Music that is used as a functional part of corporate Christian worship can properly be called church music.音乐是用来作为一个功能的一部分，公司基督教崇拜能够适当地所谓的教会音乐。 It varies greatly among religious groups by reason of differences in tradition, dogma, taste, financial support, and degrees of musical skill.它很大的不同宗教群体之间的理由的差异，传统，教条，味道，财政支持，和程度的音乐技巧。
By far the largest amount and the highest artistic level of church music may be found for the choir, that is, in Choral Music. The traditional choral forms of the church--Masses, Motets, Anthems, and Cantatas--were developed to fill needs of the liturgies from which they sprang. 迄今为止数额最大和最高艺术水平的教会音乐，可能会发现，为合唱团，即是在合唱音乐。传统的合唱形式的教会-群众， m otets，国歌，并c antatas-开发，以填补有需要的liturgies他们从兴起。 Nonliturgical faiths have not contributed significant musical forms but have provided additional dimensions to those named here. nonliturgical信仰并没有显着贡献的音乐形式，但提供了额外的层面，这些命名在这里。
The music of the early church was intended for unison chorus (Plainsong), but the general acceptance of Polyphony in the Middle Ages moved the performance of part-music into the choir, which further benefited by the addition of instruments to the performing combination. In later years, such widely different sects as the Russian Orthodox and the Disciples of Christ have stressed choral music but have forbidden the use of instruments in their worship. 音乐的早期教会的用意是为异口同声地合唱团（ plainsong ） ，但普遍接受的复调在中世纪的动议表现的一部分，音乐到合唱团，从而进一步受惠加入文书的表演组合。多年后，这种广泛不同的教派，作为俄罗斯东正教和基督的门徒都强调合唱音乐，但禁止使用的文书，在他们的崇拜。 Christian Science traditionally employs only a solo singer. Most denominations have depended on choirs, paid or volunteer, to supply the bulk of their vocal music, generally with Organ accompaniment. 基督教科学传统的员工只是一个独奏的歌手。大部分面额都依赖于合唱团，有薪或义工，供应散装他们的声乐，一般与器官伴奏。 The organ has been an important feature of church music because it satisfies the need for variety in supporting choral music without imposing the burden and expense of an instrumental ensemble; it is also a satisfactory instrument for leading congregational singing.器官已的一个重要特点教会音乐，因为它满足了各种需要在支持合唱音乐而不强加的负担和牺牲一器乐合奏，它也是一个令人满意的文书领导堂歌唱。
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Elwyn A. Wienandt elwyn答： wienandt
Bibliography:
参考书目：
Davidson, AT, Church Music (1952);
Douglas, W., Church Music in History and Practice, rev.戴维森在，教会音乐（ 1952年）
;道格拉斯，瓦特，教会音乐，在历史上和实践，冯智活。 by L. Ellinwood (1962); Ellinwood, L.,
The History of American Church Music (1953); Fellerer, KG, The History of
Catholic Church Music (1961); Routley, Erik, Twentieth Century Church Music
(1964); Stevens, Denis, Tudor Church Music (1955); Wienandt, Elwyn A., Choral
Music of the Church (1965; repr. 1979) and Opinions on Church Music
(1974).由研究ellinwood （ 1962年） ; ellinwood ，研究，历史上美国教会音乐（ 1953 ）
;费莱勒，公斤，历史的天主教教会音乐（ 1961年） ;劳特利，埃里克，二十世纪的教堂音乐（ 1964 ） ;史蒂文斯丹尼斯，都铎王朝的教会音乐（ 1955 ）
; wienandt ， elwyn甲，合唱音乐的教会（ 1965年; repr 。 1979年）和意见，对教会音乐（ 1974年） 。
Under the reign of a Byzantine pope, Vitalian (657 - 672), the liturgy and chant of Rome underwent a thorough reformation, the fruits of which were designed for the exclusive use of the papal court.根据统治的一个拜占庭教宗，拉利安（ 657 -6 72） ，礼仪和高唱的罗马经历了一个彻底的改革，水果，其中设计的专有使用教皇法庭。 It was this chant that Charlemagne, some 150 years later, spread throughout the Frankish Empire as a part of his attempts at political unification. Vitalian (or Carolingian) chant, although highly ornamented, was characterized by great clarity of melodic line.正是这种高唱认为，查理曼，大约150年后的今天，遍布法兰克帝国的一部份，他试图在政治上的统一。 拉利安（或法兰克）高唱，虽然高度装饰，其特点是非常明确的旋律线。 As befitted the accentual patterns of the free prose texts, the chant melodies were written in a free rhythm using notes of long and short duration in proportion of two to one.作为befitted该accentual模式的自由散文文本，高唱的旋律写在一个自由的节奏，使用的注释长期和短期的时间的比例， 12时58分。
Largely because of the rise of Polyphony, by the 11th century the subtleties of Vitalian chant were quite lost. 主要是因为崛起的复调，由11世纪细微的维塔利安高唱相当损失。 All notes were given the same basic duration, and thus rhythm was no longer proportional but equalist (hence the term cantus planus or plainsong), and ornamentation gradually disappeared. 所有笔记给出了相同的基本时间，因此，节奏，不再是比例，但equalist （因此，任期cantus planus或plainsong ） ，和装饰逐渐消失。
Beginning in the 12th century the melodic notes themselves were tampered with, and by the early 16th century the melodies had been ruthlessly truncated.开始，在12世纪的旋律注意到自己被篡改，以及16世纪初的旋律，已被无情地截断。
Various attempts were made in the 11th and 12th centuries to discover methods of notating melodies exactly: in some manuscripts alphabetical letters indicating precise pitches were written above the text's syllables; more often, in so - called diastematic notation, simplified neumes were written on from one to four pitch lines.各种尝试发了言，在第11和12世纪发现的方法notating的旋律，正是：在一些手稿按字母顺序排列的字母，显示精确的球场，写上述文字的音节;更经常地，在这样-所谓d iastematic乐谱，简化诺伊梅斯分别写上从1四个足球场线。
During the last hundred years, monks of the French Abbey of Solesmes have compared the melodic configurations in 9th and 10th century neumatic manuscripts with the same melodies in lettered and diastematic notation.在过去的一百年，僧侣的法国修道院索莱姆相比，有旋律的配置在第九和第十世纪neumatic手稿具有相同的旋律在diastematic字母和符号。 They restored and corrected the notes of the melodies; however, they retained the equalist rhythm of the 11th and succeeding centuries, the neumatic rhythmic indications merely as nuances.他们恢复和更正注释的旋律;不过，他们保留了equalist的节奏，第11次和成功的世纪， neumatic节奏的迹象，只是作为的细微差别。 Such students of chant as Peter Wagner have lamented the loss of a proportional rhythm, pointing out the consistent unsuitability of melodies to texts when the melodies are understood in equalist terms.这样的学生高唱作为彼得瓦格纳曾哀叹失去了节奏的比例，指出一贯不合适的旋律文本时的旋律所理解的在equalist条款。 The Dutch musicologist Jan Vollaerts (1901 - 56), relying heavily on MS Laon 239, developed a system for the proportional interpretation of neumes, thus clearing the way for a complete reconstruction of Vitalian chant; although further clarification and correction are needed, his theories, more than those of any other, point in the correct direction.荷兰的音乐1月vollaerts （ 1901 -5 6） ，严重依赖于M S拉昂2 39，开发了一个系统，为比例的解释诺伊梅斯，从而扫清了道路，为一个完整的重建维塔利安高唱;虽然进一步澄清和纠正有需要，他的理论，较任何其他，点在正确的方向。
