first centuries to the present time. It is the Church, refers to Pope Gregory I, who ruled from 590 to 604, and who is ci-ter cxo- ra- miis, ut sic-ut Eccle- si- ae tii- ae circiimdata, etc. circle is of course larger for the latter, but in proportion. In the circular movement from Right to Left; at the Thesis it takes cis tii-ae ra- di- um. 3. Conso-la-tor op-time, Dulcis hospes classes must be considered : clear recitation. However, there may be times when his Clef ^ Clemens Blume, 55 vols., Leipzig, 1886-1922. Climacus Climacus ^"1 z:~^^" Climacus — This Neum bears the Ictus on the first note, and Climacus (x).r[^a^, ladder) x-. A. G. G. Climacus 1» ^ ? Climacus are composed of two light punctums each, ending Climacus forming a group d--^-^-*^ — zziiizzfldz^«ii: Climacus Resupinus Clivis Clivis Clivis — The first note takes the Ictus; the second note is Clivis /f with its first note well supported and allongated, Clivis and Podatus forming a Clivis in a single group is significant. The ( « ), naturaliter, Clivis with dot Clivis with Episema Clivis with two dots p^ Clivis with vertical -- Clivis, Pressus and Punctum cluding formulae before and after each recitation (intonation, mediant, CO Co- coincide with the Tonic accent, or it may alternate with it. collections of tropes and sequences; later they form an appendix to the Cologne, 1950- . Combe, Pierre. “Aux Sources du Motu Proprio,” Revue Grégorienne 32, (Nov.-Dec., 1953), combination SC when followed by the soft vowels e, ae, oe, i and y, Combinations of Strophicus and Virgas : Combinations of Strophicus and Virgas. Exercises Combined with the Acute accent, the Grave kept something comes after the second Ablution (before the rubric "After the last Postcom- comes. Comm. Comm. J commencing with the initial syllable and rising to its highest Common and Proper of Saints whenever they fall into these periods. Thus, Common of Saints (A [2]-[ig2]). In the Liber the ordinary weekdays are Common of Saints. Actually, all the chants of these two categories, as well Common of Saints" (in the Liber), etc. All these are in opposition to "Ordi- common to both the manuscripts of Saint-Gall and Metz; the Common Tone of the Lesson. compare the animated rhythm of the opening lines of Psalm 2 Compendium antiphonarii et breviarii Romani : Compendium gradualis et antiphonalis pro dominicis et festis cum cantu gregoriano quem; COMPLETE COPY IN LARGE, LARGE PRINT of the entire thing. Again, identical with the Vatican Press Vaticana even down to the page numbers. Except that the Pustet has nicer line art. complete table of the Gregorian musical signs, with their modern Complete Vespers for the Feasts of the B.V.M. : complete work). It is not simply the Melody itself, though it completely knitted together, the simple rhythms remain distinct, completely, only four of the lesser Canticles appear; that of Sunday (I) for completeness. All the others lack Matins, which, although one of the earliest Compline [224, 235, etc.). Lauds and Vespers, however, not only have a COMPLINE 3 Psalms with i Antiphon Hymn Chapter with Short Re- composers seemed to feel this, as many Christmas Hymns and composite beats, the Rhythmic Ictus becomes at once the Composite Rhythm is made in one or two ways, as stated Composite Rhythm. Compound Rhythm do the individual Arses and Theses contract comprising the rest of the year. con-fes- si sunt. (x\). Con-fi- Con-fi- te- concerning the execution of the Strophicus : Each note of concerning the interpretation of this note. Some theorists concinnatum ex editionibus typicis / Conclusion CONCLUSION: Prolegomena to a History of Gregorian Style 507 concordance is astonishing. Other representatives of the same conditions make it otherwise. This Neum must always be CONDUCTING THE CHANT. conductor and choir. It consists of a single movement of elan conductor who has had no experience with Gregorian Rhythm. confi- den- ter... vo-cabunt e- urn: * Dominus... no- ster. Confiteor De-o omnipo- tenti : . . . verbo et congregation and turned over to trained singers, that its Congregation, and which parts were given to the trained singers. connected or placed in the Phrase, sometimes they keep their connected. For instance, for Vespers of Sunday there are five Ordinary connection can be mentioned here. Thus, the Office Hours of the Church Connection of Groups. Consecutive Vowels. consequently the Arses and Theses, as well as the strong and Considerable variation, however, occurs in the field of the lesson-chants, considered " anchored " (i). The following unpublished Invi- considered approximately. consists of a simple vocal inflection, from the Tenor Do doivn consonant or vowel combinations whose pronunciation demands Consonants. conspectu e- jus* in exsul- ta- ti- 6- ne. constitutes a simple rhythm in compound time : Construction of Hebrew Poetry. containing the Kyries, the next the Glorias, etc., a practice preserved to the contains a number of Antiphons and Hymns not found in the standard Contains an older version of the “Creator Alme Siderum” contains the Offertories with their verses such as were still in use in the contains the verification of Christian Hope and Faith. contenant l'accompagnement du chant grégorien pour les messes des dimanches et principales fêtes. contenant la messe et l'office, pour tous les dimanches et fêtes doubles, Chant Grégorien. contented themselves with indicating vaguely the intonation Contents Contraction. It is made up of several Arses and Theses which contradiction to assume a voice of affectation and sentimentality contrapuntal texture is woven : Notable examples are the conver- sa-bi-tur Tu autem Domine mi-se-re-re no-bis. Convivium " , Magnificat Antiphon of the Feast of Corpus copyright is 1909, but what WorldCat doesn't know is that it was approved in 1913!!! COPYRIGHT: 1904 COPYRIGHT: 1904 Corpus Christi 960 Corporis Christi 320 corpus, cum. correctly the Arses and Theses. Often the text will make corresponded to the Arsis, and the lowering of foot or hand corresponded to the Thesis. corresponding books containing the complete liturgical texts, of the musi- corresponds with the punctum planum of Saint-Gall. could be expected; it is altogether opposed to the flowing counting from C C). course of all the eight Office Hours. course, no similar distinctions are possible. Coussemaker, Charles Edmond Henri. Scriptorum de Cre- a- tor a-lme si- de- rum etc. Cre- a- tor al-me si- de- rum etc. Cre- di- Cre- di- di Cre-do in lirum De- um. crescendo to the Caesura, then a gradual diminuendo to the Crocker, Richard. An Introduction to Gregorian Chant. New Haven: Yale University Press, 2000. Cruce (G [104]) and the one contra paganos (against the heathen; G [131]), CS cte ctr^ Cui addita sunt festa novissima. cui laus potestas e^loria culminating notes. Everywhere in the gregorian repertoire cum cantu gregoriano ex editione Vaticana adamussim excerpto et rhythmicis signis in subsidium cantorum a solesmensibus monachis diligenter ornato. Cum invocarem exaudivit justiti- ae me- ae cum supplemento pro ordine S. Benedicti et pro aliquibus locis. cum vi-vit et regnat in uni-ta-te Spi-ri-tus Sancti De- us, cura sacrorum rituum congregationis editum / curred later. Thus, some of the best-known items of the chant, the Kyrie, customary in earlier centuries. Thus the method of singing the Vesper cutting it up. When these melodies are sung in a light, flowing cycle, in other words, to form definite Ordinaries assigned to certain cate- cymbalis bene so- D or Re for Tone \TI. d Sabbato postCineres 93 d Second Sunday of Lent D. — Neums of Four Notes or more. d. Circumcision, Jan. i d. Corpus Christi 917 d. In Festo Corporis Christi 313 d. Dominica IL in Quadragesima 1 1 x d. In Circumcisione Domini 49 D. MASSES WITH SIX LESSON-CHANTS d. Sabbato p. Dom. Passionis 165 d'apres l'édition Vaticane, avec accompagnement d'orgue / d) Mediant — The Cadence which closes the First Half of d) Mediant Cadence. d) Pauses — As a general rule, the last note before a pause d) Siihpunctus is the term used to quahfy a Virga, Porrectus, d) The prepositions and adverbs which precede the word D6- D6-mi- no me- D6-mi- no me- o D6-mi- no me- o D6-mi-nus Da pa-cem * Do- mi- ne, sus- ti-nentibus Dactylic Dactylic — Dactylic ending, which we have in the Psalmody; in this case dactylic, or mixed : Two Spondees, two Dactyls, a Spondee Daly, librarian of the Archabbey of St. Meinrad, Indiana, who not only das Dasea and the Psile. Davison, A, T., and Willi Apel. Historical Anthology of day being the first in the series. 6 Since the date of Pentecost varies with day of the week, or Ascension, which always falls on a Thursday. day the Proper of the Time includes five feasts of Saints: namely, St. day, the former in Milan, the latter in all the other churches of the Roman days, to write a ' Mass ' meant, to write the ' Proprium ', or days, Wednesdays, and Fridays (Dominica, Feria II, IV, VI} of this period, days* See Duchesne, Christian Worship feth ed., 1931), p. *4*; J. Froger, "Les Origins* du De Actibus Aposto- 16- rum. De Libro Eccle-si- asti-ci. de tempore et de sanctis ; SS. D.N. Pii x. ponctificis maximi jussu restitutum et editum ; cui addita sunt festa novissima. de tempore et de sanctis ; SS. D.N. Pii x. pontificis maximi jussu restitutum et editum ; cui addita sunt festa novissima. de tempore et de sanctis ; SS. D.N. Pii X. pontificis maximi jussu restitutum et editum juxta editionem vaticanam ; cui addita sunt festa novissima. de tempore et de sanctis : SS. D.N. Pii X. Pontificis Maximi jussu restitutum et editum : signis moram vocis indicantibus diligenter ornatum : cui addita sunt festa novissima. de Tempore et de Sanctis : SS. D.N. Pii X. Pontificis Maximi jussu restitutum et editum juxta Editionem Vaticanam : cui addita sunt festa novissima. De- o gra-ti- as. De- o nostro. R7. Dignum et justum est. De- us De- us De- us De- us De- us. Sancte De-US in ad-ju-to-ri-um me- um in- ten- de, Deacon dead, when they are said with the ' minor clause ' ; it is also Dead. deal depends upon the general movement of the Phrase and deal of study and practice is necessary for the artistic treatment declaimed clearly and with a certain accentuation, without declamation of the sacred text. Whether the Chant be sung definite feehng of repose. definitely introduced into the Roman Mass until the eleventh century, Definition and Terminology Definition and Terminology 5 degree. When this is approached from above, its two notes are Deiim propter. Deits qui fecit. Delalande, Lc Graduel des Pr&cheurs (1949). delicacy of feeling must be always present. delicate phrases. delicately. This note may never bear the Ictus, which always demands the Ictus. The words gain by being rhythmed, as denote the first note after the change : dent in the same difficulties which, for a long time and occasionally even depart from the world of figured music, and place himself in depending upon the solemnity and circumstances, are either said or sung depends on the phrase, the taste of the musician, and forms depends upon both the Melody and the Text. As in the above Derivation of Neums from Acute and Grave Accents. derived from either the Acute or Grave accents. Therefore, Descends a whole Tone DESCLEE & Co description as its Authentic, with the exception, of course, of description of the historical development, combining the actual data with description, Quintus Laetus : design as balance of rising and falling tendencies or reference to a tonal designated by a more emphatic raising of the hand. In a series designation as "Introduction to Gregorian Chant," which would have put desired interpretation; It is for the director to inspire the singers Desrocquettes/Potiron 1929 KYRIALE determined neither the duration, the force, nor the rhythmic Deuspatrum (Daniel 3:52-57) [A 12], Deuterus; [Normal : si do re MI fa sol la si do re mi. Deutsche Choral-Wiegendrucke; developed by the gradual rise of the melodic line to a culminating developed in the seventh century, expanded during the ensuing four hun- developed. Development deviating from the general scheme, that of Tuesday in Lent (Ilia) for Holy di pro-pter Di- es i-rae, di- es il-la. di- gna- tus es. (B). di- gnatus es. (A). di- le- cto di- sci-pu-lo : ^ Ecce ma-ter tii- a. C. Et ex ilia ho-ra Di- xit Di- xit D6- di-bus, etc. di-co, gau- de- te : etc. Di-ri-ga-tur * o-ra- ti- o me- a sic-ut dialects and became a distinct language. This period extends Diamond-shaped Diamond-shaped ^_ dicentes (and they praised the Lord in the furnace, saying:), whereupon dict, dating from c. 530, is the earliest document containing the complete Dicta pa-cis vi- dicted by a (;) Natural or any kind of Bar-line. dictions, etc., and all prayers of non-liturgical nature, except dien, 3 vols., Leipzig, dies for this text, and one of them (Fig. sa), remarkable for its archaic dies of a fairly recent date]. differ in many details: differences to be observed, because of certain peculiarities of the Different Chironomies. different Hymn for each day of the week, 2 but also Proper ones for nearly different intervals. This so-called Diastematic or Interval different occasions, and that there are also numerous others which are sung Different Types of Incises. different types of Synthetic parallelism. The two stichoi stand different words, or expanded in the second member. We find different. Example : dignified reading (This refers chiefly to the Psalmody). dinary 405 The Kyrie The Gloria The Credo The Sanctus The Direct Psalmody 179 Responsorial Psalmody 180 Antiphonal Psalmody direction of a " primicerius ", or a " prior scholae ", who indicated director who is to dare the use of Plainsong in his choir, and director, makes finer analysis of the text possible, to say nothing Directorium chori ad usum omnium ecclesiarum in quibus officium divinum juxta ritum S. Romanae ecclesiae cantari solet. discipu-16-rum,... adversus Hebrae-os. Tu aiitem D6mi-ne discourse. dismissal), and used as early as 400 (St. Ambrose). distich, but this may be expanded into a tristich or a tetrastich, Distinctive Cadences of the Sixth Mode are those in which distinguish their books. distinguishes the Salicus from the Scandicus. Distropha Distropha and Tristropha alone : Place on the Gregorian ditional chants of great interest is the Processionale Monasticum (PM; divided into four periods: the first centering around the Nativity, the sec- division : division of the musical Phrase or Period. It results from the Divisions, pauses, and Rhythm of Discourse — The singing of Divisions, Pauses, and Rhythm of Discourse. Do Do do not drop the melody the customary major second or minor do not make use of this type of modulation, often many times. Do not take a breath, unless the sense of the words demand it. Do re mi fa Do re mi fa sol la Do re mi fa sol la ti do Do ti la sol fa mi Do ti la sol fa mi Do ti la sol fa mi re do Do- mi- ne. Do- mi- no me- Do- mi- nus Do- mi- nus est. do- mu- i J a cob. document. documents before proceeding with his divisions. The following Doh Dom Gajard, and other authorities. It will pay the student Dom Mocquereau found that. Dom Pothier. Dom. Dom. Dom. Gajard. Dom. Mediation Dom. Termination Dom. Termination Dom. Termination Domi- ne Domi- ne. Domi- ne. etc. Domi-num nostrum Je-sum Christum Fi-li- um tu- um qui te- Domi-nus lo- cii- tus est, Dominant or Tenor Dominant or Tenor / Final Dominant plays an important part, as each Mode has its ow^n Dominant, BJ, is the Kyrie for the Ferial Mass, X\T, Kyriale ; it Dominants foreign to the tonality are introduced, each of these Domine. All mav be found in the Liher Usualis. Domine... me fe- sti- na. Dominica de Passione 151 Dominica I. post Pentecosten 310 Dominica II. post Epiphaniam 67 Dominica II. post Pascha 263 Dominica III. post Pascha 265 Dominica IIL in Quadragesima x 23 Dominica IIL post Epiphaniam 70 Dominica in Albis 7 261 Dominica in Palmis 166 Dominica in Quinquagesima 80 Dominica in Septuagesima 73 Dominica in Sexagesima 77 Dominica infra Octavam Dominica infra Octavam Dominica infra Octavam Dominica IV. postPascha 268 Dominica IV., V. et VI. post Dominica L in Quadragesima 93 Dominica Pentecostes 292 Dominica prima Quadragesimae. Quinquagesima (fiftieth), Sexagesima (sixtieth), and Dominica Resurrectionis 240 Dominica V. postPascha 270 Domino [124], which was to play an important role in the early develop- Domino meo. Dominum... tii- um,qui tecum vivit... Spi-ritus Sancti De- us, Dominus domus Jacob de populo barbaro. double a note, a graphic sign was placed after; this sign varied Double Consonants : both must be clearly articulated. double, or on a Sunday at the Orationes of the Mass; of Matins, doubled, and consequently receive the Ictus. down of the Rhythm, it is evident that the ascending group drag a little on the parchment, from one Punctum to the other, dred years, deteriorated in the sixteenth century, was restored in the late Duchesne, L. M. O. Christian Worship, Its Origin and Evolution, London, Duesseldorf : New York : L. Schwann ; J. Fischer, Duesseldorf : New York : L. Schwann ; J. Fischer, Duesseldorpii : L. Schwann, during Octaves, one for Simple Feasts, one for Ferias throughout the Year, during the entire night. In the fourth century we find it divided into three During the first world war the Vatican press restored to the Düsseldorf : L. Schwann, Düsseldorf : L. Schwann, e ^ ; — E — has no exact English equivalent. It is between the E ¦ ¦ ¦¦ - a ¦ e in the English word met and the a in flame, same. e See Davison and Apel, Historical Anthology of Music (HAM}, I, no* a8. e^ E^ e_--p- e- e- jus : mens imple- tur gra-ti- a : et fu- tii- rae e- jus ab extremis terrae. e- jus Em- ma-nu- el. e- le- i- son. e- le- i- son. iij. Ky- ri- e e- le- i-son. e- le- i-son. e- le- i-son. e- le- i-son. do-na ro-bis pa-cem. saecu- li. e- le- i-son. iij. Chri-ste e- le- i-son. iij. Ky- ri- e e- le- i-son. ij. e- um. C. Et confestim acce-dens ad Je-sum di-xit : S. Ave, e-le- i-son. e-le- i-son. li-be-ra me. e, a- e. e. In Festo Ss. Nom. Jesu 50 e. S. Familiae Jesu, Mariae, e. Sacred Heart of Jesus 965 e. Sacratissimi Cordis Jesu 324 e. Sunday, Feast of the Holy e. Sunday, Holy Name of Jesus e) Caesura. e) The Caesura is the whole Bar which divides the First e) The relative pronouns when they have an antecedent e) The Rhythmic Manuscripts — We know that the learned e=1i::^--±^ iz^^=^i=^ ^ e=s=^ each group), needs only to study the second example (6), to each Incise, each Member, a strong attraction, and it is towards Each of these is assigned to a specific Office Hour: the Magnificat to Each part has its own proper modulation wdth Flexa, Metrum each Psalm ¦ — • In ancient times Antiphons were intercalated each section and each Member around its ow^n particular Accent, each syllable with a heavy vocal stroke, is to destroy the unity each Thesis marking the end of one, and each Arsis marking each tiny division, thus tearing apart the structure of the Phrase. Each word can have but one Tonic Accent, but long words each word is pronounced with a single vocal impulse, which, each word. This alternation of Ictus with Tonic Accent is very earlier time in the Mozarabic, Ambrosian, and Gallican rites, was not earliest manuscripts of Gregorian chant. They first appear sporadically in earliest was the Night Office, called Vigils (vigiliae, wakening), which had early ages was inseparable from it ; it was not until recent times early as January 18 to as late as February 21. As a consequence, the number early Christians, that of St. Chrysostom (3477-407) is particularly im- earth and heaven. Tertius Mysticus was the very significant Easter Monday Easter Sunday Easter Tuesday Easter. Quadragesima Sunday is therefore also called the First Sunday of Ecce Salva-tor tii- us ve-nit : ecce merces e-jus cum e- o. ecclesiastical or Gregorian period. Echo effects always; namby-pamby sentimentalities in any edition, Paris, 1917. editions of Solesmes, the dot { • ) ox the horizontal episenia ( - ) Editions of the Graduale Romanum : Editum jussu capituli generalis American-Casinensis. Edwin Evans Eeasts. The Introit, on the other hand, is an item of the Proper of the effect unknown today: we shall have to resign ourselves to effect, but simply the intelligent declamation of the Text. Effect. SE- effective method of starting the inexperienced choir : EI is similarly treated when it occurs in an interjection : Eight times during the day a service for the offering of prayer and wor- eighteen such cycles; one for Paschal Time, one for Solemn Feasts, etc.; Eighteenth to Twenty-third Dominica XVIIL-XXIIL post Eighth Mode is the Mode of certainty, assurance, of solemn ein Beitrag zur Geschichte des Chorals und des Notendruckes in Deutschland, Eins. 121. Bamberg, lit. 6. \/7\>'/^^ / /K^ / /K^ //K^ /' /V ^ JJ-.^ either after the pes snhhipitnctus , or the clivis. The effect either as Antithesis or Complement. This balance of ideas either by a breath pause or a prolongation pause. To stop for Ek-shel-sees. Also Excessus = Ek-shess-oos. el I el. el. elaborate character appeared. The development and fixation of these elaboration; the latter, by a Short Responsory (responsorium breve), a fair- elan. element disappears and all syllables become relatively short. element of freedom, and " flight " so necessary for a free and element. It is the mystic repetition of the Last Supper which Christ cele- elements are closely bound together and aid each other mutually. elevated note as does the true Virga, but a note fairly grave, eleventh centuries reveals to us a great variation in the figu- eleventh century. These are of great beauty and importance, and have Ember Friday 897 Feria VI. Quat. Temp. Pent. 302 Ember Friday, and Ember Saturday. This is the end of Paschal Time. Ember Saturday 900 Sabbato Quat. Temp. Pent. 304 Ember Wednesday employed for dirges and at times in other poems.; each Hne employed mainly during Lent: 8 employed to reflect the thought to be brought out. For instance, employs the term planus synonymously with gravis or humilis, to indicate chants of the ences are to the second edition). End of Incise ended ' recto tono ', are always terminated thus : English Book 56 p. : music ; 21 cm. English Book 79 p. : ill. ; 23 cm. English Book 97 p. illus. 24 cm. English Book v. illus. 26 cm. English Book viii, 272 p. illus., music. 20 cm. English Book xiii, 238 p. music 23 cm. English Book xxi, p., 1 l., 145 p. 19 cm. English Book xxv, 153 p. music. 25 cm. English Musical Score : Printed music v. 32 cm. English Book 264 p. English language; but the vowel sounds must be as far as English Language. English translation by Most Rev. Dr. Nicholas Donnelly, Bishop of Canea, Vicar General of Dublin Ensiedln i2i ensis, Rome, 1939. enthusiastic outbursts, its companion Plagal Mode, the entièrement notés en plain-chant d'après le graduel et l'antiphonaire de la Commission de Reims et de Cambrai. entire neum. Then the addition of the /t = statim, which entirely " recto tono " with a long vocalise on the last syllable. Entirely different from all the other Masses are those of Good Friday and Epiphaniae 64 Epiphaniam 73 Epiphany Epiphany Epiphany [see L 1078]. The regular succession of Sundays in the final Epiphany, and Second (Third, etc.) Sunday after the Epiphany. In the Epiphany, Jan. 6 Epiphonus, or episema is the sign of a simple support. But, in the manuscripts, Episema or Ictus Pi Epistles and from the four Gospels. 1 Normally the Mass has two readings, Epitome ex Editione Vaticana Gradualis Romani : equal to K plus SC. We have noted above that the soft erally celebrated without music eSee the article "Agnus Dei" (Stablein) in MGG. especially adapted to the primitive method of Antiphonal especially as to Rhythm. Many modern Anthems, Services, especially in the neumatic groups, where the contrast desired especially on the Tonic accent of the word, we always have a especially true in Plainsong, where in many cases notably that essentially a speech delivered in distinct musical pitches which are rather est Moyses ". The superior musician will also know when to est, establish a similar relationship between the melodies of the ancient Greeks establishing the Final E, is characteristic. et Et Et acci-pi- ens et de-dit Et di-xit : Sic-ut scriptum est. et Dominus subsannabit eos. Et ecce vir nomi-ne J6-seph, qui e-rat de-cii-ri- o. et fac no-bis- cum et Fi-li-o * et Spi- ri-tu-i Sancto. Et in lege D6mi-ni fii- it vo- liintas e- 6- rum. Et in terra pax Et incarna-tus est de Spi-ri- tu Sancto etc. et lo-quar et mansu- e- tii-di-nem et mundus e- um non co-gno- vit : nesci- unt quid fa-ci-unt. et pro multis effundetur in remissionem peccatorum (For this is the chalice Et Tii in principio Domine, terram fundasti. et vi- debi- tur etc. etc. etc. etc. etc. etc. etc. [L xlix], followed by the Versicle Deus in adjutorium [250 and else- etc. However, on some feasts the plan is varied to a certain extent, as ap- etc. to: etc. to: Evans uses SQUARE, “Medicea-shaped” notes above the modern notation of his accompaniments --- evidently he is going out of the Vaticana, though. Even after the tropes had been abolished the names survived. even dotted. As in all Plainsong the notes must be sung evenly, even in the Conclusion. The Flexa and the Final Punctum Even more complex is the picture presented by the five Psalms of Vespers. Even more important than these deviations is the element of variety Even the Mass, the main embodiment of the new faith, contains a Jewish evening prayer at sunset, thejmcestpr of Vespers in the Roman Office. ever new mysteries revealed to him. ever, it differs in the rhythmic aspect, since it usually lacks the principle ever, the main argument rests not so much on individual examples as on every feast, while a polyphonic Gradual or Alleluia could be used only once Every kind of mannerism should be banished from the Chant. every Psalm Verse. There is only one Mediation to each Psalm evident which parts at certain periods were given to the < ex ex editione typica in recentioris musicae notulas translatum Solesmenses monachi rhythmicis signis diligenter ornaverunt. exactly what point each begins. It is therefore very necessary examination of the Psalter, whether in Hebrew, Latin or English Example : Example of Flexae. Example of the Festive " Or emus " : Example of the Solemn Ancient Tone. example, if the melody continues to rise after the first group, example, the musician is free in principle to place the ictus Examples : Agnus = Anyius, Magnificat = Manyi-fi-cat. Examples : Bella = Bel-lo; Altissimus = Al-tis-si-mus ; Piissime Examples : Gloria, Gr alias ^ etc. Examples : Sanguis, qui, quae, quod, quam, quoniani. In these Examples of Clefs on different lines with Solfeggio Names : Examples of Different Mediant Cadences. Examples of the Full stop for a monosyllabe or Hebrew word : Examples of Transposed Modes include : Communion Passer examples this phenomenon may be made clear : Examples: C/zm/z/s = Krees-toos; Cherubim and other words Examples. Exaudi... tu- 6-rum, f et mi- se- re- re no-bis. excellence "; and indeed it is ecstatic, for it seems not to come except as Apostropha-Pressus or Apostropha-Oriscus. The Except for the advertisement at the back, there is NO MENTION of Manzetti's name. Except for WorldCat, I wouldn't know whose responsibility this edition was. except for the Quilisma which will be discussed later, the ancient except that it closes ' recto tono ' , when it announces a following exception being, e.g., the four Sundays of Advent which have Proper Anti- exception must be studied carefully). EXCEPTIONAL MASSES excerpt of it follows : Excessive Range The B-flat Transposition Modal Ambiguity Exercice. Exercise. Exercise. Exercise. Exercise. Exercise. Exercises for the Strophicus : (Taken from " The N ombre Exercitus = Eg-zer-chee-toos. existence of a double accent, one intense on the first syllable explain more fully the signs ( -c: ) and ( a^ ) . Observe the following : explain the peculiarities of certain so-called Transposed Melodies. explain this process : explained the term juxtaposition, in the Chapter on Rhythm, explanations concerning the interpretation of the different expressed in the first stichos is strengthened or elucidated by exsulta-ti- extended and elaborate of all. extended song of praise, known as the Song of the Three Children (Cantus eye differently : ez:^t»?!z^=: f f f F f F ¦ ¦ i ¦• F a F Clef on 3rd Line — Agnus Dei X ; Gloria in excelsis XI ; f f f f '<^ f ist Mode F or Fa for Tone II. F^ f^ f.j - f f^-T-^-- f. f.Ve- f«* f="-P— ^ -fs: Fa Fa mi re do ti la Fa mi re do ti la sol Fa sol la ti do re fa- eta fa- me. fa-vil-la Teste, etc. FA, but in passing, in the manner of a reading : " Christ speaks FA. The design remains identical save for the necessary fairly brief, the Flexa is omitted, and sometimes also the Metrum. fairly well the rise and fall of the voice, but could not indicate faithful to "come and rejoice unto the Lord." It is sung at the beginning fall on the last note when the Neum is followed by a single falls on the Sunday between the Circumcision and the Epiphany or, if no falls on the Thursday thereafter, and is followed, on Friday of the next Familiar Cadences of the Seventh Mode are : families present the same differences and the same instructions. Family Fascinating look at the German KYRIALE manuscripts in tables comparing them to the Solesmes publications. Fascinating. This Beuron monk puts the chant melody in “pustet-German-Medicean” box notation, and the harmonies underneath. No one knows when this was published. fasting. Quadragesima Sunday is correctly named the First Sunday in Quadragesima, fater, or redemptionem. Or, they may be dactyHc — ¦ made up fc*^« fci fcifc fcsl^- fe Feast of the Annunciation, Ave Maria. T. L. de Victoria uses feasts [see p. 14] as well as those for the Office for the Dead [1779]. The feasts as Palm Sunday or Purification [584, 1359]- Each of the four Anti- feasts commemorating the events of His life, His birth, death, resurrection, Feasts given with their English names are found in the Liber usualis; those with Latin Feasts of the Saints. We shall first consider the former category, known as feasts, according to the monastic rites. Yet another book containing ad- feature of the Mode, but with the same mystical Final cadence : February 2 till Wednesday in Holy Week; Regina caeli laetare (Rejoice, February i; Ave regina caelorum (Hail, Queen of the Heavens) from feel these repercussions in twos and threes : FER. IV. PER. VI. SABBATO ferent though the new message was from the teaching of the Synagogue, it Feria II; Tuesday, Feria HI; etc. Finally, the name Feria I was replaced Feria III. Maj. Hebdomadae 187 Feria III. p. Dom. IV. Quad. 143 Feria III. p. Dom. Passionis 158 Feria III. post Pascha 247 Feria III. post Pentecosten 298 Feria IIL p. Bom. IIL Quad 130 Feria IIL p. Bom. IL Quad x x? Feria IIL p. Bom* L Quad. 101 Feria IL p. Bom. IIL Quad, xs? Feria IL p. Bom. IL Quad. 1x5 Feria IL post Dom, L Quad. 99 Feria IV, Maj. Hebdomadae 190 Feria IV, p. Dom. Passionis 159 Feria IV. Cinerum 84 Feria IV. p. Bom, IIL Quad. 13* Feria IV. p. Bom. IL Quad. x x8 Feria IV. p. Dom. IV. Quad. 145 Feria IV. postPascha 250 Feria IV. Quat. Temp. Pent. 300 Feria IV. Quat. Temp. Quad xo* Feria IV. Quat. Temp. Sept. 368 Feria IV. Quatuor Temp. Adv. 9 Feria V. in Goena Domini 195 Feria V. post Pascha 252 Feria VI, Sabbato, and Dominica. Feria properly means feast day, and Feria VI. inParasceve 206 Feria VI. p. Bom. IL Quad. x a x Feria VI. p. Dom. Passionis 163 Feria VI. postCineres 91 Feria VI. postPascha 255 Feria VI. Quat, Temp- Sept 370 Feria VI. Quat. Temp. Quad 104 Feria VI. Quatuor Temp. Adv. 1 1 Feria VL p. Bom. IIL Quad X34 Feria VL p. Dom. IV. Quad. 148 Ferial Tone. FerialL Maj. Hebdomadae 185 FerialL p. Dom. IV. Quad. 141 FerialL p. Dom. Passionis 156 FerialL post Pentecosten 297 FerialL postPascha 244 Ferretti, Paolo. Esthttique grtgoriennc, Tournai, 1938* feSEJHEJ ff ff - ¦" ff 1 ffi=I Fi- li- o Fi- li- O (Dactyl) fi-a fi-i- Fi-li- um tu-um:tqui te-cum... Spi-ri-tus Sancti De- us, * fi-prl^ftifr Fi. fications indicate in principle, a rahentando, a retard, a support, fidelity of St. Peter, the wild cry of the " mob " of Jews, the fiery furnace because they refused to adore the statue of Nebuchadnezzar, Fifth Sunday after Easter Fifth Sunday after Easter. The next Monday, Tuesday, and Wednesday Fifth, and as in all the Plagal Modes, when extension occurs, FIGURE 2 FIGURE 3 FIGURE 4 FIGURE i figure out the additional Ictus Notes. In the books that have Filioque, vobtscum, hominesque, voUicresve. Final Final and Dominant, with cadences peculiar to it. Fresh Final Cadence. Final ending Final formula / / Final Hebraic words. The melody afterwards descends to La, Finally a third simple accent, the Apostropha (5) passed into Finally somebody thought of drawing a horizontal line Finally, I wish to acknowledge my indebtedness to Mr. Robert J. Snow Finally, mention may be made of special ceremonies celebrated before Finally, the Anticircumflex became the Pes or Podatus (4/v/) . Finally, there is a Phraseological Chironomy which may be find («L-t^). The expression which seems to respond better to find all kinds of melodic patterns, questions and answers; find greater facility in handling these than the organist or find so many melodies using the B<. Below we append parts find the first part really in G Minor, and D minor with B:^, find the Intonation Formula starting on the Final of the Mode. fine Responsory, " Media Vita " , carries with it the more serious finished; only the first part of the mystery is accomplished; First : By doubling its last note. In this case the Arsis includes first 3 syllables of. the Verse. There is no exception to this first Alleluia is to be replaced by the Tract, and in Paschal Time, the First and Third Modes throughout, thus giving contrast between First half (to Easter Vigil) was printed in 1959 first line, which makes a typical Third Mode inflection, reminding first note of each group. Examples : first note of the next Neum : first notes of the groups. first of March. First Period : Prehistoric and Archaic, begins when the first Phrase Member, separating it from the member to follow. First Sunday of Advent 317 Dominica I. Adventus i First Sunday of Lent five sequences, Victimae paschali for Easter and Easter Week, Vent Sancte FIVE The Old-Roman Chant by Robert J. Snow 484 fl fl - - fl^ fl, ¦ . ¦ flavor, is strikingly similar to a melody used by the Yemenite Jews for the Flexa Flexa Flexa Flexa Flexa Flexa Flexa (5)1 ' ^ Flexa and the Pause, the Recitation begins on the Note, Sol. Flexa Metrum Flexus flight upwards to the Dominant of the Mode, after well- flow by means of some kind of " percussion " of hand or foot, flr-- Fm Foitrth Period : This, the Romance period is a con- follow each other, either ascending or descending : Followed followed by another Hour. followed closely. Following are a few characteristic Third Mode Cadences : Following are a few short examples of this Mode, in its following have no accents : following Hymn : following manner : following manner : (The Liquescent is the small note). following page following Phrase ; this is the Breathing Pause. following Rhythm. Just as the individual " impulse" or Ictus following Special Tone, called " in directum " is employed : following syllable. If several notes are sung on this combination, following Tone is sung : follows : follows. In the second example the Porrectus takes care of follows. Observe the following : foot can consist of less than two or more than three simple for a binary group and that for a ternary group. The Arsic For additional bibliography see Gustave Reese, Music in the Middle Ages (New for Compline are strictly Ordinary; Jam lucis for Prime, Nunc Sancte for for coupling sections and members, according to their for Easter Sunday, and to the Vespers of Low Sunday, the for fasting and prayer. Altogether there are four such Ember Weeks [L. for feast days. See, e.g., the Antiphonal of Worcester, Pal. mus., XII, Text, 148. Also the for he will discern in them an eternal and altogether mystical For instance, in the early centuries, the Chants of the For many reasons, some of them more or less complicated, For my soul trusteth in Thee " . For other tones for the Mass and Offices consult Liber For practical use it is important to know exactly how groups for prayer, similar to and, no doubt, partly derived from the prayer hours for Solemn Feasts, five for Double Feasts, two for Feasts of the Blessed for that matter, the musician who ventures to tamper with for the 8th Sunday after Pentecost : for the Cantus Firmus of his fine setting of the Hymn of Thomas For the Chanting of the Versicles, there are two Tones, the for the Chronicler or story teUer ; a ^ at the words spoken by For the Church Musician who is to become associated with for the Common of Holy Popes there is provided a Gradual, an Alleluia, a For the convenience of the student we append the follo\Wng for the Dead, have neither Gloria nor Credo. for the different Modes, but it might be convenient to review for the entire Apodosis. This conducting of the Greater for the entire Protasis, and a long gradual Thetic movement For the full explanation of this example, see " Le N ombre for the Introit (OS, I, ugb)* for the Office. This arrangement in four books has great advantages from for the other verses the common formula is used : for the Psalm In exitu Israel and which recurs almost identically in a For the singing of the prayers, the \^atican Edition prescribes for the subsequent days as well, Sunday being called Feria I; Monday, for this hymn (Fig. 4) is written in the ancient Greek style, with its strik- for those who adhere to the Solesmes theory of Gregorian for us in the group called Strophicus : for us; but they are not always clear. Each case must be for- tis, Sancte foreign to Gregorian style as can be. Different trends, however, are notice- forenoon, between Terce and Sext* Originally called Eucharistia (Eucha- forget that the personality of the different chants vary. Some form a composite ternary rhythm, thus closely connecting form a single group in the execution of the Chant : form are always out of place in Sacred Music, and even more form is a great help in the interpretation of the variation, formen f 1895; second edition, 1901; third edition, 1911. former fourteen Offertories beginning with the letter B, as against nine in Formula. formulae : The first consists in singing the whole " or emus " found in the Antiphonal, that is, those for Matins of certain of the highest found in the other two books are omitted. Thus, the Gradual contains foundation for so many studies of Gregorian chant, including the one FOUR Ambrosian Chant by Roy Jesson 465 four days), but is reduced to forty because the six Sundays are excepted from the rule of four groups. FOUR Methods and Forms of Psalmody 179 FOUR The Development after 600 51 Fourth Sunday after Easter Fourth Sunday after Pentecost 998 Dominica IV. post Pentecosten 330 Fourth Sunday of Lent Fourth, Fifth, Sixth Sunday Fowells, Robert. “Gregorian Semiology: The New Chant. Part I.” Sacred Music 114, no. 2 (1987): 17-20. Fr X Haberl; Fr X Haberl; Joseph Hanisch France, and the Mozarabic (or Visigothic) in Spain. Only scant remnants Franz Xaver Mathias Franz Xaver Mathias French Musical Score : Printed music 70 p. of music ; 26 cm. French, which is a synonym for finesse). Examples follow : Fribourg, Switzerland : OEuvre St-Canisius, Friday in Easter Week Friday: Friday. from " Le Xombre Musical ' ' of Dom Andre Mocquereau. His explanations from certain arrangements of words we have Phrase Members from Lauds of Sunday to Compline of Saturday (A 1-209), as well as for from RE below the Tonic, to the upper FA of the Mode. The From the beginning these grammatical accents were purely from the beginning. The Episcopalian, the Lutheran, and from the Book of Daniel, chapter 3, which (in an apocryphal section) tells from the General Accent of the Phrase. As a rule, it is better from the historical standpoint, was never introduced), in conformity with from the Jewish rites, that is, congregational prayers and readings from from the long support, almost doubled, analogous to that of the from the minor tone to its relative major, it has also a solemn from the Old Testament (Isaiah 6:3). The Credo, on the other hand, is a from the Old Testament, an Epistle, and a Gospel with six chants between from the preceding note, and which demands a repercussion from the preceding Note. from the rhythmic signs, as in the following. In Hke cases we from the Roman Breviary and Missal, with the traditional chants in modern notation according to the latest version of the Vatican press / from these pieces : From this alternation of Acute and Grave syllables was born ft fT=tZZZ fugi- ant ful. These are the Introit, the Offertory, and the Communion. Finally, fulfilment some time after him. Thus, even from the point of view of our Full stop for Monosyllables and Hebrew words. fullest form, as held on high feasts in great churches or monasteries, out- funeral processions and burials, David is first, middle, and last. In the holy further verified by the significant letter -< (tenete), placed G g g g g g g g g g G — is hard in all other cases, Hke in the English word go. G — is soft before e, i, ae, oe and y, as in the English word g ' ' g ¦ . . ¦ g ¦ ¦ g a bb b^ c g h bJ-b— * — ¦ » g m^ ¦— ¦ — B— ¦ g^-1s-i=== -OtP g^i: ¦¦_ g_+ g_p_i'S.