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More About the Album Thank Yous • About the Guitars
Produced by AM & Dustin DeLage Recording, engineering and mixing by Dustin DeLage at Cabin Studios, Leesburg VA Additional remote recording by Ken Lubinsky at lack Hills Studios, Plain"eld CT Atlantic $cean wa&es recorded by Mic'elle McKnig't at East eac', Charlestown R)* Mastering by ill +ol,, +ol, Productions, Alexandria VA* -ra.'ic Design by Stilson -reene, Leesburg VA ack co&er .'oto by Christi Porter P'otogra.'y, Lincoln VA All songs written by AM and ©Catalooch Music, BMI, except "Margaret" by Andrew McKnight ©19 !, "uccess Music, and "#ur Meeting Is #ver" %traditional&' #'e Songs #'e and 1. Embarking 1:12 ,M - vo<a-s7 a<ousti< & e-e<tri< guitars7 s-i"e guitar7 2. Margaret/Treasures in My Chest 4:56 &ative Ameri<an fute 3. Web of Mystery 3:24 9a<he- Tay-or - ce--o 4. eft Behin" 3:55 Mi<hae- Rohrer ; e-e<tri< an" u:right bass 5. #assage/(Fathers No') Our Meeting is Over 2:1+ isa Tay-or - drums7 harmony vo<a-s 6. ,retas Cu-ver 4:13 >ef Arey - man"o-in .. , Dram to the Ho-i"ays 5:13 4te:hanie Thom:son7 Tony Denikos - harmony vo<a-s 1. The Gift 3:51 3. 4ons & Fathers 3:53 $t'er Essential Musical Pieces 1+. My Litt-e To'n 3:35 ,-y M<@night - piano (Margaret( 11. ong Ago an" Far A'ay 1:5+ Warren M<@night - piano an" organ $4ons & Fathers( 12. Entre-azan"o 0:43 Ma"e-eine M<@night - f""-e (Long Ago & Far A'ay(7 13. -
Here We Are at 500! the BRL’S 500 to Be Exact and What a Trip It Has Been
el Fans, here we are at 500! The BRL’s 500 to be exact and what a trip it has been. Imagibash 15 was a huge success and the action got so intense that your old pal the Teamster had to get involved. The exclusive coverage of that ppv is in this very issue so I won’t spoil it and give away the ending like how the ship sinks in Titanic. The Johnny B. Cup is down to just four and here are the representatives from each of the IWAR’s promotions; • BRL Final: Sir Gunther Kinderwacht (last year’s winner) • CWL Final: Jane the Vixen Red (BRL, winner of 2017 Unknown Wrestler League) • IWL Final: Nasty Norman Krasner • NWL Final: Ricky Kyle In one semi-final, we will see bitter rivals Kinderwacht and Red face off while in the other the red-hot Ricky Kyle will face the, well, Nasty Normal Krasner. One of these four will win The self-professed “Greatest Tag team wrestler the 4th Johnny B Cup and the results will determine the breakdown of the prizes. ? in the world” debuted in the NWL in 2012 and taunt-filled promos earned him many enemies. The 26th Marano Memorial is also down to the final 5… FIVE? Well since the Suburban Hell His “Teamster Challenge” offered a prize to any Savages: Agent 26 & Punk Rock Mike and Badd Co: Rick Challenger & Rick Riley went to a NWL rookie who could capture a Tag Team title draw, we will have a rematch. The winner will advance to face Sledge and Hammer who won with him, but turned ugly when he kept blaming the CWL bracket. -
Essays on Liturgy: I
82-065 ..---------------------r------ - Salle de lecture Reading Room 55 ESSAYS ON l~TURGV: ~ National Bulletin on Liturgy A review published by the Canadian Conference of Catholic Bishops This Bulletin is primarily pastoral in scope, and is prepared for members of parish liturgy committees, readers, musicians, singers, teachers, religious, seminarians, and clergy, and all who are involved in preparing and celebrating the community liturgy. Editor REV. PATRICK BYRNE Editorial Office NATIONAL LITURGICAL OFFICE 90 Parent Avenue (613) 236-9461 Ottawa, Ontario K1 N 7B1 ext. 246 Business Office PUBLICATIONS SERVICE 90 Parent Avenue Ottawa, Ontario K1 N 7B1 Published fives times a year Appears every two months, except July and August Subscription: $6.00 a year; outside Canada, $7.00 Price per copy: $1.50; outside Canada, $1.75 Subscriptions available through Publications Service of the CCCB, or through the chancery office in each diocese in Canada. Excerpts from the English translation of The Ordination of Deacons, Priests, and Bishops© 1976, International Committee on English in the Liturgy, Inc. (ICEL); excerpts from the English translation of The Institution of Readers and Acolytes the Admission to Candidacy For Ordina tion as Deacons and Priests© 1976 ICEL. All rights reserved. National Bulletin on Liturgy, copyright© Concacan, Inc., 1978. No part of this Bulletin may be reproduced in any form without the written permission of the Publications Service of the CCCB. International Standard Serial Number: CN ISSN 0084-8425. Legal deposit: National Library, Ottawa. Canada. Second Class Mail - Registration Number 2994. national bulletin on liturgy volume 11 number 65 september october 1978 ESSAYS ON LITURGY: I This issue of the Bulletin offers a series of articles on liturgy, designed to provoke discussion and reflection. -
Singing the Prostopinije Samohlasen Tones in English: a Tutorial
Singing the Prostopinije Samohlasen Tones in English: A Tutorial Metropolitan Cantor Institute Byzantine Catholic Metropolia of Pittsburgh 2006 The Prostopinije Samohlasen Melodies in English For many years, congregational singing at Vespers, Matins and the Divine Liturgy has been an important element in the Eastern Catholic and Orthodox churches of Southwestern Ukraine and the Carpathian mountain region. These notes describes one of the sets of melodies used in this singing, and how it is adapted for use in English- language parishes of the Byzantine Catholic Church in the United States. I. Responsorial Psalmody In the liturgy of the Byzantine Rite, certain psalms are sung “straight through” – that is, the verses of the psalm(s) are sung in sequence, with each psalm or group of psalms followed by a doxology (“Glory to the Father, and to the Son…”). For these psalms, the prostopinije chant uses simple recitative melodies called psalm tones. These melodies are easily applied to any text, allowing the congregation to sing the psalms from books containing only the psalm texts themselves. At certain points in the services, psalms or parts of psalms are sung with a response after each verse. These responses add variety to the service, provide a Christian “pointing” to the psalms, and allow those parts of the service to be adapted to the particular hour, day or feast being celebrated. The responses can be either fixed (one refrain used for all verses) or variable (changing from one verse to the next). Psalms with Fixed Responses An example of a psalm with a fixed response is the singing of Psalm 134 at Matins (a portion of the hymn called the Polyeleos): V. -
SACRED MUSIC Fall 2003 Volume 130 No.3
SACRED MUSIC Fall 2003 Volume 130 No.3 - ...... ~ . _0- -~'f'. ........ --. -, -. -~- . Aerial View. St. Peter's and Piazza, Rome Renaissance-Baroque. 1506-1668. Chief Architects: Bramante, Michelangelo, Maderna, Bernini SACRED MUSIC Volume 130, Number 3, Fall 2003 FROM THE EDITOR 3 THE CHANTS OF THE PROPRIUM MISSAE versus ALIUS CANTUS APTUS 5 Professor Laszlo Dobszay REVIEWS 27 OPEN FORUM 28 NEWS 28 CONTRIBUTORS 32 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of Publication: 134 Christendom Drive, Front Royal, VA 22630-5103. E-mail: [email protected] Editorial Assistant: Christine Collins News: Kurt Poterack Music for Review: Calvert Shenk, Sacred Heart Major Seminary, 2701 West Chicago Blvd., Detroit, MI 48206 Susan Treacy, Dept. of Music, Franciscan University, Steubenville, OH 43952-6701 Membership, Circulation and Advertising: P.O. Box 960, Front Royal, VA 22630 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Father Robert Skeris Vice- President Father Robert Pasley General Secretary Rosemary Reninger Treasurer Vincent Sly Directors Rev. Ralph S. March, S.O. Cist. Kurt Poterack Father Robert Pasley Paul F. Salumunovich Rosemary Reninger Brian Franck Rev. Robert A. Skeris Calvert Shenk Susan Treacy Ralph Stewart Monsignor Richard Schuler Vincent Sly Stephen Becker Membership in the Church Music Association of America includes a subscription to SACRED MUSIC. Membership is $30.00 annually; student membership is $15.00 annually. Single copies are $7.50. Send applications and changes of address to SACRED MUSIC, P.O. -
MISSAE Versus ALIUS CANTUS APTUS
Are we allowed to replace the Mass Propers with hymns? Should we? Professor László Dobszay answers in the below article, printed in Sacred Music (Vol. 130, No. 3, Fall 2003). THE CHANTS OF THE PROPRIUM MISSAE versus ALIUS CANTUS APTUS 1. What arrangement of the Mass chants emerges before the eyes of an unbiased read er of the Liturgy Constitution promulgated by the Second Vatican Council? If we dis regard what happened after the Synod, and concentrate our attention upon the text of Sacrosanctum Concilium, this is the picture we receive. The Mass is celebrated in most cases in Latin (Art. 36), although some parts (lections, bidding prayer: Art. 54) sometimes (when and where it seems useful) resound in the vernacular (Art. 36/2). The faithful are able to chant the responses, the acclamations and the Ordinary also in Latin (Art. 54, cf. Kyriale Simplex). Gregorian chant has pride of place in liturgical singing (Art. 116). The chants of the Proper are sung by a choir or schola (Art. 114), from the Graduate Romanum in the great churches, and from the Graduate Simplex in the smaller ones (Art. 117); but the congregation, too, may join the Chant (Art. 114), singing psalms and antiphons (Art. 30). The chant is complemented by sacred polyphony taken from the heritage of sacred music, or from a repertory of new compositions. These take their texts chiefly from the Sacred Scriptures or the litur gical books (Art. 121), correspond at all points with the spirit of the liturgy (Art. 116) and are characterized by the hallmarks of a true ecclesiastical thinking (Art. -
The Bugnini-Liturgy and the Reform of the Reform the Bugnini-Liturgy and the Reform of the Reform
in cooperation with the Church Music Association of America MusicaSacra.com MVSICAE • SACRAE • MELETEMATA edited on behalf of the Church Music Association of America by Catholic Church Music Associates Volume 5 THE BUGNINI-LITURGY AND THE REFORM OF THE REFORM THE BUGNINI-LITURGY AND THE REFORM OF THE REFORM by LASZLO DOBSZAY Front Royal VA 2003 EMINENTISSIMO VIRO PATRI VENERABILI ET MAGISTRO JOSEPHO S. R. E. CARDINALI RATZINGER HOC OPUSCULUM MAXIMAE AESTIMATIONIS AC REVERENTIAE SIGNUM D.D. AUCTOR Copyright © 2003 by Dobszay Laszlo Printed in Hungary All rights reserved under International and Pan-American Conventions. No part of these texts or translations may be reproduced in any form without written permission of the publisher, except for brief passages included in a review appearing in a magazine or newspaper. The author kindly requests that persons or periodicals publishing a review on his book send a copy or the bibliographical data to the following address: Laszlo Dobszay, 11-1014 Budapest, Tancsics M. u. 7. Hungary. K-mail: [email protected] Contents INTRODUCTION Page 9 1. HYMNS OF THE HOURS Page 14 2. THE HOLY WEEK Page 20 3. THE DIVINE OFFICE Page 45 4. THE CHANTS OF THE PROPRIUM MISSAE VERSUS "ALIUS CANTUS APTUS" Page 85 5. THE READINGS OF THE MASS AND THE CALENDAR Page 121 6. THE TRIDENTINE MOVEMENT AND THE REFORM OF THE REFORM Page 147 7. HIGH CHURCH - LOW CHURCH: THE SPLIT OF CATHOLIC CHURCH MUSIC Page 180 8. CHURCH MUSIC AT THE CROSSROADS Page 194 A WORD TO THE READER Page 216 Introduction The growing displeasure with the "new liturgy" introduced after (and not by) the Second Vatican Council is characterized by two ideas. -
SPONSORSHIP PACKET THANK YOU Thank You for Considering a Partnership with the Woody Guthrie Folk Festival (Woodyfest)
SPONSORSHIP PACKET THANK YOU Thank you for considering a partnership with the Woody Guthrie Folk Festival (WoodyFest). As the principal event dedicated to preserving and promoting the spirit of Woody Guthrie, we welcome your participation in this exciting opportunity. WoodyFest is thrilled to once again host artists, songwriters, fans and folk-lovers from around the world for four-days of live performances, spoken word and art presentations, songwriting workshops, book discussions, open mics, children’s workshops and community outreach projects in 2019. Please join us as we honor and promote the past, present and future of Woody Guthrie’s legacy. Launched in 1997, WoodyFest will celebrate its 22nd year, July 10- 14, 2019 in historic Okemah, Oklahoma. WoodyFest’s community of supporters spans multiple generations as it plays host to over 100 artists and attracts thousands of visits from around the nation and abroad. From the Pastures of Plenty, where the main stage sits beneath Okemah’s iconic water tower, to the Crystal Theatre where Woody Guthrie enjoyed watching performances as a child, Okemah stirs to life during WoodyFest as legendary international acts and a collective family of Oklahoma-based performers gather to honor Woody Guthrie and the tremendous international impact he had in his short life. We are excited about the possibility of working together and we hope that you are able to join us for WoodyFest 2019. Thank you for consideration of our many partnership opportunities! THE WOODY GUTHRIE COALITION Best Regards, is an all-volunteer not-for-profit 501(C) 3 organization whose mission is to RANDY NORMAN preserve the music and legacy of Woodrow Wilson Guthrie through live President, Woody Guthrie Coalition performances & presentations of original compositions by artists that write and perform in the spirit of Woody Guthrie. -
The Evolution of the Byzantine “Divine Liturgy”
Robert Taft SJ How Liturgies Grow: The Evolution of the Byzantine “Divine Liturgy” Orientalia Christiana Periodica XLIII, Roma 1977, p. 8-30 In this paper I would like to locate the evolution of the Byzan- characterize this stage of liturgical history. For it is the rite of tine eucharist within the larger context of liturgical history, the new capital of Constantine, the founding of which in 315 using it as a “model” or “case study” from which to draw some inaugurates the new era of Constantinian or imperial Chris- general methodological principles applicable, I believe, to the tendom. growth of all rites. This is the period of the unifications of rites, when worship, STAGES OF RITUAL HISTORY like a church government, not only evolved new forms, but The history of the eucharistic service can be divided into sev- also let the weaker variants of the species die out, as the eral periods: church developed, via the creation of intermediate unities, into a federation of federations of local churches, with ever- 1) In the period of initial information the Lord’s Supper is sepa- increasing unity of practice within each federation, and ever- rated from the agape, the World services becomes perma- increasing diversity of practice from federation to federation. nently joined to it, and the “first statum” of that Dom Gregory In other words what was once one loose collection of individ- 1 Dix called the “classical shape of the liturgy” emerges by the ual local churches each with its own liturgical uses, evolved middle of the 2d century in the Apology of Justin Martyr (I, 65, into a series of intermediate structures or federations (later 67): called patriarchates) grouped around certain major sees. -
Bound for Glory
BOUND FOR GLORY Musiques Bound For Glory (by Didier Beaumont [feat. Bruno Le Grizzly]) [102 bpm] (CD : “Bound For Glory” Single) Bound For Glory (by Bruno Le Grizzly [feat. Didier Beaumont]) [102 bpm] (Album : “Bound For Glory”) Chorégraphe Marie Claude Gil (France) – (Octobre 2019) Type Ligne, 4 murs, 32 temps + 1 final Niveau Débutant / Débutant-Intermédiaire Démarrage de la danse Intro instrumentale de 8 temps; puis commencer la danse sur le chant 1 – 8 (Touch Forward, Touch Diagonally, Coaster Step) Right And Left 1 – 2 Touche Pointe D en avant, Touch Pointe D dans la diagonale avant droite 3 & 4 Coaster Step D (PD [sur le Ball] en arrière [3], PG [sur le Ball] à côté du PD [&], PD en avant [4]) 5 – 6 Touche Pointe G en avant, Touch Pointe G dans la diagonale avant gauche 7 & 8 Coaster Step G (PG [sur le Ball] en arrière [7], PD [sur le Ball] à côté du PG [&], PG en avant [8]) 9 – 16 Rock Step Forward, Coaster Step, Rock Step Forward, ¼ Turn Side Triple Step [= ¼ Turn & Chassé] 1 – 2 Rock Step D en avant (PD en avant [Rock], Revenir sur le PG) 3 & 4 Coaster Step D (PD [sur le Ball] en arrière [3], PG [sur le Ball] à côté du PD [&], PD en avant [4]) 5 – 6 Rock Step G en avant (PG en avant [Rock], Revenir sur le PD) 7 & 8 ¼ de tour à gauche et Pas Chassé à gauche (Sur PD : ¼ de tour à gauche et PG à gauche [face à 9h00] [7], PD à côté du PG [&], PG à gauche [8]) 17 – 24 Cross, ¼ Turn Right, Sailor Step, ¼ Turn Right, Side Rock, Cross Shuffle 1 – 2 PD croisé devant le PG, Sur PD : ¼ de tour à droite et PG en arrière [face à 12h00] 3 -
Guidelines for Cantors Diocese of Manchester
GUIDELINES FOR CANTORS DIOCESE OF MANCHESTER TABLE OF CONTENTS Introduction to the Ministry of Cantor 4 A) The Role of the Cantor 5 B) Qualifications and Formation of Cantors 8 C) Considerations for Cantor Ministry 10 D) Scheduling and Serving 16 E) Minister Preparation 17 F) Proper Attire for Sunday Liturgy 18 G) Good Practices for Cantors in Serving at Mass 20 H) To Bow or Not to Bow . and Other Postures 21 Appendices 23 “A Cantor’s Prayer” 26 2 LIST OF MAIN DOCUMENT ABBREVIATIONS GIRM General Instruction of the Roman Missal LOH Liturgy of the Hours LM Lectionary for Mass NDRHC Norms for the Distribution and Reception of Holy Communion Under Both Kinds In the Dioceses Of the United States of America STL Sing to the Lord: Music in Divine Worship SC Sacrosanctum concilium (Constitution on the Sacred Liturgy) USCCB United States Conference of Catholic Bishops 3 GUIDELINES FOR CANTORS IN THE DIOCESE OF MANCHSTER “The Eucharist is the source and summit of the Christian Life.”1 The Eucharist constitutes “the church’s entire spiritual wealth, that is, Christ Himself, our Passover and living bread.”2 It is the “sacrament of sacraments.”3 Through it “the work of our redemption is accomplished.”4He who is the “living bread that came down from heaven” (Jn 6:51) assures us, “Whoever eats my flesh and drinks my blood has eternal life, and I will raise him on the last day. For my flesh is true food, and my blood is true drink.” (Jn 6:54‐55) “Singing is for the one who loves.”5 St. -
Pay-Per-View
Pay-Per-View Don’t bother with the babysitter. Stop worrying about traffic. Because with Pay Per View, you get the best seats in the house without ever leaving home. From UFC fights to exclusive concerts, watch the best in live sports and entertainment right on your own TV. Ordering made easy No need to call or go online. Just order with your remote. From the Guide menu, go to the Pay Per View event channel (PPV) to see what’s playing this month. Once you’ve made your selection, all you need to do is select “Watch” and then confirm your order. It’s that easy. What’s new this month? Combate Americas: Tito vs Alberto December 7th, 2019, 9:00 p.m. ET / 6:00 p.m. PT Legendary combat sports icons Tito Ortiz and Alberto El Patron (formerly “Alberto Del Rio” of the WWE) will battle in a winner take all title belt challenge inside the Combate Americas “La Juala” cage. If Ortiz emerges victorious in the bout, he will take possession of El Patron’s WWE title belt. SD standard definition $29.99 HD high definition $29.99 Channels 325 and 612 (BlueSky TV SD) Channels 301 and 602 (BlueSky TV HD) Replays: Available until December 13th, 2019 Ring of Honor: Final Battle 2019 December 13th, 2019, 9:00 p.m. ET / 6:00 p.m. PT At Ring Of Honor: Final Battle 2019 in Baltimore, ROH World Champion RUSH will put his title and undefeated record on the line against PCO. SD standard definition $34.99 HD high definition $44.99 Channels 324 and 611 (BlueSky TV SD) Channels 300 and 601 (BlueSky TV HD) Replays: Available until March 13th, 2019 UFC 245: Usman vs Covington December 13th, 2019, 10:00 p.m.