By Joseph P. Swain

Approximately all spiritual traditions have reserved a unique position for sacred song. if it is track accompanying a ritual or in basic terms for devotional reasons, tune composed for whole congregations or for the proficient soloist, or song set to holy phrases or only instrumental, in a few shape or one other, track is current. in reality, in a few traditions the relation among the song and the ritual is so intimate that to tell apart among them will be inaccurate.

The A to Z of Sacred Music covers an important facets of the sacred tune of Buddhism, Christianity, Confucianism, Hinduism, Islam, Judaism, and different smaller spiritual teams. It presents necessary details on the entire major traditions of this tune by utilizing a chronology, an introductory essay, a bibliography, appendixes, and hundreds and hundreds of cross-referenced dictionary entries on significant varieties of track, composers, key non secular figures, really good positions, genres of composition, technical phrases, tools, primary files and resources, major areas, and critical musical compositions.

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For some religions this has meant that the music received must be handed on without change, for to change it risks profanation. God is the same yesterday, today, and forever; so is the music that best praises Him. Obviously this leaves the musician in an artistic dilemma, one that some traditionalist religions solve by refusing to regard their chant as music at all. For Western Christianity, the artist's dilemma was accommodated for many centuries by allowing enough change to satisfy the creator while insisting that the essence of the music remain to set it apart from music of the world.

Chant sung in Roman Catholic liturgies in the diocese of Milan, Italy, traditionally attributed to St. Ambrose of ANGLICAN CHANT 5 Milan but now discredited, whose prestige helped ensure its survival as a distinct repertory despite the growing dominance of Gregorian chant through the Middle Ages. The earliest sources date from the 1Ith and 12th centuries, significantly later than the earliest Gregorian sources. Versions of some Ambrosian chants also survive in the Byzantine rite. ANDREW OF CRETE, ST.

AGNUS DEI. See MASS; Appendix IA5 for text. AHLE, JOHANN RUDOLF (24 December 1625, Muhlhausen, Thuringia, Germany-9 July 1673, Muhlhausen). Elected organist of St. Blasius in Muhlhausen in 1654. He composed motets, sacred concertos, and sacred part-songs. Some of the latter are still sung. AKATHZSTOS HYMN. Famous Byzantine kontakion, its anonymous text, containing two prooimia followed by 24 strophes in honor of the Virgin Mary, dates from as early as the sixth century, but the earliest known melodic setting, highly melismatic, dates from a 13th-century psaltikon.

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The a to Z of Sacred Music by Joseph P. Swain

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