25 World Church songs, with an emphasis on Central and South America. Includes: Cantai ao SenhorEl cielo cantaRe ya mathemathaIf you believe

Twenty-five beautiful songs from the World Church with an emphasis on Africa. Includes: GloriaSanto, santo santoSenhor tempiedade de nosHe came downStand firmHalle, halle, halleMay God draw nearThe Lord is my lightKyrie eleisonJesus Christ our living LordJesus saranamLet the world in concert singSara shristeImelaWa wa wa emimimoBlessed be GodAmen, Alleluia!Amen siakudumisaNdingen' endumisweniMayenziweMany and greatAgios o TheosKyrie eleisonYour kingdom comeJesu tawa pano

Tracing the steps of Jesus and his followers through the season of Lent to Easter Day and then beyond, these songs are suitable for music groups or choirs as well as being accessible to congregations.

Now available on CD, fifteen powerful a cappella songs from the South African church, including the acclaimed 'We Are Marching in the Light of God' (Siyahamba). Recorded in 1984. Songs collected and edited by Anders Nyberg. Freedom is comingAsikhatali (It Doesn't Matter)Gabi (Praise the Father)IpharadisiSingabahambayo (On Earth an Army is Marching)Siph'amandla (O God, Give Us Power)Akanamandla (He Has No Power)Bamthatha (He's Locked Up)Vula, Botha (Open, Botha)Shumayela (Come, Let Us Preach)Nkosi, Nkosi (Lord, Have Mercy)Siyahamba (We Are Marching)Haleluya! Pelo Tsa Rona (Haleluya! We Sing Your Praises)Thuma Mina (Send Me Jesus)We shall not give up the fight

This follow-up to the bestselling songbook Come All You People offers 40 previously unpublished songs of similar variety which have been sung in prisons, on pilgrimages, at open air festivals, by cathedral choirs, and teenage and in-house music groups. They are short songs, some from present day Scotland, some from the World Church. They help people to participate and move in worship in a way that conventional hymns cannot and can be used as a tool to help create innovative styles of worship. The book includes hints on using the material and an appendix of readings and prayers for use with the songs. Agnus Dei (Aidan)Alleluia (Duncan)Amen alleluiaAmeniBe still and know (i)Be still and know (ii)Bless the LordBring your best to their worstDeo gratias (PSC)First born of MaryGive thanks, worship and praise the LordGod's eye be within meGoodness is stronger than evilHalle, halle, halle (Caribbean)Hallelujah (Korea)In love you summon, in love I followJesus Christ, Jesus ChristKyrie eleison (Bridget)Kyrie eleison (Chad)Lo, I am with you (to the end of the world)Lord Jesus Christ, lover of allLord of life, we come to youLord, draw nearLord, in your mercy (hear our prayer)Lord, you can turn all mourning into dancingMagnificat (G min)MayenziweMy eyes are dim with weepingNight has fallenNothing in height or in depthO brother Jesus (where have we left you)O Lamb of God (Constantine)O Lamb of God (Moss)On God alone, I wait silentlySanctus (Aidan)Stand firmThe peace of the earth (be with you)There is one among usThis is the body of ChristWe will take what you offer

The recording includes the title song, one of the Group's best known.

Chapel Royal meets country choir in this collection of eleven strophic psalm-settings, one anthem and two Christmas hymns, for four-part choir without organ. These elaborate settings with fugal passages are suitable for a reasonably competent choir and could provide useful material for evensongs and concerts. The introduction attempts to explain how this London composer, who was trained in the Chapel Royal, came to write music for a country church in Hertfordshire.

Contains 17 songs for the Christmas season. Most of the songs are for unaccompanied congregational singing, several have been arranged for choirs, and may serve as anthems or introits. Full music and notes by the author are provided for each song.

Contains biblical songs of justice, World Church songs of protest and praise, and songs of experience from late 20th century Britain.

How do contemporary audiences engage with sacred music and what are its effects? This book explores examples of how the Christian story is still expressed in music and how it is received by those who experience that art form, whether in church or not. Through conversations with a variety of writers, artists, scientists, historians, atheists, church laity and clergy, the term post-secular emerges as an accurate description of the relationship between faith, religion, spirituality, agnosticism and atheism in the west today. In this context, faith does not just mean belief; as the book demonstrates, the temporal, linear, relational and communal process of experiencing faith is closely related to music. Music and Faith is centred on those who, by-and-large, are not professional musicians, philosophers or theologians, but who find that music and faith are bound up with each other and with their own lives. Very often, as the conversations reveal, the results of this 'binding' are transformative, whether it be in outpourings of artistic expression of another kind, or greater involvement with issues of social justice, or becoming ordained to serve within the Church. Even those who do not have a Christianfaith find that sacred music has a transformative effect on the mind and the body and even, to use a word deliberately employed by Richard Dawkins, the 'soul'. JONATHAN ARNOLD is Dean of Divinity and Fellow of MagdalenCollege, Oxford. Before being ordained, he was a professional singer and made numerous recordings with The Sixteen, Polyphony, the Gabrielli Consort and The Tallis Scholars, among others. He has previously published Sacred Music in Secular Society (2014), The Great Humanists: An Introduction (2011) and John Colet of St. Paul's: Humanism and Reform in Pre-Reformation England (2007).

Hymnody is widely recognised as a central tenet of Methodism's theological, doctrinal, spiritual, and liturgical identity. Theologically and doctrinally, the content of the hymns has traditionally been a primary vehicle for expressing Methodism's emphasis on salvation for all, social holiness, and personal commitment, while particular hymns and the communal act of participating in hymn singing have been key elements in the spiritual lives of Methodists. An important contribution to the history of Methodism, British Methodist Hymnody argues that the significance of hymnody in British Methodism is best understood as a combination of its official status, spiritual expression, popular appeal, and practical application. Seeking to consider what, when, how, and why Methodists sing, British Methodist Hymnody examines the history, perception, and practice of hymnody from Methodism's small-scale eighteenth-century origins to its place as a worldwide denomination today.

The Universal Edition is designed for all English-speaking countries outside of the United States, including Canada, the U. K. and Australia. This edition uses the British system of terminology for rhythmic values such as "crotchet" for quarter note.

Hailed as a child prodigy and later acclaimed as England's finest extempore organist, Samuel Wesley - son of Charles Wesley and nephew of John Wesley, the founders of Methodism - is best known today for his musical compositions and for his promotion of the music of J. S. Bach. At the heart of this source book is a calendar of Samuel Wesley's correspondence. The editors date and summarise the content of over 1100 surviving letters and other documents, most of which have not previously been published. The book accordingly reveals considerable new information about Wesley and his complex personal affairs, including his incarceration for debt and his confinement in a lunatic asylum for a year. Many details are provided about London musical life in the era from Boyce to Mendelssohn that prior scholars have not taken into account. The book also presents a chronology of Wesley's life, a descriptive list of his nearly 550 musical and literary works, a discography, an iconography and a bibliography. It therefore is the most comprehensive available reference source for Wesley's life, times and music.