"these developments are thus said to follow the 'semiological approach'. The International Society for the Study of Gregorian Chant (Associazione Internazionale Studi di Canto Gregoriano) carries on the legacy of Eugène Cardine, putting special emphasis on bridging the gap between Gregorian research and praxis. The Society has some 500 members in 30 countries worldwide. Other students of Cardine, who, like Fischer and Billecocg, held a professorate at the Pontifical Institute of Sacred Music in Rome or other church music institutes, include Marie-Noel Colette, Luigi Agustoni, Johannes Berchmans Göschl and Godehard Joppich. A smaller school of singing chant using proportional durations,"
"Gregorian chant Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Typical melodic features include a characteristic ambitus, and also characteristic intervallic patterns relative to a referential mode"
"Gregorian Chant, named after Pope Gregory I. By the 12th and 13th centuries, Gregorian chant had superseded all the other Western chant traditions, with the exception of the Ambrosian chant in Milan and the Mozarabic chant in a few specially designated Spanish chapels. Hildegard von Bingen (1098–1179) was the earliest known female composer. She wrote many monophonic works for the Catholic Church, almost all of them for female voices. Around the end of the 9th century, singers in monasteries such as St. Gall in Switzerland began experimenting with adding another part to the chant, generally a voice in parallel motion,"
"being of a simple kind, the solo compositions more elaborate, using a more extended compass of melodies and longer groups of notes on single syllables. A marked feature in plain chant is the use of the same melody for various texts. This is quite typical for the ordinary psalmody in which the same formula, the ""psalm tone"", is used for all the verses of a psalm, just as in a hymn or a folk song the same melody is used for the various stanzas. Gregorian chant is a variety of plainsong named after Pope Gregory I (6th century A.D.), although"
"Gregorian chant, are associated with the liturgy. The Gregorian chant, also called ""cantilena Romana"", has been, since its codification, (putatively under Pope St. Gregory the Great, although actually occurring later,) and remains the official music of the Latin Rite Catholic Liturgy, prescribed by Church documents to be given ""pride of place"" in Her liturgies. This form of music of the Church is contained in the Sacramentary Roman Missal as well as the chant books, e.g. graduale Romanum, antiphonale, liber cantualis. Other Rites within the Catholic Church, (e.g. Maronite, Byzantine, Ambrosian) have their own forms of chant which are proper to"
"chant repertory, much as Gregory the Great is not known to have composed any Gregorian chant. However, during his fourth-century tenure as Bishop of Milan, he is credited with introducing hymnody from the Eastern Church into the West. Ambrose composed original hymns as well, four of which still survive, along with music which may not have changed too much from the original melodies. Two methods of singing psalms or other chants are responsorial and antiphonal. In responsorial singing, the soloist (or choir) sings a series of verses, each one followed by a response from the choir (or congregation). In antiphonal"
"the papacy of Pope Vitalian in the 7th century. Gregorian chant is the main tradition of Western plainchant, a form of monophonic liturgical chant of Western Christianity that accompanied the celebration of Mass and other ritual services. This musical form originated in Monastic life, in which singing the 'Divine Service' nine 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"
"Gregorian mode A Gregorian mode (or church mode) is one of the eight systems of pitch organization used in Gregorian chant. The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period . The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects (Old Roman, Mozarabic, Ambrosian,"
"Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic"
"Vatican II officially allowed worshipers to substitute other music, particularly sacred polyphony, in place of Gregorian chant, although it did reaffirm that Gregorian chant was still the official music of the Roman Rite of the Catholic Church, and the music most suitable for worship in the Roman Liturgy. Gregorian chant is, as 'chant' implies, vocal music. The text, the phrases, words and eventually the syllables, can be sung in various ways. The most straightforward is recitation on the same tone, which is called ""syllabic"" as each syllable is sung to a single tone. Likewise, simple chants are often syllabic throughout"
"Old Roman chant Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Early Christian Church. It was formerly performed in Rome, and, although it is closely related to the Gregorian chant, the two are distinct. The Gregorian Chant gradually supplanted the Old Roman Chant between the 11th century and the 13th century AD. Unlike other chant traditions (such as Ambrosian chant, Mozarabic chant, and Gallican chant), Old Roman chant and Gregorian chant share essentially the same liturgy and the same texts. Many of their melodies are also closely related. Although primarily associated with the churches"
"chant of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence. Singing has been part of the Christian 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"
