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Church of the Incarnation (Dallas, Texas)
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Church in Texas, United States
Church of the Incarnation
Location
3966 McKinney Ave (at Cambrick)
Dallas, Texas
Country
United States
Denomination
Episcopal
Churchmanship
High Church
Website
www.incarnation.org
History
Former name(s)
Cathedral Chapel of the Incarnation
Founded
1879
Founder(s)
Alexander Charles Garrett
Dedicated
1897
Architecture
Style
Neo-Gothic
Completed
1927
Administration
Diocese
Dallas
Province
Province VII
Clergy
Bishop(s)
George R. Sumner
Rector
Anthony Burton
Priest(s)
Thomas Kincaid (Vice Rector),
Joe Hermerding,
Chris Yoder,
Ryan Waller
Honorary priest(s)
Thomas Keithly,
Frederick Philputt
Curate(s)
John Sundara
Deacon(s)
Dorothy Budd,
Judy Frizzell
Laity
Organist/Director of music
Scott Dettra
Organist(s)
Graham Schultz
Organ scholar
Josh Boyd
Verger
Jim Rogers
Youth ministry coordinator
Meg Houk (Children),
Pam Coghlan (Middle, High School)
Music group(s)
Uptown Band
The Church of the Incarnation is a parish of the Diocese of Dallas of the Episcopal Church, located at 3966 McKinney Avenue in Dallas, Texas.
The church was founded in 1879 by Bishop Alexander Garrett as the Cathedral Chapel of the Incarnation. It was originally built on the corner of McKinney and Harwood, to a considerable degree north of Dallas’s business and residential community. In 1897 the mission church became a full-fledged parish of the Diocese of Dallas. In 1902 a brick building was dedicated and used as the church for the next twenty-five years. In 1927 the church moved to a new building farther north on McKinney at Cambrick Avenue. Fifteen rectors have served the church in the past 112 years and the modest brick chapel has become a 5-acre (20,000 m2) close serving the Dallas community with a Christian volunteer force of 1,800 households.[1]
The church is one of 74 Episcopal churches and missions in the Diocese of Dallas,[2] which is a member of Province VII[3] of the Episcopal Church of the United States (TEC) and a part of the worldwide Anglican Communion. The current rector is the Right Reverend Anthony Burton. It is one of the largest parishes in the diocese.
Contents
[hide]
1 Architecture
1.1 Main Church
1.2 Ascension Chapel
1.3 Memorial Chapel
2 Liturgy
2.1 Anglo-Catholicism
3 Music
3.1 Traditional
3.1.1 Tours and concerts
3.1.2 Organ
3.1.3 Other organs
3.2 Contemporary music
4 Outreach
5 See also
6 References
7 External links
Architecture[edit]
The current facility, with the exception of the Great Hall and school building, was constructed in a neo-Gothic style. The worship spaces contain traditional Anglican furnishings and stained glass.
Main Church[edit]
A view of the nave just before Lessons & Carols 2012
The main church is arranged in a cruciform layout. The nave and both transepts are used for congregational seating, and the rear gallery is used as overflow seating when needed. The north transept faces the crossing, while the south transept faces forward (east) toward a second altar, allowing it to function as an attached chapel. The south transept also contains a large stained glass window depicting Jesus as the "Good Shepherd". The Good Shepherd window backs up to the organ chamber, which prevents natural light from illuminating it, so it is lit artificially from behind.
The chancel is divided into three distinct sections. The first is where the pulpit, lectern, and seating for the clergy are found. The pulpit is on the left (north) side of the chancel, and the lectern on the right (south) side. The presider sits on the right side, but to the left of the pulpit, facing the center. The subdeacon and one assisting priest sit behind him on the other side of the pulpit. The acting deacon sits on the opposite (north) side with the preacher behind. All of the clergy sit facing across the chancel.
The next section of the chancel contains the choir stalls. The stalls face the center and have three rows on either side of the chancel which increase in height moving out from the center. They can comfortably seat around 40 people and are outfitted with seated-height music racks.
