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Introitus: the Entrance Chant of the Mass in the Roman Rite
Introitus: The Entrance Chant of the mass in the Roman Rite The Introit (introitus in Latin) is the proper chant which begins the Roman rite Mass. There is a unique introit with its own proper text for each Sunday and feast day of the Roman liturgy. The introit is essentially an antiphon or refrain sung by a choir, with psalm verses sung by one or more cantors or by the entire choir. Like all Gregorian chant, the introit is in Latin, sung in unison, and with texts from the Bible, predominantly from the Psalter. The introits are found in the chant book with all the Mass propers, the Graduale Romanum, which was published in 1974 for the liturgy as reformed by the Second Vatican Council. (Nearly all the introit chants are in the same place as before the reform.) Some other chant genres (e.g. the gradual) are formulaic, but the introits are not. Rather, each introit antiphon is a very unique composition with its own character. Tradition has claimed that Pope St. Gregory the Great (d.604) ordered and arranged all the chant propers, and Gregorian chant takes its very name from the great pope. But it seems likely that the proper antiphons including the introit were selected and set a bit later in the seventh century under one of Gregory’s successors. They were sung for papal liturgies by the pope’s choir, which consisted of deacons and choirboys. The melodies then spread from Rome northward throughout Europe by musical missionaries who knew all the melodies for the entire church year by heart. -
Introduction
Cambridge University Press 978-0-521-19347-4 - Ritual Meanings in the Fifteenth-Century Motet Robert Nosow Excerpt More information Introduction As a dynamic force in the musical development of the fifteenth century, the motet has long been studied for the beauty of its polyphony and its prominent place in the manuscripts of the period. The genre has been associated with important churches, cathedrals, and princely courts across Western Europe. Motets rank among the most celebrated works of John Dunstaple, Guillaume Du Fay, Jacob Obrecht, and a host of other brilliant composers. Yet the motet also appears as a mysterious genre, both because of the multiplicity of forms it takes and because of the intractability of several related, unanswered questions. The investigation that follows addresses one central question: why did people write motets? In the last two decades, scholarly explications of individual motets have aimed to elucidate their potential significance for the late medieval period. Working from the texts and music outward has yielded new insights into the relationships between motets and fifteenth-century culture.1 Scholars inevitably have focused their attention on the few motets with overt cer- emonial associations, the Staatsmotetten. At the same time, the ability to ground interpretive or theoretical approaches in a concrete understanding of how motets were used in performance has proven elusive. Chroniclers of the fifteenth century, despite their keen interest in matters of ritual, did not consider it important enough to describe in detail the music at events of high state, or at imposing ecclesiastical ceremonies. They rarely mention the performance of motets, expressing more interest in the personages who 1 Among such studies for the first three quarters of the fifteenth century are J. -
Camping Im Nördlichen Schwarzwald
Camping im Nördlichen Schwarzwald Camping · Caravaning Unterwegs im Wohnmobil 2013/2014 ALTENSTEIG BAD LIEBENZELL PARacELSUs-THERME BAD TEINach-ZaVELSTEIN CALW CAMPING IM NÖRDLICHEN SCHWARZWALD ALTENSTEIG mit verschiedenen Wellnessanwendungen ideale Bedingungen für Eingebettet in die wildromantische Landschaft präsentiert sich Alten- ihren Gesundheits- aber auch für ihren Aktiv-Urlaub auf ausgezeichne- steig idyllisch und doch lebendig mit einem sympathischen Gewirr ten Rad- und Wanderwegen in der intakten Natur des Naturparks von Dächern und verwinkelten Ecken – ein Ort wie aus dem Bilder- Schwarzwald Mitte/Nord. buch. Das trutzige Alte Schloss gilt als einzige unzerstörte