Bulletin for June 20, 2021

Total Page:16

File Type:pdf, Size:1020Kb

Bulletin for June 20, 2021 Holy Ghost Catholic Church 1041 North Central Street Knoxville, Tennessee 37917 Rectory and Mailing Address 111 Hinton Avenue Knoxville, TN 37917 Phone: 865-522-2205 email: [email protected] web: holyghostknoxville.org PARISH OFFICE: Monday-Friday, 8:30 a.m. - 4 p.m. SUNDAY MASS SCHEDULE Mass in English: 8 a.m., 10 a.m., and 5 p.m. Mass in Latin (Extraordinary Form): Noon Mass in Spanish: 2:30 p.m. Week Day Mass: Monday-Saturday: 8 a.m. Twelfth Sunday in Ordinary Time June 20, 2021 Most Rev. Richard F. Stika, D.D. John and Priscilla McKinney, VESPERS AND ADORATION OF Bishop of Knoxville Fidelis and Fraternus THE BLESSED SACRAMENT 865-584-3307 [email protected] Thursday 5-8 p.m. [email protected] Rev. Bill McNeeley, Pastor CONFESSIONS [email protected] Carol Lougheed Thursday 5:30-7:45 p.m. Rev. Michael Hendershott, STL CCW Saturday after the 8 a.m. Mass Associate Pastor (865) 660-4108 Sunday between the Masses [email protected] [email protected] ROSARY Deacon Gordy Lowery Daniel Dunn (423) 312-3185 Sunday after the 10 a.m. Mass Knights of Columbus Tuesday and Saturday after 8 a.m. Mass Deacon Scott Maentz 865-310-6649 865-387-6390 [email protected] [email protected] BAPTISM Call the church office Margaret Hunt, Parish secretary MUSIC MINISTRY [email protected] Mary Weaver CCD Director Will resume in August Veronica Sandoval, Office assistant Confirmation class Will resume in (Mondays from 10 a.m.— 2 p.m.) Questions or comments about the music August program or the choirs for English or Mark and Elizabeth Williamson, DRE’s Latin Masses? Contact Mary Weaver at RCIA [email protected] or Contact Michael Mohr 865-437-8620 E-mail: [email protected] Ryan Seaver MARRIAGE Organist Call Church Office at least 4 months in advance. Holy Ghost Catholic Church TWELFTH SUNDAY IN ORDINARY TIME • JUNE 20, 2021 W ൾඅർඈආൾ Vංඌංඍඈඋඌ ൺඇൽ Nൾඐ Pൺඋංඌඁංඈඇൾඋඌ MASSES June 20-27, 2021 If you are a new parishioner you are invited to stop by or telephone the rectory office to register and let us know how we may be of Sun 8 a.m. † Art Boyack, Sr. and William Davenport service to you. If you have not received by Pat Davenport weekly offering envelopes, please call the 10 a.m. † Steve Torie by Carol Pettit church office 522-2205. Noon* The Hollow Family by Becca Jenkins Please visit the parish website holyghostknoxville.org and sign up to receive the weekly email newsletter and parish-wide 2:30 † Evodio Cardoza Cisneros p.m.** by Maria Cardoza emails. 5 p.m. The People of Holy Ghost Mon 8 a.m. Deacon Gordy and Fran Lowery Tues 8 a.m. † Edna Mason by Janet West WEEKDAY READINGS Wed 8 a.m. † George Prewitt by Janet West . Sunday, June 20, 2021 Twelfth Sunday in Ordinary Time Thur 8 a.m. † David and Marianne Manangon by Jb 38:1, 8-11; 2 Cor 5:14-17; Mk 4:35-41 Zoe Ballew Fri 8 a.m. † Mike Ballew by Zoe Ballew Monday, June 21, 2021 Memorial, St. Aloysius Gonzaga, Religious Gn 12:1-9; Mt 7:1-5 Sat 8 a.m. † Mary Lee Bowers Tuesday, June 22, 2021 Memorial, St. Paulinus of Nola, Sun 8 a.m. † Walter Hrobot by the Peckham Bishop; Sts. Josh Fisher, Bishop, and Thomas More, Martyrs Gn 13:2, 5-18; Mt 7:6, 12-14 10 a.m. † Jean Simpson by Tom Simpson Wednesday, June 23, 2021 Gn 15:1-12, 17-18; Mt 7:15-20 Noon* † Maureen Haggerty by Kate MacDonald Thursday, June 24, 2021 Solemnity, The Nativity of St. John 2:30 † Francisco Domingo by Candida Mendez p.m.