Abstract
The paper relates that the Gregorian chant also known as Plain chant began before the birth of Jesus as Hebrew liturgical music. The paper further relates that each chant is associated with a particular mass or holiday and four Gregorian Chants identified with Easter time include Stabat mater Dolorosa, Pange Lingua Gloriosi, Victimae Paschali Laudes and Veni Creator Spiritus. The paper notes that the Gregorian chant is named for Pope Gregory who organized and catagories chants.

From the Paper
"Gregorian Chant began before the birth of Christ, as hymns that were sung in the Jewish synagogues and temples of ancient Israel. This means that it is possible that Jesus himself sang some of these chants as a child. What we know today as Gregorian chant however is named for Pope Gregory the Great (540-604). It isn't that Gregory started chants and we don't know if he even wrote any, but it is thanks to him that many were saved, catalogued and identified. Pope Gregory is also credited with founding the first singing school (Schola Cantorum) in Rome. The purpose was to train church singers. Gregory also organized the church's annual cycle of..."

Tags:gregorian, chant, hymn

Abstract
This paper describes a particular Chinese Buddhist chant used for both individual and group practice, which is the repetition, through singing or chanting, of one of the names of Buddha - Amitabha. The author points out that Amitabha, which is an ancient chant, was written in the Sanskrit language before Buddhism was transmitted to China. The paper relates that the chanting is sometimes accompanied by percussion instruments.

From the Paper
"The Chinese Buddhist chant I have chosen to describe is, perhaps, one of the simplest and most ancient - the chanting of Amitabha. While some Chinese Buddhist chants were originally written in Chinese, this one predates the transmission of Buddhism to China and is therefore written in Sanskrit, the original language of Buddhism that comes from northern India. Amitabha is one of the names of Buddha, and the chant is associated with repentance and forgiveness. It is, in most cases, as simple repetition of the four-syllable word `Amitabha', though in some cases other syllables are added to it. Buddhist thought values simplicity above all things."

Tags:chinese, buddhist, chant

Abstract
This paper explains that the 21st chant of Walt Whitman's "Song of Myself" can be divided into four main parts: The first two lines function as an introduction of the basic themes, which are developed throughout the rest of the chant; the next three lines (line 3 to line 5) focus on the theme of the night, or rather the Night; lines 6 to 13 develop the theme of the Earth and, finally, the last two lines synthesise the whole in a notion of universal Love. The author points out that the first two lines of the chant take the form of a statement, which once again evokes the style and melody of Biblical poetry and especially the expression "I am he that...". The paper relates that Nature is seen from a cosmic point of view; the reader gets glimpses of the air, the water, the earth, as if the basic elements of the universe are uniting.

From the Paper
"The vision of the Night which has shrouded the Earth is maintained throughout the third part too but without actually mentioning the Night itself. We have the allusion to sleep as the trees are "slumbering", the poet also uses the expressions "departed sunset" and "misty-topt" mountains. We have a whole nightscape by the end of the third part with the image of the "full moon" and the "dark... tide of the river". He proceeds from a description of a landscape to the creation of a more imaginary one, of a poetic landscape ("liquid trees"). It is also intensely personal, we have the unclear vision of a dreamer, and it is partly surreal and distorted. The description is freed from control of reason and consciousness."

Tags:transcendentalism, night, nature, earth, moon

Abstract
This paper explains that the earliest form of known sacred music is the chant, a monophonic, single-line melody using free-verse rhythm. The author explains that the Gregorian chant was not arranged until the 11th and 12th centuries; therefore, it is difficult to reconstruct the exact music from Charlemagne's court. The paper relates that the Gregorian chant is about the text; its roots are in the liturgical, sacred Latin texts being read aloud.

From the Paper
"During the rise of Charlemagne's rule, learning, trade and the appreciation of culture took hold of Roman Empire. Charlemagne's keen interest in music explains why certain monasteries of his reign became large centers for church music. Charlemagne brought monks from Rome to stabilize and reform the church music in his kingdom. St. Ambrose and St. Gregory have come to be named and honored in musical history. Ambrose was Archbishop of Milan from 374 to 397. He took a keen interest in church music, and did much for its advancement. He devised a general system of chanting known from his name as the Ambrosian Chant. When Ambrose died, church music again deteriorated."

Tags:neumes, text, rythm, acapella, overtone

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
This paper explains that Mariama Ba's "Un Chant 'Ecarlate" ("Scarlet Song") is about the failure of an interracial marriage between a young, poor man from Senegal and the daughter of a French diplomat, focusing on the difficulties of an interracial marriage, such as family opposition from both sides, the weaknesses of the husband and the culture shock of the wife. The author points out that Mariama Ba, born in 1929 in Senegal, was raised by her grandparents in a traditional Muslim household and, being a divorced mother of nine children, was no stranger to the trials and tribulations of marriage. The paper relates that this book makes no attempts at hiding the injustice of the Africans toward the white woman; like a Greek tragedy or a morality play, the lesson is for the people who hear and read the words of the author. Several long quotes.

