Dissertations / Theses: 'Gregorian Chant'

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Gellnick, Franklyn M. "The disposition of the tritone in Gregorian Chant." Thesis, University of Kent, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242906.

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This thesis sets out to examine the disposition of the tritone in Gregorian Chant, both as a 'filled-in' and as a disjunct interval, or 'leap'. By comparison with other periods of music history, the tritone's place in early medieval music has hitherto received scant attention; one noteworthy text even claims that it was shunned altogether. But, in general, it has been assumed that the tritone was considered undesirable only as a harmonic device. Intervallic perception is partially determined by the prevailing culture and context. (In respect of the tritone, this is no more demonstrable than in jazz. ) And since the melodic tritone contravenes ancient principles concerning harmonious proportion, the tritone's disposition in the chant may therefore be deemed significant. The primacy of liturgy is affirmed, and the early neume notations accorded an important role in the analyses. The tritone 'leap' seems only to appear in the Great Responsories of the night Office - particularly those of Passiontide - and may owe its existence partly to medieval superstition. Furthermore, modern scholarship has failed to acknowledge the gulf between contemporary theory and practice by adopting a 'theory-dominated view' (as proposed by Rankin in connection with organum at Winchester). Later attempts to edit the tritone from the Benedictine MSS were inconsistent, as illustrated through a comparative study with the Cistercian sources.

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Jõks, Eerik. "Contemporary understanding of Gregorian chant : conceptualisation and practice." Thesis, University of York, 2009. http://etheses.whiterose.ac.uk/949/.

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This dissertation seeks to address the question of how contemporary performers and experts understand the medieval repertoire known to us as Gregorian chant. This medieval repertoire (also known as Franco-Roman) is understood here to be abstract musical and non-musical information in medieval manuscripts. It differs from classical western music repertoires by a lack of adequate original performance instructions. It becomes audible through performerâs realisation of his or her personal conceptualisation. This study observes both conceptualisation and practice of the repertoire through the answers of 127 respondents to an online sociological questionnaire and 35 solo recordings of the Gradual Haec dies. The study also involves a heuristic experiment to find connections between conceptualisation and practice. This research is multidisciplinary, combining sociology and musical acoustics. The sociological approach includes quantitative statistical and qualitative methods. Ideas of musical acoustics are applied to measure digitally the temporal structure of solo recordings of Gregorian chant. The analysis of the results of the questionnaire showed that there are certain patterns in evaluating what Gregorian chant is and what is important for a good performance of that repertoire. There was more similarity in understanding what the repertoire is than what the interpretational preferences are. Measuring the solo recordings showed that although there is a large variety in temporal understandings of the performed music, most performers tend to perceive performed music in one durational category. For those who have two basic durational categories it seems to be a result of agogical preferences rather than perception of two durational categories. The comparison of conceptualisation and practice showed that the strongest link between these two is in agogical variety. It was not possible to find similarly significant connections between conceptualisation and other features of practice â tempo values and the number of basic note values. This research project has demonstrated that a multidisciplinary approach to Gregorian chant can reveal new aspects in the study of the repertoire in terms of approach and understanding.

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Lopes, Manoel Roberto Batista. "Temas gregorianos em quatro obras orquestrais entre os seculos XIX e XX." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284723.

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Orientador: Eduardo Augusto Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade desenvolver considerações sobre a presença de temas do Canto Gregoriano em quatro importantes obras orquestrais de compositores da música ocidental. Dentro de um rico universo de composições polifônicas inspiradas no antigo estilo monofônico gregoriano, quatro obras significativas foram selecionadas para um estudo detalhado. O tipo de acompanhamento e encaminhamento harmônico a cada melodia gregoriana e a maneira como estas melodias não isócronas foram enquadradas na barra de compasso foram comentados em cada caso. Concluiu-se que o canto gregoriano, apesar de pouco praticado durante o período compreendido entre os séculos XII e XIX e também pouco praticado desde o último quarto do século XX, mas com uma rica tradição, sempre inspirou importantes compositores ao longo do tempo, deixando um legado que influenciou compositores até a época atual
Abstract: The aim of this research is to bring about important considerations about the use of gregorian chant themes in four important orchestral works by western music composers. These four works were selected within a rich universe of polyphonic compositions inspired in the early gregorian monophonic style. In each case, the type of accompaniment and harmonic flow to the gregorian melody were analyzed as well as the manner by which these non-isochronous melodies have been adjusted to the bar line. As conclusion, one can notice how Gregorian Chant despite its modest pratice during the period between the XII and XIX centuries and also since the last quarter of XX century on, has always inspired important composers throughout time and has left a rich legacy that has influenced composers to this day
Mestrado
Mestre em Música

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Maloy, Rebecca Ann. "THE OFFERTORY CHANT: ASPECTS OF CHRONOLOGY AND TRANSMISSION." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin992358039.

