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Psalmodic chants, which intone psalms , include both recitatives and free melodies. Psalmodic chants include direct psalmody , antiphonal chants , and responsorial chants.

Most psalmodic chants are antiphonal and responsorial, sung to free melodies of varying complexity. 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.

Over time, the verses were reduced in number, usually to just one psalm verse and the doxology , or even omitted entirely.

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. 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.

Responsorial chants are often composed of an amalgamation of various stock musical phrases, pieced together in a practice called centonization.

Tracts are melismatic settings of psalm verses and use frequent recurring cadences and they are strongly centonized. 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. The non-psalmodic chants, including the Ordinary of the Mass , sequences , and hymns , were originally intended for congregational singing.

In sequences, the same melodic phrase is repeated in each couplet. The strophic texts of hymns use the same syllabic melody for each stanza.

Early plainchant, like much of Western music, is believed to have been distinguished by the use of the diatonic scale.

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.

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.

These were the first steps in forging a theoretical tradition that corresponded to chant. Around , Guido d'Arezzo revolutionized Western music with the development of the gamut , in which pitches in the singing range were organized into overlapping hexachords.

The B-flat was an integral part of the system of hexachords rather than an accidental. The use of notes outside of this collection was described as musica ficta.

Gregorian chant was categorized into eight modes , influenced by the eightfold division of Byzantine chants called the oktoechos.

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.

Ambitus refers to the range of pitches used in the melody. 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. In the Roman Chantbooks the modes are indicated by Roman numerals.

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 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 verses that are sung between the repetition of antiphons, or the Gloria Patri.

Thus we find models for the recitation of psalmverses, Alleluia and Gloria Patri for all eight modes. 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, or in other words, employing a form of chromatism.

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, melismata trimmed, B-flats eliminated, and repeated words removed. For example, in four medieval manuscripts, the Communion Circuibo was transcribed using a different mode in each.

Several features besides modality contribute to the musical idiom of Gregorian chant, giving it a distinctive musical flavor.

Melodic motion is primarily stepwise. Skips of a third are common, and larger skips far more common than in other plainchant repertories such as Ambrosian chant or Beneventan chant.

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.

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.

Chants sometimes fall into melodically related groups. The musical phrases centonized to create Graduals and Tracts follow a musical "grammar" of sorts.

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.

The earliest notated sources of Gregorian chant written ca. 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 wealth 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.

Consistent relative heightening first developed in the Aquitaine region, particularly at St. Martial de Limoges , in the first half of the eleventh century.

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. Another form of early notation used a system of letters corresponding to different pitches, much as Shaker music is notated.

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.

B-flat is indicated by a "b-mollum" Lat. When necessary, a "b-durum" Lat. This system of square notation is standard in modern chantbooks. Gregorian chant was originally used for singing the Office by male and female religious and for singing the parts of the Mass pertaining to the lay faithful male and female , the celebrant priest, always male and the choir composed of male ordained clergy, except in convents.

Outside the larger cities, the number of available clergy dropped, and lay men started singing these parts. The choir was considered an official liturgical duty reserved to clergy, so women were not allowed to sing in the Schola Cantorum or other choirs except in convents where women were permitted to sing the Office and the parts of the Mass pertaining to the choir as a function of their consecrated life.

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.

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.

Not much is known 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.

For in these [Offertories and Communions] there are the most varied kinds of ascent, descent, repeat 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.

This innovation allowed the soloist to fix the pitch of the chant for the chorus and to cue the choral entrance.

Given the oral teaching tradition of Gregorian chant, modern reconstruction of intended rhythm from the written notation of Gregorian chant has always been a source of debate among modern scholars.

To complicate matters further, many ornamental neumes used in the earliest manuscripts pose difficulties on the interpretation of rhythm. Certain neumes such as the pressus , pes quassus, strophic neumes may indicate repeated notes, 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.

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 rewrote chant so that melismata, with their melodic accent, fell on accented syllables. 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. Common modern practice favors performing Gregorian chant with no beat or regular metric accent, largely for aesthetic reasons.

The note lengthenings recommended by the Solesmes school remain influential, though not prescriptive. Dom Eugene Cardine, — monk from Solesmes, published his 'Semiologie Gregorienne' in 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 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.

Schweitzer to name a few have clearly demonstrated that rhythm in Gregorian chant as notated in the 10th century rhythmic manuscripts notably Sankt 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 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 views are the mensuralists or the proportionalists, who maintain that rhythm has to be interpreted proportionately, where shorts are exactly half the longs.

This school of interpretation claims the support of historical authorities such as St Augustine, Remigius, Guido and Aribo. Recent research in the Netherlands by Dr.

