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34-572: Divine Shepherdess or Divina Pastora is a title which refers to Mary, mother of Jesus , in connection with Jesus's role as the " Good Shepherd ". This title may refer to: Cathedral of the Divine Shepherdess , seat of the Apostolic Vicariate of Tucupita, Venezuela Daughters of the Divine Shepherdess , a religious order founded by Manuel Míguez González Divina Pastora ,

68-399: A Stabat Mater in 1950. Arvo Pärt composed several works related to Mary, including a Magnificat in 1989 and a Salve Regina in 2001. The Franciscan Helmut Schlegel wrote in 2009 a hymn, " Glauben können wie du ", addressing Mary and wanting to imitate her virtues faith, hope and love . It was included in 2015 in an oratorio, Laudato si' , which narrates stations of her life, quoting

102-530: A large collection of which is in St. Paul Cathedral in London. Pope John XXII (1316–34) issued the apostolic constitution Docta SS Patrum about Church music. It was the first modern music regulations for musical presentation during the liturgy Monteverdi 's Vespro della Beata Vergine has remained structurally unchanged for the past 1500 years. It contains distinctly Marian texts among its 13 movements, though

136-662: A large number of conversions to Christianity in Mexico . Following the Reformation, baroque literature on Mary experienced unprecedented growth, with over 500 instances of Mariological writings during the 17th century alone. During the Age of Enlightenment , the emphasis on scientific progress and rationalism put Catholic theology and Mariology often on the defensive later in the 18th century. Books, such as The Glories of Mary by Alphonsus Liguori , were written in defence of

170-822: A municipality in Brazil Divina Pastora (Barquisimeto) , a statue in Barquisimeto, Venezuela National Shrine of Virgen La Divina Pastora , a church in the Philippines A church and statue in Siparia , Trinidad A festival in Cojedes , Venezuela See also [ edit ] Our Lady of the Good Shepherd (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with

204-780: Is "Nuestra Señora". Eleusa icon "Our Lady of Tenderness" Hodegetria "She Who Shows the Way" Sedes Sapientiae "Throne of Wisdom" " Gothic Madonna " Madonna Lactans "Our Lady Nursing" Mater Misericordiae " Virgin/Mother of Mercy " Maestà "Majesty" of the Virgo Deipara "Virgin God-bearer" Pietà "Pity" of the Mater Dolorosa "Mother of Sorrows" Mater Amabilis "Loving Mother" commonly, " Madonna and Child " Madonna della seggiola "Madonna of

238-659: Is a figure related to devotion to Mary under the title " Most Blessed Virgin de la Candelaria , Our Lady of Copacabana". About four feet in height, the statue was made by Francisco Tito Yupanqui around 1583 and is garbed in the colors and dress of an Inca princess. Theotokos means "God-bearer" and is translated as "Mother of God". This title was given to Mary at the Third Ecumenical Council in Ephesus in 431 AD.(cf. Luke 1:43). The Qur'an refers to Mary ( Arabic : مريم , romanized :  Maryam ) by

272-596: Is likely to be called upon to protect a city or region rather than a nation. Many Latin Marian hymns are now translated into a vernacular language, especially in Germany under the influence of Lutheran use of the vernacular in liturgy . Latin texts are often enriched with flowery reverences and Marian praises. Like Marian poetry, Marian music has flourished most in Italy, Spain, Portugal, and France, countries uninfluenced by

306-737: Is said to have been. This in turn opens the way to titles such as: In the Roman Catholic and in the Orthodox Churches, the Virgin Mother of God is venerated in a special form expressed in Greek as hyperdulia , that is, secondary only to the adoration reserved for the Triune God . She is venerated and honoured in this way since no other being--whether angelic or human--has greater power than Mary to intercede with God in

340-545: Is the fact that before German mediatisation of 1802, many religious congregations in Germany had their own composers. A totally unknown Father Valentin Rathgeber , OSB, (1682–1750) wrote 43 Masses, 164 offertories, 24 concerts, and 44 Marian antiphones. Missa de Beata Virgine and the Messe de Nostre Dame are examples of individual contributions. In 12th century France the tradition began of Christmas dramas, in which

374-842: The Annunciation speaking in the Name of God. The Nicene Creed , declares that Jesus was "incarnate by the Holy Ghost and of the Virgin Mary, and was made man,". This has given rise to the descriptive, "spouse of the Holy Spirit ". Tradition has it that the Virgin Mother of God was anointed by the Holy Spirit, hence putting her on a par with the anointing of the Kings, Prophets, Judges, and High Priests of Israel, as Jesus Christ

