韓劇電影你都看哪一部呢？論文書籍站
Gregorian Chant的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包
Gregorian Chant的問題，我們搜遍了碩博士論文和台灣出版的書籍，推薦Guarino, Maria S.寫的 Listen With the Ear of the Heart: Music and Monastery Life at Weston Priory 和Neto, Luiz Costa-Lima/ Moore, Stephen Thomson (TRN)的 Music, Theater, and Society in the Comedies of Luiz Carlos Martins Penna (1833-1846): Amidst the Lundu, the Aria, and the Allelu都 可以從中找到所需的評價。
另外網站The Origins of Gregorian Chant - Oxford History of Western ...也說明：But of course neither did Gregory II actually compose the “Gregorian” chants. No one person did. It was a huge collective and anonymous enterprise that ...
這兩本書分別來自 和所出版 。
國立臺北藝術大學 音樂學系碩(博)士班 馬定一所指導 廖憲一的 在傳統規範框架中尋求新的創作聲響 －以《彌撒曲》的創作為例 （2021），提出Gregorian Chant關鍵因素是什麼，來自於彌撒曲、中文彌撒曲、拉丁文彌撒曲、彌撒禮儀規範、聖樂、東方色彩。
而第二篇論文輔仁大學 音樂學系 徐玫玲所指導 標心的 拉赫曼尼諾夫《帕格尼尼主題狂想曲》之探究 （2021），提出因為有 拉赫曼尼諾夫、變奏曲、狂想曲、帕格尼尼、末日經的重點而找出了 Gregorian Chant的解答。
最後網站Gregorian chant Definition & Meaning - Merriam-Webster則補充：The meaning of Gregorian chant is a monodic and rhythmically free liturgical chant of the Roman Catholic Church.
Listen With the Ear of the Heart: Music and Monastery Life at Weston Priory
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為了解決Gregorian Chant 的問題，作者Guarino, Maria S. 這樣論述：
Far from being a long-silent echo of medieval religion, modern monastery music is instead a resounding, living illustration of the role of music in religious life. Benedictine monks gather for communal prayer upwards of five times per day, every day. Their prayers, called the Divine Office, are almo
st entirely sung. Benedictines are famous for Gregorian Chant, but the original folk-inspired music of the monks of Weston Priory in Vermont is among the most familiar in post-Vatican II American Catholicism. Using the ethnomusicological methods of fieldwork and taking inspiration from the monks' ow
n way of encountering the world, this book offers a contemplative engagement with music, prayer, and everyday life. The rich narrative evokes the rhythms of learning among Benedictines to show how monastic ways of being, knowing, and musicking resonate with humanistic inquiry and the pursuit of know
ledge and understanding. Maria S. Guarino received her PhD in critical and comparative studies in music from the University of Virginia. She specializes in ethnography, religious life, Benedictine monasticism, and contemplative practices. Support for this publication was provided by the Howard Hanso
n Institute for American Music of the Eastman School of Music at the University of Rochester.
