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Journal articles on the topic 'Gregorian chants'
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1
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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Conklin, Darrell, and Geert Maessen. "Generation of Melodies for the Lost Chant of the Mozarabic Rite." Applied Sciences 9, no. 20 (October 12, 2019): 4285. http://dx.doi.org/10.3390/app9204285.
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Prior to the establishment of the Roman rite with its Gregorian chant, in the Iberian Peninsula and Southern France the Mozarabic rite, with its own tradition of chant, was dominant from the sixth until the eleventh century. Few of these chants are preserved in pitch readable notation and thousands exist only in manuscripts using adiastematic neumes which specify only melodic contour relations and not exact intervals. Though their precise melodies appear to be forever lost it is possible to use computational machine learning and statistical sequence generation methods to produce plausible realizations. Pieces from the León antiphoner, dating from the early tenth century, were encoded into templates then instantiated by sampling from a statistical model trained on pitch-readable Gregorian chants. A concert of ten Mozarabic chant realizations was performed at a music festival in the Netherlands. This study shows that it is possible to construct realizations for incomplete ancient cultural remnants using only partial information compiled into templates, combined with statistical models learned from extant pieces to fill the templates.
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Agapova-Strizhakova, Elena A. "Gregorian Chant in Organ Sonatas by J.-N. Lemmens." Contemporary Musicology, no. 2 (2022): 107–19. http://dx.doi.org/10.56620/2587-9731-2022-2-107-119.
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The 1860s played a special role in the history of organ music in Belgium and France. This period was marked by the active development of substantive repertory and the establishment of the Franco-Belgian organ school. All the advances of this period could not be possible without the contribution of the Belgian composer, organist and teacher Jacques-Nicolas Lemmens. Brought up on the traditional for Catholic Belgium Gregorian chants and the organ works by Johann Sebastian Bach, Lemmens managed to organically transfer Bach's principles of working with Lutheran chant to completely different material of Gregorian hymns. Lemmens is also credited for the foundation of the first educational institution that trained church musicians. The three organ sonatas became the pinnacle of his work and the first examples of the synthesis of liturgical content and a secular form. The article reveals general patterns in the choice of themes from the large-scale corpus of Gregorian chants. The melody of the chorale can also be traced in parts in which no chorale is indicated. It shows a deep connection between Lemmens’s heritage and a thousand-year-old church musical tradition.
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Boe, John. "The Roman Missa sponsalicia." Plainsong and Medieval Music 11, no. 2 (October 2002): 127–66. http://dx.doi.org/10.1017/s0961137102002097.
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Proper chants unique to the Roman wedding Mass - the introit Deus Israel, the gradual Vxor tua and the communion Ecce sic benedicetur - are not found in the unnotated northern Mass antiphoners of Hesbert's Sextuplex. Heavily edited and fitted with Gregorian melodies (or else unnotated), these texts appear sporadically in northern graduals beginning in the mid-tenth century. Their compilation can therefore be dated to the second half of the ninth century. Because the melodies for these Propers were assembled from formulas in common use at a time when new chants were no longer being composed at Rome and because they are certainly free of Gregorian influence, the nuptial chants disclose how certain formulas were being sung shortly before Roman culture and papal institutions began to decline.
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WEBER, JEROME F. "Recent recordings of plainchant." Plainsong and Medieval Music 26, no. 1 (March 20, 2017): 63–69. http://dx.doi.org/10.1017/s0961137116000115.
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FOREWORDThe Editorial Committee extends its heartfelt thanks and warmest wishes to Rev. Jerome F. Weber, who is retiring as PMM's Audio Review Editor effective this issue. For a quarter century, Father Weber has regularly contributed reviews of hundreds of plainchant recordings to this journal, casting his net widely to capture Gregorian and post-Gregorian repertoires, monastic and regional traditions including Byzantine Chant, and chants on recordings devoted mainly to polyphony. Having published A Gregorian Chant Discography in 1990, addenda et corrigenda in PMM 19/1 (2010), he launched the website chantdiscography.com in November 2010, a relational database of sound recordings in formats ranging from shellac 78s and vinyl LPs to cassette tapes and compact discs. An enormously useful resource for scholars and music lovers alike, the online discography analyses well over a thousand new and re-issued CD recordings produced since 1990 along with data from the 1990 discography. We wish our colleague the very best in his well-earned retirement!
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Weber, Samuel F. "Mysteria: Gregorian Chants by Joseph Jennings (review)." Antiphon: A Journal for Liturgical Renewal 9, no. 2 (2005): 219–20. http://dx.doi.org/10.1353/atp.2005.a921632.
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Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.
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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.
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NARDINI, LUISA. "Aliens in disguise: Byzantine and Gallican chants in the Latin liturgy." Plainsong and Medieval Music 16, no. 2 (October 2007): 145–72. http://dx.doi.org/10.1017/s096113710700068x.
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AbstractComparison of a considerable number of Gregorian sources dating from the tenth to the thirteenth centuries reveals a handful of Mass Proper items that do not belong to the standard repertory and show possible ties with the Byzantine and/or Gallican traditions. These pieces are not recorded in most of the earliest French and German sources of the Gregorian tradition. Some of them seem to have been composed in Italy (but not in Rome), while others would appear to have Eastern or Frankish ties. Comparative melodic analysis, along with the discussion of their position in the liturgical year, discloses insights about their origin, date, routes of transmission and the ways to compare chants belonging to different liturgical families.
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Bednáriková, Janka. "Graduale Novum : reštituovaný omšový repertoár gregoriánskeho chorálu a jeho používanie v súčasnej liturgii." Musicologica Brunensia, no. 2 (2023): 13–23. http://dx.doi.org/10.5817/mb2023-2-2.
