Gregorian Chant

What is Gregorian chant, and where does it come from? What purpose does it serve, and how did it take on the form and features which make it instantly recognizable? Designed to guide students through this key topic, this book answers these questions and many more. David Hiley describes the church services in which chant is performed, takes the reader through the church year, explains what Latin texts were used, and, taking Worcester Cathedral as an example, describes the buildings in which it was sung. The history of chant is traced from its beginnings in the early centuries of Christianity, through the Middle Ages, the revisions in the sixteenth and seventeenth centuries, and the restoration in the nineteenth and twentieth. Using numerous music examples, the book shows how chants are made and how they were notated. An indispensable guide for all those interested in the fascinating world of Gregorian chant.

List of illustrations	p. ix
List of musical examples	p. xi
Note on the musical examples	p. xiii
List of tables	p. xiv
List of text boxes	p. xv
Preface	p. xvii
Note on front cover illustration	p. xx
Gregorian chant in the service of the church	p. 1
Singing music in church in the Middle Ages; the function of Gregorian chant; levels of musical elaboration in the declamation of sacred texts; sacred sound for sacred space	p. 1
Where chant was sung, and by whom	p. 7
The structure of the church year and the daily services. Mass and Office, processions	p. 22
The sacred word	p. 34
The principal forms and styles of Gregorian chant	p. 41
The beginnings of Gregorian chant; other rites and other sorts of chant	p. 83
The Christian church in the late Roman Empire; Rome and the Franks	p. 83
Learning chant in an oral culture, establishing models for performance, centres of excellence; Old Roman and Gregorian chant	p. 100
Chant in the Latin West outside the Roman tradition	p. 108
Chant in the East: the Byzantine and other traditions	p. 116
Tradition and innovation in medieval chant: from the ninth to the sixteenth century	p. 121
Adapting the model to suit present needs: local enhancement of the repertory, new types of chant	p. 121
Historiae, sequences, tropes, new Latin songs, 'dramatic' ceremonies	p. 123
The later Middle Ages	p. 153
Thinking about Gregorian chant in the Middle Ages, and notating it	p. 162
Situating Gregorian chant in the harmonious universe; classical Greek music theory and Gregorian chant; the modal system	p. 162
Medieval theory and medieval chant: composition according to theoretical principles?	p. 178
Representing Gregorian chant in written signs; neumes, the invention of the staff	p. 180
Medieval chant books	p. 204
New chants for new times: from the sixteenth century to the present; aspects of performance	p. 208
Chant in the age of humanism; the 'Editio Medicaea'; neo-Gallican chant	p. 208
A phoenix rising from the ashes? The attempt to recover medieval chant	p. 211
Performing monophonic chant	p. 215
Map of places from which important medieval chant manuscripts are preserved	p. 219
Chronological table	p. 220
Statistical table of chant categories by mode	p. 223
Original manuscript sources for musical examples	p. 225
Glossary	p. 227
Bibliography	p. 232
Index	p. 241
Table of Contents provided by Ingram. All Rights Reserved.

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