{"id":583,"date":"2017-02-02T15:09:41","date_gmt":"2017-02-02T15:09:41","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=583"},"modified":"2020-04-11T21:51:19","modified_gmt":"2020-04-11T21:51:19","slug":"plainsong","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/plainsong\/","title":{"raw":"Plainsong and Gregorian Chant","rendered":"Plainsong and Gregorian Chant"},"content":{"raw":"Note\u00a0 to students:\u00a0 \u00a0You will find\u00a0 these listening examples\u00a0 unusual in mode, sound and melody. Allow yourself to become use to hear this style.\u00a0 Take the time to\u00a0 listen to and become familiar with\u00a0 this style.\u00a0 \u00a0<\/em><\/strong>\r\n\r\nhttp:\/\/www.bl.uk\/<\/a>catalogues\/illuminatedmanuscripts\/ILLUMINBig.ASP?size=big&IllID=40<\/a>503<\/a>\"Queen\r\n

Art\u00a0 typical of the Middle ages -\u00a0 distinguished by being in\u00a0 one dimension and generic facial expressions.<\/span>\r\n<\/span><\/p>\r\n

Plainsong and Gregorian chant<\/span><\/p>\r\n

From Wikipedia, the free encyclopedia<\/span><\/p>\r\n\r\n

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Plainsong<\/b>\u00a0 or\u00a0plainchant \u00a0<\/b>is a body of chants used in the liturgies\u00a0of the \u00a0Western Church. \u00a0It represents the first revival of musical notation\u00a0after knowledge of the ancient Greek system was lost. It differs from from our \u00a0modern system in having only four lines to the staff and a system of note shapes called \u00a0neumes.<\/div>\r\n<\/div>\r\n
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\u00a0Earliest forms \u00a0of plainsong are \u00a0monophonic in texture \u00a0consisting of a single, unaccompanied melodic line. \u00a0As it follows the flow of the words it \u00a0does \u00a0not \u00a0conform to the metered rhythm which evolves in \u00a0later Western music.<\/div>\r\n<\/div>\r\n
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\"\"<\/a><\/h2>\r\n<\/div>\r\n<\/div>\r\n
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A sample of plain chant is above \u00a0from \u00a0the K\u00fdrie El\u00e9ison (Orbis Factor) from the\u00a0Liber Usualis<\/i>, in neume notation.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\nhttps:\/\/en.wikipedia.org\/wiki\/Plainsong#cite_note-1<\/a>\r\n

Look for Example below in middle of Wikipedia page.<\/span><\/h2>\r\n\r\n\r\n\r\n\r\n
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\r\n\r\nProblems playing this file? See\u00a0media help<\/a>.<\/i><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\nThe Jewish synagogue and Greek modal system influenced Plainsong. \u00a0Two methods of singing psalms or other chants are \u00a0responsorial\u00a0and \u00a0antiphonal. \u00a0In responsorial singing, the soloist (or choir) sings a series of verses, each one followed by a response from the choir (or congregation). In antiphonal singing, the verses are sung alternately by soloist and choir, or by choir and congregation.\r\n\r\n<\/div>\r\n\"\"<\/a>\r\n
\r\n\r\nA large body of plainsong, called Gregorian chant, \u00a0was \u00a0standardized by\u00a0Pope Gregory (6th century A.D.). \u00a0Gregory \u00a0is codified this large body of chants. I He did not write them.\r\n\r\nAttribution:\u00a0https:\/\/en.wikipedia.org\/wiki\/Plainsong#History\r\nListen to this \u00a0more melodic style of plain chant:<\/span><\/span>https:\/\/upload.wikimedia.org\/wikipedia\/commons\/2\/2b\/Epistle_for_the_Solemn_Mass_of_Easter_Day.ogg<\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n

The <\/span>Introit<\/a>\u00a0\u00a0<\/span>Gaudeamus omnes<\/i>, scripted in square notation in the 14th\u201315th century <\/span>Graduale\u00a0Aboense<\/i>, honors \u00a0<\/span>Henry, patron saint of Finland<\/a><\/p>\r\nClick on Guademus\u00a0 omnes link below to listen to\u00a0 this chant.\r\n\r\n\r\n\r\n\r\n
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Problems playing this file? See media help<\/a>.<\/i><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

