It had more Latin, like the weekly services, which now featured Latin masses and canticles.
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But Mr. Adams's "Canticles" seems to achieve a new symbiosis, folding natural sounds into mathematically ordered patterns.
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The Eternal Drift's Canticles is out today on 2xLP and CD through Head Records, Throatruiner Records and Lost Pilgrims Records.
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One of the last ballets Mr. Mitchell performed with City Ballet was Balanchine's "Requiem Canticles," a tribute to the Rev.
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Jamie Ludwig suggests you put down any sharp objects before listening to 'The Eternal Drift's Canticles,' in case you get any funny ideas.
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The exquisite chamber choir the Crossing, which commissioned "Canticles" together with another ensemble, performed the hourlong suite in the museum's Medieval Sculpture Hall.
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Just listen to the opening of their recording of Lansing McLoskey's "Zealot Canticles": hovering yet full tones, like the gentle tolling of a celestial bell.
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And a recording of "Canticles of the Holy Wind," his ethereal choral work based on thrushes, sparrows, owls and a virtuosic mockingbird, was released by Cantaloupe Music on Friday.
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Now, the four-piece—which currently includes vocalist Paulo Rui, guitarist Mathiue Croux, bassist Jay Pinelli, and drummer Florian Celdran—are finally unveiling their debut full-length, The Eternal Drift's Canticles.
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"Canticles of the Holy Wind" is one of two major works that this committed contemporary-music choir from Philadelphia has commissioned from John Luther Adams, a composer uncommonly concerned with the relationships between music, nature and humanity.
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New and recent works, including John Luther Adams's "Canticles of the Holy Wind" and Mohammed Fairouz's "Al-Quds: Jerusalem," are a feature of the season, which was organized by Limor Tomer, the Met's general manager of concerts and lectures.
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Classical Music "Canticles of the Holy Wind" is one of two major works that this committed contemporary-music choir from Philadelphia has commissioned from John Luther Adams, a composer uncommonly concerned with the relationships between music, nature and humanity.
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Recorded by the band's own Mathiue and mastered by Tad Doyle (TAD, Brothers of the Sonic Cloth), The Eternal Drift's Canticles' blend of psychedelic metal, post-hardcore, and cavernous atmospheres are not for the faint of heart or casual doom listener.
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Both of these spots were covered like one-off phenomena (Edible Brooklyn's coverage of Canticles and The Other Side's smattering of launch stories reflect this), no doubt because that's how they were perceived: as anomalies with no ties to a broader cultural significance.
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Most canticles, psalms, or other forms of worshipful music are meant to lift their audience up to the heavens, but in Verdun's collective hands, each of the album's five-tracks hit like a rust-covered anchor scouring the blackened bottom of the deepest sea—though with subject matter that encompasses both ritual disembowelment ("Mankind Seppuku") and general personal disfigurement ("Self-Inflicted Mutilation") that's really no surprise.
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Recent takes on the alcohol-free bar in America have tended to follow a similar model in that they are attached to a broader movement or moral imperative; Canticles Lounge, for example, a sober lounge in Bedford-Stuyvesant, is affiliated with the nearby Antioch Baptist Church, though it maintains it is open to all, and is headed by the church's Reverend (I interviewed him about it at the time for the Brooklyn Paper).
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They are: psalms (including canticles), antiphons, responsories, hymns, lessons, little chapters, versicles and collects.
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Canticles of Ecstasy CD booklet, pp. 3–4. The music is from a medieval manuscript written at Hildegard's abbey (Rupertsberger "Riesencodex" (1180–90) Wiesbaden: Hessische Landesbibliothek, MS 2) and the Latin texts are from Hildegard von Bingen, Lieder (Salzburg, 1969).Canticles of Ecstasy CD booklet, p. 4.
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Canticle Of Canticles is a weekly one-hour musical program hosted by an Armenian presenter Khoren Levonyan, and airing on Yerevan-based Public Television company of Armenia. The project mainly focuses on the Armenian folk music– from medieval canticles to bard songs of the late 1980s.
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Whittall 2008, 139. as for example in his Requiem Canticles: Basic row forms from Stravinsky's Requiem Canticles: P R I IR Klavierstücke I–IV which, "retained only the rudiments of the 12-note series."Leeuw 2005, 176–77. Unordered sets from the third of Stockhausen's Klavierstücke I–IV .
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The canticles are part of the daily service of Evening Prayer in the Anglican church and have been set to music often.
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Luke's Nativity text has given rise to four well-known canticles: the Benedictus and the Magnificat in the first chapter, and the Gloria in Excelsis and the Nunc dimittis in the second chapter.An Introduction to the Bible by Robert Kugler, Patrick Hartin p. 394 These "Gospel canticles" are now an integral part of the Christian liturgical tradition.Mercer dictionary of the Bible by Watson E. Mills, Roger Aubrey Bullard 1998 p. 396 The parallel structure in Luke regarding the births of John the Baptist and Jesus, extends to the three canticles Benedictus (Song of Zechariah), the Nunc dimittis and the Magnificat.
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There is provision for the chanting of psalms and canticles such as the Magnificat and the singing of hymns. Among the canticles is a festal doxology from the 1759 Moravian Liturgy. Many prayers are taken from Anglican, Scottish and Free Church texts but some elements are distinctively Moravian. The First Order is grounded in the Litany compiled by Martin Luther and printed in the Brethren's Hymn Book of 1566.
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His cantata for choir and percussion The Making of the Drum has been performed by the BBC Singers, the New Zealand Youth Choir, the World Youth Choir (under his direction), the Chamber Choir of Europe, and the Taipei Chamber Singers. Chilcott wrote two larger sacred works, Canticles of Light and Jubilate. The Addison singers performed Canticles of Light in London in 2004 and Jubilate in 2005, both in London and in Carnegie Hall.
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In the Ambrosian Office, and also in the Mozarabic, Lauds retained a few of the principal elements of the Roman Lauds: the Benedictus, canticles from the Old Testament, and the laudate psalms, arranged, however, in a different order (cf. Germain Morin, op. cit. in bibliography). In the Benedictine Liturgy, the Office of Lauds resembles the Roman Lauds very closely, not only in its use of the canticles but also in its general construction.
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The choral or sung part of Evensong begins with the opening responses sung by the minister and choir (or congregation) alternately. The psalms are then sung usually in a style known as Anglican chant, but sometimes plainsong settings of the psalms may be used instead. Then follow the Bible readings and the canticles. There are countless settings of the canticles, but a number of composers have contributed works which are performed regularly across the Anglican Communion.
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His works are: "A Commentary on the Canticle of Canticles", which is lost; "Opuscula" (new edition, Namur, 1899), including: "Duodecim gratiarum actiones"; "Jubilus seu Hymnus de SS. undecim millibus Virginibus"; "Oratio ad Dominum nostrum Jesum Christum", taken to a great extent from the Canticle of Canticles; "Alia Oratio"; "Precula de quinque Gaudiis B. Mariae V." It is not quite certain whether the last three are the works of Hermann, though they are generally ascribed to him.
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In addition to the rotating schema, the order of service has ordinary texts that are fixed. These include the Invitatory, normally psalm 94(95), and the canticles Benedictus Dominus, Magnificat, and Nunc dimittis.
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Accessed October 12, 2010. and Trisagion.Standing Commission on Liturgy and Music, Episcopal Church, Enriching Our Music 2: Canticles and Settings for the Eucharist (Volume 2 of Enriching Our Music, Episcopal Church). # 117-121.
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The Divine Office was gradually developing, but was still in a very rudimentary state. It consisted of the recitation or chanting of psalms and canticles, of versicles and acclamations, and the reading of portions of the Scriptures. There was a special collection of canticles taken from the Old Testament in use in the African Church, and perhaps, also, a collection of hymns of St. Ambrose. Many of the versicles quoted in the writings of the time may be now found in the present Roman liturgy.
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The Roman Catholic Liturgy of the Hours allows for extending the Sunday Office of Readings to a vigil, which adds several canticles and a Gospel reading, which is typically one of the Resurrection gospel narratives given above.
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The psalter spent the period between about 1000 to 1640 in England, where it had a profound influence on Anglo-Saxon art, giving rise to what is known as the "Utrecht style". It was copied at least three times in the Middle Ages. A complete facsimile edition of the psalter was made in 1875 (Lowe, 237), and another in 1984 (Graz). The other texts in the book include some canticles and hymns used in the office of the hours, including various canticles, the Te Deum and Athanasian Creed.
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Start of Psalm 102 After the Psalms, like many psalters the manuscript includes various canticles and other material, including the Canticles of Isaiah the Prophet ( and ), and a third Canticle of Isaiah (). The canticle of Moses the Prophet () includes 17-20 added on the lower margin. The canticle of Habakkuk () follows with the canticle of Moses to the children of Israel (). The following canticle is the blessing of the three children, then the Te Deum attributed to St. Ambrose of Milan, the Benedictus of Zachary () with a nativity group, and the Magnificat ().
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A scheme (Latin schema, plural schemata) is an arrangement of all or most of the psalms for distribution to the various canonical hours. In addition to the psalms proper, these schemata typically include psalm-like canticles from other books of the Bible. Historically, these schemata have distributed the entire 150 psalms with added canticles over a period of one week, although the 1971 Liturgy of the Hours omits a few psalms and some verses and distributes the remainder over a 4-week cycle. Some of the more important schemes are detailed below.
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The sung Anglican Daily Office has also generated its own tradition in psalm-singing called Anglican chant, where a simple harmonized melody is used, adapting the number of syllables in the psalm text to fit a fixed number of notes, in a manner similar to a kind of harmonized plainsong. Similarly to settings of the responses and canticles, many Anglican composers have written melodies for Anglican chant. The psalms and canticles may also be sung as plainsong. This is especially common during Lent and at other penitential times.
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The Psalms of David formed the core of liturgical music for the early church, to which other songs from the Old and New Testaments (canticles) were added. In addition, early Christians wrote original compositions for singing in worship alongside biblical texts. Soon after the New Testament period, psalmody took a preferred position in the worship of the church. There was some hymn-writing in Eastern churches, but in the West psalms and canticles were used almost exclusively until the time of Ambrose of Milan at the end of the fourth century.
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The evening canticles are the Magnificat and the Nunc Dimittis, and these texts have been set to music by many composers. Herbert Howells alone composed 20 settings of the canticles, including his Collegium Regale (1944) and St Paul's (1950) services. Like Mattins, Evensong is a service that is a distinctively Anglican service, originating in the Book of Common Prayer of 1549 as a combination of the offices of Vespers and Compline. Choral Evensong is sung daily in most Church of England cathedrals, as well as in churches and cathedrals throughout the Anglican Communion.
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The evening service was recorded in volume 11 of a series of Magnificat and Nunc Dimittis, with eight other settings of the canticles, all sung by the St Edmundsbury Cathedral Choir conducted by Mervyn Cousins, with organist Scott Farrell.
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His mystical works are about the development of the soul and of the relationship between the soul and God. During his time in the monastery, he memorized 31 verses of his work “Spiritual Canticles.” Many years later, he finished his piece.
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Requiem Canticles is a ballet made for New York City Ballet's Stravinsky Festival by balletmaster Jerome Robbins to eponymous music from 1966 by Igor Stravinsky. The premiere took place June 25, 1972, at the New York State Theater, Lincoln Center.
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The first five Canticles and a part of the sixth have also disappeared; those which remain are 1 Regn. 2. 6—10 (the rest of the sixth), the Magnificat, Isa. 38. 10—20, the Prayer of Manasses 378, Dan. 3.
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In a fully choral service of Evensong, all of the service except the confession of sin, lessons, and some of the final prayers are sung or chanted by the officiating minister and the choir. In cathedrals, or on particularly important days in the church calendar, the canticles are performed in elaborate settings. In churches where a choir is not present, simpler versions of the psalms and canticles are usually sung by the congregation, sometimes with responses and collects spoken rather than sung. Said services of Evening Prayer, where the musical setting is omitted altogether, are also sometimes referred to as Evensong.
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Services of Evensong are centred around reading from the Bible and singing the psalms and the canticles Magnificat and Nunc dimittis. The original liturgy for Evensong is found in the Anglican Book of Common Prayer in its different versions used around the world.
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1, the small commentary on Canticles, and the second book of the large commentary on the same, the twentieth book of the commentary on Ezekiel, and the commentary on Hosea. Of the non-extant commentaries, there is limited evidence of their arrangement.
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The major part of the psalter (177 folios) was discovered in 1850 by the Russian archimandrite Porphyrius Uspensky (Sin. slav. 38/O), and additional 32 folios with the exact continuation (Ps. 138-150 and the 14 canticles) turned up in 1968 (Sin. slav. 2/N).
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During the game the canticles are the same (not including Tute), the only difference is that only the player that beats is the only one that can do it. The beating player also can claim the ten points if he wins last cards showdown.
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Peeter Vähi in 2019 Peeter Vähi (born 18 May 1955, Tartu) is a classical Estonian composer. Vähi's work Relaxatio, written in 1992 and inspired by Asian intonal elements of Tibetan canticles, is considered a noted electronic work of psychotherapeutic music.Mark Rais. Leonardo Music Journal, Vol.
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Canticles of Ecstasy is an album of sacred vocal music written in the 12th century by the German abbess Hildegard of Bingen and recorded by the early music ensemble Sequentia that was released by the Deutsche Harmonia Mundi recording label in 1993.Hildegard von Bingen: Canticles of Ecstasy Retrieved 13 June 2014. The album is one of a series of recordings of the complete musical works of Hildegard by the early medieval music specialists and founders of Sequentia, Barbara Thornton and her husband Benjamin Bagby. It was recorded between 16 and 21 June 1993 in the church of St. Pantaleon, Cologne, Germany, "at the sarcophagus of the Empress Theophanu (d. 990)".
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Concerning the practice of psalm recitation, the recitation by a congregation of educated chanters is already testified by the soloistic recitation of abridged psalms by the end of the 4th century. Later it was called prokeimenon. Hence, there was an early practice of simple psalmody, which was used for the recitation of canticles and the psalter, and usually Byzantine psalters have the 15 canticles in an appendix, but the simple psalmody itself was not notated before the 13th century, in dialogue or papadikai treatises preceding the book sticheraria. Later books, like the akolouthiai and some psaltika, also contain the elaborated psalmody, when a protopsaltes recited just one or two psalm verses.
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Requiem Canticles is scored for contralto and bass soloists, mixed chorus, and an orchestra consisting of 3 flutes (3rd doubles on piccolo), alto flute, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani (2 performers), 2 percussionists (xylophone, vibraphone, and tubular bells), harp, piano, celesta, and strings.
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Seven of a total of eleven discs have now been released. In 2013, Oxford Lieder & Stone Records released a live recording of the complete Canticles of Benjamin Britten and a CD entitled 'Schubert Lieder Year by Year', featuring one song from each year of Schubert's compositional life.
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The Abingdon Introduction to the Bible, Abingdon Press, 2014 The Song of Hannah is also known as the "Canticle of Anna", and is one of seven Old Testament canticles in the Roman Breviary. It is used for Lauds on Wednesdays.Lauds, Catholic Encyclopedia. New York: Robert Appleton Company. 1913.
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The Psalms used in the Little Office of the Passion are not individual psalms from the Hebrew Scriptures, but are collages constructed by Francis of Assisi by taking passages from canticles, psalms, liturgical texts, and other sources to paint pictures of the scenes from the Passion of Jesus.
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The poem mixes both real events and imaginative tales, such as human-shaped fishes. The work, with more than ten thousand verses divided in twenty-four canticles, was published in Lisbon in 1602. The poem is known for being one of the earliest usages of the name of Argentina.
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Khoren Levonyan (; born September 16, 1983), is an Armenian presenter and actor. In 2017, Levonyan was awarded with the title of Honored Artist of Armenia. He is the presenter of AMPTV musical program titled Canticle Of Canticles. He is also the grandson of actor and director Khoren Abrahamyan.
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He also combines various groupings from the Decani and Cantoris sides to make a variety of six, eight and occasionally ten-part counterpoint. Most of the movements begin with a verse section scored for four soloists, who perhaps sang 'in medio chori' (in the middle of the choir), a procedure adopted in other Elizabethan Great Service settings. Although the length of the canticles made it difficult for him to expand on individual text-phrases, he sometimes allows himself an extended imitative paragraph at the end of a section. The doxologies of the two evening canticles (the Magnificat and the Nunc Dimittis) both end with majestic climaxes which are the most striking features of the work.
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Goodson's choral music includes a setting of the canticles for Mattins in C major, found in the collections of Durham Cathedral. Most of his compositions are to be found only in manuscript form in Oxford, rather than having been published contemporaneously. Some of his pieces were written for official university ceremonies.
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Gustave Moreau, Song of Songs: The Shulammite Maiden A Shulamite is a person from Shulem. It is the ascription given to the female protagonist in the Song of Songs in the Hebrew Bible. In the King James Version and other Bibles, it is the Song of Solomon or Canticle of Canticles.
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The Church uses its own liturgy, today known as the Liberal Rite. This liturgy was mostly composed by Bishop Wedgwood, with Bishop Leadbeater assisting on the Collects, and selecting the Psalms, canticles, and weekly epistle and gospel readings. The rite focuses more on the glorification of God, rather than the depravity of man.
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I. M. has not been identified. T. G. has been identified as Thomas Groos. The bulk of the volume consists of A Paraphrase upon the Third of the Canticles of Theocritus, in both verse and prose. The author's style in the preface is highly affected and euphuistic, but the Theocritean paraphrase reads pleasantly.
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From the 1746 volume was reissued separately, with a Gaelic translation by J. Gillies (Glasgow, 1851, 12mo), the sermon on Canticles iii. 11. Two single sermons, not apparently published elsewhere, one on Exod. xxxiv. 6, the other on Job xxiii. 3, appeared respectively at Edinburgh in 1774 and at Glasgow in 1782.
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There are four headpieces in the psalter, placed at the beginning of the Psalms, Canticles, Horologion, and Menologion. They are composed of intertwined vines, printed in black. The first headpiece is largest, measuring 108 by 93 millimetres. It is based on a headpiece in the hieratikon printed in 1508 in Târgoviște, Wallachia, by hieromonk Makarije.
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Mano-Zisi 2008b, pp. 291–92 The ornamental headings are printed in red in calligraphic ligatured script with interlaced letters. Especially elaborate are two headings, introducing the Canticles and the Psalms, respectively; they have floral additions in the form of little leaves. The initials used in the psalter can be divided into two groups.
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Antoine de Bertrand (also Anthoine) (1530/1540 – probably 1581) was a French composer of the Renaissance. Early in his life he was a prolific composer of secular chansons, and late in his life he wrote hymns and canticles, under the influence of the Jesuits. He was murdered by Protestants during the French Wars of Religion.
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121-59, in Migne's Patrologia Latina, LXXII, 579, and in the "Ulster Journal of Archaeology", 1853. It contains a large collection of canticles, hymns, collects, and antiphons, all, with very few exceptions, relating to the Divine Office. All but two of the twenty-one pieces in the Turin fragment are found in this manuscript also.
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4Q240 ( or 4QCanta) is believed to be a commentary (or pesher) on the Song of Songs, also known as 'Canticles'. Written in Hebrew, it was found in Cave 4 at Qumran in the West Bank and comprises part of the Dead Sea Scrolls. From its palaeography (script) it has been identified as being early-Herodian.
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A few lacunae (Ps. 1. 1—2. 7, 65. 20—68. 3, 68. 26—33, 105. 43—106. 2) have been supplied by a later hand, which has also added the ψαλμὸς ἰδιόγραφος (Ps. 151.). The Psalms are followed prima manu by eight canticles (Exod. 15. 1—21, Deut. 32. 1—44, 1 Regn. 2.
