ince ho An Introduction to Gregorian Chant Yale Univesity Press [New Haven & Landonhy I ‘82 . GEL neroauetson to 73.5 08724 eee © Be Goce ‘Spa pn wer wn pine fo op eof ange ann tin a anne ty Sa te ‘are num es * CPi Gre) ines ei Tie pte Ga Berri sy 2 : omac Contents Lt feompac is aks at efron: Acknledements + Chant, chanting and Gregorian chant 2 Tone and tonal space for Gregorian chant 3 Melodic movement, shythm and words 4 Gregorian chant, Roman polities and ‘European polyphony 5 Singing the pris in carly Christan worship 6 Gregorian chant inthe Roman Rite 2 Monastic chan in time and eternity 8 Gregorian chant in notation and inthe mind Commentary onthe compact se Bilgary Ginary ler nf 8 ™ 2S8 Gregorian Chant in Notationand in the Mind Peay hemos imporan thing we an er bout the devtapment of chant tation at we eelapd afer he chet i fee er ‘onctvd the chan a hey wrt down, Gren can ws fest instance noonly sng without actain ins composed witht ttaion. Acknowledging this thats pice of chan could cult Completed form the singer's nd witht any nota is he most important step in undestaning lysate, ad in undersendng the chants well Ona the pate problems morn schol hee fen tying undrstund Gregorian cnt andr eatin os been sping ‘nw thors singers old ocho, they cud pre ara ‘and semenberit witha tat. pencipsion hire theraitinthat ool ae ity for chasing arand ow ‘what they sng wih notatinn, was sd the basic may We ean any Undo Koning masz fo singe, i the silty to reproduce very Song int sens of vol none wih 3 igh dees of econ tad ‘latch te gern lw hans ean trolled by those mysterneititve pues toring om erp within tnd mule the perfomance meal Thit he tango he common expression, now by heart "When mins nthe past wed nto, they ef writen eons hat eso eth din yon whe a ino ‘Sacy what muse they dd mae: Some sigue tha Greoran sop ‘tough about music the way we da ty wood fave stent down te 37 we rte down; she apunent pes on conta tht sine they id sete dow, they must have toupee ui erent. That Conclusion, however, ir completly unwarranted, I is much beter Sssume tha hey could have Hnown onc he same nay that we Ln ‘ten wed wot ae mtton, Aad by sscving crcl how we So We nota, we can un ing int the fle ntaton ply Laoag When we try to imagine Gregorian singer singing witout notation, we can depend onthe diatonic scale ove usa precise sense ofthe tol ace In which they rang, As the dtl sel of angi, the diatonic sale was ‘ied reglely by exly Cvstans, and continued in use without interap- ‘om ing the Etopesn tain, Thos we ean imagine, even witout ot tion, the sound ofa the Linds of odie movement the Gregorian singers ‘ang; what we ic isa knowledge of which specie melodie movement hey ‘wed fora given st of words ‘Weealso know the words the early Gregorian singers san, Infact they ‘wrote down the words about + centry before they wrte down the ‘edi, Since the words cme from the Bibl, they had of coum been ‘mien down lg before bot the assignment af san quotation as Proper ‘hans for the Mass wae Gest recorded in books inthe ninth cenary. SO ‘uring that cenry we can imagine them singing the words that we know in tonal space that we know. Ie cay fr a moder sings to eta 3 Gregorian melogy by esr, or even make up a melody for a given st of ‘words, then obser his own inner experience of singing it T steno Fesson To thik chi experiene would differ substantly from the experience of the ninh-centary singe Verbal utterance and veclity Gregorian chan sed Latin ord but bythe ine she Gregorian repertory developed the seventh to ninth entice ~ Latin mae no longer the Singers naive tongue; the singers who were involved inthe original devel opment ofthe Gregorian reprsary spoke ery forms of Tallan, Spanish, French, Geman and English In chat respec these singers us of sch ie ure they did ot learn Latina 2 lngunge but only a8 Sts oF sword used fr singing clans in the Gregorian repertory “More impor, the orignal singe experince of verbal utterance, or ten more gener of voaity, i dre scesbe ro us we know what itis ike o speak and lot sing. Weall breathe and speak withthe sme mechani, the same lungs, diaphragm, roca! cord, pharyoge wal lite, tongue, pe and tenth. As humane we all have the atomiel ‘Spay to mae the same sounds. An infant can be heard to ty ot al these sounde ding the fist year afer bith. The entie specram of Inuman vocables ir there, ea to be selected for use ina given linguistic crsronment The slcion happens quit) ~ during «year of two ~ and {is drs onl few ofthe porsible sounds are aleted and combined ito the mative tongue. But the eapabity-of making all he sounds remains founds eter thin thore of the mative tongue canbe learned ater, if ent.Laten awareness f this capability ean provide a substratur of shared vocal experience. Asan oF Aan singers from arn cultures can ad 80 lean to produce the vocal sounds appropiate to European musi styles aind-there seems to be no obstacle to thr doing it as ell a if not ete than Europems. Meanl, Euro-American siden of singing in Todi, Japan and Indonesia have demonstrated exper bility that sounds athens ‘c= tw everyone except thse mst commited tthe ie tht ony natives ‘cn sound Ide natives Easy Chvnians made the music inthe wold around them accepsble for Christian worship by sipping off elements whose physical sash tions wete to strong oF to specie, thos mating Christan dessa Purely spiritual muscrmakng. Ely Christian writers urged elimination ofthe nuran timbres of iseamentalacomipaninent, with ts brat ‘torcting rhythms; and also