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{{short description|Form of song}}
{{Use dmy dates|date=June 2020}}
[[File:Graduale Aboense 2.jpg|thumb|upright=1.2|The [[Introit]] ''Gaudeamus omnes'', scripted in [[square notation]] in the 14th–15th century ''Graduale Aboense'', honors [[Henry (bishop of Finland)|Henry, patron saint of Finland]].{{Listen|image=none|filename=Gaudeamus omnes - Graduale Aboense.ogg|title=''Gaudeamus omnes''|embed=yes}}]]
{{Medieval music sidebar|expanded=forms}}
'''Gregorian chant''' is the central tradition of Western [[plainsong|plainchant]], a form of [[monophony|monophonic]], unaccompanied sacred song in [[Latin]] (and occasionally [[Greek language|Greek]]) 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 he only ordered a compilation of melodies throughout the whole Christian world, after having instructed his emissaries in the [[Schola cantorum]], where the [[Neume|neumatical notation]] was perfected, with the result of most of those melodies being a later [[Carolingian]] synthesis of the [[Old Roman chant]] and [[Gallican chant]].{{sfn|Murray|1963|pp=3–4}}
Gregorian chants were organized initially into four, then eight, and finally 12 [[mode (music)|modes]]. Typical melodic features include a characteristic [[Ambitus (music)|ambitus]], and also characteristic intervallic patterns relative to a referential [[Final (music)|mode final]], [[incipit]]s and [[cadence]]s, the use of [[reciting tone]]s at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called [[centonization]] to create families of related chants. The scale patterns are organized against a background pattern formed of conjunct and disjunct [[tetrachord]]s, producing a larger pitch system called the [[Gamut (music)|gamut]]. The chants can be sung by using six-[[Note (music)|note]] patterns called [[hexachord]]s. Gregorian melodies are traditionally written using [[neume]]s, an early form of [[musical notation]] from which the modern [[staff (music)|four-line and five-line staff]] developed.<ref>Development of notation styles is discussed at [http://www.dolmetsch.com/musictheory2.htm Dolmetsch online], accessed 4 July 2006</ref> 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 [[choir]]s of men and boys in churches, or by women and men of [[religious order]]s in their chapels. It is the music of the [[Roman Rite]], performed in the [[Mass (liturgy)|Mass]] and the monastic [[Canonical hours|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 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.<ref name=Catholic>Second Vatican Council, [http://www.christusrex.org/www1/CDHN/v8.html The Constitution on the Sacred Liturgy], paragraph 116, {{Webarchive|url=https://archive.today/20121220134142/http://www.christusrex.org/www1/CDHN/v8.html |date=20 December 2012|access-date=29 July 2025}}; [[Pope Benedict XVI]]: [http://www.cwnews.com/news/viewstory.cfm?recnum=44963 Catholic World News 28 June 2006], accessed on 5 July 2006</ref>
==History==
===Development of earlier plainchant===
Singing has been part of the Christian [[liturgy]] since the earliest days of the Church. It is widely accepted that the [[psalms|psalmody]] of [[History of ancient Israel and Judah|ancient Jewish]] worship significantly influenced and contributed to [[Early Christianity|early Christian]] ritual and chant. Christians read Scriptures and sang chants, as their Jewish predecessors had done. Although new Christian liturgy was developed, the source of much of this Christian liturgy was Jewish psalmody. The source materials for newly emergent Christian chants were originally transmitted by Jews in sung form.<ref>{{cite web |title=The History of Gregorian Chant |url=https://stceciliasabbey.org.uk/wp-content/uploads/2022/07/CHANT-HISTORY-1.pdf |website=St. Cecilia's Abbey |publisher=St. Cecillia's Abbey |access-date=21 May 2024}}</ref> Early Christian rites also incorporated elements of Jewish worship that survived in later chant tradition. [[Canonical hours]] have their roots in Jewish prayer hours. "[[Amen]]" and "[[alleluia]]" come from [[Hebrew language|Hebrew]], and the threefold "[[sanctus]]" derives from the threefold "kadosh" of the [[Kedushah (prayer)|Kedushah]].{{sfn|Apel|1990||p=34}}
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,{{sfn|Apel|1990|p=74}} although in poetic or obscure ways that shed little light on how music sounded during this period.{{sfn|Hiley|1995|pp=484–487}}{{sfn|McKinnon|1990|p=72}}
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 of Rome|Hippolytus]], attests the singing of [[Hallel]] (Jewish) psalms with Alleluia as the refrain in early Christian [[agape feast|''agape'' feasts]].{{sfn|Hiley|1995|p=486}} 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, [[antiphon]]al psalmody became popular in the Christian East; in 386, [[Ambrose|St. Ambrose]] introduced this practice to the West. In the fifth century, a singing school, the Schola Cantorum, was founded at Rome to provide training in church musicianship.{{sfn|Grout|1960|p=28}}
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|St. Augustine]] described the [[responsory|responsorial]] singing of a [[Gradual]] psalm at Mass. At c. 520, [[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]].{{sfn|McKinnon|1990|p=320}} 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 chant|Old Roman]], 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.
[[Johannes Hymonides|John the Deacon]], biographer (c. 872) of [[Pope Gregory I]], modestly claimed that the saint "compiled a patchwork antiphonary",<ref name=Bewerunge>{{harvnb|Bewerunge|1913}}</ref> unsurprisingly, given his considerable work with liturgical development. He reorganized the Schola Cantorum and established a more uniform standard in church services, gathering chants from among the regional traditions as widely as he could manage. Of those, he retained what he could, revised where necessary, and assigned particular chants to the various services.{{sfn|Grout|1960|pp=28–29}} According to [[Donald Jay Grout]], his goal was to organize the bodies of chants from diverse traditions into a uniform and orderly whole for use by the entire western region of the Church.{{sfn|Grout|1960|p=30}} His renowned love for music was recorded only 34 years after his death; the epitaph of Honorius testified that comparison to Gregory was already considered the highest praise for a music-loving pope.<ref name=Bewerunge /> While later legends magnified his real achievements, these significant steps may account for why his name came to be attached to Gregorian chant.
===Origins of mature plainchant===
[[File:Gregory I - Antiphonary of Hartker of Sankt Gallen.jpg|thumb|A dove representing the [[Holy Spirit in Christianity|Holy Spirit]] sitting on [[Pope Gregory I]]'s shoulder symbolizes Divine Inspiration.]]
