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Books > Arts & Architecture > Music > Other types of music > Sacred & religious music
Spirituality is not a permanent high, a continual blissed out
state. To experience the heights, one has also to know the depths.
In this book based on speeches and sermons delivered in marquees,
cathedrals and local churches, John Bell deals with issues as
diverse as private devotion and public debt. The picture of God
that emerges is not one of a 'celestial sadist' but rather a
compassionate being who asks that we do only what we can, starting
from where we are, to be just and compassionate too. John Bell is a
minister of the Church of Scotland and a member of the Iona
Community. He lectures and preaches throughout the English-speaking
world. With his colleagues in the Wild Goose Worship Group he has
produced several books of congregational songs and collections of
anthems, and is an occasional broadcaster on radio and television.
Musical culture in Jewish communities in early modern Italy was
much more diverse than researchers originally thought. An
interdisciplinary reassessment, Music and Jewish Culture in Early
Modern Italy evaluates the social, cultural, political, economic,
and religious circumstances that shaped this community, especially
in light of the need to recognize individual experiences within
minority populations. Contributors draw from rich materials,
topics, and approaches as they explore the inherently diverse
understandings of music in daily life, the many ways that Jewish
communities conceived of music, and the reception of and responses
to Jewish musical culture. Highlighting the multifaceted experience
of music within Jewish communities, Music and Jewish Culture in
Early Modern Italy sheds new light on the place of music in
complex, previously misunderstood environments.
Milton, Music and Literary Interpretation: Reading through the
Spirit constructs a musical methodology for interpreting literary
text drawn out of John Milton's poetry and prose. Analyzing the
linkage between music and the Holy Spirit in Milton's work, it
focuses on harmony and its relationship to Milton's theology and
interpretative practices. Linking both the Spirit and poetic music
to Milton's understanding of teleology, it argues that Milton uses
musical metaphor to capture the inexpressible characteristics of
the divine. The book then applies these musical tools of reading to
examine the non-trinitarian union between Father, Son, and Spirit
in Paradise Lost, argues that Adam and Eve's argument does not
break their concord, and puts forward a reading of Samson Agonistes
based upon pity and grace.
Contemporary worship music shapes the way evangelical Christians
understand worship itself. Author Monique M. Ingalls argues that
participatory worship music performances have brought into being
new religious social constellations, or "modes of congregating".
Through exploration of five of these modes-concert, conference,
church, public, and networked congregations-Singing the
Congregation reinvigorates the analytic categories of
"congregation" and "congregational music." Drawing from theoretical
models in ethnomusicology and congregational studies, Singing the
Congregation reconceives the congregation as a fluid, contingent
social constellation that is actively performed into being through
communal practice-in this case, the musically-structured
participatory activity known as "worship." "Congregational
music-making" is thereby recast as a practice capable of weaving
together a religious community both inside and outside local
institutional churches. Congregational music-making is not only a
means of expressing local concerns and constituting the local
religious community; it is also a powerful way to identify with
far-flung individuals, institutions, and networks that comprise
this global religious community. The interactions among the
congregations reveal widespread conflicts over religious authority,
carrying far-ranging implications for how evangelicals position
themselves relative to other groups in North America and beyond.
for SATB and guitar or piano This anthem sets a powerful poem by
John Henry Newman that reflects on the spirituality of solitude. An
imaginative interplay between voices and instrumental accompaniment
is prevalent throughout, with effective contrasts between
tranquillo and animato sections and delicate ostinato patterns. An
alternative accompaniment for guitar (the composer's original
instrumentation) is available for purchase. The anthem is also
available in a version for SSA and piano or harp.
Preaching and music are both regular elements of Christian worship
across the theological spectrum. But they often don't interact or
inform each other in meaningful ways. In this Dynamics of Christian
Worship volume, theologian, pastor, and musician Noel A. Snyder
considers how the church's preaching might be helpfully informed by
musical theory. Just as a good musical composition employs
technical elements like synchrony, repetition, and meter, the same
should be said for good preaching that seeks to engage hearts and
minds with the good news of Jesus Christ. By drawing upon music
that lifts the soul, preachers might craft sermons that sing. The
Dynamics of Christian Worship series draws from a wide range of
worshiping contexts and denominational backgrounds to unpack the
many dynamics of Christian worship-including prayer, reading the
Bible, preaching, baptism, the Lord's Supper, music, visual art,
architecture, and more-to deepen both the theology and practice of
Christian worship for the life of the church.
Emotions in Jewish Music is an insider's view of music's impact on
Jewish devotion and identity. Written by cantors who have devoted
themselves to the study and execution of Jewish music, the book's
six chapters explore a wide range of musical contexts and
encounters. Topics include the spiritual influence of secular
Israeli tunes, the use and meaning of traditional synagogue modes,
and the changing nature of Jewish worship. The approaches are both
personal and scholarly, describing the experiential side of Jewish
music in both practical and philosophical terms. Emotions in Jewish
Music reveals much about the emotional aspects of Jewish musical
expression.
A classic Episcopal hymnal which includes the Supplemental
Liturgical Index and collection of service music from 1961.
The influence of Rome on medieval plainsong and liturgy explored in
depth. Containing substantial new studies in music, liturgy,
history, art history, and palaeography from established and
emerging scholars, this volume takes a cross-disciplinary approach
to one of the most celebrated and vexing questions about plainsong
and liturgy in the Middle Ages: how to understand the influence of
Rome? Some essays address this question directly, examining Roman
sources, Roman liturgy, or Roman practice, whilst others consider
the sway ofRome more indirectly, by looking later sources, received
practices, or emerging traditions that owe a foundational debt to
Rome. Daniel J. DiCenso is Assistant Professor of Music at the
College of the Holy Cross; Rebecca Maloy is Professor of Musicology
at the University of Colorado Boulder. Contributors: Charles M.
Atkinson, Rebecca A. Baltzer, James Borders, Susan Boynton,
Catherine Carver, Daniel J. DiCenso, David Ganz, Barbara
Haggh-Huglo, David Hiley, Emma Hornby, Thomas Forrest Kelly,
William Mahrt, Charles B. McClendon, Luisa Nardini, Edward Nowacki
, Christopher Page, Susan Rankin, John F. Romano, Mary E. Wolinski
for SATB unaccompanied This gentle, lilting anthem sets verses from
the psalms that speak of devotion to and delight in the Lord.
Bednall's sophisticated and appealing musical language gives colour
and expression to the text and creates a devotional atmosphere
perfectly suited to the psalmists' words.
The book examines from various viewpoints Britten's War Requiem, written in 1962 to celebrate the consecration of the new Coventry Cathedral and uniting the famous anti-war poetry of Wilfred Owen with the Latin Requiem Mass. Britten's and Owen's pacifist beliefs are compared, and the chronology of the compositional process unraveled from documentary and manuscript sources. The musical language is analyzed in detail, and the fluctuating critical responses to the score are assessed.
For nearly eight centuries - from the Muslim conquest of Spain in
711 to the final expulsion of the Jews in 1492 - Muslims, Jews and
Christians shared a common Andalusian culture under alternating
Muslim and Christian rule. Following their expulsion, the Spanish
and Arabic- speaking Jews joined pre-existing diasporic communities
and established new ones across the Mediterranean and beyond. In
the twentieth century, radical social and political upheavals in
the former Ottoman and European-occupied territories led to the
mass exodus of Jews from Turkey and the Arab Mediterranean, with
the majority settling in Israel. Following a trajectory from
medieval Al-Andalus to present-day Israel via North Africa, Italy,
Turkey and Syria, pausing for perspectives from Enlightenment
Europe, Musical Exodus: Al-Andalus and its Jewish Diasporas tells
of diverse song and instrumental traditions born of the multiple
musical encounters between Jews and their Muslim and Christian
neighbors in different Mediterranean diasporas, and the revival and
renewal of those traditions in present-day Israel. In this
collection of essays from Philip V. Bohlman, Daniel Jutte, Tony
Langlois, Piergabriele Mancuso, John O'Connell, Vanessa Paloma,
Carmel Raz, Dwight Reynolds, Edwin Seroussi, and Jonathan Shannon,
with opening and closing contributions by Ruth F. Davis and Stephen
Blum, distinguished ethnomusicologists, cultural historians,
linguists and performers explore from multidisciplinary
perspectives the complex and diverse processes and conditions of
intercultural and intracultural musical encounters. The authors
consider how musical traditions acquired new functions and meanings
in different social, political and diasporic contexts; explore the
historical role of Jewish musicians as cultural intermediaries
between the different faith communities; and examine how music is
implicated in projects of remembering and forgetting as societies
come to terms with mass exodus by reconstructing their narratives
of the past. The essays in Musical Exodus: Al-Andalus and its
Jewish Diasporas extend beyond the music of medieval Iberia and its
Mediterranean Jewish diasporas to wider aspects of Jewish-Christian
and Jewish-Muslim relations. The authors offer new perspectives on
theories of musical interaction, hybridization, and the cultural
meaning of musical expression in diasporic and minority
communities. The essays address how music is implicated in
constructions of ethnicity and nationhood and of myth and history,
while also examining the resurgence of Al-Andalus as a symbol in
musical projects that claim to promote cross-cultural understanding
and peace. The diverse scholarship in Musical Exodus makes a vital
contribution to scholars of music and European and Jewish history.
