What did the term 'author' denote for Lutheran musicians in the generations between Heinrich Schutz and Johann Sebastian Bach? As part of the Musical Performance and Reception series, this book examines attitudes to authorship as revealed in the production, performance and reception of music in seventeenth-century German lands. Analysing a wide array of archival, musical, philosophical and theological texts, this study illuminates notions of creativity in the period and the ways in which individuality was projected and detected in printed and manuscript music. Its investigation of musical ownership and regulation shows how composers appealed to princely authority to protect their publications, and how town councils sought to control the compositional efforts of their church musicians. Interpreting authorship as a dialogue between authority and individuality, this book uses an interdisciplinary approach to explore changing attitudes to the self in the era between Schutz and Bach.

Christ Church cathedral is an Anglican cathedral in a catholic country. Musical and archival sources (the most extensive for any Irish cathedral) provide a unique perspective on the history of music in Ireland. Christ Church has had a complex and varied history as the cathedral church of Dublin, one of two Anglican cathedrals in the capital of a predominantly Catholic country and the church of the British administration in Ireland before1922. An Irish cathedral within the English tradition, yet through much of its history it was essentially an English cathedral in a foreign land. With close musical links to cathedrals in England, to St Patrick's cathedral in Dublin, and to the city's wider political and cultural life, Christ Church has the longest documented music history of any Irish institution, providing a unique perspective on the history of music in Ireland. Barra Boydell, a leading authority on Irish music history, has written a detailed study drawing on the most extensive musical and archival sources existing for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are discussed within the wider context of city and state, and of the religious and political dynamics which have shaped Anglo-Irish relationships since medieval times. More than just a history of music at one cathedral, this book makesan important contribution to English cathedral music studies as well as to Irish musical and cultural history. BARRA BOYDELL is Senior Lecturer in Music, National University of Ireland, Maynooth.

This popular collection of 280 musical pieces from both the African American and Gospel traditions has been compiled under the supervision of the Office of Black Ministries of the Episcopal Church. It includes service music and several psalm settings in addition to the Negro spirituals, Gospel songs, and hymns."

The Kumulipo (1897) is a traditional chant translated by Lili'uokalani. Published in 1897, the translation was written in the aftermath of Lili'uokalani's attempt to appeal on behalf of her people to President Grover Cleveland, a personal friend. Although she inspired Cleveland to demand her reinstatement, the United States Congress published the Morgan Report in 1894, which denied U.S. involvement in the overthrow of the Kingdom of Hawaii. The Kumulipo, written during the Queen's imprisonment in Iolani Palace, is a genealogical and historical epic that describes the creation of the cosmos and the emergence of humans, plants, and animals from "the slime which established the earth." "At the time that turned the heat of the earth, / At the time when the heavens turned and changed, / At the time when the light of the sun was subdued / To cause light to break forth, / At the time of the night of Makalii (winter) / Then began the slime which established the earth, / The source of deepest darkness." Traditionally recited during the makahiki season to celebrate the god Lono, the chant was passed down through Hawaiian oral tradition and contains the history of their people and the emergence of life from chaos. A testament to Lili'uokalani's intellect and skill as a poet and songwriter, her translation of The Kumulipo is also an artifact of colonization, produced while the Queen was living in captivity in her own palace. Although her attempt to advocate for Hawaiian sovereignty and the restoration of the monarchy was unsuccessful, Lili'uokalani, Hawaii's first and only queen, has been recognized as a beloved monarch who never stopped fighting for the rights of her people. With a beautifully designed cover and professionally typeset manuscript, this edition of Lili'uokalani's The Kumulipo is a classic of Hawaiian literature reimagined for modern readers.

Presents 26 anthems for SATB by twentieth-century composers.

A very approachable work, probably the composer's most famous and popular organ piece.

These fifty anthems were chosen for their accessiblity to the average church choir, but are suitable for larger choirs and concert settings. Four anthems were composed specially for this book by Francis Jackson, Kenneth Leighton, David Lord, and William Mathias; other composers represented date from present day back to the sixteenth-century. The collection covers all main seasons of the church year and includes 21 anthems for general use.

