1.
Latin (language)
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Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets, Latin was originally spoken in Latium, in the Italian Peninsula. Through the power of the Roman Republic, it became the dominant language, Vulgar Latin developed into the Romance languages, such as Italian, Portuguese, Spanish, French, and Romanian. Latin, Italian and French have contributed many words to the English language, Latin and Ancient Greek roots are used in theology, biology, and medicine. By the late Roman Republic, Old Latin had been standardised into Classical Latin, Vulgar Latin was the colloquial form spoken during the same time and attested in inscriptions and the works of comic playwrights like Plautus and Terence. Late Latin is the language from the 3rd century. Later, Early Modern Latin and Modern Latin evolved, Latin was used as the language of international communication, scholarship, and science until well into the 18th century, when it began to be supplanted by vernaculars. Ecclesiastical Latin remains the language of the Holy See and the Roman Rite of the Catholic Church. Today, many students, scholars and members of the Catholic clergy speak Latin fluently and it is taught in primary, secondary and postsecondary educational institutions around the world. The language has been passed down through various forms, some inscriptions have been published in an internationally agreed, monumental, multivolume series, the Corpus Inscriptionum Latinarum. Authors and publishers vary, but the format is about the same, volumes detailing inscriptions with a critical apparatus stating the provenance, the reading and interpretation of these inscriptions is the subject matter of the field of epigraphy. The works of several hundred ancient authors who wrote in Latin have survived in whole or in part and they are in part the subject matter of the field of classics. The Cat in the Hat, and a book of fairy tales, additional resources include phrasebooks and resources for rendering everyday phrases and concepts into Latin, such as Meissners Latin Phrasebook. The Latin influence in English has been significant at all stages of its insular development. From the 16th to the 18th centuries, English writers cobbled together huge numbers of new words from Latin and Greek words, dubbed inkhorn terms, as if they had spilled from a pot of ink. Many of these words were used once by the author and then forgotten, many of the most common polysyllabic English words are of Latin origin through the medium of Old French. Romance words make respectively 59%, 20% and 14% of English, German and those figures can rise dramatically when only non-compound and non-derived words are included. Accordingly, Romance words make roughly 35% of the vocabulary of Dutch, Roman engineering had the same effect on scientific terminology as a whole
2.
Belief
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Belief is the state of mind in which a person thinks something to be the case, with or without there being empirical evidence to prove that something is the case with factual certainty. Another way of defining belief sees it as a representation of an attitude positively oriented towards the likelihood of something being true. In the context of Ancient Greek thought, two related concepts were identified with regards to the concept of belief, pistis and doxa, simplified, we may say that pistis refers to trust and confidence, while doxa refers to opinion and acceptance. The English word orthodoxy derives from doxa, Jonathan Leicester suggests that belief has the purpose of guiding action rather than indicating truth. In epistemology, philosophers use the belief to refer to personal attitudes associated with true or false ideas. However, belief does not require active introspection and circumspection, for example, we never ponder whether or not the sun will rise. We simply assume the sun will rise, since belief is an important aspect of mundane life, according to Eric Schwitzgebel in the Stanford Encyclopedia of Philosophy, a related question asks, how a physical organism can have beliefs. Epistemology is concerned with delineating the boundary between justified belief and opinion, and involved generally with a philosophical study of knowledge. The primary problem in epistemology is to exactly what is needed in order for us to have knowledge. Plato dismisses this possibility of a relation between belief and knowledge even when the one who opines grounds his belief on the rule. Among American epistemologists, Gettier and Goldman, have questioned the true belief definition. Mainstream psychology and related disciplines have traditionally treated belief as if it were the simplest form of mental representation, philosophers have tended to be more abstract in their analysis, and much of the work examining the viability of the belief concept stems from philosophical analysis. The concept of belief presumes a subject and an object of belief, Beliefs are sometimes divided into core beliefs and dispositional beliefs. For example, if asked do you believe tigers wear pink pajamas, a person might answer that they do not, despite the fact they may never have thought about this situation before. This has important implications for understanding the neuropsychology and neuroscience of belief, if the concept of belief is incoherent, then any attempt to find the underlying neural processes that support it will fail. Jerry Fodor is one of the defenders of this point of view. Most notably, philosopher Stephen Stich has argued for this understanding of belief. In these cases science hasnt provided us with a detailed account of these theories
3.
Apostles' Creed
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The Apostles Creed, sometimes entitled Symbol of the Apostles, is an early statement of Christian belief—a creed or symbol. It is also used by Presbyterians, Methodists and Congregationalists, the Apostles Creed is Trinitarian in structure with sections affirming belief in God the Father, Jesus Christ His Son and the Holy Spirit. The Apostles Creed was based on Christian theological understanding of the Canonical gospels and its basis appears to be the old Roman Creed known also as the Old Roman Symbol. Because of the origin of its original form, it does not address some Christological issues defined in the Nicene. It thus says nothing explicitly about the divinity of either Jesus or the Holy Spirit and this makes it acceptable to many Arians and Unitarians. Nor does it address many other questions which became objects of dispute centuries later. The earlier text evolved from simpler texts based on Matthew 28,19, part of the Great Commission, pirminius, written between 710 and 714. Bettenson and Maunder state that it is first from Dicta Abbatis Pirminii de singulis libris canonicis scarapsus and this longer Creed seems to have arisen in what is now France and Spain. Charlemagne imposed it throughout his dominions, and it was accepted in Rome. It has been argued nonetheless that it dates from the half of the 5th century. Some have suggested that the Apostles Creed was spliced together with phrases from the New Testament, for instance, the phrase descendit ad inferos echoes Ephesians 4,9, κατέβη εἰς τὰ κατώτερα μέρη τῆς γῆς. It is of interest that this phrase first appeared in one of the two versions of Rufinus in A. D.390 and then did not appear again in any version of the creed until A. D.650. This phrase and that on the communion of saints are found in the Apostles Creed. Musical settings of the Symbolum Apostolorum as a motet are rare, the French composer Le Brung published one Latin setting in 1540, the Spanish composer Fernando de las Infantas published two in 1578. More recently, in 1979 John Michael Talbot, a Third Order Franciscan, composed and recorded Creed on his album, in 1986 Graham Kendrick published the popular We believe in God the Father, closely based on the Apostles Creed. Rich Mullins and Beaker also composed a musical setting titled Creed, released on Mullins‘1993 album A Liturgy, the song Creed on Petra’s 1990 album Beyond Belief is loosely based on the Apostles Creed. In 1991, GIA Publications published a hymn text directly based on the Apostles’ Creed, called I Believe in God Almighty and it has been sung to hymn tunes from Wales, the Netherlands, and Ireland. In 2014 Hillsong released a version of the Apostles Creed under the title This I Believe on their album No Other Name, in 2016 Keith Getty and Kristyn Getty released an expression of the Apostles Creed under the title We Believe on their album Facing a Task Unfinished
4.
Nicene Creed
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The Nicene Creed is a Symbol of faith widely used in Christian liturgy. It is called Nicene /ˈnaɪsiːn/ because it was adopted in the city of Nicaea by the First Council of Nicaea in 325. In 381, it was amended at the First Council of Constantinople, the Anglican and many Protestant denominations generally use the singular form, but sometimes use the plural. The Apostles Creed is also used in the Latin West, on Sundays and some other days, one or other of these two creeds is recited in the Roman Rite Mass after the homily. The Nicene Creed is also part of the profession of faith required of those important functions within the Catholic Church. In the Byzantine Rite, the Nicene Creed is sung or recited at the Divine Liturgy, immediately preceding the Anaphora, Niceno-Constantinopolitan Creed can stand for the revised version of Constantinople or the later Latin version or various other versions. Icon/Symbol of the Faith is the designation for the revised version of Constantinople 381 in the Orthodox churches. Profession of Faith of the 318 Fathers refers specifically to the version of Nicaea 325, profession of Faith of the 150 Fathers refers specifically to the version of Constantinople 381. In musical settings, particularly when sung in Latin, this Creed is usually referred to by its first word, the purpose of a creed is to provide a doctrinal statement of correct belief, or orthodoxy. For that reason a creed was called in Greek a σύμβολον, a word that meant half of an object which. The Greek word passed through Latin symbolum into English symbol, which later took on the meaning of an outward sign of something. The Nicene Creed was adopted in the face of the Arian controversy, whose leader, Arius objected to Alexanders apparent carelessness in blurring the distinction of nature between the Father and the Son by his emphasis on eternal generation. Alexander accused Arius of denying the divinity of the Son and also of being too Jewish, both Arius and Alexander rejected Gnosticism, Manichaeism and Sabellian formulae. The Nicene Creed was created as a result of the adoption of the doctrine of Arius far outside Alexandria. The Nicene Creed of 325 explicitly affirms the co-essential divinity of the Son, the 381 version speaks of the Holy Spirit as worshipped and glorified with the Father and the Son. The Athanasian Creed describes in much detail the relationship between Father, Son and Holy Spirit. The Apostles Creed makes no statements about the divinity of the Son and the Holy Spirit, but, in the view of many who use it. The original Nicene Creed was first adopted in 325 at the First Council of Nicaea, at that time, the text ended with the words We believe in the Holy Spirit, after which various anathemas against Arian propositions were added
5.
Mass (liturgy)
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Mass often refers to the entire church service in general, but is specifically the sacrament of the Eucharist. The term mass is called in the Catholic Church, Western Rite Orthodox churches and many Old Catholic, Anglican, as well as some Lutheran churches. Some Protestants employ terms such as Divine Service or service of worship, the English noun mass is derived from Middle Latin missa. The Latin word was adopted in Old English as mæsse, and was sometimes glossed as sendnes, the Latin term missa itself was in use by the 6th century. It is most likely derived from the concluding formula Ite, missa est, historically, however, there have been other explanations of the noun missa, i. e. as not derived from the formula ite, missa est. Already Du Cange reports various opinions on the origin of the noun missa mass, including the derivation from Hebrew matzah, here attributed to Caesar Baronius. The Hebrew derivation is learned speculation from 16th-century philology, medieval authorities did derive the noun missa from the verb mittere, but not in connection with the formula ite, missa est. Thus, De divinis officiis explains the word as a mittendo, quod nos mittat ad Deo, the Catholic Church sees the Mass or Eucharist as the source and summit of the Christian life, to which the other sacraments are oriented. The Catholic Church believes that the Mass is exactly the same sacrifice that Jesus Christ offered on the Cross at Calvary, after making the sign of the cross and greeting the people liturgically, he begins the Act of Penitence. This concludes with the prayer of absolution, which, however. The Kyrie, eleison, is sung or said, followed by the Gloria in excelsis Deo, the Introductory Rites are brought to a close by the Collect Prayer. On Sundays and solemnities, three Scripture readings are given, on other days there are only two. If there are three readings, the first is from the Old Testament, or the Acts of the Apostles during Eastertide, the first reading is followed by a psalm, either sung responsorially or recited. The second reading is from the New Testament, typically one of the Pauline epistles. A Gospel Acclamation is then sung as the Book of the Gospels is processed, sometimes with incense and candles, the final reading and high point of the Liturgy of the Word is the proclamation of the Gospel by the deacon or priest. At least on Sundays and Holy Days of Obligation, a homily, finally, the Creed is professed on Sundays and solemnities, and it is desirable that in Masses celebrated with the people the Universal Prayer or Prayer of the Faithful should usually follow. The congregation responds, May the Lord accept the sacrifice at your hands, for the praise and glory of his name, for our good, the priest then pronounces the variable prayer over the gifts. The Eucharistic Prayer, the centre and high point of the entire celebration, the priest continues with one of many Eucharistic Prayer thanksgiving prefaces, which lead to the reciting of the Sanctus acclamation
6.