Sacred music has long contributed fundamentally to the making of
Europe. The passage from origin myths to history, the sacred
journeys that have mobilized pilgrims, crusaders, and colonizers,
the politics and power sounded by the vox populi all have joined in
counterpoint to shape Europe s historical longue duree. Drawing
upon three decades of research in European sacred music, Philip V.
Bohlman calls for a reexamination of European modernity in the
twenty-first century, a modernity shaped no less by canonic
religious and musical practices than by the proliferation of belief
systems that today more than ever respond to the diverse belief
systems that engender the New Europe. In contrast to most studies
of sacred musical practice in European history, with their emphasis
on the musical repertories and ecclesiastical practices at the
center of society, Bohlman turns our attention to individual and
marginalized communities and to the collectives of believers to
whose lives meaning accrues upon sounding the sacred together. In
the historical chapters that open Revival and Reconciliation,
Bohlman examines the genesis of modern history in the convergence
and conflict that lie at the heart of the Abrahamic faiths Judaism,
Christianity, and Islam. Critical to the meaning of these religions
to Europe, Bohlman argues, has been their capacity to mobilize both
sacred journey and social action, which enter the everyday lives of
Europeans through folk religion, pilgrimage, and politics, the
subjects of the second half of his study. The closing sections then
cross the threshold from history into modernity, above all that of
the New Europe, with its return to religion through revival and
reconciliation. Based on an extensive ethnographic engagement with
the sacred landscapes and sites of conflict in twenty-first-century
Europe, Bohlman calls in his final chapters for new ways of hearing
the silenced voices and the full chorus of sacred music in our
contemporary world. Ethnomusicologists from different traditions as
well as scholars of religious studies and the history of modern
Europe will find Revival and Reconciliation a fascinating
exploration of the connections between sacred music and the role it
plays in the formations of the modern self."
Texts centred on the mother of Jesus abound in religious traditions
the world over, but thirteenth-century Old French lyric stands
apart, both because of the enormous size of the Marian cult in
thirteenth-century France and the lack of critical attention the
genre has garnered from scholars.As hybrid texts, Old French Marian
songs combine motifs from several genres and registers to
articulate a devotional message. In this comprehensive and
illuminating study, Daniel E. O'Sullivan examines the movement
between secular and religious traditions in medieval culture that
Old French religious song embodies. He demonstrates that Marian
lyric was far more than a simple, mindless imitation of secular
love song. On the contrary, Marian lyric participated in a dynamic
interplay with the secular tradition that different composers
shaped and reshaped in light of particular doctrinal and aesthetic
concerns. It is a corpus that reveals itself to be far more
malleable and supple than past readers have admitted.With an
extensive index of musical and textual editions of dozens of songs,
Marian Devotion in Thirteenth-Century French Lyric brings a
heretofore neglected genre to light.
This book traces Dadakuada's history and artistic vision and
discusses its vibrancy as the most popular traditional Yoruba oral
art form in Islamic Africa. Foregrounding the role of Dadakuada in
Ilorin, and of Ilorin in Dadakuada the book covers the history,
cultural identity, performance techniques, language, social life
and relationship with Islam of the oral genre. The author examines
Dadakuada's relationship with Islam and discusses how the Dadakuada
singers, through their songs and performances, are able to
accommodate Islam in ways that have ensured their continued
survival as a traditional African genre in a predominantly Muslim
community. This book will be of interest to scholars of traditional
African culture, African art history, performance studies and Islam
in Africa.
Resounding Transcendence is a pathbreaking set of ethnographic and
historical essays by leading scholars exploring the ways sacred
music effects cultural, political, and religious transitions in the
contemporary world. With chapters covering Christian, Muslim,
Jewish, and Buddhist practices in East and Southeast Asia, the
Indian subcontinent, North America, the Caribbean, North Africa,
and Europe, the volume establishes the theoretical and
methodological foundations for music scholarship to engage in
current debates about modern religion and secular epistemologies.
It also transforms those debates through sophisticated, nuanced
treatments of sound and music - ubiquitous elements of ritual and
religion often glossed over in other disciplines. Resounding
Transcendence confronts the relationship of sound, divinity, and
religious practice in diverse post-secular contexts. By examining
the immanence of transcendence in specific social and historical
contexts and rethinking the reified nature of "religion" and "world
religions," these authors examine the dynamics of difference and
transition within and between sacred musical practices. The work in
this volume transitions between traditional spaces of sacred
musical practice and emerging public spaces for popular religious
performance; between the transformative experience of ritual and
the sacred musical affordances of media technologies; between the
charisma of individual performers and the power of the marketplace;
and between the making of authenticity and hybridity in religious
repertoires and practices. Broad in scope, rich in ethnographic and
historical detail, and theoretically ambitious, Resounding
Transcendence is an essential contribution to the study of music
and religion.
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