An Agnus Dei Trope in the Context of Eucharistic Devotion in Thirteenth
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(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. -
The Agnus Dei
New and Corrected Translation of the Mass – Part 26 The Agnus Dei Lamb of God, Gen 22.8; Ex 12; 1 Cor 5.7 you take away the sins of the world, Lev 16.21; Jn 1.29 have mercy on us. Lamb of God, 1 Pet 1.19; Rev 5.6 you take away the sins of the world, 1 Jn 2.2 have mercy on us Lamb of God, you take away the sins of the world, grant us peace. John 14.27; 20.26 Immediately after the Pax, the priest begins the Fraction, i.e. breaking the Host, which shows the death of Jesus, whose body was broken for us in the Sacrifice of the Cross (although not one of His bones was broken, cf. John 19.36). The priest takes a small particle of the Host and adds it to the Precious Blood in the chalice. This act, called the ‘commingling’, signifies the Resurrection, the coming together again of Christ’s Body and Blood, Soul and Divinity (even in death His Divinity remained united to all three preceding, which are part of His humanity). The Agnus Dei is a chant which accompanies the Fraction. Everyone says or sings it, using the words of St John the Baptist to point out Jesus as the Messiah. In the Eastern churches the sacrificial gifts are called “the Lamb”. It is the sacrificial nature of the Eucharist that moves us to call Jesus ‘Lamb of God’ at this point of the Mass, cf. “I saw a Lamb standing, as it were slain” (Rev 5.6). -
Church and Liturgical Objects and Terms
Church and Liturgical Objects and Terms Liturgical Objects Used in Church The chalice: The The paten: The vessel which golden “plate” that holds the wine holds the bread that that becomes the becomes the Sacred Precious Blood of Body of Christ. Christ. The ciborium: A The pyx: golden vessel A small, closing with a lid that is golden vessel that is used for the used to bring the distribution and Blessed Sacrament to reservation of those who cannot Hosts. come to the church. The purificator is The cruets hold the a small wine and the water rectangular cloth that are used at used for wiping Mass. the chalice. The lavabo towel, The lavabo and which the priest pitcher: used for dries his hands after washing the washing them during priest's hands. the Mass. The corporal is a square cloth placed The altar cloth: A on the altar beneath rectangular white the chalice and cloth that covers paten. It is folded so the altar for the as to catch any celebration of particles of the Host Mass. that may accidentally fall The altar A new Paschal candles: Mass candle is prepared must be and blessed every celebrated with year at the Easter natural candles Vigil. This light stands (more than 51% near the altar during bees wax), which the Easter Season signify the and near the presence of baptismal font Christ, our light. during the rest of the year. It may also stand near the casket during the funeral rites. The sanctuary lamp: Bells, rung during A candle, often red, the calling down that burns near the of the Holy Spirit tabernacle when the to consecrate the Blessed Sacrament is bread and wine present there. -
Liturgy and Music Planning Overview Use This Page to Help You Navigate the Planning Sheets Available for Every Sunday’S Masses in the Hall Chapels
Liturgy and Music Planning Overview Use this page to help you navigate the planning sheets available for every Sunday’s Masses in the hall chapels. Black text will be found every week on the weekly planning sheets. Everything in red represents information pertinent to using the planning sheets and planning your liturgies. Date: Here, the calendar date for the upcoming Sunday. For example, “August 24, 2014.” Which is the … this line will show you which week of which season and year we celebrate. For example, “21st Sunday in Ordinary Time, Year A” Lectionary # In the Lectionary (the book of Sunday readings) every week’s readings are noted by a number. This is not a page number, but is found at the top of the page at the beginning of each new week’s readings. The weekday lectionaries also use these numbers as well. Readings ‐‐ here you will find the readings for each Sunday listed. You can link to the readings online at usccb.org. Click on the calendar icon for the Sunday (or weekday) for the readings you want to find. I: II: G: Themes/To reflect on and think about: ‐‐ here several themes that run through the readings will be listed. You may also find a question or reflection or two to think or talk about. Planning your music … Now we can start choosing music for the Mass! Begin with the Mass setting, which should stay the same for the whole season (meaning Church season, not the weather!). During the Fall semester, we are in Ordinary Time until Advent, which in 2014 begins on November 30. -
GOD — AGNUS DEI Agnus Dei, Qui Tollis Peccata Mundi, Miserere Nobis