The proper parts of the mass sung by the schola include: (1) the introit antiphon, or processional entrance song, which announces the feast being celebrated that day; (2) the gradual, a response to the Old Testament prophetical reading; (3) the alleluia, a response to the New Testament lesson and introduction to the reading of the Gospel; (4) the offertory, a processional piece in modified responsory form having from two to four highly ornate solo verses; and (5) the Communion antiphon.适当的部分群众宋由schola包括： （ 1 ） introit安提，或processional入口宋，宣布盛宴正在庆祝这一天; （ 2 ）循序渐进，回应旧约prophetical读; （ 3 ）哈里路亚，回应新约圣经的教训，并介绍该读的福音; （ 4 ） offertory ， processional一块在改性唱和的形式后，从3点58的高度华丽的独奏诗;和（ 5 ）共融安提。 During the time commemorating Christ's resurrection, the gradual is replaced by an alleluia; in times of penance or mourning, the alleluia is replaced by a tract (verses of a psalm); on certain feasts a Sequence is sung.在时间的纪念基督的复活，逐步取代一哈里路亚;的时候， penance或哀悼，哈里路亚是，取而代之的是一个道（诗一诗篇） ;对某些宴序列是宋。 The ordinary parts of the mass sung by the congregation include the petition Kyrie eleison, the Credo or statement of beliefs, the Sanctus, the Pater noster (The Lord's Prayer), the petition Agnus Dei, and the hymn of praise Gloria in excelsis.普通的部分群众所唱的会众，包括请愿书kyrie eleison ，信条或声明的信念， sanctus ， pater noster （主祷文） ，请愿书agnus dei ，和赞美诗赞美凯莱在excelsis 。
The office, or "canonical hours," is a set of 8 prayer hours that are spread throughout the day from before sunrise to nightfall.办公室，或“典型时， ”是一套8祈祷时说，遍布天从日出前到入夜。 It consists of the singing of psalms, each preceded and followed by an antiphon proper to the feast or day, with hymns and orations. The 2 main hours are lauds (6 AM) and vespers (6 PM); the nocturnal hour of matins includes sung prophecies and lessons, with proper responsories.它的歌唱的诗篇，每之前和之后一安提适当的节日或一天，与赞美诗和orations 。 2小时，主要是赞扬（上午六时）和晚祷（下午6点） ;夜间小时的晨祷包括宋的预言和教训，妥善responsories 。
R John Blackley r约翰blackley
Bibliography
参考书目
W Apel, Gregorian
Chant (1958); D Conomos, Byzantine Hymnology and Byzantine Chant (1984); DG
Murray, Gregorian Chant According to the Manuscripts (1963); R / BC Pugsley, The
Sound Eternal (1987); J Rayburn, Gregorian Chant (1964); Solesmes, ed.,
Paleographie musicale (1889), MS Einsiedeln 121 (1894), and
vol.瓦特阿佩尔，阳历咏（ 1958条） ， d conomos ，拜占庭帝国和拜占庭hymnology咏（ 1984年）
;危险品的美利，格列高利高唱据手稿（ 1963年） ;的R /公元前pugsley ，健全的永恒（ 1987年） ; j rayburn ，阳历咏（ 1964
） ;索莱姆，教育署， paleographie音乐（ 1889年） ，余艾因西德伦121 （ 1894 ） ，和第二卷。 10, MS Laon 239 (1909); SJP van Dijk,
"The Old - Roman Rite," Studia patristica 80 (1962), "Papal Schola versus
Charlemagne," in Organicae Voces (1963), and "The Urban and Papal Rites in
Seventh and Eighth Century Rome," Sacris erudiri 12 (1961); JWA Vollaerts,
Rhythmic Proportions in Early Medieval Ecclesiastical Chant (1960); P Wagner,
Introduction to the Gregorian Melodies: A Handbook of Plainsong (1910); E
Werner, The Sacred Bridge (1959). 10 ，女士拉昂239 （ 1909 ） ; sjp车dijk ，
“老-罗马成年礼” ， s tudiap atristica8 0（ 1 962） ， “教皇s chola银两查理” ，在o rganicaev oces（
1 963年） ，和“市区及教宗的仪式在第七和第八世纪的罗马， “ sacris erudiri 12 （ 1961年） ; JWA基因vollaerts
，节奏的比例在早期中世纪的教会高唱（ 1960年） ; p瓦格纳，介绍阳历的旋律：一本手册的plainsong （ 1910 ） ，电子商务维尔纳，神圣桥（
1959年） 。
The words chorus and choir--both derived from the ancient Greek choros, meaning a band of dancers and singers--are commonly understood to mean a large group of singers who combine their voices (with or without instrumental accompaniment) in several "parts," or independent melodic lines.字合唱团及合唱团-都来自古希腊乔罗斯，意思是乐队的舞者和歌手-普遍理解为是指一大群歌星谁结合起来，他们的声音（有或没有乐器伴奏）在几个“部分， “或独立的旋律线。 This definition, however, is very elastic. The most common type of choral ensemble today performs music in 4 parts, each assigned to a different voice range: soprano (high female), alto (low female), tenor (high male), and bass (low male).这一定义，不过，是非常弹性。 最常见的类型的合唱团，今天演出的音乐在4个部分，每个分配到一个不同的声音范围：女高音（高女） ，女低音（低女） ，男高音（高男） ，低音（低男性） 。 The abbreviation "SATB" refers to this type of "mixed" chorus, and to the music composed for it.简称“ satb ” ，是指这种类型的“混合”合唱团，和以音乐为组成。 There are many other common types: women's chorus (two soprano parts and two alto, of SSAA), men's chorus (TTBB), and double chorus (two distinct SATB groups), to name a few.还有很多其他的常见类型：妇女的合唱团（ 2女高音部分和两个中音， ssaa ） ，男性合唱团的演出（ ttbb ） ，以及双合唱团（两个截然不同的satb团体） ，仅举几例。 Many choral works are in more or less than 4 parts, from as few as one ("monophonic," all singers singing the same melody) to as many as several dozen (as in the 40-part motet Spen in alium, by Thomas Tallis, or certain 20th-century works).许多合唱作品是在多于或少于4个部分，从少一（ “单一” ，所有歌手演唱同一旋律） ，多达几十个（如在40个部分， motet花在在alium ，由托马斯塔利斯，或某些20世纪的工程） 。 Furthermore, there is no agreement as to the minimum number of singers in a "chorus."此外，有没有协议，以最低人数的歌手“合唱团” 。 It has been suggested, for example, that certain choral works by composers such as Heinrich Schutz and JS Bach were originally performed with just one singer to a part.曾有人建议，例如，某些合唱作品的作曲家，如海因里希舒茨和js巴赫原本演出只有一个歌手的一部份。 The more usual term for such a small group, however, would be not "chorus" but "vocal ensemble."更通常的任期为这样的一小群，不过，将不会“合唱团” ，而是“声乐合奏团” 。
The distinction (unique to English) between choir and chorus is fairly clear: a choir generally sings sacred or art music of earlier centuries (as in "madrigal choir"), while a chorus is associated with concert works, opera, musical theater, and popular entertainment. 区别（独特的英语）之间的合唱团及合唱团是相当明确的：一个合唱团，一般唱的神圣或艺术音乐较早前世纪（如在“ madrigal合唱团” ） ，而合唱团是相关工程的音乐会，歌剧，音乐剧剧场，和受欢迎的娱乐。 Among other names for vocal groups, glee club usually refers to a school chorus; a chorale of singers is a concert chorus; and the meaning of consort, properly an instrumental group that plays 17th- or 18th-century music, is sometimes extended to include singers.除其他的名字，声乐集团，吉利俱乐部通常是指一所学校合唱团;合唱团的歌手是一个合唱团音乐会;和意义的CONSORT ，妥善一器乐组，扮演十七或十八世纪的音乐，有时扩大到包括歌手。
As an underground sect of Judaism, the early Christian church inherited the anitphonal style but not the splendor of Jewish public worship. Soon after the Roman emperor Constantine the Great officially sanctioned Christianity in 313, the first schola cantorum (literally "choir school," as well as the performing group from such a school) was founded in Rome by Pope Sylvester I. Schools of this type joined with monasteries (notably those of the order founded by Saint Benedict in the early 6th century) to develop the art of choral singing. 作为一个地下教派的犹太教，早期基督教教会继承了anitphonal作风，而不是辉煌的犹太公众崇拜。后不久，罗马皇帝君士坦丁的伟大官方认可的基督教在313 ，第一schola cantorum （字面“合唱团，学校， ”作为以及表演组从这样的学校）成立于罗马教皇西尔维斯特一，学校的这种类型的加入与寺庙（尤其是那些该命令所创立的圣本笃初在第六世纪）发展的艺术合唱。 (Secular vocal music of this time was usually performed by solo singers, not choruses.) （世俗声乐的这个时候，通常是由独奏歌手，而不是合唱团） 。
In early medieval choirs, a small number of men, or men and boys, sang Plainsong, a metrically free, monophonic setting of liturgical text. Until the 8th century, when reliable musical notation was invented, plainsong melodies were passed down orally from generation to generation. Gregorian Chant, an outgrowth of the liturgical reforms of Pope Gregory I (reigned 590-604), became the dominant form of plainsong by the 10th century, and has remained in use ever since. 早在中世纪的合唱团，也有少数的男人，或男人和男孩，生plainsong ， metrically免费的，单一的设置礼仪的文字。直到第八世纪，当可靠的乐谱是发明， plainsong的旋律被口头传下来的一代一代。 阳历高唱，的产物，礼仪的改革，罗马教皇格雷戈里（在位590-604 ） ，成为占主导地位的形式plainsong由10世纪，并一直留在使用至今。
