Born in New Orleans before migrating to Chicago, Mahalia Jackson (1911-72) is undoubtedly the most widely known black gospel singer, having achieved fame among African American communities in the 1940s then finding a wide audience among non-black U.S. and international audiences after she signed with major label Columbia Records in 1954. The newest entry in OUP's celebrated Readers on American Musicians series,The Mahalia Jackson Readerplaces Jackson's musical performances and their reception against key changes in 20th-century America, changes that include transformations of the recorded music industry, the increasing visibility of the civil rights movement, a florescence of Cold War-era religiosity, and an explosion of popularity of black gospel music itself. Jackson's career combines parallel tracks as a black church singer and as a national pop celebrity, and makes her one of the most complex and important black artists of the postwar decades. Gospel is a particularly challenging genre to study because of the paucity of sources. Becauseof Jackson's celebrity, there is more substantial coverage of her life and work than other gospel artists, but Jackson scholarship is still largely dependent on trade biographies from the 1970s for source material. For this reader, Mark Burford has gone beyond the standard biographies and has drawn from extensive archival research, including in the volume interview transcripts and the largely-untouched papers of Jackson's associate Bill Russell, who kept a journal tracking Jackson's activities from 1951 to 1955. The new sources - in particular Russell's notes - uniquely enable an assessment of the reciprocal relationship between the two careers Jackson pursued, essentially simultaneously: as an in-demand church singer in Chicago, and as a media star for a major network and recording label.

The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.

for SATB unaccompanied Setting a well-known Latin text from the Liber Usualis, Michael Austin Miller combines expressive harmony and flowing polyphony to create a gentle and touching anthem. The opening and closing sections develop the chant-like opening motif, enclosing an 'Alleluia' section comprising joyously interweaving lines.

The fifteen studies assembled here grew out of research on south-Italian ordinary chants and tropes for the multi-volume series Beneventanum Troporum Corpus II, edited by John Boe in collaboration with Alejandro Planchart. In the present essays, clerical and ordinary chants and tropes of the Mass (especially when derived from paraliturgical hymns and poems), certain aspects of chant notation and particular facets of the old Beneventan and the old Roman chant repertories are examined in relation to the three main cultic centres of the Italian south - Benevento, Montecassino and Rome - and as they relate to their European context, namely Frankish and Norman chant and the varieties of chant sung in Italy north of Rome. The volume includes one previously unpublished study, on the Roman introit Salus Populi.

You need only minimal playing skills and three chords; G, C and D7 to accompany the beautiful songs of faith in this innovative book. If you are a beginning or "casual" player on a chording instrument, this is the book for you. The book is bursting with a great variety of timeless standards your entire family will enjoy. An outstanding collection of innovation arrangements made playable for folks who play for their own enjoyment. Melody and lyrics are included with all songs.
Guitar, ukulele and five-string banjo diagrams are included for the three chords along with tips on strumming. Transposing and use of capo tips are included for singers.

There can be no doubt as to the authenticity of BWV 143 as a genuine cantata by Johann Sebastian Bach. While the originals are lost, there are second and third "generation" copies. This study considers all known facts since the work's composition in the 18th century and discusses in detail the criteria for judging the authenticity of the work.

Bestselling author Joni Eareckson Tada invites families to rediscover some of the Christian faith's most beloved songs and draws out powerful truths from the music that has inspired generations of believers. Long before Joni Eareckson Tada's life was changed forever by a diving accident when she was 17, she was finding comfort and strength in classic hymns, including "Holy, Holy, Holy," "A Mighty Fortress Is Our God," and "How Great Thou Art." Now Joni shares these and other timeless favorites with your family, complete with a devotion and some historical background for each hymn. Experience anew God's love, hope, and peace as you worship and praise Him together and introduce your children to the rich spiritual legacy contained in these timeless Christian anthems.

A survey of gospel singing, with attention to the relationship between gospel and other black musical forms such as jazz and rhythm and blues.

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.

There are few works in existence that teach gospel singing and even fewer that focus on what gospel soloists need to know. In So You Want to Sing Gospel, Trineice Robinson-Martin offers the first resource to help individual gospel singers at all levels make the most of their primary instrument-their voice. Robinson-Martin gathers together key information on gospel music history, vocal pedagogy, musical style and performance, and its place in music ministry. So You Want to Sing Gospel covers such vital matters as historical, cultural and spiritual perspectives on the gospel music tradition, training one's voice, understanding the dynamic of sound production, grasping gospel style, and bringing together vocal performance with ministerial imperatives. She also includes in her discussion such matters as voice type, repertoire selection, and gospel sub-genres. Additional chapters by Scott McCoy and Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Gospel features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

