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"antiphon" Definitions
  1. a psalm, anthem, or verse sung responsively
  2. a verse usually from Scripture said or sung before and after a canticle, psalm, or psalm verse as part of the liturgy

287 Sentences With "antiphon"

How to use antiphon in a sentence? Find typical usage patterns (collocations)/phrases/context for "antiphon" and check conjugation/comparative form for "antiphon". Mastering all the usages of "antiphon" from sentence examples published by news publications.

As Scott Metcalfe, the ensemble's director, said in remarks from the stage, that single antiphon constitutes the complete works of Chamberlayne.
The choir sounded equally confident in 20th-century pieces by Britten (the dramatic antiphon "Praised Be the God of Love") and Vaughan Williams (the mysterious "Valiant-for-Truth," a setting of a text from "Pilgrim's Progress").
"Mass" begins with an intentionally grating Antiphon: "Kyrie eleison," with solo voices singing the Latin words entwined with percussion instruments; the complexity increases over two fidgety minutes, with prerecorded elements played through speakers placed around the hall.
Its main body consists of five polyphonic psalm settings — each, evidently, to be preceded by a chanted antiphon devoted to Mary or appropriate to the liturgical season, and each followed by a so-called sacred concerto or sonata.
Word of the Day adjective: proceeding in small stages adjective: (of a topographical gradient) not steep or abrupt noun: (Roman Catholic Church) an antiphon (usually from the Book of Psalms) immediately after the epistle at Mass _________ The word gradual has appeared in 301 articles on nytimes.
"I renew the invitation to everyone to pray the Rosary every day of the month of October ending it with the antiphon 'Under Your protection' and the prayer to St. Michael the Archangel, to repel the attacks of the devil who wants to divide the Church," he said.
In the musical idiom of Gregorian chant, Introits normally take the form antiphon-verse-antiphon-doxology-antiphon. In the Tridentine Missal, this form was, with very few exceptions, reduced to antiphon-verse-doxology-antiphon. For example, the Tridentine Missal presents the Introit of the Fourth Sunday of Advent as follows:Missale Romanum 1962, p. 14 :First the antiphon Rorate caeli from : ::Rorate, cæli, desuper, et nubes pluant iustum: ::aperiatur terra, et germinet Salvatorem.
Antiphon of Rhamnus (; ) (480-411 BC) was the earliest of the ten Attic orators, and an important figure in fifth-century Athenian political and intellectual life. There is longstanding uncertainty and scholarly controversy over whether the Sophistic works of Antiphon and a treatise on the Interpretation of Dreams were also written by Antiphon the Orator, or whether they were written by a separate man known as Antiphon the Sophist. This article only discusses Antiphon the Orator's biography and oratorical works.
49, Laks and Most pp. 88–89). written by a certain Antiphon (Ἀντιφῶν) of Athens, is an influential ancient treatise on dreams, of which only a few fragments survive. It is not certain whether the Antiphon who wrote the treatise was the same figure as the Antiphon who wrote the Sophistic works of Antiphon, who is sometimes identified with Antiphon the Orator. The recent scholarly edition of Pendrick, however, sees it as probable that this treatise was written by the same author as the Sophistic works, as does the edition of Laks and Most.
39-49 It is also not known for certain whether the treatise on the Interpretation of Dreams under the name of Antiphon was written by Antiphon the Sophist, or whether this was written by yet another different Antiphon. The editions of Pendrick and of Laks and Most proceed on the basis that this treatise was written by the same Antiphon as the Sophistic works.On this issue, see Pendrick, pp. 24–26.
Unlike the chant-like verses, the antiphon is more like a short hymn-verse in a regular metre. The tempo of the antiphon is directly related to that of the verse: the one-beat-in-the-bar verse equals the beat unit, typically crotchet (quarter note) or dotted crotchet, of the antiphon. There should be no break between psalm and antiphon: each should follow the other without interruption.
The name Antiphon the Sophist (; ) is used to refer to the writer of several Sophistic treatises. He probably lived in Athens in the last two decades of the 5th century BC, but almost nothing is known of his life.G.J. Pendrick, Antiphon the Sophist (2002) p.26 It has been debated since antiquity whether the writer of these Sophistic treatises was in fact none other than Antiphon the Orator, or whether Antiphon the Sophist was indeed a separate person.
Antiphon is also said to have composed a or art of Rhetoric.
Antiphon () was in ancient Greece a tragic poet whom Plutarch,Plutarch, Vit. X. Orat. p. 833 Philostratus,Philostratus, Vit. Soph. 1.15.3 and others, confused with the Attic orator Antiphon, who was put to death at Athens in 411 BCE.
Some earlier scholars, though, including E. R. Dodds, take the view that Antiphon the dream-interpreter was a separate person.G.J. Pendrick, Antiphon the Sophist (2002) pp. 24–26A. Laks and G.W. Most, Early Greek Philosophy vol. IX (2016) pp.
In August there seem to have been no psalms, because there were festivals and Masses of saints. "Toto Augusto manicationes fiant, quia festivitates sunt et missae sanctorum." The meaning of manicationes and of the whole statement is obscure. In September there were fourteen psalms, two under each antiphon; in October twenty-four psalms, three to each antiphon; and from December to Easter thirty psalms, three to each antiphon.
Kubelka revisited Arnulf Rainer with his 2012 film Antiphon. Antiphon is a "negative" of Arnulf Rainer which switches black for white and silence for sound. Kubelka described the films as "yin and yang". He presented it in an installation titled Monument Film.
4 After Ariston's death, she remarried Pyrilampes, an Athenian statesman and her uncle. She had her fifth child, Antiphon, with Pyrilampes. Antiphon appears in Plato's Parmenides. Two spurious works attributed to Perictione have survived in fragments, On the Harmony of Women and On Wisdom.
During the singing of this antiphon, all stand in their places, and the monarch remains seated in the Coronation Chair still wearing the crown and holding the sceptres. The recitation of this antiphon is followed by a rite of benediction consisting of several prayers.
Registration of the musical antiphon Chant notation of the Regina caeli antiphon in simple toneThe Regina caeli sung "Regina caeli" (; ) is a musical antiphon addressed to the Blessed Virgin Mary that is used in the liturgy of the Roman Rite of the Catholic Church during the Easter season, from Easter Sunday until Pentecost. During this season, it is the Marian antiphon that ends Compline (Night Prayer)"Finally one of the antiphons of the Blessed Virgin Mary is said. In Eastertide this is always the Regina caeli" (General Instruction of the Liturgy of the Hours, 92). and it takes the place of the traditional thrice-daily Angelus prayer.
Young athlete, red-figure kylix by the Antiphon Painter, ca. 490 BC, Staatliche Antikensammlungen (Inv. 2635) The Antiphon painter was an Athenian vase painter of the early 5th century BC. He owes his name to a double Kalos inscription of Antiphon on the dinos stand in the Antique collection of Berlin (Inventory number F 2325). He was active between 500 and 475 BC in Athens as a painter of the red-figure style in the largest workshop of the 5th century.
The Salve Regina is daily chanted in choir whether or not it is the antiphon proper to the season.
He left 40 shillings for the perpetual chanting of an antiphon there, and gave a cope to the cathedral.
Each Ambrosian psalm antiphon belongs to one of four different series depending on its final pitch. Within each series, there are several possible psalm tones corresponding to the predominant pitch of the antiphon, which may or may not correspond to the "dominant" pitch of Gregorian modes. Finally, each psalm tone is given a cadential formula that lets the tone segue smoothly back into the antiphon. This system results in a much larger number of possible psalm tones in Ambrosian chant than exists in Gregorian chant.
The beginning of Psalm 85 is recommended as an introit or antiphon on Gaudete Sunday, the third Sunday of Advent.
If singing of the psalm was not completed by the time the Entrance procession arrived at the altar, the singers moved directly to the Gloria Patri and the final repetition of the antiphon. In time only the opening verse of the psalm was kept, together with the Gloria Patri, preceded and followed by the antiphon, the form of the Introit in Tridentine Mass Roman Missals, which explicitly indicate this manner of singing the Introit. The 1970 revision of the Roman Missal explicitly envisages singing the entire psalm associated with the antiphon, but does not make it obligatory.The General Instruction of the Roman Missal, 48 In contemporary Catholic usage, the introit corresponds to the Entrance Antiphon and is sung or recited audibly throughout by the faithful.
The Latin antiphon "Media vita in morte sumus" dates back to the 11th century. A German version appeared in Salzburg in 1456. Martin Luther added in 1524 two stanzas following the same scheme. The hymn appeared first that year in , (booklet of spiritual song), collected by Johann Walter with a melody that Walter adapted from the antiphon.
Antiphon was also a capable mathematician. Antiphon, alongside his companion Bryson of Heraclea, was the first to give an upper and lower bound for the value of pi by inscribing and then circumscribing a polygon around a circle and finally proceeding to calculate the polygons' areas. This method was applied to the problem of squaring the circle.
The Council of Tours orders six psalms at Sext and twelve ad Duodecimam, with Alleluia (presumably as Antiphon). For Matins there is a curious arrangement which reminds one of that in the Rule of St. Columbanus. Normally in summer (apparently from Easter to July) "sex antiphonae binis psalmis" are ordered. This evidently means twelve psalms, two under each antiphon.
An example of this is the start of the Marian-Antiphon Ave Maris Stella (11pxListen) by Guillaume Dufay, a master of Fauxbourdon.
Some Masses have two Communion chants. Some Communion chants appear in other services as the Offertory chant, or as a simple antiphon.
A special speciality of the painter were his red-figure Eye-cups. The Antiphon Painter was the last artist to create these.
166–78, and Hiley, Western Plainchant p. 454. The great need for a system of organizing chants lies in the need to link antiphons with standard tones, as in for example, the psalmody at the Office. Using Psalm Tone i with an antiphon in Mode 1 makes for a smooth transition between the end of the antiphon and the intonation of the tone, and the ending of the tone can then be chosen to provide a smooth transition back to the antiphon. As the modal system gained acceptance, Gregorian chants were edited to conform to the modes, especially during 12th-century Cistercian reforms.
The Introit, Gradual, Alleluia, Tract, Sequence, Offertory and Communion chants are part of the Proper of the Mass. "Proprium Missae" in Latin refers to the chants of the Mass that have their proper individual texts for each Sunday throughout the annual cycle, as opposed to 'Ordinarium Missae' which have fixed texts (but various melodies) (Kyrie, Sanctus, Benedictus, Agnus Dei). Introits cover the procession of the officiants. Introits are antiphonal chants, typically consisting of an antiphon, a psalm verse, a repeat of the antiphon, an intonation of the Gloria Patri Doxology, and a final repeat of the antiphon.
247 It is reported that Antiphon set up a booth in a public agora where he offered consolation to the bereaved.Michael Gagarin, The Oxford Encyclopedia of Ancient Greece and Rome, Volume 1 (2010), p. 281. In his championship of the natural liberty and equality of all men, Antiphon anticipates the natural rights doctrine of Locke, and the Declaration of Independence.
In the Oneirocritica, Artemidorus displays a hostile attitude to palmistry. Among the authors Artemidorus cites are Antiphon (possibly the same as Antiphon the Sophist), Aristander of Telmessus, Demetrius of Phalerum, Alexander of Myndus in Caria, and Artemon of Miletus. The fragments of these authors, from Artemidorus and other sources, were collected by Del Corno in his Graecorum de re onirocritica scriptorum reliquiae (1969).
The Psalms are each sung to a psalm tone, with a simple antiphon between each verse. The system of psalm tones in Ambrosian chant differs in several respects from the Gregorian system of psalm tones. In the Gregorian system, psalm tones are based on the mode of the antiphon. Ambrosian chants, including psalm antiphons, do not conform to the Gregorian system of modes.
The final three verses in Latin, "Laetentur caeli", comprise the offertory antiphon used in the Mass During the Night for the Nativity of the Lord.
In Slavic and Greek Orthodox churches, it is sung as an antiphon for the feast of Theophany, for the following Sunday and for Palm Sunday.
This pattern to the psalm response developed from the early Church. An antiphon or verse was sung by all followed by extended verses of the psalm for the day with an intervening antiphon every so often. Fathers of the Church mentioning this format include Augustine, John Chrysostom and Leo the Great. The responsorial psalm was seen as an integral part of the liturgy with its own significance.
The psalmody could be indicated by an incipit of the required psalm and the differentia notated over the syllables EVOVAE after the communio or introit antiphon.
This responsory answers to the Ambrosian Confractorium and the Mozarabic Antiphona ad Confractionem panis. Fiat misericordia etc. is the actual Lenten Mozarabic antiphon. The prayer Credimus etc.
The antiphon In paradisum In paradisum (English: "Into paradise") is an antiphon from the traditional Latin liturgy of the Western Church Requiem Mass. It is sung by the choir as the body is being taken out of the church. The text of the In paradisum — with or without the Gregorian melody itself — is sometimes included in musical settings of the Requiem Mass, such as those by Gabriel Fauré and Maurice Duruflé.
The antiphons of most Introits are taken from Psalms, though many come from other parts of Scripture. In some rare cases the antiphon is not from Scripture: "Salve, sancta parens", from the Christian poet Sedulius, is the antiphon used in the Tridentine form of the Roman Rite for common Masses of the Blessed Virgin Mary; the 1970 revision kept a Mass formula of the Blessed Virgin with that antiphon, but provided several alternatives. The words of the antiphons are related to the theme of the feastday or celebration and most frequently have something in common with the liturgical readings of the Mass. In the Tridentine Mass the Introit is no longer the first text used in the Mass.
The 53 hymns in the second part of the Dresden hymn book of 1593 are based on simple, homophonies wisely written. In Michael's Introit of 1603, only the antiphon are in five voices on motet tables The antiphon is set to music in a wise manner, while the accompanying psalm texts appear in four parts in the simple Fauxbourdon movement, after which the antiphon is repeated. From 1599 to 1603 the composer's pupils were the later Leipzig Thomaskantor Johann Hermann Schein and Michael's son Tobias Michael (1592-1657), Leipzig Thomaskantor from 1631 to 1657; among his pupils were also his sons Christian, Daniel and Samuel Michael as well as the later Freiberger Superintendent Abraham Gensreff.
The Gregorian antiphon Procedamus In Pace! Cum Angelis. This music, used in "Sadeness", was composed for the Easter liturgy. "Sadeness (Part I)" is the debut single by German musical project Enigma.
She published her last major work, the verse play The Antiphon, in 1958, and she died in her apartment at Patchin Place, Greenwich Village in June 1982.Messerli, 15.Herring, 311.
Antiphon is the fourth studio album by American folk rock band Midlake, released on November 5, 2013, on Bella Union Records, in Europe, and ATO Records in North America. Recorded following the departure of vocalist, guitarist and primary songwriter Tim Smith, Antiphon is the first album to feature guitarist Eric Pulido on lead vocals, alongside new members Jesse Chandler (keyboards, flute) and Joey McClellan (guitar). Released to critical acclaim, the album reached number 39 on the UK Albums Chart.
Ecce sacerdos magnus (Behold a great priest), WAB 13, is an 1885 sacred motet by the Austrian composer Anton Bruckner. It is a musical setting of the antiphon of the same title.
"The antiphon with its Psalm from the Graduale Romanum or the Graduale Simplex, or another chant ... whose text has been approved by the Conference of Bishops". GIRM, paragraph 48 If there is no singing at the entrance, the entrance antiphon is recited either by some or all of the faithful or by a lector; otherwise it is said by the priest himself.GIRM, paragraph 256 When the procession arrives at the sanctuary, all bow toward the altar. The priest and other ordained ministers kiss the altar.
41 of Richard Winton's "Herodotus, Thucydides, and the sophists" in C.Rowe & M.Schofield, The Cambridge Companion to Greek and Roman Political Thought, Cambridge 2005. The following passages may confirm the strongly libertarian commitments of Antiphon the Sophist.
The 'plant throne' merges the iconography of the Maestà's throne with the Madonna of Humility sat on the earth. At the base are small musical angels and a scroll bearing the Regina caeli, an Easter antiphon.
Antiphon the tragic poet lived at Syracuse, at the court of Dionysius I of Syracuse, who did not assume the tyranny till the year 406 BCE, that is, five years after the death of the Attic orator Antiphon. The poet Antiphon is said to have written dramas in conjunction with the tyrant, who is not known to have shown interest in writing poetry until the latter period of his life. These circumstances alone, if there were not many others, would show that the orator and the poet were two different persons, and that the latter must have survived the former by many years. The poet was put to death by Dionysius, according to some accounts, for having used a sarcastic expression in regard to tyranny, or, according to others, for having imprudently censured the tyrant's compositions.
In both Visigothic/Mozarabic and Gregorian chant, there is a distinction between antiphonal and responsorial chants. Originally, responsorial chant alternated between a soloist singing a verse and a chorus singing a refrain called the respond, while antiphonal chant alternated between two semi-choruses singing a verse and an interpolated text called an antiphon. In the developed chant traditions, they took on more functional characteristics. In an antiphonal chant, the antiphon is generally longer and more melodic than the verse, which is usually sung to a simpler formula called a psalm tone.
