The Ordinary of the Mass appears to have been borrowed directly from the Gregorian repertory. The Proper chants of the Mass show some special characteristics. Introits in the Old Roman Mass retained the versus ad repetendum, a repeat of the verse, which had disappeared from the Gregorian chant by the 11th century. Musically, Old Roman Introits resembled their Gregorian counterparts, although the neumatic passages were more ornate and the syllabic passages were simpler.
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Introits, like Offertories and Communions, are believed to have evolved from simpler reciting tones. Introit melodies show this musical parentage most clearly, and are often anchored around two reciting notes which may be repeated or percussed. The melodies are mostly neumatic, dominated by neumes with two or three notes per syllable, although syllabic and melismatic passages also occur. The Introits of Old Roman chant share many similarities with their Gregorian cousins, and often include a repeated extra verse that fell out of use in the Gregorian repertory.
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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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"Composer Richard Wernick: A > Conversation with Bruce Duffie", December 27, 1993 As such, critics have sometimes identified his style as more audience- accessible, particularly when compared to more strictly serialist composers of the 20th century.Horowitz, Joseph. "Wernick's 'Introits and Canons'". The New York Times.
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The Indian Mass differed from the Tridentine Mass in its use of vernacular language ordinaries and propers. The ordinaries were straightforward translations of the Mass texts. However, the propers often differed significantly from their Roman counterparts. Typically, a handful of Introits rotated duty throughout the liturgical year.
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Survival of music from this age is spotty, and many sources of music from Liège were destroyed when Charles the Bold sacked the city in 1468. Nevertheless, some of Brassart's music has survived, including 11 motets, 8 introits, and many individual mass movements. His music is typical of the early Burgundian style, using fauxbourdon techniques (frequent 6-3 parallelism in two voices singing above the principal melody part in the tenor voice), isorhythm, and the Burgundian under-third cadence. All of his surviving music is sacred, and includes mass movements, introits, and numerous motets; one of his pieces is on a German text, and almost certainly was written during his employment with the Imperial chapel.
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Mode III (E authentic) chants have C as a dominant, so C is the expected reciting tone. These mode III Introits, however, use both G and C as reciting tones, and often begin with a decorated leap from G to C to establish this tonality.Hiley, Western Plainchant pp. 110–113. Similar examples exist throughout the repertory.
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In 1891, he wrote to the publisher requesting the return of the scores that were not published, because he wanted to reuse them. These pieces were probably the subsequently published motets, because other than these, Stanford wrote music for the Anglican Church in English. Stanford did not set introits but rather Latin texts of different origin. His autographs are lost.
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Often he used cantus firmus techniques, and frequently wrote with the melodic part in the top voice. The introits are among the earliest known polyphonic settings of this section of the Proper of the Mass. The mass movements, all for three voices, most often employ the fauxbourdon style, while the motets are typically isorhythmic. Many of the motets are for four voices.
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William Henry Monk, original editor of the hymnal. The growing popularity of hymns inspired the publication of more than 100 hymnals during the period 1810–1850. The sheer number of these collections prevented any one of them from being successful. A beginning of what would become the Hymns Ancient and Modern was made with the Hymns and Introits (1852), edited by George Cosby White.
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"ii", follows the antiphon. The antiphons of the entrance (introits) have the gradual order of the mass as a rubric at the margin (on a verso page as here: left), i.e. the serial for the day with gradual (R), alleluia (All) or tractus (TR), offertorium (OF), and communio (CO). A conventional tonary with the list of differentiae was also attached to the beginning of the manuscript.
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The musical phrases centonized to create Graduals and Tracts follow a musical "grammar" of sorts. Certain phrases are used only at the beginnings of chants, or only at the end, or only in certain combinations, creating musical families of chants such as the Iustus ut palma family of Graduals.Apel, Gregorian Chant pp. 344–63. Several Introits in mode 3, including Loquetur Dominus above, exhibit melodic similarities.
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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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289–90 of this section. Then comes Cosmas of Prague's Chronicle of Bohemia (f. 294–304). A list of brothers in the Podlažice monastery, and a calendar with a necrology, magic formulae, the start of the introits for feasts, and other local records round out the codex (f. 305–312). Apart from the alphabets at the start, the entire book is written in Latin; in addition, it contains Hebrew, Greek, and Slavic alphabets (Cyrillic and Glagolitic).
