1733:. Skips of a third are common, and larger skips far more common than in other plainchant repertories such as Ambrosian chant or Beneventan chant. Gregorian melodies are more likely to traverse a seventh than a full octave, so that melodies rarely travel from D up to the D an octave higher, but often travel from D to the C a seventh higher, using such patterns as D-F-G-A-C.> Gregorian melodies often explore chains of pitches, such as F-A-C, around which the other notes of the chant gravitate. Within each mode, certain incipits and cadences are preferred, which the modal theory alone does not explain. Chants often display complex internal structures that combine and repeat musical subphrases. This occurs notably in the
1822:(Gr. sign, of the hand) to indicate tone-movements and relative duration within each syllable. A sort of musical stenography that seems to focus on gestures and tone-movements but not the specific pitches of individual notes, nor the relative starting pitches of each neume. Given the fact that Chant was learned in an oral tradition in which the texts and melodies were sung from memory, this was obviously not necessary. The neumatic manuscripts display great sophistication and precision in notation and a wealth of graphic signs to indicate the musical gesture and proper pronunciation of the text. Scholars postulate that this practice may have been derived from
1712:. Early Gregorian chant, like Ambrosian and Old Roman chant, whose melodies are most closely related to Gregorian, did not use the modal system. The great need for a system of organizing chants lies in the need to link antiphons with standard tones, as in for example, the psalmody at the Office. Using Psalm Tone i with an antiphon in Mode 1 makes for a smooth transition between the end of the antiphon and the intonation of the tone, and the ending of the tone can then be chosen to provide a smooth transition back to the antiphon. As the modal system gained acceptance, Gregorian chants were edited to conform to the modes, especially during 12th-century
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Chant was taken up in
Solesmes, there have been lengthy discussions of exactly what course was to be taken. Some favored a strict academic rigour and wanted to postpone publications, while others concentrated on practical matters and wanted to supplant the corrupted tradition as soon as possible. Roughly a century later, there still exists a breach between a strict musicological approach and the practical needs of church choirs. Thus the performance tradition officially promulgated since the onset of the Solesmes restoration is substantially at odds with musicological evidence.
2125:), and in terms of fixed duration values that were based on mensuralistic notions, however with ratios between short and long notes ranging from 1 : 1, via 1 : 1.2, 1 : 1.4, etc. to 1 : 3. To distinguish short and long notes, tables were consulted that were established by Van Kampen in an unpublished comparative study regarding the neume notations according to Sankt Gallen and Laon codices. With some exceptions, these tables confirm the short vs. long distinctions in Cardine's 'Semiologie Gregorienne'.
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757:, his goal was to organize the bodies of chants from diverse traditions into a uniform and orderly whole for use by the entire western region of the Church. His renowned love for music was recorded only 34 years after his death; the epitaph of Honorius testified that comparison to Gregory was already considered the highest praise for a music-loving pope. While later legends magnified his real achievements, these significant steps may account for why his name came to be attached to Gregorian chant.
2149:. As it could also be demonstrated by Van Kampen that melodic peaks often coincide with the word accent (see also), the conclusion seems warranted that the Gregorian melodies enhance the expressiveness of the Latin words by mimicking to some extent both the accentuation of the sacred words (pitch differences between neumes) and the relative duration of the word syllables (by paying attention to well-defined length differences between the individual notes of a neume).
1902:(see below under 'rhythm'), ornamental neumes have received more attention from both researchers and performers. B-flat is indicated by a "b-mollum" (Lat. soft), a rounded undercaste 'b' placed to the left of the entire neume in which the note occurs, as shown in the "Kyrie" to the right. When necessary, a "b-durum" (Lat. hard), written squarely, indicates B-natural and serves to cancel the b-mollum. This system of square notation is standard in modern chantbooks.
2091:(1905–1988), a monk from Solesmes, published his 'Semiologie Gregorienne' in 1970 in which he clearly explains the musical significance of the neumes of the early chant manuscripts. Cardine shows the great diversity of neumes and graphic variations of the basic shape of a particular neume, which can not be expressed in the square notation. This variety in notation must have served a practical purpose and therefore a musical significance. Nine years later, the
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2343:; stock musical phrases are assembled like a patchwork to create the full melody of the chant, creating families of musically related melodies. Graduals are accompanied by an elaborate Verse, so that it actually consists in two different parts, A B. Often the first part is sung again, creating a 'rondeau' A B A. At least the verse, if not the complete gradual, is for the solo cantor and are in elaborate, ornate style with long, wide-ranged melismata.
753:, modestly claimed that the saint "compiled a patchwork antiphonary", unsurprisingly, given his considerable work with liturgical development. He reorganized the Schola Cantorum and established a more uniform standard in church services, gathering chants from among the regional traditions as widely as he could manage. Of those, he retained what he could, revised where necessary, and assigned particular chants to the various services. According to
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875:, thus giving Gregorian chant the stamp of being divinely inspired. Scholars agree that the melodic content of much Gregorian Chant did not exist in that form in Gregory I's day. In addition, it is known definitively that the familiar neumatic system for notating plainchant had not been established in his time. Nevertheless, Gregory's authorship is popularly accepted by some as fact to this day.
2236:. Since the 1970 a melodic restitution group of AISCGre (International Society for the Study of Gregorian Chant) has worked on an "editio magis critica" as requested by the 2. Vatican Council Constitution "Sacrosanctum Concilium". As a response to this need and following the Holy See's invitation to edit a more critical edition, in 2011 the first volume "De Dominicis et Festis" of the
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1529:. Modal theory, which postdates the composition of the core chant repertory, arises from a synthesis of two very different traditions: the speculative tradition of numerical ratios and species inherited from ancient Greece and a second tradition rooted in the practical art of cantus. The earliest writings that deal with both theory and practice include the
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the duration of the individual notes) anyway adds to the expressivity of the sacred Latin texts, several word-related variables were studied for their relationship with several neume-related variables, exploring these relationships in a sample of introit chants using such statistical methods as correlational analysis and multiple regression analysis.
2356:, an extended joyful melisma on the last vowel of 'Alleluia'. The Alleluia is also in two parts, the alleluia proper and the psalmverse, by which the Alleluia is identified (Alleluia V. Pascha nostrum). The last melisma of the verse is the same as the jubilus attached to the Alleluia. Alleluias are not sung during penitential times, such as
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neumes notation over the text, but as a rule have less rhythmic refinement compared to the earlier group. However, the comparison between the two groups has made it possible to correct what are obvious mistakes. In other instances it is not so easy to find a consensus. In 1984 Chris
Hakkennes published his own transcription of the
1632:" (under, Gr.) indicates a plagal mode, where the melody moves below the final. In contemporary Latin manuscripts the modes are simply called Protus authentus /plagalis, Deuterus, Tritus and Tetrardus: the 1st mode, authentic or plagal, the 2nd mode etc. In the Roman Chantbooks the modes are indicated by Roman numerals.
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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
33:
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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
1834:, punctuation marks, or diacritical accents. Later adaptations and innovations included the use of a dry-scratched line or an inked line or two lines, marked C or F showing the relative pitches between neumes. Consistent relative heightening first developed in the Aquitaine region, particularly at
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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).
2019:, pes quassus, strophic neumes may indicate repeated notes, lengthening by repercussion, in some cases with added ornaments. By the 13th century, with the widespread use of square notation, most chant was sung with an approximately equal duration allotted to each note, although
1949:, (improvised) harmonic embellishment of chant melodies focusing on octaves, fifths, fourths, and, later, thirds. Neither tropes nor organum, however, belong to the chant repertory proper. The main exception to this is the sequence, whose origins lay in troping the extended
1166:– as authoritative. In 1904, the Vatican edition of the Solesmes chant was commissioned. Serious academic debates arose, primarily owing to stylistic liberties taken by the Solesmes editors to impose their controversial interpretation of rhythm. The Solesmes editions insert
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1511:, were originally intended for congregational singing. The structure of their texts largely defines their musical style. In sequences, the same melodic phrase is repeated in each couplet. The strophic texts of hymns use the same syllabic melody for each stanza.
2483:. Because of the length of these texts, these chants often break into musical subsections corresponding with textual breaks. Because the Credo was the last Ordinary chant to be added to the Mass, there are relatively few Credo melodies in the Gregorian corpus.
1544:, who adopted the tetrachord of the finals (D, E, F, G) and constructed the rest of the system following the model of the Greek Greater and Lesser Perfect Systems. These were the first steps in forging a theoretical tradition that corresponded to chant.
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innovation had the solo cantor sing the opening words of responsorial chants, with the full chorus finishing the end of the opening phrase. This innovation allowed the soloist to fix the pitch of the chant for the chorus and to cue the choral entrance.
1628:. Although corresponding plagal and authentic modes have the same final, they have different dominants. The existent pseudo-Greek names of the modes, rarely used in medieval times, derive from a misunderstanding of the Ancient Greek modes; the prefix "
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860:) in the early 11th century, what we know today as plainchant notation. The whole body of Frankish-Roman Carolingian chant, augmented with new chants to complete the liturgical year, coalesced into a single body of chant that was called "Gregorian."
2644:. Modern staff notation developed directly from Gregorian neumes. The square notation that had been devised for plainchant was borrowed and adapted for other kinds of music. Certain groupings of neumes were used to indicate repeating rhythms called
1943:, which is a new text sung to the same melodic phrases in a melismatic chant (repeating an entire Alleluia-melody on a new text for instance, or repeating a full phrase with a new text that comments on the previously sung text) and various forms of
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rhythmic notation but above all – he was also a choirmaster – suited for practical use, therefore a simplex, integrated notation. Although fully admitting the importance of Hakkennes' melodic revisions, the rhythmical solution suggested in the
72:
891:, aggressively spread Gregorian chant throughout his empire to consolidate religious and secular power, requiring the clergy to use the new repertory on pain of death. From English and German sources, Gregorian chant spread north to
2505:, which conclude the Mass, belong to the Ordinary. They have their own Gregorian melodies, but because they are short and simple, and have rarely been the subject of later musical composition, they are often omitted in discussion.
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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
2001:, difficulty for the beginners, and an admirable organization... that widely differs from other chants; they are not so much made according to the rules of music... but rather evince the authority and validity... of music.
2648:. Rounded noteheads increasingly replaced the older squares and lozenges in the 15th and 16th centuries, although chantbooks conservatively maintained the square notation. By the 16th century, the fifth line added to the
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demonstrate the corruption of the 'Medicea' by presenting photographed notations originating from a great variety of manuscripts of one single chant, which Solesmes called forth as witnesses to assert their own reforms.
947:. Restricted to a handful of dedicated chapels, modern Mozarabic chant is highly Gregorianized and bears no musical resemblance to its original form. Ambrosian chant alone survived to the present day, preserved in
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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
2720:, features a Kyrie but not an Introit. The Propers may also be replaced by choral settings on certain solemn occasions. Among the composers who most frequently wrote polyphonic settings of the Propers were
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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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70:
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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
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1099:, has turned into a huge undertaking to restore the allegedly corrupted chant to a hypothetical "original" state. Early Gregorian chant was revised to conform to the theoretical structure of the
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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
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1119:, published in 1614, drastically revised what was perceived as corrupt and flawed "barbarism" by making the chants conform to contemporary aesthetic standards. In 1811, the French musicologist
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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
1351:. In direct psalmody, psalm verses are sung without refrains to simple, formulaic tones. Most psalmodic chants are antiphonal and responsorial, sung to free melodies of varying complexity.
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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
1838:, in the first half of the eleventh century. Many German-speaking areas, however, continued to use unpitched neumes into the twelfth century. Additional symbols developed, such as the
1385:
979:. Similarly, the Gregorian repertory incorporated elements of these lost plainchant traditions, which can be identified by careful stylistic and historical analysis. For example, the
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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,
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2248:. He devised a new graphic adaptation of square notation 'simplex' in which he integrated the rhythmic indications of the two most relevant sources, that of Laon and Sankt Gallen.
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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
1455:, or even omitted entirely. Antiphonal chants reflect their ancient origins as elaborate recitatives through the reciting tones in their melodies. Ordinary chants, such as the
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571:. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy,
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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.
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465:. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits
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Not every Gregorian chant fits neatly into Guido's hexachords or into the system of eight modes. For example, there are chants – especially from German sources – whose
935:. Gregorian coexisted with Beneventan chant for over a century before Beneventan chant was abolished by papal decree (1058). Mozarabic chant survived the influx of the
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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
1842:, placed at the end of a system to show the next pitch. Other symbols indicated changes in articulation, duration, or tempo, such as a letter "t" to indicate a
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2058:, akin to a beat, notated in chantbooks as a small vertical mark. These basic melodic units combined into larger phrases through a complex system expressed by
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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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1031:
707:
Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410,
8988:
7644:
4498:
9063:
429:
1445:
originally referred to chants in which two choirs sang in alternation, one choir singing verses of a psalm, the other singing a refrain called an
4711:
2431:
9334:
8373:
8100:
4350:
3023:
1565:-C-D), or G (the hard hexachord, using a B-natural, G-A-B^C-D-E). The B-flat was an integral part of the system of hexachords rather than an
1286:
and free melodies. The simplest kind of melody is the liturgical recitative. Recitative melodies are dominated by a single pitch, called the
8052:
4494:– A collection of Gregorian chants, hymns and psalms (Spain, 1575–1625) from the University of British Columbia Library Digital Collections
1225:
syllabic throughout with only a few instances where two or more notes are sung on one syllable. "Neumatic" chants are more embellished and
8646:
8139:
1934:
where women were permitted to sing the Office and the parts of the Mass pertaining to the choir as a function of their consecrated life.
61:
9028:
8327:
7496:
2141:
The distinction between the first two rules and the latter rule can also be found in early treatises on music, introducing the terms
1540:, a note not recognized by later Medieval writers). A diatonic scale with a chromatically alterable b/b-flat was first described by
512:
to create families of related chants. The scale patterns are organized against a background pattern formed of conjunct and disjunct
8781:
7968:
6881:
4757:
2415:
between sections. The E' section, on the final "Kyrie eleison", itself has an aa'b structure, contributing to the sense of climax.
2282:
with simple melodic formulae at certain places in each sentence. More complex chants are sung by trained soloists and choirs. The
825:
in the favorable atmosphere of the Carolingian monarchs, also compiled the core liturgy of the Roman Mass and promoted its use in
9905:
8045:
7770:
7362:
5295:
2705:, were frequently arranged by Renaissance composers. The use of chant as a cantus firmus was the predominant practice until the
2386:, an early sequence writer, their origins lie in the addition of words to the long melismata of the jubilus of Alleluia chants.
692:. Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following
8475:
8417:
7976:
5787:
3684:
2037:
609:
Jews in sung form. Early Christian rites also incorporated elements of Jewish worship that survived in later chant tradition.
2066:'s program of music education for children, until the liturgical role of chant was diminished after the liturgical reforms of
1708:
suggest a warbling of pitches between the notes E and F, outside the hexachord system, or in other words, employing a form of
1624:, while melodies whose final is in the lower end of the ambitus and have a range of over five or six notes are categorized as
4317:
4288:
4171:
4093:
3932:
3863:
1206:
communities (most of which allow all-female scholas as well, though), the Catholic Church no longer persists with this ban.
852:
to show the shape of a remembered melody. This notation was further developed over time, culminating in the introduction of
9901:
8285:
8181:
7894:
6961:
4787:
1989:
himself criticized the practice of promoting clerics based on their charming singing rather than their preaching. However,
422:
127:
6956:
3991:
The performance of chant in equal note lengths from the 13th century onwards is well supported by contemporary statements.
3601:
739:). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western
668:
confirm the practice, although in poetic or obscure ways that shed little light on how music sounded during this period.
9732:
9399:
9147:
9045:
8932:
7956:
7829:
6693:
6683:
601:
2549:. The psalm antiphons of the Office tend to be short and simple, especially compared to the complex Great Responsories.
2286:
contains the proper chants of the Mass (i.e., Introit, Gradual, Alleluia, Tract, Offertory, Communion) and the complete
10029:
9185:
8487:
8238:
7192:
5629:
5121:
1492:. Tracts are melismatic settings of psalm verses and use frequent recurring cadences and they are strongly centonized.
10000:
8317:
7986:
6908:
4430:
4390:
4301:
4275:
4249:
4226:
4203:
4138:
4116:
4053:
4030:
4006:
3984:
3954:
3899:
3826:
3635:
2762:
2680:
2218:
1559:. Hexachords could be built on C (the natural hexachord, C-D-E^F-G-A), F (the soft hexachord, using a B-flat, F-G-A^B
6011:
2821:
2574:, are relatively late chants, dating to the 11th century, and considerably more complex than most Office antiphons.
2200:
1486:
chants are often composed of an amalgamation of various stock musical phrases, pieced together in a practice called
9970:
9892:
9379:
9088:
8568:
8458:
7801:
7755:
6755:
5996:
5969:
4782:
2713:
2701:, so that the consecutive notes of the chant determined the harmonic progression. The Marian antiphons, especially
2192:
1926:
135:
17:
1985:
stereotype of Gregorian chant as slow-moving mood music. This tension between musicality and piety goes far back;
8583:
8507:
8127:
8105:
7596:
7452:
7337:
5991:
4566:
2594:
1088:
809:
in favor of the Roman use, to strengthen ties with Rome. Thirty years later (785–786), at Charlemagne's request,
415:
7133:
6569:
6001:
5250:
3068:
2846:
727:. Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles (
696:
introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375,
10059:
8822:
8441:
8088:
8080:
8068:
7627:
7367:
7357:
6851:
6240:
5307:
4915:
4797:
2196:
9897:
9675:
9117:
8696:
8671:
8280:
7924:
7866:
5116:
2687:" were based on Gregorian melodies. Beginning with the improvised harmonizations of Gregorian chant known as
4529:
649:
9811:
9433:
9394:
9320:
9157:
8676:
8666:
8122:
7668:
7570:
5235:
5150:
4750:
2709:
period, when the stronger harmonic progressions made possible by an independent bass line became standard.
