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I. Plainchant in the liturgy. Introduction -- Liturgy and worship -- The church year -- The daily round -- Mass -- Office. The night office (Matins, vigils, or nocturns) in secular use ; The night office in monastic use ; Lauds in secular use ; Lauds in monastic use ; Vespers in secular use ; Vespers in monastic use ; Compline ; Prime, terce, sext, and none -- Processions -- Ceremonies of holy week. General ; Palm Sunday ; Maundy Thursday ; Good Friday ; Holy Saturday or Easter Eve ; Easter Sunday -- The 'Feast of fools' and related customs -- Other services: Baptism, confirmation, ordination, coronation, marriage, burial, dedication -- |
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II. Chant genres. Introduction -- Recitation formulas for prayers and lessons. General ; Prayers ; Lessons -- Tones for psalms and other chants. Psalms ; Other psalm tones: The parapteres, tonus peregrinus ; Tones for the canticles magnificat and benedictus ; Tones for the psalm verses of introit and communions ; Tones for responsory verses ; Tones for the invitatory psalm ; Benedictus es domine Deus patrum nostrum in the Saturday Mass of the ember weeks -- Te Deum laudamus -- The great responsories of the night office. Introduction ; Repertory, texts, and form ; Music ; Centonization ; Melismas -- Graduals and tracts. Introduction ; Graduals in a: the 'Iustus ut palma' group ; Graduals in F ; Other graduals ; Tracts ; Tracts in mode 2 ; Tracts in mode 8 -- Short responsories -- Antiphons. Introduction ; Ferial or psalter antiphons ; Antiphons for the psalms of vespers, the night office, and lauds ; Antiphons for the magnificat and benedictus ; The great O-antiphons -- Invitatory antiphons -- Processional antiphons. Introduction ; Rogation antiphons ; Palm Sunday antiphons ; Antiphons for other occasions -- Marian antiphons -- Introits. Introduction ; Introits in mode 3 ; Comparison with office antiphons and responsories -- Communions. General ; Groups of communions with psalm and gospel texts ; Some F-mode communions ; Communions and responsories -- Offertories. Introduction ; Texts ; The melodies of the offertory respond ; Verse melodies -- Alleluias. Introduction ; The earlier and later styles ; Rhymed alleluias and late medieval melodies -- Hymns. Introduction ; Texts ; Music ; Processional hymns -- |
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Chants for the ordinary of mass -- Kyrie eleison. Kyrie eleison as a litany ; Kyrie eleison after the introit at mass ; Early melodies ; Italian melodies ; Melodic types ; Later melodies -- Gloria in excelsis Deo. Introduction ; Recitation types ; Through-composed melodies -- Sanctus. The oldest melodies ; Other melodies -- Agnus Dei -- Credo -- Sequences. Introduction ; Early sequences with parallel-verse structure ; Notation: Performance, partially texted melodies ; Short aparallel sequences ; Italian sequences ; The early history of the sequence ; Rhymed sequences -- Tropes. Introduction ; Added melismas in introits ; Added melismas in glorias ; Added responsory melismas ; Prosulas for offertories and alleluias ; Responsory prosulas ; Other prosulas ; Kyries with Latin text, kyrie prosulas, and kyrie tropes ; Benedicamus chants with extended text, prosulas, and tropes ; Introit, offertory, and communion tropes, sequence tropes ; Gloria, sanctus, and agnus tropes ; Farsed lessons, creeds, and paternoster -- Latin liturgical songs. Introduction ; Versus in early Aquitanian manuscripts, versus with 'Double cursus' ; Twelfth-century songs: textual and musical style ; Twelfth-century songs: liturgical function -- Liturgical dramas. Liturgy and drama ; The quem queritis dialogue ; Easter ceremonies from the eleventh century onward ; Christmas and epiphany ceremonies, Rachel's and Mary's laments ; Rhymed ceremonies, the Fleury playbook, the Ludus Danielis -- Offices with verse texts -- Metre, accent, rhythm, and rhyme in liturgical texts. Metre and stress ; Rhyme ; Prose rhythm (cursus) and prose rhyme -- |