** the Baptist Is 49:1-6; Acts 13:22-26; Lk 1:57-66 5 p.m. Eden Smith by Pat Danko Friday, June 25, 2021 Gn 17:1, 9-10, 15-22; Mt 8:1-4 †Deceased *Latin **Spanish Saturday, June 26, 2021 Gn 18:1-15; Mt 8:5-17 Sunday, June 27, 2021 Thirteenth Sunday in Ordinary Time Wis 1:13-15 and 2:23-24; 2 Cor 8:7, 9, 13-15; Mk 5:21-43 Fංඇൺඇർංൺඅ Sඍൾඐൺඋൽඌඁංඉ Pray the Rosary with the Legion of Mary June 13, 2021 The parish Legion of Mary is praying the Rosary Offertory $8,696.31 after the 10 a.m. Mass every Sunday and after the 8 Building fund 2,735.00 a.m. daily Mass each Tuesday beginning this week. St. Joseph School 1,021.00 All members of the parish are welcome to Candles 91.00 participate. Online giving 1,917.00 -2- SEVENTEENTHTWELFTH SUNDAY SUNDAY IN ORDINARYIN ORDINARY TIME TIME • • JUNE JULY 20, 26, 2021 2020 Council 16523 would like to wish all of the fathers in our Council and our Parish a very happy Fathers Day, espe- cially our spiritual Fathers, the Priests, who faithfully serve our Parish and Diocese. If you would like to grow, spend time with, and SERVE with other men of the Parish, please utilize the free online membership to join today. If you are already a member of the Council but have not been involved in a while, we would love for you to reconnect with the Council and be a part of our efforts. Tennessee Right to Life will hold its annual Rummage Sale the weekend of June 25-26 at St. Joseph School, 1810 Howard Road. Donations of household items, furniture, toys, clothes, etc. will be accepted starting Monday, June 14 Holy Ghost CCW through Wednesday, June 23 from 10 a.m.-6 p.m. every day except Sunday or by appointment. Please bring items to the old gym entrance at the front of the building. Note: Large TVs and children’s car seats are not accepted. Proceeds benefit the outreach and educational efforts of Tennessee Right to Life. For more information contact [email protected] or CCW brunch 865.689.1339. Thank you for your support. The CCW will be hosting Sunday brunch after the noon and 2:30 p.m. Masses on Sunday, July 4. Volunteer opportunities at Calvary Cemetery Volunteer opportunities are available every second Saturday Did you know that all women of the parish are part of the of the month from 10 a.m. until noon to help keep it beautiful! CCW? For more information, contact Carol Lougheed at 865- Contact Beth Wolf by email at [email protected], or 660-4108 or by e-mail, [email protected] (865) 679-0535 for more information. -3- TWELFTH SUNDAY IN ORDINARY TIME • JUNE 20, 2021 Steve Ray Coming to St. Thomas the Apostle PARISH LATIN MASS NEWS Church in Lenoir City July 11-13! Noon each Sunday: Sung Latin High Mass with Gregorian chant and sacred polyphony After twice being postponed due to COVID, Steve Ray, well- known speaker on the Catholic faith, will be presenting a Fourth Sunday after Pentecost (June 20, 2021) parish mission at St. Thomas the Apostle Church in Lenoir Proper Prayers and Readings: City July 11-13 from 6:30-8 p.m. each night. His topics will Angelus 726, Baronius 774, Campion 328 be “Baptist to Catholic: Steve Ray’s Conversion Story” (Sunday), “Apologetics and Six Rules for Dealing with THE NATIVITY OF SAINT JOHN THE BAPTIST Non-Catholic Family and Friends” (Monday), “Swimming Upstream-Living a Catholic Life in a Pagan Amen I say to you, there hath not risen among them that World” (Tuesday). are born of women a greater than John the BapƟst (MaƩhew 11:11) Register soon at https://sta-aff-steveray-7-11-2021.eventbrite.com/, or go to the And so John the Baptist’s is one of the only three birthdays St. Thomas website at www.sthomaslc.com. Event is