The Introit Gaudeamus omnes, scripted in square notation in the 14th—15th century Graduale Aboense, honors Henry, patron saint of Finland.

Gaudeamus omnes, Introit for the Mass in honor of Henry, patron saint of Finland Click on the manuscript image and download the high-resolution version to follow along with the score, starting at the large calligraphed "G. The Introit ( Latin: introitus, "entrance" is part of the opening of the celebration of the Roman Catholic Mass and the Lutheran " The antiphon repeats after the psalm verse "Annunciabunt. . . quẽ fecit dominus" and again after the "Gloria patri. " Only the beginning and end of the "Gloria patri" are in the manuscript; "EVOVAE" represents the vowels in the final six syllables, "sæculorum, amen. " The Latin is pronounced in the manner of Renaissance Germany, based on Åbo's German ecclesiastical connections. Problems listening to the file? See media help.

Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical chant of Western Christianity that accompanied the celebration of Mass and other ritual services. For the band see " Plainsong (band " For the song on The Cure's 1989 album see " Disintegration " In Music, monophony is the simplest of textures, consisting of Melody without accompanying Harmony. A liturgy is the customary public worship done by a specific religious group according to their particular traditions Western Christianity is a term used to cover the Latin Rite of the Roman Catholic Church, the Churches of the Anglican Communion, the Lutheran Church This vast repertory of chants is the oldest music known as it is the first repertory to have been adequately notated in the 10th century. In general, the chants were learnt by the viva voce method, that is by following the given example orally, which took many years of experience in the Schola Cantorum. This article is about the Parisian musical institute For other organizations called Schola Cantorum see Schola Cantorum (disambiguation. Gregorian chant originated in Monastic life, in which singing the 'Divine Service' nine times a day at the proper hours was upheld according to the Rule of St. Benedict. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history Gregorian Chant has been subjected to many gradual changes and some reforms.

History

Gregorian chant was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. The Franks or Frankish people (Franci or gens Francorum) were West Germanic tribes first identified in the 3rd century as an Ethnic group Although popular belief credits Pope Gregory the Great with having personally invented Gregorian chant, scholars now believe that the chant bearing his name arose from a later Carolingian synthesis of Roman and Gallican chant and that at that time the attribution to Gregory I was a 'marketing ruse' to invest it with a pedigree of Holy Inspiration in efforts to create one liturgic protocol that would be practised throughout the entire Empire. The Carolingian dynasty (known variously as the Carlovingians, Carolings, or Karlings) was a Frankish noble family with its origins in the Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction One Empire, one Church, one Chant - imposing Unity was a central issue in Carolingian days. During the following centuries the Chant tradition was still at the heart of Church music, where it gave rise to various extensions in the sense that new performance practices had won their way in in which new music on new texts was introduced or the existing chants were extended by setting them as Organum. Organum (ˈɔrgənəm though the stress is now sometimes incorrectly put on the second syllable from Ancient Greek ὄργανον - organon "organ instrument Even the polyphonic music that arose from the venerable old chants in the Organa by Leonin and Perotin in Paris (1160-1240) ended in monophonic chant and in later traditions new composition styles were practised in juxtaposition (or co-habitation) with monophonic chant. In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony Léonin (also Leoninus, Leonius, Leo) ( fl 1150s — d ? 1201) is the first known significant Pérotin ( fl c 1200 also called Perotin the Great, was a European Composer, believed to be French, who lived In Music, monophony is the simplest of textures, consisting of Melody without accompanying Harmony. This practice continued into the lifetime of Francois Couperin, whose Organ Masses were meant to be performed with alternating homophonic Chant. François Couperin (fʀɑ̃swa kuˈpʀɛ̃ (November 10 1668 &ndash September 11 1733 was a French Baroque composer organist and harpsichordist In Music, homophony (hoʊˈmɒfəni from Greek "homófonos" where ομοιο = the same and φωνή = a sound tone is a texture in which two or more Although it had mostly fallen into disuse after the Baroque period, Chant experienced a revival in the 19th century in the Roman Catholic Church and the Anglo-Catholic wing of the Anglican Communion. The terms Anglo-Catholic and Anglo-Catholicism (or sometimes possibly incorrectly High Church &mdashsee below describe people See also Anglicanism The Anglican Communion is an international association of national Anglican churches

Organization

Gregorian chants are organized into eight modes. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode Typical melodic features include characteristic incipits and cadences, the use of reciting tones around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants. The incipit of a text such as a Poem, Song, or Book, is its first few words or opening line In Western Musical theory, a harmonic cadence (Latin cadentia, "a falling" is a formula of two chords that conclude In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension In Music, a melody (from Greek μελῳδία - melōidía, "singing chanting" also tune, voice, or In Music centonization (from Latin cento or patchwork (Randel p

Although the modern major and minor scales are strongly related to two of the church modes, the modern eight-tone scale is based on different harmonic principles and is organized differently from the scales of the church modes, which are based on six-note patterns called hexachords. In Music, a hexachord is a six-note segment of a scale or tone row The main notes in a hexachord are the dominant and the final. Depending on where the final falls in the sequence of the hexachord, the mode is characterized as either authentic or plagal. Modes with the same final share certain characteristics, and it is easy to modulate back and forth between them, hence the eight modes fall into four larger groupings based on their finals.

Notation

Gregorian chants are notated in a graphic notation which uses a repertoire of specific signs called neumes, that captured a basic musical gesture (see musical notation). Neumes are the basic elements of Western and Eastern systems of Musical notation prior to the invention of five-line staff notation See also Modern musical symbols Music notation or musical notation is any system which represents aurally perceived Music through the use As books represented a large capital, the early chantbooks were notated with abbreviations in the text wherever possible with the neumes written over the text. In later stadia one or more lines were added, and during the 11th century this obvious need to capture also the intervals had evolved into the square notation, from which eventually modern five-line staff developed during the 16th century. In standard Western Musical notation, the staff ( AmE) or stave ^[1] Gregorian chant was the central and dominating musical tradition throughout Europe and as such is at the root of musical developments that were to issue from it, as the rise of polyphony in the eleventh century. In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony

Singers

Gregorian chant was traditionally sung by choirs of men and boys in churches, or by women and men of religious orders in their chapels. For the musical composition see Chorale. A choir, chorale, or chorus is a Musical ensemble of Singers A religious order is a lineage of communities and organizations of people who live in some way set apart from society in accordance with their specific religious devotion usually A chapel is a holy place or area of Worship for Christians, which may be attached to an institution such as a large church, a College, a It is the music of the Roman Rite, performed in the Mass and the monastic Office. The liturgical rite of the Church of Rome is called the Roman Rite. The Mass is the Eucharistic celebration in the Latin liturgical rites of the Roman Catholic Church. Canonical hours are divisions of time developed by the Christian Church, serving as increments between the prescribed Prayers of the daily round Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. ^[2] During the 20th century, Gregorian chant underwent a musicological and popular resurgence.

Development of earlier plainchant

Unaccompanied singing has been part of the Christian liturgy since the earliest days of the Church. Christianity ( Greek Χριστιανισμός from the word Xριστός ( Christ)is a monotheistic Religion centered on the life and teachings A liturgy is the customary public worship done by a specific religious group according to their particular traditions Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. Psalms ( Hebrew: Tehilim, תהילים, or "praises" is a book of the Hebrew Bible (the Christian Old Testament) included The history of Ancient Israel and Judah is known to us from classical sources including Judaism 's Tanakh or Hebrew Bible (known Early Christianity is commonly defined as the Christianity of the three centuries between the Crucifixion of Jesus ( c This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in synagogues for centuries after the Destruction of the Second Temple in AD 70. A synagogue (from Greek: grc συναγωγή transliterated synagogē, "assembly" he בית כנסת beit knesset, "house of The Siege of Jerusalem in the year 70 AD It was a decisive event in the First Jewish-Roman War, followed by the fall of Masada in 73 ^[3] However, early Christian rites did incorporate elements of Jewish worship that survived in later chant tradition. Canonical hours have their roots in Jewish prayer hours. Canonical hours are divisions of time developed by the Christian Church, serving as increments between the prescribed Prayers of the daily round "Amen" and "alleluia" come from Hebrew, and the threefold "sanctus" derives from the threefold "kadosh" of the Kedusha. The word Amen (; آمين, ’Āmīn; "So be it truly" Its use in Judaism dates back to its earliest texts The Alleluia is chanted before the Gospel lesson in the Eucharistic Liturgies of the various Christian liturgical rites. Sanctus is the Latin word for holy or saint and is the name of an important Hymn of Christian Liturgy. See also Amidah The Kedusha is traditionally the third section of all Amidah recitations ^[4]

The New Testament mentions singing hymns during the Last Supper: "When they had sung the hymn, they went out to the Mount of Olives" Matthew 26.30. In the Christian Gospels the Last Supper (also called the Lord's Supper or Mystical Supper) was the last meal Jesus shared with his The Mount of Olives (also Mount Olivet, جبل الزيتون الطور Jebel az-Zeitun הר הזיתים Har HaZeitim; is a mountain ridge in east Other ancient witnesses such as Pope Clement I, Tertullian, St. Athanasius, and Egeria confirm the practice,^[5] although in poetic or obscure ways that shed little light on how music sounded during this period. Saint Quintus Septimius Florens Tertullianus, Anglicised as Tertullian, (ca In early Christian history, Egeria, also known as Aetheria, is the name of a Spanish or Gallic woman who made a Pilgrimage to ^[6] The 3rd-century Greek "Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain. The Oxyrhynchus hymn (or P Oxy XV 1786) is the earliest known manuscript of a Christian Hymn to contain both Lyrics and Musical notation ^[7]

Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian agape feasts. For places named after the saint see Saint-Hippolyte Saint Hippolytus of Rome (c Hallel (הלל "Praise" is a Jewish prayer &mdasha verbatim recitation from Psalms 113-118 which is used for praise and thanksgiving that is recited The Agape feast, or love-feast was an Early Christian religious meal in close relation with the Eucharist. ^[8] Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following St. Anthony introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Saint Anthony the Great (c 251–356 also known as Anthony the Abbot, Anthony of Egypt, Anthony of the Desert, Anthony the Anchorite, Around 375, antiphonal psalmody became popular in the Christian East; in 386, St. Ambrose introduced this practice to the West. This article is about the musical term See Antiphon (person the orator of ancient Greece Saint Ambrose (c 338 &ndash 4 April 397) was a bishop of Milan who became one of the most influential ecclesiastical figures of the fourth century

Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410, St. Augustine described the responsorial singing of a Gradual psalm at Mass. A responsory or respond is a type of chant in western Christian Liturgies. The Gradual ( Latin: graduale, sometimes called the Grail) is a chant in the extraordinary form of the Roman Catholic Mass At ca. 520, Benedictus of Nursia established what is called the rule of St. "Saint Benedict" redirects here This article is about the founder of Western monasticism for other saints named Benedict see Benedict. Benedict, in which the protocol of the Divine Office for monastic use was laid down. Around 678, Roman chant was taught at York. York ( is an historic Walled city sited at the confluence of the rivers Ouse and Foss in North Yorkshire, England. ^[9] Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles (Celtic chant), Spain (Mozarabic), Gaul (Gallican), and Italy (Old Roman, Ambrosian and Beneventan). Celtic chant is the liturgical plainchant repertory of the Celtic rite of the Roman Catholic Church performed in the British Isles and Brittany Mozarabic chant (also known as Hispanic chant, Old Hispanic chant, Old Spanish chant, or Visigothic chant) is the liturgical plainchant Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church related Beneventan chant is a liturgical plainchant repertory of the Roman Catholic Church used primarily in the orbit of the southern Italian ecclesiastical centers These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western Roman Empire collapsed. The Roman Empire was the post-Republican phase of the ancient Roman civilization, characterised by an autocratic form of government and large territorial

Origins of the new tradition

A dove representing the Holy Spirit sitting on Pope Gregory I's shoulder symbolizes Divine Inspiration

The Gregorian repertory was systematized for use in the Roman Rite. In mainstream Christianity, the Holy Spirit or Holy Ghost is one of the three entities of the Holy Trinity which make up the single substance The liturgical rite of the Church of Rome is called the Roman Rite. According to James McKinnon, the core liturgy of the Roman Mass was compiled over a brief period in the late 7th century. James W McKinnon ( 1932 - February 23, 1999) was an American Musicologist most known for his work in the fields of Western Plainchant Other scholars, including Andreas Pfisterer and Peter Jeffery, have argued for an earlier origin for the oldest layers of the repertory.

Scholars debate whether the essentials of the melodies originated in Rome, before the 7th century, or in Francia, in the 8th and early 9th centuries. The Franks or Frankish people (Franci or gens Francorum) were West Germanic tribes first identified in the 3rd century as an Ethnic group Traditionalists point to evidence supporting an important role for Pope Gregory the Great between 590 and 604, such as that presented in H. Bewerung's article in the Catholic Encyclopedia. ^[10] Scholarly consensus, supported by Willi Apel and Robert Snow, asserts instead that Gregorian chant developed around 750 from a synthesis of Roman and Gallican chant commissioned by Carolingian rulers in France. Willi Apel ( October 10, 1893 &ndash March 14, 1988) was a German-American Musicologist. Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction The Carolingian dynasty (known variously as the Carlovingians, Carolings, or Karlings) was a Frankish noble family with its origins in the During a visit to Gaul in 752–753, Pope Stephen II had celebrated Mass using Roman chant. In sources prior to the 1960s this pope is sometimes called Stephen III and Pope-elect Stephen is sometimes called Stephen II. The Mass is the Eucharistic celebration in the Latin liturgical rites of the Roman Catholic Church. According to Charlemagne, his father Pepin abolished the local Gallican rites in favor of the Roman use, in order to strengthen ties with Rome. Charlemagne (ˈʃɑrlɨmeɪn Carolus Magnus or Karolus Magnus meaning Charles the Great) (747 – 28 January 814 was King of the Franks from 768 to his Pepin or Pippin (714 &ndash 24 September 768) called the Short, and often known as Pepin the Younger or Pepin III, was The Gallican Rite is a historical sub-grouping of the Roman Catholic Liturgy in Western Europe; it is not a single rite but actually a family of Rites ^[11] In 785–786, at Charlemagne's request, Pope Hadrian I sent a papal sacramentary with Roman chants to the Carolingian court. Pope Adrian, or Hadrian I, (d December 25, 795) was Pope from February 9 772 to December 25 795 The Sacramentary is a book containing the prayers that a priest recites at Mass. This Roman chant was subsequently modified, influenced by local styles and Gallican chant, and later adapted into the system of eight modes. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode This Frankish-Roman Carolingian chant, augmented with new chants to complete the liturgical year, became known as "Gregorian. " Originally the chant was probably so named to honor the contemporary Pope Gregory II,^[12] but later lore attributed the authorship of chant to his more famous predecessor Gregory the Great. Pope Gregory was portrayed dictating plainchant inspired by a dove representing the Holy Spirit, giving Gregorian chant the stamp of holy authority. In mainstream Christianity, the Holy Spirit or Holy Ghost is one of the three entities of the Holy Trinity which make up the single substance Gregory's authorship is popularly accepted as fact to this day. ^[13]

Dissemination and hegemony

Gregorian chant appeared in a remarkably uniform state across Europe within a short time. Charlemagne, once elevated to Holy Roman Emperor, aggressively spread Gregorian chant throughout his empire to consolidate religious and secular power, requiring the clergy to use the new repertory on pain of death. Charlemagne (ˈʃɑrlɨmeɪn Carolus Magnus or Karolus Magnus meaning Charles the Great) (747 – 28 January 814 was King of the Franks from 768 to his The Holy Roman Emperor (Römischer Kaiser or Römisch-Deutscher Kaiser Romanorum Imperator was the elected monarch ruling over the many varying numbers of states ^[14] From English and German sources, Gregorian chant spread north to Scandinavia, Iceland and Finland. Terminology and usage As a cultural term "Scandinavia" has no official definition and is subject to usage by those who identify with the culture in question as well Iceland, officially the Republic of Iceland ( ( Ísland or Lýðveldið Ísland ( Finland, officially the Republic of Finland ( is a Nordic country situated in the Fennoscandian region of northern Europe. ^[15] In 885, Pope Stephen V banned the Slavonic liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including Poland, Moravia, Slovakia, and Austria. Pope Stephen V, (885-891 succeeded Pope Adrian III, and was in turn succeeded by Pope Formosus. Church Slavonic (also Church Slavic, Old Bulgarian) is the Liturgical language of the Bulgarian Orthodox Church, Macedonian Orthodox Poland (Polska officially the Republic of Poland Moravia (Morava; Morawy Moravie Moravia is a historical region in central Europe in the east of the Czech Republic, one of the former Czech lands. Slovakia (long form Slovak Republic; Slovak:, long form, is a Landlocked country in Central Europe with a population of over five million Austria (Österreich ( officially the Republic of Austria (Republik Österreich

The other plainchant repertories of the Christian West faced severe competition from the new Gregorian chant. Charlemagne continued his father's policy of favoring the Roman Rite over the local Gallican traditions. By the 9th century the Gallican rite and chant had effectively been eliminated, although not without local resistance. ^[16] The Gregorian chant of the Sarum Rite displaced Celtic chant. The Sarum Rite was a variant of the Roman Rite widely used for the ordering of Christian public worship including the Mass or Eucharist Celtic chant is the liturgical plainchant repertory of the Celtic rite of the Roman Catholic Church performed in the British Isles and Brittany Gregorian coexisted with Beneventan chant for over a century before Beneventan chant was abolished by papal decree (1058). Beneventan chant is a liturgical plainchant repertory of the Roman Catholic Church used primarily in the orbit of the southern Italian ecclesiastical centers Mozarabic chant survived the influx of the Visigoths and Moors, but not the Roman-backed prelates newly installed in Spain during the Reconquista. Mozarabic chant (also known as Hispanic chant, Old Hispanic chant, Old Spanish chant, or Visigothic chant) is the liturgical plainchant The Visigoths (Visigothi, Wisigothi, Vesi, Visi, Wesi, or Wisi were one of two main branches of the Goths, an East The description Moors has referred to several historic and modern populations of Muslim (and earlier non-Muslim people of Berber and Arab descent The Reconquista (a Spanish and Portuguese word for "Reconquest" Arabic: الاسترداد, "Recapturing" was a period Restricted to a handful of dedicated chapels, modern Mozarabic chant is highly Gregorianized and bears no musical resemblance to its original form. Ambrosian chant alone survived to the present day, preserved in Milan due to the musical reputation and ecclesiastical authority of St. Ambrose. Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church related Milan (Milano Milan (listen) is one of the largest cities in Italy, located in the plains of Lombardy. Saint Ambrose (c 338 &ndash 4 April 397) was a bishop of Milan who became one of the most influential ecclesiastical figures of the fourth century

Gregorian chant eventually replaced the local chant tradition of Rome itself, which is now known as Old Roman chant. Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related In the 10th century, virtually no musical manuscripts were being notated in Italy. Instead, Roman Popes imported Gregorian chant from the German Holy Roman Emperors during the 10th and 11th centuries. For example, the Credo was added to the Roman Rite at the behest of the German emperor Henry II in 1014. The credo ( Latin for "I Believe" ˈkɾeːd̪oː is a statement of Religious belief, such as the Nicene Creed (or less often another creed The liturgical rite of the Church of Rome is called the Roman Rite. Saint Henry II ( May 6, 973 &ndash July 13, 1024) called the Holy or the Saint, was the fifth and last Holy ^[17] Reinforced by the legend of Pope Gregory, Gregorian chant was taken to be the authentic, original chant of Rome, a misconception that continues to this day. By the 12th and 13th centuries, Gregorian chant had supplanted or marginalized all the other Western plainchant traditions.

