Sacred Music, 115.2, Summer 1988; The Journal of the Church Music Association of America

8/14/2019 Sacred Music, 115.2, Summer 1988; The Journal of the Church Music Association of America

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SACRED MUSIC Volume 115, Number 2(Summer) 1988


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n 1 ? i ^Aachen, Minister

SACRED MUSICVolume 115, Number 2, Summer 1988

FROM THE EDITORSQu ality in Sacred Mu sic 3THE ROLE OF SEMIOLOGY, SOME REFLECTIONS

Fr. Columba Kelly, O.5.B. 5DOM EUGENE CARDINE, AN OBITUARY

Reverend Richard M. Hogan 12GREGORIAN CHANT IN TODAY'S PARISH

Monsignor Richard J. Schuler 13PRINTED EDITIONS OF THE CHANT BOOKS

Monsignor Robert F. Hayburn 19REVIEWS 26

NEWS 29OPEN FORUM 31

CONTRIBUTORS 32


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SACRED MUSIC

Editorial Board:

News:

Music for Review:

Membership, Circulationand Advertising:

CHURCH MUSICASSOCIATIONOF AMERICAOfficers and Board of DirectorsPresident

Vice-PresidentGeneral Secretary

TreasurerDirectors

Continuation of Caecilia, published by the Society of St. Caecilia since 1874,an d The Catholic Choirmaster, published by the Society of St. Gregory ofAmerica since 1915. Published quarterly by the Church Music Association ofAmerica. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota55103.Rev. Msgr. Richard J. Schuler, EditorRev. Ralph S. March, S.O. Cist.Rev. John BuchananHarold HughesdonWilliam P. MahrtVirginia A. SchubertCal StepanRev. Richard M. HoganMary Ellen StrappJudy LabonRev. Msgr. Richard J. Schuler548 Lafond Avenue, Saint Paul, Minnesota 55103Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602Paul Manz, 1700 E. 56th St., Chicago, Illinois 60637

548 Lafond Avenue, Saint Paul, Minnesota 55103

Monsignor Richard J. SchulerGerhard TrackVirginia A. SchubertEarl D. HoganRev. Ralph S. March, S.O. Cist.Mrs. Donald G. VellekWilliam P. MahrtRev. Robert A. SkerisMembership in the CMAA includes a subscription to SACRED MUSIC.Voting membership, $12.50 annually; subscription membership, $10.00annually; student membership, $5.00 annually. Single copies, $3.00. Sendmembership applications and change of address to SACRED MUSIC, 548Lafond Avenue, St. Paul, Minnesota 55103. Make all checks payable toChurch Music Association of America.Second class postage paid at St. Paul, Minnesota.Library of Congress catalog card number: 62-6712/MNSacred Music is indexed in the Catholic Periodical and Literature Index,Music Index, and Music Art ic le Guide, Arts and Humanit ies Index.Front Cover: Maria Laach Abbey, RheinlandCopyright Church Music Association of America, 1988ISSN: 0036-2255474960


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FROM THE EDITORSQuality in Sacred Music

For years the Church has been repea t ing tha t music in the serv ice o f the l i tu rgymu st be w or th y o f the wo rsh ip o f G od . Pius X spok e of "good ness o f fo rm " in h ismotu proprio of 1903 . Pius XI wr o te a bo u t " the anc ien t be au ty o f an exqu is i te a r t" inh i s ap o s to l i c co n s t i t u t i o n Divini cultus sanctitatem of 1928. Pius XII reminds us inh is encycl ica l Musicae sacrae discipline! of 1955 that the purpose of ar t " is to expressin human works the in f in i te d iv ine beau ty ." The crowning keystone in the long-bu i ld ing ed i f ice o f a c lear s ta tement o f what sacred music must be came wi th theSecon d Vat ican Coun ci l and i ts con st i tu t ion on the sacred l i tu rgy wh ere " the C hur chapproves o f a l l fo rms o f t rue a r t which have the requ is i te qual i t ies ." In 1967 , thein s t r u c t io n Musicam sacram c lear ly ind ica ted tha t music fo r the l i tu rgy must be t ruear t endowed wi th "exce l lence o f fo rm."

As a sacramenta l re l ig ion , Catho l ic ism uses a l l o f mater ia l c rea t ion in i t s worsh ipof the Crea to r . The p ic to r ia l and p las t ic a r t s , the c raf t o f the s i lversmi th and theseamstress , the work o f a rch i tec t , bu i lder , s tonemason and e lec t r ic ian are a l l used fo rworsh ip . But the a r t tha t comes c loses t to the very cen ter o f worsh ip i s music , s ince i tadorns the sacred tex ts themselves , the very Word o f God . The const i tu t ion on thesacred l i tu rgy says tha t " the musica l t ra d i t io n o f the un iversa l Ch urc h i s a t reasure o fines t im able va lu e , g rea ter even than tha t of any ar t . " The rea son is tha t i t " fo rms anecessary o r in tegra l par t o f the so lemn l i tu rgy ."

The sacred l i tu rgy i s the cen t ra l work o f the Church , the peop le o f God worsh ip ingthe i r Crea to r , the Spouse o f Chr is t acc la iming the Br idegroom, the Myst ica l Body inprais e of i ts H ea d. Trul y whe n the Hol y Sacrif ice is offered, the angels are pres ent inad ora t ion as Sa in t Tho m as assure s us . Th e ear th ly l i tu rgy i s bu t a re f lec t ion o f thesp lendor o f the heaven ly l i tu rgy , constan t ly p roc la iming the g lo ry o f God: Sanctus,sanctus, sanctus Dominus Deus Sabbaoth. We are invited to join in that eternalhymn sung by the heaven ly cho ir s o f angels . Our music b lends wi th the i r s as we jo inthem in jub i lee and adora t ion . How grea t then must be our music to jo in the angelsin song and to p ra ise the Crea to r wi th His sacred b ib l ica l tex ts adorned wi th music?

Every ar t i s governed by the p r inc ip les o f i t s mater ia l . Whether i t be pa in t o r s tone ,g o ld o r s a t i n , wo r d s o r m o v em en t , t h e a r t i s t m u s t ab id e w i th in t h e l im i t a t i o n s an dposs ib i l i t ies o f h is medium. The music ian i s no excep t ion . He has the phenomenon ofsound to respec t and the gen ius o f the vo ices o r ins t ruments tha t p roduce the sound .The theory o f music i s essen t ia l to anyone who composes , and the ru les o f vo icep r o d u c t io n an d in s t r u m en ta l p e r f o r m an ce a r e n ece ssa r y f o r o n e wh o wi l l m ak em u s i c .T h e m u s ic i a n , l i k e ev e r y o th e r a r t i s t , m u s t co m m u n ica t e a m essag e , an d f or t h a treason he must be consc ious no t on ly o f the one who produces bu t a lso o f the onew ho rece ives . Th is is espec ia l ly t rue o f a com pos er wh o wr i tes fo r the wo rsh ip o fGo d , s ince h is mus ic m us t be und ers too d im me dia te ly o r it i s no t successful incar ry ing the worsh iper to the Crea to r . L i tu rg ica l music must be more than ar t ; i tmu st be p rayer . Sac red mus ic tha t does no t car ry p ra yer to Go d misses i ts pur pos e ; i tb eco m e s a m er e h u m a n en t i ty , b eau t if u l p e r h ap s , i n t e r e s ti n g p e r h ap s , b u t n o t p r ay e r ,and therefo re lack ing in i t s very p urp os e .

Too of ten music i s thought o f in l i tu rgy as en ter ta inment , as someth ing to g ivep lea sure o r p rodu ce a p lea san t d i s t rac t ion . Th is i s to ta l ly fa lse , even thou gh i t i sp roc la im ed as the pu rpo se of sacred music by the b ish ops ' mu sic ad v is ory comm it- FROM THE EDITORS


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tee. The unfortunate document of 1968 claimed that the creation of a truly humansituation is the purpose of sacred music. For centuries, the Church has proclaimedthat music has a role in worship to give glory to God and edification to the faithful.We may take pleasure in the beauty of liturgical music and indeed enjoy hearing it,but its end is found only in God and in bringing us to Go d. T hus, b ecause of its mostnoble purpose, it is only in the most perfect expression of the musical art that we canrest. Only in the best that one can do is it possible to be worthy of the temple andHim who dwells therein.There has been a conscious effort in the past twenty years to dismiss the "sacred,"and the abuses of the holiness of God 's house that secular music has wroug ht acrossthis country constitute a litany of misery and a list without end. But just as great anabuse of the dignity of our liturgy and just as great a disgrace is the incredibleincompetency found in the creation and performance of sacred music in these lasttwenty years since the close of the council. We live in the age of the musical amateur!Even children have been asked to "create their own music" for school Masses. Musicis published by "composers" who do not know how to harmonize a chord and whomust have a musician write down the tune he hums (often very similar to a currenthit number or cowboy tune). Many of the so-called liturgical musicians of our daywould have a hard time passing a first-year harmony class, let alone any counter-point lessons. Their poverty of knowledge of the history of liturgical music in all itsforms explains much of the problem that the Church in this country faces today in itsmusic. In no other art could such ignorance and incompetency be tolerated.

On whom does the blame rest for the failure of the counciliar reforms in churchmusic in this country? Chiefly on our bishops who have allowed the present situa-tion to develop and continue, basing themselves on the advise of incompetent "ex-perts," most of who m are liturgists, not musician s. Secondly, on the music publisherswho have sacrificed their traditional love of beauty and their zeal to implement thetrue directives of the Holy See in order to make money. I said, twenty years ago, thatif all profits that accrued through the sale of new church music would be given to themissions, then we would not be inundated with the trash we have on the markettoday. Thirdly, the blame rests on musicians who have capitulated before liturgistswho have no sense of sacred music or the musical reforms ordered by the SecondVatican Council. The newly-come liturgist must not order around the musician, andthe musician mu st stand for his rights. He was, to be sure, in the Church a long timeahead of the liturgist. Selection of music can only be competently done by a profes-sional musician, knowledgable in repertory, competent as a performer in his art.In a word, we would have the quality of music that the Church has always calledfor in our parishes, if the bishops (and pastors) would engage competent professionalmusicians, who in turn would demand from the publishers (by refusing to buy thecurrent junk) only truly artistic compositions. Then the musicians, in cooperationwith the liturgists, could put into effect what has been asked for so long: sacred andartistic music, an integral part of a holy and beautiful liturgy. Our earthly worship ofGod could then be worthy to be joined to the angelic music of the heavenly liturgy.R.J.S.

