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119:, who is not known to have composed any of the Ambrosian chant repertory, much as Gregory the Great is not known to have composed any Gregorian chant. However, during his 4th-century tenure as bishop of Milan, he is credited with introducing hymnody from the Eastern Church to the West. Ambrose composed original hymns as well, four of which still survive, along with music that may not have changed too much from the original melodies.
134:. In responsorial singing, the soloist (or choir) sings a series of verses, each one followed by a response from the choir (or congregation). In antiphonal singing, the verses are sung alternately by soloist and choir, or by choir and congregation. In the Western Church, formerly the responsorial method seems to have first been used alone, the antiphonal method was introduced by St. Ambrose.
27:
398:, with a simple antiphon between each verse. The system of psalm tones in Ambrosian chant differs in several respects from the Gregorian system of psalm tones. In the Gregorian system, psalm tones are based on the mode of the antiphon. Ambrosian chants, including psalm antiphons, do not conform to the Gregorian system of modes. Each Ambrosian psalm antiphon belongs to one of four different
403:
smoothly back into the antiphon. This system results in a much larger number of possible psalm tones in
Ambrosian chant than exists in Gregorian chant. Structurally, psalm tones in Ambrosian chant consist of an incipit, a recitation formula, and a cadence, lacking the mediant flex found in Gregorian psalm tones.
181:
traditions had all been effectively superseded by
Gregorian chant. Ambrosian chant alone survived, despite the efforts of several Popes over a period of several centuries to establish Gregorian hegemony. A chronicle by the Milanese historian Landolphus from around the year 1000 recounts a legend that
193:
Ambrosian chant did not wholly escape
Gregorian influence. The earliest 8th-century fragments, and the more complete chantbooks from the 11th and 12th centuries that preserve the first recorded musical notation, show marked differences between the Gregorian and Ambrosian repertories. Later additions
402:
depending on its final pitch. Within each series, there are several possible psalm tones corresponding to the predominant pitch of the antiphon, which may or may not correspond to the "dominant" pitch of
Gregorian modes. Finally, each psalm tone is given a cadential formula that lets the tone segue
149:
than with the Roman. Ambrosian chant developed to meet the particular needs of the
Ambrosian liturgy. Although the Ambrosian rite is liturgically related to other rites and Ambrosian chant is musically related to other plainchant traditions, different categories of chant, different chant texts, and
414:. Psallendae comprise the largest category of Ambrosian Office chants. Two Psallendae, similar to the Marian antiphons of Gregorian chant, are performed on the more solemn Vespers, to cover processions. They conclude with one of several recitation tones that segue into the
560:. Of the four Gloria melodies, one is simple like the Symbolum melody, one is an expanded version of the simple melody, and one is a freely composed syllabic and neumatic melody consisting of only one or just a few pitches per syllable. The fourth melody is elaborately
298:
structure. Its most distinctive feature compared with other plainchant repertories is a significantly higher amount of stepwise motion, which gives
Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the
471:
and can be used throughout the year. They range from highly elaborate chants to simple reciting tones. There are relatively few
Lucernaria and Completaria; four Completaria are used for all but three days of the year.
198:
fought to keep the
Ambrosian rite intact during Spanish occupation, a contemporary edition of Ambrosian chant, published by Perego in 1622, attempts to categorize the Ambrosian chants into the eight Gregorian
555:
Only a small number of each of these ordinary chants exist: four Gloria melodies, four
Sanctus melodies, and just one melody for the Symbolum. The Symbolum melody is quite simple, just a slightly ornamented
150:
different musical styles make
Ambrosian chant a distinct musical repertory. By the 8th century, this chant was attested to be normative across northern Italy, perhaps reaching into southern Italy as well.
332:
prose, not metrical poetry, despite Ambrose having introduced Eastern hymnody to the West. Ambrosian chant serves two main functions in the Ambrosian liturgy: to provide music for the chanting of the
311:
are nearly absent from the notated scores, although it is unclear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription.
677:. While the Gregorian Offertories had lost their verses by the 12th century, some Ambrosian Offertoria retained their verses, every bit as complex as their defunct Gregorian counterparts.
816:), "Antiphonale Ambrosianum" (complete edition of the medieval ambrosian antiphoner, with original musical notation and complete liturgical context). Voll. I - II - III - IV - (V)
638:, reusing melodies for the texts of different feasts, than do the Gregorian Alleluias. Unlike the Gregorian Alleluia, the Ambrosian Alleluia kept an extended repeat called the
890:. New sources of Milanese Chant. Conference website with digital facsimiles of Houghton Library. MS Lat 388, Houghton Library. MS Lat 389, and Houghton Library. MS Typ 299.