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Adamson grew up in Neutral Bay and spent much of his teenage years in Gosford Boys Home for juvenile offenders. He discovered poetry while educating himself in gaol in his 20s. His first book, Canticles on the Skin, was published in 1970. He acknowledges the influence of, among others, Rimbaud, Mallarmé, Robert Duncan, and Hart Crane upon his writing.
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In the early Church, no special Office or day was assigned for the Holy Trinity. When the Arian heresy was spreading, the Fathers prepared an Office with canticles, responses, a Preface, and hymns, to be recited on Sundays. In the Sacramentary of St. Gregory the Great (P.L., LXXVIII, 116) there are prayers and the Preface of the Trinity.
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He wrote Iroquois grammar and a French–Iroquois dictionary. For his church and schools, he translated into Iroquois François de Ligny's Histoire de la vie de Notre Seigneur Jésus-Christ, and published in their language a collection of prayers, hymns, and canticles (1852), a catechism (1854), a calendar of Catholic ritual, and a number of sermons.
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Few churches sing canticles and responses, either from the 1662 Book of Common Prayer or An Australian Prayer Book. The term "meeting" is sometimes used interchangeably with "service". The most notable example of this is St Andrew's Cathedral. Many meetings at Evangelical churches in the diocese do not use a prayer book or a liturgical form of service.
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Augestad sang in Det Norske Solistkor (2000–2005) and the vocal band Pitsj (1999–2006). She is the lead singer in the ensemble Music for a While, with the record release Weill Variations (2007). They released their second album Graces that refrain (2012) accompanied by a tour in Norway. Their third release was the album Canticles of Winter (2014).
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Herbert Howells wrote a set of evening Canticles, as did Sir Michael Tippett, who was reputedly attracted by the renowned trompeta real stop on the organ. The College continues to commission new works from contemporary composers, particularly for the Advent and Ash Wednesday services, including recently Bob Chilcott, Philip Moore, Tarik O'Regan, and Dr John Rutter.
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The psalter contains the Book of Psalms together with letters of St. Jerome, hymns and canticles. The main scribe was also the artist of the miniatures.Brown It was written in Latin on vellum, using a southern English Uncial script with Rustic Capital rubrics. There were additions made by a scribe named Eadui Basan in an English Carolingian minuscule.
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Originally modeled on the Book of Psalms and other poetic passages (commonly referred to as "canticles") in the Scriptures, Christian hymns are generally directed as praise to the Christian God. Many refer to Jesus Christ either directly or indirectly. Since the earliest times, Christians have sung "psalms and hymns and spiritual songs", both in private devotions and in corporate worship (; ; ; ; ; ; ; cf. ; ).
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Scholia to the Magnificat, in the catenae of Canticles, and manuscripts at Paris and Mount Athos establish beyond doubt the fact that Hesychius left a commentary on the Gospel of St. Luke, at least on the first chapter. For evidence as to the authenticity of the "Harmony of the Gospels"P.G., XCIII, 1391-1448. the treatise on the Resurrection must first be examined.
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166) by Cardinal Moran, who refers to it as that "golden fragment of our ancient Irish Liturgy". There are six canticles given: # Audite, coeli # Cantemus Domino # Benedicite # Te Deum # Benedictus # Gloria in excelsis The Bangor Antiphonary gives sets of collects to be used at each hour. One set is in verse (cf. the Mass in hexameters in the Reichenau Gallican fragment).
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His extant works number twenty. Besides several volumes of sermons for Advent, Lent, and special occasions, his writings treat of Scripture, theology, and history. One of his best-known works is the "History of the Council of Trent" (Rome, 1627). His commentaries treat of all the books of Scripture; two other commentaries treat of the Lord's Prayer and the Canticle of Canticles.
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Similar sets of prayers are said in the Liturgy of the Hours after the canticles of the Benedictus and the Magnificat at Lauds and Vespers (Morning and Evening Prayer). Referred to as the Intercessions, they are similarly introduced by an introductory phrase, but end with the recitation of the Lord's Prayer before the person presiding over the celebration recites the concluding prayer.
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Heinrich Schütz composed four extant settings of the Magnificat or Song of Mary, one of the three New Testament canticles. He set one in Latin and three in German. In the Schütz-Werke-Verzeichnis (SWV), the compositions have the numbers 344, 426, 468 (in Latin) and 494. The settings on the German text are all part of larger groups of works.
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The Draged Tute is a three player variant, each one receives 13 cards. The last card, after the deal is done is turned face up, as in normal tute, turning in to the trump suit. The Game rules of Normal Tute stand, including the canticles. After the final counting, the player that won more points earns 100 chips from each opponent.
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The Diakonie Neuendettelsau religious institute uses a breviary unique to the order; For All the Saints: A Prayer Book for and by the Church, among many other breviaries such as The Daily Office: Matins and Vespers, Based on Traditional Liturgical Patterns, with Scripture Readings, Hymns, Canticles, Litanies, Collects, and the Psalter, Designed for Private Devotion or Group Worship, are popular in Lutheran usage as well.
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Nemra has more than 40 original songs and 12 music videos. The band’s name is directly related to the name Armen, (Reading Backwards - Nemra), Armenia. The band have performed at large venues, open-air concerts, and music festivals. The band has been featured on Armenian television programs, including Arena Live, Nice Evening ,Vinyl, Little Big Shots, Canticle of Canticles: Old Songs with New Approach.
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He was also a member of the board of directors of the Institut für Hymnologische und Musikethnologische Studien, Maria Laach, Germany; and a fellow of the American Guild of Organists. Marier also studied at Cambridge University, England, and made recordings with the Boston Symphony under Seiji Ozawa. He edited two hymnals: Cantus Populi (1954) and Hymns, Psalms, and Spiritual Canticles (two editions, 1975 and 1983).
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Mounsey p. 221 As part of his desire to bring back the divine language to poetry and science, he creates an "Ark of Salvation" in order to describe a prophetic and apocalyptic future which emphasises the importance of Christ and England.Prose Works I p. xxv Along with being prophetic, the poem itself is modelled after the canticles and follows the form of the Benedicite.
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Other services included here are The Office of the Prime, Matins, Vespers, Compline, and others. A Service of Private Confession and Absolution is also included. Psalms, canticles, and other resources are also found here. While most American Lutherans are familiar with a joint confession of sins followed by a spoken absolution from the pastor, this hymnary features an optional Individual Absolution (on page 43).
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Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra. Stravinsky completed the work in 1966, and it received its first performance that same year. The work is a partial setting of the Roman Catholic requiem mass, with the six vocal movements in Latin. It is from Stravinsky's serial period, but it has elements from all his stylistic periods.
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Apolytikion :Rose of piety and sprout of Chios, we honour with canticles Saint Markella who was beheaded by her father's hand, as she guarded the commands of Christ, give strength and save from danger, us who cry unto you. Glory to Him who gave you strength, glory to Him who crowned you. Glory to Him who works through you, healings for all the faithful.
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The ordinary of the canonical hours consists chiefly of the psalter, an arrangement of the Psalms distributed over a week or a month. To the psalter are added canticles, hymns, and other prayers. Traditionally the canonical hours were chanted by the participating clergy. Some texts of the canonical hours have been set to polyphonic music, in particular, the Benedictus, the Magnificat, and the Nunc dimittis.
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Their music is obtained from the cabaret, baroque and church music repertoire, with elements of jazz. They present different musical styles with a very distinctive sound. Music for a While released their debut album Weill Variations (2007).) The follow up album Graces that refrain (2012) received critical acclaim. It was accompanied by a tour in Norway.) Their third release was the album Canticles of Winter (2014).
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58-60 (Internet Archive). He was considered a preacher of unusual eloquence. Two notable sermons given by him in 1624, reflecting political circumstances of the time, concern the theme of marriage. Early in 1623/24 he preached at Paul's Cross in London The Love-Sick Spouse, on a text of lament from the Canticles interpreted to signify the separation of Christ from His true Church.
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Instead, choristers are awarded bursaries to attend Polwhele House School (boys) and Truro School (girls). On 8 March 2017 (International Women's Day), the girls' choir were broadcast in the Choral Evensong series on BBC Radio 3 for the first time. The service included the first performance of two pieces; a set of Canticles written by Dobrinka Tabakova, and a set of Responses, written by Sasha Johnson-Manning.
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After Lattanzi's death in 1818, the editorship passed to another woman, Giuditta Lampugnani. It continued to be published until 1875. In addition to her writings for the Corriere, three of Lattanzi's canticles were published in the 1810 anthology Omaggio poetico di vari autori per l'Imeneo di Napoleone con Maria Luigia d'Austria (Poetic Homage by Various Authors for the Marriage of Napoleon and Mary Louise of Austria).
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Many English-language settings of the communion service have been written, such as those by Herbert Howells and Harold Darke; simpler settings suitable for congregational singing are also used, such as the services by John Merbecke or Martin Shaw. In high church worship, Latin Mass settings are often preferred, such as those by William Byrd. ; Morning Service : The Anglican service of morning prayer, known as Mattins, is a peculiarly Anglican service which originated in 1552 as an amalgam of the monastic offices of Matins, Lauds and Prime in Thomas Cranmer’s Second Prayer Book of Edward VI. Choral settings of the Morning Service may include the opening preces and responses (see below), the Venite, and the morning canticles of Te Deum, Benedicite, Benedictus, Jubilate and a Kyrie. ; Evening Service : Evening Prayer, also known as Evensong, consists of preces and responses, Psalms, canticles, hymns and an anthem (see below).
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3 The most numerous are those depicting events described in the Old Testament, with the focus on David. A second group of miniatures illustrate interpretations of the psalms as found in Church literature and religious novels, while scenes from the New Testament form a third group. A fourth group are the illustrations of the canticles and the akathist. Some psalms have no corresponding illustrations, while others have more than one.
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157 The vigil office was also shortened in the summer months by replacing readings with a passage of scripture recited by heart, but keeping the same number of psalms. Both in summer and in winter the vigil office was longer than on other days, with more reading and the recitation of canticles in addition to the psalms.Rule of Saint Benedict, 10−11 Outside of monasteries few rose at night to pray.
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32 When Fauré returned to Paris in October 1871, he was appointed choirmaster at the Église Saint- Sulpice under the composer and organist Charles-Marie Widor. In the course of his duties, he wrote several canticles and motets, few of which have survived.Nectoux, p. 18 During some services, Widor and Fauré improvised simultaneously at the church's two organs, trying to catch each other out with sudden changes of key.
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I. Thirty fragments from the Museo de Boturini, among them four letters from Juan María de Salvatierra. II. Treatise on political virtues by Carlos de Sigüenza y Góngora; life and martyrdom of the children of Tlaxcala; narrative of Mexico by Father Geronimo Salmeron, Father Velez, and others. III. Report of Father Posadas on Texas; three fragments on ancient history, Canticles of Nezahualcoyotl, etc. IV. Narrative of Ixtlixochitl. V-VI.
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After praying the Agpeya, Tasbeha begins with the hymn known as Ten Theno which calls on God to awaken us from our slumber so that we may praise Him fittingly.Outline of Tasbeha The Sunday Tasbeha (that occurs on Saturday night) then proceeds with 4 "Hoos"-es or canticles. Each canticle is sung directly from the Bible, followed by a "Lobsh" or explanation hymn. The first canticle is the Song of Moses ().
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There were orders and liturgical texts for Baptism and for Confirmation of Baptismal Vows. A treasury of prayer, with family prayers, was included, as well as a selective psalter and a collection of ancient hymns and canticles. Congregational participation was encouraged with the provision of responses and unison prayers. This service book included prayers drawn from a wide range within the church catholic and from across many centuries.
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A 1530 rhymed version by , "Im Frieden dein, o Herre mein", with a melody by Wolfgang Dachstein, was written in Strasbourg for that purpose. Many composers have set the text to music, usually coupled in the Anglican church with the Magnificat, as both the Magnificat and the Nunc dimittis are sung (or said) during the Anglican service of Evening Prayer according to the Book of Common Prayer, 1662, in which the older offices of Vespers (Evening Prayer) and Compline (Night Prayer) were deliberately merged into one service, with both Gospel Canticles employed. In Common Worship, it is listed among "Canticles for Use at Funeral and Memorial Services" Herbert Howells composed 20 settings of it, including Magnificat and Nunc dimittis (Gloucester) (1947) and Magnificat and Nunc dimittis for St Paul's Cathedral (1951). A setting of the Nunc dimittis by Charles Villiers Stanford was sung at the funeral of Margaret Thatcher as the recessional.
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Laverdière was born in Château-Richer, East of Quebec City, on 23 October 1826. His parents, Charles Cauchon, dit Laverdière (Laverdière never used Cauchon as his family name) and Théotiste Cauchon, were farmers. He studied at the Séminaire de Québec from 1840 onward, and proved brilliant, being promoted to assistant professor of physics and collaborating to the foundation of the student newspaper, through which he published several collections of canticles. He was ordained in 1851.
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The Liberal Rite was composed by Bishop James I. Wedgwood, with Bishop C.W. Leadbeater assisting on the Collects, Psalms, canticles, and readings. They based the Rite on Arnold Harris Mathews The Old Catholic Missal And Ritual first published on August 15, 1909. Mathew's rite was the old Roman Rite in the vernacular. In creating the new Rite, Wedgwood and Leadbeater focused more on the glorification of God, rather than the depravity of man.
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The Te Deum is one of the standard canticles of Anglican Morning Prayer. Benjamin Britten set it in 1934 (his Te Deum in C). He wrote the Festival Te Deum, scored for treble solo, four-part choir (SATB) and organ, on 8–9 November 1944. It takes about five minutes to perform. The work was commissioned for the centenary of St Mark's Church, Swindon, an Anglo-Catholic church with a strong choral tradition.
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She wrote, among other things, a commentary on the Pater Noster; "The Union of the soul with God"; "Of the knowledge of God"; "Of prayer"; "Of the heavenly joys and of the means of attaining them"; "Of those who have risen with Christ"; meditations, spiritual canticles, and letters to eminent men of her time. Possevin speaks of her writings as inspired. Her works were published at Venice in 3 vols. in 1588.
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Poetic forms have been used by Christians since the recorded history of the faith begins. The earliest Christian poetry, in fact, appears in the New Testament. Canticles such as the Magnificat and Nunc Dimittis, which appear in the Gospel of Luke, take the Biblical poetry of the psalms of the Hebrew Bible as their models. Many Biblical scholars also believe that St Paul of Tarsus quotes bits of early Christian hymns in his epistles.
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The Book of Odes (), commonly referred to simply as Odes, is a book of the Bible found only in Eastern Orthodox Bibles and included or appended after the Psalms in Alfred Rahlfs' critical edition of the Septuagint, coming from the fifth-century Codex Alexandrinus. The chapters are prayers and songs (canticles) from the Old and New Testaments. The first nine of them form the basis for the canon sung during matins and other services.
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The canticle , one of three New Testament canticles, has long been a regular part of the liturgy in daily vesper services. After the Reformation, Martin Luther kept the Magnificat in the liturgy. He provided a German translation of the canticle, "Meine Seele erhebt den Herren" (which Bach used as the basis for his chorale cantata Meine Seel erhebt den Herren, BWV 10). However, the Latin text was also permitted in Lutheran worship.
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The designs in the windows at the ends of the cathedral are based on canticles, the east window on the Te Deum laudamus, and the west window on the Benedicite. The earlier designs are dark, but the later windows are much brighter and more colourful. Much of the glass was damaged by bombing in the Second World War. The windows replacing them were based on the originals, but often using simpler and more colourful designs.
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The or Song of Mary is one of the three New Testament canticles, the others being and . Mary sings the song on the occasion of her visit to Elizabeth, as narrated in the Gospel of Luke (). It is a daily part in Catholic vesper services and Anglican Evening Prayer. Rutter followed the tradition of setting it to music, especially the work by Johann Sebastian Bach which also structures the text in movements of different character.
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A canon is a structured hymn used in a number of Eastern Orthodox services. It consists of nine odes, based on the Biblical canticles. Most of these are found in the Old Testament, but the final ode is taken from the Magnificat and Song of Zechariah from the New Testament.For clarity, this article will use the term "canticle" to refer to the original biblical text, and "ode" to refer to the composed liturgical hymns.
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The canticles Harris in A and Harris in A minor are still sung at Evensong in a number of Anglican cathedrals. The hymn tune Alberta (often used for the words Lead, Kindly Light), and various Anglican psalm chants remain familiar. Harris also composed cantatas and organ pieces. His largest composition, the 1919 choral- orchestral cantata The Hound of Heaven (a setting of the religious allegory by Francis Thompson), has been almost completely forgotten.
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Graetz's historical studies, extending back to Biblical times, naturally led him into the field of exegesis. As early as the fifties he had written in the Monatsschrift essays dealing with exegetical subjects, as "Fälschungen in dem Texte der LXX." (1853) and "Die Grosse Versammlung: Keneset Hagedola" (1857); and with his translation of and commentaries on Ecclesiastes and Canticles (Breslau, 1871) he began the publication of separate exegetical works. A commentary and translation of the Psalms followed (ib. 1882-83).
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In addition to playing soprano saxophone and trumpet, Logan composed both jazz and concert music. Among his concert works are the 1989 "Runagate, Runagate" based on a poem by Robert Hayden about a fugitive slave and "Doxology Opera: The Doxy Canticles" in 2001 which features a libretto by Paul Carter Harrison. Logan's music has been recorded on Orion Records and other labels. Logan believed that being described as a "black composer" was a two-edged sword.
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The aisle windows are full of stained glass. Beneath them runs a wall arcade in which is displayed a modern set of Stations of the Cross carved in different recycled timbers. English cathedrals maintain a traditional form of church service, of which canticles, the set psalm of the day, responses, and an anthem are sung by a choir traditionally composed of about thirty men and boys. (Many cathedrals now also have a girls choir, and a lay choir).
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The Nativity of Jesus on the recto of the British Library page The book is large, with 281 vellum folios or leaves (two-sided) in Cambridge, measuring an average .PUEM The four detached leaves have presumably been trimmed and are now 400–405 mm x 292–300 mm.Zarnecki, 111–112 The texts are: "a calendar, triple Metrical Psalms ... canticles, two continuous commentaries, two prognostications".PUEM The three main different Latin versions of the Psalms are given side by side.
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Ullerston wrote a commentary on the Creed (1409), one on the Psalms (1415), another on the Canticle of Canticles (1415), and "Defensorium donationis ecclesiasticae", a work in defence of the donation of Constantine. At the request of Archbishop Courtenay he wrote a treatise, "De officio militari" 'On the military office', addressed to Henry, Prince of Wales. From 1403, Ullerston held the prebend of Oxford in Salisbury Cathedral, and from 1407 the rectory of Beeford in Yorkshire.
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Durell gained his Bachelor of Divinity in 1760 and his Doctorate of Divinity in 1764. Durell was an industrious scholar of the Old Testament. In the 1760s and 1770s he variously and extensively commented on, translated, and edited parts of the Scriptures which treated of Abraham, Jacob, Moses, and the Books of Job, Proverbs, Psalms, and Ecclesiastes, and the Canticles. He was also an ardent advocate of a new translation of the Bible to improve on the Authorized Version.
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It is a fascinating work and beautifully composed. Harold Hagopian (RCA/Victor BMG producer, 2002) Stepan Rostomyan’s music reflects a synthesis of European and Oriental traditions, In Rostomyan’s music one can hear influences of the ancient Armenian monody; it is very coloristic and religious. His Symphony and some miniatures – for example “The Angeles’” Canticles are popular in the West. Mark Rais ( “A Special Issue of Leonardo”, USA Volume 24:2, 1991) Third Symphony of Rostomyan is a genius piece.