Gregorian chant
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Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, the scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut. The chants can be sung by using six-note patterns called hexachords, Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were a stage in the development of Western polyphony. Gregorian chant was sung by choirs of men and boys in churches. It is the music of the Roman Rite, performed in the Mass, although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence, singing has been part of the Christian liturgy since the earliest days of the Church. Until the mid-1990s, it was accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual. However, early Christian rites did incorporate elements of Jewish worship that survived in later chant tradition, canonical hours have their roots in Jewish prayer hours. Amen and alleluia come from Hebrew, and the threefold sanctus derives from the threefold kadosh of the Kedushah, the New Testament mentions singing hymns during the Last Supper, When they had sung the hymn, they went out to the Mount of Olives Matthew 26.30. The 3rd-century Greek Oxyrhynchus hymn survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain, musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian agape feasts, around 375, antiphonal psalmody became popular in the Christian East, in 386, St. Ambrose introduced this practice to the West. In the fifth century, a school, the Schola Cantorum, was founded at Rome to provide training in church musicianship. Scholars are still debating how plainchant developed during the 5th through the 9th centuries, around 410, St. Augustine described the responsorial singing of a Gradual psalm at Mass. 520, Benedict of Nursia established what is called the rule of St. Benedict, around 678, Roman chant was taught at York. Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles, Spain, Gaul and these traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western Roman Empire collapsed. John the Deacon, biographer of Pope Gregory I, modestly claimed that the saint compiled a patchwork antiphonary, unsurprisingly and he reorganized the Schola Cantorum and established a more uniform standard in church services, gathering chants from among the regional traditions as widely as he could manage
7.
Mass in B minor
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The Mass in B minor by Johann Sebastian Bach is a musical setting of the complete Ordinary of the Latin Mass. The work was one of Bachs last compositions, not completed until 1749, much of the Mass gave new form to vocal music that Bach had composed throughout his career, dating back to 1714, but extensively revised. To complete the work, in the late 1740s Bach composed new sections of the Credo such as Et incarnatus est and it was unusual for composers working in the Lutheran tradition to compose a Missa tota and Bachs motivations remain a matter of scholarly debate. The Mass was never performed in its entirety during Bachs lifetime, since the nineteenth century it has been widely hailed as one of the greatest compositions in musical history, and today it is frequently performed and recorded. Carl Philipp Emanuel Bach archived this work as the Great Catholic Mass, on 1 February 1733, Augustus II the Strong, King of Poland, Grand Duke of Lithuania and Elector of Saxony, died. Five months of mourning followed, during all public music-making was suspended. Bach used the opportunity to work on the composition of a Missa and his aim was to dedicate the work to the new sovereign Augustus III, a Catholic, with the hope of obtaining the title Electoral Saxon Court Composer”. The petition did not meet immediate success, but Bach eventually got his title. In the last years of his life, Bach expanded the Missa into a setting of the Latin Ordinary. It is not known what prompted this creative effort, however, the building was not completed until 1751 and Bachs death in July 1750 prevented his Mass from being submitted for use at the dedication. Instead, Johann Adolph Hasses Mass in D minor was performed, the chronology of the Mass in B minor has attracted extensive scholarly attention. Recent literature suggests, In 1724, Bach composed a Sanctus for six parts for use in the Christmas service. Bach revised it when he reused it in the Mass, changing its initial meter from ₵ to C and it is possible that the Kyrie was meant as mourning music for Augustus II, and the Gloria as celebratory of the accession of Augustus III. Bach re-used two movements from the Gloria in a cantata for Christmas Day, gregory Butler argues that at the same service, Bach also used the 1724 Sanctus, and that this revisiting of the 1733 Missa suggested further development to the composer. In the last three years or so of his life, Bach wrote/assembled the Symbolum Nicenum and the remainder of the work, many scholars, including Christoph Wolff, believe he did so in 1748–49. This dating in part reflects the scholarship of Yoshitake Kobayashi, who dates the Symbolum Nicenum section to August –October 1748 based on Bachs increasingly stiff, Wolff among others argues that the Et incarnatus est movement was Bachs last significant composition. The words had been included in the duet, but then Bach decided to treat them as a separate movement for the choir, giving the words extra weight. C. P. E. Bach later reported that he performed this Magnificat in 1749 in Leipzig at a Marian festival, during the lifetime of his now-deceased father
8.
Baptism
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Baptism is a Christian sacrament of admission and adoption, almost invariably with the use of water, into the Christian Church generally. The canonical Gospels report that Jesus was baptized—a historical event to which a degree of certainty can be assigned. Baptism has been called a sacrament and an ordinance of Jesus Christ. In some denominations, baptism is also called christening, but for others the word christening is reserved for the baptism of infants, Baptism has also given its name to the Baptist churches and denominations. The usual form of baptism among the earliest Christians was for the candidate to be immersed, in v.16, Matthew will speak of Jesus coming up out of the water. The traditional depiction in Christian art of John the Baptist pouring water over Jesus head may therefore be based on later Christian practice, other common forms of baptism now in use include pouring water three times on the forehead, a method called affusion. Martyrdom was identified early in Church history as baptism by blood, later, the Catholic Church identified a baptism of desire, by which those preparing for baptism who die before actually receiving the sacrament are considered saved. Today, some Christians, particularly Christian Scientists, Quakers, The Salvation Army, and Unitarians, do not see baptism as necessary, among those that do, differences can be found in the manner and mode of baptizing and in the understanding of the significance of the rite. Most Christians baptize in the name of the Father, and of the Son, and of the Holy Spirit, much more than half of all Christians baptize infants, many others hold that only believers baptism is true baptism. Some insist on submersion or at least partial immersion of the person who is baptized, others consider that any form of washing by water, as long as the water flows on the head, is sufficient. The term baptism has also used to refer to any ceremony, trial, or experience by which a person is initiated, purified. The Greek verb baptō, dip, from which the verb baptizo is derived, is in turn hypothetically traced to a reconstructed Indo-European root *gʷabh-, the Greek words are used in a great variety of meanings. John the Baptist, who is considered a forerunner to Christianity, the apostle Paul distinguished between the baptism of John, and baptism in the name of Jesus, and it is questionable whether Christian baptism was in some way linked with that of John. Christians consider Jesus to have instituted the sacrament of baptism, though whether Jesus intended to institute a continuing, the earliest Christian baptisms were probably normally by immersion, complete or partial. Though other modes may have also been used, at the hour in which the cock crows, they shall first pray over the water. When they come to the water, the water shall be pure and flowing, that is, then they shall take off all their clothes. The children shall be baptized first, all of the children who can answer for themselves, let them answer. If there are any children who cannot answer for themselves, let their parents answer for them, after this, the men will be baptized
9.
Tridentine Mass
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The most widely used Mass liturgy in the world until the introduction of the Mass of Paul VI in 1969, it is celebrated in ecclesiastical Latin. Tridentine is derived from the Latin Tridentinus, related to the city of Tridentum, in 2007, Pope Benedict XVI issued the motu proprio Summorum Pontificum, accompanied by a letter to the worlds bishops authorizing use of the Tridentine Mass and Ritual for competent priests. The Pope stated that the 1962 edition of the Roman Missal is to be considered a form of the Roman Rite, of which the 1970 Mass of Paul VI is the ordinary. Since that is the authorized extraordinary form, some refer to the 1962 Tridentine Mass as the extraordinary form of the Mass. In Masses celebrated without the people, Latin Rite Catholic priests are free to use either the 1962 Tridentine missal or the Ordinary Form missal. These Masses may — observing all the norms of law — also be attended by faithful who, of their own free will, permission to use the Tridentine Mass as parish liturgies may be given by the pastor or rector. In most countries, the used for celebrating the Tridentine Mass was Latin. Episcopal conferences were to decide, with the consent of the Holy See, what parts, if any. Most Old Catholics use the Tridentine Mass, either in the vernacular or in Latin, the Catholic Church uses the term extraordinary form of the Roman Rite Mass among other terms. The most widespread term for the rite, other than Tridentine Mass, is Latin Mass, likewise, the ordinary form of the Roman Rite Mass was promulgated in Latin and can be celebrated in that language. Occasionally the term Gregorian Rite is used when talking about the Tridentine Mass, as is, more frequently, Pope Benedict XVI declared it inappropriate to speak of the versions of the Roman Missal of before and after 1970 as if they were two rites. Rather, he said, it is a matter of a use of one. Traditionalist Catholics, whose characteristic is an attachment to the Tridentine Mass. Standardization was required also in order to prevent the introduction into the liturgy of Protestant ideas in the wake of the Protestant Reformation. Pope St. Pius V accordingly imposed uniformity by law in 1570 with the papal bull Quo primum and he allowed only those rites that were at least 200 years old to survive the promulgation of his 1570 Missal. The Carmelite, Carthusian and Dominican religious orders kept their rites, the rite of Braga, in northern Portugal, seems to have been practically abandoned, since 18 November 1971 that archdiocese authorizes its use only on an optional basis. This ended when Abbot Guéranger and others initiated in the 19th century a campaign to return to the Roman Missal, Pius Vs revision of the liturgy had as one of its declared aims the restoration of the Roman Missal to the original form and rite of the holy Fathers. Due to the limited resources available to his scholars, this aim was in fact not realised
10.
