![]() ![]() Ambrose introduced this practice to the West. Around 375, antiphonal psalmody became popular in the Christian East in 386, St. Anthony introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert monks following St. The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian agape feasts. Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The 3rd-century Greek " Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain. Athanasius, and Egeria confirm the practice, although in poetic or obscure ways that shed little light on how music sounded during this period. Other ancient witnesses such as Pope Clement I, Tertullian, St. The New Testament mentions singing hymns during the Last Supper: "When they had sung the hymn, they went out to the Mount of Olives" ( Matthew 26.30). " Amen" and " alleluia" come from Hebrew, and the threefold " sanctus" derives from the threefold "kadosh" of the Kedushah. ![]() ![]() Canonical hours have their roots in Jewish prayer hours. However, early Christian rites did incorporate elements of Jewish worship that survived in later chant tradition. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in synagogues for centuries after the Destruction of the Second Temple in AD 70. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. Singing has been part of the Christian liturgy since the earliest days of the Church. History Development of earlier plainchant Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by men and women of religious orders in their chapels. Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. The chants can be sung by using six- note patterns called hexachords. The scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut. Typical melodic features include a characteristic ambitus, and also characteristic intervallic patterns relative to a referential mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of the Old Roman chant and Gallican chant. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. ![]()
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