As a take-home project for the analysis portion of the midterm examination, scheduled for
     18 October, study the following mode 5 Graduals:

          1) Christus factus (LU 669 [old ed. 655])--an example of strict cen-
               tonization, and

          2) Specie tua (LU 1226)--an example of free centonization.

Make a xerox copy of each for your analysis, so that you can turn it in with the examina-
     tion. Cost may still be deductible as an educational expense, and you will not be violat-
     ing the copywrong law.

Procedure:

          1) Performance--mark the portions of each chant to indicate where chorus
               and soloist sing (see LU xv, rule IV, ¶ 1)--note the two possible
               methods of singing the verse.

          2) Modal analysis--what pitches seem to be used as centers for recitation?
               What pitches are used cadentially? How does all this tie in with the
               mode? Note also the range.

          3) Centonization structure (references are to Apel, Gregorian
               Chant)--using the tables on p. 346-349 as a guide, mark the phrases
               used in constructing each chant. (Use Apel’s letter system: F, G₁,
               etc.--for an explanation of this system, see the general notes on p. 319
               [the first standard phrase table in the book], as well as the notes on the
               top of p. 348.) Note carefully what alterations in the standard phrases
               occur when they are adapted to the specific setting. Speculate on why!

N.B.: Note the clef carefully! Ignore, for now, the rhythmic signs, also carefully!

The purpose of this exercise, fratres et sorores, is for you to discover, in blessed harmony,
     the formulaic constructivism of early chant, a feature which so clearly reflects the cher-
     ished oral tradition from whence (ut fons et origo) the melodies sprang.