Gregorian chant - Knowledge

1722:. 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 1811:(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 1701:. 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 755: 9938: 9274: 1171:

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.

2114:), 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'. 2574: 2411: 1355: 1230: 1011: 9976: 746:, 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. 2138:. 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). 1891:(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. 2080:(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 9966: 6113: 987: 2332:; 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. 742:, 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 6123: 9926: 9286: 2160: 9986: 2498: 9956: 864:, 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. 2225:. 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 1344: 1781: 1518:. 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 2106:

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.

2345:, 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 2233:

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

1621:" (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. 1523:

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

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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'

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

1823:, 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 824:

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

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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

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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

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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

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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

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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.

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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

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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,

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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

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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

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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 (

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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

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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

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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

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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.

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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

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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.

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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).

2008:, 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 1938:, (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 1155:– 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 62: 63: 1500:, 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. 2472:. 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. 1533:, 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. 1995:

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.

1617:. 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 " 2429: 1248: 1377: 849:) 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." 2633:. 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 1932:, 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 1378: 1032: 1403: 2241:

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

61: 880:, 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 2494:, 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. 2127:

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.

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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

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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

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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

1990:, 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. 2637:. 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 1133:

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.

936:. 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 2592: 2043:

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

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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

2709:, 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 2427: 1222:

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.

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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

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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

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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 "

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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

1030: 1088:, 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 6160: 2359:

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

1402: 1108:, 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 2428: 1297:

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

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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

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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

1340:. 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. 825:

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

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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

1827:, 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 1374: 968:. Similarly, the Gregorian repertory incorporated elements of these lost plainchant traditions, which can be identified by careful stylistic and historical analysis. For example, the 778:

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,

7862: 2237:. 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. 1843: 1400: 860:

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

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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

1444:, 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 7691: 560:. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, 3668: 2591: 2021: 1880:

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

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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.

6153: 454:. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits 1693:

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

924:. 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 497:

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

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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

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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.

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

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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

1831:, 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 9258: 9253: 6146: 2047:, 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 964:

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

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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

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

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

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

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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

4700: 2420: 9323: 8362: 8089: 4339: 3012: 1554:-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 1275:

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

8041: 4483:– A collection of Gregorian chants, hymns and psalms (Spain, 1575–1625) from the University of British Columbia Library Digital Collections 1214:

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

8635: 8128: 1923:

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.

50: 9017: 8316: 7485: 2130:

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

1529:, a note not recognized by later Medieval writers). A diatonic scale with a chromatically alterable b/b-flat was first described by 501:

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

8770: 7957: 6870: 4746: 2404:

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

2271:

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

814:

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

9894: 8034: 7759: 7351: 5284: 2694:, were frequently arranged by Renaissance composers. The use of chant as a cantus firmus was the predominant practice until the 2375:, an early sequence writer, their origins lie in the addition of words to the long melismata of the jubilus of Alleluia chants. 681:. Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following 8464: 8406: 7965: 5776: 3673: 2026: 598:

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

2055:'s program of music education for children, until the liturgical role of chant was diminished after the liturgical reforms of 1697:

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

1613:, 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 4306: 4277: 4160: 4082: 3921: 3852: 1195:

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

841:

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

9890: 8274: 8170: 7883: 6950: 4776: 1978:

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

411: 116: 6945: 3980:

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

3590: 728:). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western 657:

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

9721: 9388: 9136: 9034: 8921: 7945: 7818: 6682: 6672: 590: 2538:. The psalm antiphons of the Office tend to be short and simple, especially compared to the complex Great Responsories. 2275:

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

10018: 9174: 8476: 8227: 7181: 5618: 5110: 1481:. Tracts are melismatic settings of psalm verses and use frequent recurring cadences and they are strongly centonized. 9989: 8306: 7975: 6897: 4419: 4379: 4290: 4264: 4238: 4215: 4192: 4127: 4105: 4042: 4019: 3995: 3973: 3943: 3888: 3815: 3624: 2751: 2669: 2207: 1548:. 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 6000: 2810: 2563:, are relatively late chants, dating to the 11th century, and considerably more complex than most Office antiphons. 2189: 1475:

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

9959: 9881: 9368: 9077: 8557: 8447: 7790: 7744: 6744: 5985: 5958: 4771: 2702: 2690:, so that the consecutive notes of the chant determined the harmonic progression. The Marian antiphons, especially 2181: 1915: 124: 1974:

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

8572: 8496: 8116: 8094: 7585: 7441: 7326: 5980: 4555: 2583: 1077: 798:

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

404: 7122: 6558: 5990: 5239: 3057: 2835: 716:. Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles ( 685:

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

10048: 8811: 8430: 8077: 8069: 8057: 7616: 7356: 7346: 6840: 6229: 5296: 4904: 4786: 2185: 9886: 9664: 9106: 8685: 8660: 8269: 7913: 7855: 5105: 2676:" were based on Gregorian melodies. Beginning with the improvised harmonizations of Gregorian chant known as 4518: 638: 9800: 9422: 9383: 9309: 9146: 8665: 8655: 8111: 7657: 7559: 5224: 5139: 4739: 2698:

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

1119:

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

957: 4494: 2672:" adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance " 10038: 9979: 9949: 9350: 9111: 8481: 8254: 7097: 6339: 2761: 4394: 3692:

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

2066:. The note lengthenings recommended by the Solesmes school remain influential, though not prescriptive. 1109: 829:

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

9488: 9120: 8145: 7928: 7490: 7221: 6687: 6103: 5968: 4766: 1514:

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

242: 112: 7194: 4478: 1982:, a renowned monastic reformer, praised the intellectual and musical virtuosity to be found in chant: 1835:. Another form of early notation used a system of letters corresponding to different pitches, much as 10023: 9790: 9594: 9179: 8881: 8192: 7686: 7681: 5963: 5638: 5633: 5279: 3104:

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

3052: 2991: 2245:

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

1364: 1043: 999: 754: 41: 7047: 2714: 660:

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

10033: 9969: 9866: 9754: 9357: 9012: 8587: 8104: 7934: 7843: 6756: 6666: 4455: 2361: 2170: 1595:

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

897: 650: 1112:, as part of a conservative backlash following the liberal Catholic orders' inefficacy during the 10043: 8630: 8486: 8213: 7873: 7754: 7665: 7604: 7515: 6917: 6551: 6401: 6116: 5264: 5194: 4732: 4144: 4066: 3905: 3836: 2706: 2263: 2174: 2094: 1298: 1192: 89: 6138: 5975: 3725: 2567:

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

2297:

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

1038:

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

10028: 9905: 9761: 9599: 9417: 9399: 9101: 8987: 8700: 7986: 7980: 7769: 7764: 7427: 7361: 6506: 6126: 6005: 5811: 5467: 5154: 2756: 2457: 1963: 1735: 1452:, are not considered antiphonal chants, although they are often performed in antiphonal style. 1449: 4847: 4152: 4074: 3913: 3844: 9821: 9669: 9644: 9363: 8997: 8982: 8695: 8552: 8459: 8259: 8242: 8155: 8099: 7879: 7701: 7072: 6850: 6584: 6067: 5382: 5234: 5090: 5085: 4947: 3870: 3829:; Szendrei, Janka; Payne, Thomas B.Payne; Bent, Margaret; Chew, Geoffrey (2001). "Notation". 2483:, like the Kyrie, also contain repeated texts, which their musical structures often exploit. 2012:

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

1986:

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

1683: 1390: 451: 195: 120: 9047: 5529: 5159: 9900: 9740: 9659: 9589: 9513: 9508: 9378: 9229: 9224: 9219: 9214: 9209: 9204: 9199: 9194: 9189: 9156: 9083: 8926: 8886: 8705: 8607: 8582: 8521: 8326: 8301: 8237: 8014: 8002: 7296: 7067: 6880: 6833: 6710: 6696: 6657: 6406: 6299: 5879: 5874: 5781: 5598: 5585: 5534: 5503: 5452: 5343: 5189: 5004: 4989: 4932: 4882: 4842: 4799: 4575: 4449: 2665: 2598:

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

2384: 2367: 1489: 1184: 1179: 322: 317: 267: 237: 222: 149: 9448: 5249: 5019: 3864: 2075: 1886: 1120: 900:

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

872:

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

8: 9942: 9564: 9332: 9278: 9002: 8992: 8941: 8799: 8785: 8645: 8387: 8150: 7995: 7940: 7901: 7554: 7341: 7199: 6766: 6739: 6661: 6191: 6082: 6077: 5925: 5708: 5498: 5397: 5328: 5204: 5199: 5144: 5060: 5030: 4887: 4877: 4832: 4794: 4548: 3617:

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

3010:

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

2222: 1663: 1069: 662: 564:

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

359: 232: 144: 7077: 5169: 4811: 2822: 2229:

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

2036: 1734:; and in longer chants with clear textual divisions such as the Great Responsories, the 1440:. Over time, the verses were reduced in number, usually to just one psalm verse and the 9930: 9876: 9871: 9860: 9649: 9579: 9478: 9290: 9067: 8836: 8760: 8728: 8547: 8516: 8353: 8341: 8202: 8140: 7739: 7696: 7645: 7627: 7535: 7505: 7139: 6979: 6775: 6706: 6638: 6577: 6036: 6026: 5995: 5806: 5786: 5628: 5524: 5472: 5432: 5417: 5333: 5184: 5095: 4867: 4369: 4356: 4227: 4181: 3957: 3082: 2491: 1555: 1519: 1116:, called for returning to the "purer" Gregorian chant of Rome over French corruptions. 877: 811: 735: 709: 697: 667: 594: 9584: 8856: 2102:

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

1218:, a connected group of notes, written as a single compound neume, abound in the text. 9838: 9826: 9711: 9706: 9639: 9549: 9534: 9236: 9141: 8916: 8902: 8876: 8861: 8765: 8750: 8680: 8670: 8539: 8471: 8372: 8336: 8232: 7918: 7833: 7828: 7540: 7281: 7149: 7024: 6749: 6642: 6618: 6537: 6475: 6457: 6122: 5908: 5796: 5766: 5726: 5673: 5608: 5519: 5514: 5462: 5422: 5359: 5338: 5244: 5229: 5179: 5040: 4999: 4927: 4837: 4680: 4564: 4415: 4375: 4302: 4286: 4273: 4260: 4234: 4211: 4188: 4156: 4123: 4101: 4078: 4038: 4015: 3991: 3969: 3939: 3917: 3884: 3848: 3811: 3620: 3212: 3086: 3074: 2818: 2736: 2630: 2480: 2396: 2356: 2009: 1967: 1731: 1641: 1537: 1493: 1431: 1113: 1097: 846: 682: 619: 391: 344: 272: 262: 257: 166: 9503: 6528: 3825:

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

2717:. These polyphonic arrangements usually incorporate elements of the original chant. 1670:

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

9854: 9696: 9609: 9559: 9544: 9483: 9473: 9346: 9126: 8931: 8911: 8831: 8816: 8715: 8617: 8491: 8331: 8289: 8284: 8264: 8247: 8160: 7867: 7850: 7838: 7778: 7677: 7620: 7544: 7525: 7520: 7468: 7463: 7301: 7237: 7210: 7161: 6803: 6732: 6701: 6677: 6611: 6511: 6237: 5920: 5668: 5591: 5544: 5508: 5478: 5457: 5149: 5134: 4893: 4665: 4513:(resources, including articles and editions of Sankt Gallen notations) (in German). 4436: 4430: 4385: 4348: 4331: 4296: 4198: 4148: 4070: 4025: 3931: 3909: 3840: 3733: 3216: 3099: 3066: 3021: 2741: 2661: 2298: 2286: 2272: 2063: 2051:

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

1951: 1485:

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

1215: 1188: 1183:, Pius X mandated the use of Gregorian chant, encouraging the faithful to sing the 1156: 1093: 834: 743: 725: 654: 522: 354: 277: 252: 4327: 4320: 4009: 9910: 9701: 9614: 9569: 9493: 9468: 9458: 9412: 9393: 9184: 9151: 9095: 9089: 8946: 8851: 8755: 8061: 8026: 7889: 7749: 7651: 7599: 7500: 7415: 7082: 6974: 6798: 6547: 6490: 6436: 6374: 6344: 6262: 6252: 6247: 6208: 6196: 6177: 6072: 5801: 5761: 5697: 5653: 5045: 5024: 5009: 4955: 4862: 4695: 4690: 4654: 4598: 4588: 2660:

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

2543: 2515: 2372: 2350: 2254: 1905: 1820: 1759: 1754: 1719: 1659: 1652: 1630: 1605: 1570: 1318: 853: 791: 779: 721: 634: 611: 599: 565: 561: 557: 545: 478: 463: 227: 33: 4337:

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

2059:, and new scholarship "essentially discredited" Mocquereau's rhythmic theories. 473:

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

9832: 9805: 9785: 9747: 9691: 9634: 9629: 9463: 9247: 9072: 8866: 8841: 8805: 8745: 8738: 8733: 8723: 8577: 8562: 8501: 8377: 8367: 8123: 7823: 7733: 7595: 7458: 7004: 6984: 6962: 6957: 6925: 6875: 6771: 6257: 6242: 6169: 6031: 5901: 5891: 5771: 5702: 5663: 5643: 5623: 5353: 5323: 5209: 5065: 5035: 4755: 4675: 4660: 4630: 4603: 4583: 4541: 4432:

Einführung in die Gregorianischen Melodien. Ein Handbuch der Choralwissenschaft

4115: 4093: 4005: 3594: 2807: 2731: 2626: 2258: 2143: 2032: 1975: 1909: 1658:

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

1647:

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

1636:

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

1625:

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

1515: 1310: 1085: 893: 857: 807: 783: 763: 739: 642: 553: 467: 455: 447: 334: 282: 97: 8440: 6542: 3025: 10012: 9795: 9619: 9604: 9498: 9131: 9057: 9023: 9007: 8967: 8650: 8625: 8401: 8311: 8296: 8218: 7795: 7774: 7565: 7388: 7383: 7204: 6761: 6722: 6717: 6607: 6326: 6288: 5837: 5736: 5603: 5571: 5427: 5348: 4994: 4872: 4855: 4533: 4313: 3961: 3106:, ch. 1, "The curtain goes up", p. 6. (Oxford: Oxford University Press, 2010) 3078: 2814: 2746: 2686: 2654: 2638: 2634: 2487: 2328: 2313: 2281: 2268: 1928: 1913:

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

1847: 1824: 1746: 1637: 1600: 1477: 1277: 1151: 1142: 842: 799: 795: 626: 526: 506: 498: 494: 482: 201: 5174: 4711: 4506: 3070: 2792: 1950:, but the sequences, like the tropes, were later officially suppressed. The 458:

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

9768: 9554: 9539: 9529: 9241: 9116: 8972: 8936: 8675: 8597: 8441: 8187: 8182: 8177: 8165: 8008: 7970: 7951: 7510: 7394: 7286: 7226: 7216: 7062: 6969: 6907: 6828: 6623: 6573: 6354: 6219: 6062: 5869: 5832: 5791: 5756: 5731: 5716: 5214: 5050: 4825: 4670: 4640: 4625: 4620: 4613: 4593: 4444: 4052: 3637:

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

2710: 2684:. Often, a Gregorian chant (sometimes in modified form) would be used as a 2650: 2646: 2502: 2469: 2056: 2052: 1979: 1859:

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

1836: 1745:

Chants sometimes fall into melodically related groups. The musical phrases

1698: 1675: 1671: 1566: 1559: 1509: 1289:, and full cadences. These chants are primarily syllabic. For example, the 1175: 1129: 1089: 990:

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

965: 921: 830: 803: 729: 717: 510: 474: 349: 312: 302: 4470: 3463: 9716: 9654: 9624: 9453: 9042: 8871: 8846: 8821: 8794: 8781: 8690: 8592: 8279: 7813: 7727: 7670: 7405: 7189: 7107: 7092: 7052: 7014: 6940: 6782: 6316: 6310: 6294: 6057: 6052: 5847: 5219: 5164: 5070: 4918: 4056: 3953: 3826: 2436: 2004:

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

1679: 1648: 1626: 1467:, and the Office Responsories originally consisted of a refrain called a 1146: 975: 933: 881: 873: 861: 787: 775: 759: 675: 630: 481:, and also characteristic intervallic patterns relative to a referential 459: 160: 5126: 4371:

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

3737: 1544:, in which pitches in the singing range were organized into overlapping 932:, but not the Roman-backed prelates newly installed in Spain during the 178: 8826: 8411: 7784: 7530: 7422: 7230: 7112: 7042: 6999: 6930: 6450: 6446: 6413: 6381: 6304: 6173: 5648: 5318: 5014: 4980: 4975: 3803: 2726: 2607: 2564: 2527: 2448: 2048: 1877: 1816: 1812: 1702: 1472: 1418: 1328:, include both recitatives and free melodies. Psalmodic chants include 1272: 1263: 1196: 1065: 1055: 986: 970: 953: 917: 821: 771: 701: 646: 549: 502: 173: 75: 9301: 4942: 4360: 3863: 3678:(1916). "Zur ursprünglichen Ausführung des Gregorianischen Gesanges". 2680:, Gregorian chants became a driving force in medieval and Renaissance 1618: 585:

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

247: 9574: 7907: 7894: 7610: 7478: 7473: 7452: 7410: 7129: 7102: 6902: 6892: 6727: 6652: 6602: 6495: 6364: 6349: 6334: 6214: 5859: 5721: 5539: 5274: 4645: 4471:""The living textbook" on the choral notation of the Gregorian chant" 2681: 2673: 2642: 2401: 1959: 1723: 1575: 1545: 1464: 1138: 925: 826: 534: 514: 439: 435: 307: 183: 21: 4937: 3780: 2159: 9925: 9285: 8640: 8394: 8382: 7720: 7639: 7574: 7306: 7276: 7271: 7252: 7171: 6860: 6845: 6647: 6480: 6441: 6359: 6282: 6021: 5941: 5864: 5827: 5310: 5100: 5080: 5055: 4352: 4137:

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

2535: 2519: 2461: 2336: 2309: 1943: 1873: 1460: 1441: 1436: 1314: 909: 686: 607: 375: 189: 2421:

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

1842: 1471:

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

916:

although not without local resistance. The Gregorian chant of the

8897: 8511: 8133: 7311: 7291: 7117: 7009: 6989: 6823: 6631: 6627: 6532: 6516: 6485: 6369: 6168: 5935: 5913: 5884: 5842: 5613: 5269: 4817: 4804: 4724: 4608: 4526: 4100:. Bloomington, Indiana: Indiana University Press. pp. 1–22. 2695: 2677: 2476: 2341: 2323: 2319: 2305: 2276: 2267:

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

1947: 1939: 1934: 1920: 1869: 1764: 1750: 1530: 1456: 1427: 1302: 1290: 1286: 1282: 1219: 941: 905: 889: 885: 705: 690: 615: 582: 530: 529:

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

490: 486: 369: 327: 154: 26: 1908:(by male and female religious) and for singing the parts of the 810:, over a brief period in the 8th century, a project overseen by 770:

The Gregorian repertory was further systematized for use in the

674:(Jewish) psalms with Alleluia as the refrain in early Christian 9063:

Pope Pius XII 1942 consecration to the Immaculate Heart of Mary

8506: 8416: 8321: 7378: 7242: 7057: 6994: 6935: 6887: 6865: 6563: 6521: 5658: 5580: 5075: 2625:

Gregorian chant had a significant impact on the development of

2531: 2523: 2497: 1955: 1832: 1558:. The use of notes outside of this collection was described as 1325: 1306: 1301:

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

1294: 1125: 901: 815: 671: 586: 2808:

The Constitution on the Sacred Liturgy, Second Vatican Council

1926:

Chant was normally sung in unison. Later innovations included

940:

due to the musical reputation and ecclesiastical authority of

7316: 7266: 7154: 7134: 7087: 6855: 6568: 6499: 5930: 5854: 4567: 2465: 2391: 1954:

struck sequences from the Gregorian corpus, except those for

1807: 1793: 1739: 1727: 1694: 1682:, these are not considered distinct modes and are treated as 1445: 1149:, promptly accepted the Solesmes chant – now compiled as the 949: 937: 929: 838: 541: 518: 443: 364: 1690:

psalmverses, Alleluia and Gloria Patri for all eight modes.

7548: 7400: 7165: 7019: 2346: 1497: 1271:

Gregorian chants fall into two broad categories of melody:

1073: 713: 603: 4051: 3469: 2997: 2122:) between the two types of variables reaches its maximum ( 1343: 774:, and scholars weigh the relative influences of Roman and 8952:

Dechristianization of France during the French Revolution

7261: 7144: 4435:(in German). Leipzig: Breitkopf & Härtel – via 4301:, 2nd edition, Libreria editrice Vaticana, Vatican 1975, 3053:"Hartker, Gregor und die Taube: Zum Codex CH-SGs 390/391" 2439:; example of musical repeat structures in Gregorian chant 1798:

The earliest notated sources of Gregorian chant (written

1780: 1540:

revolutionized Western music with the development of the

806:

with Roman chants to the Carolingian court. According to

3824: 3786: 3475: 3451: 3379: 3319: 3235: 3223: 3215:. Tournay, Belgium: Desclée & Cie. 1937 – via 978:

are believed to be a remnant of the Gallican repertory.

4285:(1984 / 1990) Chris Hakkennes, Stichting Lagal Utrecht 3439: 3427: 3403: 3391: 3355: 3181: 3032: 2929: 2881: 2322:

are responsorial chants that follow the reading of the

689:

psalmody became popular in the Christian East; in 386,

4458:

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

3744: 3295: 3283: 3169: 2955: 2657:

accidentals derived directly from Gregorian notation.

1726:; in chants with shorter, repeating texts such as the 8983:

Dogma of the Immaculate Conception of the Virgin Mary

3559: 3331: 3271: 3259: 3157: 2893: 2534:, and the Short Responsories of the Lesser Hours and 2090:

newly understood principles in performance practice.

633:: "When they had sung the hymn, they went out to the 517:. Gregorian melodies are traditionally written using 3898:

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

3756: 3487: 3415: 3367: 3343: 3307: 3193: 3133: 3121: 3109: 2773: 1904:

Gregorian chant was originally used for singing the

1868:

written in succession, read from left to right. The

981: 593:

worship significantly influenced and contributed to

576: 544:

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

533:, were an early stage in the development of Western 477:. Typical melodic features include a characteristic 3768: 3571: 3547: 3535: 3523: 3511: 3499: 3247: 2967: 2917: 2905: 1409:

Example of responsorial psalmody in Gregorian chant

1254:

Example of liturgical recitative in Gregorian chant

8056: 4226: 4180: 3810:. Bloomington, Indiana: Indiana University Press. 3145: 2979: 2501:Plainchant notation for the solemn setting of the 720:), Spain (Mozarabic), Gaul (Gallican), and Italy ( 7634:Historical roots of Catholic Eucharistic theology 3726:"Rhythm and metre in French Classical plainchant" 2869: 2857: 2620: 2253:Gregorian chant is sung in the Office during the 1384:Example of antiphonal psalmody in Gregorian chant 10010: 9053:Persecutions of the Catholic Church and Pius XII 2522:Office, primarily in antiphons used to sing the 2353:is chanted, usually with texts from the Psalms. 2279:(the collection of Mass Ordinary settings). The 2227:Graduale Novum Editio Magis Critica Iuxta SC 117 1710:was transcribed using a different mode in each. 4395:"Gregorian Chant as a Paradigm of Sacred Music" 3659:. Den Haag: Stichting Centrum voor de Kerkzang. 2791:Development of notation styles is discussed at 1281:. Other pitches appear in melodic formulae for 1024:, Gradual for the Mass (first Sunday of Advent) 833:. The Metz project also invented an innovative 749: 4563: 2378: 1599:is a secondary pitch that usually serves as a 1191:for males. While this custom is maintained in 9317: 8042: 6154: 4740: 4716: 4549: 4340:Journal of the American Musicological Society 4059:; Zon, Bennett Mitchel (2001). "Plainchant". 3013:Journal of the American Musicological Society 867: 618:" derives from the threefold "kadosh" of the 505:, producing a larger pitch system called the 412: 6325: 4447:(April 1906). "The Reform in Church Music". 4172:Gregorian Chant According to the Manuscripts 2946: 2944: 2292: 1863:on a four-line staff with a clef, as in the 5390: 4178: 3481: 2188:. Unsourced material may be challenged and 1565:Gregorian chant was categorized into eight 9324: 9310: 9068:Dogma of the Assumption of the Virgin Mary 9018:Prayer of Consecration to the Sacred Heart 8049: 8035: 7486:Communion and the developmentally disabled 6161: 6147: 4747: 4733: 4556: 4542: 3968:. New York: W. W. Norton. pp. 37–54. 3636: 2823:Catholic World News 28 June 2006 2803: 2801: 2289:and the most commonly used Office chants. 1569:, influenced by the eightfold division of 1187:, although he reserved the singing of the 766:'s shoulder symbolizes Divine Inspiration. 602:have their roots in Jewish prayer hours. " 540:Gregorian chant was traditionally sung by 419: 405: 4488:"Singing Gregorian Chant: Pitch and Mode" 4210:. Mineola, New York: Dover Publications. 4187:. Boston: Northeastern University Press. 3861: 2950: 2941: 2505:; a simple setting is used more commonly. 2316:often dominate their melodic structures. 2208:Learn how and when to remove this message 1368:, Introit for Week XXXIV of Ordinary Time 1240:Epistle for the Solemn Mass of Easter Day 1167:marks not found in the original sources. 548:in their chapels. It is the music of the 6871:Extraordinary minister of Holy Communion 4136: 4114: 3038: 2935: 2899: 2541:At the close of the Office, one of four 2496: 1841: 1779: 1488:The non-psalmodic chants, including the 1342: 985: 753: 20: 9331: 7760:General Instruction of the Roman Missal 7352:General Roman Calendar of Pope Pius XII 5381: 5285:List of Galician-Portuguese troubadours 4205: 4153:10.1093/gmo/9781561592630.article.05705 4075:10.1093/gmo/9781561592630.article.40099 4032: 4004: 3966:Performance Practice: Music before 1600 3914:10.1093/gmo/9781561592630.article.46758 3878: 3845:10.1093/gmo/9781561592630.article.20114 3750: 3714:. New York: Norton & Comp., p. 166. 3691: 3337: 3325: 3301: 3289: 3277: 3265: 3241: 3175: 3163: 2798: 2509: 2248: 581:Singing has been part of the Christian 10011: 4259:(1979). Tournai: Desclée & Socii. 4224: 4169: 4092:Mahrt, William P. (2000). "Chant". In 4055:; Emerson, Johm A.; Bellingham, Jane; 3723: 3421: 3349: 3313: 3127: 3115: 2779: 2312:, and a final repeat of the antiphon. 2149: 509:. The chants can be sung by using six- 9305: 8030: 6142: 4728: 4715: 4537: 4317:(1953). Tournai: Desclée & Socii. 4098:A Performer's Guide to Medieval Music 4091: 3985: 3952: 3930: 3762: 3724:Holman, Christopher (November 2017). 3577: 3529: 3493: 3457: 3385: 3373: 3229: 3199: 3139: 3050: 3009: 2973: 2961: 2923: 2911: 2887: 1851:in square notation (excerpt from the 856:. Nevertheless, the lore surrounding 9955: 9717:Pontifical Athenaeum of Saint Anselm 3897: 3874:. New York: Robert Appleton Company. 3802: 3774: 3565: 3553: 3541: 3517: 3505: 3445: 3433: 3409: 3397: 3361: 3253: 3187: 3151: 2985: 2875: 2863: 2186:adding citations to reliable sources 2153: 1579:. Each mode is distinguished by its 434:is the central tradition of Western 9985: 9895:Catholic–Eastern Orthodox relations 9389:Liturgical reforms of Pope Pius XII 8922:Suppression of the Society of Jesus 7946:Liturgical reforms of Pope Pius XII 7819:Anaphora of the Apostolic Tradition 5111:Other troubadours and trobairitz... 641:). Other ancient witnesses such as 13: 8477:Archbasilica of Saint John Lateran 4754: 4272:, Libreria Editrice Vaticana 2011 4249: 3883:. University of California Press. 3000:, §2: History to the 10th century. 2572: 2409: 1417:Problems playing these files? See 1353: 1228: 1009: 629:mentions singing hymns during the 14: 10060: 7976:Sacraments of the Catholic Church 4463: 4453:. Vol. 97. pp. 455–463. 4393:Mahrt, William P. (Spring 2006). 2752:Proportionalism (Gregorian chant) 2670:Nun bitten wir den Heiligen Geist 1347:Antiphonary with Gregorian chants 982:Early sources and later revisions 948:11th centuries. For example, the 577:Development of earlier plainchant 9984: 9975: 9974: 9965: 9964: 9954: 9936: 9924: 9891:Anglican–Roman Catholic dialogue 9882:Modernism in the Catholic Church 9722:Saint John's Abbey, Collegeville 9369:Belgian Benedictine Congregation 9284: 9272: 8603:Fourth Council of Constantinople 8558:Second Council of Constantinople 6202:After the Second Vatican Council 6121: 6112: 6111: 4326:, PDF (115 MB) musicasacra.com; 4179:Neuls-Bates, Carol, ed. (1996). 3868:. In Herbermann, Charles (ed.). 3593:. Calumcille.com. Archived from 2836:"The History of Gregorian Chant" 2606:Problems playing this file? See 2588: 2447:Problems playing this file? See 2425: 2395:distinguished by its use of the 2158: 1713: 1455:Responsorial chants such as the 1398: 1372: 1262:Problems playing this file? See 1244: 1208: 1054:Problems playing this file? See 1028: 786:using Roman chant. According to 74:Problems playing this file? See 57: 9364:French Benedictine Congregation 8573:Third Council of Constantinople 8497:First Council of Constantinople 6574:Niceno-Constantinopolitan Creed 3717: 3704: 3685: 3662: 3649: 3630: 3609: 3591:"The symbolism of chant rhythm" 3583: 3205: 3093: 3044: 3003: 2514:Gregorian chant is sung in the 2326:. Graduals usually result from 1324:Psalmodic chants, which intone 1203: 666:, attributed to the theologian 442:, unaccompanied sacred song in 8812:Dissolution of the monasteries 8078:History of the Catholic Church 7357:General Roman Calendar of 1960 7347:General Roman Calendar of 1954 4033:Hoppin, Richard, ed. (1978b). 3988:Western Plainchant: A Handbook 2828: 2785: 2621:Medieval and Renaissance music 2142:be altered to be performed in 1894: 1426:Antiphonal chants such as the 42:Henry, patron saint of Finland 1: 9887:Catholic Church and ecumenism 8686:Fourth Council of the Lateran 8661:Second Council of the Lateran 8270:Apostles in the New Testament 7914:Fourth Council of the Lateran 5106:William IX, Duke of Aquitaine 4507:"Willkommen auf der Homepage" 4243:– via Internet Archive. 4120:Antiquity and the Middle Ages 3795: 1799: 1104:, published in 1582, and the 956:at the behest of the Emperor 527:four-line and five-line staff 9384:Sacred Congregation of Rites 8800:Catholic Counter-Reformation 8666:Third Council of the Lateran 8656:First Council of the Lateran 8112:Catholic ecumenical councils 7863:Dicastery for Divine Worship 7560:Thanksgiving after Communion 3639:Tijdschrift voor Gregoriaans 3058:Archiv für Musikwissenschaft 2664:. Vernacular hymns such as " 2615: 2285:contains the chants for the 1853:Kyrie eleison (Orbis factor) 1763:family of Graduals. Several 1394:, tract for the Requiem Mass 750:Origins of mature plainchant 7: 9351:Mass in the Catholic Church 6340:Chapter and Conventual Mass 4777:List of musical instruments 4410:Robinson, Ray, ed. (1978). 4299:in usum minorum ecclesiarum 4035:Anthology of Medieval Music 3881:The Early Medieval Sequence 3732:. 45, vol. 4 (4): 657–664. 2762:Semiology (Gregorian chant) 2720: 2379:Ordinary chants of the Mass 2039:, who fell into two camps. 1786:Iubilate deo universa terra 1775: 1503: 1159:marks and note-lengthening 10: 10065: 9791:Gillespie, Kidd & Coia 8146:History of the Roman Curia 7929:History of the Roman Canon 7491:Communion under both kinds 7222:Divine Worship: The Missal 4479:"Spanish Chant Manuscript" 4368:Le Mée, Katharine (1994). 3938:. New York: W. W. Norton. 3936:A History of Western Music 2257:and in the liturgy of the 1919:or other choirs except in 1899: 1791: 1772:throughout the repertory. 1507: 868:Dissemination and hegemony 708:psalm at Mass. At c. 520, 571: 10019:Catholic liturgical music 9919: 9847: 9814: 9778: 9730: 9682: 9595:Reynold Henry Hillenbrand 9522: 9441: 9434: 9339: 9267: 9167: 9033: 8960: 8895: 8882:European wars of religion 8779: 8714: 8616: 8538: 8429: 8352: 8212: 8201: 8193:Eastern Catholic Churches 8068: 7806: 7710: 7687:Priesthood of Melchizedek 7584: 7440: 7371: 7334: 7325: 7251: 7180: 7033: 6916: 6816: 6791: 6593: 6466: 6429: 6422: 6394: 6275: 6228: 6184: 6093: 6045: 6014: 5951: 5820: 5749: 5690: 5639:Matheus de Sancto Johanne 5634:Johannes Symonis Hasprois 5569: 5565: 5491: 5445: 5410: 5377: 5308: 5304: 5295: 5280:Galician-Portuguese lyric 5225:Jehan le Cuvelier d'Arras 5140:Andrieu Contredit d'Arras 5125: 4974: 4916: 4912: 4903: 4785: 4762: 4722: 4717:Links to related articles 4639: 4574: 4208:A Treasury of Early Music 3879:Crocker, Richard (1977). 3615:van Kampen, Dirk (1994). 3051:Weyer, Christoph (2020). 3026:10.1525/jams.2003.56.1.43 2825:both accessed 5 July 2006 2641:had become standard. The 2293:Proper chants of the Mass 1998: 1044:Schola Antiqua of Chicago 1022:Universi qui te expectant 738:, biographer (c. 872) of 670:, attests the singing of 36:in the 14th–15th century 9867:Klosterneuburg Monastery 9755:Mystici Corporis Christi 9358:Lex orandi, lex credendi 9013:Mary of the Divine Heart 8636:Clash against the empire 8588:Second Council of Nicaea 8482:Old St. Peter's Basilica 7961:(apostolic constitution) 7935:Lex orandi, lex credendi 7844:Eastern Catholic liturgy 6946:Candles and candlesticks 5669:Antonio Zacara da Teramo 4229:Music of the Middle Ages 4170:Murray, Gregory (1963). 3712:Music in the Middle Ages 3655:Chris Hakkennes (1984). 