Gregorian chant

“ The Psalms and Canticles are generally sung to a chant. These are of two kinds—Gregorian and Anglican. Gregorian chants are very ancient; a collection of them was compiled by Gregory, Bishop of Rome, about A.D. 600. They are sung in unison. Anglican chants, which are of much more recent invention, are sung in harmony. Nearly all our Church music is based on the Gregorian chant. A single chant is an air consisting of two phrases, corresponding to the two parts into which every verse of the Psalms and Canticles is divided in our Prayer Book by a colon. ”

“ It is strongly urged that the reintroduction of the Gregorian chant in our churches, now wholly committed to the use of modern music, is impossible, for the hired singers will have nothing to do with it. ”

“ All Gregorian music is included within an octave and a half, with rare exceptions. Great compass is therefore not required. The first requisite is the ability to modulate the different phrases with distinctness and facility. There are few men or boys who could not be taught in a short time to acquire this primary qualification of the choir-singer. On this head there is little or no difficulty. But as every one who can read English is not able to give a proper reading of Shakespeare, so not every one who can sing the gamut or its intervals is able to sing the phrases of Gregorian chant. ”

“ The most artificial attempts in music have been based on the idea that we could return to that primitive form. One attempt [Pg 385] was that of the founders of the church chant; the other was that of the inventors of opera. It is incumbent upon us to consider now only the first of these. At the beginning of modern artistic music (not the music of the people, the folk songs) we find the Gregorian chant, a musically formless droning of the church liturgy, in which the only rhythm was that of the text, and the melody was the outgrowth of mere intonation. ”

“ Very few organists and choir-directors in the United States have made any study whatever of the chant, and the greater number are not able to read even its notation. We have felt and lamented the difficulties in the way of those who, convinced of the claims of Gregorian chant, and wearied and disgusted with the wretched cheap concert performances they have been forced to endure at Holy Mass and Vespers, have longed to rid themselves of the “church music” nuisance and again hear the true song of the church resounding in the sanctuary. ”

“ Whatever may be the merits of our modern music, and they certainly are of a very high order, when considered from the point of artistic combination, and the expression of certain sentiments of the soul, we hold, nevertheless, that the Gregorian chant is the true song of the Catholic Church. ”

“ As Holy Writ forms the invariable foundation of the religious and moral principles of the true Christian, so the Gregorian chant ought to form the ground and invariable theme of the true church composer; and as long as composers understood and valued this inestimable, noble, and really sacred practice their works composed for the church truthfully and appropriately fulfilled their solemn office; these works were thus imbued with the sacred character derived from the themes of the sacred songs; then necessarily a distinct line of demarcation was drawn between secular and sacred music. ”

“ In its true form the Gregorian chant has no bars or measures; the time and the accent are verbal, not musical. Each note of the mediation or the ending is emphatic or non-emphatic, according to the word or syllable to which it happens to be sung. The endings which follow the recitation do not fall into musical measures, but are as unrhythmical as the reciting tone itself. Modern music, and the instinctive observance of rhythm which is an essential part of it, have modified the old chant and given it accent and time. ”

“ Let us hear something more of the opinions of the same holy pope about figured "sacred music." "The Gregorian chant is that song which excites the minds of the faithful to piety and devotion; it is that music, therefore, which, if sung in our churches with care and decorum, is most willingly heard by devout persons, and is justly preferred to that which is called figured or harmonized music. ”

“ As a matter of fact no more suitable music for congregational singing than the Gregorian Chant, which reached the acme of its development in the Thirteenth Century, has been invented, and the fact that the Catholic Church, after having tried modern music, is now going back to this medieval musical mode for devotional expression, is only a further noteworthy tribute to the enduring character of another phase of Thirteenth Century accomplishment. ”

“ Nor, even supposing such worthy persons, possessing proper vocal acquirements, were to be had by paying for them, would they be able to sing our sacred music in a style that would be even tolerable. Gregorian chant is not easy of execution, as some imagine. It needs not only good vocal culture to render its musical phrases with precision, but also no small amount of intellectual and moral training to give its true expression. ”

“ There is but one kind of music consecrated to that—the Gregorian chant. And, with our hands upon our hearts, can we say that modern music has received such an aid in its development through the composition and execution of Masses, Magnificats, Offertories, Tantum Ergos, and the like, that its present state of advancement is as much indebted to them as is popularly supposed, or that their withdrawal from the service of the Church would prove any very serious detriment to it? ”

“ Before the invention of harmony all church music had more of the quality of popular music, and the priesthood encouraged the worshipers to join their voices in those parts of the service which were not confined by the rubrics to the ministers. But the Gregorian chant was never really adopted by the people,—its practical difficulties, and especially the inflexible insistence upon the use of Latin in all the offices of worship, virtually confined it to the priests and a small body of trained singers. ”

“ In fact, the rules laid down by all masters in Gregorian chant for accentuation and the adaptation of dactylic and monosyllabic words require only one pointing of the Psalms for all the tones and their various conclusions. We think this important point can be demonstrated, although it would be out of place here.
As a book of first principles of the chant, we most heartily commend this little volume to those for whose use it has been prepared, and have no doubt that it will find its way into all our seminaries and religious communities, and, we venture to hope as well, into our schools. ”

