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. 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. This volume provides an anthology of parish church music of all kinds from the fifteenth century to the twentieth, newly edited from primary sources for study or for performance.

In this wide-ranging and challenging book, Ruth Smith shows that the words to Handel's oratorios reflect the events and ideas of their time and have far greater meaning than has hitherto been realized. She explores literature, music, aesthetics, politics and religion to reveal Handel's works as conduits for eighteenth-century thought and sensibility. She provides a full picure of Handel's librettists and shows how their oratorio texts express key moral-political preoccupations and engage with contemporary ideological debate. British identity, the need for national unity, the conduct of war, the role of government, the authority of the Bible, the purpose of literature, the effect of art - these and many more concerns are addressed in the librettos. The book thus enriches our understanding of Handel, his times, and the relationships between music and its intellectual contexts.

This is the first full-length study of the vernacular motet in thirteenth-century France. The motet was the most prestigious type of music of that period, filling a gap between the music of the so-called Notre-Dame School and the Ars Nova of the early fourteenth century. This book takes the music and the poetry of the motet as its starting-point and attempts to come to grips with the ways in which musicians and poets treated pre-existing material, creating new artefacts. The book reviews the processes of texting and retexting, and the procedures for imparting structure to the works; it considers the way we conceive genre in the thirteenth-century motet, and supplements these with principles derived from twentieth-century genre theory. The motet is viewed as the interaction of literary and musical modes whose relationships give meaning to individual musical compositions.

The motets of J. S. Bach are probably the most sophisticated works ever composed in the genre. Nevertheless, Daniel Melamed maintains, the view that they constitute a body of work quite separate from the German motet tradition is mistaken. He starts by considering the eighteenth-century understanding of the term itself and finds that Bach's own use does indeed agree with his contemporaries and that his motets are rooted in the conventions of the time, particularly in matters of musical construction, performing forces, and type of text. A fresh look at the repertory shows that Bach composed motets all through his career and an appreciation of the contemporary conception of the motet sheds light on questions of how and why Bach himself used the form. Professor Melamed also finds plenty of evidence that motets and motet style played an important role in Bach's exploration of the musical past.

With a host of accessible, quality new settings, and with pieces based on all the major hymn tunes, these volumes are a must for every church organist's library.

During the lifetime of Guillaume Du Fay (c. 1400 1474) the motet underwent a profound transformation. Because of the protean nature of the motet during this period, problems of definition have always stood in the way of a full understanding of this crucial shift. Through a comprehensive survey of the surviving repertory, Julie Cumming shows that the motet is best understood on the level of the subgenre. She employs new ideas about categories taken from cognitive psychology and evolutionary theory to illuminate the process by which the subgenres of the motet arose and evolved. One important finding is the nature and extent of the crucial role that English music played in the genre's transformation. Cumming provides a close reading of many little-known pieces; she also shows how Du Fay's motets were the product of sophisticated experimentation with generic boundaries.

Features gospels, spirituals, ethnic benedictions, chants, and songs from the African-American Liberation that reflect black heritage and traditions and the contemporary black experience. *Songbook, paper Also available is an Accompanist's Edition, Spiral order #9780687391219"

Music and the choice of musical settings function as one of the most basic forms of affiliation and identity in American Jewish congregations. This study explores the networks of musical interaction within this community through oral stories and an analysis of recordings. While the same melody may be used in different worship circles, its meaning can vary dramatically from one community to another, even when these worship groups are located only a few miles apart. This book examines how choice of melondy helps Jews present and maintain their cultural identity. An audio CD packaged with the book includes field recordings of the most important tunes discussed.

Diese Arbeit, die in aktualisierter Neuauflage vorgelegt wird, zeichnet zunachst den UEberlieferungsweg der freien Orgelwerke Buxtehudes nach, von den verschollenen Autographen bis zu den erhaltenen, vielfach mangelhaften Abschriften. Besonderes Interesse gilt der Frage, welchen Anteil die beruhmten Zeitgenossen Pachelbel und Bach an der Verbreitungsgeschichte dieser Werke hatten. Im zweiten Hauptteil werden Probleme von Stil und Form, Authentizitat und Chronologie behandelt; auch Aspekte der Spielpraxis werden berucksichtigt. Damit stellt die Arbeit eine Erganzung zur kritischen Edition der Orgelwerke Buxtehudes dar.

