Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, Hiley provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. It will be an indispensable introduction and reference source on this important music for many years to come.
Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.
In response to many requests for a book descriptive and explanatory of the Gregorian Mass chants, the monks of St. John's Abbey, Collegeville, Minn., undertook the translation from the German of Dom Johner's work under the above title. In the foreword the author indicates the scope of his work. He writes: "The present work is intended chiefly to serve as an aid to the prayerful rendition of the variable chanted parts of the Mass. At the same time it aims to be a guide for the worthy and artistic rendition of those chants which have been handed down to us from an age of strong faith and noble taste." Chant is essentially a form of worship offered by the faithful and as such is an integral part of the liturgy. It is intimately connected with the very source of all Liturgy, the Eucharistic Sacrifice, and attempts to interpret and express in music the sentiments which the text expresses in words. Individual consideration is given to the texts of the Introit, Gradual, Alleluia-verse, Tract, Sequence, Offertory, and Communion. These texts are given in Latin and in English, and are arranged in parallel columns. They are studied in their historical and liturgical setting, and their sentiments of joy and sorrow, hope and fear, gratitude and penance, are pointed out and developed. In this sense also the intimate relationship existing between these various texts is indicated; all are integrated into a unified whole and referred to the life of Christ and His Church. Following this short meditation, the author analyses the musical score accompanying the text, and attempts to show how Gregorian Chant interprets these various sentiments and gives adequate expression to them in short, how Gregorian Chant is the prefect yet simple medium of translating religious emotion into the language of music. An indispensable condition for the intelligent use of this book as a guide Jor interpretation is the simultaneous use of the Vatican Gradual, since musical notation has not been included in the present work. However, only a minimum and very elementary knowledge of Gregorian Chant is necessary for the fruitful use and understanding of the book. Further knowledge is given in a very significant Introduction, which describes the structure and expressiveness of the variable Mass Chants. The original German, as also the English manuscript, have been made the basis for a very successful summer school course in the study of Gregorian Chant. The book might adequately be described as "a study in the appreciation of Gregorian Chant."
"Choral Repertoire is the definitive and comprehensive one-volume presentation of the most significant composers and compositions of choral music from the Western Hemisphere throughout recorded history. The book is designed for multiple uses-as a programming guide for practicing conductors, instructional resource for students and teachers of choral music, historic and stylistic reference for choral singers, and source of information about composers and compositions for choral enthusiasts-and as such, the book intends to further and make accessible important information relevant to the vast scope of choral music. Organized by era (Medieval, Renaissance, Baroque, Classical, and Modern), Choral Repertoire covers general characteristics of each historical era, trends and styles unique to various countries, biographical sketches of more than six hundred composers, and performance annotations of more than five thousand individual works. Of the composers, there is substantive coverage of women and composers of color, and of the repertoire, there is inclusion of lesser-known works as well as those works that are considered standard"--
After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.