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Christian music written for performance in church building

Church building music is Christian music written for functioning in church, or whatever musical setting of ecclesiastical liturgy, or music set to words expressing propositions of a sacred nature, such as a hymn.

History [edit]

Early on Christian music [edit]

The only record of communal song in the Gospels is the last meeting of the disciples before the Crucifixion.^[ane] Outside the Gospels, there is a reference to St. Paul encouraging the Ephesians and Colossians to use psalms, hymns and spiritual songs.^[ii]

Later, there is a reference in Pliny the Younger who writes to the emperor Trajan (61–113) asking for advice about how to prosecute the Christians in Bithynia, and describing their exercise of gathering before sunrise and repeating antiphonally "a hymn to Christ, as to God". Antiphonal psalmody is the singing or musical playing of psalms past alternating groups of performers. The peculiar mirror structure of the Hebrew psalms makes it probable that the antiphonal method originated in the services of the ancient Israelites. Co-ordinate to the historian Socrates of Constantinople, its introduction into Christian worship was due to Ignatius of Antioch (died 107), who in a vision had seen the angels singing in alternating choirs.^[three]

During the first two or 3 centuries, Christian communities incorporated into their observances features of Greek music and the music of other cultures bordering on the eastern Mediterranean Sea.^[4] Every bit the early Church spread from Jerusalem to Asia Minor, Northward Africa, and Europe, information technology captivated other musical influences. For example the monasteries and churches of Syria were of import in the development of psalm singing and the use of strophic devotional vocal, or hymns.^[4] The use of instruments in early Christian music seems to take been frowned upon.^[5] In the tardily 4th or early on 5th century St. Jerome wrote that a Christian maiden ought not even to know what a lyre or flute is like, or to what use it is put.^[six] Evidence of musical roles during the sixth through 7th centuries is particularly thin because of the cycle of invasions of Germanic tribes in the West and doctrinal and political conflict in the East as well as the consequent instability of Christian institutions in the former Roman empire.^[seven] The introduction of church organ music is traditionally believed to appointment from the time of the papacy of Pope Vitalian in the seventh century.

Gregorian dirge [edit]

The Introit Gaudeamus omnes, scripted in foursquare notation in the 14th–15th century Graduale Aboense, honours Henry, patron saint of Finland

Gregorian chant is the master tradition of Western plainchant, a form of monophonic liturgical chant of Western Christianity that accompanied the celebration of Mass and other ritual services. This musical course originated in Monastic life, in which singing the 'Divine Service' nine times a day at the proper hours was upheld co-ordinate to the Rule of Saint Bridegroom. Singing psalms made up a large role of the life in a monastic community, while a smaller group and soloists sang the chants.

In its long history, Gregorian Chant has been subjected to many gradual changes and some reforms. It was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the twelfth and 13th centuries, with after additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. Although a 9th century fable credits Pope Gregory the Peachy with having personally invented Gregorian chant by receiving the chant melodies through divine intervention of the Holy Spirit,^[8] scholars now believe that the chant bearing his proper name arose from a later Carolingian synthesis of Roman and Gallican chant.

During the following centuries the Chant tradition was withal at the heart of Church building music, where it inverse and caused various accretions. Even the polyphonic music that arose from the venerable one-time chants in the Organa by Léonin and Pérotin in Paris (1160–1240) ended in monophonic chant and in later traditions new composition styles were good in juxtaposition (or co-habitation) with monophonic chant. This practice continued into the lifetime of François Couperin, whose Organ Masses were meant to exist performed with alternating homophonic Chant. Although it had mostly fallen into disuse subsequently the Bizarre period, Chant experienced a revival in the 19th century in the Catholic Church and the Anglo-Catholic wing of the Anglican Communion.

Mass [edit]

The mass is a course of music that sets out the parts of the Eucharistic liturgy (chiefly belonging to the Catholic Church, the Churches of the Anglican Communion, and also the Lutheran Church) to music. Most masses are settings of the liturgy in Latin, the traditional language of the Catholic Church, simply there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there are many masses (often called "Communion Services") written in English for the Church of England. At a time when Christianity was competing for prominence with other religions, the music and chants were ofttimes cute and elaborate to attract new members to the Church.^[9]

Music is an integral role of mass. It accompanies diverse rituals acts and contributes to the totality of worship service. Music in mass is an action that participants share with others in the commemoration of Jesus Christ.^[10]

Masses tin exist a cappella, for the human voice lone, or they tin exist accompanied by instrumental obbligatos up to and including a total orchestra. Many masses, peculiarly later ones, were never intended to be performed during the celebration of an bodily mass.

Generally, for a composition to be a full mass, it must contain the following invariable five sections, which together establish the Ordinary of the Mass.

