DOCSLIB.ORG

Mason's Sacred Harp" May Be Justly Entitled " the Beauties of Vntsic.'''' Hal^'Del, Ai\I> HAY]I>R¥ Colliectiorv of Church Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mason's Sacred Harp HAY]I>R¥ Colliectiorv of Church Music" /> 4^,^ Ai-M y//// , 4^^^' MAS6"]^S' SACREIV'HAJ^P: OR ECLECTIC HARMONY ^ COLLECTION OF CHURCH MUSJC. *'" IN ^T -; NT NOTES. Arran^eti nud Composed bjf i'iO\reIl Mason and T. II. "luson, PROFESSORS OF MUS^C AN E^OilGANIS tS. EW EDITIO-^. <:nNClNNATI: r- FU$IJSIiED .,BY TIUJMAN A?^D SMITH. 1835. J 1 i ^ y<5 6^^^ * jc*/-^ zz^^ j^ ^^/i.S^^-i/K-Ai- THE BENSON LIBRARY OP HYMNOLOGY Endowed by the Reverend Louis Fitzgerald Benson, d.d. ^-.^. /y~ ^^X ^ ^'/'- ^-T- i-/- k^HJaULU LIBRARY OF THE THEOLOGICAL SEMINARY PRINCETON, NEW JERSEY V ^Wliaei ^4 f^», • /^^_ : ; MARTVIVJ *fs.(J>o^b\c) different dej/.Ma-rJ, 'to th^y^iioi^rstomt-, HiS-tci a.!" tlie cirlg Aiwaj J^pVct sktl-roiioVitT V ..co-tiet W.famt BlJ WvaLorJL ike.l<)\l Zcl Ka.cL crone- I ; » Anthems, 3 -^ . 5 , -ra ju..t7#H g^tfffff^J>fi7pj | jjffr|ffffl4j.irjPf[' ^^s " I.I— l.t_il,I, _. ,_ . ^1 cithlimfi an ., 1—.^ ^ . ^^^^ -.<=^ We have^ ^1 rl J tTfffrTi(7'ifrf-f f44J4^,HeiTi-J p-r ^ scst harmony of 1 Fori-wLU jhe li,lo--'rin^^rooA, degi'ee, tint FUl'cUvi+k 6orrow^6url,rist;T-envlrUM-^k.t*<vJ.ryjt«.l flood., T.^i^eA-fronxlTr^' \tte/v.rvo ev-i -^ -^ tt I devotional /"> '.-V •p'. '^ - I p :l j^ pre- 1'.* i> - tunes of \ I I I I ^ 6 (» p » l I I J I P-P ^1 P » P i> I I =F= \ OP ^\ P0Q I - > * P -T=^1 I o-<?^l » volume. 1 frrfiJ.JjMi'rii'trriJjjirnrrrrh'^''-ir We are c, ^ universal ft South, HanafieT College, Indiana. south, and should be possessed by eveiy individual who desires the progress of 1 The style of music coDtained in the Sicred Harp, is chaste, sublime and beautiful. The country. haiTJicnies throughout are in the highest stVle of scientific accuracy and sliill. We aiei(&)nfi- Extracts from variota notices of Mason's Mii.n'ral uorlcs. H. Col., "It dent tliat the name of Mason will secure fi it the wide circulation it deserves. The Harmonican published at London, England, says of Mason's H. & From the Cincinnati Journal. is one of the most complete collections of Psalmody ever published. The tunes are well The "Sacred Harp" has been veiy much needed. The senior editor, Professor Lowell arranged, the harmonies are faultless, and tlic devotional character of botli words and music Mason, of the Eoslon Academy of Music, has long been esteemed, both in Eurclfje and has been attended to most strictly." America, one of the ablestmusiciansof thetage. He has been for many years, president of the From the Christian Spectator. The tunes have been prepared,with constant referents Bostotr'Handel and Haydn Musical Society; is author of 'Handel and Haydn Collection of to the grand object of Sacred Music, the excitement of devojional feeling. It is emphatically, Church Music;' a work, said the London Harmonican, several years since, 'which is not sur- 'religious harmony.' the passed by any publication of the^uid in the world; it is highly honorable to American talent, From the Missionary Hetkld. The cunent testimony of good judges, is that melo- and shows ciearly, the rapid' progress of Americans, in musical science.' He has. since dies are singularly judicious and complete. arranged 'Chora! Himony,' a collection of Anthems, tc, published by the Handel and From the Christian Advocate. We congratulate tlie public on the appearance of : it Haydn Sfeciety ' Boston Collection of Antliems,' pubhshed by the Handel and Haydu Society music arranged and harmonized w ith actinacy, judgment, and elegance. We hope may ' Lyra Sacra,''a Collection of original an(l selected Anthems, Chants, &c. 'The Choir, or become the standard of Sacred Music. Union Collection of Sacred Music,' and several other valuable musical works. From the Hudson {Ohio,) Observer. The authors of the Sacred Harp are well know* Professor T. B. Mason, of the Eclectic Academy of music Cincinnati, is a very able musi- as musical composers of high merit, whose songs of praise are heard in all the churches. Maso;i's various Collections of Psalm and Hymn tunes, Anthems, Choruses, &c., have all been pre-eminently popular and useful, in the estimation of men of science an* taste, both in Europe and Am*^jica. The Harp is tlie authors, last production, and it contains the ^beauties' of ail the former publications. Teachers of singing, clergvmen, and others who are desirous of improving Sacred Music, can employ no means so effectual, as the circulation of this admirable collection. by John Grigg Sr Elliott; Hogan k Thompson (CJ- Masons' Sacred Harp is stereot}'ped, and printed by Troman & Smith, Booksellers, Cincinnati, Ohio. Sold at Pitilnidphia Desilver & Thomas. At Mtc-York, by Robinson, Pratt Si Co.; B. & S. Collins, Also for .tale by all Booksellers and country Merchants in the United States. TO SINGERS. The Publisheb^ would recommend Singing Masters, Choristers and Vocalists generally, to examine the following, among other tunes, believ- ing that the beautiful flov/ing melodies, and rich harmonics of which they are composed, will be sufficient, (aside from the numei'ous other ex- cellencies of the work,) to please the admirers of chaste, sublime, and devotional Psalmody: — Minors: Ashfield, 39: Sunderland, 60: Kambia, 100: Norwich, 119: Hanover, 50: Blackburn, 62: Eastport, 64: Lebanon, 66 Anthems, Set Pieces, &C. viz: Doxology, page 230: When shall we meet again? 226: O, Praise God in his Holiness, 224: Thanksgiv- ing, 214: Daughter of Zion, 213: Praise God, &c., 207: Hark! the song, «&c., 204: Hymn, 189: Salvation, 218, &c. &c. [ Q^* See Publisliers' AdTertisement, Page 4> 4^ ] I N P R E S S : MASONS' SACRED HARP, IN ROUND NOTES-STEREOTYPE EDITION. THE SACRED HARP has received the unqualified approbation of the lovers of Sacred Song, and is very extensively introduced by the dif- ferent denominations and Teachers of Sacred Music. It is doubtless the most interesting and useful collection of Psalmody ever embodied. In compliance with the request of many musical men, the work is now publishing in ROUND NOTES, arranged for the Organ and Piano, with a collection of beautiful Scripture Sentences and Chants for the Episcopal Church. Publisheks. 3:^ Persons ordering tbe Uarp, must be very particular and speclfv eitber ROUND or PATENT notes. THE SACRED HARP OR ECLECTIC HARMONY: • COLLECTION OF CHURCH MUSIC, CONSrSTINGOFAGREATVARIETYOP ^ PSALM AND HYMN TUNES, ANTHEMS, SACRED SONGS AND CHANTS, ORIGINAL AND SELECTED; Including: many new »nd beautiful subjects from the most eminent Composers, HARMONIZED AND ARRANGED EXPRESSLY FOR THIS WORK. BY LOWELL MASON, Professor in the Boston Academy of Music; Editor of Handel and Haydn Collection of Sacred Music; The Choir, or Union Collection; Choral Harmony; Lyra Sacra, &c. AND BY TIMOTHY B. MASON, Professor in the Eclectic Academy of Music, Cincinnati. NEW EDITION REVISED AND CORRECTED. CINCINNATI: PUBLISHED BY TRUMAN AND SMITH. IV PUBLISHERS' ADVERTISEMENT. The "Sacred Harp''' was undertaken at the request of many highly respectable individuals, who have long felt the importance of the mtroduction of an elevated style of Sacred Music arranged on the immovable basis of science and correct taste. It has been prepared with special reference to the wants of the West, it is believed will meet with approbation, and and supply a deficiency the lovers of sacred song have long experienced, and receive such a share of Poat ronage as it shall be found to merit. , It contains, in addition to the most favorite and useful tunes in common use, a great variety of