free, but celebrated by feasts designated on the Church calendar: The free-will donations will be accepted. For more information, Nativity of Our Lord (December 25), The Nativity of John the contact Penny Manczko at [email protected]. Baptist (June 24—this coming Thursday), and The Nativity of the Blessed Virgin Mary (September 8). Gregorian chant camp, July 19-23 The Vespers hymn Ut queant laxis for the Nativity of John the th Baptist is famous in musical history as the (8 century) original Mary Weaver, parish Director of Music Ministry, will be source of the familiar musical scale ut (do)—re—mi—fa—sol— leading a Gregorian chant camp July 19-23 from 9 a.m. until la—si(with do replacing ut in modern usage). noon for children in elementary-high school. The cost is $5 per family; $10 for families with three or more children. The first stanza: Contact Misty Weber by e-mail at [email protected] to register. UT queant laxis REsonare fibris MIra gestorum FAmuli tuorum, SOLve polluti LAbii reatum, Sancte Iohannes. Translation: So that your servants may, with loosened voices, resound the wonders of your deeds, clean the guilt from our stained lips, O Saint John. -4- DUODECIMO DOMINGO DEL TIEMPO ORDINARIO • 20 DE JUNIO DE 2021 BIENVENIDO A LA IGLESIA CATOLICA DEL ESPIRTU SANTO Párroco: Padre William J. McNeeley Vicario: Padre Michael Hendershott Misa en español todos los domingos a la 2:30 p.m. El Consejo 16523 quisiera desear a todos los padres de nuestro Platicas prematrimoniales: Consejo y nuestra Parroquia un muy feliz Día del Padre, Para mas Información favor de llamar a Francisco Ruiz al especialmente a nuestros Padres espirituales, los Sacerdotes, (865) 208-1914 que sirven fielmente a nuestra Parroquia y Diócesis.
Recommended publications
  • Nativity of St John the Baptist, 24Th June 2018 How Many Times Do You
    Nativity of St John the Baptist, 24th June 2018 How many times do you reckon the name of St John the Baptist appears at Mass, normally? I say “normally”, because obviously today he gets bit more of a mention. Well, if we start from the start, we find his name twice in the list of saints from the priest‟s Confiteor: “Confiteor […] beato Ioanni Baptistae (I confess […] to blessed John the Baptist)”, and then “precor […] beatum Ioannem Baptistam (I beseech […] blessed John the Baptist)”. This is subsequently repeated in the Confiteor of the servers: St John is therefore mentioned four times at the beginning of Mass. We have to go further on, passed where we are at the moment, the homily or sermon, deep into the Offertory, and there we again encounter his name, this time in the prayer, “Suscipe, sancta Trinitas (Receive, O Holy Trinity)”, after the priest has washed his hands and returned to the centre of the altar: “Suscipe, sancta Trinitas, hanc oblationem, quam tibi offerimus (Receive, O Holy Trinity, this oblation which we offer unto thee) […] in honorem […] beati Ioannis Baptistae (in honour […] of blessed John the Baptist)”. To keep count: that is now five times. Then in the Canon of the Mass, in the list of saints after the Consecration, John the Baptist actually heads the list: “partem aliquam, et societatem donare digneris (graciously grant some share and fellowship), cum tuis sanctis Apostolis et Martyribus: cum Ioanne (with thy holy Apostles and Martyrs: with John)”. That is the sixth time. Lastly, St John the Baptist makes an appearance in the Last Gospel: “Fuit homo missus a Deo, cui nomen erat Ioannes (There was a man sent from God, whose name was John)” (Jn 1:6).