Later sources of these other chant traditions show an increasing Gregorian influence, such as occasional efforts to categorize their chants into the Gregorian modes. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode Similarly, the Gregorian repertory incorporated elements of these lost plainchant traditions, which can be identified by careful stylistic and historical analysis. For example, the Improperia of Good Friday are believed to be a remnant of the Gallican repertory. The Improperia are a series of antiphons and responses expressing the remonstrance of Jesus Christ with His people Good Friday, also called Holy Friday or Great Friday, is the Friday preceding Easter Sunday ("Pascha" ^[18]

Early sources and later revisions

The first extant sources with musical notation were written around 930 (Graduale Laon). Before this, plainchant had been transmitted orally. Most scholars of Gregorian chant agree that the development of music notation assisted the dissemination of chant across Europe. The earlier notated manuscripts are primarily from Regensburg in Germany, St. Gall in Switzerland, Laon and St. Martial in France. Regensburg ( also Ratisbon, Ratisbona Řezno originally Castra Regina) is a City (population 131000 in 2007 in Bavaria, Germany Germany, officially the Federal Republic of Germany ( ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant is a Country in Central Europe. The Abbey of St Gall (Sankt Gallen was for many centuries one of the chief Benedictine Abbeys in Europe Switzerland (English pronunciation; Schweiz Swiss German: Schwyz or Schwiiz Suisse Svizzera Svizra officially the Swiss Confederation Laon (lɑ̃ is a city and commune in Picardie in northern France, préfecture (capital} of the Aisne department St Martial's Abbey was an abbey in Limoges, France, founded in 848 and dissolved in 1791. This article is about the country For a topic outline on this subject see List of basic France topics.

Gregorian chant has in its long history been subjected to a series of redactions to bring it up to changing contemporary tastes and practice. The more recent redaction undertaken in the Benedictine Abbey of St. Pierre, Solesmes, has turned into a huge undertaking to restore the allegedly corrupted chant to a hypothetical "original" state. Early Gregorian chant was revised to conform to the theoretical structure of the modes. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode In 1562–63, the Council of Trent banned most sequences. The Council of Trent was the 19th Ecumenical Council of the Roman Catholic Church. This article is about Latin poems and songs For the Early music group see Sequentia (music group. Guidette's Directorium chori, published in 1582, and the Editio medicea, published in 1614, drastically revised what was perceived as corrupt and flawed "barbarism" by making the chants conform to contemporary aesthetic standards. ^[19] In 1811, the French musicologist Alexandre-Étienne Choron, as part of a conservative backlash following the liberal Catholic orders' inefficacy during the French Revolution, called for returning to the "purer" Gregorian chant of Rome over French corruptions. Alexandre-Étienne Choron ( Caen, 21 October 1771 &ndash Paris, 29 June 1834) for a short time directed the Paris The French Revolution (1789–1799 was a period of political and social upheaval in the History of France, during which the French governmental structure previously an ^[20]

In the late 19th century, early liturgical and musical manuscripts were unearthed and edited. Earlier, Dom Prosper Gueranger revived the monastic tradition in Solesmes. Dom Prosper Louis Pascal Guéranger (born 4 April 1805, Sablé-sur-Sarthe, France; died 30 January 1875, Solesmes Re-establishing the Divine Office was among his priorities, but no proper chantbooks existed. Many monks were sent out to libraries throughout Europe to find relevant Chant manuscripts. In 1871, however, the old Medicea edition was reprinted (Pustet, Regensburg) which Pope Pius IX declared the only official version. Pustet is a long-established German publishing firm History The original home of the Pustets was the Republic of Venice where the name Bustetto is common Blessed Pope Pius IX (May 13 1792 &ndash February 7 1878 born Giovanni Maria Mastai-Ferretti, was Pope from June 16 1846 until 1878 In their firm belief that they were on the right way, Solesmes increased its efforts. In 1889, after decades of research, the monks of Solesmes released the first book in a planned series, the Paléographie Musicale. Solesmes Abbey or St Peter's Abbey Solesmes ( Abbaye Saint-Pierre de Solesmes) is a Benedictine Monastery in Solesmes ( The incentive of its publication was to demonstrate the corruption of the 'Medicea' by presenting photographed notations originating from a great variety of manuscripts of one single chant, which Solesmes called forth as witnesses to assert their own reforms. The monks of Solesmes brought in their heaviest artillery in this battle, as indeed the academically sound 'Paleo' was intended to be a war-tank, meant to abolish once and for all the corrupted Pustet edition. On the evidence of congruence throughout various manuscripts (which were duely published in facsimile editions with ample editorial introductions) Solesmes was able to work out a practical reconstruction. A facsimile (From Latin fac simile, "make like" is a copy or reproduction of an old Book, Manuscript, Map, This reconstructed chant was academically praised, but rejected by Rome until 1903, when Pope Leo XIII died. Pope Leo XIII ( March 2, 1810 – July 20, 1903) born Count Vincenzo Gioacchino Raffaele Luigi Pecci, was the 256th Pope His successor, Pope Pius X, promptly accepted the Solesmes chant — now compiled as the Liber usualis — as authoritative. Saint Pius X ( Latin: Pius PP X) ( June 2, 1835 &mdash August 20, 1914) born Giuseppe Melchiorre Sarto, was the The Liber Usualis is a book of commonly-used Gregorian chants compiled by the monks of the Abbey of Solesmes in France In 1904, the Vatican edition of the Solesmes chant was commissioned. Serious academic debates arose, primarily owing to stylistic liberties taken by the Solesmes editors to impose their controversial interpretation of rhythm. The Solesmes editions insert phrasing marks and note-lengthening episema and mora marks not found in the original sources. Conversely, they omit significative letters found in the original sources, which give instructions for rhythm and articulation such as speeding up or slowing down. These editorial practices has placed the historical authenticity of the Solesmes interpretation in doubt. ^[21] Ever since the restoration of Chant was taken up in Solesmes, there have been lengthy discussions of exactly what course was to be taken. Some favored a strict academic rigour and wanted to postpone publications, while others concentrated on practical matters and wanted to supplant the corrupted tradition as soon as possible. Roughly a century later, this breach between a strict musicological approach and the interest of the Church which is in keeping one central tradition for the congregation without too much confusing changes made to the repertory. Thus the established performance tradition since the onset of the restoration is at odds with musicological evidence.

In his motu proprio Tra le sollicitudine, Pius X mandated the use of Gregorian chant, encouraging the faithful to sing the Ordinary of the Mass, although he reserved the singing of the Propers for males. Tra le sollicitudine was a Motu proprio issued 22 November 1903 by Pope Pius X, possibly co-written by Don Lorenzo The Ordinary of the Mass ( Latin: Ordo Missae) is the set of texts of the Roman Catholic Church Latin Rite Mass that are generally The Proper (Latin proprium) is a part of the Christian liturgy that varies according to the date either representing an observance within the Liturgical Year While this custom is maintained in traditionalist Catholic communities, the Catholic Church no longer persists with this ban. Traditionalist Catholics are Roman Catholics, or people who identify as Roman Catholics who believe that there should be a restoration of many or all of the liturgical Vatican II officially allowed worshipers to substitute other music, particularly modern music in the vernacular, in place of Gregorian chant, although it did reaffirm that Gregorian chant was still the official music of the Catholic Church, and the music most suitable for worship. The Second Ecumenical Council of the Vatican, or Vatican II, was the twentieth century Ecumenical Council of the Roman Catholic Church. ^[2]

Musical form

Melodic types

Gregorian chant is of course vocal music. The text, the phrases, words and eventually the syllables, can be sung in various ways. The most straightforward is recitation on the same tone, which is called "syllabic" as each syllable is sung to a single tone. Likewise, simple chants are often syllabic throughout with only a few instances where two or more notes are sung on one syllable. "Neumatic" chants are more embellished and ligatures, a connected group of notes, written as a single compound neume, abound in the text. Melismatic chants are the most ornate chants in which elaborate melodies are sung on long sustained vowels as in the Alleluia, ranging from five or six notes per syllable to over sixty in the more prolix melismas. Melisma, in music is singing a single syllable of text while moving between several different notes in succession ^[22]

Gregorian chants fall into two broad categories of melody: recitatives and free melodies. Recitative /rɛsɪtə'tiv/ (also known by its Italian name "recitativo" (/retʃita'tivo/ is a style of delivery (much used in Operas Oratorios ^[23] The simplest kind of melody is the liturgical recitative. Recitative melodies are dominated by a single pitch, called the reciting tone. In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension Other pitches appear in melodic formulae for incipits, partial cadences, and full cadences. The incipit of a text such as a Poem, Song, or Book, is its first few words or opening line In Western Musical theory, a harmonic cadence (Latin cadentia, "a falling" is a formula of two chords that conclude These chants are primarily syllabic. For example, the Collect for Easter consists of 127 syllables sung to 131 pitches, with 108 of these pitches being the reciting note A and the other 23 pitches flexing down to G. In Christian Liturgy, a collect kol-ekt' is both a liturgical action and a short general Prayer. Easter ( Greek: Πάσχα Pascha or Pasxa) is the most important religious feast in the Christian Liturgical year. ^[24] Liturgical recitatives are commonly found in the accentus chants of the liturgy, such as the intonations of the Collect, Epistle, and Gospel during the Mass, and in the direct psalmody of the Office. Accentus Ecclesiasticus is a Church music term the counterpart of concentus, indicating those parts sung solo by a clergyman An epistle (pronounced) ( Greek επιστολη epistolē "letter" is a writing directed or sent to a person or group of persons usually a letter This article is about the canonical books of the New Testament The Mass is the Eucharistic celebration in the Latin liturgical rites of the Roman Catholic Church. Psalms ( Hebrew: Tehilim, תהילים, or "praises" is a book of the Hebrew Bible (the Christian Old Testament) included Canonical hours are divisions of time developed by the Christian Church, serving as increments between the prescribed Prayers of the daily round

Epistle for the Solemn Mass of Easter Day

example of liturgical recitative in Gregorian chant

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Psalmodic chants, which intone psalms, include both recitatives and free melodies. Psalms ( Hebrew: Tehilim, תהילים, or "praises" is a book of the Hebrew Bible (the Christian Old Testament) included Psalmodic chants include direct psalmody , antiphonal chants, and responsorial chants. ^[25] In direct psalmody, psalm verses are sung without refrains to simple, formulaic tones. Most psalmodic chants are antiphonal and responsorial, sung to free melodies of varying complexity.

