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[German Version] The oratio tone is the model for the chant of the priest’s prayers in the name of the congregation, or liturgies, especially oratios (collects/prayer of the day, super oblata/prayer over the gifts, post communionem/concluding prayer/prayer of thanksgiving), in the broader sense also cantillation formulas for eucharistic prayers (esp. the preface, verba testamenti), the Paternoster etc. with the same structure and significance as reading tones. Cantillated prayers are the oldest form of liturgical communication in words; some autho…

[German Version] I. History of the Discipline – II. Current State of Research The study of church music is a relatively new scholarly field that endeavors comprehensively to collect, investigate, interpret, transmit, and also make usable in practice our knowledge about the practical and theoretical aspects of church music. The multifaceted contexts of church music must thereby be incorporated, including liturgy and liturgical theology, similarities and differences with re…

[German Version] I. Liturgy – II. Music I. Liturgy 1. Catholic The Constitution on the Sacred Liturgy of Vatican II treats Gregorian chant as specially suited to the Roman liturgy; other things being equal, it should have pride of place (art. 116). This status, which does not judge other forms of church music, is based on the timelessly valid manner in which Gregorian chant is part of the liturgy itself; it is a musical expression of the biblical word in the context of liturgical theology and its primary…

[German Version] I. ( Choralbuch) is a collective term for collections of Gregorian chant. Since the 10th century, these have included the gradual, cantatorium, troper, sequentiarium, kyriale, antiphonary (Antiphon), hymnary, processional, tonary, and directory/breviary/ordinary. Since 1905, the Editio Vaticana has published new editions for practical use. The formerly common Liber usualis (Antiphonary) has been made obsolete by liturgical reform. The collections in use today are the Graduale Romanum (1974) or Graduale triplex (1979), the Graduale simplex (21975), and …

[German Version] conclude the daily Catholic liturgy of the hours (III); they are sung after Compline and in the German Stundenbuch also after Vespers (III). Although they were originally antiphons to psalms (IV) or the Magnificat , since the 12th/13th century they have been independent chants without psalmody – possibly resulting from the practice of commemoration – sung in praise of Mary at the time in the evening when, according to medieval belief, the archangel Gabriel spoke his χαῖρε/ chaíre (Luke 1:28): a daily memorial of the incarnation and a reference to the chris…

[German Version] I. Architecture – II. Liturgy and Practice I. Architecture A simple or throne-like, originally open, seat in the church as seating for the father confessor and the person making confession, the place for individual confession (Confession). Beginning in the 16th century, especially after the Council of Trent and the Instructiones of ¶ C. Borromeo, the originally simple wooden armchair underwent rich development. In general, from the early 17th century on, one finds the symmetrical three-part confessional, the central…

[German Version] I. Liturgics A sequence is a non-biblical hymn sung during mass between the Alleluia and the Gospel (in the 1975 Ger. missal sung before the Alleluia); it has been an element of festal liturgies since the 9th century. The Roman Missal of 1570 included Victimae paschali laudes (Easter), Veni, Sancte Spiritus (Pentecost), Lauda Sion, Salvatorem (Corpus Christi), and the late medieval rhyming poem Dies irae, introduced as a sequence for requiems. In 1727 the Stabat mater was added for the feast of the Seven Sorrows of Mary. In the 1970 Missale Romanum (Ger. missal 1975), t…

[German Version] I. In Catholic usage, German Choral is a collective term for the genuine liturgical music of the Western Latin liturgies (Liturgy). The music for the Gallo-Roman liturgy, which developed c. 750 in France (Metz), was initially called cantus romanus (Charlemagne) or cantilena romana (Paul the Deacon); later, on the basis of a legend concerning its origin, it came to be called Gregorian (the trope Gregorius praesul, c. 800; John the Deacon, 878). After the 12th century, other synonymous terms were used, primarily to distinguish it from polyphony. Since the 13th century, ca…

[German Version] (Aug 19, 1865, Kürenz, near Trier – Oct 17, 1931, Fribourg), musicologist. After training with Michael Hermesdorff at the cathedral in Trier, he studied in Straßburg (Strasbourg) with Gustav Jacobsthal and in Berlin with Heinrich Bellermann and P. Spitta. In 1893 he received his habilitation from Fribourg and taught there as a lecturer; he was appointed associate professor in 1897 and full professor in 1902. In 1920/1921 he served as rector. In 1901 he founded the Gregorian Academ…