Eastern Orthodox Church
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The Eastern Orthodox Church teaches that it is the One, Holy, Catholic and Apostolic Church established by Jesus Christ in his Great Commission to the apostles. It practices what it understands to be the original Christian faith, the Eastern Orthodox Church is a communion of autocephalous churches, each typically governed by a Holy Synod. It teaches that all bishops are equal by virtue of their ordination, prior to the Council of Chalcedon in AD451, the Eastern Orthodox had also shared communion with the Oriental Orthodox churches, separating primarily over differences in Christology. Eastern Orthodoxy spread throughout the Roman and later Eastern Roman Empires and beyond, playing a prominent role in European, Near Eastern, Slavic, and some African cultures. As a result, the term Greek Orthodox has sometimes used to describe all of Eastern Orthodoxy in general. However, the appellation Greek was never in use and was gradually abandoned by the non-Greek-speaking Eastern Orthodox churches. Its most prominent episcopal see is Constantinople, there are also many in other parts of the world, formed through immigration, conversion and missionary activity. The official name of the Eastern Orthodox Church is the Orthodox Catholic Church and it is the name by which the church refers to itself in its liturgical or canonical texts, in official publications, and in official contexts or administrative documents. Orthodox teachers refer to the Church as Catholic and this name and longer variants containing Catholic are also recognized and referenced in other books and publications by secular or non-Orthodox writers. The common name of the Church, Eastern Orthodox Church, is a shortened practicality that helps to avoid confusions in casual use, for this reason, the eastern churches were sometimes identified as Greek, even before the great schism. After 1054, Greek Orthodox or Greek Catholic marked a church as being in communion with Constantinople and this identification with Greek, however, became increasingly confusing with time. Missionaries brought Orthodoxy to many regions without ethnic Greeks, where the Greek language was not spoken. Today, many of those same Roman churches remain, while a large number of Orthodox are not of Greek national origin. Eastern, then, indicates the element in the Churchs origin and development, while Orthodox indicates the faith. While the Church continues officially to call itself Catholic, for reasons of universality, the first known use of the phrase the catholic church occurred in a letter written about 110 AD from one Greek church to another. Quote of St Ignatius to the Smyrnaeans, Wheresoever the bishop shall appear, there let the people be, even as where Jesus may be, thus, almost from the very beginning, Christians referred to the Church as the One, Holy, Catholic and Apostolic Church. The Orthodox Church claims that it is today the continuation and preservation of that same Church, a number of other Christian churches also make a similar claim, the Roman Catholic Church, the Anglican Communion, the Assyrian Church and the Oriental Orthodox Churches. The Church of England separated from the Roman Catholic Church, not directly from the Orthodox Church, the depth of this meaning in the Orthodox Church is registered first in its use of the word Orthodox itself, a union of Greek orthos and doxa
11.
Divine Liturgy
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Divine Liturgy is the Eucharistic service of the Byzantine Rite which is the Rite of the The Great Church of Christ and was developed from the Antiochene Rite of Christian liturgy. As such, it is used in the Eastern Orthodox and Eastern Catholic Churches, Armenian Christians, both of the Armenian Apostolic Church and of the Armenian Catholic Church, use the same term. Some Oriental Orthodox employ the term holy offering for their Eucharistic liturgies instead, the term is sometimes applied also to Roman Rite Eucharistic liturgies, though the term Mass is more commonly used there. In Eastern traditions, those of the Eastern Catholic and Orthodox Churches, the Divine Liturgy is seen as transcending time, all believers are believed to be united in worship in the Kingdom of God along with departed Saints and the celestial Angels. To this end, everything in the Liturgy is seen as symbolic, yet also not just merely symbolic, according to Eastern tradition and belief, the Liturgys roots go back to Jewish worship and the adaptation of Jewish worship by Early Christians. This can be seen in the first parts of the Liturgy termed the Liturgy of the Catechumens that includes reading of scriptures and, the latter half was added based on the Last Supper and the first Eucharistic celebrations by Early Christians. Each Liturgy has its differences from others, but most are similar to each other with adaptations based on tradition, purpose, culture. The Divine Liturgy of St. Basil the Great, used on the 5 Sundays of Great Lent, on the eves of the Nativity and Theophany, and on Holy Thursday and Holy Saturday, it is celebrated as a vesperal liturgy. In some traditions, Saint Basils Liturgy is also celebrated on the Exaltation of the Life-giving Cross on September 14, all together, St. Basils liturgy is celebrated 10 times out of the liturgical year. The Divine Liturgy of the Presanctified Gifts, is used during Great Lent on Wednesdays, Fridays, and a handful of other occasions, and also on the first three days of Holy Week. Nowadays it is celebrated as a vesperal liturgy, the Liturgy of the Faithful has no Anaphora. It is traditionally attributed to St. Gregory the Dialogist, although some believe it originated with Patriarch Severus of Antioch. The Liturgy of Saint Mark was also observed in the Orthodox Patriarchate of Alexandria on at least that Saints day until recent times. As numbers in a diocese increased dramatically the bishop as presiding over the Eucharistic assembly appointed presbyters as celebrant in the local community, still, the Church is understood in Eastern Orthodoxy not in terms of the presbyter, but the diocesan bishop. When the latter is present, he is chief celebrant, phrases and hymns are also added. The hierarch commemorates his hierarch demonstrating unity with the greater Orthodox community, note, Psalms are numbered according to the Greek Septuagint. For the Hebrew Masoretic numbering that is familiar in the West. The format of Divine Liturgy is fixed, although the specific readings and hymns vary with season, in modern times, this restriction applies only to Holy Communion — reception of the sacrament of holy communion
12.
Liber Usualis
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The Liber Usualis is a book of commonly used Gregorian chants in the Catholic tradition, compiled by the monks of the Abbey of Solesmes in France. According to Willi Apel, the Liber Usualis originated in the 11th century, another source states that it was first published in the 16th century. This 1, 900-page book contains most versions of the chants for the Mass, as well as the common chants for the Divine Office. The usual book or common book also contains chants for specific rituals, such as baptisms, weddings, funerals, ordinations and this modal, monophonic Latin music has been sung in the Catholic Church since at least the sixth century and through to the 2000s. An extensive introduction explains how to read and interpret the musical notation. A complete index makes it easy to find specific pieces, the Liber was first edited in 1896 by Solesmes Abbot Dom André Mocquereau. Gregorian chants are sung in most monasteries and some churches. In recent years, due to a resurgence of interest in Gregorian chant, Solesmes Abbey Liber Usualis in PDF format Liber Usualis in PDF format Bergeron, Katherine. Decadent enchantments, the revival of Gregorian chant at Solesmes, berkeley, University of California Press, c1998
13.
Gloria in excelsis Deo
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Gloria in excelsis Deo is a Christian hymn known also as the Greater Doxology and the Angelic Hymn. The name is abbreviated to Gloria in Excelsis or simply Gloria. The hymn begins with the words that the angels sang when the birth of Christ was announced to shepherds in Luke 2,14, other verses were added very early, forming a doxology. It is an example of the psalmi idiotici that were popular in the 2nd, other surviving examples of this lyric poetry are the Te Deum and the Phos Hilaron. In the 4th century it became part of morning prayers, and is recited in the Byzantine Rite Orthros service. The Vulgate Latin translation of the Bible was commissioned only in 382, the Latin hymn thus uses the word excelsis to translate the Greek word ὑψίστοις in Luke 2,14, not the word altissimis, which Saint Jerome preferred for his translation. Glória in excélsis Deo et in terra pax homínibus bonæ voluntátis, laudámus te, benedícimus te, adorámus te, glorificámus te, grátias ágimus tibi propter magnam glóriam tuam, Dómine Deus, Rex cæléstis, Deus Pater omnípotens. Dómine Fili unigénite, Jesu Christe, Dómine Deus, Agnus Dei, Fílius Patris, qui tollis peccáta mundi, miserére nobis, qui tollis peccáta mundi, qui sedes ad déxteram Patris, miserére nobis. Quóniam tu solus Sanctus, tu solus Dóminus, tu solus Altíssimus, Jesu Christe, cum Sancto Spíritu, in the Byzantine Rite, the Gloria is referred to as the Doxology, and there are two forms, the Greater Doxology and the Lesser Doxology. The Greater Doxology is always sung, whereas the Lesser Doxology is read, there are certain textual differences between the two, and the order is somewhat altered in the two forms. The Greater Doxology is used in the Orthros on Sundays and feast days, the Lesser Doxology is used at Matins on simple weekdays and at the Apodeipnon, but not in the Divine Liturgy. Revisions to the Prayer Book occurred in 1552 and 1662, the recently published Common Worship provides two Orders one of which places the hymn in the earlier position. The 1928 United States Episcopal Prayer Book also placed the Gloria at the end of the Eucharist service. This edition, still the standard in the breakaway Continuing Anglican churches, allowed the hymn to be used in place of the Gloria Patri after the psalms, the Episcopal Churchs 1979 Book moved it to the beginning, after or in place of the Kyrie in Rite One. In a Rite Two service of Holy Eucharist, the Gloria and it may also be used at other times as desired excepting Lent and Advent. The hymn is used in the Divine Service of the Lutheran Church. After the 12th century Advent began to be considered a period in imitation of Lent. Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis, laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam gloriam tuam, Glory to God in the highest, and on earth peace to men of good will
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Medieval music
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Medieval music consists of songs and instrumental pieces from about 400 A. D. to 1400. Medieval music was an era of Western music, including music used for the church. Medieval music includes vocal music, such as Gregorian chant and choral music, solely instrumental music. Gregorian chant was sung by monks during Catholic Mass, the Mass is a reenactment of Christs Last Supper, intended to provide a spiritual connection between man and God. Part of this connection was established through music and this era begins with the fall of the Western Roman Empire in the fifth century and ends sometime in the early fifteenth century. Establishing the end of the era and the beginning of the Renaissance music era is difficult. The date range in this article is the one adopted by musicologists. S. Bach and Classical music period composers from the 1700s such as W. A. Mozart, the most obvious of these is the development of a comprehensive music notational system which enabled composers to write out their song melodies and instrumental pieces on parchment or paper. Prior to the development of musical notation, songs and pieces had to be learned by ear and this greatly limited how many people could be taught new music and how wide music could spread to other regions or countries. The development of music made it easier to disseminate songs and musical pieces to a larger number of people. Many instruments used to perform medieval music still exist in the 21st century, the flute was made of wood in the medieval era] rather than silver or other metal, and could be made as a side-blown or end-blown instrument. While modern orchestral flutes are made of metal and have complex key mechanisms and airtight pads. The recorder was made of wood during the Medieval era, and despite the fact that in the 2000s, it may be made of synthetic materials, it has more or less retained its past form. The gemshorn is similar to the recorder as it has holes on its front. One of the predecessors, the pan flute, was popular in medieval times. This instruments pipes were made of wood, and were graduated in length to produce different pitches, Medieval music used many plucked string instruments like the lute, a fretted instrument with a pear-shaped hollow body which is the predecessor to the modern guitar. Other plucked stringed instruments included the mandore, gittern, citole, the bowed lyra of the Byzantine Empire was the first recorded European bowed string instrument. Like the modern violin, a performer produced sound by moving a bow with tensioned hair over tensioned strings, the hurdy-gurdy was a mechanical violin using a rosined wooden wheel attached to a crank to bow its strings
