The Historical Development of Christian Worship
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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. -
The Development of the Roman Rite by Michael Davies
The Development of the Roman Rite By Michael Davies The Universe is the Catholic newspaper with the largest circulation in Britain. On 18 May 1979 its principal feature article was by one Hugh Lindsay, Bishop of Hexam and Newcastle. The Bishop's article was entitled "What Can the Church Change?" It was a petulant, petty, and singularly ill-informed attack upon Archbishop Lefebvre and Catholic traditionalists in general. It is not hard to understand why the Archbishop is far from popular with the English hierarchy, and with most hierarchies in the world for that matter. The Archbishop is behaving as a true shepherd, defending the flock from who would destroy it. He is a living reproach to the thousands of bishops who have behaved as hirelings since Vatican II. They not only allow enemies to enter the sheepfold but enjoy nothing more than a "meaningful dialogue" with them. The English Bishops are typical of hierarchies throughout the world. They allow catechetical programs in their schools which leave Catholic children ignorant of the basis of their faith or even teach a distorted version of that faith. When parents complain the Bishops spring to the defense of the heterodox catechists responsible for undermining the faith of the children. The English Bishops remain indifferent to liturgical abuse providing that it is initiated by Liberals. Pope Paul VI appealed to hierarchies throughout the world to uphold the practice of Communion on the tongue. Liberal clerics in England defied the Holy See and the reaction of the Bishops was to legalize the practice. The same process is now taking place with the practice of distributing Communion under both kinds at Sunday Masses. -
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 -
Low Requiem Mass
REQUIEM LOW MASS FOR TWO SERVERS The Requiem Mass is very ancient in its origin, being the predecessor of the current Roman Rite (i.e., the so- called “Tridentine Rite”) of Mass before the majority of the gallicanizations1 of the Mass were introduced. And so, many ancient features, in the form of omissions from the normal customs of Low Mass, are observed2. A. Interwoven into the beautiful and spiritually consoling Requiem Rite is the liturgical principle, that all blessings are reserved for the deceased soul(s) for whose repose the Mass is being celebrated. This principle is put into action through the omission of these blessings: 1. Holy water is not taken before processing into the Sanctuary. 2. The sign of the Cross is not made at the beginning of the Introit3. 3. C does not kiss the praeconium4 of the Gospel after reading it5. 4. During the Offertory, the water is not blessed before being mixed with the wine in the chalice6. 5. The Last Blessing is not given. B. All solita oscula that the servers usually perform are omitted, namely: . When giving and receiving the biretta. When presenting and receiving the cruets at the Offertory. C. Also absent from the Requiem Mass are all Gloria Patris, namely during the Introit and the Lavabo. D. The Preparatory Prayers are said in an abbreviated form: . The entire of Psalm 42 (Judica me) is omitted; consequently the prayers begin with the sign of the Cross and then “Adjutorium nostrum…” is immediately said. After this, the remainder of the Preparatory Prayers are said as usual. -
The Principal Works of St. Jerome by St
NPNF2-06. Jerome: The Principal Works of St. Jerome by St. Jerome About NPNF2-06. Jerome: The Principal Works of St. Jerome by St. Jerome Title: NPNF2-06. Jerome: The Principal Works of St. Jerome URL: http://www.ccel.org/ccel/schaff/npnf206.html Author(s): Jerome, St. Schaff, Philip (1819-1893) (Editor) Freemantle, M.A., The Hon. W.H. (Translator) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Print Basis: New York: Christian Literature Publishing Co., 1892 Source: Logos Inc. Rights: Public Domain Status: This volume has been carefully proofread and corrected. CCEL Subjects: All; Proofed; Early Church; LC Call no: BR60 LC Subjects: Christianity Early Christian Literature. Fathers of the Church, etc. NPNF2-06. Jerome: The Principal Works of St. Jerome St. Jerome Table of Contents About This Book. p. ii Title Page.. p. 1 Title Page.. p. 2 Translator©s Preface.. p. 3 Prolegomena to Jerome.. p. 4 Introductory.. p. 4 Contemporary History.. p. 4 Life of Jerome.. p. 10 The Writings of Jerome.. p. 22 Estimate of the Scope and Value of Jerome©s Writings.. p. 26 Character and Influence of Jerome.. p. 32 Chronological Tables of the Life and Times of St. Jerome A.D. 345-420.. p. 33 The Letters of St. Jerome.. p. 40 To Innocent.. p. 40 To Theodosius and the Rest of the Anchorites.. p. 44 To Rufinus the Monk.. p. 44 To Florentius.. p. 48 To Florentius.. p. 49 To Julian, a Deacon of Antioch.. p. 50 To Chromatius, Jovinus, and Eusebius.. p. 51 To Niceas, Sub-Deacon of Aquileia. -