LAMB OF GOD — AGNUS DEI Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Lamb of God, you take away the sins of the world, have mercy on us. Lamb of God, you take away the sins of the world, have mercy on us. The Agnus Dei, Latin for ‘Lamb of God’ designates the liturgical texts sung or said at the fraction rite when the Body of Christ is broken and a small portion is added to the chalice. After the Lord’s Prayer, the Agnus Dei is the Invitation to Communion which begins, “Behold the Lamb of God…”. It sounds the themes of sacrifice and of adoration. Thus, it unites the sacrifice of the Liturgy to the sacrifice of Christ on the Cross, as the Lamb of God, and calls to mind the sacrifice of the lamb in the Old Testament. This should be a moment of awe, when we profess that the real presence of Christ in the sacramental bread and the sacramental wine is made available to us only when the host is broken for us. The first part of the invocation is essentially a quote from John 1:29, “Behold, the Lamb of God, who takes away the sin of the world.” These are the words spoken by Saint John the Baptist when he sees Christ baptizing repentant sinners. ‘Lamb of God’ — by using this term to identify Christ, John the Baptist affirmed the redemptive Sacrifice Christ would make for the salvation of all people. -
He Sanctuary Series
T S S HE ANCTUARY ERIES A Compilation of Saint U News Articles h ON THE g Saints Depicted in the Murals & Statuary of Saint Ursula Church OUR CHURCH, LIVE IN HRIST, A C LED BY THE APOSTLES O ver the main doors of St. Ursula Church, the large window pictures the Apostles looking upward to an ascending Jesus. Directly opposite facing the congregation is the wall with the new painting of the Apostles. The journey of faith we all make begins with the teaching of the Apostles, leads us through Baptism, toward altar and the Apostles guiding us by pulpit and altar to Christ himself pictured so clearly on the three-fold front of the Tabernacle. The lively multi-experiences of all those on the journey are reflected in the multi-colors of the pillars. W e are all connected by Christ with whom we journey, He the vine, we the branches, uniting us in faith, hope, and love connected to the Apostles and one another. O ur newly redone interior, rededicated on June 16, 2013, was the result of a collaboration between our many parishioners, the Intelligent Design Group (architect), the artistic designs of New Guild Studios, and the management and supervision of many craftsmen and technicians by Landau Building Company. I n March 2014, the Landau Building Company, in a category with four other projects, won a first place award from the Master Builders Association in the area of “Excellence in Craftsmanship by a General Contractor” for their work on the renovations at St. Ursula. A fter the extensive renovation to the church, our parish community began asking questions about the Apostles on the Sanctuary wall and wishing to know who they were. -
Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 As a Stylistic Guide
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2008 Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide Jonathan Candler Kilgore University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Catholic Studies Commons, Composition Commons, Liturgy and Worship Commons, and the Other Music Commons Recommended Citation Kilgore, Jonathan Candler, "Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide" (2008). Dissertations. 1129. https://aquila.usm.edu/dissertations/1129 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC GUIDE by Jonathan Candler Kilgore A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts August 2008 COPYRIGHT BY JONATHAN CANDLER KILGORE 2008 The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC -
The Agnus Dei in Exodus 12, We Read the Account of How God Delivered the People of Israel out of the Bondage of Slavery in Egypt
The Agnus Dei In Exodus 12, we read the account of how God delivered the people of Israel out of the bondage of slavery in Egypt. After nine previous plagues, God sent a tenth and final plague: the angel of death. This angel would claim the life of the first-born male of every household. In this time of great tragedy and terror, fear would have certainly seized the hearts of all! Our gracious God offered a hope-filled promise to the people of Israel. He would allow a lamb without blemish to take the place of the firstborn male of any household. If that lamb was sacrificed, and its blood painted across the doorpost of the home, that lamb’s death would count as sufficient, and the firstborn male would be spared. From that time forth, the lamb became a reminder of God’s grace. Each year, at Passover, a lamb would be sacrificed to God, as the people continued to seek His forgiveness and grace. The image of the sacrificial lamb would have held an important place in John the Baptist’s heart. In John 1, he sees Jesus passing by. Having recently baptized Jesus – and hearing the voice of the Father declaring Him to be His Son – he recognized Jesus to be the Messiah. Thus, he lifted up his voice and declared “Behold! The Lamb of God; the one who takes away the sins of the world!” John knew that Jesus would be like the Passover Lamb. He would die in our place and His blood would be spilled on the cross. -