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Why was a new book of Latin Mass chants, the two-volume Graduale Novum, created? Was it necessary to revise the already revised melodies of the 1908 Graduale Romanum? Was the pioneering Graduale Triplex of 1979 not enough? Who will be served by these new revisions and cants? Is it worthwhile to disseminate these two new publications in Slovakia, or in other European countries where Gregorian chant is minimally used? We will offer answers to these questions in the following paper.
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Maloy, Rebecca. "Old Hispanic Chant and the Early History of Plainsong." Journal of the American Musicological Society 67, no. 1 (2014): 1–76. http://dx.doi.org/10.1525/jams.2014.67.1.1.
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Given the fragmentary evidence about the emergence of Western plainsong, scholars have not reached a consensus about how early liturgical chant was transformed into fully formed Medieval repertories. Proposed explanations have centered on the Roman liturgy and its two chant dialects, Gregorian and Old Roman. The Old Hispanic (or Mozarabic) chant can yield new insights into how and why the creators of early repertories selected and altered biblical texts, set them to specific kinds of music, and assigned them to festivals. I explore these questions from the perspective of the Old Hispanic sacrificia, or offertory chants. Specific traditions of Iberian biblical exegesis were central to the meaning and formation of these chants, guiding their compilers’ choice and alteration of biblical sources. Their textual characteristics and liturgical structure call for a reassessment of the theories that have been proposed about the origins of Roman chant. Although the sacrificia exhibit ample signs of liturgical planning, such as thematically proper chants with unique liturgical assignments, the processes that produced this repertory were both less linear and more varied than those envisaged for Roman chant. Finally, the sacrificia shed new light on the relationship between words and music in pre-Carolingian chant, showing that the cantors shaped the melodies according to textual syntax and meaning.
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Москва, Ю. В. "Gregorian Semiology as a Method of Modal Identification in Early and Renaissance Polyphony." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 108–21. http://dx.doi.org/10.26176/mosconsv.2017.31.4.04.
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Определение лада в раннем и ренессансном многоголосии принадлежит к самым актуальным и сложным научным проблемам. Раннее многоголосие восходит к григорианскому пению, поэтому исследование модальности в полифонии отталкивает ся от григорианской модальности. Однако григорианские напевы подвержены модификациям (транспозиции, трансмодализации) как сами по себе, так и в условиях модального многоголосия. Поэтому модальность cantus firmus не может служить надежным критерием определения лада в многоголосии. Поскольку лад проявляет ся посредством ритма, автор статьи предлагает новый метод: исследование модальности в раннем многоголосии с помощью григорианской семиологии Эжена Кардина — учения о ритмических и артикуляционных аспектах невменной нотации. В качестве примера приведен модальный анализ мессы Дж. П. да Палестрины «Ecce Sacerdos magnus». The modal identification in the early and Renaissanse polyphony is one of the most important and complicated scientific problems. The early polyphony goes back to Gregorian chant, therefore the study of the polyphonic modality begins with Gregorian modality. However, Gregorian chants mutate (in terms of transposition and transmodalisation) both on their own and as cantus firmus in the modal polyphony. Therefore, Gregorian modality is not a reliable criterion of modal determination in the early polyphony. Because of the connection of modality to rhythm, the author of the article proposes a new method: the investigation of modality in the early polyphony using the Gregorian semiology by Eugène Cardine — the doctrine about rhythmic and articulative aspects of the neumatic notation. As an example there is a modal analysis of G. P. da Palestrina’s mass “Ecce Sacerdos magnus”.
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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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Laing, Dave. "‘Sadeness’, Scorpions and single markets: national and transnational trends in European popular music." Popular Music 11, no. 2 (May 1992): 127–40. http://dx.doi.org/10.1017/s0261143000004967.
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Among the biggest international hits of 1991 was ‘Sadeness’, a piece of music created in a studio in Spain by Michael Cretu, a German-based, Rumanian-born producer using samples from recordings of Gregorian chants. This followed the chart successes of dance records created in Belgium by Technotronic and Snap, in Italy (Black Box) and Sweden (Dr Alban).
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Bailey, Terence. "Ambrosian Mass chants before the Carolingian intervention." Plainsong and Medieval Music 21, no. 1 (March 2, 2012): 1–21. http://dx.doi.org/10.1017/s0961137111000180.
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ABSTRACTThe service books of the Ambrosian rite were produced relatively late: the oldest copy of the Manuale, the first to record the texts and some rubrics, dates from the early eleventh century; the earliest redaction of the ordinal, from shortly after 1126; the oldest copy of the antiphoner, which contains the notated melodies of both Mass and Office, from the mid-twelfth. All these books document a liturgy that had been extensively revised after the Frankish conquest of northern Italy in 774. The Frankish reforms did not result in the suppression of the Milanese rite (as they had the Gallican), but many changes were effected, changes that brought the ancient liturgy of northern Italy – without destroying all of its indigenous features – closer to the new, international, Gregorian rite. The purpose of this article is to re-examine the earliest references to the Mass of pre-Conquest Milan and its archdiocese, which reveal more than has been suspected, and to present new evidence concerning the Ambrosian sacrifice as it was in the earliest centuries, even before the time of St Ambrose.
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Bramantyo, Triyono, and Suryati Suryati. "Historical Accounts of the Indonesian 16th-Century Music Road." Harmonia: Journal of Arts Research and Education 23, no. 2 (December 31, 2023): 235–45. http://dx.doi.org/10.15294/harmonia.v23i2.45796.