The first edition of this book is the classic study of one of the most popular musical forms in early eighteenth-century France, not only because it documents and examines its considerable repertoire for the first time, but also because it places the genre in the wider context of both French and Italian baroque music styles. In uniting the two national styles the cantata was one of the major influences in transforming the seventeenth-century French classical tradition in music into a style that owed much to the Italian baroque, yet retained a distinctive gallic expression. As well as its musical interest, the French cantata provides an arresting example of the influence of society upon music, and the book commences with a chapter that views the emergence of the form in its social setting. Cantata texts enjoyed a vogue as poetry and this literary aspect is also dealt with in a separate chapter. This new edition incorporates research by the author and other scholars over the twenty years since the first edition, reflecting today's growing interest in French baroque music. It also features a new chapter dealing with the French cantata in performance.

The scholar Robin A. Leaver holds a unique place in sacred music scholarship because of his training in both music and theology. He has written widely, bringing acute insights on a variety of musical repertories and topics related to Martin Luther, sixteenth-century psalmody, hymnody, and the sacred music of Johann Sebastian Bach. In Music and Theology, twelve scholars influenced by Leaver's work contribute essays in diverse areas of sacred music history and philosophy, focusing on the intersection of music and theology. Ranging chronologically from the twelfth-century writer and composer Hildegard of Bingen (1098-1179) to present-day considerations of American church music and worship, the volume provides thought-provoking new work for all who study church music. Reflecting the prominent emphasis in Leaver's own scholarship, eight chapters deal with the music of Johann Sebastian Bach, including his organ music, sacred cantatas, and passion settings. A final chapter provides a chronological listing of Leaver's own voluminous writings on music and theology.

In the seventeenth century Bologna developed a rich and diverse musical culture through the enterprise of musicians attached to the Basilica of S. Petronio and affiliated to the Accademia de'Filarmonici. Their achievements in the field of instrumental music (sonata, concerto) and festive church music (concerted mass) are well documented, but little of their output in the fields of oratorio, amounting to 300 performances in the period 1659-1730, has been subjected to critical scrutiny. This book relates the genesis and development of oratorio in Bologna to the city's religious, political, and cultural aspirations. The oratorio repertory is surveyed in three historical phases: under Cazzati (1657-74), Colonna (1675-95), and Perti (1696-1730), and eight oratorios by the city's leading composers are analysed in detail. A chronological list of performances is given in the Appendix.

This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726 - 1804), a specialist in sacred music composition. This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726-1804), a specialist in sacred music composition. Zerafa's large-scale and small-scale vocal and choral works, mostly written during his long service as musical director at the Cathedral of Mdina, have been winning increased recognition in recent years. In addition to describing and analysing this extensive corpus, the book gives an account of Zerafa's sometimes eventful career against the wider background of the rich musical and cultural life in Malta, especial attention being paid to its strong links with Italy, and particularly Naples, where Zerafa was a student for six years. Itexamines in detail the complex relationship of music to Catholic liturgy and investigates the distinctive characteristics of the musical style, intermediate between baroque and classical, in which Zerafa was trained and always composed: one that today is commonly labelled "galant". Well stocked with music examples, the book makes copious reference to Italian and Maltese composers from Zerafa's time and to modern analytical studies of Italian music from the middle decades of the eighteenth century, thereby offering a useful general commentary on the galant period. Its central aim, however, is to stimulate further interest in, and revival of, Zerafa's music. To this end the book contains a complete work-list with supplementary indexes. Scholars and students of eighteenth-century music, in particular sacred music, the galant style and Italian music, will find it invaluable. FREDERICK AQUILINAis Senior Lecturer in Music Studies at the University of Malta.

for SATB and organ or brass ensemble This arrangement of Rimsky-Korsakov's 'Glory' (Slava, Op.21) by Terry Price brings this popular Russian anthem to a wider audience. The original Russian text has been replaced with a hymn by the arranger that draws inspiration from words by Reginald Heber, verses from Revelation, and the liturgy, and is particularly suitable for Easter, as well as for general use. Price's arrangement of this rousing tune may be accompanied by organ or brass ensemble, allowing for performance in both church and concert settings.

