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PowerPoints for Instructors and Students © 2016 Cengage Learning Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Chapter 7 Early Western Music Pages 64-70 © 123455543/Shutterstock.com Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Ancient Times • From 800 B.C. to A.D. 476 city states dominant • Greek civilization flourished in Athens • Roman civilization adopted much from Greek civilization Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Ancient Greece • Doctrine of ethos • Pythagoras discovered acoustical ratios • Lyre Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music The Middle Ages • About 476 to 1100 • Otherworldly outlook • Monasteries preserved writings Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Gregorian Chant • Developed under direction of Pope Gregory in sixth century • Created a liturgy for the Christian church Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Gregorian Chant • Nonmetrical rhythm • Monophonic texture • Smooth contour • Modal scales • Latin text • Sung by monks and priests • Restrained, reverent mood Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music The Mass • Symbolic re-enactment of Last Supper – Proper – for certain days in Church calendar – Ordinary – ordinarily included • Kyrie – “Lord have mercy” • Gloria – “Glory to God on high” • Credo – “We believe in one God” • Sanctus – “Holy, Holy, Holy” • Agnus Dei – “Lamb of God” Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Requiem Mass • Funeral or “Requiem” Mass • Gloria and Credo omitted • Dies irae added Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Hildegard: Ordo virtutum • Morality play • Characters are the Devil and the sixteen Virtues – Humility, Mercy, Faith, and others • Melodies are chant-like • Sung by nuns, except Devil Heritage Images/Hulton Archive/Getty Images Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey Chapter 7: Early Western Music PART II Early, Medieval, and Renaissance Music Summary • Ancient Times • Ancient Greece • The Middle Ages • Gregorian Chant – “Dies irae” • The Mass • Requiem Mass • Hildegard: Ordo virtutum Music Listening Today (6th Edition) by Charles Hoffer and Darrell Bailey .

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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.
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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.
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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.
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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.
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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.
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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.
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'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.
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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
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PROGRAM for the CHOIR at REQUIEM MASS the GREGORIAN REQUIEM MASS Note: According to the Ceremonial of Bishops
PROGRAM FOR THE CHOIR AT REQUIEM MASS THE GREGORIAN REQUIEM MASS Note: According to the Ceremonial of Bishops,. I. o.x:x:viii. n.13 S. R. C. 4156, the use of musical instruments is not permitted in the Office of the dead; At the .Mass and at the Absolutionai' ter .Mass, the organ may oe used to accompany the voices but shall be silent when the chant cease8. (S.R.C. 3827) and 4265). From this it will be understood that Funeral .Marcnes before and after the .Mass are not permitted. For this reason it is sug·g·ested that the Responsory-: IISubveniteJJ be fmng as the Procession enters the Cliurch. In some pl&ces it is customary for the Choir to lelld the Funeral procession from the door of the Church to the Alhr, singing the •'Subvenite" as given in the proper Chant or in other approved forms. "MISSA CANTATA" or SOLEMN HIGH MASS. 1.PROCESSION: "Subvenite" (Page 425 or 428) 2.INTROIT: "Requiem aeternllm, (Begun when the Celebrant goes toward the foot of the Altar for the first prayers.) To be sung as given-in full. (270) • 3 .KYRIE:- Follows the Introit without pause. ( 270- A) 4.PRAYERS AND EPISTLE: After the first prayer, if it be a Solemn High Mass,the Choir will wait until the Epistle is sung before beginning the Graduale; If a High Mass the Choir will begin the Graduale etc. while the Priest recites the Epistle. 5.GRADUALE: "Requiem Aeternam'' ( 270-B) bb- or b,b,b. 6.TRACTUS: "Absolve Domine'' ( 270-C) cc-orc,c,c.
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NEC Academic Catalog FINAL.Pdf
New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 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 Fax (617) 262-0500 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. For more information, see the Anti-Harassment and Anti-Sexual Harassment Policies found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland and co-edited by Rebecca Teeters, June and July 2015. The information herein is subject to change and amendment without notice. Table of Contents 2 College Administrative Personnel 3-7 College Faculty 8-9 Academic Calendar 11-49 Academic Regulations and Information 51-53 Health Services and Residence Hall Information 55-61 Financial Information 63-77 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 79 Music-in-Education Concentration 81-97 Graduate Programs of Study Master of Music Vocal Pedagogy
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A Study of Musical and Extra-Musical Imagery in Rachmaninoff's "Etudes-Tableaux", Opus 39." (1990)
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 A Study of Musical and Extra-Musical Imagery in Rachmaninoff 's "Etudes-Tableaux", Opus 39. Raymond J. Gitz Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gitz, Raymond J., "A Study of Musical and Extra-Musical Imagery in Rachmaninoff's "Etudes-Tableaux", Opus 39." (1990). LSU Historical Dissertations and Theses. 5049. https://digitalcommons.lsu.edu/gradschool_disstheses/5049 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
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A Time for Recommitment
A TIME FOR RECOMMITMENT JEWISH CHRISTIAN DIALOGUE 70 YEARS AFTER WAR AND SHOAH www.kas.de EDITORIAL REFERENCES CONTENTS The Twelve Berlin Points and the Declaration of Berlin as well as the papers by Marc Saperstein and Deborah Weissman were translated from 5 | PREFACE English into German by Christian Wiese. The introduction by Martin Bernhard Vogel | Konrad-Adenauer-Stiftung Klöckener was translated into English by Benedict Viviano. Eva Schulz- 9 | PREFACE Jander translated the summary of Richard Sklba’s presentation into Deborah Weissman | International Council the English language. Deborah Weissman’s preface was translated into of Christians and Jews German by Christoph Münz. The preface by Bernhard Vogel was 11 | PREFACE translated into English by Wilfried Becker. Eva Schulz-Jander | Deutscher Koordinierungsrat The list of Contributors to the ICCJ document “A Time Recommitment. 13 | A TIME FOR RECOMMITMENT The Twelve Points of Berlin” is only given in the German version because of technical reasons. 21 | THE STORY OF THE TRANSFORMATION OF A RELATIONSHIP 44 | TEN POINTS OF SEELISBERG 47 | THE INTERNATIONAL COUNCIL OF CHRISTIANS AND JEWS AND THE UNIVERSITY OF FRIBOURG Martin Klöckener 55 | BUMPS, FORKS AND DETOURS ON THE ROAD TO GOD’S KINGDOM Marc Saperstein 69 | REDISCOVERING: © 2009, Konrad-Adenauer-Stiftung e.V., Sankt Augustin /Berlin “AN IMMENSE PATRIMONY” Richard Sklba All rights reserved. 73 | “THE LONG AND BUMPY ROAD” No part of this book may be reproduced or utilised in any form or by Deborah Weissman any means, electronically or mechanically, without written permission of the publisher. 81 | THE AUTHORS Layout: SWITSCH Kommunikationsdesign, Cologne Typesetting: workstation gmbh, Bonn Foto Cover: (c) fotolia Print: Printed by Franz Paffenholz GmbH, Bornheim This publication was printed with financial support of the Federal Republic of Germany.
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