Free Download Gregorian Chant ((FULL))

<div>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. Gregorian chant developed mainly in western =
and central Europe during the 9th and 10th centuries, with later additions =
and redactions. Although popular legend credits Pope Gregory I with inventi=
ng Gregorian chant, scholars believe that it arose from a later Carolingian=
 synthesis of the Old Roman chant and Gallican chant.[1]</div><div></div><d=
iv></div><div>Gregorian chants were organized initially into four, then eig=
ht, and finally 12 modes. Typical melodic features include a characteristic=
 ambitus, and also characteristic intervallic patterns relative to a refere=
ntial mode final, incipits and cadences, the use of reciting tones at a par=
ticular distance from the final, around which the other notes of the melody=
 revolve, and a vocabulary of musical motifs woven together through a proce=
ss called centonization to create families of related chants. The scale pat=
terns are organized against a background pattern formed of conjunct and dis=
junct tetrachords, producing a larger pitch system called the gamut. The ch=
ants can be sung by using six-note patterns called hexachords. Gregorian me=
lodies are traditionally written using neumes, an early form of musical not=
ation from which the modern four-line and five-line staff developed.[2] Mul=
ti-voice elaborations of Gregorian chant, known as organum, were an early s=
tage in the development of Western polyphony.</div><div></div><div></div><d=
iv></div><div></div><div></div><div>free download gregorian chant</div><div=
></div><div>Download: https://t.co/FjrqERrhma </div><div></div><div></div><=
div>Gregorian chant was traditionally sung by choirs of men and boys in chu=
rches, or by men and women of religious orders in their chapels. It is the =
music of the Roman Rite, performed in the Mass and the monastic Office. Alt=
hough Gregorian chant supplanted or marginalized the other indigenous plain=
chant traditions of the Christian West to become the official music of the =
Christian liturgy, Ambrosian chant still continues in use in Milan, and the=
re are musicologists exploring both that and the Mozarabic chant of Christi=
an Spain. Although Gregorian chant is no longer obligatory, the Roman Catho=
lic Church still officially considers it the music most suitable for worshi=
p.[3]</div><div></div><div></div><div>Singing has been part of the Christia=
n liturgy since the earliest days of the Church. Until the mid-1990s, it wa=
s widely accepted that the psalmody of ancient Jewish worship significantly=
 influenced and contributed to early Christian ritual and chant. This view =
is no longer generally accepted by scholars, due to analysis that shows tha=
t most early Christian hymns did not have Psalms for texts, and that the Ps=
alms were not sung in synagogues for centuries after the Destruction of the=
 Second Temple in AD 70.[4] However, early Christian rites did incorporate =
elements of Jewish worship that survived in later chant tradition. Canonica=
l hours have their roots in Jewish prayer hours. "Amen" and "alleluia" come=
 from Hebrew, and the threefold "sanctus" derives from the threefold "kados=
h" of the Kedushah.[5]</div><div></div><div></div><div>The New Testament me=
ntions singing hymns during the Last Supper: "When they had sung the hymn, =
they went out to the Mount of Olives" (Matthew 26.30). Other ancient witnes=
ses such as Pope Clement I, Tertullian, St. Athanasius, and Egeria confirm =
the practice,[6] although in poetic or obscure ways that shed little light =
on how music sounded during this period.[7] The 3rd-century Greek "Oxyrhync=
hus hymn" survived with musical notation, but the connection between this h=
ymn and the plainchant tradition is uncertain.[8]</div><div></div><div></di=
v><div>Scholars are still debating how plainchant developed during the 5th =
through the 9th centuries, as information from this period is scarce. Aroun=
d 410, St. Augustine described the responsorial singing of a Gradual psalm =
at Mass. At c. 520, Benedict of Nursia established what is called the rule =
of St. Benedict, in which the protocol of the Divine Office for monastic us=
e was laid down. Around 678, Roman chant was taught at York.[11] Distinctiv=
e regional traditions of Western plainchant arose during this period, notab=
ly in the British Isles (Celtic chant), Spain (Mozarabic), Gaul (Gallican),=
 and Italy (Old Roman, Ambrosian and Beneventan). These traditions may have=
 evolved from a hypothetical year-round repertory of 5th-century plainchant=
 after the western Roman Empire collapsed.</div><div></div><div></div><div>=
John the Deacon, biographer (c. 872) of Pope Gregory I, modestly claimed th=
at the saint "compiled a patchwork antiphonary",[12] unsurprisingly, given =
his considerable work with liturgical development. He reorganized the Schol=
a Cantorum and established a more uniform standard in church services, gath=
ering chants from among the regional traditions as widely as he could manag=
e. Of those, he retained what he could, revised where necessary, and assign=
ed particular chants to the various services.[13] According to Donald Jay G=
rout, his goal was to organize the bodies of chants from diverse traditions=
 into a uniform and orderly whole for use by the entire western region of t=