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This research aims to seek clarity from a historical perspective to trace back the transmission and the remains of Gregorian chants in eastern Indonesia. This study also seeks clarity from a historical perspective to trace back the Indonesian situation prior to the arrival of the Portuguese. The Madjapahit Empire (1293-c1520) dominated historical events as the first attempts to unify the country. The research method employed in this study was a critical historical method to analyze treatises of Gregorian chants in eastern Indonesia, with the remains still being found today and known as the Holy Friday Procession in the islands of Flores. Under Gadjahmada’s hands, an ordinary-ranking officer who succeeded in becoming prime minister (Mahapatih) of the Madjapahit kingdom, the initial attempt at pan-Indonesia was successful, but the whole history of united Indonesia was dramatically declined by the death of Gadjahmada and since then united Indonesia was collapsed. When the Portuguese arrived in Indonesia, followed by the Dutch, British, and Japanese, there was no such single authority in Indonesia. The foreign powers trickily, exacerbated the situation and transformed themselves to strengthen their stronghold as occupiers. This important historical event was not known by the people of Indonesia in general and by the Indonesian historian in particular. Therefore, this research is more important to be done today than later.
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Parkes, Henry. "Wild Strawberries from Reichenau: Ruminations on Authority and Difference in Eleventh-Century “Gregorian” Chant." Journal of the American Musicological Society 70, no. 1 (2017): 1–60. http://dx.doi.org/10.1525/jams.2017.70.1.1.
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One of the paradoxes of Gregorian chant is the way in which written sources become ever more plentiful across the Middle Ages while commentaries on its cultural and intellectual status take the opposite direction, becoming rare after the ninth century. An exception to that trend is the essay De varia psalmorum atque cantuum modulatione (On the Varied Modulation of Psalms and Chants), a substantial yet little known offering from the music theorist and liturgist Berno of Reichenau (d. 1048). Previously considered to be of uncertain authorship and doubtful musical value, the work is now shown to be an authentic witness, in part through evidence provided by a rediscovered manuscript (Berlin, Staatsbibliothek, Mus.ms.theor. 95). This permits a new appreciation of the author's unique and revealing agenda—to soothe the many tensions reportedly incited by the textual content of chant. With resonances in contemporary music theory, De varia psalmorum testifies to divergent practices in need of a new theoretical underpinning, as well as to previously unstudied cultures of textual correction existing between the ninth and twelfth centuries. In so doing it offers a rare insight into the liturgical chant traditions of the post-Carolingian age, both in Berno's native Germany and further afield.
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Klöckner, Stefan. "Learning to Pray by Singing." European Judaism 54, no. 2 (September 1, 2021): 113–21. http://dx.doi.org/10.3167/ej.2021.540213.
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Gregorian chants are mostly based on Old Testament texts, predominantly from the Psalms. Decisive for their interpretation in the light of the New Testament are texts of the Church Fathers (Augustine, Gregory the Great, etc.). The texts often do not follow their canonical order in the Bible, but were primarily compiled on the basis of broader associations. Hence, it is not uncommon for new content references to emerge that are committed to a Christian perspective, emotionally and theologically very bold. This article describes an imaginary ‘Gregorian Composition Workshop’: the individual ‘chambers’ include compiling texts, the choice of a suitable mode and melody, as well as the most refined rhythmic differentiations. The final piece, through its unique quality as the ‘sounding word of Holy Scripture’ permits an intensive view of the spirituality of the ninth and tenth centuries, and a realistic understanding of the Psalms as the basis of Christian existence.
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WEBER, JEROME F. "Recent releases of plainchant." Plainsong and Medieval Music 13, no. 1 (April 2004): 87–93. http://dx.doi.org/10.1017/s096113710400004x.
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Another reissue of Decca's long series of recordings made at the abbey of Solesmes is good news. Accord is a French reissue label of the Universal group (formerly PolyGram) that earlier had reissued about a dozen CDs that matched each original LP in content. The first five reissues were listed in A Gregorian Chant Discography, and five more were reported here in 1994 (nos. 19 to 23). Now, duplicating the contents of at least seven of those earlier discs, a new programme has begun with the cooperation of the monks of Solesmes to arrange the chants according to the liturgical year. Titles have been brought up to date, such as ‘Sixth Sunday of Easter’ and ‘chant d’entrée'. New digital transfers made from the original tapes provide superb sound. The first twelve discs have appeared in eight packages (two or three discs in some cases), and we can expect as many as another dozen discs to come.
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LAGERGREN, KARIN STRINNHOLM. "The invitatory antiphons in Cantus sororum: a unique repertoire in a world of standard chant." Plainsong and Medieval Music 27, no. 2 (October 2018): 121–42. http://dx.doi.org/10.1017/s0961137118000086.
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ABSTRACTThis is the first study to examine the seven invitatory antiphons of the Birgittine weekly Office, the Cantus sororum, offering complete transcriptions of the melodies and texts. An important general finding is that these invitatories share many melodic similarities with great responsories, but on a more detailed level this article investigates precisely how these chants relate to known models, both complete melodies as well as individual melodic motives. Four patterns of composition among the Cantus sororum invitatories emerge: (1) unique texts may be combined with melodies that resemble other known chants outside the Cantus sororum; (2) texts and melodies that resemble other variants outside the Cantus sororum may be combined in new ways; (3) both text and melody are unknown outside the Cantus sororum.Overall, these invitatory antiphons, like the rest of the Cantus sororum, represent creative work with existing melodies and texts, including reworkings, borrowings and consistent use of melodic motifs, comprising a significant part of a repertoire at once distinctly Birgittine in character and yet conforming to the common stock of Gregorian Chant. Melodic correspondences within the Cantus sororum as well as in the Birgittine Mass repertoire thus afford an interesting perspective on a soundscape in which the Birgittines functioned and where, through music, their identity was created and maintained.