The Gregorian repertory was further systematized for use in the [[Roman Rite]], and scholars weigh the relative influences of Roman and [[Carolingian]] practices upon the development of plainchant. The late 8th century saw a steadily increasing influence of the Carolingian monarchs over the popes. During a visit to Gaul in 752–753, [[Pope Stephen II]] celebrated [[Mass (liturgy)|Mass]] using Roman chant. According to [[Charlemagne]], his father [[Pepin the Short|Pepin]] abolished the local [[Gallican Rite]]s in favor of the Roman use, to strengthen ties with Rome.{{sfn|Apel|1990|p=79}} Thirty years later (785–786), at Charlemagne's request, [[Pope Adrian I]] sent a papal [[sacramentary]] with Roman chants to the Carolingian court. According to [[James McKinnon]], over a brief period in the 8th century, a project overseen by [[Chrodegang of Metz]] in the favorable atmosphere of the Carolingian monarchs, also compiled the core liturgy of the Roman Mass and promoted its use in [[Franks|Francia]] and throughout Gaul.{{sfn|Levy|Emerson|Bellingham|Hiley<!-- |Zon -->|2001|loc=§2: History to the 10th century}}
[[Willi Apel]] and Robert Snow{{Full citation needed|date=April 2020|reason=this is the sole mention in this article of Robert Snow}} assert a scholarly 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 [[mode (music)|church modes]]. The Metz project also invented an innovative [[musical notation]], using freeform [[neume]]s to show the shape of a remembered melody.<ref>{{cite journal | last1 = Grier | first1 = J.| year = 2003 | title = Ademar de Chabannes, Carolingian Musical Practices, and Nota Romana |journal=[[Journal of the American Musicological Society]]| volume = 56 | issue = 1| pages = 43–98 | doi = 10.1525/jams.2003.56.1.43 }}</ref> This notation was further developed over time, culminating in the introduction of [[Staff (music)|staff]] lines (attributed to [[Guido d'Arezzo]]) in the early 11th century, what we know today as plainchant notation. The whole body of Frankish-Roman Carolingian chant, augmented with new chants to complete the liturgical year, coalesced into a single body of chant that was called "Gregorian."
The changes made in the new system of chants were so significant that they have led some scholars to speculate that it was named in honor of the contemporary [[Pope Gregory II]].{{sfn|McKinnon|1990|p=114}} Nevertheless, the lore surrounding [[Pope Gregory I]] was sufficient to culminate in his portrayal as the actual author of Gregorian Chant. He was often depicted as receiving the dictation of plainchant from a dove representing the [[Holy Spirit in Christianity|Holy Spirit]], thus giving Gregorian chant the stamp of being divinely inspired.<ref>{{Cite journal |last=Weyer |first=Christoph |date=2020 |title=Hartker, Gregor und die Taube: Zum Codex CH-SGs 390/391|url=https://elibrary.steiner-verlag.de/article/10.25162/afmw-2020-0014 |journal=[[Archiv für Musikwissenschaft]]|language=de |volume=77 |issue=4 |page=299 |doi=10.25162/afmw-2020-0014 |s2cid=235004564 |issn=0003-9292}}</ref> Scholars agree that the melodic content of much Gregorian Chant did not exist in that form in Gregory I's day. In addition, it is known definitively that the familiar neumatic system for notating plainchant had not been established in his time.<ref>[[Richard Taruskin|Taruskin, Richard]], ''The Oxford History of Western Music, Volume I – Music from the earliest notations to the 16th century'', ch. 1, "The curtain goes up", p. 6. (Oxford: Oxford University Press, 2010)</ref> Nevertheless, Gregory's authorship is popularly accepted by some as fact to this day.{{sfn|Wilson|1990|p=13}}
===Dissemination and hegemony===
Gregorian chant appeared in a remarkably uniform state across Europe within a short time. [[Charlemagne]],
Gregorian chant eventually replaced the local chant
Later sources of these other chant traditions show an increasing Gregorian influence, such as occasional efforts to categorize their chants into the Gregorian
===Early sources and later revisions===
[[File:Ad te levavi trimmed.jpg|thumb|Two plainchants from the Mass Proper, written in adiastematic neumes, from {{ill|Codex Sangallensis 359|de|italic=yes}}]]
{{Listen|type=music|filename=Gradual chant - Universi qui te expectant.ogg|title=''Universi qui te expectant'', Gradual for the Mass (first Sunday of Advent)|description=This chant corresponds to the second one on the manuscript folio above beneath the large rubric ''Responsorium Graduale''; by [[Schola Antiqua of Chicago]].}}
The first extant sources with musical notation were written around 930 (Graduale Laon). Before this, plainchant had been transmitted orally. Most scholars of Gregorian chant agree that the development of music notation assisted the dissemination of chant across Europe. The earlier notated manuscripts are primarily from [[Regensburg]] in Germany, [[Abbey of Saint Gall|St. Gall]] in Switzerland, [[Laon]] and [[Abbey of Saint Martial, Limoges|St. Martial]] in France.
Gregorian chant has
In the late 19th century, early liturgical and musical manuscripts were unearthed and edited. Earlier, Dom [[Prosper Guéranger]] revived the monastic tradition in Solesmes. Re-establishing the Divine Office was among his priorities, but no proper chantbooks existed. Many monks were sent out to libraries throughout Europe to find relevant Chant manuscripts. In 1871, however, the old Medicea edition was reprinted ([[Pustet]], Regensburg) which [[Pope Pius IX]] declared the only official version. In their firm belief that they were on the right way, Solesmes increased its efforts. In 1889, after decades of research, the monks of Solesmes released the first book in a planned series, the Paléographie Musicale.<ref>{{cite web|url=https://archive.org/details/palographiemusic15macq|title=Paléographie musicale|volume=XV Les principaux manuscrits de chant grégorien, ambrosien, mozarabe, gallican|publisher=Desclée & Cie.|___location=Tournay, Belgium|via=[[Internet Archive]]|year=1937}}</ref> The incentive of its publication was to demonstrate the corruption of the 'Medicea' by presenting photographed notations originating from a great variety of manuscripts of one single chant, which Solesmes called forth as witnesses to assert their own reforms.
The monks of Solesmes brought in their heaviest artillery in this battle, as indeed the academically sound 'Paleo' was intended to be a war-tank, meant to abolish once and for all the corrupted Pustet edition. On the evidence of congruence throughout various manuscripts (which were duly published in [[facsimile]] editions with ample editorial introductions) Solesmes was able to work out a practical reconstruction. This reconstructed chant was academically praised, but rejected by Rome until 1903, when [[Pope Leo XIII]] died.
===Twentieth century developments===
Leo's successor, [[Pope Pius X]], promptly accepted the Solesmes chant – now compiled as the ''[[Liber usualis]]'' – as authoritative. In 1904, the Vatican edition of the Solesmes chant was commissioned. Serious academic debates arose, primarily owing to stylistic liberties taken by the Solesmes editors to impose their controversial interpretation of rhythm. The Solesmes editions insert [[Musical phrasing|phrasing]] marks and note-lengthening ''episema'' and ''mora'' marks not found in the original sources.
