Gregorian chant - Knowledge

1733:. 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.> Gregorian melodies often explore chains of pitches, such as F-A-C, around which the other notes of the chant gravitate. Within each mode, certain incipits and cadences are preferred, which the modal theory alone does not explain. Chants often display complex internal structures that combine and repeat musical subphrases. This occurs notably in the 1822:(Gr. sign, of the hand) to indicate tone-movements and relative duration within each syllable. A sort of musical stenography that seems to focus on gestures and tone-movements but not the specific pitches of individual notes, nor the relative starting pitches of each neume. 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 1712:. Early Gregorian chant, like Ambrosian and Old Roman chant, whose melodies are most closely related to Gregorian, did not use the modal system. 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 766: 9949: 9285: 1182:

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. Roughly a century later, there still exists a breach between a strict musicological approach and the practical needs of church choirs. Thus the performance tradition officially promulgated since the onset of the Solesmes restoration is substantially at odds with musicological evidence.

2125:), and in terms of fixed duration values that were based on mensuralistic notions, however with ratios between short and long notes ranging from 1 : 1, via 1 : 1.2, 1 : 1.4, etc. to 1 : 3. To distinguish short and long notes, tables were consulted that were established by Van Kampen in an unpublished comparative study regarding the neume notations according to Sankt Gallen and Laon codices. With some exceptions, these tables confirm the short vs. long distinctions in Cardine's 'Semiologie Gregorienne'. 2585: 2422: 1366: 1241: 1022: 9987: 757:, his goal was to organize the bodies of chants from diverse traditions into a uniform and orderly whole for use by the entire western region of the Church. His renowned love for music was recorded only 34 years after his death; the epitaph of Honorius testified that comparison to Gregory was already considered the highest praise for a music-loving pope. While later legends magnified his real achievements, these significant steps may account for why his name came to be attached to Gregorian chant. 2149:. As it could also be demonstrated by Van Kampen that melodic peaks often coincide with the word accent (see also), the conclusion seems warranted that the Gregorian melodies enhance the expressiveness of the Latin words by mimicking to some extent both the accentuation of the sacred words (pitch differences between neumes) and the relative duration of the word syllables (by paying attention to well-defined length differences between the individual notes of a neume). 1902:(see below under 'rhythm'), ornamental neumes have received more attention from both researchers and performers. B-flat is indicated by a "b-mollum" (Lat. soft), a rounded undercaste 'b' placed to the left of the entire neume in which the note occurs, as shown in the "Kyrie" to the right. When necessary, a "b-durum" (Lat. hard), written squarely, indicates B-natural and serves to cancel the b-mollum. This system of square notation is standard in modern chantbooks. 2091:(1905–1988), a monk from Solesmes, published his 'Semiologie Gregorienne' in 1970 in which he clearly explains the musical significance of the neumes of the early chant manuscripts. Cardine shows the great diversity of neumes and graphic variations of the basic shape of a particular neume, which can not be expressed in the square notation. This variety in notation must have served a practical purpose and therefore a musical significance. Nine years later, the 9977: 6124: 998: 2343:; stock musical phrases are assembled like a patchwork to create the full melody of the chant, creating families of musically related melodies. Graduals are accompanied by an elaborate Verse, so that it actually consists in two different parts, A B. Often the first part is sung again, creating a 'rondeau' A B A. At least the verse, if not the complete gradual, is for the solo cantor and are in elaborate, ornate style with long, wide-ranged melismata. 753:, modestly claimed that the saint "compiled a patchwork antiphonary", unsurprisingly, given his considerable work with liturgical development. He reorganized the Schola Cantorum and established a more uniform standard in church services, gathering chants from among the regional traditions as widely as he could manage. Of those, he retained what he could, revised where necessary, and assigned particular chants to the various services. According to 6134: 9937: 9297: 2171: 9997: 2509: 9967: 875:, 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. Nevertheless, Gregory's authorship is popularly accepted by some as fact to this day. 2236:. Since the 1970 a melodic restitution group of AISCGre (International Society for the Study of Gregorian Chant) has worked on an "editio magis critica" as requested by the 2. Vatican Council Constitution "Sacrosanctum Concilium". As a response to this need and following the Holy See's invitation to edit a more critical edition, in 2011 the first volume "De Dominicis et Festis" of the 1355: 1792: 1529:. 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 2117:

the duration of the individual notes) anyway adds to the expressivity of the sacred Latin texts, several word-related variables were studied for their relationship with several neume-related variables, exploring these relationships in a sample of introit chants using such statistical methods as correlational analysis and multiple regression analysis.

2356:, an extended joyful melisma on the last vowel of 'Alleluia'. The Alleluia is also in two parts, the alleluia proper and the psalmverse, by which the Alleluia is identified (Alleluia V. Pascha nostrum). The last melisma of the verse is the same as the jubilus attached to the Alleluia. Alleluias are not sung during penitential times, such as 2244:

neumes notation over the text, but as a rule have less rhythmic refinement compared to the earlier group. However, the comparison between the two groups has made it possible to correct what are obvious mistakes. In other instances it is not so easy to find a consensus. In 1984 Chris Hakkennes published his own transcription of the

1632:" (under, Gr.) indicates a plagal mode, where the melody moves below the final. In contemporary Latin manuscripts the modes are simply called Protus authentus /plagalis, Deuterus, Tritus and Tetrardus: the 1st mode, authentic or plagal, the 2nd mode etc. In the Roman Chantbooks the modes are indicated by Roman numerals. 1534:

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

9416: 2121:

terms of the particular sounds produced (for instance, the syllable contains the vowel "i"). The various neume elements were evaluated by attaching different duration values to them, both in terms of semiological propositions (nuanced durations according to the manner of neume writing in Chris Hakkennes'

2128:

The lengths of the neumes were given values by adding up the duration values for the separate neume elements, each time following a particular hypothesis concerning the rhythm of Gregoriant chant. Both the syllable lengths and the neume lengths were also expressed in relation to the total duration of

1878:

pictured above. In square notation, small groups of ascending notes on a syllable are shown as stacked squares, read from bottom to top, while descending notes are written with diamonds read from left to right. When a syllable has a large number of notes, a series of smaller such groups of neumes are

1224:

Gregorian chant is, as 'chant' implies, vocal music. The text, the phrases, words and eventually the syllables, can be sung in various ways. The most straightforward is recitation on the same tone, which is called "syllabic" as each syllable is sung to a single tone. Likewise, simple chants are often

1074:

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

33: 2243:

In this approach the so-called earlier 'rhythmic' manuscripts of unheightened neumes that carry a wealth of melo-rhythmic information but not of exact pitches, are compared in large tables of comparison with relevant later 'melodic' manuscripts' that are written on lines or use double alphabetic and

1923:

pertaining to the lay faithful (male and female), the celebrant (priest, always male) and the choir (composed of male ordained clergy, except in convents). Outside the larger cities, the number of available clergy dropped, and lay men started singing these parts. The choir was considered an official

1700:

Certain classes of Gregorian chant have a separate musical formula for each mode, allowing one section of the chant to transition smoothly into the next section, such as the psalm verses that are sung between the repetition of antiphons, or the Gloria Patri. Thus we find models for the recitation of

1147:

The monks of Solesmes brought in their heaviest artillery in this battle, as indeed the academically sound 'Paleo' was intended to be a war-tank, meant to abolish once and for all the corrupted Pustet edition. On the evidence of congruence throughout various manuscripts (which were duly published in

608:

ritual and chant. Christians read Scriptures and sang chants, as their Jewish predecessors had done. Although new Christian liturgy was developed, the source of much of this Christian liturgy was Jewish psalmody. The source materials for newly emergent Christian chants were originally transmitted by

2251:

Referring to these manuscripts, he called his own transcription Gradual Lagal. Furthermore, while making the transcription, he cross-checked with the melodic manuscripts to correct modal errors or other melodic errors found in the Graduale Romanum. His intention was to provide a corrected melody in

2152:

During the seventeenth through nineteenth centuries in France, the system of rhythmic notation became standardized, with printers and editors of chant books employing only four rhythmic values. Recent research by Christopher Holman indicates that chants whose texts are in a regular meter could even

2120:

Beside the length of the syllables (measured in tenths of seconds), each text syllable was evaluated in terms of its position within the word to which it belongs, defining such variables as "the syllable has or has not the main accent", "the syllable is or is not at the end of a word", etc., and in

2100:

made widely accessible the original notation of Sankt Gallen and Laon (compiled after 930 AD) in a single chantbook and was a huge step forward. Dom Cardine had many students who have each in their own way continued their semiological studies, some of whom also started experimenting in applying the

2053:

One school of thought, including Wagner, Jammers, and Lipphardt, advocated imposing rhythmic meters on chants, although they disagreed on how that should be done. An opposing interpretation, represented by Pothier and Mocquereau, supported a free rhythm of equal note values, although some notes are

958:

Gregorian chant eventually replaced the local chant tradition of Rome itself, which is now known as Old Roman chant. In the 10th century, virtually no musical manuscripts were being notated in Italy. Instead, Roman Popes imported Gregorian chant from (German) Holy Roman Emperors during the 10th and

2231:

Recent developments involve an intensifying of the semiological approach according to Dom Cardine, which also gave a new impetus to the research into melodic variants in various manuscripts of chant. On the basis of this ongoing research it has become obvious that the Graduale and other chantbooks

2137:

is about 0.80) if the neumatic elements are evaluated according to the following rules of duration: (a) neume elements that represent short notes in neumes consisting of at least two notes have duration values of 1 time; (b) neume elements that represent long notes in neumes consisting of at least

2116:

Recent research in the Netherlands by Dr. Dirk van Kampen has indicated that the authentic rhythm of Gregorian chant in the 10th century includes both proportional elements and elements that are in agreement with semiology. Starting with the expectation that the rhythm of Gregorian chant (and thus

2112:

Another group with different views are the mensuralists or the proportionalists, who maintain that rhythm has to be interpreted proportionately, where shorts are exactly half the longs. This school of interpretation claims the support of historical authorities such as St Augustine, Remigius, Guido

2108:

to name a few) have clearly demonstrated that rhythm in Gregorian chant as notated in the 10th century rhythmic manuscripts (notably Sankt Gallen and Laon) manifest such rhythmic diversity and melodic – rhythmic ornamentations for which there is hardly a living performance tradition in the Western

1834:, punctuation marks, or diacritical accents. Later adaptations and innovations included the use of a dry-scratched line or an inked line or two lines, marked C or F showing the relative pitches between neumes. Consistent relative heightening first developed in the Aquitaine region, particularly at 835:

and Robert Snow assert a scholarly consensus that Gregorian chant developed around 750 from a synthesis of Roman and Gallican chants, and was commissioned by the Carolingian rulers in France. Andreas Pfisterer and Peter Jeffery have shown that older melodic essentials from Roman chant are clear in

1533:

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

1181:

Conversely, they omit significative letters found in the original sources, which give instructions for rhythm and articulation such as speeding up or slowing down. These editorial practices have placed the historical authenticity of the Solesmes interpretation in doubt. Ever since restoration of

2405:

consists of a threefold repetition of "Kyrie eleison" ("Lord, have mercy"), a threefold repetition of "Christe eleison" ("Christ have mercy"), followed by another threefold repetition of "Kyrie eleison." In older chants, "Kyrie eleison imas" ("Lord, have mercy on us") can be found. The Kyrie is

1782:

above, exhibit melodic similarities. 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. Similar examples exist

1210:

officially allowed worshipers to substitute other music, particularly sacred polyphony, in place of Gregorian chant, although it did reaffirm that Gregorian chant was still the official music of the Roman Rite of the Catholic Church, and the music most suitable for worship in the Roman Liturgy.

1716:

reforms. Finals were altered, melodic ranges reduced, melismata trimmed, B-flats eliminated, and repeated words removed. Despite these attempts to impose modal consistency, some chants – notably Communions – defy simple modal assignment. For example, in four medieval manuscripts, the Communion

926:

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. By the 9th century the Gallican rite and chant had effectively been eliminated,

2005:

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. This practice appears to have begun in the Middle Ages. Another medieval

1984:

Not much is known about the particular vocal stylings or performance practices used for Gregorian chant in the Middle Ages. On occasion, the clergy was urged to have their singers perform with more restraint and piety. This suggests that virtuosic performances occurred, contrary to the modern

2129:

the syllables, resp. neumes for a word (contextual variables). Correlating the various word and neume variables, substantial correlations were found for the word variables 'accented syllable' and 'contextual syllable duration'. Moreover, it could be established that the multiple correlation (

1143:

declared the only official version. In their firm belief that they were on the right way, Solesmes increased its efforts. In 1889, after decades of research, the monks of Solesmes released the first book in a planned series, the Paléographie Musicale. The incentive of its publication was to

1495:

Gregorian chant evolved to fulfill various functions in the Roman Catholic liturgy. Broadly speaking, liturgical recitatives are used for texts intoned by deacons or priests. Antiphonal chants accompany liturgical actions: the entrance of the officiant, the collection of offerings, and the

2014:

Given the oral teaching tradition of Gregorian chant, modern reconstruction of intended rhythm from the written notation of Gregorian chant has always been a source of debate among modern scholars. To complicate matters further, many ornamental neumes used in the earliest manuscripts pose

971:

in 1014. 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.

1134:

revived the monastic tradition in Solesmes. Re-establishing the Divine Office was among his priorities, but no proper chantbooks existed. Many monks were sent out to libraries throughout Europe to find relevant Chant manuscripts. In 1871, however, the old Medicea edition was reprinted

2109:

world. Contemporary groups that endeavour to sing according to the manuscript traditions have evolved after 1975. Some practising researchers favour a closer look at non-Western (liturgical) traditions, in such cultures where the tradition of modal monophony was never abandoned.

2312:

of the Mass. "Proprium Missae" in Latin refers to the chants of the Mass that have their proper individual texts for each Sunday throughout the annual cycle, as opposed to 'Ordinarium Missae' which have fixed texts (but various melodies) (Kyrie, Sanctus, Benedictus, Agnus Dei).

2019:, pes quassus, strophic neumes may indicate repeated notes, lengthening by repercussion, in some cases with added ornaments. By the 13th century, with the widespread use of square notation, most chant was sung with an approximately equal duration allotted to each note, although 1949:, (improvised) harmonic embellishment of chant melodies focusing on octaves, fifths, fourths, and, later, thirds. Neither tropes nor organum, however, belong to the chant repertory proper. The main exception to this is the sequence, whose origins lay in troping the extended 1166:– as authoritative. In 1904, the Vatican edition of the Solesmes chant was commissioned. Serious academic debates arose, primarily owing to stylistic liberties taken by the Solesmes editors to impose their controversial interpretation of rhythm. The Solesmes editions insert 73: 74: 1511:, were originally intended for congregational singing. The structure of their texts largely defines their musical style. In sequences, the same melodic phrase is repeated in each couplet. The strophic texts of hymns use the same syllabic melody for each stanza. 2483:. Because of the length of these texts, these chants often break into musical subsections corresponding with textual breaks. Because the Credo was the last Ordinary chant to be added to the Mass, there are relatively few Credo melodies in the Gregorian corpus. 1544:, who adopted the tetrachord of the finals (D, E, F, G) and constructed the rest of the system following the model of the Greek Greater and Lesser Perfect Systems. These were the first steps in forging a theoretical tradition that corresponded to chant. 2006:

innovation had the solo cantor sing the opening words of responsorial chants, with the full chorus finishing the end of the opening phrase. This innovation allowed the soloist to fix the pitch of the chant for the chorus and to cue the choral entrance.

1628:. Although corresponding plagal and authentic modes have the same final, they have different dominants. The existent pseudo-Greek names of the modes, rarely used in medieval times, derive from a misunderstanding of the Ancient Greek modes; the prefix " 2440: 1259: 1388: 860:) 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." 2644:. 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 1943:, which is a new text sung to the same melodic phrases in a melismatic chant (repeating an entire Alleluia-melody on a new text for instance, or repeating a full phrase with a new text that comments on the previously sung text) and various forms of 1389: 1043: 1414: 2252:

rhythmic notation but above all – he was also a choirmaster – suited for practical use, therefore a simplex, integrated notation. Although fully admitting the importance of Hakkennes' melodic revisions, the rhythmical solution suggested in the

72: 891:, 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. From English and German sources, Gregorian chant spread north to 2505:, which conclude the Mass, belong to the Ordinary. They have their own Gregorian melodies, but because they are short and simple, and have rarely been the subject of later musical composition, they are often omitted in discussion. 2138:

two notes have duration values of 2 times; (c) neumes consisting of only one note are characterized by flexible duration values (with an average value of 2 times), which take over the duration values of the syllables to match.

2095:

was published, in which the Roman Gradual, containing all the chants for Mass in a Year's cycle, appeared with the neumes of the two most important manuscripts copied under and over the 4-line staff of the square notation. The

2410:

instead of Latin. Because of the textual repetition, various musical repeat structures occur in these chants. The following, Kyrie ad. lib. VI as transmitted in a Cambrai manuscript, uses the form ABA CDC EFE', with shifts in

2026:

While the standard repertory of Gregorian Chant was partly being supplanted by new forms of polyphony, the earlier melo-rhythmic refinements of monophonic chant seem to have fallen into disuse. Later redactions such as the

2001:, difficulty for the beginners, and an admirable organization... that widely differs from other chants; they are not so much made according to the rules of music... but rather evince the authority and validity... of music. 2648:. Rounded noteheads increasingly replaced the older squares and lozenges in the 15th and 16th centuries, although chantbooks conservatively maintained the square notation. By the 16th century, the fifth line added to the 1144:

demonstrate the corruption of the 'Medicea' by presenting photographed notations originating from a great variety of manuscripts of one single chant, which Solesmes called forth as witnesses to assert their own reforms.

947:. Restricted to a handful of dedicated chapels, modern Mozarabic chant is highly Gregorianized and bears no musical resemblance to its original form. Ambrosian chant alone survived to the present day, preserved in 2603: 2054:

lengthened for textual emphasis or musical effect. The modern Solesmes editions of Gregorian chant follow this interpretation. Mocquereau divided melodies into two- and three-note phrases, each beginning with an

1257: 1094:

Gregorian chant has in its long history been subjected to a series of redactions to bring it up to changing contemporary tastes and practice. The more recent redaction undertaken in the Benedictine Abbey of

2720:, features a Kyrie but not an Introit. The Propers may also be replaced by choral settings on certain solemn occasions. Among the composers who most frequently wrote polyphonic settings of the Propers were 2438: 1233:

chants are the most ornate chants in which elaborate melodies are sung on long sustained vowels as in the Alleluia, ranging from five or six notes per syllable to over sixty in the more prolix melismata.