FROM THE EDITORS


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THE ROLE OF SEMIOLOGY(This paper was originally presented at a conference on Gregorian semiology, June 26-28 , 1988, at California State University, Los Angeles, in cooperation with the Hun-tington Library.)

During the la te n ine teen-f i f t i e s , the ro le of semiology in the ta sk of re s tor ing theGre go r i a n r e pe r t o ry wa s c ons i de re d t o be a r a t he r b i z a r re , a nd i nde e d t o a num be r o fm y R om a n i n s t ruc t o r s , a s om e wha t s u s pe c t e nde a vo r . I t wa s de f i n i t e l y t he "ne w k i don the b lock" a t the Pont i f ica l Ins t i tu te of Sac red Music in Rome dur ing those yea rs .O n t he i n t e rn a t i ona l s c e ne , t he w ork o f r e s t o ra t i on ha d c e n t e re d a rou nd t w o opp os -ing camps of in te rpre ta t ion , roughly c la ss i f ied as : 1) the equa l i s t approach and 2) them e ns u ra l i s t a pp roa c h . The re s e e m e d t o be no room fo r a t h i rd a pp roa c h i n t h i s f i e l dof endeavor . The road to the acceptance of semiology as an essent ia l tool in there s t o ra t i on o f t he Gre g o r i a n r e pe r t o ry p ro m i s e d t o be long a nd ha rd , if no t i m pos -s ib le . B u t t he n who c ou l d ha ve r e c kone d t ha t Dom Moc que re a u ha d p re pa re d s uc h aw or t h y s uc c e s s o r fo r th i s t a s k , a s D om Euge ne C a rd i ne ?

Ac c o rd i ng t o t ha t t i m e -honore d s a y i ng , "Al l roa ds l e a d t o R om e !" I t c e r t a i n l y he l dt rue for Dom Cardine , a s we l l a s for myself. I wi l l begin wi th m y "roa d to Rom e" an dt he n t ha t o f Dom C a rd i ne ' s .

In the su m m er of 1956, I wa s su m m on ed o ne evening to the abbo t ' s office. Before Icould come to a fu l l s top be fore h i s desk , he began to out l ine wha t would become mym o na s t i c wo rk t o t he p re s e n t da y . He c a l m l y a nn oun c e d : "You wi l l m a k e s o l e m nprofess ion on Augus t 6 th , then you wi l l go to Sant ' Anse lmo in Rome to ge t al icent ia te in theology. Whi le you a re the re , you a re to lea rn I ta l ian so tha t you wi l l bere a dy t o be g i n you r s t ud i e s at t he P on t i f ic a l In s t i t u t e of S a c re d Mu s i c . W h e n youha ve a c qu i re d t he doc t o ra l de g re e , you wi l l r e t u rn t o be t he c ho i rm a s t e r fo r t hec om m uni t y . " W i t h t ha t , I wa s on t he roa d t o s e m i o l ogy a nd a s e ri e s o f won de r fu le n c o u n t e r s w i t h t h e w o r k o f D o m C a r d i n e .

My ba c kg round a t S t . Me i n ra d ha d be e n t ha t o f t he e qua l i s t a pp roa c h , bu t w i t h ave nge a nc e ! Dur i ng t he e a r l y 1950 ' s , S t . Me i n ra d ha d a t a s t e o f t he de ba t e be t we e nt he e qua l i s t s ' a nd t he m e ns u ra l i s t s ' i n t e rp re t a t i ons . I t wa s du r i ng t h i s t i m e t ha t Dr .Wi l l i Ape l spent severa l months wi th us in orde r to make use of our l ibra ry for worko n h i s n o w f a m o u s b o o k , Gregorian Chant. O n e o f o u r y o u n g m e m b e r s , R o b e r tSnow, was appoin ted to a ss i s t Dr . Ape l in h i s re sea rch . Before he came to us , Snowha d be e n a s t ude n t o f Dra gon P l a m e na c a t t he Un i ve r s i t y o f I l l i no i s . D i s c us s i onsa m ong t he m us i c i a ns o f t he c om m uni t y du r i ng t hos e da ys we re a l wa ys l i ve l y a ndsomet imes even hea ted . You can ge t a fa i r ly accura te fee l for our d i scuss ions byre v i e wi ng t he f i na l pa ge s o f c ha p t e r t wo on "The P rob l e m o f R hy t hm " i n Dr . Ape l ' sbook. ' Wha t was the ro le of the La t in accent? What were the subt le nuances ofrhy t hm t ha t t he m a nus c r i p t s s e e m e d t o be i nd i c a t i ng? How d i d one r e a l i z e t he m i na c t ua l pe r fo rm a nc e ? H ow c ou l d one t e ac h t ha t t o a c ho i r o f m us i c a l l y un s oph i s t i -ca ted monks for use in the i r da i ly sung off ice? Undernea th a l l tha t d i scuss ion rangt he wo rds of Gus t a ve R e e s e : " . . . wh i l e a dm i r i ng t he be a u t y of t he S o l e s m e s i n t e r -pre ta t ions , one should not over look the fac t tha t they a re h i s tor ica l ly suspec t . . . ' "

In t he s um m e r o f 1955 , ou r c ho i rm a s t e r a t t e nde d t he Gre go r i a n c ha n t works hops pons o re d by t he Ma da m e s o f t he S a c re d He a r t a t Ma nha t t a nv i l l e C o l l e ge . Upon h i sr e t u rn , he be ga n a r e fo rm o f ou r c ho ra l pe r fo rm a nc e p ra c t i c e s . F o r t he s a ke o fped ago gica l s imp l ic i ty an d c la ri ty , i t tu r ned ou t to be an equa l i s t in te rp re ta t ion , w i tha ve nge a nc e ! Eve ry s y l l a b l e a nd e ve ry no t e o f a ne um a t i c g roup wa s t o be s ung wi t ha n a bs o l u t e l y e qua l du ra t i on . P a us e s a t t he m e d i a n t c a de nc e o f a p s a l m ve r s e we re t orece ive exac t ly tw o co un ts . We kn ew he w as se r io us ab ou t th i s w he n he ap pe are d a t SEMIOLOGY


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the first community chant practice with a metronome to mark the beats! Needless tosay, this particular "reform movement" soon collapsed.I left for Rome the following year with many more questions than answers aboutthe restoration of the Gregorian repertory. In a sense, I had been well prepared formy encounters with Dom Cardine.My first encounters with Dom Cardine were the chant rehearsals that he con-ducted at Sant ' Anselmo for the students. During those rehearsals, he brought theGregorian repertory to a level of vibrancy and spiritual depth that I had never beforeexperienced. At the time, I knew nothing of the semiological principles he wasutilizing. I was only aware of their marvelous results. The knowledge would comewith exposure to his courses at the institute in the fall of 1959.I learned of Dom Cardine's "road to Rome" in bits and pieces of private conversa-tions during my annual summer encampments at Solesmes from 1960 to 1963. DomCardine saw his mission as continuing the kind of research that Dom Mocquereauwas unable to continue. That research was later to lead to what we now call semiol-ogy and the conclusions it has made possible. In a very fundamental way, DomCardine's mission began w ith Dom Moc quereau's meeting with Pope St. Pius X inthe spring of 1904.This is how Dom Cardine recounted that meeting to me. During the course of themeeting, the Holy Father asked Dom Mocquereau: "now just how long will i t takeyou to produce a critical edition of the Gregorian repertory?" At that point, DomMocquereau took a deep breath and answered: "Oh, about fifty years, Your Holi-ness ." Shaking his finger at him , Pope Pius X solem nly replied: "No , it won 'ttake you fifty years, you will do it within the next few ye ars!" The rest is history. T heKyriale in 1905; the Graduate Romanum in 1908; and the Antiphonale Romanum in1912.Now, the immediate challenge was no longer that of producing a critical edition ofthe Gregorian repertory that would be faithful to the groupings and divisions of theneumatic elements as found in the best manuscript traditions. The challenge hadbecome much more pragmatic: what practical method should one use to perform thechants as they would be found in these new editions? It was at this point, that DomMocquereau shifted his attention to the pressing problem of providing a method forperforming the repertory.

Dom Cardine recounted how concerned Dom Mocquereau was that responsibleresearch continue a critical edition of the repertory. By 1906, Dom Mo cquerea u hadalready seen the rhythmical importance of.certain types of graphic separation. Hegave it the name "division." By this he meant the graphic separation of the last noteof the group that precedes the quilisma, the clivis, the torculus, the climacus and soon. The last reference to this line of research in his writings is to be found in thearticle "La tradition rythmique Gregorienne" which was published in Rassegna Gre-goriana in 1906.3 With Dom Mocquereau's encouragement, Dom Cardine quietlycontin ued t hat line of research. A s if in fulfillment of a proph ecy, that research bega nto bear fruits after Dom Mocquereau's response to Pope St. Pius X! Dom Cardine's"road to Rome" was complete when the president of the Pontifical Institute of SacredMusic, Monsignor Iginio Angles, was successful in obtaining him as instructor ofGregorian paleography at the institute.

During those years after the death of Dom Mocquereau in 1930 until the 1950's,Dom Cardine had continued patiently in his daily round of singing in the monasticchoir and studying the written legacy of those chants as it had been carefully collatedon those massive comparative tables in the paleography room at Solesmes. As herecounted to me years later, he began to realize more and more just how subtly andSEMIOLOGY wi th w ha t great prec ision the living W ord of Go d had bec om e enfleshed in tha t


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repertory. Permit me to paraphrase the words of T. S. Eliot in attempting to capturethe spirit of those years: "Where shall the word be found, where will the wordresound? Not here (amid all the noise of too hastily fashioned theories), there is notenough silence (amidst all the sound and fury of debate, there is). No time to rejoice(in sung prayer) for those who walk among the noise and deny the (Holy Spirit's)voice." My apologies to T. S. Eliot, who wrote his poem "Ash Wednesday" in thatfateful year, 1930.

