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Both Gregorian Chant and Shomyo have no actual meter (Wright 67, Xebec).
Monophony is the only way these pieces are preformed (Wright 66, Xebec).
Both Chants are used as a form of prayer in their respective religions
'Gregorian chant does not use time as a dimension in which to set up contrast. Any contrast that does occur is of the mildest sort. Sometimes a passage a soloist will alternate with a full choir' (Wright 66).
Both forms lack major contrast. Whither it be: dynamic, rhythmic, or harmonic (Wright 66).
Because it is Monophonic there is no harmony in either Gregorian Chant or Shomyo (Wright 66, Xebec).
Gregorian Chant and Shomyo both have similar melodic contour and use the same melodic styles of singing (syllabic, and melismatic)(Wright 66, Xebec).
Structure can only be analyzed through the orchestration of the voices singing (e.g Antiphony), or through the text they are singing.
As seen in the Taiyo and Dies Irae recordings they are both monophonic and lack any harmony (Wright 66). Along with that lack of Harmony there are no sense of meter in the pieces because of the way they are sung (Wright 67). This greatly affects the structure of the piece. Rather then being based off of a harmonic analysis, the structure now has to be based off of the orchestration of the voices. Causing them to both share the same way of determining form.
Other key style of Gregorian chant and Shomyo
Dominant style of the Taiyo (sun) Chant.
Taiyo-
First at 1:05. This is an alternation between single voice and Choir
Syllabic singing is a staple of both Gregorian Chant and Shomyo
Jinriki-Hon, a common shomyo chant, uses one pitch (the reciting tone) for the entire chant with each syllable getting sung across one pitch (Hopin 11)
We are all different but the same
Dies Irae -
first at
:17 This is an alternation between Male and Female choir.
O Greenest Branch by Hildegard of Bingen transitions from Syllabic, to Melismatic very frequently. Such as by 27 seconds in there has been eight instances of syllabic singing changing to Melismatic singing.
Gregorian Chant uses syllabic singing so much that it has been come to be called liturgical recitative (Hopin 11).
http://en.wikipedia.org/wiki/File:Epistle_for_the_Solemn_Mass_of_Easter_Day.ogg
Shomyo has a rougher tone colour to it almost as if the practitioner is attempting to produce overtones similar to Tuvan throat singing.
Gregorian Chant and Shomyo are based on entirely different scales.
Although the Jinriki-Hon (the Shomyo vocalists part) and the Epistole from the Solemn mass of Easter day both use the same technical aspects in that they use syllabic singing it is very simple to tell one from the other. The shomyo vocalists sing as if they are trying to produce an overtone where as the tone colour of the Priest is very clear and concise. This is seen again in the Taiyo, and O Greenest Branch much more prominently. Specifically at thirty seconds into the Taiyo it sounds as if there will be an overtone. This contrasts heavily with O Greenest Branch which is very lyrical and doesn't manipulate the voice.
Finally the frequency in which the styles alternate is a different as well. Where as O Greenest Branch shifts between melismatic singing and syllabic singing styles eight times before twenty seconds is up. The Taiyo hadn't even transitioned once.
While Gregorian Chant can be based on any of the Gregorian modes, Shomyo uses the Yo pentatonic scale exclusively.
Gregorian Chant switches between Melismatic singing and Syllabic singing extremly frequently. However, Shomyo tends to use one style almost exclusivly.
Even though these two distinct genres of music come from different parts of the globe they are very much the same when it comes to both their musical, and cultural properties.
Secular music of the Catholic Church
Was based off of the diatonic scales, but soon became based off of the eight Gregorian Modes.
It is Monophonic, and is only vocal (Wright 66).
Named after Pope Gregory the Great (Wright 66).
Sources
Dies Irae: Auora Surgit. Naxos. 1994
Epistle for the Solemn Mass of Easter Day: Rick Dechance. 24 June 2006.
Jinriki-Hon/Cantio Ave Virgo Gloriosa: Schola Gregoriana Pragensis & Gjosan-rjú Tendai Sómjó. UNESCO World Heritage Site Live Recording. 2009
O Greenest Branch: Hildegard of Bigen.
Taiyo: Shingon school of Japanese Vajrayana.
It has a heavy focus on the antiphonal or responsorial forms.
It does not have an actual meter (Wright 66).
Hoppin, Anthology of Medieval Music p. 11, 2001
Style consists of melismatic, and syllabic singing (Wright 66).
Wright, Craig. Listening to Music. Third ed: Thomson Learning, 2000.
Print.
XEBEC Sound Arts. N.p., n.d. Web. 12 Apr. 2014.
Yo Pentatonic Scale
Yo scale- http://en.wikipedia.org/wiki/File:Yo_scale_on_D_ascending_%26_descending.png
Eight Gregorian Modes http://en.wikipedia.org/wiki File:The_eight_musical_modes.png
Monks http://shichiseikai.com/photosBochum09e.html
Priests http://exultate-bmv.blogspot.com/2011/05/gregorian-chants.html
Monks and Priests http://www.overgrownpath.com/2007/11/buddhist-way-on-internet-radio.html
To explore the similarities, and differences of Gregorian Chant and Shomyo through focusing on its styles of singing, and Antiphonal structure.