A Time for Recommitment
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
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. -
Dies Irae. Bernhard Pick 577
$1.00 per Year OCTOBER, 1911 Price, 10 Cents XLhc ©pen Court A MONTHLY MAGAZINE Htevoteo to tbe Science of iReliaion, tbe IRelioion ot Science, ano tbe Extension ot tbe "Religious parliament 1oea Founded by Edward C. Hegeler. ORIENTAL ART ADAPTED TO MODERN USES. (See page 609.) Woe ©pen Court publisbino Company CHICAGO LONDON : Kegan Paul, Trench, Triibner & Co., Ltd. Per copy, 10 cents (sixpence). Yearly, $1.00 (in the U.P.U., 5s. 6d.). Entered as Second-Class Matter March 26, 1897, at the Post Office at Chicago, 111. under Act of March 3, 1879. Copyright by The Open Court Publishing Company, 191 1. Digitized by the Internet Archive in 2009 with funding from CARLI: Consortium of Academic and Research Libraries in Illinois http://www.archive.org/details/opencourt_oct1911caru $1.00 per Year OCTOBER, 1911 Price, 10 Cents XTbe ©pen Court A MONTHLY MAGAZINE 2>evoteD to tbe Science of iRelfQion, tbe "Religion of Science, ano tbe Extension of tbe IReliQious parliament loea Founded by Edward C. Hegeler. ORIENTAL ART ADAPTED TO MODERN USES. (See page 609.) Woe ©pen Court publishing Company CHICAGO LONDON : Kegan Paul, Trench, Triibner & Co., Ltd. Per copy, 10 cents (sixpence). Yearly, $1.00 (in the U.P.U., 5s. 6d.). Entered as Second-Class Matter March 26, 1897, at the Post Office at Chicago, 111. under Act of March 3, 1879. Copyright by The Open Court Publishing Company, 191 1. VOL. XXV. (No. 10.) OCTOBER, 1911. NO. 665 CONTENTS PAGE Frontispiece. The Last Judgment by Michelangelo. Dies Irae. Bernhard Pick 577 The Text, 577 ; Authorship, 583 ; Contents, 584 ; General Acceptance, 587; A Parody, 591. -
Of Issionaryresearch Contextualization: the Theory, the Gap, the Challenge Darrell L
Vol. 21, No.1 nternatlona• January 1997 etln• Contextualization: Mission in the Balance u st when the coming of A.D. 2000, with its latent verted to Christianity out of Buddhism, I became so aggressive triumphalism, stirs talk of fulfilling the Great Commis and felt forced to turn my back on my Buddhist family and sion,J here we are bringing up the nettlesome issue of denounce my culture. Now I realize ... that I can practice a contextualization. In the lead article of this issue, Darrell cherished value of meekness, affirm much of my Thai culture, Whiteman recalls a student at Asbury Seminary who had and follow Jesus in the Thai way." wrestled with feelings of alienation toward her Thai family and In our pursuit of authentic contextualization we may be culture. Is she typical of converts in Buddhist lands? Does a lack privileged to discover in other cultures a foretaste of the trea of contextualization help to account for the fact that after four sures that will strengthen and guide us for faithfulness in the centuries of Catholic mission and a century and a half of Protes kingdom. tant mission, barely one percent of the population of Thailand has been attracted to the Christian Gospel? G. C. Oosthuizen follows Whiteman with a detailed account of the runaway appeal of the Zionist churches among South On Page African blacks. Soon, reports Oosthuizen, half of the population 2 Contextualization: The Theory, the Gap, the of Christian blacks will be members of Zionist-type African Challenge Independent Churches. Meanwhile, according to the SouthAfri Darrell L. -
The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 6: War and Peace, Sex and Violence
The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 6: War and Peace, Sex and Violence The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ziolkowski, Jan M. The Juggler of Notre Dame and the Medievalizing of Modernity. Volume 6: War and Peace, Sex and Violence. Cambridge, UK: Open Book Publishers, 2018. Published Version https://www.openbookpublishers.com/product/822 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40880864 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Juggler of Notre Dame and the Medievalizing of Modernity VOLUME 6: WAR AND PEACE, SEX AND VIOLENCE JAN M. ZIOLKOWSKI THE JUGGLER OF NOTRE DAME VOLUME 6 The Juggler of Notre Dame and the Medievalizing of Modernity Vol. 6: War and Peace, Sex and Violence Jan M. Ziolkowski https://www.openbookpublishers.com © 2018 Jan M. Ziolkowski This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Jan M. Ziolkowski, The Juggler of Notre Dame and the Medievalizing of Modernity. -
A Guide to Verdi's Requiem
A Guide to Verdi’s Requiem Created by Dr. Mary Jane Ayers You may have heard that over the last 29 years, texts of the mass. The purpose of the requiem the Sarasota Opera produced ALL of the mass is to ask God to give rest to the souls of operatic works of composer Guiseppi Verdi, the dead. The title “requiem” comes from the including some extremely famous ones, Aida, first word of the Latin phrase, Requiem Otello, and Falstaff. But Verdi, an amazing aeternam dona eis, Domine, (pronounced: reh- opera composer, is also responsible for the qui-em ay-tare-nahm doh-nah ay-ees, daw- creation of one of the most often performed mee-nay) which translates, Rest eternal grant religious works ever written, the Verdi them, Lord. Requiem. Like many of his operas, Verdi’s Requiem is written for a massive group of performers, including a double chorus, large orchestra, and four soloists: a soprano, a mezzo-soprano (a medium high female voice), a tenor, and a bass. Gregorian chant version of the beginning of a The solos written for the Requiem require Requiem, composed 10th century singers with rich, full, ‘operatic’ voices. So what is a requiem, and why would Verdi So why did Verdi decide to write a requiem choose to compose one? mass? In 1869, Verdi lost his friend, the great composer Giacomo Rossini. Verdi worked with other composers to cobble together a requiem with each composer writing a different section of the mass, but that did not work out. Four years later another friend died, and Verdi decided to keep what he had already composed and complete the rest of the entire requiem. -
Pdf • an American Requiem
An American Requiem Our nation’s first cathedral in Baltimore An American Expression of our Roman Rite A Funeral Guide for helping Catholic pastors, choirmasters and families in America honor our beloved dead An American Requiem: AN American expression of our Roman Rite Eternal rest grant unto them, O Lord, And let perpetual light shine upon them. And may the souls of all the faithful departed, through the mercy of God, Rest in Peace. Amen. Grave of Father Thomas Merton at Gethsemane, Kentucky "This is what I think about the Latin and the chant: they are masterpieces, which offer us an irreplaceable monastic and Christian experience. They have a force, an energy, a depth without equal … As you know, I have many friends in the world who are artists, poets, authors, editors, etc. Now they are well able to appre- ciate our chant and even our Latin. But they are all, without exception, scandalized and grieved when I tell them that probably this Office, this Mass will no longer be here in ten years. And that is the worst. The monks cannot understand this treasure they possess, and they throw it out to look for something else, when seculars, who for the most part are not even Christians, are able to love this incomparable art." — Thomas Merton wrote this in a letter to Dom Ignace Gillet, who was the Abbot General of the Cistercians of the Strict Observance (1964) An American Requiem: AN American expression of our Roman Rite Requiescat in Pace Praying for the Dead The Carrols were among the early founders of Maryland, but as Catholic subjects to the Eng- lish Crown they were unable to participate in the political life of the colony. -
The International Council of Christians and Jews and the University of Fribourg
THE INTERNATIONAL COUNCIL OF CHRISTIANS AND JEWS AND THE UNIVERSITY OF FRIBOURG Martin Klöckener THE ICCJ AT FRIBOURG 1948 1 From 21 to 28 July 1948 the ICCJ met for the first time at the University of Fribourg.2 The Chronicle speaks of around 130 participants from 17 countries. The location was chosen not only because of the international reputation of its uni- versity, but also because of its favourable position on the railway axis between Lausanne and Bern and its bridge function between the cultures. The participants were lodged mainly in the international seminary Salesianum, in rooms without running water. These were in every respect different times: postwar times, times of need, but also times of upheaval and of creativity in Jewish-Christian encounter. The conference received words of greeting from Swiss federal president Celio, minister Petitpierre, from the Bishop of Fribourg, François Charrière, and from John Foster Dulles, then chief of the US delegation