This volume provides a representative sample of the major genres of English medieval religious lyric. The arrangement of the texts are an important part of its value as an instrument of teaching and understanding, and the notes are extensive.

for organ
14 pieces for manuals edited for the advanced-intermediate level organist.

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.

"For the Time Being" is a pivotal book in the career of one of the greatest poets of the twentieth century. W. H. Auden had recently moved to America, fallen in love with a young man to whom he considered himself married, rethought his entire poetic and intellectual equipment, and reclaimed the Christian faith of his childhood. Then, in short order, his relationship fell apart and his mother, to whom he was very close, died. In the midst of this period of personal crisis and intellectual remaking, he decided to write a poem about Christmas and to have it set to music by his friend Benjamin Britten. Applying for a Guggenheim grant, Auden explained that he understood the difficulty of writing something vivid and distinctive about that most cliched of subjects, but welcomed the challenge. In the end, the poem proved too long and complex to be set by Britten, but in it we have a remarkably ambitious and poetically rich attempt to see Christmas in double focus: as a moment in the history of the Roman Empire and of Judaism, and as an ever-new and always contemporary event for the believer. "For the Time Being" is Auden's only explicitly religious long poem, a technical tour de force, and a revelatory window into the poet's personal and intellectual development. This edition provides the most accurate text of the poem, a detailed introduction by Alan Jacobs that explains its themes and sets the poem in its proper contexts, and thorough annotations of its references and allusions."

These pieces are of tremendous charm, and make ideal tutorial material as they are very easy, with simple pedal parts. They are ideal as quiet voluntaries for liturgical use.

The musica secreta or concerto delle dame of Duke Alfonso II d'Este, an ensemble of virtuoso female musicians that performed behind closed doors at the castello in Ferrara, is well-known to music history. Their story is often told by focussing on the Duke's obsessive patronage and the exclusivity of their music. This book examines the music-making of four generations of princesses, noblewomen and nuns in Ferrara, as performers, creators, and patrons from a new perspective. It rethinks the relationships between polyphony and song, sacred and secular, performer and composer, patron and musician, court and convent. With new archival evidence and analysis of music, people, and events over the course of the century, from the role of the princess nun musician, Leonora d'Este, to the fate of the musica secreta's jealously guarded repertoire, this radical approach will appeal to musicians and scholars alike.

Texts centred on the mother of Jesus abound in religious traditions the world over, but thirteenth-century Old French lyric stands apart, both because of the enormous size of the Marian cult in thirteenth-century France and the lack of critical attention the genre has garnered from scholars.As hybrid texts, Old French Marian songs combine motifs from several genres and registers to articulate a devotional message. In this comprehensive and illuminating study, Daniel E. O'Sullivan examines the movement between secular and religious traditions in medieval culture that Old French religious song embodies. He demonstrates that Marian lyric was far more than a simple, mindless imitation of secular love song. On the contrary, Marian lyric participated in a dynamic interplay with the secular tradition that different composers shaped and reshaped in light of particular doctrinal and aesthetic concerns. It is a corpus that reveals itself to be far more malleable and supple than past readers have admitted.With an extensive index of musical and textual editions of dozens of songs, Marian Devotion in Thirteenth-Century French Lyric brings a heretofore neglected genre to light.

Plague, a devastating and recurring affliction throughout the Renaissance, had a major impact on European life. Not only was pestilence a biological problem, but it was also read as a symptom of spiritual degeneracy and it caused widespread social disorder. Assembling a picture of the complex and sometimes contradictory responses to plague from medical, spiritual and civic perspectives, this book uncovers the place of music - whether regarded as an indispensable medicine or a moral poison that exacerbated outbreaks - in the management of the disease. This original musicological approach further reveals how composers responded, in their works, to the discourses and practices surrounding one of the greatest medical crises in the pre-modern age. Addressing topics such as music as therapy, public rituals and performance and music in religion, the volume also provides detailed musical analysis throughout to illustrate how pestilence affected societal attitudes toward music.

