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A doxology (Ancient Greek: δοξολογία doxologia, from δόξα, doxa 'glory' and - λογία, -logia 'saying') [1] [2] [3] is a short hymn of praises to God in various forms of Christian worship, often added to the end of canticles, psalms, and hymns.
The Gloria Patri, also known in English as the Glory Be to the Father or, colloquially, the Glory Be, is a doxology, a short hymn of praise to God in various Christian liturgies. It is also referred to as the Minor Doxology (Doxologia Minor) or Lesser Doxology, to distinguish it from the Greater Doxology, the Gloria in Excelsis Deo.
The melody in neume notation " Gloria in excelsis Deo" (Latin for "Glory to God in the highest") is a Christian hymn known also as the Greater Doxology (as distinguished from the "Minor Doxology" or Gloria Patri) and the Angelic Hymn [1] [2] /Hymn of the Angels. [3]
The hymn From all that dwell below the skies, a paraphrasing of Psalm 117 by Isaac Watts with the Doxology as the final verse, is commonly sung to the tune. [9] In the Sacred Harp and other shape note singing traditions, the tune is sung with the text "O Come, Loud Anthems Let Us Sing," a metrical paraphrase of Psalm 95 from Tate and Brady 's A ...
Hand and signature of Loys Bourgeois (Genève, 1551) Loys "Louis" Bourgeois (French:; c. 1510 – 1559) was a French composer and music theorist of the Renaissance.He is most famous as one of the main compilers of Calvinist hymn tunes in the middle of the 16th century.
The Emory Hymnal: a collection of sacred hymns and music for use in public worship (1887) [464] Selection of Hymns, for the use of the first M. E. Church, [465] Cape May City [466] The Emory Hymnal: No. 2, sacred hymns and music for use in public worship (1891) [467] Hymnal of the Methodist Episcopal Church (1891) [468]
"Awake My Soul and with the Sun" is a 17th-century hymn by the Anglican cleric and hymnodist Thomas Ken. It was written in 1695 as a morning hymn and, latterly, it is usually sung to the tune Morning Hymn by François Hippolyte Barthélemon (1741–1808). Occasionally, it is sung to Old Hundredth. Comprising 14 verses, ordinarily only the first ...
Polychoral music was not limited to Italy in the Renaissance; it was also popular in France with Marc-Antoine Charpentier (37 settings H.16–H.52), in Spain and Germany. There are examples from the 19th and 20th centuries, from composers as diverse as Hector Berlioz , Igor Stravinsky , Béla Bartók , and Karlheinz Stockhausen .
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