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Preface V 1-0-0
The Psalms in metre Preface !1 © Dru Brooke-Taylor 2015, the author’s moral rights have been asserted. For further information both on copyright and how to use this material see https://psalmsandpsimilar.wordpress.com v 1.0.0 : 11 iii 2015 !2 Table of Contents What this site is about 5 How to find what you are looking for 5 Copyright IP etc 6 UK copyright 9 How to use this collection 10 1. Liturgical Rules 10 The Lectionary:- 11 Service of the Word:- 11 Morning and Evening Prayer:- 11 Compline:- 11 Holy Communion:- 11 Daily Prayer:- 11 Book of Common Prayer:- 11 2. A Plea for more Imaginative Arrangements 12 3. Metre 12 The Three Standard Metres 12 Other metres 15 4. Table of Abbreviations 16 5. Some useful links 16 The Words 17 1. The problem with Psalms 18 2. The three solutions to the Problem 18 The first option 18 The second option 18 The third option 19 3. The translation tension 19 4. Why Common Metre 21 5. The traditional versions 22 A. Sternhold and Hopkins (SH) – the Old Version 22 B. Tate and Brady (TB) – the New Version 23 C. Rous (R) – the Scottish Version 23 D. Isaac Watts (W) – the Dissenters’ Version 25 E. Other versions 26 6. Doxologies in various metres 26 CM 26 Milton’s version 26 LM 26 SM 26 10,10,10,10 26 10,10,11,11 – (Ps 104 metre) 27 8,7,8,7 27 888 888 27 866888 – Ps 121 metre 27 Ps 122 metre 27 668668 28 888866 – Ps 125 metre 28 6666 4444 – Ps 148 metre 28 7676D 28 !3 7,7,7,7 7,7 28 The Tunes 28 1. -
Officers, Fellows & Members; Congregation
Transactions of the Burgon Society Volume 2 Article 6 1-1-2002 Officers,ellows F & Members; Congregation 2002 - Chairman's address; Fellowship of the Burgon Society 2002 Michael Powell Follow this and additional works at: https://newprairiepress.org/burgonsociety Recommended Citation Powell, Michael (2002) "Officers,ellows F & Members; Congregation 2002 - Chairman's address; Fellowship of the Burgon Society 2002," Transactions of the Burgon Society: Vol. 2. https://doi.org/ 10.4148/2475-7799.1006 This Front Matter is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Transactions of the Burgon Society by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. THE BURGON SOCIETY ANNUAL 2002 Published by New Prairie Press, 2016 THE BURGON SOCIETY Founded to promote the study of Academical Dress ANNUAL 2002 Contents Front Cover: Officers of the Society in their Robes of Office: (l to r) Dean of Studies Nicholas Groves, President Dr John Birch, Chairman Revd Philip Goff, Registrar Dr Stephen James. Page Officers, Fellows and Members of the Society 2 Congregation 2002 - Chairman’s address 6 Fellowship of the Burgon Society 2002 8 Burgon - A Hooded Progress. John Birch, President of the Burgon Society 11 Who may wear the ‘Literate’s Hood’? Nicholas Groves, Dean of Studies 15 French University Dress: Regulations and Custom. Bruno Neveu, Président de l’Ecole Pratique des Hautes Etudes 17 The Evolution of the Oxford Simple Shape. Bruce Christianson 30 Burgon Society Visit To Ede & Ravenscroft at Waterbeach. Burgon Society Annual Lecture & Dinner, Friday, September 20th 2002. -
A Guide to Resources for SINGING and PRAYING the PSALMS
READ PRAY SING A Guide to Resources for SINGING and PRAYING the PSALMS – WELCOME – Voices of the Past on the Psalter We are delighted you have come to this conference, and I pray it has been helpful to you. Part of our aim is that you be encouraged and helped to make use of the Psalms in your own worship, using them as a guide for prayer and Dietrich Bonhoeffer singing. To that end we have prepared this booklet with some suggested “Whenever the Psalter is abandoned, an incomparable treasure vanishes from resources and an explanation of metrical psalms. the Christian church. With its recovery will come unsuspected power.” Special thanks are due to Michael Garrett who put this booklet together. We Charles Spurgeon have incorporated some material previously prepared by James Grant as well. “Time was when the