Conversely, they omit significative letters found in the original sources, which give instructions for rhythm and articulation such as speeding up or slowing down. These editorial practices have placed the historical authenticity of the Solesmes interpretation in doubt.{{sfn|Hiley|1995|pp=624–627}} Ever since restoration of Chant was taken up in Solesmes, there have been lengthy discussions of exactly what course was to be taken. Some{{who|date=July 2025}} favored a strict academic rigour and wanted to postpone publications, while others{{who|date=July 2025}} concentrated on practical matters and wanted to supplant the corrupted tradition as soon as possible. Roughly a century later, there still exists a breach between a strict musicological approach and the practical needs of church choirs.{{citation needed|date=July 2025}} Thus the performance tradition officially promulgated since the onset of the Solesmes restoration is substantially at odds with musicological evidence.
In his [[motu proprio]] ''[[Tra le sollecitudini]]'', Pius X mandated the use of Gregorian chant, encouraging the faithful to sing the [[Ordinary of the Mass]], although he reserved the singing of the [[proper (liturgy)|Propers]] for males. While this custom is maintained in [[traditionalist Catholic]] communities (most of which allow all-female scholas as well, though), the Catholic Church no longer persists with this ban. The [[Second Vatican Council]] officially allowed worshipers to substitute other music, particularly sacred polyphony, in place of Gregorian chant, although it did reaffirm that Gregorian chant was "specially suited to the Roman liturgy", and therefore, "other things being equal, it should be given pride of place in liturgical services".<ref name=Catholic/>
==Musical form==
===Melodic types===
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 with only a few instances where two or more notes are sung on one syllable. "Neumatic" chants are more embellished and [[ligature (music)|ligatures]], a connected group of notes, written as a single compound neume, abound in the text. [[Melisma]]tic 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.{{sfn|Hoppin|1978a|pp=85–88}}
{{Listen|type=music|filename=Epistle for the Solemn Mass of Easter Day.ogg|title=Epistle for the Solemn Mass of Easter Day|description=Example of liturgical recitative in Gregorian chant}}
Gregorian chants fall into two broad categories of melody: [[recitative]]s and free melodies.{{sfn|Apel|1990|p=203}} The simplest kind of melody is the liturgical recitative. Recitative melodies are dominated by a single pitch, called the ''[[reciting tone]]''. Other pitches appear in melodic formulae for [[incipit]]s, partial [[cadence]]s, and full cadences. These chants are primarily syllabic. For example, the [[Collect]] for [[Easter]] consists of 127 syllables sung to 131 pitches, with 108 of these pitches being the reciting note A and the other 23 pitches flexing down to G.{{sfn|Hoppin|1978b|p=11}} Liturgical recitatives are commonly found in the [[Accentus Ecclesiasticus|accentus]] chants of the liturgy, such as the intonations of the Collect, [[Epistle]], and [[Gospel]] during the [[Mass (liturgy)|Mass]], and in the direct [[psalmody]] of the [[Canonical hours|Office]].
Psalmodic chants, which intone [[psalms]], include both recitatives and free melodies. Psalmodic chants include ''direct psalmody'', ''antiphonal chants'', and ''responsorial chants''.{{sfn|Hoppin|1978a|p=81}} In direct psalmody, psalm verses are sung without refrains to simple, formulaic tones. Most psalmodic chants are antiphonal and responsorial, sung to free melodies of varying complexity.
[[File:Evora06.jpg|thumb|Antiphonary with Gregorian chants]]
{{Listen|type=music|filename=Loquetur Dominus.ogg|title=''Loquetur Dominus'', Introit for Week XXXIV of Ordinary Time|description=Example of antiphonal psalmody in Gregorian chant
|filename2=De profundis.ogg|title2=''De profundis'', tract for the Requiem Mass|description2=Example of responsorial psalmody in Gregorian chant}}
Antiphonal chants such as the [[Introit]], and [[Communion (chant)|Communion]] originally referred to chants in which two choirs sang in alternation, one choir singing verses of a psalm, the other singing a refrain called an ''[[antiphon]]''. Over time, the verses were reduced in number, usually to just one psalm verse and the [[doxology]], or even omitted entirely. Antiphonal chants reflect their ancient origins as elaborate recitatives through the reciting tones in their melodies. Ordinary chants, such as the [[Kyrie]] and [[Gloria in Excelsis Deo|Gloria]], are not considered antiphonal chants, although they are often performed in antiphonal style.
Responsorial chants such as the [[Gradual]], [[Alleluia]], [[Offertory]], and the Office Responsories originally consisted of a refrain called a ''respond'' sung by a choir, alternating with psalm verses sung by a soloist. [[Responsory|Responsorial]] chants are often composed of an amalgamation of various stock musical phrases, pieced together in a practice called ''[[centonization]]''. Tracts are melismatic settings of psalm verses and use frequent recurring cadences and they are strongly 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 the Eucharist. Responsorial chants expand on readings and lessons.{{sfn|Hoppin|1978a|p=123}}
The non-psalmodic chants, including the [[Ordinary of the Mass]], [[Sequence (poetry)|sequences]], and [[hymn]]s, were originally intended for congregational singing.{{sfn|Hoppin|1978a|p=131}} 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 the same syllabic melody for each stanza.
===Modality===
{{
Early plainchant, like much of Western music, is believed to have been distinguished by the use of the [[diatonic scale]]. Modal theory, which postdates the composition of the core chant repertory, arises from a synthesis of two very different traditions: the speculative tradition of numerical ratios and species inherited from ancient Greece and a second tradition rooted in the practical art of cantus. The earliest writings that deal with both theory and practice include the [[Musica enchiriadis|Enchiriadis]] group of treatises, which circulated in the late ninth century and possibly have their roots in an earlier, oral tradition. In contrast to the ancient Greek system of tetrachords (a collection of four continuous notes) that descend by two tones and a semitone, the Enchiriadis writings base their tone-system on a tetrachord that corresponds to the four finals of chant, D, E, F, and G. The disjunct tetrachords in the Enchiriadis system have been the subject of much speculation, because they do not correspond to the diatonic framework that became the standard Medieval scale (for example, there is a high F{{music|#}}, a note not recognized by later Medieval writers). A diatonic scale with a chromatically alterable b/b-flat was first described by [[Hucbald]], who adopted the tetrachord of the finals (D, E, F, G) and constructed the rest of the system following the model of the Greek Greater and Lesser Perfect Systems. These were the first steps in forging a theoretical tradition that corresponded to chant.
Around 1025, [[Guido d'Arezzo]] revolutionized Western music with the development of the ''gamut'', in which pitches in the singing range were organized into overlapping [[hexachord]]s. Hexachords could be built on C (the natural hexachord, C-D-E^F-G-A), F (the soft hexachord, using a B-flat, F-G-A^B{{music|b}}-C-D), or G (the hard hexachord, using a B-natural, G-A-B^C-D-E). The B-flat was an integral part of the system of hexachords rather than an [[accidental (music)|accidental]]. The use of notes outside of this collection was described as [[musica ficta]].
Gregorian chant was categorized into eight [[mode (music)|modes]], influenced by the eightfold division of [[Byzantine chant]]s called the ''[[oktoechos]]''.{{sfn|Wilson|1990|p=11}} Each mode is distinguished by its ''final'', ''dominant'', and ''ambitus''. The ''final'' is the ending note, which is usually an important note in the overall structure of the melody. The ''dominant'' is a secondary pitch that usually serves as a [[reciting tone]] in the melody. ''[[Ambitus (music)|Ambitus]]'' refers to the range of pitches used in the melody. Melodies whose final is in the middle of the ambitus, or which have only a limited ambitus, are categorized as ''plagal'', while melodies whose final is in the lower end of the ambitus and have a range of over five or six notes are categorized as ''authentic''. Although corresponding plagal and authentic modes have the same final, they have different dominants.{{sfn|Hoppin|1978a|pp=64–65}} The existent pseudo-Greek names of the modes, rarely used in medieval times, derive from a misunderstanding of the Ancient Greek modes; the prefix "[[wikt:hypo-|hypo-]]" (under, Gr.) indicates a plagal mode, where the melody moves below the final. In contemporary Latin manuscripts the modes are simply called Protus authentus /plagalis, Deuterus, Tritus and Tetrardus: the 1st mode, authentic or plagal, the 2nd mode etc. In the Roman Chantbooks the modes are indicated by Roman numerals.
:Modes 1 and 2 are the authentic and plagal modes ending on D, sometimes called [[Dorian mode|Dorian]] and [[Hypodorian mode|Hypodorian]].
Line 64 ⟶ 91:
:Modes 7 and 8 are the authentic and plagal modes ending on G, sometimes called [[Mixolydian mode|Mixolydian]] and [[Hypomixolydian mode|Hypomixolydian]].
Although the modes with melodies ending on A, B, and C are sometimes referred to as [[Aeolian mode|Aeolian]], [[Locrian mode|Locrian]], and [[Ionian mode|Ionian]], these are not considered distinct modes
Certain 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
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 [[neume]]s suggest a warbling of pitches between the notes E and F, outside the hexachord system, or in other words, employing a form of [[chromaticism]].{{sfn|Wilson|1990|p=22}} Early Gregorian chant, like Ambrosian and Old Roman chant, whose melodies are most closely related to Gregorian, did not use the modal system.{{sfn|Apel|1990|pp=166–178}}{{sfn|Hiley|1995|p=454}} The great need for a system of organizing chants lies in the need to link antiphons with standard tones, as in for example, the psalmody at the Office. Using Psalm Tone i with an antiphon in Mode 1 makes for a smooth transition between the end of the antiphon and the intonation of the tone, and the ending of the tone can then be chosen to provide a smooth transition back to the antiphon. As the modal system gained acceptance, Gregorian chants were edited to conform to the modes, especially during 12th-century [[Cistercian]] reforms. Finals were altered, melodic ranges reduced, melismata trimmed, B-flats eliminated, and repeated words removed.{{sfn|Hiley|1995|pp=608–610}} Despite these attempts to impose modal consistency, some chants – notably Communions – defy simple modal assignment. For example, in four medieval manuscripts, the Communion ''Circuibo'' was transcribed using a different mode in each.{{sfn|Apel|1990|pp=171–172}}
===
Chants sometimes fall into melodically related groups. The musical phrases [[centonization|centonized]] to create [[Gradual]]s and [[Tract (liturgy)|Tracts]] follow a musical "grammar" of sorts. Certain phrases are used only at the beginnings of chants, or only at the end, or only in certain combinations, creating musical families of chants such as the ''[[Iustus ut palma]]'' family of Graduals.{{sfn|Apel|1990|pp=344–363}} Several [[Introit]]s in mode 3, including ''Loquetur Dominus'' above, exhibit melodic similarities. Mode III (E authentic) chants have C as a dominant, so C is the expected reciting tone. These mode III Introits, however, use both G and C as reciting tones, and often begin with a decorated leap from G to C to establish this tonality.{{sfn|Hiley|1995|pp=110–113}} Similar examples exist throughout the repertory.
===Notation===
[[File:Neume2.jpg|thumb|Offertory ''Iubilate deo universa terra'' in unheightened neume]]{{Main|Neume}}
The earliest notated sources of Gregorian chant (written {{Circa|950|lk=no}}) used symbols called ''[[neume]]s'' (Gr. sign, of the hand) to indicate tone-movements and relative duration within each syllable. A sort of musical stenography that seems to focus on gestures and tone-movements but not the specific pitches of individual notes, nor the relative starting pitches of each neume. Given the fact that Chant was learned in an oral tradition in which the texts and melodies were sung from memory, this was obviously not necessary. The neumatic manuscripts display great sophistication and precision in notation and a wealth of graphic signs to indicate the musical gesture and proper pronunciation of the text.
Scholars postulate that this practice may have been derived from [[cheironomy|cheironomic]] hand-gestures, the [[ekphonetic]] notation of [[Byzantine chant]], punctuation marks, or diacritical accents.{{sfn|Levy|Emerson|Bellingham|Hiley<!-- |Zon -->|2001|loc=§6.1}} Later adaptations and innovations included the use of a dry-scratched line or an inked line or two lines, marked C or F showing the relative pitches between neumes. Consistent relative heightening first developed in the Aquitaine region, particularly at [[Saint Martial|St. Martial de Limoges]], in the first half of the eleventh century. Many German-speaking areas, however, continued to use unpitched neumes into the twelfth century. Additional symbols developed, such as the ''custos'', placed at the end of a system to show the next pitch. Other symbols indicated changes in articulation, duration, or tempo, such as a letter "t" to indicate a [[tenuto]]. Another form of early notation used a system of letters corresponding to different pitches, much as [[Shaker music]] is notated.