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408-633: The Assumption of Mary , Dormition of the Mother of God and Immaculate Conception . The veneration of Mary was consolidated in the year 431 when, at the Council of Ephesus , the descriptive, Theotokos , or Mary the bearer (or mother) of God, was declared a dogma . Thereafter Marian devotion, centred on the subtle and complex relationship between Mary, Jesus, and the Church, began to flourish, first in

442-652: The Confractorium from the Christmas liturgy and in a poetic creation of Saint Ambrose celebrating the Mother of God: Intende, qui Regis Israel. One of the earliest medieval Marian compositions is the popular Salve Regina in Latin from a Benedictine monk at the Reichenau Island (Lake Constance), which exists in several Gregorian versions. The liturgy of the hour includes several offices to be sung. At

476-580: The Council of Trent the Gloria of the first of these contained the trope Spiritus et alme orphanorum paraclete , heard in Josquin 's Missa de Beata Virgine but not in Machault 's Messe de Nostre Dame which was written as a Votive Mass . The list of compositions by Giovanni Pierluigi da Palestrina includes numerous Marian masses: The Marian music in the baroque period is strongly influenced by

510-686: The Missa Cellensis in honorem Beatissimae Virginis Mariae, No. 5 in E flat major, also known as the Grosse Orgelmesse (Great Organ Mass) (H. 22/4) (1766) and the Missa Cellensis in honorem Beatissimae Virginis Mariae No. 3 in C major (H. 22/5) (1766–73). Several motets by Anton Bruckner are related to Mary, including three settings of Ave Maria . Max Reger composed the motet Unser lieben Frauen Traum in 1914. Francis Poulenc composed Litanies à la Vierge Noire and

544-658: The Chair" In the Loreto Litanies Mary's prayers are invoked under more than fifty separate titles, such as "Mother Most Pure", "Virgin Most Prudent", and "Cause of Our Joy". Other devotional titles include: With the exception of Jesus Christ, who is believed to have a twofold nature, both human and divine, ( dyophysitism ), the Blessed Virgin Mary is considered among many Christians to be

578-595: The East and later in the West. The Reformation diminished Mary's role in many parts of Europe in the 16th and 17th centuries. The Council of Trent and Counter Reformation intensified Marian devotion among Roman Catholics. Around the same period, Mary became an instrument of evangelisation in the Americas and parts of Asia and Africa, e.g. gaining impetus from reported apparitions at Our Lady of Guadalupe , which resulted in

612-547: The Latin tradition, but develops its own characteristics. Marian songs venerate her exceptional sanctity. Many Marian songs have the form of litanies, expressing veneration of Mary. Others moralize the faithful in light of her virtuous life. In Poland and Hungary , baroque Marian compositions stress her national protective powers for the Polish and Hungarian nation, an aspect largely missing in Italy, France, and Germany, where Mary

646-770: The Marian belief, especially in the assumption. Examples of Ave (Hail Mary) songs include: Examples of Salve songs include: Gaude (Rejoice) hymns include: Vale (farewell) and Mater dolorosa (mother of sorrows) are also subjects of numerous Marian hymns. It seems that settings of the Ordinary of the Mass are a later development than Liturgy of the Hours music. Modern Kyriales designate two Gregorian chant Mass settings for Marian feasts, In solemnitatibus et Festis Beatae Mariae Virginis and in Festis et Memoriis . Before

680-465: The close of the Office, one of four Marian antiphons is sung. These songs, Alma Redemptoris Mater , Ave Regina caelorum , Regina caeli , and Salve Regina , have been described as "among the most beautiful creations of the late Middle Ages." Other Marian supplications exist in numerous Latin versions as well. It is difficult to trace the beginning of non- Gregorian Marian liturgical music. In

714-489: The composer's intention for the work as a whole is debated. Wolfgang Amadeus Mozart composed in honour of the Virgin Mary Latin Masses and several shorter operas. Other known classic composers with Marian compositions mainly in Latin include Orlando di Lasso and Franz Schubert . Vivaldi , Monteverdi , Mozart , Haydn , and others are well-known composers who contributed to Marian music. Less known

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748-625: The cult of Mary. In the Orthodox and Eastern Catholic Churches the Assumption of Mary may be celebrated as the Dormition , or the "Falling Asleep" of the Mother of God, it is an important feast day, not based on a scriptural canon but affirmed by tradition. "Our Lady" is a common title to give to Mary as a sign of respect and honor. In French she is called "Notre Dame" and in Spanish she

782-787: The distribution of Grace to His children. Titles of images related to epithets include: Titles of images related to places of worship include: A number of titles of Mary found in Latin America pertain to cultic images of her represented in iconography identified with a particular already existent title adapted to a particular place. Our Lady of Luján in Argentina refers to a small terracotta image made in Brazil and sent to Argentina in May, 1630. Its appearance seems to have been inspired by Murillo 's Immaculates. Our Lady of Copacabana (Bolivia):