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Farmer, Stephen James. "The texts and melodies of the Gregorian graduals and the Milanese psalmelli." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239698.

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Hornby, Emma. "A study of the eighth-mode tracts in the Gregorian and Old Roman traditions." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297437.

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DiCenso, Daniel Joseph. "Sacramentary-antiphoners as sources of Gregorian chant in the eighth and ninth centuries." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283887.

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Ferreira, Manuel Pedro Ramalho. "Music at Cluny : the tradition of Gregorian chant for the proper of the mass : melodic variants and microtonal nuances /." Ann Arbor (Mich.) : UMI, 1997. http://catalogue.bnf.fr/ark:/12148/cb369820702.

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Gutekunst, Jason Alexander. "Wabanaki Catholics ritual song, hybridity, and colonial exchange in seventeenth-century New England and New France /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1229626549.

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Vilimas, Jonas. "The Features of Tradition of the Gregorian Chant in the Grand Duchy of Lithuania. Exposure of the 15th-18th Centuries and Attempt of Reconstruction." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120710_120548-40097.

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The present dissertation in its essence is an interdisciplinary (i.e. historical, musicological and liturgical) research. The primary aim of this work is to settle the explicit, historically and methodologically correct general view of the plainchant within the concrete historical, cultural and geographical location in a defined period of time. The object of the dissertation is the expression and development of the Gregorian chant in the Grand Duchy of Lithuania as represented in a variety of sources. The time period examined is from 1387 to 1795 (i.e. from the Latin Baptism of the state until the fall of the Republic of Two Nations). However, the main focus is for the period of the 15th to the 17th centuries. The principal methods used in this research are: the historical, musicological and source analysis, the descriptive, retrospective, and comparative. All of these methods are coordinated with the principles of the methodology, developed by Prof. Laszlo Dobszay and his school.
Disertacija savo esme yra tarpdisciplininis (muzikologinis-istorinis-liturginis) tyrimas. Pirminis darbo tikslas yra sudėlioti kuo aiškesnį, istoriškai bei metodologiškai korektišką šio fenomeno visuminį vaizdą konkrečioje istorinėje-kultūrinėje bei geografinėje erdvėje chronologiškai apibrėžtu laikotarpiu. Disertacijos tyrimo objektas — grigališkojo choralo raiška ir raida, atsispindinti išlikusiuose įvairiuose šaltiniuose, konkrečioje istorinėje geografinėje Lietuvos Didžiosios kunigaikštystės erdvėje apibrėžtu istoriniu laikotarpiu. Laiko rėmai, kuriais remiamasi šioje studijoje, iš dalies sąlygoti valstybės istorinių aplinkybių, o iš dalies ir pačių išlikusių šaltinių. Tyrimo chronologinės ribos apsiriboja 1386-1795 m., t.y. nuo lotyniškojo valstybės Krikšto iki Abiejų Tautų Respublikos žlugimo. Pagrindinis dėmesys teikiamas XV-XVII a. periodui. Pagrindiniai tyrime naudojami metodai yra šaltinių analizė, apra-šomasis, retrospekcinis, lyginamasis, istorinis ir muzikologinis analitinis metodai. Visa tai grindžiama ir koordinuojama, pagal prof. Laszlo Dobszay ir jo mokyklos išplėtotą metodologiją.

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Caldwell, Rodney Hildred. "Rhythmic and metrical groupings of chant notation as an influence upon the conducting for the "Quatre motets sur des themes gregoriens", Op. 10, of Maurice Durufle." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187189.

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This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.

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Tacconi, Marica. "Liturgy and chant at the Cathedral of Florence a survey of the pre-Tridentine sources (tenth-sixteenth centuries) /." Full text available online (restricted access), 1999. http://images.lib.monash.edu.au/ts/theses/tacconi.pdf.

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Scarcez, Alicia. "La réforme musicale de saint Bernard: ses sources et ses enjeux." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209590.

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La thèse exploite, pour la première fois, d’exceptionnels manuscrits de l’office cistercien. Comprenant la liturgie cistercienne d’origine messine copiée vers 1136/1140, ces documents ont servi, quelques années plus tard, de brouillons à la réforme liturgique et musicale de Bernard de Clairvaux. Ils ont été partiellement biffés et grattés de façon à correspondre aux nouvelles normes cisterciennes.

La principale liasse d’épreuves bernardines, constituée des quelque 185 folios de l’antiphonaire 12A-B de Westmalle, constitue le socle de la thèse et la matière du tableau liturgique général présenté dans l’annexe 3. Cette table distingue les pièces de première main de celles écrites par les correcteurs bernardins. Les autres épreuves, l’antiphonaire 6 de Tamié (Savoie) et les fragments de la Fille-Dieu (Suisse), ont été reproduites dans l’annexe 2. Avec les folios de Westmalle 12A-B, elles sont les seules à conserver une part importante des mélodies originelles, à révéler les corrections et les procédures bernardines. Les analyses codicologique et paléographique des documents, mises en relation avec les données historiques, ont permis de dégager deux phases de corrections et de situer l’achèvement de la réforme bernardine, vraisemblablement à Hautcrêt vers 1143.

