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A term used in literature on Gregorian chant to describe melodies adapted to new texts. See Centonization .

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Metrum  

In Latin monophonic psalmody, the principal break, or mediation (median cadence), in a simple psalm tone; see Inflection . See also Psalm, §II, (iii) .

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Peter Jeffery

The system of the eight ‘church modes’ (the ‘musical’ oktōēchos) in the medieval Latin, Byzantine, Slavonic, Syrian, Armenian and Georgian repertories of Christian liturgical chant. Also, by association, the practice of grouping chants by mode (the ‘calendric’ oktōēchos) so that they can be sung in numerical order over a period of time, usually one mode per week, proceeding to the next higher number each Sunday and beginning with the 1st mode again when the 8th is completed. And a book (the ‘liturgical’ ...

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Richard Sherr

In Western chant, a section to be repeated, such as the refrain in hymns or the last part of the respond of a responsory, which is repeated after the psalm verse. In Ordo romanus I (second half of the 8th century) and later, the term ‘versus ad repetendum’ designated extra psalm verses added as needed to the Mass introit and communion. According to Husmann, the words ‘ad repetendum’ were also used in the Middle Ages for additional tropes to the introit antiphon....

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Sequela  

Term coined by Anselm Hughes to denote the wordless melody associated with the alleluia of the Mass in the Franco-Roman liturgy. See Sequentia.

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Meaningless syllables such as te re re, ti ri ri, to ro ro, etc, which first appear in Byzantine musical manuscripts of the 14th century.

Russian and Slavonic church music, §2: Russian church music: monophonic chant &its notation

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In Latin monophonic psalmody, the formula with which a psalm tone may end (differentia). See Inflection and Psalm, §II, (iv) . See also Mode .