    [Show full text]
  • Western Culture Has Roots in Ancient
    3 13. What happened in 395, 476, 1054, 1453? Chapter 2 Division (Milan, Rome) and (Byzantium, Constantinople, The Christian Church in the First Millennium Istanbul); fall of Rome; Roman Catholic Church and Byzantine Church split; fall of Constantinople. East 1. (22) How is the history of music in medieval Europe under the control of the emperor; in the west a bishop intertwined with the history of the Christian church? assumed authority Notation and polyphony developed within church music; schools were church; composers and theorists were 14. (26) SR: What two things did singing of psalms trained there; notation preserved the music of the church accomplish for St. Basil? Taught doctrine; softens an angry spirit 2. (23) What was the deal about Christianity before 313? OK as long as worship Roman gods and emperors; Christians 15. SR: What was Augustine's dilemma and justification? had only one god and tried to convert others. Deeply moved but was also pleasurable; weaker souls would benefit more 3. What did the Edict of Milan do? Legalized Christianity and church own property 16. (27) SR: Who was Egeria? What texts were sung? Any ethos going on? What service was it? 4. What happened in 392? Spanish nun on pilgrimage to Jerusalem; psalms; people wept Christianity is the official religion; all others suppressed when gospel was read; Matins except Judaism 17. What is the language of the Catholic Church? 5. What's the connection between Christian observances Byzantine? TQ: Old Testament? New Testament? and Jewish traditions? Latin, Greek, Hebrew, Greek Chanting of Scripture and singing of psalms 18.
    [Show full text]
  • Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
    Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500).
    [Show full text]
  • UT QUEANT LAXIS RESONARE FIBRIS Hymn for St
    HYMN : UT QUEANT LAXIS RESONARE FIBRIS Hymn for St. John the Baptist, June 24 ! Hinc=-010=-== pa-rens,3==%======’ na-ti0==’#' =’-+-=’’ mé-ri-tis,14==0==1==-- u-térque5=-=1===-16==+=’ Abdi-7=-’’8 ’=-ta"=’’=- pandit.)===-#'=---:’-9 HYMN II. T que-ant laxis re-soná-re fibris. Mi-ra gestó- rum U !’="====#$==’%====-&==#'=-+=‘#$==-#==‘"(==#==-)===)*==;=--)+,=’)===’#==--=--’#'==+’. !5.=- Antra"====#$===- desérti%=-&==-#' =-+=‘ téne-ris#$==#=="(==== sub#===’ annis,)===-)*==;=-’ Cí-vi-)+,=’’)=’- um#=-===‘ turmas-==--’#'=-’-+=‘- fú-%/-=-= ! fámu-li=%/==-0==1 ==- tu-ó-rum,0=-2=-’#'’==-|==- Sol-ve010=-‘3 ==pollú-ti%==0==#'=-+- lá-bi-i14==-0=1 ==- re-á-tum,5=-1==16===-+== Sancte7===‘8’=9 ! =-gi-0=- ens,1==-===’’ petí-sti,0=-2=-’#'’=|==- Ne010 =-‘ le-vi3=-% === posses0==-’#'=--+-=- maculá-re14=--0=-1==5=-=’ vitam1=-16=-=+==-’ Crimi-7=’‘8’=9 ! Jo-ánnes.="=’’)===#'=--=- :2.===- Núnti-"===#$== us%=-==- celso&==-#'=-+=‘ vé-ni-#$==-#== ens"(====- Ol#==!)mpo,====)*==;=- Te)+, =’= patri)=’=-#=-’; ! ne="=’’= linguae.)====#'=--=- :6.Praebu-===-="==-#$== %it=-==- durum&==#'=-=+=‘ tegumen#$==#==-’"(=-==- camelus#===)=-)*=’-;=- Artubus)+,=-)--=#=--’; ! magnum=---=--’#'===+=’- fo-re%/==0===- nasci-tú-rum,1==-0=--2=-’-#'’==--|==-’’ No-men010=-‘3==’’’ et%===-’ vi-tae0=-’’-#'=-’+-=-’ sé-ri-14==-0==- em1==-’ . ! sa-cris,=--=--’#'=-’+=’-=-’ stróphi-%/===0==’ um1==-==’ bi-déntes0=---2=-’’#'’=-|-’’== Cui010 =-‘la-3 =-tex%===-’= haustum,0=-’’-==#'=--’-’+-= soci-14=-0=-’ á-1--’’. ! ge-réndae=-’5=--’1====16=-+= Ordi-ne7==8’=-" =’’==’ promit.)==-#'=--- :3.=-’ Il-le"=-’-’#$====
    [Show full text]
  • Liber Hymnorum. the Latin Hymns of the Lutheran Church
