|
Books > Arts & Architecture > Music > Other types of music > Sacred & religious music
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.
for SA and Men, accompanied and unaccompanied This collection of
nine of John Rutter's finest and most popular anthems, scored for
SA Men, has been carefully compiled to be both accessible to a wide
range of choirs and appropriate to the needs of today's liturgy.
With the inclusion of so many 'classics' covering a variety of
texts and styles, this anthology is ideal for working church choirs
requiring flexible options.
Following three years of ethnomusicological fieldwork on the sacred
singing traditions of evangelical Christians in North-East Scotland
and Northern Isles coastal communities, Frances Wilkins documents
and analyses current singing practices in this book by placing them
historically and contemporaneously within their respective faith
communities. In ascertaining who the singers were and why, when,
where, how and what they chose to sing, the study explores a number
of related questions. How has sacred singing contributed to the
establishment and reinforcement of individual and group identities
both in the church and wider community? What is the process by
which specific regional repertoires and styles develop? Which
organisations and venues have been particularly conducive to the
development of sacred singing in the community? How does the
subject matter of songs relate to the immediate environment of
coastal inhabitants? How and why has gospel singing in coastal
communities changed? These questions are answered with
comprehensive reference to interview material, fieldnotes,
videography and audio field recordings. As one of the first pieces
of ethnomusicological research into sacred music performance in
Scotland, this ethnography draws important parallels between
practices in the North East and elsewhere in the British Isles and
across the globe.
The Tropologion is considered the earliest known extant chant book
from the early Christian world which was in use until the twelfth
century. The study of this book is still in its infancy. It has
generally been believed that the book has survived in Georgian
translation under the name 'ladgari' but similar books have been
discovered in Greek, Syriac and Armenian. All the copies clearly
show that the spread and the use of the book were much greater than
we had previously assumed and the Georgian ladgari is only one of
its many versions. The study of these issues unquestionably
confirms the earliest stage of the compilation of the book, in
Jerusalem or its environs, and shows its uninterrupted development
from Jerusalem to the Stoudios monastery, the most important
monastery of Constantinople. Over time many new pieces and new
authors were added to the Tropologion. It is almost certain that it
was the Stoudios school of poet-composers that divided the content
of the Tropologion and compiled separate collections of books, each
one containing a major liturgical cycle. In the beginning all of
the volumes kept the old title but in the tenth century the copies
of the book were renamed, probably according to the liturgical
repertory included, and by the thirteenth century the title
'Tropologion' is no longer found in the Greek sources as it became
superfluous, and fell out of use.
Arranged by prolific Christian music arranger Carol Tornquist, this
easy piano collection features the most popular praise, worship,
and gospel songs of today. Lyrics and basic chord symbols are
included along with helpful fingering and phrasing indications.
Each arrangement is fun and easy to play, whether as a piano solo
or for sing-alongs. Titles: 10,000 Reasons (Bless the Lord) (Matt
Redman) * Above All (Michael W. Smith) * Amazing Grace (My Chains
Are Gone) (Chris Tomlin) * Blessed (Lazarus) * Blessings (Laura
Story) * Cinderella (Steven Curtis Chapman) * God's Not Dead (Like
a Lion) (Newsboys) * Good Morning (Mandisa) * Hold Me (Jamie Grace
featuring TobyMac) * How Beautiful (Twila Paris) * How Great Is Our
God (Chris Tomlin) * How He Loves (David Crowder Band) * I Can Only
Imagine (MercyMe) * I Need a Miracle (Third Day) * I Will Rise
(Chris Tomlin) * In Christ Alone (Newsboys) * Jesus, Friend of
Sinners (Casting Crowns) * Let the Church Say Amen (Andra? Crouch)
* Need You Now (How Many Times) (Plumb) * One Thing Remains
(Passion featuring Kristian Stanfill) * The Prayer (Celine Dion and
Andrea Bocelli) * The Proof of Your Love (For King & Country) *
Redeemed (Big Daddy Weave) * Revelation Song (Kari Jobe) * Shout to
the Lord (Darlene Zschech) * Take Me Back (Andra? Crouch) * Take Me
to the King (Tamela Mann) * We Are (Kari Jobe) * Who You Are
(Unspoken) * Whom Shall I Fear (God of Angel Armies) (Chris Tomlin)
* You Are (Colton Dixon) * You Raise Me Up (Selah) * Your Love
Never Fails (Newsboys).