\u00a0Gregorian chant<\/h3>\r\n
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From Wikipedia, the free encyclopedia<\/span><\/p>\r\n

\u00a0<\/span>\u00a0\"\"<\/a><\/p>\r\n\r\n

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Syllabic vs. Melismatic<\/strong><\/div>\r\n
Syllabic\u00a0 chant\u00a0 is represented having a single pitch for each syllable \u00a0of the text .Simple chants are often syllabic. In a few instances two or more pitches are sung on a syllable. In this case the chant becomes\u00a0 \u00a0melismatic<\/span>\u00a0 characterized by more than one pitch sung per syllable. Melismatic\u00a0 chants may\u00a0 range from five or six notes per syllable or more.\u00a0 This style of is more expressive giving\u00a0 emphasis to\u00a0 syllables which\u00a0 have\u00a0 \u00a0numerous pitches<\/div>\r\n
\r\n\r\n\u00a0Listen to this example of syllabic chant: \u00a0Epistle for the Solemn Mass of Easter \u00a0Day.\r\n\r\n\r\n\r\n
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Epistle for the Solemn Mass of Easter Day<\/a><\/div>\r\n
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Example of liturgical recitative in Gregorian chant<\/div>\r\n<\/div><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<\/div>\r\n \r\n\r\nMost psalmodic chants are antiphonal and responsorial, sung to free melodies of varying complexity. Listen to these more \"song like\" \u00a0chants:\r\n\r\n\r\n\r\n
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Loquetur Dominus<\/i>, Introit for Week XXXIV of Ordinary Time<\/a><\/div>\r\n
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Example of antiphonal psalmody in Gregorian chant<\/div>\r\n<\/div>\r\n\r\n
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De profundis<\/i>, tract for the Requiem Mass<\/a><\/div>\r\n
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Example of responsorial psalmody in Gregorian chant<\/div>\r\n<\/div><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\nGregorian chant \u00a0developed mainly in western and central Europe during the 9th and 10th centuries. \u00a0 It \u00a0\u00a0evolved to fulfill various functions in the Roman Catholic liturgy. 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 distribution of sanctified bread and wine. Responsorial chants expand on readings and lessons.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\nThose who traditionally \u00a0performed Gregorian chant were \u00a0choirs of men and boys in churches, or men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. \u00a0During the 20th century, Gregorian chant underwent a musicological and popular resurgence.\r\n\r\n<\/div>\r\nhttps:\/\/commons.wikimedia.org\/wiki\/File:1649._%D0%9F%D0%B0%D0%BA%D1%80%D0%BE%D1%9E.jpg <\/span>\r\n\r\nListen and view this beautiful video of \u00a0Ave mundi, spes, Maria.\r\n\r\nhttps:\/\/youtu.be\/_MbDqc3x97k?list=RDiB8gn3ixehk\r\n\r\nNote the emphasis some of the words are given in the singing. Note the \u00a0expression and emotion in this work. You can perceive it even if you are not sure of the \u00a0the translation. The English translation is also included below. It \u00a0follows the Latin in the information accompanying the video.\r\n\r\nLatin \u00a0text -\u00a0Ave mundi spes Maria\r\n<\/strong>Ave mundi spes Maria, ave mitis,\r\nave pia, ave plena gratia.\r\n<\/span>Ave virgo singularis, qu\u0107 per rubum designaris non passus incendia.<\/span>\r\n<\/span>\r\n\r\nAve rosa speciosa, ave Jesse virgula:\r\n<\/span>Cujus fructus nostri luctus relaxavit vincula.\r\n<\/span>|<\/span>Ave cujus viscera contra mortis foedera ediderunt filium.\r\n<\/span>Ave carens simili, mundo diu flebili reparasti gaudium.\r\n<\/span>Ave virginum lucerna, per quam fulsit lux superna his quos umbra tenuit.\r\n<\/span>Ave virgo de qua nasci, et de cujus lacte pasci res c\u0107lorum voluit.<\/span>\r\n<\/span>\r\n
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Ave gemma coeli luminarium.\r\n<\/span>Ave Sancti Spiritus sacrarium.<\/span>\r\n<\/span><\/p>\r\nOh, quam mirabilis, et quam laudabilis h\u0107c est virginitas!\r\nIn qua per spiritum facta paraclitum fulsit foecunditas.\r\n\r\nOh, quam sancta, quam serena, quam benigna, quam amoena esse virgo creditur!\r\nPer quam servitus finitur, posta coeli aperitur, et libertas redditur.\r\nOh, castitatis lilium, tuum precare filium, qui salus est humilium:\r\nNe nos pro nostro vitio, in flebili judicio subjiciat supplicio.\r\n\r\nSed nos tua sancta prece mundans a peccati f\u0107ce collocet in lucis domo.\r\nAmen dicat omnis homo.\r\n\r\nAve mundi spes Maria - English<\/strong>\r\n\r\nHail, hope of the world, Mary, hail, meek one, hail, loving one, hail, full of grace\r\nHail O singular virgin, who wast chosen to not suffer flames through brambles\r\nHail, beautiful rose, hail, staff of Jesse:\r\nWhose fruit loosened the chains of our weeping\r\nHail whose womb bore a son against the law of death\r\nHail, O one lacking comparison, still tearfully renewing joy for the world\r\nHail, lamp of virgins, through whom the heavenly light shone on these whom shadow holds.\r\nHail, O virgin from whom a thing of heaven wished to be born, and from whose milk feed.\r\nHail, gem of the lamps of heaven\r\nHail, sanctuary of the Holy Ghost\r\nO, how wonderful, and how praiseworthy is this virginity!\r\nIn whom, made through the spirit, the paraclete, shone fruitfulness.\r\nO how holy, how serene, how kind, how pleasant the virgin is believed to be!\r\nThrough whom slavery is finished, a place of heaven is opened, and liberty is returned.\r\nO, lily of chastity, pray to thy son, who is the salvation of the humble:\r\nLest we through our fault, in the tearful judgment suffer punishment.\r\nBut may she, by her holy prayer, purifying from the dregs of sin, place us in a home of light\r\nAmen let every man say.\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n