new and valuable music, much of which has been procured from Europe, and has been written expressly fuT the Editors, and furnished in manuscript, by English and Germ£n composers. It also contains a variety of beautiful subjects from the works of Ilaydn, Mozart, Cherubini, Nauman, Marcello, Mehul, Himmel, Winter, Weber, Rosini, and other celebrated authors- all of which have been arranged and harmonized expressly for this tvorh; and are now for the first time published. A great number of very beautiful comnosi tions have been taken, by permusion, from the Handel and Haydn Society Collection; Choir or Union Collection; Lyra Sacra, and other musical publicaLns of the senior Editor. ' Most of the music in this work is flowing, melodious, and tasteful in its character—of a style "perfectly simple and intelligible, so as to be easily sune Sim pie and natural harmony is vastly better adapted to impress the heart, and promote devotional feeling, than the most highly wrought pieces of scientwic skill' The most sublime and the most pathetic are always the most simple. Sacred music should be like the gospel, which commends itself by' its simolicitv '"i"nnH sublimity, alike to the learned and unlearned." f ^J* It is hoped the "Sacred Harp" will prove a highly useful work. It was carefully examined in manuscript, by the Boston Academy of Music * and by various Professors ofMusic, Organists, and Teachers ofsinging, whose unqualified approbation it received; and it undoubtedly forms the best mam'.nlaiiuai oiof Church Music ever issued from the press. whole is The work now stereotyped, so that successive edit'ons can he used together. The publishers would further remark, that the "Sacred Haro" is printed in patent notes (contrary to the wishes of the Authors) under the belief that it will prove much more acceptable to a majority of Mn-rers in the Wen^ • '^^^^MAN SMITH. "JS,t;.xx, September, 18 & Entered according to act of Congress, in the year 18.?5, by Truman & Smitli, in the Clerk's Office for the Distiict Court of Ohi( Editors O-r and publishers of Music are cautioned against republishing pieces from this work.
Load more

Recommended publications
  • Playing the Sacred Harp: Mennonite Literature As Confession (The
    Playing the Sacred Harp: Mennonite Literature as Confession Ann Hostetler Borrowed hymnal in hand, I walk into the one-room white clapboard church that vibrates with loud singing, past dozens of onlookers and would-be participants hovering at the doors like honeybees. My daughter and her partner and their two-week-old baby, and a friend of theirs, follow me as we squeeze into the standing room at the back of the sanctuary next to a row of Old Order Mennonites. Sacred Harp music is sung a cappella and needs a body of singers to come to life in a corporeal act of worship, creating what an alternative healer might call a highly-charged energy fi eld. One of my more worldly friends who is a Sacred Harp devotee describes it as a form of yoga, centered on breathing. Surrounded by the fi erce organ of many voices, I have visions of seraphim and cherubim vibrating with the music of the spheres. Someone less inclined to ecstatic merger might recall Huck Finn’s opinions of Aunt Polly’s heaven – that if the saints were singing for eternity, he would rather spend his time elsewhere. We have chosen to stay for the day. Sacred Harp singers travel. They come from many places, denominations, even faiths to gather at conventions or at singings in many parts of the country. They hold local sings and long-distance sings. The only rule is respect for the music and each other. The content of the songs, sung fi rst by rural Southerners and then Midwestern pioneers during the nineteenth-century singing school movement, is profoundly religious, focusing on death and salvation.
    [Show full text]
  • Tara Barker Carnes, B.M
    3'79 NG f Ato.K7 HARTLEY WOOD DAY: INVENTOR OF NUMERAL NOTATION AND ADVERSARY OF LOWELL MASON THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Tara Barker Carnes, B.M. Denton, Texas December, 1991 Carnes, Tara Barker, Hartley Wood Day: Inventor of Numeral Notation and Adversar of Lowell Mason. Master of Arts (Music), December 1991, 128 p. 4 tables, bibli- ography, 47 titles. Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic prin- ciples of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis exam- ines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools. TABLE OF CONTENTS Page LIST OF TABLES . v .. ....... ..... vi LIST OF EXAMPLES . Chapter I. H.W. DAY . State of Research Census Records Overview II. NUMERAL NOTATION IN AMERICA. .. ... 5 State of Music in Eighteenth Century America Early Alternative Notational Systems Five Main Types of Numeral Notation Systems Decline of Alternative Notational Systems III. DAY'S NUMERAL NOTATION SYSTEM.
    [Show full text]
  • Shape-Note Singing Lesson Addresses the Following Teachers Bring to Their Students the Educational Power of Standards: Museums and Other Community Resources
    OCT 00 hape- ote inging esson GRADES 3-8 SUBJECTS I Music Publication of this issue of Smithsonian in Your I History Classroom is made possible through the gener- ous support of the Pacific Life Foundation. ontents 3 Essay 10 Lesson Plan Keeping the Spirit Alive The purpose of Smithsonian in Your Classroom is to help A Shape-Note Singing Lesson addresses the following teachers bring to their students the educational power of standards: museums and other community resources. It draws on the National Standards for Arts Education (Music Content Smithsonian’s exhibitions and programs—from art to zool- Standards) ogy—to create classroom-ready materials for grades 3–8. I Singing alone and with others, a varied repertoire of music Each of the four annual issues takes an interdisciplinary Reading and notating music approach to a single topic. The Smithsonian invites teach- Understanding relationships between music, the ers to duplicate the materials for educational purposes. other arts, and disciplines outside the arts Understanding music in relation to history and You may request an audiotape, large-print, culture braille, or disk version (Mac or PC) by writing to National Standard for History the address listed on the back cover or by faxing your I Regional folklore and culture contributions that name, school name, and address to 202-357-2116. Please helped to form our national heritage specify the issue you are requesting. Photo Credits: Cover: ©Miriam A. Kilmer Pages 4, 7, and 13: ©Miriam A. Kilmer Page 5: William L. Clements Library, University of Michigan Pages 6 and 8: ©Lauren Piperno/Kingston Page 9: Birthplace of Country Music Alliance Music in cover image used by kind permission of Hugh McGraw of the Sacred Harp Publishing Company.
    [Show full text]
  • Southern Black Gospel Music: Qualitative Look at Quartet Sound
    LIBERTY UNIVERSITY SOUTHERN BLACK GOSPEL MUSIC: QUALITATIVE LOOK AT QUARTET SOUND DURING THE GOSPEL ‘BOOM’ PERIOD OF 1940-1960 A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY BY BEATRICE IRENE PATE LYNCHBURG, V.A. April 2014 1 Abstract The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the ‘Southern’ gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term ‘gospel boom.’ The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940’s, 50’s, and 60’s, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets—The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones—to define what southern black gospel music is, its components, and to identify important cultural elements of the music.
