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"Gregorian chant" Definitions
  1. a type of church music for voices alone, used since the Middle Ages
"Gregorian chant" Synonyms
plainchant plainsong canticle carol hymn chant chorale paean anthem psalm spiritual song song of praise antiphon introit lay miserere shout religious song sacred song

726 Sentences With "Gregorian chant"

How to use Gregorian chant in a sentence? Find typical usage patterns (collocations)/phrases/context for "Gregorian chant" and check conjugation/comparative form for "Gregorian chant". Mastering all the usages of "Gregorian chant" from sentence examples published by news publications.

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Nothing pleased him more than listening to Gregorian chant on his scratchy gramophone.
You'll hear modal nuances in jazz, or, if it floats your boat, Gregorian chant.
Quotes from German folk song and Gregorian chant coexist with angular remnants of Expressionist angst.
Some of it reminded Arnett of Gregorian chant; some of it reminded him of Bob Dylan.
For the psych-rock band the Electric Prunes, he produced an album influenced by Gregorian chant.
His unadorned sonic textures, often based on Greek modes and Gregorian chant, can have the quality of cryptic icons.
The program moves through the liturgical year while also progressing through the centuries, from Gregorian chant to contemporary composition.
For the media, replacing Trump with Pence would be like jumping from a Mardi Gras parade to a Gregorian chant.
Having flirted with fame during a short-lived spell in Gregorian-chant-merchants, Clannad, Enya's time to shine had come.
When it's not holding silence retreats, Eremito in Umbria, Italy, modeled on a historic monastery, offers workshops in Gregorian chant.
Respighi's "Vetrate di Chiesa" ("Church Windows") has been said to reflect the composer's eventual discovery of, and love for, Gregorian chant.
So there I am, listening to a Gregorian chant sung by two dozen 18-year-old boys in a pitch black room.
He runs an online search for "internet addiction," and the other men make a didgeridoo-like sound drawn from Gregorian chant and Tuvan throat singing.
But as the songs were scrambled, the tenor of the music took on an eerie liturgical quality, as if each singer were performing an individual Gregorian chant.
At the beginning of the Mass for Double Choir by the Swiss composer Frank Martin, simple, flowing lines for the altos evoke the purity of Gregorian chant.
"Said to," because merely from the music, you would never guess that the work stemmed from Gregorian chant tunes, it is so far removed in grandeur from such modest origins.
Monteverdi's writing in the "Vespers" is organized around a dazzling array of what, for him, were old and new forms: hymn, Gregorian chant, polyphony, operatic monody, arioso and embellished virtuoso singing.
As we chatted, the man mentioned that he was chorally trained in Gregorian chant — which he proved by singing with a voice so powerful and incongruous for his hunched and shriveled frame!
"Dies irae" translates from Latin to "Day of Wrath" — it's a 13th-century Gregorian chant describing the day Catholics believe God will judge the living and the dead and send them to heaven or hell.
Chilling, in the sense that Sir Spyro's beat is a blood-curdling reinterpretation of a Gregorian chant that seems to have been transported from the space-age, before getting lost in the backstreets of South London.
But here is a quandary I have encountered before when writing about liturgical music, notably in connection with the Gregorian chant boom of two decades ago: By what right does a music critic pass judgment on anyone's worship?
His Anglican suspicion of the Roman church had been soothed, when he was really quite young, by singing an especially wonderful melody in Verdi's "Te Deum", and later by the beauty, which he thought inexpressible, of Gregorian chant.
But the reforms of Vatican II (1962-65) — including the dissolution of monastic silence, the supplanting of Gregorian chant by vernacular music and the replacement of Latin by modern languages — discomforted him, and in 1968 he left the monastery.
The unwieldy structure of "Paranoid Android" suggested multiple creative impulses fighting each other within the same song: a Cumbia-like guitar melody in the verses, Gregorian chant breakdown, and guitar solos that screech like a dial-up internet connection.
" Fowler listed a slew of musical inspirations for The Times, including "a Gregorian chant, a Spanish fandango, a Renaissance motet, a jota from Zaragoza, a classical chorus, an aria from the Zarzuela, a Flamenco tango, an indie-rock hook and a Swedish-house baseline.
When realizing some of the more extreme qualities of Mr. Braxton's writing — like the hailstorm of sci-fi-style syllables that make up the "syntax" of these particular "Ghost Trance" pieces — the ensemble's nimbleness and warmth suggest a highly caffeinated updating of Gregorian chant.
The series' beginning moments are its most surreal; after opening with Utada Hikaru's instantly iconic "Simple and Clean" (which, incidentally, I have seen absolutely pop off at raves at 3:00am), players take their first steps to "Dive into the Heart," an eerie Gregorian chant that gives the game's Disney Princess purgatory of a tutorial a looming and enigmatic sense of dread.
To his students, he brought a world of genteel scholarship and quiet contemplation; a world whose modus operandi — by hand, with ink, on paper, parchment and vellum — was little changed for centuries; a world of classical music (an accomplished singer, he liked to ply his calligraphy to Beethoven), Gregorian chant and the Latin Mass, which he continued celebrating in discreet defiance long after Vatican II. Into that world burst a young college dropout named Steve Jobs.
Incipit of the Gregorian chant introit for a Requiem Mass, from the Liber Usualis.
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.David Wilson, Music of the Middle Ages p. 10. From English and German sources, Gregorian chant spread north to Scandinavia, Iceland and Finland.Hiley, Western Plainchant p. 604.
Gregorian chant still features and plays an important role in the regular worship of the church.
Restoration of Gregorian chants is the process of restoring the original melody in Gregorian Chant manuscripts.
He subsequently taught at the Madrid Royal Conservatory, where he taught Gregorian Chant until his retirement.
Blending Latin and English, masses at the Proto-Cathedral feature Gregorian chant, English chant and polyphony.
Psallentes ("those who sing") is a Gregorian chant ensemble founded in 2000 and based in Leuven, Belgium.
Vatican II officially allowed worshipers to substitute other music, particularly sacred polyphony, in place of Gregorian chant, although it did reaffirm that Gregorian chant was still the official music of the Roman Rite of the Catholic Church, and the music most suitable for worship in the Roman Liturgy.
The Solesmes monks also determined, based on their research, performance practice for Gregorian chant. Because of the ambiguity of medieval musical notation, the question of rhythm in Gregorian chant is contested by scholars. Some neumes, such as the pressus, do indicate the lengthening of notes. Common modern practice, following the Solesmes interpretation, is to perform Gregorian chant with no beat or regular metric accent, in which time is free, allowing the text to determine the accent and the melodic contour to determine phrasing.
Sebastian and George. Leo also reformed the Gregorian chant and composed several sacred hymns for the divine office.
From 2010 to 2016 Gregoriana's director has compiled radio broadcasts on Gregorian chant for the Dutch Concertzender.Lists and streams are available at Gregoriana and Concertzender both accessed 28 January 2016. Many of these programs were about closely related traditions to Gregorian chant. All episodes can be streamed on the internet.
By the 9th century the Gallican rite and chant had effectively been eliminated, although not without local resistance.Apel, Gregorian Chant p. 80. The Gregorian chant of the Sarum Rite displaced Celtic chant. Gregorian coexisted with Beneventan chant for over a century before Beneventan chant was abolished by papal decree (1058).
The church's acoustics are particularly suited to Gregorian chant, which makes it a pilgrimage site for soloists and choirs.
Mr. Biton published an accompanying book on Gregorian chant. In 1925, Le Guennant arrived at the Gregorian Institute of Paris as director and teacher of Gregorian chant, succeeding Dom Joseph Gajard of the Solesmes Abbey. After the Second World War, he organized many Gregorian sessions, not only in France but also in Fátima, and even Rio de Janeiro. Still teaching at the Gregorian Institute in Paris, this pedagogue and musician considerably boosted the teaching of Gregorian chant, by creating centres of study in several countries.
Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship.The Constitution on the Sacred Liturgy, Second Vatican Council ; Pope Benedict XVI: Catholic World News 28 June 2006 both accessed 5 July 2006 During the 20th century, Gregorian chant underwent a musicological and popular resurgence.
Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Early Christian Church. It was formerly performed in Rome, and, although it is closely related to Gregorian chant, the two are distinct. Gregorian Chant gradually supplanted Old Roman Chant between the 11th century and the 13th century AD. Unlike other chant traditions (such as Ambrosian chant, Mozarabic chant, and Gallican chant), Old Roman chant and Gregorian chant share essentially the same liturgy and the same texts. Many of their melodies are also closely related.
He regularly teaches theory and practice of Gregorian chant at summer school at Musiques et Patrimoine Rânes, Normandy, France and at the Festival de Musique Sacré de Fribourg in Switzerland. He has collaborated with Czech radio to produce programs on Gregorian chant. , he works at Charles University in Prague, where he lectures in musicology and liturgy.
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.Apel, Gregorian Chant p. 127.
In 885, Pope Stephen V banned the Slavonic liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including Poland, Moravia and Slovakia. 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.
From 2008, she has been a member of the all-female Tiburtina ensemble, which specializes in Gregorian Chant and Medieval part-music.
Willi Apel has described these four songs as "among the most beautiful creations of the late Middle Ages."Apel, Gregorian Chant p. 404.
Thomson Gale. UC Irvine (CDL). 09 March 2006 On the other hand, the origin of Gregorian chant, which was the earliest manifestation of European classical music, was Jewish choral music of the Temple and synagogue, according to a large number of analytical liturgistsKevin J. Symonds, On The Hebraic Roots of the Gregorian Chant. Self- published 2005. Accessed 12 February 2006.
Paschale Mysterium is Latin for "The mystery of Easter". The words have been used as the title of albums of Gregorian chant for Easter.
Procedamus in pace! (Latin for 'Let us proceed in peace') is a Gregorian chant. The text includes a quotation from Psalm 24:7-8.
Finally, on Adnan Saygun's request, he stayed in Italy to study Gregorian chant and polyphonic Renaissance music at the Pontificio Istituto di Musica Sacra.
Each of these political divisions developed their own repertory of melodies for singing sacred texts.Saulnier, "Gregorian Chant: A Guide to the History and Liturgy", 2.
Kýrie Eléison XI (Orbis Factor), which is from the Liber Usualis, which originated in the 11th century.Apel, Willi. Gregorian Chant. Indiana University Press, 1958. p.
His teachers included Victor Brault, Arthur Laurendeau (voice), Conrad Letendre (diction), Georges Mercure (Gregorian chant), Oscar O'Brien, Michel Perrault, and Roland Van de Goor (harmony).
Kýrie Eléison XI (Orbis Factor), which is from the Liber Usualis, which originated in the 11th century.Apel, Willi. Gregorian Chant. Indiana University Press, 1958. p.
It is a portable instrument and is usually located between the choir stalls in the Sanctuary. It is in daily use to accompany Gregorian chant.
The Introit Gaudeamus omnes, scripted in square notation in the 14th–15th century Graduale Aboense, honors Henry, patron saint of Finland Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes.
Antiphonary of Hartker of the monastery of Saint Gall The mainstream form of Western plainchant, standardized in the late 9th century,Kenneth Levy, Gregorian Chant and the Carolingians(Princeton University Press 1998 ), p. 7 was attributed to Pope Gregory I and so took the name of Gregorian chant. The earliest such attribution is in John the Deacon's 873 biography of Gregory, almost three centuries after the pope's death, and the chant that bears his name "is the result of the fusion of Roman and Frankish elements which took place in the Franco-German empire under Pepin, Charlemagne and their successors". Gregory Murray, Gregorian Chant According to the Manuscripts (L.
The resulting Carolingian chant, which developed into Gregorian chant, was a Romanized chant, but one in which traces of the lost Gallican repertory may still be found.
The Swiss avantgarde black metal band Schammasch adapted the mantra as the outro in their song "The Empyrean" on their last album "Triangle" as a Gregorian chant.
For them, the act of singing is important. One of the earliest forms of worship music in the church was the Gregorian chant. Pope Gregory I, while not the inventor of chant, was acknowledged as the first person to order such music in the church, hinting the name "Gregorian" chant. The chant reform took place around 590–604 CE (reign of Pope Gregory I) (Kamien, pg. 65–67).
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.Wilson, Music of the Middle Ages p. 22. Early Gregorian chant, like Ambrosian and Old Roman chant, whose melodies are most closely related to Gregorian, did not use the modal system.Apel, Gregorian Chant pp.
In the accompanying booklet, Kevin Kern mentions basing "Keepers of the Flame" on an ancient Gregorian chant called "Pange Lingua". It is dedicated to Pope John Paul II.
2008 "Regina Coeli,” for organ and treble instrument. Morning Star, St. Louis, MO 2008 "Adoro Te Devote,”for organ and treble instrument. Morning Star, St. Louis, MO 2008 "Alleluia, Tone 6," for organ and treble instrument. Morning Star, St. Louis, MO 2007 "Concordi Laetitia,”organ solo based on Gregorian Chant, CanticaNOVA, WV 2007 "Veni, Veni Emmanuel,”organ solo based on Gregorian Chant, CanticaNOVA, WV 2004 "Veni Creator Spiritus,” for organ and treble instrument, GIA, Chicago, IL 2004 “Ave Maria” organ solo based on Gregorian Chant, CanticaNOVA, Charles Town WV 2004 "Ave Verum Corpus” organ solo based on Gregorian Chant, CanticaNOVA 2002 “In Paradisum” Postlude for Funerals in Consoliere Classic, Vol. V WLP, Schiller Park 1997 “Sleep, Holy Babe” SATB with flute, World Library Publications, Schiller Park, IL. 1997 "To Christ the Paschal Victim" SATB, A Cappella; Morning Star, St. Louis, MO 1996 "Fantasy on Jesus Christ is Risen Today" Organ Solo; Morning Star, St. Louis 1996 "Wexford Carol" Flute and SATB; Morning Star, St. Louis.
Development of notation styles is discussed at Dolmetsch online, accessed 4 July 2006 Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. 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.
The Gregorian Institute of Paris was a pedagogical and religious establishment founded in Paris in 1923 having in view the musicianship of Gregorian chant. This institute was created following a Parisian congress devoted to Gregorian chant and sacred music, held in December 1922. During the Second Vatican Council, this establishment became the Institut de musique liturgique in 1964, and finally was integrated with the Institut catholique de Paris in 1968, after their long collaboration.
Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.
The manuscript was rediscovered in 1904 by two Benedictine monks who were researching Gregorian chant. However, the music was not published until the 1930s. There is also a 1980s edition.
Some chants were replaced by ancient ones rediscovered after 1908.Gregorian Chant for the Choir A simpler gradual for small churches was published in 1967 and 1975, as the Graduale Simplex.
Arnott Maxwell Fernie (25 April 191022 May 1999) was a New Zealand organist, teacher and conductor. He was an authority on Gregorian chant, sixteenth century polyphony, organ construction and tonal design.
Music also holds a supereminent position in the classical liturgy: Gregorian chant and sacred polyphony have developed in the course of the centuries in order to serve and to embellish it.
2013 Gregorian chant is a variety of plainsong named after Pope Gregory I (6th century A.D.), although Gregory himself did not invent the chant. The tradition linking Gregory I to the development of the chant seems to rest on a possibly mistaken identification of a certain "Gregorius", probably Pope Gregory II, with his more famous predecessor. For several centuries, different plainchant styles existed concurrently. Standardization on Gregorian chant was not completed, even in Italy, until the 12th century.
The Council of Trent struck sequences from the Gregorian corpus, except those for Easter, Pentecost, Corpus Christi and All Souls' Day. 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.
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 1562–63, the Council of Trent banned most sequences.
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.Apel, Gregorian Chant pp. 288–289. 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.Hiley, Western Plainchant p. 622.
The adjacent Haus Altenberg was from 1926 the centre of the Catholic youth movement. The hymnal had no illustrations and included some songs derived from Gregorian chant, rendered without rhythm and metre.
The Saint-Gall Cantatorium is the earliest surviving cantatorium of Gregorian chant. It was produced around 922–926 in the Abbey of Saint Gall and is still held in the abbey library.
Corcoran, Gregory. "Preparing for the Future at Quarr Abbey", WMF Journal, 21 May 2013 In July 2013, the Abbey hosted a Chant Forum, a five-day course on early polyphony and Gregorian Chant.
I (1960), pp. 51–59). Nivers's other music is less known; however, his treatises on Gregorian chant and basso continuo are still considered important sources on 17th century liturgical music and performance practice.
The church is on the busy Kalverstraat just south of Dam Square, and invites people in for quiet, as well as celebrating Sunday Mass (Post-Vatican II Mass) in Latin with Gregorian chant.
Range of a bassoon Ambitus is a Latin term literally meaning "the going round", and in Medieval Latin means the "course" of a melodic line, most usually referring to the range of scale degrees attributed to a given mode, particularly in Gregorian chant. It may also refer to the range of a voice, instrument, or piece generally (; ). In Gregorian chant specifically, the ambitus is the range, or the distance between the highest and lowest note. Different chants vary widely in their ambitus.
Traditionally, every year, the Choir sings a solemn polyphonic mass in Latin, interspaced with Gregorian chant, on the occasion of the feast of St. Ignatius of Loyola, Patron of the Seminary Church. Perhaps, today, it is the only exponent of Gregorian chant in India. Various choral recitals, featuring religious and secular music are held in the seminary on different occasions. On 31 July 1997, the Choir celebrated the centenary of its inception, with a solemn Eucharist presided by Archbishop-Patriarch Raul Nicolau Gonsalves.
Chant is a compilation album of Gregorian chant, performed by the Benedictine Monks of Santo Domingo de Silos in Spain. The performances were recorded perhaps as early as the 1970s, either in the province of Burgos or in Madrid, the Spanish capital. The music did not sell significantly until it was re- released by Angel in 1994 when it was strongly marketed as an antidote to the stress of modern life. Chant is the best-selling album of Gregorian chant ever released.
The Institute grants the following degrees in sacred music: Bachelor (3 years), Licentiate (2 years) and a Doctorate. The degrees are offered with one of the following foci: Gregorian chant, composition, choral direction, musicology, pipe organ and pianoforte. Instruction in Italian is offered in harmony, counterpoint, fugue, composition, acoustics, music history and analysis, musicology, bibliography, research methods, ethno-musicology, editing of music, notation, Gregorian chant, liturgics, piano, pipe organ, score reading, continuo (figured bass), keyboard improvisation, choral conducting and Latin.
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.Hoppin, Medieval Music p. 82. Not every Gregorian chant fits neatly into Guido's hexachords or into the system of eight modes.
Hiley, "Chant", Performance Practice: Music before 1600 p. 44. "The performance of chant in equal note lengths from the 13th century onwards is well supported by contemporary statements." 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 melismata, with their melodic accent, fell on accented syllables.Apel, Gregorian Chant p. 289.
The monks of Silos became internationally famous for singing Gregorian chant as a result of the remarkable success of their 1994 album Chant, one of a number of recordings they have made.Selective Chant Discography. The Gregorian Association It peaked at #3 on the Billboard 200 music chart, and was certified as triple platinum, becoming the best-selling album of Gregorian chant ever released. It was followed by Chant Noël: Chants for the Holiday Season (also released in 1994) and Chant II (1995).
Springfield has new bishop January 25, 2008 He also supports the use of Gregorian chant and polyphony. He has cited Dolly Parton, Chet Atkins, and Alan Jackson as some of his favorite musical artists.
The music for Marketa Lazarová was composed by Zdeněk Liška. It is based on medieval composition. There are motives of Gregorian chant. The music emphasizes the conflict between the Christian and the Pagan world.
The introit Quasi modo geniti, from which Quasimodo Sunday gets its name, is in Mode 6. A Gregorian mode (or church mode) is one of the eight systems of pitch organization used in Gregorian chant.
The focus of his work was the exploration of medieval music, in particular the exploration of the Gregorian chant. In 1957, he was a founding member of the .Gesellschaft für Bayerische Musikgeschichte e.V. In: miz.
There is a small but growing school of church composers, favoring a return to Catholic music that can be called "classical", writing original organ, choral, and vocal music that is often based on Gregorian chant.
Singing and music, especially Gregorian chant, are associated with the liturgy. The Gregorian chant, also called cantilena Romana, has been, since its codification, (putatively under Pope St. Gregory the Great, although actually occurring later,) and remains the official music of the Latin Rite Catholic Liturgy, prescribed by Church documents to be given "pride of place" in Her liturgies. This form of music of the Church is contained in the Sacramentary Roman Missal as well as the chant books, e.g. graduale Romanum, antiphonale, liber cantualis.
In Gregorian chant the existed before the modal system was expanded beyond the eighth mode. Later the ninth tone became associated with the ninth mode, or Aeolian mode, which, in a more modern understanding of harmony, can be equalled with a standard minor mode.Lundberg 2012 p. 45 The traditional German Magnificat, sung on a German variant of the ninth tone or The is an exceptional reciting tone in Gregorian chant: there it was most clearly associated with Psalm 113 (in the Vulgate numbering), traditionally sung in vespers.
Medieval music included liturgical music (also known as sacred) used for the church, and secular music, non-religious music. Medieval music includes solely vocal music, such as Gregorian chant and choral music (music for a group of singers), solely instrumental music, and music that uses both voices and instruments (typically with the instruments accompanying the voices). Gregorian chant was sung by monks during Catholic Mass. The Mass is a reenactment of Christ's Last Supper, intended to provide a spiritual connection between man and God.
Charpentier then became director of music for the city of Nice. He lived for many years in Carcassonne. Jacques Charpentier is also the author of pedagogical works on the Gregorian chant and the music of India.
Gregorian is a German band headed by Frank Peterson that performs Gregorian chant-inspired versions of modern pop and rock songs. In 1999, they recovered their version to be included on their album Masters of Chant.
The Gregorian chant was known for its very monophonic sound. Believing that complexity had a tendency to create cacophony, which ruined the music, Gregory I kept things very simple with the chant.Kamien, Roger. Music: An Appreciation.
She was later sent to study in Belgium, and after that in Dijon, where her French professors disparaged her "antediluvian" English. It was around this time that she started lecturing in Paris on Gregorian chant and polyphony.
Begegnung mit Theobald Schrems. 1993, . Thiel dedicated his life to the promotion and cultivation of Gregorian chant. However, he was by no means limited to the occupation with church music and was also engaged as a musicologist.
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.
He was often depicted as receiving the dictation of plainchant from a dove representing the Holy Spirit, thus giving Gregorian chant the stamp of being divinely inspired. Scholars agree that the melodic content of much Gregorian Chant did not exist in that form in Gregory I's day. In addition, it is known definitively that the familiar neumatic system for notating plainchant had not been established in his time.Taruskin, Richard The Oxford History of Western Music, Volume I – Music from the earliest notations to the 16th century Chapter 1, the curtain goes up, page 6.
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. Similarly, the Gregorian repertory incorporated elements of these lost plainchant traditions, which can be identified by careful stylistic and historical analysis.
In 1866, the two monks were again assigned to move for Gregorian chant. While Dom Pothier remained in Alsace through Laon to seek manuscripts, Dom Jausions first stayed at the Ligugé Abbey and the Minor Seminary of Saint-Gaultier, for a few sessions of singing. Then, after returning to Solesmes, Paul Jausions returned to the Fontgombault Abbey, not yet restored, then stayed in Paris where he copied the old manuscripts in the archives, notably at the Imperial Library. The two restorers were preparing together a book on the method of performing Gregorian chant.
Gregorian chant setting for Kyrie XI notated in neumes. The Kyriale is a collection of Gregorian chant settings for the Ordinary of the Mass. It contains eighteen Masses (each consisting of the Kyrie, Gloria [excluded from Masses intended for weekdays/ferias and Sundays in Advent and Lent], Sanctus, and Agnus Dei), six Credos, and several ad libitum chants. This collection is included in liturgical books such as the Graduale Romanum and Liber Usualis, and it is also published as a separate book by the monks of Solesmes Abbey.
The organ was silent at his funeral, at his request, to make way for Gregorian chant of which he had grown fond following his conversion to Catholicism. His son was the distinguished architectural historian Kerry Downes (1930-2019).
The first stage performance was at the Teatro Goldoni in Venice on 10 August 1932. Both the language of the libretto and the music employ archaism; Respighi's score contains stylistic echoes of Gregorian chant, Renaissance music and Monteverdi.
Gregorio is a free and open-source scorewriter computer program especially for Gregorian chant in square notation. Gregorio was adopted by many Abbeys and large projects, the most prominent user is maybe the St. Peters's Abbey of Solesmes.
Swann performed the cycle for Tolkien, who approved of the music except for the Quenya song "Namárië"; he suggested it should be in the style of a Gregorian chant, which he hummed; Swann used that melody for the song.
Apel, Gregorian Chant p. 203 The simplest kind of melody is the liturgical recitative. Recitative melodies are dominated by a single pitch, called the reciting tone. Other pitches appear in melodic formulae for incipits, partial cadences, and full cadences.
Theodore Marier was a good friend of French composer Jean Langlais. He was also a friend of the Benedictine Abbey of Regina Laudis in Connecticut and assigned the copyright to his last book, A Gregorian Chant Master Class, to the Abbey.
Apel, Gregorian Chant, p. 240; Liber Responsorialis pro Festis I Classis et Communi Sanctorum juxta Ritum Monasticum, Solesmes, 1895, pp. 122-123. Polyphonic settings of parts of responsories survive from the Middle Ages.Harrison, Music in Medieval Britain pp. 366-371.
The Schola Gregoriana Pragensis is an award winning choir from the Czech republic with primary focus on Gregorian chant and Bohemian plainchant. The choir formed in 1987 under the direction of David Eben and was restricted in its repertoire to only liturgical music for the first two years. Since the Velvet Revolution of 1989, the choir has extended its repertoire to include a variety of sacred music, with particular focus on Gregorian chant (monophonic Latin liturgical music) and early polyphony. The choir has won several awards, including the Choc du monde de le musique, 10 de Repertoire and Golden Harmony (Zlatá Harmonie).
In Christian liturgy, the credo (; Latin for "I believe") is the Nicene- Constantinopolitan Creed (or less often, the Apostles' Creed or the Athanasian Creed) in the Mass, either as spoken text, or sung as Gregorian chant or other musical settings of the Mass.
Kyrie XI ("orbis factor")—a fairly ornamented setting of the Kyrie in Gregorian chant—from the Liber Usualis Kyrie, a transliteration of Greek , vocative case of (Kyrios), is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison ( ; ).
Miroslav Martinjak is a Croatian organist, liturgist, composer, arranger and university professor. He is the most prominent Croatian contemporary composer of liturgical choral music, influenced by Croatian liturgical tradition (Dugan, Vidaković, Klobučar etc.) and Gregorian chant. He is also regens chori of the Zagreb Cathedral.
Gregorio Celli was born in Rimini. His father died in his childhood. He was baptized in the church of Saint Martin. Each evening his mother would set off for the local church to find her son there who remained entranced with the Gregorian Chant.
' ('The mouth of the righteous'), WAB 30, is a sacred motet composed by Anton Bruckner in 1879. is a Gregorian chant used as gradual of the ,Commune Doctorum and as introit ICommune Confessoris non Pontificis (I) and gradual IICommune Confessoris non Pontificis (II) of the .
Franz Philipp worked for a new orientation of Catholic church music. He based his works on Gregorian chant and German Volkslied. He left only a few organ works, although he was known as an organ improvisor. His organ music is inspired by Max Reger.
The Montreal Jubilation Gospel Choir is a choir from Montreal, Quebec, Canada that sings primarily traditional and contemporary Gospel music. The choir's repertoire also includes a mix of music ranging from Gregorian chant to Bach chorales, traditional Zulu music and a modern Jazz: the oratorio.
134,275 the birthplace of the Carolingian dynasty,Settipani C. (1989) Les ancêtres de Charlemagne. Ed. Société atlantique d'impression. pp. 3–49 a cradle of the Gregorian chant,Demollière C.J. (2004) L'art du chantre carolingien. Eds. Serpenoise. and one of the oldest republics in Europe.
Since 1898, Perosi had been Director of the Sistine Chapel Choir, a title which Pius X upgraded to "Perpetual Director". The Pope's choice of Joseph Pothier to supervise the new editions of chant led to the official adoption of the Solesmes edition of Gregorian chant.
Francis Poulenc composed his setting of the text in 1941. Arvo Pärt composed a setting first performed in the Essen Cathedral in 2002. Olivier Latry premiered in 2007 an organ work ' which reflects in seven movements the lines of the hymn in Gregorian chant.
The monks originally sang Mozarabic chant. At some point around the eleventh century they switched to Gregorian chant. In 1880 the abbey became a member of the Solesmes Congregation, and the singing has since been influenced by the scholarship and performance style of Solesmes Abbey.
Offices are sung in Latin, with prominence given to Gregorian chant. From 1964 tot 1996, Dom Nicolaas de Wolf (1931-2015) was abbot. He was succeeded by Dom Adrianus (Ad) Lenglet. At the moment (June 2020) about 17 monks are living in the abbey.
In 1975 Berry founded the Schola Gregoriana of Cambridge for the study and performance of Gregorian chant. The Cantors of the Schola are a group of young, largely professional singers and have performed and recorded extensively under her direction, often working from primary sources. The Schola was one of the first ensembles to perform (and certainly the first to record) music from the Winchester troper after research by Berry and others made the music accessible from the manuscripts. Berry traveled widely to promote the teaching and singing of Gregorian chant, and organized and participated in many workshops and courses, including Spode Music Week, of which she was a patron.
Monks chanting, Drepung monastery, Tibet, 2013 Some examples include chant in African, Hawaiian, and Native American, Assyrian and Australian Aboriginal cultures, Gregorian chant, Vedic chant, Qur'an reading, Islamic Dhikr, Baháʼí chants, various Buddhist chants, various mantras, Jewish cantillation, and the chanting of psalms and prayers especially in Roman Catholic (see Gregorian chant or Taizé Community), Eastern Orthodox (see Byzantine chant or Znamenny chant, for examples), Lutheran, and Anglican churches (see Anglican Chant). Chant practices vary. Tibetan Buddhist chant involves throat singing, where multiple pitches are produced by each performer. The concept of chanting mantras is of particular significance in many Hindu traditions and other closely related Indian religions.
Its use has decreased since the Second Vatican Ecumenical Council (opened by Pope John XXIII in 1962), in the constitution on the liturgy (Sacrosanctum Concilium), allowed the local language to be used in Church rites, even though the same council mandated that Gregorian Chant should retain "pride of place" in the liturgy (Sacrosanctum Concilium, 116). Gregorian chants are still sung in most monasteries and some churches, and in performances by groups dedicated to its preservation. In recent years, due to a resurgence of interest in Gregorian chant and the Tridentine Mass, some editions of the Liber Usualis have been reprinted or scanned and made available for download.
Ireland, Spain, and France each developed a local plainchant tradition, but only in Italy did several chant traditions thrive simultaneously: Ambrosian chant in Milan, Old Roman chant in Rome, and Beneventan chant in Benevento and Montecassino. Gregorian chant, which supplanted the indigenous Old Roman and Beneventan traditions, derived from a synthesis of Roman and Gallican chant in Carolingian France. Gregorian chant later came to be strongly identified with Rome, especially as musical elements from the north were added to the Roman Rite, such as the Credo in 1014. This was part of a general trend wherein the manuscript tradition in Italy weakened and Rome began to follow northern plainchant traditions.
Apel, Gregorian Chant p. 79. Thirty years later (785–786), at Charlemagne's request, Pope Adrian I sent a papal sacramentary with Roman chants to the Carolingian court. According to James McKinnon, over a brief period in the 8th century, a project overseen by Chrodegang of Metz in the favorable atmosphere of the Carolingian monarchs, also compiled the core liturgy of the Roman Mass and promoted its use in Francia and throughout Gaul. Willi Apel and Robert Snow assert a scholarly consensus that Gregorian chant developed around 750 from a synthesis of Roman and Gallican chants, and was commissioned by the Carolingian rulers in France.
The works on the album combine Gregorian chant along with Western art contemporary music and Middle-Eastern influences, and the album was launched officially at a concert in Westminster Cathedral in November 2009, featuring the Chamber Choir of the Philharmonic Academy of Rome and singer Yasemin Sannino.
Solemnity of All Saints, in the Graduale simplex The publication of the first edition of the Graduale simplex was achieved in 1967, as a reworking of the Gregorian chant book in order to satisfy the Sacrosanctum Concilium Constitution of 4th December 1963, following the Second Vatican Council.
He studied at the Pontifical Institute of Sacred Music and the National Conservatory in Rome and graduated with distinction in Gregorian chant, composition and piano. He later earned a doctorate for his thesis titled: 'Aesthetic Indian Music as a bridge between Christian and Indian Religious Music'.
134,275 the birthplace of the Carolingian dynasty,Settipani C. (1989) Les ancêtres de Charlemagne. Ed. Société atlantique d'impression. pp. 3–49 a cradle of Gregorian chant,Demollière C.J. (2004) L'art du chantre carolingien. Eds. Serpenoise. and one of the oldest republics of the common era in Europe.
Incipit of the Gregorian chant introit from the Liber Usualis for the Octave Sunday of Easter, from which it is called "Quasimodo Sunday." The Octave of Easter is the eight-day period (octave) in Eastertide that starts on Easter Sunday and concludes with the following Sunday.
This is common in old vocal music such as Gregorian Chant. # There is no time signature but the direction 'Free time' is written above the stave. # There is a time signature (usually ) and the direction 'Free time' written above. # The word is written downwards across the stave.
In 1894 Perosi went to Solesmes Abbey to study with the Gregorianists Dom André Mocquereau and Dom Joseph Pothier. The Renaissance polyphony he learned from Haberl, and the Gregorian chant he studied in Solesmes were the two pillars upon which the entire oeuvre of Perosi rested.
See Hankeln (2007). Gregoriana has also paid special attention to the contemporaneous repertoires that were mostly eliminated by the standardization of Gregorian chant.See Hiley (1993) 524-562 and McKinnon (2000). Some of these repertoires, however, may be much older and at the base of Gregorian chant.
The noted 13th-century priest and poet, Gonzalo de Berceo, wrote an account of his life. In the 19th century Silos became a monastery in the Benedictine Congregation of Solesmes, and is notable for its fine double Romanesque cloisters, extensive library, and recordings of Gregorian Chant.
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. "Amen" and "alleluia" come from Hebrew, and the threefold "sanctus" derives from the threefold "kadosh" of the Kedushah.Apel, Gregorian Chant p. 34.
In what are commonly regarded as his most important works, he elaborated on methods of music theory in Gregorian Chant. Included in this category are "La Disciplina Coral", "Las tres etapas de la ejecucion gregoriana", "teoria del canto gregoriano", “El acompañamiento gregoriano” and “La dirección gregoriana”.
In the 1950s he had been working on reforming liturgical music in the diocese by advocating the replacement of the more sentimental devotional music with liturgical music and participation by the laity. He also advocated teaching children Gregorian Chant so as to lead the congregation in singing.
In German, the word may as well refer to Protestant congregational singing as to other forms of vocal (church) music, including Gregorian chant. The English word which derived from this German term, that is chorale, however almost exclusively refers to the musical forms that originated in the German Reformation.
In the four motets, Duruflé based his music on Gregorian chant. He combines the chant lines with a polyphonic setting. The chant is always present in one or more voices. The music has been described as "rich in subtle harmonies, well-written for voices, and reminiscent of impressionism".
Much music has been written for Passiontide. The Gregorian chant composed for the First Sunday of Passiontide expresses two main themes: the expectation of Easter and the suffering that will be endured on Good Friday. The Introit "Iudica Me Domine" (Ps. 42 [43]), the Gradual "Eripe Me Domine" (Ps.
Schola Gregoriana Pragensis (English: The Gregorian School of Prague) is an a cappella male voice choir from the Czech Republic, founded in 1987 by David Eben. Their core repertoire consists of Gregorian chant, Bohemian plainchant, and early polyphony, but they also perform modern works including some composed for them.
Auguste Le Guennant (10 January 1881 – 17 May 1972) was a French organist, church musician and composer. He was, after positions as organist and head of the chapel in Paris and Nantes, the director and teacher at the Gregorian Institute of Paris, as a specialist of Gregorian chant.
Numerous Anglo-Saxon and Irish monks came to copy manuscripts. At Charlemagne's request Pope Adrian I sent distinguished chanters from Rome, who propagated the use of the Gregorian chant. In 744, the Alemannic nobleman Beata sells several properties to the abbey in order to finance his journey to Rome.
Her musical style draws on many genres, including modern and Gregorian Chant, hymns, psalms, and works by Hildegard von Bingen. She has appeared with Erich Kory and has performed in the U.S., Russia, and Austria as well as European cathedrals and Washington, DC’s Kennedy Center for the Performing Arts.
See at St. John's Seminary Lenz and Wüger thought of forming a monastic community of artists. They believed that in order to make sacred art one should lead a Catholic life in community. In 1868 in Rome, they met Maurus Wolter, who had similar artistic aspirations for his young Benedictine monastery at Beuron. Maurus Wolter wanted his monastery to play a role in the revival of Church art just as it was beginning to do in the revival of Gregorian chant (in emulation of Solesmes Abbey). Lenz was attracted to Beuron because of the abbey’s use of Gregorian chant, which he saw as parallel to his own efforts in art and architecture.
This Carolingian, or Frankish-Roman, chant, became known as "Gregorian." In the meantime, the local chant remaining in Rome gradually evolved into the form in which it was eventually notated, at the same time that Gregorian was supplanting it in Rome. Another theory, advanced by Hans Schmidt, suggests that what we now call the "Old Roman" chant reflected the use in the city churches in Rome, as opposed to the chants used in the Vatican for papal ceremonies, and that it was the latter that was brought north and evolved into Gregorian chant. This would explain the discrepancies between early Gregorian chant and the local Roman chant which were noticed during the Middle Ages.
The Introit Gaudeamus omnes, scripted in square notation in the 14th–15th century Graduale Aboense, honours Henry, patron saint of Finland Gregorian chant is the main tradition of Western plainchant, a form of monophonic liturgical chant of Western Christianity that accompanied the celebration of Mass and other ritual services. This musical form 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 Saint 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.
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.
Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved. Although the music was largely lost, traces are believed to remain in the Gregorian corpus.
Dr. Mary Berry Mary Berry, CBE (also known as Sister Thomas More, C.R.S.A., 29 June 1917 – 1 May 2008) was a canoness regular, noted choral conductor and musicologist. She was an authority on the performance of Gregorian chant, founding the Schola Gregoriana of Cambridge to revive this ancient style of music.