Dirk van Kampen has indicated that the authentic rhythm of Gregorian chant in the 10th century includes both proportional elements and elements that are in agreement with semiology.

Beside the length of the syllables measured in tenths of seconds , each text syllable was evaluated in terms of its position within the word to which it belongs, defining such variables as "the syllable has or has not the main accent", "the syllable is or is not at the end of a word", etc.

To distinguish short and long notes, tables were consulted that were established by Van Kampen in an unpublished comparative study regarding the neume notations according to Sankt Gallen and Laon codices.

With some exceptions, these tables confirm the short vs. The lengths of the neumes were given values by adding up the duration values for the separate neume elements, each time following a particular hypothesis concerning the rhythm of Gregoriant chant.

Both the syllable lengths and the neume lengths were also expressed in relation to the total duration of the syllables, resp.

Correlating the various word and neume variables, substantial correlations were found for the word variables 'accented syllable' and 'contextual syllable duration'.

Moreover, it could be established that the multiple correlation R between the two types of variables reaches its maximum R is about 0.

The distinction between the first two rules and the latter rule can also be found in early treatises on music, introducing the terms metrum and rhythmus.

During the seventeenth through nineteenth centuries in France, the system of rhythmic notation became standardized, with printers and editors of chant books employing only four rhythmic values.

Recent research by Christopher Holman indicates that chants whose texts are in a regular meter could even be altered to be performed in Time signatures.

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.

Vatican Council Constitution "Sacrosanctum Concilium". In this approach the so-called earlier 'rhythmic' manuscripts of unheightened neumes that carry a wealth 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 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 Sankt 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.

Although fully admitting the importance of Hakkennes' melodic revisions, the rhythmical solution suggested in the Graduale Lagal was actually found by Van Kampen see above to be rather modestly related to the text of the chant.

Gregorian chant is sung in the Office during the canonical hours and in the liturgy of the Mass. 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.

More complex chants are sung by trained soloists and choirs. The Graduale Romanum contains the proper chants of the Mass i.

The Liber usualis contains the chants for the Graduale Romanum and the most commonly used Office chants. Introits cover the procession of the officiants.

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.

Reciting tones often dominate their melodic structures. Graduals are responsorial chants that follow the reading of the Epistle. 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.

Graduals are accompanied by an 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 melismata.

The Alleluia is known for the jubilus , an extended joyful melisma on the last vowel of 'Alleluia'. 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 melisma of the verse is the same as the jubilus attached to the Alleluia. Alleluias are not sung during penitential times, such as Lent.

Instead, a Tract is chanted, usually with texts from the Psalms. Tracts, like Graduals, are highly centonized. Sequences are sung poems based on couplets.

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.

According to Notker Balbulus , an early sequence writer, their origins lie in the addition of words to the long melismata of the jubilus of Alleluia chants.

Offertories are sung during the offering of Eucharistic bread and wine. 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 repertoire. Offertories are in form closest to Responsories, which are likewise accompanied by at least one Verse and the opening sections of both Off.

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. In presentation the Communio is similar to the Introitus, an antiphon with a series of psalm verses.

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.

Because they follow the regular invariable "order" of the Mass, these chants are called " Ordinary ". 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.

The Kyrie is distinguished by its use of the Greek language instead of Latin. Because of the textual repetition, various musical repeat structures occur in these chants.

The following, Kyrie ad. The E' section, on the final "Kyrie eleison", itself has an aa'b structure, contributing to the sense of climax.

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.

Technically, the Ite missa est and the Benedicamus Domino , which conclude the Mass, belong to the Ordinary. 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.

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.

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.

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.

Willi Apel has described these four songs as "among the most beautiful creations of the late Middle Ages. Gregorian chant had a significant impact on the development of medieval and Renaissance music.

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. 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. The bass clef and the flat , natural , and sharp accidentals derived directly from Gregorian notation.

Gregorian melodies provided musical material and served as models for tropes and liturgical dramas. 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. Beginning with the improvised harmonizations of Gregorian chant known as organum , Gregorian chants became a driving force in medieval and Renaissance polyphony.

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.

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.

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.

The Propers may also be replaced by choral settings on certain solemn occasions. These polyphonic arrangements usually incorporate elements of the original chant.

From Wikipedia, the free encyclopedia. Form of song. Gaudeamus omnes. Troubadours entertaining a monarch.

Major figures. Major forms. Universi qui te expectant , Gradual for the Mass first Sunday of Advent. This chant corresponds to the second one on the manuscript folio above beneath the large rubric Responsorium Graduale ; by Schola Antiqua of Chicago.

Epistle for the Solemn Mass of Easter Day. Example of liturgical recitative in Gregorian chant. Example of antiphonal psalmody in Gregorian chant.

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