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Anglican chant, also known as English chant, [1] [2] is a way to sing unmetrical texts, including psalms and canticles from the Bible, by matching the natural speech-rhythm of the words to the notes of a simple harmonized melody. [3] This distinctive type of chant is a significant element of Anglican church music.
The duration (note length or note value) is indicated by the form of the note-head or with the addition of a note-stem plus beams or flags. A stemless hollow oval is a whole note or semibreve, a hollow rectangle or stemless hollow oval with one or two vertical lines on both sides is a double whole note or breve.
The intonation defines the notes for the first two or three syllables, with subsequent words sung on the reciting tone. Because of the parallel structure typical of the Psalms, psalm verses divide into two roughly equal parts; the end of the first part is indicated by the mediant, a slight
A marked feature in plainchant is the use of the same melody for various texts. This is quite typical for the ordinary psalmody in which the same formula, the "psalm tone", is used for all the verses of a psalm, just as in a hymn or a folk song the same melody is used for the various stanzas. [2]
One of the Songs of Ascents, Psalm 122 appears in Hebrew on the walls at the entrance to the City of David, Jerusalem.. Song of Ascents is a title given to fifteen of the Psalms, 120–134 (119–133 in the Septuagint and the Vulgate), each starting with the superscription "Shir Hama'aloth" (Hebrew: שיר המעלות, romanized: šir ham-ma‘loṯ, lit.
Lining out or hymn lining, called precenting the line in Scotland, is a form of a cappella hymn-singing or hymnody in which a leader, often called the clerk or precentor, gives each line of a hymn tune as it is to be sung, usually in a chanted form giving or suggesting the tune.
The typical falsobordone may be described in modern terms as a four-part setting of root-position triads in close position (with the root doubled), selected such that the notes in the soprano alternate between the chordal root and third. Additionally, there is a notable tendency for the bass (chordal roots) to move by fifth or fourth.
In 3rd century Roman Egypt, the Coptic Rite Desert Fathers in Scetes carried pebbles in pouches to count their praying of the Psalms. [3] The Pater Noster Cord, however, originated in the 8th century Celtic Church in Gaelic Ireland as a means to count the recitation of the one hundred and fifty Psalms in the Christian Bible, which are incorporated into the fixed prayer times of Christianity. [5]