271:. In accordance with Roman Catholic tradition, it is primarily intended to be sung by males, and many Ambrosian chants specify who is to sing them, using phrases such as
206:
Ambrosian chant has survived to the present day, although its use is now limited primarily to the greater part of the Archdiocese of Milan and environs, parts of
451:
hearkens back to the original function of Vespers as a time of lighting lamps, and the texts of Lucernaria usually contain some reference to light, such as
318:
does not apply to Ambrosian chant. Although there are no B♭notes indicated in the musical notation, it seems likely that they were understood, based on
45:
286:
Stylistically, the Ambrosian chant repertoire is not generally as musically uniform as the Gregorian. Ambrosian chants are more varied in length,
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are sung at Matins and Vespers in a rotating schedule so that all 150 Psalms are chanted every two weeks. The Psalms are each sung to a
885:
107:. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.
688:, so called because it originally involved the transfer of a book to the opposite side of the altar, corresponds to the Gregorian
190:
to see which chant had divine acceptance; miraculously, both books opened simultaneously, showing both were equally acceptable.
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161:, which began to influence and eventually replace most of the other Western plainchant traditions. By the 12th century, the
290:, and structure. Even within individual categories of chant, Ambrosian chants vary from short and formulaic to prolix and
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to the Ambrosian repertory, whose style differs from the earlier chants, may reflect Gregorian influence. Although St.
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has no psalm verse or doxology. While the Introit fills in the time that the celebrant processes to the altar, the
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chants of the Ambrosian repertoire are still largely unresearched, so only preliminary evaluations have been made.
484:. Plainchant occurs prominently in the Mass for several reasons: to communally affirm the faith, to expand on the
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692:. Many Transitorium texts are direct translations of Greek originals, although the melodies are not demonstrably
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432:, a verse, and a repetition of an expanded part of the respond. These expansions contain some of the longest
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203:, which is not generally accepted as an accurate reflection of the actual musical practice of the time.
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occur in both Matins and Vespers. Their names often identify who is to sing them: the boys' choir, the
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never have verses, while the other chants may have responds and verses, up to three verses for some
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is sung during the breaking of the bread, which has no counterpart in Gregorian chant. Finally, the
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496:, whose texts change depending on the feast. There are several differences between the
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dominates, contributing to the stepwise motion. More ornamental neumes such as the
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Between the 8th and 13th centuries, however, the Carolingian chant commissioned by
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is sung during the bringing of gifts to the altar, corresponding to the Gregorian
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lessons, and to accompany certain actions. The chants of the Mass divide into the
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of the Ambrosian chant repertoire, which often contain complex repeat structures.
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Liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church
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Only two of the few Sanctus melodies are regularly used, both fairly simple.
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803:, Gregorian Chant, pp. 465–483. Bloomington: Indiana University Press.
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traditions. Many chants are common to all three, with musical variation.
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418:. Antiphonae in choro are similar in style, but have no psalm or verse.
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504:, which are reflected in the Ambrosian and Gregorian chant traditions.
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214:. Most recently, it survived the changes to the liturgy established by
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The history of Milan as a centre for religious music goes back to St.
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Ambrosian chant is largely defined by its role in the liturgy of the
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753:"Weber, Jerome F. "Early Western Chant", Western Catholic Liturgics"
642:. During penitential periods, the Post Epistolam is replaced by the
598:
The next three proper chants follow and amplify three readings from
564:. All four melodies segue into a very simple threefold Kyrie chant.
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Antiphonale Missarum juxta ritum Sanctae Ecclesiae Mediolanensis
246:. Musically, however, Ambrosian chant is closely related to the
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650:. The Cantus melodies belong to a common type, related to the
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Liber Vesperalis juxta ritum Sanctae Ecclesiae Mediolanensis
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traditions. The chant following the final lesson, from the
463:. Stylistically, Lucernaria and Completaria vary. Some are
368:
91:
of the Roman Catholic Church, related to but distinct from
294:, and may be freely composed or show significant internal
340:, and to cover various actions in the celebration of the
540:
in the Roman rite. Unlike Gregorian chant, there is no
367:
The minor hours have little of musical interest: some
186:, one Gregorian and one Ambrosian, were placed on an
634:. Ambrosian Alleluias show an even higher degree of
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Nearly all of the texts used in Ambrosian chant are
137:Over time, the Milanese liturgy developed into the
36:
may be too technical for most readers to understand
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375:only. The main chants of the Office are those of
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552:does not exist as a separate category of chant.
467:, specific to certain feasts, while others are
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666:, which has no counterpart in the Roman Rite.
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480:The Mass is the Christian celebration of the
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583:in the Roman rite. Unlike the Introit, the
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735:sometimes show complex repeat structures.
614:reading, and corresponds to the Gregorian
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874:Grove Music – Access by subscription only
64:Learn how and when to remove this message
48:, without removing the technical details.