1387: 70: 2031:

of 1614 rewrote chant so that melismata, with their melodic accent, fell on accented syllables. This aesthetic held sway until the re-examination of chant in the late 19th century by such scholars as

2073:

Common modern practice favors performing Gregorian chant with no beat or regular metric accent, largely for aesthetic reasons. The text determines the accent while the melodic contour determines the

2394:

The Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei use the same text in every service of the Mass. Because they follow the regular invariable "order" of the Mass, these chants are called "

1768:

follow a musical "grammar" of sorts. Certain phrases are used only at the beginnings of chants, or only at the end, or only in certain combinations, creating musical families of chants such as the

1041: 1099:, has turned into a huge undertaking to restore the allegedly corrupted chant to a hypothetical "original" state. Early Gregorian chant was revised to conform to the theoretical structure of the 6171: 2370:

are sung poems based on couplets. Although many sequences are not part of the liturgy and thus not part of the Gregorian repertory proper, Gregorian sequences include such well-known chants as

1413: 1119:, published in 1614, drastically revised what was perceived as corrupt and flawed "barbarism" by making the chants conform to contemporary aesthetic standards. In 1811, the French musicologist 2439: 1308:

consists of 127 syllables sung to 131 pitches, with 108 of these pitches being the reciting note A and the other 23 pitches flexing down to G. Liturgical recitatives are commonly found in the

1258: 1152:

editions with ample editorial introductions) Solesmes was able to work out a practical reconstruction. This reconstructed chant was academically praised, but rejected by Rome until 1903, when

2712:

The Catholic Church later allowed polyphonic arrangements to replace the Gregorian chant of the Ordinary of the Mass. This is why the Mass as a compositional form, as set by composers like

1351:. In direct psalmody, psalm verses are sung without refrains to simple, formulaic tones. Most psalmodic chants are antiphonal and responsorial, sung to free melodies of varying complexity. 836:

the synthesized chant repertory. There were other developments as well. Chants were modified, influenced by local styles and Gallican chant, and fitted into the theory of the ancient Greek

4150: 4072: 3911: 3842: 2601: 1042: 9327: 71: 2319:

cover the procession of the officiants. Introits are antiphonal chants, typically consisting of an antiphon, a psalm verse, a repeat of the antiphon, an intonation of the Gloria Patri

1838:, in the first half of the eleventh century. Many German-speaking areas, however, continued to use unpitched neumes into the twelfth century. Additional symbols developed, such as the 1385: 979:. Similarly, the Gregorian repertory incorporated elements of these lost plainchant traditions, which can be identified by careful stylistic and historical analysis. For example, the 789:

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,

7873: 2248:. He devised a new graphic adaptation of square notation 'simplex' in which he integrated the rhythmic indications of the two most relevant sources, that of Laon and Sankt Gallen. 1854: 1411: 871:

was sufficient to culminate in his portrayal as the actual author of Gregorian Chant. He was often depicted as receiving the dictation of plainchant from a dove representing the

9073: 2232:

contain many melodic errors, some very consistently, (the mis-interpretation of third and eighth mode) necessitating a new edition of the Graduale according to state-of-the-art

1455:, or even omitted entirely. Antiphonal chants reflect their ancient origins as elaborate recitatives through the reciting tones in their melodies. Ordinary chants, such as the 7702: 571:. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, 3679: 2602: 2032: 1891:

neumes indicate special vocal treatments, that have been largely neglected due to uncertainty as to how to sing them. Since the 1970s, with the influential insights of Dom

1697:

of whichever mode uses the same set of hexachords. The actual pitch of the Gregorian chant is not fixed, so the piece can be sung in whichever range is most comfortable.

6164: 465:. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits 1704:

Not every Gregorian chant fits neatly into Guido's hexachords or into the system of eight modes. For example, there are chants – especially from German sources – whose

935:. Gregorian coexisted with Beneventan chant for over a century before Beneventan chant was abolished by papal decree (1058). Mozarabic chant survived the influx of the 508:

at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called

1386: 723:

established what is called the rule of St. Benedict, in which the protocol of the Divine Office for monastic use was laid down. Around 678, Roman chant was taught at

8962: 8059: 1412: 1003: 704:

introduced this practice to the West. In the fifth century, a singing school, the Schola Cantorum, was founded at Rome to provide training in church musicianship.

579:

of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship.

1620:

refers to the range of pitches used in the melody. Melodies whose final is in the middle of the ambitus, or which have only a limited ambitus, are categorized as

1842:, placed at the end of a system to show the next pitch. Other symbols indicated changes in articulation, duration, or tempo, such as a letter "t" to indicate a 9269: 9264: 6157: 2058:, akin to a beat, notated in chantbooks as a small vertical mark. These basic melodic units combined into larger phrases through a complex system expressed by 975:

Later sources of these other chant traditions show an increasing Gregorian influence, such as occasional efforts to categorize their chants into the Gregorian

7506: 863:

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

2104:

The studies of Cardine and his students (Godehard Joppich, Luigi Augustoni, Johannes B. Göschl, Marie-Noël Colette, Rupert Fischer, Marie-Claire Billecocq,

1729:

Several features besides modality contribute to the musical idiom of Gregorian chant, giving it a distinctive musical flavor. Melodic motion is primarily

6212: 2081: 1892: 8613: 8093: 1250: 1031: 707:

Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410,

8988: 7644: 4498: 9063: 429: 1445:

originally referred to chants in which two choirs sang in alternation, one choir singing verses of a psalm, the other singing a refrain called an

4711: 2431: 9334: 8373: 8100: 4350: 3023: 1565:-C-D), or G (the hard hexachord, using a B-natural, G-A-B^C-D-E). The B-flat was an integral part of the system of hexachords rather than an 1286:

and free melodies. The simplest kind of melody is the liturgical recitative. Recitative melodies are dominated by a single pitch, called the

8052: 4494:– A collection of Gregorian chants, hymns and psalms (Spain, 1575–1625) from the University of British Columbia Library Digital Collections 1225:

syllabic throughout with only a few instances where two or more notes are sung on one syllable. "Neumatic" chants are more embellished and

8646: 8139: 1934:

where women were permitted to sing the Office and the parts of the Mass pertaining to the choir as a function of their consecrated life.

61: 9028: 8327: 7496: 2141:

The distinction between the first two rules and the latter rule can also be found in early treatises on music, introducing the terms

1540:, a note not recognized by later Medieval writers). A diatonic scale with a chromatically alterable b/b-flat was first described by 512:

to create families of related chants. The scale patterns are organized against a background pattern formed of conjunct and disjunct

8781: 7968: 6881: 4757: 2415:

between sections. The E' section, on the final "Kyrie eleison", itself has an aa'b structure, contributing to the sense of climax.

2282:

with simple melodic formulae at certain places in each sentence. More complex chants are sung by trained soloists and choirs. The

825:

in the favorable atmosphere of the Carolingian monarchs, also compiled the core liturgy of the Roman Mass and promoted its use in

9905: 8045: 7770: 7362: 5295: 2705:, were frequently arranged by Renaissance composers. The use of chant as a cantus firmus was the predominant practice until the 2386:, an early sequence writer, their origins lie in the addition of words to the long melismata of the jubilus of Alleluia chants. 692:. Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following 8475: 8417: 7976: 5787: 3684: 2037: 609:

Jews in sung form. Early Christian rites also incorporated elements of Jewish worship that survived in later chant tradition.

2066:'s program of music education for children, until the liturgical role of chant was diminished after the liturgical reforms of 1708:

suggest a warbling of pitches between the notes E and F, outside the hexachord system, or in other words, employing a form of

1624:, while melodies whose final is in the lower end of the ambitus and have a range of over five or six notes are categorized as 4317: 4288: 4171: 4093: 3932: 3863: 1206:

communities (most of which allow all-female scholas as well, though), the Catholic Church no longer persists with this ban.

852:

to show the shape of a remembered melody. This notation was further developed over time, culminating in the introduction of

9901: 8285: 8181: 7894: 6961: 4787: 1989:

himself criticized the practice of promoting clerics based on their charming singing rather than their preaching. However,

422: 127: 6956: 3991:

The performance of chant in equal note lengths from the 13th century onwards is well supported by contemporary statements.

3601: 739:). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western 668:

confirm the practice, although in poetic or obscure ways that shed little light on how music sounded during this period.

9732: 9399: 9147: 9045: 8932: 7956: 7829: 6693: 6683: 601: 2549:. The psalm antiphons of the Office tend to be short and simple, especially compared to the complex Great Responsories. 2286:

contains the proper chants of the Mass (i.e., Introit, Gradual, Alleluia, Tract, Offertory, Communion) and the complete

10029: 9185: 8487: 8238: 7192: 5629: 5121: 1492:. Tracts are melismatic settings of psalm verses and use frequent recurring cadences and they are strongly centonized. 10000: 8317: 7986: 6908: 4430: 4390: 4301: 4275: 4249: 4226: 4203: 4138: 4116: 4053: 4030: 4006: 3984: 3954: 3899: 3826: 3635: 2762: 2680: 2218: 1559:. Hexachords could be built on C (the natural hexachord, C-D-E^F-G-A), F (the soft hexachord, using a B-flat, F-G-A^B 6011: 2821: 2574:, are relatively late chants, dating to the 11th century, and considerably more complex than most Office antiphons. 2200: 1486:

chants are often composed of an amalgamation of various stock musical phrases, pieced together in a practice called

9970: 9892: 9379: 9088: 8568: 8458: 7801: 7755: 6755: 5996: 5969: 4782: 2713: 2701:, so that the consecutive notes of the chant determined the harmonic progression. The Marian antiphons, especially 2192: 1926: 135: 17: 1985:

stereotype of Gregorian chant as slow-moving mood music. This tension between musicality and piety goes far back;

8583: 8507: 8127: 8105: 7596: 7452: 7337: 5991: 4566: 2594: 1088: 809:

in favor of the Roman use, to strengthen ties with Rome. Thirty years later (785–786), at Charlemagne's request,

415: 7133: 6569: 6001: 5250: 3068: 2846: 727:. Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles ( 696:

introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375,

10059: 8822: 8441: 8088: 8080: 8068: 7627: 7367: 7357: 6851: 6240: 5307: 4915: 4797: 2196: 9897: 9675: 9117: 8696: 8671: 8280: 7924: 7866: 5116: 2687:" were based on Gregorian melodies. Beginning with the improvised harmonizations of Gregorian chant known as 4529: 649: 9811: 9433: 9394: 9320: 9157: 8676: 8666: 8122: 7668: 7570: 5235: 5150: 4750: 2709:

period, when the stronger harmonic progressions made possible by an independent bass line became standard.

1130:

In the late 19th century, early liturgical and musical manuscripts were unearthed and edited. Earlier, Dom

968: 4505: 2683:" adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance " 10049: 9990: 9960: 9361: 9122: 8492: 8265: 7108: 6350: 2772: 4405: 3703:

Jeannin, J. (1930). "Proportionale Dauerwerte oder einfache Schattierungen im Gregorianischen Choral?".

2077:. The note lengthenings recommended by the Solesmes school remain influential, though not prescriptive. 1120: 840:

system of modes in a manner that created what later came to be known as the western system of the eight

9499: 9131: 8156: 7939: 7501: 7232: 6698: 6114: 5979: 4777: 1525:

Early plainchant, like much of Western music, is believed to have been distinguished by the use of the

253: 123: 7205: 4489: 1993:, a renowned monastic reformer, praised the intellectual and musical virtuosity to be found in chant: 1846:. Another form of early notation used a system of letters corresponding to different pitches, much as 10034: 9801: 9605: 9190: 8892: 8203: 7697: 7692: 5974: 5649: 5644: 5290: 3115:

The Oxford History of Western Music, Volume I – Music from the earliest notations to the 16th century

3063: 3002: 2256:

was actually found by Van Kampen (see above) to be rather modestly related to the text of the chant.

1375: 1054: 1010: 765: 52: 7058: 2725: 671:

Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The

10044: 9980: 9877: 9765: 9368: 9023: 8598: 8115: 7945: 7854: 6767: 6677: 4466: 2372: 2181: 1606:

is the ending note, which is usually an important note in the overall structure of the melody. The

908: 661: 1123:, as part of a conservative backlash following the liberal Catholic orders' inefficacy during the 10054: 8641: 8497: 8224: 7884: 7765: 7676: 7615: 7526: 6928: 6562: 6412: 6127: 5275: 5205: 4743: 4155: 4077: 3916: 3847: 2717: 2274: 2185: 2105: 1309: 1203: 100: 6149: 5986: 3736: 2578:

has described these four songs as "among the most beautiful creations of the late Middle Ages".

2308:

The Introit, Gradual, Alleluia, Tract, Sequence, Offertory and Communion chants are part of the

1049:

This chant corresponds to the second one on the manuscript folio above beneath the large rubric

10039: 9916: 9772: 9610: 9428: 9410: 9112: 8998: 8711: 7997: 7991: 7780: 7775: 7438: 7372: 6517: 6137: 6016: 5822: 5478: 5165: 2767: 2468: 1974: 1746: 1463:, are not considered antiphonal chants, although they are often performed in antiphonal style. 1460: 4858: 4163: 4085: 3924: 3855: 9832: 9680: 9655: 9374: 9008: 8993: 8706: 8563: 8470: 8270: 8253: 8166: 8110: 7890: 7712: 7083: 6861: 6595: 6078: 5393: 5245: 5101: 5096: 4958: 3881: 3840:; Szendrei, Janka; Payne, Thomas B.Payne; Bent, Margaret; Chew, Geoffrey (2001). "Notation". 2494:, like the Kyrie, also contain repeated texts, which their musical structures often exploit. 2023:

cites exceptions in which certain notes, such as the final notes of a chant, are lengthened.

1997:

For in these there are the most varied kinds of ascent, descent, repeat..., delight for the

1694: 1401: 462: 206: 131: 9058: 5540: 5170: 9911: 9751: 9670: 9600: 9524: 9519: 9389: 9240: 9235: 9230: 9225: 9220: 9215: 9210: 9205: 9200: 9167: 9094: 8937: 8897: 8716: 8618: 8593: 8532: 8337: 8312: 8248: 8025: 8013: 7307: 7078: 6891: 6844: 6721: 6707: 6668: 6417: 6310: 5890: 5885: 5792: 5609: 5596: 5545: 5514: 5463: 5354: 5200: 5015: 5000: 4943: 4893: 4853: 4810: 4586: 4460: 2676: 2609:

Marian antiphon sung at Compline and Lauds between the First Sunday of Advent and Candlemas

2395: 2378: 1500: 1195: 1190: 333: 328: 278: 248: 233: 160: 9459: 5260: 5030: 3875: 2086: 1897: 1131: 911:

liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including

883:

Gregorian chant appeared in a remarkably uniform state across Europe within a short time.

8: 9953: 9575: 9343: 9289: 9013: 9003: 8952: 8810: 8796: 8656: 8398: 8161: 8006: 7951: 7912: 7565: 7352: 7210: 6777: 6750: 6672: 6202: 6093: 6088: 5936: 5719: 5509: 5408: 5339: 5215: 5210: 5155: 5071: 5041: 4898: 4888: 4843: 4805: 4559: 3628:

Het oorspronkelijke ritme van het Gregoriaans: Een 'semiologisch-mensuralistische' studie

3021:

Grier, J. (2003). "Ademar de Chabannes, Carolingian Musical Practices, and Nota Romana".

2233: 1674: 1080: 673: 575:

still continues in use in Milan, and there are musicologists exploring both that and the

370: 243: 155: 7088: 5180: 4822: 2833: 2240:

was published by Libreria Editrice Vatican and ConBrio Verlagsgesellschaft, Regensburg.

2047: 1745:; and in longer chants with clear textual divisions such as the Great Responsories, the 1451:. Over time, the verses were reduced in number, usually to just one psalm verse and the 9941: 9887: 9882: 9871: 9660: 9590: 9489: 9301: 9078: 8847: 8771: 8739: 8558: 8527: 8364: 8352: 8213: 8151: 7750: 7707: 7656: 7638: 7546: 7516: 7150: 6990: 6786: 6717: 6649: 6588: 6047: 6037: 6006: 5817: 5797: 5639: 5535: 5483: 5443: 5428: 5344: 5195: 5106: 4878: 4380: 4367: 4238: 4192: 3968: 3093: 2502: 1566: 1530: 1127:, called for returning to the "purer" Gregorian chant of Rome over French corruptions. 888: 822: 746: 720: 708: 678: 605: 9595: 8867: 2113:

and Aribo. This view is advocated by John Blackley and his 'Schola Antiqua New York'.

1229:, a connected group of notes, written as a single compound neume, abound in the text. 9849: 9837: 9722: 9717: 9650: 9560: 9545: 9247: 9152: 8927: 8913: 8887: 8872: 8776: 8761: 8691: 8681: 8550: 8482: 8383: 8347: 8243: 7929: 7844: 7839: 7551: 7292: 7160: 7035: 6760: 6653: 6629: 6548: 6486: 6468: 6133: 5919: 5807: 5777: 5737: 5684: 5619: 5530: 5525: 5473: 5433: 5370: 5349: 5255: 5240: 5190: 5051: 5010: 4938: 4848: 4691: 4575: 4426: 4386: 4313: 4297: 4284: 4271: 4245: 4222: 4199: 4167: 4134: 4112: 4089: 4049: 4026: 4002: 3980: 3950: 3928: 3895: 3859: 3822: 3631: 3223: 3097: 3085: 2829: 2747: 2641: 2491: 2407: 2367: 2020: 1978: 1742: 1652: 1548: 1504: 1442: 1124: 1108: 857: 693: 630: 402: 355: 283: 273: 268: 177: 9514: 6539: 3836:

Bent, Ian D.; Hughes, David W.; Provine, Robert C.; Rastall, Richard; Kilmer, Anne;

2728:. These polyphonic arrangements usually incorporate elements of the original chant. 1681:

Although the modes with melodies ending on A, B, and C are sometimes referred to as

9865: 9707: 9620: 9570: 9555: 9494: 9484: 9357: 9137: 8942: 8922: 8842: 8827: 8726: 8628: 8502: 8342: 8300: 8295: 8275: 8258: 8171: 7878: 7861: 7849: 7789: 7688: 7631: 7555: 7536: 7531: 7479: 7474: 7312: 7248: 7221: 7172: 6814: 6743: 6712: 6688: 6622: 6522: 6248: 5931: 5679: 5602: 5555: 5519: 5489: 5468: 5160: 5145: 4904: 4676: 4524:(resources, including articles and editions of Sankt Gallen notations) (in German). 4447: 4441: 4396: 4359: 4342: 4307: 4209: 4159: 4081: 4036: 3942: 3920: 3851: 3744: 3227: 3110: 3077: 3032: 2752: 2672: 2309: 2297: 2283: 2074: 2062:

hand-gestures. This approach prevailed during the twentieth century, propagated by

1962: 1496:

distribution of the Eucharist. Responsorial chants expand on readings and lessons.

1226: 1199: 1194:, Pius X mandated the use of Gregorian chant, encouraging the faithful to sing the 1167: 1104: 845: 754: 736: 665: 533: 365: 288: 263: 4338: 4331: 4020: 9921: 9712: 9625: 9580: 9504: 9479: 9469: 9423: 9404: 9195: 9162: 9106: 9100: 8957: 8862: 8766: 8072: 8037: 7900: 7760: 7662: 7610: 7511: 7426: 7093: 6985: 6809: 6558: 6501: 6447: 6385: 6355: 6273: 6263: 6258: 6219: 6207: 6188: 6083: 5812: 5772: 5708: 5664: 5056: 5035: 5020: 4966: 4873: 4706: 4701: 4665: 4609: 4599: 2671:

Gregorian melodies provided musical material and served as models for tropes and

2554: 2526: 2383: 2361: 2265: 1916: 1831: 1770: 1765: 1730: 1670: 1663: 1641: 1616: 1581: 1329: 864: 802: 790: 732: 645: 622: 610: 576: 572: 568: 556: 489: 474: 238: 44: 4348:

Hucke, Helmut (Autumn 1980). "Toward a New Historical View of Gregorian Chant".

