52 Hymn Story Devotions is ideal for anyone who enjoys hymns and leads devotions at church meetings, choir rehearsals, and Sunday school. The volume can also be used by individuals for personal devotions. Key Features: Each devotion includes a Scripture reference, printed hymn text, and commentary Provides devotionals based on 52 familiar hymns Devotions can be read verbatim by leader or party member Key Benefits: Helps choirs with the spiritual aspect of choir membership Can be given to a choir member to read with no advanced preparation Allows choir directors to use devotions to strengthen the choir ministry"

Justice has been an urgent concern of twentieth-century hymn writers, but are they the first to place such an emphasis on it? In Let Justice Sing, Paul Westermeyer offers an answer with the hope that it will stimulate dialogue, future studies, and an understanding of the past that can be applied to the present. Let Justice Sing explores the content, context, and importance of justice within the warp and woof" of hymnody. By analyzing these aspects and past hymnic repertoires, it suggests to the Church and others who wish to join the moral deliberation it presumes, that not only have Christians always sung about justice, but the message transcends the messengers. The perspective and dialogue fostered by Let Justice Sing is directed to students in college or seminary courses where hymnody, Church music, or ethics is the topic; adults in forums or classes where questions about music and justice arise; and anyone with an interest in hymnody, justice, or the relationship between the two. Chapters are "Content: The Twentieth Century": "Content: Before the Twentieth Century, I"; "Content: Before the Twentieth Century, II"; "Context"; and "Hymnody and Justice." Paul Westermeyer, PhD, is Professor of Church Music at Luther Seminary, St. Paul, Minnesota. He teaches, directs music, and administers a master of sacred music degree program with St. Olaf College. His writing includes numerous articles and books. "

BBC Songs of Praise is a compilation of the greatest traditional hymns, the best hymns from today's writers, and the finest examples of contemporary worship songs. It offers to churches and schools the core music required for worship in a wide range of situations. The breadth and diversity of the material ensures the BBC Songs of Praise can be the key resource for any worshipping community.

This collection of familiar hymn texts offers readers an opportunity to read and enjoy the language and poetry of their favorite hymns free of the encumbering musical notation. Reading the hymn texts is spiritually enriching and will also enable the reader to sing the hymns with greater understanding.

From Sacred Song to Ritual Music identifies the shifts in understanding that have led to significant changes in Roman Catholic worship music theory and practice during the twentieth century. In this guide, nine documents are chosen to answer five questions for the future: What is Roman-Catholic worship music? What is its purpose? What are its qualities? Who makes it? and How should it be played? Father Joncas documents the changing attitudes about Roman Catholic worship music in papal, conciliar, and curial documents for the Roman Rite throughout the world, and then narrows his focus to bishops' conference and scholarly documents produced in the United States. The nine documents he examines are Trale sollecitudini, Musicae sacrae disciplina, De musica sacra et sacraliturgia ad mentem litterarum PiiPapae XII Musicae sacrae disciplina" et "Mediator Dei," Sacrosanctum Concilium, Musicam Sacram, Music in Catholic Worship, Liturgical Music Today, The Milwaukee Symposia for Church Composers: A Ten-Year Report, and The Snowbird Statement on Catholic Liturgical Music. He concludes with reflections on the theories and practices marking the United States' liturgical renewal. From Sacred Song to Ritual Music clearly identifies for Roman Catholic church musicians, pastors, and liturgists the revolution that has occurred both in theory and in practice this century. Father Joncas shows that these nine documents are a source of inspiration and encouragement for all who generate, participate in, lead, sustain, and evaluate the worship music of the Roman rite in its journey "from sacred song to ritual music." Jan Michal Joncas is assistant professor of theology at the University of St. Thomas, St. Paul, Minnesota. He holds liturgy degrees from the University of Notre Dame and the Pontifical Liturgical Institute. He has served in parish work and campus ministry and is a composer and editor of liturgical music. "

White Soul examines the social, political, and religious foundations of country music as the soul music of white, working-class Americans.

Country music gives voice to an economically battered subculture of hard-living and hard-working people who find self-expression in the music of honky-tonks and heartaches. It celebrates the "wild side of life" as a form of populist anarchism and escapist festivity. This unusual medley of sociology, theology, and country music history is also a compelling critique of the elitism of "good taste" in the dominant culture.

Tex Sample challenges the church to reach out to working-class people, who have often been ignored and demeaned by churches held captive to the tastes and lifestyles of the upper middle class.

