https://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&feed=atom&action=historyCântarea gregoriană - Revizia istoricului2024-03-28T15:56:18ZIstoricul versiunilor pentru această pagină din wikiMediaWiki 1.30.0https://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=57019&oldid=prevShubossu: /* Istorie */2024-03-11T13:39:44Z<p><span dir="auto"><span class="autocomment">Istorie</span></span></p>
<a href="https://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=57019&oldid=57018">Afișare diferențe</a>Shubossuhttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=57018&oldid=prevShubossu: Traducere limba romana2024-03-11T13:35:13Z<p>Traducere limba romana</p>
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<td colspan="2" style="background-color: white; color:black; text-align: center;">Versiunea de la data 11 martie 2024 13:35</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Cele mai vechi manuscrise ale cântărilor gregoriene au fost scrise folosind o notație grafică care folosește un repertoriu de semne specifice numite neume (noima); fiecare neume (noimă) desemnează un gest muzical de bază. Întrucât cărțile, din velin (piei de oaie tratate), erau foarte scumpe, textul era prescurtat oriunde era posibil, cu neumele scrise peste text. Aceasta a fost o notație fără linii și nici un contur melodic exact nu a putut fi descifrat din ea, ceea ce presupune că repertoriul a fost învățat prin memorare. În stadiile ulterioare, neumele sunt scrise pe doage de una sau mai multe rânduri; în secolul al XI-lea, aceasta a evoluat în notație pătrată, din care în cele din urmă s-a dezvoltat personalul modern de cinci linii în secolul al XVI-lea.<ref>Dezvoltarea stilurilor de notație este discutată la [http://www.dolmetsch.com/musictheory2.htm Dolmetsch online], accesat la 4&nbsp;iulie&nbsp;2006</ref> Ca tradiție muzicală dominantă în toată Europa, cântul gregorian a devenit rădăcina tuturor dezvoltărilor muzicale ulterioare în muzica romano-catolică, începând cu ascensiunea polifoniei în secolul al XI-lea.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Cele mai vechi manuscrise ale cântărilor gregoriene au fost scrise folosind o notație grafică care folosește un repertoriu de semne specifice numite neume (noima); fiecare neume (noimă) desemnează un gest muzical de bază. Întrucât cărțile, din velin (piei de oaie tratate), erau foarte scumpe, textul era prescurtat oriunde era posibil, cu neumele scrise peste text. Aceasta a fost o notație fără linii și nici un contur melodic exact nu a putut fi descifrat din ea, ceea ce presupune că repertoriul a fost învățat prin memorare. În stadiile ulterioare, neumele sunt scrise pe doage de una sau mai multe rânduri; în secolul al XI-lea, aceasta a evoluat în notație pătrată, din care în cele din urmă s-a dezvoltat personalul modern de cinci linii în secolul al XVI-lea.<ref>Dezvoltarea stilurilor de notație este discutată la [http://www.dolmetsch.com/musictheory2.htm Dolmetsch online], accesat la 4&nbsp;iulie&nbsp;2006</ref> Ca tradiție muzicală dominantă în toată Europa, cântul gregorian a devenit rădăcina tuturor dezvoltărilor muzicale ulterioare în muzica romano-catolică, începând cu ascensiunea polifoniei în secolul al XI-lea.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>===<del class="diffchange diffchange-inline">Development of earlier plainchant</del>===</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>===<ins class="diffchange diffchange-inline">Dezvoltarea cântării de tânguire</ins>===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Cântarea a făcut parte din liturghie încă din primele zile ale Bisericii. Până la mijlocul anilor 1990, a fost larg acceptat că psalmodia cultului evreiesc antic a influențat și a contribuit în mod semnificativ la ritualul și cântarea creștină timpurie. Acest punct de vedere nu mai este acceptat în general de savanți, din cauza analizei care arată că majoritatea imnurilor creștine timpurii nu aveau Psalmi pentru texte și că Psalmii nu au fost cânți în [[sinagogă]] timp de secole după Distrugerea celui de-al Doilea Templu. în anul 70 d.Hr.<ref>David Hiley, „Western Plainchant” pp. 484–5.</ref> Totuși, riturile creștine timpurii au încorporat elemente ale cultului evreiesc antic care au supraviețuit în tradiția cântării ulterioare. Orele canonice își au rădăcinile în orele antice de rugăciune evreiască. „Amin” și „aleluia” provin din [ebraică, iar treilea „sanctus” derivă din tripla „kadosh” al Kedusha.<ref>Willi Apel, „Gregorian Chant” p. 34.</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Cântarea a făcut parte din liturghie încă din primele zile ale Bisericii. Până la mijlocul anilor 1990, a fost larg acceptat că psalmodia cultului evreiesc antic a influențat și a contribuit în mod semnificativ la ritualul și cântarea creștină timpurie. Acest punct de vedere nu mai este acceptat în general de savanți, din cauza analizei care arată că majoritatea imnurilor creștine timpurii nu aveau Psalmi pentru texte și că Psalmii nu au fost cânți în [[sinagogă]] timp de secole după Distrugerea celui de-al Doilea Templu. în anul 70 d.Hr.<ref>David Hiley, „Western Plainchant” pp. 484–5.</ref> Totuși, riturile creștine timpurii au încorporat elemente ale cultului evreiesc antic care au supraviețuit în tradiția cântării ulterioare. Orele canonice își au rădăcinile în orele antice de rugăciune evreiască. „Amin” și „aleluia” provin din [ebraică, iar treilea „sanctus” derivă din tripla „kadosh” al Kedusha.<ref>Willi Apel, „Gregorian Chant” p. 34.</ref></div></td></tr>
