Search results
Results from the WOW.Com Content Network
"Verbum supernum prodiens" (literally: The word [descending] from above) is a Catholic hymn in long metre by St Thomas Aquinas (1225–1274). It was written for the Hour of Lauds in the Divine Office of Corpus Christi. It is about the institution of the Eucharist by Christ at the Last Supper, and His Passion and death.
The hymn uses classical metres: the Sapphic stanza consisting of three Sapphic hendecasyllables followed by an adonius (a type of dimeter).. The chant is useful for teaching singing because of the way it uses successive notes of the scale: the first six musical phrases of each stanza begin on a successively higher notes of the hexachord, giving ut–re–mi–fa–so–la; though ut is ...
Thomas Aquinas is shown here holding a book with an excerpt from the Pange Lingua. "Pange lingua gloriosi corporis mysterium" (Ecclesiastical Latin: [ˈpandʒe ˈliŋɡwa ɡloriˈosi ˈkorporis miˈsteri.um]) is a Medieval Latin hymn attributed to Saint Thomas Aquinas (1225–1274) for the Feast of Corpus Christi. [1]
Pie Jesu" (/ ˈ p iː. eɪ ˈ j eɪ. z uː,-s uː / PEE-ay-YAY-zu; original Latin: "Pie Iesu" /ˈpi.e ˈje.su/) is a text from the final (nineteenth) couplet of the hymn "Dies irae", and is often included in musical settings of the Requiem Mass as a motet. The phrase means "pious Jesus" in the vocative.
This page was last edited on 2 September 2023, at 12:51 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Many of their other songs contain some lines in Latin, have a Latin name and/or are supported by a choir singing in Latin. Rhapsody of Fire – Ira Tenax; Rotting Christ: Sanctus Diavolos: Visions of a Blind Order, Sanctimonius, Sanctus Diavolos; Theogonia: Gaia Telus, Rege Diabolicus; Κατά τον δαίμονα εαυτού: Grandis ...
"Alma Redemptoris Mater" (Ecclesiastical Latin: [ˈalma redempˈtoris ˈmater]; "Loving Mother of our Redeemer") is a Marian hymn, written in Latin hexameter, and one of four seasonal liturgical Marian antiphons sung at the end of the office of Compline (the other three being Ave Regina Caelorum, Regina Caeli and Salve Regina).
S.-G. Pimont argued for the authorship of Ambrose of Milan. [1] The Benedictine editors and Luigi Biraghi disagreed. [2]The hymn is found in a hymnary in Irish script (described by Clemens Blume in his Cursus, etc.) of the eighth or early ninth century; but the classical prosody of its two stanzas (solita in the third line of the original text is the only exception) suggests a much earlier origin.