By this time, the term Motet had come to mean a polyphonic vocal setting of any sacred Latin text except sections of the Mass. Between about 1450 and 1600, the motet and Mass developed into elaborate compositions with three to six melodic lines, as in the works of John Dunstable, Josquin Des Prez, and Palestrena. 由这一次，任期motet来指和弦声乐设置任何神圣的拉丁美洲，除部分文字的马萨诸塞州之间的约1450和1600年， motet和群众已发展成为详细成分与三至六个月的旋律线，如在工程约翰dunstable ， josquin万prez ， palestrena 。 Andrea and Giovanni Gabrieli added to the splendor of Venice with works in eight parts or even more, performed by multiple choirs. In the Church of England, which separated from the Roman Catholic church in 1534, a motet on an English text became known as an anthem (which is still the English and American term for a choral piece sung during worship) .安德烈和乔瓦尼gabrieli添加到威尼斯的辉煌与工程，在八个部分或更有什者，由多个合唱团， 在教会的英格兰，脱离罗马天主教会在1534年， motet就一英文文本被称为一国歌（这仍是英语和美国来说，一个合唱作品演唱期间，崇拜） 。
As compositions in many parts appeared, choirs began to take their modern form: ensembles of singers divided into groups according to the range of their voices. The exclusion of women from liturgical roles extended to the choir as well; high voice parts were sung by boys, falsetto singers, or (in Roman Catholic countries after about 1570) Castrato. In England particularly, the training of boy singers for cathedral choirs became a well-established tradition that continues today.作为成分，在许多零件出现，合唱团，开始采取它们的现代形式：合奏的歌手，分成若干小组，根据范围内，他们的声音。 排斥妇女从礼仪的作用延伸到合唱团，以及高的声音，部分人所唱的男孩，假歌手，或（在罗马天主教的国家之后，约1570年） castrato 。在英格兰，尤其是训练的男孩歌手为大教堂合唱团成为一个沿用已久的传统，今天仍在继续。 As the Middle Ages came to a close, the average size of a choir began to increase gradually; the Sistine Choir in Rome, for example, grew from 18 singers in 1450 to 32 in 1625.作为中世纪来结束，平均粒径一个合唱团开始逐步增加;西斯廷合唱团在罗马，举例来说，增长了来自18个歌手，在1450至32在1625年。
For centuries, instrumentalists had had the option of playing along on one or the other of the choir parts, but now composers such as Monteverdi and Alessandro Scarlatti were giving them their own "obbligato" (that is, not to be omitted) parts.数百年来，器乐不得不的选择，发挥沿线的一个或其他的合唱团的部分，但现在作曲家，如蒙特威尔第和亚历山德罗斯卡拉蒂人，让他们自己的“ obbligato ” （即，不要被省略）部分。
Whether composed for a prince's birthday or a Sunday on the liturgical calendar, the Cantata included such operatic elements as arias, recitatives (a kind of sung-spoken narration), and often choruses, but with a text more likely to be meditative or celebratory than dramatic.是否组成一个王子的生日，或1周日对礼仪的日历，包括大合唱等戏曲元素，阿里亚斯， recitatives （一种晟发言叙事） ，而且往往合唱团，但与文字更容易被冥想或庆祝比戏剧性。
The Reformation, with its doctrine of "the priesthood of all believers," brought new ideas about church music. 改革，其学说的“神职人员的所有信徒， ”带来了新的思路教会音乐。 Calvinist congregations made their own music by singing psalms in unison, shunning anything that smacked of performance, even accompaniment on the organ. Martin Luther favored congregational singing too, but he kept choirs for their inspirational value. calvinist教友作出自己的音乐唱诗篇，在齐心协力，回避任何smacked的表现，即使是伴奏就器官。马丁路德的最惠国待遇，堂会唱，但他一直合唱团，为他们的启发价值。 The cantatas of composers such as JS Bach and Georg Philipp Telemann incorporate the old German Chorales (hymn tunes) that Luther had collected.该cantatas作曲家，如js巴赫和格奥尔格菲利普泰勒曼纳入岁的德国chorales （赞美诗的曲调）表示，路德已收集。
Choral music is also the ideal medium for nationalistic sentiments; in times of war the tide of patriotic choruses reaches flood stage.合唱音乐，也是理想的媒介的民族主义情绪;在战争时期的潮流，爱国合唱团达到防洪的阶段。 On the other hand, 20th-century works such as Arnold Schoenberg's Gurrelieder and Benjamin Britten's War Requiem match the power of choral utterance with a text of protest and social idealism.在另一方面， 20世纪的工程，例如阿诺德勋伯格的gurrelieder和本杰明布里顿的战争安魂曲匹配的权力合唱话语与文本的抗议和社会理想。
The strong choral traditions of the United States arrived with European immigrants, spread through music programs in the public schools, and were transformed by Afro-American church music, which contributed rhythmic complexity and a call-and- response style of composition.强烈的合唱传统的美国抵达与欧洲移民，散布通过音乐节目，在公立学校，并转化美洲黑人教堂音乐，这有助于艺术的复杂性和号召性和反应的作风组成。 Professional choruses explore not only older classical repertory but new works that contain every innovation found in new instrumental music: the tone clusters and vocal slides of Krzysztof Penderecki, the aleatory (chance) techniques of John Cage and Lukas Foss, and the minimalist pattern-music of Philip Glass.专业合唱团探索，不仅老年人古典汇编，但新工程包含每个创新发现，在新的器乐：语气集群和声乐的幻灯片克里斯托弗潘德列茨基， aleatory （机会）技术的约翰笼和卢卡斯的自由和开放源码软件，以及最低限度的格局音乐菲利普玻璃。
David Wright大卫赖特
Bibliography:
参考书目：
Heffernan, CW, Choral Music: Technique
and Artistry (1982); Kjelson, L., and McCray, J., The Singer's Manual of Choral
Music Literature (1973); Robinson, R., Choral Music (1978); Wienandt, E., Choral
Music of the Church (1965; repr. 1980); Young, PM, The Choral Tradition,
rev. heffernan ，化学武器，合唱音乐：技术和艺术性（ 1982年） ; kjelson ，研究，并mccray女士，
，歌手的手册合唱音乐文学（ 1973年） ;罗宾逊， r. ，合唱音乐（ 1978年） ; wienandt ，电子商务，合唱音乐的教会（ 1965年;
repr 。 1980年） ;青少年，时，合唱传统，冯智活。 ed.教育署。 (1981). （ 1981年） 。
By plain chant we understand the church music of the early Middle Ages, before the advent of polyphony.由平原高唱据我们所知，教会音乐的中世纪早期，之前的来临，复音。 Having grown up gradually in the service of Christian worship, it remained the exclusive music of the Church till the ninth century, when polyphony made its first modest appearance.长大逐渐在服务的基督教崇拜，它仍然是独家的音乐，教会到第九世纪，当复音作出了自己的第一次温和的外观。 For centuries again it held a place of honour, being, on the one hand, cultivated side by side with the new music, and serving, on the other hand, as the foundation on which its rival was built.数百年来，再次举行了地方的荣誉，正，一方面，耕地并排与新的音乐，和服务，另一方面，由于基础上其竞争对手建成。 By the time vocal polyphony reached its culminating point, in the sixteenth century, plain chant had lost greatly in the estimation of men, and it was more and more neglected during the following centuries.由时间的声乐复音达到其最终点，在十六世纪，平原高唱已经失去了很大的估计是男性，这是更多的忽视，在以下几个世纪。 But all along the Church officially looked upon it as her own music, and as particularly suited for her services, and at last, in our own days, a revival has come which seems destined to restore plain chant to its ancient position of glory.但一直以来，教会的正式研究后，它作为自己的音乐，并作为特别适合她的服务，以及在去年，在我们自己的天，复兴来这似乎注定要恢复平原高唱其古代的立场辉煌。 The name, cantus planus, was first used by theorists of the twelfth or thirteenth century to distinguish the old music from the musica mensurata or mensurabilis, music using notes of different time value in strict mathematical proportion, which began to be developed about that time.名称， cantus planus ，首次使用了由理论家的第十二或十三世纪来区分岁的音乐从音乐mensurata或mensurabilis ，音乐使用注意到，不同的时间价值，在严格的数学比例，其中发展起来的一点时间。 The earliest name we meet is cantilena romana (the Roman chant), probably used to designate one form of the chant having its origin in Rome from others, such as the Ambrosian chant (see GREGORIAN CHANT).最早的名称是我们满足cantilena罗马（罗马高唱） ，可能是用来指定一形式的高唱，其原产地在罗马，从其他国家，如作为安布罗西安高唱（见公历高唱） 。 It is also commonly called Gregorian chant, being attributed in some way to St. Gregory I.这也是俗称的阳历高唱，被归因于以某种方式圣格雷戈里一。
