This rhythmic and spirited setting of the familiar hymn starts off with men's voices split into three- to six-part harmony in homophony. The women join and the texture thickens and varies producing a broad and spacious sound, decorated with syncopation and dramatic pauses. This compelling arrangement is certain to gain standing ovations and is a 'must have' for larger church, concert, and university choirs.

Bestselling author Joni Eareckson Tada invites families to rediscover some of the Christian faith's most beloved songs and draws out powerful truths from the music that has inspired generations of believers. Long before Joni Eareckson Tada's life was changed forever by a diving accident when she was 17, she was finding comfort and strength in classic hymns, including "Holy, Holy, Holy," "A Mighty Fortress Is Our God," and "How Great Thou Art." Now Joni shares these and other timeless favorites with your family, complete with a devotion and some historical background for each hymn. Experience anew God's love, hope, and peace as you worship and praise Him together and introduce your children to the rich spiritual legacy contained in these timeless Christian anthems.

As the landscape of choral education changes - disrupted by Glee, YouTube, and increasingly cheap audio production software - teachers of choral conducting need current research in the field that charts scholarly paths through contemporary debates and sets an agenda for new critical thought and practice. Where, in the digitizing world, is the field of choral pedagogy moving? Editor Frank Abrahams and Paul D. Head, both experienced choral conductors and teachers, offer here a comprehensive handbook of newly-commissioned chapters that provide key scholarly-critical perspectives on teaching and learning in the field of choral music, written by academic scholars and researchers in tandem with active choral conductors. As chapters in this book demonstrate, choral pedagogy encompasses everything from conductors' gestures to the administrative management of the choir. The contributors to The Oxford Handbook of Choral Pedagogy address the full range of issues in contemporary choral pedagogy, from repertoire to voice science to the social and political aspects of choral singing. They also cover the construction of a choral singer's personal identity, the gendering of choral ensembles, social justice in choral education, and the role of the choral art in society more generally. Included scholarship focuses on both the United States and international perspectives in five sections that address traditional paradigms of the field and challenges to them; critical case studies on teaching and conducting specific populations (such as international, school, or barbershop choirs); the pedagogical functions of repertoire; teaching as a way to construct identity; and new scholarly methodologies in pedagogy and the voice.

The fourth-century Christian thinker, Gregory of Nyssa, has been the subject of a huge variety of interpretations over the past fifty years, from historians, theologians, philosophers, and others. In this highly original study, Morwenna Ludlow analyses these recent readings of Gregory of Nyssa and asks: What do they reveal about modern and postmodern interpretations of the Christian past? What do they say about the nature of Gregory's writing? Working thematically through studies of recent Trinitarian theology, Christology, spirituality, feminism, and postmodern hermeneutics, Ludlow develops an approach to reading the Church Fathers which combines the benefits of traditional scholarship on the early Church with reception-history and theology.

for organ
Part of the progressive series for manuals, this third book includes 12 titles for the advanced organist.

The seeds of irreverent humour that inspired the likes of "The Wayne and Shuster Hour" and "Monty Python" were sown in the trenches of the First World War, and The Dumbells--concert parties made up of fighting soldiers--were central to this process. "Soldiers of Song" tells their story.

Lucky soldiers who could sing a song, perform a skit, or pass as a "lady," were taken from the line and put onstage for the benefit of their soldier-audiences. The intent was to bolster morale and thereby help soldiers survive the war.

The Dumbells' popularity was not limited to troop shows along the trenches. The group managed a run in London's West End and became the first ever Canadian production to score a hit on Broadway. Touring Canada for some twelve years after the war, the Dumbells became a household name and made more than twenty-five audio recordings. If nationhood was won on the crest of Vimy Ridge, it was the Dumbells who provided the country with its earliest soundtrack. Pioneers of sketch comedy, the Dumbells are as important to the history of Canadian theatre as they are to the cultural history of early-twentieth-century Canada.

