Transcript The Establishment of a Catholic Tradition

The Establishment of a
Catholic Tradition
from ca. 800
Liturgy
Content and form of Christian worship
The liturgical year (some major festivals)
• Fixed date — Christmas
– preceded by Advent (four Sundays)
– Christmastide (twelve days)
– Epiphany
• Movable date — Easter
– preceded by Lent (forty days, beginning on Ash
Wednesday)
– Followed by Eastertide (fifty days)
– Pentecost
The monastic liturgical day — the
Divine Office
• Matins
• Lauds (sunrise)
• Lesser Hours
– Prime
– Terce
– Sext
– None
• Vespers (sunset)
• Compline
The liturgy of the Divine Office
(except Matins)
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Verse (and Hymn)
Psalms (3–5) and their antiphons
Scripture reading
Responsory
Hymn
Verse
Canticle with its antiphon
Benediction
The Mass (from about 1000) – some
aspects of its design
• Two parts
– Fore-Mass
– Eucharist
• Two relationships of movements to the day
– Proper
– Ordinary
• Two types of performance
– spoken, or intoned
– sung
Fore-Mass (teaching service)
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Introit — Psalm verse framed by antiphon
Kyrie — Lord, have mercy
Gloria — Glory to God in the Highest
Collect — prayer of the day
Epistle — reading
Gradual
Alleluia
Sequence
Gospel — reading
Credo — Nicene Creed
Eucharist (Holy Communion)
• Offertory Psalm — presentation of bread and
wine
• Eucharistic prayers
• SANCTUS — Holy, holy, holy
• Canon
• Pater Noster — the Lord’s Prayer
• Agnus Dei — Lamb of God
• Communion Psalm — during the supper
• Postcommunion — prayer
• Ite Missa Est — dismissal
Chant
The music of the liturgy
Musical style of the chant
• Scoring — a cappella male voices
– direct
– responsorial
– antiphonal
• Dynamics — follow phrase contour, text
• Rhythm — unmeasured
• Melody — vocal, phrase-based
– Recitation tones
– Psalm tones
– Free chant
• Harmony — modal
• Texture — monophony
• Form — strophic (psalms, hymn), free forms
Music theory of the chant
• Eight (+ one) Psalm tones — identified by
– tenor
– melodic inflections — intonation, mediant,
termination
• Eight ecclesiastical modes (to coordinate antiphons to
Psalm tones) — identified by
– final
– dominant
– ambsitus
Chant notation
• Daseian — words in spaces on “staff ”
• Neumes — indicate melodic gestures
– written above words — from eighth century
– heighted
• Staff
– single line
– lines for F and C — indicated by clefs or colors
– four-line staff — from eleventh century
Developments from the chant
• Melody (not single notes) as unit for creativity
• Need for creativity within restrictions of the fixed body
of liturgical music
• Medieval idea of creation — principle of gloss, i.e., to
elaborate given idea
• Examples
– manuscript illumination
– literary gloss
– church architecture
Trope — addition of words and/or music to existing chant
• To glorify worship and interpret the liturgy
• Began ca. ninth century, continued to 12th
• Usually applied to
– Mass — antiphonal chants, Ordinary
– Office — antiphons, responsories, versicles, Benedicamus
– soloists' passages (more likely to be troped than choir sections)
• Addition of words to melisma — prosula
– common in Kyries
– probably prehistory of Sequence
• Addition of melismatic music
• Addition of entirely new segments of words and music
– preludes to existing chants
– interpolations
Sequence — originated as trope to
melismatic jubilus at end of Alleluia
• Addition of “free” jubilus as optional
replacement or extension
• Prosula principle applied to jubilus — prosa
• Sequence — independent movement of Mass
after Alleluia
– poetic use of meter and eventually rhyme
– form usually paired strophes — a bb cc dd - - - n
Important Sequences — after reforms
of sixteenth century
• Victimae paschali laudes (Easter)
– Wipo (early eleventh century)
• Veni sancte spiritus (Pentecost)
– (eleventh century)
• Lauda Sion (Corpus Christi)
– Thomas Aquinas? (thirteenth century)
• Dies irae (Requiem)
– Thomas of Celano (thirteenth century)
• Stabat Mater (restored in eighteenth century)
– Jacopone da Todi (ca. 1230–1306)
Development of liturgical drama
• First stage — action added to liturgical observance
• Second stage — trope to provide new dialogue
• Easter play — from Mass Introit or Matins — ca. tenth century
– dialogue performance — Quem quaeritis, etc.
– action — stage directions from Winchester 965–975
• Other subjects
– Christmas (eleventh century), Fleury Herod (twelfth century)
– other biblical stories — Beauvais Daniel (twelfth century)
– stories of saints
• Removed from church — mystery and miracle plays
– nonclerical actors and musicians
– vernacular or macaronic (polyglot)