Semiology was indeed the "new kid on the block" in Rome during the 1950s. Indiscussing the problem of Gregorian rhythm in a book published in 1986, JohnStevens could say that "Recent research, notably that of Leo Treitler, . . . has shiftedthe direction of the enquiry away from 'origins,' as conceived in a somewhat re-stricted paleographical sense, towards function and context'the study of notationsin the light of their use in particular conditions,' especially the condition of a long-established oral tradition."1 He goes on to say that: "the 'shift of focus' is frompaleography as traditionally practiced to semiotics, concerned with the 'functionalrelationships of sign systems and what they signify' in the social and historicalsituation of those who use them."51 witnessed Dom Cardine do precisely that almostthirty years ago! As if echoing some of Dom Cardine's class presentations, Stevenstells us that: "the function of the notation was principally to guide the singers 'inadapting language to melody, and in giving the right sounds to the melodic turns.'The earliest notation. . . is directly related to sentence punctuation, the function ofwhich was to help the reader 'bring out the sense of a text as he read it aloud.'Notation was similar to punctuation: 'it did its work by marking off the sense unitsof the text."01 would only add a summary sentence: "in the beginning was the WORD(spoken, or sung); and the WORD was made visibleby the nod of the head, thegesture of the hand, and the flow of the pen."

Dom Cardine's pedagogy taught us to study the neumatic forms, never in isola-tion, but always according to their function in the verbal context in which they werefound. Today, he would find himself no longer alone in that endeavor. He has beenjoined by such diverse scholars as Berkley Peabody,7 Walter Ongs and David Hiley,0as well as Richard Norton in his recent book entitled Tonality in Western Culture. InNorton's remarks on cantillization, I can still hear fragments of Dom Cardine'slectures on Gregorian psalmody: "(it) was created for the elevated delivery of reli-gious texts of high moral quality. It directs behavior . . . it is the word ofGod . . . (in it) the individual note is of little importance; nor is the individual wordof great importance either. Only the whole thought or sentence, with its caesura andcadence, makes a musical unit. The early Christian singer heard tones as portions ofa tonal whole, each needing to be complemented and each pointing in some fashionbeyond itself. In this sense the whole was known before the parts. Through gram-matical structure, the melos was conceived as a whole framework thathoused . . . the sentence itself."10 In the beginning was the WORD, and then theneum!

Drawing on the findings of the psycholinguist T. G. Bever, Edward D. Hirsch inhis book, Cultural Literacy, describes how language, both oral and written, mustfunction. Since our short-term memory lasts just a matter of milliseconds, our mindscannot reliably hold in short-term memory more than about four to seven separateitems. That particular constraint is hard-wired into our systems. We are able to readbecause we chunk letters into words and words into phrasal units. In fact, all lan-guages must form brief bursts of words in clauses. Every known language divides itssentences into semi-complete clausal units that are small enough to be structuredwithin the limitations of short-term memory. He goes on to add that (1) "the clause isthe primary perceptual unit; (2) within each clause we assign semantic relationswithin major phrases."

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F or t he m e d i e va l no t a t o r , it wa s bu t a s ho r t s t e p f rom t he g ra ph i c s e pa ra t i on a ndg roup i ng o f a t e x t a c c o rd i ng t o s e ns e un i t s fo r o ra l p roc l a m a t i on , t o t ha t o f t heg ra ph i c s e pa ra t i on a nd g roup i ng o f a m e l od i c s e t t i ng o f t he s e t e x t s a c c o rd i ng t o t hei nd i v i s i b l e m e l od i c un i t s . P roduc i ng a t ru l y c r i t i c a l e d i t i on o f t he s e c ha n t s i nvo l ve s ,of necess i ty , a h igh degree of f ide l i ty to these or ig ina l groupings . In th i s context , afavor i te bete noire of Dom C a rd i ne wa s t he r e p re s e n t a t i on o f t he s c a nd i c us f l e xus i nthe Va t ican Edi t ion as a poda tus fo l lowed by a c l iv i s . Needless to say , the rhythmicdi f fe rence i s cons ide rable !

An example of th i s can be found over the accent of the word Domine in the ve rseo f t he g ra dua l In Deo speravit.12 The re we f i nd a ne um o f s e ve n no t e s , no t a t e d by S t .Ga l l 359 a s a s c a nd i c us f l e xus fo l l owe d by a t o rc u l u s . The g ra ph i c s e pa ra t i on oc c u r sa t the base of the me lodic curve , so none of the notes rece ives any spec ia l rhythmice m pha s i s . More ove r , bo t h La on 239 a nd t he B e ne ve n t a n f a m i l y ha ve j o i ne d t het o rc u l u s g roup t o t he p re c e d i ng no t e s t o fo rm one s i ng l e ne um a t i c e n t i t y ! In t heB e ne v e n t a n no t a t i o n , t he ne um i s p ro duc e d by on e s ing l e f l ow o f t he pe n ! On e i s l e dt o t he c onc l u s i on t ha t t he no t a t o r s d i d no t ne c e s s a r i l y t h i nk on l y i n t e rm s o f b i na ryor te rna ry groups , but a l so in four , f ive , s ix and in th i s case , of seven notes groups .W hi c h a s the e xpe r t s t el l u s , is a b ou t a ll t ha t ou r s ho r t t e rm m e m or y c a n m a na ge .

W h a t H i r s c h c a l l s " c h u n k i n g , " D o m C a r d i n e c a l l e d g r o u p i n g . A n e x a m p l e w o u l dbe the medieva l nota tor ' s usua l prac t ice of grouping a se r ie s of repea ted notes a t theun i s on i n t o g roups o f t wos a nd t h re e s , wh i c h we c a l l t he d i s t ropha a nd t r i s t ropha .D o m C a r d i n e p o i n t e d o u t o n e e x a m p l e in w h i c h o n e m a n u s c r i p t g a v e a c o n t i n u o u ss e r i e s o f s i x s t ropha , a no t he r ga ve t wo g roups o f t h re e , a nd ye t a no t he r ga ve t h re eg roups o f t woe a c h fo r t he s a m e p i e c e ! In t h i s pa r t i c u l a r i n s t a nc e , i t wa s no t t her h y t h m , b u t v i s u a l c l a r i t y t h a t h a d d e t e r m i n e d t h e g r o u p i n g s .

S uc h a n o ra l c on t e x t fo r t he s t udy o f t he Gre go r i a n r e pe r t o ry c a m e na t u ra l l y t oDom C a rd i ne . H i s t e a c h i ng da y i n R om e be ga n a nd e nde d wi t h t he s i ng i ng o f t hos ec ha n t s i n t he m ona s t i c c ho i r a t S t . J e rom e ' s Abbe y . In f a c t , ou r m ona s t i c a nc e s t o r s ,l i ke t he a nc i e n t s ge ne ra l l y , p ronounc e d wha t t he y r e a d i n a n a ud i b l e f a s h i on . S t .B e ne d i c t de s c r i be s a t yp i c a l s ce ne i n C h a p t e r 48 o f t he Ho l y R u l e : " . . . a f te r S e x ta nd t he i r m e a l , t he y m a y re s t on t he i r be ds ( i n t he do rm i t o ry ) i n c om pl e t e s i l e nc e ;s hou l d a b ro t he r w i s h t o r e a d p r i va te l y , le t h i m d o s o , bu t w i t h ou t d i s t u r b i ng t heothers." 13 B y t he e nd o f h i s nov i t i a t e , a nov i c e wa s e xpe c t e d t o ha ve m e m or i z e d t hee n t i r e p s a l t e r s o t ha t he c ou l d t a ke h i s t u rn a t p roc l a i m i ng a nd s i ng i ng t he p s a l m sdu r in g the d iv ine off ice . In fac t , Benedic t ins i s t s tha t : " in the win te r season . . . inthe t ime remaining a f te r v ig i l s , those who need to lea rn some of the psa l te r orr e a d i ngs s hou l d m e m or i z e t he m (R B 8 : 3 ) . " Howe ve r , no one wa s t o p re s um e t o r e a dor to lead the s inging in choi r unless he could do so to the benef i t of h i s hea re rs (RB47 : 3 ) ! Th us , in t e ll i gen t ph ra s i ng , goo d d i c t i on , s e ns it i ve w or d rhy t hm a nd a c c u ra t ei n f l e c t i on we re a l l no rm a l e xpe c t a t i ons o f t he m ona s t i c c om m uni t y wi t h r e s pe c t t ot hos e who wou l d l e a d i t s c om m on p ra ye r . Da v i d Hi l e y i s on s o l i d h i s t o r i c a l g roundw he n h e r e m a rks t h a t : "S i nc e ( t he r e pe r t o ry ) e vo l ve d o ra l l y i t i s no t s u rp r i s i ng t h a t i tr e l i e s he a v i l y on m e l od i c fo rm u l a s de p l oye d i n s i m p l e s t ruc t u re s , a l l o f wh i c h c ou l dbe memorized ." 1 4

I t wa s p re c i s e l y wi t h i n t he c on t e x t o f t he s e s i m p l e s t ruc t u re s t ha t Dom C a rd i ne l e dus i n t o t he he a r t o f h i s s e m i o l ogy l e c t u re s fo r f i r s t ye a r s t ude n t s . The I t a l i a n e d i t i onby Dr . N i no Al ba ros a o f Dom C a rd i ne ' s c l a s s no t e s fo r f i r s t ye a r s t ude n t s be a r s t h i sou t .1 5 In C ha p t e r VI of t hos e c l as s no t e s , yo u wi l l f i nd ho w he u s e d t hos e s t e re o t yp e dpa t t e rn s t o l e a d u s i n t o t he p r i nc i p l e s o f Gre go r i a n c om pos i t i on . F rom t he cursusplanus pa t t e rn s , 1 6 foun d i n t he p s a l m o d i c pa t t e rn s fo r t he in t ro i t a n t i p ho ns of t heMa s s a nd m a de f a m ous by P ope S t . Le o t he Gre a t i n h i s hom i l i e s , t o t he m ore

SEMIOLOGY f lexib le pa t te r ns tha t we re dev e lop ed for use in the ps a lm od y of the d iv ine office and


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S t . J e rom e ' s vu l ga t e t r a ns l a t i on , t he c ons t a n t t he m e wa s t he p re s i d i ng ro l e t ha t wa sp l a ye d by t he La t i n a c c e n t .