he Church.[14] His renowned love for music was recorded only 34 years after=
 his death; the epitaph of Honorius testified that comparison to Gregory wa=
s already considered the highest praise for a music-loving pope.[12] While =
later legends magnified his real achievements, these significant steps may =
account for why his name came to be attached to Gregorian chant.</div><div>=
</div><div></div><div>Willi Apel and Robert Snow[full citation needed] asse=
rt a scholarly consensus that Gregorian chant developed around 750 from a s=
ynthesis of Roman and Gallican chants, and was commissioned by the Caroling=
ian rulers in France. Andreas Pfisterer and Peter Jeffery have shown that o=
lder melodic essentials from Roman chant are clear in the synthesized chant=
 repertory. There were other developments as well. Chants were modified, in=
fluenced by local styles and Gallican chant, and fitted into the theory of =
the ancient Greek octoechos system of modes in a manner that created what l=
ater came to be known as the western system of the eight church modes. The =
Metz project also invented an innovative musical notation, using freeform n=
eumes to show the shape of a remembered melody.[17] This notation was furth=
er developed over time, culminating in the introduction of staff lines (att=
ributed to Guido d'Arezzo) in the early 11th century, what we know today as=
 plainchant notation. The whole body of Frankish-Roman Carolingian chant, a=
ugmented with new chants to complete the liturgical year, coalesced into a =
single body of chant that was called "Gregorian."</div><div></div><div></di=
v><div></div><div></div><div></div><div></div><div>The changes made in the =
new system of chants were so significant that they have led some scholars t=
o speculate that it was named in honor of the contemporary Pope Gregory II.=
[18] Nevertheless, the lore surrounding Pope Gregory I was sufficient to cu=
lminate in his portrayal as the actual author of Gregorian Chant. He was of=
ten depicted as receiving the dictation of plainchant from a dove represent=
ing the Holy Spirit, thus giving Gregorian chant the stamp of being divinel=
y inspired.[19] Scholars agree that the melodic content of much Gregorian C=
hant did not exist in that form in Gregory I's day. In addition, it is know=
n definitively that the familiar neumatic system for notating plainchant ha=
d not been established in his time.[20] Nevertheless, Gregory's authorship =
is popularly accepted by some as fact to this day.[21]</div><div></div><div=
></div><div>Gregorian chant appeared in a remarkably uniform state across E=
urope within a short time. Charlemagne, once elevated to Holy Roman Emperor=
, aggressively spread Gregorian chant throughout his empire to consolidate =
religious and secular power, requiring the clergy to use the new repertory =
on pain of death.[22] From English and German sources, Gregorian chant spre=
ad north to Scandinavia, Iceland and Finland.[23] In 885, Pope Stephen V ba=
nned the Slavonic liturgy, leading to the ascendancy of Gregorian chant in =
Eastern Catholic lands including Poland, Moravia and Slovakia.</div><div></=
div><div></div><div>The other plainchant repertories of the Christian West =
faced severe competition from the new Gregorian chant. Charlemagne continue=
d his father's policy of favoring the Roman Rite over the local Gallican tr=
aditions. By the 9th century the Gallican rite and chant had effectively be=
en eliminated, although not without local resistance.[24] The Gregorian cha=
nt of the Sarum Rite displaced Celtic chant. Gregorian coexisted with Benev=
entan chant for over a century before Beneventan chant was abolished by pap=
al decree (1058). Mozarabic chant survived the influx of the Visigoths and =
Moors, but not the Roman-backed prelates newly installed in Spain during th=
e Reconquista. Restricted to a handful of dedicated chapels, modern Mozarab=
ic chant is highly Gregorianized and bears no musical resemblance to its or=
iginal form. Ambrosian chant alone survived to the present day, preserved i=
n Milan due to the musical reputation and ecclesiastical authority of St. A=
mbrose.</div><div></div><div></div><div>Gregorian chant eventually replaced=
 the local chant tradition of Rome itself, which is now known as Old Roman =
chant. In the 10th century, virtually no musical manuscripts were being not=
ated in Italy. Instead, Roman Popes imported Gregorian chant from (German) =
Holy Roman Emperors during the 10th and 11th centuries. For example, the Cr=
edo was added to the Roman Rite at the behest of the Emperor Henry II in 10=
14.[25] Reinforced by the legend of Pope Gregory, Gregorian chant was taken=
 to be the authentic, original chant of Rome, a misconception that continue=
s to this day. By the 12th and 13th centuries, Gregorian chant had supplant=
ed or marginalized all the other Western plainchant traditions.</div><div><=
/div><div></div><div>Later sources of these other chant traditions show an =
increasing Gregorian influence, such as occasional efforts to categorize th=
eir chants into the Gregorian modes. Similarly, the Gregorian repertory inc=
orporated elements of these lost plainchant traditions, which can be identi=
fied by careful stylistic and historical analysis. For example, the Imprope=
ria of Good Friday are believed to be a remnant of the Gallican repertory.[=
26]</div><div></div><div> df19127ead</div>