ABSTRACT

Various medieval writers propose methods of modal analysis that emphasize melodic design and derive the terms of the analysis from empirical observation. This chapter reviews some key points in an earlier study on mode in Old Roman chant. The first is that the melodic language of the Old Roman Mass Proper can be understood in terms of a structure of conjunct and overlapping thirds, or trichords. Second, the ecclesiastical modes distinguish themselves by the particular selection of trichords that they habitually emphasize, usually two or three. Roman singers had to work hard at distinguishing among the modes, since so much of their physiognomy is shared–distinctive, but not distinguishing. James McKinnon, in the Epilogue of The Advent Project, has cited Brad Maiani on the difficulty of memorizing Old Roman chant, mentioning in particular its repetitious figuration.