CANTORED ACCENT. — The following are included under this heading: a) the elements that formed the primitive musical notation; b) the signs used in the simple reading or chanting of liturgical recitations, especially lessons; c) the distribution of syllables in the cadence.
Among all the hypotheses regarding the origin of the musical notation of the Latin Church, the principle that fixes its origin in the graphic representation of the tonic accent of the text remains demonstrated; from this, the part of the Latin musical repertoire took its inspiration and norm. The graphic sign of the tonic accent (elevation), corresponding to the upward gesture of the classical orator or the ancient dance director, was adopted to indicate the relatively high note; hence the sign called virga; and it should be noted that this was traced from left downward to right upward. Instead, the grave accent was traced from right upward to left downward, later stylized into the punctum, more or less rounded or horizontal. From the combination of these two elements (virga and punctum) is formed all the ancient musical notation, known as “in open field,” without a staff, in which the entire sign, and not merely its extremes, has an integral meaning, unlike the current signs indicating the note.
The use of tonic accents (only acute) in liturgical recitations has not been consistent in choral books. Sometimes no accent is found, sometimes only trisyllabic words are graphically accented, sometimes all words except monosyllables.
Since Gregorian cadences can have one or two accents, the signs of the accent were used in certain cantorals (Epistolaries, Evangeliaries, Leczianaries of the Office) to facilitate the adaptation to be made later by readers to the musical prefatory formulas.