Prayer Services That Follow
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
Wisdom Advent Devotions on the Names of Jesus
O WISDOM Advent Devotions on the Names of Jesus Forward Movement Cincinnati, Ohio Table of Contents Preface.............................................................vii About the Book...........................................xi Preparing for Advent.....................................19 Advent One.......................................................29 Advent Two.........................................................45 Advent Three......................................................61 Advent Four.....................................................75 Christmas.....................................................91 O Emmanuel...............................................99 Acknowledgments..............................119 About the Contributors..............................121 About Forward Movement.......................127 Preface The O Antiphons are a series of seven short sentences (“antiphons”) that are recited or chanted during Evening Prayer in the days leading up to Christmas. They are familiar to most of us as paraphrased in the Advent hymn, “O Come, O Come, Emmanuel,” but they have been in use in the church (and especially in monastic communities) since at least the eighth century. The recitation of the O Antiphons comes before and after the Magnificat, the beloved Song of Mary. Each of the antiphons begins with “O” and references one of the titles for Jesus drawn from the Book of Isaiah. Each also includes a petition that springs from this title. December 17: O Sapientia (O Wisdom)—Isaiah 11:2-3, 28:29 December 18: O Adonai (O Lord)—Isaiah 11:4-5, 33:22 December 19: O Radix Jesse (O Root of Jesse)—Isaiah 11:1, 10 December 20: O Clavis David (O Key of David)—Isaiah 9:6, 22:22 December 21: O Oriens (O Dayspring)—Isaiah 9:1 December 22: O Rex Gentium (O King of the Nations)—Isaiah 2:4, 9:5 December 23: O Emmanuel (O God with Us)—Isaiah 7:14 vii Advent is a season of waiting, of longing with eager expectation for God’s promise to be fulfilled. -
Lessons and Carols
DVENT Lessons and Carols celebrating the season of expectation in word and song º THE COMMUNITY OF ST. PHILIP AT WORSHIP 11:00 BNt4VOEBZt%FDFNCFS 2 ADVENT LESSONS AND CAROLS INTRODUCTION In the Middle Ages, the Church kept Advent as a season of great solemnity — a time in which to meditate upon the ultimate issues of death, judgment, hell, and heaven. But Advent was also a time of great rejoicing. For Christ would come, not only as Judge, but also as Savior, and would usher in the Kingdom of God. Advent, therefore, provided a vivid preparation for Christmas. Processions from west to east, and the use of lights, spoke of the Church’s hope in the coming of Christ — the Light of the world — to banish sin and darkness. Antiphons were sung, calling upon God to deliver his people, and readings from the Old Testament were seen as pointing to the fulfillment of God’s purposes in Jesus Christ. This service aims to recapture something of that Advent longing and hope. It begins quietly with the Advent Responsory, in which Christ’s coming is announced, “Rise up, O Jerusalem!” The Blessing of Light follows, and the service unfolds. The liturgy is structured around the Advent “O” antiphons, known as the Great “Os.” These were originally sung as antiphons to the Magnificat during Vespers from December 17 to 23, and have provided a rich source of devotional imagery in Advent. The readings and music serve to complement the antiphons, and help us to reflect on the theme of Christ who comes to judge and save his people. -
Advent Week 4 2020
SATURDAY ST STEPHEN, FIRST MARTYR St Stephen was one of the deacons appointed by the apostles WEEKDAY MASS SHEET to organise the distribution of food to the poor. He performed many miracles and confounded the Jews in disputation. They fabricated false charges against him. At his trail he preached the risen Christ to them, so they stoned him to death. One of his persecutors, Saul of Tarsus, who was looking after the cloaks of the stone throwers, was later converted and became the great missionary St Paul. Entrance Antiphon: FOURTH WEEK The gates of heaven were opened for blessed Stephen, who was found to be first among the number of the OF ADVENT Martyrs and therefore is crowned triumphant in heaven. ~ The Gloria CHRISTMASTIDE I First Reading: Acts 6: 8-10, 7: 54-59 I can see heaven thrown open. 20th December — 26 th December 2020 Responsorial Psalm: OUR PRAYERS THIS WEEK Into your hands, O Lord, I commend my spirit. During Advent and Christmastide we pray Gospel Acclamation: especially for: Openness to the Word of Alleluia, Alleluia! Blessed is he who comes in the name God, Migrants and Refugees and Expectant of the Lord; the Lord God is our light. Alleluia! Mothers. Gospel: Matthew 10: 17-22 THE HOLY FATHER’S INTENTIONS The Spirit of your Father will be speaking in you. Evangelisation - For a life of prayer We pray that our personal relationship Communion Antiphon: with Jesus Christ be nourished by the As they were stoning Stephen, he called out: Lord Jesus, Word of God and a life of prayer. -