What is the future of liturgical song? The answer to that question, says Lucien Deiss, depends upon the development of the liturgy itself and the search for better ways to spread the Gospel. Drawing upon the riches of the past to guide that search, this book reflects on what is desirable today. Making the ministerial function of music and song the point of reference - and the key to all questions - it discusses every musical aspect, from processions, acclamations and responsorial psalms, to hymns, the Credo and the cantillation of the readings. The book outlines present-day practices, makes suggestions for improvement, and contributes sound, creative ideas for the future. Using his broad historical and musical knowledge of the Church's liturgy, Father Deiss takes readers through the Eucharistic celebration. The book reflects not just on the liturgy's repertoire of music and song, but also on the roles of those who participate in its formation: priest, choir, music, liturgist, organist, cantor and congregation.

"A Symphony of New Testament Hymns" opens a window of insight into familiar Scripture passages - poetic passages that were later often set to music. By showing that the composers of some of these traditional New Testament, pre-60 C.E. hymns intentionally created passages that are lyrical or hymnic within the prose, this work presents the sometimes hidden depth behind their construction and meaning.

Inspired by Roy Harris' "Folksong Symphony," Father Karris arranges his treatment of Philippians 2:6-11, Colossians 1:15-20, Ephesians 2:14-16, Timothy 3:16, 2 Timothy 2:11-13, Titus 3:4-7, and 1 Peter 3:18-22 in a way that faith-fully addresses today's spiritual concerns, such as spirituality, ecology, reconciliation, baptism, and angels.

The first book in English in thirty years to study New Testament hymns, "A Symphony of New Testament Hymns" brings readers greater enjoyment of these lesser-known Pauline hymns and a deepening of faith. Father Karris contends we have much to learn from what these songs proclaimed about Jesus at a time when the four gospels hadn't been published.

The first chapters, Beginnings" and "Background," address the nature of hymns. Subsequent chapters contain a translation and analysis of the above texts, a study of contexts, key concepts and images, suggestions for reflection on the contemporary significance of the hymn, and an annotated bibliography. The concluding chapter offers a retrospective look at the many Christological themes reflected in the texts.

ViewingPaul's letters and the common New Testament introduction topics from a refreshingly unique perspective, A Symphony of New Testament Hymns is especially appropriate for students and professors of the New Testament. Those looking for biblical spirituality, liturgists and musicians looking for new texts to set, and those in catechetical work - especially those involved in the RCIA - will also benefit from Father Karris' distinctive look at how the earliest Christians lyrically proclaimed Jesus Christ as Lord.

"Robert J. Karris, OFM, taught New Testament for sixteen years at Catholic Theological Union in Chicago. He is a veteran author, known primarily for his studies on Luke. He holds a ThD from Harvard University.""

Hymns are written to be part of the liturgy-the work of the people of God. When you write a hymn, you are putting words into the mouths of other people, other worshipers. The words of hymns become the words of a worshiping congregation.

Of the many hymnbooks published by John and Charles Wesley, the most important was A Collection of Hymns for the Use of the People Called Methodists (1780). Taking this volume as a case study and concentrating on the Charles Wesley hymns included in it, Teresa Berger clarifies the relationship between the language of doxology of worship and praise of God and the substance of theological reflection. She identifies the central theological themes and emphases in this body of hymnody, and raises the question of how theology can be embodied in hymns. Central to her argument is the claim that the theological analysis of doxological material is possible only when it takes care to recognize and safeguard the characteristics, the criteria of authenticity, and the tests of authority and legitimacy peculiar to doxological language. Part One of the book sets the whole discussion within the context of a renewed interest in doxological and liturgical traditions across Christianity by showing how the relationship of doxology and theology is an important topic of theological discussion in Roman Catholic, Protestant, Orthodox, and ecumenical circles. Part Two is devoted to a thorough theological analysis of the central themes and images of the 1780 Collection. Part Three attempts to clarify the nature of doxology in its relation to theology.

Serviceable, inexpensive collection of familiar hymns and songs. Compact size makes it perfect as a supplemental hymnal for special meetings.

Un o gyfrolau mwyaf dadleuol yr ugeinfed ganrif yw Williams Pantycelyn gan Saunders Lewis, ac ymhlith yr astudiaethau beirniadol mwyaf cynhyrfus i ymddangos erioed yn y Gymraeg. Cynigiodd y gyfrol ffordd newydd i ddehongli athrylith yr emynydd o Bantycelyn, a thrwy hynny sefydlu enw Saunders Lewis fel beirniad mwyaf beiddgar a chreadigol ei genhedlaeth. Er mwyn nodi trichanmlwyddiant geni'r emynydd yn 2017, mae Gwasg Prifysgol Cymru yn ailgyhoeddi'r gyfrol; mewn rhagymadrodd helaeth i'r cyhoeddiad newydd, mae D. Densil Morgan yn dadansoddi cynnwys y gwaith, ei dafoli'n feirniadol ac yn olrhain ei ddylanwad ar y meddwl Cymreig o'i gyhoeddi yn 1927 hyd heddiw. Mae'n ddathliad deublyg o greadigrwydd Saunders Lewis ac o gyfraniad aruthrol y Per Ganiedydd i waddol y diwylliant cenedlaethol.