^>^-^-. g-^ g-: g-A-^-A-^^- g-PM^¦^^^if.?t^^^^^4^;^- g— Sf- g!-^ g. g) Final Cadence. g) Termination, or Final Cadence. We have already spoken G16- ri- a in excel-sis De- o. Gajard, Joseph. The Solesmes Method. Trans., R. Cecile Gabain. Collegeville, Minn.: Liturgical Press, 1960. Gajard's short little monograph. Gastou, Am&Ie'e. Cours thtorique et pratique de chant grtgorien, second gation is at the end, it keeps the Tone of the Punctum. gatur, and is almost always found where two groups come Gau-dens gaude- bo * in Do- mi- no, etc. GaU. Gaude- te * in D6-mi-no sem- per : i-te-rum gaudebo " , Introit to the Mass of the Immaculate Conception, gave a decisive impetus and clear directions for a work that came to its Gb- , ge- general idea of Jewish chant as it existed shortly before the rise of Chris- General Observations 201 The Tones for the Readings and Prayers 203 general scope of the " Greater Rhythm ". With this type of generally believed to have played a decisive role in the final arrangement generative elements, three accents borrowed from the grammar : Gerbert, Martin. Scriptores ecclesiastici de musica, 3 vols., germ, generous, etc. Latin examples : Genitori, Regina. German Book xvi, 354 p. 21 cm. German Musical Score : Printed music viii, 433, 109, 130 p. of music ; 22 cm. German, or any other modern language must first study it in its get a good ensemble, to avoid rhythmic confusion, and to obtain Gevaert, Francois Auguste. La Mttopde antique dans le chant de I'Jglise latine, Giovanni Guidetti give just the opposite meaning. given in the " Cantor inus Vaticanus " for Feast days, — with giving the proper retards, or some other very good reason could gl6-ri- ae etc. Glivis Gloria Patri Gloria Patri after each division, are chanted under the same Gloria, Credo, Sanctus, and Agnus Dei of the Mass, are post-Gregorian. Gloria, Sanctus, Credo, and Agnus Dei, which form the Ordinary of the GN — has the French sound heard in the word Agneau : God ". This phrase must be sung with reverence and great art. God save the King from the Antiphon Unxerunt Salomonem [987]. At God], the only Giver of all goods: amen, amen." On the whole, the music GOES without saying that a knowledge of the Roman liturgy, gogue on the upper notes, and Christ on the Grave notes. gogue, but different for the Saviour. Good Friday Good Friday and Holy Saturday, which have none of them, and that of Gooi en Sticht, Kampen : Nederlands Instituut voor Kerkmuziek, ; ISBN: 9030410620 gories of feasts [see p. 420]. The liturgical books of the present day contain Gospel (Evangelium), that is, readings from the Old Testament, from the Gospel Canticles, Benedictus and Nunc dimittis, is sung at Gospel. This is the cantus tractus or Tract, 5 which, in the fifth or sixth cen- gra-ti- graceful. In the next Incise we have some Time words and some GRAD, HYMN ALL. TRACT Grad. Ex Sion £ f ^ j ^ ¦V^'^ ^ ^" ^ Grad. S gradalis, derived from an adjective gradalis meaning "distinguished," "more beautiful," Gradual Gradual by the first Alleluia [i is>2 2 ff|. Gradual, Alleluia, Offertory, and Communion, is not unreservedly cor- Gradual. " Specie tiia " . Graduale ad normam cantis S. Gregorii, Graduale de tempore et de sanctis : Graduale Romanum : Graduale Romanum : Graduale sacrosanctae Romanae Ecclesiae : Graduale sacrosanctae romanae ecclesiae : Graduale sacrosanctae romanae ecclesiae : Graduale sacrosanctae romanae ecclesiae : Graduale sacrosanctae Romanae Ecclesiae : Graduale sacrosanctae Romanae ecclesiae de tempore et de sanctis / Graduale sacrosanctae romanae ecclesiae de tempore et de sanctis SS. D.N. Pii X. pontificis maximi jussu restitutum et editum juxta editionem vaticanam. Gradualia, versus allelujatici et tractus ex communi sanctorum et Missis votivis per annum / graduate or simply Gradual. 4 Another Psalm, sung entirely by a soloist, Graduate Sacrosanctae Romanae Ecclesiae . . . , Tournai, Graduel paroissial; grammarians : graphic modification when they come in contact with certam graphs for the plates included in this book. I wish to express my sincere grated, structure than the Office Hours. In contrast to their seriate form, grave great art of the composer. great artist to make vibrate the very soul of the Saviour. greater importance in Christian worship than it had ever had before. greater quantity than is wholesome. At any rate, the reader is entitled to Greater Rhythm of the Larger Phrase or Period. Greater variation exists in the Hymns, Those for the Lesser Hours and Greater, or Period rhythm; otherwise the effect can be "jerky" Greco-Roman music, especially dance music. On the contrary, Greek antiquity have come down to us, they are sufficient to give a general Greek Church (Byzantium). Except for the Gloria, they were all originally Greek melody, such as the Delphic Hymn or the Hymn to the Sun, T is gregationis Benedictinae . . . editus (Tournai, 1883). Gregoriaans in de steigers : Gregorian (or Roman) chant is one of several branches of Christian GREGORIAN CHANT GREGORIAN CHANT GREGORIAN CHANT GREGORIAN CHANT Gregorian chant : Gregorian chant as a "purely musical" discipline would involve the stu- Gregorian Chant is an absolute necessity. For the Church Gregorian chant, Gregorian Music has grown out of the Liturgy, and in the Gregorian repertory; they cannot be omitted in detailed studies such as Gregorianischen Melodien, entitled Ursprung und Entwicklung der Gregory 46 Gregory I for the Proper, thirteen hundred years earlier. Gregory Murray Gregory Murray; George Murray Gregory. However, this does not necessarily mean that the "Gregorian grew the four branches or, as they are often called, dialects of Western group group »l — group in Tones i, 3, 4, 6, and the Tonus Peregrinus. The group is altered rhythmically. group is surmounted by a ( <^ ), which seems to affect the group of young seminarists, whom I met in a train several years ago. When group without special musical training. group, the same as it was between the first two Incises. These group. The two families of Manuscripts agree here. groupings, we must consider the place it is to occupy in the groups and destroy the continuity of the phrase. It is a most groups combine to produce the greater rhythm of the phrase groups containing a Liquescent. groups continue in a downward direction, especially at the end Groups may be formed in three different ways : groups, but is contented with two long punctums : but to the groups. This letter, wherever found, either in connexion with Groups. While the Word is in itself a Rhythm, the Neum in GS GSeefn. i. guage, dating from the end of the third century: ". . . Let all the waves of Guido d'Arezzo in the nth century, and completed by theorists' H H H H h H — is pronounced like K in mihi (meekee), and nihil (neekeel) H %J^ r « r«H — **n i — H ¦ H^,-=Diz::Lt!t: H^as Baa aaaa h- a me-di- tan-tes, quae ti-bi sunt pla-ci-ta et dictis exse- h-n H: h) By Simple or Elementary Rhythms. — This is accomplished h) in one group h) Other places for the Ictus are : h) Rhythmic Groups : h) Rhythmic Signs of Division : h) The " contracted " form in which the two notes are melted h) The " contracted " form. : h) The redoubled Virga or Bivirga may be called a group h) The Rhythmic manuscripts are more precise. The absence h) The term Resupinus (turned back) in the same way qualifies h) There are as man}^ syllables as there are preparatory h) Time Words: ^qj^^ h) Virga between a Strophicus : h) with preparation of one Note; c) with preparation of two Ha. Canticle of Isaiah: Confitebor tibi Domine (Isaiah 12:1-6) [A 76], Haberl wrote the interesting 1892 preface for this (in German). Contains the Graduals, Alleluia Verses, and Tracts for the Common of the Saints and the Votive Masses. Haberl did not include these in his 1900 ORGANUM COMITANS (above). It was published in 1892: WorldCat is wrong, I believe. had about a thousand years ago. had not only the movements of the body in the dance, but also Half of the Psalm Verse, after the Mediant Cadence, from the Half of the Verse, and we have said that there is only one Mediant half-step below its Final, reminds us very much of the Modern HAM hand the melody transfigures the text by supplying energy haphazardly selected and combined. The result is a musical line that is happily aid each other to give us the desired information. hard and fast rule" and that "in order to add greater solemnity, one or more harmonic and vocal aspects. The study of rhythmic figures of Harmonic, where the Mode and Tone are both changed on the Hartker S. G. has - has also been of great assistance in taking care of many of the hundreds has been used by the great polyphonist of Avila, T. L. de Victoria, has the advantage of implying nothing but the incontestable fact of the has the Bt? present, and the major third — G-B — , preceded has to he Rhythmed — its value is doubled by the dot : has very kindly welcomed me to his library but also, time and again, has hatred of the High Priests, all call for many nuances of voice HAVE MADE THIS WORK have minor accents, I^or finding the Secondary accents, count have said, a fine Recitative, and as such all depends on the have their main Tonic accent as marked, but they may also having an important word or Tonic accent is treated as an having any sign of lengthening, including the Pressus. Hayburn, Robert Francis. Papal Legislation and Sacred Music. Collegeville, Minn.: Liturgical Press, 1979. haye^F^'fSll a halT step, it takes the pitch of the^prece gjn^note. HDM He advises, " We believe that it would be a total misunder- he is competent to teach, conduct and otherwise work with He must shake off the coils of Harmony and Counterpoint, hear in choirs composed of soloists who also sing in the opera heats. The Ternary Beat, distinct, contracted or mixed, is Hebrew texts of the Old Testament, before the Massorists hei ¦ — hei, etc. In all other cases it follows the general rule height. helps the ear distinguish in discourse one word from the other. Henri Potiron Henri Potiron Henri Potiron; translated to English by Gregory Murray Here a repercussion is necessary on the first of the Strophicus. Here also the repercussion is necessary, both for the long Here the episema on the last note of groups A and B, plus here to be really in A Minor without the raised Seventh, The here, breathing is obligatory. here. We shall treat this subject more fully later. (The Bible Hermesdorff 1876 Graduale Romanum (he died before he finished it). hghtly. When words are rhythmed, care must be taken to give HHI— I Hi .___J_^ HI ¦ ¦— ¦ -¦— ¦ ¦ -¦- HI. i -^ — i r highh^ instructive to sing or speak the alternate groups of twos Hiley, David. Western Plainchant. New York: Oxford University Press, 1997. him. Also, the literary and linguistic ability of the well educated Hints to the Conductor. hirmos which in Byzantine liturgy denotes a model melody. Late medieval writers his fi-gu-ris, etc. his tomb to weep over his mangled remains. " Sleep in peace ", Hke a bird in flight, which by every renewed impulse of its hke its old form : hne to indicate in advance the first note of the following line. hnr tf-hi Ho- di- e si v6-cem e-jus audi- e-ri-tis, no-li- ho- mo Hoc est enim corpus meum (For this is My Body) and Hie est enim calix Holy Innocents on December 28 [427], St. Thomas on December 29 [437], Holy Name of Jesus, and the feast of the Holy Family. The first of these Holy Saturday Holy Saturday. The former is called Mass of the Presanctified, because the Holy Week, the Interrogation is omitted, and the Period ends homi-ni-bus.., Horizontal Episema). Hoson zes, and the Antiphon Hosanna filio David from Palm Sunday. 8 Hour in numbers varying from as few as three to as many as eighteen. 2 Hours (horae canonicae, from canon, i.e., rule, law), or Office Hours. These Hours of the weekdays of Lent are not of the same importance as are Hours, from Prime to Compline. From the musical point of view these How the manuscripts indicate the distinction of groups in the melisraas. How the manuscripts indicate this juxtaposition of groups. How very different is the touching phrase of the Centurion ! However we cannot ignore these notes which occupy However, for long Gregorian Phrases it does not possess that However, in spite of a few striking details, the proof of identity is, on the However, it can be slightly lengthened ( m = j" ), doubled However, Solesmes prefers the^rr^f method as it is more Ancient, and is However, the old composers of the Golden Age of the Chant, HP- hterary. In fact it is the meaning of the piece, Hterary, tonal Humi-li-ta-te capi-ta vestra De- o. Hvr^ hym-noun- con d'he - mon pa te- ra k'hyi -on k'ha- gi - on pneu - ma. Pa- sei dy na-meis . . . pan- eon a ga -thon. A- men, able in the closing part of the hymn, particularly in the final cadence on "amen, amen," which shows an unmistakable similarity to a Gregorian cadence. In a recent publication, Eastern Elements in Western Chant (1947), E. Wellesz has tried to demonstrate the existence of musical relationships between the Eastern (Byzantine) and Western (Ambrosian, Gregorian) repertory of chant, interpreting them as influence from the East to the West. His proofs are rarely conclusive and his claims of priority on behalf of the Eastern chant are often arbitrary. We do not mean to deny that Eastern and Western chant have something in common, but this common bond must be sought not so much in their finished repertories of the eighth or ninth century as in their primeval stages during the first four centuries of the Christian era. Thus we wholly agree with the following 8 See HAM, no. 70; L 578. Both melodies are shown simultaneously in G. Reese, Music in the Middle Ages (1940), p. 115. a Times (London), Sept. 5, 1931. 10 So called because it is contained in a group of papyri found near Oxyrhynchos in Middle Egypt. See the article "Oxyrhynchos Hymn" in HDM. Our version is taken from E. Wellesz, A History of Byzantine Music and Hymnography (1949), pp. is6f. 38 GREGORIAN CHANT statement found in Wellesz' A History of Byzantine Music and Hymnog- raphy (1949): "It is obvious that the oldest versions of both Byzantine and Gregorian melodies go back to a common source, the music of the Churches of Antioch and Jerusalem, which in their turn derived from the music of the Jews" (p. 35), HISTORICAL DATA FROM THE FIRST TO THE EIGHTH CENTURIES We have previously alluded to the scarcity of documentary evidence concerning the early development of Christian chant. 1 What little there is, however, is all the more valuable and indispensable since it forms the basis for all inferences, conclusions, and hypotheses that can be, and have been, made in order to arrive at a more complete and coherent picture. Following is a succinct presentation of these data, in the form of a chrono- logical list. 2 LIST OF DOCUMENTARY DATA FIRST CENTURY 1. . 60: Philo of Alexandria (born c. so), a Jewish chronicler, describes antiph- onal singing, performed by men and women, among the Thcrapcutae, a Jewish sect whose faith was a mixture of Biblical and Platonic elements [W 14 (17); R 60], See nos. 5, 17, si, 30. 2. C. 90: Pope Clement I refers in a letter (written m Greek) to the use of the "Hagios, Hagios, Hagios" (Trishagion), the Greek form of the Sanctus [R 115], See nos. 6, 44* 3. C. 90: In the same letter Pope Clement gives evidence of psalm-singing (in 1 Perhaps we should say: scarcity of relevant documentary evidence* Thousands of references to singing exist in the writings of the Church Fathers and of early chroniclers. In fact, Gerbert's De cantu et musica sacra (s vols., 1774) is nothing but a gigantic com- pilation (still occasionally useful) of such references. Very little of this, however, is of actual importance from our point of view. 2 Compiled from a number of books which may be consulted for source indications and further details: D: Duchesne, Christian Worship; O: Gastou, Les Origins . . ,; Oil G^rold, Histoire de la musiquc (1936); Ger: Gerbert, De Cantu; L: Lang, Music in West- ern Civilization; M: G. Morin, Les veritable* origines du chant grtgorien (i9i); R: Reese, Music in the Middle Ages; W: Wagner, Introduction to Gregorian Chant, with page references to the German edition, Einfuhrung, vol. I (31901), in parentheses. The present writer assumes no responsibility for the accuracy of these data or of their interpretation. Some of them may well turn out to be unreliable. The most recent studies of the early development of Christian music are: H, Hucke, "Die Entwicklung des christlichen Kultgesangs sum Grcgorianischen Choral" (Rtimische Qu&rtalschrift fur Christliche Altertumskunde und Kirchengeschichte, XLVXII [1953], 147); and B St&blein, article "Frtihchristliche Musik" (MGG). Origin and Development to c. 600 39 Rome?) by warning the faithful not to sing the Psalms at the feasts of the pagans, lest they should appear similar to the music of the kithara players and minstrels 4. The Apocryphal Acts of John the Evangelist (died c. 100) contain a refer- ence to aulos playing and dancing in connection with the singing of hymns [G^ 135]. See no. 9. SECOND CENTURY 5. C. 115: Pliny, the Younger, in a letter to the Roman emperor Trajan, men- tions the Night Office (Vigils, Matins) and, possibly, antiphonal singing among the Christians of Bithynia [W 109 (127); R 60; L 43; G 45]. See nos. 11, 23, 27, 41. 6. C. 120: Pope Sixtus I is reported to have introduced the Sanctus into the Mass [W gg (116)]. 7. C. 150: Justin Martyr (d. 162) describes the Mass at Rome as consisting of readings from the Old and New Testament, a sermon, an offering of bread and wine, prayer of the faithful, the "kiss of peace," eucharistic (thanksgiving) prayer, and communion [L 45; D 50]. Notice the absence of psalm-singing (Introit, Gradual, etc.). See nos. 33, 34. 8. Early Latin translations of the Bible, now collectively referred to as the Itala. However, Greek remains the official language of the Church until the third cen- tury, even in Rome. See nos. 12, 31, 54. 9. Clement of Alexandria (c. i5o-c. 220) forbids the use of instruments and of chromatic music in the churches [W 12, 13 (14, 16); R 61; G 45]. 10. The Church Father Tertullian (c. 155-^. 222), active in Carthage, mentions responsorial psalmody (cantus responsorius), probably with reference to Rome [W 16 (19); R 62]. See nos. 15, 24, 53. 11. Tertullian mentions the three earliest Office Hours, Vigils, Lauds, and Ves- pers, in Carthage [L 44]; also Terce, Sext, and None as private prayer hours [D 447]- THIRD CENTURY 12. First indications of Latin liturgy in Rome [W 44 (51); L 49; G 46]- 13. The Syrian Bardesanes (d. 223) and his son, Harmonios, write a Gnostic Psalter, i.e., hymn-like versions of the Psalms written from the point of view of Gnosticism (a combination of Christian doctrine with oriental and hellenistic elements) [W 38 (44); R 70]. See nos. 14, 20, 22, 25, 28. 14. 269: Council of Antioch. The great popularity of hymn-singing appears from the fact that the Council reproached the bishop Paul of Samosata for abolish- ing them in his church [W 37 (43)]. 15. Athanasius (259-313), on the occasion of a persecution of Christians in Alexandria, orders the singing of a Psalm with the people responding: "quoniam in aeternum misericordia eius." [W i$t (19)]- 16. Athanasius (according to St. Augustine) insisted that the Psalms should be sung with such moderate inflexion (tarn modico flexu vocis) that it sounded like speech rather than singing [W 27 (31); R 62], This has been considered as in- 4O GREGORIAN CHANT direct evidence that fairly elaborate methods of singing existed at that time. See nos. 18, 32. 17. Eusebius (c. a6o-c. 340), bishop of Caesarea in Palestine, mentions Philo's report (see no. i) and says that the same practice exists among the Christians of his time [W 14 (17)]. 18. Eusebius bears witness that the Psalms were sung "in melodious tone/' i.e., not merely recited [R 62]. FOURTH CENTURY 19. 313: Edict of Constantinople, which raised the Christian faith to the status of an officially recognized religion, thus making an end to the persecutions and removing any obstacles to free development in liturgy or chant. 20. C. 340: St. Ephraim (306-73) of Syria writes the first Christian hymns (in Greek), in order to combat the heretical hymns of Bardesanes (see no. 13) [W 38 (45); ^ 69]. 21. C. 350: Two monks, Flavianus and Diodorus, import antiphonal psalmody from the heretical Syrian Church into the Christian-orthodox Church of Antioch (Syria) [W 18 (22); R 68; L 46; G 50; D 114]. 22. C. 350: Hilarius (d. 367), bishop of Poitiers (France) writes the first Latin hymns, after the model of St. Ephraim (see no. 20) [W 39 (46); L 48]. 23. Hilarius mentions Vespers, Nocturns, and Lauds in France [W MI (129)]. 24. C. 375: St. Basil (c. 330-79), in a letter to the people of Caesarea, speaks of the singing of Psalms, both antiphonally and responsorially, in all parts of the Orient [W 21 (241); R 63; G 137], 25. The Council of Laodicea (c. 360-81) forbids the singing of hymns [W 38 (44); L 47]. 26. The Council of Laodicea established a schola cantorum [L 52], See nos, 36, 49- 27. C. 385: The Spanish abbess Etheria (formerly called Sylvia or Egeria) makes a pilgrimage to Jerusalem and gives a detailed report about the liturgy there, men- tioning a full Office (Vigils, Lauds, Terce, Sext, None, and Vespers) with Psalms, Antiphons, Hymns, Lessons, Responds, and Collects; also an incipient cycle of the year including Nativity, Lent, Palm Sunday, Holy Week, Easter, and Pente- cost [R 65; L 44; D 54iff; G^ 138]. 28. St. Ambrose (340-97) introduces antiphonal psalmody and hymns into Milan [W 22 (26); R 104; L 46, 48]. 29. Pope Damasus I (366-84), advised by St. Jerome (530-420), undertakes the first organization of the liturgy and chant in Rome, after the model of the Church of Jerusalem [W 167 (191); R 119; G 51; M 79]. 30. Damasus introduces antiphonal singing and the Alleluia into Rome [W 81 (95)* R % L 46; see, however, pp. 3763. See nos. 37, 45, 47. 31. C. 400: St. Jerome finishes the first complete Latin translation o the Bible, the Vulgata (Vulgate), which supersedes the Jtala. 32* C. 400: Cassian gives evidence of ornate methods of singing in some men* asteries of the Orient [W 29 (34); G 209], and mentions the Gloria Patri as a closing verse for antiphonal Psalms [Ger 43]. Origin and Development to c. 600 41 33. C. 400: Augustine (354-430), bishop of Hippo in North Africa, makes refer- ence to various Mass chants: (a) the Gradual as a (complete) Psalm between the readings from Scripture and from the Gospels [W 72 (84)]; (b) the Alleluia as an extended vocalization, though without specific reference to the Mass [W 32 (38)]; and (c) the chants of the Offertory and the Communion which he introduced into Carthage [W 93, 103 (109, 120); R 64; D 173^. FIFTH CENTURY 34. Celestine I (422-32) is said to have ordered the singing of antiphonal Psalms before the Offering. This has been interpreted as the earliest, though rather ques- tionable, evidence of the Introit [W 57 (67); R 119; G 81; M 54]. 35. Pope Leo I (440-61) is said to have been the first to institute an annalis cantus, i.e., a cycle of chants for the whole year [W 167 (191); M 79). Also ascribed to him is a Sacramentary, known as the Leonine Sacramentary [D 1352]. See nos. 38, 39* 50 55> 56. 36. Leo I founded a monastery for the training of singers, the earliest indication of a schola cantorum in Rome [L 53]. See no. 49. 37. The Greek church historian Sozomenos (c. 450) reports that the Alleluia was sung in Rome only once each year, on Easter Sunday [Migne, Patrologia graeca 67, p. 1475]. 38. Pope Gelasius (492-96) is mentioned in connection with another annalis cantus [W i6>j (192); M 79] and another Sacramentary, the Gelasian [W 167 (192); D SIXTH CENTURY 39. Popes Symmachus (498-514), Johannes (523-26), and Bonifacius (530-32) all are said to have worked on a cantus annalis (or cantilena anni circuit), a cycle of chants for the whole year [W 168 (192); M 79], 40. C. 510: Pope Symmachus extends the use of the Gloria of the Mass over the entire year, Sundays and Feasts of Martyrs [W 67 (80)]. 41. C. 530: St. Benedict (died c. 543) establishes a complete liturgy for the Offices of the entire year (Benedictine Rule) with Matins, Lauds, Prime, Terce, Sext, None, Vespers and Compline [W 112 (131)]- 42. St. Benedict mentions (introduces?) the psalmus in directum [W 23f (*7f)]. 43. 529: The Council of Vaison (France) introduces the Kyrie eleison into the Galilean Mass, in a statement which implies that it had been introduced some time before into the Roman Mass [W 64 (75); D 165]. See no. 48. 44. 529: The Council of Vaison orders the use of the Sanctus in all Masses [W 99* (11?)]- 45. Cassiodorus (c. 485-580) describes the Alleluia as a jubilus, i.e., an extended vocalization (without mentioning a verse) [W 33 (39)]. 46. 589: The Council of Toledo (Spain) adopts the Credo of the Greek Church for use in the Mozarabic liturgy [W 89 (105)]. 47. C. 600: Pope Gregory I (590-604) orders the use of the Alleluia for the en- tire year, except for the period of Lent [W 81 (95); R 180]. 4% GREGORIANCHANT 48. Gregory adds the Christe eleison to the Kyrie [W 65 (76)]. 49. Gregory establishes (or reorganizes; see no. 36) the Roman schola cantorum [W 172 (197); R 121]. 50. Gregory is said to have edited a cantus anni circuit nobilis (a famous cycle of chants for the year) [W 168 (192)]. 51. Gregory is said to have written a cento antiphonarius (compilation [liter- ally, patch-work] of chants) [W 172 (197)]- SEVENTH CENTURY 52. 608: Introduction of the Feast of the Dedication of a Church [ W 182, fn. 3 53. Isidore of Seville (c. 570-636) gives a clear description of responsorial psalm- ody [W 16 (20)]. 54. Isidore says that the Vulgate (see no. 31) is now universally employed [M 45]- 55. Pope Martinus (649-55) is said to have edited a cantus annali$ [W 168 56. C. 650: Three Roman abbots, Catolenus, Maurianus, and Virbonus, are each reported to have written a cantus annalis nobilis [W 168 (192); M 81]. 57. The Greek Pope Sergius I (687-701; Council of Trullo, 692) introduces the Processions for three Feasts of the Virgin: Annunciation, Assumption, and Na- tivity [W 182 (209)]. 58. Pope Sergius introduces the Feast of the Exaltation of the Cross [W 182 (209)]. 59. Pope Sergius introduces the Agnus Dei into the Roman Mass [W 101 (1x9); D 186]. EIGHTH CENTURY 60. C. 725: Pope Gregory II (715-31) introduces the Masses for all the Thurs- days of Lent [W 181 (207); D 246]. It is understood that these data should not be taken at their face value- They must be carefully evaluated both as to their reliability and as to their meaning before they can be used as the foundation material for a study of the development of chant, a study which also has to take into considera- tion many other things, such as facts of a purely liturgical character or internal evidence derived from an analysis of the melodies. Perhaps it is not superfluous to illustrate this situation by a few examples* A typical case of questionable reliability is no. 6 of the above list, according to which Pope Sixtus I introduced the Sanctus into the Mass, This information comes from a Liber Pontificate (a book describing the deeds o the popes) which was compiled from c. 600 to c, 800, that is, nearly five hundred years after the event to which it refers. Even admitting the accuracy of the report, Origin and Development to c. 600 43 we have no evidence that the Sanctus was sung at this remote time or, if it was sung, that the melody had any connection with extant Sanctus melodies preserved in manuscripts of the tenth or eleventh centuries. Another fact worthy of note is that in the chronological list hymns appear centuries before any mention is made of, for instance, the Graduals (see nos. 14 and 33). They are indeed a considerably older item of the liturgy, at least in the East, but this statement implies nothing regarding the antiquity of their melodies as compared with those of the Graduals. The fact that hymns existed in the third century, Antiphons in the fourth (see no. 27), or the Introit in the fifth (see no. 34) is of interest and importance from the liturgical point of view, but is of little value for the investigation of the development of the musical repertory, for which we have to rely on en- tirely different criteria. On the basis of historical data such as those given above and other con- siderations, scholars have been able to trace with a reasonable degree of certitude the development of liturgy and chant. For our purpose a sum- mary description will suffice. FROM THE FIRST CENTURY TO C. 380 Th^ earliest development took place in the East, particularly in Jeru- salem and A&lioch. The most primitive service was the Night Office of Saturday (the Jewish Sabbath), held in the hours before dawn, between cock-crow and sun-rise. It was followed by the Mass, which therefore fell in the early hours of Sunday. Thus, Sunday became the Day of the Lord and assumed the function of the weekly feast day. The Night Service con- sisted of readings, prayers, and Psalms, the latter of which were probably sung by a soloist, with congregational responses. The Mass consisted mainly of readings from the Old and New Testaments, a sermon, offerings, and communion (see Data, no. 7), possibly without any singing. As early as the second century we find three Offices: Vespers at the beginning of the night, the Vigil (later called Nocturn or Matins) during the last hours of the night, and Lauds in the first hours of the morning. The Lesser Hours Terce, Sext, and None existed at an early time as hours for private prayers (as in a family), but later became an official institution. We are very fortunate to possess a detailed account of the complete serv- ice as it was celebrated in Jerusalem about A. D. 385, at the very end of the period we are here concerned with. This information is contained in a unique document known as the Peregrinatio Etheriae (formerly, Silviae) which is the account of a pilgrimage to the holy places of the East under- taken by the nun Etheria, who wrote the report for the sisters of her nun- nery, which was probably in north-west Spain. After detailed descriptions of her journey to various places (Mount Sinai, Mount Nebo, return to 44 GREGORIAN CHANT Constantinople) she informs her sisters about the "operatio singulis diebus cotidle in locis sanctis," the order of the liturgy day by day in the Holy Places. 1 Here we find most interesting details about the Daily Offices at Matins, Sext, None, and Vespers; the Vigils and the Mass of Sunday; and the special celebrations for Epiphany (the section for Nativity is lost), the Feast of the Presentation of Christ in the Temple (not adopted into the Roman rite), the period of Lent with celebrations on all weekdays except the Thursdays [see Data, no. 60], Holy Week, Easter Sunday, Ascension, and Whit Sunday. For most of these services special places of worship are mentioned, such as the various churches in Jerusalem (Anastasis, Church of the Resurrection with the Holy Sepulchre; Crux, Church of the Holy Cross; Martyrium, the Great Basilica; Sion, the Church on Mount Sion); or outside, in Bethlehem, Bethany, Gethsemane, or on the Mount of Olives. Thus, at Epiphany the Vigils were celebrated in Bethlehem, the Mass in Jerusalem; on Palm Sunday the Vigils were held in the Anastasis and at the Cross, Mass was celebrated in the Martyrium, and there was an evening procession to the Mount of Olives; Maundy Thursday had a night service on the Mount of Olives? and a morning service at Gethsemane; etc. These customs had a profound influence on the organization of the service in Rome, where the feasts were also assigned to different churches, known as Stations (Statio ad Grucem, Statio ad Sanctam Mariarri), some of them built in direct imitation of those of Jerusalem. Finally, there was a special feast, celebrated with great solemnity, for the Dedication of Churches, in com- memoration of the day when the churches of Anastasis and Martyrium had been consecrated (this, Etheria reports, was also the day when the Cross of the Lord had been found). While most of the information given by Etheria is of a liturgical char- acter, we also learn something about the music which accompanied the celebrations. Nearly every Office has the remark: "dicuntur ymni et ami- phonae aptae diei ipsi" (Hymns and Antiphons proper for the day are said 2 ) or a similar one to the same effect* Other remarks are: "dicuntur ymni et psalmi responduntur, similiter et antiphonae" (Hymns are said, and Psalms are sung with responses, and also Antiphons), or "dkuntur psalmi responsorii, vicibus antiphonae" (responsorial Psalms are said, in alternation with Antiphons). In connection with Vespers we hear that there was a memorial service during which a choir of boys always responded with Kyrie eleison after each name. No chanting is mentioned in connec- tion with the Mass, except for hymns sung after Mass by the monks who 1 W. Heraeus, Silviae vel potius Aetheriae peregrinatio ad loca sancta (19**)*' J onn ** Bernard, The Pilgrimage of Saint Silvia (1891). The description o the liturgy in Jeru- salem is reproduced in Duchesne's Christian Worship, pp. 49*8 (Latin) and 541!! (Eng- lish). 2 Dicuntur fare said*') does not mean that these items were spoken. Origin and Development to c. 600 45 accompanied the bishop from the church of the Cross to the church of the Anastasis. Exactly what these terms mean is, of course, to a certain extent open to doubt. Probably the only unequivocal one is psalmus responsorius, which means that the Psalm was sung with the congregation responding after each verse. As to the ymni so frequently mentioned, the natural assumption is that these mean hymns, but this is not shared by Duchesne who remarks* that ymni, far from being metrical hymns, are just another designation for Psalms or Canticles. It is true that the term does occur in this meaning, e.g., in a passage from Augustine: "ut hymni ad altare dicerentur de psalmorum libro" (that hymns should be said at the altar from the Book of Psalms). However, it may also have the meaning of hymns (though not necessarily metrical, as are those of St. Ambrose), and Etheria's remark: "dicuntur ymni et psalmi responduntur" would be without point if ymni meant the same as psalmi. The great popularity of hymns is well attested in the third and fourth centuries (see nos. 14, 20); it is perhaps significant that hardly fifty years before Etheria's pilgrimage St. Ephraim had written the first Christian hymns, which were so successful that a decade later hymns appeared in the western part of the Christian world (no. 22). It is true that at about the time of Etheria's journey the Council of Laodicea interdicted the use of hymns. It is reasonable, however, to assume that this decree had no immediate effect in Jerusalem, since it is well known that hymns continued to play a prominent role in the Greek liturgy (Byzan- tium), much in contrast to that of Rome, where the decree of Laodicea led to a complete suppression of hymns until they were reintroduced about the eleventh century. In sum, there is no reason to doubt that Etheria's ymni were hymns. There is less certainty about the meaning of Etheria's frequently men- tioned antiphonae. The question is whether antiphona means Antiphon in the later sense of the word, i.e., a short text and melody which is re- peated, like a refrain, after each verse of a Psalm (today only at the begin- ning and at the end); or whether it stands for psalmus antiphonus, i.e., a Psalm sung antiphonally by two answering choruses. The former interpre- tation would, of course, indicate a more advanced stage in the evolution of antiphonal psalmody, and scholars usually consider the Peregrinatio as evidence that this stage had been reached near the end of the fourth cen- tury. 4 The situation would be clear if we found a reference such as psalmus cum antiphona, but this does not occur. We hear only about "psalmi responduntur, similiter et antiphonae" (Duchesne, p. 492), "psalmi lucer- nares sed et antiphonae" (p. 493), "psalmi responsorii, vicibus antiphonae" 3 Christian Worship, p. 492. 4 Cf. Wagner /, 23, fn. 2, referring to F. Cabrol's Dictionnaire d'archeologie chretienne et de liturgie (1907-53), s.v. "Antiphone." 46 GREGORIAN CHANT (p. 501), or "ymni et antiphonae" (p. 505, etc.); it is quite obvious that in most of these cases antiphonae means full Psalms sung amiphonally, not just the short Antiphons, which were never sung alone. Only the "psalmi lucernares sed et antiphonae" (Vesper Psalms but also Antiphons) could be interpreted as an indication that Antiphons in the proper sense of the word were sung in connection with the Vesper Psalms. FROM DAMASUS TO GREGORY With the beginning of the fifth century the center of attention shifts from the East to the West. The first general organization of liturgy and chant at Rome is usually assigned to the pontificate of Damasus I, who reigned from 366 to 384 [see no. 29]. Although this assignment is not con- firmed by contemporary documents, it receives some support from what is known of ecclesiastical affairs of that time as well as from later documents* The clearest statement is contained in a report from the seventh or eighth century enumerating a number of popes who had contributed to the formation of Roman liturgy and chant* The list opens with Damasus who, we are told, "instituted and decreed the ecclesiastical order with the help of the priest St. Jerome who, with the permission of the pope himself, had transmitted it from Jerusalem." 1 Although this is a relatively late testi- i This list appears at the end of the earliest Ordo Romanus, usually called Ordo Romanus Gerbert [see List of Sources, p. 55, no. 4], and also at the end of a report of a Frankish monk who, about 800, visited monasteries in Rome and tells us mostly about the rituals at the meals of the Roman monks: De prandio monachorum (Pair, tat. 138, p. 1346). As for its documentary value, this list of "musical" popes represents one of the most striking cases of disagreement among liturgical scholars. P. Wagner considered it as a fairly trustworthy report of a Frankish monk (Wagner /, 166), In 19*3, Silva-Tarouca ("Giovanni archicantor di S. Pietro a Roma e TOrdo Romanus da lui composta" [Atti della Pontificia Accademia di archeologia^ Serie III, Memorie, vol. I, parte *, 19*3, p. 159)) identified its author with the Roman archicantor Johannes who, about 680, was sent to England by Pope Agathon, and suggested that Johannes wrote the Ordo at that time as the result of his teaching activities at the monastery of Wearraouth. This theory was adopted by B. St&blein, who considered the list as the * 4 bedeutsamste und grundlegendste Dokument zur Fruhgeschichte des liturgischen Cesanges in Rom" (AC I, p. 573), particu- larly in view of the fact that its alleged author was an archicantor (we would say, chapel master) at St. Peter's, a man who obviously was in a position to speak with authority about musical matters. Silva-Tarouca's theory was regarded as doubtful by J. Froger (Les Chants de la messe aux Vllle et IXe slides [1950], p. 6) and completely rejected by M. Andrieu ("Les Ordines Roman!" [Spicilegium sacrum Lovanicrxc, toe, *4 1951]). who considers the list in question as a rather worthless eighth-century compilation of Frankish origin. We have reported in some detail the "case history" of this document, because it is * rather typical example of a situation frequently encountered in connection with early liturgical sources. Whether Andrieu's opinion is going to be the final word in this ques- tion, I dare not predict. I consider the report as valid, although no more or less so than practically all the other documents concerning the early history of liturgical chant. Origin and Development to c. 600 47 mony, there is no reason to doubt the correctness of this information. It tallies with the fact that in 382, near the end of Damasus' pontificate, a Council was held in Rome one of the first to take place in the western part of the Christian world which was attended by Greek and Syrian bishops. From this it is reasonably safe to conclude that under Damasus, and perhaps more specifically at the Council of Rome, the liturgy of Jerusalem was introduced into the Roman usage. The above-mentioned report makes no allusion to chant, as it does in connection with later popes, who are credited with having instituted an annalis cantus. That the trans- mission from the East to the West of an ordo ecclesiasticus also entailed to some extent the transfer of musical elements, can hardly be doubted; per- haps the very absence of an allusion to cantus in connection with Damasus can be considered as an indication that whatever chant was necessary was adopted from the Eastern rites. To a certain extent this surmise is con- firmed in a famous letter of Gregory I, in which Pope Damasus is said to have adopted from the Church of Jerusalem a certain practice concerning the use of the Alleluia. 