HISTORY历史
Although there is not much known about the church music of the first three centuries, and although it is clear that the time of the persecutions was not favourable to a development of solemn Liturgy, there are plenty of allusions in the writings of contemporary authors to show that the early Christians used to sing both in private and when assembled for public worship.虽然不大，已知约教会音乐的第一三个世纪，虽然这是明确指出，时间的迫害，是不利于发展的庄严的礼仪，有很多典故的著作的当代作家，以显示即初期基督徒用来唱无论是在私营部门和组装时，为公共崇拜。 We also know that they not only took their texts from the psalms and canticles of the Bible, but also composed new things.我们也知道，他们不仅在了他们的文本从诗篇和canticles的圣经，而且还组成新的东西。 The latter were generally called hymns, whether they were in imitation of the Hebrew or of the classical Greek poetic forms.后者则一般所谓的赞美诗，他们是否在模仿希伯来文或希腊古典诗的形式。 There seem to have been from the beginning, or at least very early, two forms of singing, the responsorial and the antiphonal.有似乎已经从一开始，或至少是很早就，两种形式的歌唱， responsorial和antiphonal 。 The responsorial was solo singing in which the congregation joined with a kind of refrain.该responsorial是独奏歌唱，其中众同一种避免。 The antiphonal consisted in the alternation of two choirs.该antiphonal构成中的更迭，两个合唱团。 It is probable that even in this early period the two methods caused that differentiation in the style of musical composition which we observe throughout the later history of plain chant, the choral compositions being of a simple kind, the solo compositions more elaborate, using a more extended compass of melodies and longer groups of notes on single syllables.这是可能的是，即使在这样早的时期，这两种方法所造成的分化认为，在风格的音乐组成，其中，我们观察整个后来的历史平原高唱，合唱团组成的福祉，一个简单的一种，独奏组成的更详细，使用更延长指南针的旋律和较长的团体注意到，就单一的音节。 One thing stands out very clearly in this period, namely, the exclusion of musical instruments from Christian worship.一件事的立场非常清楚，在此期间，即排除乐器，从基督教崇拜。 The main reason for this exclusion was perhaps the associations of musical instruments arising from their pagan use.造成这种情况的主要原因排斥也许是协会的乐器所产生的从他们的异教的使用。 A similar reason may have militated in the West, at least, against metrical hymns, for we learn that St. Ambrose was the first to introduce these into public worship in Western churches.类似的原因可能有militated在西方国家，至少是对计量的赞美诗，因为我们了解，圣刘汉铨是第一次引入到这些公共崇拜在西方教堂。 In Rome they do not seem to have been admitted before the twelfth century.在罗马，他们似乎并不已入院前12世纪。 (See, however, an article by Max Springer in "Gregorianische Rundschau", Graz, 1910, nos. 5 and 6.) （见，不过，一篇文章，由Max施普林格在“ gregorianische rundschau ” ，格拉茨， 1910年，双数第5和第6 ） 。
In the fourth century church music developed considerably, particularly in the monasteries of Syria and Egypt.在第四世纪教会音乐相当发达，特别是在寺庙的叙利亚和埃及。 Here there seems to have been introduced about this time what is now generally called antiphon, ie, a short melodic composition sung in connexion with the antiphonal rendering of a psalm.这里似乎已介绍了有关这个时候什么是现在一般称为安提，即在短期内组成的旋律宋在Connexion公司与antiphonal绘制一个诗篇。 This antiphon, it seems, was repeated after every verse of the psalm, the two choir sides uniting in it.这安提，似乎是反复后，每首诗的诗篇，这两个合唱团，双方团结在它。 In the Western Church where formerly the responsorial method seems to have been used alone, the antiphonal method was introduced by St. Ambrose.在西方教会的地方以前responsorial方法似乎已单独使用， antiphonal方法，介绍了圣刘汉铨。 He first used it in Milan in 386, and it was adopted soon afterwards in nearly all the Western churches.他首先利用它在意大利米兰386 ，它是通过不久之后，在几乎所有的西方教堂。 Another importation from the Eastern to the Western Church in this century was the Alleluia chant.另一个输入从东部到西部教会在本世纪是哈里路亚高唱。 This was a peculiar kind of responsorial singing in which an Alleluia formed the responsorium or refrain.这是一个奇特的种responsorial歌唱，其中一哈里路亚，形成了responsorium或不作为。 This Alleluia, which from the beginning appears to have been a long, melismatic composition, was heard by St. Jerome in Bethlehem, and at his instance was adopted in Rome by Pope Damasus (368-84).这哈里路亚，从一开始就似乎已经很长， melismatic组成，听取了圣杰罗姆在伯利恒，并在他的，例如通过在罗马教皇达玛斯（ 368-84 ） 。 At first its use there appears to have been confined to Easter Sunday, but soon it was extended to the whole of Paschal time, and eventually, by St. Gregory, to all the year excepting the period of Septuagesima.在第一次使用有似乎已经局限于复活节周日，但很快被扩展到整个逾越节的时间，并最终由圣格雷戈里，所有今年除期septuagesima 。
In the fifth century antiphony was adopted for the Mass, some psalms being sung antiphonally at the beginning of the Mass, during the oblations, and during the distribution of Holy Communion.在五世纪唱和获得通过，为群众，一些诗篇被宋antiphonally在开始大规模，在oblations ，并且在分配圣地共融。 Thus all the types of the choral chants had been established and from that time forward there was a continuous development, which reached something like finality in the time of St. Gregory the Great.因此，所有类型的合唱chants已成立，并自那时起向前有一个不断发展，达成了一些想在终局的时候，圣格里高利的伟大。 During this period of development some important changes took place.在此期间发展的一些重要的变化发生。 One of these was the shortening of the Gradual.其中之一是缩短循序渐进的。 This was originally a psalm sung responsorially.这本来是一诗篇宋responsorially 。 It had a place in the Mass from the very beginning.它有一个发生在群众从一开始。 The alternation of readings from scripture with responsorial singing is one of the fundamental features of the Liturgy.的更迭，从读经文与responsorial歌唱是其中一个基本特征礼仪。 As we have the responses after the lessons of Matins, so we find the Gradual responses after the lessons of Mass, during the singing of which all sat down and listened.正如我们的反应后的经验教训，晨祷，所以我们找到循序渐进的反应后的教训，集体，在歌唱，其中全部坐下，并听取了。 They were thus distinguished from those Mass chants that merely accompanied other functions.他们因此有别于那些大规模chants只是陪同的其他职能。 As the refrain was originally sung by the people, it must have been of a simple kind.为避免原本是宋是由人民，它必须被一个简单的一种。 But it appears that in the second half of the fifth century, or, at latest, in the first half of the sixth century, the refrain was taken over by the schola, the body of trained singers.但似乎在今年下半年第五世纪，或者，在最新的，在上半年的六世纪，不要被接管由schola ，身体受过训练的歌手。 Hand in hand with this went a greater elaboration of the melody, both of the psalm verses and of the refrain itself, probably in imitation of the Alleluia.手与这一过程持续了更大的拟订旋律，双方的诗篇经文和该避免本身，可能是在仿制的哈里路亚。 This elaboration then brought about a shortening of the text, until, by the middle of the sixth century, we have only one verse left.这拟订，然后带来了一个缩短的文字，直到中，中六世纪，我们只有一个诗离开。 There remained, however, the repetition of the response proper after the verse.