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Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.
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"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "
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Krasnicki, Ted. "The Musical Enactment of Drama in Sarum Plainsong." Journal of the Australian Early Medieval Association 15 (2019): 47–79. http://dx.doi.org/10.35253/jaema.2019.1.3.
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In the tenth century, a sung dialogue, the 'Quem queritis' trope, appeared as a ceremonial addition to the paschal vigil and morning liturgy of Easter Sunday. It is often appraised as the bridge between liturgical chant and the later full-cast liturgical dramas of the Middle Ages, but what has generally not been considered, is that Franco-Romano (Gregorian) chant, compiled at least a century earlier, already contained the seeds of liturgical drama from which this dialogue naturally grew. This paper shows that some ideomelic chants from the twelfth-century 'Graduale Sarisburiense' from England, a minor variant of earlier graduals from the Continent, enact a vocal drama utilising the words of the biblical personages found in the chant text. Specifically, two types of dramatic representations are examined: the monologue and the dialogue. In the former, the text is spoken by one biblical figure whose ethos is expressed musically. In the latter, more than one voice conveys the words of the biblical text, and these are delineated musically. Employing examples for each type, I discuss the different ways that chant melody makes representational drama possible. Monologues studied are the introits 'Resurrexi, Ad te levavi, Gaudete', and the offertories 'Dextera Domini and Ave Maria'. Of the dialogues studied are the communions, 'Dominus Jesus, Fili, quid fecisti, Dicit Dominus: Implete, and the offertory Precatus est Moyses' which is examined in greater detail.
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Duran, Sebastian, Martyn Chambers, and Ioannis Kanellopoulos. "An Archaeoacoustics Analysis of Cistercian Architecture: The Case of the Beaulieu Abbey." Acoustics 3, no. 2 (March 26, 2021): 252–69. http://dx.doi.org/10.3390/acoustics3020018.
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The Cistercian order is of acoustic interest because previous research has hypothesized that Cistercian architectural structures were designed for longer reverberation times in order to reinforce Gregorian chants. The presented study focused on an archaeoacacoustics analysis of the Cistercian Beaulieu Abbey (Hampshire, England, UK), using Geometrical Acoustics (GA) to recreate and investigate the acoustical properties of the original structure. To construct an acoustic model of the Abbey, the building’s dimensions and layout were retrieved from published archaeology research and comparison with equivalent structures. Absorption and scattering coefficients were assigned to emulate the original room surface materials’ acoustics properties. CATT-Acoustics was then used to perform the acoustics analysis of the simplified building structure. Shorter reverberation time (RTs) was generally observed at higher frequencies for all the simulated scenarios. Low speech intelligibility index (STI) and speech clarity (C50) values were observed across Abbey’s nave section. Despite limitations given by the impossibility to calibrate the model according to in situ measurements conducted in the original structure, the simulated acoustics performance suggested how the Abbey could have been designed to promote sacral music and chants, rather than preserve high speech intelligibility.
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Bailey, Terence. "Introits and ingressae – Milan and Rome: the elaboration of chant melodies, the operation of musical memory." Plainsong and Medieval Music 19, no. 2 (September 17, 2010): 89–122. http://dx.doi.org/10.1017/s0961137110000045.
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ABSTRACTAlthough it has always been plain to see that the Milanese and Roman Mass shared many texts, that the melodies were also shared has gone largely unnoticed, or at any rate undemonstrated, except in the special case of the few offertory chants with wider concordances in Franco-Roman, Milanese and Visigothic books. This article takes up the particular case of the Roman and Milanese entrance antiphons: first, the circumstances of the importation of the Roman introits into the Ambrosian Mass; and, second, the precise relationship of the Ambrosian and Franco-Roman (Gregorian) melodies. It has long been understood that chants of the Old Roman repertory provide a firm basis for an understanding of the changes, inevitable over time, in an orally transmitted repertory. It emerges that the Ambrosian melodies, transcribed in neumes in about the middle of the eleventh century, offer a second opportunity for a sondage. This other, unsuspected, version of the chants, miraculously preserved and stabilised north of the Alps in the ninth and tenth centuries also allows for convincing demonstrations of the musical procedures employed in the elaboration of the melodies and in their adaptation to different texts. And not least, the isolation of what is shared between versions notated at a distance of centuries give us the basis of an objective estimation of the effectiveness of musical memory in a musical culture that did not rely on notation.
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박은선. "A Study on the Problems involving the Mode Setting for the Gregorian Chants: Focused on Gradual." 이화음악논집 12, no. 1 (June 2008): 85–108. http://dx.doi.org/10.17254/jemri.2008.12.1.004.
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Jeffery, Peter. "The lost chant tradition of early Christian Jerusalem: some possible melodic survivals in the Byzantine and Latin chant repertories." Early Music History 11 (October 1992): 151–90. http://dx.doi.org/10.1017/s0261127900001212.
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The medieval chant traditions of the Eastern and Western churches can generally be traced back to about the tenth century, when the earliest surviving notated manuscripts were created. In these earliest sources, the various traditions are already distinct from each other and fully formed, each with thousands of chants that are assigned to at least eight modes and belong to dozens of melody types or families, carefully distributed across the daily, weekly and annual cycles of a complicated liturgical calendar. Yet we have hardly any information at all as to how these traditions evolved into the highly complex state in which we first find them. Where did they come from and when did they originate? How and when did they achieve the relatively fixed form in which we know them? Questions such as these have been important in chant research during the last thirty years, ever since Willi Apel outlined what he called ‘the “central” problem of the chant, that is, the question concerning its origin and development’. But attempts to investigate these questions have often been conceived too narrowly, overlooking as much evidence as they include or more. For instance, many scholars have written about ‘the central problem’ as if it belonged mainly to Gregorian chant and its close relative, the Old Roman or special Urban repertory, when in fact the origins and early history of almost every tradition of Eastern and Western chant are equally obscure.