2 Another explicit reference to musical matters is found in the Liber pontificalis, a list of popes and their activities begun in the sixth century and continued, by a succession of chroniclers, into the eighth century. This work states that "He (Damasus) ordered that the psalms be sung day and night in all churches; this order was binding on all priests, bishops, and monasteries." 3 We may then assume that about A. D. 400 there existed in Rome an ecclesiastical order which in its organization of both liturgy and chant was somewhat similar to that known to us from the Peregrinatio Etheriae. Judging from the later development it is safe to say that one major dif- ference was the omission of hymns, due to the decree of the Council of Laodicaea. While we are thus fairly well informed about the primitive stage of the Roman liturgy, we know very little about its development in the en- suing two or three centuries. Aside from details mentioned in our List of Data, such as the more extended use of the Gloria under Pope Symmachus (no. 40) and of the Alleluia under Gregory (no. 47), the only information comes once more from the previously mentioned report, which tells us that, after Damasus, a number of popes Leo I (440-61), Gelasius (492-96), Symmachus (498-514), Johannes (523-26), Bonifacius (530-32), Gregory (5go'-6o4), and Martinus (649-53) edited an annalis cantus omnis, a cycle of chants for the entire liturgical year. If we accept this testimony (and I see no reason why we should not) we may perhaps conclude that under Pope Leo I, about the middle of the fifth century, a first attempt was made to replace the "Eastern" chant by a new cantus annalis, probably of 2 For more details see pp, 376! 3 Liber pontificalis, ed: by Duchesnes (2 vols., 1886, 1892), I, 213. 48 GREGORIAN CHANT Western origin; and also that during the ensuing centuries several popes, of -whom Gregory was one of the last, contributed to the further develop- ment and consolidation of this Roman cycle of chant This, of course, leads us right into the "Gregorian" problem, so often discussed with contradictory results. It is to Pope Gregory, and to him alone, that the organization of the Roman chant is assigned by a tradi- tion, according to which Gregory was the author of a liber antiphonarius, i.e., a book containing the liturgical chants. 4 The earliest testimony to this effect dates from c. 750, when Egbert, Bishop of York, tells us in his De institutione catholica that certain English customs concerning Lent and Ember Weeks were ordered by Gregory "in suo antiphonario et missali" (in his book of chants and in his book of prayers) and were brought to England by his missionary, St. Augustine. Probably next in succession is a poem ascribed to Pope Hadrian I (772-95) which is found at the beginning of several early Antiphonaries (e.g. the Gradual ofMonza, late 8th century; see List of Sources, no. 7 [pp. 53^ ), which says that "hie libellus musicae artis" (this book of musical art) was composed by "Gregory, through deeds and name a worthy leader, who has ascended to the highest honor at the place where his ancestors lived." Amalarius of Metz (c. y&o-c. 850) says: "Gregorius . . . ordinavit ordinem psallendi in psalterio et antiphonario" (he ordained the order of the psalmody in the Psalter and in the Antiph- onary). Walafrid Strabo (c. 808-49), Abbot of Reichenau, mentions a tra- dition ("traditur . . .") according to which Gregory regulated not only the order of the Masses and Consecrations but also to a large extent the ar- rangement of the chants as it is now observed. Passing over some testi- monies of lesser importance we finally come to the crown-witness, Gregory's biographer Johannes Diaconus, whose Vita Sancti Gregorii, written about 872, contains a chapter inscribed: Antiphonarium centonizans cantorum constituit scholam (He compiled an Antiphonary and founded a school of singers). The chapter begins with the sentence: "In the house of the Lord, like another wise Solomon, he compiled in the most diligent manner a col- lection called Antiphonary, which is of the greatest usefulness." With John the Deacon's biography the tradition implied in the term "Gregorian chant" became so firmly established that it would be pointless to pursue it any further. It found an expression not only in such designa- tions as cantus Gregorianus and Antiphonarius S. Gregorii, but also in pictorial representations showing Gregory sitting on the papal throne and dictating to a scribe the melodies that a heavenly dove, perched on his shoulder, is whispering into his ears. Aside from abortive attempts to deny it made in the eighteenth cen- 4 For more details, see, e.g., G* Morin, Les vtritables origines du chant grfyoritn (1890, 1912). Origin and Development to c. 600 49 tury, 5 this tradition remained unchallenged until 1890, when the Belgian musicologist Gevaert published a pamphlet, Les Origines du chant liturgique de I'eglise latine, in which he severely attacked the "Gregorian legend/' maintaining that its chief witness, John the Deacon, is entirely untrustworthy, and that the role traditionally assigned to Gregory I was actually performed by a number of Greek and Syrian popes Agathon, Leo II, Sergius I, Gregory II, and Gregory III who reigned from 678 till 741. His ideas, however, were almost unanimously refuted by other scholars such as Morin, Cagin, Wagner, Frere, and Gastoue, 6 with the result that the old tradition was once more accepted as basically correct. It is only recently that several liturgists have adopted a different attitude in this question; they either deny Gregory the role traditionally assigned to him 7 or qualify it in one way or another. It is an indisputable fact that, in all his voluminous writings and numerous letters, Gregory rarely makes any remark which could be interpreted as indicating an interest or activity in the field of liturgical chant. On the contrary, a rather hostile attitude is noticeable in one of his decrees, issued in 595, in which he speaks about the "reprehensible custom" of selecting deacons only because of their musical skill and beautiful voice, and in which he orders that all chants, except for the recitation of the Gospel, be sung by clerics of a lower rank. 8 As for the exact nature of Gregory's alleged role in the forma- tion of the chant, the older notion that he had actually composed the melodies as found in the manuscripts of the ninth or tenth centuries had long been abandoned if only for the obvious reason that it would be im- possible for one man to write the several thousands of chants that are re- quired for the Office Hours and the Mass, even if he could devote all his life to this task. No less improbable is the notion that this feat was achieved by a number of men working under his direction. The analytical and comparative studies of chant that have been made during the past fifty years show beyond any doubt that the melodies of the Roman repertory were not written at one given period, but are the result of multiple evolu- tionary and cumulative processes which must have extended over several centuries. There remains the possibility that Gregory took an active and decisive part, either personally or through directives given to his subordinates, in the final organization and codification of the chant, continuing and bring- 5 Pierre Gussanville, in an edition of the works of Pope Gregory (1675), and Georg von Eckhart in De rebus Franciae orientalis (1729), I, 718. 6 See, e.g., Wagner I, 169; Gastoue*, Origines, pp. &$&. 7 Without, however, accepting Gevaert's theory regarding the later Gregorys or the Greek popes. 8 Reprinted in Gastoue*'s Les Origines, Appendix A. 5O GREGORIANCHANT ing to a certain conclusion the work to which a number of earlier popes had already made some contribution. This theory would, at least, be in keeping with historical possibilities. It would mean that a considerable repertory of melodies had accrued during the centuries before Gregory, for whom it remained to collect the melodies, to assign them a definite position in the cycle of the year, and possibly to add some new ones for feasts that he introduced; all this, of course, with the proviso that these things were done under his direction rather than by himself in person. This, indeed, seems to have been the view held by the aforementioned "Gregorianists" (Morin, Cagin, and others) who rose in opposition to the iconoclastic ideas proposed by Gevaert. Plausible and sensible though this view is, and in spite of the numerous "proofs" adduced in its support, it has been considerably shaken, if not definitely refuted, by recent investi- gations which make it highly probable that the melodies of the Roman chant, as we find them in the earliest manuscripts, are post-Gregorian, dat- ing from a period at least fifty, if not a hundred or more, years after Gregory. We shall return to this interesting question at the end of the next chapter. CHAPTER FOUR The Development after 600 THE period after Gregory we find ourselves on more solid . ground owing to the fact that from the seventh century on there exist sources in the proper sense of the word, that is, manuscripts that provide full information about the liturgy and the chant, rather than docu- ments containing isolated historical data, as is largely the case in the first six centuries. These sources are important not only for the present purpose of outlining the development, of liturgy and chant but also in connection with specific problems of form and style such as will come up in our analytical investigations. A brief description of the various types of sources and a list of the most important among them follows: THE SOURCES These can be divided roughly into five groups: (A) purely liturgical manuscripts; (B) collections of chants without musical notation; (C) tonaries; (D) theoretical writings; and (E) musical sources, A. At the beginning stand certain documents which, although they con- tain neither the texts nor the music of the chants, are nevertheless impor- tant because they throw a clear light upon liturgical matters, mainly the order and number of feasts during the year. To this group belong the Sacramentaries, books written for the special use of the priest or the officiating bishop, and which contain only the texts spoken by him, such as the prayers and the variable Prefaces for the Canon of the Mass. These texts are given in their proper liturgical order, beginning with the Nativity and continuing through the year. 1 Thus, they furnish a clear picture of the liturgical calendar as it existed from the fifth century on. The Sacramen- taries have been the subject of numerous studies on the part of liturgical scholars who have tried to strip off later accretions and to determine their original contents. They are usually, though not very properly, designated i The early liturgical Mss start with the Nativity, except those containing the chants (Graduals, Antiphonals). 51 52 GREGORIAN CHANT as the Leonine, Gelasian, and Gregorian Sacramentaries, referring to the Popes Leo I (440-61), Gelasius (492-96), and Gregory I (59" 6 4)- 2 Another group of liturgical documents are the Lectionaries and Evangel iaries, which contain respectively the readings from Scripture (Lectio libri Sapientiae, Lectio epistolae, etc.) and from the Gospels (Sequentia Evangelii) for the Mass, arranged in the same manner as the Sacramen- taries. The oldest of these is the Comes (companion, instruction book) of Wurzburg, whose contents go back to the seventh century. Of a different character are the books commonly referred to as Ordo Romanus. These contain detailed descriptions of the liturgy as celebrated by the pope, descriptions not only interesting in themselves but also impor- tant in our attempts to determine the early form of Mass chants, such as the Introits or Offertories with their verses. 3 B. The second group of manuscripts is much more intimately con- nected with our subject. These are essentially Gradual*, i.e., collections of the chants of the Mass, but without musical notation. Their value lies in the fact that they are considerably earlier than the Graduate provided with music. The oldest of these is the Gradual of Monza, written in the eighth century with gold and silver letters on purple parchment* Another, the Gradual of Compi&gne> also includes an Antiphonal, the earliest known collection of chants (texts only) for the Office Hours. C. Equally valuable for the study of the earlier phases of Roman chant are the Tonaries (tonarius, tonale) of the eighth, ninth, and tenth centuries. These are essentially catalogues in which a number of chants are listed according to their mode, and often with further distinctions within each modal category. They furnish important information about the Antiphons and Responsories of the Office, although some of them also include certain antiphonal Mass chants, that is, Introits and Communions, D. This group comprises the theoretical writings of the Middle Ages, which are best known as a source of information regarding the develop- ment and establishment of the system of the eight church modes. Not a few of them, however, contain interesting and remarkably astute stylistic analyses of individual chants. In fact, it is here that for the first time we encounter efforts in the direction of style criticism, not dissimilar in essence to those of Glareanus or of modern musicologists. E. The last and, of course, by far the most important group is formed by the musical manuscripts, the Graduah and Antiphonals with musical notation. Aside from a few eighth-century fragments, the earliest of these 2 For a summary of the Sacramentaries and the problems presented by them, see Duchesne, Worship, pp. uoff, and particularly J. A. Jungmann, Missarum Solcmnia (a vols., 1948), I, 77ff [English edition. The Mass of the Roman Rite, l> 6off]. 3 The definite edition of the Ordines is M. Andrleu, Les Qrdines romani du havt moyen dge (3 vols., 193 1-35), See also J. Froger> Les Chants de la messe, pp, 58. The Development after 600 53 Is the Codex 359 of St. Gall, dating from c. 900. This, as well as those from the tenth century, is written in staffless neumes which represent only the general melodic motion, low-to-high, high-to-low, high-to-low-to-high, etc., but without indication of the pitches or intervals involved. It is only in the sources of the eleventh century that the neumes become diastematic, so that the melodies can be accurately read. The following list of sources indicates the most important representatives of the five categories just described. LIST OF SOURCES A. Liturgical Sources 1. Leonine Sacramentary. This is an extensive and rather disorganized col- lection of prayers preserved in a single seventh-century manuscript. It is thought to represent the state of affairs at about A. D. 450 and later. Reproduced in Migne, Patrologia latina 55, pp. 21-156. 2. Gelasian Sacramentary. This is a well organized book of Mass texts, pre- served in an early eighth-century manuscript. Its earliest contents go back to the time of Pope Gelasius (492-96). Reproduced in Patr. lat. 74, pp. 1055-1244. 3. Gregorian Sacramentary. This is essentially a collection of prayers, etc., that was sent in 785 by Pope Hadrian I (772-95) to Charlemagne upon his request for a Sacramentary by Gregory. Formerly it was thought to repre- sent a period considerably later than Gregory, but today liturgists are inclined to accept it as written by him or in his time. It is also referred to as the Sacramentary of Hadrian. 4. Ordo Romanus Gerbert (c. 700?), so called because it was first published by Gerbert in his Monumenta veteris liturgiae alemanniae (i779). 4 5. Ordo Romania primus (c. 775). 6. Ordo of St. Amand (gth century). B. Graduals and Antiphonaries without Musical Notation 7. Gradual of Monza (near Milan; late 8th century). 8. Gradual of Rheinau (abbey in Zurich; gth century). 5 9. Gradual of Mont-Blandin (abbey near Ghent; c, 800). 10. Gradual and Antiphonary of Compiegne (north of Paris; c. 870), also known as the Antiphonary of Charles the Bald (d. 877). 11. Gradual of Corbie (near Amiens; c. god). 12. Gradual of Senlis (north of Paris; late 9th century). The six manuscripts of this group form the basis of an extremely im- portant publication by Dom R.-J. Hesbert, entitled Antiphonale Missarum Sextuplex (1935), in which their contents are shown in comparative tabu- 4 Concerning this Ordo and the list of popes appended to it, see p. 46, fn. i. 5 According to Hesbert (Sextuplex , p. xii) the Gradual of Rheinau was written for the abbey of Nivelles in Belgium (south of Brussels). 54 GREGORIAN CHANT lations. Aside from the Gradual of Monza (which is often designated as a Cantatorium, because it includes only the solo chants Graduals, Alleluias, and Tracts) the manuscripts are called, somewhat misleadingly, Anti- phonals. This is an abbreviation of Antiphonale missarum> the old name for the books containing the chants of the Mass, in distinction from Antiphonale Officii, the present-day Antiphonal The Codex of Comptegne (no. 10) contains, in addition to the Gradual section, a full Antiphonal which has been published under the very confusing title of Liber respon- salts sive Antiphonarius S. Gregorii Magni* C. Tonaries We include here only extensive catalogues of chants. Rudimentary tonaries occur also in some of the treatises under D (nos. 21, as). 7 13. Tonarius of Regino (abbot of Priim in West-Germany, near Luxem- bourg; d. 915). Published in CS, II, iff, in facsimile and reprint). Because of its comprehensiveness and early date, this is the most important of all the tonaries. 14. Intonarium of Oddo (either the abbot of Cluny who died in 948, or, more probably, a ninth-century abbot of St. Maur-des-Foss&, in Paris). Published in CS, II, n7ff, after an eleventh-century copy with staff notation. A short Tonarius also in GS, I, 248, 15. De modorum formulis (by Guido of Arezzo?). CS, II, 81. 16. Tonarius of Berno (Augiensis, i.e., from Reichenau near Constance; d. 1048). GS, II, 79. Prologus ad tonarium, GS, II, 6*. D. Theoretical Writings The following list includes only treatises dealing with some aspect of chant, not those concerned only with the old Greek modes. 17. Alcuin (753-814): Musica. GS, I, a6f. A short report including the earliest mention of the eight church modes. 18. Amalarius of Metz (c. 780-850), author of two extensive and very impor- tant works on liturgical matters: De ecclesiasticis officiis and De ordine antiphonarii. Published in Pair. lat. 105, pp. 985!? and 1*43$; also in J, M. Hanssens, Amalarii episcopi opera omnia liturgica (1948), voL II (un- der the title Liber officialis) and vol. III. 19. Aurelianus of Re'omd (mid-ninth century): Musica disciplina* GS, I, 27. An extended treatise containing, after a discussion of the Greek modes, a full explanation of the church modes with numerous examples (pp. 39-59), as well as a final chapter (Caput XX) about the liturgical position of the various chants. so. Hucbald of St. Amand (near Valenciennes; c 840-930): De harmonica institutione. GS, I, 104. Deals with the various intervals, citing examples from Introits, Responsories, etc. 6 Patr. lat. 78, pp. 7*6ff. 7 Recently a considerably earlier tonary, dating from c. 800, has been found. See M. Huglo, "*Jn Tonaire du Graduel de la fin du VHIe sifccle" (RG, XXXI, **4). The Development after 600 55 21. Musica enchiriadis (c. goo; formerly ascribed to Hucbald). GS, I, 152. This treatise, famous as the earliest source for polyphonic music, also con- tains important information pertinent to Gregorian chant, e.g., chromatic tones. The few melodies which it includes (in daseian notation) are the earliest that can be read. 22. Alia musica (formerly ascribed to Hucbald; c. goo). GS f I, 125^; see W. Muhlmann, Die Alia Musica, 1914. This very confused treatise, often quoted in connection with the problem of the transition from the Greek scales to the church modes, also contains a more realistic description of the individual modes with examples from Gregorian chant, as well as a commentator's Nova expositio of the same matter. German translation of these two portions in Muhlmann, pp. 62-69 and 71-74. 23. Commemoratio brevis de touts et psalmis modulendis (formerly ascribed to Hucbald; c. goo). GS, I, 213. Contains valuable information about the early stage of the psalm tones as well as a tonary which, though limited in scope, is important because the melodies, which are given with clearly readable musical notation (in daseian symbols), date from almost two hundred years before the earliest manuscripts with clearly readable neumes. 24. Regino [see no. 13]: De harmonica institutione. GS, I, 230. Contains an initial paragraph important for its references to anomaliae modorum, that is, Antiphons that do not fit within the modal system. 25. Oddo of Cluny [see no. 14]: Dialogus de musica (perhaps written by a pupil of Oddo). GS f I, 252. This treatise is important because it contains the earliest use of the modern scale letters (Oddonic letters), additional examples of anomalous chants, and detailed explanations of the ambitus of the various modes. German translation, by P. Bohn, in Monatshefte fur Musikgeschichte, XII (1880), 24, 39. E. Musical Manuscripts The following list includes only those that have been published, for the most part, in the Paleographie musicale (PM)* I. Graduals (Antiphonale missarum): 26. Cod. 359 of St. Gall (gth-ioth century). PM, Second Series, vol. II; also P. Lajnbillotte, Antiphonaire de S. Gregoire (1851). This is a Cantatorium, containing only the solo chants of the Mass, the others (Introits, Offer- tories, Communions) being indicated only by their incipits. 27. Cod. 23$ of Laon (loth century). PM, X. 28. Cod. 339 of St. Gall (loth century). PM, I. 29. Cod. 47 of Chartres (ioth century). PM, XI. 30. Cod. 121 of Einsiedeln (loth century). PM, IV. 31. Gradual of St. Yrieix (Cod. lat. 903 of the Bibl. nat., Paris; nth century). PM t XIII. s For fuller lists see, e.g., Gastoue", Origines, pp. 2508:; Wagner II, xiff; G. Sufiol, Intro- duction a la paleographie musicale grtgorienne (1935), pp. 64off. 56 GREGORIAN CHANT 32. Cod. H 159 of Montpellier (nth century). PM, VIII. This is unique be- cause it contains the chants of the Mass arranged according to modes (hence the name Antiphonarium tonale missarum), and because the melodies are notated in two ways; by means of stafHess neumes and of letters, each written in a separate row above the text (hence the name bilingual Gradual). 33. Beneventan Gradual (Cod. 10673 of the Vatican Library; early nth century). PM, XIV. 34. Codex VI. 34 of Benevento (iith-isth century). PM, XV. 35. Ambrosian Gradual (Cod. 34209 of the British Museum; i2th century). PM, V (facsimile) and VI (transcriptions). This is the earliest among the few sources for Ambrosian chant. 36. Gradual of Salisbury (i3th century). Ed. by W. H, Frere, Graduate Sarisb uriense ( 1 894) . II. Antiphonals: 37. Codex Hartker (Cod. 390-91 of St. Gall, loth century). PM, Second Series, vol. I. Named after the monk Hartker of St. Gall, who wrote this famous manuscript. 38. Cod. 601 of Lucca (iith-isth century). PM, IX. 39. Cod. f. 160 of Worcester (i$th century). PM, XIL 40. Antiphonal of Salisbury (i3th century). Ed. by W. H. Frere, Antiphonalc Sarisburiense (1901-25). THE CYCLE OF FEASTS While in the pre-Gregorian era our knowledge is limited to a succession of widely separated and often unrelated facts small luminous points scat- tered over a wide expanse of dark territory we are now entering a period in which documentation is considerably more comprehensive and coherent. Although the emerging picture is far from being as complete as we would like, it nevertheless shows fairly well defined contours and some clearly recognizable lines of development. It seems advisable to divide the whole field of investigation into three areas: the first, concerning the cycle of feasts throughout the year; the second, dealing with the texts of the chants for the Masses and Offices of these feasts; and the third, with the melodies for these chants. The failure to distinguish clearly between these three aspects of the development has caused numerous erroneous conclusions on the part of the scholars or, at least, erroneous impressions among their readers. We may be able to show that a certain feast existed in the fifth century, but this fact in no way implies that the Mass for this feast con- sisted of the same Introit, Gradual, etc., as in the eighth century. Nor can we take it for granted that, assuming it did have these items, they were sung to the same melodies that we find, for the first time, in manuscripts of the tenth or eleventh centuries. To assume that the Introit Ad tc levavi The Development after 600 57 dates from the same time as the institution of the First Sunday of Advent would be gratuitous; to assume that its melody is of the same or of similar antiquity would be foolish. The cycle of feasts as it existed at the time of Gregory is well known to us from liturgical books of the seventh and eighth centuries such as the Sacramentaries, Lectionaries, and Evangeliaries. Through careful examina- tion and comparison of these sources liturgical scholars have been able to establish which feasts were celebrated at the time of Pope Gregory. The annual cycle consisted of a Temporale of circa ninety-five feasts and a Sanctorale of about sixty. The Temporale covered the year so completely that only a few additions were made in subsequent centuries. It is generally assumed that before Gregory it was considerably less complete and that the form in which we find it about 600 is the result of Gregory's work. Thus he would fully de- serve his legendary fame in the field of liturgical organization. This "Gregorian Temporale" is represented in our table of the liturgical year [pp. gff] by all feasts not marked by a letter. No losses ever occurred in it, but a number of additions were made, and these concerned, for the most part, a number of Sundays and Thursdays. The Sundays are those follow- ing the four Ember Weeks; in other words, the Fourth Sunday of Advent, the Second Sunday of Lent, the First Sunday after Pentecost, and the Sunday after the Ember Week of September. According to an old tradi- tion, the Saturdays of Ember Weeks were the proper time for the ordina- tions of priests, a ceremonial which greatly lengthened the liturgy so that it lasted until early Sunday morning. The Mass was celebrated at the end of the ordinations, so that no Mass formulary for the Sunday was needed. It was not until after Gregory that this custom changed and that special Masses for the Sundays were introduced; first for the two Sundays after Pentecost, then for that in Advent, and finally, in the tenth century, for that of Lent. It is perhaps not without significance that the process of filling in these gaps (in the old books they are frequently marked: Dominica vacat) started with the period after Pentecost, which liturgically was of least significance. As for the Thursdays, it should be noted that the Temporale, although it consists essentially of Sundays, also includes a number of more or less com- plete weeks with special Masses and Offices for all or some of their days. These are the four Ember Weeks, the half Week before Quadragesima, the five weeks after Quadragesima (to Palm Sunday), Holy Week (before Easter), Easter Week (after Easter), and Whitsun Week (after Whit Sun- day). Originally, Thursday (Feria V.) was excluded from all these weeks. By the time of Gregory, only two of them included Thursday as a liturgical day, that is Holy Week (Maundy Thursday) and Easter Week. The five weeks of Lent were complete except for the Thursdays, and the four Ember 58 GREGORIAN CHANT Weeks included only three liturgical days, Wednesday, Friday, and Satur- day. The process of adding the Thursdays to the liturgical calendar started with the six Thursdays of Lent, introduced by Pope Gregory II (715-31), and came to its conclusion with the introduction, about 900, of the Thurs- day after Pentecost. It never affected the Ember Weeks. Two of the above- mentioned weeks, that before Quadragesima and the fifth week of Lent, also lacked the Saturdays, which were not added until the eleventh cen- tury. A final group of accessions is formed by a number of special feasts; namely, the Vigil (Eve, day before) of Ascension, Trinity Sunday, the Feast of the Circumcision, the Rogation Days, Corpus Christi, and the Feasts of the Holy Name, the Holy Family, and the Sacred Heart, the last three being late accretions from the seventeenth or eighteenth century. There remains the question as to when these various accessions to the Temporale were introduced. In some cases, for instance, for the Thursdays of Lent and for Corpus Christi, the dates are known. In other cases they can be determined approximately by comparing the calendars of Graduate from different centuries, which represent the liturgical year in successive degrees of completeness. The following chronological list is based on the Graduate of Monza, Compfegne, and St. Gall 339^ which indicate the state of affairs at about 750, 850, and 950 respectively. The feasts of each group are marked in the table of the liturgical year (pp. gff) by the corre- sponding letters, a, b, c, d, and e. ADDITIONS TO THE GREGORIAN TEMPORALE A. 600-750 (additions found in the Gradual of Monza): Six Thursdays of Lent (Sextuple* nos. 38, 44, 50, 57, 64, 71). Introduced by Gregory II (7 15-31) B. 750-850 (additions found in the Gradual of Comptegne): Fourth Sunday of Advent (Sext. no. 7 bis) Vigil of Ascension (Sext. no. 101 bis) 2 Rogation Days (In Letania; Sext. no. 94). Adopted in Rome c. 800* C. 850-950 (additions found in St. Gall 339): Trinity Sunday. The Mass formulary De Sancta Trinitatt occurs for 1 For Monza and Compi&gne, see the tables in Hesbert's Sextuplexi for St. Gall $39, in Wagner I, sSoff. 2 Still absent in the Gradual of Corbie (Sextuplex) as well as in the Cantatorium St. Gall 5j (Pal. mus., Second Series, I), both from the end of the ninth century. * The Litanies of the Rogation Days were introduced in Vienne as early as 470, under the bishop Mamertus, and were widely celebrated in Gaul long before they were officially adopted in the Roman rite. See Sextuple*, p. Ixv, fn. *, The Development after 600 59 the first time in the Gradual of Senlis which dates from the second half of the ninth century (Sext. no. 172 Thursday in Whitsun Week D. After 950 (feasts not included in St. Gall Second Sunday of Lent Saturday after Ash Wednesday Saturday before Palm Sunday The Circumcision of Our Lord Corpus Christi. The liturgy was written by St. Thomas Aquinas (d. 1274), and the feast was universally introduced in 1264, under Pope Urban IV E. After 1600: The Holy Name of Jesus. Universally adopted in 1721 by Pope Inno- cent XIII The Holy Family. Universally adopted by Pope Benedict XV (1914-22) The Sacred Heart of Jesus. Approved by Pope Clement XIII in 1765, and universally adopted by Pius IX in 1859. In 1929 Pius XI intro- duced a new Office and Mass (Introit Cogitationes) It remains for us to add a few remarks about the Sanctorale. This pre- sents an infinitely more complex situation than the Temporale because of the numerous additions, deletions, and replacements that took place in the calendar of the Saints. It is impossible (and, in fact, unnecessary from our point of view) to indicate even the main outlines of this involved process. Suffice it to say that the original nucleus, at the time of Gregory, consisted of about sixty feasts for the Saints, that at the end of the ninth century it had increased to about one hundred, and that it continued to increase until it reached the present-day number of close to four hundred. 5 It may also be noticed that the entire Common of Saints, which contains services for groups (e.g., Martyrs, Virgins, Abbots) rather than for in- dividuals, is a later arrangement, which begins to appear in the twelfth century. As for details, we shall confine ourselves to a consideration of the feasts that were added during the seventh century, namely, the Dedication of a Church, the Feasts of the Virgin, and the Feasts of the Cross. The Dedication of a Church [L i24iflE; G [71]] originated with the con- secration, on May 13, A.D. 609, of the ancient Roman Pantheon as a 4 See p. 8, fn. 6. 5 For the Gregorian Sanctorale see Gastoue 1 , Origines, pp. 257-270 (c. 50 feasts), and W. H. Frere, The Sarum Gradual (1895), pp. xxiiff (c. 60 feasts); for the period about 900, see Sextuplex, p. 254, and Wagner I, 28off. The latter list gives a good survey of the increase in the number of feasts, since the post-Gregorian accretions are marked by parentheses. 60 GREGORIAN CHANT Christian church, renamed Basilica S. Mariae ad Martyres. It is the earliest feast definitely known to be post-Gregorian. As far as can be ascertained, no feast of the Virgin Mary existed at the time of Gregory, a fact all the more noteworthy since several female Saints, for example, S. Prisca, S. Agnes, S. Agatha, had special feasts as early as the third or fourth century. The first feast of the Virgin that was introduced, probably shortly after Gregory's death, was a Natale S. Mariae* celebrated on January i, one week after Christmas [Sext. 16 615], at the stational Church of St. Mary, and therefore called Statio ad Sanctam Mariam. 7 This disappeared in the tenth century, when it was replaced by the Feast of the Circumcision. The four feasts of the Virgin which attained permanent im- portance are: the Purification, on February 2; the Annunciation, on March 25; the Assumption, on August 15; and the Nativity, on Sept. 8. All of these were imported from the Greek Church, and already existed in the time of Pope Sergius I (687-701), who ordered that solemn processions should be held on each of these days. 8 Very likely, the Purification is the earliest of these feasts. Originally it was the feast of S. Simeon, commemo- rating the day when the aging Simeon, shortly before his death, went to the temple to embrace the child Jesus (Luke 2:26-29). The Communion, Responsum accepit Simeon, and the Tract Nunc dimittis (from the Canticle of Simeon; Luke 2:32) still remind us of the original meaning of the Feast of the Purification. The Feast of the Nativity of the B. V. M., although it existed in the seventh century, was not generally accepted until the eleventh century. It does not occur in the Sextuple* nor in St, Gall 55^ or 339* Also of Greek origin are the two Feasts of the Cross, the Exaltation (Exaltatio Cruets) on September 14, and the Finding (Inventio Crucis) on May 3. The former existed already under Pope Sergius, while the latter seems to be of a somewhat more recent date. Both of them, however, were celebrated centuries earlier in Jerusalem and Constantinople. 6 Natale (old term for Nativitas) does not necessarily mean "birth** but possibly also "death" (heavenly birth) or, as a rule, any feast in honor of the Saint. The old manu- scripts indicate several Natale S. Mariae on different days. 7 Stational Church is the name for the old churches in Rome in which the pope used to celebrate Mass on a given day. In commemoration of this usage many Masses still carry designations such as Station at St. Mary Major (First Sunday of Advent and others), Station at St. John of the Lateran (Holy Saturday), Station at the Holy Cross in Jerusalem (Good Friday), etc. See G. Lefebvre, Saint Andrew Daily Missal (1945), pp. 6gff, with city plan of Rome. As mentioned before [p. 44], the Stational Churches of Rome were built in imitation of those at Jerusalem. 8 The statement, occasionally found, that the feasts themselves were introduced by Pope Sergius is not correct. Of the processions only that for Purification survived. See Sextuplex, p. Ixxxii. The Feast of the Finding of the Cross is mentioned by Etheria [see p. 40, no. 27]. The Development after 600 61 THE MASS FORMULARIES We shall now begin the discussion of the second aspect, that is, the texts of the musical items for the various feasts. At the outset it may be remarked that we have to limit ourselves to the Mass, because of the almost com- plete lack of information concerning the development of the items of the Office. First of all, sources are considerably more scarce in this field than in that of the Mass repertory. The earliest collection of Office chants (texts only) is found in the Manuscript of Compigne (ninth century) which actually consists of a Gradual and an Antiphonal Although the Gradual is included and examined in Hesbert's Sextuplex, the Antiphonal, available only in Migne's Patrologia latina* has received practically no at- tention on th Hymn. Hymn. ? ¦-¦ w^-^H^fw^ ^-^-" i P""!^ Hymnarium verperale : hymns because of the metre, this word has to be treated as hymns of the Office. While these have texts dating from the fourth century I I I i I i I i i I i i I I I I i i I I I I i i i i i ^ T"** ^ ^i— i-*1— I ^- i - ".__•' i - J ' ' ^i-r— g- I -- ^ i -- - . 1 I — :: — =-5 fl ¦ -*= ^ i-m m— I i — .-. i — 1 ,r I — a — I — B-- i — I I — is pronounced like ee in feet, or ea in seat. It must never i . i .-I i ' i 'i-*- i "^^ i "15^. 1 I / I / I / Metrutn / Puncluni / i ¦ I ¦ ¦ ¦ — ¦ ¦ ¦—- ¦ — m—th ~ — m- — i 1 I 1 r I n I I I I n i t~i I 2 I 8th Mode ] i A Votive Mass is a Mass that may be celebrated on any day, usually upon the request I Accent I Accent I also have the 1890 edition of the ORGANUM COMITANS AD VESPERALE ROMANUM JUXTA CANTUM AUTHENTICUM published by Hanisch & Haberl in about 1890 and seems to contain “everything” I also have the older 1880's version of the PROPRIUM DE TEMPORE and PRORPIUM SANCTORUM by Haberl and friends, which is very different than the 1900. Attached to the end is the 1880's version of the Witt KYRIALE. I am very glad to include in this book two chapters that are closely re- I and VI i For special studies of the Benedictus es see: Wagner IH f 361; Ferretti, p. 206; Pal. I G Minor' | T D Minor i Gerbert, De cantu et musica sacra (2 vols., 1774), I, 64; Wagner 1, 9. I have the 1905 KYRIALE. I have the 2nd Partie, Cahier II of the PROPRIUM SANCTORUM I have the entire PROPRIUM DE TEMPORE. I have the ENTIRE set of Mathias organ accomps to the PROPRIUM DE TEMPORE (1936), PROPRIUM SANCTORUM (1928!), and the KYRIALE (1931) I have two copies of this (even though NEW ENGLAND CONSERVATORY OF MUSIC is the only library in the world that owns it) one I got from Benedictine college in Atchison. I I I I I i i; i i; I isfMode I i I ist Mode j I J3 JffjH i M m m I mentioned my interest in Gregorian chant, one of them said, his face I n I p__. ^-—U i s on the Tenor or Domin ant ;~ the"ohe or two syllables following I St Mode I St. Gall 552 i^ i^-. i^-J — w- < w ^. — A ^ ' ^^^ ^' ^H- I^. G. Convertere. I^. Sancto et immaculata i^4i i^ilE i^it i_^ i_^: D ^|l_D :: i_. i_3 ip. i_7 _ t~m — ¦ I- i- . _i._aL_[_.3_i J _^ i- se-re- re no- bis i-^"-rf i-^sz^f. i-'-'- i-bi- mus. Gloria Patri. i-H i-i i-M<- I-ra- i-Si-J— i— -i i-xitque I— ^ -— - i— ¦ i— ¦ — ¦ — ¦— I I— ¦— ¦ — ¦- i— rt I: Canticle of the Virgin Mary, Magnificat anima mea Dominum (My i::-+- i!fl^H-i« I. — I. — The repeated note, after the Strophicus, w^hich bears I. — The Tones of the Prayers. I. Canticle of Daniel (Canticle of the Three Children, second part): I. G — ¦- i. Introit I. J -1 i-l-ii i_._:_.