Gregorian Chant (Performing Arts)

Fifteen introductions and an edition of handwritten chant scores. Dutch experts wrote the introductions on items related to the edition, like the changes in the liturgy since Vaticanum II, rhythm and ornamentation in chant, vocal techniques by Aurelian of Réomé (9th century) and the scientific implications of the melodic reconstructions. The edition presents a selection of chants that Wim van Gerven reconstructed for his choirs between 1984 and 2002. Van Gerven (1929-2008) a singer and director, was one of the leading pioneers of the semiological movement in the Low Countries.

A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.

For a recording and score-video see the link below:
https://www.youtube.com/watch?v=_p9WQlyVPrA

This doctoral thesis attempts to outline an overview of liturgical monophony between the fifteenth and the nineteenth century. For its realization we have based mostly on the study and analysis of its sources; in our case, represented by the plainchant choirbooks of the Segovia cathedral. The second, and no less important, source is the contemporary musical literature. In order to present it as rigorously and comprehensively as possible, we employ an interdisciplinary method based on the observation of archival, historiographical and liturgical-musical sources. Its development is structured in two parts, a division following the number of volumes. The first part is, in essence, the exposure of the subject, while the second includes the catalogue and indexes of the Segovian books as well as a pair of appendixes. The main development is articulated, in turn, in four parts. In the first one, we establish the historiographical, social and cultural coordinates which influenced the elaboration of the choral collection. The Church of Segovia, as owner of the books, is the focus of special attention. The second and the third part are dedicated respectively to the analysis of the corpus of common plainsong and the canto fratto; that is, the plainchant with mensural elements. Throughout its exposition we examine both repertoires from multiple perspectives: terminological approach, musical notation, melodic transmission, modal behaviour and new composition, among others. Finally, the fourth part presents as leitmotiv the performance of the liturgical chant in the period under investigation. Within it, we analyze a series of variables with a deep impact on the actio canendi: the singers responsible for its intonation, the acoustic and space dimension of the choirbooks, the care of the sacred text, the rhythmic practice and the instrumental accompaniment of the monophony.

The famous treatise Micrologus by Guido d'Arezzo includes a small chapter on right and wrong vocal intonation, which opens a window on contemporary performative practice of chant, including microtonal shading. This paper presents a full edition of chapter X (including a critical edition of the crucial 11th-century interpolation, normally excluded from current publications) with English translation and commentary.

This study explores the idea of music being used in interreligious engagements involving Muslims, both so non-Muslims can be aware of Muslim sensitivities and so Muslims can positively contribute to such types of engagement. After explaining Muslim reservations, I identify four genres of sound art (Qurʾān recitation, the call to prayer, liturgical chants, and eulogy chants) which are deeply engrained in the Islamic tradition such that Muslims are united in attesting to their sacredness. I explain a little about the important features of the sacred music of the Islamic tradition and note that the type of Muslims who risk being left out of dialogue are the same Muslims who are most sensitive regarding music. I argue that Muslims can be both engaged and engaging through the use of music, without their musical sensitivities being side lined.

con sede a Cremona, dell'associazione culturale «Il Saggiatore musicale», della Società Internazionale per lo Studio del Medioevo Latino, della Società Italiana di Musicologia. MEDIOEVO MUSICALE MUSIC IN THE MIDDLE AGES Bollettino bibliografico della musica medievale Mediaeval Music Bibliographical Bulletin XVI direttore MARIA SOFIA LANNUTTI FIRENZE EDIZIONI DEL GALLUZZO PER LA FONDAZIONE EZIO FRANCESCHINI 2014 La direzione e la redazione desiderano ringraziare per la preziosa collaborazione Michael Rocke, direttore della Biblioteca Berenson di «Villa I Tatti» (The Harvard University Center for Italian Renaissance Studies); Kathryn Bosi, direttrice della Morrill Music Library presso la Biblioteca Berenson; Cesarino Ruini (Università di Bologna). La rivista è disponibile anche online all'indirizzo: www.mirabileweb.it. SISMEL -EDIZIONI DEL GALLUZZO via Montebello, 7 · I-50123 Firenze

Wittgenstein's experiments on rhythm, conducted in Charles Myers's laboratory in Cambridge during the years 1912-13, are his earliest recorded engagement in thinking about music, not just appreciating it, and philosophizing by means of musical thinking. In this essay, I set these experiments within their appropriate intellectual, scientific, and philosophical context in order to show that, its minor scientific importance notwithstanding, this onetime excursion into empirical research provided an early onset for Wittgenstein's career-long exploration of the philosophically pervasive implications of aspects. Dramatically moving beyond the conceptual limitations, which were inscribed by Charles Myers's scientific program , Wittgenstein got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in what we actually do when we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility, so a new aspect may come to life.

Nichil, michi, veementer – the sound of the „h” in medieval liturgical Latin. Phonetic analysis based on Gregorian semiology
The primary objective of this research is to draw attention, by reference to the oldest manuscript sources, to the phonetics of the letter “h” in the words in which the sound oc¬curs between two identical vowels. Medieval liturgical Latin was repeatedly the subject of various studies. With reference to the letter “h”, it was determined that it does not cause any sound, so it remains silent. There are, however, exceptions to this rule – in the words nihil and mihi, which present spelling variants of nichil and michi caused by phonetic requirements.
The starting point for the research is the assumption that various manuscripts be¬longing to the authenticum fontium gregorianorum, each time when the letter “h” appears between two identical vowels in the word, should, due to its soundlessness, combine two syllables and assign one undivided neum to them (like this happens for example in the words tuum, meae, si iniquitatis). The same phenomenon should take place in the words nihil and mihi. The analysis based on manuscripts from various neumatic families, namely Ein, Bab1, Gal1, Gal2, Gal3, Eli, Lan, Van2, Klo1, Cha1, Lav, Dij, Ben5, Yrx, Alb, Har1–2, proves that in the presence of two identical vowels and the letters “h”, dif¬ferent scribes in most cases divide the word into two syllables and write two independent neums. In addition, in a large group of manuscripts from the above quoted, with great regularity, there is a two-syllable writing of the words nichil and michi with the letter “ch” in place of “h”. This phenomenon, connected both with spelling and phonetics, proves that there could exist the practice of pronouncing “ch + I” as “ki”. Conversely in the word vehementer – most of the manuscripts attribute only one neum to the two initial syllables; none of the manuscripts writes vechementer, but some give the version of the word vee¬menter (without the “h”). Also, the case of syneresis of ve-he- occurs regularly.
All cases from the Graduale Romanum repertoire in which the words nihil or nichil (6 times), mihi or michi (70 times), vehementer (6 times), vehementis and comprehendam (2 times), apprehende (2 times), apprehendite (once), irreprehensibilis (2 times), have been examined in the light of the neumatic manuscripts. Particular attention was paid to the compositional contexts of neuma torculus initio debilis.
As a result of the analysis, it was proved with a very high probability that the words nihil and mihi, even if writed using the letter “h”, were pronounced like nichil and michi.

Bonum est 117 -28 maart 2013 Vanaf de zeventigste dag vóór Pasen zong men geen alleluia meer in de liturgie. Veertig dagen vóór Pasen begon de Vasten. De laatste twee weken van de Vasten vormen samen de Lijdenstijd. De laatste week vóór Pasen heet de Goede Week. En de laatste drie dagen van de Goede Week noemt men het Triduum Sacrum. De welhaast mechanisch geprogrammeerde liturgie komt op de dag vóór Pasen volledig tot stilstand, als een trein die zeventig dagen eerder al begon met remmen. In het nachtgebed van de laatste drie dagen van de Goede Week worden traditioneel de Klaagzangen van Jeremia gezongen. In deze oud-testamentische teksten treurt Jeremia over de verwoesting van Jerusalem. Drie zaken komen hier samen; Jeremia treurt over de Tempel van Jerusalem die werd verwoest door de zonden van het volk; Christus die sterft aan het Kruis; en de Kerk die rouwt over Zijn dood. In het Evangelie van Johannes zegt Jezus tegen de handelaars in de Tempel: "Breek deze tempel maar af; Ik zal hem in drie dagen weer opbouwen". De handelaars sputteren tegen, maar de verteller vervolgt: "Hij sprak over de tempel van zijn lichaam. Na zijn opstanding uit de dood herinnerden zijn leerlingen zich dat Hij dit had gezegd, en zij geloofden". De klaagzangen van Jeremia werden zo populair dat de wildgroei aan melodieën in de Renaissance werd teruggebracht tot één eenvoudige leestoon. Meerstemmige composities van Lassus en Morales tot Stravinsky zetten die populariteit echter voort. Vandaag hoort u Oud-Spaanse en andere melodieën voor deze klaagzangen van vóór de Renaissance. 01. Quomodo sedet sola civitas. 3'32" Schola Hungarica o.l.v. László Dobszay & Janka Szendrei.