Sanctissimus namque Gregorius, from the 1908 edition of the Roman Gradual. The Roman Gradual includes the Introit (entrance chant: antiphon with verses), the gradual psalm (now usually replaced by the responsorial psalm), the sequence (now for only two obligatory days in the year), the Gospel acclamation, the offertory chant, and the Communion antiphon. It includes chants that are also published as the Kyriale, a collection of chants for the Order of Mass: Asperges chant, Kyrie, Gloria, Credo, Sanctus, Agnus Dei. There have been and are other Graduals, apart from the Roman Gradual.
Power was one of the first composers to set separate movements of the ordinary of the mass which were thematically unified and intended for contiguous performance. The Old Hall Manuscript contains his mass based on the Marian antiphon, Alma Redemptoris Mater, in which the antiphon is stated literally in the tenor voice in each movement, without melodic ornaments. This is the only cyclic setting of the mass ordinary which can be attributed to him. He wrote mass cycles, fragments, and single movements and a variety of other sacred works.
A third-century AD papyrus attributed to the first book of On Truth (P.Oxy. XI 1364 fr. 1, cols. v–vii) A treatise known as On Truth, of which only fragments survive, is attributed to Antiphon the Sophist.
Verse 17 of Psalm 50(51) Domine, labia mea aperies is often used as the invitatory antiphon in the Liturgy of the Hours.See Liturgy of the Hours volume 1, 2, 3, or 4; Christian Prayer; or Shorter Christian Prayer.
The entrance antiphon of the Mass on the fifth Sunday of Lent begins with the word "Iudica" (older spelling, "Judica"). This provides another name for that Sunday: "Iudica Sunday" or "Judica Sunday",Mershman, Francis. "Passion Sunday." The Catholic Encyclopedia Vol. 11.
Tr. Pickard-Cambridge, 1941 The later Peripatetic school seems not to have been so kind. Dionysius of Halicarnassus, writing of the school in his era, 30 BC, states that "It is important that they should not assume that all the principles of rhetoric are covered in Peripatetic philosophy, and that nothing significant has been discovered by Theodorus, Thrasymachus, Antiphon and their associates..."Dionysius of Halicarnassus, First Letter to Ammaeus 2. Tr. Dillon and Gergel, 2003 Some commentators conclude from the passage that Theodorus is linked significantly with Antiphon and Thrasymachus.Dillon and Gergel, 142 Elsewhere, Dionysius speaks of him as antiquated, careless and superficial.
In the Eastern Orthodox Church this psalm is one of the six psalms of Orthros (Matins) read every morning outside of Bright Week. It is also the first of the "Typical Psalms" of the Typica, which is read in place of the Divine Liturgy when the latter is not celebrated on days it is permitted to be. It is frequently sung as the first antiphon of the Divine Liturgy, but there it is often replaced by another antiphon on great feasts and on many weekdays, and is always thus replaced in Greek practice (except on Mount Athos).
However, these are rumors and unconfirmed by Barnes, who never managed to complete her autobiography. What is known is that Barnes and her father continued to write warm letters to one another until his death in 1934. Barnes does refer to a rape obliquely in her first novel Ryder and more directly in her furious final play The Antiphon. Sexually explicit references in correspondence from her grandmother, with whom she shared a bed for years, suggest incest, or overly familiar teasing, but Zadel—dead for 40 years by the time The Antiphon was written--was left out of its indictments.
Only 66 antiphons were recognizably the same, and some 16 of these added words or removed them. Many of the overlapping ones were those for the special seasons (Advent, Lent, Passiontide), not for the per annum ferias. Thus 75 antiphons of the pre-1911 Breviary were removed, and 154 unique to the post-1911 Breviary introduced. Of the 75 unique to the pre-1911 Breviary, 3 paschal antiphons were suppressed, 10 were suppressed because they were associated with repeating psalms at Lauds that no longer occurred multiple times during the week in the Pius X schema, 10 were suppressed because their psalms were moved to the Little Hours under a single antiphon not requiring an antiphon of their own, 5 were replaced at the Little Hours by a new antiphon from that psalm (but drawn from a different division of the psalm), and 47 were completely replaced by another quote from the same psalm/division.
The first prayer, called Ad complendum in the "Gregorian Sacramentary", became the modern Postcommunion, now its official name. Its name was uncertain through the Middle Ages. DurandusDurandus, "Rationale", IV, lvii. calls it merely Oratio novissima, using the name Postcommunio for the Communion antiphon.
His father was Ariston, and his mother was Perictione. According to Diogenes Laërtius, in his Life of Plato, Plato and Glaucon had a sister, Potone, and a brother, Adeimantus.Diogenes Laërtius, iii. 4 In Plato's dialogue Parmenides, a half- brother, Antiphon, is also mentioned.
On reaching the church the antiphon Exsultabunt is repeated. As the body is placed "in the middle of the church," the responsorial Subvenite is recited. Once again, this seldom happens. The coffin is brought to the church by the undertaker in a hearse.
Important painters given a sobriquet based on a name vase include for example the Painter of Berlin A 34, the Nessos Painter, the Andokides Painter, the Antimenes Painter, the Antiphon Painter, the Berlin Painter, the Bryn Mawr Painter and the Pistoxenos Painter.
Other work in the history of mathematics by Rudio included the book Der Bericht des Simplicius über die Quadraturen des Antiphon und des Hippokrates (1902) on the ancient problem of squaring the circle, and a collection of biographies of mathematicians including Gotthold Eisenstein.
It is of great value to political theory, as it appears to be a precursor to natural rights theory. The views expressed in it suggest its author could not be the same person as Antiphon of Rhamnus, since it was interpreted as affirming strong egalitarian and libertarian principles appropriate to a democracy -- but antithetical to the oligarchical views of one who was instrumental in the anti-democratic coup of 411 like Antiphon of Rhamnus.W. K C. Guthrie, The Sophists, Cambridge: Cambridge University Press, 1971; see also Mario Untersteiner who cites Oxyrhynchus Papyrus #1364 fragment 2 in his The Sophists, tr. Kathleen Freeman (Oxford: Basil Blackwell, 1954), p.
Other than the traditional and modern chant settings, which are the most commonly used, the most well-known musical setting is perhaps that of Dmytro Bortniansky. In the Roman Rite of the Catholic Church it is used as the antiphon for the Nunc Dimittis at Compline in the Little Office of the Blessed Virgin Mary, and in the Liturgy of the Hours may be used as the Marian antiphon after Compline outside of Eastertide. The Latin version has also been set to music in the West many times, notably by Marc-Antoine Charpentier, H 20, H 28, H 352, Antionio Salieri, Ludwig van Beethoven and Wolfgang Amadeus Mozart.
Divine Worship: The Missal (p. 180), used in the Personal Ordinariates uses O Virgo virginum for the Alleluia verse of the morning mass on December 24th. The Personal Ordinariates also use O Virgo Virginum as the Antiphon on the Benedictus at Morning Prayer on the 24th.
This movement is a single unharmonised melody based on a Gregorian antiphon. Each end of a phrase is repeated as an echo. Cornet registrations alternate between the Grand-Orgue, Positif and Récit manuals. The unchanging monophony of this movement, the simplest and purest musical form, symbolises the "subtilité".
Crawford Young, "Antiphon of the Angels: Angelorum psalat tripudium". Recercare 20, No. 1/2 (2008), pp. 5–23 (includes a new transcription). pp. 13–14 about the identity of Rodericus Young argues that the author of Angelorum Psalat must have been an extremely well developed composer and musician.
Antiphon was a statesman who took up rhetoric as a profession. He was active in political affairs in Athens, and, as a zealous supporter of the oligarchical party, was largely responsible for the establishment of the Four Hundred in 411 (see Theramenes); upon restoration of the democracy shortly afterwards, he was accused of treason and condemned to death. Thucydides famously characterized Antiphon's skills, influence, and reputation: Antiphon may be regarded as the founder of political oratory, but he never addressed the people himself except on the occasion of his trial. Fragments of his speech then, delivered in defense of his policy (called ) have been edited by J. Nicole (1907) from an Egyptian papyrus.
While Power's output was slightly less than Dunstaple's (only 40 extant pieces can be definitely attributed to him), his influence was similar. He is the composer best represented in the Old Hall Manuscript, one of the only undamaged sources of English music from the early 15th century (most manuscripts were destroyed during the Dissolution of the Monasteries in 1536-1540 under Henry VIII). Power was one of the first composers to set separate movements of the Ordinary of the Mass which were thematically unified and intended for contiguous performance. The Old Hall Manuscript contains his mass based on the Marian antiphon, Alma Redemptoris Mater, in which the antiphon is stated literally in the tenor in each movement, unornamented.
In The New York Times Book Review, Dudley Fitts described the Antiphon as "dramatic poetry of a curious and high order' and highlighted that the pleasure of the play was to be found in 'the pleasure of language. Not spoken language; Miss Barnes has no ear for the stage, but the intricate, rich, almost viciously brilliant discourse, modeled more or less on the murkier post-Elizabethans." In the Times Literary Supplement, the anonymous reviewer suggested that "[t]here will always be one or two eccentrics who think 'The Antiphon' gives its author first place among women who have written verse in the English language."Quoted in Giroux In recent years, the play has been re-examined by literary critics.
As discussed above, the Latin text of "O Come, O Come Emmanuel" was mostly stable over time. In the versions below, a number at the end of each stanza indicates where it fits into the order of the O Antiphons (e.g. the first verse, "Veni, veni Emmanuel," corresponds with the last antiphon, [7]).
252 It's been argued that that interpretation has become obsolete in light of a new fragment of text from On Truth discovered in 1984. New evidence supposedly rules out an egalitarian interpretation of the text.pp. 351, 356, Gerard Pendrick, 2002, Antiphon the Sophist: The Fragments, Cambridge U. Press; also p. 98 n.
The Introit (from Latin: introitus, "entrance") is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patri, which are spoken or sung at the beginning of the celebration. It is part of the Proper of the liturgy: that is, the part that changes over the liturgical year. In the Roman Rite of the Catholic Church it is known as the antiphona ad introitum (Entrance antiphon), as in the text for each day's Mass, or as the cantus ad introitum (Entrance chant) as in the General Instruction of the Roman Missal, 47 and the First Roman Ordo (sixth to seventh century).
GIRM, paragraph 79c,f The whole portion of the Antiphon recalling Christ's passion, death, and resurrection, is called the Anamnesis. Intercessions for both the living and the souls in Purgatory follow. When there are priests concelebrating the Mass they join the main celebrant in the central prayers, up to the intercessions, which they may divide among themselves. The Antiphon ends with an emphatic doxology for which the priest elevates the paten with the Host and the deacon (if there is one) elevates the chalice, and the priest(s) proclaim of Christ that "through him, with him, in him, in the unity of the Holy spirit, all glory and honor is yours, Almighty Father, for ever and ever," to which the faithful sing or chant the great Amen.
A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of Gregorian chant according to the Gregorian mode (tonus) of their melodies within the eight-mode system. Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text (the psalm tone if the antiphon is sung with a psalm, or canticle tone if the antiphon is sung with a canticle), but a tonary may also or instead list responsories or Mass chants not associated with formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an appendix to other liturgical books such as antiphonaries, graduals, tropers, and prosers, and are often included in collections of musical treatises.
But due to the complexity of the method, he only calculated π to a few digits. Aristotle criticized this method,Aristotle, Posterior Analytics, 75b37-76a3. but Archimedes would later use a method similar to that of Bryson and Antiphon to calculate π; however, Archimedes calculated the perimeter of a polygon instead of the area.
During Lent, the Laudes use different texts. The Sacrificium corresponds to the Gregorian Offertory. The Sacrificia appear to be closely related to the Soni chants of the Office. A few Visigothic/ Mozarabic Masses include the Ad pacem, a special Antiphon sung for the kiss of peace, or the Ad sanctus, similar to the Gregorian Sanctus.
According to the Christian theologian Clement of Alexandria (), "Pythagoras was a disciple of Soches, an Egyptian archprophet, as well as Plato of Sechnuphis of Heliopolis." Some ancient writers claimed, that Pythagoras learned geometry and the doctrine of metempsychosis from the Egyptians.cf. Antiphon. ap. Porphyry, Vit. Pyth. 7; Isocrates, Busiris, 28–9; Cicero, de Finibus, v.
Busnois' contemporary reputation was immense; he was probably the best-known musician in Europe between Guillaume Dufay and Johannes Ockeghem. He wrote sacred and secular music. Of the former, two cantus firmus Masses and eight motets have survived, while many others were most likely lost. He set the Marian antiphon Regina coeli several times.
The priest, with his assistants, says the psalm De profundis with the antiphon Si iniquitates. Then the procession sets out for the church. The cross-bearer goes first, followed by members of the clergy carrying lighted candles. The priest walks immediately before the coffin, and the friends of the deceased and others walk behind it.
On Fridays there was a "Jesus-Mass" (a votive mass of the Holy Name) and the "Jesus-Antiphon" was sung after Complin (ed. cit., p. 220). This was also the custom at York, Lincoln, Lichfield and Salisbury. On St. Cuthbert's Day (20 March) there was naturally a great feast and his relics were exposed.
Epigenes (Epigetês), son of Antiphon, of the deme of Cephisia, is mentioned by Plato among the disciples of Socrates who were with him in his last moments. Xenophon represents Socrates as remonstrating with him on his neglect of the bodily exercises requisite for health and strength.Plat. Apol. p. 33, Phaed. p. 59; Xen. Mem. iii. 12.
This remains an active scholarly controversy; of recent editors, Gagarin, and Laks and Most, believe there to be only one Antiphon, whereas G. J. Pendrick argues for the existence of two separate individuals.For a survey of the issues involved, see Pendrick, pp. 2–24. A. Laks and G. W. Most, Early Greek Philosophy vol. IX (2016) pp. 2–3.
Music by older composers, such as Edmund Stourton and Walter Lambe, may be found in the Lambeth and Eton Choirbooks, but not in the Caius Choirbook. Other composers represented in the Caius Choirbook include William Cornysh, Edmund Turges, and Henry Prentes. There is in addition a Mass by William Pasche, based upon Christus resurgens, a processional antiphon for Easter.
The parish priest and other clergy go to the house of the deceased with cross and holy water. Before the coffin is removed from the house it is sprinkled with the holy water. The priest, with his assistants, says the psalm De profundis with the antiphon Si iniquitates. Then the procession sets out for the church.
The antiphon's text, whether the Latin original or a vernacular translation, is sung to traditional hymn tunes. The blessing of palms and the intonation of the antiphon often occurs in the church's parvise, its parking lot, or the town plaza, which usually is in front of or near the church (a common layout in most Philippine settlements).
Babylon is a polystilistic opera. Example of a special musical style is Widmann's version of the Bayerischer Defiliermarsch and Tiroler Holzhackerbuab`n from his composition Dubairische Tänze in Scene III. Some other examples of self-quotation within the opera are Teufel Amor, Con brio, Antiphon and Messe. The work is characterized by cinematic editing techniques and various multimedia layers.
Originally, the entrance of the priest who was to celebrate Mass was accompanied by the singing of a whole psalm, with Gloria Patri (doxology). While the psalm was at first sung responsorially, with an antiphon repeated by all at intervals, while a solo singer chanted the words of the psalm, it was soon sung directly by two groups of singers alternating with each other, and with the antiphon sung only at the beginning and the end, as is the usual way of chanting the psalms in the Liturgy of the Hours. The change to this manner of singing the psalm has been attributed to Pope Celestine I (422–432). Pope Gregory I (590–604), after whom Gregorian chant is named, composed several antiphons for singing with the Entrance psalm.
R. C. Jebb, The Attic Orators from Antiphon to Isaeos. It has also been said that Demosthenes paid Isaeus 10,000 drachmae (somewhat over 1½ talents) on the condition that Isaeus withdraw from a school of rhetoric he had opened and instead devote himself wholly to Demosthenes, his new pupil. Another version credits Isaeus with having taught Demosthenes without charge.Suda, article Isaeus.
Because literacy, and musical notation in particular were preserves of the clergy in this period the survival of secular music is much more limited than for church music. Nevertheless, some were noted, occasionally by clergymen who had an interest in secular music. England in particular produced three distinctive secular musical forms in this period, the rota, the polyphonic votive antiphon and the carol.
Monument Film consists of Arnulf Rainer, Antiphon, the two films projected side-by-side, and the two films superimposed. Monument Film was designed as a film installation that could not be reproduced digitally. Under ideal settings, the superposition of the two films would be a white screen with continuous noise. However, variations in the projectors and speakers reveals the films' common structure.
On reaching the church the antiphon Exsultabunt is repeated. As the body is placed "in the middle of the church", the responsorial Subvenite is recited. Historical precedents provide that, if the corpse is a layman, the feet are to be turned towards the altar. If the corpse is a priest, then the position is reversed, the head being towards the altar.
Spatial music is composed music that intentionally exploits sound localization. Though present in Western music from biblical times in the form of the antiphon, as a component specific to new musical techniques the concept of spatial music (Raummusik, usually translated as "space music") was introduced as early as 1928 in Germany.Beyer, Robert (1928). "Das Problem der ‘kommenden Musik'" [The Problem of Upcoming Music].