Cantilena and Antiphon: Music for Marian Services in Late Medieval England
Cantilena and Antiphon: Music for Marian Services in Late Medieval England By Peter M. Lefferts One of the most important contributions to studies of medieval music in recent years was made by Ernest Sanders as editor of volume two of English Music for Mass and Offices (volume XVII in the series Polyphonic Music of the Fourteenth Century).1 Sanders was particularly responsible for the editions of a large proportion of the surviving repertoire of poly phonic cantilenas, a major genre in terms of numbers of pieces and inherent musical value that heretofore has received little attention in the musicological literature, aside from Sanders's own contributions.2 The cantilena holds a place in the fourteeth-century English polyphonic repertoire roughly equivalent to that of the votive antiphon in the fifteenth century, though it is a much less familiar and less widely traveled genre. Stylistically, cantilenas form a complex category of works, but one that has nonetheless a clearly defined core. The archetypal cantilena is a three-voice piece freely composed in three or four large sections, setting regularly versified, double-versicle texts of uniform stanzaic structure in a 1 Editions de L'Oiseau-Lyre has published four volumes of English music in its series Polyphonic Music of the Fourteenth Century (hereinafter "PMFC"). They are as follows: English Music of the Thirteenth and Early Fourteenth Centuries, ed. Ernest H. Sanders, PMFC XIV (Paris and Monaco: Editions de L'Oiseau-Lyre, 1979); Motets of English Provenance, ed. Frank Ll. Harrison, PMFC XV (Paris and Monaco: Editions de L'Oiseau-Lyre, 1980); English Music for Mass and Offices, 2 vols., ed. -
The “O Antiphons” of Advent for Grades 5-8
Advent The “O Antiphons” of Advent for Grades 5-8 INTRODUCTION The “O Antiphons” are sung on the last seven days of Advent. Each antiphon, or short refrain, begins with the word “O.” Each one calls Jesus, the Son of God, by a different name. Each one expresses the longing of God’s people for the coming of Christ at Christmas and at the end of time. The O Antiphons have been a part of the Church’s prayer since at least the eighth century. Do this activity with your class or at home with your family. Beginning with December 17, pray the O Antiphon, and sing the verse of “O Come, O Come Emmanuel” assigned to that day. Decide what symbol you will draw on your ornament. Complete your ornament and hang it on a branch you have planted in a vase or on your Christmas tree. December 17: O Wisdom Symbols: Oil lamp, open book or scroll, dove (Holy Spirit) Antiphon: O Wisdom of our God most high, guiding creation with power and love; come to teach us the path of knowledge! Sing: O come, O Wisdom from on high, Who order all things mightily; To us the path of knowledge show, and teach us in her ways to go. Rejoice! Rejoice! Emmanuel shall come to you, O Israel. Copyright © 2016 RCL Benziger. All rights reserved. Permission to reproduce this page for classroom use is granted. O Antiphons Advent December 18: O Leader of the House of Israel Symbols: Burning bush, stone tablets Antiphon: O Leader of the House of Israel, giver of the Law to Moses on Sinai: come to rescue us with your mighty power! Sing: O come, o come, great Lord of might, Who to your tribes on Sinai’s height In ancient times once gave the Law In cloud and majesty and awe. -
A Conductor's Guide to the Music of Hildegard Von
A CONDUCTOR’S GUIDE TO THE MUSIC OF HILDEGARD VON BINGEN by Katie Gardiner Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Carolann Buff, Research Director and Chair ______________________________________ Christopher Albanese ______________________________________ Giuliano Di Bacco ______________________________________ Dominick DiOrio June 17, 2021 ii Copyright © 2021 Katie Gardiner iii For Jeff iv Acknowledgements I would like to acknowledge with gratitude the following scholars and organizations for their contributions to this document: Vera U.G. Scherr; Bart Demuyt, Ann Kelders, and the Alamire Foundation; the Librarian Staff at the Cook Music Library at Indiana University; Brian Carroll and the Indiana University Press; Rebecca Bain; Nathan Campbell, Beverly Lomer, and the International Society of Hildegard von Bingen Studies; Benjamin Bagby; Barbara Newman; Marianne Pfau; Jennifer Bain; Timothy McGee; Peter van Poucke; Christopher Page; Martin Mayer and the RheinMain Hochschule Library; and Luca Ricossa. I would additionally like to express my appreciation for my colleagues at the Jacobs School of Muisc, and my thanks to my beloved family for their fierce and unwavering support. I am deeply grateful to my professors at Indiana University, particularly the committee members who contributed their time and expertise to the creation of this document: Carolann Buff, Christopher Albanese, Giuliano Di Bacco, and Dominick DiOrio. A special debt of gratitude is owed to Carolann Buff for being a supportive mentor and a formidable editor, and whose passion for this music has been an inspiration throughout this process. -
Music 10A: Survey of Music Literature John Dornenburg Guidelines For
