Inside the Offertory: Aspects of Chronology and Transmission

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Its elaborate solo verses are among the most splendid of chant melodies, yet the verses ceased to be performed in the twelfth and thirteenth centuries, making them among the least known and studied members of the repertory. Rebecca Maloy now offers the first comprehensive investigation of the offertory, drawing upon its music, texts, and liturgical history to shed new light on its origins and chronology.

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Maloy addresses issues that are at the very heart of chant scholarship, such as the relationship between the Gregorian and Old Roman melodies, the nature of oral transmission, the presence of non-Roman pieces in the Gregorian repertory, and the influence of theoretical thought on the transmission of the melodies.

Although the Old Roman chant versions were not recorded in writing until the eleventh century, it has long been assumed that they closely reflect the eighth-century state of the melodies. Maloy illustrates, however, that rather than preserving a pristine earlier version of the melodies, the prolonged period of oral transmission from the eighth to the eleventh centuries instead enforced a formulaic trend. Demonstrating that certain musical and textual traits of the offertory are distributed in distinct patterns by liturgical season, she outlines new chronological layers within the repertory, and along the way, explores the presence and implications of foreign imports into the Roman and Gregorian repertories.

Carefully weighing questions surrounding the origins of elaborate verse melodies, Maloy deftly establishes that these melodies reached their final form at a relatively late date. Available for the first time as a complete critical edition, ninety-four Gregorian and Old Roman offertories are presented on a companion website in transcriptions which readers can view side-by-side.

The book also provides music examples and essays that elucidate these transcriptions with significant insights into their similarities and differences. Inside the Offertory will be an important and longstanding resource for all students and scholars of early liturgical music, as well as performers of early music and medievalists interested in music. Toon meer Toon minder. Recensie s This is a book that inspires confidence from the outset It should be noted that the Easter invitatory was sung not from LU and but from MH and Based on a two-year series of radio programs, this was the first of CDs illustrating a millennium of music down to Review of vol.

This discusses polyphonic works such as Masses and Vespers recorded in the context of liturgical chant. Additional records have been added to the database here.

Weber, "Gregorian Chant," in Classical Music , ed. Alexander J.

Music and Letters

Morin San Francisco, Backbeat Books, , Some terminology in this article would need correction today. A dozen additional short articles cover Medieval and Renaissance composers.

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Search: OMC. This extensive article, though marred by some errors, surveyed much of recorded chant through the years, and its discussion of the Vatican Congress recordings of occasioned the reissue of the set on the Discant label. Search: OFFV. These two books trace the history of Old Roman and Gregorian tracts.

James W.

Search: GRAD. Search: ALLE. This is the definitive treatment of the subject. The Italian edition, Il Canto Beneventano: edizione aggiornata , versione italiana e revisione a cura di Alessandro De Lilli Lugano, brings the subject up to date. To participate in the discussions on Catholic church music, sign in or register as a forum member, The forum is a project of the Church Music Association of America.

Discussions Activity Sign In. EvaS July Posts: That's the way I've been presenting the Offertory music in the last few years. Recently, I've been asked to change the order at the principal Mass so the chanting is done later, accompanying the incensation. How do you feel about this?

Offertory’s Origins – Theopolis Institute

Paul F. Ford July Posts: Thanked by 5 melofluent noel jones, aago Andrew Malton Marc Cerisier canadash. In the EF the Offertory Proper needs to be sung before a motet. For the O.

Inside the Offertory: Aspects of Chronology and Transmission

Liam July Posts: 3, In the OF, there is no such rule. If there is music, the formulas of blessing the ones to which the people respond, Blessed be God forever are to be said quietly - they are only supposed to be said aloud if there is no music GIRM , an instruction that is not necessarily reliably followed. Thanked by 2 tomjaw Carol. Jackson Osborn July Posts: 6, Antiphon first Anthem-Motet or Hymn second But Paul has a very interesting and compelling observation.

Translation of «offertory» into 25 languages

And, as Antiphons and Responsories are two entirely different things, as are antiphonal psalmody and responsorial psalmody, this is an important distinction to make. My first thought: I don't like it. I think the proper should be sung first, and then "extra" music. My second thought: I suppose this could be more flexible. Maybe it'd be okay Andrew Malton July Posts: We have been singing the hymn first and then the proper antiphon.

There are several reasons why this works better.