Rutter notes to have been influenced by Francis Poulenc, Igor Stravinsky and William Walton. Poulenc composed a stand- alone Gloria for use in concerts in 1959. The brass treatment in Rutter's work shows similarities to Walton's cantata Belshazzar’s Feast. Rutter also notes the influence of Gregorian chant throughout the work.
He was one of the founders of the international study group on music and liturgy Universa Laus. Heavily influenced by Gregorian chant, he developed his Gelineau psalmody which is used worldwide. Later he composed numerous chants for the ecumenical French Taizé Community. He was associated with the Institut Catholique de Paris.
The movement of these many skilled composers out of Flanders and northern France created what was one of the first truly international styles since the original diffusion of Gregorian chant during the reign of Charlemagne. He died in Madrid and was succeeded as maestro de capilla by Jean de Bonmarché.
991, . In 1868 Witt founded the Caecilia Society in order to revive the use of Gregorian chant and polyphony, and to promote the composition of new liturgical music in an older style in Catholic churches.Ogasapian, John, and Orr, N. Lee, 2007, Music of the Gilded Age, Greenwood Press, p.85, .
Elaborate carving on the choir stalls The boys' choir Kiedricher Chorbuben was first mentioned in 1333. They perform a special Germanic version of Gregorian chant, once every Sunday except during summer vacation. Members have included the siblings Andreas and Elisabeth Scholl. Elisabeth was the first girl admitted to the choir.
They also do manual work according to the needs of the monastery and charity institutions. As part of a monastic congregation which helped in the revival of Gregorian chant in the 19th century, St. Maurice Abbey has produced several notable recordings of this music performed by the monks of the abbey.
Gregoriana Amsterdam is a vocal ensemble specialized in the reconstruction and performance of Gregorian chant based on tenth-century sources. Gregoriana was initiated by Reinier van der Lof in 2002. Since its foundation Gregoriana has been directed by Geert Maessen.The first years of the ensemble are sketched in Zijlstra (2004).
In the first movement, the beginning Altissimo onnipotente, bon Signore, is sung by the tenor alone, similar to Gregorian chant. It is marked Introduzione, and Largamente. The choir, divided in six parts, repeats the same melody in homophony, accompanied by the orchestra. The text speaks of praise of the Almighty Creator.
Apel, Gregorian Chant pp. 256–7. Gregorian melodies often explore chains of pitches, such as F-A-C, around which the other notes of the chant gravitate.Wilson, Music of the Middle Ages p. 21. Within each mode, certain incipits and cadences are preferred, which the modal theory alone does not explain.
GIA Publications, Inc. is a major publisher of hymnals, other sacred music, and music education materials. Headquartered first in Pittsburgh and now Chicago, GIA is affiliated with the Roman Catholic Church. GIA originally stood for Gregorian Institute of America, founded in 1941 by Clifford Bennett with a focus on Gregorian chant.
Their repertoire spans eras from Gregorian chant to Baroque music, the Classical period, Romantic music and contemporary music. The conductor is Domchordirektorin Judith Kunz. Girls may join the choir from the last year of kindergarten, and receive a thorough musical education until they finish school. They rehearse at four levels.
Ensembles might be a jazz band or high school vocal jazz group. Or the monks of the Westminster Abbey in nearby Mission singing ancient Gregorian chant. Or an avant-garde student ensemble from Vancouver Community College or University of British Columbia's School of Music. It may be music notated or spontaneously improvised.
Theodore Marier and Dom Joseph Gajard in 1965 Theodore Norbert Marier (October 17, 1912 - February 24, 2001) was a church musician, educator, arranger and scholar of Gregorian Chant. He founded St. Paul's Choir School in Cambridge, Massachusetts in 1963, and served as the second president of the Church Music Association of America.
Traditionally responsories are sung in Gregorian chant. The refrains are free compositions. The verses are ordinarily sung to standard tones, though there are exceptions to this.An example of a responsory with a non-standard verse tone is the first responsory for the feast of Corpus Christi in the monastic rite, Immolabit haedum.
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.
Gregorio is written especially for Gregorian chant in square notation and does not cover modern European musical notation. Similar to LilyPond it does not provide a graphical user interface. The notation is done via simple text input. It follows the gabc-syntax, which is defined by the Gregorio Project for this purpose.
King David singing the Psalms The Church Music Association of America (CMAA) is a nonprofit 501(c)(3) association of Catholic church musicians and others who have a special interest in music and liturgy, active in advancing Gregorian chant, Renaissance polyphony, and other forms of sacred music for liturgical use. Founded in 1964, it is affiliated with the Consociatio Internationalis Musicae Sacrae (Roma), an advisory organization on sacred music founded by Pope Paul VI. The CMAA provides support for those interested in participating in a revival of Gregorian chant and sacred polyphony in Catholic liturgy. It sponsors scholarship and composition in the tradition of sacred music. It hosts the most-attended colloquium on sacred music in the English-speaking world, held annually since 1990.
During the Carolingian reform the tonary played a key role in the organization and the transfer of Roman chant, which had to be sung by Frankish cantors according to Charlemagne's admonitio generalis after it was decreed in 789. The historical background was the Second Council of Nicaea in 787 during which Pope Adrian I accepted the Eastern Octoechos reform also for the Roman church. Fully notated neume manuscripts like the gradual and the antiphonary were written much later during the last decades of the 10th century, and the oral transmission of Gregorian chant is only testified by additions of neumes in sacramentaries. In the tonary the whole repertory of "Gregorian chant" was ordered according to its modal classification of the Octoechos.
Male voice choirs are commonly found in the United Kingdom, particularly in Wales, Cornwall, and Yorkshire. The names of male voice choirs sometimes use the abbreviation MVC, for example Castleford MVC. Men have sung together throughout history. In the West, most music lovers will be familiar with monastic chanting such as the Gregorian chant.
The songs from the Symphonia are set to Hildegard's own text and range from antiphons, hymns, and sequences, to responsories.Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age (New York: Doubleday, 2001), p. 194. Her music is described as monophonic, using soaring melodies that pushed the boundaries of the more traditional Gregorian chant.
In recognition, Nowak was awarded the Goldene Mozart Medaille in 1985. Nowak also studied Gregorian chant and the music of Heinrich Isaac, Joseph Haydn, Austrian church and folk music, and various Austrian composers from the 1480s onwards. His work on Bruckner's music, particularly the Finale of Bruckner's Ninth Symphony, is being continued by William Carragan.
The Psalterium Monasticum is a psalter produced by the monks of Solesmes Abbey in 1981 "[t]o allow monks and nuns to celebrate in Gregorian chant" the Benedictine Office reformed by Vatican II. It contains all 150 psalms and uses the Latin of the Neo-Vulgata. It contains four schemas (A, B, C, D).
The Requiem, Op.9, is a setting of the Latin Requiem by Maurice Duruflé for a solo voice, mixed choir, and organ, or orchestra with organ. The thematic material is mostly taken from the Mass for the Dead in Gregorian chant. The Requiem was first published in 1948 by Durand in an organ version.
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.Wilson, Music of the Middle Ages p. 11.
In the 10th century, virtually no musical manuscripts were being notated in Italy. Instead, Roman Popes imported Gregorian chant from (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 Emperor Henry II in 1014.Hoppin, Medieval Music p. 47.
However, the manuscripts and fragments that survive date well into the thirteenth century, meaning that they are preserved in a form notated by musicians working several generations following Léonin and Pérotin. This collection of music constitutes the earliest known record of polyphony to have the stability and circulation achieved earlier by monophonic Gregorian chant.
The way of life of the Sisters is that of a non- cloistered contemplative. They have as the community's three patron saints St. Francis de Sales, St. Benedict and St. Thomas Aquinas. The community participates in Mass and the Divine Office using the Traditional Latin Rite. Their daily schedule includes classes on Gregorian chant, Latin, philosophy and theology.
Since 1994 he has been one of the programme creators of the Estonian Public Broadcasting and lately Klassikaraadio. Since 2006 he is a priest of the Orthodox Church of Estonia. Sakarias J. Leppik is also a professional singer of the Gregorian chant ensemble Vox Clamantis since 1996. The Film Journalist of the Year by culture newspaper Sirp.
He introduced a daily Eucharist, which featured Gregorian chant and significant ritual elements (e.g. the lighting of altar candles and the cleansing of eucharistic vessels at the altar). St Alban's was the first Anglican church to hold the three-hour devotion on Good Friday (in 1864) and one of the first to celebrate a Harvest Festival.
Her music is monophonic, that is, consisting of exactly one melodic line.Newman, Barbara. Voice of the Living Light (California: University of California Press, 1998), p. 150. Its style has been said to be characterized by soaring melodies that can push the boundaries of traditional Gregorian chant, and to stand outside the normal practices of monophonic monastic chant.
He sang in the seminary's choir, which was under the direction of Joseph Schrems.Catholic Encyclopedia He was ordained as a priest in 1856 and taught Gregorian chant at the seminary at Regensburg. In 1867 was appointed inspector of the seminary of St. Emmeram.Randel, Don Michael, 1996, The Harvard Biographical Dictionary of Music, Harvard University Press, p.
In the Tridentine Mass, the Kyrie is the first sung prayer of the Mass ordinary. It is usually (but not always) part of any musical setting of the Mass. Kyrie movements often have a ternary (ABA) musical structure that reflects the symmetrical structure of the text. Musical settings exist in styles ranging from Gregorian chant to folk.
He habilitated in 1971 at Freie Universität Berlin in history. In 1973 and 1974 he taught Gregorian chant and at liturgy chant at the Episcopal University for Church Music Berlin. In 1980 he lectured at Universität des Saarlandes in Saarbrücken. From 1987 to 1989 he was Dean of the faculty of history at Freie Universität Berlin.
The concept of music for Bartolucci is based on naturalness and spontaneity. His reference points are Gregorian chant, Palestrina, and Verdi. Characteristic of Bartolucci's aesthetic conception is a respect for tradition, whose base lies in "a considerable severity of song and a certain limpid and solid polyphony", as he describes in the preface to his First Book of Motets.
Incipit of the standard Gregorian chant setting of the Asperges, from the Liber Usualis. The Liber Usualis is a book of commonly used Gregorian chants in the Catholic tradition, compiled by the monks of the Abbey of Solesmes in France. According to Willi Apel, the chants in the Liber Usualis originated in the 11th century.Apel, Willi.
Kýrie Eléison XI (Orbis Factor) from the Liber Usualis. Listen to it interpreted. A neume (; sometimes spelled neum)Dom Gregory Sunol, Textbook of Gregorian Chant According to the Solesmes Method, 2003, , .Chants of the ChurchLiber Usualis is the basic element of Western and Eastern systems of musical notation prior to the invention of five-line staff notation.
Latry expresses the different emotions of the calls to Mary by markings which focus more on the mood than the tempo. ' (Hail, holy Queen, Mother of Mercy) has the liberty of Gregorian chant. ' (Hail, our life, our sweetness and our hope) is calm. ' (To thee do we cry, poor banished children of Eve) is an exclamation, hammering and wild.
However, some things are known about the Visigothic/ Mozarabic repertory. Like all plainchant, Visigothic/ Mozarabic chant was monophonic and a cappella. In accordance with Roman Catholic tradition, it is primarily intended to be sung by males. As in Gregorian chant, Visigothic/Mozarabic chant melodies can be broadly grouped into four categories: recitation, syllabic, neumatic, and melismatic.
The St.-Martins-Chorknaben sing sacred music – usually a cappella, that is without instrumental sound. Their repertory covers all the periods in musical history – from Gregorian Chant over Bach and Mozart up to modern composers like Poulenc or Miškinis. The choir rehearses twice a week. As the need arises the singers get an extra voice training.
He taught piano. He gained dispensation from the Vatican for a second marriage. He married one of his students, Elizabeth Ann Holland, and they had four children. In 1954, he published his first novel, The Devil Rides Outside, a mystery set in a monastery in postwar France, where a young American composer goes to study Gregorian chant.
They are arranged in the style of a Gregorian chant. The lyrics also contain the phrases "Kyrie, fons bonitatis" and "Kyrie, ignis divine, eleison", which are a mix of Greek and Latin words, from a passage in an alchemical mass written by Nicholas Melchior in the Theatrum Chemicum.Online translated text of alchemical mass, perhaps incomplete. "Lilium" is performed by .
Brighton Chamber Choir is a Brighton-based choir of around 35–40 SATB voices singing a wide range of sacred and secular works from Gregorian chant to Broadway musicals. The choir has charitable status. Register of Charities and is a member of Making Music, formerly the National Federation of Music Societies National Federation of Music Societies.
The use of musical instruments in church services has often been seen as an innovation in church worship. This was the case in both Catholic liturgy and in the Puritan tradition. In the Catholic liturgy the Gregorian chant was for a thousand years the predominant musical form. In the Puritan tradition, there was traditionally a use of unaccompanied Psalms.
Fahey described the latter piece as follows: > The opening chords are from the last movement of Vaughan Williams' Sixth > Symphony. It goes from there to a Skip James motif. Following that it moves > to a Gregorian chant, "Dies Irae". It's the most scary one in the Episcopal > hymn books, it's all about the day of judgment.
Products include crafts and food, such as pottery, candles, woven and knitted goods, wool from the convent's sheep, granola, iron work hand-forged at the abbey blacksmith shop, cheese, honey, vinegar, herbs for seasonings, hot mustard, perfumes, skin creams, cards, books, medals and other religious art objects. The abbey also has CD recordings of its nuns singing Gregorian chant.
O Earth, O Stars: Double Concerto for Flute, Cello, and Wind Ensemble (2010). Premiered November 18, 2010 by the Illinois State University Wind Symphony (Stephen K. Steele, conductor) with Kimberly Risinger, flutist, and Adriana La Rosa Ransom, cellist. Prelude on a Gregorian Tune (1981), for young band. The melody of this gentle, sunny piece is derived from Gregorian chant.
The liturgy and worship at St Mary's combines Gregorian chant, Renaissance, Viennese and contemporary sacred music with the language of the Book of Common Prayer. The ceremonial is traditional. The musical staff is led by the Director of Music, Paul Brough, supported by the Organist, Richard Hills. Previous Directors of Music include David Trendell and William Whitehead.
Oppenheim was born to a Jewish family. He attended The Gregory School in Tucson, Arizona, and served as an editor and writer for the school newspaper, the Gregorian Chant. After high school, Oppenheim graduated magna cum laude from Harvard University in 2000. While attending Harvard, Oppenheim was Editorial Chair of the Harvard Crimson from 1996 to 2000.
Born in Lille, Grovlez studied with Gabriel Fauré, Louis Diémer, and André Gedalge at the Conservatoire de Paris. At the Schola Cantorum, Charles Bordes introduced him to Gregorian Chant and the music of the Renaissance.Guy Ferchault, "Grovlez, Gabriel (Marie)", in: Die Musik in Geschichte und Gegenwart (MGG), rev. ed., biographical part vol. 8 (Kassel: Bärenreiter, 2002), cc. 106.
Arvo Pärt (; born 11 September 1935) is an Estonian composer of classical and religious music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. Pärt's music is in part inspired by Gregorian chant. His most performed works include Fratres (1977), Spiegel im Spiegel (1978), and Für Alina (1976).
He studied plainsong, Gregorian chant and the emergence of polyphony in the European Renaissance. The music that began to emerge after this period was radically different. This period of new compositions included the 1977 works Fratres, Cantus in Memoriam Benjamin Britten and Tabula Rasa. Pärt describes the music of this period as "tintinnabuli"—like the ringing of bells.
The Micrologus is a treatise on Medieval music written by Guido of Arezzo, dating to approximately 1026. It was dedicated to Tedald, Bishop of Arezzo. This treatise outlines singing and teaching practice for Gregorian chant, and has considerable discussion of the composition of polyphonic music. This treatise discusses modified parallel organum as well as free organum.
915), who lived in Italy and Germany, was noted both as a musician and a composer. Helias of Cologne (died 1040), is held to be the first to introduce Roman chant to Cologne. His contemporary, Aaron Scotus (died 18 November 1052) was an acclaimed composer of Gregorian chant in Germany. Donell Dubh Ó Cathail (c. 1560s-c.
Christmas Chants is a studio album by the Gregorian chant band Gregorian. It was released in 2006 on Nemo Studio. In 2008 a special edition titled Christmas Chants & Visions was released, containing the original CD with two bonus tracks, and a DVD. The live concert DVD was filmed in Berlin in December 2007 during Gregorian's Christmas tour.
The Benedictones is an a cappella group focusing primarily on pop classics and barbershop songs and is led by Mr. David Blazier, who inspired the group's formation in 2005. Gothicappella is led by Rev. Carol Horton and focuses primarily on music written before 1500. Gothicappella selections include plainsong and Gregorian chant, as well as other lesser-known songs.
For the academic study online course Listening to World Music with professor Carol Ann Muller from the University of Pennsylvania, Vildić has written several scientific articles on the following topics: Gregorian chant and German monastic order; Graceland collaboration; Tuvan throat singing; Music of the Central African Republic, Pygmy music; Aboriginal Australia, Rocking for Rights; and Kalahari bushmen.
In 1975, Braun studied Gregorian chant with Dom Jean Claire at the Benedictine monastery of Solesmes in France. His main academic interests were traditional Jewish melodies and Gregorian chants. He lectured on these and other subjects at universities and congresses in England, France, the United States and Germany. Yehezkel Braun was Professor Emeritus at Tel Aviv University.
Jean-Louis-Félix Danjou (21 June 1812 – 4 March 1866) was a French organist, composer-arranger, and organist. He is best remembered for having discovered the Antiphonary of St. Benigne in 1847.Pierre Combe, The Restoration of Gregorian Chant: Solesmes and the Vatican Edition (CUA Press, 2008), p. 13f. and as founder of the Revue de la musique religieuse.
This is attributed to Léonin, who is considered to have been a distinguished poet, scholar, musician and cathedral administrator. The Magnus Liber represents a step in the evolution of Western music between plainchant and the intricate polyphony of the later 13th and 14th centuries (see Machaut and Ars Nova). The music of the Magnus Liber displays a connection to the emerging Gothic style of architecture; just as ornate cathedrals were built to house holy relics, organa were written to elaborate Gregorian chant, which too was considered holy. One voice sang the notes of the Gregorian chant elongated to enormous length (called the tenor, which comes from the Latin for "to hold"); this voice, known as the vox principalis, held the chant, although the words were obscured by the length of notes.
The gradual contains pieces of Gregorian chant, as well as its own repertoire: sequences, proses, readings and three polyphonic pieces with two voices: Res est admirabilis (sequence), Verbum bonum (sequence) and a Credo. In 1993, an interpretation of parts of the gradual was recorded by Ensemble Organum in the refectory of the abbey.Marcel Pérès, Ensemble Organum. Le Graduel d'Aliénor de Bretagne.
He taught choir, Gregorian chant, improvisation, organ accompaniment, conducting, Latin and French. During the Communist period, Tichý remained at Prague Conservatory as a teacher thanks to then Conservatory director Václav Holzknecht and to Tichý's knowledge and skills, especially in languages and music for twenty long years. He left Prague Conservatory at age 75. He also resigned as the organist at St. Vitus.
Poulenc merges archaic elements of medieval monastic chanting, e. g. organum-imitations or reminiscences of the Gregorian chant with the progressive harmonies typical of him. Nonetheless, the simple-looking melodies embedded in homophony represent a dedication to the work of Francis of Assisi. A performance lasts about eight minutes. Quatre petites prières de saint François d’Assise, music score on petruccilibrary.
The third (developed with Peter Moshe Shamah) reunites all of the documentary evidence from the Cairo Genizah relevant to the life of Johannes of Oppido = Obadiah the Proselyte at a single website. The documents include the Obadiah Memoir, the Epistle of R. Barukh of Aleppo, the Siddur that Obadiah wrote for himself, and his musical compositions (Hebrew prayers set to Gregorian chant).
Hucbald (Hucbaldus, Hubaldus) (c. 840 or 850 – June 20, 930) was a Frankish music theorist, composer, teacher, writer, hagiographer, and Benedictine monk. Deeply influenced by Boethius' De Institutione Musica, he wrote the first systematic work on western music theory, aiming at reconciling through many notated examples ancient Greek music theory and the contemporary practice of the more recent so-called 'Gregorian chant'.
It performs a repertoire ranging from Gregorian chant to 21st-century works. In existence for the consecration of the church in 1845, and possibly earlier, it is one of the oldest choral groups in Australia. The church's pipe organ was built by William Hill & Son, of London, in 1891 and installed in 1906. It is also listed on the NSW State Heritage Register.
The country's historical contributions to music are also an important part of national pride. The relatively recent history of Italy includes the development of an opera tradition that has spread throughout the world; prior to the development of Italian identity or a unified Italian state, the Italian peninsula contributed to important innovations in music including the development of musical notation and Gregorian chant.
This caused each region to produce several distinct liturgies and bodies of liturgical music of its own.Saulneir, Gregorian Chant: A Guide to the History and Liturgy, 3. Although each region shared the same language of Latin, they had different texts and music. We know for certain that there existed Beneventan chant, Roman Chant, Ambrosian chant, Hispanic chant, and several types of Gallican chant.
The town is home to the Benedictine Abbey of Regina Laudis, founded in 1947, one of the first houses of contemplative Benedictine nuns in the United States. Robert Leather, a Protestant industrialist, donated of land on which the convent is located. The convent now has 37 nuns. The abbey is known for its commitment to the arts, especially the performance of Gregorian chant.
Notably: Old Roman, Ambrosian (Milanese), (Old) Beneventan, Gallican and Mozarabic chant. In particular, Mozarabic chant is high on Gregoriana’s priority list. This tradition existed from the sixth to the eleventh century on the Iberian Peninsula and southern France, but was officially abolished and replaced by Gregorian chant in 1085.Rojo and Prado (1929), Fernández de la Cuesta et al. (2013).
A relic of him is kept in the Holy Cross altar. In addition to the old southern tradition, there are also other influences on the liturgy. The fact that some of the volunteers are of the Russian Orthodox faith has led to the Jesus Prayer being sung (in Greek) after Compline. The Carthusian tradition is noticeable in the manner of executing Gregorian chant.
Regardless of whether the application of the concept to other branches of Christian chant, or other types of music is valid, its use with respect to Gregorian chant has been severely criticized, and opposing models have been proposed (; ; ). The term "centonate" is not applied to other categories of composition constructed from pre-existing units, such as fricassée, pasticcio, potpourri, and quodlibet .
Pomposello recorded several albums in various blues oriented styles, focusing on his custom-made, Mandolin Brothers dobro playing. Simultaneously, he was rediscovering his spiritual roots through the nuns of the Abbey of Regina Laudis, recording their first CD of Gregorian Chant. Tom Pomposello is survived by his third wife, Patricia Lawrence Pomposello, his son, Travis Pomposello and, his step son, Charles Lawrence.
Attende, Domine is a Catholic Gregorian chant for the season of Lent, referred to in English as the Lent Prose. The themes of this hymn are the sinfulness of man and the mercy of God, a theological concept emphasised during Lent. The text is Mozarabic in origin and dates to the 10th century, and is sung to a Mode V Gregorian melody.
In the 1983 "Liber Hymnarius" from Solesmes, it is stated that, "When an ordinary syllable is set to one note, this represents the fundamental rhythmic value used in Gregorian chant (i.e. valor syllabicus medius)." This implies that the one- note syllable (and thus the fundamental rhythmic value of chant) is no longer interpreted by Solesmes as being normally short in duration.
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.Apel, Gregorian Chant pp. 258–9. Chants sometimes fall into melodically related groups.
This practice appears to have begun in the Middle Ages.Apel, Gregorian Chant p. 197. 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.
When Maurice Duruflé thought about basing his Requiem on Gregorian chant, he asked Le Guennant for advice, and gratefully acknowledged his understanding. In 1960, Duruflé dedicated a composition to Le Guennant, his Quatre Motets sur des thèmes grégoriens which were also based on chant. In 1953, Le Guennant was awarded the Honorary Doctorate of the Pontifical Institute of Sacred Music in Rome.
Incipit of the Gregorian chant introit for the fourth Sunday after Easter, from which it gets the name Cantate Sunday.From the Liber Usualis. Cantate Sunday is the fifth Sunday in Eastertide, being the fourth Sunday after Easter Sunday in the Roman Catholic liturgical calendar and the Lutheran liturgical calendar. It is known by the Eastern Orthodox as the Sunday of the Samaritan Woman.
Dom Paul Ambroise Marie Jausions (15 November 1834 in RennesRegistre des naissances (1834), Archives municipales de Rennes, cote 2E42, . – 9 Septemberp. 29, note n°33 bis 1870 in Vincennes, Indiana aged 35) was a French forerunner in the field of the restoration of the Gregorian chant since the middle of the nineteenth century, as well as the author of some religious books.
"Lullabye (Goodnight, My Angel)" is the seventh track and fourth single from Billy Joel's 1993 album River of Dreams. It was inspired by Alexa Ray Joel, his daughter by Christie Brinkley. The song is in the key of G major. The song was originally written as a prelude to the song "The River of Dreams" in the style of a monophonic Gregorian chant.
In the Early Middle Ages there was a distinct form of liturgical Celtic chant. It is thought to have been superseded from the eleventh century, as elsewhere in Europe, by the more complex Gregorian chant. The English Sarum Use was the basis for most surviving chant in Scotland. From the thirteenth century, Scottish church music was increasingly influenced by continental developments.
Sometimes more than one stanza was used. As they were sung in the vernacular by the congregation, they were a precursor of Reformation-era church music. With all the musical wealth of the Gregorian chant, a community participation in the liturgical song was at best tolerated. The more casual vernacular songs are termed spiritual songs and the more formal ones are called hymns.
Die Singphoniker appeared in 1995 at the Rheingau Musik Festival, singing Gregorian chant to a recitation by Gert Westphal in Eberbach Abbey. In 1999 they made their debut in New York at the Frick Collection, performing works by Schumann, Schubert and Mendelssohn as well as the Berliner Requiem by Kurt Weill on texts by Bertolt Brecht and songs of the Comedian Harmonists.
Saint Benedict Abbey. Saint Benedict Abbey, is an Abbey in Saint-Benoît-du- Lac, Quebec, Canada, and was founded in 1912 by the exiled (Fontenelle Abbey) of St. Wandrille, France under Abbot Dom Joseph Pothier, liturgist and scholar who reconstituted the Gregorian chant. Father Paul Bellot was the architect 1939–41. The new priory later became independent within the Solesmes Congregation.
Shortly afterwards, in 1614, the Editio medicea (Medicean Edition) of Gregorian chant was released, rewriting the Gregorian chant repertory to purge it of perceived corruptions and barbarisms, and return it to a "purer" state closer in style to Palestrinian melodies. In the late 16th century and early 17th century, composers began pushing the limits of the Renaissance style. Madrigalism reached new heights of emotional expression and chromaticism in what Claudio Monteverdi called his seconda pratica (second practice), which he saw originating with Cipriano de Rore and developing in the music of composers such as Luca Marenzio and Giaches de Wert. This music was characterized by increased dissonance and by sections of homophony, which led to such traits of the early baroque as unequal voices where the bass line drove the harmonies and the treble melody became more prominent and soloistic.
In the 19th century, palaeographical work relating to chant was done in various places in Europe against the background of a performance style based on proportional durational values that were assigned to various deteriorated forms of chant used in various locales. The main player in the history of Gregorian chant semiology in the 19th century is the Benedictine community of the Abbey of St Peter in Solesmes, which was established in 1833 by Fr Prosper Guéranger, who wished to create single authoritative editions of chant via paleographical study. This led to the scholarly monks of the abbey, chief among whom was Dom Paul Jausions, spending over half a century finding and copying the most ancient chant manuscripts. Under Guéranger, the monks of Solesmes advocated singing Gregorian chant in a free musical metre giving the majority of sung notes the same durational length.
The son and disciple of Imrat Khan, Nishat stands at the threshold of the future of sitar and Indian music with his uniquely invigorating, contemporary approach. He draws on his own musical heritage as well as engages other genres as diverse as Western classical music, jazz, Flamenco and Gregorian chant. His groundbreaking album Meeting of Angels with Gregorian chant Ensemble Gilles Binchois and sitar has become one of the most successful world music albums and a unique collaboration, which was also performed at the Proms in 2008 with the BBC Singers, and subsequently toured around the world with top choirs. He composed the music for the album “Jaan Meri” with singer Anuradha Palakurthi, of which the title track won 2019 Song of the Year, Independent Music Category Award at the prestigious Radio Mirchi Music Awards, the Indian equivalent of the Grammys.
The daily office, private confession, the Eucharist, and reading of theology are important parts of the common life of the members. The Oratorium has published many books, on subjects including the daily offices and gregorian chant. Today the Oratorium has a student group in the University of Aarhus, but is no longer active in the University of Copenhagen. Teologisk Oratorium celebrated its 75th anniversary in 2002.
From 1945 to 1957 he was organist at the Salvatorkirche in Berlin-Wilmersdorf. Taking a professorship in church music at the Berlin Hochschule für Musik in 1945, he remained there until 1969, serving as deputy director from 1954 to 1958. Ahrens was a noted organ improviser. His compositions often combined elements of prior liturgical music styles (such as Gregorian chant) with modern techniques like dodecaphony.
Maestro Nazario Carlo Bellandi in 1942 obtained the Diploma in Composition at the Conservatory of St Cecilia in Rome. Two years later obtained the Diploma in Piano at the same Conservatory. In 1946 he specialized in Choral Conducting and in Film Music Composition at the Roman Academy of St Cecilia. In 1947 he got the Diploma in Gregorian Chant at the Pontifical Institute of Sacred Music.
The narratives of traditional songs often also remember folk heroes such as John Henry or Robin Hood. Some traditional song narratives recall supernatural events or mysterious deaths. Hymns and other forms of religious music are often of traditional and unknown origin. Western musical notation was originally created to preserve the lines of Gregorian chant, which before its invention was taught as an oral tradition in monastic communities.
The left panel bears the arms of the cathedral itself. The cross, symbol of Christian faith in the redemption, is mounted on the crescent moon, symbol of the Virgin Mary, the patroness of the cathedral. Christian tradition represents her as the Fair Moon, preceding the rise of Christ, the Sun of Justice. The right panel displays a musical stave of Gregorian chant, imposed upon an archbishop's cross.
In 2019, John Ritchie's Missa Corpus Christi was performed, as well as MacMillan's Hymn to the Blessed Sacrament and Mendelssohn's Verleih uns Frieden. On the first Sunday of each month (excluding January), orchestral Masses are performed with the choir. Every other Sunday, the choir sings contemporary, polyphonic, and Gregorian chant compositions. Orchestral Masses with the choir are also performed at the Christmas Vigil and Midnight Mass.
Aurelian's work is one of the earliest authors concerned about Carolingian plainchant, still within the period during which Gregorian chant became standardized by its oral transmission in northern and western Europe. One copy became the earliest extant sample of musical notation, although it was added later.Paleofrankish neumes had been added to the earliest copy of the treatise at Saint-Amand Abbey (F-VAL ms. 148, fol. 71v).
The Fontevraud Gradual (often known as the Gradual of Eleanor of Brittany) is an antiphonary or gradual of the mid-13th century, owned by Eleanor of Brittany (d. 1342), abbess of Fontevraud Abbey, and bequeathed to the abbey on her death. It contains Gregorian chant as well as three early polyphonic pieces. It is also noted for its miniatures in the form of historiated initials.
St. Mary's has a rich tradition with regards to their celebration of the Mass. However, this tradition is shared in different ways. A "High Mass" has more music and song in the form of Gregorian Chant or other kinds of chant throughout the Mass. There are also more people involved with the ceremonial aspect of the Mass helping the priest, usually including a deacon and a subdeacon.
In his review for Billboard, Paul Verna commented that "the project possesses a hypnotic quality reminiscent of the label's enormously popular Gregorian chant recordings" and concluded: "'Chants of India' represents a creative milestone in the life of a veteran artist whose contributions to traditional Indian music cannot be overestimated."Paul Verna, "Reviews & Previews" > Albums, Billboard, 7 June 1997, p. 77 (retrieved 11 August 2014).
Celtic chant is the liturgical plainchant repertory of the Celtic rite of the Orthodox Catholic Church performed in Britain, Ireland and Brittany. It is related to, but distinct from the Gregorian chant of the Sarum use of the Roman rite which officially supplanted it by the 12th century. Although no Celtic chant was notated, some traces of its musical style are believed to remain.
Graduale simplex Graduale simplex ("Simple Gradual") is a gradual in Latin and in Gregorian, published by the Vatican in 1967 following the Second Vatican Council, so that the use of Gregorian chant can adapt to smaller parishes and churches or to those who lack experienced choirs. Its full title is Graduale simplex in usum minorum ecclesiarum (simple gradual for the use of small churches).
Relf's folk-ballad vocal is complemented by Beck's vibrato- and sustain-heavy guitar solo. "Still I'm Sad" is the album's sole original tune by the band, written by Samwell-Smith and McCarty. It is a slow, brooding piece with psychedelic pop elements. Built on a mock-Gregorian chant, the song has seven vocal parts with producer Gomelsky adding a droning bass vocal under Relf's melody.
The Lombards, Franks, and Goths dominated the face of Western Europe in the seventh and early eighth centuries. The idea of unity and centralization was simply unknown during this time so local churches were relatively independent.Saulnier, Gregorian Chant: A Guide to the History and Liturgy, 3. Each region of the West probably received the Eastern heritage of musical elements in a slightly different form.
From Rome, the institution spread to other parts of the Church. When the pope visited France with his court, the Frankish King Pepin the Short could not help but admire the customs of Roman liturgy. Pepin realized that these customs could help to ensure religious unity throughout his territories and thus strengthen their political unity.Saulnier, Gregorian Chant: A Guide to the History and Liturgy, 5.
The King therefore adopted the Roman liturgy and mixed it with the Gallican chant repertory. The overall structure of the Roman chant was accepted by the Gallican musicians, but they covered it with a completely different style of ornamentation. The fusion of Roman and Gallican chant evolved into what we now know as Gregorian chant.Saulnier, Gregorian Chant: A Guide to the History and Liturgy, 5.
The monks of Santo Domingo de Silos have been singing Gregorian chant since the 11th century (before that, they used Mozarabic chant). There was a break in the tradition in the 1830s when the abbey was closed by the government as part of the so-called Ecclesiastical Confiscations of Mendizábal. The abbey was reestablished with the help of monks from Solesmes Abbey in France.Alston, George Cyprian.
In 1991, Polydor Germany sued Cretu and Virgin Germany for infringing on its "right of personality" in the Gregorian chant samples used in "Sadeness (Part I)" and "Mea Culpa". The lawsuit was settled out of court after Cretu agreed to pay compensation to the original creator of the samples. The case did not cover copyright infringement as the 1976 chant recordings were in the public domain.
Deeply influenced by the writings of C.G.Jung, Raison d'être explores the depths of human psyche providing soundtracks for inner voyages towards the Tragic. The music produced by Raison d'être is variously dark ambient and soundscape in nature. For example, synthesizers might play a droning melody over the sound of metal scraping together. Andersson often mixes tapes of Gregorian chant with his own keyboard and percussion playing.
A handsome online edition is Anton Stingl, accessed 28 January 2016. Over 2,000 medieval responsories are preserved. In these chants the Gregorian composition techniques are reflected in an exemplary manner. In the verses of the approximately 100 tenth-century offertories, the most virtuoso parts of Gregorian chant can be found, which among other things is reflected in the longest melismas, the largest ambitus and most text repetitions.
Since 2017, in addition, he has been serving as Executive Director for Global Bible Ministry in the same organisation. As a church musician, Schweitzer specialises in Gregorian chant. He works with numerous ensembles worldwide, and since 1998 he has been directing Consortium Vocale Oslo, with whom he has recorded seven CDs. He is a member of international juries and has been granted several awards.
Music in the diocese is as diverse as the communities represented in it, but the all-male cathedral choir is reputedly one of the best in the country and sings at all chief Masses in the cathedral as well as the daily divine offices. There are several choirs that specialise in Gregorian Chant and a Charismatic group centred on the diocesan seminary at Allen Hall.
He composed the Gregorian chant arrangements and lyrics of the songs "Still I'm Sad" and "Turn Into Earth". While in the Yardbirds he started working on the technical side in the studio. In 1966, becoming tired of touring and wanting to focus on production, he left the Yardbirds and was replaced by Jimmy Page. The last Yardbirds album he played on was Roger the Engineer.
Horizontally, Cardine enters all the variations of the main neume. The system of neumes used in most of the earliest notational styles is rhythmically complex and sophisticated, particularly the styles of Laon and Einsiedeln Abbey. Cardine states that natural speech-rhythms provide a rhythmic basis for the declamation of Gregorian chant. He divides syllabic time into three categories: "normal" "enlarged, more heavy" and "light, more liquid".
A Gregorian chant type motif follows quietly and builds throughout the brass instrument section. The dark, threatening feel is broken suddenly by a melody portrayed by an oboe or flute solo as the bells join on after the new mood is established. That certain melody is recurrent and returns three more times in the entire piece. This first time, the melody is very airy.
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.Apel, Gregorian Chant pp. 344–63. Several Introits in mode 3, including Loquetur Dominus above, exhibit melodic similarities.
Offertory Iubilate deo universa terra in unheightened neume The earliest notated sources of Gregorian chant (written ca. 950) used symbols called neumes (Gr. 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.
Grout, A History of Western Music, p. 30 His renowned love for music was recorded only 34 years after his death; the epitaph of Honorius testified that comparison to Gregory was already considered the highest praise for a music-loving pope. While later legends magnified his real achievements, these significant steps may account for why his name came to be attached to Gregorian chant.
Gregorian chant is, as 'chant' implies, 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.
The most significant element of Le Roi David is the combination of different styles of music in one complete work. Honegger uses compositional techniques ranging from Gregorian chant to Baroque to jazz. Honegger’s utilization of all of these concepts allowed him to make a serious contribution to the neoclassical era. The music is full of with thematic gestures and is most often performed in French.
Pepper's Lonely Hearts Club Band which was released weeks earlier. AllMusic's Bruce Eder wrote that Gibb's Mellotron on "Every Christian Lion Hearted Man Will Show You" 'was close in the spirit of the Moody Blues and was opened by a Gregorian chant.' The band's first number 1 single in the UK, "Massachusetts" was released in September 1967. In early 1968, the Horizontal was released.
The monastery's adherents celebrate the Liturgy in Latin, performs Gregorian chant, and Eucharistic Adoration. Stamullen has a community centre which is also home to St Patricks GAA, Stamullen Football Club, Stamullen Badminton Club, and Stamullen Bowls Club. The village is also home to the M. Donnelly Stamullen Road Club Cycling Team. A free magazine is delivered each month to homes and businesses within the community.
