In tone and structure, "Doxology" sheds Zink's usual frantic energy.
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We sang the doxology; we attempted not to mumble a traditional call-and-response.
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Ammons was twenty-nine when his first book, " Ommateum: With Doxology ," was published, in 1955.
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" In Nell Zink's novel "Doxology," a piece of chicken tasted, in words you are unlike to see on a handwritten menu card, like "distributive injustice personified.
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When we first meet Pam Bailey and Daniel Svoboda, in " Doxology " (Ecco), Zink's newest novel, they are navigating familiar Zink territory, the grungy world of young people, making plans and art.
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Doxology is the seventh studio album by Aaron Shust. Centricity Music released the album on August 28, 2015.
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It is a canticle, a biblical song in prose concluded by the traditional doxology. The text is based on Luther's translation of the biblical song to German in the Luther Bible, and on the doxology. In the format of the chorale cantata cycle, an unknown librettist retained some parts of Luther's wording, while he paraphrased other passages for recitatives and arias. He used the original verses 46–48 for the first movement, verse 54 for the fifth movement, and the doxology for the seventh movement.
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The first part of Orthros, consists of twelve prayers read by the priest in front of the Holy Doors while the reader reads the Six Psalms, the greater litany, two stichera followed by Psalms 134 and 135, a third sticheron followed by the gradual psalms, an antiphon with the prokeimenon, the reading of the Gospel, many acclamations and the Canon, while the second part of the Orthros, corresponding to Lauds in the Roman Office, is composed of Psalms 148, 149, 150, several similar stichera, the greater doxology, a benediction, and the dismissal. Each of the Little Hours may followed by a supplementary hour, called an Inter-Hour (Mesorion) during certain seasons of the year. The First Hour (Prime) begins with the recitation of three psalms followed by a doxology, two stichoi, a doxology, a troparion in honour of the Theotokos, the trisagion, several variable troparia, the doxology and dismissal, while its supplementary Hour is composed of a troparion, doxology, Theotokion, Kyrie Eleison repeated forty times, a prayer, and a doxology. The Third Hour (Terce), the Sixth Hour (Sext), and the Ninth Hour (None) and their Inter-Hours each follow the same basic outline as the First Hour.
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The eighth movement is again for all forces (), setting the next verse of the Magnificat, and the first half of the Doxology.
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He elaborated the thought of God as a Good Shepherd, as expressed in Psalm 23, and the duty of the believer to praise God. The song became part of the 1646 hymnal. A seventh stanza was added as a doxology (Gloria Patri) in the 1648 edition, which was exchanged for another doxology in the 1653 Lüneburg edition of the hymnal.
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It is composed of psalms, a doxology, troparion, the trisagion, the Lord's Prayer, the Kyrie Eleison repeated twelve times, and invitatory versicles, and Psalms 50, 69, and 162, which are followed by the greater doxology, the Creed, the trisagion, the Lord's Prayer, the troparion proper to the feast, the Kyrie Eleison repeated forty times, several invocations, and the long prayers of dismissal.
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The composition is closed with the doxology ' (Glory be to the Father). The music is based on movement 3, repeating the dotted rhythm and the building from bass to two sopranos. A prayer addressing Mary interrupts the doxology: , asking "for support of humanity, including the needy, the timid, the clergy, women, and the laity". It is sung by the soloist on sustained chords in the orchestra.
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C. Clifton Black, although regarding the Didache as an "early second century" text, nevertheless considers the doxology it contains to be the "earliest additional ending we can trace". Of a longer version, Black observes: "Its earliest appearance may have been in Tatian's Diatessaron, a second-century harmony of the four Gospels". The first three editions of the UBS text cited the Diatessaron for inclusion of the familiar doxology in Matthew 6:13, but in the later editions it cites the Diatessaron for excluding it. The Apostolic Constitutions added "the kingdom" to the beginning of the formula in the Didache, thus establishing the now familiar doxology.
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In the Divine Liturgy of the Byzantine Rite, the priest sings, after the last line of the prayer, the doxology, "For thine is the kingdom and the power and the glory, of the Father, and of the Son, and of the Holy Spirit, now and ever and unto ages of ages." Adding a doxology to the Our Father is not part of the liturgical tradition of the Roman Rite nor does the Latin Vulgate of St. Jerome contain the doxology that appears in late Greek manuscripts. However, it is recited since 1970 in the Roman Rite Order of Mass, not as part of the Lord's Prayer but separately as a response acclamation after the embolism developing the seventh petition in the perspective of the Final Coming of Christ. The Anglican Book of Common Prayer sometimes gives the Lord's Prayer with the doxology, sometimes without.
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In the concluding doxology, Handel writes for eight voices in a double chorus and (uniquely in his output) a double string orchestra. A typical performance lasts almost 12 minutes.
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Kurt Aland and Barbara Aland 1998, The Text of the New Testament (Eerdmans ), p. 306. The Codex Washingtonensis, which adds a doxology (in the familiar text), is of the early fifth or late fourth century. New translations generally omit it except as a footnote. The Didache, generally considered a first-century text, has a doxology, "for yours is the power and the glory forever", as a conclusion for the Lord's Prayer (Didache, 8:2).
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In the musical idiom of Gregorian chant, Introits normally take the form antiphon-verse-antiphon-doxology-antiphon. In the Tridentine Missal, this form was, with very few exceptions, reduced to antiphon-verse-doxology-antiphon. For example, the Tridentine Missal presents the Introit of the Fourth Sunday of Advent as follows:Missale Romanum 1962, p. 14 :First the antiphon Rorate caeli from : ::Rorate, cæli, desuper, et nubes pluant iustum: ::aperiatur terra, et germinet Salvatorem.
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The embolism in Christian liturgy (from Greek ἐμβολισμός, an interpolation) is a short prayer said or sung after the Lord's Prayer. It functions "like a marginal gloss" upon the final petition of the Lord's Prayer (". . . deliver us from evil"), amplifying and elaborating on "the many implications" of that prayer. In the Roman Rite of Mass, the embolism is followed by the doxology or, in the Tridentine Mass (which does not have that doxology), by the Fraction.
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Since the Cascades were the corps' main rivals that season, the Buddha was used as a good luck charm, with members rubbing its belly before leaving the warm-up site. In 2004, the corps performed "A Celebration of Life: Mind, Body, and Spirit," whose opening piece, "Ballet Exaltaire," quotes the Doxology hymn melody. As a result, the Doxology theme was incorporated into a corps song that was sung prior to shows and is still sung today.
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The text of the doxology in the last movement is interspersed with a prayer to Mary, "" (Holy Mary, help those in need). Rutter supplied a singing version in English for the complete work.
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Wood set the text for a four-part choir and organ. He set each canticle as one movement. Both are concluded by the same doxology. The Magnificat is in common time, marked Allegro.
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Edited by Leander E. Keck, volume 1, page 802. Nashville: Abingdon Press, 1994. . :A: The introduction announces the core theme. () ::B: The first core element, a victory song () :::C: A doxology affirms God's distinctiveness.
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The leaf has survived in a fragmentary condition. It is a palimpsest, the upper text was written in the 11th century, it belongs to the Minuscule 639. It has doxology in the Lord's Prayer.
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62 Nor must Christians pray with their Judaic brethren, instead they shall say the Lord's Prayer three times a day. The text of the prayer is not identical to the version in the Gospel of Matthew, and it is given with the doxology "for Yours is the power and the glory forever." This doxology derives from 1 Chronicles 29:11–13; Bruce M. Metzger held that the early church added it to the Lord's Prayer, creating the current Matthew reading.May, Herbert G. and Bruce M. Metzger.
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Their slanderous speech deplored (8–10) 2\. Their character graphically portrayed (11–13) 3\. Their destruction prophesied (14–16) IV. Exhortation to Believers (17–23) V. Concluding Doxology (24–25)NIV Bible (Large Print ed.). (2007).
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APPEAL AND DOXOLOGY :1. Overture :2. Chorus — Herr! Der du bist Gott (Lord, thou alone art God)English translation of the German from score by Novello, Ewer & Co Ltd, ca. 1890; with some modern corrections :3.
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The disciples do not hesitate to believe her, Marie veraci (truthful Mary), over the "whole deceitful multitude of Jews" (Iudeorum turbe fallaci). The play ends on a prayer, sung by a chorus (choir), and the Greater Doxology.
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Reusner formed stanzas of six lines for each of the first six verses of the psalm, and added a seventh stanza with a doxology. The six lines of each stanza rhyme AABCCB, with the fourth and fifth lines shorter at only four syllables. The hymn follows the psalm as a confession of trust and hope in God, who is compared to a fortress, rock and shield when confronted with distress and enemies. In the liturgical tradition, every psalm is concluded by a Gloria Patri doxology, which Reusner also paraphrased.
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The work is concluded by the doxology, (Glory to the Father), performed by the ensemble in two parts. The first part addresses the Trinity. Glory is given three times. Bach shapes the movement again as a "crowd" scene.
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In the early years of the 19th century the rare custom of turning to the East for the Doxology at the conclusion of the recitation of each Psalm, particularly by those in choir, was observed in Probus church.
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Afterwards, students linked hands and sang the doxology in an attempt to show that even if they have different viewpoints, they can still respect and love each other. On June 24, university president Haines resigned, effective August 15, 2019.
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In the Orthodox ranking of feasts, a day of "Polyeleos" rank is a "Middle feast", ranking above a Great Doxology, and below an All-Night Vigil. In liturgical calendars it is symbolized by a Greek cross printed in red.
