The Establishment of a Catholic Tradition

1. The Establishment of a Catholic Tradition from ca. 800

2. Liturgy Content and form of Christian worship

3. The liturgical year (some major festivals) • Fixed date — Christmas • preceded by Advent (four Sundays) • Christmastide (twelve days) • Epiphany • Movable date — Easter • preceded by Lent (forty days, beginning on Ash Wednesday) • Followed by Eastertide (fifty days) • Pentecost

4. The monastic liturgical day — the Divine Office • Matins • Lauds (sunrise) • Lesser Hours • Prime • Terce • Sext • None • Vespers (sunset) • Compline

5. The liturgy of the Divine Office (except Matins) • Verse (and Hymn) • Psalms (3–5) and their antiphons • Scripture reading • Responsory • Hymn • Verse • Canticle with its antiphon • Benediction

6. The Mass (from about 1000) – some aspects of its design • Two parts • Fore-Mass • Eucharist • Two relationships of movements to the day • Proper • Ordinary • Two types of performance • spoken, or intoned • sung

7. Fore-Mass (teaching service) • Introit — Psalm verse framed by antiphon • Kyrie — Lord, have mercy • Gloria — Glory to God in the Highest • Collect — prayer of the day • Epistle — reading • Gradual • Alleluia • Sequence • Gospel — reading • Credo — Nicene Creed

8. Eucharist (Holy Communion) • Offertory Psalm — presentation of bread and wine • Eucharistic prayers • SANCTUS — Holy, holy, holy • Canon • Pater Noster — the Lord’s Prayer • Agnus Dei — Lamb of God • Communion Psalm — during the supper • Postcommunion — prayer • Ite Missa Est — dismissal

9. Chant The music of the liturgy

10. Musical style of the chant • Scoring — a cappella male voices • direct • responsorial • antiphonal • Dynamics — follow phrase contour, text • Rhythm — unmeasured • Melody — vocal, phrase-based • Recitation tones • Psalm tones • Free chant • Harmony — modal • Texture — monophony • Form — strophic (psalms, hymn), free forms

11. Music theory of the chant • Eight (+ one) Psalm tones — identified by • tenor • melodic inflections — intonation, mediant, termination • Eight ecclesiastical modes (to coordinate antiphons to Psalm tones) — identified by • final • dominant • ambsitus

12. Chant notation • Daseian — words in spaces on “staff” • Neumes — indicate melodic gestures • written above words — from eighth century • heighted • Staff • single line • lines for F and C — indicated by clefs or colors • four-line staff — from eleventh century

13. Developments from the chant • Melody (not single notes) as unit for creativity • Need for creativity within restrictions of the fixed body of liturgical music • Medieval idea of creation — principle of gloss, i.e., to elaborate given idea • Examples • manuscript illumination • literary gloss • church architecture

14. Trope — addition of words and/or music to existing chant • To glorify worship and interpret the liturgy • Began ca. ninth century, continued to 12th • Usually applied to • Mass — antiphonal chants, Ordinary • Office — antiphons, responsories, versicles, Benedicamus • soloists' passages (more likely to be troped than choir sections) • Addition of words to melisma — prosula • common in Kyries • probably prehistory of Sequence • Addition of melismatic music • Addition of entirely new segments of words and music • preludes to existing chants • interpolations

15. Sequence — originated as trope to melismatic jubilus at end of Alleluia • Addition of “free” jubilus as optional replacement or extension • Prosula principle applied to jubilus — prosa • Sequence — independent movement of Mass after Alleluia • poetic use of meter and eventually rhyme • form usually paired strophes — a bb cc dd - - - n

16. Important Sequences — after reforms of sixteenth century • Victimae paschali laudes (Easter) • Wipo (early eleventh century) • Veni sancte spiritus (Pentecost) • (eleventh century) • Lauda Sion (Corpus Christi) • Thomas Aquinas? (thirteenth century) • Dies irae (Requiem) • Thomas of Celano (thirteenth century) • Stabat Mater (restored in eighteenth century) • Jacopone da Todi (ca. 1230–1306)

17. Development of liturgical drama • First stage — action added to liturgical observance • Second stage — trope to provide new dialogue • Easter play — from Mass Introit or Matins — ca. tenth century • dialogue performance — Quem quaeritis, etc. • action — stage directions from Winchester 965–975 • Other subjects • Christmas (eleventh century), Fleury Herod (twelfth century) • other biblical stories — Beauvais Daniel (twelfth century) • stories of saints • Removed from church — mystery and miracle plays • nonclerical actors and musicians • vernacular or macaronic (polyglot)