Ashgate Publishing, Ltd., 2006 , . Page 98 In Respighi's The Pines of Rome, he uses an offstage trumpet for "Pines Near a Catacomb"; after the low strings play solemn chords, and the trombones play a simple, ancient-sounding Gregorian chant-style melody, an offstage trumpet introduces the piece's second theme. Richard Strauss used offstage trumpets during a battle scene in Ein Heldenleben ("A Hero's Life").
Choralschola A Choralschola, known simply as schola, is a choir for singing Gregorian chant or plainsong. It consists traditionally of only men, but more recent groups sometimes also include female voices. A schola often performs in uniform. The group may perform in the liturgy of church services, but some specialized ensembles also perform concerts and recordings, such as the and the Schola Gregoriana Pragensis.
Structurally, psalm tones in Ambrosian chant consist of an incipit, a recitation formula, and a cadence, lacking the mediant flex found in Gregorian psalm tones. Other Vespers chants include the Psallendae and the Antiphonae in choro. Psallendae comprise the largest category of Ambrosian Office chants. Two Psallendae, similar to the Marian antiphons of Gregorian chant, are performed on the more solemn Vespers, to cover processions.
Magnificat Academy was a Catholic middle school and high school located in Warren, Massachusetts, which opened in 2005 in the Parish Hall and Rectory of St. Paul Church with 20 students.Magnificat Academy , History It was operated independent of the Roman Catholic Diocese of Worcester. All students participated in the choir. The repertoire of the choir included Gregorian Chant, works of Palestrina, Bach, and Mozart as well as contemporary composers.
Leaders in Catholic education were won over by demonstrations led by Justine Ward. More importantly, the Ward method spread through teacher training courses. It evolved in subsequent publications largely due to her recasting the material to reflect trends in music education. The newer rhythmic theories in Gregorian chant, which depart from the Solesmes method that Ward championed, are one of the leading reasons many still oppose using the Ward Method.
Thousands of music teachers studied at the school, including Cecilia Clare Bocard and Thomas Mark Liotta. The school's namesake was Pope Pius X, a devotee of sacred music who initiated reform of the liturgy in the 20th century. The institute closed in 1969. In 2010 a Gregorian Chant, held in Pius X Hall, as part of Inauguration festivities for the previous President, saw a packed auditorium of alumni, students, and faculty.
The opening section summarizes the first four lines of text in a simple structure. Clear imitation of each phrase, in the style of litany, dramatically echoes from the highest to lowest voice, almost resembling Gregorian chant. While the phrases are identical in length, the counterpoint's turbidity increases, climaxing where all four voices sing together. This climax turns to an imperfect, deceptive cadence, symbolizing the permeative difficulty of Mother Mary's influence.
Britten wrote the vocal parts for the abilities of a parish church choir, but a demanding organ part. The work begins with the choir singing in unison, imitating the "freedom of Gregorian chant". The chant sounds as if it is in free time, but is "carefully notated in a variety of time signatures". The organ provides a contrast with chords in regular time, embellished with "pseudo-Baroque ornaments".
"Sadeness" uses Gregorian chant taken from the verse, "Procedamus in pace!" sung by the Capella Antiqua München. The french lyrics are a defense and quizzical look at 18th-century writer, Marquis de Sade who was notorious for writing literature delving into themes of sexual violence and domination. "Callas Went Away" was written solely by Michael Cretu and samples Maria Callas. "Mea Culpa" was written by Michael Cretu and David Fairstein.
Like "Sadeness", "Mea Culpa" samples Gregorian chant from the Capella Antiqua München and retains the same atmosphere from "Sadeness". "The Voice and the Snake" is based off the Book of Revelation and was written by Michael Cretu and Frank Peterson. "Knocking on Forbidden Doors" was written solely by Michael Cretu. "Back to the Rivers of Belief" is split into three songs: "Way to Eternity", "Hallelujah", and "The Rivers of Belief".
Gregorian is a German band headed by Frank Peterson that performs Gregorian chant-inspired versions of modern pop and rock songs. The band features both vocal harmony and instrumental accompaniment. They competed in Unser Lied für Stockholm the German national selection for the Eurovision Song Contest 2016 with the song "Masters of Chant". They placed 5th in the first round of the public voting, missing the top 3.
During the eleventh it was a common melody for liturgical texts for the feast of the Holy Innocents (28 December); during the twelfth century it was a common setting for Whitsun sequences in southern France and northern Spain. Its melody differs in important ways from Gregorian chant and shares some characteristics with the lai. It is remarkably similar to another sequence, the Berta vetula of the Winchester Troper.
The CMAA embraces the statement made by Pope Benedict XVI on June 25, 2006: "An authentic updating of sacred music can take place only in the lineage of the great tradition of the past, of Gregorian chant and sacred polyphony." It publishes the quarterly journal Sacred Music and serves as a professional and social network for musicians, seminarians, and priests dedicated to the aesthetic and liturgical ideals of the Catholic Church.
Alexander Sherwood Healy (called Sherwood) (1836–1875) was also ordained as a priest, in Paris in 1858. He earned a doctorate degree at the in Paris thereafter. He became an expert in Gregorian chant and earned a doctorate in canon law in Rome. After serving his brother James as chancellor, he was appointed director of the Catholic seminary in Troy, New York, and later as rector of the Cathedral in Boston.
The typical music of Solemn Mass is Gregorian chant. However, a wide variety of musical settings of the Ordinary of the Mass have been composed over the centuries, and may be used instead. The polyphonic works of Giovanni Pierluigi da Palestrina and Giovanni Gabrieli are considered especially suitable. There are also several musical settings for the propers of Masses during seasons and on feast days and for certain votive Masses.
Veni Creator Spiritus (Come, Creator Spirit) is a traditional Christian hymn believed to have been written by Rabanus Maurus, in 9th-century Germany. When the original Latin text is used, it is normally sung in Gregorian Chant. It has been translated and paraphrased into several languages, and adapted into many musical forms, often as a hymn for Pentecost or for other occasions that focus on the Holy Spirit.
In music centonization (from Latin cento or patchwork ) is a theory about the composition of a melody, melodies, or piece based on pre-existing melodic figures and formulas . A piece created using centonization is known as a "centonate" . The concept of centonization was borrowed from literary theory, and first applied to Gregorian chant in 1934 by Dom Paolo Ferretti (; ). Centonization, according to Ferretti's theory, is a very old and widespread technique.
An oriscus is a type of neume found in gregorian chant. File:OriscusMain.tif It is a single neume, meaning it represents one pitch, unlike a compound neume, representing a sequence of more than one pitch. It is considered an ornamental neume, like the strophicus, quilisma, salicus, and pressus, but the original meaning of the ornament is unclear. It is usually found added to another neume as an auxiliary note.
Various Reformers interpreted these texts as imposing strictures on sacred music. The psalms, especially, were felt to be commended to be sung by these texts. A revival of Gregorian chant, or its adaptation to the vernacular, was apparently not considered. Instead, the need was felt to have metrical vernacular versions of the Psalms and other Scripture texts, suitable to sing to metrical tunes and even popular song forms.
During the pre-reformation days, it was not customary for lay members of a church's congregation to communally sing hymns. Singing was done by the priests and other clergy; communal singing of Gregorian chant was the function of professional choirs, or among communities of monks and nuns. John Calvin, inspired by Erasmus's comments, desired singable versions of the Psalms and other Christian texts for the communal use of the Reformed churches.
The full choir and orchestra enter in partly dramatic scenes, reminiscent of the Messa da Requiem, interspersed by Gregorian chant. The final line in te speravi is first rendered by a single soprano voice from the choir, representing the "[voice of] mankind", as Verdi requested. The line is repeated by the choir, followed by a reticent postlude, similar to the conclusion of the Requiem. A performance takes about 15 minutes.
The Sunday Mass at 11.30am (Missa normativa) is celebrated in English and Latin, and the music includes both Gregorian Chant and the Polyphony of the Renaissance. On most Sundays, the choir sings plainsong and is accompanied by the congregation. Settings used from the Kyriale include the Cum Jubilo, Lux et Origo, de Angelis and Orbis Factor. Mass settings by major composers are used on feast days and Holy Days of Obligation.
Ismael Fernández de la Cuesta (born 1939) is a Spanish vocalist and musicologist specialising in Gregorian chant. Fernández de la Cuesta was born in the village of Neila, Burgos, Spain.La música brinda cohesión social He entered the Abbey of Santo Domingo de Silos at a young age. After a period of study in France, he returned to direct the abbey choir from 1962 to 1973, when he left monastic life.
The practice did not become part of the Latin Church until more than two centuries later. Ambrose and Gregory the Great, who are known for their contributions to the formulation of Gregorian chant, are credited with 'antiphonaries', collections of works suitable for antiphon, which are still used in the Roman Catholic Church today.G. Wainwright, K. B. W. Tucker. The Oxford History of Christian Worship (Oxford University Press, 2006), p. 244.
In addition to his professional activities, Winfried Schrammek was organist and choirmaster at the Catholic Church St. Bonifatius. Until 1990 he belonged to a Collegium musicum, the "Chorus Cantorum", which was exclusively dedicated to the research and faithful performance of the Gregorian chant. In concerts he was particularly prominent as an interpreter of medieval organ and clavichord music. A close collaboration existed with Hans Grüß and his Capella Fidicinia.
It is particularly in this area of chant that the Alpirsbach Circle has done its work of creation, instruction, and research such as that evident in the publication of an Antiphonale and Masses; in the present German Lutheran liturgy the Kyrie, Gloria, Credo, responses, psalmody and many hymns are sung to many of the same Gregorian Chant melodies as those used in the Roman Catholic liturgy - in German however.
The orchestra annually performs several Sacred Oratorios for an audience of 5,000-7,000 people. The group's repertoire ranges from ancient Gregorian chant to contemporary inspirational music. A 75-member non-profit choir and a 75-member professional symphonic orchestra make up the group. The orchestra is the only group of its kind in New Jersey. The sharing of spirituality has been the key to the group’s attractiveness and success.
Charles Tournemire, 1910 Charles Arnould Tournemire (22 January 1870 - 3 or 4 November 1939) was a French composer and organist, notable partly for his improvisations, which were often rooted in the music of Gregorian chant. His compositions include eight symphonies (one of them choral), four operas, twelve chamber works and eighteen piano solos. He is mainly remembered for his organ music, the best known being set of pieces called L'Orgue mystique.
This school of interpretation claims the support of historical authorities such as St Augustine, Remigius, Guido and Aribo. This view is advocated by John Blackley and his 'Schola Antiqua New York'. 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.Dirk van Kampen (1994).
Two plainchants from the Mass Proper, written in adiastematic neumes, from 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.
Marcel Pérès (born 15 July 1956, Oran, Algeria) is a French musicologist, composer, choral director and singer, and the founder of the early music group Ensemble Organum. He is an authority on Gregorian and pre-Gregorian chant. Pérès was born into an Algerian family of Spanish origin which was repatriated to France. He grew up in Nice, where he sang at the cathedral and was organist at the Anglican church.
Gregorian chant is the traditional chant of the Roman Rite. Being entirely monophonic, it does not have the dense harmonies of present-day chanting in the Russian and Georgian churches. Except in such pieces as the graduals and alleluias, it does not have melismata as lengthy as those of Coptic Christianity. However, the music of the Roman Rite became very elaborate and lengthy when Western Europe adopted polyphony.
"Solesmes Abbey: The Unquiet Home of Gregorian Chant", Regina Magazine, September 25, 2014 Under his direction two famous groups of statuary, known as the "Saints of Solesmes", were set up in the church. In the sixteenth century these masterpieces were in danger of being destroyed by the Huguenots and other Iconoclasts, but the monks saved them by erecting barricades.Alston, George Cyprian. "Abbey of St. Solesmes." The Catholic Encyclopedia. Vol. 14.
Within three months of his coronation, Pius X published his motu proprio Tra le sollecitudini. Classical and Baroque compositions had long been favoured over Gregorian chant in ecclesiastical music.J. de Luca, Disharmony among bishops: on the binding nature of a papal motu proprio on music, Journal of the Australian Catholic Historical Society 35 (2014), 28-37. The Pope announced a return to earlier musical styles, championed by Lorenzo Perosi.
Imakulata Malinka (21 February 1935 – 23 August 2019) was a Croatian organist, nun, music pedagogue, choirmaster and church musician, longstanding organist of the Zagreb cathedral. She is an author of several scientific papers known for their efforts to respect, reconcile and combine Gregorian chant and classic polyphonical traditions with popular ecclesiastical music (folk songs). RGK. "Iznimna promicateljica liturgijske glazbe". Glas Koncila, 8 September 2019, No. 2356, p. 26.
Since then Palestrina has written nothing. Silla sings to him his new song. (3) Cardinal Borromeo is visiting Palestrina to explain that, because of growing secularism, the Pope plans to banish polyphony from the Mass and other offices, to burn the polyphonic masterpieces, and to revert entirely to the Gregorian chant. Emperor Ferdinand I hopes that a new polyphonic Mass can be written which will appease his fears.
In chant, a reciting tone (also called a recitation tone) can refer to either a repeated musical pitch or to the entire melodic formula for which that pitch is a structural note. In Gregorian chant, the first is also called tenor, dominant or tuba, while the second includes psalm tones (each with its own associated gregorian mode) as well as simpler formulae for other readings and for prayers.
José Enrique Ayarra Jarne (April 23, 1937 - March 18, 2018) was a Spanish Catholic priest and organist. He was most noted for being the principal organist of the Seville Cathedral from 1961 until his death in 2018. Ayarra earned the title of piano teacher from the Conservatory of Saragossa at the age of 11. He earned degrees in Gregorian Chant and Organ from the Institut Catholique de Paris.
The central movement, the Credo, is the longest. It features static, syllabic, and declamatory text-setting with a limited harmonic and rhythmic vocabulary. Long stretches of text often repeat a single chord, evoking the reciting tone of Gregorian chant or the Orthodox liturgical chant that Stravinsky would have known from his childhood in Saint Petersburg. Clear setting of the text is favored over an expressive interpretation of its meaning.
Although note heads of various shapes, and notes with and without stems appear in early Gregorian chant manuscripts, many scholars agree that these symbols do not indicate different durations, although the dot is used for augmentation. See neume. In the 13th century, chant was sometimes performed according to rhythmic modes, roughly equivalent to meters; however, the note shapes still did not indicate duration in the same way as modern note values.
The oldest preserved relics of musical culture in Croatia are sacral in nature and represented by Latin medieval liturgical chant manuscripts (approximately one hundred musical codices and fragments dating from the 11th to the 15th centuries have been preserved to date). They reveal a wealth of various influences and liturgical traditions that converged in this region (Dalmatian liturgy in Benevento script, Northern Gregorian chant, and original Glagolitic chant).
The Chapel of St Maurus at Beuron, 1868-1871, on which Lenz, Wüger and Steiner worked at the start of the Beuron Art School movement. Although Wüger was of a Calvinist background both he and the more idealistic Lenz moved to the belief that artists should work together in a Catholic community to produce Sacred Art suitable for the devotional and liturgical environment. Around 1866 a plan for an 'Ideal Church' was produced, and in 1868 they met Maurus Wolter, the first abbot of the Benedictine Archabbey of Beuron founded in 1863 under the patronage of Princess Katherina von Hohenzollern. Wolter was already engaged in the revival of Gregorian chant, after the model of Solesmes Abbey,Examples of the Gregorian Chant as performed by the monks of the Abbey of St Martin, Beuron, under the direction of Pater Dr. Maurus Pfaff O.S.B., were recorded by Deutsche Grammophon Gesellschaft, see a discography here.
Makoto Moroi was born in Toky], and is the son of Saburō Moroi. He studied composition with Tomojirō Ikenouchi at the Tokyo National University of Fine Arts and Music, graduating in 1952. He also studied Gregorian chant privately with Paul Anouilh, and Renaissance and Baroque music with Eta Harich- Schneider. He was one of the leading composers who introduced Japanese audiences to new musical styles and devices, including twelve-tone technique, serialism, and aleatory music .
Hortus Musicus in Luxembourg, 2008. Joint concert of Hortus Musicus and Ellerhein choir in Brussels, 2008. Hortus Musicus is an Estonian ensemble that was established in 1972 by Andres Mustonen, a violin student of the Tallinn State Conservatory. Hortus Musicus specialises in performing early music, including 8th–15th-century European forms such as Gregorian Chant, Organum, Medieval Liturgic Hymns and Motets, the Franco-Flemish School, and Renaissance Music (including French chansons, villanelles and Italian madrigals).
He joined the Mission Congregation of Scheut (CICM) in 1962. During his formation years, he was in charge of the Schola (Gregorian chant) and the liturgical music. When studying in Louvain (1964–68), he was a member of the team which spearheaded the renewal of liturgical music at the University Parish in line with the new directions of the Second Vatican Council. During that same period, he took up private lessons in harmony with .
A pianist and organist, graduated in classic literature from the University of Lausanne, habilitated for the teaching of music theory (Société suisse de pédagogie musicale), Jacques Viret perfected his studies in musicology at the Paris-Sorbonne University, with Jacques Chailley who conducted his Ph.D. thesis on gregorian chant (1981). Since 1972, Jacques Viret has been teaching musicology at the university of Strasbourg, as an assistant and then lecturer and professor, emeritus since 2009.
With the support of Jean-Baptiste de Bouillé, the Archbishop of Poitiers, out of his own experience, he immediately began efforts to popularize the practice of the nocturnal adoration of the Blessed Sacrament by the general faithful. Cohen soon felt called to be a priest. He first approached the Benedictine monks of the Abbey of Solesmes, who were known for their studies for the revival of Gregorian chant. They declined his application.
The St. Patrick's Gregorian Choir was established on October 28, 2006 at St. Patrick's Church for the Saturday 5:00 p.m. Holy Mass, under director, organist, pianist, and composer Surinder S. Mundra. One of the first choirs in the Toronto region specializing in Gregorian chant in its proper liturgical context. The aim of the choir from its beginning is to promote through the chant, a deep love and reverence towards the Sacrifice of Holy Mass.
Frank Sinatra also recorded a musicianless version, which was his only recording during the ban. Sinatra's version of "Nature Boy" replaced the string sounds of the original recording with a choir conducted by Jeff Alexander, which, according to Friedwald, made the song sound like a Gregorian chant. The recording was released by Columbia Records as catalog number 38210. It debuted on the Billboard charts on May 28, 1948, and peaked at number seven.
This freedom in religion allowed the church to build for large basilicas which made it possible for public worship and for Christians to finally assume a new dignity.Daniel Saulnier, Gregorian Chant: A Guide to the History and Liturgy (Paraclete Press: Massachusetts 2010), p 3. Music, in particular had its own place in these newly constructed basilicas. As the early church of Jerusalem spread westward to Western Europe, it brought along musical elements from diverse areas.
In the musical idiom of Gregorian chant, Introits normally take the form antiphon-verse-antiphon-doxology-antiphon. In the Tridentine Missal, this form was, with very few exceptions, reduced to antiphon-verse-doxology-antiphon. For example, the Tridentine Missal presents the Introit of the Fourth Sunday of Advent as follows:Missale Romanum 1962, p. 14 :First the antiphon Rorate caeli from : ::Rorate, cæli, desuper, et nubes pluant iustum: ::aperiatur terra, et germinet Salvatorem.
By the late nineteenth century, "operatic Church-music" was dominant in Italy. Churches were known to set Latin texts to such secular favorites as the sextet from Donizetti's Lucia di Lammermoor or the quartet from Verdi's Rigoletto. A movement for liturgical reform, including scholarship devoted to early Church practice and Gregorian Chant performance, had developed over the course of the nineteenth century. Local jurisdictions implemented changes independent of direction from the Vatican.
This was a new process for Sierra and the computer game industry in general, but the same concept was regularly followed in the film industry.Shannon, p. 111 The opening theme of the game features a neo-Gregorian chant, which was performed in studio by a 135-voice choir. Much of the underscore music that plays when the player is exploring the game, rather than during cinematic scenes, is based upon that opening scene.
The version of this chant linked to the liturgy as used in the Diocese of Salisbury, the Sarum Use, first recorded from the thirteenth century, became dominant in EnglandE. Foley, M. Paul Bangert, Worship Music: a Concise Dictionary (Collegeville, MN: Liturgical Press, 2000), , p. 273. and was the basis for most surviving chant in Scotland. It was closely related to Gregorian chant, but it was more elaborate and with some unique local features.
287, no. 4. The cathedral was one of the nine parishes inside the city, the care of which was assigned to the Canons prebendary. Attached to the cathedral were twelve beneficed clerics, whose duty it was to sing the Gregorian chant; two acolytes and six clerics for the sanctuary; and thirty chaplains. The members of the Chapter were paid out of a general fund (mensa canonicata), which was the subject of frequent complaint and litigation.
Wegener was the daughter of composer Bertha Frensel Wegener-Koopman and American insurance agent John Frensel-Wegener. She studied at the music school in Bussum and then in England, then continued her studies at the Conservatory in Amsterdam where she received a degree in violin with Felice Togni. She also studied composition with Sem Dresden, clarinet with Willem Brohm and Gregorian chant. In 1926 Wegener married Jan Heil, but the couple divorced in 1932.
Noteheads ultimately derive from the neumes used to notate Gregorian chant. The punctum, seen at right, is the simplest of the shapes and most clearly anticipates the modern notehead. When placed on a clef, the position of a notehead indicates the relative pitch of a note. The development of different colors of noteheads, and the use of it to indicate rhythmic values, was the use of white mensural notation, adopted around 1450.
Nearly 100% of students live on campus in residence halls and townhouses. There are over 40 student organizations. There are no fraternities or sororities. Other activities include Saint Michael's Fire and Rescue student volunteer first responders, Student Association, Adventure Sports Program, Campus Ministry, the campus radio station WVTX, club sports, student musical and play productions, the Saint Michael's Chorale, Vermont Gregorian Chant Schola, open mic nights and various instrumental and vocal ensembles.
Cambridge, Harvard University Press. Page 350 In 1908 a revised edition of the Roman Gradual was published. In it Pope Pius X gave official approval to the work of the monastery of Solesmes, founded in the 1830s by Dom Guéranger, was done by Dom Pothier in restoring Gregorian chant to its purity by removing the alterations it had undergone in the centuries immediately preceding. The work had involved much research and study.
Sanctuary is an album supporting charity which was recorded in July 2007 at Glenstal Abbey, Co. Limerick, Ireland. The album features artists Moya Brennan, Mary Coughlan, Nóirín Ní Riain, Cara O'Sullivan, Jimmy O'Brien-Moran, the Monks of Glenstal and many others. The genres of music include Traditional Irish, folk, Gregorian chant, contemporary popular and classical.MySpace: Sanctuary All profits from the album will go to charities supporting victims of domestic violence in Ireland.
The Ordinary of the Mass appears to have been borrowed directly from the Gregorian repertory. The Proper chants of the Mass show some special characteristics. Introits in the Old Roman Mass retained the versus ad repetendum, a repeat of the verse, which had disappeared from the Gregorian chant by the 11th century. Musically, Old Roman Introits resembled their Gregorian counterparts, although the neumatic passages were more ornate and the syllabic passages were simpler.
In the summer of 2009, the Oratory music program organized a course of Gregorian chant for beginners. The Oratory has played host to the St. Louis Chamber Chorus."St. Francis de Sales Oratory", St. Louis Chamber Chorus In November 2008, the church celebrated the 100th anniversary of the dedication of the new building with a solemn pontifical Mass celebrated by Bishop Robert J. Hermann, followed by a festive reception featuring traditional German cuisine.
In "Beyond the Invisible", Sandra Cretu again provides the opening vocals, Michael Cretu sings lead vocals. The track also includes samples of a Latvian folk ensemble Rasa song Sajāja Bramaņi and a Gregorian chant (Isaiah 64:9-11) from "Gregoriani Cantus" by Pierre Kaelin. Most of the tracks on Le Roi Est Mort, Vive Le Roi! include both Gregorian chants and tribal chants, reminiscent of their first and second albums, MCMXC a.
For other social orders, instruments like the pipe, tabor, bagpipe, shawm, hurdy-gurdy, and crumhorn accompanied traditional music and community dance.M. Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London: Verso, 1994), p. 179. The fiddle, well established in England by the 1660s, was unusual in being a key element in both the art music that developed in the baroque, and in popular song and dance.
Obadiah the Proselyte was a Christian member of the nobility who converted to Judaism and was familiar with writing music using musical notation. One of the findings is a musical performance segment of biblical texts, which he probably learned from one of the Near East communities where he stayed following his conversion in the year of 1102. Among the melodies is "Who's on Mount horev" which sounds similar to Gregorian chant music style.
A version of "" "'" or "'" is a Latin hymn in honor of John the Baptist, written in Horatian SapphicsStuart Lyons, Music in the Odes of Horace (2010), Oxford, Aris & Phillips, and traditionally attributed to Paulus Diaconus, the eighth-century Lombard historian. It is famous for its part in the history of musical notation, in particular solmization. The hymn belongs to the tradition of Gregorian chant. It is not known who wrote the melody.
The nuns have recorded their Vespers. A first recording was made in 1973 and contained only two works by Hildegard of Bingen, a Kyrie and O virga ac diadema. A second recording appeared in 1979, to remember the 800th anniversary of Hildegard's death, including the same pieces and antiphones, a hymn, a responsory and parts of Ordo virtutum. In 1989, a third recording appeared, conducted by P. Johannes Berchmans Göschl, a scholar of Gregorian chant.
Kirchliche Arbeit Alpirsbach is one of the organisations of the protestant Liturgical Movement in Germany and was previously called Alpirsbach Circle. Its center is Alpirsbach Abbey located near Freudenstadt in the Black Forest. Kirchliche Arbeit Alpirsbach has been influenced by theology of Karl Barth and it was originally led by Wilhelm Gohl and Richard Goelz. During Alpirsbach weeks there were Eucharistic services and a careful use of psalmody and Gregorian chant in the Benedictine tradition.
Duruflé, who was organist in at Saint-Étienne-du-Mont in Paris and also director of the Gregorian Institute of Paris, set the Lord's Prayer in French as for liturgical use. It was a commission from a priest at Saint-Etienne. It is his only work suitable for congregational singing, as requested by the Second Vatican Council. He regretted the decline of Gregorian chant in Latin which had influenced his earlier compositions.
The Concerto gregoriano is a violin concerto by Ottorino Respighi. It is inspired by the history and music of early Christianity, such as plainsong and Gregorian chant. It was written in 1921 and premiered the following year in Rome. Notable recordings have been made by violinists Lydia Mordkovitch for Chandos, Pierre Amoyal for Decca, Domenico Nordio for Sony Classical, Jenny Abel for Bayer Records, Andrea Capelletti for Koch Schwann, and Takako Nishizaki for Marco Polo.
Indeed, in the Medieval era, Gregorian chant did not indicate the rhythm of the chant. In the Baroque era, instrumental pieces often lack a tempo indication and usually none of the ornaments were written down. As a result, each performance of a song or piece would be slightly different. With the development of analog sound recording, though, a performance could be permanently fixed, in all of its elements: pitch, rhythm, timbre, ornaments and expression.
The version of this chant linked to the liturgy as used in the Diocese of Salisbury, the Sarum Use, first recorded from the thirteenth century, became dominant in EnglandE. Foley, M. Paul Bangert, Worship Music: a Concise Dictionary (Collegeville, MN: Liturgical Press, 2000), p. 273. and was the basis for most surviving chant in Scotland. It was closely related to Gregorian chant, but it was more elaborate and with some unique local features.
Namárië was set to music by Donald Swann with Tolkien's help. The sheet music and an audio recording are in their book The Road Goes Ever On. In a recording, Tolkien sings the poem in the manner of a Gregorian chant. In 2008, the Spanish neoclassical dark wave band Narsilion published a studio album called Namárië. Among other Tolkien-inspired songs it features a track "Namárië: El Llanto de Galadriel [Namárië: Galadriel's Lament]".
' is a German male classical vocal ensemble based in Munich, founded in 1980 by six students of the , after the model of the Comedian Harmonists. They sing a broad repertory, from Gregorian chant to contemporary music, including Volkslieder, Christmas carols, pop music and other crossover projects. Composers such as Enjott Schneider, Max Beckschäfer and Wilfried Hiller wrote music for them. Their name alludes to "", inserting "sing" into a typical German name for a symphony orchestra.
The ordinary chants consist of the Laus Missa or Gloria, the Symbolum, and the Sanctus. The Symbolum corresponds to the Credo in the Roman rite. Unlike Gregorian chant, there is no Agnus Dei nor Ite missa est, and the Kyrie does not exist as a separate category of chant. Only a small number of each of these ordinary chants exist: four Gloria melodies, four Sanctus melodies, and just one melody for the Symbolum.
Overtones are naturally highlighted when singing in a particularly resonant space, such as a church; one theory of the development of polyphony in Europe holds that singers of Gregorian chant, originally monophonic, began to hear the overtones of their monophonic song and to imitate these pitches - with the fifth, octave, and major third being the loudest vocal overtones, it is one explanation of the development of the triad and the idea of consonance in music.
Lévi is best known for being the mastermind behind the musical project ERA, and for inventing the Latin sounding words of these songs. Era's self-titled debut album in 1997 proved to be a hit, becoming the most exported French album with over 6 million copies sold. A sequel, Era 2 was released in 2000, followed by Era: The Mass in 2003. The trilogy is characterized by a mixture of rock, synth, and pseudo-Latin Gregorian chant.
In 1926, the School of Music was also founded, offering "melody writing, Gregorian Chant, and other forms of musical composition". Completing this spree of expansion was the foundation of the School of Education in 1927. Throughout these years of expansion, Father Hehir maintained a tradition of student assemblies, which imparted a sense of intimacy and elevated Hehir to the status of a father figure. In fact, most students knew him solely by a term of endearment, "Daddy Hehir".
The Hilliard Ensemble, under Paul Hillier, had an extensive discography with EMI's Reflexe early music series during the 1980s. The ensemble then recorded mainly for the ECM label. In 1994, when popular interest in Gregorian chant was at its height, the ensemble released the CD Officium, an unprecedented collaboration with the Norwegian saxophonist Jan Garbarek. The disc became one of ECM's biggest-selling releases, reaching the pop charts in several European countries and receiving five gold discs in sales.
The repertoire of the Limburger Domsingknaben spans eras from Gregorian chant via Baroque music, the Classical period, Romantic music to contemporary music. The choir performs in public yearly about 80 times, including 40 church services, secular concerts and church concerts, appearances on radio and television, and singing for special occasions. The boys rehearse twice a week when they begin, and four times for regular members. They receive individual vocal training that makes them able to also sing solo parts.
Boorstin places the origins of Western music in the liturgy of the Catholic Church. The early practice of congregational singing of psalms (adopted from Judaism) ceased with the introduction of the choir. This institution gave rise to the Gregorian chant and one of the most important creations in music, polyphony, still the hallmark of Western music.The Creators, "The Music of the Word" Over time, the emphasis within Music turned to the instruments rather than the human voice.
By age seven, Miquel was working the fields with his parents, helping cultivate wheat and beans, and tending the cattle. But he showed a special interest in visiting the local Franciscan friary at the church of San Bernardino within a block of the Serra family house. Attending the friars' primary school at the church, Miquel learned reading, writing, mathematics, Latin, religion and liturgical song, especially Gregorian chant. Gifted with a good voice, he eagerly took to vocal music.
He was accepted to the piano master class of Carl Seemann at the Musikhochschule Freiburg, and won a prize at the Deutscher Hochschulklavierwettbewerb. He completed his studies of organ and church music at Dortmund University, where he taught from 1960 to 1992 organ, choral conducting, Gregorian chant and composition (Tonsatz). He was appointed Kirchenmusikdirektor and director of the department of Catholic church music in 1971, and professor in 1974. Most of Ständer's compositions are dedicated to sacred music.
Vatican banner. Mass is celebrated in the church on Sundays and major feast days as a solemn Mass in Latin with full professional choir and accompanying organ in a combination of polyphony and Gregorian chant. This is supplemented by the occasional celebration of Solemn Vespers which enriches the liturgical cycle of the parish. On those days Mass is also celebrated several times in English and once as a Low Mass in the 1962 Roman Missal form.
However, he interrupted his study to work nine years at the most spiritual publisher of this time, Josef Florian, solely for room and board. In 1919 he resumed his study as a pupil of French composer and teacher Vincent d'Indy at the Schola Cantorum. Tichý initially studied organ, Gregorian chant and composition, then contrapuntalism and concord. At Schola Cantorum he got the opportunity to experience music from the 16th to the 18th centuries in vocal polyphony.
Gregorian chant and miniatures are examples of the practical application of quadrivium subjects. The status of monks as apart from secular life (at least theoretically) also served a social function. Dethroned Visigothic kings were tonsured and sent to a monastery so that they could not claim the crown back. Monasteries became a place for second sons to live in celibacy so that the family inheritance went to the first son; in exchange the families donated to the monasteries.
The Apulian city of Taranto is a home of the tarantella, a rhythmic dance widely performed in southern Italy. Apulian music in general, and Salentine music in particular, has been well researched and documented by ethnomusicologists and by Aramirè. The music of the island of Sardinia is best known for the polyphonic chanting of the tenores. The sound of the tenores recalls the roots of Gregorian chant, and is similar to but distinctive from the Ligurian trallalero.
The term first appears in theoretical writings early in the 13th century (e.g., Boncampagno da Signa, Rhetorica novissima, 1235).M. Jennifer Bloxam, "Cantus Firmus", The New Grove Dictionary of Music and Musicians,, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). The earliest polyphonic compositions almost always involved a cantus firmus, typically a Gregorian chant, although by convention the term is not applied to music written before the 14th century.Randel, Don, ed. (1986).
Each of the seven movements reflects one line of the hymn which can optionally be sung in chant before the related movement. The singing can be performed by a female or male soloist, a schola or a children's choir. The movement are contrasting in character. : I – (With the freedom of Gregorian chant) : II – (Calm) : III – (Hammered, wild) : IV – (Dark, relentless) : V – (Profound) : VI – (Like a slow procession) : VII The work takes about 23 minutes to perform.
David Eben is the son of composer Petr Eben and is the founder and director of Schola Gregoriana Pragensis. He started studies in musicology at the philosophy school of the Charles University in Prague in 1986 following completion of his training in clarinet at the Prague Conservatory. He began concentrating on mediaeval music in 1986 and graduated from Paris Conservatory (Conservatoire de Paris) having studied Gregorian chant conducting. He established the Schola Gregoriana Pragensis in 1987.
From the Easter mass "" is a paraphrase of the Latin Gloria from the mass liturgy. The oldest prints of the hymn do not mention an author, but it is believed that it was written in Low German by Nikolaus Decius in 1523, which makes it one of the earliest songs of the Reformation. The melody, Zahn No. 4457, is adapted from the Gloria of the mass for Easter in Gregorian chant, Lux et origo (GL 114).
In some cases, these sections were composed independently and "substituted" for existing setting. These clausulae could then be "troped," or given new text in the upper part(s), creating motets. From these first motets arose a medieval tradition of secular motets. These were two- to four-part compositions in which different texts, sometimes in different vernacular languages, were sung simultaneously over a (usually Latin-texted) cantus firmus that once again was usually adapted from a passage of Gregorian chant.
In a volte face, Dom Gregory Murray published two booklets, presenting the same views as Vollaerts. In 1957, he published Gregorian Rhythm in the Gregorian Centuries; the Literary Evidence which presented excerpts from the medieval theoretical writings in English and Latin. In 1959, he published The Authentic Rhythm of Gregorian Chant which statedly presented, in edited fashion, Delorme's and Vollaerts' arguments. This work was followed in 1968 by the book 'Semiologia Gregoriana' by Dom Eugène Cardine.
Guests often join the monks in prayer in the Archabbey Church. 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. In addition, the monks spend private time reading spiritual and religious materials.
L. Macy (Accessed 27 June 2006) (subscription access)] 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.
From 1961 to 1965 he taught at the University of Chicago, and following this at Brandeis University and Stony Brook University. Treitler's major work is in Medieval and Renaissance music, particularly in Gregorian chant and the earliest polyphony. He also published a series of essays exploring historiography in music history, which were collected, with other works on music history and theory, in Music and the Historical Imagination. He revised Oliver Strunk's Source Readings in Music History in 1998.
He graduated two years later with the titles of Doctor in Gregorian chant, Master in composition, and organ concert performer. In 1933, he returned to Mexico to be director of the Escuela Superior de Música Sagrada (Sacred Music High School) of Morelia, a position he held for twenty years. In Morelia he fought relentlessly to create schools, give concerts, courses and congresses. He published many books, sheet music, and specialized magazines, giving foremost importance to sacred music.
Although he had already composed small pieces as a child, it was at this time that he began composing seriously. In an autobiography, he said that he drew inspiration from J.S. Bach (counterpoint), Louis Vierne (chromaticism), Claude Debussy (free rhythmic structure) and Maurice Ravel (chromaticism). His main source of inspiration was Gregorian chant, which he heard daily in the monastic liturgy. Benoit's compositional style can be described as melodic-pentatonic, with the occasional harmonic influence of Impressionism.
Tone painting of words goes at least as far back as Gregorian chant. Little musical patterns are musical words that express not only emotive ideas such as joy but theological meanings as well in the Gregorian. For instance, the pattern FA-MI-SOL-LA signifies the humiliation and death of Christ and His resurrection into glory. FA-MI signifies deprecation, while SOL is the note of the resurrection, and LA is above the resurrection, His heavenly glory ("surrexit Jesus").
"Gloriæ Dei Cantores" was founded in 1988 by Elizabeth C. Patterson, who served as its Director/Conductor until 2012. It is based at the Church of the Transfiguration in Orleans, Massachusetts. The "Gloriæ Dei Cantores Schola" specializes in Gregorian chant. The choir sings in 18 languages, and has appeared on the concert stage and in recordings with such artists as Gerre Hancock, Keith Lockhart, John Williams, Samuel Adler, Mark O'Connor, Stephen Cleobury, George Guest, Daniel Pinkham, and Margaret Hillis.
Cardinal Archbishop of Paris Louis-Ernest Dubois, father of the Institut. In December 1922, a congress of Gregorian chant and sacred music was organized by l'Art Catholique., (p. 229) This conference was a huge success, thanks to the support of the new Archbishop of Paris since 1920, Louis-Ernest Dubois, and above all to the support of the monks of the Solesmes Abbey, who returned to France after their long exile to Quarr Abbey in England.