Psalms were not only rehearsed in all the churches from day to day, but they were so universally sung that the common people As God has seen fit to give us a book of prayers and songs, and since he has knew them, even if they did not know the letters in which they were written. so richly blessed its use in the past, surely we do well to make every use of it Time was when bishops would ordain no man to the ministry unless he knew today. May your knowledge of God, your daily experience of him be deeply “David” from end to end, and could repeat each psalm correctly; even Councils enhanced as you use his words to teach you to speak to him. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
AVE – February 2017
FebruaryFebruary 2017 2017 Saint AVE Mary’s AVE Vol. 84 No. 2 A VE “GreetinGs Mary, full of Grace.” The Episcopal Church of Saint Mary - Falmouth, Maine From the Rector: Mary and the True Work of Love February is the traditional month in our culture Inside this edition when we reflect on love. This single word carries an From the Rector 1 entire universe of meaning within itself. We use it in Live like a monk 1 every conceivable scenario, so we can safely say that it The Appreciative Weekend 2 is over-used. Entire libraries could be filled with writ- Vestry Highlights 3 ings about love. And yet, what do we understand about Couples Checkup 3 it? What is the core meaning of love? Milestone visit 3 Here is my attempt. Love is an intention to act for Outreach Book Sale 4 the well-being of another, regardless of our own per- Souper Supper & Cinema 4 sonal needs or desires. The opposite of love is not ha- Mission Morning 5 tred. The opposite of love is apathy. It is the unwilling- Coffee Hour Hosts needed 6 Schola Concert & Update 6 ness to engage, to pay attention; it is the absence of Music School for youths 6 awareness. In this sense, the opposite of love is ego-obsession. It is the inability to let Our Hymnals..who knew? 7 go of oneself in order to be aware of the needs of another. Guiding RAY Feb. 17 8 We are truly blessed to gather together under the patronage of Mary, the mother CB Young Life 9 of our Lord who provides a window into the godly practice of love. -
JOHN Wesley's “DIRECTIONS for SINGING”
Methodist History, 47:4 (July 2009) JOHN WESLEy’S “DIRECTIONS FOR SINGING”: METHODIST HYMNODY AS AN EXPRESSION OF METHODIST BELIEFS IN THOUGHT AND PRACTICE MARTIN V. CLARKE John Wesley’s “Directions for Singing” was included as an appendage to Select Hymns: with Tunes Annext (1761), a collection of hymn texts and tunes designed for congregational use across the Methodist Connexion.1 Although a list of only seven brief points, it reveals much about the way in which Wesley desired music to be used in Methodist worship and the ben- efits that he believed could be reaped from its effective use. Carlton Young suggests that the “Directions” represent “Wesley’s attempts to standardize hymn singing performance and repertory,”2 which is borne out by their pub- lication together with the tunes of Select Hymns, which Wesley advocated as authentically Methodist. The full significance of these instructions can only be understood when they are considered in relation to the theological and doctrinal position of Methodism, while they need to be assessed alongside Select Hymns and other collections of tunes used within Methodism in order to evaluate their impact. They highlight the importance Wesley attached to Select Hymns, while also offering more general practical advice, before con- cluding with a reminder of the purpose of congregational singing: That this part of Divine Worship may be the more acceptable to God, as well as the more profitable to yourself and others, be careful to observe the following direc- tions. I. Learn these Tunes before you learn any others; afterwards learn as many as you please. -
The Life of Prayer
