Tradition and innovation in medieval chant: from the ninth to the sixteenth century
David Hiley
This chapter explains how church musicians built upon the Roman-Frankish foundation, responding to changing and expanding needs of in high Middle Ages, newly composed chant often reflected different stylistic concepts. Most writers on would prefer not think new music as ‘Gregorian’ at all. Of types discussed below, Office might be called ‘neo-Gregorian’, because least forms antiphon responsory are traditional, even if melodies become increasingly untraditional. But sequences, tropes, Latin songs representational ceremonies (‘liturgical dramas’) categorically un-Gregorian.
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