O kanonach piękna w interpretacji śpiewu gregoriańskiego

Interpretation of Gregorian chant should be considered in terms not only of musical beauty. As in the Greek triad unchanging ethical and aesthetic to which side of truth and goodness beauty belongs, they exist next to each other three factors, which, according to Pope Benedict XVI deciding on the sacred liturgical music and its usefulness. These are: text, composition and execution. The texts used in the compositions of Gregorian chant are excellent. All songs belonging to the Mass authenticum fontium gregorianorum, use excerpts from the Scripture, especially the Book of Psalms. Through the scientific work of the faithful (more faithful than before Vatican II) restoration the Gregorian melodies of the songs, stage investigation for musical truth and its knowledge and understanding is very advanced. The long process of composition of the Gregorian repertoire ended in the eleventh century. During this time all the developed forms of music known now forms of music and liturgical Mass and Office, defined style of composition, and by modality sought to express „elusive” spiritual substance. Direct witnesses of the state of preservation of musical monuments are numerous neumatic manuscripts, created even during the living oral tradition, but recorded on parchment using neumes in campo aperto. The last element of that triad, subject to subjective assessment is the interpretation. The Church has not taken any official position so far, which is why we now have to deal with many diverse schools of interpretation. The text has approximated the three most important: the concept of the rhythm of Solesmes (known method), school Paris (Marcel Peres) and optics semiological initiated by Dom Eugène Cardine, using science in the service of the performing arts. Different approaches will be analyzed in terms of the truth of the premises on they are based. The author attempts their valuation in the context of historical truth and beauty understood in the context of musical performance.