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</table>Shubossuhttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=57017&oldid=prevShubossu: /* Development of earlier plainchant */2024-03-11T13:33:58Z<p><span dir="auto"><span class="autocomment">Development of earlier plainchant</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Development of earlier plainchant===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Development of earlier plainchant===</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">Singing has been part of the liturgy since the earliest days of the Church</del>. <del class="diffchange diffchange-inline">Until the mid-1990s</del>, <del class="diffchange diffchange-inline">it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant</del>. <del class="diffchange diffchange-inline">This view is no longer generally accepted by scholars</del>, <del class="diffchange diffchange-inline">due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in </del>[[<del class="diffchange diffchange-inline">synagogue</del>]]<del class="diffchange diffchange-inline">s for centuries after the Destruction of the Second Temple in AD </del>70.<ref>David Hiley, <del class="diffchange diffchange-inline">''Western Plainchant'' </del>pp. 484–5.</ref> <del class="diffchange diffchange-inline">However</del>, <del class="diffchange diffchange-inline">early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition</del>. <del class="diffchange diffchange-inline">Canonical hours have their roots in ancient Jewish prayer hours</del>. <del class="diffchange diffchange-inline">"Amen" and "alleluia" come from </del>[<del class="diffchange diffchange-inline">Hebrew</del>, <del class="diffchange diffchange-inline">and the threefold "sanctus" derives from the threefold "kadosh" of the </del>Kedusha.<ref>Willi Apel, <del class="diffchange diffchange-inline">''Gregorian Chant'' </del>p. 34.</ref></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Cântarea a făcut parte din liturghie încă din primele zile ale Bisericii</ins>. <ins class="diffchange diffchange-inline">Până la mijlocul anilor 1990</ins>, <ins class="diffchange diffchange-inline">a fost larg acceptat că psalmodia cultului evreiesc antic a influențat și a contribuit în mod semnificativ la ritualul și cântarea creștină timpurie</ins>. <ins class="diffchange diffchange-inline">Acest punct de vedere nu mai este acceptat în general de savanți</ins>, <ins class="diffchange diffchange-inline">din cauza analizei care arată că majoritatea imnurilor creștine timpurii nu aveau Psalmi pentru texte și că Psalmii nu au fost cânți în </ins>[[<ins class="diffchange diffchange-inline">sinagogă</ins>]] <ins class="diffchange diffchange-inline">timp de secole după Distrugerea celui de-al Doilea Templu. în anul </ins>70 <ins class="diffchange diffchange-inline">d.Hr</ins>.<ref>David Hiley, <ins class="diffchange diffchange-inline">„Western Plainchant” </ins>pp. 484–5.</ref> <ins class="diffchange diffchange-inline">Totuși</ins>, <ins class="diffchange diffchange-inline">riturile creștine timpurii au încorporat elemente ale cultului evreiesc antic care au supraviețuit în tradiția cântării ulterioare</ins>. <ins class="diffchange diffchange-inline">Orele canonice își au rădăcinile în orele antice de rugăciune evreiască</ins>. <ins class="diffchange diffchange-inline">„Amin” și „aleluia” provin din </ins>[<ins class="diffchange diffchange-inline">ebraică</ins>, <ins class="diffchange diffchange-inline">iar treilea „sanctus” derivă din tripla „kadosh” al </ins>Kedusha.<ref>Willi Apel, <ins class="diffchange diffchange-inline">„Gregorian Chant” </ins>p. 34.</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">The </del>[[Noul Testament]] <del class="diffchange diffchange-inline">mentions singing </del>[[<del class="diffchange diffchange-inline">hymn</del>]]<del class="diffchange diffchange-inline">s during the </del>[[<del class="diffchange diffchange-inline">Last Supper</del>]]: <del class="diffchange diffchange-inline">"When they had sung the hymn</del>, <del class="diffchange diffchange-inline">they went out to the </del>[[<del class="diffchange diffchange-inline">Mount of Olives</del>]]<del class="diffchange diffchange-inline">"</del>. <del class="diffchange diffchange-inline">Other ancient witnesses such as </del>[[Clement <del class="diffchange diffchange-inline">of Rome</del>|<del class="diffchange diffchange-inline">Pope </del>Clement I]], [[<del class="diffchange diffchange-inline">Tertullian</del>]], [[<del class="diffchange diffchange-inline">Athanasius of Alexandria</del>|<del class="diffchange diffchange-inline">St</del>. Athanasius]]<del class="diffchange diffchange-inline">, and </del>[[Egeria]] <del class="diffchange diffchange-inline">confirm the practice</del>,<ref>Apel, ''Gregorian <del class="diffchange diffchange-inline">Chant</del>'' p. 74.</ref> <del class="diffchange diffchange-inline">although in poetic or </del>obscure <del class="diffchange diffchange-inline">ways that shed little light on how music sounded during this period</del>.<ref>Hiley, <del class="diffchange diffchange-inline">''Western Plainchant'' </del>pp. 484–7 <del class="diffchange diffchange-inline">and </del>James McKinnon, <del class="diffchange diffchange-inline">''Antiquity </del>and the <del class="diffchange diffchange-inline">Middle Ages</del>'' p. 72.</ref> <del class="diffchange diffchange-inline">The 3rd</del>-<del class="diffchange diffchange-inline">century Greek "Oxyrhynchus hymn" survived with musical notation</del>, <del class="diffchange diffchange-inline">but the connection between this hymn and the </del>plainchant <del class="diffchange diffchange-inline">tradition is uncertain</del>.<ref>McKinnon, James W.: <del class="diffchange diffchange-inline">"Christian </del>Church, <del class="diffchange diffchange-inline">music of the early"</del>, Grove Music Online <del class="diffchange diffchange-inline">ed</del>. L. Macy (<del class="diffchange diffchange-inline">Accessed </del>11&nbsp;<del class="diffchange diffchange-inline">July</del>&nbsp;2006), [http://www.grovemusic.com/ (<del class="diffchange diffchange-inline">subscription access</del>)]</ref></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Noul Testament]] <ins class="diffchange diffchange-inline">menționează cântatul de </ins>[[<ins class="diffchange diffchange-inline">imnuri</ins>]] <ins class="diffchange diffchange-inline">în timpul </ins>[[<ins class="diffchange diffchange-inline">Cinei celei de Taină</ins>]]: <ins class="diffchange diffchange-inline">„După ce au cântat imnul</ins>, <ins class="diffchange diffchange-inline">au ieșit la </ins>[[<ins class="diffchange diffchange-inline">Muntele Măslinilor</ins>]]<ins class="diffchange diffchange-inline">”</ins>. <ins class="diffchange diffchange-inline">Alți martori antici precum </ins>[[Clement <ins class="diffchange diffchange-inline">al Romei</ins>|<ins class="diffchange diffchange-inline">Papa </ins>Clement I]], [[<ins class="diffchange diffchange-inline">Tertulian</ins>]], [[<ins class="diffchange diffchange-inline">Atanasie al Alexandriei</ins>|<ins class="diffchange diffchange-inline">Sf</ins>. Athanasius]] <ins class="diffchange diffchange-inline">și </ins>[[Egeria]] <ins class="diffchange diffchange-inline">confirmă practica</ins>,<ref>Apel, ''<ins class="diffchange diffchange-inline">Cântul </ins>Gregorian'' p. 74.