Tonalité grégorienne: Musica recta as Prescriptive Harmony
Late nineteenth-century organist-composers wrote liturgical music dans la tonalité grégorienne based on Niedermeyer and d'Ortigue's chant-accompaniment treatise Traité théorique et pratique de l'accompagnement du plain-chant (1857). The resulting
music contained no musica ficta —, especially not raised leading tones in minor—a watershed moment in the nineteenth-century re-emergence of diatonic modality. Focusing on modes 1 and 2 (the Dorian modes) as a case study, part 1 of the essay discusses the historical background
of Niedermeyer's treatise, part 2 examines features and theoretical implications therein, part 3 details large modal collections such as Guilmant's Soixante interludes dans la tonalité grégorienne, and part 4 analyses two Dorian marches: one from Guilmant's L'Organiste
pratique and one from Gigout's Cent pièces brèves dans la tonalité du plain-chant.
Keywords: FRENCH MUSIC; GREGORIAN CHANT; MODALITY; ORGAN; TONALITY
Document Type: Research Article
Publication date: October 1, 2020
- Music Theory and Analysis (MTA) International Journal of the Dutch-Flemish Society for Music Theory
Music Theory and Analysis (MTA) is a peer-reviewed international journal focusing on recent developments in music theory and analysis. It has a special interest in the interplay between theory and analysis, as well as in the interaction between European and North-American scholarship. Open to a wide variety of repertoires, approaches, and methodologies, the journal aims to stimulate dialogue between diverse traditions within the field.
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MTA is the official journal of the Dutch-Flemish Society for Music Theory (Vereniging voor Muziektheorie). It is the successor to the Dutch Journal of Music Theory (Tijdschrift voor Muziektheorie). - Editorial Board
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