The Interpretation of Dreams or Dream-book,These are the phrases used by Laks and Most, and by Pendrick, respectively, to refer to the treatise. Its exact ancient title is not known; the Suda (s.v. Antiphon) refers to it as a treatise περὶ κρίσεως ὀνείρων, while Cicero (On Divination 1.51.116) refers to it as the somniorum Antiphontis interpretatio (Pendrick p.
Barnes's verse play The Antiphon (1958) is set in England in 1939. Jeremy Hobbs, in disguise as Jack Blow, has brought his family together at their ruined ancestral home, Burley Hall. His motive is never explicitly stated, but he seems to want to provoke a confrontation among the members of his family and force them to confront the truth about their past.Herring, 259.
James McKinnon (1998). Since the Carolingian reform the Roman Mass Proper became part of the Roman-Frankish liturgy and the most common musical settings of it were reserved for special Masses such as Requiem Masses, where the chant has the incipit Lux aeterna. In contemporary Catholic usage, the communion chant corresponds to the Communion Antiphon and is sung or recited audibly throughout by the faithful.
"'" ("In the Midst of Life we are in Death") is a Lutheran hymn, with words written by Martin Luther based on the Latin antiphon "Media vita in morte sumus". The hymn in three stanzas was first published in 1524. The hymn inspired composers from the Renaissance to contemporary to write chorale preludes and vocal compositions. Catherine Winkworth translated Luther's song to English in 1862.
Only-Begotten Son (, Church Slavonic: Единородный Сыне, Ukrainian: Єдинородний Сине, Old Armenian: Միածին Վորդի), sometimes called "Justinian's Hymn", and/or the "Hymn of the Incarnation", was composed around the 4th or 5th centuries. This hymn is chanted at the end of the Second Antiphon during the Divine Liturgies of St John Chrysostom, St Basil the Great and of St Gregory the Illuminator (Armenian Divine Liturgy) .
Mario Untersteiner comments: "If death follows according to nature, why torment its opposite, life, which is equally according to nature? By appealing to this tragic law of existence, Antiphon, speaking with the voice of humanity, wishes to shake off everything that can do violence to the individuality of the person."Mario Untersteiner, The Sophists, tr. Kathleen Freeman (Oxford: Basil Blackwell, 1954) Cambridge: Cambridge University Press, 1971, p.
"The theory of Greek eloquence had its final and its most splendid illustration in that trial which brought forth the two speeches On the Crown: nor could this part of our discussion conclude more fittingly than with an endeavour to call up some faint image of Demosthenes as in that great cause he stood opposed to Aeschines."R. C. Jebb, The Attic Orators from Antiphon to Isaeos.
A choral antiphon for the feast of Michaelmas, Factum est Silentium, paraphrases the events described in and : Factum est silentium in caelo, Dum committeret bellum draco cum Michaele Archangelo. Audita est vox millia millium dicentium: Salus, honor et virtus omnipotenti Deo. Millia millium minestrabant ei et decies centena millia assistebant ei. Alleluia. Variant 1: Dum draco committeret bellum et Michael pugnavit cum eo et fecit victoriam.
The work, which was composed on 30 March 1878 between symphonies 5 and 6, is scoring the Latin antiphon Tota pulchra es. It was performed on 4 June 1878 in the Votive Chapel of the new cathedral of the Immaculate Conception to commemorate the 25th anniversary of Franz-Josef Rudigier as bishop of Linz. The manuscript is archived at the Österreichische Nationalbibliothek.U. Harten, p.
From Rome they made their way to the famous Santa Casa pilgrimage site at Loreto, and took the coastal road to Rimini—under military protection, because the road was subject to attacks from marauding pirates.Sadie (2006), pp. 200–01 From Rimini they moved inland, and reached Bologna on 20 July. Wolfgang's Antiphon examination exercise at Bologna, as revised by Martini Leopold's priority was to rest his leg.
The Antiphon (1958) is a three-act verse tragedy by Djuna Barnes. Set in England in 1939 after the beginning of World War Two, the drama presents the Hobbs family reunion in the family's ancestral home, Burley Hall. The play features many of the themes or motifs that run through Barnes's work, including betrayal, familial relations, regression and transgression. The dialogue is highly stylized and poetic.
Arnulf Rainer is a 1960 Austrian experimental short film by Peter Kubelka, and one of the earliest flicker films. The film alternates between light or the absence of light and sound or the absence of sound. Since its May 1960 premiere in Vienna, Arnulf Rainer has become known as a fundamental work for structural film. Kubelka released a "negative" version, titled Antiphon, in 2012.
"ii", follows the antiphon. The antiphons of the entrance (introits) have the gradual order of the mass as a rubric at the margin (on a verso page as here: left), i.e. the serial for the day with gradual (R), alleluia (All) or tractus (TR), offertorium (OF), and communio (CO). A conventional tonary with the list of differentiae was also attached to the beginning of the manuscript.
There was Morning and Evening Prayer, in traditional and modern English, along with a Midday Office and Compline. The structure of these Offices was antiphon and psalmody; Old and New Testament lessons, each followed by a canticle; Apostles Creed; Lord's Prayer, Preces, and collects. The Litany, in traditional English, echoed the Great Litany, with some additional petitions to the Virgin Mary and the Saints.
The lyrics included within Christ I selection expand upon antiphons known as the “O Antiphons”, which receive their name because they all begin with the Latin interjection “O”. An antiphon is a verse from the Holy Scripture that is to be sung before and after the reading of a psalm (Otten 1). The verse selected for the antiphon is chosen to reflect the fundamental ideas presented during the psalm. Seven of the antiphons in Christ I have come to be known as the “Seven Greater Antiphons” for their use in the Magnificat. The opening interjections of the “Seven Greater Antiphons” include, "O Sapientia", "O Adonai", "O Radix Jesse", "O Clavis David", "O Oriens", "O Rex Gentium", and "O Emmanuel". The remainder of the antiphons used in Christ I had come to be included with the “Greater Antiphons”: “O Virgo virginum”, “O Gabriel”, “O Rex pacifice”, “O Mundi Domina”, and “O Hierusalem”.
Sometimes a tonary was attached to these manuscripts, and the cantors could use it by looking for the incipit of an antiphon in question (e.g. an introit to communio), in order to find the right psalmody according to the mode and the melodic ending of the antiphon, which was sung as a refrain during the recitation of the psalm. A Greek psaltes would sing a completely different melody according to the echos indicated by the modal signature, while Frankish cantors had to remember the melody of a certain Roman chant, before they communicated their idea of its mode and its psalmody in a tonary—for all the cantors who will follow them. In this complex process of chant transmission, which followed Charlemagne's reform, the so- called "Gregorian chant" or Franco-Roman chant, as it was written down about 150 years after the reform, was born.
''''' (Come, Holy Spirit), K. 47, is a sacred composition for choir and orchestra by Wolfgang Amadeus Mozart. He wrote it in Vienna in 1768 at age 12. He scored the work in C major for mixed choir SATB with a few solo lines, orchestra and organ. The text is a Pentecostal antiphon, ' (For invoking the Holy Spirit), which begins with the same words as the sequence ', but continues differently.
The antiphon has been set as a choral motet by a number of composers including Felice Anerio, Richard Dering, Melchior Franck, Alessandro Grandi and Costanzo Porta. A hymn written by the German poet and hymnodist Friedrich Spee in 1621, "Unüberwindlich starker Held" ("Invincible strong hero"), also makes reference to the Archangel Michael overcoming the dragon. Bach's cantata Es erhub sich ein Streit, BWV 19 is on this subject.
At the beginning of October, with Leopold more or less recovered, they moved back to Bologna, and Wolfgang, it is thought, began his period of study under Martini. and Sadie (2006, p. 211) say that there is no reference to these lessons in Leopold's correspondence. On 9 October he underwent examination for membership in Bologna's Accademia Filarmonica, offering as his test piece the antiphon Quaerite primum regnum, K. 86/73v.
The practice did not become part of the Latin Church until more than two centuries later. Ambrose and Gregory the Great, who are known for their contributions to the formulation of Gregorian chant, are credited with 'antiphonaries', collections of works suitable for antiphon, which are still used in the Roman Catholic Church today.G. Wainwright, K. B. W. Tucker. The Oxford History of Christian Worship (Oxford University Press, 2006), p. 244.
The cross-bearer goes first, followed by members of the clergy carrying lighted candles. The priest walks immediately before the coffin, and the friends of the deceased and others walk behind it. Funeral procession from the "Healing Window" at Canterbury Cathedral. As they leave the house, the priest intones the antiphon Exsultabunt Domino, and then the psalm Miserere is recited or chanted in alternate verses by the cantors and clergy.
The Ave Regina caelorum (Hail, Queen of Heaven) is an early Marian antiphon, praising Mary, the Queen of Heaven. It is traditionally said or sung after each of the canonical hours of the Liturgy of the Hours. The prayer is used especially after Compline, the final canonical hour of prayer before going to sleep. It is prayed from the Feast of the Presentation (February 2) through the Wednesday of Holy Week.
Herring, 281. After The Antiphon, Barnes returned to writing poetry, which she worked and reworked, producing as many as 500 drafts. She wrote eight hours per day despite a growing list of health problems, including arthritis so severe that she had difficulty even sitting at her typewriter or turning on her desk lamp. Many of these poems never were finalized, and only a few were published in her lifetime.
Surviving commentaries on Plato's dialogues by Neo-Platonists such as Proclus contain extended allegorical interpretations.For a discussion of Proclus' use of allegory, see ch. 4 of A. Sheppard, Studies of the Fifth and Sixth Essays of Proclus' Commentary on the Republic (Göttingen: Vandenhoeck and Ruprecht, 1980). Proclus' commentary on Plato's Parmenides says, for example, that the narrator Antiphon could not have been ignorant of the dialogue's 'secret' or 'deeper meanings' (682).
Dr. Lawlor thought the latter a plan of a daily office used morning and evening but the editors of the Liber Hymnorum took it as a special penitential service and compared it with the penitential office sketched out in the Second Vision of Adamnan in the Speckled Book, which, as interpreted by them, it certainly resembles. The service plan in the Book of Mulling is: #(illegible) #Magnificat #Stanzas 4, 5, 6 of St. Columba's hymn Noli pater #A lesson from St. Matt. v #The last three stanzas of the hymn of St. Secundus, Audite omnes #Two supplementary stanzas #The last three stanzas of the hymn of Cumma in Fota, Celebra Juda #Antiphon Exaudi nos Deus, appended to this hymn #Last three stanzas of St. Hillary's hymn, Hymnum dicat #Either the antiphon Unitas in Trinitate or (as sketch of Adamnan seems to show) the hymn of St. Colman MacMurchon in honour of St. Michael, In Trinitate spes mea #The Creed #The Paternoster #Illegible, possibly the collect Ascendat oratio.
One of Mundy's most famous works, ' (Voice of the heavenly Father), is a complex antiphon on the Assumption of the Virgin Mary, referencing the Song of Songs and other scripture and literary works related to the Assumption. Most musicologists definitively date ' to the brief English counter-reformation during reign of Queen Mary (1553–58) due both to its subject matter and Catholic style. English tenor and historian of Tudor music, Nicholas Robertson cites ' as "the culmination of the great antiphon tradition" and describes its structure as beginning "with two voices only, expanding to a trio before the full choir enters with éclat in the second half, now in duple instead of triple time, the solo sections are enlarged in scope, climaxing in a "gymel" (derived from the Latin for twin) where two equal treble voices soar above the rich accompaniment of double alto and bass", and praises it as "elaborate and virtuosic, the range daunting".
Antiphon () of Athens was contemporary of the orator Demosthenes. For some offense his name was removed from the list of Athenian citizens, whereupon he went to Philip of Macedonia. He pledged himself to the king, that he would destroy by fire the Athenian arsenal in Piraeus; but when he arrived there with this intention, he was arrested by Demosthenes and accused of treachery. He was found guilty, and put to death in 342 BCE.
For examples, pots made by Euphronios have been found to be painted by Onesimos, Douris, the Antiphon Painter, the Triptolemos Painter and the Pistoxenos Painter. Conversely, an individual painter could also change from one workshop to another. For example, the bowl painter Oltos worked for at least six different potters. Kalos inscription on a double head-shaped vessel, painted by an artist of the Epilykos Class, maybe Skythes, circa 520/10 BC. Paris: Louvre.
Porphyry repeats an account from Antiphon, who reported that, while he was still on Samos, Pythagoras founded a school known as the "semicircle". Here, Samians debated matters of public concern. Supposedly, the school became so renowned that the brightest minds in all of Greece came to Samos to hear Pythagoras teach. Pythagoras himself dwelled in a secret cave, where he studied in private and occasionally held discourses with a few of his close friends.
Gregory of Saint Vincent The idea originated in the late 5th century BC with Antiphon, although it is not entirely clear how well he understood it. The theory was made rigorous a few decades later by Eudoxus of Cnidus, who used it to calculate areas and volumes. It was later reinvented in China by Liu Hui in the 3rd century AD in order to find the area of a circle.Dun, Liu. 1966.
The Annunciation The Greater Advent or O Antiphons are antiphons used at daily prayer in the evenings of the last days of Advent in various liturgical Christian traditions.A. Nocent and M. J. O'Connell, The Liturgical Year (Liturgical Press, 1977), p. 162. Each antiphon is a name of Christ, one of his attributes mentioned in Scripture. In the Roman Catholic tradition, they are sung or recited at Vespers from December 17 to December 23.
Also works involving electronics are in their repertoire. York Holler's Antiphon, Kaija Saariaho's Nymphea and Roger Reynolds Ariadnes Thread. [7] In their first concert they played new compositions only, but by their second year, they decided that their repertoire needed to include works of the Second Viennese School and Bartók came soon after. Works from earlier in the 20th century as perspective followed and in the 1980s they incorporated Beethoven's Grosse Fuge.
Richard Hygons (also Higons, Huchons, Hugo; c. 1435 - c. 1509) was an English composer of the early Renaissance. While only two compositions of this late 15th-century composer have survived, one of them, a five-voice setting of the Salve Regina Marian antiphon, has attracted interest from musicologists because of its close relationship to music being written at the same time on the continent, as well as its high level of workmanship.
This is a portion of Ave Maris Stella, a Marian Antiphon, in a setting by Guillaume Dufay, transcribed into modern notation. The top and bottom lines are freely composed; the middle line, designated "fauxbourdon" in the original, follows the contours of the top line while always remaining exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave.
Midlake is an American folk rock band from Denton, Texas, formed in 1999. The band consists of Eric Pulido, McKenzie Smith, Paul Alexander, Eric Nichelson, Jesse Chandler, and Joey McClellan. In 2012, vocalist, guitarist and primary songwriter Tim Smith left the band during the recording of its fourth studio album. Following his departure, guitarist and backing vocalist Eric Pulido filled Smith's vacated role, and the band started afresh with its recordings, releasing Antiphon in 2013.
After a clash with the Outsiders, she was captured and imprisoned in the Slab, she later escaped when the Joker engineered a jailbreak. (As seen in Joker: Last Laugh #3) Njara later returned with a new team including Antiphon, Tolteca, Hyve and Digital Djinn. (Suicide Squad vol. 2 #10) They succeeded in kidnapping Amanda Waller as part of an elaborate revenge, and in killing Squad members Havana (slain by Rustam) and Modem (slain by Digital Djinn).
Note: the abbreviation CPM refers to the Thematic Catalogue of Nunes Garcia's Works, compiled by the musicologist Mrs. Cleofe Person de Mattos. In 1783, at 16, Nunes Garcia composed his first surviving work: the antiphon Tota pulchra Es Maria (CPM 1). In the 1780s, he studied for the examinations he had to go through to take the holy orders, and developed a musical partnership with the old chapel master and subchanter of the See, deacon João Lopes Ferreira.
Mozart added the subtitle Offertorium, mentioning the intended use during the offertory of a church service. The beginning of the words suggests Pentecost, but the general call for the Holy Spirit seems more likely to have been composed in the fall. The work is structured in two parts, the text of the antiphon and an extended Alleluia. The first part is in 3/4-time and marked Allegro, the second in 2/4-time and marked Presto.
It is common practice that during the recital of the Angelus prayer, for the lines "And the Word was made flesh/And dwelt among us", those reciting the prayer bow or genuflect. Either of these actions draws attention to the moment of the Incarnation of Christ into human flesh. During Paschaltide, the Marian antiphon Regina Cœli with versicle and prayer, is used in place of the Angelus. In some Catholic schools, the Angelus is recited periodically.
In 1817 Pope Pius VII granted an indulgence of 200 days once a day for saying the hymn (including antiphon and prayer) with a contrite heart and devotion, in honor of St. Michael the Archangel in order to obtain his patronage and protection against the assaults of the enemy of man. He also provided a plenary indulgence for saying the hymn every day for a month together, after Confession and Communion, and praying for the intention of the pope.
