Abstract

Divine inspiration through the Holy Ghost is topical in the portraits of Gregory the Great: A dove brings him the divine words, which he writes himself or dictates to his deacon Petrus. Thus the charismatic Father of the Church became, like the Evangelists, a divinely inspired medium who transmitted the mandate of spreading the gospel and guaranteed the heavenly origin of the texts that were recited and sung in the liturgy. The preface ‘Gregorius presul’, which is to be found in variant forms introducing antiphonaries and cantatories, states that Gregory, the “powerful teacher” of church chant, composed the songbooks (composuit hunc libellum musicae artis), thereby sanctifying them. Scholars see in this preface a Carolingian strategy of legitimation based on this dynasty’s theocratic concept of power. Gregorian chant, the quintessence of medieval monophonic tradition, has his origins in the Frankish church adopting the “authentic” Roman rite, which was declared canonical liturgy in all churches of the Frankish empire because of Gregory’s authorship. But the consolidation of Gregory’s myth unintentionally legitimated the process of composition, too, because the connection between the concepts of authorship and inspiration justified the composer’s claim to the ministry of spreading the gospel and of attaining the highest knowledge.