Le répertoire de l’hymnaire a été revu (chapitre IV) et celui de la messe, réexaminé à la lumière des reliquats du premier graduel cistercien, jusqu’ici inexploités. Ces bribes intactes ont été confrontées aux équivalents de la deuxième réforme et ouvrent (chapitre III) l’étude comparative des chants de l’office du premier et du deuxième Cîteaux (chapitres VII à X).

Au fil de l’analyse, des échantillons tirés du graduel ou de l’antiphonaire sont présentés dans les tableaux synoptiques rassemblés dans l’annexe 1. Chacun d’entre eux comprend, quand c’est possible, la première version cistercienne originelle reconstituée, la version bernardine et, selon les besoins, un panel plus ou moins important de référents grégoriens (décrits au chapitre VI), destinés à replacer chaque liturgie cistercienne dans son contexte culturel et à en établir les sources.

Ce travail tend à modifier l’image de la réforme bernardine, censée avoir appauvri la tradition grégorienne par l’application stricte des règles musicales. Elle montre que de nombreuses pièces introduites par les correcteurs sont issues de la tradition clunisienne et parfois spécifiquement de la tradition de l’abbaye de Molesme d’où sont issus les pères fondateurs de Cîteaux. Les reliquats de la liturgie molesmienne notée, reproduits en fac-similé (annexes 2) et inconnus jusqu’ici, ont permis d’établir l’existence d’une chaîne de tradition musicale reliant Molesme aux monastères de sa tradition (Montier-la-Celle et Marmoutier) ;et de faire ressortir les liens qui unissent la tradition des premiers moines blancs à de nombreuses corrections bernardines. L’examen du bréviaire Paris 3241, sorti de l’anonymat en 2007 et exploité ici pour la première fois, a en particulier permis de conclure au transfert de pièces et formulaires entiers de la tradition molesmienne vers le deuxième Cîteaux.

Bien plus que la théorie musicale, réputée si importante, mais en réalité modérément appliquée, ce sont la raison pratique, le souci de l’authenticité et de la bonne articulation du texte latin, l’esthétique et la culture mélodique du terroir bourguignon qui ont guidé les choix des réformateurs bernardins. La liturgie messine, adoptée à Cîteaux entre 1108 et 1143, était porteuse de variantes dialectales que les Bernardins ont abandonnées pour se réapproprier leur patrimoine ancestral, marqué par des segments musicaux expressifs et des idiomes caractéristiques du domaine latin.

L’interprétation musicale de spécimens du premier et du deuxième Cîteaux, mis en regard, illustre ce basculement culturel de l’ensemble liturgique « est » vers celui de l’« ouest ». La pochette musicale comprend aussi quelques unica et emprunts traditionnels ciblés qui illustrent la richesse de l’esthétique du deuxième Cîteaux.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Oliveira, Vinicius Morais de. "Entre o Mosteiro de São Bento e a cidade: o canto gregoriano e o acústico contemporâneo da Cidade de São Paulo." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/12853.

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The central theme of this dissertation is to historicize the present time, the domestic soundscape of the Monastery of São Bento, the medieval remnants contained in its architecture and in its musical production, beside all dichotomous, accelerated and noisy loudness of its surroundings‟ urban sounds. Both spaces have their sonorous territories‟ identities. In view of the prominence that the sound production‟s study of societies is creating new possibilities for the current historiography, the research issue also sought to provide subsidies to the historical investigation of the music writing reading rules through gregorian chant and the whole complex set of nomenclatures derived from musicological analysis. It also proposes a restructuring in the ocular mechanism hierarchy in equilibrium with the conscious listening of sounds, promoting new cognitive models of our sensitive capacities. Thus, the main documentary sources used were sound sources, a small photographic collection and oral reports from people who passed by in both spaces
O tema central da presente dissertação é historicizar no tempo presente a paisagem sonora interna do Mosteiro de São Bento, as permanências medievais contidas em sua arquitetura e em sua produção musical, ao lado de toda a sonoridade dicotômica, acelerada e ruidosa dos sons urbanos de seu arrabalde. Ambos os espaços têm seus territórios sonoros identitários. Diante da preeminência de que o estudo da produção sonora das sociedades vem criando novas possibilidades para a historiografia atual, o problema da pesquisa também procurou oferecer subsídios à investigação histórica das regras de leitura da escrita musical do canto gregoriano e todo o conjunto complexo de nomenclaturas oriundas da análise musicológica. Propõe-se ainda uma reestruturação na hierarquia do mecanismo ocular em equilíbrio com a escuta consciente dos sons, promovendo novos modelos cognitivos das nossas capacidades sensíveis. Assim, as principais fontes documentais utilizadas foram as fontes sonoras, um pequeno acervo fotográfico e os relatos orais das pessoas que por ali passaram

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Gutekunst, Jason Alexander. "Wabanaki Catholics: Ritual Song, Hybridity, and Colonial Exchange in Seventeenth-Century New England and New France." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1229626549.

