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Many of the contemporary artists who authored the folk music that was used in American Catholic Liturgy choose F.E.L. to be their publisher, as did Ray Repp, who pioneered contemporary Catholic liturgical music and authored the "First Mass for Young Americans", a suite of folk-style musical pieces designed for the Catholic liturgy. Repp gave an ...
They may involve a rough-hewn cross carried in procession and placed before the worshipers, and thus begin, "Behold the cross on which was hung the salvation of the whole world." The people respond, "Come, let us worship." After the third repeat of this antiphonal call to worship, the reproaches begin.
The Gradual is to be sung after the reading of the Epistle.It is ordinarily followed by the Alleluia or Tract, but in Masses that have more readings than normal, such as during Lent, these may be separated by another reading, or, if there are more than three readings, there is more than one Gradual, and finally the Tract, to separate each reading.
[1] [2] Its uplifting melody and repeated "Alleluias" make this a favourite Anglo-Catholic hymn during the Easter season, the Feast of All Saints, and other times of great rejoicing. The hymn was also notably adapted for the final movement of The Company of Heaven (1937), a cantata by Benjamin Britten. [3]
This is a list of original Roman Catholic hymns. The list does not contain hymns originating from other Christian traditions despite occasional usage in Roman Catholic churches. The list has hymns in Latin and English.
Seven days before Christmas Eve monasteries would sing the “O antiphons” in anticipation of Christmas Eve when the eighth antiphon, “O Virgo virginum” (“O Virgin of virgins”) would be sung before and after Mary's canticle, the Magnificat (Luke 1:46b–55). The Latin metrical form of the hymn was composed as early as the 12th century ...
The antiphons of most Introits are taken from Psalms, though many come from other parts of Scripture.In some rare cases the antiphon is not from Scripture: "Salve, sancta parens", from the Christian poet Sedulius, who was imitating a line from book V of Virgil's Aeneid, is the antiphon used in the Tridentine form of the Roman Rite for common Masses of the Blessed Virgin Mary; the 1970 revision ...
[6] [7] Rarely separated from the lyrics since then, [1] [3] it has been noted as one of the composer's finest and shares resemblances with a 16th-century Lutheran chorale, "Wachet auf, ruft uns die Stimme" by Philipp Nicolai. [3] It is a good example of Victorian hymn tune writing, with "solid harmonies and subtle chromaticism."