A History of Liturgical Books
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The Spirit of the Page: Books and Readers at the Abbey of Fécamp, C
Cover Page The handle http://hdl.handle.net/1887/32272 holds various files of this Leiden University dissertation. Author: Weston, Jennifer Ann Title: The Spirit of the Page: Books and Readers at the Abbey of Fécamp, c. 1000-1200 Issue Date: 2015-03-10 Chapter 5 Books for Selective Reading at Fécamp The presence of navigational reading aids in eighteen manuscripts from the Fécamp corpus are suggestive of a reader who needed to locate specific chapters of the book, and, therefore, indicate a mode of reading that was different from the comprehensive approach of lectio divina. The present chapter aims to find an appropriate context of use for these navigational reading aids in the Benedictine monastery. Over the course of this chapter, I examine three book-types from the Fécamp corpus that contain reading aids: Giant Bibles, Gospel Books, and patristic texts. Moreover, I identify three settings where these books (equipped with navigation) would have been used: during the celebration of the liturgy (the Mass and Divine Office), during meal-time reading in the refectory, and during the evening gathering of Collation. Indeed, just as the Fécamp scribes designed many of their books to suit the practice of lectio divina (as shown in Part One of this study), it seems that they also custom-designed some of their books to accommodate a second mode of devotional reading. ! ! 1. Bibles with Navigation There are two Giant Bibles from the Fécamp corpus that include navigational reading aids: Rouen 1 and Rouen 7. As noted in the previous chapter, both books are presented in a large format and each contain a large collection of books from the Old and New Testament: Rouen 1 contains all but the Gospels, and Rouen 7 contains the Old Testament and the Gospels.1 The presence of navigational reading aids in these two Bibles (in the form of chapter tables and running titles) suggest that both of these volumes were designed to support searching and finding throughout the volume. -
What Is the Roman Missal?
Roman Missal Bulletin Insert Series #1 WHAT IS THE ROMAN MISSAL? Book of the Gospels (Evangeliary) for the scripture readings, and additional books for the chants and antiphons. Slight changes and additions developed as manuscripts were handed on and hand scribed. Eventually the chants, scripture readings, prayer texts, and instructions were compiled into a single volume, the Missale Plenum (complete Missal). When Johannes Gutenberg invented the movable printing press in 1470, this allowed the Mass texts to become standardized and published universally. In 1474, the first Missale Romanum (Roman Missal) was printed in Latin and the texts contained in this volume evolved over the five ensuing centuries. Because the amount of scripture proclaimed at Mass increased following the Second Vatican Council (1962-1965), the Missal was divided into two separate books so that its size would not be overwhelming. The Sacramentary contained the instructions (rubrics), the prayers (the Gloria, the Creed, the Eucharistic Prayer, the Our Father, etc.), Over the past several months, you may have and the chants and dialogues (the entrance heard a lot about the revised translation of antiphons, The Lord be with you, etc.). The The Roman Missal. Some may be wondering, Lectionary contained the readings for ―What is The Roman MissaI and how does Sundays, Feast Days and weekdays. It is this new translation affect me?‖ the former of these books, the Sacramentary First of all, it is important to note that the that has been retranslated. With this structure of the Mass is not changing. The translation, the name of the book will change Biblical readings will not change either, but from The Sacramentary to The Roman some of the prayers we say (and sing) and Missal, a translation of the Latin title, the prayers the priest says will be changed Missale Romanum. -
The Influence of Plainchant on French Organ Music After the Revolution
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution. -
Eucharistic Ministry Guidelines
