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237:. Gregorian and Old Roman chants largely share the same liturgy, but Old Roman chant does not reflect some of the Carolingian changes made to the Roman liturgy. Both an Old Roman and a Gregorian version exist for most chants of the liturgy, using the same text in all but forty chants, with corresponding chants often using related melodies. The split between Gregorian and Old Roman appears to have taken place after 800, since the feast of
124:), Old Roman chant and Gregorian chant share essentially the same liturgy and the same texts. Many of their melodies are also closely related. Although primarily associated with the churches of Rome, the Old Roman chant was also performed in parts of central Italy, and it was possibly performed much more widely. Gregorian Chant gradually but completely supplanted Old Roman Chant between the 11th century and the 13th century AD.
200:, it is conceivable that Roman pre-eminence in the West tended toward the supplanting of non-Roman liturgies and chant traditions. The supplanting of the local chant of Rome itself would seem to require some other explanation. Several factors influenced this. In the 10th century, virtually no musical manuscripts were notated in Italy. A pattern developed wherein Roman Popes imported chants from the German
261:. Unlike most other chant traditions, they occasionally repeat words within a text, and the two traditions repeat such words in the same places. Corresponding chants in the two traditions are usually assigned to the same mode, although that appears to be the result of later Gregorian influence on the Old Roman repertory, as these analogous chants often have very distinct
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as in the
Gregorian repertory. Originally, Old Roman Repertories repeated the respond in full after the verse. This practice survived for several of the major feasts. Later, most Old Roman Responsories repeated just a portion of the respond, a practice that was borrowed from the Gregorian convention.
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Musically, there are a number of similarities between the
Gregorian chants and their Old Roman counterparts. In addition to the similarities in texts noted above, corresponding Old Roman and Gregorian melodies often begin and end musical phrases at the same points. They use similar intonations for
169:. This Carolingian, or Frankish-Roman, chant, became known as "Gregorian." In the meantime, the local chant remaining in Rome gradually evolved into the form in which it was eventually notated, at the same time that Gregorian was supplanting it in Rome.
319:, a repeat of the verse, which had disappeared from the Gregorian chant by the 11th century. Musically, Old Roman Introits resembled their Gregorian counterparts, although the neumatic passages were more ornate and the syllabic passages were simpler.
245:, has markedly different chants in the two traditions. The Old Roman tradition appears to have preserved the texts more faithfully; the Old Roman texts often resemble the earliest Carolingian sources more closely than the later Gregorian sources do.
382:, such as a repeating pattern of the notes D-E-C. This formula is one of the most distinctive musical formulae in the repertory. Some Offertories also include extended melismas of a style not found in any other chant or chant tradition.
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from between 1071 and 1250. Although these are newer than many notated sources from other chant traditions, this chant is called "Old Roman" because it is believed to reflect a Roman oral tradition going back several centuries.
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and Snow, posits that both chant traditions derive from a common Roman ancestor in use circa 750 AD. In order to consolidate ecclesiastical power and strengthen their political ties to the power of the Roman church, the
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ceremonies, and that it was the latter that was brought north and evolved into
Gregorian chant. This would explain the discrepancies between early Gregorian chant and the local Roman chant which were noticed during the
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in 1014. The local musical traditions in Rome had already been showing some
Gregorian influence, and eventually the Gregorian was taken to be the authentic, original chant of Rome, a misconception that continues.
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structure, reinforced by their skips, while Old Roman chants are simpler in structure but more ornate, with more individual notes. Old Roman chants have intricate melodic motion within a narrow
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Another theory, advanced by Hans
Schmidt, suggests that what we now call the "Old Roman" chant reflected the use in the city churches in Rome, as opposed to the chants used in the
165:, brought this older Roman chant north. There it was subsequently modified, influenced by local styles and Gallican chant, and categorized into the system of eight
280:, with small, repeating melodic motifs, which are common in the Italian chant traditions such as the Ambrosian and Beneventan. Old Roman chants are often highly
272:
and gently undulating than
Gregorian chants. Skips, even of thirds, are much less common in Old Roman chants than Gregorian. Gregorian chants often have a
363:. There are fewer distinct Alleluia melodies than in the Gregorian repertory, and unlike the Gregorian Alleluias, some Old Roman Alleluias have verses in
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Related chants in the
Gregorian and Old Roman repertories differ mostly in ornamentation and surface detail. Old Roman chants are much more
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family of
Gregorian Graduals, which is named after one of the Gregorian Graduals that belongs to this family, but the Old Roman version of
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families as their
Gregorian counterparts, although with variations. For example, there is a family of Old Roman Graduals related to the
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There are several theories concerning the origins of
Gregorian and Old Roman chants, but one prominent hypothesis, supported by
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are found in the Old Roman Offices; the larger number of Hymns in the Gregorian Offices reflects the later influence of
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The chant that is now called "Old Roman" comes primarily from a small number of sources, including three
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appears to have been borrowed directly from the Gregorian repertory. The
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Liturgical vocal music of the Roman rite of the Early Christian Church
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Old Roman chant is largely defined by its role in the liturgy of the
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485:, pp. 484–505. Bloomington: Indiana University Press.
