A proposal: if we are going to study something as important and mysterious as Gregorian chant, we ought to be able to perform it convincingly in several different ways.
Dom Mocquereau’s editions are a compromise between tradition and paleography. This explains his sometimes surprising semiological conclusions.
You should memorize this list.
The beginnings of a response to mensuralism from the classic Solesmes point of view.
Every Gregorian melody is a precious gift, and every time we meet a melody again, we have a chance to consider some new aspect.
I recently appeared on Square Notes, the Sacred Music Podcast to discuss some of the basics of Dom Mocquereau’s system of Gregorian rhythm. It’s impossible to give a full treatment to such a complex topic in a mere forty minutes, but I touched on a lot of the foundational ideas, with especial emphasis on the […]
We should define our terms. What makes a syllable accented, and what makes an accent a tonic accent?
There’s nothing necessarily authentic about the “authentic” rhythm.
A brief historical survey of free rhythm in plainchant, as practiced from the modern monastic foundation of Solesmes (1833) to the present.
A few further thoughts on what ways of singing chant are “allowed.”
Ostrowski, wishing to avoid fussiness, may justifiably refuse this invitation. But to argue, as he has, that these signs and the prayerful and aesthetic movements they embody are “illicit” is just wildly off the mark.
Announcing a concert next Saturday in honor of Christ the King.
Are we even singing the Solesmes rhythm at all?
What can medieval and renaissance music pedagogy offer to us now?
What happened to all that polyphony once Catholicism became illegal?