Glossary of Sacred Music Terminology
  • francis
    Posts: 10,668
    Hi All:

    I just had a very enlightening discussion with my Pastor, and it was evident that as we discussed the role of music in the liturgy, there is really no common ground when it comes to the terminology employed when discussing the subject. As a result, I decided I am going to compile a glossary of terms in my book "What Shall We Be Singing Now" as it is going to print asap as I already am getting bulk orders.

    I think this would be invaluable to aiding in the discussion between DoMs and the rest of the parish (clergy, staff and congregation) when it comes to communicating clearly about sacred/liturgical music in all its aspects.

    I will probably include the terms in alphabectical order, but by subject.

    Here is my initial list, what other terms would be good to include? Include both subjects and then terms under subjects. The way this is going, it could be a second book.

    Glossary of Sacred Music Terminology

    Types of Liturgy and Devotions

    Liturgy of the Hours
    Lauds (morning)
    Terce (mid-morning)
    Sext (noon)
    None (mid-afternoon)
    Vespers (evening)
    Compline (night)
    The Office of Readings
    The Invitatory Psalm

    The Holy Sacrifice of the Mass
    Solemn Vespers
    Eucharistic Adoration: Exposition, Reposition
    Novena
    Devotions

    Sacramental Rites that Allow Sacred Music
    Baptismal Rite
    Confession
    Holy Eucharist (Mass)
    Confirmation (Mass)
    Matrimony (Mass)
    Holy Orders (Mass)
    Funeral Rite (Mass)

    Types (Styles) of Sacred Music

    Gregorian Chant: A cappella, Accompanied
    Plain Chant: A cappella, Accompanied
    Polyphony: A cappella, Accompanied
    Praise & Worship
    Priest/People Dialogue
    Instrumental Music: Solo, Duet, Trio, Quartet, Chamber
    Vocal: Solo, Choral (SATB Choir)
    Hymns-Metrical, Non-Metrical (chant)
    Songs
    Canticles
    Antiphonal Psalmody
    Prelude
    Postlude
    Improvisation

    Liturgical Seasons and Occasions
    Advent
    Christmas
    Lent
    Holy Week
    Triduum
    Easter
    Pentecost

    Types of Days in the Liturgical Calendar
    Feast Day: Lord, BVM, Apostles, Saints, Martyrs
    Solemnity
    Memorial

    Official Music Books of the Church
    Graduale Romanum
    Gregorian Missal
    Roman Missal
    Graduale Simplex
    Graduale Triplex
    Liber Usualis

    Documents and Writings on Sacred Music
    Councils: (Sacrosanctum Concillium)
    Motu Proprio
    Encyclical
    Letter
    Chirograph

    Musical Roles In Liturgy
    Celebrant
    Deacon
    Choirmaster/Director of Music
    Schola Cantorum
    Choir
    Soprano
    Alto
    Tenor
    Baritone
    Bass
    Counter Tenor
    Mezzo Soprano
    Coloratura Soprano
    Organist
    Cantor
    Soloist
    Psalmist
    Congregation

    Order of Mass and Respective Musical Parts

    Priest/People Dialogues

    Propers of the Mass
    Entrance (Introit)
    Gradual,
    Responsorial Psalm
    Alleluia
    Offertory
    Communion

    Ordinary of the Mass
    Kyrie
    Gloria
    Credo
    Sanctus
    Memorial Acclamation
    Amen
    Lord's Prayer
    Agnus Dei

    Other Music of the Liturgy
    Canticle
    Psalmody
    Sequence
    Antiphon/Refrain
    Response
    Hymns-Metrical, Non-Metrical (chant)
    Instrumental

    Order of Rites in the Mass
    Entrance Rite
    Introductory Rite
    Penitential Rite
    Liturgy of the Word
    Offertory Rite
    Liturgy of the Eucharist
    Communion Rite
    Closing Rite

    Rhythmic Elements of Music
    Free-form (unmetered)
    Measured (metrical)
    Types of Meter: 2/4, 3/4, 4/4, 6/8, 12/8, poly

    Compositional Techniques
    Through-Composed
    Ostinato
    Canon
    Antiphonal

    Basic Musical Concepts
    Rhythym
    Tempo
    Score
    Chords
    Notes
    Forte
    Piano

    Colloquialisms
    Four-Hymn Sandwich
    Inculturation
    Inclusive
    Gender-Neutral
    Patristic
    Participatory
    Active Participation

