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In the early 1960s Lehrer wrote satiric topical songs for the US version of the television show That Was the Week That Was. [7] Inspired by the ongoing Second Vatican Council, he composed "The Vatican Rag" during this period, but he decided not to submit it because he thought the show would "[do the song] badly or [take] out the satiric parts".
Alleluia! Alleluia! Sing a New Song to the Lord; Alleluia! Sing to Jesus; Alma Redemptoris Mater; Angels We Have Heard on High; Anima Christi (Soul of my Saviour) Asperges me; As a Deer; As I Kneel Before You (also known as Maria Parkinson's Ave Maria) At That First Eucharist; At the Lamb's High Feast We Sing; At the Name of Jesus; Attende ...
The lyrics are the work of Abbot Simon-Joseph Pellegrin in the first half of the 18th century, who composed for the attention of the young Demoiselles de Saint-Cyr at the Maison royale de Saint-Louis many verses on the songs of the old Christmases of France, in order to modernize the text.
In paragraph 46 of this document, it states that music could be played during the sacred liturgy on "instruments characteristic of a particular people." Previously the pipe organ was used for accompaniment. The use of instruments native to the culture was an important step in the multiplication of songs written to accompany the Catholic liturgy ...
In January 2010, Madonna performed an acoustic version of the song live during the Hope For Haiti telethon. Jon Caramanica of The New York Times commented: "For 20 years, that song has been the symbol of one of the most tumultuous and controversial periods in Madonna's life. But for five minutes tonight, it was pure, put in service of something ...
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The song's popularity has reached far beyond the band's; CCLI places the song among the 30 most-sung worship songs in the United States [1] and has been called a "modern worship classic". [2] According to Martin Smith, the author of the song: "That song just wrote itself in about five minutes. The same chords the whole way through the song.
The 1623 sequence is still common in German-language Catholic hymnals, while the 1625 version is more usual in English-language hymnals. [ 4 ] The verse consists of two repeated musical phrases with matching rhythms ("V", "v"), one using the upper pitches of the major scale and one using the lower pitches, and likewise for the Alleluia refrain ...