Minster Carol Service
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COPYRIGHT INFORMATION O Come, All Ye Faithful
COPYRIGHT INFORMATION O Come, All Ye Faithful - Text: attr. John Francis Wade; tr. Frederick Oakeley Music: ADESTE FIDELES, attr. John Francis Wade; st. 3 and 4 setting by David Willcock from Carols for Choirs 1 © Oxford University Press Silent Night - Text: Joseph Mohr; tr. John F. Young; Music: STILLE NACHT, Franz Gruber; Setting by David Cherwien © 2020 MorningStar Music Publishers Love Has Come - Text: Ken Bible © 1996 Integrity's Hosanna! Music (ASCAP). Used by permission. Music: UN FLAMBEAU, F. Seguin; organ introduction by David Cherwien, from The Bethlehem Collection © MorningStar Music Publishers Away in a Manger - Text: North American, 19th century Music: AWAY IN A MANGER, James R. Murray; st. 2 from Embellishments for Choirs – Advent/Christmas, arranged by Larry Fleming, © Augsburg Fortress Publishing, admin. by Larry Fleming Estate Joy to the World - Text: Isaac Watts; Music: ANTIOCH, George Frederick Handel; arr. Lowell Mason; Setting by David Cherwien © 2020 MorningStar Music Publishers Once in Royal David’s City - Text: Cecil Frances Alexander; Music: IRBY, Henry J. Gauntlett; st. 4 descant by David Willcocks from Carols for Choirs 2 © Oxford University Press It Came Upon the Midnight Clear - Text: Edmund H. Sears; Music: CAROL, Richard S. Willis; harp, oboe and choral introduction by David Cherwien, unpublished HarK! The Herald Angels Sing - Text: Charles Wesley; Music: MENDELSSOHN, Felix Mendelssohn; organ introduction by David Cherwien, from Hymn Interpretation Series Christmas Volume 2 © Lorenz Publishing; organ interlude improvisation by David Cherwien; st. 3 descant by David Willcocks, from Carols for Choirs 1 © Oxford University Press Oh, Come, Little Children - Text: Christoph von Schmid, tr. -
Medieval Music Practice Test
Name _________________________________ Music Appreciation Medieval Music Practice Test 1. ______ 14. ______ 2. ______ 15. ______ 3. ______ 16. ______ 4. ______ 17. ______ 5. ______ 18. ______ 6. ______ 19. ______ 7. ______ 20. ______ 8. ______ 21. ______ 9. ______ 22. ______ 10. ______ 23. ______ 11. ______ 24. ______ 12. ______ 25. ______ 13. ______ Name _________________________________ Music Appreciation ___ 1. The phrase Middle Ages refers to the period of European history spanning A) 450-1000 B) 450-1450 C) 1150-1450 D) 1000-1150 ___ 2. In the Middle Ages, most important musicians were A) peasants B) traveling entertainers C) priests D) women ___ 3. A virtual monopoly on learning during the Middle Ages was held by A) knights in castles B) professors in universities C) monks in monasteries D) wandering minstrels or jongleurs ___ 4. During the Middle Ages, women A) were not permitted to sing in church B) sang at all church services C) could sing only in monasteries D) were not permitted to participate in church services ___ 5. An important woman composer of the Middle Ages was A) Alicia de la Rocha B) Amy Beach C) Hildegard of Bingen D) Madonna ___ 6. Most medieval music was A) instrumental B) vocal C) for the piano D) for the organ ___ 7. Church authorities in the Middle Ages ____________________ their religious services. A) encouraged the use of music as a highlight of B) forbade the use of music in C) wanted music only as a discreet accompaniment to D) preferred instrumental music in Name _________________________________ Music Appreciation ___ 8. -
Zoom Carols 2020
Zoom Carols 2020 Order of carols Notes Carols for 100 Carols Choirs 1 for Choirs O come, all ye faithful Verses 1 & 2 in harmony No. 26, p. 88 No. 54, p. 226 Verse 6 unison + descant (don’t slow down at the end of this verse) Verse 7 in unison = we’ll change the words to “Yea Lord we greet thee, born on Christmas morning”! O little town of Bethlehem Verses 1, 2 & 3 in harmony No. 27, p. 92 No. 57, p. 234 Verse 4 unison + descant Once in royal David’s city Verses 1, 2 & 4 in harmony No. 30, p. 100 No. 61, p. 260 OMIT verses 3 + 5 Verse 6 unison + descant Past three a clock All eight verses in harmony! No. 31, p. 101 No. 65, p. 269 I’ve never done this carol in a concert before, which means that you might not have either! This is worth practicing, especially if you are not used to singing words that aren’t written with the music! See amid the winter’s snow OMIT verses 3 & 4 See separate attachment All verses in unison, all refrains in harmony The shepherd’s farewell As written! No. 41, p. 142 No. 89, p. 344 Unto us is born a Son As written No. 43, p. 154 No. 92, p. 357 Verse 5, sing choir I or choir II as you fancy! Up good Christen folk As written, repeating the refrain (first four bars) at the end No. 44, p. 157 No. 93, p. 360 worth practicing, especially if you have never heard of it! While shepherds watched Verses 1, 3 & 5 in harmony No. -
Melodic Function and Modal Process in Gregorian Chant
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Melodic Function and Modal Process in Gregorian Chant Richard Porterfield Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/92 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MELODIC FUNCTION AND MODAL PROCESS IN GREGORIAN CHANT by RICHARD PORTERFIELD A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2014 ii © 2014 RICHARD PORTERFIELD All Rights Reserved iii This manuscript has been read and accepted by the Graduate faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Codex hic lectus acceptusque est William Rothstein ____________________ ___________________________________ Date Chair of Examining Committee Norman Carey ____________________ ___________________________________ Date Acting Executive Officer Ruth DeFord ___________________________________ Anne Stone ___________________________________ Joseph Straus ___________________________________ iv Abstract MELODIC FUNCTION AND MODAL PROCESS IN GREGORIAN CHANT by RICHARD PORTERFIELD Advisor: Professor William Rothstein This study proposes a theory and method of analysis for voice leading in the melody of Gregorian chant. It draws on historical theories and practices, particularly those of the cantus tradition which 1) pre-dates the imposition on Western ecclesiastical chant of scale theories based in the Ancient Greek science of harmonics, 2) observes and predicts actual melodic behavior, and 3) remains basic to pedagogy through the centuries.