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    Gregorian chant developed out of oral tradition between the 8th and 12th centuries and was the dominant form of music in the Roman Catholic liturgy. It was monophonic and used in daily worship including the Mass and Divine Office. Chant was performed by monks and for congregations. The Mass had sections that changed daily (proper) and sections that remained the same (ordinary). Over time, additions such as tropes, sequences, and organum were incorporated to expand upon the chant tradition.

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    Gregorian chant developed out of oral tradition between the 8th and 12th centuries and was the dominant form of music in the Roman Catholic liturgy. It was monophonic and used in daily worship including the Mass and Divine Office. Chant was performed by monks and for congregations. The Mass had sections that changed daily (proper) and sections that remained the same (ordinary). Over time, additions such as tropes, sequences, and organum were incorporated to expand upon the chant tradition.

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    72 views9 pages

    Music History CH 3

    Uploaded by

    yuhenglol
    Gregorian chant developed out of oral tradition between the 8th and 12th centuries and was the dominant form of music in the Roman Catholic liturgy. It was monophonic and used in daily worship including the Mass and Divine Office. Chant was performed by monks and for congregations. The Mass had sections that changed daily (proper) and sections that remained the same (ordinary). Over time, additions such as tropes, sequences, and organum were incorporated to expand upon the chant tradition.

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    Music history ch 3

    Roman Liturgy and Chant

    Gregorian chant
    Music for Christian religious observances(“liturgical”)
    Centuries of oral tradition codified in the 8th to 12th centuries
    Legend of Pope Gregory I- sings to Gregory and then written down

    Terms:
    Church calendar- begins before Christmas, life of Christ, what time of the year
    Daily office- series of 8 services throughout the days in a specific time, recites text and singing
    Mass- a Christian service, very important

    Chant genre(class or type) and form(ABA)


    Genres: antiphon, responsorium, kyrie

    Characteristics of Gregortian chant


    Who sang chant, and where?
    Monks, in cloisters: the whole community sang.
    In churches, choir only.
    Monophonic hymns were also sung, congregationally.

    When were these chants sung?


    Daily office-everyday by monks, nuns, and some congregation members and prists
    Part of daily worship at monasteries/convents
    Most important: Matins(morning), Lauds(morning), Vespers(at night).
    Mass: most important ceremony for chant

    What did chat sound like?


    Texture: monophonic(all chants are monophonic)
    Manner of singing: responsorial(solo singer vs choir), antiphonal( 2 choirs alternates) and
    direct(no alteration, sing the chant together)
    Text setting:
    syllabic(every syllable in the text gets one note),
    neumatic(a range of note per syllable) ,
    melismatic(may have a series of text setting that has one or two notes but then a syllable can
    have whole bunch of notes like a melisma)
    Rhythm: “free” but following the text
    The daily office
    Schedule of prayers and readings (monks and nuns every day) daily rhythm for monks, alternate
    with works at certain time during the day. Bell rings and they will perform
    Several hours every day- a lot of singing!
    Especially in monasteries and convents-

    During these three times, are the most important and most musical. Devotion to God.

    What was sung in the daily office?


    Cycle of 150 psalms in the Jewish bible every week
    Used psalm tones while speaking(improvised)- not a lot of melody
    Psalm verses were bookended by “aniphons”(base on different text, melody interesting)
    Other readings from Biblical texts

    The mass
    Most important service in the Roman Church
    About 95% sung, lots of words and texts (Gregorian Chant)
    Some texts are the same every day
    Some texts change based on the calendar

    How mass is structure?


    Proper= texts that change from day to day. “Proper” for the occasion chant melodies change.
    (changed every day according to the season(pay attention to the ones in red)
    Ordinary= texts are sung the same way each day. Sung “by rule”(ordinus=”rule”). chant
    melodies change.

    *Memorize the Mass Ordinary in order:


    Kyrie- text repeats a lot
    Gloria -neumatic
    Credo- syllabic
    Sanctus-neumatic
    Agnus Dei- neumatic
    Killing greedy crocodiles saves alligators

    Item: described moment

    Items of the Mass: Introit


    Mass for Christmas day (NAWM 3a)
    First item in the mass
    Priests and officials enter
    Part of the Mass Proper
    Introit: NAWM 3a
    Item= introit
    Incipit(just the first phrase of the Latin text)= “Puer natus est nobis”
    Genre= antiphona
    A section= antiphon(a little tone); B section= Psalm tone
    Form=ABA

    Items of the Mass: Kyrie(NAWM 3b)- lord have mercy Christ have mercy lord have mercy
    Only item using Greek language, others are in Latin
    Part of the Mass Ordinary
    Item= Kyrie
    Incipit= Kyrie
    Genre= Kyrie
    Form= AAA BBB CCC(can be AAA)- Number 3 is very important because trinity, and God too.

