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The Establishment of a Catholic Tradition The Establishment of a Catholic Tradition

The Establishment of a Catholic Tradition - PowerPoint Presentation

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The Establishment of a Catholic Tradition - PPT Presentation

from ca 800 Liturgy Content and form of Christian worship The liturgical year some major festivals Fixed date Christmas preceded by Advent four Sundays Christmastide twelve days Epiphany ID: 321659

chant century mass music century chant music mass psalm addition words liturgical tones sequence eleventh liturgy holy matins office

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Slide1

The Establishment of a Catholic Tradition

from ca. 800Slide2

Liturgy

Content and form of Christian worshipSlide3

The liturgical year (some major festivals)

Fixed date — Christmas

preceded by Advent (four Sundays)

Christmastide (twelve days)

Epiphany

Movable date — Easter

preceded by Lent (forty days, beginning on Ash Wednesday)

Followed by Eastertide (fifty days)

PentecostSlide4

The monastic liturgical day — the Divine Office

Matins

Lauds (sunrise)

Lesser Hours

Prime

Terce

Sext

None

Vespers (sunset)

ComplineSlide5

The liturgy of the Divine Office

(except Matins)

Verse (and Hymn)

Psalms (3–5) and their antiphons

Scripture reading

Responsory

Hymn

Verse

Canticle with its antiphon

BenedictionSlide6

The Mass (from about 1000) – some aspects of its design

Two parts

Fore-Mass

Eucharist

Two relationships of movements to the day

Proper

Ordinary

Two types of performance

spoken, or intoned

sungSlide7

Fore-Mass (teaching service)

Introit — Psalm verse framed by antiphon

Kyrie — Lord, have mercy

Gloria — Glory to God in the Highest

Collect — prayer of the day

Epistle — reading

Gradual

Alleluia

Sequence

Gospel — reading

Credo — Nicene CreedSlide8

Eucharist (Holy Communion)

Offertory Psalm — presentation of bread and wine

Eucharistic prayers

SANCTUS — Holy, holy, holy

Canon

Pater Noster — the Lord’s Prayer

Agnus Dei — Lamb of God

Communion Psalm — during the supper

Postcommunion — prayer

Ite Missa Est — dismissal Slide9

Chant

The music of the liturgySlide10

Musical style of the chant

Scoring — a cappella male voices

direct

responsorial

antiphonal

Dynamics — follow phrase contour, text

Rhythm — unmeasured

Melody — vocal, phrase-based

Recitation tones

Psalm tones

Free chant

Harmony — modal

Texture — monophony

Form — strophic (psalms, hymn), free formsSlide11

Music theory of the chantEight (+ one) Psalm tones — identified by

tenor

melodic inflections — intonation, mediant, termination

Eight ecclesiastical modes (to coordinate antiphons to Psalm tones) — identified by

final

dominant

ambsitusSlide12

Chant notation

Daseian — words in spaces on “staff”

Neumes — indicate melodic gestures

written above words — from eighth century

heighted

Staff

single line

lines for F and C — indicated by clefs or colors

four-line staff — from eleventh centurySlide13

Developments from the chantMelody (not single notes) as unit for creativity

Need for creativity within restrictions of the fixed body of liturgical music

Medieval idea of creation — principle of gloss, i.e., to elaborate given idea

Examples

manuscript illumination

literary gloss

church architectureSlide14

Trope — addition of words and/or music to existing chant

To glorify worship and interpret the liturgy

Began ca. ninth century, continued to 12th

Usually applied to

Mass — antiphonal chants, Ordinary

Office — antiphons, responsories, versicles, Benedicamus

soloists' passages (more likely to be troped than choir sections)

Addition of words to melisma — prosula

common in Kyries

probably prehistory of Sequence

Addition of melismatic music

Addition of entirely new segments of words and music

preludes to existing chants

interpolationsSlide15

Sequence — originated as trope to melismatic jubilus

at end of Alleluia

Addition of “free”

jubilus

as optional replacement or extension

Prosula principle applied to

jubilus

— prosa

Sequence — independent movement of Mass after Alleluia

poetic use of meter and eventually rhyme

form usually paired strophes — a bb cc dd - - - nSlide16

Important Sequences — after reforms of sixteenth century

Victimae paschali laudes (Easter)

Wipo (early eleventh century)

Veni sancte spiritus (Pentecost)

(eleventh century)

Lauda Sion (Corpus Christi)

Thomas Aquinas? (thirteenth century)

Dies irae (Requiem)

Thomas of Celano (thirteenth century)

Stabat Mater (restored in eighteenth century)

Jacopone da Todi (ca. 1230–1306)Slide17

Development of liturgical drama

First stage — action added to liturgical observance

Second stage — trope to provide new dialogue

Easter play — from Mass Introit or Matins — ca. tenth century

dialogue performance — Quem quaeritis, etc.

action — stage directions from Winchester 965–975

Other subjects

Christmas (eleventh century), Fleury

Herod

(twelfth century)

other biblical stories — Beauvais

Daniel

(twelfth century)

stories of saints

Removed from church — mystery and miracle plays

nonclerical actors and musicians

vernacular or macaronic (polyglot)