Gregorian Chant - Revision history

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← Older revision		Revision as of 09:38, November 24, 2018
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	[[Category:Church Music]]		[[Category:Church Music]]
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		+	[[ro:Cântarea gregoriană]]

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 The renewed interest in early music in the late 19th century left its mark on 20th-century music. Gregorian influences in classical music include the choral setting of four chants in "Quatre motets sur des thèmes Grégoriens" by Maurice Duruflé, the carols of Peter Maxwell Davies, and the choral work of Arvo Pärt. Gregorian chant has been incorporated into other genres, such as London Boys's "Requiem" and some other dance compositions, Enigma's "Sadeness (Part I)", the chant interpretation of pop and rock by the German band Gregorian, the New age project Era, the techno project E Nomine, many of the songs by American Power/Thrash metal band Iced Earth, and the work of black metal band Deathspell Omega. The modal melodies of chant provide unusual sounds to ears attuned to modern scales. It has also been used in The Omen's main theme, Ave Satani.
-===Notes==
+==Notes==
 <references/>
 ==References==
 *''Graduale triplex'' (1979). Tournai: Desclée& Socii. ISBN 2-85274-094-X

← Older revision		Revision as of 00:41, July 28, 2011
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−	'''Gregorian chant''', or less commonly known as '''Carolingian chant''' is the central tradition of Western [[plainsong\|plainchant]], a form of [[monophony\|monophonic]] [[liturgy\|liturgical]] music within [[Western Rite\|Western Orthodoxy]] that accompanied the celebration of [[Divine Liturgy]] and other ritual services. It is named after [[Gregory the Dialogist\|Pope Gregory I]], Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the 'Divine Office' eight times a day at the proper hours was upheld according to the [[Rule of St. Benedict]]. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms, especially after the [[Great Schism]].	+	'''Gregorian chant''', or less commonly known as '''Carolingian chant''' is the central tradition of Western [[w:plainsong\|plainchant]], a form of [[w:monophony\|monophonic]] [[liturgy\|liturgical]] music within [[Western Rite\|Western Orthodoxy]] that accompanied the celebration of [[Divine Liturgy]] and other ritual services. It is named after [[Gregory the Dialogist\|Pope Gregory I]], Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the 'Divine Office' eight times a day at the proper hours was upheld according to the [[Rule of St. Benedict]]. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms, especially after the [[Great Schism]].

	==History==		==History==

@@ Line 104: / Line 104: @@
 Not much is known about the particular vocal stylings or performance practices used for Gregorian chant in the Middle Ages. On occasion, the clergy was urged to have their singers perform with more restraint and piety. This suggests that virtuosic performances occurred, contrary to the modern stereotype of Gregorian chant as slow-moving mood music. This tension between musicality and piety goes far back; Gregory the Great himself criticized the practice of promoting clerics based on their charming singing rather than their preaching.<ref>Hiley, ''Western Plainchant'' p. 504.</ref> However, Odo of Cluny, a renowned monastic reformer, praised the intellectual and musical virtuosity to be found in chant:
-{{cquote|For in these [Offertories and Communions] there are the most varied kinds of ascent, descent, repeat..., delight for the ''cognoscenti'', difficulty for the beginners, and an admirable organization... that widely differs from other chants; they are not so much made according to the rules of music... but rather evince the authority and validity... of music.<ref>Apel, p. 312.</ref>}}
+"For in these Offertories and Communions there are the most varied kinds of ascent, descent, repeat..., delight for the ''cognoscenti'', difficulty for the beginners, and an admirable organization... that widely differs from other chants; they are not so much made according to the rules of music... but rather evince the authority and validity... of music."<ref>Apel, p. 312.</ref>
 True antiphonal performance by two alternating choruses still occurs, as in certain German monasteries. However, antiphonal chants are generally performed in responsorial style by a solo cantor alternating with a chorus. This practice appears to have begun in the Middle Ages.<ref>Apel, ''Gregorian Chant'' p. 197.</ref> Another medieval innovation had the solo cantor sing the opening words of responsorial chants, with the full chorus finishing the end of the opening phrase. This innovation allowed the soloist to fix the pitch of the chant for the chorus and to cue the choral entrance.

