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The development and flourishing of European art music was made possible above all by the “invention” of musical notation. This invention, in turn, served a political-cultural purpose: to ensure the standardisation of the liturgical chant of the Latin Church (the so-called Gregorian chant) throughout the territory of the Carolingian Empire. The study and understanding of this process is essential for anyone wishing to find an explanation for the immense power of expansion exerted by the musical art of the West in the centuries that followed. The key stages are well known: the introduction of neumatic notation, which was practised in various forms from the 9th century onwards, followed by the invention of a notation system by Guido of Arezzo (11th century), which made it possible to determine the pitch of notes unambiguously. This last development was a response to a pedagogical and didactic concern: the monk of Pomposa wanted to refine the art of the «stupidi cantori» (stupid singers), relieving them of the arduous task of memorising the Gregorian repertoire, which distracted them from worship and from the study of sacred and secular literature. Any “transmission of knowledge” that does not want to be reduced to a mere evolutionary collection of concepts, but also does not want to misinterpret the unifying aspiration that, two centuries later, underpinned both neume writing and the invention of the musical staff, by denouncing it as an odious “imperialistic” arrogance, will have to read this process in the light of the educational programme that Guido d’Arezzo clearly outlined in his Epistola ad Michaelem.

Music education as a part of the educational field of Art and Culture allows teachers to apply in the educational process a variety of activities that stimulate pupils to creativity. The integration of creative approaches opens up possibilities for effective interpretation of less interesting themes. The aim of this paper is to highlight the potential or benefits of Gregorian chant in several aspects, and to suggest concrete examples and methods of how to bring this topic closer to pupils in music education classes through creative processes. [ABSTRACT FROM AUTHOR]

This paper discusses hitherto unidentified loose folios of a parchment liturgical and musical book held in the Archdiocesan Archive of Gniezno (Poland), containing the offertory and communion antiphons for the feasts De Trinitate and Corpus Christi. The author provides the codicological description of the leaves (analyzing Latin script, musical notation, ornamentation); identifies the time of their creation (15th century); indicates the type of the liturgical book to which they belong (graduale); seeks a melodic model for them and puts forward provenance hypotheses. He states that the melodics of the antiphons, although closest to the Cistercian tradition, are nevertheless variantly different from the melodic line preserved in foreign and Polish codices. It is possible to narrow down the dating of the leaves thanks to the type of Latin script, the calligraphic ornamentation of the initials and the spelling of certain letters. [ABSTRACT FROM AUTHOR]

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Contemplation – a century-old and multicultural constant stance – has had a resurgence in the recent decades. In this paper we focus on some of its pillars: specifically, those that can be approached from music and particularly from singing. The latter relates to silence and deep listening, and this triad leads to a special embodied self-awareness. The explanation is based on the origins of the singing voice and on the philosophical foundation that connects the human being with the whole, understood as a form energy and vibration. The repertoire that would be used to apply these affirmations is close to Gregorian chant present in the Western tradition but updated from a new practical and experientially contemplative approach that seeks spiritual growth as its final objective.

This article examines the content of Hosanna, a liturgical music magazine, published from November 1926 to August 1939. Its main goal was to promote church music, especially the Gregorian chant. The magazine's creators and editors, Father Wojciech Orzech and Father Henryk Nowacki, drew inspiration from Pope Pius X's Motu Proprio on music issued in 1903 and Pope Pius XI's 1928 Apostolic Constitution Divini Cultus Sanctitatem on the Liturgy and on Fostering Gregorian Chant and Sacred Music. [ABSTRACT FROM AUTHOR]

This paper discusses hitherto unidentified loose folios of a parchment liturgical and musical book held in the Archdiocesan Archive of Gniezno (Poland), containing the offertory and communion antiphons for the feasts De Trinitate and Corpus Christi. The author provides the codicological description of the leaves (analyzing Latin script, musical notation, ornamentation); identifies the time of their creation (15th century); indicates the type of the liturgical book to which they belong (graduale); seeks a melodic model for them and puts forward provenance hypotheses. He states that the melodics of the antiphons, although closest to the Cistercian tradition, are nevertheless variantly different from the melodic line preserved in foreign and Polish codices. It is possible to narrow down the dating of the leaves thanks to the type of Latin script, the calligraphic ornamentation of the initials and the spelling of certain letters.

