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The Antiphonary of Bangor and Its Musical Implications
The Antiphonary of Bangor and its Musical Implications by Helen Patterson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Helen Patterson 2013 The Antiphonary of Bangor and its Musical Implications Helen Patterson Doctor of Philosophy Graduate Department of Music University of Toronto 2013 Abstract This dissertation examines the hymns of the Antiphonary of Bangor (AB) (Antiphonarium Benchorense, Milan, Biblioteca Ambrosiana C. 5 inf.) and considers its musical implications in medieval Ireland. Neither an antiphonary in the true sense, with chants and verses for the Office, nor a book with the complete texts for the liturgy, the AB is a unique Irish manuscript. Dated from the late seventh-century, the AB is a collection of Latin hymns, prayers and texts attributed to the monastic community of Bangor in Northern Ireland. Given the scarcity of information pertaining to music in early Ireland, the AB is invaluable for its literary insights. Studied by liturgical, medieval, and Celtic scholars, and acknowledged as one of the few surviving sources of the Irish church, the manuscript reflects the influence of the wider Christian world. The hymns in particular show that this form of poetical expression was significant in early Christian Ireland and have made a contribution to the corpus of Latin literature. Prompted by an earlier hypothesis that the AB was a type of choirbook, the chapters move from these texts to consider the monastery of Bangor and the cultural context from which the manuscript emerges. As the Irish peregrini are known to have had an impact on the continent, and the AB was recovered in ii Bobbio, Italy, it is important to recognize the hymns not only in terms of monastic development, but what they reveal about music. -
First Progress Report of the ICEL Music Committee
MUSIC FOR THE ENGLISH LANGUAGE ROMAN MISSAL AN INTRODUCTION For the forthcoming English language Roman Missal (sometimes called the Sacramentary), the International Commission on English in the Liturgy will offer to the Conferences of Bishops of the English‐speaking world chants for everything that is set to music in the Missale Romanum, editio typica tertia (2002): • The dialogues between the celebrant (or in the case of the Dismissal, the deacon) and the assembly such as the Sign of the Cross (“In the name of the Father, and of the Son, and of the Holy Spirit”) and the Dismissal (“Go forth, the Mass is ended”); • Tones for singing the presidential prayers (Collect, Prayer over the Offerings, Prayer after Communion) with all prayer texts pointed for singing; • The chants before and after the readings such as “A reading from the book of…” and “The Gospel of the Lord”; • Separate tones for singing the First Reading, Second Reading, and Gospel; • The Universal Prayer or Prayer of the Faithful; • The Preface Dialogue and Prefaces, including a musical setting of every Preface; • Full musical settings of Eucharistic Prayers I, II, III and IV, and the concluding Doxology; • Other elements such as the Kyrie, Gloria, Creed, Sanctus, Agnus Dei, and Lord’s Prayer; • Chants for particular days and feasts such as “Hosanna to the Son of David” on Palm Sunday, the Universal Prayer and “Behold the wood of the Cross” on Good Friday, the Exsultet (Paschal Proclamation) at the Easter Vigil, antiphons for the Feast of the Presentation of the Lord on February 2nd, and the Proclamation of Easter and Moveable Feasts for Epiphany. -
Princeton University Library September 27, 2013
Checklist of Western Medieval, Byzantine, and Renaissance Manuscripts in the Princeton University Library and the Scheide Library Princeton University Library September 27, 2013 Contents Introduction, p. 3 Manuscripts Division Robert Garrett Medieval and Renaissance Manuscripts, p. 5 Robert Taylor Medieval and Renaissance Manuscripts, p. 44 Grenville Kane Medieval and Renaissance Manuscripts, p. 48 Princeton Medieval and Renaissance Manuscripts, p. 56 Cotsen Children’s Library Cotsen Medieval and Renaissance Manuscripts, p. 87 Rare Books Division Manuscripts bound with early printed books, p. 88 The Scheide Library Scheide Medieval and Renaissance Manuscripts, p. 88 Introduction The present checklist is not a catalogue, but rather is a checklist intended to serve as a guide to sources of up-to-date cataloging, textual and codicological description, and digital images for western medieval, Byzantine, and Renaissance manuscripts in the Princeton University Library and the Scheide Library. Manuscripts are listed by holding unit, collection, and