ofthe clourfal postry with is vera stythns, which the many surviving examples show can be sedative When physiil movement ~ dancing ot playing instrament picking strings, blowing ppes or banging on resonant objects ~ was chine, ‘only sheer vocality remained; but rnialy,voality as the mos pi cal of all musi acviis, the one pereived most intimately by the numa body “Theexperince of singing was not he same for s oo perormer ait wes far one singing ina chorus, especialy + member ofthe congretation, Ix trve that when the congregation sang in unison, each individ! mould expeience music physi woe, jst a5 would soli, But the point ‘of una vue singing, he reson it was emphasized so by Cian wer, ves tha in unison singing the experience of individ vcaty was sub ‘merged inthe muse of all- ideal, oll Creston. Singing in unison could bee as spinal rater than phy, Learning and remembering Jn connection withthe Gregorian repeary of Mass Popes some fe ded cpr ts op len iy How yen Cosiesing tt Sve hue sons ay ot eo age eer fort mer song geo Bt oo in length opens ease, tbl repro for an opis ger or ten ners ora pa ll thos does ot een to bet polom withthe hunan apy for mera ‘msicia he cote reper perry Wha people mean, ale vid they ee tut ohio tn itn fort The swe fhm tc teachr And three cn oping Gncaing vey fies on) whe donot rei ation se lear hee fom ese someone ng the rand oer nin Chin aon nd he Mind os Recitation and improvisation To compat lerning msi wth learning language maybe hep n spite ofthe fact that we donot know how popl lex ngage ether; bt me ‘observe tat they do and without formal instuction.Withou sing 0 ‘yh peopl ear o speak lnguage, we an observe some the resus “Knowledge of language enables the speaker to set ins variety of dil sivations withoat having prearranged or prised exactly what to 1. ‘te speaking without thinking even adhe moment Ia music scl improvstion and singers as well as instrumentals cn lean too gin soe can doit without oral astracin, As with language esi improvistion presupposes that the singer already knows much musi since the process af improvisation, ike verbal conversation, involves accommo. iting known elements to new situations ‘Sometime, on the ther hand we learn spech oa poem exactly ait vas composed, and ne rect i me do the same wth songs. Ho we learn Ter eciation we can know oly through intrnpetion and so we ech have ‘our own ida of the inner pres. The test ofthe process not Aoi ‘done, but rather the fc tht done: peopl relly do reproduce ens ens and songs that have ben preneanged ins paral form. Tm angsty people ese and rected mich poetry In gener, memory as very important part of iatlectsl fe inthe GrecoLatin word Memory mas personied in Mnemosyne, the mothe ofthe Moses she wat ‘uaidered Titan, that i, one o very od generation of gods that pre {ited the new Olympian pode headed by Zeus In addition to Homer's Ta, which asa base part of young perm’ eduction, chorases of the ‘uagedies were learned by amateur cive"roupe to be pesfrmed a the ‘ona esas (Cicero, reputed tobe the greatest Lasn ostor in anigity, aid great sires on memory aan indipensble part of oerroom Inger ui ‘ment. He himself published many of is own oration (ater he deliver) What be wrote down and what he scully aid om the oan may have ‘een sotewbat diferent, bur dere ino reason wo doubt dat he could ave ‘memorized the writen frm. All ofthe many theatrical performances tht Weat on in Rome and esewhere during the ely Chvstancetures would have involed memorized routines, ven when combined with improvised performance ‘Most important, eiation and improvistion were bck sed, language ss im usta procive, Thea is indteinate: we cannot oy it genera ‘hat one precede theater or that one or the ober predominates. The se ‘arin fom cane o case atid person to person; and the two akerativeslieon| ‘continuum that ices a pose intermediate stagesSiagng in chorus is necessarily mae ike rection, Since unison singing ~soprized by Christians~wasachieved by everyone singing estes pitches at the same time, the members of the congregation mold hae 0 follow excl themeody they knew best. Hihey didnt know temelody ‘ery well they had wo flow a5 lsly a they could the singing they heard sound them, Soas fara the development of new musi was concent rational singing tended by nature tobe conservative: the requitement of Singing together discouraged inspiron sn sponaneos change The experience ofthe slo singer, onthe other hand, encourages impo viston. Inspire, spontaneous change can happen ely, te mor toa hc Singer ows 2 melody very well Singing 4 betfilrcody by bee the Singer can be moved ro extend the Fats, to move freely though mele ‘motions thst go beyond thos st sng. Variation 1 has tong been recogaized that slo pesformers tend to change the ‘cos they ave learned even inthe midst of performance, indeed, his ina characterise and tase musical acsity for them. Sach change can ‘pen with sical instrument ju ar well and in fats move aie ‘in that form Te is mut en understood by observers eran ‘when performer varies Fair melody by decorating it with str nee, leaving the original outline nace and pial. sudble. That i xy to-do, and exy to undersind in Itening; there ae lear traces of i in the ‘Gregorian rpertery, especialy im connection with the formula of tela tion, where densi ir culy perceptible a the ates hand, inthe case of chant thi is already decorate, 8 ‘memati chant, singe’ changes may beter be desribel ot at tt tion but rather as extension Such extension, whith can be