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Some Ukrainian Greek Catholic bishops, however, insist on the full ceremonial. During the All-Night Vigil, the bishop will wear the small omophorion at the beginning, but near the end will change into the great omophorion for the Great Doxology.
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Night prayer has the character of reflection on the day that is past and preparing the soul for its passage to eternal life. In each office, the psalms and canticle are framed by antiphons, and each concludes with the traditional Catholic doxology.
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The text of Torri's Magnificat is the Latin version of the Biblical canticle "My soul doth magnify the Lord" from the first chapter of the Gospel of Luke (10 verses), followed by a doxology (2 verses). The composition is in C major.
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The new bells were dedicated in a solemn service by Rev. George Sherwood Whitney in January 1924. The first use of the bells for church services occurred Sunday, June 1, 1924. The chime played the Doxology, also known as the Old 100th.
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Verses 8, 9, 11 and 13 of Sedulius' poem were also used, with an added doxology, as "Hostis Herodes impie..." ("O Herod, you impious foe..."), a hymn for the Epiphany. These verses narrate the story of Herod the Great and the Three Kings, along with the Baptism of Christ and the miracle at the wedding at Cana. Luther's translation of this hymn into German, as "Was fürchtst du, Feind Herodes, sehr", has long fallen out of use. The German-language Book of Hours also gives a translation of the verses 1, 2, 6 and 7 by Sedulius, plus a doxology, as "Vom hellen Tor der Sonnenbahn".
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The epistle's style is combative, impassioned, and rushed. Many examples of evildoers and warnings about their fates are given in rapid succession. The epistle concludes with a doxology, which is considered by Peter H. Davids to be one of the highest in quality contained in the Bible.
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The text of the Matthean Lord's Prayer in the King James Version (KJV) of the Bible ultimately derives from first Old English translations. Not considering the doxology, only five words of the KJV are later borrowings directly from the Latin Vulgate (these being debts, debtors, temptation, deliver, and amen).
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The closing chorale, "" (Lord, grant that Your honor), is set in four parts for the voices, but embedded in a rich orchestral Siciliano concerto. The lines of the chorale are grouped as in the first stanza, again highlighting line 5, "" ("Oh Father, Son and Spirit") as a miniature doxology.
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The central fourth stanza begins with strong words on Satan as an enemy: "" (Even if, out of hell, Satan wishes to set himself against you, and vent his rage on you). The final stanza includes as the fifth line "" (Oh Father, Son and Spirit) as a miniature doxology.
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The penultimate movement is a soprano recitative, short and arioso-like. It is remarkable for its extended range. The closing chorale movement presents the doxology in a four-part setting, illuminating the early-church melody in a modern major-minor tonality. Unusually, the piece ends on a B minor imperfect cadence.
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The choir's staple repertoire is early European liturgical music. However, for concerts, the music list is typically expanded to include contemporary compositions - including Huw Morgan's The Word of the Cross and first performances of - inter alia - Michael Bonaventure's Doxology in March 2010 and Ian McQueen's English Requiem in March 2012.
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There are many English translations, of varying rhyme scheme and metre. The following has the Latin text with a doxology in the first column, and an English translation by Edward Caswall in the second.H. T. Henry, "Pange Lingua Gloriosi", Catholic Encyclopedia, Vol. XI The third column is a more literal rendering.
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The Greek text of this codex is mixed. Aland placed it in Category III. In the Lord's Prayer it does not contain doxology: οτι σου εστιν η βασιλεια και η δυναμις και η δοξα εις τους αιωνας (Matthew 6:13) as in codices א B D Z f1.UBS3, p. 13.
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The Greek text of this codex is a representative of the Alexandrian text-type, with many alien readings. The Alexandrian text is familiar to the Codex Sinaiticus. Aland placed it in Category III. In the Lord's Prayer it does not contain doxology: (Matthew 6:13) as in codices א B D 0170 f1.
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The setting discovered next was catalogued as RV 595. Also in D major, it is structured in eleven movements, eight psalm verses and three movements for the doxology. It is scored for two sopranos, alto, tenor and bass soloists, a choir which also calls for divided soprano in some movements, and orchestra.
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Elevation at the final doxology of the Eucharistic Prayer in a Mass celebrated by a single priest A more ancient elevation of Host and Chalice occurs in the Mass of the Roman Rite while the priest speaks the concluding doxology of the Eucharistic Prayer: Per ipsum et cum ipso et in ipso est tibi Deo Patri omnipotenti in unitate Spiritus Sancti omnis honor et gloria per omnia saecula saeculorum (Through him, and with him, and in him, O God, almighty Father, in the unity of the Holy Spirit, all glory and honour is yours, for ever and ever). The presence in the Roman Rite of this elevation can be traced back at least to the ninth century. In the Tridentine Mass form, the Host and Chalice are raised only slightly,"parum elevans" and for the duration of only four short words, omnis honor et gloria. In the post-1970 form, the elevation lasts for the whole of the final doxology and indeed also during the Amen with which the people respond to the Eucharistic Prayer,General Instruction of the Roman Missal, 151 and the height to which the Host and Chalice are elevated is not limited by the rubrics.
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The E' section, on the final "Kyrie eleison", itself has an aa'b structure, contributing to the sense of climax.Hiley, Western Plainchant p. 153. The Gloria recites the Greater Doxology, and the Credo intones the Nicene Creed. Because of the length of these texts, these chants often break into musical subsections corresponding with textual breaks.
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In the final movement, the two verses of the doxology are set on the psalm tone for four parts, with all instruments playing colla parte. Wind instruments and violin I join the soprano part. The setting is mostly in homophony, but turns to polyphony for the final "von Ewigkeit zu Ewigkeit" (for ever and ever).
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The text of the third movement is the conclusion, "Quoniam tu solus sanctus" (For you alone are Holy), ending in a doxology. It is marked Vivace e ritmico. The movement includes the climax of the work, a recapitulation of the beginning in text and music. It contains a fugue "Cum Sancto Spiritu", and ends with a fast Amen.
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The setting is followed by the doxology Gloria Patri, starting by a unison on "", the recap of the melody of the first verse on "", and concludes with a 23-bar long fugal Amen.D. Watson, p. 92 Mean duration: 5 minutes. The influence of Mozart is revealed through comparison to Mozart's Vespers K. 321 and K. 339.
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Some locally organized temperance organizations printed and published their own temperance songs, some of which were derived from hymns. For example, the doxology has been modified with the following lyrics: ::::Praise God from Whom all blessings flow, :::Praise him who saves from deepest woe, ::::Praise him who leads the temperance host, :::Praise Father, Son and Holy Ghost.
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BWV 10 is the fifth of 40 chorale cantatas he started that year. The outer movements of the cantata are set for mixed choir and an orchestra consisting of trumpet, two oboes, strings and continuo. Luther's translation of Luke 1:46–48 is the text of the first movement. The canticle's doxology is the text of the last movement.
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The work is concluded by the doxology, ' (Glory to the father), performed by the complete ensemble. The first part of the text ends in a long cadenza. After changing the time signature from common time to triple metre, the second part of the text, (as it was in the beginning), repeats material from the beginning of the work.
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A quotation from the New Testament or Patristic writings follows, providing a Christian interpretation. Each psalm ends with a doxology, which is a short praise of the Holy Trinity, putting the psalm in context. Then editors recommend to keep a "sacred silence": a time for a private silent meditation on the text. Psalm-prayers can follow.
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The Ingressa corresponds to the Introit in the Roman rite. Unlike the Introit, the Ingressa has no psalm verse or doxology. While the Introit fills in the time that the celebrant processes to the altar, the Ingressa is sung during the censing of the altar. The next three proper chants follow and amplify three readings from Scripture.
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In this form the complete responsory is sung and then followed by, first, a verse and, secondly, a doxology, each of which is followed by (often progressively) shortened repeats of the responsory. Sheppard often set the responsory to five or six-part polyphony with the chant sung as a cantus firmus in the tenor (less commonly in the treble or mean), leaving the sections that were sung by soloists (the incipit, verse and doxology) to be chanted. A good example of Sheppard's technique is his six-part setting of Verbum caro, the ninth responsory at Matins on Christmas Day. One of the most grandiose of Sheppard's responsories is Gaude, gaude, gaude Maria; a setting of the responsory and interpolated 'prosa' for Second Vespers for the Feast of the Purification.
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A slave girl had long been ill, troubled by a hidden demon. He beats on her breast and the demon declares itself. Then the Saint laying her on the ground Put his foot on her neck, turned his eyes to the east and uttered a silent prayer. At the end of his prayer he recited aloud the doxology of the Holy Trinity.
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Everyone stands holding lighted candles during the psalm. Next are chanted the Evlogitaria of the Resurrection, hymns which are normally chanted only on Sundays. This is the first liturgical mention of the impending Resurrection of Jesus. At the end of the Great Doxology the epitaphios is carried in procession around the outside of the church, and then is brought back in.
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The subject matter (topic) for most meetings is the same worldwide. After the topic has been delivered, brethren kneel down for closing prayers followed by a doxology and basbas (blessing). When guests or visitors are invited or wish to attend these church gatherings, they are free to stay in their seats. The members believe that christians should always attend religious gatherings regularly.