    Items of the Mass: Gradual (means step) (NAWM 3c)


    Musical high point of the Mass
    Part of the Mass Proper
    Item= Gradual
    Incipit= “Viderunt omnes”
    Genre= Responsorium
    A section= respond(characteristic: in tone by the contour lead sing starts and indicate
    what piece will be perform and choir join) ; B section= versus(characteristic: far more
    complicated, only soloist who has the best skill in the choir, melismatic)
    Form: ABA

    Three additions to the liturgy


    Tropes
    Additions to existing Gregorian chant
    Liturgical- sung within the service, added to the Mass
    Represent the values of different generations- focus on different elements
    Two types: introductions, intercalations
    See NAWM 5 for example

    Introductions NAWM 5a: add before the chant


    Intercalations NAWM 5c: add between phrases

    Sequences- new genre


    New genre starting in 9th c.
    Long melismas sung as part of the Alleluia or Gradual- add words to better remember the
    melismas
    New words eventually added
    Notker Balbulus- Frankish monk in Switzerland from St. Gall who adds words to the long
    melismas
    Eventually: new text and new music
    Syllabic settings of text
    Form: (a) bb(same melody, different text) cc dd ee … nn
    Progressive repetition
    Example NAWM 6

    Organum
    Addition of polyphonic melodic lines to Gregorian chant
    Will discuss in Ch. 5

    These additions are developed within the same time as the Gregorian chant.

    pepin king of france


    Hildegard of Bingen (she was a nun)
    (1098-1179)
    German
    Best-known composer of sacred monophony
    Composer theologian, author, mystic
    Counseled kings, emperors, popes, bishops

    She composed: Ordo virtutum, 43 antiphons, 18 responsories, 7 sequences, 4 hymns, 5 chants


    Oversaw the preservation of her works

    Musical Style:
    Wide range: beyond octave, octave 5th, prefer perform by women
    Variation of repeated melodic figures
    Difficult leaps and patterns

    “In principio omnes”(NAWM 7)


    Sacred music drama
    Performed here with a drone

    Conclusion: legacy of chant


    Chant is one of the treasures of Western world.: actions of daily life during the medieval period,
    rhythm of daily life.
    Influenced later music.: saccular music, polyphonic music. Led to the development of notation
    that we are still using today
    Was the principal activity of professional singers until 16th century
    Sung in Catholic church until 1960s, official worship for the Catholic church

    Vocab:
    antiphon
    a liturgical chant which precedes a psalm or canticle in the office

    liturgy
    prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious
    service

    Divine Office
    Daily prayers (8)

    Greater Hours
    matins, lauds, vespers, compline; 30 mins

    Lesser Hours
    prime, terse, sext, none 1,3,6,9; 15 mins

    Compline
    greater hours; midnight

    responsory
    type of chant used in the office. matins includes nine great responsories

    Magnificat
    often sung at vespers (dusk office)

    Nunc dimittis
    dismisal
    Introit
    first item in the mass proper, originally sung for the entrance procession, comprising an
    antiphon, psalm verse, lesser doxology, and reprise of the antiphon

    Kyrie
    Greed for "Lord" one of the five major musical items in the ordinary

    Gloria
    second of 5 items in the ordinary; praise formula also known as the greater doxology; neumatic

    Gradual
    item in the proper after the epistle reading; melismatic; chant w/ a response followed by a
    single psalm verse

    Alleluia
    melismatic **usually close with a long melisma called a jubilus

    Credo
    Latin "I believe"; third of the five items in the ordinary; statement of faith

    Offertory
    in the proper; sung while communion is prepared; comprised of a response only

    Sanctus
    Latin "Holy"; in ordinary

    Agnus Dei
    "Lamb of God"; fifth in ordinary

    Communion
    in proper; based on a psalm; contains antiphon without verses

    Benediction
    dismissal

    Gradual, Missal
    1. contains music for the mass
    2. contains text for the mass

    Liber usualis
    "book of commons"; contains most frequently used texts and chants for the mass and office

    Ordinary
    performed at every mass; kyrie, gloria, credo, prayers, sanctus, canon, pater noster, agnus dei,
    ite missa est

    Proper
    performed differently at certain masses; introit, collect, epistle, gradual alleluia, sequences,
    gospel, sermon, offertory, secret, preface, communion, postcommunion

    Requiem Mass
    Mass for a dead person

    recitation tone
    a tone usually a fifth above the final

    Psalm tone
    formula for singing psalm tones in the office; adapted to fit almost any psalm

    initium
    ...

    mediatio
    a cadence for the middle of each verse

    ecclesiastical modes
    8 matched antiphons to final pitch of psalms

    ambitus
    range

    authentic
    odd numbered modes; final usually near bottom of range

    plagal
    even numbered modes; deeper range

    ligature
    neume-like notation used to indicate a short rhythmic pattern

    Guido of Arezzo
    developed solfege

    hexachord
    a set of six; can be transposed using mutation

    solmization
    roots of solfege developed by Guido of Arezzo; first six phrases of Ut queant laxis began with
    the notes CDEFGA (UT-re-mi-etc)

    mutation
    changing hexachords; a note that was shared by both hexachords was begun as if in one
    hexachord and left as if in another

    gamut
    entire range of pitches normally written in the Middle Ages

    trope
    expanded an existing chant in one of three ways: adding new words and music before the
    chant, extending melismas, adding text

    prosa
    addition of words to a melisma; trope

    sequence
    syllabically set and usually sung after the Alleluia at Mass

    Notker Balbulus
    most famous early writer of sequence texts, pro at adding text and melismas

    Dies irae
    hymn describing judgment day used in Requiem Masses

    Hildegard von Bingen


    female writer of liturgical drama

    liturgical drama
    short dialogues set to chant and linked to the liturgy

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