Documente Academic
Documente Profesional
Documente Cultură
MT
S60
THE
FRANCIS" BURGESS
F.S.A., Scot.
Second Impression.
WILLIAM REEVES
BOOKSELLER LIMITED
83
Printed by The
New Temple
Preee,
Music,
is
the generk
As
a system
it
knowledge of
by those who
characteristic
its
peculiar
and
solemnity marks
it
may
study with
profit.
tinct categories
t-
4
1.
2.
The two
The
first
may
be simply des-
of the
human
voice,
The
simplest forms of
and Evensong
They
may
The
and
fall
of the
human
and
it
well as a certain
ill-conceived
and sadly
misapplied humour,
recitatives
The
simplest forms.
The most
found
in certain of the
Antiphons which
will help
to
show
two
species.
is
The
second
the
Psalm Tone
I,
ending
4.
Be
hold,
how
good
and
joyful
breth
ren,
to
dwell
to - geth - er
in
ni - ty.
I.
zrdsc^tezJEijsz. :_q>_:r^_
Be
-
hold,
how good
and
joy
- ful
thing
it
is
The
due
to the fact
became rather
ornate,
its
which occurred.
falls, technically,
of
its
profuse ornamentation.
From
no very great
difficulty is to
fusion of styles.
The
In an elementary treatise
the matter
sion caused
had
by
it
which have
(i.e.,
syllabic)
respectively.
of the music
we may go on
is
in
vogue
for
many
centuries
From
is
the earliest
a real function
and
who form
the
congregation.
The
particular
service
The scheme
remainder being
permit of
all present
taking part.
The
notation,
be a
is
being
sung or an elaborate
may now
The
first
the
The C
clef
*-;
'
C
it
or
r-
denotes
upon which
is
placed
is
or Do> all
it
The F
clef
^C
or sometimes
fT
denotes
upon which
rarely used
;
it is
placed
is
F.
The more
flat
The following
from the
list
later mediaeval
MSS.)
will be
found
in all
Single notes.
by a quaver.
or three notes.
=#=^
ic+
^ "~"
an ascending group
equal to
a descending group equal to
a group equal to
pfefagfcjbcfzzz
a group equal to
Compound
note-groups.
-ft-
||
a duplication of No. i.
a combination of Nos. 2 and 3.
When
any group
it is
is
printed in
small type
allied to a sylla-
ending
and that
the
note
is
in
10
The
first
signifies
a "half
breath," the
second
In a piece of
lines is
avoided by
following example
-*-?-
1.,
p.
pitch
is
concerned.
It
would,
however, be quite possible to render the music accurately, as regards its notes, while
missing
its
entire
meaning and
character.
governing
Plainsong rhythm.
11
RHYTHM.
The
shortest phrase
two syllables or
notes.
An
isolated
sound
cannot
convey
any feeling of
rhythm.
The
music
is
may
cannot contain
therefore be
more than
three.
The rhythmic
:
foot
may
Binary
syllable
Ternary
syllable
The following
Binary form
show.
|
Praise the
Lord, his
is
glo-ries
Praise to the
|
migh-ty, the
King
of ere|
a-tion.
All language
may
poetry and
12
to say
in poetry the
rhythm
is
free,
possessing
illustrates
This contrast
Plainsong.
Historically,
modern music
is
a develop-
an
development of
commonplace of
sufficient
may
be regarded as a
in
denouncing
Plainchant
as
a
is
barbarous
and
only equalled by
knowledge as
to its rudiments.
The
of Plainsong
may
Psalter, and, as a
number of
Tones even
is
where
it
of later date,
may
For
it
must be con-
13
Tones without
any reference
to
Gregorian
rhythm.
of what
truth
is
an adequate hearing
We
Verse
119,
one
"Teach
I
me,
Lord, the
it
way
of
Thy
statutes
and
shall keep
Taking
the
we
how
Teach
me,
Lord,
the
way
of
Thy
and
shall
keep
it
-m
to
the
end.
It will
be observed that
it
is
which
will
is
We
now
out, still in
modern
notation,
making
the
words.
Teach
me,
Lord,
the
way
of
sta
tutes:
and
shall
keep
it
un
the
Now,
if
it
indivisi-
and cannot be
split into
two notes of
less
value
smoothness
as
cannot
be
One
flexibility of the
Tone and,
me
Iff
af
- ter
t
f
thy law.
Bles-sed art
thou,
Lord
teach
me
thy
sta-tutes.
If
compared with
the
15
That
is
is
Finally,
it
marked by a
to say, accent
learnt
the Binary
now proceed
affect the
to
examine the
rules of
rhythm as they
Here,
and
2 of the
examples of
and
:
consist-
Groups
a
stress
and 6
are in Ternary
The
compound
H-H-d --*
H *
*~
The
is
may
is
sung, a group of
upon
its first
member
the
embellishes.
Moreover, a group
be given, but
it
is
demands
the
greatest care, as
it is
only by giving
it its
proper weight
i?
and non-
We will
now
con-
from the
Introit for
As-
cension
Day
e^
YK
j.
mon
of
>fra
*
I
^
why
slant!
*
ye
Ga-li-lee.
j>s-in
up
in
to
hca
veil?
al-Ic-Ju-ya
we have
first
to safeguard
In the tran-
below
all
be found
printed
them.
These demand
in every case
an emphatic
stress in the
Then we have
to
When
these fall on
a strong syllable
for.
their
initial stress is
already provided
If they fall
on
stress
it
must be provided
them but
in
no case must
cernible.
The
rhythm of the
The musical
stress
initial
note of a
f
.
The
*.
Ye
men
of
Ga
li
lee,
f
why stand
X
f
ye
_XI
y
gaz
-
X
-
1^~
ing
__
-
up
in - to
hea
ven
Al
- le
lu - - - ya.
Another example
though not
going
:
may
is
syllabic,
5
GLO-RY
be to
-3
>
peace
Cod on high
and
in earth
e-=
food
-
Sens:
will
to
-wards men
We
praise
Tho.
a
r*
bless
The.
We
wor
ship
Thee.
19
Glo
ry be
to
God on high,
and
in
tarth
ft
We
peace, good-will
to -
wards men.
We
nraise thee.
We
bless thee.
wor
ship thee.
The
rhythm as
briefly given
and
to
the Simple
and Ornate
It is essential that
advisable that
no
difficulty in the
way
of this
being done.
may
some
of Plain-song tonality.
2O
TONALITY.
Here we have to exclude the whole of the Psalmodic
species
That
section
of the
is
Recitatives
outside the
Modal
with
classification.
it
It
is
not
altogether
unconnected
Antiphon in Mode
Tone
for the
accompanying Psalm.
And
show
the
Tone
I is identical
with
Dominant of Mode
and
But beyond
this there is
no
affinity
must be
it is
left outside
any Modal
classification.
Nor must
be
Modal
systematization
good deal
the music
later, in
itself.
amount of
composed
their
generally
method of modal
classification
which
now
was
Probably
by a
certain
amount of
alteration.
Even then we
are
21
with certain compositions which show the characof more than one Mode.
will
teristics
together with
Final and
It will
The old
had a considerable
therefore which,
these days.
in the
It
is
we
Modes
sense
actually dominates
Mode, being
really of
I.
Dominant.
II.
I.
Final.
Dominant.
III.
Final.
Dominant.
22
IV.
Dominant.
V.
VI.
Final.
Dominant.
VII.
Final.
Dominant.
VIII.
It will
Modes run
in pairs.
is
Thus
No.
No.
I,
followed by
final
2,
allied.
Modal family
its
to which
it
belongs
its
it
is
necessary
to notice
range or compass,
the
Final
and
its
melody usually
circles.
Al-
23
Modal
system,
it
is
who
modes
if
spirit
assisting.
Nothing can
and inadequate.
The
writer
trusts,
however, that he
may have
succeeded in arousing
enough
Chant.
With
view the
titles
and
publishers of a
appended.
LIST OF
STUDY.
"The Elements
(Plainsong
and
24
"A Grammar
Limited).
of Plainsong."
"Gregorian
Limited).
U
Music."
(Art
and
Book Company,
Textbook of Plainsong."
(Vincent Music
Com-
pany, Limited).
"Primer of Plainsong."
Limited),
Printed by The
New Temple
Press,
MT 360
B84.9
Music
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