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Beginning of Francesc Eiximenis' Psalterium alias Laudatorium according to the manuscript 726 of the Historical Library of the University of Valencia The Psalterium alias laudatorium (Psalter or Doxology) is a literary work that was written by Francesc Eiximenis in Latin between 1404 and 1408 in Valencia. It consists of a collection of prayers, and was dedicated to the Pope of Avignon Benedict XIII.
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After the first line, the upper voices echo the text "Lord, now lettest Thou Thy servant depart in peace" in homophony. After the second line, the upper voices repeat their first echo, but now in E major. After the third line, the upper voices repeat the last words, "Thy people Israel", ending in A major, and followed by the doxology.
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In public worship services, the PRC mostly sings the Psalms with organ accompaniment, but in contrast to exclusive psalmody, it does permit the singing of certain hymns. The PRC believes that preaching is the most important part of a worship service. Article 69 of the church order adopted by the Synod of Dordt states that: "In the churches only the 150 Psalms of David, the Ten Commandments, the Lord's Prayer, the Twelve Articles of Faith, the Songs of Mary, Zacharias, and Simeon, the Morning and Evening Hymns, and the Hymn of Prayer before the sermon shall be sung." It is a common practice within PRC services to open with the singing of the "Praise God from Whom All Blessings Flow" doxology and some end the service with the singing of the "May the Grace of Christ the Savior" doxology.
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The hymn appears, with slightly modernised text, in the modern German-language hymnals for both Protestants and Catholics, in the Evangelisches Gesangbuch of 1993 as EG 288, and in the Gotteslob of 2013 as GL 144. The Catholic version uses a different doxology stanza. The psalm song is also part of Swiss hymnals, and of many songbooks, including collections for families, children and young adults.
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The final movement adds the traditional doxology on the biblical text "" (Glory to the Father). The music recalls the beginning of the first movement, with a long chromatic melisma on "" (holy). "" (As it was in the beginning) is also reminiscent of the first movement but leads to a traditional double fugue treatment of "" (and for ever and ever) in one voice and simultaneously "Amen" in another.
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The Sermon - (After the sermon is this prayer) O True and Faithful Angels, instil the words of truth and righteousness within this sermon, into the hearts of the brethren an essence of goodness for the physical and spiritual body for all times. May the Spirit of God confirm this prayer now and forever Amen. 8\. Doxology - Song. 70. MA TE MARIE (MAY THE PEACE) 9\.
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Between 1404 and 1408, Francesc Eiximenis was writing a beautiful collection of prayers in Latin that is known as Psalterium alias Laudatorium (Psalter or Doxology). The first ones of these prayers were dedicated to Berenguer de Ribalta, when he was appointed bishop of Tarazona in 1404. The final and definitive collection was dedicated to Pero de Luna, the Aragonese Pope of Avignon Benedict XIII.Wittlin, Curt.
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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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In the following table, the first column has Reusner's text taken from EG 275, the second column the texts from which he derived them, the psalm verses in the King James Version and the doxology for the seventh stanza, and finally the third column Winkworth's translation. EG 275 was modernised compared to the original at the end of the fourth stanza and the beginning of the seventh stanza.
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Below is an example of orthography between the Tagalog (Early Spanish-style system) and Filipino (Derived from multiple tribe coalitions.) The text used for comparison is the Filipino version of the Lord's Prayer. The phrase in square brackets is the doxology "for yours is the kingdom, and the power, and the glory forever". : Early Tagalog System (taken from Doctrina Christiana,) : Ama namin, nasa Lan͠gitca, : Ypasamba Mo ang N͠galanmo. : Mouisaamin ang pagcaharimo.
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God's sons and daughters should live for the purpose, to serve Him alone: Deo omnis gloria! All the glory to God!"cf Roman Canon, Major Doxology and minor elevationRomana: Towards the canonization of Josemaría Escrivá, 33, July–December 2001, pg. 136 During the thanksgiving Mass for the canonization of St. Josemaría, John Paul II, said: "In the Founder of Opus Dei, there is an extraordinary love for the will of God.
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The chorale "Nun lob, mein Seel, den Herren", an old doxology setting of Psalm 103, is presented by Pachelbel in a three-voice setting with the cantus firmus in the tenor voice.Welter, p. 144. The arrangement of voices and the white mensural notation, both derived from the German polyphonic song, are unique in Pachelbel's surviving oeuvre, as is the ornamentation used in Wir glauben all an einen Gott.Nolte, Butt, Grove.
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Hand and signature of Loys Bourgeois (Genève, 1551) Loys "Louis" Bourgeois (; c. 1510 - 1559) was a French composer and music theorist of the Renaissance. He is most famous as one of the main compilers of Calvinist hymn tunes in the middle of the 16th century. One of the most famous melodies in all of Christendom, the Protestant doxology known as the Old 100th, is commonly attributed to him.
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Langan's first student film, Snail, premiered at Ann Arbor Film Festival in March 2007. His undergraduate thesis film, Doxology, has received widespread acclaim, winning fourteen awards at over eighty film festivals worldwide. Slamdance Film Festival commissioned Langan to complete a short film in 2008. The resulting film, Dahlia, which premiered at the festival the following year, has since screened at film festivals around the world and appeared on Showtime.
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The doxology sometimes attached to the prayer in English is similar to a passage in – "Yours, O LORD, is the greatness and the power and the glory and the victory and the majesty, for all that is in the heavens and in the earth is yours. Yours is the kingdom, O LORD, and you are exalted as head above all." It is also similar to the paean to King Nebuchadnezzar of Babylon in – "You, O king, the king of kings, to whom the God of heaven has given the kingdom, the power, and the might, and the glory," The doxology has been interpreted as connected with the final petition: "Deliver us from evil". The kingdom, the power and the glory are the Father's, not of our antagonist's, who is subject to him to whom Christ will hand over the kingdom after he has destroyed all dominion, authority and power (1 Corinthians 15:24).
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"Santa Khursachi Kuru" (the Sign of the Cross, in Konkani), "Abun d'bashmayo" (the Our Father as believed by the Catholic Church to have been actually prayed by Jesus in the original Aramaic-Syrian chant), "Namaste Mary'yame" (the Hail Mary, in Sanskrit Vedic chant), all composed and arranged by Rev. Romeo Monteiro. "Mhoima Bapak", a Konkani doxology to the Holy Trinity, composed by Rev. Bernardo Cota, ended the first part of the Concert.
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In 1925, the station first signed on in Oakland with the call sign KTAB. It broadcast on 1390 kilocycles with 1,000 watts of power. KTAB's cal letters stood for its first owner, the Tenth Avenue Baptist Church. KTAB's debut broadcast at 8 p.m. on August 1, 1925, featured a doxology from the church choir, a classical music performance from trumpeter Grace Adams East and a speech by the Reverend George W. Phillips, the church's pastor.
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The adoption of the Westminster Directory in 1643 meant that the Scots adopted the English Puritan dislike of set forms of worship. The recitation of the Creed, Lord's Prayer, Ten Commandments and Doxology were abandoned in favour of the lengthy sermon of the lecture. The centrality of the sermon meant that services tended to have a didactic and wordy in character. The only participation by the congregation was musical, in the singing of the psalms.
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Secondly, Paul greets a large number of people and families in Chapter 16, in a way that suggests he was already familiar with them, whereas the material of Chapters 1-15 presupposes that Paul has never met anyone from the Roman church. The fact that Papyrus 46 places Paul's doxology at the end of Chapter 15 can also be interpreted as evidence for the existence of a fifteen-chapter recension of the epistle.
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The recent Catholic edition has made the same alterations and substituted "Mother of God" for "Mother of Christ". In each edition the added Words of Institution follow the form of the rite of the edition. The prayers of the Mass, like those of the Orthodox Eastern Church, are generally long and diffuse. Frequently they end with a sort of doxology called Qanuna which is said aloud, the rest being recited in a low tone.
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Calvin O. Butts III, whose message is inclusively interfaith. However, Christian doctrine is retained in the jazz settings of the Lord's Prayer, Gloria Patri and Doxology. The work, which has antecedents in Marsalis' previous work, was performed both at the church and Lincoln Center in New York City and on a national tour. Pianist Cyrus Chestnut grew up performing gospel and hearing jazz in Baltimore before obtain a master's degree from Berklee College of Music.
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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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It also appears in the York, Hereford and Aberdeen breviaries, and remains present in late medieval manuscripts. The modern text first appeared in Campbell's Hymns and Anthems for Use in the Holy Services of the Church within the United Diocese of St Andrews, Dunkeld, and Dunblane (Edinburgh, 1850). The editors of Hymns Ancient and Modern altered Campbell's text in various places, replaced the final stanza with a doxology, and added "Alleluia! Amen" to the hymn's end.
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Birniwa (1987:518-519) He also make use of Arabic and English loanwords, dialect, proverbs and innuendo to express his points. Above all, Gashuwa always opens and closes his poem with a doxology, no matter the motif. Sometimes his poems are to be accompanied by hand clapping. For Gashuwa "an effective political poem should be chanted in a pleasant voice, accompanied by hand clapping, and should contain proverbs"; he holds that this will surely attract an audience’s attention.
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In Roman Catholic liturgy, Rex Gloriose Martyrum is the hymn at Lauds in the Common of Martyrs (Commune plurimorum Martyrum) given in the Roman Breviary. It comprises three strophes of four verses in Classical iambic dimeter, the verses rhyming in couplets, together with a fourth concluding strophe (or doxology) in unrhymed verses varying for the season. The first stanza illustrates the metric and rhymic scheme: :Rex gloriose martyrum, :Corona confitentium, :Qui respuentes terrea :Perducis ad coelestia.