Missal with Gregorian chants

Antiphonal chants such as the Introit, and Communion originally referred to chants in which two choirs sang in alternation, one choir singing verses of a psalm, the other singing a refrain called an antiphon. The Introit ( Latin: introitus, "entrance" is part of the opening of the celebration of the Roman Catholic Mass and the Lutheran The Communion is the Gregorian chant sung during the distribution of the Eucharist in the Roman Rite Catholic Mass. This article is about the musical term See Antiphon (person the orator of ancient Greece Over time, the verses were reduced in number, usually to just one psalm verse and the Doxology, or even omitted entirely. A doxology (from the Greek doxa, glory + Logos, word or speaking is a short Hymn of praise to God in various Christian Antiphonal chants reflect their ancient origins as elaborate recitatives through the reciting tones in their melodies. Ordinary chants, such as the Kyrie and Gloria, are not considered antiphonal chants, although they are often performed in antiphonal style. Kýrie is from the Greek word κύριε (kyrie the Vocative case of κύριος (kyrios meaning O Lord. " Gloria in excelsis Deo " ( Latin for "Glory to God in the highest" is the title and beginning of a hymn known also as the Greater Doxology

Loquetur Dominus, Introit for Week XXXIV of Ordinary Time

example of antiphonal psalmody in Gregorian chant

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Responsorial chants such as the Gradual, Alleluia, Offertory, and the Office Responsories originally consisted of a refrain called a respond sung by a choir, alternating with psalm verses sung by a soloist. The Gradual ( Latin: graduale, sometimes called the Grail) is a chant in the extraordinary form of the Roman Catholic Mass The Alleluia is chanted before the Gospel lesson in the Eucharistic Liturgies of the various Christian liturgical rites. Offertory (from the Ecclesiastical Latin offertorium, French offertoire, a place to which offerings were brought the Alms Responsorial chants are often composed of an amalgamation of various stock musical phrases, pieced together in a practice called centonization. A responsory or respond is a type of chant in western Christian Liturgies. In Music centonization (from Latin cento or patchwork (Randel p Tracts are melismatic settings of psalm verses and use frequent recurring cadences and they are strongly centonized.

De profundis, Tract for the Requiem Mass

example of responsorial psalmody in Gregorian chant

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Gregorian chant evolved to fulfill various functions in the Roman Catholic liturgy. Broadly speaking, liturgical recitatives are used for texts intoned by deacons or priests. Antiphonal chants accompany liturgical actions: the entrance of the officiant, the collection of offerings, and the distribution of sanctified bread and wine. Responsorial chants expand on readings and lessons. ^[26]

The non-psalmodic chants, including the Ordinary of the Mass, sequences, and hymns, were originally intended for congregational singing. The Ordinary of the Mass ( Latin: Ordo Missae) is the set of texts of the Roman Catholic Church Latin Rite Mass that are generally This article is about Latin poems and songs For the Early music group see Sequentia (music group. A hymn is a type of Song, usually religious specifically written for the purpose of praise adoration or Prayer, and typically addressed to a deity/deities ^[27] The structure of their texts largely defines their musical style. In sequences, the same melodic phrase is repeated in each couplet. The strophic texts of hymns use the same syllabic melody for each stanza.

Modality

Main article: Musical mode

Early plainchant, like much of Western music, is believed to have been distinguished by the use of the diatonic scale. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode In Music theory, a diatonic scale (from the Greek διατονικος, meaning " through tones" also known as the heptatonia prima and Modal theory, which postdates the composition of the core chant repertory, arises from a synthesis of two very different traditions: the speculative tradition of numerical ratios and species inherited from ancient Greece and a second tradition rooted in the practical art of cantus. The earliest writings that deal with both theory and practice include the Enchiriadis group of treatises, which circulated in the late ninth century and possibly have their roots in an earlier, oral tradition. Musica enchiriadis is an anonymous musical Treatise from the 9th century. In contrast to the ancient Greek system of tetrachords (a collection of four continuous notes) that descend by two tones and a semitone, the Enchiriadis writings base their tone-system on a tetrachord that corresponds to the four finals of chant, D, E, F, and G. The disjunct tetrachords in the Enchiriadis system have been the subject of much speculation, because they do not correspond to the diatonic framework that became the standard Medieval scale (for example, there is a high f#, a note not recognized by later Medieval writers). A diatonic scale with a chromatically alterable b/b-flat was first described by Hucbald, who adopted the tetrachord of the finals (D, E, F, G) and constructed the rest of the system following the model of the Greek Greater and Lesser Perfect Systems. These were the first steps in forging a theoretical tradition that corresponded to chant.

Around 1025, Guido d'Arezzo revolutionized Western music with the development of the gamut, in which pitches in the singing range were organized into overlapping hexachords. Guido of Arezzo or Guido Aretinus or Guido da Arezzo or Guido Monaco or Guido D'Arezzo (991/992&ndashafter 1033 was a music theorist In Music, a hexachord is a six-note segment of a scale or tone row Hexachords could be built on C (the natural hexachord, C-D-E^F-G-A), F (the soft hexachord, using a B-flat, F-G-A^Bb-C-D), or G (the hard hexachord, using a B-natural, G-A-B^C-D-E). The B-flat was an integral part of the system of hexachords rather than an accidental. In Music, an accidental is a Note whose pitch (or Pitch class) is not a member of a scale or mode indicated by the The use of notes outside of this collection was described as musica ficta. In European music prior to about 1600, musica ficta (from Latin 'false' or 'feigned' music referred to chromatically altered pitches not notated in the

Gregorian chant was categorized into eight modes, influenced by the eightfold division of Byzantine chants called the oktoechos. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode Octoechos (also Octoichos; Greek:, meaning the "Eight Modes" is the fundamental structure for classifying and describing modes ( ^[28] Each mode is distinguished by its final, dominant, and ambitus. The final is the ending note, which is usually an important note in the overall structure of the melody. The dominant is a secondary pitch that usually serves as a reciting tone in the melody. In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension Ambitus refers to the range of pitches used in the melody. This article discusses the use of ambitus in the Middle Ages for other uses see Vocal range The ambitus of a Gregorian chant Melodies whose final is in the middle of the ambitus, or which have only a limited ambitus, are categorized as plagal, while melodies whose final is in the lower end of the ambitus and have a range of over five or six notes are categorized as authentic. Although corresponding plagal and authentic modes have the same final, they have different dominants. ^[29] The existent pseudo-Greek names of the modes, rarely used in medieval times, derive from a misunderstanding of the Ancient Greek modes; the prefix "Hypo-" (under, Gr. ) indicates a plagal mode, where the melody moves below the final. In contemporary Latin manuscripts the modes are simply called Protus authentus /plagalis, Deuterus, Tritus and Tetrardus: the 1st mode, authentic or plagal, the 2nd mode etc. In the Roman Chantbooks the modes are indicated by Roman numerals.

Modes 1 and 2 are the authentic and plagal modes ending on D, sometimes called Dorian and Hypodorian. Due to historical confusion Dorian mode or Doric mode can refer to two very different Musical modes or Diatonic scales Greek The hypodorian mode, literally meaning 'below dorian ' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the dorian

Modes 3 and 4 are the authentic and plagal modes ending on E, sometimes called Phrygian and Hypophrygian. The Phrygian mode can refer to two different Musical modes or Diatonic scales the ancient Greek Phrygian mode and the Mediaeval Phrygian mode The Hypophrygian mode, literally meaning 'below Phrygian' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the Phrygian

Modes 5 and 6 are the authentic and plagal modes ending on F, sometimes called Lydian and Hypolydian. Due to historical confusion Lydian mode can refer to two very different Musical modes or Diatonic scales Greek Lydian mode The Lydian mode The Hypolydian mode, literally meaning 'below Lydian' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the Lydian

Modes 7 and 8 are the authentic and plagal modes ending on G, sometimes called Mixolydian and Hypomixolydian. The Mixolydian mode is a Musical mode or Diatonic scale. It has the same series of tones and semitones as the Major scale, except The Mixolydian mode is a Musical mode or Diatonic scale. It has the same series of tones and semitones as the Major scale, except

Although the modes with melodies ending on A, B, and C are sometimes referred to as Aeolian, Locrian, and Ionian, these are not considered distinct modes and are treated as transpositions of whichever mode uses the same set of hexachords. The Aeolian mode is a Musical mode or Diatonic scale. An Aeolian mode formed part of the Music theory of Ancient Greece, based around The Locrian mode is a Musical mode or Diatonic scale. It may be considered a Minor scale with the second and fifth scale degrees lowered a Semi-tone The Ionian mode is a Musical mode of Diatonic scale. It was part of the Music theory of Ancient Greece, and was based around the relative natural In Music transposition refers to the process of moving a collection of notes ( pitches) up or down in pitch by a constant interval. The actual pitch of the Gregorian chant is not fixed, so the piece can be sung in whichever range is most comfortable.