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Renaissance music
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Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. From this changing society emerged a common, unifying musical language, in particular the style of the Franco-Flemish school. The invention of the press in 1440 made it cheaper and easier to distribute music and musical theory texts on a wider geographic scale. Prior to the invention of printing, songs and music that were written down and music theory texts had to be hand-copied, demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. These musicians were sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers. This reversed the situation from a hundred years earlier, opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as an attempt to resurrect the music of ancient Greece. Music was increasingly freed from constraints, and more variety was permitted in range, rhythm, harmony, form. In the Renaissance, music became a vehicle for personal expression, composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa, popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists, Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of familiar modern instruments developed into new forms during the Renaissance. These instruments were modified to responding to the evolution of musical ideas, Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works, an enormous diversity of musical styles and genres flourished during the Renaissance. These can be heard on recordings made in the 20th and 21st century, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, beginning in the late 20th century, numerous early music ensembles were formed. One of the most pronounced features of early Renaissance European art music was the reliance on the interval of the third. Polyphony – the use of multiple, independent melodic lines, performed simultaneously – became increasingly elaborate throughout the 14th century, the beginning of the 15th century showed simplification, with the composers often striving for smoothness in the melodic parts. The modal characteristics of Renaissance music began to break down towards the end of the period with the use of root motions of fifths or fourths
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Igor Stravinsky
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Igor Fyodorovich Stravinsky was a Russian-born composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century, Stravinskys compositional career was notable for its stylistic diversity. His Russian phase which continued with such as Renard, The Soldiers Tale. The works from this tended to make use of traditional musical forms, drawing on earlier styles. In the 1950s, Stravinsky adopted serial procedures, Stravinsky was born on 17 June 1882 in Oranienbaum, a suburb of Saint Petersburg, the Russian imperial capital, and was brought up in Saint Petersburg. It is believed that Stravinsky’s ancestry is traceable back to the 17th and 18th centuries, to the bearers of the Soulima, ivan Sulima, was a famous Ukrainian hetman 1628–1635. Stravinskys family branch most likely came from Stravinskas, polonized Lithuanian land owners and it is still unclear to when exactly the Soulima part of the surname was dropped. Stravinsky recalled his schooldays as being lonely, later saying that I never came across anyone who had any attraction for me. Stravinsky began piano lessons as a boy, studying music theory. In 1890, he saw a performance of Tchaikovskys ballet The Sleeping Beauty at the Mariinsky Theatre, despite his enthusiasm for music, his parents expected him to study law. Stravinsky enrolled at the University of Saint Petersburg in 1901, Stravinskys father died of cancer that year, by which time his son had already begun spending more time on his musical studies than on law. Thereafter, he concentrated on studying music, in 1905, he began to take twice-weekly private lessons from Rimsky-Korsakov, whom he came to regard as a second father. These lessons continued until Rimsky-Korsakovs death in 1908, in 1905 Stravinsky was betrothed to his cousin Katherine Gavrylivna Nosenko, whom he had known since early childhood. Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to carry out some orchestrations and then to compose a ballet score. The early period of Igor Stravinsky’s work would be incomplete without a research of his life while in Ukraine. From approximately 1890 till 1914 the composer was frequently visiting Ustyluh, town in Volyn Oblast and he spent most of his summers there and that’s where he met his cousin, Katherine Nosenko who he married in 1906. In 1907 Stravinsky designed and built his own house in Ustyluh where his own family stayed often during summer times until 1914 and his new Ukrainian home he called “My heavenly place”. In this house Igor Stravinsky worked on his seventeen early compositions, among which were orchestral fantasy Fireworks, ballets Firebird, Petrushka, currently, after its renovation this house is the only composers house-museum opened to the public
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Mass (Stravinsky)
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Igor Stravinsky composed his Mass between 1944 and 1948. This 19-minute setting of the Roman Catholic Mass exhibits the austere, the Mass also represents one of only a handful of extant pieces by Stravinsky that was not commissioned. As such, part of the motivation behind its composition has been cited by Robert Craft, Stravinsky completed the Gloria on December 20,1944 and finished the Kyrie at about the same time. His work on the Mass was then interrupted for several years in which his wrote his Symphony, Ebony Concerto, Concerto in D, and he resumed work on it in the fall of 1947 and completed it March 15,1948. On February 26,1947, Irving Fine conducted the Kyrie and Gloria, the first complete performance occurred on October 27,1948 in Milan. Ernest Ansermet conducted members of the chorus and orchestra of La Scala, the work is scored for mixed chorus and an ensemble of wind instruments comprising two oboes, English horn, two bassoons, two trumpets, and three trombones. There is also some solo material in the second and fourth movements. Like his 1955 work Canticum Sacrum, the Mass forms a plan on a large-scale. The outer movements contain homophonic choral statements with instrumental interludes, and share a tonal vocabulary including octatonic, diatonic, by contrast, movements 2 and 4 feature florid solo lines which alternate with the choral statements, and the harmony is more recognizably and consistently diatonic. The central movement, the Credo, is the longest and it features static, syllabic, and declamatory text-setting with a limited harmonic and rhythmic vocabulary. Clear setting of the text is favored over an expressive interpretation of its meaning, the music features examples of polyvalency. Stravinsky chose to compose this Roman Catholic Mass despite his own Orthodox faith. ”Stravinsky also said of the Credo, “One composes a march to facilitate marching men, the Credo is the longest movement. Below is a list of recordings—ordered alphabetically by conductor—of the Mass as of 2015, Stravinsky, Les Noces/Mass/Cantata, from Ančerl Gold Edition 32. Czech Philharmonic Orchestra & Prague Philharmonic Choir, English Bach Festival Chorus & Orchestra, and the Trinity Boys Choir. Deutsche Grammophon 20th Century Classics ADD 0289-423-2512-8-GC, compact disc, Stravinsky, Symphony of Psalms/Three Russian Sacred Choruses/Mass/Cantata/Babel. The Gregg Smith Singers, Orchestra of St. Luke, English Chamber Orchestra, and St. Anthony Singers. Deutsche Grammophon ADD 0289-475-8716-3-DH, compact disc. de Leeuw, Reinbert, netherlands Chamber Choir, and the Schönberg Ensemble. Igor Stravinsky, Monumentum/Mass/Symphonie de Psaumes, J. S, collegium Vocale Gent, and the Royal Flemish Philharmonic
18.
Mass in B minor structure
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The Mass in B minor is Johann Sebastian Bachs only setting of the complete Latin text of the Ordinarium missae. Towards the end of his life, mainly in 1748 and 1749, he finished composing new sections and compiling it into a complex and he added a few new compositions, but mostly derived movements from cantata movements, in a technique known as parody. Similar to architecture of the period, Bach achieved a symmetry of parts, with the profession of faith in the center, Bach scored the work for five vocal parts. While some choral movements are for four parts, the Sanctus is scored for six voices. Bach called for an instrumentation of brass, woodwinds and strings. The Mass was Bachs last major artistic undertaking, the reason for the composition is unknown. Scholars found no occasion for which the work may have been intended. Bach expanded the Missa of 1733 to a Missa tota from 1748 to 1749, in these last years, he added three choral movements for the Credo, its opening Credo in unum Deum, Confiteor and Et incarnatus est. The Sanctus was originally an individual movement composed for Christmas 1724 in Leipzig, most other movements of the mass are parodies of music from earlier cantatas, dating back as far as 1714. Wenk points out that Bach often used parody to bring a composition to a level of perfection. The original musical sources of movements are known, for others they are lost. Bach selected movements that carried a similar expression and affekt, Bach quoted Gregorian chant twice, in the Credo in unum Deum as a theme and in the Confiteor as a cantus firmus embedded in complex polyphony. Bach achieved a symmetry of the parts, with the profession of faith in the center and the movement Crucifixus in its center. Markus Rathey, Associate Professor of Music History at the Institute of Sacred Music at the Yale School of Music, sees a similarity to architecture of the period, Bach knew buildings in that style, for example Schloss Friedrichsthal in Gotha, built in 1710. Rathey continues, The symmetry on earth mirrors the symmetric perfection of heaven, the purpose of art at this time—in architecture, the visual arts, and music—was not to create something entirely new, but to reflect this divine perfection, and in this way to praise God. We find such a symmetric outline in many pieces by Johann Sebastian Bach,19, the parts Kyrie, Gloria and Credo are all designed with choral sections as the outer movements, framing an intimate center of theological significance. Bach made an effort to incorporate all styles that were available to him. He had composed the Sanctus in 1724, and the Missa in 1733, when he compiled the Mass, he used these parts, added the Credo, including new compositions, and concluded with Osanna, which is normally part of the Sanctus
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Subject (music)
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In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue this may be known as the theme, a subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a phrase or period. The Encyclopédie Fasquelle defines a theme as Any element, motif, Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as associational and thus outside his cognitive-based generative theorys scope of analysis, Music based on a single theme is called monothematic, while music based on several themes is called polythematic. Most fugues are monothematic and most pieces in sonata form are polythematic, in the exposition of a fugue, the principal theme is announced successively in each voice – sometimes in a transposed form. In some compositions, a subject is announced and then a second melody, sometimes called a countersubject or secondary theme. Music without subjects/themes, or without recognizable, repeating, and developing subjects/themes, is called athematic, examples include the pre-twelve-tone or early atonal works of Arnold Schoenberg, Anton Webern, Alban Berg, and Alois Hába. Schoenberg once said that, intoxicated by the enthusiasm of having freed music from the shackles of tonality, in fact, I … believed that now music could renounce motivic features and remain coherent and comprehensible nevertheless. Examples in the works of later composers include Polyphonie X and Structures I by Pierre Boulez, Sonata for Two Pianos by Karel Goeyvaerts, and Punkte by Karlheinz Stockhausen. In a fugue, when the first voice has completed the subject, and the voice is playing the answer. The countersubject usually contrasts with the subject/answer phrase shape, in a fugue, a countersubject is the continuation of counterpoint in the voice that began with the subject, occurring against the answer. It is not usually regarded as a feature of fugue. Attacco Cell Figure Formula composition Leitmotif Thematic transformation Benward, Bruce, Music in Theory and Practice, eighth edition, vol. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, the Oxford Companion to Music, edited by Alison Latham. Une nouvelle grammaire musicale, prémices et premiers essais / A New Musical Grammar, Principles, la Scena Musicale 6, no.3. Lerdahl, Fred. Cognitive Constraints on Compositional Systems, Oxford and New York, Oxford University Press. Encyclopédie de la musique,3 vols, Music and Discourse, Toward a Semiology of Music, translated by Caroline Abbate
20.