mittelalter- liche Burg des Schwarzwaldes. Kulturfreunde können sich vom facet- Bad WILdbad tenreichen Angebot der Fachwerkstadt überraschen lassen. Bad Wildbad verkörpert Schwarzwalderlebnis pur: Wandern, Wellness, Radfahren oder Biken; gesunde Luft im Tal und auf den Höhen des Bad HERRENALB Sommerbergs. Zwei unterschiedliche Thermalbäder befinden sich im Erleben Sie die Kraft der Natur, genießen Sie die frische Heilklimaluft, Ortszentrum: die „Vital Therme“ mit Sauna, Dampfbad und Aqua- entdecken Sie Erlebnispfade oder das Nordic Fitness-Programm. Die Trainings, eine Therme, in der sich alles um Fitness und Gesundheit Siebentäler Therme mit Klangbad und Wellnesswelt „Prießnitz-Spa“ dreht und die Wohlfühloase „Palais Thermal“, ein sinnlich schöner bieten ein einzigartiges Gesundheitsangebot. Historische Sehenswür- Bade- und Saunatempel mit Jugendstil elementen und orientalischem digkeiten, ein vielfältiges kulturelles und kulinarisches Angebot und Dekor. der attraktive Ausflugsstandort geben Ihnen die Möglichkeit, Ihren Erholungsaufenthalt ganz persönlich zu gestalten. CaLW Calw – Die Hermann Hesse- und Fachwerkstadt Bad LIEBENZELL Nach dem berühmtesten Sohn der Stadt nennt sich Calw heute mit Im malerischen Nagoldtal liegt Bad Liebenzell, die Stadt des Wassers Stolz „Die Hermann-Hesse-Stadt“. -
Sources for Plain Chant and Ritual from Ghent and London: a Survey and Comparison
SOURCES FOR PLAIN CHANT AND RITUAL FROM GHENT AND LONDON: A SURVEY AND COMPARISON Barbara HAGGH Introduction The history of chant was shaped not only by authority and tradition, but also by individual initiatives, folklore, error and circumstance, and this is most evident when composers, commissioners, copyists and singers of chant are studied alongside the music. In this respect cities, homes for diverse peoples and religious communities, provide an ideal framework for an investigation: Ghent and London are especially well suited not only because of their rich and relatively unstudied archives but also because they were the two most populous cities north of Paris in the late fifteenth century and represented the lively musical cultures of Flanders and England. As the first stage of a project to study the chant and polyphony of Ghent and London in the later Middle Ages and the musicians shaping that repertory, manuscripts and fragments containing the rituals of the churches and abbeys of both cities were surveyed in order to establish what survives and to record preliminary impressions of the nature of the sources. 1 Early as well as later sources were studied, to permit as accurate a chronology of the introduction of new chant as possible. The later sources are an especially useful resource for the study of later medieval music, since they are more numerous than sources of polyphony, more representative of music in daily life and more revealing than archives in documenting musical practices. They also reflect most clearly the interaction between ecclesiastical authorities, patrons, founders, composers, I am grateful to the Leverhulme foundation for supporting my research within the project, 'Music in the North-European Metropolis: London and Ghent c. -
Christine Jakobi- Mirwald
CHRISTINE JAKOBI-MIRWALD Initials and other Elements of Minor Decoration C H R I S T I N E J AKOBI -M IRWALD A paper on the subject of minor manuscript decoration can well turn out somewhat less than exciting. However, it depends on the point of view, and if the manuscripts of the Liber Extra are a somewhat alien field of investigation to this author, 1 this may well present a chance for a fresh approach. For once, the subject of terminologies in different languages has recently proved to be rather fascinating. 2 In the third edition of my Terminology * I would like to thank Martin Bertram for trusting me with this paper and for acce pting it at the conference, even when I was unable to participate in person, and Susanne Wittekind, who was so kind as to read the text in my place. 1 My primary fields of research have concentrated on rather earlier manuscripts: Die illuminierten Han dschr iften der Hessischen Landesbibliothek Fulda. 1. Handschriften des 6. – 13. Jahrhunderts. Textband bea rbeitet von Ch. J AKOBI - M IRWALD auf Grund der Vorarbeiten von Herbert Köllner, Denkmäler der Buchkunst 10, Stuttgart 1993; C. J AKOBI - M IRWALD , Die Initiale zu r Causa 28 in den Münchener Gratianhandschriften 17161 und 23551, in: E. E ISENLOHR , P. W O R M (Hg.), Arbeiten aus dem Marbu rger hilfswissenschaftlichen Institut, Elementa diplomatica 8, Marburg 2000, p. 217 -228; E AD. Die Schäftlarner Gratian - Handschrift Clm 17161 in der Bayerischen Staatsbibliothek, Münchner Jahrbuch der bildende n Kunst, 3. F. 58 (2007), p. -
