The main objective of this paper is to discover some of the general but precise principles which determine the setting of words to music. This aspect of the language-music interface has come to be known as " tunetext association" in current linguistic parlance. I have chosen to investigate "psalmody," namely the chanting of psalm verses to fixed melodic formulas in Gregorian plainsong, as a particularly illuminating musical idiom.

[Footnotes]

[Footnotes]
1
Feld (1974),
Nattiez (1975),
Turnstall (1979)
Powers (1980),
Lindblom and Sundberg (1970),
Sundberg and Lindblom (1976),
Lerdahl and Jackendoff (1977)
Jackendoff and Lerdahl (1980, in press)
2
Harrán (1973a,b)
Quadflieg (1903),
Schunemann (1908-1909)
Ferretti (1934).
3
Apel (1958)
Wagner (1895-1921).
5
Allen (1973)
Pulgram (1975),
Ferretti (1934)
Väänä- nen (1963).
Väänänen (1963, p. 31)
6
Göller 1972, pp. 265- 271).
10
Goldsmith (1976, p. 27)
11
Liber Usualis, p. xxxvii).
12
Ferretti (1934),
13
(Liberman, 1975)
(Dell, 1975)
(Hinton, 1977)

References

References
Liber usualis. Tournai-New York: Desclée & Cie., 1956.
Antiphonale monasticum pro diurnis horis. Paris-Tournai-Rome: Desclée & Cie., 1934.
Processionariwn iuxta ritum S. Ordinis Praedicatorwn. Rome: S. Sabina, 1949.
Triduo ante pascha. Rome: S. Sabina, 1949.
Officium hebdomadae sanctae iuxta ritum S. Ordinis Praedicatorum. Rome: S. Sabina, 1965.

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