Sequences and hymns were complete compositions in their own right—freestanding songs, so to speak, on a par (but contrasting in style) with the psalmodic chants of the inherited Roman chant. Another large category of Frankish compositions consisted of chants that did not stand alone but were attached in various ways and for various reasons to other—usually older, canonical—chants. One of the commonest ways of attaching new musical settings to older ones was by casting the new one as a preface, to amplify and interpret the old one for the benefit of contemporary worshipers. Although the practice, like most Frankish musical innovations, can be dated to the ninth century, it was cultivated most intensely beginning in the tenth, reflecting (if only indirectly) the spiritual and creative ideals of the so-called Cluniac reform of monastic life.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 New Styles and Forms." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Mar. 2015. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 New Styles and Forms. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 1 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 New Styles and Forms." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002006.xml