Joseph Haydn
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Joseph Haydn was an Austrian composer of the Classical period. Haydn spent much of his career as a musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, yet his music circulated widely and for much of his career he was the most celebrated composer in Europe. He was a friend and mentor of Mozart, a teacher of Beethoven, Joseph Haydn was born in Rohrau, Austria, a village that at that time stood on the border with Hungary. His father was Mathias Haydn, a wheelwright who served as Marktrichter. Haydns mother Maria, née Koller, had worked as a cook in the palace of Count Harrach. Neither parent could read music, however, Mathias was a folk musician. According to Haydns later reminiscences, his family was extremely musical. Haydns parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain serious musical training, Haydn therefore went off with Frankh to Hainburg 12 kilometres away, he never again lived with his parents. Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry and he began his musical training there, and could soon play both harpsichord and violin. The people of Hainburg heard him sing treble parts in the church choir, Haydn passed his audition with Reutter, and after several months of further training moved to Vienna, where he worked for the next nine years as a chorister. Haydn lived in the Kapellhaus next to the cathedral, along with Reutter, Reutters family, and the other four choirboys, the choirboys were instructed in Latin and other school subjects as well as voice, violin, and keyboard. Reutter was of help to Haydn in the areas of music theory and composition. However, since St. Stephens was one of the musical centres in Europe. Like Frankh before him, Reutter did not always bother to make sure Haydn was properly fed, by 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. Empress Maria Theresa herself complained to Reutter about his singing, calling it crowing, one day, Haydn carried out a prank, snipping off the pigtail of a fellow chorister. This was enough for Reutter, Haydn was first caned, then summarily dismissed and he had the good fortune to be taken in by a friend, Johann Michael Spangler, who shared his familys crowded garret room with Haydn for a few months. Haydn immediately began his pursuit of a career as a freelance musician and he was also briefly in Count Friedrich Wilhelm von Haugwitzs employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz
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Missa solemnis (Beethoven)
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The Missa solemnis in D major, Op.123, is a solemn mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in St and it is generally considered one of the composers supreme achievements and, along with Bachs Mass in B minor, one of the most significant Mass settings of the common practice period. Written around the time as his Ninth Symphony, it is Beethovens second setting of the Mass, after his Mass in C major. Gloria, Quickly shifting textures and themes highlight each portion of the Gloria text, the movement ends with the first of the works two massive fugues, on the text In gloria Dei patris. Amen, leading into a recapitulation of the initial Gloria text, Credo, The movement opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, Sanctus, Up until the Benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. Agnus Dei, A setting of the plea miserere nobis that begins with the voices alone in B minor yields, eventually. After some fugal development, it is suddenly and dramatically interrupted by martial sounds, the orchestration of the piece features a quartet of vocal soloists, a substantial chorus, and the full orchestra, and each at times is used in virtuosic, textural, and melodic capacities. The writing displays Beethovens characteristic disregard for the performer, and is in places both technically and physically exacting, with many sudden changes of dynamic, metre and tempo. This is consistent throughout, starting with the opening Kyrie where the syllables Ky-ri are delivered either forte or with sforzando, but the final e is piano. The orchestral parts also include many demanding sections, including the solo in the Sanctus. A typical performance of the work runs 80 to 85 minutes. The work was dedicated to Archduke Rudolf of Austria, archbishop of Olomouc, Beethovens foremost patron as well as pupil, the copy presented to Rudolf was inscribed Von Herzen—Möge es wieder—Zu Herzen gehn. Some critics have been troubled by the problem that, as Theodor W. Adorno put it, in many ways, it is an atypical work, even for Beethoven. Missing is the exploration of themes through development that is one of Beethovens hallmarks. The massive fugues at the end of the Gloria and Credo align it with the work of his late period—but his simultaneous interest in the theme and variations form is absent. Instead, the Missa presents a musical narrative, almost without repetition, particularly in the Gloria and Credo. Donald Tovey has connected Beethoven to the tradition in a different way, Not even Bach or Handel can show a greater sense of space
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Ludwig van Beethoven
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Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he one of the most famous. His best-known compositions include 9 symphonies,5 piano concertos,1 violin concerto,32 piano sonatas,16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn and he lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost completely deaf. In 1811 he gave up conducting and performing in public but continued to compose, many of his most admired works come from these last 15 years of his life. Beethoven was the grandson of Ludwig van Beethoven, a musician from the town of Mechelen in the Duchy of Brabant in the Flemish region of what is now Belgium, who at the age of twenty moved to Bonn. Ludwig was employed as a singer at the court of the Elector of Cologne, eventually rising to become, in 1761. The portrait he commissioned of himself towards the end of his life remained proudly displayed in his grandsons rooms as a talisman of his musical heritage. Ludwig had one son, Johann, who worked as a tenor in the musical establishment and gave keyboard. Johann married Maria Magdalena Keverich in 1767, she was the daughter of Johann Heinrich Keverich, Beethoven was born of this marriage in Bonn. There is no record of the date of his birth, however. Of the seven children born to Johann van Beethoven, only Ludwig, the second-born, caspar Anton Carl was born on 8 April 1774, and Nikolaus Johann, the youngest, was born on 2 October 1776. Beethovens first music teacher was his father and he later had other local teachers, the court organist Gilles van den Eeden, Tobias Friedrich Pfeiffer, and Franz Rovantini. Beethovens musical talent was obvious at a young age, some time after 1779, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe, who was appointed the Courts Organist in that year. Neefe taught Beethoven composition, and by March 1783 had helped him write his first published composition, Beethoven soon began working with Neefe as assistant organist, at first unpaid, and then as a paid employee of the court chapel conducted by the Kapellmeister Andrea Luchesi. His first three piano sonatas, named Kurfürst for their dedication to the Elector Maximilian Friedrich, were published in 1783, Maximilian Frederick noticed Beethovens talent early, and subsidised and encouraged the young mans musical studies. Maximilian Fredericks successor as the Elector of Bonn was Maximilian Francis, the youngest son of Empress Maria Theresa of Austria, echoing changes made in Vienna by his brother Joseph, he introduced reforms based on Enlightenment philosophy, with increased support for education and the arts
23.
Melisma
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Melisma is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, Music of ancient cultures used melismatic techniques to induce a hypnotic trance in the listener, useful for early mystical initiation rites and religious worship. This quality is found most famously in Arabic music where the scale is said to consist of quarter tones. Orthodox Christian chanting also bears a resemblance to this. Middle Eastern melismatic music was developed further in the Torah chanting and it then appeared in some genres of Gregorian chant, where it was used in certain sections of the Mass, with the earliest written appearance around AD900. The gradual and the alleluia, in particular, were characteristically melismatic, for example, while the tract is not, the Byzantine Rite also used melismatic elements in its music, which developed roughly concurrently with the Gregorian chant. In Western music, the term melisma most commonly refers to Gregorian chant However, within Jewish liturgical tradition, melisma is still commonly used in the chanting of Torah, readings from the Prophets, and in the body of a service. For an examination of the evolution of this tradition, see Idelsohn, today, melisma is commonly used in Middle Eastern, African, Balkan, and African American music, Fado, Flamenco, and various Asian folk and popular musical genres. Melisma is also featured in Western popular music. Early in their careers, Ray Charles, Aretha Franklin, Melisma is used by countless pop artists such as Michael Jackson, although this form usually involves improvising melismas over a simpler melody. The use of melisma is a feature of artists such as Stevie Wonder, Whitney Houston, Mariah Carey, Beyoncé, Christina Aguilera, Jennifer Hudson. Use of melismatic vocals was slowly growing in the 1980s, although other artists used melisma before Houston, her rendition of Dolly Partons love song I Will Always Love You pushed the technique into the mainstream in the 90s. The trend in R&B singers is considered to have been popularized by Mariah Careys song Vision of Love, which was released and topped the charts at number one in 1990, and went on to be certified gold. Ding Dong Merrily on High, arranged by George Ratcliffe Woodward, contains an even longer melisma of 31 notes, George Frideric Handels Messiah contains numerous examples of melisma, as in the following excerpt from the chorus For Unto Us a Child Is Born. The soprano and alto lines engage in a 57-note melisma on the word born, play Melisma is also used, though rarely and briefly, in the music of Jethro Tull, examples include the eponymous track of the album Songs From the Wood and the song Skating Away. One of the most striking instances in recent pop music occurs in Bruce Springsteens The Ties that Bind, wolfgang Amadeus Mozart also uses melisma in his Requiem Mass in D minor in the Kyrie sequence, with the e in eleison being elaborately sung in various notes. Arabic maqam American Heritage Dictionary of the English Language entry on melisma Virginia Tech Multimedia Music Dictionary entry on melisma
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Melody type
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Melody type or type-melody is a set of melodic formulas, figures, and patterns. Melody types are used in the composition of a variety of music, especially non-Western. Such music is composed by a process of centonization, either freely or in a fixed pattern. Most cultures which compose music in this way organize the patterns into distinct melody types, in non-improvised music, such as codified liturgical music, it is still usually clear how the melody developed from set patterns. On one end of the continuum, the right, the type is a schema that is quite definite—a specific melody or a tune. When a musician improvises on this schema, he plays the melody with only slight variations, the basic outline is preserved and is clearly recognized by the listener. On this end of the continuum is a folk song, a genuine folk song performance is a kind of improvisation. No one person sings it exactly as it came to him, one of the challenges of folk song research, of course, is to find all the variants of the tune and to try to trace the family relationships. On the left side of the continuum is the type as a mode. A melodic formula, ranging length from a motif of a few notes to an entire melody. Melody types are mostly in the music of ancient peoples—the Greeks, Hebrews, and others—and of Eastern peoples—the Arabs, Persians, Indians. They are also associated with certain times. For example, most ragas are associated with a time of day. Many of these traditions have a corresponding rhythmic framework and these include, Usul in Arabian and Turkish music Tala in Indian music Bentuk in Javanese music Formula composition Matrix Modal frame
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Polyphony
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Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. In all cases the conception was probably what Margaret Bent calls dyadic counterpoint, with part being written generally against one other part. The term polyphony is also used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony, traditional polyphony has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in sub-Saharan Africa, Europe and it is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music. Currently there are two approaches to the problem of the origins of vocal polyphony, the Cultural Model. Although the exact origins of polyphony in the Western church traditions are unknown,900, are usually considered the oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, rather than being fixed works, they indicated ways of improvising polyphony during performance. 1000, is the oldest extant example of notated polyphony for chant performance, European polyphony rose out of melismatic organum, the earliest harmonization of the chant. Twelfth-century composers, such as Léonin and Pérotin developed the organum that was introduced centuries earlier, the lyrics of love poems might be sung above sacred texts in the form of a trope, or the sacred text might be placed within a familiar secular melody. The oldest surviving piece of music is the English rota Sumer is icumen in. These musical innovations appeared in a context of societal change. After the first millennium, European monks decided to start translating the works of Greek philosophers into the vernacular, Western Europeans were aware of Plato, Socrates, and Hippocrates during the Middle Ages. However they had largely lost touch with the content of their surviving works because the use of Greek as a language was restricted to the lands of the Eastern Roman Empire. Once these ancient works started being translated thus becoming accessible, the philosophies had a impact on the mind of Western Europe. This sparked a number of innovations in medicine, science, art, European polyphony rose prior to, and during the period of the Western Schism. Avignon, the seat of the antipopes, was a center of secular music-making
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Homophony
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In music, homophony is a texture in which a primary part is supported by one or more additional strands that flesh out the harmony and often provide rhythmic contrast. This differentiation of roles contrasts with equal-voice polyphony and monophony, historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices. A homophonic texture may be homorhythmic, which means all parts have the same rhythm. Chorale texture is another variant of homophony, initially, in Ancient Greece, homophony indicated music in which a single melody is performed by two or more voices in unison or octaves, i. e. monophony with multiple voices. Homophony as a term first appeared in English with Charles Burney in 1776, the choral arrangement of four voices has since become common in Western music. Homophony began by appearing in sacred music, replacing polyphony and monophony as the dominant form, however, some traditional devices, such as repeated chords, are still used. Jazz and other forms of popular music generally feature homophonic influences. Homophony has appeared in several cultures, perhaps particularly in regions where communal vocal music has been cultivated. When explorer Vasco da Gama landed in West Africa in 1497, singers normally harmonize voices in homophonic parallelism moving in parallel thirds or fourths. This type of model is also, implemented in instrumental music where voices are stacked in thirds or fourths. Homophonic Parallelism is not restricted to thirds and fourths, however all harmonic material adheres to the system the particular tune or song is based on. The use of harmony in sixths is common in areas where a scale system is used. For instance, the Fang people of Gabon use homophony in their music, in eastern Indonesia, two-part harmonies are common, usually in intervals of thirds, fourths or fifths. In melody-dominated homophony, accompanying voices provide chordal support for the lead voice, some popular music today might be considered melody-dominated homophony, voice typically taking on the lead role, while instruments like piano, guitar and bass guitar normally accompany the voice. Monody is similar to melody-dominated homophony in that one becomes the melody
27.