thought of improvisation, isa ao base Lind of music mating that we a sume goo. fon anywhere, any time. Ie would be the primary means by which the ‘han repertory as developed overtime. When an mproised extension eared so that it canbe reproduced in performance, ind refined so a5 to present an integrated end polished sppeuance, the rest cat be ellad ‘sical composition. Learning melodies ale compose, varying end extending them in performance and leuning the rests ca ll oom at taneous ina musa repertory tha sin cute use, Development of mace notation for chant ‘Within the historical peti in which Gregorian chant emerged, forms of verbal notation and also musical ntaon were in common tse, and had ‘been in use for well over a millenium. Christin cute from the second century on becave realy ted to books: al the word ido sung at Mase {nd inthe Divine Office eventually came fo be eared from books and — ‘ens leane by heart ~ sil erormed fom books. I was an event Tragic requirement da the Mss, which contained al the wards a be ssid t Mans shoul be open onthe aa. This equtement apie inp Seultwo the capon ofthe Roman Mass, the part ofthe euchrisc peter that, once i had Been developed into «standard wording, was tobe sid eel 5 writen, Syste of mesial notation were asl: we have the one ym fom ‘oxyrhynchus, thied-cemury papyrus, wid he pitches o the slay wee ten in Oreck alphabetic symbnl ering 0 the distonic sytem, In this [nd of notion we knw exacly what pitches were intended. From this snd other fragments of ancient mere we know that mia non wae alble tothe cay sages of Lain chant European singers, however, di not make consistent use of notation bore go, apparently Beouse of ein widespread convictions and pre- indices about the proper place of musi in Cristian worship. Specialy, ere war a long-standing tration that profesional mesiemakng with instruments shouldbe avoided, and this woul include the kinds of oxtion thar refed preiely eo talon pitch coaigurations, Te was for his reson, apparently, tat when European singers di sarc to se msc nottion, they developed new kind of notation that had 90 exact antecedents eve inthe ily varied musical practice of angut Sometime in the ninth century, Gregorian singers developed misc rnoution tha did not show ease pitches, but did show other aspects of melody ~ aspects not necessarily shown n previous ystems of rotation, New notation north of the Alps Learning the Gregorian repertory without notation had not been a problem longa i was a mater of local aditon, arsed on and even developed bya smal faceo-fce group of singers It came a problem, however, in enoecion withthe difsin of Us reperiry Ueoughout the Carolingian "Empire, epeily since the mosi wis iseminated by ergent order of the emperor. The Caolngan shores wanted the repertory tobe sng i formly throughout che empire, so some means of standadizaton became String afer the yar 70, the singers noth ofthe Alps ad earn the sew sets of words that ame ith the Roman ang (twas the asignment of turgia soenc to Sundays and feasts that was ae, for te Words ‘emiever ner mony excerpted fom the Bok of Prams), Reman singersed a ee es ae cite ind OE ALE ae mre 2 iin ?™ eed Gh oo WAG 6 Ory ere os rine Linton site pitino | Feel Pas prienteapt \ EL Sn mong cares GL! ere ashe to come to teach the northerers—but not many came nd they no tay Tong. thas been pointed ut that northern reports docament ‘only 2 few Roman tscers, who remained inthe north usualy not more ‘han year; bait took ten eas (the morthemer eid) fre eantr to erm Iisbusines. ‘The Romans, sad als sent north a book wth the sen ‘ences writen down; Dut sich book sarivs, dthe ony books we ave are chant books made somewhere the north Ie is coneiable thet he Roman singers themselves didnot we books fr thi parpee In any ae, seems certain that they dd oe write the melodies down in mscal noon, Afi, the nother singers wrote down only dhe wor ofthe sentences inthe licurical order in which they would be used. This amounts toa chant ‘ook withou musical nation, and we have x number of them fom the ‘inh entry. The snger would use this kind of book remind im a the ‘word (which he had already lead) to be sung at Mas, and he woul ing ‘hem by heart. But then inorder to expedite the uniform performance af Gregorian chan throughout the empire, the Frankish cantrs developed ‘heir new kind of musi nation, By goo the Kind of book that had ion Chain Nai ond ind os ‘ontsind only dhe word came ob provided completely with this musi notin, in order to remind the singer ofthe elds as well a he words. Arcentng Gregorian notation ving experimented wi asi notation trgbou ee nn cent, torte caters in iferest air ud developed eer sight er Gar worate gen of mation, Se of he hel systems ok at though ny hd ben dened rrr by mere of dicaton what 8 Sige sag (ome of the notional pn eel moder Gree shor Fumi sx ptr and) In any eat he on eres the tray the lis wore sng by th ctr, rb the fobs haa Some sli ht hi eso of mse nstn a wae shedin the Hstory of si eps perfosanc a Ut he ae of mil notion ave peomers gute diferent a) to now muse Garmeurty(t rpued) we shoul mnie tht afer te aedacton toxin the Can sounded diferent ~ perhaps very ferent ~ fom be ‘ay i had sounded bef OF core we do nt kw Bow ld soundA dai Grin Cha ‘before, since it ws not writen down; so 4 more prudent conlision is that, white given piece might have sounded dierent before it wat writen don, icoul joss well have sounded the sme before ay after In any ese ‘egitim yin definite ab the precing