¦_S^^l . i. Sundays from Septuagesima to Palm Sunday") I.auds and Vespers; at the principal Oration of the \^otive i.e,, plane, lying flat) from^a cantus acutus t a "high chant." Thus, Oddo of Cluny (d. 942) I«itr. Aqua sapieniiae i) As before, all long notes, including dotted notes, notes i) Circumflex A — a raising-falling note. i) Every dotted note. i) Every note bearing the Vertical Episema. (Ictus) i) Neums of three notes i) Synonymus, the commonest type is when the idea of the i) The Aatte accent — for the rise of the voice; it is made i) The Common Tone has only the Flexa, which may be i) The Dot placed after a Note doubles its value : ¦* = J i) The Melodic Link. — • Quite often a musical theme is i) The Pressus-Minor is used everytime it is joined at the i) The type which fuses with the note or last note of i) The Virgula is merely a sign of breathing, always taken I* i/y i/y/l / i=^ i=:=r=^^^=f=|£5 i=5:i:^ i=ri^i=^»: i=z^z:^b:lt^ i5 ¦ ia. * Vj icles 29:10-13) [A 72]. ictus on the (si), thus joining the groups according to the spirit ictus on the first note of every group, thus : ictus, with the result that the first note of the second group Ictus. Most of the Sequences and many Hymns call for such idea from a stand point of both text and rhythm, and often iE^^ iE^E''^- If a series of notes of equal duration are played, or if a drum if a very clear white space follows this " support " we are almost If respiration is necessary here, it should be taken from the value If the final note of the Cadence is the same as the Final of if the penultimate is short. If the phrase begins with a Thesis, it is indicated in the If the Seventh Mode is the Mode of joyous flights and If the Text is brief, the Flexa is omitted. The Cadence is If there are three Puncta, we say Subtripunctis If there are two Puncta, we say Subbipunctis ; If there is no antecedent expressed, the accent goes to the If they follow the noun, they receive the accent which If we look around us we cannot but realize how reasonable Ignace Müller ignorance in this matter. Practically, and according to our II II II II St. Gall 552 II: Canticle of Simeon, Nunc dimittis servum tuum (Lord, now lettest II. II. — NOTATION. 13 II. — Tone for the Prophecy. II. >_>¦%,¦¦ ¦. -. II. Canticle of David: Benedictus es, Domine Deus Israel (I Chron- ii==i^S=r..-=i=fl ii4^_V iii III III =-- ^ III Chartres 47 III II II III. III. — THE MODES — TONALITY. 33 III. Canticle of Tobias (Tobit): Magnus es Domine (Book of Tobit iiizi: iitv il- lis di- cens : il-li il-li- us, etc. Ilia. Canticle of Ezechias, Ego dixi (Isaiah 38:10-20) [A 112]. ilJ ?-trirJ =i=tzJJjS8zfcA Ill: Canticle of Zachary, Benedictus Dominus Deus Israel (Blessed be the illustrates the law of mutual attraction among the Pressus, immediately follows says to continue without retard. The imperceptibly. The same process in reverse must be used as impersonal quality of Plainsong, it must be used intelligently importance : importance arose above that of the ' Proprium '. In the early importance in the Christian liturgy. A number of Psalms actually retained importance of the pause. The text, the melody and the rhythm, importance, however, is the Antiphonale monasticum * * . ordinte Sancti important Cadences — of course more marked at the very final. important ingredient of our spiritual and scientific nourishment, nobody important places in the musical construction. A small group of important that the student of Plainsong feel this alternation important, too not to shorten or modify the vowel in the syllable impression of the stylistic principles of this tradition and, at the same time, impressiveness, especially Maundy Thursday, Good Friday, and Holy Sat- IMPRIMATUR: 1904 IMPRIMATUR: 1904 in 1908. Thus Pope Pius X, who authorized the publication, may be said In a series of several Arses, the most important one must be In a series of simple rhythms making up Composite Rhythm In a word, updating Witt's KYRIALE/MISSA PRO DEFUNCTIS. 1902 Preface by Haberl, as is normal with these publications. In addition to the Office Hours, the daily ritual includes the Mass, which In addition to these ten musical items, the Mass includes others that, in adju-to-ri- um me- um intende. In all cases the unity of the elements thus grouped strikes the In all the Gospels except St. Matthew, this melody describes in all the Orationes of the Mass, except that called " Super In all these cases except one, the Final Cadence (c-) of the in another place. In Ascensione Domini 285 In AU, EU and AY, the two vowels form one syllable, but In case of the Pressus and,tha Salicus, Rule I is set aside. in certain cases, the Grave). in chancel or gallery. So we often hear dotted notes, incorrect In compound words the Vulgar Latin has the tendency to In conclusion it may be remarked that the term "Proper" is used in two in conjunction with the vowels, and form the motive power in daily celebrations during the ensuing week, called Easter Week (Easter in direct line to the religious service of the Jewish Synagogue/' However, no Psalms are In discourse we have syllabes grouped together in different in distinguishing the groups and small divisions. However, in do-mo in English, it often occurs on a strong syllable. In such cases, In Epiphania Domini 57 In every Psalm Formula, we distinguish Six Elements : in ex- eel- sis. e-le- i-son. in ae-ter-num. um. in Excelsis, and some of the Kyries : In exitu Israel de Aegypto, * in fact all varieties of imitative themes, sequential patterns, In German (which I cannot read), but fascinating copies of German Gregorian chant MSS. In Gregorian Chant we find both the Tonal Modulation — In his " Commemoratio brevis ", Hucbald does not hesitate in honor of the Holy Trinity." Not until the twelfth century was it officially adopted in in italics. Never divide_groups of no tes. In its late-medieval (nth/isth-century) and present-day form the Mass in its original Latin or another language, it is first necessary In Latin all words which have a distinct meaning possess In Latin each vowel must be given the proper timbre and to in linum adversus Dominum, et adversus Christum e-jus. In long words like om-ni-po-ten-tem, mi-se-ri-cor-dia, and in meaning, the et carries the accent. Example : In modern notation: interesting for the usual reasons (how does he realize this or that). in modern notation. In most short Phrases one Incise is sufficient to make a In music, combinations of accents are naturally more numerous In Nativitate Domini 27 in neumatic melodies, the two-syllable or even the monosyllabic In Neumatic Notation. in no way means that they are without validity or without value. One might in number with those of the Gradual and the Antiphonal. A brief glance in one phrase. in opposition to Common. The former is indicated when we speak of in order to inculcate in the children from an early age, the In order to indicate in writing the division or parts of discourse, In order to thoroughly analyse the Phrase or Whole Bar In order to thoroughtly understand the phenomenon of In ordinary Psalmody, the Intonation is used for the First In our previous discussion of the liturgical day attention has been called In Plainsong, or Gregorian music, the simple beat, which is In Psalm 41, we find a comparison. in quo nondum quisquam p6- si-tus fu- e-rat. in reverse order. GUI follows the general rule of two syllables, in saecu-lum. ^ . Adjuto-ri- um nostrum in nomine Domi- in singing this Recitative, under the pretext that the Gospel in singing, as when written, the Ictus must be passed over very In singing, the vowels should appropriate the value of the In some cases a Gradual or other elaborate melody will make in spite of any other rules. The two notes forming the Pressus In spite of its seemingly limited resources, no other music in tentatio- nem. In the '• Cantus Passionis " we distinguish three parts which in the 4th and 7th Tones; in the 5th, 6th, and 8th Tones we in the 7th Tone, 2 groups of notes, and of one note and one in the above table under nos. i, 2, and 5, the first two being valid for the In the Absolution, the Flexa and the Metrum are made in the best Chant Books. in the best choirs is to give the two or three notes their full In the books that have no Rhythmic Signs, the following In the case of the Mass this distinction is well known and, indeed, of in the center of a phrase, however, the note following the Pressus In the chant books find groups of two and give their names. In the city of our God, in his holy mountain ", In the Classical Epoch the Latin accent was essentially musical in the Common of Doctors [i 189], his name being inserted at the place in the course of a long passage. in the course of a musical phrase is made by retarding the voice In the course of time Psalms were also introduced to accompany the in the duration of the pauses. The melodic attraction and the In the earliest days of Christian worship the service consisted only of In the early medieval books the feasts of the Lord as well as those of the In the first Incise w^e know there is an Ictus on the last syllable In the following Agnus Dei of the XVIth Mass, the second In the following examples, cold rules cannot describe the In the following Introit, " Omnes gentes ", VII th Sunday in the following manner : in the French plain-chant and in English plain song. German writers fre- In the general Rule which we have given above, two general In the history of the Latin language we distinguish four In the last Incise of the Phrase, because there must he no break, in the later chapters. in the Latin the Flexas always falls on a weak syllable, while In the manuscripts it is not always easy to find the positive in the manuscripts; this is not astonishing, and these questions in the Masses of the four Ember Saturdays, which have seven readings five In the Middle Ages before the invention of Part Music, In the monasteries of the virgins, imitators of St. Mary, David is first, middle, and In the Office we find essentially the same distinction, though less clearly In the Post-Classic Centuries, because of the slow transfor- In the pre-Easter Season the Alleluia is omitted (or, to express it correctly In the pronunciation and singing of a w^ord, never take In the Proses and Sequences, where the melodies are simply In the Psalm Tone we find two Cadences. We have just in the relation of cause and consequence, protasis and apodosis, In the second place, I wish to express my gratitude to Father Simeon In the simple linking of notes In the Solesmes Editions the Episemas are marked thus : In the study of Plainchant, it is a valuable help to keep in '^^ In the theoretical field of the scale systems, although to the present day in the two farts : In the body of the Chant, the Metrum comes, in the various schools of manuscripts. No conclusions may In these groups, hke Rhythmic Words, the Ictus falls on the In these two Podatus, the first note was long, and supported, In this brief Treatise on the Liturgical Chant, I am not In this case, the sign is superfluous, as the graphic union of the In this example the mora vocis is represented by one Hne ( — ), In this week three days Wednesday,. Friday, and Saturday are set apart in tri-bu-la-ti-o-ne di-la- ta-sti mi- hi. in turn the Incises when grouped together produce Phrase in unison. In this respect chant is similar to folksong, from which, how- in very brief pauses this cessation not only throws into relief In view of these numerous bonds between the two rituals, it is only In Vigilia Nativitatis Domini 24 incensum in conspectu tii- o, etc. incise ; these same simple devices are found everywhere in the Incise or Half Bar, such as the short sentences in the Gloria incise, followed by the definite assurance of the F Major Incises and Members to complete the meaning, melodic or incises i and 4 in Mi, and the 2nd in Re : inclination; proof of this are the melodies themselves in included among the Mass chants because they represent a prelude and includes ten musical items; five of these are Ordinary, being common independent chants of considerably greater extension and elaboration Index 517 Indiana University INDIANA UNIVERSITY PRESS indicate this separation. indicated and much more varied in detail. For instance, the four Antiphons indicated in the best Chant Books. indicates a light support and lengthening, which naturally indicates lengthening). indications of the distinction of groups. indispensible. It is often very difficult to discern the proper individual forms, such as the Responsories, Alleluias, etc., are included individual ictus, the rhythmic ictus being given to the second individual Rhythm, sometimes they lose it. Hence we have indivisible, is equal to one Punctum ( « = J^ ), or one eighth inductive Reasoning is necessary in order to fill the wide areas abouT winch inflection may be either a Minor Third or a Fifth, according to inflexion of a minor third is made : inflexions at the end of certain phrases. The words must be information in regard to the mora vocis and the separation of ing Latin names and page references to the Graduale. The latter is indis- ing of the Font, and Litany of Saints, the Mass of Holy Saturday is the most ing the second half was not without vicissitudes. From about 1000 on, poly- ing the time of the Lord. It includes all the Sundays as well as the special ing with Monday, are as follows: Feria II, Feria III, Feria IV, Feria V, ingly "atomic" design resulting, as it were, from the mere addition of inspiration of the Gospels, the note of absolute calm and instead of lifting the pen each time he added a new Punctum, Instead of the natural rhythm of the words, which we find Instead The^^ -- instructive, is still in its original French. For the serious Int. Int. Dom. Int. Dom. Int. Dom. Mediation Int. Dom. Mediation Dom. Termination intende Intensity : As a general rule the long Virga placed thus, has interest and importance because they belong to the oldest layer of the interest from our point of view, since they represent late versions of the Interesting little formulae and French text about accompanying psalm tones. 39 pages. interesting mainly for the fact that its word missa (dismissal) has led to the Interesting to see what Lambert was doing. His PREFACE could have been more complete, but there are some interesting comments. He harmonizes hymns and sequences from “corrupt” editions --- every note gets a chord, and the interpretation is “mensuralistic.” interpolated in an Anthem or Motet in Measured Style. Interpret it broadly, gently, with a very sustained voice, and Interpretation of the Psalmody. Interpretation. interpreted by connection of groups, between the Clivis and intervals and full sonorities. In this Mode, most of the intervals and the melody. The singers repeated it over and over into a new perspective: the chapter on Ambrosian chant contributed by into one which lasts two simple beats : into the over-all structure of the liturgical day. For this reason the Liber into the Roman Mass is ascribed to Pope Symmachus (498-514); that of the into two, three, or more sections, each of which is counted as an individual Intonation Intonation Intonation intonation, to set in relief certain notes : Amen dico vobis... etc. Intonations of 2 notes or groups are adapted to the first two intonations. Intr, Intr. Intr. Intr. ^- intr. \k^-^—:itzlf^^^w^ Intr. 0:> Intr. 1 ^_,_«-_^_^S-« Intr. 1^5- ^— iTi Intr. i ^ ^„, Intr. Os Jiisti intro- i- bit. Occulta... ex qui- ret et in abscondi-tis... introduced into the Psalms through the Antiphons with which they are introduction of the New Dominant relationships to bring about INTRODUCTION. Introduction. ix. INTRODUCTION. viij Introits 228 The Tones for the Great Responsories 234 The Tones of invenit Antiphon Haec Dies, Easter Vespers; Introit Exaudi invention of the Clefs finished the work. The Neum-accents, ions Ipse in vo-ca-bit me, alle-lu-ia. etc. ipter is a complete, independent member of a Period. is a Doctor of the Church, and therefore the service for his feast is found is a Flexa, only after the First division. In place of the Metrtim, is a very ancient part of the Mass. Perhaps even older are the items adopted is absolutely necessary in long phrases : part of the group is actually bound to destroy it. To what extent it has dulled the minds of is added a qualifying term. is added an ascending note : IS admirably adapted to Antiphonal singing. is always a fairly strong beat, an elan, a propulsion, a lift, is always repeated. is always soft and thetic, the clean crisp pronunciation of every is always sung lighter (Sometimes it is merely an ornamental is an unquestionable fact. These are called notae repercussae, is beaten with a number of even beats, the mind will naturally is called Composite Rhythm by Contraction. This term is most^^ is celebrated in commemoration of Pentecost* The fact that this is also is composed of these binary and ternary groups. These small is composed of three notes, the first two of which are at the is divided into three. IS divided into two unequal parts by a caesura. See Lam. 1-4 is doubled. If the pause is preceded by a Neum of two notes is explained by the fact that their fifth Lesson relates the story of the is fairly rare. The Kyrie Stelliferi Conditor Orbis, no. XIII is filled with a ritual of steadily increasing importance, elaboration, and is followed by a Single note. is for the Spondaic Cadence. For the Dactylic words, an extra is found in the manuscripts 239 of Laon, but it very often is indicated by the dot ( • ). is like that of the Epistle and the Lessons. The Flexa is a is like the preceding Tone. Its Reciting Tone is LA instead is modified in this manner v^ . It can be translated thus : 3 • is more in keeping with the flow of the chant; the singers are is necessary before we can establish hard and fast rules for the is never omitted. In long Orations the Flexa and the Metrum is no less a credit to musicology than the rediscovery of Bach, Palestrina, is not always a doubled note, but when it corresponds to an (v^) is not maintained with the same constancy as is the melodic is of an entirely different character. The Office Hours are mainly occasions is of One or Two Accents. The following Rules for preparatory is only long when accompanied by -1^ or some other indication is placed on the Modal Tones, or those which control the tonahty is preceded by the Preface, both of which constitute the Eucharistic Prayer is preserved only in early manuscripts, the musical notation of which can- is pronounced sh ; putting these together we have K-sh. is recommended. is so rich in modulation as Gregorian Chant or Plainsong. is the — • Kyrie cunctipotens genitor Deus. N^ IV. Liber Usualis is the contraction of two Rhythms, in simple time, so in is the Latin language, and from this language it takes its is the only time group of the mehsma. So much for the Saint-Gall is the Responsory " Colegerunt pontifices " of Palm Sunday. is the same in all the " Passions ". is the simple sign (^), which is derived from ( ? ) the Apostropha. is the somewhat sad, but highly devotional Alleluia for Whit is this statement : There is rhythm in all nature : In the pound is to be sung " with majesty ". is to be sung to it. The Antiphon is always a few words or is to obscure and render unintelligible the others. The Accent is to place the groups very close together. is to portray, and must portray that part with true humility is used : (^) is usually brief or ordinary. is usually the case. iS^^-^^^a^^^iS^ Is- ra- Is- ra- Is- ra- el. Is-ra- el de Ae- gypto iS-S-^-°-W iS— . i is, of examination of the catechumens for admission to baptism* The idea is. Secret isolated from what is to follow, but is at the same time connected isolation and in widely distant places, could have had any contacts ison of the documents of the same family, and those of different ist Mode iste, qui ve-nit de Edom it always lacks the power of expression : It became the business of the great musical scholars to perfect it comes between two vowels : misericordia, miserere. It contains First Vespers [9*7], Compline [917], Matins [917], First Noc- it deserves an important place. It does not have to be joined graphically to the note which it from other bodies of Christian chant: e.g,, Mozarabic, Milanese (Am- it has been deemed unnecessary to include the Antiphonale in our table, It has the same mystical, ecstatic character, especially when the It holds an important place in neumatic accentuation. By it imitates. it in sobriety and peace, it would be a real lack of taste and It is a redundant sign, and used in only one manuscript. It is a very suitable Chant to follow Introits in the First Mode It is also employed in the course of a line when the extension It is also good practice to vocalize on the Numbers, always It is also valuable to practice writing the Gregorian notes it is always both alighting place and motive force when in the It is caUed by some French theorists " le mode extatique par it is close to the end of the Incise, and the masculine Thesis me, it is equivalent to /t = statim in the Saint-Gall manuscripts. It is good practice to have the singers speak the words of the It is most necessary to distinguish between the movement It is necessary to know well the different shades of meaning It is not rare in the Psalms ; example : It is of either of these kinds of Rhythm which makes up the It is one of the finest melodies in all Plainsong repertoire, and it is placed on Do (at the Flexa). The Punctum, in both the it is really the most important of all, the part around which It is sometimes of advantage to beat a prehminary Arsis before It is the function of these rhythmic groups and time groups it is the letter {^) = expecta which gives us the most certain It is the same Formula in all the Gospels, with only the It is to be a simple explanation of the Theories of Solesmes, it is usually at the top of the Scale. it its form, its being, its life, is the accent. it marks the end of a complete idea; in very long Phrases and It may be a link between two more important tones It may be a preparation for the following group, especially when It may be characterized much the same as its Authentic partner, It may be clearly seen that the Cadence of One Accent can It may be strong; it may be weak. But whatever its position, it may triple the normal value of the preceding note. In the it modulates to the FA, thus giving to the part of Christ, the It must be uttered as part of the following vowel, and the two It must therefore not be treated as though it were a mere resting it needs another Neum to complete its Rhythm. In a series it on the same level with Wagner's standard work. Since I could not very It presupposes a finished and thorough knowledge of the Chant, It should be noticed, however, that the chants in the Liber do not tally It takes a great deal of study and experience to always class it the m terval below happ ens lo Be^ a Minor Second, as in w it the whole movement tends in its flight through smaller Arsic it was not until the ' Ordinary ' was taken away from the It will be observed that Cadences of two Accents cannot it will be with that reverence and respect which must be present it with the words we are conscious of the perfect accord between iT-i: it, the manuscripts tell us that it may be either a time group, it; then this (c ) placed over the excessive sign restores it to Italians) pronounce the syllables of the words with various itaqiie. its alternation of Arsis and Thesis, sets up a close relationship its desired duration, and, here, the meaning of celeriter must its flight to the Final Thesis or resting place. It must always its fusion with the preceding note. its liturgical function, and its relationship to other chants. To consider its Liturgy. its Lower Register — a Fourth lower — , and different Dominant. its movement and pauses. It is absolutely necessary, as we have its opposite in the second stichos. The oldest collection in its origin in the custom of keeping watch the night before Easter, in ex- its real meaning. He probably will not care to tear it from its itself by taking on in advance the color and meaning of the itself is a Compound Beat. The difference between the Word iTt iuxtaposition. IV IV IV IV IV IV — IV London, Brit. Mus. Egerton 85? IV r IV. — RHYTHM. 57 IV. Canticle of Judith: Hymnum cantemus Domino (Book of Judith IVa. Canticle of Anna: Exsultavit cor meum (I Samuel 2:1-10) [A 130], IX IX. — The Chant of the Versicles. Iz ^^te^^F^TNTJ - iz^-R.^ iZsZ^v^ziiz =a=5,=P J J J J J j _;=j^ t4 n_ -^_-:: j — a— B—^—- B — ¦—- «- -¦ J . 9— a^ — - J ¦ — ¦ — a— ¦ — ¦— « — ¦ — n — m—- '— '-'—¦— ¦ — ¦-— n J ¦ a 3 J Hébert Desrocquettes; Henri Potiron J the Psalm, should be carefully studied by the Director. Usually, j tri-bus Is- ra- el. J-4 J— ¦ ¦ ¦— ¦ ¦—¦—-¦ ¦— ¦ ¦ 1 j 1^ J— ¦— ¦ — -¦ — ¦ — l-i — i j!=3=:!zsi;i=v=3 J. Be-ne-di-cat vos omni-po-tens De- us : Pa-ter, et Fi- J" i.4 j) At Vespers a Solemn Form of the " Deus in adjutorvum " J\ January i$$8 Je- sus : >i< Ami-ce ad quid ve-nisti Je-sus qui- a omni- a consumma-ta sunt, ut consumma- Jean Hébert Desrocquettes jected once more to destructive practices. JEFF's SUMMARY of two (2) books: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: JEFF's SUMMARY: Jerusalem ", and the short Communion of the XXnd Sunday Jeus, the thieves on the cross, the Centurion would naturally Jewish Kedusha, "Kadosh, kadosh, kadosh." Jewish psalmody and recommending it as a model for Christian singers. Ji ji / r- Ji /Ui Jiibe Domne bene-di-ce-re. Jiibe Domne bene-di-ce-re. Bene-dicti- one perpe-tu- a * jiistificationes, consiihstantidlem, ommpotentem, JO GREGORIAN CHANT John Lambert Johner, Dominic. The New School of Gregorian Chant. Ratisbon and Rome: Pustet Press, 1925. Joseph 59 Joseph Gajard; translated by Dom Aldhelm Dean, monk of Quarr Joseph Gogniat Joseph Schildknecht JR.G Revue gregorienne, Tournai, Rome, 1911- Jt/' Jube Domne be-ne-di-ce-re. Bene-dicti- one perpe-tu- a. ' jubi- la- te De- Julius Bas jus. Just as the elementary rhythms unite to form Incise-rhythm, Just as two or three simple beats go to make up the composite Justine Bayard Ward justo- rum juxta editionem Solesmensem / juxta editionem Vaticanam / juxta Editionem Vaticanam A SS.D.N. Pio PP. X. Evulgatam / Juxta ritum monasticum kalendario proprio Congregationis Gallicae ordinis Sancti Benedicti accommodatus. juxta ritum Sacrosanctæ Romanæ Ecclesiæ : cum cantu Pauli V. Pont. Maximi jussu reformato. juxta ritum sanctae romanae ecclesiae cum cantu Pauli V. Pont. Max. jussu reformato cui addita sunt officia postea adprobata / K k K K -¦ k . > k ¦ k-i + K] K7. Grad. Kansas CD, Jeff's CD, Palestrina, Lassus, Kansas CD, Jeff's CD, Palestrina, Lassus, Kansas city public library Kassel, 1949- keep a continuity with the Chant at the Altar. There is only keeps its own proper sound and constitutes a separate syl- Kelley, Columba. “The Role of Semiology.” Sacred Music 115, no. 2 (1988) 5-11. Kirchenmusikalisches Jahrbuch, Regensburg, 1885-1932; knew nothmg of it. The Psalm is formed of a certain number know what kind of food he is being given. know when to take advantage of the best method at the proper Kv- ri- e Ky- ri- Ky- ri- Ky- ri- Ky- ri- e Ky- ri- e "^ e- Ky- ri- e * e- le- i-son. Ky- ri- e * e- le- i-son. Chri- ste Ky- ri- e * e- le- i-son. iij. Chri- ste Ky- ri- e e- le- i- son. Ky-ri- e Ky-ri- e Ky-ri- e * e- le- i-son. zV/. Christe e- le- i-son. itj. etc. Ky-ri- e e- le- i- son. Ky-ri- e e-le- i-son. Ky-ri- e e-le- i-son. Pater no- ster. Kyriale : Kyriale : Kyriale : KYRIALE (1906) Kyriale seu Ordinarium missarum in recentioris musicae notulas translatum. Kyriale sive Ordinarium Missae : Kyrie, to Pope Gregory I; while the Sanctus is said to have been instituted L l L 603]. Originally there were three readings, but this full scheme survives L G l Introduction to the Gregorian Melodies (1907). Also very useful, and extremely l respon- dit : L-et us review the profound and substantial difference existing L-r?:i— isfi—iE.: l-s^ l-t^ L'accompagnement des psaumes. L'nfi l5-«-S l5r l6 GREGORIAN CHANT la la-tens De- i-tas. Quae sub la. Canticle of the Three Children, first part: Benedictus es, Domine labe : diei = di-e-i, filii = fi-li-i, eorum = e-o-rum, etc. This rule lack of information, we simply execute the two groups in the Laetitia = Lay-tee-tsee-a, Patientia — Pat-si-en-tsi-a. But Language possesses a melody which is proper to it, but because languages, and can not read the great amount of literature languages, but slowly and gradually acquires a certain intensity. Laon 239 Laon 239 Laon 239 Laon 239 Laon 239 Laon 239 Laon 239 Laon 239 ^ a. Laon 239 ^i17A Laon 239 1 .'^ %i y i^ yV /^ /^^ S'^*^ Laon 239 A .^ '> Laon 239 J\ " z^ Laon239 ry^^h /h /'^^ laque- [e e] us... libera- ti [i i i] sumus lar to (and in imitation of) Easter Week, each day of the following week Largement last doubled note ends one member and leads on to another. Last Half of the Verse. This Bar is an integral part of the last note of the group. When the smallest Neums, the Podatus last part of the compound beat. Last Supper during which Christ referred to the bread and wine as eternal last.* lat. 151, p. 1019], the liturgy for the Feast of the Trinity was written by Alfoi&us, i*e> lated to its main topic, and which put many of its aspects and problems later shifted to the morning hours, and is now generally celebrated in the Latin Book 6 v. : music ; 28 cm. Latin Book viii, 424, 16 p. front, music. 24 cm. Latin Book xii, 512, 268, 104, 4 p. ; 20 cm. Latin Book xxiv, 66 p. (music) illus. (music) 19 cm. Latin Musical Score : Printed music : Chants, Christian [4], 80 p. of musics ; 22 cm. Latin Musical Score : Printed music : Chants, Christian [4], 80 p. of musics ; 22 cm. Latin Musical Score : Printed music : Chants, Christian 1 close score (viii, 576, 252, 100, 5, [1] p.) music, 22 cm. Latin Musical Score : Printed music : Chants, Christian 1 v. of music (various pagings) Latin Musical Score : Printed music : Chants, Christian 1 vocal score (xvi, Latin Musical Score : Printed music : Chants, Christian 2 v. of music (vi, 209 p.) ; 23 x 31 cm. Latin Musical Score : Printed music : Chants, Christian 598, 232, 100 p. of music : ill. ; 20 cm. Latin Musical Score : Printed music : Chants, Christian ix, 774, 252, 5 p. of music ; 18 cm. Latin Musical Score : Printed music : Chants, Christian viii, [4], 408, [152], 80*, (110) p. 20 cm. Latin Musical Score : Printed music : Chants, Christian xiv p., 575, 194, 64, 8 p. of music ; 19 cm. Latin Musical Score : Printed music : Chants, Christian xiv, 79 p. : music ; 21 cm. Latin Musical Score : Printed music : Chants, Christian xviii p., 552, 204, 152, 11 p. of music, [1] leaf of plates : ill. ; 21 cm. Latin Musical Score : Printed music : Chants, Christian xxxiii, 1242 p. : music ; 17 cm. Latin Musical Score : Printed music xix, 1053, 9, 7, [1] p. : music ; 22 cm. Latin Musical Score : Printed music xvi, 559, 208, 153 p. ; 25 cm. Latin Musical Score : Printed music xxvii, [1], 1605, 13 p. : music ; 19 cm. Latin language came to be distinguished from other Roman Latin language, as well as the proper pronunciation of the Latin Language. Latin language. Originally, the official language of the Church, even in Latin Language. The accent by evolution becomes intense Latin Musical Score : Printed music : Chants, Christian 456, cclxxvi p. of music ; 19 cm. Latin Musical Score : Printed music : Masses 310 p. of music ; 31 cm. Latin Musical Score : Printed music : Masses xii, 66 p. of music ; 20 cm. Latin Musical Score : Printed music : Masses xiv p., 72 p. of music ; 19 cm. Latin Musical Score : Printed music v. ; 31 cm. Latin Tonic Accent became strong, intense and therefore a Latin, it is often necessary to double the value of a simple latter connotation is not correct. The repertory in question developed latter is attached to a preceding note, there is no distinction latter we will discuss fully in another paragraph. Here Lau- - - da. Eu- ge. lauda- bi- lis val- de, etc. Laudamus te. LAUDS 4 Psalms and i Canticle with 5 Antiphons Chapter with Hymn Lauds and Vespers, without any distinction between Festal Lauds between the third and fourth Psalms; in other words, as the fourth Lauds. Terce, Sext, and None originally had the character of private Lauds. They stand at the close of the service, apart from the Psalms (which Laudunensis 239, this letter appears either alone, or followed law of the hand), because the accents are only graphic signs, le- le- hi- ia, al-le- le- i- son. le- i-son, le- i-son. le- i-son. le- i-son. le- i-son. le- i-son. iij. le- i-son. su- o. tae- le- um in va-sis sii- is cum lampa-di- bus. etc. Learn to distinguish the Liquescents, and practice singing least, it is better to have some w^orkable ratio. lected faithful, offered by the priest), the latter in the Lectio, Epistle, and Lecti- o I-sa- i- ae prophe-tae. Haec di-cit Domi-nus De- us : ... legato with great attention to the cadences, especially the FA ; legato, this indivisible unity, is impossible to obtain unless legend" is entirely without foundation. It is possible that Gregory at least legitimate, and the presence of both kinds of words in the Leipzig: Hermesdorff, 1876. leluias 496 The Sources for the Office Chants 499 The Responsories 500 length, which changes the ordinary value of the notes. length. lengthened by the Quilisma, Oriscus, Horizontal Episema, etc. lengthens it slightly. When the Sign underlines a Group, it Lent (except Maundy Thursday and Holy Saturday), on Holy Innocents, Lent i Gradual, i Tract i Gradual, i Tract 4 Graduals, i Hymn, i Tract Lent, and is followed by the Second, Third, and Fourth Sunday of Lent. Leo P Manzetti Leo P Manzetti Leo P Manzetti Leodii, Apud C. Bourguignon, Cancellariae Episcopalis Typographum. Léon Michel Le Vavasseur lermination * lesmes, 1901), which is also useful as a source for Hymns, Antiphons, and Lesson (Exodus) Gradual Epistle Tract Gospel lesson-chants of these twelve days. Lessons followed by Great Responsories form the major part of the Lessons separated by two chants, an organization which is still preserved Let us continue with the analysation of this excerpt : The Let us sum up briefly : Letter of Recommendation by Mocquereau. letters. At present only two Clefs are used in Gregorian Levy, Kenneth. Gregorian Chant and the Carolingians. Princeton, NJ: Princeton University Press, 1998. li li- us et Spi-ri-tus Sanctus. R/. Amen. Li!'a_S-^_, Liber antiphonarius pro diurnis horis : Liber gradualis juxta antiquorum codicum fidem restitutus; Liber includes a fair number of them, though not nearly enough to serve Liber responsorialis . . . juxta ritum monasticum, Solesmes, Liber responsorialis (LR). Liber usualis missae et officii pro Dominicis et festis I. vel II classis : Liber usualis with Introduction and Rubrics in English, Liber Usualis. Liber usualis. The crowning point is Easter Sunday, celebrating the Resur- Liber vesperalis juxta ritum Sanctae Ecclesiae Mediolan- Liber, of a number of Votive Masses, such as the Missa Votiva de Sancta Liber, particularly those for the weekdays of Lent. On the other hand, lication an Einfuhrung, I feel rather apologetic about the title, Gregorian lies in its simplicit}^ its straightforwardness and sobriety on light nature of the Latin tonic accent which has the time value Lightly and quickly lightly. Liher Usualis, p. 1634. like ch in church. Examples : caelum = chayloom, Cecelia = Like the Last Supper, the Mass took place originally in the evening, was like the Podatus, it is often a mere melodic ornament. Likewise the Prayer, " Super populum ", in the Ferial Masses Line A. — The Saint-Gall Manuscript 339 ordinarily writes Line B. ¦ — But in the Tract Attende he notes the same passage line is in the Third Mode, as well as the " qui tollis " of the line, and is, as a rule employed only for Second Mode melodies. line, but takes the true role of Tonic; and we find the Melody lines. The F or Fah Clef nearly always appears on the third lining later the reductions that take place on other occasions and in other linked on; the Rhythmic Ictus on the last syllable connects them Liquescent Liquescent Liquescent Liquescent — ' — ^- Liquescent '^ — *- ^-^- Liquescent Neums — ¦ Notes and Groups derived from the Apos- Liquescent neums. Liquescent y_ Liquescents or Semivowels, figured in the Notation in the listen inteUigently to the complete work to really appreciate the listen to a chant like the Gradual Haec dies and to admire its beauty literature abound with it. Little grammar of Gregorian chant : Liturgical Chant ', ' Cantus Planus ', and other similar Liturgical Chant. In almost every piece of Classical Polyphony Liturgical interludes : liturgical year, Good Friday and Holy Saturday. On the Sundays, Mon- liturgischen Gesangsformen (and edition, 1901) which contains an excellent liturgy of Matins, which normally includes nine of them, three for each liturgy. It is hardly necessary to point out that the Amen and Alleluia are Liturgy. With such a mental attitude, and a great deal of ll logical accent is to the phrase; it must bring out the sense and Logical Accent. London : Burns and Lambert, London, L.J. Cary; sole distributors for the book trade: Methuen, London London, W. Reeves long enough for breath. In most Psalmody, a Melodic Inflecti on y^ long-disputed question as to the part that Pope Gregory had in its forma- longer than the first tone of the Pes Quadratus : it is often Look through the Chant books and pick out the simple notes Look up groups of three notes in the Chant books and learn Look up in the Chant Books, Incises, Phrases and whole chants Lord God of Israel; Luke 1:68-79). Lord. The next Sunday is called Sunday within the Octave of the Ascen- loses its rhythmic ictus and its individual ictus by virtue of Low Sunday lowed by a Psalm sung responsorially and later called responsorium LR lu- ia. Ludovicus Ebner LURA F. HECKENLIVELY lus LVM ly short and simple type of chant. lying the music of Christian worship. Not only are the ancient Greek lyric and hymnic character. A distinction is made between the major lzm!z%=!zfl. M m m M m M m m m m m M M M M M m ¦ a ¦ ¦• m n n m translation we cannot help feeling this rhythm in the cadences m^ m^ U L m- M. Vincent d'Indy in his " Cours de Composition " states, m.usician rhythm the following phrase member? m* M=i=n made at the Hebraic words and monosyllables, according to made more because of the graphic difference in the two signs made up of Time Groups. Magister choralis. magnalia, filius, tenehit, Domine. Magni- fi- cat Magni- fi- cat Mai or Bethlem cui contie^it mainly in connection with three liturgical periods of a special character, mainly in France and was not adopted in Rome until the thirteenth cen- mainly those for the Feria days of Lent and of the four Ember Weeks [see mainly those that occurred right after the Nativity, probably because their Major ( ^ ) to mark the intimate union of the first notes. Major is represented with the note to which it is apposed, and Major, and sometimes with the Pressus-Minor. make very impressive these few^ simple words. makes as it traces them. makes use of the Lower B^ orB^, but skips from the C down to making consistent use of the B b. We give it in its Ancient form : man origin." Recent investigations have made it highly probable that the manner : manner that is it always imperceptable. " Staggered " breathing manner, with proper expression as they should be, they are Manuale Cantorum sive Antiphonale Romanum, recognitum Juxta novissimum Antiphonale Romanum. manuscripts of Saint-Gall. It settles the value of the episema manuscripts of vSt. Gall, and Metz, between which the rhythmic manuscripts teach us that among these repercussions, there manuscripts that reveal nothing of the rhythm, neither Manuscripts. Their enumeration may be found in " Le N ombre Many editions have metronomic marks, but these should be many examples of this kind of parallelism in every page of the Many Hymns used in Protestant Churches have Gregorian many little faults of choral singing and interpretation get by Many Office chants are partly Ordinary and partly Proper, in that the Manzetti does some odd things: but has a very interesting preface in English and French. march of the rhythm but the melodic line with its elans and falls, marians, leaving to the orator every liberty for the invention marked N., as in the Antiphon, the Prayer, and the Collect. 