"Gregorian (band) Gregorian is a German band headed by Frank Peterson that performs Gregorian chant-inspired versions of modern pop and rock songs. The band features both vocal harmony and instrumental accompaniment. They competed in Unser Lied für Stockholm the German national selection for the Eurovision Song Contest 2016 with the song ""Masters of Chant"". They placed 5th in the first round of the public voting, missing the top 3. They gained 9.06% of the public vote. Originally, Gregorian was conceived as a more pop-oriented group in the vein of Enigma. Under this concept, they recorded the 1991 album ""Sadisfaction"", with"
"pop charts and peaked #7 of the UK charts. In the US, the album was released under the title ""Chant – Music for the Soul"" and peaked at #4 on the Billboard classical charts. It became conventional wisdom that listening to Gregorian chant increased the production of alpha waves in the brain, reinforcing the popular reputation of Gregorian chant as tranquilizing music. Gregorian chant Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries,"
"Gallican chant Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved. Although the music was largely lost, traces are believed to remain in the Gregorian corpus. Several sources attest the existence of a distinctive Gallican rite in the Frankish lands between the 5th and 9th centuries. The Celtic Rite and Mozarabic rite, which are liturgically related to the Gallican, are sometimes collectively referred to as ""Gallican"" as opposed to the different structure of"
"of Chant"" series and a number of other albums, including a Christmas album. They have also released two types of video album; live concerts and music video albums featuring the singers in various surroundings. Gregorian (band) Gregorian is a German band headed by Frank Peterson that performs Gregorian chant-inspired versions of modern pop and rock songs. The band features both vocal harmony and instrumental accompaniment. They competed in Unser Lied für Stockholm the German national selection for the Eurovision Song Contest 2016 with the song ""Masters of Chant"". They placed 5th in the first round of the public voting, missing"
"chant, a form of monophonic, unaccompanied sacred song of the Roman Catholic Church. Besides being the composer of many Gregorian songs (""Officium Defunctorum"", 1887) and the writer of a huge amount of articles, Dom Pothier was also the head and editor of the ""Revue du Chant Grégorien"" (1892–1914) - supervising the publication of several works (Hymnes, Christmas office, Antifonario, Cantus mariales) -, the founder of the ""Paléographie Musicale"" publication for the dissemination of medieval liturgical manuscripts, and the author of a new edition of the choir books based on manuscripts of the Gregorian chant and of several studies on the"
"choir. A few choirs elaborate further, e.g. by having some verses sung by soloists, trebles only, alto/tenor/bass only (with the treble line transferred into one of the other parts) or one part or soloists singing the melody while the rest of the choir hums. Occasionally some or all trebles may sing a descant; this usually happens only in the final verse of the psalm or the Gloria. Anglican chant Anglican chant, also known as English chant, is a way to sing unmetrical texts, including psalms and canticles from the Bible, by matching the natural speech-rhythm of the words to the"
"the traditional chant of the Roman Rite, known as Gregorian chant, less ornate than that of the Eastern rites: except in such pieces as the graduals and alleluias; it eschews the lengthy melismata of Coptic Christianity, and, being entirely monophonic, it has nothing of the dense harmonies of present-day chanting in the Russian and Georgian churches. However, when Western Europe adopted polyphony, the music of the Roman Rite did become very elaborate and lengthy. While the choir sang one part of the Mass, the priest said that part quickly and quietly to himself and continued with other parts; or he"
"Ambrosian chant Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church. The history of Milan as a center for religious music goes back to St. Ambrose. Ambrose is not known to have composed any of the Ambrosian"
"with only a few instances where two or more notes are sung on one syllable. ""Neumatic"" chants are more embellished and ligatures, a connected group of notes, written as a single compound neume, abound in the text. Melismatic chants are the most ornate chants in which elaborate melodies are sung on long sustained vowels as in the Alleluia, ranging from five or six notes per syllable to over sixty in the more prolix melismata. Gregorian chants fall into two broad categories of melody: recitatives and free melodies. The simplest kind of melody is the liturgical recitative. Recitative melodies are dominated"
"centonized. Gregorian chant evolved to fulfill various functions in the Roman Catholic liturgy. Broadly speaking, liturgical recitatives are used for texts intoned by deacons or priests. Antiphonal chants accompany liturgical actions: the entrance of the officiant, the collection of offerings, and the distribution of sanctified bread and wine. Responsorial chants expand on readings and lessons. The non-psalmodic chants, including the Ordinary of the Mass, sequences, and hymns, were originally intended for congregational singing. The structure of their texts largely defines their musical style. In sequences, the same melodic phrase is repeated in each couplet. The strophic texts of hymns use"
"quarter of the chant (and thus the first half of the verse). The side that did not start (usually cantoris) then sing the second quarter of the chant (and thus the second half of the verse). This sequence then repeats. In half-chanting (which is more true to antiphonal singing in the Gregorian style), decani sing the first two quarters of the chant, and cantoris the next two quarters (so that each half-choir sings a whole verse at a time). With antiphonal singing, the first two verses, the ""Gloria"" and perhaps the last two verses are often sung by the whole"