480 and 460 BC. Many vases have been attributed to his hand on the basis of style. John Beazley gave him the name from a skyphos now at Schwerin with a signature indicating that it was made by the potter Pistoxenos.British Museum : Pistoxenos Painter Biographical details It depicts Iphikles being taught music by Linos, and Heracles accompanied by his tattooed Thracian servant Geropso. The Pistoxenos Painter probably started his apprenticeship under the Antiphon Painter in the workshop of Euphronios.
Only a few of his compositions survive and most are incomplete. Among them can be cited an Easter antiphon Christus resurgens in two sections, based on a Sarum Rite plainchant; and a motet Anima Christi for three voices, which was originally just one section of a much longer motet for six voices. William Parsons is believed to be the same "W. Parsons" who composed 81 out of the 141 settings in John Day's The Whole Psalmes in Foure Parts.
It was translated into Swedish by Karl Ragnar Gierow and U.N. Secretary-General Dag Hammarskjöld, the latter of whom Barnes became close friends. The play was directed by Gierow. The Swedish performance remains the only major production of The Antiphon, and indeed, perhaps the only public performance of the play. Barnes's correspondence in her archive at the University of Maryland reveals that she often was contacted with requests to stage the play, but she invariably turned them down.
Hubbard was born in Indianapolis, Indiana in 1951. He graduated from Arlington High School in 1971. In 1973, while still a student at Indiana University, where he was a music major, he helped coach actors who appeared in musicals. He returned to Indianapolis and recorded two songs on a vinyl LP. He recorded "Antiphon" from "Five Mystical Songs" by Ralph Vaughan Williams, and "Without a Song," by Vincent Youmans, with the Arlington High School concert choir.
Vaet wrote nine complete masses which have survived, including a setting of the Requiem, one of relatively few from before the mid-16th century. His many surviving motets are both sacred and secular. Furthermore, he wrote eight settings each of the Magnificat and the Marian antiphon Salve Regina; the antiphons were all late works, published in the 1560s. Vaet also wrote a handful of chansons in French, and one setting in German of "Vater unser im Himmelreich".
Schlick's three Da pacem settings also look to the future, because, although Schlick does not refer to them as a cycle anywhere in the Tabulaturen, the placement of the cantus firmus suggests that the three settings are part of a large plan. The antiphon is in the discantus in the first setting, in the tenor in the second, and in the bass in the third. Similar plans are observed in Sweelinck's and later composers' chorale variations.
This last section is therefore called the 'repetenda' and is in performance the last melodic line of the chant. Communions are sung during the distribution of the Eucharist. In presentation the Communio is similar to the Introitus, an antiphon with a series of psalm verses. Communion melodies are often tonally ambiguous and do not fit into a single musical mode which has led to the same communio being classed in different modes in different manuscripts or editions.
The defense speech however does not survive, but one such possible defense may have been that she was a mistress rather than a prostitute, which was a normal social practice. Another such example occurs in the text Against the Stepmother for Poisoning, a speech by Antiphon. In this speech for the prosecution, it is alleged that a pallake was tricked into poisoning her master, who was to sell her to a brothel, by her master's wife.
Among the other pieces, by genre there are hymns, sequentiae, responsories (including a processional antiphon), an alleluia, chansons, dances (a notula and a rondeau), a pastourelle and a polyphonic motet. Of his contrafacta, his models can be classified as either widely available—as in the songs of King Theobald I of Navarre and Duke Henry III of Brabant, and the sequentia Letabundus—or of local provenance and popularity, as in two chants to Saints Peter and Elizabeth.
Said clothing typically features a distinct pattern. The Yao generally do not marry in other ethnicities and practice monogamy. Sometimes, marriage could be love marriages or arranged by the parents or elders of the family. One of the way of marriage in the Yao community specially in the past was by singing in antiphon specially during the Spring Festival, where the boy and the girl sing to each other in a way of question and answer.
Ecce sacerdos magnus is an antiphon and a responsory from the common of confessor bishops in the Liturgy of the Hours and in the Graduale Romanum, and the Epistle in their proper Mass. It belongs to Sir 50,1. The responsory Ecce sacerdos magnus for the festival of a confessor bishop, from the Liber Responsorialis juxta Ritum Monasticum, Solesmes, 1895, page 194. Since it is the second responsory of its nocturn, it doesn't have a half-doxology.
Only two compositions of Hygons are known to survive: a two-voice setting of the Gaude virgo mater Christi, which appears on a single surviving leaf of a choirbook from Wells Cathedral (the enormous majority of music from the 15th century and early 16th century was destroyed in the Dissolution of the Monasteries by Henry VIII), and the famous Salve Regina from the Eton Choirbook. The Salve Regina is unique among English music of the period in that its cantus firmus, drawn from the melisma on the word "caput" in the Sarum antiphon Venit ad Petrum, is the same as that from three earlier Caput masses by composers from elsewhere: Jacob Obrecht, Johannes Ockeghem, and an anonymous composer once thought to be Guillaume Dufay. Recent research has suggested that this third mass was actually by an unknown Englishman working in the early 15th century, and is the original for the later three works. The Salve Regina, being based on a votive antiphon for Maundy Thursday, was probably intended for use on that day.
Recent works include "Los Espejos de Velázquez" for the pianist Artur Pizarro (premiered in Vila Nova de Gaia in July 2016), "Paris, 7 am" (soprano and piano quintet) for soprano Suzie LeBlanc (premiered by Suzie LeBlanc and the Blue Engine, Robert Korgaard and the Blue Engine Quartet, Toronto, December 2016), "Le Vergine" for Stimmwerck (premiered at the Stimmwercktage, Adlersberg, June 2016), "Vespers Sequence" for New York Polyphony, premiered at St Mary the Virgin, New York, January 2017), "Psalm Antiphon", using the same scoring as Stravinsky's "Symphony of Psalms", commissioned by the Chamber Choir of Lisbon University and premiered on 13 July 2017 in Lisbon, "Psalm 1" and "Antiphon for Psalm 1", commissioned for Singer Pur and the Regensburger Domspatz and "Amorphous Metal" for the Trio Entremadeiras, premiered in Guarda, 9 February 2018. Newly-complete works include "Isangele" for the English Chamber Choir, to be premiered at the Patmos Festival in August 2018 and three new motets on texts from the Codex Las Huelgas and the Byzantine rite for Trio Mediaeval, to be premiered in Oslo in October 2018.
Volumes IV and VIII are for piano 4-hands or two pianos. Volume I was essentially completed in 1973 but not published until 1979, by which time Volumes II, III and IV had also been composed. Volumes V and VI were published in 1997, Volume VII in 2003, Volume VIII in 2010, and Volume IX in 2017. Several pieces from the collection have started to be regularly performed, including a Prelude and Chorale, an Antiphon in F, and one called 3 in memoriam.
The concept came to Pulido whilst he was touring Midlake’s 2013 album Antiphon. Pulido wanted to gather a number of contrasting yet complementary artists he had befriended or shared the stage with and establish an environment in which they could collaborate. Pulido said "That’s what art is about for me, creating with other people that you love and appreciate." Due to members being spread around the world, recordings were either done through travel to Denton, Texas or remotely over the internet.
This fifth part, which is sung a cappella in unison, is a transcription of the Gregorian plain chant Gloria Patri with a different metric structure. # Ideo jure jurando (bars 90–106): second repeat of bars 23–39. The antiphon, which was intended as processional music for the entrance of the bishop into the cathedral, was thus designed to be "majestic" and "ceremonial" in character. The work's "most enthralling feature" is "the antiphonal writing of Gabrielian grandeur" in bars 64–66.
Gottfried Heinrich Stölzel wrote cantatas such as Werdet voll Geistes (Get full of spirit) in 1737.Cantatas for Pentecost review of the 2002 recording by Johan van Veen, 2005 Mozart composed an antiphon Veni Sancte Spiritus in 1768. Olivier Messiaen composed an organ mass Messe de la Pentecôte in 1949/50. In 1964 Fritz Werner wrote an oratorio for Pentecost Veni, sancte spiritus (Come, Holy Spirit) on the sequence Veni Sancte Spiritus, and Jani Christou wrote Tongues of Fire, a Pentecost oratorio.
The scroll is held in both hands and bears a text from the prayer of the first antiphon of St. Basil's liturgy. The vault of the bema holds a fresco of the Ascension with, what would have been six, apostles looking up at Christ being carried by four angels in a mandorla. All that remains of the angels is the right arm, right wing, and a portion of the halo. On the north side there are only remnants of two apostles.
"Manila Cathedral Ordination". Flickr.com. Retrieved on 2012-02-03. Inscribed on the baldachin above the statue of the Immaculate Conception is the Latin antiphon Tota Pulchra es Maria et Macula Originalis Non est in Te (English: "Thou art all-beautiful, Mary, and the original stain [spot] (of sin) is not in thee."). The baptismal font and angel-shaped holy water fonts are also made of solid bronze by Publio Morbiducci; the prominent mosaic of Saint Jude Thaddeus was made by Marcello Mazzoli.
For example, the first antiphon of the first nocturn: :Gregorius ortus Romæ :E senatorum sanguine :Fulsit mundo velut gemma :Auro superaddita, :Dum præclarior præclaris :Hic accessit atavis. This transitional author does not make use of pure rhyme, only of assonance, the precursor of rhyme. A prominent example is the Office of the Trinity by Archbishop Pecham of Canterbury. The first Vespers begins with the antiphons: :Sedenti super solium :Congratulans trishagium :Seraphici clamoris :Cum patre laudat filium :Indifferens principium :Reciproci amoris.
New York: Church Publishing. In the Book of Occasional Services of the Episcopal Church (United States), in the rite for Restoring of Things Profaned, the bishop or priest while processing around the church or chapel recite Psalm 118 with the antiphon Vidi aquam: A rubric directs that as each profaned object is addressed, "it may be symbolically cleansed by the use of signs of purification, such as water or incense."The Episcopal Church (United States) (1991). The Book of Occasional Services.
Salve Regina (HWV 241) is an antiphon composed by George Friederic Handel around 1707. It is most likely that the work was first performed for Trinity Sunday in Vignanello on 19 July 1707 in the Church of Santa Maria in Montesanto, under the patronage of the Colonna family. Other catalogues of Handel's music have referred to the work as HG xxxviii,136 (there is no HHA designation of the work). The work is based on the Marian anthems with their supplicatory text.
His frugality of life served as a powerful contrast to the contemporary custom of riotous banqueting after the example of the Danish monarchs. Ælfwold showed great devotion to Saint Swithun, his old patron of Winchester, and also to Saint Cuthbert, to whose shrine at Durham he made a pilgrimage. He died while singing the antiphon of Saint Cuthbert. He was in a sense the last Bishop of Sherborne, as after his death the see of Sherborne was united to that of Ramsbury.
Note that in the vast majority of cases none of the above will happen. The priest or deacon will go to the house without procession, or lay people will lead the prayers in the presence of the body if clergy are not available. Funeral procession from the "Healing Window" at Canterbury Cathedral. As they leave the house, the priest intones the antiphon Exsultabunt Domino, and then the psalm Miserere is recited or chanted in alternate verses by the cantors and clergy.
The Laudate psalms are the psalms numbered 148, 149, and 150, traditionally sung all together as one psalm in the canonical hours, most particularly the hour of Lauds, also called "Morning Prayer", which derives its name from these psalms. The psalms themselves are named from the Latin word laudate, or "praise ye", which begins psalms 148 and 150. At Lauds, according to the Roman rite, they were sung together following the canticle under one antiphon and under one Gloria Patri.
The play drew heavily on her own family history, and the writing was fueled by anger; she said "I wrote The Antiphon with clenched teeth, and I noted that my handwriting was as savage as a dagger."Herring, 258–263. When he read the play, her brother Thurn accused her of wanting "revenge for something long dead and to be forgotten". Barnes, in the margin of his letter, described her motive as "justice", and next to "dead" she inscribed, "not dead".
It is repeated three times; at the third repetition the bishop comes out to begin the Mass. All the bells (signa) are rung at the Kyrie eleison, the Gloria and the Alleluia. Between three and four o'clock in the morning of Easter Day the Blessed Sacrament was brought in procession to the high altar, while they sang the antiphon "Christus resurgens ex mortuis, iam non moritur", etc. Another statue of Christ Risen remained on the high altar during Easter week.
The hymn, which was added later, is the one already in use in the Benedictine Office—Rerum Deus tenax vigor. In the monastic rules prior to the 10th century certain variations are found. Thus in the Rule of Lerins, as in that of St. Caesarius, six psalms are recited at Nones, as at Terce and Sext, with antiphon, hymn and capitulum. St. Aurelian follows the same tradition in his Rule Ad virgines, but he imposes twelve psalms at each hour on the monks.
"The canons of the Palatine Chapel in Aachen would bring the silver-gilt reliquary bust of Charlemagne with them to the entrance for the Emperor-elect to venerate as he enter the Palatine Chapel. Then the choir sings the antiphon, "Behold, I send my Angel...etc." (Ecce mitto Angelum meum...), as the Emperor-elect and then the Archbishops proceed into the church. The Archbishop of Cologne then said the prayers, "God, who knows the human race,...etc." and "Almighty and everlasting God of heaven and earth,...etc.
The publication of Kypriaka Chronica started in January 1923 and was managed by a four-member committee: The Bishop of Kition Nikodemos Mylonas, prof Ioannis Antiphon Sykoutris, Loukis Z Pierides and Dr Neoclis Kyriazis. A preface quotation by former Governor of Cyprus, Claude Delaval Cobham stated that the aim was "to collect and publish every fragment of written and traditionary lore which can throw light on the history of the Island".P. Stavrides. Neoklis G. Kyriazis and the publishing team of the magazine Kypriaka Chronica of Larnaca.
139), and the Tract "Saepe Expugnaverunt" (Ps. 128) all express the theme of the persecution of the just man. The Offertory on the other hand "Confitebor" (from Ps. 137 [138]) concentrates on the hope of ultimate victory and vindication. The Communion antiphon "Hoc Corpus" is taken directly from the Gospels and has a eucharist theme fittingly adapted to the liturgical moment that it accompanies, but it also calls to mind the impending Passover meal, which will serve as the setting for the Last Supper.
An example of an anthem with multiple meter shifts a, fuguing, and repeated sections is "Claremont", or "Vital Spark of Heav'nly Flame". Another well known example is William Billing's "Easter Anthem", also known as "The Lord Is Risen Indeed!" after the opening lines. This anthem is still one of the more popular songs in the Sacred harp tune book. The anthem developed as a replacement for the Catholic "votive antiphon" commonly sung as an appendix to the main office to the Blessed Virgin Mary or other saints.
Musically they can be classified as strophic, with 75, 62, and 48 tercet stanzas each, respectively. The climax of the Enkōmia comes during the third stásis, with the antiphon "Ō glyký mou Éar", a lamentation of the Virgin for her dead Child ("O, my sweet spring, my sweetest child, where has your beauty gone?"). The author(s) and date of the Enkōmia are unknown. Their High Attic linguistic style suggests a dating around the 6th century, possibly before the time of St. Romanos the Melodist.
A funeral Mass is a form of Mass for the Dead or Requiem Mass, so called because of the first word of what in earlier forms of the Roman Rite was the only Introit (entrance antiphon) allowed: Réquiem ætérnam dona eis, Dómine; et lux perpétua lúceat eis. (Eternal rest give to them, O Lord; and let perpetual light shine upon them). As revised in 1970, the Roman Missal also provides alternative Introits. The bier holding the body is positioned centrally close to the sanctuary of the church.
More complex patterns were used for the psalm tones, which are employed in the chanting of the Psalms and related canticles in the daily Offices. There are eight psalm tones, one for each musical mode, designed so that the antiphon that is sung between psalm verses transitions smoothly into the psalm tone. Each psalm tone has a formulaic intonation, mediant (or mediation), and termination (or ending). The intonation defines the notes for the first two or three syllables, with subsequent words sung on the reciting tone.
It seems most likely that these were Aston's five part Missa Te Deum Laudamus and the clearly associated antiphon Te Deum Laudamus. Though the original manuscripts are not in Music School archives today, excellent early copies of ca. 1528–30 almost certainly made for Cardinal's College (now Christ Church) Oxford are in the Forrest-Heather Part BooksDigital Image Library of Medieval Music: Forrest-Heather Part Book – taken from Census-Catalogue of Manuscript Sources of Polyphonic Music 1400–1550, 5 vols. (Neuhausen-Stuttgart, 1979–1988.
In the Roman Rite, prior to the implementation of the Mass of Paul VI, this psalm was sung at the Stripping of the Altar on Maundy Thursday to signify the stripping of Christ's garments before crucifixion. The psalm was preceded and followed by the antiphon "Diviserunt sibi vestimenta mea: et super vestem meam miserunt sortem" (They divided my clothes among them and cast lots for my garment). The chanting of this psalm was suppressed in the 1970 revisions to the Mass. It is still included in many parts of the Anglican Communion.
The text of "O Come, O Come, Emmanuel," in all its various versions, is a metrical paraphrase of the O Antiphons, so the intricate theological allusions of the hymn are essentially the same as for the antiphons. One notable difference is that the antiphon "O Radix Jesse" ("root" of Jesse) is generally rendered in meter as "Veni, O Iesse virgula" ("shoot" of Jesse). Both refer to the writings of the prophet Isaiah ( and , respectively), but the hymn's "virgula" precludes the formation of the acrostic "ero cras" from the antiphons.