816-556: The following titles: Catholic Marian music Throughout the centuries Marian music has grown and progressed, and witnessed a resurgence along with the Renaissance , e.g. with the composition of the Ave Maria motet by Josquin des Prez . The tradition continued with a number of great composers up to the late 19th century, e.g. with Giuseppe Verdi 's Ave Maria in 1880 followed by his Laudi alla Vergine Maria . One of

850-484: The hymn Te virgini Mariae laudes concinant Christianae . The assumption of Mary is praised in numerous songs from the 10th century, In several songs, Mary is praised to be above all saints and angels and participates in the kingdom of her son. Her assumption is “wished by the faithful people” in a song from the 12th century. The Marian songs and hymns in this epoch are too numerous to mention. They include pious excitement, even some exaggerations, and valuable insights into

884-573: The mother of Jesus in Christianity, is known by many different titles (Blessed Mother, Virgin Mary, Mother of God, Our Lady, Holy Virgin, Madonna), epithets ( Star of the Sea , Queen of Heaven , Cause of Our Joy), invocations ( Panagia , Mother of Mercy, God-bearer Theotokos ), and several names associated with places ( Our Lady of Loreto , Our Lady of Fátima ). All of these descriptives refer to

918-468: The nativity events are reproduced by actors. This became popular in other European countries and is seen as the origin of popular Christmas carols, which were an integral part of the Christmas drama. These early Christmas songs are largely devotions to the Mother of God. Early manifestations are in Bavaria in the 12th century. At the same time, Easter songs are often converted into Marian hymns, for example

952-422: The oldest Marian intonations is credited to Saint Ambrose of Milan (339-374). The Church names an ancient liturgy after him ( Ambrosian Rite ), which is actually older but nonetheless traditionally attributed to him. Some 870 parishes in the diocese of Milan still use the ancient Ambrosian rite. Several Ambrosian rite Marian texts were intonated , for example the famous Gaude: Marian hymns by Ambrose include

986-718: The reformation. Before the German secularisations of 1802 many religious congregations had their own composers. In the monastery of Andechs , Father Nonnosus Madleder, in Ottobeuren , Father Franx Schnizer, in Irsee , Father Meinrad Spiess, and in Banz, Father Valentin Rathgeber , OSB, (1682–1750): 43 Masses, 164 offertories, 24 concerts, and 44 Marian antiphones. Besides the above-mentioned Vespers, Joseph Haydn wrote several Marian compositions including two famous Marian Masses,

1020-1032: The same woman named Mary, the mother of Jesus Christ (in the New Testament ). They are used differently by Roman Catholics , Eastern Orthodox , Oriental Orthodox , and some Anglicans . (Note: Mary Magdalene , Mary of Clopas , and Mary Salome are different women.) Some descriptives of Mary are properly titles, dogmatic in nature, while some are invocations. Other descriptives are poetic or allegorical or have lesser or no canonical status, but form part of popular piety , with varying degrees of acceptance by Church authorities. Another class of titles refer to depictions of Mary in Catholic Marian art and in art generally. A rich range of Marian titles also are used in musical settings of pieces dedicated to her. The relatively large number of titles given to Mary may be explained in several ways. Some titles grew due to geographic and cultural reasons, e.g., through

1054-476: The title Divine Shepherdess . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Divine_Shepherdess&oldid=1142214105 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Titles of Mary Mary,

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1088-513: The unique human being about whom there is a dogma. She is connected to four different dogmas and numerous Marian titles. Christian invocations, titles, and art bear witness to the prominent role she has been accorded in the history and programme of salvation in parts of Christendom , although this is not shared by many (mainly reformed ) Christian churches. In the Hail Mary prayer, she is addressed as "full of grace " by Archangel Gabriel of

1122-550: The veneration of specific icons. Others were related to Marian apparitions . Mary's intercession is sought for a large spectrum of human needs in varied situations. This has led to the formulation of many of her titles ( good counsel , Help of the Sick, etc.). Moreover, meditations and devotions on the different aspects of Mary's role in the life of Jesus have led to additional titles, such as Our Lady of Sorrows . Still further titles have been derived from dogmas and doctrines, such as,

1156-511: The year 1277 Pope Nicholas III prescribed rules for liturgy in Roman churches. Three years later, in 1280, Petrus de Cruce published his Marian anthem Ave virgo regia, Ave gloriosa O maria Maris stella. Later, composer Pérotin followed with his Alleluja, Navitatis gloriosae virginis, to be sung at the feast of the birth of Mary. Marian motets became very popular in the Middle Ages,

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