13 September 2020 the True Cross in the Following Manner
13 September 2020 The True Cross in the following manner. He caused a lady of rank, who Roodmas (from Old English rood “rod” or “cross,” had been long suffering from disease, to be touched by and mas, Mass; similar to the etymology of each of the crosses, with earnest prayer, and thus Christmas) was the celebration of the Feast of the discerned the virtue residing in that of the Saviour. Cross observed on May 3 in some Christian churches For the instant this cross was brought near the lady, it and rites, particularly the historical Gallican Rite of expelled the sore disease, and made her whole. the Catholic Church. It commemorated the finding Helena took a portion of the cross back to Rome, by Saint Helena of the True Cross in Jerusalem in 355. where she had it enshrined in the chapel of her palace A separate feast of the Triumph of the Cross was (now the Basilica of the “Holy Cross in Jerusalem”). celebrated on September 14, the anniversary of the The rest of the True Cross remained in Jerusalem, in a dedication of the Church of the Holy Sepulchre. After chapel attached to the Church of the Holy Sepulchre. the Gallican and Latin Rites were combined, the Over the centuries pieces of the Cross were distributed western Church observed individually the Finding of the as relics in both the East and the West. Many were Holy Cross on May 3 and the Triumph of the Cross on captured and lost amidst the wars of possession fought September 14. -
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. -
The Monastic Rules of Visigothic Iberia: a Study of Their Text and Language
THE MONASTIC RULES OF VISIGOTHIC IBERIA: A STUDY OF THEIR TEXT AND LANGUAGE By NEIL ALLIES A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Theology and Religion College of Arts and Law The University of Birmingham July 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis is concerned with the monastic rules that were written in seventh century Iberia and the relationship that existed between them and their intended, contemporary, audience. It aims to investigate this relationship from three distinct, yet related, perspectives: physical, literary and philological. After establishing the historical and historiographical background of the texts, the thesis investigates firstly the presence of a monastic rule as a physical text and its role in a monastery and its relationship with issues of early medieval literacy. It then turns to look at the use of literary techniques and structures in the texts and their relationship with literary culture more generally at the time. Finally, the thesis turns to issues of the language that the monastic rules were written in and the relationship between the spoken and written registers not only of their authors, but also of their audiences. -
Liturgical Press Style Guide
STYLE GUIDE LITURGICAL PRESS Collegeville, Minnesota www.litpress.org STYLE GUIDE Seventh Edition Prepared by the Editorial and Production Staff of Liturgical Press LITURGICAL PRESS Collegeville, Minnesota www.litpress.org Scripture texts in this work are taken from the New Revised Standard Version Bible: Catholic Edition © 1989, 1993, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. Cover design by Ann Blattner © 1980, 1983, 1990, 1997, 2001, 2004, 2008 by Order of Saint Benedict, Collegeville, Minnesota. Printed in the United States of America. Contents Introduction 5 To the Author 5 Statement of Aims 5 1. Submitting a Manuscript 7 2. Formatting an Accepted Manuscript 8 3. Style 9 Quotations 10 Bibliography and Notes 11 Capitalization 14 Pronouns 22 Titles in English 22 Foreign-language Titles 22 Titles of Persons 24 Titles of Places and Structures 24 Citing Scripture References 25 Citing the Rule of Benedict 26 Citing Vatican Documents 27 Using Catechetical Material 27 Citing Papal, Curial, Conciliar, and Episcopal Documents 27 Citing the Summa Theologiae 28 Numbers 28 Plurals and Possessives 28 Bias-free Language 28 4. Process of Publication 30 Copyediting and Designing 30 Typesetting and Proofreading 30 Marketing and Advertising 33 3 5. Parts of the Work: Author Responsibilities 33 Front Matter 33 In the Text 35 Back Matter 36 Summary of Author Responsibilities 36 6. Notes for Translators 37 Additions to the Text 37 Rearrangement of the Text 37 Restoring Bibliographical References 37 Sample Permission Letter 38 Sample Release Form 39 4 Introduction To the Author Thank you for choosing Liturgical Press as the possible publisher of your manuscript. -
Liturgy of the Hours