In these cases the source would not be obscured by the paraphrase; it was still easily recognizable through whatever ornamentation was applied.Harvard Dictionary of Music, p. 608. Dufay was probably one of the first to use paraphrase technique in the mass. His Missa Ave regina celorum (written between 1463 and 1474) is similar to a cantus firmus mass in that the tune is in the tenor, however it is paraphrased by elaboration (and he also includes bits of his own motet on that antiphon, foreshadowing the parody technique).
Sir Geoffrey Luttrell, mounted, being assisted by his wife and daughter-in- law. Folio 202v. The Luttrell Psalter (British Library, Add MS 42130) is an illuminated psalter commissioned by Sir Geoffrey Luttrell (1276–1345), lord of the manor of Irnham in Lincolnshire, written and illustrated on parchment circa 1320–1340 in England by anonymous scribes and artists. Along with the psalms (beginning on folio 13 r.), the Luttrell Psalter contains a calendar (1 r.), canticles (259 v.), the Mass (283 v.) and an antiphon for the dead (295 r.).
In the corners of the frame there are four quadrilobes with figures of angels bearing ribbons on which there are fragments of the text of the popular 12th-century Marian antiphon Regina coeli, laetare in which the faithful looked for protection against the plaque. Gemstones are indicated between the portraits; these were usually part of works meant for worshipping. The picture originally stood on the altar independently, since on its reverse it was decorated with silver foil. This work dates from the high period of the Marian cult around 1400.
It is reported that in the Fifth Century BCE, the Sophist, Antiphon, set up a booth in a public agora where he offered consolation to the bereaved. Furthermore, "[v]isits of consolation in antiquity extended to popular levels as well", including visits by philosophers intended to hearten villages that were facing invasion.Abraham Smith, Comfort One Another: Reconstructing the Rhetoric and Audience of 1 Thessalonians (1995), p. 48. In both ancient Greece and Rome, the Consolatio or consolatory oration was a type of ceremonial oration, typically used rhetorically to comfort mourners at funerals.
Among his others students was notably, La Monte Young. A year later, he was accepted to the composer's workshop at the Aspen Music Festival where he studied with Luciano Berio, Jacob Druckman, Earle Brown and Morton Subotnick. He began to take part in the LA music scene, first by joining the Independent Composers Association for whom he wrote “Antiphon” and “Hei-Kyo-Ku”. He played regularly with the Santa Barbara Symphony, Ventura Symphony Orchestra and The San Bernardino Symphony. He performed often at the Monday Evening Concerts with the “XTET” ensemble, which he co-founded.
The structural diagram at right shows the isorhythmic tenor voice of a late 14th- century motet, Sub arturo plebs – Fons citharizantium – In omnem terram by Johannes Alanus (c. late 14th century), featuring threefold isorhythmic diminution. First staff: preexisting Gregorian cantus firmus melody, from the first antiphon for the first nocturn of the commons for Apostles, In omnem terram exivit sonus eorum ('their voice has gone out into all the world'). The cantus firmus of the motet is a perfect fifth higher than the original chant; notes used for the tenor marked in red.
Gilbert Banester (also Banaster, Banastir, Banastre; 1445 – 1487) was an English composer and poet of Flemish influences. Possibly a native of London, he was Master of the Children of the Chapel Royal from 1478 to 1490. His works are found in a number of Tudor manuscript collections of church music, including the Pepys Manuscript; there is also an antiphon by his hand in the Eton Choirbook. Stylistically the work is similar to those of William Horwood in the same book, but is unusual in that it is written to a prose text.
A mixing of hexameters, of rhythmical stanzas, and of stanzas formed by unequal lines in rhymed prose is shown in the old Office of Rictrudis, composed by Hucbald about 907 (Anal. Hymn., XIII, no. 87). By the side of regular hexameters, as in the Invitatorium: :Rictrudis sponso sit laus et gloria, Christo, :Pro cuius merito iubilemus ei vigilando. we find rhythmical stanzas, like the first antiphon to Lauds: :Beata Dei famula :Rictrudis, adhuc posita :In terris, mente devota :Christo hærebat in æhra; or stanzas in very free rhythm, as e. g.
The Catholic Dictionary defines the responsorial psalm as: The New Catholic Encyclopedia points out that not only the psalm but also the gradual and alleluia were also originally 'responsorial' chants. "The title 'responsorial psalm' is not given because there is a response or antiphon for the people to sing. The 'response' referred to is the reflection of the assembly on the proclamation of the reading which just took place." The use of the psalm "helps the assembly to meditate on and respond to the word that has just been proclaimed".
GIRM, paragraph 86 If there is no singing, a short antiphon may be recited either by the congregation or by some of them or by a lector. Otherwise, the priest himself recites it just before distributing Communion.GIRM, paragraph 87 "The sacred vessels are purified by the priest, the deacon, or an instituted acolyte after Communion or after Mass, insofar as possible at the credence table."GIRM, paragraph 279 Then the priest concludes the Liturgy of the Eucharist with the Prayer after Communion, for which the faithful are invited to stand.
The poem of Christ I is broken down into twelve smaller subsections of individual verse. Each subsection is introduced with a selection from a Latin antiphon, followed by lines of poetry in Old English. Sections I, II, III, IV, V, VI, VIII, and IX derive from the “Greater Antiphons”, while sections VII, X, XI, and XII do not. It is unknown if the author intended to use all of the selections from the “Great Antiphons”, but some scholars speculate that the antiphons not used, “O Sapientia”, “O Adonai”, and “O radix Jesse”, have been lost.
In this work, texts from Ecclesiasticus are woven together with the Antiphon for Peace, "Da pacem Domine", which is used as a cantus firmus. Some scholars infer that Verdelot was alive until about 1540, based on some ambiguous references to contemporary events in his works published during the 1530s. Several books of madrigals published in Venice in the late 1530s include his work; one of these books is devoted entirely to him. Possibly he moved to Venice after the siege to escape the notoriously vengeful, and victorious, Medici.
Pete quid vis, a piece of unknown origins and function, consists of a large variety of different treatments of a single theme, either treated imitatively itself, or accompanied by independently conceived imitative passages.Keyl 1989, 337–338. First bars of Schlick's 10-voice setting of Ascendo ad Patrem meum Schlick's letter to Bernardo Clesio contains his only known late works: a set of eight settings of the sequence verse Gaude Dei genitrix (from the Christmas sequence Natus ante saecula) and a set of two settings of the Ascension antiphon Ascendo ad Patrem meum.Keyl 1989, 378–379.
However, a mausoleum erected above ground or even a brick chamber beneath the surface is regarded as needing blessing when used for the first time. This blessing is short and consists only of a single prayer after which the body is again sprinkled with holy water and incensed. Apart from this, the service at the graveside is very brief. In the Tridentine tradition, the priest intones the antiphon "I am the Resurrection and the Life", after which the coffin is lowered into the grave and the Canticle Benedictus is recited or sung.
The coronation of the Virgin Mary by Rubens, The Alma Redemptoris Mater (Loving Mother of our Savior) is recited in the Catholic Church at Compline only from the first Sunday in Advent until the Feast of the Purification (February 2). Continuing theological discussions exist as to the origin and exact timing of this Marian antiphon. It has two equal parts: The Virgin Mary is the loving Mother of the Savior, the ever-virgin with a very high position in heaven. May she listen to her people with mercy in their need for her help.
Santiago Apostol Church in Plaridel, Bulacan, Philippines. In the Philippines, a statue of Christ riding a donkey (the Humenta), or the presiding priest on horseback, is brought to the local church in a morning procession. Congregants line the route, waving palaspás (ornately woven palm branches) and spreading tapis (heirloom "aprons" made for this ritual) in imitation of the excited Jerusalemites. At the church parvise, a house, or the town plaza, children dressed as angels scatter flowers as they sing the day's antiphon Hosanna Filio David in the vernacular and to traditional tunes.
In 5th century BC Greece, Antiphon the Sophist, in a fragment preserved from his chief work On Truth, held that: "Time is not a reality (hypostasis), but a concept (noêma) or a measure (metron)." Parmenides went further, maintaining that time, motion, and change were illusions, leading to the paradoxes of his follower Zeno. Time as an illusion is also a common theme in Buddhist thought. J. M. E. McTaggart's 1908 The Unreality of Time argues that, since every event has the characteristic of being both present and not present (i.e.
The collection contains four 4-voice motets for Advent and six more 5 and 6-voice pieces for Lent, an antiphon, Salve Regina for 5 voices, a psalm, De profundis, for 7 voices, and Lamentations for six voices for Holy Week. Except for the lamentations, which are preserved in the Colegiata de Albarracín, the rest has been lost. His most important work is the Parnaso español de Madrigales y Villancicos a cuatro, cinco y seis, published in 1614. It consists of nine madrigals in Castilian for 4, 5, and 6 voices and twelve villancicos for 5 and 6 voices.
Subsequently, in memory of his dead home world Taa, and the first planet (Archeopia) to fall prey to his hunger, Galactus constructs a new "home world": the Möbius strip-shaped space station called "Taa II". Galactus becomes involved in a civil war among the "Proemial Gods", who had come into being during the universe's infancy. When a faction of the gods led by Diableri of Chaos attempts to remake the universe in their own image, Galactus kills Diableri and imprisons three others (Antiphon, Tenebrous, and Aegis) in the prison called the Kyln.Annihilation: Heralds of Galactus #2 (May 2007).
The Greeks shared their beliefs with the Egyptians on how to interpret good and bad dreams, and the idea of incubating dreams. Morpheus, the Greek god of dreams, also sent warnings and prophecies to those who slept at shrines and temples. The earliest Greek beliefs about dreams were that their gods physically visited the dreamers, where they entered through a keyhole, exiting the same way after the divine message was given. Antiphon wrote the first known Greek book on dreams in the 5th century BC. In that century, other cultures influenced Greeks to develop the belief that souls left the sleeping body.
In medieval music, the tonality of the common practice period had not yet developed, and many examples may be found with harmonic structures that are built on fourths and fifths. The Musica enchiriadis of the mid-10th century, a guidebook for musical practice of the time, described singing in parallel fourths, fifths, and octaves. This development continued, and the music of the Notre Dame school may be considered the apex of a coherent harmony in this style. Fourths in Guillaume Du Fay's Antiphon Ave Maris Stella For instance, in one "Alleluia" (11pxListen) by Pérotin, the fourth is favoured.
The text reflects or comments on and reinforces the major Biblical readings of the day. The major purpose of these musical interludes is to provide musical accompaniment to the non-verbal liturgical aspects of the worship. The first minor proper, the introit, occurs right after the entrance hymn and accompanies the initial censing of the altar. Since the Middle Ages, this Gregorian chant usually is made up of a single verse in a psalm called the refrain. The chant starts with the refrain and then the “Gloria Patri….” is chanted followed by a repetition of the refrain (or antiphon).
References to kirtan as a musical recitation are also found in the Bhagavata Purana, an important Vaishnava text. Kirtan is often practiced as a kind of theatrical folk song with call-and-response chanting or antiphon. The ancient sage Narada revered as a musical genius, is called a kirtankar in the Padma Purana. The famous story of Prahlada in the Avatara Katha mentions kirtan as one of nine forms of worship, called the nava vidha bhakti along with shravanam (listening), smaranam (remembrance), pada sevanam (service), archanam (offering), vandanam (obeisance), dasyam (servitude), sakhyam (friendship) and atmanivedanam (surrender).
The four motets set Latin texts for different liturgical occasions: # Ubi caritas et amor # Tota pulchra es # Tu es Petrus # Tantum ergo The text for the first motet is Ubi caritas et amor ("Where charity and love are"), an antiphon for Maundy Thursday. Tota pulchra es ("Thou art all fair") is a text from Vespers for the Marian Feast of the Immaculate Conception. The text for the third motet, Tu es Petrus ("Thou art Peter"), addressing Simon as Peter the Apostle, is taken from . The last motet is based on Tantum ergo, the conclusion of the Pange lingua by St. Thomas Aquinas.
The same liturgy also preserved vigils of long psalmody. This nocturnal office adapted itself at a later period to a more modern form, approaching more and more closely to the Roman liturgy. Here too were found the three nocturns, with Antiphon, psalms, lessons, and responses, the ordinary elements of the Roman matins, and with a few special features quite Ambrosian. As revised after the Second Vatican Council, the Ambrosian liturgy of the hours uses for what once called matins either the designation "the part of matins that precedes lLauds in the strict sense" or simply "office of readings".
Like many of his fellow red-figure painters, Onesimos emphasized realistically rendered, active figures, and depicted tableaux drawn from daily life as well as scenes from mythology. A number of the pieces painted by Onesimos bear the signature of Euphronios as potter. In light of this evidence of the two artists' close collaboration, as well as similarities in their painting styles, many researchers believe that Onesimos learned his trade as Euphronios's pupil. Similarly, the works of the later Antiphon Painter bear a close stylistic resemblance to those of Onesimos, suggesting that Onesimos may have served as a teacher in his own right.
Porter has argued that the speech was never actually delivered in court but was "a particularly sophisticated form of practical rhetorical exercise— a fictional speech based upon a fictional case, designed not only to instruct and delight but, quite probably, to advertise the logographer’s skill." He bases this on five grounds. Firstly, the speech is roughly half the length of comparable speeches concerning murder charges like Antiphon 5 and 6 and Lysias 12 and 13. Secondly, Euphiletos and Eratosthenes are "curiously generic" - the speech offers almost none of the details about Eratosthenes moral failings or Euphiletos' virtues that such speeches usually include.
One antiphon that has been used in funeral processions for a very long time is called In Paradisum: May the angels lead you into paradise may the martyrs come to welcome you and take you to the holy city, the new and eternal Jerusalem. In the modern day, the funeral procession is no longer common or practiced in the same way. Now a hearse is used to transport the body to the gravesite. The procession consists of carrying the casket from the church to the hearse and then from the hearse to the gravesite once at the cemetery.
If a litigant did not feel confident to make his own speech, he would seek the service of a logographer (also called a , logopoios, from , poieo, 'to make'), to whom he would describe his case. The logographer would then write a speech which the litigant would learn by heart and recite in front of the court. Antiphon (480 BC-410 BC) was among the first to practice this profession; the orator Demosthenes (384–322) was also a logographer. Practice in defending the targets of politicized prosecutions built the foundations of a later career in politics for many logographers.
Add MS 29987 contains 119 pieces of music; however, three of them are copied twice, so there are 116 different pieces. Of these, 45 are ballate, 35 or 36 (if a fragment is counted) are madrigals, 15 are instrumental pieces under the general title of "istampitta" or estampie, 8 are cacce and 3 are virelais. There are also a motet and a "Chançonete tedesce" or canzonetta tedesca, and 7 liturgical works, kyrie, gloria, credo, antiphon, two sequences and a hymn; the last piece is untexted, but may be a madrigal. Forty-three of the pieces, including all the instrumental works, are unica.
More usually, the term refers to an antiphonal manner of reciting the psalm, with a choir or cantor and to which the congregation interjects a periodic 'response'. Gelineau psalmody in the Roman Catholic tradition from the 1950s (so pre-dating the Second Vatican Council) describes it thus: "The psalm- verses are then sung by soloist(s) or choir, and after each verse everyone repeats the antiphon (Responsorial or Antiphonal Psalmody)". The responsorial psalm is the assembly's acclamation of the proclamation of God's Word in our midst: proclamation followed by acclamation. The refrain can be used in several ways.
The paraphrase technique differs from the cantus-firmus technique in that the source material, though it still consists of a monophonic original, is embellished, often with ornaments. As in the cantus-firmus technique, the source tune may appear in many voices of the mass. Several of Josquin's masses feature the paraphrase technique, and they include some of his most famous work including the great Missa Gaudeamus. The relatively early Missa Ave maris stella, which probably dates from his years in the Sistine Chapel choir, paraphrases the Marian antiphon of the same name; it is also one of his shortest masses.
Adaptation by W.J. Birkbeck in The English Hymnal: Antiphon: Hear us, O Lord, have mercy upon us: for we have sinned against thee. # To thee, Redeemer, on thy throne of glory: lift we our weeping eyes in holy pleadings: listen, O Jesu, to our supplications. Hear us, O Lord ... # O thou chief cornerstone, right hand of the Father: way of salvation, gate of life celestial: cleanse thou our sinful souls from all defilement. Hear us, O Lord ... # God, we implore thee, in thy glory seated: bow down and hearken to thy weeping children: pity and pardon all our grievous trespasses.
Antiphon the Sophist believed that inscribing regular polygons within a circle and doubling the number of sides will eventually fill up the area of the circle, and since a polygon can be squared, it means the circle can be squared. Even then there were skeptics—Eudemus argued that magnitudes cannot be divided up without limit, so the area of the circle will never be used up. The problem was even mentioned in Aristophanes's play The Birds. It is believed that Oenopides was the first Greek who required a plane solution (that is, using only a compass and straightedge).
