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List Of Magnificat Composers
The Magnificat, in Latin also ''canticum Beat(issim)ae Virginis Mariae'' (the song of the (most) Blessed Virgin Mary), is a common part of Christian worship, for instance traditionally included in vespers, evensong or matins. As such it is often sung and was set to music by various composers. History In Gregorian chant the Magnificat is sung according to the eight traditional psalm tones: * Tonus I (first tone): ''Magnificat primi toni'' * Tonus II (second tone): ''Magnificat secundi toni'' * Tonus III (third tone): ''Magnificat tertii toni'' * Tonus IV (fourth tone): ''Magnificat quarti toni'' * Tonus V (fifth tone): ''Magnificat quinti toni'' * Tonus VI (sixth tone): ''Magnificat sexti toni'' * Tonus VII (seventh tone): ''Magnificat septimi toni'' * Tonus VIII (eighth tone): ''Magnificat octavi toni'' Composers, or collections of compositions, referring to or using all eight of the traditional Gregorian psalm tone settings of the Magnificat include the Choirbook, D-Ju MS 20 (var ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magnificat
The Magnificat (Latin for "[My soul] magnifies [the Lord]") is a canticle, also known as the Song of Mary, the Canticle of Mary and, in the Eastern Christianity, Byzantine tradition, the Ode of the Theotokos (). It is traditionally incorporated into the liturgical services of the Catholic Church, the Eastern Orthodox churches, and the Anglican Communion. Its name comes from the incipit of the Latin version of the text. The text of the canticle is taken from the Gospel of Luke () where it is spoken by Mary, mother of Jesus, Mary upon the occasion of her Visitation (Christianity), Visitation to her cousin Elizabeth (biblical figure), Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her Faith in Christianity, faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat. The Magnificat is one of the eight most a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meine Seele Erhebt Den Herren
Meine Seele erhebt den Herren (My soul magnifies the Lord) is Martin Luther's translation of the Magnificat canticle. It is traditionally sung to a German variant of the , a rather exceptional psalm tone in Gregorian chant.Lundberg 2012 p. 7-17 The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode. For the traditional setting of Luther's German Magnificat that is the minor mode for which the last note of the melodic formula is the tonic, a fifth below its opening note. Traditional setting The tonus peregrinus is an exceptional psalm tone in Gregorian chant: there it was most clearly associated with Psalm 113, traditionally sung in vespers. In Lutheranism, the tonus peregrinus is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the tonus peregrinus. Typical for all German variants of the tonus peregrinus, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alternatim
Alternatim refers to a technique of liturgical musical performance, especially in relationship to the Organ Mass, but also to the Hymns, Magnificat and ''Salve regina'' traditionally incorporated into the Vespers and other liturgies of the Catholic Church. A specific part of the ordinary of the Mass (such as the Kyrie and the Gloria) would be divided into ''versets''. Each verset would be performed antiphonally by two groups of singers, giving rise to polyphonic settings of half of the text. One of these groups may alternatively have consisted of a soloist, a group of instruments, or organ. The missing even- or odd-numbered verses were supplied by plainchant or, perhaps more commonly (to judge by the organ masses of Hans Buchner), by improvisations on the organ.. See also Arnaldo Morelli,The role of the organ in the performance practices of Italian sacred polyphony during the Cinquecento, ''Musica Disciplina'', 50 (1996), pp. 239-270. The verso became a particularly prevalent genre i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Church Mode
A Gregorian mode (or church mode) is one of the eight systems of pitch organization used in Gregorian chant. History The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period. The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects ( Old Roman, Mozarabic, Ambrosian, etc.). The repertory of Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there was no precedent in Ancient Greek theory, came to be associated with the repertory of Gregorian chant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Monody
In music, monody refers to a solo vocal style distinguished by having a single melodic line and instrumental accompaniment. Although such music is found in various cultures throughout history, the term is specifically applied to Italian song of the early 17th century, particularly the period from about 1600 to 1640. The term is used both for the style and for individual songs (so one can speak both of monody as a whole as well as a particular monody). The term itself is a recent invention of scholars. No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos (in the earlier sense of "concertato", meaning "with instruments"). In poetry, the term monody has become specialized to refer to a poem in which one person laments another's death. (In the context of ancient Greek literature, monody, , could simply refer to lyric poetry sung by a single performer, rather than by a chorus.) History Music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass (music)