</ref><ins class="diffchange diffchange-inline">, deși în moduri poetice sau </ins>obscure<ins class="diffchange diffchange-inline">, care aruncă puțină lumină asupra modului în care suna muzica în această perioadă</ins>.<ref>Hiley, <ins class="diffchange diffchange-inline">„Western Plainchant” </ins>pp. 484–7 <ins class="diffchange diffchange-inline">și </ins>James McKinnon, <ins class="diffchange diffchange-inline">„Antiquity </ins>and the <ins class="diffchange diffchange-inline">Middle”. Vârstele</ins>'' p. 72.</ref> <ins class="diffchange diffchange-inline">„Imnul Oxyrhynchus” grecesc din secolul al III</ins>-<ins class="diffchange diffchange-inline">lea a supraviețuit cu notație muzicală</ins>, <ins class="diffchange diffchange-inline">dar legătura dintre acest imn și tradiția </ins>plainchant <ins class="diffchange diffchange-inline">este incertă</ins>.<ref>McKinnon, James W.: <ins class="diffchange diffchange-inline">„Christian </ins>Church, <ins class="diffchange diffchange-inline">muzica timpurie ”</ins>, <ins class="diffchange diffchange-inline">ed. </ins>Grove Music Online. L. Macy (<ins class="diffchange diffchange-inline">accesat la </ins>11&nbsp;<ins class="diffchange diffchange-inline">iulie</ins>&nbsp;2006), [http://www.grovemusic.com/ (<ins class="diffchange diffchange-inline">acces prin abonament</ins>)]</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">Musical elements that would later be used in the Roman Rite began to appear in the 3rd century</del>. <del class="diffchange diffchange-inline">The </del>''[[<del class="diffchange diffchange-inline">Apostolic Tradition</del>]]'', <del class="diffchange diffchange-inline">attributed to the theologian </del>Hippolytus, <del class="diffchange diffchange-inline">attests the singing of </del>Hallel <del class="diffchange diffchange-inline">psalms with Alleluia as the refrain in early Christian </del>''agape'' <del class="diffchange diffchange-inline">feasts</del>.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> <del class="diffchange diffchange-inline">Chants of the Office</del>, <del class="diffchange diffchange-inline">sung during the canonical hours</del>, <del class="diffchange diffchange-inline">have their roots in the early 4th century</del>, <del class="diffchange diffchange-inline">when desert </del>[[<del class="diffchange diffchange-inline">monk</del>]]<del class="diffchange diffchange-inline">s following </del>[[<del class="diffchange diffchange-inline">Anthony the Great</del>|<del class="diffchange diffchange-inline">St</del>. Anthony]] <del class="diffchange diffchange-inline">introduced the practice of continuous psalmody</del>, <del class="diffchange diffchange-inline">singing the complete cycle of </del>150 <del class="diffchange diffchange-inline">psalms each week</del>. <del class="diffchange diffchange-inline">Around </del>375, <del class="diffchange diffchange-inline">antiphonal psalmody became popular in the Christian East</del>; in 386, [[Ambrozie al Milanului|<del class="diffchange diffchange-inline">St</del>. <del class="diffchange diffchange-inline">Ambrose</del>]] <del class="diffchange diffchange-inline">introduced this practice to the West</del>.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Elementele muzicale care aveau să fie folosite ulterior în ritul roman au început să apară în secolul al III-lea</ins>. ''[[<ins class="diffchange diffchange-inline">Tradiția apostolică</ins>]]'', <ins class="diffchange diffchange-inline">atribuită teologului </ins>Hippolytus, <ins class="diffchange diffchange-inline">atestă cântarea psalmilor </ins>Hallel <ins class="diffchange diffchange-inline">cu Aliluia ca refren în sărbătorile creștine timpurii </ins>''agape''.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> <ins class="diffchange diffchange-inline">Cântările Oficiului</ins>, <ins class="diffchange diffchange-inline">cântate în timpul orelor canonice</ins>, <ins class="diffchange diffchange-inline">își au rădăcinile la începutul secolului al IV-lea</ins>, <ins class="diffchange diffchange-inline">când </ins>[[<ins class="diffchange diffchange-inline">călugăriștii</ins>]] <ins class="diffchange diffchange-inline">din deșert îl urmăresc pe </ins>[[<ins class="diffchange diffchange-inline">Antonie cel Mare</ins>|<ins class="diffchange diffchange-inline">Sf</ins>. Anthony]] <ins class="diffchange diffchange-inline">a introdus practica psalmodiei continue</ins>, <ins class="diffchange diffchange-inline">cântând ciclul complet de </ins>150 <ins class="diffchange diffchange-inline">de psalmi în fiecare săptămână</ins>. <ins class="diffchange diffchange-inline">În jurul anului </ins>375, <ins class="diffchange diffchange-inline">psalmodia antifonală a devenit populară în Orientul creștin</ins>; in 386, [[Ambrozie al Milanului|<ins class="diffchange diffchange-inline">Sf</ins>. <ins class="diffchange diffchange-inline">Ambrozie</ins>]] <ins class="diffchange diffchange-inline">a introdus această practică în Occident</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">Scholars are still debating how plainchant developed during the 5th through the 9th centuries</del>, <del class="diffchange diffchange-inline">as information from this period is scarce</del>. <del class="diffchange diffchange-inline">Around </del>410, [[<del class="diffchange diffchange-inline">Augustine of </del>Hippo]] <del class="diffchange diffchange-inline">described the </del>responsorial <del class="diffchange diffchange-inline">singing of a Gradual </del>psalm <del class="diffchange diffchange-inline">at Mass</del>. <del class="diffchange diffchange-inline">At ca</del>. 