At its most intimate level, music heals our emotional wounds and inspires us. At its most public, it unites people across cultural boundaries. But can it rebuild a city? That's the central question posed in New Atlantis, journalist John Swenson's beautifully detailed account of the musical artists working to save America's most colorful and troubled metropolis: New Orleans. The city has been threatened with extinction many times during its three-hundred-plus-year history by fire, pestilence, crime, flood, and oil spills. Working for little money and in spite of having lost their own homes and possessions to Katrina, New Orleans's most gifted musicians-including such figures as Dr. John, the Neville Brothers, "Trombone Shorty," and Big Chief Monk Boudreaux-are fighting back against a tidal wave of problems: the depletion of the wetlands south of the city (which are disappearing at the rate of one acre every hour), the violence that has made New Orleans the murder capitol of the U.S., the waning tourism industry, and above all the continuing calamity in the wake of Hurricane Katrina (or, as it is known in New Orleans, the "Federal Flood"). Indeed, most of the neighborhoods that nurtured the indigenous music of New Orleans were destroyed in the flood, and many of the elder statesmen have died or been incapacitated since then, but the musicians profiled here have stepped up to fill their roles. New Atlantis is their story. Packed with indelible portraits of individual artists, informed by Swenson's encyclopedic knowledge of the city's unique and varied music scene-which includes jazz, R&B, brass band, rock, and hip hop-New Atlantis is a stirring chronicle of the valiant efforts to preserve the culture that gives New Orleans its grace and magic.

The Organ and Its Music in German-Jewish Culture examines the powerful but often overlooked presence of the organ in synagogue music and the musical life of German-speaking Jewish communities. Tina Fruhauf expertly chronicles the history of the organ in Jewish culture from the earliest references in the Talmud through the 19th century, when it had established a firm and lasting presence in Jewish sacred and secular spaces in central Europe. Fruhauf demonstrates how the introduction of the organ into German synagogues was part of the significant changes which took place in Judaism after the Enlightenment, and posits the organ as a symbol of the division of the Jewish community into Orthodox and Reform congregations. Newly composed organ music for Jewish liturgy after this division became part of a cross-cultural music tradition in 19th and 20th century Germany, when a specific style of organ music developed which combined elements of Western and Jewish cultures. Concluding with a discussion of the organ in Jewish communities in Israel and the USA, the book presents in-depth case studies which illustrate how the organ has been utilized in the musical life of specific Jewish communities in the 20th century. Based on extensive research in the archives of organ builders and Jewish musicians, The Organ and Its Music in German-Jewish Culture offers comprehensive and detailed descriptions of specific organs as well as fascinating portraits of Jewish organists and composers. With an extensive companion website featuring full color illustrations and over 200 organ dispositions, this book will be eagerly read by performers, students, and scholars of the organ, as well as students and scholars in historical musicology and Jewish music.

for SATB (with alto solo) and organ Written for the charity Help Musicians for the festival of St Cecilia and premiered by the combined choirs of Westminster Abbey, Westminster Cathedral, and St Paul's Cathedral, this anthem presents an imaginative setting of Francis Pott's well-known hymn 'Angel voices ever ringing' in triple metre. Characterful and contrasting organ writing underpins the melodically and rhythmically interesting vocal lines, and an Alto solo in the fourth verse provides textural contrast.

This wonderful collection brings together seven well-loved carols, all newly arranged by Mack Wilberg for low voice and piano. Featuring a range of Christmas texts, including 'Bring a torch, Jeannette, Isabella', 'Deck the hall', and 'The Twelve Days of Christmas', it also offers two carols with alternative, original foreign-language options (French and Catalan). With a delightful variety of musical styles and moods, this volume is perfect for recitals, services, and concerts at Christmas time. Also available in a volume for high voice.

Without any formal training in music composition or even the ability to notate melodies on a musical staff, Irving Berlin took a knack for music and turned it into the most successful songwriting career in American history. Berlin was the first Tin Pan Alley songwriter to go "uptown" to Broadway with a complete musical score (Watch Your Step in 1914); he is the only songwriter to build a theater exclusively for his own work (The Music Box); and his name appears above the title of his Broadway shows and Hollywood films (iIrving Berlin's Holiday Inn), still a rare honor for songwriters. Berlin is also notable due the length of his 90+ year career in American Song; he sold his first song at the age of 8 in 1896, and passed away in 1989 at the age of 101 having outlived several of his own copyrights. Throughout his career, Berlin showed that a popular song which appealed to the masses need not be of a lesser quality than songs informed by the principles of "classical" music composition. Forty years after his last published song many of his songs remain popular and several have even entered folk song status ("White Christmas," "Easter Parade," and "God Bless America"), something no other 20th-century American songwriter can claim. As one of the most seminal figures of twentieth century, both in the world of music and in American culture more generally, and as one of the rare songwriters equally successful with popular songs, Broadway shows, and Hollywood scores, Irving Berlin is the subject of an enormous corpus of writing, scattered throughout countless publications and archives. A noted performer and interpreter of Berlin's works, Benjamin Sears has unprecedented familiarity with these sources and brings together in this Reader a broad range of the most insightful primary and secondary materials. Grouped together according to the chronology of Berlin's life and work, each section and article features a critical introduction to orient the reader and contextualize the materials within the framework of American musical history. Taken as a whole, they provide a new perspective on Berlin that highlights his musical genius in the context of his artistic development through a unique mix of first-hand views of Berlin as an artist, critical assessments of his work, and more general overviews of his life and work.

