Centonization
Template:Short description In music centonization (from Latin cento or patchwork[1]Template:R/superscript) is musical composition via the combination of pre-existing motivic units, typically in reference to Christian liturgical chant.[2]Template:R/superscript[3]Template:R/superscript A piece created using centonization is known as a "centonate".[1]Template:R/superscript
The concept of centonization was borrowed from literary theory, and first applied to Gregorian chant in 1934 by Dom Paolo Ferretti;[2]Template:R/superscriptLua error in package.lua at line 80: module 'Module:Footnotes/anchor_id_list' not found. it has since also been applied to Byzantine chant.[4]Template:R/superscript
Overview
Centonization, according to Ferretti's theory, is a very old and widespread technique. The musical modes used in Gregorian chant are supposed to reflect this use; according to the theory, the modes were more collections of appropriate melodic formulas than a set of pitches. Similar ideas appear in the music theory of other cultures; for example, the maqam of Arab music, the raga of Indian music, or the pathet of Indonesian music. These do not designate merely scales, but sets of appropriate melodies and specific ornaments on certain tones (they are sometimes called "melody types").[5]Template:R/superscript The originality of the composer lies in how he or she links these formulas together and elaborates upon them in a new way.[6]
Regardless of whether the application of the concept to other branches of Christian chant, or other types of music is valid, its use with respect to Gregorian chant has been severely criticized, and opposing models have been proposed.[7]Template:R/superscriptLua error in package.lua at line 80: module 'Module:Footnotes/anchor_id_list' not found. The term "centonate" is not applied to other categories of composition constructed from pre-existing units, such as fricassée, pasticcio, potpourri, and quodlibet.[2]Template:R/superscript
See also
References
Citations
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- ^ a b Randel, Don Michael (2002). The Harvard Concise Dictionary of Music and Musicians. p. 123. Template:ISBN.
- ^ a b c Script error: No such module "template wrapper". Template:Grove Music subscription(subscription required)
- ^ Hoppin, Richard (1978). Medieval Music. New York City: W. W. Norton.
- ^ Script error: No such module "template wrapper". Template:Grove Music subscription(subscription required)
- ^ Script error: No such module "template wrapper". Template:Grove Music subscription(subscription required)
- ^ Page Module:Citation/CS1/styles.css has no content.Treitler, Leo (2003). With Voice and Pen: Coming to Know Medieval Song and How it was Made. Oxford: Oxford University Press. pp. 187, 193. ISBN 0-19-816644-3 – via Internet Archive.
- ^ Hiley, David. (1993). Western Plainchant: A Handbook. Oxford: Clarendon Press; New York: Oxford University Press. pp. 74–75. Template:ISBN Template:Catalog lookup link.
Sources
- Page Module:Citation/CS1/styles.css has no content.Treitler, Leo (July 1974). "Homer and Gregory: The Transmission of Epic Poetry and Plainchant". The Musical Quarterly. 60 (3): 333–372. doi:10.1093/mq/LX.3.333.
- Page Module:Citation/CS1/styles.css has no content.Treitler, Leo (Spring 1975). "'Centonate' Chant: Übles Flickwerk or E pluribus unus?". Journal of the American Musicological Society. 28 (1): 1–23. doi:10.2307/830914. JSTOR 830914.
Further reading
- Ferretti, Paolo Maria (1934). Estetica gregoriana ossia Trattato delle forme musicali del canto gregoriano. Rome: Pontificio Istituto di Musica Sacra. Reprint, New York: Da Capo Press, 1977. Template:ISBN Template:Catalog lookup link.