1130:
In the late 19th century, early liturgical and musical manuscripts were unearthed and edited. Earlier, Dom
968:
4505:
2683:" adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance "
10049:
9990:
9960:
9361:
9122:
8492:
8265:
7108:
6350:
2772:
4405:
3703:
Jeannin, J. (1930). "Proportionale Dauerwerte oder einfache Schattierungen im Gregorianischen Choral?".
2077:. The note lengthenings recommended by the Solesmes school remain influential, though not prescriptive.
1120:
840:
system of modes in a manner that created what later came to be known as the western system of the eight
9499:
9131:
8156:
7939:
7501:
7232:
6698:
6114:
5979:
4777:
1525:
Early plainchant, like much of Western music, is believed to have been distinguished by the use of the
253:
123:
7205:
4489:
1993:, a renowned monastic reformer, praised the intellectual and musical virtuosity to be found in chant:
1846:. Another form of early notation used a system of letters corresponding to different pitches, much as
10034:
9801:
9605:
9190:
8892:
8203:
7697:
7692:
5974:
5649:
5644:
5290:
3115:
The Oxford History of Western Music, Volume I – Music from the earliest notations to the 16th century
3063:
3002:
2256:
was actually found by Van Kampen (see above) to be rather modestly related to the text of the chant.
1375:
1054:
1010:
765:
52:
7058:
2725:
671:
Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The
10044:
9980:
9877:
9765:
9368:
9023:
8598:
8115:
7945:
7854:
6767:
6677:
4466:
2372:
2181:
1606:
is the ending note, which is usually an important note in the overall structure of the melody. The
908:
661:
1123:, as part of a conservative backlash following the liberal Catholic orders' inefficacy during the
10054:
8641:
8497:
8224:
7884:
7765:
7676:
7615:
7526:
6928:
6562:
6412:
6127:
5275:
5205:
4743:
4155:
4077:
3916:
3847:
2717:
2274:
2185:
2105:
1309:
1203:
100:
6149:
5986:
3736:
2578:
has described these four songs as "among the most beautiful creations of the late Middle Ages".
2308:
The Introit, Gradual, Alleluia, Tract, Sequence, Offertory and Communion chants are part of the
1049:
This chant corresponds to the second one on the manuscript folio above beneath the large rubric
10039:
9916:
9772:
9610:
9428:
9410:
9112:
8998:
8711:
7997:
7991:
7780:
7775:
7438:
7372:
6517:
6137:
6016:
5822:
5478:
5165:
2767:
2468:
1974:
1746:
1463:, are not considered antiphonal chants, although they are often performed in antiphonal style.
1460:
4858:
4163:
4085:
3924:
3855:
9832:
9680:
9655:
9374:
9008:
8993:
8706:
8563:
8470:
8270:
8253:
8166:
8110:
7890:
7712:
7083:
6861:
6595:
6078:
5393:
5245:
5101:
5096:
4958:
3881:
3840:; Szendrei, Janka; Payne, Thomas B.Payne; Bent, Margaret; Chew, Geoffrey (2001). "Notation".
2494:, like the Kyrie, also contain repeated texts, which their musical structures often exploit.
2023:
cites exceptions in which certain notes, such as the final notes of a chant, are lengthened.
1997:
For in these there are the most varied kinds of ascent, descent, repeat..., delight for the
1694:
1401:
462:
206:
131:
9058:
5540:
5170:
9911:
9751:
9670:
9600:
9524:
9519:
9389:
9240:
9235:
9230:
9225:
9220:
9215:
9210:
9205:
9200:
9167:
9094:
8937:
8897:
8716:
8618:
8593:
8532:
8337:
8312:
8248:
8025:
8013:
7307:
7078:
6891:
6844:
6721:
6707:
6668:
6417:
6310:
5890:
5885:
5792:
5609:
5596:
5545:
5514:
5463:
5354:
5200:
5015:
5000:
4943:
4893:
4853:
4810:
4586:
4460:
2676:
2609:
Marian antiphon sung at Compline and Lauds between the First Sunday of Advent and Candlemas
2395:
2378:
1500:
1195:
1190:
333:
328:
278:
248:
233:
160:
9459:
5260:
5030:
3875:
2086:
1897:
1131:
911:
liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including
883:
Gregorian chant appeared in a remarkably uniform state across Europe within a short time.
8:
9953:
9575:
9343:
9289:
9013:
9003:
8952:
8810:
8796:
8656:
8398:
8161:
8006:
7951:
7912:
7565:
7352:
7210:
6777:
6750:
6672:
6202:
6093:
6088:
5936:
5719:
5509:
5408:
5339:
5215:
5210:
5155:
5071:
5041:
4898:
4888:
4843:
4805:
4559:
3628:
Het oorspronkelijke ritme van het Gregoriaans: Een 'semiologisch-mensuralistische' studie
3021:
Grier, J. (2003). "Ademar de Chabannes, Carolingian Musical Practices, and Nota Romana".
2233:
1674:
1080:
673:
575:
still continues in use in Milan, and there are musicologists exploring both that and the
370:
243:
155:
7088:
5180:
4822:
2833:
2240:
was published by Libreria Editrice Vatican and ConBrio Verlagsgesellschaft, Regensburg.
2047:
1745:; and in longer chants with clear textual divisions such as the Great Responsories, the
1451:. Over time, the verses were reduced in number, usually to just one psalm verse and the
9941:
9887:
9882:
9871:
9660:
9590:
9489:
9301:
9078:
8847:
8771:
8739:
8558:
8527:
8364:
8352:
8213:
8151:
7750:
7707:
7656:
7638:
7546:
7516:
7150:
6990:
6786:
6717:
6649:
6588:
6047:
6037:
6006:
5817:
5797:
5639:
5535:
5483:
5443:
5428:
5344:
5195:
5106:
4878:
4380:
4367:
4238:
4192:
3968:
3093:
2502:
1566:
1530:
1127:, called for returning to the "purer" Gregorian chant of Rome over French corruptions.
888:
822:
746:
720:
708:
678:
605:
9595:
8867:
2113:
and Aribo. This view is advocated by John Blackley and his 'Schola Antiqua New York'.
1229:, a connected group of notes, written as a single compound neume, abound in the text.
9849:
9837:
9722:
9717:
9650:
9560:
9545:
9247:
9152:
8927:
8913:
8887:
8872:
8776:
8761:
8691:
8681:
8550:
8482:
8383:
8347:
8243:
7929:
7844:
7839:
7551:
7292:
7160:
7035:
6760:
6653:
6629:
6548:
6486:
6468:
6133:
5919:
5807:
5777:
5737:
5684:
5619:
5530:
5525:
5473:
5433:
5370:
5349:
5255:
5240:
5190:
5051:
5010:
4938:
4848:
4691:
4575:
4426:
4386:
4313:
4297:
4284:
4271:
4245:
4222:
4199:
4167:
4134:
4112:
4089:
4049:
4026:
4002:
3980:
3950:
3928:
3895:
3859:
3822:
3631:
3223:
3097:
3085:
2829:
2747:
2641:
2491:
2407:
2367:
2020:
1978:
1742:
1652:
1548:
1504:
1442:
1124:
1108:
857:
693:
630:
402:
355:
283:
273:
268:
177:
9514:
6539:
3836:
Bent, Ian D.; Hughes, David W.; Provine, Robert C.; Rastall, Richard; Kilmer, Anne;
2728:. These polyphonic arrangements usually incorporate elements of the original chant.
1681:
Although the modes with melodies ending on A, B, and C are sometimes referred to as
9865:
9707:
9620:
9570:
9555:
9494:
9484:
9357:
9137:
8942:
8922:
8842:
8827:
8726:
8628:
8502:
8342:
8300:
8295:
8275:
8258:
8171:
7878:
7861:
7849:
7789:
7688:
7631:
7555:
7536:
7531:
7479:
7474:
7312:
7248:
7221:
7172:
6814:
6743:
6712:
6688:
6622:
6522:
6248:
5931:
5679:
5602:
5555:
5519:
5489:
5468:
5160:
5145:
4904:
4676:
4524:(resources, including articles and editions of Sankt Gallen notations) (in German).
4447:
4441:
4396:
4359:
4342:
4307:
4209:
4159:
4081:
4036:
3942:
3920:
3851:
3744:
3227:
3110:
3077:
3032:
2752:
2672:
2309:
2297:
2283:
2074:
2062:
hand-gestures. This approach prevailed during the twentieth century, propagated by
1962:
1496:
distribution of the Eucharist. Responsorial chants expand on readings and lessons.
1226:
1199:
1194:, Pius X mandated the use of Gregorian chant, encouraging the faithful to sing the
1167:
1104:
845:
754:
736:
665:
533:
365:
288:
263:
4338:
4331:
4020:
9921:
9712:
9625:
9580:
9504:
9479:
9469:
9423:
9404:
9195:
9162:
9106:
9100:
8957:
8862:
8766:
8072:
8037:
7900:
7760:
7662:
7610:
7511:
7426:
7093:
6985:
6809:
6558:
6501:
6447:
6385:
6355:
6273:
6263:
6258:
6219:
6207:
6188:
6083:
5812:
5772:
5708:
5664:
5056:
5035:
5020:
4966:
4873:
4706:
4701:
4665:
4609:
4599:
2671:
Gregorian melodies provided musical material and served as models for tropes and
2554:
2526:
2383:
2361:
2265:
1916:
1831:
1770:
1765:
1730:
1670:
1663:
1641:
1616:
1581:
1329:
864:
802:
790:
732:
645:
622:
610:
576:
572:
568:
556:
489:
474:
238:
44:
4348:
Hucke, Helmut (Autumn 1980). "Toward a New Historical View of Gregorian Chant".
2070:, and new scholarship "essentially discredited" Mocquereau's rhythmic theories.
484:
Gregorian chants were organized initially into four, then eight, and finally 12
9843:
9816:
9796:
9758:
9702:
9645:
9640:
9474:
9258:
9083:
8877:
8852:
8816:
8756:
8749:
8744:
8734:
8588:
8573:
8512:
8388:
8378:
8134:
7834:
7744:
7606:
7469:
7015:
6995:
6973:
6968:
6936:
6886:
6782:
6268:
6253:
6180:
6042:
5912:
5902:
5782:
5713:
5674:
5654:
5634:
5364:
5334:
5220:
5076:
5046:
4766:
4686:
4671:
4641:
4614:
4594:
4552:
4443:
Einführung in die Gregorianischen Melodien. Ein Handbuch der Choralwissenschaft
4126:
4104:
4016:
3605:
2818:
2742:
2637:
2269:
2154:
2043:
1986:
1920:
1669:
Modes 7 and 8 are the authentic and plagal modes ending on G, sometimes called
1658:
Modes 5 and 6 are the authentic and plagal modes ending on F, sometimes called
1647:
Modes 3 and 4 are the authentic and plagal modes ending on E, sometimes called
1636:
Modes 1 and 2 are the authentic and plagal modes ending on D, sometimes called
1526:
1321:
1096:
904:
868:
818:
794:
774:
750:
653:
564:
478:
466:
458:
345:
293:
108:
8451:
6553:
3036:
10023:
9806:
9630:
9615:
9509:
9142:
9068:
9034:
9018:
8978:
8661:
8636:
8412:
8322:
8307:
8229:
7806:
7785:
7576:
7399:
7394:
7215:
6772:
6733:
6728:
6618:
6337:
6299:
5848:
5747:
5614:
5582:
5438:
5359:
5005:
4883:
4866:
4544:
4324:
3972:
3117:, ch. 1, "The curtain goes up", p. 6. (Oxford: Oxford University Press, 2010)
3089:
2825:
2757:
2697:
2665:
2649:
2645:
2498:
2339:
2324:
2292:
2279:
1939:
1924:
liturgical duty reserved to clergy, so women were not allowed to sing in the
1858:
1835:
1757:
1648:
1611:
1488:
1288:
1162:
1153:
853:
810:
806:
637:
537:
517:
509:
505:
493:
212:
5185:
4722:
4517:
3081:
2803:
1961:, but the sequences, like the tropes, were later officially suppressed. The
469:
with inventing Gregorian chant, scholars believe that it arose from a later
9779:
9565:
9550:
9540:
9252:
9127:
8983:
8947:
8686:
8608:
8452:
8198:
8193:
8188:
8176:
8019:
7981:
7962:
7521:
7405:
7297:
7237:
7227:
7073:
6980:
6918:
6839:
6634:
6584:
6365:
6230:
6073:
5880:
5843:
5802:
5767:
5742:
5727:
5225:
5061:
4836:
4681:
4651:
4636:
4631:
4624:
4604:
4455:
4063:
3648:
van Kampen, Dirk (2005). "Uitgangspunten voor de ritmiek van Gregoriaans".
2721:
2695:. Often, a Gregorian chant (sometimes in modified form) would be used as a
2661:
2657:
2513:
2480:
2067:
2063:
1990:
1870:
By the 13th century, the neumes of Gregorian chant were usually written in
1847:
1756:
Chants sometimes fall into melodically related groups. The musical phrases
1709:
1686:
1682:
1577:
1570:
1520:
1300:, and full cadences. These chants are primarily syllabic. For example, the
1186:
1140:
1100:
1001:
Two plainchants from the Mass Proper, written in adiastematic neumes, from
976:
932:
841:
814:
740:
728:
521:
485:
360:
323:
313:
4481:
3474:
9727:
9665:
9635:
9464:
9053:
8882:
8857:
8832:
8805:
8792:
8701:
8603:
8290:
7824:
7738:
7681:
7416:
7200:
7118:
7103:
7063:
7025:
6951:
6793:
6327:
6321:
6305:
6068:
6063:
5858:
5230:
5175:
5081:
4929:
4067:
3964:
3837:
2447:
2015:
difficulties on the interpretation of rhythm. Certain neumes such as the
1690:
1659:
1637:
1478:, and the Office Responsories originally consisted of a refrain called a
1157:
986:
944:
892:
884:
872:
798:
786:
770:
686:
641:
492:, and also characteristic intervallic patterns relative to a referential
470:
171:
5137:
4382:
Chant: The Origins, Form, Practice, and Healing Power of Gregorian Chant
3748:
1555:, in which pitches in the singing range were organized into overlapping
943:, but not the Roman-backed prelates newly installed in Spain during the
189:
8837:
8422:
7795:
7541:
7433:
7241:
7123:
7053:
7010:
6941:
6461:
6457:
6424:
6392:
6315:
6184:
5659:
5329:
5025:
4991:
4986:
3814:
2737:
2618:
2575:
2538:
2459:
2059:
1888:
1827:
1823:
1713:
1483:
1429:
1339:, include both recitatives and free melodies. Psalmodic chants include
1283:
1274:
1207:
1076:
1066:
997:
981:
964:
928:
832:
782:
712:
657:
560:
513:
184:
86:
9312:
4953:
4371:
3874:
3689:(1916). "Zur ursprünglichen Ausführung des Gregorianischen Gesanges".
2691:, Gregorian chants became a driving force in medieval and Renaissance
1629:
596:
since the earliest days of the Church. It is widely accepted that the
258:
9585:
7918:
7905:
7621:
7489:
7484:
7463:
7421:
7140:
7113:
6913:
6903:
6738:
6663:
6613:
6506:
6375:
6360:
6345:
6225:
5870:
5732:
5550:
5285:
4656:
4482:""The living textbook" on the choral notation of the Gregorian chant"
2692:
2684:
2653:
2412:
1970:
1734:
1586:
1556:
1475:
1149:
936:
837:
545:
525:
450:
446:
318:
194:
32:
4948:
3791:
2170:
9936:
9296:
8651:
8405:
8393:
7731:
7650:
7585:
7317:
7287:
7282:
7263:
7182:
6871:
6856:
6658:
6491:
6452:
6370:
6293:
6032:
5952:
5875:
5838:
5321:
5111:
5091:
5066:
4363:
4148:
McKinnon, James W. (2001). "Christian Church, music of the early".
2546:
2530:
2472:
2347:
2320:
1954:
1884:
1471:
1452:
1447:
1325:
920:
697:
618:
386:
200:
2432:
Kyrie 55, Vatican ad lib. VI, from Cambrai, Bibl. Mun. 61, fo.155v
1853:
1482:
sung by a choir, alternating with psalm verses sung by a soloist.
927:
although not without local resistance. The Gregorian chant of the
8908:
8522:
8144:
7322:
7302:
7128:
7020:
7000:
6834:
6642:
6638:
6543:
6527:
6496:
6380:
6179:
5946:
5924:
5895:
5853:
5624:
5280:
4828:
4815:
4735:
4619:
4537:
4111:. Bloomington, Indiana: Indiana University Press. pp. 1–22.
2706:
2688:
2487:
2352:
2334:
2330:
2316:
2287:
2278:
are intoned by bishops, priests, and deacons, mostly on a single
1958:
1950:
1945:
1931:
1880:
1775:
1761:
1541:
1467:
1438:
1313:
1301:
1297:
1293:
1230:
952:
916:
900:
896:
716:
701:
626:
593:
541:
540:
developed. Multi-voice elaborations of Gregorian chant, known as
501:
497:
380:
338:
165:
37:
1919:(by male and female religious) and for singing the parts of the
821:, over a brief period in the 8th century, a project overseen by
781:
The Gregorian repertory was further systematized for use in the
685:(Jewish) psalms with Alleluia as the refrain in early Christian
9074:
Pope Pius XII 1942 consecration to the Immaculate Heart of Mary
8517:
8427:
8332:
7389:
7253:
7068:
7005:
6946:
6898:
6876:
6574:
6532:
5669:
5591:
5086:
2636:
Gregorian chant had a significant impact on the development of
2542:
2534:
2508:
1966:
1843:
1569:. The use of notes outside of this collection was described as
1336:
1317:
1312:
chants of the liturgy, such as the intonations of the Collect,
1305:
1136:
912:
826:
682:
597:
2819:
The Constitution on the Sacred Liturgy, Second Vatican Council
1937:
Chant was normally sung in unison. Later innovations included
951:
due to the musical reputation and ecclesiastical authority of
7327:
7277:
7165:
7145:
7098:
6866:
6579:
6510:
5941:
5865:
4578:
2476:
2402:
1965:
struck sequences from the Gregorian corpus, except those for
1818:
1804:
1750:
1738:
1705:
1693:, these are not considered distinct modes and are treated as
1456:
1160:, promptly accepted the Solesmes chant – now compiled as the
960:
948:
940:
849:
552:
529:
454:
375:
1701:
psalmverses, Alleluia and Gloria Patri for all eight modes.
