The "Missa in agendis mortuorum" of Juan García de Basurto: Johannes Ockeghem, Antoine Brumel, and an Early Spanish Polyphonic Requiem Mass

1979 ◽  
Vol 29 (1) ◽  
pp. 1 ◽  
Author(s):  
Eleanor Russell
Keyword(s):  
Johannes Ockeghem ◽  
Requiem Mass

Verdi: Requiem Mass

1991 ◽  
pp. 186-205
Author(s):  
Alan Blyth
Keyword(s):  
Requiem Mass

The Savior, the Woman, and the Head of the Dragon in the Caput Masses and Motet

2006 ◽  
Vol 59 (3) ◽  
pp. 537-630 ◽  
Author(s):  
ANNE WALTERS ROBERTSON
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Late Middle Ages ◽  
Immaculate Conception ◽  
Genesis 3 ◽  
Johannes Ockeghem ◽  
Late Fifteenth ◽  
The Masses ◽  
The Devil ◽  
Lasting Influence

Abstract God's dramatic curse of Adam, Eve, and the serpent, as recorded in Genesis 3:14–15, contains a theological ambiguity that played out in the visual arts, literature, and, as this article contends, music of the fifteenth and sixteenth centuries. Translations of this passage leave in doubt whether a male, a female, or both, will defeat sin by crushing Satan's head (“caput”). This issue lies at the heart of the three Caput masses by an anonymous Englishman, Johannes Ockeghem, and Jacob Obrecht, and the Caput Motet for the Virgin by Richard Hygons from the Eton Choirbook. Fifteenth-century discussions of the roles of Christ and Mary in confronting sin, often called the “head of the dragon,” help unravel the meaning of these works. The Caput masses are Christ-focused and emphasize the Savior or one of his surrogates suppressing the beast's head, as seen in illumination, rubric, and canon found in the masses. Folklorically based rituals and concepts of liturgical time are similarly built around the idea of the temporary reign of the Devil, who is ultimately trodden down by Christ. Hygons's motet appears after celebration of the Immaculate Conception was authorized in the late fifteenth century. This feast proclaimed Mary's conquest of sin through her own trampling on the dragon; the motet stresses Marian elements of the Caput theology, especially the contrast between the Virgin's spotlessness and Eve's corruption. Features of the Caput tradition mirror topics discussed in astrological and astronomical treatises and suggest that the composer of the original Caput Mass may also have been an astronomer. The disappearance of the Caput tradition signals its lasting influence through its progeny, which rise up in yet another renowned family of polyphonic masses. Together, the Caput masses and motet encompass the multifaceted doctrine of Redemption from the late middle ages under one highly symbolic Caput rubric.

Johannes Ockeghem

1954 ◽  
Vol 95 (1335) ◽  
pp. 252
Author(s):  
Gilbert Reaney ◽  
Ernst Krenek
Keyword(s):  
Johannes Ockeghem

scholarly journals The Requiem Mass and Sacred Jazz: A Study of catholic Liturgical Forms in the Genre of Sacred Jazz

2021 ◽  
Author(s):  
◽  
John White
Keyword(s):  
Large Scale ◽  
Jazz Orchestra ◽  
Jazz Composition ◽  
Duke Ellington ◽  
Cultural Climate ◽  
Musical Works ◽  
Concert Works ◽  
Requiem Mass ◽  
Musical Forms

<p>This exegesis examines the role of religious and spiritual influence on works by jazz composers as related to my composition, Requiem: a Suite of Jazz Orchestra, a jazz suite based on the Requiem Mass. The exegesis details the Catholic origins of the Requiem and the Mass as musical forms and traces their lineages into the twentieth and twenty-first centuries as concert works and memorials not bound by liturgical function. These forms and their lineages frame the development of both religious and religion-inspired musical works in the cultural climate of 1960s America. In particular, I focus on two composers, Mary Lou Williams and Duke Ellington, both of whom composed large-scale sacred works related to the jazz idiom. This project situates religion, primarily Catholicism, and spirituality in the context of jazz composition, and discusses music composed in this vein, including my own work influenced by the Catholic liturgical tradition.</p>

Requiem Mass, for 4-Part Chorus of Mixed Voices and Alto, Tenor and Bass Solos with Piano Accompaniment

Notes ◽  
1980 ◽  
Vol 36 (3) ◽  
pp. 754
Author(s):  
Robert Gronquist ◽  
Jose Mauricio Nunes-Garcia ◽  
Dominique-Rene de Lerma
Keyword(s):  
Mixed Voices ◽  
Requiem Mass

Mozart's Requiem Mass

1854 ◽  
Vol 5 (117) ◽  
pp. 341
Author(s):  
Edward Holmes
Keyword(s):  
Requiem Mass

scholarly journals Verdi's Requiem Mass (Concluded)

1875 ◽  
Vol 17 (387) ◽  
pp. 71
Author(s):  
Joseph Bennett
Keyword(s):  
Requiem Mass
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