2767: 2362:Victimae paschali laudes 1110:Alexandre-Étienne Choron 758:A dove representing the 9943:Vatican City portal 9279:Vatican City portal 8631:Investiture Controversy 8487:First Council of Nicaea 7874:Ecclesia de Eucharistia 7666:Origin of the Eucharist 6402:Liturgical use of Latin 5195:Gillebert de Berneville 4772:List of music theorists 4145:Oxford University Press 4067:Oxford University Press 3906:Oxford University Press 3865:"Gregorian Chant" 3837:Oxford University Press 3213:"Paléographie musicale" 3071:10.25162/afmw-2020-0014 2095:Alexander M. Schweitzer 1193:traditionalist Catholic 9931:Catholicism portal 9906:Second Vatican Council 9762:In cotidianis precibus 9600:Josef Andreas Jungmann 9418:Ottaviani Intervention 9400:Sacrosanctum concilium 9291:Catholicism portal 9102:Second Vatican Council 8988:Our Lady of La Salette 8795:Protestant Reformation 8782:Protestant Reformation 8701:Second Council of Lyon 8090:Ecclesiastical history 7987:Sacrosanctum concilium 7981:Second Vatican Council 7770:Intercession of saints 7765:Holy day of obligation 7362:General Roman Calendar 5468:Gherardello da Firenze 5155:Le Chastelain de Couci 4948:Philippe le Chancelier 4599:Ethiopian and Eritrean 4519:"The Graduale Project" 4429:Wagner, Peter (1911). 4225:Wilson, David (1990). 4206:Parrish, Carl (1986). 4174:. L. J. Cary & Co. 3862:Bewerunge, H. (1913). 2845:. St. Cecillia's Abbey 2795:, accessed 4 July 2006 2715:Tomás Luis de Victoria 2692:Alma Redemptoris Mater 2584:Alma Redemptoris Mater 2577: 2551:(see top of article), 2549:Alma Redemptoris Mater 2547:is sung. These songs, 2506: 2414: 1992: 1856: 1825:St. Martial de Limoges 1805:) used symbols called 1789: 1358: 1348: 1233: 1014: 1004: 993:Codex Sangallensis 359 767: 525:from which the modern 82: 10049:Medieval music genres 9489:André-Jean Festugière 9424:Book of Common Prayer 8998:First Vatican Council 8696:First Council of Lyon 8460:Constantine the Great 8156:Christian monasticism 7880:Eucharistic adoration 7702:Year of the Eucharist 7195:Ceremonial of Bishops 6612:prayer over the gifts 5777:Johannes de Garlandia 5091:Raimbaut de Vaqueiras 3986:Hiley, David (1995). 3871:Catholic Encyclopedia 2576: 2500: 2413: 1984: 1845: 1788:in unheightened neume 1783: 1767:in mode 3, including 1357: 1346: 1232: 1145:died. His successor, 1040:Responsorium Graduale 1013: 989: 845:lines (attributed to 818:and throughout Gaul. 757: 614:, and the threefold " 452:Roman Catholic Church 138:Movements and schools 24: 9901:Crypto-Protestantism 9741:Tra le sollecitudini 9660:Maria Luise Thurmair 9514:Maurice de la Taille 9379:Liturgy of the Hours 9175:Sexual abuse scandal 9084:Mit brennender Sorge 8927:Age of Enlightenment 8706:Bernard of Clairvaux 8583:Byzantine Iconoclasm 8522:Council of Chalcedon 8302:Council of Jerusalem 8171:Role in civilization 8151:Religious institutes 8083:By country or region 8015:Tra le sollecitudini 8003:Traditionis custodes 6881:Eucharistic Congress 6697:Memorial Acclamation 6658:Words of Institution 6407:Ecclesiastical Latin 6300:Pontifical High Mass 6098:Also music theorist* 5782:Johannes de Grocheio 5599:Conradus de Pistoria 5586:Philippus de Caserta 5535:Philippus de Caserta 5504:Antonello da Caserta 5453:Andreas de Florentia 5344:Guillaume de Machaut 5005:Bernart de Ventadorn 4990:Aimeric de Peguilhan 4933:Albertus Parisiensis 4883:Adam of Saint Victor 4843:Saint Martial school 4800:Notker the Stammerer 4565:Christian liturgical 4450:The Atlantic Monthly 4445:Ward, Justine Bayard 3956:(1990). "Chant". In 3682:, 81–82. (in German) 2813:20 December 2012 at 2666:Christ ist erstanden 2557:Regina caeli laetare 2510:Chants of the Office 2460:recites the Greater 2368:Veni Sancte Spiritus 2249:Liturgical functions 2223:melodic restitutions 2182:improve this section 1946:chants known as the 1490:Ordinary of the Mass 1313:, and in the direct 1185:Ordinary of the Mass 1180:Tra le sollecitudini 1128:, Regensburg) which 1086:St. Pierre, Solesmes 794:abolished the local 9670:Cirpirano Vagaggini 9333:Liturgical Movement 9003:Papal infallibility 8993:Our Lady of Lourdes 8942:Shimabara Rebellion 8786:Counter-Reformation 7996:Summorum Pontificum 7941:Liturgical Movement 7902:Eucharistic miracle 7555:Spiritual communion 7342:Tridentine calendar 6192:Pre-Tridentine Mass 5709:Contenance angloise 5499:Bartolino da Padova 5398:Marchetto da Padova 5329:Magister Franciscus 5205:Guillaume le Vinier 5200:Gontier de Soignies 5145:Audefroi le Bastart 5031:Folquet de Marselha 4888:Wulfstan the Cantor 4878:Hildegard of Bingen 4848:Adémar de Chabannes 4833:Fulbert of Chartres 4795:Abbey of Saint Gall 4787:Early (before 1150) 3990:. Clarendon Press. 3958:Brown, Howard Mayer 3460:, pp. 110–113. 3448:, pp. 344–363. 3436:, pp. 258–259. 3412:, pp. 256–257. 3400:, pp. 171–172. 3388:, pp. 608–610. 3364:, pp. 166–178. 3232:, pp. 624–627. 3190:, pp. 288–289. 2890:, pp. 484–487. 2843:St. Cecilia's Abbey 2553:Ave Regina caelorum 2150:Melodic restitution 1815:hand-gestures, the 1338:responsorial chants 1064:are primarily from 876:, once elevated to 663:Apostolic Tradition 552:, performed in the 521:, an early form of 392:Renaissance music → 10039:Western plainchant 9877:Malines Congresses 9872:Hippolytus of Rome 9861:Deutsche Singmesse 9650:Massey H. Shepherd 9645:Theodor Schnitzler 9479:Jacques Paul Migne 9048:Our Lady of Fátima 8837:Ignatius of Loyola 8761:Catherine of Siena 8729:Pope Boniface VIII 8548:Benedict of Nursia 8517:Council of Ephesus 8354:Ante-Nicene period 8307:Split with Judaism 8141:Crusading movement 7740:Calendar of saints 7697:Transubstantiation 7646:Liturgical colours 7628:In persona Christi 7536:Reserved sacrament 7506:Frequent Communion 7140:Processional cross 6951:Triple candlestick 6776:Benedicamus Domino 6750:Communion antiphon 6639:Eucharistic Prayer 6529:Responsorial Psalm 6037:Neo-Medieval music 6027:Medieval folk rock 5807:Berno of Reichenau 5787:Iacobus de Ispania 5629:Petrus de Goscalch 5530:Niccolò da Perugia 5525:Grazioso da Padova 5473:Lorenzo da Firenze 5433:Vincenzo da Rimini 5418:Giovanni da Cascia 5250:Other trouvères... 5235:Perrin d'Angicourt 5185:Gautier de Dargies 5160:Chrétien de Troyes 5096:Raimon de Miravalh 5086:Raimbaut d'Aurenga 4511:Gregor & Taube 4505:Anton Stingl jun. 4233:. Schirmer Books. 4140:Grove Music Online 4062:Grove Music Online 3901:Grove Music Online 3832:Grove Music Online 2578: 2507: 2492:Benedicamus Domino 2435:As transcribed by 2415: 1857: 1790: 1359: 1349: 1234: 1092:. In 1562–63, the 1015: 1005: 878:Holy Roman Emperor 812:Chrodegang of Metz 768: 710:Benedict of Nursia 446:(and occasionally 83: 10006: 10005: 10000: 9999: 9839:Textual criticism 9712:Maria Laach Abbey 9678: 9677: 9590:Ildefons Herwegen 9550:Thomas J. Carroll 9535:Giulio Bevilacqua 9509:Gerard van Caloen 9449:Prosper Guéranger 9299: 9298: 9259:COVID-19 pandemic 9237:Pope Benedict XVI 9142:Pope John Paul II 8917:Pope Benedict XIV 8903:French Revolution 8887:Thirty Years' War 8877:Robert Bellarmine 8862:John of the Cross 8766:Pope Alexander VI 8751:Council of Vienne 8681:Francis of Assisi 8671:Pope Innocent III 8540:Early Middle Ages 8534: 8533: 8530: 8529: 8472:Arian controversy 8425: 8424: 8373:Apostolic Fathers 8024: 8023: 7919:Gelineau psalmody 7856:effects of prayer 7834:Christian liturgy 7829:Catholic theology 7541:Sacramental bread 7436: 7435: 7282:Episcopal sandals 7150:Sacramental bread 7078:Collection basket 6812: 6811: 6673:texts and rubrics 6643:Canon of the Mass 6486:Entrance Antiphon 6476:Sign of the Cross 6458:Processional hymn 6390: 6389: 6271: 6270: 6136: 6135: 6104:Renaissance music 5812:Aurelian of Réôme 5797:Johannes de Muris 5767:Franco of Cologne 5745: 5744: 5727:Arnold de Lantins 5686: 5685: 5682: 5681: 5609:Johannes Cuvelier 5561: 5560: 5557: 5556: 5553: 5552: 5520:Giovanni Mazzuoli 5515:Matteo da Perugia 5487: 5486: 5463:Francesco Landini 5441: 5440: 5423:Jacopo da Bologna 5406: 5405: 5373: 5372: 5369: 5368: 5360:Philippe de Vitry 5339:Jehan de Lescurel 5260: 5259: 5245:Raoul de Soissons 5190:Gautier d'Espinal 5180:Gautier de Coincy 5121: 5120: 5041:Giraut de Bornelh 5020:Cerverí de Girona 5000:Arnaut de Mareuil 4970: 4969: 4966: 4965: 4928:Notre-Dame school 4838:Heriger of Lobbes 4767:List of composers 4709: 4708: 4529:on 1 August 2013. 4307:978-88-209-1603-9 4278:978-3-940768-15-5 4162:978-1-56159-263-0 4122:. Prentice Hall. 4084:978-1-56159-263-0 3923:978-1-56159-263-0 3854:978-1-56159-263-0 3738:10.1093/em/cax087 3710:G. Reese (1940). 3328:, pp. 64–65. 3244:, pp. 85–88. 3100:Taruskin, Richard 2964:, pp. 28–29. 2819:Pope Benedict XVI 2737:Cecilian Movement 2662:liturgical dramas 2631:Renaissance music 2593: 2486:Technically, the 2430: 2339:is known for the 2261:. Texts known as 2218: 2217: 2210: 2010:Jerome of Moravia 1976:Gregory the Great 1404: 1379: 1334:antiphonal chants 1249: 1121:Prosper Guéranger 1114:French Revolution 1102:Directorium chori 1033: 952:was added to the 837:, using freeform 556:and the monastic 462:synthesis of the 429: 428: 167:Notre-Dame school 64: 10056: 10024:Christian chants 9988: 9987: 9978: 9977: 9968: 9967: 9958: 9957: 9941: 9940: 9939: 9929: 9928: 9801:Desmond Williams 9707:Mont César Abbey 9697:Beuron Archabbey 9565:Alexandre Fleury 9545:Annibale Bugnini 9484:Adrian Fortescue 9474:Lambert Beauduin 9439: 9438: 9347:Catholic liturgy 9326: 9319: 9312: 9303: 9302: 9289: 9288: 9277: 9276: 9275: 9254:Patriarch Kirill 9127:Pope John Paul I 8932:Anti-clericalism 8912:Pope Innocent XI 8832:Society of Jesus 8817:Council of Trent 8771:Age of Discovery 8716:Late Middle Ages 8618:High Middle Ages 8608:East–West Schism 8492:Pope Sylvester I 8438: 8437: 8427: 8426: 8337:General epistles 8332:Pauline epistles 8265:John the Baptist 8248:Great Commission 8210: 8209: 8161:Catholic culture 8051: 8044: 8037: 8028: 8027: 7868:Council of Trent 7851:Christian prayer 7839:Catholic liturgy 7678:Passion of Jesus 7621:ex opere operato 7526:Infant communion 7521:Host desecration 7496:Eucharistic fast 7469:Closed communion 7464:Church etiquette 7332: 7331: 7238:Roman Pontifical 7211:Graduale Simplex 7182:Liturgical books 7162:Sacramental wine 6804:Recessional hymn 6733:Dona nobis pacem 6678:Canonical digits 6585:Universal Prayer 6512:Dominus vobiscum 6427: 6426: 6323: 6322: 6238:Benedictine Rite 6226: 6225: 6163: 6156: 6149: 6140: 6139: 6125: 6115: 6114: 5921:Liturgical drama 5688: 5687: 5595: 5592:Johannes Ciconia 5567: 5566: 5563: 5562: 5545:Zacara da Teramo 5509:Johannes Ciconia 5489: 5488: 5479:Paolo da Firenze 5458:Donato da Cascia 5443: 5442: 5408: 5407: 5388: 5387: 5379: 5378: 5375: 5374: 5363: 5306: 5305: 5302: 5301: 5297:Late (1300–1400) 5240:Philippe de Rémi 5170:Conon de Béthune 5150:Blondel de Nesle 5135:Adam de la Halle 5123: 5122: 5061:Peire d'Alvernha 4972: 4971: 4959: 4914: 4913: 4910: 4909: 4905:High (1150–1300) 4894:Wipo of Burgundy 4859: 4829: 4821: 4812:Stephen of Liège 4749: 4742: 4735: 4726: 4725: 4713: 4712: 4558: 4551: 4544: 4535: 4534: 4530: 4525:. Archived from 4514: 4501: 4500:on 5 March 2016. 4499: 4493:. Archived from 4492: 4482: 4474: 4454: 4440: 4437:Internet Archive 4425: 4414:. W. W. Norton. 4406: 4389: 4386:Internet Archive 4364: 4332:Internet Archive 4297:Graduale simplex 4257:Graduale Triplex 4244: 4232: 4221: 4202: 4199:Internet Archive 4186: 4175: 4166: 4143:(8th ed.). 4133: 4111: 4088: 4065:(8th ed.). 4048: 4037:. W. W. Norton. 4029: 4026:Internet Archive 4014:. W. W. Norton. 4001: 3982: 3949: 3927: 3904:(8th ed.). 3894: 3875: 3867: 3858: 3835:(8th ed.). 