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Moraimde315 Center Street (Rt
y A 24—MANCHESTER HERALD. Friday, April 13, 1990 LEGAL NOTICE DON’T KNOW Where to Is advertising expensive? TOWN OF BOLTON look next for a lob? How I cod CLEANING MISCELLANEOUS ■07 |j MISCELLANEOUS You'll be surprised now I CARS ZONING BOARD OF APPEALS about placing a “Situa 1SERVICES FOR SALE FOR SALE economical It Is to adver FOR SALE Notice is here by given that there will be a public hearing of the tion Wanted" ad In tise In Classified. 643-2711. classified? Zoning Board of >^peals, on Thursday, April 26, 1990 at 7 NO TIM E TO CLEAN. SAFES-New and used. DODGE - 1986. ’150’, 318 p.m. at the Bolton Town Hall, 222 Bolton Center Road, Bolton, Don't really like to END RO LLS Trade up or down. CIO, automatic, bed CT. A clean but hate to come f o o l ROOMMATES 27V4" width — 504 Liberal allowance for WANTED TO liner, tool box, 50K, 1. To hear appeal of Gary Jodoin, 23 Brian Drive for a rear home to a dirty house. I $5500. 742-8669. [ ^ W A N T E D 13" width — 2 for 504 clean safes In good Ibuy/ trade set-back variance for a porch. Coll us 1 We’re reaso condition. American 2. To hear appeal of MIton Hathaway, 40 Quarry Road for a nable and we do a good Newsprint and rolls can bs Graduating? House and picked up at the Manchester Security Corp. Of CT, WANTED: Antiques and special permit to excavate sand & gravel at 40 Quarry Road. -
The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
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. -
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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. -
Southern Black Gospel Music: Qualitative Look at Quartet Sound
LIBERTY UNIVERSITY SOUTHERN BLACK GOSPEL MUSIC: QUALITATIVE LOOK AT QUARTET SOUND DURING THE GOSPEL ‘BOOM’ PERIOD OF 1940-1960 A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY BY BEATRICE IRENE PATE LYNCHBURG, V.A. April 2014 1 Abstract The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the ‘Southern’ gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term ‘gospel boom.’ The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940’s, 50’s, and 60’s, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets—The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones—to define what southern black gospel music is, its components, and to identify important cultural elements of the music. -
Singing the Prostopinije Samohlasen Tones in English: a Tutorial
Singing the Prostopinije Samohlasen Tones in English: A Tutorial Metropolitan Cantor Institute Byzantine Catholic Metropolia of Pittsburgh 2006 The Prostopinije Samohlasen Melodies in English For many years, congregational singing at Vespers, Matins and the Divine Liturgy has been an important element in the Eastern Catholic and Orthodox churches of Southwestern Ukraine and the Carpathian mountain region. These notes describes one of the sets of melodies used in this singing, and how it is adapted for use in English- language parishes of the Byzantine Catholic Church in the United States. I. Responsorial Psalmody In the liturgy of the Byzantine Rite, certain psalms are sung “straight through” – that is, the verses of the psalm(s) are sung in sequence, with each psalm or group of psalms followed by a doxology (“Glory to the Father, and to the Son…”). For these psalms, the prostopinije chant uses simple recitative melodies called psalm tones. These melodies are easily applied to any text, allowing the congregation to sing the psalms from books containing only the psalm texts themselves. At certain points in the services, psalms or parts of psalms are sung with a response after each verse. These responses add variety to the service, provide a Christian “pointing” to the psalms, and allow those parts of the service to be adapted to the particular hour, day or feast being celebrated. The responses can be either fixed (one refrain used for all verses) or variable (changing from one verse to the next). Psalms with Fixed Responses An example of a psalm with a fixed response is the singing of Psalm 134 at Matins (a portion of the hymn called the Polyeleos): V. -
N.I.Il`Minskii and the Christianization of the Chuvash
Durham E-Theses Narodnost` and Obshchechelovechnost` in 19th century Russian missionary work: N.I.Il`minskii and the Christianization of the Chuvash KOLOSOVA, ALISON,RUTH How to cite: KOLOSOVA, ALISON,RUTH (2016) Narodnost` and Obshchechelovechnost` in 19th century Russian missionary work: N.I.Il`minskii and the Christianization of the Chuvash, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11403/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 1 Narodnost` and Obshchechelovechnost` in 19th century Russian missionary work: N.I.Il`minskii and the Christianization of the Chuvash PhD Thesis submitted by Alison Ruth Kolosova Material Abstract Nikolai Il`minskii, a specialist in Arabic and the Turkic languages which he taught at the Kazan Theological Academy and Kazan University from the 1840s to 1860s, became in 1872 the Director of the Kazan Teachers‟ Seminary where the first teachers were trained for native- language schools among the Turkic and Finnic peoples of the Volga-Urals and Siberia. -
SOUROZH MESSENGER No. 10
RUSSIAN ORTHODOX CHURCH DIOCESE OF SOUROZH CATHEDRAL OF THE DORMITION OF THE MOTHER OF GOD 67 ENNISMORE GARDENS, LONDON SW7 1NH Sourozh Messenger No 10 April 2018 £2 3rd Sunday of Pascha The Myrrh-Bearing Women Troparion, Kontakion, Tone 2 Tone 2 When Thou didst stoop to death, O Thou hast risen from the tomb, O Life immortal, and by the lightning All-powerful Saviour, and at this flash of Thy divinity didst harrow wondrous sight, hell was struck hell; when from the nethermost with fear and the dead rose. The parts Thou didst raise up the dead creation also rejoiceth in Thee, all the powers of heaven cried: and Adam is exceeding glad; and Giver of Life, O Christ our God, theworld, O my Saviour, sings Thy glory be to Thee! praises forever. April 2018 List of contents In this issue: Paschal celebration at the parish of St Silouan of Mt Athos, Paschal message of His Holiness Southampton .......................................20 Kirill, Patriarch of Moscow and All Russia ................................................3 NOTES ON THE CHURCH CALENDAR The Myrrh-Bearing Women: On the relationshop of the Orthodox Women’s Day................22 Russian Orthodox Church to current events.........................................5 BRITISH AND IRISH SAINTS Venerable Enda, Holy Fire was brought from Abbot of Inishmore ..........................24 Jerualem to the British Isles for Paschal celebrations..............6 LEGACY OF METROPOLITAN ANTHONY OF SOUROZH DIOCESAN NEWS......................................7 Meeting a non-Orthodox Society. CATHEDRAL NEWS..................................9 -
New Oxford History of Music Volume Ii
NEW OXFORD HISTORY OF MUSIC VOLUME II EDITORIAL BOARD J. A. WESTRUP (Chairman) GERALD ABRAHAM (Secretary) EDWARD J. DENT DOM ANSELM'HUGHES BOON WELLESZ THE VOLUMES OF THE NEW OXFORD HISTORY OF MUSIC I. Ancient and Oriental Music ii. Early Medieval Music up to 1300 in. Ars Nova and the Renaissance (c. 1300-1540) iv. The Age of Humanism (1540-1630) v. Opera and Church Music (1630-1750) vi. The Growth of Instrumental Music (1630-1750) vn. The Symphonic Outlook (1745-1790) VIIL The Age of Beethoven (1790-1830) ix. Romanticism (1830-1890) x. Modern Music (1890-1950) XL Chronological Tables and General Index ' - - SACRED AND PROFANE MUSIC (St. John's College, MS. B. Cambridge, 18.) Twelfth century EARLY MEDIEVAL MUSIC UP TO BOO EDITED BY DOM ANSELM HUGHES GEOFFREY CUMBERLEGE OXFORD UNIVERSITY PRESS LONDON NEWYORK TORONTO 1954 Oxford University Press, Amen House, London E.C.4 GLASGOW NEW YORK TORONTO MELBOURNE WELLINGTON BOMBAY CALCUTTA MADRAS KARACHI CAPE TOWN IBADAN Geoffrey Cumberlege, Publisher to the University PRINTED IN GREAT BRITAIN GENERAL INTRODUCTION THE present work is designed to replace the Oxford History of Music, first published in six volumes under the general editorship of Sir Henry Hadow between 1901 and 1905. Five authors contributed to that ambitious publication the first of its kind to appear in English. The first two volumes, dealing with the Middle Ages and the sixteenth century, were the work of H. E. Wooldridge. In the third Sir Hubert Parry examined the music of the seventeenth century. The fourth, by J. A. Fuller-Maitland, was devoted to the age of Bach and Handel; the fifth, by Hadow himself, to the period bounded by C. -
Luther's Hymn Melodies
