Unveiling Music Fundamentals: Chant, Operetta, and Notation

Gregorian Chant: History, Characteristics, and Styles

Gregorian chant is a type of liturgical chant used in the Roman Catholic Church. While occasionally used broadly or synonymously with plainchant, its name specifically derives from the collection attributed to Pope St. Gregory the Great. It represents an evolution influenced by Greco-Roman and Gallican chants.

It should be clarified that Gregorian chant was not invented by Pope Gregory the Great; it already existed for some time. However, his guidance helped spread and develop this ancestral Catholic song, giving it his name.

Characteristics of Gregorian Chant

• Scores are written in tetragrams (four-line staves), a system developed from the work of Guido d'Arezzo.
• It is a sung prayer and an expression of religiosity.
• It is a monodic song (only one melodic line) and a cappella (without instrumental accompaniment), typically performed by male voices.
• Voices may be in chorus, for officiating the Mass, or performed by a professional solo singer called a schola.
• Chants are written in Latin, except for the Kyrie Eleison part of the Ordinary of the Mass, which is in Greek.
• All Gregorian chants are always modal; there are 8 types within the church modes or Gregorian modes.

Styles of Gregorian Chant

There are three main styles of Gregorian chant, classified by the number of different tones sung per syllable:

• Syllabic Style: One tone per syllable.
• Neumatic Style: Approximately 2-5 tones per syllable.
• Melismatic Style: More than 6 tones per syllable. The context (situation) where such works are interpreted is also considered.

Melodic Movement and Ornamentation

In Gregorian chant, the melodic line is not very mobile, meaning there are no large vocal jumps. Usually, the line moves by seconds, thirds, fourths, or fifths. It is rare to find, for example, a jump of an octave (which is why it is also called plainsong). There are no extensive vocal ornaments or many improvisations; the focus is solely on the music and melody. Lines rarely feature written "musical ornaments." The vast majority of medieval Gregorian chants were anonymous because these works of art were considered owned by the Church and were "in the service of society."

Operetta: A Lively Musical Theater Genre

The operetta is a type of musical theater that is lively and satirical, characterized by a far-fetched and often absurd plot. It consists of spoken dialogue interspersed among songs, often called couplets by the French, and dances like the quadrille or the cancan. It is, therefore, a stage show with a succession and alternation of musical, spoken, and danced parts.

Evolution and Regional Variations

French operetta evolved in small theaters, such as those opened by Parisian clowns in 1815. This genre extended to several European countries, becoming especially relevant in Vienna. Viennese operettas generally have a more serious and sentimental plot than their French counterparts. Another distinguishing feature of Viennese operetta is the use of the waltz, an essential musical element.

Notable Composers and Works

Jacques Offenbach is perhaps the most famous composer of operettas, with his two most renowned works being Orpheus in the Underworld and La belle Hélène. Johann Strauss (son) wrote other well-known operettas, including Die Fledermaus (The Bat).

The Musical Staff: Foundation of Notation

The staff (from Greek: penta - five; gramma - writing) is the fundamental framework where notes and all other musical signs are written. It consists of five horizontal and equidistant lines and four spaces, which are numbered from bottom to top. Music is written using signs placed on this staff.

Key Elements of Musical Notation

The main signs found on the staff include:

• Figures (Notes): These represent the musical note. Each figure indicates the duration of a sound and, when specifically located on one of the lines or spaces, corresponds to a specific musical tone. The invention of the staff significantly improved the graphic representation of melodies.
• Ledger Lines: When a melody extends beyond the nine tones typically covered by the five-line staff, additional lines and spaces, known as ledger lines, are drawn both above and below the staff as needed.
• Clef: A symbol placed at the beginning of the staff that indicates the pitch of the notes.
• Rests: Symbols that indicate periods of silence in music.
• Accidentals: Symbols (like sharps, flats, and naturals) that alter the pitch of a note.

Initial Staff Markings and Solmization

Apart from the notes, the staff initially includes the clef, the key signature (which indicates the tonality), the time signature (rhythm), and character indications (e.g., cantabile, marcato).

In 1025, Guido d'Arezzo, an Italian music theorist, observed that when singing a hymn to St. John, the first syllable of each verse was sung at a progressively higher pitch. This observation led him to name each of these tones with the corresponding syllable from the hymn:

Ut queant laxis,
Resonare fibris,
Mira gestorum,
Famuli tuorum,
Solve polluti,
Labii reatum,
Sancte Ioannes.