Dosier compuesto de 4 artículos firmados por: Björn Schmelzer, Juan Carlos Asensio, Paloma Gutiérrez del Arroyo y Pepe Rey, y Josemi Lorenzo Arribas.

En la historia de la humanidad, y de occidente por tanto, la música ha sido fundamentalmente música vocal y coral, frente a la idea que actualmente impera de que “música” apenas puede entenderse si no hay instrumentos musicales o una figura solista. Esta creencia es producto de la propia historia de la música y del cambio de uso y percepción social de esta. El ser humano ha cantado desde siempre, pero como práctica cultural que es, es historizable y con valencias distintas según épocas. No es lo mismo cantar en el siglo XII que en el XIX, más allá de las inevitables cuestiones técnicas, que obviamente cambian también. Presentamos la primera parte de un dosier dedicado a la “música medieval” que tendrá continuidad el año próximo, y es que decir música medieval, sea monódica o polifónica, sacra o profana, es lo mismo que decir palabra privilegiada, palabra cantada. En este dosier grandes especialistas actuales de música medieval, que suman además su condición de intérpretes, analizan aspectos habitualmente dejados de lado, y es que “cantar” en los siglos medievales fue algo más que “producir con la voz sonidos melodiosos”.

Indirizzato alla comunità, a studiosi ed appassionati di musica sacra e liturgia, a cantori, strumentisti e direttori di coro, nonché al clero diocesano, il laboratorio si configura come un momento per-formativo entro cui i partecipanti possano familiarizzare per la prima volta con i diversi linguaggi della liturgia cristiana occidentale, attraverso una didattica divulgativa che unisca studio pratico e teorico dell’ufficio vespertino e di compieta. Si prenderà in esame l’ufficiatura tridentina con particolare attenzione alla monodia liturgica e ad alcune sue pratiche di ‘amplificazione’ fra cui polifonie ‘semplici’, falsibordoni ed improvvisazioni a più voci. Inoltre, il laboratorio intende favorire l’integrazione sociale fra i partecipanti che, nella pratica del canto all’unisono e polifonico, esperiscano il concetto di armonia e sintonia in una dimensione pragmatica del vivere comune.

Abstract Contemporary technology allows for simple means to measure "a capella" intervals, durations and vocal inflections in sound samples obtained from authentically traditional psaltis, recorded at the turn of the 20th century, and provides, besides any acoustic proof, visual proof, as well, as to an ongoing tradition, at least as can be attested to by Gregorian chant paleaography, and as provided by, for instance, the recordings and pædagogy of Iakovos Nafpliotis, which is in agreement with the theory of the Three Teachers (Contemporary Psaltic Notation) and in contrast to other, modern theories and vocal performances of various academic researchers or professional singers.  Simultaneous use of measured results from audio-visual ("μετροφωνία", asymmetrical interval sequences, "διπλοπαραλλαγή") and somatokinetic ("cheironomia", "foot-hand-voice" lever effect, "ἄλογος χρόνος" and "καταλλαγὴ χρόνου") components is a key to memorisation, transmission as well as traditional performance of Psaltic and Gregorian chant, both of which are complementary aspects of a common formular database, differentiated by "rhythmic emphasis" and "polar note" variations, which provide for quite asymmetrical rhythm in "ecphonetic", and lesser so in "papadic" formular contraction/expansion renderings, respectively.

Comunicação apresentada na " I JORNADA DE MÚSICA E RELIGIOSIDADES - PUCPR" . Como compreender em profundidade o efeito do canto gregoriano  na alma e o significado dos seus modos? Para responder essa e outras questões a pesquisa que apresentamos parte dos místicos e filósofos cristãos e da compreensão de terapia da alma neles presente para tentar entender o que é a experiência estética, como ela acontece e como afeta o íntimo do ser humano.