Among the early medieval authors, Amalarius of Metz (8th–9th century) is one of those who discussed the impact of religious music and song on the body and soul. In his main work: the Liber Officialis, listening and singing liturgical music are depicted as having a corporeal effect that generates sensations of an intense sensory and emotional character. In Amalarius, living the musical religious phenomenon not only coincides with the idea that music can evoke emotions but there is something that goes further. What Amalarius emphasizes is a particular emotion: a "spiritual state" of the nakedness of the heart, almost a weakness of those who are capable of tears and sensitive to God's voice. During the patristic era, especially in the East, "penthos" (compunction) was used to describe the experience of tears in prayer or meditation; however, Fathers of the Church described liturgical music as an obstacle to compunction. For this reason, an evolution of that compunctory doctrine emerges from the exposition of Amalarius. In this context, it is not a question of crying for one's sins but of exploiting a natural power (vis) of music. By simply listening to music, a person would seem capable of being moved and reaching a particularly "receptive state" to welcome the Word of God and make it bear fruit. What Amalarius describes in religious music seems to be the natural experience that one feels when, just listening to a melody, a tear spontaneously falls. This physical reaction is connected to a spiritual transformation that seems to pass through the flesh (carnalia) of our humanity. The result of this singular experience, strongly connected to musical ethics, is the conversion to good action and the possibility to dispose human beings to attentive, deep, and fruitful listening. [ABSTRACT FROM AUTHOR]

Copyright of Historia Ecclesiastica is the property of Vydavatelstvo Presovskej Univerzity and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Why was a new book of Latin Mass chants, the two-volume Graduale Novum, created? Was it necessary to revise the already revised melodies of the 1908 Graduale Romanum? Was the pioneering Graduale Triplex of 1979 not enough? Who will be served by these new revisions and cants? Is it worthwhile to disseminate these two new publications in Slovakia, or in other European countries where Gregorian chant is minimally used? We will offer answers to these questions in the following paper. [ABSTRACT FROM AUTHOR]

In Codex 300 of the Stiftsbibliothek Einsiedeln, an inserted leaf (pp. 93 - 94) from the middle of the twelfth century transmits a Latin Easter play - possibly the oldest Visitatio sepulchri of its kind - as well as a Gloria in excelsis Deo with tropes. This Gloria - Qui pater est matris was previously known only through a 13th century manuscript, Codex 376 of the Stiftsbibliothek in St. Gall. Unless an older, as yet unidentified original version actually exists, the Einsiedeln version could be the exemplar of the St. Gall copy. Apart from the text, the musical notation is also noteworthy, since it is a late form of neumatic notation, which gives an insight into the development of the Einsiedeln musical notation. [ABSTRACT FROM AUTHOR]

The paper is dedicated to identifying one of the problems of church music in the Serbian Orthodox Church in the territory of Austro-Hungary in the period from the XVIII to the XIX century. Church chanting was transmitted orally until the appearance of Kornelije Stankovic and his attempts to record Serbian folk chant with the help of Western European notation. The question arises as to how many different factors influenced the Western European way of thinking to take root in Orthodox Serbian church music. [ABSTRACT FROM AUTHOR]

The article outlines the reception of Gregorian chant in Slovenia in the nineteenth century. Using the scarce sources, it describes the situation in the first half of the century and the impact of the first sporadic attempts at a historicist reform. It traces in detail the growth of the Cecilian movement after 1877 and uses sources to analyse the means, content and success of its reform efforts. [ABSTRACT FROM AUTHOR]

The study of history and content of medieval liturgical manuscripts can reveal the ways of formation and transmission of liturgy and particular liturgical traditions existing in the Western Church before the Council of Trent. The purpose of this article is to present the formulary of Mandatum rite recorded in the 14th century pontifical Ms.11 located in the Archives of the Krakow Cathedral Chapter, and to attempt to identify its sources. The article provides the edition of the text of the rubrics and orations as well as melodic transcriptions of the chants. [ABSTRACT FROM AUTHOR]