Gregorian Chant進入發燒排行的影片
1. Ave Maria 2.Silent Night 3.When a Child is Born 4.Sweeter the Bell 5. In the Bleak Midwinter 6.Peace on Earth (Little Drummer Boy)7.Child in a Manger 8.Greensleeves 9. Miracle of Love
教皇合唱團Gregorian來自英倫島嶼的Gregorian(教皇合唱團)，全部由受過專業美聲訓練的歌手組成，以天籟般的優美和聲演繹流行音樂，別有滋味。他們的專輯據說全都是在大教堂中完成錄音，加之成員都有參加教會唱詩班的經歷，在流行音樂的範疇中，總多出一份聖潔的意味"Engma"團員、"Time To Say Goodbye"作者兼製作人Frank Peterson所精心籌劃的"Gregorian教皇合唱團"，集結10位來自英國各地的格里高利權威男聲，一同用傳承600年的古典美聲，詮釋了20世紀膾炙人口的西洋流行歌曲，結果造成了極大的迴響，全球幾百萬的銷售成績，證明了Peterson的理想絕非空想。Gregorian Chant以極簡單、極低沉的管風琴為背景(或完全無背景音)，壓抑的男聲如潮水般連綿起伏，時而徘徊於幽沈的低音部，時而又突然攀升至難以想像的高音區，音域跨度之大和對人聲要求之高，是其他Early Music所不能比擬的。Gregorian Chant格林高利聖歌只用人聲，沒有和聲和對位，旋律簡單，不用變化音和裝飾音，音域也很窄，一般不超過八度。雖然它的旋律沒有明顯的節奏重音，速度徐緩，但較好地配合了拉丁文歌詞的抑揚頓挫。
在傳統規範框架中尋求新的創作聲響 －以《彌撒曲》的創作為例
為了解決Gregorian Chant 的問題，作者廖憲一 這樣論述：
「彌撒曲」是在天主教的彌撒禮儀規範中，無論是經文歌詞的語言與順序，音樂風格與樂器的使用與禮儀程序等，因其都附有深厚的宗教意義而產生出既定的規範與呈現方式，因此在創作彌撒曲上，必須要符合其規範，才被容許使用在彌撒禮儀中。 本論文主要探討在保有天主教彌撒禮儀原來的形式與意涵下，針對「固定部分」的音樂使用規範和理解所使用經文的含意，融入不同東方作曲家創作彌撒曲的技法，同時結合東方音樂與文化色彩、混合語言與聲響的創新思維，來創作出在舊有禮儀框架下的彌撒曲，使之帶有新的、富含東方聲響的面貌。
Music, Theater, and Society in the Comedies of Luiz Carlos Martins Penna (1833-1846): Amidst the Lundu, the Aria, and the Allelu
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為了解決Gregorian Chant 的問題，作者Neto, Luiz Costa-Lima/ Moore, Stephen Thomson (TRN) 這樣論述：
This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) - a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided i
nto three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquir o), the transnational urban popular universe (lundu, tirana, quadrilh
a, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas). To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this r
esearch reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government. The sound universe of the comedies of Martins Penna are compa
red to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors,
singers and dancers, who performed in his comedies. The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century th
rough the present. Luiz Costa-Lima Neto is lecturer in music at the Martins Penna School of Theatre.
拉赫曼尼諾夫《帕格尼尼主題狂想曲》之探究
為了解決Gregorian Chant 的問題，作者標心 這樣論述：
拉赫曼尼諾夫（Sergei Rachmaninoff, 1873-1943）為十九世紀末至二十世紀初的俄國作曲家、鋼琴家、指揮家，是後浪漫主義（Late Romanticism）重要的作曲家之一。他的作品包括四首鋼琴協奏曲，以及1934年創作的《帕格尼尼主題狂想曲》（Rhapsody on a Theme of Paganini, Op. 43）。這首樂曲結合了狂想曲與變奏曲式，並運用了帕格尼尼所創作的〈第二十四號隨想曲〉（Caprice Op. 1 No. 24）與〈末日經〉（Dies irae）旋律變奏，是他晚期著名的代表作品。本論文共分成六個章節，第一章為緒論，介紹本論文之研究動機與方
法，第二章是拉赫曼尼諾夫的生平及音樂特色，第三章為《帕格尼尼主題狂想曲》之創作背景與主題，先從定義狂想曲與變奏曲開始，之後介紹創作背景、探討帕格尼尼主題與末日經主題的來源。第四章為《帕格尼尼主題狂想曲》樂曲分析。第五章為《帕格尼尼主題狂想曲》鋼琴演奏之詮釋，主要通過第四章樂曲分析的結果，以及1934年，拉赫曼尼諾夫的錄音資料總結出鋼琴演奏的詮釋方法。另外，狂想曲帶有幻想與即興風格，是鋼琴家們發揮個人特色的最佳之處，因此筆者將此曲之中類似華彩段落的地方都提出了個人的詮釋方法。第六章為結語，將為上述章節與內容做總結，並提供個人的觀點與想法。