Timothy Dudley-Smith is one of the foremost hymn-writers of the Anglican Church, with work represented in over 250 hymnals throughout the English-speaking world. Praise to the Name is his seventh collection, and includes 36 hymn texts written between 2005 and 2008, and spanning seasons and services throughout the church's year. With textual notes and suggestions of suitable hymn tunes, the collection will be of interest to all who seek to invigorate hymn-singing and church worship in the Anglican Church.

for unaccompanied SSATB choir (with optional soprano solo) Combining a number of early lullaby texts in one setting, Adam and the Mother is a haunting carol recalling the fall of Adam. It combines irregular melodic lines with lilting ostinato passages and will appeal to experienced choirs looking for a unique addition to the Christmas repertory.

for SSSAAA unaccompanied Published for the very first time, this is a beautiful arrangement of the old German tune 'Lasst uns das Kindlein Wiegan', setting words adapted from an old Scots poem by Ursula Wood. With flowing contrapuntal lines and characteristic harmonies, O my dear heart will be popular with all upper-voice choirs.

for equal voices in 4 parts
This unaccompanied carol is scored for four equal parts and comprises a sequence of three rounds. Rhythmic and engaging, this carol demonstrates the distinctive clarity of Skempton's musical language. It will particularly appeal to good chamber choirs.

for SATB unaccompanied I saw three ships is a lively setting of the traditional English text for unaccompanied mixed voices. A simple melody, swapped between the outer voices and answered by altos and tenors, gradually builds to a forte last verse complete with chiming bells. Accessible and fun to sing, this would be an enjoyable addition to any carol concert.

for SATB and organ The World's Desire was commissioned by the Choir of Truro Cathedral for their service of Nine Lessons and Carols in December 2008, to be performed after the eighth lesson. Setting a text by G. K. Chesterton, it is highly original yet approachable, and develops the opening melodic motif to provide a sense of cohesion throughout the piece.

for chorus, chamber choir, and children's choir, or large divisi chorus, with orchestra and organ or brass ensemble and organ. Showcasing Chilcott's exceptional talent for large-scale choral writing, Salisbury Vespers pays homage to this most ancient of services, combining settings of the traditional Vespers psalms with anonymous early texts and words from the Sarum Primer of 1516. Marian motets punctuate the psalm settings, and the work is concluded with a substantial setting of the Magnificat, using the plainsong melody from the same section in Monteverdi's Vespers of 1610. With driving rhythms, passages of reflective contemplation, and expansive, powerful textures, this is sure to become a mainstay of the modern choral repertory for years to come. Written for large mixed choir, chamber choir, and children's choir, Salisbury Vespers could equally be performed by a large mixed choir, with the parts for chamber choir and children's choir being sung by smaller sections taken from within the large choir. Vocal scores are available on sale and on hire/rental.

for SATB and piano four hands or orchestra This refreshing dance-like arrangement of this traditional hymn speaks to the praise of God in all of creation. The first verse is sung in unison by the women and the second by the men. Verse three brings together all voices arranged in four parts. Suitable for general use throughout the liturgical calendar and particularly appropriate for Father's Day. Orchestral material is available on hire.

Male-centered theology, a dearth of men in the pews, and an overrepresentation of queer males in music ministry: these elements coexist within the spaces of historically black Protestant churches, creating an atmosphere where simultaneous heteropatriarchy and "real" masculinity anxieties, archetypes of the "alpha-male preacher", the "effeminate choir director" and homo-antagonism, are all in play. The "flamboyant" male vocalists formed in the black Pentecostal music ministry tradition, through their vocal styles, gestures, and attire in church services, display a spectrum of gender performances - from "hyper-masculine" to feminine masculine - to their fellow worshippers, subtly protesting and critiquing the otherwise heteronormative theology in which the service is entrenched. And while the performativity of these men is characterized by cynics as "flaming," a similar musicalized "fire" - that of the Holy Spirit - moves through the bodies of Pentecostal worshippers, endowing them religio-culturally, physically, and spiritually like "fire shut up in their bones". Using the lenses of ethnomusicology, musicology, anthropology, men's studies, queer studies, and theology, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes how male vocalists traverse their tightly-knit social networks and negotiate their identities through and beyond the worship experience. Author Alisha Jones ultimately addresses the ways in which gospel music and performance can afford African American men not only greater visibility, but also an affirmation of their fitness to minister through speech and song.

for SATB and organ This tuneful and gentle setting of the Gaelic blessing is a perfect option for weddings and general use. Its shapely melody, floating soprano descant, and mellifluous closing 'Amen' make this a setting of great beauty.

for SATB choir, solo trumpet, and organ Commissioned by the Worshipful Company of Barbers in celebration of their 700th anniversary and first performed at the United Guilds Service in St Paul's Cathedral in March 2008, this is an impressive and stately setting of verses from Psalm 90, culminating in a jubilant, maestoso final section. The work would suit any festive service or concert. The trumpet part is available separately.

