The implications/consequences of the theories proposed throughout the investigation are summarised at the end of the work, and correspond to some of the types of current chant scholarship and contemporary performance practice. Gregorian melodies are traditionally written using neumes, an early form of musical. Kenneth Levy - musicologist, Gregorian Chant and the Carolingians.
GREGORIAN CHANT MANUSCRIPTS ARCHIVE
It was the product of a long and concerted effort initiated by Pope Gregory XIII in 1577 to reform the musical settings of liturgical texts and to rid the melodies of certain perceived barbarisms that had crept into sacred music over the centuries. When a large number of manuscripts of various epochs and from different countries. Over 400.000 ancient manuscript images will be scanned and digitised from the Solesmes archive and made available for musicological study through Oxfords DIAMM. Cantus Database is a part of the Cantus Index network of manuscript databases. The Editio Medicea, the revised edition of Gregorian chant, was published in Rome in 1614. Although the tradition proclaims him as the composer of chant, historical scholarship shows rather that he served as the great link between the early Church and the Middle Ages.
The thesis incorporates post-modern/post-structural ideas developed by eminent philosopher Jacques Derrida, and comprise the concepts of play, différance, iterability, undecidability and supplementarity, which, during the course of the work, are deeply embodied in the musical realm that is the subject of the present work. The chants can be sung by using six-note patterns called hexachords. New phases of the project include adding chant melodies to existing records and indexing other types of chant manuscripts, including processionals, pontificals, and sources that contain sequences. Gregorian chant takes it name from Pope St. The purpose of this thesis is to review some of the concepts that are at the foundation of Gregorian chant scholarship – particularly those related to the notion of formula and concepts closely related to it, such as that of variant, identity, the oral and the written in chant transmission and the concept of meaning – and to propose a radical view that presents us with a different way of interpreting the extant evidence: one that sees the manuscripts as an opening of re-presentation, as an active and continuous process of change and innovation.
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