    !"#$!" % $&'()*'$!" +, -'$$.!/ 0'&1!& 6)$ !"#$#5( !--'(2!* 3&!)) 45&$ /',(!, #( CONTENTS Page Hymn CALENDAR, OR TABLE OF FIXED FEASTS xi TABLE OF HYMN ASSIGNMENTS 7eir Yearly Course xii Proper & Common of Saints xiv HYMNS IN ENGLISH #. 7e Daily O8ce [9] 9 ##. Times & Seasons [:9] ;< ###. Church Dedication [=>] =< #1. Proper of Saints [?@] == 1. Common of Saints [>=] @A 1#. Hymns of the Procession & Mass [99:] >9 1##. Additional Songs & Chants [9;:] >= 1###. Spiritual Songs [9:>] 9BA HYMNS IN LATIN #. 7e Daily O8ce [9=:] 9 ##. Times & Seasons [9@>] ;< ###. Church Dedication [;99] =< #1. Proper of Saints [;9=] == 1. Common of Saints [;<=] @A 1#. Hymns of the Procession & Mass [;?9] >9 1##. Additional Songs & Chants [;@:] >= 1###. Spiritual Songs [;A@] 9BA INDICES #. First Lines with Hymn Number & Author [;>@] ##. Authors with Hymn Numbers [:B9] ###. First Lines with Melody Numbers [:B:] #1. Comparison of the Melodies among the Sources [:B=] THE HYMNS IN THEIR YEARLY COURSE Numbers refer to the same hymn in both the English & the Latin sections. THE DAILY OFFICE From the Octave of Epiphany to Invocavit; from Trinity Sunday to Advent. Hymn Hymn Compl. Te lucis ante terminum . 9 On Saturdays a!er the Su%rages may be Matins Nocte surgentes. ;–: sung the hymn Serva Deus verbum tuum . >= Te Deum . ;: Ferial Vespers— Lauds Ecce jam noctis . < Sun. Lucis Creator optime. >–9B or Nocte surgentes. ;–: Mon. Immense cæli Conditor . 99–9; Prime Jam lucis ordo sidere. .= Tues. Telluris ingens Conditor. 9:–9< Terce Nunc sancte nobis Spiritus . .? Wed. Cæli Deus sanctissime . 9=–9? Sext Rector potens verax Deus . .@ 7ur. Magnæ Deus potentiæ. 9@–9A None Rerum Deus tenax vigor. .A Fri.
    [Show full text]
  • Guido of Arezzo and His Influence on Music Learning
    Musical Offerings Volume 3 Number 1 Spring 2012 Article 4 2012 Guido of Arezzo and His Influence on Music Learning Anna J. Reisenweaver Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Musicology Commons, Music Pedagogy Commons, and the Music Practice Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Reisenweaver, Anna J. (2012) "Guido of Arezzo and His Influence on Music Learning," Musical Offerings: Vol. 3 : No. 1 , Article 4. DOI: 10.15385/jmo.2012.3.1.4 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/4 Guido of Arezzo and His Influence on Music Learning Document Type Article Abstract Throughout the history of Western music, Guido of Arezzo stands out as one of the most influential theorists and pedagogues of the Middle Ages. His developments of the hexachord system, solmization syllables, and music notation revolutionized the teaching and learning of music during his time and laid the foundation for our modern system of music. While previous theorists were interested in the philosophical and mathematical nature of music, Guido’s desire to aid singers in the learning process was practical.
    [Show full text]
  • Infunde Amorem Cordibus: an Early 16Th-Century Polyphonic Hymn Cycle from Seville
    Juan Ruiz Jime´nez Infunde amorem cordibus: an early 16th-century polyphonic hymn cycle from Seville he manuscript Tarazona Cathedral 2–3 has from 1482 and chapelmaster from 1491, a position Treceived a good deal of attention from eminent he held until 1497. His name reappears in docu- scholars over the last half century. While they have ments from 1503 until his death in September 1504. differed in their findings as to its dating and proven- The identification of Pedro de Porto and Pedro de ance, they have been unanimous in concluding that Escobar remains to be clarified, but only the name it is the most important surviving source for sacred Escobar appears in Seville during the time he music from the time of the Catholic Monarchs, was chapelmaster there (1507–14), and this was 1 7 Ferdinand and Isabella. I have studied the dating how he signed his name ( illus.1). The third and of the manuscript elsewhere, and proposed a Sevil- most prominent composer in Tarazona Cathedral 2 lian origin for it, but here I shall concentrate on 2–3, as well as in the hymn cycle, is Francisco de one important aspect: the cycle of polyphonic Pen˜alosa. hymn settings included in it (see table 1). Indeed, My recent research in the cathedral archives has it was this cycle that first drew attention to the shown that Pen˜alosa was present in Seville more manuscript through the study and edition by often than has been thought, since he was obliged 3 Rudolf Gerber. The Tarazona cycle has since been to reside there in order to obtain the income from studied in the broader context of the hymn cycle the benefices he held at the cathedral.
