Relevant bibliographies by topics / Gregorian Chant

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Academic literature on the topic 'Gregorian Chant'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Gregorian Chant"

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Cho, Eun Young, Hayoung Wong, and Zong Woo Geem. "The Liturgical Usage of Translated Gregorian Chant in the Korean Catholic Church." Religions 12, no. 12 (November 23, 2021): 1033. http://dx.doi.org/10.3390/rel12121033.

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For centuries, Gregorian chant has served as a monophonic song written for the religious services of the Roman Catholic Church, but Korean Catholics first encountered this chant in the early nineteenth century. Korean Catholics ultimately became more attracted to the Korean translations of these chants, as opposed to the original Latin versions. This article introduces some issues related to the language translation of Gregorian chant, especially for chants performed in Holy Week. The issues include discrepancies in the number of syllables, shifts in melismatic emphasis, difficult diction in vocalization, briefer singing parts because of space limitations, challenging melodic lines, and translation losses from neumes to modern notes.
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Dyer, Joseph, and Jerome F. Weber. "A Gregorian Chant Discography." Notes 47, no. 4 (June 1991): 1174. http://dx.doi.org/10.2307/941663.

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Milanese, Guido, and Cyril J. Law. "Newman and Gregorian Chant." Antiphon: A Journal for Liturgical Renewal 20, no. 2 (2016): 123–50. http://dx.doi.org/10.1353/atp.2016.0037.

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Levy, Kenneth. "Charlemagne's Archetype of Gregorian Chant." Journal of the American Musicological Society 40, no. 1 (1987): 1–30. http://dx.doi.org/10.2307/831580.

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Argues that the "Gregorian" repertory of Mass propers was fully neumed under Charlemagne, a century sooner than is generally supposed. The chief witness is an "apocryphal" Offertory, Factus est repente for Pentecost. Affected are widely-held views concerning: (1) the origin of neumes; (2) the impact of oral-improvisational techniques on Gregorian chant; and (3) the origin and relationship of Gregorian and Old Roman chant styles.
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Johnsen, Paul. "Integrative Devices in Gregorian Chant." American Journal of Semiotics 8, no. 3 (1991): 83–105. http://dx.doi.org/10.5840/ajs19918318.

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Brunner, Lance W., and Kenneth Levy. "Gregorian Chant and the Carolingians." Notes 56, no. 1 (September 1999): 98. http://dx.doi.org/10.2307/900473.

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Piscitelli, Felicia. "Gregorian Chant Collections in Print." Music Reference Services Quarterly 8, no. 1 (January 2001): 69–78. http://dx.doi.org/10.1300/j116v08n01_05.

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Levy, Kenneth. "Charlemagne's Archetype of Gregorian Chant." Journal of the American Musicological Society 40, no. 1 (April 1987): 1–30. http://dx.doi.org/10.1525/jams.1987.40.1.03a00010.

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Levy, Kenneth. "Gregorian Chant and the Romans." Journal of the American Musicological Society 56, no. 1 (2003): 5–41. http://dx.doi.org/10.1525/jams.2003.56.1.5.

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Abstract A central problem in plainchant studies has been the relationship between the two “Roman” repertories, “Old Roman” (ROM) and “Gregorian” (GREG). Many attempts have been made to penetrate the “mystérieuse alchimie” that links them. Almost without exception, these have embraced the notion that ROM music was the supplier of GREG. This paper advances an alternative hypothesis. It recognizes initial transfers of ROM musical material to the Franks under Pippin III (before 768)—ROM music that was generally improvisational in process and style. However, still under Pippin or later under Charlemagne, the Franks rejected the ROM music and, in their effort to establish GREG, turned to familiar Gallican chants, which tended to have fixed, memorable melodies. Later, perhaps during the tenth century renovatio imperii under Otto I, though perhaps even during Charlemagne's reign, the authorized GREG repertory reached Rome, where it was supposed to supplant the local ROM. But the Roman musicians resisted; rather than abandon ROM, they compromised by accepting certain portions of GREG music and remodeling them so they conformed with ROM style. This sequence of events would explain the musical relationships between ROM and GREG.
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Howard, H. Wendell. "Silence, Solitariness, and Gregorian Chant." Logos: A Journal of Catholic Thought and Culture 19, no. 4 (2016): 47–61. http://dx.doi.org/10.1353/log.2016.0032.

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Dissertations / Theses on the topic "Gregorian Chant"

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Gellnick, Franklyn M. "The disposition of the tritone in Gregorian Chant." Thesis, University of Kent, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242906.

