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005 20141212152027.0;

008 750520_1963_______ ____ __eng u;

010 a| 63003752;

035 a| (Sirsi) o01346386;

035 a| (OCoLC)40318321;

040 c| XFMd| EREd| UtOrBLW;

049 a| EREM;

090 a| ML3082.M865b| G7;

100 1 a| Murray, Gregory,d| 1905-1992.=| ^A72058;

245 10 a| Gregorian chant, according to the manuscripts /c| Gregory Murray.;

260 a| Longon :b| L. J. Cary & Co. Ltd.,c| [1963];

300 a| vi, 97 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Accompanied by supplemental text.;

505 0 a| Part I: Preliminaries. The Gregorian chant -- The chant manuscripts -- The different notations -- Long and short notes -- The necessity for comparative analysis -- The modes -- The music of the mass -- Part II: The melodies and the manuscripts. Gradual: Christus factus est -- Alleluia: Ostende -- Communion: Videns Dominus -- Introit: Rorate caeli -- Offertory: Exsulta satis -- Communion: In splendoribus -- Offertory: Domine Deus -- Alleluia: Pascha nostrum -- The notation of nonantola -- Introit: Judica me -- Offertory: Meditabor -- Some office antiphons.;

505 0 a| Supplement. Gradual: Christus factus est (5th mode) -- Alleluia: Ostende (8th mode) -- Communion: Videns Dominus (1st mode) -- Introit: Rorate caeli (1st mode) -- Offertory: Exsulta satis (3rd mode) -- Communion: In splendoribus (6th mode) -- Offertory: Domine Deus (6th mode) -- Alleluia: Pascha nostrum (7th mode) -- Introit: Judica me (4th mode) -- Offertory: Meditabor (2nd mode) -- First-mode antiphons: Euge serve ; Tu autem ; Cum facis ; Qui me sanum ; Puellae saltanti -- Seventh mode antiphons: Non est inventus ; Non meis meritis ; Vidi supra montem ; Ecce sacerdos ; De sub cujus pede.;

520 a| This book conducts the reader on a fascinating pilgrimage through the early chant manuscripts. Under the expert guidance of whose erudition is matched by his clarity of exposition, the rhythmic problems of the notations find a solution that is as simple as it is convincing. The author originally followed the accentualist theory of chant interpretation. He had learnt this theory, which takes the verbal text as main rhythmic determinant, under the late Sir Richard Terry at Westminster Cathedral, but later felt constrained to accept as authoritative the interpretation of the monks of Solesmes Abbey which postulates the existence of a rhythmic ictus independent of the verbal accent. He became one of the most brilliant exponents of this method. It was during the post-war years that the author began to entertain misgivings about this widely accepted interpretation, and he commenced a comprehensive and intense study of the oldest chant manuscripts and the musical treatises of the same period. As a result of these studies he became convinced that the rhythmic theories of Solesmes were without historical foundation, and from 1956 he published a number of booklets on the subject which aroused considerable interest. His views were significantly reinforced by the appearance in 1958 of a book entitled "Rhythmic Proportions in Early Medieval Ecclesiastical Chant" by Fr. J. W. A. Vollaerts, a Dutch Jesuit. This book offers to the general musical reader the closely reasoned conclusions of one of the world's leading authorities on Gregorian chant: 'the greatest body of pure melody in existence, and ... the foundation of all Western music.' The author has no personal rhythmic theory to expound; his aim is to enable once the notations are understood, and there is no justification for modern editorial interference or addition. After explaining the notations the author transcribes a representative anthology of Gregorian early melodies covering all the modes and every important melodic style. His comparative charts show the remarkable detailed unanimity of manuscripts using quite different systems of notation and therefore bearing independent witness to the original rhythmic tradition. By bringing us face to face with the evidence of the best manuscripts the author has rendered a signal service. His searching analysis leads to results which may cause some surprise to those accustomed to current methods of performance. But nobody can seriously reject his plea for an interpretation based exclusively on the evidence of the original sources. The publication of this book is an event of major importance, and it will be welcomed as an essential addition to the bookshelf of every musician and serious student.;

650 0 a| Gregorian chantsx| History and criticism.=| ^A32348;

650 0 a| Gregorian chants.=| ^A40798;

919 a| BOOK;

596 a| 3;

998 a| 81151;