Certain classes of Gregorian chant have a separate musical formula for each mode, allowing one section of the chant to transition smoothly into the next section, such as the psalm tones between antiphons and psalm verses. In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension ^[30]

Not every Gregorian chant fits neatly into Guido's hexachords or into the system of eight modes. For example, there are chants—especially from German sources—whose neumes suggest a warbling of pitches between the notes E and F, outside the hexachord system. Neumes are the basic elements of Western and Eastern systems of Musical notation prior to the invention of five-line staff notation ^[31] Early Gregorian chant, like Ambrosian and Old Roman chant, whose melodies are most closely related to Gregorian, did not use the modal system. Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church related Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related ^[32] The great need for a system of organizing chants lies in the need to link antiphons with standard tones, as in for example, the psalmody at the Office. Using Psalm Tone i with an antiphon in Mode 1 makes for a smooth transition between the end of the antiphon and the intonation of the tone, and the ending of the tone can then be chosen to provide a smooth transition back to the antiphon. As the modal system gained acceptance, Gregorian chants were edited to conform to the modes, especially during 12th-century Cistercian reforms. Finals were altered, melodic ranges reduced, melismas trimmed, B-flats eliminated, and repeated words removed. ^[33] Despite these attempts to impose modal consistency, some chants—notably Communions—defy simple modal assignment. For example, in four medieval manuscripts, the Communion Circuibo was transcribed using a different mode in each. ^[34]

Musical idiom

Several features besides modality contribute to the musical idiom of Gregorian chant, giving it a distinctive musical flavor. Melodic motion is primarily stepwise. In Music, a step is a linear or successive interval between two pitches which are consecutive Scale degrees Any larger interval is called a Skips of a third are common, and larger skips far more common than in other plainchant repertories such as Ambrosian chant or Beneventan chant. Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church related Beneventan chant is a liturgical plainchant repertory of the Roman Catholic Church used primarily in the orbit of the southern Italian ecclesiastical centers Gregorian melodies are more likely to traverse a seventh than a full octave, so that melodies rarely travel from D up to the D an octave higher, but often travel from D to the C a seventh higher, using such patterns as D-F-G-A-C. ^[35] Gregorian melodies often explore chains of pitches, such as F-A-C, around which the other notes of the chant gravitate. ^[36] Within each mode, certain incipits and cadences are preferred, which the modal theory alone does not explain. Chants often display complex internal structures that combine and repeat musical subphrases. This occurs notably in the Offertories; in chants with shorter, repeating texts such as the Kyrie and Agnus Dei; and in longer chants with clear textual divisions such as the Great Responsories, the Gloria, and the Credo. Offertory (from the Ecclesiastical Latin offertorium, French offertoire, a place to which offerings were brought the Alms Kýrie is from the Greek word κύριε (kyrie the Vocative case of κύριος (kyrios meaning O Lord. Agnus Dei is a Latin term meaning Lamb of God, and was originally used to refer to Jesus Christ in his role of the perfect sacrificial " Gloria in excelsis Deo " ( Latin for "Glory to God in the highest" is the title and beginning of a hymn known also as the Greater Doxology The credo ( Latin for "I Believe" ˈkɾeːd̪oː is a statement of Religious belief, such as the Nicene Creed (or less often another creed ^[37]

Chants sometimes fall into melodically related groups. The musical phrases centonized to create Graduals and Tracts follow a musical "grammar" of sorts. In Music centonization (from Latin cento or patchwork (Randel p The Gradual ( Latin: graduale, sometimes called the Grail) is a chant in the extraordinary form of the Roman Catholic Mass The tract ( Latin: tractus) is part of the proper of the Roman Mass, which is used instead of the Alleluia during Lenten or pre-Lenten Certain phrases are used only at the beginnings of chants, or only at the end, or only in certain combinations, creating musical families of chants such as the Iustus ut palma family of Graduals. Iustus ut palma (also transliterated as Justus ut palma) is the title of a number of sacred Choral works which use Psalm 9113 in the Latin Vulgate ^[38] Several Introits in mode 3, including Loquetur Dominus above, exhibit melodic similarities. The Introit ( Latin: introitus, "entrance" is part of the opening of the celebration of the Roman Catholic Mass and the Lutheran Mode III (E authentic) chants have C as a dominant, so C is the expected reciting tone. These mode III Introits, however, use both G and C as reciting tones, and often begin with a decorated leap from G to C to establish this tonality. ^[39] Similar examples exist throughout the repertory.

Notation

Main article: Neume

Offertory Iubilate deo universa terra in unheightened neumes. Neumes are the basic elements of Western and Eastern systems of Musical notation prior to the invention of five-line staff notation Neumes are the basic elements of Western and Eastern systems of Musical notation prior to the invention of five-line staff notation

The earliest notated sources of Gregorian chant (written ca. 950) used symbols called neumes (Gr. Neumes are the basic elements of Western and Eastern systems of Musical notation prior to the invention of five-line staff notation sign (of the hand) to indicate tone-movements and relative duration within each syllable. A sort of musical stenography that seems to focus on gestures and tone-movements but not the specific pitches of individual notes, nor the relative starting pitches of each neume. Given the fact that Chant was learned in an oral tradition in which the texts and melodies were sung from memory, this was obviously not necessary. The neumatic manuscripts display great sophistication and precision in notation and a whealth of graphic signs to indicate the musical gesture and proper pronunciation of the text. Scholars postulate that this practice may have been derived from cheironomic hand-gestures, the ekphonetic notation of Byzantine chant, punctuation marks, or diacritical accents. Cheironomy (or Chironomy) is the use of Hand signals to direct Vocal music Performance. Ekphonetic notation consists of symbols added to certain sacred texts especially Lectionary readings of Biblical texts as a Mnemonic device to assist in their Byzantine music is the music of the Byzantine Empire composed to Greek texts as ceremonial festival or church music ^[40] Later adaptations and innovations included the use of a dry-scratched line or an inked line or two lines, marked C or F showing the relative pitches between neumes. Consistent relative heightening first developed in the Aquitaine region, particularly at St. Martial de Limoges, in the first half of the eleventh century. Saint Martial was the first Bishop of Limoges in today's France, according to a lost Vita of Saturnin, first Bishop of Toulouse Many German-speaking areas, however, continued to use unpitched neumes into the twelfth century. Additional symbols developed, such as the custos, placed at the end of a system to show the next pitch. Other symbols indicated changes in articulation, duration, or tempo, such as a letter "t" to indicate a tenuto. Tenuto ( Italian, past participle of tenere "to hold" is a direction used in Musical notation. Another form of early notation used a system of letters corresponding to different pitches, much as Shaker music is notated. The United Society of Believers in Christ’s Second Appearing, known as the Shakers, was a Protestant religious denomination that originated in Manchester

The Liber usualis uses square notation, as in this excerpt from the Kyrie eleison (Orbis factor).

By the 13th century, the neumes of Gregorian chant were usually written in square notation on a four-line staff with a clef, as in the Graduale Aboense pictured above. In square notation, small groups of ascending notes on a syllable are shown as stacked squares, read from bottom to top, while descending notes are written with diamonds read from left to right. When a syllable has a large number of notes, a series of smaller such groups of neumes are written in succession, read from left to right. The oriscus, quilisma, and liquescent neumes indicate special vocal treatments, that have been largely neglected due to uncertainty as to how to sing them. Since the 1970s, with the influential insights of [[Dom. E. Cardine (see below under 'rhythm'), ornamental neumes have received more attention from both researchers and performers.

B-flat is indicated by a "b-mollum" (Lat. soft), a rounded undercaste 'b' placed to the left of the entire neume in which the note occurs, as shown in the "Kyrie" to the right. When necessary, a "b-durum" (Lat. hard), written squarely, indicates B-natural and serves to cancel the b-mollum . This system of square notation is standard in modern chantbooks.