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This thesis sets out to examine the disposition of the tritone in Gregorian Chant, both as a 'filled-in' and as a disjunct interval, or 'leap'. By comparison with other periods of music history, the tritone's place in early medieval music has hitherto received scant attention; one noteworthy text even claims that it was shunned altogether. But, in general, it has been assumed that the tritone was considered undesirable only as a harmonic device. Intervallic perception is partially determined by the prevailing culture and context. (In respect of the tritone, this is no more demonstrable than in jazz. ) And since the melodic tritone contravenes ancient principles concerning harmonious proportion, the tritone's disposition in the chant may therefore be deemed significant. The primacy of liturgy is affirmed, and the early neume notations accorded an important role in the analyses. The tritone 'leap' seems only to appear in the Great Responsories of the night Office - particularly those of Passiontide - and may owe its existence partly to medieval superstition. Furthermore, modern scholarship has failed to acknowledge the gulf between contemporary theory and practice by adopting a 'theory-dominated view' (as proposed by Rankin in connection with organum at Winchester). Later attempts to edit the tritone from the Benedictine MSS were inconsistent, as illustrated through a comparative study with the Cistercian sources.
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Jõks, Eerik. "Contemporary understanding of Gregorian chant : conceptualisation and practice." Thesis, University of York, 2009. http://etheses.whiterose.ac.uk/949/.

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This dissertation seeks to address the question of how contemporary performers and experts understand the medieval repertoire known to us as Gregorian chant. This medieval repertoire (also known as Franco-Roman) is understood here to be abstract musical and non-musical information in medieval manuscripts. It differs from classical western music repertoires by a lack of adequate original performance instructions. It becomes audible through performer’s realisation of his or her personal conceptualisation. This study observes both conceptualisation and practice of the repertoire through the answers of 127 respondents to an online sociological questionnaire and 35 solo recordings of the Gradual Haec dies. The study also involves a heuristic experiment to find connections between conceptualisation and practice. This research is multidisciplinary, combining sociology and musical acoustics. The sociological approach includes quantitative statistical and qualitative methods. Ideas of musical acoustics are applied to measure digitally the temporal structure of solo recordings of Gregorian chant. The analysis of the results of the questionnaire showed that there are certain patterns in evaluating what Gregorian chant is and what is important for a good performance of that repertoire. There was more similarity in understanding what the repertoire is than what the interpretational preferences are. Measuring the solo recordings showed that although there is a large variety in temporal understandings of the performed music, most performers tend to perceive performed music in one durational category. For those who have two basic durational categories it seems to be a result of agogical preferences rather than perception of two durational categories. The comparison of conceptualisation and practice showed that the strongest link between these two is in agogical variety. It was not possible to find similarly significant connections between conceptualisation and other features of practice – tempo values and the number of basic note values. This research project has demonstrated that a multidisciplinary approach to Gregorian chant can reveal new aspects in the study of the repertoire in terms of approach and understanding.
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Lopes, Manoel Roberto Batista. "Temas gregorianos em quatro obras orquestrais entre os seculos XIX e XX." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284723.

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Orientador: Eduardo Augusto Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T19:33:59Z (GMT). No. of bitstreams: 1 Lopes_ManoelRobertoBatista_M.pdf: 5112355 bytes, checksum: 00f561e34792e533e5269656cb164fdb (MD5) Previous issue date: 2006
Resumo: Esta pesquisa teve por finalidade desenvolver considerações sobre a presença de temas do Canto Gregoriano em quatro importantes obras orquestrais de compositores da música ocidental. Dentro de um rico universo de composições polifônicas inspiradas no antigo estilo monofônico gregoriano, quatro obras significativas foram selecionadas para um estudo detalhado. O tipo de acompanhamento e encaminhamento harmônico a cada melodia gregoriana e a maneira como estas melodias não isócronas foram enquadradas na barra de compasso foram comentados em cada caso. Concluiu-se que o canto gregoriano, apesar de pouco praticado durante o período compreendido entre os séculos XII e XIX e também pouco praticado desde o último quarto do século XX, mas com uma rica tradição, sempre inspirou importantes compositores ao longo do tempo, deixando um legado que influenciou compositores até a época atual
Abstract: The aim of this research is to bring about important considerations about the use of gregorian chant themes in four important orchestral works by western music composers. These four works were selected within a rich universe of polyphonic compositions inspired in the early gregorian monophonic style. In each case, the type of accompaniment and harmonic flow to the gregorian melody were analyzed as well as the manner by which these non-isochronous melodies have been adjusted to the bar line. As conclusion, one can notice how Gregorian Chant despite its modest pratice during the period between the XII and XIX centuries and also since the last quarter of XX century on, has always inspired important composers throughout time and has left a rich legacy that has influenced composers to this day
Mestrado
Mestre em Música
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Maloy, Rebecca Ann. "THE OFFERTORY CHANT: ASPECTS OF CHRONOLOGY AND TRANSMISSION." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin992358039.