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Ecce sacerdos magnus is an antiphon and a responsory from the common of confessor bishops in the Liturgy of the Hours and in the Graduale Romanum, and the Epistle in their proper Mass. It belongs to Sir 50,1. The responsory Ecce sacerdos magnus for the festival of a confessor bishop, from the Liber Responsorialis juxta Ritum Monasticum, Solesmes, 1895, page 194. Since it is the second responsory of its nocturn, it doesn't have a half-doxology.
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" Caitlin Lassiter, giving the album four and a half stars for New Release Today, says, "We can count Doxology another success from Aaron as we worship along with him in response to God's eternal goodness." Jonathan Andre, awarding the album four and a half stars from 365 Days of Inspiring Media, states, "While at times the album may feel a little too raw for my liking, like there's something missing (Aaron does have a more unpolished quality about him compared to artists like Bethel, Hillsong or Chris Tomlin); Doxology is by far one of my favourite albums from Aaron ever since his 2009 Take Over." Signaling in a 4.7 out of five review at Christian Music Review, Kelly Meade recognizes, "Aaron Shust presents an album that showcases a collection of beautifully written, Christ centered songs of praise set to an overall fresh sounding musical backdrop which pulls you in to the message that the words being sung convey." Sarah Baylor, indicating in a four and a half review for The Christian Beat, recognizes, "This whole album is worshipful, energetic, and an exquisite gem.
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Catholic and Orthodox Christians have their own set of children's prayers, often invoking Mary, Mother of Jesus, angels, or the saints, and including a remembrance of the dead. Some adult prayers are equally popular with children, such as the Golden Rule (, Matthew 7:12), the Doxology, the Serenity Prayer, John 3:16, , , and for older children, The Lord's Prayer and Psalm 23. For the history of Christian songs for children, see Boys' choir § Middle ages & early development, nativity play, and Sunday school § Development.
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Other Office chants include the morning-themed Matutinaria, the Benedictiones using texts from the Book of Daniel, the melismatic Soni, and the alleluiatic Laudes. The Psallendi, unrelated to the Psallendae of Ambrosian chant, end with the Doxology. The neumatic Vespertini, like the Lucernaria of Ambrosian chant, usually allude to the lighting of lamps or to nightfall. They show a high degree of centonization, construction from a vocabulary of stock musical phrases, and adaptation, application of a pre- existing melody to a new text.
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It suggests that the work was intended for vespers held on a specific day on the liturgical calendar of saints ("confessors"); however, the saint in question has not been conclusively established. This was Mozart's final choral work composed for the cathedral. Structurally, it is very similar to Vesperae solennes de Dominica (K. 321), composed in 1779. The setting is divided into 6 movements; as in Dominica, a setting of the Minor Doxology (Gloria Patri) concludes all movements, each recapitulating the opening themes.
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Dunkin, E. (1882) Monumental Brasses. London, Spottiswoode In the early years of the 19th century the rare custom of turning to the East for the Doxology at the conclusion of the recitation of each Psalm, particularly by those in choir, was observed in Probus church. There are records of no less than nine medieval chapels in the parish and three more of which traditions exist. Two mansions formerly existed at Golden: one of the Wolvedon family and a larger one of the Tregians.
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204, 229. In terms of concision and accuracy, Cranmer compares poorly with Luther. Cranmer's sixth stanza, which mentions the Last Judgement and religious strife within Christendom ("the last dreadful day... strife and dissension..."), was a new addition, with no parallel in the Latin original or in Luther's version. The version included in the 1662 revision of the Book of Common Prayer compressed the content of the original seven verses into four (with a two-line doxology), but retained the Latin title.
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Vivaldi's best-known setting, catalogued as RV 594, is structured in ten movements, eight psalm verses and two movements for the doxology. It is set for soloists, double choir and orchestra. Set in D major, it is scored for two sopranos, alto, tenor and bass soloists, two SATB choirs and orchestras. The first choir (Coro I) is accompanied by two oboes, two trumpets (with timpani), two violins, viola, organ and , while the second choir (Coro II) is accompanied by strings, organ and continuo.
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It contains the text of the four Gospels on 457 paper leaves (25.3 by 17.5 cm). The text is written in two columns per page, 20 lines per page. It contains a great number of marginal additions inserted by a later hand. Among these marginal additions it has the doxology in Matthew 6:13, in Luke 1:28 phrase are written in smaller hand; Luke 22:43–44 (the agony); 23:17; 23:34; Pericope Adultera (John 7:53-8:11).
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In 1998, he was the first recipient of the Kate Wolf Memorial Award from the World Folk Music Association. He recorded songs and stories with Rosalie Sorrels on a CD called The Long Memory (1996), originally a college project "Worker's Doxology" for 1992 'cold-drill Magazine' Boise State University. His admirer, Ani DiFranco, recorded two CDs, The Past Didn't Go Anywhere (1996) and Fellow Workers (1999), with him. He was nominated for a Grammy Award for his work with DiFranco.
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Bach, as some of his contemporaries, devotes individual expression to every verse of the canticle, one even split in two for a dramatic effect. In a carefully designed structure, four choral movements are evenly distributed (1, 4, 7, 11). They frame sets of two or three movements sung by one to three voices, with individual instrumental colour. The work is concluded by a choral doxology (12), which ends in a recapitulation of the beginning on the text "as it was in the beginning".
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Firmilian is commemorated in the Greek martyrology (October 28) but is not venerated in the West. His great successor in Cappadocia, St Basil of Caesarea, mentions his view on heretical baptism without accepting it (Epistle clxxxviii), and says, when speaking of the expression "with the Holy Ghost" in the Doxology: "That our own Firmilian held this faith is testified by the lógoi which he has left" (De Spiritu Sancto, xxix, 74). There is no other mention of such writings, which were probably letters.
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The Architecture of Address: The Monument and Public Speech in American Poetry. Psychology Press, 2005: 24. "Old Hundredth" is commonly used to sing the lyrics that begin "All People That on Earth Do Dwell", and also the Doxology (starting "Praise God, from Whom all blessings flow"). The poem elevates the battle above a simple event, setting Concord as the spiritual center of the American nation,Field, Peter S. Ralph Waldo Emerson: The Making of a Democratic Intellectual. Rowman & Littlefield, 2003: 114.
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Foreverlin is an American Christian alternative indie rock band, and they are from the cities of Cheyenne and Laramie, Wyoming, where the band started making music in 2012. They released, an extended play, Per Sempre in 2012, followed by two studio albums, Long Lost in 2013, with Red Cord Records, and, Still After in 2014, from Pando Records. In 2017, Foreverlin released an EP entitled You Remain, which features covers of worship songs, the Doxology, and an original worship song (title track).
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The phrase "and hath exalted the humble" is marked by entrances in succession from the lowest voice to the highest, combined with crescendo. Marked "Meno messo" (Less moving), the basses introduce "He remembring his mercy", responded by four other voices, with again divided sopranos. The doxology repeats material from the beginning, but now in imitation of four voices. The Amen is again for five parts, in rich harmony but soft and further diminishing to a long last chord when all parts are divided.
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The Nunc dimittis, marked "Tranquillo a poco lento" (Calm and somewhat slow), is set in more homophony. After a few measures of organ introduction, the lower voices enter with a long chord, on which the sopranos begin a melody, all voices joining for "depart in peace", ended with another long chord marked pianissimo. The doxology is built from material of the first one. Divided tenors emphasize the phrase "world without end", while all voices are divided for the final soft Amen.
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The doxology is not included in Luke's version of the Lord's Prayer, nor is it present in the earliest manuscripts (papyrus or parchment) of Matthew,Nicholas Ayo (1993), The Lord's Prayer: A Survey Theological and Literary, University of Notre Dame Press, p. 7, representative of the Alexandrian text, although it is present in the manuscripts representative of the later Byzantine text. Most scholars do not consider it part of the original text of Matthew.David E. Aune 2010, The Blackwell Companion to the New Testament (Blackwell ), p. 299.
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Common vocal prayers include the Lord's Prayer (Our Father, Pater Noster), the Hail Mary (Ave Maria, Angelic Salutation), the Glory Be (Gloria Patri, Minor Doxology), and the Apostles' Creed (Symbolum Apostolorum). Catholics consider vocal prayer an essential element of the Christian life. Vocal prayer can be as simple and uplifting as “Thank you, God, for this beautiful morning,” or as formal as a Mass celebrating a very special occasion. When two or more people gather together to pray, their prayer is called communal prayer.
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Traditionally, Luther's translation of the biblical text is sung to a German variant of the tonus peregrinus or ninth psalm tone, concluding with a doxology, translated from the Gloria Patri, on the same tune. Bach based his BWV 10 cantata on Luther's German Magnificat and its traditional setting, working text and melody into the composition as he had done with Lutheran hymns in other chorale cantatas. By early July 1724 Bach was more than a month into his second year as Thomaskantor in Leipzig.
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All voices begin in unison with a slow rising scale in halfnotes, beginning with D. For "and my spirit has rejoiced", they move in lively rhythm, calming to the halfnotes for "in God, my saviour". With similar attention to detail, Wood set the words, with the choir often in homophony. Polyphony is reserved for the doxology "Glory be to the father". In the Nunc dimittis, set in triple meter and marked Adagio, the basses alone sing most of the canticle text of the old Simeon.