    [Show full text]
  • Rhythm, Beat, Drum Pattern
    FH SBG MMA – Rhythm, Beat and Drum Pattern – Page 1 of 13 AUDITIVE GESTALTUNG Rhythm, Beat and Drum Pattern 1. Rhythm 1.1 Origins 1.2 Early Notation 1.3 Metrical foot 1.4 Modern Notation 1.5 Time signature (meter), beat and tempo 1.6 Beat, Downbeat, Upbeat, Backbeat, Breakbeat 1.7 Groove 1.8 Drum Pattern 1 Rhythm Rhythm (from Greek ῥυθμός – rhythmos, "any regular recurring motion, symmetry") is defined by the Oxford English Dictionary as a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." Rhythm is the timing of musical sounds and silences, as well as speech syllables. While rhythm most commonly applies to sound, such as music and spoken language, it may also refer to visual presentation, as "timed movement through space", such as in dance, video or film arts. 1.1 Origins At the most basic level, rhythm relates to our body: how we walk, our heartbeat, our breathing. Our urge to move in rhythm (dance) is probably designed to boost our energy level to prepare for a chase, a fight or a flight. Perceiving rhythm is the ability to master the 4th invisible dimension: time, and appears to be a unique trait in humans (animals show no similar appreciation of rhythm). 1.2 Early Notation In Western music, notation specifying longer and shorter note values evolved from the “Neume” notation type, prior to the invention of five-line staff. The earliest neumes were inflective marks which originally indicated the general shape and duration, but not necessarily the exact notes or rhythms to be sung.
    [Show full text]
  • THE MYSTERY of DO-RE-MI
    CHRISTOPHER GABBITAS (baritone) studied and trained at St. John’s College, Cambridge and Christ Church Cathedral, Oxford. He joined the King’s Singers as second baritone in early 2004, before which he sang with many of London’s professional choral ensembles, including the King’s Consort, Polyphony and the English Concert, as well as being a Gentleman of the Temple Church. From 2001 to 2003 he was a practising solicitor at a top city law firm. He lives in London with his THE MYSTERY American wife, Stephanie. DAVID MILLER (lutenist) is a long established soloist and well known as an of accompanist and continuo player on lute, theorbo and early guitars, flourishing in the various realms of the early music world, as well as making his mark in the modern musical scene. DO-RE-MI He performs and records with all the principal English period instrument orchestras and with many of the finest ensembles. He is a professor of lute at the Guildhall School of Music and Drama and at Trinity College of Music. David is also a tutor for the European Union Baroque Orchestra. STUART LYONS (creator/producer) is author of 'Horace’s Odes and the Mystery of Do-Re-Mi' which is published in conjunction with this recording and establishes the remarkable link between Horatian music, Guido d’Arezzo and the invention of do-re-mi. Christopher Gabbitas Stuart was senior Classics scholar at King’s College, Cambridge. He is an honorary DLitt of Keele University and was awarded a CBE in 1993. baritone Edinburgh-born, IAIN KERR (musical arranger) enjoys international acclaim as a pianist, organist, conductor, arranger and recording artist with considerable experience in choral David Miller work in Australia, New Zealand and the U.K.
    [Show full text]
  • A Brief History from Ancient Greek Musical Notation to West Musical Notation
    A brief history from Ancient Greek musical notation to West musical notation Ancient Greek musical notation was in use from at least the 6th century BC until approximately the 4th century AD; several complete compositions and fragments of compositions using this notation survive. The notation consists of symbols placed above text syllables. An example of a complete composition is the Seikilos epitaph, which has been variously dated between the 2nd century BC to the 1st century AD. Three hymns by Mesomedes of Crete exist in manuscript. The Delphic Hymns, dated to the 2nd century BC, also use this notation, but they are not completely preserved. Ancient Greek notation appears to have fallen out of use around the time of the Decline of the Roman Empire. A brief history of Byzantine Notation Introduction Byzantine music is vocal religious music, based on the monodic modal singing of Ancient Greece and the pre-Islamic Near East. The notation developed for it is similar in principle to subsequent Western notation, in that it is ordered left to right, and separated into measures. The main difference is that notation symbols are differential rather than absolute, i.e. they indicate pitch change (rise or fall), and the musician has to deduce correctly, from the score and the note they are singing presently, which note comes next. The pitch symbols themselves resemble brush strokes and are colloquially called gántzoi ("hooks") in Modern Greek. Notes themselves are represented in written form only between measures, as an optional reminder, along with modal and tempo directions if needed. Additional signs are used to indicate embellishments and microtones (pitch changes smaller than a semitone), both essential in Byzantine chant.
