|
Missa Mi-mi
The ''Missa Mi-mi'' is a musical setting of the Ordinary of the Mass by Johannes Ockeghem. It is a motto mass based on one of Ockeghem's own chansons, "Presque transi." The mass contains several motives and ideas from this chanson beyond just the head-motive. Music The mass is for four voices, and is in the usual parts: # Kyrie # Gloria # Credo # Sanctus # Agnus Dei Source and Naming The most authoritative source for this mass is the Chigi codex. Here, the mass appears as 'Mi-mi.' Other early sources are generally untitled, or it is sometimes referred to as "Missa Quarti toni" ( or "Mass in Mode 4"). There has been much debate about what the solmization designation of 'Mi-mi' refers too, and whether this title was given by Ockeghem. Earlier scholars generally assumed that 'Mi-mi' referred to the opening bass motive, which would involve the solmization syllables 'mi' and 'mi' in the normal and soft hexachord, respectively. Rebecca Stewart points out that using the hard hexach ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ordinary Of The Mass
The ordinary, in Roman Catholic and other Western Christian liturgies, refers to the part of the Mass or of the canonical hours that is reasonably constant without regard to the date on which the service is performed. It is contrasted to the ''proper'', which is that part of these liturgies that varies according to the date, either representing an observance within the liturgical year, or of a particular saint or significant event, or to the ''common'' which contains those parts that are common to an entire category of saints such as apostles or martyrs. The ordinary of both the Eucharist and the canonical hours does, however, admit minor variations following the seasons (such as the omission of "Alleluia" in Lent and its addition in Eastertide). These two are the only liturgical celebrations in which a distinction is made between an ordinary and other parts. It is not made in the liturgy of the other sacraments or of blessings and other rites. In connection with liturgy, the te ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johannes Ockeghem
Johannes Ockeghem ( – 6 February 1497) was a Franco-Flemish composer and singer of early Renaissance music. Ockeghem was the most influential European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was—with his colleague Antoine Busnois—the leading European composer in the second half of the 15th century. He was an important proponent of the early Franco-Flemish School. Ockeghem was well associated with other leading composers of the time, and spent most of his career serving the French royal court under Charles VII, Louis XI and Charles VIII. Numerous poets and musicians lamented his death, including Erasmus, Guillaume Crétin, Jean Molinet and Josquin, who composed the well known ''Nymphes des bois'' for him. It is thought that Ockeghem's extant works represent only a small part of his entire ''oeuvre'', including around 14 masses, 20 chansons and less than 10 motets—though the exact numbers vary due to attribution uncertainties. His be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cyclic Mass
In Renaissance music, the cyclic mass was a musical setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie, Gloria, Credo, Sanctus, and Agnus Dei – shared a common musical theme, commonly a cantus firmus, thus making it a unified whole. The cyclic mass was the first multi-movement form in western music to be subject to a single organizing principle. The period of composition of cyclic masses was from about 1430 until around 1600, although some composers, especially in conservative musical centers, wrote them after that date. Types of cyclic masses include the "motto" mass (or "head-motif" mass), cantus-firmus mass or ''tenor mass'', soggetto cavato mass, paraphrase mass, parody mass, as well as masses based on combinations of these techniques. History Prior to complete settings of the Mass Ordinary by a single composer, which had become the norm by around the middle of the 15th century, composers often set pairs of movements. Glo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kyrie
Kyrie, a transliteration of Greek , vocative case of (''Kyrios''), is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison ( ; ). In the Bible The prayer, "Kyrie, eleison," "Lord, have mercy" derives from a Biblical phrase. Greek "have mercy on me, Lord" is the Septuagint translation of the phrase found often in Psalms ( 6:2, 9:13, 31:9, 86:3, 123:3) In the New Testament, the Greek phrase occurs three times in Matthew: * Matthew 15:22: the Canaanite woman cries out to Jesus, "Have mercy on me, O Lord, Son of David." () *Matthew 17:15: "Lord, have mercy on my son" () *Matthew 20:30f, two unnamed blind men call out to Jesus, "Lord, have mercy on us, Son of David." () In the Parable of the Publican and the Pharisee (Luke 18:9-14) the despised tax collector who cries out "Lord have mercy on me, a sinner" is contrasted with the smug Pharisee who believes he has no need for forgiveness. Luke 17:13 has ''epistates'' "master" instead ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Credo