The incipit of the Gregorian chant introit Misericordia Domini in the Liber Usualis, from which Misericordia Sunday gets its name. Misericordia Sunday, also called Misericordias Domini, is a Sunday in Eastertide in the Christian liturgical calendar. It is so called from the incipit of the Introit "Misericordia Domini plena est terra . . ." ("The land is filled with the mercy of the Lord") from Psalm 33 (32), a portion of which is traditionally assigned for the Mass of the day.
Hymnody in continental Europe developed from early liturgical music, especially Gregorian chant. Music became more complicated as embellishments and variations were added, along with influences from secular music. Although vernacular leisen and vernacular or mixed-language Carol (music) were sung in the Middle Ages, more vernacular hymnody emerged during the Protestant Reformation, although ecclesiastical Latin continued to be used after the Reformation. Since then, developments have shifted between isorhythmic, homorhythmic, and more rounded musical forms with some lilting.
The earliest extant work is the Gnostic Psalter of the 2nd century, a collection of Psalm texts in hymn form reflecting a Gnostic theology. The first orthodox work are the hymns of Ephrem the Syrian (306–373), some of which are still used today. Both hymns and antiphonal psalmody were brought by St. Ambrose to Milan and are apparently the basis for Ambrosian chant. Modern Syrian chant is much more rhythmic and syllabic than Gregorian chant.
The Mass is the Christian celebration of the Eucharist. Plainchant occurs prominently in the Mass for several reasons: to communally affirm the faith, to expand on the scriptural lessons, and to accompany certain actions. The chants of the Mass divide into the ordinary, whose texts are invariable, and the proper, whose texts change depending on the feast. There are several differences between the Ambrosian rite and the Roman rite, which are reflected in the Ambrosian and Gregorian chant traditions.
A swathe of territory that owed allegiance to Rome or to Ravenna separated the dukes of Benevento from the kings at Pavia. Cultural autonomy followed naturally: a distinctive liturgical chant, the Beneventan chant, developed in the church of Benevento: it was not entirely superseded by Gregorian chant until the 11th century. A unique Beneventan script was also developed for writing Latin. The 8th-century writer Paul the Deacon arrived in Benevento in the retinue of a princess from Pavia, the duke's bride.
Despite this, in 1970 she received her doctorate. During this period, Berry saw the liturgy of the Roman Catholic Church change dramatically, with the introduction of the vernacular in the Mass and Divine Office, both significant parts of her daily routine as a canoness. These changes included a widespread dropping of Gregorian chant in favor of contemporary spiritual music. She then decided that action was needed to save this integral part of Church life going back for over a millennium.
The pipes on the front of the case are ornately diapered and were restored to their original colour scheme of lighter shades of red and green with gold motifs. Above the organ and choir loft are two gilded angels. Music for the Solemn Mass follows the decrees of the Vatican, and utilises Gregorian chant and polyphony on Sundays (with congregational English hymns), whilst for major solemnities there are classical organ and orchestral settings from the 17th to the 21st century.
He also held the Chair of Complementary Harmony and Counterpoint at the Conservatory of Naples and taught at the Institute ST Alessio in Rome. He received several nominations for teaching in Italy: piano for the Conservatory of Turin, Gregorian Chant for the Conservatory of Bologna, Harmony and Counterpoint for the conservatory in Naples, 2nd place in the national ranking of qualified Professors for the teaching of the Harpsichord and the Organ and Organ Composition for the conservatories in Cagliari and in Rome.
The Pius X School of Liturgical Music was opened in 1916 as part of the college. It was founded by Justine Ward, who had developed teaching methods for Gregorian chant emulating the techniques of the monks in Solesmes, and by Mother Georgia Stevens, RSCJ, a musician and Roman Catholic nun.Catherine A. Carroll, "Justine B. Ward and the Pius X School 1916-1931: Historical Outline", in Litjens/Steinschulte, Divini 121-124. Faculty over the years included Ward, Achille Bragers and André Mocquereau.
From 1887 to 1892 Thiel studied with Woldemar Bargiel at the Royal Music Institute of Berlin and worked and taught there as organist and choirmaster, initially in the emerging community of . From 1888 to 1891 he was instructed by Heinrich Bellermann in historical musicology and counterpoint. In 1890 Thiel founded the Kirchliche Singschule, a choir consisting of members - mainly teachers - of all Catholic parishes in Berlin. After his studies he was appointed "etatmäßiger Hilfslehrer" for Gregorian chant at the institute in 1891.
Tulve belongs to the younger generation of Estonian composers who, in contrast to the neo-classicist tradition of rhythm-centeredness, create music which focuses on sound and sonority. Tulve’s works give a fair idea of the richness and variety of her cultural experience: the French school of spectral music, IRCAM’s experimentalism, Kaija Saariaho and Giacinto Scelsi, echoes of Gregorian chant and Eastern musics. Deriving from her refined sound processing, Tulve’s approach to form is “fluid” – more process based than architectonic.
During his lifetime, Nivers was highly regarded not only as organist and composer but also as a music theorist. His treatise on composition (Traité de la composition de musique, 1667) was well known outside France and endured into the 18th century. His work in the field of Gregorian chant resulted in influential editions of liturgical music (including an edition of Missa cunctipotens genitor Deus, which most French organ composers used as a model for their mass settings) and helped the Catholic Counter Reformation.
A second school of thought, including Wagner, Jammers, and Lipphardt, supports different rhythmic realizations of chant by imposing musical meter on the chant in various ways.Apel, Gregorian Chant, p. 127. Musicologist Gustave Reese said that the second group, called mensuralists, "have an impressive amount of historical evidence on their side" (Music in the Middle Ages, p. 146), but the equal-note Solesmes interpretation has permeated the musical world, apparently due to its ease of learning and resonance with modern musical taste.
Latry, organist at Notre Dame in Paris, is known as an improviser. He realised the idea of commenting the Gregorian chant of the Marian hymn by organ music first in improvisation in Lawrence at the University of Kansas in 1999 in the final concert of a conference of church music. The composer performed the work first at the ' of Notre Dame on 9 October 2007, with singer Emmanuel Bouquet and the Maîtrise Notre Dame de Paris. It was published by .
Begun in the 19th century as a mixed voice choir, the St Mary's Cathedral Choir has been a traditional English-style cathedral choir of men and boys since 1955. There are usually 24 choristers (boy trebles and altos) and 12 lay clerks (professional countertenors, tenors and basses). The choir sings Mass and Vespers daily (excluding Friday) and is the oldest continuous musical institution in Australia. They perform works ranging from Gregorian Chant, Sacred Polyphony and Renaissance compositions to 21st century compositions.
In a responsorial chant, the verse and refrain are often comparable in style and melodic content. Visigothic/Mozarabic chants used a different system of psalm tones for psalm antiphons than Gregorian chant. Unlike the standardized Gregorian classification of chants into eight modes, Visigothic/Mozarabic chant used between four and seven, depending on the local tradition. Many Visigothic/Mozarabic chants are recorded with no musical notation at all, or just the incipit, suggesting that the psalm tones followed simple and frequently used formulas.
Location of Toledo in modern Spain The musical forms encountered in Visigothic/Mozarabic chant present a number of analogies with those of the Roman rite. For example, a comparable distinction exists between antiphonal and responsorial singing. And Visigothic/Mozarabic chant may be seen to make use of three styles: syllabic, neumatic and melismatic, much as in Gregorian chant. In the following descriptions of the principal musical items in both the Visigothic/ Mozarabic Office and Mass, some of these analogies will be discussed further.
History from Chilworth Benedictines retrieved 25 February 2014 The monastic community follows the Rule of St Benedict under the guidance of an Abbot, centred on the Divine Office and Mass prayed daily in the Abbey Church, often in a mix of Latin and English including Gregorian Chant. The community currently numbers eight monks. There are a number of lay oblates. The monks run a guest house and offer a programme of retreats, monastic vocation visits, study days, meditation sessions and healing days.
Moreschi, the youngest of the six remaining castrati choristers photographed in 1898, remained on the choir's books until his retirement in 1913. The ascendance to the papacy of Perosi's mentor and fellow Cecilianist, Pius X in August 1903 further cemented his position. Under his direction the last remaining castrati were phased out, and a stable 30-voice boys choir was added. The choir's music focused once again on Gregorian chant and the polyphonic music of the Renaissance period, especially that of Palestrina.
The same pope created him Cardinal Priest, with the title of the Church of Santi Silvestro e Martino ai Monti, commanding him to accept the honour. Tomasi taught catechism to the children of the poor in his titular church, also introducing its congregants to the use of Gregorian chant. He died in 1713, mourned by all, especially by Pope Clement, who so admired his sanctity that he had consulted him before accepting the papacy. He was buried in his titular church.
In 1994, during heightened popularity of Gregorian chant, his album Officium, a collaboration with early music vocal performers the Hilliard Ensemble, became one of ECM's biggest-selling albums of all time, reaching the pop charts in several European countries and was followed by a sequel, Mnemosyne, in 1999. Officium Novum, another sequel album, was released in September 2010. In 2005, his album In Praise of Dreams was nominated for a Grammy Award. Garbarek's first live album Dresden was released in 2009.
Subasinghe has composed music for 16 Sri Lankan Passion plays since 1999. His music for these plays combines a variety of styles and genres, including Gregorian chant, western classical music, Portuguese music, and Sri Lankan folk music. In 2000, Sri Lanka's Catholic Media Unit and Tower Hall Theater Foundation organised a passion play cultural programme at Negombo, where they assembled all the traditional passion play drama teams from all parts of the country. Subasinghe was appointed music director for the programme.
Born in Simmern, Zerfaß was a student of Regional cantor Franz Leinhäuser in Oberwesel. He studied at the Hochschule für Musik Frankfurt, finishing in 1992 with top honors as a church musician and graduating in 1993 as a recital organist. Influential teachers were Edgar Krapp (organ), Wolfgang Schäfer (choral and orchestral conducting) and Godehard Joppich (Gregorian chant). He took master classes with Daniel Roth, Wolfgang Rübsam and Guy Bovet (organ), Egidius Doll, Peter Planyavsky and Theo Brandmüller (organ improvisation) and Günther Ludwig (piano).
The choir has a broad repertoire including Gregorian chant, a cappella sacred works (for Lent and Advent, Passion songs, Christmas carols), sacred compositions with the accompaniment of organ and other instruments, as well as patriotic and popular songs. The choir sings at the 11:00 a.m. Mass at St. John’s Archcathedral every fourth Sunday of the month as well as during major church holidays. They also perform at religious ceremonies in other churches, as well as at various cultural events.
He took master classes with Emma Kirkby and Christoph Prégardien. His repertory ranges from Gregorian chant to contemporary and avant-garde. Ciolek is noted for interpreting the Evangelist in Bach's Passions and oratorio. In 1999, he performed the part in a recorded concert of Bach's St Matthew Passion as part of the festival Musikwochen Weserbergland, with choirs and orchestra of the , alongside Hans-Christian Hinz as the vox Christi, Veronika Winter, Gabriele Binder and Gotthold Schwarz, conducted by Hans Christoph Becker-Foss.
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.
The melody of Notre Pére is chant-like, although not original Gregorian chant. Like chant, it is in free motion and with narrow ambitus, and the beginning uses the same notes as the chant melody. It is written in reverential approach to the prayer, with a subtle treatment of harmony used to interpret the significant text in homophony. The composition is in F major, mostly in triple meter but shifting to 2/4 time when the natural flow of the text demands it.
Jurgens was assigned as assistant pastor at St. Michael the Archangel Church in Cleveland at the end of 1954. Jurgens left Cleveland in 1956 and began studying sacred music at the Pontifical Institute of Sacred Music and eccesiastical history at Gregorian University, both in Rome, Italy. He studied Gregorian chant at the Pontifical Institute, and earned a doctorate in ecclesiastical history from Gregorian. Jurgens returned to Cleveland in April 1959, and was named assistant pastor at Blessed Sacrament Church on Fulton Road.
Students were taught music theory, music history, voice, phonetics, piano, violin, cello, and harmonium; later Gregorian chant was added to the list. The conservatory moved within Quebec City at least six times before closing its doors in 1939 at the onset of World War II. In the early 1920s, Fafard-Drolet also taught singing in secondary schools. In 1928, she was awarded a silver medal by the Lieutenant-Governor of Quebec, Narcisse Pérodeau, for her founding of and work with the conservatory.
The organ, expanded by Hugo Mayer Orgelbau in 1985 Dvořák's Stabat Mater: concert on 26 October 2019 An organ was built in 1954 by . In 1985 the instrument was expanded by Hugo Mayer Orgelbau; in 1995 three electronic bass stops were added. The Kantor was Gabriel Dessauer from 1981 to 2019, the conductor of the 120-member Chor von St. Bonifatius, founded in 1862, the children's choir Kinderchor von St. Bonifatius, and the Schola for Gregorian chant. He was succeeded by Roman Twardy.
Saint Michael's Abbey (French: Abbaye Saint-Michel) is a Benedictine abbey in Farnborough, Hampshire, England. The small community is known for the quality of its liturgy, which is sung in Latin and Gregorian chant, its pipe organ, and its liturgical publishing and printing. St Michael's is the site of England's National Shrine to Saint Joseph. Public tours of the Abbey take place every Saturday at 3pm, with the visit comprising a tour of the church and a visit to the crypt.
An independent establishment from 1934 onwards, the Institute maintained its collaboration with the Institut Catholique de Paris with its support.(p. 301) Moreover, the ', founded in 1911, had suspended publication since 1940. In 1946, the Institute supported its recovery by taking advantage of its newsletter, from which some of the elements were taken up by the journal.Bulletin mensuel de l'Institut grégorien et de l'Association des amis de l'Institut grégorien The director of the magazine was the first teacher of Gregorian chant, Dom Gajard.
These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of St. Augustine. It is the composers' love for cantus firmus that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of modal rhythm, however, that would make these two men great. Modal rhythm is defined clearly as a succession of unequal notes arranged in a definite pattern.
The charm of music is studied, including not just Japan but the West and Asia and religious music also. Being both Jesuit and Catholic, the Western tradition of Gregorian chant is included. In the music education area one studies what is the basis of culture so that this might be conveyed through music to children and students, and to nurture leaders capable of transmitting this culture through music. Montessori education theory is taught as a part of early childhood music education.
The Latin title of Ave Satani (correct: Ave Satana) translates to "Hail Satan" in English. In an interview,Interview with Goldsmith in the documentary The Omen Revealed, 20th Century Fox, 2000. Goldsmith says that his idea was to create a kind of Satanic version of a Gregorian chant and came up with ideas while talking with the London choir-master of the orchestra who was helping him. He decided to create something like a Black Mass, inverting Latin phrases from the Latin Mass.
Robin A. Leaver points out that Luther used the tune of the Kyrie for this hymn in his Deutsche Messe to achieve symmetry. The tune is a Gregorian chant in the first mode (Dorian). Leaver notes that although the Zahn 58 tune was not printed with the hymn until 1528, it was already implied in Luther's 1526 Deutsche Messe. The beginning of Bach's chorale prelude, BWV 619 The hymn has been featured by composers through the centuries, often in elaborate settings.
Camil van Hulse's father, Gustaaf van Hulse, was composer and organist of the deanery church of St. Nicholas. His mother, Mary Pelagia Coppens, was a gifted pianist and singer. At age six, Camil got his first musical education in piano and music theory, and later in harmony and counterpoint, from his father, a disciple of Edgar Tinel. By the age of twelve, he was able to play the organ, lead a choir, and sing Gregorian chant from attending church services with his father.
The Seminary community still celebrates the feast of St. Ignatius, the titular of the Seminary Church, with a solemn high mass with Gregorian chant. The Pipe organ on the choir loft of the Seminary Church This festivity is preceded by a novena of preparation for the locals around and a week-long Retreat (Spiritual Exercises) for the seminarians. The Seminary also possesses a 19th-century Pipeorgan, that is played during liturgical services. The Jesuits controlled the college for a century and a half.
SSF uses the Fr. Connell edition of the Baltimore Catechism #3 and created the Kindle version of it.Baltimore Catechism #3 -- from their website They have produced an online series of talks about the Catholic Faith which is based on the Baltimore Catechism.Talks on the Catholic Faith Series -- from their website SSF publishes the Liturgical Calendar which gives the daily schedule of the Church’s worship throughout the year.Liturgical Calendar -- from their website SSF recorded a compact disc of inspirational Gregorian chant and polyphonic music.
This is considered by some scholars (such as P. Aubry) to be a result of Turkish influence, although others (such as R. P. Decevrens) consider it to be of great antiquity and use it as evidence in favor of a more rhythmic interpretation of Gregorian chant. The chants used by communities in the Armenian Diaspora are usually harmonized and differ from the original forms. The source of the most traditional music is the liturgies at Echmiadzin, the religious center of Armenia.
Separation of musical elements, principally rhythm and pitch, and graduated exercises were key ingredients Ward inherited from Chevé. Students learned accurate pitch discrimination through daily sight-singing drills where numbers corresponded to the sung solfège syllables in moveable "do." Justine Ward's contributions lie in skillfully incorporating the Chevé sight-singing drills, Young's vocal training, and Shields' theories of aesthetics and childhood development to attain her goal of teaching children music of quality. The repertoire consisted of classical melodies, European folk tunes, and Gregorian chant.
In the 1980s and 90s, he made three trips around the world, traveling widely in Southeast Asia, where he was influenced by the musical traditions of Japan, Thailand, and Indonesia, returning with an extensive collection of musical instruments. In many of his works there is a sense of timelessness common to Buddhist practice and Christian prayer. The combined influences of Gregorian chant, Renaissance polyphony, Impressionism and Asian music led to a style more based in timbre and overlapping melodic lines (at times aleatoric) than in harmonic motion.
Medieval manuscript of Gregorian chant setting of "Rorate Coeli" Many churches also hold special musical events, such as Nine Lessons and Carols and singing of Handel's Messiah oratorio. Also, the Advent Prose, an antiphonal plainsong, may be sung. The "Late Advent Weekdays", , mark the singing of the Great Advent 'O antiphons'. These are the daily antiphons for the Magnificat at Vespers, or Evening Prayer (in the Roman Catholic and Lutheran churches) and Evensong in Anglican churches, and mark the forthcoming birth of the Messiah.
Morales's masses, of which 22 survive, use a variety of techniques, including cantus firmus and parody. Six masses are based on Gregorian chant, and these are mostly written in a conservative cantus-firmus style. Eight of his masses use the parody technique, including one for six voices based on the famous chanson Mille regretz, attributed to Josquin des Prez. The melody is arranged so that it is clearly audible in every movement, usually in the highest voice, giving the work considerable stylistic and motivic unity.
Cardinal Bernard Francis Law celebrated Marier's funeral Mass at The Church of St. Paul (Harvard Square) in Cambridge. In the 1950s Cardinal Law, while an undergraduate at Harvard, had sung under Marier's direction. "Professor Marier effectively transmitted his inspiration about Gregorian chant to generations of Catholic musicians", wrote Helen Hull Hitchcock, editor of the Adoremus Bulletin. She had been recruited to sing in a schola Marier conducted at a symposium of the Church Music Association of America where she had given a lecture on liturgical translation.
Gregorian Chant. Indiana University Press, 1958. p. 417 This 1,900-page book contains most versions of the ordinary chants for the Mass (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei), as well as the common chants for the Divine Office (daily prayers of the Church) and for every commonly celebrated feast of the Church Year (including more than two hundred pages for Holy Week alone). The "usual book" or "common book" also contains chants for specific rituals, such as baptisms, weddings, funerals, ordinations, and benediction.
In a letter to the patron, J. G. Hubbard, he explained his theological opinions, which included endorsing the (for that time) radically Catholic eucharistic doctrine of G. A. Denison. Mackonochie introduced a daily Eucharist, which featured Gregorian chant and significant ritual elements (e.g. the lighting of altar candles and the cleansing of eucharistic vessels at the altar). St Alban's was the first Anglican church to hold the three-hour devotion on Good Friday (in 1864) and one of the first to celebrate a Harvest Festival.
The end of a single reading (aliya) which is chanted in a different melody, thereby giving the sound of finality to the reading.Aspects of orality and formularity in Gregorian chant by Theodore Karp, page 25 The tune for the end of the aliya can be applied to different verses based on different reading schedules, including the full parasha (on Shabbat during Shacharit in most synagogues), a partial reading (as is read on weekdays, Shabbat Mincha, and the selected readings of various holidays), or the Triennial cycle.
Their 2014 effort Sing thee Nowell scored the ensemble a second GRAMMY nomination, following the critically acclaimed release Times go by Turns (2013). Prior to signing with BIS Records, New York Polyphony released two albums on the British label Avie Records: I sing the birth (2007) and Tudor City (2010). Both received substantial critical acclaim, with the latter reaching #6 on the Billboard classical chart in June 2010. In 2011, a Gregorian chant remix competition sponsored by Indaba Music resulted in the digital album Devices and Desires.
O'Riordan's deeply religious mother, and devotee of Elvis Presley, had a strong influence on her. She was influenced by Gregorian chant at an early age, which remained her main influence until the end of her life. Months before she died, O'Riordan tested the resonance and the acoustics of the Glenstal Abbey church in Ireland to sing there. O'Riordan stated that this apprenticeship by this detachment of the world in a raw and devoted setting influenced a lot of her development as an artist and as a musician.
Schweitzer teaches Gregorian Semiology in the "Diploma of Advanced Studies" program at the Music University of Italian- speaking Switzerland, Lugano and he is a lecturer at the International AISCGre courses. In September 2015, Schweitzer was elected president of the International Society for the Study of Gregorian Chant "AISCGre" (Associazione Internazionale Studi di Canto Gregoriano) the main scope of which is the research and interpretation of Gregorian compositions on the basis of the findings of the early musical manuscripts. The society has approximately 500 members in 30 countries.
His early singing experience came as a chorister in a church choir (under his father's direction), where he learnt the importance of accent in singing from the performance of the Gregorian chant. He studied voice under multiple teachers: in Yorkshire under J. G. Walton, Robert Burton and Dr. J. C. Bridge, in London under W. Shakespeare and T. A. Wallworth, and in Paris under Jacques Bouhy.A. Eaglefield-Hull, A Dictionary of Modern Music and Musicians (Dent, London 1924). Coates began his performing career as a baritone.
In his teenage years, Quale developed a love for writing music and became "enamored" with David Bowie, Depeche Mode, opera, madrigals, Gregorian chant, the Smiths and Gilbert and Sullivan. He also began recording his own music. While in high school, he spent several summers at Interlochen Arts Camp, a competitive performing arts program of the Interlochen Center for the Arts. His "flair for theater and arts made his teen years particularly tough," and bullying led him to drop out of high school in his junior year.
After producing the music for Oni, O'Donnell was tasked with composing the music for Bungie's next project, which would be unveiled at E3 2000. After talking with Joseph Staten, O'Donnell decided the music needed to be "big, exciting, and unusual with a classical orchestra touch to give it some weight and stature. We also wanted it to have some sort of 'ancient' feel to it." O'Donnell came up with the idea of opening the piece with gregorian chant and jotted down the melody in his car.
Mozarabic chant survived the influx of the Visigoths and Moors, but not the Roman-backed prelates newly installed in Spain during the Reconquista. 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. Gregorian chant eventually replaced the local chant tradition of Rome itself, which is now known as Old Roman chant.
There are many quotations, hidden quotations or allusions to music of different styles and epochs: songs by Duke Ellington, American jazz, French chanson, or Gregorian chant. All of these are veiled and transformed in some way, and even the quotation from Wagner’s Tristan und Isolde has a jazzy hue. This work is probably the first contemporary Russian opera written in French and on a French subject. This (but not only this) gives it special qualities that have not been seen in Russian music before.
Each Ambrosian psalm antiphon belongs to one of four different series depending on its final pitch. Within each series, there are several possible psalm tones corresponding to the predominant pitch of the antiphon, which may or may not correspond to the "dominant" pitch of Gregorian modes. Finally, each psalm tone is given a cadential formula that lets the tone segue smoothly back into the antiphon. This system results in a much larger number of possible psalm tones in Ambrosian chant than exists in Gregorian chant.
While the Gregorian Offertories had lost their verses by the 12th century, some Ambrosian Offertoria retained their verses, every bit as complex as their defunct Gregorian counterparts. The Confractorium is sung during the breaking of the bread, which has no counterpart in Gregorian chant. Finally, the Transitorium, so called because it originally involved the transfer of a book to the opposite side of the altar, corresponds to the Gregorian Communion. Many Transitorium texts are direct translations of Greek originals, although the melodies are not demonstrably Byzantine.
Patrick Francis Healy became a Jesuit, earned a PhD in Paris, and is now considered the first African American to have gained the degree. He was named a dean at Georgetown University in 1866. At the age of 39, in 1874, he assumed the presidency of what was then the largest Catholic college in the United States. Alexander Sherwood Healy was also ordained as a priest, and earned his doctorate degree at the Sulpician Academy in Paris; he became an expert in canon law and Gregorian chant.
A musicologist, disciple and collaborator of Dom Prosper Guéranger, Dom Pothier contributed to the reconstitution, the restoration and the renewal of the Gregorian chant, a form of monophonic, unaccompanied sacred song of the Roman Catholic Church. Besides being the composer of many Gregorian songs (Officium Defunctorum, 1887) and the writer of a huge number of articles, Dom Pothier was also the head and editor of the Revue du Chant Grégorien (1892–1914) - supervising the publication of several works (Hymnes, Christmas office, Antifonario, Cantus mariales) -, the founder of the Paléographie Musicale publication for the dissemination of medieval liturgical manuscripts, and the author of a new edition of the choir books based on manuscripts of the Gregorian chant and of several studies on the plainchant, including Les mélodies grégoriennes d'après la tradition (Gregorian Melodies According to the Tradition), 1880, his chief work which became the standard work on the subject. Dom Pothier was appointed president of the newly created Pontifical Commission on the Vatican Edition of the Gregorian Liturgical Books by Pope Pius X in 1904. As chairman of this commission for the reconstitution of the music of the Roman Catholic Mass, Dom Pothier lived in Rome from 1904 till 1913.
Julián Orbón created compositions that combined Spanish and Cuban styles and traits, Gregorian chant qualities, and African music styles.Blau His early style was influenced by composers such as Manuel de Falla, Rodolfo Halffter, and Ernesto Halffter, who used a Spanish neoclassic style in their compositions.Vega, "Latin American Composers in the United States" Orbón's works such as Suite de Siete Canciones de Juan del Encina and Homenaje a la Tonadilla clearly illustrate this Spanish neoclassic style. Other characteristics of Orbón's works include strong rhythmic activity and intense though straightforward expression.
He was born on 4 August 1951 in Gornja Voća, where he attended elementary school. He graduated in 1976 at the University of Zagreb. The same year he is ordained as a priest. After two years of pastoral service in Samobor, he studied sacral music in Rome, receiving a master's degree in Gregorian chant and bachelor's degrees in sacral composition (Compozicione sacra) and organs (Organo liturgico). Martinjak is a member of the Committee for Liturgy of the Croatian Bishops' Conference (since 1992) and Conferénce Européenne des Associations de Musique d’Église (since 1995).
Much of Buns's work has survived, including motets, litanies, masses, pieces for chorus and instruments, as well as 14 instrumental sonatas. Buns published nine opus numbers (I-IX) between 1666 and 1721. Books were published by Petrus Phalesius, Antwerp, opus I–III; by Lucas de Potter, Antwerp, opus IV and V; by Arnold van Eynden, Utrecht opus VI; by Hendrik Aertssens, Antwerp, opus VII; and by Estienne Roger, Amsterdam, opus VIII-IX. The two editions of Gregorian chant and his opus I-VII and IX contains a large amount of liturgical music.
Holger Peter Sandhofe (7 January 197224 May 2005) was a German typesetter and scholar of Gregorian chant. Sandhofe studied music theory, medieval Latin, and history in Bonn. He mainly worked on producing musical editions for the older (pre-Vatican II) forms of the Roman Rite, and was involved in obtaining permission to hold services according to this form of the liturgy at the Alt- St.-Nikolaus church in Bonn. He also led a schola cantorum which sang the services according to the Germanic forms of chant in the manuscripts of Klosterneuberg.
The incipit for the Gregorian chant introit from which Laetare Sunday gets its name Rose chasuble (Sunday Gaudete and Laetare), formerly Speyer Cathedral, now Stiftskirche Neustadt / Weinstraße Laetare Sunday ( or ) is the fourth Sunday in the season of Lent, in the Western Christian liturgical calendar. Traditionally, this Sunday has been a day of celebration, within the austere period of Lent. This Sunday gets its name from the first few words (incipit) of the traditional Latin entrance (Introit) for the Mass of the day. "Laetare Jerusalem" ("Rejoice, O Jerusalem") is Latin from Isaiah 66:10.
Charlemagne's chancery—or writing office—made use of a new script today known as Carolingian minuscule, allowing a common writing style that advanced communication across much of Europe. Charlemagne sponsored changes in church liturgy, imposing the Roman form of church service on his domains, as well as the Gregorian chant in liturgical music for the churches. An important activity for scholars during this period was the copying, correcting, and dissemination of basic works on religious and secular topics, with the aim of encouraging learning. New works on religious topics and schoolbooks were also produced.
Largely self-taught as a composer, Sametz's style is influenced by Gregorian chant, Renaissance polyphony, French Impressionism, the works of Igor Stravinsky and world music. His early exposure to choral singing, beginning in fifth grade, gave him a predilection for singing lines and communication of expressive text through music. Beginning with some of his earliest works (e.g.: e.e, cummings’ thy fingers make early flowers, (1972) for soprano solo and string quartet; Farewell (1972) setting Kahil Gibran's text for a cappella chorus) it is the expressive line of the text that guides the compositional process.
It ramifies towards aesthetics, acoustics, hermeneutics, symbolism, metaphysics, sociology, music therapy, pedagogy, psycho - pedagogy, and rhetoric, and includes research on the interpretation (Aufführungspraxis) allowing to execute the old repertoires according to their authenticity. It revalues the orality as a living vehicle of traditional practices and knowledge, bearing precious values: vital, human, spiritual (cf. Marcel Jousse). This broad, open, spiritualist conception of musical science confers their originality to the works that Jacques Viret has published since 2004 at , about gregorian chant, Medieval music, Richard Wagner, musicothérapy, Baroque music, and opera.
Dead Can Dance is an Australian music duo from Melbourne, Victoria, composed of Lisa Gerrard and Brendan Perry. The band formed in 1981 and relocated to London the following year. Australian music historian Ian McFarlane described Dead Can Dance's style as "constructed soundscapes of mesmerising grandeur and solemn beauty; African polyrhythms, Gaelic folk, Gregorian chant, Middle Eastern music, mantras, and art rock." Having disbanded in 1998, they reunited briefly in 2005 for a world tour and reformed in 2011 when they released and toured a new album, Anastasis.
The start of the 5th chapter, and the end of the 4th chapter are not in the same verse in all versions of the Bible: the Vulgate version starts with the end of the Woman's text (which starts in ): The phrase, and variant texts such as antiphons based on it, have been set to music, for instance in Gregorian chant, and by composers including Alessandro Grandi and Pietro Torri.Veniat dilectus meus in hortum at Alessandro Grandi: Celesti fiori – Motetti at .Veniat dilectus meus from Mus.ms. 30299 at Berlin State Library website.
Among other things, he devoted himself intensively to the Gregorian chant, because in his opinion, of all music genre, this was best suited to the liturgy. In 1892 he started as a church musician in the parish church St. Sebastian, Berlin in Gesundbrunnen, where he already found a church choir."Carl Thiel" in Algemene Muziek-Encyclopedie, Antwerp, Zuid-Nederlandse Uitgeverij (1963) In 1898, the Kirchliche Singschule was renamed to Verein für klassische Kirchenmusik, which consisted of the St. Sebastian choir. At the turn of the century Thiel lived in Charlottenburg.
Corrupt versions of Gregorian chant had been in use for several centuries. As a practical guide towards a radical restoration the Abbot of Solesmes Dom Guéranger, in his Institutions Liturgiques, had laid down the principle that "when a large number of manuscripts of various epochs and from different countries agree in the version of a chant, it may be affirmed that those MSS. undoubtedly give us the phrase of St. Gregory." Acting upon this principle, Lambillotte for many years gathered and compared all the documents that were to be found in the Jesuit houses.
On 1 November 2010, on the occasion of the inauguration of the Fourth Centenary Celebrations of the Seminary, the Choir led the congregation with soul-elevating renderings in Latin and Konkani. There were in all 80 singers (seminarians and laity), accompanied by the restored 19th century pipe organ and an ensemble of 15 musicians. It was a celestial moment when the Choir led the congregation in sing the Gloria taken from the sublime Missa De Angelis in Gregorian chant, with polyphonic choral responses composed by Msgr. Giuseppe Liberto.
The Beneventan rite appears to have been less complete, less systematic, and more liturgically flexible than the Roman rite. Characteristic of this rite was the Beneventan chant, a Lombard-influenced chant that bore similarities to the Ambrosian chant of Milan. The Beneventan chant is largely defined by its role in the liturgy of the Beneventan rite; many Beneventan chants were assigned multiple roles when inserted into Gregorian chantbooks, appearing variously as antiphons, offertories, and communions, for example. It was eventually supplanted by the Gregorian chant in the 11th century.
The third minor proper is the Alleluia and is sung in the transition between the Epistle and the Gospel including the Gospel procession into the center of the church. The Alleluia is added as an exclamation of thanksgiving for the word of the Gospel and is sung around a psalm. The Gregorian chant for the alleluia often ends with a very long melody sung to the last vowel of alleluia. During Lent, the Tract replaces the Alleluia since the joyousness of the Alleluia is deemed inappropriate at this time.
The Little Singers of Paris (, literally "Little Singers of the Wooden Cross") is a boys' choir with its main location in Autun, France. It has its origins in 1907 in Paris, moved to Lyon during the Second World War, but moved back to Paris.History of the Little Singers of the Wooden Cross It has toured widely inside and outside France. The aim of its founders was to form a choir that would travel from place to place and bring to the people the splendors of Gregorian chant and Palestrininian music.
Schola Antiqua at a recent (2006) recording Schola Antiqua is a Spanish group devoted to the research of early music in general and Gregorian chant in particular. It is based in Madrid since its foundation in 1984. The group has organized concerts in several places of Christian pilgrimage, such as Jerusalem, Rome and Santiago de Compostela, as well as religious music concerts. The group has collaborated with such well-known groups as La Colombina, Ensemble Plus Ultra, His Majesty's Sagbutts and Cornetts, Ensemble Baroque de Limoges, Ministriles de Marisas, La Grande Chapelle.
In addition to his teaching, he produced a wide variety of compositions from piano solo, solo voice, choir, chamber music up to large orchestral works as well as two operas. Many of his works had successful performances in Berlin, Hamburg, Cologne, Leipzig and Frankfurt. In the last years of his life Urspruch was part of the revival of Gregorian Chant, having contact with the Beuron Archabbey and the cloister at Maria Laach Abbey. In his lifetime Urspruch was highly recognised internationally as an advocate of the late romantic period.
He also organized and directed a schola cantorum composed of St. Michael's students and Basilian seminarians that took over the singing at Sunday High Mass. Singing in Gregorian chant in Latin, the schola re- inforced St. Basil's citywide reputation for choral excellence. In the 1930s, Cesar Borré, a well-known Toronto composer, organist and choir master was in charge. With the newly-rebuilt organ in 2017, the Director of Music & Principal Organist, Dr. John Paul Farahat, and the Assistant Organist, Stefani Bedin, maintain St. Basil's reputation for fine liturgical music.
Italy, being one of Catholicism's seminal nations, has a long history of music for the Roman Catholic Church. Until approximately 1800, it was possible to hear Gregorian Chant and Renaissance polyphony, such as the music of Palestrina, Lassus, Anerio, and others. Approximately 1800 to approximately 1900 was a century during which a more popular, operatic, and entertaining type of church music was heard, to the exclusion of the aforementioned chant and polyphony. In the late 19th century, the Cecilian Movement was started by musicians who fought to restore this music.
Helena Tulve Helena Tulve (born April 28, 1972 in Tartu) is an Estonian composer. Born in Tartu, she studied composition at the Tallinn Secondary Music School under Alo Põldmäe and from 1989–1992 at the Estonian Academy of Music with Erkki-Sven Tüür, being the latter’s sole student of composition thus far. In 1994 Tulve graduated with the Premier Prix from Jacques Charpentier’s composition class at the Conservatoire Superieur de Paris. Between 1993 and 1996 she furthered her knowledge of Gregorian chant. She has also attended György Ligeti’s and Marco Stroppa’s summer courses.
Although the Cheese Lords specialize in polyphonic music of the Middle Ages and Renaissance, their repertoire ranges from Gregorian chant to original compositions. The group's membership has included at least four composers; those whose works the group has performed are founding members George Cervantes, Gary W. Winans Jr., and Seth Stoppelmoor. Cervantes composed a setting of "The Prayer of St. Francis" which the Lords performed for Pope Benedict XVI on April 17, 2008, during an inter-religious meeting at the Pope John Paul II Cultural Center in Washington.
In 1962 he initiated and developed the record label and series on classic and contemporary German music WERGO, together with German art historian Werner Goldschmidt (1903–1975),"Eine Menge Mut", Der Spiegel, 4 April 1966 hence the name: Wer[ner] Go[ldschmidt]. He also founded ', containing the largest documentation of Gregorian chant (more than 500 pieces on 33 LP/CD). He supported contemporary music and was in touch with many contemporary composers. Herbert Eimert, the founder of the first electronic studio who died in 1972, bequeathed his letters (about 400) to him.
The narration then declares that the two legends will "reunite into one perfect root" on the day, the evil force purifies. After the introduction, all twelve members of Exo appear wearing robes as they walk to the center of a darkly lit circular room. The song begins with a Gregorian chant, and the members look up to a bright light in the sky in unison. Throughout the videos, there are close-up shots of the members performing their own celestial powers with intercut sequences of choreographed dancing, choreographed by Lyle Beniga.
A provisional constitution was drafted and officers were chosen: Weakland was named president, Father Cletus Madsen vice president, Father Schuler secretary, and Frank Szynskie treasurer. At this meeting a resolution put forward by Fr. Skeris was adopted in which the group pledged itself to maintain the highest artistic standards in church music and to preserve the treasury of sacred music, especially Gregorian chant. In 1966, the Consociatio sponsored a convention in Milwaukee, Wisconsin in conjunction with the Fifth International Church Music Congress. At its conclusion, delegates held the first general meeting of the CMAA.