Performance

Texture

Chant was traditionally reserved for men, as it was originally sung by the all-male clergy during the Mass and the prayers of the Office. The Mass is the Eucharistic celebration in the Latin liturgical rites of the Roman Catholic Church. Canonical hours are divisions of time developed by the Christian Church, serving as increments between the prescribed Prayers of the daily round Outside the larger cities, the number of available clergy dropped, and lay men started singing these parts. In convents, women were permitted to sing the Mass and Office as a function of their consecrated life, but the choir was still considered an official liturgical duty reserved to clergy, so lay women were not allowed to sing in the Schola cantorum or other choirs. A convent is a community of Priests religious brothers religious sisters or Nuns or the building used by the community particularly in the Roman Catholic Church This article is about the Parisian musical institute For other organizations called Schola Cantorum see Schola Cantorum (disambiguation. ^[41]

Chant was normally sung in unison. Later innovations included tropes, which is a new text sung to the same melodic phrases in a melismatic chant (repeating an entire Alleluia-melody on a new text for instance, or repeating a full phrase with a new text that comments on the previously sung text) and various forms of organum, (improvised) harmonic embellishment of chant melodies focusing on octaves, fifths, fourths, and, later, thirds. In Music a trope is In Medieval music From the Greek τρόπος ( tropos) "turn" related to the root of Organum (ˈɔrgənəm though the stress is now sometimes incorrectly put on the second syllable from Ancient Greek ὄργανον - organon "organ instrument Neither tropes nor organum, however, belong to the chant repertory proper. The main exception to this is the sequence, whose origins lay in troping the extended melisma of Alleluia chants known as the jubilus, but the sequences, like the tropes, were later officially suppressed. Melisma, in music is singing a single syllable of text while moving between several different notes in succession The Alleluia is chanted before the Gospel lesson in the Eucharistic Liturgies of the various Christian liturgical rites. Jubilus (plural jubili) is the term for the long Melisma placed on the final syllable of the Alleluia as it is sung in the Gregorian The Council of Trent struck sequences from the Gregorian corpus, except those for Easter, Pentecost, Corpus Christi and All Souls' Day. The Council of Trent was the 19th Ecumenical Council of the Roman Catholic Church. Easter ( Greek: Πάσχα Pascha or Pasxa) is the most important religious feast in the Christian Liturgical year. Pentecost (πεντηκοστή, pentekostē, "the fiftieth day" is one of the prominent feasts in the Christian Liturgical year, celebrated the Corpus Christi ( Latin for Body of Christ) is a Christian feast. In Western Christianity, All Souls' Day commemorates the faithful departed.

We do not know much about the particular vocal stylings or performance practices used for Gregorian chant in the Middle Ages. On occasion, the clergy was urged to have their singers perform with more restraint and piety. This suggests that virtuosic performances occurred, contrary to the modern stereotype of Gregorian chant as slow-moving mood music. This tension between musicality and piety goes far back; Gregory the Great himself criticized the practice of promoting clerics based on their charming singing rather than their preaching. ^[42] However, Odo of Cluny, a renowned monastic reformer, praised the intellectual and musical virtuosity to be found in chant:

True antiphonal performance by two alternating choruses still occurs, as in certain German monasteries. However, antiphonal chants are generally performed in responsorial style by a solo cantor alternating with a chorus. This practice appears to have begun in the Middle Ages. ^[44] Another medieval innovation had the solo cantor sing the opening words of responsorial chants, with the full chorus finishing the end of the opening phrase. This innovation allowed the soloist to fix the pitch of the chant for the chorus and to cue the choral entrance.

Rhythm

Because of the obviously evasive quality of medieval notation as the silent remains of a living tradition, displaced a thousand years out of its cultural context, rhythm in Gregorian chant has always been a hotbed of debate among scholars. From the very beginning there was a fundamental difference in point of view on rhythm. To complicate matters further, a host of ornamental neumes are used in the earliest manuscripts that pose many difficulties on the rhythmic plane. Certain neumes such as the pressus, pes quassus, strophic neumes indicate repeated notes, which may indicate lengthening by repercussion, in some cases with added ornaments. By the 13th century, with the widespread use of square notation, most chant was sung with an approximately equal duration allotted to each note, although Jerome of Moravia cites exceptions in which certain notes, such as the final notes of a chant, are lengthened. Jerome of Moravia or Hieronymus de Moravia ( d after 1271 was a medieval music theorist. ^[45] While the standard repertory of Gregorian Chant was partly being supplanted with new forms of polyphony, the earlier melo-rhythmic refinements of monophonic chant seem to fall into disuse. Later redactions such as the Editio medicaea of 1614 rewrote chant so that melismas, with their melodic accent, fell on accented syllables. ^[46] This aesthetic held sway until the re-examination of chant in the late 19th century by such scholars as Wagner, Pothier, and Mocquereau, who fell into two camps. Dom Joseph Pothier, OSB (Bouzemont France, 1835 - Priory of Conques Belgium, 1923 was worldwide known French prelate a liturgist and scholar who reconstituted

One school of thought, including Wagner, Jammers, and Lipphardt, advocated imposing rhythmic meters on chants, although they disagreed on how that should be done. An opposing interpretation, represented by Pothier and Mocquereau, supported a free rhythm of equal note values, although some notes are lengthened for textual emphasis or musical effect. The modern Solesmes editions of Gregorian chant follow this interpretation. Mocquereau divided melodies into two- and three-note phrases, each beginning with an ictus, akin to a beat, notated in chantbooks as a small vertical mark. These basic melodic units combined into larger phrases through a complex system expressed by cheironomic hand-gestures. Cheironomy (or Chironomy) is the use of Hand signals to direct Vocal music Performance. ^[47] This approach prevailed during the twentieth century, propagated by Justine Ward's program of music education for children, until Vatican II diminished the liturgical role of chant and new scholarship "essentially discredited" Mocquereau's rhythmic theories. Justine Ward née Bayard Cutting (Morristown New Jersey August 7 1879-Washington D ^[48]

Common modern practice favors performing Gregorian chant with no beat or regular metric accent, largely for aesthetic reasons. ^[49] The text determines the accent while the melodic contour determines the phrasing. The note lengthenings recommended by the Solesmes school remain influential, though not prescriptive.

Dom Eugene Cardine, (1905-1988) monk from Solesmes, published his 'Semiologie Gregorienne' in 1970 in which he clearly explains the musical significance of the neumes of the early chant manuscripts. Cardine shows the great diversity of neumes and graphic variations of the basic shape of a particular neume, which can not be expressed in the square notation. This variety in notation must have served a practical purpose and therefore a musical significance. Nine years later, the Graduale Triplex was published, in which the Roman Gradual, containing all the chants for Mass in a Year's cycle, appeared with the neumes of the two most important manuscripts copied under and over the 4-line staff of the square notation. The Graduale Triplex made widely accessible the original notation of Sankt Gallen and Laon (compiled after 930 AD) in a single chantbook and was a huge step forward. Dom Cardine had many students who have each in their own way continued their semiological studies, some of whom also started experimenting in applying the newly understood principles in performance practice. The studies of Cardine and his students (Godehard Joppich, Luigi Augustoni, Marie-Noël Colette, Rupert Fischer, Marie-Claire Billecocq to name a few) have clearly demonstrated that rhythm in Gregorian chant as notated in the 10th century rhythmic manuscripts (notably Skt. Gallen and Laon) manifest such rhythmic diversity and melodic/rhythmic ornamentations for which there is hardly a living performance tradition in the Western world. Contemporary groups that endeavour to sing according to the manuscript traditions have evolved after 1975. Some practising researchers favour a closer look at non Western (liturgical) traditions, in such cultures where the tradition of modal monophony was never abandoned.

Another group with different vieuws are the mensuralists or the proportionalists, who maintain that rhythm has to be interpreted porportionately, where shorts are exactly half the longs. This vieuw is advocated by John Blackley and his 'Schola Antiqua New York'.

Melodic restitution

Recent developments involve an intensifying of the semiological approach according to Dom Cardine, which also gave a new impetus to the research into melodic variants in various manuscripts of chant. On the basis of this ongoing research it has become obvious that the Graduale and other chantbooks contain many melodic errors, some very consistently, (the mis-interpretation of third and eighth mode) necessitating a new edition of the Graduale according to state-of-the-art melodic restitutions. Melodic Restitution is the process of restoring the original melody specifically used in relation to Gregorian Chant. The so-called Munsterschwarzach-group under the guidance of Godehard Joppich and various other groups and individuals have done extensive work in this field. In this approach the so-called earlier 'rhythmic' manuscripts of unheightened neumes that carry a whealth of melo-rhythmic information but not of exact pitches, are compared in large tables of comparison with relevant later 'melodic' manuscripts' that are written on lines or use double alphabetic and neumes notation over the text, but as a rule have less rhythmic refinement compared to the earlier group. However, the comparison between the two groups has made it possible to correct what are obvious mistakes. In other instances it is not so easy to find a consensus. In 1984 Chris Hakkennes published his own transcription of the Graduale Triplex. He devised a new graphic adaptation of square notation 'simplex' in which he integrated the rhythmic indications of the two most relevant sources, that of Laon and Skt. Gallen. Referring to these manuscripts, he called his own transcription Gradual Lagal. Furthermore, while making the transcription, he cross-checked with the melodic manuscripts to correct modal errors or other melodic errors found in the Graduale Romanum. His intention was to provide a corrected melody in rhythmic notation but above all - he was also a choirmaster - suited for practical use, therefore a simplex, integrated notation.

Liturgical functions

Gregorian chant is sung in the Office during the canonical hours and in the liturgy of the Mass. Canonical hours are divisions of time developed by the Christian Church, serving as increments between the prescribed Prayers of the daily round The Mass is the Eucharistic celebration in the Latin liturgical rites of the Roman Catholic Church. Texts known as accentus are intoned by bishops, priests, and deacons, mostly on a single reciting tone with simple melodic formulae at certain places in each sentence. Accentus Ecclesiasticus is a Church music term the counterpart of concentus, indicating those parts sung solo by a clergyman In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension More complex chants are sung by trained soloists and choirs. The most complete collection of chants is the Liber usualis, which contains the chants for the Tridentine Mass and the most commonly used Office chants. The Liber Usualis is a book of commonly-used Gregorian chants compiled by the monks of the Abbey of Solesmes in France The Tridentine Mass (Missa Tridentina is the form of the Roman Rite Mass contained in the typical editions of the Roman Missal that were published Outside of monasteries, the more compact Graduale Romanum is commonly used. The Gradual ( Latin: graduale, sometimes called the Grail) is a chant in the extraordinary form of the Roman Catholic Mass

Proper chants of the Mass

The Introit, Gradual, Alleluia, Tract, Sequence, Offertory and Communion chants are part of the Proper of the Mass. The Proper (Latin proprium) is a part of the Christian liturgy that varies according to the date either representing an observance within the Liturgical Year "Proprium Missae" in Latin refers to the chants of the Mass that have their proper individual texts for each Sunday throughout the annual cycle. As opposed to 'Ordinarium Missae' which have fixed texts (but various melodies) (Kyrie, Benedictus, Sanctus, Agnus Dei).