    [Show full text]
  • 74TH SEASON of CONCERTS April 10, 2016 • National Gallery of Art PROGRAM
    74TH SEASON OF CONCERTS april 10, 2016 • national gallery of art PROGRAM 3:30 • West Building, West Garden Court The Rose Ensemble Jordan Sramek, founder and artistic director, tenor Elizabeth Windnagel and Kim Sueoka, ‘ukulele, sopranos Alyssa Anderson and Natalie Nowytski, altos Andrew Kane, ‘ukulele, tenor Mark Dietrich, guitar, Native American flute, and Jake Endres, basses David Burk, guitar, mandolin, and gourd banjo Josh Schwalbach, bass Ginna Watson, fiddle Special guest Dan Chouinard, accordion Mark Dietrich (b. 1967) Traditional Irish dance tunes Improvisation in Honor of the First Inhabitants “Mile of Dublin,” “Boys of Malin,” and “Maids of Castlebar” Anonymous From The Southern Harmony (1854) Niel Gow (1727 – 1807) “Bozrah” “Niel Gow’s Lament on the Death of His Second Wife” Anonymous From Original Shaker Music (1893) Anonymous “Pure Love” and “Give Good Gifts” From Shaker Music (1875) “Morning Dawn” Traditional Appalachian “Christmas Eve” “Over the Waterfall” John Playford (1623 – 1686) Thomas Hastings Arr. The Rose Ensemble From A Selection of Spiritual Songs (1878) “Scotch Cap” “Still Water” “Juice of Barley” (tune: “Stingo” or “Oyle of Barly”) Traditional Acadian dance tunes “La Bastringu” and “A San Malo a Anonymous American Bord de Mer” Arr. C. Patton “New England’s Annoyances” (1630) Anonymous From Original Shaker Music (1893) Traditional American “Peace and Joy” Arr. The Rose Ensemble “Goin’ across the Sea” 2 • National Gallery of Art The Hutchinson Family Singers Walter Kittredge (1834 – 1905) Arr. Kachelmeier “Tenting on the Old Camp Ground” “Get Off the Track” (tune: “Old Dan Tucker”) William J. Kirkpatrick (1838 – 1921) “Help Just a Little” Hutchinson’s Republican Songster (1860) Arr.
    [Show full text]
  • Contemporary Christian Music & The
    PLAYING THE MARKET: CONTEMPORARY CHRISTIAN MUSIC & THE THEORY OF RELIGIOUS ECONOMY by Jamie Carrick B.A., The University of Calgary, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Religious Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2012 © Jamie Carrick, 2012 Abstract Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy. ii Table of Contents Abstract . ii Table of Contents . iii List of Figures . iv Acknowledgements . v 1 Introduction . 1 1.1 Introduction . 1 1.2 Religion & Popular Culture .
    [Show full text]
  • Chance the Rapper's Creation of a New Community of Christian
    Bates College SCARAB Honors Theses Capstone Projects 5-2020 “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book Samuel Patrick Glenn [email protected] Follow this and additional works at: https://scarab.bates.edu/honorstheses Recommended Citation Glenn, Samuel Patrick, "“Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book" (2020). Honors Theses. 336. https://scarab.bates.edu/honorstheses/336 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book An Honors Thesis Presented to The Faculty of the Religious Studies Department Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts By Samuel Patrick Glenn Lewiston, Maine March 30 2020 Acknowledgements I would first like to acknowledge my thesis advisor, Professor Marcus Bruce, for his never-ending support, interest, and positivity in this project. You have supported me through the lows and the highs. You have endlessly made sacrifices for myself and this project and I cannot express my thanks enough.
    [Show full text]
  • The Future of Classical Music in the Church Martin E
    The Future of Classical Music in the Church Martin E. Marty As we walked from Marquand Chapel after my lecture there on the assigned theme of this article, a faculty member from the Institute of Sacred Music commented: “Well, in some ways, we have to admit, it does come down to a matter of taste.” He was referring to the taste of some for what we were calling “classical” music and the taste of some others for anything but such music. On some levels his question, and my benumbed response – which was one of hesitant, partial agreement – could be conversation-enders, or conclusions that might stifle further inquiry about the subject. Certainly they served as a humbling admission that in matters of the arts, also in the church, some conflicts will never be decisively settled. The conflicts that issue from debates over classical music in the church are of that character. No final arbiter, no infallible pontiff with authority, can wave a scepter and settle an esthetic question. Perhaps I should not give up so quickly. First of all, “taste” is not the only issue. Matters of theology, liturgy, history, to say nothing of a variety of musical standards and norms, at least deserve a hearing before the reduction to a charge of “subjectivity” is sounded and heard. Second, philosophers who specialize in esthetics do set forth some grounds for ruling more or less objectively what is good and what is bad. Lacking qualifications to do such judging and ruling, I am still in the camp of those who aspire to point to what is better and what is worse, if not objectively, then in ways that depend on varying contexts.