From Imola, Perosi obtained a more important post, that of Maestro of the Cappella Marciana at San Marco's Basilica in Venice. This Venetian appointment resulted from the deep friendship between Perosi and Cardinal Giuseppe Sarto, then Patriarca di Venezia (Patriarch of Venice) but soon to be Pope Pius X (and still later Pope Saint Pius X). Sarto was a profound music-lover who was disturbed by the roughly hundred years (c.1800–1900) that Gregorian Chant was absent from the Church. A more operatic, entertaining style of music prevailed.
In both Visigothic/Mozarabic and Gregorian chant, there is a distinction between antiphonal and responsorial chants. Originally, responsorial chant alternated between a soloist singing a verse and a chorus singing a refrain called the respond, while antiphonal chant alternated between two semi-choruses singing a verse and an interpolated text called an antiphon. In the developed chant traditions, they took on more functional characteristics. In an antiphonal chant, the antiphon is generally longer and more melodic than the verse, which is usually sung to a simpler formula called a psalm tone.
Vocalosity is a music group with ten members selected from televised singing shows like The Sing-Off, The Voice, national performing tours, a cappella groups and Broadway. Throughout the show, the group performs both as one large group and also in smaller configurations. Their repertoire spans from gregorian chant to current pop hits including The Beatles, Motown and Jazz. Artistic director, music director and arranger Deke Sharon, known for his work on Pitch Perfect and The Sing-Off, created the show with IMG Artists and Work Light Productions.
In the years of his studies he also pursued the theory and practice of sacred music, in particular of Gregorian chant making frequent visits to the Abbey of Solesmes. After several years further service in his monastery, he was called to Rome as an Official of the Congregation for Divine Worship in 1983 and became section head there in 1994. Upon the sudden death of the then Abbot of Quarr, Dom Leo Avery, Dom Cuthbert was elected to succeed him in August 1996. After twelve years as abbot, Johnson retired in March 2008.
In the context of polyphonic composition the term voice may be used instead of part to denote a single melodic line or textural layer. The term is generic, and is not meant to imply that the line should necessarily be vocal in character, instead referring to instrumentation, the function of the line within the counterpoint structure, or simply to register. The historical development of polyphony and part-writing is a central thread through European music history. The earliest notated pieces of music in Europe were gregorian chant melodies.
Born in Montreal, Tremblay, along with Alexis Contant, was one of the first major Canadian composers to be trained exclusively in his native country. At the age of 12 he began studying music with Father Sauvé, the organist at Saint Joseph's Church in Montreal. He later studied with Alcibiade Béique (piano and organ), Father Cléophas Borduas (Gregorian chant), and Romain-Octave Pelletier I (organ and fugue). Tremblay became the organist at Saint Joseph's Church in 1892 after having turned down a similar position at the Dominican Church in Saint-Hyacinthe, Quebec.
In the performance of this work, each participant selects one of four audio tracks, like musical parts, to present during the parade. These audio tracks are offered free-of-charge to participants through the Unsilent Night mobile application and website. After meeting at their city's established starting point, all of the participants start playing their cassette tapes or audio files simultaneously, and then begin walking a predetermined route outdoors through the city. Throughout the performance, the audience (bystanders and participants) hear a soundscape of bells, harps, electronic instruments, and some references to Gregorian chant.
Students have described her as knowing every significant piece, by every significant composer. Copland recalls, > Nadia Boulanger knew everything there was to know about music; she knew the > oldest and the latest music, pre-Bach and post-Stravinsky. All technical > know-how was at her fingertips: harmonic transposition, the figured bass, > score reading, organ registration, instrumental techniques, structural > analyses, the school fugue and the free fugue, the Greek modes and Gregorian > chant. Murray Perahia recalled being "awed by the rhythm and character" with which she played a line of a Bach fugue.
A fragment of Lithuanian psalm Gyvenimą tas turės by Martynas Mažvydas, 1570 Music was very important part of ancient Lithuanian polytheistic belief. It is known that, at the start of the 2nd millennium, Baltic tribes had special funeral traditions in which the deeds of the dead were narrated using recitation, and ritual songs about war campaigns, heroes and rulers also existed. First professional music was introduced to Lithuania with travelling monks in the 11th century. After the christianization of Lithuania in 1387, religious music started to spread, Gregorian chant was introduced.
Carr in the 1982 "I Love It Loud" video Carr's first album with Kiss was 1981's Music from "The Elder", which marked a departure for the band toward a mystical art-rock direction. One of Carr's contributions to the album, "Under the Rose", is one of the few Kiss songs written in 6/8 time and featured a Gregorian chant-style chorus. Later, he would also have cowriter credits on "All Hell's Breakin' Loose", "Under the Gun", and "No, No, No", amongst others. Carr said he found writing lyrics harder than writing music.
He has performed for a national convention of the Organ Historical Society, and is a featured performer on the Organ Historical Society compact disc, Organs of Baltimore. In 1994, his choir performed for Pope John Paul II at St. Peter's Basilica in Rome. As lecturer, he has given talks on Catholic Church Music for many U.S. Catholic dioceses, as well as for St. Thomas, Fifth Avenue’s Choirmasters' Conference, under John Scott. He is editor of A Gregorian Chant Masterclass by Theodore Marier, published by the Abbey of Regina Laudis in Bethlehem, Connecticut.
He was also a master clinician, having been invited to conduct just under 1000 festivals and workshops around the world including an unprecedented four consecutive ACDA national conventions—all with different groups. He was acknowledged as an expert in Gregorian chant and has long been recognized for his contributions in the field of sacred music, most notably receiving a Pro Ecclesia et Pontifice, the highest laity award from the papacy in 2013 and was appointed knight of the Order of St Gregory the Great from Pope Paul VI in 1969.
This closely interwoven tripartite structure harkens back to such early Satie works as the Gymnopédies (1888), which have been likened to viewing a sculpture from three different angles. The vocal lines are in the spirit of plainsongRobert Orledge, "Satie the Composer", Cambridge University Press, 1990, pp. 77-79. and the opening Ne suis que grain de sable is to be sung in the manner of the 11th century Gregorian chant Victimae paschali laudes, which Satie references in the score.Leon Guichard, "Erik Satie et la musique Gregorienne," Revue musicale, 15 November 1936, pp. 334-35.
Haberl, Dr. Jacob, and Canon Haller--and only three pupils, and attracted reform-minded church music programs. Haberl not only secured permanency for the school in the shape of endowment, but he built next to it a church, dedicated to St. Cecilia, where pupils are given opportunities for practising the knowledge they have acquired in theory. He fought for the Editio Medicea against the editions of Solesmes and others. In 1868 Haberl re-edited the Medicæa version of the Gregorian chant, and the Holy See declared his edition authentic and official for the Catholic Church.
Within the worldwide Roman Catholic Church, Vietnamese liturgical practise is distinct in its extensive use of cantillation: all prayers and responses during the Mass are either sung or chanted, but never spoken. Thus, the Lord's Prayer is recited differently during the Mass than in a private setting. Gregorian chant is not used in a Vietnamese-language Mass; it is entirely omitted from Vietnamese translations of the Roman Missal and Order of Mass. It is suspected that cantillation in Lao and Hmong Catholic liturgies is due to Vietnamese influence.
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.
This approach prevailed during the twentieth century, propagated by Justine Ward's program of music education for children, until the liturgical role of chant was diminished after the liturgical reforms of Paul VI, and new scholarship "essentially discredited" Mocquereau's rhythmic theories.Dyer, Joseph: "Roman Catholic Church Music", Section VI.1, Grove Music Online ed. L. Macy (Accessed 28 June 2006), (subscription access) Common modern practice favors performing Gregorian chant with no beat or regular metric accent, largely for aesthetic reasons.William P. Mahrt, "Chant", A Performer's Guide to Medieval Music p. 18.
St Mary of the Angels is renowned for its Gregorian Chant which began in 1905. With the opening of the present church in 1922, a choir of 70 voices sang Mass under the direction of Edward Healy. This was continued and strengthened by Maxwell Fernie for 40 years from 1958 until his death in 1999 and continues under his successor and former student, Robert Oliver. The organ of the church is a unique instrument, originally built in 1958 by George Croft and Son Limited from Auckland, but extensively redesigned in 1984 to Max Fernie's specifications.
Schroeder's main accomplishments as a composer were in of Catholic church music, where he attempted to break free of the lingering monopoly held by Romantic music. His works are characterized by the employment of medieval elements such as Gregorian chant, modal scales, and fauxbourdon which he combined with quintal and quartal harmonies and 20th- century polyphonic linear, sometimes atonal writing similar to that of Paul Hindemith . His catalog includes much organ music as well as folk-song settings, German settings of the Ordinary and Proper of the Mass, and chamber music (especially with the organ).
Most boys sing in the Choir and learn Gregorian chant. Other repertoire includes Mozart, Bach and Handel, although renaissance polyphony tends to dominate. The Choir made a tour of Sweden in 2004, visited Sicily in summer 2008 the UK in summer 2009 and Rome in February 2012. In Holy Week 2014 the Choir made a pilgrimage from Tui to Santiago de Compostella (about 110 km on foot over 5 days.) En route they sang three concerts and also sang at a Solemn Mass in the Cathedral of Compostella.
In his papacy, Pius X worked to increase devotion in the lives of the clergy and laity, particularly in the Breviary, which he reformed considerably, and the Mass. Besides restoring to prominence Gregorian Chant, he placed a renewed liturgical emphasis on the Eucharist, saying, "Holy Communion is the shortest and safest way to Heaven." To this end, he encouraged frequent reception of Holy Communion. This also extended to children who had reached the "age of discretion", though he did not permit the ancient Eastern practice of infant communion.
For a long time, Benedictines were the pioneers in restoring Roman liturgy to its early medieval form. At first Guéranger and his contemporaries focused on studying and recovering authentic Gregorian Chant and the liturgical forms of the Middle Ages, which were held to be the ideals. Other scholars, such as Fernand Cabrol and Pierre Batiffol, also contributed to the investigation of the origins and history of the liturgy, but practical application of this learning was lacking. During the 19th century patristic texts were increasingly available and new ones were discovered and published.
His appointment should be seen in the context of Bishop Fogarty's determination, in compliance with the 1903 papal initiative "Tra le sollecitudini", to restore the primacy of Gregorian chant in worship. During the 1920s and 1930s De Regge made frequent returns to Belgium, and he took the opportunity to receive further private tuition in harmony and orchestration with Paul Gilson and Lodewijk Mortelmans. It may be that Gilson provided advice on the piano concerto that De Regge was working on, but Gilson died in 1942 and the work was never completed.
The early notation of plainchant, particularly Gregorian chant, used a series of shapes called neumes, which served as reminders of music that was taught by rote rather than as an exact record of which notes to sing. Neumes were in use from the 9th through the 11th centuries AD for most plainsong, and differed by region. Due to their malleable nature, there were no hard and fast rules for the lengths each note was supposed to last, or even how high or low the intervals between notes were to be.
Harvard Dictionary of Music, p. 473. During the late 15th century, cantus firmus technique was by far the most frequent method used to unify cyclic masses. The cantus firmus, which at first was drawn from Gregorian chant, but later from other sources such as secular chansons, was usually set in longer notes in the tenor voice (the next-to-lowest).Lockwood, Grove The other voices could be used in many ways, ranging from freely composed polyphony to strict canon, but the texture was predominantly polyphonic but non-imitative.
The Vision of Escaflowne is the debut work of Maaya Sakamoto, who not only voiced the main character of Hitomi Kanzaki, but also performed the opening theme song "Yakusoku wa Iranai" and other songs from the series. Yoko Kanno and Hajime Mizoguchi composed and produced the series' musical themes and background, incorporating a variety of styles including contemporary, classical, and Gregorian chant. Four CD soundtracks have been released in Japan by Victor Entertainment. Escaflowne: Over the Sky was released on June 5, 1996, with sixteen tracks, including the series' full opening and ending themes.
Under Marier's direction, the boys sang, initially with members of the Harvard Catholic Club, and later with the Schola Cantorum of St. Paul's, which had been formed years earlier by Marier to sing Gregorian chant at Mass. Harvard students also helped out with the recreation program. During the school's first period, the choir made guest appearances with the Boston Symphony Orchestra at Symphony Hall and at Tanglewood, the Boston Philharmonic Orchestra, and the Handel and Haydn Society. They additionally performed the Nutcracker Suite annually with the Boston Ballet, directed by Arthur Fiedler.
Although often linked to the construction of the cathedral itself, construction commenced in 1163 and the altar consecrated in 1182. However there was evidence of musical creativity there from the early twelfth century. alt=Salvatoris hodie by perotin, showing square notes Léonin's work was distinguished by two distinctive organum styles, purum and discantus. This early polyphonic organa was still firmly based on Gregorian chant, to which a second voice was added. The chant was called the tenor (cantus firmus or vox principalis), which literally “holds” (Latin: tenere) the melody.
The Seminary community still celebrates the feast of St. Ignatius of Loyola, the titular of the Seminary Church, with a solemn high mass with Gregorian chant. This festivity is preceded by a novena of preparation for the locals around and a week-long retreat (spiritual exercises) for the seminarians. The College continued to be in the hands of the Jesuits for a century and a half. Having begun as a school for the training of natives, it gradually adopted the curriculum for training Jesuits and later even secular priests from 1646.
The title page also mentions that use of Gregorian chant has been observed (Chorali cumprimis observata). George J. Buelow, a scholar of Baroque music, renders it: "In two to eight parts, polyphonic settings of the Mass Ordinary, Collects, Prefaces, various Amen and Gloria intonations, and songs for Compline". The parts of the mass are set for the different occasions of the liturgical year, and in various degree of difficulty, from two-part settings to eight parts. The first 15 pieces are set for four parts: 10 settings of Kyrie and 5 settings of Gloria.
They were used at high festivals, processions or spiritual games. Also, in the context of the Christmas games, carols using folk tunes or mixed-language reworking of Latin hymns and sequences like "In dulci jubilo" and the Quempas carol were sung.Attached: Historical Explanations and Directories - Overview of the History of Protestant Church Music; in Karl Gerok and Hans-Arnold Metzger (ed. Musically, these hymns move between Gregorian chant and folk song (three-tone melody, three-bar), so that sometimes they should be considered spiritual folk songs rather than hymns or church music properly speaking.
By the 12th century, the Mozarabic, Gallican, Celtic, Old Roman, and Beneventan chant traditions had all been effectively superseded by Gregorian chant. Ambrosian chant alone survived, despite the efforts of several Popes over a period of several centuries to establish Gregorian hegemony. A chronicle by the Milanese historian Landolphus from around the year 1000 recounts a legend that two Sacramentaries, one Gregorian and one Ambrosian, were placed on an altar to see which chant had divine acceptance; miraculously, both books opened simultaneously, showing both were equally acceptable. Ambrosian chant did not wholly escape Gregorian influence.
The designation Franco-Flemish School (; ; ; ; ; ; ; ; ; ), also called Netherlandish School, Burgundian School, Low Countries School, Flemish School, Dutch School, or Northern School, refers, somewhat imprecisely, to the style of polyphonic vocal music composition originating from France and from the Burgundian Netherlands in the 15th and 16th centuries as well as to the composers who wrote it. The spread of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco- Flemish composers mainly wrote sacred music, primarily masses, motets, and hymns.
Schmidt, 229. In 1950 Madsen began to write a column on liturgical renewal in The Catholic Messenger, the diocesan newspaper which had a national edition. He reminded his readers a rule of Pope Leo XIII, “It is absolutely forbidden that any music should be performed in church which has themes from theatrical works, from dance music or profane pieces, such as popular songs, love songs, etc.”Schmidt, 228 He encouraged Gregorian Chant and singing other hymns in both Latin and English. He encouraged the establishment of boy’s choirs, teaching chant to the students in Catholic schools and colleges, teachers and religious.
The motet, a lyrical piece of music in several parts, evolved from the Notre-Dame school when upper-register voices were added to discant sections, usually strophic interludes, in a longer sequence of organum. Usually the discant representing a strophic sequence in Latin which was sung as a descant over a cantus firmus, which typically was a Gregorian chant fragment with different words from the descant. The motet took a definite rhythm from the words of the verse, and as such appeared as a brief rhythmic interlude in the middle of the longer, more chantlike organum.
Morte (Dead), in E minor, quotes the Gregorian chant of Dies Irae. The piece is the longest of the three, and features difficult, dense chord passages, sixths, trills, tremolos and repeated notes. In part of the piece, there is a constant tolling of a B in a very similar way as Ravel's "Le Gibet" from Gaspard de la nuit, composed over 70 years later. Near the end, there is a very passionate and intense buildup that leads to quick short chords similar to the final part of Chopin's Ballade No. 4 in F minor right before the coda.
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 chant."The Aesthetics of Excess" Retrieved 2015-2-2. The structure of the Alleluia is such that the cantor first sings the word "alleluia," without the jubilus, and then the choir repeats the word with the melisma added. It is traditionally repeated at the end of the chant as well, although it was frequently omitted in the Middle Ages and is still omitted when the Alleluia is followed by a Sequence.
Soprano clef A descant', discant (discant), or ' is any of several different things in music, depending on the period in question; etymologically, the word means a voice (cantus) above or removed from others. A descant is a form of medieval music in which one singer sang a fixed melody, and others accompanied with improvisations. The word in this sense comes from the term ' (descant "above the book"), and is a form of Gregorian chant in which only the melody is notated but an improvised polyphony is understood. The ' had specific rules governing the improvisation of the additional voices.
In particular, the tonic sol, "sun" in Latin, the central element of the theological and esoteric cryptogram that Jacques Viret discovered in 1978 in the notes of the range (ut, ré, mi, taken from the hymn to Saint John the Baptist Ut queant laxis) and of which Jacques Chailley completed the explanation.Cf. Viret 1986, 1987, 2001 (Le Chant grégorien…), 2004 ; Viret/Chailley 1988. The official liturgical chant of the Roman Catholic Church, the Gregorian chant is especially the expression par excellence of tradition for the music of the West. Jacques Viret studies it in this light.
The text reflects or comments on and reinforces the major Biblical readings of the day. The major purpose of these musical interludes is to provide musical accompaniment to the non-verbal liturgical aspects of the worship. The first minor proper, the introit, occurs right after the entrance hymn and accompanies the initial censing of the altar. Since the Middle Ages, this Gregorian chant usually is made up of a single verse in a psalm called the refrain. The chant starts with the refrain and then the “Gloria Patri….” is chanted followed by a repetition of the refrain (or antiphon).
The libretto is compiled from several Latin Biblical and liturgical texts. The thirteen movements include the introductory Deus in adiutorium, five Psalms, four concertato motets and a vocal sonata on the "Sancta Maria" litany, several differently scored stanzas of the hymn "Ave maris stella", and a choice of two Magnificats. A church performance would have included antiphons in Gregorian chant for the specific feast day. The composition demonstrates Monteverdi's ability to assimilate both the new seconda pratica, such as in the emerging opera, and the old style of the prima pratica, building psalms and Magnificat on the traditional plainchant as a cantus firmus.
"Blackstar" is an art rock and jazztronica song. Also described as an "avant jazz sci-fi torch song," it features a "drum and bass rhythm, [a] two-note tonal melody with hints of Gregorian chant, [and] shifting time signatures." In the bluesy slow middle section, the song shifts from an acid house-ish groove to a languid, R&B-flavored; interlude. The song was originally over eleven minutes long, but after learning that iTunes would not post singles over ten minutes in length, Bowie and Visconti edited it down to 9:57, making it Bowie's second-longest track behind "Station to Station".
Prayers of Kierkegaard is an unequivocal religious statement that Samuel Barber divided into four distinct parts, each representing a different prayer. The first section speaks of “God the Unchangeable” and begins in an unaccompanied chant performed by unaccompanied male voices in a Gregorian chant style. It then continues with the orchestra responding to the chant in imitative counterpoint until the chorus and orchestra join in climax on the words "Thou Art Unchanging", repeating the theme of the text. In the second section, which is recited in the first person, the soprano solo receives the melody from an oboe solo.
Although in music instruction certain styles or repertoires of music are often identified with one of these descriptions this is basically added music (for example, Gregorian chant is described as monophonic, Bach Chorales are described as homophonic and fugues as polyphonic), many composers use more than one type of texture in the same piece of music. A simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. A more recent type of texture first used by György Ligeti is micropolyphony. Other textures include polythematic, polyrhythmic, onomatopoeic, compound, and mixed or composite textures .
A chant (from French ', from Latin ', "to sing") is the iterative speaking or singing of words or sounds, often primarily on one or two main pitches called reciting tones. Chants may range from a simple melody involving a limited set of notes to highly complex musical structures, often including a great deal of repetition of musical subphrases, such as Great Responsories and Offertories of Gregorian chant. Chant may be considered speech, music, or a heightened or stylized form of speech. In the later Middle Ages some religious chant evolved into song (forming one of the roots of later Western music).
After composing his Credo in 1968, he embarked on a transitional period where he stopped composing. The reason for this creative hiatus was Pärt's realization that his musical compositional method had been fully developed. The only major piece he decided to work on was the third symphony, which came about right before the creation of his unique tintinnabular style. During the years between 1968 and the creation of both Fratres and Tabula Rasa, Pärt delved into Gregorian chant, early polyphonic music and polyphony from the Renaissance period, from which he found much inspiration for this symphony.
The movement in E which follows is rather Hendrix-inspired after > which the original D major theme is given a "Gregorian" feel and a 6/8 jazz > waltz treatment in F. It is as the title says an Example. The track added jazz players (including Joe Newman and Pepper Adams) with musical figures reminiscent of the work of Oliver Nelson as well as a section inspired by Gregorian chant and fleeting references to the Beatles' "Norwegian Wood". > Side 2 [tracks 5 & 6] was recorded on our first live appearance in New York > at Fillmore East. Here we have Rondo '69.
He studied music at the Schola Cantorum de Paris under Léon de Saint-Réquier (harmony), Amédée Gastoué (Gregorian chant), André Roussel (counterpoint), Vincent d'Indy (composition), Charles Pineau (organ), F. Mondain (woodwind) and Louis de Serres (singing). On 2 July 1912, at Boffres (Ardèche), he married Claire de Pampelonne, niece of Vincent d'Indy. They had five children: Colette, Jeanne, Vincent (died in childhood), Thérèse and Germaine (future wife of composer Jacques Berthier (1923-1994) - among their children was Vincent Berthier de Lioncourt). In 1918, he won the Grand Prix Lasserre with the opéra féerique La Belle au bois dormant (1912-1915).
Ludger Stühlmeyer with bishop Friedrich Ostermann 1991 Stühlmeyer's instrumental and vocal music is strongly influenced by Helge Jung and Karlheinz Stockhausen. His compositional technique aims to make auditory experiences a medium of communication. Concentrating the essence into the seemingly simple, it is his goal to open up the power of meaning inherent in self-referential sounds, a meaning that comprises philosophical thought as well as spiritual experience. His liturgical music is inspired by the Catholic liturgy and the relationship between words and music and Gregorian chant, which defines and realizes composition as the sounding body of words.
The sheet music and an audio recording are part of the song-cycle of The Road Goes Ever On. In a recording, Tolkien sings it in the style of a Gregorian chant. On their album Once Again, the band Barclay James Harvest featured a song called "Galadriel". It gained notability because guitarist John Lees played John Lennon's Epiphone Casino guitar on this track, an event later recounted in a song on the band's 1990 album Welcome To The Show titled "John Lennon's Guitar". Hank Marvin and John Farrar wrote a song "Galadriel", recorded by Cliff Richard.
A Kapellmeister at the , professor of gregorian chant at the Schola Cantorum of Paris, Gastoué was particularly interested in Byzantine music, that of the Middle Ages and Armenian musical art. He also taught choral chant and Medieval music at the Institut catholique de Paris, the Collège Stanislas and the Lycée Montaigne. He was president of the (1934–1936) and remains known for his studies and writings. He was raised to the dignity of Commander of the Pontifical Order of Pope Gregory I by Pope Pius X. Gastoué is the great-great-grandfather of Emmanuel Trenque, himself an organist and choral conductor.
"Viderunt Omnes" is a Gregorian chant based on Psalm XCVII (98), sung as the gradualThe first 7 words are also used as the Communion. at the Masses of Christmas Day and historically on its octave, the Feast of the Circumcision. Two of the many settings of the text are famous as being among the earliest pieces of polyphony by known composers, Léonin and Pérotin of the Notre Dame school. Their music, known as organum, adds florid counterpoint to the Gregorian melody of the intonation and verse, portions normally sung by the cantors, the remainder of the chant being sung unchanged by the choir.
In addition to Xenakis, Lina Lalandi had also introduced Guy and Ann to the work of the Greek Byzantine Choir, under its director Lycourgos Angelopoulos. As it happens, one of their tutors at Oxford had been the Viennese musicologist Egon Wellesz who, at that time, was the foremost scholar to transcribe and document early Byzantine chant (i.e. the chant preserved in the Orthodox church, as opposed to the various strands like Gregorian chant which were developed in the Roman Catholic church in Western Europe). And it was a chance connection following a Rick Wakeman recording that introduced to Guy working closely with Vangelis.
After the praise of nature, addressing the sun, the moon, stars and the four elements as brothers and sisters, man appears in the seventh movement, shown as forgiving and suffering. Death of the body, addressed as sister, is the topic of the eighth movement, and general praise concludes the work. Suter included archaic elements such as unaccompanied singing similar to Gregorian chant in a tenor solo at the very beginning, and a cappella singing. He contrasts musical colours, such as mixed choir with the bright sound of the "ragazzi", tenor with female choir, and soprano with a cappella choir.
Les Corps Glorieux is a large organ cycle composed in the summer of 1939 in Saint-Théoffrey (Isère) by Olivier Messiaen. The work was completed on 25 August 1939, a week before the declaration of the Second World War and was premiered by Messiaen himself on 15 April 1945 at the Palais de Chaillot. This work marks an evolution in the musical language of Olivier Messiaen, combining features of both Indian classical music and Gregorian chant. The work, together with L'Ascension (1934) and La Nativité du Seigneur (1935), is one of the three early organ cycles of the composer.
The game was directed by Peter Maris and features a cast of twenty-five actors, all performing in front of a blue screen. Most games at the time featured 80 to 100 backgrounds, while Phantasmagoria includes more than 1,000. A professional Hollywood special effects house worked on the game, and the musical score includes a neo-Gregorian chant performed by a 135-voice choir. Sierra stressed that it was intended for adult audiences, and the company willingly submitted it to a ratings system and included a password-protected censoring option within the game to tone down the graphic content.
Students at the Royal College of Music who would become household names were introduced to their heritage when Charles Villiers Stanford sent them to the cathedral to hear "polyphony for a penny" (the bus fare). This programme also required honing the boys' sight-reading ability to a then-unprecedented standard. The choir has commissioned many works from distinguished composers, many of whom are better known for their contribution to Anglican music, such as Benjamin Britten and Ralph Vaughan Williams. However, the choir is particularly renowned for its performance of Gregorian chant and polyphony of the Renaissance.
The cathedral choir also broadcasts frequently on radio and television. Westminster Cathedral Choir has recently undertaken a number of international tours, including visits to Hungary, Germany and the US. The choristers participated in the 2003 and 2006 International Gregorian Chant Festival in Watou, Belgium, and the full choir performed twice at the Oslo International Church Music Festival in March 2006. In April 2005, 2007 and 2008 they performed as part of the "Due Organi in Concerto" festival in Milan. In October 2011, they sang the inaugural concert of the Institute for Sacred Music at Saint John's in Minnesota.
From the mixture of the galican liturgy with the antique Roman one would result, traditionally under pope Gregory I (540–604), the modern Roman liturgy, also known as Gregorian liturgy, comprising the Gregorian chant. This would become the official liturgy of the Catholic Church and substituted gradually the local ones. In the Iberian Peninsula, the Council of Burgos decreed the substitution of the Hispanic rite by the modern Roman one in 1080. This measure was eased by the fact that, during the Reconquista, most part of the bishops were French (Gérard, Maurice Bourdin, Jean Péculier, Bernard, Hughes).
In 1914, Fr Fermín de Melchor led a number of monks from the Abbey of Santo Domingo de Silos, a Spanish monastery of the Solesmes Congregation, to Buenos Aires, Argentina to establish a monastic foundation. On December 8 of that year, the monks relocated to Bellocq, but by 1916 had found rural life untenable, and returned to Buenos Aires. In 1920, the monastic community began constructing a monastery. While at Buenos Aires, the work of the community included catechetics, the promotion of Gregorian Chant, and the publication of spiritual and liturgical literature (including sacramentaries, missals, and the reviews Pax and Revista Liturgica Argentina).
As Qadiri explained, "The video is about temptation and the relationship between the Gulf and London, how London represents a kind of forbidden fruits playground for Gulf Arabs for several decades now." The fourth track on the EP is "Vatican Vibes." It's driven by a two-second loop of a Gregorian chant, and a journalist for The National wrote that it "traps the listener inside a video game-cum-hall of mirrors, a prism of sounds and melodies wherein beats and synth voices bounce and refract off each other." Tabor Robak was responsible for directing the visuals for "Vatican Vibes,""Vatican Vibes video".
The Basilica of St. Benedict was destroyed by earthquakes in 2016. Interior of the basilica, destroyed in 2016 The Monastero di San Benedetto in Monte (English: Monastery of St. Benedict on the Mountain) is a male Benedictine community located in southeastern Umbria, just outside the city of Norcia, Italy. The monks exclusively use the Extraordinary Form of the Roman Rite as well as the traditional form of the Divine Office. They have become well known for their production of beer, the sale of which provides income for the monastery, as well as for their best-selling album of Gregorian chant.
She has been Cellarer of the Abbey, responsible for the maintenance of the Abbey property and buildings since 2001. Her day to day experience of our growing community trying to live within inadequate space and facilities, inspired her to propose our New Horizons renovation project for which she is Monastic Project Manager. Abbess Emerita David Serna has long acknowledged Mother Lucia's "comprehensive vision" which has predilected her now as "Mother Abbess" to lead Regina Laudis into the future. The community is known for its commitment to the arts, most notably in the performance of Gregorian Chant.
He has been Music Director at the Church of the Covenant in Boston; Music Teacher and Organist at St. Paul's Choir School in Harvard Square, under Theodore Marier. Before his retirement from the Church Music Association of America in 2018, he conducted many choirs, gave seminars on Gregorian chant, and annual summer courses for the CMAA. As an organ recitalist, he has played innumerable U.S. recitals, having made his New York debut at St. Patrick’s Cathedral, and in Washington, D.C., at the Washington National Cathedral. As a conductor of Early Music, he has performed throughout the U.S., including New York’s Morgan Library.
His musical background enabled him to transcribe traditional Amish slow music into musical notation (Amische Lieder, 1942). He documented what he and others feel are surprising historic parallels between some of the traditional Amish tunes and Gregorian Chant; some Amish were reportedly initially distressed by this kind of analysis. Much of the rest of his writing consists of recording Amish customs and of theological and Biblical exegesis relating to Amish practice, particularly the practice of Meidung, or shunning, of those who join and then later leave the Amish church. Joseph Yoder died on November 13, 1956, in Huntingdon, Pennsylvania, of lung cancer.
' (Latin for "In the midst of life we are in death") is the first line of a Gregorian chant, written in the form of a response, and known as "Antiphona pro Peccatis" or "de Morte". The most accepted source is a New Year's Eve religious service in the 1300s. Reference has been made to a source originating in a battle song of the year 912 by Notker the Stammerer, a monk of the Abbey of Saint Gall, however, the Synod of Cologne declared in 1316 that no one should sing this without the prior permission of the residing bishop.
Writings by and about Dame Laurentia McLachlan She was a pioneer in the restoration of the Gregorian chant in England and a leading authority on music and medieval manuscripts. In 1934 her work was recognised by Pope Pius XI who bestowed on her the Bene Merenti medal for her contribution to Church music.Johns, Laurentia. "McLachlan, Laurentia Margaret (1866–1953)", The Oxford Dictionary of National Biography, Oxford University Press, 2004, online edition, May 2005, accessed 4 November 2012 Dame Laurentia died in 1953, at the Abbey, having spent seventy of her 87 years within the strictly enclosed monastery.
A cappella music was originally used in religious music, especially church music as well as anasheed and zemirot. Gregorian chant is an example of a cappella singing, as is the majority of secular vocal music from the Renaissance. The madrigal, up until its development in the early Baroque into an instrumentally-accompanied form, is also usually in a cappella form. The Psalms note that some early songs were accompanied by string instruments, though Jewish and Early Christian music was largely a cappella; the use of instruments has subsequently increased within both of these religions as well as in Islam.
Starting in 1523, Martin Luther began translating worship texts into German from the Latin. He composed melodies for some hymns himself, such as "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), and even a few harmonized settings. For other hymns he adapted Gregorian chant melodies used in Catholic worship to fit new German texts, sometimes using the same melody more than once. For example, he fitted the melody of the hymn "Veni redemptor gentium" to three different texts, "Verleih uns Frieden gnädiglich", "Erhalt uns, Herr, bei deinem Wort", and "Nun komm, der Heiden Heiland".
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.
The New Testament mentions singing hymns during the Last Supper: "When they had sung the hymn, they went out to the Mount of Olives" (). Other ancient witnesses such as Pope Clement I, Tertullian, St. Athanasius, and Egeria confirm the practice,Apel, Gregorian Chant p. 74. although in poetic or obscure ways that shed little light on how music sounded during this period.Hiley, Western Plainchant pp. 484–7 and James McKinnon, Antiquity and the Middle Ages p. 72. The 3rd-century Greek "Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.
Erik Satie, c. 1895 In the early 1890s, Satie's fascination with medieval Catholicism, Gothic art and Gregorian chant led him to explore religious influences in his life and music. At first he was drawn to Joséphin Péladan's Rose + Croix movement, for which he acted as official composer from 1891 to 1892, and after breaking with Péladan he associated with the occultist writer Jules Bois, publisher of the religious esoteric journal Le coeur. At the same time he was immersed in a bohemian lifestyle as a pianist at Montmartre cabarets, where his already eccentric behavior took on a growing penchant for buffoonery and exhibitionism.
The Liturgy of the Hours includes several offices to be sung, including Compline. At the close of this office, one of four Marian antiphons is sung. These songs, Alma redemptoris mater, Ave Regina caelorum, Regina caeli, and Salve Regina, have been described as "among the most beautiful creations of the late Middle Ages".Willi Apel, Gregorian Chant 1958 p. 404.Music In Western Civilisation by Craig M. Wright, Bryan R. Simm 2005 page 137 One of the earliest Marian compositions is the popular Salve Regina in Latin from a Benedictine monk, which exists in several Gregorian versions.
The Gradual of Manuel I of Portugal () is a kyriale or gradual dated c. 1500, originally owned by King Manuel I of Portugal. It contains Gregorian chant settings for the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei), comprising a total of eighteen complete polyphonic Masses (and two unfinished ones) by the foremost contemporary composers, among them Jacobus Barbireau, Alexander Agricola, Pierre de la Rue, Marbrianus de Orto, Josquin des Prez, Johannes Ghiselin, and Antoine Brumel. It is currently part of the collections of the Austrian National Library, in Vienna, shelfmark Ms. 1783.
In his music he often recalled Gregorian chant, Polish church songs and Polish folklore, sometimes combining them in one piece. Sawa's works have been recorded on over 40 CDs by, for example, Acte Preable and Musica Sacra Edition. His organ compositions have been performed by Andrzej Chorosiński, Joachim Grubich, Marietta Kruzel Sosnowska, Józef Serafin, Jan Szypowski, and Irena Wisełka-Cieślar. In 2006, on the first anniversary of Sawa's death, a Marian Sawa's Society was created, whose main goal is the promotion of the artist's works, publishing his works, and organizing concerts and festivals dedicated to his creative activity.
The Renaissance in Northern Europe has been termed the "Northern Renaissance". While Renaissance ideas were moving north from Italy, there was a simultaneous southward spread of some areas of innovation, particularly in music. The music of the 15th-century Burgundian School defined the beginning of the Renaissance in music, and the polyphony of the Netherlanders, as it moved with the musicians themselves into Italy, formed the core of the first true international style in music since the standardization of Gregorian Chant in the 9th century. The culmination of the Netherlandish school was in the music of the Italian composer Palestrina.
The priests and missionaries sing music akin to Gregorian chant. The mass scenes of the election in Act II and the coronation in Act IV soar to symphonical heights at some moments. The transition from the old to the new is often compellingly expressed musically, for example in the funeral scene where a traditional Hungarian folk melody is blended into and then vanishes behind a Gregorian "Kyrie eleison". The wide range of musical styles also explains the large orchestra that is needed for the opera - it has to encompass both most features of a classical orchestra and of a rock band.
Tomatis adapted his techniques to target diverse disorders including auditory processing problems, dyslexia, learning disabilities, attention deficit disorders, autism, and sensory processing and motor-skill difficulties. It is also claimed to have helped adults fight depression, learn foreign languages faster, develop better communication skills, and improve both creativity and on-the-job performance. About some musicians, singers and actors it is also claimed they have said they had found it helpful for fine-tuning their tonal and harmonic skills. The Tomatis Method uses recordings by Mozart and Gregorian Chant as well as of the patient's mother's voice.
Among these historical writings, the Troubles religieux du XVIe dans la Flandre maritime (1560-1570), published in 1876, particularly merits being remembered. He was one of the first to be devoted to research on medieval music and his numerous publications focused on subjects such as the Gregorian chant, the neumatic and measured notation, medieval instruments, and the theory and polyphony he called harmony. What distinguished Coussemaker from Fétis is the wide culture of the latter that enabled him to synthesise huge quantities of information in order to elaborate on abstract theories. De Coussemaker's approach is nonetheless more accurate, more scientific and more hypothetical.
That is why, taking advantage of this success, the Gregorian Institute in Paris was founded under the protection of the Cardinal. Dom Joseph Gajard of Solesmes was in charge of teaching Gregorian chant there for two years, between Wednesday and Friday. Two years later, a former student of the Schola Cantorum de Paris, Auguste Le Guennant, succeeded him, not only as professor but also as director of the school. Following this creation, Pope Pius XI, a true successor of the liturgical reform of Saint Pope Pius X, expressed his "lively satisfaction" to Cardinal Dubois, sending him a brief message.
He was ordained deacon in 1837 by the bishop of Gloucester and Bristol and started his clerical career as curate of Sheringham, near Cheltenham before being ordained priest in 1838. From 1841 until 1852 he was vicar of Llangorwen, Cardiganshire, where he became known for his connection with the Oxford Movement. He introduced Tractarian practices such a daily service (in Welsh), a weekly Eucharist and the singing of Gregorian Chant. In 1852 he returned to Jesus College and after a period as junior bursar and lecturer (1852-1855) became Vice-Principal in 1855, a position he retained until 1872.
