The pre-reform forms of letters called 'Полуустав' were notably kept for use in Church Slavonic and are sometimes used in Russian even today, especially if one wants to give text 'Slavic' or 'archaic' feel.
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His surviving output includes around 90 church cantatas, as well as numerous chorales, secular cantatas and funeral cantatas, an "Operina" Die verliebte Nonne, one Brockes Passion, one Matthew Passion and a Sonata for oboe, strings and continuo composed for use in church.
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Christmas Carols, ccel.org, retrieved 15 November 2014 By 1871, the second series of 22 carols came out bringing the total to 42. A third series - with 28 carols - was issued in 1878, expanding the collection to 70 carols, second only to R. R. Chope's Carols for Use In Church in the number of carols it contained.
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Priuli's instrumental music, such as the pieces in the two collections entitled Sacrorum concentuum, 1618 and 1619, is akin to the music of Gabrieli. The number of parts ranges from five to twelve; some of the pieces use echo effects reminiscent of the repertory of the composers working in St. Mark's, where that style first developed. All of these works were intended for use in church.
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" The Journal of Political Economy, 1922: 546 Flax could be grown, and was turned into linen or canvas for cloth and used as a form of currency. At this time the Baltic Slavs were also known for bee-keeping, trading their honey and wax to the Germans for use in church candles and in sealing documents.Thompson, James Westfall. "Early Trade Relations Between the Germans and the Slavs.
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The Oxford Dictionary of National Biography notes that he was reactive and sought conciliation rather than confrontation.James Ussher, Oxford Dictionary of National Biography (2004) The story that he successfully opposed attempts to reintroduce the Irish language for use in church services by William Bedell, the Bishop of Kilmore, has been refuted.O'Sullivan, W. S. (1968). "Review of R. B. Knox, James Ussher Archbishop of Armagh", Irish Historical Studies xvi: 215–19.
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Bramley included the commonly used tune for the carol. Christopher Chope's 1894 Carols for use in Church attributed the words as being Kentish, which was later confirmed by R R Terry in 1923 in his Old Christmas Carols anthology. The carol later passed into North America and was later published in the Evangelical Lutheran Church's Wartburg Hymnal in 1918. In 1960, it was published in the Church of Ireland's The Church Hymnal.
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Although Marot remained a Catholic, Calvin included Marot's psalm versions in the Psalter. The first Genevan Psalter, 1542, contained six psalms by Calvin and 30 by Marot. The Genevan Psalter of 1562 contained all 150 psalms, and included the works of Calvin's successor, Theodore de Beza (1509–1565). Calvin did not approve of free religious texts (hymns) for use in church; the Bible was the only source of texts he approved (exclusive psalmody).
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Retrieved 20 February 2015 Unlike his pupil, Fauré, whose long career as a reluctant organist left no legacy of works for the instrument, Saint- Saëns published a modest number of pieces for organ solo.Nectoux, pp. 525–558 Some of them were written for use in church services – "Offertoire" (1853), "Bénédiction nuptiale" (1859), "Communion" (1859) and others. After he left the Madeleine in 1877 Saint-Saëns wrote ten more pieces for organ, mostly for concert use, including two sets of preludes and fugues (1894 and 1898).
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Since 1978 he has been senior lecturer in church music and composition theory. He has been particularly involved in the more creative, performance-oriented aspects of the latter, focusing on liturgical organ playing, improvisation and composition for use in church services. Since the introduction of a graduate programme in church music at the Academy in 1983, he has also taught within the fields of liturgiology and hymnody. In 1994 he was appointed professor in church music, with church music composition as his main subject.
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The band often incorporated unconventional instruments and elements into their music, many of which were created by the band's drummer Jeremy Bush. He modified a Speak & Spell for the song "I Can Hear the Angels Singing (...Andeverandeverand...)", and used a robot drummer, named Steve 3PO, for use in "Church Music", a silver box with blue lights and switches for "Can You Feel It?", and a MOTM modular synthesizer used by Hogan. He also manufactured a seven square-foot MPC style- MIDI controller for the band Family Force 5.
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Grove, "Étienne Moulinié" Moulinié wrote in the genres of airs de cour and airs à boire. His airs de cour are strophic and syllabic, but generally freer than others in the genre. His works were printed in a number of different forms (for voices alone and voice with continuo), and many were changed into sacred texts for use in church, although he also wrote other pieces which were religious from the start. His work may have been influenced by music of other countries, including the dance music of Spain and Italy.
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Sixty of his vocal works have survived, all but two of a sacred nature, with Latin texts; they were probably composed during his time in Stockholm. Most are intended for court performance, and one third for use in church services, but he also wrote larger works for royal ceremonies; Quis hostis in coelis and Domine in virtute were written for Charles XI's accession to the throne in 1672. His vocal works are related in form and style to the contemporary Italian concerted motet; indeed, he called them motetto. They are generally in sections which alternate in texture and scoring, and include ariosos or arias for solo voice.
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Surviving sources indicate that there was a rich and varied musical soundscape in medieval Britain.R. McKitterick, C. T. Allmand, T. Reuter, D. Abulafia, P. Fouracre, J. Simon, C. Riley-Smith, M. Jones, eds, The New Cambridge Medieval History: C. 1415- C. 1500 (Cambridge: Cambridge University Press, 1995), pp. 319–25. Historians usually distinguish between ecclesiastical music, designed for use in church, or in religious ceremonies, and secular music for use from royal and baronial courts, celebrations of some religious events, to public and private entertainments of the people. Our understanding of this music is limited by a lack of written sources for much of what was an oral culture.