3821: 3790: 3787:Bent et al. 2001 3784: 3778: 3772: 3766: 3760: 3754: 3748: 3742: 3741: 3721: 3715: 3708: 3702: 3701: 3689: 3683: 3677: 3666: 3660: 3653: 3647: 3646: 3634: 3628: 3613: 3607: 3606: 3604: 3602: 3597:on 15 March 2012 3587: 3581: 3575: 3569: 3563: 3557: 3551: 3545: 3539: 3533: 3527: 3521: 3515: 3509: 3503: 3497: 3491: 3485: 3482:Neuls-Bates 1996 3479: 3473: 3470:Levy et al. 2001 3467: 3461: 3455: 3449: 3443: 3437: 3431: 3425: 3419: 3413: 3407: 3401: 3395: 3389: 3383: 3377: 3371: 3365: 3359: 3353: 3347: 3341: 3335: 3329: 3323: 3317: 3311: 3305: 3299: 3293: 3287: 3281: 3275: 3269: 3263: 3257: 3251: 3245: 3239: 3233: 3227: 3221: 3220: 3217:Internet Archive 3209: 3203: 3197: 3191: 3185: 3179: 3173: 3167: 3161: 3155: 3149: 3143: 3137: 3131: 3125: 3119: 3113: 3107: 3097: 3091: 3090: 3048: 3042: 3036: 3030: 3029: 3007: 3001: 2998:Levy et al. 2001 2995: 2989: 2983: 2977: 2971: 2965: 2959: 2953: 2948: 2939: 2933: 2927: 2921: 2915: 2909: 2903: 2897: 2891: 2885: 2879: 2873: 2867: 2861: 2855: 2854: 2852: 2850: 2840: 2832: 2826: 2805: 2796: 2793:Dolmetsch online 2789: 2783: 2777: 2742:Damien Poisblaud 2595: 2594: 2575: 2544:Marian antiphons 2432: 2431: 2412: 2287:Graduale Romanum 2273:Graduale Romanum 2235:Graduale Triplex 2213: 2206: 2202: 2199: 2193: 2162: 2154: 2087:Graduale Triplex 2082:Graduale Triplex 2079: 2030: 1952:Council of Trent 1890: 1865:Graduale Aboense 1804: 1801: 1769:Loquetur Dominus 1571:Byzantine chants 1553: 1552: 1528: 1527: 1406: 1405: 1381: 1380: 1366:Loquetur Dominus 1356: 1251: 1250: 1231: 1094:Council of Trent 1072:in Switzerland, 1035: 1034: 1012: 1003: 835:musical notation 744:Donald Jay Grout 724:, Ambrosian and 546:religious orders 523:musical notation 513:patterns called 421: 414: 407: 355:Liturgical drama 253:Adam de la Halle 85: 84: 66: 65: 38:Graduale Aboense 10064: 10063: 10059: 10058: 10057: 10055: 10054: 10053: 10034:Tridentine Mass 10009: 10008: 10007: 10002: 10001: 9996: 9937: 9935: 9923: 9915: 9911:Paschal mystery 9843: 9810: 9774: 9732: 9726: 9702:Maredsous Abbey 9684: 9674: 9665:Johannes Wagner 9615:Giacomo Lercaro 9580:Pierre-Marie Gy 9570:Romano Guardini 9518: 9494:Gaspar Lefebvre 9469:Pierre Batiffol 9459:Columba Marmion 9430: 9413:Mass of Paul VI 9394:Mass of Paul VI 9374:Gregorian chant 9335: 9330: 9300: 9295: 9283: 9273: 9271: 9263: 9185:World Youth Day 9163: 9152:World Youth Day 9096:Pacem in terris 9090:Pope John XXIII 9029: 8956: 8947:Edict of Nantes 8905: 8901: 8891: 8857:Teresa of Ávila 8852:Tridentine Mass 8788: 8784: 8775: 8756:Knights Templar 8710: 8612: 8568:Gregorian chant 8526: 8452: 8449: 8446: 8444: 8433: 8421: 8348: 8217: 8205: 8197: 8064: 8062:Catholic Church 8055: 8025: 8020: 7959:Missale Romanum 7924:Gregorian chant 7890:Dominicae Cenae 7802: 7750:Code of Rubrics 7712: 7706: 7682:salvific nature 7659:Mysterium fidei 7652:Mirae caritatis 7600:Blood of Christ 7587: 7580: 7501:First Communion 7443: 7432: 7416:Paschal Triduum 7367: 7327:Liturgical year 7321: 7255: 7247: 7176: 7083:Communion-plate 7035: 7029: 6975:Communion bench 6912: 6808: 6799:Leonine Prayers 6787: 6595: 6589: 6578:Apostles' Creed 6491:Penitential Act 6468: 6462: 6437:Vesting prayers 6418: 6386: 6345:Coronation Mass 6321: 6267: 6263:Norbertine Rite 6253:Cistercian Rite 6248:Carthusian Rite 6224: 6211:(Ordinary Form) 6209:Mass of Paul VI 6197:Tridentine Mass 6180: 6178:Catholic Church 6167: 6137: 6132: 6131: 6108: 6089: 6041: 6010: 5947: 5897:Gregorian chant 5816: 5802:Walter Odington 5762:Guido of Arezzo 5741: 5698:Johannes Alanus 5678: 5654:Jacob Senleches 5590: 5549: 5483: 5437: 5402: 5365: 5358: 5291: 5256: 5117: 5046:Guiraut Riquier 5025:Comtessa de Dia 5010:Bertran de Born 4978: 4962: 4956:Petrus de Cruce 4954: 4899: 4863:Notker Physicus 4854: 4824: 4816: 4781: 4758: 4753: 4718: 4710: 4705: 4643: 4635: 4570: 4562: 4517: 4504: 4497: 4490: 4486: 4477: 4469: 4466: 4461: 4443: 4428: 4422: 4409: 4392: 4382: 4367: 4336: 4252: 4250:Further reading 4247: 4241: 4218: 4195: 4163: 4130: 4116:McKinnon, James 4108: 4085: 4045: 4022: 4006:Hoppin, Richard 3998: 3976: 3946: 3924: 3891: 3855: 3818: 3808:Gregorian Chant 3798: 3793: 3785: 3781: 3773: 3769: 3761: 3757: 3753:, pp. 1–2. 3749: 3745: 3722: 3718: 3709: 3705: 3690: 3686: 3671: 3667: 3663: 3654: 3650: 3635: 3631: 3614: 3610: 3600: 3598: 3589: 3588: 3584: 3576: 3572: 3564: 3560: 3552: 3548: 3540: 3536: 3528: 3524: 3516: 3512: 3504: 3500: 3492: 3488: 3480: 3476: 3468: 3464: 3456: 3452: 3444: 3440: 3432: 3428: 3420: 3416: 3408: 3404: 3396: 3392: 3384: 3380: 3372: 3368: 3360: 3356: 3348: 3344: 3336: 3332: 3324: 3320: 3312: 3308: 3300: 3296: 3288: 3284: 3276: 3272: 3264: 3260: 3252: 3248: 3240: 3236: 3228: 3224: 3211: 3210: 3206: 3198: 3194: 3186: 3182: 3178:, pp. 8–9. 3174: 3170: 3162: 3158: 3150: 3146: 3138: 3134: 3126: 3122: 3114: 3110: 3098: 3094: 3049: 3045: 3037: 3033: 3008: 3004: 2996: 2992: 2984: 2980: 2972: 2968: 2960: 2956: 2949: 2942: 2934: 2930: 2922: 2918: 2910: 2906: 2898: 2894: 2886: 2882: 2874: 2870: 2862: 2858: 2848: 2846: 2838: 2834: 2833: 2829: 2806: 2799: 2790: 2786: 2782:, pp. 3–4. 2778: 2774: 2770: 2723: 2623: 2618: 2613: 2612: 2604: 2602: 2601: 2600: 2599: 2596: 2589: 2586: 2579: 2573: 2526:, in the Great 2516:canonical hours 2512: 2454: 2453: 2445: 2443: 2442: 2441: 2440: 2433: 2426: 2423: 2416: 2410: 2381: 2373:Notker Balbulus 2371:. According to 2295: 2255:canonical hours 2251: 2214: 2203: 2197: 2194: 2179: 2163: 2152: 2144:time signatures 2073: 2024: 2018:Editio medicaea 2001: 1916:Schola Cantorum 1902: 1897: 1884: 1861:square notation 1821:Byzantine chant 1802: 1796: 1778: 1760:Iustus ut palma 1716: 1603:in the melody. 1550: 1549: 1525: 1524: 1512: 1506: 1424: 1423: 1415: 1413: 1412: 1411: 1410: 1407: 1399: 1396: 1387: 1386: 1385: 1382: 1373: 1370: 1360: 1354: 1330:direct psalmody 1269: 1268: 1260: 1258: 1257: 1256: 1255: 1252: 1245: 1242: 1235: 1229: 1211: 1206: 1061: 1060: 1052: 1050: 1049: 1048: 1047: 1036: 1029: 1026: 1016: 1010: 997: 984: 870: 854:Pope Gregory II 780:Pope Stephen II 752: 736:John the Deacon 635:Mount of Olives 600:Canonical hours 595:early Christian 579: 574: 566:Mozarabic chant 562:Ambrosian chant 464:Old Roman chant 432:Gregorian chant 425: 383: 382: 381: 340:Gregorian chant 297: 289: 288: 287: 217: 209: 208: 207: 139: 129: 128: 81: 80: 72: 70: 69: 68: 67: 58: 55: 52:Gaudeamus omnes 34:square notation 30:Gaudeamus omnes 17: 12: 11: 5: 10062: 10052: 10051: 10046: 10044:Pope Gregory I 10041: 10036: 10031: 10026: 10021: 10004: 10003: 9998: 9997: 9995: 9994: 9993: 9992: 9982: 9972: 9952: 9946: 9945: 9933: 9920: 9917: 9916: 9914: 9913: 9908: 9903: 9898: 9884: 9879: 9874: 9869: 9864: 9857: 9851: 9849: 9845: 9844: 9842: 9841: 9836: 9833:Versus populum 9829: 9827:People's altar 9824: 9818: 9816: 9812: 9811: 9809: 9808: 9806:Austin Winkley 9803: 9798: 9793: 9788: 9786:Francis Pollen 9782: 9780: 9776: 9775: 9773: 9772: 9765: 9758: 9751: 9748:Quam singulari 9744: 9736: 9734: 9728: 9727: 9725: 9724: 9719: 9714: 9709: 9704: 9699: 9694: 9692:Solesmes Abbey 9688: 9686: 9685:establishments 9680: 9679: 9676: 9675: 9673: 9672: 9667: 9662: 9657: 9652: 9647: 9642: 9640:Mario Righetti 9637: 9635:H. A. Reinhold 9632: 9630:Johannes Pinsk 9627: 9622: 9617: 9612: 9607: 9602: 9597: 9592: 9587: 9582: 9577: 9572: 9567: 9562: 9557: 9552: 9547: 9542: 9537: 9532: 9526: 9524: 9520: 9519: 9517: 9516: 9511: 9506: 9501: 9496: 9491: 9486: 9481: 9476: 9471: 9466: 9464:Fernand Cabrol 9461: 9456: 9451: 9445: 9443: 9436: 9432: 9431: 9429: 9428: 9420: 9415: 9410: 9403: 9396: 9391: 9386: 9381: 9376: 9371: 9366: 9361: 9354: 9343: 9341: 9337: 9336: 9329: 9328: 9321: 9314: 9306: 9297: 9296: 9294: 9293: 9281: 9268: 9265: 9264: 9262: 9261: 9256: 9251: 9244: 9239: 9234: 9233: 9232: 9227: 9222: 9217: 9212: 9207: 9202: 9197: 9192: 9182: 9177: 9171: 9169: 9165: 9164: 9162: 9161: 9160: 9159: 9149: 9144: 9139: 9134: 9129: 9124: 9114: 9109: 9104: 9099: 9092: 9087: 9080: 9075: 9073:Lateran Treaty 9070: 9065: 9060: 9055: 9050: 9045: 9039: 9037: 9031: 9030: 9028: 9027: 9020: 9015: 9010: 9005: 9000: 8995: 8990: 8985: 8980: 8975: 8970: 8964: 8962: 8958: 8957: 8955: 8954: 8949: 8944: 8939: 8934: 8929: 8924: 8919: 8914: 8908: 8906: 8898:Baroque period 8896: 8893: 8892: 8890: 8889: 8884: 8879: 8874: 8869: 8867:Peter Canisius 8864: 8859: 8854: 8849: 8844: 8842:Francis Xavier 8839: 8834: 8829: 8824: 8819: 8814: 8809: 8806:Exsurge Domine 8802: 8797: 8791: 8789: 8780: 8777: 8776: 8774: 8773: 8768: 8763: 8758: 8753: 8748: 8746:Pope Clement V 8743: 8742: 8741: 8739:Avignon Papacy 8734:Western Schism 8731: 8726: 8724:Thomas Aquinas 8720: 8718: 8712: 8711: 8709: 8708: 8703: 8698: 8693: 8688: 8683: 8678: 8673: 8668: 8663: 8658: 8653: 8648: 8643: 8638: 8633: 8628: 8622: 8620: 8614: 8613: 8611: 8610: 8605: 8600: 8595: 8590: 8585: 8580: 8578:Saint Boniface 8575: 8570: 8565: 8563:Pope Gregory I 8560: 8555: 8550: 8544: 8542: 8536: 8535: 8532: 8531: 8528: 8527: 8525: 8524: 8519: 8514: 8509: 8504: 8502:Biblical canon 8499: 8494: 8489: 8484: 8479: 8474: 8469: 8468: 8467: 8456: 8454: 8435: 8431:Late antiquity 8423: 8422: 8420: 8419: 8414: 8409: 8404: 8399: 8398: 8397: 8392: 8391: 8390: 8385: 8380: 8378:Pope Clement I 8368:Church Fathers 8365: 8359: 8357: 8350: 8349: 8347: 8346: 8345: 8344: 8339: 8334: 8329: 8324: 8319: 8309: 8304: 8299: 8294: 8293: 8292: 8287: 8282: 8277: 8267: 8262: 8257: 8252: 8251: 8250: 8245: 8240: 8235: 8224: 8222: 8207: 8199: 8198: 8196: 8195: 8190: 8185: 8180: 8175: 8174: 8173: 8168: 8158: 8153: 8148: 8143: 8138: 8137: 8136: 8131: 8129:Biblical canon 8124:Catholic Bible 8121: 8120: 8119: 8109: 8108: 8107: 8097: 8092: 8087: 8086: 8085: 8074: 8072: 8066: 8065: 8054: 8053: 8046: 8039: 8031: 8022: 8021: 8019: 8018: 8011: 8006: 7999: 7992: 7991: 7990: 7978: 7973: 7968: 7963: 7955: 7948: 7943: 7938: 7931: 7926: 7921: 7916: 7911: 7904: 7899: 7898: 7897: 7877: 7870: 7865: 7860: 7859: 7858: 7848: 7847: 7846: 7836: 7831: 7826: 7824:Ambrosian Rite 7821: 7816: 7810: 7808: 7804: 7803: 7801: 7800: 7799: 7798: 7788: 7781: 7772: 7767: 7762: 7757: 7752: 7747: 7742: 7737: 7734:versus populum 7724: 7716: 7714: 7708: 7707: 7705: 7704: 7699: 7694: 7689: 7684: 7675: 7674: 7673: 7663: 7655: 7648: 7643: 7636: 7631: 7624: 7614: 7607: 7605:Corpus Christi 7602: 7592: 7590: 7582: 7581: 7579: 7578: 7571: 7570: 7569: 7557: 7552: 7538: 7533: 7528: 7523: 7518: 7513: 7508: 7503: 7498: 7493: 7488: 7483: 7482: 7481: 7476: 7466: 7461: 7459:Concelebration 7456: 7448: 7446: 7438: 7437: 7434: 7433: 7431: 7430: 7425: 7420: 7419: 7418: 7408: 7403: 7398: 7391: 7386: 7381: 7375: 7373: 7369: 7368: 7366: 7365: 7359: 7354: 7349: 7344: 7338: 7336: 7329: 7323: 7322: 7320: 7319: 7314: 7309: 7304: 7299: 7294: 7289: 7284: 7279: 7274: 7269: 7264: 7258: 7256: 7249: 7248: 7246: 7245: 7240: 7235: 7234: 7233: 7224: 7214: 7207: 7202: 7197: 7192: 7186: 7184: 7178: 7177: 7175: 7174: 7169: 7159: 7158: 7157: 7147: 7142: 7137: 7132: 7127: 7126: 7125: 7115: 7110: 7105: 7100: 7095: 7090: 7085: 7080: 7075: 7070: 7065: 7060: 7055: 7050: 7045: 7039: 7037: 7031: 7030: 7028: 7027: 7022: 7017: 7012: 7007: 7002: 6997: 6992: 6987: 6985:Credence table 6982: 6977: 6972: 6967: 6966: 6965: 6963:Sanctuary lamp 6960: 6958:Paschal candle 6955: 6954: 6953: 6938: 6933: 6928: 6926:Altar crucifix 6922: 6920: 6914: 6913: 6911: 6910: 6905: 6900: 6895: 6890: 6885: 6884: 6883: 6873: 6868: 6863: 6858: 6853: 6848: 6843: 6838: 6837: 6836: 6826: 6820: 6818: 6814: 6813: 6810: 6809: 6807: 6806: 6801: 6795: 6793: 6789: 6788: 6786: 6785: 6780: 6779: 6778: 6772:Ite, missa est 6764: 6759: 6754: 6753: 6752: 6745:Holy Communion 6742: 6737: 6736: 6735: 6725: 6720: 