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The Latin canticle is based on the biblical narration of the Presentation of Jesus at the Temple according to the Gospel of Luke. It is one of only three canticles in the New Testament, along with the Magnificat and the Benedictus. It is part of the daily evening service compline and has often been set to music. In the English choral tradition, it is typically combined with a setting of the Magnificat for Vespers, colloquially called "Mag and Nunc".
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The combination of Te Deum and Jubilate has proven particularly popular for church music composers, having been set twice by Handel, as well as by Herbert Howells and Henry Purcell. At Evening Prayer, two other canticles from the Gospel of Luke are usually used: Magnificat and Nunc dimittis, coming respectively from the services of Vespers and Compline. Psalms 98 and 67 are appointed as alternatives, but they are rarely used in comparison to the alternatives provided for Morning Prayer.
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He also chaired consultative panels for the Arts Council and the BBC. As a composer, Marchant produced mainly church music, including anthems, canticles and other liturgical music, but he also composed secular works for chorus, organ and solo voice. Grove says of Marchant's music: "the finest ... inspired by ceremonial occasions at St Paul's, is well crafted, though conservative in idiom, and shows the influence of Stanford and Parry." The choir library at St Paul's holds his complete choral works.
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A special prayer is dedicated to Saint Markella:Chios portal www.e-xios.gr - Monasteries - Agia Markella > Rose of piety and sprout of Chios, we honor with canticles Saint Markella > who was beheaded by her father's hand, as she guarded the commands of > Christ, give strength and save from danger, us who cry unto you. Glory to > Him who gave you strength, Glory to Him who crowned you. Glory to Him who > works through you, healings for all the faithful.
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The Durham Proverbs is a collection of 46 mediaeval proverbs from various sources. They were written down as a collection, in the eleventh century, on some pages (pages 43 verso to 45 verso, between a hymnal and a collection of canticles) of a manuscript that were originally left blank. The manuscript is currently in the collection of Durham Cathedral, to which it was donated in the eighteenth century. The Proverbs form the first part of the manuscript.
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The motif is a mystical interpretation of the Song of Solomon (Canticles 2.8) and is found as early as the third century in the work of Hippolytus.James W. Marchland, "The Leaps of Christ and The Dream of the Rood", in Source of Wisdom: Old English and Early Medieval Latin Studies in Honour of Thomas D. Hill, ed. by Charles D. Wright, Frederick M. Biggs, and Thomas N. Hall (Toronto: University of Toronto Press, 2007), pp. 80-89 (p. 83).
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He assisted Henry Savile with the translation of the works of John Chrysostom. In 1604 he was recruited for one of the Cambridge committees set up to translate the Bible into English. He also served in the "Second Cambridge Company" charged by James I of England with translating the Apocrypha for the King James Version of the Bible. As well as his own work, he assisted in the work of the "First Cambridge Company" translating from Chronicles to Canticles.
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' is a collection of choral settings by the English composer Herbert Howells of the canticles for the Anglican services of Mattins, Holy Communion and Evening Prayer. Scored for four-part choir, solo tenor and organ, the pieces were written between 1944 and 1956 "for the King's College, Cambridge" ( in Latin). The first of the pieces were first published by Novello in 1947, and they have become a popular piece of music in the Anglican church music repertoire.
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Howells set the combination of Magnificat and Nunc dimittis 20 times, taking the words from the Book of Common Prayer. The Gloucester Service, his sixth setting, was written in 1946 and is scored for a four-part choir and organ. It is subtitled For the Cathedral Church of the Holy and Indivisible Trinity. In the Gloucester Service, both canticles are set as one movement, with slight changes in tempo, and changes of key and time, to interpret the text.
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He exhibited his work in Toronto in solo shows such as St. Francis of Assisi and Related Subjects, The Canticles of St. John of the Cross, and The Wanderer Series. Squires was also a founding member of the Robert McLaughlin Art Gallery in Oshawa, Ontario. In 1969 Squires quit his job at the Telegram and returned to Newfoundland. In 1971 he settled in an abandoned lighthouse in Ferryland, where he lived with his wife and two daughters.
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Ten copies of the book are known to exist today; none is complete, though only the first and the last leaf are not present in any of them. The copies are kept in Belgrade (two), Kiev, Krka Monastery, Lvov, Novi Sad, Patriarchate of Peć, Prague, Saint Petersburg, and Zagreb. The book is printed in uncial Cyrillic with elements of cursive, in the orthography of the Resava literary school. Beside the Psalms, it contains the Canticles, Horologion, Menologion, and other Orthodox religious texts.
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It can be found in the Church of England Book of Common Prayer as the canticle called the Benedicite and is one of the traditional canticles that can follow the first scripture lesson in the Order of Morning Prayer. It is also an optional song for Matins in Lutheran liturgies, and either an abbreviated or full version of the Song is featured as the Old Testament Canticle in the Lauds liturgy for Sundays and Feasts in the Divine Office of the Catholic Church.
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She also performed at The Lilith Fair with Sarah McLachlan and others in 1998. She lives in Olympia, Washington, where she spent most of her early life and continues to compose and release her music. Hummel is starting work on a new more musically eccentric project with her co-producer Brian Castillo called "Waterwitch Canticles". Her most recent CD, released un January 2006, is entitled The Turning Point and was co-produced with Castillo (The Living Jarboe, Salon Betty, Euclid).
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His Latin music is fluent and attractive, the expressive psalm Conserva me, Domine being especially noteworthy for its elegant polyphonic style. His most famous work, the five-part Lamentations, differs from settings by his more famous contemporaries in the restricted compass of the top part. Both psalm and lamentations were probably intended for domestic devotional use. Parsley also composed English church music: two four-part settings of the morning service and one anthem, and possibly a setting of the evening canticles.
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Latin hymns appear at around the same time, influenced by Saint Ambrose of Milan. Early Christian hymns are known as canticles and are often based on Biblical passages other than the psalms; they are still used in Catholic, Lutheran, Anglican and Methodist liturgy, examples are Te Deum and Benedicite.Randel, Don Michael (1986), The Harvard Dictionary of Music, Belknap Press, (p. 143) Prudentius, a Spanish poet of the late 4th century was one of the most prolific hymn writers of the time.
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Service in B-flat major, Op. 10, (full title Morning, Evening and Communion Service in B-flat) is a collection of Anglican church music by Charles Villiers Stanford for mixed choir and organ containing the Canticles for each of the principal services of the Anglican Church. Stanford set the traditional liturgical texts in English in 1879 when he was the organist of Trinity College, Cambridge. They were published by Novello in 1902. Stanford orchestrated the work in 1903, with additional organ.
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The next fifteen months were some of the worst in Hoffmann's life. The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.
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It opened with the Calendar of the Church Year used in Anglican Use, followed by the Daily Office lectionary arranged in a two-year cycle. Three readings from Old and New Testaments were provided for each Sunday and weekday in both cycles. The psalms were arranged on a seven-week pattern throughout the year and sung in Anglican Chant. Antiphons—drawn from the psalms, from the opening sentences in the Offices or from scriptural passages—were used with the psalms or canticles.
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Two service books have been published for use by IACCS congregations: the Book of Common Prayer, 1991 Canada, and The Psalter, Psalms and Canticles Pointed and Set to Anglican Chants, were both published in 1991. A companion Holy Week and Other Services book was published by the church in fall 2000. An Anglican Book of Occasional Services was scheduled for publication early in 2012. The discipline and public worship of the church is described as ranging from Anglo-Catholic to (Low) Evangelical.
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Rule of St Benedict, chapters 9–10 (original Latin text); Doyle translation On Sundays, the monks rose earlier. The first nocturn had four readings instead of three, and the second nocturn also had four readings instead of recitation by heart of a passage of Saint Paul. Then followed a third nocturn, which instead of six psalms had three Old Testament canticles. These were followed by four readings from the New Testament and a reading by the abbot from the Gospels.
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There are two and only two instances of a deponent participle (passive form with active meaning) in the Hebrew Bible: nəḥittim (נחתים, "descended" for descending, 2 Kings 6:9) and 'aḥuzi chereb (אחזי חרב, "grasped of sword", Song of Songs 3:8). Song (or Canticles) 3:8 survives in the Qumran fragment 4QCantc. This grammatical device is common in Mishnaic Hebrew (MH) and Syriac, which are of relatively late dates; but the contexts could also suggest northern settings, influencing the phraseology.
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Canticles II: MMXIX was released in 2019. In his time as Poet Laureate of Toronto, Clarke created the Poets' Corner at City Hall, and worked with the Toronto Public Library to create the Toronto Poetry Map, an electronic map of the city that marks all sites referenced in Canadian poetry, and presents the relevant lines to the viewer. He also founded the East End Poetry Festival. For these accomplishments and more he is credited with expanding the role and responsibilities of the Poet Laureate considerably.
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He spent 9 months in a small room in horrible conditions with limited light, food, and contact with the outside world. During his time in the monastery, he suffered greatly. The movie tells the story of the nine months that he spent in solitary confinement in the monastery between December 1576 and July 1577. John of the Cross was a famous Spanish poet celebrated for his works that include “Spiritual Canticles” and “Dark Night of the Soul.” The title of the movie comes from his poem.
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Brown was a soloist, together with hornists Hermann Baumann and Nicholas Hill and violinist Iona Brown, in a recording of Telemann's Concerto for 3 Horns and Violin, as well as concertos by Telemannn and Haydn for two horns with Hermann Baumann. Brown recorded Britten's Canticles together with Ian Bostridge (tenor), David Daniels (countertenor), Christopher Maltman (baritone), Aline Brewer (harp) and Julius Drake (piano). In 1999 he recorded Mozart's four horn concertos with the Academy of St Martin in the Fields, conducted by his sister.
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Siddell’s compositions include liturgical music and settings of sacred text. His St Cecilia’s Jubilee Mass dates from 1957 and includes the usual components of the Mass (Kyrie, Gloria, Sanctus, Benedictus, Agnus Dei). In 1994, Siddell published Till the moon fails: thirty two psalm settings, two canticles, an Easter blessing with Alleluia and a hymn, held in the National Library of Australia. Siddell composed music for Catholic liturgical services (Mass (liturgy) which are still in use for Catholic Mass at the parish of St Ignatius, Toowong, in Brisbane.
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Zechariah writing down the name of his son (Domenico Ghirlandaio, 15th century, Tornabuoni Chapel, Italy). St. John in the Mountains - the birthplace of St. John The Benedictus (also Song of Zechariah or Canticle of Zachary), given in Gospel of , is one of the three canticles in the first two chapters of this Gospel, the other two being the "Magnificat" and the "Nunc dimittis". The Benedictus was the song of thanksgiving uttered by Zechariah on the occasion of the circumcision of his son, John the Baptist.Ward, Bernard.
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Orthodox psalters usually also contain the Biblical canticles, which are read at the canon of Matins during Great Lent. The established Orthodox tradition of Christian burial has included reading the Psalms in the church throughout the vigil, where the deceased remains the night before the funeral (a reflection of the vigil of Holy Friday). Some Orthodox psalters also contain special prayers for the departed for this purpose. While the full tradition is showing signs of diminishing in practice, the psalter is still sometimes used during a wake.
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Lansing McLoskey (born 1964) is an American composer of contemporary classical music and a winner of the 61st Annual Grammy Awards for Best Choral Performance for his work titled Zealot Canticles, as recorded by the ensemble The Crossing. McLoskey now serves as a Professor of Music at the Frost School of Music in Miami, Florida. McLoskey has been commissioned by Guerilla Opera, The Copland House, Ensemberlino Vocale, the New Spectrum Foundation, Ensemble Berlin PianoPercussion, Passepartout Duo, the Boston Choral Ensemble, Kammerkoret NOVA, and oboist ToniMarie Marchioni.
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Hession has written works which have been performed in numerous venues (amongst them Westminster Abbey, King’s College, Cambridge, Peterborough Cathedral, etc.) by such ensembles as the Choir of Clare College, Cambridge, Aurora Orchestra, the Manchester Camerata, the Commonwealth Festival Orchestra and Inner Voices. Hession’s recent works include a commission by The King's Singers and a set of canticles premièred by the Choir of Clare College, Cambridge in 2018. His works have been broadcast on Classic FM and Radio 3 and are published by Edition Peters.
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Midrash Lev. Rabbah i. 14, toward the end According to the midrash Canticles Rabbah, it was Ezekiel whom the three pious men, Hananiah, Mishael, and Azariah (also called Shadrach, Meshach, and Abednego in the Bible) asked for advice as to whether they should resist Nebuchadnezzar's command and choose death by fire rather than worship his idol. At first God revealed to the prophet that they could not hope for a miraculous rescue; whereupon the prophet was greatly grieved, since these three men constituted the "remnant of Judah".
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In 1979 he was a visiting professor at the University of Otago in New Zealand.. The number and scope of his works increased, and among those composed during the following decades were two further full-length operas, Under Western Eyes (Op. 51, 1968) and Jane Eyre (Op. 134) (based on the novels by Joseph Conrad and Charlotte Brontë respectively), Symphony No. 2 (Op. 68, 1970), various large-scale choral works with orchestras including the oratorio The Raising of Lazarus (Op. 67, 1970) and Herefordshire Canticles (Op.
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He was particularly prolific in his output of Anglican chant (used for the psalms and canticles), hymns, and anthems. His anthems are considered his most exemplary work and are admired for employing rich blends in a multi-voiced arrangement. His anthems included O Lord, Look Down from Heaven and Call to Remembrance, the latter of which was sung at his own funeral and is still performed in cathedrals today. Of his glees, I Loved Thee Beautiful and Kind is probably his best known work.
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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.
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Accessed 23 April 2014 Stopford began his musical career as a member of the choir of Westminster Abbey, and later graduated in music from the University of Oxford.Classic FM Hall of Fame 2014. Accessed 23 April 2014 He has composed numerous other works, including a Te Deum, a Latin Mass, and various Latin canticles. He formerly served as the choral director of St Anne's Cathedral in Belfast, Northern Ireland, until the post was closed in 2010, causing five of the cathedral's board members to resign in protest.
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The work continued to hold its position during the succeeding centuries, was strongly recommended by Jacques-Bénigne Bossuet in his synodal statutes, and was held in regard by Alphonsus Ligouri. Jean-Pierre Gury speaks of Azor as a moderate Probabiliorist. There are extant in manuscript other works by Azor; in Rome, in the Jesuit archives, a commentary on the Canticle of Canticles; at Würzburg, an exposition of the Psalms and at Alcalá, several theological treatises on parts of the Summa Theologiae of Thomas Aquinas.
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Saint Cosmas has been called "a vessel of divine grace" and "the glory of the Church."Alexander A. Bogolepov, The hymns of the Orthodox Church , Orthodox Hymns of Christmas, Holy Week and Easter. Accessed 2007-04-02. He composed the solemn canons for Matins of Lazarus Saturday, Palm Sunday, the Triodes (canons with only three Canticles) which are chanted during Holy Week, the first canon of the Nativity (based on a Nativity sermon by St. Gregory the Theologian), and is known for his finest work, "Canon for Christmas Day".
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The architectural style as well as the techniques used in building the stone houses of the town incorporated elements of Phoenician influence. In Delphic Theorodochoi inscription (230 BC) which was published by André Plassart, there is an inscription of a Karpasian man who was named Aristostratos ().Delphic Theorodochoi Inscription Its first-known bishop, Philo, was ordained by Epiphanius of Salamis in the 4th century; he has left a commentary on the Canticle of Canticles, a letter, and some fragments. Another bishop of the see, Hermolaus, was present at the Council of Chalcedon in 451.
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10 August 2018 Bishop of the City of Pettau, he was the first theologian to use Latin for his exegesis. His works are mainly exegetical. Victorinus composed commentaries on various books of Holy Scripture, such as Genesis, Exodus, Leviticus, Isaiah, Ezekiel, Habakkuk, Ecclesiastes, the Canticle of Canticles, St. Matthew, and the Apocalypse, besides treatises against the heresies of his time. All that has survived is his Commentary on Apocalypse and the short tract On the construction of the world (De fabrica mundi).. Victorinus was a firm believer in the millennium.
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Canticles 6, 8: "one is My dove, My perfect one." Matthew 28, 20: "Behold I am with you all days even to the consummation of the world." I Thessalonians 4, 16: "We shall always be with the Lord." There are three goods [ends or aims] of matrimony as a sacrament of the Church: #Offspring accepted and educated for the worship of God #Fidelity by which one man is bound to one woman #The sacrament by which there is an indivisibility of the union insofar as the sacrament is the union of Christ and the Church.
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The art within the Byzantine psalters were specifically unique because of the history surrounding the creation and use of images two centuries before during opposition to icons in the Iconoclastic controversy. A psalter is a book made specifically to contain the 150 psalms from the book of Psalms. Psalters have also included the odes or canticles, which are songs or prayers in song form from the Old Testament. Psalters were created purely for liturgical purposes, and the Psalms were the most popular books of the Old Testament in Byzantium.
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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.).
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It is certain that Hesychius was the author of consecutive commentaries on Leviticus, the Psalms, the Canticle of Canticles, the Twelve Minor Prophets, Isaiah, and Luke (Chapter i?). His name occurs in catenae in connection with an occasional scholium to texts from other books (Genesis, 1 and 2 Samuel, Ezekiel, Daniel, Matthew, John, Acts, the Catholic Epistles), which, however, apart from the question of their authenticity, are not necessarily taken from complete commentaries on the respective books. Likewise the citations from Hesychius in ascetic florilegiaAs in Bodl. Barocc. 143, saec. 12.
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This is a collection of forty hymns in Latin and Irish, almost all of Irish origin, with canticles and "ccclxv orationes quas beatus Gregorius de toto psalterio congregavit". There are explanatory prefaces in Irish or Latin to each hymn. Some of the hymns are found in the Antiphonary of Bangor, the Leabhar Breac, and the Book of Cerne. There are two manuscripts of this collection, not agreeing exactly, one in Trinity College, Dublin, of the 11th century, and one in the Franciscan Convent at Dublin, of somewhat later date.
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Printed with translation in MacCarthy's edition of the Stowe Missal, and in the Transactions of the Aberdeen Ecclesiological Society, with translation and notes by D. Macgregor (1898). The whole book published in facsimile without transliteration or translation but with a detailed table of contents by the Royal Irish Academy (1876). The Passions and Homilies edited with a translation and glossary by Robert Atkinson in the Todd Lecture series of the same Academy (1887). An 8th-century manuscript of probably Northumbrian origin, contains selections from the Gospels, collects, hymns, canticles, private devotions, etc.Reg. 2.
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A number of Canticles have been dedicated to the image of the Virgen del Manzano: number 242, about El cantero de Castrojeriz, which tells how a master ashlar stone layer was saved by the Virgin on losing his balance and hanging by only a nail. Canticle 249, Maestre que trabajaba en la Iglesia (about the maestre who worked on the Church). Canticle 252, Salvados de la arena en Castrojeriz. And canticle 266 La viga de madera de Castrojeriz, which chronicles the fall of a beam during mass without anyone getting hurt.
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Laudis canticum, criteria 3−7 What had previously been called matins was given the name of "office of readings" (officium lectionis) and was declared appropriate for celebrating at any hour, while preserving its nocturnal character for those who wished to celebrate a vigil.Laudis canticum, criterion 2 For that purpose alternative hymns are provided and an appendix contains material, in particular canticles and readings from the Gospels, to facilitate celebration of a vigil. The Catholic Church has thus restored to the word "vigil" the meaning it had in early Christianity.
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The month of Koiak holds a special place in the rite of the Coptic Orthodox Church. It is known as the "Mariam Month" ("Month of Mary") because the Nativity according to the Coptic calendar falls on 29 Koiak. The month is characterized by beautiful midnight praises that commemorate the Lord's Incarnation and venerate his mother, the Virgin Mary. The name of the Koiak midnight praise translates into Seven and Four, describing the outline of the praise that consists of 4 Canticles and 7 Theotokia (glorifications of Saint Mary).