ecomes Even afte the new chant notation case into we, cat singers didnot esr at Mass orn he OfBee by reading ram achat book They one ‘nue to lean fam a teacher, ding + chant book primarily eo check eel memories and they performed by heart. We can easly understand ths, sine it isthe way mach muses made today; and we cn late it to var ‘us kinds of medieval evidenes of which the ss racial tht aly chant books ae small and, alubough ofen writen very cety, are some times barely legible even in god light hey were certainly not legible ‘andleigh ina dim cathedral. Not uni afer 1300 do chant books became lange enough tobe read by x small group of singers standing around the Beast, ing fom bat shown npr om the ite idle [Notation without pte "The cates Gregorian notation did ot show the exact distance up and down from one pth othe next =a fit that concer in ever dill ext contents (See plates 1 abd 2.) Fist, this ack makes i obvious that a finger bad know the melody in oder to read the notation. Bat since the Singers had previously Knows and sung the whale eeprtory without any ‘otton a al the new notation’ ak of specie tance between pitcher ‘Poul wt bve been « problen “This ack of pitch information is mor ofa problem for moder scholars ‘we woud not be sl to read the melodie iit were ot forthe subacent ‘development of notation, Aer Ab 1000 sme notational ystems rad ‘ame to show exc distance between pitches and the melodies cond be read Aiety out of the newer manuserits (ee ple 3). A tums ott, he ‘Gregorian melodie inthis ater notation are sma enough to the exe ‘oaton to make us certain that we are dealing with the sume melodic ‘Therefore, once we have learned Gregorian melodies ou ofthe ter chat ‘books, wetreinthesamestuntionas the tenth entry singer we now how ‘the melody goes, we an read ten we find tin one of the earlier chart ‘books, eve though ts notation there does not show wha the itches ae Inspite of wing notational techniques that varie rom place to plac, the northern chant books forthe Prope of the Mass produced over the next, Several centuries show a uniformity of detail unique in European musi ‘This uniformity indieates that singers throughout Europe all knew the same basi versions of che melodies (and hiss what makes it possible for ‘eto te the later manoterit to read the earlier ones). The ufo ‘ely explained by the Carolingian plist programme of installing one ‘stem of liturgy ~the Roman tare ~ with one set of melodies through ‘out te empire This difision of one st of rcodis was accomplished by teachers ging out fom (or singers coming t) acetal school suchas the feat Metz in France, ootated chant books would be prepared to provide individu Iocalies with permanent record of what their singers had teroed. Notation and performance ‘The ety chant ook ak of pitch information he een mat puraling for modern observer. Perhaps itis becuse reading isso basic to us if we anno ead apiece of music, we cond that we eannot know it~ hence ‘ether could they. But that very dubious loge. Pare of our problem iin filing ose that musical notation doesnot ll what piece of mi "The notation, which i addressed only tothe performer, merely tel hina A dc Gigi Cha certain aspects of how to perform. Reuing the notation and knowing the Piece are to diferent activites singer who knows asong can proceed © fing it if he does not tnow the song, he ast ean it fom sormcone who oc, Ifmo ones avaible, then the singer might have to ead itn book, Douthat isa poor alternative Tes esenal to disingsish renng muse fom knowing it and we can become avar of the distinction by abserving how modern musicians per form with and without notation, In gener, me should imagine early (Gregorian singers singing 8 an opera singe des without reading o even aneing at any form af musical notation Tr tro hat some gers maybe hl to se and read notes in their head a if he notes were pind ag, jot they maybe able te imagine the word they ae Singing a if ‘hose were printed; ba that would onty be if they had earned the nes ‘raphic images, or hada special kindof ability known ade imagery” Most singers ithe anna do that, orate not interested in relying fr Performance. Asan alterativ, singers may te able to ar internal, hrs by phrase, how the melody ping to sound; but then they have to ‘cep thinking ahead, singing one phrase while heaving the next intra (tient seems tha sngr sings without ny conscious roetion ofthe ‘cody in any form inside his head he jus sing it, and vision (in any ofthe many forms ic can ake) may simply go along with the performance The singer may reister what the melody i dongs if he wee Tseng soeone else sng i But the singe i ot really following the visualization, the performance i being guided by something notin the singe’ nner Bld of vison, An intermediate ecique that works forme eo vemind myself ‘consciously what the net phrases ging tobe, then let te unconscious ‘mechanism produce it~ mucha in elvering &memoried speech | can Simply announce to myself what the nex paragraph is about and perhaps sat the frst few werd, ling he res come to ind without my conscious ‘lor. Staff nottion ‘The most obvious diference between ery chant notion, such stat in plates rand 2and modern ottion she absence em early notation ofthe ‘mosis the rows of horizontal lines on which the noes are placed Simply the appearance af musi aff an india the presence of m= tal notation, evento a madera observer who knows nothing about how ‘scl notation works. The sta lates ech noe inthe distoni sale _erfrmers who