Singing the Prostopinije Samohlasen Tones in English: a Tutorial
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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. -
THO 3347 (H 2015) – Glossary of Terms
THO 3347 (H 2015) – Glossary of Terms Akathist Literally, “not standing.” A hymn dedicated to our Lord, the Theotokos, a saint, or a holy event. Aposticha The stichera sung with psalm verses at the end of Vespers and Matins. These differ from the stichera at Psalm 140 (Vespers) and at the Praise Psalms (Matins), which are sung with fixed psalms, in that the psalm verses used (pripivs) vary with the day or feast, and do not end the singing of the whole psalm. See also stichery na stichovnych. Archieratikon Тhе book containing texts and rubrics for the solemn Hierarchical (a.k.a. Pontifical) Divine Liturgy. The Archieratikon also contains the sacrament of Ноlу Orders and special blessings and consecrations. Canon A system of nine odes (the Second Ode is sung only during Great Lent) sung at Matins after Psalm 50 and before the Praises. Each ode is connected traditionally with a scriptural canticle (see below for the nine scriptural canticles) and consists of an Irmos, a variable number of troparia and, on feasts, a katavasia. After the Third Ode a sidalen is usually sung, and after the Sixth Ode a kontakion and ikos, and after the Ninth Ode, the Svitelen is sung. The Canon has its own system of eight tones. Domatikon A theotokion sung after “Now…” (or “Glory… Now…”) at the end of Psalms 140, 141, 129, and 116 at Vespers on Friday and Saturday evenings, and on the eve of a Polyeleos saint or saints with a vigil in the same tone as the last sticheron of the saint (at “Glory…”). -
Automated Analysis and Transcription of Rhythm Data and Their Use for Composition
Automated Analysis and Transcription of Rhythm Data and their Use for Composition submitted by Georg Boenn for the degree of Doctor of Philosophy of the University of Bath Department of Computer Science February 2011 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with its author. This thesis may not be consulted, photocopied or lent to other libraries without the permission of the author for 3 years from the date of acceptance of the thesis. Signature of Author . .................................. Georg Boenn To Daiva, the love of my life. 1 Contents 1 Introduction 17 1.1 Musical Time and the Problem of Musical Form . 17 1.2 Context of Research and Research Questions . 18 1.3 Previous Publications . 24 1.4 Contributions..................................... 25 1.5 Outline of the Thesis . 27 2 Background and Related Work 28 2.1 Introduction...................................... 28 2.2 Representations of Musical Rhythm . 29 2.2.1 Notation of Rhythm and Metre . 29 2.2.2 The Piano-Roll Notation . 33 2.2.3 Necklace Notation of Rhythm and Metre . 34 2.2.4 Adjacent Interval Spectrum . 36 2.3 Onset Detection . 36 2.3.1 ManualTapping ............................... 36 The times Opcode in Csound . 38 2.3.2 MIDI ..................................... 38 MIDIFiles .................................. 38 MIDIinReal-Time.............................. 40 2.3.3 Onset Data extracted from Audio Signals . 40 2.3.4 Is it sufficient just to know about the onset times? . 41 2.4 Temporal Perception . -
December 2016 Issue Of
Eastern Catholic Life Official Publication of the Byzantine Catholic Eparchy of Passaic VOL. LII, NO. 12 DECEMBER 2016 Christmas Bells Bishop Kurt’s Reflection on the Feast of the Nativity of Our Lord his book for me. When I returned to my parish in Portland, my Ukrai- nian parishioners wanted to see the autograph and touched the book like a holy relic. Here is the begin- ning of Yevtushenko’s poem “New York Taxis”: or there is one Lord, New York is all mankind in the one Faith, one Bap- same casserole. tism, one God and Don’t ask New York for mercy, Father“F of us all who is above all you’ll get cooked anyway. and through all and in all.” We read Crawling like yellow turtles, these words a few weeks ago from flying like golden bullets, the Epistle to the Ephesians—Saint New York taxis, taxis, taxis.” Paul tells us boldly that there is only (translated by Albert Todd) One Christ, and therefore all Chris- tians must be united. Nevertheless, In the English language, we have there is beauty in diversity, and that three famous poems about bells, is never more on display than at and one of them has a surprising Christmas. As all the different kinds connection with the greatest art of of Christians show off their Christ- Eastern Europe. mas traditions, it’s like a house full of exotic birds spreading out their In 1850, Alfred Lord Tennyson many-colored feathers. The differ- was made poet laureate of England, ent churches compete in a dizzying and in the same year he published a kaleidoscope of images and music. -
