Gregorian Chant. By David Hiley.

Abstract

Building on his mastery of Gregorian scholarship, as demonstrated in his handbook Western Plainchant (Oxford, 1993), and his uncommonly good musical sense, Hiley's account of Gregorian chant in this book provides the general reader with not just an introduction but a thorough understanding of the chant repertory. In addition to reassuring the general reader about the relevance of the history of the repertory to its current performance, Hiley's account should be helpful to fellow academic scholars and to those struggling with the administration of music in the Roman Catholic community. Hiley's book is well ordered in plan and transparent in its execution. First he gives a good account of the social and architectural context in the high Middle Ages, using Worcester Cathedral as a specific locus, followed by the liturgical context of Mass and Office, then a systematic survey of the central chant repertory, with longer or shorter notices on each item, with good examples. Then comes an account in historical order of the destiny of Gregorian chant from its earliest times down to the twentieth century. It is good to find medieval music theory and musical notation closely coordinated with musical style and performance. The most important aspect of Hiley's account, however, is his even-handed, eminently judicious review and summary of the several contentious issues that have so vexed the topic since earliest times. Hiley's presentation of these issues, which I find admirable, prompts me to make the more detailed observations that follow.