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A History of Western Music: W. W.

Norton StudySpace
Chapter
2
The Christian Church in the First Millennium
Outline
I. The Diffusion of Christianity
A. Although Jesus of Nazareth Christ! "as a Je"# he charge$ his $isciples to
%ma&e $isciples of all nations% Matthe" 2'()*!.
+. ,t. -aul ca. )./ca. 01 c.e.! an$ other apostles 2rought Christianity to the Near
3ast# 4reece# an$ Italy.
C. Christians "ere often persecute$# 2ut they still gaine$ a$herents.
D. In 5)5# 3mperor Constantine I r. 5)./51! issue$ the 3$ict of Milan# legalizing
Christianity.
3. In 5*2# 3mperor Theo$osius I r. 516/*7! ma$e Christianity the official religion
an$ suppresse$ all others# e8cept for Ju$aism.
F. +y 0..# 9irtually the entire area once controlle$ 2y :ome "as Christian see
HWM Figure 2.1!.
). Territories "ere calle$ $ioceses.
2. A hierarchy hea$e$ 2y patriarchs in :ome an$ other cities inclu$e$ local
churches# 2ishops# an$ arch2ishops.
II. The Ju$aic ;eritage
A. ,ome elements of Christian o2ser9ances $eri9e from Je"ish tra$itions.
). Chanting of ,cripture
2. ,inging of psalms poems of praise from the ;e2re" +oo& of -salms!
+. Temple sacrifice at the ,econ$ Temple of Jerusalem $estroye$ 2y :omans in
1. c.e.!
). :itualistic sacrifice of an animal usually a lam2! "as an integral part of
"orship ser9ices.
2. During the sacrifice# a choir of <e9ites mem2ers of the priestly class!
sang psalms.
5. Trumpets an$ cym2als "ere also use$.
6. -riests an$ sometimes "orshipers ate some of the offering# $epen$ing on
the occasion.
C. ,ynagogues
). ,ynagogues "ere centers for rea$ings an$ homilies rather than "orship.
2. ,cripture "as chante$ to a system of melo$ic formulas 2ase$ on phrase
$i9isions of the te8t cantillation!.
5. :ea$ings "ere assigne$ to particular $ays or festi9als.
D. Christian parallels
). Much of the Mass see HWM Chapter 3! inclu$es rituals similar to
Je"ish practice.
2. Jesus= <ast ,upper# commemorate$ in the Mass# is a sym2olic sacrifice
an$ relate$ to the -asso9er meal# "hich is accompanie$ 2y psalm/
singing.
5. ,inging psalms is a central element of all Christian o2ser9ances.
6. Melo$ic formulae use$ for singing psalms may ha9e $eri9e$ from Je"ish
cantillation.
III. Music in the 3arly Church
A. +i2lical references to musical acti9ity
). Matthe" 20(5. an$ Mar& )6(20 refer to Jesus an$ his follo"ers singing
hymns.
2. In 3phesians 7()* an$ Colossians 5()0# -aul e8horts Christians to sing
%psalms an$ hymns an$ spiritual songs.%
+. ;istorical references to Christian music
). -liny the >ounger# go9ernor of a :oman pro9ince# reporte$ Christians
singing %a song to Christ as if to a go$% in a2out ))2 c.e.
2. In the fourth century# official acceptance le$ to pu2lic meetings in large
2uil$ings calle$ 2asilicas see HWM Figure 2.2!.
5. 3geria# a ,panish nun on a pilgrimage to Jerusalem# $escri2e$ ser9ices
there ca. 6.. c.e. see HWM Source Reading page 20!.
a. ,he $escri2es the ,un$ay morning ?igil# "hich "oul$ later 2e
calle$ Matins.
2. -riests sang psalms follo"e$ 2y a response from the congregation.
c. -rayers follo"e$ each of the three psalms.
$. After the psalms# the 2asilica "as fille$ "ith incense# an$ the
2ishop rea$ from the 4ospel the section of the Ne" Testament
that relates the history of Christ=s life!.
e. After the rea$ing# the 2ishop e8ite$ to the accompaniment of
hymns.
f. After the 2ishop=s e8it# there "as another psalm an$ prayer.