2070:, and new scholarship "essentially discredited" Mocquereau's rhythmic theories. 484:

Gregorian chants were organized initially into four, then eight, and finally 12

9843: 9816: 9796: 9758: 9702: 9645: 9640: 9474: 9258: 9083: 8877: 8852: 8816: 8756: 8749: 8744: 8734: 8588: 8573: 8512: 8388: 8378: 8134: 7834: 7744: 7606: 7469: 7015: 6995: 6973: 6968: 6936: 6886: 6782: 6268: 6253: 6180: 6042: 5912: 5902: 5782: 5713: 5674: 5654: 5634: 5364: 5334: 5220: 5076: 5046: 4766: 4686: 4671: 4641: 4614: 4594: 4552: 4443:

Einführung in die Gregorianischen Melodien. Ein Handbuch der Choralwissenschaft

4126: 4104: 4016: 3605: 2818: 2742: 2637: 2269: 2154: 2043: 1986: 1920: 1669:

Modes 7 and 8 are the authentic and plagal modes ending on G, sometimes called

1658:

Modes 5 and 6 are the authentic and plagal modes ending on F, sometimes called

1647:

Modes 3 and 4 are the authentic and plagal modes ending on E, sometimes called

1636:

Modes 1 and 2 are the authentic and plagal modes ending on D, sometimes called

1526: 1321: 1096: 904: 868: 818: 794: 774: 750: 653: 564: 478: 466: 458: 345: 293: 108: 8451: 6553: 3036: 10023: 9806: 9630: 9615: 9509: 9142: 9068: 9034: 9018: 8978: 8661: 8636: 8412: 8322: 8307: 8229: 7806: 7785: 7576: 7399: 7394: 7215: 6772: 6733: 6728: 6618: 6337: 6299: 5848: 5747: 5614: 5582: 5438: 5359: 5005: 4883: 4866: 4544: 4324: 3972: 3117:, ch. 1, "The curtain goes up", p. 6. (Oxford: Oxford University Press, 2010) 3089: 2825: 2757: 2697: 2665: 2649: 2645: 2498: 2339: 2324: 2292: 2279: 1939: 1924:

liturgical duty reserved to clergy, so women were not allowed to sing in the

1858: 1835: 1757: 1648: 1611: 1488: 1288: 1162: 1153: 853: 810: 806: 637: 537: 517: 509: 505: 493: 212: 5185: 4722: 4517: 3081: 2803: 1961:, but the sequences, like the tropes, were later officially suppressed. The 469:

with inventing Gregorian chant, scholars believe that it arose from a later

9779: 9565: 9550: 9540: 9252: 9127: 8983: 8947: 8686: 8608: 8452: 8198: 8193: 8188: 8176: 8019: 7981: 7962: 7521: 7405: 7297: 7237: 7227: 7073: 6980: 6918: 6839: 6634: 6584: 6365: 6230: 6073: 5880: 5843: 5802: 5767: 5742: 5727: 5225: 5061: 4836: 4681: 4651: 4636: 4631: 4624: 4604: 4455: 4063: 3648:

van Kampen, Dirk (2005). "Uitgangspunten voor de ritmiek van Gregoriaans".

2721: 2695:. Often, a Gregorian chant (sometimes in modified form) would be used as a 2661: 2657: 2513: 2480: 2067: 2063: 1990: 1870:

By the 13th century, the neumes of Gregorian chant were usually written in

1847: 1756:

Chants sometimes fall into melodically related groups. The musical phrases

1709: 1686: 1682: 1577: 1570: 1520: 1300:, and full cadences. These chants are primarily syllabic. For example, the 1186: 1140: 1100: 1001:

Two plainchants from the Mass Proper, written in adiastematic neumes, from

976: 932: 841: 814: 740: 728: 521: 485: 360: 323: 313: 4481: 3474: 9727: 9665: 9635: 9464: 9053: 8882: 8857: 8832: 8805: 8792: 8701: 8603: 8290: 7824: 7738: 7681: 7416: 7200: 7118: 7103: 7063: 7025: 6951: 6793: 6327: 6321: 6305: 6068: 6063: 5858: 5230: 5175: 5081: 4929: 4067: 3964: 3837: 2447: 2015:

difficulties on the interpretation of rhythm. Certain neumes such as the

1690: 1659: 1637: 1478:, and the Office Responsories originally consisted of a refrain called a 1157: 986: 944: 892: 884: 872: 798: 786: 770: 686: 641: 492:, and also characteristic intervallic patterns relative to a referential 470: 171: 5137: 4382:

Chant: The Origins, Form, Practice, and Healing Power of Gregorian Chant

3748: 1555:, in which pitches in the singing range were organized into overlapping 943:, but not the Roman-backed prelates newly installed in Spain during the 189: 8837: 8422: 7795: 7541: 7433: 7241: 7123: 7053: 7010: 6941: 6461: 6457: 6424: 6392: 6315: 6184: 5659: 5329: 5025: 4991: 4986: 3814: 2737: 2618: 2575: 2538: 2459: 2059: 1888: 1827: 1823: 1713: 1483: 1429: 1339:, include both recitatives and free melodies. Psalmodic chants include 1283: 1274: 1207: 1076: 1066: 997: 981: 964: 928: 832: 782: 712: 657: 560: 513: 184: 86: 9312: 4953: 4371: 3874: 3689:(1916). "Zur ursprünglichen Ausführung des Gregorianischen Gesanges". 2691:, Gregorian chants became a driving force in medieval and Renaissance 1629: 596:

since the earliest days of the Church. It is widely accepted that the

258: 9585: 7918: 7905: 7621: 7489: 7484: 7463: 7421: 7140: 7113: 6913: 6903: 6738: 6663: 6613: 6506: 6375: 6360: 6345: 6225: 5870: 5732: 5550: 5285: 4656: 4482:""The living textbook" on the choral notation of the Gregorian chant" 2692: 2684: 2653: 2412: 1970: 1734: 1586: 1556: 1475: 1149: 936: 837: 545: 525: 450: 446: 318: 194: 32: 4948: 3791: 2170: 9936: 9296: 8651: 8405: 8393: 7731: 7650: 7585: 7317: 7287: 7282: 7263: 7182: 6871: 6856: 6658: 6491: 6452: 6370: 6293: 6032: 5952: 5875: 5838: 5321: 5111: 5091: 5066: 4363: 4148:

McKinnon, James W. (2001). "Christian Church, music of the early".

2546: 2530: 2472: 2347: 2320: 1954: 1884: 1471: 1452: 1447: 1325: 920: 697: 618: 386: 200: 2432:

Kyrie 55, Vatican ad lib. VI, from Cambrai, Bibl. Mun. 61, fo.155v

1853: 1482:

sung by a choir, alternating with psalm verses sung by a soloist.

927:

although not without local resistance. The Gregorian chant of the

8908: 8522: 8144: 7322: 7302: 7128: 7020: 7000: 6834: 6642: 6638: 6543: 6527: 6496: 6380: 6179: 5946: 5924: 5895: 5853: 5624: 5280: 4828: 4815: 4735: 4619: 4537: 4111:. Bloomington, Indiana: Indiana University Press. pp. 1–22. 2706: 2688: 2487: 2352: 2334: 2330: 2316: 2287: 2278:

are intoned by bishops, priests, and deacons, mostly on a single

1958: 1950: 1945: 1931: 1880: 1775: 1761: 1541: 1467: 1438: 1313: 1301: 1297: 1293: 1230: 952: 916: 900: 896: 716: 701: 626: 593: 541: 540:

developed. Multi-voice elaborations of Gregorian chant, known as

501: 497: 380: 338: 165: 37: 1919:(by male and female religious) and for singing the parts of the 821:, over a brief period in the 8th century, a project overseen by 781:

The Gregorian repertory was further systematized for use in the

685:(Jewish) psalms with Alleluia as the refrain in early Christian 9074:

Pope Pius XII 1942 consecration to the Immaculate Heart of Mary

8517: 8427: 8332: 7389: 7253: 7068: 7005: 6946: 6898: 6876: 6574: 6532: 5669: 5591: 5086: 2636:

Gregorian chant had a significant impact on the development of

2542: 2534: 2508: 1966: 1843: 1569:. The use of notes outside of this collection was described as 1336: 1317: 1312:

chants of the liturgy, such as the intonations of the Collect,

1305: 1136: 912: 826: 682: 597: 2819:

The Constitution on the Sacred Liturgy, Second Vatican Council

1937:

Chant was normally sung in unison. Later innovations included

951:

due to the musical reputation and ecclesiastical authority of

7327: 7277: 7165: 7145: 7098: 6866: 6579: 6510: 5941: 5865: 4578: 2476: 2402: 1965:

struck sequences from the Gregorian corpus, except those for

1818: 1804: 1750: 1738: 1705: 1693:, these are not considered distinct modes and are treated as 1456: 1160:, promptly accepted the Solesmes chant – now compiled as the 960: 948: 940: 849: 552: 529: 454: 375: 1701:

psalmverses, Alleluia and Gloria Patri for all eight modes.

7559: 7411: 7176: 7030: 2357: 1508: 1282:

Gregorian chants fall into two broad categories of melody:

1084: 724: 614: 4062: 3480: 3008: 2133:) between the two types of variables reaches its maximum ( 1354: 785:, and scholars weigh the relative influences of Roman and 8963:

Dechristianization of France during the French Revolution

7272: 7155: 4446:(in German). Leipzig: Breitkopf & Härtel – via 4312:, 2nd edition, Libreria editrice Vaticana, Vatican 1975, 3064:"Hartker, Gregor und die Taube: Zum Codex CH-SGs 390/391" 2450:; example of musical repeat structures in Gregorian chant 1809:

The earliest notated sources of Gregorian chant (written

1791: 1551:

revolutionized Western music with the development of the

817:

with Roman chants to the Carolingian court. According to

3835: 3797: 3486: 3462: 3390: 3330: 3246: 3234: 3226:. Tournay, Belgium: Desclée & Cie. 1937 – via 989:

are believed to be a remnant of the Gallican repertory.

4296:(1984 / 1990) Chris Hakkennes, Stichting Lagal Utrecht 3450: 3438: 3414: 3402: 3366: 3192: 3043: 2940: 2892: 2333:

are responsorial chants that follow the reading of the

700:

psalmody became popular in the Christian East; in 386,

4469:

at MusicaSacra.com website (accessed 20 January 2014).

3755: 3306: 3294: 3180: 2966: 2668:

accidentals derived directly from Gregorian notation.

1737:; in chants with shorter, repeating texts such as the 8994:

Dogma of the Immaculate Conception of the Virgin Mary

3570: 3342: 3282: 3270: 3168: 2904: 2545:, and the Short Responsories of the Lesser Hours and 2101:

newly understood principles in performance practice.

644:: "When they had sung the hymn, they went out to the 528:. Gregorian melodies are traditionally written using 3909:

Dyer, Joseph (2001). "Roman Catholic church music".

3767: 3498: 3426: 3378: 3354: 3318: 3204: 3144: 3132: 3120: 2784: 1915:

Gregorian chant was originally used for singing the

1879:

written in succession, read from left to right. The

992: 604:

worship significantly influenced and contributed to

587: 555:

of men and boys in churches, or by men and women of

544:, were an early stage in the development of Western 488:. Typical melodic features include a characteristic 3779: 3582: 3558: 3546: 3534: 3522: 3510: 3258: 2978: 2928: 2916: 1420:

Example of responsorial psalmody in Gregorian chant

1265:

