What is Gregorian chant, and where does it come from? What purpose does it serve, and how did it take on the form and features which make it instantly recognizable? Designed to guide students through this key topic, this book answers these questions and many more. David Hiley describes the church services in which chant is performed, takes the reader through the church year, explains what Latin texts were used, and, taking Worcester Cathedral as an example, describes the buildings in which it was sung. The history of chant is traced from its beginnings in the early centuries of Christianity, through the Middle Ages, the revisions in the sixteenth and seventeenth centuries, and the restoration in the nineteenth and twentieth. Using numerous music examples, the book shows how chants are made and how they were notated. An indispensable guide for all those interested in the fascinating world of Gregorian chant.
This book presents for the first time in English the fully documented history of the Gregorian chant restoration which culminated in the publication of the Vatican Edition ordered by Pope Pius X at the dawn of the twentieth century. It is based upon archival documents in the Abbey of St. Pierre de Solesmes.
Interest in Gregorian chant has always been alive among musicologists and those devoted to preserving early church music in all its haunting simplicity. Willi Apel's extensive survey of the chant describes the evolutionary processes of its long history as well as its definition and terminology, the structure of the liturgy, the texts, the notation, the rhythm, the tonality, and the methods and forms of psalmody. Under the heading "Stylistic Analysis" it offers chapters on liturgical recitative, the free compositions according to types, Ambrosian chant (by Roy Jesson), and Old-Roman chant (by Robert J. Snow). A short conclusion, titled "Prolegomena to a History of Gregorian Style," completes this impressive volume. Book jacket.
Richard L. Crocker offers in this book and its accompanying compact disc an introduction to the history and meaning of the Gregorian chant. He explains how Gregorian chant began, what functions and meanings it had over time, who heard it and where, and how it was composed, learned, written down and handed on. Crocker explains Gregorian chant and its functions within modern catholic liturgy as well as its position outside this liturgy, where the modern listener may hear it just as music. He describes the origins of the chant in the early Middle Ages, details its medieval development and use, and considers how it survived without, and later with, musical notation. The author probes the paradoxical position of the chant in monastic life -- serving as an expression of liturgical fellowship on the one hand and as the medium of solitary mystic ascent on the other. The book also includes a detailed commentary on each of twenty-six complete chants performed by the Orlando Consort and by the author on the accompanying compact disc. --From publisher's description.
A world-renowned scholar of plainchant, Kenneth Levy has spent a portion of his career investigating the nature and ramifications of this repertory's shift from an oral tradition to the written versions dating to the tenth century. In Gregorian Chant and the Carolingians, which represents the culmination of his research, Levy seeks to change long-held perceptions about certain crucial stages of the evolution and dissemination of the old corpus of plainchant--most notably the assumption that such a large and complex repertory could have become and remained fixed for over a century while still an oral tradition. Levy portrays the promulgation of an authoritative body of plainchant during the reign of Charlemagne by clearly differentiating between actual evidence, hypotheses, and received ideas. How many traditions of oral chant existed before the tenth century? Among the variations noted in written chant, can one point to a single version as being older or more authentic than the others? What precursors might there have been to the notational system used in all the surviving manuscripts, where the notational system seems fully formed and mature? In answering questions that have long vexed many scholars of Gregorian chant's early history, Levy offers fresh explanations of such topics as the origin of Latin neumes, the shifting relationships between memory and early notations, and the puzzling differences among the first surviving neume-species from the tenth century, which have until now impeded a critical restoration of the Carolingian musical forms.
A study of medieval monophonic music. The text focuses on its movement away from the concept of chants as products and towards the idea of chants as processes. The essays are loosely connected through their bearing on one or more of three themes: the role of orality in the transmission of chants circa 700-1400; varying degrees of stability or instability in the transmission of chant; and the role of the formula in the construction of chant.
Traces the history of Gregorian chant from its origins in early Christianity to the present day, discussing the spiritual exercise of liturgical song, the construction of the chant and how it is sung, and its modern appeal and therapeutic power. 75,000 first printing.
The only systematic survey of its kind! The great composers of the sixteenth century—Palestrina, Victoria, des Pres, Lassus, and Morales—employed a common body of techniques in their approach to ecclesiastical art music before the development of harmony. Now available from Waveland Press, this systematic survey of examples of their music stresses these similarities, thereby helping musicians to master the techniques of sixteenth-century counterpoint. Since the basis of mastery lies in the ability to understand and to write in two and three voices, the editors have included twenty-six examples of two-voice writing and twenty-seven examples of three-voice writing. Samples of four- and five-voice writing, as well as larger, multi-movement Masses, have been included for more advanced students. Identification of sources, commentary, and translations are provided at the end of the collection.
The modern liturgical movement owes a great debt to Solesmes monk Dom Eugène Cardine (1905-1988), whose tireless research in the ancient manuscripts uncovered the elusice secrets of Gregorian Rhythm, thus revealing some of the original pristine beauty of Gregorian chant. In this volume, Dom Cardine sums up the origin, decline and restoration of the chant, and challenges researchers to continue his work.
Jeanne Demessieux has produced a dozen wonderful preludes based on Gregorian chant themes. The pieces contain fairly simple pedal parts and are in a variety of styles. Titles include: Rorate Caeli (Choral Orné) * Adeste Fideles (Musette) * Attende Domine (Choral Paraphrase) * Stabat Mater (Cantabile) * Vexilla Regis (Prelude) and more.
Gregorian chants by Sister Mary Antoinette Stadler