[[File:gregorian chant.gif|frame|''[[Liber usualis]]'' in square notation (excerpt from the ''Kyrie eleison (Orbis factor)'')]]
By the 13th century, the neumes of Gregorian chant were usually written in ''square notation'' on a four-line staff with a clef, as in the ''Graduale Aboense'' pictured above. In square notation, small groups of ascending notes on a syllable are shown as stacked squares, read from bottom to top, while descending notes are written with diamonds read from left to right. When a syllable has a large number of notes, a series of smaller such groups of neumes are written in succession, read from left to right. The [[oriscus]], [[quilisma]], and [[liquescent]] neumes indicate special vocal treatments, that have been largely neglected due to uncertainty as to how to sing them. Since the 1970s, with the influential insights of Dom {{ill|Eugène Cardine|fr}} (see below under 'rhythm'), ornamental neumes have received more attention from both researchers and performers.
B-flat is indicated by a "b-mollum" (Lat. soft), a rounded undercaste 'b' placed to the left of the entire neume in which the note occurs, as shown in the "Kyrie" to the right. When necessary, a "b-durum" (Lat. hard), written squarely, indicates B-natural and serves to cancel the b-mollum. This system of square notation is standard in modern chantbooks.
==Performance==
===Texture===
Chant was normally sung in unison. Later innovations included ''[[
===Rhythm===
While the standard repertory of Gregorian Chant was partly being supplanted by new forms of polyphony, the earlier melo-rhythmic refinements of monophonic chant seem to have fallen into disuse. Later redactions such as the ''Editio medicaea'' of 1614 rewrote chant so that melismata, with their melodic accent, fell on accented syllables.{{sfn|Apel|1990|p=289}} This aesthetic held sway until the re-examination of chant in the late 19th century by such scholars as {{ill|Peter Wagner (musicologist)|de|Peter Wagner (Musikwissenschaftler)|lt=Peter Wagner}}, [[Joseph Pothier|Pothier]], and [[André Mocquereau|Mocquereau]], who fell into two camps.
One school of thought, including Wagner, Jammers, and Lipphardt, advocated imposing rhythmic meters on chants, although they disagreed on how that should be done. An opposing interpretation, represented by Pothier and Mocquereau, supported a free rhythm of equal note values, although some notes are lengthened for textual emphasis or musical effect. The modern Solesmes editions of Gregorian chant follow this interpretation. Mocquereau divided melodies into two- and three-note phrases, each beginning with an ''ictus'', akin to a beat, notated in chantbooks as a small vertical mark. These basic melodic units combined into larger phrases through a complex system expressed by [[cheironomy|cheironomic]] hand-gestures.{{sfn|Apel|1990|p=127}} This approach prevailed during the twentieth century, propagated by [[Justine Ward]]'s program of music education for children, until the liturgical role of chant was diminished after the liturgical reforms of [[Pope Paul VI]], and new scholarship "essentially discredited" Mocquereau's rhythmic theories.{{sfn|Dyer|2001|loc=§VI.1}}
Common modern practice favors performing Gregorian chant with no beat or regular metric accent, largely for aesthetic reasons.{{sfn|Mahrt|2000|p=18}} The text determines the accent while the melodic contour determines the [[Musical phrasing|phrasing]]. The note lengthenings recommended by the Solesmes school remain influential, though not prescriptive.
Dom {{ill|Eugène Cardine|fr}} (1905–1988), a monk from Solesmes, published his 'Semiologie Gregorienne' in 1970 in which he clearly explains the musical significance of the neumes of the early chant manuscripts. Cardine shows the great diversity of neumes and graphic variations of the basic shape of a particular neume, which can not be expressed in the square notation. This variety in notation must have served a practical purpose and therefore a musical significance. Nine years later, the ''Graduale Triplex'' was published, in which the Roman Gradual, containing all the chants for Mass in a Year's cycle, appeared with the neumes of the two most important manuscripts copied under and over the 4-line staff of the square notation. The ''Graduale Triplex'' made widely accessible the original notation of Sankt Gallen and Laon (compiled after 930 AD) in a single chantbook and was a huge step forward. Dom Cardine had many students who have each in their own way continued their semiological studies, some of whom also started experimenting in applying the newly understood principles in performance practice.
The studies of Cardine and his students (Godehard Joppich, Luigi Augustoni, Johannes B. Göschl, Marie-Noël Colette, Rupert Fischer, Marie-Claire Billecocq, [[Alexander M. Schweitzer]] to name a few) have clearly demonstrated that rhythm in Gregorian chant as notated in the 10th century rhythmic manuscripts (notably Sankt Gallen and Laon) manifest such rhythmic diversity and melodic – rhythmic ornamentations for which there is hardly a living performance tradition in the Western world. Contemporary groups that endeavour to sing according to the manuscript traditions have evolved after 1975. Some practising researchers favour a closer look at non-Western (liturgical) traditions, in such cultures where the tradition of modal monophony was never abandoned.
Another group with different views are the mensuralists or the proportionalists, who maintain that rhythm has to be interpreted proportionately, where shorts are exactly half the longs. This school of interpretation claims the support of historical authorities such as St Augustine, Remigius, Guido and Aribo.<ref>{{cite web|url=http://www.calumcille.com/griogair/9A14.html |title=The symbolism of chant rhythm |publisher=Calumcille.com |access-date=2012-06-06 |url-status=dead|archive-url=https://web.archive.org/web/20120315074741/http://www.calumcille.com/griogair/9A14.html |archive-date=15 March 2012 }}</ref> This view is advocated by John Blackley and his 'Schola Antiqua New York'.
Recent research in the Netherlands by Dr. Dirk van Kampen has indicated that the authentic rhythm of Gregorian chant in the 10th century includes both proportional elements and elements that are in agreement with semiology.<ref>van Kampen, Dirk (1994). ''Het oorspronkelijke ritme van het Gregoriaans: Een 'semiologisch-mensuralistische' studie''. Landsmeer, {{ISBN|90-900742-8-7}}. (in Dutch)</ref><ref>{{cite journal | last1 = van Kampen | first1 = Dirk | year = 2005 | title = Uitgangspunten voor de ritmiek van Gregoriaans | journal = Tijdschrift voor Gregoriaans|language=nl| volume = 30 | pages = 89–94 }}</ref> Starting with the expectation that the rhythm of Gregorian chant (and thus the duration of the individual notes) anyway adds to the expressivity of the sacred Latin texts, several word-related variables were studied for their relationship with several neume-related variables, exploring these relationships in a sample of introit chants using such statistical methods as correlational analysis and multiple regression analysis.
Beside the length of the syllables (measured in tenths of seconds), each text syllable was evaluated in terms of its position within the word to which it belongs, defining such variables as "the syllable has or has not the main accent", "the syllable is or is not at the end of a word", etc., and in terms of the particular sounds produced (for instance, the syllable contains the vowel "i"). The various neume elements were evaluated by attaching different duration values to them, both in terms of semiological propositions (nuanced durations according to the manner of neume writing in Chris Hakkennes' ''Graduale Lagal''<ref>Chris Hakkennes (1984). ''Graduale Lagal''. Den Haag: Stichting Centrum voor de Kerkzang.</ref>), and in terms of fixed duration values that were based on mensuralistic notions, however with ratios between short and long notes ranging from 1 : 1, via 1 : 1.2, 1 : 1.4, etc. to 1 : 3. To distinguish short and long notes, tables were consulted that were established by Van Kampen in an unpublished comparative study regarding the neume notations according to Sankt Gallen and Laon codices. With some exceptions, these tables confirm the short vs. long distinctions in Cardine's 'Semiologie Gregorienne'.