In Christian liturgy, the credo (; Latin for "I believe") is the Nicene-Constantinopolitan Creed – or its shorter version, the Apostles' Creed – in the Mass, either as a prayer, a spoken text, or sung as Gregorian chant or other musical settings of the Mass. History After the formulation of the Nicene Creed, its initial liturgical use was in baptism, which explains why the text uses the singular "I ...." instead of "we...." The text was gradually incorporated into the liturgies, first in the east and in Spain, and gradually into the north, from the sixth to the ninth centuries. In 1014 it was accepted by the Church of Rome as a legitimate part of the Mass. It is recited in the Western Mass directly after the homily on all Sundays and solemnities; in modern celebrations of the Tridentine Mass as an extraordinary form of the Roman Rite, the Credo is recited on all Sundays, feasts of the I class, II class feasts of the Lord and of the Blessed Virgin, on the days within the octav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanctus
The Sanctus ( la, Sanctus, "Holy") is a hymn in Christian liturgy. It may also be called the ''epinikios hymnos'' ( el, ἐπινίκιος ὕμνος, "Hymn of Victory") when referring to the Greek rendition. In Western Christianity, the ''Sanctus'' forms part of the Ordinary and is sung (or said) as the final words of the Preface of the Eucharistic Prayer of remembrance, consecration, and praise. The preface, which alters according to the season, usually concludes with words describing the praise of the worshippers joining with the angels, who are pictured as praising God with the words of the ''Sanctus''. In the Byzantine Rite and general Eastern Orthodox Christianity, the ''Sanctus'' is offered as a response by the choir during the Holy Anaphora. ''Tersanctus'' ("Thrice Holy") is another, rarer name for the Sanctus. The same name is sometimes used for the ''Trisagion''. Text In Greek ''Hágios, hágios, hágios, Kýrios Sabaṓth; plḗrēs ho ouranós kaí hē gê ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Agnus Dei
is the Latin name under which the " Lamb of God" is honoured within the Catholic Mass and other Christian liturgies descending from the Latin liturgical tradition. It is the name given to a specific prayer that occurs in these liturgies, and is the name given to the music pieces that accompany the text of this prayer. The use of the title "Lamb of God" in liturgy is based on , in which St. John the Baptist, upon seeing Jesus, proclaims "Behold, the Lamb of God, who takes away the sin of the world!" Liturgical usage Latin Catholic The Syrian custom of a chant addressed to the Lamb of God was introduced into the Roman Rite Mass by Pope Sergius I (687–701) in the context of his rejection of the Council of Trullo of 692 (which was well received in the Byzantine East), whose canons had forbidden the iconographic depiction of Christ as a lamb instead of a man. The verse used in the first and second invocations may be repeated as many times as necessary whilst the celebr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chigi Codex
The Chigi codex is a music manuscript originating in Flanders. According to Herbert Kellman, it was created sometime between 1498 and 1503, probably at the behest of Philip I of Castile. It is currently housed in the Vatican Library under the call number Chigiana, C. VIII. 234. The Chigi codex is notable not only for its vivid and colorful illuminations, which were probably done in Ghent in the workshop of the Master of the Hortulus Animae, but also for its very clear and legible musical notation. It contains a nearly complete catalogue of the polyphonic masses by Johannes Ockeghem and a collection of five relatively early L'homme armé mass settings, including Ockeghem's. Several folia, comprising eight works, were added to the original codex at some point after the manuscript's original creation. These are indicated as such in the list below. The two coats of arms in the page from ''Missa Ecce ancilla Domini'' refer to the Fernández de Córdoba family. A facsimile of th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gregorian 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] |
Solmization
Solmization is a system of attributing a distinct syllable to each note of a musical scale. Various forms of solmization are in use and have been used throughout the world, but solfège is the most common convention in countries of Western culture. Overview The seven syllables normally used for this practice in English-speaking countries are: do, re, mi, fa, sol, la, and ti (with sharpened notes of di, ri, fi, si, li and flattened notes of te, le, se, me, ra). The system for other Western countries is similar, though si is often used as the final syllable rather than ti. Guido of Arezzo is thought likely to have originated the modern Western system of solmization by introducing the ut–re–mi–fa–so–la syllables, which derived from the initial syllables of each of the first six half-lines of the first stanza of the hymn ''Ut queant laxis''. Giovanni Battista Doni is known for having changed the name of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence known ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guidonian Hand
In medieval music, the Guidonian hand was a mnemonic device used to assist singers in learning to sight-sing. Some form of the device may have been used by Guido of Arezzo, a medieval music theorist who wrote a number of treatises, including one instructing singers in sightreading. The hand occurs in some manuscripts before Guido's time as a tool to find the semitone; it does not have the depicted form until the 12th century. Sigebertus Gemblacensis in 1105–1110 did describe Guido using the joints of the hand to aid in teaching his hexachord. The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfège. Theory The idea of the Guidonian hand is that each portion of the hand represents a specific note within the hexachord system, which spans nearly three octaves from "Γ ''ut''" (that is, "Gamma ''ut''") (the contraction of which is "Gamut", which can refer to the entire span) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
