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Contemporary music aims to enable the entire congregation to take part in the song, in accord with the call in Sacrosanctum Concilium for full, conscious, active participation of the congregation during the Eucharistic celebration. What its advocates call a direct and accessible style of music gives participation of the gathered community ...
Pages in category "Contemporary Catholic liturgical music" The following 29 pages are in this category, out of 29 total. This list may not reflect recent changes .
Liturgical music originated as a part of religious ceremony, and includes a number of traditions, both ancient and modern.Liturgical music is well known as a part of Catholic Mass, the Anglican Holy Communion service (or Eucharist) and Evensong, the Lutheran Divine Service, the Orthodox liturgy, and other Christian services, including the Divine Office.
In 1999 Eugen Eckert translated the song into German under the title "Da wohnt ein Sehnen tief in uns". [5] It became part of several hymnals and songbooks, [5] including the regional addition EG Plus to the common Protestant hymnal Evangelisches Gesangbuch as EG+102 [6] and regional sections of the common Catholic hymnal Gotteslob.
Notable examples of such music, like Gesualdo's Tenebrae Responsoria, are sometimes characterized as "a Passion in all but name". [2] A later development of the Catholic passion was the reflective passion-oratorio such as Metastasio's Italian libretto La passione di Gesù Cristo set by Caldara, Salieri and many other composers between 1730 and ...
There are many contemporary English settings of the text, offered by Catholic publishers including Oregon Catholic Press. Bob Dufford wrote a version called "Songs of the Angels". James Quinn also wrote a version titled "May Flights of Angels Lead You On Your Way", accompanied by Unde et Memores. Others include settings by Grayson Warren Brown ...
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The metre is a version of the trochaic septenarius rhythm, often used for hymns in the medieval period (see Trochaic septenarius#In Christian hymns).In the 17th century, under Pope Urban VIII, a group of correctors revised the hymn, replacing the unquantitative, accentual, trochaic rhythm with quantitative, iambic metre, and the stanza appeared in the Breviary with divided lines: