
	Where results make sense

Topic: Reciting tone

	Psalmody
		The tuba is the tone, repeated according to the number of syllables of the half-verse, on which the main part of the text is sung.
		Tones I, through VIII are the classical "Eight Psalm Tones." The versions of the tones given here is those commonly used in German Lutheranism since the time of the Reformation.
		"Irr." is the Tonus Irregularis, the "irregular tone."
	www.llpb.us /psalmody.htm (2139 words)

	Reciting tone - Wikipedia, the free encyclopedia
		In chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate, or by extension, the entire melodic formula that centers on one or two such pitches.
		Reciting tones occur in several parts of the Roman Rite.
		In addition to the eight psalm tones associated with the eight musical modes, there is a ninth psalm tone called the tonus peregrinus, or ""wandering tone," which uses a reciting tone of A for the first part of the psalm verse and a G for the second half.
	en.wikipedia.org /wiki/Reciting_tone (752 words)

	Sacred Music: Gregorian Chant as the Paradigm
		Recitative is the style of the singing of the lessons for the Mass.
		The tones for the prayers of the Mass set three quite different kinds of prayer: the collects, the preface, and the Lord’s Prayer, and they do this by differentiating these three types in importance, progressing from a simple recitative style for the collects to a completely syllabic melody for the Lord’s Prayer.
		17 The simplicity of these tones means that the efficient singing of the psalms is not hindered by the need to pay much attention to the melodies; rather, they serve as a neutral medium for the elevated delivery of these texts by a community singing in common, answering back and forth antiphonally.
	www.musicasacra.com /publications/sacredmusic/133/1/1_1.html (3766 words)

	Wav Tone (Site not responding. Last check: 2007-10-16)
		Reciting tone - In the church modes of Gregorian chant the reciting tone (also dominant, tenor, tubae) is the melodic formula used for reciting psalm tones.
		Each mode had its own associated psalm tone, the tenor of which is the reciting tone.
		Arab tone system - The modern Arab tone system, or system of musical tuning, is based upon the theoretical division of the octave into twenty-four equal divisions or 24-tone equal temperament, the distance between each successive note being a quarter tone (50 cents).
	www.gaylor-multimedia.com /wavtone.html (488 words)

	M401: Gregorian Chant
		The singers use the psalm tone that is in the same mode as the accompanying antiphon.
		The first half of the psalm tone begins with an introductory formula called an intonation, which is sung only for the first verse of the psalm; all other verses begin with recitation on the reciting tone.
		In the psalm tone in NAWM 4a, the mediant begins on the next-to-last accented syllable of the first half of the psalm verse (the last two accents are marked with boldface), and the termination begins two syllables before the last accented syllable (shown with two syllables in italics before the last accented syllable in boldface).
	www.music.indiana.edu /som/courses/m401/M401chant.html (985 words)

	FAQ No. 1 (2004)
		A "psalm tone" is a melodic formula that is used to chant entire psalms and other biblical passages such as the "Magnificat." Aspects of it also find their way into the verses of other chants.
		The "psalm tone" (minus the "initium") is then repeated as often as needed to sing all the verses, including the "lesser doxology." Note that each verse has a different number of syllables, hence the need for flexibility -- the number of times the "reciting tone" is repeated.
		The use of the "psalm tone" is most clear in NAWM 4e, where the music is written out for all the verses.
	www.arts.arizona.edu /rosenblatt/faq330A.html (1547 words)

	Hymnology: Plainsong (Site not responding. Last check: 2007-10-16)
		In the Gregorian tradition, there are 8 tones, one for each of the 8 church modes.
		The main note in each tone is a reciting note (reciting tone), to which one or more syllables or words are sung.
		Hence, the first part of the Psalm tone is concerned with setting up the reciting tone and the second part is concerned with the cadence or termination of the verse.
	www.smithcreekmusic.com /Hymnology/Latin.Hymnody/Plainsong.html (371 words)

	iClassics (Site not responding. Last check: 2007-10-16)
		Formula for chanting psalms on a reciting tone, which varies with the mode, including patterns for beginning (initium), continuing (tenor), temporarily resting (flex), resuming (Media), and closing (terminatio).
		(3) Reciting tone, or repercussion in a mode or plainchant.
		On string instruments, a quick reiteration of the same tone, produced by a rapid up-and-down movement of the bow; also a rapid alteration between two different notes.
	www.iclassics.com /glossaryIndex (4971 words)