Copyright of Radovi Zavod za povijesne znanosti HAZU u Zaru is the property of Zavod za Povijesne Znanosti HAZU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Church in the World / Crkva u Svijetu is the property of University of Split, Catholic Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Until the Second Vatican Council, Gregorian chant was the only type of sacred song classified as the liturgical monody. Currently, the liturgical monody covers various genres of music, from Gregorian chants to contemporary compositions contained in manifold liturgical books. Preserved manuscripts provide a source of knowledge about the epoch, ways of worshipping God and the musical tradition prevailing at that time. A wide range of topics addressed by Polish musicologists include all genres and forms of the liturgical monody that constitute musical tradition of the Church. Studies of historical sources and analytical studies bear testimony to Poland’s substantial contribution to the musical culture of Europe.

Pontificale Plocense from the 12th-century is one of the first Polish pontificals entirely preserved to this day. Among liturgical ceremonials, there is a rhymed officium about St. Catherine of Alexandria. Its music bears some explicitly characteristic features of the late Middle Ages monody. A condensed musical style reveals a departure from the initial esthetic assumptions and it presents another possibility of performing the Gregorian chant. This officium, apart from following the compositional principles prevailing in Europe at that time, provides evidence that the Middle Ages were also an era seeking new forms of expression.

Copyright of Seminare Learned Investigations / Seminare. Poszukiwania naukowe is the property of Francis de Sales Scientific Society / Towarzystwo Naukowe Franciszka Salezego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Manuscript surveys, digitization efforts, database building: all have been pursued in the past fifteen years at the Centre for the Study of the Sociology and Aesthetics of Music (CESEM) in Lisbon's Universidade Nova. In so doing, the materiality of medieval and Renaissance codices has been both confronted and abstracted from. Digital tools have been used to expand the reach of past methodologies, but research has also been transformed by their power and ubiquity. This paper will contrast the situation before and after 2010, addressing the ways in which Lisbon-based research on music-related codices and fragments has furthered awareness of their characteristics. The manuscripts referred to include the Ajuda songbook, the Cantigas de Santa Maria codices, and, among the many manuscripts included in the Portuguese Early Music database, the twelfth-century plenary Missal in the Salamanca University Library. [ABSTRACT FROM AUTHOR]

New attention towards the ancient Church chant is especially on time in today’s Ukraine, where the renewed autocephalous Church is entering the global Christian community, looking back at its own historical and liturgical roots and trying to overcome the stereotypes about its tradition. The present article deals with the myths of different Christian musical traditions concerning themselves and their neighbors. Such myths implicitly express the yearning for the lost unity of the Church and condemn the Other for this loss. Hence they continue the dogmatic polemics in the domain of aesthetics. As we have demonstrated, such myths were constructed by the 19th-20th centuries historiographies of Church chant as an ideological impetus for the renewal of the relevant traditions. However “positive” mythologization of one’s own chanting tradition, firstly, retouched those dimensions of its image that were underestimated at that time, and secondly, often denigrated the neighbor traditions. So, the one-sidedness of such mythologization has provoked some modern cantors to engage into the joint reconstruction of authentic history of music together with their foreign colleagues. In this paper such collegial reconstructions - theoretical as well as practical - were for the first time assessed as an important dimension of interconfessional and interchurch dialogue. As we tried to show, they are not less necessary than the discussions in dogmatic field and their fruits are much more powerful than any “musical Esperanto” of popular Christian hymns.