@@ Line 15: / Line 15: @@
 ===Development of earlier plainchant===
-Singing has been part of the liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in [[synagogue]]s for centuries after the Destruction of the Second Temple in [[Anno Domini|AD]]&nbsp;70.<ref>David Hiley, ''Western Plainchant'' pp. 484–5.</ref> However, early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition. Canonical hours have their roots in ancient Jewish prayer hours. "Amen" and "alleluia" come from [Hebrew, and the threefold "sanctus" derives from the threefold "kadosh" of the Kedusha.<ref>Willi Apel, ''Gregorian Chant'' p. 34.</ref>
+Singing has been part of the liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in [[synagogue]]s for centuries after the Destruction of the Second Temple in AD 70.<ref>David Hiley, ''Western Plainchant'' pp. 484–5.</ref> However, early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition. Canonical hours have their roots in ancient Jewish prayer hours. "Amen" and "alleluia" come from [Hebrew, and the threefold "sanctus" derives from the threefold "kadosh" of the Kedusha.<ref>Willi Apel, ''Gregorian Chant'' p. 34.</ref>
 The [[New Testament]] mentions singing [[hymn]]s during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]". Other ancient witnesses such as [[Clement of Rome|Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and [[Egeria]] confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref>
-Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert [[monk]]s following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[Ambrose|St. Ambrose]] introduced this practice to the West.
+Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert [[monk]]s following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[Ambrose of Milan|St. Ambrose]] introduced this practice to the West.
 Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410, [[Augustine of Hippo]] described the responsorial singing of a Gradual psalm at Mass. At ca. 520, Saint [[Benedict of Nursia]] established what is called the rule of St. Benedict, in which the protocol of the Divine Office for monastic use was laid down. Around 678, Roman chant was taught at York.<ref>James McKinnon, ''Antiquity and the Middle Ages'' p. 320.</ref> Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles (Celtic chant), Spain (Mozarabic), Gaul (Gallican), and Italy (Old Roman, Ambrosian and Beneventan). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western [[Roman Empire]] collapsed.
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 ==Influence==
 ===Medieval and Renaissance music===
-Gregorian chant had a significant impact on the development of medieval and [[Renaissance music]]. Modern staff notation developed directly from Gregorian neumes. The square notation that had been devised for plainchant was borrowed and adapted for other kinds of music. Certain groupings of neumes were used to indicate repeating rhythms called [[rhythmic mode]]s. Rounded noteheads increasingly replaced the older squares and lozenges in the 15th and 16th centuries, although chantbooks conservatively maintained the square notation. By the 16th century, the fifth line added to the [[staff (music)|musical staff]] had become standard. The [[Clef#Bass clef|bass clef]] and the [[Flat (music)|flat]], [[Natural sign|natural]], and [[sharp (music)|sharp]] accidentals derived directly from Gregorian notation.<ref>Chew, Geoffrey and Richard Rastall: "Notation", Grove Music Online, ed. L. Macy (Accessed 27&nbsp;June&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref>
+Gregorian chant had a significant impact on the development of medieval and Renaissance music. Modern staff notation developed directly from Gregorian neumes. The square notation that had been devised for plainchant was borrowed and adapted for other kinds of music. Certain groupings of neumes were used to indicate repeating rhythms called rhythmic modes. Rounded noteheads increasingly replaced the older squares and lozenges in the 15th and 16th centuries, although chantbooks conservatively maintained the square notation. By the 16th century, the fifth line added to the musical staff had become standard. The bass clef and the flat, natural, and sharp accidentals derived directly from Gregorian notation.<ref>Chew, Geoffrey and Richard Rastall: "Notation", Grove Music Online, ed. L. Macy (Accessed 27&nbsp;June&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref>
-Gregorian melodies provided musical material and served as models for tropes and [[liturgical drama]]s. Vernacular hymns such as "Christ ist erstanden" and "Nun bitten wir den heiligen Geist" adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance "[[In Nomine]]" were based on Gregorian melodies. Beginning with the improvised harmonizations of Gregorian chant known as [[organum]], Gregorian chants became a driving force in medieval and Renaissance [[polyphony]]. Often, a Gregorian chant (sometimes in modified form) would be used as a ''[[cantus firmus]]'', so that the consecutive notes of the chant determined the harmonic progression. The Marian antiphons, especially ''Alma Redemptoris Mater'', were frequently arranged by Renaissance composers. The use of chant as a cantus firmus was the predominant practice until the [[Baroque]] period, when the stronger harmonic progressions made possible by an independent bass line became standard.
