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Liturgical Music
Liturgical music originated as a part of religious ceremony, and includes a number of traditions, both ancient and modern. Liturgical music is well known as a part of Catholic Mass, the Anglican Holy Communion service (or Eucharist) and Evensong, the Lutheran Divine Service (Lutheran), Divine Service, the Eastern Orthodox Church, Orthodox liturgy, and other Christian services, including the Liturgy of the Hours, Divine Office. The qualities that create the distinctive character of liturgical music are based on the notion that liturgical music is conceived and composed according to the norms and needs of the various historic liturgy, liturgies of particular Religious denomination, denominations. Roman Catholic church music The interest taken by the Catholic Church in music is shown not only by practitioners, but also by numerous enactments and regulations calculated to foster music worthy of Divine service. Contemporary Catholic official church policy is expressed in the documen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Religious
Religion is a range of social- cultural systems, including designated behaviors and practices, morals, beliefs, worldviews, texts, sanctified places, prophecies, ethics, or organizations, that generally relate humanity to supernatural, transcendental, and spiritual elements—although there is no scholarly consensus over what precisely constitutes a religion. It is an essentially contested concept. Different religions may or may not contain various elements ranging from the divine, sacredness, faith,Tillich, P. (1957) ''Dynamics of faith''. Harper Perennial; (p. 1). and a supernatural being or beings. The origin of religious belief is an open question, with possible explanations including awareness of individual death, a sense of community, and dreams. Religions have sacred histories, narratives, and mythologies, preserved in oral traditions, sacred texts, symbols, and holy places, that may attempt to explain the origin of life, the universe, and other phe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musicam Sacram
''Musicam sacram'' is the title of an instruction on Roman Catholic sacred music issued by the Sacred Congregation of Rites on 5 March 1967 in conjunction with the Second Vatican Council. The instruction deals with the form and nature of worship music within the framework of ''Sacrosanctum concilium ''Sacrosanctum Concilium'', the Constitution on the Sacred Liturgy, is one of the constitutions of the Second Vatican Council. It was approved by the assembled bishops by a vote of 2,147 to 4 and promulgated by Pope Paul VI on 4 December 1963. T ...''. According to the document, it is not a collection of "all the legislation on sacred music; it only establishes the principal norms which seem to be more necessary for our own day." References Citations Bibliography * * 1967 documents 1967 in Christianity Christian liturgical music Documents of the Congregation for Divine Worship and the Discipline of the Sacraments Catholic liturgical law {{RC-document-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pius XII
Pope Pius XII (; born Eugenio Maria Giuseppe Giovanni Pacelli; 2 March 18769 October 1958) was the head of the Catholic Church and sovereign of the Vatican City State from 2 March 1939 until his death on 9 October 1958. He is the most recent pope to take the pontifical name "Pius". The papacy of Pius XII was long, even by modern standards; it lasted almost 20 years, and spanned a consequential fifth of the 20th century. Pius was a diplomat pope during the destruction wrought by the Second World War, the recovery and rebuilding which followed, the beginning of the Cold War, and the early building of a new international geopolitical order, which aimed to protect human rights and maintain global peace through the establishment of international rules and institutions (such as the United Nations). Born, raised, educated, ordained, and resident for most of his life in Rome, his work in the Roman Curia—as a priest, then bishop, then cardinal—was extensive. He served as secreta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motu Proprio
In law, (Latin for 'on his own impulse') describes an official act taken without a formal request from another party. Some jurisdictions use the term for the same concept. In Catholic canon law, it refers to a document issued by the pope on his own initiative and personally signed by him.Oxford Dictionary of the Christian Church (Oxford University Press 2005 ), s.v. motu proprio Such a document may be addressed to the whole church, to part of it, or to some individuals. The first papal was promulgated by Pope Innocent VIII in 1484. It continues to be a common form of papal rescript, especially when establishing institutions, making minor changes to law or procedure, and when granting favours to persons or institutions. Catholic Church Effect An important effect of issuing a document in this way is that a rescript containing the clause is valid and produces its effect even in cases where fraud would ordinarily have vitiated the document, since the pope does not rely o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gregorian Chant
Gregorian chant is the central tradition of Western plainsong, plainchant, a form of monophony, monophonic, unaccompanied sacred song in Latin (and occasionally Greek language, Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that he only ordered a compilation of melodies throughout the whole Christian world, after having instructed his emissaries in the Schola cantorum, where the Neume, neumatical notation was perfected, with the result of most of those melodies being a later Carolingian synthesis of the Old Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 mode (music), modes. Typical melodic features include a characteristic Ambitus (music), ambitus, and also characteristic intervallic patterns relat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Mode
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and Gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their medieval/modern counterparts. Previously, in the Middle Ages the term modus was used to describe intervals, individual notes, and rhythms (see ). Modal rhythm was an essential ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ecclesiastical
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Homophony
In music, homophony (;, Greek: ὁμόφωνος, ''homóphōnos'', from ὁμός, ''homós'', "same" and φωνή, ''phōnē'', "sound, tone") is a texture in which a primary part is supported by one or more additional strands that provide the harmony. One melody predominates while the other parts play either single notes or an elaborate accompaniment. This differentiation of roles contrasts with equal-voice polyphony (in which similar lines move with rhythmic and melodic independence to form an even texture) and monophony (in which all parts move in unison or octaves). Historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices. A homophonic texture may be homorhythmic, which means that all parts have the same rhythm. Chorale texture is another variant of homophony. The most common type of homophony is melody-dominated homophony, in which one voice, often the h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plain Chant
Plainsong or plainchant (calque from the French ; ) is a body of chants used in the liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of the Western Christian church music until the ninth century, and the introduction of polyphony. The monophonic chants of plainsong have a non-metric rhythm, which is generally considered freer than the metered rhythms of later Western music. They are also traditionally sung without musical accompaniment, though recent scholarship has unearthed a widespread custom of accompanied chant that transcended religious and geographical borders. There are three types of chant melodies that plainsongs fall into: syllabic, neumatic, and melismatic. The free flowing melismatic melody form of plainsong is still heard in Middle Eastern music being performed today. Although the Catholic Church and the Eastern Orthodox churches did not split unt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphonic Music
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice (monophony) or a texture with one dominant melodic voice accompanied by chords (homophony). Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and melodic contour. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: Counterpoint has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
