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.

Gregorian Chant offers a detailed tutorial in the history and liturgy of Gregorian chant for musicians and musicologists, clergy and liturgists, passionate participants, and others who are interested in the revival of chant in the church, today.

This compilation includes favourites such as "Away In A Manger", "O Come All Ye Faithful" and "Once In Royal David's City". The book is complete with background notes and a host of playing hints and tips. The songs include: "Deck The Halls"; "The First Noel"; "Good King Wenceslas"; "The Holly And The Ivy"; "Jingle Bells"; "Joy To The World"; "O Christmas Tree"; "Silent Night".

"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!

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.

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.

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

Johann Sebastian Bach is one of the most unfathomable composers in the history of music. How can such sublime work have been produced by a man who seems so ordinary, so opaque - and occasionally so intemperate? In this remarkable book, John Eliot Gardiner distils the fruits of a lifetime's immersion as one of Bach's greatest living interpreters. Explaining in wonderful detail how Bach worked and how his music achieves its effects, he also takes us as deeply into Bach's works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

Die Festschrift wurdigt das 40-jahrige Priesterjubilaum und den 65. Geburtstag von P. Bernhard Vosicky OCist. Der international und oesterreichweit bekannte Seelsorger und Moench ist zugleich Professor fur Liturgiewissenschaft an der Philosophisch-Theologischen Hochschule Heiligenkreuz Benedikt XVI. Namhafte Grussadressen von Politikern verschiedener Ebenen und kirchlichen Wurdentragern des deutschen Sprachraumes sowie spezifische Artikel zu Heiligen und Moenchen stellen einen Bezug zu seinem priesterlichen Leben her.

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.

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.

This is a great book for accompanying singing, songs consist of newer and traditional favorites. All songs are arranged for 2 part singing with guitar accompaniment. The guitar back-up parts are scored in notation and tablature and may be played with a flatpick or fingerstyle.

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.

There has been much passionate debate and emotion aroused by the introduction of contemporary music styles into the modern church. While these debates have rarely produced a victor, the detrimental effects of them have resonated throughout many Protestant churches worldwide. Rather than simply fuelling this debate further, "Open Up The Doors" represents an attempt to provide objective criteria and analytical frameworks by which the quality and function of contemporary congregational music can be assessed. The latest music from Hillsong, Soul Survivor, Parachute, Vineyard, Christian City and others is examined in order to reveal both the beneficial and dangerous trends occurring in modern church music. "Open Up The Doors" considers how well modern music is serving the modern church, and also how effectively it is operating as a musical form in the secular culture that surrounds it.

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.

Winner of the 2004 ARSC Award for Best Research in Recorded Rock, Rhythm & Blues or Soul, The Holy Profane explores the strong presence of religion in the secular music of twentieth-century African American artists as diverse as Rosetta Tharpe, Sam Cooke, Stevie Wonder, Marvin Gaye, Earth, Wind & Fire, and Tupac Shakur. Analyzing lyrics and the historical contexts which shaped those lyrics, Teresa L. Reed examines the link between West-African musical and religious culture and the way African Americans convey religious sentiment in styles such as the blues, rhythm and blues, soul, funk, and gangsta rap. She looks at Pentecostalism and black secular music, minstrelsy and its portrayal of black religion, the black church, "crossing over" from gospel to R&B, images of the black preacher, and the salience of God in the rap of Tupac Shakur.

Traditionally, west European culture has drawn distinct divisions between the secular and the sacred in music. Liturgical music belongs in church, not on pop radio, and artists who fuse the two are guilty of sacrilege. In the West-African worldview, however, both music and the divine permeate every imaginable part of life -- so much so that concepts like sacred and secular were entirely foreign to African slaves arriving in the colonies. The Western influence on African Americans eventually resulted in more polarization between these two musical forms, and black musicians who grew up singing in church were often lamented as hellbound once they found popular success. Even these artists, however, never completely left behind their West-African musical ancestry. Reed's exploration of this trend in African American music connects the work of today's artists to their West-African ancestry -- a tradition that over two-hundred years of Western influence could not completely stamp out.