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While he composed in all of the standard sacred forms of his day, he concentrated on motets. His early motets often make use of numerological signifiers of religious importance; later works show influence from the Netherlands school of composers, such as imitation and the use of multiple choirs. Among his most popular motets was O admirabile commercium, which survives today in 11 sources. He composed four masses, as well as fourteen introits spanning the church year from Christmas to Easter.
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His secular music—madrigals, canzonette, and songs among the vocal, and ricercars, canzonas, introits and toccatas among the instrumental—show many of the advanced techniques of the Gabrielis in Italy, but with a somewhat more restrained character, and always attentive to craftsmanship and beauty of sound. However, Hassler's greatest success in combining the German and Italian compositional styles existed in his lieder.Reese 1959, p.711. In 1590, Hassler released his first publication, a set of twenty-four, four-part canzonette.
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A funeral Mass is a form of Mass for the Dead or Requiem Mass, so called because of the first word of what in earlier forms of the Roman Rite was the only Introit (entrance antiphon) allowed: Réquiem ætérnam dona eis, Dómine; et lux perpétua lúceat eis. (Eternal rest give to them, O Lord; and let perpetual light shine upon them). As revised in 1970, the Roman Missal also provides alternative Introits. The bier holding the body is positioned centrally close to the sanctuary of the church.
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The third level of division are the eight parts according to the oktoechos in the order of autentus protus, plagi proti, autentus deuterus etc. In the first part, every tonal section has all introits according to the liturgical year cycle and then all communions according to the liturgical order. The whole disposition is not new, but it is identical with tonaries from different regions of the Cluniac Monastic Association. The only difference is, that every chant is not represented by an incipit, it is fully notated in neumes and in alphabetic notation as well.
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Numerous meditations, chorale preludes and partitas to church songs testify to Weyrauch's basic religious attitude. In the field of vocal music, too, a clear predominance of sacred music can be observed; here, the preference for choral music is conspicuous, while solo works are hardly to be found. Above all motets, introits and cantatas to sacred or biblical texts dominate the picture, whereas large forms such as oratorios, masses or passions are almost completely absent. All the organ works have been recorded by the cantor Michael Vetter on a total of three CDs.
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Between the recited psalms and canticles troparia were recited according to the same more or less elaborated psalmody. This context relates antiphonal chant genres including antiphona (kind of introits), trisagion and its substitutes, prokeimenon, allelouiarion, the later cherubikon and its substitutes, the koinonikon cycles as they were created during the 9th century. In most of the cases they were simply troparia and their repetitions or segments were given by the antiphonon, whether it was sung or not, its three sections of the psalmodic recitation were separated by the troparion.
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In 1912, after its neighborhood had become mainly non-residential, the diocese named St. Paul's as its cathedral. Then its chancel was remodeled with a coffered and gilded half-dome, elaborately carved wood reredos, a chancel organ and choir benches. The new chancel's architect was Ralph Adams Cram, known for such landmark Gothic churches as All Saints', in the Ashmont neighborhood of Boston and the Cathedral of St. John the Divine in New York City. From the 1880s to 1980, St. Paul's had a choir of men and boys, who sang introits, hymns and anthems at Sunday morning worship services.
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Most of Porta's output is sacred music, especially motets. He published at least eight books of motets, one of which is lost, as well as books of masses, introits, and a huge cycle of hymns for Vespers. Porta's music is even more polyphonic than that of Gombert, and he showed a liking for academic, even severe contrapuntal devices, although they are used so skillfully that the text can always be clearly understood. Often his music uses strict canons; one motet from his book of 52 motets from 1580, in seven voices, has no less than four of the voices entirely derived canonically.
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William of Volpiano followed also here the shape of another tonary type and used classifications like "P TE" for "Plagi tetrardi" as they were already used in the 9th-century Gradual-Sacramentary of Saint-Denis (Paris, Bibliothèque Nationale, fonds lat., Ms. 118). The last leaf was added from another book to use the blank versoside for additions on the last pages written by other hands, chant notated in adiastematic neumes but without alphabetic notation and even diastematic neumes with alphabetic notation (ff. 160r-163r).See folio 161 recto. The gradual itself with proper mass chant is divided into six parts: The first are antiphons (introits and communions) (ff. 13r-53r).
