Catholic liturgical music is serious, solemn, transcendent, but Catholic musicians are never more fun and inspiring than when they are talking about what they love most. This is what happens at sacred music events around the world: the social and intellectual are critically important elements. The musicians (and music enthusiasts) at the Chant Café, a project of the
Church Music Association of America, bring that sense of life and love to the digital world. As St. Augustine said, "Cantare amantis est."
Among the contributors:
Also past contributors:
Jeffrey Tucker, writer, editor, entrepreneur, musician |
archiveNick Gale (1975-2015), organist, choral director, for 13 years Master of the Music at the Cathedral of St. George in Southwark |
archiveBen, schola director and organ student |
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horribile dictu (et auditu)! "influential chant scholar" begins to cover it but is insufficient. Levy's work has inspired–and prompted rebuttal–and touched the vast majority of scholars in medieval musicology in one way or another.
One of the principal articles (if anyone is interested) in Levy's Frankish notation in 800 is "Charlemagne's Archetype of Gregorian Chant" (from the Journal of American Musicology 40, Spring 1987), in addition to his "The Origins of Neumes" (from Early Music History 7, 1987), both of which were reprinted in Gregorian Chant and the Carolingians (Princeton, 1998).