GREGORIAN CDANT By WILL Apelxii GRECORIAN CHANT take illustrations from their publications. For reasons which will become apparent to the reader, I have not reproduced the rhythmic signs which distinguish their books. I am very glad to include in this book two chapters that are closely re- lated to its main topic, and which put many of its aspects and problems into a new perspective: the chapter on Ambrosian chant contributed by Professor Roy H. Jesson, and that on Old-Roman chant written by Mr. Robert J. Snow, both of whom have studied at Indiana University. I hope that the results of their research will be as interesting to the readers as they were to me. No true admirer of Gregorian chant can help looking with dismay at present trends toward providing organ accompaniments for the liturgical melodies. This practice, although ostensibly meant to promote the chant, is actually bound to destroy it. To what extent it has dulled the minds of “those that should hear” became clear to me during a conversation with a group of young seminarists, whom I met in a train several years ago. When I mentioned my interest in Gregorian chant, one of them said, his face radiant with delight, “Oh, Gregorian chant is so wonderful in our church; we have an organist who makes it sound like Debussy.” I know that it does not always sound like that. In another church it may sound more like Vaughan Williams, and elsewhere like parallel organum. Invariably it will sound like “something” other than what it really is and what it should be. Moreover, the very variety of possibilities inherent in this practice is bound to weaken the catholicity of one of the most precious possessions of the Catholic Church. I have no right to voice an opinion in matters pertaining to the Church, but I am saddened to see a venerable tradition, which has been restored to new life after centuries of neglect and indifference, sub- jected once more to destructive practices. WILLI APEL Indiana University January 1958 Bibliography ABBREVIATION A ACI AM AMM Anal. hymn. cs G Gs HAM HDM Ky LR LYM MD MGG Nombre TITLE Antiphonale Sacrosanctae Romanae Ecclesiae ... , Tour nai, 1949 (Desclée, No. 820). Actes du Congrés International de Musique Sacrée, Rome, 1950 (also Atti del Congresso . . .), Tournai, 1952. Antiphonale monasticum pro diurnis horis . .., Tournai, 1934 (Desclée, No. 818). Antiphonale missarum juxta ritum Sanctae Ecclesiae Mediolanensis, Rome, 1935. Analecta hymnica medii aevi, ed. by G. M. Dreves and Clemens Blume, 55 vols., Leipzig, 1886-1922. Coussemaker, Charles Edmond Henri. Scriptorum de musica medii aevi nova series, 4 vols., Paris, 1864-76. Graduale Sacrosanctae Romanae Ecclesiae . .. , Tournai, 1945 (Desclée, No. 696). Gerbert, Martin. Scriptores ecclesiastici de musica, 3 vols., St. Blasien, 1784. Facsimile edition, Milan, 1931. Davison, A. T., and Willi Apel. Historical Anthology of Music, vol. I, Cambridge, 1946. Apel, Willi, Harvard Dictionary of Music, Cambridge, 1945- Kirchenmusikalisches Jahrbuch, Regensburg, 1885-1932; Cologne, 1950- Liber usualis with Introduction and Rubrics in English, Tournai, 1950 (Desclée, No. 801). Liber responsorialis ... juxta ritum monasticum,Solesmes, 1895. Liber vesperalis juxta ritum Sanctae Ecclesiae Mediolan- ensis, Rome, 1939. Musica Disciplina, Rome, 1948- Musik in Geschichte und Gegenwart, ed. by F. Blume, Kassel, 1949- Mocquereau, Dom André. Le Nombre musical grégorien, 2 vols, Tournai, 1908, 1927. xiiiGREGORIAN CHANT B wilt ApeL INDIANA UNIVERSITY PRESS BLOOMINGTON & INDIANAPOLISFirst Midland Book Edition 1990 ALL RIGHTS RESERVED COPYRIGHT © 1958 BY INDIANA UNIVERSITY PRESS LIBRARY OF CONGRESS CATALOG CARD NUMBER: 57-10729 MANUFACTURED IN THE UNITED STATES OF AMERICA 0-253-32650-8 0-253-20601-4 (pbk) 12 13 14 99 Alleluia Pascha nostrum, ¥. 2: Epulemur in azymis sinceritatis et veritatis. (I Corinthians 5:8)Contents Preface and Acknowledgment Bibliography PART 1 THE LITURGY AND ITS DEVELOPMENT onE Definition and Terminology two The Structure of the Liturgy ‘The Liturgical Year 6 The Liturgical Day 13 The Liturgical Books 15 Ordinary and Proper 17 The Office Hours 19 The Mass. 2g Exceptional Masses 28, tTurEE Origin and Development to c. 600 ‘The Pre-Christian Roots 34 Historical Data from the First to the Eighth Centuries 38 From the First Century to c. 380 43 From Damasus to Gregory 46 Four The Development after 600 ‘The Sources 51 The Cycle of Feasts 56 The Mass Formularies 61. The Music 74 PART 2 GENERAL ASPECTS OF THE CHANT one The Texts ‘The Psalms 87 Psalm Verses 89 Non-psalmodic Texts 95 two The Notation The Standard Notation 100 The Basic Neumes The Liquescent Neumes The Repercussive Neumes The Early Neumes 108 The Development of Neumatic Notation 118 ‘The Notation of the Solesmes Books 123 The Problem of Rhythm 126 THREE The Tonality ‘The Church Modes 133 Modal Classification and Distribution 137 Modal Characteristics of the Melodies 140 The Regular Chants Limited Range Excessive Range The B-flat Transposition Modal Ambiguity vii xi xii 33 Br 87 99 138Four Methods and Forms of Psalmody Direct Psalmody 179 Responsorial Psalmody 180 Antiphonal Psalmody 185 Questions of Performance 198 PART $8 STYLISTIC ANALYSIS one The Liturgical Recitative General Observations 201 The Tones for the Readings and Prayers 203 The Psalm Tones 208 Psalm Tones and Psalm Texts 214 Psalm Tones and Antiphons 217 The Tones of the Canticles 226 The Tones for the Introits 228 The Tones for the Great Responsories 234 The Tones of the Invitatory Psalm 241 The Short Responsories 244 Two The Free Compositions: General Aspects Characteristics of Melodic Design 247 Total Range Phrase Structure Melodic Progressions Repetition of Melodic Units Cadences Melody and Text 266 Textual and Melodic Phrases The Textual Accent The Sustaining (Melismatic) Accent The Tonic Accent The Cursus Expres- sion, Mood, Word-Painting tree The Free Compositions According to Types ‘The Introits go The Communions 311 The Tracts 312 The Tracts of the Eighth Mode The Tracts of the Second Mode The Great Respon- sories 330 The Responsories of Mode 2 The Responsories of Mode 8 The Other Responsories The Graduals 344 The Graduals of Mode 5 The Graduals of Mode x The Graduais of Modes 3 and The Graduals of Modes 7 and 8 The Gradual-Type Justus ut Palma The Offertories 363 The Alleluias 375 The Antiphons gg2 The Chants of the Mass Or- dinary 405 The Kyrie The Gloria The Credo The Sanctus The Agnus Dei The Mass Ordinary asa Cycle The Hymns 421 The Tropes 429 The Textual Tropes The Textual-Musical Tropes The Musical Tropes The Sequences 442 Four Ambrosian Chant by Roy Jesson ‘The Liturgical Year 467 The Liturgical Day 468 The Psalm Tones 470 ‘The Office Chants 472 The Ordinary Chants of the Mass 475 The Proper Chants of the Mass 476 Modality 480 Concluding Remarks 481 xive The Old-Roman Chant by Robert J. Snow ‘The Sources for the Mass Chants 485 The Introits 487 ~The Communions 489 The Offertorics 490 ‘The Graduals 492 The Tracts 494 The Al- Teluias 496 The Sources for the Office Chants 4g9 ‘The Responsories 500 The Antiphons 502 The Problem of Chronology 503 CONCLUSION: Prolegomena to a History of Gregorian Style Index 201 246 305 465 484 Plates following page z22 IL a00e Iv VI VIL VII St. Gall 359 St. Gall 339 Chartres 47 London, Brit. Mus. Egerton 857 Paris, Bibl. nat. lat. 776 Montpellier, Bibl. de l'Ecole Méd. H. 159 Rome, Vatican Libr. lat. 5319 Paris, Bibl. nat. lat. 17436 ‘Text Figures are listed under subject entries in Index.Preface and Acknowledgment BY WAY OF GENERAL PREFACE it will suffice to say that I have tried to put on the reader's table what the Apostle calls “the unleavened bread of sincerity and truth,” cleansed from, or at least clearly separated from, the “sour dough” of conjecture and imagination, That the latter is an important ingredient of our spiritual and scientific nourishment, nobody will deny; but it is equally undeniable that it has often been added in greater quantity than is wholesome. At any rate, the reader is entitled to know what kind of food he is being given. My first, and main acknowledgment is due Peter Wagner, the great scholar who, in his Einfishrung in die Gregorianischen Melodien, laid the foundation for so many studies of Gregorian chant, including the one presented here. Considering the fact that he called his three-volume pub- lication an Einjithrung, I feel rather apologetic about the title, Gregorian Chant, chosen for this much smaller book. I wanted to avoid any such designation as “Introduction to Gregorian Chant,” which would have put it on the same level with Wagner’s standard work. Since I could not very well call it an “Introduction to the Introduction,” I had to resign myself to giving it a name it hardly deserves. In the second place, I wish to express my gratitude to Father Simeon Daly, librarian of the Archabbey of St. Meinrad, Indiana, who not only has very kindly welcomed me to his library but also, time and again, has sent me much-needed books and even brought them personally to my home. Finally, I wish to acknowledge my indebtedness to Mr. Robert J. Snow ‘who, because of his former association with St. Meinrad, was in a position to give me valuable help in matters primarily of a liturgical character. He has also been of great assistance in taking care of many of the hundreds of details that go into the preparation of a book. The librarian of the Benedictine Abbey of Solesmes has sent me photo- Braphs for the plates included in this book. I wish to express my sincere thanks for his cooperation, The publishing house of Desclée and Co., Printers to the Holy See and the Sacred Congregation of Rites, have kindly given the permission to xixii GREGORIAN CHANT take illustrations from their publications. For reasons which will become apparent to the reader, I have not reproduced the rhythmic signs which distinguish their books. I am very glad to include in this book two chapters that are closely re- lated to its main topic, and which put many of its aspects and problems into a new perspective: the chapter on Ambrosian chant contributed by Professor Roy H. Jesson, and that on Old-Roman chant written by Mr. Robert J. Snow, both of whom have studied at Indiana University. I hope that the results of their research will be as interesting to the readers as they were to me. No true admirer of Gregorian chant can help looking with dismay at present trends toward providing organ accompaniments for the liturgical melodies, This practice, although ostensibly meant to promote the chant, is actually bound to destroy it. To what extent it has dulled the minds of “those that should hear” became clear to me during a conversation with a group of young seminarists, whom I met in a train several years ago. When I mentioned my interest in Gregorian chant, one of them said, his face radiant with delight, “Oh, Gregorian chant is so wonderful in our church; we have an organist who makes it sound like Debussy.” I know that it does not always sound like that. In another church it may sound more like Vaughan Williams, and elsewhere like parallel organum, Invariably it will sound like something” other than what it really is and what it should be. Moreover, the very variety of possibilities inherent in this practice is bound to weaken the catholicity of one of the most precious possessions of the Catholic Church, I have no right to voice an opinion in matters pertaining to the Church, but I am saddened to see a venerable tradition, which has been restored to new life after centuries of neglect and indifference, sub- jected once more to destructive practices. WILL APEL Indiana University January 1958 Bibliography ABBREVIATION A ACI AM AMM Anal. hymn. cs G Gs HAM HDM KJ LYM MD MGG Nombre TITLE Antiphonale Sacrosanctae Romanae Ecclesiae . . . , Tour nai, 1949 (Desclée, No. 820). Actes du Congrds International de Musique Sacrée, Rome, 1950 (also Aiti del Congreso . . .), Tournai, 1952. Antiphonale monasticum pro diurnis horis..., Tournai, 1934 (Desclée, No. 818). Antiphonale missarum juxta ritum Sanctae Ecclesiae Mediolanensis, Rome, 1935. Analecta hymnica medii acvi, ed. by G. M. Dreves and Clemens Blume, 55 vols, Leipzig, 1886-1922. Coussemaker, Charles Edmond Henri. Scriptorum de musica medii aevi nova series, 4 vols., Paris, 1864-76. Graduale Sacrosanctae Romanae Ecclesiae .. ., Tournai, 1945 (Desclée, No. 696). Gerbert, Martin, Scripiores ecclesiastici de musica, 3 vols, St. Blasien, 1784. Facsimile edition, Milan, 1931. Davison, A. T., and Willi Apel. Historical Anthology of Music, vol. I, Cambridge, 1946. Apel, Willi. Harvard Dictionary of Music, Cambridge, 1945. Kirchenmusikalisches Jahrbuch, Regensburg, 1885-19325 Cologne, 1950: Liber usualis with Introduction and Rubrics in English, Tournai, 1930 (Desclée, No. 801). Liber responsorialis . .. juxta titum monasticum, Solesmes, 1895, Liber vesperalis juxta ritum Sanctae Ecclesiae Mediolan- ensis, Rome, 1939. Musica Disciplina, Rome, 1948 Musik in Geschichte und Gegenwart, ed. by F, Blume, Kassel, 1949- Mocquereau, Dom André. Le Nombre musical grégorien, 2 vols., Tournai, 1908, 1927. xiiixiv Ott Pal. mus. Patr. gr. Patr. lat. PM Rass. Greg. ROG RG Sextuplex TG VP Wagner I Wagner It Wagner IIT GREGORIAN CHANT Ott, C. Offertoriale sive versus offertoriorum, Tournai, 1935: Paléographie musicale, 17 vols, Solesmes, 1889-1925, Migne, Jacques Paul. Patrologiae cursus completus. Series Graeca, 166 vols., Paris, 1857-66. Series Latina, 221 vols., Paris, 1844-55. Processionale monasticum, Solesmes, 1893. Rassegna gregoriana, Rome, 1902-14. Revue du chant grégorien, Grenoble, 1892-1989. Revue grégorienne, Tournai, Rome, 1911- Hesbert, Dom R.J. Antiphonale missarum sexiuplex, Paris, 1935. Tribune de St. Gervais, Paris, 1895-1929. Variae preces ex liturgia . . . collectae, Solesmes, 1go1. Wagner, Peter, Einfiihrung in die gregorianischen Melo- dien, 3 vols, Leipzig. I: Ursprung und Entwicklung der liturgischen Gesangs- formen, 1895; second edition, 1g01; third edition, 1911. Translation of the second edition, Origin and Develop- ment of the Forms of the Liturgical Chant, London, 1907 (references are to the English edition). Il: Neumenkunde, 1905; second edition, 1912 (refer- ences are to the second edition). Uk: Gregorianische Formenlehre, 1921. OTHER BOOKS FREQUENTLY MENTIONED Duchesne, L. M. O. Ferretti, Paolo. Gastoué, Amédéc, Ghristian Worship, Its Origin and Evolution, London, 1931. Esthétique grégorienne, Tournai, 1938. Cours théorique et pratique de chant grégorien, second edition, Paris, 1917. Les Origines du chant romain, Paris, 1907. Gevaert, Francois Auguste, La Mélopée antique dans le chant de Uéglise latine, Paris, 1917. Sufiol, Dom Gregory. Introduction & la paléographie musicale grégorienne, Tournai, 1935: For additional bibliography see Gustave Reese, Music in the Middle Ages (New York, 1940), pp. 431-45, and the article “Choral” in MGG. Nore: Page references without letter indication, e.g. [234], refer to the Liber usualis (see above, L), The Liturgy and Its DevelopmentCHAPTER ONE Definition and Terminology HE suByEcT of this book is the traditional music of the Roman Catholic Church. Nowhere in music history is the term “tradi- tional” more in place than in connection with this music which, rooted in the pre-Christian service of the Jews, adopted distinctive characteristics as early as the third and fourth centuries of the Christian era, was fully developed in the seventh century, expanded during the ensuing four hun- dred years, deteriorated in the sixteenth century, was restored in the late nineteenth century, and is used at present in essentially the same form it had about a thousand years ago. While the first half of the two-thousand years’ life of the chant was a period of continuous growth and all-embracing vitality, its existence dur- ing the second half was not without vicissitudes. From about 1000 on, poly- phonic music, its own offspring, began to challenge the sovereignty of its parent and, beginning with the fifteenth century, organ music became a successful competitor. Even more detrimental were ideas, arising in the sixteenth century, which led to a revision of the old melodies, a revision actually amounting to a complete distortion of their essential qualities. In the seventeenth and eighteenth centuries what went under the name of “Gregorian chant” was only a shadow of its former self, and in the nine- teenth century the whole tradition was threatened with extinction. For- tunately, rescue came from a group of scholars, mostly French, who devoted themselves to a study of the medieval manuscripts and immediately realized the supreme importance of their contents. One of the first in this group was L, Lambillotte, whose ideas were adopted and brought to final suc- cess by the monks of Solesmes. Owing to their endeavor—an endeavor which is no less a credit to musicology than the rediscovery of Bach, Palestrina, Schiitz, or Monteverdi—the old tradition was brought to new life and, in 1g, was officially adopted by the Roman Church through a decree of Pope Pius X, a decree which may well be said to mark the beginning of the third millennium of Gregorian chant. What is the meaning of this term? Chant is the generic designation for 34 GREGORIAN CHANT a body of traditional religious music, such as Hindu chant, Jewish chant, Byzantine chant, Russian chant, etc. Different though these various reper- tories are, they have one trait in common, that is, the purely melodic character of the music or, in other words, the absence of harmony, counter- point or any other kind of accompaniment, especially instrumental. The performance is exclusively vocal, either by one singer or by several singing in unison. In this respect chant is similar to folksong, from which, how- ever, it differs in the rhythmic aspect, since it usually lacks the principle of strict meter and measure commonly found in folksong. The designation “Gregorian,” generally used for the chant of the Roman Church, refers to Pope Gregory I, who ruled from 590 to Go4, and who is generally believed to have played a decisive role in the final arrangement of the chants, each of which he (or rather, those to whom he had entrusted the task) assigned to a specific occasion of the liturgical year, according to a broadly conceived plan, True enough, the appropriateness of the term “Gregorian” can be (and has been) questioned. A first disadvantage of this term is that, strictly speaking, it excludes the early development leading up to the period of Gregory as well as the changes and additions that oc- curred later. Thus, some of the best-known items of the chant, the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei of the Mass, are post-Gregorian. Moreover, Gregory's role in the development of the chant, as outlined above, is not certain beyond doubt and, in fact, has become highly ques- tionable in the light of recent discoveries and investigations which make it probable that the repertory, as we know it today, was actually formed after Gregory. However, this does not necessarily mean that the “Gregorian legend” is entirely without foundation, It is possible that Gregory at least gave a decisive impetus and clear directions for a work that came to its fulfilment some time after him, Thus, even from the point of view of our present knowledge, the term “Gregorian chant” could be defended, and may well be retained, provided its ramifications are understood. Some scholars, however, prefer to use the term “Roman chant,” which has the advantage of implying nothing but the incontestable fact of the chant's intimate connection with the Church of Rome, thus distinguishing it from other bodies of Christian chant: e.g., Mozarabic, Milanese (Am- brosian), or Byzantine. Actually, this term is also open to criticism insofar as it carries the connotation not only of “Roman usage” but also of “Ro- man origin.” Recent investigations have made it highly probable that the latter connotation is not correct. The repertory in question developed mainly in France and was not adopted in Rome until the thirteenth cen- tury, superseding an earlier repertory which could more properly be called “Roman” or even “Gregorian.” Yet another term, documented as early as the tenth century and uni- 1For a fuller explanation of this question, see pp. 79ff. Definition and Terminology 5 versally employed in the later Middle Ages, is cantus planus? surviving in the French plain-chant and in English plain song. German writers fre- quently use the term Gregorianischer Choral. Gregorian (or Roman) chant is one of several branches of Christian chant that developed in the Western part of Europe, probably all out of one and the same archetype characterized, first of all, by the use of the Latin language. Originally, the official language of the Church, even in Rome, was Greek, and it was not until the third or fourth century that this was replaced by Latin in the Western part of the Christian world. Very likely the just-amentioned archetype reverts to this period. Out of it grew the four branches or, as they are often called, dialects of Western chant: the Gregorian in Rome, the Ambrosian in Milan, the Gallican in France, and the Movarabic (or Visigothic) in Spain. Only scant remnants of the Gallican chant have come down to us, and the Mozarabic repertory is preserved only in early manuscripts, the musical notation of which can- not be accurately read.? The Ambrosian as well as the Gregorian repertory, on the other hand, are fully known to us, and both are in use to the present day, the former in Milan, the latter in all the other churches of the Roman Catholic denomination. Recent scholarship has brought to light yet another dialect of Western chant, the so-called Old-Roman or City-Roman, a discovery which has shed new light on the early development of the chant and particularly on the long-disputed question as to the part that Pope Gregory had in its forma- tion. This most interesting question will be discussed in a later chapter [see pp. 74ff]. 2The original meaning of cantus planus was to distinguish a “low chant” (planus, ie, plane, lying flat) from a cantus acutus, a “high chant.” Thus, Oddo of Cluny (d. 942) employs the term planus synonymously with gravis or humilis, to indicate chants of the plagal modes: “‘sin autem planus fuerit cantus, plaga deuteri nominabitur” (GS, I, 2598). Similarly Guido distinguishes graves et plani from acuti ¢t alli (Micrologus, ch. X11). 8Certain French Mss of Gregorian chant, eg., the Gradual of St. Yrieix (Pal. mus., XIII) include a number of melodies that are forcign to the Roman repertory and have therefore been claimed as Gallican. See A. Gastoué, Le Chant gallican (1939; also in RCG, XLI, XLII, XLII). Of the Mozarabic repertory, only twenty-one pieces are pre- served in a clearly readable notation. They are transcribed in C, Rojo and G. Prado, EL Canto Mozdrabe (1929), pp. 73f.CHAPTER TWO The Structure of the Liturgy I cors without saying that a knowledge of the Roman liturgy, at least of its basic aspects, is an indispensable prerequisite for any study of Gregorian chant, not only from the historical but also from stylistic and aesthetic points of view. It may be possible to examine or listen to a chant like the Gradual Haec dies and to admire its beauty without even knowing what a Gradual is nor to which feast this particular one belongs. A full understanding, however, of its form, its style, its musi- cal values and significance cannot be gained without a knowledge of its liturgical function, and its relationship to other chants. To consider Gregorian chant as a “purely musical” discipline would involve the stu- dent in the same difficulties which, for a long time and occasionally even now, have beset philologists who considered the songs of the troubadours and Minnesingers as a “purely literary” affair, completely disregarding their intimate connection with music. It is therefore only natural that our study should begin with an explanation of liturgical matters, insofar as they have a bearing upon our main subject. THE LITURGICAL YEAR The calendar of the Roman Church includes a great number of feasts, and these fall into two main categories: the Feasts of the Lord and the Feasts of the Saints. We shall first consider the former category, known as Proper of the Time (Proprium de Tempore, Temporale), “Time” mean- ing the time of the Lord. It includes all the Sundays as well as the special feasts commemorating the events of His life, His birth, death, resurrection, ete. The year of the Church starts, not with New Year, but with the First Sunday of Advent; that is, with the first of the four Sundays preceding Christmas (Nativity) which constitute a period in preparation for the arrival (L. adventus) of Christ. All the liturgical books, Gradual, Anti- phonal, Breviary, Liber usualis, etc., open with the chants or prayers for 6 The Structure of the Liturgy 7 the First Sunday of Advent Beginning with this day, the year can be divided into four periods: the first centering around the Nativity, the sec- ond leading up to Easter, the third leading up to Pentecost, and the fourth comprising the rest of the year. The Christmas period continues with the Second, Third, and Fourth Sunday of Advent, the last being preceded by the Ember Week of Advent. In this week three days—Wednesday, Friday, and Saturday—are set apart for fasting and prayer. Altogether there are four such Ember Weeks [L. Quatuor Temporum], one in each of the four seasons of the calendar year. Only the Saturdays of these weeks are represented in the Liber usualis, the Wednesdays and Fridays being found in the Gradual and the Antiphonal2 After the Fourth Sunday of Advent comes the Nativity of Our Lord (Christ- mas) on December 25, which is followed, a week later, by the Circumcision of Our Lord on January 1 and, on January 6, by the Epiphany, which com- memorates the adoration of the Magi (Three Holy Kings). The Sundays after Christmas are; Sunday within the Octave? of Christmas, Sunday be- tween Circumcision and Epiphany, Sunday within the Octave of the Epiphany, and Second (Third, etc.) Sunday after the Epiphany. In the seventeenth century two feasts were introduced: that in honor of the Most Holy Name of Jesus, and the feast of the Holy Family. The first of these falls on the Sunday between the Circumcision and the Epiphany or, if no Sunday occurs between these two feasts, on January 2. The second falls on the Sunday within the Octave of the Epiphany, The traditional for- mulary for this Sunday is transferred to one of the following week days. The second period starts with Septuagesima Sunday, that is, the ninth Sunday before Easter. Since Easter is a variable feast, whose date depends upon the moon,* the beginning of this period varies accordingly—from as early as January 18 to as late as February 21. As a consequence, the number of Sundays after Epiphany varies from a minimum of one to a maximum of six. Septuagesima Sunday is followed by Sexagesima, Quinquagesima, and Quadragesima Sunday. The Wednesday before Quadragesima Sunday is 1 The earliest liturgical books, Sacramentaries and Lectionaries, start with the Nativity. 2 Except for the Ember Wednesday and Ember Friday after Pentecost. See the table on pp. uf. 5 Octave means either the eighth day after a feast or the entire week, with daily com- memorations, 4 Easter is the first Sunday after the full moon that falls on or next after the twenty- first of March, © Quadragesima [Lat., the fortieth] is the name for the forty-day period of Lent that Starts with Ash Wednesday, Actually, this period consists of forty-six days (six weeks plus four days), but is reduced to forty because the six Sundays are excepted from the rule of ing. Quadragesima Sunday is correctly named the First Sunday in Quadragesima, Dominica prima Quadragesimae. Quinquagesima (fiftieth), Sexagesima (sixtieth), and tuagesima (seventieth) are designations formed in analogy to Quadragesima, These Sundays were gradually added, between ¢, 450 and 600, to the original period of forty8 GREGORIAN CHANT Ash Wednesday, the beginning of Lent, the long period of fasting before Easter. Quadragesima Sunday is therefore also called the First Sunday of Lent, and is followed by the Second, Third, and Fourth Sunday of Lent. The liturgical importance of the Lenten period is indicated by the fact that not only the Sundays but each week day has its individual liturgy and chants which, however, are found only in the complete books, the Gradual and the Antiphonal. Between the First and Second Sunday falls the Ember Week of Lent, represented in the Liber usualis by the Saturday only. After the Fourth Sunday of Lent the next two Sundays are Passion Sunday and Palm Sunday, the second of which opens the Holy Week leading to Easter. ‘This is indeed the most solemn week of the entire liturgical year; each day is filled with a ritual of steadily increasing importance, elaboration, and impressiveness, especially Maundy Thursday, Good Friday, and Holy Sat- urday. The liturgy for these three days alone fills almost 150 pages in the Liber usualis. The crowning point is Easter Sunday, celebrating the Resur- rection of Our Lord. Its miraculous event continues to be commemorated in daily celebrations during the ensuing week, called Easter Week (Easter Monday, Easter Tuesday, Wednesday in Easter Week, etc ‘The Saturday of this week marks the beginning of the third period, called Paschal Time. The next day is Low Sunday, also called Quasimodo Sunday, after the Introit Quasimodo which opens its Mass. This, being the first Sunday after Easter, is followed by a Second, Third, Fourth, and Fifth Sunday after Easter. The next Monday, Tuesday, and Wednesday are the Litanies or Rogation Days [L. rogare, to ask, to beg], days of special supplication which are followed, on Thursday, by the Ascension of Our Lord. The next Sunday is called Sunday within the Octave of the Ascen- sion and precedes Whit Sunday (Whitsun Day) or the Feast of Pentecost which commemorates the descent of the Holy Spirit on the Apostles. Simi- lar to (and in imitation of) Easter Week, each day of the following week is celebrated in commemoration of Pentecost. The fact that this is also an Ember Weck explains the varying designations for the single days: Whit Monday, Whit Tuesday, Ember Wednesday, Thursday in Whitsun Week, Ember Friday, and Ember Saturday. This is the end of Paschal Time, ‘The next day is Trinity Sunday, which marks the beginning of the final period of the year. The last major feast of the Temporale, Corpus Christi, falls on the Thursday thereafter, and is followed, on Friday of the next week, by the Feast of the Most Sacred Heart of Jesus. The Sundays of this season are simply numbered as Sundays after Pentecost, Trinity Sun- day being the first in the series.* Since the date of Pentecost varies with ‘ays, See Duchesne, Christian Worship (5th ed., 1931), p. 241; J. Froger, “Les Origines du temps de la septuagésime” (RG, XVI, 17). 6 According to an eleventh-century Micrologus de ecclesiasticis observationibus (Patt. lat. 151, p. 1019], the liturgy for the Feast of the Trinity was written by Albinus, i The Structure of the Liturgy 9 that of Easter—it occurs exactly seven weeks after Easter, as is indicated by its name which is the Greek word for “the fiftieth” (day)—the num- ber of these Sundays varies from a minimum of twenty-three to a maxi- mum of twenty-eight, a fluctuation corresponding to that of the Sundays after Epiphany: the fewer Sundays after Epiphany, the more there are after Pentecost, and vice versa. In fact, the services for the additional Sundays after Pentecost are taken from those provided for the last Sundays after Epiphany [see L 1078]. The regular succession of Sundays in the final period is interrupted only by the Ember Week of September. The following table gives the feasts just described in the form of a sur- vey with page references to the Liber uswalis, and also with the correspond- ing Latin names and page references to the Graduale. The latter is indis- pensable for a full study of Gregorian chant because it includes a number of Masses of great antiquity and importance that are not included in the Liber, particularly those for the weekdays of Lent. On the other hand, it has been deemed unnecessary to include the Antiphonale in our table, since the additional chants found in this book—mainly those for the Office Hours of the weekdays of Lent—are not of the same importance as are the Masses. Moreover, the student familiar with the Graduale will have no difficulty in finding the corresponding feasts in the Antiphonale. It should be noted that the Latin names for the days of the week, start- ing with Monday, are as follows: Feria I, Feria HII, Feria IV, Feria V, Feria VI, Sabbato, and Dominica. Feria properly means feast day, and originally the term was indeed used for Sunday. Later it was employed for the subsequent days as well, Sunday being called Feria I; Monday, Feria 11; Tuesday, Feria II; etc. Finally, the name Feria I was replaced by Dominica (Day of the Lord), while for Saturday the old name Sabbato ‘was retained. (For an explanation of the letters a, b, c, d, ¢, given with a number of feasts, see pp. 581.) i G First Sunday of Advent 317 Dominica. Adventus 1 Second Sunday of Advent 327 Dominica II. Adventus 4 Third Sunday of Advent 334 Dominica IJ. Adyentus 6 Feria IV, Quatuor Temp. Adv. Feria VI. Quatuor Temp. Adv. 11 Saturday in Ember Week Sabato Quatuor Temp. Ady. 13 of Advent 343 Alcuin (735-804), and provided with music by Stephanus of Liége, who has been tenta- tively identified with Stephen, bishop of Liége from go3 to g20. The author, like many others, opposed it as unnecessary since “all the Sundays abound with authentic Offices . . {honor of the Holy Trinity.” Not until the twelfth century was it oftcially adopted in the Roman liturgy, replacing the First Sunday of Pentecost, the Mass for which [6 $10; included in 1] is shifted to the next free weekday.10 GRECORIAN CHANT b, Fourth Sunday of Advent Christmas Eve Nativity, Dec. 25 Sunday within the Octave of Christmas d. Circumcision, Jan. 1 ¢. Sunday, Holy Name of Jesus Epiphany, Jan. 6 e. Sunday, Feast of the Holy Family Sunday within the Octave of the Epiphany Second Sunday after the Epiphany Third Sunday after the Epiphany Fourth, Fifth, Sixth Sunday after the Epiphany Septuagesima Sunday Sexagesima Sunday Quinquagesima Sunday Ash Wednesday First Sunday of Lent Saturday in Ember Week of Lent d. Second Sunday of Lent Third Sunday of Lent 353 358 364 433 440 445 455 467 477 484 488 492 496 504 510 519 53° 541 545 550 b. Dominica IV. Adventus In Vigilia Nativitatis Domini In Nativitate Domini Dominica infra Octavam Nat. Dom. In Circumcisione Domini . In Festo $s. Nom. Jesu In Epiphania Domini . §. Familie Jesu, Mariag, Joseph Dominica infra Octavam Epiphaniae Dominica II. post Epiphaniam Dominica III. post Epiphaniam Dominica IV., V. et VI. post Epiphaniam Dominica in Septuagesima Dominica in Sexagesima Dominica in Quinquagesima Feria IV. Ginerum Feria V. post Cineres Feria VI. post Cineres Sabbato post Cineres Dominica I. in Quadragesima Feria II. post Dom. I. Quad. Feria II. p. Dom. I. Quad. Feria IV, Quat. Temp. Quad, Feria V,_p. Dom. I. Quad. Feria VI. Quat. Temp. Quad. Sabato Quat. Temp. Quad. . Dominica IL. in Quadragesima Feria II. p. Dom. II. Quad. Feria IH, p. Dom. 1. Quad. Feria IV. p. Dom. II. Quad. Feria V. p. Dom. II. Quad. Feria VI, p. Dom. Il. Quad. Sabbato _p. Dom. II. Quad. Dominica II]. in Quadragesima Feria If, p. Dom. III. Quad. Feria IIL. p. Dom. III. Quad. Feria IV. p. Dom. HII. Quad. Feria V. p. Dom, III. Quad. Feria VI. p. Dom. III. Quad. Sabbato_p. Dom. III. Quad. a 24 27 44 49 50 57 59 64 67 40 73 73 17 80 84 9 ou 93 93 99 101 102 104 104 106 am 15 7 u8 120 aaa 122 123 127 130 1g2 134 134 136 The Structure of the Liturgy Fourth Sunday of Lent Saturday before Passion. Sunday Passion Sunday Palm Sunday Monday in Holy Week Tuesday in Holy Week Wednesday in Holy Week Maundy Thursday Good Friday Holy Saturday Easter Sunday Easter Monday Easter Tuesday Wednesday in Easter Week Thursday in Easter Week Friday in Easter Week Saturday in Easter Week Low Sunday Second Sunday after Easter Third Sunday alter Easter Fourth Sunday after Easter Fifth Sunday after Easter Rogation Days, Litanies - Ascension Sunday within the Octave of Ascension Saturday, Whitsun Eve Pentecost, Whit Sunday Whit Monday Whit Tuesday Ember Wednesday 559 565 568 800 804 808 816 Bet 826 830 835 844 853 858 862 887 890 892 = ct Dominica IV. in Quadragesima 138 FeriaIl. p. Dom. IV. Quad. Feria III. p. Dom. IV. Quad, Feria IV. p. Dom. IV. Quad. Feria V._p. Dom. IV. Quad. Feria VI. p. Dom. IV. Quad. Sabato p. Dom. 1V. Quad. Dominica de Passione Feria II. p. Dom. Passionis Feria III. p. Dom. Passionis Feria IV, p. Dom. Passionis Feria V._p. Dom. Passionis Feria VI. p. Dom. Passionis Sabbato _p. Dom. Passionis Dominica in Palmis Feria II. Maj. Hebdomadae Feria III. Maj. Hebdomadae Feria IV. Maj. Hebdomadae Feria V._ in Coena Domini Feria VI. in Parasceve Sabbato Sancto Dominica Resurrectionis Feria II. post Pascha Feria III, post Pascha Feria IV. post Pascha Feria V. post Pascha Feria VI. post Pascha Sabbato in Albis Dominica in Albis? Dominica II. post Pascha Dominica III. post Pascha Dominica IV. post Pascha Dominica V. post Pascha In Litaniis In Vigilia Ascensionis In Ascensione Domini Dominica infra Octavam Ascensionis Sabbato in Vigilia Pentecostes Dominica Pentecostes Feria II. post Pentecosten Feria III. post Pentecosten Feria 1V. Quat. Temp. Pent, 141 143 145 146 148 149 151 156 158 159 162 163 165 166 185 187 190 195 206 229 240 244 247 250 252 255 258 261 263 265, 268 270 274 284 285 287 290 292 297 298 300 Tin Albis is short for in albis depositis, i.c., when the white [vestments worn by the newly baptized} were laid off.12 GRECORIAN CHANT c. Thursday in Whitsun Week 896 ¢.—-Feria V. post Pentecosten —_go2 Ember Friday 807 Feria VI. Quat. Temp. Pent. 302 Ember Saturday 900 Sabbato Quat. Temp. Pent. 304 c. Sunday, Blessed Trinity 907. In Festo Sanctiss. Trinita 308 Dominica I. post Pentecosten $10 d. Corpus Christi 917. In Festo Corporis Christi 313 Sunday within the Octave of Dominica infra Octavam Corpus Christi 60 Corporis Christi 320 e. Sacred Heart of Jesus 965 e. Sacratissimi Cordis Jesu 34 Sunday within the Octave of Dominica infra Octavam Sacra- the Sacred Heart g80 tissimi Cordis Jesu 327 Fourth Sunday after Pentecost gg8 Dominica IV. post Pentecosten 330 ete. to: etc, to: Seventeenth Sunday after Dominica XVII. post Pente- Pentecost 1047 costen 365 Feria LV, Quat. Temp. Sept. 368 Feria VI. Quat. Temp. Sept. 370 Saturday in Ember Week8 of Sabato Quat. Temp. Sept. 371 September 1058 Eighteenth to Twenty-third Dominica XVIIL-XXII. post Sunday after Pentecost 1056 Pentecosten 372 As for the Sanctorale, a few general remarks will be sufficient. The nu- merous feasts for the Saints of the Roman Church are grouped under two categories, Common of Saints [1111-1302] and Proper of Saints [1903-1762]. The latter includes the feasts in honor of a specific Saint or, occasionally, two specific Saints, e.g., St. Andrew, St. Lawrence, SS. Peter and Paul, etc. In the early medieval books the feasts of the Lord as well as those of the Saints (then much fewer in number than now) were arranged together according to their succession during the year, and it was not until the thirteenth century that the groups were completely separated.? When this was done, some of the feasts of Saints were left in their original place, mainly those that occurred right after the Nativity, probably because their association with the Nativity was too close to be destroyed. To the present day the Proper of the Time includes five feasts of Saints: namely, St. 8 The Ember Weck of September is fixed to follow after the Feast of the Exaltation of the Holy Cross, on September 14. It may fall as early as after the Thirteenth Sunday after Pentecost. ® The normal arrangement in the early Mss is: (a) Advent to Septuagesima: Temporale and Sanctorale mixe (b) Septuagesima to Fifth Sunday after Easter: Temporale onl (2 Sanctorate from April 14 (Tiburtius and Valerius) to November go (St. Andrew Apostle), also Ascension and Pentecost; (@) Trinity Sunday to last Sunday after Pentecost: Temporale only. Sec the table of the liturgical year (from St. Gall 339) in Wagner Z, 280; also in Hesbert’s Antiphonale Missarum Sextuplex, pp. 2-197. The Structure of the Liturgy 3g Stephen on December 26 [414], St. John the Apostle on December 27 [421], Holy Innocents on December 28 [427], St. Thomas on December 29 [437], and St. Silvester on December 31 [440]. The Common of Saints gives the chants, prayers, etc., that are used for various Saints, these being grouped under categories such as Martyrs, Doc- tors, Virgins, Virgin Martyrs, etc. For instance, St, Jerome (8. Hieronymus) is a Doctor of the Church, and therefore the service for his feast is found in the Common of Doctors [1189], his name being inserted at the place marked N., as in the Antiphon, the Prayer, and the Collect.1° ‘The two corresponding sections in the Graduale are the Proprium Sanc- torum, starting on p. 3go after the Proprium de Tempore, and the Com- mune Sanctorum, starting on p. [1]. In the Antiphonale the three main sections are found on pp. 210f£ (Proprium de Tempore), 578i (Proprium Sanctorum), and [1]f (Commune Sanctorum). THE LITURGICAL DAY On any of the days of the liturgical calendar the service of divine wor- ship is organized according to a definite and nearly invariable plan, which we shall now consider. It will be best to describe this service first in its fullest form, as held on high feasts in great churches or monasteries, out- lining later the reductions that take place on other occasions and in other places, Eight times during the day a service for the offering of prayer and wor- ship is held. This is called the Divine Office (Officium divinum), Canonic Hours (horae canonicae, from canon, i.e., rule, law), or Office Hours. These are: Matins (matutinum): before sunrise Lauds (Jaudes): at sunrise Prime (ad primam horam) Terce (ad tertiam horam) Sext (ad sextam horam) None (ad nonam horam) Vespers (ad vesperam): at sunset . Compline (completorium): before retiring Sa She ee Prime, Terce, Sext, and None take their names from the old Roman calendar, in which the hours of the day were numbered from six in the morning (prima hora) to six in the afternoon (duodecima hora), so that mid-day was sexta hora. Naturally, the time when these Offices are held Varies somewhat with the seasons of the year. 10 Collect, ic., the prayer offered by the priest at Mass, so-called because it represents the collected prayers of all present.14 GREGORIAN CHANT The hours from Prime to None are called Little or Lesser Hours, be- cause of the greater simplicity of their services. Also the term Day Hours (horae diurnae) is used, properly, to denote all the Hours other than Matins, that is, from Lauds to Compline. The Office Hours were not instituted together at a given date, but de- veloped gradually during the first six centuries of the Christian era. The earliest was the Night Office, called Vigils (vigiliae, wakening), which had its origin in the custom of keeping watch the night before Easter, in ex- pectation of the reappearance of Christ. Later this custom was observed weekly, before cach Sunday, though no longer as a continuous gathering during the entire night. In the fourth century we find it divided into three separate Prayer Hours: one at sunset, when the lamps were lighted, and therefore called Jucernarium (lux, light); one after midnight; and one at sunrise, called laudes matutinae (morning praise). Eventually these re- ceived the names Vespers, Matins (subdivided into three Nocturns), and Lauds. Terce, Sext, and None originally had the character of private Prayer Hours, held in the family or in small groups. The Rule of St. Bene- dict, dating from c. 590, is the earliest document containing the complete course of all the eight Office Hours. In addition to the Office Hours, the daily ritual includes the Mass, which is of an entirely different character. The Office Hours are mainly occasions for prayer, similar to and, no doubt, partly derived from the prayer hours of the Jews. The Mass, on the other hand, is a service of distinctly Christian character, although it also incorporates elements of an ancient Jewish ritual.1 It is essentially the commemoration of the Sacrifice of Christ on the Cross, taking on the form of a mystic repetition of the Last Supper. Like the Last Supper, the Mass took place originally in the evening, was later shifted to the morning hours, and is now generally celebrated in the forenoon, between Terce and Sext. Originally called Eucharistia (Eucha- rist; Greek for “good grace”), it was later called Missa, a term derived from the words of the closing benediction, “Ite, missa est” (Depart, this is the dismissal), and used as early as 400 (St. Ambrose). Asan example of a full service, that of Corpus Christi may be examined. It contains First Vespers [917], Compline [917], Matins [g17], First Noc- turn [922], Second Nocturn [928], Third Nocturn [934], Lauds [939], Prime [942], Terce [942], Mass [943] followed by the Procession [950], Sext [955]. None [955], and Second Vespers [956]. Only a few other feasts, Na- tivity [364], Maundy Thursday [621], Good Friday [665], Holy Saturday [713], Easter [765], and Pentecost [862] have retained a service of similar completeness, All the others lack Matins, which, although one of the earliest and, together with the Mass, the most elaborate of the services, is now gen- erally celebrated without music, 1 Sce pp. gf. The Structure of the Liturgy 15 THE LITURGICAL BOOKS The division of the liturgy into Office and Mass is of fundamental im- portance in the structure of the chant, so much so that from the earliest time to the present day these two categories were assigned to different books. The chants for the Mass are contained in the Gradual (Graduale), those for the Office in the Antiphonal (Antiphonale). There are also two corresponding books containing the complete liturgical texts, of the musi- cal items as well as of the prayers, lessons from Scriptures, psalms, etc. These are the Missal (Missale) for the Mass, and the Breviary (Breviarium) for the Office. This arrangement in four books has great advantages from the practical point of view, but it makes it difficult to gain a clear insight into the over-all structure of the liturgical day. For this reason the Liber usualis (book for general use) was published in 1896 (revised editions 1903, 1934). This volume combines the main contents of the four books, giving the various items in their proper order as they occur during the day and the year. It also takes care of certain practical needs resulting from the fact that present-day choirs and singers often do not have the thorough training customary in earlier centuries. Thus the method of singing the Vesper psalms is indicated more clearly and in greater detail than is the case in the Antiphonal. It should be noticed, however, that the chants in the Liber do not tally in number with those of the Gradual and the Antiphonal, A brief glance at the indexes shows that in the Liber a considerable number of chants found in the other two books are omitted. Thus, the Gradual contains thirteen Tracts beginning with the letter A, the Liber only eight; the former fourteen Offertories beginning with the letter B, as against nine in the latter. The difference results from the omission, in the Liber, of a con- siderable number of services given in the Gradual and in the Antiphonal, mainly those for the Feria days of Lent and of the four Ember Weeks [see the table, pp. gff]. Particularly the Masses for these days are of great interest and importance because they belong to the oldest layer of the Gregorian repertory; they cannot be omitted in detailed studies such as appear later on in this book. Less consequential is the omission, in the Liber, of a number of Votive Masses, such as the Missa Voliva de Sancta Cruce (G [104]) and the one contra paganos (against the heathen; G [131]), and of most of the Masses pro aliquibus locis (for certain localities; G 1° *- 115%*)2 The Antiphonal gives the chants for all the Day Hours of the week, from Lauds of Sunday to Compline of Saturday (A 1-209), as well as for 1A Votive Mass is a Mass that may be celebrated on any day, usually upon the request of an individual; as for instance, in honor of his Patron Saint,16 GREGORIAN CHANT the Feasts of the Lord (A 210-576), of the Saints (4 578-931), and of the Common of Saints (4 [2]-[192]). In the Liber the ordinary weekdays are represented only by the Psalms of Vespers and Compline [280-316], and the service of Lauds is given only for some of the highest feasts, such as the Nativity [395] and Good Friday [689]. On the other hand, the Liber includes some very important chants not found in the Antiphonal, that is, those for Matins of certain of the highest feasts [see p. 14] as well as those for the Office for the Dead [1779]. The service of Matins differs considerably from that of all the other Office Hours (Day Hours). It includes two types of chant not encountered elsewhere, that is, the Invitatories and the Great Responsories. The latter in partic- ular are of the greatest importance in a study of Gregorian chant. The Liber includes a fair number of them, though not nearly enough to serve as a basis for a detailed investigation. For this one must turn to the medieval sources or, at least, to the Liber Responsorialis (LR; Solesmes, 1895), which contains the Night Service for a considerable number of feasts, according to the monastic rites. Yet another book containing ad- ditional chants of great interest is the Processionale Monasticum (PM; Solesmes, 1893), edited for the use of the French Benedictines who have preserved the medieval custom of solemn processions before the Masses for the greater Feasts of the Lord and of the Saints. Here again, the Responso- ries call for particular attention. Another special publication of great in- terest is C. Ott’s Offertoriale sive Versus Offertoriorum (1985), which contains the Offertories with their verses such as were still in use in the twelfth and thirteenth centuries. Because of their many special traits these verses cannot be omitted from a study of Gregorian chant. Yet other Re- sponsories can be found in a collection entitled Variae Preces (VP; So- lesmes, 1901), which is also useful as a source for Hymns, Antiphons, and Sequences not included in the standard publications, The rite of Rome has not been completely adopted by some of the monastic orders, such as the Benedictines, Cistercians, Dominicans, and Premonstratensians, who have retained their individual medieval tradi- tion. The Office Hours especially, as observed by them, differ from the Roman usage in many particulars, liturgically as well as musically. The chants of the Cistercians, Dominicans, and Premonstratensians are of little interest from our point of view, since they represent late versions of the Roman chant, dating from the twelfth or thirteenth centuries.2 Of no small importance, however, is the Antiphonale monasticum . . . ordinis Sancti Benedicti (AM), which was published in 1934 by the same Benedictine monks of Solesmes who prepared the books of the Roman usage. This often gives more authentic versions, particularly for the Hymns, and also 2See, eg., J. Borremans, Le Chant liturgique traditionel des Prémontrés (1914); D. Delalande, Le Graduel des Précheurs (1949). The Structure of the Liturgy 17 contains a number of Antiphons and Hymns not found in the standard publications.® ‘The Gradual and the Antiphonal appeared in various editions which differ in many details: 1, Liber Gradualis a Gregorio Magno olim ordinatus ... in usum Gon- gregationis Benedictinae . ., editus (Tournai, 1883). 2. Liber Gradualis juxta antiquorum codicum fidem restitutus ....editio altera (Solesmes, 1895). g- Graduale Sacrosanctae Romanae Ecclesiae de Tempore et de Sanctis SS. D. N. Pit X.... jussu restitutum et editum (Vatican Press, Rome, 1908). 4. Graduale [etc., as under 3.] et rhythmicis signis a Solesmensibus mo- nachis diligenter ornatum (Descléc et Gie., Tournai, 1908, 1924, 1945)+ 5. Antiphonale Sacrosanctae Romanae Ecclesiae pro diurnis horis SS. D. N. Pii X.... jussu restitutum et editum (Vatican Press, Rome, 1912). Antiphonale [etc., as under 5.] et rhythmicis signis a Solesmensibus monachis diligenter ornatum (Desclée et Cie., Tournai, 1949). ° Numbers g and 5 are known as the Vatican edition. Numbers 4 and 6 con- tain the “rhythmic signs” (episema, ictus, phrase marks, etc.) of Dom Mocquereau. All the other books were edited under the leadership of Dom Pothier. ORDINARY AND PROPER In our previous discussion of the liturgical day attention has been called to the division of the services into those of the Office Hours and those of the Mass. Another distinction, of almost equal importance, is that between Ordinary and Proper (Ordinarium, Proprium). This results from the fact that a great number of chants exist which can be, and are, used on many different occasions, and that there are also numerous others which are sung n only one specific occasion. Both types occur in the Office as well as in the Mass, so that there results a four-fold classification of the chants (and also, to a certain extent, of the spoken texts): Ordinary of the Office, Proper of the Office, Ordinary of the Mass, Proper of the Mass In the case of the Mass this distinction is well known and, indeed, of basic importance. Thus, the Kyrie belongs to the Ordinary of the Mass because it occurs in every Mass with the same text and with a limited num- ber of melodies which vary only according to certain general categories of feasts, The Introit, on the other hand, is an item of the Proper of the Mass, because each Mass has its own Introit with individual text and mel- 8 See J. Gajard, “Quelques précisions au sujet de I'Antiphonaire Monastique” (RG, XIX, 207); J. Jeanneteau, “L’Antiphonaire Monastique” (RG, XXXI, 209).