    [Show full text]
  • Theosophy of the Musical Scale
    Theosophy of the musical scale Richard Hodges Feb 2012 revised May 2021 © 2021 The traditional “solfa” names of the notes of the musical scale were first canonized around 1000 AD by Guido d'Arezzo, who invented a staff notation that was a precursor to our Western musical notation. He was charged by the Pope to standardize the chant used in Catholic liturgy, which had diverged into many different practices in different locales. His scale was: Ut Re Mi Fa Sol La. He gave a mnemonic for this scale based on the first stanza of a hymn sung in the Divine Office on June 24, the feast of John the Baptist. It goes: Ut queant laxis Resonare fibris, Mira gestorum Famuli tuorum, Solve polluti Labii reatum, Sancte Iohannes. which translates as: So that these your servants can, with all their voice, sing your wonderful feats, clean the blemish of our spotted lips, O Saint John! In this hymn, which is believed to have been written by d'Arezzo himself, each musical line except the last starts on the scale note whose name is its first two letters. You can hear the hymn sung in Gregorian chant, along with traditional d’Arezzian style notation, at https://www.youtube.com/watch?v=9fMppPLocmo . Note that d'Arezzo's scale starts with Ut (our Do, see below) on G below middle C, which was known as Gamma in an old Greek system of tone notation; hence his sequence of notes was called gam-ut, which entered English as the word “gamut” meaning “everything.” The scale itself is called in Latin "gam," in French “la gamme.” Later, around 1600, the theorist Giovanni Doni changed the name of the root tone from "Ut" to "Do," and added Si, which d'Arezzo did not recognize as a scale tone.
    [Show full text]
  • Orality, Literacy, and the Early Notation of the Office Hymns SUSAN BOYNTON
    Orality, Literacy, and the Early Notation of the Office Hymns SUSAN BOYNTON n recentyears, the relationshipbetween orality and writinghas become one of the most importantareas in the studyof the EuropeanMiddle Ages.Historians have reached a broadconsensus that oral and written tra- ditionscomplemented one otherto varyingdegrees from the ninththrough the twelfthcenturies. Written documents supported or reinforcedongoing oraltraditions without replacing them, and oral communication played a cen- tralrole even in highlyliterate communities.' Much scholarship on oralityand literacyemphasizes the increasedimportance of writtenand literate modes in the Carolingianperiod and the highMiddle Ages; historians of Westernmusic havefocused most closelyon the interplayof oral and writtentransmission in the ninthand tenth centuries. With regard to the earliestsurviving examples of Westernmusical notation, the importanceof oralitymay have been over- stated.2A morefruitful approach would interpret the functionand context of This article is dedicated to Michel Huglo. Earlierversions were presented at the Sixty-third Annual Meeting of the AmericanMusicological Society, Phoenix, October-November 1997; the International Medieval Congress, University of Leeds; the University of Cincinnati College- Conservatoryof Music; and the Columbia UniversityMusic Department. The researchwas sup- ported by a 1998 Summer Faculty ResearchAward from the University of Oregon and by an NEH PostdoctoralRome Prize Fellowshipat the AmericanAcademy in Rome in 1998-99. I am grateful to Isabelle Cochelin, Margot Fassler,Leeman Perkins,and Peter Jeffery for their com- ments, as well as to the anonymousreaders for this Journal. 1. For a useful synthesisof previous scholarship,see Matthew Innes, "Memory, Oralityand Literacyin Early Medieval Society," Past and Present 158 (1998): 3-36; and Marco Mostert, "New Approaches to Medieval Communication?"in New Approachesto Medieval Communi- cation, ed.
    [Show full text]