Handel as Orpheus: voice and desire in the chamber cantatas by Ellen T. Harris, books.google.com De' Medici, who had a keen interest in opera, was trying to make Florence Italy's musical capital by attracting the leading talents of his day. In 1707 Handel arrived in Rome where for two years he was a guest of Ruspoli, who made him his Kapellmeister. During this period Handel also composed the antiphon Salve Regina (HWV 241) which was performed in the Ruspoli Castle in Vignanello and the secular cantata Diana Cacciatrice (HWV 79) which was performed at the Palazzo Ruspoli in Cerveteri.
Antiphonary with Gregorian chants Antiphonal chants such as the Introit, and Communion originally referred to chants in which two choirs sang in alternation, one choir singing verses of a psalm, the other singing a refrain called an antiphon. Over time, the verses were reduced in number, usually to just one psalm verse and the doxology, or even omitted entirely. Antiphonal chants reflect their ancient origins as elaborate recitatives through the reciting tones in their melodies. Ordinary chants, such as the Kyrie and Gloria, are not considered antiphonal chants, although they are often performed in antiphonal style.
Sometimes, a statue of Christ riding a donkey (known as the Humenta) is used instead. Whether the priest himself or a statue is used to represent Christ, a custom is for women to cover the processional route with tapis (literally, “wraparound”), which are large, heirloom cloth skirts or aprons made exclusively for this ritual. This is to recall how excited Jerusalemites spread their cloaks before Christ as he entered the city. Once the procession reaches the church or some other designated spot, children dressed as angels strew flowers and sing the day's processional antiphon, Hosanna Filio David (“Hosanna to the Son of David”).
The sophists represented the last group among the pre-Socratic philosophers. As teachers of rhetoric who taught students to win the debate on any side of an issue, they were not representative of specific views but would generally argue in favor of subjectivism and relativism. In this spirit, Protagoras claimed that "man is the measure of all things", suggesting there is no objective truth. This was also applied to issues of ethics, with Prodicus arguing that laws could not be taken seriously because they changed all the time, while Antiphon made the claim that conventional morality should only be followed when in society.
The verses inserted before the tonary of Reichenau are obviously a later addition: This version has very elaborated neumae after each verse. But since the 10th century, also biblical verses were used. They were composed together in one antiphon with each verse changing the tone and referring to the number of the tonus according to the system of Hucbald (Tonus primus, secundus, terius etc.), similar to Guido of Arezzo's use of the solmization hymn "Ut queant laxis". They were several different antiphons as they can be found in the Hartker-Antiphonary or the treatise collection of Montecassino (Ms.
Two sets of tones are used for the "Magnificat", the canticle of Vespers, and the "Benedictus", the canticle of Lauds: simple tones, which are very close to the standard psalm tones, and solemn tones, which are more ornate and used on the more important feasts. The psalm verse and "Gloria Patri" (doxology) which are sung as part of the Introit (and optionally the Communion antiphon) of the Mass and of the greater responsories of the Office of Readings (Matins) and the reformed offices of Lauds and Vespers are also sung to similar sets of reciting tones that depend on the musical mode.
Earliest known manuscript of Sub tuum praesidium in Greek, dated between 3rd to 4th centuries. The earliest text of this hymn was found in a Coptic Orthodox Christmas liturgy. The papyrus records the hymn in Greek, dated to the 3rd century by papyrologist E. Lobel and by scholar C.H. Roberts to the 4th century.See the Leuven Database of Ancient Books, P. Ryl. 470. About the date of the papyrus Rylands III 470, see also Hans Förster, «Die älteste marianische Antiphon - eine Fehldatierung? Überlegungen zum "ältesten Beleg" des Sub tuum praesidium», in Journal of Coptic Studies 7 (2005), pp. 99-109.
As opposed to an animal, a slave can comprehend reason but "…has not got the deliberative part at all."Politics, 1:13, 17. Alcidamas, at the same time as Aristotle, took the opposite view, saying: "nature has made nobody a slave".John D. Bury and Russell Meiggs (4th ed. 1975): A History of Greece to the Death of Alexander the Great. New York: St. Martin's Press, page 375 In parallel, the concept that all men, whether Greek or barbarian, belonged to the same race was being developed by the SophistsFor instance Hippias of Elis apud Platon, Protagoras, 337c; Antiphon, Pap. Oxyr., 9:1364.
In Paradisum is the debut and only album by multinational power metal band Symfonia, released on March 25, 2011 in Japan and April 1, 2011 in Europe. In paradisum (English: "Into paradise") is an antiphon from the traditional Latin liturgy of the Roman Catholic Requiem Mass. The album was written by vocalist Andre Matos and guitarist Timo Tolkki, with the former focusing on lyrics and the latter focusing on the music, and both having some input on each other's parts. The drums were recorded in two days by Uli Kusch in a separate studio, with the guitars, bass and keyboards being recorded in Helsinki.
His compositions of 1810 are the Matinas de S. João, – Matins of St. John, the Mass and the Te Deum in thanksgiving for the successful trip of the royal family, the antiphon Ecce Sacerdos (CPM 5), and the Magnificat for the Vespers of St. Joseph (CPM 17). By the end of the year he had finished the motet Praecursor Domini (CPM 55), for the farm of Santa Cruz, and the Missa de N. Srª da Conceição (CPM 106) – Mass of the Conception of Our Lady, a turning point in his musical career. This work reflects clearly what he had learned with the royal music files.
In addition the boys alone sang daily "in the finest manner they know" the Little Office of the Blessed Virgin Mary and also the evening votive antiphon. When Henry VI was deposed during the Wars of the Roses in 1461, a period of brief instability resulted in reduced numbers for a while due to lack of funds. However in 1479 with the appointment of Provost Walter Field the choir came to fulfil the full potential of Henry VI's vision. Field oversaw the acquisition of innovative polyphonic music in the Eton Choirbook style, and appointed a new precentor with expertise in the complicated Salisbury Liturgy.
Musical paraphrase, in general, had been used for a long time before it was first applied to the music of the Ordinary of the Mass. It was common in the early and middle 15th century for a work such as a motet to use an embellished plainchant melody as its source, with the melody usually in the topmost voice. John Dunstable's Gloria is an example of this procedure, as are the two settings by Guillaume Dufay of the Marian Antiphon Alma redemptoris mater. Many compositions in fauxbourdon, a characteristic technique of the Burgundian School, use a paraphrased version of a plainchant tune in the highest voice.
For Christians, this crown is also the symbol of Christ the King, the holly recalling the crown of thorns resting on the head of Christ. The keeping of an Advent wreath is a common practice in homes or churches. The Advent wreath is traditionally placed on a table with four candles or, without candles, on the front door of the house as a welcome sign. The Advent wreath is adorned with candles, usually three violet or purple and one pink, the pink candle being lit on the Third Sunday of Advent, called Gaudete Sunday after the opening word, Gaudete, meaning "Rejoice", of the entrance antiphon at Mass.
Bryson, along with his contemporary, Antiphon, was the first to inscribe a polygon inside a circle, find the polygon's area, double the number of sides of the polygon, and repeat the process, resulting in a lower bound approximation of the area of a circle. "Sooner or later (they figured), ...[there would be] so many sides that the polygon ...[would] be a circle."Blatner, page 16 Bryson later followed the same procedure for polygons circumscribing a circle, resulting in an upper bound approximation of the area of a circle. With these calculations, Bryson was able to approximate π and further place lower and upper bounds on π's true value.
The piece was written at the same time as Britten's Hymn to St. Cecilia and is stylistically very similar. Originally conceived as a series of unrelated songs, it was later unified into one piece with the framing processional and recessional chant in unison based on the Gregorian antiphon "Hodie Christus natus est", heard at the beginning and the end. A harp solo based on the chant, along with a few other motifs from "Wolcum Yole", also serves to unify the composition. In addition, the movements "This Little Babe" and "Deo Gracias" have the choir reflecting harp-like effects by employing a canon at the first in stretto.
Part of the traditional content of British coronations, the texts for all four anthems were picked by Handel—a personal selection from the most accessible account of an earlier coronation, that of James II in 1685. The text is a translation of the traditional antiphon, Unxerunt Salomonem,Range, Matthias (2012), Music and Ceremonial at British Coronations: From James I to Elizabeth II, Cambridge University Press, (p. 10) itself derived from the biblical account of the anointing of Solomon by the titular priest Zadok. These words have been used in every English, and later British, coronation since that of King Edgar at Bath Abbey in 973.
The current hymn goes back to around 1390, when a Ein Mainzer Prozessionale (A Mainz processional , meaning a book of processional hymns) has a chant with the incipit "Disse oisterliche dage" (These Easter days). The five stanzas appear as verses of the Marian antiphon "Regina celi letare". A Breslau manuscript from 1478 lists three stanzas which are related to three stanzas of the Mainz source (1,2,5) but in reverse order, now beginning "Frew dich, alle Christenheit" (Be joyful, all Christendom). The hymn, now "Freu dich, du werte Christenheit", became part of the of 1947, in an attempt to unify Catholic hymn singing in German.
When asked, in the presence of Dionysius, the tyrant of Syracuse, which type of bronze was the best, Antiphon the Sophist replied, Lycurgus, in his oration against Leocrates, asserts that, Other sculptors made statues of the heroes, such as Praxiteles, who made two, also of bronze. The statue group has been seen, in modern times, as an invitation to identify erotically and politically with the figures, and to become oneself a tyrannicide. According to Andrew Stewart, the statue The configuration of the group is duplicated on a painted vase, a Panathenaic amphora from 400,British Museum: London B 605. Beazley, Attic Black-figure Vases, 411.4.
An anthem is a musical composition of celebration, usually used as a symbol for a distinct group, particularly the national anthems of countries. Originally, and in music theory and religious contexts, it also refers more particularly to short sacred choral work (still frequently seen in Sacred Harp and other types of shape note singing) and still more particularly to a specific form of liturgical music. In this sense, its use began ca. 1550 in English-speaking churches; it uses English language words, in contrast to the originally Roman Catholic 'motet' which sets a Latin text.Anthem, (Greek antiphōna: “against voice”; Old English antefn: “antiphon”) www.britannica.
"Whoever does not take up their cross and follow me is not worthy of me." The Essen Liber Ordinarius from the fourteenth century, which draws on earlier texts, records several processions. A processional cross was probably also a symbol of the Sovereign Abbey of Essen, comparable to the Imperial cross of the Imperial regalia. A special role is specified in the Liber Ordinarius for the procession of the Easter vigil, which passed from Peter's Altar in the westwerk of the Minster, through the cloister, to the cemetery of the order where the graves were sprinkled with holy water, while the nuns made reference to salvation through the cross in an antiphon.
Lycophron was probably among the students of Gorgias, and is mentioned as a sophist by Aristotle.Quarles (2004), pp. 135–136 He rejected the supposed value of an aristocratic birth, claiming that meaning that there is no factual difference between those well- born and those low-born; only words and opinion assign value to these different circumstances of birth.Diels, Dent Sprague (2001), pp. 68–69 This statement may indicate that Lycophron shared the beliefs of Antiphon, that (regardless of their ancestry) both Greeks and barbarians are born with the same capacities: An egalitarian belief that was a minority view in the 5th century BC.quoted in Mario Untersteiner, The Sophists, tr.
The Press publishes or distributes: The Catholic Historical Review, edited by Nelson Minnich, is the official publication of the American Catholic Historical Association; U.S. Catholic Historian The Jurist: Studies in Church Law and Ministry Quaestiones Disputatae Nova et Vetera The Thomist: A Speculative Quarterly Review Bulletin of Medieval Canon Law Antiphon: A Journal for Liturgical Renewal (which is the official publication of the Society for Catholic Liturgy), Newman Studies Saint Anselm Journal Old Testament Abstracts, a publication of the Catholic Biblical Association Catholic Biblical Quarterly, a publication of the Catholic Biblical Association All of these journals form part of the electronic database Project Muse.
The common term for a short hymn of one stanza, or one of a series of stanzas, is troparion. As a refrain interpolated between psalm verses it had the same function as the antiphon in Western plainchant. The simplest troparion was probably "allelouia", and similar to troparia like the trisagion or the cherubikon or the koinonika a lot of troparia became a chant genre of their own. Psalm 85 κλῖνον, κύριε, τὸ οὖς σου καὶ ἐπάκουσόν μου "on Monday evening" (τῇ β᾽ ἑσπερ) in with a preceding troparion καὶ ἐπάκουσόν μου· δόξα σοι, ὁ Θεός in a liturgical manuscript around 1400 (GR-An Ms. 2061, fol.
One of the masses provides the only example of the use of the continental fashion of the cantus firmus to have survived in Britain. The antiphon "Oh Bone Jesu" was scored for 19 voices, perhaps to commemorate the 19th year of the reign of James V. His complex polyphonic music could only have been performed by a large and highly trained choir such as the one employed in the Chapel Royal. James V was also a patron to figures including David Peebles (c. 1510–79?), whose best known work "Si quis diligit me" (text from John 14:23), is a motet for four voices.
After the Communion, when the celebrant has arranged the chalice, he goes to the epistle side and reads the Communion antiphon. He then comes to the middle and says or sings "Dominus Vobiscum" ("The Lord be with you"; in the early Middle Ages he did not turn to the people this time), goes back to the Epistle side, and says or sings one or more Postcommunions, exactly as the collects. At ferial Masses in Lent the Oratio super populum follows the last Postcommunion. The celebrant sings Oremus; the deacon turning towards the people chants: Humiliate capita vestra Deo, on do with the cadence la, do, si, si, do for the last five syllables.
Given the English origins of this alternative, it has traditionally been the version used in the Church of England (including Canterbury Cathedral) until recent times, and is the version printed in traditional Church of England liturgical sources including the English Hymnal and New English Hymnal. From 2000, however, the Church of England appears to have taken an official step away from English medieval practice towards the more widely spread custom, as Common Worship makes provision for the sevenfold version of the antiphons, and not the eightfold version.Common Worship: DailyPrayer, Church House Publishing, 2005, , page 211. This additional antiphon also appears in the Graduale of the Premonstratensian Order and it is still used by those monasteries.
In November 2012, vocalist, guitarist and primary songwriter Tim Smith departed from Midlake, in the midst of recording a fourth studio album. Following his departure, guitarist and backing vocalist Eric Pulido occupied his vacated role, noting, "We understood this band couldn’t offer Tim what he wanted... that he needed to do his own thing." Upon his departure, Smith offered to split the recorded material with both the band and himself, however, Pulido noted, "Of what we’d recorded, Tim had said, 'You can have this,' but what we couldn’t take with us turned out to be seventy-five per cent of the recording." The remaining members opted to start anew, recording Antiphon in six months.
A. Crescimbeni – Portrait of Padre Martini Bologna, International museum and library of music Antiphon “Quaerite primum regnum Dei” Examination exercise of Padre Martini's pupil 14-year-old Mozart, 9 October 1770, Bologna The Accademia Filarmonica di Bologna ("philharmonic academy of Bologna"; sometimes known in English as the Bologna Academy of Music) is a music education institution in Bologna, Italy. The Accademia de' Filarmonici was founded as an association of musicians in Bologna in 1666 by Vincenzo Maria Carrati. Saint Anthony of Padua was chosen as the patron saint, and an organ with the motto Unitate melos as the emblem. Through the influence of Pietro Ottoboni, the statute of the academy was approved by Clement XI in 1716.
Many American Christians still celebrate the traditional liturgical seasons of Advent and Christmas, especially Amish, Anglo-Catholics, Episcopalians, Lutherans, Mennonites, Methodists, Moravians, Nazarenes, Orthodox Christians, Presbyterians, and Roman Catholics. In Anglicanism, the designation of the "Twelve Days of Christmas" is used liturgically in the Episcopal Church in the US, having its own invitatory antiphon in the Book of Common Prayer for Matins. Christians who celebrate the Twelve Days may give gifts on each of them, with each of the Twelve Days representing a wish for a corresponding month of the new year. They may feast on traditional foods and otherwise celebrate the entire time through the morning of the Solemnity of Epiphany.
The writer Antiphon, who may have lived during the Hellenistic Era, claimed in his lost work On Men of Outstanding Merit, used as a source by Porphyry, that Pythagoras learned to speak Egyptian from the Pharaoh Amasis II himself, that he studied with the Egyptian priests at Diospolis (Thebes), and that he was the only foreigner ever to be granted the privilege of taking part in their worship.Porphyry, Vit. Pyth. 6. The Middle Platonist biographer Plutarch () writes in his treatise On Isis and Osiris that, during his visit to Egypt, Pythagoras received instruction from the Egyptian priest Oenuphis of Heliopolis (meanwhile Solon received lectures from a Sonchis of Sais).Plutarch, On Isis And Osiris, ch. 10.
Three masses, a four- voice credo from a mass (the rest of which has been lost), two settings of the Lamentations of Jeremiah, one five-voice Marian antiphon (Alma Redemptoris mater), and the music of a six-voice motet (with the text absent) are all that survives of his work. Stylistically it is similar enough to his brother Antoine's music that several of Robert's pieces have been misattributed to Antoine. Robert evidently emulated the style of Josquin, copying not only the smooth polyphony of the more famous composer but basing two of his masses directly on works by him. Some of Févin's music can be found in the Medici Codex of 1518.