6. The singing of psalms an$ hymns "as co$ifie$ in the rites of the me$ie9al
church an$ has continue$ to this $ay.
C. 3arly church lea$ers &no"n to$ay as %the church fathers%! encourage$ music
for sacre$ purposes only.
). ,t. Augustine 576/65.! feare$ music=s a2ility to arouse strong feelings
see HWM Source Reading page 21!.
a. In his Confessions# he $escri2es she$$ing tears at the psalms.
2. ;e 2elie9e$ that feeling strongly a2out the su2@ect of the psalms
2ecause of the musical performance "as a goo$ thing.
c. Ahen he "as %mo9e$ more 2y the song than 2y "hat B"asC sung#%
it "as sinful.
2. Most church fathers prohi2ite$ instrumental music.
a. Instrumental music# lac&ing "or$s# coul$ not con9ey Christian
teachings.
2. They feare$ e9o&ing pagan practices# such as spectacles in9ol9ing
$ancing.
I?. Di9isions in the Church an$ Dialects of Chant
A. The :oman 3mpire $i9i$e$ into t"o parts in 5*7.
). The Aestern 3mpire
a. :ule$ 2y :ome or Milan
2. ,u2@ect to in9asions 2y 4ermanic tri2es
c. Collapse$ in 610
2. The 3astern 3mpire
a. Centere$ at Constantinople formerly +yzantium# no" Istan2ul!
2. ,ur9i9e$ until Constantinople fell to the Tur&s in )675
5. The Aestern church :oman Catholic!
a. :ule$ 2y the 2ishop of :ome# &no"n as the pope Italian papa!
2. After the thir$ century# <atin# the language of the :oman 3mpire#
"as the official language of the "estern church.
6. The eastern church +yzantine!
a. 4ree& "as the official language of the eastern church.
2. The +yzantine Church is the ancestor of to$ay=s Ortho$o8
churches.
+. Christian rites
). Although each 2ranch of the Church ha$ a $ifferent rite# all rites ha$ the
same components.
a. A church calen$ar inclu$ing special e9ents an$ times of year
2. A liturgy 2o$y of te8ts an$ ritual actions assigne$ to each ser9ice!
c. A repertory of plainchant or chant unison song for prescri2e$
te8ts!
2. Chant $ialects
a. 4regorian chant "as the most important for the history of Aestern
music.
2. Other $ialects inclu$e$ +yzantine# Am2rosian# an$ Ol$ :oman.
C. +yzantine chant
). ,criptural rea$ings "ere chante$ "ith formulas that reflecte$ the phrasing
of the te8t.
2. -salms an$ especially hymns "ere sung to fully $e9elope$ melo$ies.
5. There "ere eight mo$es# or echoi# to classify chants.
6. Many chant melo$ies "ere create$ from stan$ar$ formulas through a
process calle$ centonization.
7. +yzantine melo$ies "ere the 2asis for other Ortho$o8 tra$itions e.g.#
:ussian!# 2ut o9er time the tra$itions $i9erge$.
D. Aestern $ialects
). ,e9eral 3uropean areas ha$ their o"n rites# "ith their o"n liturgy an$
2o$y of chant.
2. Milan( Am2rosian chant
a. Name$ for ,t. Am2rose# 2ishop of Milan from 516/*1
2. Despite efforts to suppress it# Am2rosian chant sur9i9es in Milan
to$ay.
5. :ome "as successful in suppressing the chant tra$itions in other areas.
6. 4regorian chant is the result of the colla2oration of :oman lea$ers an$
Fran&ish French! &ings to co$ify chant.
?. The Creation of 4regorian Chant
A. The ,chola Cantorum ,chool of ,ingers!
). The choir that sang for o2ser9ances officiate$ 2y the pope
2. Foun$e$ in the late se9enth century
5. ;elpe$ to stan$ar$ize chant melo$ies in the early eighth century
+. Chant in the Fran&ish Ding$om
). +et"een 172 an$ 176# -ope ,tephen II tra9ele$ through the Fran&ish
&ing$om "ith the ,chola Cantorum.