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Esperandio, Thiago José. "A música sob o interdito: a ambiguidade da relação entre a Igreja e a polifonia musical no século XIV." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/2138.

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It intends to analyze the social history of the music, which, around XI e XII centuries, is aesthetically innovated at the same time that several social changes happen. This new music (polyphonic) is a technical variation of the Gregorian Chant (monophonic). Its evolution happens mainly in the church environment, but its relation with the clerics was not always peaceful. Because it was developed in the urban cathedrals-churches and universities, it did not totally join with the church tradition, it used to represent a deviation from the church, which, until that moment, had as its scholars centers, the monastery. This fact was enough to generate doubts about using or not this music in the churches celebrations. Although these doubts existed, they had never taken the clerics to any arbitrary actions in relation to the polyphonic music. During the XII and XIII centuries, a social stability and the church hegemony contributed for the dialog between clerics and musicians, but the actions of the temporal power against the church in the XIV century, made it look more carefully to the elements that the secular society brought to its practices in the celebrations. This is when Pope John XXII decrees the bull Docta Sanctorum Patrum prohibiting the practice of polyphonic music, mainly the one that were practiced by new schools and had secular characteristics, in churches celebration . Studying the reasons that influenced the Pope to take this action is the principal objective of this study
Tem por objetivo analisar a história social da música que, por volta dos séculos XI e XII, ganha inovações estéticas contemporâneas a uma série de mudanças sociais ocorridas no período. A nova música que surge (polifônica) é uma variação técnica do chamado Canto Gregoriano (monofônico), sua evolução se deu principalmente no âmbito clerical, mas nem sempre sua relação com a Igreja foi pacífica. Por ser uma música desenvolvida nas igrejas-catedrais urbanas e nas universidades, ela tinha elementos externos à sua tradição, representava uma ruptura com a Igreja, que, até então tinha como centro de aprendizado os mosteiros rurais. Esse fato foi suficiente para que fossem gerados questionamentos quanto à legitimidade do uso dessa nova música na liturgia, embora esses questionamentos não tivessem gerado nenhuma atitude arbitrária em relação à prática da música polifônica em ambiente religioso. Durante os séculos XII e XIII, uma certa estabilidade social e a hegemonia da Igreja colaborou para o diálogo, até que um avanço do poder temporal sobre a Igreja no século XIV a levou-a a rever com mais rigidez os elementos que a sociedade trazia para dentro de suas práticas. Foi então que uma bula do Papa João XXII (Docta Sanctorum Patrum) proibiu que a música polifônica, principalmente a que vinha de novas escolas e tinham características estéticas secularizadas fosse proibida em atos litúrgicos. Estudar os motivos que impeliram o Papa a tomar tal atitude é o objetivo principal desta pesquisa

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Karim, Armin. ""My People, What Have I Done to You?": The Good Friday Popule meus Verses in Chant and Exegesis, c. 380–880." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1396645278.

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Ancillotti, Lorenzo. "Alessandro Esposito (1913-1981) : l'éclectisme infatigable d'un organiste-compositeur confronté aux antagonismes d'une époque." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL177.