Communication presented at  " I JORNADA DE MÚSICA E RELIGIOSIDADES - PUCPR".
How can one understand in depth the effect of Gregorian chant on the soul and the meaning of its modes? To answer this and other questions this research is performed from the work of some mystics and Christian philosophers and from their understanding of soul therapy to try to understand what is aesthetic experience, how it happens and how it affects the intimate of the human being.

Bibliografia gregoriana di Nino Albarosa fino al 2014. Comprende:
Curriculum del Prof. Dr. Dr. h.c. Nino Albarosa
A) Monografie, saggi e articoli
B) Cure e traduzioni
C) Recensioni
D) Introduzioni, prefazioni, presentazioni
E) Direzioni e apparati critici
F) Incisioni dicografiche
G) Relazioni di tesi

A practical look at the Gregorian Chant in its aspects which may lead to a meditation. Gregorian Chant grew up from the meditation so, naturally it could be regarded as a successful introduction to the meditation. The text includes the proposals of exercises.

The liturgical celebration of the Mass, a multifarious spiritual, artistic, and intellectual manifestation, had a central position in the cultural life of medieval Europe. The 'Gregorian Chants', mostly words from passages of the Old Testament, were reinterpreted and ornamented by means of new lyrics, and became the basis for new literary and musical genres, such as tropes, sequences, and other new lyrics. In spite of all the unifying efforts made by the Carolingian reformers, it is the rich variety in practice that came to characterize the performance of the Mass in the ninth through the twelfth centuries. Extensive repertories of new texts and melodies were spread in manuscripts all over Europe. Until now this fascinating material has been the preserve of a small circle of specialists in musicology and philology. With this volume, the author introduces and analyses these hidden treasures to make them available to a wider public. It is directed to those with an interest in the expressions of spiritual, musical, and poetic creativity of the European Middle Ages, and in the philosophy, theology, and history of medieval Latin literature.

Bonum est 133 -31 juli 2014 Vandaag vragen we ons af: Wat hebben gregoriaans en flamenco met elkaar te maken? Als je naar het gepolijste gregoriaans uit de vorige twee afleveringen van Bonum est luistert dan is het antwoord duidelijk: Niets! Flamenco associeer je met rouwe klanken in rokerige kroegen. Gregoriaans is meer dan duizend jaar in muziekschrift bewaard terwijl flamenco vooral NIET wordt genoteerd. De geschreven geschiedenis van de flamenco gaat niet verder terug dan de 19e eeuw. Gregoriaans en flamenco: het zijn volkomen verschillende werelden. Dat wordt minder vanzelfsprekend als we ons afvragen hoe het gregoriaans geklonken heeft vóórdat het in de negende eeuw werd genoteerd. Een belangrijke voorloper van het gregoriaans is het zogenoemde Mozarabisch repertoire dat van de zesde tot elfde eeuw op het Iberisch schiereiland bestond. Dit repertoire werd afgeschaft in 1085, maar is bewaard in Noord-Spaanse handschriften in een verre voorloper van ons muziekschrift. Helaas kunnen we dat niet lezen. Wel weten we dat een belangrijk mozarabisch gezang wordt toegeschreven aan Isidoor van Sevilla (begin zevende eeuw). Dat gezang leeft voort in ons gregoriaans. De flamenco komt, net als Isidorus, uit Zuid Spanje. Ook daar bestond de mozarabische traditie. Uit het Zuiden bestaan alleen geen schriftelijke getuigen. En daarin ligt precies één van de verbanden: De doorsnee flamenco-zanger gaat er prat op uit een levende traditie voort te komen. Hij heeft niets met het schrift, verfoeit de dode letters en is vaak analfabeet. Laten we eerst luisteren naar een martinete uit Jerez, gezongen door de cantaor El Agujeta. 1 El Agujeta -Martinete 16:50 Manuel Agujetas Ideale Audience NS 91181/EDV 1057, 1999/2005 U hoorde een martinete gezongen door El Agujeta. De martinete wordt onbegeleid gezongen.