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Hughes, Andrew. "Centre For Medieval Studies Middle Eastern and Islamic Influence on Western Art & Liturgy." American Journal of Islam and Society 21, no. 2 (April 1, 2004): 149–52. http://dx.doi.org/10.35632/ajis.v21i2.1811.
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Central to the conference, held during March 5-6, 2004, at Trinity College,University of Toronto (Canada), was the desire of its organizer, AndrewHughes, to find analogies in other disciplines to his speculation that theEuropean plainsong (liturgical chant) of the Middle Ages was performed in a manner similar to that of Middle Eastern music (“Continuous Music:Natural or Eastern? The Origins of Modern Performance Style”). His speculationstemmed from decades of discussions with his colleague TimothyMcGee about the nature of musical sound. Oral transmission, its replacementby various difficult-to-interpret notations, and an often polemic rejectionof Arabic influence make the investigation difficult and controversial.1McGee responded (“Some Concerns about Eastern Influence in MedievalMusic”) and later, working from practical experiments presented by agroup of graduate students attending the conference, offered a very interestingnew interpretation. Some reservations were expressed by CharlesBurnett (Warburg Institute, London), a distinguished Arabist with musicologicalqualifications. He was invited to comment on the initial round tableand the conference as a whole.Other papers relevant to music were George Sawa’s review of Arabictheories of medieval music (“The Uses of Arabic Language in MedievalRhythmic Discourses”). He referred to numerous matters that might havea bearing on European music, especially with respect to ornamentationand rhythm. Art Levine discussed other non-western musical cultures,some of which were also influenced by Islamic music, and raised questionsabout ornamentation, tuning, and the nature of pitch (e.g., what is anote? “What Can Non-Western Music Offer?”).Moving from the sound of music to words about it, Randall Rosenfelddescribed numerous pilgrimage and Crusader chronicles. They containpassages reporting that Europeans found little strange in eastern music,suggesting that eastern and western music cannot have been as dissimilaras seems to be the case today (“Frankish Reports of Central Asian andMiddle Eastern Musical Practice”). John Haines traced in detail the use ofArabic terms from Adelard of Bath’s twelfth-century translation ofEuclid’s geometrical writings to an important mid-thirteenth-centurymusical treatise, where the terms for quadrilateral shapes resemblingsquare notation are used to refer to musical symbols (“Anonymous IV’sElmuahim and Elmuarifa”). Luisa Nardini presented details of particularmelodic characteristics in Gregorian chants that identify Byzantine andGallican melodies in Gregorian repertories (“Aliens in Disguise:Byzantine and Gallican Songs as Mass Propers in Italian Sources”).In other disciplines, Philip Slavin revealed the striking similarities oftopics and words between Byzantine and Roman (Gregorian) penitentialliturgy, seeing possible origins in Jewish prayers and the fourth-centuryConstitutiones Apostolorum (“Byzantine and Western Penitential Prayers ...
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Zepa, Ieva. "Psalmu dziedāšanas tradīcija Stirnienes draudzē." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 98–115. http://dx.doi.org/10.37384/aplkp.2023.28.098.
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Office of the Dead, or officium defunctorum, or saļmes is a form of traditional Catholic music – a complex ritual consisting of several hours long prayers sung at home, dedicated to saving the souls which, in accordance with Catholic provisions, have entered purgatory after death. The main function of this ritual is to pray, basically through singing, for the soul of the deceased. The goal of the study is to research of the tradition’s historical development in Stirniene and monitor its current preservation efforts. Empirical materials from the field research – interviews with local informants, biographical narratives, audio and video recordings – as well as articles in local and regional mass media have been used in the research. The tradition in Latgale was introduced by Jesuits at the end of the 18th century. The first church in Stirniene parish was a Jesuit mission centre in the 18th century. It can be concluded that the primary purpose of the chant is to sing and pray for the soul of the deceased. It can be assumed that the Office of the Dead chanting tradition in Stirniene, just like in other parts of Latgale, could have begun at the end of the 18th century and thus may have existed for more than 200 years. The texts of Christian psalms and the original Gregorian chant have transformed and intertwined with folk singing practices; the ritual or its parts are traditionally transferred orally. Usually, saļmes are sung before and after funerals, on death anniversaries, specifically on November 1 and 2, as well as throughout November and in cases of supernatural occurrences at home. Through two centuries and to this day, Office of the Dead chants in Stirniene is a common religious practice, and almost every family has experienced it, as the chants are a crucial part of the funeral rites. In 2021, Saļmes Stērnīnē was included in the National List of Intangible Cultural Heritage.
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Weber, Jerome F. "Recent releases of plainchant." Plainsong and Medieval Music 12, no. 1 (April 2003): 86–96. http://dx.doi.org/10.1017/s096113710300305x.
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In the century of recorded interpretation of Gregorian chant, the introduction of a new choir director at the abbey of Solesmes might be considered a moment of the highest importance, though the event seems not to have been reported widely. After all, we have heard only Dom André Mocquereau in 1904 (admittedly directing French seminarians in Rome), Dom Joseph Gajard from 1930 to 1971, and Dom Jean Claire from 1972 to 1996. The début of Dom Richard Gagné as choirmaster is marked by a pairing of two feast-day Propers (no. 1 in the list below), followed by a collection of popular chants from Liber Cantualis (no. 2). It would take a sharp eye to notice on Dom Claire's last recording (1997, no. 1) that Dom Gagné was listed as assistant to Dom Claire. If Dom Claire's interpretations were lighter and quicker than Dom Gajard's, it may be equally true that Dom Gagné is still lighter and quicker. The familiar sound of the monks has not changed much, though Jean Allard, the engineer who has recorded all of the Solesmes discs (and those of several other monasteries as well) since the Decca era, has been succeeded by Igor Kirkwood, a familiar engineering presence on French recordings.