999 a| ML3082.M865 G7 SUPPL.w| LCc| 1i| 30372003333413d| 6/27/2016e| 2/11/2003f| 7/16/2025g| 4l| MCSm| JMUSICn| 1r| Ys| Yt| MCSSBKu| 3/9/1988x| BOOKz| MCIRCo| .STAFF. .note. Temporary transfer #1 to HSL Temporary transfer #2 to HSLo| .STAFF. enhanced 9/18/25 -jjabo| .STAFF. Copy Statement : c.1;

999 a| ML3082.M865 G7w| LCc| 1i| 310372000920517d| 2/27/2026e| 2/27/2026f| 4/10/2024g| 3l| MSTm| JMUSICn| 28q| 4r| Ys| Yt| MGESBKu| 3/24/1986x| BOOKz| MCIRCo| .STAFF. enhanced 2/22/23 -jjab;

Gregorian chant, according to the manuscripts / Gregory Murray.

Author/creator	Murray, Gregory
Format	Book
Publication Info	Longon : L. J. Cary & Co. Ltd., [1963]
Description	vi, 97 pages : illustrations ; 24 cm
Subjects	Gregorian chants--History and criticism. Gregorian chants.

Contents	Part I: Preliminaries. The Gregorian chant -- The chant manuscripts -- The different notations -- Long and short notes -- The necessity for comparative analysis -- The modes -- The music of the mass -- Part II: The melodies and the manuscripts. Gradual: Christus factus est -- Alleluia: Ostende -- Communion: Videns Dominus -- Introit: Rorate caeli -- Offertory: Exsulta satis -- Communion: In splendoribus -- Offertory: Domine Deus -- Alleluia: Pascha nostrum -- The notation of nonantola -- Introit: Judica me -- Offertory: Meditabor -- Some office antiphons.
Contents	Supplement. Gradual: Christus factus est (5th mode) -- Alleluia: Ostende (8th mode) -- Communion: Videns Dominus (1st mode) -- Introit: Rorate caeli (1st mode) -- Offertory: Exsulta satis (3rd mode) -- Communion: In splendoribus (6th mode) -- Offertory: Domine Deus (6th mode) -- Alleluia: Pascha nostrum (7th mode) -- Introit: Judica me (4th mode) -- Offertory: Meditabor (2nd mode) -- First-mode antiphons: Euge serve ; Tu autem ; Cum facis ; Qui me sanum ; Puellae saltanti -- Seventh mode antiphons: Non est inventus ; Non meis meritis ; Vidi supra montem ; Ecce sacerdos ; De sub cujus pede.
Abstract	This book conducts the reader on a fascinating pilgrimage through the early chant manuscripts. Under the expert guidance of whose erudition is matched by his clarity of exposition, the rhythmic problems of the notations find a solution that is as simple as it is convincing. The author originally followed the accentualist theory of chant interpretation. He had learnt this theory, which takes the verbal text as main rhythmic determinant, under the late Sir Richard Terry at Westminster Cathedral, but later felt constrained to accept as authoritative the interpretation of the monks of Solesmes Abbey which postulates the existence of a rhythmic ictus independent of the verbal accent. He became one of the most brilliant exponents of this method. It was during the post-war years that the author began to entertain misgivings about this widely accepted interpretation, and he commenced a comprehensive and intense study of the oldest chant manuscripts and the musical treatises of the same period. As a result of these studies he became convinced that the rhythmic theories of Solesmes were without historical foundation, and from 1956 he published a number of booklets on the subject which aroused considerable interest. His views were significantly reinforced by the appearance in 1958 of a book entitled "Rhythmic Proportions in Early Medieval Ecclesiastical Chant" by Fr. J. W. A. Vollaerts, a Dutch Jesuit. This book offers to the general musical reader the closely reasoned conclusions of one of the world's leading authorities on Gregorian chant: 'the greatest body of pure melody in existence, and ... the foundation of all Western music.' The author has no personal rhythmic theory to expound; his aim is to enable once the notations are understood, and there is no justification for modern editorial interference or addition. After explaining the notations the author transcribes a representative anthology of Gregorian early melodies covering all the modes and every important melodic style. His comparative charts show the remarkable detailed unanimity of manuscripts using quite different systems of notation and therefore bearing independent witness to the original rhythmic tradition. By bringing us face to face with the evidence of the best manuscripts the author has rendered a signal service. His searching analysis leads to results which may cause some surprise to those accustomed to current methods of performance. But nobody can seriously reject his plea for an interpretation based exclusively on the evidence of the original sources. The publication of this book is an event of major importance, and it will be welcomed as an essential addition to the bookshelf of every musician and serious student.
General note	Accompanied by supplemental text.
LCCN	63003752

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Gregorian chant, according to the manuscripts / Gregory Murray.

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