+Gregorian melodies provided musical material and served as models for tropes and liturgical dramas. Vernacular hymns such as "Christ ist erstanden" and "Nun bitten wir den heiligen Geist" adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance "In Nomine" were based on Gregorian melodies. Beginning with the improvised harmonizations of Gregorian chant known as organum, Gregorian chants became a driving force in medieval and Renaissance polyphony. Often, a Gregorian chant (sometimes in modified form) would be used as a ''cantus firmus'', so that the consecutive notes of the chant determined the harmonic progression. The Marian antiphons, especially ''Alma Redemptoris Mater'', were frequently arranged by Renaissance composers. The use of chant as a cantus firmus was the predominant practice until the Baroque period, when the stronger harmonic progressions made possible by an independent bass line became standard.
-The Catholic Church later allowed polyphonic arrangements to replace the Gregorian chant of the Ordinary of the Mass. This is why the Mass as a compositional form, as set by composers like [[Giovanni Pierluigi da Palestrina|Palestrina]] or [[Wolfgang Amadeus Mozart|Mozart]], features a Kyrie but not an Introit. The Propers may also be replaced by choral settings on certain solemn occasions. Among the composers who most frequently wrote polyphonic settings of the Propers were [[William Byrd]] and [[Tomás Luis de Victoria]]. These polyphonic arrangements usually incorporate elements of the original chant.
+The Catholic Church later allowed polyphonic arrangements to replace the Gregorian chant of the Ordinary of the Mass. This is why the Mass as a compositional form, as set by composers like Giovanni Pierluigi da Palestrina or Wolfgang Amadeus Mozart, features a Kyrie but not an Introit. The Propers may also be replaced by choral settings on certain solemn occasions. Among the composers who most frequently wrote polyphonic settings of the Propers were William Byrd and Tomás Luis de Victoria. These polyphonic arrangements usually incorporate elements of the original chant.
 ===20th century===
-The renewed interest in [[early music]] in the late 19th century left its mark on 20th-century music. Gregorian influences in classical music include the choral setting of four chants in "Quatre motets sur des thèmes Grégoriens" by [[Maurice Duruflé]], the carols of [[Peter Maxwell Davies]], and the choral work of [[Arvo Pärt]]. Gregorian chant has been incorporated into other genres, such as [[London Boys]]'s "Requiem" and some other dance compositions, [[Enigma (musical project)|Enigma's]] "[[Sadeness (Part I)]]", the chant interpretation of pop and rock by the German band [[Gregorian (band)|Gregorian]], the New age project [[Era (musical project)|Era]], the [[techno]] project [[E Nomine]], many of the songs by American Power/Thrash metal band [[Iced Earth]], and the work of [[black metal]] band [[Deathspell Omega]]. The modal melodies of chant provide unusual sounds to ears attuned to modern scales. It has also been used in [[The Omen]]'s main theme, [[Ave Satani]].
+The renewed interest in early music in the late 19th century left its mark on 20th-century music. Gregorian influences in classical music include the choral setting of four chants in "Quatre motets sur des thèmes Grégoriens" by Maurice Duruflé, the carols of Peter Maxwell Davies, and the choral work of Arvo Pärt. Gregorian chant has been incorporated into other genres, such as London Boys's "Requiem" and some other dance compositions, Enigma's "Sadeness (Part I)", the chant interpretation of pop and rock by the German band Gregorian, the New age project Era, the techno project E Nomine, many of the songs by American Power/Thrash metal band Iced Earth, and the work of black metal band Deathspell Omega. The modal melodies of chant provide unusual sounds to ears attuned to modern scales. It has also been used in The Omen's main theme, Ave Satani.