Extra Ordinary Ministers of Holy Communion Revised January 2012 Extra Ordinary Ministers of Holy Communion Guidelines Page 2 of 8 Table of Contents QUALIFICATIONS FOR BECOMING AN EXTRA ORDINARY MINISTER OF HOLY COMMUNION ................................................................................................. 3 PRE-MASS PREPARATION ............................................................................ 3 All Ministers ............................................................................................. 3 Lead Minister ........................................................................................... 4 Preparation before Mass ............................................................................ 4 MASS RESPONSIBILITIES ............................................................................. 4 Preparation of the Altar at Offertory ........................................................... 4 Diagrams for Preparation of Altar for Mass at 10:00 am & 7:00 pm ............ 5 The Missal ................................................................................................. 5 The Chalice, Corporal, Pall and Purificator ............................................... 5 Diagram for 10:00 a.m. Mass ................................................................... 6 Diagram for 7:00 p.m. Mass ....................................................................... 6 SPECIAL CIRCUMSTANCES ........................................................................... 8 CONCLUSION .............................................................................................. -
Plainchant Tradition*
Some Observations on the "Germanic" Plainchant Tradition* By Alexander Blachly Anyone examining the various notational systems according to which medieval scribes committed the plainchant repertory to written form must be impressed both by the obvious relatedness of the systems and by their differences. There are three main categories: the neumatic notations from the ninth, tenth, and eleventh centuries (written without a staff and incapable, therefore, of indicating precise pitches);1 the quadratic nota tion in use in Italy, Spain, France, and England-the "Romanic" lands from the twelfth century on (this is the "traditional" plainchant notation, written usually on a four-line staff and found also in most twentieth century printed books, e.g., Liber usualis, Antiphonale monasticum, Graduale Romanum); and the several types of Germanic notation that use a staff but retain many of the features of their neumatic ancestors. The second and third categories descended from the first. The staffless neumatic notations that transmit the Gregorian repertory in ninth-, tenth-, and eleventh-century sources, though unlike one another in some important respects, have long been recognized as transmitting the same corpus of melodies. Indeed, the high degree of concordance between manuscripts that are widely separated by time and place is one of the most remarkable aspects the plainchant tradition. As the oldest method of notating chant we know,2 neumatic notation compels detailed study; and the degree to which the neumatic manuscripts agree not only • I would like to thank Kenneth Levy, Alejandro Plan chart, and Norman Smith for reading this article prior to publication and for making useful suggestions for its improve ment. -
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. -
The Aquitanian Sacred Repertoire in Its Cultural Context
THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces. -
Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: -
Volume 93, Summer 1966
Volume 93, Summer 1966 Published quarterly by the Church Music Association of America Offices of publication at Saint Vincent Arcfiabbey, Latrobe, Pennsylvania 15650 Continuation of: CAECILIA, published by the St. Caecilia Society since 1874 and THE CATHOLIC CHoiRMASTER, published by the St. Gregory Society since 1915. EDITORIAL BOARD Rt. Rev. Rembert G. Weakland, O.S.B., Chairman Mother C. A. Carroll, R.S.C.J., Music review editor Louise Cuyler, Book review editor Rev. Richard J. Schuler, News editor Rev. Ignatius J. Purta, O.S.B., Managing editor Frank D. Szynskie, Circulation Rev. Lawrence Heiman, C.PP.S. Rev. C. J. McNaspy, S.J. Very Rev. Francis P. Schmitt J. Vincent Higginson Rev. Peter D. Nugent Editorial correspondence may be sent to : SACRED MUSIC, SAINT VINCENT ARCHABBEY, LATROBE, PENNSYLVANIA 15650 CHURCH MUSIC ASSOCIATION OF AMERICA EXEcUTIVE BoARD Rt. Rev. Rembert G. Weakland, O.S.B., President Rev. Cletus Madsen, Vice-president Rev. Richard J. Schuler, General Secretary Frank D. Szynskie, Treasurer Cecilia Kenny, Regional Chairman, East Coast Rev. Robert Skeris, Regional Chairman, Middle West Roger Wagner, Regional Chairman, West Coast Rev. Joseph R. Foley, C.S.P. Mother Josephine Morgan, R.S.C.J. Rev. John C. Selner, S.S. J. Vincent Higginson Very Rev. Francis P. Schmitt Sister M. Theophane, O.S.F. Memberships in the CMAA include a subscription to SACRED MUSIC. Voting membership, $10.00 annually; by subscription only, $5.00; student membership, $4.00. Application forms for voting and student memberships must be obtained frdm• Sister M. Theophane, O.S.F., Chairman, Membership Committee, CMAA, 3401 South 39th Street, Milwaukee, Wisconsin 53215. -