7559:
7411:
7176:
7030:
2357:
1508:
1282:
Gregorian chants fall into two broad categories of melody:
1084:
724:
614:
4062:
3480:
3008:
2133:) between the two types of variables reaches its maximum (
1354:
785:, and scholars weigh the relative influences of Roman and
8963:
Dechristianization of France during the French Revolution
7272:
7155:
4446:(in German). Leipzig: Breitkopf & Härtel – via
4312:, 2nd edition, Libreria editrice Vaticana, Vatican 1975,
3064:"Hartker, Gregor und die Taube: Zum Codex CH-SGs 390/391"
2450:; example of musical repeat structures in Gregorian chant
1809:
The earliest notated sources of Gregorian chant (written
1791:
1551:
revolutionized Western music with the development of the
817:
with Roman chants to the Carolingian court. According to
3835:
3797:
3486:
3462:
3390:
3330:
3246:
3234:
3226:. Tournay, Belgium: Desclée & Cie. 1937 – via
989:
are believed to be a remnant of the Gallican repertory.
4296:(1984 / 1990) Chris Hakkennes, Stichting Lagal Utrecht
3450:
3438:
3414:
3402:
3366:
3192:
3043:
2940:
2892:
2333:
are responsorial chants that follow the reading of the
700:
psalmody became popular in the Christian East; in 386,
4469:
at MusicaSacra.com website (accessed 20 January 2014).
3755:
3306:
3294:
3180:
2966:
2668:
accidentals derived directly from Gregorian notation.
1737:; in chants with shorter, repeating texts such as the
8994:
Dogma of the Immaculate Conception of the Virgin Mary
3570:
3342:
3282:
3270:
3168:
2904:
2545:, and the Short Responsories of the Lesser Hours and
2101:
newly understood principles in performance practice.
644:: "When they had sung the hymn, they went out to the
528:. Gregorian melodies are traditionally written using
3909:
Dyer, Joseph (2001). "Roman Catholic church music".
3767:
3498:
3426:
3378:
3354:
3318:
3204:
3144:
3132:
3120:
2784:
1915:
Gregorian chant was originally used for singing the
1879:
written in succession, read from left to right. The
992:
604:
worship significantly influenced and contributed to
587:
555:
of men and boys in churches, or by men and women of
544:, were an early stage in the development of Western
488:. Typical melodic features include a characteristic
3779:
3582:
3558:
3546:
3534:
3522:
3510:
3258:
2978:
2928:
2916:
1420:
Example of responsorial psalmody in Gregorian chant
1265:
Example of liturgical recitative in Gregorian chant
8067:
4237:
4191:
3821:. Bloomington, Indiana: Indiana University Press.
3156:
2990:
2512:Plainchant notation for the solemn setting of the
731:), Spain (Mozarabic), Gaul (Gallican), and Italy (
7645:Historical roots of Catholic Eucharistic theology
3737:"Rhythm and metre in French Classical plainchant"
2880:
2868:
2631:
2264:Gregorian chant is sung in the Office during the
1395:Example of antiphonal psalmody in Gregorian chant
10021:
9064:Persecutions of the Catholic Church and Pius XII
2533:Office, primarily in antiphons used to sing the
2364:is chanted, usually with texts from the Psalms.
2290:(the collection of Mass Ordinary settings). The
2238:Graduale Novum Editio Magis Critica Iuxta SC 117
1721:was transcribed using a different mode in each.
4406:"Gregorian Chant as a Paradigm of Sacred Music"
3670:. Den Haag: Stichting Centrum voor de Kerkzang.
2802:Development of notation styles is discussed at
1292:. Other pitches appear in melodic formulae for
1035:, Gradual for the Mass (first Sunday of Advent)
844:. The Metz project also invented an innovative
760:
4574:
2389:
1610:is a secondary pitch that usually serves as a
1202:for males. While this custom is maintained in
9328:
8053:
6165:
4751:
4727:
4560:
4351:Journal of the American Musicological Society
4070:; Zon, Bennett Mitchel (2001). "Plainchant".
3024:Journal of the American Musicological Society
878:
629:" derives from the threefold "kadosh" of the
516:, producing a larger pitch system called the
423:
6336:
4458:(April 1906). "The Reform in Church Music".
4183:Gregorian Chant According to the Manuscripts
2957:
2955:
2303:
1874:on a four-line staff with a clef, as in the
5401:
4189:
3492:
2199:. Unsourced material may be challenged and
1576:Gregorian chant was categorized into eight
9335:
9321:
9079:Dogma of the Assumption of the Virgin Mary
9029:Prayer of Consecration to the Sacred Heart
8060:
8046:
7497:Communion and the developmentally disabled
6172:
6158:
4758:
4744:
4567:
4553:
3979:. New York: W. W. Norton. pp. 37–54.
3647:
2834:Catholic World News 28 June 2006
2814:
2812:
2300:and the most commonly used Office chants.
1580:, influenced by the eightfold division of
1198:, although he reserved the singing of the
777:'s shoulder symbolizes Divine Inspiration.
613:have their roots in Jewish prayer hours. "
551:Gregorian chant was traditionally sung by
430:
416:
4499:"Singing Gregorian Chant: Pitch and Mode"
4221:. Mineola, New York: Dover Publications.
4198:. Boston: Northeastern University Press.
3872:
2961:
2952:
2516:; a simple setting is used more commonly.
2327:often dominate their melodic structures.
2219:Learn how and when to remove this message
1379:, Introit for Week XXXIV of Ordinary Time
1251:Epistle for the Solemn Mass of Easter Day
1178:marks not found in the original sources.
559:in their chapels. It is the music of the
6882:Extraordinary minister of Holy Communion
4147:
4125:
3049:
2946:
2910:
2552:At the close of the Office, one of four
2507:
1852:
1790:
1499:The non-psalmodic chants, including the
1353:
996:
764:
31:
9342:
7771:General Instruction of the Roman Missal
7363:General Roman Calendar of Pope Pius XII
5392:
5296:List of Galician-Portuguese troubadours
4216:
4164:10.1093/gmo/9781561592630.article.05705
4086:10.1093/gmo/9781561592630.article.40099
4043:
4015:
3977:Performance Practice: Music before 1600
3925:10.1093/gmo/9781561592630.article.46758
3889:
3856:10.1093/gmo/9781561592630.article.20114
3761:
3725:. New York: Norton & Comp., p. 166.
3702:
3348:
3336:
3312:
3300:
3288:
3276:
3252:
3186:
3174:
2809:
2520:
2259:
592:Singing has been part of the Christian
14:
10022:
4270:(1979). Tournai: Desclée & Socii.
4235:
4180:
4103:Mahrt, William P. (2000). "Chant". In
4066:; Emerson, Johm A.; Bellingham, Jane;
3734:
3432:
3360:
3324:
3138:
3126:
2790:
2323:, and a final repeat of the antiphon.
2160:
520:. The chants can be sung by using six-
9316:
8041:
6153:
4739:
4726:
4548:
4328:(1953). Tournai: Desclée & Socii.
4109:A Performer's Guide to Medieval Music
4102:
3996:
3963:
3941:
3773:
3735:Holman, Christopher (November 2017).
3588:
3540:
3504:
3468:
3396:
3384:
3240:
3210:
3150:
3061:
3020:
2984:
2972:
2934:
2922:
2898:
1862:in square notation (excerpt from the
867:. Nevertheless, the lore surrounding
9966:
9728:Pontifical Athenaeum of Saint Anselm
3908:
3885:. New York: Robert Appleton Company.
3813:
3785:
3576:
3564:
3552:
3528:
3516:
3456:
3444:
3420:
3408:
3372:
3264:
3198:
3162:
2996:
2886:
2874:
2197:adding citations to reliable sources
2164:
1590:. Each mode is distinguished by its
445:is the central tradition of Western
9996:
9906:Catholic–Eastern Orthodox relations
9400:Liturgical reforms of Pope Pius XII
8933:Suppression of the Society of Jesus
7957:Liturgical reforms of Pope Pius XII
7830:Anaphora of the Apostolic Tradition
5122:Other troubadours and trobairitz...
652:). Other ancient witnesses such as
24:
8488:Archbasilica of Saint John Lateran
4765:
4283:, Libreria Editrice Vaticana 2011
4260:
3894:. University of California Press.
3011:, §2: History to the 10th century.
2583:
2420:
1428:Problems playing these files? See
1364:
1239:
1020:
640:mentions singing hymns during the
25:
10071:
7987:Sacraments of the Catholic Church
4474:
4464:. Vol. 97. pp. 455–463.
4404:Mahrt, William P. (Spring 2006).
2763:Proportionalism (Gregorian chant)
2681:Nun bitten wir den Heiligen Geist
1358:Antiphonary with Gregorian chants
993:Early sources and later revisions
959:11th centuries. For example, the
588:Development of earlier plainchant
9995:
9986:
9985:
9976:
9975:
9965:
9947:
9935:
9902:Anglican–Roman Catholic dialogue
9893:Modernism in the Catholic Church
9733:Saint John's Abbey, Collegeville
9380:Belgian Benedictine Congregation
9295:
9283:
8614:Fourth Council of Constantinople
8569:Second Council of Constantinople
6213:After the Second Vatican Council
6132:
6123:
6122:
4337:, PDF (115 MB) musicasacra.com;
4190:Neuls-Bates, Carol, ed. (1996).
3879:. In Herbermann, Charles (ed.).
3604:. Calumcille.com. Archived from
2847:"The History of Gregorian Chant"
2617:Problems playing this file? See
2599:
2458:Problems playing this file? See
2436:
2406:distinguished by its use of the
2169:
1724:
1466:Responsorial chants such as the
1409:
1383:
1273:Problems playing this file? See
1255:
1219:
1065:Problems playing this file? See
1039:
797:using Roman chant. According to
85:Problems playing this file? See
68:
9375:French Benedictine Congregation
8584:Third Council of Constantinople
8508:First Council of Constantinople
6585:Niceno-Constantinopolitan Creed
3728:
3715:
3696:
3673:
3660:
3641:
3620:
3602:"The symbolism of chant rhythm"
3594:
3216:
3104:
3055:
3014:
2525:Gregorian chant is sung in the
2337:. Graduals usually result from
1335:Psalmodic chants, which intone
1214:
677:, attributed to the theologian
453:, unaccompanied sacred song in
8823:Dissolution of the monasteries
8089:History of the Catholic Church
7368:General Roman Calendar of 1960
7358:General Roman Calendar of 1954
4044:Hoppin, Richard, ed. (1978b).
3999:Western Plainchant: A Handbook
2839:
2796:
2632:Medieval and Renaissance music
2153:be altered to be performed in
1905:
1437:Antiphonal chants such as the
53:Henry, patron saint of Finland
13:
1:
9898:Catholic Church and ecumenism
8697:Fourth Council of the Lateran
8672:Second Council of the Lateran
8281:Apostles in the New Testament
7925:Fourth Council of the Lateran
5117:William IX, Duke of Aquitaine
4518:"Willkommen auf der Homepage"
4254:– via Internet Archive.
4131:Antiquity and the Middle Ages
3806:
1810:
1115:, published in 1582, and the
967:at the behest of the Emperor
538:four-line and five-line staff
9395:Sacred Congregation of Rites
8811:Catholic Counter-Reformation
8677:Third Council of the Lateran
8667:First Council of the Lateran
8123:Catholic ecumenical councils
7874:Dicastery for Divine Worship
7571:Thanksgiving after Communion
3650:Tijdschrift voor Gregoriaans
3069:Archiv für Musikwissenschaft
2675:. Vernacular hymns such as "
2626:
2296:contains the chants for the
1864:Kyrie eleison (Orbis factor)
1774:family of Graduals. Several
1405:, tract for the Requiem Mass
761:Origins of mature plainchant
7:
9362:Mass in the Catholic Church
6351:Chapter and Conventual Mass
4788:List of musical instruments
4421:Robinson, Ray, ed. (1978).
4310:in usum minorum ecclesiarum
4046:Anthology of Medieval Music
3892:The Early Medieval Sequence
3743:. 45, vol. 4 (4): 657–664.
2773:Semiology (Gregorian chant)
2731:
2390:Ordinary chants of the Mass
2050:, who fell into two camps.
1797:Iubilate deo universa terra
1786:
1514:
1170:marks and note-lengthening
10:
10076:
9802:Gillespie, Kidd & Coia
8157:History of the Roman Curia
7940:History of the Roman Canon
7502:Communion under both kinds
7233:Divine Worship: The Missal
4490:"Spanish Chant Manuscript"
4379:Le Mée, Katharine (1994).
3949:. New York: W. W. Norton.
3947:A History of Western Music
2268:and in the liturgy of the
1930:or other choirs except in
1910:
1802:
1783:throughout the repertory.
1518:
879:Dissemination and hegemony
719:psalm at Mass. At c. 520,
582:
10030:Catholic liturgical music
9930:
9858:
9825:
9789:
9741:
9693:
9606:Reynold Henry Hillenbrand
9533:
9452:
9445:
9350:
9278:
9178:
9044:
8971:
8906:
8893:European wars of religion
8790:
8725:
8627:
8549:
8440:
8363:
8223:
8212:
8204:Eastern Catholic Churches
8079:
7817:
7721:
7698:Priesthood of Melchizedek
7595:
7451:
7382:
7345:
7336:
7262:
7191:
7044:
6927:
6827:
6802:
6604:
6477:
6440:
6433:
6405:
6286:
6239:
6195:
6104:
6056:
6025:
5962:
5831:
5760:
5701:
5650:Matheus de Sancto Johanne
5645:Johannes Symonis Hasprois
5580:
5576:
5502:
5456:
5421:
5388:
5319:
5315:
5306:
5291:Galician-Portuguese lyric
5236:Jehan le Cuvelier d'Arras
5151:Andrieu Contredit d'Arras
5136:
4985:
4927:
4923:
4914:
4796:
4773:
4733:
4728:Links to related articles
4650:
4585:
4219:A Treasury of Early Music
3890:Crocker, Richard (1977).
3626:van Kampen, Dirk (1994).
3062:Weyer, Christoph (2020).
3037:10.1525/jams.2003.56.1.43
2836:both accessed 5 July 2006
2652:had become standard. The
2304:Proper chants of the Mass
2009:
1055:Schola Antiqua of Chicago
1033:Universi qui te expectant
749:, biographer (c. 872) of
681:, attests the singing of
47:in the 14th–15th century
9878:Klosterneuburg Monastery
9766:Mystici Corporis Christi
9369:Lex orandi, lex credendi
9024:Mary of the Divine Heart
8647:Clash against the empire
8599:Second Council of Nicaea
8493:Old St. Peter's Basilica
7972:(apostolic constitution)
7946:Lex orandi, lex credendi
7855:Eastern Catholic liturgy
6957:Candles and candlesticks
5680:Antonio Zacara da Teramo
4240:Music of the Middle Ages
4181:Murray, Gregory (1963).
3723:Music in the Middle Ages
3666:Chris Hakkennes (1984).
2778:
2373:Victimae paschali laudes
1121:Alexandre-Étienne Choron
769:A dove representing the
9954:Vatican City portal
9290:Vatican City portal
8642:Investiture Controversy
8498:First Council of Nicaea
7885:Ecclesia de Eucharistia
7677:Origin of the Eucharist
6413:Liturgical use of Latin
5206:Gillebert de Berneville
4783:List of music theorists
4156:Oxford University Press
4078:Oxford University Press
3917:Oxford University Press
3876:"Gregorian Chant"
3848:Oxford University Press
3224:"Paléographie musicale"
3082:10.25162/afmw-2020-0014
2106:Alexander M. Schweitzer
1204:traditionalist Catholic
9942:Catholicism portal
9917:Second Vatican Council
9773:In cotidianis precibus
9611:Josef Andreas Jungmann
9429:Ottaviani Intervention
9411:Sacrosanctum concilium
9302:Catholicism portal
9113:Second Vatican Council
8999:Our Lady of La Salette
8806:Protestant Reformation
8793:Protestant Reformation
8712:Second Council of Lyon
8101:Ecclesiastical history
7998:Sacrosanctum concilium
7992:Second Vatican Council
7781:Intercession of saints
7776:Holy day of obligation
7373:General Roman Calendar
5479:Gherardello da Firenze
5166:Le Chastelain de Couci
4959:Philippe le Chancelier
4610:Ethiopian and Eritrean
4530:"The Graduale Project"
4440:Wagner, Peter (1911).
4236:Wilson, David (1990).
4217:Parrish, Carl (1986).
4185:. L. J. Cary & Co.
3873:Bewerunge, H. (1913).
2856:. St. Cecillia's Abbey
2806:, accessed 4 July 2006
2726:Tomás Luis de Victoria
2703:Alma Redemptoris Mater
2595:Alma Redemptoris Mater
2588:
2562:(see top of article),
2560:Alma Redemptoris Mater
2558:is sung. These songs,
2517:
2425:
2003:
1867:
1836:St. Martial de Limoges
1816:) used symbols called
1800:
1369:
1359:
1244:
1025:
1015:
1004:Codex Sangallensis 359
778:
536:from which the modern
93:
10060:Medieval music genres
9500:André-Jean Festugière
9435:Book of Common Prayer
9009:First Vatican Council
8707:First Council of Lyon
8471:Constantine the Great
8167:Christian monasticism
7891:Eucharistic adoration
7713:Year of the Eucharist
7206:Ceremonial of Bishops
6623:prayer over the gifts
5788:Johannes de Garlandia
5102:Raimbaut de Vaqueiras
3997:Hiley, David (1995).