Liturgy of the Hours Catholic Teachings by the Deacons Deacon David Ochoa May 11, 2021 1 Opening Prayer Be at peace among yourselves. We urge you, brothers, admonish the idle, cheer the fainthearted, support the weak, be patient with all. See that no one returns evil for evil; rather, always seek what is good [both] for each other and for all. Rejoice always. Pray without ceasing. In all circumstances give thanks, for this is the will of God for you in Christ Jesus. May the God of peace himself make you perfectly holy and may you entirely, spirit, soul, and body, be preserved blameless for the coming of our Lord Jesus Christ. Amen. 2 Tonight’s Agenda • Overview – What is the Liturgy of the Hours • Importance of the Liturgy of the Hours, a Reflection • History of the Liturgy of the Hours • Current Form of the Liturgy of the Hours • How to Pray the Liturgy of the Hours • Evening Prayer for Tuesday of the 6th Week of Easter 3 • Daily prayer of the Church, marking the hours of each day and sanctifying What is the the day with Liturgy of the prayer Hours • Liturgy of the Hours is also known as the Divine Office, or the Work of God (Opus Dei) 4 Constitution on the Sacred Liturgy Sacrosanctum Concilium “By tradition going back to early Christian times, the divine office is devised so that the whole course of the day and night is made holy by the praises of God… It is the very prayer which Christ Himself, together with His body, addresses to the Father. -
Psalters and Books of Hours (Horologia)
300 Parpulov Chapter 20 Psalters and Books of Hours (Horologia) Georgi R. Parpulov Text and Illustrations A Psalter (Ψαλτήριον) contains 151 biblical psalms, always in the same sequence, plus nine or more poetic excerpts (canticles, or odes/ᾠδαί) from other books of the Bible.1 A Book of Hours (Ὡρολόγιον) contains those same odes and select psalms, re-ordered for prayer at set times of the day and night2 and intermixed with short non-biblical prayers and hymns. Additional, private prayers are sometimes appended to an Horologion or Psalter. A Psalter may also contain explanatory prefaces (such as Athanasios of Alexandria’s “Letter to Marcellinus”) and/or theological commentary running parallel to the bibli- cal text. Images may illustrate individual psalm verses and be, by way of explanation, placed close to them. In most illustrated Psalters and Horologia, however, the figural miniatures subdivide the text – just like titles do – and thus facilitate paging through it. In principle, each ode and sometimes even each psalm can be marked with a picture, but typically pictures precede the often-used Psalm 50,3 the beginning and middle of the Psalter (Ps 1 and 77), and/or the initial ode (Gen. 15:1-19) (Figs. 107-111). The illustrations can be painted with tempera or simply drawn in ink – and in the latter case, sometimes tinted with wash. They alternatively form self- contained, often framed compositions (which may or may not fill a whole 1 The chapter and verse numbers cited here are those of the Greek Old Testament (Septuagint). All quotes are from Septuagint, trans. -
A Commentary on the General Instruction of the Roman Missal
A Commentary on the General Instruction of the Roman Missal A Commentary on the General Instruction of the Roman Missal Developed under the Auspices of the Catholic Academy of Liturgy and Cosponsored by the Federation of Diocesan Liturgical Commissions Edited by Edward Foley Nathan D. Mitchell Joanne M. Pierce Foreword by the Most Reverend Donald W. Trautman, S.T.D., S.S.L. Chairman of the Bishops’ Committee on the Liturgy 1993–1996, 2004–2007 A PUEBLO BOOK Liturgical Press Collegeville, Minnesota A Pueblo Book published by Liturgical Press Excerpts from the English translation of Dedication of a Church and an Altar © 1978, 1989, International Committee on English in the Liturgy, Inc. (ICEL); excerpts from the English translation of Documents on the Liturgy, 1963–1979: Conciliar, Papal, and Curial Texts © 1982, ICEL; excerpts from the English translation of Order of Christian Funerals © 1985, ICEL; excerpts from the English translation of The General Instruction of the Roman Missal © 2002, ICEL. All rights reserved. Libreria Editrice Vaticana omnia sibi vindicat iura. Sine ejusdem licentia scripto data nemini licet hunc Lectionarum from the Roman Missal in an editio iuxta typicam alteram, denuo imprimere aut aliam linguam vertere. Lectionarum from the Roman Missal in an editio iuxta typicam alteram—edition iuxta typica, Copyright 1981, Libreria Editrice Vaticana, Città del Vaticano. Excerpts from documents of the Second Vatican Council are from Vatican Council II: The Basic Sixteen Documents, edited by Austin Flannery, © 1996 Costello Publishing Company, Inc. Used with permission. Cover design by David Manahan, OSB. Illustration by Frank Kacmarcik, OblSB. © 2007 by Order of Saint Benedict, Collegeville, Minnesota.