Assist Our Song combines accessible teaching about the theology and shape of worship with essential information about the forms of music used, including congregational hymns, songs, canticles and psalm chant, and music performed by choirs and musicians. It explores the range of resources available, how to extend repertoire, blending the old with the new, changing patterns of church life, and other practical issues. Its aims are the heightening of the profile of music within the church, increasing the skills and understanding on the part of musicians and choirs, assisting leaders of worship and empowering congregations to see themselves also as 'ministers of music' It offers practical assistance for the 'delivery' of music - choosing music, making the most of choirs and working with musicians. It will be welcomed by all who lead, provide or curate music in worship, as well as clergy and ordinands who lack musical expertise or confidence.

The essays in this book, by distinguished musicologists, teachers, and church musicians, reflect the Lutheran musical heritage of the church and contribute new insights into the vibrant and diverse traditions of twenty-first century church music. Thine the Amen is a practical, instructional, and scholarly book. These essays contain something for everyone interested in sacred music the teacher, the singer, or the listener.

This book is the most thorough and extensive history of English parish church music ever published, covering the period from the late middle ages to the present day. Through the ages English parish churches have resounded to all manner of music, ranging from the rich choral polyphony of Henry VIII's or Victoria's reigns to the bare unaccompanied psalm tunes of the seventeenth century. Temperley has found in this neglected field a wealth of fascinating music, as well as a host of intellectual problems to intrigue the scholar. A recurring theme of the book is the conflict between two incompatible goals for Protestant parish church music: artistic performance and popular expression. Professor Temperley suggests that the Elizabethan metrical psalm tunes were survivors of a mode of popular music that preceded the familiar corpus of ballad tunes. Passed on by oral transmission through several generations of unregulated singing, these once lively tunes changed gradually into very slow, quavering chants. This later style, which came to be called 'the old way of singing', is fully described and explained here for the first time. Temperley guides the reader through the complex social, theological and aesthetic movements that played their part in the formation of the late Victorian ideal of the surpliced choir in every chancel, and he makes a fresh assessment of that old bugbear, the Victorian hymn tune. His findings show that the radical liturgical experiments of the last few years have not dislodged the Victorian model for the music of the English parish church.

CONTENTS Introduction Key, or Tonality The General Laws of Part-Writing The Diatonic Triads of the Major Key The Inversions of the Triads of a Major Key The Minor Key: Its Diatonic Triads and Their Inversions The Chord of the Dominant Seventh Key Relationship -- Modulation to Nearly Related Keys -- False Relation Unessential Discords -- Auxiliary Notes, Passing Notes, and Anticipations Unessential Discords -- Suspensions The Chord of the Dominant Ninth The Chord of the Dominant Eleventh The Chord of the Dominant Thirteenth Chromatic Triads -- The Chromatic Scale Chromatic Cords of the Seventh Chromatic Cords of the Ninth -- False Notation -- Enharmonic Modulation Chromatic Cords of the Eleventh and Thirteenth The Chord of the Augmented Sixth Pedals Harmony in Fewer and More than Four Parts Appendix A. The Ecclesiastical Modes Appendix B. The Harmonic Series

The history of the Iona Community, including St Colomba's founding of an influential Celtic Christian community on the Hebridean island of Iona in the sixth century, the work of George MacLeod whose inspiration placed Iona firmoly on the Christian map once again in the 20th century and the current broad span of the Community, touching the map of human experience - spirituality, politics, peace and justice - guided by the wild goose, Celtic symbol of the Holy Spirit.

Tom Fettke finally brings to the keyboard his vast experience as an arranger. The lush arrangements included in this collection are refreshing settings of beautiful, timeless hymns. Late Intermediate to Early Advanced.

