Some Questions Answered
Some very quick answers to questions posed by Patrick Williams.
“Is it not true that prohibiting or suspecting the extraordinary form can only be inspired by the demon who desires our suffocation and spiritual death?” —The Vatican’s chief liturgist from 2014-2021; interview with Edw. Pentin (23-Sep-2019)
Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as organist and director of music at St. Mary’s Church in Norwalk, Connecticut. His research interests include the history of music theory and the theory of plainchant rhythm. He lives in Connecticut with his wife and four children.—Read full biography (with photographs).
The better the voice is, the meeter it is to honour and serve God therewith: and the voice of man is chiefly to be employed to that end.
“I find Anerio’s work here to be excellent, and I hope you do as well.” —Dr. Charles Weaver
Readers interested in different stylistic approaches to Gregorian chant may enjoy this interview with the singer Bruno de Labriolle, who directs the schola of Saint-Bruno-des-Chartreux in Lyon. The views on chant and liturgy aired in the interview aren’t exactly the same as those of any of our contributors, but I personally find this group’s performances, in […]
Did you know that St. Augustine described the sound of one hand clapping?
“Nothing so arouses the soul, gives it wing, sets it free from the earth, releases it from the prison of the body, teaches it to love wisdom, and to condemn all the things of this life, as concordant melody and sacred song composed in rhythm.” —St. John Chrysostom
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.
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.
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