Luther’s Hymn Melodies Style and form for a Royal Priesthood James L. Brauer Concordia Seminary Press Copyright © 2016 James L. Brauer Permission granted for individual and congregational use. Any other distribution, recirculation, or republication requires written permission. CONTENTS Preface 1 Luther and Hymnody 3 Luther’s Compositions 5 Musical Training 10 A Motet 15 Hymn Tunes 17 Models of Hymnody 35 Conclusion 42 Bibliography 47 Tables Table 1 Luther’s Hymns: A List 8 Table 2 Tunes by Luther 11 Table 3 Tune Samples from Luther 16 Table 4 Variety in Luther’s Tunes 37 Luther’s Hymn Melodies Preface This study began in 1983 as an illustrated lecture for the 500th anniversary of Luther’s birth and was presented four times (in Bronxville and Yonkers, New York and in Northhampton and Springfield, Massachusetts). In1987 further research was done on the question of tune authorship and musical style; the material was revised several times in the years that followed. As the 500th anniversary of the Reformation approached, it was brought into its present form. An unexpected insight came from examining the tunes associated with the Luther’s hymn texts: Luther employed several types (styles) of melody. Viewed from later centuries it is easy to lump all his hymn tunes in one category and label them “medieval” hymns. Over the centuries scholars have studied many questions about each melody, especially its origin: did it derive from an existing Gregorian melody or from a preexisting hymn tune or folk song? In studying Luther’s tunes it became clear that he chose melody structures and styles associated with different music-making occasions and groups in society. -
Syllabus for MUS 350—Hymnology 2 Credit Hours Spring 2003
Syllabus for MUS 350—Hymnology 2 Credit Hours Spring 2003 I. COURSE DESCRIPTION Studies the development of hymnody from the Early Church to contemporary usages. Examines 19th and 20th century Gospel hymns and their effective use in the Christian church of today. Prerequisities: None II. COURSE GOALS The purpose of this course is to enable the student to obtain information concerning the development of hymns in Christianity for those in the ministry of music in making congregational singing more interesting, meaningful, and spiritually informative. III. COURSE OBJECTIVES As a result of successfully completing this course, the student will be able to do the following: A. Name the major hymn text and hymn tune writers. B. Trace important hymnody tends. C. Describe the use of hymnals in terms of format, context, purpose, and design. IV. TEXTBOOKS Required Textbooks Eskew, Harry and Hugh McElrath. Sing with Understanding. Nashville: Church Street Press, 1995. Fettke, Tom. The Celebration Hymnal. Nashville: Word Music, 1997. V. POLICIES AND PROCEDURES C. University Policies and Procedures 1. Attendance at each class or laboratory is mandatory at Oral Roberts University. 2. Double cuts will be assessed for absences immediately preceding or following holidays. 3. Excessive absences can reduce a student’s grade or deny credit for the course. 4. Students taking a late exam because of an unauthorized absence will be charged a late exam fee. 5. Students and faculty at Oral Roberts University adhere to all laws addressing the ethical use of others’ materials, whether it is in the form of print, video, multimedia, or computer software. 6. -
Book Banquet. a Summer Reading Program Manual. INSTITUTION New York State Library, Albany
DOCUMENT RESUME ED 368 364 IR 054 929 AUTHOR Ward, Caroline; Levine, Joyce TITLE Book Banquet. A Summer Reading Program Manual. INSTITUTION New York State Library, Albany. SPONS AGENCY Gaylord Bros., Liverpool, NY.; Office of Educational Research and Improvement (ED), Washington, DC. Office of Library Programs. PUB DATE 93 NOTE 283p.; Art by Steven Kellogg and Rachel S. Fox. PUB TYPE Guides NonClassroom Use (055) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art Activities; Childrens Art; *Childrens Libraries; *Childrens Literature; Elementary Secondary Education; Fiction; Library Planning; *Library Services; Nonfiction; Program Development; Program Implementation; Publicity; *Public Libraries; *Reading Programs; Resource Materials; State Libraries; State Programs; *Summer Programs IDENTIFIERS New York State Library ABSTRACT This manual for the 1993 New York State summer reading program, "Book Banquet," ties books and reading together with the theme of eating. The manual offers program ideas, activities, and materials. The following chapters are included: (1) "Appetizers" (planning, publicity, and promotion);(2) "Setting the Table" (decorations and display);(3) "Main Course--Reading";(4) "a la carte" (programs and activities);(5) "Delectable Desserts" (crafts, games, puzzles, mazes, and shopping); and (6) "Basic Pantry" (books, media, and other resources). The annotated bibliography of the "Basic Pantry" section includes 130 works of fiction for children, 106 works of