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Canticles of Holy Mary', 13th Century. Cricket is one of many games in the "club ball" sphere that basically involve hitting a ball with a hand-held implement; others include baseball (which shares many similarities with cricket, both belonging in the more specific bat-and-ball games category), golf, hockey, tennis, squash, badminton and table tennis.Major (2007), p. 17. In cricket's case, a key difference is the existence of a solid target structure, the wicket (originally, it is thought, a "wicket gate" through which sheep were herded), that the batsman must defend.Barclays (1986), p. 1.
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Facsimile of the Dagulf Psalter showing painted initial folio (left), and golden script (right). The Dagulf Psalter is a late 8th-century Carolingian manuscript, and is one of the earliest examples of a codex emanating from the Court School of Charlemagne. The 161 page codex is written entirely in golden Carolingian minuscule script, and contains the Old Testament Psalms as well as a selection of Frankish Canticles. The Psalter is believed to have been created by the scribe Dagulf in 793-795 CE as a gift from Charlemagne to Pope Adrian I.
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Canticles of Holy Mary', 13th Century. A number of folk games in early Britain and continental Europe had characteristics that can be seen in modern baseball (as well as in cricket and rounders). Many of these early games involved a ball that was thrown at a target while an opposing player defended the target by attempting to hit the ball away. If the batter successfully hit the ball, he could attempt to score points by running between bases while fielders would attempt to catch or retrieve the ball and put the runner out.
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Lang returned to Clifton as assistant music master in 1921. His works from this period include the secular cantata Lochinvar (Op. 7, 1927), Two Hundred Tunes for Sight-Singing (1928) based on his teaching experience, and a variety of arrangements and new works created so the entire school congregation could join the choir and organ in psalms and canticles. In 1929 he was appointed Director of Music at Christ's Hospital school in Horsham, West Sussex, to where the choristers of Westminster Abbey were briefly evacuated during the Second World War.
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The bride of the Canticles is assumed to have been black due to a passage in Song of Songs 1:5, which the Revised Standard Version (1952) translates as "I am very dark, but comely", as does Jerome (Latin: Nigra sum, sed formosa), while the New Revised Standard Version (1989) has "I am black and beautiful", as the Septuagint (). One legend has it that the Queen of Sheba brought Solomon the same gifts that the Magi later gave to Christ. During the Middle Ages, Christians sometimes identified the queen of Sheba with the sibyl Sabba.
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He is best remembered for his short passion cantata, The last Supper (1930), which sets texts from the gospels of Matthew and John and hymns by St Thomas Aquinas, Charles Wesley and Johann Franck. Thiman's list of published works numbers about 1,300. These include a large number of part songs (many for SS or SSA and piano, but also many for SATB) and many anthems and carols. Most of his church music was written for the non-conformist churches, but he also wrote anthems and canticles for Church of England choirs.
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Visitation), Unionskirche, Idstein The Magnificat or Song of Mary is one of the three New Testament canticles, the others being Nunc dimittis and Benedictus. Mary sings the song on the occasion of her visit to Elizabeth, as narrated in the Gospel of Luke (). Magnificat, a regular part in Catholic vesper services, was also used in the Lutheran church, in vespers and for Marian feasts. Schütz set the Magnificat text once in Latin and five times in German, Meine Seele erhebt den Herren (My soul magnifies the Lord), also called German Magnificat.
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He set the traditional liturgical Anglican texts in English, as part of his efforts to improve singing at the College Chapel. The Jubilate Deo (Psalm 100) and Te Deum in B were first performed during Matins (Morning service) on 25 May 1879. On 24 August that year, during vacation, the Te Deum was repeated with the first performance of the Benedictus, while the Magnificat and the Nunc dimittis were first performed in the evening service. The Service in B was a significant development in Stanford's setting of the morning and evening canticles.
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15; Canticles Rabbah i. 9). In the passages of the Talmud that describe the heavens and their inhabitants, the seraphim, ofannim, and living creatures are mentioned, but not the cherubim (Ḥag. 12b); and the ancient liturgy also mentions only these three classes. In the Talmud, Jose the Galilean holdsBerakhot 49b that when the Birkat Hamazon (grace after meals) is recited by at least ten thousand seated at one meal, a special blessing, "Blessed is Ha-Shem our God, the God of Israel, who dwells between the Cherubim," is added to the regular liturgy.
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The overriding theme of Lange's existential concerns was 'extremity' and the 'cycle' of death. In order to form of the poetry Lange connect to contradictory points of impressionism, romantic sentimentality and experimentary theories of Stéphane Mallarmé. Lange was fond of rare poetic forms: acrostics, dactyls, pantoums, praeludiums, scherzos, canticles and triolets. He was also the author of many pastorals concerning the metaphysical side of village life; historiosophical songs inspired by the philosophy of Juliusz Słowacki; and exotic genesis mythologies from all over the world (from Mexico to Japan).
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Kings and other leaders of the people were customarily acclaimed in songs and fanfares, and very elaborate musical services in the Temple, described in the Bible, were important parts of worship. There are, for instance, descriptions in the Bible of an orchestra consisting of nine lutes, two harps, and a cymbal. In other parts there are accounts of all-women choirs combined with singing and dancing to the men's percussion accompaniment. Werner adds that the choir's repertoire consisted of psalms, canticles, and other poetic passages from Scripture, although it may have contained some noncanonical texts.
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In token of his, every three years the abbess would send to Rome a white horse draped with a purple cloth.Hare, Augustus J.C., North-eastern France, 1890 At the time of Rudolph of Habsburg (1290), the abbess was raised to the status of Imperial Princess. On Whit Monday the neighboring parishes paid homage to the collegiate chapter in a ceremony called the Kyriolés (canticles in the vernacular). On their accession, the Dukes of Lorraine became de facto suzerains of the abbey and had to come to Remiremont to swear to continue their protection.
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Jerome's translated texts had to make their way on their own merits. The Old Latin versions continued to be copied and used alongside the Vulgate versions. Jerome's earlier translations of selected Old Testament books from the Hexaplar Septuagint also continued in circulation for several centuries. Commentators such as Isidore of Seville and Gregory the Great (Pope from 590 to 604) recognised the superiority of the new version and promoted it in their works, but the old tended to continue in liturgical use, especially in the Psalter and the biblical Canticles.
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Tasbeha (a transliteration of the Arabic word for "praise") is the Midnight Praise of the Coptic Orthodox Church. The Praise consists of various canticles directly from the Holy Bible, known in the Coptic Language as a "Hoos", as well as other praises that vary by day of the week. As its name suggests, the Midnight Praise typically happens late at night, preceding a liturgy in the morning. Outside the monasteries, this usually only happens on Saturday night followed by the Sunday liturgy, and often happens in the evening though not necessarily at midnight.
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His first poems were published in 1529 in a collection called Vandoperani, campani, epigrammata, which contained a mixture of epigrams, canticles, dialogues, and epistles. He followed up this initial work in 1533 with the first edition of Nugae (Bagatelles), for which incurred the wrath of religious authorities. In particular, in the epigram In lauduem Dei optimi maximi, Bourbon seemingly showed himself to be favorable to religious reform. It is also claimed that this work contains subtle criticisms of Noël Béda, a noted theologian and ideological opponent of humanist thinkers.
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The final stage was the Unitio (theosis in Greek), a period in which the soul of the monk was meant to bond with the Spirit of God in a union often described as the marriage of the Song of Solomon (also called the "Song of Songs" or the "Canticle of Canticles"). To find the solitude and peace that this level of mystical awareness demanded, elderly monks often fled into the deep desert or into remote forests. His asceticism, while rigorous, was tempered by common sense. Cassian says hospitality should override ascetical routine.
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Most modern day Presbyterians do not strictly sing Psalms as some once did. John Calvin in Geneva used biblical psalms almost exclusively in the Genevan Psalter, though it contained some gospel canticles and catechetical songs. This psalter was to become a prototype for Reformed worship, but Calvin did not have any objection to the use of original hymns in other churches, and he did not appeal to scripture in his preface to the psalter justifying his preference for the Psalms.[1]:42, 45 Other Presbyterian denominations hold exclusively to the psalms in metre.
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Like in normal tute after each play, the winning player after placing in the baza the two cards, will take from the deck a card and the loser the next one. The worth of cards is the same. The players can't chant tute and the rest of Canticles can be made any moment of the hand (except when only two cards left in the deck). If the player has a seven of the trump suit, and the card is bigger, this card can be exchanged with the seven.
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Following the challenge made at the Deanery tea, other settings followed: the for Mattins in 1944, and in 1945 he completed the and for Choral evensong. He revisited the music in 1956 for his setting of the Office of the Holy Communion (Collegium Regale). Praising the Collegium Regale settings, Paul Spicer, a pupil of Howells, has stated that "one guinea kickstarted music for the Anglican Church into a whole new phase of existence". Howells's Collegium Regale evening canticles are among his best-known works and noted for their use of choral voices.
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Methodists add a favorite hymn: 'Old Rugged Cross' to be included in new volume, New York Times, 30 April 1964, pg. 17. The hymnal has been described as a prescriptive as opposed to a descriptive hymnal, meaning that the hymns and liturgy were meant to shape and mold worship and prescribe what is sung and done. It contains most, but not all, of the section in The Book of Worship for Church and Home titled Acts of Praise. Musical settings for parts of the Lord's Supper, the worship service and for the canticles were included.
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Between the recited psalms and canticles troparia were recited according to the same more or less elaborated psalmody. This context relates antiphonal chant genres including antiphona (kind of introits), trisagion and its substitutes, prokeimenon, allelouiarion, the later cherubikon and its substitutes, the koinonikon cycles as they were created during the 9th century. In most of the cases they were simply troparia and their repetitions or segments were given by the antiphonon, whether it was sung or not, its three sections of the psalmodic recitation were separated by the troparion.
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Wood won an organ scholarship to the University of Cambridge where he became the organist at Caius and, later, a fellow of the college, having graduated with a doctorate in music. He set the combination of Magnificat and Nunc dimittis several times for the Evening Prayer of the Anglican Church, taking the words from the Book of Common Prayer. Evensong is a traditional daily service combining elements of vespers and compline. Wood's setting in D is his earliest, and has been regarded as his most popular version of the canticles.
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394-395, Cerf, 2007. Hillel's works, in addition to the Tagmule ha-Nefesh, include: a commentary to Maimonides' 25 Propositions (Haḳdamot), printed together with the Tagmule ha-Nefesh; a revision of the Liber de Causis, short extracts of which are given in Halberstam's edition of Tagmule ha-Nefesh; Sefer ha-Darbon, on the Haggadah; a philosophical explanation of Canticles, quoted in Tagmule ha-Nefesh; Chirurgia Burni ex Latina in Hebræam Translata (De Rossi MS. No. 1281); and two letters to Maestro Gajo, printed in Ḥemdah Genuzah (1856), pp. 17–22, and in Ṭa'am Zeḳenim, p. 70\.
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He made no secret that he supported the Catholic-leaning Christian Democratic Party but his personality ensured that he was forgiven by the rival communists. Tim Hilton wrote: "Bartali was a genuinely religious man, making his devotions public and, in return, becoming the Vatican's favourite sportsman – he was personally blessed by three popes. He would set up shrines in his hotel bedrooms when he rode the Giro and the Tour de France, and, on some mountains, children from summer camps sang canticles as he pedalled past, a priest conducting their infant worship." Bartali was frequently pessimistic.
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At the beginning of the service, the hangings and vestments are still black. The service is much longer than usual, and includes 15 Old Testament readings recounting the history of salvation, including two canticles, the Song of Moses and of the Three Holy Children, and showing types of the death and resurrection of Jesus. Many parts of the liturgy which are normally chanted in front of the Holy Doors are instead done in front of the epitaphios. Just before the Gospel reading, the hangings and vestments are changed to white, and the entire atmosphere of the service is transformed from sorrow to joy.
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The Bronze Canticles is a series of fantasy novels written by Tracy and Laura Hickman, comprising to date Mystic Warrior (2004), Mystic Quest (2005), and Mystic Empire (2006). The series is set across three worlds: Aerbon, World of the Dragonkings: For more than four centuries, humanity has worshipped five immortal Dragonkings as gods. But even gods have secrets, and when a lowly blacksmith is taken from his home in a yearly sacrifice, he sets of a chain of events set to unveil them all. Sine'shai, World of the Faery: The Faeries are the highest order of life, of that there is no doubt.
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In the case of certain separate books, Hesychius has inaugurated an original stichic division of the Sacred Text—for the "citizen of the Holy City" (hagiopolites) cited in the oldest manuscripts of catenae of the Psalms, and the Canticles, is none other than Hesychius of Jerusalem. It was discovered by Giovanni Mercati that in some manuscripts the initial letter of each division according to Hesychius is indicated in colour. Hesychius must have been generally known as an authority, for he is quoted simply as Hagiopolites, or, elsewhere, by the equally laconic expression "him of Jerusalem" (tou Hierosolymon).
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MacRobert 1994, pp. 111–113Jagić 1906, p. LXXI Beside the Psalms, the manuscript also contains the canticles and the Akathist to the Theotokos.Jagić 1906, pp. XLl–XLlV It is illustrated with 148 miniatures, which often occupy whole pages, and is regarded as the most extensively illuminated Serbian manuscript book.Radojčić 1963, pp. 281–85 It has 229 paper leaves in the quarto format, now measuring 28 by 19.7 centimetres. The text columns measure 19 by 12 centimetres and the usual height of the letters is 4 to 5 millimetres; the columns written in such letters consist of 21 lines or, exceptionally, 22 lines.
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Ambrosian liturgy of the hours in latin: Introduction Its structure is similar to that of the Roman Liturgy of the Hours, with variations such as having on Sundays three canticles, on Saturdays a canticle and two psalms, in place of the three psalms of the other days in the Ambrosian Rite and of every day in the Roman Rite.Ambrosian Liturgy of the Hours in latin: chapter II, IV. De Officio Lectionis In the Mozarabic liturgy, on the contrary, Matins is a system of antiphons, collects, and versicles which make them quite a departure from the Roman system.
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The original text of the Hunterian Psalter, all written in the same hand, consists of the 150 psalms from Jerome's Versio Gallicana revision of the Vulgate Bible, Biblical canticles and liturgical texts, and numerous illustrations, over more than two hundred pages of heavy vellum. One leaf is missing, probably removed for its illuminated initial. The final thirteen folios contain later additions to the text, prayers likely from the late 13th century. These prayers were written for a female reader, but the singular feminine Latin endings were first overwritten with singular masculine endings, and then still later, plural masculine ones.
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Jackson's extensive output of sacred and secular music includes canticles, anthems, hymn tunes (including the widely sung "East Acklam"), organ sonatas and other organ pieces such as "Diversion for Mixtures", two acclaimed monodramas – Daniel in Babylon and A Time of Fire, an overture, Brigantia, a concerto, a symphony, and solo songs. Jackson's creative output has continued since his retirement. Jackson is also the author of a biography of his teacher, mentor and predecessor, Sir Edward Bairstow, entitled Blessed City: The Life and Works of Sir Edward C. Bairstow. His autobiography, Music For A Long While, was published in 2013.
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The piece consists of nine short movements: Joseph N. Straus has discussed in detail Stravinsky's particular application of serial technique in the work, and his devising and use of a system of "rotational arrays" and "four-part arrays" in composing the work. David Smyth has noted Stravinsky's incorporation of the "B-A-C-H" (B-A-C-B) motif in the work. Requiem Canticles is characteristic of Stravinsky's twelve-tone practice in that he preferred the inverse-retrograde (IR) to the typical retrograde-inverse (RI): Basic row forms from Stravinsky's Requiem Canticles:Whittall, Arnold. 2008. The Cambridge Introduction to Serialism.
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The absence of an Ordinary of the Mass is, therefore, of less importance than it would be in, for instance, the Roman Mass or the Ambrosian Mass. Thus the fixed parts of the service would only be: (a) the three Canticles, (b) the Ajus and Sanctus, etc., at the Gospel, (c) the Prex, (d) the Dismissal, (e) the priest's prayers at the Offertory, (f) the Great Intercession, (g) the Pax formula, (h) the Sursum corda dialogue, (i) the Sanctus, (j) the Recital of the Institution, (k) the Lord's Prayer. Possibly fixed would be the Confractorium, Trecanum, and Communio.
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While the noblemen were holding a wake for him, there could be heard celestial canticles sung by angels. They recited the following text of the Book of Isaiah (which happens to be the same that was read by the Mozarabic priests during the Vigil of the Holy Saturday): This canticle was recited by Hezekiah, king of Judah, after his recovery from a serious illness. In these verses, the king regretted with distress his departure to sheol, the Jewish underworld, a shady place where he would not see God nor men any more. Church of Santa María del Naranco.
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Gardner's compendium is predicated on the poet's preoccupation with Time: I accept time absolutely.Whitman's "Song of Myself"; Canto 23 The 52 Cantos of Song of Myself and the 365 Clustered poems mirror each other—the singular Walt Whitman reflected in the multiples of the poet's year. The remaining 24 "Canticles" suggest Whitman's day: I see something of God each hour of the 24Whitman's "Song of Myself", Canto 48 and Duly the 24 hours appear in public each day Whitman's "Song of the Rolling Earth"; Canto 1, line 55—each hour reflective of God and appearing in public each day.
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The IACCS describes itself as conservative, having retained the use of the historic Book of Common Prayer, the Book of Common Praise 1938, and Anglican Chant for the Psalms and Canticles. It requires that all clergy subscribe to the Thirty-nine Articles of Religion. The church permits the ordination of both men and women as deacons, believing this to be consistent with the writings of St. Paul (Romans 16:1). The IACCS allows members to hold various views on the question of ordaining women to the priesthood; however, in practice ordination to priesthood and episcopate are reserved to men.
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Claims that some of Luther's hymns were based on bar tunes or drinking songs perhaps expounded from the use of popular tunes in his hymns, and from later musical terminology that referred to many of these hymns as being in bar form. However, there is no evidence that actual drinking songs were used as hymn tunes. In addition to hymns, Luther also composed German liturgical chants used in the Deutsche Messe (German mass) of 1526, as well as chant settings for various canticles, litanies, and a motet. Luther's most notable musical legacy is his development of hymnody in the vernacular German language.
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In the choral field he has composed 5 sets of Evening Canticles and 10 masses, including his Missa Sancta Pauli Apostoli, which won the liturgical section of the British Composer Awards 2006. Other masses include Missa Sancti Dunstani and Missa Sancta Beornwaldi. His large-scale music-theatre work, Danse macabre was premiered in Tallinn, Estonia in October 2011 in front of an audience of around 1,000 by the Estonian Philharmonic Chamber Choir and instrumentalists. His Violin Concerto received its premiere with Peter Sheppard Skærved as soloist at his 70th Birthday concert in London in April 2018, and has been recorded.
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Anglican church music became simpler in style, and services typically focused on morning and evening prayer. During the Restoration period, musical practices of the Baroque era found their way into Anglican worship, and stringed or brass instruments sometimes accompanied choirs. In the late 17th century, the composer Henry Purcell, who served as organist of both the Chapel Royal and Westminster Abbey, wrote many choral anthems and service settings. During the Georgian era, the music of George Frideric Handel was highly significant, with his repertoire of anthems, canticles and hymns, although he never held a church post.
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The first part is The Christian Year and consists of a one-year lectionary, collects, invocations and calls to worship for the various liturgical seasons along with prayers and special services for specific days of the calendar. The second part is General Aids and consists of various prayers, liturgies and table graces. The third section is titled Acts of Praise and consists of the Psalter and canticles. The fourth section is titled The Occasional Services of the Church and includes 18 services among which are laying of the cornerstone of a church, blessing of a dwelling, and recognition of officials in the church.
