W. W. Norton & Company | The Enjoyment of Music, 10e

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1The Elements of Music
- Prelude Listening to Music Today
- Ch. 1 Melody: Musical Line
- Ch. 2 Rhythm and Meter: Musical Time
- Ch. 3 Harmony: Musical Space
- Ch. 4 Musical Texture
- Ch. 5 Musical Form
- Ch. 6 Musical Expression: Tempo and Dynamics
2Musical Instruments and Ensembles
- Ch. 7 Voices and Musical Instrument Families
- Ch. 8 Western Musical Instruments
- Ch. 9 Musical Ensembles
- Ch. 10 Style and Function of Music in Society
3The Middle Ages
- Ch. 11 The Culture of the Middle Ages
- Ch. 12 Sacred Music in the Middle Ages
- Ch. 13 Secular Music in the Middle Ages
4The Renaissance
- Ch. 14 The Renaissance Spirit
- Ch. 15 Renaissance Sacred Music
- Ch. 16 Renaissance Secular Music
- Transition I From Renaissance to Baroque
5The Organization of Musical Sounds
- Ch. 17 Musical Systems
- Ch. 18 The Major-Minor System
6The Baroque and the Arts
- Ch. 19 The Baroque Spirit
- Ch. 20 Main Currents in Baroque Music
7Vocal Music of the Baroque
- Ch. 21 Baroque Opera
- Ch. 22 Barbara Strozzi and the Italian Cantata
- Ch. 23 Bach and the Sacred Cantata
- Ch. 24 Handel and the Oratorio
8Instrumental Music of the Baroque
- Ch. 25 The Baroque Sonata and Concerto
- Ch. 26 The Baroque Suite
- Ch. 27 Other Baroque Instrumental Forms
- Transition II To the Age of Enlightenment
9Expanded Elements of Form
- Ch. 28 The Development of Musical Ideas
- Ch. 29 Classical Forms
10The Classical Spirit
- Ch. 30 Classicism in the Arts
- Ch. 31 Classicism in Music
11Classical Chamber Music
- Ch. 32 Eighteenth-Century Chamber Music Style
- Ch. 33 Mozart and Chamber Music
12The Classical Symphony
- Ch. 34 The Nature of the Symphony
- Ch. 35 Haydn and the Symphony
- Ch. 36 Beethoven and the Symphony in Transition
13The Eighteenth-Century Concerto and Sonata
- Ch. 37 The Classical Concerto
- Ch. 38 The Classical Sonata
14Choral Music and Opera in the Classical Era
- Ch. 39 Sacred Choral Music and Opera
- Transition III From Classicism to Romanticism
15The Romantic Movement
- Ch. 40 The Spirit of Romanticism
- Ch. 41 Romanticism in Music
16Nineteenth-Century Art Song
- Ch. 42 The Romantic Song
- Ch. 43 Schubert and the Lied
- Ch. 44 Robert Schumann and the Song Cycle
17The Nineteenth-Century Piano Piece
- Ch. 45 The Piano and Its Literature
- Ch. 46 Chopin and Piano Music
- Ch. 47 Clara Schumann: Pianist and Composer
- Ch. 48 Louis Gottschalk and Piano Music in America
18Romantic Program Music
- Ch. 49 The Nature of Program Music
- Ch. 50 Berlioz and the Program Symphony
- Ch. 51 Musical Nationalism
19Absolute Forms in the Nineteenth Century
- Ch. 52 The Romantic Symphony
- Ch. 53 Brahms and the Late Romantic Symphony
- Ch. 54 The Romantic Concerto
- Ch. 55 The Rise of Classical Composition in America
20Choral and Dramatic Music in the Nineteenth Century
- Ch. 56 Romantic Choral Music
- Ch. 57 Fanny Mendelssohn Hensel and the Romantic Part Song
- Ch. 58 Romantic Opera
- Ch. 59 Verdi and Italian Opera
- Ch. 60 Wagner and the Music Drama
- Ch. 61 Puccini and Late Romantic Opera
- Ch. 62 Tchaikovsky and the Ballet
21The Impressionist and Post-Impressionist Eras
- Transition IV The Post-Romantic Era
- Ch. 63 Debussy and Impressionism
22The Early Twentieth Century
- Ch. 64 Main Currents in Early-Twentieth-Century Music
- Ch. 65 New Elements of Musical Style
- Ch. 66 Stravinsky and the Revitalization of Rhythm
- Ch. 67 Schoenberg and the Second Viennese School
23Twentieth-Century Nationalism
- Ch. 68 Bela Bartok and the European Tradition
- Ch. 69 American Musical Traditions
- Ch. 70 Nationalism in the Americas: Aaron Copland and Silvestre Revueltas
24Popular Styles
- Ch. 71 Ragtime, Blues, and Early Jazz
- Ch. 72 The Swing Era and Beyond
- Ch. 73 Musical Theater
- Ch. 74 Rock and the Global Scene
25The New Music
- Ch. 75 New Directions
- Ch. 76 The New Virtuosity of the Modern Age
- Ch. 77 Contemporary Composers Look to World Music
- Ch. 78 Music for Films
- Ch. 79 Technology and Music
- Ch. 80 Some Current Trends

Chapter 12: Sacred Music in the Middle Ages

Study Plan

"When God saw that many men were lazy, and gave themselves only with difficulty to spiritual reading, He wished to make it easy for them, and added the melody to the Prophet's words, that all being rejoiced by the charm of the music, should sing hymns to Him with gladness." —ST. JOHN CHRYSOSTOM

Key Points

Many world cultures use a kind of chant, a monophonic (single-line) melody, in their worship (CP 3).
The music of the early Christian church, called Gregorian chant, features monophonic, nonmetric melodies set in one of the church modes, or scales.
Chant melodies fall into three categories (syllabic, neumatic, melismatic) based on how many notes are set to each syllable of text.
The most solemn ritual of the Catholic Church is the Mass, a daily service with two categories of prayers: the Proper (texts that vary according to the day) and the Ordinary (texts that remain the same for every Mass).
Some chants are sung alternating a soloist and chorus in a responsorial performance.
The Paris Cathedral of Notre Dame was a center for organum, the earliest type of polyphony, with two-, three-, or four-voice parts sung in fixed rhythmic patterns (rhythmic modes).
Preexisting chants formed the basis for early polyphony, including organum and the motet; the latter features multiple texts (polytextual).

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