6715: 6714: 6713: 6699: 6694: 6693: 6692: 6691: 6690: 6680: 6675: 6670: 6636: 6635: 6634: 6616: 6615: 6614: 6599: 6597: 6591: 6590: 6588: 6587: 6582: 6581: 6580: 6566: 6561: 6556: 6555: 6554: 6540: 6535: 6526: 6525: 6524: 6514: 6509: 6504: 6503: 6502: 6488: 6483: 6478: 6472: 6470: 6464: 6463: 6461: 6460: 6455: 6454: 6453: 6439: 6433: 6431: 6424: 6420: 6419: 6417: 6416: 6411: 6410: 6409: 6398: 6396: 6392: 6391: 6388: 6387: 6385: 6384: 6379: 6378: 6377: 6367: 6362: 6357: 6352: 6347: 6342: 6337: 6331: 6329: 6320: 6319: 6314: 6307: 6302: 6297: 6292: 6285: 6279: 6277: 6273: 6272: 6269: 6268: 6266: 6265: 6260: 6258:Dominican Rite 6255: 6250: 6245: 6243:Carmelite Rite 6240: 6234: 6232: 6223: 6222: 6217: 6212: 6206: 6205: 6204: 6194: 6188: 6186: 6185:Forms and uses 6182: 6181: 6166: 6165: 6158: 6151: 6143: 6134: 6133: 6130: 6129: 6119: 6101: 6100: 6099: 6095: 6094: 6091: 6090: 6088: 6087: 6086: 6085: 6080: 6075: 6070: 6065: 6055: 6049: 6047: 6043: 6042: 6040: 6039: 6034: 6032:Medieval metal 6029: 6024: 6018: 6016: 6012: 6011: 6009: 6008: 6003: 5998: 5993: 5988: 5983: 5978: 5973: 5972: 5971: 5966: 5955: 5953: 5949: 5948: 5946: 5945: 5938: 5933: 5928: 5923: 5918: 5917: 5916: 5906: 5905: 5904: 5902:Pope Gregory I 5894: 5889: 5888: 5887: 5882: 5877: 5867: 5862: 5857: 5852: 5851: 5850: 5840: 5835: 5830: 5824: 5822: 5818: 5817: 5815: 5814: 5809: 5804: 5799: 5794: 5789: 5784: 5779: 5774: 5772:Johannes Cotto 5769: 5764: 5759: 5753: 5751: 5747: 5746: 5743: 5742: 5740: 5739: 5734: 5729: 5724: 5719: 5714: 5713: 5712: 5703:John Dunstaple 5700: 5694: 5692: 5684: 5683: 5680: 5679: 5677: 5676: 5671: 5666: 5664:Johannes Susay 5661: 5656: 5651: 5646: 5644:Gacian Reyneau 5641: 5636: 5631: 5626: 5624:Martinus Fabri 5621: 5616: 5611: 5606: 5601: 5596: 5588: 5583: 5577: 5575: 5559: 5558: 5555: 5554: 5551: 5550: 5548: 5547: 5542: 5537: 5532: 5527: 5522: 5517: 5512: 5506: 5501: 5495: 5493: 5492:3rd generation 5485: 5484: 5482: 5481: 5476: 5470: 5465: 5460: 5455: 5449: 5447: 5446:2nd generation 5439: 5438: 5436: 5435: 5430: 5425: 5420: 5414: 5412: 5411:1st generation 5404: 5403: 5401: 5400: 5394: 5392: 5385: 5371: 5370: 5367: 5366: 5364: 5356: 5354:Jehan Vaillant 5351: 5346: 5341: 5336: 5331: 5326: 5324:Denis Le Grant 5321: 5316: 5314: 5299: 5293: 5292: 5290: 5289: 5288: 5287: 5277: 5272: 5267: 5261: 5258: 5257: 5255: 5254: 5253: 5252: 5242: 5237: 5232: 5230:Moniot d'Arras 5227: 5222: 5217: 5212: 5210:Guiot de Dijon 5207: 5202: 5197: 5192: 5187: 5182: 5177: 5172: 5167: 5162: 5157: 5152: 5147: 5142: 5137: 5131: 5129: 5119: 5118: 5116: 5115: 5114: 5113: 5103: 5098: 5093: 5088: 5083: 5078: 5073: 5068: 5066:Peire Cardenal 5063: 5058: 5053: 5048: 5043: 5038: 5036:Gaucelm Faidit 5033: 5028: 5022: 5017: 5012: 5007: 5002: 4997: 4992: 4986: 4984: 4968: 4967: 4964: 4963: 4961: 4960: 4952: 4951: 4950: 4945: 4940: 4935: 4924: 4922: 4907: 4901: 4900: 4898: 4897: 4891: 4885: 4880: 4875: 4870: 4865: 4860: 4852: 4851: 4850: 4840: 4835: 4830: 4822: 4814: 4809: 4808: 4807: 4802: 4791: 4789: 4783: 4782: 4780: 4779: 4774: 4769: 4763: 4760: 4759: 4756:Medieval music 4752: 4751: 4744: 4737: 4729: 4723: 4720: 4719: 4707: 4706: 4704: 4703: 4698: 4693: 4688: 4683: 4678: 4673: 4668: 4663: 4658: 4651: 4649: 4637: 4636: 4634: 4633: 4628: 4623: 4618: 4617: 4616: 4606: 4601: 4596: 4591: 4586: 4580: 4578: 4572: 4571: 4561: 4560: 4553: 4546: 4538: 4532: 4531: 4515: 4502: 4484: 4475: 4465: 4464:External links 4462: 4460: 4459: 4441: 4426: 4420: 4407: 4390: 4380: 4365: 4353:10.2307/831302 4347:(3): 437–467. 4334: 4318: 4310: 4293: 4283:Graduale Lagal 4280: 4270:Graduale Novum 4267: 4253: 4251: 4248: 4246: 4245: 4239: 4222: 4216: 4203: 4193: 4183:Women in Music 4176: 4167: 4161: 4134: 4128: 4118:, ed. (1990). 4112: 4106: 4089: 4083: 4049: 4043: 4030: 4020: 4011:Medieval Music 4002: 3996: 3983: 3974: 3962:Sadie, Stanley 3950: 3944: 3928: 3922: 3895: 3889: 3876: 3859: 3853: 3822: 3816: 3799: 3797: 3794: 3792: 3791: 3779: 3777:, p. 404. 3767: 3765:, p. 153. 3755: 3743: 3716: 3703: 3694:Gregoriusblatt 3684: 3680:Gregoriusblatt 3661: 3657:Graduale Lagal 3648: 3629: 3608: 3582: 3570: 3558: 3556:, p. 127. 3546: 3544:, p. 289. 3534: 3522: 3520:, p. 197. 3510: 3508:, p. 312. 3498: 3496:, p. 504. 3486: 3474: 3462: 3450: 3438: 3426: 3414: 3402: 3390: 3378: 3376:, p. 454. 3366: 3354: 3342: 3330: 3318: 3306: 3304:, p. 131. 3294: 3292:, p. 123. 3282: 3270: 3258: 3256:, p. 203. 3246: 3234: 3222: 3204: 3202:, p. 622. 3192: 3180: 3168: 3156: 3144: 3142:, p. 604. 3132: 3120: 3108: 3092: 3043: 3041:, p. 114. 3031: 3002: 2990: 2978: 2966: 2954: 2951:Bewerunge 1913 2940: 2938:, p. 320. 2928: 2916: 2914:, p. 486. 2904: 2892: 2880: 2868: 2856: 2827: 2797: 2784: 2771: 2769: 2766: 2765: 2764: 2759: 2757:Schola Antiqua 2754: 2749: 2744: 2739: 2734: 2732:Anglican chant 2729: 2722: 2719: 2635:rhythmic modes 2622: 2619: 2617: 2614: 2603: 2597: 2587: 2582: 2581: 2580: 2571: 2570: 2569: 2511: 2508: 2444: 2434: 2424: 2419: 2418: 2417: 2408: 2407: 2406: 2397:Greek language 2380: 2377: 2314:Reciting tones 2294: 2291: 2250: 2247: 2243:Graduale Lagal 2216: 2215: 2166: 2164: 2157: 2151: 2148: 2112:Graduale Lagal 2071:Eugène Cardine 2000: 1997: 1968:All Souls' Day 1964:Corpus Christi 1901: 1898: 1896: 1893: 1882:Eugène Cardine 1792:Main article: 1777: 1774: 1715: 1712: 1684:transpositions 1668: 1667: 1664:Hypomixolydian 1656: 1645: 1634: 1538:Guido d'Arezzo 1516:diatonic scale 1508:Main article: 1505: 1502: 1414: 1408: 1397: 1389: 1388: 1383: 1371: 1363: 1362: 1361: 1352: 1351: 1350: 1259: 1253: 1243: 1238: 1237: 1236: 1227: 1226: 1225: 1210: 1207: 1205: 1202: 1106:Editio medicea 1051: 1037: 1027: 1019: 1018: 1017: 1008: 1007: 1006: 983: 980: 894:Pope Stephen V 869: 866: 858:Pope Gregory I 847:Guido d'Arezzo 808:James McKinnon 796:Gallican Rites 764:Pope Gregory I 751: 748: 740:Pope Gregory I 700:described the 651:St. Athanasius 643:Pope Clement I 591:ancient Jewish 578: 575: 573: 570: 495:reciting tones 468:Gallican chant 456:Pope Gregory I 427: 426: 424: 423: 416: 409: 401: 398: 397: 396: 395: 385: 384: 380: 379: 372: 367: 362: 357: 352: 347: 342: 337: 332: 331: 330: 325: 320: 310: 305: 299: 298: 295: 294: 291: 290: 286: 285: 280: 275: 270: 265: 260: 255: 250: 245: 240: 235: 230: 225: 219: 218: 215: 214: 211: 210: 206: 205: 198: 193: 186: 181: 176: 171: 170: 169: 157: 152: 147: 141: 140: 137: 136: 133: 132: 131: 130: 111: 106: 105: 101: 100: 98:Medieval music 94: 93: 71: 56: 49: 48: 47: 46: 45: 32:, scripted in 15: 9: 6: 4: 3: 2: 10061: 10050: 10047: 10045: 10042: 10040: 10037: 10035: 10032: 10030: 10029:Order of Mass 10027: 10025: 10022: 10020: 10017: 10016: 10014: 9991: 9983: 9981: 9973: 9971: 9963: 9962: 9961: 9953: 9951: 9948: 9947: 9944: 9934: 9932: 9927: 9922: 9921: 9918: 9912: 9909: 9907: 9904: 9902: 9899: 9896: 9892: 9888: 9885: 9883: 9880: 9878: 9875: 9873: 9870: 9868: 9865: 9863: 9862: 9858: 9856: 9853: 9852: 9850: 9846: 9840: 9837: 9835: 9834: 9830: 9828: 9825: 9823: 9822:Dialogue mass 9820: 9819: 9817: 9813: 9807: 9804: 9802: 9799: 9797: 9796:Gerard Goalen 9794: 9792: 9789: 9787: 9784: 9783: 9781: 9777: 9771: 9770: 9766: 9764: 9763: 9759: 9757: 9756: 9752: 9750: 9749: 9745: 9743: 9742: 9738: 9737: 9735: 9729: 9723: 9720: 9718: 9715: 9713: 9710: 9708: 9705: 9703: 9700: 9698: 9695: 9693: 9690: 9689: 9687: 9681: 9671: 9668: 9666: 9663: 9661: 9658: 9656: 9653: 9651: 9648: 9646: 9643: 9641: 9638: 9636: 9633: 9631: 9628: 9626: 9623: 9621: 9620:Adrien Nocent 9618: 9616: 9613: 9611: 9610:Pierre Jounel 9608: 9606: 9605:Ronald Jasper 9603: 9601: 9598: 9596: 9593: 9591: 9588: 9586: 9583: 9581: 9578: 9576: 9573: 9571: 9568: 9566: 9563: 9561: 9560:Paul Doncoeur 9558: 9556: 9553: 9551: 9548: 9546: 9543: 9541: 9538: 9536: 9533: 9531: 9528: 9527: 9525: 9521: 9515: 9512: 9510: 9507: 9505: 9502: 9500: 9499:Edmund Bishop 9497: 9495: 9492: 9490: 9487: 9485: 9482: 9480: 9477: 9475: 9472: 9470: 9467: 9465: 9462: 9460: 9457: 9455: 9452: 9450: 9447: 9446: 9444: 9440: 9437: 9433: 9427: 9425: 9421: 9419: 9416: 9414: 9411: 9409: 9408: 9404: 9402: 9401: 9397: 9395: 9392: 9390: 9387: 9385: 9382: 9380: 9377: 9375: 9372: 9370: 9367: 9365: 9362: 9360: 9359: 9355: 9352: 9348: 9345: 9344: 9342: 9338: 9334: 9327: 9322: 9320: 9315: 9313: 9308: 9307: 9304: 9292: 9287: 9282: 9280: 9270: 9269: 9266: 9260: 9257: 9255: 9252: 9250: 9249: 9245: 9243: 9240: 9238: 9235: 9231: 9228: 9226: 9223: 9221: 9218: 9216: 9213: 9211: 9208: 9206: 9203: 9201: 9198: 9196: 9193: 9191: 9188: 9187: 9186: 9183: 9181: 9178: 9176: 9173: 9172: 9170: 9166: 9158: 9155: 9154: 9153: 9150: 9148: 9145: 9143: 9140: 9138: 9135: 9133: 9132:Mother Teresa 9130: 9128: 9125: 9122: 9118: 9115: 9113: 9110: 9108: 9105: 9103: 9100: 9098: 9097: 9093: 9091: 9088: 9086: 9085: 9081: 9079: 9076: 9074: 9071: 9069: 9066: 9064: 9061: 9059: 9058:Pope Pius XII 9056: 9054: 9051: 9049: 9046: 9044: 9041: 9040: 9038: 9036: 9032: 9026: 9025: 9024:Rerum novarum 9021: 9019: 9016: 9014: 9011: 9009: 9008:Pope Leo XIII 9006: 9004: 9001: 8999: 8996: 8994: 8991: 8989: 8986: 8984: 8981: 8979: 8978:United States 8976: 8974: 8971: 8969: 8968:Pope Pius VII 8966: 8965: 8963: 8959: 8953: 8950: 8948: 8945: 8943: 8940: 8938: 8935: 8933: 8930: 8928: 8925: 8923: 8920: 8918: 8915: 8913: 8910: 8909: 8907: 8904: 8899: 8894: 8888: 8885: 8883: 8880: 8878: 8875: 8873: 8870: 8868: 8865: 8863: 8860: 8858: 8855: 8853: 8850: 8848: 8845: 8843: 8840: 8838: 8835: 8833: 8830: 8828: 8825: 8823: 8820: 8818: 8815: 8813: 8810: 8808: 8807: 8803: 8801: 8798: 8796: 8793: 8792: 8790: 8787: 8783: 8778: 8772: 8769: 8767: 8764: 8762: 8759: 8757: 8754: 8752: 8749: 8747: 8744: 8740: 8737: 8736: 8735: 8732: 8730: 8727: 8725: 8722: 8721: 8719: 8717: 8713: 8707: 8704: 8702: 8699: 8697: 8694: 8692: 8689: 8687: 8684: 8682: 8679: 8677: 8674: 8672: 8669: 8667: 8664: 8662: 8659: 8657: 8654: 8652: 8651:Scholasticism 8649: 8647: 8644: 8642: 8639: 8637: 8634: 8632: 8629: 8627: 8626:Pope Urban II 8624: 8623: 8621: 8619: 8615: 8609: 8606: 8604: 8601: 8599: 8596: 8594: 8591: 8589: 8586: 8584: 8581: 8579: 8576: 8574: 8571: 8569: 8566: 8564: 8561: 8559: 8556: 8554: 8551: 8549: 8546: 8545: 8543: 8541: 8537: 8523: 8520: 8518: 8515: 8513: 8510: 8508: 8505: 8503: 8500: 8498: 8495: 8493: 8490: 8488: 8485: 8483: 8480: 8478: 8475: 8473: 8470: 8466: 8463: 8462: 8461: 8458: 8457: 8455: 8451: 8443: 8439: 8436: 8432: 8428: 8418: 8415: 8413: 8410: 8408: 8405: 8403: 8402:Justin Martyr 8400: 8396: 8393: 8389: 8386: 8384: 8381: 8379: 8376: 8375: 8374: 8371: 8370: 8369: 8366: 8364: 8361: 8360: 8358: 8355: 8351: 8343: 8340: 8338: 8335: 8333: 8330: 8328: 8325: 8323: 8320: 8318: 8315: 8314: 8313: 8312:New Testament 8310: 8308: 8305: 8303: 8300: 8298: 8295: 8291: 8288: 8286: 8283: 8281: 8278: 8276: 8275:Commissioning 8273: 8272: 8271: 8268: 8266: 8263: 8261: 8258: 8256: 8253: 8249: 8246: 8244: 8241: 8239: 8236: 8234: 8231: 8230: 8229: 8226: 8225: 8223: 8220: 8219:Apostolic Age 8215: 8211: 8208: 8204: 8200: 8194: 8191: 8189: 8186: 8184: 8181: 8179: 8176: 8172: 8169: 8167: 8164: 8163: 8162: 8159: 8157: 8154: 8152: 8149: 8147: 8144: 8142: 8139: 8135: 8132: 8130: 8127: 8126: 8125: 8122: 8118: 8115: 8114: 8113: 8110: 8106: 8105:Papal primacy 8103: 8102: 8101: 8098: 8096: 8093: 8091: 8088: 8084: 8081: 8080: 8079: 8076: 8075: 8073: 8071: 8067: 8063: 8059: 8052: 8047: 8045: 8040: 8038: 8033: 8032: 8029: 8017: 8016: 8012: 8010: 