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Beldwin's copy includes some sections of the Te Deum and Benedictus from the Morning Canticles, given in score. Recent research suggests that it may have been composed somewhat earlier, for a copy in the York Minster part-books (York Minster MS 13/1-5) made by the singer John Todd about 1597-99 describes it as 'Mr Byrd's new sute of service for means'.see McCarthy pp.158ff. This suggests the possibility that the Great service may have been Byrd's next major compositional project after the three Latin mass settings, which were published between 1592 and 1595.
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Matthews describes the conclusion of the work as "a great wave of benediction [which] recalls the end of the Sinfonia da Requiem, and its similar ebbing away into the sea that symbolises both reconciliation and death." The same year, he composed A Hymn of St Columba for choir and organ, setting a poem by the 6th-century saint. Other works for voices and orchestra include the Missa Brevis and the Cantata academica (both 1959) on religious themes, and the late cantata Phaedra (1975), a story of fated love and death modelled on Handel's Italian cantatas. Smaller-scale works for accompanied voice include the five Canticles, composed between 1947 and 1974.
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This includes the east window of 1876, which depicts the Te Deum. This window was a memorial to Thomas Rowley, headmaster of Bridgnorth Grammar School. Other glass by Clayton and Bell is in the windows in the south aisle of 1874 depicting saints, in the tower of 1873 showing subjects relating to baptism, and in the north aisle of between 1879 and 1908 depicting historical figures of the Church of England. In the chancel, a window of 1873 in the north wall of 1873 is by William Done and shows the Good Samaritan, and in the south wall is a window of about 1847 by William Wailes which represents the Canticles.
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Modern processions of hooded Flagellants are still a feature of various Mediterranean Catholic countries, mainly in Spain, Italy and some former colonies, usually every year during Lent. They also occur in the Philippines during Holy Week. For example, in the commune of Guardia Sanframondi in Campania, Italy, such parades are organized once every seven years. In Italy, members of the Flagellant movement were called disciplinati, while laudesi never practiced flagellation, but met together in their own chapel to sing laudi (canticles) in honour of the Blessed Virgin, but which gradually assumed a dramatic form and grew into a theatrical form known as rappresentazioni sacre.
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An illustration from the E codex of the Cantigas de Santa Maria. The Cantigas de Santa Maria (, ; "Canticles of Holy Mary") are 420 poems with musical notation, written in the medieval Galician-Portuguese language during the reign of Alfonso X of Castile El Sabio (1221–1284) and often attributed to him. It is one of the largest collections of monophonic (solo) songs from the Middle Ages and is characterized by the mention of the Virgin Mary in every song, while every tenth song is a hymn. The Cantigas have survived in four manuscript codices: two at El Escorial, one at Madrid's National Library, and one in Florence, Italy.
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Hans Werner Henze's Das Floß der Medusa, written in 1968 as a requiem for Che Guevara, is properly speaking an oratorio; Henze's Requiem is instrumental but retains the traditional Latin titles for the movements. Igor Stravinsky's Requiem Canticles mixes instrumental movements with segments of the "Introit," "Dies irae," "Pie Jesu," and "Libera me." American composer Dan Forrest has written Requiem for the Living, a five-movement piece that follows the tradition of the requiem mass, but in a concert setting. Although the requiem is traditionally a piece to remember the deceased, this piece is for the living: the people on earth who struggle with sorrow and pain.
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At least ten scribes contributed to the texts, at least five of them contributing to the Old English text, and at least six artists, who may overlap with the scribes. It is difficult to tell many of these apart.PUEM, Karkov, 289, who has been followed where counts differ. It seems likely that Eadwine contributed to the scribing, but his hand cannot be confidently identified. However, at least according to T. A. Heslop, the bulk of the illumination, over 80% of the prefatory cycle and over 90% of the miniatures in the psalms and canticles, is by a single artist, who he calls the "Principal Illuminator".
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Nowadays Marco de Goeij lives in Bodegraven. He is active as a composer and arranger, having written pieces for carillon, guitar, cello, pipe organ and brass. His original compositions include Dialogue (1989) for saxophone and piano, Canticles, four songs for mourning (1996) and A Rainy Day with Carillons (1997) for carillon, and two works for brass trio titled Intrada (2007) and Jazz Impromptus (2012).YouTube video of a performance of Dialogue for saxophone and pianoShort bio at website of a music school in Bodegraven (in Dutch)Post about Marco de Goeij at Darker than Blue, a blog about Deep Purple and related topicsGronings beiaardboek vol.
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The General Assembly of the Church of Scotland added a chapter to the 1647 Westminster Directory for Worship on family prayer shortly after adoption. Matthew Henry also wrote on family worship in his A Method for Prayer, as well as a collection of psalms and canticles for family use called Family Hymns. James W. Alexander, son of Princeton theologian Archibald Alexander wrote Thoughts on Family Worship in the nineteenth century. The rise of pietism saw a decline in the importance placed on the unity of the family, and family devotions were by and large replaced with private devotions, which were significantly shorter than traditional family worship.
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Bryan Kelly (born 1934) is a composer whose compositions include evening canticles in C and A flat for Church of England evensong. His Magnificat and Nunc dimittis in C incorporate Latin American rhythms. His orchestral works include the Cuban Suite, the New Orleans Suite, an overture Provence, Divertissement, two Leicestershire Schools Symphony Orchestra commissions - the overture Sancho Panza (1969) and Sinfonia Concertante (1967) - and the Caliban and Ariel suite for double bass. He has also written the Whodunnit Suite for Trumpet and Piano which includes pieces of the titles: Poirot (Detective), Lavinia Lurex (Actress), Colonel Glib (Retired), Miss Slight (Spinster of This Parish), The Chief Suspect, and The Chase.
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Julian was an able and a learned man. Gennadius speaks of him as "vir acer ingenio, in divinis Scripturis doctus, Graeca et Latina lingua scholasticus". He was of high character, and especially distinguished for generous benevolence, and seems actuated throughout the controversy by a firm conviction that he was acting in the interests of what he held to be the Christian faith and of morality itself. Besides his works already mentioned, Bede speaks of his Opuscula on the Canticles, and among them of a "libellus" de Amore, and a "libellus" de Bono Constantiae, both of which he charges with Pelagianism, giving from each some extracts.
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Amongst Anglicans, the Gloria Patri is mainly used at the Daily Offices of Morning and Evening Prayer, to introduce and conclude the singing or recitation of psalms, and to conclude the canticles that lack their own concluding doxologies. Lutherans have historically added the Gloria Patri both after the chanting of the Responsorial Psalm and following the Nunc Dimittis during their Divine Service, as well as during Matins and Vespers in the Canonical hours. In Methodism, the Gloria Patri (usually in the traditional English form above) is frequently sung to conclude the "responsive reading" that takes the place of the Office Psalmody. The prayer is also frequently used in evangelical Presbyterian churches.
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Epiphanius undertook the translations into Latin of the Greek church histories of Socrates Scholasticus, Sozomen and Theodoret, written in the previous century. Epiphanius also translated the commentaries of Didymus on the Proverbs of Solomon and on the seven general epistles, as well as the commentaries of Epiphanius of Salamis upon Canticles. His Codex Encyclicus, compiled at the urging of Cassiodorus, collects and translates letters addressed by different synods to the Emperor Leo I in defence of the decrees of the Council of Chalcedon against the Monophysite Timotheus Aelurus. The list was drawn up in 458 by the order of Leo I, although Epiphanius made several additions to it.
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The Canon on a Russian Popular Tune (or "Canon for Concert Introduction or Encore") is an orchestral work by Igor Stravinsky composed in 1965. It is the composer's final completed score for orchestra and was composed in the summer of 1965 during work on his Requiem Canticles. Although originally intended as a valedictory tribute to Pierre Monteux, the published score makes no mention of this. The work is an elaborate canon based on the "Coronation Scene" theme from his ballet The Firebird, which was composed 55 years earlier, and is scored for an ensemble nearly identical to the 1919 suite extracted from that ballet.
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Marginalia: a fox carries a goose Marginalia in Gorleston Psalter The Gorleston Psalter is richly illustrated, with frequent illuminations, as well as many bas-de-page (bottom-of-the-page) illustrations or drolleries as marginalia. The bulk of the manuscript is taken up by the psalms (foll. 8r–190v), which is preceded by a calendar (1r–6v, with twelve roundels) and a prayer (7v), and followed by a canticles (190v–206r), an Athanasian creed (206r–208v), a litany (208v–214r), collects (214r–214v), an Office of the Dead (223v–225v), prayers (223v–225v), a hymn (225v–226r), and a litany (226r–228r). The prayer on fol.
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In addition to the Psalms, Crowley's psalter includes English versions of the canticles Benedictus, Magnificat, Nunc Dimittis, and Benedicite, as well as the Te Deum and the Quicumque Vult. These are the Cantica Prophetarium retained in the Book of Common Prayer from the Sarum psalter — key parts of the Divine Office. Crowley's lyrics are mainly based on Leo Jud's Biblia Sacrosancta, which was in turn a fresh translation from the Hebrew that maintained fidelity to its lyrical arrangement. Crowley rendered all the psalms in simple iambic fourteeners which conform to the single, short, four-part tune that is printed at the beginning of the psalter.
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The Cantigas de Santa Maria ("Canticles of St. Mary") are 420 poems with musical notation, written in Galician-Portuguese during the reign of Alfonso X El Sabio (1221–1284) and often attributed to him. It is one of the largest collections of monophonic (solo) songs from the Middle Ages and is characterized by the mention of the Virgin Mary in every song, while every tenth song is a hymn. The manuscripts have survived in four codices: two at El Escorial, one at Madrid's National Library, and one in Florence, Italy. Some have colored miniatures showing pairs of musicians playing a wide variety of instruments.
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Usually the Apostles' Creed is said congregationally following the readings and canticles, then Kyrie eleison. The Lord's Prayer is said or sung and then the precesIn modern use the term 'preces' is often used to refer to the opening responses, and 'responses' the part of the service after the creed, due to a misunderstanding of the name Preces and Responses, a common title for choral settings of both of these parts of the service. The historical usage of the term in liturgics, however, is to refer to the part of the service nearer the end. (also called suffrages) are said in a responsive pattern similar to that which opens the service.
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It would be out of question to enumerate here all the didactic treatises, all the lives of saints, all the treatises of popular theology and morals, all the books of devotion, all the pious canticles, composed in Occitan verse during the Middle Ages; still some of these poems may be singled out. Daude de Pradas (early 13th century), a canon of Maguelone, and at the same time a troubadour, has left a poem, the Auzels cassadors, which is one of the best sources for the study of falconry. Raimon d'Avignon, otherwise unknown, translated in verses, about the year 1200, Rogier of Parme's Surgery (Romania, x. 63 and 496).
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"Saint Felix of Cantalice", Capuchin Franciscans, Province of St. Mary Felix of Cantalice reviving a dead child, Guercino He preached in the street, rebuked corrupt politicians and officials, and exhorted young men to stop leading dissolute lives. He also composed simple teaching canticles, and arranged for children to gather in groups to sing them as a way to teach them the catechism. The plain-spoken Brother Felix was a good friend of St. Philip Neri and an acquaintance of Charles Borromeo."St. Felix of Cantalice", The Capuchin Franciscans, Province of Our Lady of Angels of the Portiuncula Felix developed a reputation as a healer.
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The text of the first service setting for the daily service of Mattins in the Anglican church consists of two pieces: the , an ancient Latin Christian hymn; and the a setting of Psalm 100. The setting of the evening canticles, part of the Anglican daily service of Evening Prayer, consists of the (Song of Mary) and (Song of Simeon). Mary sings the Magnificat ("My soul doth magnify the Lord") on the occasion of her visit to Elizabeth, as narrated in the Gospel of Luke (). Simeon sings the Nunc dimittis ("Lord, now lettest thou thy servant depart in peace") when Jesus is presented in the temple ().
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According to ideas developed by the Church Fathers, the literal meaning, or God-intended meaning of the words of the Bible, may be either figurative or non-figurative; for instance, in the Song of Songs (also called Canticles or Song of Solomon), the inspired meaning is always figurative. The typical meaning is the inspired meaning of words referring to persons, things, and actions of the Old Testament which are inspired types of persons, things, and actions of the New Testament. The early uses of allegory and tropology were very close. Later a clearer distinction was made between the allegorical mystical, and tropological moral, styles of interpretation.
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Around 1839, a choral revival took hold in England, partially fuelled by the Oxford Movement, which sought to revive Catholic liturgical practice in Anglican churches. Despite opposition from more Puritan-minded Anglicans, ancient practices such as intoning the versicles and responses and chanted Psalms were introduced. Composers active around this time included Samuel Sebastian Wesley and Charles Villiers Stanford. A number of grandiose settings of the Anglican morning and evening canticles for choir and organ were composed in the late 19th and early 20th century, including settings by Thomas Attwood Walmisley, Charles Wood, Thomas Tertius Noble, Basil Harwood and George Dyson, works which remain part of the Anglican choral repertoire today.
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Bertrand published three large books of chansons between 1576 and 1578, and, two years later, two books of sacred music (a third was published posthumously, in 1582). A total of 83 chansons and one Italian madrigal have survived of his secular music, and one chanson spirituelle, in French, 10 hymns in Latin, 14 canticles, and three Latin motets, of his sacred music . Most of his music is for four unaccompanied voices. He wrote in the preface to his first book of chansons (1576) that he intended to publish five or six books in total, including many pieces which he wrote much earlier in his life; this would seem to indicate that about half of his music has not survived .
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Before the 1911 reform, the multiplication of saints' festivals, with practically the same festal psalms, tended to repeat the about one-third of the Psalter, with a correspondingly rare recital of the remaining two-thirds. Following this reform, the entire Psalter is again generally recited each week, with the festal psalms restricted to only the highest-ranking feasts. As in the Greek usage and in the Benedictine, certain canticles like the Song of Moses (Exodus xv.), the Song of Hannah (1 Sam. ii.), the prayer of Habakkuk (iii.), the prayer of Hezekiah (Isaiah xxxviii.) and other similar Old Testament passages, and, from the New Testament, the Magnificat, the Benedictus and the Nunc dimittis, are admitted as psalms.
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Sanhedrin 68a Eliezer died on a Friday, and after the following Sabbath his remains were solemnly conveyed to Lydda, where he had formerly conducted his academy, and there he was buried. Many and earnest were the eulogies pronounced over his bier. R. Joshua is said to have kissed the stone on which Eliezer used to sit while instructing his pupils, and to have remarked, "This stone represents Sinai, and he who sat on it represented the Ark of the Covenant".Canticles Rabbah 1:3 R. Akiva applied to Eliezer the terms which Elisha had applied to Elijah, and which Joash subsequently applied to Elisha himself, "O my father, my father, the chariot of Israel, and the horsemen thereof".
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Of particular importance is a scene in which Mercury is sent to the realm of Mars. All three of these works (as well as Edmund Spenser's Faerie Queene) contain large tracts of allegorical figures that are housed in War's realm and which represent the various futilities of war and violence. Finally, one of the chief reasons that Statius is remembered today is because of the poet Dante Alighieri. Like Virgil, who is a character in the first two canticles of Dante's Divine Comedy, Statius, too, plays a large role in the Comedy: Dante and Virgil meet Statius in Purgatory, and he accompanies the two to the Earthly Paradise at the summit of the holy mountain.
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According to Durandus, the allusion to Christ's coming under the figure of the rising sun had also some influence on its adoption. It also features in various other liturgical offices, notably at a funeral, at the moment of interment, when words of thanksgiving for the Redemption are specially in place as an expression of Christian hope. It is one of the canticles in the Anglican service of Morning Prayer (or Matins) according to the Book of Common Prayer, where it is sung or said after the second (New Testament) lesson, unless Psalm 100 ("Jubilate Deo") is used instead. It may also be used as a canticle in the Lutheran service of Matins.
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From the late 11th century onwards they became particularly widespread - Psalms were recited by the clergy at various points in the liturgy, so psalters were a key part of the liturgical equipment in major churches. Various different schemes existed for the arrangement of the Psalms into groups (see Latin Psalters). As well as the 150 Psalms, medieval psalters often included a calendar, a litany of saints, canticles from the Old and New Testaments, and other devotional texts. The selection of saints mentioned in the calendar and litany varied greatly and can often give clues as to the original ownership of the manuscript, since monasteries and private patrons alike would choose those saints that had particular significance for them.
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The Psalter's 161 folios are 19.2 x 12 cm sheets of parchment, and are lavishly ornamented in golden Carolingian script throughout. The book begins with a pair of dedicatory poems addressed to Pope Adrian I, with the scribe, Dagulf, identifying themself as the creator in the second. Dagulf's complete inscription to Adrian, translated from the original Latin: The Psalter's "Beatus" folio It also contains three blue and purple pigmented initial leaves whose ornamental frames feature imitation gemstone paintings and interlace motifs. The psalter's Old Testament Psalms and Canticles are written twenty-three lines per page in golden script, and is devoid of any portraits, illuminations, or images that would later typify Carolingian manuscripts.
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In the Roman Rite, the Gloria Patri is frequently chanted or recited in the Liturgy of the Hours or Divine Office principally at the end of psalms and canticles and in the responsories. It also figures in the Introit of the pre-1970 form of Mass in the Roman Rite. It is restored to the Introit in the form of the Roman Rite published in Divine Worship: The Missal. The prayer also figures prominently in non-liturgical devotions, notably the rosary, where it is recited on the large beads (where also an "Our Father" is prayed) that separate the five sets of ten smaller beads, called decades, upon each of which a Hail Mary is prayed.
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As such, the apostles frequently incorporated verses from Psalms into their writings. for example is borrowed from and other psalms. Thus, due to this emphasis on prayer in the early church, lengthy passages of the New Testament are prayers or canticles (see also the Book of Odes), such as the Prayer for forgiveness (), the Lord's Prayer, the Magnificat (), the Benedictus (), Jesus' prayer to the one true God (), Praise be to the God and Father of our Lord Jesus Christ (), the Believers' Prayer (), may this cup be taken from me (), Pray that you will not fall into temptation (), Saint Stephen's Prayer (), Simon Magus' Prayer (), pray that we may be delivered from wicked and evil men (), Maranatha.
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7v, Suscipere dignare domine dues omnipotens hos psalmos quos ego indignus peccator, was added after the manuscript passed to Norwich Cathedral Priory, along with a miniature of the crucifixion on vol. 7r, as was the litany on foll. 226r–228r, similar to the litany in the Ormesby Psalter. There are thirteen large historiated initials, marking the beginning of Psalms 1, 26, 38, 51, 52, 68, 80, 97, 101, 109, 119, the beginning of Canticles, and the Office of the Dead (showing the funeral of a bishop), besides 145 historiated minor initials. The Beatus initial to Psalm 1 (a B for beatus), shows the Tree of Jesse surrounded by a border showing the arms of England and France (fol. 8r).
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His first studies in composition were with Mark DeVoto at Reed College, after which he took his undergraduate degree at the University of York while studying with Sir Peter Maxwell Davies in London. He was a United States Peace Corps volunteer in Liberia, and also earned a master's degree at Northwestern University. He was known for both his music used in the Episcopal Church, and as an ethnographer and missionary in India. Giles wrote several settings for religious services in the Episcopal Church, including Service Music for St. Mary's,Standing Commission on Liturgy and Music, Episcopal Church, Enriching Our Music 1: Canticles and Settings for the Eucharist (Volume 1 of Enriching Our Music, Episcopal Church).