The lengths of the neumes were given values by adding up the duration values for the separate neume elements, each time following a particular hypothesis concerning the rhythm of Gregoriant chant. Both the syllable lengths and the neume lengths were also expressed in relation to the total duration of the syllables, resp. neumes for a word (contextual variables). Correlating the various word and neume variables, substantial correlations were found for the word variables 'accented syllable' and 'contextual syllable duration'. Moreover, it could be established that the multiple correlation (''R'') between the two types of variables reaches its maximum (''R'' is about 0.80) if the neumatic elements are evaluated according to the following rules of duration: (a) neume elements that represent short notes in neumes consisting of at least two notes have duration values of 1 time; (b) neume elements that represent long notes in neumes consisting of at least two notes have duration values of 2 times; (c) neumes consisting of only one note are characterized by flexible duration values (with an average value of 2 times), which take over the duration values of the syllables to match.
The distinction between the first two rules and the latter rule can also be found in early treatises on music, introducing the terms ''metrum'' and ''rhythmus''.<ref>{{ill|Peter Wagner (musicologist)|de|Peter Wagner (Musikwissenschaftler)|lt=Peter Wagner}} (1916). "Zur ursprünglichen Ausführung des Gregorianischen Gesanges". ''Gregoriusblatt'', 81–82. (in German)</ref><ref>{{cite journal | last1 = Jeannin | first1 = J. | year = 1930 | title = Proportionale Dauerwerte oder einfache Schattierungen im Gregorianischen Choral? | journal = Gregoriusblatt|language=de| volume = 54 | pages = 129–135 }}</ref> As it could also be demonstrated by Van Kampen that melodic peaks often coincide with the word accent (see also),<ref>G. Reese (1940). ''Music in the Middle Ages''. New York: Norton & Comp., p. 166.</ref> the conclusion seems warranted that the Gregorian melodies enhance the expressiveness of the Latin words by mimicking to some extent both the accentuation of the sacred words (pitch differences between neumes) and the relative duration of the word syllables (by paying attention to well-defined length differences between the individual notes of a neume).
During the seventeenth through nineteenth centuries in France, the system of rhythmic notation became standardized, with printers and editors of chant books employing only four rhythmic values. Recent research by Christopher Holman indicates that chants whose texts are in a regular meter could even be altered to be performed in [[time signature]]s.<ref>{{Cite journal|last=Holman|first=Christopher|date=November 2017|title=Rhythm and metre in French Classical plainchant|url=https://academic.oup.com/em/article-abstract/45/4/657/4781684|journal=Early Music|volume=45, vol. 4|issue=4|pages=657–664|doi=10.1093/em/cax087|url-access=subscription}}</ref>
===Melodic restitution===
{{Unreferenced section|date=October 2010}}
Recent developments involve an intensifying of the semiological approach according to Dom Cardine, which also gave a new impetus to the research into melodic variants in various manuscripts of chant. On the basis of this ongoing research it has become obvious that the Graduale and other chantbooks contain many melodic errors, some very consistently, (the mis-interpretation of third and eighth mode) necessitating a new edition of the Graduale according to state-of-the-art [[melodic restitution]]s. Since the 1970 a melodic restitution group of AISCGre (International Society for the Study of Gregorian Chant) has worked on an "editio magis critica" as requested by the 2. Vatican Council Constitution "Sacrosanctum Concilium". As a response to this need and following the Holy See's invitation to edit a more critical edition, in 2011 the first volume "De Dominicis et Festis" of the ''Graduale Novum Editio Magis Critica Iuxta SC 117'' was published by Libreria Editrice Vatican and ConBrio Verlagsgesellschaft, Regensburg.
In this approach the so-called earlier 'rhythmic' manuscripts of unheightened neumes that carry a wealth of melo-rhythmic information but not of exact pitches, are compared in large tables of comparison with relevant later 'melodic' manuscripts' that are written on lines or use double alphabetic and neumes notation over the text, but as a rule have less rhythmic refinement compared to the earlier group. However, the comparison between the two groups has made it possible to correct what are obvious mistakes. In other instances it is not so easy to find a consensus. In 1984 Chris Hakkennes published his own transcription of the ''Graduale Triplex''. He devised a new graphic adaptation of square notation 'simplex' in which he integrated the rhythmic indications of the two most relevant sources, that of Laon and Sankt Gallen.
Referring to these manuscripts, he called his own transcription Gradual Lagal. Furthermore, while making the transcription, he cross-checked with the melodic manuscripts to correct modal errors or other melodic errors found in the Graduale Romanum. His intention was to provide a corrected melody in rhythmic notation but above all – he was also a choirmaster – suited for practical use, therefore a simplex, integrated notation. Although fully admitting the importance of Hakkennes' melodic revisions, the rhythmical solution suggested in the ''Graduale Lagal'' was actually found by Van Kampen (see above) to be rather modestly related to the text of the chant.
==Liturgical functions==
Gregorian chant is sung in the Office during the [[canonical hours]] and in the liturgy of the [[Mass (liturgy)|Mass]]. Texts known as ''[[Accentus Ecclesiasticus|accentus]]'' are intoned by bishops, priests, and deacons, mostly on a single [[reciting tone]] with simple melodic formulae at certain places in each sentence. More complex chants are sung by trained soloists and choirs. The [[Graduale Romanum]] contains the proper chants of the Mass (i.e., Introit, Gradual, Alleluia, Tract, Offertory, Communion) and the complete [[Kyriale]] (the collection of Mass Ordinary settings). The ''[[Liber usualis]]'' contains the chants for the [[Graduale Romanum]] and the most commonly used Office chants.
===Proper chants of the Mass===
The Introit, Gradual, Alleluia, Tract, Sequence, Offertory and Communion chants are part of the [[Proper (liturgy)|Proper]] of the Mass. "Proprium Missae" in Latin refers to the chants of the Mass that have their proper individual texts for each Sunday throughout the annual cycle, as opposed to 'Ordinarium Missae' which have fixed texts (but various melodies) (Kyrie, Sanctus, Benedictus, Agnus Dei).
