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Reciting tones occur in several parts of the Roman Rite. [citation needed] These include the accentus prayers and lessons chanted by the deacons or priests such as the Collect, Epistle, Gospel, Secret, Preface, Canon, and Postcommunion, as well as such regular texts as the Pater noster, Te Deum, and the Gloria in excelsis Deo.
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions.
The Liber Usualis (Usual book) is a book of commonly used Gregorian chants in the Catholic tradition, compiled by the monks of the Abbey of Solesmes in France. According to Willi Apel , the chants in the Liber Usualis originated in the 11th century.
A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') [7] [8] has a range that includes the octave from the fourth below the final to the fifth above. The plagal modes are the even-numbered modes 2, 4, 6 and 8, and each takes its name from the corresponding odd-numbered authentic mode with the addition of the prefix "hypo-": Hypodorian, Hypophrygian, Hypolydian, and ...
Sanctissimus namque Gregorius, from the 1908 edition of the Roman Gradual.. The Roman Gradual includes the Introit (entrance chant: antiphon with verses),; the Gradual psalm (a meditative psalm chant, according to the 1970 rite this may be replaced with a simpler responsorial psalm except when the Mass is celebrated "in Cantu" according to the rubrics of the accompanying document Ordo Cantus ...
In describing the tonality of early music, the term "mode" (or "tone") refers to any of eight sets of pitch intervals that may form a musical scale, representing the tonality of a piece and associated with characteristic melodic shapes (psalm tones) in Gregorian chant.
"Viderunt omnes" is a Gregorian chant based on Psalm XCVIII (98), sung as the gradual [1] at the Masses of Christmas Day and historically on its octave, the Feast of the Circumcision. Two of the many settings of the text are famous as being among the earliest pieces of polyphony by known composers, Léonin and Pérotin of the Notre Dame school.
A very rare form of tonary is a fully notated one, which shows every chant genre (not only the antiphonal ones with psalmody as introit and communio of the proper mass) ordered according to its tonus. A very famous example is the full tonary for mass chant by Abbot William of Volpiano, written for his Abbey St. Benignus of Dijon (F-MOf H.159).
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