但是，人们仍然重复的反应，适当的后诗。 This repetition gradually ceased only from the twelfth century forward, until its omission was sanctioned generally for the Roman usage by the Missal of the Council of Trent.这一重复逐渐停止，只有从12世纪前进，直至其不作为的制裁，一般为罗马的使用由missal的理事会特伦特。 The repetition of the refrain is maintained in the Alleluia chant, except when a second Alleluia chant follows, from the Saturday after Easter to the end of Paschal time.重复的，不要是保持在哈里路亚高唱，除了当第二个哈里路亚高唱如下，从周六复活节后，到去年底，逾越节的时间。 The Tract, which takes the place of the Alleluia chant during the period of Septuagesima, has presented some difficulty to liturgists.该道，其中考虑的地方，该哈里路亚高唱期间septuagesima ，提出了一些困难，以liturgists 。 Prof. Wagner (Introduction to the Gregorian Melodies, i, 78, 86) holds that the name is a translation of the Greek term eìrmós, which means a melodic type to be applied to several texts, and he thinks that the Tracts are really Graduals of the older form, before the melody was made more elaborate and the text shortened.教授瓦格纳（导言，以阳历的旋律，我， 78 ， 86 ）认为，名称是一个翻译，希腊，任期eìrmós ，这意味着旋律类型，以适用于几个文本，他认为，大片是真的graduals对老年人的形式，之前的旋律作了更详细和文本缩短。 The Tracts, then, would represent the form in which the Gradual verses were sung in the fourth and fifth centuries.该域，然后，将代表以何种形式逐步诗被宋在第四和第五世纪。 Of the antiphonal Mass chants the Introit and Communion retained their form till the eighth century, when the psalm began to be shortened.该antiphonal大规模chants该introit和共融保留其形式，直到第八世纪，当诗篇开始缩短。 Nowadays the Introit has only one verse, usually the first of the psalm, and the Doxology, after which the Antiphon is repeated.如今， introit只有一首诗，通常第一的诗篇，以及doxology后，其中安提是重复。 The Communion has lost psalm and repetition completely, only the requiem Mass preserving a trace of the original custom.共融已失去诗篇和完全重复，只有安魂曲维护群众的痕迹原来的习俗。 But the Offertory underwent a considerable change before St. Gregory; the psalm verses, instead of being sung antiphonally by the choir, were given over to the soloist and accordingly received rich melodic treatment like the Gradual verses.但offertory经历了一个相当大的变化之前，圣格雷戈里;诗篇诗，而不是被宋antiphonally由合唱团，获得超过到独奏，并因此收到了丰富的旋律一样的待遇，逐步韵文。 The antiphon itself also participated to some extent in this melodic enrichment.该安提本身也参加了在一定程度上在这旋律的丰富。 The Offertory verses were united in the late Middle Ages, and now only the Offertory of the requiem Mass shows one verse with a partial repetition of the antiphon.该offertory诗团结在中世纪晚期，而现在只有offertory的安魂曲大规模表明，一首诗与部分重复的安提。 After the time of St. Gregory musical composition suddenly began to flag.后的时间，圣格雷戈里音乐组成突然开始国旗。 For the new feasts that were introduced, either existing chants were adopted or new texts were fitted with existing melodies.为新宴被介绍，无论是现有的chants获得通过或新的案文被装上与现有的旋律。 Only about twenty-four new melodies appear to have been composed in the seventh century; at least we cannot prove that they existed before the year 600.只有约04年的新旋律，似乎已经组成，在第七世纪;至少，我们并不能证明他们之前所存在的600年。 After the seventh century, composition of the class of chants we have discussed ceased completely, with the exception of some Alleluias which did not gain general acceptance till the fifteenth century, when a new Alleluia was composed for the Visitation and some new chants for the Mass of the Holy Name (see "The Sarum Gradual and the Gregorian Antiphonale Missarum" by WH Frere, London, 1895, pp. 20, 30).后第七世纪，组成类chants我们所讨论的完全停止，除一些alleluias ，其中没有得到普遍接受，直到十五世纪，当一个新的哈里路亚组成为探视和一些新的chants为大众的圣名（见“ sarum循序渐进的阳历antiphonale missarum ”褔利frere ，伦敦， 1895年，第20 ， 30 ） 。 It was different, however, with another class of Mass chants comprised under the name of "Ordinarium Missæ".这是不同的，但是，与另一个阶级的大规模chants组成的名义下， “ ordinarium missæ ” 。 Of these the Kyrie, Gloria, and Sanctus were in the Gregorian Liturgy, and are of very ancient origin.其中kyrie ，凯莱， sanctus分别在阳历礼仪，是非常古老的起源。 The Agnus Dei appears to have been instituted by Sergius I (687-701) and the Credo appears in the Roman Liturgy about the year 800, but only to diappear again, until it was finally adopted for special occasions by Benedict VIII (1012-24).该agnus dei似乎已经由谢尔盖（ 687-701 ）和信条出现在罗马礼仪关于800年，但只diappear再次，直到它终于通过特殊场合，由本笃八（ 1012年至1024年） 。 All these chants, however, were originally assigned, not to the schola, but to the clergy and people.所有这些chants ，不过，原本分配，而不是向schola ，但对神职人员和人民。 Accordingly their melodies were very simple, as those of the Credo are still.因此，他们的旋律很简单，因为这些信条仍然是。 Later on they were assigned to the choir, and then the singers began to compose more elaborate melodies.后来，它们就被分配给合唱团，然后歌手开始撰写更详细的旋律。 The chants now found in our books assigned to Feria may be taken as the older forms.该chants现在发现在我们的图书分配到园游会可能采取较旧的形式。
Two new forms of Mass music were added in the ninth century, the Sequences and the Tropes or Proses. 2新形式的大众音乐加入，在第九世纪，序列和譬喻或散文。 Both had their origin in St. Gall.双方有其原产地在圣胆。 Notker gave rise to the Sequences, which were originally meant to supply words for the longissimæ melodiæ sung on the final syllable of the Alleluia. notker引起了序列，这原本是指供应的话，为longissimæ melodiæ唱就最后音节的哈里路亚。 These "very long melodies" do not seem to have been the melismata which we find in the Gregorian Chant, and which in St. Gall were not longer than elsewhere, but special melodies probably imported about that time from Greece (Wagner, op. cit., I, 222).这些“很长的旋律”似乎并不一直melismata我们认为在阳历高唱，并在圣胆，没有时间比其他地方，但特别的旋律，大概进口了约，当时从希腊（瓦格纳，前引书。我， 222 ） 。 Later on new melodies were invented for the Sequences.在稍后的新旋律的发明为序列。 What Notker did for the Alleluia, his contemporary Tuotilo did for other chants fo the Mass, especially the Kyrie, which by this time had got some elaborate melodies.什么notker没有为哈里路亚，他的当代tuotilo没有其他chants为群众，特别是kyrie ，这个时候，曾得到一些详细的旋律。 The Kyrie melodies were, in the subsequent centuries, generally known by the initial words of the Tropes composed for them, and this practice has been adopted in the new Vatican edition of the "Kyriale".该kyrie的旋律被，在随后的数百年，一般人都知道，由最初的话，该譬喻组成，对于他们来说，这种做法已被通过，在新的梵蒂冈版“ kyriale ” 。 Sequences and Tropes became soon the favourite forms of expression of medieval piety, and innumerable compositions of ther kind are to be met with in the medieval service books, until the Missal of the Council of Trent reduced the Sequences to four (a fifth, the Stabat Mater, being added in 1727) and abolished the Tropes altogether.序列和譬喻，成为尽快喜爱的形式表达中世纪的虔诚，和无数的成分，有一种要会见在中世纪的服务，书籍，直到missal的理事会特伦特减少序列4 （ 1第五， stabat马特，作为补充，在1727年）和取消譬喻共有。 As regards the Office, Gevaert (La Mélopée Antique) holds that one whole class of antiphons, namely those taken from the "Gesta Martyrum", belong to the seventh century.至于办公室， （无锡）影像有限公司（洛杉矶mélopée古董）认为，一整类antiphons ，即采取从“ gesta martyrum ” ，属于七世纪。 But he points out also that no new melodic type is found amongst them.但他指出，还没有新的旋律类型，发现他们当中。 So here again we find the ceasing of melodic invention after St. Gregory.因此，在这里我们再次找到停止旋律发明后，圣格雷戈里。 The responses of the Office received many changes and additions after St. Gregory, especially in Gaul about the ninth century, when the old Roman method of repeating the whole response proper after the verses was replaced by a repetition of merely the second half of the response.厅的答复收到了许多修改和补充后，圣格雷戈里，尤其是在高卢约9世纪时，旧罗马的方法，重复整个适当的回应之后，诗是，取而代之的是一个重复，只是下半年的反应。 This Gallican method eventually found its way into the Roman use and is the common one now.这gallican方法，最终找到了自己的方式，到罗马的使用和是共同一现在。 But as the changes affected only the verses, which have fixed formulæ easily applied to different texts, the musical question was not much touched.但由于受影响的变化，只有诗，其中有固定的formulæ很容易应用于不同的文本，音乐的问题是没有太大的感动。