    Language
    Latin (universal dialect)
    Vernacular (local dialect)
    Syllabic
    Melismatic
    Operatic
    Straight-Tone
    Vibrato
    Breathy

    Instruments Used in the Liturgy
    Organ (primary): Pipe, Digital, Electronic
    Organ Registration
    Console
    Manuals
    Pedals
    Stops

    Family of Instruments
    Strings
    Winds
    Brass
    Percussion
    Harpsichord
    Harp
    Piano
    Guitar

    Acoustics
    Cathedral
    Dome and Vaulted Ceilings
    Sacred Space
    Live/Dead

    Species of Music
    Monophony
    Homophony
    Polyphony/Counterpoint
    Thanked by 1DavidOLGC
  • Andrew Motyka
    Posts: 944
    Just to be pedantic (and where else can you be pedantic if not on a glossary of terms), I would add "monophony" to the Species of Music category, where Homophony refers to things like metrical hymnody and Monophony refers specifically to plainchant.
  • Charles in CenCA
    Posts: 2,416
    F, what about ostinato?
  • francis
    Posts: 10,668
    i am sure i have a very bare bones list... give it to me with all stops pulled.

    Charles...woudn't Ostinatto be more of a compositional element or tool? Otherwise, which category would you put that in?
  • Charles in CenCA
    Posts: 2,416
    Misc. Music
  • DougS
    Posts: 793
    Personally I wouldn't go overboard with the miscellaneous musical terms. The book is about music and liturgy, and some of the items seem tangential to me.
  • francis
    Posts: 10,668
    Andrew:

    Excellent suggestion. I put it in the list. I just emailed you about your Antiphons.
  • francis
    Posts: 10,668
    hmmm

    two more occurred to me:

    syllabic
    melismatic
  • francis
    Posts: 10,668
    Hi Doug:

    Good to see you! (even if its just in black and white)

    I am sure that list could grow quite fast as it contains colloquialisms that harbor underlying philosophies :), but that is the kind of thing I am trying to bring to light in the list... I think you are right... what we really need is a separate category for colloquial phrases that relate to liturgical music. Changing now.

    I made a separate category for Colloquialisms and one for Language
  • francis
    Posts: 10,668
    OK people... I am taking the bull by the horns (as usual.)

    I am probably going to be very selective in the glossary I am including in my book which gets printed this week, and am posting my definitions to see if they map with the general populace from the Roman perspective... since it is the universal one... :)

    Here is the first chunk of the glossary. Let me know what you think, cause I am going to print this week!

    Types (Styles) of Music Employed in the Liturgy

    First it must be made clear, that many types and styles of music have been introduced (and even temporarily allowed within the context of experimentation) within the Roman Rite in recent times. The official genre(s) has been, and still is, Gregorian Chant and Polyphony with the highly favored use of the organ. With that in mind, here is presented a list of musical styles that are currently employed with a definition from the perspective of what is allowable and appropriate to the Church, even if some genres are questionable or innapropriate.

    Gregorian Chant: The oldest and most sanctioned genre of sacred music in the Roman Rite. As it developed throughout the centuries it was perfected into the system that is universally used today, called Gregorian Notation. It employs the square note alone, or in combinations called neumes. It also utilizes a four lines staff (three spaces) and is based in the eight modes of the musical scale which are in turn rooted in the harmonic species, a series of mathematical formula that science describes plainly in the division of a vibrating medium. One of the most basic deductions of the harmonic species is the formulation of the pentatonic scale, which is arguably the foundation of all eastern and western music composition. Gregorian Notation employs 'moveable DO' and moveable FA', meaning that there is no fixed pitch assigned to any particular line or space on the staff, but is chosen relative to the immediate decision and comfort of the head vocalist (priest, choirmaster or cantor) and his responsibility for the Schola Cantorum and the congregation.

    
Plain Chant (or plainsong): Another term for Gregorian Chant, but also has come to be known as chant employing the vernacular tongue of a specific region. It might also employ regional idioms, customs or musical tastes common to that region.

    
Polyphony: In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony).

