Plainchant Tradition*
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The Holy See
The Holy See APOSTOLIC JOURNEY OF HIS HOLINESS BENEDICT XVI TO BRAZIL ON THE OCCASION OF THE FIFTH GENERAL CONFERENCE OF THE BISHOPS OF LATIN AMERICA AND THE CARIBBEAN INAUGURAL SESSION OF THE FIFTH GENERAL CONFERENCE OF THE BISHOPS OF LATIN AMERICA AND THE CARIBBEAN ADDRESS OF HIS HOLINESS BENEDICT XVI Conference Hall, Shrine of Aparecida Sunday, 13 May 2007 Dear Brother Bishops, beloved priests, religious men and women and laypeople, Dear observers from other religious confessions: It gives me great joy to be here today with you to inaugurate the Fifth General Conference of the Bishops of Latin America and the Caribbean, which is being held close to the Shrine of Our Lady of Aparecida, Patroness of Brazil. I would like to begin with words of thanksgiving and praise to God for the great gift of the Christian faith to the peoples of this Continent. Likewise, I am most grateful for the kind words of Cardinal Francisco Javier Errázuriz Ossa, Archbishop of Santiago and President of CELAM, spoken in his own name, on behalf of the other two Presidents and for all the participants in this General Conference. 1. The Christian faith in Latin America Faith in God has animated the life and culture of these nations for more than five centuries. From the encounter between that faith and the indigenous peoples, there has emerged the rich Christian culture of this Continent, expressed in art, music, literature, and above all, in the religious traditions and in the peoples’ whole way of being, united as they are by a shared history and a 2 shared creed that give rise to a great underlying harmony, despite the diversity of cultures and languages. -
New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................ -
A Comparison of the Two Forms of the Roman Rite
A Comparison of the Two Forms of the Roman Rite Mass Structures Orientation Language The purpose of this presentation is to prepare you for what will very likely be your first Traditional Latin Mass (TLM). This is officially named “The Extraordinary Form of the Roman Rite.” We will try to do that by comparing it to what you already know - the Novus Ordo Missae (NOM). This is officially named “The Ordinary Form of the Roman Rite.” In “Mass Structures” we will look at differences in form. While the TLM really has only one structure, the NOM has many options. As we shall see, it has so many in fact, that it is virtually impossible for the person in the pew to determine whether the priest actually performs one of the many variations according to the rubrics (rules) for celebrating the NOM. Then, we will briefly examine the two most obvious differences in the performance of the Mass - the orientation of the priest (and people) and the language used. The orientation of the priest in the TLM is towards the altar. In this position, he is facing the same direction as the people, liturgical “east” and, in a traditional church, they are both looking at the tabernacle and/or crucifix in the center of the altar. The language of the TLM is, of course, Latin. It has been Latin since before the year 400. The NOM was written in Latin but is usually performed in the language of the immediate location - the vernacular. [email protected] 1 Mass Structure: Novus Ordo Missae Eucharistic Prayer Baptism I: A,B,C,D Renewal Eucharistic Prayer II: A,B,C,D Liturgy of Greeting: Penitential Concluding Dismissal: the Word: A,B,C Rite: A,B,C Eucharistic Prayer Rite: A,B,C A,B,C Year 1,2,3 III: A,B,C,D Eucharistic Prayer IV: A,B,C,D 3 x 4 x 3 x 16 x 3 x 3 = 5184 variations (not counting omissions) Or ~ 100 Years of Sundays This is the Mass that most of you attend. -
An Overview of Russia's Late Mediaeval Musical
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 183–197 ISSN 2342-1258 https://journal.fi/jisocm An Overview of Russia’s Late Mediaeval Musical Culture, and the “New Repertoires”: Demestvenny, Put and Strochnóe Singing and Notations Nikita Simmons [email protected] Part I. Znamenny Chant and Stolp Notation1 In the primary tradition of Znamenny singing, almost all chant books of the Russian liturgical tradition used Stolp (Znamenny) notation. The Slavonic word stolp (pillar) describes the eight-week cycle of the Octoechos, while the Slavonic term znamya means “mark”, “note”, or “neume”. Slavic Stolp notation (along with early chant repertoire) has been in use since the tenth century (having been derived from Coislin B Palaeobyzantine