    [Show full text]
  • Square Notes and Shapes St. Augustine Schola Cantorae With
    Square Notes and Shapes St. Augustine Schola Cantorae With Organist Shannon McKay August 7, 2009, 6 p.m. Cathedral-Basilica of St. Augustine, St. Augustine, Florida The audience is kindly requested to turn off cell phones, and to refrain from applause until the end of the program. Thank you! Part One From the Vespers of the Blessed Virgin Mary Lucernarium - O Gladsome Light , Phos Hilaron, 4 th c. ( Igor Dvoretsky/arr. M. J. Ballou) This hymn was traditionally sung at the lighting of lamps as vespers began in the Eastern Churches as well as the Ambrosian Rite of Milan. Found in the Apostolic Constitutions, “Phos Hilaron” praises Christ as the “light of the holy glory of the Immortal Father.” It is the earliest known Christian hymn outside the Bible that is still in use today. Some believed it was composed by St. Athenogenes on the way to his martyrdom, his executioner’s arm miraculously unable to move until the song was completed. In the 4 th century, St. Basil the Great referred to it as an ancient hymn. This setting by Dvoretsky is one of the most popular in the Russian Church. Hymn – Ave maris stella, Gregorian Chant with organ versets by Jehan Titelouze This 8th century hymn is always sung at Vespers of the Blessed Virgin Mary. Both the author and composer are unknown. Hailing Mary as “the star of the sea” and “happy gate of heaven,” this was one of the most popular hymns in medieval Europe as devotion to the Virgin blossomed. Its supple melody and metrical text have been the inspiration of composers as varied as Josquin, Palestrina, Byrd, Victoria, Grieg, Liszt, and 20th century composers Chan Ka Nin and Peter Maxwell Davies.
    [Show full text]
  • 1 Contemporary Chrstian Music: Transforming
    CONTEMPORARY CHRSTIAN MUSIC: TRANSFORMING CHRISTIAN EXPERIENCE AND IDENTITY By BRITTANY E. CHASE A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2013 1 © 2013 Brittany E. Chase 2 I dedicate this thesis to my parents, who have been unconditionally loving and compassionate throughout my entire academic career. I could not have succeeded without your continuous prayers and encouragement, and I am truly blessed to have you in my life. 3 ACKNOWLEDGMENTS The completion of this thesis would not have been possible without the help of many important people. To my academic advisor and committee chair, Larry Crook, I thank you for your patience, encouragement, and support of my research interests throughout this entire process. I am immensely grateful for your constant kindness and compassion since I arrived at the University of Florida, and I thank you for believing in my ability to succeed and expressing your pride in my work and in me. I could not have accomplished this without your help and guidance. To my committee member, Silvio dos Santos, I thank you for your time and mentoring, and I sincerely appreciate your investment in my future and academic career. I thank my other professors at the University of Florida, Jennifer Thomas, Margaret Butler, Michael Deall, and Rosana Resende, who have fostered my intellectual and musical growth. I have many informants to thank for their honest and open participation in the interviews for this project. I thank Anyerin Drury and Adam Vodicka for sharing the visions of their respective churches, as well as Erica Scarano, Brett McCollum, and Brian Biederman, for taking the time to share their experiences.
    [Show full text]
  • 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.
    [Show full text]
  • An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-21-2019 An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Music Business Commons An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts By Megan Marie Carlan Arts and Entertainment Management Dr. Theresa Lant Lubin School of Business August 21, 2019 Abstract Ranging from inspirational songs void of theological language to worship music imbued with overt religious messages, Contemporary Christian Music (CCM) has a long history of being ill-defined. Due to the genre’s flexible nature, many Christian artists over the years have used vague imagery and secular lyrical content to find favor among mainstream outlets. This study examined the most recent ten-year period of CCM to determine its ability to cross over into the mainstream music scene, while also assessing the impact of its lyrical content and genre on the probability of reaching such mainstream success. For the years 2008-2018, Billboard data were collected for every Christian song on the Hot 100, Hot Rock Songs, or Hot Country Songs in order to detect any noticeable trend regarding the rise or fall of CCM; each song then was coded for theological language. No obvious trend emerged regarding the mainstream success of CCM as a whole, but the genre of Rock was found to possess the greatest degree of mainstream success. Rock also, however, was shown to have a very low tolerance for theological language, contrasted with the high tolerance of Country.
    [Show full text]