Melisma

Preface
Abbreviations

Chapter 1. Songs without words
Jubilare sine verbis
How do you sing a melisma? Stylistic considerations
How do you write a melisma?
The shape and effect of melismas
Musical nature of melismas

Chapter 2. Some historical considerations
The earliest notations of melismas
Medieval words for melismas
Medieval descriptions of melismas and their usage

Chapter 3. Melismas within chants of the mass
Tracts
Graduals
Alleluia
Offertories and their verses
Benedictiones
Ite missa est, Benedicamus domino
Appendix A. Opening Melismas in Offertories

Chapter 4. Melismas, mostly added, and mostly In the Divine Office
Caudae for antiphons
Melismas for responsories
Borrowed melismas
Composed melismas
Modal melismas
Melismas in antiphons
Later medieval adjustments to melismas
Appendix B: Added responsory-melismas borrowed from offertories

Chapter 5. Melismas added to chants in the Mass
Introits
Sequentiae
Appendix C: Melismas in Aquitanian graduals and tropers

Chapter 6. Melismas in the Ordinary of the Mass
Kyrieleison
Gloria in excelsis
Sanctus: Osanna melismas

Chapter 7. Melismas with words: prosula
Introduction
Genres
Offertory
Alleluia
Fabrice mundi (neuma triplex)
Ordinary of the mass
Style and Performance

Chapter 8. Melismas with words: prosa
Text and music
Specific melodiae and prosas
Sequence, prosula, and notation

Chapter 9. Conclusions, Details, Examples
Music and language
Detailed examinations of melismas and their subdivisions
Conclusions

Bibliography
Credits and Permissions
Index of manuscripts
Index of chant incipits
General index

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• Música
• Música primitiva (até ~1500 D.C.)