«Новые комментирующие композиции» -специфический феномен современной музыкальной практики. Их массовое появление в искусстве XX в. обусловлено усталостью от бесконечных инноваций и « самозаконности » авторского творчества. Отсюда - стремление опереться на некий эталон, заново осмыслить собственные генетические корни, важнейшие из которых связаны с культовой монодией и опытом работы с ней старых мастеров. Принцип сосуществования сакрального и комментирующего планов весьма актуален для современного творчества. Прообразом работы с первоисточником становятся латинская (мотеты, мессы XII-XVI вв.), протестантская (баховские хоральные обработки) и другие модели. Вместе с тем в новейших опусах происходит переосмысление как сакрализуемого начала, так и самого способа комментария. В статье рассматриваются три «баховские» композиции конца XX в., представляющие картину нового авторского комментария. «Размышления о хорале И. С. Баха» С. Губайдулиной - это своеобразный опыт «возвращения к началу» через разгадку числовой идеи Баха и приобщение к ней собственной числовой концепции. В Хоральной прелюдии «Jesu, deine tiefen Wunden» В. Тарнопольский отдает дань протестантской традиции в восприятии Евангелия (сценический компонент, связанный с инструментальным театром). В отличие от хорального «неоканонизма» коллег, Э. Денисов выстраивает свои Вариации на тему хорала И. С. Баха «Es ist genug» в духе диалога: автор - баховская модель. При этом делается акцент на изменяющемся взаимодействии двух начал и судьбах авторского материала, что свидетельствует о переинтонировании хоральной обработки как жанра. При всем разнообразии рассмотренных нами комментирующих воплощений авторов объединяет стремление прикоснуться к «высокому слогу» эталона, сохранив при этом дискурс современного музыкального высказывания и эстетический статус «единственности» своего опуса.

This article is devoted to my own Lenten choral and organ music. At first, I introduce my mo- tives for undertaking creative activity, which include, among others, the atmosphere of my family house (my father, Wojciech Łukaszewski, was a composer). My inspiration to take up choral music was a ten-year collaboration with the choir of the Academy of Catholic Theology (currently Cardinal Stefan Wyszyński University in Warsaw) under the management of the Reverend Kazimierz Szymonik. In the latter part of the article, I introduce my choral works, list the titles and then focus strictly on Passion and Paschal music. I present the circumstances in which those pieces were created, the details of their first performances and recordings, the texts they used and, furthermore, analyze them, paying attention to the most distinctive features of my composing technique and style.

The article describes the introduction of the liturgical reform in the Czech Republic and the associated musical creation that would correspond to the renewed liturgy. It focuses on the work of individual liturgical commissions, the determination of the criteria of musical creation and the prominent music protagonists. At the same time, it describes the progress of the work on the common song-book for the Czech and Moravian dioceses.

In the Roman Church the Gregorian chant has an important place and an important function. Especially in the liturgy. Although it is often forgotten in today’s liturgical- musical practice, the 50th anniversary of the 1967 Instruction Musicam Sacram, provides an occasion to once again think about the value of this musical type in liturgical celebrations. In the Second Vatican Council’s Constitution Sacrosantum concilium sacred music is regarded to be the more holy in proportion as it is more closely connected with the liturgical action. Only such music can be rightly called liturgical, or sacred music. Thus, liturgical music is the sacred music that can be specifically incorporated in divine worship. Aware of the function music has in the liturgy, the Church has not (and must not!) renounce the treasure of sacred music (Gregorian chant) even after the introduction of the national (popular) language in the liturgy. The Second Vatican Council recognized Gregorian chant as particularly suited for the Roman liturgy and that it should be preserved, while not excluding other types of music, provided that this music agrees with the spirit of the liturgical action (SC, No. 117). It is clear that we don’t need to strive for Gregorian Renaissance today, but we can (and must) strive for a cultural revival of the Gregorian chant, which even today calls to creative fidelity!

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For centuries, Gregorian chant has served as a monophonic song written for the religious services of the Roman Catholic Church, but Korean Catholics first encountered this chant in the early nineteenth century. Korean Catholics ultimately became more attracted to the Korean translations of these chants, as opposed to the original Latin versions. This article introduces some issues related to the language translation of Gregorian chant, especially for chants performed in Holy Week. The issues include discrepancies in the number of syllables, shifts in melismatic emphasis, difficult diction in vocalization, briefer singing parts because of space limitations, challenging melodic lines, and translation losses from neumes to modern notes.