	LM
		The tones correspond to the eight medieval modes.
		A ninth psalm tone, the Tonus Peregrinus, is also used for the singing of the psalms.
		A Psalm Tone chart is found in The Hymnal 1982 Accompaniment Edition, Vol.
	www.episcopalchurch.org /19625_15139_ENG_HTM.htm (153 words)

	HTC: A brief outline for choir directors of the Hierarchical Liturgy
		The choir sings "It is truly meet..." softly, melodiously, and slowly as the deacon continues to recite the entrance prayers.
		When he begins to ascend the amvon, the choir sings on a recitation tone with cadence: "O Son of God, who rose from the dead, save us who sing to Thee.
		The deacon leaves the altar through the royal doors and exclaims: "Let us pray to the Lord." The choir responds: "Lord, have mercy." The bishop recites the prayer "For holy art Thou..." and the deacon exclaims: "O Lord, save the pious!" The choir repeats his exclamation on a recitation tone.
	www.holy-trinity.org /liturgics/hierarchical-choir.html (1386 words)

	ORB -- Introduction to Church Modes
		Melodies in a particular mode could also reflect the reciting tone or tenor usually found a fifth above the final, though the more elaborate chants might seem to emphasize it only at medial cadences.
		In particular, mode was useful for determining which psalm tone to use with a given antiphon.
		Some melodies can be hard to classify and likely pre-date the Western modal system; they may have a range larger or smaller than the octave or ninth that theorists specify, or they may shift tonal center over the course of the piece.
	www.vanderbilt.edu /~cyrus/ORB/orbmode.htm (483 words)

	CANTUS: About the Manuscripts4
		The invitatory tones of this manuscript are numbered in the order in which they appear in the tonary at the end of the manuscript.
		Tones which are not in the tonary are assigned numbers preceded by "M".
		In the ferial Office, there are a number of antiphons which end on the reciting tone of the psalm, as indicated in the differentia.
	publish.uwo.ca /~cantus/aboutms4.html (7809 words)

	Poetry Speaker and Tone
		One may be sensitive to tone without being able to define precisely what one is noticing that tells one the poem is angry or bitter or stoic or awe struck.
		In life, the interpretation of tone is supported by other cues or clues, a raised eyebrow or the tilt of one's head.
		That is why assessment of tone is such an art itself; one is noticing the "how" of the poem in addition to its content or "what" of the poem.
	www.cod.edu /people/faculty/fitchf/readlit/poetryspeaker.htm (1227 words)

	chanting08
		Now, however, complete psalms with antiphons are sung only in the Offices, and it is for these that the psalm tones are intended.
		Each mode (see lesson 5) has a corresponding psalm tone with a tenor (reciting tone) on the dominant.
		The antiphon naturally ends on the final of the mode, and the intonation for the first psalm verse provides a smooth transition to the tenor of the psalm tone.
	www.geocities.com /shusem81/chanting08 (521 words)

	Care and Feeding
		It is normally sung between the greeting/introduction of the Mass and is immediately followed by the Gloria.
		The repeated notes are what's called a reciting tone, words on the reciting tone are normally meant to be faster than any notes that move.
		It's not necessary to start on the note that's written in the score, pick a note and range for the entire chant that is comfortable for you so the chant can be sung properly.
	catholicchoir.blogspot.com (1180 words)

	PSALM: Glossary of Liturgical Terms (Site not responding. Last check: 2007-10-16)
		In musical terms, the A. includes a number of hymns of the Ordinary, between which are inserted hymns of the Proper sung according to the Tones from the Octoechos or belonging to a particular feast.
		Derived originally from the Palestinian practice of singing Paschal hymns to a different melody (Tone) on each of the eight days of the feast, the E. came to be applied to eight week-long cycles of hymns.
		stands between psalmody, in which deviations from the main reciting tone occur only at the beginnings and endings of phrases, and singing proper, which has a well defined medodic and rhythmic form.
	www.orthodoxpsalm.org /resources/glossary/a-e.html (1871 words)