chapter seven: the lIfe of prayer The Incarnation and Behavior HE sacramental approach to Christian faith is rooted in the Incarnation. “The Word was made Tflesh and dwelt among us.” Therefore, what we do in our bodies matters. Faith cannot be sepa- rated from activities of daily life. The word must become flesh in our lives so that our behavior reflects our faith. The call to discipleship teaches us this. Jesus said to Matthew, “Follow me” (Matt. 9:9). When Matthew arose and followed him, he began a new way of life. Following Jesus meant much more than simply adopting certain points of doctrine. This same point is made by the New Testament word frequently used to describe the Christian life. Colossians says, “As you therefore have received Christ Jesus the Lord, so walk in Him” (2:6). A quick check of the concordance reveals more than two dozen references to one’s “walk.” One can “walk in darkness” or one can “walk in light” (1 John 6-7). Our walk is our manner of life. It is the way we go about living from day to day. The Christian Life Begins with Prayer The beginning of the Christian walk is a commitment to a life of prayer. It is only by grace that we are able to rise above the limitations of our fallen nature and do the will of God. The grace of God comes to us chiefly through the sacraments and prayer. If we neglect the life of prayer, the Christian life is reduced to a merely human attempt to obey moral rules. -
The Book of Common Prayer
The Book of Common Prayer and Administration of the Sacraments and Other Rites and Ceremonies of the Church Together with The Psalter or Psalms of David According to the use of The Episcopal Church Church Publishing Incorporated, New York Certificate I certify that this edition of The Book of Common Prayer has been compared with a certified copy of the Standard Book, as the Canon directs, and that it conforms thereto. Gregory Michael Howe Custodian of the Standard Book of Common Prayer January, 2007 Table of Contents The Ratification of the Book of Common Prayer 8 The Preface 9 Concerning the Service of the Church 13 The Calendar of the Church Year 15 The Daily Office Daily Morning Prayer: Rite One 37 Daily Evening Prayer: Rite One 61 Daily Morning Prayer: Rite Two 75 Noonday Prayer 103 Order of Worship for the Evening 108 Daily Evening Prayer: Rite Two 115 Compline 127 Daily Devotions for Individuals and Families 137 Table of Suggested Canticles 144 The Great Litany 148 The Collects: Traditional Seasons of the Year 159 Holy Days 185 Common of Saints 195 Various Occasions 199 The Collects: Contemporary Seasons of the Year 211 Holy Days 237 Common of Saints 246 Various Occasions 251 Proper Liturgies for Special Days Ash Wednesday 264 Palm Sunday 270 Maundy Thursday 274 Good Friday 276 Holy Saturday 283 The Great Vigil of Easter 285 Holy Baptism 299 The Holy Eucharist An Exhortation 316 A Penitential Order: Rite One 319 The Holy Eucharist: Rite One 323 A Penitential Order: Rite Two 351 The Holy Eucharist: Rite Two 355 Prayers of the People -
The Enigma of the Mason Hymn-Tunes
Title: The Enigma of the Mason Hymn-Tunes Author(s): George Brandon Source: Brandon, G. (1992, Fall). The enigma of the Mason hymn- tunes. The Quarterly, 3(3), pp. 48-53. (Reprinted with permission in Visions of Research in Music Education, 16(3), Autumn, 2010). Retrieved from http://www-usr.rider.edu/~vrme/ It is with pleasure that we inaugurate the reprint of the entire seven volumes of The Quarterly Journal of Music Teaching and Learning. The journal began in 1990 as The Quarterly. In 1992, with volume 3, the name changed to The Quarterly Journal of Music Teaching and Learning and continued until 1997. The journal contained articles on issues that were timely when they appeared and are now important for their historical relevance. For many authors, it was their first major publication. Visions of Research in Music Education will publish facsimiles of each issue as it originally appeared. Each article will be a separate pdf file. Jason D. Vodicka has accepted my invitation to serve as guest editor for the reprint project and will compose a new editorial to introduce each volume. Chad Keilman is the production manager. I express deepest thanks to Richard Colwell for granting VRME permission to re-publish The Quarterly in online format. He has graciously prepared an introduction to the reprint series. The Enigma Of The Mason HYfl1fl-Tunes By George Brandon Davis, California orn into a familv of active amateur Many younger men of Mason's time, in- musicians, Lowell Mason attended cludingJ. S. Dwight and A. W. Thayer, prob- Bsinging schools conducted by local ably looked upon Lowell Mason as an elder figures such as Amos Albee and Oliver Shaw. -