3882:Catholic Encyclopedia
2587:
2511:
2424:
1995:
1856:
1799:in unheightened neume
1794:
1778:in mode 3, including
1368:
1357:
1243:
1156:died. His successor,
1051:Responsorium Graduale
1024:
1000:
856:lines (attributed to
829:and throughout Gaul.
768:
625:, and the threefold "
463:Roman Catholic Church
149:Movements and schools
35:
9912:Crypto-Protestantism
9752:Tra le sollecitudini
9671:Maria Luise Thurmair
9525:Maurice de la Taille
9390:Liturgy of the Hours
9186:Sexual abuse scandal
9095:Mit brennender Sorge
8938:Age of Enlightenment
8717:Bernard of Clairvaux
8594:Byzantine Iconoclasm
8533:Council of Chalcedon
8313:Council of Jerusalem
8182:Role in civilization
8162:Religious institutes
8094:By country or region
8026:Tra le sollecitudini
8014:Traditionis custodes
6892:Eucharistic Congress
6708:Memorial Acclamation
6669:Words of Institution
6418:Ecclesiastical Latin
6311:Pontifical High Mass
6109:Also music theorist*
5793:Johannes de Grocheio
5610:Conradus de Pistoria
5597:Philippus de Caserta
5546:Philippus de Caserta
5515:Antonello da Caserta
5464:Andreas de Florentia
5355:Guillaume de Machaut
5016:Bernart de Ventadorn
5001:Aimeric de Peguilhan
4944:Albertus Parisiensis
4894:Adam of Saint Victor
4854:Saint Martial school
4811:Notker the Stammerer
4576:Christian liturgical
4461:The Atlantic Monthly
4456:Ward, Justine Bayard
3967:(1990). "Chant". In
3693:, 81–82. (in German)
2824:20 December 2012 at
2677:Christ ist erstanden
2568:Regina caeli laetare
2521:Chants of the Office
2471:recites the Greater
2379:Veni Sancte Spiritus
2260:Liturgical functions
2234:melodic restitutions
2193:improve this section
1957:chants known as the
1501:Ordinary of the Mass
1324:, and in the direct
1196:Ordinary of the Mass
1191:Tra le sollecitudini
1139:, Regensburg) which
1097:St. Pierre, Solesmes
805:abolished the local
9681:Cirpirano Vagaggini
9344:Liturgical Movement
9014:Papal infallibility
9004:Our Lady of Lourdes
8953:Shimabara Rebellion
8797:Counter-Reformation
8007:Summorum Pontificum
7952:Liturgical Movement
7913:Eucharistic miracle
7566:Spiritual communion
7353:Tridentine calendar
6203:Pre-Tridentine Mass
5720:Contenance angloise
5510:Bartolino da Padova
5409:Marchetto da Padova
5340:Magister Franciscus
5216:Guillaume le Vinier
5211:Gontier de Soignies
5156:Audefroi le Bastart
5042:Folquet de Marselha
4899:Wulfstan the Cantor
4889:Hildegard of Bingen
4859:Adémar de Chabannes
4844:Fulbert of Chartres
4806:Abbey of Saint Gall
4798:Early (before 1150)
4001:. Clarendon Press.
3969:Brown, Howard Mayer
3471:, pp. 110–113.
3459:, pp. 344–363.
3447:, pp. 258–259.
3423:, pp. 256–257.
3411:, pp. 171–172.
3399:, pp. 608–610.
3375:, pp. 166–178.
3243:, pp. 624–627.
3201:, pp. 288–289.
2901:, pp. 484–487.
2854:St. Cecilia's Abbey
2564:Ave Regina caelorum
2161:Melodic restitution
1826:hand-gestures, the
1349:responsorial chants
1075:are primarily from
887:, once elevated to
674:Apostolic Tradition
563:, performed in the
532:, an early form of
403:Renaissance music →
10050:Western plainchant
9888:Malines Congresses
9883:Hippolytus of Rome
9872:Deutsche Singmesse
9661:Massey H. Shepherd
9656:Theodor Schnitzler
9490:Jacques Paul Migne
9059:Our Lady of Fátima
8848:Ignatius of Loyola
8772:Catherine of Siena
8740:Pope Boniface VIII
8559:Benedict of Nursia
8528:Council of Ephesus
8365:Ante-Nicene period
8318:Split with Judaism
8152:Crusading movement
7751:Calendar of saints
7708:Transubstantiation
7657:Liturgical colours
7639:In persona Christi
7547:Reserved sacrament
7517:Frequent Communion
7151:Processional cross
6962:Triple candlestick
6787:Benedicamus Domino
6761:Communion antiphon
6650:Eucharistic Prayer
6540:Responsorial Psalm
6048:Neo-Medieval music
6038:Medieval folk rock
5818:Berno of Reichenau
5798:Iacobus de Ispania
5640:Petrus de Goscalch
5541:Niccolò da Perugia
5536:Grazioso da Padova
5484:Lorenzo da Firenze
5444:Vincenzo da Rimini
5429:Giovanni da Cascia
5261:Other trouvères...
5246:Perrin d'Angicourt
5196:Gautier de Dargies
5171:Chrétien de Troyes
5107:Raimon de Miravalh
5097:Raimbaut d'Aurenga
4522:Gregor & Taube
4516:Anton Stingl jun.
4244:. Schirmer Books.
4151:Grove Music Online
4073:Grove Music Online
3912:Grove Music Online
3843:Grove Music Online
2589:
2518:
2503:Benedicamus Domino
2446:As transcribed by
2426:
1868:
1801:
1370:
1360:
1245:
1103:. In 1562–63, the
1026:
1016:
889:Holy Roman Emperor
823:Chrodegang of Metz
779:
721:Benedict of Nursia
457:(and occasionally
94:
10017:
10016:
10011:
10010:
9850:Textual criticism
9723:Maria Laach Abbey
9689:
9688:
9601:Ildefons Herwegen
9561:Thomas J. Carroll
9546:Giulio Bevilacqua
9520:Gerard van Caloen
9460:Prosper Guéranger
9310:
9309:
9270:COVID-19 pandemic
9248:Pope Benedict XVI
9153:Pope John Paul II
8928:Pope Benedict XIV
8914:French Revolution
8898:Thirty Years' War
8888:Robert Bellarmine
8873:John of the Cross
8777:Pope Alexander VI
8762:Council of Vienne
8692:Francis of Assisi
8682:Pope Innocent III
8551:Early Middle Ages
8545:
8544:
8541:
8540:
8483:Arian controversy
8436:
8435:
8384:Apostolic Fathers
8035:
8034:
7930:Gelineau psalmody
7867:effects of prayer
7845:Christian liturgy
7840:Catholic theology
7552:Sacramental bread
7447:
7446:
7293:Episcopal sandals
7161:Sacramental bread
7089:Collection basket
6823:
6822:
6684:texts and rubrics
6654:Canon of the Mass
6497:Entrance Antiphon
6487:Sign of the Cross
6469:Processional hymn
6401:
6400:
6282:
6281:
6147:
6146:
6115:Renaissance music
5823:Aurelian of Réôme
5808:Johannes de Muris
5778:Franco of Cologne
5756:
5755:
5738:Arnold de Lantins
5697:
5696:
5693:
5692:
5620:Johannes Cuvelier
5572:
5571:
5568:
5567:
5564:
5563:
5531:Giovanni Mazzuoli
5526:Matteo da Perugia
5498:
5497:
5474:Francesco Landini
5452:
5451:
5434:Jacopo da Bologna
5417:
5416:
5384:
5383:
5380:
5379:
5371:Philippe de Vitry
5350:Jehan de Lescurel
5271:
5270:
5256:Raoul de Soissons
5201:Gautier d'Espinal
5191:Gautier de Coincy
5132:
5131:
5052:Giraut de Bornelh
5031:Cerverí de Girona
5011:Arnaut de Mareuil
4981:
4980:
4977:
4976:
4939:Notre-Dame school
4849:Heriger of Lobbes
4778:List of composers
4720:
4719:
4540:on 1 August 2013.
4318:978-88-209-1603-9
4289:978-3-940768-15-5
4173:978-1-56159-263-0
4133:. Prentice Hall.
4095:978-1-56159-263-0
3934:978-1-56159-263-0
3865:978-1-56159-263-0
3749:10.1093/em/cax087
3721:G. Reese (1940).
3339:, pp. 64–65.
3255:, pp. 85–88.
3111:Taruskin, Richard
2975:, pp. 28–29.
2830:Pope Benedict XVI
2748:Cecilian Movement
2673:liturgical dramas
2642:Renaissance music
2604:
2497:Technically, the
2441:
2350:is known for the
2272:. Texts known as
2229:
2228:
2221:
2021:Jerome of Moravia
1987:Gregory the Great
1415:
1390:
1345:antiphonal chants
1260:
1132:Prosper Guéranger
1125:French Revolution
1113:Directorium chori
1044:
963:was added to the
848:, using freeform
567:and the monastic
473:synthesis of the
440:
439:
178:Notre-Dame school
75:
16:(Redirected from
10067:
10035:Christian chants
9999:
9998:
9989:
9988:
9979:
9978:
9969:
9968:
9952:
9951:
9950:
9940:
9939:
9812:Desmond Williams
9718:Mont César Abbey
9708:Beuron Archabbey
9576:Alexandre Fleury
9556:Annibale Bugnini
9495:Adrian Fortescue
9485:Lambert Beauduin
9450:
9449:
9358:Catholic liturgy
9337:
9330:
9323:
9314:
9313:
9300:
9299:
9288:
9287:
9286:
9265:Patriarch Kirill
9138:Pope John Paul I
8943:Anti-clericalism
8923:Pope Innocent XI
8843:Society of Jesus
8828:Council of Trent
8782:Age of Discovery
8727:Late Middle Ages
8629:High Middle Ages
8619:East–West Schism
8503:Pope Sylvester I
8449:
8448:
8438:
8437:
8348:General epistles
8343:Pauline epistles
8276:John the Baptist
8259:Great Commission
8221:
8220:
8172:Catholic culture
8062:
8055:
8048:
8039:
8038:
7879:Council of Trent
7862:Christian prayer
7850:Catholic liturgy
7689:Passion of Jesus
7632:ex opere operato
7537:Infant communion
7532:Host desecration
7507:Eucharistic fast
7480:Closed communion
7475:Church etiquette
7343:
7342:
7249:Roman Pontifical
7222:Graduale Simplex
7193:Liturgical books
7173:Sacramental wine
6815:Recessional hymn
6744:Dona nobis pacem
6689:Canonical digits
6596:Universal Prayer
6523:Dominus vobiscum
6438:
6437:
6334:
6333:
6249:Benedictine Rite
6237:
6236:
6174:
6167:
6160:
6151:
6150:
6136:
6126:
6125:
5932:Liturgical drama
5699:
5698:
5606:
5603:Johannes Ciconia
5578:
5577:
5574:
5573:
5556:Zacara da Teramo
5520:Johannes Ciconia
5500:
5499:
5490:Paolo da Firenze
5469:Donato da Cascia
5454:
5453:
5419:
5418:
5399:
5398:
5390:
5389:
5386:
5385:
5374:
5317:
5316:
5313:
5312:
5308:Late (1300–1400)
5251:Philippe de Rémi
5181:Conon de Béthune
5161:Blondel de Nesle
5146:Adam de la Halle
5134:
5133:
5072:Peire d'Alvernha
4983:
4982:
4970:
4925:
4924:
4921:
4920:
4916:High (1150–1300)
4905:Wipo of Burgundy
4870:
4840:
4832:
4823:Stephen of Liège
4760:
4753:
4746:
4737:
4736:
4724:
4723:
4569:
4562:
4555:
4546:
4545:
4541:
4536:. Archived from
4525:
4512:
4511:on 5 March 2016.
4510:
4504:. Archived from
4503:
4493:
4485:
4465:
4451:
4448:Internet Archive
4436:
4425:. W. W. Norton.
4417:
4400:
4397:Internet Archive
4375:
4343:Internet Archive
4308:Graduale simplex
4268:Graduale Triplex
4255:
4243:
4232:
4213:
4210:Internet Archive
4197:
4186:
4177:
4154:(8th ed.).
4144:
4122:
4099:
4076:(8th ed.).
4059:
4048:. W. W. Norton.
4040:
4037:Internet Archive
4025:. W. W. Norton.
4012:
3993:
3960:
3938:
3915:(8th ed.).
3905:
3886:
3878:
3869:
3846:(8th ed.).
3832:
3801:
3798:Bent et al. 2001
3795:
3789:
3783:
3777:
3771:
3765:
3759:
3753:
3752:
3732:
3726:
3719:
3713:
3712:
3700:
3694:
3688:
3677:
3671:
3664:
3658:
3657:
3645:
3639:
3624:
3618:
3617:
3615:
3613:
3608:on 15 March 2012
3598:
3592:
3586:
3580:
3574:
3568:
3562:
3556:
3550:
3544:
3538:
3532:
3526:
3520:
3514:
3508:
3502:
3496:
3493:Neuls-Bates 1996
3490:
3484:
3481:Levy et al. 2001
3478:
3472:
3466:
3460:
3454:
3448:
3442:
3436:
3430:
3424:
3418:
3412:
3406:
3400:
3394:
3388:
3382:
3376:
3370:
3364:
3358:
3352:
3346:
3340:
3334:
3328:
3322:
3316:
3310:
3304:
3298:
3292:
3286:
3280:
3274:
3268:
3262:
3256:
3250:
3244:
3238:
3232:
3231:
3228:Internet Archive
3220:
3214:
3208:
3202:
3196:
3190:
3184:
3178:
3172:
3166:
3160:
3154:
3148:
3142:
3136:
3130:
3124:
3118:
3108:
3102:
3101:
3059:
3053:
3047:
3041:
3040:
3018:
3012:
3009:Levy et al. 2001
3006:
3000:
2994:
2988:
2982:
2976:
2970:
2964:
2959:
2950:
2944:
2938:
2932:
2926:
2920:
2914:
2908:
2902:
2896:
2890:
2884:
2878:
2872:
2866:
2865:
2863:
2861:
2851:
2843:
2837:
2816:
2807:
2804:Dolmetsch online
2800:
2794:
2788:
2753:Damien Poisblaud
2606:
2605:
2586:
2555:Marian antiphons
2443:
2442:
2423:
2298:Graduale Romanum
2284:Graduale Romanum
2246:Graduale Triplex
2224:
2217:
2213:
2210:
2204:
2173:
2165:
2098:Graduale Triplex
2093:Graduale Triplex
2090:
2041:
1963:Council of Trent
1901:
1876:Graduale Aboense
1815:
1812:
1780:Loquetur Dominus
1582:Byzantine chants
1564:
1563:
1539:
1538:
1417:
1416:
1392:
1391:
1377:Loquetur Dominus
1367:
1262:
1261:
1242:
1105:Council of Trent
1083:in Switzerland,
1046:
1045:
1023:
1014:
846:musical notation
755:Donald Jay Grout
735:, Ambrosian and
557:religious orders
534:musical notation
524:patterns called
432:
425:
418:
366:Liturgical drama
264:Adam de la Halle
96:
95:
77:
76:
49:Graduale Aboense
21:
18:Gregorian chants
10075:
10074:
10070:
10069:
10068:
10066:
10065:
10064:
10045:Tridentine Mass
10020:
10019:
10018:
10013:
10012:
10007:
9948:
9946:
9934:
9926:
9922:Paschal mystery
9854:
9821:
9785:
9743:
9737:
9713:Maredsous Abbey
9695:
9685:
9676:Johannes Wagner
9626:Giacomo Lercaro
9591:Pierre-Marie Gy
9581:Romano Guardini
9529:
9505:Gaspar Lefebvre
9480:Pierre Batiffol
9470:Columba Marmion
9441:
9424:Mass of Paul VI
9405:Mass of Paul VI
9385:Gregorian chant
9346:
9341:
9311:
9306:
9294:
9284:
9282:
9274:
9196:World Youth Day
9174:
9163:World Youth Day
9107:Pacem in terris
9101:Pope John XXIII
9040:
8967:
8958:Edict of Nantes
8916:
8912:
8902:
8868:Teresa of Ávila
8863:Tridentine Mass
8799:
8795:
8786:
8767:Knights Templar
8721:
8623:
8579:Gregorian chant
8537:
8463:
8460:
8457:
8455:
8444:
8432:
8359:
8228:
8216:
8208:
8075:
8073:Catholic Church
8066:
8036:
8031:
7970:Missale Romanum
7935:Gregorian chant
7901:Dominicae Cenae
7813:
7761:Code of Rubrics
7723:
7717:
7693:salvific nature
7670:Mysterium fidei
7663:Mirae caritatis
7611:Blood of Christ
7598:
7591:
7512:First Communion
7454:
7443:
7427:Paschal Triduum
7378:
7338:Liturgical year
7332:
7266:
7258:
7187:
7094:Communion-plate
7046:
7040:
6986:Communion bench
6923:
6819:
6810:Leonine Prayers
6798:
6606:
6600:
6589:Apostles' Creed
6502:Penitential Act
6479:
6473:
6448:Vesting prayers
6429:
6397:
6356:Coronation Mass
6332:
6278:
6274:Norbertine Rite
6264:Cistercian Rite
6259:Carthusian Rite
6235:
6222:(Ordinary Form)
6220:Mass of Paul VI
6208:Tridentine Mass
6191:
6189:Catholic Church
6178:
6148:
6143:
6142:
6119:
6100:
6052:
6021:
5958:
5908:Gregorian chant
5827:
5813:Walter Odington
5773:Guido of Arezzo
5752:
5709:Johannes Alanus
5689:
5665:Jacob Senleches
5601:
5560:
5494:
5448:
5413:
5376:
5369:
5302:
5267:
5128:
5057:Guiraut Riquier
5036:Comtessa de Dia
5021:Bertran de Born
4989:
4973:
4967:Petrus de Cruce
4965:
4910:
4874:Notker Physicus
4865:
4835:
4827:
4792:
4769:
4764:
4729:
4721:
4716:
4654:
4646:
4581:
4573:
4528:
4515:
4508:
4501:
4497:
4488:
4480:
4477:
4472:
4454:
4439:
4433:
4420:
4403:
4393:
4378:
4347:
4263:
4261:Further reading
4258:
4252:
4229:
4206:
4174:
4141:
4127:McKinnon, James
4119:
4096:
4056:
4033:
4017:Hoppin, Richard
4009:
3987:
3957:
3935:
3902:
3866:
3829:
3819:Gregorian Chant
3809:
3804:
3796:
3792:
3784:
3780:
3772:
3768:
3764:, pp. 1–2.