The college offers students the opportunity to learn Gregorian chant and polyphony, and to participate in liturgies inspired by what Pope Benedict XVI called "the reform of the reform". Although chant and other forms of sacred music are employed at each Mass of the academic year, the liturgies for Holy Week and Easter are marked by extensive use of the Church's musical patrimony. The study of sacred music, music appreciation, and the visual arts in the Humanities cycle (as well as guest lectures) supplement these opportunities for liturgical formation and are part of the college's "Arts of the Beautiful" program.
Originally the music written by Andy McCluskey for the 1991 BBC G. F. Newman TV series For the Greater Good was to be included as the B-side for "Then You Turn Away", but it became Sugar Tax. This song in turn was scheduled as the title track of the album, but was not finished at the time the album was released. The CD singles contain the extra tracks "Area", "Vox Humana", and a remix of "Then You Turn Away", called Infinite Repeat Mix. "Vox Humana" uses a sample of a female Gregorian chant written by Hildegard of Bingen.
The history of Milan as a centre for religious music goes back to St. Ambrose, who is not known to have composed any of the Ambrosian chant repertory, much as Gregory the Great is not known to have composed any Gregorian chant. However, during his 4th-century tenure as bishop of Milan, he is credited with introducing hymnody from the Eastern Church to the West. Ambrose composed original hymns as well, four of which still survive, along with music that may not have changed too much from the original melodies. Two methods of singing psalms or other chants are responsorial and antiphonal.
Miguel Bernal Jiménez, the composer of Tata Vasco (statue in the Conservatorio de las Rosas, Morelia, Michoacán) Tata Vasco is an opera in five scenes composed by Miguel Bernal Jiménez to a Spanish libretto with nationalistic and devoutly Roman Catholic themes by the Mexican priest and poet, Manuel Muñoz. It premiered in Pátzcuaro, Mexico on 15 February 1941. The opera is based on the life of Vasco de Quiroga, the first Bishop of Michoacán and known to the indigenous Purépecha of the region as 'Tata Vasco'. Considered one of Bernal Jiménez's most emblematic scores, the music incorporates native melodies, dances, and instruments as well as elements of Gregorian chant.
After receiving the university's John Stuart of Rannoch Scholarship in Sacred Music, she took her parents to the Abbey of Solesmes in France, which for decades had been a leader in reviving Gregorian chant. In 1939, upon graduation from university, Berry joined the Red Cross and nursed at Addenbrooke's Hospital in Cambridge. In March of the following year, she went to Belgium, where she became a novice with the Canonesses Regular of Jupille, under the religious name of Mother Thomas More. But two months later the canonesses were forced to flee the invading Germans on the last train to Paris, having wrapped their few possessions in red blankets.
A musical scale is a series of pitches in a distinct order. The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from it by also involving an element of melody type. This concerns particular repertories of short musical figures or groups of tones within a certain scale so that, depending on the point of view, mode takes on the meaning of either a "particularized scale" or a "generalized tune".
During his high school and college years, he traveled widely in Europe, studying composition briefly in Nice with Tony Aubin. During his graduate studies, he served on the musical staff of St. Paul's Church in Madison, Wisconsin, conducting a small choir devoted to performance of Gregorian chant reading from the Liber Usualis. Elements of Catholic liturgy and chant may be heard in several of Sametz's pieces: ¡O llama de amor viva! A Mystical Vision of St. John of the Cross (1987) is based largely on the Easter chant, Victimae Paschali laudes; Nevermore will the Wind (2002) and A Child’s Requiem (2014) use the Gregorian Requiem chant.
The second part of the performance consisted of a rendition of different versions of the Creed that encapsulates the faith of the Catholic Church. Three models of creeds were chosen for the evening: the traditional Latin Credo (in Gregorian chant), "Credo" from the famous Coronation Mass (by W. A. Mozart), and finally "Sot'mantam" in Konkani (by Fr. Monteiro). The third part of the Musical Concert contained the Easter proclamation through the work of the reputed German composer L. van Beethoven - "Hallelujah Chorus" from Christus am Ölberge (Christ on the Mount of Olives). This was followed by a Goan version of the Easter invocation to Mary, Regina caeli (arranged by Maestro Rev.
Tracts are not necessarily sorrowful or penitential, but tend to be longer in length and have no refrain. The fourth minor proper is the Offertory and is sung when members of the parish bring the gifts of bread and wine to the altar as the priests prepare for the Eucharist. The last minor proper is the Communion and is sung while the celebrant distributes the bread and wine to the other ministers and acolytes. It is very rare to find all minor propers chanted in Latin using Gregorian chant in every Solemn High Mass as is done at the Church of the Ascension in Chicago.
Vincent d'Indy in 1913.Among d'Indy's other works are other orchestral music (including a Symphony in B, a vast symphonic poem, Jour d'été à la montagne, and another, Souvenirs, written on the death of his first wife; he later remarried), chamber music, including two of the most highly regarded string quartets of the latter nineteenth century (No. 2 in E major, Op. 45, and No. 3 in D-flat, Op. 96), piano music (including a Sonata in E minor), songs and a number of operas, including Fervaal (1897) and L'Étranger (1902). His music drama Le Légende de Saint Christophe, based on themes from Gregorian chant, was premiered on 6 June 1920.
The buildings were designed by Belgian Benedictine Abbot Hildebrand de Hemptinne and Fidelis von Stotzingen. Sant'Anselmo is built in a neo-romanic style, atop of Roman ruins which date from the 1st century BC to the 4th century AD. These remains are visible and visitable, by arrangement, under both the first courtyard and in the basement. The church is mainly known to the local Roman people because of the performance of Gregorian chant for Ora Media (mid-day prayer at 12:50 pm each day) and Vespers (evening prayer at 7:15 pm each day). Lauds (morning prayer) and Mass are chanted in Italian.
In the summer of 1973, their first concert tour took place in the Bernese Oberland and their first record, a collection of choral and organ works by Felix Mendelssohn, was made. In 1974, a tour of the Netherlands followed with the help of the organist Hans Peter Aeschlimann, and the KKB became a supporting member of the Gesellschaft für das Gute und Gemeinnützige Basel ("Society for a Good and Charitable Basel"). Their first television appearances took place in 1975 and 1976 on Südwestrundfunk. In 1974, the Gregorian Chant Circle was founded, which fosters continued training in church music, both for older current choir members as well as alumni.
Malipiero was strongly critical of sonata form and, in general, of standard thematic development in composition. He declared: Malipiero's musical language is characterized by an extreme formal freedom; he always renounced the academic discipline of variation, preferring the more anarchic expression of song, and he avoided falling into program music descriptivism. Until the first half of the 1950s, Malipiero remained tied to diatonism, maintaining a connection with the pre-19th-century Italian instrumental music and Gregorian chant, moving then slowly to increasingly eerie and tense territories that put him closer to total chromaticism. He did not abandon his previous style but he reinvented it.
In recordings, the motets are often combined with Duruflé's Requiem, sharing the same approach of polyphonic music based on Gregorian chant. They have been recorded for example by King's College Choir, conducted by Stephen Cleobury and the Corydon Singers conducted by Matthew Best. On recordings, as in the liturgy, single movements have been performed to match a context. The Cambridge Singers, conducted by John Rutter, performed Ubi caritas in a collection This is the Day of music on royal occasions, while the Westminster Abbey Choir, conducted by James O'Donnell, performed Tu es Petrus for an album The Feast of Saint Peter the Apostle at Westminster Abbey.
Saint Mary's Basilica is a very active parish church and center of worship for the Diocese of Phoenix. It is known for maintaining a traditional form of liturgy featuring the pipe organ, choir, men's schola and a wide range of music from traditional Gregorian chant to Renaissance polyphony and contemporary composers in its services. Beautiful liturgies rich in ceremonial and incense combined with a warm sense of inclusivity and Francisan hospitality ensure that attending the Holy Mass at the Basilica is a very moving and transcendent experience. Masses are celebrated from Monday to Friday at Noon, beginning with the singing of the Angelus, and on Sundays at 5.00 p.m.
Born in Ljubljana, capital of the Slovene Republic within the Federal Socialist Republic of Yugoslavia, and educated in Toronto, Ontario, Canada, he began his musical career at St. Michael's Choir School as a boy soprano and accompanist. He travelled the globe and acquired a vast musical repertoire ranging from Gregorian chant to 20th-century music. At a very young age, he acquired the gold medal in performance from the Western Ontario Conservatory of Music in both piano and organ. Upon graduation, he was accepted to the Edward Johnson Faculty of Music at the University of Toronto, where he continued his studies in conducting, theory, composition, and piano.
Gregorian chant supplanted all the other Western plainchant traditions, Italian and non-Italian, except for Ambrosian chant, which survives to this day. The native Italian plainchant traditions are notable for a systematic use of ornate, stepwise melodic motion within a generally narrower range, giving the Italian chant traditions a smoother, more undulating feel than the Gregorian. Crucial in the transmission of chant were the innovations of Guido d'Arezzo, whose Micrologus, written around 1020, described the musical staff, solmization, and the Guidonian hand. This early form of do-re-mi created a technical revolution in the speed at which chants could be learned, memorized, and recorded.
The earliest known letter notation in the Western musical tradition appears in a book on music by the 6th-century philosopher Boethius ("De Institutione Musica"). Gregorian Chant, an outgrowth of Roman plain chant, strongly influenced both liturgical and secular music during the Middle Ages. An Italian monk, Guido of Arezzo (born in 991), developed the form of musical notation that became the basis of Western music and, subsequently, of music worldwide. Saint Francis of Assisi (born Giovanni di Bernardone in Assisi in 1181) was a friar who founded the men's Order of Friars Minor and the women's Order of St. Clare, both of which attracted many followers from all over Europe.
The CMAA began sponsoring an annual Sacred Music Colloquium in 1990, in conjunction with the Ward Center of the Rome School of Music at Catholic University of America. The colloquium offers practical instruction in the liturgical practice of Gregorian chant and polyphony. Faculty have included CMAA leaders Mahrt, Buchholz, and Skeris, and conductors Wilko Brouwers, Jennifer Donelson- Nowicka, Arlene Oost-Zinner, David Hughes, Gisbert Brandt, and Scott Turkington. Guest lecturers, teachers and recitalists have included Langlais scholar Ann Labounsky, Ward Method instructor Amy Zuberbueler, Fr. Frank Phillips, C.R.. founder of the Canons Regular of St. John Cantius, vocal pedagogist MeeAe Cecilia Nam, Fr. Scott Haynes, S.J.C., Rev.
Perosi and Toscanini, in Milan for the world-première of Mosè (1901). In 1898, Cardinal Sarto used his influence with Pope Leo XIII to get Perosi the post of Maestro Perpetuo della Cappella Sistina, or Perpetual Director of the Sistine Choir, in Rome. Five years later, Sarto was elected Pope Pius X. Just months after his coronation, he released a Motu Proprio Tra le sollecitudini on sacred music. It gave Gregorian Chant a privileged status as the ideal form of liturgical music, banned women vocalists, severely restricted the use of any instrument but the organ, and prohibited the adaptation of secular music for church use.
While the works can seem slow-paced today, at the time they were quite novel not only for their fusion of Renaissance polyphony, Gregorian chant, and lush, Verismo melodies and orchestrations, but also for Perosi's deep-seated faith in the words that he had set. The oratorio as a genre had been in decline in the preceding centuries, and Perosi's contributions to the canon brought him brief but significant international acclaim. In addition to the oratorios and masses for which he is best known, Perosi also wrote secular music—symphonic poems, chamber music, concertos, etc. In his youth, he also wrote pieces for organ.
Contemporary Catholic liturgical music encompasses a comprehensive variety of styles of music for Catholic liturgy that grew both before and after the reforms of the Second Vatican Council (Vatican II). The dominant style in English-speaking Canada and the United States began as Gregorian chant and folk hymns, superseded after the 1970s by a folk-based musical genre, generally acoustic and often slow in tempo, but that has evolved into a broad contemporary range of styles reflective of certain aspects of age, culture, and language. There is a marked difference between this style and those that were both common and valued in Catholic churches before Vatican II.
Although initially, the late 20th- century genre was "folk-sounding", it has matured over the last 30 years to a much more eclectic sound of its own. Contemporary Catholic liturgical music makes heavy use of "responsorial" settings in which the congregation sings only a short refrain (like "Glory to God in the highest") between verses entrusted to the cantor or choir. This differs from the "responsive" antiphony of Gregorian chant, in which alternate verses are divided between two bodies. The responsorial form is eminently practical in performing the psalmody of the Easter Vigil which occurs in darkness, as well as in the absence of pew hymnals or video projectors.
In June 1993, Purce gave a lecture and seminar for the English National Opera titled The Healing Power of Opera, as part of the Covent Garden Music Festival, London. She later led the audience in a chanting meditation before the first performance of Jonathan Harvey's opera Inquest of Love for ENO. In 2003, she was invited to work with nuns and monks in a number of enclosed Christian monastic communities who sing Gregorian chant, particularly Burnham Abbey and Fairacres, Oxford, to teach overtone chanting and other methods to explore ways of reinvigorating and rediscovering the contemplative aspects of chant in Christian traditions.van Tongeren, M.C. (2006).
Villette's music is a product of a French musical heritage that includes Fauré and Debussy as well as Poulenc and Messiaen, and a French cultural legacy that includes Catholicism and the Order of Saint Benedict. Villette was not interested in the avant-garde direction taken by Boulez's circle, and instead his music drew on influences as eclectic as Gregorian Chant, medieval music, jazz (he composed an orchestral piece titled Blues), and Stravinsky. His catalogue has eighty-one opus numbers, (full list via this link) and he wrote chamber and orchestral music as well as better-known choral works. Villette's compositions are performed around the world.
The first and most famous ballet school in France, the École de danse de l'Opéra national de Paris, the school of dance of the Paris opera, was founded in 1669 for adult dancers, and began taking children as students beginning in 1776. Virtually all of the main dancers of the Paris ballet are graduates of the school. In 1987 the ballet school was relocated from the Opera house to the suburb of Nanterre. The Schola Cantorum de Paris was founded in 1896 as a rival to the Conservatory; it put an emphasis on technique, and on the study of late Baroque and early Classical works, Gregorian chant, and Renaissance polyphony.
After being awarded a second prize, he completed a three-month course in counterpoint, Palestrina, and Gregorian chant at the College of Catholic Church Music and Musical Education in Regensburg, Bavaria. He subsequently studied at the Stern Conservatory in Berlin, learning theory and counterpoint under Ludwig Bussler, composition under Wilhelm Taubert, and Gradus ad Parnassum under Heinrich Bellerman, simultaneously perfecting his organ playing under Otto Dienel and playing in the orchestra under the baton of Gustav Hollaender. After submitting a cantata to the Royal Academy of Arts, Berlin, he was accepted into a master class for composition under Max Bruch from 1900 to 1902.
The present rector of the Oratory is the Rev. Canon Benjamin Coggeshall. The rector of the Oratory serves as the Archbishop's Delegate for the implementation of Pope Benedict XVI’s motu proprio Summorum Pontificum in the diocese. Unlike a parish, with geographically determined boundaries, the Oratory does not cover a specified territory; the Oratory has permission to conduct baptisms, weddings and funerals in addition to Holy Mass and confessions. In accord with the Institute of Christ the King’s emphasis on the solemnity of the sacred liturgy and the beauty of liturgical arts, the Oratory has a highly developed music program, with several choirs specializing in Gregorian chant and polyphony.
The musical modes used in Gregorian chant are supposed to reflect this use; according to the theory, the modes were more collections of appropriate melodic formulas than a set of pitches. Similar ideas appear in the music theory of other cultures; for example, the maqam of Arab music, the raga of Indian music, or the pathet of Indonesian music. These do not designate merely scales, but sets of appropriate melodies and specific ornaments on certain tones (they are sometimes called "melody types") . The originality of the composer lies in how he or she links these formulas together and elaborates upon them in a new way.
Many composers have contributed to the distinct pop- inspired sound of contemporary Catholic liturgical music, including Marty Haugen, (a non-Catholic,) Dan Schutte, David Haas, Fr. Michael Joncas, and the St. Louis Jesuits. For more details, see Contemporary Catholic liturgical music. A majority of American Catholic Parishes now use at least some of this style of music in their liturgies.The Center for Liturgy, A recent trend has returned to the official music of the Roman Catholic Church, Gregorian chant and to newly composed music based on or inspired by it, and to liturgical projects like the Chabanel Psalms or Adam bartlett's Simple English Propers.
Among his teaching positions, he taught at the diocesan seminary at Clonliffe College, was Professor of Gregorian Chant at the missionary seminary of All Hallows College (from 1903) and Professor of Music at the Ladies' Teacher- Training College at Carysfort Park, Blackrock (County Dublin), from 1908 to his death in Dublin in 1948. As a much-demanded vocal coach he taught at his home, his best-known pupils including John McCormack, Margaret Burke Sheridan and James Joyce. He performed the piano accompaniments for McCormack's first gramophone recordings and accompanied him during his 1913–4 Australasian tour (60 performances in three months),Daly (2013), p.
The Requiem Mass, or the Mass of the Dead, is a modified version of the ordinary mass. Musical settings of the Requiem mass have a long tradition in Western music. There are many notable works in this tradition, including those by Ockeghem, Pierre de la Rue, Brumel, Jean Richafort, Pedro de Escobar, Antoine de Févin, Morales, Palestrina, Tomás Luis de Victoria, Mozart, Gossec, Cherubini, Berlioz, Brahms, Bruckner, Dvořák, Frederick Delius, Maurice Duruflé, Fauré, Liszt, Verdi, Herbert Howells, Stravinsky, Britten, György Ligeti, Penderecki, Henze, and Andrew Lloyd Webber. In a liturgical mass, there are variable other sections that may be sung, often in Gregorian chant.
In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.)LaBelle 2006, 69.
The repertoire of the EPCC ranges from Gregorian Chant to modern works, particularly those of the Estonian composers Arvo Pärt and Veljo Tormis. The group has been nominated for numerous Grammy Awards, and has won the Grammy Award for Best Choral Performance twice: in 2007 with Arvo Pärt's Da pacem and in 2014 with Pärt's Adam's Lament, the latter was shared with Tui Hirv & Rainer Vilu, Sinfonietta Riga & Tallinn Chamber Orchestra; Latvian Radio Choir & Vox Clamantis. In 2018 Estonian Philharmonic Chamber Choir won the prestigious Gramophone Award with its recording of Magnificat and Nunc dimittis by Arvo Pärt and Psalms of Repentance by Alfred Schnittke (conductor Kaspars Putniņš).
Worship in the Chapel of the Resurrection is in accordance with the Anglo-Catholic tradition in the Church of England and is open to all, especially to members of the university. Alongside its reputation for dignified and traditional liturgy, Pusey House is also recognised for its musical tradition, most visible at the Solemn Mass on Sundays and solemnities. The choir's extensive repertoire ranges from the earliest church music and Gregorian chant, through the polyphony of Byrd and extending to 19th and 20th century composers such as Vierne and Stanford. Pusey House commissioned a new Mass-setting for its 125th anniversary celebrations from the composer Alexander Campkin.
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. Since the 1970 a melodic restitution group of AISCGre (International Society for the Study of Gregorian Chant) has worked on an "editio magis critica" as requested by the 2. Vatican Council Constitution "Sacrosanctum Concilium".
Roughly a century later, there still exists a breach between a strict musicological approach and the practical needs of church choirs. Thus the performance tradition officially promulgated since the onset of the Solesmes restoration is substantially at odds with musicological evidence. In his motu proprio Tra le sollecitudini, 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. While this custom is maintained in traditionalist Catholic communities (most of which allow all-female scholas as well, though), the Catholic Church no longer persists with this ban.
Melodies for spiritual singing have a highly varied tonal material, including major and minor scales, but are also strongly influenced by Church modes, that are believed to stem from Gregorian chant from when the Faroese were Catholics, in the 16th century and earlier. Skjaldur melodies are typically based on series of thirds, and may be regarded as parts of the pentatonic scale. The melodies are meant for children, and therefore quite simple, but nevertheless contain traces of Church modes, in particular Dorian and Phrygian. Marianne Clausen concluded her last book with the words: “The [Faroese folk singing] genres complement each other and form a coherent musical universe, which is specifically Faroese”.
During this year, Alessandro was also responsible for overseeing the choir's correct performance of its duties in the Sistine Chapel. Artistically speaking, the job involved him in choosing soloists and in developing repertoire. This entire period was one of great upheaval within the Sistine choir's organisation as well as Catholic church music at large: the reforming movement known as Cecilianism, which had originated in Germany, was beginning to have its influence felt in Rome. Its calls for the Church's music to return to the twin bases of Gregorian chant and the polyphony of Palestrina were a direct threat to both the repertoire and the practice of the Sistine Chapel.
Madonna by Raphael, an example of Marian art Salve Regina attributed to Hermann von Reichenau (1013–1054), sung by Les Petits Chanteurs de Passy. (Gregorian notation below.) The Salve Regina in solemn tone, Gregorian chant notation The "Salve Regina" ( , ; meaning 'Hail Queen'), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary.
Michael Herrmann, founder and director, 23 August 2011 The festival was the initiative of Michael Herrmann, who has served as its Artistic Director and chief executive officer. Like the Schleswig-Holstein Musik Festival founded in 1986, the Rheingau festival was intended to add life to a region rich in musical heritage. The gothic church of Kiedrich houses the oldest playable organ in Germany and has its own "dialect" of Gregorian chant that dates back to 1333. In more recent times, the Rheingau has inspired composers such as Johannes Brahms, who composed his Symphony No. 3 in Wiesbaden and frequently stayed in Rüdesheim, and Richard Wagner, who worked on ' in Biebrich.
Father Varden left teaching at St. Anselm in Rome and returned to his Abbey in 2013 upon his appointment as Superior Administrator of the Abbey. On 16 April 2015, Father Erik Varden became the eleventh Abbot of Mount St Bernard Abbey, following a further election, also becoming the first abbot to have been born outside Britain or Ireland to lead this abbey. He also is an author of books and articles in the field of Christian spirituality and monasticism. He is also a musician and studied Gregorian Chant under Dr. Mary Berry, later co-founding the Chant Forum with Dame Margaret Truran of Stanbrook Abbey.
Depending on style and context, world music can sometimes share the new-age music genre, a category that often includes ambient music and textural expressions from indigenous roots sources. Good examples are Tibetan bowls, Tuvan throat singing, Gregorian chant or Native American flute music. World music blended with new-age music is a sound loosely classified as the hybrid genre 'ethnic fusion'. Examples of ethnic fusion are Nicholas Gunn's "Face-to-Face" from Beyond Grand Canyon, featuring authentic Native American flute combined with synthesizers, and "Four Worlds" from The Music of the Grand Canyon, featuring spoken word from Razor Saltboy of the Navajo Indian Nation.
St. Paul's Choir is a traditional church choir of boys and men. The choir is composed of boys in grades 5-8 who attend St. Paul's Choir School, and men who are auditioned from local music schools such as Longy, New England Conservatory, and Boston Conservatory. Boys have been singing at St. Paul's since the church was built in 1923, and the choir has built a reputation for singing church music from Gregorian chant to contemporary works. Chiefly a liturgical choir, the boys have also appeared with numerous orchestras in and around Boston, and the full choir is in frequent demand to sing at concerts, weddings and funerals throughout the year.
Nave of the church In 1802 an institute for philosophical and theological studies was established, which became a Hochschule in 1976. The Benedict XVI Philosophical-Theological University is now one of the largest faculties for the education of priests in the German-speaking world. In January 2007, Pope Benedict XVI raised the Hochschule to the status of Pontifical Athenaeum, which means the institution may now grant degrees according to Roman university privileges, instead of in the name of other Austrian universities. Presently, over 90 monks belong to the monastic community, the focus of which is the liturgy and Gregorian chant in Latin (in the Ordinary Form of the Roman Rite).
He was also appointed Richard H. Fogel Professor of Music at University of North Carolina at Chapel Hill. He was the author of five books, including Source Readings in Music History, Music in Early Christian Literature, and The Advent Project: The Later Seventh-Century Creation of the Roman Mass Proper, which attempts to reconstruct the history of plainchant from the Patristics(Early Church Fathers) to the Carolingian period. He also edited the collection The Music of Antiquity and the Middle Ages which includes chapters he wrote on early Western civilization, Christian antiquity and the emergence of Gregorian chant. McKinnon published more than one hundred articles in music journals and reference books.
15th-century manuscript, depicting a movement for two voices The earliest documentation of Hungarian music dates from the introduction of Gregorian chant in the 11th century. By that time, Hungary had begun to enter the European cultural establishment with the country's conversion to Christianity and the musically important importation of plainsong, a form of Christian chant. Though Hungary's early religious musical history is relatively well documented, secular music remains mostly unknown, though it was apparently a common feature of community festivals and other events. The earliest documented instrumentation in Hungary dates back to the whistle in 1222, the Koboz around 1237-1325,Zolnay László: A magyar muzsika régi századaiból.
The convent was quickly built, and was dedicated to Saint Cecilia (Sainte Cécile) because of Dom Guéranger's particular devotion to that saint. The foundress, Jenny Bruyère, also took her religious name from the saint, to become Mother Cécile Bruyère, first abbess of St. Cecilia's Abbey, Solesmes.Joris-Karl Huysmans, in his book La Cathédrale (1898), wrote admiringly of St. Cecilia's Abbey and the nuns' Gregorian chant (the French Benedictine Congregation having revived the use of plainsong) and of the "great medieval abbess" ("une grande Abbesse du Moyen Âge"). The 19th century abbey church contains a full-size replica of the monumental effigy of Saint Cecilia in St. Cecilia's Basilica in Rome.
Unlike many women's religious houses of the time, the spiritual practice of St. Cecilia's Abbey centered from the beginning on its foundation on the liturgy and on Gregorian chant rather than on the then customary usual methods of prayer. The dynamism of this monastic renewal and the influence of the foundress enabled the women's branch of the Solesmes Congregation to found numerous other daughter-houses, many of them still in existence, in France and in other countries. The abbey's influence extends beyond its own Congregation, as the constitutions written by Mother Cécile Bruyère, with the support of Dom Guéranger, for her nuns have had an effect on many other Benedictine houses.
Prior to the Reformation, music in British churches and cathedrals consisted mainly of Gregorian chant and polyphonic settings of the Latin Mass. The Anglican church did not exist as such, but the foundations of Anglican music were laid with music from the Catholic liturgy. In the early 1530s, the break with Rome under King Henry VIII set in motion the separation of the Church of England from the Roman Catholic Church and the Reformation in England. The Church of England's Latin liturgy was replaced with scripture and prayers in English; the Great Bible in English was authorised in 1539 and Thomas Cranmer introduced the Book of Common Prayer in 1549.
Ambrosian chant developed to meet the particular needs of the Ambrosian liturgy. Although the Ambrosian rite is liturgically related to other rites and Ambrosian chant is musically related to other plainchant traditions, different categories of chant, different chant texts, and different musical styles make Ambrosian chant a distinct musical repertory. By the 8th century, this chant was attested to be normative across northern Italy, perhaps reaching into southern Italy as well. Between the 8th and 13th centuries, however, the Carolingian chant commissioned by Charlemagne developed into what we now know as Gregorian chant, which began to influence and eventually replace most of the other Western plainchant traditions.
Accidentals usually apply to all repetitions within the measure in which they appear, unless canceled by another accidental sign, or tied into the following measure. If a note has an accidental and the note is repeated in a different octave within the same measure the accidental is usually repeated, although this convention is far from universal. The modern accidental signs derive from the two forms of the lower-case letter b used in Gregorian chant manuscripts to signify the two pitches of B, the only note that could be altered. The "round" b became the flat sign, while the "square" b diverged into the sharp and natural signs.
But his most famous book, and one of the most famous and influential works on music theory written during the Renaissance, was the Dodecachordon, which he published in Basle in 1547. This massive work includes writings on philosophy and biography in addition to music theory, and includes no less than 120 complete compositions by composers of the preceding generation (including Josquin, Ockeghem, Obrecht, Isaac and many others). In three parts, it begins with a study of Boethius, who wrote extensively on music in the sixth century; it traces the use of the musical modes in plainsong (e.g. Gregorian chant) and monophony; and it closes with an extended study of the use of modes in polyphony.
The Foederatio Internationalis Una Voce (or FIUV) was founded on December 19, 1964 in Paris by Georges Cerbelaud-Salagnac in order to promote the Tridentine Mass from the Pre-Vatican II Missale Romanum (1962). The organization argues that while the Second Vatican Council had introduced vernacular liturgies, it did not actually forbid the Latin Mass, and that regular weekday and Sunday Masses in Latin should be maintained. The organization also seeks to promote Latin Gregorian Chant, sacred polyphony and sacred art. Unlike some of the other Catholic traditionalist organizations, Una Voce seeks to remain faithful to the Pope within the Catholic Church, and asserts that the Tridentine and the vernacular masses should be allowed to co-exist.
Voices of the angelic choir herald León, the last post remaining before Santiago, a stark contrast to the pleading prayers evoked in Burgos. Ostinatos, like previous movements, are the backdrop Talbot uses to set his melodies, like a psalm-tone in Gregorian chant. The harmonies are more consonant, and even the texts reflect a hopeful and aspiring love: Beate, qui habitant in domo tua, Domine; In saecula saeculorum laudabant te (Blessed are they that dwell in thy house: they will be still praising thee [Psalm 84:4]).Crouch, p. 12-13 Diatonic and step-wise in motion, the simplicity of melody is a chant, a song of wonder, for the graces of God’s gifts.
All the psalms, and the Magnificat, are based on melodically limited and repetitious Gregorian chant psalm tones, around which Monteverdi builds a range of innovative textures. This concertato style challenges the traditional cantus firmus,Kurtzman 2007, pp. 147–53 and is most evident in the "Sonata sopra Sancta Maria", written for eight string and wind instruments plus basso continuo, and a single soprano voice. Monteverdi uses modern rhythms, frequent metre changes and constantly varying textures; yet, according to John Eliot Gardiner, "for all the virtuosity of its instrumental writing and the evident care which has gone into the combinations of timbre", Monteverdi's chief concern was resolving the proper combination of words and music.
Manuscripts found there were used in the recovery of the original form of the Gregorian chant. Charlemagne also made strenuous though not wholly successful efforts to wean Milan and its environs from their Ambrosian Rite and melodies. In 789 he addressed a decree to the whole clergy of his empire, enjoining on every member to learn the Cantus Romanus and to perform the office in conformity with the directions of his father Pepin, who had abolished the Gallican chant. Through the synod of Aachen of 803, the emperor commanded again the bishops and clerics to sing the office sicut psallit ecclesia Romana, and ordered them to establish scholae cantorum in suitable places.
Although Bertrand only wrote one Italian madrigal—actually a villanella—he was clearly influenced in his chanson-writing by the Italian concern for text- painting and careful underlining of words and phrases with appropriate and symbolic melodic and harmonic material. He was careful to use contrasting textures and meters, for example switching from duple to triple meter several times during the course of a composition. Bertrand's sacred works, contained in his three publications of Airs spirituels and sonets chrestiens, are closely related stylistically to the contemporary psalm-settings by the Huguenots: they are simple both melodically and harmonically, and usually maintain a homophonic texture throughout. The melodies are mostly from Gregorian chant.
Later, around 530, St. Benedict would arrange the weekly order of monastic psalmody in his Rule. Later, in the 6th century, Venantius Fortunatus created some of Christianity's most enduring hymns, including "Vexilla regis prodeunt" which would later become the most popular hymn of the Crusades. The Guidonian Hand The earliest extant music in the West is plainsong, a kind of monophonic, unaccompanied, early Christian singing performed by Roman Catholic monks, which was largely developed roughly between the 7th and 12th centuries. Although Gregorian chant has its roots in Roman chant and is popularly associated with Rome, it is not indigenous to Italy, nor was it the earliest nor the only Western plainchant tradition.
Reviewers expressed surprise at the commercial success of the album, although there had previously been popular interest in Gregorian chants as a consequence of the success of the project Enigma in 1990/91, specifically the single "Sadeness (Part I)". Not only had Gregorian chant been a specialist market for record companies before the 1980s, but also other monastic choirs, such as that of Solesmes Abbey, had enjoyed a higher profile as recording artists than the Silos monks.Selective Chant Discography, The Gregorian Association (London, England) The monks normally follow a routine based on their monastic duties. However, following the commercial success of Chant they made publicity appearances and were interviewed on The Tonight Show and Good Morning America.
The symphony is written in a single movement of 22 variations and is approximately 45 minutes in length. Ronald Weitzman writes, "The form of Schnittke's Fourth Symphony [is] at once cross- shaped and spherical.... The composer draws musically on the three main strands of Christianity--Orthodox, Catholic, Protestant--while underlying this is a three-note semitone interval motif representing synagogue chant, thus symbolizing the Jewish source of Christianity." The result, Ivan Moody writes, is that Schnittke "attempts to reconcile elements of znamennïy and Gregorian chant, the Lutheran chorale and Synagogue cantillation ... within a dense, polyphonic orchestral texture"Moody, New Grove (2001), 22:566. A tenor and a countertenor also sing wordlessly at two points in the symphony.
Lapidge "James the Deacon" Blackwell Encyclopedia of Anglo-Saxon England Bede states that after the synod, and the return of Roman customs, James, as a trained singing master in the Roman and Kentish style, taught many people plainsong or Gregorian chant in the Roman manner. James' date of death is unknown, but Bede implies that he was still alive during Bede's lifetime, which presumably means that he died after Bede's birth, sometime around 671 or 672. This would mean that he was at least 70 years old at his death. It has been suggested that James was Bede's informant for the life of Edwin, the works of Paulinus, and perhaps for the Synod of Whitby.
In the United Kingdom, the Catholic Charismatic Movement also contributed to these changes, introducing the "praise and worship" approach to liturgical music which was incorporated into publications by Mayhew-McCrimmond. By the 1990s and into the early 21st century, this style of music drew less on its folk roots than on a number of different styles and influences from contemporary society. In many areas of the United States and in regions throughout the English-speaking world, most or all of the music played during Sunday Mass was taken from this late-20th-century body of work. As a result, traditional forms of Catholic music (such as Gregorian chant) had become rare in many churches, and unknown in some.
The pipe organ in St John the Evangelist Scottish Episcopal Church, Princes Street, Edinburgh Church music in Scotland includes all musical composition and performance of music in the context of Christian worship in Scotland, from the beginnings of Christianisation in the fifth century, to the present day. The sources for Scottish Medieval music are extremely limited due to factors including a turbulent political history, the destructive practices of the Scottish Reformation, the climate and the relatively late arrival of music printing. In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, which led to the development of a distinct form of liturgical Celtic chant. It was superseded from the eleventh century by more complex Gregorian chant.
Mozarabic chant (also known as Hispanic chant, Old Hispanic chant, Old Spanish chant, or Visigothic chant) is the liturgical plainchant repertory of the Visigothic/Mozarabic rite of the Catholic Church, related to the Gregorian chant. It is primarily associated with Hispania under Visigothic rule (mainly in what was to become modern Spain) and with the Catholic Visigoths/Mozarabs living under Islamic rule, and was soon replaced by the chant of the Roman rite following the Christian Reconquest. Although its original medieval form is largely lost, a few chants have survived with readable musical notation, and the chanted rite was later revived in altered form and continues to be used in a few isolated locations in Spain, primarily in Toledo.
He attended the Schola Cantorum de Paris where he studied composition with Vincent d'Indy, theory and counterpoint with Eugène Borrel, organ with Édouard Souberbielle and Gregorian chant with Amédée Gastoué. He was further introduced to late-romantic music and French impressionism. During this time his imagination flourished, enabling him to write his first large work for orchestra: Divertimento. This piece won him an award in 1931 in Paris and was performed with great success the same year in Poland and former USSR. In 1931 he returned to Turkey as a music teacher for a new establishment found by Mustafa Kemal Atatürk that aimed to train music teachers with respect to the new law of arts.
W. Verkade, Die Unruh zu Gott (Herder & Co., Freiburg im Breisgau 1930 edition), pp. 204-06. The original “Life of the Virgin” series was painted at the Emmaus Abbey in Prague under the direction of Lenz, Wüger, and Steiner between 1880-87. In his apostolic letter Archicoenobium Casinense in 1913, on the occasion of the consecration of a crypt chapel at the abbey of Monte Cassino decorated in the style of the Beuron Art School, Pope Pius X likened the artistic efforts of the Benedictines of Beuron to the revival of Gregorian chant by the Benedictines of Solesmes when he wrote, “...together with sacred music, it proves itself to be a powerful aid to the liturgy”.
He also had an interest in early music and, though not a Catholic but a Lutheran, used the plainchant techniques of Gregorian chant in his Gregorianska melodier. At times he explored polytonality in his output, an advancement not found in other Swedish compositions of the time. In addition to many fine pieces for the organ, he produced various choral works, the most often performed of which is his setting of the Te Deum, which requires not only chorus but string orchestra, harp, and organ. As a teacher, Olsson influenced many Swedish musicians (especially church musicians), and he was important in the development of church music in Sweden, which had suffered a long period of decline before 1900.
The Versio Gallicana or Psalterium Gallicanum, also known as the Gallican Psalter (so called because it became spread in Gaul from the 9th century onward) has traditionally been considered Jerome's second Latin translation of the Psalms, which he made from the Greek of the Hexapla between 386 and 389. This became the psalter of the Sixto-Clementine Vulgate bible, and the basis for Gregorian chant. It became the standard psalter used in the canonical hours throughout the West from the time of Charlemagne until it was replaced in the 2nd edition of the Liturgy of the Hours by the Nova Vulgata in 1986. It is still used today in some monasteries and churches and by traditionalist Catholics.
The Ambrosian Hymn Te Deum is scored for two four-part choirs, a short soprano solo and large orchestra, adding cor anglais and bass clarinet to the orchestra of the Stabat Mater, but without harp. Verdi wrote to Giovanni Tebaldini, director of music in Padua: "It is usually sung during grand, solemn and noisy ceremonies for a victory or a coronation etc. ... Humanity believes in the Judex Venturus, invokes Him in the Salvum fac and ends with a prayer, 'Dignare Domine die isto', which is moving, melancholy and sad even to the point of terror." The music begins with the Gregorian chant Te deum laudamus, te Dominum confitemur, continued responsorially by the whole male choir in unison.