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Farmer, Stephen James. "The texts and melodies of the Gregorian graduals and the Milanese psalmelli." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239698.

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Hornby, Emma. "A study of the eighth-mode tracts in the Gregorian and Old Roman traditions." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297437.

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DiCenso, Daniel Joseph. "Sacramentary-antiphoners as sources of Gregorian chant in the eighth and ninth centuries." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283887.

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Ferreira, Manuel Pedro Ramalho. "Music at Cluny : the tradition of Gregorian chant for the proper of the mass : melodic variants and microtonal nuances /." Ann Arbor (Mich.) : UMI, 1997. http://catalogue.bnf.fr/ark:/12148/cb369820702.

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Gutekunst, Jason Alexander. "Wabanaki Catholics ritual song, hybridity, and colonial exchange in seventeenth-century New England and New France /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1229626549.

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Vilimas, Jonas. "The Features of Tradition of the Gregorian Chant in the Grand Duchy of Lithuania. Exposure of the 15th-18th Centuries and Attempt of Reconstruction." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120710_120548-40097.

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The present dissertation in its essence is an interdisciplinary (i.e. historical, musicological and liturgical) research. The primary aim of this work is to settle the explicit, historically and methodologically correct general view of the plainchant within the concrete historical, cultural and geographical location in a defined period of time. The object of the dissertation is the expression and development of the Gregorian chant in the Grand Duchy of Lithuania as represented in a variety of sources. The time period examined is from 1387 to 1795 (i.e. from the Latin Baptism of the state until the fall of the Republic of Two Nations). However, the main focus is for the period of the 15th to the 17th centuries. The principal methods used in this research are: the historical, musicological and source analysis, the descriptive, retrospective, and comparative. All of these methods are coordinated with the principles of the methodology, developed by Prof. Laszlo Dobszay and his school.
Disertacija savo esme yra tarpdisciplininis (muzikologinis-istorinis-liturginis) tyrimas. Pirminis darbo tikslas yra sudėlioti kuo aiškesnį, istoriškai bei metodologiškai korektišką šio fenomeno visuminį vaizdą konkrečioje istorinėje-kultūrinėje bei geografinėje erdvėje chronologiškai apibrėžtu laikotarpiu. Disertacijos tyrimo objektas — grigališkojo choralo raiška ir raida, atsispindinti išlikusiuose įvairiuose šaltiniuose, konkrečioje istorinėje geografinėje Lietuvos Didžiosios kunigaikštystės erdvėje apibrėžtu istoriniu laikotarpiu. Laiko rėmai, kuriais remiamasi šioje studijoje, iš dalies sąlygoti valstybės istorinių aplinkybių, o iš dalies ir pačių išlikusių šaltinių. Tyrimo chronologinės ribos apsiriboja 1386-1795 m., t.y. nuo lotyniškojo valstybės Krikšto iki Abiejų Tautų Respublikos žlugimo. Pagrindinis dėmesys teikiamas XV-XVII a. periodui. Pagrindiniai tyrime naudojami metodai yra šaltinių analizė, apra-šomasis, retrospekcinis, lyginamasis, istorinis ir muzikologinis analitinis metodai. Visa tai grindžiama ir koordinuojama, pagal prof. Laszlo Dobszay ir jo mokyklos išplėtotą metodologiją.
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Books on the topic "Gregorian Chant"

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Hiley, David. Gregorian chant. New York: Cambridge University Press, 2009.

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Apel, Willi. Gregorian chant. Bloomington: Indiana University Press, 1990.

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Gregorian chant. Bloomington: Indiana University Press, 1990.

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Catholic Church. Gregorian chant: Christmas. [S.l.]: Creative Joys, 1985.

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A Gregorian chant discography. Utica, N.Y: J.F. Weber, 1990.

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Saulnier, Daniel. Gregorian chant: A guide. Solesmes: Abbaye Saint-Pierre de Solesmes, 2003.

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Gregorian chant and the Carolingians. Princeton, N.J: Princeton University Press, 1998.

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Scott, Turkington, Abbey of Regina Laudis (Bethlehem, Conn.), Abbey of Regina Laudis (Bethlehem, Conn.). Choir of Benedictine Nuns., and Stamford Schola Gregoriana, eds. A Gregorian chant master class. Bethlehem, Conn: Abbey of Regina Laudis, 2002.

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Catholic Church. The Gregorian missal for Sundays: Notated in Gregorian chant. Solesmes: [St. Pater's Abbey], 1990.

