Lecture 15. Gregorian Chant and Music in the Sistine Chapel

The professor introduces the music periods to be covered in the course, beginning with medieval music and Gregorian chant. He explains that Gregorian chant is the monophonic, one-line music of the Catholic Church used to communicate religious texts and provide time for spiritual contemplation. Though named after Pope Gregory, the chant repertoire was composed over 1500 years by anonymous musicians.

The professor further explains Gregorian chant, its use in monasteries and convents to regulate daily worship per the Rule of St. Benedict, and its adoption in cathedrals. He distinguishes between syllabic chant for readings and melismatic chant for reflection. He plays recordings of melismatic chants by Hildegard von Bingen, a 12th century Benedictine nun, writer and composer.

The professor discusses the renewed mainstream popularity of Gregorian chant in the 90s and today due to its calming, spiritual quality. He then transitions to early polyphonic music called organum created in French cathedrals by adding voices above a Gregorian chant tenor, and plays an audio example of this medieval polyphony.

Moving to the Renaissance, the professor spotlights the music of the Sistine Chapel, describing the space and introducing Josquin des Prez and Giovanni Pierluigi da Palestrina who composed and sang there. He explains differences between chapel as a physical building vs. a musical ensemble, detailing who sang in the Papal Chapel.

Continuing to describe the Papal Chapel, the professor outlines how men sang the soprano line, either using falsetto, choirboys, or castrati. He plays a 1905 recording of the last Vatican castrato, then a Palestrina piece likely sung by falsettists rather than the other options.

Using a musical score, the professor analyzes a Renaissance Sanctus for four voices by Palestrina, identifying four points of imitation that resemble brief fugue expositions. After asking students to identify the soprano singer, he plays a recording demonstrating the relaxed, chant-inspired vocal style.

In conclusion, the professor tries to convey the experience of hearing early music in its original contexts through architecture, clothing, etc. Lamenting time constraints, he projects stained glass from the 12th century Chartres Cathedral while playing chant by medieval composer Fulbertus.