He took a daringly slow tempo in this opening passage, a solemn, low theme in chords that hints at modal plainchant.
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This early choral music was largely "monophonic", a tune often sung by a single person, without accompanying harmony or chords, such as plainchant.
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"Kesapaiva" ("A Summer Day"), five songs for a cappella voices — members of another resident ensemble, Roomful of Teeth — combined plainchant simplicity with tumbling, overlapping commotion.
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When groups of monks, facing each other in a reverberant chapel, intoned psalms in plainchant, they inserted a pause in the middle of a verse.
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But the core of its repertory was medieval music in which, in plainchant passages, the four women's voices seemed to melt together into one silky, unison line.
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Although plainchant has a rhythm, it is mostly imperceptible; by contrast, the need for the different parts of the piece to stay connected means polyphony must have a beat.
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The "Dies Irae" plainchant that runs throughout his work, as if he were a darker Rachmaninoff, is sincere and no mere colorful grotesquerie (as it is in, say, Berlioz's "Symphonie Fantastique").
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His 1990 symphonic poem "The Confession of Isobel Gowdie," about the 19603th-century torture and burning of an accused Scottish witch, ends with a serene string harmonization of a plainchant drawn from the Catholic Requiem Mass.
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JACK QUARTET These exceptional new-music specialists appear in the spooky confines of the catacomb at Green-Wood Cemetery in Brooklyn with a program of John Zorn, Chaya Czernowin, Marcos Balter and arrangements of medieval plainchant.
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You can have a thrilling 90 seconds with roller-coaster harmonies focusing on two words only, followed by a single line of plainchant, followed by counterpoint outlining harmonies completely at variance with what we would understand to be the rules.
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The piece can seem a dizzying assemblage built from distinctive musical chunks: evocations of old-time hymn-singing; a kind of spare, modal melodic writing that Thomson called his "Missouri plainchant" style; fractured fanfares and down-home-marches; faux-serious bursts of counterpoint.
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In what is billed as the first recording ever made inside this chapel, the marvelous Sistine Chapel Choir performs a selection of plainchant and Renaissance liturgical music, some of it written by composers — like Palestrina and Allegri — who were once members of the group.
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In the late 1980s, plainchant achieved a certain vogue as music for relaxation, and several recordings of plainchant became "classical-chart hits".
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The Musical Wheel from Durán's Lux Bella 1492, p. 10 The Hexachords of Plainchant from Lux Bella 1492, p. 1 Musica Ficta, from Lux Bella 1492, p. 8 The Hexachords of Plainchant from Lux Bella 1506, p.
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The title troper (possibly related to Byzantine-Greek troparion) refers to the practice, common in the Middle Ages of adding another section, or trope to a plainchant or section of plainchant, thus making it appropriate to a particular occasion or festival.
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Plainchant notation for the solemn setting of the Salve Regina; a simple setting is used more commonly.
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The ancient poem was translated and paired with a medieval plainchant melody "Divinum mysterium". "Divinum mysterium" was a "Sanctus trope" – an ancient plainchant melody which over the years had been musically embellished.Raymond F. Glover, The Hymnal 1982 Companion: Service Music and Biographies, Volume 2 (Church Publishing, Inc., 1994), pp.
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7, and Toccata op.49. His love of plainchant and hymn tunes is often evident in his organ works.
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A supplement, New English Praise, was published in 2006 containing additional liturgical material, canticle settings, psalm settings and plainchant accompaniments.
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Atwood, William H. "The Influence of Plainchant on the Liturgical Music of Theodore Marier" (Ph.D. Dissertation, Catholic University of America, Washington, DC, 2014).
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Then there a further two statements of the Dies irae plainchant, by which the music reaches a solemn climax, followed by more somber music.
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Among the most significant are those depicting the clergy and peasantry; the former is a sort of plainchant, while the latter is a robust theme with astringent harmonies.
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The plainchant hymn has been developed by many composers from pre- baroque to the present day. The Roman Rite employs four different plainchant tunes for the Ave maris stella; the first three are designated for solemnities, feasts, and memorials of the Blessed Virgin Mary; a fourth is given in the Little Office of the Blessed Virgin Mary as an alternative to the memorial tone. These plainchant tones have been used as the cantus firmus for some polyphonic settings of the mass, including those by Josquin and Victoria.The Josquin companion: Volume 1 by Richard Sherr 2001 Page 110 Renaissance settings include those by Hans Leo Hassler, Felice Anerio, Giovanni Pierluigi da Palestrina, Dufay and Byrd.
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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.
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Plainchant employs the modal system and this is used to work out the relative pitches of each line on the staff. Read more about the use of modes in plainsong here.
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Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles (Celtic chant), Spain (Mozarabic), Gaul (Gallican), and Italy (Old Roman, Ambrosian and Beneventan). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western Roman Empire collapsed. John the Deacon, biographer (c. 872) of Pope Gregory I, modestly claimed that the saint "compiled a patchwork antiphonary", unsurprisingly, given his considerable work with liturgical development.
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Ritzler-Sefrin V, p. 97, note 1. Bishop Theodaldus (1023–1036?) invited Guido of Arezzo to train the cathedral singers in the plainchant. He dedicated his book Micrologus to Bishop Thedaldus c. 1025.
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Another simple form of heterophony is for singers to sing the same shape of melody, but with one person singing the melody and a second person singing the melody at a higher or lower pitch. Organum, for example, expanded upon plainchant melody using an accompanying line, sung at a fixed interval (often a perfect fifth or perfect fourth away from the main melody), with a resulting alternation between a simple form of polyphony and monophony.Vanderbilt University Online Reference Book for Medieval Studies The principles of organum date back to an anonymous 9th century tract, the Musica enchiriadis, which established the tradition of duplicating a preexisting plainchant in parallel motion at the interval of an octave, a fifth or a fourth. Of greater sophistication was the motet, which developed from the clausula genre of medieval plainchant.
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"Louis Lambillotte." The Catholic Encyclopedia Vol. 8. New York: Robert Appleton Company, 1910. 3 September 2016 He received some piano lessons from César Franck at Immaculate Conception college, and in turn taught Franck about plainchant.
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Couperin followed techniques used in masses by Nivers, Lebègue, and Boyvin, as well as other predecessors of the French Baroque era. In the paroisses Mass, he uses plainchant from the Missa cunctipotens genitor Deus as a cantus firmus in two Kyrie movements and in the first Sanctus movement; the Kyrie Fugue subject is also derived from a chant incipit. The Mass for couvents contains no plainchant, as each convent and monastery maintained its own, non-standard body of chant. Couperin departs from his predecessors in many ways.
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There he developed an interest in incorporating plainchant into Anglican services, an idea suggested by William Dyce, a King's College professor with whom Monk had much contact. In 1849, Monk also became organist at King's College. In 1852, he became organist and choirmaster at St Matthias' Church, Stoke Newington, where he made many changes: plainchant was used in singing psalms, and the music performed was more appropriate to the church calendar. By now, Monk was also arranging hymns, as well as writing his own hymn melodies.
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Several centuries later, treatises began to appear which dealt with the actual composition of pieces of music in the plainchant tradition.: "Boethius could provide a model only for that part of theory which underlies but does not give rules for composition or performance. The first surviving strictly musical treatise of Carolingian times is directed towards musical practice, the Musica disciplina of Aurelian of Réôme (9th century)." At the end of the ninth century, Hucbald worked towards more precise pitch notation for the neumes used to record plainchant.
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In 1907 Gagnon left Canada for Paris where he spent the next three and half years. In France he studied with Amédée Gastoué (plainchant), Eugène Gigout (organ, plainchant, improvisation, and harmony), Isidor Philipp (piano), and Charles- Marie Widor (organ). In 1908 and 1909 he was a soloist in the Concerts Touche, and he also filled in for Gigout occasionally as organist at the Église Saint- Augustin de Paris. He later returned to Paris in the summers of 1911, 1912, 1914, and 1924 to continue studies with Widor and with Joseph Bonnet.
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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.
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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.
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Although no notations of this music survive, later sources suggest distinctive melodic patterns. This was superseded, as elsewhere in Europe, from the eleventh century by Gregorian chant.D. Hiley, Western Plainchant: a Handbook (Oxford: Oxford University Press, 1995), , p. 483.
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The Sanctus has been set to numerous plainchant melodies, many of which are given in the Roman Missal, and many more composers have set it to polyphonic music, both in single settings and as part of cyclic mass settings.
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Ordo Virtutum is written in dramatic verse and contains 82 different melodies, which are set more syllabically than Hildegard's liturgical songs. All parts are sung in plainchant except that of the Devil.Claude V. Palisca. Norton Anthology of Western Music. Vol.
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"'" (Come, Creator Spirit, visit us) is a Christian hymn in German for Pentecost. The text is a paraphrase of the Latin hymn by Heinrich Bone. The melody is an adaptation of the Latin hymn's plainchant. It was first published in 1845.
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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.
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The term "mensural" refers to the ability of this system to describe precisely measured rhythmic durations in terms of numerical proportions between note values. Its modern name is inspired by the terminology of medieval theorists, who used terms like musica mensurata ("measured music") or cantus mensurabilis ("measurable song") to refer to the rhythmically defined polyphonic music of their age, as opposed to musica plana or musica choralis, i.e., Gregorian plainchant. Mensural notation was employed principally for compositions in the tradition of vocal polyphony, whereas plainchant retained its own, older system of neume notation throughout the period.
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35, Fasc. 4 (Oct. - Dec., 1963), p 175 He also published a learning method for plainchant according to Le Maire's system, Table en faveur des ecclésiastiques, pour apprendre facilement le plain-chant selon l’art de l’incomparable M. Le Maire, which is also lost.
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Within the liturgy, each responsory followed a reading. Each day's matins was divided into three nocturns, each with three readings. Over the three days, therefore, the responsories, like the readings, came to a total of 27. They were originally sung in plainchant.
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He was hired in the post of organist of the Eglise, with a salary of 100 pesos a year, in replacement of Aguero. He took over the organ, and the plainchant of the Cathedral, and he remained during a period of nearly 30 years.
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Returning to Gabon, he studied solfeggio and plainchant at a Catholic college, and presented spectacles showcasing traditional Gabonese forms in a concert setting. In 1986, he received a doctorate from the University of Paris for his study of religion and education among the Nkomi.
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Although no notations of this music survive, later sources suggest distinctive melodic patterns. Celtic chant is thought have been superseded from the eleventh century, as elsewhere in Europe, by more complex Gregorian chant.D. Hiley, Western Plainchant: a Handbook (Oxford: Oxford University Press, 1995), p. 483.
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Musical paraphrase, in general, had been used for a long time before it was first applied to the music of the Ordinary of the Mass. It was common in the early and middle 15th century for a work such as a motet to use an embellished plainchant melody as its source, with the melody usually in the topmost voice. John Dunstable's Gloria is an example of this procedure, as are the two settings by Guillaume Dufay of the Marian Antiphon Alma redemptoris mater. Many compositions in fauxbourdon, a characteristic technique of the Burgundian School, use a paraphrased version of a plainchant tune in the highest voice.
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Troparium (called as such because the tropes of the chant are written down) of St. Michael, who is depicted fighting fantastic birds, 11th century A trope or tropus may refer to a variety of different concepts in medieval, 20th-, and 21st-century music. The term trope derives from the Greek (tropos), "a turn, a change" , related to the root of the verb (trepein), "to turn, to direct, to alter, to change" . The Latinised form of the word is tropus. In music, a trope is adding another section, or trope to a plainchant or section of plainchant, thus making it appropriate to a particular occasion or festival.
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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.
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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.
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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.
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The devil's part is entirely spoken or shouted, with no musical setting. All other characters sing in monophonic plainchant. This includes Patriarchs, Prophets, A Happy Soul, A Unhappy Soul and A Penitent Soul along with 16 female Virtues (including Mercy, Innocence, Chasity, Obedience, Hope, and Faith).
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At home in Dublin, he played his excellent arrangements of Irish melodies on a Schiedmayer harmonium. The instrument had a 'percussion' stop, which Carl used to great effect. Carl also owned a Knauss piano, but played the harmonium by choice. He was quite an authority on plainchant.
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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.
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Evensong may have plainchant substituted for Anglican chant and in High Church parishes may conclude with Benediction of the Blessed Sacrament (or a modified form of "Devotions to the Blessed Sacrament") and the carrying of the reserved sacrament under a humeral veil from the high altar to an altar of repose, to the accompaniment of music. The service may also include hymns. The first of these may be called the Office Hymn, and will usually be particularly closely tied to the liturgical theme of the day, and may be an ancient plainchant setting. This will usually be sung just before the psalm(s) or immediately before the first canticle and may be sung by the choir alone.
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This "most conspicuous single form in the early development of English consort music" originated in the early 16th century from a six-voice mass composed before 1530 by John Taverner on the plainchant Gloria Tibi Trinitas. In the Benedictus section of this mass, the Latin phrase "in nomine Domini" was sung in a reduced, four-part counterpoint, with the plainchant melody in the meane part. At an early point, this attractive passage became popular as a short instrumental piece, though there is no evidence that Taverner himself was responsible for any of these arrangements . Over the next 150 years, English composers worked this melody into "In Nomine" pieces of ever greater stylistic range.
