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Grove's dictionary of music and musicians

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.<br />

;<br />

—<br />

74 RESPONSORIAL PSALMODY EESPONSOEIAL PSALMODY<br />

pneuma or melisma. There are in all fifteen<br />

diflerent texts set to this scheme <strong>of</strong> <strong>music</strong> ; the<br />

Justus lit palTna is given here as being the best<br />

representative <strong>of</strong> the group ; but in two <strong>of</strong> the<br />

divisions another text is given as well, in order<br />

to reveal the structure the more clearly.<br />

I. h- ^ . , i . .<br />

i^ Jus tus ut pal • ina floT<br />

Gloria patri as well, in the early shape in which<br />

it consisted <strong>of</strong> one phrase, not two. Further, it<br />

became customary in France to repeat after the<br />

Verse not the whole <strong>of</strong> the respond but only a<br />

part <strong>of</strong> it ; <strong>and</strong> this custom spread till it was<br />

universal.<br />

-^aV^ri^<br />

bit<br />

-^7^—^t^^l;<br />

Sicut ce<br />

i^^£s=m.-=!s^^^=^^<br />

III.<br />

Ti^ri^^^i^^z; 3.,]Mi4 ,<br />

Mul bi - tar<br />

IV.<br />

dens d« tha<br />

^ Ad an -nun - tl • an - diim<br />

- i (BL lue noD luerint do-ml<br />

ii^=^=a^-p^^^^^'^'^^<br />

mo su - o<br />

I» - mo Do-mi -ni)<br />

^<br />

\^^^^^MT7;: -tf^''>« i<br />

^<br />

^<br />

VI.<br />

. «8 » .. »fl«<br />

:K^TCTtm^>\ .<br />

VII.<br />

«e - li - cor - di • >m<br />

^<br />

In do-<br />

(Pro-ce<br />

^^r^S^l^i^^JMsf^-<br />

(Cp. III.)<br />

VIII.<br />

(Op. IV.) Ptr . .<br />

The same plan holds good with the responds<br />

<strong>of</strong> the Office which are found for the most part<br />

in the service <strong>of</strong> Mattins. It is visible more<br />

plainly in the verses <strong>of</strong> the responds than in<br />

the responds themselves. Those <strong>of</strong> the Office<br />

use a set <strong>of</strong> invariable psalm -melodies, one<br />

belonging to each mode ; in these the monotone<br />

is very clear, <strong>and</strong> yet there is much elaboration<br />

in the cadences, <strong>and</strong> the forms are so plastic<br />

that they can by certain well-defined rules be<br />

readily adapted to the various texts <strong>of</strong> the<br />

verses. (See Psalmody.) The Graduals in the<br />

mass do not utilise these common foi-ms for<br />

their Verses ; each Verse is peculiar to the<br />

Gradual ; but even so there is much similarity<br />

observable amongst them both in general structure<br />

<strong>and</strong> in detail. In exceptional cases even<br />

the responds <strong>of</strong> the Oflice have their Verses set<br />

to a special melody <strong>and</strong> not to the common one.<br />

As regards liturgical (as distinct from <strong>music</strong>al)<br />

structure the respond <strong>of</strong> the Office is like<br />

the gradual -respond <strong>of</strong> the Mass, but not<br />

identical. In neither case is it common now<br />

to find more than one Verse, but the respond<br />

in the Office is <strong>of</strong>ten accompanied by the<br />

31<br />

>.i8 IV' '*' gV 's*^<br />

noc<br />

tela<br />

The following respond, then, which belongs<br />

to Mattins <strong>of</strong> the First Sunday in Advent <strong>and</strong><br />

st<strong>and</strong>s at the head <strong>of</strong> the series, may be taken<br />

as representing this form <strong>of</strong> composition in an<br />

unusually full shape.<br />

Three boys sing the Eespond<br />

-_!<br />

As'pi - ul - eoa a Ion • ge ec - ce Ti-de •<br />

^-gfrJi^V^AT^<br />

_<br />

V^<br />

1 po-teu-ti - am Te-iii-en<br />

--Mi^1^;^aSIf^-J>^-^^-if<br />

- tern, et ne-bu lam IfO • tam ter-raiu te<br />

M»t«s:-^—gV-^^-j^-a^,-<br />

ni '*M \<br />

tem. ^ X te ob vi<br />

i, et di • ci • te<br />

^<br />

t Nun-cl -a

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