 ===Notes==
-<references />
+<references/>
 ==References==
 *''Graduale triplex'' (1979). Tournai: Desclée& Socii. ISBN 2-85274-094-X
 * ''Graduale Lagal''' (1984 / 1990) Chris Hakkennes, Stichting Lagal Utrecht ISBN 90-800408-2-7

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 Singing has been part of the liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in [[synagogue]]s for centuries after the Destruction of the Second Temple in [[Anno Domini|AD]]&nbsp;70.<ref>David Hiley, ''Western Plainchant'' pp. 484–5.</ref> However, early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition. Canonical hours have their roots in ancient Jewish prayer hours. "Amen" and "alleluia" come from [Hebrew, and the threefold "[[sanctus]]" derives from the threefold "kadosh" of the Kedusha.<ref>Willi Apel, ''Gregorian Chant'' p. 34.</ref>
-The [[New Testament]] mentions singing hymns during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]" {{bibleverse||Matthew|26.30|NT}}. Other ancient witnesses such as [[Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and Egeria confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "[[Oxyrhynchus hymn]]" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref>
+The [[New Testament]] mentions singing hymns during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]" {{bibleverse||Matthew|26.30|NT}}. Other ancient witnesses such as [[Clement of Rome|Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and Egeria confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "[[Oxyrhynchus hymn]]" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref>
 Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[Ambrose|St. Ambrose]] introduced this practice to the West.

← Older revision		Revision as of 18:49, June 25, 2011
Line 1:		Line 1:
−	'''Gregorian chant''', or less commonly known as '''Carolingian chant''' is the central tradition of Western [[plainsong\|plainchant]], a form of [[monophony\|monophonic]] [[liturgy\|liturgical]] music within [[Western Rite\|Western Orthodoxy]] that accompanied the celebration of Divine Liturgy and other ritual services. It is named after [[Gregory the Dialogist\|Pope Gregory I]], Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the 'Divine Office' eight times a day at the proper hours was upheld according to the [[Rule of ~~Saint~~ Benedict]]. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms, especially after the [[Great Schism]].	+	'''Gregorian chant''', or less commonly known as '''Carolingian chant''' is the central tradition of Western [[plainsong\|plainchant]], a form of [[monophony\|monophonic]] [[liturgy\|liturgical]] music within [[Western Rite\|Western Orthodoxy]] that accompanied the celebration of Divine Liturgy and other ritual services. It is named after [[Gregory the Dialogist\|Pope Gregory I]], Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the 'Divine Office' eight times a day at the proper hours was upheld according to the [[Rule of St. Benedict]]. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms, especially after the [[Great Schism]].

	==History==		==History==

@@ Line 1: / Line 1: @@
-'''Gregorian chant''', or less commonly known as '''Carolingian chant''' is the central tradition of Western [[plainsong|plainchant]], a form of [[monophony|monophonic]] [[liturgy|liturgical]] music within [[Western Rite|Western Orthodoxy]] that accompanied the celebration of Divine Liturgy and other ritual services. It is named after [[Pope Gregory I]], Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the 'Divine Office' eight times a day at the proper hours was upheld according to the [[Rule of Saint Benedict]]. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms, especially after the [[Great Schism]].
+'''Gregorian chant''', or less commonly known as '''Carolingian chant''' is the central tradition of Western [[plainsong|plainchant]], a form of [[monophony|monophonic]] [[liturgy|liturgical]] music within [[Western Rite|Western Orthodoxy]] that accompanied the celebration of Divine Liturgy and other ritual services. It is named after [[Gregory the Dialogist|Pope Gregory I]], Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the 'Divine Office' eight times a day at the proper hours was upheld according to the [[Rule of Saint Benedict]]. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms, especially after the [[Great Schism]].
