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These Marian hymns have been used in daily prayers since early Christianity (they became part of liturgy later) as a way to teach people the Orthodox beliefs, and to prepare them against ideas considered heresies. [6] Marian hymns remain a key element in the liturgy of the Coptic Church and are included in every canonical hour, day and night ...
Portal:Classical music/Quotes/10 Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.
Church Music in the Nineteenth Century, in series, Studies in Church Music. New York: Oxford University Press, 1967. 166 p. Robin Sheldon, ed. In Spirit and in Truth: Exploring Directions in Music in Worship Today. London: Hodder & Stoughton, 1989. x, 198 p. ISBN 0-340-48715-1
The books of prayers (Sacramentaries, Antiphonaries, etc.) contained a few words of direction for the most important and salient things to be done – elementary rubrics. For instance the Gregorian Sacramentary tells priests (as distinct from bishops) not to say the Gloria except on Easter Day; the celebrant chants the preface excelsa voce (in ...
Canticle of Simeon (Nunc dimittis); Canticle of the Blessed Virgin (Magnificat); Canticle of the Three Children; Careworn Mother Stood Attending; Come, Creator Spirit; Come Down, O Love Divine
The strophe of "Sacris solemniis" that begins with the words Panis angelicus ("bread of angels") has often been set to music separately from the rest of the hymn. Most famously, in 1872 César Franck set this strophe for tenor voice, harp , cello , and organ , and incorporated it into his Messe à trois voix .
United Lutheran Church in America. Common Service Book of the Lutheran Church with Hymnal (1917) [286] Hymnal for the Sunday School (1922) [336] Hymns and Prayers for Church Societies and Assemblies (1923) [337] United Norwegian Lutheran Church of America. The Church and Sunday-School Hymnal (1898) [321] [338] The Lutheran Hymnary (1913) [287]
The seven meditations on the Last Words are excerpted from all four gospels. The "Earthquake" movement derives from Matthew 27:51ff. Much of the work is consolatory, but the "Earthquake" brings a contrasting element of supernatural intervention—the orchestra is asked to play presto e con tutta la forza—and closes with the only fortississimo (triple forte) in the piece.