520, <del class="diffchange diffchange-inline">Saint </del>[[Benedict <del class="diffchange diffchange-inline">of </del>Nursia]] <del class="diffchange diffchange-inline">established what is called the rule of St. </del>Benedict, <del class="diffchange diffchange-inline">in which the protocol of the Divine Office for monastic use was laid down</del>. <del class="diffchange diffchange-inline">Around </del>678, <del class="diffchange diffchange-inline">Roman chant was taught at </del>York.<ref>James McKinnon, ''Antiquity and the Middle Ages'' p. 320.</ref> <del class="diffchange diffchange-inline">Distinctive regional traditions of Western plainchant arose during this period</del>, <del class="diffchange diffchange-inline">notably in the British Isles </del>(<del class="diffchange diffchange-inline">Celtic chant</del>), <del class="diffchange diffchange-inline">Spain </del>(<del class="diffchange diffchange-inline">Mozarabic</del>), <del class="diffchange diffchange-inline">Gaul </del>(<del class="diffchange diffchange-inline">Gallican</del>)<del class="diffchange diffchange-inline">, and Italy </del>(<del class="diffchange diffchange-inline">Old Roman</del>, <del class="diffchange diffchange-inline">Ambrosian and Beneventan</del>). <del class="diffchange diffchange-inline">These traditions may have evolved from a hypothetical year</del>-<del class="diffchange diffchange-inline">round repertory of 5th</del>-<del class="diffchange diffchange-inline">century plainchant after the western </del>[[Roman <del class="diffchange diffchange-inline">Empire</del>]] <del class="diffchange diffchange-inline">collapsed</del>.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Oamenii de știință încă dezbat modul în care s-a dezvoltat cântecul simplu în secolele V-IX</ins>, <ins class="diffchange diffchange-inline">deoarece informațiile din această perioadă sunt puține</ins>. <ins class="diffchange diffchange-inline">În jurul anului </ins>410, [[<ins class="diffchange diffchange-inline">Augustin de </ins>Hippo]] <ins class="diffchange diffchange-inline">a descris cântatul </ins>responsorial <ins class="diffchange diffchange-inline">al unui </ins>psalm <ins class="diffchange diffchange-inline">treptat la Liturghie</ins>. <ins class="diffchange diffchange-inline">La cca</ins>. 520, <ins class="diffchange diffchange-inline">Sfântul </ins>[[Benedict <ins class="diffchange diffchange-inline">de </ins>Nursia]] <ins class="diffchange diffchange-inline">a stabilit ceea ce se numește pravila Sfântului </ins>Benedict, <ins class="diffchange diffchange-inline">în care a fost întocmit protocolul Oficiului Divin pentru uz monahal</ins>. <ins class="diffchange diffchange-inline">În jurul anului </ins>678, <ins class="diffchange diffchange-inline">cântul roman a fost predat la </ins>York.<ref>James McKinnon, ''Antiquity and the Middle Ages'' p. 320.</ref> <ins class="diffchange diffchange-inline">În această perioadă au apărut tradiții regionale distincte ale cântecului de plâns occidental</ins>, <ins class="diffchange diffchange-inline">în special în Insulele Britanice </ins>(<ins class="diffchange diffchange-inline">cântare celtică</ins>), <ins class="diffchange diffchange-inline">Spania </ins>(<ins class="diffchange diffchange-inline">mozarabă</ins>), <ins class="diffchange diffchange-inline">Galia </ins>(<ins class="diffchange diffchange-inline">galicană</ins>) <ins class="diffchange diffchange-inline">și Italia </ins>(<ins class="diffchange diffchange-inline">roman vechi</ins>, <ins class="diffchange diffchange-inline">ambrosian și beneventan</ins>). <ins class="diffchange diffchange-inline">Este posibil ca aceste tradiții să fi evoluat dintr</ins>-<ins class="diffchange diffchange-inline">un repertoriu ipotetic pe tot parcursul anului de cântare plânsă din secolul al V</ins>-<ins class="diffchange diffchange-inline">lea, după prăbușirea </ins>[[<ins class="diffchange diffchange-inline">Imperiului </ins>Roman]] <ins class="diffchange diffchange-inline">de Apus</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Origins of the new tradition===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Origins of the new tradition===</div></td></tr>
</table>Shubossuhttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=57016&oldid=prevShubossu: Traducere limba romana2024-03-11T13:32:34Z<p>Traducere limba romana</p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Notația===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Notația===</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">The oldest manuscripts of Gregorian chants were written using a graphic notation which uses a repertoire of specific signs called neumes</del>; <del class="diffchange diffchange-inline">each </del>neume <del class="diffchange diffchange-inline">designates a basic musical gesture</del>. <del class="diffchange diffchange-inline">As books</del>, <del class="diffchange diffchange-inline">made of vellum </del>(<del class="diffchange diffchange-inline">prepared sheepskins</del>), <del class="diffchange diffchange-inline">were very expensive</del>, <del class="diffchange diffchange-inline">the text was abbreviated wherever possible</del>, <del class="diffchange diffchange-inline">with the neumes written over the </del>text. <del class="diffchange diffchange-inline">This was </del>a <del class="diffchange diffchange-inline">notation without lines and no </del>exact <del class="diffchange diffchange-inline">melodic contour could be deciphered from it</del>, <del class="diffchange diffchange-inline">which implies that the repertoire was learnt by rote</del>. <del class="diffchange diffchange-inline">In later stadia</del>, <del class="diffchange diffchange-inline">the neumes are written onto staves of one or more lines</del>; <del class="diffchange diffchange-inline">by the 11th century this had evolved into square notation</del>, <del class="diffchange diffchange-inline">from which eventually the </del>modern <del class="diffchange diffchange-inline">five</del>-<del class="diffchange diffchange-inline">line staff developed in the 16th century</del>.