Example of liturgical recitative in Gregorian chant

8067: 4237: 4191: 3821:. Bloomington, Indiana: Indiana University Press. 3156: 2990: 2512:Plainchant notation for the solemn setting of the 731:), Spain (Mozarabic), Gaul (Gallican), and Italy ( 7645:Historical roots of Catholic Eucharistic theology 3737:"Rhythm and metre in French Classical plainchant" 2880: 2868: 2631: 2264:Gregorian chant is sung in the Office during the 1395:Example of antiphonal psalmody in Gregorian chant 10021: 9064:Persecutions of the Catholic Church and Pius XII 2533:Office, primarily in antiphons used to sing the 2364:is chanted, usually with texts from the Psalms. 2290:(the collection of Mass Ordinary settings). The 2238:Graduale Novum Editio Magis Critica Iuxta SC 117 1721:was transcribed using a different mode in each. 4406:"Gregorian Chant as a Paradigm of Sacred Music" 3670:. Den Haag: Stichting Centrum voor de Kerkzang. 2802:Development of notation styles is discussed at 1292:. Other pitches appear in melodic formulae for 1035:, Gradual for the Mass (first Sunday of Advent) 844:. The Metz project also invented an innovative 760: 4574: 2389: 1610:is a secondary pitch that usually serves as a 1202:for males. While this custom is maintained in 9328: 8053: 6165: 4751: 4727: 4560: 4351:Journal of the American Musicological Society 4070:; Zon, Bennett Mitchel (2001). "Plainchant". 3024:Journal of the American Musicological Society 878: 629:" derives from the threefold "kadosh" of the 516:, producing a larger pitch system called the 423: 6336: 4458:(April 1906). "The Reform in Church Music". 4183:Gregorian Chant According to the Manuscripts 2957: 2955: 2303: 1874:on a four-line staff with a clef, as in the 5401: 4189: 3492: 2199:. Unsourced material may be challenged and 1576:Gregorian chant was categorized into eight 9335: 9321: 9079:Dogma of the Assumption of the Virgin Mary 9029:Prayer of Consecration to the Sacred Heart 8060: 8046: 7497:Communion and the developmentally disabled 6172: 6158: 4758: 4744: 4567: 4553: 3979:. New York: W. W. Norton. pp. 37–54. 3647: 2834:Catholic World News 28 June 2006 2814: 2812: 2300:and the most commonly used Office chants. 1580:, influenced by the eightfold division of 1198:, although he reserved the singing of the 777:'s shoulder symbolizes Divine Inspiration. 613:have their roots in Jewish prayer hours. " 551:Gregorian chant was traditionally sung by 430: 416: 4499:"Singing Gregorian Chant: Pitch and Mode" 4221:. Mineola, New York: Dover Publications. 4198:. Boston: Northeastern University Press. 3872: 2961: 2952: 2516:; a simple setting is used more commonly. 2327:often dominate their melodic structures. 2219:Learn how and when to remove this message 1379:, Introit for Week XXXIV of Ordinary Time 1251:Epistle for the Solemn Mass of Easter Day 1178:marks not found in the original sources. 559:in their chapels. It is the music of the 6882:Extraordinary minister of Holy Communion 4147: 4125: 3049: 2946: 2910: 2552:At the close of the Office, one of four 2507: 1852: 1790: 1499:The non-psalmodic chants, including the 1353: 996: 764: 31: 9342: 7771:General Instruction of the Roman Missal 7363:General Roman Calendar of Pope Pius XII 5392: 5296:List of Galician-Portuguese troubadours 4216: 4164:10.1093/gmo/9781561592630.article.05705 4086:10.1093/gmo/9781561592630.article.40099 4043: 4015: 3977:Performance Practice: Music before 1600 3925:10.1093/gmo/9781561592630.article.46758 3889: 3856:10.1093/gmo/9781561592630.article.20114 3761: 3725:. New York: Norton & Comp., p. 166. 3702: 3348: 3336: 3312: 3300: 3288: 3276: 3252: 3186: 3174: 2809: 2520: 2259: 592:Singing has been part of the Christian 14: 10022: 4270:(1979). Tournai: Desclée & Socii. 4235: 4180: 4103:Mahrt, William P. (2000). "Chant". In 4066:; Emerson, Johm A.; Bellingham, Jane; 3734: 3432: 3360: 3324: 3138: 3126: 2790: 2323:, and a final repeat of the antiphon. 2160: 520:. The chants can be sung by using six- 9316: 8041: 6153: 4739: 4726: 4548: 4328:(1953). Tournai: Desclée & Socii. 4109:A Performer's Guide to Medieval Music 4102: 3996: 3963: 3941: 3773: 3735:Holman, Christopher (November 2017). 3588: 3540: 3504: 3468: 3396: 3384: 3240: 3210: 3150: 3061: 3020: 2984: 2972: 2934: 2922: 2898: 1862:in square notation (excerpt from the 867:. Nevertheless, the lore surrounding 9966: 9728:Pontifical Athenaeum of Saint Anselm 3908: 3885:. New York: Robert Appleton Company. 3813: 3785: 3576: 3564: 3552: 3528: 3516: 3456: 3444: 3420: 3408: 3372: 3264: 3198: 3162: 2996: 2886: 2874: 2197:adding citations to reliable sources 2164: 1590:. Each mode is distinguished by its 445:is the central tradition of Western 9996: 9906:Catholic–Eastern Orthodox relations 9400:Liturgical reforms of Pope Pius XII 8933:Suppression of the Society of Jesus 7957:Liturgical reforms of Pope Pius XII 7830:Anaphora of the Apostolic Tradition 5122:Other troubadours and trobairitz... 652:). Other ancient witnesses such as 24: 8488:Archbasilica of Saint John Lateran 4765: 4283:, Libreria Editrice Vaticana 2011 4260: 3894:. University of California Press. 3011:, §2: History to the 10th century. 2583: 2420: 1428:Problems playing these files? See 1364: 1239: 1020: 640:mentions singing hymns during the 25: 10071: 7987:Sacraments of the Catholic Church 4474: 4464:. Vol. 97. pp. 455–463. 4404:Mahrt, William P. (Spring 2006). 2763:Proportionalism (Gregorian chant) 2681:Nun bitten wir den Heiligen Geist 1358:Antiphonary with Gregorian chants 993:Early sources and later revisions 959:11th centuries. For example, the 588:Development of earlier plainchant 9995: 9986: 9985: 9976: 9975: 9965: 9947: 9935: 9902:Anglican–Roman Catholic dialogue 9893:Modernism in the Catholic Church 9733:Saint John's Abbey, Collegeville 9380:Belgian Benedictine Congregation 9295: 9283: 8614:Fourth Council of Constantinople 8569:Second Council of Constantinople 6213:After the Second Vatican Council 6132: 6123: 6122: 4337:, PDF (115 MB) musicasacra.com; 4190:Neuls-Bates, Carol, ed. (1996). 3879:. In Herbermann, Charles (ed.). 3604:. Calumcille.com. Archived from 2847:"The History of Gregorian Chant" 2617:Problems playing this file? See 2599: 2458:Problems playing this file? See 2436: 2406:distinguished by its use of the 2169: 1724: 1466:Responsorial chants such as the 1409: 1383: 1273:Problems playing this file? See 1255: 1219: 1065:Problems playing this file? See 1039: 797:using Roman chant. According to 85:Problems playing this file? See 68: 9375:French Benedictine Congregation 8584:Third Council of Constantinople 8508:First Council of Constantinople 6585:Niceno-Constantinopolitan Creed 3728: 3715: 3696: 3673: 3660: 3641: 3620: 3602:"The symbolism of chant rhythm" 3594: 3216: 3104: 3055: 3014: 2525:Gregorian chant is sung in the 2337:. Graduals usually result from 1335:Psalmodic chants, which intone 1214: 677:, attributed to the theologian 453:, unaccompanied sacred song in 8823:Dissolution of the monasteries 8089:History of the Catholic Church 7368:General Roman Calendar of 1960 7358:General Roman Calendar of 1954 4044:Hoppin, Richard, ed. (1978b). 3999:Western Plainchant: A Handbook 2839: 2796: 2632:Medieval and Renaissance music 2153:be altered to be performed in 1905: 1437:Antiphonal chants such as the 53:Henry, patron saint of Finland 13: 1: 9898:Catholic Church and ecumenism 8697:Fourth Council of the Lateran 8672:Second Council of the Lateran 8281:Apostles in the New Testament 7925:Fourth Council of the Lateran 5117:William IX, Duke of Aquitaine 4518:"Willkommen auf der Homepage" 4254:– via Internet Archive. 4131:Antiquity and the Middle Ages 3806: 1810: 1115:, published in 1582, and the 967:at the behest of the Emperor 538:four-line and five-line staff 9395:Sacred Congregation of Rites 8811:Catholic Counter-Reformation 8677:Third Council of the Lateran 8667:First Council of the Lateran 8123:Catholic ecumenical councils 7874:Dicastery for Divine Worship 7571:Thanksgiving after Communion 3650:Tijdschrift voor Gregoriaans 3069:Archiv für Musikwissenschaft 2675:. Vernacular hymns such as " 2626: 2296:contains the chants for the 1864:Kyrie eleison (Orbis factor) 1774:family of Graduals. Several 1405:, tract for the Requiem Mass 761:Origins of mature plainchant 7: 9362:Mass in the Catholic Church 6351:Chapter and Conventual Mass 4788:List of musical instruments 4421:Robinson, Ray, ed. (1978). 4310:in usum minorum ecclesiarum 4046:Anthology of Medieval Music 3892:The Early Medieval Sequence 3743:. 45, vol. 4 (4): 657–664. 2773:Semiology (Gregorian chant) 2731: 2390:Ordinary chants of the Mass 2050:, who fell into two camps. 1797:Iubilate deo universa terra 1786: 1514: 1170:marks and note-lengthening 10: 10076: 9802:Gillespie, Kidd & Coia 8157:History of the Roman Curia 7940:History of the Roman Canon 7502:Communion under both kinds 7233:Divine Worship: The Missal 4490:"Spanish Chant Manuscript" 4379:Le Mée, Katharine (1994). 3949:. New York: W. W. Norton. 3947:A History of Western Music 2268:and in the liturgy of the 1930:or other choirs except in 1910: 1802: 1783:throughout the repertory. 1518: 879:Dissemination and hegemony 719:psalm at Mass. At c. 520, 582: 10030:Catholic liturgical music 9930: 9858: 9825: 9789: 9741: 9693: 9606:Reynold Henry Hillenbrand 9533: 9452: 9445: 9350: 9278: 9178: 9044: 8971: 8906: 8893:European wars of religion 8790: 8725: 8627: 8549: 8440: 8363: 8223: 8212: 8204:Eastern Catholic Churches 8079: 7817: 7721: 7698:Priesthood of Melchizedek 7595: 7451: 7382: 7345: 7336: 7262: 7191: 7044: 6927: 6827: 6802: 6604: 6477: 6440: 6433: 6405: 6286: 6239: 6195: 6104: 6056: 6025: 5962: 5831: 5760: 5701: 5650:Matheus de Sancto Johanne 5645:Johannes Symonis Hasprois 5580: 5576: 5502: 5456: 5421: 5388: 5319: 5315: 5306: 5291:Galician-Portuguese lyric 5236:Jehan le Cuvelier d'Arras 5151:Andrieu Contredit d'Arras 5136: 4985: 4927: 4923: 4914: 4796: 4773: 4733: 4728:Links to related articles 4650: 4585: 4219:A Treasury of Early Music 3890:Crocker, Richard (1977). 3626:van Kampen, Dirk (1994). 3062:Weyer, Christoph (2020). 3037:10.1525/jams.2003.56.1.43 2836:both accessed 5 July 2006 2652:had become standard. The 2304:Proper chants of the Mass 2009: 1055:Schola Antiqua of Chicago 1033:Universi qui te expectant 749:, biographer (c. 872) of 681:, attests the singing of 47:in the 14th–15th century 9878:Klosterneuburg Monastery 9766:Mystici Corporis Christi 9369:Lex orandi, lex credendi 9024:Mary of the Divine Heart 8647:Clash against the empire 8599:Second Council of Nicaea 8493:Old St. Peter's Basilica 7972:(apostolic constitution) 7946:Lex orandi, lex credendi 7855:Eastern Catholic liturgy 6957:Candles and candlesticks 5680:Antonio Zacara da Teramo 4240:Music of the Middle Ages 4181:Murray, Gregory (1963). 3723:Music in the Middle Ages 3666:Chris Hakkennes (1984). 2778: 2373:Victimae paschali laudes 1121:Alexandre-Étienne Choron 769:A dove representing the 9954:Vatican City portal 9290:Vatican City portal 8642:Investiture Controversy 8498:First Council of Nicaea 7885:Ecclesia de Eucharistia 7677:Origin of the Eucharist 6413:Liturgical use of Latin 5206:Gillebert de Berneville 4783:List of music theorists 4156:Oxford University Press 4078:Oxford University Press 3917:Oxford University Press 3876:"Gregorian Chant" 3848:Oxford University Press 3224:"Paléographie musicale" 3082:10.25162/afmw-2020-0014 2106:Alexander M. Schweitzer 1204:traditionalist Catholic 9942:Catholicism portal 9917:Second Vatican Council 9773:In cotidianis precibus 9611:Josef Andreas Jungmann 9429:Ottaviani Intervention 9411:Sacrosanctum concilium 9302:Catholicism portal 9113:Second Vatican Council 8999:Our Lady of La Salette 8806:Protestant Reformation 8793:Protestant Reformation 8712:Second Council of Lyon 8101:Ecclesiastical history 7998:Sacrosanctum concilium 7992:Second Vatican Council 7781:Intercession of saints 7776:Holy day of obligation 7373:General Roman Calendar 5479:Gherardello da Firenze 5166:Le Chastelain de Couci 4959:Philippe le Chancelier 4610:Ethiopian and Eritrean 4530:"The Graduale Project" 4440:Wagner, Peter (1911). 4236:Wilson, David (1990). 4217:Parrish, Carl (1986). 4185:. L. J. Cary & Co. 3873:Bewerunge, H. (1913). 2856:. St. Cecillia's Abbey 2806:, accessed 4 July 2006 2726:Tomás Luis de Victoria 2703:Alma Redemptoris Mater 2595:Alma Redemptoris Mater 2588: 2562:(see top of article), 2560:Alma Redemptoris Mater 2558:is sung. These songs, 2517: 2425: 2003: 1867: 1836:St. Martial de Limoges 1816:) used symbols called 1800: 1369: 1359: 1244: 1025: 1015: 1004:Codex Sangallensis 359 778: 536:from which the modern 93: 10060:Medieval music genres 9500:André-Jean Festugière 9435:Book of Common Prayer 9009:First Vatican Council 8707:First Council of Lyon 8471:Constantine the Great 8167:Christian monasticism 7891:Eucharistic adoration 7713:Year of the Eucharist 7206:Ceremonial of Bishops 6623:prayer over the gifts 5788:Johannes de Garlandia 5102:Raimbaut de Vaqueiras 3997:Hiley, David (1995). 3882:Catholic Encyclopedia 2587: 2511: 2424: 1995: 1856: 1799:in unheightened neume 1794: 1778:in mode 3, including 1368: 1357: 1243: 1156:died. His successor, 1051:Responsorium Graduale 1024: 1000: 856:lines (attributed to 829:and throughout Gaul. 768: 625:, and the threefold " 463:Roman Catholic Church 149:Movements and schools 35: 9912:Crypto-Protestantism 9752:Tra le sollecitudini 9671:Maria Luise Thurmair 9525:Maurice de la Taille 9390:Liturgy of the Hours 9186:Sexual abuse scandal 9095:Mit brennender Sorge 8938:Age of Enlightenment 8717:Bernard of Clairvaux 8594:Byzantine Iconoclasm 8533:Council of Chalcedon 8313:Council of Jerusalem 8182:Role in civilization 8162:Religious institutes 8094:By country or region 8026:Tra le sollecitudini 8014:Traditionis custodes 6892:Eucharistic Congress 6708:Memorial Acclamation 6669:Words of Institution 6418:Ecclesiastical Latin 6311:Pontifical High Mass 6109:Also music theorist* 5793:Johannes de Grocheio 5610:Conradus de Pistoria 5597:Philippus de Caserta 5546:Philippus de Caserta 5515:Antonello da Caserta 5464:Andreas de Florentia 5355:Guillaume de Machaut 5016:Bernart de Ventadorn 5001:Aimeric de Peguilhan 4944:Albertus Parisiensis 4894:Adam of Saint Victor 4854:Saint Martial school 4811:Notker the Stammerer 4576:Christian liturgical 4461:The Atlantic Monthly 4456:Ward, Justine Bayard 3967:(1990). "Chant". In 3693:, 81–82. (in German) 2824:20 December 2012 at 2677:Christ ist erstanden 2568:Regina caeli laetare 2521:Chants of the Office 2471:recites the Greater 2379:Veni Sancte Spiritus 2260:Liturgical functions 2234:melodic restitutions 2193:improve this section 1957:chants known as the 1501:Ordinary of the Mass 1324:, and in the direct 1196:Ordinary of the Mass 1191:Tra le sollecitudini 1139:, Regensburg) which 1097:St. Pierre, Solesmes 805:abolished the local 9681:Cirpirano Vagaggini 9344:Liturgical Movement 9014:Papal infallibility 9004:Our Lady of Lourdes 8953:Shimabara Rebellion 8797:Counter-Reformation 8007:Summorum Pontificum 7952:Liturgical Movement 7913:Eucharistic miracle 7566:Spiritual communion 7353:Tridentine calendar 6203:Pre-Tridentine Mass 5720:Contenance angloise 5510:Bartolino da Padova 5409:Marchetto da Padova 5340:Magister Franciscus 5216:Guillaume le Vinier 5211:Gontier de Soignies 5156:Audefroi le Bastart 5042:Folquet de Marselha 4899:Wulfstan the Cantor 4889:Hildegard of Bingen 4859:Adémar de Chabannes 4844:Fulbert of Chartres 4806:Abbey of Saint Gall 4798:Early (before 1150) 4001:. Clarendon Press. 