799:Jesson, Roy (1990). Ambrosian Chant. In
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813:Ricossa, Luca (2011–12), Luca Ricossa (
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141:, which shares more in common with the
103:much as Gregorian chant is named after
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872:ed. L. Macy (Accessed 30 April 2006),
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492:, whose texts are invariable, and the
439:Vespers begin with a chant called the
95:. It is primarily associated with the
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646:, which corresponds to the Gregorian
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218:, in part due to the prior tenure of
46:make it understandable to non-experts
779:"CATHOLIC ENCYCLOPEDIA: Plain Chant"
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868:Bailey, Terence: Ambrosian Chant ,
630:, and corresponds to the Gregorian
512:The ordinary chants consist of the
157:developed into what we now know as
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406:Other Vespers chants include the
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906:- Reference book, complete scan
898:- Reference book, complete scan
910:Free scores by Ambrosian chant
847:. W. W. Norton & Company.
822:Western Plainchant: A Handbook
1:
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914:Choral Public Domain Library
7:
626:follows the reading of the
508:Ordinary chants of the Mass
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324:"more perdulcis Ambrosii."
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1113:17th-century music genres
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571:Proper chants of the Mass
210:, and parts of the Swiss
839:Hoppin, Richard (1978).
314:The Gregorian system of
222:as Archbishop of Milan.
275:(by a boys' choir) and
226:General characteristics
122:Two methods of singing
985:Ethiopian and Eritrean
371:, and the simplest of
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356:Sant'Ambrogio Basilica
322:'s description of the
99:, and named after St.
1108:Medieval music genres
887:Ambrosiana at Harvard
820:Hiley, David (1995).
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261:, Ambrosian chant is
951:Christian liturgical
453:Quoniam tu illuminas
348:Chants of the Office
126:or other chants are
97:Archdiocese of Milan
83:) is the liturgical
879:16 May 2008 at the
824:. Clarendon Press.
591:is sung during the
579:corresponds to the
536:corresponds to the
461:Dominus illuminatio
412:Antiphonae in choro
1133:Western plainchant
870:Grove Music Online
759:on 24 October 2013
476:Chants of the Mass
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854:978-0-393-09090-1
831:978-0-19-816572-9
443:and end with the
212:Diocese of Lugano
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457:Paravi lucernam,
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196:Charles Borromeo
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733:Transitoria
671:Offertorium
449:Lucernarium
447:. The word
441:Lucernarium
422:Responsoria
303:called the
155:Charlemagne
1128:Song forms
1102:Categories
1052:Beneventan
1043:(Milanese)
801:Willi Apel
763:14 October
739:References
729:Offertoria
721:Psalmellus
636:adaptation
604:Psalmellus
562:melismatic
548:, and the
526:, and the
514:Laus Missa
502:Roman rite
486:scriptural
408:Psallendae
396:psalm tone
292:melismatic
281:subdeacons
273:cum Pueris
268:a cappella
263:monophonic
259:plainchant
244:Roman rite
216:Vatican II
132:antiphonal
85:plainchant
54:March 2019
1082:Old Roman
1077:Mozarabic
1072:Gregorian
1041:Ambrosian
1032:Plainsong
975:Byzantine
694:Byzantine
690:Communion
675:Offertory
662:, is the
652:Old Roman
600:Scripture
542:Agnus Dei
482:Eucharist
257:Like all
248:Gregorian
242:than the
175:Old Roman
163:Mozarabic
1067:Gelineau
1062:Gallican
1047:Anglican
1017:Znamenny
990:Galician
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877:Archived
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632:Alleluia
624:Alleluia
608:Prophecy
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585:Ingressa
577:Ingressa
534:Symbolum
524:Symbolum
500:and the
490:ordinary
469:ordinary
434:melismas
410:and the
383:and the
330:biblical
309:quilisma
305:climacus
279:(by the
238:and the
208:Lombardy
167:Gallican
143:Gallican
1087:Ravenna
1027:Western
995:Obikhod
962:Eastern
912:in the
794:Sources
640:jubilus
628:Epistle
616:Gradual
593:censing
581:Introit
529:Sanctus
430:respond
381:Vespers
338:Offices
296:melodic
288:ambitus
117:Ambrose
111:History
101:Ambrose
40:Please
1057:Celtic
1012:Syrian
1000:Kievan
980:Coptic
851:
828:
807:
731:, and
717:Cantus
711:, and
660:Gospel
644:Cantus
618:. The
610:, the
602:. The
532:. The
522:, the
519:Gloria
494:proper
465:proper
426:deacon
400:series
392:Psalms
385:Vigils
377:Matins
362:Office
334:Psalms
177:, and
171:Celtic
124:psalms
954:chant
648:Tract
550:Kyrie
538:Credo
369:hymns
316:modes
301:neume
201:modes
188:altar
849:ISBN
826:ISBN
805:ISBN
765:2013
699:The
680:The
669:The
654:and
575:The
544:nor
459:and
390:The
360:The
342:Mass
265:and
250:and
182:two
145:and
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622:or
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283:).
44:to
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727:,
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173:,
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767:.
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61:(
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