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Of the eight bells, six are inscribed with the names of members of Mrs Elizabeth Macarthur-Onslow's family in the ascending order of weight: # John and Elizabeth Macarthur # Children of John and Elizabeth Macarthur # James and Emily Macarthur # Arthur Pooley and Rosa Onslow # Arthur Onslow # Children of Arthur and Elizabeth Onslow The tenor bell is inscribed with the doxology. The clock and striking mechanism, bell hammers and clappers were restored . They have been regularly serviced over the recent past, but are today in need of minor works as they are off time.
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Small compline is prescribed for most nights of the year. It is presided over by a single priest without a deacon. The service is composed of three Psalms (50, 69, 142), the Small Doxology, the Nicene Creed, the Canon followed by Axion Estin,Certain canons call for Axion Estin to be replaced by the Irmos of the Ninth Ode. the Trisagion, Troparia for the day, Kyrie eleison (40 times), the Prayer of the Hours, the Supplicatory Prayer of Paul the Monk, and the Prayer to Jesus Christ of Antiochus the Monk.
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The term "exapostilarion" is related to the word Apostle, which itself is derived from a Greek word meaning “sent out.” It has this name because in ancient times a chanter was sent out from the choir into the center of the church to chant this hymn. The exapostilaria ask God to enlighten the minds of the faithful that they might worthily praise the Lord in the verses of the LaudsThe Lauds or Praises are Psalms 148, 149 and 150, in which all creation offers praise unto God. which follow, and in the Great Doxology.
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The Greek text of the codex is a representative of the Byzantine text- type. Aland placed it in Category V. In Matthew 6:13 it has doxology in the Lord's Prayer in this version: > ὅτι σοῦ ἐστιν ἡ βασιλεία καὶ ἡ δύναμις καὶ ἡ δόξα, τοῦ πατρὸς καὶ τοῦ υἱοῦ > καὶ τοῦ ἁγίου πνεύματος εἰς τοὺς αἰῶνας. ἀμήν (For thine is the kingdom and > the power and the glory, of the Father and of the Son and of the Holy Spirit > for ever. Amen.) This ending appears in only two other manuscripts: 157 and 225.
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The setting is divided into six movements, including five psalms and a setting of the Magnificat. A setting of the Minor Doxology (Gloria Patri) concludes all movements, each recapitulating the opening theme. The first three psalms are scored in a vigorous, exuberant manner, contrasting with the strict counterpoint of the a cappella Laudate pueri. The Laudate Dominum is set as an extended aria for the soprano soloist with obbligato organ, while the Magnificat opens with a majestic, moderate tempo, only to return to the bolder tempo of the first three psalms.
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The hymn was rewritten by Pope Urban VIII in 1632, changing it so extensively that only the second line of the original hymn remained unchanged. The revision, which begins Creator alme siderum, in effect makes it a different composition. While not being part of the original text, most versions also include a doxology of some sort, usually appended as verse 6. J.M. Neale made a translation of the hymn which appeared as "Creator of the Stars of Night" in the first edition of the Hymnal Noted in 1852.
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Jauchzet dem Herrn, alle Welt ("Exult in the Lord, entire world" or "Shout to the Lord"), WoO. 28, is an anthem for choir a cappella, a setting of Psalm 100 in German composed by Felix Mendelssohn in 1844. It was published in 1855 after the composer's death. It is the most popular setting of Psalm 100 by Mendelssohn, who also wrote a four-part motet in Latin, "Jubilate Deo", as part of Three Motets, Op. 69, in 1847 for use in the Church of England, which adds a doxology to the psalm text.
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Like Psalms 146, 147, 148, and 149, Psalm 150 begins and ends in Hebrew with the word Hallelujah. Further, Guzik notes that each of the five books of Psalms ends with a doxology, with Psalm 150 representing the conclusion of the fifth book as well as the conclusion of the entire work. Henry notes that this final psalm parallels the first psalm in that they have the same number of verses. According to the Kabbalah, the ten expressions of praise in this psalm correspond to the ten sefirot (divine emanations).
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Solo interludes for the cor anglais are inserted before the second and third sections, and a cadenza for the same instrument occurs between sections 3 and 4. There is also a concluding coda composed especially for this trio (Kohl 2012b, 503, 515). At the end of this trio, the performers speak in unison the Latin words of the first two lines of the Greater Doxology: "Gloria in excelsis Deo / et in terra pax hominibus bonae voluntatis" (Glory to God in the highest / and on earth peace, goodwill to all people) (Kohl 2012b, 516).
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The verses from the Magnificat that focus on God's strong arm creating justice are given to choral fugues, interrupted by Clare and Francis reminding the listener to reflect who he is. The children open Halleluja as an African call and response, joined by all soloists and the mixed choir. Scene 5 opens with the schola singing the final line from the Magnificat, "" (As was spoken), to which Francis, the Pope, and Clare respond with a praising God. The choir answers with the doxology "Gloria Patri" which recalls motifs from earlier scenes.
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The episode's title is taken from the angels' song to the shepherds in Luke 2:14, announcing the birth of Jesus, and is in reference to the show's Christmas theme. The words also make up the beginning of the Great Doxology: Gloria in excelsis Deo (glory to God in the highest). It was awarded the Primetime Emmy Award for Outstanding Writing for a Drama Series, credited to Aaron Sorkin and Rick Cleveland. In the summer of 2001, a public argument broke out between the two on the internet forum mightybigtv.
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A particular grievance was that they would sometimes reject a week's work essentially due to oversupply, perhaps claiming the quality was low, leaving the nailmaker with no income and the need to purchase new iron. Some found comfort in religion; Sherard quotes one as saying "when I get to heaven I shall get my reward, and my Oppressor will get his". Hymn singing while working was common, and the Doxology was a particular favourite. The industry finally declined in the early twentieth century as jobs in the car industry at Longbridge and elsewhere became available.
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4r) A famous example, whose existence is attested as early as the 4th century, is the Easter Vespers hymn, Phos Hilaron ("O Resplendent Light"). Perhaps the earliest set of troparia of known authorship are those of the monk Auxentios (first half of the 5th century), attested in his biography but not preserved in any later Byzantine order of service. Another, O Monogenes Yios ("Only Begotten Son"), ascribed to the emperor Justinian I (527–565), followed the doxology of the second antiphonon at the beginning of the Divine Liturgy.
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Ephesians 3 is the third chapter of the Epistle to the Ephesians in the New Testament of the Christian Bible. Traditionally, it is believed to have been written by Apostle Paul while he was in prison in Rome (around AD 62), but more recently it has been suggested that it was written between AD 80 and 100 by another . This chapter is a part of long prayer of Paul (from Ephesians 1:3 to 3:21), with the particular section about Paul's stewardship of the great divine mystery, the petition for Christ to dwell in the believers' heart, and a doxology.
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The epitaph repeats the doxology at the close, and adds the petition of the scribe: "O Savior, give peace also to the scribe." When the secure position of the Church assured greater freedom of expression, the non-religious part of the sepulchral inscriptions was also enlarged. In Western Europe and in the East it was not unusual to note, both in the catacombs and in the cemeteries above ground, the purchase or gift of the grave and its dimensions. Traditional minatory formulae against desecration of the grave or its illegal use as a place of further burial also came into Christian use.
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The Bishop will remove the Aër from his head and place it over the Gifts and cense them, after which the Ordination takes place. During Feasts of the Cross a cross is laid on a tray covered by an Aër and decorated with basil leaves and flowers. This is carried by the priest from the Prothesis to the Holy Table, where it will remain until the Great Doxology near the end of Matins. At that point the priest will take it in procession to the center of the church where all the faithful will come forward to venerate the cross.
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The Power and the Glory is a 1940 novel by British author Graham Greene. The title is an allusion to the doxology often recited at the end of the Lord's Prayer: "For thine is the kingdom, the power, and the glory, forever and ever, amen." It was initially published in the United States under the title The Labyrinthine Ways. Greene's novel tells the story of a renegade Roman Catholic 'whisky priest' (a term coined by Greene) living in the Mexican state of Tabasco in the 1930s, a time when the Mexican government was attempting to suppress the Catholic Church.
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Sakkos of Photius, Metropolitan of Moscow, ca. 1417 The bishop wears the sakkos when he vests fully to celebrate the Divine Liturgy, at the Great Doxology at Matins when there is an All-Night Vigil, or on specific other occasions when called for by the rubrics (for instance, at the bringing out of the Epitaphios on Great and Holy Friday, or the cross on the Great Feast of the Exaltation). At other services, he will wear the episcopal mantle (Greek: Μανδύας, Mandýas, Old Church Slavonic: Mantiya). When the bishop is vested, the sakkos is presented to him on a tray.
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The cantata bears the heading :: in Bach's own handwriting. The cantata is festively scored for soprano and tenor soloists and an unusual five-part choir (with a dual soprano part), three trumpets, timpani, two flauto traverso, two oboes, two violins, viola, and basso continuo. Its only link to Christmas is the opening chorus on Luke (), to be performed before the sermon. The other two movements after the sermon (marked "") divide the general words of the Doxology in a duet (corresponding to the , the central piece of the of the Mass in B minor) and a final chorus (corresponding to of the Gloria).
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Adam Reusner, who had studied in Wittenberg, wrote "" as a paraphrase of the first six verses of Psalm 31 following the tradition of Martin Luther's psalm songs (Psalmlieder). Like Luther, and unlike Reformed theologians such as Ambrosius Lobwasser and later who followed the tradition of the Genevan Psalter, Reusner expanded the psalm verses. He developed a stanza of six lines for each of the first six verses of the psalm, and added a seventh stanza with a doxology. The hymn first appeared in Augsburg in 1533, designated to be sung to the melody of the Passion hymn "Da Jesus an dem Kreuze stund".