“ Having made up our minds to tear down our Protestant singing-gallery, and to make use only of male voices in the singing of Mass and Vespers, we shall not fear for the decision of the question, What kind of music is to be selected? The Gregorian chant, that "grave, sweet, majestic, intellectual music of the Church," will defy all competition. ”

“ All the eight are now used in some parts of the Greek Church, as in Russia, doubtless adopted from the West. They have been harmonized according to the more recently discovered laws of music, and thus harmonized possess a singular gravity, which character would alone justify their perpetual retention in the Church as the basis of church music.
The Gregorian chant is not limited to psalm chants; it includes the antiphons, versicles, graduals, &c., in short, all the hymns at the various services of the Romish Church. ”

“ We see no impropriety in pressing these facts home upon those who are bound by the laws of their profession to interest themselves in the claims which Gregorian chant makes upon them, in order that they may decently perform the sacred functions committed to their care—how sacred one single reflection will show. ”

“ External to the Ritual chant, that is to say, the Gregorian, or Plain Chant, little else is now known except the works of modern music, that is to say, a music essentially favoring what people have agreed to call sensualism. It is this, almost exclusively this, which, under the austere title of sacred music, is sought to be introduced into our sacred offices. Now, without desiring to enter deeply into the matter, we need but few words to point out how grievously it is misplaced.
“Worldly music agitates and seeks to agitate, because the world seeks its pleasure in stir and change. ”

“ Dress a city alderman in the uniform of an officer of marines, and send him afloat on duty, if you will, but do not lay it to his charge if the result is neither very civic nor very nautical. But if the writer in question really means his words to apply to the melodies to which these hymns are set in the Roman Chant-books, he is confronted by the fact that, among these, and they are now but few, chiefly in the Feast of Corpus Christi, are found the gems of Gregorian melody. ”

“ Of all the forms of religious music the chant is least susceptible to change and progress, and the modern Anglican chant bears the plainest marks of its mediaeval origin. The modifications which distinguish the new from the old may easily be seen upon comparing a modern English chant-book with an office-book of the Catholic Church. In place of the rhythmic freedom of the Gregorian, with its frequent florid passages upon a single syllable, we find in the Anglican a much greater simplicity and strictness, and also, it must be admitted, a much greater melodic monotony and dryness. ”

“ Aside from the instinct for time, and the desire to make a ‘tune’ of the chant, which is a part of human nature, it is a feature of the English language that in speaking we pass from accent to accent and elide the intervening syllables. The first attempts to adapt the Gregorian tones to English use proceeded strictly upon the plan of one syllable to a note. Of however many notes the mediation or cadence of the chant consisted, that number of syllables was marked off from the end of each half-verse, and the recitation ended when they were reached. ”

“ The qualifying terms Gregorian, Anglican, Gallican, Parisian, Cologne, etc., as applied to the chant, simply express the sources from which any particular chant has been derived.
It is historically incorrect to regard the structure of ancient and modern chants as antagonistic each to the other. ”

“ Gregory an important part in the composition of these chants.
The further important question arises, did Gregory carry out this musical work himself, or was it done by others under his direction?
It is natural to think of his Schola Cantorum in this connection. The foundation of this must have had a profound effect both on the standard of the performance of the chant, and on the spread of the Gregorian reform. Books were scarce in those days, and musical notation defective. Teaching was chiefly by word of mouth. ”

“ The constructive criticism of the present day rests on the principle that we cannot comprehend works and schools of art unless we know their causes and environment. We shall find as we examine the history of mediaeval choral song, that it arose in response to an instinctive demand for a more expansive form of music than the unison chant. Liturgic necessities can in no wise account for the invention of part singing, for even today the Gregorian Plain Song remains the one officially recognized form of ritual music in the Catholic Church. ”

“ Poetic recitation among ancient and primitive peoples is never recited in the ordinary level pitch of voice in speech, but always in musical inflections, controlled by some principle of order. Under the authority of a permanent corporate institution these inflections are reduced to a [99] system, and are imposed upon all whose office it is to administer the public ceremonies of worship. This is the origin of the liturgic chant of ancient peoples, and also, by historic continuation, of the Gregorian melody. ”

“ The theory is further supported by a comparison of the most ancient MSS. of the Milanese chant with the Gregorian Antiphoner. A considerable number of melodies are practically identical with those in the Roman books. The framework, so to speak, is the same, but the details and embellishments often differ. The Ambrosian melodies are sometimes rather bald, and often excessively florid; the extremely long neums which they often contain appear to have been due to Greek influence. ”

“ During the Middle Ages, when evil days had fallen upon the Church, there was very little to inspire sacred song. All over Europe the Gregorian chants, sung in Latin, had crowded out congregational singing. The barbarian languages were considered too crude for use in worship, and much less were they regarded as worthy of being moulded into Christian hymns. Religious poetry was almost invariably written in Latin. ”

“ The Gregorian music is in unison, slow, measured and uniform without rhythm and beat, so that it approaches again the old recitative mode of psalm singing, while still at the same time its elaboration of the art with much richer modulation marks an important step in advance. ”

“ The want of uniformity in the arrangement of the text is seen by comparing the different classes of chants in Codex St. Gall, 329. As a rule, the words of one and the same Mass are all of different origin. The most ancient part of the Masses is the Graduals and Tracts, and all these (which are the most ancient solos of the Mass) in the Gregorian nucleus are taken from Biblical sources. This part of the “cento Antiphonarius” is put together in one system after an established tradition. ”