Lateinische Totenmesse und deutsche Begräbnismusik
This article shows the close relationship between theology, liturgy, and music by means of a concrete example. The basis of casual music for the funeral in the western church service is given. As the latin requiem of the Roman Church is based on the latin mass for the dead, so is german funeral musi...
| Authors: | ; |
|---|---|
| Format: | Electronic Article |
| Language: | German |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Vandenhoeck & Ruprecht
1983
|
| In: |
Jahrbuch für Liturgik und Hymnologie
Year: 1983, Volume: 27, Pages: 118-134 |
| Online Access: |
Volltext (lizenzpflichtig) |
| Parallel Edition: | Non-electronic
|
| Summary: | This article shows the close relationship between theology, liturgy, and music by means of a concrete example. The basis of casual music for the funeral in the western church service is given. As the latin requiem of the Roman Church is based on the latin mass for the dead, so is german funeral music of the lutheran church based on the word of the Bible and church songs. The requiem developed from the sacrifices for the dead and the eucharist celebration at the grave in the Roman Church, and this happened in close relationship to the development of the sacrifice of the mass. Another form of remembering the dead resulted from a munk tradition, namely: to bring the dead into the church before the burial. At the casket liturgical pieces from the Vespers, Vigil and Laudes wre offered in prayer. The Roman Church summarized the medieval development of the burial rites in the Rituale Romanum in 1614. At the second Vatican Council the eastern meaning of death was emphasized, which had been placed in the background during the Middle Ages. The more the funeral rules of the Roman Church were determined by the idea that the church could successfully influence the existence of the dead, the more everything had to be removed by the Reformation, which was combined with an effective influence on the dead. Together with the doctrine of the sacrifice of the mass the requiem disappeared: and so disappeared the doctrine of purgatory along with the Officium of the dead. It was a long time before an evangelical funeral ritual was developed. Kliefoth thought the funeral rules of the Lutheran Church were "unsatisfactory" as compared to their other results; the word of the Bible, prayer and church songs were however, always available. For singing, the collection of funeral songs was standard (1542 preface by Luther). On this liturgical basis german funeral music was developed and pieces such as Musikalische Exequien by Schütz, and the funeral motets by Bach, as well as Handels Funeral Anthem The Ways of Zion do mourn experienced an unprecedented height. The revolution in the church, art, and society no longer allowed ecclesiastical casual compositions of artistic rank in the 19th and 20th centuries. |
|---|---|
| ISSN: | 2197-3466 |
| Contains: | Enthalten in: Jahrbuch für Liturgik und Hymnologie
|