	[Islam-Online- Art]
		Abdullah bin Mughaffal narrated: I saw the Prophet reciting the Quran while he was riding on his she camel or camel which was moving, carrying him.
		He recited it in a vibrant quavering tone." Then Muawiya recited as Abdullah bin alMughaffal had done and said: "Were I not afraid that the people would crowd around me, I would surely recite in a vibrant quavering tone as Ibn lMughaffal did,imitating the Prophet.
		It means to recite the Qur'an according to the rules of tajwid and tarfil and by embellishing the voice as far as possible.
	www.islamonline.net /iol-English/qadaya/art-1/artq2.asp (972 words)

	-- Beliefnet.com
		When you read the first line of the psalm, notice that just before the end there is a forward slash mark (/) separating "Shout with joy to the Lord all you" and "lands." That little slash is a very important orientation point; it tells you how to match the text to the music.
		Again, everything to the left side of the backward slash is sung on that one reciting tone (if you're beginning to get the idea that most of contemplative psalmody is chanted on a single note, you're right--a real gift to the musically challenged!).
		Everything to the left of the backward slash is sung on the reciting tone.
	www.beliefnet.com /story/79/story_7926_2.html (386 words)

	CANTUS: About the Manuscripts1
		The tones found in B. 79 are not the standard Gregorian verse tones, although they all follow melodic courses similar to their Gregorian counterparts.
		If a responsory is in transposition, or has a final that seems to contradict that indicated by the verse tone, the theoretical final for the responsory (that is, the untransposed final, or that suggested by the verse tone) is entered into the mode field, for ease in computer sorting.
		A final tone seems to be one of those that was written on a leaf now missing from Hartker's antiphoner (St. Gall 390-391); its presence there can be inferred from a copy of Hartker (St. Gall 388) that includes it at the corresponding point in the series.
	publish.uwo.ca /~cantus/aboutms1.html (10794 words)

	Vespers II of the Assumption of the Blessed Virgin Mary into Heaven
		One of the difficulties in using the Roman tones with modern English psalm translations is that the texts tend to be relatively terse, compared to the Latin.
		Although we are, for the time being, remaining with the traditional psalm tones, we appreciate the decisions of those, sch as St. Meinrad's Archabbey, who have abandoned these tones in favour of newer compositions wish preserve the modal character, but are more suited to the English text.
		Although we have used the solemn tone for this chant, the congregation is more familiar with the simple tone, which is what is presented here.
	www.johnmark.net /liturgy/assumpt.htm (1290 words)

	Open Thou Our Lips
		In the case of a psalm verse with a long first half, the flex is used as a brief break along the choir to catch a quick breath before returning again to the reciting tone.
		In the eight psalm tones that correspond with the eight modes, this reciting tone is exactly the same as the first reciting tone.
		Tonus peregrinus, the ninth tone, which means "wandering tone" has a different reciting tone in the second half than in the first half.
	ancientandrenewal.blogspot.com (10185 words)

	ORB -- Medieval Music Glossary
		It is sung to the same recitational melody as the psalm verse.
		The abbreviation is typically supplied with musical cues to show the singer how to link the end of the psalm tone and/or doxology (which use the same recitational melody) to the beginning of the antiphon in the introit.
		a reciting tone for a particular mode, that is, a note that can be repeated as many times as is necessary for the number of syllables in a given line of text.
	www.vanderbilt.edu /~cyrus/ORB/orbgloss.htm (6352 words)

	Reciting of the Obligatory Prayers in the Middle Tone
		After having read and understood the permitted and non-permitted modes of approach while communicating with Allah (s.w.t.), a believer is obliged to submit himself or herself to the prescribed means of approach and refrain from the modes of approach that are specifically been Commanded NOT to follow.
		Upon this Allah, the Exalted, said to His Apostle (may peace be upon him): Utter not thy prayer so loudly that the polytheists may hear thy recitation and (recite it) not so low that it may be inaudible to your Companions.
		Consequently, it is not a matter of Jahri Salat versus silent Salat, rather it is a matter of recitation during Salat.
	www.mostmerciful.com /prayers-in-middle-tone.htm (1714 words)

