Sunday, December 13, 2020 Third Sunday of Advent Joy Prelude
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Benjamin Britten's Liturgical Music and Its Place in the Anglican
Benjamin Britten’s liturgical music and its place in the Anglican Church Music Tradition By Timothy Miller Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording School of Arts, Communication and Humanities University of Surrey August 2012 ©Timothy Miller 2012 ProQuest Number: 10074906 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10074906 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which fonction well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer’s musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten’s creative character; it casts additional light on the composer’s technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten’s commitment to the idea of a composer serving society. -
A History of the Plagal-Amen Cadence
University of South Carolina Scholar Commons Theses and Dissertations 6-30-2016 A History Of The lP agal-Amen Cadence Jason Terry University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Terry, J.(2016). A History Of The Plagal-Amen Cadence. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/ 3428 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A HISTORY OF THE PLAGAL-AMEN CADENCE by Jason Terry Bachelor of Arts Missouri Southern State University, 2009 Master of Music Baylor University, 2012 ____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor John McKay, Director of Document Charles Fugo, Committee Member Marina Lomazov, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies © Copyright by Jason Terry, 2016 All Rights Reserved. ii DEDICATION To my bride, with all my love. iii ACKNOWLEDGMENTS Special thanks to the following individuals: to Swee Hong Lim (University of Toronto) for planting this research idea in my head in 2010; to Michael Morgan, for sharing your amazing collection of music; to the following individuals who, either through personal meetings or correspondences, shared their wisdom with me: Mary Louise (Mel) Bringle (Brevard College), J. Peter Burkholder (Indiana University), Sue Cole (University of Melbourne), Carl P. -
Full in the Panting Heart of Rome': Roman Catholic Music in England: 1850-1962
Durham E-Theses `Full in the panting heart of Rome': Roman Catholic music in England: 1850-1962 Muir, Thomas Erskine How to cite: Muir, Thomas Erskine (2004) `Full in the panting heart of Rome': Roman Catholic music in England: 1850-1962, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2918/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 'Full in the panting heart of Rome': Roman Catholic Church Music in England: 1850-1962 Thomas Erskine Muir Ph.D Thesis. University of Durham. 2004. Abstract This thesis is the first in-depth study of music regularly heard by a community that grew fi-om 0.5 milHon to 3.72 million people between 1850 and 1962. The sheer quantity and variety of material is enormous; but much of it is rapidly disappearing, since the music is no longer in regular use. -
Carols Advent
ADVENT CAROLS FROM KING’S COLLEGE LONDON THE CHOIR OF KING’S COLLEGE LONDON JOSEPH FORT 1 Advent Prose: Drop down, ye heavens, from above [4:46] ADVENT CAROLS mode i 2 Canite tuba Giovanni Pierluigi da Palestrina (1525 –1594) [5:10] FROM KING’S COLLEGE LONDON 3 Antiphon: O Sapientia [0:47] 4 Sancte et sapienter Philip Moore (b. 1943) [4:10] THE CHOIR OF KING’S COLLEGE LONDON Madeleine Alabaster, Ruby Sweetland soprano solos JOSEPH FORT 5 Antiphon: O Adonai [0:50] Michael Butterfield organ* 6 Ad te Domine levavi Orlande de Lassus (1530/2 –1594) [4:05] 7 Antiphon: O Radix Jesse [0:49] 8 O Radix Jesse* Joel Rust (b. 1989) [4:56] 9 Antiphon: O Clavis David [1:00] 10 Tollite portas William Byrd (1539/40 –1623) [1:45] 11 Lo! he comes with clouds descending* [4:14] ‘Helmsley’ melody noted by Thomas Olivers (1725–1799), arr. Joseph Fort 12 Antiphon: O Oriens [0:44] 13 Advent Moon* Cecilia McDowall (b. 1951) [5:00] 14 Antiphon: O Rex Gentium [0:46] 15 ’Twas in the year that King Uzziah died* George Benjamin (b. 1960) [7:09] William Hester tenor solo The Choir of King’s College London gratefully acknowledges the support of The Williams Church Music Trust, and also of the staff of the Dean’s Office at King’s College London (Tim Ditchfield, Clare Dowding and Natalie Frangos). 16 Antiphon: O Emmanuel [0:45] Thanks are also due to Fr David Houlding and Martin Kemp of All Hallows’, Gospel Oak, for the use of their church 17 Laetentur caeli William Byrd [2:37] and 1915 Hill organ. -
Memoir of the Rev. Thomas Helmore
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com 1 The Late Rev. Thomas Helmore, M.a. I I 0 MEMOIR OF THE Rev. Thomas Helmore, M.A. Late Priest in Ordinary and Master of the Children of Her Majesty s Chapels Royal; Precentor of S. Mark's College, Chelsea ; Hon. Precentor of the Motet Choir, and of the London Gregorian Choral Association. BY FREDERICK HELMORE. LONDON : J. MASTERS & CO., 78, NEW BOND STREET. 1891. LONDON : PRINTED BY J. MASTFRS AND CO., ALBION BUILDINGS, B. BARTHOLOMEW CLOSE. TO MISS HELMORE, IN REMEMBRANCE OF A BELOVED jfntficr antt IBrotfier, THESE MEMOIRS ARE DEDICATED BY HER AFFECTIONATE UNCLE, FREDERICK HELMORE. PRE FA CE. It is with mingled feelings of love and deep humility that I essay the work of recording reminiscences of my late brother's life. Right gladly would I have resigned the honour of doing so to some one more worthy of the task and more skilled in authorship. At the same time I cannot hide from myself the fact that none knew him as I knew him from boyhood to the last. Trusting to brotherly love to fill up other deficiencies, I have therefore ventured upon writing this memoir to supply a tolerably full account of my brother's work, in which his numerous friends must feel a deep interest. In childhood he was my teacher, and in manhood I have had so much to do in conjunction with him that I could not very well avoid saying perhaps more about myself than some of my readers may consider necessary. -
NOW That's What I Call Carols: '82!
5 DECEMBER 2017 NOW That’s What I Call Carols: ’82! PROFESSOR JEREMY SUMMERLY In Northern climes, the year 1582 was an important one. In 1582 the Scottish Parliament issued an act against the singing of ‘caralles’, whether in church or outside it, and ‘sik uthers superstitious and papisticall rites’ were also banned. So carols and ‘such other…rites’ were regarded as ‘superstitious and papist’ in Scotland. The same held true in Scandinavia, although 1582 marked the publication of what was to become one of the most bizarrely influential carol publications of all time. Didrik Persson of Nyland – in Latinized form Theodoricus Petri Nylandensis – was born in the city of Porvoo, which is about thirty miles east of Helsinki. In today’s terms, Didrik Persson Ruuth was born in Finland into a family that hailed from Denmark, grew up in the Russian Federation, studied in Germany, worked in Sweden, and died in Poland. In 1582, when Persson was a student at the University of Rostock and in his very early twenties, he published an anthology of seventy-four pre-existent songs in Greifswald (then under Swedish rule, now in North-Eastern Germany). All but a dozen of them were single-line melodies, and two dozen of them were songs for Christmastide. The long Latin title of the volume, which began Piae Cantiones Ecclesiasticae et Scholasticae Veterum Episcoporum, means: Pious Church and Scholastic Songs of the Venerable Churchmen of territories in the control of the Swedish Crown, under the scrutiny of a priest who edited it in accordance with the exacting requirements of the Church of God and the School of Turku in Finland and with appropriate humility, this is the work of Theodoricus Petri of Nyland. -
College of S. Augustine Canterbury: Participants At
COLLEGE OF S. AUGUSTINE CANTERBURY PARTICIPANTS AT THE CONSECRATION, S. PETER’S DAY 1848 Key BLUE name, a person in a nominated seat in the chapel RED name a person not in a nominated seat but present in the chapel (The Times; The Illustrated London News) BLACK name possibly present in the chapel [BLUE name] name as given in the chapel seating plan; the personal name may be different ; (eg [Earl Nelson] is Horatio NELSON) (1851 census) census information from the returns closest to 1848 PROBATED WILLS indicate participants’ wealth; this URL interprets the value of their deceased estates. http://www.measuringworth.com/calculators/ukcompare/ Introductory note The newly built Missionary College of S Augustine was