The Spirit of Gregorian Chant - Church Music Association of America

HISTORY AND TRADITION 27
Diaphony, and later Discant, which gave birth to harmony and
counterpoint; Ars mensurabilis, which gave unequal time value to
notes; the invention of the four4ined staff, which did away largely
with the rhythmic signs used in manuscripts up to the time of Guido;
and the improper interpretation, by XVII century musicians, of the
ancient art of Metrum, which terminated in the struc\ down'beat
(an element foreign to the ictus of free rhythm) at regular or periodic
intervals, giving birth to measure. This attempt to identify meas'
ure with the free oratorical rhythm of Plainchant was not only one
of the most injurious influences in the life of this particular art, but
rhythm has suffered in the entire realm of music as the victim of the
unfortunate consequences of the confusion of that which is rhythm
with that which is measure. In the judgment of Vincent dlndy:
"It is even one of the most deplorable innovations which the XVII
century, so fertile in false theories, has bequeathed to us ... rhythm,
subjected to the restrictive exigencies of measure, became rapidly
impoverished even to the point of the most wearisome dullness, as in
a tree a branch which is tightly compressed by a ligature bleaches
and withers, while those around it absorb all the sap." 1
Whereas in liturgical Latin the accent of the word is used as
an element of unity, the Renaissance musicians often treated it in a
contrary manner by placing many notes upon the accented syllable,
thereby prolonging it. To place many notes on an unimportant
syllable, that which Plainchant does freely when the circumstances
warrant it, was considered a "barbarism" by this new school. They
themselves used primarily the accented syllables for these decorative
formulas. 2
As the various innovations in music came into being and
worked their way into the melody of Plainchant, counter move'
ments of reform sprang up, through which various efforts at restoration
were made. These endeavors became more and more pro'
nounced, and this in the end proved equally disastrous for the
preservation of the integral Gregorian Chant melody, since the
authors of these various attempts were seemingly lacking in a clear
1 Cows de Composition Musicale, Ch. I.
2 Pal. mus., Vol. VII.