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Among other productions, he worked with Robert Wilson during for De Materie by Louis Andriessen, and with Oliver Knussen during the rehearsals of "Die Glückliche Hand", by Arnold Schönberg. As a pianist he took part in many of the concerts organized by the Gaudeamus and "The Unanswered Question" foundations. In 1989, being invited by the dance group Dansproductie of Amsterdam, he performed music by John Cage for prepared piano in many Dutch cities as well as in London, Mulhouse and Ghent. In 1994, the ACARTE department of the Calouste Gulbenkian Foundation commissioned him with the composition of the chamber opera "Canticles for the remission of hunger", upon a libretto by the Portuguese writer Paulo Lages.
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In 986, Dunstan induced the king, by a donation of 100 pounds of silver, to stop his persecution of the See of Rochester. Dunstan's retirement at Canterbury consisted of long hours, both day and night, spent in private prayer, as well as his regular attendance at Mass and the daily office. He visited the shrines of St Augustine and St Æthelberht, and there are reports of a vision of angels who sang to him heavenly canticles. He worked to improve the spiritual and temporal well-being of his people, to build and restore churches, to establish schools, to judge suits, to defend widows and orphans, to promote peace, and to enforce respect for purity.
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The centre of his cult (and possibly of his activity) was Culross, which according to tradition, was founded by the saint. At Dunning, in Strathearn, he is said to have slain a dragon with his pastoral staff. "Finally, after many miracles, after divine virtues, after founding many churches, [Saint Serf], having given his peace to the brethren, yielded up his spirit in his cell at Dunning, on the first day of the Kalends of July; and his disciples and the people of the province take his body to Cuilenross [Culross], and there, with psalms and hymns and canticles, he was honourably buried."History of the Scottish Nation, volume 3,chapter 17 by J.D. Wylie.
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"While retaining its nocturnal character for those who wish to celebrate a vigil, [it] is now of such a nature that it can be said at any time during the day".Apostolic Constitution Laudis canticum, "the principles which underlie this new form of the Liturgy of the Hours", 2. The Catholic Church has thus restored to the word "vigil" the meaning it had in early Christianity. For those who wish to extend, in accordance with tradition, the celebration of the vigil of Sundays, solemnities and feasts, Appendix I in the book of the Liturgy of the Hours indicates for each three Old Testament canticles and a Gospel reading for optional insertion after the regular readings.
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It set out in full the Epistle and Gospel readings for the Sunday Communion Service. Set Old Testament and New Testament readings for daily prayer were specified in tabular format as were the set Psalms; and canticles, mostly biblical, that were provided to be sung between the readings.Careless, Sue, Discovering the Book of Common Prayer: A hands-on approach (Volume 1:Daily Prayer), Toronto: Anglican Book Center Publishing, Numerous editions have followed, and currently throughout the Anglican Communion, various Books of Common Prayer are published by the different Anglican provinces. Other official books are published by the member churches for the official use of their churches, such as the Lectionary, Book of Occasional Services, etc.
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As detailed above, the Biblical canticles are now rarely used, each ode beginning with the irmos, save for the ninth ode where the Magnificat, which forms half of its canticle, is sung in its entirety before the irmos, except on certain major feasts when that ode has a special structure. Following the irmos, each troparion has a brief refrain, determined by the subject matter of the canon, replacing the verse of canticle. The total number of troparia is determined by local usage. Theoretically, each ode has fourteen (or occasionally sixteen), with some troparia repeated if the service books do not provide enough of them and some conjoined if there are too many.
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The oikos is a somewhat longer troparion, which follows after the kontakion and in concise style glorifies the virtues and merits of the subject of the feast which were treated in the kontakion. The apolytikion is a troparion which is proper to the day, and is said just before the dismissal. The ode was originally one of the nine inspired canticles sung in the morning Office, but later the name was also given to compositions consisting of a varying number of poetical troparia and modelled after the Scriptural odes. Such odes are often combined to form a canon (kanon) which is usually composed of nine, but sometimes of a smaller number of odes.
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In 1964 she appeared as Suzuki in Madama Butterfly at the Dallas Opera. In 1966 she was one of the soloists in the world premiere of Stravinsky's Requiem Canticles at the McCarter Theater in Princeton. In 1971 Bonazzi portrayed the Sorceress to Maureen Forrester's Dido in Dido and Aeneas at the Caramoor International Music Festival. She returned to Caramoor the following year to portray Arnalta in L'incoronazione di Poppea under the baton of Julius Rudel. In 1972 she created the title role in the world premiere of Thomas Pasatieri's Emmy Award winning opera, The Trial of Mary Lincoln which was commissioned by the National Educational Television network under the leadership of Peter Herman Adler.
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He erected an organ in the Claughton Music Hall and organized and conducted oratorio performances in aid of various church funds, training a large voluntary chorus and orchestra for the purpose. For psalms, whose verses are arranged in groups of three, he wrote what he called "triple chants", a form of composition later adopted by other church writers; he also composed canticles, kyries and other music for the services of the church. He became choirmaster and honorary organist of St John's Church, Birkenhead, doing similar work in connection with that institution. It was at this church and in connection with this organ that Hope-Jones did his first great work in connection with organ-building.
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The book was very variable in the degree to which it departed from the Book of Common Prayer. The Offices of Morning and Evening Prayer provided alternative canticles and all were now ecumenically approved translations, the so-called ICET texts (English Language Liturgical Consultation), but the form was conservative. In addition, a shorter order was provided for weekdays. There were two forms of the Holy Communion, Rite A and Rite B. Rite A allowed for the Confession to come at the beginning of the service, following Roman practice; it gave space for extempore prayers in the intercessions and introduced the rubric 'or other suitable words' which were to become normative in modern liturgical books, allowing as it did, a departure from the form set down.
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The Paris Psalter is a copy of the 150 Psalms of David, translated from the Hebrew into demotic Greek. The psalter is followed by the Canticles of the Old Testament, a further series of prayers. Both these texts were particularly well-suited for use by members of the laity in private devotional exercises. The popularity of this use of the psalter is reflected in the numerous extant luxury copies, often lavishly illuminated, made for royal and aristocratic patrons.Kurt Weitzmann, “The Ode Pictures of the Aristocratic Psalter Recension,” Dumbarton Oaks Papers 30 (1976): 67–84, here p. 73; and idem, “The Psalter Vatopedi 761: Its Place in the Aristocratic Psalter Recension,” Journal of the Walters Art Gallery 10 (1947): 21–51, here p. 47.
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The proprium de tempore or temporal contains the prayers for the liturgical year, according to the calendar ant starting with the Advent. The temporal specifies the prayers to be recited for the daily hours of the Divine Office: Matins, Lauds, Prime, Terce, Sext, None, Vespers and Compline. The prayers consist of psalms, antiphons, versicles, responses, hymns, readings from the Old and New Testaments, sermons of the Fathers and the like. The recurring prayers like the hymns, psalms and canticles are normally not repeated in the breviary but are identified by a reference to the section of the book where the prayer in question can be found, but in the Isabella Breviary the hymns were integrated in the temporal and the Sanctoral, the manuscript has no separate hymnarium.
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It also set out in full the "propers" (that is the parts of the service which varied week by week or, at times, daily throughout the Church's Year): the introits, collects, and epistle and gospel readings for the Sunday service of Holy Communion. Old Testament and New Testament readings for daily prayer were specified in tabular format as were the Psalms; and canticles, mostly biblical, that were provided to be said or sung between the readings. The 1549 book was soon succeeded by a more reformed revision in 1552 under the same editorial hand, that of Thomas Cranmer, Archbishop of Canterbury. It was used only for a few months, as after Edward VI's death in 1553, his half-sister Mary I restored Roman Catholic worship.
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As an ecclesiastical author, Verecundus is little known. His works, edited by J. B. Pitra (Spicilegium Solesmense, IV, Paris, 1858), comprise a collection of historical documents on the Council of Chalcedon, "Excerptiones de gestis Chalcedonensis Con cilii", of which we possess two recensions; an exegetical commentary in nine books upon the Canticles of the Old Testament,Commentarii super cantica ecclesiastica the poem Carmen de satisfactione ( "De satisfactione poenitentiae") in 212 hexameters ( in which exquisite thoughts are presented in a very incorrect form), and possibly another, the Carmen ad Flavium Felicem de resurrectione mortuorum et de iudicio domini.Isidore of Seville De viris illustribus 7 Verecundus also wrote excerpts of the proceedings of the Council of Chalcedon. Isidore of Seville (De vir. ill.
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The Book of CanticlesSchulz-Widmar, Russell (editorial board member), The Book of Canticles, Church Hymnal Corp, New York, New York El Himnario ProvisionalSchulz-Widmar, Russell (editorial board member), El Himnario Provisional, Church Hymnal Corp, New York, New York The Hymnal 1982Schulz-Widmar, Russell (chair of the hymn music committee). The Hymnal 1982, The Church Hymnal Corporation, New York, New York, 1985. \- The current hymnal in use by the Episcopal Church of the United States of America Hymnal Supplement IISchulz-Widmar, Russell (editorial board member), Hymnal Supplement II, Hope Publishing Co., Carol Stream. IL Hymns IIISchulz-Widmar, Russell (editorial board member), Hymns III, Church Hymnal Corp, New York, New York A New Hymnal for Colleges and SchoolsSchulz-Widmar, Russell (co-editor, with the Rt. Rev.
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The 1549 Canticles or Balades of Salomon, phraselyke declared in Englyshe Metres was printed by Baldwin from the types of Whitchurch. The 1559 Mirror for Magistrates was superintended by Baldwin, who also contributed four poems to the work. These contributions were: # The Story of Richard, Earl of Cambridge, being put to death at Southampton; # How Thomas Montague, Earl of Salisbury, in the midst of his glory was by chance slain by a Piece of Ordnance; # Story of William de la Pole, Duke of Suffolk, being punished for abusing his King and causing the Destruction of good Duke Humphrey; # The Story of Jack Cade naming himself Mortimer, and his Rebelling against the King. In the preface, Baldwin speaks of having been 'called to other trades of lyfe.
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This was however published in 1629 in the Latin script as a Dutch-Malay diglot. This was followed by a translation of the Gospel of Mark that was also published as a Dutch-Malay diglot in 1638 which also included translations of the Ten Commandments, the Benedictus, the Greater Doxology, the Magnificat, the Nunc dimittis, the Apostles Creed, the Lord's Prayer, and a few other liturgical prayers and canticles. This work was later published together with the translation of the Gospels of John and Luke that was done by a VOC clerk, Jan Van Hasel in 1646. Ruyl's translations were based on early Dutch translations of the Bible that were themselves based on translations of the Vulgate and Martin Luther's translation.
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Rule of St Benedict, 9–10 Since summer nights are shorter, from Easter to October a single passage from the Old Testament, recited by heart, took the place of the three readings used during the rest of the year.Rule of Saint Benedict, 10 On Sundays, the office was longer, and therefore began a little earlier. Each set of six psalms was followed by four readings instead of three after the first set and a single recitation by heart after the second set. Then three canticles taken from Old Testament books other than the Psalms were recited, followed by four readings from the New Testament, the singing of the Te Deum, and a reading by the abbot from the Gospels, after which another hymn was sung.
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Requiem Canticles is a ballet made by New York City Ballet co-founder and balletmaster George Balanchine to eponymous music from 1966 by Igor Stravinsky in memoriam Martin Luther King, Jr.NY Times review, Balanchine Presents His New Ballet as Tribute to Dr. King, May 3, 1968 It received a single performance on May 2, 1968, at the New York State Theater, Lincoln Center, conducted by Robert Irving with Margaret Wilson, contralto, and John Ostendorf, bass. Costumes and candelabra were by Rouben Ter-Arutunian and lighting by Ronald Bates, the corps de ballet in long white robes bearing a three-branched candelabra. A lone woman searches among them and at the end a figure in purple representing Martin Luther King, Jr., is raised aloft.
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After the death of his wife Edelmann left Rossein and lived for a short time in Tels (1867). Later he was employed successively in Mohilev and Königsberg. In his later days he was again in business for himself, first in Brest and then in Kovno, and at last settled in Warsaw, the home of his surviving children, where he died. Edelmann was the author of the following works: "Shoshannim," containing, besides some treatises on grammar and exegesis, a few poems, and a commentary on Canticles, Königsberg, 1860; "Ha-Mesillot," in three parts, of which the first treats of the Masoretic text of the Bible and of the changed readings occurring in the Bible quotations of the Talmud;the second is a quasi-critical commentary on Psalms lxviii.
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The council, assembled by Gundobad, king of Burgundy, began on the This began with a lesson from the Pentateuch, . Then psalms were sung and a lesson was read from the prophets (,), more psalms and a lesson from the Gospels, or , and a lesson from the Pauline epistles, . Agobard, in the 9th century, mentions that at Lyon there were no canticles except from the Psalms, no hymns written by poets, and no lessons except from Scripture. Mabillon says that though in his day Lyon agreed with Rome in many things, especially in the distribution of the Psalter, and admitted lessons from the Acts of the Saints, there were still no hymns except at Complin, and he mentions a similar rule as to hymns at Vienne.
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A choir rehearsing for choral Evensong in York Minster Since the services of Morning and Evening Prayer were introduced in the 16th century, their constituent parts have been set to music for choirs to sing. A rich musical tradition spanning these centuries has developed, with the canticles not only having been set by church music composers such as Herbert Howells and Charles Villiers Stanford, but also by well-known composers of classical music such as Henry Purcell, Felix Mendelssohn, Edward Elgar, and Arvo Pärt. Evening Prayer sung by a choir (usually called 'choral Evensong') is particularly common. In such choral services, all of the service from the opening responses to the anthem, except the lessons from the Bible, is usually sung or chanted.
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In 1570, Almosnino wrote a lengthy Hebrew commentary on the Biblical "Five scrolls"—the books of Canticles, Ruth, Lamentations, Ecclesiastes, and Esther—under the title Yede Mosheh ("The Hands of Moses"); also an exposition of the Talmudical treatise Abot "Ethics of the Fathers" called Pirkei Moshe, published at Salonica in 1563; and a collection of sermons delivered upon various occasions, particularly funeral orations, entitled Meammeẓ. Koah ("Reenforcing Strength.") These were published in Hebrew by his son Simon, the expense being defrayed by two other sons, Abraham and Absalom. Another Hebrew work by Almosnino was Tefillah le-Mosheh ("The Prayer of Moses"), an apologetic work on the Pentateuch, published at Salonica in 1563, and republished at Cracow in 1598 and 1805.
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Armenian liturgical manuscript, 13th century, Kilikia. The Armenian Liturgical Books are quite definitely drawn up, arranged, and authorized. They are the only other set among Eastern Churches whose arrangement can be compared to those of the Byzantines. There are eight official Armenian service-books: #the Directory, or Calendar, corresponding to the Byzantine Typikon, #the Manual of Mysteries of the Sacred Oblation (= a Euchologion), #the Book of Ordinations, often bound up with the former, #the Lectionary, #the Hymn-book (containing the variable hymns of the Liturgy), #the Book of Hours (containing the Divine Office and, generally, the deacon's part of the Liturgy), #the Book of Canticles (containing the hymns of the Office), #the Mashdotz, or Ritual (containing the rites of the sacraments).
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He was a clerical superior in the "Railway Guild of the Holy Cross", which promoted Christian faith amongst railway employees. His commitment to the task of ministering to railway families led to him becoming known as the "Rail men's Apostle". After his appointment to Aberdare, a town where Dissenters were strong, Jenkins organised choral services with psalms being sung to Anglican chants and the canticles to Gregorian chants. He worked with Nonconformists to promote local friendly societies and was sufficiently well-regarded to be presented in 1874 with a testimonial noting "his genial and affectionate regard for the hardworking and humbler classes of society" and his involvement with the South Wales Choral Union, which had won a national competition at The Crystal Palace in 1872.
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Examples of spatiality include more than seventy works by Giovanni Pierluigi da Palestrina (canticles, litanies, masses, Marian antiphons, psalm- and sequence-motets),Lewis Lockwood, Noel O’Regan, and Jessie Ann Owens, "Palestrina [Prenestino, etc.], Giovanni Pierluigi da [‘Giannetto’]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). the five-choir, forty- and sixty-voice Missa sopra Ecco sì beato giorno by Alessandro Striggio and the possibly related eight-choir, forty-voice motet Spem in alium by Thomas Tallis, as well as a number of other Italian—mainly Florentine—works dating between 1557 and 1601.Davitt Moroney, "Alessandro Striggio's Mass in Forty and Sixty Parts", Journal of the American Musicological Society 60, no.
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The Guild is organised into local chapters, each overseen by a secretary, who is a member of the Guild, and a chaplain, who is a priest and thus a 'priest associate' of the Guild. Chapters meet regularly: a typical gathering takes the form of a specially-tailored version of Evensong called the 'Guild Office': this consists largely of Psalms and Canticles sung antiphonally, culminating in the Magnificat (Song of Mary) and a brief reading from the Holy Bible. The Guild Office will often be followed by a short address and perhaps Benediction. When undertaking Guild activities, members dress in choir dress: typically a black cassock with a white surplice, but sometimes a white or coloured cassock-alb according to local usage.
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They also recorded music of Poulenc, and Janacek, for Hyperion, and Dallapiccola for Erato. Their 1990 Hyperion recording of Stravinsky’s Les Noces (performed in collaboration with the choir of the Institute of the Arts, Voronezh, Russia) was voted ‘best available recording’ in BBC Radio 3's 'Building a Library' in September 2000. They also collaborated with Oliver Knussen and the London Sinfonietta in a recording of Stravinsky’s The Flood and Requiem Canticles. In 1988, Wood helped devise a BBC Two documentary about Lili Boulanger – Whom the Gods Loved directed by Hilary Boulding. The film culminated in performances of the Pie Jesu as well as Boulanger’s monumental Du Fond de l’Abime with Linda Hirst, Martyn Hill, New London Chamber Choir and the London Sinfonietta.
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This work contained settings of the canticles for the new services of Morning (Venite, Te Deum, Benedictus) and Evening Prayer (Magnificat and Nunc Dimittis), as well as a setting of the Credo and short Responses to the Ten Commandments for the Holy Communion service. William Byrd (1543–1623), who was influenced by Parsons Parsons is especially noted for his choral motets, and he is recognised as a master of polyphonic writing for choirs with his skilled use of cantus firmus within his works. Notable works include his setting of Ave Maria, the anthem Deliver me from mine enemies, and some instrumental pieces. Eight of these works were included in the music manuscript known as the Dow Partbooks, and several his vocal works also feature in the Drexel and Peterhouse partbooks.
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Mary writing the Magnificat, by Marie Ellenrieder, 1833 Christians celebrate the conception of Jesus on 25 March and his birth on 25 December. (These dates are for the Western tradition, no one knows for certain when Jesus was born.) The Magnificat, based on Luke 1:46-55 is one of four well known Gospel canticles: the Benedictus and the Magnificat in the first chapter, and the Gloria in Excelsis and the Nunc dimittis in the second chapter of Luke, which are now an integral part of the Christian liturgical tradition. The Annunciation became an element of Marian devotions in Medieval times, and by the 13th century direct references to it were widespread in French lyrics.O'Sullivan, Daniel E., Marian devotion in thirteenth-century French lyric, 2005, , pp. 14–15.
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A complete commentary of Hesychius on the Canticles of the Old and New Testament, which are known to have constituted a distinct book in the early Christian Bible, is preserved in manuscript; any edition of this must be based on the Bodl. Miscell., 5, saec. 9. Another codex which would have been particularly valuable for this edition and for the solution of the Hesychius problem, the Turin manuscript B. VII. 30, saec. 8-9, has unfortunately been destroyed by fire. The Mechitarists of San Lazzaro have in their possession an Armenian commentary on Job over the name of Hesychius of Jerusalem, which was published with a French translation by Charles Mercier and Charles Renoux in 1983.Ch. Mercier - Ch. Renoux, Hésychius de Jérusalem, Homélies sur Job, Paris 1983 (Patrologia orientalis, 42, 1-2 = 190-191).