10 Martin J M Hoondert mas) on December 25, which is followed, a week later, by the Circumcision Masculine and Feminine Cadences. Mass means the Ordinary, as, for example, Bach's B-minor Mass or a Mass Mass of the Dead. These have not been included in the above tabulation. Mass, a more ornate Melody, to which well applies the old Mass, and the brilliant and joyful Alleluia, " Magnus Dominus '\ Mass, because each Mass has its own Introit with individual text and mel- Mass. Of these, the Sanctus is the only one which forms an integral part of Mass. The Ordinary consists of the Kyrie, Gloria, Credo, Sanctus, and Masses 28 masters at Solesmes have become convinced that, in order to Mathias's version of the Vaticana in modern notation. matic chants. It was only after a long laborious comparison MATINS Invitatory Ps. 94 with A ntiphon Hymn. Matins, that is, from Lauds to Compline. mation and evolution to which Language was subjected, the Maundy Thursday Maundy Thursday [628ff]), usually three for each Nocturn, are strictly Max Springer Max Springer claims to have “sat at the feet of Dr. B. Sauter, O.S.B.” and learned this method from him. may also have one on the third if necessary. The Climacus may be kept (which is the simplest solution), or the " broken " Cadence may compose a single short Section, or they may require many may stand on the penult or the antepenult : It stands on the may well be retained, provided its ramifications are understood. Mazarine 384 Mazarine 384 Mctr MD me- me- O (Spondee) Me-di- a vi-ta me. meaning of the phrase by laying stress on the important w^ord meaning of the text, number of singers, acoustics and size of means by which to modulate, Plainsong must depend entirely means of marking rhythm. means that group is to be retarded : jj"jj i, mechanically produced beats, such as the ticking of a clock, Mechelen [Malines] : H. Dessain., Mechlin “pure” vaticana --- printed in small type --- rather hard to read. -- INCOMPLETE COPY: title pages, index, sample pages. Mechliniae : H. Dessain, Mechliniæ : H. Dessain, Mechliniae, H. Dessain, medi- ta- Mediant Mediation Mediation medieval sources or, at least, to the Liber Responsorialis (LR; Solesmes, Mediolanensis, Rome, 1935. melismas, and use of standard formulae. In the field of psalm recitation melismatic melodies, to keep the same timbre of the vowel melodic accent and counter accents is the language of the melodic pattern carries the same rhythmic outline as the one melodic patterns must be brought out; and we find all kinds Melodic Progressions Repetition of Melodic Units Cadences Melody melodic unity. However, this primitive rhythmic tradition melodic, which is the only variation which the Chronicler is melodic, with no idea of force or duration. The accent was melodies and lyric poems of the Greeks; also all the ancient melodies are standard but the texts variable. An example of this kind are Melodies are woven around the Tonic Sol, the Dominant Re, Melodies extend either up or down to that note; but it seldom melodies makes for variety in the movement. melodies strictly metrical and almost completely syllabic but also indic- Melodies. melodies. This practice, although ostensibly meant to promote the chant, Melody — In placing the Icti in the course of a melody, several melody from an older Mass to a more recent one). Melody leaves the Tenor to a higher note, the Cadence has no melody nor text demand the repetition of the Arsis or Thesis, member, etc. It is the sign par excellence of disjunction or member. At the end of a long phrase, or at the end of a piece, Members properly called; it is composed of one or two Incises. members, also determine their inner form and coherence. Members; these finally unite to form Phrases and Periods. Memento * verbi tu- i servo tii- o, Domi- ne, etc. Memento verbi tu- i servo tii- o Domi- ne, etc. memorates the adoration of the Magi (Three Holy Kings). The Sundays memorations. Men and women, men and boys, or alternating between the ment of polyphonic music. 6 Disregarding these items as well as others such ment of the Forms of the Liturgical Chant > London, mentary evidence. In fact, the various books that have been written on this mentioned by Justin. mentioned Feast, and at all Major Hours, and at the Mass mentioned in their respective places, except for the Communion, which mentioned symmetry, when feet of different length follow each merous feasts for the Saints of the Roman Church are grouped under two method to mark each and every note of a melody in the following metric prose, and as we have already stated, ordinary Metrum Metrum Metrum Metrum Metrum, Interrogation and Final Punctum. The Interrogation MGG mi mi- ni mi- nus mi- nus te- stamentum mi-ne mi-se-re-re no-bis. R/. De- o gra-ti- as. mi-ni sit semper vo-bis-cum. R/. Et cum spi-ri-tu tu- o. mi-ni-bus. mi-no De- o nostro R/. Dignmn et ju-stum est. mi-ra-bi-li-um su- mi-se-re- re no- bis. Agnus De- i, * qui tol-lis pecca-ta mi-se-re-re no-bis. R/. De- o gra-ti- as. mi-se-ri Mich Hermesdorff Michael Horn, O.S.B. michi, and nichil. In all other cases H is silent. Examples : mid-day was sexta hora. Naturally, the time when these Offices are held middle or at the beginning of a Phrase, and resting point when Migne, Jacques Paul. Patrologiae cursus completes. Mihi autem miin- di. milieu. Only then will he be able to really understand its soul, mind that there were always two kinds of contrasting Chants : \^ a< mine Minor Third Inflexion. At the Benedictions, the Metrum minority, and are all ancient Chants. One of the best known Missa pro defunctis / mit- ta- tur fo- ras, et conculce-tur ab ho- Mixed — ' ml-. MM mnes gen-tes * plau-di-te ma-ni- bus : Mocquereaii, Dom Andr^. Le Nombre musical grigorien, Mocquereau, Andre. Le Nombre Musical Gregorien. Paris: Desclée, 1927. Mocquereau. All the other books were edited under the leadership of Mocquereau's 1903 Liber Usualis Mocquereau's 1921 Liber Usualis Mode Mode : Mode II. Tract. a) ^HZ^S^^'^HZ b) ^~ J^ f^^'^ ^^~ Mode indicates : Mode of contemplation; the Mode par excellence of Peace. It Mode. But in most places we find it. Mode. V modern music : Modes [Transposed : sol la si DO re mi fa sol la si do. Modes, — its character is much more sober and serious than that Modes. [Transposed : mi fa sol LA si do re mi fa sol la. . Modes. I Transposed : fa sol la SI do re mi fa sol la si. Modes). Modestia. modification of the intervals for the different tonalities. All modifications, etc., which complete the neumatic notation by modified. Example : modifying them, and (b) The signs added to the primitive Modulation. modulation. Modulations {^), Modulations. monachis diligenter ornatum (Desctee et Cie., Tournai, 1949). monasteries, among the ranks of the heavenly hosts, David is first, middle, and last. monastic orders, such as the Benedictines, Cistercians, Dominicans, and Monasticuni shows more. Monday in Holy Week Monday, Easter Tuesday, Wednesday in Easter Week, etc,). Monday, Whit Tuesday, Ember Wednesday, Thursday in Whitsun Week, Monday: monks of Solesmes who prepared the books of the Roman usage. This monly thought to be the case. As was previously intimated, the chants of monosyllable. mora vocis, in distinct opposition to the sign (/t) = statim, MORE ABOUT THE APOSTROPHA-PRESSUS. more complicated Rules may be laid down (2) : more difficult in practice, than these long sustained groups more force than the Strophicus. The intensive movement more in keeping with the Gregorian Melopee, which is based on the More modern are the Introit and Kyrie of the Requiem Mass more or less pronounced. more quickly). more than a survey designed to provide the reader with the most neces- more than is necessary. We find numerous examples where Moreover, Gregory's role in the development of the chant, as outlined Moreover, the very variety of possibilities inherent in this practice is bound morning (prima hora) to six in the afternoon (duodecima hora), so that Most authorities distinguish three main kinds of paralleHsm : most cases sacrifices its individual rhythm to the rhythm of Most culminating Virgas of Neum Groups are given the rhythmic most difficult problems of Gregorian Rhythm is to determine Most of the Second Mode Melodies keep within the Central Most Solemn Tone. Most, if not all, of the items of the Ordinary originated in the Eastern motives must be closely linked in the execution to form a light motor. movement for the binary Arsis, the second beat corresponds movement of the Phrase; also the Principal Arsis which binds movement of the sounds. Also, the best manuscripts show movement which must always be felt until the end of the phrase. movement, because of melody or text, demands more than movement. In order to paint these rhythms to the eyes, they movement. These two causes working on our inner aesthetic movements of the dance. The raising of the hand or the foot movements, such as the Agnus Dei, Sanctiis, etc., are tradi- Mr ; 7 Mss. Messins ^ Aa^ ^ ^ mss. S. G. 375, Mss. S. Gall Mss. Sangalliens Mss. Sangalliens /f S' /•- /•- /•- Mss. Sangalliens r /) .•__ ^ J^ /7 Mss. St. Gall mt/$.,XIV, 222 (Gajard). mu- Much music is contained in this: in modern notation. Much research could be made on this subject. much the modern modes. Mul-ti-tii-do mulary for this Sunday is transferred to one of the following week days. mum of twenty-eight, a fluctuation corresponding to that of the Sundays mundi : mi- se- re- re no- bis. As'nus De- i, mune Sanctorum, starting on p. [i]. In the Antiphonale the three main munion form a part of every Mass, the only exceptions being those of munion"). The following table shows the items of the Mass arranged in Music 74 music began to develop that the term, ' Cantus Planus ' Music Fourth Year MUSIC LIBRARY music of other great schools of Church Music are permitted, music sung at the altar. While Classical Polyphony and the Music, vol. I, Cambridge, 1946. music. The third Neum and syllable of the word is a Thesis music). It begins with an upbeat when the Arsis is Simple, Musica Disciplina, Rome, 1948* musica medii aevi nova series, 4 vols., Paris, 1864-76. Musical "). Musical Gregorien '\ Vol I, Part II, Chapter VIII. Musical Gregorien " of Dom Mocquereau. musical items are italicized: 7 musical manifestation. Many persons are ignorant of Harmony, musical notation was so common that a few theorists used the musical notation, giving birth to all the neumatic signs not musical rise or / musical sentence : Musical Sentences or Phrases are of varying lengths : They Musician in general, this study may be found a very valuable Musik in Geschichte und Gegenwart, ed. by F. Blume, must also have had twelve Lessons, since in all the earliest manuscripts must always be asked by the modern musician, who is accus- must be clear and crisp. Too, some Italian words are accented must be clearly and correctly pronounced, words correctly must be free from anything that might suggest measured rhythm must be light, simple, delicate and spiritual. Only thus may must be repeated after the " Gloria Patri " at the end of the must be reproduced by gestures of the hand. When it is clear must be taken, the Mora Vocis serves more to separate the notes, must become a Time word, even though it also has a Neum must have another note to complete it. The following sequence must have been a certain resemblance between them. However must not undergo any alteration because of the consonants mutual attraction of different sounds, and the Tonic-Dominant mutual dependence of the smaller groups to Arsic-Thetic MV. My first, and main acknowledgment is due Peter Wagner, the great mystery and freshness. We quote the Hymn, " Urhs Mzfi^==^zMz!L n n n n n n n n n ;; , ,h J , J^ j n "11 n < n ¦ n 1 n his quae dicta sunt mi- hi : * in domum Domi- ni n i n n n n n n n r N^ 758 N^ 758.-4 n- — ^- n- 1 n—^.W n. < N. Pit X jussu restitutum et editum (Vatican Press, Rome, 1912). N° 758. — 6 N=^ na nachis diligenter ornatum (Desctee et die., Tournai, 1908, 1924, 1945). nai, 1949 (Descle, No. 820). name of a group normally ending in an upward direction, to name to designate them. To the longer groups composite namely, the Season before Easter, Paschal Time, and the four Ember Weeks. names, in the Graduate. nan-ti-bus Narra-ti- onem vi-ro-rum conser- va- bit et in versu-ti- as. nary of the Mass" and "Ordinary of the Office," categories in which, of Nashdom Abbey (Burnham, Bucks) : Plainsong and Mediæval Music Society, Nat. Dom. 44 nate them as "Proper of the Proper of the Lord/' "Proper of the Proper nation of the Chants in this Mode will repay the student, nation on f ; see Lug): Nativity [395] and Good Friday [689]. Nativity, Dec. 25 Nativity, First Vespers [364] P$. 109, 1 10, 1 1 1, i i * 1 16 Nativity, Second Vespers [41 1] Ps. 109, 110,11 1, 139, 131 natural instinct of the ear; it is the foundation of Plainsong natural to assume that there also existed a musical tradition leading from naturally wrote the notes at different heights according to the nature, it is almost always better to start the impulse of the nature, the Apostropha is a note joined, as it were, to another nding on the same note, the same letter is used with a small Ne time- as Ma-ri- a, quae cre-di-disti : etc. ne tra- ne-te hie, et vi-gi-la-te me- cum. nearly all the sequences, did the sequence become an exceptional compo- necessary modification for the different texts. necessary to the other Services of the Church. necessary to understand it thoroughly to properly interpret the necessary to use a distinguishing term for the chant, until Needless to say, no rhythmic signs. Neither did their own arm save them : nent of certain Masses. nesci- o vos. nesci- o vos. Neum can never form a Pressus : Neum, to play the part of a Compound Beat. Neumatic Chants may, as a rule, be taken fairly quickly, but neumatic form. Neumatic Notation 118 The Notation of the Solesmes Books 123 The Neums are divided like Words into Time Groups and Rhythmic Neums may not be amiss here. Never /=*'; = # ; #' J = never have less than two syllables, or more than three. never hurried, as the absence of words facilitates the execution. never like the English a in can. Never permit to escape this atmosphere of mystery which floats Never the English w in use, sure, pure, etc. Examples : miiltus Never, in a Gregorian melody, may the two Bs (B ^ and B [?) Nevertheless, these precious debris often aid the course of new light on the early development of the chant and particularly on the New York : J. Fischer, New York : J. Fischer, New York : J. Fischer, New York : J. Fischer, New York, J. Fischer & bro., New York, N.Y., J. Fischer & bro. newly baptized] were laid off. next day. This is the so-called Canon of the Mass, beginning with the next take up the subject of Associated Words. ni Sancte Spi- ni^ ' n ¦* ni- ni. R/. Qui fe-cit caelum et terram. niam Domi- nineteenth century, and is used at present in essentially the same form it nis. nit NjP- no 121 of Einsiedeln offers this proof. NO 758. NO 758. - 7 NO 758. — 3 no De- o nostro. R/. Dignum et jiistum est. no difficulty in finding the corresponding feasts in the Antiphonale. It no logical relation between the clauses. No true admirer of Gregorian chant can help looking with dismay at no- no- no- bis pa- cem. in excel- sis. ve- no-stri. Nocturn [375*?; 6s>6ff; 66gff; 7158^ 774*!; 873!!; 935*!; 17856^ In the other Nocturn I: 3 Psalms with 3 Antiphons 3 Lessons with 3 Great Nocturn II: same Nocturn III: same Nombre Non non fii-it sic. Non. NONE Same as Prime normal one used throughout the major part of the year, and a substitute normal sound : Excussorum = Eks-coos-so-room. nos indiicas in tenta-ti- 6-nem. R/. Sed libe-ra nos a ma- lo. nos. etc. nostrum ", and " Qui vivis et regnas ". In both the body of nostrum, f.j; not (or only incidentally) subject to such general principles of melodic NOT A COMPLETE COPY (only index, front pages, and sample pages) NOT A COMPLETE COPY (only index, front pages, and sample pages) NOT A COMPLETE COPY (only index, front pages, and sample pages), since it is EXACTLY the same as the Pustet, even in the page numbering. The Pustet has clearer print. Beautiful picture in the front cover. not a hymn at all, in the proper sense of the word, comparable to the not always sound like that. In another church it may sound more like not at the end. The rule for AU and EU is> to be applied, but not at the Punctum, which remains invariable. If the Interro- not be accurately read. 8 The Ambrosian as well as the Gregorian repertory, not be confused with these terms as used in conducting barred Not in all cases does the Tenor or Dominant pass immediately not included in ] is shifted to the next free weekday. not its role in the melody, which always represents, not an not long; either Acute or Grave was a simple beat, no more. Not quite so much care was taken to maintain the ancient not so difficult to analyse the Phrase, and to decide its Arses not to slide over any of them. Notation : notation called Neumatic Accentuation sets to work only three notation came in at the end of the loth Century. notation on lines has preserved the melodic tradition, it has notation the eighth note is the smallest unit. notation, written rapidly, invited the copyist to let his pen notation. Notation. NOTATION. Note : =^3= note (a hollow note) is j.nserted aj ter_t)\e ar.r.entedjio te or neum Note ¦ — AE and OE are pronounced as one sound, like E note as one binary rhythm, starting the Arsis at the Bar, the note followed by a neum in the following phrase, care must be Note how carefully the Incises and Phrases are rh^^thmed. note in modern notation. As we have emphasized, this beat note of the group. Example : note of the next Incise be a weak note, it must be lead into with note on a strong syllable in order to keep the rhythm. Too, note or a weak beat. note sung lighter to give relief to a straight Chant on One Tone). note, but seldom doubled. There is a similarity between these note, but the simple relating of facts without comments " . note, the Cadence is of one accent with preparatory notes. If the NOTE: Page references without letter indication, e.g. [234]* refer to the Liber note. note. The simple sign of the Pressus without accessory notes notes notes : Notes and Groups derived from the Apostropha. notes assigned to them, as far as possible ; the consonants must notes may be observed : notes of the (Plainchant' was not so great as in Figured Music. notes or larger than three notes; thus the single note notes or more : notes to be united in the Chant, and which are to be separated. Notes; d) with preparation of three Notes. (See Table of notes. Nothing but a choppy, martellated and disagreeable rendition Nothing is more antirhythmic, more ungregorian, and even, nothing, but would study the situation in the hght of the Notice also the " Veni Sancte Sptritus " , sequence for Pentecost : noU comes~'bef'ore the^Clivis. T his e xtra. nQl£ i7s?mlly_tdikes Now and then it is found on the 2nd or 4th line. now, have beset philologists who considered the songs of the troubadours ns f . rfrf i-^^ nu-i : Et antiquum docu-mentum, Novo cedat ritu-i : etc. num nostrum. R7. Amen. number of feasts, see pp. 58f.) number of syllables. Sometimes the Half Bar serves the same numbered by the Hebrew letters, Aleph, Beth, Ghimel, etc. [626]. Manu- Numbers 3 and 5 are known as the Vatican edition. Numbers 4 and 6 con- numeral after it. Example : g, g^, g^, At the end of each nunc et semper* et in saecula nus ipse est De- us* ipse fecit nos, et ncn ipsinos. o m voce O sa- crum convi- vi- um ! * in quo Christus O- O- mnes * de Sa- ba O- sten- de occupied the highest place in the word carried the Tonic Accent, occurs on the preceding lengthened note. ody (aside from the possibility of an occasional transfer of an Introit OF of ''ilia", as it is the end of a Division; we also know that of " tormente " on D, and the final cadence on Sol, as the of \erses; each one of these Verses is usually divided into two of 113) are also used on feasts such as the Nativity, which may fall on any of a Fifth for the First Lesson, and of a Third for the second. of a Major Second below the Dofnm ant is made at this pom t. Ijjj of a Modal cadence. There are few chants of any length which of a neum, without any outward additions. All these modi- of a phrase, incise (sometimes), or phrase-member; this length of a single stroke of the pen, starting from the Virga, and keeping of a somber character, the Feast of the Holy Innocents and the Mass for the of a Third at the end : of a word or combination of words whose accent falls on the of a word or phrase, we always have two Theses. of Advent 343 of an elevation of the voice on a syllable of the word other of an individual; as for instance, in honor of his Patron Saint, of another. When combined with the Neum, the Word, in of any letter of length, whatsoever, is an infallible sign of of Arsis and Thesis, (or in compound Rhythm it may be a of Arsis and Thesis. Composite Rhythm by Contraction, of art. of Ascension of Christmas of Clefs : these Clef signs are borrowed from the ancient musical of details that go into the preparation of a book. of different characters involved. One would certainly not use OF DoM Andre Mocquereau, of each word, the other musical or melodic which consisted of execution, since the difference in the duration of the single of F Major was the first Modern Scale). See the following, one of four or five notes : In these long Neums it is always necessary of Greek origin. OF GREGORIAN CHANT of groups. Practice picking out the neums that should be of his study of Plainsong, to have some idea about the placement of Holy Week. From its inception the Mass included the Offering of bread of imitative figures in Plainsong as in figured music. of Incises — The Greater Rhythm. of information, as they often explain each other. The compar- of isolated words, by means of signs which signified the rise of Jeremiah, which are sung at Matins of the three days before Easter of Jewish origin, but less known is the fact that the Sanctus of the Mass, of joining the groups. In the manuscripts we find the same of Juxtaposition, or the more comphcated form of Contraction of Laon : it is when the neumatic sign chosen by the copyist of Laon, a (-1?) tenete is found on the last note of group B. of Lent of Lent, if sung on the Simple Tone, permits the following of manuscripts that Dom Mocquereau and his workers were of Masses of great antiquity and importance that are not included in the of Matins in the Most Solemn Feasts; there is a Flexa and of Matins. OF MELODIC GROUPS IN THE PHRASE. of Modes 7 and 8 The Gradual-Type Justus ut Palma The Offertories of more than two or three simple beats on the same degree. of My blood, of the new and eternal testament: the mystery of faith; which of One Accent, with no preparatory notes. Example : of One Accent', pee below, " Cadences '"^ XfterTHe~(^) Flex a, of only a single 8th note in music, the weak final syllable which of Our Lord on January i and, on January 6, by the Epiphany, which com- of Our Lord to the repentant thief on the cross fits well into of Paschal Time the first reading is from the Old Testament [see, e.g., of Paschal Time. Naturally these variants also apply to the Masses of the of Plainchant to make detailed studies of these volumes. of practice. of preparation. There is no Intonation. The Psalm starts of probability, the numerous questions about which we have no docu- of pure, unearthly praise the Third Mode is perfect. Such a of replacing the Alleluia by a Tract was adopted for two special occasions of retard. As for the clivis, the ( « ) naturaliter which follows of rhythmic groups will illustrate : of Saint-Gall, we can definitely give it this value. of Saints," and "Proper of the Common of Saints"; or, to push the dis- of sincerity and truth," cleansed from, or at least clearly separated from, OF St. PIERRE DE SOLESMES of strict meter and measure commonly found in folksong. of study to memorize the musical repertoire of the Church. of such places requires a great deal of practice. of Sundays after Epiphany varies from a minimum of one to a maximum of of Terce, which precedes the Pontifical Mass. of the ( « ) celeriter, here. of the analogous possibilities. Many so-called Gregorian Of the Ancient Tones " ad libitum " for the Prayers, there of the Antiphon to the Psalm Tone — Example of a PsaJm Tone of the Arsic elan or crescendo. In the same way, when several of the Cadence, uples TTF be a U ivis, in w M clT case] jthe £^^g^ of the Cadence. — The preparatory syllables are usually marked of the Chant, and the conclusion, " Per (eumdem) Dornimim of the Chant, to mention the Rhythmic Ictus, it is not altogether C of the chants, each of which he (or rather, those to whom he had entrusted of the Christian Era. The accent preserves its original melodic of the Clef. From this line up or down we count the names of of the Eight Ecclesiastical Modes, which we have just explained, of the Epiphany of the Ferial Tone. of the Final Cadence. They are all shown complete in the of the fine points of all conducting, and takes a great deal of the First Mode. The B? is almost always present, when its of the five Psalms. Thus, for Lauds of Friday we have: Ps. 98, Ps. 142, Ps. of the following 'Chants ad libitum' may be employed." The names, such of the following Group. Of course, the last note of the series Of the Fourth Mode Melodies, which have the same Final, are Of the Fourth Mode, which is the companion Plagal of the of the Gallican chant have come down to us, and the Mozarabic repertory of the Greek language, artificially distinguishing long and of the group; the essence of the Salicus is to have the Ictus of the group. of the groups; it is also the Text. Sometimes these coincide, of the Holy Gross, on September 14* It may fall as early as after the Thirteenth Sunday of the horizontal episema ( - ). of the Intonation, and especially ritarding well each one of the of the Jews. The Mass, on the other hand, is a service of distinctly Christian of the Latin accent — Rules for Latin accentuation — Secondary of the Latin word is the foundation of Gregorian Rhythm. of the lips or tongue must be avoided during its articulation. of the manuscripts, where we discover the Real Tradition. of the Mass, the Asperges me and the lie, missa est, but these are usually not of the Masses for Ember Days appears most clearly in those of Advent and of the melodic signs, varies with the different graphic schools; of the Melody demands a change in the place of the Clef, to of the Missa Orbis factor, XI. Liber Ustmlis. We give excerpts of the Mode, on which usually ends the Antiphon, and the of the most beautiful of the more modern Chants, the " Sacrum of the note : ) of the Office, Ordinary of the Mass, Proper of the Mass. of the Old Testament : In Numbers XXI, 17, 18, we have, " Then of the Ordinary were preferred for polyphonic composition, obviously be- of the other Hours. Several of the longer Psalms, however, are subdivided of the Paleographie Musicale should be made by all Gregorian of the passage in question : of the Phrase. It is clear that the Arsis corresponds to the of the preceding Note. (When a Chorus is singing, unless the of the preceding note. The horizontal Episema slightly lengthens of the preceding Podatus of the Psalmody, there is simply a solemn and majestic of the Rhythm. Rhythmic Words follow one another by being of the Rhythmic Ictus, I do not consider it out of place to give of the same Tempo: some are of a tranquil character; others of the Second Mode extend down to the G of the Lower of the surf on the beach, in the patter of the rain upon the roof; of the Synagogue Chant, has two proper cadences for the Of the ten chants of the Mass the five making up the Proper are not of the Third Mode Introits : (Last half). of the Triduo of Holy Week, as well as the Prophecies, unless of the Tristropha at the end of the Introit verses of the First of the two elements tone and strength. The quantitative of the two main periods, and at the words " verbo et opere " : of the two syllables. Examples : me-i, De-i-tas. U preceded of the unknown composer. How? Only one answer : search of the veil of the Temple, we hear the words of the almost of the whole Period. For the proper artistic efiect, it is necessary of the word as well as the word itself, and is to spell it, not to of the word. Were it not for the clumsiness of expression, one could desig- Of these eleven Accents, Neumatic Notation makes use of Of these four periods the one which is of interest to us is the of these little " footfalls"; this would isolate the little rhythmic of these Neums are sung more lightly, they must not be sung Of these, there are Three Tones : the Common, the Solemn, of these. They must be pronounced with a certain crispness of Theses, after the hand comes down on the first, it is lightly of this ancient song, must put aside altogether his old ideas, of this Horizontal Episema. Pes quassus v^ from (quatio) of TimxC Groups each group ends its Rhythm on the first note of two accents, and a Cadence with preparatory Notes. A good of two Antiphons of the Christmas Season : of two linked Rhythms. The Thesis of the first or preceding of two notes. of U ¦ 1 of urote |- Of&ce — The Absolution and Benedictions of Matins — The Lessons Offert. Offert. Offert. Offertory " Invent ". Three different notations : Offertory, and Communion. Actually, there are two more Ordinary chants Office Hours of Sunday is shown in the following table, in which the Office Hours reading from Scripture plays a much less prominent role, Office of the day. When all work is finished, and the time for Offices de l'Eglise du matin et du soir suivant le rit romain : Ofiert. Ponas caeli Oflice, although we find a certain amount of this type of Song often find aid in other documents and even fragments. often gives more authentic versions, particularly for the Hymns, and abo often run together, such as " maggiore ", " gloria " instead of ol InSecdom At the 1^ lexa, the last accent be fore th e sign oldest melodies. Later, in the ninth century, they were taken over by the omission of the Gloria and the Credo. The Gloria is omitted in Advent and Omnes Sancti * quanta passi sunt tormen-ta, omnia re-edited, in 1747-53, by A. F. Vezzosi), interprets it as meaning tractim, continu- On any of the days of the liturgical calendar the service of divine wor- On becoming Neums or musical notes, the Acute and Grave on either the third or fourth note. But, which subdivision on F. on its Second note, or the first note of the podatus. on J^e f on Fa / on only one specific occasion. Both types occur in the Office as well as in on our subject in other languages, I hope I have contributed on p. 73 says expressly that "this Ordinary is not meant to be a matter of on Simple Feasts and Feriae. For this Tone, there are two on the Dominant, C (do) The Flexa takes the same form as in on the first and third notes. This last ictus prepares the on the four Ember Wednesdays, e.g., that of Lent: on the last note of the Torculus. on the last syllable, an impossibility in the Latin. We have on the last syllable, and because " favilla" is a more important on the last syllable, it is the nature of the Neum to carry the On the last three days of Holy Week and at the Office of on the notes do-si-sol. Also the rhythmic manuscripts place on the other hand, are fully known to us, and both are in use to the present On the other hand, the Liber includes some very important chants not On the other hand, to repeat, no organist, no matter what his on the other". And again the eminent monk observes, on the resources of Melod\^ to accomplish this fact. In this the On the same note on the Sunday within the Octave of the Epiphany. The traditional for- on which Gregorian Chant has developed; thus the rhythm on Whitsun Eve. The former has twelve Lessons (all "Prophecies" from Once more we return to the reflexions of Dom Joseph Gajard, ond leading up to Easter, the third leading up to Pentecost, and the fourth one and the same archetype characterized, first of all, by the use of the one Arsis or Thesis in succession, it is known as Rh3^thm by one Arsis, two Theses. one belongs. A full understanding, however, of its form, its style, its musi- one Clef is necessary, the fe G or Sol Clef. ONE Definition and Terminology 3 one during each of the four seasons of the year [S73-276]. 1 The Responses one for the Sundays of Advent and Lent, and one for the Ferias throughout one from the Epistles and one from the Gospels, but on ferial days outside one heart and one soul with him. This is the Epitome One Note before Quilisma. one of some cadences in the well-known Te Deitm. To establish One of the most beautiful of the Second Mode Melodies one syllable : The Epiphany Hymn for Lauds will illustrate : ONE The Liturgical Recitative 201 ONE The Texts 87 one way to accomphsh this feat successfully. Start the one. only be an Arsis, because its first note is the culminating point only difference between these two signs is, that the Pressus- only in connection with the Liturgy to which it was wedded only liturgical music of the Roman Church, as it is the only only much older than the other five, but are also more important liturgically only occupy as much time as is necessary for their clear only on a few occasions: the Wednesdays of the four Ember Weeks, the only on inductive reasoning, has been scientifically established through Only one accidental, the (;) B Flat, is admitted in Gregorian only sporadic efforts were made to combine specific melodies into a fixed Only the Saturdays of these weeks are represented in the Liber usualis, the only, is made, and at the end, the Punctum with the inflexion opens new portals, and simply as part of the History of Music, or or or or or : Or a link with another neum : or a rhythmic group. or able to exercise control. As a result, during the later Middle Ages, there or after the Mass on certain feasts, such as the Blessing of the Ashes on or Ancus or by joining all the groups. or composite beats give way to the longer Arses and Theses of or even longer arrangements. Foiir lines of a verse may be or fa, that is above the half steps, although sometimes on re, or finger on the conductor's stand, or on a book. For beginners or followed by a note bearing the Episema. (As there may not or followed it, and grouped around it, and subordinated to it, or force necessarily; in itself it may be strong or weak, according or groups of notes. We have Cadences : a) without preparation; or Half Bar. These divisions may be made up of a few or a or Hymnus trium puerorum). Its first five verses (Daniel 3:52-56) form or in the Masses of Wednesday in Holy Week [613] and of Good Friday or Incise may be marked in the Phrase, according to the or it may be composed of two Incises : or Kyriale. or later, written in strict verse, the Benedictus es is a scriptural text taken or lengthening. (It is almost magical, the interpretation of or less, according to the manuscripts ( - — ). This is the or lesus; Jo-annem or lo-annem. The vowel following / plays or mediocre voice training would create a pandemonium with or more than three notes. More of this in the Chapter on or music. These gestures must exactly reproduce not only the or one beat to the Arsis (the two syllable word), and compound or Reciting Note. Only in the three Canticles, of the New or Scandicus Subbipunctus ¦ — (^ or scream, or otherwise exaggerate the energy, more Theses or sf or the clivis-do-la. Why? The punc turns are brief, and this or the length of the last syllable. The usual pause between or the usually present Bl^. The following excerpts illustrate or Tract or W'Ords. Example : or weaker proportionately as they are nearer to, or farther or: con-fes- si sunt. (B). ora = hora, habitat = abitat. orare pro me ad Dominum De- um nostrum. Orations : — Litanies, Sprinkling of Holy Water, Bene- orbem terrarum, et plenitiidinum ejus tu fondasti : Ordinarium Missae organo concinente : ORDINARY AND PROPER Ordinary and Proper (Ordinarium, Proprium). This results from the fact Ordinary and Proper 17 The Office Hours 19 The Mass 23 Exceptional ordinave- runt organ accompaniments for the whole of the hymns of the Roman Vesperal ; with an appendix, containing the three festal sequences of the Roman Gradual / Organ Accomps by Julius (Guilio) Bas that I have are the ENTIRE: organist " and has gained a great name in the world of music, Organum comitans ad Epitomen e Graduali romano = Organum comitans ad Graduale Romanum quod curavit S. Rituum Congregatio. Organum comitans ad Graduale sacrosanctae romanae ecclesiae SS.D.N. Pii X : Organum comitans ad Kyriale seu Ordinarium missae : Organum comitans ad Kyriale, sive Ordinarium missae : Organum comitans ad Ordinarium Missae / Organum Comitans ad Proprium de Tempore. / Organum comitans quod ad graduale romanum Orgelbegleitung zum Auszug aus dem Graduale der vatikanischen Choralausgabe / Origin — Chironomic Notation — Diastematic Notation — Origin and Development to c. 600 Origin and Development to c. 600 35 Origin and Development to c. 600 37 original Latin, or to uproot it from its Liturgical background; originally the term was indeed used for Sunday. Later it was employed Oriscus ornamentation of the lower minor third which introduces each Ornate Ornate or Neumatic, and the Simple Tone. The first is sung ortus car dine " are among the Third Mode Christmas Chants. OS. Ostende nobis Domine misericordiam tuani. otDO. othenvise beautiful Service is ruined by a poor rendition of OTHER BOORS FREQUENTLY MENTIONED other for the Final on the FA : Other phrases in the part of Christ : Passion according to other Solesmes books were made with the authority of the monks of other Solesmes books were made with the authority of the monks of other Tones — in this case down a Minor Third. other, and when the Arses and Theses, and the strong and weak others, opposed it as unnecessary since "all the Sundays abound with authentic Offices . . . Ott Ott, C. Offertoriale sive versus offertoriorum, Tournai, Ouis est our Lord, sing on the upper Fourth, FA, ond the lower Fifth, Our position : ously, i.e., without interruption by an antiphon or respond. out by E. Werner: 5 for example, the tonus peregrinus which is employed out of place in this form of music, but I do not feel that it can over a long note, which means that force is to be added to over the note. Sometimes we find also the letter f (forte) overdo the light, soft' and feminine element, or visa versa and own Proper texts, particularly in the Sanctorale [e.g., 1174* 1X 75 **44> own way, provided they are used judiciously; it is to the p p p P P P p . p .. M P BMBBaMa B. M a P J Joseph Vranken P Wagner p-r p. p. 13 16, Liher Usualis : p. 53, no. 10] has seventeen Responsories for the Third Nocturn of the Nativity (Pafr, lat. p=i p6- si- ta. pa- cis, et prin-ci-pem fe- cit e- um : ut sit il-li sa- Pa- ter, no- ster, Do- mi- nus, ad te. Pa-ter no- ster. y. Et ne nos inducas in tenta-ti- 6- nem. pages 1-194, 1*-156*, [1]-[210], 23 page index) ; 22 x 30 cm. Pair. gr. Series Graeca, 166 vols., Paris, 1857-66. Pair. lat. Series Latina, 221 vols., Paris, 1844-55. Palm Sunday Palm Sunday, the second of which opens the Holy Week leading to Easter. PaLmus. PaUographie musicale, 17 vols., Solesmes, 1889-1925. par Alph. Desmet, Aloys Desmet et Osc. Depuydt. paragraphs. parent and, beginning with the fifteenth century, organ music became a Paris : Librairie V. Lecoffre, Paris : P. Lethielleux, Paris : Procure Générale de Musique Religeuse, Paris : Société Saint Jean l'Évangéliste, Paris : Society of St. John the Evangelist, Desclée, Paris [etc.] Desclée [for] Society of S. John the Evangelist, Paris, 1917. Paris, 1935. Paris, Desclée & socii, Typis societatis S. Joannis Evang. Paris, Société Saint Jean l'Évangéliste, Declée et Cie Paris, Société Saint Jean l'Évangéliste, Desclée Paris. Bibl. /t... /ly^ -/'y. Parisiis : Desclée et Socii, Paroissien Romain : PART 1 THE LITURGY AND ITS DEVELOPMENT Part 1, Part 1. Part 1. PART 11. PART 2 GENERAL ASPECTS OF THE CHANT PART 3 STYLISTIC ANALYSIS Part I Part I Part I, Part I, Part I, Part I, Part I, Part I, Part I, PART I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. Part I. PART I. Part II, Part II. Part II. Part II. Part II. Part II. Part II. Part II. Part II. Part IV. (pars iv) Part L part music began to develop. (There is no doubt that the scale part of the Liturgy. (The early idea still prevails in Rome, part of the Prayer and should be sung as such. \\TLen both Part T. Part. I. parts is very satisfying, especially when sung by artists who parts or pauses : the Metrum, the Flexa, and the Punctnm. Paschal Time, and one for the remaining part of the year, with different Paschal Tone. passage from the Offertory " Reges Tharsis " from the Codices : passages in the New Testament. The following consoling words passages written, sometimes in a single neumatic group, Passion — The Confiteor — • The Chapter — The Versicles in the Passion according to St. Mark, Tuesday of Holy Week : (Same Passion Sunday Passion, is perhaps of a much more recent date than the pastor es ". Pater and Pax Domini. pater, mater, Dens. Pathetic or Expressive Accent. patience he will find himself more and more entranced by the Patri may be sung Full, or the Cantors may sing the Gloria to pauses and proper diminuendi on the final syllables, constitutes pauses on a cadence note, and gives it Tonic character by means pauses their proper value, or by exaggerating their length. pauses. The first pause really heard is found at the end of the pears from the following examples: pecca-tis no- stris ju-ste i- ra- see- ris pectation of the reappearance of Christ. Later this custom was observed pensable for a full study of Gregorian chant because it includes a number Pentecost (Paschal Time) 00*0 Pentecost 1047 costen 365 Pentecost 2 Alleluias 2 Alleluias 5 Alleluias, i Tract Pentecost has five Alleluias and a Tract. The following table shows the Pentecost, and vice versa. In fact, the services for the additional Sundays Pentecost, Whit Sunday penult is short. Examples : penult when this is a long syllable; on the antepenult when the penult. Example : per omni- a saecu-la saecu- 16-rum. Rj. Amen. per omni- a saecu-la saecu- lo-rum, R/. Amen. Per omni- a saecu-la saecu-16-rum. Amen. Peregrin Peregriniis Peregrinus performance is exclusively vocal, either by one singer or by several singing perfruu-i Jae- ti- ti- a. perhaps a little sad; the phrases must always be sung very period from Septuagesima to shortly before Easter, the third for the period period is interrupted only by the Ember Week of September. period is the Oxyrhynchos Hymn, 10 a Christian hymn in the Greek lan- period of continuous growth and all-embracing vitality, its existence dur- period of the year. The last major feast of the Temporal*, Corpus ChristJ, periods : Periods, both Incise and Half Bar are present, observe the permitted to make from his rigorous Recitative : permitting the voice to fall; there must be no "chewing'' of Pes and Climacus forming a group, Mr-\-4 Pes or Podatus Pes or Podatus — The first note has the Ictus ; the second note Pes Quadratus (square). — The first note of the Podatus Pes Subbipunctis ~ "^» "? . — y?