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The Book of Psalms, commonly referred to simply as Psalms, the Psalter or "the Psalms", is the first book of the Ketuvim ("Writings"), the third section of the Tanakh, and a book of the Old Testament. The title is derived from the Greek translation, ψαλμοί, meaning "instrumental music" and, by extension, "the words accompanying the music". The book is an anthology of individual Hebrew religious hymns, with 150 in the Jewish and Western Christian tradition and more in the Eastern Christian churches. Many are linked to the name of David, but modern scholarship rejects his authorship, instead placing the composition of the psalms to various authors writing between the 9th and 5th centuries BC.
In music, harmony is the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords.
In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. So, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. The term is derived from Latin enharmonicus, from Late Latin enarmonius, from Ancient Greek ἐναρμόνιος (enarmónios), from ἐν (en) and ἁρμονία (harmonía).
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai ; one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode.
The Phrygian mode can refer to three different musical modes: the ancient Greek tonos or harmonia sometimes called Phrygian, formed on a particular set of octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.
La gazza ladra is a melodramma or opera semiseria in two acts by Gioachino Rossini, with a libretto by Giovanni Gherardini based on La pie voleuse by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez. The Thieving Magpie is best known for the overture, which is musically notable for its use of snare drums. This memorable section in Rossini's overture evokes the image of the opera's main subject: a devilishly clever, thieving magpie.
A metrical psalter is a kind of Bible translation: a book containing a metrical translation of all or part of the Book of Psalms in vernacular poetry, meant to be sung as hymns in a church. Some metrical psalters include melodies or even harmonisations. The composition of metrical psalters was a large enterprise of the Protestant Reformation, especially in its Calvinist manifestation.
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include the major scale or minor scale; e.g., in C major: C D E F G A B C—and in the relative minor, A minor, natural minor: A B C D E F G A; the melodic minor scale, A B C D E F♯G♯A ascending, A G F E D C B A descending; the harmonic minor scale, A B C D E F G♯A; and a scale variously known as the Byzantine, and Hungarian, scale, C D E♭ F♯ G A♭ B C. Indian classical theory postulates seventy-two seven-tone scale types, collectively called thaat, whereas others postulate twelve or ten seven-tone scale types.
The Hypodorian mode, a musical term literally meaning 'below Dorian', derives its name from a tonos or octave species of ancient Greece which, in its diatonic genus, is built from a tetrachord consisting of a semitone followed by two whole tones. The rising scale for the octave is a single tone followed by two conjoint tetrachords of this type. This is roughly the same as playing all the white notes of a piano from A to A: A | B C D E | (E) F G A. Although this scale in medieval theory was employed in Dorian and Hypodorian, from the mid-sixteenth century and in modern music theory they came to be known as the Aeolian and Hypoaeolian modes.
A false relation is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance. The term describes a "chromatic contradiction" between two notes sounding simultaneously in two different voices or parts; or alternatively, in music written before 1600, the occurrence of a tritone between two notes of adjacent chords.
Exclusive psalmody is the practice of singing only the biblical Psalms in congregational singing as worship. Today it is practised by several Protestant, especially Reformed denominations. Hymns besides the Psalms have been composed by Christians since the earliest days of the church, but psalms were preferred by the early church and used almost exclusively until the end of the fourth century. During the Protestant Reformation, Martin Luther and many other reformers, including those associated with the Reformed tradition, used hymns as well as psalms, but John Calvin preferred the Psalms and they were the only music allowed for worship in Geneva. This became the norm for the next 200 years of Reformed worship. Hymnody became acceptable again for the Reformed in the middle of the nineteenth century, though several denominations, notably the Reformed Presbyterians, continue the practice of exclusive psalmody.
The Genevan Psalter, also known as The Huguenot Psalter, is a metrical psalter in French created under the supervision of John Calvin for liturgical use by the Reformed churches of the city of Geneva in the sixteenth century.
Mozarabic chant is the liturgical plainchant repertory of the Visigothic/Mozarabic rite of the Catholic Church, related to the Gregorian chant. It is primarily associated with Hispania under Visigothic rule and with the Catholic Visigoths/Mozarabs living under Islamic rule, and was soon replaced by the chant of the Roman rite following the Christian Reconquest. Although its original medieval form is largely lost, a few chants have survived with readable musical notation, and the chanted rite was later revived in altered form and continues to be used in a few isolated locations in Spain, primarily in Toledo.
Ionian mode is a musical mode or, in modern usage, a diatonic scale also called the major scale.
Tonic sol-fa is a pedagogical technique for teaching sight-singing, invented by Sarah Ann Glover (1785–1867) of Norwich, England and popularised by John Curwen, who adapted it from a number of earlier musical systems. It uses a system of musical notation based on movable do solfège, whereby every note is given a name according to its relationship with other notes in the key: the usual staff notation is replaced with anglicized solfège syllables or their abbreviations. "Do" is chosen to be the tonic of whatever key is being used. The original solfège sequence started with "Ut" which later became "Do".
A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part harmony, a fast harmonic rhythm, with or without refrain or chorus.
Vasily Polikarpovich Titov was a Russian composer, one of the foremost exponents of the so-called Moscow Baroque. Although Titov's works are not widely known today, he was famous during his lifetime, and his importance was acknowledged in Russia by both pre-revolutionary and Soviet musicologists.
The musical system of ancient Greece evolved over a period of more than 500 years from simple scales of tetrachords, or divisions of the perfect fourth, into several complex systems encompassing tetrachords and octaves, as well as octave scales divided into seven to thirteen intervals.
A tetratonic scale is a musical scale or mode with four notes per octave. This is in contrast to a heptatonic (seven-note) scale such as the major scale and minor scale, or a dodecatonic scale, both common in modern Western music. Tetratonic scales are not common in modern art music, and are generally associated with prehistoric music.
References
- ↑ Charles William Pearce (1920). "The Futility of the Anglican Chant". The Musical Quarterly. 6 (1): 118–26. doi:10.1093/mq/vi.1.118 . Retrieved 21 June 2012. Citation on p. 119–20.
- ↑ John Henry Blunt (ed.), The Annotated Book of Common Prayer. London and New York: Longmans, Green, and Co. 1895. p. 56 . Retrieved 21 June 2012. Digitized reprint by Forgotten Books. ISBN 978-1-4400-9198-8.
- ↑ Mervyn McLean (1969) "An Analysis of 651 Maori Scales", Yearbook of the International Folk Music Council 1:123–64. Citation on p. 161
- ↑ Reul, Barbara M.; Byrne Bodley, Lorraine, eds. (2008). The Unknown Schubert. Aldershot, Hants; Burlington, VT: Ashgate Publishing, Ltd. p. 22. ISBN 978-0-7546-6192-4 . Retrieved 21 June 2012.
- ↑ Philip Gossett (2001) "Rossini, Gioachino, §3: From Tancredi to La gazza ladra", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers).
- ↑ Philipp Spitta, Joachim Veit, Thomas Bauman, Patricia Lewy Gidwitz, John Warrack, and Michael C. Tusa (2001), "Weber: (9) Carl Maria (Friedrich Ernst) von Weber", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers).
- This article quotes content from The Musical Quarterly , Volume 6 (1920) edited Oscar George Theodore Sonneck, a work in the public domain.