Lithuanian jesuit Žygimantas Liauksminas (Sigismundus Lauxminus) published the first music handbook in Lithuania - Ars et praxis musica in 1667. It was a first book of the trilogy, devoted to Gregorian chant - other books include Graduale pro exercitatione studentium and Antifonale ad psalmos, iuxta ritum S. Romanae Ecclesiae, decantandos, necessarium. The books were published at the University of Vilnius - S.R.M. Academicis Societatis Jesu. Recent findings - The Sapieha Album (Sapiegos albumas) and the Diary of the Kražiai Organist (Kražių vargoninko dienoraštis) demonstrated that the big part of the Lithuanian church music of the 17th century was directly influenced by the most prominent composers of Italy of that time - Girolamo Frescobaldi; Italian organ tablature notation prevailed, basso continuo was studied.
Medieval music was composed and, for some vocal and instrumental music, improvised for many different music genres (styles of music). Medieval music created for sacred (church use) and secular (non-religious use) was typically written by composers, except for some sacred vocal and secular instrumental music which was improvised (made up on-the-spot). During the earlier medieval period, the liturgical genre, predominantly Gregorian chant done by monks, was monophonic ("monophonic" means a single melodic line, without a harmony part or instrumental accompaniment). Polyphonic genres, in which multiple independent melodic lines are performed simultaneously, began to develop during the high medieval era, becoming prevalent by the later 13th and early 14th century.
In hindsight, the 'Graduale Triplex' proved a great stimulus for self- study as it made important material available in a handy book. The momentum of its publication has created a demand for a new Gradual as the 1974 Gradual contains many incidental or structural melodic errors. As a response to this need and following the Holy See's invitation to edit a more critical edition, in 2011the first volume "De Dominicis et Festis" of the "Graduale Novum Editio Magis Critica Iuxta SC 117"was published by Libreria Editrice Vatican and ConBrio Verlagsgesellschaft, Regensburg. The growing number of choirs or scholae that perform Gregorian Chant according to these developments are thus said to follow the 'semiological approach'.
The International Society for the Study of Gregorian Chant (Associazione Internazionale Studi di Canto Gregoriano) carries on the legacy of Eugène Cardine, putting special emphasis on bridging the gap between Gregorian research and praxis. The Society has some 500 members in 30 countries worldwide. Other students of Cardine, who, like Fischer and Billecocg, held a professorate at the Pontifical Institute of Sacred Music in Rome or other church music institutes, include Marie-Noel Colette, Luigi Agustoni, Johannes Berchmans Göschl and Godehard Joppich. A smaller school of singing chant using proportional durations, as per Fr Vollaerts, has continued in the hands of Jan van Biezen in the Netherlands, R John Blackley in Maine, USA, and Luca Ricossa in Switzerland.
In Italian, Portuguese, Spanish, French, Romanian, Greek, Albanian, Russian, Mongolian, Flemish, Persian, Arabic, Hebrew, Ukrainian, Bulgarian, Turkish and Vietnam the note names are do–re–mi–fa–sol–la–si rather than C–D–E–F–G–A–B. These names follow the original names reputedly given by Guido d'Arezzo, who had taken them from the first syllables of the first six musical phrases of a Gregorian chant melody "Ut queant laxis", which began on the appropriate scale degrees. These became the basis of the solfège system. For ease of singing, the name ut was largely replaced by do (most likely from the beginning of Dominus, Lord), though ut is still used in some places.
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. Liber usualis in square notation (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.
This notation was further developed over time, culminating in the introduction of staff lines (attributed to Guido d'Arezzo) in the early 11th century, what we know today as plainchant notation. The whole body of Frankish-Roman Carolingian chant, augmented with new chants to complete the liturgical year, coalesced into a single body of chant that was called "Gregorian." The changes made in the new system of chants were so significant that they have led some scholars to speculate that it was named in honor of the contemporary Pope Gregory II.McKinnon, Antiquity and the Middle Ages p. 114. Nevertheless, the lore surrounding Pope Gregory I was sufficient to culminate in his portrayal as the actual author of Gregorian Chant.
As a result of extensive study, Dom Jausions and Dom Pothier concluded in 1862 that the oldest and lineless neumes should be consulted in order to restore Gregorian chant correctly, even nowadays, one of the principles of gregorian semiology. This is why Dom Jausions began to visit the Municipal Library of Angers regularly, performing the transcriptions of the old manuscripts, in particular those of the Maruncit 91 attributed to the 10th-century.Read online In 1862 he stayed there from 4 to 12 April, from 27 June to 9 July and from 13 to 31 October. It is not certain that in 1863 he was there, because of the preparation of the song book of his monastery.
He was born in the city of Morelia in the Mexican state of Michoacán. He began his musical career at the age of seven as choir-boy in the Orfeón Pío X, studying in the Colegio de Infantes de la Catedral. His talent was discovered by his teachers Felipe Aguilera Ruiz and Ignacio Mier y Arriaga, who succeeded in getting him recommended and admitted in 1928 to the Instituto Pontificio de Música Sagrada (Pontifical Institute of Sacred Music) of Rome by the Canónigo José María Villaseñor. In this institution he was instructed in organ, counterpoint, fugue, paleographic musicology, composition, instrumentation, harmony and Gregorian chant, by his teachers Cesare Dobici, Raffaele Manari, Raffaele Casimiri, Paolo M. Ferretti, and Licinio Refice.
Four centuries later, the term was taken from Ptolemy in exactly the same sense by Boethius, who described these seven names as "toni, tropi, vel modi" (tones, tropes or modes) in the fourth book of his De institutione musica. In the late 9th century, in the Carolingian treatises Alia musica and in a commentary on it called the Nova expositio, this set of seven terms, supplemented by an eighth name, "Hypermixolydian", was given a new sense, designating a set of diatonic octave species, described as the tonal embodiments of the eight modes of Gregorian chant . Missa Mi-mi (Missa quarti toni) by Johannes Ockeghem is a well-known example of a work written in the Hypophrygian mode.
The reign of Louis VII (1137–1180) witnessed a period of cultural innovation, in which appeared the Notre Dame school of musical composition, and the contributions of Léonin, who prepared two-part choral settings (organa) for all the major liturgical festivals. This period in musical history has been described as a paradigm shift of lasting consequence in musical notation and rhythmic composition, with the development of the organum, clausula, conductus and motet. The innovative nature of the Notre Dame style stands in contrast to its predecessor, that of the Abbey of St Martial, Limoges, replacing the monodic (monophonic) Gregorian chant with polyphony (more than one voice singing at a time). This was the beginning of polyphonic European church music.
In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the vox principalis), another singer—singing "by ear"—provided the unnotated second melody (the vox organalis). Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
In 1968 he threw himself into an intense study of contemporary and classical music, which included a sojourn in Quarr Abbey, a Catholic Benedictine monastery in Ryde on the Isle of Wight, to study Gregorian chant, building on an interest in lieder and classical musical modes. At the peak of his fame in 1969, Walker was given his own BBC TV series, Scott, featuring solo Walker performances of ballads, big band standards, Brel songs and his own compositions. Footage of the show is currently very rare as recordings were not archived. In later interviews Walker has suggested that by the time of his third solo LP, a self-indulgent complacency had crept into his choice of material.
The monastery describes its historical inspiration in these terms: : Silverstream Priory is a providential realisation of the cherished project of Abbot Celestino Maria Colombo, O.S.B. (1874–1935), who, following the impetus given by Catherine–Mectilde de Bar in the 17th century, sought to establish a house of Benedictine monks committed to ceaseless prayer before the Most Holy Sacrament of the Altar in a spirit of reparation. The monastery hence places a special emphasis on Eucharistic Adoration for the sanctification of Catholic priests. The monks celebrate the traditional Benedictine liturgy (Divine Office and the Mass) in the pre-Vatican II form, in Latin and with Gregorian chant. As of 2020, the monastery has 15 members, of whom three are priests.
Bocard earned a bachelor's degree in composition and orchestration at Bush Conservatory of Music beginning in 1923 and went on to earn her master's degree in composition there in 1925. She also studied liturgical music at the St. Pius X School of Liturgical Music of Manhattanville College of the Sacred Heart in New York in 1935, composition and piano at Northwestern University 1936-37, and Gregorian chant at Solesmes Abbey in France in 1961. In 1961 she also attended the Fourth International Congress on Catholic Church Music at Cologne, Germany. Throughout her years as a composer and organist, Bocard ended up studying under musicians including Wilhelm Middelschulte, Edgar Brazelton, Arne Oldberg, Moissaye Boguslawski, Arnold Schultz and Nadia Boulanger.
This may have been a gesture of thanks towards Dom Guéranger for his great support to the Pope at the First Vatican Council in favour of the recently proclaimed dogma of Papal infallibility. Mother Cécile, with the support of Dom Guéranger, wrote the nunnery's constitutions, which were influential beyond her own nunnery. Of especial note are the re-establishment of the office of abbess with its symbols (the ring, the pectoral cross and the crozier), and of the long- forgotten rite of the consecration of virgins. Her nuns, in accordance with the thought of Dom Guéranger and the Congregation he established, learned Latin and Gregorian chant, which was altogether exceptional at that time.
The "Singers" was an outgrowth of the University of Utah Chamber Choir, the original premier small choral ensemble at the University of Utah, which was conducted for years by Dr. Bernell Hales (1920-2006) and generally had around twenty members performing music from various periods from Gregorian Chant and early Renaissance to modern, both sacred and secular, music in numerous languages. During his 21-year tenure conducting the Chamber Choir and teaching classes at the U, Professor Hales was known as an accomplished choral music arranger as well as a great and gifted musician. "Many current music educators were influenced by Dr. Hales as they took his choral methods, choral arranging, orchestration, elementary music methods, and other classes."Obituary: Dr. Bernell Woodruff Hales, Jr. Published: Sunday, Nov.
To promote Gregorian chant, Berry gathered a chorus of amateur singers, both Catholic and Anglican, as well as choirmasters and organists to form a body which would perform the ancient music. Seeking a venue where they could play, she was turned down by several colleges and churches until she was allowed to use the chapel of St John's College for one performance. To present their music, a Solemn High Mass was celebrated by Alan Clark, the Roman Catholic Bishop of East Anglia, for which more than three times the expected number of participants attended. After such a display of interest, it was agreed that an occasional choir, made up of choral scholars and talented amateurs, would be allowed to give concerts in the chapel.
She was a particularly keen advocate for the use of Gregorian chant in its proper liturgical context. One result is the Community of Jesus, a large ecumenical community in Massachusetts which sings the full monastic day and night office, with responsibility shared between clergy, cantors, religious and married people. In the mid-1990s, Berry led the recordings of music entitled Angels from the Vatican, which was designed to accompany an exhibition of art from the Vatican Museums that toured the United States in 1997, which was recorded in the chapel of St. Hugh's Charterhouse in West Sussex. In 1997 she led a recording in the Roman Basilica of San Gregorio Magno al Celio to commemorate the 1400th anniversary of Augustine of Canterbury's arrival in England.
153-4 Ockeghem was the first composer of canons at the second, third, sixth, and seventh (the "imperfect" intervals), and the Missa prolationum may have been the first work to employ them. Its format, with the interval of imitation expanding from the unison up to the octave, was used by Bach in the Goldberg Variations, but it is not known whether Bach knew Ockeghem's work (which was generally unavailable in the 18th century).Mann/Wilson/Urquhart, Canon, Grove online Another unusual feature of this mass is that the melodies used for its canons were all apparently freely composed; none have been identified as from other sources. In Ockeghem's time, composers usually built masses on preexisting tunes such as Gregorian chant or even popular songs.
It floats between heaven and earth like a Gregorian chant; it glides over signposts marking traditional divisions; it slips so furtively between various keys that it frees itself effortlessly from their grasp, and one must await the first appearance of a harmonic underpinning before the melody takes graceful leave of this causal atonality" . Paraphrases are a "respeaking" in plain words of the events of the text with little interpretation or addition, such as the following description of the "Bourée" of Bach's Third Suite: "An anacrusis, an initial phrase in D major. The figure marked (a) is immediately repeated, descending through a third, and it is employed throughout the piece. This phrase is immediately elided into its consequent, which modulates from D to A major.
Church singing, Tacuinum Sanitatis Casanatensis (14th century) The earliest notated music of western Europe is Gregorian chant, along with a few other types of chant which were later subsumed (or sometimes suppressed) by the Catholic Church. This tradition of unison choir singing lasted from sometime between the times of St. Ambrose (4th century) and Gregory the Great (6th century) up to the present. During the later Middle Ages, a new type of singing involving multiple melodic parts, called organum, became predominant for certain functions, but initially this polyphony was only sung by soloists. Further developments of this technique included clausulae, conductus and the motet (most notably the isorhythmic motet), which, unlike the Renaissance motet, describes a composition with different texts sung simultaneously in different voices.
In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, the separate development of British Christianity until the eighth century, led to the development of a distinct form of liturgical Celtic chant. This was superseded, from the eleventh century by Gregorian chant. England retained unique forms of music and of instrumentation, but English music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. English musicians also developed some distinctive forms of music, including the Contenance Angloise, the rota, polyphonic votive antiphons and the carol and the ballad.
The Arsenal Concert Hall is a cultural venue dedicated specially to classical and art music and located near the Esplanade garden in Metz, capital of the Lorraine region, France. The Arsenal is home to the Orchestre National de Lorraine and almost 200 events are spread over the season period between September and June. The Arsenal has gained wide recognition as one of the most beautiful concert halls in the world.Classica magazine, Special Issue, September 2010 The Arsenal is part of a cultural complex along with the chapel of the Knight Templars, from the 13th century, and ancient basilica of Saint- Pierre-aux-Nonnains, a Roman basilica of the 4th century, refurbished as showroom and concert hall for the Gregorian chant, respectively.
The Gorze Reform was similar to the Cluniac Reform in that it aimed at a re- establishment of the Rule of St. Benedict, but quite different in several major areas. In particular, whereas Cluny created a centralised system of authority in which the religious houses adopting its reforms became subordinate to Cluny itself, the Gorze reforms preserved the independence of the participating monasteries, and resulted instead in a network of loosely connected affiliations based on several centres, such as Fulda, Niederaltaich, Einsiedeln and St. Emmeram's Abbey in Regensburg. Gorze was also the home of the "chant messin", an early form of Gregorian chant or plainsong, as a part of the liturgy, and also of sacred drama, particularly in connection with the Easter rituals.
Various manuscripts and printed editions of Gregorian chant, using varying styles of square-note neumes, circulated throughout the Catholic Church for centuries. Some editions added rhythmic patterns, or meter, to the chants. In the 19th century the monks of the Benedictine abbey of Solesmes, particularly Dom Joseph Pothier (1835–1923) and Dom André Mocquereau (1849–1930) collected facsimiles of the earliest manuscripts and published them in a series of 12 publications called Paléographie musicale (French article). They also assembled definitive versions of many of the chants, and developed a standardized form of the square-note notation that was adopted by the Catholic Church and is still in use in publications such as the Liber Usualis (although there are also published editions of this book in modern notation).
Makem was born and raised in Keady, County Armagh (the "Hub of the Universe" as Makem always said), in Northern Ireland. His mother, Sarah Makem, was an important source of traditional Irish music, who was visited and recorded by, among others, Diane Guggenheim Hamilton, Jean Ritchie, Peter Kennedy and Sean O'Boyle. His father, Peter Makem, was a fiddler who also played the bass drum in a local pipe band named "Oliver Plunkett", after a Roman Catholic martyr of the reign of Charles II of England. His brother and sister were folk musicians also. Young Tommy Makem, from the age of 8, was a member of the St. Patrick's church choir for 15 years where he sang Gregorian chant and motets.
With the papal appointment of a French abbot as the new archbishop of Toledo, which had been recaptured in 1085, Roman influence could be enforced throughout the Hispanic Church. Following its official suppression by Pope Gregory VII, the Mozarabic rite and its chant disappeared in all but six parishes in Toledo. The Visigothic/Mozarabic rite was revived by Cardinal Jiménez de Cisneros, who published in 1500 and 1502 a Mozarabic Missal and Breviary, incorporating elements of the Roman rite, and dedicated a chapel to preserving the Visigothic/Mozarabic rite. However, the chant used for this restored Visigothic/Mozarabic rite shows significant influence from Gregorian chant, and does not appear to resemble the Visigothic/Mozarabic chant sung prior to the reconquest.
The scholar of music Emily Sulka notes that the song cycle was created because Swann and his wife liked Tolkien's writings, and set six of the poems to music. Tolkien liked five of the settings, but proposed a melody similar to a Gregorian chant in place of the sixth, for Namárië. She notes too that Swann wanted them to be performed as a group without applause between the songs. In her view, the cycle has the theme of travel: the walking songs launch into an adventure to unknown lands, but returning home; "In the Willow-Meads of Tasarinan" speaks of Treebeard's travels in many lands, from spring to winter; "In Western Lands" in contrast begins with Sam in despondent mood, but ends with a feeling of hope.
In terms of musical composition, Born This Way is considered to be a notable departure from Gaga's previous works. It incorporates a broader range of musical genres such as opera, heavy metal, rock and roll, Europop, electro-industrial, disco, and house in addition to featuring a wider variety of instrumentation and musical styles. For example, an organ can be heard as Gaga closes "Born This Way", a Gregorian chant-inspired male vocal choir is a prominent feature in "Bloody Mary", guitars and violins in "Americano", and electric guitars in "Bad Kids". The songs "Hair" and "The Edge of Glory" are distinguishable from the rest of the album, as a saxophone – performed by Clarence Clemons, a prominent member of the E Street Band – can be heard throughout.
The plainsong melodies found in the Roman antiphonary and the "Graduale" have received the general title of "Gregorian Chant", in honour of pope Gregory the Great (r. 590–604), to whom a tradition, supported by internal and external evidence, ascribes the work of revising and collecting into the various texts and chants of the liturgy. Doubtless the ancient missal contained only those texts which were appointed for the celebrant, and did not include the texts which were to be chanted by the cantor and choir; and the "Antiphonarium Missæ" supplied the omitted texts for the choir as well as the chants in which the texts were to be sung. The importance of the Gregorian Antiphonary is found in the enduring stamp it impressed on the Roman liturgy.
Joan Pau Pujol sheet music Pujol wrote much of his music for the patron saint of Catalonia, St. George, and most of his compositions are based on Gregorian chant. He was a prolific composer, writing 13 masses, 8 settings of the Magnificat, 6 settings of the Nunc dimittis, 12 antiphons, 12 responsories, 9 complete settings of the Passion, litanies, lamentations, sequences, motets, hymns, and no less than 74 psalm settings. In addition he wrote 19 sacred villancicos, a form unique to the Iberian peninsula. Surviving secular music includes romances, letrillas, liras, novenas, tonos, a folia, and 16 other works, some of which were collected in groups of madrigals of the time; they were evidently popular in Spain in the early part of the 17th century.
The tonus peregrinus is an exceptional psalm tone in Gregorian chant: there it was most clearly associated with Psalm 113, traditionally sung in vespers. In Lutheranism, the tonus peregrinus is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the tonus peregrinus. Typical for all German variants of the tonus peregrinus, it starts with the same note as the tenor and then moves a minor third up before returning to the tenor note. Particular for the version associated with Luther's German translation of the Magnificat is that the same two notes are repeated at the start of the second half of the melodic formula.
In 536, Eastern Roman troops of Emperor Justinian, under the command of Cyril, a subordinate of Belisarius, regained the island, as well as Sardinia and the Balearics, in the course of a many year long operation in the western Mediterranean, whose ultimate goal was the reconquest of North Africa from the Vandals. There is no trace of imperial building work in Corsica, of the sort which took place elsewhere. In 575, the Lombards landed on the island and they established several strategically important coastal sites. The interior of the island, however, remained in Eastern Roman hands Pope Gregory I dictates the Gregorian chant, which was said to have entered him from the Holy Spirit, to a scribe (Antiphonary of Hartker von St. Gallen c.1000).
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.Carol Neuls-Bates, Women in Music p. 3.
Het oorspronkelijke ritme van het Gregoriaans: Een 'semiologisch-mensuralistische' studie. Landsmeer, . Starting with the expectation that the rhythm of Gregorian chant (and thus the duration of the individual notes) anyway adds to the expressivity of the sacred Latin texts, several word-related variables were studied for their relationship with several neume-related variables, exploring these relationships in a sample of introit chants using such statistical methods as correlational analysis and multiple regression analysis. 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.
However, in line with Pope John XXIII's revision of the rubrics of the liturgy, the splitting of the Sanctus, when sung to Gregorian chant (though not if sung polyphonically) was forbiddenDe ritibus servandis in cantu missae, VII and is thus not allowed in celebrations of the 1962 Tridentine Mass as authorized by Pope Benedict XVI's Summorum Pontificum. In the Mass revised in line with the Second Vatican Council, the Sanctus may, of course, not be split, since the whole of the eucharistic prayer is sung or spoken aloud, and the only ceremony prescribed for the priest during the Sanctus is to join his hands. He and the people sing or recite together the whole of the Sanctus, before the priest continues the Eucharistic Prayer.
The consequence of this centralisation of knowledge was that they initially controlled both public administration and education, where the trivium led through the quadrivium to theology. Christian monks cultivated the arts as a way of praising God. Gregorian chant and miniatures are examples of the practical application of quadrivium subjects. However, the dialectical dispute between Peter Abelard and William of Champeaux in the early 12th century over the methods of philosophic ontology led to a schism between the Catholic Orthodox of the School of Notre Dame in Paris and the student body, leading to the establishment of Free Schools and the concept of an autonomous University, soon copied elsewhere in Europe, and this eventually led to the Reformation which dismounted the primacy of the monasteries.
Traditional D minor setting of Luther's German Magnificat, which is a particular German version of the ninth tone or tonus peregrinus The traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the , a rather exceptional psalm tone in Gregorian chant. The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode. For the traditional setting of Luther's German Magnificat that is the minor mode for which the last note of the melodic formula is the tonic, a fifth below its opening note. The tonus peregrinus variant that is associated with Luther's German Magnificat appears in compositions by, among others, Johann Hermann Schein, Heinrich Schütz, Johann Pachelbel and Dietrich Buxtehude.
A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of Gregorian chant according to the Gregorian mode (tonus) of their melodies within the eight-mode system. Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text (the psalm tone if the antiphon is sung with a psalm, or canticle tone if the antiphon is sung with a canticle), but a tonary may also or instead list responsories or Mass chants not associated with formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an appendix to other liturgical books such as antiphonaries, graduals, tropers, and prosers, and are often included in collections of musical treatises.
Archaic elements such as motifs influenced by Gregorian chant or free-flowing melodies that are not subordinated to a rigid bar scheme characterize the compositions. In addition to the stylistic reorientation, the anti-Christian basic attitude promoted in the GDR also led to a loss of members in the churches, which is why Weyrauch wrote simple movements for small ensembles for practical reasons. He described his last creative period as a "style of mirrored spiritual ideas", in which he dispensed with decorative elements in the individual voices in favour of clear diction in the overall arrangement of the works. The tonal language, which becomes harsher and more brittle, deliberately dispenses with "musical beauty" and places the meditative element more strongly in the foreground.
As key-concept behind the creative outburst that manifested in the 11th and 12th centuries is the vertical and harmonic expansion of dimension, as the strongly resonant harmony of organum magnified the splendour of the celebration and heightened its solemnity. The earliest European sources of information concerning organum regard it as a well-known practice . Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from Gregorian chant. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.
Having been ordained in Lima, Luis Jerónimo de Oré participated in the translation of the texts produced by the Third Lima Council (1582-1583), among others, the "Catecismo para instrucción de los indios" (Catechism for the instruction of the Indians), the "Confesionario" (Confessional) and various instructional texts. As a result of this experience, in 1598 the Franciscan published his most influential work and the first scientific work written in Spanish, Latin, Quechua, and Aymara: the Symbolo Catholico Indiano, printed in Lima in 1598. Evidently, his experience as a multilingual preacher was helpful to the work of the evangelists during the colonial period. In his work, Oré proposed that the Native Americans should only be taught not only with Gregorian chant, but also in polyphony, by competent teachers.
But this is not just a performance of the Ordo Virtutum. Together, the two DVDs contain over four hours of material designed to create a well- rounded portrait of Hildegard. ... Certainly worth buying...’ International Record Review This stylized performance, sung to music that blends the meditative qualities of Gregorian chant with lyrical emotional expression, presents Hildegard von Bingen's powerful vision of life's difficult journey. The stellar medieval music ensemble Vox Animae treats this morality play as part of a living dramatic tradition, while also stressing the story's contemporary relevance. Queen's University at Kingston [syllabus for study unit ‘Women, Gender and Music’] ‘I don't know whether it's the piece itself, or this highly stylized and impeccably conceived performance that converted me from a sceptic to a true believer.
Many locations have been displaced and reduced to islands, including Oxford University and the London borough of Deptford, which is now in the Indonesian Ocean as a part of the Cockney Islands. The solar system is equally altered: Jupiter has been deep fried by Harry Ramsden's, Mercury and Neptune have been knocked together, and there was an initiative to destroy the Moon, which according to the show was deleterious to the nightlight industry. Religion also exists in the Nebulous universe. Pieced together following the Withering, theologians conclude that there were four true deities: the evil twins Yin and Yang, Feng Shui the destroyer, and merciful Bod, based on the children's television programme Bod, the theme tune of which has become a hymn, sung in Gregorian chant.
Other maestros de capilla were Matías Durango de los Arcos, Alonso Lobo, Juan Bonet de Paredes, Andrés de Torrentes, Ginés de Boluda and Francisco Juncá y Carol. The influence of the music of the cathedral of Toledo was decisive in Spanish religious music—not only in Mozarabic chant, but also in training maestros who later moved to other dioceses such as Seville or Jaén, and in the Six-Piece choristers who formed choirs in other cathedrals, even introducing variations of Gregorian chant in the form of what is known as Cantus Eugenianus, Cantus Melodicus or Vulgo Melodía, through the efforts of the song masters of the cathedral (up to 18 masters have been recorded), figures who disappeared with the Concordat of 1851 and most of whose compositions are kept in the cathedral library.
Albert Rosewig had become a prominent local reverend and musical arranger in the late 19th century, known for a modern style that adapted elements of Western classical music. In 1903, however, Pope Pius X issued an edict (Motu Proprio), which was intended to reform and restore church music to a more traditional style. To that end, local composer, conductor and publisher Nicola Montani led the reform, which restricted musical style and instrumentation, and encouraged the use of polyphony, Latin and restored Gregorian chant. He was not the only noted local liturgical composer, however, as M. Immaculée, music director of Immaculata College, was also a well-known composer; she was noted as a composer of choral works, and also promoted liturgical music, and female composers, in the Philadelphia area.
This is mostly used when the piece changes to free time after having had a time signature. # Instead of a time signature, a large is written on the stave. # Note heads alone are used, without time values (typically black note heads without stems) # The passage is marked "recitativo" or "parlando" Examples of musical genres employing free time include Gregorian chant, the petihot used as transitions between Baqashot in Sephardic Jewish cantillation, nusach, layali, early types of organum, Anglican chant, the préludes non mesurés of 17th-century French lute and keyboard music, the alap of Hindustani classical music, Javanese pathetan, the hora lungă of Romania, the urtiin duu of Mongolia, the Zulu izibongo, free improvisation, free jazz and noise music. Cadenzas are most often in unmeasured rhythm, and so is recitative.
St. Bonifatius, Wiesbaden, interior from the organ loft, photograph by Dessauer From 1981, he has been the cantor at St. Bonifatius, Wiesbaden, the central Catholic church in the capital of Hesse. He is the conductor of the 107-member Chor von St. Bonifatius, founded in 1862, of the children's choir Kinderchor von St. Bonifatius, and of the Schola for Gregorian chant. The church choir sings at services, including regular orchestral masses of Haydn, Mozart, Beethoven and Schubert for Christmas and Easter, accompanied by members of the orchestra of the Hessisches Staatstheater Wiesbaden, with soloists from the Hochschule für Musik Mainz such as Andreas Karasiak and students. In 2011 they performed the Mass No. 1 in B-flat major by Johann Nepomuk Hummel, in 2012 the Missa super Dixit Maria by Hans Leo Hassler.
Originally, the entrance of the priest who was to celebrate Mass was accompanied by the singing of a whole psalm, with Gloria Patri (doxology). While the psalm was at first sung responsorially, with an antiphon repeated by all at intervals, while a solo singer chanted the words of the psalm, it was soon sung directly by two groups of singers alternating with each other, and with the antiphon sung only at the beginning and the end, as is the usual way of chanting the psalms in the Liturgy of the Hours. The change to this manner of singing the psalm has been attributed to Pope Celestine I (422–432). Pope Gregory I (590–604), after whom Gregorian chant is named, composed several antiphons for singing with the Entrance psalm.
For the lyrics, see Peter Godman (1985), Latin Poetry of the Carolingian Renaissance (Norman: University of Oklahoma Press), 206–11. A prevalent view is that neumatic notation was first developed in the Eastern Roman Empire. This seems plausible given the well-documented peak of musical composition and cultural activity in major cities of the empire (now regions of southern Turkey, Syria, Lebanon and Israel) at that time. The corpus of extant Byzantine music in manuscript and printed form is far larger than that of the Gregorian chant, due in part to the fact that neumes fell into disuse in the west after the rise of modern staff notation and with it the new techniques of polyphonic music, while the Eastern tradition of Greek orthodox church music and the reformed neume notation remains alive until today.
This song was covered by Japanese-American singer Hikaru Utada acoustically with a guitar during an internet broadcast in December 2005; a video of it can be found. "Boulevard of Broken Dreams" is sung first and then fades into "Passion" (After the Battle version) from the Kingdom Hearts II original soundtrack. A live version of the song can be found on Bullet in a Bible, the 2005 live album of Green Day performing on June 19 that year at the Milton Keynes National Bowl. Bluegrass band Cornbread Red did a cover of the song on a tribute album to Green Day Pickin' on Green Day, while the German choir Gregorian did a cover, on their Masters of Chant Chapter V album, in the style of a Gregorian Chant.
Contemporary music aims to enable the entire congregation to take part in the song, in accord with the call in Sacrosanctum Concilium for full, conscious, active participation of the congregation during the Eucharistic celebration. What its advocates call a direct and accessible style of music gives participation of the gathered community higher priority than the beauty added to the liturgy by a choir skilled in polyphony. Music for worship, according to the U.S. Conference of Catholic Bishops, is to be judged by three sets of criteria – pastoral, liturgical, and musical, with the place of honor accorded to Gregorian chant and the organ. On this basis it has been argued that the adoption of the more popular musical styles is alien to the Roman Rite, and weakens the distinctiveness of Catholic worship.
Consistent with the Anglo-Catholic principles of the ritual of All Saints church, the choir consists of robed adults and children who "lend their voice to the adornment of the Sacraments and Other Rites and Ceremonies to the use of the Church of Ireland for the purpose of the worship of the Lord in the beauty of holiness and the edification of the people". The choir traces its origins from the earliest days of the parish and records indicate that, while adult members were volunteers, the children were paid. It is reported that during the 1940s the children went on strike in pursuit of higher salaries. The principal repertoire of the choir is Gregorian Chant, while also encompassing polyphonic and contemporary works in accordance with the altered dynamic of the parish.
The work was commissioned by the Referat Kirchenmusik im Bistum Limburg (RKM), the division of church music of the Diocese of Limburg, to celebrate the organization's 50th anniversary. The work was requested to include many different musical groups and styles, to represent the activities of the church musicians in the diocese, such as Gregorian chant, choral singing of children and adults, organ solo music, and Neues Geistliches Lied. The text was planned to contain writings by Pope Francis from his Apostolic exhortation Evangelii gaudium (2013) and his encyclical Laudato si' (2015), and the Magnificat in the traditional Latin. The librettist, the Franciscan Helmut Schlegel, introduced additional writings by Francis of Assisi and Clare of Assisi, and focused on mercy corresponding to the Extraordinary Jubilee of Mercy in 2016.
Musically, as the 1990s progressed, Davis moved into the mainstream of "progressive rock" music with a heavier reliance on synthesized instruments and less humor. Titles like "Small Wooden Bach'ses" from Fresh Aire III were not seen, nor mechanisms like the creative use of a cricket on the same album or the Gregorian chant on Fresh Aire II. Davis's music became closer to the "light jazz" style that gained prominence in the 1990s, especially with the Day Parts albums. Steamroller developed a full- length theatrical motion picture based on their Christmas albums, but the plans for production fell through. Instead, the following year, they collaborated with Olivia Newton-John for yet another Christmas album called The Christmas Angel: A Family Story, a mostly spoken-word recording scored with previously released material.
Nevertheless, a lot of Italian cantors were authors of tonaries which played a key role during Carolingian, Cluniac, and anti-Cluniac reforms in France and Lake Constance. As example, William of Volpiano from Piedmont, Guido of Arezzo, whose treatises were used during the Cistercian and Beneventan reform, while there is no source which testify the use of tonaries among Roman cantors. The famous Dialogus, falsely ascribed to Odo of Cluny, the second Abbot of Cluny Abbey, was compiled in the province of Milan, while only "Formulas quas vobis", a tonary used in Montecassino and Southern Italy, was written by another Odo, Abbot of Arezzo. Older traditions like Old-Roman, Ambrosian, as well as Old-Beneventan manuscripts follow own modal patterns which are not identical with those of "Gregorian chant", i.e.
The name Léonin is derived from "Leoninus," which is the Latin diminutive of the name Leo; therefore it is likely that Léonin's given French name was Léo. All that is known about him comes from the writings of a later student at the cathedral known as Anonymous IV, an Englishman who left a treatise on theory and who mentions Léonin as the composer of the Magnus Liber, the "great book" of organum. Much of the Magnus Liber is devoted to clausulae--melismatic portions of Gregorian chant which were extracted into separate pieces where the original note values of the chant were greatly slowed down and a fast-moving upper part is superimposed. Léonin might have been the first composer to use the rhythmic modes, and may have invented a notation for them.
The Cappella Giulia, officially the Reverend Musical Chapel Julia of the Sacrosanct Papal Basilica of Saint Peter in the Vatican, is the choir of St. Peter's Basilica that sings for all solemn functions of the Vatican Chapter,For the history of the Vatican Chapter, see Pope Benedict XVI, address to members of the Vatican Chapter, Clementine Hall, 8 October 2007. such as Holy Mass, Lauds, and Vespers, when these are not celebrated by the Pope (for functions celebrated by the Pope, the Sistine Chapel Choir sings instead). The choir has played an important role as an interpreter and a proponent of Gregorian chant and sacred polyphony.See Cappella Giulia, Wikipedia (Italian) and Fondazione Pro Musica e Arte Sacra, IV Festival Internazionale di Musica e Arte Sacra, Rome (23–26 November 2005), program and artist notes.
The Badìa Fiorentina is an abbey and church now home to the Monastic Communities of Jerusalem situated on the Via del Proconsolo in the centre of Florence, Italy. Dante supposedly grew up across the street in what is now called the 'Casa di Dante', rebuilt in 1910 as a museum to Dante (though in reality unlikely to be his real home). He would have heard the monks singing the Mass and the Offices here in Latin Gregorian chant, as he famously recounts in his Commedia: "Florence, within her ancient walls embraced, Whence nones and terce still ring to all the town, Abode aforetime, peaceful, temperate, chaste." In 1373, Boccaccio delivered his famous lectures on Dante's Divine Comedy in the subsidiary chapel of Santo Stefano, just next to the north entrance of the Badia's church.
Founder Theodore Marier in 1965, with Gregorian chant expert Dom Joseph Gajard St. Paul's Choir School was founded in 1963 by Theodore Marier and Monsignor Augustine F. Hickey as the result of the Vatican's 1958 Instruction on Sacred Music and Sacred Liturgy De musica sacra, which declared that every effort should be made that city center churches have their own boys' choir school. St. Paul's Choir School started in September with twenty-five fifth- through eighth-grade students chosen from throughout the Archdiocese of Boston. The school was designed as a four-year course for students of academic ability and musical talent, assigning two periods of each school day to music, as well as additional rehearsals with the men of the choir. The music program included sight reading, appreciation, theory, history, and instrumental studies.
The Cathedral choir is made up of a dedicated group of trained singers. This choir sings on most Sundays at the Cathedral at the 10.30am Mass as well as at concerts and special services. While firmly based on Gregorian chant, the choir sings (accompanied by one of the organs or the Cathedral Orchestra when that is appropriate) a wide repertoire ranging from Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, Thomas Tallis and William Byrd to George Frideric Handel, Wolfgang Amadeus Mozart, Franz Schubert, Samuel Sebastian Wesley, Anton Bruckner, Gabriel Fauré, Herbert Howells, Maurice Duruflé, Ildebrando Pizzetti, Morten Lauridsen, James MacMillan, Douglas Mews, Eric Whitacre, Ola Gjeilo and many other composers including occasional commissioned contemporary works. The boys' choir is made up of about 15 boys from the neighbouring Sacred Heart Cathedral School.
Other examples of AMIATA's world music are records by the Bauls of Bengal, Tibetan Lama Namkhai Norbu Rinpoche, Indian virtuoso Zakir Hussain, Gabin Dabiré and the Ensemble Club musical Oriente Cubano. The AMIATA New Series was created to document Western contemporary classical works — the first of these was the world-premiere recording of Hans Otte Aquarian Music who gave to the series a certain minimalist approach confirmed by other releases of music by Steve Reich, Terry Riley, Ludovico Einaudi, Arvo Pärt. On many releases, the multicultural and classical sides of AMIATA are combined: for example, Ustad Nishat Khan's Meeting of Angels features him playing sitar solos over the Ensemble Gilles Binchois singing Gregorian chant. The label was distributed in the USA for many years by Ryko Distribution and after Warner Bros.
Poetry and stories written in French were popular after the Norman conquest, and by the twelfth century some works on English history began to be produced in French verse. Romantic poems about tournaments and courtly love became popular in Paris and this fashion spread into England in the form of lays; stories about the court of King Arthur were also fashionable, due in part to the interest of Henry II.; English continued to be used on a modest scale to write local religious works and some poems in the north of England, but most major works were produced in Latin or French. Music and singing were important in England during the medieval period, being used in religious ceremonies, court occasions and to accompany theatrical works.; From the eleventh century distinctive monophonic plainchant was superseded, as elsewhere in Europe, by standardised Gregorian chant.
Dancer Hampton Williams performed to this song during his audition for the season 9 premiere of So You Think You Can Dance, broadcast on May 24, 2012, where he received a standing ovation, and in season 11 the song accompanied a performance by the top seven women, choreographed by Mandy Moore and broadcast on July 30, 2014, that earned similar reviews. An arrangement of the song inspired by Gregorian chant was covered by the group Gregorian on their 2004 album, The Dark Side. In 2013, violinist Lindsey Stirling recorded an instrumental version of "My Immortal" for the Target edition of her first self-titled studio album. In July 2013, it was uploaded to her personal channel on YouTube along with an accompanying performance video and it was released to the iTunes Store on October 1, 2013.
