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WESTERN LITURGIAS

WESTERN LITURGIAS

In the West, as in the East, the local churches were Relatively independent start. Although they shared, of course, a wide Of common practices, it is likely that each region of the West received the inheritance Eastern form in a slightly different form; These original differences, With particular local conditions, giving rise to various liturgies and distinct chanting bodies between the fifth and sixth centuries. 
   As time passes, most Local versions (the Ambrosian is one of the exceptions) disappeared or were absorbed By the uniform practice which had its central authority in Rome. 
   Between the The sixteenth and sixteenth centuries, in theory and practice, the liturgy of the western church was Romanizing more and more.
    During the seventh century and the beginning of the century saw the control of Western Europe Was divided between Lombardos, Francos and Goths, and each of these divisions Had his repertoire of songs. In Gaul - territory that corresponded, France - there was the Gallican song, in southern Italy, the Benavente, in Rome, the ancient Roman corner in Spain, the Visigothic or In the region of Milan, the Ambrosian. (England later developed Its dialect of the Gregorian chant, called sarum, and that subsisted of the end of the Age Average until the Reformation.).
   The Gallican liturgy, which included Celtic and Byzantine elements, was in force Between the Franks almost until the end of the century saw, when it was suppressed by Pepin and his son Charlemagne, who imposed Gregorian chant in their Areas. This liturgy has been so radically suppressed that little is known about it. 
   On the other hand, almost all the old Hispanic texts were conserved and the Their melodies, but in a notation that has defied all attempts to Transcription, because your system became obsolete before the song happened to be registered In tariff lines. Hispanic uses took definite form at the Council of Toledo of 633, and after the Muslim conquest of the century saw this liturgy received the Mozarabic, although there is no reason to assume Arab influence in the music. 
   The only Hispanic rite in 1071 was officially replaced by the Roman rite, And still today there remain some vestiges in certain churches of Toledo, Salamanca And Valladolid. 
   Musical affinities were found between the Ambrosian and And the corresponding category in Spain, called sacrificia.
   The ancient Roman canto is a repertoire that subsists in manuscripts of Rome Dates from the eleventh to the thirteenth centuries, but whose origins date back to the Least to century saw. 
   It is thought that this liturgy would represent an older use, which Persisted and continued to develop in Rome even after the repertoire of Gregorian, heavily impregnated with influences from the North, from the country of the Have spread throughout Europe. 
   The Frankish kingdom, founded by Charlemagne (742-814), Occupied the zone that now corresponds to France, Switzerland and the western part of Germany.
   What then were the melodies brought from Rome to free land? No one You can safely answer this question. The tones of the recitation, the tones of the Psalms, and some of the other simpler genera were very old and could have Been preserved practically intact since the earliest times; About thirty Or forty anti-melody melodies may have originated in the time of St. Gregory and Many of the most complete melodies - tracts, gradients, offerings, hallelujahs - Should have been used (perhaps in simpler versions) in Rome before Spread to the north; In addition, it is possible that some of the older melodies Were preserved in the manuscripts of the ancient Roman song. Be that as it may, We can deduce that in your new place of reception a large part, if not the Totality, of this imported music will have undergone modifications before finally being Registered in the form in which we find it today in the oldest manuscripts of the North. In addition, many new melodies and new forms of chanting have developed, Was in the North already after the ninth century. In short, practically the entire body of the Chant, as we know it today, comes from frank sources, Were based on Roman versions, with additions and corrections of responsibility Of local scribes and musicians.
   Since most manuscripts transmit a repertoire and a version Compiled and corrected in the Frankish kingdom, scholars were led to Believe that a good part of the chant was composed and took the definitive form in the centers Religious traditions of the North.
   However, recent comparisons between Ancient Roman and Roman era have reinforced the conviction that the ancient Roman Represents the original fund, which has only undergone slight changes when it is received In Gaul. 
   The chant of the most important frank manuscripts, in this Perspective, transmits the repertoire as it has been reorganized under the Of Pope Gregory (590-604) and of his important successor, Pope Vitaliano (657-672). 
   Because of the role that Gregory I was supposed to play In this process, this repertory was called Gregorian. After Carlos Magnus was crowned in 800 as head of the Holy Roman Empire, himself And his successors sought to impose this Gregorian repertoire and suppress the Several dialects of chanting, such as Celtic, Gallican, Mozarabic, Ambrosian, But have not been able to eliminate local uses altogether. 
   The monks of the Benedictine Abbey of Solesmes, France, organized in the nineteenth and twentieth centuries Fac-similadas and commented from the sources of the Gregorian chant in the series Paléografphie Musicale. 
   They also launched modern issues of chanting in pneumatic notation, Compiling it into separate volumes for each corner category; In 1903 the Pope Pio X conferred on this work the status of official edition of the Vatican. 
   With the Mass in the vernacular by the Second Vatican Council (1962-1965), these books Very little used in modern religious services and Regularly reissued.
   The most important center of the western church following Rome was Milan, a city Flourishing linked to Byzantium and the East by very strong cultural ties; was the Residence of the emperors of the West in the fourth century and later came to be The capital of the Lombard kingdom in northern Italy, which had its period of flourishing between 568 and 744. From 374 to 397 was bishop of Milan St. 
   Ambrose, to whom The introduction of psalmody into responsory in the West. Pope Celestine I, -A later in Mass in Rome. Given the importance of Milan and the energy and The personal reputation of St. 
   Ambrose, the Milanese liturgy and music exercised a Strong influence not only in France and Spain, but also in Rome. 
   The songs of Milanese rite came later to be recognized by ambrosiano corner, although it is Doubtful that some of the music that has come to us date the time of the Holy One himself Ambrósio. The Ambrosian liturgy, with its full body of songs, To a certain extent in Milan to this day, although there have been Attempts to suppress it. Many of the songs, in their present form, are similar Those of the Church of Rome, indicating either an exchange or an evolution, from From a common source. 
   In cases where there are two versions of the same melody, when This is of an ornate type (as, for example, an alleluia), ambrosiana is, generally, More elaborate than the Roman one; The most deprived type (as a Psalm), the Ambrosian is simpler than the Roman.

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