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[German Version] is the English version of the Roman Catholic Ordo Initiationis Puerorum qui aetatem catecheticam adepti sunt, published in 1985 by the International Committee on English in the Liturgy. This special section of the Rite for the Christian Initiation of Adults must not be confused with the rite of baptism for children. Franz Karl Praßl Bibliography The Rites of the Catholic Church, publ. International Committee on English in the Liturgy, vol. I, 1990.

[German Version] ( Officium tenebrarum) is the special form combining Matins and Lauds (Liturgy of the hours) on the Thursday, Friday, and Saturday of Passion Week which was in use until 1970. One of the 15 candles burning on a special candelabra was extinguished after each psalm (three times three in Matins and five in Lauds) or after the Benedictus, so that the end of the service took place in tenebris, in the dark. In the Middle Ages, the Tenebrae had special concluding prayers and songs, including congregational hymns; according to the Roman use Ps 51(50), the Miserere, was sung again. …

[German Version] Neumes (from Gk νεῦμα/ neúma, “nod, sign”), first attested in the early 9th century, are the earliest forms of musical notation. Neumes represented all the sound for a single syllable, either a single pitch or a group of pitches; in the 11th century, neumes were set down in tabular form, along with their names. The original neumes were lineless (adiastematic, in campo aperto) and intended primarily to guide interpretation (rhythm, segmentation, dynamics, rhetoric, etc.) of a choral repertoire learned by rote. Neumed manuscripts were meant fo…

[German Version] I. Liturgy – II. Music I. Liturgy 1. Catholic The Constitution on the Sacred Liturgy of Vatican II treats Gregorian chant as specially suited to the Roman liturgy; other things being equal, it should have pride of place (art. 116). This status, which does not judge other forms of church music, is based on the timelessly valid manner in which Gregorian chant is part of the liturgy itself; it is a musical expression of the biblical word in the context of liturgical theology and its primary…

[German Version] I. ( Choralbuch) is a collective term for collections of Gregorian chant. Since the 10th century, these have included the gradual, cantatorium, troper, sequentiarium, kyriale, antiphonary (Antiphon), hymnary, processional, tonary, and directory/breviary/ordinary. Since 1905, the Editio Vaticana has published new editions for practical use. The formerly common Liber usualis (Antiphonary) has been made obsolete by liturgical reform. The collections in use today are the Graduale Romanum (1974) or Graduale triplex (1979), the Graduale simplex (21975), and …

[German Version] conclude the daily Catholic liturgy of the hours (III); they are sung after Compline and in the German Stundenbuch also after Vespers (III). Although they were originally antiphons to psalms (IV) or the Magnificat , since the 12th/13th century they have been independent chants without psalmody – possibly resulting from the practice of commemoration – sung in praise of Mary at the time in the evening when, according to medieval belief, the archangel Gabriel spoke his χαῖρε/ chaíre (Luke 1:28): a daily memorial of the incarnation and a reference to the chris…

[German Version] I. Architecture – II. Liturgy and Practice I. Architecture A simple or throne-like, originally open, seat in the church as seating for the father confessor and the person making confession, the place for individual confession (Confession). Beginning in the 16th century, especially after the Council of Trent and the Instructiones of ¶ C. Borromeo, the originally simple wooden armchair underwent rich development. In general, from the early 17th century on, one finds the symmetrical three-part confessional, the central…

[German Version] I. Liturgics A sequence is a non-biblical hymn sung during mass between the Alleluia and the Gospel (in the 1975 Ger. missal sung before the Alleluia); it has been an element of festal liturgies since the 9th century. The Roman Missal of 1570 included Victimae paschali laudes (Easter), Veni, Sancte Spiritus (Pentecost), Lauda Sion, Salvatorem (Corpus Christi), and the late medieval rhyming poem Dies irae, introduced as a sequence for requiems. In 1727 the Stabat mater was added for the feast of the Seven Sorrows of Mary. In the 1970 Missale Romanum (Ger. missal 1975), t…

[German Version] I. In Catholic usage, German Choral is a collective term for the genuine liturgical music of the Western Latin liturgies (Liturgy). The music for the Gallo-Roman liturgy, which developed c. 750 in France (Metz), was initially called cantus romanus (Charlemagne) or cantilena romana (Paul the Deacon); later, on the basis of a legend concerning its origin, it came to be called Gregorian (the trope Gregorius praesul, c. 800; John the Deacon, 878). After the 12th century, other synonymous terms were used, primarily to distinguish it from polyphony. Since the 13th century, ca…

[German Version] (Aug 19, 1865, Kürenz, near Trier – Oct 17, 1931, Fribourg), musicologist. After training with Michael Hermesdorff at the cathedral in Trier, he studied in Straßburg (Strasbourg) with Gustav Jacobsthal and in Berlin with Heinrich Bellermann and P. Spitta. In 1893 he received his habilitation from Fribourg and taught there as a lecturer; he was appointed associate professor in 1897 and full professor in 1902. In 1920/1921 he served as rector. In 1901 he founded the Gregorian Academ…