    A cappella - Sung without accompaniment
  • CHGiffenCHGiffen
    Posts: 5,151
    Looks great! Just one question: where does something like Ambrosian chant fit? - is it lumped with Plainchant?
  • francis
    Posts: 10,668
    CHG:

    Good question. there is also Sarum, Byzantium and the like. Perhaps there should be mention of the locales of Catholic Chant as it will also push the point of the pentatonic base.
  • francis
    Posts: 10,668
    Here's another one:

    (And I speak from extreme experience on this one since I composed, performed and promoted it for so many embarrassing years.)

    Praise & Worship: A relatively new genre of music employed in the liturgy that is entirely homophonic in nature (melody with accompanying chords) and is typically performed on the acoustic or electric guitar, and sometimes accompanied by piano, bass and drums. Its origins are primarily found in the contemporary secular music world (rock, pop, etc), but have been favorably adapted by protestant and pentecostal churches. In the confused aftermath of Vatican II, it was employed in the Roman rite. This style of music appeals primarily to the emotions ("physiological arousal, expressive behaviors, and conscious experience." wikipedia). Praise and Worship music relies exclusively on duple and triple metered rhythms commonly under girded by the strumming rhythm of the guitar or preferably accentuated by percussion instruments. Its longevity is comparatively very short to the other longstanding native (permanent) forms. The texts of P&W music tend to be generic and usually revolve around very basic theological themes (e.g., "I Only Want to Praise You", or "My God and My Savior") and are heavily descriptive of one's immediate feelings or actions in relation to God. It is interesting to note that this kind of music is rarely if ever performed from a choir loft out of the sight of the congregation, and is a performance oriented style of music that incorporates human ego as a significant element.

    hmmm... how sad, but true.
    Thanked by 1DavidOLGC
  • francis
    Posts: 10,668
    another:

    Priest/People Dialogue: Texts that are chanted (or spoken) by the priest in which the congregation respond appropriately. These parts of the Mass are considered as primary to the liturgy. “In the choosing of the parts actually to be sung, however, preference should be given to those that are of greater importance and especially to those to be sung by the priest or the deacon or the lector, with the people responding, or by the priest and people together.” (GIRM §40)

    In this, the GIRM follows the 1967 instruction on sacred music, Musicam Sacram §7, which says “However, in selecting the parts which are to be sung, one should start with those that are by their nature of greater importance, and especially those which are to be sung by the priest or by the ministers, with the people replying, or those which are to be sung by the priest and people together.”
  • francis
    Posts: 10,668
    more:

    Schola Cantorum: Originally, the place for teaching and practice of ecclesiastical chant, or the body of vocalists that join together for the purpose of rendering the music of the Church. Typically, they are singers of Gregorian Chant and polyphony. Pope Hilary (d. 438) is sometimes credited to the inauguration of the first schola cantorum, but is commonly known that Gregory the Great who truly established the school, hence how the term Gregorian Chant came to be. The chief in charge of the schola is usually called the 'precentor'.
  • DougS
    Posts: 793
    I wouldn't call plainchant "another term for Gregorian chant" because plainchant is the umbrella term. Western plainchant includes Ambrosian, Beneventan, etc.

    Maybe it would useful, then, to define plainchant as monophonic a cappella music set to ritual texts and the earliest style of Christian ritual music that still persists in Christian liturgy throughout the world.

    Following from there, Gregorian chant would be the type (or species or dialect) of plainchant native to the Roman Rite. It's almost redundant to say "the oldest music of the Roman Rite," because part of the establishment and development of the Roman Rite was the coalescence of Gregorian chant. The point about pentatonicism seems extraneous, especially considering that the modes were theorized as specific collections of whole tones and semitones. The added bit about contemporary Gregorian notation and neumes also seems slightly extraneous because they aren't really part of the definition of Gregorian chant itself. Not really sure what your scope for these definitions is going to be (or if you address notation/neumes elsewhere).

    The definition of polyphony needs a lot of shoring up if you are also including historical details. You should mention something about the early and high Renaissance as the model era for sacred polyphonic composition. You could also throw something in about how Renaissance composers used GC as the basis for many of their sacred works. (But casually leave out that they also adapted popular tunes? You don't want readers getting any crazy ideas...)
  • francis
    Posts: 10,668
    more:

    Liturgical Musical Improvisation: Various mechanisms are employed to produce improvised music within the liturgical rite. Typically, a cantus firmus (melody of the chant) or a fragment thereof, is embellished upon by the organist. Improvisation is commonly performed in a homophonic idiom, but more skilled organists can employ polyphonic and even fugal forms. Another mechanism can produce music that evolves from the 'spirit or theme' of a particular liturgy found in the theme of the day, and can even inspire a type of organ registration, particular mode and/or key center, or lack thereof. Another way to describe liturgical musical improvisation could be as a type of auditory incensation.
  • francis
    Posts: 10,668
    DougS