Essays on Liturgy: I
82-065 ..---------------------r------ - Salle de lecture Reading Room 55 ESSAYS ON l~TURGV: ~ National Bulletin on Liturgy A review published by the Canadian Conference of Catholic Bishops This Bulletin is primarily pastoral in scope, and is prepared for members of parish liturgy committees, readers, musicians, singers, teachers, religious, seminarians, and clergy, and all who are involved in preparing and celebrating the community liturgy. Editor REV. PATRICK BYRNE Editorial Office NATIONAL LITURGICAL OFFICE 90 Parent Avenue (613) 236-9461 Ottawa, Ontario K1 N 7B1 ext. 246 Business Office PUBLICATIONS SERVICE 90 Parent Avenue Ottawa, Ontario K1 N 7B1 Published fives times a year Appears every two months, except July and August Subscription: $6.00 a year; outside Canada, $7.00 Price per copy: $1.50; outside Canada, $1.75 Subscriptions available through Publications Service of the CCCB, or through the chancery office in each diocese in Canada. Excerpts from the English translation of The Ordination of Deacons, Priests, and Bishops© 1976, International Committee on English in the Liturgy, Inc. (ICEL); excerpts from the English translation of The Institution of Readers and Acolytes the Admission to Candidacy For Ordina tion as Deacons and Priests© 1976 ICEL. All rights reserved. National Bulletin on Liturgy, copyright© Concacan, Inc., 1978. No part of this Bulletin may be reproduced in any form without the written permission of the Publications Service of the CCCB. International Standard Serial Number: CN ISSN 0084-8425. Legal deposit: National Library, Ottawa. Canada. Second Class Mail - Registration Number 2994. national bulletin on liturgy volume 11 number 65 september october 1978 ESSAYS ON LITURGY: I This issue of the Bulletin offers a series of articles on liturgy, designed to provoke discussion and reflection. -
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Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 83-97 ISSN 2342-1258 https://journal.fi/jisocm Stifling Creativity: Problems Born out of the Promulgation of the 1906 Tserkovnoje Prostopinije Fr Silouan Sloan Rolando [email protected] At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukačevo in what is now Ukraine promulgated an anthology of Carpatho- Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant. While this book follows in the tradition of printed Heirmologia found throughout the Orthodox and Greek Catholic churches of Belarus, Ukraine, and Russia starting in the sixteenth century, this book presents us with a number of issues that affect the quality and usability of this chant in both its homeland and abroad as well as in the original language, Old Church Slavonic, and in modern languages such as Ukrainian, Hungarian and English. Assuming that creativity is more than just producing new music out of thin air, the problems revealed in the Prostopinije can be a starting point the better to understand how creativity can be unintentionally stifled and what can be done to overcome these particular obstacles. A Brief History Heirmologia in this tradition are anthologies of traditional chant that developed in the emergence of the Kievan five-line notation in place of the older Znamenny neums. With the emergence of patterned chant systems variously called Kievan, Galician, Greek and Bulharski, each touting unique melodies for each tone and each element of liturgy, the Heirmologia would be augmented with these chants often replacing the older Znamenny, especially for the troparia, stichera and prokeimena of the Octoechos. -
The Haec Dies Gradual the Formulas and the Structure Pitches
