The Holy Mass, by Fr. Lucas, is a historical treatise on the Roman Rite which is meant for the average reader that does not have a lot of study on the subject. It was first published in 1914 in two volumes and is now republished containing both volumes in one book. Father Lucas' first volume is more popular than the second which deals in a rather erudite fashion with the difficult question of the development of the Roman Canon. Father Lucas while admitting that the scholar need not be deterred from investigating the structure of the Roman Canon out of a mistaken feeling of reverence, still thinks that he can vindicate for the Roman Canon a more or less perfect organic unity. He does not agree with those writers who imagine that there is in it a kind of patchwork. Fr. Lucas uses textual analysis of the Latin in comparison with ancient texts to demonstrate that the Canon was composed as one text, in union with many venerable authors.

This essay collection celebrates the richness of Christian musical tradition across its two thousand year history and across the globe. Opening with a consideration of the fourth-century lamp-lighting hymn Phos hilaron and closing with reflections on contemporary efforts of Ghanaian composers to create Christian worship music in African idioms, the ten contributors engage with a broad ecumenical array of sacred music. Topics encompass Roman Catholic sacred music in medieval and Renaissance Europe, German Lutheran song in the eighteenth century, English hymnody in colonial America, Methodist hymnody adopted by Southern Baptists in the nineteenth century, and Genevan psalmody adapted to respond to the post-war tribulations of the Hungarian Reformed Church. The scope of the volume is further diversified by the inclusion of contemporary Christian topics that address the evangelical methods of a unique Orthodox Christian composer's language, the shared aims and methods of African-American preaching and gospel music, and the affective didactic power of American evangelical "praise and worship" music. New material on several key composers, including Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach, Zoltan Kodaly, and Arvo Part, appears within the book. Taken together, these essays embrace a stimulating variety of interdisciplinary analytical and methodological approaches, drawing on cultural, literary critical, theological, ritual, ethnographical, and media studies. The collection contributes to discussions of spirituality in music and, in particular, to the unifying aspects of Christian sacred music across time, space, and faith traditions. This collection celebrates the fifteenth anniversary of the Society for Christian Scholarship in Music.