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Gregorian chantThe Gregorian Chant is not “Gregorian”: even if it is thought that Pope Gregory has personally invented Gregorian Chant, it is historically proved that the Gregorian chant cannot be attributed to Pope Gregory. Moreover, but it is not evident, the Gregorian Chant is not properly a chant. The paradox has to be intended thinking that the Gregorian Chant is not like the current musical phenomenon, at which nowadays everyone is used to.

The deep necessity that determined his birth was the solemn proclamation of the sacred words during the liturgy. The solemn proclamation is dense of highlights and it comes from the meditation of the whole text and from the continuous “ruminatio”, venerating each single word: “Verbum Domini”. The art called Gregorian Chant started as a rhetoric pronunciation of phrases and not as chant. In fact it was a reading way used by orators to stress some syllable, word or verse. In synthesis, the Gregorian Chant is a “sound amplification” of a text, which it is not simply said, but proclaimed.

The Gregorian Chant is a combination of roman and gallican chants, happened during the Middle Ages. The combination of this two type of chant started in the VIII centuries and it was done by great experts influenced by the historical – political situation of which Great Carl was a dominant part. The chants became more numerous and that art form spread throughout Europe. In the beginning this art was handed down mnemonically and it was not written down, but with the passing of the year and with the need to remember the chants, it started to be written down in parchments, as it happened for the sacred texts. They were the first manuscripts and they were used by the magister chori to remember the vast repertoire. First manuscript represents a transition between the oral or mnemonic tradition and the staff tradition. In fact, specific musical sign called also neums, were drawn without the staff, but contained important information about the rhythm and the trend of the notes. In that way, the magister chori could remind back the chants he already knew. After the invention of the pentagram, the manuscripts became diastematic and each note could represent the exact tone, and it avoided the loss of the melody. On the other hand, the value of each note represented by the first neums written without the stuff were loss, and the music became mensural as in the modern music style. Gregorian chants cannot be written in the pentagram because the value of each not depend on the words and on the verse. Only since 1950 a Benedictine Monk Eugéne Cardine discovered the meaning of the neums reported in the old adiastemtic manuscript (written without the stuff). This study strongly changed the interpretation of the Gregorian Chant, allowing to understand which was the original execution of the greatest musical repertory that the western literature has ever produced.