manuscript number or shelfmark. Links are given for more than well over 2,000 digital images of miniatures, illustrations, and selected diagrams and decoration in the manuscripts, about a third of which are illuminated. In addition, links are provided for digitized grayscale microfilm of a large number of Middle English manuscripts at Princeton and for a group of important manuscripts digitized in the Library since the 1990s. For additional information about the holdings of the Manuscripts Division and to make appointments, potential researchers should contact Don C. Skemer, Curator of Manuscripts, at [email protected]. For information about holdings of the Scheide Library, please contact Paul Needham, Librarian, at [email protected] For information concerning photoduplication and permission to publish and/or broadcast, please send an email to [email protected] A brief overview of the manuscripts and their cataloging follows. -
(1) Western Culture Has Roots in Ancient and ___
5 16. (50) If a 14th-century composer wrote a mass. what would be the names of the movement? TQ: Why? Chapter 3 Kyrie, Gloria, Credo, Sanctus, Agnus Dei. The text remains Roman Liturgy and Chant the same for each day throughout the year. 1. (47) Define church calendar. 17. (51) What is the collective title of the eight church Cycle of events, saints for the entire year services different than the Mass? Offices [Hours or Canonical Hours or Divine Offices] 2. TQ: What is the beginning of the church year? Advent (four Sundays before Christmas) 18. Name them in order and their approximate time. (See [Lent begins on Ash Wednesday, 46 days before Easter] Figure 3.3) Matins, before sunrise; Lauds, sunrise; Prime, 6 am; Terce, 9 3. Most important in the Roman church is the ______. am; Sext, noon; Nones, 3 pm; Vespers, sunset; Mass Compline, after Vespers 4. TQ: What does Roman church mean? 19. TQ: What do you suppose the function of an antiphon is? Catholic Church To frame the psalm 5. How often is it performed? 20. What is the proper term for a biblical reading? What is a Daily responsory? Lesson; musical response to a Biblical reading 6. (48) Music in Context. When would a Gloria be omitted? Advent, Lent, [Requiem] 21. What is a canticle? Poetic passage from Bible other than the Psalms 7. Latin is the language of the Church. The Kyrie is _____. Greek 22. How long does it take to cycle through the 150 Psalms in the Offices? 8. When would a Tract be performed? Less than a week Lent 23. -
Music at Mass by Fr. Gilles Mongeau, SJ, Contributing Editor, Living With
Music at Mass By Fr. Gilles Mongeau, SJ, Contributing Editor, Living with Christ The General Instruction of the Roman Missal (GIRM) is the set of instructions that governs the celebration of the Eucharist. It was updated in 2001, as a result of reflection on the 40 years of experience since Vatican II, and came into force in Canada with the coming of the new translation of the missal. Perhaps one of the most interesting and least known contributions of the new GIRM is its reflection on the role of singing in the liturgy. It offers a genuine theology of music at mass, with insights into the role of the choir, the ministry of the cantor, and the meaning of various chants in the liturgy. The GIRM places the singing of the assembly at the very centre of its reflection. All musical choices are at the service of helping the assembly to sing. In this short article, I offer some commentary on the three major moments of singing and on the closing moments of the mass. The Entrance Chant When the people are gathered, and as the Priest enters with the Deacon and ministers, the Entrance Chant begins. Its purpose is to: 1. open the celebration, 2. foster the unity of those who have been gathered, 3. introduce their thoughts to the mystery of the liturgical time or festivity, and 4. accompany the procession of the Priest and ministers. This chant is sung 1. alternately by the choir and the people or 2. similarly by a cantor and the people, or 3. -
Stand Priest: in the Name of the Father, and of the Son, and of the Holy