Pentecostals throughout Jamaica and the Jamaican diaspora use music to declare what they believe and where they stand in relation to religious and cultural outsiders. Yet the inclusion of secular music forms like ska, reggae, and dancehall complicated music's place in social and ritual practice, challenging Jamaican Pentecostals to reconcile their religious and cultural identities. Melvin Butler journeys into this crossing of boundaries and its impact on Jamaican congregations and the music they make. Using the concept of flow, Butler's ethnography evokes both the experience of Spirit-influenced performance and the transmigrations that fuel the controversial sharing of musical and ritual resources between Jamaica and the United States. Highlighting constructions of religious and cultural identity, Butler illuminates music's vital place in how the devout regulate spiritual and cultural flow while striving to maintain both the sanctity and fluidity of their evolving tradition.Insightful and original, Island Gospel tells the many stories of how music and religious experience unite to create a sense of belonging among Jamaican people of faith.

The world's most famous hymn book has undergone a complete revision and now offers the broadest ever range of traditional hymns and the best from today's composers and hymn/song writers. 150 years since its first publication and after sales of 170 million copies, this brand new edition contains over 840 items, ranging from the Psalms to John Bell, Bernadette Farrell and Stuart Townend. The guiding principles behind this collection are: * congregational singability * biblical and theological richness * musical excellence * liturgical versatility * relevance to today's worship styles and to today's concerns New features include added provision for all the seasons of the Church year, new items for carol services and other popular occasions where the repertoire is in need of refreshing, more choices for all-age worship, fresh translations of some ancient hymnody, beautiful new tunes, short songs and chants - alleluias, kyries, blessings etc. and music from the world church. A full range of indexes (including biblical and thematic) and a helpful guide to choosing hymns for every occasion will help to make Ancient & Modern the premier hymn collection of choice. This is the Full Music edition.

(Piano Solo Songbook). Features 15 traditional Irish folk tunes masterfully arranged in Celtic style by the incomparable Phillip Keveren. Songs include: Be Thou My Vision * Danny Boy (Londonderry Air) * Down by the Salley Gardens * The Galway Piper * Kitty of Coleraine * The Lark in the Clear Air * Molly Malone (Cockles & Mussels) * 'Tis the Last Rose of Summer * The Wearing of the Green * and more.

In the 1960s, Jewish music in America began to evolve. Traditional liturgical tunes developed into a blend of secular and sacred sound that became known in the 1980s as "American Nusach." Chief among these developments was the growth of feminist Jewish songwriting. In this lively study, Sarah M. Ross brings together scholarship on Jewish liturgy, U.S. history, and musical ethnology to describe the multiple roots and development of feminist Jewish music in the last quarter of the twentieth century. Focusing on the work of prolific songwriters such as Debbie Friedman, Rabbi Geela Rayzel Raphael, Rabbi Hanna Tiferet Siegel, and Linda Hirschhorn, this volume illuminates the biographies and oeuvres of innovators in the field, and shows how this new musical form arose from the rich contexts of feminism, identity politics, folk music, and Judaism. In addition to providing deep content analysis of individual songs, Ross examines the feminist Jewish music scene across the United States, the reception of this music, challenges to disseminating the music beyond informal settings, and the state of Jewish music publishing. Rounding out the picture of the transformation of Jewish music, the volume contains appendixes of songs and songwriters a selection of musical transcriptions of feminist Jewish songs, and a comprehensive discography. This book will interest scholars and students in the fields of American Jewish history, women's studies, feminism, ethnomusicology, and contemporary popular and folk music.

"Mary, Did You Know?" the classic song continues to be a seasonal favorite on airplay.

Author and music artist Mark Lowery offers an expanded view of his highly successful Christmas song, ""Mary, Did You Know?"" in this classic gift book. This perennial seller will have a wonderful new and updated design, as well as refreshed text including a new foreword with inspirational insights by Gloria Gaither. CD includes song sung by Lowry and the Gaither Vocal Band plus reflections from Lowry about his sentiments as he wrote about Mary's view, heartbreak, and unwavering faith as the mother of the Savior.