have the diatonic cle in mind can read the ext dence ‘up and down beeen pitches. In pte ofthe lack of tal the ery note saps given other respec lear, simple presentation ofthe pitches fo (©) 2atger rence ence ¥ PP we Om ye oe Piguet Delon f Eten ich meni (ly ct ao eat {en ner ae nnn a) (se op on ea $e) (mols cas aan e930 ‘besung Some ofthese in particular the notes tht represen single pitches, ae eal identified examples of signs for single ptehesin one ery se of ‘bottom are shown in igre 8.1 Other signs, however, represent gong of ‘wo tre pitches gether; examples are shown in igure 8.1. Iti these foup signs tha srk the modern yea unusual (Modern notation, 10, has ts own group sign, equally unusual 0 a non-muscan) And even though the stale neation does ot show the exact dance fom one pitch othe next for instance whether the interval ia woke sep of bal ‘Sep, it des ofien show up-and-down direction in melodic movement, fr instance dha he second of eo pitches is higher ot lawer than the fst as in igure Ba ‘Chant notation was transformed rapidly during the Middle Ages, In ston tothe development ofthe staf (which by 1206 assume the form jn which we sil we) the note shapes themseives changed, evenly producing after 1600 the modern note shapes Fair tow some of the ‘Sepsin that development are shown in Sgures 8, dane “The it sep involved thickening ce aly group sigs 10 emphasizegin Ca individual pitches his change a group sign from thin smth curve oa Series of wares connected by thin ies, as igure 8. re and plate 3. Then {he group sign were abandoned, andthe aqares mere mostly repsced ty iamond shaped signs, and thee eventualy by ovals which we stil we ‘The ovals have gradually acquired other signs, very fanart the modern je but too complicated to explain or even describe in thi book fates, fags, beams, dts, and so on) ll associated with shyt and maze, When we want to represent chant ia modera notation, we se only the not beads, Showing pitch without the rhythmiemettie syperstuctre an figure 8.16; meals pic the note heads on + taf to represent dito diatance ‘por down between pitches, ‘Reader familiar with staf notaon may need tobe remind thatthe suf by ides no ientiy the notes with the atone sale eset that identification bas tobe provided by a speil code, ore, for which the French ward cls sl wed. Medial chant notation used the det to ‘show which lie indie the not clled Chi cle a be seen in igre ‘8.1cyand in er graphic fom in Fig 82d. Moder notation ws vo ore efi called ‘rb and ‘bas clef they represent G or F~ bet tat sot esas fom looking at them. Treble cl urd for tenscripion of chant no modern notation, ain gure 3 Notation for groups of pitches Gregorian mod especially the melsratickind, movsin ery diintive says anda sequence of single sens and group signin aly nation nd ‘ate specie melody just ike «thumb pit But ar with cumb prints, identiestion depends oa nding match with» rit that has lady been recorded In Gregorian chant the carves ofthe melody ofc it together with the sylales in very intimate was but, paradoncly, the Bitcan take many di {An Intonation: pitches nthe words in goup sigs In ea Theboole Blebook assung Pg! == rion Che Netti ei he Mint ferent forms. IFT see only the words and have ony vague outne of the cody in mind (sa the beginning of figure 8.2), 1 may not anticipate {sacl how the step and leaps up and down a aigned with each sable, {nd consequent Twi fmble and nt beable to tr singing the phrase Tn figure 8. there te oly ne ot two pitches foreach splale, ut the pitches could be alld othe syllables i ferent way, each syistically Eppropit. A glance at the group sigs in gure Sac shows me easly stich way they realigned with the ylabes, and one the core vequence {ope and downa is titated, the melody becomes locked oto tack, vt a speci sense of righting unigue co the Gregorian stl. Given the Stor and the itch oting, the group signs sem to be an exellent rep ‘esentation ofthe melody. ‘Grouping itches isimportan inal kinds of mas: ay tener ca hese 1 diferene between a performance in which the pitches are grouped in ome way, and one in wich the snger or payer jst offer one pitch after nother without grouping them. The singer has to let the meady flow machi ahead, connecting veveral tones together, then articulating ihe toss toclose one roup and wrt aneher. Les important pitches must lead {nor fw ou of more important ones so that several pitches form acoher- ext whole ~ jest as, in melodious spech, several splables are grouped ‘ound an scented syllable wo form word, and several words ae grouped round a prominent wordt for a well-aounding pre ‘What the group signs inthe erly chant boks records the may sme singe bial sang the melody is personal style of ding it becuse was a ery sacesfl wa, o for same other reason (rasan, because the singe had {pres eptation),oher singers wanted to be reminded of exactly Bow the ‘pero: went nese he id at ave sufnt opportunity fer it Wel. Te sign record a adi of singing, wy of singing banded down in ‘the ft instance by ive performance om teacher o pupil A number a ‘ions were maintaied by diferent singers in difeen plas Adjns betes In a fw of the caret chant books, the group signs are supplemented hy esen more specie diecons about grouping, infeton and scent. These direction come inthe form of alphabetic codes added tothe froup signs they are notated dered in diferent books (and appear In reaiely few boks); they produce varying ress. Figere 83 shows 5 enusualy dense aplication ofthese adunt lates