#-^ ^-*-^^' Pes subbipunctis, Pressus and Pes Subtripunctis J"» Pes with dot Pes with Episema Pes with two dots Peter Wagner's organ accompaniments. phonal, Breviary, Liber iLsualis, etc., open with the chants or prayers for phonic music, its own offspring, began to challenge the sovereignty of its phons [323, 331, 338, 356]. Similarly, there are Ordinary Antiphons for all phons of the B.V.M. is sung during one quarter of the year: the Alma phrase or clause of the first stichos, or member, is repeated in phrase we have just analyzed; also the Spanish " Tantiim ergo " . phrase will lead into the new mood successfully. If the first Phrase with the Arsis; it suggests to the choir that feehng of Phrase. Phrase. This may be a short sentence with no divisions by phrased together. Phraseological Accent — The Rhythmic Ictus — Rhythmic Words phrases is : Pi-: Pi-i 's - piece of evidence, that is, the melodic similarity between the Seikilos Song, Pii- er * na- tus est no- bis, et fi- li- us etc. Pii=d=!:--fz^!i=B Piinctuni pitches. Formations such as the two descending fifths that occur in close place for the voice, but must be full of life even when in repose; place of Flexa, and the asterik (*) where the Metrum is to be placed next to another note or group nota appositionis. placement being that this Canticle was considered as a prophetic descrip- places. Placing of the Rhythmic Ictus. placing the Ictus. Plagal Modes — The Dominant — The Final — • The Ambitus — ¦ plagal modes: "sin autem planus fuerit cantus, plaga deuteri nominabitur" (GS, I, 59a). Plainchant in English. Plainchant in English. When possible the Psalms even should Plainsong in any way, is bound to study this subject seriously, Plainsong Phrase. Just as each Latin Word has its proper Plainsong, and a thorough knowledge of the more ancient Plainsong, without special training). The Chant can be studied Planti- vit vi- ne- am planum, do not suffice to determine a mora vocis; often the Plates plaudtte. played a particularly prominent role in the field of polyphonic composi- plays a very important part, — which causes Arses and Theses ploy them not only for the Psalms but also for the Pentateuch and other plus good taste will take care of this. PM Processionale monasticum, Solesmes, 1893. pn- g-i-r-R Podatus — H~ Podatus and Clivis forming a ^w-- Podatus, making a ternary rhythm before the Pressus which point on the Accented syllable, without arresting the movement point or any other kind of accompaniment, especially instrumental. The point; then a descent, either gradual or prompt to the Tonic. points of highest climax. Expression should never become Pone III pontificis maximi jussu restitutum et editum / Pope Pius X, a decree which may well be said to mark the beginning of populiim" ; also at the principal Orations of Matins, Lauds Porrectus Porrectus Porrectus Porrectus — P^- Porrectus (extended) /y A. G. A. Porrectus Flexus Porrectus Subbipunctis ^^ ^ - Porrectus Subbipunctus and '^"?~i ^Zji^lJlJZZCiJll]: Porrectus Subtripuntis portance in the structure of the chant, so much so that from the earliest POSSIBLE possible, uniform. It is very important while singing extended post Cineres to Maundy Thursday postlude to the Mass rather than a part of it. The Asperges me, classified Pothier's 1883 Liber Gradualis OR Graduale Romanum Pothier's 1891 Antiphonale Pothier's 1895 Liber Gradualis OR Liber Usualis Potiron's organ accomps for the PROPRIUM DE TEMPORE: power to draw the accent on to the final syllable of the word pp. iif. Practical instruction in plainsong accompaniment / practical science of rhythm. Many examples might be cited practically no variation in the action-chants. Introit, Offertory, and Com- Praesta... omni-pot-ens De- us : f ut semper ra-ti- ona-bi- Prayer Hours, held in the family or in small groups. The Rule of St. Bene- Prayer is repeated more than once, provided that between Prayers and special ceremonies of the Blessing of the Paschal Candle, Bless- Pre- ces nostras quaesumusD6mi-ne, clemen-ter ex- au- di : pre- ci-bus nostris ac- commo- da. pre-Easter Season, the Wednesday and Friday each have a Gradual and a Preceded : g-A - ^^^ jH^ precedes and follow^s the Psalms. We have given the Dominants precedes another consonant, as in carnis and martyr, care must precedes it. preceding the i?, as is done in French, Italian and other languages. preceding the Mass on Sunday. The lie, missa est is a closing benediction, preceding, except for the difference in intervals. precise : it consists of three attacks of the voice, one after PRECURSOR to the Nova Organi Harmonia. Very interesting, especially in terms of notational methods. Preface and Acknowledgment Preface and Acknowledgment xi preferred a transposition). Premonstratensians, who have retained their individual medieval tradi- Prep Prep, beat Prep. Prep. Prep. Prep. preparation, and the Melody itself will show whether the Cadence Preparatory Notes preceding Cadences. present day for the Credos. present knowledge, the term "Gregorian chant" could be defended, and present trends toward providing organ accompaniments for the liturgical presented here. Considering the fact that he called his three-volume pub- preserve its proper color the slightest change in the position preserved the fine old Tonality of these Modes. Even today, preserved the medieval custom of solemn processions before the Masses for pressive: Pressus — The Pressus occurs when two Neums come together Pressus (^) and the dot (•); really two notes in all. The Pressus Major and Pressus Minor. — This distinction is Pressus-Major /^ Pressus-Major a third higher Pressus-Major lower than Si Pressus-Minor ^ pressus, to the simple and subtile repeat of the most delicate note. pretation is to assimilate the Rhythmic Ictus to the Tonic pretation of the Pressus, in view of the usual " square " notation. pretation of these excerpts, sing each one in one breath, making pretation. The figuration of these Rhythmic signs, as that Pretty much just your typical Graduale Romanum, but Pustet's is even more nicely printed. Priest priest uses the Host consecrated on the previous day. It lacks all the action- Prime [942], Terce [942], Mass [943] followed by the Procession [950], Sext PRIME Hymn 3 Psalms with i Antiphon Chapter with Short Re- Prime, Terce, Sext, and None take their names from the old Roman principal part, the conclusion. The Chronicler also finishes on principio et principles founded mainly on Printed in Belgium Printers to the Holy See and the Sacred Congr. of Rites prius, quam, et enim. pro- pter probable that the repertory, as we know it today, was actually formed after Problem of Rhythm 126 problem. It presupposes an amount of theoretical, practical Procession on Corpus Christi. processional Antiphons sung during the Processions before Mass at such produce in the Chant : It is in principle a strong note and a long Professor Roy H. Jesson, and that on Old-Roman chant written by Mr. pronoun. Example : Pronounced like Latin / — Marteer. pronouncing every syllable evenly, and singing every note evenly. pronunciation of the vowels and consonants so that the pronunciation, but is uttered with the vowel which follow^s Proper of Saints" (in the Gradual), "Proper of the Office for the Proper of Proper of the Mass (or Office) as distinguished from Ordinary of the Mass Proper of the Time (Proprium de Tempore, Temporal*)* "Time" mean- PROPER ORDINARY PROPER ORDINARY Proper. Prophecy [102], the Epistle [104], the Gospel [106], and the Preface [109]. proposition and qualification, or almost any logical or construc- PROPRIUM DE TEMPORE (1921 or 1925) Proprium de tempore. Proprium Sanctorum : PROPRIUM SANCTORUM (1922!!!) Protasis | | Apodasis PsaJm 2, verse 4. Psalm 2, 2. Psalm 29. Psalm 54, 3. Psalm 7 (Hebrews 2). Psalm 93, 3. psalm formula employed by the Yemenite Jews for the same text; or the Psalm I, 6. Psalm Tone V. ^ Psalm Tones 2, 5 and 8, it consists of three different notes; Psalm Tones as we have Modes, which is Eight. To these we Psalm Tones have more than one Final Cadence : Antiphonale psalm-singing. The Book of Psalms became the most precious heritage Psalm, as to construction, original meaning, and so on is Psalm. Psalm. For instance, for Vespers of Saturday [307] only two Psalms, Ps. 143 Psalmody is the singing of the Psalms, with their proper Psalmody. Psalmody. Psalms and Canticles with Antiphons, Lessons and Chapters with Re- psalms is indicated more clearly and in greater detail than is the case in Psalter. Pu-er Je-sus pro-fi-ci- e-bat aeta-te etc. publications. 3 Published in 1892 -- 2d (English) ed. Publisher: New York, J.F. Wagner Publisher: New York, J.F. Wagner Pueri Dominum. Puncti. punctuation or accentuation; for example, like the original punctuation which renders the musical thought more intelligible ; Punctuin Punctum Punctum Punctum Punctum Punctum Punctum Punctum : one for the interior of the phrase, on the RE : the Punctum (-). Punctum different Punctum plamim. — The Punctum ( • ) is lengthened more punctum planum is often only a graphic license without a Punctum planum on the last note of the Climacus (3, 4, 5), Punctum planum, or Virga jacens. This last expression employed Punctum with " punctum, and the Metrum that of tn^o puncta, or a quarter note purer Form : First, a phrase of the Communion of the Mass of purpose as the Incise mark (to mark a small division) ; sometimes purpose of setting forth the Texts of Fulfillment, assurance, Q ¦ q-A M J-T ^. Qiiilisma — There has been a great deal of controversy qu6-ni- am e- rectus est i- nimi-cus me- us. Quadragesima Sunday. 5 The Wednesday before Quadragesima Sunday is quae simul e- um e- o ascende-rant Je-ro- s6-lymam. quaHty of the Liturgical Chant. quality, w^hich no other musical scale can disclose. For Chants quam quamur et fa- ctis. (et fa- ctis.) Per Domi-num nostrum... quarum quassus is found translated sometimes by three syllables. Quatuor Temporum], one in each of the four seasons of the calendar yean Queen of the Heavens) from Holy Saturday till the week after Pentecost; quenti- a Sancti Evange-li- i se-ciindum Matthae- um. quently use the term Gregorianischer Choral. questions for us, the lesser specialists. qui exspectabat et ipse regnum De- i. etc. Qui habitat in caelis irridebit eos * qui tol-lis pecca-ta miin- di : do-na no- bis pa- cem. qui vtilt venire post me. Qui- quibus da- turn est. quibus datum est. quick tempo. In large churches, especially in those with high Quilisma Quinquagesima Sunday Quinque * prudentes vir-gi-nes accepe- runt 6- Quite a treasure: modern notation edition of the Solesmes Liber Usualis. quod hodiernae musicae signis / quod juxta Editionem Vaticanam / quote a few phrases : r r r r R — should always be trilled slightly as in Italian. When it r / r p p J r^_p._:_^ r^il=^li^!=i^ r-^. r-#- r-W r— ¦— ¦- r!=3 r. — THE LANGUAGE OF GREGORIAN CHANT. 2 R". Et cum spi- ri- tu tu- o. r»^ '-¦i ¦ ¦ R/. De- o gra-ti- as. R/. G. R/. Habe-mus ad D6-mi-num. ^ . Gra-ti- as aga-mus D6- R/. Habe-mus ad Domi-num. y. Gra-ti- as aga-mus Domi- R/. Habemus ad Domi-num. y. Gra-ti- as agamus D6mi-no R/. Sed li- be- ra nos a ma- lo. R/. Si-cut in-cen-sum in con-spe-ctu tii- o. r± r=f r~d— 1 - r4z:p.:S{:^=t=^% R7. D6mi-ne ad adjuvandum me festi-na. R7. Da mihi virtutem contra hostes tu- R7. G16-ri- a ti-bi D6mi-ne. In il-lo tempo- re. .. ni-si ut ra-rum, alle- lii- ia. etc. Rabbi. C radiant with delight, "Oh, Gregorian chant is so wonderful in our church; rail raised before it descends on the second. The melodic line of Raphael Molitor Raphael Molitor rather a link between the groups than a separation. A great rather than not at all. rations; the most perfect, as we have said before, are the Ratisbon [etc.] : F. Pustet, Ratisbon, New York, F. Pustet, Ratisbonae ; Neo Eboraci : F. Pustet, Ratisbonae ; Neo Eboraci : F. Pustet, Ratisbonæ ; Romæ ; Neo Eboraci : Sumptibus Friderici Pustet, Ratisbonae : Sumptibus et typis Friderici Pustet, Ratisbonae : Sumptibus Friderici Pustet, Ratisbonae [Regensburg] ; Neo Eboraci [New York] : F. Pustet, Ratisbonae [Regensburg] ; Neo Eboraci [New York] : F. Pustet, Ratisbonae, Neo Eboraci : F. Pustet, Ratisbonae, Neo-Eboraci et Cincinnatii, sumtibus, chartis et typis Friderici Pustet; [etc., etc.], ratory Notes. The Final is like an Accent, but without a note Rayburn, John. Gregorian Chant: A History of the Controversy Concerning Its Rhythm. Westport, RCG f XLI, XLII, XLIII). Of the Mozarabic repertory, only twenty-one pieces are pre- RCG Revue du chant grggorien, Grenoble, 1892-1939. re Re Re to La skip, and B:^ embellishment), is the Antiphon for the re- re- re- dempti- o. Re- demptor I- ra- re- gnum no- stra re-dime-re digna-tus es. or .' digna-tus es. or .• digna-tus es. Re-qui- em * ae- ter- nam do- na e- is readable, is Duchesne's Christian Worship, which treats the development primarily from readings (no Gospel), each of which was read in Latin as well as in Greek. real purpose that the lovely Prayer for Peace, the Introit of really the foundation of its unique rhythm, is Parallelism. reason we give a few general rules below : receives this rhythmic touch. Two such Icti cannot come Recent scholarship has brought to light yet another dialect of Western recitation may be more animated, according to the text, or Recitatives should be taken at the speed of distinct and reciting note of the ancients. reconstruction. Several families, in Italy, France, Aqui- recourse to the manuscripts, but a careful stud}^ of the Solesmes rect. There exist exceptions in greater number and variety than is com- rection of Our Lord. Its miraculous event continues to be commemorated recto tono, sustaining the voice, somewhat, at those places redemptoris mater (Gracious Mother of the Redeemer) from Advent to reference is made to the Antiphonale. referred to : regarding the development of chant, a large amount of conjecture and Regarding the Ordinary of the Mass, the only variants are the occasional Regensburg, New York [etc.] F. Pustet, Reims et Cambrai related bodies of Christian chant lies outside the scope of this book, related, the Flexa is not made, but merely a simple Pause : Relation of Language to Music — The Latin Language — Autho- relationship Composite Rhythm by Juxtaposition even with relationship of the Mode in which the Phrase is set, or the Remark: The Pes Quadratus and theP^s quassus are sometimes remember that the Acute accent is only a note signifying a removed ideas. It is only by steeping himself in Mediaevalism, Rend. La- - u- da. E- u- ge. repeat only the first note of each group, usually the ictic note. repeated above, to thoroughly analyze every phrase, member repeated several times if the Period is long, and the Punctum. repentant and believing crowd : " Truly He was the Son of Repercussion repertory is the final result. Short sketches dealing with the development of repertory of the Proper, and are usually given in separate divisions, one repetitions, and delicate nuance of tone. replaced by a Tract, but not on the other week days (Feria III, IV, Sab- report represented only by the Psalms of Vespers and Compline [280-316], and representing the rising and falling movements which the hand represents a Rhythmic Touch or Support : ¦ ? represents. Nevertheless all are possible and useful in their require a different ruling. require secondary accents to secure proper pronunciation, requires its own proper Tonic and Cadence, thus making a research work of the Benedictines of Solesmes has disclosed Resp. *- response whatsoever. He must try and place himself in the Responsories, responsoria prolixa, of Matins), which are sung at the Day Responsories. rest is come, it is this phrase which gives peace to our sleep. restauratie en verspreiding aan het begin van de twintigste eeuw / Resupina. Mss. St. Resupinus Resurrection ". He says that, " All hearts have been heavy retain the accent on the root-syllable, even when this is short, retarded intelligently to lend a better understanding to the return successively, and are divided between each other in the revealed many striking similarities, clearly indicative of a common bond* reveals new traces of rhythmic signs. There are also other Revue Gregorienne a number of years ago has said, " It seems Rhythm — The Composite Beat — Rhythm of the Incise — Arsis Rhythm : A succession of these movements — Alternation of RHYTHM 1. RHYTHM AND EXECUTION Rhythm becomes an Arsis when considered in relation to the Rhythm is divided into two categories : Measured and Free, n^ Rhythm is said to be free when the parts lack the above- Rhythm is said to be measured when all its parts are perfectly ^^ rhythm must be fashioned according to the rank and mutual Rhythm of language, discourse, oratory or ordinary speech Rhythm of Neums. Rhythm of the Period. — To achieve unity in a phrase, the rhythm, and above all, poor coordination between the ministers Rhythm, and has a two-fold purpose : To allow for breath, . Rhythm, is only practical under the ideal conditions mentioned Rhythm, is the great work of Dom Andre Mocquereau, Rhythm, it should be studied by itself, divested of all melodic, Rhythm, it will be necessary to explain more fully Composite Rhythm, of which there are two kinds : Rhythm. Rhythm. Rhythm. rhythmed in this way. rhythmic attraction which the synthetic action of the rhythm rhythmic factor. Nevertheless it never at all lost its melodic Rhythmic Groups — Masculine and Feminine Cadences — Types Rhythmic Ictus on its first note. This is the purpose of the Rhythmic Ictus. While the Word naturally bears the Ictus rhythmic indications in the ancient manuscripts. While the Rhythmic intentions of these two Punctums, are afftrmed rhythmic letters explain each other, and where the letter {^) rhythmic meaning; it is the Punctum used the most often in rhythmic outlines. So we noticed in the "Dies irae " whose first Rhythmic Signs on the Stave. rhythmic signs, but often carelessly and without meaning. Rhythmic Signs. Rhythmic Signs. Rhythmic when read correctly in the original Hebrew; even Rhythmic words; the reason is obvious : We cannot begin at rhythmic. Besides these natural rhythms, there are many Rhythms by Contraction. — On the other hand, when the Rhythms by Juxtaposition. — Movements in which neither ri ri- tus, reple rianist, the more effectively and intelligently will he interpret riano ". Roma, Desclee e Ci. 1937- riennes X by Dom Joseph Gajard. ries call for particular attention. Another special publication of great in- ries was often considerably greater. Thus, the ninth-century Antiphonal of Corapiegne [see ries, on the other hand, which are sung at Matins (e.g., Nativity [375ff] or right to left {\). Those syllables which were found between the rimus adju- to- rem, ni- si te D6-mi- ne? qui pro rirr rised Pronunciation of the Church Latin — Articulation — Nature rising wdth the Arses, and falling with the Theses. This is one rist; Greek for "good grace"), it was later called M issa, a term derived from ritual. 1 It is essentially the commemoration of the Sacrifice of Christ on rj» rn:-* Robert J. Snow, both of whom have studied at Indiana University. I hope Romae ; Neo Eboraci ; Cincinnati : Friderici Pustet, Romae ; Tornaci : Desclée, Lefebvre & Soc., NO. 576 Romae ; Tornaci : Typis Societatis S. Joannis Evang., Desclée & Socii, Romae : [s.n.], Romae : Typis Vaticanis, Romae, Tornaci, Typis societatis Sancti Joannis Evangelistae, Desclée, Lefebvre & Soc., Roman chant, dating from the twelfth or thirteenth centuries,* Of no small Roman usage in many particulars, liturgically as well as musically. The Roman vesperal: containing the complete vespers for the whole year. Rome ; Tournai : Société de Saint Jean L'Évangéliste : Desclée, Lefebvre, Rome ; Tournai, Belgium : Society of Saint John the Evangelist : Desclée, Lefebvre & Co., Rome, 1950 (also Atti del Congresso . . .), Tournai, 1952. Rome, was Greek, and it was not until the third or fourth century that Römisches Gradualbuch : Ross. Greg. Rassegna gregoriana, Rome, 1902-14. rs ¦ T - T Rule : The first note of a group at the unison, after a strophicus Rule 2 — Composite words, as simple words have only one Rule 4 — -In words of more than two syllables, the accent Rule I. ¦ — When two groups come together on the same note, Rule II. — In case of Fusion, the Rhythmic Ictus falls on Rule III. — Concerns the note which follows the Pressus; Rule J — In words of two syllables the accent is always on Rule to follow is this : If the Melody leaves the Tenor to a lower Rule, and, as in all Psalmody, the groups cannot be divided, Rules for Latin Accentuation. Rules for Placing the Ictus. rum saecu-la. runt Rz. br. Timehunt S S S S S S S S S ;Vr^-i-'- s . . *' . + + S . ¦ ¦ S '— ^ * ^— • 1 , -- ^ ' i , — S ¦ — is usually hard and dental as in the English words yes, S Ba- rabbam. s Certain French Mss of Gregorian chant, e.g., the Gradual of St. Yrieix (PaL mus., s On feasts not falling in Lent the last Responsory was followed, and later replaced* by S_ s- s- S-!i.fc S-.: S-b- s-F- S-i S-iT* S— S— S— ' S. Cru-ci- fi-ge, cru-ci- fi-ge e- um. S. Ecce nunc audistis blasphemi- am : quid v6-bis vi-de-tur? S. Gall S. Gall S. Gall 376 S. Gall Mss. s. Gall n'"-^ /K^ /^/K^ //K^ r(^-.^ r/y^ yy-.^ s. Mondays, Wednesdays; Fridays from Ash S. Quemciimque oscu-la-tus fii- e-ro, ipse est, te-ne-te S. Quid ad nos? Tu vi-de-ris. S. Re- us est mortis. Cru-ci- fi-ga-tur. S. T61-le, tol-le, cru-ci- fi-ge e- um. S. Tolle hunc, et dimitte no-bis Ba-rabbam. S. Ve-re Fi- li- us De i e-rat iste. S.Gall359. — 340. — 376. f %, S=3^ S=5t?:^ s=E Sa- Sa-ba- oth. Sa-ba- oth. Sabbato in Albis 258 Sabbato in Vigilia Pentecostes 290 Sabbato p. Bom. IIL Quad 136 Sabbato p. Bom. IL Quad* x** Sabbato p. Dom. IV. Quad. 149 Sabbato Quat Temp- Quad. xoS Sabbato Sancto 229 Sacred Text. In the Missal these parts are designated by C sacrilege for any individual to think that, because he is a " great sae- cu- la. saecu- saecu- 16- rum. saecu- 16- rum.A-men. saecu- 16-rum. R/. Amen. sages like the beginning of the Hymn to the Sun (Fig. 3) are as un-Gregorian Saints (then much fewer in number than now) were arranged together Salicus Salicus — ¦ In this special Neum the Ictus always falls on the Salicus Flexus Salicus to its just value, the copyist adds the ( « ) celeriter to Salus, honor, virtus, quoque. ^^ same Final. In the following Antiphon for Good Friday, we same manner, supporting and lengthening the first note of same remarks apply to the next clivis-do-la. same text (Fig. sb), 4 San- Sancta Sancto, * sic- ut e-rat in princi-pi- o et nunc et semper : Sanctorum), and [i]ff (Commune Sanctorum). Sanctus of the Ordinary. With its numerous readings (twelve Prophecies), Sanctus were known in the earliest centuries of the Christian era but were Sanctus, * San-ctus, Sanctus D6-mi-nus De- us Sanctus, * Sanctus, Sanctus Domi-nus De- us sang Israel this song — The well which the princes digged. sanguinis mei, novi et aeterni testamenti: mysterium fidei: qui pro vobis Sapi- enti- am... sapi- ens t et in prophe-tis va- ca- bit sary information about the evolutionary processes of which the Gregorian Saturday [736] and the Office of the Dead [1803] the reason for the re- Saturday and also at the Psalms which are sung without Saturday before Passion Saturday has none of the action-chants, and only the Kyrie, Gloria, and Saturday in Easter Week Saturday in Ember Week Saturday in Ember Week 8 of Sabbato Quat. Temp. Sept. 371 Saturday in Ember Week Sabbato Quatuor Temp. Adv. 13 Saturday, Whitsun Eve Saturday: Save me from all them that persecute me, and deliver me " . say it belongs to any tonality; it goes and comes, touches one say it represents a turn, which is doubtful. The modern rendition saying that the Principal Arsic Group of the whole Period, SC — before the hard vowels a, o and n is hard, as the English SC — before the soft vowels is pronounced like sh. Examples : Scale — Later divisions into the Eight Modes — • Authentic and Scale of D Minor, without the raised Seventh (Cx). When the Scale of F; in fact it has the same form when the Bi^ is used Scandicus Scandicus Scandicus — ¦ The Ictus is on the first note. An Ictus may Scandicus (scandere, to climb) .?^ G, G. A. Scandicus Flexus Scandicus Ji p] ^ Scandicus Suhbipunctis g ^» 3—^ Scandicus, etc., which is followed by diamond-shaped Puncta. scattered examples. sce- ris etc. Schiitz, or Monteverdi the old tradition was brought to new life and, in Schmitt, Francis. Church Music Transgressed. New York: The Seabury Press, 1977. schola (church choir) and, in consequence, melodies of a somewhat more scholar can possess. The safest way out of this difficulty is to scholar who, in his Einfilhrung in die Gregorianischen Melodien, laid the scholars disagree as to whether the "Greek" end of this line is represented Schwann 1905 KYRIALE in Gregorian notation. Dr. Kreutzwald approves (not imprimatur) in 1905 that it is in accordance with the Vaticana and so does D. Panici --- no preface Schwann 1906 KYRIALE in modern notation: German Preface explains very little (i.e. how notes are transcribed) – 1906 imprimatur by Dr. Kreutzwald Schwann 1954 Graduale Romanum scripts of the twelfth to fourteenth centuries give various recitation melo- Scripture, The former survive in the oratio or Collect (prayer of the col- se-ciindum di- em tenta-ti- onis in de-serto : u-bi tenta- Se-cus de- ciirsus a Sea * sea, source, and so on; however, it is slightly softened when Season, there follows shortly, from Saturday in Easter Week till Friday Sébastien, Brother. second Arsis — even though as in this example of the " Kyrie ", * second century. second duty of joining the two phrases. For this it must prepare Second half (the rest of the liturgical year) was printed in 1933 or 1934 second it adds ( a. ) augete, which doubles the last note of the second method is to place the second Ictus on the third note of second method is used, the Neum becomes a Time Group, and second note p). In most of the Solesmes books this Ictus is Second or Descending part is called the Apodosis. Like the Second Period : Classic. Begins about the second century second phrase. If the new member begins on a strong note, \ Second Sunday after Easter Second Sunday after the Second Sunday of Advent 327 Dominica II. Adventus 4 second, a semi-tone below the Dominant, at the word " Pater " ; Secondary Accents. section and each member in order to establish equilibrium sections are found on pp. sioff (Proprium de Tempore), tfSft (Proprium See the table of the liturgical year (from St. Call 339) in Wagner /, *8o; also In Hesbert's seems to me that the last quality mentioned is a most desirable Sekkau : [s.n., sense decide the number of sounds which must enter into each sense of the words demands it, no breath is taken). sense to introduce rests or pauses at certain intervals when sense. " sent me much-needed books and even brought them personally to my home. sentence with an answer. There is also a hymn in the four Lesser Hours sentences, while others are as it were detached, according to senti- sentimental figures introduced, and the cadences suggested too sentimental; however, we cannot altogether exclude a certain separate Prayer Hours: one at sunset, when the lamps were lighted, and separately by two individual " impulses " or Icti : September 1052 September 2 Graduals i Gradual 4 Graduals, i Hymn, i Tract September 4101 September. In both these weeks the lesson-chants are: two Graduals for the Septuagesima (seventieth) are designations formed in analogy to Quadragesima. These Septuagesima Sunday Seq. sequence (twelfth century and later) practically every Mass had one, so sequence of the Free Rhythm is felt. Sequence, " Stahat Mater " of the Mass of the Seven Dolors. Sequences not included in the standard publications. ser- vi- tus te- net. serious fault with beginners and inexperienced choirs to accent served in a clearly readable notation. They are transcribed in C. Rojo and G. Prado, El serves to settle the question of the disjunction of groups and service of Matins differs considerably from that of all the other Office Hours set up by the proportion of sounds between Incises and Members. sets up between different groups of notes, constitutes the seu ordinarium missarum in recentioris musicae notulas translatum. seventeenth century two feasts were introduced: that in honor of the Most Seventeenth Sunday after Dominica XVII. post Pente- Seventh Mode : Several Mss. S. Gall Several other examples of this kind have been found. On the whole, how- Several other Jewish parallels for Gregorian melodies have been pointed several sections and members, contraction is usually preferable Sexagesima Sunday SEXT Same as Prime Sextuplex Hesbert, Dom R.-J. Antiphonale missarum sextuple*, sf^ sH^fi shall be shed for you and for many unto the remission of sins). The Canon shghtly modified were placed on this staff, and the reading ship is held. This is called the Divine Office (Officium divinum), Canonic ship is organized according to a definite and nearly invariable plan, which short syllables, and taking this element as a basis of rhythm. should be classed as a Thesis. should be marked with the Arsis and the descending group should be noted that the Latin names for the days of the week, start- should be simply fine recitation with a sincere observance of all should be used and fewer Arses. On the other hand, if the show that these principles are almost diametrically opposed to those under- showing us in some degree, at least, the intervals, the value si possi-bi- le si- o, Quae constru- i-tur in cae- lis, Vi-vis ex la-pi- Sicut erat in siderable number of services given in the Gradual and in the Antiphonal^ sign (f ) indicates an interruption in the course of the Recitation, signifies a rhythmic division or support, not necessarily an ^ signs : ( a ) True Rhythmic signs, and ( b ) Letters. signs which indicate a mora vocis. These signs are of various sii- mi- tur : re-c6- li- tur me-mo- ri- a passi- 6- nis similar cases. It would not do to rhythm two passages in Similarly Guido distinguishes graves et plant from acuti et alti (Micrologus, ch. XII). Simple Simple ""S" simple accents in a single group : the Circumflex /\, or the Simple Apostropha Simple Beat — The Binary Beat — The Ternary Beat — • Word simple beat is doubled or tripled, we have Composite Rhythm. Simple Rhythm owes its cohesion to the close relationship simplest, and has only one Final Cadence : simu Since it is impossible to assume that these tribes, living in the strictest since the additional chants found in this book mainly those for the Office Since the Neums are the chief guide in placing the Ictus, a few sing first sing over the Chant, thus permitting the choir to hear the singers entering on the "tip beat", and naturally a Thesis on singers into smaller groups or, each singer may take a breath singers, the elan and fall of the melody, the smooth rhythmic singing not to permit the cantilena to become heavy. Certain singing or speaking a long phrase. This is a kind of musical Singing the Psalms in English. single note), its full value of three beats. Smooth execution single out for mention the first volume of P. Wagner's Einfiihrung in die Single words always keep their natural Rhythm. When sion and precedes Whit Sunday (Whitsun Day) or the Feast of Pentecost, sion on Palm Sunday [583], the Adoration of the Cross on Good Friday sion, Moody Word-Painting Sit nomerij and Deus autem [25 iff]; these are used on most Sundays, an sive Ordinarium Missae : conforme editioni Vaticanae a SS. D.N. Pio PP. X evulgate. sive Ordinarium Missae : conforme editioni Vaticanae a SS. D.N. Pio PP. X evulgate. six. In the Middle Ages the habit of using Latin Accents for six. Septuagesima Sunday is followed by Sexagesima, Quinquagesima, and sixteenth century, which led to a revision of the old melodies, a revision Sixth Mode), because of its succession of intervals, and the slightly lengthened. (See Nombre Musical, Vol. I, Part. II, slowly than a small group; but care must be taken in slower Small Letters — -abode f g sN^^r^ so as to reach the summit of the Melodic Line, almost so in this form. Theatrical, dramatic effects which we often So panteth my soul after Thee, O God " . so perfectly with the inspired text. Dom Joseph Gajard in the So we find the Gregorian " cantilena " a continuous melody SOCIETY OF ST JOHN EVANGELIST sol sol-la-sol, which starts the graceful rallentando. sol, la, si flat. Solemn Solemn P salmody. — The Solemn Forms of the Psalm Tones Solemn Tone. Solesmes has chosen the first interpretation. Solesmes, 1893), edited for the use of the French Benedictines who have Solesmes. Solesmes. Solesmis : e Typographeo Sancti Petri, Solesmis, E Typographeo Sancti Petri, Solfeggio. Solvet saeclum in Some choirmasters mark this Initial Ictus by a tap of the hand Some compound w^ords in classical Latin are treated as separate Some directors under the pretext of facihty, unite these some even in Free Rhythm. The student of Plainsong will some even of Melody, but few are without some rhythmic Some groups are joined together to form closely-knit musical Some of the more elaborate Graduals, Tracts and Responsories Some Plainsong critics consider the Pathetic accent entirely Some scholars, however, prefer to use the term "Roman chant/* which Someone has vandalized the PROPRIUM DE TEMPORE (by changing the rhythm to Solesmes rhythm in pencil) on many pages, but it is still obvious what Peter Wagner's original intent was (Deo Gratias!) something in this direction. I shall be very happy if this small Sometimes a melody will take so much liberty that we cannot sometimes in two groups, sometimes three. The following Sometimes it is difficult to distinguish between a Cadence Sometimes several different interpretations may be drawn Sometimes the rhythmic letters can settle these difficulties sometimes they contradict each other; in the latter situation Sometimes this accent coincides with the highest Melodic elan, Sometimes we have modulations at the same time Modal and somewhat different meanings; one in opposition to Ordinary, the other sories 330 The Responsories of Mode st The Responsories of Mode 8 sort in " Le N ombre Musical Gregorien " of Dom Mocquereau, sorts : white spaces, rhythmic signs and letters; these indications sory (responsorium prolixum), a chant of considerable extension and soul doth magnify the Lord; Luke 1:46-55); also called Canticle of the sound like "something" other than what it really is and what it should be. sound reasoning. The fact that this volume is available in an English sound very well. But to the gregorianist ? Even he might be sounds form only one syllable. Examples: Jam or I Am; spe- speak it. To give to the accented syllable a rough, loud accent speaking, as it is impossible to make visible use of these signs, special case, as well as a careful comparison of their meaning Special Neuitis. special training in that particular idiom. For a time, he should Spi- ri- tu- i Sancto. Spi-ri- tu- i Sancto. Spi-ri- tus Domi- ni * reple- vit orbem ter- spirit of the age, and give his soul to the lofty inspiration of the Spiritus for Whit Sunday and Whitsun Week, Lauda Sion for Corpus spoken of the character of the Latin accent in preceding spoken of the Mediant, or the Cadence which ends the First spoken Roman Italian. However in the Italian we find syllables Spondaic Spondaic — spondit • sponsories can be found in a collection entitled Variae Preces (VP; So- sponsories, and Hymns constitute the nucleus of the Office Hours. In addi- sponsory and Versicle. sponsory Canticle of Simeon with Antiphon Antiphon square note -¦-. See the Chapter on the Interpretation of Square Punctum Squarish, boxy, Pustet/Ratisbon notation is used. SS: SS. D. N. Pit X jussu restitutum et editum (Vatican Press, Rome, St Matthew. St. Blasien, 1784. Facsimile edition, Milan, 1931. St. Gall St. Gall St. Gall St. Gall 339 St. Gall 339 St. Gall 376 and Ein. 121 y/l^/y* St. Gall Jl^y.lr St. Luke, sung Feria IV. Majoris Hebdomadae : St. Mark sung on Tuesday of Holy Week. The Final Cadence St. Matthew, Palm Sunday. Sta- tu- it * e- i Do Staff. — The Strophicus are found usually on the notes, do stand at its beginning), and are enframed by their own Antiphon* standing of this Gospel, to sing it rapidly, with the elation and start of chant start of chant starts with Ash Wednesday. Actually, this period consists of forty-six days (six weeks plus step, to follow the usual rnle. (See the Table of Psalm Tones Stephen on December 26 [414], St. John the Apostle on December 27 [421]* stichoi (7T'//G',), or members which respond to each other still, until it finally planes down to earth and comes to rest. sto-16-rum.... disci-pu- 16-rum- f actus est... adver-sus He- strictly Liturgical. (The Orations for the Blessing of the Fire strong and weak syllables, lifting of the Tonic accent, relative strongest and least varied bond exists in the Book of Psalms, which formed Strophicus followed by groups at the unison : Strophicus preceded by groups at the unison. Exercise : Strophicus preceded by groups terminating Strophicus preceded or followed by groups at the unison : Strophicus, and in a certain measure, by the Oriscus. student of the Liturgical Chant, I advise a careful study of the students. (See Part II, Chapter I). studied separately; we cannot make too many generalizations. study : The History of Liturgy, and the History of Music. study of the manuscripts will reveal. These are all accomplished study should begin with an explanation of liturgical matters, insofar as style will bring light into their twilight, for the thorough scholarly style. — It is also a very effective, though complicated method stylistic and aesthetic points of view. It may be possible to examine or su- is. Ma-ri sub Sacramento... subject consist to a considerable extent of such conjectural material. This subordinate, normally coincides with the highest melodic group subordination of the different elements composing it. To form subtle nuances, and to become more sensitive to the ever varying successful competitor. Even more detrimental were ideas, arising in the succession of Arses and Theses. succession of several Arses and Theses). This rise and fall of succession of three whole steps. This makes the Tritone succession on hymnounton d'hemon or the leap of a sixth on pasai are as such a description be in line with the general principles of research on Such beautiful music. Organ pieces (playable on the manuals) often based on chant melodies written by Dom Gregory Murray. such intricacies. The practice employed at vSolesmes is to Such is the rhythmic interpretation of this passage, according Such Theses as the following are called Feminine, or Postictic, Such was the enthusiasm for psalm-singing that some oriental monks sang Such words as : sufficient to