[German Version] I. Historical Development – II. The Roman Mass – III. The Mass and Protestant Worship – IV. Music I. Historical Development The roots of the mass go back to Jewish communal meals and New Testament accounts of Jesus' table fellowship (Eucharist/Communion) with his followers from different backgrounds, including sinners and outsiders. Finally his instruction to “do this in remembrance of me” points to future consummation beyond death. The structure of remembrance ( zakar) means more than just recollection; it brings the salvation wrought through Chr…

[German Version] Even after the establishment of the “Gregorian” chant (Gregorian chant) around the year 900, samples of Gallican chant were preserved by a tradition-conscious oral transmission, and later transcribed. This repertoire is found in the Gregorian Codices, intermixed with the new chants. Gallican chants entered the Roman-Frankish liturgy where no Roman parallels were available (e.g. Introitus “Omnes gentes” for the 13th week of the year). They also serve as alternatives to standard ¶ chants (Greek/Latin Cherubic Hymn [Cherubikon] as Offertorium on Trinitatis) or r…

[German Version] I. Liturgics A tract is a psalmodically structured solo chant before the Gospel; it replaces the Alleluia during Lent and on the Ember Days. The name derives either from tractim (sung continuously) or from tractus in the sense of “extended,” or as a translation of εἰρμός/ eirmós, in the sense of a melodic type. The tract was chanted by a cantor in directum, i.e. without a respond by the congregation – as an additional lection rather than as a response. It has often been suggested that the tract is among the earliest mass chants, a remnant of…

[German Version] (Internationale Arbeitsgemeinschaft für Hymnologie, IAH). The IAH promotes and studies church singing (Singing: III). Church song, open forms of singing and the hymnal are the subjects of international, ecumenical, and interdisciplinary (theology, musicology, linguistics and literature, bibliography, folklore) scholarly study, primarily at conferences and through the promotion of hymnological projects (Hymnology) – often in cooperation with academic institutions – and also in rela…

[German Version] I. Catholic – II. Orthodox I. Catholic 1. General Introduction and History The binding nature of its basic elements (Scripture reading, the breaking of bread [Eucharist/Communion]) notwithstanding, the liturgy was initially celebrated quite freely with improvised prayers by the presiding priest (Just. 1 Apol. 67). Later on, model texts (Hipp., Traditio Apostolica ) served as points of reference. From the 4th century onwards, the major ecclesiastical centers (Antioch, Alexandria, Rome, Jerusalem, Byzantium…

[German Version] I. Liturgy – II. Music I. Liturgy Historically, the German term Altargesang relates to texts that are sung only by the priest during the mass (celebrant's prayer), and in a broader sense to all sung parts of the liturgy that are led by a celebrant: collects, verses, litanies, Gospel and Epistle readings, responses between choir and congregation, blessings as well as the intoning of the Kyrie, the Gloria and the Creed. The churches of ¶ the Reformation added new compositions for the choir and the congregation. Luther's Deutsche Messe (1526) as a psalm or a hymn as I…

[German Version] The oratio tone is the model for the chant of the priest’s prayers in the name of the congregation, or liturgies, especially oratios (collects/prayer of the day, super oblata/prayer over the gifts, post communionem/concluding prayer/prayer of thanksgiving), in the broader sense also cantillation formulas for eucharistic prayers (esp. the preface, verba testamenti), the Paternoster etc. with the same structure and significance as reading tones. Cantillated prayers are the oldest form of liturgical communication in words; some autho…

[German Version] I. History of the Discipline – II. Current State of Research The study of church music is a relatively new scholarly field that endeavors comprehensively to collect, investigate, interpret, transmit, and also make usable in practice our knowledge about the practical and theoretical aspects of church music. The multifaceted contexts of church music must thereby be incorporated, including liturgy and liturgical theology, similarities and differences with re…

[German Version] I. Term and Genre – II. Old Testament – III. New Testament – IV. Liturgical Studies I. Term and Genre The Greek word ὕμνος/ hýmnos, whose etymology is obscure, originally meant, quite unspecifically, simply “song” (the verb ὑμνεῖν/ hymneín, “ to sing”; cf. Hes. Theog. 11.33; Hom. Hym. 3.178, etc.). Yet, from the ¶ 5th/4th century bce at the latest, it meant “song for a god” (cf. Plato, Leges 700 b 1–2; Xenophanes 21 B 1.13 DK; Xenophon, Cyrupaideia 18.1.23) and thence became the general term for “religious song,” and finally for “festival song,” “song o…

[German Version] Gregorian semiology (from Gk sēmeíon, “symbol, sign” and lógos, “meaning”) is the scholarly research required for an interpretation of Gregorian chant based on the performance practices recorded in the earliest notated manuscripts. In a culture of oral tradition, the purpose of representing the chants by lineless (adiastematic) neumes in the 10th and early 11th centuries was not primarily to record the melody but to convey broader interpretive instructions regarding rhetoric, rhythm, agog…