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.

Leading historian of the early church, Bart Ehrman offers the first comprehensive account of the newly discovered Gospel of Judas, revealing what this legendary lost gospel contains and why it is so important for our understanding of Christianity. Ehrman describes how he first saw the Gospel of Judas-surprisingly, in a small room above a pizza parlor in a Swiss town near Lake Geneva-and he recounts the fascinating story of where and how this ancient papyrus document was discovered, how it moved around among antiquities dealers in Egypt, the United States, and Switzerland, and how it came to be restored and translated. More important, Ehrman gives the reader a complete and clear account of what the book teaches and he shows how it relates to other Gospel texts-both those inside the New Testament and those outside of it, most notably, the Gnostic texts of early Christianity. Finally, he describes what we now can say about the historical Judas himself as well as his relationship with Jesus, suggesting that one needs to read between the lines of the early Gospels to see exactly what Judas did and why he did it. The Gospel of Judas presents an entirely new view of Jesus, his disciples, and the man who allegedly betrayed him. It raises many questions and Bart Ehrman provides illuminating and authoritative answers, in a book that will interest anyone curious about the New Testament, the life of Jesus, and the history of Christianity after his death.

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.

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.

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.

How can a traditional music with little apparent historical connection to Berlin become a way of hearing and making sense of the bustling German capital in the twenty-first century? In Sounding Jewish in Berlin, author Phil Alexander explores the dialogue between the city's contemporary klezmer scene and the street-level creativity that has become a hallmark of Berlin's decidedly modern urbanity and cosmopolitanism. By tracing how klezmer music engages with the spaces and symbolic meanings of the city, Alexander sheds light on how this Eastern European Jewish folk music has become not just a product but also a producer of Berlin. This engaging study of Berlin's dynamic Yiddish music scene brings together ethnomusicology, cultural studies, and urban geography to evoke the sounds, atmospheres, and performance spaces through which klezmer musicians have built a lively set of musical networks in the city. Transcending a restrictive framework that considers this music solely in the context of troubled German-Jewish history and notions of guilt and absence, Alexander shows how Berlin's current klezmer community-a diverse group of Jewish and non-Jewish performers-imaginatively blend the genre's traditional musical language with characteristically local tones to forge an adaptable and distinctively twenty-first-century version of klezmer. Ultimately, the music's vital presence in Berlin is powerful evidence that if traditional music is to remain audible amid the noise of the urban, it must become a meaningful part of that noise.

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.

Zeitgemasse Vermittlung und Qualitatssteigerung des Orgelspiels ist seit Jahrhunderten ein zentrales Anliegen von Organisten. Dies spiegelt sich auch in den Orgelschulen wider. Diese Untersuchung betrachtet schwerpunktmassig reprasentative Lehrwerke des 18. bis 20. Jahrhunderts aus dem deutschen, belgischen, franzoesischen und italienischen Raum, erganzend angloamerikanische sowie zeitgenoessische Schulen. Was aus diesen lehr- und lernbar ist, warum und wie gerade altere Schulen den Orgelunterricht bereichern koennen, wird aufgezeigt.

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.

(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.

A definitive collection of 100 anthems from Tudor times to the present, this book includes favorites as well as lesser-known pieces. The anthems were selected for their practical usefulness for church choirs today, bearing in mind the needs of smaller choirs: the anthems are mostly for SATB with or without keyboard accompaniments.

Diese Arbeit untersucht alle vollstandig erhaltenen Instrumentalwerke mit Basso continuo, die zwischen 1595 und 1655 in Italien gedruckt wurden. Einen breiten Raum nehmen dabei detaillierte Beschreibungen ein, z.B. zur Entwicklung der Besetzung von Sonaten in diesem Zeitraum, zur Dominanz der Auenstimmen, zu Kompositionen fur Bassinstrument(e) solo mit B.c., zu Partien fur ein obligates Tasteninstrument und zu Sonaten mit mehreren bezifferten Bassen. Ein ausfuhrliches chronologisches Quellenverzeichnis listet samtliche vorkommenden Bezifferungen auf. Aus dem Inhalt: Die erhaltenen Quellen-Angaben zum Continuoinstrument-Schlusselung, Ambitus und Notationsbesonderheiten der B.c.-Stimme-Entwicklung der Bezifferung.

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.

Originally published in 1948 and updated with a new introduction in 1970 this book is a classic study on the musical life of a Bantu people in Mozambique. It discusses the poetry on which the music and dances are based and provides, both in original and translation, 50 Chopi songs which are related to the social setting of Chopi life. It analyses some of the musical compositions and their structure with illustrations and transcriptions in score and describes the method of manufacture of the instruments. One chapter is devoted to full descriptions of the elaborate orchestral dances. The book is illustrated by numerous photographs and maps, and contains a glossary of musical terms, and extracts from early Portuguese accounts of the Chopi people and their music.

Popular music in the twenty-first century is increasingly divided into niche markets. How do fans, musicians, and music industry executives define their markets' boundaries? What happens when musicians cross those boundaries? What can Christian music teach us about commercial popular music? In God Rock, Inc., Andrew Mall considers the aesthetic, commercial, ethical, and social boundaries of Christian popular music, from the late 1960s, when it emerged, through the 2010s. Drawing on ethnographic research, historical archives, interviews with music industry executives, and critical analyses of recordings, concerts, and music festival performances, Mall explores the tensions that have shaped this evolving market and frames broader questions about commerce, ethics, resistance, and crossover in music that defines itself as outside the mainstream.

Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725 is a fertile examination of this group of fourteen surviving liturgical works. Renowned Bach scholar Eric Chafe begins his investigation into Bach's theology with the composer's St. John Passion, concentrating on its first and last versions. Beyond providing a uniquely detailed assessment of the passion, Bach's Johannine Theology is the first work to take the work beyond the scope of an isolated study, considering its meaning from a variety of musical and historical standpoints. Chafe thereby uncovers a range of theological implications underlying Bach's creative approach itself.
Building considerably on his previous work, Chafe here expands his methodological approach to Bach's vocal music by arguing for a multi-layered approach to religion in Bach's compositional process. Chafe bases this approach primarily on two aspects of Bach's theology: first, the specific features of Johannine theology, which contrast with the more narrative approach found in the Synoptic Gospels (Matthew, Mark, Luke); and second, contemporary homiletic and devotional writings - material that is not otherwise easily accessible, and less so in English translation. Bach's Johannine Theology provides an unprecedented, enlightening exploration of the theological and liturgical contexts within which this music was first heard.

Since her death in 1179, Hildegard of Bingen has commanded attention in every century. In this book Jennifer Bain traces the historical reception of Hildegard, focusing particularly on the moment in the modern era when she began to be considered as a composer. Bain examines how the activities of clergy in nineteenth-century Eibingen resulted in increased veneration of Hildegard, an authentication of her relics, and a rediscovery of her music. The book goes on to situate the emergence of Hildegard's music both within the French chant restoration movement driven by Solesmes and the German chant revival supported by Cecilianism, the German movement to reform Church music more generally. Engaging with the complex political and religious environment in German speaking areas, Bain places the more recent Anglophone revival of Hildegard's music in a broader historical perspective and reveals the important intersections amongst local devotion, popular culture, and intellectual activities.

for SATB and piano or organ This expressive anthem brings together excerpts from the gospels that express God's commandment to mankind to love one another. Underpinned by a flowing piano or organ accompaniment, Love one another explores this profound topic with sensitive harmonies and effective modulations. Although suitable for performance throughout the church year, this anthem would be particularly affecting in a Wedding or Maundy Thursday service.