It has been said that the quickest way to God's innermost ear is through niggunim - Jewish tunes chanted or sung as prayers. Thousands of niggunim have been composed over the centuries, and they remain an active part of Jewish life today. Sung in the synagogue, around the Shabbos table, at farbrengenchasidic get-togethers - at work, in solitude, to express joy or sorrow, niggunim allow Jews to find that which is hidden deep within their souls, to connect with God and their own spiritually without the use of words. In Niggun: Stories behind the Chasidic Songs that Inspire Jews, Mordechai Staiman relates thirty-eight tales in which niggunim affect the lives of Jews. The stories range from those about great chasidic rebbes of the past, such as "The Purpose of Life", in which the Baal Shem Tov binds a Jew to the world of music to help him find his way; through those from recent history, such as "David without the Slingshot" and "Embers midst the Ruins", where niggunim helped to save people from certain death at the hands of the Nazis, and "Jerusalem on Her Mind", about Soviet-Jewish emigres; to contemporary situations, as in "Jail House Rock", in which the singing of a niggun helps to bring holiday magic to Jewish prisoners on Riker's Island in New York City, and "Leonard Bernstein Unbound", in which the great conductor is so moved by a tune that he is prompted to wrap tefillin for the first time. This wonderfully moving collection contains stories of faith, of miracles and transformations, and of daily life, all connected through the beauty of niggunim. According to the author, the stories, or "prayers", as he calls them, contained in Niggun will teach us about our deep, rich, Jewishheritage, helping us to reclaim our inheritance and share in the Jewish legacy.

Easter Sunday, 2009, was the Sunday heard 'round the evangelical internet: NewSpring Church, the second-largest church in the Southern Baptist Convention and among the top one hundred largest churches in the US, had begun their service with the song "Highway to Hell" by hard rock band AC/DC. They had brazenly crossed the sacred/secular musical divide on the most important Sunday of the year, and commentary abounded on the value of such a step. Many were offended at the "desecration" of such a holy day, deriding Newspring as the "theater of the absurd." Others cheered NewSpring's engagement with "the culture" and suggested that music could be used to convert non-Christians. No mere debate over stylistic preferences, many expressed that foundational aspects of evangelical identity were at stake. While many books have been written about religious music that utilizes popular music styles (a.k.a. "contemporary Christian music"), there has yet to be a scholarly treatment of how and why popular, secular music is utilized by churches. This book addresses that lacuna by examining this emerging trend in evangelical and "emerging" churches in America. What is the motivation behind using music that seemingly has no connection to Christian theology, values, or themes-such as music by Katy Perry, AC/DC, or Van Halen-and what can we learn about post-denominational evangelical churches in America by uncovering these motives? In this book, April Stace uncovers several themes from an ethnographic study of these churches: the increasingly-porous boundary between the sacred and the secular, the importance placed on "authenticity" in contemporary American culture, how evangelicals are responding to what they perceive is an increasingly-secular society, the "turn to the subject" of contemporary culture, the desire to leave a space for expression of doubt in the worship service without fully authorizing that doubt, and the individualization of the construction of religious identity in the modern era.

The Politics of Verdi's Cantica treats a singular case study of the use of music to resist oppression, combat evil, and fight injustice. Cantica, better known as Inno delle nazioni / Hymn of the Nations, commissioned from Italy's foremost composer to represent the newly independent nation at the 1862 London International Exhibition, served as a national voice of pride and of protest for Italy across two centuries and in two very different political situations. The book unpacks, for the first time, the full history of Verdi's composition from its creation, performance, and publication in the 1860s through its appropriation as purposeful social and political commentary and its perception by American broadcast media as a 'weapon of art' in the mid twentieth century. Based on largely untapped primary archival and other documentary sources, journalistic writings, and radio and film scripts, the project discusses the changing meanings of the composition over time. It not only unravels the complex history of the work in the nineteenth century, of greater significance it offers the first fully documented study of the performances, radio broadcast, and filming of the work by the renowned Italian conductor Arturo Toscanini during World War II. In presenting new evidence about ways in which Verdi's music was appropriated by expatriate Italians and the US government for cross-cultural propaganda in America and Italy, it addresses the intertwining of Italian and American culture with regard to art, politics, and history; and investigates the ways in which the press and broadcast media helped construct a musical weapon that traversed ethnic, aesthetic, and temporal boundaries to make a strong political statement.

Although he is often identified as a Monteverdi scholar (Approaches to Monteverdi: Aesthetic, Psychological, Analytical and Historical Studies, published in the Variorum series in 2013), the majority of Jeffrey Kurtzman's work has focused on other sixteenth- and seventeenth-century Italian sacred music. Organized into three sections, part one begins with a chapter on the Monteverdi Mass and Vespers of 1610 which spotlights the other major work in Monteverdi's first prominent sacred print, the Missa in illo tempore, followed by examples of Kurtzman's work on the sacred music of other composers such as Giovanni Francesco Capello and Palestrina. The section concludes with a piece on polyphonic psalm structures in seventeenth-century Italian Office music. Part two includes pieces which explore the relationship between the standard clef set, the high clef set, specific Magnificat tones and sounding pitch in the Magnificats of Roman composers; the issue of polyphonic psalm antiphons and the question of vocal and instrumental substitutes for plainchant antiphons in the Vespers service; and the use of instruments in the performance of sacred music, demonstrating that the concertato style of the seventeenth century had its origins in the practice of substituting instruments for voices and doubling voices with instruments, thereby introducing multifaceted possibilities for varying sonorities through the course of a composition. Part 3 contains two articles: the first surveying various styles in the Office repertoire of the seventeenth-century based on the approximately 1500 prints of Italian Office music in Kurtzman's and Anne Schnoebelen's catalogue of Mass, Office and Holy Week Music Printed in Italy, 1516-1770. The second article, published for the first time in this volume, assesses the impact on Italian liturgical music of the Catholic reform of the second half of the sixteenth-century.