Heinrich Isaac
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Heinrich Isaac was a Netherlandish Renaissance composer of south Netherlandish origin. He wrote masses, motets, songs, and instrumental music, a significant contemporary of Josquin des Prez, Isaac influenced the development of music in Germany. Several variants exist of his name, Ysaac, Ysaak, Henricus, Arrigo dUgo, little is known about Isaacs early life, but it is probable that he was born in Flanders, probably in Brabant. During the late 15th century, standards of education in the region were excellent. Heinrich Isaacs career spanned well over thirty years and allowed him to travel far from his homeland of Flanders into Germany, Italy, and Austria, as well as other parts of central Europe. The following year Isaac migrated to Florence, since documents show that by July 1485 Isaac had become employed as a singer at the church Santa Maria del Fiore. By the middle of 1491, he was designated as a singer at Santissima Annunziata and it is speculated that it was Medici who may have summoned Isaac to Florence from Innsbruck in 1484. Previously, Isaac had been identified as an organist to Lorenzo, moreover, when Lorenzo died in April 1492 Isaac composed two motets in his memory. Lorenzos son Piero inherited everything he owned, including his musical groups, in September 1492 Piero took his musical groups to Rome to perform for the coronation of Pope Alexander VI. Records show that Isaac was one of the three singers for whom clothing was purchased for the trip, implying that he performed for the Pope. During his first stay in Florence Isaac also had dealings with a Florentine named Piero Bello, although the actual date of the marriage is unknown, records imply that it may have been arranged for Isaac by Lorenzo de Medici when he summoned Isaac from Flanders. There is record of Piero Bello giving Isaac a dowry for his daughter, in November 1496 after Isaac and his wife spent some time in Pisa, they moved to Vienna and became employed by Emperor Maximilian I. By the winter of 1496 Isaac and Bartolomea had gone from Pisa to Vienna to Innsbruck and he remained under Maximilians employment from 1496 until his death, although he did not remain stationary during that period. In fact, Isaac traveled extensively around Europe north of Italy, payment documents from Maximilians court imply Isaac traveled with the court to Torgau, Augsburg, Nürnberg, Wels, and back to Innsbruck between 1497 and 1501. In 1502, Isaac returned to Italy, going to Florence to make arrangements with the hospital Santa Maria Nuova, payments were made to the hospital in return for health and food provisions. Recently discovered documents offer evidence that Isaac began making payments to the confraternity of Santa Barbara for mutual assistance. On 15 August 1502, Isaac wrote his first will which included names of his proprietors, alluding to the fact that he was doing well to care for his wife and property should anything happen to him. It is true that Josquin composes better, but he composes when he wants to, between 1505 and 1512 there are records of Isaac having dealings in Augsburg, Florence and Constance, the latter in which he compiled his largest set of works, Choralis Constantinus
28.
Missa brevis
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Missa brevis is Latin for short Mass. The concise approach is found in the mostly syllabic settings of the 16th century, after the period when all church music was performed a cappella, a short execution time usually also implied modest forces for performance, that is, apart from Masses in the brevis et solemnis genre. 262 – rendering the complete words of the liturgy, as the words were well known some composers had different voice parts recite simultaneously different sections of long texts. This is especially characteristic of Austrian masses in the Gloria and the Credo, Johann Georg Albrechtsberger, Mass in D major, Missa Sancti Augustini Carl Heinrich Biber, Missa brevis sanctorum septem dolorum B. V. M. These masses came to be called Missae breves because they are shorter in words, as Protestantism didnt have a determined set of Mass ordinary sections to be included in a Mass composition, as well settings of all five sections as Kyrie–Gloria–Sanctus settings exist. From the early 17th century many Kurzmessen consisting of only Kyrie and Gloria were composed, dietrich Buxtehude, Missa brevis, BuxWV114 Johann Theile, Missa brevis Johann Kuhnaus Mass in F major, the only extant Mass composition of this composer, is a Kurzmesse. Johann Ludwig Bach, Missa super cantilena Allein Gott in der Höh sei Ehr, JLB38, the Gloria section of this Mass intersperses the Latin text with all four stanzas of Allein Gott in der Höh sei Ehr as cantus firmus. The first measures of that section were amended by J. S. Bach in his Leipzig copy of the work, kyrie–Gloria Masses Bach copied from other composers include BWV Anh.25 and 167. For American denominations, the Sanctus is usually without Benedictus, the Gloria section may be moved to the end of the composition. Whatever the reason for omitting part of the text of the Mass ordinary from the musical setting, a Mass being short in this sense does however not exclude that sections based on texts outside the Mass ordinary are added to the composition
29.
Symbolum Apostolorum
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The Apostles Creed, sometimes entitled Symbol of the Apostles, is an early statement of Christian belief—a creed or symbol. It is also used by Presbyterians, Methodists and Congregationalists, the Apostles Creed is Trinitarian in structure with sections affirming belief in God the Father, Jesus Christ His Son and the Holy Spirit. The Apostles Creed was based on Christian theological understanding of the Canonical gospels and its basis appears to be the old Roman Creed known also as the Old Roman Symbol. Because of the origin of its original form, it does not address some Christological issues defined in the Nicene. It thus says nothing explicitly about the divinity of either Jesus or the Holy Spirit and this makes it acceptable to many Arians and Unitarians. Nor does it address many other questions which became objects of dispute centuries later. The earlier text evolved from simpler texts based on Matthew 28,19, part of the Great Commission, pirminius, written between 710 and 714. Bettenson and Maunder state that it is first from Dicta Abbatis Pirminii de singulis libris canonicis scarapsus and this longer Creed seems to have arisen in what is now France and Spain. Charlemagne imposed it throughout his dominions, and it was accepted in Rome. It has been argued nonetheless that it dates from the half of the 5th century. Some have suggested that the Apostles Creed was spliced together with phrases from the New Testament, for instance, the phrase descendit ad inferos echoes Ephesians 4,9, κατέβη εἰς τὰ κατώτερα μέρη τῆς γῆς. It is of interest that this phrase first appeared in one of the two versions of Rufinus in A. D.390 and then did not appear again in any version of the creed until A. D.650. This phrase and that on the communion of saints are found in the Apostles Creed. Musical settings of the Symbolum Apostolorum as a motet are rare, the French composer Le Brung published one Latin setting in 1540, the Spanish composer Fernando de las Infantas published two in 1578. More recently, in 1979 John Michael Talbot, a Third Order Franciscan, composed and recorded Creed on his album, in 1986 Graham Kendrick published the popular We believe in God the Father, closely based on the Apostles Creed. Rich Mullins and Beaker also composed a musical setting titled Creed, released on Mullins‘1993 album A Liturgy, the song Creed on Petra’s 1990 album Beyond Belief is loosely based on the Apostles Creed. In 1991, GIA Publications published a hymn text directly based on the Apostles’ Creed, called I Believe in God Almighty and it has been sung to hymn tunes from Wales, the Netherlands, and Ireland. In 2014 Hillsong released a version of the Apostles Creed under the title This I Believe on their album No Other Name, in 2016 Keith Getty and Kristyn Getty released an expression of the Apostles Creed under the title We Believe on their album Facing a Task Unfinished
30.