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The Introit, Gradual, Alleluia, Tract, Sequence, Offertory and Communion chants are part of the Proper of the Mass. "Proprium Missae" in Latin refers to the chants of the Mass that have their proper individual texts for each Sunday throughout the annual cycle, as opposed to 'Ordinarium Missae' which have fixed texts (but various melodies) (Kyrie, Sanctus, Benedictus, Agnus Dei). Introits cover the procession of the officiants. Introits are antiphonal chants, typically consisting of an antiphon, a psalm verse, a repeat of the antiphon, an intonation of the Gloria Patri Doxology, and a final repeat of the antiphon.
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Antiphonary with Gregorian chants Antiphonal chants such as the Introit, and Communion originally referred to chants in which two choirs sang in alternation, one choir singing verses of a psalm, the other singing a refrain called an antiphon. Over time, the verses were reduced in number, usually to just one psalm verse and the doxology, or even omitted entirely. Antiphonal chants reflect their ancient origins as elaborate recitatives through the reciting tones in their melodies. Ordinary chants, such as the Kyrie and Gloria, are not considered antiphonal chants, although they are often performed in antiphonal style.
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The Epitaphios mounted upon return of procession, at an Orthodox Church in Adelaide, Australia. At the end of the Great Doxology, while the Trisagion is sung, the epitaphios is taken in procession around the outside the church, and is then returned to the tomb. Some churches observe the practice of holding the epitaphios at the door, above waist level, so the faithful most bow down under it as they come back into the church, symbolizing their entering into the death and resurrection of Christ. The epitaphios will lay in the tomb until the Paschal Service early Sunday morning.
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For some years he was organist and conductor of the choir at St. Paul's chapel. Greatorex did much to advance the standard of sacred music in the United States in the days when country singing-school teachers imposed their trivial melodies and the convivial measures of foreign composers on the texts of the hymn books at hand. He published a Collection of Psalm and Hymn Tunes, Chants, Anthems, and Sentences (Boston, 1851). One of Greatorex's best-known compositions is a setting of the Gloria Patri, widely used in Protestant denominations for the singing of the doxology in services to this day.
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Two sets of tones are used for the "Magnificat", the canticle of Vespers, and the "Benedictus", the canticle of Lauds: simple tones, which are very close to the standard psalm tones, and solemn tones, which are more ornate and used on the more important feasts. The psalm verse and "Gloria Patri" (doxology) which are sung as part of the Introit (and optionally the Communion antiphon) of the Mass and of the greater responsories of the Office of Readings (Matins) and the reformed offices of Lauds and Vespers are also sung to similar sets of reciting tones that depend on the musical mode.
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Canons are used most notably at Matins, but also at the Midnight Office for Sunday; at Great and Small Compline; and at special services such as the Paraklesis and those of similar structure such as the Panichida and Moleben. In Russian practice for the latter cases the canon is often vestigial, consisting of no more than a selection of katabasia with refrains and doxology. The Greek equivalent of a Moleben is the Paraklesis, during which a full canon is still chanted. Canons may also be used in private prayer either as a regular part of a rule or for special needs.
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In the interior, a series of wooden beams at the base of the dome bear a painted inscription in Arabic; the text is derived from the Christian liturgy (the Epinikios Hymn and the Great Doxology). The church also boasted an elaborate pair of carved wooden doors, today installed in the south façade of the western extension, which relate strongly to the artistic traditions of Fatimid north Africa.Kitzinger, Mosaics, 35ff. On account of these "Arabic" elements, the Martorana has been compared with its Palermitan contemporary, the Cappella Palatina, which exhibits a similar hybrid of Byzantine and Islamic forms.
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Heermann interprets the heathen in the traditional way as those who do not know Jesus ("die dich kennen nicht") in the fist stanza, but also, in the following four stanzas, as those who live in error ("Irrtum"), have gone astray ("verlaufen"), are delusioned ("verblendt"), separated ("getrennt"), dispersed ("zerstreuet") and in doubt ("im Zweifel"). His focus is on the latter group, meaning especially those who do not follow the teachings of the Reformation. The poet calls to pray for them, not to fight them. The final stanza is a short doxology, with the vision that all together may praise Jesus on Earth and in Heaven for his grace.
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In the Tridentine Mass, Psalm 42 (43) is omitted at ferial Masses until Holy Thursday inclusive, as is the short doxology (Gloria Patri) at the Introit and the Psalm Lavabo at Mass. It is likewise omitted in Psalm 94 at Matins, and the responds at Matins, Prime, Terce, Sext, None, and Compline. Also in the ferial Mass, the Preface for Lent gives way to the Preface of the Cross. In the 1955 Holy Week revisions, Passion Sunday was formally renamed from Dominica Passionis or Dominica de Passione ("Sunday of the Passion") to Dominica I Passionis, "First Sunday of the Passion" or "First Sunday of Passiontide".
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In the Eastern Orthodox Church, Oriental Orthodoxy, the Church of the East, and the Eastern Catholic Churches, the Lesser Doxology is frequently used at diverse points in services and private prayers. Among other instances, it is said three times by the reader during the usual beginning of every service, and as part of the dismissal at the end. When it is used in a series of hymns it is chanted either before the last hymn or before the penultimate hymn. In the latter case, it is divided in half, the "Glory..." being chanted before the penultimate hymn, and "Both now..." being chanted before the final hymn (which is usually a Theotokion).
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It is attributed to Loys Bourgeois and is known as the famous tune of the Doxology "Praise God, from whom all blessings flow". The hymn is only distantly related to the readings, concentrating on the thought that the Christians sin and deserve bad treatment, but may be raised to joy in a "" (blessed death). An unknown poet kept the first and the last two stanzas as movements 1, 5 and 6 of the cantata. He derived movement 2, a recitative, from stanzas 2 and 3, movement 3, an aria, from stanzas 4 to 6, movement 4, a recitative, from stanzas 7 to 9, and movement 5, an aria, from stanza 10.
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Although an Anglican, she was frequently asked to preach in the local chapels of the Wrekin area, and at the 1929 general election she won the seat by nearly 3,000 votes.Cheryl Law: Women, A Modern Political Dictionary, p. 125 When the results were announced "some in the vast crowd, sang the doxology 'Praise God from whom all blessings flow' – this was caught up by a large number and swelled into a loud chorus".Life is good (1939:170) In 1929, there were fourteen women in the new House of Commons with just over 600 men; and the account of the 1929–31 Parliament in her autobiography is worth reading.
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Commemoration was always to be made of Sundays, First-Class Feasts, Ferias of Advent and Lent, the September Ember Days, and the Major Litanies. Other commemorations were admitted on condition that the number of prayers should never exceed three.Cum nostra hac aetate, 3, 2–3. The verse of the short responsory in Prime and the doxology of hymns of a commemorated feast that had special ("proper") forms of these were no longer to be used in the Liturgy of the Hours, nor were the preface (if "proper") of the commemorated feast and the Credo, if the commemorated feast had a right to it, to be used in Mass.
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To illustrate Protestant usage, in the traditional services and liturgies of the Methodist churches, which are based upon Anglican practice, hymns are sung (often accompanied by an organ) during the processional to the altar, during the receiving of communion, during the recessional, and sometimes at other points during the service. These hymns can be found in a common book such as the United Methodist Hymnal. The Doxology is also sung after the tithes and offerings are brought up to the altar. Contemporary Christian worship, as often found in Evangelicalism and Pentecostalism, may include the use of contemporary worship music played with electric guitars and the drum kit, sharing many elements with rock music.
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As if to emphasize the shift, the album opened and closed with Petra's first-ever instrumental tracks: synthesized versions of the Doxology. As with the band's most recent albums, Not of This World was well received critically and commercially. By now widely recognized as the top Christian rock band in the genre's short history, the Petra formula was well in place. "Not of This World continues Petra's winning streak of great records that minister the Good News with good music," CCM Magazine wrote in praising the album.Not of This World review CCM Magazine, 1983. In addition, Not of This World garnered Petra its first Grammy nomination, for Best Performance By a Gospel Duo, Group, Choir or Chorus in 1985.
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There is strong, albeit indirect, evidence that a recension of Romans that lacked Chapters 15 and 16 was widely used in the western half of the Roman Empire until the mid-4th century. This conclusion is partially based on the fact that a variety of Church Fathers, such as Origen and Tertullian, refer to a fourteen-chapter edition of Romans, either directly or indirectly. The fact that Paul's doxology is placed in various different places in different manuscripts of Romans only strengthens the case for an early fourteen-chapter recension. While there is some uncertainty, Harry Gamble concludes that the canonical sixteen-chapter recension is likely the earlier version of the text.
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It has not the Little Hours, the Second Vespers, or the Compline. In this respect it resembles the ancient vigils, which began at eventide (First Vespers), continued during the night (Matins), and ended at the dawn (Lauds); Mass followed and terminated the vigil of the feast. The absence of the introduction, "Deus in adjutorium", of the hymns, absolution, blessings, and of the doxology in the psalms also recall ancient times, when these additions had not yet been made. The psalms are chosen not in their serial order, as in the Sunday Office or the Roman ferial Office, but because certain verses, which serve as antiphons, seem to allude to the state of the dead.