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.

Der Dienst als Kantor und Organist gehort zu den haufigsten Nebentatigkeiten des Volksschullehrers im 19. Jahrhundert. Er war sowohl von staatlicher als auch von kirchlicher Seite erwunscht und fur die kirchenmusikalische Versorgung im landlichen und kleinstadtischen Bereich von wesentlicher Bedeutung. Um diese Dienstleistung zu sichern, stellte die Ausbildung zum Organisten einen wichtigen Teil der seminaristischen Lehrerbildung im 19. Jahrhundert dar. Die vorliegende Studie beabsichtigt, diese Ausbildung zu erforschen und in ihrer Eigenart darzustellen. Dazu werden Ordnungen fur die Volksschullehrerbildung in Preuen und Bayern, Berichte und Beschreibungen zum Orgelspiel an den Lehrerseminaren sowie behordlich empfohlene Lehrwerke fur den Orgelunterricht analysiert. Einblicke in die konkrete Unterrichtswirklichkeit ermoglicht die Beschreibung des Orgelunterrichts am Lehrerseminar im niederbayerischen Straubing, der anhand von Archivmaterial rekonstruiert werden konnte. Aus dem Inhalt: Der Orgelunterricht an Praparandenanstalten und Lehrerseminaren in Preuen und Bayern--Analyse ausgewahlter Orgelschulen--Einblicke in die Realitat des Orgelunterrichts--Einblicke in den Organistendienst--Zur Trennung von Schul- und Kirchenamt.

Hymnologische Forschung ist per se interdisziplinar und uberkonfessionell. So gehoeren zwar Psalmen, Hymnen, Sequenzen, Kirchenlieder und Neue Geistliche Lieder in das Gebiet der Praktischen Theologie, genauer: der Liturgiewissenschaft. Reflexionen aus Literatur-, Sprach- und Musikwissenschaft sind jedoch nicht nur Beigabe zur theologischen Untersuchung, sondern fuhren aus je eigenem Blickwinkel zu eigenstandigen hymnologischen Erkenntnissen. Dies und ein wachsendes oeffentliches Interesse an der wissenschaftlichen Beschaftigung mit dem religioesen Liedgut moegen dazu beigetragen haben, dass recht schnell eine Neuauflage des Sammelbandes notwendig geworden ist. Er vereinigt AufsNeuauflage des Sammelbandes notwendig geworden ist. Er vereinigt Aufsatze, die auf der Grundlage von Vortragen und wissenschaftlichen Arbeiten im Kontext des interdisziplinaren Forschungsschwerpunktes "Hymnologie" (Arbeitskreis Gesangbuchforschung, Gesangbuch-Archiv, Graduiertenkolleg) an der Universitat Mainz entstanden sind. Grundfragen der Hymnologie (Mentalitats- und Bedeutungswandel sowie Liedbearbeitung) werden eingehend reflektiert. Mittels ausgewahlter Liedstudien sind daruber hinaus Einblicke in die hymnologische Detailarbeit moeglich.

Estos son los himnarios mas populares, utilizados por millones de creyentes, por sus himnos tradicionales de alabanza y adoracion. Los himnarios incluyen la musica."

Michael Tippett's oratorio A Child of Our Time was written at the beginning of the second world war as an expression of "man's inhumanity to man." This Handbook discusses the significant musical and literary features of this remarkable work within its specific historical, social and stylistic context. Attention is given to the shaping of Tippett's own text as well as its musical representation. Also of importance is the initial critical reception of the work, a reception that defined certain responses that still surround the work today.

"The Complete Book of Hymns" brings to life the stories behind more than 600 hymns and worship songs. With background on the composer, the inspiration behind the lyrics, scriptural references for devotional consideration, and a sampling of the song lyrics, this book brings forth the message of these great songs of the faith like never before!

RABBI ZALMAN SCHACHTER-SHALOMI (usually called, "Reb Zalman") is widely known as the founder of the Jewish Renewal movement, whose accessible teachings on Kabbalah and Hasidism have helped to change the face of modern Judaism. But what is less well known is that he comes from a family of Belzer Hasidim known for their niggunim (wordless melodies), and that he is also a talented musician and composer of Hasidic songs, chants, and melodies himself. At the Rebbe's Table: Rabbi Zalman Schachter-Shalomi's Legacy of Songs and Melodies: Volume II is a collection of Reb Zalman's favorite Hasidic niggunim, and those most often used in his teaching. In this book, you will find everything from classic contemplative niggunim to the famed "table bangers" of Hasidic spirituality. For this volume, his student, Eyal Rivlin has lovingly gathered and transcribed many of the traditional classics from Reb Zalman's memory, and even rescued a few forgotten treasures from oblivion. Accompanying the compositions are small teachings and stories to contextualize the music.

RABBI ZALMAN SCHACHTER-SHALOMI (usually called, "Reb Zalman") is widely known as the founder of the Jewish Renewal movement, whose accessible teachings on Kabbalah and Hasidism have helped to change the face of modern Judaism. But what is less well known is that he comes from a family of Belzer Hasidim known for their niggunim (wordless melodies), and that he is also a talented musician and composer of Hasidic songs, chants, and melodies himself. Into My Garden: Rabbi Zalman Schachter-Shalomi's Legacy of Songs and Melodies: Volume I finally reveals Reb Zalman the musician and composer who many students around the world have been surprised to meet in the middle of a Shabbaton or a Jewish Renewal retreat. For this book, his student, Eyal Rivlin, has lovingly gathered and transcribed most of Reb Zalman's (and his forebears) popular compositions, and even rescued a few forgotten treasures from oblivion. Accompanying the compositions are small teachings and stories to contextualize the music.

Monteverdi's Vespers is an exceptional collection of sacred music, both in the inventiveness of the compositions that it contains and in the debate that it has provoked over its use in the seventeenth century and over Monteverdi's intentions in publishing it. This handbook provides all the information that the reader needs for an in-depth appreciation of the musical settings themselves, of the debate that surrounds the original intention of the volume and of the problems of performing the music today. The book includes the texts and plainsongs used by Monteverdi, and a discography.

Monteverdi's Vespers is an exceptional collection of sacred music, both in the inventiveness of the compositions that it contains and in the debate that it has provoked over its use in the seventeenth century and over Monteverdi's intentions in publishing it. This handbook provides all the information that the reader needs for an in-depth appreciation of the musical settings themselves, of the debate that surrounds the original intention of the volume and of the problems of performing the music today. The book includes the texts and plainsongs used by Monteverdi, and a discography.

The German Requiem is Brahms' largest work, written for orchestra, chorus and two soloists. It made Brahms an international name, and the scope and technique of the composition brought him not only a new audience but also comparison with Bach and Beethoven. In the past fifty years it has found new critical support as an original and progressive work. This detailed study examines its history and controversial reception, analyzes its textual and musical structure, and discusses performing traditions from Brahms' time until the present.

Verdi's Requiem is one of the most frequently performed works of the choral repertoire, and one of Verdi's most important nonoperatic works. In this new handbook, David Rosen discusses the work's composition and performance history, and analyzes each of the seven movements, considering Verdi's interpretation of the liturgical text, with reference to settings by Mozart and Cherubini. Rosen also considers the work's coherence and the controversial issue of its generic status--the degree to which it is "operatic."

In this wide-ranging and challenging book, Ruth Smith shows that the words of Handel's oratorios reflect the events and ideas of their time and have far greater meaning than has hitherto been realized. She sheds new light on the oratorio librettists and explores literature, music, aesthetics, politics and religion to reveal Handel's texts as conduits for eighteenth-century thought and sensibility. This book enriches our understanding of Handel, his times, and the relationships between music and its intellectual contexts.