The Office of Mary Magdalene is one of the rare offices of the Carthusian liturgy that was changed after it had been established as a solemn feast with twelve lessons. In Matins, several chants changed their position or were even replaced by new ones. This article examines the relationship between the earlier and the later Office of St Mary Magdalene. Later corrections in the Lauds first antiphon, Maria stabat ad monumentum receive some special attention since they open new questions concerning the unity of the Carthusian liturgical tradition, and a possible connection between individual Carthusian manuscripts.

St. Isidore of Seville (d. 636) and Pope Gregory the Great (d. 604) had an intellectual exchange facilitated in part by Isidore's brother Leander (d. ca. 600), who preceded Isidore as bishop of Seville, had met Gregory in Constantinople, and to whom Gregory dedicated his Moralia in Job. Isidore's writings and contemporaneous records of Spanish church councils make clear that the Old Hispanic Rite was already largely, though not entirely, formed in his day, much as we find it in the earliest surviving liturgical documents: the Oracional Visigótico (ca. 711) and the Antiphoner of León (ca. 900). This is a rite deriving from a great exegetical project in which liturgical chant formed only a part. Its starting points were the various translations of the Bible and the writings of the church fathers, especially Gregory and Augustine. From this an elaborate and systematic repertory of chant was formed in coordination with prayers, readings, and sermons. All of this speaks to deliberate composition by Isidore, Leander, and their colleagues rather than to the writing down of a long-standing oral tradition. Gregory surely knew about this activity in Spain. Is it likely that Gregory and his colleagues were not engaged in any such activity or that such activity in Rome took place so much later than it did in Spain? Perhaps there is a good reason why the chant created in Rome is called Gregorian just as the Old Hispanic Chant was much later called Isidorean. In the absence of Roman sources wemay never know. But theOldHispanic sources suggest that we ought to wonder. [ABSTRACT FROM AUTHOR]

New attention towards the ancient Church chant is especially on time in today's Ukraine, where the renewed autocephalous Church is entering the global Christian community, looking back at its own historical and liturgical roots and trying to overcome the stereotypes about its tradition. The present article deals with the myths of different Christian musical traditions concerning themselves and their neighbors. Such myths implicitly express the yearning for the lost unity of the Church and condemn the Other for this loss. Hence they continue the dogmatic polemics in the domain of aesthetics. As we have demonstrated, such myths were constructed by the 19th-20th centuries historiographies of Church chant as an ideological impetus for the renewal of the relevant traditions. However "positive" mythologization of one's own chanting tradition, firstly, retouched those dimensions of its image that were underestimated at that time, and secondly, often denigrated the neighbor traditions. So, the one-sidedness of such mythologization has provoked some modern cantors to engage into the joint reconstruction of authentic history of music together with their foreign colleagues. In this paper such collegial reconstructions - theoretical as well as practical - were for the first time assessed as an important dimension of interconfessional and interchurch dialogue. As we tried to show, they are not less necessary than the discussions in dogmatic field and their fruits are much more powerful than any "musical Esperanto" of popular Christian hymns. [ABSTRACT FROM AUTHOR]

Copyright of Seminare Learned Investigations / Seminare. Poszukiwania naukowe is the property of Francis de Sales Scientific Society / Towarzystwo Naukowe Franciszka Salezego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Until the Second Vatican Council, Gregorian chant was the only type of sacred song classified as the liturgical monody. Currently, the liturgical monody covers various genres of music, from Gregorian chants to contemporary compositions contained in manifold liturgical books. Preserved manuscripts provide a source of knowledge about the epoch, ways of worshipping God and the musical tradition prevailing at that time. A wide range of topics addressed by Polish musicologists include all genres and forms of the liturgical monody that constitute musical tradition of the Church. Studies of historical sources and analytical studies bear testimony to Poland’s substantial contribution to the musical culture of Europe.