Introits cover the procession of the officiants. The Introit ( Latin: introitus, "entrance" is part of the opening of the celebration of the Roman Catholic Mass and the Lutheran Introits are antiphonal chants, typically consisting of an antiphon, a psalm verse, a repeat of the antiphon, an intonation of the Gloria Patri Doxology, and a final repeat of the antiphon. A doxology (from the Greek doxa, glory + Logos, word or speaking is a short Hymn of praise to God in various Christian Reciting tones often dominate their melodic structures. In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension

Graduals are responsorial chants that follow the reading of the Epistle. The Gradual ( Latin: graduale, sometimes called the Grail) is a chant in the extraordinary form of the Roman Catholic Mass An epistle (pronounced) ( Greek επιστολη epistolē "letter" is a writing directed or sent to a person or group of persons usually a letter Graduals usually result from centonization; stock musical phrases are assembled like a patchwork to create the full melody of the chant, creating families of musically related melodies. In Music centonization (from Latin cento or patchwork (Randel p Graduals are accompanied by a elaborate Verse, so that it actually consists in two different parts, A B. Often the first part is sung again, creating a 'rondeau' A B A. At least the verse, if not the complete gradual, is for the solo cantor and are in elaborate, ornate style with long, wide-ranged melisma's.

The Alleluia is known for the jubilus, an extended joyful melisma on the last vowel of 'Alleluia'. The Alleluia is chanted before the Gospel lesson in the Eucharistic Liturgies of the various Christian liturgical rites. Jubilus (plural jubili) is the term for the long Melisma placed on the final syllable of the Alleluia as it is sung in the Gregorian The Alleluia is also in two parts, the alleluia proper and the psalmverse, by which the Alleluia is identified (Alleluia V. Pascha nostrum) . The last melism of the verse is the same as the jubilus attached to the Alleluia. Alleluias are not sung during penitential times, such as Lent. Lent, in some Christian denominations, is the forty-day-long liturgical season of fasting and prayer before Easter. Instead, a Tract is chanted, usually with texts from the Psalms. The tract ( Latin: tractus) is part of the proper of the Roman Mass, which is used instead of the Alleluia during Lenten or pre-Lenten Tracts, like Graduals, are highly centonized.

Sequences are sung poems based on couplets. This article is about Latin poems and songs For the Early music group see Sequentia (music group. Although many sequences are not part of the liturgy and thus not part of the Gregorian repertory proper, Gregorian sequences include such well-known chants as Victimae paschali laudes and Veni Sancte Spiritus. Victimae paschali laudes is a sequence prescribed for the Roman Catholic Mass of Easter Sunday. Veni Sancte Spiritus, sometimes called the "Golden Sequence" is a sequence prescribed for the Roman Catholic Mass of Pentecost According to Notker Balbulus, an early sequence writer, their origins lie in the addition of words to the long melismas of the jubilus of Alleluia chants. Notker the Stammerer ( Notker Balbulus) also called Notker the Poet or Notker of Saint Gall ( c Melisma, in music is singing a single syllable of text while moving between several different notes in succession ^[50]

Offertories are sung during the giving of offerings. Offertory (from the Ecclesiastical Latin offertorium, French offertoire, a place to which offerings were brought the Alms Offertories once had highly prolix melodies in their verses, but the use of verses in Gregorian Offertories disappeared around the 12th century. These verses however, are among the most ornate and elaborated in the whole chant repertoir. Offertories are in form closest to Responsories, which are likewise accompanied by at least one Verse and the opening sections of both Off. and Resp. are partly repeated after the verse(s). This last section is therefore called the 'repetenda' and is in performance the last melodic line of the chant.

Communions are sung during the distribution of the Eucharist. The Communion is the Gregorian chant sung during the distribution of the Eucharist in the Roman Rite Catholic Mass. Eucharist in the Catholic Church refers to both the celebration of the Mass that is the Eucharistic Liturgy, and the consecrated bread and wine which In presentation the Communio is similar to the Introitus, an antiphon with psalmverse. Communion melodies are often tonally ambiguous and do not fit into a single musical mode which has led to the same communio being classed in different modes in different manuscripts or editions. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode

Ordinary chants of the Mass

The Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei use the same text in every service of the Mass. Because they follow the regular invariable "order" of the Mass, these chants are called "Ordinary. The Ordinary of the Mass ( Latin: Ordo Missae) is the set of texts of the Roman Catholic Church Latin Rite Mass that are generally "

The Kyrie consists of a threefold repetition of "Kyrie eleison" ("Lord, have mercy"), a threefold repetition of "Christe eleison" ("Christ have mercy"), followed by another threefold repetition of "Kyrie eleison. Kýrie is from the Greek word κύριε (kyrie the Vocative case of κύριος (kyrios meaning O Lord. " In older chants, "Kyrie eleison imas" ("Lord, have mercy on us") can be found. The Kyrie is distinguished by its use of the Greek language instead of Latin. Koine Greek (Κοινὴ Ἑλληνική, "common Greek" or, ciˈni ðiˈale̞kto̞s "the common dialect" is the popular form of Greek which emerged in Because of the textual repetition, various musical repeat structures occur in these chants. The following, Kyrie ad. lib. VI as transmitted in a Cambrai manuscript, uses the form ABA CDC EFE', with shifts in tessitura between sections. In Music, the term tessitura ( Italian for texture) generally describes the most musically acceptable and comfortable Timbre for a given The E' section, on the final "Kyrie eleison," itself has an aa'b structure, contributing to the sense of climax. ^[51]

Kyrie 55, Vatican ad lib. VI, from Cambrai, Bibl. Mun. 61, fo.155v, as transcribed by David Hiley

example of musical repeat structures in Gregorian chant

Problems listening to the file? See media help.

The Gloria recites the Greater Doxology, and the Credo intones the Nicene Creed. " Gloria in excelsis Deo " ( Latin for "Glory to God in the highest" is the title and beginning of a hymn known also as the Greater Doxology A doxology (from the Greek doxa, glory + Logos, word or speaking is a short Hymn of praise to God in various Christian The credo ( Latin for "I Believe" ˈkɾeːd̪oː is a statement of Religious belief, such as the Nicene Creed (or less often another creed The Nicene Creed (ˈnaɪsiːn is an ecumenical Christian statement of faith accepted in the Eastern Orthodox Church, Assyrian Church of Because of the length of these texts, these chants often break into musical subsections corresponding with textual breaks. Because the Credo was the last Ordinary chant to be added to the Mass, there are relatively few Credo melodies in the Gregorian corpus.

The Sanctus and the Agnus Dei, like the Kyrie, also contain repeated texts, which their musical structures often exploit. Sanctus is the Latin word for holy or saint and is the name of an important Hymn of Christian Liturgy. Agnus Dei is a Latin term meaning Lamb of God, and was originally used to refer to Jesus Christ in his role of the perfect sacrificial

Technically, the Ite missa est and the Benedicamus Domino, which conclude the Mass, belong to the Ordinary. Ite missa est are the concluding words addressed to the people in the Mass of the Roman Rite. Benedicamus Domino ( Latin for "Let us bless the Lord" is a closing salutation used in the Roman Mass instead of the Ite missa est in Masses which They have their own Gregorian melodies, but because they are short and simple, and have rarely been the subject of later musical composition, they are often omitted in discussion.

Chants of the Office

Gregorian chant is sung in the canonical hours of the monastic Office, primarily in antiphons used to sing the Psalms, in the Great Responsories of Matins, and the Short Responsories of the Lesser Hours and Compline. Canonical hours are divisions of time developed by the Christian Church, serving as increments between the prescribed Prayers of the daily round Monasticism (from Greek μοναχός, monachos, derived from Greek monos, alone is the religious practice in which one Psalms ( Hebrew: Tehilim, תהילים, or "praises" is a book of the Hebrew Bible (the Christian Old Testament) included Matins (also known as Orthros or Oútrenya in Eastern Churches) is the early morning or night Prayer service in the Roman Catholic Compline (ˈkɒmplɪn also Complin, Night Prayer, Prayers at the End of the Day) is the final church service (or Office) of the day in the The psalm antiphons of the Office tend to be short and simple, especially compared to the complex Great Responsories.