othe begining of 4 Alleluia ant In this manserpe (Laon 23), he lester see to have these meaningsaut ,™ 28 < BEA EIA 8 Bg we 83 Asn ew. The bss Pach sara et ia aon B59 wih auc ete towa yan, ‘broaden (Latin aut comparable with modern Fain allergens) 1 ot Latin en, comparable to moder Kai vat) 1m moderately (Latin meee, caparable with modern Tian mse) © quickly Cain elenier) (Latin gai indicates athe net pitch boul be the same as the preceding) “These adjunct signs sometimes cl for the emphasis of roupig, bt sme ‘nes, on the contrary they dimissh reve mint the eet os soup ing Tn thisexampl the laters and both afr lengthening the pitch sign the seems tostoptheforwardmotion rie, wile the merely broad, it.The om the other and, causon agit lengthening athe end of ‘ha parca group. Sometimes these sane penal as when the mor meieritersays'nocoo me reaiveto the preceding. (Thesign essed ‘occasionally to remind the singer that mo sucesne pitches are the sane) ere, as eewhere, the eters ted tobe taken inthe context ofthe oes all sense of passage. They represent individual ways of singing the codes they show one specie interpreiton of «melody one ma ive Singer new efsinging i This pves ar tore o know than what we ea ean, fom the pitches alone: ic can give us examples othe messes of the crginal singers, example of tee Knowledge ofthe melodic, ‘The ajanc is appear in aly + few ofthe else manuscripts, and Soon disappear completely from chant books It is geerly sumed that, later metitval chant naatin ves no ination of rhythmic infetion af any kind in this respet the ter aotation correspuads to late medieval shan peracmance in which every pitch had abot he sme length. Tis in "umm coresponds tothe late medieval designation cent laa, pnchane (Changes inthe medioal singers perception Around the year 80, Gregorian chan waa the cance ofthe northern ein Cha Ni a he Mind % cunt singe's expeincs; it replaced previous hinds of melody which were no longer in woe (and, since they bad nt been writen down, they at ost {0 us)-The Gregorian perry, inspite of being writen down, also disp ‘posed gradual fen tener eld ef vison ofthe northern singers Tie Iappened when they developed thee own new reperories, ech with is conn distinctive style By:the year 100, mlismati Gregorian chan was raply being ovt= taken by new Kinds of chant forthe Mass Kir, lbs exer, Sent, ‘Agr Dei along wth segucnoes and topes. These gave the snges melodic odes iferent from thse of the Gregorian repernry. Tater, by 200, avious Kinds of daca with more then one woe’ gave singers something ‘ite ferent oho in thsi minds a kind of rngng that wed two dit ferent pitches sounding at the sme ine Mearred rhythe Another change affected the way singers peeved rhythm. During the ‘medieval development of cant, muss eases abd musicians consucted {temporal continu eal mee, within which yt could be imagined tomove Metre was ike « Fxmewor, a ged of equally spaced markers in time. Twas located pray inside the singer, But ws Soon graphed in ‘musical notation in increasingly preci and elaborate ways “This medieval development was the origin ofthe concep of metre and ‘yh inthe cel repertory. These concepts el very fair to us — So Tamia tat modesn observers may have difculty in imagining any ter fame wort for yt, on iagining that tytn could eer have teen any other way. Bu within the European tradition thee concep of rmee were new and different fom concepts in Gregorian cant, where ‘here war no mete and consequently no single vighd amework within ‘which rhythm cold be understond. ‘The new system of metre wae very ‘ef fo cncving and performing music that happened o have regult ‘hythms, hyn made of egul durations and equal patens of drain. "These tinided with the egal markers af the merc wid, so were es} to seach and ern “The rhythms of chant, onthe other hand, didnot ecincie with the ‘mete gid and so mete Was not ued for chant perfomance and Was not ‘efleted in chant notation To ptt anater, mote important way, sngers trrned inthe use of the metric grid had’ dificaly with the irepule "hythns of chant and tha conte tthe gradual bt steady disse of chant The riythmic laments of Gregorian chant actly disapeared from European singers’ musical experience in away that the melodie cement never diA singers perception of chant in the moder recial Inthe revival of Gregorian chant towards goo (mentioned in chapter 4) the 'eoson besmeen chant notation and the singe’ mental image became ace ‘This was because ofthe oss af waditon: singer in t90 ad litle oppor- tunity flees chan from teacher, oto sing ang with group that bad sung in certuin way for + lng tine, The Gregorian tration had been sroding since the Midle Ages, but probaly the pretest lee occured Detween 1700 and 900. ‘To be sure, the eattion was never beaten completly. OF the various ind of Gregorian chant, the simple congregational responses and rete ‘son formulas surrivd in cathedral and the pai ones in monasteries, tn the absence ofthe more elaborate chants thir simple canting was known, iacall a a ad careure ofa forgotten glory And yet many Earopean ‘athedals and monasteries ail had chant Boks, ad sang some item or special occasions. Some monsters mantained the radon of singing the ‘hole Divine Otic, and few vem to have sung it well In genera hows ve, he ls of train meane the ls fanatic way a muse way ‘of singing the pitcher recorded inthe chun books, By 100, then ll that survived wax «notation of pitches, nda musically ‘eutal va ofiatoing them ‘chanting then — ina wy