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n. Christianity
1. The canticle beginning Magnificat anima mea Dominum ("My soul doth magnify the Lord").
2. A musical setting of this canticle.

[Middle English, from Medieval Latin, from Latin magnificat, it magnifies, third person sing. present tense of magnificāre, to magnify, extol; see magnify.]


(Ecclesiastical Terms) Christianity the hymn of the Virgin Mary (Luke 1:46-55), used as a canticle
[from the opening phrase in the Latin version, Magnificat anima mea Dominum (my soul doth magnify the Lord)]


(mægˈnɪf ɪˌkæt, -ˌkɑt; mɑgˈnɪf ɪˌkɑt, mɑnˈyɪf-)

1. the canticle of the Virgin Mary in Luke 1:46–55.
2. a musical setting for this.
[1150–1200; < Latin: (it) magnifies (the first word of the hymn)]
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Magnificat - (Luke) the canticle of the Virgin Mary (from Luke 1:46 beginning `Magnificat anima mea Dominum')Magnificat - (Luke) the canticle of the Virgin Mary (from Luke 1:46 beginning `Magnificat anima mea Dominum')
Gospel According to Luke, Gospel of Luke, Luke - one of the four Gospels in the New Testament; contains details of Jesus's birth and early life


[mægˈnɪfɪkæt] NMagníficat m
References in classic literature ?
His ears had caught Agnes's step at the stair-head and presently she passed us on her way to the music room humming the Magnificat.
1668) Missa "Letamini," and a cycle of Magnificats on the eight Psalm tones by Artus Aux-Cousteaux (ca.
Del mismo modo, los salmos polifonicos y los policorales y los magnificats a cuatro voces, del Museo Nacional del Virreinato, quedan asi mismo referenciados con puntual pertinencia y conocimiento explicando, incluso, problematicas de la investigacion.
In the summer, at Malvern Priory, a programme of Marian music - Magnificats by Stanford and Howells, one of my own pieces entitled A Girl for the Blue and the bouyant setting of the Latin Magnificat by John Rutter.
According to Stevenson, this collection of Magnificats is one of the most important musical treasures of South America.
Perhaps the closest parallels are the double-choir works in the collection of Magnificats (Saragossa, 1618) by the Spaniard Sebastian Aguilera de Heredia: there is the same rhythmic bounce, with lots of short notes, if not quite as many displaced accents.
The sixteenth-century Magnificat, with its idiosyncratic ties to the Catholic liturgy's declining but persistent medieval system of eight church modes, reveals tonal relationships particularly in the Magnificats of Tone Seven - that help illuminate the faceted polyphonic application of the still incompletely understood modal system.
Victoria's Magnificats, with which this article is concerned, were reprinted and revised several times.
The first volume contains hymns, magnificats, motets, and passions, while the second is devoted entirely to psalm settings.
Two areas are examined in detail: the assigning of these Magnificats to particular modes/tones (not immediately obvious since the various canticle tones are not used), and what Crook calls `intertextuality', the relationship of Magnificat to model in its broadest aspect.
This article stems from a broader study of the relationship between the Magnificats of Palestrina and those of his 16th-century predecessors in the Sistine Chapel--Elzear Genet (known as Carpentras), Costanzo Festa and Cristobal Morales--as well as his younger contemporary and perhaps pupil, Tomas Luis de Victoria.
His remarks concern the performance of the German-language hymns for Christmas or Easter interpolated as Laudes between the sections of the first few Magnificats in the collection.