3969:Brown, Howard Mayer 3471:, pp. 110–113. 3459:, pp. 344–363. 3447:, pp. 258–259. 3423:, pp. 256–257. 3411:, pp. 171–172. 3399:, pp. 608–610. 3375:, pp. 166–178. 3243:, pp. 624–627. 3201:, pp. 288–289. 2901:, pp. 484–487. 2854:St. Cecilia's Abbey 2564:Ave Regina caelorum 2161:Melodic restitution 1826:hand-gestures, the 1349:responsorial chants 1075:are primarily from 887:, once elevated to 674:Apostolic Tradition 563:, performed in the 532:, an early form of 403:Renaissance music → 10050:Western plainchant 9888:Malines Congresses 9883:Hippolytus of Rome 9872:Deutsche Singmesse 9661:Massey H. Shepherd 9656:Theodor Schnitzler 9490:Jacques Paul Migne 9059:Our Lady of Fátima 8848:Ignatius of Loyola 8772:Catherine of Siena 8740:Pope Boniface VIII 8559:Benedict of Nursia 8528:Council of Ephesus 8365:Ante-Nicene period 8318:Split with Judaism 8152:Crusading movement 7751:Calendar of saints 7708:Transubstantiation 7657:Liturgical colours 7639:In persona Christi 7547:Reserved sacrament 7517:Frequent Communion 7151:Processional cross 6962:Triple candlestick 6787:Benedicamus Domino 6761:Communion antiphon 6650:Eucharistic Prayer 6540:Responsorial Psalm 6048:Neo-Medieval music 6038:Medieval folk rock 5818:Berno of Reichenau 5798:Iacobus de Ispania 5640:Petrus de Goscalch 5541:Niccolò da Perugia 5536:Grazioso da Padova 5484:Lorenzo da Firenze 5444:Vincenzo da Rimini 5429:Giovanni da Cascia 5261:Other trouvères... 5246:Perrin d'Angicourt 5196:Gautier de Dargies 5171:Chrétien de Troyes 5107:Raimon de Miravalh 5097:Raimbaut d'Aurenga 4522:Gregor & Taube 4516:Anton Stingl jun. 4244:. Schirmer Books. 4151:Grove Music Online 4073:Grove Music Online 3912:Grove Music Online 3843:Grove Music Online 2589: 2518: 2503:Benedicamus Domino 2446:As transcribed by 2426: 1868: 1801: 1370: 1360: 1245: 1103:. In 1562–63, the 1026: 1016: 889:Holy Roman Emperor 823:Chrodegang of Metz 779: 721:Benedict of Nursia 457:(and occasionally 94: 10017: 10016: 10011: 10010: 9850:Textual criticism 9723:Maria Laach Abbey 9689: 9688: 9601:Ildefons Herwegen 9561:Thomas J. Carroll 9546:Giulio Bevilacqua 9520:Gerard van Caloen 9460:Prosper Guéranger 9310: 9309: 9270:COVID-19 pandemic 9248:Pope Benedict XVI 9153:Pope John Paul II 8928:Pope Benedict XIV 8914:French Revolution 8898:Thirty Years' War 8888:Robert Bellarmine 8873:John of the Cross 8777:Pope Alexander VI 8762:Council of Vienne 8692:Francis of Assisi 8682:Pope Innocent III 8551:Early Middle Ages 8545: 8544: 8541: 8540: 8483:Arian controversy 8436: 8435: 8384:Apostolic Fathers 8035: 8034: 7930:Gelineau psalmody 7867:effects of prayer 7845:Christian liturgy 7840:Catholic theology 7552:Sacramental bread 7447: 7446: 7293:Episcopal sandals 7161:Sacramental bread 7089:Collection basket 6823: 6822: 6684:texts and rubrics 6654:Canon of the Mass 6497:Entrance Antiphon 6487:Sign of the Cross 6469:Processional hymn 6401: 6400: 6282: 6281: 6147: 6146: 6115:Renaissance music 5823:Aurelian of Réôme 5808:Johannes de Muris 5778:Franco of Cologne 5756: 5755: 5738:Arnold de Lantins 5697: 5696: 5693: 5692: 5620:Johannes Cuvelier 5572: 5571: 5568: 5567: 5564: 5563: 5531:Giovanni Mazzuoli 5526:Matteo da Perugia 5498: 5497: 5474:Francesco Landini 5452: 5451: 5434:Jacopo da Bologna 5417: 5416: 5384: 5383: 5380: 5379: 5371:Philippe de Vitry 5350:Jehan de Lescurel 5271: 5270: 5256:Raoul de Soissons 5201:Gautier d'Espinal 5191:Gautier de Coincy 5132: 5131: 5052:Giraut de Bornelh 5031:Cerverí de Girona 5011:Arnaut de Mareuil 4981: 4980: 4977: 4976: 4939:Notre-Dame school 4849:Heriger of Lobbes 4778:List of composers 4720: 4719: 4540:on 1 August 2013. 4318:978-88-209-1603-9 4289:978-3-940768-15-5 4173:978-1-56159-263-0 4133:. Prentice Hall. 4095:978-1-56159-263-0 3934:978-1-56159-263-0 3865:978-1-56159-263-0 3749:10.1093/em/cax087 3721:G. Reese (1940). 3339:, pp. 64–65. 3255:, pp. 85–88. 3111:Taruskin, Richard 2975:, pp. 28–29. 2830:Pope Benedict XVI 2748:Cecilian Movement 2673:liturgical dramas 2642:Renaissance music 2604: 2497:Technically, the 2441: 2350:is known for the 2272:. Texts known as 2229: 2228: 2221: 2021:Jerome of Moravia 1987:Gregory the Great 1415: 1390: 1345:antiphonal chants 1260: 1132:Prosper Guéranger 1125:French Revolution 1113:Directorium chori 1044: 963:was added to the 848:, using freeform 567:and the monastic 473:synthesis of the 440: 439: 178:Notre-Dame school 75: 16:(Redirected from 10067: 10035:Christian chants 9999: 9998: 9989: 9988: 9979: 9978: 9969: 9968: 9952: 9951: 9950: 9940: 9939: 9812:Desmond Williams 9718:Mont César Abbey 9708:Beuron Archabbey 9576:Alexandre Fleury 9556:Annibale Bugnini 9495:Adrian Fortescue 9485:Lambert Beauduin 9450: 9449: 9358:Catholic liturgy 9337: 9330: 9323: 9314: 9313: 9300: 9299: 9288: 9287: 9286: 9265:Patriarch Kirill 9138:Pope John Paul I 8943:Anti-clericalism 8923:Pope Innocent XI 8843:Society of Jesus 8828:Council of Trent 8782:Age of Discovery 8727:Late Middle Ages 8629:High Middle Ages 8619:East–West Schism 8503:Pope Sylvester I 8449: 8448: 8438: 8437: 8348:General epistles 8343:Pauline epistles 8276:John the Baptist 8259:Great Commission 8221: 8220: 8172:Catholic culture 8062: 8055: 8048: 8039: 8038: 7879:Council of Trent 7862:Christian prayer 7850:Catholic liturgy 7689:Passion of Jesus 7632:ex opere operato 7537:Infant communion 7532:Host desecration 7507:Eucharistic fast 7480:Closed communion 7475:Church etiquette 7343: 7342: 7249:Roman Pontifical 7222:Graduale Simplex 7193:Liturgical books 7173:Sacramental wine 6815:Recessional hymn 6744:Dona nobis pacem 6689:Canonical digits 6596:Universal Prayer 6523:Dominus vobiscum 6438: 6437: 6334: 6333: 6249:Benedictine Rite 6237: 6236: 6174: 6167: 6160: 6151: 6150: 6136: 6126: 6125: 5932:Liturgical drama 5699: 5698: 5606: 5603:Johannes Ciconia 5578: 5577: 5574: 5573: 5556:Zacara da Teramo 5520:Johannes Ciconia 5500: 5499: 5490:Paolo da Firenze 5469:Donato da Cascia 5454: 5453: 5419: 5418: 5399: 5398: 5390: 5389: 5386: 5385: 5374: 5317: 5316: 5313: 5312: 5308:Late (1300–1400) 5251:Philippe de Rémi 5181:Conon de Béthune 5161:Blondel de Nesle 5146:Adam de la Halle 5134: 5133: 5072:Peire d'Alvernha 4983: 4982: 4970: 4925: 4924: 4921: 4920: 4916:High (1150–1300) 4905:Wipo of Burgundy 4870: 4840: 4832: 4823:Stephen of Liège 4760: 4753: 4746: 4737: 4736: 4724: 4723: 4569: 4562: 4555: 4546: 4545: 4541: 4536:. Archived from 4525: 4512: 4511:on 5 March 2016. 4510: 4504:. Archived from 4503: 4493: 4485: 4465: 4451: 4448:Internet Archive 4436: 4425:. W. W. Norton. 4417: 4400: 4397:Internet Archive 4375: 4343:Internet Archive 4308:Graduale simplex 4268:Graduale Triplex 4255: 4243: 4232: 4213: 4210:Internet Archive 4197: 4186: 4177: 4154:(8th ed.). 4144: 4122: 4099: 4076:(8th ed.). 4059: 4048:. W. W. Norton. 4040: 4037:Internet Archive 4025:. W. W. Norton. 4012: 3993: 3960: 3938: 3915:(8th ed.). 3905: 3886: 3878: 3869: 3846:(8th ed.). 3832: 3801: 3798:Bent et al. 2001 3795: 3789: 3783: 3777: 3771: 3765: 3759: 3753: 3752: 3732: 3726: 3719: 3713: 3712: 3700: 3694: 3688: 3677: 3671: 3664: 3658: 3657: 3645: 3639: 3624: 3618: 3617: 3615: 3613: 3608:on 15 March 2012 3598: 3592: 3586: 3580: 3574: 3568: 3562: 3556: 3550: 3544: 3538: 3532: 3526: 3520: 3514: 3508: 3502: 3496: 3493:Neuls-Bates 1996 3490: 3484: 3481:Levy et al. 2001 3478: 3472: 3466: 3460: 3454: 3448: 3442: 3436: 3430: 3424: 3418: 3412: 3406: 3400: 3394: 3388: 3382: 3376: 3370: 3364: 3358: 3352: 3346: 3340: 3334: 3328: 3322: 3316: 3310: 3304: 3298: 3292: 3286: 3280: 3274: 3268: 3262: 3256: 3250: 3244: 3238: 3232: 3231: 3228:Internet Archive 3220: 3214: 3208: 3202: 3196: 3190: 3184: 3178: 3172: 3166: 3160: 3154: 3148: 3142: 3136: 3130: 3124: 3118: 3108: 3102: 3101: 3059: 3053: 3047: 3041: 3040: 3018: 3012: 3009:Levy et al. 2001 3006: 3000: 2994: 2988: 2982: 2976: 2970: 2964: 2959: 2950: 2944: 2938: 2932: 2926: 2920: 2914: 2908: 2902: 2896: 2890: 2884: 2878: 2872: 2866: 2865: 2863: 2861: 2851: 2843: 2837: 2816: 2807: 2804:Dolmetsch online 2800: 2794: 2788: 2753:Damien Poisblaud 2606: 2605: 2586: 2555:Marian antiphons 2443: 2442: 2423: 2298:Graduale Romanum 2284:Graduale Romanum 2246:Graduale Triplex 2224: 2217: 2213: 2210: 2204: 2173: 2165: 2098:Graduale Triplex 2093:Graduale Triplex 2090: 2041: 1963:Council of Trent 1901: 1876:Graduale Aboense 1815: 1812: 1780:Loquetur Dominus 1582:Byzantine chants 1564: 1563: 1539: 1538: 1417: 1416: 1392: 1391: 1377:Loquetur Dominus 1367: 1262: 1261: 1242: 1105:Council of Trent 1083:in Switzerland, 1046: 1045: 1023: 1014: 846:musical notation 755:Donald Jay Grout 735:, Ambrosian and 557:religious orders 534:musical notation 524:patterns called 432: 425: 418: 366:Liturgical drama 264:Adam de la Halle 96: 95: 77: 76: 49:Graduale Aboense 21: 18:Gregorian Chants 10075: 10074: 10070: 10069: 10068: 10066: 10065: 10064: 10045:Tridentine Mass 10020: 10019: 10018: 10013: 10012: 10007: 9948: 9946: 9934: 9926: 9922:Paschal mystery 9854: 9821: 9785: 9743: 9737: 9713:Maredsous Abbey 9695: 9685: 9676:Johannes Wagner 9626:Giacomo Lercaro 9591:Pierre-Marie Gy 9581:Romano Guardini 9529: 9505:Gaspar Lefebvre 9480:Pierre Batiffol 9470:Columba Marmion 9441: 9424:Mass of Paul VI 9405:Mass of Paul VI 9385:Gregorian chant 9346: 9341: 9311: 9306: 9294: 9284: 9282: 9274: 9196:World Youth Day 9174: 9163:World Youth Day 9107:Pacem in terris 9101:Pope John XXIII 9040: 8967: 8958:Edict of Nantes 8916: 8912: 8902: 8868:Teresa of Ávila 8863:Tridentine Mass 8799: 8795: 8786: 8767:Knights Templar 8721: 8623: 8579:Gregorian chant 8537: 8463: 8460: 8457: 8455: 8444: 8432: 8359: 8228: 8216: 8208: 8075: 8073:Catholic Church 8066: 8036: 8031: 7970:Missale Romanum 7935:Gregorian chant 7901:Dominicae Cenae 7813: 7761:Code of Rubrics 7723: 7717: 7693:salvific nature 7670:Mysterium fidei 7663:Mirae caritatis 7611:Blood of Christ 7598: 7591: 7512:First Communion 7454: 7443: 7427:Paschal Triduum 7378: 7338:Liturgical year 7332: 7266: 7258: 7187: 7094:Communion-plate 7046: 7040: 6986:Communion bench 6923: 6819: 6810:Leonine Prayers 6798: 6606: 6600: 6589:Apostles' Creed 6502:Penitential Act 6479: 6473: 6448:Vesting prayers 6429: 6397: 6356:Coronation Mass 6332: 6278: 6274:Norbertine Rite 6264:Cistercian Rite 6259:Carthusian Rite 6235: 6222:(Ordinary Form) 6220:Mass of Paul VI 6208:Tridentine Mass 6191: 6189:Catholic Church 6178: 6148: 6143: 6142: 6119: 6100: 6052: 6021: 5958: 5908:Gregorian chant 5827: 5813:Walter Odington 5773:Guido of Arezzo 5752: 5709:Johannes Alanus 5689: 5665:Jacob Senleches 5601: 5560: 5494: 5448: 5413: 5376: 5369: 5302: 5267: 5128: 5057:Guiraut Riquier 5036:Comtessa de Dia 5021:Bertran de Born 4989: 4973: 4967:Petrus de Cruce 4965: 4910: 4874:Notker Physicus 4865: 4835: 4827: 4792: 4769: 4764: 4729: 4721: 4716: 4654: 4646: 4581: 4573: 4528: 4515: 4508: 4501: 4497: 4488: 4480: 4477: 4472: 4454: 4439: 4433: 4420: 4403: 4393: 4378: 4347: 4263: 4261:Further reading 4258: 4252: 4229: 4206: 4174: 4141: 4127:McKinnon, James 4119: 4096: 4056: 4033: 4017:Hoppin, Richard 4009: 3987: 3957: 3935: 3902: 3866: 3829: 3819:Gregorian Chant 3809: 3804: 3796: 3792: 3784: 3780: 3772: 3768: 3764:, pp. 1–2. 3760: 3756: 3733: 3729: 3720: 3716: 3701: 3697: 3682: 3678: 3674: 3665: 3661: 3646: 3642: 3625: 3621: 3611: 3609: 3600: 3599: 3595: 3587: 3583: 3575: 3571: 3563: 3559: 3551: 3547: 3539: 3535: 3527: 3523: 3515: 3511: 3503: 3499: 3491: 3487: 3479: 3475: 3467: 3463: 3455: 3451: 3443: 3439: 3431: 3427: 3419: 3415: 3407: 3403: 3395: 3391: 3383: 3379: 3371: 3367: 3359: 3355: 3347: 3343: 3335: 3331: 3323: 3319: 3311: 3307: 3299: 3295: 3287: 3283: 3275: 3271: 3263: 3259: 3251: 3247: 3239: 3235: 3222: 3221: 3217: 3209: 3205: 3197: 3193: 3189:, pp. 8–9. 3185: 3181: 3173: 3169: 3161: 3157: 3149: 3145: 3137: 3133: 3125: 3121: 3109: 3105: 3060: 3056: 3048: 3044: 3019: 3015: 3007: 3003: 2995: 2991: 2983: 2979: 2971: 2967: 2960: 2953: 2945: 2941: 2933: 2929: 2921: 2917: 2909: 2905: 2897: 2893: 2885: 2881: 2873: 2869: 2859: 2857: 2849: 2845: 2844: 2840: 2817: 2810: 2801: 2797: 2793:, pp. 3–4. 2789: 2785: 2781: 2734: 2634: 2629: 2624: 2623: 2615: 2613: 2612: 2611: 2610: 2607: 2600: 2597: 2590: 2584: 2537:, in the Great 2527:canonical hours 2523: 2465: 2464: 2456: 2454: 2453: 2452: 2451: 2444: 2437: 2434: 2427: 2421: 2392: 2384:Notker Balbulus 2382:. According to 2306: 2266:canonical hours 2262: 2225: 2214: 2208: 2205: 2190: 2174: 2163: 2155:time signatures 2084: 2035: 2029:Editio medicaea 2012: 1927:Schola Cantorum 1913: 1908: 1895: 1872:square notation 1832:Byzantine chant 1813: 1807: 1789: 1771:Iustus ut palma 1727: 1614:in the melody. 1561: 1560: 1536: 1535: 1523: 1517: 1435: 1434: 1426: 1424: 1423: 1422: 1421: 1418: 1410: 1407: 1398: 1397: 1396: 1393: 1384: 1381: 1371: 1365: 1341:direct psalmody 1280: 1279: 1271: 1269: 1268: 1267: 1266: 1263: 1256: 1253: 1246: 1240: 1222: 1217: 1072: 1071: 1063: 1061: 1060: 1059: 1058: 1047: 1040: 1037: 1027: 1021: 1008: 995: 881: 865:Pope Gregory II 791:Pope Stephen II 763: 747:John the Deacon 646:Mount of Olives 611:Canonical hours 606:early Christian 590: 585: 577:Mozarabic chant 573:Ambrosian chant 475:Old Roman chant 443:Gregorian chant 436: 394: 393: 392: 351:Gregorian chant 308: 300: 299: 298: 228: 220: 219: 218: 150: 140: 139: 92: 91: 83: 81: 80: 79: 78: 69: 66: 63:Gaudeamus omnes 45:square notation 41:Gaudeamus omnes 28: 23: 22: 15: 12: 11: 5: 10073: 10063: 10062: 10057: 10055:Pope Gregory I 10052: 10047: 10042: 10037: 10032: 10015: 10014: 10009: 10008: 10006: 10005: 10004: 10003: 9993: 9983: 9963: 9957: 9956: 9944: 9931: 9928: 9927: 9925: 9924: 9919: 9914: 9909: 9895: 9890: 9885: 9880: 9875: 9868: 9862: 9860: 9856: 9855: 9853: 9852: 9847: 9844:Versus populum 9840: 9838:People's altar 9835: 9829: 9827: 9823: 9822: 9820: 9819: 9817:Austin Winkley 9814: 9809: 9804: 9799: 9797:Francis Pollen 9793: 9791: 9787: 9786: 9784: 9783: 9776: 9769: 9762: 9759:Quam singulari 9755: 9747: 9745: 9739: 9738: 9736: 9735: 9730: 9725: 9720: 9715: 9710: 9705: 9703:Solesmes Abbey 9699: 9697: 9696:establishments 9691: 9690: 9687: 9686: 9684: 9683: 9678: 9673: 9668: 9663: 9658: 9653: 9651:Mario Righetti 9648: 9646:H. A. Reinhold 9643: 9641:Johannes Pinsk 9638: 9633: 9628: 9623: 9618: 9613: 9608: 9603: 9598: 9593: 9588: 9583: 9578: 9573: 9568: 9563: 9558: 9553: 9548: 9543: 9537: 9535: 9531: 9530: 9528: 9527: 9522: 9517: 9512: 9507: 9502: 9497: 9492: 9487: 9482: 9477: 9475:Fernand Cabrol 9472: 9467: 9462: 9456: 9454: 9447: 9443: 9442: 9440: 9439: 9431: 9426: 9421: 9414: 9407: 9402: 9397: 9392: 9387: 9382: 9377: 9372: 9365: 9354: 9352: 9348: 9347: 9340: 9339: 9332: 9325: 9317: 9308: 9307: 9305: 9304: 9292: 9279: 9276: 9275: 9273: 9272: 9267: 9262: 9255: 9250: 9245: 9244: 9243: 9238: 9233: 9228: 9223: 9218: 9213: 9208: 9203: 9193: 9188: 9182: 9180: 9176: 9175: 9173: 9172: 9171: 9170: 9160: 9155: 9150: 9145: 9140: 9135: 9125: 9120: 9115: 9110: 9103: 9098: 9091: 9086: 9084:Lateran Treaty 9081: 9076: 9071: 9066: 9061: 9056: 9050: 9048: 9042: 9041: 9039: 9038: 9031: 9026: 9021: 9016: 9011: 9006: 9001: 8996: 8991: 8986: 8981: 8975: 8973: 8969: 8968: 8966: 8965: 8960: 8955: 8950: 8945: 8940: 8935: 8930: 8925: 8919: 8917: 8909:Baroque period 8907: 8904: 8903: 8901: 8900: 8895: 8890: 8885: 8880: 8878:Peter Canisius 8875: 8870: 8865: 8860: 8855: 8853:Francis Xavier 8850: 8845: 8840: 8835: 8830: 8825: 8820: 8817:Exsurge Domine 8813: 8808: 8802: 