Abstract
This paper provides a historical background to the Gregorian chant, an important musical style that came to represent all holy occasions by putting poetry to music, and charts its development through the years. The paper then discusses and describes four hymns that are still used today: Stabat Mater Dolorosa or "Our Lady of Sorrows", Pange Lingua Gloriosi or "Sing, My Tongue, the Saviour's Glory", Victimae Paschali Laudes or "May you praise the Paschal Victim", and Veni Creator Spiritus or "Come Holy Spirit, Creator Blest".

From the Paper
"By the Sixth Century, when Gregory was a Monk, there were already many, many chants in use. He gathered and collected these. In those days monks often wrote their own hymns or adapted earlier versions they had heard in other monasteries. The result is that there was already many different kinds chant. For example in the 4th Century Mozarabic chant developed in Spain. We get Ambrosian chant for St. Ambrose in Milan and Gallican chant from "Gallic" France. There are even chants from Ethiopia in Africa. Over time many different styles of chants developed and found their way into daily mass and special services for festivals or holidays. (Hope, 2007) Sometimes this style was also used for non-church music as well. (Music-for-Church-Choirs.com)
"Gregorian chant is also known as "plainchant" from the French "plein chant" which means "full singing." (Music-for-Church-Choirs.com) By the time of Gregory different chants had been connected with or written for most all special events. We don't know the names of most of the early chant composers, but we do know that many intended for specific Sundays or feast days were composed between the 5th and 8th Centuries. (Ex. Introit, Gradual, Alleluia, Offertorio and Communio). Many of those commonly heard in mass today like the Kyrie, Gloria, Credo or Sanctus were composed later, between the 9th and 12th Centuries. (Hope, 2007)"

Tags:singers, liturgical, composed, mass

Abstract
We are so accustomed to thinking of William Wordsworth as the quintessential Romantic poet -- a man in love with the idea of a simple life lived close to nature -- that we are apt to overlook the fact that he is in fact sometimes somewhat ambivalent about his relationship to nature. The paper shows that Wordsworth's vision of his relationship to the world beyond his own experiences is throughout his life a shaping element of his poetic voice and, as this vision changes so does his style. This paper focuses on "Excursion", a relatively early poem, and "The Prelude", which is a twice-expanded version of a poem of the same name that he wrote in 1799. In 1805 he would expand "Prelude" to an epic-length 13 books and in 1850 he would expand it again to 14 books. The paper shows that in both these poems, we see a different stage of Wordsworth's relationship to both self and nature.

From the Paper
""The Prelude" is, of course, in some measure autobiographical, but it is intended to be read more as a confessional than a restatement of the facts of his life in any simple way. Indeed, although the facts described in the poem did occur in his life, in the poem he has reordered them, recast them -- offered them to us in an interpretive framework that he has created for himself to understand the arc of his life. He is providing an instruction through example of the ways in which a person can rewrite his own history without being false to it; his is not an act of deception but of synthesis, an alchemical process that burns away everything that is unnecessary and leaves only the gold from the different eras of his life.

Tags:St., Augustine, Blest, the, Babe