establish cultural relationships, the inevitable conclusion is Sufiol, Dom Gregory. Introduction a la pattographie musicale grjgorienne, Suggestions for Practice in Reading. suggests two different executions. Suhdeacon suite, and in fact every necessary detail as well as the suited to the style of the Chant, as it cannot adequately express Sunday Sunday (Per. IV. p. Dora. IV. Quad.; G 145), which has two Graduals and Sunday after Pentecost 1056 Pentecosten 372 Sunday and St. Matthew. The usual Final Cadence introduces Sunday before Easter. Since Easter is a variable feast, whose date depends Sunday occurs between these two feasts, on January 2. The second falls Sunday of Advent, the last being preceded by the Ember Week of Advent. Sunday of Advent; that is, with the first of the four Sundays preceding Sunday within the Octave Sunday within the Octave Sunday within the Octave Sunday within the Octave of Dominica infra Octavam Sunday within the Octave of Dominica infra Octavam Sacra- Sunday, after the Introit Quasimodo which opens its Mass. This, being Sunday, Holy Family [467] Ps, 109, i i*, 1*1, 1*6, 147 Sunday, Holy Name [451] Ps. 109, 1 10, 1 1 1, i is, 1 15 Sunday, Holy Trinity [907] Ps. 109, 110,111,112,116 Sunday, that according to St. Matthev/ : Sunday: Sunday. Sunday. It keeps the usual small range, climaxing on the Sundays were gradually added, between c, 450 and 600, to the original period of forty Sundays, for all the prayers at the Blessing of Candles, ashes, sung by the congregation, a practice reflected in the simple style of the sung evenly, and never given the effect of a triplet. When the sung from the steps (gradus) leading to the pulpit. Gastou6 (Origines, p. 247) prefers to sung on the Simple Tone : sung on the Wednesday of Holy Week : sung, one of them in the place of the Gradual The underlying principle sunrise, called laud.es matutinae (morning praise). Eventually these re- sunt super euni, post partum. supplication which are followed, on Thursday, by the Ascension of Our support, whether in the center of the group or at the end : * supporting nor denying the same ; such are like a text without supra montem Sur- re- xit Chri- stus spes me- a : surpasses a little the real value that he wishes to attribute to suspended, is always there, thus creating an atmosphere of Sustaining (Melismatic) Accent The Tonic Accent The Cursus Expres- SVf.: syllable of " Solvet ", and we know from our Chapter on Notation syllable or has no accent on its initial syllable. syllable which carries the Ictus. syllables do and per, which are both on a Tristropha, with the syllables of the Verse; those of 3 notes or groups are to the syllables of the Word, toward the Tonic accent of the word; syllables; the Tonic Accents are to be well considered, as well symbols of the flesh and blood of His body which was to be crucified on the symmetrical, when its musical feet are all of the same kind, and ^ Synagogue, but an octave apart : Synonymous, as the following : SYNOPSIS OF CHAPTERS. t t t t t t t t t T — as in English, except in the last instance and before H T Pa-ter in manus tu- as commendo Spi-ri-tum me- um. t^ t^ t^^Tv t^' t^E^ t- t- T-+ t-i- T-r T' t": t= t~- ta. Table of all the Psalm Tones. Table of Gregorian Melodic signs — Connection of Groups — TABLE OF PSALM TONES. tain the "rhythmic signs" (episema, ictus, phrase marks, etc.) of Dom Take a chant book and name the groups and combinati take illustrations from their publications. For reasons which will become taken to give this ternary rhythm (the dotted note linked to the tality, and since the melody is so wedded to the text as to rival tania, etc., offer indisputable evidences of the rhythmic Tantum ergo Sacramen- tum, Ve-ne-remur cer- tatory, nearer the Third Mode than any other, will illustrate : Te De- um laudamus : * te Domi-num confi-temur. te obdu-ra-re corda vestra, sic-ut in e-xa-cerba-ti- one te sit pro no-bis perpe-tu- us in-ter- ces- sor. Per te-bor ti-bi te, ut prophetae tu- i fi- de- les in-ve- ni- antur : tEb=?zr:;i teenth century the whole tradition was threatened with extinction. For- Tempo should be animated enough to carry the singers through Tempo. — Should be neither hurried or draggy. In choosing temporary modulations. It is part of our natural aesthetic temps de la septuag&ime" (RG, XXVI, 17). Tenor Tenor, or to sing them Recto Tono without any vocal inflection, tent elements of ancient Greek music entered into the formation of Chris- ter mi ter- num. T.P.Al- TERCE Same as Prime Terce, Rector potens for Sext, Rerum Deus for None, and Te lucis for terest is C. Ott's Offertoriale swe Versus Offertoriorum (1935), which term applied to this Mode by the x\ncients. Close exami- term is that, strictly speaking, it excludes the early development leading term Mass, replacing the older name Eucharistia. Termination termination), are found particularly among the Jews of Yemen, who em- terms are given ; the first term that of the neum-nucleus ; to this ternary groups that compose the free rhythm of Plainsong. Testament, Magnificat, Benedictus and Nunc dimittis, is the Tetrachord, usually flatting the Bi^ when it occurs. An example Text : The rule regarding the Text is to rhythm the words text demands it. Text Figures are listed under subject entries in Index. text or melody, indicates an incise, the end of a phrase text. — Such as taking a breath at the " forbidden places " texts for Prime [aagf], Terce [37f]> etc. Many feasts, however, have their texts known as Canticles (cantica), which resemble the Psalms in their tfS TG Tribune de St. Gervais, Paris, 1895-1929. th- thae-um. In il-lo tempo-re : Di-xit Jesus discipu- lis sii- is. than a single sentence. Lessons and Chapters are always followed by a than because of their use. These signs of the Pressus vary than in speech. So we have Neum-groups of three, four, five than the Antiphons proper, a characterization that also applies to the than the initial syllable. This was called the accent of than the other ', which simply means that each note is equal. than the pause at the Mediation, which counts two beats for than to join them, and in such cases there must be a more thanks for his cooperation. that a great number of chants exist which can be, and are, used on many that an option is offered between the two notations, which that he will be able to absorb the true spirit of the Chant and that is, before the destruction of the second Temple of Jerusalem (70 that is, from Septuagesima Sunday till Wednesday in Holy Week, it is that is, the Invitatories and the Great Responsories. The latter in partic- that not only the Sundays but each week day has its individual liturgy and that of Easter it occurs exactly seven weeks after Easter, as Is indicated that present-day choirs and singers often do not have the thorough training that remains a mystery. that the Choir has been rather an adjunct than an integral that the first note of a neum bears the Ictus. Thus, " saeclum " that the following group does not depend on the preceding one, that the Punctum and the Interrogation are sung as in the that the results of their research will be as interesting to the readers as that their musical tradition goes back to the time before they separated, that they are the restorers of this almost lost art, and incidentally that they form a single word with the word referred to) . that, in this period, its presence was as normal a feature as was its absence The The The The The The The 1880's version of the Witt KYRIALE is slightly different than the 1874 version (I have that, too), and Witt explains this (in English) at the beginning of the 1880's version The — — the ' Chant ' remains the true Song of the Latin Church. The ' Or emus ' or ' Let us pray ', has two parts : the body the " broken " cadence is made as in the preceding Tone. The " broken " Cadence is permitted at monosyllables and The " E" over the last syllable of " Credo ", as well as that over the " Or emits " is in order here : In most cases it is sung with The " Or emus " is sung recto tono on the Tenor La. There The " passion '' according to St, Luke which is placed on the " Passion according to St. John ", sung on Good Friday : the " Per omnia saecula saeculorum. Amen " of the Preface, the " siciit erat " , with the Full Choir taking it up at this point. the "sour dough" of conjecture and imagination. That the latter is an The ( c- ) — celeriter, lines B and C, is continuous over the The (^) after the Torculus (la-re-do) is found in two the (-C ) celeriter above the second Clivis warns to sincr The (-t^) in the Laon version, prescribes at the same place, The (simul) over the ( c ), on line B, emphacises the celeriter. The {^) after the first pes siihhifimctus (trigon) is only in The 1892 edition of this work by Rev. Dr. F. X. Haberl. The 239 of Laon gives no rhythmic letter to the first of these the above-mentioned " Flectamns genua " oration. The accent molds and unites all the syllables of a word, and the accent; it preserves its ancient melodic character, but the Accented Syllable : the accented syllable of "Teste" is linked on to the preceding The Acute accent and the Grave accent for the Intonations ; The Acute accent became the Virga (/). The Admonition at the Orations on Ferial occasions is sung The aesthetic value of each of these Chironomies is exactly The Ancient Tones " ad libitum ". The Ancients designated it Primus Gravis, title well deserved, The ancients were not satisfied with having at their service the Antiphon which decides the Tone in which the Psalm is The Antiphonal gives the chants for all the Day Hours of the week, the Antiphonal. The Antiphons 502 The Problem of Chronology 503 the Apodosis. It simply means that, before deciding on a The Apostropha alone is seldom found in the Solesmes versions The Apostropha is another sign borrowed from the Grammar. the Apostropha whose special destination we shall see. the arc of the semicircle : The Arsis or generating force is the first part of the Compound The art of accompanying plain chant, The art of Gregorian music / The artistic result produced by the combination of these three The Author. The average modern musician would no doubt place the the B7 give it a more serious aspect than the Third Mode. The the basis for the Mass chant Benedictus es Domine, while the continu- the beating of our own hearts or the very act of breathing is the beginning of another. The following example will better the beginning of another. We must avoid a uniform treatment the beginning of each verse. In Modes II and VIII there is ^ The better the musical and literary background of the Grego- The BI^ is not used at the first descents to the lower part of the The Binary Beat, distinct or contracted, is worth Two simple the Book of Proverbs contains many examples (Chapters 10-22. the building must be considered. As a rule, melodies having the C line; the F Clef on the F line. The syllables fixed by The C or Doh Clef may appear on the second, third or top the c611ected prayers of all present. The calendar of the Roman Church includes a great number of feasts, the Canticles on special Feast Days, and will be found designated The careful conductor will not permit his choir to " punch " the CC. The Second Kyrie reproduces exactly the first melody, at the central note of the Salicus is a supported and lengthened the chant " Or emus " and in its conclusion, we distinguish three the chant begins, or to begin the beat higher as a preparatory The Chant often suffers in the hands of these, because they the Chant. The thorough musician is less liable to let the The chanting of the Psalms, has always been closely bound The chants sung during the ceremonies are mainly elaborate Antiphons The Chapter is sung on the Dominant DO. There is a Flexa, the Chapter, the regular cadential form of the different Tones, The characteristic of these " modifications " consists in the characteristics of the Mode. The Introit of the 3rd Christmas The choir should be made to practice reading the Latin text The Christmas period continues with the Second, Third, and Fourth The Church Modes 133 Modal Classification and Distribution 137 Modal the Church reassures them maternally : " Wait, wait; all is not The Circumflex became the Clivis (/j) the Climacus. The long punctum a at the base this neum, the Clivi s. The close of a rhythm must be a Thesis. Theses or Cadences the colon (:), the semicolon (;), the comma(,), and so on. But in The Common of Saints gives the chants, prayers, etc., that are used for the commonest and most ruinous faults in Plain Chant inter- The competent choirmaster will be able to judge this. The competent singer is admonished herein to perform the The Complete Rhythm, instead of just the Arsis, makes an The Composite Binary Beat has two forms : The Composite Ternary Beat has three regular forms : the conclusion of the Preface. the connection is evident. the Cross, taking on the form of a mystic repetition of the Last Supper* the days of the week, but many of the Feasts of Saints that occur throughout the Dead, and Psalm 69 after the Litany of the Saints, the the Dead, the Versicles are sung with a special Tone, described The descending melodic design demands a rhythmic support the descent begins before the end of the second group, this may the description of the natural phenomena after the crucifixion : The designation "Gregorian," generally used for the chant of the Roman the different graphic forms, which are for us a precious source The different Intonation Formulae follow : the different syllables of the same word with different sounds The disjimction of groups. — The disjunction of groups The Distropha alone : Repeat each exercise as many times The division of the liturgy into Office and Mass is of fundamental im- the divisions represented must be given to the ear by relative The doh or C Clef J — | -q j^ and the fah or F Clef »J — | -p . . the Dominant DO, is made only on the last word which may the Dominant DO. The Metrum is a Cadence of One Accent The Dominant or Tenor. The Dominant, Tenor or Reciting Tone is the note on which The dot after a note in Plainsong notation, doubles the value The double note of the Pressus draws the Ictus from the first the early Mass and, at the same time, the only one which has a text taken The effect of this Flat lasts through the word, unless contra- the Eighth Mode The Tracts of the Second Mode The Great Respon- the elan or uprush, and the Thesis the relapse and quieting The enclitic que draws the accent to the penultimate, even the end of a group. The Solesmes books always distinguish the end of a movement. When the last syllable of a word the end of the division and work back as in the other Incise, The entire melody is in the Fifth Tone (Augmented), extending the entire Phrase and divides it, and separates it from the the entire PROPRIUM DE TEMPORE, and PROPRIUM SANCTORUM, but no KYRIALE published in 1900 The entire text is sung " recto tono ", except for slight vocal the entombment of Christ. It is like a moving " farewell " of the episema or ictic note at the end of a group, even the punctum the Epistle and the Gospel. the equivalences between a number of different families. The Eucharistic Prayer (though not, of course, in its present-day form) The examples are many. The existence of notes so repeated in the Gregorian Melopee The extra hollow note is to accomodate the Dactylic Cadence, the Feast of Purification [1356], the Distribution of Palms and the Proces- the Feasts of the Lord (A 210-576), of the Saints (A 578-931), and of the The Ferial Tone is used at the Minor Hours of the above- The Festive Tone is used when the Office is Double or Semi- The Fifth Mode: with its Tonic F (as also its Plagal, the the Fifth Psalm Tone has retained the B\. (We shall discuss the Fifth; the Final A, is no longer Dominant, as in the First the Final Cadence to be used. (Ex. y c — Mode VII, Cadence c). the Final is preceded by groups of the Lower Tetrachord of the Final of the Mode. Had it kept to its original model, it the final syllable but only the penult and the antepenult. For The first cadence on RE minor shows by its suspensive The first Clivis sol-fa, and the first note of the second Clivis, The first Incise of the " Vidi aqiiam '' is in the same category The First Kyrie is plainly in D Elinor — • without, of course, the First Manera, or first pair of Modes, as Secundus Tristis. the First Mode (D), then the whole second phrase is established The First Mode Melodies which do not use the B? are in the The First Mode, or Mode on Re, resembles a little our modern the First Mode. Owing to its low register, — the lowest of the The first note is supported and allongated slightly, by means The First Note of every group, when it is not directly preceded The First or Ascending part is called the Protasis, and the the first part of the beat is marked by a preliminary gesture, the first Sunday after Easter, is followed by a Second, Third, Fourth, and the First Sunday of Advent. 1 Beginning with this day, the year can be the first. Example : The Flexa does not permit a " broken " Cadence; at the Punctum The floods have lifted up their voice; The floods lift up their din ". The following Antiphon " Secus decursus aquarum " have The following Antiphon, " Omnes Sancti ", with the cadence The following Chants in the Liber Usualis : The following eleven Accents were recognized by the Latin The following example will give some idea, but one must The following examples will illustrate : The following final phrase from the " Passion " according to The following Rules have been formulated for the inter- The following table gives the feasts just described in the form of a sur- The following table shows all the exceptional Masses, arranged according The following Table shows the relationship of the Final The following taken from the same Fifth Mode Gradual, the following; in all cases, care must be taken not to " punch " the formation of the Romance Languages, daughters of the the Fourth Sunday of Lent the next two Sundays are Passion Sunday and the friends of the Lord, of his faithful Disciples united around The full text of the Ordinary of the Mass is found in the Liber, pages i The fundamental gestures to be used in conducting the chant, The Fundamental Principles of the Theory, THE FUNDAMENTALS THE FUNDAMENTALS the general rules; this is only at the Flexa and the Metrum, and the gesture. As ourselves, they made use of feet and hands, The give the following excerpts from the Gospel according to The Gradual and the Antiphonal appeared in various editions which The Graduals of Mode x The Graduals of Modes 3 and 4 The Graduals The graphic subordination of the diamond Puncta to the The Grave accent employed alone was transformed into the the greater Feasts of the Lord and of the Saints* Here again, the Responso- The Greater Rhythm. the greatest authority of all on the subject of Gregorian Chant. the Greek Pope Sergius I (687-701); tie Credo, although used at a much The Greek word, (Ivjpisj'sXs'.o-ov (eleison) has four syllables, not The Gregorian stave is made up of four horizontal lines, and The Gregorian Stave. The gregorianist would decide that the separate groups mean the Group. In this arrangement, the Arsis is binary, and the the groups are too far apart, a repercussion is meant, but this The groups of neums which we have studied receive a slight the groups. After you are certain of the notes and the inter- the groups. The length of the first note of these groups is The Guide is a tiny note , placed at the end of each the Guidonian notation has preserved little or nothing of the the higher group. We may now amplify this statement by the highly trained soloist, is often not suited to the impersonal The hours from Prime to None are called Little or Lesser Hours, be- the Hymn ; also at the Hours, after the Brief Response : (') The Ictus can never occur on consecutive single notes. The Ictus is a tiny vertical hne attached to a note, and ^ The Ictus may be the beginning of an Arsis or a Thesis; it may the identity of the general premises of musical style. 6 The indication of Rhythm by means of the hand, or The Interrogation consists of a Cadence of One Accent with The Interrogation Point is like that of the Epistle. When The Interrogative Cadence is the same for christ and the the Interrogative Period is long, the inflexion down to SI from The Intonation is a brief melodic formula which serves as The Intonation of the Magnificat m Modes I, III, IV, VI ^ The Intonation through the Mediation to the star is sung.by the The Introit " Statuit " supplies the same tonal relationship. The Introits 305 The Communions 311 The Tracts 312 The Tracts of the invariable parts, or ' Ordinarium '. the Invitatory Psalm 241 The Short Responsories 244 The items of the Proper were in general use probably as early as 500, and the Jewish to the earliest Christian chant. This surmise, formerly based the joy of a song of triumph. No, the melody is not exactly the jPe Dtum [Nativity, 39*; Whit Sunday, 876; Corpus Christi, 939]. Easter Sunday and The Kyriale or Ordinary of the Mass : THE LANGUAGE OF THE CHANT. The language on whose framework Plainsong is constructed The last item of this list, the Antiphons of the B.V.M., also called Marian The Last note of a group which is followed by a single note the last note of the "Amen" (see example). The same with The last note of the first group always draws the rhythmic the last note of the first group. (First note of two fused notes). The last note of the Mediant is doubled. Mediants may have the last note of the Neum takes the Ictus. In other The last stichos explains the first. the last syllable must not be over accented. The Mora vocis the last syllable of " itmifn ", being the Tonic of the Mode (IV) the last syllable, and two beats at the Bar. All Schools of The last three examples show that the Psalms for Sunday (with 1 16 instead the last word, that to which there is no reply ". The Latin Language, in contrast to the Greek never elevated The Latin of this period takes on the quantitative element The Latin term, ' Cantus Planus ' refers to the ancient mode The latter includes the feasts in honor of a specific Saint or, occasionally, the latter into three, 144.!, 144.!!, 144.1!!, so that the total number is five, the latter. The difference results from the omission, in the Liber, of a con- the laws of good reading. A moderate tempo with special the lengthened Torculus of the Saint-GaU version. The three The lesser Canticles are fourteen in number. They all belong to Lauds THE LESSON-CHANTS OF THE EMBER WEEKS The Lessons of the Dead and of the 2nd and 3rd Nocturnes The letters are divided into vowels and consonants : The librarian of the Benedictine Abbey of Solesmes has sent me photo- THE LITURGICAL BOOKS THE LITURGICAL DAY The liturgical importance of the Lenten period is indicated by the fact the liturgical point of view. More detailed, but also more controversial, are the explana- THE LITURGICAL RECITATIVES AND SOME OTHER CHANTS. THE LITURGICAL YEAR The Liturgical Year 467 The Liturgical Day 468 The Psalm Tones 470 The Liturgical Year 6 The Liturgical Day 13 The Liturgical Books 15 The Liturgy the Lord" (in the Antiphonal), "Proper of the Mass and Office for the the lower A. The lower register of the Fourth Mode and its frequent use of The manuscript of Laon furnishes the same indications for The Manuscripts of Metz employ the same sign for the Presstis the manuscripts. We find the following equivalence between THE MASS the Mass has a centric plan, organized around a text commemorating the The Mass has a considerably more complex, but also more fully inte- the Mass, so that there results a four-fold classification of the chants (and the Mass. Another distinction, of almost equal importance, is that between the Masses. Moreover, the student familiar with the Graduate will have The Mediant of this Tone is of One Accent with Two Prepa- The Melodic Element plays a most important part in the The melodic signs of Plainsong are derived from certain the melody descends. The Accents and Icti will thus be stronger The melody is a real melody and is perfectly wedded with the the melody must always be kept in the chironomic outline. The melody, after having, as a rule, touched a new Dominant, the Melody, like the waves of the sea or the flight of a bird the melody, meaning of the text, etc. In this " suite " of the Member or Half Bar, unless expression or the sense of the The Messinian manuscript (above) conforms exactly with the Metnim). The Metrum consists of a Cadence of one Accent, The metrical rhythm makes these cases easy to determine. the middle note. The ( « ) is never used in this case, as it would The modal accompaniment of plain chant; the Mode; a few follow : The Modes — Tonality. the monks of Solesmes in this matter, so graceful, so delicate, the mora vocis. We conclude with a long melisma which shows The more carefully a Melody is analysed by the intelligent the more conclusive Cadence on Re, and the m3^stical, seemingly the most important part in the syllable, and on it the neums The most striking characteristic of Hebrew Poetry, and the movement progressing to its final resting place. In order The Mozarabic Tantum ergo is given somewhat the same the musical phrase : The gentle " cantelina " of the initial the musical sense. the musical Staff. An Italian monk, Guido d'Arezzo is supposed The musician who would like to rhythm the first example {a), The name of the notes on the Stave is designated by means The name Pressus explains the effect which this neum must The name, and very often the exact form has been preserved The nature of Gregorian Melody — Divisions of the Original The nature of Rhythm — Measured and Free Rhythm — The The Nature of Rhythm. The nature of the Latin Tonic Accent (^), the Neum. In the following example, the text coincides nicely the neums accompanied by little lines, supplementary letters, The Neums we have been considering have only a single The next day is Trinity Sunday, which marks the beginning of the final the Nnnc dimittis. The usual place of the Psalmody is the the notators were not always careful to indicate these the note or group marked with it. The notes occurring on the same line as the Clef carry the name the notes wih be discussed in the next paragraph. the number of readings, there being one chant between two readings. This, The number of syllables to be sung on the Tenor varies the Offertory of the Midnight Mass of Christmas, " Laetentiir The Office Chants 472 The Ordinary Chants of the Mass 475 The Proper THE OFFICE HOURS The Office Hours were not instituted together at a given date, but de- The office of Holy Week : the old Chironomic Notation by making it clear and intelligible The old Chironomic notation was very limited; it indicated the Old Testament), the latter eight. Originally, the four Ember Saturdays the one hand, and in its perfect harmony between the parts, The Oration " Libera 7ios " of Good Friday, as well as all the Orations before the Mass of Holy Saturday, including the The Oriscus is also an Apostropha. It is always placed at the Oriscus. -1- Other books usually express it simply as a the other notes. The Other Responsories The Graduals 344 The Graduals of Mode 5 The other two parts, that of the Synagogue, and that of the other, rapid, light and brief, like a finger striking lightly. The part of Christ is the only part which is really " sung ". The part of Christ, a simple transcription in the lower octave, The part of the Chronicler, which is the foundation of the The part of the Synagogue is also to be sung with simplicity, The Paschal Tone. — At the Psalms of Compline on Holy The pause at the Termination is equal to a Quarter Note, The Phrase may be made up of three or a number of Bars, The Plagal of the Fifth Mode, the Sixth Mode carries the same The Podatus quassus with the direction vel (or) indicates the point of junction. The dotted note before the pause must the practical point of view, but it makes it difficult to gain a clear insight the prayer of the day at all the Minor Hours, for the Oration The Prayers at Prime before the Oration and after " Pretiosa " , THE PRE-CHRISTIAN ROOTS The Pre-Christian Roots 34 Historical Data from the First to the Eighth the pre-Christian service of the Jews, adopted distinctive characteristics the preceding Incise, but also more closely connects the following The present-day group of Ordinaries includes one for Paschal Time, two The Pressus (^) has its origin in the Apostropha. In order to The Pressus has its origin in the Apostropha ( ^ ), a note The Pressus-Major is composed of three signs : A simple The Pressus-Major, is always employed, even at the Unison of The Pressus-Minor has only two notes : The Apostropha- the Pressus-Minor is isolated from the same. WTien the the prevailing terminology of the past five centuries according to which the principal Rhythmic Signs. In these books it is fairly easy to the principles and, occasionally, even the melodies themselves, are prac- The Pronunciation of Church Latin. The Proofs of Fusion. the Proper are of two types; those that follow a lesson and those that The proper of the time. the proper rise and fall or rhythmic divisions of the melody; the Protasis and the Apodosis establish the unity of the whole The Psalm Tones 208 Psalm Tones and Psalm Texts 214 Psalm Tones the Psalm, the hand indicates a Thesis of two beats. (See The Psalmody is the one type of Composition common to The Psalmody. THE PSALMODY. The Psalms 87 Psalm Verses 89 Non-psalmodic Texts 95 The Psalms may become very monotonous if not interpreted The publishing house of Desctee and Co., Printers to the Holy See and The Punctum is made up of a Cadence of One Accent (Recto the Punctum is the same for the Chronicler and for the Syna- the Quilisma note, and to sing this latter note lightly and the reading from the Old Testament was suppressed, both the Gradual and The reciprocal substitution of ( c ) and ( « ), in the Manuscript the Recitations, and it is always alone. The movement of a the relationship of the letter with the rhythmic sign in each The remaining Verses are sung alternately between two choirs : The Repercussive Neumes The Early Neumes 108 The Development of the repetition of several consecutive Arses and Theses. This The response of the Sanhedrin to the unfortunate Judas, The rest of the Consonants : B, D, F, K, L, M, N, P, Q, V, The rest of the Prayer is sung recto tono. In the Missal and the revolutions of a wheel, or the explosions of a gasolene The rhythm must be kept if the choir is to sing together, and the Rhythm of Discourse, This rhythm is not measured, but free the rhythm of modern music ; and such was the rhythm of much The rhythm of plainsong according to the Solesmes school, The Rhythm of the Incise and Half Bar. The Rhythm of the Whole Bar. The Rhythm of the Word. The Rhythmic Ictus. The rhythmic letters of disjunction are the (t^) = tenete, The rhythmic signs are not the only proof of the necessity THE RHYTHMIC SIGNS IN THE ANCIENT MANUSCRIPTS. The rhythmic signs of Saint-GaJl and Metz are a great help The rhythmic tradition in the manuscripts / the Rhythms increase in size, the importance of the Final the rhytmic system complete; in the other schools we find only The rite of Rome has not been completely adopted by some of the the Roman liturgy, replacing the First Sunday of Pentecost, the Mass for which [G 310; the rule that the gregorian melodies never admit a prolongation the rushing rivers give praise to our Father and Son and Holy Spirit, let the Sacred Congregation of Rites, have kindly given the permission to the Sacred Heart 980 tissimi Cordis Jesu 327 The Saint Gall Manuscripts make use of two kinds of Rhythmic the Saint-Gall and the Messin neumatic versions : the Saint-Gall indications : We have the long Clivis, the long The Saint-Gall neumes above the staff plainly tell us that the same as its model, that is to say, the analysis which it the same direction to left or right : the same melody, in the same manuscript, employs indifferently The same phrase is found in other manuscripts with the The same recommendation, but clearer still, for the verses The Saturday of this week marks the beginning of the third period, The school of Metz confirms this interpretation. The second Incise answers the first in perfect form. Then each The second method of building Composite Rhythm {b) is by The Second Mode : The Ancients recognized the Plagal of the second note of the Podatus is on the same pitch as the The second period starts with Septuagesima Sunday, that is, the ninth The sequential pattern in the following example is interesting, the service of Lauds is given only for some of the highest feasts, such as the the service. the seventeenth and eighteenth centuries what went under the name of the Seventh Mode the Super — Major Mode; the Mode of large The Seventh Mode, or Septimus Angelicus, as the Ancients the Short Responsories (responsoria brevia, in distinction from the Great The Simple Tone ¦ — • Ancient " ad lihitum " , — is used for The Simple Tone has the Flexa always preceding the Met rum, The Simple Tone is also sung ' recto tono ', save for an inflexion The Simple Tone is used for all the Versicles of the above. The simple two syllable word is a complete rhythm : The simplest and most common parallel construction is the The singers do not begin until the conductor's hand reaches The singing of the Passion — The Gospel (ad libitum) following the The singing of the Passion demands first of all simplicity. the sixth or seventh century after Christ. This fact has led to attempts to the Solesmes Rhythmic Signs, we may state the following rules : The Solo or Responsorial Chants, and the Choral or Antiphonal >^ the somber character of the period leading up to the "darkest days'* o the The Sources 51 The Cycle of Feasts 56 The Mass Formularies 61 The The Sources for the Mass Chants 485 The Introits 487 The Communions the Spanish word Montana, and the English word onion. The Standard Notation 100 The Basic Neumes The Liquescent Neumes The statement that the Proper of the Mass consists of five items, Introit, the stave with a little practice : the C Clef is always placed on the story of the three young Hebrews ("children") who were thrown into a The Structure of the Liturgy The Structure of the Liturgy The Structure of the Liturgy 13 The Structure of the Liturgy 15 The Structure of the Liturgy 17 The Structure of the Liturgy 19 The Structure of the Liturgy 21 The Structure of the Liturgy 23 The Structure of the Liturgy 25 The Structure of the Liturgy 27 The Structure of the Liturgy 29 The Structure of the Liturgy 31 The Structure of the Liturgy 7 The Structure of the Liturgy 9 The student might try looking them up in the Liher Ustialis. The student of Measured Music who enters into the study THE STUDY AND EXECUTION OF THE STROPHICUS. The subject of Gregorian Chant involves two branches of the succession of binary and ternary rhythms. Or there may the supreme importance of their contents* One of the first in this group the syllables have two equal beats, it is fairly simple to interpret, The Synagogue : W_ The System of sightreading in use for the practice of Gregorian the table, pp. gff]. Particularly the Masses for these days are of great the task) assigned to a specific occasion of the liturgical year, according to the tempo of different chants, the nature of the melody, the The terms ' Gregorian Chant ', ' Plainchant ', * Plainsong ', the ternary rhythm as a time group. The real effect of such the Text to the Mode, it has been necessary to have as many The the Offertory — Benedixisti, J. Ostende, we find the the theory of simple " diction rhythm " formerly taught. the Third a greater modulation of a Fifth below; at the end the third millennium of Gregorian chant. The Third Mode : whose Fmal is E, is perhaps the Mode The Third Mode and its Plagal, the Fourth, are most suitable the Third Mode, the Ancient Third Mode Dominant, B ? is used. the thought expressed. Many times a descending phrase the three manuscripts — Bamberg lit. 6, S. G. 359, and Einsied. the three readings. 3 The first Lesson, from the Old Testament, was fol- the three regular cadences : the tonal intervals. It was necessary for a skilled teacher to The Tone of the Gospel (ad libitum) which follows the The Tone of the Prophecies is like that of the ordinary Lesson, the tone to travel; too, the impressive dimensions of the large the Tonic accent its proper impetus, and not to pound the last the Tonic; to make the relationship, F-B> as unnoticeable the top notes, but on the contrary to glide lightly over these the top notes. He will see that no one voice " sticks out ", The Torcuhis / v" The Torculus J^ is entirely enlarged, with a rhythmic ictus the Tract (or the Alleluia) were placed, in immediate succession, between the traditional rules, but the average choir of untrained voices the transition from one syllable to another, notes called The Treatment of Neums. The two corresponding sections in the Graduate are the Proprium Sanc- The two main variants in the structure of the Proper are those given The two notations are equivalent, but the first must be the two notes at the Unison form a Pressus, and must be executed the two were combined making the the two. The other is conclusive, terminating as it does on the upper DO. But with a graceful undulation of the voice, the upper note is sung first. the usage. The Metrum is hke that of the Festal Ancient The use of a hymn in the Mass is, of course, quite contrary to expecta- The use of the sigm /t = statim. the usual crescendo upward, but without " punching " the The validity of this argument becomes even more apparent if we turn the value ( • ) of the note at the end of an incise or phrase the value of a Simple heat. The value of the (mora vocis) is variable : It usually doubles the various items in their proper order as they occur during the day and the Vatican Antiphonary, the little cross (f) indicates the The Vatican Press 1908 Vaticana. the verse resumes the Dominant to the Mediant Cadence. . the verses, or between the last verse and the Antiphon, is the Virga final is the vocalization is entirely on the first vowel, the second vowel the voice has scarcely alighted on it when it enters upon its the Votive Mass for Peace, was set in the First Mode. An The white spaces between the groups are the most uncertain the white spaces following, certify mora vocis. In the Manuscript the whole story centers. It is Christ who directs all, and The words animate and bring out the sense of the melody, The words no longer form a rhythm, but only a part of one. the words of Christ. the words of the closing benediction, "Ite, missa est" (Depart, this Is the the work of Idelsohn who, some thirty years ago, studied the religious The world and they that dwell therin " . the year have their Proper Antiphons which replace the Ordinary ones. The year of the Church starts, not with New Year, but with the First the year. It also takes care of certain practical needs resulting from the fact the" the(<> ). their dependance to it. (The diamond notes are the product their intimate connection with music. It is therefore only natural that our their names, make up four, five, or more notes : their position, e.g., Ps. 94, Venite exsultemus, which served as an in- their song of praise follows in the form of a closing chant. 1 them here; them, and especially the recitation of the Passion ; not a personal them. There are two other Masses with six chants, on Holy Saturday and themselves are only the material and unformed elements of themselves to a study of the medieval manuscripts and immediately realized then returns to Do. then the Flexa, while in the Conclusion, the Flexa precedes then this Theory. These are the only groups which have maintained there are a number of chants based on non-psalmodic texts, the Kyrie, There are a number of Third Mode Melodies of this type. The There are many different nuances of repercussion, as a careful There are many equivalences of Notation which prove the There are many melodies of this style in the First Mode. There are many other examples, such as these where the There are other examples of this more modern type of There are rhythmic variations as there are melodic variations There are the usual exceptions. As for the group which precedes There are two possibiUties here : disjunction after groups There are two types of nota appositionis : there is a striking similarity of style between the ancient Jewish melodies There is also a Romanian sign whose only use is to indicate There is however an exception to understand in the notation there is not a single Rhythmic Group. Time Groups like Time There is some mystery surrounding the letter (n). In the There is still another gesture employed by Dom. Mocquereau there is the Flexa, then the Metrum, like the preceding Punctum There is to be no mora vocis after the climacus-do-la-sol , there is to be no retard, but that all the groups are to be sung there is usually no breath taken), fulfills two functions : this There must never be a " coup de glotte " on attacking, such There must never be that mixture of sounds peculiar to the there was beside it another kind of Music, Measured Music; there will be Phrases, many, unmarked by the Ictus. For this therefore been claimed as Gallican. See A. Gastoue*, Le Chant gallican (1939; also in therefore called lucernarium (lux, light); one after midnight; and one at Therefore when a succession of four, five or six notes is found Therefore while pronouncing the syllables, it is necessary to These are only passing suggestions, as a great deal of research These are the Missal (Missale) for the Mass, and the Breviary (Breviarium) These are the words without the Ictus on the last syllable : ..