This is the final book in a 4-book collection of preludes, interludes, and postludes compiled and arranged by Carlo Rossini for performance on pipe, electronic or reed organs, and with Hammond registrations included. No separate pedal notation staff is included, however many examples indicate notes for the pedals. The Liturgical Organist provides the average organist with an orderly collection of liturgical compositions for church use and for possible performance even on the smallest instrument. The compositions include works from the baroque, classical and romantic eras.
This is the 2nd in a 4-book collection of preludes, interludes, and postludes compiled and arranged by Carlo Rossini for performance on pipe, electronic or reed organs, and with Hammond registrations included. No separate pedal notation staff is included, however many examples indicate notes for the pedals. The Liturgical Organist provides the average organist with an orderly collection of liturgical compositions for church use and for possible performance even on the smallest instrument. The compositions include works from the baroque, classical and romantic eras.
This is the first and easiest book in a 4-book collection of preludes, interludes, and postludes compiled and arranged by Carlo Rossini for performance on pipe, electronic or reed organs, and with Hammond registrations included. No separate pedal notation staff is included, however many examples indicate notes for the pedals. The Liturgical Organist provides the average organist with an orderly collection of liturgical compositions for church use and for possible performance even on the smallest instrument. The compositions include works from the baroque, classical and romantic eras.
The primary 'proper' chant book for High Mass choir members in the United States since the 1930s. Set to Gregorian Psalm-tones with organ accompaniment. These 'proper' chants for the entire year are beautiful yet simple enough for most choir members to sing with limited practice. Includes complete daily, seasonal, ember-day, ferial, common Masses, etc. Table of Contents. Also includes Preface, Instructions from the author to the organist & choir members, Preface, rules for liturgical pronunciation of Latin, notes on when to sing the various chants of the 'proper', and rules for good voice production. Large 8" x 11" size, 60 lb. cream paper, sewn signatures, 154 pages, gold embossed hardcover.
This is the first and easiest book in a 4-book collection of preludes, interludes, and postludes compiled and arranged by Carlo Rossini for performance on pipe, electronic or reed organs, and with Hammond registrations included. No separate pedal notation staff is included, however many examples indicate notes for the pedals. The Liturgical Organist provides the average organist with an orderly collection of liturgical compositions for church use and for possible performance even on the smallest instrument. The compositions include works from the baroque, classical and romantic eras.
This first section of the Book of Axum provides an extensive account of the cathedral of Aksum, known as our mother Syon, detailing its historical construction, miraculous origins, and the religious significance of various sites in Aksum. It describes the architectural features of the cathedral, including its dimensions and materials, as well as the various churches and obelisks in the area. Additionally, it outlines the taxes and offerings owed by different districts to the church, emphasizing the community's role in maintaining religious practices and observances. The text also highlights the rich cultural heritage surrounding the cathedral and its importance to the Ethiopian Orthodox Church.
The life of St. Takla Haymanot unfolds as a tale of faith, miracles, and dedication to God. Originating from the land of Ambara, the saint faced numerous moral challenges throughout his life, including the abduction of his mother, which led to divine intervention and the prophecy of his birth as a holy child. Throughout the course of his life, he performed miraculous healings, converted idol worshipers, and endured persecution from rulers like Motalāmē. His commitment to monasticism and the spread of Christianity resulted in the founding of monasteries and the conversion of many souls. St. Takla Haymanot's legacy as a miracle worker continues as a sentinal figure in the Ethiopian and Coptic churches.
This last section of the Book of Axum provides a comprehensive historical account of the kings of Aksum, detailing their reigns, notable events, and legal decrees that shaped the kingdom's governance. It emphasizes the restoration of the royal throne and the laws established by previous rulers, particularly during the reigns of Zar'a Ya'qob and Sarga Dengel. The text also highlights significant occurrences, including the persecution of Jacobite Christians, the arrival of metropolitans from Egypt, and the treasures entrusted to local leaders. It concludes with reflections on the power dynamics and the influence of the church within the historic confines of the Ethiopian kingdom.
There has been a long-standing and mutually-informing association between psychoanalysis, literature and the arts. Surprisingly, given the oral/aural basis of the ‘talking cure’, music has largely been overlooked by psychoanalysis. Notably, neuroscientific research investigating music reception and production has been steadily increasing in range and scope over the years. However, in order to avoid confounding factors, empirical studies have focused primarily on non-vocal music. Remarkably, operatic vocal music has not featured prominently in either field. Yet the multi-dimensional, multi-layered nature of opera, which fuses together a number of different arts, would appear to provide fertile soil for both disciplines. This book aims to fill that gap, providing a stepping stone for further research. It leverages the individual strengths of psychoanalysis and neuroscience both separately and jointly as the inter-discipline of neuropsychoanalysis. By combining various theories of mind with knowledge about music processing in the brain, this book comprehensively examines the operatic reception experience, providing an account in subjective as well as objective terms. It explores the bittersweet enjoyment of operatic vocal music, which can literally move an operaphile to tears. The explanation for this may be found in a number of subjective dynamics that are unique to the reception of opera, rather than in any distinct objective neural processes, which are common to the reception of all music. These subjective dynamics, which are recruited during neural processing, are triggered by the equally unique features of the operatic voice, in combination with a number of auxiliary elements that are specific to opera. This book will be of interest to academics in a broad range of science and arts disciplines related to music perception and performance, such as music psychology and operatic performance. It may also appeal to passionate operaphiles who wish to understand what drives their addiction!
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