Historical Dictionary of Sacred Music by Joseph P. Swain

By Joseph P. Swain

Approximately all non secular traditions have reserved a distinct position for sacred tune. if it is song accompanying a ritual or in simple terms for devotional reasons, track composed for whole congregations or for the expert soloist, or tune set to holy phrases or in simple terms instrumental, in a few shape or one other, tune is current. actually, in a few traditions the relation among the tune and the ritual is so intimate that to differentiate among them will be misguided. The ancient Dictionary of Sacred song covers crucial facets of the sacred tune of Buddhism, Christianity, Confucianism, Hinduism, Islam, Judaism, and different smaller non secular teams. It presents beneficial info on the entire major traditions of this tune by utilizing a chronology, an introductory essay, a bibliography, appendixes, and countless numbers of cross-referenced dictionary entries on significant sorts of track, composers, key spiritual figures, really expert positions, genres of composition, technical phrases, tools, primary files and resources, major areas, and demanding musical compositions.

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

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1713–1715, BWV 599–644). , Himmelsko¨ nig, sei willkommen, BWV 182). In 1717, he moved to Co¨ then (Thuringia) to be kapellmeister to Prince Leopold where he directed an ensemble of professional court musicians. , Brandenburg Concertos). In 1723, Bach was elected cantor of St. Thomas Church by the town council of Leipzig. He remained in this post until his death. As Thomaskantor, Bach had to supervise the music at four churches (St. Thomas, St. Nicholas, St. Paul’s, and the New Church) and the musical education of students at the St.

BAQQASHOT. Jewish vigil service performed after midnight on Friday from Sukkot to Passover, consisting of a standard repertory of heterogenous piyyutim (hymns) sung antiphonally. The practice developed in Aleppo in the mid-19th century but may have roots in Jewish mysticism, particularly the Zohar and Safed kabbalists. BAREKHU. ‘‘Bless you,’’ a chanted summons to prayer opening a Jewish service. The melody changes to reflect the season and following prayers. Melismatic elaboration of single syllables accompanies silent recitation of a congregational response.

When Bach was Thomaskantor, these comprised his principal compositional responsibility. The cantatas, using Biblical texts with commentary, would be sung directly after the readings from Scripture in the Lutheran mass before the homily and so act as a musical exegesis of the day’s lessons. Longer cantatas would be performed in two parts, one before and the other after the homily. Bach’s St. John Passion and St. Matthew Passion occupy an analogous position in the Good Friday vespers liturgy but on a much larger scale, especially the St.

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