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Attribution:\u00a0https:\/\/en.wikipedia.org\/wiki\/Gregorian_chant<\/span><\/div>","rendered":"

Note\u00a0 to students:\u00a0 \u00a0You will find\u00a0 these listening examples\u00a0 unusual in mode, sound and melody. Allow yourself to become use to hear this style.\u00a0 Take the time to\u00a0 listen to and become familiar with\u00a0 this style.\u00a0 \u00a0<\/em><\/strong><\/p>\n

http:\/\/www.bl.uk\/<\/a>catalogues\/illuminatedmanuscripts\/ILLUMINBig.ASP?size=big&IllID=40<\/a>503<\/a>\"Queen<\/p>\n

Art\u00a0 typical of the Middle ages –\u00a0 distinguished by being in\u00a0 one dimension and generic facial expressions.<\/span>
\n<\/span><\/p>\n

Plainsong and Gregorian chant<\/span><\/p>\n

From Wikipedia, the free encyclopedia<\/span><\/p>\n

\n
\n
\n
Plainsong<\/b>\u00a0 or\u00a0plainchant \u00a0<\/b>is a body of chants used in the liturgies\u00a0of the \u00a0Western Church. \u00a0It represents the first revival of musical notation\u00a0after knowledge of the ancient Greek system was lost. It differs from from our \u00a0modern system in having only four lines to the staff and a system of note shapes called \u00a0neumes.<\/div>\n<\/div>\n
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\u00a0Earliest forms \u00a0of plainsong are \u00a0monophonic in texture \u00a0consisting of a single, unaccompanied melodic line. \u00a0As it follows the flow of the words it \u00a0does \u00a0not \u00a0conform to the metered rhythm which evolves in \u00a0later Western music.<\/div>\n<\/div>\n
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\"\"<\/a><\/h2>\n<\/div>\n<\/div>\n
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A sample of plain chant is above \u00a0from \u00a0the K\u00fdrie El\u00e9ison (Orbis Factor) from the\u00a0Liber Usualis<\/i>, in neume notation.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

https:\/\/en.wikipedia.org\/wiki\/Plainsong#cite_note-1<\/a><\/p>\n

Look for Example below in middle of Wikipedia page.<\/span><\/h2>\n\n\n\n\n
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Problems playing this file? See\u00a0media help<\/a>.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The Jewish synagogue and Greek modal system influenced Plainsong. \u00a0Two methods of singing psalms or other chants are \u00a0responsorial\u00a0and \u00a0antiphonal. \u00a0In responsorial singing, the soloist (or choir) sings a series of verses, each one followed by a response from the choir (or congregation). In antiphonal singing, the verses are sung alternately by soloist and choir, or by choir and congregation.<\/p>\n<\/div>\n