	minstrel: clarification of earlier (was Child ballads)
		Some culturals use one, some the other, some combine the two >e) the melodic mode My reference chart may helpful - see http://clem.mscd.edu/~yarrowp if interested > i) use of reciting tone if applicable The reciting tone is a note used to express text, especially in chant.
		Many times an internal cadence will fall on the fifth, second or seventh tone of the mode; this is called a half cadence.
		Accidentals (notes outside the mode) were not always indicated in a manuscript, but were expected to be added by the performer under certain circumstances, often providing a leading tone (approach to a note by a half step) effect.
	www.pbm.com /pipermail/minstrel/1998/003014.html (1120 words)

	Dolmetsch Online - Music Theory Online - Notes, Harmonies & Scales
		This system was extended by introducing a tone, the difference between a perfect fifth and a perfect fourth, with the ratio 9:8.
		The four strings were most probably tuned to the notes of a Dorian tetrachord (intervals: tone, tone, semitone), the four notes encompassing a perfect fourth.
		This is because the interval of a tone between F, the dominant 7th, and E flat in the tonic minor chord has a weaker feeling of 'suspension' than the interval of a semitone between F and E natural in the tonic major chord.
	www.dolmetsch.com /musictheory25.htm (7452 words)

	CNP Articles - Notes on Universal Music for Evening Prayer
		The stanzas of the psalm, normally sung in alternation between cantor and congregation, choir and congregation, or two sides of the congregation, are arranged in a similar manner to the antiphon, depending on the number of phrases in the stanza.
		The one or two notes that occur before the last note in each measure are sung with the syllables that precede the last accented syllable of a phrase (always one syllable per note).
		Everything preceding the italicized syllables is sung on the reciting tone; everything after is sung on the last note (whole note).
	www.canticanova.com /articles/feedback/art431.htm (797 words)

	Journal of Seventeenth-Century Music \| Vol. 6 No. 2 \| Review
		Allsop assumes these tonalities to be modal, but recent scholarship has shown that Bononcini’s tuoni and sets identical or similar to these originate, not in modal theory, but in the psalm tones used in the Divine Offices of the Catholic liturgy.
		Third, the E-minor tonal inflection that Allsop incorrectly views as characteristic of Tone XII in a twelve-mode system is instead a feature of tonalities based on the fifth of the eight psalm tones.
		In sum, there is no evidence to support Allsop’s interpretation of Corelli’s music as written according to the twelve mode system; instead there is ample evidence to contradict it.
	sscm-jscm.press.uiuc.edu /jscm/v6/no2/Barnett.html (2893 words)

	Oberlin Events Calendar
		The percussionist recites the lines of more than a dozen characters in the play along with stage directions while playing instruments specially selected to partner the vocal sounds of French.
		This ambiguity as it is manifested in the sonic texture of Rebonds - whether a line is unified or polyphonic, dry or lyrical, repeating or changing - produces a friction of textures.
		In the opening figure of the piece for example, the right hand intones a static reciting tone against which the left hand plays an oddly loping, resonant melodic line.
	www.oberlin.edu /cgi-bin/cgiwrap/events/calendar.pl?_e=8959 (1782 words)

	CDGFS for Listening/Score Examples:
		C=anon.; D=0 A.D.; G=Hebrew psalm; F=recitation formula; S=the recitation formula has 3 parts, an intonation, a reciting tone, and various types of medial and final cadences.
		C=Monteverdi; D=1643; G=Venetian opera; F=mix of recitative, bel canto triple meter aria, duple meter strophic aria; final part of scene is unified by recurrent refrain sung by Poppea; S=recitative follows natural rise and fall of voice, rather than heightened rhetoric of Florentine opera.
		C=Lully; D=1674; G=tragédie-lyrique; F=Scene 7 is built around an air in AAB form; Scene 8 is unified with a recurrent refrain; S=Scene 7 operns with a short trio with the changing meter required by the accentual patterns of French Baroque verse; the following aria is a simple, after which the trio re-enters.
	www.u.arizona.edu /~brobeck/330-00/330cdgfs.htm (4459 words)

Try your search on: Qwika (all wikis)