Creed
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A creed is a statement of the shared beliefs of a religious community in the form of a fixed formula summarizing core tenets. One of the most widely used creeds in Christianity is the Nicene Creed and it was based on Christian understanding of the Canonical Gospels, the letters of the New Testament and to a lesser extent the Old Testament. Affirmation of this creed, which describes the Trinity, is taken as a fundamental test of orthodoxy for most Christian denominations. The Apostles Creed is also broadly accepted, Some Christian denominations and other groups have rejected the authority of those creeds. Muslims declare the shahada, or testimony, I bear witness there is no god but God. Whether Judaism is creedal has been a point of some controversy, although some say Judaism is noncreedal in nature, others say it recognizes a single creed, the Shema Yisrael, which begins, Hear, O Israel, the LORD our God, the LORD is one. The word creed is particularly used for a statement which is recited as part of liturgy. The term is anglicized from Latin credo I believe, the incipit of the Latin texts of the Apostles Creed, within Evangelicalism, the terms doctrinal statement or doctrinal basis tend to be preferred. Doctrinal statements may include positions on lectionary and translations of the Bible, the term creed is sometimes extended to comparable concepts in non-Christian theologies, thus the Islamic concept of ʿaqīdah is often rendered as creed. Several creeds have originated in Christianity,1 Corinthians 15, 3–7 includes an early creed about Jesus death and resurrection which was probably received by Paul. The antiquity of the creed has been located by most biblical scholars to no more than five years after Jesus death, the Old Roman Creed is an earlier and shorter version of the Apostles Creed. The Apostles Creed is widely used by most Christian denominations for both liturgical and catechetical purposes, the Nicene Creed reflects the concerns of the First Council of Nicaea in 325 which had as their chief purpose to establish what Christians believed. The Chalcedonian Creed was adopted at the Council of Chalcedon in 451 in Asia Minor and it defines that Christ is acknowledged in two natures, which come together into one person and hypostasis. The Athanasian Creed is a Christian statement of belief focusing on Trinitarian doctrine, the Tridentine Creed was initially contained in the papal bull Iniunctum Nobis, issued by Pope Pius IV on November 13,1565. The creed was intended to summarize the teaching of the Council of Trent, the Maasai Creed is a creed composed in 1960 by the Maasai people of East Africa in collaboration with missionaries from the Congregation of the Holy Ghost. The creed attempts to express the essentials of the Christian faith within the Maasai culture, the Credo of the People of God is a profession of faith that Pope Paul VI published with the motu proprio Solemni hac liturgia of 30 June 1968. Pope Paul VI spoke of it as a profession of faith, Protestant denominations are usually associated with confessions of faith, which are similar to creeds but usually longer. By the martyr French Huguenots Jean du Bourdel, Matthieu Verneuil, Pierre Bourdon and André la Fon at the site of Rio de Janeiro, Brazil
31.
Roman Rite
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The Roman Rite is the most widespread liturgical rite in the Catholic Church and is one of the Latin rites used in the Western or Latin Church. The Roman Rite has been adapted over the centuries and its Eucharistic liturgy can be divided into three stages, the Pre-Tridentine Mass, Tridentine Mass and Mass of Paul VI. The 2007 motu proprio Summorum Pontificum specifies the circumstances in which priests of the Latin Church may continue to use the form of the Roman Rite in the 1962 Roman Missal. While other rites use more poetic language, the Roman Rite is noted for its sobriety of expression, as each is shown, a bell is rung and, if incense is used, the host and chalice are incensed. Sometimes the external bells of the church are rung as well, other characteristics that distinguish the Roman Rite from the rites of the Eastern Catholic Churches are frequent genuflections, kneeling for long periods, and keeping both hands joined together. We find the prayers of our Canon in the treatise de Sacramentis, so our Mass goes back, without essential change, to the age when it first developed out of the oldest liturgy of all. The final result of our inquiry is that, in spite of unsolved problems, in spite of later changes, in a footnote he added, The prejudice that imagines that everything Eastern must be old is a mistake. Eastern rites have been modified too, some of them quite late. No Eastern Rite now used is as archaic as the Roman Mass, in the same book, Fortescue acknowledged that the Roman Rite underwent profound changes in the course of its development. In the interval, there was what Fortescue called a radical change and he quoted the theory of A. Leo, I began to make these changes, Gregory I finished the process and finally recast the Canon in the form it still has. We must then admit that between the years 400 and 500 a great transformation was made in the Roman Canon and this infusion Fortescue called the last change since Gregory the Great. The Eucharistic Prayer normally used in the Byzantine Rite is attributed to Saint John Chrysostom, the East Syrian Eucharistic Prayer of Addai and Mari, which is still in use, is certainly much older. However, by about 1800 the Roman Rite had quite abandoned rood screens, however, when Western Europe adopted polyphony, the music of the Roman Rite did become very elaborate and lengthy. Latin liturgical rites List of Catholic rites and churches Liturgical books of the Roman rite Pre-Tridentine Mass Mass of Paul VI Mass Tridentine Mass Baldovin, John F. Reforming the Liturgy, A Response to the Critics. The Reform of the Liturgy 1948-1975, a Short History of the Roman Mass. By Michael Davies, said to be based on Adrian Fortescues The Mass, A Study of the Roman Liturgy Metzger, History of the Liturgy, The Major Stages. Bodies of Worship, Explorations in Theory and Practice, a Challenging Reform, Realizing the Vision of the Liturgical Renewal. Johnson, Lawrence, J. Worship in the Early Church, foley, Edward, Mitchell, Nathan D. and Pierce, Joanne M
32.
Kyrie
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Kyrie, a transliteration of Greek Κύριε, vocative case of Κύριος, is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison /ˈkiːri. eɪ ᵻˈleɪ. ᵻsɒn/. In John 13,13, John reports Jesus as saying You call Me Teacher and Lord, the prayer, Kyrie, eleison, Lord, have mercy derives from several New Testament verses in particular. In Matthew 15,22, the Canaanite woman cries out to Jesus, Have mercy on me, O Lord, in Matthew 20,30,31, two unnamed blind men call out to Jesus, Lord, have mercy on us, Son of David. Finally, in Mark 10,46, Blind Bartimaeus cries out, Jesus, Τhe phrase Kýrie, eléison, or one of its equivalents in other languages, is one of the most oft-repeated phrases in Eastern Orthodox and Byzantine-Rite Eastern Christianity. The various litanies, frequent in that rite, generally have Lord, have mercy as their response, some petitions in these litanies will have twelve or even forty repetitions of the phrase as a response. The phrase is the origin of the Jesus Prayer, beloved by Christians of that rite, the biblical roots of this prayer first appear in 1 Chronicles 16,34. give thanks to the LORD, for he is good, for his mercy endures for ever. The prayer is simultaneously a petition and a prayer of thanksgiving, an acknowledgment of what God has done, what God is doing, and what God will continue to do. It is refined in the Parable of The Publican, God, have mercy on me, a sinner, which shows more clearly its connection with the Jesus Prayer. Since the early centuries of Christianity, the Greek phrase, Kýrie, eléison, is extensively used in the Coptic Christian liturgy. In the cultures of East Slavs, its adaptation also gave rise to the word of gratitude through a rough interpretation Save, in Rome, the sacred Liturgy was first celebrated in Greek. At some point the Roman Mass was translated into Latin, jungmann explains at length how the Kyrie in the Roman Mass is best seen as a vestige of a litany at the beginning of the Mass, like that of some Eastern churches. As early as the century, Pope Gregory the Great notes that there were differences in the way in which eastern and western churches sang Kyrie. In the eastern churches all sing it at the time, whereas in the western church the clergy sing it. Also the western church sang Christe eleison as many times as Kyrie eleison, in the Roman Rite liturgy, a variant, Christe, eléison, a transliteration of Greek Χριστέ, ἐλέησον, is introduced. Kyrie, eleison may also be used as a response of the people to intentions mentioned in the Prayer of the Faithful, since 1549, Anglicans have normally sung or said the Kyrie in English. In the 1552 Book of Common Prayer, the Kyrie was inserted into a recitation of the Ten Commandments, modern revisions of the Prayer Book have restored the option of using the Kyrie without the Commandments. Other denominations also, such as Lutheranism, use Kyrie, eleison in their liturgies, in the Tridentine Mass form of the Roman Rite, Kýrie, eléison is sung or said three times, followed by a threefold Christe, eléison and by another threefold Kýrie, eléison. In the Paul VI Mass form, each invocation is made only once by the celebrating priest or by a cantor, with a repetition, each time
33.
Sanctus
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The Sanctus is a hymn from Chalcedonian Christian liturgy. It may also be called the epinikios hymnos when referring to the Greek rendition, in Western Christianity, the Sanctus forms part of the Ordinary and is sung as the final words of the Preface of the Eucharistic Prayer, the prayer of consecration of the bread and wine. In Byzantine Rite and general Eastern Orthodox Christianity, the Sanctus is offered as a response by the choir during the Holy Anaphora, tersanctus is another, rarer name for the Sanctus. The same name is used for the Trisagion. Ἅγιος, ἅγιος, ἅγιος Κύριος Σαβαώθ· πλήρης ὁ οὐρανὸς καὶ ἡ γῆ τῆς δόξης σου, Εὐλογημένος ὁ ἐρχόμενος ἐν ὀνόματι Κυρίου. In the Divine Liturgy of St. John Chrysostom and the Liturgy of St. Basil, there exist two fundamental types of Sanctus, the Alexandrian and the Antiochene. The Sanctus has been given an interpretation and a trinitarian interpretation. The text of the Sanctus passed from Jewish use to Christian use at an early time, since it cited in the Apocalypse of John. This early state can be seen in the testimonies of Eusebius of Caesarea, the Mystagogical Catecheses of Cyril of Jerusalem, and, above all, the Ritual used in the Church of Theodore of Mopsuestia. In the latter, too, that is, in the stage of the Syrian liturgy, the Benedictus was unknown. The first part of the Sanctus, the adaptation from Isaiah 6,3, describes the prophet Isaiahs vision of the throne of God surrounded by six-winged, a similar representation is found in Revelation 4,8. In its present liturgical context it points to the presence of the Lord in the eucharistic gifts. The Sanctus appears in the Sacramentary of Serapion of Thmuis, the article is not found in Matthew 21,9. The form of the hymn without the article is used in the Greek Liturgy of Saint James. The Liturgy of Saint Basil of the Eastern Orthodox Church has the form of the Sanctus as the Liturgy of Saint John Chrysostom. In current use, the Liturgy of Saint James may use the nominative rather than the case of Κύριος. Ὡσαννὰ ἐν τοῖς ὑψίστοις· εὐλογημένος ὁ ἐλθὼν καὶ ἐρχόμενος ἐν ὀνόματι Κυρίου· ὡσαννὰ ἐν τοῖς ὑψίστοις. e, Ὡσαννὰ ἐν τοῖς ὑψίστοις· εὐλογημένος ὁ ἐλθὼν καὶ ἐρχόμενος ἐν ὀνόματι Κυρίου· ὡσαννὰ ἐν τοῖς ὑψίστοις. Chrysostom frequently refers to this, sometimes as τὸ μυστικὸν μέλος, sometimes as ὁ πανάγιος ὕμνος, the knowledge of it as a whole was confined to the faithful
34.
