Over 200 hymns (arranged by topic with four-part harmony and guitar chords) are included in this work. Includes several indexes, including scripture references and composers and sources clearly organized.

What did nuns sing? How did they learn about music? How did the music affect their piety? This book answers these and many other questions about the musical life in English nunneries in the later Middle Ages. Drawing upon a wide range of historical sources, Yardley pieces together a mosaic of nunnery musical life. Formal monastic rules, medieval liturgical manuscripts, records from bishops' visitations to nunneries and other medieval documents provide evidence that even the smallest convents sang the monastic offices on a daily basis and that many of the larger houses celebrated the late medieval liturgy in all of its complexity.

In Thresholds Marcel Cobussen rethinks the relationship between music and spirituality. The point of departure is the current movement within contemporary classical music known as New Spiritual Music, with as its main representatives Arvo PArt, John Tavener, and Giya Kancheli. In almost all respects, the musical principles of the new spiritual music seem to be diametrically opposed to those of modernism: repetition and rest versus development and progress, tradition and familiarity versus innovation and experiment, communication versus individualism and conceptualism, tonality versus atonality, and so on. As such, this movement is often considered as part of the much larger complex called postmodernism. Joining in with ideas on spirituality as presented by Michel de Certeau and Mark C. Taylor, Cobussen deconstructs the classification of the 'spiritual dimensions' of music as described above. Thresholds presents an idea of spirituality in and through music that counters strategies of exclusion and mastering of alterity and connects it to wandering, erring, and roving. Using the philosophy of Martin Heidegger, Georges Bataille, Jean-FranAois Lyotard, Jacques Derrida and others, and analysing the music of John Coltrane, the mythical Sirens, Arvo PArt, and The Eagles (to mention a few), Cobussen regards spirituality as a (non)concept that escapes categorization, classification, and linguistic descriptions. Spirituality is a-topological, non-discursive and a manifestation of 'otherness'. And it is precisely music (or better: listening to music) that induces these thoughts: by carefully encountering, analysing, and evaluating certain examples from classical, jazz, pop and world music it is possible to detach spirituality from concepts of otherworldliness and transcendentalism. Thresholds opens a space in which spirituality can be connected to music that is not commonly considered in this light, thereby enriching the ways of approaching and discussing music. In order to achieve this, it is necessary to show that spirituality is not an attribute of music, not a simple adjective providing extra information or used to categorize certain types of music. Instead, the spiritual can happen through listening to music, in a more or less personalized relationship with it. This relationship might be characterized as susceptible instead of controlling, open instead of excluding, groping instead of rigid.

Contains biblical songs of justice, World Church songs of protest and praise, and songs of experience from late 20th century Britain.

Christmas Eve is a transcription of the recording by harp virtuoso Sunita Staneslow. It features 16 exquisite holiday tunes written in standard notation for the Scottish clarsach or folk harp.

Explores the messages of twenty-five of the greatest hymns in the Christian faith. Uncovers fresh meaning and new significance to familiar, favorite hymns. Show how biblical truths are encapsulated in the lyrics of hymns. Shows how the great hymns have shaped the church's life and vitality. Includes the lyrics of each featured hymn. Written by a musician and preacher Perfect for devotional reading

for SATB and piano Mack Wilberg's calming and pensive Meditation is an adaptation of Charles Gounod's famous Ave Maria which is itself based on J.S. Bach's Prelude in C Major from the first book of The Well-Tempered Clavier. The accompaniment is derived from the piano solo transcription of Gounod's work by Georges Bizet. To the piano's rising arpeggios and Gounod's melody, Wilberg has added a gently weaving choral texture, setting the words 'Alleluia, Amen'.

Olney Hymns in Three Books; Book I On Select Texts of Scripture; Book II On Occasional Subjects; Book III On the Rise, Progress, Changes, and Comforts of the Spiritual Life. Includes categories such as Sacramental Hymns, Prayer, Creation, Conflict, Comfort, Dedication and Surrender.

This classic work of hymnody from 1863 draws together a rich selection of German chorales with their tunes, translated by Catherine Winkworth, and edited by William Sterndale Bennett and Otto Goldschmidt. They were arranged for use in the Church of England, and grouped into subjects such The Church and its Seasons and Services, aspects of Christian Life and Special Occasions. Although some of the contents are still in common use today, it is primarily a rich sourcebook for many beautiful forgotten hymns of the Lutheran tradition. This handsome new edition from Benediction Classics uses high-quality scans for the music only, all the text has been carefully typeset using a modern font for ease of reading.

Whether music's appeal to the senses detracts from or contributes to devotion is an important question for all religious traditions. This interdisciplinary, cross-cultural collection is intended as a first step towards a phenomenology of religious music. Topics range from the mystical strain in Jewish liturgical music to music in the Theravada Buddhist heritage. Contributors include Lois Ibsen al Faruqi, Bruce B. Lawrence, John Ross Carter, and Donna Marie Wulff.

for SATB, unison voices, and organ This celebratory anthem sets Psalm 100 'O be joyful in the Lord' from the Book of Common Prayer and uses organ flourishes, dancing vocal melodies, and lively articulation to emphasize the exultant message of the text. Jubilate Deo was commissioned by Saint Michael and All Angels Episcopal Church, Dallas, Texas and was premiered at Her Majesty Queen Elizabeth II's Platinum Jubilee concert in 2022.

This book addresses a highly complex and elusive matter: why the Christian Church was able to contribute so generously to music from its earliest days through the 18th century and why it has suffered since that time from a creeping artistic paralysis. Modern attitudes and assumptions often find the values and accomplishments of the Christian worldview enigmatic, even repellant, and church music has come to be one of the primary areas in which the tension between conflicting worldviews continues to be worked out on a daily basis. This thoughtful work investigates the historical interaction of theology, philosophy and music, and will be of interest to church musicians, theologians, music historians and cultural anthropologists. In its concluding chapter this work explores a number of basic questions: In what sense, if any, can the arts (and then the fine arts) be considered profoundly significant for modern society? Is there a meaningful role for artists of genius and total commitment? Do the arts (and then the fine arts) have any profound significance for the Church in the modern world? Of what significance, if any, to the Church in the modern world are the great Christian artistic accomplishments of the past? This exploration is by means of excerpts from historical sources, quotations from modern authors, and commentary on both. It calls upon historical, philosophical, theological, liturgical, anthropological, and musical sources and concepts in an attempt to develop a comprehensive understanding of musical developments that have served the Christian church for centuries and that have also provided a rich heritage of art music.

Hymnody is widely recognised as a central tenet of Methodism's theological, doctrinal, spiritual, and liturgical identity. Theologically and doctrinally, the content of the hymns has traditionally been a primary vehicle for expressing Methodism's emphasis on salvation for all, social holiness, and personal commitment, while particular hymns and the communal act of participating in hymn singing have been key elements in the spiritual lives of Methodists. An important contribution to the history of Methodism, British Methodist Hymnody argues that the significance of hymnody in British Methodism is best understood as a combination of its official status, spiritual expression, popular appeal, and practical application. Seeking to consider what, when, how, and why Methodists sing, British Methodist Hymnody examines the history, perception, and practice of hymnody from Methodism's small-scale eighteenth-century origins to its place as a worldwide denomination today.