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St. Alban's Anglican Church in Copenhagen, Denmark, depicting the "Nunc dimittis" scene The Nunc Dimittis is the traditional 'Gospel Canticle' of Night Prayer (Compline), just as Benedictus and Magnificat are the traditional Gospel Canticles of Morning Prayer and Evening Prayer respectively. Hence the Nunc Dimittis is found in the liturgical night office of many western denominations, including Evening Prayer (or Evensong) in the Anglican Book of Common Prayer of 1662, Compline (A Late Evening Service) in the Anglican Book of Common Prayer of 1928, and the Night Prayer service in the Anglican Common Worship, as well as both the Roman Catholic and Lutheran service of Compline. In eastern tradition the canticle is found in Eastern Orthodox Vespers. One of the most well-known settings in England is a plainchant theme of Thomas Tallis.
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Here only a summary can be given of the contents of the codex, to which the name of "Antiphonary" will be found to be not very applicable: (1) six canticles; (2) twelve metrical hymns; (3) sixty- nine collects for use at the canonical hours; (4) special collects; (5) seventy anthems, or versicles; (6) the Creed; (7) the Pater Noster. The most famous item in the contents is the venerable Eucharistic hymn "Sancti venite Christi corpus sumite", which is not found in any other ancient text. It was sung at the Communion of the clergy and is headed, "Ymnum quando comonicarent sacerdotes". A text of the hymn from the old manuscripts of Bobbio, with a literal translation, is given in "Essays on the Discipline and Constitution of the Early Irish Church," (p.
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As already mentioned, a Gospel reading may optionally be added, preceded by vigil canticles, in order to celebrate a vigil. These are given in an appendix of the book of the Liturgy of the Hours.Liturgia Horarum iuxta ritum Romanum, editio typica altera, Libreria Editrice Vaticana, 2000 To those who find it seriously difficult, because of their advanced age or for reasons peculiar to them, to observe the revised Liturgy of the Hours Pope Paul VI gave permission to keep using the previous Roman Breviary either in whole or in part. In 2007 Pope Benedict XVI allowed all clergy of the Latin Church to fulfil their canonical obligations by using the 1961 Roman Breviary issued under Pope John XXIII (but not earlier editions such as that of Pius X or Pius V).Summorum Pontificum, art.
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Examples of this effort have included scenic and choreographed performances of Jersikas derība (an oratorio by Līga Celma), The Christmas Legend (a musical tale by Ēriks Ešenvalds), and The Canticles of the Holy Wind (a large-scale scenic meditation by John Luther Adams). The choir’s diversity was on full display in its 25-year anniversary concert in May 2015 at the Latvian National Opera. In three commissioned song cycles, the choir showed its skill as a nuanced a cappella ensemble (Ešenvalds’ In Bird’s Sleep), as a powerful stage group (Raimonds Tiguls’ Legend About Us), and as a splendid collaborator with a professional orchestra (Gabriel Jackson’s Spring Rounds). Other stage partners of Kamēr... have included Gidon Kremer, Marta Sudraba, the orchestra Kremerata Baltica, Nicolas Altstaedt, Peter Schreier, Yuri Bashmet, Julius Berger, Maxim Rysanov, and many more.
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88, n. 6. For example, the forms of the row from Requiem Canticles are as follows: P0: R0: I0: RI0: IR0: Note that IR is a transposition of RI, the pitch class between the last pitches of P and I above RI. Other compositions that include retrograde inversions in its rows include works by Tadeusz Baird and Karel Goeyvaerts. One work in particular by the latter composer, Nummer 2, employs retrograde of the recurring twelve-tone row B–F–F–E–G–A–E–D–A–B–D–C in the piano part.Herman Sabbe, Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode 1950–1975 (Ghent: Rijksuniversiteit te Gent, 1977): 55.
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Settings of the opening responses and the section from the Kyrie and Lord's Prayer up to the end of the collects are suitable for both Morning and Evening Prayer and are usually known by the title 'Preces and Responses'; settings of the canticles differ between the two services and, especially in the latter case, are usually called a "service" (i.e. 'Morning Service' and 'Evening Service'). Almost every Anglican composer of note has composed a setting of one or both components of the choral service at some point in their career. In addition, the freedom of choirs (and thus composers) to select music freely for the anthem after the collect has encouraged the composition of a large number of general religious choral works intended to be sung in this context.
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Even then, the psalms were never completely replaced by original hymns. During the Protestant Reformation, new church music was written in order to revive the practice of congregational singing, which had been replaced by the singing of monastic choirs in Latin. Martin Luther and leaders of the Reformed wing of the Reformation in Strasbourg, Constance, and elsewhere wrote music for psalm texts as well as original hymns, but John Calvin in Geneva used biblical psalms almost exclusively in the Genevan Psalter, though it contained some gospel canticles and catechetical songs. This psalter was to become a prototype for Reformed worship, but Calvin did not have any objection to the use of original hymns in other churches, and he did not appeal to scripture in his preface to the psalter justifying his preference for the Psalms.
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Howells knew Gloucester Cathedral's acoustics very well, as he was a pupil of Sir Herbert Brewer, the cathedral's organist. Howells used the resonant space for "fervent, majestic" doxologies concluding both canticles, but with a quiet and reflective close. Eric Milner-White, then Dean of York, is reported to have been "in inward tears for the rest of the day" after he first heard the Nunc dimittis. The composer's biographer, Christopher Palmer, described the Gloucester Service as being one of the three Howells canticle settings that "tower above the rest" (the others being Collegium Regale for King's College, Cambridge, and the St Paul's Service for St Paul's Cathedral) where the music "burns through the words' patina of familiarity into a dramatic and purposeful entity", while reflecting their "constantly varying nuances and inflections".
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Apart from sacred music sung mostly in choral evensong services, the choir also performs a wide range of music, including works by Toby Hession, Graham Ross, Sir John Tavener, Jonathan Dove, Herbert Howells, Tarik O'Regan, John Rutter, Giles Swayne (the college's former composer in residence) and James Whitbourn. The choir also performs with instrumental groups such as the European Union Baroque Orchestra and the Dmitri Ensemble. In January 2016 it gave the world première of Green Mass, composed by Alexander Raskatov, in the Royal Festival Hall along with the London Philharmonic Orchestra conducted by Vladimir Jurowski; and in March 2018, the world première of Clare Canticles, composed by Toby Hession. Being the Choir & Organ magazine's 2020 New Music partners, the choir will première six new commissions throughout the 2020 calendar year.
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Little of his work has survived, except the settings for four voices of the Souterliedekens, 150 Dutch Psalm Songs and canticles, possibly written by nobleman Willem van Zuylen van Nijevelt and published in 1540 with a notation of the melody for one voice. Mes's settings appeared in Antwerp in 1561 as the eighth up to the eleventh volume of the Musijck Boexkens, a collection of Dutch songs edited by Tielman Susato. In this series, Susato had already published Jacobus Clemens non-Papa's Psalm settings for three voices in 1556-57. As was already the case with the Dutch secular songs from Susato's Ierste and Tweetste Musijck Boexken (first and second Music Book), performance with human voices as well as with instruments is suggested in the edition of Mes's Psalm settings.
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While at Hull he met the poet Philip Larkin. Often regarded primarily as a light-music composer due to the large number of recordings of his light orchestral music, (such as the popular Kingston Sketches of 1969), such works in fact represent only a small portion of his overall output. His orchestral works include two symphonies, a Sinfonia Concertante, concertinos for flute, horn, trumpet, bassoon, and the Variations on a theme of Rameau. There are numerous pieces for chorus and orchestra, including Bridge for the Living, (for which Philip Larkin wrote the text), The Temple of Solomon (a Huddersfield Choral Society commission), The Lamp of Liberty, (commissioned by Hull Philharmonic Orchestra for the Wilberforce bicentennary), I Sing the Birth (Canticles for Christmas) together with a number of large-scale works for massed junior choirs and orchestra which have been widely performed.
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Since then Gellman has composed a wide variety of works, including Love's Garden, for Soprano and Orchestra ; Canticles of Saint Francis, for Choir and Orchestra, for the 150th anniversary of the Red Cross; a second Piano Concerto ; Burnt Offerings for String Orchestra; Musica Eterna, for String Quartet ; Red Shoes (for the S.M.C.Q. ); Chiaroscuro ; Album for Piano (published by Frederick Harris Co.) ; Sonata for Cello and Piano; the Jaya Overture (for the N.A.C.O.) and Fanfare for the New Millennium, among others. Gellman's Piano Quartet (commissioned by Radio Canada) received its world premiere on 3 April 2004 in Montreal, performed by Musica Camerata. His Viola Concerto received its world premiere on 29 January 2007 at the National Arts Centre in Ottawa. "Musings" for Piano Trio was premiered by the Gryphon Trio at The Ottawa International Chamber Music Festival, summer 2009.
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He was subsequently ordained to the diaconate, later becoming vicarius (minor canon). In 1615, he published a collection entitled Sacred Hymnes of 3, 4, 5 and 6 parts for the Voyces and Vyols, which represents most of his known works. His other works include Preces (both for five voices), four settings of the daily canticles, several simple four-part anthems, slightly more complex five-part anthems, and verse anthems. Roughly a dozen of these works were recorded in the 1990s, and many were performed by the choir of Ely Cathedral, including Blessed be the Lord God; Hear, O Lord; Have mercy; I will sing unto the Lord as long as I live; My Lord is hence removed and laid; O sing unto the Lord; O ye little flock; the Second Service (Cesar's) and Sing, O heavn's.
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Frederick Madden, Issues of the Exchequer: James I (London, 1836), p. 261. He was an eminent scholar in Greek; and he was asked to catalogue the Greek manuscripts of Giacomo Barocci, numbering around 250, that had been donated in 1629 to the Bodleian Library by their purchaser William Herbert, 3rd Earl of Pembroke. He was entrusted with the revision of the Codex Alexandrinus of the Septuagint. He made contributions to Brian Walton’s Polyglot Bible, in the annotations (Vol. VI). He was responsible for the editio princeps of Clement of Rome's two “Epistles to the Corinthians” (1633 and 1637) In 1637 he published a catena of the Greek Fathers on the Book of Job, attributed to Nicetas, and in 1639 a commentary on Canticles, based on that of Gilbert Foliot His book collection passed to Thomas Gale.
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Paul-Gordon Chandler’s acclaimed book on Kahlil Gibran, the best-selling Lebanese born poet-artist and author of The Prophet, is IN SEARCH OF A PROPHET: A Spiritual Journey with Kahlil Gibran (Rowman & Littlefield, 2017). He is also the author of a highly regarded book on Muslim-Christian relations titled Pilgrims of Christ on the Muslim Road: Exploring a New Path Between Two Faiths (Rowman & Littlefield) that focuses on what we can be learned from the life and thought of Mazhar Mallouhi, the well-known Syrian Arab novelist and “Sufi Muslim follower of Christ”. His first book was God’s Global Mosaic, What We Can Learn from Christians Around the World (InterVarsity Press/IVP, 2000). Chandler is also the author of Songs In Waiting: Spiritual Reflections on Christ's Birth...A Celebration of Middle Eastern Canticles (Morehouse Publishing, 2009).
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It draws on his own life as the son of sugar workers to portray a world lacking in freedom, but where the workers struggle to maintain their identity as Madrassis in their rice plots, their fishing expeditions and in the feasts and festivities their ancestors brought from India. The Caribbean Review of Books described the novel as "an intimate, clear-eyed portrait of Indo-Guyanese rural life", in which the author "channels the spirits of dignified misfits to dismantle the rigid hierarchies governing former plantation societies, all while honouring the polyglot traditions their descendants have elected to preserve.""Patois canticles", The Caribbean Review of Books, August 2015. In addition to Guyana Boy, he was the author of another novel, Old Thom's Harvest (1965), which focuses on religious and ethnic practices in the life of a rural family.
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This midrash is different from all the other aggadic midrashim, in that its interpretations approach the simple exegesis then in vogue, being brief and free from the prolixity found in the other midrashim, so that this work is in the form of a commentary rather than in that of a midrash. The interpretations follow immediately upon the words of the text, without the introductory formulas found in the other midrashim, "as Scripture says," or "Rabbi N. N. began" (the latter formula, however, occurs at the beginning of the midrash). The editor of the midrash drew upon the Mishnah, Tosefta, Mekhilta, Sifre, Pesikta de-Rav Kahana, Avot de-Rabbi Natan, Bereshit Rabbah, Vayikra Rabbah, Ecclesiastes Rabbah, Canticles Rabbah, and the Babylonian Talmud. But he does not seem to have known anything about the Jerusalem Talmud, since he does not quote from it.
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However, he switched to the London Philharmonic Choir in 1969, with which he remained until 1982, preparing choruses for many celebrated performances with Adrian Boult, Otto Klemperer, Leopold Stokowski, Colin Davis, Bernard Haitink, Karl Richter, Georg Solti, and Zubin Mehta. In 1962, Alldis founded the professional, 16-member John Alldis Choir, which launched itself with the world premiere of Alexander Goehr's A Little Cantata of Proverbs. Contemporary music figured importantly in its repertory, with first performances of works by Malcolm Williamson, Richard Rodney Bennett and Harrison Birtwistle, many of which were captured on the Argo label. In 1967, he prepared the John Alldis Choir for the first European performance of Stravinsky's Requiem Canticles, conducted by Pierre Boulez. The choir's 1972 recording of Justin Connolly's Verse, Op. 7b, was re-released in 2008 on the Lyrita label.
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Other question-and-answer texts in Old English include the much longer Solomon and Saturn. > The poem bears a certain affinity to one version of the Ioca monachorum, in > which the question is posed how many the Egyptians were who pursued the > Israelites, and the answer (1,800) depends on one knowing that where were > 600 chariots (Ex. 14.7) and three men in each (according to the canticles in > the Roman Psalter). One of the two damages places in the text, Trahern > suggests, may actually have provided the reader with the ability to divine > the correct answer by referring to three-man chariots.Robert D. Fulk, > Christopher M. Cain (eds), A History of Old English Literature, 2nd edn > (Chichester: Wiley, 2013), citing Joseph B. Trahern, 'The Ioca Monachorum > and the Old English Paraoh’, English Language Notes, 7 (1970-71), 165-68.
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Grbić 2008, pp. 225–26 The usage of the Raška orthography in the Goražde Psalter is comparable with that in the Crnojević Psalter published in Cetinje in 1495, though there are also notable differences between the two books. The former uses both yers, ъ and ь, as prescribed by the Resava school, while the latter uses only ь.Grbić 2008, pp. 258–63 The Goražde Psalter begins with an introduction occupying the first ten leaves, which is followed by the Psalms (folios 11r–137r), the Canticles (137v–149v), Horologion (150r–189r), Menologion (189v–265v), the Rules of Fasting (266r–303r), a text about the Catholics ("On Franks and Other Such Anathemas", 303r–304r), the Paraklesis and Akathist to the Theotokos (305r–326r), the Paraklesis to Saint Nicholas (326v–334v), the Service on Holy Saturday (334v–350v), three additional texts (350v–352v), and the colophon (352v).
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He also performed in the U.S. premiere of Thomas Adès' The Tempest at the Santa Fe Opera, conducted by Alan Gilbert, Handel's Giulio Cesare at the Theater an der Wien, conducted by René Jacobs, Monteverdi's L'Orfeo at the Berlin State Opera, conducted by René Jacobs, Handel's Semele at the Théâtre Royal de la Monnaie, conducted by Christophe Rousset, in Giovanni Andrea Bontempi's Il Paride at the Innsbruck Festival of Early Music, directed by Christina Pluhar. He has worked with Stefan Herheim, Jonathan Kent, Barrie Kosky and Christof Loy. Hansen's non-operatic engagements have included Carmina Burana with the Berlin Philharmonic, conducted by Sir Simon Rattle, Handel's Solomon, conducted by René Jacobs, Bach's St John Passion, performed with Les Musiciens du Louvre Grenoble conducted by Marc Minkowski, Handel's Parnasso in festa, Messiah and Giulio Cesare conducted by Andrea Marcon, Fabio Biondi and Emmanuelle Haïm, respectively, and Britten's Canticles, at the Wiener Konzerthaus.
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While exercising these functions he also studied the classics, and at the end of five years, in August, 1825, he entered the Society of Jesus. The thirty years of his Jesuit life were spent successively in the colleges of Saint-Acheul, Fribourg, Estavayer, Brugelette and Vaugirard (Paris). While occupied in teaching and directing music, he gave himself up more entirely to composition, with a view to enhance both the religious ceremonies and the academic entertainments in those newly founded colleges. His powers of composition were checked by the limited ability of his performers, his orchestra, like his chorus, being entirely recruited from the ranks of the students; nevertheless he provided new music for almost every occasion, producing in the course of time, besides his volumes of canticles, a large number of motets, short oratorios, masses and secular cantatas, mostly for four-part chorus and orchestra.
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Lutheran Worship includes orders for Holy Communion entitled Divine Service I (a revised and updated version of the old The Common Service liturgy of 1888, which influenced the further development of American Lutheran liturgies and was incorporated in The Common Service Book of 1917, adopted by the old United Lutheran Church in America, a predecessor of the LCA to 1962), Divine Service II (two settings, very similar to liturgies included in the LBW), and Divine Service III (a brief outline of a service based on Martin Luther's German Mass). It also includes orders for Matins, Vespers, and Compline, as well as services for Holy Baptism and Confirmation. There is also Morning Prayer, Evening Prayer, the Bidding Prayer, the Litany, the Lectionary, Luther's Small Catechism, Confession (Individual and Corporate), and a collection of Psalms. The bulk of the hymnal consists of 11 canticles and chants, 491 hymns, and 18 spiritual songs.
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It consists of six leaves and contains the canticles, "Cantemus Domino", "Benedicite", and "Te Deum", with collects to follow those and the Laudate psalms (cxlvii-cl) and the "Benedictus", the text of which is not given, two hymns with collects to follow them, and two other prayers. There are two Karlsruhe Fragments: four pages in an Irish hand of the late 8th or early 9th century in the Library of Karlsruhe contain parts of three masses, one of which is "pro captivis". The arrangement resembles that of the Bobbio Missal, in that the Epistles and Gospels seem to have preceded the other variables under the title of lectiones ad misam. Another four pages in an Irish hand probably of the 9th century contain fragments of masses and a variant of the intercessions inserted in the Intercession for the Living in the Stowe Missal and in Witzel's extracts from the Fulda Manuscript.
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Among such compositions may be listed Sergei Prokofiev's Symphony-Concerto, Dmitri Shostakovich's two cello concertos, Benjamin Britten's Cello-Symphony (which emphasizes, as its title suggests, the equal importance of soloist and orchestra), Henri Dutilleux' Tout un monde lointain..., Cristóbal Halffter's two cello concertos, Witold Lutosławski's cello concerto, Dmitry Kabalevsky's two cello concertos, Aram Khachaturian's Concerto-Rhapsody, Arvo Pärt's Pro et Contra, Alfred Schnittke, André Jolivet and Krzysztof Penderecki second cello concertos, Sofia Gubaidulina's Canticles of the Sun, Luciano Berio's Ritorno degli Snovidenia, Leonard Bernstein's Three Meditations, James MacMillan's cello concerto and Olivier Messiaen's Concert à quatre (a quadruple concerto for cello, piano, oboe, flute and orchestra). In addition, several important composers who were not directly influenced by Rostropovich wrote cello concertos: Samuel Barber, Elliott Carter, Carlos Chávez, Miguel del Aguila, Alexander Glazunov, Hans Werner Henze, Paul Hindemith, Arthur Honegger, Erich Wolfgang Korngold, György Ligeti, Bohuslav Martinů, Darius Milhaud, Nikolai Myaskovsky, Einojuhani Rautavaara, Joaquín Rodrigo, Toru Takemitsu, William Walton, Heitor Villa- Lobos, and Bernd Alois Zimmermann for instance.