Mass for the Tuesday of Passion Week, Winchester)
A Discussion Concerning the Winchester Gradual in Harley 110 (Mass for the Tuesday in Passion Week, Winchester, 11th Century) A Research Essay fulfilling requirements for MUSIC 747 - BMus (Hons) University of Auckland 2009 submitted by Gillian Lander 5134796 A DISCUSSION CONCERNING THE WINCHESTER GRADUAL IN HARLEY 110 (Mass for the Tuesday of Passion Week, Winchester) Gillian Lander 5134796 MUSIC 747 2009 Auckland University ________________________________________________________________________________ Contents I – An exploration of the Introit and the neumes involved across the various sources. p2 II – A consideration of the neumes in the Communion – which lacks Winchester. p10 III – A comparison of significant melismatic passages and the Gradual neumes in the sources. .p15 IV- A detailed exploration of the Anglo-Saxon neumes in the whole available Winchester work. p24 V – Summary and conclusions. p30 _________________________________________________ Preface Some things never change. It is clear to me that with a lifetime of involvement with psalmody, albeit mainly Anglican chant and in Coverdale‟s English, the approach of any modern choral director teaching chant, differs little from that of the choir trainer of a thousand years back. First of all the singers must know the tune – (or the harmony) by heart, and that secure, all attention can be given to the many nuances afforded by the text, because conveying the full sense of that is the most important task. And this gives rise to a psalter filled with detailed 2B pencil markings to aid this interpretation. Some of these marks are not so different from that of our early neumes, but the singers of the tenth century did not have the same text availability. -
Funeral Music Selection Guide
Liturgical Music Department THE CHURCH OF ST. ROCCO Christopher A. Caramello Director of Liturgical Music 927 Atwood Avenue Johnston, RI 02919 Office Phone: (401) 942-5203 Cellular Phone: (401) 692-5270 [email protected] To Whom It May Concern, On behalf of The Church of St. Rocco and its Music Ministry, I extend my condolences to you and your family. Please know our music department is here to serve you to the best of our abilities. Similar to the funeral liturgy itself, music for the Mass of Christian Burial (funeral) can be tailored to appropriately reflect the life of the deceased as well as enrich the liturgy for those in attendance. As you may know, secular music is not allowed before, during, or after the Mass of Christian Burial within the church. Rest assured there are many options which can ensure your musical expectations and requests are met. As a convenience to you, this overview acts as a guide for music planning. The majority of these pieces can be sampled online (using YouTube.com or Google.com) by typing in the title and composer, or through a meeting (if time allows) with the music director. In addition to hymns familiar to you, it may be of interest to sample some of the options listed below for the best selections. The music is listed according to its appropriate placement within the mass. At The Church of St. Rocco the standard music personnel is one cantor and the organist. Other liturgically appropriate instruments (flute, trumpet, violin, etc.) can be hired through the music director but such requests should be made as soon as possible to ensure availability. -
BH Program FINAL