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Falconio's works are all of the sacred vocal category, and include introits, alleluias, magnificats, psalm settings, and works relating to the Passion. He seems to have taken pains in many cases to make his works readily performable even for less-trained forces in smaller parishes. This is illustrated in that, despite the prevailing atmosphere of polychoral works, or at least works for five or more voices, Falconio wrote often for but four voices, and even for three on one occasion, a Voces Christi. Contributing also to this accessibility is the simple, homophonic nature shared by many of his works, though of course such an idiom had begun to dominate in the post-Tridentine era of the 1570s and 80s.
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The antiphons of most Introits are taken from Psalms, though many come from other parts of Scripture. In some rare cases the antiphon is not from Scripture: "Salve, sancta parens", from the Christian poet Sedulius, is the antiphon used in the Tridentine form of the Roman Rite for common Masses of the Blessed Virgin Mary; the 1970 revision kept a Mass formula of the Blessed Virgin with that antiphon, but provided several alternatives. The words of the antiphons are related to the theme of the feastday or celebration and most frequently have something in common with the liturgical readings of the Mass. In the Tridentine Mass the Introit is no longer the first text used in the Mass.
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It also set out in full the "propers" (that is the parts of the service which varied week by week or, at times, daily throughout the Church's Year): the introits, collects, and epistle and gospel readings for the Sunday service of Holy Communion. Old Testament and New Testament readings for daily prayer were specified in tabular format as were the Psalms; and canticles, mostly biblical, that were provided to be said or sung between the readings. The 1549 book was soon succeeded by a more reformed revision in 1552 under the same editorial hand, that of Thomas Cranmer, Archbishop of Canterbury. It was used only for a few months, as after Edward VI's death in 1553, his half-sister Mary I restored Roman Catholic worship.
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They include three books of madrigals for five voices, and one for four. Stylistically Chamaterò's secular music resembles that of Adrian Willaert and Cipriano de Rore, the most famous madrigalists of the preceding generation working in the same geographical area, both in texture and in choice of poets such as Petrarch and his followers, such as Pietro Bembo. His sacred music shows the influence of the Venetian School, unsurprising as both Willaert and Rore were maestro di cappella at St. Marks's, and all of the locations at which Chamaterò worked were within the zone of influence of Venetian style. Chamaterò's sacred music includes a book of masses for five and seven voices, introits, Magnificats, and psalms, including works for multiple choirs of up to 12 voices.
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The creativity of Aquitanian cantors played a key role concerning the Cluniac needs for an extravagant liturgy. Hence, it is hardly surprising that they were more productive concerning tonaries than any other local school in Europe. These tonaries usually had sections dedicated to the antiphonary and the gradual, within the gradual and the antiphonary there were subsections like the antiphons which were sung as refrains during psalm recitation (introits and communions), responsories (the introduction of epistle readings), but also other genres of the proper mass chant as alleluia verses (the introduction of gospels), and offertories (a soloistic processional antiphon for the procession of the gifts). Several Aquitanian troper-sequentiaries had a libellum structure which sorted the genres in separate books like alleluia verses (as the first part of sequentiaries and tractus collections), offertorials, and tropers.
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Some wicker men are extremely complex and require days of construction.Wickermanburn.org Wickerman Event 2013 in Wola Sękowa, Poland In Northern Portugal, the burning of gigantic human effigies is a tradition amongst some Portuguese villages which one can relate with Portugal's celtic past – the effigy has as its own name, Entrudo which comes from the latin word introits meaning introducing. This tradition is neither a recreation nor a neopagan revival, but a practice which has continued for centuries with some Catholic influence. The Entrudo Festival or Caretos Festival is practiced as a fertility ritual announcing the Spring – young adults dressed in colorful costumes and wearing horned masks (usually made of wood) hang around their village searching for young girls in order to symbolically 'fertilize' them; they may also 'fertilize' the village.
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The idea for the hymn-book arose in 1858 when two clergymen, both part of the Oxford Movement, met on a train: William Denton of St Bartholomew, Cripplegate, co-editor of the Church Hymnal (1853) and Francis Henry Murray, editor of the Hymnal for Use in the English Church Denton suggested that the 1852 Hymnal for use in the English Church by Francis Murray and the Hymns and Introits by George Cosby White should be amalgamated to satisfy the need for standardisation of the hymn books in use throughout England. Besides their idea, Henry Williams Baker and Rev. P. Ward were already engaged on a similar scheme for rival books. Given the lack of unanimity in the church's use of hymns, Henry Williams Baker thought it necessary to compile one book which would command general confidence.