[[Introit]]s cover the procession of the officiants. Introits are antiphonal chants, typically consisting of an antiphon, a psalm verse, a repeat of the antiphon, an intonation of the Gloria Patri [[Doxology]], and a final repeat of the antiphon. [[Reciting tone]]s often dominate their melodic structures.
[[Gradual]]s are responsorial chants that follow the reading of the [[Epistle]]. Graduals usually result from ''[[centonization]]''; stock musical phrases are assembled like a patchwork to create the full melody of the chant, creating families of musically related melodies. Graduals are accompanied by an elaborate Verse, so that it actually consists in two different parts, A B. Often the first part is sung again, creating a 'rondeau' A B A. At least the verse, if not the complete gradual, is for the solo cantor and are in elaborate, ornate style with long, wide-ranged melismata.
The [[Alleluia]] is known for the ''[[jubilus]]'', an extended joyful melisma on the last vowel of 'Alleluia'. The Alleluia is also in two parts, the alleluia proper and the psalmverse, by which the Alleluia is identified (Alleluia V. Pascha nostrum). The last melisma of the verse is the same as the jubilus attached to the Alleluia. Alleluias are not sung during penitential times, such as [[Lent]]. Instead, a [[Tract (liturgy)|Tract]] is chanted, usually with texts from the Psalms.
[[Sequence (poetry)|Sequences]] are sung poems based on couplets. Although many sequences are not part of the liturgy and thus not part of the Gregorian repertory proper, Gregorian sequences include such well-known chants as ''[[Victimae paschali laudes]]'' and ''[[Veni Sancte Spiritus]]''. According to [[Notker Balbulus]], an early sequence writer, their origins lie in the addition of words to the long melismata of the jubilus of Alleluia chants.{{sfn|Crocker|1977|pp=1–2}}
===Ordinary chants of the Mass===
The Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei use the same text in every service of the Mass. Because they follow the regular invariable "order" of the Mass, these chants are called "[[Ordinary of the Mass|Ordinary]]
The [[Kyrie]] consists of a threefold repetition of "Kyrie eleison" ("Lord, have mercy"), a threefold repetition of "Christe eleison" ("Christ have mercy"), followed by another threefold repetition of "Kyrie eleison." In older chants, "Kyrie eleison imas" ("Lord, have mercy on us") can be found. The Kyrie is distinguished by its use of the [[Hellenistic Greek|Greek language]] instead of Latin. Because of the textual repetition, various musical repeat structures occur in these chants. The following, Kyrie ad. lib. VI as transmitted in a Cambrai manuscript, uses the form ABA CDC EFE', with shifts in [[tessitura]] between sections. The E' section, on the final "Kyrie eleison
{{Listen|type=music|filename=Kyrie 55, Vatican ad lib. VI, Cambrai.ogg|title=Kyrie 55, Vatican ad lib. VI, from Cambrai, Bibl. Mun. 61, fo.155v|description=As transcribed by [[David Hiley]]; example of musical repeat structures in Gregorian chant}}
The [[Gloria in excelsis Deo|Gloria]] recites the Greater [[Doxology]], and the [[Credo]] intones the [[Nicene Creed]]. Because of the length of these texts, these chants often break into musical subsections corresponding with textual breaks. Because the Credo was the last Ordinary chant to be added to the Mass, there are relatively few Credo melodies in the Gregorian corpus.
The [[Sanctus]] and the [[Agnus Dei (music)|Agnus Dei]], like the Kyrie, also contain repeated texts, which their musical structures often exploit.
Technically, the [[Ite missa est]] and the [[Benedicamus Domino]], which conclude the Mass, belong to the Ordinary.
[[File:Salve Regina.png|thumb|left|Plainchant notation for the solemn setting of the [[Salve Regina]]; a simple setting is used more commonly.]]
===Chants of the Office===
Gregorian chant is
At the close of the
{{listen|type=music|filename=Alma Redemptoris Mater.ogg|title=Alma Redemptoris Mater|description=Marian antiphon sung at Compline and Lauds between the First Sunday of Advent and Candlemas|format=[[Ogg]]}}
==Influence==
===Medieval and Renaissance music===
Gregorian chant had a significant impact on the development of [[medieval music|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 [[bass clef]] and the [[Flat (music)|flat]], [[Natural sign|natural]], and [[sharp (music)|sharp]] accidentals derived directly from Gregorian notation.{{sfn|Bent|Hughes|Provine|Rastall|2001}}
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.
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.
==See also==
* [[Alternatim]]
* [[Anglican chant]]
* [[Cecilian Movement]]
* [[Damien Poisblaud]]
* [[Paul Jausions]]
* [[Proportionalism (Gregorian chant)]]
* [[Schola Antiqua, Madrid|Schola Antiqua]]
* [[Semiology (Gregorian chant)]]
==Notes==
{{Reflist|colwidth=30em}}
==References==
{{col div|colwidth=45em}}
* {{cite book|last=Apel|first=Willi|author-link=Willi Apel|year=1990 |title=Gregorian Chant |publisher=Indiana University Press |___location=Bloomington, Indiana |isbn=0-253-20601-4}}
* {{cite Grove|last1=Bent|first1=Ian D.|last2=Hughes|first2=David W.|last3=Provine|first3=Robert C.|last4=Rastall|first4=Richard|last5=Kilmer|first5=Anne|last6=Hiley|first6=David|author6-link=David Hiley|last7=Szendrei|first7=Janka|last8=Payne|first8=Thomas B.|last9=Bent|first9=Margaret|last10=Chew|first10=Geoffrey|title=Notation|id=20114|year=2001}}
* {{Cite CE1913|last=Bewerunge|first=H.|wstitle=Gregorian Chant}}
* {{cite book |last=Crocker |first=Richard |title=The Early Medieval Sequence |publisher=University of California Press |year=1977 |isbn=0-520-02847-3}}
* {{cite Grove|last=Dyer |first=Joseph|title=Roman Catholic church music|id=46758|year=2001}}
* {{cite book|last=Grout|first=Donald|author-link=Donald Jay Grout|title=A History of Western Music|publisher=W. W. Norton|___location=New York|year=1960|isbn=0-393-09537-1}}
