Instruct: Given a question, retrieve passages that answer the question.
Query: When did Gregorian chant first develop?
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song 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 inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant.
In 1925, Le Guennant arrived at the Gregorian Institute of Paris as director and teacher of Gregorian chant, succeeding Dom Joseph Gajard of the Solesmes Abbey.
After the Second World War, he organized many Gregorian sessions, not only in France but also in Fátima, and even Rio de Janeiro. Still teaching at the Gregorian Institute in Paris, this pedagogue and musician considerably boosted the teaching of Gregorian chant, by creating centres of study in several countries. When Maurice Duruflé thought about basing his Requiem on Gregorian chant, he asked Le Guennant for advice, and gratefully acknowledged his understanding. In 1960, Duruflé dedicated a composition to Le Guennant, his "Quatre Motets sur des thèmes grégoriens" which were also based on chant.
The difference between the "diapason" and the "trochos system" corresponded somehow with the oral melos transmission of the 18th century, documented by the manuscripts and the printed editions of the "New Music School of the Patriarchate", and the written transmission of the 14th-century chant manuscripts (revised heirmologia, sticheraria, Akolouthiai, and Kontakaria) which fit rather to the Octoechos disposition of the "trochos system". Chrysanthos' theory aimed to bridge these discrepancies and the "exegetic transcription" or translation of late Byzantine notation into his notation system. This way the "exegesis" had become an important tool to justify the innovations of the 18th century within the background of the Papadic tradition of psaltic art.
Unlike Western tonality and music theory the universal theory of the Phanariotes does not distinguish between major and minor scales, even if they transcribed Western polyphony into Byzantine neumes, and in fact, the majority of the models of the Byzantine Octoechos, as they are performed in Mediterranean churches by traditional singers, would lose their proper intonation and expression, if they were played on a conventionally tuned piano. Exactly the familiarity with microtonal intervals was an advantage, which made the Chrysanthine or Neobyzantine notation as a medium of transmission more universal than any Western notation system. Among others even Western staff notation and Eastern neume notation had been used for transcriptions of Ottoman classical music, despite their specific traditional background.
The first Christians in Rome were chiefly people who came from the East and spoke Greek. The founding of Constantinople naturally drew such people thither rather than to Rome, and then Christianity at Rome began to spread among the Roman population, so that at last the bulk of the Christian population in Rome spoke Latin. Hence the change in the language of the liturgy. ...The liturgy was said (in Latin) first in one church and then in more, until the Greek liturgy was driven out, and the clergy ceased to know Greek. About 415 or 420 we find a Pope saying he was unable to answer a letter from some Eastern bishops, because he had no one who could write Greek.
In the 12th century, a development in teaching and learning music in a more efficient manner had arisen. Guido of Arezzo's alleged development of the Guidonian hand, more than a hundred years after his death, allowed for musicians to label a specific joint or fingertip with the gamut (also referred to as the hexachord in the modern era). Using specific joints of the hand and fingertips transformed the way one would learn and memorize solmization syllables. Not only did the Guidonian hand become a standard use in preparing music in the 12th century, its popularity grew more widespread well into the 17th and 18th century. The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in use of notation and the creation of new music. Musicians were able to sing and memorize longer sections of music and counterpoint during performances and the amount of time spent diminished dramatically.
Musical notation was developed before parchment or paper were used for writing. The earliest form of musical notation can be found in a cuneiform tablet that was created at Nippur, in Sumer (today's Iraq) in about 2,000 BC. The tablet represents fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was written using a diatonic scale.
Most early written classical music was predominantly sacred; collections of written music and literature were held by monasteries, cathedrals, and other religious establishments, such as church music societies, offices, and seminaries. As universities emerged in the 12th century, libraries formed throughout Europe, and obtained donations or gifts from monasteries and private collectors. The advent of national and centralized libraries two centuries later allowed for greater attention to special materials like music collections. Up to the end of the 15th century, music collections had been limited to religious organizations, private collectors, or small areas of university libraries. Public collections grew with the development of printing at the end of the 15th century and the surge of scholarly and artistic endeavors of the Renaissance.
The musical style which developed from these early experiments was called monody. In the 1590s, monody developed into a vehicle capable of extended dramatic expression through the work of composers such as Jacopo Peri, working in conjunction with poet Ottavio Rinuccini. In 1598, Peri and Rinuccini produced "Dafne", an entire drama sung in monodic style: this was the first creation of a new form called "opera". Though Peri's Dafne was the first performed opera, its music has been lost to the centuries. Instead, L'Euridice, his second opera is most-often heralded as the history-making work. The new form of opera also borrowed, especially for the librettos, from an existing pastoral poetic form called the intermedio; it was mainly the musical style that was new. The instrumentation for an opera from the Camerata composers (Caccini and Peri) was written for a handful of gambas, lutes, and harpsichord or organ for continuo.
The oldest collections of church sermons is the "Blickling homilies", found in a 10th-century manuscript.
In the 14th century, this system was expanded to hexachords that would accommodate an increased use of signed accidentals. From this time onward, the use of such notes was called musica ficta.
In Medieval music, the Guidonian hand was a mnemonic device used to assist singers in learning to sight-sing. Some form of the device may have been used by Guido of Arezzo, a medieval music theorist who wrote a number of treatises, including one instructing singers in sightreading. The hand occurs in some manuscripts before Guido's time as a tool to find the semitone; it does not have the depicted form until the 12th century. Sigebertus Gemblacensis in 1105–10 did describe Guido using the joints of the hand to aid in teaching his hexachord. The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfege.
The site has been used for religious buildings since at least the 4th century, when an oratory stood on the site. A cathedral was built in the 9th century, but was badly damaged by Norman invasions and was replaced in the 10th century, from about 940, when bishop Milo built a Romanesque cathedral. This building was the location of the Council of Troyes that opened on 13 January 1128/29, at which the Order of the Knights Templar was confirmed and its rule established. The Romanesque cathedral was destroyed by fire in 1188.
The founder of Westminster Cathedral, Cardinal Herbert Vaughan laid great emphasis on the beauty and integrity of the cathedral's liturgy. Initially, he determined there should be a community of Benedictine monks at the new cathedral, performing the liturgies and singing the daily Office. This caused great resentment amongst the secular clergy of the diocese, who felt they were being snubbed. In the end, negotiations with both the English Benedictines and the community of French Benedictines at Farnborough failed and a 'traditional' choir of men and boys was set up instead. Despite great financial problems, the Choir School opened on 5 October 1901 with eleven boy choristers, in the building originally intended for the Benedictine monks. Cardinal Vaughan received the boys with the words "You are the foundation stones". The Cathedral Choir was officially instituted three months later in January 1902. Sung Masses and Offices were immediately established when the cathedral opened for worship in 1903, and have continued without interruption ever since. Today, Westminster Cathedral Choir is the only professional Catholic choir in the world to sing daily Mass and Vespers.
Sacred Western calligraphy has some special features, such as the illumination of the first letter of each book or chapter in medieval times. A decorative "carpet page" may precede the literature, filled with ornate, geometrical depictions of bold-hued animals. The Lindisfarne Gospels (715–720 AD) are an early example.
Sens Cathedral (begun between 1135 and 1140) was the first Cathedral to be built in the new style (St. Denis was an abbey, not a Cathedral). Other versions of the new style soon appeared in Noyon Cathedral (begun 1150); Laon Cathedral (begun 1165); and the most famous of all, Notre-Dame de Paris, where construction had begun in 1160.
In the early 13th century, when the growth of communities of scholars (universities) in Paris and other major cities led to an expansion and streamlining of the book-production trade, punctuation was rationalized by assigning Alcuin's stroke-over-dot specifically to interrogatives; by this time the stroke was more sharply curved and can easily be recognized as the modern question mark.
In the 15th century were founded two of the first banks in the world: the Bank of Saint George, founded in 1407, which was the oldest chartered bank in the world at its closure in 1805 and the Banca Carige, founded in 1483 as a mount of piety.
This device allowed people to visualize where the half steps of the gamut were, and to visualize the interlocking positions of the hexachords (the names of which—"ut re mi fa sol la"—were taken from the hymn "Ut queant laxis"). The Guidonian hand was reproduced in numerous medieval treatises.
The Chrysanthine notation and the New Method, which were also used in the field of "exoteric music" in "makam" publications like "Pandora", "Evterpe", "Kaliphonos Seiren", and "Apanthisma e Mecmue", and the redefinition of the Byzantine tradition adapted to the common tone system of the tambur frets, had been a great temptation to fill the gaps of the four Octoechos cycles with new melodies and intervals which had been imported from other music traditions of the Levantic community of musicians. "Makam" compositions were not always identified as "makam", and especially related genres, like compositions of the "heirmologic melos" in kalophonic elaboration, rather defined as papadic melos and sung during the Divine Liturgies for instance as "koinonikon" (while the heirmologion was a traditional part of the daily morning service), became the favorite genre for these experiments. The "heirmos kalophonikos" was made popular by Petros Bereketis during the 17th century, despite the fact that it already existed since the rise of "psaltic art" in the last 150 years of the Byzantine Empire.
Roman Catholic worship in the area has had an unbroken history since before the English Reformation, despite being outlawed for centuries by various Acts of Parliament. Rich families such as the Wappingthorns at Steyning and the Carylls at West Grinstead maintained the faith, sometimes using secret rooms to celebrate Mass. Example survives in the Priest's House next to the 19th-century Church of Our Lady of Consolation and St Francis in West Grinstead, and possibly at Henfield. Mass was sometimes said in private houses (as at Henfield) before permanent churches were built, and three of the district's present Roman Catholic churches are linked to monasteries and convents. Public worship takes place in the chapels at St Hugh's Charterhouse Monastery at Parkminster and The Towers Convent in Upper Beeding, and the Priory Church of Our Lady of England in Storrington is physically linked to the Premonstratensian monastery there.
The first extant sources with musical notation were written around 930 (Graduale Laon). Before this, plainchant had been transmitted orally. Most scholars of Gregorian chant agree that the development of music notation assisted the dissemination of chant across Europe. The earlier notated manuscripts are primarily from Regensburg in Germany, St. Gall in Switzerland, Laon and St. Martial in France.
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 notated in Italy. Instead, Roman Popes imported Gregorian chant from (German) Holy Roman Emperors during the 10th and 11th centuries. For example, the Credo was added to the Roman Rite at the behest of the Emperor Henry II in 1014. Reinforced by the legend of Pope Gregory, Gregorian chant was taken to be the authentic, original chant of Rome, a misconception that continues to this day. By the 12th and 13th centuries, Gregorian chant had supplanted or marginalized all the other Western plainchant traditions.
Semiology (from Greek σημεῖον "sēmeion", "a sign, a mark") is a branch of Gregorian Chant research. Semiology refers specifically to the study of the neumes as found in the earliest fully notated manuscripts of Gregorian Chant, the oldest of which have been dated to the 9th century. The first application of the term 'semiology' (which first appeared in the 1960s) for the study of Latin chant was made by Dom Eugène Cardine (1905–1988), a monk of the Abbey of Solesmes. In this context, 'semiology' is understood as 'the study of musical signs'. Text and neumatic notation, together with significative letters adjoined to the neumes, presents an effective and integrated mnemonic for the rhythmical interpretation and the melody. While Gregorian palaeography offers a description of the various neumes and their rhythmical and melodic values, Gregorian semiology explains their meaning for practical interpretation.
The monks of Solesmes, discussed above for their revival of Gregorian chant, issued a number of recordings. However, when Gregorian chant as plainchant experienced a popular resurgence during the new-age and world-music movements of the 1980s and '90s, the iconic album was somewhat unexpectedly "Chant", recorded by the Benedictine monks of Santo Domingo de Silos, Spain. This was marketed as music to inspire timeless calm and serenity. In 2008, the Cistercian Monks of Austrian Heiligenkreuz Abbey released the CD "Chant – Music for Paradise", which became the best-selling album of the Austrian pop charts and peaked #7 of the UK charts. In the US, the album was released under the title "Chant – Music for the Soul" and peaked at #4 on the Billboard classical charts.