8800: 8791: 8788: 8787: 8785: 8784: 8779: 8774: 8769: 8764: 8759: 8757:Pope Clement V 8754: 8753: 8752: 8750:Avignon Papacy 8745:Western Schism 8742: 8737: 8735:Thomas Aquinas 8731: 8729: 8723: 8722: 8720: 8719: 8714: 8709: 8704: 8699: 8694: 8689: 8684: 8679: 8674: 8669: 8664: 8659: 8654: 8649: 8644: 8639: 8633: 8631: 8625: 8624: 8622: 8621: 8616: 8611: 8606: 8601: 8596: 8591: 8589:Saint Boniface 8586: 8581: 8576: 8574:Pope Gregory I 8571: 8566: 8561: 8555: 8553: 8547: 8546: 8543: 8542: 8539: 8538: 8536: 8535: 8530: 8525: 8520: 8515: 8513:Biblical canon 8510: 8505: 8500: 8495: 8490: 8485: 8480: 8479: 8478: 8467: 8465: 8446: 8442:Late antiquity 8434: 8433: 8431: 8430: 8425: 8420: 8415: 8410: 8409: 8408: 8403: 8402: 8401: 8396: 8391: 8389:Pope Clement I 8379:Church Fathers 8376: 8370: 8368: 8361: 8360: 8358: 8357: 8356: 8355: 8350: 8345: 8340: 8335: 8330: 8320: 8315: 8310: 8305: 8304: 8303: 8298: 8293: 8288: 8278: 8273: 8268: 8263: 8262: 8261: 8256: 8251: 8246: 8235: 8233: 8218: 8210: 8209: 8207: 8206: 8201: 8196: 8191: 8186: 8185: 8184: 8179: 8169: 8164: 8159: 8154: 8149: 8148: 8147: 8142: 8140:Biblical canon 8135:Catholic Bible 8132: 8131: 8130: 8120: 8119: 8118: 8108: 8103: 8098: 8097: 8096: 8085: 8083: 8077: 8076: 8065: 8064: 8057: 8050: 8042: 8033: 8032: 8030: 8029: 8022: 8017: 8010: 8003: 8002: 8001: 7989: 7984: 7979: 7974: 7966: 7959: 7954: 7949: 7942: 7937: 7932: 7927: 7922: 7915: 7910: 7909: 7908: 7888: 7881: 7876: 7871: 7870: 7869: 7859: 7858: 7857: 7847: 7842: 7837: 7835:Ambrosian Rite 7832: 7827: 7821: 7819: 7815: 7814: 7812: 7811: 7810: 7809: 7799: 7792: 7783: 7778: 7773: 7768: 7763: 7758: 7753: 7748: 7745:versus populum 7735: 7727: 7725: 7719: 7718: 7716: 7715: 7710: 7705: 7700: 7695: 7686: 7685: 7684: 7674: 7666: 7659: 7654: 7647: 7642: 7635: 7625: 7618: 7616:Corpus Christi 7613: 7603: 7601: 7593: 7592: 7590: 7589: 7582: 7581: 7580: 7568: 7563: 7549: 7544: 7539: 7534: 7529: 7524: 7519: 7514: 7509: 7504: 7499: 7494: 7493: 7492: 7487: 7477: 7472: 7470:Concelebration 7467: 7459: 7457: 7449: 7448: 7445: 7444: 7442: 7441: 7436: 7431: 7430: 7429: 7419: 7414: 7409: 7402: 7397: 7392: 7386: 7384: 7380: 7379: 7377: 7376: 7370: 7365: 7360: 7355: 7349: 7347: 7340: 7334: 7333: 7331: 7330: 7325: 7320: 7315: 7310: 7305: 7300: 7295: 7290: 7285: 7280: 7275: 7269: 7267: 7260: 7259: 7257: 7256: 7251: 7246: 7245: 7244: 7235: 7225: 7218: 7213: 7208: 7203: 7197: 7195: 7189: 7188: 7186: 7185: 7180: 7170: 7169: 7168: 7158: 7153: 7148: 7143: 7138: 7137: 7136: 7126: 7121: 7116: 7111: 7106: 7101: 7096: 7091: 7086: 7081: 7076: 7071: 7066: 7061: 7056: 7050: 7048: 7042: 7041: 7039: 7038: 7033: 7028: 7023: 7018: 7013: 7008: 7003: 6998: 6996:Credence table 6993: 6988: 6983: 6978: 6977: 6976: 6974:Sanctuary lamp 6971: 6969:Paschal candle 6966: 6965: 6964: 6949: 6944: 6939: 6937:Altar crucifix 6933: 6931: 6925: 6924: 6922: 6921: 6916: 6911: 6906: 6901: 6896: 6895: 6894: 6884: 6879: 6874: 6869: 6864: 6859: 6854: 6849: 6848: 6847: 6837: 6831: 6829: 6825: 6824: 6821: 6820: 6818: 6817: 6812: 6806: 6804: 6800: 6799: 6797: 6796: 6791: 6790: 6789: 6783:Ite, missa est 6775: 6770: 6765: 6764: 6763: 6756:Holy Communion 6753: 6748: 6747: 6746: 6736: 6731: 6726: 6725: 6724: 6710: 6705: 6704: 6703: 6702: 6701: 6691: 6686: 6681: 6647: 6646: 6645: 6627: 6626: 6625: 6610: 6608: 6602: 6601: 6599: 6598: 6593: 6592: 6591: 6577: 6572: 6567: 6566: 6565: 6551: 6546: 6537: 6536: 6535: 6525: 6520: 6515: 6514: 6513: 6499: 6494: 6489: 6483: 6481: 6475: 6474: 6472: 6471: 6466: 6465: 6464: 6450: 6444: 6442: 6435: 6431: 6430: 6428: 6427: 6422: 6421: 6420: 6409: 6407: 6403: 6402: 6399: 6398: 6396: 6395: 6390: 6389: 6388: 6378: 6373: 6368: 6363: 6358: 6353: 6348: 6342: 6340: 6331: 6330: 6325: 6318: 6313: 6308: 6303: 6296: 6290: 6288: 6284: 6283: 6280: 6279: 6277: 6276: 6271: 6269:Dominican Rite 6266: 6261: 6256: 6254:Carmelite Rite 6251: 6245: 6243: 6234: 6233: 6228: 6223: 6217: 6216: 6215: 6205: 6199: 6197: 6196:Forms and uses 6193: 6192: 6177: 6176: 6169: 6162: 6154: 6145: 6144: 6141: 6140: 6130: 6112: 6111: 6110: 6106: 6105: 6102: 6101: 6099: 6098: 6097: 6096: 6091: 6086: 6081: 6076: 6066: 6060: 6058: 6054: 6053: 6051: 6050: 6045: 6043:Medieval metal 6040: 6035: 6029: 6027: 6023: 6022: 6020: 6019: 6014: 6009: 6004: 5999: 5994: 5989: 5984: 5983: 5982: 5977: 5966: 5964: 5960: 5959: 5957: 5956: 5949: 5944: 5939: 5934: 5929: 5928: 5927: 5917: 5916: 5915: 5913:Pope Gregory I 5905: 5900: 5899: 5898: 5893: 5888: 5878: 5873: 5868: 5863: 5862: 5861: 5851: 5846: 5841: 5835: 5833: 5829: 5828: 5826: 5825: 5820: 5815: 5810: 5805: 5800: 5795: 5790: 5785: 5783:Johannes Cotto 5780: 5775: 5770: 5764: 5762: 5758: 5757: 5754: 5753: 5751: 5750: 5745: 5740: 5735: 5730: 5725: 5724: 5723: 5714:John Dunstaple 5711: 5705: 5703: 5695: 5694: 5691: 5690: 5688: 5687: 5682: 5677: 5675:Johannes Susay 5672: 5667: 5662: 5657: 5655:Gacian Reyneau 5652: 5647: 5642: 5637: 5635:Martinus Fabri 5632: 5627: 5622: 5617: 5612: 5607: 5599: 5594: 5588: 5586: 5570: 5569: 5566: 5565: 5562: 5561: 5559: 5558: 5553: 5548: 5543: 5538: 5533: 5528: 5523: 5517: 5512: 5506: 5504: 5503:3rd generation 5496: 5495: 5493: 5492: 5487: 5481: 5476: 5471: 5466: 5460: 5458: 5457:2nd generation 5450: 5449: 5447: 5446: 5441: 5436: 5431: 5425: 5423: 5422:1st generation 5415: 5414: 5412: 5411: 5405: 5403: 5396: 5382: 5381: 5378: 5377: 5375: 5367: 5365:Jehan Vaillant 5362: 5357: 5352: 5347: 5342: 5337: 5335:Denis Le Grant 5332: 5327: 5325: 5310: 5304: 5303: 5301: 5300: 5299: 5298: 5288: 5283: 5278: 5272: 5269: 5268: 5266: 5265: 5264: 5263: 5253: 5248: 5243: 5241:Moniot d'Arras 5238: 5233: 5228: 5223: 5221:Guiot de Dijon 5218: 5213: 5208: 5203: 5198: 5193: 5188: 5183: 5178: 5173: 5168: 5163: 5158: 5153: 5148: 5142: 5140: 5130: 5129: 5127: 5126: 5125: 5124: 5114: 5109: 5104: 5099: 5094: 5089: 5084: 5079: 5077:Peire Cardenal 5074: 5069: 5064: 5059: 5054: 5049: 5047:Gaucelm Faidit 5044: 5039: 5033: 5028: 5023: 5018: 5013: 5008: 5003: 4997: 4995: 4979: 4978: 4975: 4974: 4972: 4971: 4963: 4962: 4961: 4956: 4951: 4946: 4935: 4933: 4918: 4912: 4911: 4909: 4908: 4902: 4896: 4891: 4886: 4881: 4876: 4871: 4863: 4862: 4861: 4851: 4846: 4841: 4833: 4825: 4820: 4819: 4818: 4813: 4802: 4800: 4794: 4793: 4791: 4790: 4785: 4780: 4774: 4771: 4770: 4767:Medieval music 4763: 4762: 4755: 4748: 4740: 4734: 4731: 4730: 4718: 4717: 4715: 4714: 4709: 4704: 4699: 4694: 4689: 4684: 4679: 4674: 4669: 4662: 4660: 4648: 4647: 4645: 4644: 4639: 4634: 4629: 4628: 4627: 4617: 4612: 4607: 4602: 4597: 4591: 4589: 4583: 4582: 4572: 4571: 4564: 4557: 4549: 4543: 4542: 4526: 4513: 4495: 4486: 4476: 4475:External links 4473: 4471: 4470: 4452: 4437: 4431: 4418: 4401: 4391: 4376: 4364:10.2307/831302 4358:(3): 437–467. 4345: 4329: 4321: 4304: 4294:Graduale Lagal 4291: 4281:Graduale Novum 4278: 4264: 4262: 4259: 4257: 4256: 4250: 4233: 4227: 4214: 4204: 4194:Women in Music 4187: 4178: 4172: 4145: 4139: 4129:, ed. (1990). 4123: 4117: 4100: 4094: 4060: 4054: 4041: 4031: 4022:Medieval Music 4013: 4007: 3994: 3985: 3973:Sadie, Stanley 3961: 3955: 3939: 3933: 3906: 3900: 3887: 3870: 3864: 3833: 3827: 3810: 3808: 3805: 3803: 3802: 3790: 3788:, p. 404. 3778: 3776:, p. 153. 3766: 3754: 3727: 3714: 3705:Gregoriusblatt 3695: 3691:Gregoriusblatt 3672: 3668:Graduale Lagal 3659: 3640: 3619: 3593: 3581: 3569: 3567:, p. 127. 3557: 3555:, p. 289. 3545: 3533: 3531:, p. 197. 3521: 3519:, p. 312. 3509: 3507:, p. 504. 3497: 3485: 3473: 3461: 3449: 3437: 3425: 3413: 3401: 3389: 3387:, p. 454. 3377: 3365: 3353: 3341: 3329: 3317: 3315:, p. 131. 3305: 3303:, p. 123. 3293: 3281: 3269: 3267:, p. 203. 3257: 3245: 3233: 3215: 3213:, p. 622. 3203: 3191: 3179: 3167: 3155: 3153:, p. 604. 3143: 3131: 3119: 3103: 3054: 3052:, p. 114. 3042: 3013: 3001: 2989: 2977: 2965: 2962:Bewerunge 1913 2951: 2949:, p. 320. 2939: 2927: 2925:, p. 486. 2915: 2903: 2891: 2879: 2867: 2838: 2808: 2795: 2782: 2780: 2777: 2776: 2775: 2770: 2768:Schola Antiqua 2765: 2760: 2755: 2750: 2745: 2743:Anglican chant 2740: 2733: 2730: 2646:rhythmic modes 2633: 2630: 2628: 2625: 2614: 2608: 2598: 2593: 2592: 2591: 2582: 2581: 2580: 2522: 2519: 2455: 2445: 2435: 2430: 2429: 2428: 2419: 2418: 2417: 2408:Greek language 2391: 2388: 2325:Reciting tones 2305: 2302: 2261: 2258: 2254:Graduale Lagal 2227: 2226: 2177: 2175: 2168: 2162: 2159: 2123:Graduale Lagal 2082:Eugène Cardine 2011: 2008: 1979:All Souls' Day 1975:Corpus Christi 1912: 1909: 1907: 1904: 1893:Eugène Cardine 1803:Main article: 1788: 1785: 1726: 1723: 1695:transpositions 1679: 1678: 1675:Hypomixolydian 1667: 1656: 1645: 1549:Guido d'Arezzo 1527:diatonic scale 1519:Main article: 1516: 1513: 1425: 1419: 1408: 1400: 1399: 1394: 1382: 1374: 1373: 1372: 1363: 1362: 1361: 1270: 1264: 1254: 1249: 1248: 1247: 1238: 1237: 1236: 1221: 1218: 1216: 1213: 1117:Editio medicea 1062: 1048: 1038: 1030: 1029: 1028: 1019: 1018: 1017: 994: 991: 905:Pope Stephen V 880: 877: 869:Pope Gregory I 858:Guido d'Arezzo 819:James McKinnon 807:Gallican Rites 775:Pope Gregory I 762: 759: 751:Pope Gregory I 711:described the 662:St. Athanasius 654:Pope Clement I 602:ancient Jewish 589: 586: 584: 581: 506:reciting tones 479:Gallican chant 467:Pope Gregory I 438: 437: 435: 434: 427: 420: 412: 409: 408: 407: 406: 396: 395: 391: 390: 383: 378: 373: 368: 363: 358: 353: 348: 343: 342: 341: 336: 331: 321: 316: 310: 309: 306: 305: 302: 301: 297: 296: 291: 286: 281: 276: 271: 266: 261: 256: 251: 246: 241: 236: 230: 229: 226: 225: 222: 221: 217: 216: 209: 204: 197: 192: 187: 182: 181: 180: 168: 163: 158: 152: 151: 148: 147: 144: 143: 142: 141: 122: 117: 116: 112: 111: 109:Medieval music 105: 104: 82: 67: 60: 59: 58: 57: 56: 43:, scripted in 26: 9: 6: 4: 3: 2: 10072: 10061: 10058: 10056: 10053: 10051: 10048: 10046: 10043: 10041: 10040:Order of Mass 10038: 10036: 10033: 10031: 10028: 10027: 10025: 10002: 9994: 9992: 9984: 9982: 9974: 9973: 9972: 9964: 9962: 9959: 9958: 9955: 9945: 9943: 9938: 9933: 9932: 9929: 9923: 9920: 9918: 9915: 9913: 9910: 9907: 9903: 9899: 9896: 9894: 9891: 9889: 9886: 9884: 9881: 9879: 9876: 9874: 9873: 9869: 9867: 9864: 9863: 9861: 9857: 9851: 9848: 9846: 9845: 9841: 9839: 9836: 9834: 9833:Dialogue mass 9831: 9830: 9828: 9824: 9818: 9815: 9813: 9810: 9808: 9807:Gerard Goalen 9805: 9803: 9800: 9798: 9795: 9794: 9792: 9788: 9782: 9781: 9777: 9775: 9774: 9770: 9768: 9767: 9763: 9761: 9760: 9756: 9754: 9753: 9749: 9748: 9746: 9740: 9734: 9731: 9729: 9726: 9724: 9721: 9719: 9716: 9714: 9711: 9709: 9706: 9704: 9701: 9700: 9698: 9692: 9682: 9679: 9677: 9674: 9672: 9669: 9667: 9664: 9662: 9659: 9657: 9654: 9652: 9649: 9647: 9644: 9642: 9639: 9637: 9634: 9632: 9631:Adrien Nocent 9629: 9627: 9624: 9622: 9621:Pierre Jounel 9619: 9617: 9616:Ronald Jasper 9614: 9612: 9609: 9607: 9604: 9602: 9599: 9597: 9594: 9592: 9589: 9587: 9584: 9582: 9579: 9577: 9574: 9572: 9571:Paul Doncoeur 9569: 9567: 9564: 9562: 9559: 9557: 9554: 9552: 9549: 9547: 9544: 9542: 9539: 9538: 9536: 9532: 9526: 9523: 9521: 9518: 9516: 9513: 9511: 9510:Edmund Bishop 9508: 9506: 9503: 9501: 9498: 9496: 9493: 9491: 9488: 9486: 9483: 9481: 9478: 9476: 9473: 9471: 9468: 9466: 9463: 9461: 9458: 9457: 9455: 9451: 9448: 9444: 9438: 9436: 9432: 9430: 9427: 9425: 9422: 9420: 9419: 9415: 9413: 9412: 9408: 9406: 9403: 9401: 9398: 9396: 9393: 9391: 9388: 9386: 9383: 9381: 9378: 9376: 9373: 9371: 9370: 9366: 9363: 9359: 9356: 9355: 9353: 9349: 9345: 9338: 9333: 9331: 9326: 9324: 9319: 9318: 9315: 9303: 9298: 9293: 9291: 9281: 9280: 9277: 9271: 9268: 9266: 9263: 9261: 9260: 9256: 9254: 9251: 9249: 9246: 9242: 9239: 9237: 9234: 9232: 9229: 9227: 9224: 9222: 9219: 9217: 9214: 9212: 9209: 9207: 9204: 9202: 9199: 9198: 9197: 9194: 9192: 9189: 9187: 9184: 9183: 9181: 9177: 9169: 9166: 9165: 9164: 9161: 9159: 9156: 9154: 9151: 9149: 9146: 9144: 9143:Mother Teresa 9141: 9139: 9136: 9133: 9129: 9126: 9124: 9121: 9119: 9116: 9114: 9111: 9109: 9108: 9104: 9102: 9099: 9097: 9096: 9092: 9090: 9087: 9085: 9082: 9080: 9077: 9075: 9072: 9070: 9069:Pope Pius XII 9067: 9065: 9062: 9060: 9057: 9055: 9052: 9051: 9049: 9047: 9043: 9037: 9036: 9035:Rerum novarum 9032: 9030: 9027: 9025: 9022: 9020: 9019:Pope Leo XIII 9017: 9015: 9012: 9010: 9007: 9005: 9002: 9000: 8997: 8995: 8992: 8990: 8989:United States 8987: 8985: 8982: 8980: 8979:Pope Pius VII 8977: 8976: 8974: 8970: 8964: 8961: 8959: 8956: 8954: 8951: 8949: 8946: 8944: 8941: 8939: 8936: 8934: 8931: 8929: 8926: 8924: 8921: 8920: 8918: 8915: 8910: 8905: 8899: 8896: 8894: 8891: 8889: 8886: 8884: 8881: 8879: 8876: 8874: 8871: 8869: 8866: 8864: 8861: 8859: 8856: 8854: 8851: 8849: 8846: 8844: 8841: 8839: 8836: 8834: 8831: 8829: 8826: 8824: 8821: 8819: 8818: 8814: 8812: 8809: 8807: 8804: 8803: 8801: 8798: 8794: 8789: 8783: 8780: 8778: 8775: 8773: 8770: 8768: 8765: 8763: 8760: 8758: 8755: 8751: 8748: 8747: 8746: 8743: 8741: 8738: 8736: 8733: 8732: 8730: 8728: 8724: 8718: 8715: 8713: 8710: 8708: 8705: 8703: 8700: 8698: 8695: 8693: 8690: 8688: 8685: 8683: 8680: 8678: 8675: 8673: 8670: 8668: 8665: 8663: 8662:Scholasticism 8660: 8658: 8655: 8653: 8650: 8648: 8645: 8643: 8640: 8638: 8637:Pope Urban II 8635: 8634: 8632: 8630: 8626: 8620: 8617: 8615: 8612: 8610: 8607: 8605: 8602: 8600: 8597: 8595: 8592: 8590: 8587: 8585: 8582: 8580: 8577: 8575: 8572: 8570: 8567: 8565: 8562: 8560: 8557: 8556: 8554: 8552: 8548: 8534: 8531: 8529: 8526: 8524: 8521: 8519: 8516: 8514: 8511: 8509: 8506: 8504: 8501: 8499: 8496: 8494: 8491: 8489: 8486: 8484: 8481: 8477: 8474: 8473: 8472: 8469: 8468: 8466: 8462: 8454: 8450: 8447: 8443: 8439: 8429: 8426: 8424: 8421: 8419: 8416: 8414: 8413:Justin Martyr 8411: 8407: 8404: 8400: 8397: 8395: 8392: 8390: 8387: 8386: 8385: 8382: 8381: 8380: 8377: 8375: 8372: 8371: 8369: 8366: 8362: 8354: 8351: 8349: 8346: 8344: 8341: 8339: 8336: 8334: 8331: 8329: 8326: 8325: 8324: 8323:New Testament 8321: 8319: 8316: 8314: 8311: 8309: 8306: 8302: 8299: 8297: 8294: 8292: 8289: 8287: 8286:Commissioning 8284: 8283: 8282: 8279: 8277: 8274: 8272: 8269: 8267: 8264: 8260: 8257: 8255: 8252: 8250: 8247: 8245: 8242: 8241: 8240: 8237: 8236: 8234: 8231: 8230:Apostolic Age 8226: 8222: 8219: 8215: 8211: 8205: 8202: 8200: 8197: 8195: 8192: 8190: 8187: 8183: 8180: 8178: 8175: 8174: 8173: 8170: 8168: 8165: 8163: 8160: 8158: 8155: 8153: 8150: 8146: 8143: 8141: 8138: 8137: 8136: 8133: 8129: 8126: 8125: 8124: 8121: 8117: 8116:Papal primacy 8114: 8113: 8112: 8109: 8107: 8104: 8102: 8099: 8095: 8092: 8091: 8090: 8087: 8086: 8084: 8082: 8078: 8074: 8070: 8063: 8058: 8056: 8051: 8049: 8044: 8043: 8040: 8028: 8027: 8023: 8021: 8018: 8016: 8015: 8011: 8009: 8008: 8004: 8000: 7999: 7995: 7994: 7993: 7990: 7988: 7985: 7983: 7980: 7978: 7975: 7973: 7971: 7967: 7965: 7964: 7960: 7958: 7955: 7953: 7950: 7948: 7947: 7943: 7941: 7938: 7936: 7933: 7931: 7928: 7926: 7923: 7921: 7920: 7916: 7914: 7911: 7907: 7903: 7902: 7898: 7897: 7896: 7892: 7889: 7887: 7886: 7882: 7880: 7877: 7875: 7872: 7868: 7865: 7864: 7863: 7860: 7856: 7853: 7852: 7851: 7848: 7846: 7843: 7841: 7838: 7836: 7833: 7831: 7828: 7826: 7823: 7822: 7820: 7816: 7808: 7805: 7804: 7803: 7800: 7798: 7797: 7793: 7791: 7787: 7784: 7782: 7779: 7777: 7774: 7772: 7769: 7767: 7766:Commemoration 7764: 7762: 7759: 7757: 7754: 7752: 7749: 7747: 7746: 7741: 7740: 7736: 7734: 7733: 7729: 7728: 7726: 7720: 7714: 7711: 7709: 7706: 7704: 7703:Real presence 7701: 7699: 7696: 7694: 7690: 7687: 7683: 7680: 7679: 7678: 7675: 7673: 7671: 7667: 7665: 7664: 7660: 7658: 7655: 