at the United Nations gather- ing in Paris. At the opening, the Rector of the university, Oskar Vasella, spoke, as did Jules Bovet in the name of the canton, and Everett R. Clinchy, president of the ICCJ. The president of the conference was Henri N. MacCracken, 48 49 president of Vassar College in the State of New York, who unwillingly The emergency conference for dealing with anti-Semitism took place in provided a bit of humour at the opening session. After his speech, in Seelisberg (Canton Uri) 30 July to 5 August 1947. From Fribourg came which he spoke of a “historic hour”, he sat down and the chair broke under two participants: the Dominican Jean de Menasce, a Jew from Egypt who his weight.3 The conference languages were English and French. -
Thomas of Celano and the "Dies Irae" 43
Thomas of Celano and the "D ies Irae Donald E. Demaray Thomas of Celano� "Friar Minor, poet, and hagiographical ^ writer. was probably born at Celano in the Province of Abruzzi, about 1200. It is thought that he died about 1255, though neither the date of his birth nor death is absolutely known to scholars of medi eval history. A Franciscan friar, he was the devout biographer and disciple of St. Francis of Assisi. In regard to the latter he was one of the first group (comprising eleven) of disciples who followed St. Francis. Thomas joined this group in 1214, and traveled in Germany spreading the good news of a redeeming Christ, Upon one occasion it is thought that he went into Germany with Caesar of Speyer. The following year he was made custos of the convents at Mayence, Worms, Speyer, and Cologne. Later, Caesar of Speyer, on his return to Italy, made him vicar in the government of the German province. Then, Thomas was an early biographer of St. Francis. Some say he was the first biographer, while others say he was only an early writer on the life of St. Francis. He was commissioned by Gregory IX to write Francis' life. In 1229 he completed the First Legend, while in 1247, at the command of the minister general, he wrote the Second Legend. There was yet a third volume entitled the Tract on the Miracles of St. Francis. The latter was published a few years after the Second Legend, at the encouragement of the Blessed John of Parma. Henry Osborn Taylor has characterized the Franciscan monk as follows: One of the earliest biographers of St. -
'Dies Irae' & 'Tuba Mirum'
‘Dies Irae’ & ‘Tuba Mirum’ by Giuseppe Verdi PRIMARY CLASSROOM LESSON PLAN For: Key Stage 2 in England and Wales Second Level, P5-P7 in Scotland Key Stage 1/Key Stage 2 in Northern Ireland Written by Rachel Leach Background The composer: Giuseppe Verdi (1813 – 1901) Italian composer One of the most popular opera composers of all time Wrote 29 operas, many feature hummable tunes that were instant ‘hits’ with the Italian people The music: ‘Dies Irae’ & ‘Tuba Mirum’ from “Requiem” A “Requiem” is a setting of the Catholic ‘Mass for the dead’ Requiems are usually written for huge orchestra, soloists and feature a large chorus singing in Latin Verdi’s Requiem was written in 1874 in memory of a friend ‘Dies Irae’ is a scary section otherwise known as ‘The Day of Judgement’ In the Latin text, ‘Tuba Mirum’ is a section that calls for the trumpets to ‘cast a wondrous sound’. Verdi uses many trumpets playing a huge fanfare Learning outcomes Learners will: listen and reflect on a piece of orchestral music invent their own musical motifs and structure them into a piece perform as an ensemble learn musical language appropriate to the task Curriculum checklist Play and perform in ensemble contexts, using voices and playing musical instruments © Rachel Leach and BBC, 2018 Improvise and compose music for a range of purposes using the interrelated dimensions of music Listen with attention to detail and recall sounds with increasing aural memory Glossary of music terms used Antiphonal two sections that alternate Chant words spoken in rhythm to a pulse Dies Irae a scary section within the Requiem called ‘Day of Judgement’ Off-beat weak beats placed in between the stronger main beats Orchestrate choose which instruments take which roles Ostinato a repeating pattern Pitched percussion percussion instruments that can play different pitches – xylophones, glockenspiels, chime bars etc. -
Why Judaeo-Christian Studies? John M