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An 1847 publication of Southern Harmony, showing the title "New Britain" ("Amazing Grace") and shape note music. The roots of Southern Harmony singing, like the Sacred Harp, are found in the American colonial era, when singing schools convened to provide instruction in choral singing, especially for use in church services. This practice remained popular with Baptists in the South long after it fell from use in other regions. In 1801, a book called The Easy Instructor by William Smith and William Little was published for the use of this movement; its distinguishing feature was the use of four separate shapes that indicated the notes according to the rules of solfege.
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Individual sheet music of a Sonata, written in the Baroque period. In the works of Arcangelo Corelli and his contemporaries, two broad classes of sonata were established, and were first described by Sébastien de Brossard in his Dictionaire de musique (third edition, Amsterdam, ca. 1710): the sonata da chiesa (that is, suitable for use in church), which was the type "rightly known as Sonatas", and the sonata da camera (proper for use at court), which consists of a prelude followed by a succession of dances, all in the same key. Although the four, five, or six movements of the sonata da chiesa are also most often in one key, one or two of the internal movements are sometimes in a contrasting tonality .
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Both concentrated on the appearance of a wide range of minerals, where they came from, and how they were extracted and used.Harris, 45–50 While Pliny and others wrote on how to detect fake or imitation gems, some, like Jean d'Outremeuse (d. 1400), described how to make them in coloured glass, which by the Late Middle Ages was recommended for use in church metalwork.Vauchez, 822; Harris, 17 Most classical lapidaries are lost; of the 38 works listed by Pliny (in Book XXXVII), only Theophrastus' text survives.Harris, 55 There are hundreds of different medieval texts, but most are mainly based on a number of large works which were redacted, translated and adapted in various ways to suit the needs of the individual manuscript.
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The Council of Trent, which met from 1545 to 1563, had a significant impact on the music of the Roman School: indeed it can be argued that these reforms in the Roman Catholic Church, which were part of the Counter-Reformation, defined the music of the Roman School. The Council of Trent recommended that sacred music, especially for use in church, be written in a dignified, serious style. The Council allowed polyphony--a common misconception is that they banned it outright, but this is false--however they did require that text which was sung be clearly understandable. In addition, while they did not ban the use of secular melodies as source material for masses and motets, such use was discouraged.
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The Minstrel's Gallery, Exeter Cathedral, shows angels with a variety of contemporary instruments Surviving sources indicate that there was a rich and varied musical soundscape in medieval England.R. McKitterick, C. T. Allmand, T. Reuter, D. Abulafia, P. Fouracre, J. Simon, C. Riley-Smith, M. Jones, eds, The New Cambridge Medieval History: C. 1415- C. 1500 (Cambridge: Cambridge University Press, 1995), , pp. 319–25. Historians usually distinguish between ecclesiastical music, designed for use in church, or in religious ceremonies, and secular music for use in places from royal and baronial courts, celebrations of some religious events, to public and private entertainments of the people. Because literacy, and musical notation in particular, were preserves of the clergy in this period, the survival of secular music is much more limited than for church music.
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Pinkham's enormous output represents a broad cross- section of 20th-century musical trends. He produced work in virtually every genre, from symphonies to art songs, though the preponderance of his music is religious in nature, frequently choral and/or involving organ. Much of his music was written for use in church services or other ceremonial occasions, and reflected his longstanding relationship with King’s Chapel. At various points in his career, he embraced plainchant, medievally-influenced modal writing, and 17th-century forms (in the 1930s and 40s, under the influence of Stravinsky and Hindemith and reflecting his commitment to the early music revival), dodecaphony and serialism (in the 1950s and 60s), electronic music (beginning in 1970),Sabine Feisst, "Pinkham, Daniel (Rogers)", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publisher, 2001).
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David Gregor Corner, (1585 – 9 January 1648) was a German Benedictine abbot, hymn writer and theologian best known for his influential 1631 Gross Catholisches Gesängbuch ("Great Catholic Hymnal").John Wilson, Lasst uns Erfreun, Hymn book society, 196 Born in Hirschberg, Germany (now Jelenia Góra, Poland), he studied theology at Prague, Graz and Vienna, where he earned a doctorate. He became a pastor in Retz in 1614. In 1628 he became a novice monk at Göttweig Abbey. By 1636, Corner was the abbot of Göttweig, where he became a leading figure of the Counter-Reformation, and was made Rector of the University of Vienna in 1638.The Presbyterian hymnal companion, (Westminster John Knox Press, 1993) , 229 He died 9 January 1648 at Göttweig. His magnum opus, the Gross Catholische Gesängbuch was published in 1625, and a later publication from 1631 contained 546 hymns and 276 melodies (including 76 Latin hymns), one of the largest song books of the 16th and 17th century. This collection featured devotional Catholic hymns for use in church, church festivals and processions.
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Edward White Benson, credited with devising the service of Nine Lessons and Carols in 1880 Order of Service for the first Nine Lessons and Carols in 1880 on display in Truro Cathedral Although the tradition of Nine Lessons and Carols is popularly associated with King's College, Cambridge, its origins are attributed to Truro Cathedral in Cornwall. Up to the late 19th century, the singing of Christmas carols was normally performed by singers visiting people's houses, and carols — generally considered to be secular in content — had been excluded from Christian worship. In the Victorian era, the rising popularity of hymnody encouraged church musicians to introduce carols into worship. An 1875 book of carols, Carols for Use in Church During Christmas and Epihany by Richard Chope and Sabine Baring-Gould, was an influential publication. At around this time, the composer and organist John Stainer was compiling a collection, Christmas Carols New and Old, and during Christmas 1878 he introduced carols into the service of Choral Evensong at St Paul's Cathedral in London.
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