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Often now given in English "errors and omissions excluded" or "e&oe". salvo honoris titulo (SHT) save for title of honor: Addressing oneself to someone whose title is unknown. Sancta Sedes: Holy Chair: literally, "holy seat". Refers to the Papacy or the Holy See. sancta simplicitas: holy innocence: Or "sacred simplicity". sancte et sapienter ...
Dies Natalis is a cantata for solo voice and string orchestra. The opening introductory orchestral movement is followed by four movements for accompanied voice in which Finzi set mystical texts by the seventeenth-century English poet Thomas Traherne (1636/37–1674).
In other words, the gods have ideas different from those of mortals, and so events do not always occur in the way persons wish them to. Cf. Virgil, Aeneid, 2: 428. Also cf. "Man proposes and God disposes" and "My Thoughts are not your thoughts, neither are your ways My ways", Isaiah 55, 8–9. dis manibus sacrum (D.M.S.) Sacred to the ghost-gods
Symphoniae sacrae I (literally: Sacred Symphonies, Book One) is a collection of different pieces of vocal sacred music on Latin texts, composed by Heinrich Schütz, published in 1629. He set mostly psalms and excerpts from the Song of Solomon for one to three voices, with various instruments and continuo.
The Yattendon Hymnal was a small but influential hymnal compiled by Robert Bridges and H. Ellis Wooldridge assisted by Monica Bridges for the Church of England parish church at Yattendon, Berkshire, England where Monica's family lived.
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]
Amanda Gorman performed her new spoken-word poem titled "This Sacred Scene" at the Democratic National Convention. Read the full text here.
Although published in the north, Wyeth's Repository of Sacred Music, Part Second (1813), had a profound influence on Southern shape note tune-books. Of the 41 folk-hymns introduced here, 10 were used by Ananias Davisson in the Kentucky Harmony (1816), 20 by William Walker in the Southern Harmony (1835), and six in the Sacred Harp (1844). [10]