Reciting tone
In
Reciting tones in Gregorian chant
Regular psalm tones
Reciting tones occur in several parts of the
More complex patterns were used for the psalm tones, which are employed in the chanting of the
Two sets of tones are used for the "
The psalm verse and "Gloria Patri" (doxology) which are sung as part of the Introit (and optionally the Communion antiphon) of the Mass and of the greater responsories of the Office of Readings (Matins) and the reformed offices of Lauds and Vespers are also sung to similar sets of reciting tones that depend on the musical mode.[5]
Tonus peregrinus
In addition to the eight psalm tones associated with the eight musical modes, there is a ninth psalm tone called the tonus peregrinus, or "wandering tone", which uses a reciting tone of A for the first part of the psalm verse and a G for the second half. Although rarely used, it is not unique; early sources refer to tones called parapteres, which, like the tonus peregrinus, have different reciting tones in their first and second halves.[6]
Reciting tones in other chant traditions
Some traditions of
Among the Jews of Yemen, cantillation of the Torah follows a distinctive practice that may be of great antiquity.[8] Typical cantillation uses a system of signs, each of which represents a fixed musical motif.[8] Yemenite chant, however, uses a different set of motifs, which only affect the final words in phrases. All other words are sung to reciting tones.[8]
Notes
- ^ Hoppin 1978, p. 67.
- ^ Hiley 1995, pp. 47–48.
- ^ Frere, Jander & Cooke n.d.
- ^ Hoppin 1978, p. 82.
- ^ Hoppin 1978, p. 84.
- ^ Hiley 1995, p. 63.
- ^ Schuyler n.d.
- ^ a b c Sharvit n.d.
Sources
- Hiley, David (1995). Western Plainchant. Oxford: Clarendon Press. ISBN 0-19-816572-2.
- Grove Music Online.
- ISBN 0-393-09090-6.
- Schuyler, Philip (n.d.). "Morocco". In L. Macy (ed.). Grove Music Online.
- Sharvit, Uri (n.d.). "Jewish Music". In L. Macy (ed.). Grove Music Online.