MUSIC BEFORE 1800 Louise Basbas, Director Blue Heron Christmas at the Courts of 15th-Century France & Burgundy Scott Metcalfe, director and harp Jennifer Ashe, Pamela Dellal, Martin Near, Daniela Tosic Michael Barrett, Owen McIntosh, Jason McStoots, Stefan Reed, Mark Sprinkle, Sumner Tompson Cameron Beauchamp, Paul Guttry Laura Jeppesen, vielle and rebec; Charles Weaver, lute and voice Advent O clavis David (O-antiphon for December 20) plainchant Factor orbis Jacob Obrecht (1457/8 - 1505) O virgo virginum (O-antiphon for December 24) plainchant O virgo virginum Josquin Desprez (c. 1455 - 1521) Conditor alme siderum (alternatim hymn for Advent) Guillaume Du Fay (c. 1397 - 1474) Ave Maria gratia dei plena Antoine Brumel (c. 1460 - c. 1512) Christmas O admirabile commercium / Verbum caro factum est Johannes Regis (c. 1425 - 1426) INTERMISSION Christmas Letabundus (Christmas sequence) Guillaume Du Fay Praeter rerum seriem Adrian Willaert (c. 1490 - 1562 New Year’s Day La plus belle et doulce figure Nicolas Grenon (c. 1380 - 1456) Dieu vous doinst bon jour et demy Guillaume Malbecque (c. 1400 - 1465) Dame excellent ou sont bonté, scavoir Baude Cordier (d. 1397/8?) De tous biens playne (instrumental) Johannes Tinctoris (c. 1435 - 1511?) Margarite, fleur de valeur Gilles Binchois (c. 1400 - 1460) Ce jour de l’an voudray joie mener Guillaume Du Fay Christmas Gloria Spiritus et alme Johannes Ciconia (c. 1370 - 1412) Nato canunt omnia Antoine Brumel Tis concert is sponsored, in part, by the Florence Gould Foundation, Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council. -
Kulturologieulturologie
EEmpirickýmpirický a aaplikovanýplikovaný vvýzkumýzkum KKulturologieulturologie UDC 783.2 (4–15) PPRINCIPLESRINCIPLES OFOF LINESLINES COORDINATIONCOORDINATION ININ THETHE EARLYEARLY ORGANUMORGANUM NN.. VV.. SShymanskyhymansky CCandidateandidate ooff AArts,rts, assistantassistant professor,professor, BBelarusianelarusian StateState AcademyAcademy ooff MMusic,usic, MMinsk,insk, BBelaruselarus Summary. The author applies typological analysis to reveal key features of the early organum including the opposition “unconscious vs conscious” and polymelodics. The con- clusions are based on the contrastive study of examples from the Chartres codices 130 and the Winchester manuscript. The principles of identity, assimilation, and opposition of lines coordination are associated with the syllabic polyphony. Contrapuntal phenomena in syllabic organum exist in the framework of a moving timbre-texture form where not only splitting and merging but also dynamic interaction of voices is possible. The archetypal sensation of vibra- tion and friction tend to represent ‘beat diaphony’. Keywords: early organum; intonational rhythmics; lines coordination; trope; syllabic polyphony; polymelodics; friction; heterophony; Medieval liturgical singing. Despite a number of significant re- a) polymelodic character and variant search papers issued in recent years heterophony; (Rankin, Hughes, Arlt, etc. [4]), early b) splitting of choral unison into organum still remains a mystery to parts followed by their merger in uni- modern musicology. The problem is to son again; choose the correct approach to conduct c) freedom of voices interaction the study of the few sources that rep- in time; resent the semi-professional work of d) fragmented character of parallel medieval singers [2]. This article pro- voice motion. poses a historical-stadial approach for- It is known that the Winchester mulated by M. Kharlap. -
Carl Barckhoff and the Barckhoff Church Organ Company
Volume 39, Number 4, 1995 Founded in 1956 CARL BARCKHOFF AND THE BARCKHOFF CHURCH ORGAN COMPANY Carl Barckhoff - about 1880 by Vernon Brown Reprinted from The Tracker, 22:4 (Summer, 1978) Carl Barckhoff, one of the foremost Midwest late 19th 1880, "the church filled with a fashionable and cultured and early 20th century organ builders, was born in audience," 2 Carl himself played. Cora Hawley, the Wiedenbruck, Westphalia, Germany, in 1849. His father, daughter of an influencial man in Salem, was the soprano organ builder Felix Barckhoff, brought the family to the soloist, and this marked the beginning of a romance United States in 1865, and in that same year the first between Barckhoff and Miss Hawley. Barckhoff organ was built in this country. The firm In 1881 Carl married Miss Hawley, and in 1882, having established