Ye t , in the hands of exper ienced s ingers , sens i t ive to the demands of ora l proc lama-t i on , the s e s t e re o t ype s we re p ro fou nd l y m od i f i e d a nd e ve n a ba nd on e d . H i s e xa m pl efrom the codex S t . Ga l l 381 of the psa lm text quoniam Dom inus spes ejus est17 is acase in poin t . In a number of h ighly revea l ing cases , tha t same sens i t iv i ty to ora lp ro c l a m a t i on l e d t he Gre go r i a n c om p os e r t o p re s e rve f a i th fu l ly t he o r i g i na l H e b re wpro nu nc i a t i on o f c e r t a i n p ro pe r na m e s . On e of h is f a vo r i t e e xa m p l e s f rom t he m o-na s t i c a n t i phona l wa s t ha t o f t he Magnificat a n t i p h o n Montes Gelboe, with i ts use ofthe "pass ing to ne" form of the spec ia l curs ive torculus to a r r iv e a t the c l imax of themelodic l ine on the f ina l sy l lab le of the word Gelboe.16 My fa vo r i t e e xa m pl e f rom t heGraduate Triplex i s tha t of the 8 th mo de offe r tory an t ip ho n Precatus est Moyses.'No c om pos e r o f g ra nd ope ra ha s s u rpa s s e d t he rhy t hm i c a l a nd m e l od i c t r e a t m e n t o ft h e p h r a s e : mem ento Abr'ham, Is'ac, Iacob. Yes , Vi rg in ia , the re a re inspi r ing exam-p l e s o f how t o ha nd l e a word o r ph ra s e , i n wh i c h t he p r i nc i p l e a c c e n t oc c u r s on t helas t sy l lab le . Through examples such as these , we gradua l ly came to rea l ize thepro fou nd im pl ica t ion s of h i s s imple s ta temen t tha t : " fund ame nta l ly , i t i s a lwa ys thetext tha t inspi res the me lody and i t s rhythmic express ion ." 20

In t he be g i nn i ng wa s t he W OR D, a nd t he n t he re wa s t he ne um . F rom t ha t pe r s pe c -t ive , h i s de f in i t ion of a ne um ma kes em inen t ly go od sense : "A ne um c ons is t s of a l lthe notes to be found over a s ingle sy l lab le , the rhythm of which i s indica ted by them a nne r i n wh i c h t he s e no t e s a re g roupe d o r s e pa ra t e d . " 2 1 This i s indeed ne i the r ane qua l i s t , no r a m e ns u ra l i s t , a pp roa c h t o t he p rob l e m o f Gre go r i a n rhy t hm . As h i ss t ude n t s , we c ou l d no l onge r e xa m i ne t he e v i de nc e a s i s o l a t e d m a rk i ngs i n a m a nu-s c r i p t . F rom now on , ve rba l c on t e x t a nd o ra l func t i on ha d a l wa ys a nd e ve rywhe re t obe t a ke n i n t o c ons i de ra t i on .

In h i s a r t i c le on nota t ion in the New Grove Dictionary, Da v i d Hi l e y no t e s t ha ta l t h o u g h desagregation has long been recognized as of rhythmic s igni f icance , i t susua l e f fec t has not been h ighl ighted , namely , tha t " i t may be connec ted wi th che i ro-nomic prac t ice , where the goa l of the cantor ' s ges ture 'a t t rac t s ' rhythmic we ight . " 22Unfor tuna te ly , i t i s a t th i s poin t tha t he leaps to a t empt ingly s imple conc lus ion . Ac onc l u s i on ba s e d on t he wo rk o f D om Gre go ry M ur r a y i n 1963 i n wh i c h t he h i gh l ynua n c e d " rh y t hm i c we i g h t s " i nd i c a t e d by the m a n us c r i p t t r a d i t i o n , a r e r e duc e d t os i m p l e l onga a nd b re v i s p ro po r t i o ns . I c a n s ti ll se e D om C a rd i n e ' s e yes t w i nk l e a s herem ark s : "Yes , the re is indee d a d i s t in c t ion b e tw een so ca l led ' shor t ' no te s and ' lo ng 'n o t e s b u t some a re shor te r , o r longer , than othersl For heavens sake , don ' t beselect iv e. Be fa i thful to al l t he m a nus c r i p t e v i de nc e !"

Inde e d , I c a n no t r e m e m b e r a c l a ss i n wh i c h D om C a rd i ne d i d no t si ng a nd ge s t u rewi t h c ha l k in h i s ha nd on t he b l a c kbo a rd , t o de m ons t r a t e h i s e xa m pl e s . The o pe n i n gmel i sma for the offe r tory Ave Maria was the c la ss ic example for d i scover ing theindiv is ib le me lodic ent i t i e s of which i t i s cons t ruc ted . Each ent i ty i s an indiv i s ib leuni t of e lan and repose : a s ingle movement to the goa l of the mot ion , rega rdless ofthe spec i f ic number of p i tches involved in tha t rhythmic f low. The nota t ion l i t e ra l lycame a l ive be fore our ve ry eyes!

One of h i s favor i te t eaching devices was to g ive us a se r ie s of p i tches , wri t t en ins temless note heads on a four l ine staff, with ce r ta in p i tches enc i rc led . We were to ld :" t he e nc i r c l e d p i t c he s a re rhy t hm i c a l l y i m por t a n t . I f you we re a t e n t h c e n t u ry c opy -i s t a t S t . Ga l l Abbey, how would you nota te the me lodic mot ive?" Pages 22-28 inD om C a rd i ne ' s a r t i cl e e n t i t l e d "N e um " in Vo l um e X o f Etudes Gregoriennes i s a goodin t roduc t ion to th i s l ea rn ing exper ience . One soon lea rned tha t even i f a l l the s tem-less notes appeared to be equa l in va lue , the ac t of re t rac ing the neumat ic des ignssoo n taug ht one tha t "som e notes a re m or e equ a l tha n o th e rs ! " SEMIOLOGY


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These highly nuanced "rhythmic weights" would produce an extremely complexscore in standard modern notation. But we can take solace in the remarks of one ofour contemporary composers. Aaron Copland expressed the problem in his Nortonlectures at Harvard University in 1951 this way: "I wish our notation and ourindications of tempi and dyna mics w ere (as) exact (as the metron om e ma rking s seemto indicate), but honesty compels me to admit that the writ ten page is only anappr oxim ation; i t's only an ind ication of how close the composer was able to come intranscribing his exact thoughts on paper. Beyond that point the interpreter is on hisown."23As Pierre Boulez has remarked: "A Gregorian melody is unquestionably morecomplex than a tonal melody, since i ts structural pointing is much more subtle. Wecann ot speak of a 'progress ' from m on od y to polyph ony, only of a shift ing of interestthat enriches one element and impoverishes another."24 For medieval singers, thesesubtle rhythmic nuances were part of the air that surrounded them. Air that re-sounded with the solemn proclamation of the Word of God in the daily round ofliturgical services and the private reading of sacred scripture. It is in this context thatDom Cardine could proclaim his basic stance that: "Fundamentally, i t is always thetext that inspires the melody."

25"Both the melody and i t s notat ion depend upon thetext, are informed by the text, and are modeled on THE TEXT."26

"Verbal context" and "oral function" were hallmarks of Dom Cardine's semiology.Unfortunately, we have yet to understand adequately their full implications. JohnSteven's research, published in 1986, is a case in point. His use of the term "isosylla-bic"27 to express the rhythm ic value of a given melodic unit as found over an individ-ual syllable of the text, is to miss seeing the forest because of the trees. Melodic unitsof exactly the same, equal length, are not the norm. As Dom Cardine has indicatedin his article on the "Neum," 28 the graphic representations of these melodic unitsindicate an elasticity of these notes in relation to a syllable of average rhythmicweight. The example he gives in footnote 17 is very enlightening: none of the fivesyllables in Veni Domine has exactly the same rhythmic weight, or durational value.Elasticity reigns supreme!Like the purloined letter in Edgar Allen Poe's famous story, the key to Gregorianrhythm has been there in front of usall the time! The proof of that stance has beenborne out for me by my experience as choirmaster at St . Meinrad. It is a musicallyunsophisticated community. Music in standard modern notation containing complexrhythmic patterns, will stop them cold in their tracks! Yet, Gregorian chants taughtthem according to Dom Cardine's semiological principles, will be comfortably sungwith all the intricate rhythmical nuances that the text and neum groupings indicate.Gregorian semiology, as i t was taught by Dom Cardine, is what we would calltoday a "wholist ic" approach. An approach that puts us in contact with a standardmedieval monastic practice. A practice in which singers were to allow their activityto absorb the whole spiri t and body. Their voices were to make audible a poised,attentive spirit dwelling upon the inner meaning of the text, sensitive to its musicalnuancesnuances that were at the service of the inner meaning of the text. Remem-bering Dom Cardine's total engagement in the act of singing, even in the midst of themonastic choir at Solesmes, I am reminded of the assertions made by Walter Ongand Berkely Peabody: "spoken (and sung) words are always modifications of thetotal , existential si tuation, which always engages the body. Bodily activity beyondmere vocalization is not adventit ious or contrived in oral communication, but isnatural and even inevitable."29 One of the roles of semiology has been to show ussome of the meanings of that connection.

As a Benedictine monk, I found Dom Cardine's l ife and work to be a l ivingSEMIOLOGY com m en tary on St. Bened ict's instr uctio n on ho w the divin e office should be cele-10


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brated: "Let us consider, then, how we ought to behave in the presence of God andHis angels, and let us stand to sing the psalms in such a way that our minds are inharmony with our voices."30The role of semiology has indeed been that of "shifting the focus" from the studyof discrete neumatic forms, to the functional relationships of those forms and whatthey signify in the context of the verbal meaning to be proclaimed. I am grateful forhaving had a part to play in Dom Cardine's work. It is a work that can rightly beplaced in the context of Article 117 of the Second Vatican Council's constitution onthe sacred liturgy: "The typical edition of the books of Gregorian chant is to becompleted. In addition a more critical edition is to be prepared of those booksalready published since the restoration of St. Pius X."Thanks to semiology, that challenge is being met. Thanks to Dom Cardine'ssemiological approach, we have come to understand with greater clarity and preci-sion that "in the beginning was the sounding WORD, and that WORD, madevisibleby the nod of the head, the gesture of the handhas been preserved for us,in the flow of the medieval pen." FATHER COLUMBA KELLY, O.S.B.

1. Willi Apel, Gregorian Chant (Bloomington, IN. Indiana University Press, 1958), pp. 126ff.

2. Gustave Reese in Music in the Middle Ages (London: Dent, 1940) p. 148.3. Cf. the article "La tradition rythmique Gregorienne" in Rasseqna Gregoriana, 1906, col.

237.4. John Stevens in Words and Music in the Middle Ages (Cambridge, England: Cambridge

University Press, 1986) p. 273.5. Idem. Cf. footnote 16, p. 273.6. Idem. Cf. footnote 17, p. 274.7. Berkley Peabody in The Winged Word (Albany, NY: Suny Press, 1975), p. 197.8. Walter Ong in Orality and Literacy (New York: Methuen, 1982), p. 61.9. Cf. "Plainchant" in The New Oxford Companion to Music (New York: Oxford University

Press, 1983), Vol. 2, p. 1456.10 . Richard Norton in Tonality in Western Culture (Philadelphia: Penn State University

Press, 1984), pp. 67-70.11 . Cf. E. D. Hirsch, Cultural Literacy (Boston: Houghton Mifflin Co., 1987), p. 34-35.12 . Cf. Graduale Triplex, p. 312, line 3.13 . Cf. RB 1980 (Collegeville, MN: The Liturgical Press, 1981), p. 249.14 . Cf. David Hiley, Op. cit., p. 1452.15 . Dom Eugene Cardine, Primo Anno di Canto Gregoriano (Rome: PIMS, 1970).16. e.g., nostris/infunde.17 . Cf. Cardine, Op. cit., p. 62.18 . Cf. Antiphonale Monasticum, p. 576.19 . Cf. Graduale Triplex, p. 318.20 . Cf. Cardine, Op. cit., p. 30 ff.21 . Cf. Cardine, Op. cit., p. 13.22 . David Hiley, "Notation" in The New Grove Dictionary of Music and Musicians (Hong

Kong: Macmillen, 1980), Vol. 13, p. 352.23. Aaron Copland, Music and Imagination (Boston: Harvard University Press, 1980), p. 49.24 . Pierre Boulez in Orientations (Cambridge, MA: Harvard University Press, 1986), p. 36.25. Cardine, Primo Anno di Canto Gregoriano (Rome: PIMS, 1970), p. 30.26 . Cardine, Op. cit., p. 35.27 . Cf. John Stevens, Op. cit., p. 50428. Cf. Cardine in Etudes Gregorienne (1969), Vol. X, p. 21.29 . Cf. Walter Ong, Op. cit., p. 61, and Berkley Peabody, Op. cit., p. 197.30 . Cf. RB 1980, Op. Cit., Chapter 19. SEMIOLOGY

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Tympivutm, Christ with the Apostles, Vezelay, France

DOM C AR DI NE

DOM EUGENE CARDINE, AN OBITUARYDom Eugene Cardine was born in Courseulles-sur-mer/Calvados, France, in theyear 1905. In 1924, he entered the minor seminary in Caen and then in the next yearhe became a student at the major seminary in Bayeux. Receiving the former minororders in 1928, he also entered the Benedictine monastery of St. Pierre de Solesmes.He made his profession as a Benedictine in 1930 at Solesmes and was ordained apriest in 1934.Of course, Solesmes through the work of Dom Mocquereau was already well-

known for studies in Gregorian chant. Dom Cardine continued this tradit ion andenhanced i t . He became the organist and cantor at the abbey. During these years, hework ed on the melodies of the Liturgy of the Hou rs. In 1952, he became professor ofGregorian chant at the Pontifical Insti tute of Sacred Music in Rome. For thirty-twoyears (1952-1984), Dom Cardine taught and lectured at the insti tute. At the sametime, he wrote more than thirty-seven major research works on Gregorian chant. Heis respected as the founder of the relatively new study of semiology.Dom Cardine's major interests were the oldest manuscripts recording the chantmelodies. His studies have shown that the notes in the chant melodies were notoriginally given equal value, but that there were differentiating rhythms whichdepended on the text. He has shown that Gregorian chant existed as a musicalproclamation of the Word of God and man's response to God's word.In addition to his work at the Pontifical Insti tute, Dom Cardine was the cantor atSt. Anselmo's Abbey in Rome. This is the monastery of the primate of the entireBenedictine order. Through his work at this monastery, Dom Cardine was able toteach and to influence many, many Benedictines. Through this work, i t can be saidthat Dom Cardine has done much to unify the musicologists studying Gregorianchant. The old division between the French and the German schools is not now aspronounced as i t once was.Eternal rest grant unto him, O Lord, and let eternal l ight shine upon him. May herest in peace. May his soul and all the souls of the faithful departed through themercy of God rest in peace. Amen. REVEREND RICHA RD M. HO G AN

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GREGORIAN CHANT IN TODAY'S PARISH(This paper was originally presented at a conference on Gregorian semiology, June 26-28, 1988, at California State University, Los Angeles, in cooperation with the Hun-tington Library.)Gregorian chant is different from all other music. It is essentially a sacred musical

language whose origins lie in earliest times. Musicologists have established its rela-tion with ancient Jewish and Greek music as well as with the folk music of theMediterranean basin. It is the official music of the Roman Catholic Church andserves as a means of communication between God and man, useful and viable inevery age and in every land. It is not a mere musical style to be superseded in afollowing age, nor is it an historic relic periodically to be brought back to life foresthetic or academic interest. It is a living language. In a word, Gregorian chant isprayer.

We might define prayer as communication with God. Traditionally, prayer hasfour ends: adoration of the Deity, thanksgiving for His gifts, reparation for wrongsdone, and petition for all that one needs. It has many forms: it may be vocal orsolely mental; it may be formalized for repeated use or created new for each occa-sion; it may involve sound or silence; it may be private or public; it may be social orindividual; it may be official or totally personal. Its purpose, regardless of its form,remains always the same: communication with God, a communication that is per-sonal for each man, truly a manifestation of the omnipotence and infinity of Godwho knows and loves each one of us individually and personally.

Man, as a rational creature, made in the very image of God, communicates withhis Creator in a manner dependent on his human nature, and thus involving hisintellect and his will, most always in words, certainly always in concepts orthoughts. Christ ian prayer must, of course, be a human act stemming from humanreason and free will. Inanimate prayer is not a possible option for the Christian; wecannot admit of a prayer-wheel or other devices that purport to carry one's prayersheavenward without any truly human expression that is based in mind and will.Thus, a recording of chant played over and over is not of itself a prayer unless thelistener consciously makes it such in his mind and will. Further, prayer that is trulyhuman does not omit emotion or passion or any other faculties of the human being.Prayer stems from the heart as well as from the head, and God's communicat ion withthe one praying may reciprocate in the same fashion. The essays of the mystics, theexperiences of the saints and the explanations of spiritual writers of every age attestto this variety of response on the part of God.

Pope Pius X wrote of chant as "sung prayer." Thomas Merton said that chant is thevoice of Christ. It is indeed the voice of the Church. Its connection with the liturgysets it apart as music totally different from all other. Liturgy is the communing ofChrist and His Church; its language is chant. Liturgy through its language is itself anact of Christ, offering His Father all the adoration, thanksgiving, reparation andpetition that He and the members of His Mystical Body, the Church, daily extendheavenward. Chant is truly prayer, sung prayer.

Chant is a musical language united intimately and essentially to a textual lan-guage. Text and melody unite to create a means of expression that surpasses thepower and meaning of each alone. Truly, the sacred texts from Scripture are theword of God, but united to the sacred melodies, the expression of the text assumes apurpose and power that makes chant the Church's official means of communicatingwith God, the very voice of Christ giving praise to the Father. The Church hasalways proclaimed the inspiration of the Holy Spirit in the writing of the texts of theBible; the piety of the Middle Ages went further to express a certain inspirat ion that GREGORIAN CHANT

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fil led the melodies as well. United, they constitute the sacred song that has "primacyof place" in worship.The Second Vatican Council expressed that connection between the word and themelody: ". . . as sacred song closely bound to the text, (music) forms a necessary orintegral part of the solemn liturgy." The council, in recognizing the existence of"sacred" song, reaffirmed the tradition that G od is reached thro ug h material creation

and human endeavor by setting aside elements of creation for the exclusive use of theDeity and communica t ion with Him. The sacred and the holy are re la ted through amysterious human and divine interaction. The sacred is often described as tremen-dous, or dreadful, or fascinating. Rudolph Otto calls i t the "numinous." It is God'sintervention in our world and the reaction of each person to that mysterious divineinvitation in his becoming holy, a reflection of the Creator. By means of the sacred abridge is built over the horizon separating the finite and the infinite. Th rou gh thesacred, that bridge, built of the material things so designated, becomes the meanswhereby God's holiness is transmitted to man.Essential to the understanding of Gregorian chant is the admission of a "sacredsong." In the rejection of the "sacred" the contemporary world has rejected Gregorianchant as well. The restoration of chant depends basically on the re-establishment ofthe existence of the "sacred."Scripture tells us that God "dwells in light inaccessible." He is holiness; He issanctity. As we approach Him we reflect that holiness, and the means we use forcommunication with Him must share in that holiness. Those things set apart forGod's worship are, therefore, called sacred, because they are the means of holiness;they are dedicated to holiness. That dedication may stem from a formal ritualblessing or from the very purpose to which the thing is put. The very purpose ofsomething determines if it is sacred or secular. It may be a person, a place or a thing.We consider a church to be a sacred place by reason of a ritual that constitutes it as adedicated space, a sacred temple; a cemetery is considered a sacred place because ofthe very use to which the land is put, the resting place of those awaiting the resurrec-

tion; a bishop is a sacred person because he has been ordained and anointed to thatend, his special vocation. The list of sacred things is almost endless. It is alwaysthrough the on-going consent of the community and the ritual action of the Churchthat material things are recognized as "sacred," dedicated to God, set apart for a holypurpose. I t is through these sacred persons, places and things that the holiness ofGod is transmitted to man, who becomes holy himself by reason of his contact withGod through sacred things .Some things, particularly some styles of art , may be thought of as sacred becausethrough connotation the community over a long period has come to accept them assuch. Connotation is an association, meaning or significance which attributes cer-tain qualities to persons, places and things over a long period of time in the minds ofa great number of the community. Such qualities are not essential to the object, but

merely attributed to it through long usage; they may change, but only slowly andwith consent of the majority of the community. For example, in ancient Greece, theaulos and the cithara were instruments employed in the worship of Dionysius andApollo, and for the converts to Christianity in Greek lands these sounds recalled allthe rites of pagan worship in their past l ives and endangered their attachment to thenewly embraced Christian faith. But as paganism declined, generations grew up whohad never experienced pagan rites and for whom the association of instruments withsinful festivities did not exist. In time, these instrum ents cam e to be used in Christianlife and even in Christian worship. In a sense, they ceased to be pagan and secularand even became sacred, because the secular and pagan associations were no longerGREGORIAN CHANT pr es en t.14


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One can see a similar pattern in much of the music that came to be the great corpusof Roman chant. A considerable bulk of it was derived from the folk music of theMediterranean regions. These melodies lost their secular associations and acquiredreligious connotation as the Church grew in influence on the lives of the people of thefifth and sixth centuries. We can see a similar thing happening in other artistic andcultural areas during those centuries also, when the Roman Empire was changinginto the new medieval order. For example, the old garments of the Roman patricianswere retained as the vestments of the clergy; the very shape and structure of theChristian church building was borrowed from the ancient basilica which was origi-nally a secular edifice, a law court or market; the political nomenclature of theancient empire was accepted by the Church as she organized her dioceses, provinces,and prefectures, or sent out her legates and nuncios; the faldstool, the chalice itself,the bishop's garb, the use of statues, mosaics and painting, were all found in thepagan and secular culture. But as the Church spread and grew, connections thatmany things had with paganism and secular uses were forgotten, and they becamefitting aids to Christian living and worship.

It was the close connection of the chant melodies with the inspired sacred biblicaltexts of the liturgy that established the connotation of holiness for these melodies.They, as it were, absorbed the holiness of the text, and in that relationship them-selves became holy.

Chant, then, is prayer, sung prayer. It is holy through its close connection with thesacred texts. But further, it is the voice of Christ , the voice of His Church, the voiceof the members of that Church, the Body of Christ. Countless decrees of the Churchestablish chant as its official song and give it primacy of place in worship. Truly it isthe voice of the Church, the voice of Christ Himself singing through His members.

Chant had its origins in folk music. Is there any wonder why the documents of theChurch on music constantly demand the singing of the people, the universal use ofchant for that purpose, the repeated insistence that chant is the true song of theChurch and its members? Not if one remembers that chant is truly folk music.

A useful distinction exists in the German language that in English is not as clearlyexpressed. The Germans speak of a Musik von das Volk and a hAusik fur das Volk.(Music from the people and music for the people.) True folk music is from thepeople, going back to undetermined origins, handed on from generation to genera-tion, a treasure of a particular culture. That is Musik von das Volk. The other ismusic created at a given moment for the people in whatever context and for whateveroccasion it is meant. That is Musik fur das Volk. In English this kind of music isoften described as popular music. Chant has its roots in the true folk music, not ourpopular music, those melodies of the people used in the Mediterranean basin in theearly centuries of the Christian era. They were, for the most part, secular or evenpagan in origin and intent. But union with the Christian texts soon established themas "sacred." They were artfully joined, melody and text, and in addition to their"holiness" they were also art, the best of craftmanship, which set them high abovethe tawdry and cheap, the inept or puerile or amateurish, characteristics of muchpopular music. The chant, from its origins, thus demonstrated the two essentials ofliturgical music: holiness and art. It was sacred and it was artistic.

Musicologists often point out that the church music of Joseph Haydn is based onthe folk music of Austria. The melodies are not of themselves holy, but associatedwith the sacred texts of the liturgy they become holy. In the hands of the master,Haydn, they also become art of the first quality. That is why I think the Masses ofJoseph Haydn are so much like Gregorian chant, not indeed in style or period ofcomposition, but rather in purpose and in technique. Even the long melismaticpassages of many Masses reflect similar treatment of texts in the jubilus sections of GREGORIAN CHANT

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the Gregorian repertory. Both chant and Haydn's sacred music find their origins infolk music which a master musician has taken and molded to sacred texts. In Grego-rian chant, connotation has a longer history and thus a stronger posit ion establishingthe "sacred" sounds, while in Haydn's Masses, too l i t t le t ime and use has beenoperative to secure firmly their universal acceptance as a true music of the people,holy and art ist ic.Much of what contemporary commentators label as l i turgical folk music fails onevery score. It is not true folk music (Musik von das Volk); rather, i t should betermed popular, not folk, music; i t is certainly not "sacred" because of any presentconnotation; i t is not true art , since i t usually suffers from the musical incompetenceof those who create i t .In summary then, we must affirm that all men must pray, since all are bound toacknowledge the Creator. We are l imited to the material world around us, of whichwe ourselves are a part , for that communicat ion expressing our adorat ion, thanks-giving, reparation and peti t ions. From the dawn of t ime man has set apart certaincreated persons, places and things to carry his prayer to the Creator. Music especiallyhas had i ts role from the beginning in communicating with God, probably becausemusic above all other arts is so ephemeral and spiri tual , but at the same time,material and earthly in every way. From the earliest years of the Christ ian era, chanthas been the music of the liturgy in spite of periods of decay and disuse. Interest-ingly, the very periods of least use were caused by the introduction of musical styleswhose essence can be traced to the chant which they replaced, for example, themodality of the renaissance polyphony or the melismatic vocal passages of thebaroque, reminiscent of the elaborate melismas of chant.Two elements constantly warred against chant as the sacred music of the people:first, the on-going desire to create a new style, the new replacing the old; andsecondly, the tendency of the small group of singers to supplant the body of thefaithful as more complicated composit ions made the small group necessary for per-formance of more difficult music. But even in face of style changes and the substitu-

t ion of small trained groups, chant persisted through the Christ ian centuries, encour-aged by periodic reforms and revivals. Not the least of these was that which began inthe mid-19th century and, blessed and encouraged by the Church, grew through thefirst half of the 20th century, until a misinterpretation of the Second Vatican Councilbrought i t nearly to shipwreck.Interest in chant, spurred by the scholarly and apostolic efforts of the monks ofSolesmes, brought the revival of chant in France to classic proportion. The establish-ment of a corpus of the authentic melodies, the study of the theory of interpretationand the efforts, made worldwide by the monks, to introduce the people to singingGregorian chant, proved that truly i t is the authentic sacred music of the people. InFrance, the Gregorian melodies became house hold so unds, kn ow n to the vast major-

i ty of French people. It was sacred song; i t was art ist ic in i ts composit ion andperformance; i t was truly folk music. In the United States, while not as advanced asthe French scene, great progress had indeed been achieved by the opening of theSecond Vatican Council . Especially through the efforts of the Catholic schools andthe religious communities of women, Catholic grade school children across the landwere learning and singing the sacred melodies. The fathers of the council intended tofoster and increase the use of Gregorian chant, and they so ordered.But a misinterpretation of the decrees of the Second Vatican Council wroughtgreat harm to the chant revival, even when the council fathers had specificallyindicated that the revival was to continue and be encouraged. First , a false under-standing of the posit ion of Latin in relation to the vernacular has all but eliminatedREGORIAN CHANT the official langu age of the Ch urc h from an y use in its liturgical wo rsh ip, thu s killing

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the melodies so closely united to the Latin sacred texts. Secondly, a misunderstand-ing of folk music and a confusion of the council 's demand for use of a true people'smusic with tunes written for a variety of secular purposes. And thirdly, a denial of adistinction between the sacred and the secular, resulting in an abandonment ofGregorian chant as a sacred music.But another revival is at hand and has begun. What is the will of the Church will

ult imately be achieved. New scholarship has bro ught to l ight man y simplifications inperformance practice, an aid to wider use of chant by larger groups. And a rejectionof the secularization of liturgy has begun by the faithful who have suffered underexperimentations and outright rejection of l i turgical directives. Among the youngthere is an avid interest in Gregorian chant as a truly sacred music. The GregorianCongress in Paris in 1985 was the product of young French students who discoveredwhat they had been deprived oftheir inheritance. And they were asking "why?"How can all this apply to an American parish in 1988? A pastor who wishes toimplement the wishes of the Church, as they are expressed in the documents of thecouncil and those that followed afterwards, can turn to Grego rian chant an d have hispeople singing again what is the official song of the Church. The objection againstLatin is unfounded; why should this be an obstacle to the people of 1988 when it wasno problem to the school children of the years before the council? It is not impossibleto learn the ordinary parts of the Mass in Latin and understand what they are andwhat they mean. The Holy See itself has provided in a small booklet, Jubilate Deo,just recently re-issued, the texts needed for a parish to sing chant. Teachers are inshort supply to train both adults and children, but the new semiology makes it easierto train teachers since the method itself is less complex. Scholas of men or womencan master the techniques of chant with a minimum of instruction. Once grasped,the unity of the Gregorian style makes possible the performance of the entire corpusof chants with growing facility. Their contribution to the sacred character and thebeauty of the liturgy will be readily received by all who have not succumbed to falseinterpretations of the wishes of the council and the Church.

In Saint Paul, Minnesota, at the Church of Saint Agnes, over the past twentyyears since the close of the council, a continuing use of Gregorian chant has estab-lished it in the various liturgical functions of the parish. The solemn Mass on Sundayhas the proper parts sung in full Gregorian settings by a schola of men using the newGraduate Romanum and the new principles of semiology. The ordinary parts ofthose Masses are sung in Gregorian settings about half of the Sundays, while aViennese classical orchestral repertory is scheduled for some thirty Sundays. Wehave a Gregorian Mass every Saturday, and our school children learn some Grego-rian chants for their weekly sung Masses. For the past fifteen years, at the suggestionof the Vatican Council, we have sung vespers each Sunday. Between ten and fifteenmen use the new parts of the service that have been issued from Rome and make upthe remainder from the old Liber Usualis. These are all volunteer singers who havefound in the chant an expression of prayer and holiness that they seek for their ownpersonal religious needs. The chant is not sung for its own sake, nor are the singersparticularly conscious of performing a special style of music, a style which they havemastered and grown familiar with as a vehicle of expression, a means of prayer.

The Church recognizes Gregorian chant as its official music. In so-doing it doesnot make musical judgments about other styles, but simply acknowledges that sinceprayer is its chief function, i.e., communication with its Head, Jesus Christ, it is bymeans of Gregorian chant that this communication is most successfully achieved.The four purposes of prayer are most adequately accomplished: adoration, thanks-giving, reparation and petition. The classical balance of text and melody is foundhere. The balance between reason and emotion exists in chant. It is the most perfectr , , , i . i n i r- i T G R E G O R I A N C H A N Tform that has come down through the ages to allow man and God to commune. It isa treasure bey ond all oth ers . It is truly a sacred sou nd. 17MONSIGNOR RICHARD J. SCHULER


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PRINTED EDITIONS OF THE CHANTBOOKS(This paper was originally presented at a conference on Gregorian semiology, June 26-28, 1988, at California State University, Los Angeles, in cooperation with the Hun-tington Library.)Gregorian chant is truly one of the great musical treasures of the world. It re-

echoes the melodies of the ancients, while at the same time it charms the modernlistener and graces the liturgy of the Church.

It has been subjected to many vicissi tudes, which at times have disfigured it . Yet ithas survived these countless emendations and trials. Some of these were inflictedupon it by persons who sought to "improve it."

In the middle ages it was preserved upon great parchment leaves which presentedmelodies in ancient neumes. There were various schools of notation yet there was anamazing similarity in the neumes chosen to indicate a group of notes.

With the advent of square notation a basic change took place. An end was put tomelodic ambiguity but it resulted in the loss of many indications as to its interpreta-tion, rhythm and beauty.

This paper seeks to show briefly these periods of decline and renewal. It is notablethat from time to time various scholars have returned to the ancient neumes, seekingthe true interpretation and the authentic melodies. These searchings have resulted ina marvelous renaissance which has produced the Graduate Triplex, published in 1979by the monks of Solesmes. Once again are available the expressive nuances, move-ment of the chant and its melismatic designs.

The ancient chant of the Church was first preserved in manuscripts written byhand. Monks in various monasteries notated these venerable melodies on parchmentleaves. Many of them are works of great beauty.

With the invention of printing, around the year 1450, the chants were soonavailable in far greater numbers. The printers of the late fifteeenth and sixteenthcenturies seized an opportunity of producing various editions of liturgical books.The chants were therefore spread far and wide.

From 1474, various books contained the chants used in the different liturgicalfunctions of the Church. There are four categories of chants, according to the Gela-sian Sacramentary: Temporal, e.g., Christmas, Easter, etc.; Sanctoral, e.g., associ-ated with particular saints; Common of Saints, e.g., for saints who did not have aparticular series of chants associated with their celebrations; Votive Masses, Massesof choice for particular intentions. Special local offices for a particular diocese werecontained in an appendix for the particular use of that diocese. The U.S.A., forexample, has feasts associated with Isaac Jogues, Elizabeth Seton, etc.

These chants were found in missals for the use of the celebrant at Mass; inantiphonaries and Directorium Chori, for canonical choirs who recite the divineoffice; in graduals, for the proper of the Mass; in the Kyriale for the ordinary of theMass.

In addition, individual dioceses and religious orders added books for tropes,sequences, prosae and other chants. Moreover, cathedral chapters, collegiatechurches and abbeys issued particular editions for personal use. All of these hadbasic Gregorian chants, as well as other texts and melodies.

The editions up to 1615 were the following:1476 Missale, Rome: Ulrich Han of Ingolstadt1481 Missale, Wurzburg: Georg Reyser1482 Missale, Mainz: Georg Reyser CHANT BOOKS

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1495 Antiphonarium, Augsburg: Georg Reyser1498 Graduate, Augsburg: Erhard Ratdolt1499 Graduate, Minorite Francis of Bruges, Rome: Junta1499 Antiphonarium, Wurzburg, Georg Reyser1511 Augustinian Graduate, Basel: Jacob Wolf von Pforzheim1582 Directorium chori, Rome: Peter Lichenstein. This retained the melodies inconformity with the Gregorian tradition.1582 Antiphonarium, Venice: Rome: Guidetti (2nd edition 1589). Guidetti beganto write great square notes and emp hatic ho lds. The ligatures of the neumes began todisappear and the vocalises became heavier. Guidetti 's editions mark a violent rup-ture with the past and the beginning of a new age. It was the source of many lateredi t ions .1585 Antiphonarium, Venice: Angelus Gardanus1603 Antiphonarium, Venice: Junta1606 Graduate, Venice: Junta1611 Graduate, Venice: Junta1611 Malines Antiphonarium, Antwerp: Joachim Trognaesius

1614-1615 Graduate, Rome: Medicean Press, Anerio and Soriano.Th e Cou ncil of Trent (1545-1563) in session 25, Nov em ber 3 and 6, 1563, left to thepope the task of making changes and printing the missal and breviary. The breviarywas printed in 1568 and the missal in 1570. Pope Pius V made them obligatory for allchurches which could not claim a liturgical privilege of two hundred years. PopePius V promulgated the missal and breviary without giving attention to the chantscontained therein. There was not thought given to the alterations in the melodies ofthe chants as a whole. The minor changes required involved the adaptation ofcorrected texts to the melodic line. Editions after 1570 stated in the title page that thechants were the traditional chants as found in the older editions.Pope Gregory XIII adopted a change of policy. On October 25, 1577, he engagedG. P. Palestrina and Annibale Zoilo to prepare a new edition which would conformto the changes in the texts of the Pius V books. The purpose of this minor work wasto adapt the text to the melodies, but not to change them. However, these twocompo sers altered the melodies according to humanistic reforms, which considered ita barbarism to have several notes on syllables following the tonic accent, or longnotes over the gramm atically sh ort syllables and vice versa. They eliminated the longvocalises of the gradual and the Alleluia verses. Moreover, changes were made toplace the melodies in agreement with the accentuation and quantity of the syllables.After an investigation, originated by Fernanado de las Infantas and Canon Boccapa-dule, the pope terminated the work. Palestrina had done only the Sunday Masses ofth e Graduate.Giovanni Battista Raimondi, owner of the Medicean Printing Company of Rome

sought in 1592 to print and sell chant books, with a privilege of fifteen years.Clement VIII granted this on September 16, 1593. He sought the help of G. P.Palestrina, who agreed to correct the Masses of the sanctoral cycle. Moreover, heagreed to reform all the books necessary for choral use, that is, the gradual, theantiphonary and the psalter. Palestrina died on February 2, 1594, and the work wassuspended. His son Iginio sought to complete the work, but his efforts were unac-ceptable and the project was abandoned.On May 3, 1608, Pope Paul V gave Raimondi the privilege of being sole printer ofchant books for fifteen years. Six musicians were chosen to supervise the work: G. B.Nanino, Mancini, Francesco Soriano, Giovanelli , Felini and Felice Anerio. In 1611,Anerio and Soriano offered to finish the work alone. Their efforts resulted in theCHANT BOOKS fam ous Me dicea n gra dua l being com pleted in 1614 and 1615.

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The completion of the Medicean edition marked a decisive step in the disintegra-tion of the chant tradition of the Church. These musicians modified almost everyphrase of the melodies. It resulted in the perpetration of a chant which was disfiguredand not in accordance with the ancient melodies of the Church.

In the nineteenth century this work was to be taken up as a source of an editionwhich was to become official in the Catholic world. Franx Xavier Haberl sought toprove that Anerio and Soriano based their revision on the Palestrina manuscript.There is no proof that the copies of Palestrina and Zoilo were those used by Anerioand Soriano in the preparation of their edition. (See Molitor, Die Nach-Tridentinische Choral-Reform zu Rom. 2 vols. , Leipzig: Leuchart, 1901-02.)

During the seventeenth and eighteenth centuries a revival in chant books tookplace in Belgium, France, Germany and Italy. There was a desire to restore chant tothe services participated in by the laity, whereas during the fifteenth and sixteenthcenturies the chant was sung by religious orders and chapters of cathedrals andcollegiate churches.

The principal editions of the seventeenth and eighteenth centuries which wereprinted after the Medicean edition were the following:

1624 Antiphonale, Toul: Francois and Simon les Belgrands1647 Graduate Romanum, Paris: Christopher Ballard1674 Graduate, Lyon: Carthusians1696 Graduate Monasticum, Paris: Nivers1716 Antiphonarium Romanum, Ingolstadt: Elizabeth Angermaier1726 Musica Choralis Franciscana, Cologne: Caspar Drimborn1729 Graduate, Limoges:1774 Processionale, Antwerp: Plantinus1782 Theatrum Musicae Choralis, Cologne: R. Kirchrather. (Its appendix contains

an explanation of the contemporary manner of singing Ambrosian chant.)The nineteenth century witnessed the appearance of many versions of the chant

books. In the first half of the century, the mutilated seventeenth and eighteenthcentury chant versions of Venice and Paris were reprinted for both the Roman riteand special rites. By 1850, many editions had appeared, each slightly different andnone faithful to the original edi tions. There were:

1813 Graduate, Charleville:1815 Graduate, Lyon:1828 Graduate, Dijon: Fouillier-Bibliopolam1828 Antiphonale, Dijon: Fouillier-Bibliopolam1841 Graduate, Dijon: Fouillier-Bibliopolam1843 Graduate, Malines: Hanicy (Duval) (Partial reprint of Medicean)1847 Graduate, Turin:1848 Graduate, Rennes: Theodore Nisard. (An edition of 1628 Nivers work)1851 Graduate, Paris: J. Lecoffre (Rheims-Cambrai)1854 Graduate, Rome: Alfiere1855 Choralwerke, Vilsecher1858 Graduate, Paris: A Le Gere et Soc. (Lambilotte)1858 Graduate, Paris: E. Repos (Digne reprint of the 1682 Nivers work)1859 Graduate, Malines: H. Dessain1862 Graduate, Trier: J. B. Grach (Hermesdorff)1864 Directorium chori, Rennes: Vatar (Janssens, Pothier)1864 Antiphonarium, Trier: J. B. Grach (Hermesdorff)1865 Graduate, Cologne: (Geissel)1869 Graduate, Regensburg: F. Pustet (Haberl)1874 Graduate, Valfray (reprint of 1669 Valfray and part s of 1682 Nivers) CHANT BOOKS

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1876, 1882 Graduate, Grie r: J. B. Gr ach (Hermesdo rff)1877 Graduate, Langres: (reprint of 1858 Dijon edition)1883 Liber Gradualis, Tournai: Desclee (Pothier) Solesmes1883 Graduate, Marseil le:1891 Liber Antiphonarius, Tournai: Desclee (Pothier) Solesmes1895 Graduate, Marseil le1895 Liber Gradualis, Tournai: Desclee (Pothier) Solesmes, 2nd ed.The 1843 edit ion edited by Edmond Duval was a partial reprint of the Mediceanedition of 1614. Since the Medicean edit ion included only the gradual, Duval tookhis antiphonary from that of Lichenstein of Venice, 1582. The ordinary was takenfrom the Plantin edit ion of Antwerp, 1599. Duval made changes and corrections inthe Medicean. These were made as a matter of personal opinion and were not inconcordance with the earlier chant manuscripts. Only the Diocese of Cahorsadopted this edit ion.The Italian edit ion was that of Monsignor Alfieri in 1854 and was prepared as"Italian" in source. It had l i t t le success or use. Marquis Compana had projected awork for which Pius IX granted a permission and monopoly for fifty years. How-

ever, i t was never published because of a lack of subscribers.The French edit ions were in many cases either reprints or modified e dit ions of the1682 and 1896 Graduate Monasticum of Guillaume Nivers. This influenced that ofRennes, 1848, edited by Theodore Nisard, and of Digne, 1858, and of Dijon, 1858.The Langres reprint of 1877 followed Dijon. The edition of M. Valfray of 1669 wasreprinted many times. The last was in 1874 and resembled that of Nivers.French edit ions independent of Nivers were those of Rheims-Cambrai in 1851 andthat of Fr. Lambillotte in 1858. That of Rheims-Cambrai was of great importancesince i t made use of an eleventh century manuscript , Antiphonarium Tonale Mis-sarum, found December 18, 1847, in the l ibrary of the School of Medicine at Mont-pell ier, France. The manuscript made use of both neumatic and alphabetical nota-t ion. This 1851 edit ion reproduced almost integrally all the notes of the eleventhcentury e dit ion. In some cases it was identical with the Solesmes edit ion. However, i thad two faults: the author adopted the humanists' theory regarding dactylic penulti-mates and modified the original melodic phrases in accord with these principles.They also confused the l i turgical with the pro por tiona l nota tion of the 12th and 13thcenturies. This resulted in a radical alteration of the rhythm of the chant. TwentyFrench dioceses adopted this edit ion as did many congregations of religious.

The ed it ion prepared by Father Louis Lam billotte, S.J., in 1858 was a l i thograph edreproduction of a manuscript of St. Gall . However, he made certain changes: abbre-viated the melismas and "what there is of the chant he put in measure, suggesting amarch or a modern dance." (The quote i s from Amedee Gastoue, Le Graduel etVantiphonaire romains, Lyon: Janin Freres, 1913, p. 2007.)The edit ions of Michael Hermesdorff of Trier, 1878 and 1882, compared contem-porary edi t ions wi th ancient sources. He prepared an edi t ion in double notat ion:notes on the staff with the original neumatic characters above the notes, with adescription of the manuscripts. He published eleven fascicles of Mass chants: firstSunday of August to the middle of paschalt ime.In addition to the numerous edit ions of the nineteenth century, a chant revivalbased on a return to ancient sources produced authentic chant edit ions. In 1883,Dom Prosper Gueranger, O.S.B., re-established monastic l ife in France at the an-cient, abandoned monastery of Solesmes. His Benedictine monks sought to revivethe Roman li turgy and produced chant books based on ancient sources.In 1860, Canon Gontier organized at Paris a congress for the restoration of chantCHANT BOOKS an d sacred m usic . His w or k, Methode raisonee de plainchant, set forth fundam ental

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principles for chant research. Dom Joseph Pothier, O.S.B., of Solesmes produced aLiber Gradualis in 1833, based on codices from many European sources. In 1889,Volume I of Paleogmphie Musicale showed the relationship between the SolesmesGraduate and a tenth century codex from the Abbey of St. Gall. Volume II of thePaleogmphie Musicale (1891) reproduced 219 copies of the gradual chant Justus utpalma. Volume II added proof of the authenticity of the Solesmes research and theirGraduale.The following editions were for the personal use of the monks of Solesmes:1883 Liber Gradualis1895 Editio altera1891 Liber Antiphonarius pro Vesperis & Completorio Officii Rom ani cum supple-mento pro aliquibus locis1897 Editio altera1891 Libri Antiphonarii Complementum pro Laudibus & Horis Officii Romanicum supplem ento pro aliquibus locis1891 Liber Antiphona rius pro diurnis horis juxta ritum monasticum Kalenariogenerali Ordinis S. Bened icti accom moda tus cum supplemento pro aliquibus locis

1897 Editio altera1894 Compendium Antiphonarii Monastici K alendario generali Ordinis S. Bene-dicti accommodatum1891 Liber Antiphona rius pro diurnis horis juxta ritum mon asticum Kalenda rioproprio Congregationis G allicae Ordinis S. Benedicti accommodatus1897 Liber Antiphonarius pro diurnis horis juxta ritum Romanum cum supple-mento pro aliquibus locis1896 Paroissien Roman containing the office of the Mass and Vespers for all theSundays and feast days (doubles)1896 Liber Usualis Missae & Officii pro Dom inicis & festis duplicibus1886 Officium & Missa ultimi tridui majoris hebdomada e juxta ritum mona sticum1892 Editio altera1886 Officium & Missa ultimi tridui majoris hebdom adae juxta ritum mona sticum1892 Editio altera1901 Editio tertia1891 Kyriale, or the chants of the ordinary of the Mass. The Kyrialeis in its seventh edition up to date.1898 Psalms noted. For Vespers and the office of all the Sundays and double feasts.On Februa ry 14, 1904, Pope St. Pius X established a papa l comm ission for thepreparation of official editions of chant books. Two sources were available: the 1883editions of Pothier (reprinted in 1895) or the Solesmes edition of 1903, prepared byDom Andre Mocquereau. The latter included "rhythmical signs" such as the hori-zontal and vertical episema as well as dots, which indicated length. This privateedition of Solesmes still presents these "rhythmical signs." The editions prepared bythe Vatican commission between 1904 and 1912 omitted the horizontal and verticalepisemas but retained the dots. During that period the monks of Solesmes withdrewfrom participation in the preparation of the Vatican Edition of the chant books.

The following books were prepared:Kyriale, August 14, 1905Cantus Missae, June 8, 1907Graduale Vaticanum, August 7, 1907Officium Defunctorum, May 12, 1909Cantorinus, April 3, 1911Antiphonale Diurnum Romanum, December 8, 1912Since 1913 , the m on ks of Solesm es were ent rus ted wit h the pre pa rat ion of the CHANT BOOKS

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official chant books of the Catholic Church.The liturgical changes resulting from Vatican II have necessitated revisions inchant ed itions. The new editions are edited under the control of the Congreg ation forDivine Worship and since 1966 have been entrusted to the monks of Solesmes.The official editions of chant books for the universal Church after Vatican II are:Kyriale Simplex, Vatican Press, Rome, 1965Graduale Simplex, (for the use of small churches, prepared at Solesmes and takenfrom the ancient antiphons) Vatican Press, Rome, 1967Ordo Cantus Missae, Vatican Pre ss, 1974 (It lists officially the selections of G rego -rian chant for Mass.)Graduale Romanum, Solesmes Press, 1974Ordo Missae in Cantu (Prefaces and chants for concelebration), Solesmes Press,1975Antiphonale Romanum, Book Two (Liber Hymnarius with chants for the invita-tory and other responses), Solesmes Press, 1983. Book One (with all the chants ofthe office) will follow soon.Missel de Chant Gregorien, Solesmes Press, 1984 (For Sundays and solemnities).

(This will app ear in English as well as French.) T hree year cycle, A.B .C. (Includesalso years I and II for week days.)Kyriale, Solesmes Press, 1985 (Extracts from the Graduale Romanum)The following are private editions of the monks of Solesmes:Liber Cantualis, Solesmes Press, 1987 (Gregorian anthology for the ConsociatioInternationalis Musicae Sacrae)Graduale Triplex, 1979, Solesmes PressGraduale Romanum Organ Accompaniment. Solesmes Press, Vol. I, 1984; Vol. II,1985; Vol. Ill, 1987.Processionale Monasticum (Neume), Solesmes Press, 1985Offertoriale Triplex, (Ancient verses of the offertory), Solesmes Press, 1985Cantus Selecti, (s.d.) Solesmes PressThe new dimension has been added to the history of the editions of chant bookswith the appearance

Documents

Sacred Music, 115.2, Summer 1988; The Journal of the Church Music Association of America