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However, the word "πειρασμός", which is translated as "temptation", can also be translated as "test" or "trial", making evident the attitude of someone's heart, and in the Old Testament God tested Abraham (), and told David, "Go, number Israel and Judah," an action that David later acknowledged as sin (; see also ); and the testing of Job in the Book of Job. Reuben Bredenhof says that the various petitions of the Lord's Prayer, as well as the doxology attached to it, have a conceptual and thematic background in the Old Testament Book of Psalms.Reuben Bredenhof, Hallowed: Echoes of the Psalms in the Lord’s Prayer (Eugene, OR: Wipf & Stock, 2019). On the other hand, Andrew Wommack says that the Lord's Prayer "technically speaking [...] isn't even a true New Testament prayer".
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Concerning the text of the processional troparion which was ascribed to Justin II, it is not entirely clear, whether "thrice-holy hymn" did refer to the Sanctus of the Anaphora or to another hymn of the 5th century known as the trisagion in Constantinople, but also in other liturgical traditions like the Latin Gallican and Milanese rites. Concerning the old custom of Constantinople, the trisagion was used as a troparion of the third antiphonon at the beginning of the divine liturgy as well as of hesperinos. In the West, there were liturgical customs in Spain and France, where the trisagion replaced the great doxology during the Holy Mass on lesser feasts.See the evidence in a homiletic explanation of the Old Gallican Liturgy by Pseudo- Germanus (1998).
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Another minor adjustment is that Bach applies a caesura in the music between the end of the Gospel text and the start of the doxology, so that the composition has ten movements ("Gloria Patri" becoming the ninth, and the fugal "Sicut erat" as the tenth and last movement). Whether by omission or because he didn't know, Bach did not mention the composer of the original on his copy. Antonio Caldara's , which Bach copied and arranged around the same time (BNB I/C/1 and BWV 1082), carries the name of the original composer in the header of Bach's manuscript. By 1841 Bach's manuscript was owned by the Royal Library at Berlin (later converted to the Berlin State Library), where it was classified as Mus.ms.
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Daniel 2 exhibits both these genres, but it is also made up numerous subgenres: a court tale, a dream report, a legend, an aretalogy, a doxology, and a midrash. In folkloric terms it can be typified as a "court legend," a story set in the royal court, concerned with wonderful events and containing an edifying message. The plot of such tales (another example is the story of Joseph and Pharaoh in Genesis 41) is as follows: a person of low status is called before a person of high status to answer a difficult question or to solve a riddle; the high-status person poses the problem but none present can solve; the person of low status solves it and is rewarded.
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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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GIRM, paragraph 79c,f The whole portion of the Antiphon recalling Christ's passion, death, and resurrection, is called the Anamnesis. Intercessions for both the living and the souls in Purgatory follow. When there are priests concelebrating the Mass they join the main celebrant in the central prayers, up to the intercessions, which they may divide among themselves. The Antiphon ends with an emphatic doxology for which the priest elevates the paten with the Host and the deacon (if there is one) elevates the chalice, and the priest(s) proclaim of Christ that "through him, with him, in him, in the unity of the Holy spirit, all glory and honor is yours, Almighty Father, for ever and ever," to which the faithful sing or chant the great Amen.
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Among Wainwright's books the most influential remains Doxology: The Praise of God in Worship, Doctrine and Life. His more recent books include For Our Salvation: Two Approaches to the Work of Christ (1997), Worship with One Accord: Where Liturgy and Ecumenism Embrace (1997), Is the Reformation Over? Catholics and Protestants at the Turn of the Millennia (which was the Père Marquette Lecture for 2000), an intellectual and spiritual biography of a father of the 20th century ecumenical church, Lesslie Newbigin: A Theological Life, and Embracing Purpose: Essays on God, the World and the Church (2007). His Eucharist and Eschatology (1971) and Christian Initiation (1969) were re-issued in 2002 and 2003 respectively. With Karen Westerfield Tucker he edited The Oxford History of Christian Worship (2006).
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Some hours later the local undertaker arrives and informs him that there's something he needs to see at the mortuary. When they arrive Barclay sees the missing silver dollar, which the undertaker discovered after Trusdale evacuated his bowels. Trusdale was, in fact, guilty, and had swallowed the dollar on becoming aware of the approaching posse at the start of the story, before swallowing it again every time he defecated in his cell. In wonderment at his former conviction that the man was innocent, Barclay says, “He went on saying he was innocent right to the end. He’ll most likely stand at the throne of God saying the same thing.” The story ends as the sound of a church congregation, singing the Doxology, is heard.
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Originally, the entrance of the priest who was to celebrate Mass was accompanied by the singing of a whole psalm, with Gloria Patri (doxology). While the psalm was at first sung responsorially, with an antiphon repeated by all at intervals, while a solo singer chanted the words of the psalm, it was soon sung directly by two groups of singers alternating with each other, and with the antiphon sung only at the beginning and the end, as is the usual way of chanting the psalms in the Liturgy of the Hours. The change to this manner of singing the psalm has been attributed to Pope Celestine I (422–432). Pope Gregory I (590–604), after whom Gregorian chant is named, composed several antiphons for singing with the Entrance psalm.
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Hans Spanke has furthered the religious interpretation, noting the resemblance to certain liturgical sequences and the presence of a short doxology, to which Godman adds the opening religious address to filii ("sons"). Other interpretations of the song include: An allegory of the Prodigal Son and an adaptation of the Greek myth of the holy swans of Apollo coming from the north. Patristic literature, earlier Carolingian literature, and early vernacular literature all use avian imagery for the wandering, searching mind or soul. It is found in Ambrose, Augustine, and Alcuin, and in the Old English poems The Wanderer and The Seafarer;These Old English poems date probably from the eleventh century and so could not have been influences on the Swan Sequence, though The Wanderer may have had an oral precursor.
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Seabury played a decisive role in the evolution of Anglican liturgy in North America after the Revolution. His "Communion Office," published in New London in 1786, was based on the Scottish Liturgy of 1764 rather than the 1662 Book of Common Prayer in use in the Church of England. Seabury's defense of the Scottish service-- especially its restoration of oblationary language and the epiklesis or invocation of the Holy Spirit in the Prayer of Consecration was adopted into the Book of Common Prayer with minor change by the Episcopal Church in 1789. The English 1552, 1559, 1604 and 1662 Books of Common Prayers of Consecration ended with the Words of Institution; but the Scottish Rite Prayer continued with an oblation, anamnesis, epiclesis, intercessions and doxology based on the ancient classical models of consecration prayers.
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An embolism similar in form to the Tridentine can be found in some Anglo- Catholic liturgies of the Scottish Episcopal Church: > Deliver us, O Lord, we beseech thee, from all evils past, present and to > come, and at the intercession of the Blessed and glorious ever-Virgin Mary, > Mother of God, and of thy blessed saint Peter and Paul, Andrew, [the patron > saint of the church, the saint of the day and other saints at the discretion > of the celebrant] and all the Saints, favourably grant peace in our days, > that by the help of thine availing mercy, we may be evermore both free from > sin and safe from all distress.The Parish Mass (Booklet). St. Margaret of > Scotland Episcopal Church, Gallowgate. This is followed by the doxology (For thine is the kingdom...).
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"Quem terra, pontus, sidera", formerly and recently known by its more ancient name, "Quem terra, pontus, aethera", is an ancient hymn in long metre, in honour of the Blessed Virgin, and ascribed and described to Venantius Fortunatus. The Roman Breviary divides it into two parts: the first, beginning with "Quem terra, pontus, sidera", assigned to Matins; the second, beginning with "O gloriosa virginum", similarly assigned to Lauds. Both parts conclude with the doxology of Marian hymns, "Jesu tibi sit gloria etc." As found in breviaries following the reforms of Urban VIII and preceding the reforms of Paul VI, the hymns are revisions, in the interest of classical prosody, of the older hymn, "Quem terra, pontus, æthera", found in many old breviaries and in manuscripts dating from the eighth century.
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A typical characteristic of the Latin rites different from the Roman Rite is the great variability of portions of the Roman Canon which change according to the liturgical year and the Mass. The Mozarabic Rite has as variable texts the Illatio (i.e. the Preface), the Post-Sanctus and the Post-Pridie, that is the prayer said between the Institution narrative and the doxology in place of the Intercessions which are placed before the Sursum Corda. In the Gallican Rite the Preface is named Contestatio or Immolatio and the Institution narrative is named Secreta or Mysterium The Ambrosian Rite during the centuries has lost its ancient variety, even if it maintains a richness of choices for the Preface and its first Eucharistic Prayer is slightly different form the Roman one mainly in the Words of Institution.
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The chapter opens with an introduction typical of Aramaic letters of the post-exilic period ("King Nebuchadnezzar to all peoples, nations and languages...May you have abundant peace!"). Jewish bibles,Daniel 3:31-32: JPS Tanach 1917 and some Christian ones, attach this to the end of chapter 3, so that Nebuchadnezzar's letter concerns the events of chapter 3 (the Fiery Furnace) instead of his madness. Seow suggests that this is no more than an accidental result of the fact that chapter divisions were only introduced in the 13th century, and given that chapter 4 is in Nebuchadnezzar's voice, the attachment to this chapter seems the most fitting choice. This is followed by the dream, Daniel's interpretation, the sentence, the king's recovery, and a final doxology in which the king repeats his praise of God.