2. -epin the ,hort r. 17)/0'!# &ing of the Fran&s
a. Or$ere$ the :oman liturgy an$ chant to 2e performe$ in his
$omain# replacing the nati9e 4allican rite
2. Co$ification of chant helpe$ -epin consoli$ate the &ing$om.
5. Charlemagne Charles the 4reat# r. 10'/')6!
a. -epin=s son
2. 38pan$e$ the &ing$om to inclu$e present/$ay "estern 4ermany#
,"itzerlan$# an$ northern Italy
c. +rought singers from :ome to the north to teach the chant
$. On Christmas Day in '..# -ope <eo III cro"ne$ Charlemagne
emperor# initiating the ;oly :oman 3mpire see HWM Figures
2.3 an$ 2.!!.
C. 4regorian chant as "e &no" it results from a colEla2Eoration 2et"een
Fran&ish an$ :oman singers.
). ,ome melo$ies sur9i9e$ unchange$.
2. Fran&s may ha9e altere$ some chants.
5. ,ome melo$ies came from 4allican regional Fran&ish! chant.
6. ,ome melo$ies "ere $e9elope$ in the Fran&ish &ing$om north after the
eighth century.
D. The <egen$ of ,t. 4regory
). ,t. 4regory the 4reat -ope 4regory I# r. 7*./ 0.6!
2. The 3nglish may ha9e originate$ the legen$.
a. They a$opte$ :oman chant earlier than the Fran&s.
2. They re9ere$ -ope 4regory I as the foun$er of their church.
5. The legen$ claims that the ;oly ,pirit# in the form of a $o9e# $ictate$ the
chant melo$ies to 4regory I see HWM Figure 2."!.
3. After the Fran&s a$opte$ 4regorian chant it sprea$ throughout "estern 3urope.
F. Chant in :ome( Ol$ :oman chant
). Manuscripts from the ele9enth an$ t"elfth centuries sho" a $ifferent
chant 2eing use$ in :ome.
2. Te8ts are the same as 4regorian.
5. Melo$ies are more ela2orate.
6. ,cholars still $ispute "hether this tra$ition represents the original# more
ela2orate# chant from "hich 4regorian $eri9e$# or a later em2ellishment
to a 4regorian tra$ition.
?I. The De9elopment of Notation
A. Oral transmission
). The $e9elopment of the liturgy for the Aestern church can 2e trace$
2ecause the "or$s "ere "ritten $o"n.
2. Music "as not "ritten $o"n# 2ut passe$ on through oral transmission.
a. <earning melo$ies 2y hearing others sing them
2. Only one fragment of Christian music 2efore the ninth century
sur9i9es# a hymn from the late thir$ century.
5. Isa$ore of ,e9ille ca. 70./050! "rote( %Gnless soun$s are remem2ere$
2y man# they perish# for they cannot 2e "ritten $o"n.%
6. ,imple melo$ies may ha9e 2een memorize$.
7. Comple8 melo$ies may ha9e 2een impro9ise$ "ithin strict con9entions.
a. The process is similar to Je"ish cantillation an$ +yzantine
centonizaton.
2. Other oral tra$itions use formulas to recreate melo$ies# e.g.#
+al&an epic singers.
0. ,ome chants seem to ha9e 2een compose$ in this "ay see HWM
#$a%p&e 2.1!.
a. Although each 9erse is $ifferent# they all ha9e the same outline.
2. The same ca$ential formula closes each 9erse.
1. Ahen melo$ies "ere "ritten $o"n# formulaic structures remaine$ intact.
+. ,tages of notation
). Attempts to stan$ar$ize :oman chant in Fran&ish lan$s 2egan in the
eighth century.
a. Oral transmission "as ina$eHuate# as melo$ies "ere corrupte$ as
they "ere transmitte$ to the north.
2. Notation# a "ay to "rite $o"n music# may ha9e 2een in use 2y
Charlemagne=s time.
c. Notation resulte$ from a stri9ing for uniformity an$ a means of
perpetuating that uniformity.
2. Notation $e9elope$ through a series of inno9ations# each of "hich ma$e
the melo$ic outline more precise see HWM Figures 2.'(2.) an$
#$a%p&es 2.2(2.3!.
