Transcript The First Literate Repertory in Western Music

The First Literate Repertory in
Western Music
Gregorian Chant
Ancient and Preliterate Music
• Archeological Evidence
• Biblical Descriptions
• Ancient Greece
Ancient Greece
• Pitch-specific notation
– Letters and symbols
• Philosophical writings
• Plato, Republic “because more than anything else rhythm
and harmony find their way to the innermost soul and take
strongest hold upon it.”
• Theories of Music
Transmission of Ancient Greek Theory
• Theories of Music
– Pythagoras (6th Century BCE)
• Harmonic ratios
– St. Augustine (354–430)
• De Musica (About Music) (391 CE)
– Boethius (ca. 480 – ca. 524)
• De institutione musica (On the
Organization of Music)
– Musica mundana
– Musica humana
– Musica instrumentalis
Historical Imagination
• Development of Early Notation
– “diatonic pitch set”
• Early Christian Church
– Monophonic chant
– Latin
Christian Beginnings
• Byzantine Empire
– Byzantine Chant, Hymns
• Western Roman Church
– Roman Chant
– Roman Liturgy
The Legend of St. Gregory
• Pope Gregory I
(Pope from 590–604)
• Standardization of Roman
Chant
The Development of the Liturgy
• The Offices
– Matins, Lauds, Prime, Terce, Sext, None, Vespers,
Compline
– Recitation of the 150 Psalms
• Cantillation
• Psalm Tone
– Hymn
– Antiphons
– Responds
The Development of the Liturgy
• The Mass
– Public reenactment of Christ’s last supper
– Proper (words change from day to day)
– Ordinary (words remain the same)
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Kyrie
Gloria
Credo
Sanctus
Agnus Dei
Chant Notation
• Neumes
– Contour and placement of notes in relation to text
syllables
Chant Notation
• Guido of Arezzo
– Micrologus (ca. 1028)
• Earliest guide to staff notation
• “sight singing”
– Ut queant laxis
– Hexachord (6-note diatonic
segment)
» ut—re—mi—fa—sol—la
• “Guidonian Hand”
Modal Theory
• Psalm Tones
• Tonaries
• Antiphons
Modal Theory
Medieval Church Modes
• Authentic
– 1. Dorian
• DEFGABCD
– 3. Phryigian
• EFGABCDE
– 5. Lydian
• FGABCDEF
– 7. Mixolydian
• GABCDEFG
• Plagal (“Lower”)
– 2. Hypodorian
• ABCDEFGA
– 4. Hypophryigian
• BCDEFGAB
– 6. Hypolydian
• CDEFGABC
– 8. Hypomixolydian
• DEFGABCD
Psalmody in Practice
• The Office
• Psalmody
– reciting tone or tenor
– flexus
– mediant
– termination
– Psalm 91 [Anthology 1-2a] Justus ut palma
Psalmody in Practice
• The Mass
• Proper Chants
– Introit [Anthology 1-2b]
– Offertory [Anthology 1-2c]
• melismatic, melismas
– Alleluia [Anthology 1-2d]
• Jubilus
– Gradual [Anthology 1-3a, b]
The Mass
– Introit
• Kyrie [Anthology 1-4a, b]
• Gloria [Anthology 1-4c]
• Reading from Paul’s
Epistles
– Gradual
– Alleluia (or Tract during
Lent)
• Reading from the
Gospels
• Credo [Anthology 1-4d]
– Offertory [Anthology 14e]
• Sanctus
• Canon and Pater
noster
• Agnus Dei [Anthology 1-4f]
– Communion
– Ite, missa est
Frankish Additions to the Chant
Repertory
• Sequentia
• Sequence
– Dies irae [Anthology 1-5a]
Hildegard of Bingen
(1098–1179)
• Symphonia armonie celestium revelationum
– Sequence: Columba aspexit (The dove looked in)
[Anthology 1-6]
Hymns, Tropes, and Liturgical Drama
• Hymns
– Ave maris stella [Anthology 1-7a]
– Pange lingua [Anthology 1-7b]
– Veni creator spiritus [Anthology 1-7c]
Hymns, Tropes, and Liturgical Drama
• Tropes
– Added material (music, words, or both)
– Liturgical Drama
• Quem quaeritis in sepulchro [Anthology 1-8a]
Marian Antiphons
• Votive antiphon
• Marian Antiphons
– Salve, Regina [Anthology 1-9a, b]
Polyphony
• Symphonia
• Musica enchiriadis
(Handbook of Music)
• Scolica enchiriadis
(Commentary on the Handbook)
– Late 9th century
– Organum
• Vox principalis
• Vox organalis
• occursus
Organum and Discant
• Guido of Arezzo, Micrologus
– Section on organum
• Polyphonic composition
– Chartres fragment
• John Afflighem, De musica
– Discant