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In the case of other defunct chant traditions, such as the
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during the 10th and 11th centuries. For example, the
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46:but its sources remain unclear because it lacks
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549:Many recordings on the page of Luca Ricossa:
421:. Bloomington, IN: Indiana University Press.
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538:Grove Music - Access by subscription only
355:, an elaborate repetition of the opening
185:. However, this remains a minority view.
108:, and, although it is closely related to
77:Learn how and when to remove this message
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340:does not itself belong to this family.
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390:Less is known about the chants of the
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536:ed. L. Macy (Accessed 12 May 2006),
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241:, a relatively late addition to the
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315:in the Old Roman Mass retained the
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104:. It was formerly performed in
463:. W. W. Norton & Company.
438:Western Plainchant: A Handbook
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359:, similar to the Alleluia in
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500:Music of the Middle Ages
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32:This article includes a
221:General characteristics
153:, especially under the
61:more precise citations.
621:Ethiopian and Eritrean
496:Wilson, David (1990).
102:early Christian Church
764:Medieval music genres
477:Snow, Robert (1990).
436:Hiley, David (1995).
587:Christian liturgical
417:Apel, Willi (1990).
386:Chants of the Office
317:versus ad repetendum
299:Ordinary of the Mass
532:: Old Roman Chant,
479:The Old-Roman Chant
440:. Clarendon Press.
326:fall into the same
243:liturgical calendar
202:Holy Roman Emperors
759:Western plainchant
534:Grove Music Online
504:. Schirmer Books.
293:Chants of the Mass
92:is the liturgical
34:list of references
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542:Old Roman Chant.
511:978-0-02-872951-0
481:. In Willi Apel,
470:978-0-393-09090-1
447:978-0-19-816572-9
428:978-0-253-20601-5
374:used a repeating
353:alleluia secundus
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530:Joseph Dyer
405:Benedictine
378:called the
372:Offertories
183:Middle Ages
163:Charlemagne
155:Carolingian
138:antiphoners
59:introducing
754:Song forms
738:Categories
688:Beneventan
679:(Milanese)
411:References
343:Old Roman
322:Old Roman
288:Repertoire
282:melismatic
274:pentatonic
263:tonalities
239:All Saints
227:Roman rite
210:Roman rite
198:Beneventan
98:Roman rite
94:plainchant
718:Old Roman
713:Mozarabic
708:Gregorian
677:Ambrosian
668:Plainsong
611:Byzantine
345:Alleluias
194:Mozarabic
67:June 2012
703:Gelineau
698:Gallican
683:Anglican
653:Znamenny
626:Galician
606:Armenian
380:torculus
324:Graduals
313:Introits
270:stepwise
259:cadences
251:incipits
233:and the
214:Henry II
190:Gallican
136:and two
134:graduals
723:Ravenna
663:Western
631:Obikhod
598:Eastern
357:jubilus
347:have a
278:ambitus
174:Vatican
157:rulers
128:History
100:of the
55:improve
693:Celtic
648:Syrian
636:Kievan
616:Coptic
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407:rule.
392:Office
303:Proper
257:, and
196:, and
151:Franks
120:, and
590:chant
401:Hymns
376:neume
365:Greek
206:Credo
178:papal
167:modes
159:Pepin
40:, or
528:and
506:ISBN
487:ISBN
465:ISBN
442:ISBN
423:ISBN
307:Mass
297:The
176:for
161:and
146:Apel
106:Rome
351:or
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