* {{cite book |last=Hiley |first=David |author-link=David Hiley |year=1990 |chapter=Chant|pages=37–54|quote=The performance of chant in equal note lengths from the 13th century onwards is well supported by contemporary statements.|title=Performance Practice: Music before 1600 |editor-first=Howard Mayer |editor-last=Brown|editor1-link=Howard Mayer Brown|editor2-first=Stanley |editor2-last=Sadie|editor2-link=Stanley Sadie|___location=New York |publisher=W. W. Norton|isbn=0-393-02807-0}}
* {{cite book |last=Hiley |first=David<!-- |author-link=David Hiley -->|title=Western Plainchant: A Handbook |publisher=Clarendon Press |year=1995 |isbn=0-19-816572-2}}
* {{cite book |last=Hoppin |first=Richard|author-link=Richard Hoppin|title=Medieval Music |publisher=W. W. Norton|year=1978a |isbn=0-393-09090-6 |url=https://archive.org/details/medievalmusic00hopp|via=[[Internet Archive]]}}
* {{cite book |editor-first=Richard|editor-last=Hoppin<!-- |editor-link=Richard Hoppin -->|title=Anthology of Medieval Music|publisher=W. W. Norton|year=1978b|isbn=0-393-09080-9}}
* {{cite Grove|last1=Levy|first1=Kenneth|author1-link=Kenneth Levy|last2=Emerson|first2=John A.|last3=Bellingham|first3=Jane|last4=Hiley|first4=David|author4-link=David Hiley|last5=Zon|first5=Bennett Mitchel|id=40099|title=Plainchant|year=2001|at=§ VI.1}}
* {{cite book |last=Mahrt |first=William P. |year=2000 |chapter=Chant |title=A Performer's Guide to Medieval Music |editor-first=Ross |editor-last=Duffin|editor-link=Ross W. Duffin|pages=1–22 |___location=Bloomington, Indiana |publisher=Indiana University Press |isbn=0-253-33752-6}}
* {{cite book |editor-last=McKinnon |editor-first=James|editor-link=James McKinnon|title= Antiquity and the Middle Ages |publisher=Prentice Hall |year=1990 |isbn=0-13-036153-4}}
* {{cite Grove|last=McKinnon|first=James W.|id=05705|title=Christian Church, music of the early|year=2001}}
* {{cite book |last=Murray |first=Gregory |year=1963 |title=Gregorian Chant According to the Manuscripts |publisher=L. J. Cary & Co. }}
* {{cite book |editor-last=Neuls-Bates |editor-first=Carol |year=1996 |title=Women in Music |url=https://archive.org/details/womeninmusicanth0000neul|via=[[Internet Archive]]|url-access=registration |publisher=Northeastern University Press |___location=Boston |isbn=1-55553-240-3}}
* {{cite book |last=Parrish |first=Carl |year=1986 |title=A Treasury of Early Music |publisher=Dover Publications|___location=Mineola, New York |isbn=0-486-41088-9}}
* {{cite book |last=Wilson |first=David |title=Music of the Middle Ages |publisher=Schirmer Books |year=1990 |isbn=0-02-872951-X |url-access=registration |url=https://archive.org/details/musicofmiddleage0000wils|via=Internet Archive}}
{{col div end}}
==Further reading==
{{div col|colwidth=45em}}
* ''Graduale Triplex'' (1979). Tournai: Desclée & Socii. {{ISBN|2-85274-094-X}}
* ''Graduale Novum'', Libreria Editrice Vaticana 2011 {{ISBN|978-3-940768-15-5}}
* ''Graduale Lagal'' (1984 / 1990) Chris Hakkennes, Stichting Lagal Utrecht {{ISBN|90-800408-2-7}}
* ''[[Graduale simplex]] in usum minorum ecclesiarum'', 2nd edition, Libreria editrice Vaticana, Vatican 1975, {{ISBN|978-88-209-1603-9}} 515 p.
* ''[[Liber usualis]]'' (1953). Tournai: Desclée & Socii.
* [http://www.musicasacra.com/pdf/liberusualis.pdf ''Liber usualis'' (1961)], PDF (115 MB) musicasacra.com; [https://archive.org/details/TheLiberUsualis1961 also here] at [[Internet Archive]]
* {{cite journal|last= Hucke|first= Helmut|title= Toward a New Historical View of Gregorian Chant |journal= [[Journal of the American Musicological Society]]|volume=33|issue=3|pages=437–467|date= Autumn 1980|doi= 10.2307/831302|jstor=831302|ref=none}}
* {{cite book |last=Le Mée |first=Katharine |title=Chant: The Origins, Form, Practice, and Healing Power of Gregorian Chant |publisher=Harmony |year=1994 |isbn=0-517-70037-9 |url=https://archive.org/details/chantoriginsform0000leme|via=[[Internet Archive]]|ref=none}}
* {{cite journal |last=Mahrt |first=William P.|title=Gregorian Chant as a Paradigm of Sacred Music|date=Spring 2006|journal=Sacred Music |volume=133 |issue=1|pages=5–14 |url=https://media.musicasacra.com/publications/sacredmusic/133/1/1_1.html|ref=none}}
* {{cite book |editor-last= Robinson |editor-first=Ray |title= Choral Music |publisher=W. W. Norton|year=1978 |isbn=0-393-09062-0|ref=none}}
* {{cite book |last=Wagner |first=Peter |year=1911 |title=Einführung in die Gregorianischen Melodien. Ein Handbuch der Choralwissenschaft |url=https://archive.org/details/einfhrungindie01wagn|via=[[Internet Archive]]|language=de |___location=Leipzig |publisher=Breitkopf & Härtel|ref=none}}
* {{cite magazine|last=Ward|first=Justine Bayard|author-link=Justine Ward|title=The Reform in Church Music|magazine=[[The Atlantic Monthly]]|date=April 1906|volume=97|pages=455–463|ref=none}} [http://www.musicasacra.com/publications/sacredmusic/pdf/ward.pdf Reprint] at MusicaSacra.com website (accessed 20 January 2014).
{{col div end}}
==External links==
{{Commons category|Gregorian chant}}
* {{cite web | url = https://verbumchanting.wixsite.com/main | title = "The living textbook" on the choral notation of the Gregorian chant}}
* {{cite web | url = https://open.library.ubc.ca/collections/manuscripts/items/1.0054792 | title = Spanish Chant Manuscript}} – A collection of Gregorian chants, hymns and psalms (Spain, 1575–1625) from the University of British Columbia Library Digital Collections
* {{cite web | url = http://www.u.arizona.edu/~aversa/music/Gregorian%20Chant/greg_chant.pdf| title = Singing Gregorian Chant: Pitch and Mode| archive-url = https://web.archive.org/web/20160305092130/http://www.u.arizona.edu/~aversa/music/Gregorian%20Chant/greg_chant.pdf| archive-date = 5 March 2016}}
* {{cite web | url = http://www.gregor-und-taube.de/index.html|author=Anton Stingl jun.|title=Willkommen auf der Homepage|type=resources, including articles and editions of Sankt Gallen notations|website=Gregor & Taube|language=de|ref=none}}
* {{cite web | url = http://gregoriana.sk/graduale/ | title = The Graduale Project | website = gregoriana.sk| archive-url = https://web.archive.org/web/20130801074239/http://gregoriana.sk/graduale/| archive-date = 1 August 2013}}
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