 ==History==
-Gregorian chant was organized, codified, and notated mainly in the [[Franks|Frankish]] lands of western and central Europe during the 10th to 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. Although popular belief credited [[Pope Gregory I|Pope Gregory the Great]] with having personally invented Gregorian chant (in much the same way that a biblical prophet would transmit a divinely received message), scholars now believe that the chant bearing his name arose from a later [[Carolingian]] synthesis of Roman and [[Gallican chant]], and that at that time the attribution to Gregory I was a "marketing ruse" to invest it with a sanctified pedigree, as part of an effort to create one liturgical protocol that would be practised throughout the entire [[Holy Roman Empire]].{{Citation needed|date=January 2011}}
+Gregorian chant was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 10th to 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. Although popular belief credited Pope Gregory I with having personally invented Gregorian chant (in much the same way that a biblical prophet would transmit a divinely received message), scholars now believe that the chant bearing his name arose from a later [[Carolingian]] synthesis of Roman and [[Gallican chant]], and that at that time the attribution to Gregory I was a "marketing ruse" to invest it with a sanctified pedigree, as part of an effort to create one liturgical protocol that would be practised throughout the entire [[Holy Roman Empire]].{{Citation needed|date=January 2011}}
 During the following centuries, the chant tradition remained at the heart of Roman Catholic music and served as the dominant platform for new performance and compositional practices. Newly composed music on new texts was first introduced within the context of existing plainchant. The late Middle Ages [[polyphony]] was developed in Western music. Although it had mostly fallen into disuse after the Baroque period, Gregorian chant experienced a revival in the 19th century in the Roman Catholic Church and the Anglo-Catholic wing of the [[Anglican Communion]].
@@ Line 15: / Line 15: @@
 ===Development of earlier plainchant===
-Singing has been part of the liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in [[synagogue]]s for centuries after the [[Siege of Jerusalem (70)|Destruction of the Second Temple]] in [[Anno Domini|AD]]&nbsp;70.<ref>David Hiley, ''Western Plainchant'' pp. 484–5.</ref> However, early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition. Canonical hours have their roots in ancient Jewish prayer hours. "Amen" and "alleluia" come from [Hebrew, and the threefold "[[sanctus]]" derives from the threefold "kadosh" of the Kedusha.<ref>Willi Apel, ''Gregorian Chant'' p. 34.</ref>
+Singing has been part of the liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in [[synagogue]]s for centuries after the Destruction of the Second Temple in [[Anno Domini|AD]]&nbsp;70.<ref>David Hiley, ''Western Plainchant'' pp. 484–5.</ref> However, early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition. Canonical hours have their roots in ancient Jewish prayer hours. "Amen" and "alleluia" come from [Hebrew, and the threefold "[[sanctus]]" derives from the threefold "kadosh" of the Kedusha.<ref>Willi Apel, ''Gregorian Chant'' p. 34.</ref>
-The [[New Testament]] mentions singing hymns during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]" {{bibleverse||Matthew|26.30|NT}}. Other ancient witnesses such as [[Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and [[Egeria (pilgrim)|Egeria]] confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "[[Oxyrhynchus hymn]]" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref>
+The [[New Testament]] mentions singing hymns during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]" {{bibleverse||Matthew|26.30|NT}}. Other ancient witnesses such as [[Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and Egeria confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "[[Oxyrhynchus hymn]]" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref>
-Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian [[Hippolytus (writer)|Hippolytus]], attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[Ambrose|St. Ambrose]] introduced this practice to the West.
+Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[Ambrose|St. Ambrose]] introduced this practice to the West.
-Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410, [[Augustine of Hippo]] described the [[responsory|responsorial]] singing of a [[Gradual]] psalm at Mass. At ca. 520, Saint [[Benedict of Nursia]] established what is called the rule of St. Benedict, in which the protocol of the Divine Office for monastic use was laid down. Around 678, Roman chant was taught at [[York]].<ref>James McKinnon, ''Antiquity and the Middle Ages'' p. 320.</ref> Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles ([[Celtic chant]]), Spain ([[Mozarabic chant|Mozarabic]]), Gaul ([[Gallican chant|Gallican]]), and Italy ([[Old Roman chant|Old Roman]], [[Ambrosian chant|Ambrosian]] and [[Beneventan chant|Beneventan]]). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western [[Roman Empire]] collapsed.
+Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410, [[Augustine of Hippo]] described the responsorial singing of a Gradual psalm at Mass. At ca. 520, Saint [[Benedict of Nursia]] established what is called the rule of St. Benedict, in which the protocol of the Divine Office for monastic use was laid down. Around 678, Roman chant was taught at [[York]].<ref>James McKinnon, ''Antiquity and the Middle Ages'' p. 320.</ref> Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles ([[Celtic chant]]), Spain ([[Mozarabic chant|Mozarabic]]), Gaul ([[Gallican chant|Gallican]]), and Italy ([[Old Roman chant|Old Roman]], [[Ambrosian chant|Ambrosian]] and [[Beneventan chant|Beneventan]]). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western [[Roman Empire]] collapsed.
 ===Origins of the new tradition===
-The Gregorian repertory was systematized for use in the [[Roman Rite]]. According to [[James McKinnon]], the core liturgy of the Roman Mass was compiled over a brief period in the 8th century in a project overseen by [[Chrodegang]] of [[Metz]]. Other scholars, including Andreas Pfisterer and Peter Jeffery, have argued for an earlier origin for the oldest layers of the repertory.
+The Gregorian repertory was systematized for use in the [[Roman Rite]]. According to James McKinnon, the core liturgy of the Roman Mass was compiled over a brief period in the 8th century in a project overseen by Chrodegang of Metz. Other scholars, including Andreas Pfisterer and Peter Jeffery, have argued for an earlier origin for the oldest layers of the repertory.
-Scholars debate whether the essentials of the melodies originated in Rome, before the 7th century, or in [[Franks|Francia]], in the 8th and early 9th centuries. Roman Catholic Traditionalists point to evidence supporting an important role for [[Pope Gregory I|Pope Gregory the Great]] between 590 and 604, such as that presented in Heinrich Bewerunge's article in the ''Catholic Encyclopedia''.<ref>{{ws|"[[s:Catholic Encyclopedia (1913)/Gregorian chant|Gregorian chant]]" in the 1913 ''Catholic Encyclopedia''}}, article by Heinrich Bewerunge.</ref> Scholarly consensus, supported by [[Willi Apel]] and Robert Snow, asserts instead that Gregorian chant developed around 750 from a synthesis of Roman and [[Gallican chant]] commissioned by [[Carolingian]] rulers in France. During a visit to Gaul in 752–753, [[Pope Stephen II]] had celebrated Mass using Roman chant. According to [[Charlemagne]], his father [[Pippin the Younger|Pepin]] abolished the local [[Gallican rite]]s in favor of the Roman use, in order to strengthen ties with Rome.<ref>Apel, ''Gregorian Chant'' p. 79.</ref> In 785–786, at Charlemagne's request, [[Pope Hadrian I]] sent a papal [[sacramentary]] with Roman chants to the Carolingian court. This Roman chant was subsequently modified, influenced by local styles and Gallican chant, and later adapted into the system of eight [[musical mode|modes]]. This Frankish-Roman Carolingian chant, augmented with new chants to complete the liturgical year, became known as "Gregorian." Originally the chant was probably so named to honor the contemporary [[Pope Gregory II]],<ref>McKinnon, ''Antiquity and the Middle Ages'' p. 114.</ref> but later lore attributed the authorship of chant to his more famous predecessor Gregory the Great. Gregory was portrayed dictating plainchant inspired by a dove representing the [[Holy Spirit]], giving Gregorian chant the stamp of holy authority. Gregory's authorship is popularly accepted as fact to this day.<ref>Wilson, ''Music of the Middle Ages'' p. 13.</ref>
+Scholars debate whether the essentials of the melodies originated in Rome, before the 7th century, or in Francia, in the 8th and early 9th centuries. Roman Catholic Traditionalists point to evidence supporting an important role for Pope Gregory I between 590 and 604, such as that presented in Heinrich Bewerunge's article in the ''Catholic Encyclopedia''.<ref>{{ws|"[[s:Catholic Encyclopedia (1913)/Gregorian chant|Gregorian chant]]" in the 1913 ''Catholic Encyclopedia''}}, article by Heinrich Bewerunge.</ref> Scholarly consensus, supported by Willi Apel and Robert Snow, asserts instead that Gregorian chant developed around 750 from a synthesis of Roman and [[Gallican chant]] commissioned by [[Carolingian]] rulers in France. During a visit to Gaul in 752–753, [[Pope Stephen II]] had celebrated Mass using Roman chant. According to [[Charlemagne]], his father Pepin abolished the local [[Gallican rite]]s in favor of the Roman use, in order to strengthen ties with Rome.<ref>Apel, ''Gregorian Chant'' p. 79.</ref> In 785–786, at Charlemagne's request, [[Pope Hadrian I]] sent a papal [[sacramentary]] with Roman chants to the Carolingian court. This Roman chant was subsequently modified, influenced by local styles and Gallican chant, and later adapted into the system of eight [[musical mode|modes]]. This Frankish-Roman Carolingian chant, augmented with new chants to complete the liturgical year, became known as "Gregorian." Originally the chant was probably so named to honor the contemporary [[Pope Gregory II]],<ref>McKinnon, ''Antiquity and the Middle Ages'' p. 114.</ref> but later lore attributed the authorship of chant to his more famous predecessor Gregory the Great. Gregory was portrayed dictating plainchant inspired by a dove representing the [[Holy Spirit]], giving Gregorian chant the stamp of holy authority. Gregory's authorship is popularly accepted as fact to this day.<ref>Wilson, ''Music of the Middle Ages'' p. 13.</ref>
 ===Dissemination and hegemony===
-Gregorian chant appeared in a remarkably uniform state across Europe within a short time. [[Charlemagne]], once elevated to Holy Roman Emperor, aggressively spread Gregorian chant throughout his empire to consolidate religious and secular power, requiring the clergy to use the new repertory on pain of death.<ref>David Wilson, ''Music of the Middle Ages'' p. 10.</ref> From English and German sources, Gregorian chant spread north to [[Scandinavia]], [[Iceland]] and [[Finland]].<ref>Hiley, ''Western Plainchant'' p. 604.</ref> In 885, [[Pope Stephen V]] banned the [[Church Slavonic language|Slavonic]] liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including Poland, Moravia, Slovakia, and Austria.
+Gregorian chant appeared in a remarkably uniform state across Europe within a short time. [[Charlemagne]], once elevated to Holy Roman Emperor, aggressively spread Gregorian chant throughout his empire to consolidate religious and secular power, requiring the clergy to use the new repertory on pain of death.<ref>David Wilson, ''Music of the Middle Ages'' p. 10.</ref> From English and German sources, Gregorian chant spread north to Scandinavia, Iceland and Finland.<ref>Hiley, ''Western Plainchant'' p. 604.</ref> In 885, [[Pope Stephen V]] banned the [[Church Slavonic language|Slavonic]] liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including Poland, Moravia, Slovakia, and Austria.
 The other plainchant repertories of the Christian West faced severe competition from the new Gregorian chant. Charlemagne continued his father's policy of favoring the Roman Rite over the local Gallican traditions. By the 9th century the Gallican rite and chant had effectively been eliminated, although not without local resistance.<ref>Apel, ''Gregorian Chant'' p. 80.</ref> The Gregorian chant of the [[Sarum Rite]] displaced [[Celtic chant]]. Gregorian coexisted with [[Beneventan chant]] for over a century before Beneventan chant was abolished by papal decree (1058). [[Mozarabic chant]] survived the influx of the [[Visigoths]] and [[Moors]], but not the Roman-backed prelates newly installed in Spain during the Reconquista. Restricted to a handful of dedicated Roman Catholic chapels, modern Mozarabic chant is highly Gregorianized and bears no musical resemblance to its original form. [[Ambrosian chant]] alone survived to the present day, preserved in [[Milan]] due to the musical reputation and ecclesiastical authority of [[Ambrose|St. Ambrose]].