This readable, practical, classic work covers every aspect of church music from congregational singing to the roles of the choir and church organist, how to select a hymnal, how to plan a worship service with music, and much more. Only by knowing these things can the minister, choir director, organist, and music committee together create worship services that lead to the Christian growth of their congregation, small or large.

Charles Wesley is widely remembered as a significant hymn-writer, especially among Methodists, but he is not often regarded either as a major poet or as an important theologian. He quite often takes second place to his more famous elder brother, John, and frequently disappears in the face of John's role as leader of "the people called Methodists." This volume attempts to rectify these unfortunate misconceptions by demonstrating that Charles Wesley is a figure of primary literary significance in the history of English religious poetry. It also seeks to show that Charles Wesley was a theologian of considerable depth and creativity, and to place his work in the context of a variety of church traditions. The essays in this volume originated in papers presented to the Charles Wesley Publication Colloquium, held at the Center of Theological Inquiry in Princeton, NJ, in the fall of 1989.

Hymns A&M' was first published in 1861. The new standard edition was introduced in 1983 containing 533 hymns including 333 from the 1950 Revised Edition plus 100 Hymns for Today and More Hymns for Today.

Since it was first introduced in the Summer of 2000, Common Praise the new Hymns Ancient & Modern has sold over one hundred thousand copies, and been adopted by parishes in every diocese in England and Wales including eight English cathedrals and in five of the seven dioceses in Scotland. It is also used in numerous schools, colleges, hospitals, residential homes, retreat houses, religious communities, crematoria, missions and military garrison chapels.

A classic collection of hymns and choruses. Sankey's Sacred Songs and Solos was developed by Ira D. Sankey as a resource for his concerts and revival meetings in the late 19th century. This collection is still popular today, with a wide selection of hymns and songs on many different themes.

This book presents a textual analysis of the three most popular hymns that have served as important political symbols to African-Americans for many years: (1) Lift Every Voice and Sing (the Negro National Anthem), (2) We Shall Overcome, and (3) Precious Lord, Take My Hand. The major questions probed in the present book are: (1) What salient political presuppositions and implicatures are imbedded in the three texts studied? (2) How can the delineated presuppositions and implicatures be explained? In exploring these questions, the systematic application of discovery procedures well-known in linguistic pragmatics will help to uncover propositions that will illuminate the texts examined for readers.

A monograph on the German Lutheran hymn writer Paul Gerhardt (1607-1676).

Drawing on his decades of experience as a pastor, hymn writer, and hymnal consultant, Fred Anderson here offers pastors and worship leaders a rich treasury of singable psalms - one for each psalm text or canticle appointed in the three-year Revised Common Lectionary. Anderson renders each psalm into metered text, using contemporary, biblical, inclusive language, and suggests appropriate pairings with familiar hymn tunes. Short pastoral reflections on each psalm text provide background on what is being sung - and are also useful for sermon preparation and personal meditation.

Since 1892, Harvard University, like many distinguished academic institutions, has compiled a hymnal for use in its own worship services. The fourth edition of "The Harvard University Hymn Book" represents the culmination of a ten-year process of revision and re-creation based on the 1964 third edition. Containing over 370 hymns, over 100 more than its predecessor, the book includes many that have become a regular part of worship at The Memorial Church in the years since the publication of the previous edition.

In addition to many familiar hymns old and new, the fourth edition includes selections that were unique to the previous editions, hymns previously unpublished, and other noteworthy "discoveries" that have not appeared in print for many years.

This book, a milestone in American music scholarship, is the first to take a close look at an important and little-studied component of African American music, one that has roots in Europe, but was adapted by African American congregations and went on to have a profound influence on music of all kinds--from gospel to soul to jazz. "Lining out," also called Dr. Watts hymn singing, refers to hymns sung to a limited selection of familiar tunes, intoned a line at a time by a leader and taken up in turn by the congregation. From its origins in seventeenth-century England to the current practice of lining out among some Baptist congregations in the American South today, William Dargan's study illuminates a unique American music genre in a richly textured narrative that stretches from Isaac Watts to Aretha Franklin and Ornette Coleman.
"Lining Out the Word "traces the history of lining out from the time of slavery, when African American slaves adapted the practice for their own uses, blending it with other music, such as work songs. Dargan explores the role of lining out in worship and pursues the cultural implications of this practice far beyond the limits of the church, showing how African Americans wove African and European elements together to produce a powerful and unique cultural idiom. Drawing from an extraordinary range of sources--including his own fieldwork and oral sources--Dargan offers a compelling new perspective on the emergence of African American music in the United States.
"Copub: Center for Black Music Research"