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The music of ancient Rome was a part of Roman culture from the earliest of times. Songs ( carmen ) were an integral part of almost every social occasion. [ 1 ] The Secular Ode of Horace , for instance, was commissioned by Augustus and performed by a mixed children's choir at the Secular Games in 17 BC.
The Schola Cantorum was the trained papal choir during the Middle Ages, specializing in the performance of plainchant for the purpose of rendering the music in church. In the fourth century, Pope Sylvester I was said to have inaugurated the first Schola Cantorum, but it was Pope Gregory I who established the school on a firm basis and endowed it. [1]
The chant that is now called "Old Roman" comes primarily from a small number of sources, including three graduals and two antiphoners from between 1071 and 1250. Although these are newer than many notated sources from other chant traditions, this chant is called "Old Roman" because it is believed to reflect a Roman oral tradition going back several centuries.
One way that Rome incorporated diverse peoples was by supporting their religious heritage, building temples to local deities that framed their theology within the hierarchy of Roman religion. Inscriptions throughout the Empire record the side-by-side worship of local and Roman deities, including dedications made by Romans to local gods. [5]
The restoration of paganism from Julian until Valens was a brief period, from 361 until 375, of relative tolerance towards pagans in the Roman Empire. In the late Roman Empire, it was preceded by a period of persecutions under Emperor Constantius II and was followed by those of Emperor Gratian. The attempt of Emperor Julian the Apostate ...
The festival was held on March 23, the last day of the Quinquatria festival held in tribute to the Roman God Mars and Nerine, a Sabine goddess. [3] The event took place again on May 23. [4] The ceremony was held in Rome in a building called the Hall of the Shoemakers (atrium sutorium) and involved the sacrifice of a ewe lamb. [5]
The best-known and most vivid description, though of the quite different taurobolium as it was revived in aristocratic pagan circles, is the notorious one that has coloured early scholarship, which was provided in an anti-pagan poem by the late 4th-century Christian Prudentius in Peristephanon: [9] the priest of the Great Mother, clad in a silk toga worn in the Gabinian cincture, with golden ...
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