Brooke Foss Westcott (1825 1901) was a British theologian who held the position of Bishop of Durham from 1890 until his death. First published in 1912, as the second edition of an 1879 original, this volume presents the complete text of the Book of Psalms arranged by Westcott 'so as to ensure an intelligent musical rendering of each clause of the separate verses'. The text was revised and edited for its second edition by the British organist and composer of hymns Arthur Henry Mann (1850 1929). This book will be of value to anyone with an interest in the Psalms, choral music and Church history."

Sourindro Mohan Tagore (1840-1914), musicologist, educationist and patron of Indian music, was a member of a highly influential family in nineteenth-century Calcutta that was renowned for its support of the arts. His work to generate understanding in the West of music's role in Indian culture and heritage was recognised worldwide and he is remembered today through his extensive writings, donations of musical instruments to leading institutions, and the Royal College of Music's prestigious Tagore gold medal. His valuable compilation of eighteenth- and nineteenth-century English writings on Indian music by learned Europeans was first printed for private circulation in 1875. It includes a catalogue of Indian musical instruments, illustrated notes by the orientalist William Ouseley (1767-1842), and a pioneering essay by Sir William Jones (1746-94), the Enlightenment polymath whose collected works are also reissued in this series.

The history of the Iona Community, including St Colomba's founding of an influential Celtic Christian community on the Hebridean island of Iona in the sixth century, the work of George MacLeod whose inspiration placed Iona firmoly on the Christian map once again in the 20th century and the current broad span of the Community, touching the map of human experience - spirituality, politics, peace and justice - guided by the wild goose, Celtic symbol of the Holy Spirit.

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.

Providing a detailed analysis of Bach's Passions, this 2010 book represents an important contribution to the debate about the culture of 'classical music', its origins, priorities and survival. The angles from which each chapter proceeds differ from those of a traditional music guide, by examining the Passions in the light of the mindsets of modernity, and their interplay with earlier models of thought and belief. While the historical details of Bach's composition, performance and theological context remain crucial, the foremost concern of this study is to relate these works to a historical context that may, in some threads at least, still be relevant today. The central claim of the book is that the interplay of traditional imperatives and those of early modernity renders Bach's Passions particularly fascinating as artefacts that both reflect and constitute some of the priorities and conditions of the western world.

First published in 1914, this book provides information on the Canticles of the Eastern and Western Church in early and medieval times. The text is divided into two broad sections: the first covers Greek and Eastern Canticles; the second covers Latin and Western Canticles. Additional material includes illustrative plates and an index of manuscripts. This is a highly informative book that will be of value to anyone with an interest in religious music and the history of Christianity.

The Oxford Book of Easy Flexible Anthems caters for church choirs of all types and sizes, enabling them to have at their fingertips easy music for every occasion. The collection presents flexibility of scoring in a constructive and realistic way, with particular provision for unison or two-part singing, while not forgetting SATB choirs, and a focus on ease of learning and performance. With complete coverage of the Church's year, and a fabulous range of accessible, quality material, this is a vital resource for all church choirs. Also available as a spiral-bound paperback.

Christians sing because we are people of hope. Yet our hope is unlike other kinds of hope. We are not optimists; nor are we escapists. Christian hope is uniquely shaped by the resurrection of Jesus Christ from the dead and by the promise of our own future resurrection. How is that hope both expressed and experienced in contemporary worship? In this volume in the Dynamics of Christian Worship series, pastor, theologian, and songwriter Glenn Packiam explores what Christians sing about when they sing about hope and what kind of hope they experience when they worship together. Through his analysis and reflection, we find that Christian worship is crucial to both the proclamation and the formation of Christian hope. The Dynamics of Christian Worship series draws from a wide range of worshiping contexts and denominational backgrounds to unpack the many dynamics of Christian worship-including prayer, reading the Bible, preaching, baptism, the Lord's Supper, music, visual art, architecture, and more-to deepen both the theology and practice of Christian worship for the life of the church.

Gregorian Chant offers a detailed tutorial in the history and liturgy of Gregorian chant for musicians and musicologists, clergy and liturgists, passionate participants, and others who are interested in the revival of chant in the church, today.

