Page 140 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 13, zvezek 27 / Year 13, Issue 27, 2017
P. 140
SBENOPEDAGOŠKI ZBORNIK, 27. zvezek
Table 1: Students’ attitude towards the examples of Gregorian chorale they listened to (N=110)
Regina coeli N Min Max M Md Mo SD Skewness Kurtosis
110 1 5 3.6 4 5 1.41 -0.62 -0.92
Lumen et 110 1 5 3.54 4 5 1.25 -0.48 -0.71
revelationem 110 1 5 3.72 4 5 1.25 -0.61 -0.61
110 1 5 3.78 4 5 1.36 -0.98 -0.23
Ubi cartitas
110 1 5 4.37 5 5 1.16 -1.86 2.34
Ave regina
coelorum
Victimae
paschali laudes
According to arithmetic mean, it is visible from Table 1 that students partially like or
dislike the heard examples of Gregorian singing. The highest arithmetic mean in the
positive attitude was expressed for the chant Victimae paschali laudes (M = 4.37), and the
lowest for Lumen et revelationem (M = 3.54). The mode shows that all students liked the
heard examples completely (Md = 5). The listened to Gregorian chants are in their
structure syllabic and syllabic-neumatic melodies.2 Regina coeli is a simple Easter Marian
antiphony of syllabic nature in which almost every syllable has one tonal pitch. It is of
cheerful and merry character so it communicates well with the listener, especially
children. Lumen ad revelationem is an antiphony3 of a simple and syllabic style. The
melody was created in the VIII, hypomixolydian mode which is by its character strong and
festive, capable of expressing solemn atmosphere and celebration (Martinjak, 1997).Ubi
caritas is a gift song of the Lord’s Mass on Holy Thursday Dinner. It belongs to
syllabic-neumatic style and the VI, hypolydian mode. It is of peaceful and contemplative
character. Ave, Regina coelorum is a simple Marian antiphon of syllabic style. The melody
belongs to the VI, hypophrygian mode. Victimae pascali laudes is a syllabic sequence4
(Ljubièiæ, 2007) of Easter and Easter Week. It is realised in the I, Doric mode which leaves
us with an impression of dignity and calm (Martinjak, 1997).
The subjects have stated that 28.2 % had heard the chorale before the auditive
questionnaire. This can be linked to children’s religious practice. Gregorian chant is the
foundation of Roman Catholic liturgy and can be heard in the chants of priests as well as in
the prayer Our Father.
2 Gregorian repertory is divided into three groups according to the melody’s complexity. Syllabic style
presents simple melodies in which one tonal pitch corresponds with each syllable in the text (each syllable
is sung to a single tone). Neumatic style has more embellished melody due to the syllables which have two
or three tones. Melismatic chants are the most ornate, which have elaborate melodies on long sustained
vowels putting forward sound interpretation of certain words and their context (Martinjak, 1997).
3 Antiphone is a short line in the Scripture which has a double role: musical, because it introduces the
psalmody, and liturgical, because it foretells the content of the psalm that follows (Martinjak, 1997).
4 Sequence is a musical-poetic subtype of hymns. It first appeared in the eigth century and it is sung in
Eucharistic Celebration, unlike hymns (Ljubièiæ, 2007).
140
Table 1: Students’ attitude towards the examples of Gregorian chorale they listened to (N=110)
Regina coeli N Min Max M Md Mo SD Skewness Kurtosis
110 1 5 3.6 4 5 1.41 -0.62 -0.92
Lumen et 110 1 5 3.54 4 5 1.25 -0.48 -0.71
revelationem 110 1 5 3.72 4 5 1.25 -0.61 -0.61
110 1 5 3.78 4 5 1.36 -0.98 -0.23
Ubi cartitas
110 1 5 4.37 5 5 1.16 -1.86 2.34
Ave regina
coelorum
Victimae
paschali laudes
According to arithmetic mean, it is visible from Table 1 that students partially like or
dislike the heard examples of Gregorian singing. The highest arithmetic mean in the
positive attitude was expressed for the chant Victimae paschali laudes (M = 4.37), and the
lowest for Lumen et revelationem (M = 3.54). The mode shows that all students liked the
heard examples completely (Md = 5). The listened to Gregorian chants are in their
structure syllabic and syllabic-neumatic melodies.2 Regina coeli is a simple Easter Marian
antiphony of syllabic nature in which almost every syllable has one tonal pitch. It is of
cheerful and merry character so it communicates well with the listener, especially
children. Lumen ad revelationem is an antiphony3 of a simple and syllabic style. The
melody was created in the VIII, hypomixolydian mode which is by its character strong and
festive, capable of expressing solemn atmosphere and celebration (Martinjak, 1997).Ubi
caritas is a gift song of the Lord’s Mass on Holy Thursday Dinner. It belongs to
syllabic-neumatic style and the VI, hypolydian mode. It is of peaceful and contemplative
character. Ave, Regina coelorum is a simple Marian antiphon of syllabic style. The melody
belongs to the VI, hypophrygian mode. Victimae pascali laudes is a syllabic sequence4
(Ljubièiæ, 2007) of Easter and Easter Week. It is realised in the I, Doric mode which leaves
us with an impression of dignity and calm (Martinjak, 1997).
The subjects have stated that 28.2 % had heard the chorale before the auditive
questionnaire. This can be linked to children’s religious practice. Gregorian chant is the
foundation of Roman Catholic liturgy and can be heard in the chants of priests as well as in
the prayer Our Father.
2 Gregorian repertory is divided into three groups according to the melody’s complexity. Syllabic style
presents simple melodies in which one tonal pitch corresponds with each syllable in the text (each syllable
is sung to a single tone). Neumatic style has more embellished melody due to the syllables which have two
or three tones. Melismatic chants are the most ornate, which have elaborate melodies on long sustained
vowels putting forward sound interpretation of certain words and their context (Martinjak, 1997).
3 Antiphone is a short line in the Scripture which has a double role: musical, because it introduces the
psalmody, and liturgical, because it foretells the content of the psalm that follows (Martinjak, 1997).
4 Sequence is a musical-poetic subtype of hymns. It first appeared in the eigth century and it is sung in
Eucharistic Celebration, unlike hymns (Ljubièiæ, 2007).
140