The third section of the chancel is the proper sanctuary. Its focal point is the carved wood altar with its gold leafing and relief carvings. On the north side of the sanctuary sits the cathedra, along with two benches. In the north wall is the aumbry, which is used for the reservation of the Sacrament. On the opposite wall are three more seats. Dividing the sanctuary from the chancel are wooden altar rails with red embroidered kneelers. Communion is distributed continuously, but kneeling is still expected for those who are able.
Above the chancel on the north side is the organ loft. The large console of the Noack organ faces away from the chancel, requiring the use of either a television monitor or a series of mirrors for the organist to see the conductor below. Directly opposite the loft on the south wall is the organ itself. The Gothic facade speaks directly across the space, and the chamber extends straight back to the same depth as the south transept (obscuring the stained glass). The chamber takes up the entire square space on the southeast corner of the main church.
The nave has a single central aisle with pews on either side. The outside ambulatory aisles are separated from the nave by a row of Gothic pointed arches, so they do not bisect the pews. The last several pews are located beneath the gallery. Also under the gallery is the baptistry, which cuts a square area out of the pew space on the north side of the nave. There is a narthex separating the nave from the west door. Staircases on either side of the narthex lead to the gallery.
Outside and on the south side of the nave is a single cloister which connects the narthex with the hallway leading through the center of the church campus. The participants in the service (clergy, choir, etc.) gather for prayer prior to the celebration of the Eucharist in this space, weather permitting.
Ascension Chapel[edit]
The Ascension Chapel was completed in 2015 as the new worship space for the contemporary worship services, known as "Uptown." In 2017, new stained glass windows were installed above the altar, created in collaboration with Canterbury in 13th century style artistic design and craftwork. [More description needed.]
Memorial Chapel[edit]
The memorial chapel was the original worship space on the current church site. Although the traditional services have long since outgrown it, daily office services are held in it, in addition to wedding, funerals, and the like. The layout is traditional, but not cruciform as it has no transepts. The furnishings are similar to those in the main church, simply on a slightly smaller scale. Also, the altar is not attached to the east wall, so the presider performs the Eucharistic rite standing behind it and facing the congregation. The chancel area is separated from the nave by a large Gothic arch, behind which is a set of curtains which can block off that space when the chapel is being used for functions other than worship, though they are rarely used as such.
The organ is situated on the back wall, with the largest pipes of the pedal division flanking the west door. The swell shades can be seen behind the acoustic fabric panels hung in front of them. The console is on the north side of the gallery, which runs the length of the nave along both sides. The console, as in the main church, faces the wall. A small space for a choir of about 12-16 voices is available around the console.
The baptistry in the chapel is located adjacent to the entrance from the main hallway on the north side of the nave. On the opposite side of the nave and set off by a wood slat wall is a small chapel containing one of the two columbaria of the church (the other being outside), after which the chapel takes its name since it is not named for a particular person.
The chapel also has a narthex which provides access to the upper gallery, as well as to some of the audio-visual equipment that is utilized by the contemporary services held in the chapel. Stained glass can be found surrounding the chapel, the finest of which is in the small columbarium chapel.
Liturgy[edit]
The Church of the Incarnation, being a parish of the Episcopal Church, uses the 1979 Book of Common Prayer (BCP) as its standard for worship. Each Sunday the Eucharist is celebrated seven times, in addition to six times during the week. Both of the rites provided in the Book of Common Prayer are used. The traditional services use Rite I while the contemporary services use Rite II. One exception to the use of the 1979 BCP is for Choral Evensong. Earlier versions of the BCP included rites for this service, but the closest thing to be found in the most recent edition is a rite for evening prayer. Therefore, the rite used had to be taken from a different edition. The rite used is found in the 1662 BCP, which remains the primary edition in the Church of England.