7653: 7652: 7648: 7646: 7643: 7641: 7640: 7636: 7634: 7633: 7629: 7626: 7624: 7623: 7619: 7617: 7614: 7612: 7608: 7605: 7604: 7602: 7600: 7594: 7588: 7587: 7583: 7579: 7578: 7577:Anima Christi 7574: 7573: 7572: 7569: 7567: 7564: 7561: 7557: 7553: 7550: 7548: 7545: 7543: 7540: 7538: 7535: 7533: 7530: 7528: 7525: 7523: 7520: 7518: 7515: 7513: 7510: 7508: 7505: 7503: 7500: 7498: 7495: 7491: 7488: 7486: 7483: 7482: 7481: 7478: 7476: 7473: 7471: 7468: 7466: 7465: 7461: 7460: 7458: 7456: 7450: 7440: 7439:Ascensiontide 7437: 7435: 7432: 7428: 7425: 7424: 7423: 7420: 7418: 7415: 7413: 7410: 7408: 7407: 7403: 7401: 7400:Ordinary Time 7398: 7396: 7395:Christmastide 7393: 7391: 7388: 7387: 7385: 7381: 7374: 7371: 7369: 7366: 7364: 7361: 7359: 7356: 7354: 7351: 7350: 7348: 7344: 7341: 7339: 7335: 7329: 7326: 7324: 7321: 7319: 7316: 7314: 7311: 7309: 7306: 7304: 7301: 7299: 7296: 7294: 7291: 7289: 7286: 7284: 7281: 7279: 7276: 7274: 7271: 7270: 7268: 7265: 7261: 7255: 7252: 7250: 7247: 7243: 7239: 7236: 7234: 7231: 7230: 7229: 7226: 7224: 7223: 7219: 7217: 7216:Roman Gradual 7214: 7212: 7209: 7207: 7204: 7202: 7199: 7198: 7196: 7194: 7190: 7184: 7181: 7178: 7174: 7171: 7167: 7164: 7163: 7162: 7159: 7157: 7154: 7152: 7149: 7147: 7144: 7142: 7139: 7135: 7132: 7131: 7130: 7127: 7125: 7122: 7120: 7117: 7115: 7112: 7110: 7107: 7105: 7102: 7100: 7097: 7095: 7092: 7090: 7087: 7085: 7082: 7080: 7077: 7075: 7072: 7070: 7067: 7065: 7062: 7060: 7057: 7055: 7052: 7051: 7049: 7043: 7037: 7034: 7032: 7029: 7027: 7024: 7022: 7019: 7017: 7014: 7012: 7009: 7007: 7004: 7002: 6999: 6997: 6994: 6992: 6989: 6987: 6984: 6982: 6979: 6975: 6972: 6970: 6967: 6963: 6960: 6959: 6958: 6955: 6954: 6953: 6950: 6948: 6945: 6943: 6940: 6938: 6935: 6934: 6932: 6930: 6926: 6920: 6917: 6915: 6912: 6910: 6907: 6905: 6902: 6900: 6897: 6893: 6890: 6889: 6888: 6885: 6883: 6880: 6878: 6875: 6873: 6870: 6868: 6865: 6863: 6860: 6858: 6855: 6853: 6850: 6846: 6843: 6842: 6841: 6838: 6836: 6833: 6832: 6830: 6826: 6816: 6813: 6811: 6808: 6807: 6805: 6801: 6795: 6792: 6788: 6784: 6781: 6780: 6779: 6776: 6774: 6773:Postcommunion 6771: 6769: 6766: 6762: 6759: 6758: 6757: 6754: 6752: 6749: 6745: 6742: 6741: 6740: 6737: 6735: 6734:Sign of peace 6732: 6730: 6727: 6723: 6719: 6716: 6715: 6714: 6713:Lord's Prayer 6711: 6709: 6706: 6700: 6697: 6696: 6695: 6692: 6690: 6687: 6685: 6682: 6680: 6679: 6674: 6670: 6666: 6665: 6660: 6657: 6656: 6655: 6651: 6648: 6644: 6640: 6636: 6633: 6632: 6631: 6628: 6624: 6620: 6619:Orate fratres 6617: 6616: 6615: 6612: 6611: 6609: 6607:the Eucharist 6603: 6597: 6594: 6590: 6586: 6583: 6582: 6581: 6578: 6576: 6573: 6571: 6568: 6564: 6560: 6557: 6556: 6555: 6552: 6550: 6547: 6545: 6541: 6538: 6534: 6531: 6530: 6529: 6526: 6524: 6521: 6519: 6516: 6512: 6508: 6505: 6504: 6503: 6500: 6498: 6495: 6493: 6490: 6488: 6485: 6484: 6482: 6476: 6470: 6467: 6463: 6459: 6456: 6455: 6454: 6451: 6449: 6446: 6445: 6443: 6439: 6436: 6434:Order of Mass 6432: 6426: 6423: 6419: 6416: 6415: 6414: 6411: 6410: 6408: 6404: 6394: 6391: 6387: 6384: 6383: 6382: 6379: 6377: 6374: 6372: 6369: 6367: 6364: 6362: 6359: 6357: 6354: 6352: 6349: 6347: 6344: 6343: 6341: 6339: 6338:Ritual Masses 6335: 6329: 6326: 6324: 6323: 6319: 6317: 6314: 6312: 6309: 6307: 6304: 6302: 6301: 6300:Missa Cantata 6297: 6295: 6292: 6291: 6289: 6285: 6275: 6272: 6270: 6267: 6265: 6262: 6260: 6257: 6255: 6252: 6250: 6247: 6246: 6244: 6242: 6238: 6232: 6229: 6227: 6224: 6221: 6218: 6214: 6211: 6210: 6209: 6206: 6204: 6201: 6200: 6198: 6194: 6190: 6186: 6182: 6175: 6170: 6168: 6163: 6161: 6156: 6155: 6152: 6139: 6135: 6131: 6129: 6121: 6120: 6117: 6116: 6108: 6107: 6103: 6095: 6092: 6090: 6087: 6085: 6082: 6080: 6077: 6075: 6072: 6071: 6070: 6067: 6065: 6062: 6061: 6059: 6055: 6049: 6046: 6044: 6041: 6039: 6036: 6034: 6031: 6030: 6028: 6024: 6018: 6015: 6013: 6010: 6008: 6005: 6003: 6000: 5998: 5995: 5993: 5990: 5988: 5985: 5981: 5978: 5976: 5973: 5972: 5971: 5970:British Isles 5968: 5967: 5965: 5961: 5955: 5954: 5950: 5948: 5945: 5943: 5940: 5938: 5935: 5933: 5930: 5926: 5923: 5922: 5921: 5918: 5914: 5911: 5910: 5909: 5906: 5904: 5901: 5897: 5894: 5892: 5889: 5887: 5884: 5883: 5882: 5879: 5877: 5874: 5872: 5869: 5867: 5864: 5860: 5857: 5856: 5855: 5852: 5850: 5847: 5845: 5842: 5840: 5837: 5836: 5834: 5832:Musical forms 5830: 5824: 5821: 5819: 5816: 5814: 5811: 5809: 5806: 5804: 5801: 5799: 5796: 5794: 5791: 5789: 5786: 5784: 5781: 5779: 5776: 5774: 5771: 5769: 5766: 5765: 5763: 5759: 5749: 5748:W. de Wycombe 5746: 5744: 5741: 5739: 5736: 5734: 5731: 5729: 5726: 5722: 5721: 5717: 5716: 5715: 5712: 5710: 5707: 5706: 5704: 5700: 5686: 5683: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5656: 5653: 5651: 5648: 5646: 5643: 5641: 5638: 5636: 5633: 5631: 5628: 5626: 5623: 5621: 5618: 5616: 5615:Baude Cordier 5613: 5611: 5608: 5604: 5600: 5598: 5595: 5593: 5590: 5589: 5587: 5585: 5584: 5583:Ars subtilior 5579: 5575: 5557: 5554: 5552: 5549: 5547: 5544: 5542: 5539: 5537: 5534: 5532: 5529: 5527: 5524: 5521: 5518: 5516: 5513: 5511: 5508: 5507: 5505: 5501: 5491: 5488: 5485: 5482: 5480: 5477: 5475: 5472: 5470: 5467: 5465: 5462: 5461: 5459: 5455: 5445: 5442: 5440: 5439:Maestro Piero 5437: 5435: 5432: 5430: 5427: 5426: 5424: 5420: 5410: 5407: 5406: 5404: 5400: 5397: 5395: 5391: 5387: 5372: 5368: 5366: 5363: 5361: 5360:P. des Molins 5358: 5356: 5353: 5351: 5348: 5346: 5343: 5341: 5338: 5336: 5333: 5331: 5328: 5326: 5324: 5323: 5318: 5314: 5311: 5309: 5305: 5297: 5294: 5293: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5273: 5262: 5259: 5258: 5257: 5254: 5252: 5249: 5247: 5244: 5242: 5239: 5237: 5234: 5232: 5229: 5227: 5224: 5222: 5219: 5217: 5214: 5212: 5209: 5207: 5204: 5202: 5199: 5197: 5194: 5192: 5189: 5187: 5184: 5182: 5179: 5177: 5174: 5172: 5169: 5167: 5164: 5162: 5159: 5157: 5154: 5152: 5149: 5147: 5144: 5143: 5141: 5139: 5135: 5123: 5120: 5119: 5118: 5115: 5113: 5110: 5108: 5105: 5103: 5100: 5098: 5095: 5093: 5090: 5088: 5085: 5083: 5080: 5078: 5075: 5073: 5070: 5068: 5065: 5063: 5060: 5058: 5055: 5053: 5050: 5048: 5045: 5043: 5040: 5037: 5034: 5032: 5029: 5027: 5024: 5022: 5019: 5017: 5014: 5012: 5009: 5007: 5006:Arnaut Daniel 5004: 5002: 4999: 4998: 4996: 4993: 4988: 4984: 4968: 4964: 4960: 4957: 4955: 4952: 4950: 4947: 4945: 4942: 4941: 4940: 4937: 4936: 4934: 4932: 4931: 4926: 4922: 4919: 4917: 4913: 4906: 4903: 4900: 4897: 4895: 4892: 4890: 4887: 4885: 4884:Peter Abelard 4882: 4880: 4877: 4875: 4872: 4868: 4867:Odo of Arezzo 4864: 4860: 4857: 4856: 4855: 4852: 4850: 4847: 4845: 4842: 4838: 4834: 4830: 4826: 4824: 4821: 4817: 4814: 4812: 4809: 4808: 4807: 4804: 4803: 4801: 4799: 4795: 4789: 4786: 4784: 4781: 4779: 4776: 4775: 4772: 4768: 4761: 4756: 4754: 4749: 4747: 4742: 4741: 4738: 4732: 4725: 4713: 4710: 4708: 4705: 4703: 4700: 4698: 4695: 4693: 4690: 4688: 4685: 4683: 4680: 4678: 4675: 4673: 4670: 4667: 4664: 4663: 4661: 4658: 4653: 4649: 4643: 4640: 4638: 4635: 4633: 4630: 4626: 4623: 4622: 4621: 4618: 4616: 4613: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4592: 4590: 4588: 4584: 4580: 4577: 4570: 4565: 4563: 4558: 4556: 4551: 4550: 4547: 4539: 4535: 4534:gregoriana.sk 4531: 4527: 4523: 4519: 4514: 4507: 4500: 4496: 4491: 4487: 4483: 4479: 4478: 4468: 4463: 4462: 4457: 4453: 4449: 4445: 4444: 4438: 4434: 4432:0-393-09062-0 4428: 4424: 4419: 4415: 4411: 4407: 4402: 4398: 4394: 4392:0-517-70037-9 4388: 4384: 4383: 4377: 4373: 4369: 4365: 4361: 4357: 4353: 4352: 4346: 4344: 4340: 4336: 4334: 4333:Liber usualis 4330: 4327: 4326: 4325:Liber usualis 4322: 4319: 4315: 4311: 4309: 4305: 4303: 4302:90-800408-2-7 4299: 4295: 4292: 4290: 4286: 4282: 4279: 4277: 4276:2-85274-094-X 4273: 4269: 4266: 4265: 4253: 4251:0-02-872951-X 4247: 4242: 4241: 4234: 4230: 4228:0-486-41088-9 4224: 4220: 4215: 4211: 4207: 4205:1-55553-240-3 4201: 4196: 4195: 4188: 4184: 4179: 4175: 4169: 4165: 4161: 4157: 4153: 4152: 4146: 4142: 4140:0-13-036153-4 4136: 4132: 4128: 4124: 4120: 4118:0-253-33752-6 4114: 4110: 4106: 4101: 4097: 4091: 4087: 4083: 4079: 4075: 4074: 4069: 4065: 4064:Levy, Kenneth 4061: 4057: 4055:0-393-09080-9 4051: 4047: 4042: 4038: 4034: 4032:0-393-09090-6 4028: 4024: 4023: 4018: 4014: 4010: 4008:0-19-816572-2 4004: 4000: 3995: 3992: 3988: 3986:0-393-02807-0 3982: 3978: 3974: 3970: 3966: 3962: 3958: 3956:0-393-09537-1 3952: 3948: 3944: 3943:Grout, Donald 3940: 3936: 3930: 3926: 3922: 3918: 3914: 3913: 3907: 3903: 3901:0-520-02847-3 3897: 3893: 3888: 3884: 3883: 3877: 3871: 3867: 3861: 3857: 3853: 3849: 3845: 3844: 3839: 3834: 3830: 3828:0-253-20601-4 3824: 3820: 3816: 3812: 3811: 3799: 3794: 3787: 3782: 3775: 3770: 3763: 3758: 3750: 3746: 3742: 3738: 3731: 3724: 3718: 3710: 3707:(in German). 3706: 3699: 3692: 3686: 3681: 3676: 3669: 3663: 3655: 3651: 3644: 3637: 3636:90-900742-8-7 3633: 3630:. Landsmeer, 3629: 3623: 3607: 3603: 3597: 3591:, p. 18. 3590: 3585: 3578: 3573: 3566: 3561: 3554: 3549: 3543:, p. 44. 3542: 3537: 3530: 3525: 3518: 3513: 3506: 3501: 3494: 3489: 3482: 3477: 3470: 3465: 3458: 3453: 3446: 3441: 3435:, p. 21. 3434: 3429: 3422: 3417: 3410: 3405: 3398: 3393: 3386: 3381: 3374: 3369: 3363:, p. 22. 3362: 3357: 3351:, p. 82. 3350: 3345: 3338: 3333: 3327:, p. 11. 3326: 3321: 3314: 3309: 3302: 3297: 3291:, p. 81. 3290: 3285: 3279:, p. 11. 3278: 3273: 3266: 3261: 3254: 3249: 3242: 3237: 3229: 3225: 3219: 3212: 3207: 3200: 3195: 3188: 3183: 3177:, p. 47. 3176: 3171: 3165:, p. 80. 3164: 3159: 3152: 3147: 3141:, p. 10. 3140: 3135: 3129:, p. 13. 3128: 3123: 3116: 3112: 3107: 3099: 3095: 3091: 3087: 3083: 3079: 3075: 3072:(in German). 3071: 3070: 3065: 3058: 3051: 3050:McKinnon 1990 3046: 3038: 3034: 3030: 3026: 3025: 3017: 3010: 3005: 2999:, p. 79. 2998: 2993: 2987:, p. 30. 2986: 2981: 2974: 2969: 2963: 2958: 2956: 2948: 2947:McKinnon 1990 2943: 2937:, p. 28. 2936: 2931: 2924: 2919: 2913:, p. 72. 2912: 2911:McKinnon 1990 2907: 2900: 2895: 2889:, p. 74. 2888: 2883: 2877:, p. 34. 2876: 2871: 2855: 2848: 2842: 2835: 2831: 2827: 2826:archive.today 2823: 2820: 2815: 2813: 2805: 2799: 2792: 2787: 2783: 2774: 2771: 2769: 2766: 2764: 2761: 2759: 2758:Paul Jausions 2756: 2754: 2751: 2749: 2746: 2744: 2741: 2739: 2736: 2735: 2729: 2727: 2723: 2719: 2715: 2710: 2708: 2704: 2700: 2699: 2698:cantus firmus 2694: 2690: 2686: 2682: 2678: 2674: 2669: 2667: 2663: 2659: 2655: 2651: 2650:musical staff 2647: 2643: 2639: 2622: 2620: 2596: 2579: 2577: 2573: 2572:Salve, Regina 2569: 2565: 2561: 2557: 2556: 2550: 2548: 2544: 2540: 2536: 2532: 2528: 2515: 2510: 2506: 2504: 2500: 2499:Ite missa est 2495: 2493: 2489: 2484: 2482: 2478: 2474: 2470: 2463: 2461: 2449: 2433: 2416: 2414: 2409: 2404: 2399: 2397: 2387: 2385: 2381: 2380: 2375: 2374: 2369: 2365: 2363: 2360:. Instead, a 2359: 2355: 2354: 2349: 2344: 2342: 2341: 2340:centonization 2336: 2332: 2328: 2326: 2322: 2318: 2314: 2311: 2301: 2299: 2295: 2294: 2293:Liber usualis 2289: 2285: 2281: 2280:reciting tone 2277: 2276: 2271: 2267: 2257: 2255: 2249: 2247: 2241: 2239: 2235: 2223: 2220: 2212: 2202: 2198: 2194: 2188: 2187: 2183: 2178:This section 2176: 2172: 2167: 2166: 2158: 2156: 2150: 2148: 2144: 2139: 2136: 2132: 2126: 2124: 2118: 2114: 2110: 2107: 2102: 2099: 2094: 2088: 2083: 2078: 2076: 2071: 2069: 2065: 2061: 2057: 2051: 2049: 2045: 2039: 2034: 2030: 2024: 2022: 2018: 2007: 2002: 2000: 1994: 1992: 1988: 1982: 1980: 1976: 1972: 1968: 1964: 1960: 1956: 1952: 1948: 1947: 1942: 1941: 1935: 1933: 1929: 1928: 1922: 1918: 1903: 1899: 1894: 1890: 1886: 1882: 1877: 1873: 1865: 1861: 1860: 1859:Liber usualis 1855: 1851: 1849: 1845: 1841: 1837: 1833: 1829: 1825: 1821: 1820: 1806: 1798: 1793: 1784: 1781: 1777: 1773: 1772: 1767: 1763: 1759: 1754: 1752: 1748: 1744: 1740: 1736: 1732: 1725:Musical idiom 1722: 1720: 1715: 1711: 1707: 1702: 1698: 1696: 1692: 1688: 1684: 1676: 1672: 1668: 1665: 1661: 1657: 1654: 1650: 1646: 1643: 1639: 1635: 1634: 1633: 1631: 1627: 1623: 1619: 1618: 1613: 1612:reciting tone 1609: 1605: 1601: 1597: 1593: 1589: 1588: 1583: 1579: 1574: 1572: 1568: 1558: 1554: 1550: 1547:Around 1025, 1545: 1543: 1532: 1528: 1522: 1512: 1510: 1506: 1502: 1497: 1493: 1491: 1490: 1489:centonization 1485: 1481: 1477: 1473: 1469: 1464: 1462: 1458: 1454: 1450: 1449: 1444: 1440: 1433: 1431: 1406: 1404: 1380: 1378: 1356: 1352: 1350: 1346: 1342: 1338: 1333: 1331: 1327: 1323: 1319: 1315: 1311: 1307: 1303: 1299: 1295: 1291: 1290: 1289:reciting tone 1285: 1278: 1276: 1252: 1235: 1232: 1228: 1220:Melodic types 1212: 1209: 1205: 1201: 1197: 1193: 1192: 1188: 1183: 1179: 1177: 1173: 1169: 1165: 1164: 1163:Liber usualis 1159: 1155: 1154:Pope Leo XIII 1151: 1145: 1142: 1138: 1133: 1128: 1126: 1122: 1118: 1114: 1111:. Guidette's 1110: 1106: 1102: 1098: 1092: 1090: 1086: 1082: 1078: 1070: 1068: 1056: 1052: 1036: 1034: 1012: 1007: 1005: 999: 990: 988: 984: 983: 978: 973: 970: 966: 962: 956: 954: 950: 946: 942: 938: 934: 930: 924: 922: 918: 914: 910: 906: 902: 898: 894: 890: 886: 876: 874: 870: 866: 861: 859: 855: 851: 847: 843: 839: 834: 830: 828: 824: 820: 816: 813:sent a papal 812: 811:Pope Adrian I 808: 804: 801:, his father 800: 796: 792: 788: 784: 776: 772: 767: 758: 756: 752: 748: 744: 742: 738: 734: 730: 726: 722: 718: 715:singing of a 714: 710: 709:St. Augustine 705: 703: 699: 695: 691: 689: 684: 680: 676: 675: 669: 667: 663: 659: 655: 651: 650:Matthew 26.30 647: 643: 639: 638:New Testament 634: 632: 628: 624: 620: 616: 612: 607: 603: 599: 595: 580: 578: 574: 570: 566: 562: 558: 554: 549: 547: 543: 539: 535: 531: 527: 523: 519: 515: 511: 510:centonization 507: 504:, the use of 503: 499: 495: 491: 487: 482: 480: 476: 472: 468: 464: 460: 456: 452: 448: 444: 433: 428: 426: 421: 419: 414: 413: 411: 410: 405: 404: 400: 399: 398: 397: 389: 388: 384: 382: 379: 377: 374: 372: 369: 367: 364: 362: 359: 357: 354: 352: 349: 347: 344: 340: 337: 335: 332: 330: 327: 326: 325: 322: 320: 317: 315: 312: 311: 304: 303: 295: 292: 290: 287: 285: 282: 280: 277: 275: 272: 270: 267: 265: 262: 260: 257: 255: 252: 250: 247: 245: 242: 240: 237: 235: 232: 231: 227:Major figures 224: 223: 215: 214: 213:Ars subtilior 210: 208: 205: 203: 202: 198: 196: 193: 191: 188: 186: 183: 179: 176: 175: 174: 173: 169: 167: 164: 162: 161:Saint Martial 159: 157: 154: 153: 146: 145: 137: 133: 129: 125: 121: 120: 119: 118: 114: 113: 110: 107: 106: 102: 98: 97: 90: 88: 65: 64: 54: 50: 46: 42: 39: 34: 30: 19: 9870: 9842: 9790:Architecture 9780:Mediator Dei 9778: 9771: 9764: 9757: 9750: 9694:Benedictine- 9596:Anton Hänggi 9551:Louis Bouyer 9541:Augustin Bea 9434: 9417: 9409: 9384: 9367: 9257: 9253:Pope Francis 9179:21st century 9128:Pope Paul VI 9105: 9093: 9046:20th century 9033: 8984:Pope Pius IX 8972:19th century 8948:Pope Pius VI 8815: 8687:Latin Empire 8657:Universities 8609:Pope Leo III 8578: 8476:Christianity 8461:state church 8453:Great Church 8254:Resurrection 8217:(30–325/476) 8214:Early Church 8199:Latin Church 8194:Papal States 8189:Vatican City 8024: 8020:Stercoranism 8012: 8005: 7996: 7982:Pope Paul VI 7969: 7963:Mediator Dei 7961: 7944: 7934: 7917: 7899: 7883: 7794: 7743: 7737: 7730: 7724:and concepts 7672:(encyclical) 7669: 7661: 7649: 7637: 7630: 7620: 7584: 7575: 7522:Genuflection 7462: 7406:Septuagesima 7404: 7298:Humeral veil 7238:Sacramentary 7228:Roman Missal 7220: 6981:Chalice veil 6840:Altar server 6828:Participants 6676: 6662: 6635:Sursum corda 6386:Month's mind 6381:Requiem Mass 6366:Nuptial Mass 6320: 6298: 6231:Anglican Use 6113: 6079:Architecture 5951: 5907: 5903:Geisslerlied 5881:Formes fixes 5803:Notker Labeo 5768:Anonymous IV 5743:Leonel Power 5728:Thomas Fabri 5718: 5581: 5402:Predecessors 5320: 5226:Jehan Bretel 5062:Jaufre Rudel 4928: 4837:Odo of Cluny 4696: 4632:Prostopinije 4538:the original 4533: 4521: 4506:the original 4459: 4442: 4423:Choral Music 4422: 4413: 4410:Sacred Music 4409: 4395:– via 4381: 4355: 4349: 4332: 4323: 4306: 4293: 4280: 4267: 4239: 4218: 4208:– via 4193: 4182: 4149: 4130: 4108: 4105:Duffin, Ross 4071: 4068:Hiley, David 4045: 4035:– via 4021: 3998: 3990: 3976: 3965:Hiley, David 3946: 3910: 3891: 3880: 3841: 3838:Hiley, David 3818: 3793: 3781: 3769: 3762:Crocker 1977 3757: 3740: 3730: 3722: 3717: 3708: 3704: 3698: 3690: 3680:Peter Wagner 3675: 3667: 3662: 3653: 3652:(in Dutch). 