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Books > Arts & Architecture > Music > Other types of music > Sacred & religious music
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offers 40 previously unpublished songs of similar variety which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
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One is the Body
(CD)
Wild Goose Worship Group
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R502
Discovery Miles 5 020
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Ships in 12 - 17 working days
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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.
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