The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period . The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects (Old Roman, Mozarabic, Ambrosian, etc.). The repertory of Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there was no precedent in Ancient Greek theory, came to be associated with the repertory of Gregorian chant.
Still, the single has a riddim that's infectious, a Gregorian chant inspired chorus that's very clever, plus Shaggy in top form, pointing out all the pious church-goers he deals with back home with his usual crafty slang and humor. While the album - his worldwide comeback hit - lands on isn't totally without its crossover material, with "What's Love" with Akon being the best example—Shaggy is more discerning than ever and makes sure the radio- friendly material is right in line with his skill set. The breezy "Bonafide Girl" with Rik Rok brings welcome reminders of their "It Wasn't Me" interplay, and while "Out of Control" could have come straight from the house of Jermaine Dupri, it's R&B-meets-dancehall; stance feels natural, not forced. Even better are the tracks that fall firmly in the dancehall category.
Interpreters who released records in classical genres include Kim Kashkashian, András Schiff, Gidon Kremer, the Hilliard Ensemble, Thomas Zehetmair, Carolin Widmann, Till Fellner, Herbert Henck, Alexei Lubimov, András Keller, Miklós Perényi, John Holloway, John Potter or most recently Patricia Kopatchinskaja. On many releases, the jazz and classical sides of ECM are combined: For example, Garbarek's Officium (1994) features him playing saxophone solos over the Hilliard Ensemble singing Gregorian chant, early polyphony and Renaissance works. Garbarek's work with guitarist Ralph Towner draws on, and is as apparently influenced by, 20th century chamber music as by any overtly jazz-oriented material. John Potter, formerly of the Hilliard Ensemble, has recorded works by John Dowland with jazz saxophonist John Surman and others, and Surman's Proverbs and Songs is a suite of choral settings of Old Testament texts, recorded in Salisbury Cathedral.
Along with the founder Fr. Hand, over the years a number of eminent people had taught at or been associated with All-Hallows Dr. Bartholomew Woodlock(became Rector of the Catholic University of Ireland), Dr. David Moriarty, Dr. Michael Flannery, Dr. Eugene O'Connell, Dr. George Conroy, Dr. James McDevitt, Dr. Sylvester Barry, Dr. Thomas A. Bennett, Monsignor James O'Brien (St. John's College, Sydney), and Dr. Patrick Delany (Hobart), have gone on to leading positions in the Catholic Church or other educational institutions. Two other noted professors at the college were the converts from Anglicanism Father Thomas Potter, and Mr. Henry Bedford MA. The architect and designer of churches in Ireland James Joseph McCarthy was Professor of Ecclesiastical Architecture at the college. James Joseph McCarthy Dictionary of Irish Architects The organist and composer Vincent O'Brien served as Professor of Gregorian Chant from 1903. Rev.
Infantas was born in Córdoba in 1534, a descendant of Juan Fernández de Córdoba who had conveyed the two daughters, infantas (hence the surname), of Pedro I of Castile to safety after the Battle of Montiel in 1369. The family was still notable in Córdoba at the time of Fernando's birth and he enjoyed a privileged education, and later a patrimonio, or stipend, remitted to him in Rome from his family in Spain. From 1572-1597 Infantas resided in Rome, voluntarily giving his services to a hospital for the poor. In 1577 Infantas came into conflict with Pope Gregory XIII and the composers Palestrina and Annibale Zoilo over the reversal of reforms in Gregorian chant, at one point causing his sponsor Philip II of Spain to instruct the Spanish ambassador in Spain to intercede with the Pope.
While musical life was undoubtedly rich in the early Medieval era, as attested by artistic depictions of instruments, writings about music, and other records, the only repertory of music which has survived from before 800 to the present day is the plainsong liturgical music of the Roman Catholic Church, the largest part of which is called Gregorian chant. Pope Gregory I, who gave his name to the musical repertory and may himself have been a composer, is usually claimed to be the originator of the musical portion of the liturgy in its present form, though the sources giving details on his contribution date from more than a hundred years after his death. Many scholars believe that his reputation has been exaggerated by legend. Most of the chant repertory was composed anonymously in the centuries between the time of Gregory and Charlemagne.
Most parts of Europe had active and well-differentiated musical traditions by late in the century. In England, composers such as Thomas Tallis and William Byrd wrote sacred music in a style similar to that written on the continent, while an active group of home-grown madrigalists adapted the Italian form for English tastes: famous composers included Thomas Morley, John Wilbye and Thomas Weelkes. Spain developed instrumental and vocal styles of its own, with Tomás Luis de Victoria writing refined music similar to that of Palestrina, and numerous other composers writing for the new guitar. Germany cultivated polyphonic forms built on the Protestant chorales, which replaced the Roman Catholic Gregorian Chant as a basis for sacred music, and imported the style of the Venetian school (the appearance of which defined the start of the Baroque era there).
A brief study of the divisions and arrangement of the Marquess of Bute's translation into English of the Roman Breviary will make clear from the above description the general character of a complete Roman antiphonary. It is suggested by some that this Ratisbon edition has lost its authentic and official character by virtue of the Motu proprio Tra le sollecitudini (22 November 1903), and the Decree of the Sacred Congregation of Rites (8 January 1904). Pope Pius X rejected the Ratisbon edition and ordered the creation of a new Vatican edition, in which both the texts and the melodies were to be revised in order to bring them into conformity with the results of recent palaeographic studies in Gregorian chant. The Ratisbon editions were replaced with the Vatican edition of 1912 The Antiphonale monasticum (1934) was produced by the Benedictines of Solesmes.
Incipit of the Gregorian chant introit for a Requiem Mass, from the Liber Usualis Duruflé structured the work in nine movements: # Introit (Requiem aeternam) # Kyrie eleison # Offertory (Domine Jesu Christe), Choir & baritone solo # Sanctus and Benedictus # Pie Jesu, Mezzo-soprano solo, optional solo cello # Agnus Dei # Communion (Lux aeterna) # Libera me, Choir & baritone solo # In paradisum The work is for SATB choir with brief mezzo-soprano and baritone solos. It exists in three versions: one for organ alone (with obbligato solo for cello); one for organ with string orchestra and optional trumpets, harp, and timpani; and one for organ and full orchestra. Like Fauré in his Requiem, Duruflé's omits most of the liturgical Dies Irae, but sets its part Pie Jesu. He includes Libera me and In Paradisum, from the burial service, again like Fauré, focused on calmness and a meditative character.
Carmel Books in the United Kingdom and several other publishers issued editions usually containing the text as it was in the 1950s. St. Bonaventure Publications publishes an edition edited by Fr. Francis Xavier Lasance and originally issued in 1904, which gives the office as it was before Pius X's revision of the Psalter. Baronius Press publishes the 1961 text, which is the most recent edition, in a bilingual English and Latin edition, collecting all the Gregorian chant for the office for the first time in a published edition; while Angelus Press, the publishing arm of the Society of Saint Pius X, also publishes an English/Latin edition of the 1961 text; unlike the Baronius edition, this version includes pronunciation marks for the Latin text, as well as Matins, Lauds, and Vespers of the traditional Office of the Dead.
Archiv Produktion is a classical music record label of German origin. It originated in 1949 as a classical label for the Deutsche Grammophon Gesellschaft (DGG), and in 1958 Archiv was established as a subsidiary of DGG, specialising in recordings of Early and Baroque music. It has since developed a particular focus on "historically informed performance" and the work of artists of the Early music revival movement of the 20th and 21st centuries. The first head of Archiv Produktion, serving in the position from 1948 to 1957, was Fred Hamel, a musicologist who set out the early Archiv Produktion releases according to 12 research periods, from Gregorian Chant to Mannheim and Vienna.Dorottya Fabian Bach performance practice, 1945-1975: a comprehensive review 2003 Hamel's successor 1958-1968 Hans Hickmann was a professor at the University of Hamburg who focused on Bach and Handel.
Composer Levente Szörényi, who had already worked together with János Bródy (lyrics) for more than two decades when they wrote István, a király (most famously in the bands Illés and Fonográf), chose to characterize every major character and group in the play by its own style of music. Thus, the music of the rock opera encompasses a great variety of styles, ranging from Gregorian chant to hard rock. István's hopes and fears are expressed in melodious pop songs, while Koppány's power and determination is shown through rock pieces. Réka is characterized by simple folk tunes as a girl of the people (her part was sung by famous folk singer Márta Sebestyén in the original version - she is best known internationally from the soundtrack of the movie The English Patient and for her frequent collaborations with the well-known folk music ensemble Muzsikás).
At all Church of the Ascension Solemn High Masses throughout the year, members of the choir sing five pieces of Gregorian chant called the “minor propers”. In Anglo-Catholic parishes, a “proper” is a bit of Scripture that changes from week to week (or day to day for daily Mass) according to the Roman Gradual (or in Latin: Graduale Romanum), an official liturgical book of the Roman Rite. The most obvious Scripture that is “proper” for any one day of the church calendar is the appropriate text of the Old Testament, the Epistle, and the Gospel; these propers vary in a three-year cycle called the “Lectionary” and might be referred to as the “Major Propers” although that term is rarely used. The minor propers are Scripture that are of lesser importance and according to the Book of Common Prayer are optional in the worship service.
Baptistery window of Christ Church Cathedral, Dublin When he was 32, following the death of Archbishop Gregory in 1162, he was elected unanimously Archbishop of Dublin"St. Lawrence O'Toole", Catholic News Agency at the Synod of Clane, and was consecrated in by Gelasius, Archbishop of Armagh and successor of St. Malachy. He was the first Irishman to be appointed to the See of this town then ruled by Danes and Norwegians; it is notable that his nomination was backed not only by the High King Ruaidrí Ua Conchobair (Rory O'Connor), King Diarmait Mac Murchada (who had by then been married to Lorcán's sister, Mór); and the community at Glendalough, but also by the clergy and population of Dublin itself. He played a prominent part in the Irish Church Reform Movement of the 12th century, as well as rebuilding several parish churches and emphasising the use of Gregorian chant.
It was founded by the papal bull, Ratione congruit, issued by Sixtus V in 1585, which invoked two saints prominent in Western musical history: Gregory the Great, after whom Gregorian chant is named, and Saint Cecilia, the patron saint of music. Her feast day became an occasion for musical concerts and festivals that occasioned well-known poems by John Dryden and Alexander PopeOde on St. Cecilia's Day (composed 1711) at, for example, www.PoemHunter.com and music by Henry Purcell (Ode to St. Cecilia); several oratorios by Marc-Antoine Charpentier (In honorem Caeciliae, Valeriani et Tiburtij canticum; and several versions of Caecilia virgo et martyr to libretti probably written by Philippe Goibaut); George Frideric Handel (Ode for St. Cecilia's Day; Alexander's Feast); Charles Gounod (St. Cecilia Mass); as well as Benjamin Britten, who was born on her feast day (Hymn to St Cecilia, based on a poem by W. H. Auden).
The earliest designs of keyboards were based heavily on the notes used in Gregorian chant (the seven diatonic notes plus B-flat) and as such would often include B and B both as diatonic "white notes," with the B at the leftmost side of the keyboard and the B at the rightmost. Thus, an octave would have eight "white keys" and only four "black keys." The emphasis on these eight notes would continue for a few centuries after the "seven and five" system was adopted, in the form of the short octave: the eight aforementioned notes were arranged at the leftmost side of the keyboard, compressed in the keys between E and C (at the time, accidentals that low were very uncommon and thus not needed). During the sixteenth century, when instruments were often tuned in meantone temperament, some harpsichords were constructed with the G and E keys split into two.
By this time, DGG had built a reputation for high- quality recording in the classical field as well as a notable roster of contracted singers, musicians, and conductors. Through its subsidiary label Archiv Produktion it also stimulated interest in Western medieval and renaissance music, 15th–16th century choral polyphony, Gregorian chant, and pioneering use of 'historical instruments' and performance practices in recordings. DGG/Polydor's entrance into the US market in 1969 (DGG had distribution deals in the US with Decca Records and MGM Records beforehand) came at a time when the big US classical music labels RCA Victor Red Seal and Columbia Masterworks were dropping their unlucrative classical artists and pressing poor-quality records. The fine quality both of recording and of pressings helped DGG succeed in America and attract artists such as Arthur Fiedler and the Boston Pops Orchestra (after a 35-year association with RCA Victor) to DGG/Polydor.
On 5 July 1876 he founded the first ever Italian catechetical magazine entitled "The Catholic Catechist". He began courses in the Gregorian Chant - something Pope Pius X later did and in 1876 licensed the first Italian catechetical review which was the second in the world; he also issued the book "Catholic Catechism" in 1876. He held three diocesan synods with one being on the Eucharist; the first was held from 2–4 September 1879 (the first in 156 years) which focused on the needs of children while the other two were held in 1893 and 1899. The 1899 synodal document spanned 350 pages and he alone wrote the text for it. The synod on the Eucharist was held from 26–30 August 1899 and in that he ordered that altars be made of marble and he revived Eucharistic confraternities as well as asking that chalices be made of gilded silver.
Nevertheless, his more successful works combine this virtuosity with a high degree of musical integrity, qualities found in compositions such as the Symphonie-Passion, the Chemin de la Croix, the Preludes and Fugues, the Esquisses and Évocation, and the Cortège et Litanie. As well as composing prolifically, Dupré prepared study editions of the organ works of Bach, Handel, Mozart, Liszt, Mendelssohn, Schumann, César Franck, and Alexander Glazunov. He also wrote a method for organ (1927), 2 treatises on organ improvisation (1926 and 1937), and books on harmonic analysis (1936), counterpoint (1938), fugue (1938), and accompaniment of Gregorian chant (1937), in addition to essays on organ building, acoustics, and philosophy of music. As an improviser, Dupré excelled as perhaps no other did during the 20th century, and he was able to take given themes and spontaneously weave whole symphonies around them, often with elaborate contrapuntal devices including fugues.
Sometimes a tonary was attached to these manuscripts, and the cantors could use it by looking for the incipit of an antiphon in question (e.g. an introit to communio), in order to find the right psalmody according to the mode and the melodic ending of the antiphon, which was sung as a refrain during the recitation of the psalm. A Greek psaltes would sing a completely different melody according to the echos indicated by the modal signature, while Frankish cantors had to remember the melody of a certain Roman chant, before they communicated their idea of its mode and its psalmody in a tonary—for all the cantors who will follow them. In this complex process of chant transmission, which followed Charlemagne's reform, the so- called "Gregorian chant" or Franco-Roman chant, as it was written down about 150 years after the reform, was born.
The Christmas set included Christ was born on Christmas Day from Resonet in laudibus, Good Christian men, rejoice from In dulci jubilo and Good King Wenceslas as completely new words for the spring carol Tempus adest floridum. Helmore immediately went on to publish a more substantial collection, The Hymnal Noted, where the texts were mostly Neale's translations from the Latin.Margaret Vainio, Good King Wenceslas - an "English" Carol Helmore was appointed as executor of the will of Chauncy Hare Townshend and, on the latter's death in 1868, together with co-executrix Angela Burdett- Coutts, 1st Baroness Burdett-Coutts, he undertook the responsibility of founding an elementary school in London, which was finally opened in Rochester Street, Westminster, in 1876. His interest in plainsong led him to make several visits, in and after 1875, to the Abbey of Saint Gall in Switzerland, to examine an ancient manuscript supposed to be an accurate copy of a book on Gregorian chant written by Saint Gregory himself.
Beaulieu, according to the official website, is one of the most haunted places in Britain, with reported sightings going back over a hundred years. The sound of Gregorian chant, considered an omen by local tradition, have been reported by Mrs Elizabeth Varley, daughter of John Douglas-Scott-Montagu, 2nd Baron Montagu of Beaulieu, and Michael C. Sedgwick, former curator of the National Motor Museum, amongst others. Among the many reported sightings of monks (allegedly white and brown clad) in the abbey ruins and in the parish church, including one by the actress Margaret Rutherford, is an often repeated tale involving a group of local boys sheltering from a storm in a disused boathouse who see a rowing boat making for the shore. The eccentric Reverend Robert Frazer Powles, Vicar of Beaulieu (1886–1939), claimed to have gone so far as to converse with ghostly monks whom he knew by name, and even to have celebrated candlelit midnight mass every Christmas Eve for them.
Plaque to Venhoda at his birthplace in Moravské Budějovice Miroslav Venhoda (4 August 1915 in Moravské Budějovice - 10 May 1987 in Prague) was a Czech choral conductor who specialized in the performance of Renaissance and Baroque music, via his ensemble The Prague Madrigalists (Pražští madrigalisté in the original language), which he founded in 1956. Trained during the 1930s at Prague's Charles University, Venhoda spent the war years as choral director and organist at the city's Strahov (Dominican) monastery; a book he published in 1946, called Method of Studying Gregorian Chant, drew on this experience. He first achieved an international reputation for his LP discs with the Madrigalists, which began appearing in the early 1960s and continued till the mid-1970s. These discs, mostly for the Supraphon label, included a great many world premiere recordings of composers such as Dufay, Ockeghem, Obrecht, and Jacobus Gallus, as well as of more frequently performed masters such as Palestrina, Lassus, Monteverdi, Dowland, Tallis, and Orlando Gibbons.
Brosig very quickly distanced himself from the association, however, not wishing to make common cause with the more extremist calls for a return to an imagined musical tradition characterised by pre- enlightenment purity. It is clear from the way in which he ran the music at the cathedral that he was committed to many of the ideas associated with the Cecilian, and he was indeed active in promoting many of the movement's aspirations. In June 1963 he published an article on Gregorian Chant in the Luxembourgish specialist journal "Cäcilia", powerfully opposing the nineteenth century practice of harmonising forms of church music which had been created centuries earlier without any thought for potential "harmonisation", a notion which was indeed totally foreign to it. Brosig's aggressive writing on the subject attracted hostile reactions from various "mainstream" church musicians including, in this instance, Georg Schmitt, formerly organist at Trier and after 1850 in charge of the "Great Organ" at Church of Saint-Sulpice in Paris whose reaction was notably polemical.
St Cecilia's Abbey RC Church, Appley Rise, Ryde (May 2016) (2) Founded in 1882 and dedicated to the Peace of the Heart of Jesus, St Cecilia's Abbey, Ryde, Isle of Wight, belongs to the Benedictine Order, and in particular to the Solesmes Congregation of Dom Prosper Guéranger.St Cecilia's Abbey The nuns live a traditional monastic life of prayer, work and study in accordance with the ancient Rule of Saint Benedict. As one of the institutes devoted 'entirely to divine worship in the contemplative life' (Vatican II, Perfectae Caritatis, 9) and following the tradition of Solesmes, St Cecilia's Abbey lays principal emphasis on the solemn celebration of the liturgy, with Mass and the Divine Office sung daily in Gregorian chant. The Second Vatican Council recognised the contemplative life as belonging 'to the fulness of the Church's presence' (Ad Gentes 18) and noted that such communities 'will always have a distinguished part to play in Christ's Mystical Body' (Perfectae Caritatis, 7).
Musicians playing the Spanish vihuela, one with a bow, the other plucked by hand, in the Cantigas de Santa Maria of Alfonso X of Castile, 13th century Men playing the organistrum, from the Ourense Cathedral, Spain, 12th century The surviving music of the High Middle Ages is primarily religious in nature, since music notation developed in religious institutions, and the application of notation to secular music was a later development. Early in the period, Gregorian chant was the dominant form of church music; other forms, beginning with organum, and later including clausulae, conductus, and the motet, developed using the chant as source material. During the 11th century, Guido of Arezzo was one of the first to develop musical notation, which made it easier for singers to remember Gregorian chants. It was during the 12th and 13th centuries that Gregorian plainchant gave birth to polyphony, which appeared in the works of French Notre Dame School (Léonin and Pérotin).
TLS reaffirmed the primacy of Gregorian chant, which had largely fallen out of favor, and the superiority of Renaissance polyphony, especially that of Giovanni Pierluigi da Palestrina, over other, later polyphonic music. It recognized that some modern compositions are "of such excellence, sobriety and gravity, that they are in no way unworthy of the liturgical functions", but warned that they needed to be "free from reminiscences of motifs adopted in the theaters, and be not fashioned even in their external forms after the manner of profane pieces". Texts of the variable and common parts of the liturgy should always be in Latin and sung "without alteration or inversion of the words, without undue repetition, without breaking syllables, and always in a manner intelligible to the faithful who listen". It also prohibited female singers, discouraged music with secular influences, and barred the use of piano, percussion, and all other instruments aside from the organ, unless given special permission from a bishop or comparable prelate to use wind instruments.
He cultivated connections with members of Munich's Catholic elite, including w:de:Karl Alexander von Müller, professor of history at the University of Munich, and Helene Raff, whose father was the composer Joachim Raff. With Muller he discussed politics and Gregorian chant. Through these connections he first met Hitler in late 1922; the pair were observed by both Muller and Ernst Hanfstaengl engaging in lively and lengthy conversation. It was the beginning of a relationship that ended only with Schachleiter's death in 1937. The meeting opened the way for Schachleiter to play an important propagandist role on behalf of the NSDAP in the summer of 1923. Following the commemorative activities of 10 June 1923—which included a massive rally in honour of Albert Leo Schlageter, staged on Munich's Konigsplatz and attended by 20-30000 activists—a Catholic memorial Mass was held immediately after the rally in St. Boniface Abbey, organised exclusively by the NSDAP, which was presided over by Schachleiter.
It 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. Although a 9th century legend credits Pope Gregory the Great with having personally invented Gregorian chant by receiving the chant melodies through divine intervention of the Holy Spirit, scholars now believe that the chant bearing his name arose from a later Carolingian synthesis of Roman and Gallican chant. During the following centuries the Chant tradition was still at the heart of Church music, where it changed and acquired various accretions. Even the polyphonic music that arose from the venerable old chants in the Organa by Léonin and Pérotin in Paris (1160–1240) ended in monophonic chant and in later traditions new composition styles were practiced in juxtaposition (or co-habitation) with monophonic chant.
Proske was never to leave this post at Regensburg, and, in addition to his duties as a cleric, devoted all his energies and spent his entire private income on the restoration of what he called "vere musica ecclesiae," the "true music of the Church." This he considered to be the ancient Gregorian chant and especially the polyphonic works of the Renaissance masters (such as Palestrina, Nanini, Marenzio, Lassus, etc.). He searched all throughout Germany and Italy, making many trips to Rome, in order to collect ancient manuscripts for his library, which grew to contain thousands of samples (Karl Weinmann, a late 19th-century music researcher, claimed there were over 30,000 pages of manuscripts before Proske died). Proske was a pioneer in the field, and the fact that his editions reflected only the German, Flemish, and Italian repertoires - excluding Spaniards for the most part, though he did include Victoria - does not diminish his amazing contributions to Sacred music.
Music notation from an early 14th-century English Missal The scholar and music theorist Isidore of Seville, while writing in the early 7th century, considered that "unless sounds are held by the memory of man, they perish, because they cannot be written down." By the middle of the 9th century, however, a form of neumatic notation began to develop in monasteries in Europe as a mnemonic device for Gregorian chant, using symbols known as neumes; the earliest surviving musical notation of this type is in the Musica disciplina of Aurelian of Réôme, from about 850. There are scattered survivals from the Iberian Peninsula before this time, of a type of notation known as Visigothic neumes, but its few surviving fragments have not yet been deciphered. The problem with this notation was that it only showed melodic contours and consequently the music could not be read by someone who did not know the music already.
Scott Turkington is the organist and choirmaster for Holy Family Catholic Church in St. Louis Park, Minnesota. A native of Minneapolis, he studied music at the University of Minnesota, the Boston Conservatory of Music and The Catholic University of America, his former teachers including Richard Waggoner, Heinrich Fleischer, Phillip Steinhaus, and George Faxon. Until 2014, he served as organist and choirmaster for the Roman Catholic Cathedral of Saint John the Baptist in Charleston, South Carolina, and before his service there, was organist and choirmaster for the Roman Catholic Basilica of Saint John the Evangelist in Stamford, Connecticut, conducting a professional choir in a program of weekly polyphonic Mass settings and Gregorian chant until 2010. Before accepting the position at St. John's in 1998, he was Assistant Organist and Conductor at the National Shrine of the Immaculate Conception in Washington, D.C. While at the National Shrine, he played for over 500 services each year, and appeared on live national television dozens of times.
It marked the beginning of a deep and lasting friendship among them. At their encouragement he made his first contact that September with the Trappists of San Isidro de Dueñas in Palencia. He was attracted to the silence and was attracted to the Gregorian chant such as the Salve Regina that was sung at Compline. On 15 April 1934 - having finished his architectural studies he entered the order as a postulant and then became a novice; he was convinced that this was his true religious calling. He suffered from a severe case of diabetes mellitus which developed four months after his entering the convent and was diagnosed on 26 May 1934. The saddened and perplexed novice was forced to rest at home for a few months before returning, which he did three successive times from 1935 through 1937 at the height of the Spanish Civil War (one occasion was from 29 September to 6 December 1936 and again from 7 February to 15 December 1937).
Following the death of Bishop Juncker in October 1868, Baltes became apostolic administrator of the diocese; during his administration, he obtained from the Illinois General Assembly the passage of a law under which the Catholic congregations and institutions could be incorporated. On September 24, 1869, Baltes was named the second Bishop of Alton by Pope Pius IX. He received his episcopal consecration on January 23, 1870 from Bishop John Henry Luers, assisted by Bishops Augustus Toebbe and Patrick John Ryan, at St. Peter's in Belleville. He held annual spiritual retreats with his clergy, introduced the Gregorian chant and Cecilian music into the diocesan liturgical practices, and condemned Catholic newspapers that challenged his authority. By the end of his tenure, the diocese included 109,000 Catholics, 177 priests, 126 parishes and 77 missions, 13 hospitals, three orphanages, two homes for the elderly, two men's colleges, a boys' high school, nine girls' academies, and 102 parochial schools with 11,000 students.
See also Mr. C.C. Stearns' concert at Mechanics Hall, January 23, 1866, Worcester, Mass., 1866 and Mechanics Hall, Margaret Erskine, Worcester, Ma. (Worcester Bicentennial Commission), 1977 but were later criticized for their 'operatic' style"We have listened ad nauseam to the ... weary list of Masses and Vespers with their borrowings of the worst characteristics of an operatic style which even in the theatre has been rejected as artificial and unworthy of serious consideration from a purely artistic standpoint.... Who that has learned to appreciate the noble magnificence of a Palestrina ...could tolerate the twaddle of our Mercadantes or Peters or Stearns?", Church Music and the Parish School, The Rev. James A. Boylan D.D. (Professor of Gregorian Chant at the Philadelphia Theological Seminary of St. Charles Borromeo), in American Ecclesiastical Review, 1920 and included on the 'black list' of disapproved music issued after the Motu proprio of Pope Pius X on Sacred Music.
The Real Colégio de Educação de Chorão was instituted in the edifice for Jesuit Novices. This College was declared Seminary by the Royal Instructions to the Viceroy Conde de Ega dated 2 April 1761 written by the Secretary of State, Francisco Xavier de Mendonca Furtado.The Island of Chorão (A Historical Sketch) 1962 By Francisco Xavier Gomes Catão page 45 A large number of students attended the Seminary chiefly from Ilhas and Bardez and of these 19 were educated free by the state and were destined to work in the service of the Missions. In addition to the teaching staff and students, the seminary had a medical practitioner, one porter, one sacristan and one infirmarianHistória de Goa By Fr. Manuel Jose Gabriel de Saldanha Vol II 1926 page 247-248Boletim official of 1858 page 138 The following subjects were taught in this College : Latin, Rational and Moral Philosophy, Dogmatic and Moral Theology(3 years), Gregorian chant and liturgy.
The solo violin enters playing the tritone, which was known as the diabolus in musica ("the Devil in music") during the Medieval and Baroque eras, consisting of an A and an E—in an example of scordatura tuning, the violinist's E string has actually been tuned down to an E to create the dissonant tritone. The first theme is heard on a solo flute,[IMSLP full score, page 3] followed by the second theme, a descending scale on the solo violin which is accompanied by soft chords from the string section.[full score, page 4, 4th bar] The first and second themes, or fragments of them, are then heard throughout the various sections of the orchestra. The piece becomes more energetic and at its midpoint, right after a contrapuntal section based on the second theme,[full score, page 13, rehearsal letter C] there is a direct quote[full score, page 16, rehearsal letter D] played by the woodwinds of Dies irae, a Gregorian chant from the Requiem that is melodically related to the work's second theme.
Tomb of John Paul II in The Chapel of St. Sebastian Since the death of John Paul II, a number of clergy at the Vatican and laymen throughout the world have been referring to the pontiff as "John Paul the Great"—only the fourth pope to be so acclaimed, and the first since the first millennium. Scholars of Canon Law say that there is no official process for declaring a pope "Great"; the title simply establishes itself through popular and continued usage. The three popes who today commonly are known as "Great" are: Leo I, who reigned from 440–461 and persuaded Attila the Hun to withdraw from Rome; Gregory I, 590–604, after whom the Gregorian Chant is named; and Pope Nicholas I, 858–867. His successor, Pope Benedict XVI, referred to him as "the great Pope John Paul II" in his first address from the loggia of St Peter's Basilica, and he referred to Pope John Paul II as "the Great" in his published written homily for the Mass of Repose.
George Stanislaus, 3rd Duke de Stacpoole, who had become a priest and a domestic prelate of the pope, and who lived at Fontenelle until his death in 1896, restored the entire property to the French Benedictines (Solesmes Congregation), and a colony of monks from Ligugé Abbey settled there in 1893, under Joseph Pothier as superior. Dom Pothier, a scholar who reconstituted the Gregorian chant and one of the most well-known Benedictines of the world, later was elected abbot of Saint Wandrille, becoming upon his installation on 24 July 1898 its first abbot since the French Revolution and its first regular abbot since the 16th century. This community was expelled under the "Association Laws" by the French government in 1901, and spent years in Belgium until they were able to return on 26 January 1931, where they have remained until the present. From 1907 until 1914, the abbey was rented by the Belgian writer Maurice Maeterlinck, who lived there during the warmer months of the year with his lover, Georgette Leblanc.
They carried their style with them: smooth polyphony which could be adapted for sacred or secular use as appropriate. Principal forms of sacred musical composition at the time were the mass, the motet, and the laude; secular forms included the chanson, the frottola, and later the madrigal. The invention of printing had an immense influence on the dissemination of musical styles, and along with the movement of the Franco-Flemish musicians, contributed to the establishment of the first truly international style in European music since the unification of Gregorian chant under Charlemagne. Composers of the middle generation of the Franco- Flemish school included Johannes Ockeghem, who wrote music in a contrapuntally complex style, with varied texture and an elaborate use of canonical devices; Jacob Obrecht, one of the most famous composers of masses in the last decades of the 15th century; and Josquin des Prez, probably the most famous composer in Europe before Palestrina, and who during the 16th century was renowned as one of the greatest artists in any form.
Probably a native of Beverley in Yorkshire, Merbecke appears to have been a boy chorister at St George's Chapel, Windsor, and was employed as an organist there from about 1541. Two years later he was convicted with four others of heresy and sentenced to be burnt at the stake, but received a pardon owing to the intervention of Stephen Gardiner, Bishop of Winchester, who said he was "but a musitian". An English Concordance of the Bible which Merbecke had been preparing at the suggestion of Richard Turner, was however confiscated and destroyed. A later version of this work, the first of its kind in English, was published in 1550 with a dedication to Edward VI. In the same year, Merbecke published his Booke of Common Praier Noted, intended to provide for musical uniformity in the use of the First Prayer Book of Edward VI. This set the liturgy to semi-rhythmical melodies partly adapted from Gregorian chant; it was rendered obsolete when the Prayer Book was revised in 1552.
The Antiphonary tonary missal of St. Benigne (also called Antiphonarium Codex Montpellier or Tonary of Saint-Bénigne of Dijon) was supposed to be written in the last years of the 10th century, when the Abbot William of Volpiano at St. Benignus of Dijon reformed the liturgy of several monasteries in Burgundy. The chant manuscript records mainly Western plainchant of the Roman-Frankish proper mass and part of the chant sung during the matins ("Gregorian chant"), but unlike the common form of the Gradual and of the Antiphonary, William organized his manuscript according to the chant genre (antiphons with psalmody, alleluia verses, graduals, offertories, and proses for the missal part), and these sections were subdivided into eight parts according to the octoechos. This disposition followed the order of a tonary, but William of Volpiano wrote not only the incipits of the classified chant, he wrote the complete chant text with the music in central French neumes which were still written in campo aperto, and added a second alphabetic notation of his own invention for the melodic structure of the codified chant.
During this decade, the architect experienced the deaths of his niece Rosa in 1912 and his main collaborator Francesc Berenguer in 1914; a severe economic crisis which paralysed work on the Sagrada Família in 1915; the 1916 death of his friend Josep Torras i Bages, bishop of Vic; the 1917 disruption of work at the Colonia Güell; and the 1918 death of his friend and patron Eusebi Güell. Perhaps because of these tragedies he devoted himself entirely to the Sagrada Família from 1915, taking refuge in his work. Gaudí confessed to his collaborators: Gaudí dedicated the last years of his life entirely to the "Cathedral of the Poor", as it was commonly known, for which he took alms in order to continue. Apart from his dedication to this cause, he participated in few other activities, the majority of which were related to his Catholic faith: in 1916 he participated in a course about Gregorian chant at the Palau de la Música Catalana taught by the Benedictine monk Gregori M. Sunyol.
Recording sessions for the album took place in mid-1967 at Universal Recording Studios in Chicago, with the band's manager George Badonsky Record producer and Jerry DeClerk engineering. Progress on the album was very rapid, with the band recording many of the songs virtually live in the studio, although horns, woodwind instruments, and a nine-piece orchestra were overdubbed onto the tracks after completion of the initial sessions. The album is highlighted by the vaguely sinister ambiance of the band's music and by the oddly striking harmonies that resulted from the juxtoposition of guitarist and ex-folk singer George Edwards' folk-influenced singing and keyboardist Dave Michaels' classically trained, operatic phrasing. The ten songs included on H. P. Lovecraft exhibit a wide range of styles, encompassing elements of jazz on "That's How Much I Love You, Baby (More or Less)", folk music on "Wayfaring Stranger", Gregorian chant on "Gloria Patria", vaudeville psychedelia on "The Time Machine", and contemporary singer-songwriter material on "The Drifter", "Let's Get Together", "That's The Bag I'm In", and "Country Boy & Bleeker Street".
The Accademia Nazionale di Santa Cecilia (National Academy of St Cecilia) is one of the oldest musical institutions in the world, based in Italy. It is based at the Auditorium Parco della Musica in Rome, and was founded by the papal bull, Ratione congruit, issued by Sixtus V in 1585, which invoked two saints prominent in Western musical history: Gregory the Great, for whom the Gregorian chant is named, and Saint Cecilia, the patron saint of music. It was founded as a "congregation" or "confraternity" – a religious guild, so to speak – and over the centuries, has grown from a forum for local musicians and composers to an internationally acclaimed academy active in music scholarship (with 100 prominent music scholars forming the body of the Accademia) to music education (in its role as a conservatory) to performance (with an active choir and symphony orchestra). The term conservatory has its origin in 16th-century Renaissance Italy, where orphanages (conservatori) were attached to hospitals. The orphans (conservati ‘saved’) were given a musical education there, and the term gradually applied to music schools.. Retrieved 16 November 2010 These hospitals-conservatories were among the first secular institutions equipped for practical training in music.
The Octoechos cycles as they exist in different chant genres, are no longer defined as entirely diatonic, some of the chromatic or enharmonic mele had replaced the former diatonic ones entirely, so often the pentachord between the finales does no longer exist or the mele of certain kyrioi echoi used in more elaborated genres are transposed to the finalis of its plagios, for instance the papadic melos of echos protos. Their melodic patterns were created by four generations of teachers at the "New Music School of the Patriarchate" (Constantinople/Istanbul), which redefined the Ottoman tradition of Byzantine chant between 1750 and 1830 and transcribed it into the notation of the New Method since 1814. Whereas in Gregorian chant a mode referred to the classification of chant according to the local tonaries and the obligatory psalmody, the Byzantine echoi were rather defined by an oral tradition how to do the thesis of the melos, which included melodic patterns like the base degree (ison), open or closed melodic endings or cadences (cadential degrees of the mode), and certain accentuation patterns. These rules or methods defined melopœia, the different ways of creating a certain melos.
The original album version and subsequent radio edit of the song had a much slower tempo than the more well-known remixes and was essentially structured like a pop song, with the characteristic synthetic instrumentation of the more melodic side of ambient music — though including darker overtones, such as the prominently featured Gregorian chant (Gloria in Excelsis Deo). This last element often invites comparison to popular ambient/new age/world music projects of the 1990s like Enigma and Deep Forest who routinely sample chants from various ethnicities worldwide, though in contrast such vocals featured on Karma were all original recordings. Although the original song did receive Canadian radio airplay in 1997, it was not released as a single until 1999, two years after the release of Karma, though it was only the Airscape Remix which received airplay at this time, rather than the more downtempo original version. The single prominently included remixes by DJ Tiësto, and Fade, which significantly boosted the song's proliferation through club play (particularly by influential DJs such as Paul Oakenfold) as evidenced by the single's positions on the Billboard Hot Dance Music/Club Play charts.
Ricci refers to Chinese Buddhism as the "sect... known as Sciequia [释迦牟尼, Shijiamouni, Shakyamuni] or Omitose [阿弥陀佛, Amituo Fo, Amitābha]", and is aware of it being brought from India, supposedly after an emperor had a prophetic dream in 65 AD. Ricci discerns in Buddhist beliefs a number of concepts that he views as influenced by Western thinking: the Buddhist concept of transmigration of souls is similar to that of Pythagoras, and even the Chinese Five elements are nothing but a "foolish" extension of the western Four elements. Furthermore, the Jesuit author notices a number of similarities between Buddhist and Christian practices: teaching of rewards and punishments in afterlife, existence of monasticism and appreciation of celibacy, close similarity between Buddhist chanting and Gregorian chant, ecclesiastical statuary and vestments, and even existence in the Buddhist doctrine of "a certain trinity in which three different gods are fused into one deity".Gallagher (1953), pp. 98–99. Ricci does not give any further details about the Buddhist counterpart of the Christian Trinity, and D.E. Mungello (1989), who mentions the Trinity comparison (p.

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