1 Stand Form B SIGN OF THE CROSS Priest: Have mercy on us, O Lord. Priest: In the name of the Father, and of the Son, and People: For we have sinned against you. ✠of the Holy Spirit. Priest: Show us, O Lord, your mercy. People: Amen. People: And grant us your salvation. GREETING Form C Priest: The grace of our Lord Jesus Christ, and the Priest: You were sent to heal the contrite of heart: love of God, and the communion of the Holy Lord, have mercy. Or: Kyrie, eleison. Spirit be with you all. People: Lord, have mercy. Or: Kyrie, eleison. People: And with your spirit. Priest: You came to call sinners: Christ, have mercy. Or: Christe, eleison. Or: People: Christ, have mercy. Or: Christe, eleison. Priest: Grace to you and peace from God our Father Priest: You are seated at the right hand of the Father and the Lord Jesus Christ. to intercede for us: People: And with your spirit. Lord, have mercy. Or: Kyrie, eleison. People: Lord, have mercy. Or: Kyrie, eleison. Or: Priest: The Lord be with you. People: And with your spirit. All forms of the Penitential Act are concluded by the Priest: PENITENTIAL ACT May almighty God have mercy on us, forgive us our Priest: Brethren, let us acknowledge our sins, and so sins, and bring us to everlasting life. prepare ourselves to celebrate the sacred mys- People: Amen. teries. Form A The Kyrie eleison invocations follow, unless they have just occurred All pause for silent reflection then say: in a formula of the Penitential Act (Form C). -
Thurifer at Missa Cantata
THURIFER AT MISSA CANTATA GENERAL AND HISTORICAL NOTES The Thurifer (Th) has the privilege of bearing the thurible during Mass and of the office of incensing the inferior ministers and the laity. The word thurible is derived from thus, which is Latin for incense. It is generally thought, that the thurible used by the Jews was very similar as employed at Mass now, that is, with three chains, though it is unknown if the Jewish thuribles had a cover. The thurible is also considered to be a liturgical object of great value in its symbolic use, as the thuribles made by the Jews were made of solid gold. This was perhaps done so as to imitate the Altar of Incense (on which incense was burnt three times a day), that stood outside the Temple, which was made of gold plate over wood. The history of the use of incense is very ancient, dating back to earliest ages. Incense was widely used by both the Jews in the Temple ceremonies, as commanded by Almighty God Himself, as well as by the pagan religions. In ancient times, burning incense was also used as an air freshener in countries under Roman or Asian influence; it too was used to incense the guests as a mark of respect at banquets. In fact incense was so widely used, that God Himself commanded the Jews, that the incense compound made for use in the Temple ceremonies, was to be used expressly for the Temple (i.e., God), under the penalty of death, so that it could not be used for secular functions. -
2020-11-01 Gregorian Chant, Preliminary
All Souls’ Day (Transferred from November 2) Sunday, November 1, 2020, 5:00 p.m. ALL SOULS’ DAY/ALL SOULS’ REQUIEM The tradition of observing November 2 as a day of commemoration began in the tenth century as a complement to All Saints’ Day, November 1. The traditional service of remembering the dead — whether on this day or during an actual funeral — is called a Requiem, the first word of the Latin text, meaning “rest.” The solemnity of the liturgy and the beauty of the music help us to mourn with hope. Thus we are encouraged to trust ever more in God’s gift of eternal life through the death and resurrection of our Lord Jesus Christ. THE GREGORIAN CHANT REQUIEM The oldest musical setting of the Requiem is the version in Gregorian Chant (plainsong, melody only, no harmony). Created sometime in the first millennium A.D., it does have one “new” movement, the Dies irae, dating from no later than the 1200s. The Dies irae melody has been quoted in non-Requiem music by Hector Berlioz, Franz Liszt, Sergei Rachmaninoff, and Camille Saint-Saëns, among others. Some composers of Requiem settings have omitted the Dies irae text, either because of its length or because of its expression of fear, guilt, and judgment. Regarding the latter issue, Jesus, his apostles, and his Hebrew prophets do indeed declare a day of reckoning, and fear is a legitimate human feeling, expressed in the Psalms and in the Prophets. However, God’s grace can ease our fear, and — through the Holy Spirit’s ministry — can offset it by giving us confidence in Christ’s merit rather than our own. -
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. -
Historical Perspective on Change & Growth in the Church