3760:
3756:
3733:
3729:
3720:
3716:
3701:
3697:
3682:
3678:
3674:
3665:
3661:
3646:
3642:
3625:
3621:
3611:
3609:
3600:
3599:
3595:
3587:
3583:
3575:
3571:
3563:
3559:
3551:
3547:
3539:
3535:
3527:
3523:
3515:
3511:
3503:
3499:
3491:
3487:
3479:
3475:
3467:
3463:
3455:
3451:
3443:
3439:
3431:
3427:
3419:
3415:
3407:
3403:
3395:
3391:
3383:
3379:
3371:
3367:
3359:
3355:
3347:
3343:
3335:
3331:
3323:
3319:
3311:
3307:
3299:
3295:
3287:
3283:
3275:
3271:
3263:
3259:
3251:
3247:
3239:
3235:
3222:
3221:
3217:
3209:
3205:
3197:
3193:
3189:, pp. 8–9.
3185:
3181:
3173:
3169:
3161:
3157:
3149:
3145:
3137:
3133:
3125:
3121:
3109:
3105:
3060:
3056:
3048:
3044:
3019:
3015:
3007:
3003:
2995:
2991:
2983:
2979:
2971:
2967:
2960:
2953:
2945:
2941:
2933:
2929:
2921:
2917:
2909:
2905:
2897:
2893:
2885:
2881:
2873:
2869:
2859:
2857:
2849:
2845:
2844:
2840:
2817:
2810:
2801:
2797:
2793:, pp. 3–4.
2789:
2785:
2781:
2734:
2634:
2629:
2624:
2623:
2615:
2613:
2612:
2611:
2610:
2607:
2600:
2597:
2590:
2584:
2537:, in the Great
2527:canonical hours
2523:
2465:
2464:
2456:
2454:
2453:
2452:
2451:
2444:
2437:
2434:
2427:
2421:
2392:
2384:Notker Balbulus
2382:. According to
2306:
2266:canonical hours
2262:
2225:
2214:
2208:
2205:
2190:
2174:
2163:
2155:time signatures
2084:
2035:
2029:Editio medicaea
2012:
1927:Schola Cantorum
1913:
1908:
1895:
1872:square notation
1832:Byzantine chant
1813:
1807:
1789:
1771:Iustus ut palma
1727:
1614:in the melody.
1561:
1560:
1536:
1535:
1523:
1517:
1435:
1434:
1426:
1424:
1423:
1422:
1421:
1418:
1410:
1407:
1398:
1397:
1396:
1393:
1384:
1381:
1371:
1365:
1341:direct psalmody
1280:
1279:
1271:
1269:
1268:
1267:
1266:
1263:
1256:
1253:
1246:
1240:
1222:
1217:
1072:
1071:
1063:
1061:
1060:
1059:
1058:
1047:
1040:
1037:
1027:
1021:
1008:
995:
881:
865:Pope Gregory II
791:Pope Stephen II
763:
747:John the Deacon
646:Mount of Olives
611:Canonical hours
606:early Christian
590:
585:
577:Mozarabic chant
573:Ambrosian chant
475:Old Roman chant
443:Gregorian chant
436:
394:
393:
392:
351:Gregorian chant
308:
300:
299:
298:
228:
220:
219:
218:
150:
140:
139:
92:
91:
83:
81:
80:
79:
78:
69:
66:
63:Gaudeamus omnes
45:square notation
41:Gaudeamus omnes
28:
23:
22:
15:
12:
11:
5:
10073:
10063:
10062:
10057:
10055:Pope Gregory I
10052:
10047:
10042:
10037:
10032:
10015:
10014:
10009:
10008:
10006:
10005:
10004:
10003:
9993:
9983:
9963:
9957:
9956:
9944:
9931:
9928:
9927:
9925:
9924:
9919:
9914:
9909:
9895:
9890:
9885:
9880:
9875:
9868:
9862:
9860:
9856:
9855:
9853:
9852:
9847:
9844:Versus populum
9840:
9838:People's altar
9835:
9829:
9827:
9823:
9822:
9820:
9819:
9817:Austin Winkley
9814:
9809:
9804:
9799:
9797:Francis Pollen
9793:
9791:
9787:
9786:
9784:
9783:
9776:
9769:
9762:
9759:Quam singulari
9755:
9747:
9745:
9739:
9738:
9736:
9735:
9730:
9725:
9720:
9715:
9710:
9705:
9703:Solesmes Abbey
9699:
9697:
9696:establishments
9691:
9690:
9687:
9686:
9684:
9683:
9678:
9673:
9668:
9663:
9658:
9653:
9651:Mario Righetti
9648:
9646:H. A. Reinhold
9643:
9641:Johannes Pinsk
9638:
9633:
9628:
9623:
9618:
9613:
9608:
9603:
9598:
9593:
9588:
9583:
9578:
9573:
9568:
9563:
9558:
9553:
9548:
9543:
9537:
9535:
9531:
9530:
9528:
9527:
9522:
9517:
9512:
9507:
9502:
9497:
9492:
9487:
9482:
9477:
9475:Fernand Cabrol
9472:
9467:
9462:
9456:
9454:
9447:
9443:
9442:
9440:
9439:
9431:
9426:
9421:
9414:
9407:
9402:
9397:
9392:
9387:
9382:
9377:
9372:
9365:
9354:
9352:
9348:
9347:
9340:
9339:
9332:
9325:
9317:
9308:
9307:
9305:
9304:
9292:
9279:
9276:
9275:
9273:
9272:
9267:
9262:
9255:
9250:
9245:
9244:
9243:
9238:
9233:
9228:
9223:
9218:
9213:
9208:
9203:
9193:
9188:
9182:
9180:
9176:
9175:
9173:
9172:
9171:
9170:
9160:
9155:
9150:
9145:
9140:
9135:
9125:
9120:
9115:
9110:
9103:
9098:
9091:
9086:
9084:Lateran Treaty
9081:
9076:
9071:
9066:
9061:
9056:
9050:
9048:
9042:
9041:
9039:
9038:
9031:
9026:
9021:
9016:
9011:
9006:
9001:
8996:
8991:
8986:
8981:
8975:
8973:
8969:
8968:
8966:
8965:
8960:
8955:
8950:
8945:
8940:
8935:
8930:
8925:
8919:
8917:
8909:Baroque period
8907:
8904:
8903:
8901:
8900:
8895:
8890:
8885:
8880:
8878:Peter Canisius
8875:
8870:
8865:
8860:
8855:
8853:Francis Xavier
8850:
8845:
8840:
8835:
8830:
8825:
8820:
8817:Exsurge Domine
8813:
8808:
8802:
8800:
8791:
8788:
8787:
8785:
8784:
8779:
8774:
8769:
8764:
8759:
8757:Pope Clement V
8754:
8753:
8752:
8750:Avignon Papacy
8745:Western Schism
8742:
8737:
8735:Thomas Aquinas
8731:
8729:
8723:
8722:
8720:
8719:
8714:
8709:
8704:
8699:
8694:
8689:
8684:
8679:
8674:
8669:
8664:
8659:
8654:
8649:
8644:
8639:
8633:
8631:
8625:
8624:
8622:
8621:
8616:
8611:
8606:
8601:
8596:
8591:
8589:Saint Boniface
8586:
8581:
8576:
8574:Pope Gregory I
8571:
8566:
8561:
8555:
8553:
8547:
8546:
8543:
8542:
8539:
8538:
8536:
8535:
8530:
8525:
8520:
8515:
8513:Biblical canon
8510:
8505:
8500:
8495:
8490:
8485:
8480:
8479:
8478:
8467:
8465:
8446:
8442:Late antiquity
8434:
8433:
8431:
8430:
8425:
8420:
8415:
8410:
8409:
8408:
8403:
8402:
8401:
8396:
8391:
8389:Pope Clement I
8379:Church Fathers
8376:
8370:
8368:
8361:
8360:
8358:
8357:
8356:
8355:
8350:
8345:
8340:
8335:
8330:
8320:
8315:
8310:
8305:
8304:
8303:
8298:
8293:
8288:
8278:
8273:
8268:
8263:
8262:
8261:
8256:
8251:
8246:
8235:
8233:
8218:
8210:
8209:
8207:
8206:
8201:
8196:
8191:
8186:
8185:
8184:
8179:
8169:
8164:
8159:
8154:
8149:
8148:
8147:
8142:
8140:Biblical canon
8135:Catholic Bible
8132:
8131:
8130:
8120:
8119:
8118:
8108:
8103:
8098:
8097:
8096:
8085:
8083:
8077:
8076:
8065:
8064:
8057:
8050:
8042:
8033:
8032:
8030:
8029:
8022:
8017:
8010:
8003:
8002:
8001:
7989:
7984:
7979:
7974:
7966:
7959:
7954:
7949:
7942:
7937:
7932:
7927:
7922:
7915:
7910:
7909:
7908:
7888:
7881:
7876:
7871:
7870:
7869:
7859:
7858:
7857:
7847:
7842:
7837:
7835:Ambrosian Rite
7832:
7827:
7821:
7819:
7815:
7814:
7812:
7811:
7810:
7809:
7799:
7792:
7783:
7778:
7773:
7768:
7763:
7758:
7753:
7748:
7745:versus populum
7735:
7727:
7725:
7719:
7718:
7716:
7715:
7710:
7705:
7700:
7695:
7686:
7685:
7684:
7674:
7666:
7659:
7654:
7647:
7642:
7635:
7625:
7618:
7616:Corpus Christi
7613:
7603:
7601:
7593:
7592:
7590:
7589:
7582:
7581:
7580:
7568:
7563:
7549:
7544:
7539:
7534:
7529:
7524:
7519:
7514:
7509:
7504:
7499:
7494:
7493:
7492:
7487:
7477:
7472:
7470:Concelebration
7467:
7459:
7457:
7449:
7448:
7445:
7444:
7442:
7441:
7436:
7431:
7430:
7429:
7419:
7414:
7409:
7402:
7397:
7392:
7386:
7384:
7380:
7379:
7377:
7376:
7370:
7365:
7360:
7355:
7349:
7347:
7340:
7334:
7333:
7331:
7330:
7325:
7320:
7315:
7310:
7305:
7300:
7295:
7290:
7285:
7280:
7275:
7269:
7267:
7260:
7259:
7257:
7256:
7251:
7246:
7245:
7244:
7235:
7225:
7218:
7213:
7208:
7203:
7197:
7195:
7189:
7188:
7186:
7185:
7180:
7170:
7169:
7168:
7158:
7153:
7148:
7143:
7138:
7137:
7136:
7126:
7121:
7116:
7111:
7106:
7101:
7096:
7091:
7086:
7081:
7076:
7071:
7066:
7061:
7056:
7050:
7048:
7042:
7041:
7039:
7038:
7033:
7028:
7023:
7018:
7013:
7008:
7003:
6998:
6996:Credence table
6993:
6988:
6983:
6978:
6977:
6976:
6974:Sanctuary lamp
6971:
6969:Paschal candle
6966:
6965:
6964:
6949:
6944:
6939:
6937:Altar crucifix
6933:
6931:
6925:
6924:
6922:
6921:
6916:
6911:
6906:
6901:
6896:
6895:
6894:
6884:
6879:
6874:
6869:
6864:
6859:
6854:
6849:
6848:
6847:
6837:
6831:
6829:
6825:
6824:
6821:
6820:
6818:
6817:
6812:
6806:
6804:
6800:
6799:
6797:
6796:
6791:
6790:
6789:
6783:Ite, missa est
6775:
6770:
6765:
6764:
6763:
6756:Holy Communion
6753:
6748:
6747:
6746:
6736:
6731:
6726:
6725:
6724:
6710:
6705:
6704:
6703:
6702:
6701:
6691:
6686:
6681:
6647:
6646:
6645:
6627:
6626:
6625:
6610:
6608:
6602:
6601:
6599:
6598:
6593:
6592:
6591:
6577:
6572:
6567:
6566:
6565:
6551:
6546:
6537:
6536:
6535:
6525:
6520:
6515:
6514:
6513:
6499:
6494:
6489:
6483:
6481:
6475:
6474:
6472:
6471:
6466:
6465:
6464:
6450:
6444:
6442:
6435:
6431:
6430:
6428:
6427:
6422:
6421:
6420:
6409:
6407:
6403:
6402:
6399:
6398:
6396:
6395:
6390:
6389:
6388:
6378:
6373:
6368:
6363:
6358:
6353:
6348:
6342:
6340:
6331:
6330:
6325:
6318:
6313:
6308:
6303:
6296:
6290:
6288:
6284:
6283:
6280:
6279:
6277:
6276:
6271:
6269:Dominican Rite
6266:
6261:
6256:
6254:Carmelite Rite
6251:
6245:
6243:
6234:
6233:
6228:
6223:
6217:
6216:
6215:
6205:
6199:
6197:
6196:Forms and uses
6193:
6192:
6177:
6176:
6169:
6162:
6154:
6145:
6144:
6141:
6140:
6130:
6112:
6111:
6110:
6106:
6105:
6102:
6101:
6099:
6098:
6097:
6096:
6091:
6086:
6081:
6076:
6066:
6060:
6058:
6054:
6053:
6051:
6050:
6045:
6043:Medieval metal
6040:
6035:
6029:
6027:
6023:
6022:
6020:
6019:
6014:
6009:
6004:
5999:
5994:
5989:
5984:
5983:
5982:
5977:
5966:
5964:
5960:
5959:
5957:
5956:
5949:
5944:
5939:
5934:
5929:
5928:
5927:
5917:
5916:
5915:
5913:Pope Gregory I
5905:
5900:
5899:
5898:
5893:
5888:
5878:
5873:
5868:
5863:
5862:
5861:
5851:
5846:
5841:
5835:
5833:
5829:
5828:
5826:
5825:
5820:
5815:
5810:
5805:
5800:
5795:
5790:
5785:
5783:Johannes Cotto
5780:
5775:
5770:
5764:
5762:
5758:
5757:
5754:
5753:
5751:
5750:
5745:
5740:
5735:
5730:
5725:
5724:
5723:
5714:John Dunstaple
5711:
5705:
5703:
5695:
5694:
5691:
5690:
5688:
5687:
5682:
5677:
5675:Johannes Susay
5672:
5667:
5662:
5657:
5655:Gacian Reyneau
5652:
5647:
5642:
5637:
5635:Martinus Fabri
5632:
5627:
5622:
5617:
5612:
5607:
5599:
5594:
5588:
5586:
5570:
5569:
5566:
5565:
5562:
5561:
5559:
5558:
5553:
5548:
5543:
5538:
5533:
5528:
5523:
5517:
5512:
5506:
5504:
5503:3rd generation
5496:
5495:
5493:
5492:
5487:
5481:
5476:
5471:
5466:
5460:
5458:
5457:2nd generation
5450:
5449:
5447:
5446:
5441:
5436:
5431:
5425:
5423:
5422:1st generation
5415:
5414:
5412:
5411:
5405:
5403:
5396:
5382:
5381:
5378:
5377:
5375:
5367:
5365:Jehan Vaillant
5362:
5357:
5352:
5347:
5342:
5337:
5335:Denis Le Grant
5332:
5327:
5325:
5310:
5304:
5303:
5301:
5300:
5299:
5298:
5288:
5283:
5278:
5272:
5269:
5268:
5266:
5265:
5264:
5263:
5253:
5248:
5243:
5241:Moniot d'Arras
5238:
5233:
5228:
5223:
5221:Guiot de Dijon
5218:
5213:
5208:
5203:
5198:
5193:
5188:
5183:
5178:
5173:
5168:
5163:
5158:
5153:
5148:
5142:
5140:
5130:
5129:
5127:
5126:
5125:
5124:
5114:
5109:
5104:
5099:
5094:
5089:
5084:
5079:
5077:Peire Cardenal
5074:
5069:
5064:
5059:
5054:
5049:
5047:Gaucelm Faidit
5044:
5039:
5033:
5028:
5023:
5018:
5013:
5008:
5003:
4997:
4995:
4979:
4978:
4975:
4974:
4972:
4971:
4963:
4962:
4961:
4956:
4951:
4946:
4935:
4933:
4918:
4912:
4911:
4909:
4908:
4902:
4896:
4891:
4886:
4881:
4876:
4871:
4863:
4862:
4861:
4851:
4846:
4841:
4833:
4825:
4820:
4819:
4818:
4813:
4802:
4800:
4794:
4793:
4791:
4790:
4785:
4780:
4774:
4771:
4770:
4767:Medieval music
4763:
4762:
4755:
4748:
4740:
4734:
4731:
4730:
4718:
4717:
4715:
4714:
4709:
4704:
4699:
4694:
4689:
4684:
4679:
4674:
4669:
4662:
4660:
4648:
4647:
4645:
4644:
4639:
4634:
4629:
4628:
4627:
4617:
4612:
4607:
4602:
4597:
4591:
4589:
4583:
4582:
4572:
4571:
4564:
4557:
4549:
4543:
4542:
4526:
4513:
4495:
4486:
4476:
4475:External links
4473:
4471:
4470:
4452:
4437:
4431:
4418:
4401:
4391:
4376:
4364:10.2307/831302
4358:(3): 437–467.