Saint Pius V Altar Server Dictionary Promulgated During the Pontificate of Francis, 266Th Successor to the Apostle Peter
1 Saint Pius V Altar Server Dictionary Promulgated during the Pontificate of Francis, 266th successor to the Apostle Peter. 1. The main areas of the church with which you should be concerned: 1. The sanctuary is the area in the center and toward the front of the church where the altar, the ambo, and the priest’s and altar server’s chairs are located. 2. The sacristy is the room where the priest, deacon and altar servers vest and prepare for Mass. Many of the items used in the celebration of the Mass are stored there. 3. Other areas include the baptistry, where the baptismal font is located and where baptisms may be celebrated; the vestibule, the entrance to our church; and our four confessionals, where the sacrament of penance is celebrated. 2. Books used at Holy Mass: 1. The Lectionary is the large book containing the Bible readings. There may be a separate Book of the Gospels, called the evangeliary. 2. The Roman Missal is the large book used by the priest when standing at his chair and at the altar during Mass. 3. Other books may be used too in the sanctuary, including a hymnal, a binder containing general intercessions, ritual books for the various sacraments, and a binder of announcements. Our binders are different colors, matching the liturgical color of the day/season. 3. Vessels used at Holy Mass: 1. The chalice is the cup that holds the wine for consecration and communion. 2. The paten is a plate that holds the hosts for consecration and communion. -
The General Instruction of the Roman Missal Introduction
THE GENERAL INSTRUCTION OF THE ROmAN mISSAL INTRODUCTION 1. As christ the Lord was about to celebrate with the disciples the paschal supper in which he insti- tuted the Sacrifice of hisb ody and blood, he commanded that a large, furnished upper room be prepared (Lk 22:12). indeed, the church has always judged that this command also applied to herself whenever she decided about things related to the disposition of people’s minds, and of places, rites and texts for the celebration of the Most holy eucharist. the present norms, too, prescribed in keeping with the will of the Second vatican council, together with the new Missal with which the church of the roman rite will henceforth celebrate the Mass, are again a demonstration of this same solicitude of the church, of her faith and her unaltered love for the supreme mystery of the eucharist, and also attest to her continu- ous and consistent tradition, even though certain new elements have been introduced. Testimony of an Unaltered Faith 2. The sacrificial nature of the Mass, solemnly defended by thec ouncil of trent, because it accords with the universal tradition of the church,1 was once more stated by the Second vatican council, which pronounced these clear words about the Mass: “at the Last Supper, our Savior instituted the eucharistic Sacrifice of his body and blood, by which the Sacrifice of his cross is perpetuated until he comes again; and till then he entrusts the memorial of his Death and resurrection to his beloved spouse, the church.”2 What is taught in this way by the council is consistently expressed in the formulas of the Mass. -
The Sacramentary
211111111111112 The Sacramentary Volume Two Part 2 211111111111112 EUCHARISTIC PRAYERS I-IV Let us give thanks to the Lord our God PREFACE DIALOGUE EUCHARISTIC PRAYER I (THE ROMAN CANON) The priest leads the assembly in the eucharistic prayer. The people take part reverently and attentively and make the acclamations. The eucharistic prayer may be sung (see page 821). The priest begins the eucharistic prayer. Extending his hands, he sings or says: & œœœœœ˙ The Lord be with you. The people answer: & œœœ œ ˙ And al - so with you. He lifts up his hands and continues: & œ- œ œ œ œ ˙ Lift up your hearts. The people answer: & œœ œ œœ œ ˙ We lift them up to the Lord. With hands outstreched, he continues: & œ œ œ œœœ œ œ œ ˙ Let us give thanks to the Lord our God. The people answer: & œœ œœœ œ œ œ œ˙˙ It is right to give thanks and praise. 702 THE ORDER OF MASS The priest continues the preface with hands outstretched. Alternative openings for the prefaces may be found on pages 508–509. At the end of the preface, the priest joins his hands and, together with the people, sings or says: & ˙ ˙ ˙ ˙ œ œ œœœœ œ ˙ œ œ œœœ Ho - ly, ho - ly, ho- ly Lord, God of power and might, heav- en and earth are & œ œœ œ˙ œ œ œœœ ˙ ˙ œ œ œœ œ full of your glo - ry. Ho - san - na in the high - est. Bless - ed is he who & œœœ œ œ œ ˙ œ œ œœœ ˙ ˙ comes in the name of the Lord.