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Falsobordone
Falsobordone is a style of recitation found in music from the 15th to the 18th centuries. Most often associated with the harmonization of Gregorian psalm tones, it is based on root position triads and is first known to have appeared in southern Europe in the 1480s. Structure of Falsobordone Falsobordoni are made up of two sections, each containing a recitation on one chord, followed by a cadence. Their usage was mostly intended for the singing of vespers psalms, but falsobordone can also be found in Passions, Lamentations, reproaches, litanies, psalms, responses, and settings of the Magnificat. Construction and Relationship to Fauxbourdon There is no consensus on the exact relationship between falsobordone and the etymologically related fauxbourdon Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for ''false drone'' – is a technique of musical harmonisation used in the late Middle Ages a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fauxbourdon
Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for ''false drone'' – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Dufay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor. The homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly. Description In its simplest form, fauxbourdon consists of the cantus firmus and two other parts a sixth and a perfect fourth below. To prevent monotony, or create a cadence, the lowest voice sometimes jumps down to the octave, and any of the accompanying voices may have minor embellishments. Usually just a small part of a composition employs the fauxbourdon technique. Hymn singing In a ''hymn'', the term is sometimes used when the congregation sings in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fauxbourdon Vs Falsobordone
Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for ''false drone'' – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Dufay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor. The homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly. Description In its simplest form, fauxbourdon consists of the cantus firmus and two other parts a sixth and a perfect fourth below. To prevent monotony, or create a cadence, the lowest voice sometimes jumps down to the octave, and any of the accompanying voices may have minor embellishments. Usually just a small part of a composition employs the fauxbourdon technique. Hymn singing In a ''hymn'', the term is sometimes used when the congregation sings in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Reciting Tone
In chant, a reciting tone (also called a recitation tone) can refer to either a repeated musical pitch or to the entire melodic formula for which that pitch is a structural note. In Gregorian chant, the first is also called tenor, dominant or tuba, while the second includes psalm tones (each with its own associated Gregorian mode) as well as simpler formulae for other readings and for prayers. Reciting tones in Gregorian chant Regular psalm tones Reciting tones occur in several parts of the Roman Rite. These include the accentus prayers and lessons chanted by the deacons or priests such as the Collect, Epistle, Gospel, Secret, Preface, Canon, and Postcommunion, as well as such regular texts as the Pater noster, Te Deum, and the Gloria in excelsis Deo. They are also sung in versicles and responds such as the ''Dominus vobiscum'' ("The Lord be with you") of the officiant followed by the ''Et cum spiritu tuo'' ("and with your spirit") of the choir. Some tones, presumably from the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Improperia
The Improperia are a series of antiphons and responses, expressing the remonstrance of Jesus Christ with his people. Also known as the Reproaches, they are sung In the Catholic liturgy as part of the observance of the Passion, usually on the afternoon of Good Friday. In the Byzantine Rite, they are found in various hymns of Good Friday and Holy Saturday. The Improperia appear in the Pontificale of Prudentius (846–61) and gradually came into use throughout Europe in the eleventh and twelfth centuries, finally being incorporated into the Roman Ordo in the fourteenth century. Roman Rite In their present form in the Roman Rite, the Improperia are a series of three couplets, sung antiphonally by cantors and followed by alternate Greek and Latin responses from the two halves of the choir; and nine other lines sung by the cantors, with the full choir responding after each with the refrain "Popule meus, quid feci tibi? ..." Besides the Kyrie, this is the only usage of the Greek languag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vocal Music
Vocal music is a type of singing performed by one or more singers, either with instrumental accompaniment, or without instrumental accompaniment (a cappella), in which singing provides the main focus of the piece. Music which employs singing but does not feature it prominently is generally considered to be instrumental music (e.g. the wordless women's choir in the final movement of Holst's symphonic work '' The Planets'') as is music without singing. Music without any non-vocal instrumental accompaniment is referred to as ''a cappella''. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables, sounds, or noises, sometimes as musical onomatopoeia, such as jazz scat singing. A short piece of vocal music with lyrics is broadly termed a song, although in different styles of music, it may be called an aria or hymn. Vocal music often has a sequence of sustained pitches that rise and f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dixit Dominus Falsobordone or Dixit, a Hindu Brahmin family name
{{disambiguation ...
