Now available on CD, fifteen powerful a cappella songs from the South African church, including the acclaimed 'We Are Marching in the Light of God' (Siyahamba). Recorded in 1984. Songs collected and edited by Anders Nyberg. Freedom is comingAsikhatali (It Doesn't Matter)Gabi (Praise the Father)IpharadisiSingabahambayo (On Earth an Army is Marching)Siph'amandla (O God, Give Us Power)Akanamandla (He Has No Power)Bamthatha (He's Locked Up)Vula, Botha (Open, Botha)Shumayela (Come, Let Us Preach)Nkosi, Nkosi (Lord, Have Mercy)Siyahamba (We Are Marching)Haleluya! Pelo Tsa Rona (Haleluya! We Sing Your Praises)Thuma Mina (Send Me Jesus)We shall not give up the fight

The most popular schools song and hymn book ever! Combines Come and Praise 1 and 2, giving you the words for 149 traditional and contemporary hymns and songs in one volume.

The only sourcebook that provides information necessary to make "Gospel Hymns Nos. 1 to 6 Complete" a useful research tool and an aid to the study of popular culture in the United States during the last half of the 19th century. For the first time, students and scholars will have access, in a single source, to biographical, historical, and bibliographical data concerning the writers of the hymn texts, the composers of the hymn tunes, and the various routes by which the hymns found their way onto the pages of that large collection of gospel and traditional hymnody. DEGREES"Gospel Hymns Nos. 1 to 6 Complete" contains 739 songs gathered from a series of six earlier published works.

The data in this volume will add to the breadth and depth of "Gospel Hymns Nos. 1 to 6 Complete" and thus, for the first time, identify the significance of its contributions to the history of American culture. A strong introduction establishes the historical significance of the collection of gospel hymns and songs. The entries for both the authors of the words and the composers of the music are arranged alphabetically, followed by the dates of birth and death (if known), a biographical sketch, and references to the number of the hymn, its title, first line, and accompanying tune. Dates of composition and initial publication are included where possible.

In his fairly short life - he lived from 1181 or 1182 to 1226 - Francis of Assisi wrote relatively little, but he taught, preached and lived so influentially, so charismatically, that his voice still speaks to us across the centuries. His Canticle of Brother Sun has been paid little attention by literary critics, despite being one of the first known works of literature in the Italian language. Bringing the skills of a literary historian to the subject, Brian Moloney comments on the canticle line-by-line and considers its genesis to reveal it as a carefully composed work of art, rather than as a spontaneous effusion of feeling.

Hymnody is widely recognised as a central tenet of Methodism's theological, doctrinal, spiritual, and liturgical identity. Theologically and doctrinally, the content of the hymns has traditionally been a primary vehicle for expressing Methodism's emphasis on salvation for all, social holiness, and personal commitment, while particular hymns and the communal act of participating in hymn singing have been key elements in the spiritual lives of Methodists. An important contribution to the history of Methodism, British Methodist Hymnody argues that the significance of hymnody in British Methodism is best understood as a combination of its official status, spiritual expression, popular appeal, and practical application. Seeking to consider what, when, how, and why Methodists sing, British Methodist Hymnody examines the history, perception, and practice of hymnody from Methodism's small-scale eighteenth-century origins to its place as a worldwide denomination today.

Discover the hymns that influenced US presidents. ""Presidential Praise: Our Presidents and Their Hymns"" offers the most comprehensive coverage ever written of the influence of hymns on the lives and administrations of America's presidents. Each chapter begins with Michael Williams' concise presentation of each president's path to the White House and his accomplishments and failures as president. D. Edward Spann then introduces how each president regarded music, whether or not he was musical, and music in the White House during each president's administration. These hymns may be related to developments in the life of the president, including his spiritual journey, major decisions he had to make as president, or even his selection of the inaugural Scripture. Spann then tells the story of how the hymn was written, both the words and the music. Presenting this scholarly material in an inspiring manner is part of the delight of the book. In doing so, the book covers a panorama of hymnody from 1614 to the 1980s. After an interpretation of the words, it is demonstrated why the chosen hymns were meaningful to each president. The format of each chapter reveals this special emphasis that can't be found elsewhere.

Reading the book of Psalms is a peaceful, comforting experience all on its own. But when the serenity found in these words is blended with the relaxing exercise of coloring, it creates the ideal environment for stress to melt away.

The Psalms in Color has been specifically designed as a stress relief tool that will bring readers closer to God.

Not only does The Psalms in Color combine biblical inspiration from Psalms with beautiful sketches and patterns that guarantee hours of relaxation, it also includes:

• Perforated pages that are easy to tear out
• Bookmarks, greeting cards and gift tags that can be colored in, cut out and given to friends
• Blank space for doodling and to unleash creativity.

The 20th century, especially the latter decades, was a time of explosive growth and importance in hymnody, and yet published material about the hymnody of this period has been scattered and difficult to come by. The present volume catalogues and categorizes the available writings to guide students and scholars in their research. Furthermore, this reference does not depend primarily on the view of the author/compiler, but guides users toward a broad spectrum of viewpoints about 20th-century hymnody. Listing the principal writings on the repertory, language, practice, and people of hymnody during the last century, this annotated bibliography offers students and researchers alike a handy reference for a vast and varied field.

Beginning with a unique introduction to and summary of hymnody in the 20th century, Music arranges the entries by topic, dividing each chapter by helpful subject headings. The repertory of the twentieth century, and language issues are discussed. Practical elements of hymnody are covered, while the final chapter lists writings about individual hymn writers and other influential persons in the field. Music provides a brief annotation for each entry and uses numerous cross-references, guiding the reader to relevant material in other sections of the book. A comprehensive index concludes this essential reference.

Both the Babylonian Talmud and the Jerusalem Talmud depict a wide range of sorrowful situations tied to every level of society and to the complexities of human behavior and the human condition. The causes and expressions of sorrow amongst the Sages, however, are different from their counterparts amongst common people or women, with descriptions varying between the Babylonian and the Jerusalem Talmud. In 'Sorrow and Distress in the Talmud', Valler explores more than 50 stories from both the Babylonian and the Jerusalem Talmuds, focusing on these issues.

Examining nineteenth-century British hymns for children, Alisa Clapp-Itnyre argues that the unique qualities of children's hymnody created a space for children's empowerment. Unlike other literature of the era, hymn books were often compilations of many writers' hymns, presenting the discerning child with a multitude of perspectives on religion and childhood. In addition, the agency afforded children as singers meant that they were actively engaged with the text, music, and pictures of their hymnals. Clapp-Itnyre charts the history of children's hymn-book publications from early to late nineteenth century, considering major denominational movements, the importance of musical tonality as it affected the popularity of hymns to both adults and children, and children's reformation of adult society provided by such genres as missionary and temperance hymns. While hymn books appear to distinguish 'the child' from 'the adult', intricate issues of theology and poetry - typically kept within the domain of adulthood - were purposely conveyed to those of younger years and comprehension. Ultimately, Clapp-Itnyre shows how children's hymns complicate our understanding of the child-adult binary traditionally seen to be a hallmark of Victorian society. Intersecting with major aesthetic movements of the period, from the peaking of Victorian hymnody to the Golden Age of Illustration, children's hymn books require scholarly attention to deepen our understanding of the complex aesthetic network for children and adults. Informed by extensive archival research, British Hymn Books for Children, 1800-1900 brings this understudied genre of Victorian culture to critical light.

Now available on CD, fifteen powerful a cappella songs from the South African church, including the acclaimed 'We Are Marching in the Light of God' (Siyahamba). Recorded in 1984. Songs collected and edited by Anders Nyberg. Freedom is comingAsikhatali (It Doesn't Matter)Gabi (Praise the Father)IpharadisiSingabahambayo (On Earth an Army is Marching)Siph'amandla (O God, Give Us Power)Akanamandla (He Has No Power)Bamthatha (He's Locked Up)Vula, Botha (Open, Botha)Shumayela (Come, Let Us Preach)Nkosi, Nkosi (Lord, Have Mercy)Siyahamba (We Are Marching)Haleluya! Pelo Tsa Rona (Haleluya! We Sing Your Praises)Thuma Mina (Send Me Jesus)We shall not give up the fight

It may seem unexpected to assert that controversy surrounds the introduction of hymns in religious life in England. Though many scholars have worked to catalog and index hymns, few have investigated the evolution of hymns, and their proposed meaning to religious celebration. A historical as well as a critical project, The Matter and Manner of Praise undermines the compulsion to assume that hymn-making and religion were always considered to coexist effortlessly. Most histories of hymnody and evangelical movements in England have elided the depth of feeling and concern that surrounded the debate over hymns and their use during liturgy. McCart uncovers, reexamines, and comments upon this debate. He illuminates a partly unexplored topic in English church history, by tracing the controversial shift from metrical psalms to hymnody, and also takes into account legal issues and litigation that developed over the introduction of hymns into church life. An insightful study that should be fascinating reading for anyone interested in teasing apart the historical nature of religious ceremonies and hymns.

This collection of thirty hymns and songs are suitable for all-age Christian worship in a variety of settings -- house churches, small congregations, formal and informal. The contemporary texts by poet David Wright are either based on scripture or highlight such themes as community, Eucharist, hospitality, repentance, justice, healing, and blessing. The music, by composer James Clemens, is fresh and well constructed for congregational singing in a variety of styles from standard hymnody to folk, Native American, gospel, early American, and chant. About a third of the selections may be learned and performed without paper.

This collection of liturgical music for congregations represents Euro-Anglicanism as well as American Anglican and African styles, along with Caribbean, gospel, blues, and jazz. The set consists of the score settings of the two masses ("The St. Mary Mass" and "St. Luke Mass for Healing"), Morning Prayer, and Evensong. Choral and congregational parts along with a full score are included. The accompaniments are fully notated for organ and/or piano.

The source readings in Hymnology are primary documents illustrating the philosophy and practice of congregational singing during various historical periods of the Christian church. They are drawn from a wide variety of sources including letters, diaries, periodicals, hymnal and tunebook prefaces, theological treatises, certain controversial books and pamphlets, and deliberations of church councils. The material ranges in date from the beginning of the second century to the 1960s. All the major streams of Christian song are covered, including early Greek and Latin hymnody, pre-Reformation vernacular hymnody, the Lutheran chorale, Reformed psalmody, and English and American hymnody from the sixteenth to the twentieth century. The book is suitable for use as a text or supplementary text for courses in hymnology, a professional reference work for ministers and church musicians, and a book for laymen interested in the history of church music.

Specifically designed for congregational use, this contains 255 songs for straightforward arrangements, either four-part harmony or with piano accompaniment.

This work is an exceptional collection of 600 hymns. An outstanding worship resource, it contains classic anthems, beloved gospel standards and new worship favourites including: "Shine Jesus Shine"; "Christ the Lord is Risen Today"; "Go, Tell it on the Mountain"; "Hark! The Herald Angels Sing"; "Jesus Loves Me"; "O Come All Ye Faithful"; and, "Praise Him! Praise Him!" It features an extensive seasonal selection, and contains seven helpful indexes including the most thorough topical index available. Available in a variety of colours, its high quality binding ensures decades of use by congregations, small groups and individuals.

Understanding the culture of living with hymnbooks offers new insight into the histories of poetry, literacy, and religious devotion. It stands barely three inches high, a small brick of a book. The pages are skewed a bit, and evidence of a small handprint remains on the worn, cheap leather covers that don't quite close. The book bears the marks of considerable use. But why-and for whom-was it made? Christopher N. Phillips's The Hymnal is the first study to reconstruct the practices of reading and using hymnals, which were virtually everywhere in the eighteenth and nineteenth centuries. Isaac Watts invented a small, words-only hymnal at the dawn of the eighteenth century. For the next two hundred years, such hymnals were their owners' constant companions at home, school, church, and in between. They were children's first books, slaves' treasured heirlooms, and sources of devotional reading for much of the English-speaking world. Hymnals helped many people learn to memorize poetry and to read; they provided space to record family memories, pass notes in church, and carry everything from railroad tickets to holy cards to business letters. In communities as diverse as African Methodists, Reform Jews, Presbyterians, Methodists, Roman Catholics, and Unitarians, hymnals were integral to religious and literate life. An extended historical treatment of the hymn as a read text and media form, rather than a source used solely for singing, this book traces the lives people lived with hymnals, from obscure schoolchildren to Emily Dickinson. Readers will discover a wealth of connections between reading, education, poetry, and religion in Phillips's lively accounts of hymnals and their readers.

Analysis of Latin sacred music written during the century illustrates the rapid and marked change in style and sophistication. Winner of the 2007 AMS Robert M. Stevenson prize The arrival of Francisco de Penalosa at the Aragonese court in May 1498 marks something of an epoch in the history of Spanish music: Penalosa wrote in a mature, northern-oriented style, and his sacred music influenced Iberian composers for generations after his death. Kenneth Kreitner looks at the church music sung by Spaniards in the decades before Penalosa, a repertory that has long been ignoredbecause much of it is anonymous and because it is scattered through manuscripts better known for something else. He identifies sixty-seven pieces of surviving Latin sacred music that were written in Spain between 1400 and the early 1500s, and he discusses them source by source, revealing the rapid and dramatic change, not only in the style and sophistication of these pieces, but in the level of composerly self-consciousness shown in the manuscripts. Withina generation or so at the end of the fifteenth century, Spanish musicians created a new national music just as Ferdinand and Isabella were creating a new nation. KENNETH KREITNER teaches at the University of Memphis.