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The work is in one movement, and lasts around 25 minutes. The music draws on the Advent plainchant of the same name, which appears in its full form only at the end. There are five main sections to the work: after the introduction is a 'heartbeat' section (representing, according to the composer, "the human presence of Christ"), followed by a 'hocket' dance; transition sequences lead in and out of the central Gaude, after which the dance reappears. The piece reaches its climax with the unfolding of the plainchant in chorale form, after which the work is closed by a coda in which the heartbeat motif and the percussionist on tubular bells have the last word.
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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.
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It was the first book of polyphonic music ever to be printed using movable type. (Printing plainchant with movable type had been possible since the 1470s.)Boorman, Selfridge-Field, and Krummel. The Odhecaton was hugely influential both in publishing in general and in dissemination of the Franco-Flemish musical style.
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A haunting 'Kyrie eleison', beautifully sung by countertenor Iestyn Davies, established a memorably lamenting tone. A softly murmured choral 'Agnus Dei' held time still. The closing 'In paradisum', inflected by plainchant, faded out in an orchestral shimmer. Like too much else, that was gone before it could make its effect.
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The Lay Plainchant Choir gives lay people the opportunity to practise and sing chant. The choir provides opportunities for workshops and training. The choir has weekly rehearsals and sings monthly at a Sunday Mass. Those members available also sing periodically at a local care home for elderly people suffering from dementia.
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Neumes were used for notating other kinds of melody than plainchant, including troubadour and trouvère melodies, monophonic versus and conductus, and the individual lines of polyphonic songs. In some traditions, such as the Notre Dame school of polyphony, certain patterns of neumes were used to represent particular rhythmic patterns called rhythmic modes.
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He is a founding member of the plainchant ensemble Schola Musicorum and has appeared in Notre Dame Opera productions of Wolfgang Amadeus Mozart's The Marriage of Figaro, Don Giovanni, and Così Fan Tutte. Stowe contributed articles on Renaissance, Baroque and 20th-century Latin American composers to the Harvard Biographical Dictionary of Music.
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Finals were altered, melodic ranges reduced, melismata trimmed, B-flats eliminated, and repeated words removed.Hiley, Western Plainchant pp. 608–10. Despite these attempts to impose modal consistency, some chants – notably Communions – defy simple modal assignment. For example, in four medieval manuscripts, the Communion Circuibo was transcribed using a different mode in each.
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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.
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The calm, slow melodies of these pieces are built up from paired phrases reminiscent of plainchant. Satie wanted to evoke a large pipe organ reverberating in the depth of a cathedral, and achieved this sonority by using full harmonies, octave doubling and sharply contrasting dynamics. Satie wrote this music without bar-lines.
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Discant, or descant (descant), (, meaning "singing apart") originated as a style of liturgical setting in the Middle Ages, associated with the development of the Notre Dame school of polyphony. In origin, it is a style of organum that either includes a plainchant tenor part (usually on a melisma in the chant) or is used without a plainchant basis in conductus, in either case with a "note against note" upper voice, moving in contrary motion. It is not a musical form, but rather a technique. The term continued to be used down to modern times with changing senses, at first for polyphony in general, then to differentiate a subcategory of polyphony (either in contrast to organum, or for improvised as distinct from written polyphony).
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They write of the striking contrast between the grandeur and omnipotence of the Word of God (the second person in the Trinity) and the vulnerable humanity of the child in whom the Word became flesh. In 1589 Palestrina set the odd verses (A,C,E,G) in Hymni totius anni secundum Sanctae Romanae Ecclesiae consuetudinem, necnon hymni religionum, a collection of hymns composed for the Vatican; liturgical practice was for the even verses to be sung in Gregorian plainchant. A four-part setting of A solis ortus cardine, with the plainchant in the tenor, is annotated at the bottom of two pages from an early sixteenth century collection of madrigals and hymns in the Royal Library of Henry VIII (MS Royal Appendix 58).
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Totentanz (): Paraphrase on Dies irae, S.126, is the name of a work for solo piano and orchestra by Franz Liszt notable for being based on the Gregorian plainchant melody Dies irae as well as for stylistic innovations. It was first planned in 1838, completed and published in 1849, and revised in 1853 and 1859.
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Gravestone inscription of memento more, the medieval Christian idea which inspired the title of the composition. Memento Mori (1993) is a composition for orchestra by Peter Sculthorpe. The title refers to the medieval Christian idea of memento mori, and the piece itself makes frequent references to the plainchant setting of the Latin hymn "Dies irae".
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Sinfonia Sacra is the third symphony by the Polish composer, Andrzej Panufnik. It was written in 1963 to mark Poland’s millennium of Christianity and Statehood in 1966. Panufnik intended the work as an expression of his religious and patriotic feelings. He based the symphony on the first known hymn in Polish, the Bogurodzica plainchant.
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The Abbey gives its name to the 14th-century manuscript referred to as the Inchcolm Antiphoner. It contains one of the few remaining examples of Celtic Plainchant. Pages of the Antiphoner can be accessed online in facsimile from the University of Edinburgh. The Antiphoner contains a substantial number of chants dedicated to Saint Columba.
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Redford is notable as one of the earliest composers, rather than improvisers, of organ music,Oxford Dictionary of the Renaissance. Ed. Gordon Campbell. Oxford: Oxford University Press, 2005. having notated a significant quantity of keyboard music, all of it liturgical in function, based on plainchant melodies; a few vocal works by him also survive.
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The E' section, on the final "Kyrie eleison", itself has an aa'b structure, contributing to the sense of climax.Hiley, Western Plainchant p. 153. The Gloria recites the Greater Doxology, and the Credo intones the Nicene Creed. Because of the length of these texts, these chants often break into musical subsections corresponding with textual breaks.
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The second of these, the Practica musicae, is the most thorough, proceeding through subjects as diverse as ancient Greek notation, plainchant, mensuration, counterpoint, and tempo. One of his most famous comments is that the tactus, the tempo of a semibreve, is equal to the pulse of a man who is breathing quietly--presumably about 72 beats per minute.
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Hudson, Grove online Brumel's Missa pro defunctis for four voices, a late work, is notable for being the first polyphonic requiem setting to include the Dies Irae. Brumel's setting uses alternatim polyphony (sections of plainchant alternate with sections in polyphony). In addition, this is one of the earliest polyphonic requiems to survive: only Johannes Ockeghem's Requiem is earlier.
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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.
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During the Middle Ages, music notation was used to create a written record of the notes of plainchant melodies. During the Renaissance music era (c. 1400-1600), the printing press was invented, allowing for sheet music to be mass-produced (previously having been hand-copied). This helped to spread musical styles more quickly and across a larger area.
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Mode III (E authentic) chants have C as a dominant, so C is the expected reciting tone. These mode III Introits, however, use both G and C as reciting tones, and often begin with a decorated leap from G to C to establish this tonality.Hiley, Western Plainchant pp. 110–113. Similar examples exist throughout the repertory.
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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.
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Ian Partridge website: Biography During this period, he appeared in the West End production of John Osborne's Luther. From 1958 to 1962 he sang in the Westminster Cathedral Choir, where he worked on plainchant with George Malcolm.Ian Partridge website He also worked for some time as a piano accompanist. He took further instruction from Benjamin Britten and Peter Pears.
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Just as Zimmermann allows temporal levels to flow into one another, he also makes use of musical styles from several periods. Jazz rhythms (as in the coffee house scene), J. S. Bach chorales (from the St Matthew Passion), a folksong and the Dies irae plainchant sequence are juxtaposed and assembled in a way which creates a score which seethes with tension.
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Rodríguez was born at Valverde de Alcalá. He became maestro de capilla at Palencia Cathedral (c.1740-c.1757) and at the Royal Convent of La Encarnación, Madrid. His father, Marcos Rodríguez del Mercado, a schoolteacher at Corpa Madrid, him to study at the college of the Cathedral of Alcalá de Henares, where he studied Latin, music theory, plainchant, organ and composition.
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417 Listen to it interpreted. During the medieval music era (476 to 1400) the plainchant tunes used for religious songs were primarily monophonic (a single line, unaccompanied melody). In the early centuries of the medieval era, these chants were taught and spread by oral tradition ("by ear"). The earliest Medieval music did not have any kind of notational system for writing down melodies.
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Adomnan of Iona. Life of St Columba. Penguin books, 1995 His Liber Hymnorum, created between 881 and 887, is an early collection of Sequences, which he called "hymns", mnemonic poems for remembering the series of pitches sung during a melisma in plainchant, especially in the Alleluia. It is unknown how many or which of the works contained in the collection are his.
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In the fifth century, a singing school, the Schola Cantorum, was founded at Rome to provide training in church musicianship.Grout, A History of Western Music, pp. 28 Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410, St. Augustine described the responsorial singing of a Gradual psalm at Mass.
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In 1653, the chapter granted him a profit of the . He succeeded Pierre Robert as music master at the cathedral of Chartres until 1662.Clerval 1898 p. 84. He was sometimes called upon in the same way as Pierre Robert to attest to the good quality of the plainchant works by Guillaume-Gabriel Nivers, this double approval being given on 14 December 1657.
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His most important legacy is the Fundamentbuch, a collection of organ music that also includes an introduction to the techniques of playing and improvising on plainchant. Buchner's Collected Organ Works (Sämtliche Orgelwerke) are edited by Jost Harro Schmidt as volumes 54 & 55 of Das Erbe deutscher Musik (Litolff/Frankfurt, 1974) Amongst his pupils was the Swiss organist and composer, Fridolin Sicher.
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He toured Hungary with Zoltán Kodály, collecting folk songs, and built on the research of Kodály and Béla Bartók. He developed an interest in medieval plainchant. In 1925, Seiber accepted a teaching position at a private music school. In 1926, he took a position to play the cello in the orchestra of a ship from to North and South America.
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In June 1999, she and her group were allowed to record in St. Peter's Basilica, where they played Tu es Petrus (You are Peter). Berry wrote two introductory books, Plainchant for everyone and Cantors: A collection of Gregorian chants, to encourage people to learn the chant. They are often recommended to beginners in the field. She also wrote for Gramophone and the New Grove Dictionary of Music.
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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).
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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.
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The symphony has two parts: "Three Visions" and "Hymn". Both parts are based on the Bogurodzica. This Gregorian plainchant was sung on battlefields by Polish knights and in church as a prayer to the Virgin. The Visions and Hymn thus represent the atmosphere of the battlefield and of prayer respectively. Panufnik believed the elements of battlefield and prayer were the two dominating forces in Poland’s tragic history.
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In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant. The separate development of British Christianity from the direct influence of Rome until the eighth century, with its flourishing monastic culture, led to the development of a distinct form of liturgical Celtic chant.D. O. Croinin, ed., A New History of Ireland, Vol. I: Prehistoric and Early Ireland (Oxford: Oxford University Press, 2005), , p. 798.
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Oxford University Press. Theoretical considerations of the consonance and dissonance of individual tones in unaccompanied melody, when perceived relative to a prevailing diatonic scale, can explain why leading tones in tonal music tend to rise rather than fall.Parncutt, R. (2019). Pitch-class prevalence in plainchant, scale-degree consonance, and the origin of the rising leading tone. Journal of New Music Research. doi.org/10.1080/09298215.2019.
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The sources of his melodies often originate from the Netherlands. He employed a variety of methods of treating plainchant melody within his masses, including canon, ornamentation, cantus firmus, and juxtaposition. Daser would move the cantus firmus from the tenor to the highest voicing, in order to highlight the main melody. Daser was highly respected by his contemporaries, receiving high commendation from Bavarian court chronicler Massimo Troiano.
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Loosely based on the medieval Latin plainchant Ave Maris Stella, the hymn is generally sung to the modified traditional English melody Stella. This melody was published in 1851 by Henri Frederick Hemy in his "Easy Hymn Tunes for Catholic Schools". The name Stella comes from the village of that name near Newcastle-upon-Tyne where Hemy was the organist in a local church.Hymnary.org: StellaSt.
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59–62, 84–92, 109–116) bearing any close relationship to Mozart's material.Benjamin Perl, The Doubtful Authenticity of Mozart’s Horn Concerto K 412 Süssmayr's rondo also makes use of a plainchant melody (the Lamentationes Ieremiae prophetae), and one explanation of this is that the melody was copied out by Mozart while he was composing the Requiem, which Süssmayr later mistook as material for the rondo.
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He demonstrated his linguistic versatility by switching from language to language within the text. This Historia also earned Reginold the bishopric, which was awarded to him by the Holy Roman Emperor Otto the Great. The plainchant music, however, was written in neumes which are inherently ambiguous, so no definitive modern version exists. Reginold also composed Historiae in honour of Saint Willibald, Winibald and Saint Blaise.
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London: Macmillan, 2001. It consists of nineteen chapters; the first nine are devoted to notation, modes, and monophonic plainchant. Chapters 10-18 deal with polyphonic music. The author here shows how consonant intervals should be used to compose or improvise the type of early-medieval polyphonic music called organum, an early style of note-against-note polyphony several examples of which are included in the treatise.
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Since inception they have toured a variety of countries. Of particular importance is the choir's work in researching and performing Bohemian plainchant and early polyphony. The choir has between six and nine members with a repertoire of various sacred music. They have toured many countries, including Japan, Israel, Norway, Sweden, Italy, Spain, France, Germany, Austria, Belgium, the Netherlands, Luxembourg, Switzerland, Slovakia, Hungary and Poland.