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In addition to this, however, for those parts of the music during which that choir rested was presented a single line consisting of the lowest note being sung at any given time, which could be in any vocal part. Even in early concerted works by the Gabrielis (Andrea and Giovanni), Monteverdi and others, the lowest part, that which modern performers colloquially call "continuo", is actually a "basso seguente", though slightly different, since with separate instrumental parts, the lowest note of the moment in the instrumental parts is often lower than any being sung. The first known published instance of a basso seguente was a book of Introits and Alleluias by the Venetian Placido Falconio from 1575. What is known as "figured" continuo, which also features a bass line that because of its structural nature may differ from the lowest note in the upper parts, developed over the next quarter-century.
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Stanford may have composed the three motets at the end of the 19th century, possibly when he was a teacher at the Royal College of Music in London. John Bawden assumes that he wrote the works even earlier, in 1892, when he left his position as the organist of Trinity College, Cambridge, dedicating them to Alan Gray, his successor, and the college choir. Stanford's biographer Jeremy Dibble noted performances of the first motet at the chapel of Trinity College during Evensong on 24 February 1888 and 24 February 1892, and of the last one likely there on 1 February 1890, and therefore deduced that they were written around 1887/88. In a letter dated 18 November 1888, Stanford wrote to the publisher Novello of his interest in setting introits from the Catholic missal, which he felt were "admirably suitable and always lyrical (not didactic) in character".
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At that time he did not repeat at the altar the parts that were chanted by the ministers or choir, as became the custom in the period of the Tridentine Mass Thus Sacramentaries contain no Readings, Introits, Graduals, Communion Antiphons and the like, but only the Collects, the Eucharistic Prayer with its Prefaces, all that is strictly the priest's part at Mass. On the other hand, they provide for occasions other than Mass, with prayers for use at ordinations and at the consecration of a church and altar, and many exorcisms, blessings, and consecrations that were later inserted in the Roman Pontifical and the Roman Ritual. Many Sacramentaries now extant are more or less fragmentary, and do not contain all of these elements. Another name for the Sacramentary (in Latin Sacramentarium) was Liber Sacramentorum (Book of Sacraments), but "Sacrament" in this case means the Mass.
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The text of all the psalms, the full melody of the hymns, and the new feasts were added to the "official edition" of the "Directorium" in 1888. The word antiphonary does not therefore clearly describe the contents of the volume or volumes thus entitled, in which are found many chants other than the antiphon per se, such as hymns, responsories, versicles, and responses, psalms, the "Te Deum," the "Venite Adoremus," and so forth. The expression "antiphonal chant" would, however, comprise all these different kinds of texts and chants, since they are so constructed as to be sung alternately by the two divisions of the liturgical choir; and in this sense the word Antiphonary would be sufficiently inclusive in its implication. On the other hand, the corresponding volume for the chants of the Mass, namely the "Graduale", or "Liber Gradualis", includes many other kinds of liturgical texts and chants in addition to the graduals, such as introits, tracts, sequences, offertories, communions, as well as the fixed texts of the "Ordinarium Missæ", or "Kyriale".
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Fux's sacred works include masses (Missa canonica, Missa Corporis Christi,), requiems, oratorios (Santa Dimpna, Infanta d'Irlanda, K 300a (1702) Il fonte della salute, K 293 (1716) ), litanies, Vespers settings, motets, graduals, offertories, Marian antiphons (21 settings of Alma Redemptoris mater, 22 settings of Ave Regina, 9 of Regina coeli, and 17 of Salve regina), settings of the text "Sub Tuum Praesidium", Hymns (many are lost), Sequences, Introits, Communion hymns, German sacred songs (all lost), and other sacred works. Some of Fux's masses (along with Caldara and others) utilized the canon (imitative counterpoint in its strictest form) as a compositional technique, one of the telltale signs of the stile antico. Other indications of the stile antico include large note values (whole, half, or quarter notes). However, while most associate Fux with composing in the stile antico, referring to him as the "Austrian Palestrina", due to his treatise Gradus ad Parnassum, he also had the ability to compose in the stile moderno as well, evident in his oratorios, such as Santa Dimpna, Infanta d’Irlandia.
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