This book is a study of music inculturation in Indonesia. It shows
how religious expression can be made relevant in an indigenous
context and how grassroots Christianity is being realized by means
of music. Through the discussion of indigenous expressions of
Christianity, the book presents multiple ways in which Indonesians
reiterate their identity through music by creatively forging
Christian and indigenous elements. This study moves beyond the
discussion (and charge) of syncretism, showing that the inclusion
of local cultural manifestations is an answer to creating a truly
indigenous Christian expression. Marzanna Poplawska, while telling
the story of Indonesian Christians and the multiple ways in which
they live Christianity through music, emphasizes the creative
energy and agency of local people. In their practices she finds
optimism for the continuing existence of many traditional genres
and styles. Indonesian Christians perform their Christian faith
through music, dance, and theater, generating innovative cultural
products that enrich the global Christian heritage. The book is
addressed to a broad spectrum of readers: scholars from a variety
of disciplines - music, religion, anthropology, especially those
interested in interactions between Christianity and indigenous
cultures; general music lovers and World Music enthusiasts eager to
discover musics outside of European realm; as well as Christian
believers, church musicians, and choir directors curious to learn
about Christian music beyond Euro-American context. Students of
religion, sacred music, (ethno)musicology, theater, and dance will
also benefit from learning about a variety of indigenous arts
employed in Christian churches in Indonesia.
Dr. Howard Thurman explores how protest and resistance are
expressed in spirituals as well as how these songs have been a
"spiritual watering hole" in his life..
In Giving Voice to My Music, David Wordsworth's engrossing
interviews take us into the world of twenty-four leading composers
of choral music, composers for whom writing for choirs is central
to their very existence. Here, they give voice to their
inspirations, their passions and the challenges they have faced in
working through the pandemic of 2020/21. They reveal how their life
experiences have influenced their compositions, how they choose and
relate to the texts they set, and how they interact with
commissioners, singers and conductors alike. Enhanced by an
extensive reference section and a revelatory list of the composers'
own favourite pieces, readers will discover music that has enriched
these composers' lives and encouraged their creativity. Giving
Voice to my Music will be relished by singers, composers,
conductors and above all audiences, for the new insights it offers
into works that are already well-known but also for its
introductions to new choral music that deserves to be better known.
The Miserere by Italian composer Gregorio Allegri (1582-1652) is
one of the most popular, oft performed and recorded choral pieces
of late Renaissance/early Baroque music. Yet the piece known today
bears little resemblanceto Allegri's original or to the piece as it
was performed before 1870. The Miserere attributed to the Italian
composer Gregorio Allegri (1582-1652) is one of the most popular,
often performed and recorded choral pieces of late
Renaissance/early Baroque music. It was composed during the reign
of Pope Urban VIII in the 1630s, for the exclusive use of the Papal
Choir in the Sistine Chapel during Holy Week, the last of thirteen
surviving Misereres sung at the services of Tenebrae since 1514.
When the young Mozart visited Rome, so the story goes, he
transcribed it from memory, risking excommunication but helping
posterity to reclaim the piece. Yet the Miserere known today bears
little resemblance to Allegri's original or to its method of
performance before 1900. This book is the first detailed account of
this iconic work's performance history in the Sistine Chapel, in
particular focussing on its heyday in the eighteenth and nineteenth
centuries. Rather than looking at the Miserere as a work on paper,
the key to its genesis - as this book reveals - can only be found
in a performance context. The book includes consideration both of
the implications of that context in recreating it for performance,
and of the history and practice of the "English Miserere" - the
version commonly heard today. Appendices present key source
transcriptions and two performance editions.
Each year at Christmas, Gloriae Dei Cantores celebrates the "dawn
of redeeming grace" with a traditional candlelit Service of
Readings and Carols, retelling the stories of Christ's birth that
stir us with memories and hopes for peace and love. Just for a time
as you listen to these carols and stories, let your heart fill with
gratitude for our many blessings, and with goodwill toward others.
