Chapter 3: Roman Liturgy and Chant

CHARACTERISTICS OF CHANT

Gregorian chants are very diverse in style, with varying approaches to performance, treatment of the text, and melodic character. These stylistic differences reflect the disparate functions and histories of the items in the liturgy, and will help guide us through the genres of chant.

Manner of performance Singers use three manners of performance for chant: responsorial (from “response”), in which a soloist alternates with the choir or congregation; antiphonal (from Greek for “sound-returning”), in which two groups or halves of the choir alternate; and direct, without alternation. Certain genres of chant are traditionally associated with each manner of performance, although the way some chants are sung has changed over time.

Text setting There are also three styles of setting texts. Chants in which almost every syllable has a single note are called syllabic. Chants in which syllables carry one to six notes or so—generally one neume per syllable—are neumatic (from “neume”). Long melodic passages on a single syllable are melismas, and chants that feature them are melismatic. Not every chant can be neatly classified, because some chants mix styles, and chants that are mainly in one style may use another at various points.

Some parts of the Mass and Office are chanted to recitation formulas, simple melodic outlines that can be used with many different texts. Other parts of the liturgy are sung to fully formed melodies. The two categories are not entirely separate, as even complex melodies may be elaborations of an underlying formula.

MELODY AND DECLAMATION

Simple or ornate, chant melodies are vehicles for declaiming the words. The creators of chant made no attempt to express emotions or depict images, as in later opera or song, but their melodies reflect the shape of the text. Every chant melody is articulated into phrases and periods corresponding to those of the text. Most phrases resemble an arch, beginning low, rising into a higher range, lingering there, then descending. This parallels the way Latin was spoken. Accented syllables are often set to higher notes. Some syllables are given more notes, lending emphasis through length. But sometimes the reverse is true; melismatic chants may include long melismas on weak syllables and emphasize important words and accents with syllabic settings that stand out in contrast.

All of these features can be seen in Viderunt omnes in Example 2.3 (p. 33). Most phrases are archlike. The accented first syllable of “Dominus” (Lord), the most important word in the verse, is highlighted with the longest melisma and highest note in the chant. By contrast, “jubilate” (sing joyfully) is set almost syllabically, making it easy to hear, and both parts of the chant close with long melismas on unaccented syllables (on “terra” and “suam”).

TIMELINE

between 4th and 7th century Introit added to Mass

ca. 530 Rule of St. Benedict, guide for monasteries in the West, codifies liturgy for the Office

9th to 11th centuries Trope composition flourishes in monasteries

884 Notker Balbulus completes Liber hymnorum

late 10th century Quem queritis in presepe, liturgical drama for Christmas

1000–1300 European population triples

1014 Last major item (Credo) added to Mass

ca. 1020–50 Wipo, Victimae paschali laudes

ca. 1025 Tropes to Mass for Christmas Day copied into manuscript for abbey near Limoges

1054 Final split between Roman and Byzantine churches

1066 Battle of Hastings: England falls to Normans

1095–99 First Crusade

1098–1146 Adam of St. Victor active in Paris at Notre Dame and Abbey of St. Victor

ca. 1151 Hildegard of Bingen, Ordo virtutum

1215 Magna Carta approved by King John of England

ca. 1210–50 Thomas of Celano, Dies irae

1562–63 Council of Trent bans tropes and most sequences