hat co mos persn seemed step diferent rom mnie, The mire of the chant "eval was that people began hearing these neutral sounds ina new ay, he vay described atthe Beginning of chaper 1. Or eter, pnp were ready ‘oben something new nthe neutral sounds Allofhat belongs tthe story othe listener experince. The singer's problem was ow to perform chant so a8 to ese these new assocations. In praca terms, sages ha to develop an image of chat that would enable tern o perform chant msi cally and convincingly, but cey had to do this with no audible ode, basing their conception completly on the pics tiated inthe books New chant books Since the neutral way of singing those pitches produced inadequate resus, Singers and choasfl at is hat there must be something wrong with the Boks. They believed that the mds had become corapted, tan the nurse of thousand yees the melodies ha change om thei orginal beauty, and has enuf performance cou only be achieved by esr ing the melodies to the way they were inthe Middle Ages. Singers and Scholars generally pred! about the importance of finding ou xsl bow the melodies wen inthe aldest manaript sources Around roe, various scholars proposed re-editing the Gregorian chant i Ch Ni ad he Ma % for Chin == ae eee arenes Play “Square mul auton in he Vain eto fhe Grade 908), 9.298 twooks to bring them ine ete aecord with the east manuscripts, Noe cveryone red tht philoial recovery of the chant was possible; bat vith hehe of the programme of cant refom poretedvigoroel by he Benedictine monks of Slesmes (France, there wat enaugh agreement (0 produce in 1998 anew edition f the Gregorian eprtry of Proper chants Tae the Mast. This edition ir uovaly refered to athe Vatican ein of the Gradual, It was cepted, for the ne being asthe way the melodies went, that i oc, bow they went originally, and ov they ought # 30 ‘now, The muta otto sed in this dite ppeted a in pate "The notation, clledgar itato rember he Kind of roup nation sxe around 1200 (oe plate 3) whic sil shows some a the grouping of the ese notion. Square notation was read by singers apd scholars sroind 3990p, without mie aie each itch about the same Teng eed of dhe noes shape Contoverty about rythm “The Vatican etiton was indo closer tan the immediately preceding han books tothe pitch confirurations ofthe Gregorian melodies in the ‘Midae Ages, bu har did ot solve the problem of making the melodies sound beni oof making them ena the experiences people expected fe hoped for iors chant. It war cca that singers needed och more {oration sbout pce, tne, timbre infection and phrasing. Such ictors, Famped together under the beading rbrhm, immediately ocasioned a pro. found disggrcment, in sharp contrast tothe widespread agreement con ‘erring the pick configurations of the melodia. The disagreement about ‘hth became polarized around the bel of the two principal Gores in the chant revival, Dom André Mooquereas (1849—1930), monk of Soles, ad Professor Peter Wagner (1865-1951, histor in Febour, Swiverin,6 A Inaarion Gein Cha Dom Mocquereau and Profser Wagner Dom Macquereny, tthe Abiey of St Pierre n Solesmes, came ott of Seen -handred-yea tration of Benedicne monastic, and als auch shorter tradition that wen back othe mid-nineteenth century tSoesmes, tothe work f Dor Guéranger and Dom Pothier ad to the wa) the monks of Solesnes sung chant. Dorn Moogurea himslf ha s burning conic- ‘on of how the chant shoud go, bel of unigee vives and nemity, His ides ofthe sppropriste rtm was the most prominent peta te belief. In order o communicate this rym, he worked uta system of xplaning it as well ase method of eaching it and using iin performance He devised simple sytem of signet be ded to the sae notton of han, o that anyone could ler o sing the Gregorian mens in his Kind ofstyehm, Dom Mocqueres's rhythmic sytem is complex, and his published explanation of (in Le mambre musa, 998-27) has ben dlc fot many ‘0 understand; bu his hye sigs ae few nd simple The thee type se shown in igure 8.4, and ean be sen in plate. They inchde the dot, pliced after noe; the epema, a short horizontal stroke placed over or ‘der note; andthe iets, a short veri soe placed ove or under = note. The dt doubles the daration of pitch, the epscnaengns iby ‘rile amount; the ies indicates where to count one while counting Pitches in groups of twos or threes The intended rhythm cant be ead Simply fom these signs a withthe exist group notation, he singer a 'o know what shythm is imended (a thi ete, Dor Mocquereas ‘hythm) The sgn merely ein singers of the th they alsa Know foe panicle pasa. Dom Macquereau had pushed hard for the new Vatican edition, along with Profesor Peter Wagner and other scholars, and was commited to the ‘erson ofthe melodies pubic He was rer clin is own mind, ‘onetless abou the rhythm of the chan, nd he fee essential or the ‘Vaden edition inch hi thine igs Professor Wagner objected stenoouly to Damn Mocquereau' peopl fovaddingshythic ins tothe Vatican edition, Asa pilologialy ined ison, Wagner, along th many other scholar felt tht ‘Dom ‘Mocquernu’s reading ofthe notation wat fr oo subjective and was based cs a . Ac mn gion Chat i Nation one Mind 6 ‘a5 ‘Su al tonne Sener ion a eG 43 938 ‘completely on modern rhythm, In acordance with philloeal method understood around 190, he believed that a te understanding feat = of any historia work of arto erature, ould be reached only through & Sophiszsted analysis of the objective dats supplied by docimentry "The agreement between Dom Mocsueret and Profesor Wagner