St. Gregory compiled the Liturgy and the music for the local Roman use.圣格雷戈里汇编礼仪和音乐为当地罗马使用。 He had no idea of extending it to the other Churches, but the authority of his name and of the Roman See, as well as the intrinsic value of the work itself, caused his Liturgy and chant to be adopted gradually by practically the whole Western Church.他不知道扩展到其他教会，但权威他的名字和罗马见，以及内在价值的工作本身，造成他的礼仪和高唱将通过逐步几乎整个西方教会。 During his own lifetime they were introduced into England and from there, by the early missionaries, into Germany (Wagner, "Einführung", II, p. 88).期间，他自己的一生，他们引入英格兰和从那里，由早期的传教士，到德国（瓦格纳， “ einführung ” ，第二章，第88段） 。 They conquered Gaul mainly through the efforts of Pepin and Charlemagne, and about the same time they began to make their way into Northern Italy, where the Milanese, or Ambrosian, Liturgy had a firm hold, and into Spain, although it took centuries before they became universal in these regions.他们征服高卢，主要是通过努力pepin和查理，和大约同一时候，他们开始做出自己的方式进入意大利北部，那里的米兰，或安布罗西安，礼仪已牢牢把握，并到西班牙，虽然花了数百年前，他们成为普遍在这些地区。 While the schola founded by St. Gregory kept the tradition pure in Rome, they also sent out singers to foreign parts from time to time to check the tradition there, and copies of the authentic choir books kept in Rome helped to secure uniformity of the melodies.而schola所创立的圣格雷戈里保持了传统的纯在罗马，他们还派出了歌手向外国零件的时间，以时间来检查的传统，在那里，和副本的真确合唱团的书籍保存在罗马帮助，以确保均匀的旋律。 Thus it came about that the manuscript in neumatic notation (see NEUM) from the ninth century forward, and those in staff notation from the eleventh to the fourteenth century, present a wonderful uniformity.因此，来自该手稿在neumatic符号（见内乌姆）从第九世纪前进，那些在工作人员的乐谱由十一至十四世纪，现在美好的统一性。 Only a few slight changes seem to have been introduced.只有极少数的细微变化，似乎已经实施。 The most important of these was the change of the reciting note of the 3rd and 8th modes from b to c, which seems to have taken place in the ninth century.其中最重要的是改变的背诵注意到了第三和第八模式，从B到C ，这似乎已经发生了第九世纪。 A few other slight changes are due to the notions of theorists during the ninth and following centuries.其他一些细微变化，是由于概念的理论家在第九届和以下几个世纪。
These notions included two things: (1) the tone system, which comprised a double octave of natural tones, from A to a' with G added below, and allowing only one chromatic note, namely b flat instead of the second b; and (2) eight modes theory.这些概念包括两件事： （ 1 ）语调系统，该系统包括一个双八度音的自然铃声，从A到'与克补充说：下面，只允许1色注意，即b单位，而不是第二个B组;和（ 2 ） 8模式理论。 As some of the Gregorian melodies did not well fit in with this theoretic system, exhibiting, if ranged according to the mode theory, other chromatic notes, such as e flat, f sharp, and a lower B flat, some theorists declared them to be wrong, and advocated their emendation.正如一些阳历的旋律，以及不适合在这个理论体系，参展，如果不等，根据该模式的理论，其他色注意到，例如电子商务的单位，男夏普，和更低的b单位，有些理论家宣布，它们将颠倒黑白，鼓吹他们的校正。 Fortunately the singers, and the scribes who noted the traditional melodies in staff notation, did not all share this view.幸运的歌手，和文士谁指出，传统的旋律，在工作人员的乐谱，没有全部同意这个看法。 But the difficulties of expressing the melodies in the accepted tone system, with b flat as the only chromatic note, sometimes forced them to adopt curious expedients and slight changes.但困难，表达的旋律，在接受调制度，与B单位作为唯一的色注意，有时迫使他们采取好奇的权宜和轻微的变化。 But as the scribes did not all resort to the same method, their differences enable us, as a rule, to restore the original version.但由于文士没有所有诉诸同样的方法，它们的分歧，使我们，作为一项规则，以还原原始版本。 Another slgiht change regards some melodic ornaments entailing tone steps smaller than a semi-tone.另一slgiht变化方面，一些旋律的首饰带来的语气步骤小于一个半调子。 The older chant contained a good number of these, especially in the more elaborate melodies.老年人高唱载有相当数量的这些，特别是在更详尽的旋律。 In the staff notation, which was based essentially on a diatonic system, these ornamental notes could not be expressed, and, for the small step, either a semitone or a repetition of the same note had to be substituted.在工作人员的乐谱，这是主要基于一diatonic系统，这些观赏注意到，无法表达，并为一小步，无论是半音或重复了同样的注意，要取代。 Simultaneously these non-diatonic intervals must have disappeared from the practical rendering, but the transition was so gradual that nobody seems to have been conscious of a change, for no writer alludes to it.同时，这些非diatonic间隔必须有消失，从实际的渲染，但过渡是循序渐进的，所以没有人似乎已意识到改变，因为没有作家提到了它。 Wagner (op. cit., II, passim), who holds that these ornaments are of Oriental origin though they formed a genuine part of the sixth-century melodies, sees in their disappearance the complete latinization of the plain chant.瓦格纳（业务引文中，二，各处） ，谁认为这些饰物是东方的起源，虽然他们组成了一个真正的一部分，第六世纪的旋律，看到在他们失踪的完整latinization的平原高唱。
A rather serious, though fortunately a singular interference of theory with tradition is found in the form of the chant the Cistercians arranged for themselves in the twelfth century (Wagner, op. cit., II, p. 286).比较严重的，但幸运的一个独特的干扰理论与传统，被发现在该形式的高唱的熙笃会安排为自己在12世纪（瓦格纳，前引书。第一，二， 286页） 。 St. Bernard, who had been deputed to secure uniform books for the order, took as his adviser one Guido, Abbot of Cherlieu, a man of very strong theoretical views.圣伯纳德，谁已deputed ，以确保统一的书籍，一声令下，采取了作为他的顾问之一，圭多，住持cherlieu ，一名男子有很强的理论观点。 One of the things to which he held firmly was the rule that the compass of a melody should not exceed the octave laid down for each mode by more than one note above and below.其中一件事，因为他坚守的是规则，即罗盘的一首音乐不应超过倍频程订定为每个模式由一个以上的注意上方和下方。 This rule is broken by many Gregorian melodies.这条规则被打破，许多公历的旋律。 But Guido had no scruple in applying the pruning knife, and sixty-three Graduals and a few other melodies had to undergo considerable alteration.但圭多没有不惜在应用修剪刀，和63 graduals和其他几个旋律，已接受了相当大的改动。 Another systematic change affected the Alleluia verse.另一项有系统的改变，影响了哈里路亚诗。 The long melisma regularly found on the final syllable of this verse was considered extravagant, and was shortened considerably.长期melisma定期发现就最后音节，这首诗被认为是奢侈，并缩短。 Similarly a few repetitions of melodic phrases in a melismatic group were cut out, and finally the idea that the fundamental note of the mode should begin and end every piece caused a few changes in some intonations and in the endings of the Introit psalmody.同样的几个重复的旋律词组在一个melismatic组被切断，最后的观点，即根本注意到模式应该开始和结束的每一件引起了数的变化，在一些intonations ，以及在结局的introit psalmody 。 Less violent changes are found in the chant of the Dominicans, fixed in the thirteenth century (Wagner, op. cit., p. 305).少暴力的变化，发现在高唱的多米尼加，固定在十三世纪（瓦格纳，前引书，页305 ） 。 The main variations from the general tradition are the shortening of the melisma on the final syllable of the Alleluia verse and the omission of the repetition of some melodic phrases.主要变化，从一般的传统，是缩短了melisma就最后音节的哈里路亚韵文和遗漏的重复一些旋律词组。
