Mattias Lundberg investigates the historical role of a deviant psalm-tone, the tonus peregrinus, focusing on its applications in polyphonic music within all major branches of Western liturgy. Throughout the remarkably persistent tradition of applying this melody to polyphony, from the ninth century right up to the twenty-first, coeval music theory is able to shed light on the problems it has posed to modal and tonal practice at various historical stages. The musical settings studied hold up a mirror to the general development of psalmody, concerning practices of organum, diverse regional forms of fauxbourdon, cantus firmus composition, free imitation, parody, fugue, quodlibet, monody, and many other compositional techniques where the unique features of the psalm-tone have necessitated modification of existing practices. The conclusions drawn reveal a musico-liturgical tradition that was not in real danger of extinction until the general decline of Western liturgy that followed in the eighteenth century, at which point the historiography of the tonus peregrinus became a factor stimulating scholarly and musical interest in its alleged pre-Christian origins. Lundberg demonstrates that the succession of works based on the tonus peregrinus often preserved a distinctly conservative musical and theological conception even during periods of drastic liturgical reform.

After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, Hiley provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. It will be an indispensable introduction and reference source on this important music for many years to come.

The Miserere by Italian composer Gregorio Allegri (1582-1652) is one of the most popular, oft performed and recorded choral pieces of late Renaissance/early Baroque music. Yet the piece known today bears little resemblanceto Allegri's original or to the piece as it was performed before 1870.

Interest in Gregorian chant has always been alive among musicologists and those devoted to preserving early church music in all its haunting simplicity. Willi Apel's extensive survey of the chant describes the evolutionary processes of its long history as well as its definition and terminology, the structure of the liturgy, the texts, the notation, the rhythm, the tonality, and the methods and forms of psalmody. Under the heading "Stylistic Analysis" it offers chapters on liturgical recitative, the free compositions according to types, Ambrosian chant (by Roy Jesson), and Old-Roman chant (by Robert J. Snow). A short conclusion, titled "Prolegomena to a History of Gregorian Style," completes this impressive volume. Book jacket.

The history of Western music is intimately tied to the worship of Christians and Jews. It was the Church and synagogue that provided the context for the development of Gregorian chant, the motet, the cantana, and virtually every important theorist, composer, and performer from Ambrose to Zwingli. Worship Music provides concise information on the people, terms, places, and elements of this worship. Ecumenical in scope and cross-cultural in its perspective, Worship Music focuses on the worship music of English-speaking North Americans. Its over 2,500 entries range across every major denomination within Western Christianity, the Byzantine/Slav tradition, and Judaism. Over 60 contributors represent the traditions addressed in the dictionary, providing authenticity in representing the tradition and an insider's perspective on contemporary practices. The dictionary is shaped through the lens of "ritual music which focuses on the function of music in worship (or asks the question of the function of music in worship. It includes brief descriptions, histories, and explanations of musical-liturgical terms and personnel. Bibliographies and extensive cross-referencing can be found throughout the volume. Designed not just for pastoral musicians but all musicians?amateurs, students and professionals?as well as liturgists, Worship Music is an indispensable guide to the musical aspects of worship. Contributors include: Allen Barthel James Brauer Michael Driscoll Rosemary Dubowchik John Foley Virgil Funk Victor Gebauer Fred Graham Joan Halmo Robert Hawkins Lawrence Heiman Paul Jacobson Martin Jean Michael Joncas Columba Kelly Martha Kirk James Kosnik Robin Leaver , Austin Lovelace Mary McGann Nathan Mitchell Fred Moleck Charles Pottie Todd Ridder Anthony Ruff Carl Schalk Rebecca Slough Gordon Truitt J. Kevin Waters John Weaver Paul Westermeyer Carlton Young , Edward Foley, Capuchin, is professor of liturgy and music at Catholic Theological Union in Chicago. He is the author of numerous books including Foundations of Christian Music and Music and the Eucharistic Prayer from the American Essays in Liturgy series for which he is the editor.