By Joseph P. Swain
Approximately all spiritual traditions have reserved a different position for sacred tune. if it is track accompanying a ritual or merely for devotional reasons, tune composed for complete congregations or for the knowledgeable soloist, or tune set to holy phrases or in simple terms instrumental, in a few shape or one other, tune is current. in reality, in a few traditions the relation among the track and the ritual is so intimate that to tell apart among them will be misguided. The ancient Dictionary of Sacred tune covers crucial elements of the sacred track of Buddhism, Christianity, Confucianism, Hinduism, Islam, Judaism, and different smaller spiritual teams. It presents important details on the entire major traditions of this song by utilizing a chronology, an introductory essay, a bibliography, appendixes, and thousands of cross-referenced dictionary entries on significant kinds of song, composers, key non secular figures, really expert positions, genres of composition, technical phrases, tools, primary files and assets, major areas, and critical musical compositions.
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Approximately all spiritual traditions have reserved a different position for sacred track. if it is tune accompanying a ritual or only for devotional reasons, song composed for whole congregations or for the educated soloist, or song set to holy phrases or simply instrumental, in a few shape or one other, tune is current.
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Additional info for Historical Dictionary of Sacred Music
Only seven antiphons, for four, five, six, and eight voices, survive in complete form. BRUCKNER, ANTON (4 September 1824, Ansfelden near Linz, Austria–11 October 1896, Vienna). Renowned symphonic composer, he was organist at Olomouc, near Linz, from 1855–1868 and then professor at the Vienna Conservatory and court organist in Vienna until his death. Over half of his eight masses, two Requiems, and three dozen shorter choral works were composed comparatively early, during his extraordinarily long period of study (through 1861).
His harmonic language, while vigorous in harmonic rhythm, is untutored by European standards of the time, with unusual dissonances, parallelisms in voice-leading, and open fourths and fifths in the harmonies, particularly at cadences. All but one of his publications are devoted exclusively to his own music. The first was The New-England Psalm-Singer (Boston, 1770), with frontispiece engraved by Paul Revere, the first collection printed in America containing only American music and only a single composer’s work.
524). Philosopher and statesman, he wrote among many writings De Institutione Musica, which after the ninth-century Carolinigian renaissance became the most widely known work of music theory through the late Middle Ages. It is the only work to present Greek music theory comprehensively—modal theory, tetrachords, Pythagorean consonances and their mathematical underpinnings, monochord division—and thus underlies most subsequent medieval music theory. BOOK OF SONGS. See KITA¯B AL-AGHA¯NI. BOOKE OF COMMON PRAIER NOTED.