From the Paper
"The men in the novel are, surprisingly, more sympathetic then the women of the novel. Strangely enough, it is Ousmane''s father, the Koranic scholar, who is the family member most accepting of his white daughter in law, though this is of little comfort as he calls the marriage "a necessary evil," (pg 66). While this may not sound like a ringing endorsement, it is considerably better then being an active force in his daughter-in-law's downfall. Ali, a close friend of Ousmane and the husband of Rosalie reproaches Ousmane for his treatment of his white bride. "How can you, Ousmane, betray trust? I hardly know you in your new guise.......besides, what do you reproach your wife with? Her Colour? Her mentality? The same grievances that her father had against you? Ridiculous! You are the racist now." (pg 138)"

Tags:tragedy, marriage, injustice, child, men

From the Paper
"This paper will discuss the history and development of Gregorian chant, a type of music which predominated in the services of the medieval church. The Gregorian chant flourished between the seventh and fourteenth centuries A.D., and there are about 3,000 chants which have survived to the present day. The study of these chants is important to musicologists because "the Gregorian repertory is the first in the West to be preserved complete" (Crocker 118).

Gregorian chant was always based on the use of a single melody line. Thus, the music of the chant was monophonic and lacking in harmony. Gregorian chant was also lacking in the use of instrumental accompaniment. Thus, the melody line was sung either by a solo singer or a choir singing in unison. Gregorian chant was also distinguished by the use of free rhythm. In other ..."

Abstract
This paper explains that the CD recording "The Lily and the Lamb: Chant and Polyphony from Medieval England" by Anonymous 4, an all female quartet that specializes in medieval music is an excellent example of this period's chant and polyphony music. The author points out that the recording is composed of eighteen tracks that are divided up into six different types of songs: one antiphon, five conductuses, two hymns, two motets, one processional hymn and seven sequences. The paper concludes that this recording is helpful in learning about sacred medieval music.

From the Paper
"A sequence is a category of Medieval Latin chant and is also known as prose. It is part of the liturgy and comes after the Alleluia. It usually begins with an introductory phrase of the form "aa." Then phrases are paired together until the concluding phrase "n." The total form of a sequence usually written as: "aabbccddeeff...n." There are seven sequences in this recording and they range in length from a little over a minute to over eight minutes long. While listening to the sequences in this recording, I noticed that they all seemed to follow the same pattern with the voices."

Tags:quartet, conductus, antiphon, non-liturgical, sequence

Abstract
This paper describes the daily invocations and chanting, which comprise one part of Buddhist practice. The author points out that, contrary to what certain Christian observers have claimed, the daily rituals of Chinese Buddhist monks are not mere formulated exercises. The paper explains that these chants are , sophisticated rituals designed to extirpate uncleanliness from the spirit and achieve a higher state of moral and philosophical being.

From the Paper
"This brief essay is a review of the sonorous and seemingly inscrutable chanting that informs Chinese Buddhism. Contrary to what certain Christian observers have claimed, the daily rituals of Chinese Buddhist monks are not mere "external exercises, carried out in prescribed order" (Welch, 80-81). They are, rather, sophisticated and significant rituals designed to extirpate uncleanliness from the spirit and achieve a higher state of moral and philosophical being - chanting of the Buddhist liturgy being of especial importance. With that in mind, this brief essay examines the chanting of Chinese Buddhist monks in greater detail for it is only through such inquiry that true understanding can emerge."

Tags:chanting, buddhism, spiritual

Abstract
The paper analyzes the many differing musical innovations of the medieval composer Hildegard von Bingen. The paper discusses her biographical background as a woman in the Roman Catholic Church in relation to the spirituality of her music. The paper also looks at her status as a feminist innovator of her time. The paper shows how her spiritual music deviated from normative western religious music interpretations of medieval vocal chant.

From the Paper
"Hildegard von Bingen was born in 1098 into a family of German nobles from the courts of Sponheim at Bermersheim. In most historical evaluations of her life it was known that she was the 10th daughter and was found to be sickly and weak at birth. However, her family quickly sent her to be educated at the Disibodenberg monastery after her apparent recovery from illness at a young age. At the monastery she was brought under the tutelage of Jutta, a famous nun that played a crucial role in her educational development within the Roman Catholic Church. In many ways, religious education at the nunnery directly resulted in her acquiring the musical lessons and spiritual inspiration to understand the complexities of composing music within the Church tradition. Yet there is a contradictory historical perspective that tells of von Bingen never actually being taught composition, but that it was an act of God that gave her the gift of music."

Tags:monastery, spiritual, inspiration, Church, nuns, feminism, vocal, chant