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Following Varèse's example, a number of other important works for percussion ensemble were composed in the 1930s and 40s: Henry Cowell's Ostinato Pianissimo (1934) combines Latin American, European, and Asian percussion instruments; John Cage's First Construction (in Metal) (1939) employs differently pitched thunder sheets, brake drums, gongs, and a water gong; Carlos Chávez's Toccata for percussion instruments (1942) requires six performers to play a large number of European and Latin-American drums and other unpitched percussion together with a few tuned instruments such as xylophone, tubular chimes, and glockenspiel; Lou Harrison, in works such as the Canticles nos. 1 and 3 (1940 and 1942), Song of Queztalcoatl (1941), Suite for Percussion (1942), and—in collaboration with John Cage—Double Music (1941) explored the use of "found" instruments, such as brake drums, flowerpots, and metal pipes. In all of these works, elements such as timbre, texture, and rhythm take precedence over the usual Western concepts of harmony and melody.Miller and Hanson 2001; Holland and Page 2001.
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Leydekker's Malay translation open to the first page of Psalms (1733)The first systematic attempt to translate the Bible into Malay was by a Dutch trader of the Dutch East India Company (VOC), Albert Cornelius Ruyl, who finished his translation of the Gospel of Matthew in 1612. The translation was published in 1629 in Enkhuizen in the form of a Malay-Dutch diglot which also included translations of the Ten Commandments, the Benedictus, the Greater Doxology, the Magnificat, the Nunc dimittis, the Apostles Creed, the Lord's Prayer, and a few other liturgical prayers and canticles. This was followed by the publication of his translation of the Gospel of Mark together with his earlier translation of Matthew in a single volume in 1638. Contemporary translations of the Gospel of John and the Gospel of Luke was being done by a VOC officer named Jan Van Hasel while a translation of the Acts of the Apostles was being done by the chaplain of Batavia, Justus Heurnius.
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Antoine de Léris, Dictionnaire portatif historique et littéraire des théâtres, 2nd ed. 1763, s.v. "Pellegrin, (l'abbé Simon-Joseph)" Returning to France in 1703, he settled in Paris and composed his earliest poems, among them an Epître à Louis XIV, praising the Sun King's military successes, which gained the king's attention and the Académie française prize in 1704. Probably thanks to Madame de Maintenon, Pellegrin succeeded in escaping the urging of his superiors that he become more fully integrated with his order; instead a papal dispensation enabled him to enter the Cluniac order, whereupon he was at the service of various schools, such as Saint-Cyr, for which he provided numerous pious cantiques spirituelles, in which he translated psalms and canticles and set them to familiar tunes from the opera, at the same time that his services were retained for the theatres and the opera, which permitted an otherwise unknown poet Rémi the epigram: Antoine de LérisLéris, Dictionnaire portatif 1763, eo. loc.
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Accessed 2007-04-02. The position of Lazarus Saturday is summed up in the first sticheron chanted at vespers on Friday:The Orthodox Church follows the Jewish tradition of beginning the day at sunset; thus, Lazarus Saturday begins at Friday vespers. Having completed the forty days that bring profit to our soul, we beseech Thee in Thy love for man: Grant us also to behold the Holy Week of Thy Passion, that in it we may glorify Thy mighty acts and Thine ineffable dispensation for our sakes, singing with one mind: O Lord, glory to Thee. During Friday vespers the reading of Genesis (which began on the first day of Great Lent) is concluded with the description of the death, burial and mourning of Jacob () and on Friday night, at compline, a Canon on the Raising of Lazarus by Saint Andrew of Crete is sung; this is a rare full canon, having all nine canticles.
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In Honorem Sanctae Crucis, 13th century, Biblioteca Medicea Laurenziana, Florence Rabanus' works, many of which remained unpublished, comprise commentaries on scripture (Genesis to Judges, Ruth, Kings, Chronicles, Judith, Esther, Canticles, Proverbs, Wisdom, Sirach, Jeremiah, Lamentations, Ezekiel, Maccabees, Matthew, the Epistles of St Paul, including Hebrews); and various treatises relating to doctrinal and practical subjects, including more than one series of homilies. In De institutione clericorum he brought into prominence the views of Augustine and Gregory the Great as to the training which was requisite for a right discharge of the clerical function.Newly edited by Detlev Zimpel, see bibliography. One of his most popular and enduring works is a spectacular collection of poems centered on the cross, called De laudibus sanctae crucis or In honorem sanctae crucis, a set of highly sophisticated poems that present the cross (and, in the last poem, Rabanus himself kneeling before it) in word and image, even in numbers.
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In his writing he was generally contemptuous of Spanish composers, and lavish in his praise of Italians (which may partially account for the abuse heaped on him by Spanish critics). He discusses the previous theoretical treatises of Zarlino, Vicentino, Juan Bermudo and others; he describes in detail how a composer can achieve expressive intensity when writing masses, motets, madrigals, frottolas, canzonettas, canticles, hymns, psalms, lamentations, ricercares, tientos, strambotti, and other forms of the time. The compositional ideal which he maintained was the style of Palestrina, though curiously he maintained that the "rules" of counterpoint were made to be broken, and should be abandoned as soon as a composer had learned his craft: paradoxically, even in the 21st century, no style of composition is taught in a more rigorous, rule-based way than the polyphonic idiom of Palestrina. While the treatise shows that he possessed considerable compositional skill, no music by Cerone has survived and he is not known to have published any.
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Also in 1511, Schlick's son Arnolt the Younger pleaded to his father to publish at least some of his music; the father complied and published Tabulaturen etlicher lobgesang und lidlein uff die orgeln un lauten ("Tablatures of [Several] Canticles and Songs for Organ and Lute") the next year, a collection of organ and lute music. A few of the biographical details are found in the preface to the latter work (which consists of Arnolt the Younger's letter to his father) and Schlick's reply. Schlick writes, for instance, about his journey to the Low Countries, and about the row he had with Sebastian Virdung in either 1495 or 1509. Schlick apparently met Virdung in Worms in 1495 or 1509 and helped him in some way. Some years later, in his treatise Musica getutscht (1511) Virdung ridiculed Schlick's adherence to the view that the black keys should be considered musica ficta, and made rude remarks about the composer's blindness.
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Dyson's biographer Paul Spicer writes that of the composer's works only The Canterbury Pilgrims and two sets of evening canticles in D and F are performed with any frequency.Spicer, p. 1 Dyson himself chose to include the following works in his Who's Who entry: In Honour of the City, 1928; The Canterbury Pilgrims, 1931; St Paul's Voyage, 1933; The Blacksmiths, 1934; Nebuchadnezzar, 1935; Symphony, 1937; Quo Vadis, 1939; Violin Concerto, 1942; Concerto da Camera and Concerto da Chiesa for Strings, 1949; Concerto Leggiero for Piano and Strings, 1951; Sweet Thames Run Softly, 1954; Agincourt, 1955; Hierusalem, 1956; Let's go a-Maying, 1958; and A Christmas Garland, 1959. In addition to those mentioned by the composer, the Dyson Trust lists the following compositions as available as at 2017: A Spring Garland, Children's Suite for orchestra, Evening Service in C Minor, Evening Service in D, Morning Service in D, Prelude, Fantasy and Chaconne for cello and orchestra, Te Deum Laudamus, and Three Rhapsodies for string quartet.
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With his apostolic constitution Laudis canticum of 1 November 1970, Pope Paul VI announced his revision of the Latin-Church Liturgy of the Hours, involving among other things distribution of the psalms over a period of four weeks instead of the previous arrangement whereby they were said within a single week. In line with the decision of the Second Vatican Council that matins, while retaining its character of nocturnal praise should become a prayer for any hour of the day, that canonical hour was renamed the Office of Readings and to it were assigned two substantial readings, one from Scripture, the second from the Fathers of the Church or other writers, and only three psalms or portions of psalms. This contrasted strongly with the arrangement to which the Rule of Saint Benedict gave witness: twelve complete psalms, to which on Sundays three canticles were added. In the Benedictine system, the psalms and the readings were distributed among two or three nocturns.
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By the end of the seventh century with the reform of 692, the kontakion, Romanos' genre was overshadowed by a certain monastic type of homiletic hymn, the canon and its prominent role it played within the cathedral rite of the Patriarchate of Jerusalem. Essentially, the canon, as it is known since 8th century, is a hymnodic complex composed of nine odes that were originally related, at least in content, to the nine Biblical canticles and to which they were related by means of corresponding poetic allusion or textual quotation (see the section about the biblical odes). Out of the custom of canticle recitation, monastic reformers at Constantinople, Jerusalem and Mount Sinai developed a new homiletic genre whose verses in the complex ode meter were composed over a melodic model: the heirmos. During the 7th century kanons at the Patriarchate of Jerusalem still consisted of the two or three odes throughout the year cycle, and often combined different echoi.
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He worked on over 100 titles in his home country, including internationally recognised titles such as Bilans Kwartalny (1975), Spirala (1978), Constans (1980), Imperativ (1982), Rok Spokojnego Słońca (1984), and Życie za Życie (1991), plus several others in France and across other parts of Europe. He made his English-language debut with Francis Ford Coppola's adaptation of Dracula. His other English language features — Roman Polanski's trio Death and the Maiden (1994), The Ninth Gate (1999) and The Pianist (2002), and Jane Campion's The Portrait of a Lady (1996) — were typified by his trademark grinding basses and cellos, deeply romantic themes and minimalist chord progressions. In addition to his film work, Kilar continued to write and publish purely classical works, which have included a horn sonata, a piece for a wind quintet, several pieces for chamber orchestra and choir, the acclaimed Baltic Canticles, the epic Exodus (famous as the trailer music from Schindler's List and the main theme of Terrence Malick's Knight of Cups), a Concerto for Piano and Orchestra dedicated to Peter Jablonski, and his major work, the September Symphony (2003).
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Evidence as to the nature and origin of the Irish office is found in the Rule of St. Columbanus, which gives directions as to the number of psalms to be recited at each hour, in the Turin fragment and the Antiphonary of Bangor, which gives the text of canticles, hymns, collects, and antiphons, in the 8th century tract in Cott. MS. Nero A. II., which gives what was held in the 8th century to be the origin of the "Cursus Scottorum" (Cursus psalmorum and Synaxis are terms used for the Divine Office in the Rule of St. Columbanus) and in allusions in the Catalogus Sanctorum Hiberniae, which differentiates between the Cursus Gallorum, which it derives imaginatively from Ephesus and St. John, through St. Polycarp and St. Irenaeus, and this Cursus Scottorum which, according to this writer, probably an Irish monk in France, originated with St. Mark at Alexandria. With St. Mark it came to Italy. St. Gregory of Nazianzus, St. Basil, and the hermits St. Anthony, St. Paul, St. Macarius, St. John, and St. Malchus used it.
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In the Liturgy of the Hours of Pope Paul VI, the Te Deum is sung at the end of the Office of Readings on all Sundays except those of Lent, on all solemnities, on the octaves of Easter and Christmas, and on all feasts. A plenary indulgence is granted, under the usual conditions, to those who recite it in public on New Year's Eve. It is also used together with the standard canticles in Morning Prayer as prescribed in the Anglican Book of Common Prayer, as an option in Morning Prayer or Matins for Lutherans, and is retained by many churches of the Reformed tradition. The hymn is in regular use in the Catholic Church, Lutheran Church, Anglican Church and Methodist Church (mostly before the Homily) in the Office of Readings found in the Liturgy of the Hours, and in thanksgiving to God for a special blessing such as the election of a pope, the consecration of a bishop, the canonization of a saint, a religious profession, the publication of a treaty of peace, a royal coronation, etc.
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In 2015, The Syon Breviary of the Bridgettines was published for the first time in English (from Latin). This was done in celebration of the 600th anniversary of Syon Abbey, founded in 1415 by King Henry V. Following the Oxford Movement in the Anglican Communion, in 1916, the Anglican Breviary was published by the Frank Gavin Liturgical Foundation. In Lutheranism, the Diakonie Neuendettelsau religious institute uses a breviary unique to the order; For All the Saints: A Prayer Book for and by the Church, among many other breviaries such as The Daily Office: Matins and Vespers, Based on Traditional Liturgical Patterns, with Scripture Readings, Hymns, Canticles, Litanies, Collects, and the Psalter, Designed for Private Devotion or Group Worship, are popular in Lutheran usage as well. In Oriental Orthodox Christianity, the canonical hours of the Malankara Orthodox Syrian Church (Indian Orthodox Church) are contained within the Shehimo, called the Sh'imo in the Syriac Orthodox Church;Daily Prayer of the Syriac Orthodox Church (Sh'imo) – Aramaic the Coptic Orthodox Church of Alexandria has the Agpeya and the Armenian Apostolic Church has the Sharagnots or Zhamagirk.
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On August 6 of 1988, Paul Carter Harrison married his wife, Wanda Malone. Harrison's work as a playwright and theatre theorist has been published and produced in Europe and the United States, causing him to win awards for his work. His play, “Great Macdaddy” won an Obie Award and “Tabernacle” won the Audelco Award for Best Creative Musical. He also has written and edited many other plays, anthologies, and books that involved theatre and jazz performers. “The Drama of Nommo” is a book he wrote, which is a collection of essays that identified African retentions in the aesthetic of African American culture and has helped many directors in the Black Theatre practice. Harrison is known for coming up with terms such as “Nommo” and Mother/Word” as constructive references for Black Theatre. His most recent book, “Black Theatre: Ritual Performance in the African Diaspora”, was published in the Spring of 2002. His most current task was writing the libretto for "Doxology Opera: the Doxy Canticles", a full-length opera composed by Wendell Logan which was premiered in a concert version at the Chicago Museum of Contemporary Art in 2002.
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In February 2014 they performed Mozart's Requiem with the Northampton Bach Choir and the Royal Philharmonic Orchestra, and in December 2015 they performed a Christmas concert with the Northampton Symphony Orchestra, including the première performance of a number of carols by Dan Forrest, Jr., whose music has been championed by the choir. The Boys Choir in the quire The liturgical repertoire is wide and varied: Masses by Palestrina (Missa Brevis), Haydn (St Nicholas, Little Organ), Langlais (Messe solennelle, Missa in simplicitate, Missa Dona nobis pacem), Mozart (Coronation, Sparrow, in D, in F), Schubert (in G), and Vierne (Messe solennelle), sit alongside the more familiar 'Anglican repertoire' settings of Batten Short Service, Darke in a, E, and F, Jackson in G, Leighton in D, Stanford in C/F, and Merberke and other Plainsong-based settings. During the week, Evensong canticles sung are: Bairstow in E-flat, Caldecote in C, Dyson in c, Hurford in A, Long in F, Stanford in D, Thiman in G, Watson in E-flat, as well other Plainsong-based settings, in both English and Latin. All choristers have access to theory lessons and, if they wish, individual vocal tuition with a professional choral-singing teacher.
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Major works include the oratorio The Passion (1962), Symphony No.1 (1964) the Violin Concerto (1966), Songs of Old Age (1968), Symphony No.2 (1969), the oratorio Continuing Cities (1989), Symphony No.3 (1995), In My Childhood (1998) and Cello Requiem (2018) as well as his six operas. Chamber music includes two Piano sonatas, a Violin sonata, three String quartets and the Piano trio: Burnt Norton Sketches (1985) which were later orchestrated by Christopher Austin (1999). Song cycles include Spring 1948 (1956), The Pity of Love (1966), Songs of Old Age (1968), the orchestral song cycle In My Childhood (1998), Another Spring (2008) and The Coming (2010). Music for children and young people includes the opera Finn and the Black Hag (1959), Songs of Unity (1968) written for Methodist College, Belfast and several pieces written for youth orchestras including Ring of Light (2005), A Star Danced (2009) and Variations on a Gloucester Chime (2012). His shorter choral works include the cantata The Death of Orpheus (1953 revised 2009), the motet Salvator Mundi (1976), The Starlight Night (1990), the evening canticles written for Bristol Cathedral: The Bristol Service (1991) and Celtic Blessings (1996).
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These included: arguments against the Mosaic authorship of the Pentateuch; his views as to the manner in which the five books were composed; and his opinions on the subject of divine inspiration in general, in particular on the Book of Job, Book of Proverbs, Ecclesiastes, and Canticles. Simon's Réponse (1686) drew from Le Clerc a Defence des sentimens in the same year, which was followed by a new Réponse (1687). In 1692 appeared his Logica sive Ars Ratiocinandi, and also Ontologia et Pneumatologia; these, with the Physica sive de rebus corporeis (1696), are incorporated with the Opera Philosophica, which have passed through several editions. In his Logica, Le Clerc rewrites the Catholic Port-Royal Logique from a protestant Remonstrant perspective and supplements the Logique with analyses taken from Essay of his friend, John Locke. In turn, Charles Gildon published a partial and unattributed translation of Le Clerc's Logica as the treatise "Logic; or, The Art of Reasoning" in the second (1712) and subsequent editions of John Brightland's Grammar of the English Tongue. In 1728, Ephraim Chambers used Gildon's translation of Le Clerc's version of the Port-Royal Logique as one of his sources when he compiled his Cyclopaedia.
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Rob Aben and Saskia de Wit, The Enclosed Garden: History and Development of the Hortus Conclusus and its Re-Introduction into the Present-Day Urban Landscape (Rotterdam) 1999. A typological catalogue of design features and a design manual. Having roots in the Canticle of Canticles in the Hebrew scriptures, the term Hortus Conclusus has importantly been applied as an emblematic attribute and a title of the Virgin Mary in Medieval and Renaissance poetryStanley Stewart, The Enclosed Garden: The Tradition and Image in Seventeenth-Century Poetry (Madison: University of Wisconsin Press) 1966, discussed late sixteenth and seventeenth-century poetry in English; its four first chapters trace the hortus conclusus theme in European literatures and the visual arts. and art, first appearing in paintings and manuscript illuminations about 1330 Michelle P. Brown, "The World of the Luttrell Psalter" British Library 2006,Brian E. Daley, "The 'Closed Garden'and the 'Sealed Fountain': Song of Songs 4:12 in the Late Medieval Iconography of Mary", Elizabeth B. Macdougall, editor, Medieval Gardens, Dumbarton Oaks Colloquium 9) 1986, traced the sudden development about 1400 of painted images of the Virgin Mary in a hortus conclusus.
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The eighth miniature marks the beginning of the penitential Psalms; and the last 6, depicting Moses, Jonah, Hannah, Ezekiel and Hezekiah, introduce and illustrate the Canticles of the Old Testament. The subject of the miniatures is as follows: Moses Parting the Red Sea, fol.419v. 1v: David playing the harp with Melodia (μελωδία) seated beside him; 2v: David kills the lion assisted by Strength (ἰσχύς); 3v: The anointing of David by Samuel, with Lenity (πραότης) observing; 4v: David, accompanied by Power (δύναμις) slays Goliath, as Arrogance (ἀλαζόνεια) flees; 5v: Triumphant Return of David to Jerusalem; 6v: Coronation of David by Saul; 7v: David Stands with a psalter open to Psalm 71, flanked by Wisdom (σοφία) and Prophecy (προφητεία); 136v: Nathan Rebukes David concerning Bathsheba; the Penitence of David with Repentance (μετάνοια); 419v: Moses parting the Red Sea, with personifications of the desert, night, the abyss, and the Red Sea; 422v: Moses Receives the Tablets of the Law; 428v: Hannah thanks God for the birth of Samuel; 431v: Scenes from Jonah; 435v: Isaiah with Night (νύξ) and Dawn (ὄρθρος); 446v: King Hezekiah. Jean Porcher has assigned the full-page illuminations to five artists, or hands, attributing 6 miniatures to the lead artist, Hand A.
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