4345:
4329:
4321:
4304:
4294:Graduale Lagal
4291:
4281:Graduale Novum
4278:
4264:
4262:
4259:
4257:
4256:
4250:
4233:
4227:
4214:
4204:
4194:Women in Music
4187:
4178:
4172:
4145:
4139:
4129:, ed. (1990).
4123:
4117:
4100:
4094:
4060:
4054:
4041:
4031:
4022:Medieval Music
4013:
4007:
3994:
3985:
3973:Sadie, Stanley
3961:
3955:
3939:
3933:
3906:
3900:
3887:
3870:
3864:
3833:
3827:
3810:
3808:
3805:
3803:
3802:
3790:
3788:, p. 404.
3778:
3776:, p. 153.
3766:
3754:
3727:
3714:
3705:Gregoriusblatt
3695:
3691:Gregoriusblatt
3672:
3668:Graduale Lagal
3659:
3640:
3619:
3593:
3581:
3569:
3567:, p. 127.
3557:
3555:, p. 289.
3545:
3533:
3531:, p. 197.
3521:
3519:, p. 312.
3509:
3507:, p. 504.
3497:
3485:
3473:
3461:
3449:
3437:
3425:
3413:
3401:
3389:
3387:, p. 454.
3377:
3365:
3353:
3341:
3329:
3317:
3315:, p. 131.
3305:
3303:, p. 123.
3293:
3281:
3269:
3267:, p. 203.
3257:
3245:
3233:
3215:
3213:, p. 622.
3203:
3191:
3179:
3167:
3155:
3153:, p. 604.
3143:
3131:
3119:
3103:
3054:
3052:, p. 114.
3042:
3013:
3001:
2989:
2977:
2965:
2962:Bewerunge 1913
2951:
2949:, p. 320.
2939:
2927:
2925:, p. 486.
2915:
2903:
2891:
2879:
2867:
2838:
2808:
2795:
2782:
2780:
2777:
2776:
2775:
2770:
2768:Schola Antiqua
2765:
2760:
2755:
2750:
2745:
2743:Anglican chant
2740:
2733:
2730:
2646:rhythmic modes
2633:
2630:
2628:
2625:
2614:
2608:
2598:
2593:
2592:
2591:
2582:
2581:
2580:
2522:
2519:
2455:
2445:
2435:
2430:
2429:
2428:
2419:
2418:
2417:
2408:Greek language
2391:
2388:
2325:Reciting tones
2305:
2302:
2261:
2258:
2254:Graduale Lagal
2227:
2226:
2177:
2175:
2168:
2162:
2159:
2123:Graduale Lagal
2082:Eugène Cardine
2011:
2008:
1979:All Souls' Day
1975:Corpus Christi
1912:
1909:
1907:
1904:
1893:Eugène Cardine
1803:Main article:
1788:
1785:
1726:
1723:
1695:transpositions
1679:
1678:
1675:Hypomixolydian
1667:
1656:
1645:
1549:Guido d'Arezzo
1527:diatonic scale
1519:Main article:
1516:
1513:
1425:
1419:
1408:
1400:
1399:
1394:
1382:
1374:
1373:
1372:
1363:
1362:
1361:
1270:
1264:
1254:
1249:
1248:
1247:
1238:
1237:
1236:
1221:
1218:
1216:
1213:
1117:Editio medicea
1062:
1048:
1038:
1030:
1029:
1028:
1019:
1018:
1017:
994:
991:
905:Pope Stephen V
880:
877:
869:Pope Gregory I
858:Guido d'Arezzo
819:James McKinnon
807:Gallican Rites
775:Pope Gregory I
762:
759:
751:Pope Gregory I
711:described the
662:St. Athanasius
654:Pope Clement I
602:ancient Jewish
589:
586:
584:
581:
506:reciting tones
479:Gallican chant
467:Pope Gregory I
438:
437:
435:
434:
427:
420:
412:
409:
408:
407:
406:
396:
395:
391:
390:
383:
378:
373:
368:
363:
358:
353:
348:
343:
342:
341:
336:
331:
321:
316:
310:
309:
306:
305:
302:
301:
297:
296:
291:
286:
281:
276:
271:
266:
261:
256:
251:
246:
241:
236:
230:
229:
226:
225:
222:
221:
217:
216:
209:
204:
197:
192:
187:
182:
181:
180:
168:
163:
158:
152:
151:
148:
147:
144:
143:
142:
141:
122:
117:
116:
112:
111:
109:Medieval music
105:
104:
82:
67:
60:
59:
58:
57:
56:
43:, scripted in
26:
9:
6:
4:
3:
2:
10072:
10061:
10058:
10056:
10053:
10051:
10048:
10046:
10043:
10041:
10040:Order of Mass
10038:
10036:
10033:
10031:
10028:
10027:
10025:
10002:
9994:
9992:
9984:
9982:
9974:
9973:
9972:
9964:
9962:
9959:
9958:
9955:
9945:
9943:
9938:
9933:
9932:
9929:
9923:
9920:
9918:
9915:
9913:
9910:
9907:
9903:
9899:
9896:
9894:
9891:
9889:
9886:
9884:
9881:
9879:
9876:
9874:
9873:
9869:
9867:
9864:
9863:
9861:
9857:
9851:
9848:
9846:
9845:
9841:
9839:
9836:
9834:
9833:Dialogue mass
9831:
9830:
9828:
9824:
9818:
9815:
9813:
9810:
9808:
9807:Gerard Goalen
9805:
9803:
9800:
9798:
9795:
9794:
9792:
9788:
9782:
9781:
9777:
9775:
9774:
9770:
9768:
9767:
9763:
9761:
9760:
9756:
9754:
9753:
9749:
9748:
9746:
9740:
9734:
9731:
9729:
9726:
9724:
9721:
9719:
9716:
9714:
9711:
9709:
9706:
9704:
9701:
9700:
9698:
9692:
9682:
9679:
9677:
9674:
9672:
9669:
9667:
9664:
9662:
9659:
9657:
9654:
9652:
9649:
9647:
9644:
9642:
9639:
9637:
9634:
9632:
9631:Adrien Nocent
9629:
9627:
9624:
9622:
9621:Pierre Jounel
9619:
9617:
9616:Ronald Jasper
9614:
9612:
9609:
9607:
9604:
9602:
9599:
9597:
9594:
9592:
9589:
9587:
9584:
9582:
9579:
9577:
9574:
9572:
9571:Paul Doncoeur
9569:
9567:
9564:
9562:
9559:
9557:
9554:
9552:
9549:
9547:
9544:
9542:
9539:
9538:
9536:
9532:
9526:
9523:
9521:
9518:
9516:
9513:
9511:
9510:Edmund Bishop
9508:
9506:
9503:
9501:
9498:
9496:
9493:
9491:
9488:
9486:
9483:
9481:
9478:
9476:
9473:
9471:
9468:
9466:
9463:
9461:
9458:
9457:
9455:
9451:
9448:
9444:
9438:
9436:
9432:
9430:
9427:
9425:
9422:
9420:
9419:
9415:
9413:
9412:
9408:
9406:
9403:
9401:
9398:
9396:
9393:
9391:
9388:
9386:
9383:
9381:
9378:
9376:
9373:
9371:
9370:
9366:
9363:
9359:
9356:
9355:
9353:
9349:
9345:
9338:
9333:
9331:
9326:
9324:
9319:
9318:
9315:
9303:
9298:
9293:
9291:
9281:
9280:
9277:
9271:
9268:
9266:
9263:
9261:
9260:
9256:
9254:
9251:
9249:
9246:
9242:
9239:
9237:
9234:
9232:
9229:
9227:
9224:
9222:
9219:
9217:
9214:
9212:
9209:
9207:
9204:
9202:
9199:
9198:
9197:
9194:
9192:
9189:
9187:
9184:
9183:
9181:
9177:
9169:
9166:
9165:
9164:
9161:
9159:
9156:
9154:
9151:
9149:
9146:
9144:
9143:Mother Teresa
9141:
9139:
9136:
9133:
9129:
9126:
9124:
9121:
9119:
9116:
9114:
9111:
9109:
9108:
9104:
9102:
9099:
9097:
9096:
9092:
9090:
9087:
9085:
9082:
9080:
9077:
9075:
9072:
9070:
9069:Pope Pius XII
9067:
9065:
9062:
9060:
9057:
9055:
9052:
9051:
9049:
9047:
9043:
9037:
9036:
9035:Rerum novarum
9032:
9030:
9027:
9025:
9022:
9020:
9019:Pope Leo XIII
9017:
9015:
9012:
9010:
9007:
9005:
9002:
9000:
8997:
8995:
8992:
8990:
8989:United States
8987:
8985:
8982:
8980:
8979:Pope Pius VII
8977:
8976:
8974:
8970:
8964:
8961:
8959:
8956:
8954:
8951:
8949:
8946:
8944:
8941:
8939:
8936:
8934:
8931:
8929:
8926:
8924:
8921:
8920:
8918:
8915:
8910:
8905:
8899:
8896:
8894:
8891:
8889:
8886:
8884:
8881:
8879:
8876:
8874:
8871:
8869:
8866:
8864:
8861:
8859:
8856:
8854:
8851:
8849:
8846:
8844:
8841:
8839:
8836:
8834:
8831:
8829:
8826:
8824:
8821:
8819:
8818:
8814:
8812:
8809:
8807:
8804:
8803:
8801:
8798:
8794:
8789:
8783:
8780:
8778:
8775:
8773:
8770:
8768:
8765:
8763:
8760:
8758:
8755:
8751:
8748:
8747:
8746:
8743:
8741:
8738:
8736:
8733:
8732:
8730:
8728:
8724:
8718:
8715:
8713:
8710:
8708:
8705:
8703:
8700:
8698:
8695:
8693:
8690:
8688:
8685:
8683:
8680:
8678:
8675:
8673:
8670:
8668:
8665:
8663:
8662:Scholasticism
8660:
8658:
8655:
8653:
8650:
8648:
8645:
8643:
8640:
8638:
8637:Pope Urban II
8635:
8634:
8632:
8630:
8626:
8620:
8617:
8615:
8612:
8610:
8607:
8605:
8602:
8600:
8597:
8595:
8592:
8590:
8587:
8585:
8582:
8580:
8577:
8575:
8572:
8570:
8567:
8565:
8562:
8560:
8557:
8556:
8554:
8552:
8548:
8534:
8531:
8529:
8526:
8524:
8521:
8519:
8516:
8514:
8511:
8509:
8506:
8504:
8501:
8499:
8496:
8494:
8491:
8489:
8486:
8484:
8481:
8477:
8474:
8473:
8472:
8469:
8468:
8466:
8462:
8454:
8450:
8447:
8443:
8439:
8429:
8426:
8424:
8421:
8419:
8416:
8414:
8413:Justin Martyr
8411:
8407:
8404:
8400:
8397:
8395:
8392:
8390:
8387:
8386:
8385:
8382:
8381:
8380:
8377:
8375:
8372:
8371:
8369:
8366:
8362:
8354:
8351:
8349:
8346:
8344:
8341:
8339:
8336:
8334:
8331:
8329:
8326:
8325:
8324:
8323:New Testament
8321:
8319:
8316:
8314:
8311:
8309:
8306:
8302:
8299:
8297:
8294:
8292:
8289:
8287:
8286:Commissioning
8284:
8283:
8282:
8279:
8277:
8274:
8272:
8269:
8267:
8264:
8260:
8257:
8255:
8252:
8250:
8247:
8245:
8242:
8241:
8240:
8237:
8236:
8234:
8231:
8230:Apostolic Age
8226:
8222:
8219:
8215:
8211:
8205:
8202:
8200:
8197:
8195:
8192:
8190:
8187:
8183:
8180:
8178:
8175:
8174:
8173:
8170:
8168:
8165:
8163:
8160:
8158:
8155:
8153:
8150:
8146:
8143:
8141:
8138:
8137:
8136:
8133:
8129:
8126:
8125:
8124:
8121:
8117:
8116:Papal primacy
8114:
8113:
8112:
8109:
8107:
8104:
8102:
8099:
8095:
8092:
8091:
8090:
8087:
8086:
8084:
8082:
8078:
8074:
8070:
8063:
8058:
8056:
8051:
8049:
8044:
8043:
8040:
8028:
8027:
8023:
8021:
8018:
8016:
8015:
8011:
8009:
8008:
8004:
8000:
7999:
7995:
7994:
7993:
7990:
7988:
7985:
7983:
7980:
7978:
7975:
7973:
7971:
7967:
7965:
7964:
7960:
7958:
7955:
7953:
7950:
7948:
7947:
7943:
7941:
7938:
7936:
7933:
7931:
7928:
7926:
7923:
7921:
7920:
7916:
7914:
7911:
7907:
7903:
7902:
7898:
7897:
7896:
7892:
7889:
7887:
7886:
7882:
7880:
7877:
7875:
7872:
7868:
7865:
7864:
7863:
7860:
7856:
7853:
7852:
7851:
7848:
7846:
7843:
7841:
7838:
7836:
7833:
7831:
7828:
7826:
7823:
7822:
7820:
7816:
7808:
7805:
7804:
7803:
7800:
7798:
7797:
7793:
7791:
7787:
7784:
7782:
7779:
7777:
7774:
7772:
7769:
7767:
7766:Commemoration
7764:
7762:
7759:
7757:
7754:
7752:
7749:
7747:
7746:
7741:
7740:
7736:
7734:
7733:
7729:
7728:
7726:
7720:
7714:
7711:
7709:
7706:
7704:
7703:Real presence
7701:
7699:
7696:
7694:
7690:
7687:
7683:
7680:
7679:
7678:
7675:
7673:
7671:
7667:
7665:
7664:
7660:
7658:
7655:
7653:
7652:
7648:
7646:
7643:
7641:
7640:
7636:
7634:
7633:
7629:
7626:
7624:
7623:
7619:
7617:
7614:
7612:
7608:
7605:
7604:
7602:
7600:
7594:
7588:
7587:
7583:
7579:
7578:
7577:Anima Christi
7574:
7573:
7572:
7569:
7567:
7564:
7561:
7557:
7553:
7550:
7548:
7545:
7543:
7540:
7538:
7535:
7533:
7530:
7528:
7525:
7523:
7520:
7518:
7515:
7513:
7510:
7508:
7505:
7503:
7500:
7498:
7495:
7491:
7488:
7486:
7483:
7482:
7481:
7478:
7476:
7473:
7471:
7468:
7466:
7465:
7461:
7460:
7458:
7456:
7450:
7440:
7439:Ascensiontide
7437:
7435:
7432:
7428:
7425:
7424:
7423:
7420:
7418:
7415:
7413:
7410:
7408:
7407:
7403:
7401:
7400:Ordinary Time
7398:
7396:
7395:Christmastide
7393:
7391:
7388:
7387:
7385:
7381:
7374:
7371:
7369:
7366:
7364:
7361:
7359:
7356:
7354:
7351:
7350:
7348:
7344:
7341:
7339:
7335:
7329:
7326:
7324:
7321:
7319:
7316:
7314:
7311:
7309:
7306:
7304:
7301:
7299:
7296:
7294:
7291:
7289:
7286:
7284:
7281:
7279:
7276:
7274:
7271:
7270:
7268:
7265:
7261:
7255:
7252:
7250:
7247:
7243:
7239:
7236:
7234:
7231:
7230:
7229:
7226:
7224:
7223:
7219:
7217:
7216:Roman Gradual
7214:
7212:
7209:
7207:
7204:
7202:
7199:
7198:
7196:
7194:
7190:
7184:
7181:
7178:
7174:
7171:
7167:
7164:
7163:
7162:
7159:
7157:
7154:
7152:
7149:
7147:
7144:
7142:
7139:
7135:
7132:
7131:
7130:
7127:
7125:
7122:
7120:
7117:
7115:
7112:
7110:
7107:
7105:
7102:
7100:
7097:
7095:
7092:
7090:
7087:
7085:
7082:
7080:
7077:
7075:
7072:
7070:
7067:
7065:
7062:
7060:
7057:
7055:
7052:
7051:
7049:
7043:
7037:
7034:
7032:
7029:
7027:
7024:
7022:
7019:
7017:
7014:
7012:
7009:
7007:
7004:
7002:
6999:
6997:
6994:
6992:
6989:
6987:
6984:
6982:
6979:
6975:
6972:
6970:
6967:
6963:
6960:
6959:
6958:
6955:
6954:
6953:
6950:
6948:
6945:
6943:
6940:
6938:
6935:
6934:
6932:
6930:
6926:
6920:
6917:
6915:
6912:
6910:
6907:
6905:
6902:
6900:
6897:
6893:
6890:
6889:
6888:
6885:
6883:
6880:
6878:
6875:
6873:
6870:
6868:
6865:
6863:
6860:
6858:
6855:
6853:
6850:
6846:
6843:
6842:
6841:
6838:
6836:
6833:
6832:
6830:
6826:
6816:
6813:
6811:
6808:
6807:
6805:
6801:
6795:
6792:
6788:
6784:
6781:
6780:
6779:
6776:
6774:
6773:Postcommunion
6771:
6769:
6766:
6762:
6759:
6758:
6757:
6754:
6752:
6749:
6745:
6742:
6741:
6740:
6737:
6735:
6734:Sign of peace
6732:
6730:
6727:
6723:
6719:
6716:
6715:
6714:
6713:Lord's Prayer
6711:
6709:
6706:
6700:
6697:
6696:
6695:
6692:
6690:
6687:
6685:
6682:
6680:
6679:
6674:
6670:
6666:
6665:
6660:
6657:
6656:
6655:
6651:
6648:
6644:
6640:
6636:
6633:
6632:
6631:
6628:
6624:
6620:
6619:Orate fratres
6617:
6616:
6615:
6612:
6611:
6609:
6607:the Eucharist
6603:
6597:
6594:
6590:
6586:
6583:
6582:
6581:
6578:
6576:
6573:
6571:
6568:
6564:
6560:
6557:
6556:
6555:
6552:
6550:
6547:
6545:
6541:
6538:
6534:
6531:
6530:
6529:
6526:
6524:
6521:
6519:
6516:
6512:
6508:
6505:
6504:
6503:
6500:
6498:
6495:
6493:
6490:
6488:
6485:
6484:
6482:
6476:
6470:
6467:
6463:
6459:
6456:
6455:
6454:
6451:
6449:
6446:
6445:
6443:
6439:
6436:
6434:Order of Mass
6432:
6426:
6423:
6419:
6416:
6415:
6414:
6411:
6410:
6408:
6404:
6394:
6391:
6387:
6384:
6383:
6382:
6379:
6377:
6374:
6372:
6369:
6367:
6364:
6362:
6359:
6357:
6354:
6352:
6349:
6347:
6344:
6343:
6341:
6339:
6338:Ritual Masses
6335:
6329:
6326:
6324:
6323:
6319:
6317:
6314:
6312:
6309:
6307:
6304:
6302:
6301:
6300:Missa Cantata
6297:
6295:
6292:
6291:
6289:
6285:
6275:
6272:
6270:
6267:
6265:
6262:
6260:
6257:
6255:
6252:
6250:
6247:
6246:
6244:
6242:
6238:
6232:
6229:
6227:
6224:
6221:
6218:
6214:
6211:
6210:
6209:
6206:
6204:
6201:
6200:
6198:
6194:
6190:
6186:
6182:
6175:
6170:
6168:
6163:
6161:
6156:
6155:
6152:
6139:
6135:
6131:
6129:
6121:
6120:
6117:
6116:
6108:
6107:
6103:
6095:
6092:
6090:
6087:
6085:
6082:
6080:
6077:
6075:
6072:
6071:
6070:
6067:
6065:
6062:
6061:
6059:
6055:
6049:
6046:
6044:
6041:
6039:
6036:
6034:
6031:
6030:
6028:
6024:
6018:
6015:
6013:
6010:
6008:
6005:
6003:
6000:
5998:
5995:
5993:
5990:
5988:
5985:
5981:
5978:
5976:
5973:
5972:
5971:
5970:British Isles
5968:
5967:
5965:
5961:
5955:
5954:
5950:
5948:
5945:
5943:
5940:
5938:
5935:
5933:
5930:
5926:
5923:
5922:
5921:
5918:
5914:
5911:
5910:
5909:
5906:
5904:
5901:
5897:
5894:
5892:
5889:
5887:
5884:
5883:
5882:
5879:
5877:
5874:
5872:
5869:
5867:
5864:
5860:
5857:
5856:
5855:
5852:
5850:
5847:
5845:
5842:
5840:
5837:
5836:
5834:
5832:Musical forms
5830:
5824:
5821:
5819:
5816:
5814:
5811:
5809:
5806:
5804:
5801:
5799:
5796:
5794:
5791:
5789:
5786:
5784:
5781:
5779:
5776:
5774:
5771:
5769:
5766:
5765:
5763:
5759:
5749:
5748:W. de Wycombe
5746:
5744:
5741:
5739:
5736:
5734:
5731:
5729:
5726:
5722:
5721:
5717:
5716:
5715:
5712:
5710:
5707:
5706:
5704:
5700:
5686:
5683:
5681:
5678:
5676:
5673:
5671:
5668:
5666:
5663:
5661:
5658:
5656:
5653:
5651:
5648:
5646:
5643:
5641:
5638:
5636:
5633:
5631:
5628:
5626:
5623:
5621:
5618:
5616:
5615:Baude Cordier
5613:
5611:
5608:
5604:
5600:
5598:
5595:
5593:
5590:
5589:
5587:
5585:
5584:
5583:Ars subtilior
5579:
5575:
5557:
5554:
5552:
5549:
5547:
5544:
5542:
5539:
5537:
5534:
5532:
5529:
5527:
5524:
5521:
5518:
5516:
5513:
5511:
5508:
5507:
5505:
5501:
5491:
5488:
5485:
5482:
5480:
5477:
5475:
5472:
5470:
5467:
5465:
5462:
5461:
5459:
5455:
5445:
5442:
5440:
5439:Maestro Piero
5437:
5435:
5432:
5430:
5427:
5426:
5424:
5420:
5410:
5407:
5406:
5404:
5400:
5397:
5395:
5391:
5387:
5372:
5368:
5366:
5363:
5361:
5360:P. des Molins
5358:
5356:
5353:
5351:
5348:
5346:
5343:
5341:
5338:
5336:
5333:
5331:
5328:
5326:
5324:
5323:
5318:
5314:
5311:
5309:
5305:
5297:
5294:
5293:
5292:
5289:
5287:
5284:
5282:
5279:
5277:
5274:
5273:
5262:
5259:
5258:
5257:
5254:
5252:
5249:
5247:
5244:
5242:
5239:
5237:
5234:
5232:
5229:
5227:
5224:
5222:
5219:
5217:
5214:
5212:
5209:
5207:
5204:
5202:
5199:
5197:
5194:
5192:
5189:
5187:
5184:
5182:
5179:
5177:
5174:
5172:
5169:
5167:
5164:
5162:
5159:
5157:
5154:
5152:
5149:
5147:
5144:
5143:
5141:
5139:
5135:
5123:
5120:
5119:
5118:
5115:
5113:
5110:
5108:
5105:
5103:
5100:
5098:
5095:
5093:
5090:
5088:
5085:
5083:
5080:
5078:
5075:
5073:
5070:
5068:
5065:
5063:
5060:
5058:
5055:
5053:
5050:
5048:
5045:
5043:
5040:
5037:
5034:
5032:
5029:
5027:
5024:
5022:
5019:
5017:
5014:
5012:
5009:
5007:
5006:Arnaut Daniel
5004:
5002:
4999:
4998:
4996:
4993:
4988:
4984:
4968:
4964:
4960:
4957:
4955:
4952:
4950:
4947:
4945:
4942:
4941:
4940:
4937:
4936:
4934:
4932:
4931:
4926:
4922:
4919:
4917:
4913:
4906:
4903:
4900:
4897:
4895:
4892:
4890:
4887:
4885:
4884:Peter Abelard
4882:
4880:
4877:
4875:
4872:
4868:
4867:Odo of Arezzo
4864:
4860:
4857:
4856:
4855:
4852:
4850:
4847:
4845:
4842:
4838:
4834:
4830:
4826:
4824:
4821:
4817:
4814:
4812:
4809:
4808:
4807:
4804:
4803:
4801:
4799:
4795:
4789:
4786:
4784:
4781:
4779:
4776:
4775:
4772:
4768:
4761:
4756:
4754:
4749:
4747:
4742:
4741:
4738:
4732:
4725:
4713:
4710:
4708:
4705:
4703:
4700:
4698:
4695:
4693:
4690:
4688:
4685:
4683:
4680:
4678:
4675:
4673:
4670:
4667:
4664:
4663:
4661:
4658:
4653:
4649:
4643:
4640:
4638:
4635:
4633:
4630:
4626:
4623:
4622:
4621:
4618:
4616:
4613:
4611:
4608:
4606:
4603:
4601:
4598:
4596:
4593:
4592:
4590:
4588:
4584:
4580:
4577:
4570:
4565:
4563:
4558:
4556:
4551:
4550:
4547:
4539:
4535:
4534:gregoriana.sk
4531:
4527:
4523:
4519:
4514:
4507:
4500:
4496:
4491:
4487:
4483:
4479:
4478:
4468:
4463:
4462:
4457:
4453:
4449:
4445:
4444:
4438:
4434:
4432:0-393-09062-0
4428:
4424:
4419:
4415:
4411:
4407:
4402:
4398:
4394:
4392:0-517-70037-9
4388:
4384:
4383:
4377:
4373:
4369:
4365:
4361:
4357:
4353:
4352:
4346:
4344:
4340:
4336:
4334:
4333:Liber usualis
4330:
4327:
4326:
4325:Liber usualis
4322:
4319:
4315:
4311:
4309:
4305:
4303:
4302:90-800408-2-7
4299:
4295:
4292:
4290:
4286:
4282:
4279:
4277:
4276:2-85274-094-X
4273:
4269:
4266:
4265:
4253:
4251:0-02-872951-X
4247:
4242:
4241:
4234:
4230:
4228:0-486-41088-9
4224:
4220:
4215:
4211:
4207:
4205:1-55553-240-3
4201:
4196:
4195:
4188:
4184:
4179:
4175:
4169:
4165:
4161:
4157:
4153:
4152:
4146:
4142:
4140:0-13-036153-4
4136:
4132:
4128:
4124:
4120:
4118:0-253-33752-6
4114:
4110:
4106:
4101:
4097:
4091:
4087:
4083:
4079:
4075:
4074:
4069:
4065:
4064:Levy, Kenneth
4061:
4057:
4055:0-393-09080-9
4051:
4047:
4042:
4038:
4034:
4032:0-393-09090-6
4028:
4024:
4023:
4018:
4014:
4010:
4008:0-19-816572-2
4004:
4000:
3995:
3992:
3988:
3986:0-393-02807-0
3982:
3978:
3974:
3970:
3966:
3962:
3958:
3956:0-393-09537-1
3952:
3948:
3944:
3943:Grout, Donald
3940:
3936:
3930:
3926:
3922:
3918:
3914:
3913:
3907:
3903:
3901:0-520-02847-3
3897:
3893:
3888:
3884:
3883:
3877:
3871:
3867:
3861:
3857:
3853:
3849:
3845:
3844:
3839:
3834:
3830:
3828:0-253-20601-4
3824:
3820:
3816:
3812:
3811:
3799:
3794:
3787:
3782:
3775:
3770:
3763:
3758:
3750:
3746:
3742:
3738:
3731:
3724:
3718:
3710:
3707:(in German).
3706:
3699:
3692:
3686:
3681:
3676:
3669:
3663:
3655:
3651:
3644:
3637:
3636:90-900742-8-7
3633:
3630:. Landsmeer,
3629:
3623:
3607:
3603:
3597:
3591:, p. 18.
3590:
3585:
3578:
3573:
3566:
3561:
3554:
3549:
3543:, p. 44.
3542:
3537:
3530:
3525:
3518:
3513:
3506:
3501:
3494:
3489:
3482:
3477:
3470:
3465:
3458:
3453:
3446:
3441:
3435:, p. 21.
3434:
3429:
3422:
3417:
3410:
3405:
3398:
3393:
3386:
3381:
3374:
3369:
3363:, p. 22.
3362:
3357:
3351:, p. 82.
3350:
3345:
3338:
3333:
3327:, p. 11.
3326:
3321:
3314:
3309:
3302:
3297:
3291:, p. 81.
3290:
3285:
3279:, p. 11.
3278:
3273:
3266:
3261:
3254:
3249:
3242:
3237:
3229:
3225:
3219:
3212:
3207:
3200:
3195:
3188:
3183:
3177:, p. 47.
3176:
3171:
3165:, p. 80.
3164:
3159:
3152:
3147:
3141:, p. 10.
3140:
3135:
3129:, p. 13.
3128:
3123:
3116:
3112:
3107:
3099:
3095:
3091:
3087:
3083:
3079:
3075:
3072:(in German).
3071:
3070:
3065:
3058:
3051:
3050:McKinnon 1990
3046:
3038:
3034:
3030:
3026:
3025:
3017:
3010:
3005:
2999:, p. 79.
2998:
2993:
2987:, p. 30.
2986:
2981:
2974:
2969:
2963:
2958:
2956:
2948:
2947:McKinnon 1990
2943:
2937:, p. 28.
2936:
2931:
2924:
2919:
2913:, p. 72.
2912:
2911:McKinnon 1990
2907:
2900:
2895:
2889:, p. 74.
2888:
2883:
2877:, p. 34.
2876:
2871:
2855:
2848:
2842:
2835:
2831:
2827:
2826:archive.today
2823:
2820:
2815:
2813:
2805:
2799:
2792:
2787:
2783:
2774:
2771:
2769:
2766:
2764:
2761:
2759:
2758:Paul Jausions
2756:
2754:
2751:
2749:
2746:
2744:
2741:
2739:
2736:
2735:
2729:
2727:
2723:
2719:
2715:
2710:
2708:
2704:
2700:
2699:
2698:cantus firmus
2694:
2690:
2686:
2682:
2678:
2674:
2669:
2667:
2663:
2659:
2655:
2651:
2650:musical staff
2647:
2643:
2639:
2622:
2620:
2596:
2579:
2577:
2573:
2572:Salve, Regina
2569:
2565:
2561:
2557:
2556:
2550:
2548:
2544:
2540:
2536:
2532:
2528:
2515:
2510:
2506:
2504:
2500:
2499:Ite missa est
2495:
2493:
2489:
2484:
2482:
2478:
2474:
2470:
2463:
2461:
2449:
2433:
2416:
2414:
2409:
2404:
2399:
2397:
2387:
2385:
2381:
2380:
2375:
2374:
2369:
2365:
2363:
2360:. Instead, a
2359:
2355:
2354:
2349:
2344:
2342:
2341:
2340:centonization
2336:
2332:
2328:
2326:
2322:
2318:
2314:
2311:
2301:
2299:
2295:
2294:
2293:Liber usualis
2289:
2285:
2281:
2280:reciting tone
2277:
2276:
2271:
2267:
2257:
2255:
2249:
2247:
2241:
2239:
2235:
2223:
2220:
2212:
2202:
2198:
2194:
2188:
2187:
2183:
2178:This section
2176:
2172:
2167:
2166:
2158:
2156:
2150:
2148:
2144:
2139:
2136:
2132:
2126:
2124:
2118:
2114:
2110:
2107:
2102:
2099:
2094:
2088:
2083:
2078:
2076:
2071:
2069:
2065:
2061:
2057:
2051:
2049:
2045:
2039:
2034:
2030:
2024:
2022:
2018:
2007:
2002:
2000:
1994:
1992:
1988:
1982:
1980:
1976:
1972:
1968:
1964:
1960:
1956:
1952:
1948:
1947:
1942:
1941:
1935:
1933:
1929:
1928:
1922:
1918:
1903:
1899:
1894:
1890:
1886:
1882:
1877:
1873:
1865:
1861:
1860:
1859:Liber usualis
1855:
1851:
1849:
1845:
1841:
1837:
1833:
1829:
1825:
1821:
1820:
1806:
1798:
1793:
1784:
1781:
1777:
1773:
1772:
1767:
1763:
1759:
1754:
1752:
1748:
1744:
1740:
1736:
1732:
1725:Musical idiom
1722:
1720:
1715:
1711:
1707:
1702:
1698:
1696:
1692:
1688:
1684:
1676:
1672:
1668:
1665:
1661:
1657:
1654:
1650:
1646:
1643:
1639:
1635:
1634:
1633:
1631:
1627:
1623:
1619:
1618:
1613:
1612:reciting tone
1609:
1605:
1601:
1597:
1593:
1589:
1588:
1583:
1579:
1574:
1572:
1568:
1558:
1554:
1550:
1547:Around 1025,
1545:
1543:
1532:
1528:
1522:
1512:
1510:
1506:
1502:
1497:
1493:
1491:
1490:
1489:centonization
1485:
1481:
1477:
1473:
1469:
1464:
1462:
1458:
1454:
1450:
1449:
1444:
1440:
1433:
1431:
1406:
1404:
1380:
1378:
1356:
1352:
1350:
1346:
1342:
1338:
1333:
1331:
1327:
1323:
1319:
1315:
1311:
1307:
1303:
1299:
1295:
1291:
1290:
1289:reciting tone
1285:
1278:
1276:
1252:
1235:
1232:
1228:
1220:Melodic types
1212:
1209:
1205:
1201:
1197:
1193:
1192:
1188:
1183:
1179:
1177:
1173:
1169:
1165:
1164:
1163:Liber usualis
1159:
1155:
1154:Pope Leo XIII
1151:
1145:
1142:
1138:
1133:
1128:
1126:
1122:
1118:
1114:
1111:. Guidette's
1110:
1106:
1102:
1098:
1092:
1090:
1086:
1082:
1078:
1070:
1068:
1056:
1052:
1036:
1034:
1012:
1007:
1005:
999:
990:
988:
984:
983:
978:
973:
970:
966:
962:
956:
954:
950:
946:
942:
938:
934:
930:
924:
922:
918:
914:
910:
906:
902:
898:
894:
890:
886:
876:
874:
870:
866:
861:
859:
855:
851:
847:
843:
839:
834:
830:
828:
824:
820:
816:
813:sent a papal
812:
811:Pope Adrian I
808:
804:
801:, his father
800:
796:
792:
788:
784:
776:
772:
767:
758:
756:
752:
748:
744:
742:
738:
734:
730:
726:
722:
718:
715:singing of a
714:
710:
709:St. Augustine
705:
703:
699:
695:
691:
689:
684:
680:
676:
675:
669:
667:
663:
659:
655:
651:
650:Matthew 26.30
647:
643:
639:
638:New Testament
634:
632:
628:
624:
620:
616:
612:
607:
603:
599:
595:
580:
578:
574:
570:
566:
562:
558:
554:
549:
547:
543:
539:
535:
531:
527:
523:
519:
515:
511:
510:centonization
507:
504:, the use of
503:
499:
495:
491:
487:
482:
480:
476:
472:
468:
464:
460:
456:
452:
448:
444:
433:
428:
426:
421:
419:
414:
413:
411:
410:
405:
404:
400:
399:
398:
397:
389:
388:
384:
382:
379:
377:
374:
372:
369:
367:
364:
362:
359:
357:
354:
352:
349:
347:
344:
340:
337:
335:
332:
330:
327:
326:
325:
322:
320:
317:
315:
312:
311:
304:
303:
295:
292:
290:
287:
285:
282:
280:
277:
275:
272:
270:
267:
265:
262:
260:
257:
255:
252:
250:
247:
245:
242:
240:
237:
235:
232:
231:
227:Major figures
224:
223:
215:
214:
213:Ars subtilior
210:
208:
205:
203:
202:
198:
196:
193:
191:
188:
186:
183:
179:
176:
175:
174:
173:
169:
167:
164:
162:
161:Saint Martial
159:
157:
154:
153:
146:
145:
137:
133:
129:
125:
121:
120:
119:
118:
114:
113:
110:
107:
106:
102:
98:
97:
90:
88:
65:
64:
54:
50:
46:
42:
39:
34:
30:
19:
9870:
9842:
9790:Architecture
9780:Mediator Dei
9778:
9771:
9764:
9757:
9750:
9694:Benedictine-
9596:Anton Hänggi
9551:Louis Bouyer
9541:Augustin Bea
9434:
9417:
9409:
9384:
9367:
9257:
9253:Pope Francis
9179:21st century
9128:Pope Paul VI
9105:
9093:
9046:20th century
9033:
8984:Pope Pius IX
8972:19th century
8948:Pope Pius VI
8815:
8687:Latin Empire
8657:Universities
8609:Pope Leo III
8578:
8476:Christianity
8461:state church
8453:Great Church
8254:Resurrection
8217:(30–325/476)
8214:Early Church
8199:Latin Church
8194:Papal States
8189:Vatican City
8024:
8020:Stercoranism
8012:
8005:
7996:
7982:Pope Paul VI
7969:
7963:Mediator Dei
7961:
7944:
7934:
7917:
7899:
7883:
7794:
7743:
7737:
7730:
7724:and concepts
7672:(encyclical)
7669:
7661:
7649:
7637:
7630:
7620:
7584:
7575:
7522:Genuflection
7462:
7406:Septuagesima
7404:
7298:Humeral veil
7238:Sacramentary
7228:Roman Missal
7220:
6981:Chalice veil
6840:Altar server
6828:Participants
6676:
6662:
6635:Sursum corda
6386:Month's mind
6381:Requiem Mass
6366:Nuptial Mass
6320:
6298:
6231:Anglican Use
6113:
6079:Architecture
5951:
5907:
5903:Geisslerlied
5881:Formes fixes
5803:Notker Labeo
5768:Anonymous IV
5743:Leonel Power
5728:Thomas Fabri
5718:
5581:
5402:Predecessors
5320:
5226:Jehan Bretel
5062:Jaufre Rudel
4928:
4837:Odo of Cluny
4696:
4632:Prostopinije
4538:the original
4533:
4521:
4506:the original
4459:
4442:
4423:Choral Music
4422:
4413:
4410:Sacred Music
4409:
4395:– via
4381:
4355:
4349:
4332:
4323:
4306:
4293:
4280:
4267:
4239:
4218:
4208:– via
4193:
4182:
4149:
4130:
4108:
4105:Duffin, Ross
4071:
4068:Hiley, David
4045:
4035:– via
4021:
3998:
3990:
3976:
3965:Hiley, David
3946:
3910:
3891:
3880:
3841:
3838:Hiley, David
3818:
3793:
3781:
3769:
3762:Crocker 1977
3757:
3740:
3730:
3722:
3717:
3708:
3704:
3698:
3690:
3680:Peter Wagner
3675:
3667:
3662:
3653:
3652:(in Dutch).