It is frequently sung as a plainsong at Mass and in the Divine Office during Advent where it gives expression to the longings of Patriarchs and Prophets, and symbolically of the Church, for the coming of the Messiah. Throughout Advent it occurs daily as the versicle and response after the hymn at Vespers. The Rorate Mass got its proper name from the first word of the Introit (Entrance antiphon): "Rorate caeli désuper et nubes pluant justum" ("Drop down dew, ye heavens, from above, and let the clouds rain the just"). Before the liturgical changes that followed the Second Vatican Council, this Mass was celebrated very early in the morning on all Saturdays.
The deacons proclaim the expulsion of the unbaptized, and set the "hearers" to watch the doors. The priest places the bread and wine on the altar, with words (in the Church of the East, but not in the Chaldean Catholic Rite) which seem as if they were already consecrated. He sets aside a "memorial of the Virgin Mary, Mother of Christ" (Chaldean; usual Malabar Rite, "Mother of God"; but according to Raulin's Latin of the Malabar Rite, "Mother of God Himself and of the Lord Jesus Christ"), and of the patron of the Church (in the Malabar Rite, "of St.Thomas"). Then follows the proper "Antiphon of the Mysteries" (Unitha d' razi), answering to the offertory.
Many of Du Fay's compositions were simple settings of chant, obviously designed for liturgical use, probably as substitutes for the unadorned chant, and can be seen as chant harmonizations. Often the harmonization used a technique of parallel writing known as fauxbourdon, as in the following example, a setting of the Marian antiphon Ave maris stella. Du Fay may have been the first composer to use the term "fauxbourdon" for this simpler compositional style, prominent in 15th-century liturgical music in general and that of the Burgundian school in particular. Most of Du Fay's secular (non-religious) songs follow the formes fixes (rondeau, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries.
Descensus Christi presents the Christian them of the Harrowing of Hell: the time between Christ’s crucifixion and his resurrection on Easter Day. Christ travels through hell and opens the gates to heaven. In this convent-wide ceremony, the abbess along with a few priests would go into a chapel and shut the doors, signifying the souls of the patriarchs in limbo while awaiting Christ’s descent into hell. This was then followed by another priest and two deacons arriving at the door with the resurrection cross and lighted candles, representing Christ’s arrival at the gates of hell. The doorway is finally opened when the priest sings the antiphon, Tollite portas, representing Christ’s command for hell to open its gates.
Diodorus, XII, 39 According to Plutarch, he avoided using gimmicks in his speeches, unlike the passionate Demosthenes, and always spoke in a calm and tranquil manner.Plutarch, Pericles, V The biographer points out, however, that the poet Ion reported that Pericles' speaking style was "a presumptuous and somewhat arrogant manner of address, and that into his haughtiness there entered a good deal of disdain and contempt for others". Gorgias, in Plato's homonymous dialogue, uses Pericles as an example of powerful oratory.Plato, Gorgias, 455d In Menexenus, however, Socrates (through Plato) casts aspersions on Pericles' rhetorical fame, claiming ironically that, since Pericles was educated by Aspasia, a trainer of many orators, he would be superior in rhetoric to someone educated by Antiphon.
This makes Prime like the other Little Hours of the day, which it resembles these in accompanying the psalms with a hymn, an antiphon, capitulum, versicle, and prayer. The Roman Breviary as decreed by Pope Pius V in 1568 in line with the decrees of the Council of Trent, assigns to Prime on Sunday of Pss. 53 (54), 107 (108) and the first four groups of eight verses of Ps. 118 (119); on each of the weekdays it assigns the same psalms as on Sunday except that it replaces Psalm 107 (108) with Psalm 23 (24). Each day therefore had in Prime two full psalms and the same two portions of Psalm 118 (119).
This latter work survives to this day, while the former has been lost. At the end of the fifth century or the beginning of the fourth, the plays of Dionysius I were probably performed here, along with those of the playwrights hosted at his court, such as Antiphon. It has been theorised by Polacco that in this period the theatre did not yet have the semicircular form that became canonical in the course of the third century, but might instead have been made up of straight banks of seating arranged in a trapezoid. Diodorus Siculus refers to the arrival of Dionysius at Syracuse in 406 BC as the people were exiting the theatre.
A dirge is a somber song or lament expressing mourning or grief, such as would be appropriate for performance at a funeral. The English word dirge is derived from the Latin Dirige, Domine, Deus meus, in conspectu tuo viam meam ("Direct my way in your sight, O Lord my God"), the first words of the first antiphon in the Matins of the Office for the Dead, created on basis of (5:9 in Vulgate). The original meaning of dirge in English referred to this office. A Christian funeral lament from the Cleveland area of north-east Yorkshire is known as the Lyke Wake Dirge. It’s associated with the Lyke Wake Walk, a 40-mile challenge walk across the moorlands of north-east Yorkshire,Cowley, Bill (1959).
He received an honorary degree from Dublin University in 1892, and his readiness to place the results of his labours at the disposal of others, together with the courtesy and kindliness of his disposition, won the respect of all who knew him. Blass is chiefly known for his works in connection with the study of Greek oratory: Die Attische Beredsamkeit von Alexander bis auf Augustus (1865); Die attische Beredsamkeit (1868–1880; 2nd ed., 1887–1898), his greatest work; editions for the Teubner series of Andocides (1880), Antiphon (1881), Hypereides (1881, 1894), Demosthenes (Dindorf's ed., 1885), Isocrates (1886), Dinarchus (1888), Demosthenes (Rehdantz ed., 1893), Aeschines (1896), Lycurgus, Leocrates (1902); Die Rhythmen der attischen Kunstprosa (1901); Die Rhythmen der asianischen und römischen Kunstprosa (1905).
Whilst the cantus firmus in Sheppard's responds is normally in the tenor, in his hymns it is usually placed in the treble. Sheppard also composed a number of additional items for particularly solemn feasts of the Church calendar, including settings of the Kyrie and Gradual Haec dies for Second Vespers (not, in this case, the mass) on Easter Day. Of his 'alternatim' settings of the processional psalms for the procession to the font after Second Vespers on Easter Day, he completed Laudate pueri Dominum, but only part of In exitu Israel, leaving its completion to William Mundy and the young William Byrd. Arguably supreme amongst all his compositions is his cantus firmus setting of the Lenten Nunc dimittis antiphon Media vita in morte sumus.
The rubric of the Book of Common Prayer of 1662 then reads 'In Quires and Places where they sing here followeth the Anthem.' At choral services of Mattins and Evensong, the choir at this point sings a different piece of religious music, which is freely chosen by the minister and choir. This usage is based on the practice of singing a Marian antiphon after Compline, and was encouraged after the Reformation by the directions of Queen Elizabeth I's 1559 directions that 'for the comforting of such that delight in music, it may be permitted, that in the beginning, or in the end of common prayers, either at morning or evening, there may be sung an hymn, or suchlike song to the praise of Almighty God'.
In spite of his almost exclusive dedication to the medieval period, he has also made explorations in the field of the history of Renaissance painting, with studies dedicated to Navarrete el Mudo and Alonso de Herrera and within the field of sculpture, Pedro Berruguete. He has published works of a general nature, such as Art and Architecture in Spain, 500-1250 (1987) and The Middle Ages (1988) and coordinated others on written artistic sources, such as Medieval art, I and II (1982). He has also been interested in the miniature of both the tenth century (Blessed Gerona, Antiphon of Leon) and Romanesque (Burgos Bible). He is the director and co- author of an Art History manual for high school students (1978).
Academy of Athens, with Apollo and Athena on their columns, and Socrates and Plato seated in front The period from the end of the Persian Wars to the Macedonian conquest marked the zenith of Athens as a center of literature, philosophy (Greek philosophy), and the arts (Greek theatre). In Athens at this time, the political satire of the Comic poets at the theatres had a remarkable influence on public opinion.Henderson, J. (1993) Comic Hero versus Political Elite pp.307–19 in Some of the most important figures of Western cultural and intellectual history lived in Athens during this period: the dramatists Aeschylus, Sophocles, Euripides and Aristophanes, the physician Hippocrates, the philosophers Socrates, Plato and Aristotle, the historians Herodotus, Thucydides and Xenophon, the poet Simonides, the orators Antiphon, Isocrates, Aeschines, and Demosthenes, and the sculptor Phidias.
Moulu's music was clearly influenced by Josquin, and though Pierre Ronsard wrote that Moulu studied with Josquin, no documentary evidence survives to substantiate this claim. The motet Anxiatus est in me spiritus meus which laments Queen Anne's death is modeled on a similar, and much more famous composition by Josquin for the death of Ockeghem, La Déploration sur la mort Ockeghem. Moulu's music shows the style of pervasive imitation and smooth polyphony with exactly equal voices which was prevalent in the generation after Josquin (well exemplified by, and perhaps most famous in, the music of Nicolas Gombert). Of Moulu's music, five masses survive, the most famous being his mass on the Marian antiphon Alma Redemptoris Mater, which can be sung in two different manners: with or without rests longer than a quarter.
After removing the ciborium from the high altar to the altar of repose, the priest, accompanied by the other ministers, went to the sacristy, where he took off his white Mass vestments and donned a violet stole. Then, with the other ministers, he removed the altarcloths, vases of flowers, antependium and all other ornaments then customarily placed on the altar. Unlike present usage, the altar cross and candlesticks were left on the altar. This was done to the accompaniment of Psalm 22 (Vulgate) (Deus, Deus meus) preceded and followed by the antiphon "Diviserunt sibi vestimenta mea: et super vestem meam miserunt sortem" ("They divided my clothes among them and cast lots for my garment").. In earlier centuries, the altars were in some churches washed with a bunch of hyssop dipped in wine and water.
The Lenten Triodion. St. Tikhon's Seminary Press, 2002, p. 612 (second stichos of Lord, I Have Cried at Vespers on Holy Friday) but the strongest expressions are in the Holy Thursday liturgy, which includes the same chant, after the eleventh Gospel reading, but also speaks of "the murderers of God, the lawless nation of the Jews",Ware, Metropolitan Kallistos and Mother Mary. The Lenten Triodion. St. Tikhon's Seminary Press, 2002, p. 589 (third stichos of the Beatitudes at Matins on Holy Friday) and, referring to "the assembly of the Jews", prays: "But give them, Lord, their reward, because they devised vain things against Thee."Ware, Metropolitan Kallistos and Mother Mary. The Lenten Triodion. St. Tikhon's Seminary Press, 2002, p. 586 (thirteenth antiphon at Matins on Holy Friday). The phrase "plotted in vain" is drawn from .
In some tonaries, they replaced the Carolingian intonations as in the tonary by Berno of Reichenau, but more often they were written under them or alternated with them in the subsections like in a certain group which Michel Huglo (1971) called the "Toulouse tonaries" (F-Pn lat. 776, 1118, GB-Lbl Ms. Harley 4951), but also in the tonary of Montecassino. Concerning the earliest fully notated chant manuscripts, it seems that the practice of singing the intonation formulas was soon replaced by another practice, that a soloist intoned the beginning of an antiphon, responsorium, or alleluia, and after this "incipit" of the soloist the choir continued. These changes between precantor and choir were usually indicated by an asterisk or by the use of maiuscula at the beginning the chant text.
The creativity of Aquitanian cantors played a key role concerning the Cluniac needs for an extravagant liturgy. Hence, it is hardly surprising that they were more productive concerning tonaries than any other local school in Europe. These tonaries usually had sections dedicated to the antiphonary and the gradual, within the gradual and the antiphonary there were subsections like the antiphons which were sung as refrains during psalm recitation (introits and communions), responsories (the introduction of epistle readings), but also other genres of the proper mass chant as alleluia verses (the introduction of gospels), and offertories (a soloistic processional antiphon for the procession of the gifts). Several Aquitanian troper-sequentiaries had a libellum structure which sorted the genres in separate books like alleluia verses (as the first part of sequentiaries and tractus collections), offertorials, and tropers.
In any case, he resigned from Ambrières on 20 May 1767, in favour of his colleague Jacques-Claude des Nos.By a deed executed in his home in the parish of Saint-Godard, Rouen He resumed his classes on rhetoric in Rouen, until 1776 when he left and established himself in Paris. He translated the Greek orators and historians, including the complete works of Demosthenes, Aeschines, Isocrates and Lysias, as well as Andocides, Antiphon, Demades, Dinarchus, Herodotus, Isaeus, Lycurgus, Thucydides, and Xenophon. He also translated the church fathers Basil of Caesarea and John Chrysostom, as well as the Orations of Cicero and the Constitution des Romains sous les rois et au temps de la République (Constitution of the Romans under the Kings and in Republican times), a ten volume work which was published posthumously in 1792.
Since the 1970 revision of the Roman Missal, the Entrance chant begins as the priest enters. Its purpose is to open the celebration, foster the unity of those who have been gathered, turn their thoughts to the mystery of the celebration, and accompany the procession. If there is no singing at the Entrance, the antiphon in the Missal is recited either by the faithful, or by some of them, or by a lector; otherwise, it is recited by the priest himself, who may even adapt it as an introductory explanation.The General Instruction of the Roman Missal, 37-48 If another rite immediately precedes Mass, such as the Palm Sunday procession or the various ceremonies that precede Mass at the Easter Vigil, Mass begins with the collect; there is no Entrance at that point and so no Entrance chant.
The earliest Greek literature, which is attributed to Homer and is dated to the 8th or 7th centuries BC, is written in "Old Ionic" rather than Attic. Athens and its dialect remained relatively obscure until the establishment of its democracy following the reforms of Solon in the 6th century BC: so began the classical period, one of great Athenian influence both in Greece and throughout the Mediterranean. The first extensive works of literature in Attic are the plays of the dramatists Aeschylus, Sophocles, Euripides and Aristophanes dating from the 5th century BC. The military exploits of the Athenians led to some universally read and admired history, as found in the works of Thucydides and Xenophon. Slightly less known because they are more technical and legal are the orations by Antiphon, Demosthenes, Lysias, Isocrates, and many others.
Finally in 1926, after several successful performances as a guest conductor, he was appointed to succeed Georg Schnéevoigt as municipal general music director in Düsseldorf. His first major appearance with the and a demanding programme at the opening ceremony of the Great "Ausstellung für Gesundheitspflege, soziale Fürsorge und Leibesübungen" (Exhibition for Health Care, Social Welfare and Physical Exercise) (GeSoLei) was a highly acclaimed success. In the following years he conducted the Lower Rhenish Music Festival as well as numerous premieres and first performances such as the Missa Symphonica for mixed choir, solos, orchestra and organ op. 36 and the Requiem by Lothar Windsperger, the Marianische Antiphon for solos, choir, organ and orchestra by Wolfgang Fortner and Die Weihe der Nacht by himself as premieres as well as Le Roi David by Arthur Honegger, the Stabat mater op.
Seven complete masses, 28 individual mass movements, 15 settings of chant used in mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them Marian antiphons), 27 hymns, 22 motets (13 of these isorhythmic in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble- dominated part-writing with phrases ending in the "under-third" cadence in Du Fay's youth) and 87 chansons definitely by him have survived. Portion of Du Fay's setting of Ave maris stella, in fauxbourdon. The top line is a paraphrase of the chant; the middle line, designated "fauxbourdon", (not written) follows the top line but exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave.
It is generally thought that the Benedictine form of compline is the earliest western order, although some scholars, such as Dom Plaine, have maintained that the hour of compline as found in the Roman Breviary at his time, antedated the Benedictine Office. These debates apart, Benedict's arrangement probably invested the hour of compline with the liturgical character and arrangement which were preserved in the Benedictine Order, and largely adopted by the Roman Church. The original form of the Benedictine Office, lacking even an antiphon for the psalms, is much simpler than its Roman counterpart, resembling more closely the Minor Hours of the day. Saint Benedict first gave the Office the basic structure by which it has come to be celebrated in the West: three psalms (4, 90, and 133) (Vulgate numbering) said without antiphons, the hymn, the lesson, the versicle Kyrie eleison, the benediction, and the dismissal (RB, Chaps.
He wrote Rime and prose comedies, but he is best known by I Diporti, a collection of stories after the model of Boccaccio's Decameron supposed to be told by a fowling- party weatherbound on an island in the Venetian lagoons. Of his compositions, a book of madrigals for five voices, published in Venice in 1546, remains, as well as four other madrigals published in 1541 and 1544, and some instrumental music. The style of the madrigals is similar to that of Willaert, but even more densely polyphonic than that of his teacher; they are more akin to motets than to most of the madrigals being written in Italy in the early 1540s. One of his instrumental works is a ricercar based on "Da Pacem", the antiphon for peace; it may have been written for the end of the war in 1540 between Venice and the Ottoman Turks.
Peers of the realm and officers of arms put on their coronets, the trumpeters sound a fanfare and church bells ring out across the kingdom, as gun salutes echo from the Tower of London and Hyde Park. Finally, the archbishop, standing before the monarch, says the crowning formula, which is a translation of the ancient Latin prayer Coronet te Deus: "God crown you with a crown of glory and righteousness, that having a right faith and manifold fruit of good works, you may obtain the crown of an everlasting kingdom by the gift of him whose kingdom endureth for ever." To this the guests, with heads bowed, say "Amen". When this prayer is finished, the choir sings an English translation of the traditional Latin antiphon Confortare: Be strong and of a good courage; keep the commandments of the Lord thy God, and walk in his ways.