Agnus Dei (liturgy)
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Based upon John the Baptists reference in John 1,29 to Jesus, the text in Latin is, Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis, Agnus Dei, qui tollis peccata mundi, dona nobis pacem. which means, Lamb of God, you who take away the sins of the world, have mercy upon us. Lamb of God, you who take away the sins of the world, have mercy upon us, Lamb of God, you who take away the sins of the world, grant us peace. The text used in the Roman Catholic and Episcopal Church is, Lamb of God, Lamb of God, you take away the sins of the world, have mercy on us. Lamb of God, you take away the sins of the world, Lamb of God, you take away the sin of the world, have mercy on us. Lamb of God, you take away the sin of the world, O Lamb of God, that takest away the sins of the world, have mercy upon us. O Lamb of God, that takest away the sins of the world, have mercy upon us, O Lamb of God, that takest away the sins of the world, grant us thy peace. Jesus, Lamb of God, have mercy on us, Jesus, bearer of our sins, have mercy on us. Jesus, redeemer of the world, grant us peace, the version found in the Lutheran Service Book of the Lutheran Church-Missouri Synod is, Lamb of God, You take away the sin of the world, have mercy on us. Lamb of God, You take away the sin of the world, have mercy on us, Lamb of God, You take away the sin of the world, grant us Your peace, grant us Your peace. The General Instruction of the Roman Missal, §83, states, The supplication Agnus Dei, is, as a rule, sung by the choir or cantor with the congregation responding, or it is, at least, recited aloud. In Tridentine Requiem Masses, the first two ended with dona eis requiem instead of miserere nobis, and the last with dona eis requiem sempiternam. The Agnus Dei is part of nearly all settings by composers of sung masses, the priest again uses the phrase Lamb of God, in a more complete quotation from John 1,29, when displaying the consecrated Host to the people before giving them Holy Communion. He says, Ecce Agnus Dei, ecce qui tollit peccata mundi, beati qui ad cenam Agni vocati sunt
35.
Ite, missa est
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Ite, missa est are the concluding Latin words addressed to the people in the Mass of the Roman Rite, as well as the Lutheran Divine Service. Until the reforms of 1962, at Masses without the Gloria, the response of the people is Deo gratias. In the 19th century, it was common to explain the phrase elliptically, with missa the feminine participle of mittere, as in Ite, missa est Go, it is dismissed. The connection between the dismissal and the deeper meaning of mission was also discussed by Benedict XVI in Sacramentum caritatis, In antiquity. In Christian usage, however, it took on a deeper meaning. The word dismissal has come to imply a mission and these few words succinctly express the missionary nature of the Church. The ecclesiastical Latin noun missa mass is derived from the missa in this liturgical formula, historically, however, there have been other explanations of the noun missa, i. e. as not derived from the formula ite, missa est. Fortescue cites older, fanciful etymological explanations, notably a latinization of Hebrew matstsâh unleavened bread, oblation, already Du Cange reports various opinions on the origin of the noun missa mass. Medieval authors took the phrase to contain the noun missa mass, thus Guillaume Durand suggests that the meaning is either elliptic missa est the mass is finished, or that est should be taken absolutely, as meaning the mass exists, is now accomplished fact. It is one of the oldest formulae of the Roman Rite, after the twelfth century, accretions began to be added to the Mass after the Ite, missa est, changing it from a dismissal to a mere formula without relation to actuality. But only in the century, with the establishment of the Tridentine Mass, were these accretions officially accepted as part of the Mass. With the reform of Pope Paul VI Ite, missa est returned to its function as a dismissal formula and it is omitted if another function follows immediately and the people are therefore not dismissed. Ite missa est, not being variable like the Scripture readings, being sung by an individual, not by a choir, it cannot be part of a polyphonic musical setting of the Mass. Only the Deo gratias response could be set polyphonically and, because of its brevity, it rarely was, the dismissal formulas in other liturgical rites are, Ambrosian Rite, Procedamus in pace. Mozarabic Rite, Solemnia completa sunt in nomine D. N. I, C, votum nostrum sit acceptum cum pace. Antiochene, Alexandrian and Byzantine liturgies, Let us go forth in peace, response, In the name of the Lord. Then the priest says a prayer of dismissal. List of Latin phrases Fortescue, A. Ite Missa Est, The Catholic Encyclopedia, New York, see Ite Missa Est in the 1962 Missale Romanum with MP3 Audio
36.
Rest in peace
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Rest in peace is a short epitaph or idiomatic expression wishing eternal rest and peace to someone who has died. The expression typically appears on headstones, often abbreviated as RIP, the phrase dormit in pace was found in the catacombs of the early Christians and indicated that they died in the peace of the Church, that is, united in Christ. Meaning rest in peace, continues to be engraved on the gravestones of Christians from several denominations, especially the Catholic Church, the Lutheran Church, in burial services of the Catholic Church according to the Tridentine Rite, which include the Requiem Mass, the phrase appears several times. It speaks of the person who died because he could not stand the evil surrounding him. A recapture of these words, read as come and rest in peace, has transferred to the ancient Talmudic prayers, in a mixture of Hebrew. It is used to day in traditional Jewish ceremonies. The phrase was not found on tombstones before the eighth century, when the phrase became conventional, the absence of a reference to the soul led people to suppose that it was the physical body that was enjoined to lie peacefully in the grave. This is associated with the Christian doctrine of the judgment, that is, that the soul is parted from the body upon death. Other variations include Requiescat in pace et in amore for May she rest in peace and love, the word order is variable because Latin syntactical relationships are indicated by the inflexional endings, not by word order. If “Rest in peace” is used in a mood, it would be “Requiesce in pace” in the second person singular. In the common phrase Requiescat in pace the -scat ending is appropriate because this is a hortatory subjunctive, May he/she rest in peace. Phrases in other languages, Afrikaans, Rus in vrede Albanian, U prehtë në paqe Arabic, ارقد في سلام Arabic, الله يرحمه for males, and Arabic, الله يرحمها for females
37.
Gradual
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The Gradual is a chant or hymn in the liturgical celebration of the Eucharist for many Christian denominations. In the Tridentine Mass it is sung after the reading or chanting of the Epistle and before the Alleluia, or, during penitential seasons, in the Mass of Paul VI the gradual corresponds to the Responsorial Psalm. There is the option to replace this psalm with the gradual and it is part of the Proper of the Mass. Gradual can also refer to a book collecting all the items of the Mass. The official such book for the Roman Rite is the Roman Gradual, other such books include the Dominican Gradual. The Gradual, like the Alleluia and Tract, is one of the chants of the Mass. Responsorial chants derive from early Christian traditions of singing choral refrains called responds between psalm verses, until about the fifth century, it included singing a whole psalm. They were sung in the form of a psalmus responsorius, i. e. the whole text was chanted by a reader appointed for this purpose. For some time before Pope Gregory I, to sing these psalms was a privilege of deacons at Rome, the people answered each clause or verse with an acclamation. This apparently dates back to the tradition, and can even be seen in the structure of some Psalms. Originally, there was a psalm sung between each reading, of which in the century there were three. The modern Gradual always consists of two verses, generally taken from the same psalm. There are a few Graduals that use a book of other than the Psalms. The Gradual is believed to have been so named because it was sung on the step of the altar, however, early sources use the form gradale, and the Alia Musica uses the term antiphona gradalis for the Introit. The Gradual is to be sung after the reading of the Epistle, in Eastertide, the Gradual is normally omitted, and a second Alleluia is sung in its place, except within the Octave of Easter. In what is now the form of the Roman Rite, the Responsorial Psalm normally takes the place of the Gradual, and is sung after the first reading. In the Tridentine Mass, the celebrant himself reads the Gradual with the Alleluia, Tract, or Sequence immediately after he has read the Epistle, there is no rule for the distribution of its parts within the choir. All may be straight through by the whole choir
38.
Alleluia
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The word Alleluia or Hallelujah, which literally means Praise ye Yah, a short form of Praise Yahweh and often rendered as praise the Lord. The form Alleluia is also used to refer to a chant in which that word is combined with verses of Scripture. This chant is used before the proclamation of the Gospel. The Hebrew word Halleluya as an expression of praise to God was preserved, untranslated, by the Early Christians as an expression of thanksgiving, joy. Thus it appears in the ancient Greek Liturgy of St. James, on the other hand, the word Alleluia is excluded from the Roman liturgy during Lent and, in earlier forms of the Roman Rite, during Septuagesima. In those earlier forms, the word was also excluded in Masses for the Dead. In those periods, the word was replaced, in particular after the Gloria Patri at the beginning of each Hour of Divine Office, by the phrase Laus tibi, Domine, in the Ordinary Form 1969 Missale Romanum of the Roman Rite, the word is simply omitted. In traditional Gregorian chant, this responsorial chant opens with the cantor singing Alleluia, after which the choir repeats it, the cantor then sings the main part of the verse, and the choir joins in on the final line. At the end of the chant, the opening Alleluia is repeated, when a Sequence follows the Alleluia, this final repeat is omitted, as it was in other cases in the Middle Ages. The musical style of a plainchant Alleluia is generally ornate, the Alleluia for Christmas Eve, for instance, has an ambitus of only a perfect fifth, but this example is rather extreme. Alleluias were frequently troped, both with added music and text and it is believed that some early Sequences derived from syllabic text being added to the jubilus, and may be named after the opening words of the Alleluia verse. Alleluias were also among the frequently used chants to create early organa. The verse or verses can be given in the Lectionary for Mass. In that form of the Roman Rite, if singing is not used, the Gradual, when sung, is replaced with an Alleluia chant during Eastertide, thus putting not one but two such chants before the Gospel reading. In the Eastern Orthodox and Greek-Catholic Churches, after reading the Apostle at the Divine Liturgy, the response of the choir is always the same, Alleluia, alleluia, alleluia. What differs is the tone in which it is sung, the Alleluia is paired with the Prokeimenon which preceded the reading of the Apostle. There may be one or two Alleluias, depending upon the number of Prokeimena. In the Russian/Slavic order, the Alleluia is intoned in one of the two following manners, depending upon the number of Prokeimena, Deacon, Let us attend, Reader, Alleluia in the ____ Tone