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Chang, Chia-Lun. "Staff Notation or Numbered Music Notation That Is the Question: A Brief History of Numbered Music Notation and an Examination on Its Effectiveness of Music Learning." Arts Studies and Criticism 3, no. 4 (September 20, 2022): 310. http://dx.doi.org/10.32629/asc.v3i4.1037.
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The staff music notation was originated from Gregorian chants of medieval Europe. It became the universal standard notation although there were music notations found in other ancient cultures. During 19th century, a new and simplified notation system in which Arabic numbers were used to represent musical notes began to circulate among amateurish music learners all over the world. While this notation system, named numbered music notation (NMN) in this article, started to wane in other countries in the early 20th century, Chinese adopted it earnestly and continued to use it as a major practice in music printings and education. In the field of traditional Chinese music, some readily assume it is a Chinese invention. This article puts forward a discussion on the emergence of the NMN and its application in China, compares it with the staff music notation, and exams how notations affect music training.
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Seidel, Andrea Mantell. "Sacred Sound: Tuning the Cosmic Strings of the Subtle Dancing Body." Congress on Research in Dance Conference Proceedings 2012 (2012): 140–45. http://dx.doi.org/10.1017/cor.2012.18.
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A. K. Coomaraswamy writes in The Dance of Shiva that Nataraja, the Hindu dancing figure, is the “clearest image of the activity of God which any art or religion can boast of.” Nataraja's dance activates dormant vital energy (kundalini) and resonates with the primordial sacred seed sounds (bijas) of the cosmos. Sanskrit seed sounds such as Aum are described in the Katha Upanishads as “consciousness or God (Brahman) itself.” In his book, Healing Mantras, Ashley-Farrand writes that the practice of mantra brings about positive changes in matter and consciousness by the agency of a subtle vibration. Cyndi Dale in The Subtle Body correlates each note of the ancient Solfeggio scale used in Gregorian chants to the energy centers (chakras) in the body. Sacred sounds are recited in Buddhist chants, Jewish hymns (Zemirot), and the dances of Sufi whirling dervishes, among other traditions. The dancer, through mastery of breath, form, and heightened awareness of sound, possesses the potential to “ride” on the crests of musical waves of sacred sound and harmoniously vibrate with wavelike patterns of energy or “cosmic strings,” identified in quantum physics as the essence of matter, and thereby facilitate healing and self-integration. However, in mainstream dance practice and research, sound/movement spiritual practices are largely relegated to the separate category of “new age,” dance therapy, or yoga. This performative paper discusses how the integration of the mindful use of sacred sound in contemporary dance training has profound implications for expanding consciousness, heightening creativity, and enhancing physical capabilities.
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Márton, Szabolcs. "Tapping Into Unknown Musical Areas Analysis of a Medieval Bohemian Musical Manuscript." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (August 10, 2023): 233–53. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.15.
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"This research presents a medieval musical manuscript that has not yet been analyzed in detail. Catalogued under the name of Graduale Latino-Bohemicum, and currently held in the Batthyaneum Library of Alba Iulia, it has many peculiarities in comparison with other similar codices from the Transylvanian area, hence also compared with other Czech manuscripts. We offer analysis around the date of its creation, then debate different naming options. To create the proper context of understanding for the analysis, we present a brief historical background of the time and place in question, that is the turbulent 15th and 16th century of Europe, with special focus on Transylvania. We continue with the physical aspects of the manuscript that guide us through the colorful world of medieval codices. From a structural standpoint the work has two delimited parts. The bilingual manuscript starts with chants written in Czech and finishes with melodies in Latin. The existence of the Czech language, as well as many other clues govern us to set up hypotheses regarding its provenance. During the content analysis we dedicate a subchapter to the later page inserts that contain additional notes for the chants, wherefrom we can further conclude theories about the usage of the codex, authors of the later annotations, and so forth. We offer a more in-depth analysis of the musical notation where aspects like rhythm, staff, neumes used and special solutions are shown. Finally, we conclude all major, raised questions related to the name, origin, and genre. Keywords: Graduale Latino-Bohemicum, musical manuscript, codex, medieval, paleography, Gradual, Cancional, Antifonal, Hussite, Czech, Latin, Gregorian, unison, polyphony."
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Alonso, Alicia, Rafael Suárez, and Juan Sendra. "The Acoustics of the Choir in Spanish Cathedrals." Acoustics 1, no. 1 (December 6, 2018): 35–46. http://dx.doi.org/10.3390/acoustics1010004.
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One of the most significant enclosures in worship spaces is that of the choir. Generally, from a historical point of view, the choir is a semi-enclosed and privileged area reserved for the clergy, whose position and configuration gives it a private character. Regarding the generation and transformation of ecclesial interior spaces, the choir commands a role of the first magnitude. Its shape and location produce, on occasions, major modifications that significantly affect the acoustics of these indoor spaces. In the case of Spanish cathedrals, whose design responds to the so-called “Spanish type”, the central position of the choir, enclosed by high stonework walls on three of its sides and with numerous wooden stalls inside, breaks up the space in the main nave, thereby generating other new spaces, such as the trascoro. The aim of this work was to analyse the acoustic evolution of the choir as one of the main elements that configure the sound space of Spanish cathedrals. By means of in situ measurements and simulation models, the main acoustic parameters were evaluated, both in their current state and in their original configurations that have since disappeared. This analysis enabled the various acoustic conditions existing between the choir itself and the area of the faithful to be verified, and the significant improvement of the acoustic quality in the choir space to become apparent. The effect on the acoustic parameters is highly significant, with slight differences in the choir, where the values are appropriate for Gregorian chants, and suitable intelligibility of sung text. High values are also obtained in the area of the faithful, which lacked specific acoustic requirements at the time of construction.