- traditional hymns- world music from Europe, Africa, and Asia- African American and Hispanic American music- liturgical chants from the Taize community- plus contemporary contributions such as "Awesome God" and Sanctuary"

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This hardbound full score is presented in a slip-case embellished with William Walton's signature in gold. William Walton signed the title pages of 350 copies, of which only a handful are still left in OUP's stock. An oratorio for baritone soloist, mixed chorus, and orchestra, using text from the Bible selected by Osbert Sitwell Orchestral material is available on hire

The first exhaustive treatment of Eastern European Jewish music tracing its roots from biblical times through its zenith in the nineteenth century to its decline in the late twentieth century. Sholom Kalib has taken on the crucial task of collecting, analyzing, and systematically presenting in over 160 examples a magnificent tradition to future generations of cantors, scholars of Jewish music, and music enthusiasts worldwide. Traditionally, this body of music was a source of great strength, stability, and inspiration to Eastern European Jews amid the uncertainties and upheavals of their everyday lives. With this volume the author reacquaints acculturated Jews with a vital and largely unknown part of their heritage. Comprehensive in breadth and scope, the book will serve as a standard scholarly reference for musicians, cantors, and musicologists.

Johann Sebastian Bach's works are often classified as either sacred or secular. While this distinction is fraught, it seems to provide a useful way to distinguish between Bach's vocal works for the liturgy and those he wrote to honor courts and members of the nobility. But even so, the lines cannot be drawn clearly. The political and social systems of the time relied on religion as an ideological foundation, and public displays of political power almost always included religious rituals and thus required some form of sacred music. Social constructs, such as class and gender, were also embedded in religious frameworks. In Bach in the World, author Markus Rathey offers a new exploration of how Bach's music functioned as an agent of affective communication within rituals, such as the installation of the town council, and as a place where socio-political norms were perpetuated and sometimes even challenged. The book does so by analyzing public manifestations of the social order during Bach's time in large-scale celebrations, processions, public performances, and visual displays.

Imogen Holst, 1907-84, was a much-loved source of inspiration for countless musicians and students who encountered her over the years of her involvement with the Dartington Summer School of Music and the Aldeburgh Festival. This book conveys her infectious enthusiasm and insight as a choral conductor. Here she sets out, clearly and concisely, a wealth of practical information on the physical business of conducting which will be of particular value to the amateur conductor. She deals with the forming and training of a choir, the presentation and rehearsal of the music, and how to approach public performances and competitions. Her final chapter gives advice on the rehearsal of specific choruses by Purcell, Handel, and Britten. Originally published in 1973, this edition has been corrected and updated by Lowinger Maddison, Archivist for the Holst Foundation.

The venerable Dixie Hummingbirds stand at the top of the black gospel music pantheon as artists who not only significantly shaped that genre but, in the process, also profoundly influenced emerging American pop music genres from Rhythm & Blues and Doo-Wop to Rock 'n' Roll, Soul, and Hip-Hop. Great God A'Mighty! The Dixie Hummingbirds shows how, in a career spanning more than nine decades, they pointed the way from pure a cappella harmony to guitar-driven soul to pop-stardom crossover, collaborating with artists like Stevie Wonder and Paul Simon along the way. Drawing on interviews with founding and quintessential members as well as many of the pop luminaries influenced by the Hummingbirds, author Jerry Zolten tells their story from rising up and out of the segregated South in the twenties and thirties to success on Philadelphia radio and the New York City stage in the forties to grueling tours in the fifties and over the long haul a brilliant recording career that carried well over into the 21st century. The story of the Dixie Hummingbirds is a tale of determined young men who navigated the troubled waters of racial division and the cutthroat business of music on the strength of raw talent, vision, character, and perseverance, and made an indelible name for themselves in American cultural history. This heavily edited 2nd edition features brand new photographs, expanded historical context, and a full new chapter on the Hummigbirds' trajectory up to the 21st century.

This text includes both traditional and new carols that have become popular through radio, TV or schools; black music; Taize; pop music; and music from modern composers. It includes the three extra verses of Silent Night, discovered in 1997.