8007: 8005: 8004: 8000: 7998: 7997: 7993: 7989: 7988: 7984: 7983: 7982: 7979: 7977: 7974: 7972: 7969: 7967: 7964: 7962: 7960: 7956: 7954: 7953: 7949: 7947: 7944: 7942: 7939: 7937: 7936: 7932: 7930: 7927: 7925: 7922: 7920: 7917: 7915: 7912: 7910: 7909: 7905: 7903: 7900: 7896: 7892: 7891: 7887: 7886: 7885: 7881: 7878: 7876: 7875: 7871: 7869: 7866: 7864: 7861: 7857: 7854: 7853: 7852: 7849: 7845: 7842: 7841: 7840: 7837: 7835: 7832: 7830: 7827: 7825: 7822: 7820: 7817: 7815: 7812: 7811: 7809: 7805: 7797: 7794: 7793: 7792: 7789: 7787: 7786: 7782: 7780: 7776: 7773: 7771: 7768: 7766: 7763: 7761: 7758: 7756: 7755:Commemoration 7753: 7751: 7748: 7746: 7743: 7741: 7738: 7736: 7735: 7730: 7729: 7725: 7723: 7722: 7718: 7717: 7715: 7709: 7703: 7700: 7698: 7695: 7693: 7692:Real presence 7690: 7688: 7685: 7683: 7679: 7676: 7672: 7669: 7668: 7667: 7664: 7662: 7660: 7656: 7654: 7653: 7649: 7647: 7644: 7642: 7641: 7637: 7635: 7632: 7630: 7629: 7625: 7623: 7622: 7618: 7615: 7613: 7612: 7608: 7606: 7603: 7601: 7597: 7594: 7593: 7591: 7589: 7583: 7577: 7576: 7572: 7568: 7567: 7566:Anima Christi 7563: 7562: 7561: 7558: 7556: 7553: 7550: 7546: 7542: 7539: 7537: 7534: 7532: 7529: 7527: 7524: 7522: 7519: 7517: 7514: 7512: 7509: 7507: 7504: 7502: 7499: 7497: 7494: 7492: 7489: 7487: 7484: 7480: 7477: 7475: 7472: 7471: 7470: 7467: 7465: 7462: 7460: 7457: 7455: 7454: 7450: 7449: 7447: 7445: 7439: 7429: 7428:Ascensiontide 7426: 7424: 7421: 7417: 7414: 7413: 7412: 7409: 7407: 7404: 7402: 7399: 7397: 7396: 7392: 7390: 7389:Ordinary Time 7387: 7385: 7384:Christmastide 7382: 7380: 7377: 7376: 7374: 7370: 7363: 7360: 7358: 7355: 7353: 7350: 7348: 7345: 7343: 7340: 7339: 7337: 7333: 7330: 7328: 7324: 7318: 7315: 7313: 7310: 7308: 7305: 7303: 7300: 7298: 7295: 7293: 7290: 7288: 7285: 7283: 7280: 7278: 7275: 7273: 7270: 7268: 7265: 7263: 7260: 7259: 7257: 7254: 7250: 7244: 7241: 7239: 7236: 7232: 7228: 7225: 7223: 7220: 7219: 7218: 7215: 7213: 7212: 7208: 7206: 7205:Roman Gradual 7203: 7201: 7198: 7196: 7193: 7191: 7188: 7187: 7185: 7183: 7179: 7173: 7170: 7167: 7163: 7160: 7156: 7153: 7152: 7151: 7148: 7146: 7143: 7141: 7138: 7136: 7133: 7131: 7128: 7124: 7121: 7120: 7119: 7116: 7114: 7111: 7109: 7106: 7104: 7101: 7099: 7096: 7094: 7091: 7089: 7086: 7084: 7081: 7079: 7076: 7074: 7071: 7069: 7066: 7064: 7061: 7059: 7056: 7054: 7051: 7049: 7046: 7044: 7041: 7040: 7038: 7032: 7026: 7023: 7021: 7018: 7016: 7013: 7011: 7008: 7006: 7003: 7001: 6998: 6996: 6993: 6991: 6988: 6986: 6983: 6981: 6978: 6976: 6973: 6971: 6968: 6964: 6961: 6959: 6956: 6952: 6949: 6948: 6947: 6944: 6943: 6942: 6939: 6937: 6934: 6932: 6929: 6927: 6924: 6923: 6921: 6919: 6915: 6909: 6906: 6904: 6901: 6899: 6896: 6894: 6891: 6889: 6886: 6882: 6879: 6878: 6877: 6874: 6872: 6869: 6867: 6864: 6862: 6859: 6857: 6854: 6852: 6849: 6847: 6844: 6842: 6839: 6835: 6832: 6831: 6830: 6827: 6825: 6822: 6821: 6819: 6815: 6805: 6802: 6800: 6797: 6796: 6794: 6790: 6784: 6781: 6777: 6773: 6770: 6769: 6768: 6765: 6763: 6762:Postcommunion 6760: 6758: 6755: 6751: 6748: 6747: 6746: 6743: 6741: 6738: 6734: 6731: 6730: 6729: 6726: 6724: 6723:Sign of peace 6721: 6719: 6716: 6712: 6708: 6705: 6704: 6703: 6702:Lord's Prayer 6700: 6698: 6695: 6689: 6686: 6685: 6684: 6681: 6679: 6676: 6674: 6671: 6669: 6668: 6663: 6659: 6655: 6654: 6649: 6646: 6645: 6644: 6640: 6637: 6633: 6629: 6625: 6622: 6621: 6620: 6617: 6613: 6609: 6608:Orate fratres 6606: 6605: 6604: 6601: 6600: 6598: 6596:the Eucharist 6592: 6586: 6583: 6579: 6575: 6572: 6571: 6570: 6567: 6565: 6562: 6560: 6557: 6553: 6549: 6546: 6545: 6544: 6541: 6539: 6536: 6534: 6530: 6527: 6523: 6520: 6519: 6518: 6515: 6513: 6510: 6508: 6505: 6501: 6497: 6494: 6493: 6492: 6489: 6487: 6484: 6482: 6479: 6477: 6474: 6473: 6471: 6465: 6459: 6456: 6452: 6448: 6445: 6444: 6443: 6440: 6438: 6435: 6434: 6432: 6428: 6425: 6423:Order of Mass 6421: 6415: 6412: 6408: 6405: 6404: 6403: 6400: 6399: 6397: 6393: 6383: 6380: 6376: 6373: 6372: 6371: 6368: 6366: 6363: 6361: 6358: 6356: 6353: 6351: 6348: 6346: 6343: 6341: 6338: 6336: 6333: 6332: 6330: 6328: 6327:Ritual Masses 6324: 6318: 6315: 6313: 6312: 6308: 6306: 6303: 6301: 6298: 6296: 6293: 6291: 6290: 6289:Missa Cantata 6286: 6284: 6281: 6280: 6278: 6274: 6264: 6261: 6259: 6256: 6254: 6251: 6249: 6246: 6244: 6241: 6239: 6236: 6235: 6233: 6231: 6227: 6221: 6218: 6216: 6213: 6210: 6207: 6203: 6200: 6199: 6198: 6195: 6193: 6190: 6189: 6187: 6183: 6179: 6175: 6171: 6164: 6159: 6157: 6152: 6150: 6145: 6144: 6141: 6128: 6124: 6120: 6118: 6110: 6109: 6106: 6105: 6097: 6096: 6092: 6084: 6081: 6079: 6076: 6074: 6071: 6069: 6066: 6064: 6061: 6060: 6059: 6056: 6054: 6051: 6050: 6048: 6044: 6038: 6035: 6033: 6030: 6028: 6025: 6023: 6020: 6019: 6017: 6013: 6007: 6004: 6002: 5999: 5997: 5994: 5992: 5989: 5987: 5984: 5982: 5979: 5977: 5974: 5970: 5967: 5965: 5962: 5961: 5960: 5959:British Isles 5957: 5956: 5954: 5950: 5944: 5943: 5939: 5937: 5934: 5932: 5929: 5927: 5924: 5922: 5919: 5915: 5912: 5911: 5910: 5907: 5903: 5900: 5899: 5898: 5895: 5893: 5890: 5886: 5883: 5881: 5878: 5876: 5873: 5872: 5871: 5868: 5866: 5863: 5861: 5858: 5856: 5853: 5849: 5846: 5845: 5844: 5841: 5839: 5836: 5834: 5831: 5829: 5826: 5825: 5823: 5821:Musical forms 5819: 5813: 5810: 5808: 5805: 5803: 5800: 5798: 5795: 5793: 5790: 5788: 5785: 5783: 5780: 5778: 5775: 5773: 5770: 5768: 5765: 5763: 5760: 5758: 5755: 5754: 5752: 5748: 5738: 5737:W. de Wycombe 5735: 5733: 5730: 5728: 5725: 5723: 5720: 5718: 5715: 5711: 5710: 5706: 5705: 5704: 5701: 5699: 5696: 5695: 5693: 5689: 5675: 5672: 5670: 5667: 5665: 5662: 5660: 5657: 5655: 5652: 5650: 5647: 5645: 5642: 5640: 5637: 5635: 5632: 5630: 5627: 5625: 5622: 5620: 5617: 5615: 5612: 5610: 5607: 5605: 5604:Baude Cordier 5602: 5600: 5597: 5593: 5589: 5587: 5584: 5582: 5579: 5578: 5576: 5574: 5573: 5572:Ars subtilior 5568: 5564: 5546: 5543: 5541: 5538: 5536: 5533: 5531: 5528: 5526: 5523: 5521: 5518: 5516: 5513: 5510: 5507: 5505: 5502: 5500: 5497: 5496: 5494: 5490: 5480: 5477: 5474: 5471: 5469: 5466: 5464: 5461: 5459: 5456: 5454: 5451: 5450: 5448: 5444: 5434: 5431: 5429: 5428:Maestro Piero 5426: 5424: 5421: 5419: 5416: 5415: 5413: 5409: 5399: 5396: 5395: 5393: 5389: 5386: 5384: 5380: 5376: 5361: 5357: 5355: 5352: 5350: 5349:P. des Molins 5347: 5345: 5342: 5340: 5337: 5335: 5332: 5330: 5327: 5325: 5322: 5320: 5317: 5315: 5313: 5312: 5307: 5303: 5300: 5298: 5294: 5286: 5283: 5282: 5281: 5278: 5276: 5273: 5271: 5268: 5266: 5263: 5262: 5251: 5248: 5247: 5246: 5243: 5241: 5238: 5236: 5233: 5231: 5228: 5226: 5223: 5221: 5218: 5216: 5213: 5211: 5208: 5206: 5203: 5201: 5198: 5196: 5193: 5191: 5188: 5186: 5183: 5181: 5178: 5176: 5173: 5171: 5168: 5166: 5163: 5161: 5158: 5156: 5153: 5151: 5148: 5146: 5143: 5141: 5138: 5136: 5133: 5132: 5130: 5128: 5124: 5112: 5109: 5108: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5082: 5079: 5077: 5074: 5072: 5069: 5067: 5064: 5062: 5059: 5057: 5054: 5052: 5049: 5047: 5044: 5042: 5039: 5037: 5034: 5032: 5029: 5026: 5023: 5021: 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5001: 4998: 4996: 4995:Arnaut Daniel 4993: 4991: 4988: 4987: 4985: 4982: 4977: 4973: 4957: 4953: 4949: 4946: 4944: 4941: 4939: 4936: 4934: 4931: 4930: 4929: 4926: 4925: 4923: 4921: 4920: 4915: 4911: 4908: 4906: 4902: 4895: 4892: 4889: 4886: 4884: 4881: 4879: 4876: 4874: 4873:Peter Abelard 4871: 4869: 4866: 4864: 4861: 4857: 4856:Odo of Arezzo 4853: 4849: 4846: 4845: 4844: 4841: 4839: 4836: 4834: 4831: 4827: 4823: 4819: 4815: 4813: 4810: 4806: 4803: 4801: 4798: 4797: 4796: 4793: 4792: 4790: 4788: 4784: 4778: 4775: 4773: 4770: 4768: 4765: 4764: 4761: 4757: 4750: 4745: 4743: 4738: 4736: 4731: 4730: 4727: 4721: 4714: 4702: 4699: 4697: 4694: 4692: 4689: 4687: 4684: 4682: 4679: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4656: 4653: 4652: 4650: 4647: 4642: 4638: 4632: 4629: 4627: 4624: 4622: 4619: 4615: 4612: 4611: 4610: 4607: 4605: 4602: 4600: 4597: 4595: 4592: 4590: 4587: 4585: 4582: 4581: 4579: 4577: 4573: 4569: 4566: 4559: 4554: 4552: 4547: 4545: 4540: 4539: 4536: 4528: 4524: 4523:gregoriana.sk 4520: 4516: 4512: 4508: 4503: 4496: 4489: 4485: 4480: 4476: 4472: 4468: 4467: 4457: 4452: 4451: 4446: 4442: 4438: 4434: 4433: 4427: 4423: 4421:0-393-09062-0 4417: 4413: 4408: 4404: 4400: 4396: 4391: 4387: 4383: 4381:0-517-70037-9 4377: 4373: 4372: 4366: 4362: 4358: 4354: 4350: 4346: 4342: 4341: 4335: 4333: 4329: 4325: 4323: 4322:Liber usualis 4319: 4316: 4315: 4314:Liber usualis 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Landsmeer, 3618: 3612: 3596: 3592: 3586: 3580:, p. 18. 3579: 3574: 3567: 3562: 3555: 3550: 3543: 3538: 3532:, p. 44. 3531: 3526: 3519: 3514: 3507: 3502: 3495: 3490: 3483: 3478: 3471: 3466: 3459: 3454: 3447: 3442: 3435: 3430: 3424:, p. 21. 3423: 3418: 3411: 3406: 3399: 3394: 3387: 3382: 3375: 3370: 3363: 3358: 3352:, p. 22. 3351: 3346: 3340:, p. 82. 3339: 3334: 3327: 3322: 3316:, p. 11. 3315: 3310: 3303: 3298: 3291: 3286: 3280:, p. 81. 3279: 3274: 3268:, p. 11. 3267: 3262: 3255: 3250: 3243: 3238: 3231: 3226: 3218: 3214: 3208: 3201: 3196: 3189: 3184: 3177: 3172: 3166:, p. 47. 3165: 3160: 3154:, p. 80. 3153: 3148: 3141: 3136: 3130:, p. 10. 3129: 3124: 3118:, p. 13. 3117: 3112: 3105: 3101: 3096: 3088: 3084: 3080: 3076: 3072: 3068: 3064: 3061:(in German). 3060: 3059: 3054: 3047: 3040: 3039:McKinnon 1990 3035: 3027: 3023: 3019: 3015: 3014: 3006: 2999: 2994: 2988:, p. 79. 2987: 2982: 2976:, p. 30. 2975: 2970: 2963: 2958: 2952: 2947: 2945: 2937: 2936:McKinnon 1990 2932: 2926:, p. 28. 2925: 2920: 2913: 2908: 2902:, p. 72. 2901: 2900:McKinnon 1990 2896: 2889: 2884: 2878:, p. 74. 2877: 2872: 2866:, p. 34. 