At the close of the Office, one of four Marian antiphons is sung. Marian antiphons are a group of sacred devotional songs in the Gregorian chant repertory of the Roman Catholic Church sung in honor of the Virgin Mary. These songs, Alma Redemptoris Mater (see top of article), Ave Regina caelorum, Regina caeli laetare, and Salve, Regina, are relatively late chants, dating to the 11th century, and considerably more complex than most Office antiphons. Apel has described these four songs as "among the most beautiful creations of the late Middle Ages. "^[52]

Influence

Medieval and Renaissance music

Gregorian chant had a significant impact on the development of medieval and Renaissance music. The term medieval music encompasses European music written during the Middle Ages. Renaissance music is European music written during the Renaissance, approximately 1400 - 1600 Modern staff notation developed directly from Gregorian neumes. The square notation that had been devised for plainchant was borrowed and adapted for other kinds of music. Certain groupings of neumes were used to indicate repeating rhythms called rhythmic modes. In Medieval music, the rhythmic modes were patterns of long and short Durations (or Rhythms imposed on written notes which otherwise appeared Rounded noteheads increasingly replaced the older squares and lozenges in the 15th and 16th centuries, although chantbooks conservatively maintained the square notation. By the 16th century, the fifth line added to the musical staff had become standard. In standard Western Musical notation, the staff ( AmE) or stave The bass clef and the flat, natural, and sharp accidentals derived directly from Gregorian notation. A clef (from the French for "key" is a musical symbol used to indicate the pitch of written notes. In Music, flat means "lower in pitch" More specifically in Music notation, flat means "lower in pitch by a Semitone In Musical notation, a natural sign ( is an accidental sign used to cancel a flat or sharp from either a preceding note or the Key signature In Music, sharp means higher in pitch More specifically in Musical notation, sharp means "higher in pitch by a Semitone (half step" ^[53]

Gregorian melodies provided musical material and served as models for tropes and liturgical dramas. Liturgical drama or religious drama, in its various Christian contexts originates from the mass itself and usually presents a relatively complex ritual that includes Vernacular hymns such as "Christ ist erstanden" and "Nun bitten wir den heiligen Geist" adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance "In Nomine" were based on Gregorian melodies. In Nomine is a title given to any of numerous short pieces of English polyphonic instrumental or vocal Music during the 16th and 17th centuries Beginning with the improvised harmonizations of Gregorian chant known as organum, Gregorian chants became a driving force in medieval and Renaissance polyphony. Organum (ˈɔrgənəm though the stress is now sometimes incorrectly put on the second syllable from Ancient Greek ὄργανον - organon "organ instrument In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony Often, a Gregorian chant (sometimes in modified form) would be used as a cantus firmus, so that the consecutive notes of the chant determined the harmonic progression. In Music, a cantus firmus ("fixed song" is a pre-existing Melody forming the basis of a polyphonic composition. The Marian antiphons, especially Alma Redemptoris Mater, were frequently arranged by Renaissance composers. The use of chant as a cantus firmus was the predominant practice until the Baroque period, when the stronger harmonic progressions made possible by an independent bass line became standard. Baroque art redirects here Please disambiguate such links to Baroque painting, Baroque sculpture, etc

The Catholic Church later allowed polyphonic arrangements to replace the Gregorian chant of the Ordinary of the Mass. This is why the Mass as a compositional form, as set by composers like Palestrina or Mozart, features a Kyrie but not an Introit. Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 - 2 February 1594 was an Italian Composer of the Renaissance. The Propers may also be replaced by choral settings on certain solemn occasions. Among the composers who most frequently wrote polyphonic settings of the Propers were William Byrd and Tomás Luis de Victoria. William Byrd (c 1540 &ndash 4 July 1623 was an English Composer of the Renaissance. Tomás Luis de Victoria (sometimes spelled 'da Vittoria' (1548 &ndash August 20, 1611) was a Spanish composer of the late Renaissance. These polyphonic arrangements usually incorporate elements of the original chant.

20th century

The renewed interest in early music in the late 19th century left its mark on 20th-century music. Early music is commonly defined as European classical music from the Middle Ages, the Renaissance and the Baroque. Gregorian influences in classical music include the choral setting of four chants in "Quatre motets sur des thèmes Grégoriens" by Maurice Duruflé, the carols of Peter Maxwell Davies, and the choral work of Arvo Pärt. Maurice Duruflé (January 11 1902 &ndash June 16 1986 was a French Composer, Organist, and Pedagogue. Sir Peter Maxwell Davies, CBE (b 8 September 1934 is an English Composer and conductor. WikipediaWikiProject Composers#Lead section --> Arvo Pärt (born 11 September 1935 in Paide, Estonia) (ˈɑr̺vɔ Gregorian chant has been incorporated into other genres, such as Enigma's "Sadeness (Part I)", the chant interpretation of pop and rock by the German band Gregorian, the techno project E Nomine, and the work of black metal band Deathspell Omega. Enigma is German electronic musical project founded by Michael Cretu, David Fairstein and Frank Peterson in 1990 " Sadeness (Part I " is a 1990 song created by the musical project Enigma. Gregorian is a German band, headed by Frank Peterson, performing Gregorian chant -inspired versions of modern pop and rock Techno is a form of Electronic dance music (EDM that emerged in Detroit, Michigan, USA during the mid to late 1980s E Nomine (a twist of the Latin phrase In nomine meaning "In the name" where e nomine means "Out of the name" Black metal is an extreme subgenre of heavy metal. It often employs fast tempos shrieked vocals highly distorted guitars played with Tremolo picking, Deathspell Omega are an avant-garde Black metal band from France who are the most well-known band in the "Norma Evangelium Diaboli" movement The modal melodies of chant provide unusual sounds to ears attuned to modern scales.

Gregorian chant as plainchant experienced a popular resurgence during the New Age music and world music movements of the 1980s and '90s. New Age music is peaceful Music of various styles which is intended to create inspiration relaxation and positive feelings often used by listeners for Yoga, The term world music includes Traditional music (sometimes called Folk music or roots music of any culture that are created and played by indigenous musicians The iconic album was Chant, recorded by the Benedictine monks of Santo Domingo de Silos, which was marketed as music to inspire timeless calm and serenity. Chant is an album of Gregorian chant, performed by the Benedictine Monks of Santo Domingo de Silos at their Monastery in northwest Benedictine refers to the Spirituality and Consecrated life in accordance with the Rule of St Benedict, written by Benedict of Nursia in Santo Domingo de Silos Abbey ( Spanish: Monasterio de Santo Domingo de Silos) is a Benedictine Monastery It became conventional wisdom that listening to Gregorian chant increased the production of beta waves in the brain, reinforcing the popular reputation of Gregorian chant as tranquilizing music. Conventional wisdom (CW is a term used to describe ideas or explanations that are generally accepted as true by the public or by experts in a field Beta wave, or beta rhythm is the term used to designate the Frequency range of Brain activity above 12 Hz (12 transitions or cycles per second ^[54] Gregorian chant has often been parodied for its supposed monotony, both before and after the release of Chant. Famous references include the flagellant monks in Monty Python and the Holy Grail intoning "Pie Jesu Domine. Monty Python and the Holy Grail is a 1975 film written and performed by the comedy group Monty Python ( Graham Chapman, John Cleese " The asteroid 100019 Gregorianik is named in its honour, using the German short form of the term. Asteroids, sometimes called Minor planets or planetoids', are bodies—primarily of the inner Solar System —that are smaller than planets but This is a list of named Minor planets (mostly Asteroids, with links to the Wikipedia articles on the people places characters and concepts that they are named after Gregorian chanting has been also used in Vision of Escaflowne anime series

21st century

• Gregorian chant-like music was composed for the Xbox game Halo as the main theme, written by Marty O'Donnell and Michael Salvatori. is a 26- Episode Anime Television series produced by Sunrise Studios and directed by Kazuki Akane. The Xbox is a sixth-generation Video game console produced by Microsoft Corporation. HaLo ( Ayako Hirakata) is a Japanese J-Pop Musician. Hirakata can be heard on Lori Carson 's The Finest Thing. Martin "Marty" O'Donnell is an American Composer known for his work on musical pieces for Video games from Bungie Studios such as the Michael Salvatori is an American Composer, best known for his collaboration with famed composer Martin O'Donnell for the Soundtrack to the ''Halo'' On the original Halo: Combat Evolved the theme was sung by the two composers and three other singers (from the liner notes of the Halo Original Soundtrack). Halo Combat Evolved (commonly known as Halo or Halo 1) is a First-person shooter (FPS Video game developed The Halo Original Soundtrack is a Soundtrack for the Video game Halo Combat Evolved. In later installments the theme was performed by a sixteen piece choir (Halo 2) and a 24 piece choir (Halo 3). Halo 2 is a Science fiction First-person shooter Video game developed by Bungie Studios. Halo 3 is a First-person shooter Video game developed by Bungie exclusively for the Xbox 360.
• In the anime series of Death Note, a theme named Kyrie has the Gregorian chant style. (anime in Japanese, is a Manga series created by writer Tsugumi Ohba and illustrator Takeshi Obata.
• The opening song of the anime Elfen Lied features Lilium, which is sung in Biblical Latin and Gregorian style. is a Japanese Manga series created by manga author Lynn Okamoto.

Notes

References

See also

• Cecilian Movement
• Discography For a selective discography visit [2] at [3] by Todd McComb

External links

• Liber usualis online - MIDI Collection of Traditional Catholic Hymns and chants
• The Gregorian chant of the abbeys of Provence in France
• Alison Hope, "History of Gregorian Chant"
• H. The Cecilian Movement of Church reform was centered in Italy but received great impetus from Regensburg, Germany, where Franz Xaver Haberl Bewerung: "Gregorian chant", Catholic Encyclopedia
• William P. The Catholic Encyclopedia, also referred to today as the Old Catholic Encyclopedia, is an English-language Encyclopedia published by The Encyclopedia Mahrt: "Gregorian Chant as a Paradigm of Sacred Music," Sacred Music, 133. 3, pp. 5-14
• Canticum Novum, Lessons on Gregorian Chant - Notation, characteristics, rhythm, modes, the psalmody and scores
• Justine Ward, "The Reform of Church Music," Atlantic Monthly, April 1906
• Monastic gregorian
• [4] Many chants from the Gradual in melodically restituted form
• [5] website of Sankt Gallen / Cologne Library, acces to Skt. The Atlantic (formerly known as The Atlantic Monthly) is an American Magazine founded in Boston in 1857 Gallen manuscripts, a must-see!
• Ambrosian chant

v • d • e  Gregorian chants of the Roman Mass
Ordinary: Proper: Accentus:		Kyrie | Gloria | Credo | Sanctus | Agnus Dei | Ite missa est or Benedicamus Domino Introit | Gradual | Alleluia or Tract | Sequence | Offertory | Communion Collect | Epistle | Gospel | Secret | Preface | Canon | Postcommunion