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Cette thèse se fonde sur le principe d’une reconstruction biographique et dans le même temps sur l’analyse d’un contexte culturel dans lequel le protagoniste naît, se forme et œuvre. La vie d’Alessandro Esposito, ses expériences, ses rencontres deviennent la source d’un intérêt scientifique grâce à une fine recherche, finalisée à une contextualisation historique, géographique et musicologique. Parallèlement à cette chronologie, plusieurs sentiers ont été tracés, mettant à la lumière une multitude de situations hétérogènes, consacrées au monde de l’orgue, illustrées grâce à la découverte d’une documentation riche. L’identification, la classement et l’analyse de tous ces témoins, ont débouché sur plusieurs domaines de recherche qui ont concerné le parcours du protagoniste : sa formation et sa spécialisation, répondant à une période qui s’étend de 1924 à 1942 ; son activité de concertiste (1926-1981), son répertoire et sa manière d’interpréter la musique ; son activité de compositeur (1926-1978), particulièrement consacrée à l’orgue et à son répertoire liturgique et de concerts ; son activité d’enseignant (1941-1978) et son activité pour l’édition (1956-1976). Le facteur transversal et constant qui s’est posé lors de cette recherche a été de trouver la pensée d’Alessandro Esposito sur la conception de l’orgue et sur son activité d’animateur du débat relatif à l’interprétation de la littérature et aux progrès dans l’art de la facture d’orgue. L’aptitude de cet homme, intéressé à tous les domaines concernant le monde de l’orgue et de sa musique, se vouant à concilier avec engagement et succès des activités aussi différentes, nous révèle sa prédisposition à un éclectisme qui nous permet, donc, de nous pencher sur un monde hétérogène, qui recueille des opinions et des points de vue divergents, qui réunit des pensées et des méthodes différentes concernant le roi des instruments, lequel devient un véritable protagoniste de ce travail
This thesis is based on the principle of biographical reconstruction and, at the same time, on the analysis of a cultural context into which the protagonist was born, studied and operated. Alessandro Esposito’s life, his experiences and his enconunters become a source of scientific interest thanks to a meticulous research, aimed at a historical, geographical and musicological contextualization. Parallel to this chronology, numerous paths are traced that highlight a series of heterogeneous situations addressed to the world of the organ, illustrated thanks to the discovery of a rich documentation. Identification, classification and analysis of these witnesses led the reflection towards the different research areas encountered by the protagonist in his human path : training and specialization, relating to a period that extends from 1924 to 1942, the concert activity (1926-1981), the repertoire and the interpretative characteristics; the activity of composer (1926-1978), particularly dedicated to the organ in its liturgical and concertistic role; the didactic activity (1941-1978) and the editorial one (1956-1976). The transversal and constant factor that stems from this research is the identification of Alessandro Esposito's thinking about the concept of the organ, through the observation of his activity as an animator of the debate concerning the interpretation of literature and progress in the art of organ building. This man’s fascination with every area of the world of the organ and music related to it, allows him to combine many different activities, which reveal a predisposition and an eclecticism that permits a reflection about the complex world, rich in opinions and divergent points of view concerning the king of instruments, the true protagonist of this work

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Brink, Danette. "Plainchant and liturgy in the diocese of Münster in Westphalia : the fifteenth-century Freckenhorst antiphoner (D-MÜd PfA 53)." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/7777.

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Includes abstract.|Includes bibliographical references (p. 213-222).
The manuscript Münster (in WestphalialWestfalia), Bistumsarchiv, Freckenhorst, StBonifatius Hs. 53 (D-MÜd PfA 53) is an antiphoner (antiphonary/antiphonal) that theFraterherren of Münster wrote in the middle of the fifteenth century. The plainchantmelodies are in German neumatic notation (Hufnagelschrift) and the texts are in Gothictextualis textura, textualis rotunda, textualis quadrata and textualis semi-quadrata. The studyproceeds from the work of Hans Ossing, Untersuchungen zum Antiphonale Monasteriense(Alopecius-Druck 1537): Ein Vergleich mit den Handschriften des Munsterlandes (Regensburg, 1966). The work consists of: • a description of the codicological and palaeo graphical characteristics together with an overview of the manuscript's content; • a comparative study of: • the Advent responsory texts with reference to Renato-Joanne Hesbert's Corpus Antiphonalium Officii: Fontes earumque prima ordinatio [CAD, vol. 5] (Rome, 1975) and the interactive database on David Hiley's Cantus Planus website at the Institut fur Musikwissenschaft der Universitat Regensburg (http://www.uni-regensburg.de/F akultaetenlphi1_F ak 11Musikwissenschaftl cantusl); • the plainchant melodies of the Christmas Matins responsories (Vigilia Nativitatis Domini and Nativitas Domini) with reference to the Antiphonale Monasteriense, DMÜsa Msc. 433, D-MÜp K' 146, D-MÜd PfA Hs. 113, D-MÜd PfA Hs. 114, D-MÜd PfA Hs. 132, D-MÜd PfA Hs. 91 and D-MÜd PfA Hs. 66; • a diplomatic edition of the plainchant melodies for the historiae (versified officeslrhymed offices) of Sts Gertrude (Gertrudis) of Nivelles, Boniface (Bonifatius/Bonifacius), and Achacius (Achatius) and the ten thousand (10 000) martyrs, which includes D-MÜd PfA Hs 202, B-TO 63, B-TO 64, D-MÜd PfA Hs 199 and D-MÜd PfA Hs 132; • a comparative study of the content of PfA 53 and the Antiphonale Monasteriense derived from electronic indices created according to the guidelines of Cantus: A database for Latin ecclesiastical chant (http://publish.uwo.ca/-cantusl) maintained by Debra Lacoste.

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Buvron, Jean-Marcel. "Le renouveau musical dans les cathédrales en France de 1801 à 1860 - Le Mans -." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2003.