An innovative study of the ways in which theological themes related to earthly and heavenly 'treasures' and Bach's own apparent attentiveness to the spiritual values related to money intertwined in his sacred music. In Johann Sebastian Bach's Lutheran church setting, various biblical ideas were communicated through sermons and songs to encourage parishioners to emulate Christian doctrine in their own lives. Such narratives are based on an understanding that one's lifetime on earth is a temporal passageway to eternity after death, where souls are sent either to heaven or hell based on one's belief or unbelief. Throughout J. S. Bach's Material and Spiritual Treasures, Bach scholar Noelle M. Heber explores theological themes related to earthly and heavenly 'treasures' in Bach's sacred music through an examination of selected texts from Bach's personal theological library. The book's storyline is organised around biblical concepts that are accented in Lutheran thought and in Bach's church compositions, such as the poverty and treasure of Christ and parables that contrast material and spiritual riches. While focused primarily on the greater theological framework, Heber presents an updated survey of Bach's own financial situation and considers his apparent attentiveness to spiritual values related to money. This multifaceted study investigates intertwining biblical ideologies and practical everyday matters in a way that features both Bach's religious context and his humanity. This book will appeal to musicologists, theologians, musicians, students, and Bach enthusiasts.

Louisiana's unique multicultural history has led to the development of more styles of American music than anywhere else in the country. Encyclopedia of Louisiana Musicians compiles over 1,600 native creators, performers, and recorders of the state's indigenous musical genres. The culmination of years of exhaustive research, Gene Tomko's comprehensive volume not only reviews major and influential artists but also documents for the first time hundreds of lesser-A known notable musicians. Arranged in accessible A- Z format- from Fernest ""Man"" Abshire to Zydeco Ray- Tomko's concise entries detail each musician's life and career, reflecting exciting new discoveries about many enigmatic and early artists: Country Jim, Henry Zeno, Douglas Bellard, Good Rockin' Bob, Blind Uncle Gaspard, Emma L. Jackson, and Rocket Morgan, to name just a few. A separate section features musicians from elsewhere who made an impact in Louisiana, such as MississippiA -born blues singerA -songwriter-A guitarist Eddie ""Guitar Slim"" Jones and celebrated jazz pianist Billie Pierce, a native of Florida. The final section highlights key regional record producers and studio and label owners, like J. D. Miller, Stan Lewis, and Cosimo Matassa, who have enabled future generations to enjoy music of the Bayou State. Written with both the casual fan and the scholar in mind, Encyclopedia of Louisiana Musicians is the definitive reference on Louisiana's rich musical legacy and the numerous important musicians it has produced.

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.

Let's give ourselves an A for effort. We keep our minds so preoccupied with work projects that we act and think on autopilot. We keep our kids so occupied with activities that they need day planners before grade school. We keep our schedules so full with church meetings and housekeeping and even entertaining that down-time sounds like a mortal sin. When we fail to rest we do more than burn ourselves out. We misunderstand the God who calls us to rest--who created us to be people of rest. Let's face it: our rest needs work. Sabbath recalls our creation, and with it God's satisfaction with us as he made us, without our hurried wrangling and harried worrying. It also recalls God's deliverance of the Israelites from Egypt, and with it God's ability to do completely what we cannot complete in ourselves. Sabbath keeping reminds us that we are free to rest each week. Eighteen months in Tel Aviv, Israel, where a weekly sabbath is built into the culture, began Lynne M. Baab's twenty-five-year embrace of a rhythm of rest--as a stay-at-home mom, as a professional writer working out of her home and as a minister of the gospel. With collected insights from sabbath keepers of all ages and backgrounds, Sabbath Keeping offers a practical and hopeful guidebook that encourages all of us to slow down and enjoy our relationship with the God of the universe.

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."

Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.

The standard of congregational singing in mid-eighteenth-century parish churches was often in a parlous state, a situation viewed with alarm by many influential clergy and social commentators. In this authoritative study, Maggie Kilbey explores attempts to improve parochial music-making over the following century and the factors that played a part in their success or failure. Using Hertfordshire as a basis, original research by this respected author and historian uses a wide range of documentary evidence to reveal a complicated picture of influence and interaction between the gentry, clergymen and their parishioners. Her innovative approach to the social history of church music-making sheds light on interactions between militia and church bands, singers, organists, the role of charity school children and the use of barrel organs. Because of its proximity to London, Hertfordshire was particularly attractive to elites with an interest in the capital, and fell under the influence of metropolitan music-making more readily than less accessible parts of England. The involvement of both fashion-conscious and socially aware gentry was mirrored by those further down the social scale, and formed part of a complex pattern of support for church music-making. Unsurprisingly, this support was not universal, and often short-lived once initial enthusiasm or funding ran out. Consequently, although many attempts were made to 'improve' music-making in parish churches, sooner or later these were considered to be failures, swiftly forgotten - and then tried again. To make matters worse, church rate disputes hampered efforts to improve or sustain parish music-making during the nineteenth century, resulting in financial hardship for organists and other church musicians. Yet this was followed by an 1850s 'singing craze' which led to the formation of many church choirs, alterations to the church fabric, and installation of organs. This investigation into patterns of parochial music-making will appeal to both those with an interest in the history of music-making, and also those with a general interest in the social history of Hertfordshire.