This volume presents 50 accessible anthems for choirs who may find the pieces in The New Church Anthem Book are slightly beyond their reach. These simplified pieces have been arranged with the highest level of quality.

The Sixteen have become a household name. They are the Voices of Classic FM, and stars of the BBC Four series Sacred Music, presented by Simon Russell Beale. Every year since the millennium, they have undertaken a Choral Pilgrimage, bringing a programme of a cappella vocal music to around thirty cathedrals the length and breadth of the country. They are prolific recording artists, and perform at festivals and venues all over the world. Harry Christophers is a unique figure in music. With The Sixteen, Christophers has succeeded in nurturing a choir of exceptional calibre, establishing a business model that includes a record label and extensive tours to capacity audiences, mining a rich variety of repertoire, and combining enormous popular appeal with the stamp of approval from experts. This book will be accessible to everyone, regardless of musical experience or knowledge. It will appeal to anyone interested in classical music, to those who sing in amateur or professional choirs, and those who love the sound of the human voice.

Victorian-era divas who were better paid than some corporate chairmen, the boy soprano who grew up to give Bing Crosby a run for his money, music directors who were literally killed by the job-the plot of a Broadway show or a dime-store novel? No, the unique and colorful history of St. Patrick's Cathedral. Since its inception more than 125 years ago, the Cathedral Choir has been considered the gold standard of liturgical music-an example of artistic excellence that has garnered worldwide renown. Yet behind this stately facade lies an intriguing mix of New York history, star secrets, and high-level office politics that has made the choir not only a source of prime musical entertainment but also fodder for tabloids and periodicals across the nation. In this unique and engaging book, readers are treated to a treasure trove of vibrant characters, from opera stars from around the world to the thousands of volunteer singers who brought their own hopes and dreams-and widely varying musical abilities-to the fabled choir. As the city's preeminent Catholic institution, St. Patrick's Cathedral has served one of the most dynamic and diverse communities in the world for well over a century. It has been intimately entwined with the history of New York: a major center of culture in the nation's cultural capital. The Cathedral Choir provides an extraordinary and largely overlooked insight into this history, and in Salvatore Basile's pitch-perfect exploration it becomes a microcosm for the larger trends, upheavals, and events that have made up the history of the city, the nation, and even the world. Basile also illuminates the choir's important role in New Yorkers' responses to some of the most momentous events of the past one hundred years, from world wars to world's fairs, from the sinking of the Titanic to 9/11, as well as its central role in the rituals and celebrations that have made life in the city more joyful-and bearable-for millions of people over the decades. While the phrase "church choir" usually evokes the image of a dowdy group of amateurs, the phrase "Choir of St. Patrick's Cathedral" has always meant something quite different. Salvatore Basile's splendid history shows just how different, and just how spectacular, the music of St. Patrick's is.

Today s spiritually searching culture is less inclined than ever to attend church. Yet, no time of the week is filled with more life-changing potential than Sunday morning. Imagine . . . experiences that bring people heart-to-heart with God.messages in which God s truth connects to everyday life.transcendent moments that leave people awestruck---and transformed. That s what can happen when you unleash the arts in your church through the power of the Holy Spirit. An Hour on Sunday is not about nitty-gritty programming details or cookie-cutter how-to s. It s about foundational issues---ten enduring principles that: unite artists and ministry leaders around a common language empower artists and pastors to effectively work together create the potential for moments that matter on Sunday morning. An Hour on Sunday is for worship and arts ministry leaders, pastors and teachers, artists---including musicians, writers, dancers, actors, visual artists, film makers, light and sound engineers and anyone who believes in the limitless potential of the arts in their church. Whimsically illustrated, written with passion and humor, and filled with stories of both success and failure, An Hour on Sunday explores the deep, shaping forces that can make your hour on Sunday a time of transformation and wonder for believers and seekers alike."