Gloriae Dei Cantores offers this recording with a prayer that the
joy of the season brings you renewed hope and a fresh sense of
wonder!
How I wept at your hymns and songs, keenly moved by the
sweet-sounding voices of your church wrote the recently converted
Augustine in his "Confessions." Christians from the earliest period
consecrated the hours of the day and the sacred calendar,
liturgical seasons and festivals of saints. This volume collects
one hundred of the most important and beloved Late Antique and
Medieval Latin hymns from Western Europe.
These religious voices span a geographical range that stretches
from Ireland through France to Spain and Italy. They meditate on
the ineffable, from Passion to Paradise, in love and trembling and
praise. The authors represented here range from Ambrose in the late
fourth century ce down to Bonaventure in the thirteenth. The texts
cover a broad gamut in their poetic forms and meters. Although
often the music has not survived, most of them would have been
sung. Some of them have continued to inspire composers, such as the
great thirteenth-century hymns, the "Stabat mater "and "Dies
irae.""
Our best-selling recording of all time - more than 20,000 copies
sold! The Bells of Christmas will fill your home with the joyful
and sparkling sound of handbells, played by the dynamic ensemble,
Gloriae Dei Ringers. Playing on a five-and-a-half octave set of
Malmark handbells, these young musicians explore the full range of
Christmas cheer and wonder - from the tenderness of Away in a
Manger to the majestic expanse of A Flight of Angels - all in
arrangements that showcase the tremendous musicality and unique
spirit of handbells!
Whilst Contemporary Worship Music arose out of a desire to relate
the music of the church to the music of everyday life, this
function can quickly be called into question by the diversity of
musical lives present in contemporary society. Mark Porter examines
the relationship between individuals' musical lives away from a
Contemporary Worship Music environment and their diverse
experiences of music within it, presenting important insights into
the complex and sometimes contradictory relationships between
congregants' musical lives within and outside of religious worship.
Through detailed ethnographic investigation Porter challenges
common evangelical ideals of musical neutrality, suggesting the
importance of considering musical tastes and preferences through an
ethical lens. He employs cosmopolitanism as an interpretative
framework for understanding the dynamics of diverse musical
communities, positioning it as a stronger alternative to common
assimilationist and multiculturalist models.
The music of clarinetists Naftule Brandwein and Dave Tarras is
iconic of American klezmer music. Their legacy has had an enduring
impact on the development of the popular world music genre. Since
the 1970s, klezmer music has become one of the most popular world
music genres, at the same time influencing musical styles as
diverse as indie rock, avant-garde jazz, and contemporary art
music. Klezmer is the celebratory instrumental music that developed
in the Jewish communities of eastern Europe over the course of
centuries and was performed especially at weddings. Brought to
North America in the immigration wave in the late nineteenth
century, klezmer thrived and developed in the Yiddish-speaking
communities of New York and other cities during the period
1880-1950. No two musicians represent New York klezmer more than
clarinetists Naftule Brandwein (1884-1963)and Dave Tarras
(1897-1989). Born in eastern Europe to respected klezmer families,
both musicians had successful careers as performers and recording
artists in New York. Their legacy has had an enduring impact and
helped to spurthe revival of klezmer since the 1970s. Using their
iconic recordings as a case study, New York Klezmer in the Early
Twentieth Century looks at the inner workings of klezmer dance
music, from its compositional aspects to the minutiae of style.
Making use of historical and ethnographic sources, the book places
the music within a larger social and cultural context stretching
from eastern Europe of the nineteenth century to the United
Statesof the present. JOEL E. RUBIN is Associate Professor of Music
at the University of Virginia and an acclaimed performer of
traditional klezmer music.
In Jewish Religious Music in Nineteenth-Century America: Restoring
the Synagogue Soundtrack, Judah M. Cohen demonstrates that Jews
constructed a robust religious musical conversation in the United
States during the mid- to late-19th century. While previous studies
of American Jewish music history have looked to Europe as a source
of innovation during this time, Cohen's careful analysis of primary
archival sources tells a different story. Far from seeing a fallow
musical landscape, Cohen finds that Central European Jews in the
United States spearheaded a major revision of the sounds and
traditions of synagogue music during this period of rapid
liturgical change. Focusing on the influences of both individuals
and texts, Cohen demonstrates how American Jewish musicians sought
to balance artistry and group singing, rather than "progressing"
from solo chant to choir and organ. Congregations shifted between
musical genres and practices during this period in response to such
factors as finances, personnel, and communal cohesiveness. Cohen
concludes that the "soundtrack" of 19th-century Jewish American
music heavily shapes how we look at Jewish American music and life
in the first part of the 21st-century, arguing that how we see, and
especially hear, history plays a key role in our understanding of
the contemporary world around us. Supplemented with an interactive
website that includes the primary source materials, recordings of
the music discussed, and a map that highlights the movement of key
individuals, Cohen's research defines more clearly the sound of
19th-century American Jewry.
In recent years, new music and worship styles have enriched the
worship styles have enriched the worship experience, from
contemporary worship and praise music to world music. New hymnody
offers modern images and refreshing tunes that tell the old, old
story. Now churches can continue to sing the hymns they treasure
and add newer music to their worship life! All editions come with
Cross & Flame emblem on the cover except for the "Cross Only"
version of the Pew Edition.
What does it mean for music to be considered local in contemporary
Christian communities, and who shapes this meaning? Through what
musical processes have religious beliefs and practices once
'foreign' become 'indigenous'? How does using indigenous musical
practices aid in the growth of local Christian religious practices
and beliefs? How are musical constructions of the local intertwined
with regional, national or transnational religious influences and
cosmopolitanisms? Making Congregational Music Local in Christian
Communities Worldwide explores the ways that congregational
music-making is integral to how communities around the world
understand what it means to be 'local' and 'Christian'. Showing how
locality is produced, negotiated, and performed through
music-making, this book draws on case studies from every continent
that integrate insights from anthropology, ethnomusicology,
cultural geography, mission studies, and practical theology. Four
sections explore a central aspect of the production of locality
through congregational music-making, addressing the role of
historical trends, cultural and political power, diverging values,
and translocal influences in defining what it means to be 'local'
and 'Christian'. This book contends that examining musical
processes of localization can lead scholars to new understandings
of the meaning and power of Christian belief and practice.
|
A German Requiem
(Sheet music)
Johannes Brahms; Edited by Michael Pilkington
|
R418
R347
Discovery Miles 3 470
Save R71 (17%)
|
Ships in 10 - 15 working days
|
|
England in the fifteenth century was the cradle of much that would
have a profound impact on European music for the next several
hundred years. Perhaps the greatest such development was the cyclic
cantus firmus Mass, and scholarly attention has therefore often
been drawn to identifying potentially English examples within the
many anonymous Mass cycles that survive in continental sources.
Nonetheless, to understand English music in this period is to
understand it within a changing nexus of two-way cultural exchange
with the continent, and the genre of the Mass cycle is very much at
the forefront of this. Indeed, the question of 'what is English'
cannot truly be answered without also answering the question of
'what is continental'. This book seeks, initially, to answer both
of these questions. Perhaps more importantly, it argues that a
number of the works that have induced the most scholarly debate are
best seen through the lens of intensive and long-term cultural
exchange and that the great binary divide of provenance can, in
many cases, productively be broken down. A great many of these
works, though often written on the continent, can, it seems, only
be understood in relation to English practice - a practice which
has had, and will continue to have, major importance in the ongoing
history of European Art Music.
The normative edition for all who sing, choir and congregation
alike, containing all hymns and service music.
Faure was not drawn to compose a Requiem because of the death of a
loved one, even though his mother had died during the early stages
of composition and his father had passed away two years before.
Faure's composition does not set his Requiem to the standard
liturgical text, instead adding a lyrical Pie Jesu and transcendent
Paradisum, and omitting the Dies Irae and Tuba Mirum - which, for
most composers, are opportunities to demonstrate the dramatic
possibilities available with the choral and orchestral forces. As a
result the mood of the Requiem is relatively calm and peaceful and
often referred to as a lullaby of death. Faure's unconventional
composition has become a firm favourite in the repertoire and
available here is the vocal score, for soloists and SATB choir with
piano accompaniment, as edited by Desmond Ratcliffe.
|
|