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Strizhakova, Elena A. "F. J. Fetis and his role in the development of French organ playing school in the second half of the 19th century." Contemporary Musicology, no. 4 (2020): 75–89. http://dx.doi.org/10.56620/2587-9731-2020-4-075-089.
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The article focuses on life and work of the Belgian musicologist F. J. Fetis— the first director of the Royal Conservatory of Brussels. His enthusiasm about Bach’s music influenced the formation of the French-Belgian organ playing school and the repertoire of the second half of the 19th century. His influence would not be possible without his active journalistic work and his high profile as a musicologist and a theorist. He managed to create favorable working environment for the first graduates of the conservatory, in particular, J.-N. Lemmens. His position as a follower of Bach’s tradition was instrumental in raising the profile of the conservatory. It also helped to attract musicians not only from Belgium, but also from France. In the 1860s, Lemmens used Bach’s works to train Guilmant and Widor, young French organists and composers studying at the Brussels Conservatory. By the end of the 19th century, the work of the two composers laid the foundation for the “new” organ repertoire, which was very much needed already in the middle of the century. “Serious” music that followed Bach’s tradition contrasted with the spontaneous sentimental improvisation of a number of other French organ composers. Towards the turn of the 19th and 20th centuries, Fetis's aesthetic preferences, through Lemmens' pedagogical work, eventually shaped a substantive part of the organ repertoire. The new repertoire was marked by the revival of choral works based on Gregorian chants. Thus, a series of examples shows the continuity of the traditions of choral works by the 18th century German composers and the 1950s and the 20th century French composers.
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Kurta, József Tibor. "A protestáns gregoriánum utóélete az erdélyi kortárs egyházzenei életben." Studia Universitatis Babeș-Bolyai Theologia Reformata Transylvanica 68, no. 1 (June 30, 2023): 146–55. http://dx.doi.org/10.24193/subbtref.68.1.09.
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The Afterlife of Protestant Gregorian Chant in Contemporary Transylvanian Church Music. The loss of the genre of Protestant Gregorian chant did not mean the complete disappearance of Gregorian chant from the life of the Protestant churches in Transylvania
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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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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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Zaramella, Enea. "El canto popular entre política y religión: la visión de Mário de Andrade." Brasiliana: Journal for Brazilian Studies 4, no. 1 (September 12, 2015): 33–54. http://dx.doi.org/10.25160/bjbs.v4i1.20599.
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Mário de Andrade identifies rhythm as the common structural underpinning between poetry and song. Rhythm is also the apple of discord between them, since it is with rhythm that we are able to note the fundamental distinction between the sung and the spoken word. As well as differentiating language by means of its use, popular song also fluctuates rhythmically; that is, it has another ‘wave’ (or mood) which varies depending on a series of other factors, which Andrade calls to mind. By considering 'canto' (chant) in psycho-physical terms, this essay offers an interpretation of Andrade’s reading of the masses present at one political event in 1930 described in “Dinamogenias políticas.” Moreover, this paper connects the political with the religious practices introduced in Brazil by the Jesuits, focusing above all on the Gregorian chant. I propose that with his “Crítica do gregoriano” Andrade offers a counterpoint by which to understand popular music in Brazil.
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Fedorak, Dar’ia. "Hildegard of Bingen’s musical work in the aspect of the phenomenon of author’s style." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 312–30. http://dx.doi.org/10.34064/khnum2-19.18.
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Statement of the problem. Today national musicology is beginning to actively show interest in the study of Western European medieval monody. However, there is still no scientific information about the unique personality of the Middle Ages – Hildegard of Bingen and her musical creativity – in particular about the liturgical drama «Ordo virtutum», although there are some musicology methods for analyzing this music. The relevance of this study is due to the filling of this gap. Taking in account that a musical work of the 11–12th centuries is usually considered only within the context of the “historical style”, it seems interesting to have the opposite approach – to identify the characteristic features of authorship in the work of a medieval composer, whose music is becoming more and more popular in the world concert repertoire. The purpose of the article is to consider the work of Hildegard of Bingen in the aspect of the phenomenon of the author’s style and to identify the invariant features of the individual style model. The liturgical drama “Ordo Virtutum” (“Series of Virtues”) of 1150 by Hildegard of Bingen was chosen as the material for the study, in which several types of art – music, literature and theater are combined, and which is the earliest survived sample of this genre. The “libretto” of the drama is written by Hildegard own and fixed in the so-called “Rizenkodeks” – the majestic manuscript book of 25 pounds, which stored in Wiesbaden Landesbibliothek. The author of this study used the following research methods: historical and contextual due to the need to identify the specifics of creative thinking of Hildegard of Bingen in the context of the theory and practice of the liturgical monody of her time; intonation-dramaturgical analysis aimed at a holistic comprehension of the musical content as such, which is guided by the search for unifying patterns of the intonation plan, and the text-musical semantic analysis of the holy chants fot covering the synergistic aspect of understanding style. Results of the study. Theological themes were the main issues of Hildegard’s life, because from the age of eight she lived and studied in a Benedictine monastery, and later founded her own monastery in Rupertsberg. So, the work of Hildegard of Bingen, along with the music of such well-known, but much younger than her, contemporaries, masters of polyphony, like Leonin