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En 1857, Joseph d'Ortigue constatait que les maîtrises des cathédrales en France, en activité au cours de la première moitié du XIXe siècle, ne pourraient jamais prétendre au rôle qu'elles avaient rempli pendant des siècles avant leur fermeture en 1791. Malgré le soutien dans un premier temps des pouvoirs publics, la tentative de refondation souhaitée pour chaque cathédrale, s'est en effet soldée par un échec : l'Église catholique n'a pas réussi à redonner au culte l'éclat musical et cantoral qu'il revêtait avant la Révolution. À travers l'étude de la maîtrise du Mans de 1801 à 1860, « une des premières rétablies et une des plus florissantes », cette thèse analyse les principales causes de cet échec inévitable : l'incertitude des ressources financières, l'évolution des mentalités en matière de religion, la formation incomplète des nouvelles générations de musiciens d'Église, le changement des goûts musicaux. Dans les années 1830-40, la liturgie et sa musique sont l'objet de vives polémiques où s’affrontent les partisans d'une musique expressive et les militants d'une restauration du plain-chant. Le renouveau musical dans les cathédrales, et notamment au Mans, ne trouve finalement son accomplissement qu'après une réforme de la liturgie qui définit la musique la plus appropriée au culte. Avec le retour de la liturgie romaine et du chant grégorien, plus de cinquante ans d’efforts auront été nécessaires pour que les cérémonies religieuses gagnent en cohérence ce qu’elles ont perdu en éclat
In 1857, Joseph d’Ortigue saw that the music schools attached to French cathedrals in the first half of the 19th century could never play the part they had had for centuries, until they were closed in 1791. Though they were at first officially aided, all the cathedrals failed when they tried to revive their musical activity : the catholic church did not succeed in giving back to their celebrations the brilliance of music and song that had been theirs before the Revolution. Studying the Le Mans music school from 1801 to 1860 – it was « one of the first to be re-estblished and one of the most flourishing » –, this thesis analyses the main causes of this inevitable failure: the uncertainty of financial resources, the evolution of habits of thought as regarded religion, the incomplete training of the new generation of church musicians, as well as the changes in musical tastes. In the years 1830-1840, the liturgy and its music are hotly argued about by those in favour of an expressive music and those advocating a restoration of plain chant. The musical revival in cathedrals – notably in Le Mans – was eventually achieved only after a reform of the liturgy defining which music is most suitable for divine worship. With the return of the Roman liturgy and Gregorian chant, over fifty years were necessary for religious ceremonies to gain in coherency what they had lost in brilliance

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Curry, Robert Michael 1952. "Fragments of ars antiqua music at Stary Sącz and the evolution of the Clarist order in central Europe in the thirteenth century." Monash University, School of Historical Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5720.

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Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.

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Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /." Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.

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Jarjisian, Peter G. "The influence of Gregorian chant on Maurice Duruflé's Requiem, op. 9." 1991. http://catalog.hathitrust.org/api/volumes/oclc/25650903.html.

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1991.
Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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Gonzalez, Ramon J. "Gregorian chant, polyphony, and "pride of place": contextualizing Roman Catholic liturgical music." Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-08-329.

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Sacrosanctum concilium, the Second Vatican Council’s constitution on the liturgy, is often cited by scholars when assessing and commenting upon Roman Catholic liturgical music in the Council’s reception period, that is, the late-twentieth and early-twenty first centuries. The constitution, however, is only one of four constitutions promulgated by the Council that together create a vision for reform. Conciliar documents state principles which the Church’s teachers—the pope, bishops, pastors, and theologians—continually interpret for specific situations. This essay considers theological and historical factors that affected the Second Vatican Council’s statements about liturgical music. The Council’s overall concern was the Church’s effective proclamation of the Gospel in a world of diverse cultural settings facing modern problems. Liturgical music prior to the Second Vatican Council reflected the needs and concerns of a Church that, in a sense, no longer exists. Current theological methods begin by validating a congregation’s experience of God and placing it in dialogue with tradition. In this context, Gregorian chant and polyphony hold “pride of place” among a variety of musical styles that express the Church’s encounter with God.
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Frecker, Kevin A. "The graduale romanum : a comprehensive approach to chant restoration." 2011. http://liblink.bsu.edu/uhtbin/catkey/1661173.

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The restoration of Gregorian chant throughout the nineteenth century culminated in the publication of new official Vatican chant books, particularly the Graduale Romanum of 1908. Major contributions were made by the monks at the abbey of Solesmes, who focused on the oldest available medieval manuscripts, and by scholars in the Cecilian movement, who favored sources compiled after the Middle Ages. These two viewpoints were fused into the Graduale Romanum to create a comprehensive historical perspective. To support this position, this thesis traces historical events and conflicts leading up to the publication of the Graduale Romanum. It also compares the Graduale Romanum with its most immediate source, the 1895 Liber Gradualis by Solesmes, focusing on the Propers of the four Sundays of Advent. Analysis of the differences between the two reveals that the Graduale Romanum closely resembles medieval manuscripts and reflects Renaissance and nineteenth-century sources to a limited degree.
The graduale romanum of 1908 : an exposition -- Toward a new edition of chant -- Graduale romanum and Liber gradualis compared -- Conclusions and proposals for further study.
School of Music

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"The indigenization of Gregorian Chant in early twentieth-century China: the case of Vincent Lebbe and his religious congregations." 2007. http://library.cuhk.edu.hk/record=b5893078.