The New Oxford Easy Anthem Book is an outstanding anthem collection, suitable for all church choirs and designed for use throughout the year. The emphasis is placed firmly on providing the highest quality, easy, and accessible anthem settings. BL 63 easy and accessible anthems - Scored for SATB with the minimum of divisi, and using comfortable ranges BL Wonderful repertoire from the Renaissance to the present day - Favourite and lesser-known pieces from all periods BL 20 brand new pieces and arrangements - By Andrew Carter, Bob Chilcott, David Willcocks, Alan Bullard, Malcolm Archer, Simon Lole, and others BL Music for every season of the Church's year - With a seasonal index for easy reference BL Playable accompaniments - Simplified wherever possible and mostly suitable for organ without pedals

Dapha, or dapha bhajan, is a genre of Hindu-Buddhist devotional singing, performed by male, non-professional musicians of the farmer and other castes belonging to the Newar ethnic group, in the towns and villages of the Kathmandu Valley, Nepal. The songs, their texts, and their characteristic responsorial performance-style represent an extension of pan-South Asian traditions of raga- and tala-based devotional song, but at the same time embody distinctive characteristics of Newar culture. This culture is of unique importance as an urban South Asian society in which many traditional models survive into the modern age. There are few book-length studies of non-classical vocal music in South Asia, and none of dapha. Richard Widdess describes the music and musical practices of dapha, accounts for their historical origins and later transformations, investigates links with other South Asian traditions, and describes a cultural world in which music is an integral part of everyday social and religious life. The book focusses particularly on the musical system and structures of dapha, but aims to integrate their analysis with that of the cultural and historical context of the music, in order to address the question of what music means in a traditional South Asian society.

Music is an intrinsic part of Jewish expression, reaching back to the biblical "Song of the Sea," which appears in Exodus, and the Psalms composed by King David. Employing the tools of Jewish mysticism, Music and Kabbalah examines the spiritual connection between God and music. The holy aspects of the musical scale, musical terminology, and instruments named in the Psalms are deciphered by using the gematria (interpretive numeric value) of their Hebrew names. Rabbi Glazerson employs music as a vehicle with which to teach that "Judaism and the Hebrew language, the holy tongue, are vast and deep, embracing incomprehensible knowledge of every aspect and sphere of life."

Christian Music: A Global History was originally published by Lion Hudson in 2011. This new edition has been substantially extended and updated. Dr Tim Dowley's wide-ranging survey includes contributions from nine additional experts. The book covers the Jewish musical tradition; early hymns and psalms; music after Constantine; the rise of music in the Orthodox tradition; Christian chant and the core of medieval music; polyphony in the medieval and Renaissance eras; music and the Lutheran Reformation; the rise of Catholic Baroque; the development of Anglican worship; Christian music in Latin America; the Viennese tradition of liturgical and non-liturgical sacred music; sacred music in the age of Romanticism; 19th-century hymns; the steadily developing tradition of Christian music in Africa; sacred music and the concert hall; music and The Salvation Army; the rise of carols; popular church music in the 20th century; the making of the American Gospel tradition; Christian music in SE Asia; musical traditions in Australia and New Zealand, and in the Pacific Islands; Christian elements in the rise of folk and jazz; and the rise of the contemporary Christian music industry.

A survey of the huge importance of Thomas Tallis, the `Father of Church Music', on Victorian musical life. In Victorian England, Tallis was ever-present: in performances of his music, in accounts of his biography, and through his representation in physical monuments. Known in the nineteenth century as the 'Father of English Church Music', Tallis occupies a central position in the history of the music of the Anglican Church. This book examines in detail the reception of two works that lie at the stylistic extremes of his output: Spem in alium, revived in the 1830s, though generally not greatly admired, and the Responses, which were very popular. A close study of the performances, manuscripts and editions of these works casts light on the intersections between the antiquarian, liturgical and aesthetic goals of nineteenth-century editors and musicians. By tracing Tallis's reception in nineteenth-century England, the author charts the hold Tallis had on the Victorians and the ways in which Anglican - and English - identity was defined and challenged. Dr SUE COLE is a research associate at the Faculty of Music, University of Melbourne.