'She Enclosed & Decorated This Hall on the Advice of John Ruskin': Pauline
‘She enclosed & decorated this hall on the advice of John Ruskin’: Pauline, Lady Trevelyan and the creation of Wallington Hall’s Central Hall Lucy West Introduction On 13 May 1866 in a quiet bedroom in Neuchâtel, Switzerland – far from her home of Wallington Hall, Northumberland – Pauline Jermyn Trevelyan (née Paulina Jermyn Jermyn; 1816-1866) (Fig. 1)* took her last breath. At her bedside were her husband, who was the eminent naturalist and geologist Sir Walter Calverley Trevelyan (1797-1879), and John Ruskin (1819-1900), their trusted travel companion who was ‘with her and Sir Walter to the last’.1 Ruskin had been a continual presence in Pauline’s life from their first meeting around 1843, becoming her drawing teacher from 1847 and whom she referred to as her ‘Master’.2 Their relationship was one characterized by mutual respect afforded by Pauline’s privileged aristocratic and intellectual status. Indeed, their correspondence even reveals a certain level of dependency on Ruskin’s part. He would frequently ask Pauline’s trusted advice on subjects such as the names of flowers, a gap in his knowledge of which Ruskin was conscious: ‘I am making some studies of plants for architectural purposes in which I again want some help from you for I have no one of whom I can ask the name of the commonest plants – or rather, I am ashamed to ask their names … ’.3 This article examines afresh how the intellectual and artistic association between Pauline and Ruskin affected the enclosing and decoration of the central hall (Fig. 2) at the Trevelyan residence of Wallington Hall. -
God Be in My Head Soprano Solo and SATB a Cappella
General paraclete press PPM01821 $1.20 Selected Works Published by Paraclete Press E/M Barton, David Be Thou My Vision— PPM01703 SATB and piano We Pray for Peace—PPM01704 Two vocal parts and piano with opt. instrumental parts Diorio, Michael J. Christmas 1945—PPM01705 SATB a cappella Hill, Jackson St. Chad Magnificat and Nunc Dimittis--PPM01707 God Be in SATB and organ Nixon, June arr. Stille Nacht—PPM01709 SATB with some divisi a cappella My Head Phillips, Craig The Lord is Risen Indeed!—PPM01710 SATB and organ with brass quintet and timpani Russell, Carlton A Trilogy of Prayer—PPM01712 SATB with some divisi a cappella Tipton, Noel arr. This Place, Our Anchorage—PPM01713 COPY SATB, piano or organ White, David Ashley Christ has Opened Paradise—PPM01715 SATB and organ (opt. brass quartet) June Nixon FROM OUR HYMNS OF PRAISE SERIES: Nixon, June arr. O Praise Ye the Lord—PPM01656 SATB with organ, trumpet and congregation NOT A BEST SELLER! Barton, David Carol of the Light—PPM01654 Soprano Solo and SATB a cappella Unison voices and keyboard FOR LENT: DO Casurella, Stephan arr. There is a Balm—PPM01617 Two-part treble choir and organ FOR ORGAN: Powell, Robert J. Twenty-five Organ Accompaniments for Unison Hymn Singing—PPM01711 paraclete press P.O. Box 1568, Orleans, MA 02653 1-800-451-5006 www.paracletesheetmusic.com June Nixon One of Australia’s best known organists, choir trainers, and composers, June Nixon initially obtained her Diploma of Music (Piano) and Bachelor of Music (Organ) from Melbourne University, Australia. Post-graduate scholarships enabled further study in London where she became the first woman to receive the John Brooke prize for the Choir Training Diploma of the Royal College of Organists. -