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Ng, Ka Chai.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 199-216).
Abstracts in English and Chinese.
Abstract --- p.i-iii
Acknowledgements --- p.iv-v
List of Plates --- p.vii
List of Examples --- p.viii-x
List of Tables --- p.xi
List of Abbreviations --- p.xii-xvi
Chapter Chapter One --- "Introduction: Mission, Liturgy, Music, and the Study of Catholic Church in China" --- p.1-14
Chapter Chapter Two --- Overview of the History of Chinese Catholic Church: Evangelization and Indigenization --- p.15-28
Chapter Chapter Three --- Catholic Liturgy and Music in China: Between Orthodoxy and Participation --- p.29-57
Chapter Chapter Four --- "Vincent Lebbe's Experiences, and the Formation of his Ideas towards Liturgy, Music and Monasticism" --- p.58-75
Chapter Chapter Five --- "The Chant Books of Lebbe: Sources, Structures and Liturgical Practices" --- p.76-110
Chapter Chapter Six --- Stylistic Features of Lebbe's Arrangements of Gregorian Chant for Chinese Language --- p.111-154
Chapter Chapter Seven --- Conclusion: Receptions and Cultural Representation of Vincent Lebbe's Chinese Gregorian Chant --- p.155-170
Appendices
Notes to the Appendices --- p.171
Appendix A - Contents of Lebbe's Chant Book for the Divine Office --- p.172-192
Appendix B - Contents of Lebbe's Chant Book for Benediction --- p.193-195
Appendix C - Contents of Lebbe's Chant Book for the Mass --- p.196-198
Bibliography --- p.199-216

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Sherrill, William Manning. "The Gradual of St. Yrieix in eleventh-century Aquitaine." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2991.

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During the eleventh century the Aquitanian monastery of St. Yrieix, located forty kilometers south of Limoges, acquired a new gradual, a manuscript containing the liturgical Mass chants for the year. The Gradual of St. Yrieix, now at the Paris Bibliothèque Nationale (Pa903), includes both text and music, redacted with the musical notation typical of the region of Aquitaine. The objective of this research is to analyze Pa903 as a document of liturgical musical practice and as a participant in the historical events of its region and time. While the Gregorian chant repertory dominates the gradual, this dissertation addresses the neo-Gregorian chants of Pa903, composed in the period following the dissemination of Gregorian chant throughout Europe. These neo-Gregorian chants were open to the influence of the contemporary regional musical style and cultural traditions surrounding St. Yrieix. Chapter II reviews the backdrop of historical events surrounding Pa903, focusing on the reform and expansion at St. Yrieix and its transition from a monastery to a chapter of canons. The musical and liturgical characteristics of Pa903 (Chapter III) show that St. vii Yrieix favored its senior patron St. Martin of Tours and St. Aredius (its patron saint) above St. Martial of Limoges (a powerful neighbor) and presented in the gradual a community of saints with strong regional influence. Chapters IV and V analyze the concordances of antiphons, tropes, prosulas, prosas, and neo-Gregorian Mass chants of Pa903 with those of the Aquitanian graduals and other sources throughout Europe. The tropes of the Proper and Ordinary, the complete repertory of prosulas and prosas, and the neo-Gregorian Mass chants of Pa903 are collected together here for the first time outside of Pa903. The neo-Gregorian chants are found in the sanctoral, temporal, and the ritual Masses and include a group of chants that reflects textual and musical elements of the prior Gallican tradition. The chant repertory of the gradual also presents a subgroup of forty-nine antiphons, prosas, prosulas, and neo-Gregorian Mass chants found only in Pa903, documented here with musical examples.
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Hoover, Dale. "Affinity between chant and image : a study of a late fourteenth-century Florentine Antiphonary/Gradual (Baltimore : Walters Art Museum, ms. W153) /." 2004. http://wwwlib.umi.com/dissertations/fullcit/3149018.

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Coe, Henrique. "Three works on religious themes : psalmus 150, string quartet on the life of Saint John Paul II and symphony “The Redemption”." Thèse, 2015. http://hdl.handle.net/1866/12592.