at 1240 Hope Street, Philadelphia, was for a time obtained financial backing locally, he relocated the during the 1870's known as Felix Barckhoff & Sons, the sons Barckhoff Church Organ Company in Salem. The new being Carl and Lorenz. factory at 31 Vine Street "had an organ hall 35 feet high, Felix Barckhoff died in 1878, 1 and at about this same time which made it possible to construct the largest organs built Carl relocated the firm in Allegheny County, Pennsylvania, at that time. According to records, most of the men in an area which is today North Side Pittsburgh. An organ employed by Mr. Barckhoff had learned their trade in for the Presbyterian Church of Salem, Ohio was built in this Germany. -
A Central European Composer
De musica disserenda II/1 • 2006 • 103–112 PETRUS WILHELMI DE GRUDENcz (b. 1392) – A CENTRAL EUROPEAN COMPOSER Paweł Gancarczyk Polish Academy of Sciences, Warsaw Abstract: According to present knowledge, Petrus Izvleček: Po sedanjem vedenju sestoji opus Petrusa Wilhelmi’s output numbers about 40 compositions Wilhelmi iz ok. 40 kompozicij, ohranjenih v pri- preserved in about 45 sources. Apart from Latin bližno 45 virih. Poleg latinskih pesmi (cantiones) songs (cantiones) he composed polytextual motets je komponiral politekstualne motete in kanone and canons (rotula). Petrus Wilhelmi was active (rotula). Petrus Wilhelmi je deloval skoraj izključno almost exclusively on the ground of Central Europe le v srednji Evropi in predstavlja najizrazitejšega and must be regarded as the most prominent Central srednjeevropskega skladatelja 15. stol. European composer of the 15th century. Keywords: 15th-century polyphony, polytextual motet, Ključne besede: polifonija 15. stol., politekstualni cantio, music in Central Europe motet, cantio, glasba v srednji Evropi Thirty years ago, in 1975, the Czech musicologist Jaromír Černý announced the discovery of a new composer – Petrus Wilhelmi de Grudencz. The discovery was based on research into the Bohemian repertory of fifteenth- and sixteenth-century polyphonic music. Černý distinguished in it a group of stylistically related compositions, the texts of which contained the acrostic “Petrus”. However, the key part in the discovery of the previously unknown composer was played by the motet Pneuma eucaristiarum / Veni vere / Dator eya / Paraclito tripudia. This was a work composed for four voices, each voice with a different text. One of the texts contained the acrostic “Petrus”, the remaining two the acrostics “Wilhelmi” and “de Grudencz”. -
Cultural Routes of the Council of Europe in the EU Macro Regions Tourism Catalogue | Alpine Region
1 | Cultural Routes of the Council of Europe in the EU Macro Regions Tourism Catalogue | Alpine Region. The Natural Beauty Cultural Routes of the Council of Europe in the EU Macro Regions Tourism Catalogue Routes4U Project 3 | Cultural Routes of the Council of Europe in the EU Macro Regions Tourism Catalogue Forewords ............................................................................................................................ 4 I. The Cultural Routes of the Council of Europe .......................................... 7 A. The Cultural Routes of the Council of Europe in a nutshell ....... 7 B. Cultural Route Certification ........................................................................ 7 C. The Routes4U Joint Programme ................................................................ 8 D. The Training Academy ..................................................................................... 8 E. The E-learning module .................................................................................... 8 F. The Online Trip Planner ................................................................................. 8 II. EU macro-regional strategies ........................................................................... 9 The EU macro-regional strategies in a nutshell ..................................... 9 A. Branding Strategy of the macro-regions .............................................10 Β. Brand slogans for the macro-regions ....................................................11 ΙΙΙ. The Tourism Catalogue