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III. Liturgical books and plainchant sources. Introduction -- Ordines Romani -- Sacramentaries and lectionaries -- Graduals (mass antiphoners) and cantatoria. Introduction ; Graduals without notation ; Notated graduals -- Antiphoners (office antiphoners). The earliest antiphoners ; Types of manuscript and calendric organization ; Comparison of sources -- Psalters, hymnals, collectars, office lectionaries. Psalters ; Hymnals ; Collectars ; Office lectionaries -- Sequentiaries, tropers, and kyriales -- Processionals -- Missals -- Breviaries -- Compendia -- Pontificals and rituals. Pontificals and benedictionals ; Rituals, manuals, or agenda -- Ordinals and customaries -- Tonaries. Definition and function ; Type-melodies for the eight modes ; How psalm tones were specified -- Identifying and describing chant-books -- IV. Notation. Introduction. Preliminary ; The signs in Montpellier H. 159 ; Neume -- Regional styles. French and German notation ; Palaeofrankish, Laon, Breton, and Aquitanian notations ; Types related to French-German notation ; Other Italian notations ; Examples -- Liquescence, oriscus, quilisma, other special signs. Signs for liquescence ; Quilisma ; Oriscus ; Virga strata, pressus, pes stratus, pes quassus, salicus -- The origins of chant notation. Introduction ; Early examples ; Early references to notation ; Parallel systems ( Prosodic accents ; Punctuation ; Ekphonetic notation ; Byzantine notation) ; The 'Cheironomic' theory ; The early transmission of chant ; Some conclusions -- The notation of rhythm. Rhythmic elements in early notations ; Rhythm in simple antiphons ; Cardine's 'Gregorian semiology' ; The evidence of theorists ; Conclusions -- Pitch-notation. From the ninth century to William of Dijon ; Guido of Arezzo ; Staff-notation in different lands -- Theorists' notations -- Printed chant-books -- Modern transcription. The liturgical context ; Transcription ; Transcription from staffless notations -- |
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V. Plainchant and early music theory. Introduction -- The legacy of antiquity -- A pitch system for plainchant. Introduction ; Hucbald of Saint-Amand ; The Enchiriadis group of treatises -- The modes. General ; Aurelian of Reome ; Regino of Prum ; Nomenclature ; Greek names and octave species ; Italian theory: the Dialogus de musica ; Guido of Arezzo ; South German writers ; Modal theory in south Germany ; Later syntheses -- VI. Plainchant up to the eighth century. Introduction -- The churches of Christendom -- The early church -- Office chants before the eighth century -- Mass chants before the eighth century. The gradual ; The introit and other chants at the start of mass ; The chants at communion ; The offertory ; The chants beside the lessons -- Gregory the Great. Introduction ; Gregory and the deacons ; Gregory and the alleluia ; Isidore of Seville, the Liber pontificalis, the list of chant 'editors' in Ordo Romanus XIX ; The Anglo-Saxon tradition ; The biographies of Paul Warnefid and John Hymmonides ; The 'Gregorian sacramentary ; The prologue Gregorius praesul ; The reception of the Gregory legend in the ninth century and later, the dove, the modes ; Gregory and the Lenten communions ; Conclusions -- |
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VII. The Carolingian century. Introduction -- The establishment of Roman chant in Francia -- The Frankish expansion of the chant repertory -- The codification of plainchant -- The place of music in the Carolingian Renaissance -- VIII. Gregorian chant and other chant repertories. Introduction -- The influence of Byzantium. Introduction ; The system of eight modes ; Antiphons for the adoration of the cross and other chants in old Italian repertories ; The trisagion ; The Frankish 'missa graeca' ; The communion omnes qui in Christo ; The Byzantine alleluias ; Textual concordances without musical similarity ; The veterem hominem antiphons for the octave of epiphany -- Old Italian chant I: Rome. Introduction ; Sources and studies of old Roman chant ; Examples: Communions ; Graduals ; Antiphons ; Offertories ; Alleluias ; Oral tradition -- Old Italian chant II: Milan -- Old Italian chant III: Benevento -- Gallican chant -- Old Spanish (Mozarabic) chant -- Conclusions -- IX. Persons and places. Introduction -- Amalarius of Metz -- St Gall -- Cluny -- William of Dijon -- England before and after the Norman conquest -- North Italian traditions -- Benevento and Montecassino -- Rome and the Franciscans -- Aquitane and Saint-Martial at Limoges -- The Hispanic peninsula after the reconquest -- Northern and eastern Europe. Scandinavia and Iceland ; Poland ; Czechoslovakia ; Hungary -- X. Reformations of Gregorian chant. Introduction -- The cistercians -- The Dominicans -- Chant in other religious orders. The Carthusians ; The Premonstratensians -- The 'Medicean' gradual (1614-15) -- Neo-Gallican chant -- XI. The restoration of medieval chant. The return to the source -- Solesmes and the Vatican edition -- Practical editions and scholarly research. |
| Abstract |
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides an introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, the author provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 92013020 |
| ISBN | 0198162898 |