<ref><del class="diffchange diffchange-inline">Development of notation styles is discussed at </del>[http://www.dolmetsch.com/musictheory2.htm Dolmetsch online], <del class="diffchange diffchange-inline">accessed </del>4&nbsp;<del class="diffchange diffchange-inline">July</del>&nbsp;2006</ref> <del class="diffchange diffchange-inline">As the dominating musical tradition throughout Europe</del>, <del class="diffchange diffchange-inline">Gregorian chant became the root of all subsequent musical developments in Roman Catholic music</del>, <del class="diffchange diffchange-inline">beginning with the rise of polyphony in the 11th century</del>.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Cele mai vechi manuscrise ale cântărilor gregoriene au fost scrise folosind o notație grafică care folosește un repertoriu de semne specifice numite neume (noima)</ins>; <ins class="diffchange diffchange-inline">fiecare </ins>neume <ins class="diffchange diffchange-inline">(noimă) desemnează un gest muzical de bază</ins>. <ins class="diffchange diffchange-inline">Întrucât cărțile</ins>, <ins class="diffchange diffchange-inline">din velin </ins>(<ins class="diffchange diffchange-inline">piei de oaie tratate</ins>), <ins class="diffchange diffchange-inline">erau foarte scumpe</ins>, <ins class="diffchange diffchange-inline">textul era prescurtat oriunde era posibil</ins>, <ins class="diffchange diffchange-inline">cu neumele scrise peste </ins>text. <ins class="diffchange diffchange-inline">Aceasta </ins>a <ins class="diffchange diffchange-inline">fost o notație fără linii și nici un contur melodic </ins>exact <ins class="diffchange diffchange-inline">nu a putut fi descifrat din ea</ins>, <ins class="diffchange diffchange-inline">ceea ce presupune că repertoriul a fost învățat prin memorare</ins>. <ins class="diffchange diffchange-inline">În stadiile ulterioare</ins>, <ins class="diffchange diffchange-inline">neumele sunt scrise pe doage de una sau mai multe rânduri</ins>; <ins class="diffchange diffchange-inline">în secolul al XI-lea, aceasta a evoluat în notație pătrată</ins>, <ins class="diffchange diffchange-inline">din care în cele din urmă s-a dezvoltat personalul </ins>modern <ins class="diffchange diffchange-inline">de cinci linii în secolul al XVI</ins>-<ins class="diffchange diffchange-inline">lea</ins>.<ref><ins class="diffchange diffchange-inline">Dezvoltarea stilurilor de notație este discutată la </ins>[http://www.dolmetsch.com/musictheory2.htm Dolmetsch online], <ins class="diffchange diffchange-inline">accesat la </ins>4&nbsp;<ins class="diffchange diffchange-inline">iulie</ins>&nbsp;2006</ref> <ins class="diffchange diffchange-inline">Ca tradiție muzicală dominantă în toată Europa</ins>, <ins class="diffchange diffchange-inline">cântul gregorian a devenit rădăcina tuturor dezvoltărilor muzicale ulterioare în muzica romano-catolică</ins>, <ins class="diffchange diffchange-inline">începând cu ascensiunea polifoniei în secolul al XI-lea</ins>.</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Development of earlier plainchant===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Development of earlier plainchant===</div></td></tr>
</table>Shubossuhttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=54692&oldid=prevInistea la 16 octombrie 2023 13:492023-10-16T13:49:10Z<p></p>
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<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Cântarea gregoriană''' sau '''cântul gregorian''', cunoscut mai puțin sub numele de '''cântul carolingian''', reprezintă tradiția centrală a ''plainchant''-ului vestic, o formă de [[Muzica bisericească|muzică liturgică]] monofonică în cadrul Ortodoxiei Occidentale care însoțea celebrarea [[Sfânta Liturghie|Sfintei Liturghii]] și a altor [[Slujbă|slujbe]] liturgice. Acesta își datorează numele Papei Grigore I, [[Episcop]] de Roma între anii 590 și 604, care este tradițional creditat pentru a fi ordonat simplificarea și catalogarea muzicii atribuite diferitelor sărbători din calendarul bisericii. Rezultatul acestui efort este prima formă de notare muzicală care a evoluat în sistemul ancestral al notării muzicale moderne. În general, cânturile erau învățate prin metoda viva voce, adică urmând exemplul dat oral, ceea ce a necesitat mulți ani de experiență în ''Schola Cantorum''. Cântul gregorian a luat naștere în [[Monahism|viața monahală]] din Occident, în care celebrarea "Oficiului Divin" de opt ori pe zi, la orele potrivite, era respectată conform Regulii Sfântului [[Benedict de Nursia|Benedict]]. Cântarea [[Psalmii|psalmilor]] a constituit o parte semnificativă a vieții comunității monahale, în timp ce un grup mai mic și soliștii cântau cânturile. Pe parcursul istoriei sale îndelungate, cântul gregorian a suferit multe schimbări treptate și unele reforme, în special după [[Marea Schismă]].</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">'''Gregorian chant''', or less commonly known as '''Carolingian chant''' is the central tradition of Western [[w:plainsong|plainchant]], a form of [[w:monophony|monophonic]] [[liturgy|liturgical]] music within [[Western Rite|Western Orthodoxy]] that accompanied the celebration of [[Divine Liturgy]] and other ritual services. It is named after [[Gregory the Dialogist|Pope Gregory I]], Bishop of Rome from 590 to 604, who is traditionally credited for having ordered the simplification and cataloging of music assigned to specific celebrations in the church calendar. The resulting body of music is the first to be notated in a system ancestral to modern musical notation. In general, the chants were learned by the viva voce method, that is, by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in monastic life, in which celebrating the 'Divine Office' eight times a day at the proper hours was upheld according to the [[Rule of St. Benedict]]. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history, Gregorian chant has been subjected to many gradual changes and some reforms, especially after the [[Great Schism]].</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>==<ins class="diffchange diffchange-inline">Istorie</ins>==</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>==<del class="diffchange diffchange-inline">History</del>==</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Gregorian chant was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 10th to 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. Although popular belief credited Pope Gregory I with having personally invented Gregorian chant (in much the same way that a biblical prophet would transmit a divinely received message), scholars now believe that the chant bearing his name arose from a later Carolingian synthesis of Roman and [[Gallican chant]], and that at that time the attribution to Gregory I was a "marketing ruse" to invest it with a sanctified pedigree, as part of an effort to create one liturgical protocol that would be practised throughout the entire [[Holy Roman Empire]].</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Gregorian chant was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 10th to 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. Although popular belief credited Pope Gregory I with having personally invented Gregorian chant (in much the same way that a biblical prophet would transmit a divinely received message), scholars now believe that the chant bearing his name arose from a later Carolingian synthesis of Roman and [[Gallican chant]], and that at that time the attribution to Gregory I was a "marketing ruse" to invest it with a sanctified pedigree, as part of an effort to create one liturgical protocol that would be practised throughout the entire [[Holy Roman Empire]].</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>During the following centuries, the chant tradition remained at the heart of Roman Catholic music and served as the dominant platform for new performance and compositional practices. Newly composed music on new texts was first introduced within the context of existing plainchant. The late Middle Ages [[polyphony]] was developed in Western music. Although it had mostly fallen into disuse after the Baroque period, Gregorian chant experienced a revival in the 19th century in the Roman Catholic Church and the Anglo-Catholic wing of the [[Anglican Communion]].</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>During the following centuries, the chant tradition remained at the heart of Roman Catholic music and served as the dominant platform for new performance and compositional practices. Newly composed music on new texts was first introduced within the context of existing plainchant. The late Middle Ages [[polyphony]] was developed in Western music. Although it had mostly fallen into disuse after the Baroque period, Gregorian chant experienced a revival in the 19th century in the Roman Catholic Church and the Anglo-Catholic wing of the [[Anglican Communion]].</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>===<del class="diffchange diffchange-inline">Organization</del>===</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>===<ins class="diffchange diffchange-inline">Organizare</ins>===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Gregorian chants are organized into eight modes (scales). Typical melodic features include characteristic incipits and cadences, the use of reciting tones around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Gregorian chants are organized into eight modes (scales). Typical melodic features include characteristic incipits and cadences, the use of reciting tones around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although the modern eight-tone major and minor scales are strongly related to two of these church modes (the Ionian and Aeolian, respectively), they function according to different harmonic rules. The church modes are based on six-note patterns called hexachords, the main notes of which are called the ''dominant'' and the ''final''. Depending on where the final falls in the sequence of the hexachord, the mode is characterized as either ''authentic'' or ''plagal''. Modes with the same final share certain characteristics, and it is easy to modulate back and forth between them; hence, the eight modes fall into four larger groupings based on their finals.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although the modern eight-tone major and minor scales are strongly related to two of these church modes (the Ionian and Aeolian, respectively), they function according to different harmonic rules. The church modes are based on six-note patterns called hexachords, the main notes of which are called the ''dominant'' and the ''final''. Depending on where the final falls in the sequence of the hexachord, the mode is characterized as either ''authentic'' or ''plagal''. Modes with the same final share certain characteristics, and it is easy to modulate back and forth between them; hence, the eight modes fall into four larger groupings based on their finals.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>===<del class="diffchange diffchange-inline">Notation</del>===</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>===<ins class="diffchange diffchange-inline">Notația</ins>===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The oldest manuscripts of Gregorian chants were written using a graphic notation which uses a repertoire of specific signs called neumes; each neume designates a basic musical gesture. As books, made of vellum (prepared sheepskins), were very expensive, the text was abbreviated wherever possible, with the neumes written over the text. This was a notation without lines and no exact melodic contour could be deciphered from it, which implies that the repertoire was learnt by rote. In later stadia, the neumes are written onto staves of one or more lines; by the 11th century this had evolved into square notation, from which eventually the modern five-line staff developed in the 16th century.