68 The Haec dies Gradual The formulas and the structure pitches The primary structure pitches for recitation and accentuation are A (the Final of the mode) and C (the Dominant and a universal structure pitch). Punctuation occurs: 1) on A (the Final); 2) on C (the Dominant and universal structure pitch); 3) on F (the other universal structure pitch) and 4) on D (as a suspended cadence on the fourth above the Final). The first phrase (unique to this gradual): The structure pitches: -cc6côccc8cccc8ccccccccccc6ccccc Haec di- es, The initial structure pitch A is given a great deal of emphasis, both by the large Uncinus in Laon 239 and by the t (tenete = lengthen, hold) in the Cantatorium of St. Gall. It is followed by a rapidly moving ornament that circles the A much like the motion of a softball pitcher, in order to add momentum and intensity to the final A before ascending to C. The ornament ends with an Oriscus on the final A that builds the intensity even further until it reaches the C, the 69 climax of the entire melodic line over the word Haec. The tension continues over the accented syllable of the word di-es by means of the rapid, triple pulsation of the C, the Dominant of the piece. The melody then descends to A (the Final of the piece) and becomes a rapid alternation between A and G that swings forcefully to the last A on that syllable. The A is repeated for the final syllable of the word to produce a simple redundant cadence. -
SACRED MUSIC Fall 2003 Volume 130 No.3
SACRED MUSIC Fall 2003 Volume 130 No.3 - ...... ~ . _0- -~'f'. ........ --. -, -. -~- . Aerial View. St. Peter's and Piazza, Rome Renaissance-Baroque. 1506-1668. Chief Architects: Bramante, Michelangelo, Maderna, Bernini SACRED MUSIC Volume 130, Number 3, Fall 2003 FROM THE EDITOR 3 THE CHANTS OF THE PROPRIUM MISSAE versus ALIUS CANTUS APTUS 5 Professor Laszlo Dobszay REVIEWS 27 OPEN FORUM 28 NEWS 28 CONTRIBUTORS 32 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of Publication: 134 Christendom Drive, Front Royal, VA 22630-5103. E-mail: [email protected] Editorial Assistant: Christine Collins News: Kurt Poterack Music for Review: Calvert Shenk, Sacred Heart Major Seminary, 2701 West Chicago Blvd., Detroit, MI 48206 Susan Treacy, Dept. of Music, Franciscan University, Steubenville, OH 43952-6701 Membership, Circulation and Advertising: P.O. Box 960, Front Royal, VA 22630 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Father Robert Skeris Vice- President Father Robert Pasley General Secretary Rosemary Reninger Treasurer Vincent Sly Directors Rev. Ralph S. March, S.O. Cist. Kurt Poterack Father Robert Pasley Paul F. Salumunovich Rosemary Reninger Brian Franck Rev. Robert A. Skeris Calvert Shenk Susan Treacy Ralph Stewart Monsignor Richard Schuler Vincent Sly Stephen Becker Membership in the Church Music Association of America includes a subscription to SACRED MUSIC. Membership is $30.00 annually; student membership is $15.00 annually. Single copies are $7.50. Send applications and changes of address to SACRED MUSIC, P.O. -
MISSAE Versus ALIUS CANTUS APTUS
Are we allowed to replace the Mass Propers with hymns? Should we? Professor László Dobszay answers in the below article, printed in Sacred Music (Vol. 130, No. 3, Fall 2003). THE CHANTS OF THE PROPRIUM MISSAE versus ALIUS CANTUS APTUS 1. What arrangement of the Mass chants emerges before the eyes of an unbiased read er of the Liturgy Constitution promulgated by the Second Vatican Council? If we dis regard what happened after the Synod, and concentrate our attention upon the text of Sacrosanctum Concilium, this is the picture we receive. The Mass is celebrated in most cases in Latin (Art. 36), although some parts (lections, bidding prayer: Art. 54) sometimes (when and where it seems useful) resound in the vernacular (Art. 36/2). The faithful are able to chant the responses, the acclamations and the Ordinary also in Latin (Art. 54, cf. Kyriale Simplex). Gregorian chant has pride of place in liturgical singing (Art. 116). The chants of the Proper are sung by a choir or schola (Art. 114), from the Graduate Romanum in the great churches, and from the Graduate Simplex in the smaller ones (Art. 117); but the congregation, too, may join the Chant (Art. 114), singing psalms and antiphons (Art. 30). The chant is complemented by sacred polyphony taken from the heritage of sacred music, or from a repertory of new compositions. These take their texts chiefly from the Sacred Scriptures or the litur gical books (Art. 121), correspond at all points with the spirit of the liturgy (Art. 116) and are characterized by the hallmarks of a true ecclesiastical thinking (Art. -
Music for a While’ (For Component 3: Appraising)
H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner. -
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. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.