Joni Mitchell is one of the foremost singer-songwriters of the late twentieth century. Yet despite her reputation, influence, and cultural importance, a detailed appraisal of her musical achievement is still lacking. Whitesell presents a through exploration of Mitchell's musical style, sound, and structure in order to evaluate her songs from a musicological perspective. His analyses are conceived within a holistic framework that takes account of poetic nuance, cultural reference, and stylistic evolution over a long, adventurous career.
Mitchell's songs represent a complex, meticulously crafted body of work. The Music of Joni Mitchell offers a comprehensive survey of her output, with many discussions of individual songs, organized by topic rather than chronology. Individual chapters each explore a different aspect of her craft, such as poetic voice, harmony, melody, and large-scale form. A separate chapter is devoted to the central theme of personal freedom, as expressed through diverse symbolic registers of the journey quest, bohemianism, creative license, and spiritual liberation.
Previous accounts of Mitchell's songwriting have tended to favor her poetic vision, expansive verse structures, and riveting vocal delivery. Whitesell fills out this account with special attention to musical technique, showing how such traits as complex or conflicting sonorities, dualities of harmonic mode, dialectical tensions of texture and register, intricately layered instrumental figuration, and a variable vocal persona are all essential to her distinctive identity as a songwriter. The Music of Joni Mitchell develops a set of conceptual tools geared specifically to Mitchell's songs, in order todemonstrate the extent of her technical innovation in the pop song genre, to give an account of the formal sophistication and rhetorical power characterizing her work as a whole, and to provide grounds for the recognition of her intellectual stature as a composer within her chosen field.

for SATB and organ This inspiring and uplifting setting of a well-known text will appeal to all SATB choirs looking for fresh and accessible new repertoire for general church use. Alongside his own material Chilcott includes the traditional 'Morning has broken' melody, allowing members of the congregation to join in with the choir.

for SATB with divisions, upper voice solo, and orchestra or piano Wilberg's masterful setting of this African-American spiritual begins with a female solo backed by static, high-pitched chords in the piano, then gradually builds momentum in the accompaniment and voices to finish with both choirs in a jubilant and lively double forte. Orchestral material is available on hire.

This book traces Dadakuada's history and artistic vision and discusses its vibrancy as the most popular traditional Yoruba oral art form in Islamic Africa. Foregrounding the role of Dadakuada in Ilorin, and of Ilorin in Dadakuada the book covers the history, cultural identity, performance techniques, language, social life and relationship with Islam of the oral genre. The author examines Dadakuada's relationship with Islam and discusses how the Dadakuada singers, through their songs and performances, are able to accommodate Islam in ways that have ensured their continued survival as a traditional African genre in a predominantly Muslim community. This book will be of interest to scholars of traditional African culture, African art history, performance studies and Islam in Africa.

for SATB and piano or orchestra Charles Wesley's text, which is set to a sturdy, early American hymn tune by James Lucas, depicts the hope to enter into the heavenly home when life is ended. The steadfast and optimistic message of this splendid arrangement makes the work appropriate for both church and concert settings. Orchestral material is available on hire.

The first in-depth study of the ceremonial and music performed at British royal and state funerals over the past 400 years. British royal and state funerals are among the most elaborate and solemn occasions in European history. This book is the first in-depth study of the ceremonial and the music performed at these events over the past 400 years, fromthe funeral of Elizabeth I in 1603. Covering funerals of both royalty and non-royalty, including Nelson, Wellington and Churchill, this study goes up to the funerals of Queen Elizabeth The Queen Mother in 2002 and the ceremonial funeral of Baroness Thatcher in 2013. While some of these funerals have received a good deal of attention - especially the 1997 funeral of Diana, Princess of Wales - these extraordinary events have largely not been discussed in their longer historical context. The book examines the liturgical changes in the Anglican funeral rite since the Reformation and also the change from the so-called 'public' to 'private' funerals. It includes many new findings onthe development of the ceremonial and its intricate peculiarities, as well as new insights into the music and its performance. British Royal and State Funerals shows that, despite a strong emphasis on continuity in the choice of music, the ceremonial itself has shown an astonishing flexibility over the last four centuries. Overall, the book also contributes to the debate on the monarchy's changing public image over time by paying particular attention to topics such as tradition and propaganda. Drawing on substantial research in principal libraries and archives, including those of Westminster Abbey, the College of Arms, Lambeth Palace and the British Library, this book is an exhaustive resource for musicologists, musicians and historians alike, providing an unprecedented insight into this most sombre of royal and state occasions. MATTHIAS RANGE is author of Music and Ceremonial at British Coronations (2012). He is a post-doctoral researcher for the Digital Image Archive of Medieval Music and its partner AHRC-funded Tudor Partbooks project at the Faculty of Music, University of Oxford.

This book looks at the musical culture of death in early modern England. This book looks at the musical culture of death in early modern England. In particular, it examines musical funeral elegies and the people related to commemorative tribute - the departed, the composer, potential patrons, and friends and family of the deceased - to determine the place these musical-poetic texts held in a society in which issues of death were discussed regularly, producing a constant, pervasive shadow over everyday life. The composition of these songs reached a peak at the end of the sixteenth and the beginning of the seventeenth centuries. Thomas Weelkes and Thomas Morley both composed musical elegies, as did William Byrd, Thomas Campion, John Coprario, and many others. Like the literary genre from which these musical gems emerged, there was wide variety in form, style, length, and vocabulary used. Embedded within them are clear messages regarding the social expectations, patronage traditions, and class hierarchy of late Elizabethan and early Jacobean England. En masse, they offer a glimpse into the complex relationship that existed between those who died, those who grieved, and attitudes toward both death and life. K. DAWN GRAPES is Assistant Professor of Music History at Colorado State University.

for SATB, piano 4 hands and optional percussion (glockenspiel, vibraphone/suspended cymbal, bass drum) The third and final movement of Dances to Life. The vocal writing and keyboard accompaniment create a grand anthem extolling life and the contributions that our lives make to the world. An uplifting ending to a sometimes playful, otherwise serious work, the bells simulated in the percussion and keyboard celebrate the cycle of life from beginning to end.