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.

Following three years of ethnomusicological fieldwork on the sacred singing traditions of evangelical Christians in North-East Scotland and Northern Isles coastal communities, Frances Wilkins documents and analyses current singing practices in this book by placing them historically and contemporaneously within their respective faith communities. In ascertaining who the singers were and why, when, where, how and what they chose to sing, the study explores a number of related questions. How has sacred singing contributed to the establishment and reinforcement of individual and group identities both in the church and wider community? What is the process by which specific regional repertoires and styles develop? Which organisations and venues have been particularly conducive to the development of sacred singing in the community? How does the subject matter of songs relate to the immediate environment of coastal inhabitants? How and why has gospel singing in coastal communities changed? These questions are answered with comprehensive reference to interview material, fieldnotes, videography and audio field recordings. As one of the first pieces of ethnomusicological research into sacred music performance in Scotland, this ethnography draws important parallels between practices in the North East and elsewhere in the British Isles and across the globe.

for SA and Men, accompanied and unaccompanied This collection of nine of John Rutter's finest and most popular anthems, scored for SA Men, has been carefully compiled to be both accessible to a wide range of choirs and appropriate to the needs of today's liturgy. With the inclusion of so many 'classics' covering a variety of texts and styles, this anthology is ideal for working church choirs requiring flexible options.

The Tropologion is considered the earliest known extant chant book from the early Christian world which was in use until the twelfth century. The study of this book is still in its infancy. It has generally been believed that the book has survived in Georgian translation under the name 'ladgari' but similar books have been discovered in Greek, Syriac and Armenian. All the copies clearly show that the spread and the use of the book were much greater than we had previously assumed and the Georgian ladgari is only one of its many versions. The study of these issues unquestionably confirms the earliest stage of the compilation of the book, in Jerusalem or its environs, and shows its uninterrupted development from Jerusalem to the Stoudios monastery, the most important monastery of Constantinople. Over time many new pieces and new authors were added to the Tropologion. It is almost certain that it was the Stoudios school of poet-composers that divided the content of the Tropologion and compiled separate collections of books, each one containing a major liturgical cycle. In the beginning all of the volumes kept the old title but in the tenth century the copies of the book were renamed, probably according to the liturgical repertory included, and by the thirteenth century the title 'Tropologion' is no longer found in the Greek sources as it became superfluous, and fell out of use.

This book is a study of music inculturation in Indonesia. It shows how religious expression can be made relevant in an indigenous context and how grassroots Christianity is being realized by means of music. Through the discussion of indigenous expressions of Christianity, the book presents multiple ways in which Indonesians reiterate their identity through music by creatively forging Christian and indigenous elements. This study moves beyond the discussion (and charge) of syncretism, showing that the inclusion of local cultural manifestations is an answer to creating a truly indigenous Christian expression. Marzanna Poplawska, while telling the story of Indonesian Christians and the multiple ways in which they live Christianity through music, emphasizes the creative energy and agency of local people. In their practices she finds optimism for the continuing existence of many traditional genres and styles. Indonesian Christians perform their Christian faith through music, dance, and theater, generating innovative cultural products that enrich the global Christian heritage. The book is addressed to a broad spectrum of readers: scholars from a variety of disciplines - music, religion, anthropology, especially those interested in interactions between Christianity and indigenous cultures; general music lovers and World Music enthusiasts eager to discover musics outside of European realm; as well as Christian believers, church musicians, and choir directors curious to learn about Christian music beyond Euro-American context. Students of religion, sacred music, (ethno)musicology, theater, and dance will also benefit from learning about a variety of indigenous arts employed in Christian churches in Indonesia.

A third collection of 50 carols, mostly for SATB, some unaccompanied, and some having accompaniments for piano or organ or orchestra. The carols reflect a diversity of styles and periods, while remaining within the capacity of an average group of amateur performers. Includes compositions and arrangements by Britten, Holst, Howells, Hurford, Vaughan Williams, and Walton.
Orchestral and brass accompaniments for many of the items are available on hire.