See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

PLAIN See also:

• SONG

SONG, or PLAIN See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

CHANT (Gregorian See also:

• MUSIC

Music; See also:

• LAT

Lat. cant us planus; Ital. See also:

• CANTO (from the Lat. cantus, a song)

canto gregoriano; Fr. plain chant)  , a See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of unisonous See also:

• MUSIC

music, easily recognizable by certain strongly marked characteristics, some very See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient fragments of which are believed to have been in use under the Jewish See also:

• DISPENSATION

dispensation from a remote See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, and to have been thence transferred to the See also:

• RITUAL (from Lat. ritus, a custom, especially a religious rite or custom)

ritual of the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church . The theories advanced as to the origin of this See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn See also:

• FORM (Lat. forma)

form of ecclesiastical music are innumerable . The most widely spread See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion is that the older portion of it originated with the See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

Psalms themselves, or at least sprang from the later See also:

• SYNAGOGUE (avvaywyii)
• SYNAGOGUE, UNITED

synagogue music . Another theory traces the origin of See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain See also:

• SONG

song to the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Greeks; and the supporters of this view See also:

• LAY

lay much stress on the fact that the scales in which its melodies are composed are named after the old See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek " modes.” But, beyond the name, no connexion whatever exists between the two tonalities . Less reasonable hypotheses attribute the origin of the plain song to the Phoenicians, to the Egyptians, to the early Christian converts, and to the musicians of the See also:

• MIDDLE

middle ages . II Towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the 4th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century See also:

• AMBROSE (AMBROISE), AUTPERT (d.' 778)
• AMBROSE (ANDREY SERTIS-KAMENSKIY) (1708-1771)
• AMBROSE (fl. 119o)
• AMBROSE, ISAAC (1604-1663/4)
• AMBROSE, SAINT (c. 340-307)

Ambrose of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, fearing the loss or corruption of the See also:

• VENERABLE (Lat. venerabilis, worthy of reverence, venerari, to reverence, to worship, allied to Venus, love; the Indo-Germ. root is wen-, to desire, whence Eng. " win, properly to struggle for, hence to gain)

venerable melodies which had been preserved by means of oral tradition only, endeavoured to restore them to their See also:

• PRIMITIVE

primitive purity, and to See also:

• TEACH [THATCH OR THACH], EDWARD (d. 1718)

teach the See also:

• CLERGY (M.E. clergie, O. Fr. clergie, from Low Lat. form clericia [Skean, by assimilation with O. Fr. clergie, Fr. clerge,from Low Lat. clericatus)
• CLERGY, BENEFIT OF

clergy to sing them with greater precision . A still more extensive See also:

• WORK

work of the same nature was undertaken, two centuries later, by See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• GREGORY
• GREGORY (Gregorius)
• GREGORY (Grigorii) GRIGORIEVICH ORLOV, COUNT (1734-1783)
• GREGORY, EDWARD JOHN (1850-19o9)
• GREGORY, OLINTHUS GILBERT (1774—1841)
• GREGORY, ST (c. 213-C. 270)
• GREGORY, ST, OF NAZIANZUS (329–389)
• GREGORY, ST, OF NYSSA (c.331—c. 396)
• GREGORY, ST, OF TOURS (538-594)

Gregory the See also:

• GREAT

Great . And thus arose two See also:

• SCHOOLS

schools of ecclesiastical music, still known as the " Ambrosian " and the " Gregorian See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant "—the first of which is practised only in the See also:

• DIOCESE (formed on Fr. diocese, in place of the Eng. form diocess—current until the 19th century—from Lat. dioecesis, med. Lat. variant diocesis, from Gr. Swucio•tc, " house-keeping," " administration," &miceas, " to keep house," " to govern ")

diocese of Milan, while the latter is universally accepted as the authorized " See also:

• ROMAN

Roman use." In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to explain the essential See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences between these two schools, we must describe in detail some of the See also:

• PECULIAR

peculiar characteristics of plain song . The melodies which form the repertoire of plain chant are not written in See also:

• MODERN

modern See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major and See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor scales, but in certain tonalities bearing names analogous to those of the early Greek "modes," though constructed on very different principles . Of these " modes," fourteen exist in theory, though twelve only are in See also:

• PRACTICAL

practical use . The intervals of each " mode " are derived from a fundamental See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, called its " final." 1 The See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass of each mode comprises eight sounds— that of the first, third, fifth, seventh, ninth, See also:

• ELEVENTH

eleventh and thirteenth " modes " extending to the See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave above the " final," and that of the second, See also:

• FOURTH

fourth, See also:

• SIXTH

sixth, eighth, tenth, twelfth and fourteenth extending from the fourth See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note below the final to the fifth note above it . Consequently, the " finals " of the first See also:

• SERIES (a Latin word from serere, to join)

series, called the " See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic modes," occupy the lowest See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in each See also:

• SYSTEM

system of sounds, and those of the second series, called the "plagal modes," the middle place—the same " final " being See also:

• COMMON

common to one " authentic " and one " plagal mode." The following table exhibits the entire system, expressed in the alphabetical notation peculiar to modern See also:

• ENGLISH

English music—the " final " being indicated in each See also:

• CASE
• CASE, JOHN (d. 1600)

case by an See also:

• ASTERISK (from Gr. oo-repicreos, a little star)

asterisk, and the position of the semitones, from which each mode derives its distinctive See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, by brackets .

Plagat Modes . 2 . Hypodorian, A, C, *D, E, , G, A . 4• HYPophrygian, B, D, *E, F , G, A, B . 6 . Hypolydian, C, D, E,**F, G, A, B, 8 . Hypomixolydian, D, E F*G,A,B C, D. ro . Hypoaeolian, E, F, G, *A, B, C, D, E . 12 . Hypolocrisn, F, G, A,*B, , D, E, 14 . Hypoionian, G, A, B, D, E F, G . Nos .

1t and t2 in this series are rejected, for technical reasons into which we have not space to enter ; they are practically useless ? Of these modes Ambrose used four only—the first four " authentic modes," now numbered r, 3, 5 and 7 . Gregory acknowledged, and is said by some historians of See also:

• CREDIT (Lat. credere, to believe)

credit to have invented, the first four " plagal modes "—Nos . 2, 4, 6 and 8 . The use of the remaining " modes," except perhaps the ninth, was not formally authorized until the reign of See also:

• CHARLEMAGNE [CHARLES THE GREAT] (c. 742-814)
• CHARLEMAGNE, JEAN ARMAND (1753–1838)

Charlemagne, who published an See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official decision upon the subject . In one or other of the twelve " modes " recognized by this decision every plain-chant See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody is composed . The number of such melodies preserved to us, the genuineness of which is undoubted, is very large; and the collection is divided into several distinct classes, the most important of which are the melodies proper to the See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

Psalm-Tones and Antiphons; the Ordinarium Missae, the Introits, Graduals and Offertoria; the Praefationes, Versiculi and Responsoria; the See also:

• HYMNS

Hymns and Sequences; and the Lamentationes, Exultet and other music used in See also:

• HOLY

Holy See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week . Of these classes the most interesting by far is that which includes the psalm-tones, or psalm-tunes, called by modern English historians, the " Gregorian tones." The See also:

• OLDEST

oldest of these are tones r, 3, 5 and 7, as sung by Ambrose . The antiquity of tones 2, 4, 6 and 8 is less firmly established, though there is no doubt that Gregory the Great sanctioned their use on strong traditional See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence . In addition to these, a peculiarly beautiful melody in mode 9, known as the Tonus peregrinvus, has been sung from See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time immemorial only to the psalm In exitu See also:

• ISRAEL (Hebrew for " God strives " or " rules "; see Gen. xxxii. 28; and the allusion in Hosea xii. 4)

Israel . 1 Analogous to the tonic or See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key-note of the modern See also:

• SCALE
• SCALE (1) A

scale . For See also:

• FULLER, ANDREW (1954-1815)
• FULLER, GEORGE (1822—1884)
• FULLER, M
• FULLER, MARGARET, MARCHIONESS
• FULLER, MELVILLE WESTON (1833-1910)
• FULLER, THOMAS (16o8-1661)
• FULLER, WILLIAM (1670--c. 1717)

fuller See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information on the subject see the See also:

• ARTICLE (from Lat. articulus, a joint)

article " Modes," in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary of Music .

