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Homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled "Adeste Fideles", in standard two-staff format for mixed voices. Play ⓘ. A hymn tune is the melody of a musical composition to which a hymn text is sung.
Introduction to Sousa's "Washington Post March", m. 1-7 Play ⓘ features octave doubling [1] and a homorhythmic texture. In music, homorhythm (also homometer) is a texture having a "similarity of rhythm in all parts" [2] or "very similar rhythm" as would be used in simple hymn or chorale settings. [3] Homorhythm is a condition of homophony. [2]
The third stanza of the eponymous chorale in Johann Sebastian Bach's setting as the final movement of his chorale cantata Wachet auf, ruft uns die Stimme, BWV 140. A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant church service.
Vocal church music of this period also contained other types of chorale settings, the general format of which is indicated as chorale fantasia: one voice, not necessarily the voice with the highest pitch, carries the chorale tune, with the other voices rather contrapuntal than homorhythmic, often with other melodies than the chorale tune, and ...
The author wrote in his preface, dated 10 August 1598: Day by day I wrote out my meditations, found myself, thank God, wonderfully well, comforted in heart, joyful in spirit, and truly content; gave to my manuscript the name and title of a Mirror of Joy... to leave behind me (if God should call me from this world) as a token of my peaceful, joyful, Christian departure, or (if God should spare ...
The sources of Christian music are the Jewish tradition of psalm singing, and the music of Hellenistic late antiquity. Paul the Apostle mentions psalms, hymns and sacred songs (Ephesians 5:19 and Colossians 3:16) but only in connection with the Christian behavior of the Christians, not with regard to worship music.
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Some of Bach's voice and thoroughbass settings published in Georg Christian Schemelli's 1736 Musicalisches Gesang-Buch are better known in their four-part realisation included in the chorale harmonisation collections. Chorales published by Birnstiel (200) In 1765 F. W. Birnstiel published 100 chorales in Berlin.