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Dans cette dissertation, je présente trois pièces sur des thèmes religieux composées au cours de ma maîtrise, ainsi que leur analyse : Psalmus 150 pour chœur de jeunes à trois voix, chœur d'adultes à huit voix et orgue ou piano ; Quatuor à Cordes sur la vie de Saint Jean-Paul II ; et la Symphonie « La Rédemption » pour orchestre et chœur. Malgré les particularités de chacune, elles présentent des aspects communs. L'idée principale des compositions fut d'éviter la rupture avec la tradition tout en apportant des nouvelles idées aux pièces, et de souligner l'importance de ma recherche sur la beauté. À cet égard, certaines techniques contemporaines, ainsi que les sonorités médiévales des quintes et octaves parallèles, furent utilisées en accord avec un langage tonal / modal qui demeure la base des trois compositions. Le chant Grégorien fut aussi une importante caractéristique de ces compositions. Pour mieux comprendre les analyses des œuvres, deux techniques seront expliquées, la douce toile de dissonances linéaires et l'harmonie d'accords parfaits majeurs. L'analyse de chaque pièce est divisée en deux parties. La première est une vision générale et la deuxième est plus détaillée. À la fin, les connaissances acquises par la composition des ces œuvres seront résumées et l'importance intemporelle de la beauté sera réaffirmée.
In this dissertation, I present three pieces on religious themes composed during my master’s degree as well as their analysis: Psalmus 150 for three-voice youth choir, eight-voice adult choir and organ or piano; String Quartet on the life of Saint John Paul II; and Symphony “The Redemption” for orchestra and choir. Despite the particularities of each one, they present common aspects. The main compositional idea was to avoid rupture with tradition, whilst bringing new ideas into the pieces, as well as to highlight the importance of my research on beauty. For this purpose, some contemporary techniques as well the medieval sonorities of parallel fifths and octaves were used in consonance with a modal/tonal language, which remains the framework of the three pieces. Gregorian chant is also an important characteristic of these compositions. In order to better understand the analysis of the pieces, two techniques are explained, the soft web of linear dissonances and the perfect major chord harmony. The analysis of each piece is divided into two parts. The first is an overview and the second a more detailed analysis. At the end, the knowledge obtained from composing these pieces will be summarized, and the timeless importance of beauty will be reaffirmed.

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Zimmer, Markus. "Recepce «germánského chorálního dialektu» v první polovině 20. století." Doctoral thesis, 2021. http://www.nusl.cz/ntk/nusl-449600.

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The reception of the german dialect of the gregorian chant between 1900 an aprox. 1950 (Abstract) In today's musicology, the germanic chant dialect («germanischer Choraldialekt») ist nearly unimportant. Especially in the first half of the 20th century, it was very different. In particular, the invention of the term by Peter Wagner of Fribourg in 1925 promoted the perception of a melodic phenomenon, which can be found equally in many sources of plain chant in central europe. The oldest witnesses of the phenomenon are adiastematic sources, the youngest ones were restored, restituted or newly composed in the first half of the 20th century. So this tradition is existing for more than 1000 years. The present work examines how this tradition has been scientifically, historically and practically elaborated in the last century. The chapter on the history of research shows that the phenomenon of the germanic chant dialect was still considered a local tradition of individual dioceses or monasteries in the 19th century. Michael Hermesdorff from Trier was the first to recognize striking similarities between these fragmented traditions; his pupil Peter Wagner founded the basics of the scientific research. Not all musicologists agreed with Wagner's findings and explanations, but his term and his theory prevailed. In the...

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Ciglbauer, Jan. "Cantiones Bohemicae - Kompozice a tradice." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-371319.

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Slemon, Peter John. "Adam von Fulda on musica plana and compositio : De musica, book II : a translation and commentary." Thesis, 1994. http://hdl.handle.net/2429/8966.

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Adam von Fulda, German musician, composer and teacher, completed his important treatise on music in 1490. While representing a conservative, northern tradition in late-medieval music theory, it also shows some evidence of humanist influence. The treatise is divided into four books which discuss the origins and uses of music, the theory of plainchant, mensuration and notation of rhythm, and proportions, respectively. Thus, throughout this informative work, Adam mixes the practical with the speculative. Although his style of explaining technical matters is clear and succinct, he also engages the reader's interest with his polemical and rhetorical digressions. This dissertation presents a detailed commentary upon Book II of the treatise, on musica plana (plainchant), accompanied by a translation from the Latin. The first two chapters of the dissertation are concerned with the biographical information available on Adam von Fulda, as well as with the format and transmission of the treatise. Three chapters of the dissertation serve as the commentary. Chapter III discusses Adam's treatment of the practical aspects of singing plainchant, including his discussions of the Guidonian hand, the gamut, the naming of pitches, hexachords and mutation (material covered in Chapters 1 to 6 of the treatise's second book). Chapter IV of the dissertation considers the subject of musical intervals as covered by Adam, and the ten rules of composition provided in his Chapters 7 to 12. These rules are perhaps the most interesting and unusual part of Book II, as they go beyond the stated subject of plainchant. Written composition, not just improvised counterpoint, is treated in a manner that anticipates later humanist regard for music as an art. Finally, Chapter V examines Adam's treatment of the modes of plainchant (discussed in his Chapters 13 to 17). A conclusion summarizes Adam's impact on later theorists and the importance of the treatise.

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Dissertations / Theses on the topic 'Gregorian Chant'

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