    Thnx... will rework that one.
  • francis
    Posts: 10,668
    DougS

    Here is About.com's description of Plainchant:

    Question: What is Plainchant?
    You may have encountered the term "Gregorian Chant" while reading on early music forms or may have heard it in church or over the airwaves.
    Answer: Plainchant, also called plainsong, is a form of medieval church music that involves chanting; it emerged around 100 A.D. Plainchant doesn't use any instrumental accompaniment, instead, it uses words that are sung. It was the only type of music allowed in Christian churches early on. In Christian tradition, it was believed that music should make a listener receptive to spiritual thoughts and reflections. This was why the melody was kept pure and unaccompanied.

    There was no notation for earlier forms of plainchant. A symbol called "neumes" were used to indicate pitch and syllable phrasing. It was around the year 600 when Pope Gregory the Great (also known as Pope Gregory 1) wanted to compile all the different types of chants into one collection. This compilation will later be known as Gregorian Chant.

    Today Gregorian chants are still being sung in Roman Catholic churches. It is set to Latin text and sung, either solo or by a choir.


    Or by M-W.com

    : a monophonic rhythmically free liturgical chant of any of various Christian rites; especially : gregorian chant
    See plainsong defined for kids »
    First Known Use of PLAINSONG
    1513



    Also from Wiki

    History
    A sample of the Kýrie Eléison (Orbis Factor) from the Liber Usualis, in neume notation. Listen to it interpreted.

    Plainchant is believed to originate from the 3rd century A.D. Gregorian chant is a variety of plainsong named after Pope Gregory I (6th century A.D.), although Gregory himself did not invent the chant. The tradition linking Gregory I to the development of the chant seems to rest on a possibly mistaken identification of a certain "Gregorius", probably Pope Gregory II, with his more famous predecessor.

    For several centuries, different plainchant styles existed concurrently. Standardization on Gregorian chant was not completed, even in Italy, until the 12th century. Plainchant represents the first revival of musical notation after knowledge of the ancient Greek system was lost. Plainsong notation differs from the modern system in having only four lines to the staff and a system of note shapes called neumes.

    In the late 9th century, plainsong began to evolve into organum, which led to the development of polyphony.

    There was a significant plainsong revival in the 19th century, when much work was done to restore the correct notation and performance-style of the old plainsong collections, notably by the monks of Solesmes Abbey, in Northern France. After the Second Vatican Council and the introduction of the New Rite M

    DougS

    (I think that Gregorian Chant is the root of plainsong... do you have any references to refute this?)
  • francis
    Posts: 10,668
    DougS

    Instead of "oldest music", it might be better to say the roots of music in the Roman Rite developed into what was perfected in the form of Gregorian Chant, or something like that. What do you think?

    As far as the pentatonic scale, I am out to define a universal music based upon the harmonic species and the fact that all forms of chant lead back to this phenomenon. (I am sure you remember my post about Universal music) This is where science proves the universal nature of all forms of chant, especially plainchant (Gregorian Chant)
  • francis
    Posts: 10,668
    onward:

    Hymns: Hymns are the application of a melody [called a TUNE NAME] (often in homophonic form which is set to a text that is external to the liturgy itself, that accentuate a particular theme or idea. They are usually composed and published by an individual, a school of thought or a particular spiritual movement in history (eucharistic hymns, eg., Pange Lingua, reformation hymns eg., Ein Fest In Berg, creation spirituality hymns, eg., Song at the Center, etc.) as a poem, a piece of prose, or even adaptions from the bible or other sources. The Church has 'sanctioned' certain hymns for her own use, especially for the Liturgy of the Hours. Hymns can be metrical (common meter, long meter, etc.) and often are composed in SATB form utilizing proper four-part voice leading. It is common for a composer to set a hymn tune with a new four-part arrangement, organists to exchange common metered texts with other hymn tunes, and for poets to compose new texts and apply them to well known tunes. Most early hymns in the Roman rite were non-metrical and composed in the plainsong style, are syllabic in nature, and were attributed to well known Saints. Hymns are usually catagorized differently than songs although both are regularly presented in modern hymnals without distinction.
  • francis
    Posts: 10,668
    o gosh... don't hate me for this one...