<ref>Development of notation styles is discussed at [http://www.dolmetsch.com/musictheory2.htm Dolmetsch online], accessed 4&nbsp;July&nbsp;2006</ref> As the dominating musical tradition throughout Europe, Gregorian chant became the root of all subsequent musical developments in Roman Catholic music, beginning with the rise of polyphony in the 11th century.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The oldest manuscripts of Gregorian chants were written using a graphic notation which uses a repertoire of specific signs called neumes; each neume designates a basic musical gesture. As books, made of vellum (prepared sheepskins), were very expensive, the text was abbreviated wherever possible, with the neumes written over the text. This was a notation without lines and no exact melodic contour could be deciphered from it, which implies that the repertoire was learnt by rote. In later stadia, the neumes are written onto staves of one or more lines; by the 11th century this had evolved into square notation, from which eventually the modern five-line staff developed in the 16th century.<ref>Development of notation styles is discussed at [http://www.dolmetsch.com/musictheory2.htm Dolmetsch online], accessed 4&nbsp;July&nbsp;2006</ref> As the dominating musical tradition throughout Europe, Gregorian chant became the root of all subsequent musical developments in Roman Catholic music, beginning with the rise of polyphony in the 11th century.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l19" >Linia 19:</td>
<td colspan="2" class="diff-lineno">Linia 18:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Singing has been part of the liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in [[synagogue]]s for centuries after the Destruction of the Second Temple in AD 70.<ref>David Hiley, ''Western Plainchant'' pp. 484–5.</ref> However, early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition. Canonical hours have their roots in ancient Jewish prayer hours. "Amen" and "alleluia" come from [Hebrew, and the threefold "sanctus" derives from the threefold "kadosh" of the Kedusha.<ref>Willi Apel, ''Gregorian Chant'' p. 34.</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Singing has been part of the liturgy since the earliest days of the Church. Until the mid-1990s, it was widely accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual and chant. This view is no longer generally accepted by scholars, due to analysis that shows that most early Christian hymns did not have Psalms for texts, and that the Psalms were not sung in [[synagogue]]s for centuries after the Destruction of the Second Temple in AD 70.<ref>David Hiley, ''Western Plainchant'' pp. 484–5.</ref> However, early Christian rites did incorporate elements of ancient Jewish worship that survived in later chant tradition. Canonical hours have their roots in ancient Jewish prayer hours. "Amen" and "alleluia" come from [Hebrew, and the threefold "sanctus" derives from the threefold "kadosh" of the Kedusha.<ref>Willi Apel, ''Gregorian Chant'' p. 34.</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The [[<del class="diffchange diffchange-inline">New </del>Testament]] mentions singing [[hymn]]s during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]". Other ancient witnesses such as [[Clement of Rome|Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and [[Egeria]] confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The [[<ins class="diffchange diffchange-inline">Noul </ins>Testament]] mentions singing [[hymn]]s during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]". Other ancient witnesses such as [[Clement of Rome|Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and [[Egeria]] confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert [[monk]]s following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[Ambrozie al Milanului|St. Ambrose]] introduced this practice to the West.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert [[monk]]s following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[Ambrozie al Milanului|St. Ambrose]] introduced this practice to the West.</div></td></tr>
</table>Inisteahttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=48225&oldid=prevCristianm la 4 decembrie 2018 19:452018-12-04T19:45:19Z<p></p>
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</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l360" >Linia 360:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>isbn=0-02-872951-X}}</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>isbn=0-02-872951-X}}</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">{{refend}}</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==External links==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==External links==</div></td></tr>
</table>Cristianmhttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=48213&oldid=prevCristianm: /* References */2018-12-03T20:26:54Z<p><span dir="auto"><span class="autocomment">References</span></span></p>
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<td colspan="2" style="background-color: white; color:black; text-align: center;">← Versiunea anterioară</td>
<td colspan="2" style="background-color: white; color:black; text-align: center;">Versiunea de la data 3 decembrie 2018 20:26</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l193" >Linia 193:</td>