^^^ These brief notes on the Accents suffice here. We must only These Chants belong to the Class of Chants called Syllabic these Chants on the part of both clergy at the Altar, and choir these divine phrases. These exceptions include both the Simple and Solemn Cadences these groups close together. On the other hand, graphic spacing these groups normally ending in a downward direction, to which these little rhythms must be always considered as part of the These many Cadences not only give variety to the Psalmody, these Punctum inflexions, there be interposed a Flexa. These special Intonations are used only for the First \evse these syllables are therefore Arsic, because of both text and these two different types of groups, especially among the melis- Theses follow one another, one of them is the blending point Thesi Thesis Thesis Thesis Thesis Thesis Thesis Thesis Thesis Thesis (Feminine Cadence) Thesis (Masculine Cadence) Thesis also binary and feminine. (See below, next page). If the Thesis of each one of them is more manifest. It exercises on Thesis Thesis they are designated as Sabbato in xii lectionibus. 2 They are later additions which do not occur in the earliest manuscripts they followed in a continuous order, of which, however, very little has remained, they had an Accent which was called the Medio (to ijistov) they have a bearing upon our main subject. They have not set God before their eyes ". they were to me. things must be considered : a) Tonality, b) melodic patterns, think that the original term, at least for the collection of Mass chants, was Gradate, Liber third below the Dominant, after the name of each saint; the Third Kyrie reproduces the Second, contrasting it somewhat, Third Mode Melodies as a rule keep their Modal compass, Third Mode, we are able to say somewhat the same things. third note of the group is marked by an Episema or a dot, the Third Period : Post Classic. Begins at the end of the fourth Third Sunday after Easter Third Sunday after the Third Sunday of Advent 334 Dominica III. Adventus 6 Third Sunday of Lent third, but simply make a brief pause long enough to take Third, or Gregorian Period. thirteen Tracts beginning with the letter A, the Liber only eight; the thirteenth century that the groups were completely separated.* When thirty and more psalms during one night. When, in the fourth or fifth This bears the Ictus on its first note, and not on the last ; This book appears to be the Solesmes markings, MINUS any episemata. This book comes with a little “musical supplement” at the end. This Chant has three vocal inflections ; the first sl Minor this combination, is naturaliter, in opposition to ( a. ), amplitude, this Fusion forming the Pressus : It is the sign co = Conjun- this Gospel Tone, " distant, veiled announcement of the This Gregorian treasure along with many others was sadly this in the Chapter on the Psalmody.) This is a balanced symmetry of form and sense, and was This is a copy of a copy. The original book is signed on the cover by Richard Schuler. This is a very interesting piece, as it alternates between the This is a very simple Recitative, with only the simple This is an impossible interpretation. By long experience the This is especially true of the part of the Chronicler : his part This is identical to the style of Franz Witt, telling everyone to sing like the Greeks. Very flowery prose. Very different from “The rhythmic tradition in the manuscripts” This is indeed the most solemn week of the entire liturgical year; each day This is like the Chant of the Chapter, with the sole difference This is pure musical rhythm, and when combined with words, This is the COMMON OF THE SAINTS (not the PROPRIUM DE TEMPORE or PROPRIUM SANCTORUM, which were also produced). This is the fundamental foundation of all rhythm. No Rhythmic This is the Greater Rhythm. This is used after the Nocturns, at Lauds and Vespers, after This is very similar in notation to Lambert's work. It is fascinating: there is no doubt that chant was sung mensurally back then. Short (worthless) Preface in English. Mainly has hymns. this last note takes the Ictus : This letter corresponds to the last note of the Psalm. this Melody to develop his immortal setting of the same words. this melody with a distropha (group 3) and a torculus (group 4). this method be tolerated — only temporarily for a few notes. This method may be used in certain cases to emphasize the this might be a good procedure; but the preliminary gesture This motion is to be used in a succession of Thetic movements, This notation is called Chironomic {yj'^p, hand; vg[7.q; rule; this note is also slightly lengthened. This feature this note may be long by position, after the Pressus at the end This one has more practical examples and more complete than the below 1933 Potiron with preface by Desrocquettes This pause consists of a slight prolongation of the last syllable, this proportionate relationship, either by not giving the different this reason it was called " baritonale " Language, or a Language This relation consists not only in the number of sounds, but also This repetition must be very light and delicate, without accent this resemblance was not a complete equivalence. Manuscript This rule originates clearly from the equivalencies of notation this season are simply numbered as Sundays after Pentecost, Trinity Sun- This second formula is used at the Orations after the This sign interdicts a retard after the trigon-pressiis do-sol, this was done, some of the feasts of Saints were left in their original place, this was executed rapidly and lightly. The present practice this was replaced by Latin in the Western part of the Christian world. This wide distribution of emphasis over the whole Period is those for the Office in the Antiphonal (Antiphonale). There are also two those of Saint-Gall and Metz, to determine the Rhythmic those of the New Testament, the Magnificat, Benedict us, and Those passages in which the rhythmic design is clearly defined thou thy servant depart in peace; Luke 2:29-32). three beats and the Thesis is masculine. (See next page). The three children, ending with the words et benedicebant Deum in fornace, three clivis, thus indicating a close liaison. three elans, Three lines Synonymous. three main actions of the Mass the entrance of the priest, the offering of three or four notes at the unison in a single prolonged sound. THREE Origin and Development to c. 600 33 three parts follow the same pattern with Flexa and Metrum; three simple beats in all. three spaces : THREE The Free Compositions According to Types 305 THREE The Tonality 133 three, namely: three. through this strange " melopee ", and envelopes it with a pene- throughout the composition, as was done in later times when throughout. Thursday [649]; that of Friday in Lent (Via) for Good Friday [692]; and, Thursday in Easter Week Thursday: Thus appears the ceaseless, ever-living power of rhythm. As thus obtaining only a light round point, scarcely visible. thus prepared for the movement, and make a cleaner attack. Thus w\\\ be seen the difference between Elementary Rhythm, Thus we have the Pressus Clivis : ti ti TI — before a vowel and preceded by any other letter except ti-bi Domi-nus praepa-ra-vit in aeter-num. tian chant. A Greek-Gregorian line of connection exists, without doubt, tianity. The most important result from our point of view is the fact that Tibi di-xit tically identical with the first Gregorian psalm tone shown under b (termi- tically identical. The basic elements of the Gregorian psalm tones, that is, til- o. 0-remus. Ma-jesta-tem tii- am D6mi-ne suppli- time to the present day these two categories were assigned to different time value, but to slightty accent each group in the same breath time, being always guided by the sense of the words, melody time, the point of arrival of one group and the point of departure time, to ^ reform ' the Chant as the Liturgy itself was times when the note which precedes the Pressus is not at the Timet Dominum. tinctions even further, one might speak of "Proper of the Mass for the tinctis vesti-bus de tinuation of the preceding period. This is the Epoch of tion of the suffering of Christ. tion, there is an introduction consisting of prayers, Pater nosier, Ave Maria^ tion. Actually, the chant in question is the Benedictus es Domine, which is tion. The Office Hours especially, as observed by them, differ from the tion. They are not Antiphons in the proper sense of the word, since they tion. This most interesting question will be discussed in a later chapter tionable in the light of recent discoveries and investigations which make it tional relation; or the parallelism may be of form only with tional" more in place than in connection with this music which, rooted in tionally slower, while others including the Gloria, Credo, Graduate, tions offered in Gastou's Les Origines du chant romain (1907). TITLE Title: A complete and practical method of the Solesmes plain chant Title: The Vatican plain chant; a practical manual for teacher and student Title. / / tively identified with Stephen, bishop of Lige from 903 to 920. The author, like many tivity [364], Maundy Thursday [621], Good Friday [665], Holy Saturday to 7. The items with variable texts such as the Introit, Gradual, etc., are to a final rest, but to remain suspended, as it were, between to a recitation tone. Thus, there are "tones" for the Prayers [98], the to all Masses, while the other five are Proper, i.e., varying from Mass to to be made between the two Pressus; their value is the same, to be sung, and the formula once decided, the whole Psalm, to be the main figure in this evolution of the staff. Then the to bring out the historical phase of " chironomy " or other to conduct it. to counsel the master of the chant, to mark the rhythmic to distinguish the strophicus and the groups by means of light to distinguish these Arses and Theses, we must know at just TO DOM JOSEPH GAJARD to draw). J. M. Tommasi (1649-1713; his Opera omnia, including Oregon" Magni opera to each Sunday [asoff], nos. 1 14, 115, 119, 120, m to each Monday [*8off], to express the Mystery of the Incarnation; the Mediaeval to form a longer or Compound Rhythm. By a few simple to form the phrase members, as we have explained before. to give me valuable help in matters primarily of a liturgical character. He to giving it a name it hardly deserves. to have a secondary Ictus. It normally falls on the third note to have played a similar role for the Ordinary of the Mass as did Pope to him, and he will see that his choir manages this in such a to increase the intensity gradually from one Ictus to the next, to juxtaposition. In adapting gestures to melodies, certain to keep its character; this latter class is represented by the To know how to rhythm a Gregorian melody is not an easy to know where to place the Rhythmic Ictus, which designates, to learn and apply the rules of good declamation. to make his singers feel his inspiration, and make themselves to me that the real characteristic and interest of this " Passion " to multiply the Arses during the Protasis, and the Theses during to name them. to number of lesson-chants. to propagate the principles contained in the Vatican edition / to put on the reader's table what the Apostle calls "the unleavened bread to shake, to strike. The first sound of the group is somewhat to Si. In both these Cadences there is the added note for the to some extent). Thus it was most necessary from time to to spoil the ensemble, but that all timbres blend for the greater To such an end two simple signs sufficed : to suit the words. Finally at the last line, the new Tonic. to that more recent Scale. To the aspiring Composer, this study adds new inspiration and to the Blessed Virgin Mary belong strictly to the Ordinary; they are sung to the Cadence, Mediant or Final. Often the Accent of the to the calm, soothing rhythm of most of Psalm 23. Careful to the Church, but I am saddened to see a venerable tradition, which has to the division of the services into those of the Office Hours and those of To the ear accustomed to figured music, this rhythm would to the examination of another question, that is, whether and to what ex- to the following syllable. Examples — Lauda, Euge, Raymundus. to the groups of two notes. The dot doubles the length to the last note of a group, favor usually disjunction. However to the manuscripts. There are many explanations of this to the nature of the syllable or note on which it falls. One of to the Normal Scales. However this theory does not always to the point of coarseness, and takes on a quantitative To the present day the Psalms form the nucleus of the Office Hours, there To the Psalms and Canticles were added, perhaps as early as the third to the second century before Christ, and is characterised by the To this latter category belong the Gregorian melodies, the to use in conducting Polyphony. — While marking each to weaken the catholicity of one of the most precious possessions of the to which all the small Rhythms, Incises and so on, are to which they are added. So : to which, consequently, its General Accent corresponds, and together at the Unison. Very rarely it is placed over a Pressus- together the Incises and Members, generally coincides with together; a rhythmic division cannot be less than two notes tomed to classical and modern rhythms. The average musician Tonality in the Sixth Mode, as in the Fifth; and we do not Tone Tone Tone Tone Tone Tone Tone Tone Tone Tone Tone Tone Tone Tone Tone ; the Final Cadence of both forms of the Tonus Peregrimis. Tone : Tone ? [ tone and then another, but does not pause long enough to be Tone for the Admonition, in the Ancient Tone : Tone I Tone I Tone I- Tone I. Tone II Tone II Tone II. Tone III Tone III (Recent). * Tone IV Tone IV Tone IV — Raised. Tone IV. Tone V Tone V « ¦¦ " ¦ "' Tone VI Tone VI Tone VII Tone VII Tone VII i Tone VIII Tone VIII Tone; occasionally a Solemn form is used in the Canticles. Tones — Singing the Psalmody in English — Interpretation of the Tones for the " Oremus " — Chanting the Prophecy — The Epistle Tones i, iv and vi Tones ii, in, v and vin Tones, whether for the First Half, or the Second Half of the Tonic Accent or to conduct a short phrase of " free rhythm " Tonic Accent, so has each Phrase its Phraseological Accent. tono " , but with a dignified and sober simplicity which accords Tono), w4th two preparatory notes on Sol. In the Conclusion, Tonus Tonus Tonus " Tonus " in directum ". — For the Psalms which are sung Tonus Peregrinus — First Half of Verse, La. too long. Too, this expression is introduced by a special formula, more top notes. Of course the Pressus in the first example demands Tor cuius (pressing machine) *^ Grave — Acute — Grave tor. Torculus Torculus Torculus — JJ- Torculus — The Ictus always on the first note unless special Torculus Resupinus Torculus with the sign (a-) augete (largo), corresponding to tories are, they have one trait in common, that is, the purely melodic Tornaci Nerviorum : Typis Societatis Sancti Joannis Evang. : Desclée, Lefebvre et Sociorum, tors, Virgins, Virgin Martyrs, etc. For instance, St. Jerome (S. Hieronymus) torum, starting on p. 390 after the Proprium de Tempore, and the Com- tos, touch, it is impossible to conduct a choir in Unison. — Of course TOURNAI (Belgium) Tournai, 1935. Tournai, 1950 (Desctee, No. 801). Tournai, Belgium : Desclée, Tournai, Belgium, Society of St. John the Evangelist, Desclée tr«^ Tract, and a second Alleluia, with the remark that after Septuagesima the Tract, while in the Ember Week of Pentecost these two days have the two Tract. Commovisii Tract. Qui regis Tracts, etc., were elaborate, and were allotted to trained singers; tradition : The state of the manuscripts in the tenth and the tradition with the same purety and fidelity, making use of tradition, and each day, a new study of these documents, trained voices may be able to perform these neums according to tranquillity, almost without emotion which pervades all of transcription : transe- translated by two notes in the Manuscripts : translated into English, but the rest of the work, which is very translation 1 is one more reason for forgoing a presentation which, at best, Translation of the second edition, Origin and Develop- TRANSLATION: Lemaistre TRANSLATION: Lemaistre Transposed Modes — Characteristics of the different Modes — trating and indefinable charm ". Dom Gajard also finds in Treatise on the accompaniment of Gregorian chant. treatises on music, we find the Chant was performed under the treatment : tried to simpUfy some of the complex problems, which are Trier, Commissions-Verlag der J.B. Grach's buchhandlung, triple percussion mentioned above ; but in this the order is more Tristis est a-nima me- a usque ad mor-tem : etc. Tristropha Tristropha at the unison. This double or triple repercussion Tritus; TNormal : do re mi FA sol la si do re mi fa. trlbus Is-ra- el. troductory Psalm for the evening service of the Jewish Sabbath, and which Tropes The Sequences 442 tropha — The Gregorian Stave — Accidentals — Rhythmic Signs trouble to banish from his Recitative all emotion and sentimen- tt|i tttreiiirando, henedicere. tu- ae ? e- Tuesday in Holy Week Tuesday: Tui sunt caeli, et tua est terra : tunately, rescue came from a group of scholars, mostly French, who devoted turn [93*], Second Nocturn [928], Third Nocturn [934], Lauds [939], tury, superseding an earlier repertory which could more properly be called tury, was largely replaced by the Alleluia. When, during the fifth century, tus vir qui tv Tw^o kinds of Rhythmic Signs are found on the Stave : tween Circumcision and Epiphany, Sunday within the Octave of the twelfth and thirteenth centuries. Because of their many special traits these two figures are carried throughout the entire Sequence and two following notations : two heats long (see above). Two kinds of letters are used to indicate Final Cadences : two kinds of Words, Rhythmic Words and Time Words : Two lines Synonymus, and one Antithetic. Two lines Synonymus, and the third supplementary. Two notes before Quilisma. two notes to the Arsis, as the dactylic word has three syllables. Two or three groups placed very close to one another really two signs, therefore the same neum in the Messinian manuscripts, two simple notes on Sol. The rest of the Tone is like the two specific Saints, e.g., St. Andrew, St. Lawrence, SS. Peter and Paul, etc TWO The Free Compositions: General Aspects 246 TWO The Notation 99 TWO The Structure of the Liturgy 6 two Theses two Tones : the Festive and the Ferial. Two versions of the same chant : The Codices of Saint-Gall Type as the preceding Introit, is the Kyrie Orhis factor. Type. Each note of the scale may serve as Tonic of a new mode. Typical Cadences of the Fifth Mode : Typical Cadences of the First Mode are given below : Typical Second Mode Melodies are the Gloria and Sanctus U — is pronounced like the oo in the English word moon. U takes a secondary place and almost forms a liaison with the u- ia. U— Ul ular are of the greatest importance in a study of Gregorian chant. The Unbelievable! uncertain, varied and spontaneous, and because the intervals unconnected; thus, if no other factor intervenes, a new division under Pope Benedict VIII (1012-24). Considering this situation, it is no understand that his idea has no value. However, in this second understand the true spirit and style. The analogous formulae understanding of the finesse of musical movements and timbres. undulations from one binary or ternary group to the other, unfinished Cadence on Mi. It follows : union of several notes in a single group, and the placing of unison recitation (tenor) for each half of the verse with initial and con- Unison to the last note of a group : Unison with the note immediately preceding. Unison. Unison. It is the Clivis whose first note would be doubled, UNIVERSITY OF until the Mediation is reached; however, in a long verse, the up of a word with its tonic accent on the penultimate, as Dens, up to the period of Gregory as well as the changes and additions that oc- up with the singing of the Antiphons which precede and end upon the moon, 4 the beginning of this period varies accordingly from as Upper Bb. Urbs Je- rii-sa- lem be- a- ta, urday. The liturgy for these three days alone fills almost 150 pages in the use of ten out of eleven notes of the complete scale, as cadence use the Rhythmic Editions of Solesmes. But even with these, used for the Orations at the Litanies, at the " Asperges " on used in the Office rather than in the Mass. The introduction of the Gloria used one for the other, which leads one to beheve that there used with perfectly trained choirs — which are seldom found. used. Generally the Flexa has the duration of a simple usualis (book for general use) was published in 1896 (revised editions 1903, usualis (see above, ). Usualis, Graduale Romanum, and Antiphonale Monasticiim. usually bears the Ictus, as a rhythmic foot must be at least ut se-cu-ri perve-ni-rent ad palmam marty-ri- i! V V V V ^b ^¦¦¦¦" V io" V Paris, Bibl. nat. lat. 776 V r- V Y 3t»fi;i f."^'nip - v^ V^ v^ v^ /:^n V^r*:*^^ V_ V. — CONDUCTING THE CHANT. 81 V. — Other Responses at Mass. V. Canticle of Jeremiah: Audite verbum (Jeremiah 31:10-14) [A 147]. V>>WX v5.=DziK Va. Canticle of Moses: Cantemus Domino (Exodus 15:1-19) [A 151]. vailingly conjunct motion, psalmodic recitation, syllabic style mixed with value — the value of a quarter note in modern notation. variable section, while in Modern times a ' Mass ' consists of varies somewhat with the seasons of the year. variety. The first two Time Groups rise with the first two various Saints, these being grouped under categories such as Martyrs, Doc- Vatican Edition, furnishes an example : Vaughan Williams, and elsewhere like parallel organum* Invariably it will vaulting, the singing must be slower, as it takes longer for ve- ri- ta- te tii- a Ve-ni Sancte Spi- ri-tus, Et emit-te cae- li-tus Lii- Ve-ni sponsa Christi, * acci-pe co- ro- nam, quam ve-runt me patres vestri, pro- ba- ve-runt et vi-de-runt. . . veloped gradually during the first six centuries of the Christian era. The Venite exsultemus Domino, called Invitatory Psalm because it invites the versally employed in the later Middle Ages, is cantus planus? surviving Verse only, the other verses beginning directly on the Tenor Verse, and one beat at the Bar. Thus it is one beat shorter Verse, the Tenor is the same as that of the Antiphon which verses cannot be omitted from a study of Gregorian chant. Yet other Re- vertical Episema, etc. very important if a pleasing and intelligent execution is to be very late accretion, dating approximately from the eleventh century. very lightly Very likely the just-mentioned archetype reverts to this period. Out of it Very to the point discussion about the Solesmes signs. Charts included at end. Very Young Children [1830]; that of Thursday in Lent (Va) for Maundy ves so many elementary rhythms, the Ictus marking at the same Vesperale monasticum Juxta breviarium Benedictinum. VESPERS 5 Psalms with 5 Antiphons Chapter with Hymn and Versicle Vespers, the Nunc dimittis to Compline, and the Benedictus Dominus to Vespers. Two lesser Canticles are assigned to each day of the week, a vey with page references to the Liber usualis, and also with the correspond- Vf. VHth Tone, the auxilliary note would have to descend a half VI VI VI VI VI -¦¦¦ j .r^ ^— ^-^ - VI — VI — ¦ — ¦- VI Montpellier, BibL de Tficole Md. H. Vi- de Domi- ne * affli-cti- 6-nem me- am, Vi- di VI- num et lac. VI. — THE PSALMODY. 89 VI. — The Singing of the Passion. (^) VI. Canticle of Isaiah: Vere tu es (Isaiah 45:15-26) [A 167]. Via. Canticle of Habacuc: Domine audivi (Habakkuk 3:1-19) [A 171]. vii VII VII VII VII r VII Rome, Vatican Libr. lat. 5319 VII. — The Chanting of the " Confiteor ". VII. Canticle of Ecclesiastes: Miserere nostri (Eccl. 36: 1-16) [A 189]. viii VIII VIII VIII VIII VIII VIII VIII VIII VIII -- VIII G VIII Paris, Bibl. nat. lat. VIII T r ¦- T 1 -¦ VIII. — The Singing of the Chapter. Vila. Canticle of Moses: Audite coeli (Deuteronomy 32: 1-43) [A 192]. vir bonus et Justus : hie non consense-rat consi- li- o, et vir qui Virga Virga ( / ) or with Episema ( / ). An Apostropha-Pressus (^), Virga and the Pressus suffices to indicate the Fusion. Here Virga and the tristropha which follows it. Virga, which always precedes and dominates them, demonstrates Virga. There must be a repercussion on the Strophicus which Virgin, one for Sundays throughout the Year, two for Semi-doubles, one Virginis). Virgins; then a phrase of the Gradual from the Epiphany vit. vo-bis-cum. R/. Et cum spi-ri-tu tii- o. "^. Sur-sum corda. vo-bis-cum. R/. Et cum spi-ri-tu tu- o. ^^ . Sursum corda. vo-biscum. R/. Et cum spi-ri-tu tu- o. "f. Sursum corda. vocal technique seems difficult in our time, at least for a large vocaUses, or supported by a text, purely syllabic, the Pes vocis, are united to a following note or group; Ictus falls on voice must descend one Whole Step in the 2nd Tone; it must vols., Tournai, 1908, 1927. volume succeeds in clarifying the intricate problems involved, vos est is lux vowel and consonant are only a few things to keep in mind. Vowels. VP Variae preces ex liturgia . . . collectae, Solesmes, 1901. Vri. — THE LITURGICAL RECITATIVES. HO W'ords in Vulgar Latin. Example : Wagner 1 I: Ursprung und Entwicklung der liturgiscken Gesangs- Wagner II II: Neumenkunde, 1905; second edition, 1912 (refer* Wagner III III: Gregorianische Formenlehre, 1921. Wagner, Peter, Einfuhrung in die gregorianischen Melo- Wagner, Peter. Der Kampf gegen die Editio Vaticana Pamphlet. Graz: Styria, 1907. Published in English as wait, you will see ". It is not told what is to come to pass, — wanted by the composer is no doubt a slow trill of four beats, was added; then a third, until at last the fourth line completed was inserted between the second and the third reading, the Epistle and was L. Lambillotte, whose ideas were adopted and brought to final suc- was not exclusive to the Israelites; Babylonian and Egyptian was presented to the Jewish people in the forms to which they had been was retained. (For an explanation of the letters a, b, c, d, e, given with a was to be light, rapid and graceful. The preservation of this Washington, D.C. : Catholic Education Press, way and the only method suited to the flowing Gregorian ways to ioim -words; from words are born the phrase members, wdth a downward stroke of the pen : (\). wdth the Neums. It is a composite rhythm of the " contracted " We append a fev/ lines from the Passion read on Palm we are to deal with the Strophicus, properly called, Distropha We can observe that the three Transposed Scales are equivalent We cannot go into the man}^ technicalities of Arses and Theses we cannot have more than three beats in a group. When a We find another admonition for the Introit verses of the we find one of the most difficult dynamic problems of Plain we find such subtle phrases. All choir directors do not have we find the Rhythmic Ictus bringing out the musical thought. We find this peculiar construction in the earliest poetical works We give a few incises : We give four examples of the first case, the repeated note, We give the Fifth Psalm Tone as an Example, as it is the We give the following Example : we have an organist who makes it sound like Debussy." I know that it does We have discussed the Rhythm of Single Words. We shall We have learned that Rhythm obtains its Arsis-Thesis we have recourse to various punctuation marks : The period(.), We make use of the two principal groups of m.anuscripts, We may add that this part of Our Lord is the only part we may not have two Icti together; therefore we count back We must search the answers in the neumatic notation, as we shall now consider. It will be best to describe this service first in its weak beats return at fixed and equidistant intervals. This is Wednesday in Easter Week Wednesday in Holy Week Wednesday in the Fourth Week of Lent, and the Wednesday and Friday Wednesday of Holy Week contains some of the most impressive Wednesday to Wednesday in Holy Week Wednesday; one Gradual for the Friday; and four Graduals, a Hymn, and Wednesday: Wednesdays and Fridays being found in the Gradual and the Antiphonal 2 Week of Lent, represented in the Liber usualis by the Saturday only. After week, by the Feast of the Most Sacred Heart of Jesus. The Sundays of weekly, before each Sunday, though no longer as a continuous gathering weliave no certain knowledge, and to answer, at least with a certain degree well call it an "Introduction to the Introduction," I had to resign myself well explained in other languages, especially French. were careful to suppress in the Melody, the half-tone effect below What a gem! Similar to the Pustet/Ratisbon/Neo-Medicea of 1884, but NOT the same notes. Benedictine College furnished me this, along with so many others... What a relief this beautiful and sublime chant, almost " recto What interests us, however, in this short chapter on Gregorian What is the meaning of this term? Chant is the generic designation for What the Tonic accent is to a word, the Logical or Phraseo- Whatever their form, all notes have the same value; in modern Whatever type the lesson-chants may be, their number depends upon when a better interpretation can be accomplished. When a movement begins on the last part of a binary rhythm, When a pause occurs between the larger sections, and a breath When both notes of the Podatus are dotted, both are equal in when he finds it necessary. If the choir is incUned to shout When one syllable was to be doubled it was given two When prayer ends with a When several Psalms or several divisions of a Psalm with When the faithful keep the vigil in the church during night, David is first, middle, When the Ictus and the Tonic Accent coincide as above, the When the Lessons do not close with " Ttt aiitem Domine " , When the notes go above or below the Stave, other lines, When the Oration is brief, the Flexa is omitted; the Metrum When the Oration is long, the Punctum in the body of the When the Period is fairly long, it alternates many times When the Psalmody is sung in English there are certain When the same syllable could sustain two vocal inflections, when the Tonic Accent of the Word ahernates with the Rhythmic When the Versicle is somewhat long as happens in the Kyrie when the word is rhythmed, the Ictus is displaced, and passes when this is short. Example : When time-groups, the last note of which are without mora When transcribing the Chant into Modern notation, only when we consider that, first of all the Rhythmic Ictus marks whenever this can be done. For an example, let us take the where Arsis or Thesis is repeated (see above), also owes the where it is silent : Thomas = Tomas, Thesaurus = Tesaurus etc. where the white space might suggest a mora vocis. where, however, they occupy a different position from that of the major where, in the Festive Tone would be a Metrum, a Flexa, or where]; and a conclusion including, among other items, the Benedicamus wherever Plainsong is used. Whether the Composite Rhythm is to take the simpler form which " sings "; for, in addition to a true musical modulation which are found in the manuscripts. The same copyist, for which closes each verse, it is quite different : All but Four which commemorates the descent of the Holy Spirit on the Apostles. Simi- which compose it cannot be reduced to a determined scale, it which decide the outward form and length of the sections and which end on the Ictus are called Masculine : which finally comes to rest, expresses the correct interpretation of which is added a descending note : which is much like it. The note carrying the Ictus is always which is pierced with the most profound disgust for the traitor which is primarily devoted to investigations of style and form; nor would which is sung at the Unison on the Dominant or Tenor, Do, which is the infallible sign of juncture. Often the (j*) serves to which is the prevailing species in Gregorian Chant, it is which is to accelerate up to the trigon, or pressus of the square which occurs at the end of the Incise or short Member (where which our studies are based. Because of the scarcity of factual information which respond ceaselessly to each other give a balance and which starts the Arsis before the Chant begins : which syllables belong to each word. This " fusion ", this which the accented syllables occupy almost always a note or which the Christians received from the Jews. In fact, it acquired a much Which the nobles of the people delved ". This type of poetry which we have been discussing; this is called Composite Rhythm which we will treat later. which without them would have Httle meaning; on the other While the first half of the two-thousand years' life of the chant was a Whit Monday Whit Sunday have only one Nocturn. In early medieval practices the number of Responso- Whit Tuesday Whitsun Eve, which lacks the Introit. who has served their evil purpose : who, because of his former association with St. Meinrad, was in a position whole, hardly more convincing than the attempt to derive the melody of whose action is felt between the sections and members just at whose different divisions tend to unite the whole, instead of WHOSE KIND CO-OPERATION whose tonaUty is farthest removed from our Modern scales. wide intervals require less speed. will better preserve the true Gregorian tradition? This question will deny; but it is equally undeniable that it has often been added in will illustrate : will reveal many close relationships between rhythm and idea. WILLI APEL wings, soars higher and higher, dips down a little, then higher wisely chosen for the "Brief Response " of Compline, the last with With 3 members : with a Common Punctum. with a descending cadence. with a few practical suggestions as to its interpretation. I have with a gradual decrescendo at the Final Cadence. with a Psalm), Responsories, and Hymns, the latter especially during the with a tristropha (group 3) and a clivis (group 4). With amazing PREFACE by Mocquereau (#643 has English, #632 BENEDIC has Latin). with an Antiphon, that is, a short text sung to an individual melody before with an upward stroke of the pen : (/). with component parts — The Intonation — The Tenor or Dominant with different countries and schools of copyists. with discreet expression, supporting well the E at the beginning with each other. In order that the words may be hnked together with Gregorian chant according to the Vatican edition : with rhythmical signs / With Gregorian chants in modern notation. with his hand the movements of both melody and rhythm. with its triple acclamation "Sanctus, Sanctus, Sanctus," is derived, together with pauses of the right proportion. with sadness during the long agony and Passion of Christ. The With syllables are formed words. But the syllables by with the ( c ), in Saint-Gall. with the art and taste demanded in the performance of these with the exception of the usual borrowed note below its Final. With the famous Vatican Preface translated in English (interesting translation). with the Flexa and the Metrum; when, on the contrary, it is with the Greek-Byzantine Trishagion ("Hagios, hagios, hagios") from the with the intention of conveying its full meaning, and with with the long punctum, which indicates a support and with the rhythmic ictus, after the Strophicus. — The rhythmic with the top of the circle, while for the ternary group, the circle with the usual melodic cadences, and the Punctum with the with two notes of preparation, Si and La. The Flexa is likewise with two preparatory notes. with understanding. A careful study of ever^^ individual Within the confine of the whole Bar develops the complete without Antiphon, as Psalm 145 at Vespers, 129 in the Office for Without deciding the exact place of every Ictus, or rhythmic without even knowing what a Gradual is nor to which feast this particular Women, among others. A few Masses, e.g., those of the Rogation Days and wonder just what part it has in the Service. It is an inseparable wonder that the chants of the Ordinary are completely absent in -the word mav have more than one Arsis) : Word of four syllables with Ternary Arsis : word or for dynamic reasons, but it can never be reduced to word rhythm is sacrificed to melodic rhythm, thus disproving word scan, scourge, scum. word than "in", the first syllable of that word has the Ictus. words and syllables, and the meaning of the text, is words no Rhythmic Division can be smaller than two words seem separated by the intensity and emphasis on the Words succeed each other by Juxtaposition. words the U plays the part of a liaison as in the case of AU words: Te igitur, clementissime Pater, and culminating in the sentences: words. That which constitutes properly the word and gives words. The cadences should be given special attention. words. There are many delicate nuances which permit the work of Dom Andre Mocquereau, " Le Nomhve Musical Gregorien", Worship Jehovah in holy array ". worth three simple heats. Like the simple, beat, the composite would be his conclusion, as he would decide to place the rhythmic would be nothing more than a rehash. The present chapter, then, is no would have cadenced on the DO grave, as the Synagogue on would make the following mistake, and place the ictus on the Wow! write in two different ways the following. writers, Octavus Perfectus, and we find it serving the X X — in most cases has the same sound as in English. But X — is slightly softened when it comes between two vowels : X Mathias, Fr. X-./t/' /7/t^^^/.-/l/7 X. — The Chanting of the Absolution X. Introduction, X/A XC — when followed by the hard vowels a, o, and w, has the XC before e, ae, ce, i and y must be carefully noticed. It is xi XI. — Chants of the Lessons. XII. xiii XIII) include a number of melodies that are foreign to the Roman repertory and have xit. XIV GREGORIAN CHANT XIX, 207); J. Jeanneteau, "L'Antiphonaire Monastique" (RG, XXXI, 209). Xll GREGORIANCHANT XV [57], both written in a pentatonic E-tonality which Clement of Alex- y — always treated as a vowel, never like a consonant. Y — see vowels. y ?? 77;> y . Dominus vo-biscum. R/. Et cum Spi-ri-tu tii- o. 0-remus. y . Ma- gnus Do- mi- nus, et y . Per omni- a saecu-la saecu-I6- rum. R/. Amen. ^ . Domi-nus y . Sit nomen D6mi-ni bene-dictum. R/. Ex hoc nunc et usque y ¦ y- r^or/zr y-. n n /) :. /i rr y-. n n n .\ /i /r y. Adju-to-ri- um nostrum in nomi-ne D6mi-ni. R/. Qui fe-cit y. D6mi-nus vo-bis-cum. (Pax v6-bis). R;. Et cum spi-ri-tu y. De-US in adju-to-ri- um me- um intende. R/. D6mi-ne y. De-US, in adju-to-ri- um me- um intende. R", D6mi-ne, y. Di-ri-ga-tur D6mi-ne o-ra-ti- o me- a. y. Di-ri-gatur D6mi-ne o-ra-ti- o me- a. y. Dignare me laudare te, Virgo sa- cra- y. Do- mi- nus vo-biscum. 0-remus. De- us qui no-bis y. Domi-nus vo-bis-cum. R". Et cum spi-ri-tu tii- o. Se- y. Dominus vo-biscum. R". Et cum spi-ri-tu tu- o. 0-remus. y. Per omni- a saecu-la saecu-16- rum. R/. Amen. y. Dominus y. Per omni- a saecu-la saecu-16-rum. R/. Amen. )^. Domi-nus y. Per omni- a saecu-la saecu-io- rum. K/. Amen. f. Et ne yA Yet another term, documented as early as the tenth century and uni- Yet another variation in the structure of the Proper of the Mass is the yii ¦ ¦¦¦¦ yllables York, 1940), pp. 431-45, and tie article "Choral" in MGG. you wonder how it can be possible — but let us remind ourselves yr ys^- Z — pronounced dz. Example : Zizania = dzi-dza-ni-a.

 

 

 

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