    Songs: Mistakenly identical to the monophonic style of chant, songs are usually defined as a short metrical composition intended for singing, especially in rhymed stanzas. They are often called lyrics or a ballad. Although songs are considered to be common to the Roman rite and synonymous with hymns and chant, the vast body of modern songs are composed by non-professional musicians and often introduce elements that are banal, trite, unorthodox and even heretical (although hymns can also be a culprit of theological error). The original and most famous of 'modern liturgical song' is arguably the compositions of The Saint Louis Jesuits. Songs, unlike hymns or chant, usually employ a 'hook', which is a repetitive fragment of a melody that is commonly described as getting "stuck in your head". Contemporary Praise and Worship music uses this style exclusively. To add to the 'hook' of a song, the technique of syncopation is often heavily employed, and harmonic structures are largely based on a I, IV, V chord progressions, which easily differentiates a song from a hymn. The Mixolydian mode is widely employed in the style of song writing, especially in Rock music, often substituting the dominant (V) with the VII chord.

    joke:

    (help! help! PLEASE get this thing out of my head! someone shoved it in my ear and now it's ...stuck!)
  • francis
    Posts: 10,668
    an easy one

    Canticles: The best way to define a Canticle is as an "authentic song" intregral to the formula of the Roman rite, and is promoted in all of its liturgical books as a regular part of the Office and the Mass. It is a text that is not part of the Psalms, but is taken from other books of the Bible. Canticles are so much a part of the fabric of sung prayer, they are required as a daily part of the rite. The most common Canticles are the Magnificat, Benedictus, Te Deum and the Nunc Dimittis.
  • francis
    Posts: 10,668
    Prelude: Typically, a meditative instrumental piece of music played on the organ intended to focus the participants on preparing themselves for the Introit (Entrance rite) of the Mass. There are thousands of pieces appropriate for a prelude, and organ registration, tempo and key center can have a profound impact on the disposition of the participant in properly preparing them for the Mass.
  • francis
    Posts: 10,668
    another simple

    Antiphonal Psalmody: The alternating chant from side to side of the congregation or choir (or combinations thereof) singing the Psalms using the common tones of the church (Psalm Tones). The foundational music of the Liturgy of the Hours as found in the Liber Usualis, published by Solemnes is the most common example of this ancient ritual.
  • francis
    Posts: 10,668
    Postlude: Typically, an instrumental piece of music played on the organ in conclusion to the Mass. Often these pieces tend to utilize the full organ and can be celebratory in nature, although, postludes can also utilize the same music as those selections appropriate to the prelude. There are thousands of pieces appropriate for a postlude, and organ registration, tempo and key center can have a profound impact on the disposition of the participant in the conclusion of the Mass. Postludes for the rite of Matrimony often include a trumpet or other instrument.
  • francis
    Posts: 10,668
    OK now onto