The Mass ( la, missa) is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be ''a cappella'', that is, without an independent accompaniment, or they can be accompanied by instrumental ''obbligatos'' up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. History Middle Ages The earli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
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] |
Arvo Pärt
Arvo Pärt (; born 11 September 1935) is an Estonian composer of contemporary classical music. Since the late 1970s, Pärt has worked in a minimalist style that employs tintinnabuli, a compositional technique he invented. Pärt's music is in part inspired by Gregorian chant. His most performed works include ''Fratres'' (1977), ''Spiegel im Spiegel'' (1978), and ''Für Alina'' (1976). From 2011 to 2018, Pärt was the most performed living composer in the world, and the second most performed in 2019—after John Williams. The Arvo Pärt Centre, in Laulasmaa, was opened to the public in 2018. Early life, family and education Pärt was born in Paide, Järva County, Estonia, and was raised by his mother and stepfather in Rakvere in northern Estonia. He began to experiment with the top and bottom notes of the family's piano as the middle register was damaged. Pärt's musical education began at the age of seven when he began attending music school in Rakvere. By his early teenage ye ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
O Antiphons
The O Antiphons (also known as the Great Advent Antiphons or Great Os) are Magnificat antiphons used at Vespers on the last seven days of Advent in Western Christian traditions. They likely date to sixth-century Italy, when Boethius refers to the text in ''The Consolation of Philosophy''. They subsequently became one of the key musical features of the days leading up to Christmas. The texts are best known in the English-speaking world in their paraphrased form in the hymn " O Come, O Come, Emmanuel". Sequence Each text, in the original Latin, begins with the vocative particle "O". Each antiphon is a title of Christ, one of his attributes mentioned in Scripture. They are: * 17 December: ''O Sapientia'' (O Wisdom) * 18 December: ''O Adonai'' * 19 December: ''O Radix Jesse'' (O Root of Jesse) * 20 December: ''O Clavis David'' (O Key of David) * 21 December: ''O Oriens'' (O Dawn of the East) * 22 December: ''O Rex Gentium'' (O King of the Nations) * 23 December: ''O Emmanuel'' In t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antiphon
An antiphon (Greek ἀντίφωνον, ἀντί "opposite" and φωνή "voice") is a short chant in Christian ritual, sung as a refrain. The texts of antiphons are the Psalms. Their form was favored by St Ambrose and they feature prominently in Ambrosian chant, but they are used widely in Gregorian chant as well. They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers. They should not be confused with Marian antiphons or processional antiphons. When a chant consists of alternating verses (usually sung by a cantor) and responds (usually sung by the congregation), a refrain is needed. The looser term antiphony is generally used for any call and response style of singing, such as the kirtan or the sea shanty and other work songs, and songs and worship in African and African-American culture. Antiphonal music is that performed by two choirs in interaction, often singing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maurice, Landgrave Of Hesse-Kassel
Maurice of Hesse-Kassel (german: Moritz; 25 May 1572 – 15 March 1632), also called Maurice the Learned or Moritz, was the Landgrave of Hesse-Kassel (or Hesse-Cassel) in the Holy Roman Empire from 1592 to 1627. Life Maurice was born in Kassel as the son of William IV, Landgrave of Hesse-Kassel, and of his wife Sabine of Württemberg. Although Maurice had been raised in the Lutheran faith, he converted to Calvinism in 1605. On the principle ''Cuius regio eius religio'', Maurice's subjects were also required to convert to Calvinism. Maurice's conversion was controversial since the Peace of Augsburg had only settled religious matters betweens Roman Catholics and Lutherans and had not considered Calvinists. Maurice tried to introduce Calvinism to the lands which he had inherited from the extinct Hesse-Marburg branch of his family. Such a change of faith was contrary to the inheritance rules, and resulted in an ongoing conflict with the Hesse-Darmstadt branch. It also brought him in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Angelo Berardi
Angelo Berardi (c. 1636 in Sant'Agata Feltria – 9 April 1694 in Rome) was an Italian music theorist and composer. Berardi was born in Sant'Agata Feltria. He received early education at Forlì under Giovanni Vincenzo Sarti (1600–1655). From 1662 he was ''maestro di cappella'' in Montefiascone, in the province of Viterbo, Lazio. He studied under Marco Scacchi at Gallese at some time between 1650 and Scacchi's death in 1662; he included two motets by Scacchi in Book 1 of his ''Documenti armonici'' of 1687, and also cites him frequently. By 1667, when his ''Salmi vespertini concertati'', Op. 4, were published, Berardi was ''maestro di cappella'' at the cathedral in Viterbo. He was organist and ''maestro di cappella'' at Tivoli from 21 September 1673 to 1679, and ''maestro di cappella'' and "professor of music" at the cathedral in Spoleto in 1681 or from 1679–1683. He was a canon at the ''collegiata'' of S. Angelo, Viterbo, when the ''Documenti armonici'' (1687) and ''Miscellan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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