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.
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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