Office of the Dead


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Office of the Dead

n. Ecclesiastical
An office traditionally sung or said before a burial mass in the Roman Catholic Church, now obligatory only on All Souls' Day.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Office of the Dead - an office read or sung before a burial mass in the Roman Catholic Church
office - a religious rite or service prescribed by ecclesiastical authorities; "the offices of the mass"
Church of Rome, Roman Catholic Church, Roman Church, Western Church, Roman Catholic - the Christian Church based in the Vatican and presided over by a pope and an episcopal hierarchy
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in classic literature ?
The office of the dead being celebrated, the last adieux paid to the noble departed, the assembly dispersed, talking, along the roads, of the virtues and mild death of the father, of the hopes the son had given, and of his melancholy end upon the arid coast of Africa.
Special attention is given to the listings of first Matins responsories and first Lauds antiphons for the main feasts of the Temporale, the Sundays of Advent, all saints' feast days, and the Office of the Dead. Hymns are also listed whenever they appear in the Temporale, Sanctorale, and Common of Saints.
Still another kind of Christian interpretation of Job can be seen in the heartbreaking passages quoted in the Catholic Office of the Dead (sadly excised by Vatican II), where Job's desperate voice speaks for the person being buried.
border--Section: Office of the Dead, Vespers --Script: littera
Pius V (1568) included the Penitential Psalms in an appendix after the Commons, the Little Office of the Blessed Virgin Mary, and the Office of the Dead. Yet, the papal bull Quod a nobis that promulgated this edition makes it clear that the recitation of the penitential psalms was no longer obligatory for clerics not bound to pray the Office in choir (i.e., secular clergy).
One becomes lost in time through the grave character of the work, taken at a pace that respects an Office of the Dead. Unfortunately many modern conductors treat liturgical musical works in a secular way, equating fast tempi with energy, dropping sixteenth notes along the way in an effort to sound au courant, powerful, and capable of retaining the interest of the listener.
The discussion of genres thus leads to Mufti's identification of local polyphonic tradition, especially in the Holy Week items, the Office of the Dead, and Vespers psalms.
Two of these chants are part of the office of the dead in the same manuscript, while the other two are more specific to this service.
1240, into the age of printing and Reformation, describing the gradual crystallization of a stable set of contents centered around the Psalms and the Office of the Dead; it demonstrates the way in which the book worked its way into the daily personal lives (devotional and secular) of its owners, and, in a final chapter in the more polemical mode that we associate with the author of The Stripping of the Altars, takes issue with the view that the interiorized religion catered for and promoted by Books of Hours, set their users at odds with the community of the institutional Catholic church.
The ninth circle contains a picture of a draped coffin, and behind it a clerk presumably reading the office of the dead. "I thought I would go on living," runs the inscription, "but life deceived me."
It brings back, too, the first word of the first antiphon in the Office of the Dead. Placebos help us to witness the real power within the faithful.

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