The First Literate Repertory in Western Music Gregorian Chant

Ancient and Preliterate Music Archeological Evidence Biblical Descriptions Ancient Greece

Pitch-specific notation – Letters and symbols Philosophical writings Plato, Republic “because more than anything else rhythm and harmony find their way to the innermost soul and take strongest hold upon it.” Theories of Music

Transmission of Ancient Greek Theory Theories of Music – Pythagoras (6 th Century BCE ) Harmonic ratios – St. Augustine (354–430) De Musica (About Music) (391 CE ) – Boethius (ca. 480 – ca. 524) De institutione musica (On the Organization of Music) – Musica mundana – Musica humana – Musica instrumentalis

Historical Imagination Development of Early Notation – “diatonic pitch set” Early Christian Church – Monophonic chant – Latin

Christian Beginnings Byzantine Empire – Byzantine Chant, Hymns Western Roman Church – Roman Chant – Roman Liturgy

The Legend of St. Gregory Pope Gregory I (Pope from 590–604) Standardization of Roman Chant

The Development of the Liturgy The Offices – Matins, Lauds, Prime, Terce, Sext, None, Vespers, Compline – Recitation of the 150 Psalms Cantillation Psalm Tone – Hymn – Antiphons – Responds

The Development of the Liturgy The Mass – Public reenactment of Christ’s last supper – Proper (words change from day to day) – Ordinary (words remain the same) Kyrie Gloria Credo Sanctus Agnus Dei

Chant Notation Neumes – Contour and placement of notes in relation to text syllables

Chant Notation Guido of Arezzo – Micrologus (ca. 1028) Earliest guide to staff notation “sight singing” – Ut queant laxis – Hexachord (6-note diatonic segment) » ut—re—mi—fa—sol—la “Guidonian Hand”

Modal Theory Psalm Tones Tonaries Antiphons

Modal Theory Medieval Church Modes Authentic – 1. Dorian D E F G A B C D – 3. Phryigian E F G A B C D E – 5. Lydian F G A B C D E F – 7. Mixolydian G A B C D E F G Plagal (“Lower”) – 2. Hypodorian A B C D E F G A – 4. Hypophryigian B C D E F G A B – 6. Hypolydian C D E F G A B C – 8. Hypomixolydian D E F G A B C D

Psalmody in Practice The Office Psalmody – reciting tone or tenor – flexus – mediant – termination – Psalm 91 [Anthology 1-2a] Justus ut palma

Psalmody in Practice The Mass Proper Chants – Introit [Anthology 1-2b] – Offertory [Anthology 1-2c] melismatic, melismas – Alleluia [Anthology 1-2d] Jubilus – Gradual [Anthology 1-3a, b]

The Mass – Introit Kyrie [Anthology 1-4a, b] Gloria [Anthology 1-4c] Reading from Paul’s Epistles – Gradual – Alleluia (or Tract during Lent) Reading from the Gospels Credo [Anthology 1-4d] – Offertory [Anthology 1- 4e] Sanctus Canon and Pater noster Agnus Dei [Anthology 1-4f] – Communion – Ite, missa est

Frankish Additions to the Chant Repertory Sequentia Sequence – Dies irae [Anthology 1-5a]

Hildegard of Bingen (1098–1179) Symphonia armonie celestium revelationum – Sequence: Columba aspexit (The dove looked in) [Anthology 1-6]

Hymns, Tropes, and Liturgical Drama Hymns – Ave maris stella [Anthology 1-7a] – Pange lingua [Anthology 1-7b] – Veni creator spiritus [Anthology 1-7c]

Hymns, Tropes, and Liturgical Drama Tropes – Added material (music, words, or both) – Liturgical Drama Quem quaeritis in sepulchro [Anthology 1-8a]

Marian Antiphons Votive antiphon Marian Antiphons – Salve, Regina [Anthology 1-9a, b]

Polyphony Symphonia Musica enchiriadis (Handbook of Music) Scolica enchiriadis (Commentary on the Handbook) – Late 9 th century – Organum Vox principalis Vox organalis occursus

Organum and Discant Guido of Arezzo, Micrologus – Section on organum Polyphonic composition – Chartres fragment John Afflighem, De musica – Discant