2, 2008CD: Medieval Office for St. Brigit: Plainsong ChantFlame of Ireland: Medieval Irish Plainchant, An Office for St. Brigit, by Canty.Canty is the female half of Scotlands Capella Nova, a “professional vocal ensemble specialising in early medieval and renaissance and contemporary music”. Canty was founded in 1998 by Rebecca Tavener to celebrate the 900th anniversary of Hildegard of Bingen. from the Capella Nova website:Our programme mostly consists of material for the Office of Matins for the Feast of St Brigit. Matins was the longest and most entertaining of the Offices including a series of nine lections and responsories focussing on the life and attributes of the saint. The full Office would probably be more than two hours in length, so we present a formal, but truncated, version which includes the original lections, but cuts nine of the ten Psalms which would have been sung. The one remaining Psalm is the Venite which forms a delightful structure with its antiphon Invitatory, alternately whole or in part, appearing between each verse…The date of the manuscript might have tempted us to perform this material using late-Medieval techniques such as applied measures and improvised harmonies. We have steadfastly resisted doing this, wishing to present the Office in a much more archaic manner, befitting the great antiquity of the sources of the Brigit legends……Manuscript 80, from the library of Trinity College Dublin, is the main source relied upon for this recording. It is a fifteenth-century noted breviary, i.e., one which includes notation for the chant melodies. Although we do not know the details of its provenance, it was compiled probably in the fifteenth century and is believed to have been used in the parish of Kilmoone, Co- Meath, from at least 1470 until 1604…
On Sunday night, the British singer-songwriter Adele is expected to sweep the Grammys. Three of her six nominations are for her rollicking hit “Rolling in the Deep.” But it’s her ballad “Someone Like You” that has risen to near-iconic status recently, due in large part to its uncanny power to elicit tears and chills from listeners. The song is so famously sob-inducing that “Saturday Night Live” recently ran a skit in which a group of co-workers play the tune so they can all have a good cry together.
What explains the magic of Adele’s song? Though personal experience and culture play into individual reactions, researchers have found that certain features of music are consistently associated with producing strong emotions in listeners. Combined with heartfelt lyrics and a powerhouse voice, these structures can send reward signals to our brains that rival any other pleasure.
Twenty years ago, the British psychologist John Sloboda conducted a simple experiment. He asked music lovers to identify passages of songs that reliably set off a physical reaction, such as tears or goose bumps. Participants identified 20 tear-triggering passages, and when Dr. Sloboda analyzed their properties, a trend emerged: 18 contained a musical device called an “appoggiatura.”
An appoggiatura is a type of ornamental note that clashes with the melody just enough to create a dissonant sound. “This generates tension in the listener,” said Martin Guhn, a psychologist at the University of British Columbia who co-wrote a 2007 study on the subject. “When the notes return to the anticipated melody, the tension resolves, and it feels good.”
Chills often descend on listeners at these moments of resolution. When several appoggiaturas occur next to each other in a melody, it generates a cycle of tension and release. This provokes an even stronger reaction, and that is when the tears start to flow.
“Someone Like You,” which Adele wrote with Dan Wilson, is sprinkled with ornamental notes similar to appoggiaturas. In addition, during the chorus, Adele slightly modulates her pitch at the end of long notes right before the accompaniment goes to a new harmony, creating mini-roller coasters of tension and resolution, said Dr. Guhn.
To learn more about the formula for a tear-jerker, a few years ago Dr. Guhn and his colleague Marcel Zentner found musical excerpts—from Mendelssohn’s “Trio for Piano” and Barber’s “Adagio for Strings,” for example—that reliably produce the chills and then measured the physiological reactions (heart rate, sweating, goose bumps) of listeners.