Editing Gregorian chant (section)

===Origins of mature plainchant===
[[File:Gregory I - Antiphonary of Hartker of Sankt Gallen.jpg|thumb|A dove representing the [[Holy Spirit in Christianity|Holy Spirit]] sitting on [[Pope Gregory I]]'s shoulder symbolizes Divine Inspiration.]]
The Gregorian repertory was further systematized for use in the [[Roman Rite]], and scholars weigh the relative influences of Roman and [[Carolingian]] practices upon the development of plainchant. The late 8th century saw a steadily increasing influence of the Carolingian monarchs over the popes. During a visit to Gaul in 752–753, [[Pope Stephen II]] celebrated [[Mass (liturgy)|Mass]] using Roman chant. According to [[Charlemagne]], his father [[Pepin the Short|Pepin]] abolished the local [[Gallican Rite]]s in favor of the Roman use, to strengthen ties with Rome.{{sfn|Apel|1990|p=79}} Thirty years later (785–786), at Charlemagne's request, [[Pope Adrian I]] sent a papal [[sacramentary]] with Roman chants to the Carolingian court. According to [[James McKinnon]], over a brief period in the 8th century, a project overseen by [[Chrodegang of Metz]] in the favorable atmosphere of the Carolingian monarchs, also compiled the core liturgy of the Roman Mass and promoted its use in [[Franks|Francia]] and throughout Gaul.{{sfn|Levy|Emerson|Bellingham|Hiley<!-- |Zon -->|2001|loc=§2: History to the 10th century}}

[[Willi Apel]] and Robert Snow{{Full citation needed|date=April 2020|reason=this is the sole mention in this article of Robert Snow}} assert a scholarly consensus that Gregorian chant developed around 750 from a synthesis of Roman and Gallican chants, and was commissioned by the Carolingian rulers in France. Andreas Pfisterer and Peter Jeffery have shown that older melodic essentials from Roman chant are clear in the synthesized chant repertory. There were other developments as well. Chants were modified, influenced by local styles and Gallican chant, and fitted into the theory of the ancient Greek [[octoechos]] system of modes in a manner that created what later came to be known as the western system of the eight [[mode (music)|church modes]]. The Metz project also invented an innovative [[musical notation]], using freeform [[neume]]s to show the shape of a remembered melody.<ref>{{cite journal | last1 = Grier | first1 = J.| year = 2003 | title = Ademar de Chabannes, Carolingian Musical Practices, and Nota Romana |journal=[[Journal of the American Musicological Society]]| volume = 56 | issue = 1| pages = 43–98 | doi = 10.1525/jams.2003.56.1.43 }}</ref> This notation was further developed over time, culminating in the introduction of [[Staff (music)|staff]] lines (attributed to [[Guido d'Arezzo]]) in the early 11th century, what we know today as plainchant notation. The whole body of Frankish-Roman Carolingian chant, augmented with new chants to complete the liturgical year, coalesced into a single body of chant that was called "Gregorian."

The changes made in the new system of chants were so significant that they have led some scholars to speculate that it was named in honor of the contemporary [[Pope Gregory II]].{{sfn|McKinnon|1990|p=114}} Nevertheless, the lore surrounding [[Pope Gregory I]] was sufficient to culminate in his portrayal as the actual author of Gregorian Chant. He was often depicted as receiving the dictation of plainchant from a dove representing the [[Holy Spirit in Christianity|Holy Spirit]], thus giving Gregorian chant the stamp of being divinely inspired.<ref>{{Cite journal |last=Weyer |first=Christoph |date=2020 |title=Hartker, Gregor und die Taube: Zum Codex CH-SGs 390/391|url=https://elibrary.steiner-verlag.de/article/10.25162/afmw-2020-0014 |journal=[[Archiv für Musikwissenschaft]]|language=de |volume=77 |issue=4 |pages=299 |doi=10.25162/afmw-2020-0014 |s2cid=235004564 |issn=0003-9292}}</ref> Scholars agree that the melodic content of much Gregorian Chant did not exist in that form in Gregory I's day. In addition, it is known definitively that the familiar neumatic system for notating plainchant had not been established in his time.<ref>[[Richard Taruskin|Taruskin, Richard]], ''The Oxford History of Western Music, Volume I – Music from the earliest notations to the 16th century'', ch. 1, "The curtain goes up", p. 6. (Oxford: Oxford University Press, 2010)</ref> Nevertheless, Gregory's authorship is popularly accepted by some as fact to this day.{{sfn|Wilson|1990|p=13}}