2865: 2860: 2844: 2837: 2831: 2824: 2820: 2816: 2815:archive.today 2812: 2809: 2804: 2802: 2794: 2788: 2781: 2776: 2772: 2763: 2760: 2758: 2755: 2753: 2750: 2748: 2747:Paul Jausions 2745: 2743: 2740: 2738: 2735: 2733: 2730: 2728: 2725: 2724: 2718: 2716: 2712: 2708: 2704: 2699: 2697: 2693: 2689: 2688: 2687:cantus firmus 2683: 2679: 2675: 2671: 2667: 2663: 2658: 2656: 2652: 2648: 2644: 2640: 2639:musical staff 2636: 2632: 2628: 2611: 2609: 2585: 2568: 2566: 2562: 2561:Salve, Regina 2558: 2554: 2550: 2546: 2545: 2539: 2537: 2533: 2529: 2525: 2521: 2517: 2504: 2499: 2495: 2493: 2489: 2488:Ite missa est 2484: 2482: 2478: 2473: 2471: 2467: 2463: 2459: 2452: 2450: 2438: 2422: 2405: 2403: 2398: 2393: 2388: 2386: 2376: 2374: 2370: 2369: 2364: 2363: 2358: 2354: 2352: 2349:. Instead, a 2348: 2344: 2343: 2338: 2333: 2331: 2330: 2329:centonization 2325: 2321: 2317: 2315: 2311: 2307: 2303: 2300: 2290: 2288: 2284: 2283: 2282:Liber usualis 2278: 2274: 2270: 2269:reciting tone 2266: 2265: 2260: 2256: 2246: 2244: 2238: 2236: 2230: 2228: 2224: 2212: 2209: 2201: 2191: 2187: 2183: 2177: 2176: 2172: 2167:This section 2165: 2161: 2156: 2155: 2147: 2145: 2139: 2137: 2133: 2128: 2125: 2121: 2115: 2113: 2107: 2103: 2099: 2096: 2091: 2088: 2083: 2077: 2072: 2067: 2065: 2060: 2058: 2054: 2050: 2046: 2040: 2038: 2034: 2028: 2023: 2019: 2013: 2011: 2007: 1996: 1991: 1989: 1983: 1981: 1977: 1971: 1969: 1965: 1961: 1957: 1953: 1949: 1945: 1941: 1937: 1936: 1931: 1930: 1924: 1922: 1918: 1917: 1911: 1907: 1892: 1888: 1883: 1879: 1875: 1871: 1866: 1862: 1854: 1850: 1849: 1848:Liber usualis 1844: 1840: 1838: 1834: 1830: 1826: 1822: 1818: 1814: 1810: 1809: 1795: 1787: 1782: 1773: 1770: 1766: 1762: 1761: 1756: 1752: 1748: 1743: 1741: 1737: 1733: 1729: 1725: 1721: 1714:Musical idiom 1711: 1709: 1704: 1700: 1696: 1691: 1687: 1685: 1681: 1677: 1673: 1665: 1661: 1657: 1654: 1650: 1646: 1643: 1639: 1635: 1632: 1628: 1624: 1623: 1622: 1620: 1616: 1612: 1608: 1607: 1602: 1601:reciting tone 1598: 1594: 1590: 1586: 1582: 1578: 1577: 1572: 1568: 1563: 1561: 1557: 1547: 1543: 1539: 1536:Around 1025, 1534: 1532: 1521: 1517: 1511: 1501: 1499: 1495: 1491: 1486: 1482: 1480: 1479: 1478:centonization 1474: 1470: 1466: 1462: 1458: 1453: 1451: 1447: 1443: 1439: 1438: 1433: 1429: 1422: 1420: 1395: 1393: 1369: 1367: 1345: 1341: 1339: 1335: 1331: 1327: 1322: 1320: 1316: 1312: 1308: 1304: 1300: 1296: 1292: 1288: 1284: 1280: 1279: 1278:reciting tone 1274: 1267: 1265: 1241: 1224: 1221: 1217: 1209:Melodic types 1201: 1198: 1194: 1190: 1186: 1182: 1181: 1177: 1172: 1168: 1166: 1162: 1158: 1154: 1153: 1152:Liber usualis 1148: 1144: 1143:Pope Leo XIII 1140: 1134: 1131: 1127: 1122: 1117: 1115: 1111: 1107: 1103: 1100:. Guidette's 1099: 1095: 1091: 1087: 1081: 1079: 1075: 1071: 1067: 1059: 1057: 1045: 1041: 1025: 1023: 1001: 996: 994: 988: 979: 977: 973: 972: 967: 962: 959: 955: 951: 945: 943: 939: 935: 931: 927: 923: 919: 913: 911: 907: 903: 899: 895: 891: 887: 883: 879: 875: 865: 863: 859: 855: 850: 848: 844: 840: 836: 832: 828: 823: 819: 817: 813: 809: 805: 802:sent a papal 801: 800:Pope Adrian I 797: 793: 790:, his father 789: 785: 781: 777: 773: 765: 761: 756: 747: 745: 741: 737: 733: 731: 727: 723: 719: 715: 711: 707: 704:singing of a 703: 699: 698:St. Augustine 694: 692: 688: 684: 680: 678: 673: 669: 665: 664: 658: 656: 652: 648: 644: 640: 639:Matthew 26.30 636: 632: 628: 627:New Testament 623: 621: 617: 613: 609: 605: 601: 596: 592: 588: 584: 569: 567: 563: 559: 555: 551: 547: 543: 538: 536: 532: 528: 524: 520: 516: 512: 508: 504: 500: 499:centonization 496: 493:, the use of 492: 488: 484: 480: 476: 471: 469: 465: 461: 457: 453: 449: 445: 441: 437: 433: 422: 417: 415: 410: 408: 403: 402: 400: 399: 394: 393: 389: 388: 387: 386: 378: 377: 373: 371: 368: 366: 363: 361: 358: 356: 353: 351: 348: 346: 343: 341: 338: 336: 333: 329: 326: 324: 321: 319: 316: 315: 314: 311: 309: 306: 304: 301: 300: 293: 292: 284: 281: 279: 276: 274: 271: 269: 266: 264: 261: 259: 256: 254: 251: 249: 246: 244: 241: 239: 236: 234: 231: 229: 226: 224: 221: 220: 216:Major figures 213: 212: 204: 203: 202:Ars subtilior 199: 197: 194: 192: 191: 187: 185: 182: 180: 177: 175: 172: 168: 165: 164: 163: 162: 158: 156: 153: 151: 150:Saint Martial 148: 146: 143: 142: 135: 134: 126: 122: 118: 114: 110: 109: 108: 107: 103: 102: 99: 96: 95: 91: 87: 86: 79: 77: 54: 53: 43: 39: 35: 31: 28: 23: 19: 9859: 9831: 9779:Architecture 9769:Mediator Dei 9767: 9760: 9753: 9746: 9739: 9683:Benedictine- 9585:Anton Hänggi 9540:Louis Bouyer 9530:Augustin Bea 9423: 9406: 9398: 9373: 9356: 9246: 9242:Pope Francis 9168:21st century 9117:Pope Paul VI 9094: 9082: 9035:20th century 9022: 8973:Pope Pius IX 8961:19th century 8937:Pope Pius VI 8804: 8676:Latin Empire 8646:Universities 8598:Pope Leo III 8567: 8465:Christianity 8450:state church 8442:Great Church 8243:Resurrection 8206:(30–325/476) 8203:Early Church 8188:Latin Church 8183:Papal States 8178:Vatican City 8013: 8009:Stercoranism 8001: 7994: 7985: 7971:Pope Paul VI 7958: 7952:Mediator Dei 7950: 7933: 7923: 7906: 7888: 7872: 7783: 7732: 7726: 7719: 7713:and concepts 7661:(encyclical) 7658: 7650: 7638: 7626: 7619: 7609: 7573: 7564: 7511:Genuflection 7451: 7395:Septuagesima 7393: 7287:Humeral veil 7227:Sacramentary 7217:Roman Missal 7209: 6970:Chalice veil 6829:Altar server 6817:Participants 6665: 6651: 6624:Sursum corda 6375:Month's mind 6370:Requiem Mass 6355:Nuptial Mass 6309: 6287: 6220:Anglican Use 6102: 6068:Architecture 5940: 5896: 5892:Geisslerlied 5870:Formes fixes 5792:Notker Labeo 5757:Anonymous IV 5732:Leonel Power 5717:Thomas Fabri 5707: 5570: 5391:Predecessors 5309: 5215:Jehan Bretel 5051:Jaufre Rudel 4917: 4826:Odo of Cluny 4685: 4621:Prostopinije 4527:the original 4522: 4510: 4495:the original 4448: 4431: 4412:Choral Music 4411: 4402: 4399:Sacred Music 4398: 4384:– via 4370: 4344: 4338: 4321: 4312: 4295: 4282: 4269: 4256: 4228: 4207: 4197:– via 4182: 4171: 4138: 4119: 4097: 4094:Duffin, Ross 4060: 4057:Hiley, David 4034: 4024:– via 4010: 3987: 3979: 3965: 3954:Hiley, David 3935: 3899: 3880: 3869: 3830: 3827:Hiley, David 3807: 3782: 3770: 3758: 3751:Crocker 1977 3746: 3729: 3719: 3711: 3706: 3697: 3693: 3687: 3679: 3669:Peter Wagner 3664: 3656: 3651: 3642: 3641:(in Dutch). 3638: 3632: 3627:. 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Retrieved 2842: 2830: 2787: 2775: 2711:William Byrd 2700: 2691: 2685: 2659: 2624: 2605: 2560: 2556: 2552: 2548: 2542: 2540: 2528:Responsories 2513: 2503:Salve Regina 2485: 2474: 2470:Nicene Creed 2468:intones the 2455: 2446: 2389: 2382: 2366: 2360: 2355: 2340: 2334: 2327: 2318: 2304: 2296: 2280: 2262: 2252: 2242: 2239: 2234: 2231: 2226: 2219: 2204: 2198:October 2010 2195: 2180:Please help 2168: 2140: 2135: 2131: 2129: 2123: 2119: 2116: 2111: 2108: 2104: 2100: 2092: 2086: 2081: 2068: 2061: 2057:Pope Paul VI 2053:Justine Ward 2044: 2041: 2022:Peter Wagner 2017: 2014: 2005: 2002: 1993: 1987: 1985: 1980:Odo of Cluny 1972: 1933: 1927: 1925: 1914: 1903: 1864: 1860: 1858: 1852: 1846: 1839:is notated. 1837:Shaker music 1828: 1819:notation of 1806: 1797: 1785: 1768: 1758: 1744: 1717: 1707: 1699:chromaticism 1692: 1688: 1669: 1642:Hypophrygian 1614: 1610: 1604: 1596: 1592: 1588: 1584: 1580: 1574: 1564: 1560:musica ficta 1541: 1535: 1513: 1510:Mode (music) 1487: 1483: 1476: 1473:Responsorial 1468: 1454: 1435: 1425: 1416: 1392:De profundis 1391: 1365: 1337: 1333: 1329: 1323: 1276: 1270: 1261: 1212: 1204:Musical form 1178: 1176:motu proprio 1173: 1169: 1164: 1160: 1150: 1135: 1130:Pope Pius IX 1118: 1105: 1101: 1096:banned most 1082: 1068:in Germany, 1062: 1053: 1039: 1021: 991: 969: 963: 946: 922:Celtic chant 914: 871: 851: 831:church modes 820: 804:sacramentary 769: 734: 730:Roman Empire 718:Celtic chant 702:responsorial 695: 676: 661: 659: 624: 610:" come from 580: 539: 472: 438:, a form of 431: 430: 390: 374: 339: 335:Geisslerlied 313:Formes fixes 200: 188: 159: 119: / 115: / 73: 51: 37: 29: 18: 16:Form of song 9990:WikiProject 9855:Amay Priory 9655:Max Thurian 9625:Pius Parsch 9504:Adrien Gréa 9454:Pope Pius X 9248:Laudato si' 9043:Pope Pius X 8872:Philip Neri 8847:Pope Pius V 8822:Thomas More 8691:Inquisition 8593:Charlemagne 8553:Monasticism 8363:Persecution 8255:Holy Spirit 8238:Crucifixion 8117:First seven 7884:benediction 7814:Agape feast 7728:Ad orientem 7711:Regulations 7671:Last Supper 7586:Eucharistic 7442:Eucharistic 7406:Passiontide 7190:Antiphonary 7108:Funghellino 7093:Evangeliary 7053:Aspergillum 7015:Purificator 6941:Antependium 6931:Altar rails 6783:Last Gospel 6683:Roman Canon 6442:Asperges me 6317:Votive Mass 6311:sine populo 6295:Solemn Mass 6058:Middle Ages 6053:Early music 6015:Derivations 5848:Chansonnier 5220:Jehan Erart 5165:Colin Muset 5071:Peire Vidal 4919:Ars antiqua 4374:. Harmony. 3804:Apel, Willi 3730:Early Music 3672: [ 3422:Wilson 1990 3350:Wilson 1990 3314:Wilson 1990 3128:Wilson 1990 3116:Wilson 1990 2780:Murray 1963 2437:David Hiley 2074: [ 2049:cheironomic 2025: [ 1988:cognoscenti 1895:Performance 1885: [ 1813:cheironomic 1724:Offertories 1573:called the 1520:Enchiriadis 1309:during the 1273:recitatives 1147:Pope Pius X 1080:in France. 1078:St. Martial 998: [ 976:Good Friday 942:St. Ambrose 934:Reconquista 896:banned the 882:Scandinavia 874:Charlemagne 862:Holy Spirit 788:Charlemagne 782:celebrated 776:Carolingian 762:sitting on 760:Holy Spirit 732:collapsed. 691:St. Ambrose 683:St. Anthony 631:Last Supper 503:tetrachords 460:Carolingian 296:Major forms 161:Ars antiqua 117:Instruments 10013:Categories 9121:coronation 8827:Pope Leo X 8412:Tertullian 8342:Revelation 8317:Background 7796:Lord's Day 7785:Pro multis 7531:Intinction 7516:Head cover 7444:discipline 7423:Eastertide 7297:Pontifical 7231:Lectionary 7113:Holy water 7043:Altar bell 7034:Liturgical 7025:Tabernacle 7000:Misericord 6594:Liturgy of 6467:Liturgy of 6451:Eastertide 6447:Vidi aquam 6414:Vernacular 6382:White Mass 6305:Papal Mass 6174:Roman Rite 6083:Philosophy 6078:Literature 6046:Background 5952:Traditions 5319:F. Andrieu 5175:Gace Brulé 5015:Castelloza 4981:Trobairitz 4976:Troubadour 4868:St. Godric 4666:Beneventan 4657:(Milanese) 4405:(1): 5–14. 4069:. § VI.1. 3796:References 3763:Hiley 1995 3700:: 129–135. 3578:Mahrt 2000 3530:Hiley 1990 3494:Hiley 1995 3458:Hiley 1995 3386:Hiley 1995 3374:Hiley 1995 3230:Hiley 1995 3200:Hiley 1995 3140:Hiley 1995 3065:(4): 299. 2974:Grout 1960 2962:Grout 1960 2924:Grout 1960 2912:Hiley 1995 2888:Hiley 1995 2727:Alternatim 2703:Palestrina 2608:media help 2565:Willi Apel 2464:, and the 2449:media help 2037:Mocquereau 1878:liquescent 1817:ekphonetic 1803: 950 1784:Offertory 1749:to create 1747:centonized 1738:, and the 1703:Cistercian 1660:Mixolydian 1653:Hypolydian 1631:Hypodorian 1556:accidental 1546:hexachords 1419:media help 1285:, partial 1264:media help 1220:Melismatic 1197:Vatican II 1066:Regensburg 1056:media help 971:Improperia 954:Roman Rite 920:displaced 918:Sarum Rite 892:. In 885, 822:Willi Apel 772:Roman Rite 726:Beneventan 687:antiphonal 668:Hippolytus 647:Tertullian 550:Roman Rite 515:hexachords 483:mode final 440:monophonic 436:plainchant 174:Troubadour 145:Saint Gall 76:media help 9980:Templates 9733:documents 9575:Benno Gut 9555:Odo Casel 9407:Consilium 9137:Communism 9107:Ecumenism 8453:(380–451) 8445:(180–451) 8434:(313–476) 8356:(100–325) 7908:Fermentum 7895:Holy Hour 7745:Canon law 7611:Epiousion 7479:Canon 915 7474:Canon 844 7453:Abstemius 7411:Holy Week 7364:(current) 7335:Calendars 7253:Vestments 7200:Customary 7130:Manuterge 7103:Flabellum 6903:Subdeacon 6792:Post-Mass 6767:Dismissal 6757:Ablutions 6728:Agnus Dei 6667:anamnesis 6662:elevation 6653:epiclesis 6603:Offertory 6496:Confiteor 6365:Rose Mass 6350:Gold Mass 6335:Blue Mass 6215:Zaire Use 5996:Lithuania 5860:Conductus 5750:Theorists 5722:Roy Henry 5649:Rodericus 5540:Sant Omer 5275:Minnesang 4696:Old Roman 4691:Mozarabic 4686:Gregorian 4655:Ambrosian 4646:Plainsong 4589:Byzantine 4328:also here 4008:(1978a). 3775:Apel 1990 3566:Dyer 2001 3554:Apel 1990 3542:Apel 1990 3518:Apel 1990 3506:Apel 1990 3446:Apel 1990 3434:Apel 1990 3410:Apel 1990 3398:Apel 1990 3362:Apel 1990 3254:Apel 1990 3188:Apel 1990 3152:Apel 1990 3087:235004564 3079:0003-9292 2986:Apel 1990 2876:Apel 1990 2864:Apel 1990 2682:polyphony 2674:In Nomine 2643:bass clef 2616:Influence 2481:Agnus Dei 2402:tessitura 2357:Sequences 2169:does not 1960:Pentecost 1732:Agnus Dei 1615:authentic 1576:oktoechos 1494:sequences 1465:Offertory 1432:Communion 1216:ligatures 1139:facsimile 1098:sequences 926:Visigoths 827:octoechos 722:Old Roman 535:polyphony 450:) of the 308:Conductus 283:Dunstaple 233:Hildegard 184:Minnesang 125:Theorists 113:Composers 40:, honors 9970:Category 9848:See also 9147:HIV/AIDS 8641:Crusades 8395:Irenaeus 8388:Ignatius 8383:Polycarp 8233:Ministry 8221:(30–100) 8095:Timeline 7775:Ordinary 7721:Accentus 7680:and its 7640:Koinonia 7588:theology 7575:Viaticum 7307:Surplice 7277:Dalmatic 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