3649: 3643: 3638:. (in Dutch) 3627: 3622: 3610:. Retrieved 3606:the original 3596: 3584: 3572: 3560: 3548: 3536: 3524: 3512: 3500: 3495:, p. 3. 3488: 3476: 3464: 3452: 3440: 3428: 3416: 3404: 3392: 3380: 3368: 3356: 3349:Hoppin 1978a 3344: 3337:Hoppin 1978a 3332: 3320: 3313:Hoppin 1978a 3308: 3301:Hoppin 1978a 3296: 3289:Hoppin 1978a 3284: 3277:Hoppin 1978b 3272: 3260: 3253:Hoppin 1978a 3248: 3236: 3218: 3206: 3194: 3187:Parrish 1986 3182: 3175:Hoppin 1978a 3170: 3158: 3146: 3134: 3122: 3114: 3106: 3073: 3067: 3057: 3045: 3031:(1): 43–98. 3028: 3022: 3016: 3004: 2992: 2980: 2968: 2942: 2930: 2918: 2906: 2894: 2882: 2870: 2858:. Retrieved 2853: 2841: 2798: 2786: 2722:William Byrd 2711: 2702: 2696: 2670: 2635: 2616: 2571: 2567: 2563: 2559: 2553: 2551: 2539:Responsories 2524: 2514:Salve Regina 2496: 2485: 2481:Nicene Creed 2479:intones the 2466: 2457: 2400: 2393: 2377: 2371: 2366: 2351: 2345: 2338: 2329: 2315: 2307: 2291: 2273: 2263: 2253: 2250: 2245: 2242: 2237: 2230: 2215: 2209:October 2010 2206: 2191:Please help 2179: 2151: 2146: 2142: 2140: 2134: 2130: 2127: 2122: 2119: 2115: 2111: 2103: 2097: 2092: 2079: 2072: 2068:Pope Paul VI 2064:Justine Ward 2055: 2052: 2033:Peter Wagner 2028: 2025: 2016: 2013: 2004: 1998: 1996: 1991:Odo of Cluny 1983: 1944: 1938: 1936: 1925: 1914: 1875: 1871: 1869: 1863: 1857: 1850:is notated. 1848:Shaker music 1839: 1830:notation of 1817: 1808: 1796: 1779: 1769: 1755: 1728: 1718: 1710:chromaticism 1703: 1699: 1680: 1653:Hypophrygian 1625: 1621: 1615: 1607: 1603: 1599: 1595: 1591: 1585: 1575: 1571:musica ficta 1552: 1546: 1524: 1521:Mode (music) 1498: 1494: 1487: 1484:Responsorial 1479: 1465: 1446: 1436: 1427: 1403:De profundis 1402: 1376: 1348: 1344: 1340: 1334: 1287: 1281: 1272: 1223: 1215:Musical form 1189: 1187:motu proprio 1184: 1180: 1175: 1171: 1161: 1146: 1141:Pope Pius IX 1129: 1116: 1112: 1107:banned most 1093: 1079:in Germany, 1073: 1064: 1050: 1032: 1002: 980: 974: 957: 933:Celtic chant 925: 882: 862: 842:church modes 831: 815:sacramentary 780: 745: 741:Roman Empire 729:Celtic chant 713:responsorial 706: 687: 672: 670: 635: 621:" come from 591: 550: 483: 449:, a form of 442: 441: 401: 385: 350: 346:Geisslerlied 324:Formes fixes 211: 199: 170: 130: / 126: / 84: 62: 48: 40: 29: 27:Form of song 10001:WikiProject 9866:Amay Priory 9666:Max Thurian 9636:Pius Parsch 9515:Adrien Gréa 9465:Pope Pius X 9259:Laudato si' 9054:Pope Pius X 8883:Philip Neri 8858:Pope Pius V 8833:Thomas More 8702:Inquisition 8604:Charlemagne 8564:Monasticism 8374:Persecution 8266:Holy Spirit 8249:Crucifixion 8128:First seven 7895:benediction 7825:Agape feast 7739:Ad orientem 7722:Regulations 7682:Last Supper 7597:Eucharistic 7453:Eucharistic 7417:Passiontide 7201:Antiphonary 7119:Funghellino 7104:Evangeliary 7064:Aspergillum 7026:Purificator 6952:Antependium 6942:Altar rails 6794:Last Gospel 6694:Roman Canon 6453:Asperges me 6328:Votive Mass 6322:sine populo 6306:Solemn Mass 6069:Middle Ages 6064:Early music 6026:Derivations 5859:Chansonnier 5231:Jehan Erart 5176:Colin Muset 5082:Peire Vidal 4930:Ars antiqua 4385:. Harmony. 3815:Apel, Willi 3741:Early Music 3683: [ 3433:Wilson 1990 3361:Wilson 1990 3325:Wilson 1990 3139:Wilson 1990 3127:Wilson 1990 2791:Murray 1963 2448:David Hiley 2085: [ 2060:cheironomic 2036: [ 1999:cognoscenti 1906:Performance 1896: [ 1824:cheironomic 1735:Offertories 1584:called the 1531:Enchiriadis 1320:during the 1284:recitatives 1158:Pope Pius X 1091:in France. 1089:St. Martial 1009: [ 987:Good Friday 953:St. Ambrose 945:Reconquista 907:banned the 893:Scandinavia 885:Charlemagne 873:Holy Spirit 799:Charlemagne 793:celebrated 787:Carolingian 773:sitting on 771:Holy Spirit 743:collapsed. 702:St. Ambrose 694:St. Anthony 642:Last Supper 514:tetrachords 471:Carolingian 307:Major forms 172:Ars antiqua 128:Instruments 10024:Categories 9132:coronation 8838:Pope Leo X 8423:Tertullian 8353:Revelation 8328:Background 7807:Lord's Day 7796:Pro multis 7542:Intinction 7527:Head cover 7455:discipline 7434:Eastertide 7308:Pontifical 7242:Lectionary 7124:Holy water 7054:Altar bell 7045:Liturgical 7036:Tabernacle 7011:Misericord 6605:Liturgy of 6478:Liturgy of 6462:Eastertide 6458:Vidi aquam 6425:Vernacular 6393:White Mass 6316:Papal Mass 6185:Roman Rite 6094:Philosophy 6089:Literature 6057:Background 5963:Traditions 5330:F. Andrieu 5186:Gace Brulé 5026:Castelloza 4992:Trobairitz 4987:Troubadour 4879:St. Godric 4677:Beneventan 4668:(Milanese) 4416:(1): 5–14. 4080:. § VI.1. 3807:References 3774:Hiley 1995 3711:: 129–135. 3589:Mahrt 2000 3541:Hiley 1990 3505:Hiley 1995 3469:Hiley 1995 3397:Hiley 1995 3385:Hiley 1995 3241:Hiley 1995 3211:Hiley 1995 3151:Hiley 1995 3076:(4): 299. 2985:Grout 1960 2973:Grout 1960 2935:Grout 1960 2923:Hiley 1995 2899:Hiley 1995 2738:Alternatim 2714:Palestrina 2619:media help 2576:Willi Apel 2475:, and the 2460:media help 2048:Mocquereau 1889:liquescent 1828:ekphonetic 1814: 950 1795:Offertory 1760:to create 1758:centonized 1749:, and the 1714:Cistercian 1671:Mixolydian 1664:Hypolydian 1642:Hypodorian 1567:accidental 1557:hexachords 1430:media help 1296:, partial 1275:media help 1231:Melismatic 1208:Vatican II 1077:Regensburg 1067:media help 982:Improperia 965:Roman Rite 931:displaced 929:Sarum Rite 903:. In 885, 833:Willi Apel 783:Roman Rite 737:Beneventan 698:antiphonal 679:Hippolytus 658:Tertullian 561:Roman Rite 526:hexachords 494:mode final 451:monophonic 447:plainchant 185:Troubadour 156:Saint Gall 87:media help 9991:Templates 9744:documents 9586:Benno Gut 9566:Odo Casel 9418:Consilium 9148:Communism 9118:Ecumenism 8464:(380–451) 8456:(180–451) 8445:(313–476) 8367:(100–325) 7919:Fermentum 7906:Holy Hour 7756:Canon law 7622:Epiousion 7490:Canon 915 7485:Canon 844 7464:Abstemius 7422:Holy Week 7375:(current) 7346:Calendars 7264:Vestments 7211:Customary 7141:Manuterge 7114:Flabellum 6914:Subdeacon 6803:Post-Mass 6778:Dismissal 6768:Ablutions 6739:Agnus Dei 6678:anamnesis 6673:elevation 6664:epiclesis 6614:Offertory 6507:Confiteor 6376:Rose Mass 6361:Gold Mass 6346:Blue Mass 6226:Zaire Use 6007:Lithuania 5871:Conductus 5761:Theorists 5733:Roy Henry 5660:Rodericus 5551:Sant Omer 5286:Minnesang 4707:Old Roman 4702:Mozarabic 4697:Gregorian 4666:Ambrosian 4657:Plainsong 4600:Byzantine 4339:also here 4019:(1978a). 3786:Apel 1990 3577:Dyer 2001 3565:Apel 1990 3553:Apel 1990 3529:Apel 1990 3517:Apel 1990 3457:Apel 1990 3445:Apel 1990 3421:Apel 1990 3409:Apel 1990 3373:Apel 1990 3265:Apel 1990 3199:Apel 1990 3163:Apel 1990 3098:235004564 3090:0003-9292 2997:Apel 1990 2887:Apel 1990 2875:Apel 1990 2693:polyphony 2685:In Nomine 2654:bass clef 2627:Influence 2492:Agnus Dei 2413:tessitura 2368:Sequences 2180:does not 1971:Pentecost 1743:Agnus Dei 1626:authentic 1587:oktoechos 1505:sequences 1476:Offertory 1443:Communion 1227:ligatures 1150:facsimile 1109:sequences 937:Visigoths 838:octoechos 733:Old Roman 546:polyphony 461:) of the 319:Conductus 294:Dunstaple 244:Hildegard 195:Minnesang 136:Theorists 124:Composers 51:, honors 9981:Category 9859:See also 9158:HIV/AIDS 8652:Crusades 8406:Irenaeus 8399:Ignatius 8394:Polycarp 8244:Ministry 8232:(30–100) 8106:Timeline 7786:Ordinary 7732:Accentus 7691:and its 7651:Koinonia 7599:theology 7586:Viaticum 7318:Surplice 7288:Dalmatic 7283:Chasuble 7183:Thurible 7084:Crotalus 7079:Ciborium 6991:Corporal 6872:Crucifer 6857:Boat boy 6751:Fraction 6722:doxology 6718:embolism 6659:oblation 6563:sequence 6554:Alleluia 6492:Psalm 43 6480:the Word 6441:Pre-Mass 6406:Language 6371:Red Mass 6294:Low Mass 6128:Category 6033:Bardcore 6012:Portugal 5980:Scotland 5953:Planctus 5937:Madrigal 5876:Estampie 5839:Antiphon 5394:Trecento 5322:Ars nova 5281:Goliards 5138:Trouvère 5112:Sordello 5092:Perdigon 5067:Marcabru 4692:Gelineau 4687:Gallican 4672:Anglican 4642:Znamenny 4615:Galician 4595:Armenian 3975:(eds.). 3945:(1960). 3817:(1990). 3656:: 89–94. 3579:, §VI.1. 2822:Archived 2732:See also 2656:and the 2638:medieval 2547:Compline 2531:monastic 2501:and the 2490:and the 2473:Doxology 2396:Ordinary 2348:Alleluia 2331:Graduals 2321:Doxology 2317:Introits 2275:accentus 2147:rhythmus 2075:phrasing 1955:Alleluia 1932:convents 1885:quilisma 1787:Notation 1776:Introits 1762:Graduals 1731:stepwise 1719:Circuibo 1649:Phrygian 1608:dominant 1596:dominant 1562:♭ 1537:♯ 1515:Modality 1472:Alleluia 1453:doxology 1448:antiphon 1326:psalmody 1310:accentus 1298:cadences 1294:incipits 1168:phrasing 1081:St. Gall 969:Henry II 921:Slovakia 909:Slavonic 631:Kedushah 619:alleluia 598:psalmody 502:cadences 498:incipits 387:Planctus 371:Madrigal 207:Trecento 201:Ars nova 190:Trouvère 115:Overview 101:a series 99:Part of 9351:General 9123:Judaism 8523:Vulgate 8333:Gospels 8308:Stephen 8225:Origins 8145:Vulgate 8081:General 8071:of the 8069:History 7818:Related 7790:Propers 7383:Periods 7323:Tunicle 7303:Pallium 7129:Incense 7109:Fistula 7074:Chalice 7047:objects 7021:Piscina 7001:Kneeler 6835:Acolyte 6699:history 6643:Hosanna 6639:Sanctus 6630:Preface 6549:Epistle 6544:Gradual 6528:Collect 6187:of the 6183:of the 5997:Germany 5975:England 5947:Organum 5925:Tydorel 5896:Virelai 5891:Rondeau 5886:Ballade 5854:Chanson 5630:Egidius 5625:Egardus 5345:Grimace 5276:Casella 4954:Pérotin 4829:Hucbald 4816:Tuotilo 4712:Ravenna 4652:Western 4620:Obikhod 4587:Eastern 4467:Reprint 4107:(ed.). 3483:, §6.1. 2707:Baroque 2689:organum 2679:" and " 2662:natural 2529:of the 2488:Sanctus 2353:jubilus 2335:Epistle 2288:Kyriale 2201:removed 2186:sources 2044:Pothier 2017:pressus 1959:jubilus 1951:melisma 1946:organum 1911:Texture 1881:oriscus 1687:Locrian 1683:Aeolian 1617:Ambitus 1600:ambitus 1542:Hucbald 1480:respond 1468:Gradual 1439:Introit 1328:of the 1314:Epistle 1302:Collect 1200:Propers 1185:In his 1172:episema 1006: 917:Moravia 901:Finland 897:Iceland 827:Francia 717:Gradual 627:sanctus 617:" and " 594:liturgy 583:History 542:organum 490:ambitus 381:Organum 339:Virelai 334:Rondeau 329:Ballade 289:Ciconia 284:Landini 279:Machaut 259:Pérotin 254:Walther 249:Bernart 166:Goliard 38:Introit 9904:& 9826:Issues 9446:People 9437:(1979) 9089:Nazism 8911:to the 8518:Jerome 8428:Origen 8111:Papacy 7802:Sunday 7390:Advent 7254:Tonary 7069:Censer 7006:Lavabo 6909:Priest 6904:Porter 6899:Lector 6877:Deacon 6862:Cantor 6852:Bishop 6845:female 6575:Homily 6570:Gospel 6533:Oremus 6518:Gloria 6241:Orders 6138:Portal 6084:Poetry 5992:France 5987:Cyprus 5702:Others 5685:Trebor 5670:Solage 5592:Borlet 5087:Peirol 4990:& 4949:Léonin 4682:Celtic 4637:Syrian 4625:Kievan 4605:Coptic 4429: 4389: 4372:831302 4370: 4335:(1961) 4320:515 p. 4316: 4300: 4287: 4274: 4248: 4225: 4202: 4170: 4137: 4115: 4092: 4052: 4029: 4005: 3983: 3953: 3931: 3898: 3862: 3825: 3634: 3612:6 June 3096: 3088: 2860:21 May 2718:Mozart 2664:, and 2570:, and 2543:Matins 2535:Psalms 2469:Gloria 2310:Proper 2143:metrum 2046:, and 2010:Rhythm 1967:Easter 1940:tropes 1917:Office 1887:, and 1844:tenuto 1840:custos 1819:neumes 1766:Tracts 1747:Gloria 1706:neumes 1691:Ionian 1689:, and 1660:Lydian 1638:Dorian 1622:plagal 1602:. The 1598:, and 1507:, and 1461:Gloria 1441:, and 1347:, and 1337:psalms 1330:Office 1318:Gospel 1316:, and 1306:Easter 1137:Pustet 913:Poland 850:neumes 690:feasts 683:Hallel 666:Egeria 664:, and 623:Hebrew 569:Office 553:choirs 530:neumes 269:Franco 234:Notker 132:Theory 9971:Media 9742:Papal 9534:Later 9453:Early 9191:Islam 8459:Roman 8418:Canon 8291:Peter 8239:Jesus 7977:Music 7628:Grace 7328:Vimpa 7313:Stole 7278:Amice 7166:wafer 7146:Paten 7099:Cruet 7059:Ashes 6929:Altar 6919:Usher 6887:Laity 6867:Choir 6580:Credo 6559:Tract 6511:Kyrie 6287:Types 6017:Spain 6002:Italy 5942:Motet 5866:Chant 5849:Carol 5844:Canso 4579:chant 4509:(PDF) 4502:(PDF) 4368:JSTOR 3687:] 3094:S2CID 2850:(PDF) 2779:Notes 2666:sharp 2477:Credo 2403:Kyrie 2362:Tract 2089:] 2056:ictus 2040:] 1900:] 1805:Neume 1751:Credo 1739:Kyrie 1630:hypo- 1604:final 1592:final 1578:modes 1553:gamut 1509:hymns 1457:Kyrie 1101:modes 1053:; by 1013:] 977:modes 961:Credo 949:Milan 941:Moors 854:staff 803:Pepin 688:agape 518:gamut 486:modes 459:Greek 455:Latin 376:Motet 361:Lauda 314:Canso 274:Vitry 239:Guido 9961:Name 9241:2023 9236:2019 9231:2016 9226:2013 9221:2011 9216:2008 9211:2005 9206:2002 9201:2000 9168:1995 8338:Acts 8301:Paul 8296:John 8271:Mary 7893:and 7788:and 7742:and 7609:and 7607:Body 7560:must 7558:(or 7556:wine 7554:and 7412:Lent 7240:and 7177:must 7175:(or 7031:Rood 7016:Pall 6947:Ambo 6181:Mass 4427:ISBN 4387:ISBN 4314:ISBN 4298:ISBN 4285:ISBN 4272:ISBN 4246:ISBN 4223:ISBN 4200:ISBN 4168:ISBN 4135:ISBN 4113:ISBN 4090:ISBN 4050:ISBN 4027:ISBN 4003:ISBN 3981:ISBN 3951:ISBN 3929:ISBN 3896:ISBN 3860:ISBN 3823:ISBN 3632:ISBN 3614:2012 3086:ISSN 2862:2024 2724:and 2658:flat 2640:and 2486:The 2467:The 2401:The 2376:and 2358:Lent 2346:The 2270:Mass 2184:any 2182:cite 2145:and 2080:Dom 1977:and 1921:Mass 1764:and 1741:and 1673:and 1662:and 1651:and 1640:and 1459:and 1322:Mass 1304:for 1176:mora 1174:and 1087:and 1085:Laon 939:and 919:and 899:and 795:Mass 725:York 636:The 615:Amen 565:Mass 522:note 500:and 477:and 36:The 8227:and 8177:Art 7273:Alb 7156:Pyx 7134:use 6729:Pax 6587:or 6542:or 6460:in 6074:Art 5920:Lai 4414:133 4360:doi 4341:at 4160:doi 4082:doi 3921:doi 3852:doi 3745:doi 3078:doi 3033:doi 2716:or 2541:of 2398:". 2195:by 1953:of 985:of 648:" ( 600:of 356:Lai 10026:: 7904:/ 6785:/ 6720:/ 6675:/ 6671:/ 6667:/ 6661:/ 6641:/ 6637:/ 6621:/ 6561:/ 6509:/ 4532:. 4520:. 4412:. 4408:. 4366:. 4356:33 4354:. 4166:. 4158:. 4088:. 3989:. 3971:; 3927:. 3919:. 3858:. 3850:. 3739:. 3709:54 3685:de 3654:30 3113:, 3092:. 3084:. 3074:77 3066:. 3029:56 3027:. 2954:^ 2852:. 2832:: 2828:; 2811:^ 2660:, 2566:, 2157:. 2087:fr 2042:, 2038:de 1981:. 1973:, 1969:, 1898:fr 1883:, 1811:c. 1753:. 1685:, 1594:, 1573:. 1503:, 1474:, 1470:, 1343:, 1332:. 1011:de 955:. 923:. 915:, 895:, 660:, 656:, 633:. 548:. 496:, 481:. 103:on 9908:) 9900:( 9364:) 9360:( 9336:e 9329:t 9322:v 9134:) 9130:( 8061:e 8054:t 8047:v 7562:) 7179:) 6652:/ 6173:e 6166:t 6159:v 6118:→ 5605:* 5522:* 5486:* 5373:* 5038:* 4994:* 4969:* 4907:? 4901:? 4869:* 4839:* 4831:* 4759:e 4752:t 4745:v 4659:) 4655:( 4568:e 4561:t 4554:v 4492:. 4484:. 4450:. 4435:. 4399:. 4374:. 4362:: 4231:. 4212:. 4176:. 4162:: 4143:. 4121:. 4098:. 4084:: 4058:. 4039:. 4011:. 3959:. 3937:. 3923:: 3904:. 3868:. 3854:: 3831:. 3800:. 3751:. 3747:: 3616:. 3230:. 3100:. 3080:: 3039:. 3035:: 2864:. 2621:. 2462:. 2222:) 2216:( 2211:) 2207:( 2203:. 2189:. 2135:R 2131:R 1866:) 1677:. 1666:. 1655:. 1644:. 1432:. 1277:. 1135:( 1069:. 1057:. 431:e 424:t 417:v 138:) 134:( 89:. 55:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index