    Official Music Books of the Church

    
Graduale Romanum
    Originally called an antiphonale missarum ("Antiphonal of the Mass"), it is one of the official liturgical books of the Roman Rite containing chants, including the Gradual but many more as well, for use at Mass. It alsoincludes the Introit (entrance chant: antiphon with verses), the gradual psalm (now usually replaced by the responsorial psalm), the sequence (now for only two obligatory days in the year), the Gospel acclamation, the offertory chant, and the Communion antiphon. It includes chants that are also published as the Kyriale, a collection of chants for the Order of Mass: Asperges chant, Kyrie, Gloria, Credo, Sanctus, Agnus Dei.
  • francis
    Posts: 10,668
    Roman Missal
    The Roman Missal is the liturgical book that contains the texts and rubrics for the celebration of the Mass in the Roman Rite of the Catholic Church. Before the high Middle Ages, several books were used at Mass: a Sacramentary with the prayers, one or more books for the Scriptural readings, and one or more books for the antiphons and other chants. Gradually, manuscripts came into being that incorporated parts of more than one of these books, leading finally to versions that were complete in themselves. Such a book was referred to as a Missale Plenum (English: "Full Missal"). Numerous typical editions have been promulgated over the centuries. Recently, as was stated authoritatively by Pope Benedict XVI in his motu proprio Summorum Pontificum, the 1962 edition of the Roman Missal was never juridically abrogated and may be freely used by any priest of the Latin Rite when celebrating Mass. In most English-speaking countries, The Third Edition in English will be instituted from the first Sunday of Advent (27 November) 2011.
  • francis
    Posts: 10,668
    Graduale Simplex
    While the Graduale Romanum is the Church's official book for the choir, some beginning scholas (chant choirs) may not be up to the full, extensive chants presented in this book. For them the Church offers the Graduale Simplex for use in smaller churches. It is a secondary source for the processional music at Mass (Entrance, Offertory, Communion) and for the chants after the First Reading and before the Gospel. The number of Mass propers has been streamlined and the music has been simplified considerably, making the Graduale Simplex accessible to beginning choirs and to the congregation. It has five settings from the Kyriale, some Propers of the Seasons, Proper of the Saints, Commons, Ritual Masses, Psalm Tones, an appendix with chanted rites, hymns and more.
  • francis
    Posts: 10,668
    Graduale Triplex
    This book is a reproduction of the Graduale Romanum with the neums from the Laon manuscript printed above the modern square notes in black, and the neums of the manuscript of the St. Gall family beneath in red. Correct interpretation of the neums is the singer's basis for developing adequate performance of the Gregorian melodies.
  • francis
    Posts: 10,668
    Liber Usualis
    The Liber Usualis is a book of commonly used Gregorian chants in the Catholic tradition, compiled by the monks of the Abbey of Solesmes in France. This 1,900-page book contains most versions of the ordinary chants for the Mass (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei), as well as the common chants for the Divine Office (daily prayers of the Church) and for every commonly celebrated feast of the Church Year (including more than two hundred pages for Holy Week alone). The "usual book" or "common book" also contains chants for specific rituals, such as baptisms, weddings, funerals, ordinations, and benediction. This modal, monophonic Latin music has been sung in the Catholic Church since at least the sixth century and through the present day.
  • Charles in CenCA
    Posts: 2,416
    For your consideration, Francis:
    Praise & Worship: A (relatively new) a twentieth century genre of music employed as an innovation in the liturgy
    added into worship music repertoires of primarily evangelical and pentecostal denominational churches. This genre emulated and mirrored aspects of popular American music styles that emerged primarily from the rhythm and blues traditions, and evolved into rock 'n' roll, American roots music associated with the folk music movement/hootenanny styles, bluegrass and country/western and their later hybrids and offshoots. These forms are essentially homophonic in nature (melody with accompanying chords and triadic vocal harmonies that use parallel motion in relation to the melody as required ) and are typically performed on accompanied by
    acoustic and/or electric guitar, and piano/jazz electronic organ/synthesizers, bass and drums. (As mentioned,) Its origins are primarily found in the contemporary secular music world (blues, rock, pop, etc), but have since been favorably adapted by mainstream protestant as well as evangelical/pentecostal churches. As these forms, both in secular and worship scenarios evolved and became more sophisticated they took widespread root as centerpieces of the worship service in the emergent "megachurch" model of worship. In the confused aftermath of Vatican II, it was first employed in the Roman rite as an integral element to the charismatic prayer movement of the RCC in the late sixties and early seventies. This style of music appeals primarily to the power of emotions ("physiological arousal, expressive behaviors, and conscious experience." wikipedia). Praise and Worship music relies exclusively on duple and triple metered rhythms commonly under girded by the pulsating rhythm of the guitar or preferably accentuated by percussion instruments the basic "combo" of multiple guitars, keyboards, electric or amplified bass and drumkits/percussion. Like its secular counterpart, innovation, improvisation and virtuosity of both vocal and instrumental performers is idealized and integral to the P/W "experience.
    Its longevity is comparatively very short to the other longstanding native (permanent) forms. The texts of P&W music tend to be generic and usually revolve around very basic theological themes (e.g., "I Only Want to Praise You", or "My God and My Savior") and are heavily descriptive of one's immediate feelings or actions in relation to God. Its most powerful attraction and virtue lies in its accessibility in any number of worship environments; camp meetings, small to huge arena gatherings and among interdenominational gatherings in churches, school clubs, small base communities and the like. It is interesting to note that this kind of music is rarely if ever performed from a choir loft out of the sight of the congregation, and is a performance oriented style of music that incorporates human ego as a significant element.
  • francis
    Posts: 10,668
    thanx charles... good stuff... i wish i had the way with words you do.
  • DougS
    Posts: 793
    Francis, look up Ambrosian chant, Mozarabic chant, Old Roman chant, and Gallican chant on Wikipedia. The fact that these are plainchant repertories distinct from Gregorian chant is enough for me to label "plainchant" the umbrella. In other words, plainchant is not synonymous with Gregorian chant because there were and are other plainchant traditions. For an "authoritative source" you can read David Hiley's Western Plainchant: A Handbook. But since you're trying to clear this up by the end of the week, I guess wikipedia would be ok. Just don't tell my graduate students.
  • francis
    Posts: 10,668
    DougS... I see what you are saying, but everything I am reading attributes the term as synonymous with GC... Are there hard numbers on dates when all of these differnt chants actually began? I do not want to skew the facts!
  • chonakchonak
    Posts: 9,160
    Hi, Francis:
    On "Song": I'd give Lucien Deiss credit for providing a prototype of "liturgical song" ahead of the St. Louis Jesuits.
  • DougS
    Posts: 793
    Francis, have you gone to the library and read the entry on "Plainchant" in the 2nd edition of the New Grove Dictionary of Music and Musicians?
  • francis
    Posts: 10,668
    DougS:

    No, but I have the trusty ole Harvard Dictionary of Music and its entries are thus:

    Plainchant. Another name for: see plainsong, Gregorian chant.

    Plainsong. Term derived from cantus planus, a 13th-century name for Gregorian chant. It is used synonymously with the latter, but also is employed as a generic term for the ancient style of monophonic and rhythmically free melody that is also common to various Western liturgies (Gregorian, Ambrosian, Gallican, Mozarabic chant) as well as those of the East (Byzantine, Syrian, Armenian chant). It may also be used for similar kinds of non-Christian liturgical music (Jewish, Hindu) in order to indicate that this music is neither harmonic nor strictly measured.

    So yes, it is a bit confusing. It seems that the word originally referred to GC, but has been expanded. How about this:

    
Plain Chant (or plainsong): Although the term was originally interchangeable with Gregorian Chant, it also is employed as a generic term for the ancient style of monophonic and rhythmically free melody that is also common to various Western liturgies (Gregorian, Ambrosian, Gallican, Mozarabic chant) as well as those of the East (Byzantine, Syrian, Armenian chant) and even Jewish, Hindu or chant composed in English.
  • francis
    Posts: 10,668
    chonak... interesting thought... yes. will include Lucien.
  • CHGiffenCHGiffen
    Posts: 5,151
    I don't know that plainchant or plainsong were "originally" interchangeable with Gregorian chant - since in some cases, the plainchant originated at least as early as the Gregorian chant. "Plainchant" and "plainsong" are English terms (I'm avoiding worrying about roughly corresponding terms in other languages), and so it is possible that they referred originally to some sort of non-Roman chant - or, even originally, as an umbrella designation. I'd need to to some more digging to find out.
  • DougS
    Posts: 793
    The word plainchant, according to the Oxford English Dictionary, was originally a synonym for Gregorian chant, but that's because the originators of the term probably knew of no other chant dialects.

    The entry for plainsong is even more revealing:

    "Music developed for the unaccompanied unison singing of Christian liturgies, based on a system of modes (see mode n. 1a) and performed in free rhythm corresponding at least in part to the accentuation of the words, though often with considerable elaboration of the melody; the performance of such music.Applied chiefly to the music of the Western Church, which was most importantly systematized in the 4th cent. by St Ambrose, and in the 6th cent. by St Gregory the Great; see Gregorian adj. 1, and cf. Ambrosian adj.2"

    To me it doesn't really matter what the terms once meant. We know better now, and it makes sense to use the term "plainchant" to describe the dialects in general. Are we going to call David Hiley and tell him that his book has a bogus title? He's a very nice man.
  • francis
    Posts: 10,668
    OK... So you want ME to change the definition of entries in the major music dictionaries to shy away from Gregorian Chant as the root of the term? Seems revisionist to me. Doug, you must also keep in mind that MY Glossary is being published in a Roman Catholic Book, coming from a Roman Catholic Publishing Company and all definitions come from the perspective of the Roman Catholic liturgy. If I was writing the definition for the Groves, I might remove the Catholic center of gravity under duress (as an employee), but truth is, Jesus wants everyone to become an RC and to understand everything from that perspective (even Mr. Grove). So that leaves me no other options unless you can convince me otherwise, but that is going to be difficult, cause that is Our Lady's perspective too.

    http://en.wikipedia.org/wiki/Revisionist_history

    We seriously need to get together over a scotch and talk this through!

