GREGORIAN CHANT!
The name is often taken as synonymous with plain chant, comprising not only the Church music of the early Middle Ages, but also later compositions (elaborate melodies for the Ordinary of the Mass, sequences, etc.) written in a similar style down to the sixteenth century and even in modern times. In a stricter sense Gregorian chant means that Roman form of early plain chant as distinguished from the Ambrosian, Gallican, and Mozarabic chants, which were akin to it, but were gradually supplanted by it from the eighth to the eleventh century. Of the Gallican and Mozarabic chants only a few remains are extant, but they were probably closely related to the Ambrosian chant. Of the latter, which has maintained itself in Milan up to the present day, there are two complete manuscripts belonging to the thirteenth and fourteenth centuries respectively, and a considerable number belonging to the fifteenth and sixteenth centuries. An incomplete manuscript belongs to the twelfth century. It is at present in the British Museum and has been published in the fifth volume of the "Paléographie musicale". All these manuscripts contain the chants both for the Office and for the Mass. The Office chants are antiphons and responses, as in the Roman books. The Mass chants are Ingressa (corresponding to the Introit, but without psalm), Psalmellus (Gradual), Cantus (Tract), Offertory, Transitorium (Communion), and, in addition, two antiphons having no counterpart in the Gregorian Mass, one post Evangelium, the other the Confractorium. There are, further, a few Alleluia verses and antiphons ante Evangelium. Musically it can easily be observed that the syllabic pieces are often simpler, the ornate pieces more extended in their melismata than in the Gregorian chant. The Gregorian melodies, however, have more individuality and characteristic expression. Though it is very doubtful whether these Ambrosian melodies date back to the time of St. Ambrose, it is not improbable that they represent fairly the character of the chant sung in Italy and Gaul at the time when the cantilena romana superseded the earlier forms.
HERE THERE ARE 2 GREAT EXAMPLES!
SOUND OF SILENCE
SALVE REGINA
The name is often taken as synonymous with plain chant, comprising not only the Church music of the early Middle Ages, but also later compositions (elaborate melodies for the Ordinary of the Mass, sequences, etc.) written in a similar style down to the sixteenth century and even in modern times. In a stricter sense Gregorian chant means that Roman form of early plain chant as distinguished from the Ambrosian, Gallican, and Mozarabic chants, which were akin to it, but were gradually supplanted by it from the eighth to the eleventh century. Of the Gallican and Mozarabic chants only a few remains are extant, but they were probably closely related to the Ambrosian chant. Of the latter, which has maintained itself in Milan up to the present day, there are two complete manuscripts belonging to the thirteenth and fourteenth centuries respectively, and a considerable number belonging to the fifteenth and sixteenth centuries. An incomplete manuscript belongs to the twelfth century. It is at present in the British Museum and has been published in the fifth volume of the "Paléographie musicale". All these manuscripts contain the chants both for the Office and for the Mass. The Office chants are antiphons and responses, as in the Roman books. The Mass chants are Ingressa (corresponding to the Introit, but without psalm), Psalmellus (Gradual), Cantus (Tract), Offertory, Transitorium (Communion), and, in addition, two antiphons having no counterpart in the Gregorian Mass, one post Evangelium, the other the Confractorium. There are, further, a few Alleluia verses and antiphons ante Evangelium. Musically it can easily be observed that the syllabic pieces are often simpler, the ornate pieces more extended in their melismata than in the Gregorian chant. The Gregorian melodies, however, have more individuality and characteristic expression. Though it is very doubtful whether these Ambrosian melodies date back to the time of St. Ambrose, it is not improbable that they represent fairly the character of the chant sung in Italy and Gaul at the time when the cantilena romana superseded the earlier forms.
HERE THERE ARE 2 GREAT EXAMPLES!
SOUND OF SILENCE
SALVE REGINA