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The Schola Cantorum has eight singers and singes a wide range of sacred music including plainchant, renaissance polyphony and modern compositions. In addition, there is a mixed-ability cathedral choir. A new organ was installed in 2008, built by Matthey Copley and having 4,000 pipes. The Director of Music is Michael Ferguson, who also teaches at the University of St Andrews and is a composer.
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First hymns were sung in Latin, and in plainchant. An early hymn was Veni Creator Spiritus (Come, Creator Spirit), attributed to Rabanus Maurus who lived in the 9th century. It was used in the liturgy not only for Pentecost, but also for vespers between Ascension Day and Pentecost, and for occasions such as ordination and profession. Many later hymns in different languages are based on it.
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The Divje Babe flute, an artifact found in a cave near Cerkno, Slovenia, is possibly the oldest known musical instrument ever. Its age is estimated at approximately 55,000 years. The history of modern Slovenian music can be traced back to the 5th century, when Christianity spread in Carantania. Liturgical hymns (kyrie Eleison) were introduced, and became the first plainchant to make a connection to the peoples' language.
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Solo instrumental parts are written for violin and cornetto. Antiphons preceding each psalm and the Magnificat, sung in plainchant, would vary with the occasion. Some scholars have argued that the Vespers was not intended as a single work but rather as a collection to choose from. The edition by Redlich was the basis for performances in Zurich in 1935 and of parts in New York in 1937, among others.
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Bower specializes in the history of the medieval sequence. Consequently, Schola Antiqua's programs in the early years often included Notker's sequences and other monophonic settings. The ensemble's second Artistic Director, Michael Alan Anderson, more broadly researches the role of plainchant and polyphony in devotion, ritual, and political cultures of the late Middle Ages and Renaissance. Some of Anderson's research agenda is likewise embedded in the ensemble's past and current programming.
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Although no notations of this music survive, later sources suggest distinctive melodic patterns. This was superseded, as elsewhere in Europe, from the 11th century by Gregorian chant.D. Hiley, Western Plainchant: a Handbook (Oxford: Oxford University Press, 1995), p. 483. The version of this chant linked to the liturgy as used in the Diocese of Salisbury, the Sarum Use, first recorded from the 13th century, became dominant in England.
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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.
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These editorial practices have placed the historical authenticity of the Solesmes interpretation in doubt.Hiley, Western Plainchant pp. 624–627. Ever since restoration of Chant was taken up in Solesmes, there have been lengthy discussions of exactly what course was to be taken. Some favored a strict academic rigour and wanted to postpone publications, while others concentrated on practical matters and wanted to supplant the corrupted tradition as soon as possible.
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The musical items not set polyphonically by Vásquez would have been performed using their original plainchant, possibly with improvised polyphony. The items which Vásquez set whose corresponding chants can be found in the Liber Usualis are the Invitatory, Psalm no.5, nine antiphons, five lessons, one Responsorium, the Canticum Zachariae, the Requiescant in pace, Amen and the Missa pro defunctis. Vásquez has written this Agenda defunctorum for four voices (SATB).
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In musical settings of the Credo, as in the Gloria, the first line is intoned by the celebrant alone (Credo in unum Deum), or by a soloist, while the choir or congregation joins in with the second line. This tradition continued through the Middle Ages and Renaissance, and is even followed in more recent settings. In Stravinsky's Mass, for example, a soloist intones the first line, which is from the plainchant Credo I. In Mass settings of the Baroque, Classical and Romantic period the Credo line is usually set for whole choir, such as in the Symbolum Nicenum (Nicene Creed) of Bach's Mass in B minor, where the composer uses plainchant as the theme for a fugue, in the later Masses of Haydn, and the Missa Solemnis of Beethoven. The melody of Credo I first appears in eleventh-century manuscripts, but it is believed to be much older, and perhaps Greek in origin.
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Mawby was born in Portsmouth, Hampshire, on 9 May 1936. He received his earliest musical education at Westminster Cathedral choir school, where he acted as assistant to George Malcolm at the organ from the age of 12. The boys performed 14 or 15 services a week and had 10 hours of rehearsals a week, learning plainchant and polyphony. He subsequently studied at the Royal College of Music with Gordon Jacob and John Churchill.
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The piece is scored for solo organ and has a total duration of around 9 minutes. Messiaen used plainchant and birdsong extensively throughout the whole piece. The Verset starts with a monodic theme entitled Alleluia de la Dédicace, which he also used in the second movement of his Méditations sur le mystère de la Sainte Trinité. However, unlike in the Méditations, the melody has several chromatic changes, turning it into an atonal melody.
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The abbey was the center of several important developments in medieval music, including liturgical chant, early polyphony and troubadours' songs. The first chant manuscripts show revisions of the early 11th century, when Roger de Chabannes introduced his nephew Adémar as cantor and scriptor of notation.James Grier (2005). A significant body of plainchant and tonaries for its modal classification had been written at the scriptorium of this Abbey (among them Pa 909, 1120, 1121, 1132, 1240).
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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 cover certain actions. Praelegenda are opening chants corresponding to the Gregorian Introit, which use the same antiphonal structure and psalm tones found in the Visigothic/ Mozarabic Office. Unlike the Gregorian Gloria, the Visigothic/ Mozarabic Gloria in excelsis Deo only occurs in some local traditions.
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Five of Schutz's Historien were Easter pieces, and of these the latter three, which dealt with the passion from three different viewpoints, those of Matthew, Luke and John, were all done a cappella style. This was a near requirement for this type of piece, and the parts of the crowd were sung while the solo parts which were the quoted parts from either Christ or the authors were performed in a plainchant.
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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.
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He does not appear in any other records for nearly 20 years. In late 1530 he turns up at Badajoz Cathedral, teaching plainchant to the choirboys. The year 1539 finds him singing in Palencia Cathedral, where he became known as a composer. He then seems to have gone to Madrid in 1541, but by 1545 he was back in his native city of Badajoz as the cathedral's chapel master (Maestro de capilla).
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Rev. George Herbert Palmer (Grantchester, 9 August 1846 - Oxford, 20 June 1926) was an English clergyman and expert on plainchant. He was ordained a priest in Chester in 1871 and later was organist of St. Margaret's Church in Toxteth Park, Liverpool, and St. Barnabas, Pimlico, London. He helped found the Plainsong and Medieval Music Society in 1888. He was notable and influential for his musically sensitive translations of Latin hymns into English.
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Ambrosian chant is largely defined by its role in the liturgy of the Ambrosian rite, which is more closely related to the northern "Gallic" liturgies such as the Gallican rite and the Mozarabic rite than the Roman rite. Musically, however, Ambrosian chant is closely related to the Gregorian and Old Roman chant traditions. Many chants are common to all three, with musical variation. Like all plainchant, Ambrosian chant is monophonic and a cappella.
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The treatise also discusses singing technique, ornamentation of plainchant, and polyphony in the style of organum. The scale used in the work, which is based on a system of tetrachords, appears to have been created solely for use in the work itself rather than taken from actual musical practice. The treatise also uses a very rare system of notation, known as Daseian notation. This notation has a number of figures which are rotated ninety degrees to represent different pitches.
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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.
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Plainsong (calque from the French « plain-chant »; hence also plainchant; ) is a body of chants used in the liturgies of the Western Church. Though the Catholic Church (both its Eastern and Western halves) and the Eastern Orthodox churches did not split until long after the origin of plainsong, Byzantine chants are generally not classified as plainsong. Plainsong is monophonic, consisting of a single, unaccompanied melodic line. Its rhythm is generally freer than the metered rhythm of later Western music.
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Melody may be characterized by its degree and type of conjunct and disjunct motion. For example, Medieval plainchant melodies are generally characterized by conjunct motion with occasional thirds, fourths, and generally ascending fifths while larger intervals are quite rare though octave leaps may occur between two separate phrases.Bonds (2006), p.43. Renaissance melodies are generally characterized by conjunct motion, with only occasional leaps of more than a fifth and then rarely anything but a sixth or octave.
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In 1610 he was appointed one of the Rouen Cathedral's canons. In 1613 he won his first award from Rouen's literary society, the Académie des Palinods, for his poems. The year 1623 saw publication of Titelouze's Hymnes de l'Eglise, a collection of organ settings of various plainchant hymns to be used during the liturgy. The same year, due to health problems, Titelouze partially retired from his organist position (although he kept the post until his death).
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The chants almost all end on one of two pitches, a G or an A, and thus do not fit into the Gregorian system of eight modes. What most distinguishes Beneventan chant is its frequent and repeated use of various short melodic motifs. Although this technique is used in other chant traditions, such as the centonization of melodic formulae in the Gregorian Graduals, it is far more frequently used in Beneventan chant than in the other Western plainchant traditions.
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St Andrews Cathedral, associated with the important 13th century 'Wolfenbüttel 677' manuscript In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant. The separate development of British Christianity from the direct influence of Rome until the 8th century, with its flourishing monastic culture, led to the development of a distinct form of liturgical Celtic chant.D. O. Croinin, ed., Prehistoric and Early Ireland: Prehistoric and Early Ireland, vol I (Oxford: Oxford University Press, 2005), p. 798.
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Their work in the interpretation of medieval music, with particular focus on Bohemian plainsong, is particularly significant with a focus on the symbolism of neumatic notation from the 10th and 11th centuries. Performances feature the original Bohemian plainchant tradition, including the earliest examples of polyphony. In addition they have performed music from 14th and 15th century and more modern compositions, including some written specifically for the group. They have produced numerous recordings under the Supraphon and other labels.
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Only a few of his compositions survive and most are incomplete. Among them can be cited an Easter antiphon Christus resurgens in two sections, based on a Sarum Rite plainchant; and a motet Anima Christi for three voices, which was originally just one section of a much longer motet for six voices. William Parsons is believed to be the same "W. Parsons" who composed 81 out of the 141 settings in John Day's The Whole Psalmes in Foure Parts.
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Although many ancient cultures used symbols to represent melodies and rhythms, none of them were particularly comprehensive, and this has limited today's understanding of their music. The seeds of what would eventually become modern western notation were sown in medieval Europe, starting with the Catholic Church's goal for ecclesiastical uniformity. The church began notating plainchant melodies so that the same chants could be used throughout the church. Music notation developed further in the Renaissance and Baroque music eras.
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He had collaborated with the Athens Radio Broadcast on programs related to Byzantine Music and had performed contemporary music composed by M. Adamis, D. Terzakis and K. Sfetsas. He was a member of the research team headed by Marcel Pérès in France, which studies the old Western chants and their relationship to the Byzantine ones. He had performed Byzantine, Old Roman, Ambrosian and other traditions of Western plainchant in recordings with the Ensemble Organum in France.
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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.
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Guido d'Arezzo' wrote in 1028 a letter to Michael of Pomposa, entitled Epistola de ignoto cantu,For a modern edition of the letter, see . in which he introduced the practice of using syllables to describe notes and intervals. This was the source of the hexachordal solmization that was to be used until the end of the Middle Ages. Guido also wrote about emotional qualities of the modes, the phrase structure of plainchant, the temporal meaning of the neumes, etc.
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The most interesting aspect of the Ludus is the presence of thirty-eight (38) musical pieces with (semi-)sacred lyrics interspersed throughout the work. Of these, thirty-six (36) are monophonic and two polyphonic, while twenty are contrafacta whose models are usually named explicitly in the rubrics that accompany the music. The musical notation of the Ludus is that of the secular chansonniers or of plainchant. One of the original pieces is an Agnus Dei in two-parts conductus.
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This is can be seen graphically in three diagrams found in Lux Bella: two traditional vertical representations, one of plainchant and one of musica ficta, as well as a unique circular one. In the vertical diagrams, the pitch letters are on the left and the hexachords are depicted ascending. In the circular diagram, the pitch letters are in the outermost circle, and the hexachords are depicted spiraling inward counterclockwise beginning in the second inner circle.Vogel (1982) pp. 51-66.
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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.
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On returning home to England during the 1960s, Berry embarked on a doctorate in musicology at Cambridge University. She had some difficulty, however, in persuading the musical establishment that plainchant was a suitable topic for graduate study. For her degree, she submitted a thesis on the performance of plainsong in the late Middle Ages and the 16th century. There was a problem, though, as she had written her thesis in French, so that it had to be sent to Solesmes for examination.
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Wedgwood was born in London in 1883, the son of Alfred Allen Wedgwood, son of Hensleigh Wedgwood and Rosina Margaret Ingall. In 1894 he was sent to Windlesham House School, leaving for Brighton College in 1897. He then studied at University College, Nottingham, with the intention of making a living as a chemist, but found himself attracted to High Anglican worship, becoming an altar server and later being sent to York Minster, where as choirmaster he trained boys in plainchant.
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Memento Mori is in one movement and last for approximately 14 minutes. It is in common time and the tempo is lento. The piece opens with an introduction, which them leads into two statements of the Dies irae plainchant, part of the Latin mass for the dead: 687x687px Following this, the music oscillates between the pitches of G and A-flat. The composer notes that this is because the astronomer Kepler believed those pitches to be the sound of the planet Earth.
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He is the winner of Chorus America's Louis Botto Award for Innovative Action and Entrepreneurial Zeal for his work with Schola Antiqua. Responding to the wide range of vocal forces required to sing plainchant and polyphony written before 1600, Schola Antiqua does not employ a set roster of singers for its programs. Rather it draws on a pool of professional vocal specialists in Chicago to suit the needs of each individual program. Rosters have ranged from six to ten members (male and female).