There are 17 motets each by Tallis and Byrd, one for each year of the Queen's reign. Byrd's contributions to the Cantiones are in various different styles, although his forceful musical personality is stamped on all of them. The inclusion of Laudate pueri (a6) which proves to be an instrumental fantasia with words added after composition, is one sign that Byrd had some difficulty in assembling enough material for the collection. Diliges Dominum (a8), which may also originally have been untexted, is an eight-in-four retrograde canon of little musical interest. Also belonging to the more archaic stratum of motets is Libera me Domine (a5), a cantus firmus setting of the ninth responsory at Matins for the Office for the Dead, which takes its point of departure from the setting by Robert Parsons, while Miserere mihi (a6), a setting of a Compline antiphon often used by Tudor composers for didactic cantus firmus exercises, incorporates a four-in-two canon.
Pope John XIII's Code of Rubrics still used the word "vigil" to mean the day before a feast, but recognized the quite different character of the Easter Vigil, which, "since it is not a liturgical day, is celebrated in its own way, as a night watch".1960 Code of Rubrics, 28 The Roman liturgy now uses the term "vigil" either in this sense of "a night watch" or with regard to a Mass celebrated in the evening before a feast, not before the hour of First Vespers.David I. Fulton, Mary DeTurris Poust, The Complete Idiot's Guide to the Catholic Catechism: The Core Teachings of Catholicism in Plain English (Penguin 2008) The psalmody of the office of readings consists of three psalms or portions of psalms, each with its own antiphon. These are followed by two extended readings with their responsories, the first from the Bible (but not from the Gospels), and the second being patristic, hagiographical, or magisterial.
The authorship of the Regina caeli is unknown. It has been traced back to the 12th century and is found in an antiphonary of about 1200 now in St Peter's Basilica, Rome.Wolfgang Breitschneider, "Marianische Antiphonen" in Walter Kasper (ed.), Lexikon für Theologie und Kirche (third edition), volume 6 (Herder, Freiburg im Breisgau 1997), 1358 In the first half of the 13th century it was in Franciscan use, after compline. Jacobus da Varagine's thirteenth-century Golden Legend includes a story that, during a procession with an image of the Blessed Virgin that was held to pray for the ending of a pestilence in Rome, angels were heard singing the first three lines of the Regina caeli antiphon, to which Pope Gregory the Great (590−604) thereupon added the fourth, after which he saw atop what in consequence is called the Castel Sant'Angelo a vision of an angel sheathing his sword, thus signifying the cessation of the plague.
On feast days, the various parts of the hour may be taken from the office of the saint being celebrated or from common texts for the saints. If the feast has the rank of "memorial", any parts specifically provided for the saint (the "proper" parts) are used, while the other parts come from the weekday, with exception of the hymn (which may be optionally taken from the common texts), the antiphon for the Benedictus (which must be taken from the proper or the common), the intercession (which may be optionally taken from the common texts), and the closing prayer (which should be proper, or if missing, common). For a "feast" or solemnity, all texts are taken from the proper, or if some part is missing, from the common. On these days, the morning psalm is always Psalm 63, verses 2-9, the canticle is the "Song of the Three Holy Children" (Daniel 3:57-88 and 56), and the psalm of praise is Psalm 149.
Immediately after the Coronation, the Archbishop recited the prayer Deus perpetuitatis: "God of eternity, the Commander of all powers, etc." The Archbishop then says a number of blessings (all of them also found in other coronation rites). After this, the king was lifted up into his throne on the rood screen by the lay peers, as the Archbishop said the words "Stand fast and hold firm the place, etc." and as the choir sings the antiphon: > Let thy hand be strengthened and your right hand exalted. Let justice and > judgment be the preparation of thy Seat and mercy and truth go before thy > face The Archbishop says the prayer "God, who gave to Moses victory, etc." and kisses the king with the words "May the king live forever" and his cry is taken up by the peers and all the people present as they acknowledged him as their duly anointed, crowned and enthroned king.
In the West Syriac Rite, used by the Syriac Orthodox Church, Malankara Mar Thoma Syrian Church, Malankara Orthodox Syrian Church, the Syriac Catholic Church, Syro-Malankara Catholic Church and in a hybrid form, the Maronite Church and other derived rites of Syriac Christianity, the Trisagion is sung towards the beginning of the Holy Qurbana (Divine Liturgy), after the Old Testament Readings and the Introductory Hymn. In the Armenian Rite, used by the Armenian Orthodox Church and the Armenian Catholic Church, the Trisagion occurs early in the Divine Liturgy, coming after the troparion of the Monogenes (Only-begotten Son) and the Midday first Antiphon. The choir sings the Trisagion during the lesser entrance of the Gospel Books. The Trisagion also has a similar place in the liturgies of the Coptic Orthodox Church of Alexandria, the Ethiopian Orthodox Tewahedo Church and Eritrean Orthodox Tewahedo Church, as well as the Coptic Catholic Church and the Ethiopic Catholic Church.
Because of the parallel structure typical of the Psalms, psalm verses divide into two roughly equal parts; the end of the first part is indicated by the mediant, a slight bending of notes above and below the reciting tone. For longer phrases, the first part is itself divided into two parts, with the division indicated by the flexa, on which the accented syllable is sung on the reciting tone that preceded it, and the following unaccented syllable is sung a whole tone or a minor third lower (depending on the psalm tone), before returning to the reciting tone until the mediant. After the mediant, the second part of the psalm verse is sung on the reciting tone until the last few words, which are sung to a cadential formula called the termination. Several of the psalm tones have two or three possible terminations, to allow for a smoother return to the following repeat of the antiphon.
Mary in the Christian tradition by Kathleen Coyle 1996 pages 49-50The Image of the Virgin Mary in the Akathistos Hymn by Leena Mari Peltomaa 2001 pages 76-77 An Egyptian Coptic ostracon that dates to around the year 600 bears the Greek words: "Hail Mary full of grace, the Lord is with thee; blessed art thou amongst women and blessed is the fruit of thy womb, because thou didst conceive Christ, the Son of God, the Redeemer of our souls". This Eastern variant of the Ave Maria was apparently intended for liturgical use, just as the earliest form of the Hail Mary in the Western Church took the shape of an antiphon. However, there is little or no trace of the Hail Mary as an accepted "devotional formula" before about 1050. While two Anglo-Saxon manuscripts at the British Museum, one of which may be as old as the year 1030, show the words "Ave Maria" etc.
Hypoaeolian mode on A . The Hypoaeolian mode, literally meaning "below Aeolian", is the name assigned by Henricus Glareanus in his Dodecachordon (1547) to the musical plagal mode on A, which uses the diatonic octave species from E to the E an octave above, divided by the final into a second-species fourth (semitone–tone–tone) plus a first-species fifth (tone–semitone–tone–tone): E F G A + A B C D E . The tenor or reciting tone is C, mediant B, the participants are the low and high Es, the conceded modulations are G and D, and the absolute initials are E, G, A, B, and C . For his plainchant examples Glarean proposed two important and well-known Gregorian melodies normally written with their finals on A: the antiphon Benedicta tu in mulieribus (traditionally designated as transposed Hypophrygian) and the gradual Haec dies—Justus ut palma (traditionally designated as transposed Hypodorian) .
According to James McKinnon the communio became late part of Roman Mass, and like in many other Western sources, there is no early evidence of a Latin equivalent of the Ps. 33:9 ("Gustate et videte") as a kind of prototype of the genre, but Ordo romanus I describes the communion chant as an antiphon with psalm sung by the Schola cantorum accompanying the distribution of the Eucharist, until the presiding pope interrupts it.James McKinnon (2000, pp. 326-328). Nevertheless, the genre communio became an important and favored subject in the process of a compositional planning of the Mass Proper by the leader of the Schola cantorum, which had already about 141 items during the 7th century. The dramaturgy in the composition of communion chants and the choice of scriptural texts from Advent to Epiphany includes the composition of an epic recitation of prophetic texts before Christmas, while the later serial of communion chants use extracts from the gospel readings of the day, composed in a rather dramatic style.
The Rule of St. Columbanus and the Bangor book distinguish eight Hours; #Ad duodecimam (Vespers, called ad Vespertinam and ad Vesperam in the Bangor book, Adamnan's Life of St. Columba calls it once (iii,23) Vespertinalis missa) #Ad initium noctis (Compline) #Ad nocturnam or ad medium noctis #Ad matutinam (Lauds) #Ad secundam (Prime) #Ad tertiam #Ad sextam #Ad nonam At the four lesser Hours St. Columanus orders three psalms each; at Vespers, ad initium noctis, and ad medium noctis twelve each, and ad matutinam, a very curious and intricate arrangement of psalmody varying in length with the longer and shorter nights. On Saturdays and Sundays from 1 November to 25 March, seventy- five psalms were recited on each day, under one antiphon for every three psalms. From 25 March to 24 June these were diminished by three psalms weekly to a minimum of thirty-six psalms. It would seem, though it does not say so, that the minimum was used for about five weeks, for a gradual increase of the same amount arrives at the maximum by 1 November.
The text of all the psalms, the full melody of the hymns, and the new feasts were added to the "official edition" of the "Directorium" in 1888. The word antiphonary does not therefore clearly describe the contents of the volume or volumes thus entitled, in which are found many chants other than the antiphon per se, such as hymns, responsories, versicles, and responses, psalms, the "Te Deum," the "Venite Adoremus," and so forth. The expression "antiphonal chant" would, however, comprise all these different kinds of texts and chants, since they are so constructed as to be sung alternately by the two divisions of the liturgical choir; and in this sense the word Antiphonary would be sufficiently inclusive in its implication. On the other hand, the corresponding volume for the chants of the Mass, namely the "Graduale", or "Liber Gradualis", includes many other kinds of liturgical texts and chants in addition to the graduals, such as introits, tracts, sequences, offertories, communions, as well as the fixed texts of the "Ordinarium Missæ", or "Kyriale".
He is known to have composed at least one work of church music, namely Ave Vulnus Lateris ("Hail, O Wound of the Side"), a short votive antiphon in honour of one of the Five Holy Wounds of Jesus,"shows fluency and an understanding of the vocal medium; it may have been sung by a small group of chamber singers rather than by a larger ecclesiastical choir" (Sandon, Nick, (Ed.), "Hedley, Edward: Terrenum Sitiens Regnum; Erle, Walter: Ave Vulnus Lateris", Royal School of Church Music, RCM 112 his authorship of which is recorded in Peterhouse College manuscripts 471–474, held in the Cambridge University Library, comprising four partbooks from a set of five copied late in the reign of King Henry VIII, which contain seventy-two pieces of Latin church music.Sandon, Chapter III, Volume I, pp.86-96 As a courtier- musician he well represents the ideal royal courtier described in The Courtier by Baldassare Castiglione (d.1529) and also in The Boke Named The Governour by Sir Thomas Elyot (d.1546).
Aristarchus () is named with Peisander, Phrynichus, and Antiphon, as a principal leader of the "Four Hundred" during the Athenian coup of 411 BC, and is specified as one of the strongest anti-democratic partisans.Thucydides, History of the Peloponnesian War 8.90 On the first breaking out of the counter-revolution we find him leaving the council-room with Theramenes, and acting at Peiraeeus at the head of the young oligarchical cavalry;Thucydides, History of the Peloponnesian War 8.92 and on the downfall of his party, he took advantage of his office as strategos, and rode off with a party of foreign archers to the border fort of Oenoe, then besieged by the Boeotians and Corinthians. In concert with them, and under cover of his command, he deluded the garrison, by a statement of terms concluded with Sparta, into surrender, and thus gained the place for the enemy.Thucydides, History of the Peloponnesian War 8.98 He afterwards, it appears, came into the hands of the Athenians, and was with Alexicles brought to trial and executed, not later than 406 BCE.
John Legate's Alma Mater for Cambridge in 1600 Although alma (nourishing) was a common epithet for Ceres, Cybele, Venus, and other mother goddesses, it was not frequently used in conjunction with mater in classical Latin. In the Oxford Latin Dictionary, the phrase is attributed to Lucretius' De rerum natura, where it is used as an epithet to describe an earth goddess: Denique caelesti sumus omnes semine oriundi omnibus ille idem pater est, unde alma liquentis umoris guttas mater cum terra recepit (2.991–93) We are all sprung from that celestial seed, all of us have same father, from whom earth, the nourishing mother, receives drops of liquid moisture After the fall of Rome, the term came into Christian liturgical usage in association with the Virgin Mary. "Alma Redemptoris Mater" is a well-known 11th century antiphon devoted to Mary. The earliest documented use of the term to refer to a university in an English-speaking country is in 1600, when the University of Cambridge printer, John Legate, began using an emblem for the university's press.
Trois petites liturgies was commissioned by Denise Tual for the Concerts de la Pléiade in Paris and composed during World War II, between November 15, 1943, and March 15, 1944. Messiaen originally conceived the piece as a work for two pianos, as he had achieved success in that format previously with Visions de l'amen. The sung words evoke the presence of God in himself and in all things, as indicated by the title. According to Messiaen, each movement describes a different facet of God's presence: > The principal idea is that of the divine presence, with each section > dedicated to a different kind of presence. The first section, 'Antienne de > la conversation intérieure' ('Antiphon of the Interior Conversation') is > dedicated to the God who is present within us; the second section, 'Sequence > du verbe, cantique divin' ('Sequence of the Word, Divine Song') is dedicated > to the God who is present in Himself; and the third section, 'Psalmodie de > l’ubiquité par amour' (Psalmody of the Ubiquity of Love) is inscribed to the > God who is present in all things.
Patchin Place, where Barnes lived for 42 years Left with nowhere else to go, Barnes stayed at Thelma Wood's apartment while Wood was out of town, then spent two months on a working ranch in Arizona with Emily Coleman and Coleman's lover Jake Scarborough. She returned to New York and, in September, moved into the small apartment at 5 Patchin Place in Greenwich Village where she would spend the last 41 years of her life. Throughout the 1940s, she continued to drink and wrote virtually nothing. Guggenheim, despite misgivings, provided her with a small stipend, and Coleman, who could ill afford it, sent US$20 per month (about $310 in 2011). In 1943, Barnes was included in Peggy Guggenheim's show Exhibition by 31 Women at the Art of This Century gallery in New York. In 1946, she worked for Henry Holt as a manuscript reader, but her reports were invariably caustic, and she was fired.Herring, 250–253. In 1950, realizing that alcoholism had made it impossible for her to function as an artist, Barnes stopped drinking in order to begin work on her verse play The Antiphon.
The first part of Orthros, consists of twelve prayers read by the priest in front of the Holy Doors while the reader reads the Six Psalms, the greater litany, two stichera followed by Psalms 134 and 135, a third sticheron followed by the gradual psalms, an antiphon with the prokeimenon, the reading of the Gospel, many acclamations and the Canon, while the second part of the Orthros, corresponding to Lauds in the Roman Office, is composed of Psalms 148, 149, 150, several similar stichera, the greater doxology, a benediction, and the dismissal. Each of the Little Hours may followed by a supplementary hour, called an Inter-Hour (Mesorion) during certain seasons of the year. The First Hour (Prime) begins with the recitation of three psalms followed by a doxology, two stichoi, a doxology, a troparion in honour of the Theotokos, the trisagion, several variable troparia, the doxology and dismissal, while its supplementary Hour is composed of a troparion, doxology, Theotokion, Kyrie Eleison repeated forty times, a prayer, and a doxology. The Third Hour (Terce), the Sixth Hour (Sext), and the Ninth Hour (None) and their Inter-Hours each follow the same basic outline as the First Hour.
Often when compared with the Latin Church the meaning of Anaphora and Liturgy can be mixed up. However, there is a clear distinction in the Syriac Church. The Liturgy of St James the Just is the skeleton of the whole Qurbono Qadisho with all the prayers before the Anaphora being exactly the same no-matter which anaphora used. The Liturgy of St James the Just comprises: #The First Service ##Prothesis #The Second Service ##Reading from the Holy Books ###The Trisagion ###Antiphon before the Pauline Epistle (Galatians 1:8-9) ###The Epistle of Saint Paul #The Third Service ##The Husoyo (Liturgy of Absolution) ###The Proemion ###The Sedro (Main Prayer) ###The Etro (Fragrance/incense prayer) #The Anaphora ##The Kiss of peace ##Veiling and placing of the hands prayer ##The Dialogue ##Preface ##Sanctus (Qadish) ##Words of Institution ##Anamnesis ##Epiclesis ##Petitions ##Fracturing ##Liturgy of Repentance ###Lord's Prayer (Abun dbashmayo) ##Invitation to Holy Communion ##The Procession of the Holy Mysteries ##Prayer of Thanksgiving ##The Dismissal of the Faithful In the books of the Patriarchal Sharfet seminary, this order is clearly strict, with the Deacon and Congregation prayer being the same no matter which Anaphora is used.

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