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Books > Music > Other types of music
Estos son los himnarios mas populares, utilizados por millones de
creyentes, por sus himnos tradicionales de alabanza y adoracion.
Los himnarios incluyen la musica."
In Jewish Religious Music in Nineteenth-Century America: Restoring
the Synagogue Soundtrack, Judah M. Cohen demonstrates that Jews
constructed a robust religious musical conversation in the United
States during the mid- to late-19th century. While previous studies
of American Jewish music history have looked to Europe as a source
of innovation during this time, Cohen's careful analysis of primary
archival sources tells a different story. Far from seeing a fallow
musical landscape, Cohen finds that Central European Jews in the
United States spearheaded a major revision of the sounds and
traditions of synagogue music during this period of rapid
liturgical change. Focusing on the influences of both individuals
and texts, Cohen demonstrates how American Jewish musicians sought
to balance artistry and group singing, rather than "progressing"
from solo chant to choir and organ. Congregations shifted between
musical genres and practices during this period in response to such
factors as finances, personnel, and communal cohesiveness. Cohen
concludes that the "soundtrack" of 19th-century Jewish American
music heavily shapes how we look at Jewish American music and life
in the first part of the 21st-century, arguing that how we see, and
especially hear, history plays a key role in our understanding of
the contemporary world around us. Supplemented with an interactive
website that includes the primary source materials, recordings of
the music discussed, and a map that highlights the movement of key
individuals, Cohen's research defines more clearly the sound of
19th-century American Jewry.
Assist Our Song combines accessible teaching about the theology and
shape of worship with essential information about the forms of
music used, including congregational hymns, songs, canticles and
psalm chant, and music performed by choirs and musicians. It
explores the range of resources available, how to extend
repertoire, blending the old with the new, changing patterns of
church life, and other practical issues. Its aims are the
heightening of the profile of music within the church, increasing
the skills and understanding on the part of musicians and choirs,
assisting leaders of worship and empowering congregations to see
themselves also as 'ministers of music' It offers practical
assistance for the 'delivery' of music - choosing music, making the
most of choirs and working with musicians. It will be welcomed by
all who lead, provide or curate music in worship, as well as clergy
and ordinands who lack musical expertise or confidence.
This is the first ever book-length study of the a cappella masses
which appeared in France in choirbook layout during the baroque
era. Though the musical settings of the Ordinarium missae and of
the Missa pro defunctis have been the subject of countless studies,
the stylistic evolution of the polyphonic masses composed in France
during the seventeenth and eighteenth centuries has been neglected
owing to the labor involved in creating scores from the surviving
individual parts. Jean-Paul C. Montagnier has examined closely the
printed, engraved and stenciled choirbooks containing this
repertoire, and his book focuses mainly on the music as it stands
in them. After tracing the choirbooks' publishing history, the
author places these mass settings in their social, liturgical and
musical context. He shows that their style did not all adhere
strictly to the stile antico, but could also employ the most
up-to-date musical language of the period.
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