<td colspan="2" class="diff-lineno">Linia 193:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* ''Liber usualis'' (1953). Tournai: Desclée& Socii.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* ''Liber usualis'' (1953). Tournai: Desclée& Socii.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* [http://www.musicasacra.com/pdf/liberusualis.pdf Liber Usualis (1961) in PDF format] (115 MB)</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* [http://www.musicasacra.com/pdf/liberusualis.pdf Liber Usualis (1961) in PDF format] (115 MB)</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* <del class="diffchange diffchange-inline">{{cite book</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* <ins class="diffchange diffchange-inline">''</ins>Gregorian Chant<ins class="diffchange diffchange-inline">'' (1990) Willi Apel, </ins>Indiana University Press<ins class="diffchange diffchange-inline">, </ins>Bloomington, Indiana<ins class="diffchange diffchange-inline">, ISBN </ins>0-253-20601-4</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"> | last = Apel</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"> | first = Willi</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"> | year = 1990</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"> | title = </del>Gregorian Chant</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"> | publisher = </del>Indiana University Press</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"> | location = </del>Bloomington, Indiana</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"> | isbn = </del>0-253-20601-4<del class="diffchange diffchange-inline">}}</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* {{ws|"[[s:Catholic Encyclopedia (1913)/Gregorian chant|Gregorian chant]]" in the 1913 ''Catholic Encyclopedia''}}, article by H. Bewerung.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* {{ws|"[[s:Catholic Encyclopedia (1913)/Gregorian chant|Gregorian chant]]" in the 1913 ''Catholic Encyclopedia''}}, article by H. Bewerung.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* {{cite web</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* {{cite web</div></td></tr>
</table>Cristianmhttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=48104&oldid=prevCristianm la 3 decembrie 2018 13:012018-12-03T13:01:34Z<p></p>
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<td colspan="2" style="background-color: white; color:black; text-align: center;">Versiunea de la data 3 decembrie 2018 13:01</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l21" >Linia 21:</td>
<td colspan="2" class="diff-lineno">Linia 21:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The [[New Testament]] mentions singing [[hymn]]s during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]". Other ancient witnesses such as [[Clement of Rome|Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and [[Egeria]] confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The [[New Testament]] mentions singing [[hymn]]s during the [[Last Supper]]: "When they had sung the hymn, they went out to the [[Mount of Olives]]". Other ancient witnesses such as [[Clement of Rome|Pope Clement I]], [[Tertullian]], [[Athanasius of Alexandria|St. Athanasius]], and [[Egeria]] confirm the practice,<ref>Apel, ''Gregorian Chant'' p. 74.</ref> although in poetic or obscure ways that shed little light on how music sounded during this period.<ref>Hiley, ''Western Plainchant'' pp. 484–7 and James McKinnon, ''Antiquity and the Middle Ages'' p. 72.</ref> The 3rd-century Greek "Oxyrhynchus hymn" survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain.<ref>McKinnon, James W.: "Christian Church, music of the early", Grove Music Online ed. L. Macy (Accessed 11&nbsp;July&nbsp;2006), [http://www.grovemusic.com/ (subscription access)]</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert [[monk]]s following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[<del class="diffchange diffchange-inline">Ambrose of Milan</del>|St. Ambrose]] introduced this practice to the West.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The ''[[Apostolic Tradition]]'', attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian ''agape'' feasts.<ref>Hiley, ''Western Plainchant'' p. 486.</ref> Chants of the Office, sung during the canonical hours, have their roots in the early 4th century, when desert [[monk]]s following [[Anthony the Great|St. Anthony]] introduced the practice of continuous psalmody, singing the complete cycle of 150 psalms each week. Around 375, antiphonal psalmody became popular in the Christian East; in 386, [[<ins class="diffchange diffchange-inline">Ambrozie al Milanului</ins>|St. Ambrose]] introduced this practice to the West.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410, [[Augustine of Hippo]] described the responsorial singing of a Gradual psalm at Mass. At ca. 520, Saint [[Benedict of Nursia]] established what is called the rule of St. Benedict, in which the protocol of the Divine Office for monastic use was laid down. Around 678, Roman chant was taught at York.<ref>James McKinnon, ''Antiquity and the Middle Ages'' p. 320.</ref> Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles (Celtic chant), Spain (Mozarabic), Gaul (Gallican), and Italy (Old Roman, Ambrosian and Beneventan). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western [[Roman Empire]] collapsed.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Scholars are still debating how plainchant developed during the 5th through the 9th centuries, as information from this period is scarce. Around 410, [[Augustine of Hippo]] described the responsorial singing of a Gradual psalm at Mass. At ca. 520, Saint [[Benedict of Nursia]] established what is called the rule of St. Benedict, in which the protocol of the Divine Office for monastic use was laid down. Around 678, Roman chant was taught at York.<ref>James McKinnon, ''Antiquity and the Middle Ages'' p. 320.</ref> Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles (Celtic chant), Spain (Mozarabic), Gaul (Gallican), and Italy (Old Roman, Ambrosian and Beneventan). These traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western [[Roman Empire]] collapsed.</div></td></tr>
</table>Cristianmhttps://ro.orthodoxwiki.org/index.php?title=C%C3%A2ntarea_gregorian%C4%83&diff=47852&oldid=prevCristianm: creare articol2018-11-24T09:37:58Z<p>creare articol</p>
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