Seton Hall University eRepository @ Seton Hall The eS lected Works of John M. Oesterreicher The nI stitute of Judaeo-Christian Studies 1954 Why Judaeo-Christian Studies? John M. Oesterreicher Seton Hall University Follow this and additional works at: https://scholarship.shu.edu/oesterreicher Part of the Biblical Studies Commons, Christianity Commons, and the Jewish Studies Commons Recommended Citation John M. Oestereicher, Why Judaeo-Christian Studies? South Orange, NJ: Institute of Judaeo-Christian Studies, 1954. Whff JUDAEO.CHRISTIAN STUDIES The Inaugural Ledure of The Institute of ludaeo-Christian Studies by JOHN M. OESTERREICHER With an Introduction by JOHN J. DOUGHERTY SETON HALL UNIVERSilY UNIVERSllY LIBRARIES SOUTH ORANGE, NJ 07079 THE INSTITUTE OF lUDAEO-CHRISTIAN STUDIES SETON HALL UNIVERSITY BM Nihil obstat MSGR. PETER B. O'CONNOR Censor Librorum S-,S Imprimatur ~ THOMAS A. BOLAND, S.T.D., Archbishop of N&worlc 9"'15" January eighteenth, 1954 115~ cp.3 Cover design by Elizabeth Brison Text of the cover from Wisdom. 00. 7 Printed by the Carlos L6pez Press Published by THE INSTITUTE OF JUDAEO-CHRJSTIAN STUDIES Seton Hall University, 31 Clinton Street. Newark 2. N.J. TO THE MEMORY OF PI U 5 XI When Hitler began his wcr of hate against Christian and Jews, and governments still were silent, the great Pope spoke out. West- ern civilization was born, he reminded all, with Abraham's loving sacrifice, and in the spirit, Abraham is every Christian's father. A BRIEF HISTORY "The Old and New Testaments ate joined in the one figure of Christ." These were the words of His Excellency Archbishop Thomas A. -
The Future of Music. Made Here
the future of music. made here. Academic Catalog : 2018 / 2019 NEW ENGLAND CONSERVATORY Founded 1867 290 Huntington Avenue, Boston, MA 02115 Phone (617) 585-1100 Fax (617) 262-0500 necmusic.edu Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 The information herein is subject to change and amendment without notice. Edited by Rebecca Teeters, June 2018 For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. NEW ENGLAND CONSERVATORY IS ACCREDITED BY THE NEW ENGLAND ASSOCIATION OF SCHOOLS AND COLLEGES. NEW ENGLAND CONSERVATORY DOES NOT DISCRIMINATE ON THE BASIS OF RACE, COLOR, RELIGION, SEX, AGE, NATIONAL OR ETHNIC ORIGIN, SEXUAL ORIENTATION, PHYSICAL OR MENTAL DISABILITY, GENETIC MAKE-UP, OR VETERAN STATUS IN THE ADMINISTRATION OF ITS EDUCATIONAL POLICIES, ADMISSION POLICIES, EMPLOYMENT POLICIES, SCHOLARSHIP AND LOAN PROGRAMS OR OTHER CONSERVATORY-SPONSORED ACTIVITIES. table of contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-41 Academic Regulations and Information 43-45 Health Services and Residence Hall Information 47-53 Financial Information 55-69 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 71 Music-in-Education Concentration 73-89 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate -
The Dominicans by Benedict M. Ashley, O. P. Contents Foreword 1
The Dominicans by Benedict M. Ashley, O. P. Contents Foreword 6. Debaters (1600s) 1. Founder's Spirit 7. Survivors (1700s) 2. Professor's (1200s) 8. Compromise (1800s) 3. Mystics (1300s) 9. Ecumenists (1900s) 4. Humanists (1400s) 10. The Future 5. Reformers (1500s) Bibliography Download a self-extracting, zipped, text version of the book, in MSWord .doc files, by clicking on this filename: ashdom.exe. Save to your computer and extract by clicking on the filename. Foreword In our pluralistic age we recognize many traditions have special gifts to make to a rich, well-balanced spirituality for our time. My own life has shown me the spiritual tradition stemming from St. Dominic, like that from his contemporary St. Francis, provides ever fresh insights. No tradition, however, can be understood merely by looking at its origins. We must see it unfold historically in those who have been formed by that tradition in many times and situations and have furthered its development. To know its essential strength, we need to see it tested, undergoing deformations yet recovering and growing. Therefore, I have tried to survey its eight centuries to give some sense of its chronology and its individual personalities, and of the inclusive Dominican Family. I have aimed only to provide a sketch to encourage readers to use the bibliography to explore further, but with regret I have omitted all documentation except to indicate the source of quotations. Translated 1 quotations are mine. I thank Sister Susan Noffke, O.P., Fr. Thomas Donlan, O.P., for encouraging this project and my Provincial, Fr.