\"\"<\/a><\/p>\n

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A large body of plainsong, called Gregorian chant, \u00a0was \u00a0standardized by\u00a0Pope Gregory (6th century A.D.). \u00a0Gregory \u00a0is codified this large body of chants. I He did not write them.<\/p>\n

Attribution:\u00a0https:\/\/en.wikipedia.org\/wiki\/Plainsong#History
\nListen to this \u00a0more melodic style of plain chant:<\/span><\/span>https:\/\/upload.wikimedia.org\/wikipedia\/commons\/2\/2b\/Epistle_for_the_Solemn_Mass_of_Easter_Day.ogg<\/a><\/p>\n<\/div>\n<\/div>\n

The <\/span>Introit<\/a>\u00a0\u00a0<\/span>Gaudeamus omnes<\/i>, scripted in square notation in the 14th\u201315th century <\/span>Graduale\u00a0Aboense<\/i>, honors \u00a0<\/span>Henry, patron saint of Finland<\/a><\/p>\n

Click on Guademus\u00a0 omnes link below to listen to\u00a0 this chant.<\/p>\n\n\n\n\n
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Problems playing this file? See media help<\/a>.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0Gregorian chant<\/h3>\n
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From Wikipedia, the free encyclopedia<\/span><\/p>\n

\u00a0<\/span>\u00a0\"\"<\/a><\/p>\n

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Syllabic vs. Melismatic<\/strong><\/div>\n
Syllabic\u00a0 chant\u00a0 is represented having a single pitch for each syllable \u00a0of the text .Simple chants are often syllabic. In a few instances two or more pitches are sung on a syllable. In this case the chant becomes\u00a0 \u00a0melismatic<\/span>\u00a0 characterized by more than one pitch sung per syllable. Melismatic\u00a0 chants may\u00a0 range from five or six notes per syllable or more.\u00a0 This style of is more expressive giving\u00a0 emphasis to\u00a0 syllables which\u00a0 have\u00a0 \u00a0numerous pitches<\/div>\n
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\u00a0Listen to this example of syllabic chant: \u00a0Epistle for the Solemn Mass of Easter \u00a0Day.<\/p>\n\n\n\n
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Epistle for the Solemn Mass of Easter Day<\/a><\/div>\n
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Example of liturgical recitative in Gregorian chant<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

 <\/p>\n

Most psalmodic chants are antiphonal and responsorial, sung to free melodies of varying complexity. Listen to these more “song like” \u00a0chants:<\/p>\n\n\n\n
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\"\"<\/div>\n<\/div>\n<\/td>\n
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Loquetur Dominus<\/i>, Introit for Week XXXIV of Ordinary Time<\/a><\/div>\n
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MENU<\/div>\n
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Example of antiphonal psalmody in Gregorian chant<\/div>\n<\/div>\n
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De profundis<\/i>, tract for the Requiem Mass<\/a><\/div>\n
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Example of responsorial psalmody in Gregorian chant<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Gregorian chant \u00a0developed mainly in western and central Europe during the 9th and 10th centuries. \u00a0 It \u00a0\u00a0evolved to fulfill various functions in the Roman Catholic liturgy. 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 distribution of sanctified bread and wine. Responsorial chants expand on readings and lessons.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

Those who traditionally \u00a0performed Gregorian chant were \u00a0choirs of men and boys in churches, or men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. \u00a0During the 20th century, Gregorian chant underwent a musicological and popular resurgence.<\/p>\n<\/div>\n

https:\/\/commons.wikimedia.org\/wiki\/File:1649._%D0%9F%D0%B0%D0%BA%D1%80%D0%BE%D1%9E.jpg <\/span><\/p>\n

Listen and view this beautiful video of \u00a0Ave mundi, spes, Maria.<\/p>\n