The singing of the Genealogy of Christ (Matt. 1,1–16) just after the end of Christmas first mass (missa in nocte) is sometimes associated with a processional chant (Hodie intacta, O mundi domina, and others). Tables in this article compare some melodies of both gospels (I-Pc E 1, 1170; F-Pn n.a. lat. 1535, GB-WO F.160, thirteenth c.; Missale Strigoniense, ante 1341; transcriptions by Joseph Pothier), and chants (HR-Zmk MR 72, thirteenth c.; A-KN 1010, A-KN 1013, F-Pn lat. 12044: twelfth c.; A-Gu 29, CH-E 611: fourteenth c.; SI-Lna 18, 1491), with references to their liturgical contexts.

An examination of two unique invitatory antiphons (Laudabilem virum, Adaperiat Dominus cor) in the autumn per annum office reveals a special set of mode 2 invitatories, which also adapt proper (scriptural) texts. These appear as geographically scattered instances in various medieval rites. This study sets out to collect individual related pieces and find relationships among their uses by clarifying the circumstances of this remarkable musical and liturgical properization, which creates coherence between the autumn Temporale and Sanctorale office cycles.

The perception and reception of Gregorian chant has experienced a fundamental change since the mid-nineteenth century. Plainsong was no longer a pure liturgical chant in the Catholic rite, but a chant for all people. In addition to its liturgical aspect, Gregorian chant now represents the concepts of “archaic” and “mystic” and is increasingly independent from the liturgical context. Economic aspects are also relevant to this process. However, Gregorian chant has never entirely lost its link to its origins in the medieval liturgy.

Despite their formulaic nature, the tones sung to the verses of responsoria prolixa in the medieval office pose certain problems of identification and classification. Some contain neume patterns which suggest a modal association but do not match the “standard” tones, some are similar to the standard tones but deviate at cadences or other significant points, and others appear to be newly-composed. With reference to three twelfth- and fourteenth-century antiphoners from the abbey of Klosterneuburg, I begin by identifying melodic features which are usual in the majority of responsory tones for this liturgical centre. Then, in order to provide a clearer understanding of verse-tones and their variants, I examine some of the more elaborate responsory-verse melodies sung at Klosterneuburg.

In medieval life, church music, especially Gregorian chant, serves to create many acoustic memories: daily events and various times and occasions. Examples of this music perception of time include church bells, the melodies of the Kyrie eleison, chanted readings, the use of hymn tunes, and melodic formulae as theological messages.

It is generally accepted that Dom Eugène Cardine is the father of Gregorian semiology. However, his teaching is rarely associated directly with the liturgical and musical reforms that had been enacted at the Benedictine monastery in Solesmes at the turn of the twentieth century. This article outlines the important heritage that Dom Cardine inherited from his predecessors Dom Joseph Pothier and Dom André Mocquereau.

In the tenth century, a sung dialogue, the Quem queritis trope, appeared as a ceremonial addition to the paschal vigil and morning liturgy of Easter Sunday. It is often appraised as the bridge between liturgical chant and the later full-cast liturgical dramas of the Middle Ages, but what has generally not been considered, is that Franco-Romano (Gregorian) chant, compiled at least a century earlier, already contained the seeds of liturgical drama from which this dialogue naturally grew. This paper shows that some ideomelic chants from the twelfth-century Graduale Sarisburiense from England, a minor variant of earlier graduals from the Continent, enact a vocal drama utilising the words of the biblical personages found in the chant text. Specifically, two types of dramatic representations are examined: the monologue and the dialogue. In the former, the text is spoken by one biblical figure whose ethos is expressed musically. In the latter, more than one voice conveys the words of the biblical text, and these are delineated musically. Employing examples for each type, I discuss the different ways that chant melody makes representational drama possible. Monologues studied are the introits Resurrexi, Ad te levavi, Gaudete, and the offertories Dextera Domini and Ave Maria. Of the dialogues studied are the communions, Dominus Jesus, Fili, quid fecisti, Dicit Dominus: Implete, and the offertory Precatus est Moyses which is examined in greater detail. [ABSTRACT FROM AUTHOR]

Copyright of Musical Education / Edukacja Muzyczna is the property of Jan Dlugosz University in Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)