World Music Pedagogy, Volume V: Choral Music Education explores specific applications of the World Music Pedagogy process to choral music education in elementary, middle, and high school contexts, as well as within community settings. The text provides clear and accessible information to help choral music educators select, rehearse, and perform a diverse global repertoire. It also guides directors in creating a rich cultural context for learners, emphasizing listening, moving, and playing activities as meaningful music-making experiences. Commentary on quality, commercially available world music repertoire bridges the gap between the philosophy of World Music Pedagogy and the realities of the performance-based choral classroom. All chapters open with a series of vignettes that illuminate the variety of possibilities within multiple K-12 contexts, providing the reader with a sense of how the ideas presented might look "on the ground." Ready-to-integrate activities serve as concrete and pedagogically sound examples to guide directors as they develop their own instructional materials according to the needs of their choir. Content features choral and vocal music-making traditions from South and West Africa; Latin America; Southeast, East, and South Asia; the Pacific Islands; Australia; New Zealand; Scandinavia; and the Baltics.

Present-day music studies conspicuously evade the question of religion in contemporary music. Although many composers address the issue in their work, as yet there have been few attempts to think through the structure of religious music as we hear it. On the basis of a careful analysis of Olivier Messiaen's work, this book argues for a renewal of our thinking about religious music. Addressing his notion of a hyper-religiousmusic of sounds and colors, it aims to show that Messiaen has broken new ground. His reinvention of religious music makes us again aware of the fact that religious music, if taken in its proper radical sense, belongs to the foremost of musical adventures.The work of Olivier Messiaen is well known for its inclusion of religious themes and gestures. These alone, however, do not seem enough to account for the religious status of the work. Arguing for a breakthrough toward the beyondon the basis of the synaesthetic experience of music, Messiaen invites a confrontation with contemporary theologians and post-secular thinkers. How to account for a religious breakthrough that is produced by a work of art?Starting from an analysis of his 1960s oratorio La Transfiguration de Notre-Seigneur Jsus-Christ, this book arranges a moderated dialogue between Messiaen and the music theology of Hans Urs von Balthasar, the phenomenology of revelation of Jean-Luc Marion, the rethinking of religion and technics in Jacques Derrida and Bernard Stiegler, and the Augustinian ruminations of Sren Kierkegaard and Jean-Franois Lyotard. Ultimately, this confrontation underscores the challenging yet deeply affirmative nature of Messiaen's music.

52 CCM faves in a value-priced songbook: All to You * Be Near * Breathe * Come On Back to Me * Deeper * Faithful to Me * I Wanna Sing * King * Maker of All Things * Oceans from the Rain * Pray * Song of Love * These Hands * This Is Your Life * Wisdom * more.

Larnelle Harris is one of the most renowned Christian vocalists of our generation. Aside from his numerous accolades in the recording industry, Larnelle has been a stalwart figure of integrity, choosing to always put his marriage and children above his career. In his first memoir, Larnelle honestly shares some of the most difficult moments of his life - from losing his voice for a year to being attacked for his color. And he humbly credits the people who shaped his life and career early on, offering timeless insights into how God can use ordinary people to do extraordinary things.

The fourth-century Christian thinker, Gregory of Nyssa, has been the subject of a huge variety of interpretations over the past fifty years, from historians, theologians, philosophers, and others. In this highly original study, Morwenna Ludlow analyses these recent readings of Gregory of Nyssa and asks: What do they reveal about modern and postmodern interpretations of the Christian past? What do they say about the nature of Gregory's writing? Working thematically through studies of recent Trinitarian theology, Christology, spirituality, feminism, and postmodern hermeneutics, Ludlow develops an approach to reading the Church Fathers which combines the benefits of traditional scholarship on the early Church with reception-history and theology.

An easy anthem for unison children's and/or SATB choir, with piano/organ or orchestra. This German translation of Look at the world is suitable for Harvest or for any occasion where God is praised for his creation. Also available in English in John Rutter Anthems and in German in Glory to God. An orchestral accompaniment is available on hire.

A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes: * the hardcopy text, providing essential stylistic and technical information and repertoire discussion; * an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions; * an online instructor's manual providing additional information and realizations of all exercises. Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint.