""... so that the actual durations are, perhaps, 1.75, 0.25, and 1. ... so that 1.66 + 0.34 + 1 and 1.85 + 0.15 + 1 are both perceived by the ear as interpretations approximately equal to 1.75 + 0.25 + 1, as long as the total duration of the…"
"Metrical syncopations happen in the Antiphons. I am highly suspicious of rhythmic-level syncopations, i.e. syncopations between downbeats, and I do not believe they exist in Gregorian chant, at least not as the norm. Notice the seeming…"
"Concerning the Micrologus:
"Tenor" in Guido's own usage is the duration of any note, not just the end of a phrase. (I will address "ultimae vocis mora" later in this post.) Also from Guido:
The divisions in this sentence are…"
"Alasdair, I do not see the discrepancy you see between the Commemoratio brevis and the performance tradition. My replies to each of your points:
Given all of my above clarifications, I believe such a performance-practice is not only true but…"
"One can further argue that it is not the norm for communal Christian chant to allow pitches of intermediate metrical values to knock the regularity of the rhythm off kilter such that a regular rhythm is no longer to be heard; that it is the norm to…"
"Indeed. But it need not necessarily be found in every oral practice. The note is "superfluous" in that its absence does not affect the rhythm in any substantial way. It can be omitted, and the melody sounds the same. Because of this, its…"
"A/the tenor, that is, the 'mora' of the last note - which, however small it is in a syllable, is larger in a part and longest in a distinction - is a sign of division in these. And so it is necessary that the melody should be clapped as if…"
""I have never thought of liquescence as being particularly connected either with melody transmission or consonant clusters, as you mention in point3."
Case 1: If you have heard "Ad te levavi" or a similar figure only ever sung…"
"I am grateful to Solesmes for its efforts, to the early mensuralists for theirs, to Vollaerts for his, and to the semiologists for theirs, but I find Jan van Biezen's metered-rhythm theory to surpass them all in scientific accuracy and…"
"My observations on the aforementioned examples of notae debiles.
1. Communion Jerusalem (Graduale Triplex, p. 370).
The 'l' in Jerusalem is a small consonant cluster, and moreover a liquid consonant, allowing for the second note of the…"
Thank you for your continued recordings. With each recording, your rhythm is growing closer to my view.
Excellent point on the Baroque. Recently I read a similar discussion on controversy over Bach's intended meaning of the…"
Do be aware that the Early Medieval theorists prior to 1050, who can rightfully be called the "fathers" of Latin chant, were unanimous in upholding the Church's tradition of "mensuration", called in Latin…"
"Ensemble Organum's music sounds good because of its pan-cultural "ethos" or character of Orthodox chant. It sounds masculine, ancient, and beautiful. You can attribute that quality partly to the melody itself (minus the…"
"I saw a few of Arnold van Teuling's transcriptions of the Offertories. There is much room for improvement, but I must say it is a good start.
Meanwhile, Prof. Ricossa, please continue with your recordings. However, if you don't mind, I…"
Grégorien, Ars antiqua, Vieux-Romain, Ambrosien, Théorie musicale, Manuscrits (paléographie)
Présentation: travaux et (ou) intérêts (Presentation: works and (or) interests)
I have a profound interest in finding the authentic performance of Gregorian, Old Roman, and Ambrosian: namely discovering the right rhythm and melodic corrections, making sense of the paleography, ascertaining why certain deviations appeared in the Carolingian and Italian transmissions, parsing a correct interpretation of the Latin Theorists, and determining how best to depict the authentic chant in modern musical notations. To date, no satisfactory unified 'theory' over all the aforementioned has been made.
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