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Marier, Theodore. Gregorian chant practicum: Based on Music Fourth Year-Gregorian Chant by Justine Bayard Ward. Washington, D.C: Catholic University of America Press for the Centre for Ward Method Studies, 1990.

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Book chapters on the topic "Gregorian Chant"

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McKinnon, James. "The Emergence of Gregorian Chant in the Carolingian Era." In Antiquity and the Middle Ages, 88–119. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21157-9_4.

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DiCenso, Daniel J. "Moved by Music: Problems in Approaching Emotional Expression in Gregorian Chant." In Early European Research, 19–50. Turnhout, Belgium: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.eer-eb.5.115896.

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"GREGORIAN CHANT." In History Of Music, 15–32. Routledge, 2013. http://dx.doi.org/10.4324/9780203040027-6.

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"On Gregorian Orality." In Gregorian Chant and the Carolingians, 141–77. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv173f1bz.10.

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"A Gregorian Processional Antiphon." In Gregorian Chant and the Carolingians, 19–30. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv173f1bz.6.

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"Charlemagne’s Archetype of Gregorian Chant." In Gregorian Chant and the Carolingians, 82–108. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv173f1bz.8.

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"CHAPTER 6 On Gregorian Orality." In Gregorian Chant and the Carolingians, 141–77. Princeton University Press, 1998. http://dx.doi.org/10.1515/9780691221939-008.

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Ruff, Anthony. "Gregorian Chant through the Centuries." In Hymns and Hymnody, Volume 1, 81–94. Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv14gpjgt.13.

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"GREGORIAN CHANT BOOKS AND FRAGMENTS." In Catalog of Pre-1900 Vocal Manuscripts in the Music Library, University of California at Berkeley, 247–62. University of California Press, 1988. http://dx.doi.org/10.1525/9780520331402-007.

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Johnsen, Paul G. "Gregorian Chant as Musical Puzzles." In Semiotics, 185–92. Semiotic Society of America, 1989. http://dx.doi.org/10.5840/cpsem19895.

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Conference papers on the topic "Gregorian Chant"

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Barate, Adriano, Goffredo Haus, Luca A. Ludovico, and Damiano Triglione. "Multimodal navigation within multilayer-modeled Gregorian Chant information." In 2012 18th International Conference on Virtual Systems and Multimedia (VSMM). IEEE, 2012. http://dx.doi.org/10.1109/vsmm.2012.6365908.

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Martinelli, Jose, Jessica Ivanovs, and Marcos Martinelli. "GERIATRIC EVALUATION IN 27 CASES OF MUSICAL HALLUCINATION." In XIII Meeting of Researchers on Alzheimer's Disease and Related Disorders. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1980-5764.rpda073.

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Background: Musical hallucination (AM) is a type of complex auditory hallucination described as hearing musical tones, rhythms, harmonies, and melodies without the corresponding external auditory stimulus. This type of hallucination is relatively rare and is seen less often than other types of hallucination. Such hallucinations can be continuous or intermittent and are usually accompanied by a clear and critical awareness on the part of the patient. AM are found mainly in elderly women with progressive hearing loss, usually due to ear diseases or lesions. They also occur in neurological disorders, neuropsychological disorders (eg dementia) and psychiatric disorders, especially depression. Objective: To evaluate clinical and neuropsychological issues of the elderly with Musical Hallucinations Methods: Twenty-seven outpatient patients clinic of Geriatrics and Gerontology at FMJ from January 2010 to October 2019 were selected Results: Of the 27 patients, 20 were women. The average age was 83.47 years. The most prevalent diseases were systemic arterial hypertension, osteoporosis, diabetes mellitus, hypothyroidism, osteoporosis, chronic obstructive pulmonary disease and dementia syndrome. With the exception of one patient, all had hearing loss. The songs were the most varied from Gregorian chant to lullaby. Many had this picture for months and continuously (day and night). 40% of them had no insight into AM. We emphasize that all these patients sought medical care with the main complaint of musical hallucination. Conclusion: In general, AM has an uninterrupted, fragmentary and repetitive character. They are involuntary, intrusive and have an apparent exteriority. They differ from the simple mental image of auditory sensation in that they appear to come from outside the individual as if they actually hear an external device playing music. Currently, it is estimated that about 2% of elderly people with hearing loss also have AM. The neuropsychological basis of AM is not fully established. The phenomenological study, especially the perception of complex sequences and consistency with previous auditory experience strongly suggest the involvement of central auditory processing mechanisms. Normal musical auditory processing involves several interrelated brain levels and subsystems. While the recognition of elementary sounds is done in the primary auditory cortex, the recognition of musical characteristics such as notes, melody and metric rhythm occur in a secondary and tertiary association center, which in turn, are greatly influenced by regions linked to memory and emotion.
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