3649:
3643:
3638:. (in Dutch)
3627:
3622:
3610:. Retrieved
3606:the original
3596:
3584:
3572:
3560:
3548:
3536:
3524:
3512:
3500:
3495:, p. 3.
3488:
3476:
3464:
3452:
3440:
3428:
3416:
3404:
3392:
3380:
3368:
3356:
3349:Hoppin 1978a
3344:
3337:Hoppin 1978a
3332:
3320:
3313:Hoppin 1978a
3308:
3301:Hoppin 1978a
3296:
3289:Hoppin 1978a
3284:
3277:Hoppin 1978b
3272:
3260:
3253:Hoppin 1978a
3248:
3236:
3218:
3206:
3194:
3187:Parrish 1986
3182:
3175:Hoppin 1978a
3170:
3158:
3146:
3134:
3122:
3114:
3106:
3073:
3067:
3057:
3045:
3031:(1): 43–98.
3028:
3022:
3016:
3004:
2992:
2980:
2968:
2942:
2930:
2918:
2906:
2894:
2882:
2870:
2858:. Retrieved
2853:
2841:
2798:
2786:
2722:William Byrd
2711:
2702:
2696:
2670:
2635:
2616:
2571:
2567:
2563:
2559:
2553:
2551:
2539:Responsories
2524:
2514:Salve Regina
2496:
2485:
2481:Nicene Creed
2479:intones the
2466:
2457:
2400:
2393:
2377:
2371:
2366:
2351:
2345:
2338:
2329:
2315:
2307:
2291:
2273:
2263:
2253:
2250:
2245:
2242:
2237:
2230:
2215:
2209:October 2010
2206:
2191:Please help
2179:
2151:
2146:
2142:
2140:
2134:
2130:
2127:
2122:
2119:
2115:
2111:
2103:
2097:
2092:
2079:
2072:
2068:Pope Paul VI
2064:Justine Ward
2055:
2052:
2033:Peter Wagner
2028:
2025:
2016:
2013:
2004:
1998:
1996:
1991:Odo of Cluny
1983:
1944:
1938:
1936:
1925:
1914:
1875:
1871:
1869:
1863:
1857:
1850:is notated.
1848:Shaker music
1839:
1830:notation of
1817:
1808:
1796:
1779:
1769:
1755:
1728:
1718:
1710:chromaticism
1703:
1699:
1680:
1653:Hypophrygian
1625:
1621:
1615:
1607:
1603:
1599:
1595:
1591:
1585:
1575:
1571:musica ficta
1552:
1546:
1524:
1521:Mode (music)
1498:
1494:
1487:
1484:Responsorial
1479:
1465:
1446:
1436:
1427:
1403:De profundis
1402:
1376:
1348:
1344:
1340:
1334:
1287:
1281:
1272:
1223:
1215:Musical form
1189:
1187:motu proprio
1184:
1180:
1175:
1171:
1161:
1146:
1141:Pope Pius IX
1129:
1116:
1112:
1107:banned most
1093:
1079:in Germany,
1073:
1064:
1050:
1032:
1002:
980:
974:
957:
933:Celtic chant
925:
882:
862:
842:church modes
831:
815:sacramentary
780:
745:
741:Roman Empire
729:Celtic chant
713:responsorial
706:
687:
672:
670:
635:
621:" come from
591:
550:
483:
449:, a form of
442:
441:
401:
385:
350:
346:Geisslerlied
324:Formes fixes
211:
199:
170:
130: /
126: /
84:
62:
48:
40:
29:
27:Form of song
10001:WikiProject
9866:Amay Priory
9666:Max Thurian
9636:Pius Parsch
9515:Adrien Gréa
9465:Pope Pius X
9259:Laudato si'
9054:Pope Pius X
8883:Philip Neri
8858:Pope Pius V
8833:Thomas More
8702:Inquisition
8604:Charlemagne
8564:Monasticism
8374:Persecution
8266:Holy Spirit
8249:Crucifixion
8128:First seven
7895:benediction
7825:Agape feast
7739:Ad orientem
7722:Regulations
7682:Last Supper
7597:Eucharistic
7453:Eucharistic
7417:Passiontide
7201:Antiphonary
7119:Funghellino
7104:Evangeliary
7064:Aspergillum
7026:Purificator
6952:Antependium
6942:Altar rails
6794:Last Gospel
6694:Roman Canon
6453:Asperges me
6328:Votive Mass
6322:sine populo
6306:Solemn Mass
6069:Middle Ages
6064:Early music
6026:Derivations
5859:Chansonnier
5231:Jehan Erart
5176:Colin Muset
5082:Peire Vidal
4930:Ars antiqua
4385:. Harmony.
3815:Apel, Willi
3741:Early Music
3683: [
3433:Wilson 1990
3361:Wilson 1990
3325:Wilson 1990
3139:Wilson 1990
3127:Wilson 1990
2791:Murray 1963
2448:David Hiley
2085: [
2060:cheironomic
2036: [
1999:cognoscenti
1906:Performance
1896: [
1824:cheironomic
1735:Offertories
1584:called the
1531:Enchiriadis
1320:during the
1284:recitatives
1158:Pope Pius X
1091:in France.
1089:St. Martial
1009: [
987:Good Friday
953:St. Ambrose
945:Reconquista
907:banned the
893:Scandinavia
885:Charlemagne
873:Holy Spirit
799:Charlemagne
793:celebrated
787:Carolingian
773:sitting on
771:Holy Spirit
743:collapsed.
702:St. Ambrose
694:St. Anthony
642:Last Supper
514:tetrachords
471:Carolingian
307:Major forms
172:Ars antiqua
128:Instruments
10024:Categories
9132:coronation
8838:Pope Leo X
8423:Tertullian
8353:Revelation
8328:Background
7807:Lord's Day
7796:Pro multis
7542:Intinction
7527:Head cover
7455:discipline
7434:Eastertide
7308:Pontifical
7242:Lectionary
7124:Holy water
7054:Altar bell
7045:Liturgical
7036:Tabernacle
7011:Misericord
6605:Liturgy of
6478:Liturgy of
6462:Eastertide
6458:Vidi aquam
6425:Vernacular
6393:White Mass
6316:Papal Mass
6185:Roman Rite
6094:Philosophy
6089:Literature
6057:Background
5963:Traditions
5330:F. Andrieu
5186:Gace Brulé
5026:Castelloza
4992:Trobairitz
4987:Troubadour
4879:St. Godric
4677:Beneventan
4668:(Milanese)
4416:(1): 5–14.
4080:. § VI.1.
3807:References
3774:Hiley 1995
3711:: 129–135.
3589:Mahrt 2000
3541:Hiley 1990
3505:Hiley 1995
3469:Hiley 1995
3397:Hiley 1995
3385:Hiley 1995
3241:Hiley 1995
3211:Hiley 1995
3151:Hiley 1995
3076:(4): 299.
2985:Grout 1960
2973:Grout 1960
2935:Grout 1960
2923:Hiley 1995
2899:Hiley 1995
2738:Alternatim
2714:Palestrina
2619:media help
2576:Willi Apel
2475:, and the
2460:media help
2048:Mocquereau
1889:liquescent
1828:ekphonetic
1814: 950
1795:Offertory
1760:to create
1758:centonized
1749:, and the
1714:Cistercian
1671:Mixolydian
1664:Hypolydian
1642:Hypodorian
1567:accidental
1557:hexachords
1430:media help
1296:, partial
1275:media help
1231:Melismatic
1208:Vatican II
1077:Regensburg
1067:media help
982:Improperia
965:Roman Rite
931:displaced
929:Sarum Rite
903:. In 885,
833:Willi Apel
783:Roman Rite
737:Beneventan
698:antiphonal
679:Hippolytus
658:Tertullian
561:Roman Rite
526:hexachords
494:mode final
451:monophonic
447:plainchant
185:Troubadour
156:Saint Gall
87:media help
9991:Templates
9744:documents
9586:Benno Gut
9566:Odo Casel
9418:Consilium
9148:Communism
9118:Ecumenism
8464:(380–451)
8456:(180–451)
8445:(313–476)
8367:(100–325)
7919:Fermentum
7906:Holy Hour
7756:Canon law
7622:Epiousion
7490:Canon 915
7485:Canon 844
7464:Abstemius
7422:Holy Week
7375:(current)
7346:Calendars
7264:Vestments
7211:Customary
7141:Manuterge
7114:Flabellum
6914:Subdeacon
6803:Post-Mass
6778:Dismissal
6768:Ablutions
6739:Agnus Dei
6678:anamnesis
6673:elevation
6664:epiclesis
6614:Offertory
6507:Confiteor
6376:Rose Mass
6361:Gold Mass
6346:Blue Mass
6226:Zaire Use
6007:Lithuania
5871:Conductus
5761:Theorists
5733:Roy Henry
5660:Rodericus
5551:Sant Omer
5286:Minnesang
4707:Old Roman
4702:Mozarabic
4697:Gregorian
4666:Ambrosian
4657:Plainsong
4600:Byzantine
4339:also here
4019:(1978a).
3786:Apel 1990
3577:Dyer 2001
3565:Apel 1990
3553:Apel 1990
3529:Apel 1990
3517:Apel 1990
3457:Apel 1990
3445:Apel 1990
3421:Apel 1990
3409:Apel 1990
3373:Apel 1990
3265:Apel 1990
3199:Apel 1990
3163:Apel 1990
3098:235004564
3090:0003-9292
2997:Apel 1990
2887:Apel 1990
2875:Apel 1990
2693:polyphony
2685:In Nomine
2654:bass clef
2627:Influence
2492:Agnus Dei
2413:tessitura
2368:Sequences
2180:does not
1971:Pentecost
1743:Agnus Dei
1626:authentic
1587:oktoechos
1505:sequences
1476:Offertory
1443:Communion
1227:ligatures
1150:facsimile
1109:sequences
937:Visigoths
838:octoechos
733:Old Roman
546:polyphony
461:) of the
319:Conductus
294:Dunstaple
244:Hildegard
195:Minnesang
136:Theorists
124:Composers
51:, honors
9981:Category
9859:See also
9158:HIV/AIDS
8652:Crusades
8406:Irenaeus
8399:Ignatius
8394:Polycarp
8244:Ministry
8232:(30–100)
8106:Timeline
7786:Ordinary
7732:Accentus
7691:and its
7651:Koinonia
7599:theology
7586:Viaticum
7318:Surplice
7288:Dalmatic
7283:Chasuble
7183:Thurible
7084:Crotalus
7079:Ciborium
6991:Corporal
6872:Crucifer
6857:Boat boy
6751:Fraction
6722:doxology
6718:embolism
6659:oblation
6563:sequence
6554:Alleluia
6492:Psalm 43
6480:the Word
6441:Pre-Mass
6406:Language
6371:Red Mass
6294:Low Mass
6128:Category
6033:Bardcore
6012:Portugal
5980:Scotland
5953:Planctus
5937:Madrigal
5876:Estampie
5839:Antiphon
5394:Trecento
5322:Ars nova
5281:Goliards
5138:Trouvère
5112:Sordello
5092:Perdigon
5067:Marcabru
4692:Gelineau
4687:Gallican
4672:Anglican
4642:Znamenny
4615:Galician
4595:Armenian
3975:(eds.).
3945:(1960).
3817:(1990).
3656:: 89–94.
3579:, §VI.1.
2822:Archived
2732:See also
2656:and the
2638:medieval
2547:Compline
2531:monastic
2501:and the
2490:and the
2473:Doxology
2396:Ordinary
2348:Alleluia
2331:Graduals
2321:Doxology
2317:Introits
2275:accentus
2147:rhythmus
2075:phrasing
1955:Alleluia
1932:convents
1885:quilisma
1787:Notation
1776:Introits
1762:Graduals
1731:stepwise
1719:Circuibo
1649:Phrygian
1608:dominant
1596:dominant
1562:♭
1537:♯
1515:Modality
1472:Alleluia
1453:doxology
1448:antiphon
1326:psalmody
1310:accentus
1298:cadences
1294:incipits
1168:phrasing
1081:St. Gall
969:Henry II
921:Slovakia
909:Slavonic
631:Kedushah
619:alleluia
598:psalmody
502:cadences
498:incipits
387:Planctus
371:Madrigal
207:Trecento
201:Ars nova
190:Trouvère
115:Overview
101:a series
99:Part of
9351:General
9123:Judaism
8523:Vulgate
8333:Gospels
8308:Stephen
8225:Origins
8145:Vulgate
8081:General
8071:of the
8069:History
7818:Related
7790:Propers
7383:Periods
7323:Tunicle
7303:Pallium
7129:Incense
7109:Fistula
7074:Chalice
7047:objects
7021:Piscina
7001:Kneeler
6835:Acolyte
6699:history
6643:Hosanna
6639:Sanctus
6630:Preface
6549:Epistle
6544:Gradual
6528:Collect
6187:of the
6183:of the
5997:Germany
5975:England
5947:Organum
5925:Tydorel
5896:Virelai
5891:Rondeau
5886:Ballade
5854:Chanson
5630:Egidius
5625:Egardus
5345:Grimace
5276:Casella
4954:Pérotin
4829:Hucbald
4816:Tuotilo
4712:Ravenna
4652:Western
4620:Obikhod
4587:Eastern
4467:Reprint
4107:(ed.).
3483:, §6.1.
2707:Baroque
2689:organum
2679:" and "
2662:natural
2529:of the
2488:Sanctus
2353:jubilus
2335:Epistle
2288:Kyriale
2201:removed
2186:sources
2044:Pothier
2017:pressus
1959:jubilus
1951:melisma
1946:organum
1911:Texture
1881:oriscus
1687:Locrian
1683:Aeolian
1617:Ambitus
1600:ambitus
1542:Hucbald
1480:respond
1468:Gradual
1439:Introit
1328:of the
1314:Epistle
1302:Collect
1200:Propers
1185:In his
1172:episema
1006:
917:Moravia
901:Finland
897:Iceland
827:Francia
717:Gradual
627:sanctus
617:" and "
594:liturgy
583:History
542:organum
490:ambitus
381:Organum
339:Virelai
334:Rondeau
329:Ballade
289:Ciconia
284:Landini
279:Machaut
259:Pérotin
254:Walther
249:Bernart
166:Goliard
38:Introit
9904:&
9826:Issues
9446:People
9437:(1979)
9089:Nazism
8911:to the
8518:Jerome
8428:Origen
8111:Papacy
7802:Sunday
7390:Advent
7254:Tonary
7069:Censer
7006:Lavabo
6909:Priest
6904:Porter
6899:Lector
6877:Deacon
6862:Cantor
6852:Bishop
6845:female
6575:Homily
6570:Gospel
6533:Oremus
6518:Gloria
6241:Orders
6138:Portal
6084:Poetry
5992:France
5987:Cyprus
5702:Others
5685:Trebor
5670:Solage
5592:Borlet
5087:Peirol
4990:&
4949:Léonin
4682:Celtic
4637:Syrian
4625:Kievan
4605:Coptic
4429:
4389:
4372:831302
4370:
4335:(1961)
4320:515 p.
4316:
4300:
4287:
4274:
4248:
4225:
4202:
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