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It was at this time that he wrote, primarily for the same body as his prayers, his morning, evening and midnight hymns, the first two of which, beginning "Awake, my soul, and with the sun" and "Glory to Thee, my God, this night", are well known. The latter is often made to begin with the line "All praise to Thee, my God, this night", which is how it appeared in a 1692 pamphlet printed by Richard Smith. However, this publication was likely made without Ken's permission, and subsequent editions over which he had control revert to "Glory to Thee, my God, this night". Both of these hymns end with a doxology beginning "Praise God, from whom all blessings flow," which is widely sung today by itself, often to the tune Old 100th.
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It comprises (like the hymns for Terce and Sext) only two stanzas of iambic dimeters together with a doxology, varying according to the feast or season. As in the hymns for Prime, Sext and Compline, the theme is found in the steady march of the sun, that defines the periods of the day (and provided the basis of Roman and monastic chronology): :Rerum, Deus, tenax vigor :Immotus in te permanens, :Lucis diurnæ tempora :Successibus determinans '. which translates (not literally, nor strictly by verse): :'O God, whose power unmoved the whole of Nature's vastness doth control, Who mark'st the day-hours as they run by steady marches of the sun'. The moral application is, as usual, made in the following stanza: :Largire lumen vespere 'O grant that in life's eventide' :Quo vita nusquam decidat, etc.
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All the metrical psalms in the volume were expanded with a trinitarian doxology which the Psalter had printed separately; as a result, these suddenly came to be used far more frequently than ever before. The volume is structured thematically under eight sections, each (except the last) with a number of subsections: # Approach to God # The Word of God: His mighty acts # Response to the Word of God # The sacraments # Other ordinances # Times and seasons # Close of service # Personal faith and devotion The distinctive plain red cover set CH3 apart from the previous hymnbooks and psalters, which all had dark blue-black bindings. Like RCH, CH3 also had a handbook: John Barkley, Handbook to the Church Hymnary Third Edition, OUP 1979. Its commentaries are less full and scholarly than those of Moffatt and Patrick, but more closely tailored to the needs of worship preparation.
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Both the 1962 and the 1970 revisions of the Canon are authorized for public liturgical use in the Roman Rite of the Catholic Church, that of 1970 in the form of Mass in general use, that of 1962 in the form permitted under certain conditions in Summorum Pontificum by Pope Benedict XVI.Pope Benedict XVI, Motu proprio Summorum Pontificum, art. 1 This article does not deal with the significance and history of this Eucharistic Prayer (see History of the Roman Canon), but only with the text and rubrics of the Canon from the Te igitur to the final doxology, omitting consideration of the Preface and the Sanctus. The English translation used in this article is that in the 1902 English version of Nicholas Gihr's The Holy Sacrifice of the Mass (1902), originally published in German in 1877.
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One setting from their collection that has survived is the metrical form of the Psalm 100 attributed to William Kethe, with the tune known as the Old 100th, often used as a doxology: :All people that on earth do dwell, :sing to the Lord with cheerful voice: :Him serve with fear, his praise forth tell, :come ye before him and rejoice. In 1621, Thomas Ravenscroft published an expanded edition of the Sternhold and Hopkins Psalter; Ravenscroft's edition added many more psalm tunes, some of which had been composed, since the original publication, by leading late Tudor and early Stuart English composers such as Thomas Morley, Thomas Tallis, John Dowland, and Thomas Tomkins. Another musical contributor to this volume was John Milton, senior, the father of the poet of that name. By any objective measure of circulation Sternhold and Hopkins's psalter was a success.
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The parts commemorated are readings, antiphons, and prayers. In the Liturgy of the Hours, all three are or have been used: a reading of the commemorated celebration in Matins (Office of Readings); the antiphons of the Benedictus in Lauds and of the Magnificat in Vespers; and the proper prayer of the celebration being commemorated, the same as the collect of its Mass. In Mass, the prayers used are the collect, the prayer over the offerings and the prayer after Communion. Furthermore, before the decree Cum nostra hac aetate of 1955, in the Liturgy of the Hours the verse of the short responsory in Prime and the doxology of hymns of a commemorated feast that had special ("proper") forms of these were used, as in Mass were the commemorated feast's preface, if "proper", and the Credo, if the commemorated feast required its recitation.
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A perfect example of this kind of epitaph is that of the Egyptian monk Schenute; it is taken verbally from an ancient Greek liturgy. It begins with the doxology, "In the name of the Father and of the Son and of the Holy Ghost, Amen", and continues: > May the God of the spirit and of all flesh, Who has overcome death and > trodden Hades under foot, and has graciously bestowed life on the world, > permit this soul of Father Schenute to attain to rest in the bosom of > Abraham, Isaac, and Jacob, in the place of light and of refreshment, where > affliction, pain, and grief are no more. O gracious God, the lover of men, > forgive him all the errors which he has committed by word, act, or thought. > There is indeed no earthly pilgrim who has not sinned, for Thou alone, O > God, art free from every sin.
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Of the various works attributed, rightly or wrongly, to Ibn al-Muqaffa', there are two of which we have only fragments quoted in hostile sources. One, posing a problem of authenticity, may be described as a Manichaean apologia. The other is the Moarazat al-Quran, which sees not as anti-Islamic, but rather as an exercise designed to show that in the author's time something stylistically comparable to the Quran could be composed. Other compositions and occasional pieces attributed to Ibn al-Muqaffa' are the Yatima tania a short, sententious epistle on good and bad rulers and subjects ; may be authentic, though the long resāla entitled Yatimat al-soltan and the collection of aphorisms labeled Hekam certainly are not. A doxology is almost certainly spurious, though a series of passages and sentences that follow it may have come from the lost Yatima fi’l-rasael.
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The main result of his stay in Bologna and his association with Martini was to present to the Accademia Filarmonica of that city, as application for admission, his first known sacred composition, a five-voice fugue a cappella on the final words of the small doxology, "Sicut erat". Musicologist Karl Gustav Fellerer, who examined several such works, testifies that Jommelli's piece, though being just "a rigid school work", could well rank among the best admission pieces now stored in the Bolognese Accademia Filarmonica. During the early 1740s he wrote an increasing amount of religious music, mainly oratorios, and his first liturgical piece still extant, a very simple "Lætatus sum" in F major dated 1743, is part of the Santini collection in Münster. Shortly after his time in Bologna, Jommelli moved to Venice and composed Merope, which was the forerunner for French operatic style later in the century.
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In the current traditions of Orthodox Chant, the sticherarion as a hymn book was also used to call a chant genre sticheraric melos, which is defined by its tempo and its melodic formulas according to the eight modes of the Octoechos. Although the hymns of the sticherarion have to be sung in the same melos, there is no direct relation with the poetic hymn genre, because its musical definition rather follows the practice of psalmody. Today the sticheraric melos as opposed to the troparic melos are two different cycles of the Octoechos. In the past, they had been closer related by the practice of psalmody, and a troparion which is nothing else than a refrain sung with psalmody, might become a more elaborated chant from a musical point of view, so that it is sung thrice without the psalm verses, but with the small doxology.
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The word "Alleluia" at the beginning and end of the Acclamation Before the Gospel at Mass is replaced by another phrase. Before 1970, the omission began with Septuagesima, and the whole Acclamation was omitted and was replaced by a Tract; and in the Liturgy of the Hours the word "Alleluia", normally added to the Gloria Patri at the beginning of each Hour – now simply omitted during Lent – was replaced by the phrase Laus tibi, Domine, rex aeternae gloriae (Praise to you, O Lord, king of eternal glory). Until the Ambrosian Rite was revised by Saint Charles Borromeo the liturgy of the First Sunday of Lent was festive, celebrated with chanting of the Gloria and Alleluia, in line with the recommendation in , "When you fast, do not look gloomy". In the Byzantine Rite, the Gloria (Great Doxology) continues to be used in its normal place in the Matins service, and the Alleluia appears all the more frequently, replacing "God is the Lord" at Matins.
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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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Jude urges his readers to defend the deposit of Christ's doctrine that had been closed by the time he wrote his epistle, and to remember the words of the apostles spoken somewhat before. Jude then asks the reader to recall how even after the Lord saved his own people out of the land of Egypt, he did not hesitate to destroy those who fell into unbelief, much as he punished the angels who fell from their original exalted status and Sodom and Gomorrah. He describes in vivid terms the apostates of his day. He exhorts believers to remember the words spoken by the Apostles, using language similar to the second epistle of Peter to answer concerns that the Lord seemed to tarry, How that they told you there should be mockers in the last time, who should walk after their own ungodly lusts..., and to keep themselves in God's love, before delivering a doxology.
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17th verse of A solis as charm against bleeding in prayerbook from Kingdom of Mercia, late 8C-early 9C, Royal MS 8 A XX, British Library A solis ortus cardine... is a Latin hymn, written in the first half of the fifth century by the early Christian poet Sedulius. The abecedarius recounts in 23 quatrains of iambic dimeter the nativity, miracles and passion of Christ. With the other Latin texts of Sedulius, it enjoyed wide circulation in the church and in schools from late antiquity and medieval times until the end of the seventeenth century. The opening words are cited by Bede in his De Arte Metrica and were used without reference by medieval poets; and the seventeenth verse Rivos cruoris torridi, describing Christ's miraculous healing of the bleeding woman, was even proffered as a medieval charm against bleeding. Early Tudor faburden of 2nd verse of A solis ortus cardine The first seven verses, with a doxology verse by a different writer, were used from the early Middle Ages onwards as a Christmas hymn.
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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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