The oldest version of this melody now extant is undoubtedly to a certain extent impure; but tradition imputes to it a very high antiquity, and even our doubts as to the authenticity of the now generally accepted See also:

• READING

reading extend only to one single note . A widely accepted tradition points out this melody as the tune sung to In exitu Israel, as See also:

• PART

part of the Great See also:

• HALLEL (Heb. 5;7 a Mishnic derivative from 5? hillel, " to praise ")

Hallel (see PSALMS), which is generally (but hardly rightly) identified with the hymn sung by See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and His apostles immediately after the Last Supper . One very powerful See also:

• ARGUMENT

argument in favour of the Jewish origin of the psalm-tones lies in the peculiarity of their construction . It is impossible to ignore the perfect See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of these venerable melodies to the See also:

• LAWS

laws of See also:

• HEBREW

Hebrew See also:

• POETRY

poetry, as opposed to those which governed Greek and Latin See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse . The See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division of the tune into two distinct strains, exactly balancing each other, points assuredly to the intention of singing it to the two contrasted phrases which, inseparable from the constitution of a Hebrew verse, find no place in any later form of poetry . And it is very remarkable that this constructional peculiarity was never imitated, either in the earliest hymns or antiphons we possess or in those of the middle ages—evidently because it was found impossible to adapt it to any See also:

• MEDIEVAL

medieval form of verse—even to the Te Deum, which, though a See also:

• MANIFEST (Lat. manifestus, clear, open to view)

manifest See also:

• REPRODUCTION

reproduction of the Hebrew psalm, was adapted by Ambrose to a melody of very different formation, and naturally so since so many of its phrases consist of a single clause only, balanced in the following verse . This peculiarity now passes for the most part unnoticed; and the Te Deum is constantly sung to a psalm-See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, very much to the detriment of both . But in the middle ages this abuse was unknown; and so it came to pass that, until the " School of the Restoration " gave See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth, in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, to the single chant, avowedly built upon the lines of its Gregorian predecessor, and a somewhat later period to the See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double one, so constructed as to weld two verses of the psalm into one, often with utter disregard to the sense of the words, the venerable psalm-tones stood quite alone—the only melodies in existence to which the psalms could be chanted . And so intimate is the adaptation of these plain-chant melodies to the See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm as well as to the sense of the sacred See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text, even after its See also:

• TRANSLATION

translation into more modern See also:

• LANGUAGES

languages, so strongly do they See also:

• SWING, DAVID (1830-1894)

swing with the one and emphasize the other, that it is difficult to believe that the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of the music was not coeval with that of the poetry . Next in antiquity to the psalm-tones are the melodies adapted to the antiphons, the offertoria, the graduals and the introits, sung at High See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass . Those proper to the Ordinarium missae are probably of later date . Those belonging to hymns and sequences are of all ages .

Among the latest we possess—perhaps the very latest of any great importance—is that of Lauds See also:

• SION [Ger. Sitten]

Sion, a very See also:

• FINE

fine one, in modes 7 and 8, adapted to the celebrated sequence written by See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• AQUINAS, THOMAS [Thomas of AQUIN or AQUINO], (c 1227--1274)

Aquinas about 1261 . To the melodies adapted to the See also:

• LAMENTATIONS (Lamentations of Jeremiah)

Lamentations and the Exullet, as sung in the Church of See also:

• ROME
• ROME (Roma)

Rome during Holy Week, it is absolutely impossible to assign any date at all . All we know is that they are of extreme antiquity, and beautiful beyond all description . The melody of Exultet is, indeed, very frequently cited as the finest example of plain song in existence . To assert that melodies so old as these have been handed down to us in their See also:

• ORIGINAL

original purity would be absurd . But the presence of corruption rarely passes undetected by the initiated; and vigorous efforts have been made from time to time to purify the received text by reference to the oldest and most trustworthy See also:

• MSS

MSS. attainable . Such an effort was begun on a very extensive scale by the " See also:

• CONGREGATION (Lat. congregatio, a gathering together, from cum, with, grex, gregis, a flock, herd)

Congregation of See also:

• RITES

Rites," at the instigation of Pope See also:

• PIUS

Pius IX., in the See also:

• YEAR

year 1868; and the labours of that learned See also:

• BODY

body, together with those of the monks of See also:

• SOLESMES

Solesmes and else-where, have done much towards the restoration of plain chant to the highest See also:

• STATE
• STATE, GREAT OFFICERS OF

state of purity possible . In England the Plain-Song and Medieval Music Society, founded in 1888, has also done valuable work by its publications . (W . S .