Covering a variety of subjects, these 16 original hymns are perfect for use in worship and other settings. Each hymn features inclusive language in a traditional (as opposed to pop) style with background information. Texts are shown in four-line poetic verses and are interlined with music), and is given brief background information.Come Away With Me is a collection of sixteen original hymns (both texts and tunes are original) on a variety of subjects. Each hymn is presented as poetry (without music), set as a congregational hymn (text interlined within the music), and is given brief background information. The ideas in the texts are rich theologically, yet easily comprehended, use totally inclusive language, and are set as artistically beautiful poetry in standard metrical schemes (common meter, long meter, 66.86, and so forth). The hymn tunes are written in well-crafted, imaginative, memorable, traditional (as opposed to pop) styles, and set in classic hymn format (melody as the uppermost note in the right hand of the accompaniment). * New and fresh original hymnody for use in worship and other settings * Hymn texts in inclusive language * Offers music, text, and background material for each hymn * Texts are set to singable tunes and are in standard meters

This collection of German songs contains two strains of tradition: the political song and the folk song. It is not always clear where the distinction between the two can be drawn, since many political songs become folk songs due to their popularity, and many folk songs have a clear, emancipatory - and thus political - dimension. But the main criterion for inclusion in this anthology is the popularity a song has enjoyed, either down through the centuries or more recently, in German-speaking or non-German-speaking countries. The addition of scores is another plus, offering an opportunity to recognize the songs musically.

Music in the California missions was a pluralistic combination of voices and instruments, of liturgy and spectacle, of styles and functions - and even of cultures - in a new blend that was non-existent before the Franciscan friars made their way to California beginning in 1769. From Serra to Sancho explores the exquisite sacred music that flourished on the West Coast of the United States when it was under Spanish and Mexican rule, delving into the historical, cultural, biographical, and stylistic aspects of California mission music during the late eighteenth and early nineteenth centuries. Author Craig H. Russell examines how mellifluous plainchant, reverent hymns, spunky folkloric ditties, "classical" music in the style of Haydn, and even Native American drumming were interwoven into a tapestry of resonant beauty. In addition to extensive musical and cultural analysis, Russell draws upon hundreds of primary documents in California, Mexico, Madrid, Barcelona, London, and Mallorca. It is through the melding together of this information from geographically separated places that he brings the mystery of California's mission music into sharper focus. Russell's groundbreaking study sheds new light on the cultural exchange that took place in the colonial United States, as well as on the pervasive worldwide influence of Iberian music as a whole.

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.

for SATB and keyboard or orchestra This is a reflective and beautiful arrangement of the classic Christmas carol by Holst. Wilberg underpins the well-loved melody with luscious, romantic harmonies, including moments of exquisite chromaticism. This wonderful carol would make an ideal choice for any Christmas service or concert and will strike chords with choirs and audiences alike.

What is Gregorian chant, and where does it come from? What purpose does it serve, and how did it take on the form and features which make it instantly recognizable? Designed to guide students through this key topic, this book answers these questions and many more. David Hiley describes the church services in which chant is performed, takes the reader through the church year, explains what Latin texts were used, and, taking Worcester Cathedral as an example, describes the buildings in which it was sung. The history of chant is traced from its beginnings in the early centuries of Christianity, through the Middle Ages, the revisions in the sixteenth and seventeenth centuries, and the restoration in the nineteenth and twentieth. Using numerous music examples, the book shows how chants are made and how they were notated. An indispensable guide for all those interested in the fascinating world of Gregorian chant.

A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes: * the hardcopy text, providing essential stylistic and technical information and repertoire discussion; * an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions; * an online instructor's manual providing additional information and realizations of all exercises. Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint.

Musical activity is one of the most ubiquitous and highly valued forms of social interaction in North America (to say nothing of world over), being engaged from sporting events to political rallies, concerts to churches. Moreover, music's use as an affective agent for political and religious programs suggests that it has ethical significance. Indeed, many have said as much. It is surprising then that music's ethical significance remains one of the most undertheorized aspects of both moral philosophy and music scholarship. Music for Others: Care, Justice, and Relational Ethics in Christian Music fills part of this scholarly gap by focusing on the religious aspects of musical activity, particularly on the practices of Christian communities. Based on ethnomusicological fieldwork at three Protestant churches and a group of seminary students studying in an immersion course at South by Southwest (SXSW), and synthesizing theories of discourse, formation, and care ethics oriented towards restorative justice, it first argues that relationships are ontological for both human beings and musical activity. It further argues that musical meaning and emotion converge in human bodies such that music participates in personal and communal identity construction in affective ways-yet these constructions are not always just. Thus, considering these aspects of music's ways of being in the world, Music for Others finally argues that music is ethical when it preserves people in and restores people to just relationships with each other, and thereby with God.