Anglo-Catholicism[edit]
The Church of the Incarnation is one of the few parishes in the Diocese of Dallas to be considered Anglo-Catholic. This applies primarily to the traditional liturgies only, but impacts the theology and practices of the parish outside of the liturgy also. A few of the identifying practices seen in the parish include the celebration of Choral Evensong (including the use of incense), the hearing of private confessions, the invocation of the Virgin Mary and other saints for the purpose of intercession, a limited Marian devotion, a great deal of pomp in processional practices, and the "high-church" liturgy used in the traditional services.
This high-church style is reflected most obviously in the vestments and other liturgical clothing used by participants in the Mass. The choir and lay servers wear black cassocks and full-length surplices (unlike many parishes which favor the shorter and more modern cotta), the vergers (of which there are nearly always two for Eucharists on Sundays) wear cassocks and blue/gray vergers' gowns, and the assisting clergy vest as the choir with the addition of a stole (or tippet for the priest who is preaching to be exchanged at the start of the Eucharistic liturgy for a stole). The participating clergy wear eucharistic vestments. The three participating clerics wear amices and maniples, the presider wears a chasuble, the deacons a dalmatic, and the subdeacon (an uncommon office outside of Anglo-Catholicism) a tunicle. The rector, by nature of his office as bishop (though he is no longer responsible for a diocese), vests differently from the other clergy. When presiding at the Eucharist, he wears a mitre in addition to the chasuble. At other times, he sometimes wears a scarlet chimere over his rochet. All of the eucharistic vestments were recently[when?] replaced by Watts & Co. of London. For Evensong, the presiding priest vests in a cope.
Music[edit]
The Church of the Incarnation is well known throughout North Texas as a center for musical excellence. The program is divided into two segments, one traditional and the other contemporary. Together they provide the music for six of the seven worship services held each Sunday throughout the academic year.
Traditional[edit]
The traditional component of the church's music program is under the direction of organist/choirmaster Scott Dettra. Dettra assumed the position in August 2012 after serving as organist of Washington National Cathedral. Prior to Dettra's arrival, the position was held by Richard Sparks (interim). He is assisted in this role by the assistant organist, Graham Schultz, and the organ scholar, Henry Webb.
For choral evensong, which is held each Sunday from September through May, the choir takes after the English cathedral and collegiate tradition in following the rite set forth in the 1662 Book of Common Prayer. The choirs use one setting of the Preces and Responses throughout the month, many settings of the Magnificat and Nunc Dimittis are used in rotation, and the remaining music is determined by the propers for the day. The choir has developed their own book of Anglican chant psalms, as pointed by Scott Dettra. In December 2012 the ensemble was heard in a nationwide broadcast of their annual Service of Lessons & Carols; the broadcast was carried by Public Radio International.
Tours and concerts[edit]
The choir has made several pilgrimages to the United Kingdom, a practice which began in 1998 with a residency at Chichester Cathedral. During these tours, the choir establishes week long residencies at various churches and cathedrals throughout the country. The first week is spent in a different venue each year. The most recent UK trip, in July 2011, was to St. George's Chapel, Windsor and Canterbury Cathedral. The second week has then usually consisted of a residency at Westminster Abbey.[4] In July 2014 the choir sang services at the National Cathedral in Washington and at Saint Thomas Church and the Cathedral of Saint John the Divine in New York City.
Organ[edit]
Facade of the Noack organ
The main worship space of the church which is used for the traditional liturgies has a substantial pipe organ redesigned, enlarged and rebuilt from the original Aeolian-Skinner by the Noack Organ Company in 1994. The organ has four manuals (keyboards) and 65 stops spread over 80 ranks.
Great
Diapason 16′
Diapason 8′
Second Diapason 8'
Bourdon 8'
Spielflöte 8'
Octave 4'
Harmonic Flute 4′
Twelfth 22/3′
Fifteenth 2′
Seventeenth 13/5′
Mixture IV 11/3′
Sharp III 2/3′
Trumpet 16′
Trumpet 8'
Clarion 4'
Swell
Bourdon 16′
Diapason 8′
Chimney Flute 8′
Gamba 8′
Celeste 8′
Octave 4′
Koppelflöte 4′
Night Horn 2′
Sesquialtera II 22/3′
Mixture IV 2'
Bassoon 16′
Cornopean 8′
Oboe 8′
Clarion 4'
Choir
Gemshorn 16′
Viola 8′
Gedackt 8′
Flute Douce 8′
Flute Celeste 8′
Principal 4′
Rohrflöte 4′
Blockflöte 2′
Larigot 11/3′
Mixture III 1'
Trompette 8'
Cremona 8′
Vox Humana 8′
Solo
Harmonic Flute 8′
Salicional 8′
Celeste 8′
Open Flute 4′
English Horn 8′
French Horn 8′
Tuba 16′
Tuba (ext.) 8'
Tuba (ext.) 4'
Festival Trumpet (ant.) 8′
Pedal
Bourdon 32′
Open Wood 16′
Diapason (Gt.) 16′
Stopt Bass 16′
Gemshorn 16′
Diapason 8′
Gedackt 8′
Octave 4′
Mixture IV 22/3′
Trombone 32′
Trombone 16′
Trumpet 8′
Trumpet 4′
Other organs[edit]
The chapel contains a two manual Wicks organ.
The church's previous location at McKinney and Harwood contained a two manual, 19 stop organ built in 1910 by the Pilcher Organ Co. of Louisville, Kentucky
Contemporary music[edit]
The church's contemporary music program consists of a praise band-style group of instrumentalists. The contemporary "Uptown" services are held simultaneously with their traditional counterparts at 9 am, 11:15 am, and 5 pm on Sundays and are held in the new Ascension Chapel, part of a substantial building project completed in 2015.[5]
Outreach[edit]
The parish is known for its commitment to outreach and community service. A mentorship program with neighboring North Dallas High School has been very successful, and similar programs have begun at other area schools as a response. Also popular among parishioners are the mission trips to Belize and Honduras. In total, the parish has dozens of different outreach ministries, and there are two permanent staff positions exclusive to the department.
See also[edit]
Anglicanism
Anglo-Catholicism
Christianity
High Church
References[edit]
Jump up ^ http://incarnation.org/about-us/History
Jump up ^ http://dallasdiocese.org/index.php?option=com_content&view=article&id=56&Itemid=73
Jump up ^ http://www.episcopalchurch.org/directory.htm#
Jump up ^ http://incarnation.org/england-pilgrimage/ Archived 2012-11-01 at the Wayback Machine.
Jump up ^ https://incarnation.org/about/history/
External links[edit]
Church of the Incarnation website
One of several reviews in Ship of Fools Mystery Worshiper
An earlier review in Ship of Fools Mystery Worshiper
An earlier review in Ship of Fools Mystery Worshiper
An earlier review in Ship of Fools Mystery Worshiper
Retrieved from "https://en.wikipedia.org/w/index.php?title=Church_of_the_Incarnation_(Dallas,_Texas)&oldid=845931903"
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Ancient veena
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The ancient veena is an early Indian arched harp, not to be confused with the modern Indian veena which is a type of lute. The instrument is attested on a gold coin of the Gupta Empire from the mid-300s CE.
Contents
1 Generic meaning of veena
2 Early Gupta vina
3 Descendants
4 References
5 Bibliography
Generic meaning of veena[edit]
The Sanskrit word veena (वीणा vīṇā) which is attested already in the Rigveda has designated in the course of Indian history a variety of instruments of various types, as it is a generic term for all kinds of string instruments, just as the Tamil word yazh (யாழ் yaaḻ). In the last centuries and today the instruments designated under the designation veena of which there are several kinds, have tended to be mostly instruments of the lute or cithar type, and recently the word was even applied to modified Western guitars. But the early veenas could be plucked string instruments of any type.
Early Gupta vina[edit]
One of early veenas used in India from early times, until the Gupta period and later (this is probably the instrument referred to as veenaa in a chapter of the Nāṭyaśāstra dealing with instrumental music)[1] was an instrument of the type of the harp and more precisely of the arched harp. It was played with the strings being kept parallel to the body of the player, with both hands plucking the strings, as shown on Samudragupta's gold coins[2] It is not possible to tell exactly the number of strings of the instrument on the coin, but descriptions in early literary sources of an ancient instrument called the saptatantree veenaa (7-string veenaa) seem to coincide generally with the type of instrument represented on the coin. In the Nāṭyaśāstra this 7-string veena (played with the fingers, as opposed to the 9-string vipanchi played with a plectrum) is called a citra [3].
The depiction of king Samudragupta holding such an instrument on his gold coins testifies of the popularity of the instrument, and also of the interest in music and the arts of a king who was also one of the greatest military conquerors in Indian history.[4]
Descendants[edit]
From India this type of instrument was introduced at an early period[when?] into Burma[5] where, while instruments of this type have disappeared from India itself, it is still played, generally with 15 strings, under the name of saung (known in the West also as the Burmese harp).[6][7][8]
References[edit]
Jump up ^ Nāṭyaśāstra, XXVIII, 4-5 (the veena is also used and described in other shlokas which follow 4-5 in chapter XXVIII)
Jump up ^ "The Coin Galleries: Gupta: Samudragupta". CoinIndia.com.
Jump up ^ Nāṭyaśāstra, XXIX, 120
Jump up ^ "The fact that the king wanted to publicize an image of himself as a musician is remarkable and a window into the value system of the Gupta state" Coin India site Catalog and description of the gold coins minted during Samudragupta's reign (Web page)
Jump up ^ Judith Becker, The Migration of the Arched Harp from India to Burma, The Galpin Society Journal, vol. 20, pp. 17–23
Jump up ^ Śrīrāma Goyala (1 August 1992). Reappraising Gupta History: For S.R. Goyal. Aditya Prakashan. p. 237. ISBN 978-81-85179-78-0. - ...yazh resembles this old vina... however it is the Burmese harp which seems to have been handed down in almost unchanged form since ancient times
Jump up ^ According to the site Harp History a similar instrument is played in Thailand. A photograph of the Thai harp is shown on that site.
Jump up ^ Ank van Campen, Iconography: Pictures Existing instruments on the Harp History site (Web page)
Bibliography[edit]
Judith Becker, The Migration of the Arched Harp from India to Burma, The Galpin Society Journal, vol. 20, pp. 17–23
Terry E. Miller and Sean Williams. The Garland handbook of Southeast Asian music. Routledge, 2008. ISBN 0-415-96075-4
Muriel C. Williamson The Burmese Harp: Its Classical Music, Tunings, and Modes, Northern Illinois University Center For Southeast Asian Studies, 2000
Arthur Llewellyn Basham, The Wonder That Was India, Scholarly Publishing Office, University of Michigan, 2008, 696 pp.
The Natyasastra (Vol. 2): A treatise on Hindu dramaturgy and histrionics (Chapters 28-36) (translated by Manomohan Ghosh), 1961, Calcutta, Asiatic Society of Bengal (Biblioteca Indica); reprint: Chaukhamba Surbharati Prakashan, 2016, Varanasi
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ancient_veena&oldid=833660090"
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text:
Winner at a Losing Game
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Winner at a Losing Game"
Single by Rascal Flatts
from the album Still Feels Good
Released
October 22, 2007
Format
CD single
Recorded
2007
Genre
Country
Length
3:55 (single edit)
4:48 (album version)
Label
Lyric Street
Songwriter(s)
Jay DeMarcus, Gary LeVox, Joe Don Rooney
Producer(s)
Dann Huff, Rascal Flatts
Rascal Flatts singles chronology
"Take Me There"
(2007) "Winner at a Losing Game"
(2007) "Every Day"
(2008)
"Take Me There"
(2007) "Winner at a Losing Game"
(2007) "Every Day"
(2008)
"Winner at a Losing Game" is a song written and recorded by American country music group Rascal Flatts. It was released in October 2007 as the second single from their album Still Feels Good, as well as their nineteenth chart single overall. The song peaked at number 2 on the Billboard Hot Country Songs charts in February 2008. Spending four weeks at that position behind "Letter to Me" by Brad Paisley.
