The theme of the workshop will be study of Gregorian chant neums and stylistic performance technique as applied to the repertoire of the monastic office (psalmody, antiphons, responsories, etc.). ❋ Unknown (2009)
Brother Anselm the precentor, whose mind seldom left its neums and instruments for many seconds together, looked up vaguely, awoke to the question, and stared, wide-eyed. ❋ Peters, Ellis, 1913-1995 (1984)
Try teaching him his letters instead of the neums, and he may be less ardent. ' ❋ Peters, Ellis, 1913-1995 (1983)
In addition to the neums which are derived from the accents and which form the groundwork of the neumatic system, there is another class which may be taken as indicating special effects. ❋ 1840-1916 (1913)
From this latter practice it is likely that the congregational song developed, at first by applying to the long neums of the "Kyrie" and the jubilations of the "Alleluia" first Latin texts, then texts in the vernacular, and finally by original compositions in imitation of the hymns and litanies. ❋ 1840-1916 (1913)
Eastern rites, too, it is always sung to long neums. ❋ 1840-1916 (1913)
In the staff thus perfected the neums were written according to the forms that had been previously in use in the various localities, such modifications being introduced as were necessary to mark the exact position of the notes, notably the thickening of the head of the acutus. ❋ 1840-1916 (1913)
The books were written carelessly; the forms of the neums, so important for the rhythm, began to be disregarded, and shortenings of melismata became more general. ❋ 1840-1916 (1913)
In the medieval local rites the Sanctus was often "farced" (interpolated with tropes), like the Kyrie and other texts, to fill up the long musical neums. ❋ 1840-1916 (1913)
Chapter of Lucca, which, now in course of publication, illustrates the Guidonian notation that everywhere replaced, save in the school of St. Gall, the ambiguous method of writing the neums in campo aperto, as well as the proposed publication in facsimile by the ❋ 1840-1916 (1913)
Thus his assertion (Histoire de l'harmonie, c. ii, pp. 158-159) that the neums "have their origin in the accents of the Latin language", an assumption which became the basis for the so-called oratorical rhythm in plain chant, was disproved long ago by the mensuralist school of chant rhythm and, more recently, by the Rev.J. Thibaut in his work "Origine byzantine de la notation neumatique de l'église latine" (Paris, 1907). ❋ 1840-1916 (1913)
On the rhythmical signification of the neums: Mocquerau, Le Nombre Musical Gregorian, I ❋ 1840-1916 (1913)
This is also sometimes used for one of the puncta of the climacus (first syllable of tuam, third and sixth neums, etc.) and towards the end of the group neuma on nobis (fifth sign from the end) we see a trigon subpuncte, the last dot of the trigon and the added punctum being drawn out. ❋ 1840-1916 (1913)
Notice the greater length of the last farcing to fit the neums of the last Kyrie, which are always longer. ❋ 1840-1916 (1913)
Accordingly we find even at the date of our earliest MSS. the use of letters, added to the neums, to warn the singer here and there as to the intervals, as we have mentioned above. ❋ 1840-1916 (1913)
This return to the version of the MSS. was illustrated happily by the adoption of the note forms of the thirteenth century, which show clearly the groupings of the neums so important for the rhythm. ❋ 1840-1916 (1913)
For instance Rupert of Deutz (Rupertus Tuitiensis, O.S. B., twelfth century): "We rejoice rather than sing (jubilamus magis quam canimus). and prolong the neums, that the mind be surprised and filled with the joyful sound, and be carried thither where the saints rejoice in glory" (De Officiis, I). ❋ 1840-1916 (1913)
Another peculiarity of this school is the frequent use of disjoint neums, all of which indicate a prolongation of the notes. ❋ 1840-1916 (1913)
Kyrie was constantly farced with other words to fill up the long neums. ❋ 1840-1916 (1913)
In the later Middle Ages, however, from about the twelfth century onwards, the custom grew up of adding neums, definite formulæ, one for each mode, to the office antiphons, there being special rubrics in the liturgical books as to the days on which they should be sung or not sung. ❋ 1840-1916 (1913)
