Gregorian chant

1. the plain song or cantus firmus used in the ritual of the Roman Catholic Church.

2. a melody in this style.

[1745-55; named after Pope GREGORY I; see -IAN]

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Liturgical music of the Roman Catholic church consisting of unaccompanied melody sung in unison to Latin words.

It is named for Pope Gregory I, who may have contributed to its collection and codification and who was traditionally represented as having received all the melodies directly from the Holy Spirit. Of the five bodies of medieval Latin liturgical music, it is the dominant repertoire, and the name is often used broadly to include them all. Gregorian chant apparently derived principally from Jewish cantillation, with other elements entering from the Eastern Church (see Byzantine chant) and elsewhere. Chant has traditionally been performed at the mass and the canonical hours (the eight prayer services traditionally held daily in monasteries). Its texts come primarily from the biblical psalms, metrical hymns, and texts specific to the mass and the hours. The melodies are classified as belonging to one or another of the eight church modes. Chant rhythm is not strictly metrical, and its notation does not indicate rhythm. Since the Second Vatican Council, the performance of chant has diminished greatly. See also cantus firmus.

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▪ music

      monophonic, or unison, liturgical music of the Roman Catholic Church (Roman Catholicism), used to accompany the text of the mass and the canonical hours, or divine office. Gregorian chant is named after St. Gregory I (Gregory I, Saint), during whose papacy (590–604) it was collected and codified. Charlemagne, king of the Franks (768–814), imposed Gregorian chant on his kingdom, where another liturgical tradition—the Gallican chant—was in common use. During the 8th and 9th centuries, a process of assimilation took place between Gallican and Gregorian chants; and it is the chant in this evolved form that has come down to the present.

      The Ordinary of the mass includes those texts that remain the same for each mass. The chant of the Kyrie ranges from neumatic (patterns of one to four notes per syllable) to melismatic (unlimited notes per syllable) styles. The Gloria appeared in the 7th century. The psalmodic recitation, i.e., using psalm tones, simple formulas for the intoned reciting of psalms, of early Glorias attests to their ancient origin. Later Gloria chants are neumatic. The melodies of the Credo, accepted into the mass about the 11th century, resemble psalm tones. The Sanctus and Benedictus are probably from apostolic times. The usual Sanctus chants are neumatic. The Agnus Dei was brought into the Latin mass from the Eastern Church in the 7th century and is basically in neumatic style. The concluding Ite Missa Est and its substitute Benedicamus Domino usually use the melody of the opening Kyrie.

      The Proper of the mass is composed of texts that vary for each mass in order to bring out the significance of each feast or season. The Introit is a processional chant that was originally a psalm with a refrain sung between verses. By the 9th century it had received its present form: refrain in a neumatic style—a psalm verse in psalm-tone style—refrain repeated. The Gradual, introduced in the 4th century, also developed from a refrain between psalm verses. Later it became: opening melody (chorus)—psalm verse or verses in a virtuosically embellished psalmodic structure (soloist)—opening melody (chorus), repeated in whole or in part. The Alleluia (hallelujah) is of 4th-century Eastern origin. Its structure is somewhat like that of the Gradual. The Tract replaces the Alleluia in penitential times. This chant is a descendant of synagogue music.

      The sequence flourished primarily from about the 9th century to the 16th. In its modern form the texts are sacred poems with double-line stanzas having the same accentuation and number of syllables for each two lines. The melody of the first line was repeated for the second line of the stanza, a new melody being given to the next stanza; the music is syllabic. The Offertory originally consisted of a psalm and refrain, but by the 12th century only the refrain remained. The music is quite melismatic. Peculiar to the Offertory is repetition of text. The Communion is, like the Offertory, a processional chant. The music is neumatic in style.

      The canonical hours consist of eight prayer services: Matins, Lauds, Prime, Terce, Sext, None, Vespers, and Compline. Each includes antiphons (antiphon) or refrains, short texts that precede or follow each psalm and are set mostly in syllabic chant; psalms (psalm tone), with each set to a psalm tone; hymns, usually metrical and in strophes or stanzas, and set in a neumatic style; responsories (responsory), which follow the lessons of Matins and the chapter, a brief lesson of the other hours, and have the form response–psalm verse–partially or entirely repeated response. The responsory is related to the form and style of the Gradual.

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