The research on gregorian chant before and after the Cardine’s Semiology
DOI:
https://doi.org/10.15633/pms.3490Keywords:
gregorian chant XIX–XX century, restoration of chant, Solesmes Paleógraphie Musicale, Vatican edition, Gregorian SemiologyAbstract
The research on gregorian chant from the middle of the 19th century had their protagonists
mainly in some of the Solesmes monks, but not without polemics. After the
St. Pius X motu roprio, and the new Vatican edition, the Solesmes style and Methode…
was spread everywhere, but some voices, from the own monastery, claimed for a new
approach to the musical writing: the neumes. Dom Cardine’s Semiology was the science
created to answer some of the the lacks of the Mocquereau’s theories. In this paper I’ll
try to show a little history of the previous works to the Cardine’s Semiology, specially the
Cardine’s own works developed from the previous researches of the Paléographie musicale.
References
Bergeron K., Decadent Enchantments. The Revival of Gregorian Chant at Solesmes, Berkeley
Cardine E., L’édition critique du graduel. Nécessité, avantages, method, „Revue Grégorienne”
(1950) 29.
Cardine E., Signification de la désagrégation terminale, „Revue Grégorienne” (1952) 31,
s. 55–65.
Cardine E., Paroles et mélodie dans le chant grégorien, „Bollettino degli amici del PIMS”
(1954) 6/3, s. 1–9.
Cardine E., Neumes et rythme, w: Actes du 3e Congrés International de Musique Sacrée, (Paris,
juillet 1957), Paris 1959, s. 264–276.
Cardine E., Preuves graphiques du príncipe des “coupures” dans les neumes”, „Études Grégoriennes” (1961) 4, s. 43–54 et 6 planches.
Cardine E., Graduale neumé, Solesmes 1966.
Cardine E., Paleografia gregoriana, 1, Note raccolte dalle lezioni tenute da dom Eugène Cardine,Rome 1967.
Cardine E., Semiologia gregoriana, Rome 1968.
Cardine E., Primo anno di canto gregoriano, Rome 1970.
Cardine E., Les limites de la sémiologie en chant grégorien, „Études Grégoriennes” (1989) 23, s. 5–10.
Combe P., Histoire de la Restauration du Chant Grégorien d’après des Documents Inédits. Solesmes et l’Édition Vaticana Solesmes 1969.
Gontier A., Méthode raisonnée de plain-chant, Le Mans 1859.
González Barrionuevo H., Relación entre la notación mozárabe de tipo vertical y otras escrituras neumáticas, „Studi Gregoriani” (1995) 11, s. 5–112.
Graduale Triplex, Solesmes 1979.
Guéranger P., Institutions Liturgiques, vol. I, Paris–Bruxelles 1840.
Fonti e paleografia del canto ambrosiano, ed. M. Huglo, L. Agustoni, E. Cardine, E. Moneta-Caglio, Milano 1956 (Archivio Ambrosiano, 7).
Jeannin J., Études sur le rhytme grégorien, Lyon 1925.
Jeannin J., Rhytme Grégorien, Réponse à Dom Mocquereau, Lyon 1927.
Mocquereau A., Examen des critiques dirigéés par Dom Jeannin contre l’École de Solesmes, Solesmes 1926.
Paléographie musicale. Les Mélodies Liturgiques ou recueil de Fac-similés phototypiques des principaux manuscrits de chant grégorien, ambrosien, gallican, mozárabe, avec préface explicative publiée par les Révérends Pères Bénédictins de l’Abbaje de Solesmes, Solesmes 1888.
Pothier J., Les Mélodies Grégoriennes d’après la tradition, Solesmes 1880.
Pothier J., Liber Gradualis, Solesmes 1883.
Pothier J., Directorium Chori, Solesmes 1884.
Wagner P., Einfhrung in Die Gregorianischen Melodien, 3 vols. Leipzig 1911–1921.
Wollaerts J. A., Rhytmic Proportions in Early Medieval Eclesiastical Chant, Leiden 1956 (2ª ed. 1960).
Downloads
Published
Issue
Section
License
The author declares that he/she owns the copyrights to the work and that they are not limited in the scope covered by this declaration, and that the work is an original work and does not violate the copyrights of others.
The author permits the Pontifical University of John Paul II in Cracow to use the work free of charge, non-exclusively and indefinitely, that is:
- to record and reproduce: produce copies of the work by printing, reprography, magnetic recording and recording with the digital technique;
- to circulate the original or copies on which the work has been recorded (to introduce into circulation, lend or hire of the original or copies, public exhibition, display as well as make the work available to the public in such a manner that everyone can have access to it in a place and at a time of their choice);
- to include the paper in a collective work;
- to grant the Creative Commons Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Poland sublicense by Pontifical University of John Paul II in Cracow
The Pontifical University of John Paul II in Cracow makes the work available on the University's Periodicals Platform owned by the University under the Creative Commons Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska licence. This entitles all interested parties to use the work under the following conditions:
- the author and title of the work will be presented,
- the place of publication (the title of the magazine and the URL of the original work published)will be indicated,
- the work will be distributed in a non-commercial manner,
- no derivative works will be created.