consecrated on 29 June 1848. The funds to purchase and to build (and then to pay its first principal William Hart Coleridge and his assistant tutors) had been raised by a group of enthusiasts with shared intentions. First, to have a central training college for the Church of England, where young men (aged 18 plus) would be trained in oriental languages and culture as well as Christian faith and practice before they were sent out as missionaries to India, Asia, Africa, the Pacific, and the Americas. Secondly, to have a showcase for their own vision of the Anglican church: a branch of the Catholic church, bearing witness to a long history stretching back to those first missionaries who came from Rome with their leader S Augustine to Kent in 597 AD. They were making a statement about the continuity of the Anglican church. It was founded 1,250 years ago, it was reformed but not broken at the Protestant Reformation, and now they were proud to be standing again on the spot where Augustine and his monks had begun their missionary work in ancient England. -
Harvard Memorial Church” from Your Itunes App
HARVARD The Memorial Church Sunday Worship in the Knafel Center -0- The Third Sunday of Advent Sunday, December 11, 2016 please silence all electronic devices upon entering the main hall of the knafel center. Order of Worship PRELUDE “Christe, qui lux es et dies” à 4 William Byrd (ca. 1540–1623) HYMN O Come, O Come, Emmanuel (page 8) Veni Emmanuel The congregation standing INVOCATION CONFESSION In unison: Eternal God, in whom we live and move and have our being, whose face is hidden from us by our sin, and whose mercy we forget: cleanse us from all offenses, and deliver us from proud thoughts and vain desires; that humbly we may draw near to thee, confessing our faults, confiding in thy grace, and finding in thee our refuge and our strength, through Jesus Christ our Lord. ASSURANCE OF PARDON HYMN On Jordan’s Bank the Baptist’s Cry (page 9) Winchester New GREETING THE PEACE All are invited to join in singing. We gath- er to- geth - er to ask theLord’s bless- ing. He chas- tens and has- tens his will to make known; the wick- ed op-press- ing now cease fromdis- tress- ing. Sing prais- es to his name; he for- gets not his own. 2 OFFERTORY The offering collected goes directly to fund the grant recipient organizations and their important work in our local communities. Checks can be written to the Memorial Church with the memo line “Grants Committee.” Ushers will begin collection from the back of the hall. Psalm 146 Lauda, anima mea Plainchant Tone VII.1 Sung by the choir Tell it out among the nations, and say; “Behold, he comes, our God and Savior,” hallelujah. -
Collected Hymns, Sequences and Carols of John Mason Neale
M CIHM 1CI\/IH Microfiche Collection de Series microfiches (l\/lonographs) (monographies) m D Canadian Inatituta for Historical IMicroraproductions / Institut Canadian da microraproduction* hiitorlqua* D ©1995 Technical and Bibliographic Notes / Notes technique et bibliographiques The Institute tias attempted to obtuin the best original L'Institut a microfilm^ le meilleur examplaire qu'il lui a copy available for filming. Features of this copy which 6X6 possible de se procurer. Les details de cet exem- may be bibliographically unique, which may alter any of plaire qui sont peut-dtre uniques du point de vue bibll- the images in the reproduction, or which may ographlque, qui peuvent modifier une image reproduite, significantly change the usual method of filming are ou qui peuvent exiger une modifications dans la meth- checked t)€low. ods normale de filmage sont indiqu^s ci-dessous. Coloured covers / I I Coloured pages / Pages de couleur D Couverture de couleur Pages damaged / Pages endommag4es I I I Covers damaged / I '— ' Couverture endommagee I Pages restored and/or laminated/ I '— ' Pages restaurtes et/ou pellnuiees Covers restored and/or laminated / I I '— ' Couverture restauree et/ou pelliculee r^ Pages discoloured, stained or foxed / '— ' Pages dicotorSes, laohetees ou pk)u6es Cover title missing / Le titie de couverture manque I I n- Pages detached/ Pages ditachees I I Coloured maps / Cartes geographiques en couleur r~l' Showthrough / Transparence Coloured ink (i.e. other than blue or black)/ I I Encie de couleur (i.e. autre que