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Gustav Holst used both the words and the plainchant melody of Pange lingua along with Vexilla regis in Hymn of Jesus (1917). The last two verses of Pange lingua (Tantum ergo) are often separated out. They mark the end of the procession of the monstrance in Holy Thursday liturgy. Various separate musical settings have been written for this, including one by Giovanni Pierluigi da Palestrina, one by Franz Schubert, eight by Anton Bruckner, one by Maurice Duruflé, and one by Charles-Marie Widor.
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Given the fact that Chant was learned in an oral tradition in which the texts and melodies were sung from memory, this was obviously not necessary. The neumatic manuscripts display great sophistication and precision in notation and a wealth of graphic signs to indicate the musical gesture and proper pronunciation of the text. Scholars postulate that this practice may have been derived from cheironomic hand-gestures, the ekphonetic notation of Byzantine chant, punctuation marks, or diacritical accents.Levy, Kenneth: "Plainchant", Grove Music Online, ed.
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This tension between musicality and piety goes far back; Gregory the Great himself criticized the practice of promoting clerics based on their charming singing rather than their preaching.Hiley, Western Plainchant p. 504. However, Odo of Cluny, a renowned monastic reformer, praised the intellectual and musical virtuosity to be found in chant: True antiphonal performance by two alternating choruses still occurs, as in certain German monasteries. However, antiphonal chants are generally performed in responsorial style by a solo cantor alternating with a chorus.
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During the Middle Ages, most composers worked for the Catholic church and composed music for religious services such as plainchant melodies. During the Renaissance music era, composers typically worked for aristocratic employers. While aristocrats typically required composers to produce a significant amount of religious music, such as Masses, composers also penned many non-religious songs on the topic of courtly love: the respectful, reverential love of a great woman from afar. Courtly love songs were very popular during the Renaissance era.
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Gustav Holst used both the words and the plainchant melody of Vexilla regis in The Hymn of Jesus (1917). Dante makes an early literary allusion in Inferno, where Virgilius introduces Lucifer with the Latin phrase Vexilla regis prodeunt inferni. Dante's reference is itself later referenced in Walter M. Miller, Jr.'s A Canticle for Leibowitz. Vexilla regis is mentioned in Stephen's discussion of his aesthetic theory in chapter V of A Portrait of the Artist as a Young Man by James Joyce.
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The first movement, "Circus Games" ("Circenses"), depicts the ancient contests in which gladiators battled to the death, with the sound of trumpet fanfares. Strings and woodwinds suggest the plainchant of the first Christian martyrs which are heard against the snarls of the beasts against which they are pitted. The movement ends with violent orchestral chords, complete with organ pedal, as the martyrs succumb. Next, the Jubilee ("Giubileo"), portrays the every-fiftieth-year festival in the Papal tradition (see Christian Jubilee).
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Jolliet is said to have played the organ, harpsichord, flute, and trumpet. In 1700, under British rule at this time, an organ was installed in Notre-Dame Basilica in Montreal and military bands gave concerts on the Champ de Mars. A French-born priest, René Ménard, composed motets around 1640, and a second Canadian-born priest, Charles-Amador Martin, is credited with the plainchant music for the Sacrae familiae felix spectaculum, in celebration of the Holy Family feast day in 1700.
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From his studies of the neumatic notation symbols of plainchant, Messiaen had formed the idea of exploring the rhythms corresponding to them. "In an interplay of transposition, the neumatic symbol as an indication of a sinuous melodic entity is now applied to a rhythmic motive. Each rhythmic neume is assigned a fixed dynamic and resonances of shimmering colours, more or less bright or somber, always contrasting" . The collage-like rhythmic structure grows from the iambic rhythm found at the beginning of the first strophe.
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St Bartholomew's is an Anglo-Catholic parish and follows the Rite of the 1959 Canadian revision of the Book of Common Prayer with additions from Anglo- Catholic service books such as the Plainchant Gradual, the English Gradual, the Anglican Missal, and the Monastic Diurnal Noted. The ceremonial is that of the Western Rite. A Solemn or Sung Mass preceded by the Asperges and followed by the Angelus is celebrated every Sunday of the year. A Solemn Mass with Procession is sung on many major Feast Days.
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The Schola Cantorum was the trained papal choir during the Middle Ages, specializing in the performance of plainchant for the purpose of rendering the music in church. In the fourth century, Pope Sylvester I was said to have inaugurated the first Schola Cantorum, but it was Pope Gregory I who established the school on a firm basis and endowed it.Giulio Cattin, Music of the Middle Ages I (New York: Cambridge University Press, 1984), 51. The choir ranged anywhere from twenty to thirty boys or men.
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Ekphonetic notation consists of symbols added to certain sacred texts, especially lectionary readings of Biblical texts, as a mnemonic device to assist in their cantillation. Ekphonetic notation can take a number of forms, and has been used in several Jewish and Christian plainchant traditions, but is most commonly associated with Byzantine chant. In many cases, the original meaning of ekphonetic neumes is obscure, and must be reconstructed by comparison with later notation. Joseph Huzaya introduced ekphonetic notation into Syriac in the early 6th century.
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Before Trent, many other feasts also had their own sequences,David Hiley, Western Plainchant : A Handbook (OUP, 1993), II.22, pp.172–195 and some 16 different sequences for Easter were in use.Joseph Kehrein, Lateinische Sequenzen des Mittelalters (Mainz 1873) pp78-90 Victimae Paschali Laudes is one of the few sequences that are still in liturgical use today. Its text was set to different music by many Renaissance and Baroque composers, including Busnois, Josquin, Lassus, Willaert, Hans Buchner, Palestrina, Byrd, Perosi, and Fernando de las Infantas.
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Draft of Afferentur regi, page 2 The 38-bars piece scored in F major for mixed choir and three trombones ad libitum is a polyphonic offertory. The piece is in ternary form, with an opening motive drawn from a pre-existing Latin plainchant. In the first part (bars 1-7), "Afferentur regi" is sung in canon by the alto and tenor voices, and with inverted motif by the bass and soprano voices. A similar pattern is repeated in bars 8-15 on "proximae ejus".
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Albert is known for his commentary on the musical practice of his times. Most of his written musical observations are found in his commentary on Aristotle's Poetics. He rejected the idea of "music of the spheres" as ridiculous: movement of astronomical bodies, he supposed, is incapable of generating sound. He wrote extensively on proportions in music, and on the three different subjective levels on which plainchant could work on the human soul: purging of the impure; illumination leading to contemplation; and nourishing perfection through contemplation.
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The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian agape feasts.Hiley, Western Plainchant p. 486. Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following St. Anthony introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, St. Ambrose introduced this practice to the West.
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During Biblical times, the cornet, flute, horn, organ, pipe, and trumpet were also used. During the Middle Ages, hand-written music notation was developed to write down the notes of religious Plainchant melodies; this notation enabled the Catholic church to disseminate the same chant melodies across its entire empire. During the Renaissance music era, the printing press was invented, which made it much easier to mass-produce music (which had previously been hand-copied). This helped to spread musical styles more quickly and across a larger area.
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Berry was born in 1917, the daughter of a chemist who was vice-president of Downing College. As a young woman, she went to the Perse School before spending a year at the École Normale de Musique de Paris, where she became a pupil of the conductor and teacher Nadia Boulanger. On returning home, she was awarded a Turle scholarship at Girton College, where she studied with Thurston Dart, but continued to study during her vacations under Boulanger. An interest in plainchant was encouraged by Berry's supervisor, the Trinity College don Hubert Stanley Middleton.
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In 1950, after more than half a century of close contact with that congregation, St Cecila's Abbey itself became part of the Solesmes Congregation. In 1974, Pope Paul VI issued Jubilate Deo, a selection of plainchant pieces, to encourage the singing of Simple Gregorian melodies in parishes. The Community recorded the chant to support this endeavour,Lee OSB, Eustochium. "Abbess Bernadette Smeyers (obit)", Independent, 20 September 2005 in what was the first recording of nuns in the UK. Between 1980 and 1992, the Community produced nine more recordings of their chant.
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Chase, pgs. 47 - 48 The city of Philadelphia has also been a major center for Roman Catholic church music. The first Catholic hymnbook published in the United States came from Philadelphia in 1787, entitled Litanies and Vesper Hymns and Anthems as They Are Sung in the Catholic Church; this collection included music scored for treble and bass, with later editions adding a third vocal section, and used highly ornamented plainchant themes in the Mass and hymns. The publisher Mathew Carey was particularly influential, publishing a catechism in 1794 that included hymns in later editions.
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A short introduction (just seven bars), gives the tone to the work: strong fierce, and brave. In it two motivic items are presented which will establish the cyclic material for the entire composition: a note cell preceded by a grupetto and theme derived from the medieval Dies Irae plainchant. The latter becomes the prevailing theme in the Allegro, developed and enriched by orchestral figures based on Tchaikovsky. The second theme (Moderato), in the violins, is interesting in its melodic structure, which uses the gypsy scale (with two augmented seconds).
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From before 1620 he was a singer and a choir-master at St Walburgis, a post he held until his death. We know this because in 1620 he was temporarily suspended due to refusing to perform a plainchant mass instead of a polyphonic one for the burial of a child. Messaus composed at least 14 masses, 57 motets, Dutch hymns, a canon and 3 secular songs in Dutch. He is now remembered mostly as a very productive musical arranger of cantiones natalitiae (Christmas songs), which were very popular in the Low Countries.
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It is an album of early medieval plainchant of which the title is taken from a passage in Hildegard's writings in which she describes herself: > Listen: there was once a king sitting on his throne. Around him stood great > and wonderfully beautiful columns ornamented with ivory, bearing the banners > of the king with great honour. Then it pleased the king to raise a small > feather from the ground and he commanded it to fly. The feather flew, not > because of anything in itself but because the air bore it along.
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By the thirteenth century, syllabic introductions birthed the motet, placing an organum plainchant in the bottom voice and introducing new text in the upper registers of the vocal range. The texture, such as that of Adam de la Halle's 'De Ma Dame Vient', quotes the Latin 'Viderunt Omnes' while the upper voices sing a similar French passage. The divergent quality of two simultaneous texts adapts the pieces to a more elaborate syllabic setting. To accommodate the rhythmic freedom, Halle's use of Franconian notation allowed the textural shapes to characterize the length of a pitch.
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The typical keyboard style of the time seems to have placed the tenor of a secular song or a melody from plainchant in equal tones in the bass while a fast-moving line was written above it for the right hand. The surviving sources are likely among the few witnesses of a largely improvised tradition. Other instrumental traditions are hinted at by the monophonic, dances without text in a manuscript now in London (British Library, add. 29987) and in imitations of instrumental style in sung madrigals and cacce such as Dappoi che'l sole.
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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.
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Martin Luther wrote a paraphrase in German, "Komm, Gott Schöpfer, Heiliger Geist" (literally: Come, God Creator, Holy Ghost) as a Lutheran hymn for Pentecost, first published in 1524, with a melody derived from the chant of the Latin hymn. It appears in the Protestant hymnal Evangelisches Gesangbuch as EG 126. Heinrich Bone published his own German paraphrase in 1845, "Komm, Schöpfer Geist, kehr bei uns ein" (literally: Come, Creator Spirit, visit us), also using an adaptation of the plainchant melody. It appears in the German Catholic hymnal Gotteslob (2013) and its 1975 predecessor.
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Cristle Collins Judd (the author of many articles and a thesis dedicated to the early pitch systems) found "tonalities" in this sense in motets of Josquin Desprez . Judd also wrote of "chant-based tonality" , meaning "tonal" polyphonic compositions based on plainchant. Peter Lefferts found "tonal types" in the French polyphonic chanson of the 14th century , Italian musicologists Marco Mangani and Daniele Sabaino in the late Renaissance music , and so on. The wide usage of "tonality" and "tonal" has been supported by several other musicologists (of diverse provenance); it can be traced, e.g.
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The first Lutheran hymns were published in 1524. These included the ' (known as the first Lutheran hymnal) and the Erfurt Enchiridion (both with unaccompanied melodic settings), as well as Johann Walter's ', the first to contain part song settings of Lutheran hymns. Luther and his contemporaries referred to these vernacular hymns as geistliche Lieder (spiritual songs), Psalmen (psalms), christliche Lieder (Christian songs), and geistliche (or christliche) Gesänge or Kirchengesänge. The German word Choral, which was originally used to describe Latin plainchant melodies, was first applied to the Lutheran hymn only in the later sixteenth century.
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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.
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Singing has been part of the Christian liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in synagogues for centuries after the Destruction of the Second Temple in AD 70.David Hiley, Western Plainchant pp. 484–5.
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The multiplicity of Latin phrases used to describe the various voice parts of polyphonic medieval music became associated with modern voice types of treble, alto, tenor and bass. The terms mentioned above came into use during the development of plainchant, which was sung to a single melody or cantus held by the tenor (from Lat. tenere, 'to hold'.) As polyphonic music developed, a second voice above the cantus was termed the contratenor. The third part was the triplum (the 'third' voice up from the tenor part, the modern 'treble').
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At the very beginning of the movement, Ysaÿe directly quotes the beginning of Prelude from J. S. Bach's Partita No. 3 in E major for solo violin. Much like Bach's E major Prelude, the movement consists of virtuosic sixteenth notes throughout, yet Ysaÿe's use of chromatic tonality clearly sets the piece in the genre of early 20th century music. Direct quotes from Bach's Prelude appear frequently, showing Ysaÿe's "obsession" with Bach's work. Another prominent theme is the "Dies Irae", a plainchant from the Catholic Mass for the Dead.