notation), and in its latest stage of development it is still used by Russian Old Ritualists up to the present time. Beyond the basic level of neume-by-neume notation, Stolp chanting includes three methods of presenting complex melodic features: popévki, litsá and fíty, each of which were traditionally memorized by singers. (Popévki, also called kokízy2, are established sequences of neumes which are the essential “building blocks” of Znamenny chants, while litsa and fity are more lengthy and complex melodic patterns.) These contextual groups of symbols are usually referred to as “múdrye stróki” (“wise lines” or short- hand), indicating the use of “tainozamknénnost” (“secret-closure” or encryption). Stolp chanting, like its Byzantine parent, is organized according to the system of eight Tones, and each Tone (Slavonic: glas) contains a repertoire of popevki, fity and 1 Among the ranks of musicologists who have contributed significantly to the recovery of Russia’s late medieval musical traditions, we are most indebted to М.В. -
Church and Liturgical Objects and Terms
Church and Liturgical Objects and Terms Liturgical Objects Used in Church The chalice: The The paten: The vessel which golden “plate” that holds the wine holds the bread that that becomes the becomes the Sacred Precious Blood of Body of Christ. Christ. The ciborium: A The pyx: golden vessel A small, closing with a lid that is golden vessel that is used for the used to bring the distribution and Blessed Sacrament to reservation of those who cannot Hosts. come to the church. The purificator is The cruets hold the a small wine and the water rectangular cloth that are used at used for wiping Mass. the chalice. The lavabo towel, The lavabo and which the priest pitcher: used for dries his hands after washing the washing them during priest's hands. the Mass. The corporal is a square cloth placed The altar cloth: A on the altar beneath rectangular white the chalice and cloth that covers paten. It is folded so the altar for the as to catch any celebration of particles of the Host Mass. that may accidentally fall The altar A new Paschal candles: Mass candle is prepared must be and blessed every celebrated with year at the Easter natural candles Vigil. This light stands (more than 51% near the altar during bees wax), which the Easter Season signify the and near the presence of baptismal font Christ, our light. during the rest of the year. It may also stand near the casket during the funeral rites. The sanctuary lamp: Bells, rung during A candle, often red, the calling down that burns near the of the Holy Spirit tabernacle when the to consecrate the Blessed Sacrament is bread and wine present there. -
Eastern Rite Catholicism
Eastern Rite Catholicism Religious Practices Religious Items Requirements for Membership Medical Prohibitions Dietary Standards Burial Rituals Sacred Writings Organizational Structure History Theology RELIGIOUS PRACTICES Required Daily Observances. None. However, daily personal prayer is highly recommended. Required Weekly Observances. Participation in the Divine Liturgy (Mass) is required. If the Divine Liturgy is not available, participation in the Latin Rite Mass fulfills the requirement. Required Occasional Observances. The Eastern Rites follow a liturgical calendar, as does the Latin Rite. However, there are significant differences. The Eastern Rites still follow the Julian Calendar, which now has a difference of about 13 days – thus, major feasts fall about 13 days after they do in the West. This could be a point of contention for Eastern Rite inmates practicing Western Rite liturgies. Sensitivity should be maintained by possibly incorporating special prayer on Eastern Rite Holy days into the Mass. Each liturgical season has a focus; i.e., Christmas (Incarnation), Lent (Human Mortality), Easter (Salvation). Be mindful that some very important seasons do not match Western practices; i.e., Christmas and Holy Week. Holy Days. There are about 28 holy days in the Eastern Rites. However, only some require attendance at the Divine Liturgy. In the Byzantine Rite, those requiring attendance are: Epiphany, Ascension, St. Peter and Paul, Assumption of the Blessed Virgin Mary, and Christmas. Of the other 15 solemn and seven simple holy days, attendance is not mandatory but recommended. (1 of 5) In the Ukrainian Rites, the following are obligatory feasts: Circumcision, Easter, Dormition of Mary, Epiphany, Ascension, Immaculate Conception, Annunciation, Pentecost, and Christmas. -
Composers' Bridge!
Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training. -
The Development of Musical Notation Carolyn S
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2015 yS mposium Apr 1st, 2:20 PM - 2:40 PM Slashes, Dashes, Points, and Squares: The Development of Musical Notation Carolyn S. Gorog Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, and the Music Theory Commons Gorog, Carolyn S., "Slashes, Dashes, Points, and Squares: The eD velopment of Musical Notation" (2015). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2015/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Slashes, Dashes, Points, and Squares: The development of Musical Notation Slashes, Dashes, Points, and Squares: The Development of Musical Notation Music has been around for a long time; in almost every culture around the world we find evidence of music. Music throughout history started as mostly vocal music, it was transmitted orally with no written notation. During the early ninth and tenth century the written tradition started to be seen and developed. This marked the beginnings of music notation. Music notation has gone through many stages of development from neumes, square notes, and four-line staff, to modern notation. Although modern notation works very well, it is not necessarily superior to methods used in the Renaissance and Medieval periods. In Western music neumes are the name given to the first type of notation used. -
One Hundred Fifteenth Congress of the United States of America
H. R. 1892 One Hundred Fifteenth Congress of the United States of America AT THE SECOND SESSION Begun and held at the City of Washington on Wednesday, the third day of January, two thousand and eighteen An Act To amend title 4, United States Code, to provide for the flying of the flag at half-staff in the event of the death of a first responder in the line of duty. Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, SECTION 1. SHORT TITLE. This Act may be cited as the ‘‘Bipartisan Budget Act of 2018’’. DIVISION A—HONORING HOMETOWN HEROES ACT SECTION 10101. SHORT TITLE. This division may be cited as the ‘‘Honoring Hometown Heroes Act’’. SEC. 10102. PERMITTING THE FLAG TO BE FLOWN AT HALF-STAFF IN THE EVENT OF THE DEATH OF A FIRST RESPONDER SERVING IN THE LINE OF DUTY. (a) AMENDMENT.—The sixth sentence of section 7(m) of title 4, United States Code, is amended— (1) by striking ‘‘or’’ after ‘‘possession of the United States’’ and inserting a comma; (2) by inserting ‘‘or the death of a first responder working in any State, territory, or possession who dies while serving in the line of duty,’’ after ‘‘while serving on active duty,’’; (3) by striking ‘‘and’’ after ‘‘former officials of the District of Columbia’’ and inserting a comma; and (4) by inserting before the period the following: ‘‘, and first responders working in the District of Columbia’’. (b) FIRST RESPONDER DEFINED.—Such subsection is further amended— (1) in paragraph (2), by striking ‘‘, United States Code; and’’ and inserting a semicolon; (2) in paragraph (3), by striking the period at the end and inserting ‘‘; and’’; and (3) by adding at the end the following new paragraph: ‘‘(4) the term ‘first responder’ means a ‘public safety officer’ as defined in section 1204 of title I of the Omnibus Crime Control and Safe Streets Act of 1968 (34 U.S.C. -
Ames High School Music Department Orchestra Course Level Expectations Grades 10-12 OR.PP Position/Posture OR.PP.1 Understands An
Ames High School Music Department Orchestra Course Level Expectations Grades 10-12 OR.PP Position/Posture OR.PP.1 Understands and demonstrates appropriate playing posture without prompts OR.PP.2 Understands and demonstrates correct finger/hand position without prompts OR.AR Articulation OR.AR.1 Interprets and performs combinations of bowing at an advanced level [tie, slur, staccato, hooked bowings, loure (portato) bowing, accent, spiccato, syncopation, and legato] OR.AR.2 Interprets and performs Ricochet, Sul Ponticello, and Sul Tasto bowings at a beginning level OR.TQ Tone Quality OR.TQ.1 Produces a characteristic tone at the medium-advanced level OR.TQ.2 Defines and performs proper ensemble balance and blend at the medium-advanced level OR.RT Rhythm/Tempo OR.RT.1 Defines and performs rhythm patterns at the medium-advanced level (quarter note/rest, half note/rest, eighth note/rest, dotted eighth note, dotted half note, whole note/rest, dotted quarter note, sixteenth note) OR.RT.2 Defines and performs tempo markings at a medium-advanced level (Allegro, Moderato, Andante, Ritardando, Lento, Andantino, Maestoso, Andante Espressivo, Marziale, Rallantando, and Presto) OR.TE Technique OR.TE.1 Performs the pitches and the two-octave major scales for C, G, D, A, F, Bb, Eb; performs the pitches and the two-octave minor scales for A, E, D, G, C; performs the pitches and the one-octave chromatic scale OR.TE.2 Demonstrates and performs pizzicato, acro, and left-hand pizzicato at the medium-advanced level OR.TE.3 Demonstrates shifting at the intermediate -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
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.