Music in the History of the Western Church. Dickinson Edward
The Religions of Ancient Peoples.
2
Brown, The Fine Arts.
3
Spencer, Professional Institutions: Dancer and Musician.
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Lang, Myth, Ritual, and Religion.
5
A full account of ancient Assyrian music, so far as known, may be found in Engel’s Music of the Most Ancient Nations.
6
“Long ago they [the Egyptians] appear to have recognized the principle that their young citizens must be habituated to forms and strains of virtue. These they fixed, and exhibited the patterns of them in their temples; and n
1
Brinton,
2
Brown,
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Spencer,
4
Lang,
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A full account of ancient Assyrian music, so far as known, may be found in Engel’s
6
“Long ago they [the Egyptians] appear to have recognized the principle that their young citizens must be habituated to forms and strains of virtue. These they fixed, and exhibited the patterns of them in their temples; and no painter or artist is allowed to innovate upon them, or to leave the traditional forms and invent new ones. To this day no alteration is allowed either in these arts, or in music at all.” – Plato,
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Chappell,
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Erman,
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See Plato,
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Ambros,
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Gen. xxxi. 27.
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Ex. xix.
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Jos. vi.
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Num. x. 2-8.
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2 Chron. v. 12, 13; xxix. 26-28.
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2 Chron. xiii. 12, 14.
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1 Sam. x. 5.
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Chappell,
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For extended descriptions of ancient musical instruments the reader is referred to Chappell,
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2 Sam. vi. 5.
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2 Sam. vi. 14, 15.
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1 Chron. xvi. 5, 6.
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1 Chron. xxiii. 5.
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1 Chron. xxv.; 2 Chron. v. 12. See also 2 Chron. v. 11-14.
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2 Chron. xxix. 25-30.
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Ezra iii. 10, 11.
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Neh. xii.
28
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Ps. cxiii-cxviii.
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Eph. v. 19; Col. iii. 16.
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1 Cor. xii. and xiv.
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Schaff,
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1 Cor. xiv. 27, 28.
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Chappell,
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Among such supposed quotations are: Eph. v. 14; 1 Tim. iii. 16; 2 Tim. ii. 11; Rev. iv. 11; v. 9-13; xi. 15-18; xv. 3, 4.
36
37
Hefele,
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St. Augustine,
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Klesewetter,
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For an exhaustive discussion of the history of the Te Deum see Julian’s
41
42
Lanciani,
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St. Augustine,
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St. Augustine,
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Gibbons,
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47
Wiseman,
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Jakob,
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Sermon by Dr. Leonhard Kuhn, published in the
50
O’Brien,
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Gibbons,
52
The musical composition commonly called a Mass – such, for instance as the Imperial Mass of Haydn, the Mass in C by Beethoven, the St. Cecilia Mass by Gounod – is a musical setting of those portions of the office of the Mass that are invariable and that are sang by a choir. These portions are the Kyrie, Gloria, Credo, Sanctus and Benedictus, and Agnus Dei. The musical composition called Requiem, or Mass for the Dead, consists of the Introit – Requiem aeternam and Te decet hymnus, Kyrie eleison, Dies Irae, Offertory (Domine Jesu Christe), Communion – Lux aeterna, and sometimes with the addition of Libera me Domine. These choral Masses must always be distinguished from the larger office of the Mass of which they form a part.
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It is worthy of note, as a singular instance of the exaltation of a comparatively unimportant word, that the word Mass, Lat. Missa, is taken from the ancient formula of dismissal, Ite, missa est.