Dixit may refer to: * ''Ipse dixit'', a Latin phrase used to identify and describe a sort of arbitrary dogmatic statement * ''Dixit'' (card game) * Dixit Dominus, or Psalm 110, from the Book of Psalms ** ''Dixit Dominus'' (Handel), a 1707 setting of that psalm by George Frideric Handel * Dixit–Stiglitz model, model of monopolistic competition * Dikshit Dikshit (ISO: , ; also spelled as Dixit or Dikshitar) is traditionally a Hindu family name. Origin The word is an adjectival form of the Sanskrit word ''diksha'', meaning provider of knowledge. ''Dikshita'' in Sanskrit derives itself as a person ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magnificat
The Magnificat (Latin for " y soulmagnifies he Lord) is a canticle, also known as the Song of Mary, the Canticle of Mary and, in the 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 upon the occasion of her Visitation to her cousin 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 (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 ancient Christian hymns and perhaps the earliest Marian hymn. Within the whole of Christianity, the canticle is most frequent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Response (liturgy)
In Christian liturgical worship, preces ( ; ), also known in the Anglican prayer book tradition as the suffrages, are short petitions that are said or sung as versicles and responses by the officiant and congregation respectively. It is one of the oldest forms of prayer in Christianity, rooted in the pre-Christian Hebrew prayers of the Psalms used in Temple worship. In many prayer books, the versicles, to be spoken or sung by the priest, and the following responses, spoken or sung by the congregation, are denoted by special glyphs: *Versicle: ℣, a letter V crossed by an oblique line — Unicode , HTML entity ℣ *Response: ℟, a letter R crossed by an oblique line — Unicode , HTML entity ℟ In Catholicism Roman Rite In the Roman Rite, the term ''preces'' is not applied in a specific sense to the versicles and responses of the different liturgical hours, on which those used in the Anglican services are based. In the Roman Rite Liturgy of the Hours, the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Litany
Litany, in Christian worship and some forms of Judaic worship, is a form of prayer used in services and processions, and consisting of a number of petitions. The word comes through Latin '' litania'' from Ancient Greek λιτανεία (''litaneía''), which in turn comes from λιτή (''litḗ''), meaning "supplication". Christianity Western Christianity This form of prayer finds its model in Psalm 136: "Praise the Lord, for he is good: for his mercy endures for ever. Praise ye the God of gods . . . the Lord of lords . . . Who alone doth great wonders . . . Who made the heavens", etc., with the concluding words in each verse, "for his mercy endures for ever." The Litany originated in Antioch in the fourth century and from there was taken to Constantinople and through it to the rest of the East...From Constantinople the Litany was taken to Rome and the West. Josef Andreas Jungmann explains how the ''Kyrie'' in the Roman Mass is best seen as a vestige of a litany at the be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lamentation
A lament or lamentation is a passionate expression of grief, often in music, poetry, or song form. The grief is most often born of regret, or mourning. Laments can also be expressed in a verbal manner in which participants lament about something that they regret or someone that they have lost, and they are usually accompanied by wailing, moaning and/or crying. Laments constitute some of the oldest forms of writing, and examples exist across human cultures. History Many of the oldest and most lasting poems in human history have been laments. The Lament for Sumer and Ur dates back at least 4000 years to ancient Sumer, the world's first urban civilization. Laments are present in both the ''Iliad'' and the ''Odyssey'', and laments continued to be sung in elegiacs accompanied by the aulos in classical and Hellenistic Greece. Elements of laments appear in ''Beowulf'', in the Hindu Vedas, and in ancient Near Eastern religious texts. They are included in the Mesopotamian City Lament ... [...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 it arose from 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 relative to a referential Final (music), mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs wo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passion (Christianity)
In Christianity, the Passion (from the Latin verb ''patior, passus sum''; "to suffer, bear, endure", from which also "patience, patient", etc.) is the short final period in the life of Jesus Christ. Depending on one's views, the "Passion" may include, among other events, Jesus' triumphal entry into Jerusalem, his cleansing of the Temple, his anointing, the Last Supper, Jesus' agony in the Garden, his arrest, his Sanhedrin trial, his trial before Pontius Pilate, his crucifixion and his death on Good Friday, his burial, and the resurrection of Jesus. Those parts of the four canonical Gospels that describe these events are known as the "Passion narratives". In some Christian communities, commemoration of the Passion also includes remembrance of the sorrow of Mary, the mother of Jesus, on the Friday of Sorrows. The word ''passion'' has taken on a more general application and now may also apply to accounts of the suffering and death of Christian martyrs, sometimes using the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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