Music 10A: Survey of Music Literature John Dornenburg Guidelines for Listening Assignments: Extra sheets are in the Listening Lab All blanks must be completed with the following information: Composition No. refers to the number of the example in the Fuller anthology. Title refers to the full name of a given piece of music. Some pieces are simply named by the first words of the text, while others may be distinguished by their opus numbers and/or keys. The Fuller anthology gives titles in boldface type. Composer/Dates: names are underlined in Fuller. If the composer is not known (and you have checked in the notes which follow the example to be sure) the piece should be attributed to Anonymous (or abbreviated to Anon.). Give composer or composition dates. Period: write in the general historic time period in which the example was composed: e.g. Early Medieval, Notre Dame School, 13th Century, Ars Nova, Trecento, Ars Subtilior, Early Renaissance, Early Baroque, etc. Genre refers to the specific musical category illustrated by the example. This is usually indicated in Fuller beneath the piece's title (e.g. organum duplum, votive antiphon, Troubadour song, ballade, chanson, cyclic Mass, motet, chanson, ricercare, cantata, etc.). Sacred means that the music has a religious text. Secular means that the music is not religious. Theme or important features: On the music staff provided you must write in the main theme or important structural feature which identifies the example under study. For example, this should show the tenor and duplum voices in organum, the double leading tone cadence of the Ars Nova, the cantus firmus and head motif in a cyclic mass, or a bit of figured bass in monody. -
PRR Yearc Book.Indb
Planning for Rites and Rituals A Resource for Episcopal Worship, Year C, 2018–2019 © 2018 by Church Publishing All rights reserved. No part of the book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or otherwise, without the written permission of the publisher. Church Publishing Incorporated Editorial Offices 19 East 34th Street New York, NY 10016 Cover design by: Jennifer Kopec, 2 Pug Design Typeset by: Linda Brooks Printed in the United States of America A record of this book is available from the Library of Congress. ISBN: 978-1-64065-121-0 (pbk.) Contents Introduction Welcome ........................................................................................ vi Year C: The Year of Luke........................................................................... viii Two Is Better Than One: Lectionary Doublets ........................................................... x The Nature of Liturgy and the Planning of the Liturgical Year ............................................ xiii Advent Preparing for Advent............................................................................... 3 Seasonal Rites for Advent .......................................................................... 7 First Sunday of Advent ............................................... Dec 2, 2018 .................. 13 Second Sunday of Advent ............................................ Dec 9 ....................... 17 Third Sunday of Advent ............................................. -
Divine Love in the Medieval Cosmos Te Cosmologies of Hildegard of Bingen and Hermann of Carintiha
Divine Love in the Medieval Cosmos Te Cosmologies of Hildegard of Bingen and Hermann of Carintiha By Jack Ford, University College London Love In every constitution of things Gives herself to all things the most cohesive bond is the Most excellent in the depths, construction of love… the one And above the stars bond of society holding every- Cherishing all… thing in an indissoluble knot. (Hildegard of Bingen, Antiphon for Divine Love)1 (Hermann of Carinthia, De Essentiis)2 Introduction12 things is achieved by love which rules the earth and the seas, and commands the heavens,” exclaims Lady Philosophy, in Troughout the Middle Ages love possessed an exalted the Roman statesman Boethius’ (c.476-526) Consolations status in regard to the cosmos. In a tradition stretching of Philosophy.3 Writing at the end of a great Neoplatonic back to Plato and culminating in Dante’s Divine Comedy, tradition, Boethius was naturally heavily infuenced love was synonymous with an expression of divine power. by Platonic cosmology. It is indeed from Plato’s own In numerous cosmological works, love was believed to cosmological myth, the Timaeus, where we fnd the initial constitute the glue and structure of the universe, and idea of the World-Soul: the soul of the world that Timaeus was employed among the Christian Neoplatonists of the tells Socrates “is interfused everywhere from the center twelfth century as a virtual synonym for the Platonic to the circumference of heaven,” and the same World- World-Soul (anima mundi), the force which emanated Soul which Hildegard and Hermann identify with God’s from the Godhead and fused the macrocosm (the planets, force and power that sustains the cosmos with his love for fxed stars of the frmament, and Empyrean heaven) to creation.4 the microcosm (the terrestrial earth and man) in cosmic Perhaps the greatest fgure to make love synonymous harmony.