    Doug:

    Have you visited the Library and read "True Devotion To Mary" by St. Louis De Montfort? When you do, let me know and then we will have a better foundation on Catholic Philosophical thinking about the RC Church.

    Better yet, if you promise to read the whole book, (it's not that long), I will personally send you a copy from yours truly. Just let me know.

    [from Amazon: Book Description: Considered the greatest single book on Mary ever written, this classic shows the way to Jesus through Mary. It sums up the entire Christian life and provides the key both to sanctity and to salvation. Beloved by countless souls; makes lasting devotees. St. Louis De Montfort prophesied that True Devotion to Mary would be the way of life of the great Saints of the latter times. This devotion is destined to change the world!]

    DougS said:



    The word plainchant, according to the Oxford English Dictionary, was originally a synonym for Gregorian chant, but that's because the originators of the term probably knew of no other chant dialects.



    WOW! who would that have been! Not know?????? I would like to know their names! And why would all these dictionaries turn a blind eye and ear to the truth? Isn't it their reputation that is at stake in printing wrong definitions?



    To me it doesn't really matter what the terms once meant. We know better now, and it makes sense to use the term "plainchant" to describe the dialects in general. Are we going to call David Hiley and tell him that his book has a bogus title? He's a very nice man.



    "We know better now" than EVERYONE who has used this term the same way for the past how many centuries?! (since the 4th)

    But since you're trying to clear this up by the end of the week, I guess wikipedia would be ok. Just don't tell my graduate students.


    (btw... you better tell your graduate students! Or they are going to walk around appearing to be quite uninformed about the last 1600 years of the meaning of the term plainchant)

    (double btw... who's going to call Hiley? NOT ME! But I will certainly send him a complimentary PDF file of my book when it's finished.)
  • francis
    Posts: 10,668
    Doug et al:

    Thank you for your input. I am scooping this thread and hammering out the four pages of terms and going to print.
  • francis
    Posts: 10,668
    OK... mostly done, but EEEOW! These colloquialisms are tough! I did the first one... what about the rest? Trying to make these a "subtle teaching moment." I think one word that defines all of them is VANILLA (with no vanilla flavor, please!)

    How would YOU define them?

    Colloquialisms

    Four-Hymn Sandwich – The practice of substituting hymns for the Entrance, Offertory and Communion Antiphons and an additional recessional after the Mass is ended.

    Inculturation –

    (it's tempting... the unspoken agreement that all people of all nationalities must learn to speak and sing in everyone else's national tongue... Romans, however, are entirely excluded)

    Inclusive –

    (it's tempting... Everyone must be able to fulfill any role in the liturgy if they feel like it... except the priest)

    Gender-Neutral –

    (it's tempting... the painful removal of your sexual identity)

    Patristic – (is there another word I am thinking of? - Patriarchal? uh....?)

    Participatory –

    (it's tempting... I.... Can't... Heeeeeeaaar Youuuuuuuuuu..... Sing, damn it!)

    Active Participation - Whether singing a hymn, listening to an organ instrumental or piece of choral polyphony, or praying in silence, being totally engaged in heart, mind, body and soul.

    (it's tempting... anytime anything is NOT spoken by the priest, EVERYONE must speak, sing or chant it together without exception - hmmm, sounds like communism to me!)
  • chonakchonak
    Posts: 9,160
    Hi, francis. Here's one:

    Four-hymn sandwich: Before Vatican II, many parishes offered Low Mass in Latin: a Mass with no singing except for optional hymns at four times: the Entrance, the Offertory, the Communion, and Recessional after Mass. Those hymns were not part of the Mass, but parishes added them to the service because they were familiar songs, whereas the proper chants for the Mass change from week to week. Vatican II called for a liturgical renewal in which the real texts of the Mass should be sung. Some parishes still present Mass with hymns instead of proper chants, so this is an area where work remains to be done.
    Thanked by 1DavidOLGC
  • francis
    Posts: 10,668
    OK... here is the layout from the last five pages of the book. As you can see, I have a whole page that can be filled in if necessary. I eliminated a lot of the extraneous matter (per Dougs suggestion). What other terms have I left out?

    Download Glossary
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