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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.
Composers, or collections of compositions, referring to or using all eight of the traditional Gregorian psalm tone settings of the Magnificat include the Choirbook, D-Ju MS 20 (various composers), the sixteen Magnificats by Palestrina, the Enchiridion utriusque musicae practicae by Georg Rhau, and Johann Pachelbel's Magnificat fugues.
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.
This is quite typical for the ordinary psalmody in which the same formula, the "psalm tone", is used for all the verses of a psalm, just as in a hymn or a folk song the same melody is used for the various stanzas. [2] Gregorian chant is a variety of plainsong named after Pope Gregory I (6th
(1967) Gregorian psalm-tones for English words (1967) Unison Mass in English (1969) Magnificat and Nunc dimittis : in unison (1970) A Folk Mass (1970) A People's Mass (1970) An English Congregational Mass (1971) Psalm tones (1971) Responsorial psalms for the church's year (1973) A Unison Setting of Series 3 : Anglican liturgy (1974) Psalms for ...
A psalm-tone setting of the Gloria Patri in neumes, with two alternative melodies for the words saeculorum Amen indicated with the abbreviation Euouae.. Euouae (/ j uː. ˈ uː. iː / yew-OO-ee; sometimes spelled Evovae) [1] is an abbreviation used as a musical mnemonic in Latin psalters and other liturgical books of the Roman Rite.
Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text (the psalm tone if the antiphon is sung with a psalm, or canticle tone if the antiphon is sung with a canticle), but a tonary may also or instead list responsories or Mass chants not associated with formulaic recitation.
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 ...