Kyrie ("Lord have mercy")
Gloria ("Glory exist to God on loftier")
Credo ("I believe in one God"), the Nicene Creed
Sanctus ("Holy, Holy, Holy"), the second part of which, commencement with the word "Benedictus" ("Blessed is he"), was often sung separately after the consecration, if the setting was long. (Come across Benedictus for other chants beginning with that word.)
Agnus Dei ("Lamb of God")

This setting of the Ordinary of the Mass spawned a tradition of Mass composition to which many famous composers of the standard concert repertory made contributions, including Bach, Haydn, Mozart and Beethoven.^[eleven]

The Requiem Mass, or the Mass of the Dead,^[12] is a modified version of the ordinary mass. Musical settings of the Requiem mass have a long tradition in Western music. In that location are many notable works in this tradition, including those by Ockeghem, Pierre de la Rue, Brumel, Jean Richafort, Pedro de Escobar, Antoine de Févin, Morales, Palestrina, Tomás Luis de Victoria, Mozart, Gossec, Cherubini, Berlioz, Brahms, Bruckner, Dvořák, Frederick Delius, Maurice Duruflé, Fauré, Liszt, Verdi, Herbert Howells, Stravinsky, Britten, György Ligeti, Penderecki, Henze, and Andrew Lloyd Webber.

In a liturgical mass, at that place are variable other sections that may exist sung, often in Gregorian chant. These sections, the "proper" of the mass, modify with the day and season according to the church building agenda, or according to the special circumstances of the mass. The proper of the mass is unremarkably not set up to music in a mass itself, except in the case of a Requiem Mass, simply may be the subject of motets or other musical compositions. The sections of the proper of the mass include the introit, gradual, Alleluia or Tract (depending on the time of year), offertory and communion.

Carols [edit]

A carol is a festive vocal, generally religious simply not necessarily connected with church building worship, often having a popular grapheme. Today the carol is represented near exclusively past the Christmas carol, the Appearance carol, and to a lesser extent by the Easter ballad.

The tradition of Christmas carols goes dorsum equally far as the 13th century, although carols were originally communal songs sung during celebrations like harvest tide likewise as Christmas. It was simply in the tardily 18th and 19th centuries that carols began to be sung in church, and to exist specifically associated with Christmas. Traditionally, carols have often been based on medieval chord progressions, and it is this that gives them their characteristic audio. Some carols like "Personent hodie" and "Angels from the Realms of Glory" can be traced straight dorsum to the Center Ages, and are amongst the oldest musical compositions nonetheless regularly sung.

Carols suffered a pass up in popularity after the Reformation in the countries where Protestant churches gained prominence (although well-known Reformers like Martin Luther authored carols and encouraged their use in worship), but survived in rural communities until the revival of interest in carols in the 19th century. The showtime appearance in print of "God Balance Ye Merry, Gentlemen", "The Beginning Noel", "I Saw Three Ships" and "Hark the Herald Angels Sing" was in Christmas Carols Ancient and Modern (1833) past William Sandys. Composers like Arthur Sullivan helped to repopularize the carol, and it is this menses that gave rise to such favorites equally "Skilful King Wenceslas" and "It Came Upon the Midnight Clear", a New England carol written past Edmund H. Sears and Richard S. Willis.

Christian hymnody [edit]

Thomas Aquinas, in the introduction to his commentary on the Psalms, defined the Christian hymn thus: "Hymnus est laus Dei cum cantico; canticum autem exultatio mentis de aeternis habita, prorumpens in vocem." ("A hymn is the praise of God with vocal; a song is the exultation of the listen dwelling house on eternal things, bursting forth in the phonation.")^[xiii] The earliest Christian hymns are mentioned round most the yr 64 by Saint Paul in his letters. The Greek hymn, Hail Gladdening Low-cal was mentioned by Saint Basil effectually 370. Latin hymns appear at effectually the aforementioned time, influenced by Saint Ambrose of Milan. Early Christian hymns are known as canticles and are ofttimes based on Biblical passages other than the psalms; they are still used in Catholic, Lutheran, Anglican and Methodist liturgy, examples are Te Deum and Benedicite.^[14] Prudentius, a Castilian poet of the late fourth century was one of the most prolific hymn writers of the time.^[fifteen] Early on Celtic hymns, associated with Saint Patrick and Saint Columba, including the still extant, Saint Patrick'due south Breastplate, tin can exist traced to the sixth and 7th centuries. Catholic hymnody in the Western church introduced four-part vocal harmony as the norm, adopting major and pocket-size keys, and came to be led past organ and choir.

The Protestant Reformation resulted in ii conflicting attitudes to hymns. I approach, the regulative principle of worship, favored past many Zwinglians, Calvinists amidst others, considered anything that was not directly authorized by the Bible to be a novel and Catholic introduction to worship, which was to be rejected. All hymns that were not straight quotations from the Bible fell into this category. Such hymns were banned, forth with any form of instrumental musical accompaniment, and organs were ripped out of churches. Instead of hymns, Biblical psalms were chanted, most oftentimes without accessory. This was known as exclusive psalmody. Examples of this may all the same be found in diverse places, including the "free churches" of western Scotland.

The other Reformation arroyo, favored by Martin Luther, produced a burst of hymn writing and congregational singing. Luther and his followers often used their hymns, or chorales, to teach tenets of the faith to worshipers. The earlier English language writers tended to paraphrase biblical text, particularly Psalms; Isaac Watts followed this tradition, but is also credited every bit having written the commencement English hymn which was not a direct paraphrase of Scripture.^[16] Afterward writers took fifty-fifty more freedom, some even including allegory and metaphor in their texts.

Charles Wesley's hymns spread Methodist theology, not but within Methodism, only in almost Protestant churches. He developed a new focus: expressing 1'southward personal feelings in the relationship with God every bit well as the uncomplicated worship seen in older hymns. The Methodist Revival of the 18th century created an explosion of hymn writing in Welsh, which continued into the first half of the 19th century.

African-Americans developed a rich hymnody out of the spirituals sung during times of slavery. During the Second Great Awakening in the United States, this led to the emergence of a new popular style. Fanny Crosby, Ira D. Sankey, and others produced testimonial music for evangelistic crusades. These are often designated "gospel songs" as singled-out from hymns, since they generally include a refrain (or chorus) and unremarkably (though not always) a faster tempo than the hymns. Every bit examples of the distinction, "Astonishing Grace" is a hymn (no refrain), but "How Great Thou Art" is a gospel vocal. During the 19th century the gospel-song genre spread rapidly in Protestantism and, to a bottom but still definite extent, in Catholicism. The gospel-vocal genre is unknown in the worship per se past Eastern Orthodox churches, which rely exclusively on traditional chants, and disallow instrumental accompaniment.

Along with the more classical sacred music of composers ranging from Mozart to Monteverdi, the Catholic Church continued to produce many popular hymns such as Lead, Kindly Light, Silent Night, "O Sacrament Divine" and "Organized religion of our Fathers".

Modernistic [edit]

Many churches today use contemporary worship music which includes a range of styles oft influenced by popular music. This fashion began in the late 1960s and became very popular during the 1970s. A distinctive form is the mod, lively black gospel style.

Run into as well [edit]

Christian music
Church music in Scotland
Contemporary worship music
Evensong
Liturgical music
Lutheran hymn
Religious music

References [edit]

^ Matt. xxvi 30 'When they had sung a hymn, they went out into the Mount of Olives'
^ Eph. v. nineteen, Col. iii xvi
^ Schaff and Wace, book Half-dozen, chapter VIII, vol. 2, p. 144
^ ^a ^b Hanning, Barbara (2006). Concise History of Western Music. Westward.W. Norton & Company Inc. pp. 25, 27. ISBN0-393-92803-9.
^ Wilson-Dickson, Andrew (1992). The Story of Christian Music: From Gregorian Chant to Black Gospel. Oxford: Panthera leo Publishing. p. 28. ISBN0-7459-2142-6.
^ Hann, C.M. (June 2003). "Creeds, Cultures And The 'Witchery Of Music'". Journal of the Majestic Anthropological Plant. ix (2): 223–239. doi:10.1111/1467-9655.00147. ISSN 1359-0987.
^ Flynn, William T. (April 26, 2018). "Christian Liturgical Music". Oxford Research Encyclopedia of Religion. doi:x.1093/acrefore/9780199340378.013.522. ISBN9780199340378.
^ Taruskin, Richard (2013). Oxford History of Western Music. New York: Oxford University Press. p. 43. ISBN978-0-19-509762-7.
^ Richard, Oxford History of Western Music (2013). Taruskin. New York: Oxford University Printing. p. 11. ISBN978-0-19-509762-vii.
^ Pottie, Charles South. (1984). A More Profound Alleluia!. Washington, D.C.: The Pastoral Printing. pp. 34–35.
^ Taruskin, Richard (2013). The Oxford History of Western Music. New York: Oxford University Press. p. 12. ISBN978-0-19-509762-7.
^ Taruskin, Richard (2013). The Oxford History of Western Music. New York: Oxford Academy Press. p. 30. ISBN978-0-19-509762-7.
^ Aquinas, Thomas. "St. Thomas'southward Introduction to his Exposition of the Psalms of David". Retrieved 2008-02-08 .
^ Randel, Don Michael (1986), The Harvard Dictionary of Music, Belknap Press, ISBN 0-674-01163-five (p. 143)
^ Watson, J.R. (2003). An Annotated Anthology of Hymns. Oxford: Oxford University Printing. pp. 10–11, 19. ISBN0-19-926583-6.
^ Wilson-Dickson, Andrew (1992). The Story of Christian Music. Oxford: Panthera leo, SPCK. pp. 110–xi. ISBN0-281-04626-three.

Sources [edit]

A.C. Zenos, ed., "The Ecclesiastical History of Socrates Scholasticus", in A Select Library of Nicene and Post-Nicene Fathers of the Christian Church. 2d Series, ed. Philip Schaff and Henry Wace. Yard Rapids: W. B. Eerdmans Publishing Company 1957.

External links [edit]

Media related to Church music at Wikimedia Eatables