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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.
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The tenor is based on an existing plainsong melody from the liturgical repertoire (such as the Alleluia, Verse or Gradual, from the Mass, or a Responsory or Benedicamus from the Office). This quotation of plainchant melody is a defining characteristic of thirteenth century musical genres. In organum purum the tenor part was drawn out into long pedal points, while the upper part or duplum contrasted with it in a much freer rhythm, consisting of melisms (melismatic or several notes per syllable, compared to syllabic, a single note per syllable).
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417 Listen to it interpreted. During the Medieval Music era (476 to 1400) the plainchant tunes used by monks for religious songs were primarily monophonic (a single melody line, with no harmony parts) and transmitted by oral tradition ("by ear"). The earliest Medieval music did not have any kind of notational system for writing down melodies. As Rome tried to centralize the various chants across vast distances of its empire, which stretched from Europe to North Africa, a form of music notation was needed to write down the melodies.
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Its most distinctive feature compared with other plainchant repertories is a significantly higher amount of stepwise motion, which gives Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the neume called the climacus dominates, contributing to the stepwise motion. More ornamental neumes such as the quilisma are nearly absent from the notated scores, although it is unclear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription. The Gregorian system of modes does not apply to Ambrosian chant.
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Ortiz published a collection of polyphonic religious music in 1565 in Venice. Musices liber primus hymnos, Magnificas, Salves, motecta, psalmos includes sixty-nine compositions for four to seven voices, based on plainchant works. They are stylistically conservative for the period, appropriate to the tastes of the dedicatee, Ortiz's employer, Pedro Afán de Rivera, Duke of Alcalá and the Spanish Viceroy in Naples. In the preface to this publication, Ortiz encourages performers to accompany these sacred polyphonic works with instruments, a practice favoured at the time in Spain, and promises future publication of a book of masses which never appeared .
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In early Tudor England, the Latin hymn was sung in three parts as a faburden with two voices added, one above and one below the plainchant. Polyphony of this kind became less common during the reign of Edward VI, when the English Reformation resulted in choirs being disbanded and organs dismantled. Luther translated the first seven verses into the hymn "", which long remained the main German Protestant Christmas hymn until the new ' of the 1990s, in which it did not appear. It was also set by Bach in his chorale cantata Christum wir sollen loben schon and his chorale prelude BWV 611.
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Although there was a German version of the Gloria in the Naumburg hymnal, the 1523 hymn "Allein Gott in der Höh sei Ehr" of Nikolaus Decius, also adapted from plainchant, eventually became adopted almost universally throughout Germany: it first appeared in print with these words in the 1545 Magdeburg hymnal Kirchengesenge Deudsch of the reformist Johann Spangenberg. A century later, Lutheran liturgical texts and hymnody were in wide circulation. In Leipzig, Bach had at his disposal the Neu Leipziger gesangbuch (1682) of Gottfried Vopelius. Luther was a firm advocate of the use of the arts, particularly music, in worship.
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Plainchant represents the first revival of musical notation after knowledge of the ancient Greek system was lost. Plainsong notation differs from the modern system in having only four lines to the staff and a system of note shapes called neumes. In the late 9th century, plainsong began to evolve into organum, which led to the development of polyphony. There was a significant plainsong revival in the 19th century, when much work was done to restore the correct notation and performance-style of the old plainsong collections, notably by the monks of Solesmes Abbey, in northern France.
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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.
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He published two collections of organ music in the tradition of the South German school, intended for use with the Catholic liturgy; these consist of short toccatas, fantasies and fugues written using the psalm tones and plainchant melodies. The first collection is entitled Octi-tonium novum organicum, octo tonis ecclesiasticis, ad Psalmos, & magnificat (Augsburg, 1696), and contains 89 pieces. The second collection is in two parts of 34 pieces each, entitled Prototypon longo-breve organicum; (part I, Nuremberg, 1703; part II, Nuremberg, 1707). Both may be found in Denkmäler der Tonkunst in Bayern XXX, Jg.xviii (1917).
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Vinders wrote both sacred and secular music. All is polyphonic music for voices; no instrumental compositions have survived, or been attributed to him. Four masses survive, all for five voices; all use different kinds of sources. The Missa Fors seulement is built on the chansons by Antoine de Févin and Matthaeus Pipelare; the Missa Fit porta Christi pervia is based on a plainchant cantus firmus; the Missa Myns liefkens bruyn ooghen uses as its source a secular song in Dutch, by Benedictus Appenzeller; and the Missa Stabat mater uses the motet by Josquin, a composer he evidently admired.
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In 1958 he published a large work on plainchant, which provided a comprehensive guide of the repertoire and its sources. In early 1960s he founded the Corpus of Early Keyboard Music (CEKM), a series of editions devoted to early keyboard music. Over the years, CEKM presented the music of less known composers such as Johann Ulrich Steigleder, Bernardo Storace, Peeter Cornet, and others, and also included modern editions of various important manuscripts such as the 16th century Jan z Lublina tablature. Apel was the general editor for CEKM and edited a total of ten volumes; his pupils provided dozens more.
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Scott was born in Romsey. Educated at Southampton Grammar School, he entered the Brussels Conservatory in 1894. Beginning by studying the violin, he transferred to the organ under the outstanding virtuoso and teacher Alphonse Mailly (1833–1918), who encouraged a special interest in plainchant and in the phrasing of Johann Sebastian Bach's organ music: he also studied composition under Hubert Ferdinand Kufferath (1818–1896) (a pupil of Mendelssohn's), teacher of counterpoint and fugue, and under the organist-composer Edgar Tinel (1854–1912). In 1897 he took the Premier Prix avec distinction and the Mailly Prize for organ playing.
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Blue Heron, directed by Scott Metcalfe,Scott Metcalfe is a professional vocal ensemble based in the Boston area. The ensemble presents an annual concert series in Cambridge, Massachusetts, and performs throughout New England as well as touring the US; it made its European debut in the United Kingdom in 2017. Blue Heron's repertoire extends from plainchant to new music, with a particular focus on 15th- and 16th-century polyphony. Its performing style is informed by the rigorous study of original source materials and historical performance practice, with the general goal of expressing the text dramatically and revealing the music's rhetorical momentum.
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Monophony was replaced from the fourteenth century by the Ars Nova, a movement that developed in France and then Italy, replacing the restrictive styles of Gregorian plainchant with complex polyphony.W. Lovelock, A Concise History of Music (New York NY: Frederick Ungar, 1953), p. 57. The tradition was well established in England by the fifteenth century. The distinctive English version of polyphony, known as the Contenance Angloise (English manner), used full, rich harmonies based on the third and sixth, which was highly influential in the fashionable Burgundian court of Philip the Good, where the Burgundian School associated with Guillaume Dufay developed.
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Roy Henry's music consists of two movements of the ordinary of the mass: a Gloria and a Sanctus, both for three voices, and written in a fairly low register. The music itself is skillfully written, and unusually for the time, no specific plainchant can be identified as a source; both pieces may be freely composed, or the underlying chant may be part of the enormous lost repertory of music from the early 15th century, hence unidentifiable (the vast majority of manuscripts of the time were destroyed in the 1530s during Henry VIII's Dissolution of the Monasteries).
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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).
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The development of polyphonic forms, with different voices interweaving, is often associated with the late Medieval Ars nova style which flourished in the 1300s. The Ars Nova, which means "new art" was an innovative style of writing music that served as a key transition from the medieval music style to the more expressive styles of the post-1400s Renaissance music era. The earliest innovations upon monophonic plainchant were heterophonic. "Heterophony" is the performance of the same melody by two different performers at the same time, in which each performer slightly alters the ornaments she or he is using.
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The Windhaager Messe is a Missa brevis in C major for alto solo, two horns and organ. The work is divided into six parts: # Kyrie, C major # Gloria, C major # Credo, C major # Sanctus, C major # Benedictus, E major # Agnus Dei, C major Total duration: 8 to 10 minutes. The work employs a text compressed to the absolute minimum and is predominantly homophonic in texture - often close to plainchant as, for example, the initial phrase of the Kyrie and the Credo - with occasional contrapuntal interruptions. The organ part consists of the alto solo line and a mostly unfigured bass.
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166–78, and Hiley, Western Plainchant p. 454. The great need for a system of organizing chants lies in the need to link antiphons with standard tones, as in for example, the psalmody at the Office. Using Psalm Tone i with an antiphon in Mode 1 makes for a smooth transition between the end of the antiphon and the intonation of the tone, and the ending of the tone can then be chosen to provide a smooth transition back to the antiphon. As the modal system gained acceptance, Gregorian chants were edited to conform to the modes, especially during 12th-century Cistercian reforms.
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A dove representing the Holy Spirit sitting on Pope Gregory I's shoulder symbolizes Divine Inspiration The Gregorian repertory was further systematized for use in the Roman Rite, and scholars weigh the relative influences of Roman and Carolingian practices upon the development of plainchant. The late 8th century saw a steadily increasing influence of the Carolingian monarchs over the popes. During a visit to Gaul in 752–753, Pope Stephen II celebrated Mass using Roman chant. According to Charlemagne, his father Pepin abolished the local Gallican Rites in favor of the Roman use, in order to strengthen ties with Rome.
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The royal chapel also included a group of ecclesiastics and musicians for the religious services, divided into two sections: the chapel and oratory (chapelle et oratoire)--directed by the master of the Oratory (sous-maître de l'Oratoire)--which performed spoken Masses, and the grande chapelle--directed by the master of the chapel (maître de la chapelle)--which performed Masses in plainchant. In the reign of Louis XV, the musicians of the two chapels were united. Oversight was eventually transferred (in 1761) from the Ecclesiastical household to the King's Chamber, and the position of master of the chapel was eliminated.
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F-Pn lat. 13159, fol. 167r) Tonaries were particularly important as part of the written transmission of plainchant, although they already changed the oral chant transmission of Frankish cantors entirely before musical notation was used systematically in fully notated chant books.The modal patterns, memorized by a short formula, and the deductive classification of chant played an active part in the process of oral transmission, so Anna Maria Busse Berger dedicated a whole chapter of her book (2005, pp. 47-84) to the tonary, in which she described the relationship between music and the medieval art of memory.
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Monophony was replaced from the fourteenth century by the Ars Nova, a movement that developed in France and then Italy, replacing the restrictive styles of Gregorian plainchant with complex polyphony.W. Lovelock, A Concise History of Music (New York NY: Frederick Ungar, 1953), p. 57. The tradition was well established in England by the fifteenth century. The distinctive English version of polyphony, known as the Contenance Angloise (English manner), used full, rich harmonies based on the third and sixth, which was highly influential in the fashionable Burgundian court of Philip the Good, where the Burgundian School associated with Guillaume Dufay developed.
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For many years he was the musical director of the Auckland Catholic Music Schola, stationed at St John's Church in Parnell, Auckland. The Schola specialise in Medieval and Renaissance plainchant and liturgical music in the context of the Mass. During 2008 - 2016 Perkins lived in Melbourne, Australia working at the Conservatorium of Music, Melbourne University as tutor and lecturer, during which time he completed his PhD Composition with supervisors renowned Australian composer Elliott Gyger and acclaimed musicologist Melanie Plesch. Perkins' portfolio included Vespers for Pentecost (Christchurch Vespers, 2012) performed and recorded by mezzo soloist Gina Sanders, with the Bach Musica NZ choir and orchestra conducted by Rita Paczian.
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The work has received mixed reviews. Joseph McLellan, writing in The Washington Post, stated that: Laurie Strachan, writing in The Australian, was similarly positive, writing that Memento Mori was 'one of [Sculthorpe's] most immediately appealing scores.' Strachan went on further to say that '[t]here are some hauntingly beautiful melodies and striking tonal contrasts. Some play is made of the plainchant Dies irae but this is not overdone and the whole thing ends on a note of quiet resolution that's absolutely right.’ Conversely, Andrew Clements, while reviewing a CD of Sculthorpe's work for The Guardian, said that the Memento Mori was "the most conventional and least effective piece on [the] disc".
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I. Motivum - Introduction II. Pastorale and Annunciation III. Stabat Mater speciosa ('Stood the beautiful Mother') IV. Song of the Shepherds at the Manger V. The Three Kings The narrator (see above) brings the 'motivum' of the work at the very opening, speaking in Latin, and then follows the introduction by the orchestra, once more punctuated by the voice of the narrator, bringing the words from Isaiah, 45:8. The introduction is largely of light, pastoral atmosphere, and its duration is around 18 minutes. It is a kind of free polyphonic fantasy on the plainchant for Advent 'Rorate coeli', building from a quiet start seamlessly to a climax.
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Schenker intended his theory to apply only to music of the common practice period, and there to a select class of mostly Austro-German composers in a line from J.S. Bach to Johannes Brahms. Developments in more recent music theory have sought to clarify the conditions under which prolongation may obtain, so that other repertoires may either be opened up or more justifiably be precluded. Schenker pupil Felix Salzer, for example, detects the rudiments of prolongational horizontalization in music as early as 12th-century plainchant and argues that it is a musical principle that persists through post-tonal music as well, such as Paul Hindemith and Igor Stravinsky.Salzer, Felix (1962).
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Beneventan chant is largely defined by its role in the liturgy of the Beneventan rite, which is more closely related to the liturgy of the Ambrosian rite than the Roman rite. The Beneventan rite has not survived in its complete form, although most of the principal feasts and several feasts of local significance are extant. The Beneventan rite appears to have been less complete, less systematic, and more liturgically flexible than the Roman rite; many Beneventan chants were assigned multiple roles when inserted into Gregorian chantbooks, appearing variously as antiphons, offertories, and communions, for example. Like all plainchant, Beneventan chant is monophonic and a cappella.
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While maintaining the fundamentally Lutheran elements of the traditional mass, the community of First United finds richness, vitality and spiritual renewal in using a variety of forms and musical settings in worship celebrations. Musical settings, therefore, often change with the various seasons of the church year. Frequently new or different settings are employed within a season or for special celebrations, including its own setting of Lutheran liturgy, the Mass of a United People. Written by the musicians of First United, the setting uses a variety of elements including the spoken word, flute, organ, drums, guitar, piano, and styles ranging from a cappella plainchant to folk to soft jazz/rock.
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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.
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His sole surviving work of sacred music is the Agenda defunctorum (Office of the Dead) of 1556. In this work primarily for four voices (some sections included three voices and others five) Vásquez not only demonstrated his ability with extended forms of music but also conveyed his facility for counterpoint and his beautiful and melodious lines. Cantus firmi are apparent in this work but he used them intermittently in all of the voices at various places.AOL Music's Vásquez biography The music employs both plainchant and polyphony, with his best and most extensive use of polyphony to be found in the Missa pro defunctis from that collection.
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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.
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The organ is also used together with other encouraged forms of liturgical music like choral polyphony and plainchant. It is hoped that this total experience of liturgical music will lead the faithful to a greater awareness of the divine in the liturgical celebrations, and help the faithful to truly sing the mass, and not just sing at mass. The Choir Loft Organ is a new one that was purchased in 2010 for use in Sunday masses and replaces an older Allen which served the church for a good 20 years. The new instrument is an Allen Quantum 2 manual and pedal instrument with 45 stops or voices.
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James William McKinnon (April 7, 1932 – February 23, 1999) was an American musicologist most known for his work in the fields of Western plainchant, medieval and renaissance music, Latin liturgy and musical iconography. He studied classical languages at Niagara University before going to Columbia University to study with Paul Henry Lang and Edward Lippman, completing his PhD in 1965. He also studied organ with Frederick Swann and was active as a church organist and choir director in New York throughout his life. He began teaching at State University of New York, Buffalo in 1967, where he stayed until 1989, becoming full professor in 1979 and serving as chair from 1987-89.
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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.
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The common term for a short hymn of one stanza, or one of a series of stanzas, is troparion. As a refrain interpolated between psalm verses it had the same function as the antiphon in Western plainchant. The simplest troparion was probably "allelouia", and similar to troparia like the trisagion or the cherubikon or the koinonika a lot of troparia became a chant genre of their own. Psalm 85 κλῖνον, κύριε, τὸ οὖς σου καὶ ἐπάκουσόν μου "on Monday evening" (τῇ β᾽ ἑσπερ) in with a preceding troparion καὶ ἐπάκουσόν μου· δόξα σοι, ὁ Θεός in a liturgical manuscript around 1400 (GR-An Ms. 2061, fol.
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The chant genre offertorium in traditions of Western plainchant was basically a copy of the Byzantine custom, but there it was a proper mass chant which changed regularly. Although its liturgical concept already existed by the end of the 4th century, the cherubikon itself was created 200 years later. The Great Entrance as a ritual act is needed for a procession with the Gifts while simultaneous prayers and ritual acts are performed by the clergy. As the processional troparion, the cherubikon has to bridge the long way between prothesis, a room outside the apsis, and the sanctuary which had been separated by changes in sacred architecture under Emperor Justin II. The cherubikon is divided into several parts.
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The Oxford History of western Music - I (Music from the earliest notations to the 16th Century) (Oxford: Oxford University Press, 2010) p196/7 (Concerning Plainchant). De Mensurabili Musica was the first to explain a modal rhythmic system that was already in use at the time: the rhythmic modes. The six rhythmic modes set out by the treatise are all in triple time and are made from combinations of the note values longa (long) and brevis (short) and are given the names trochee, iamb, dactyl, anapest, spondaic and tribrach, although trochee, dactyl and spondaic were much more common. It is evident how influential Garlandia's There has been recent scholarly debate on whether Johannes de Garlandia actually wrote the treatise.
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The forms of parish worship in the late medieval church in England, which followed the Latin Roman Rite, varied according to local practice. By far the most common form, or "use", found in Southern England was that of Sarum (Salisbury). There was no single book; the services that would be provided by the Book of Common Prayer were to be found in the Missal (the Eucharist), the Breviary (daily offices), Manual (the occasional services of baptism, marriage, burial etc.), and Pontifical (services appropriate to a bishop—confirmation, ordination). The chant (plainsong, plainchant) for worship was contained in the Roman Gradual for the Mass, the Antiphonale for the offices, and the Processionale for the litanies.
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With the birth of her first child in 1979, Boynton postponed indefinitely a career in the theater, judging the demands of that profession not easily compatible with raising a family. During her undergraduate and graduate years, her teachers included Cleanth Brooks, Harold Bloom, Richard B. Sewell, Maynard Mack, Maurice Sendak, Richard Gilman, Rocco Landesman, David Milch, Stanley Kauffmann, and William Arrowsmith. In an autobiographical talk given at Yale in 2002, "The Curious Misuse of a Yale Education", Boynton refers to her book Grunt (an illuminated book and recording of plainchant in Latin and Pig Latin) as "the culmination of a lifetime spent joyfully squandering an expensive education on producing works of no apparent significance".
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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.
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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.
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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.
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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.
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There are two plainchant settings of the Pange lingua hymn. The better known is a Phrygian mode (Mode III) tune from the Roman liturgy, and the other is from the Mozarabic liturgy from Spain. The Roman tune was originally part of the Gallican Rite. The Roman version of the Pange lingua hymn was the basis for a famous composition by Renaissance composer Josquin des Prez, the Missa Pange lingua. An elaborate fantasy on the hymn, the mass is one of the composer's last works and has been dated to the period from 1515 to 1521, since it was not included by Petrucci in his 1514 collection of Josquin's masses, and was published posthumously.
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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.
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In researching for her second CD, A Broom with a View, Lawrence found two tunes associated with soul cakes. She combined and arranged her "Souling Songs" with additional original melodies into two versions with very different perspectives of the cultural forces behind Halloween—paganism and Christianity. As she played around with the traditional Cheshire tune, she was hit with an epiphany that the beginning notes are the same as the medieval plainchant Dies Irae, "Day of Judgment," calling the people to repent and pray for the dead. It struck her as plausible that the Cheshire tune could be a folk corruption of the chant as children and beggars asked for cakes in return for praying for the dead.
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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.
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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.
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The slowly heaving and sinking music could also be interpreted as waves. Rachmaninoff uses a recurring figure in 5/8 time to depict what may be the rowing of the oarsman or the movement of the water, and as in several other of his works, quotes the Dies Irae plainchant, an allusion to death. In contrast to the theme of death, the 5/8 time also depicts breathing, creating a holistic reflection on how life and death are intertwined. In 1929, Rachmaninoff conducted the Philadelphia Orchestra in a recording of the music for the Victor Talking Machine Company, which was purchased by RCA that same year and became known as RCA Victor.
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Monophony was replaced from the fourteenth century by the Ars Nova, a movement that developed in France and then Italy, replacing the restrictive styles of Gregorian plainchant with complex polyphony. Survivals of works from the first half of the sixteenth century indicate the quality and scope of music that was undertaken at the end of the Medieval period. In the High Middle Ages, the need for large numbers of singing priests to fulfill these obligations led to the foundation of a system of song schools. The proliferation of collegiate churches and requiem masses in the Late Middle Ages would have necessitated the training of large numbers of choristers, marking a considerable expansion of the song school system.
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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.
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John of Lancaster, 1st Duke of Bedford, a major patron of music In the fourteenth century, the English Franciscan friar Simon Tunsted (d. 1369), usually credited with the authorship of Quatuor Principalia Musicae: a treatise on musical composition, is believed to have been one of the theorists who influenced the 'Ars Nova', a movement which developed in France and then Italy, replacing the restrictive styles of Gregorian plainchant with complex polyphony.W. Lovelock, A Concise History of Music (New York NY: Frederick Ungar, 1953), p. 57. The tradition was well established in England by the fifteenth century and was widely used in religious, and what became, purely educational establishments, including Eton College, and the colleges that became the Universities of Oxford and Cambridge.
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Kurtzman, who edited a publication of the work for Oxford University Press, notes: "...it seems as if Monteverdi were intent in displaying his skills in virtually all contemporary styles of composition, using every modern structural technique". Monteverdi achieved overall unity by using the Gregorian plainchant as a cantus firmus, for the beginning, the psalms, the litany and the Magnificat. This "rigorous adhesion to the psalm tones" is similar to the style of Giovanni Giacomo Gastoldi, who was choirmaster at the Basilica palatina di Santa Barbara at the ducal palace in Mantua. Whenham summarised about the use of chant: Musicologists have debated topics such as the role of the sacri concentus and sonata, instrumentation, keys (chiavette), and issues of historically informed performance.
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The musical arrangement (including the accompaniment, chords, and interpolations from the other traditional songs) is quite different from the published 1893 version and was copyrighted by members of the group. American Hallowe'en composer Kristen Lawrence found two historical tunes associated with soul cakes as she was researching souling songs for her 2009 A Broom With A View album. As Lawrence heard the traditional Cheshire tune, she was struck that the beginning notes were the same as the mediaeval plainchant Dies Irae, "Day of Judgment", calling the people to repent and pray for the dead. It seemed plausible that the Cheshire tune could be a folk corruption of the chant as children and beggars asked for cakes in return for praying for the dead.
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Pérotin, "Alleluia nativitas", in the third rhythmic mode. In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms). The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a "ligature", and by the position of the ligature relative to other ligatures. Modal notation was developed by the composers of the Notre Dame school from 1170 to 1250, replacing the even and unmeasured rhythm of early polyphony and plainchant with patterns based on the metric feet of classical poetry, and was the first step towards the development of modern mensural notation .
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Brumel wrote a Missa l'homme armé, as did so many other composers of the Renaissance: appropriately, he set it as a cantus firmus mass, with the popular song in long notes in the tenor, to make it easier to hear. All of his masses, with the exception of the highly unusual 12-voice Missa Et ecce terræ motus, are for four voices.Barton Hudson, Grove online During the 16th century the most famous of Brumel's masses was his Missa de beata virgine, a paraphrase mass using elaborations of various plainchant melodies. According to Heinrich Glarean, writing in 1547, it was written in competition with Josquin, who simultaneously wrote his own Missa de Beata Virgine, and the two works are similar in style.
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The Oxford online dictionary describes the origin of the "leger" spelling as a "variant of ledger" that first appeared in the 19th century . Although ledger lines are found occasionally in manuscripts of plainchant and early polyphony, it was only in the early 16th century in keyboard music that their use became at all extensive . Even then, printers had an aversion to ledger lines which caused difficulties in setting type, wasting space on the page and causing a messy appearance. Vocal music employed a variety of different clefs to keep the range of the part on the staff as much as possible; in keyboard notation a common way of avoiding ledger lines was the use of open score on four staves with different clefs .
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The first collection, Premier livre d'orgue of 1688, consists entirely of liturgical music: five masses (in order of appearance, in the first, second, third, sixth and eighth modes) and an offertory in the fifth mode. The offertory has a subtitle "Vive le Roy des Parisiens" ("Long live the King of Parisians"), referencing Louis XIV's entrance into the city hall on January 30, 1687. The collection features a long preface in which Raison explains that Premier livre d'orgue was composed to assist the musicians of secluded monasteries; for them he provides important instructions concerning style, ornamentation, registration and other aspects of performance practice. He also mentions that, since no pieces of the collection employ plainchant melodies, they can also be used as 15 Magnificat settings.
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Her literary inspirations included the works of Verlaine, Gerard Manley-Hopkins, Wendy Cope and Dylan Thomas, all of whose words she set to music. She intended to complete an operatic setting of Racine's play Phèdre, but was unable to begin work on this before her death. Her music was commissioned and performed by ensembles including the Goldberg Ensemble, the Allegri String Quartet, the Bingham String Quartet, Gemini, Lontano, and Boccherini String Trio, the soprano Mary Wiegold and organist Kevin Bowyer. Her largest work was Under the Skin (1999), a large ensemble work commissioned by the BBC for the Huddersfield Contemporary Music Festival, including the words of Dylan Thomas' poem "Do not go gentle into that good night" and utilising the theme of the plainchant hymn Dies irae.
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The missing even- or odd-numbered verses were supplied by plainchant or, perhaps more commonly (to judge by the organ masses of Hans Buchner), by improvisations on the organ.. See also Arnaldo Morelli, "The role of the organ in the performance practices of Italian sacred polyphony during the Cinquecento", Musica disciplina, 50 (1996), pp. 239-270. The verso became a particularly prevalent genre in Renaissance and Baroque organ music, both Italian and Iberian, and most of the French classical organ literature consists of alternatim versets. A large amount of musical repertoire was specifically written for alternatim performance, with Heinrich Isaac and Charles Justin (1830–1873) as notable composers. Alternatim performance of the Mass was common throughout Europe in the seventeenth, eighteenth, and nineteenth centuries.
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This strong participation of lay people in the church singing was and still remains a relatively unique phenomenon among the similar chanting traditions. In the beginning of the 20th century, some efforts to unify the Subcarpathian chanting traditions were also undertaken under supervision of Bishop Julius Firczak of Mukachevo by father John Bokšai (or Bokshai, 1874–1940) and cantor Joseph Malinič. They published the first manual for the Carpathian Plain Chant in Uzhhorod in 1906.The Cerkovnoje Prostopinije (Church Plainchant) of Father John Bokšai and Cantor Joseph Malinič After some of the Rusin parishes converted from Byzantine Catholicism to the Russian Orthodox Church in America, inspired by Father Alexis Toth, the use of Prostopinije was discriminated against by Russian leaders, who replaced it with the Obikhod.
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The cathedral has had a properly constituted, surpliced choir since 1854, when it was first endowed with £1,000 by John Hardman. Hardman was for many years cantor of the choir, and is commemorated by a small white figure of him in the lower left- hand corner of a stained glass window of 1868 located in the north aisle and depicting the Immaculate Conception, with a line of plainchant along the bottom, being the Introit for the feast of the Immaculate Conception. Currently, the four-part, robed choir comprises around adult men and women who lead the worship at the Sunday Solemn Mass (at 11:00 am). They also lead the worship during Holy Week and Easter, when the Archbishop presides.
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28 It is a tradition that the Benedictine Sisters join the monks for evening prayer and supper each year on Easter Monday; the monks, in turn, join the Sisters on the feast of St. Scholastica."The Benedictine Sisters Come to the Abbey for a Visit", Conception Abbey, April 22, 2014 Like the monastery in Switzerland, the sisters devoted much skill to the art of ecclesiastical embroidery, and assiduously cultivated the singing of plainchant. The sisters began teaching the immigrant children and before long they opened St. Joseph's Academy, and ran an orphanage."History", Benedictine Sisters of Perpetual Adoration Since the early 1900s, they established monasteries in Chewelah, Washington; Mundelein, Illinois; Tucson, Arizona; Kansas City, Missouri; St. Louis, Missouri; San Diego, California; and Sand Springs, Oklahoma.
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In 1985 Maclean composed Christ the King, a setting of New Zealand poet James K. Baxter, which has received numerous performances in both Australia and North America, as well as several recordings. Conceived as several interpolations for a performance of John Taverner’s "Westron Wynde" Mass, the composer subsequently tied them together to create a single work that combines elements of plainchant and hymnody with polyphonic passages. The composer’s ingenious weaving and re-ordering of two Baxter poems, ‘Song to the Father’ and ‘Song to the Lord God on a Spring Morning,’ was an early indication (in 1984) of her acute sensitivity to text, a trait that runs through all her subsequent works. In the same year, Maclean also revised four solo settings of Baxter’s verse.
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Guido Turchi (10 November 1916 - 15 September 2010) was an Italian composer and writer on music. Guido Turchi was born in Rome, where he later studied at the Conservatorio di Musica Santa Cecilia with Cesare Dobici, A. Ferdinandi, and Alessandro Bustini, and was awarded diplomas in piano and composition in 1940. In 1945 he achieved the highest possible marks in the advanced diploma course given by Ildebrando Pizzetti . Like many Italian composers of his own and the preceding generation, he was not interested in continuing the tradition of his immediate predecessors of the 19th century, but rather turned to other, earlier sources: Gregorian plainchant, Renaissance madrigals, instrumental composers of the eighteenth century, and to non-Italian music of contemporary Europe .
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Regarding the concept of mode as applied to pitch relationships generally, Harold S. Powers proposed mode as a general term but limited for melody types, which were based on the modal interpretation of ancient Greek octave species called tonos (τόνος) or harmonia (ἁρμονία), with "most of the area between ... being in the domain of mode" . This synthesis between tonus as a church tone and the older meaning associated with an octave species was done by medieval theorists for the Western monodic plainchant tradition (see Hucbald and Aurelian). Musicologists generally assume that Carolingian theorists imported monastic Octoechos propagated in the patriarchates of Jerusalem (Mar Saba) and Constantinople (Stoudios Monastery), which meant the eight echoi they used for the composition of hymns (e.g., ), though direct adaptations of Byzantine chants in the surviving Gregorian repertoire are extremely rare.
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"God Save the Queen" (alternatively "God Save the King", depending on the gender of the reigning monarch) is the royal anthem in a number of Commonwealth realms, their territories and the British Crown dependencies. The author of the tune is unknown, and it may originate in plainchant; but an attribution to the composer John Bull is sometimes made. "God Save the Queen" is the national anthem of the United Kingdom and one of two national anthems used by New Zealand since 1977, as well as for several of the UK's territories that have their own additional local anthem. It is also the royal anthem – played specifically in the presence of the monarch – of all the aforementioned countries, as well as Australia (since 1984), Canada (since 1980), Barbados and Tuvalu.
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Tomás Luis de Victoria, composer of the theme upon which the piece is based Both sections of the piece are based on a theme from a motet, Ecce sacerdos magnus ("Behold a great priest"), by the Spanish composer Tomás Luis de Victoria (or "Vittoria", 1548–1611). The theme, which comes from a plainchant melody used in Vittoria's day on the feast day of a saint and bishop, is nine notes long and does not range widely. The Prelude, which is in time (four minims to a bar), opens with a statement of the theme played on the pedals in quintuplets (five quavers played in the time of four), marked ff, (fortissimo, "very loud"). The theme is repeated frequently in the pedals during the prelude, which is marked "largamente" ("broadly").
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St. Alban's Anglican Church in Copenhagen, Denmark, depicting the "Nunc dimittis" scene The Nunc Dimittis is the traditional 'Gospel Canticle' of Night Prayer (Compline), just as Benedictus and Magnificat are the traditional Gospel Canticles of Morning Prayer and Evening Prayer respectively. Hence the Nunc Dimittis is found in the liturgical night office of many western denominations, including Evening Prayer (or Evensong) in the Anglican Book of Common Prayer of 1662, Compline (A Late Evening Service) in the Anglican Book of Common Prayer of 1928, and the Night Prayer service in the Anglican Common Worship, as well as both the Roman Catholic and Lutheran service of Compline. In eastern tradition the canticle is found in Eastern Orthodox Vespers. One of the most well-known settings in England is a plainchant theme of Thomas Tallis.
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Brumel is best known for his masses, the most famous of which is the twelve-voice Missa Et ecce terræ motus. Techniques of composition varied throughout his life: he sometimes used the cantus firmus technique, already archaic by the end of the 15th century, and also the paraphrase technique, in which the source material appears elaborated, and in other voices than the tenor, often in imitation. He used paired imitation, like Josquin, but often in a freer manner than the more famous composer. A relatively unusual technique he used in an untitled mass was to use different source material for each of the sections (mass titles are taken from the pre-existing composition used as their basis: usually a plainchant, motet or chanson: hence the mass is without title).
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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.
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In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the plainchant at occasions of High Feasts of importance to further the splendour of the liturgy. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in Abbatial churches, in the course of the 12th and 13th centuries the newly consecrated cathedrals resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises, whether they describe the 'actual' practice or a deviation of it.
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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.
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Pachelbel explores a very wide range of styles: psalm settings (Gott ist unser Zuversicht), chorale concertos (Christ lag in Todesbanden), sets of chorale variations (Was Gott tut, das ist wohlgetan), concerted motets, etc. The ensembles for which these works are scored are equally diverse: from the famous D major Magnificat setting written for a 4-part choir, 4 violas and basso continuo, to the Magnificat in C major scored for a five-part chorus, 4 trumpets, timpani, 2 violins, a single viola and two violas da gamba, bassoon, basso continuo and organ. Pachelbel's large-scale vocal works are mostly written in modern style influenced by Italian Catholic music, with only a few non-concerted pieces and old plainchant cantus firmus techniques employed very infrequently. The string ensemble is typical for the time, three viols and two violins.
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The troparion of the great entrance (at the beginning of the second part of the divine liturgy which excluded the catechumens) was also the prototype of the genre offertorium in Western plainchant, although its text only appears in the particular custom of the Missa graeca celebrated on Pentecost and during the patronal feast of the Royal Abbey of Saint Denis, after the latter's vita became associated with Pseudo-Dionysios Areopagites. According to the local bilingual custom the hymn was sung both in Greek and in Latin translation. Today, the separation of the prothesis is part of the early history of the Constantinopolitan rite (akolouthia asmatike). With respect to the Constantinopolitan customs there are many different local customs in Orthodox communities all over the world and there are urban and monastic choir traditions in different languages into which the cherubikon has been translated.
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As late as 1581, Illuminato Aiguino da Brescia published the most elaborate theory defending the eightfold system for polyphonic music against Glarean's innovations, in which he regarded the traditional plainchant modes 1 and 2 (Dorian and Hypodorian) at the affinal position (that is, with their finals on A instead of D) as a composite of species from two modes, which he described as "mixed modes".Harold S. Powers, "Mode, III: Modal Theories and Polyphonic Music, 3: Polyphonic Modal Theory and the Eightfold System, (ii) Composite Modes," The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries, 2001). ; ; ; ; (set); (set). Glarean added Aeolian as the name of the new ninth mode: the relative natural mode in A with the perfect fifth as its dominant, reciting tone, reciting note, or tenor.
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The Book of Common Prayer has never contained prescribed music or chant; however, John Merbecke produced his Booke of Common Praier noted in 1550 which set what would have been the proper of the Mass (Kyrie, Gloria, Creed, etc.) in the new BCP to simple plainchant inspired by Sarum Use. The work of producing a liturgy in the English language was largely done by Thomas Cranmer, Archbishop of Canterbury, starting cautiously in the reign of Henry VIII and then more radically under his son Edward VI. In his early days Cranmer was a conservative humanist: he was an admirer of Erasmus. After 1531, Cranmer's contacts with reformers from continental Europe helped to change his outlook. The Exhortation and Litany, the earliest English-language service of the Church of England, was the first overt manifestation of his changing views.
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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.
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As Phanariotes (Phanar was the Greek district of Istanbul with the residence of the Patriarchate) who composed as well in the makamlar, the teachers of the New Music School of the Patriarchate around Chrysanthos had certainly exchanges with Sephardic, Armenian, and Sufi musicians, but an intensive exchange between Byzantine, Arab and Persian musicians had already a history of more than 1000 years.Eckhard Neubauer (1998) mentioned several forms of exchanges since Al-Kindi and the Mawsili school. Unlike Latin treatises only a few Greek treatises of chant have survived and their authors wrote nothing about the intervals, about microtonal shifts as part of a certain melos and its echos, or about the practice of ison singing (isokratema). Nevertheless, these practices remained undisputed, because they are still part of the living tradition today, while Western plainchant became rediscovered during the 19th century.
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Pinkham's enormous output represents a broad cross- section of 20th-century musical trends. He produced work in virtually every genre, from symphonies to art songs, though the preponderance of his music is religious in nature, frequently choral and/or involving organ. Much of his music was written for use in church services or other ceremonial occasions, and reflected his longstanding relationship with King’s Chapel. At various points in his career, he embraced plainchant, medievally-influenced modal writing, and 17th-century forms (in the 1930s and 40s, under the influence of Stravinsky and Hindemith and reflecting his commitment to the early music revival), dodecaphony and serialism (in the 1950s and 60s), electronic music (beginning in 1970),Sabine Feisst, "Pinkham, Daniel (Rogers)", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publisher, 2001).
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The earliest sketch for the Second Hour of Klang is headed with the title Galaxien (Galaxies), and has a later alternative suggestion of Kreuz-Klang-Rätsel (Cross-Klang-Puzzle) (Stockhausen 2007a, 5). When Stockhausen received a commission from Don Luigi Garbini of the Milan Cathedral for the work, to be premiered for Pentecost 2006, he provisionally titled the work Pentecost, and chose as text the Pentecost hymn "Veni Creator Spiritus", to be sung in Latin by the two harpists as they play. Following the 24 verses of the Latin hymn, the work is composed, like the First Hour, in 24 moments, and the title was changed to Freude, because this was the fundamental feeling Stockhausen had about the composition (Stockhausen 2007a, 3). The text setting is sometimes syllabic, sibilant, employs speech-song, and in places evokes plainchant and early polyphony.
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Much of Larley's output has been sacred choral music, ranging from short unaccompanied gems such as the well-known A Girl for the Blue through to full-scale works for choir, soloists and orchestra such as his Mass of a Thousand Ages written for the new millennium and first performed in April 2000. His musical style is fresh, tonal and approachable, with soft dissonances, soaring melodies and lilting syncopation, blending seamlessly his strong ecclesiastical roots in plainchant and monastic liturgy with the simplicity of a Celtic folk-like idiom. Reviewers and commentators have likened his musical style at various times to those of Gerald Finzi, William Mathias, John Rutter, Frederick Delius and Leonard Bernstein. A number of his choral works have been recorded on CD, broadcast on BBC Radio 3 and performed widely in the UK and in America.
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OrganumLatin: "an implement, instrument, engine of any kind", of musical instruments, "a pipe", of hydraulic engines, "an organ, water-organ"; "an implement, instrument"; "a musical instrument" from Greek: ὄργανον, [organon] "instrument, implement, tool, for making or doing a thing" "organ of sense or apprehension", "musical instrument", "surgical instrument", "work or product", "instrument of philosophy" "instrument or table of calculations" — ; ; . () is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony.
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Hypolocrian mode on B The Hypolocrian mode is an almost entirely theoretical mode, introduced into chant theory in the 19th century by the editors of the Pustet-Ratisbon, Mechlin, and Rheims-Cambrai Office-Books, who designated it mode 12. It is the plagal counterpart to the authentic Locrian mode, mode 11 in that system of numbering, in which the Ionian and Hypoionian become modes 13 and 14 . The ambitus of the mode lies between F and the F an octave higher, divided at the final, B. Its reciting tone (or tenor), is E, and its mediant is D. It has two participants, G and C. Although a few plainchant melodies, as well as polyphonic compositions, have been attributed to this mode by some writers, it will generally be found that they are really derived, by transposition, from some other tonality .
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Part of a 15th-century chant treatise about improvised polyphony was once attributed to Limoges, later it was identified as an appendix to Abbot Guido's Regulae about habits of the Cistercian rite (Sweeney 1992). The edition of Ms. 2284 Bibliothèque Sainte Geneviève (Coussemaker, Sweeney) has been revised recently by an edition (Meyer 2009) based on four other sources. According to Christian Meyer there was no explicit rule in the treatise which excluded polyphonic performances of plainchant from the Cistercian rite, despite the fact, that reform orders had been founded with monks, who had left their former monastic communities, after a Cluniac abbot had taken over and changed the local rite with new practices including polyphonic performance (“cum organo”). Nevertheless, they were established soon, as Bernard became one of the most important and powerful churchman involved in crusade policies which clearly corresponded to the refused aristocratic ambitions within the Cluniac Association.
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To provide advanced training in Italy for Portuguese students, João V allocated funding. The first three, all Seminary alumni, went to Rome, departing during the first half of the 18th century: António Teixeira who went in 1714 and returned to Lisbon in 1728 where he was a chaplain-singer at Lisbon Cathedral and examiner of plainchant for the patriarchy; João Rodrigues Esteves who began studies with composer Giuseppe Ottavio Pitoni in 1719 before returning to Lisbon in 1726 where he became master of music at Lisbon Cathedral three years later; and Francisco António de Almeida who was in Rome from 1722 and returned 1726 to become organist at the Royal Chapel.Another, not a Seminary alumnus, was composer and violinist Romão Mazza who in 1733 at the age of 14 was funded by Queen Maria Anna to study in Naples. Later, a second bout received funding to study in Naples.
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The sub-sections of the first movement are all constructed around compositional devices from the keyboard works of Régnier's contemporary, Girolamo Frescobaldi, organist of St. Peter's in Rome. Occasionally motifs are inverted, reversed, metrically distorted, superimposed as plainchant. In the central section in recitative style (accompanied by clarinet multiphonics, ‘cello harmonics, and various vibrato and glissando effects in harp and accordion), fragments from four of Frescobaldi’s Arie musicali of 1628–30 are fitted by the soprano to the last Ming emperor’s suicide speech of April 1644, which translates: > I am not the prince of a fallen kingdom, but ye are her subjects all. Though > I have not been ungenerous to thee, why then, now that we are come to such a > pass, is there not one of my ministers here to attend me? The symphony is named after the pioneering ‘Cabinet of Curiosities’ (Kunstkammer) assembled by another Roman contemporary, the German Jesuit Athanasius Kircher.
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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).
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The practice of notating pairs of unequal note lengths as pairs with equal notated value may go as far back as the earliest music of the Middle Ages; indeed some scholars believe that some plainchant of the Roman Catholic Church, including Ambrosian hymns, may have been performed as alternating long and short notes. This interpretation is based on a passage in Saint Augustine where he refers to the Ambrosian hymns as being in tria temporum (in three beats); e.g. a passage rendered on the page (by a later transcriber) as a string of notes of equal note value would be performed as half note, quarter note, half note, quarter note, and so on, in groups of three beats. The rhythmic modes, with their application of various long–short patterns to equal written notes, may also have been a precursor to notes inégales, especially as they were practiced in France, specifically by the Notre Dame School.
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In the 14th century, the English Franciscan friar Simon Tunsted, usually credited with the authorship of Quatuor Principalia Musicae: a treatise on musical composition, is believed to have been one of the theorists who influenced the 'Ars Nova', a movement which developed in France and then Italy, replacing the restrictive styles of Gregorian plainchant with complex polyphony.W. Lovelock, A Concise History of Music (New York NY: Frederick Ungar, 1953), p. 57. The tradition was well established in England by the 15th century and was widely used in religious, and what became, purely educational establishments, including Eton College, and the colleges that became the Universities of Oxford and Cambridge. The motet 'Sub Arturo plebs' attributed to Johannes Alanus and dated to the mid or late 14th century, includes a list of Latinised names of musicians from the English court that shows the flourishing of court music, the importance of royal patronage in this era and the growing influence of the ars nova.
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Hypoaeolian mode on A . The Hypoaeolian mode, literally meaning "below Aeolian", is the name assigned by Henricus Glareanus in his Dodecachordon (1547) to the musical plagal mode on A, which uses the diatonic octave species from E to the E an octave above, divided by the final into a second-species fourth (semitone–tone–tone) plus a first-species fifth (tone–semitone–tone–tone): E F G A + A B C D E . The tenor or reciting tone is C, mediant B, the participants are the low and high Es, the conceded modulations are G and D, and the absolute initials are E, G, A, B, and C . For his plainchant examples Glarean proposed two important and well-known Gregorian melodies normally written with their finals on A: the antiphon Benedicta tu in mulieribus (traditionally designated as transposed Hypophrygian) and the gradual Haec dies—Justus ut palma (traditionally designated as transposed Hypodorian) .
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Howard Brown, while acknowledging the importance of vocal transcriptions in Renaissance instrumental repertoire, has identified six categories of specifically instrumental music in the sixteenth century: # vocal music played on instruments # settings of preexisting melodies, such as plainchant or popular songs # variation sets # ricercars, fantasias, and canzonas # preludes, preambles, and toccatas # music for solo voice and lute While the first three could easily be performed vocally, the last three are clearly instrumental in nature, suggesting that even in the sixteenth century, composers were writing with specifically instrumental capabilities in mind, as opposed to vocal. In contention of composers' supposed indifference to instrumental timbres, Brown has also pointed out that as early as 1533, Pierre Attaignant was already marking some vocal arrangements as more suitable for certain groups of like instruments than for others. Furthermore, Count Giovanni de' Bardi, host of a gathering of prominent 1580s scholars and artists known as the Florentine Camerata, was demonstrably aware of the timbral effects of different instruments and regarded different instruments as being suited to expressing particular moods.
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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.
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Pope Benedict XVI elevating the Eucharist for worship of the faithful amidst incense This grouping can also be referred to as the Eucharistic or Catholic tradition, but note that it is not limited to the Catholic Church, but also includes the Oriental Orthodox churches, the Eastern Orthodox churches, the Lutheran churches, and most branches of the Anglican Communion. Worship (variously known as the Mass, Divine Liturgy, Divine Service, Eucharist, or Communion) is formal and centres on the offering of thanks and praise for the death and resurrection of Christ over the people's offerings of bread and wine, breaking the bread, and the receiving of the Eucharist, seen as the body and blood of Jesus Christ. Churches in this group understand worship as a mystic participation in the death and resurrection of Christ, through which they are united with him and with each other. Services are structured according to a liturgy and typically include other elements such as prayers, psalms, hymns, choral music (including polyphonic chant, plainchant, and hymnody) the reading of Scripture, and some form of teaching or homily.
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Prior to the innovations of Franco of Cologne in the mid- thirteenth century, the value of the longa was in common usage in both theoretical and practical sources but appeared primarily in pre-mensural notation ligatures, symbols representing two or more notes joined together. A ligature that began with a longa was said to lack "propriety", while ligatures ending with a longa possessed "perfection", since in the view of that era a "proper and perfect" rhythmic sequence was the succession of a brevis followed by a longa, justified by the fact that the ligature representing this rhythm is written the same way as a plainchant ligature (a different usage of the term from above). As a result, there were four possible ligature types: those beginning with a brevis and ending with a longa, which had both propriety and perfection; the reverse, which had neither; those both beginning and ending with a longa, which lacked propriety but had perfection; and those beginning and ending with a brevis, which were proper but not perfect (; ). Two longae, rarely three, had the combined value of a maxima.
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Since the turn of the 21st century, Edwards' music, especially in his diverse larger scale works, has begun to integrate the many consistent elements of his earlier work – ranging from childlike simplicity, embellished Eastern pentatonicism, medieval Western modality, fragments of plainchant, occasional outbursts of expressionistic angst, complex textures which include the development of motives and Western counterpoint, Eastern heterophony, and a deep spiritual dimension with both Eastern and Western overtones. There are allusions to indigenous music but not direct quotations: where the didjeridu occurs its function has always been discussed between composer and performer. To these he has often added theatre and ritual, costume, lighting and dance, most manifest in such orchestral works as Bird Spirit Dreaming (2002), Full Moon Dances (2012) and Frog and Star Cycle (2015). Cultural symbols such as the Virgin Mary and her Eastern equivalent, Guanyin, goddess of compassion, make frequent appearance in the guise of the Earth Mother, protector and nurturer of the environment – Edwards' work has always had a strongly ecological focus.
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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.
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The term "tonalité" (tonality) was first used in 1810 by Alexandre Choron in the preface "Sommaire de l'histoire de la musique" to the "Dictionnaire historique des musiciens artistes et amateurs" (which he published in collaboration with François- Joseph-Marie Fayolle) to describe the arrangement of the dominant and subdominant above and below the tonic—a constellation that had been made familiar by Rameau. According to Choron, this pattern, which he called tonalité moderne, distinguished modern music's harmonic organization from that of earlier [pre 17th century] music, including "tonalité des Grecs" (ancient Greek modes) and "tonalité ecclésiastique" (plainchant) (; ). According to Choron, the beginnings of this modern tonality are found in the music of Claudio Monteverdi around the year 1595, but it was more than a century later that the full application of tonal harmony finally supplanted the older reliance on the melodic orientation of the church modes, in the music of the Neapolitan School—most especially that of Francesco Durante . François-Joseph Fétis developed the concept of tonalité in the 1830s and 1840s , finally codifying his theory of tonality in 1844, in his Traité complet de la théorie et de la pratique de l'harmonie (; ).
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What Festa does with the cantus firmus, a simple melody containing 37 notes, is not only extravagant and amazingly creative. He shows practically all possibilities of counterpoint technique of his time, using canons (even triple canon), imitations, free or strict counterpoint, all styles of instrumental and vocal composition technique like using soggetti cavati, plainchant paraphrases, retrograde counterpoint, ostinatos, quodlibets, using 2, 3, 4, 5, 6, 7, 8, and at the end 11 voices. Remarkable and outstanding in this work, also called I bassi, is not only the scholastic academical or pedagogical sense but that it can be played on all sorts of instruments; it contains all kind of combinations of general clefs and therefore creates all kinds of instrumental output possibilities such as the cantus firmus in the first voice and four basses as counterpoint. He experimented with different rhythmical patterns (mensural problems) such as using two different tempo signatures (proportions), keys or rhythmically extremely complex bars with 7:5:3 proportions or other admirable ideas such as using the cantus firmus in a canon or putting the cantus firmus in every possible location in the texture.
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Early plainchant, like much of Western music, is believed to have been distinguished by the use of the diatonic scale. Modal theory, which postdates the composition of the core chant repertory, arises from a synthesis of two very different traditions: the speculative tradition of numerical ratios and species inherited from ancient Greece and a second tradition rooted in the practical art of cantus. The earliest writings that deal with both theory and practice include the Enchiriadis group of treatises, which circulated in the late ninth century and possibly have their roots in an earlier, oral tradition. In contrast to the ancient Greek system of tetrachords (a collection of four continuous notes) that descend by two tones and a semitone, the Enchiriadis writings base their tone-system on a tetrachord that corresponds to the four finals of chant, D, E, F, and G. The disjunct tetrachords in the Enchiriadis system have been the subject of much speculation, because they do not correspond to the diatonic framework that became the standard Medieval scale (for example, there is a high F#, a note not recognized by later Medieval writers).
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Although Ensemble Gombert performs a wide range of choral music, ranging from plainchant to contemporary works, it specialises in a cappella performance of Franco-Flemish music of the High Renaissance, that is, polyphonic music of the 16th century. The Ensemble has achieved an important place in the early music scene by re-introducing many forgotten Renaissance masterworks to the concert repertoire, using newly prepared editions by O’Donnell. These works are frequently juxtaposed in innovative programs with more widely known repertoire from later periods. Performances in recent years have included a program of little-known works by Franco-Flemish composers Johannes Ghiselin, Jacquet of Berchem, Gaspar van Weebeke, Andreas de Silva, Nicolas Payen and Josquin des Prez, a quincentennial celebration of Thomas Tallis, the first Australian performance of Arvo Pärt's 'Canon of Repentance' (composed in 1998), works by Jean Richafort and his parodists, a program of works originally written for Charles V, Holy Roman Emperor, German Baroque masterpieces by Johann Hermann Schein, Michael Praetorius, Heinrich Schütz and Johann Sebastian Bach, Alessandro Scarlatti's 'Stabat mater', and an annual concert entitled 'Christmas to Candlemas' that presents works written for the numerous Christian feast-days in the forty-day Church season that begins on Christmas Day.
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