5. ,igns calle$ neumes <atin neuma# meaning %gesture%! "ere place$ a2o9e
"or$s see HWM Figure 2.'!.
a. Neumes may ha9e $eri9e$ from signs for inflection an$ accent#
similar to accent mar&s in mo$ern French.
2. Neumes $esignate$ melo$ic $irection# not specific notes.
c. Melo$ies "ere still learne$ 2y ear# 2ut the neumes ser9e$ as
remin$ers.
$. In the tenth an$ ele9enth centuries# scri2es see HWM Music in
Conte$t page 5'! place$ heighte$ or $iastemic neumes at
9arying heights to in$icate relati9e sizes of inter9als see HWM
Figure 2.*!.
6. <ines to in$icate specific pitches
a. A horizontal line scratche$ in the parchment in $iastematic notation
helpe$ orient the neumes aroun$ a specific note.
2. In some manuscripts the line represente$ the location of the
semitone in the chant# e.g.# either F or C# an$ "oul$ 2e la2ele$
"ith these letters the origin of our clefs!.
7. 4ui$o of Arezzo# a mon& in the ele9enth century# $e9elope$ a system
"ith a$$itional lines see HWM Figure 2.)!.
a. :e$ in& for F# "ith the letter "ritten in the left margin
2. >ello" in& for C# "ith the letter "ritten in the left margin
c. +et"een each line "oul$ 2e one note.
$. This system e9ol9e$ to a four/line staff# the precursor of the fi9e/
line staff still in use to$ay.
e. Although specific notes "ere in$icate$# there "as still no sense of
a2solute pitch.
0. Despite the $e9elopments in notation# pitch still remaine$ relati9e.
1. Music "as still pre$ominantly sung 2y memoryI notation 2ecame a
9alua2le tool in memorization.
'. :hythm
a. ,ome manuscripts contain signs for rhythm# 2ut scholars cannot
agree on their meaning.
2. One mo$ern practice is to sing chants as if all notes ha$ the same
rhythmic 9alue.
C. ,olesmes chant notation
). In )*.5# -ope -ius J proclaime$ mo$ern e$itions create$ 2y the mon&s
of ,olesmes as the official ?atican e$itions.
2. HWM #$a%p&es 2.2 an$ 2.3 sho" the same chant# the gra$ual#
?i$erunt omnes# in ,olesmes notation an$ in transcription.
a. #$a%p&e 2.2 2egins "ith an in$ication of the type of chant 4ra$.
for gra$ual!# the mo$e 7!# an$ the first letter of the chant in large
typeface ? for ?i$erunt!.
2. #$a%p&e 2.3 uses the mo$ern con9entions for chant
transcriptionsKLMstemless notes# "ith slurs to in$icate notes
groupe$ as neumes in the original.
5. Features of ,olesmes notation
a. Four/line staff
2. 3ither C or F clef 2ut pitch is relati9e!
6. 3ach note or notegroup is calle$ a neume.
a. A neume may not ha9e more than one sylla2le of te8t.
2. Composite neumes notegroups! are rea$ left to right e.g.# ter/ of
terrae# "hich notates c=/a=/c=!.
c. :epeate$ single/note neumes are sung as if tie$ or slightly pulse$
e.g.# /te of Ju2ilate!.
$. Diamon$/shape$ notes in $escen$ing groups are the eHui9alent of
sHuare notes e.g.# o/ of omnes an$ the final three notes!.
e. ,mall notes in$icate 9oice$ consonants sung "ith a partially close$
mouth e.g.# /tum of Notum an$ con/ of conspectum!.
f. The Huilisma# a "a9y neume# may ha9e in$icate$ a 9ocal ornament
in original sources.
7. Flat an$ natural 2ut not sharp! coul$ 2e notate$.
a. Acci$entals are 9ali$ until the 2eginning of the ne8t "or$ or
9ertical $i9ision line.
2. On omnis 2oth occurrences of + are flatte$.
c. In the follo"ing "or$# terra# a natural sign is not nee$e$ 2ecause
the flat sign from omnis $oes not carry to a ne" "or$.
0. ,olesmes e$itions "ere inten$e$ for use in church# not scholarship# an$
therefore ha9e a$$itional signs not in their source manuscripts.
a. Dots after notes $ou2le their 9alue.
2. ;orizontal $ashes present in some me$iEe9al sources! in$icate a
slight lengthening e.g.# the first note of /es of fines!.
c. ?ertical lines mar& $i9isions of a melo$y.
$. Asteris&s sho" "here the chorus ta&es o9er from the soloist.
?II. Music Theory an$ -ractice
A. T"o "riters transmitte$ the legacy of 4ree& music theory( Martianus Capella
an$ +oethius.
+. Martianus Capella=s treatise The Marriage of Mercury an$ -hilology early fifth
century!
). Descri2es the se9en li2eral arts
a. The tri9ium of the 9er2al arts( grammar# $ialectic# rhetoric
2. The Hua$ri9ium of the mathematical $isciplines( geometry#
arithmetic# astronomy# an$ harmonics music!
2. The section on music is a mo$ifie$ translation of Aristi$es Nuintalianus=s
On Music.
C. +oethius ca. 6'./ca. 726! "as the most re9ere$ authority on music in the
Mi$$le Ages.
). +orn into a "ealthy :oman family
2. Consul an$ minister to Theo$ric# ruler of Italy
5. ;e "rote De institutione musica The Fun$aEmentals of Music! "hen he
"as a young man.
6. The main sources are a lost treatise 2y Nichomachus an$ -tolemy=s
;armonics.
7. De institutione musica $efines three types of music.
a. musica mun$ana the music of the uni9erse!( numerical relations
go9erning the mo9ement of stars# planets# seasons# an$ the
elements
2. musica humana human music!( unification of 2o$y# soul# an$ their
parts
c. musica instrumentalis instrumental music!( au$i2le music pro$uce$
2y 9oices or instruments
0. Music=s po"er to influence character ma$e it important in e$ucating the
young.
1. The stu$y of music through reason "as a higher pursuit than the
performance of musicI therefore# a philosopher of music "as the true
musician# not a singer or composer.
D. -ractical theory
). In contrast to +oethius=s philosophical approach# many treatises from the
ninth century through the later Mi$$le Ages "ere oriente$ to"ar$
practical concerns.
2. Musica enchiria$is Music ;an$2oo&! an$ ,colica enchiria$is 38cerpts
from ;an$2oo&s!
a. Anonymous ninth/century treatise "ith e8amples
2. Directe$ at stu$ents "ho aspire$ to religious posts
c. Descri2es eight mo$es
$. -ro9i$es e8ercises for locating semitones in chant
e. 38plains consonances an$ their use in polyphony see HWM
Chapter "!
5. 4ui$o of Arezzo=s Micrologus ca. ).27/2'!
a. A practical gui$e for singers# commissione$ 2y the 2ishop of
Arezzo see HWM Figure 2.11!
2. Co9ers notes# inter9als# scales# mo$es# composition# an$
impro9ise$ polyphony
?III. The Church Mo$es
A. +y the tenth century# the system ha$ achie9e$ its complete form.
+. Mo$es are $ifferentiate$ 2y the arrangement of "hole an$ half steps in
relationship to a final# the main note of the mo$e an$ usually the last note in the
melo$y.
C. 3ach of the four finals ha9e t"o associate$ mo$es see HWM #$a%p&e 2.!a!.
). Authentic mo$es range from a step 2elo" the final to an octa9e a2o9e it.
2. -lagal mo$es range from a fourth or fifth 2elo" the final to a fifth or si8th
a2o9e it.
5. To me$ie9al singers# each of the eight mo$es ha$ a $istincti9e character#
e9en though the t"o mo$es on the same final might soun$ similar to
mo$ern ears.
D. The only chromatic pitch "as +/flat# "hich freEHuentEly appears in melo$ies
in mo$es )# 2# 6# 7# an$ 0.
3. Although the pitch arrangements of the mo$es seem li&e octa9e species as
suggeste$ 2y HWM #$a%p&e 2.!+!# melo$ies often e8cee$e$ an octa9e
range.
F. The reciting tone is the most freHuent or prominent note in a chant.
). In authentic mo$es the tenor is a fifth a2o9e the final.
2. In plagal mo$es the tenor is a thir$ 2elo" the correspon$ing tenor of the
authentic mo$e "ith the same final.
5. Ahen the tenor "oul$ 2e a +# it is mo9e$ up"ar$ to C.
4. Mo$es "ere use$ to classify chants an$ arrange them in 2oo&s for liturgical use.
). Many chants fit the theory "ell e.g.# ?i$erunt omnes# HWM #$a%p&e
2.3!.
a. In mo$e 7# it 2egins on its final# F.
2. It rises to its tenor# C# "hich pre$ominates in most phrases.
c. It rises to the octa9e a2o9e its final.
2. The theory $oes not fit chants compose$ 2efore the tenth century.
;. 4ree& names "ere gi9en to the church mo$es in the tenth century# 2ase$ on a
misrea$ing of +oethius see HWM #$a%p&e 2.!+!.
). Authentic mo$es recei9e$ the ethnic names.
a. Dorian "ith a final of D!
2. -hrygian "ith a final of 3!
c. <y$ian "ith a final of F!
$. Mi8oly$ian "ith a final of 4!
2. -lagal mo$es "ere prefi8e$ "ith hypo
a. ;ypo$orian "ith a final of D!
2. ;ypophrygian "ith a final of 3!
c. ;ypoly$ian "ith a final of F!
$. ;ypomi8oly$ian "ith a final of 4!
5. The attempt to e8plain their o"n music theory in 4ree& terms sho"s ho"
important it "as for me$ie9al scholars to groun$ their "or& in 4ree&
tra$ition.
IJ. ,olmization
A. 4ui$o of Arezzo $e9ise$ a set of sylla2les for stu$ents to use in sight/singing.
+. The sylla2les correspon$ to the first sylla2les of each phrase of the hymn Gt
Hueant la8is see HWM #$a%p&e 2."!.
C. The sylla2les ut/re/mi/fa/sol/la correspon$ to C/D/3/F/4/A.
D. 4ui$o=s system $i$ not inclu$e a sylla2le for +# "hich is no" $esignate$ as ti.
3. ;e8achor$s
). There are three pairs of semitones in chant( 3/F# A/+/flat# +/C
2. 4ui$o=s si8/note pattern a he8achor$! containe$ only one semitone#
2et"een 3 an$ F.
5. +y transposing the sylla2les to F or 4# a singer coul$ learn chants "ith
other semitone com2inations see HWM #$a%p&e 2.'!.
6. 3ach he8achor$ has a name.
a. A he8achor$ "ith no + C/A! is calle$ %natural.%
2. A he8achor$ "ith a +/flat F/D! is %soft.%
c. A he8achor$ "ith a +/natural 4/3! is %har$.%
$. The half/step al"ays occurs 2et"een the sylla2les mi an$ fa.
7. The lo"est he8achor$ 2egan "ith a 4.
a. It "as ut in the he8achor$ system.
2. It "as also name$ "ith the 4ree& letter gamma# OP.
c. The resulting name "as gamma/ut# from "hich the "or$ gamut
$eri9es.
0. A singer "oul$ use mutation to change among the three he8achor$s
"hen learning a ne" chant see HWM #$a%p&e 2.*!.
F. Follo"ers of 4ui$o create$ a pe$agogical ai$ calle$ the %4ui$onian ;an$% see
HWM Figure 2.12!.
). 3ach @oint of the han$ stoo$ for one of the t"enty notes of the system.
2. Other notes "ere consi$ere$ %outsi$e the han$.%
5. Teachers pointe$ to the $ifferent @oints of the finger to teach their
stu$ents inter9als.
4. Than&s to 4ui$o=s inno9ations# a teacher coul$ %pro$uce a perfect singer% in
one to t"o years# instea$ of the ten years reHuire$ "hen teaching 2y rote.
J. 3choes of ;istory
A. Although "e $o not ha9e information a2out ancient Je"ish or early Christian
music# many of their tra$itions "ere passe$ to the me$ie9al church# "hich in
turn influence$ future eras of 3uropean music.
+. De9elopments of the Mi$$le Ages# such as notation on staff lines# solmization#
an$ clef signs# continue to this $ay an$ ma&e our &no"le$ge of a thousan$
years of music history possi2le.

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