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
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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)