Book & DVD. This book presents for the first time the complete chant repertory of an orally transmitted repertory of church hymns for the celebration of the Byzantine Rite in Sicily. This body of chant has been cultivated by the Albanian-speaking minorities since their predecessors from Albania and northern Greece arrived in Sicily as refugees in the late fifteenth century, as a result of the Turkish invasion of the Balkan region. Bartolomeo di Salvo (19161986), a Basilean monk from the monastery of Grottaferrata, prepared the transcriptions for the series Monumenta Musicae Byzantinae in the 1950s, but they were never published. Girolamo Garofalo, ethnomusicologist from Palermo, and Christian Troelsgard, secretary of the Monumenta Musicae Byzantinae, Copenhagen, have discovered the transcriptions and related documents in archives in Sicily, Grottaferrata, Rome and Copenhagen. As a result of their findings, this unique chant collection is now being made available for the first time. The languages used in the book are English / Italian (front matter and indices) and Greek (the chant texts).

Vivaldi's Magnificat probably dates from shortly after the 1726 death of composer C.P. Grua, which resulted in his having to provide sacred music for the Venetian orphanage and convent he enjoyed a long-standing relation with: the Ospedale della Pieta. There are actually three versions of the work: 1) for single chorus and orchestra (RV 610); 2) for double chorus and two orchestras (RV 610a); and the final version (RV 611), which takes six movements from replaces the other three movements woth solos written for specific singers at the Pieta: Apollonia, la Bolognesa, Chiaretta, Ambrosina and Albetta.The present edition, originally published by E.F. Kalmus in 1969, retains the material from the original single-choris version (RV 610), while including the added solo material Vivaldi inserted for RV 611 as alternatives, making it eminently practical for today's choral groups. Now available in a digitally-enhanced reprint.

Book of Common Prayer, French Language edition. (736 pp)

In" Culture on the Margins, "Jon Cruz recounts the "discovery" of black music by white elites in the nineteenth century, boldly revealing how the episode shaped modern approaches to studying racial and ethnic cultures. Slave owners had long heard black song making as meaningless "noise." Abolitionists began to attribute social and political meaning to the music, inspired, as many were, by Frederick Douglass's invitation to hear slaves' songs as testimonies to their inner, subjective worlds. This interpretive shift--which Cruz calls "ethnosympathy"--marks the beginning of a mainstream American interest in the country's cultural margins. In tracing the emergence of a new interpretive framework for black music, Cruz shows how the concept of "cultural authenticity" is constantly redefined by critics for a variety of purposes--from easing anxieties arising from contested social relations to furthering debates about modern ethics and egalitarianism.

In focusing on the spiritual aspect of black music, abolitionists, for example, pivoted toward an idealized religious singing subject at the expense of absorbing the more socially and politically elaborate issues presented in the slave narratives and other black writings. By the end of the century, Cruz maintains, modern social science also annexed much of this cultural turn. The result was a fully modern tension-ridden interest in culture on the racial margins of American society that has long had the effect of divorcing black culture from politics.

The traditional edition of the English Hymnal, this volume includes the very best hymnody from medieval plain chant to the early twentieth-century classics. The hymns are grouped according to theme and contain material suitable for any festival or occasion in the life of a church.

The rich medieval French tradition of vernacular devotional songs has not received much scrutiny. With Prions en chantant, Marcia Epstein aims to remedy that situation by offering an edition of largely anonymous trouvere devotional songs, designed for both scholars and performers, from two late-thirteenth-century manuscripts.

The majority of the music is published here for the first time. Sixty-one songs are presented, with forty-nine songs exhibited in Old French with a facing-page modern English translation followed by old musical notation and facing-page with modern musical transcription. An additional twelve songs, which lack music in the original sources, are represented by the Old French text and the modern English translation only. The introduction extensively describes the social, musical, literary and theological aspects of the trouvere songs contained in the volume. This is a valuable and welcome addition to the study of medieval music.