CONFITEOR (NEW ENGLISH TRANSLATION) I Confess To
CONFITEOR (ORIGINAL LATIN) CONFITEOR (NEW ENGLISH TRANSLATION) CONFITEOR (CURRENT ENGLISH TRANSLATION) Confiteor Deo omnipotenti I confess to almighty God I confess to almighty God, et vobis, fratres, and to you, my brothers and sisters, and to you, my brothers and sisters, quia peccavi nimis that I have greatly sinned, that I have sinned through my own fault, cogitatione, verbo, in my thoughts and in my words, in my thoughts and in my words, opere et omissione: in what I have done and in what I have failed to do, in what I have done, and in what I have failed to do; mea culpa, mea culpa, through my fault, through my fault, mea maxima culpa. through my most grievous fault; Ideo precor beatam Mariam semper Virginem, therefore I ask blessed Mary ever-Virgin, and I ask blessed Mary, ever virgin, omnes Angelos et Sanctos, all the Angels and Saints, all the angels and saints, et vos, fratres, orare pro me and you, my brothers and sisters, and you, my brothers and sisters, ad Dominum Deum nostrum. to pray for me to the Lord our God. to pray for me to the Lord, our God. GLORIA (ORIGINAL LATIN) GLORIA (NEW ENGLISH TRANSLATION) GLORIA (CURRENT ENGLISH TRANSLATION) Gloria in excelsis Deo. Glory to God in the highest, Glory to God in the highest, Et in terra pax hominibus bonae voluntatis. and on earth peace to people of good will. and peace to his people on earth. Laudamus te. Benedicimus te. We praise you, we bless you, Lord God, heavenly King, almighty God and Father, Adoramus te. -
English Translation of Mozart's Requiem
English Translation of Mozart's Requiem I. Introit: Requiem Requiem aeternam dona eis, Grant them eternal rest, Lord, Domine, and let perpetual light shine on et lux perpetua luceat eis. them. Te decet hymnus, Deus, in Sion, You are praised, God, in Zion, et tibi reddetur votum in and homage will be paid to You in Jerusalem. Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis care veniet. to You all flesh will come. Requiem aeternam dona eis, Grant them eternal rest, Lord, Domine, and let perpetual light shine on et lux perpetua luceat eis. them. II. Kyrie Kyrie, eleison. Lord, have mercy on us. Christe, eleison. Christ, have mercy on us. Kyrie, eleison. Lord, have mercy on us. III. Sequence 1. Dies irae Day of wrath, day of anger Dies irae, dies illa will dissolve the world in ashes, Solvet saeclum in favilla, as foretold by David and the Sibyl. teste David cum Sibylla. Great trembling there will be Quantus tremor est futurus, when the Judge descends from quando judex est venturus, heaven cuncta stricte discussurus! to examine all things closely. 2. Tuba mirum The trumpet will send its wondrous Tuba mirum spargens sonum sound per sepulcra regionum, throughout earth's sepulchres coget omnes ante thronum. and gather all before the throne. Mors stupebit et natura, Death and nature will be cum resurget creatura, astounded, judicanti responsura. when all creation rises again, Liber scriptus proferetur, to answer the judgement. in quo totum continetur, A book will be brought forth, unde mundus judicetur. in which all will be written, by which the world will be judged. -
Catholic Liturgical Calendar †
Catholic Liturgical Calendar January 1, 2018 through December 31, 2018 FOR THE DIOCESES OF THE UNITED STATES OF AMERICA 2018 ⚭ † ☧ 2 JANUARY 2018 1 Mon SOLEMNITY OF MARY, THE HOLY MOTHER OF GOD white Rank I The Octave Day of the Nativity of the Lord Solemnity [not a Holyday of Obligation] Nm 6:22-27/Gal 4:4-7/Lk 2:16-21 (18) Pss Prop Solemnity of Mary, the Holy Mother of God (Theotokos) The Octave Day of the Nativity of the Lord Solemnity of Mary, the Holy Mother of God (Theotokos) “From most ancient times the Blessed Virgin has been venerated under the title ‘God- bearer’(Theotokos)” (Lumen Gentium, no. 66). All of the Churches recall her memory under this title in their daily Eucharistic prayers, and especially in the annual celebration of Christmas. The Virgin Mary was already venerated as Mother of God when, in 431, the Council of Ephesus acclaimed her Theotokos (God-bearer). As the Mother of God, the Virgin Mary has a unique position among the saints, indeed, among all creatures. She is exalted, yet still one of us. Redeemed by reason of the merits of her Son and united to Him by a close and indissoluble tie, she is endowed with the high office and dignity of being the Mother of the Son of God, by which account she is also the beloved daughter of the Father and the temple of the Holy Spirit. Because of this gift of sublime grace she far surpasses all creatures, both in heaven and on earth. At the same time, however, because she belongs to the offspring of Adam she is one with all those who are to be saved. -
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.