was expressed not by direc confonation, but rather ‘odieedy through scholar publications and eventually editorial committee work by others, furthermore, discussion took place in an environment dominated by eel ‘ou belie, which encouraged kind of verbal expression tha wa indi rec, allusve and presumptive. The sense ofthe disagreement can be ‘raped fom the flowing purely imaginary dialogue (far as kno, they ‘ver met abd they had hey would not have spoken in hs manne) ‘ML Heres how Ising Gregorian chan. You ca ell thatthe right way by wading iin the manuscripts W- 1am flowing slong inthe manoscrps, and I donot se anything that oaks ie whic you re sigig 1M. That i becae you are nt reading with my sytem of rhythm in| ‘mind. You have o understand the sytem, and know at itis the same ‘stem urd by the orignal singers. UCT know of no documentary evidence for that. Your sytem i co pletely a produc af moder thinking, and therefore inappropriate to he ‘gil chan However it was expressed, the disagreement was complet the stand-off svat absolute, and given the schauly tradition tht Profesor Wagner Tepresented, the rel ws cea and Bal, The etal committee sper ‘iting the Vain elton dd not incude ony ey sigs,om Mocquereau and the monastery at Soesmes Alternativ ystems of Gregorian rhythm were proposed during the fetal of the century, Wagne ise had oe, and there were other: Nn, how- {ser was developed t the pint where iy won gencal scholry approval option by enough singers to genre tration. Meanie, Dom “Mocqueenn's way of singing turned outta be specaclay acces in performance. His shythmic sg were ncoded i chan boils plished by the monks of Solesmes: these publcwione incaded + Graal, with melodic versions seupsloey the same asthe Vaan dion bat with Fythmic signs added (epg and compar with lt anda the Liter Usa, which became the most widely used chant bok ever. Daring the 1905 the monks of Selesmes made sound recordings oftheir perform ances af Gregorian chant asmadels of ow ical sound when sung cord ing to Dam Mocqueren's method of rhythm, Dam Mocierea himself ‘published boks and articles desabing his metbod and = most important = ‘aught aod demonstrated in peron how he thought the cant should po “Thousands of people lemed ds way of singing chan, and whe was posible for an imaginative person to learn cout of Dam More's bok, 4 was much more reliably leaned from a teacher, I lead Dor “Mocquerea'smehod fom someane who had sted withtomeone who had studied at Slesnes and had heard how they dit ther, Whe listened are fay tothe phonograph recordings, thy snp contend what go fram my teacher. The musidea communisted by alive teacher —alayea iy ‘us proces - seemed ob cereal to learning the chant, art ait haben ‘the ninth cet, before the ate of notton. And Dot Mocqueen's way col be transite with rea realy: Thave ad the experience ofsinging ‘han witha tanger, fromthe other no the ert and, both singngin Solesmes sje, we nee perfcsopether thea ime through the Gi ps Performance of muanced chant notation Suoossfil sit was, Dom Mocguereu's rate of rhythm never persuaded vezyone that it mas the oil way of singing Gregorian chant. Im alton ‘othe rhythmic system, the Solesmes sve impos an aesthetic system whose sense of musica beauty and expresiveness was erly product af its own time, and more appropiate tthe ninetesnth century than to the ninth. The Slesmes style sounded 3 good tour only beet a uc in common with music Rom oar own tne that we tought sounded good, Some shots and singers had the persient dea that chat ithe ninth ‘enry must ave sounded diferent, that would be valuable to know ow itwas sung then, and tha we ought to beable find tat ut. But how? ion Chain Ration ni Mind % abhi, es ein esto Spat m6 The GP) een fs Lata S39 mt) While pondering the aparen insccessiity f ninh-century perform anc, some scholars and singers became incressngly aware of + seous fonfiaicion among the medieval manuscript sours for Greoran ‘ha aot inthe sures themselves, actly but rather inthe standard Dolo! way of thinking about thm. According wo leary phils, {he best Source of text would be te one closest tothe author, hat usally tesnt the eal source. And according wo mid-wentet-cetary muse ‘heory, the mast esentil par of «pes of mi war pitch congur ‘ona rested by ity composer author). “Ths two atioms, however, could not be applied simultaneously 10 chant manacrips, brome the int gave content indication of specie thes only around the year 1200, Manuscripts befor that ime gave es {ci indation of pithy the eartest noted chae books res around {po pve lst no indication. And inthe period in which the chant i uly thought to have Ben rated, singers dil noe ote pitch notation at all So seared tht either the abst sources Were wa the closest he ‘rig (and therefore the standard philological method of establishing he ‘original would not work) or the pitch conBiguraons were mor the basi ‘ment ofthe music and therefore the tndard way of analysing ad eval ‘ting the made was leant. Daring the Sst half af thereat century, chant scholars red not © thin oo hard bout these imeaons; they tended to exept thse cnt fiction regarding the belaour ofthe sours a8 ane of many pecs things abou ancient mos. They continued to ue the ltr chant books (Gor ron 300) in pit of ther distance am the gina chan, which twas pertups a8 much 25 Goo years. Since mid-centry, however, scholars Tae pradually come tothe do that if phllogical method ha x) validity for chant, thn tht would soges that he eas sources i infact record