Gregorian Chant Personality Type, MBTI
What is the personality type of Gregorian Chant? Which MBTI personality type best fits? Personality type for Gregorian Chant from Music Genres and what is the personality traits.
INFJ (2w1)
Gregorian Chant personality type is INFJ, so she is extremely conscientious and private. She’s also very idealistic and has a tendency to see the world as a moral issue, and she may even take things into her own hands to make it a better place. She might appreciate the idea of a utopian city and work to make it a reality.
When people describe the INFJ as the “Counselor,” this is because they can be very receptive to feedback and advice. They are eager to learn and grow, and they’re open to constructive criticism, but their pride and self-esteem can get bruised if they feel they’ve been insulted. Because they have a strong idea of what’s right and wrong, they have a tough time accepting other people’s ideas as valid, especially if those other people are not INFJs.
This particular personality type is a natural empath, which means that INFJs are highly sensitive to the needs of others. They have a tender heart and feel things very deeply. They also have an inner sense of justice, so they may have a sense of moral outrage when they see other people being mistreated or exploited.
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Typical melodic features include a characteristic ambitus, and also characteristic intervallic patterns relative to a referential mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants.