From the fourteenth century forward the tradition begins to go down.从14世纪前进的传统，开始下降。 The growing interest taken in polyphony caused the plain chant to be neglected.日益增长的兴趣而采取的复音造成平原高唱被忽视。 The books were written carelessly; the forms of the neums, so important for the rhythm, began to be disregarded, and shortenings of melismata became more general.书籍的书面小心;形式的neums ，如此重要的节奏，开始被漠视，和酥油的melismata成为更普遍的。 No radical changes, however, are found until we come to the end of the sixteenth century.没有剧烈的变化，不过，被发现，直到我们来结束16世纪。 The reform of Missal and Breviary, intiated by the Council of Trent, gave rise to renewed attention to the liturgical chant.改革missal和breviary ， intiated由理事会特伦特，引起了重新重视礼仪高唱。 But as the understanding of its peculiar language had disappeared, the results were disastrous.但由于了解其特有的语言已经消失，结果是灾难性的。
Palestrina was one of the men who tried their hands, but he did not carry his work through (see PR Molitor, "Die Nach-Tridentinische Choral Reform", 2 vols., Leipzig, 1901-2).帕莱斯特里那是其中一名男子试图谁手中，但他没有进行他的工作是通过（见公关molitor ， “模具nach - tridentinische合唱改革” ， 2卷，莱比锡， 1901-2 ） 。 Early in the seventeenth century, however, Raimondi, the head of the Medicean printing establishment, took up again the idea of publishing a new Gradual.早在十七世纪，然而，高主教，头部的medicean印刷成立，接手的想法再次出版了新的循序渐进。 He commissioned two musicians of name, Felice Anerio and Francesco Suriano, to revise the melodies.他委托两个音乐家的名字， felice阿奈利奥和弗朗切斯科suriano ，修改的旋律。 This they did in an incredibly short time, less than a year, and with a similarly incredible recklessness, and in 1614 and 1615 the Medicean Gradual appeared.这，他们在一个令人难以置信的时间短，不到一年，和一个同样令人难以置信的鲁莽，并在1614年和1615年该medicean逐步出现。 This book has considerable importance, because in the second half of the nineteenth century, the Congregation of Rites, believing it to contain the true chant of St. Gregory, had it republished as the official chant book of the Church, which position it held from 1870 to 1904.这本书有相当的重要性，因为在第二个十九世纪下半叶，聚集的仪式，认为这是包含的真正高唱圣格雷戈里，它重新作为官方高唱书教会，其中的立场，它举行1870年至1904年。 During the seventeenth and eighteenth centuries various other attempts were made to reform the Gregorian chant.在第十七和第十八世纪的其他各种尝试作了改革的阳历高唱。 They were well intentioned, no doubt, but only emphasized the downward course things were taking.他们用心良苦，毫无疑问，但只强调向下当然的事情正在采取。 The practice of singing became worse and worse, and what had been the glory of centuries fell into general contempt (see PR Molitor, "Reform-Choral", Freiburg, 1901).实践歌唱成为日益严重，已被荣耀世纪落入一般的蔑视（见公关molitor ， “改革-合唱” ，弗赖堡， 1901 ） 。
From the beginning of the nineteenth century dates a revival of the interest taken in plain chant.从19世纪初的日期死灰复燃的利益所采取的平原高唱。 Men began to study the question seriously, and while some saw salvation in further "reforms", others insisted on a return to the past.男子开始研究这个问题严重，而一些人认为救亡在进一步“改革” ，其他人，坚持一回到过去。 It took a whole century to bring about a complete restoration.花了一整个世纪，使一个完整的恢复。 France has the honour of having done the principal work in this great undertaking (see PR Molitor, "Restauration des Gregorianischen Chorales im 19. Jahrhundert" in "Historisch- politische Blätter", CXXXV, nos. 9-11).法国已经荣幸地做了主要的工作在这伟大的事业（见公关molitor ， “复辟万gregorianischen chorales即时通讯19 。 jahrhundert ”在“ historisch - politische blätter ” ， cxxxv ，双数。 9月11日） 。 One of the bet attempts was a Gradual edited about 1851 by a commission for the Diocese of Reims and Cambrai, and published by Lecoffre.其中一个投注的企图是一个渐进编辑约1851年由一个委员会为教区兰斯和cambrai ，并出版了由勒科弗尔。 Being founded on limited critical material, it was not perfect; but the worst feature was that the editors had not the courage to go the whole way.正的基础上有限的关键材料，它并非十全十美，但最坏的特点是，该编辑已不是勇气去整个的方式。 The final solution of the difficult question was to come from the Benedictine monastery of Solesmes.最终解决困难的问题是来自本笃修道院索莱姆。 Guéranger, the restorer of the Liturgy, also conceived the idea of restoring the liturgical chant. guéranger ，恢复的礼仪，还构思的想法，恢复礼仪高唱。 About 1860 he ordered two of his monks, Dom Jausions and Dom Pothier, to make a thorough examination of the codices and to compile a Gradual for the monastery.约1860年，他下令他的两个和尚， DOM的若雄和DOM pothier ，作出彻底检查的codices并汇编为一个渐进的修道院。 After twelve years of close work, the Gradual was in the main completed, but another eleven years elapsed before Dom Pothier, who on the death of Dom Jausions had become sole editor, published his "Liber Gradualis".经过十二年的密切工作，循序渐进，是在主体完成，但另一十一年过去了，之前的DOM pothier ，谁对死亡的DOM若雄已成为唯一的编辑，出版了“ liber gradualis ” 。 It was the first attempt to return absolutely to the version of the manuscripts, and though capable of improvements in details solved the question substantially.这是第一次尝试的回报绝对的版本，手稿，虽然能够改善在细节解决的问题，大幅。 This return to the version of the manuscripts was illustrated happily by the adoption of the note forms of the thirteenth century, which show clearly the groupings of the neums so important for the rhythm.这返回到版本的手稿是由愉快地说明了通过该注意形式的13世纪，这清楚地表明该集团的neums如此重要的节奏。 Since that date the work of investigating the manuscripts was continued by the Solesmes monks, who formed a regular school of critical research under Dom Mocquereau, Dom Pothier's successor.自该日起的调查工作手稿是继续由索莱姆和尚，谁形成了正规学校的关键研究下的DOM莫克罗， DOM的pothier的继任者。 A most valuable outcome of their studies is the "Paléographie Musicale", which has appeared, since 1889, in quarterly volumes, giving photographic reproductions of the principal manuscripts of plain chant, together with scientific dissertations on the subject. 1最宝贵的结果，他们的研究是“ paléographie音乐” ，其中出现了，自1889年，在每季卷，让摄影复制的主要手稿平原高唱，连同科学论文就此事。 In 1903 they published the "Liber Usualis", an extract from the Gradual and antiphonary, in which they embodied some melodic improvements and valuable rhythmical directions.在1903年他们发表了“ liber usualis ” ，摘录循序渐进的antiphonary ，他们在其中所体现的一些旋律的改善和宝贵的有节奏的方向。
A new epoch in the history of plain chant was inaugurated by Pius X. By his Motu Proprio on church music (22 Nov., 1903) he ordered the return to the traditional chant of the Church and accordingly the Congregation of Rites, by a decree of 8 Jan., 1904, withdrawing the former decrees in favour of the Ratisbon (Medicean) edition, commanded that the traditional form of plain chant be introduced into all churches as soon as possible.一个新时代，在历史上平原高唱开幕碧岳十，由他自行proprio对教会音乐（ 1903年11月22日）他已下令返回到传统的高唱的教会和相应的聚集仪式，由一项法令，对1904年1月8日，撤回前法令，在赞成的拉蒂斯邦（ medicean ）版，指挥认为，传统形式的平原高唱引入所有的教堂尽快落实。 In order to facilitate this introduction, Pius X, by a Motu Proprio of 25 April, 1904, established a commission to prepare an edition of plain chant which was to be brought out by the Vatican printing press and which all publishers should get permission to reprint.以促进这一介绍，碧岳第十一个自行proprio的1904年4月25日，成立了一个委员会准备一版的平原高唱这是要带出了由梵蒂冈印刷媒体和所有出版商应得到许可转载。 Unfortunately differences of opinion arose between the majority of the members of the commission, including the Solesmes Benedictines, and its president, Dom Joseph Pothier, with the result that the pope gave the whole control of the work to Dom Pothier.可惜的意见分歧之间出现多数委员会成员，包括索莱姆benedictines ，其主席， DOM的约瑟夫pothier ，致使教宗了整个控制工作到DOM pothier 。 The consequence was that magnificent manuscript material which the Solesmes monks, expelled from France, had accumulated in their new home on the Isle of Wight, first at Appuldurcombe afterwards at Quarr Abbey, remained unused.后果是，波澜壮阔的手稿材料，其中索莱姆僧侣，驱逐出法国，积累了在他们的新家园就怀特岛，首先在appuldurcombe后，在quarr修道院，仍然是未使用的。 The Vatican edition, however, though it is not all that modern scholarship could have made it, is a great improvement on Dom Pothier's earlier editions and represents fairly well the reading of the best manuscripts梵蒂冈的版本，不过，虽然这是不是所有的，现代的奖学金可以取得它，是一个伟大的改善DOM的pothier的较早版本和所代表的相当好，读的最好的手稿
TONE SYSTEM AND MODES语气制度和模式
The theory of the plain chant tone system and modes is as yet somewhat obscure.理论平原高唱的语气制度和模式是尚未有点模糊。 We have already remarked that the current medieval theory laid down for the tone system a heptatonic diatonic scale of about two octaves with the addition of b flat in the higher octave.我们已表示，目前的中世纪理论奠定下来的语调系统heptatonic diatonic规模约两个八度音与另外的B单位在较高的八度音。 In this system four notes, d, e, f, and g, were taken as fundamental notes (tonics) of modes.在这个系统中4注，发展，英文，法文，和克，被带到作为根本债券（补药）的模式。 Each of these modes was subdivided according to the compass, one class, called authentic, having the normal compass, from the fundamental note to the octave, the other, called plagal, from a fourth below the fundamental note to a fifth above.每个这些模式的划分是根据指南针，一类，所谓的真实，具有正常的指南针，从根本附注至八度，另一方面，所谓的plagal ，从第四下面的基本说明第五次以上。 Thus there result eight modes.因此，结果8模式。 These, of course, are to be understood as differing not in absolute pitch, as their theoretical demonstration and also the notation might suggest, but in their internal construction.当然，这些都是可以理解为不同不是绝对的音高，因为他们的理论示范和乐谱，也可能会建议，但在其内部建设。 The notation, therefore, refers merely to relative pitch, as does, eg, the tonic sol-fa notation.乐谱，因此，指的只是相对音高一样，例如，补品溶胶发乐谱。 Not being hampered by instrumental accompaniment, singers and scribes did not bother about a system of transposition, which in ancient Greek music, for instance, was felt necessary at an early period.没有受到阻碍器乐伴奏，歌手和文士并没有理会制度，转，这在古希腊的音乐，例如，有人认为，有必要在较早的时期。
The theoretical distinction between authentic and plagal modes is not borne out by an analysis of the existing melodies and thier traditional classification (see Fr. Krasuski, "Ueber den Ambitus der gregorianischen Messgesänge", Freiburg, 1903).理论之间的区别真实和plagal模式是不传染的，由分析现有的旋律和他们的传统分类法（见神父。克拉苏斯基， “ ueber书斋电路明镜gregorianischen messgesänge ” ，弗赖堡， 1903 ） 。 Melodies of the fourth mode having a constant b flat fall in badly with the theoretic conception of a fourth mode having b natural as its normal note, and some antiphon melodies of that mode, although they use no b flat but have a as their highest note, eg, the Easter Sunday Introit, are out of joint with the psalmody of that mode.旋律第四模式有一个常数b单位严重下降，与理论的概念，第四个模式后， b自然作为其正常的注意，有些安提旋律该模式，虽然他们使用否b单位，但有一个作为其最高注意例如，复活节周日introit ，是出于联合与psalmody这一模式。 It would, therefore, seem certain that the eight mode theory was, as a ready made system, imposed on the existing stock of plain chant melodies.它将，因此，似乎是肯定的是， 8模式的理论是，作为一个现成的制度，强加给现有的存量平原高唱的旋律。 Historically the first mention of the theory occurs in the writings of Alcuin (d. 804), but the "Paléographie Musicale" (IV, p. 204) points out that the existence of cadences in the Introit psalmody based on the literary cursus planus tends to show that an eight mode theory was current already in St. Gregory's time.历史上，第一次提及的理论，发生在著作阿尔昆（四804 ） ，但“ paléographie音乐” （四，第204页）指出，存在cadences ，在introit psalmody的基础上，文学cursus planus倾向显示1 8模式理论是目前已经在圣格雷戈里的时间。 From the tenth century forward the four modes are also known by the Greek terms, Dorian, Phrygian, Lydian, and Mixolydian, the plagals being indicated by the prefix Hypo.从10世纪提出了四种模式也被称为由希腊而言，多利安， phrygian ，吕底亚语，米索利地安调， plagals正表示，由前缀低。 But in the ancient Greek theory these names were applied to the scales ee, dd, cc, bb respectively.但在古希腊理论，这些名字被应用到电子表，房屋署副署长，消委会， BB心跳。 The transformation of the theory seems to have come to pass, by a complicated and somewhat obscure process, in Byzantine music (see Riemann, "Handbuch der Musikgeschichte", I, §31).转型的理论似乎都来通过，由一个复杂而有点模糊的过程中，在拜占庭音乐（见黎曼， “ handbuch明镜musikgeschichte ” ，我， § 31 ） 。 The growth of the melodies themselves may have taken place partly on the basis of Hebrew (Syrian) elements, partly under the influence of the varying Greek or Byzantine theories.生产总值的增长率相旋律本身可能已经发生了部分的基础上希伯来文（叙利亚）要素，部分的影响下，不同的希腊或拜占庭的理论。
RHYTHM节奏
Practically, the most important question of plain chant theory is that of the rhythm.实际上，最重要的问题平原高唱理论是对的节奏。 Here again opinions are divided.在这里再次意见分歧。 The so-called equalists or oratorists hold that the rhythm of plain chant is the rhythm of ordinary prose Latin; that the time value of all the notes is the same except in as far as their connexion with the different syllables makes slight differences.那些所谓equalists或oratorists认为节奏平原高唱是节奏的普通散文拉丁美洲;的时间价值，所有笔记是一样的，除非据他们的Connexion公司与不同的音节，使略有不同。 They hold, however, the prolongation of final notes, mora ultimæ vocis, not only at the end of sentences and phrases but also at the minor divisions of neum groups on one syllable.他们举行，但是，延长的最后指出，莫拉声音/ ultimæ ，不仅在去年底的句子和词组，而且在小区划内乌姆团体对一个音节。 In the Vatican edition the latter are indicated by vacant spaces after the notes.在梵蒂冈的版本，后者表示，由空置位后，债券。 The measuralists, on the other hand, with Dechevrens as their principal representative, hold that the notes of plain chant are subject to strict measurement.该measuralists ，另一方面，与dechevrens作为他们的主要代表，认为注释平原高唱受到严格的测量。 They distinguish three values corresponding to the modern quavers, crotchets, and minims.他们区分三个值相应的现代quavers ， crotchets ， minims 。