About this blogger:
A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.
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Two pages of modal exercises reflect Liszt’s lively theoretical curiosity. On those pages he analysed the construction, transpositions, and “points of repose” of several modes, copied out several types of tetrachords, and jotted down several definitions of the effects and characters of certain modes. {…} Modality was not the only element of Gregorian chant that intrigued Liszt. Rhythm too was the object of his “studies.” He also copied out plainchant melodies using modern instead of square notation. In his letter from July 24, 1860, to Carolyne, Liszt refers to the necessity of this “modern” practice.
— Nicolas Dufetel on Franz Liszt's interest in plainsong

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PDF Download: Notre Dame Hymn Tune Book (1905)
published 13 January 2015 by Jeff Ostrowski

452 Notre Dame Hymn Book BELIEVE that we can disagree without being disagreeable. Let me be honest: I’m not a fan of most of the hymns in this rare book from 1905. I dislike many of the tunes and most of the texts. Moreover, the scarcity of attributions is appalling. However, it’s very important from a historical point of view:

      * *  PDF: Notre Dame Hymn Book (1905)

The text/melody pairings are also remarkable. For example, to the tunes for “Hark, The Herald Angels Sing” and “O Come, O Come Emmanuel” they have set odd words.

I find many of these texts so saccharine! At the same time, perhaps Catholics 100 years ago were (somehow) brought closer to our Lord by these texts. In that sense, who am I to condemn them? However, as you can see here, the Irish Ecclesiastical Record didn’t mince words.

The Notre Dame Hymn Book • Compiled and arranged in 1905 by Frank Birtchnell & Moir Brown.