第 2 楼
今日弥撒所用之素歌是基督在圣殿和会堂中所听之素歌的变体。早期的基督徒既没有考虑改组礼拜仪式，也没有委托作曲家写作新的素歌，早期基督教的礼拜仪式几乎未作改动的承袭了犹太礼拜中的祈祷式和素歌。大约在公元385年，Etheria，一位前往圣地朝拜的修女，提到赞美诗(hymn),诗篇歌(psalm),应答(responsory)和交替圣歌(antiphon)这三种犹太礼拜式的基本形式作为耶路撒冷复活节礼拜仪式的一部分。
随着公元313年基督教被合法化，各地发展出不同形式和风格的素歌。在西班牙产生了莫扎拉布素歌(Mozarabic Chant)。这个名称原指711年摩尔人入侵后穆斯林统治下的西班牙基督徒，而实际上这种素歌是在7世纪时写作完成的，之后鲜有改动。在米兰出现了安布罗西安素歌(Ambrosian chant)，意为尊崇圣安布罗斯。在高卢也就是今天的法国，有高卢素歌(Gallican chant)，在罗马，有古罗马的和格利高里素歌，在英格兰，有塞勒姆素歌(Sarum)，在东方教会，有叙利亚的、拜占庭的、埃及的、埃塞俄比亚的和亚美尼亚的素歌。其中的一些为极力促成一元化的礼拜仪式和音乐的罗马教皇所禁止，其余的则在该地区决定采用被认为是最好的素歌和礼拜仪式后被废止。到8世纪时，格利高里素歌已经成为西方的主流礼拜仪式音乐。
尽管人们总是认为格利高里素歌与教皇格利高里有关，但实际上在他之前的多位通晓音乐的教皇都对罗马素歌的发展做出了贡献：成立素歌学校，建立修道院已保存和传承甚至是创作素歌。教皇大格利高里(540-604)编纂了一套供“教会年”用的素歌和一本日课交替合唱集，这些作品在接下来的几个世纪中将格利高里素歌传播到遥远的国度中。他不但编辑整理了素歌，而且狠抓过素歌学校的教学。执事约翰，一位九世纪的格利高里转几所家这样写道：“至今那里仍陈列着当年他教授演唱课期间休息时躺过的床，而他威吓男孩们所用的鞭子也被作为圣物被保存并受到崇敬”。尽管如此，我们并不知道他本人是否创作过素歌。
如果这些素歌不是格利高里创作的，那么又会是谁写的呢？不幸的是，绝大部分作品的作者无从知晓。人们有时将赞美诗归功于中世纪的著名诗人：St Ambrose (d.c. 397), Aurelius Prudentius (d.c. 405), Caelius Sedulius (d.c. 450), Venantius Fortunatus (d.c. 610), St Isodore of Seville (d. 636)。但是这些作者可能只是依据当时流行的曲调填词，而并非创作了原始的旋律。
大量的弥撒和日课所用的素歌是佚名的。多数专用素歌，即歌词与音乐因不同节日或季节而异的素歌(包括进台经、升阶经、哈里路亚（悔罪时则用特拉克图斯）、献祭经和圣餐经）)作于5~8世纪，尽管新的专用素歌伴随着新的宗教节日不断涌现，直到后梵二时代(即第二次梵蒂冈会议（天主教第二十一次普世会议）以后的时代，也就是当今时代)。今天我们所唱的常规素歌，即弥撒中各段经文不变的段落(慈悲经（Kyrie）、荣耀经（Gloria）、信经（Credo）、圣哉经（Sanctus）、羔羊经（Agnus Dei）)创作于9~12世纪，即素歌创作的第二阶段。和犹太教一样，这些佚名作者，很可能是牧师、修士或是教会素歌学校的领唱者。
原文出处：http://www.maternalheart.com/library/chant_history.htm#Part_Two
"For the chant used in the Mass today is a child of the chant that Christ would have heard in the Temple and synagogues. The early Christians neither composed commissions to revise the liturgy, nor commissioned composers to recast the chant. They brought to the Christian liturgy the prayers and chant of the Jewish liturgy, and the style of music changed little during Christianity's catacomb years. Etheria, a Spanish nun on pilgrimage to the holy places in about 385, mentions hymns, psalms, responsories and antiphons as part of the Easter liturgy at Jerusalem, the first three being forms familiar from Jewish liturgy."
"Following the legalisation of Christianity in 313, different forms and flavours of chant began to develop by region. Roman Spain produced Mozarabic chant, whose title refers to the Moorish rule over Spanish Christians after the invasion of 711. In fact, the chant was composed and complete by the 7th Century, and altered little thereafter. From Milan came Ambrosian chant, named in honour of St Ambrose; from Gaul, or what is now France, Gallican chant; from Rome, Old Roman and Gregorian; from England, the Sarum; from the Church in the East, Syrian, Byzantine, Coptic, Ethiopian and Armenian. Some of these chants were suppressed by Roman pontiffs striving to establish a unified liturgy and music for the Church. Others were abandoned when the region resolved to adopt what it considered a superior chant or liturgy. By these paths Gregorian chant came to dominate liturgical music in the West by the 8th Century.
The one fact almost invariably known about Gregorian chant is that Pope Gregory had something to do with it. In fact, a number of musical popes before him had contributed to the development of chant in Rome, forming chant schools, founding monasteries to preserve and maintain the chant or even composing chant. Pope St Gregory the Great (540-604), however, gathered together the different forms of chant; chose, adapted and ordered them; and had them transcribed into an Antiphonary, which in later centuries travelled long distances to bring Gregorian chant to other countries. He not only organised the chant but also took a firm hand in the chant school. "There today", wrote John the Deacon, a 9th century biographer of Gregory, "is still shown the couch on which he reposed while giving his singing lessons; and the whip with which he threatened the boys is still preserved and venerated as a relic." Despite the famous medieval picture of the Holy Spirit singing melodies into Gregory's ear while he attentively transcribed them, we don't know whether he composed any chant.
If Gregory did not write them, who did? Unfortunately, for the most part, the composers are unknown. Scribes sometimes attributed hymns to mediaevally renowned poets: St Ambrose (d.c. 397), Aurelius Prudentius (d.c. 405), Caelius Sedulius (d.c. 450), Venantius Fortunatus (d.c. 610), St Isodore of Seville (d. 636). But these writers may have set their lyrics to popular tunes, rather than compose original melodies.
The chants of the Mass and Office are largely anonymous. Most Proper chants — those intended for a specific Sunday or feast day (Introit, Gradual, Alleluia, Offertorio and Communio) — were composed between the 5th and 8th centuries; although the composition of new Propers, to accompany new feast days, continued until the post-Vatican II period. The Ordinary chants — those common to every Mass (Kyrie, Gloria, Credo, Sanctus and Agnus Dei) — that we sing today were composed in the second wind of chant composition, from the 9th to the 12th century. As in Judaism, the anonymous composers were probably clergy, religious or cantors from the Church's chant schools. "
When you smile,
Everybody smiles;
When you cry,
You cry alone.