The song is part of the track list for "Now That's What I Call Country".
Contents
[hide]
1 History
2 Critical reception
3 Chart performance
3.1 Year-end charts
4 References
5 External links
History[edit]
Rascal Flatts' three members (Gary LeVox, Jay DeMarcus, and Joe Don Rooney) wrote the song on their tour bus after a show late one night.[1] According to DeMarcus, the trio began a conversation about their musical influences, when the Eagles, a popular soft rock band, was mentioned. Inspired by the fact that they would be performing with the Eagles at the 2007 Grammy Awards, the trio decided to write a song that was stylistically similar to the music of the Eagles.[2]
All three members then began to write the song that night. They came up with a verse and chorus that, according to Country Weekly, "achingly express[es] a feeling we have all experienced — loving someone who just doesn't love you the same way".[2] The next day, DeMarcus added the hook "If love is really forever, then I'm a winner at a losing game", and the song was soon finished.
LeVox, the lead singer of Rascal Flatts, considers the song special because it is the first single to be written entirely by the band's three members.[2]
Critical reception[edit]
Ken Tucker of Billboard wrote that the song is "fresh, familiar and conjures '70s country rock".[3]
Chart performance[edit]
Chart (2007–08)
Peak
position
US Hot Country Songs (Billboard)[4] 2
US Billboard Hot 100[5] 52
Canada (Canadian Hot 100)[6] 57
Year-end charts[edit]
Chart (2008)
Position
US Country Songs (Billboard)[7] 22
References[edit]
Jump up ^ Tucker, Ken (25 August 2007), "CAN RASCAL REPEAT?" Billboard. 119 (34):20-22
^ Jump up to: a b c Horner, Marianne (2008-03-24). "Story Behind the Song: "Winner at a Losing Game"". Country Weekly. 15 (6): 64. |access-date= requires |url= (help)
Jump up ^ Tucker, Ken (6 October 2007). "Reviews". Billboard: 47.
Jump up ^ "Rascal Flatts – Chart history" Billboard Hot Country Songs for Rascal Flatts.
Jump up ^ "Rascal Flatts – Chart history" Billboard Hot 100 for Rascal Flatts.
Jump up ^ "Rascal Flatts – Chart history" Canadian Hot 100 for Rascal Flatts.
Jump up ^ "Best of 2008: Country Songs". Billboard. Prometheus Global Media. 2008. Retrieved December 13, 2008.
External links[edit]
Lyrics of this song at MetroLyrics
[hide]
v
t
e
Rascal Flatts singles
Rascal Flatts
"Prayin' for Daylight"
"This Everyday Love"
"While You Loved Me"
"I'm Movin' On"
Melt
"These Days"
"Love You Out Loud"
"I Melt"
"Mayberry"
Feels Like Today
"Feels Like Today"
"Bless the Broken Road"
"Fast Cars and Freedom"
"Skin (Sarabeth)"
Me and My Gang
"What Hurts the Most"
"Me and My Gang"
"My Wish"
"Stand"
Still Feels Good
"Take Me There"
"Winner at a Losing Game"
"Every Day"
"Bob That Head"
"Here"
Unstoppable
"Here Comes Goodbye"
"Summer Nights"
"Why"
"Unstoppable"
Nothing Like This
"Why Wait"
"I Won't Let Go"
"Easy" (with Natasha Bedingfield)
Changed
"Banjo"
"Come Wake Me Up"
"Changed"
Rewind
"Rewind"
"Payback"
"Riot"
"I Like the Sound of That"
Back to Us
"Yours If You Want It"
"Back to Us"
Other songs
"Life Is a Highway"
"That Should Be Me" (with Justin Bieber)
"Words I Couldn't Say"
Retrieved from "https://en.wikipedia.org/w/index.php?title=Winner_at_a_Losing_Game&oldid=787001950"
Categories:
2007 singles
2007 songs
Rascal Flatts songs
Songs written by Jay DeMarcus
Songs written by Gary LeVox
Song recordings produced by Dann Huff
Lyric Street Records singles
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