"Evangelium, Offertoria, and Transitoria sometimes show complex repeat structures. Ambrosian chant Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church. The history of Milan as a center for religious music goes back to St. Ambrose. Ambrose is"
"Antiphon An antiphon (Greek ἀντίφωνον, ἀντί ""opposite"" and φωνή ""voice"") is a short chant in Christian ritual, sung as a refrain. The texts of antiphons are the Psalms. Their form was favored by St Ambrose and they feature prominently in Ambrosian chant, but they are used widely in Gregorian chant as well. They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers. They should not be confused with Marian antiphons or processional antiphons. When a chant consists of alternating verses"
"Middle Ages, this Gregorian chant usually is made up of a single verse in a psalm called the ""refrain"". The chant starts with the refrain and then the “Gloria Patri….” is chanted followed by a repetition of the refrain (or antiphon). Since the Introit is the first thing that happens in the worship service, its first word is sometimes used to designate the entire Mass. For example, the first word of the Introit for the Third Sunday in of Advent is “Gaudete” so this Mass is called “Gaudete Sunday” and the Fourth Sunday in Lent is called “Laetare Sunday,” the"
"Anglican chant Anglican chant, also known as English chant, is a way to sing unmetrical texts, including psalms and canticles from the Bible, by matching the natural speech-rhythm of the words to the notes of a simple harmonized melody. This distinctive type of chant is a significant element of Anglican church music. Anglican chant was formerly in widespread use in Anglican and Episcopal churches, but today, Anglican chant is sung primarily in Anglican cathedrals and parish churches that have retained a choral liturgical tradition. Additionally, Anglican chant may be sung in Roman Catholic, Lutheran, Presbyterian, and Reformed churches. Anglican chant"
"on Gregorian plainchant in its tenor voice, but the structure of a chanson insofar as there is only one other text sung, in French, in the upper voices. The text is a poem in Middle French, presenting the voice of a mother lamenting the sufferings of her son and addressing God as her son's father – evoking both the image of the Virgin Mary in the Lamentation of Christ, and the personification of the Church as the mystical mother of the faithful. The tenor text is a modified quotation taken from the Book of Lamentations (1.2), the biblical lament about"
"votive chants specific to French saints and locations. Gallican chant Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved. Although the music was largely lost, traces are believed to remain in the Gregorian corpus. Several sources attest the existence of a distinctive Gallican rite in the Frankish lands between the 5th and 9th centuries. The Celtic Rite and Mozarabic rite, which are liturgically related to the Gallican, are sometimes collectively referred to as"
"their verses, every bit as complex as their defunct Gregorian counterparts. The ""Confractorium"" is sung during the breaking of the bread, which has no counterpart in Gregorian chant. Finally, the ""Transitorium"", so called because it originally involved the transfer of a book to the opposite side of the altar, corresponds to the Gregorian Communion. Many Transitorium texts are direct translations of Greek originals, although the melodies are not demonstrably Byzantine. The Ingressa, Post Evangelium, Confractorium, and Transitorium never have verses, while the other chants may have responds and verses, up to three verses for some Cantus melodies. The Psalmellus, Post"
"consensus that Gregorian chant developed around 750 from a synthesis of Roman and Gallican chants, and was commissioned by the Carolingian rulers in France. Andreas Pfisterer and Peter Jeffery have shown that older melodic essentials from Roman chant are clear in the synthesized chant repertory. There were other developments as well. Chants were modified, influenced by local styles and Gallican chant, and fitted into the theory of the ancient Greek octoechos system of modes in a manner that created what later came to be known as the western system of the eight church modes. The Metz project also invented an"
"roughly concurrently with the Gregorian chant. In Western music, the term ""melisma"" most commonly refers to Gregorian chant (the first definition of melisma by the Merriam-Webster Online Dictionary' is ""a group of notes or tones sung on one syllable in plainsong""). However, the term melisma may be used to describe music of any genre, including baroque singing and later gospel. Within Jewish liturgical tradition, melisma is still commonly used in the chanting of Torah, readings from the Prophets, and in the body of a service. For an examination of the evolution of this tradition, see Idelsohn. Today, melisma is commonly"
"classes of Gregorian chant have a separate musical formula for each mode, allowing one section of the chant to transition smoothly into the next section, such as the psalm verses that are sung between the repetition of antiphons, or the Gloria Patri. Thus we find models for the recitation of psalmverses, Alleluia and Gloria Patri for all eight modes. Not every Gregorian chant fits neatly into Guido's hexachords or into the system of eight modes. For example, there are chants — especially from German sources – whose neumes suggest a warbling of pitches between the notes E and F, outside"