and Perotin, provides a unique opportunity to trace the peculiarities of the manifestation of authorship in the monody of the 12th century. The Gregorian chant became a genre that fully embodies the aspirations of the church. However, from the 11th century onwards, secular elements were gradually introduced into church music: from Easter or Christmas tropes, which contained intonations of folk songs, to theatrical episodes based on Scriptures, or “actions” called liturgical drama. The musical drama “Ordo Virtutum” (“A Series of Virtues”) was created to consecrate the Hildegard Convent in Rupertsberg and is impressive primarily because it is the first fully preserved, not fragmentary, liturgical drama. Unlike traditional liturgical drama, the work also surprises with its unusualness and multidimensionality. The text of the drama is related to the themes, characters and prophetic visions presented in one of the main theological works of Hildegard – “Scivias”. As for music, it is a monody, which, thanks to its innovations, significantly expands the tonal and intonational boundaries of music of that time. “Ordo Virtutum” is a Christian philosophical parable dedicated to the struggle for the human soul between the sixteen Virtues (Faith, Hope, Love, Humility, Docility, Innocence, Modesty, Divine Love, Divine Knowledge, Prudence, Patience, Chastity etc.) and the devil. This is the story of a “prodigal daughter” tempted by the devil, who gradually repented and returned with joy to the bosom of the Church. The manuscript of the drama is not divided into actions, but modern editions divide the work into six parts: the prologue, four scenes and the finale. There are a total of 82 different melodies, 80 of which are performed by women. The presence of a large number of female roles (as evidenced by the mostly high register of singing) indicates that the drama “Ordo Virtutum” was composed and performed for the first time in a nunnery. A peculiar struggle takes place between the features of the traditional Gregorian genre, secular influences and signs of Hildegard’s own style of singing, which leads to their synthesis in her compositional work and the opening of new musical horizons. The content of her songs is based on spiritual and cultural context, on the one hand, and personal and psychological attitudes, on the other. Hildegard’s monody is individual in relation to the models of Gregorian chants described in the scientific literature and is unorthodox. Following the text, the melody is divided into lines, which are combined into structural constructions of a higher level – stanzas. The structural and semantic unity of the whole is achieved due to the commonality of melodic motives, and the structure of lines and stanzas is determined by the motive formula. The presence of the above-mentioned integrating principle together with the multiplicity of its incarnations within the unique author’s individuality makes it possible to assert that Hildegard of Bingen’s music is a systemic phenomenon and demonstrates its own compositional style, like the music of Leonin or Perotin. On the example of the analysis of the musical characteristics of different heroes of the work, we see that the liturgical drama “Ordo Virtutum” is not just a collection of typified chorales, as it may seem at first glance. We have before us a real composer opus, endowed with its own unique authorial style, which is “lighting” through each element of this harmonious systemic compositional and semantic integrity. Conclusions. The liturgical drama of Hildegard of Bingen, in fact, was the first, which means that it is advisable to talk about the “phenomenon of a musical work” (the term of N. Gerasimova-Persidskaya), which is inevitably associated with authorship. It was also revealed that the characteristic features that add originality to the musical writing of St. Hildegard are the construction of special short intonational-motive formulas, as well as the frequent use of melismas and musical figures of ascending leaps, extended to an octave. The interaction of these and other qualities forms the uniquely individual author’s style of Hildegard of Bingen, the phenomenon of which lies in his exceptional integrity.
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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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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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Crocker, R. "Gregorian Chant. By David Hiley." Music and Letters 92, no. 4 (November 1, 2011): 633–36. http://dx.doi.org/10.1093/ml/gcr082.
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Maiello, James Vincent. "Gregorian Chant (review)." Notes 67, no. 4 (2011): 736–38. http://dx.doi.org/10.1353/not.2011.0039.
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Mäkelä, Tomi. "Gregorian Chant and Modal Modernism." Musurgia XV, no. 1 (2008): 61. http://dx.doi.org/10.3917/musur.081.0061.
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Curry, Robert. "Gregorian Chant (review)." Parergon 10, no. 2 (1992): 251. http://dx.doi.org/10.1353/pgn.1992.0098.
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Kelly, Thomas Forrest. "Montecassino and the Old Beneventan chant." Early Music History 5 (October 1985): 53–83. http://dx.doi.org/10.1017/s0261127900000668.
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The term ‘Old Beneventan’ describes the archaic non-Gregorian chant found chiefly in two eleventh-century Graduals in the chapter library at Benevento. This is perhaps in part a translation of Dom Hesbert's ‘Ancien rit bénéventain’, with a hint of analogy to the ‘Old Roman’ chant. The term means that this chant is ‘Old’, that is, that it pre-dates the introduction of Gregorian chant into southern Italy; and that it is ‘Beneventan’. But both words need to be evaluated carefully.
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Hornby, Emma. "The Transmission of Western Chant in the 8th and 9th Centuries: Evaluating Kenneth Levy's Reading of the Evidence." Journal of Musicology 21, no. 3 (2004): 418–57. http://dx.doi.org/10.1525/jm.2004.21.3.418.
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Since the 19th century, scholars have been attempting to discover the origins of Gregorian chant and to establish when musical notation began to be widely used in its redaction. For almost 30 years, Kenneth Levy's scholarship on the subject has been hugely influential. He hypothesizes that Gregorian chant was notated in the time of Charlemagne (742-814), or even Pippin (714-768). There are alternative ways of reading the 8th- and 9th-century evidence, however, and largely oral transmission of the Gregorian melodies until the later 9th century cannot be ruled out.