Historical Perspective on Change & Growth in the Church Don’t know much about history…. We are a historical people. God chose a people to make His own and from which would come a Savior. The Church was born not only out of the Jewish world of Pentecost but also out of the Greco-Roman world which believed that the Pax Romana was the final chapter. We, the Church, have been given the call to reveal the true Kingdom of Peace to a world still confident in its own power. The History of the Liturgy is the only way to glimpse the power of that Kingdom alive in each epoch, including our own. Jewish Roots—Meal and Word Passover and Seder Elements o Berakoth—classic blessings for food, land and Jerusalem o Todah—an account of God’s works and a petition that the prayers of Israel be heard o Tefillah—great intercessions o Kiddush—Holy is God o Haggadah—great narrative of salvation o Hallel—Psalms 113-118 recited at Passover Synagogue Elements o Readings from Torah, Prophets and Wisdom o Teachings o Singing of Cantor, mainly psalms Early Greco-Roman Elements—from home meal to House Church Paul and problem of agape in I Cor 11, from the 50’s o Divisions among you o Every one in haste to eat their supper, one goes hungry while another gets drunk o Institution Narrative o Whoever eats or drinks unworthily sins against the body and blood of the Lord o One should examine himself first, then eat and drink o Whoever eats or drinks without recognizing the body eats and drinks a judgment on himself o That is why so many are sick and dying o Therefore when -
Understanding When to Kneel, Sit and Stand at a Traditional Latin Mass
UNDERSTANDING WHEN TO KNEEL, SIT AND STAND AT A TRADITIONAL LATIN MASS __________________________ A Short Essay on Mass Postures __________________________ by Richard Friend I. Introduction A Catholic assisting at a Traditional Latin Mass for the first time will most likely experience bewilderment and confusion as to when to kneel, sit and stand, for the postures that people observe at Traditional Latin Masses are so different from what he is accustomed to. To understand what people should really be doing at Mass is not always determinable from what people remember or from what people are presently doing. What is needed is an understanding of the nature of the liturgy itself, and then to act accordingly. When I began assisting at Traditional Latin Masses for the first time as an adult, I remember being utterly confused with Mass postures. People followed one order of postures for Low Mass, and a different one for Sung Mass. I recall my oldest son, then a small boy, being thoroughly amused with the frequent changes in people’s postures during Sung Mass, when we would go in rather short order from standing for the entrance procession, kneeling for the preparatory prayers, standing for the Gloria, sitting when the priest sat, rising again when he rose, sitting for the epistle, gradual, alleluia, standing for the Gospel, sitting for the epistle in English, rising for the Gospel in English, sitting for the sermon, rising for the Credo, genuflecting together with the priest, sitting when the priest sat while the choir sang the Credo, kneeling when the choir reached Et incarnatus est etc. -
A Comparison of the Two Forms of the Roman Rite
A Comparison of the Two Forms of the Roman Rite Mass Structures Orientation Language The purpose of this presentation is to prepare you for what will very likely be your first Traditional Latin Mass (TLM). This is officially named “The Extraordinary Form of the Roman Rite.” We will try to do that by comparing it to what you already know - the Novus Ordo Missae (NOM). This is officially named “The Ordinary Form of the Roman Rite.” In “Mass Structures” we will look at differences in form. While the TLM really has only one structure, the NOM has many options. As we shall see, it has so many in fact, that it is virtually impossible for the person in the pew to determine whether the priest actually performs one of the many variations according to the rubrics (rules) for celebrating the NOM. Then, we will briefly examine the two most obvious differences in the performance of the Mass - the orientation of the priest (and people) and the language used. The orientation of the priest in the TLM is towards the altar. In this position, he is facing the same direction as the people, liturgical “east” and, in a traditional church, they are both looking at the tabernacle and/or crucifix in the center of the altar. The language of the TLM is, of course, Latin. It has been Latin since before the year 400. The NOM was written in Latin but is usually performed in the language of the immediate location - the vernacular. [email protected] 1 Mass Structure: Novus Ordo Missae Eucharistic Prayer Baptism I: A,B,C,D Renewal Eucharistic Prayer II: A,B,C,D Liturgy of Greeting: Penitential Concluding Dismissal: the Word: A,B,C Rite: A,B,C Eucharistic Prayer Rite: A,B,C A,B,C Year 1,2,3 III: A,B,C,D Eucharistic Prayer IV: A,B,C,D 3 x 4 x 3 x 16 x 3 x 3 = 5184 variations (not counting omissions) Or ~ 100 Years of Sundays This is the Mass that most of you attend.