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.

for SATB and organ or piano Spirited in tone, this anthem sets a text based on Psalm 148 that praises God's glory. Opening with an uplifting unison melody, the vocal parts gradually open out into jubilant harmonies, which are supported by the accompaniment (performable on organ or piano). Suitable for performance throughout the year, Praise the Lord, ye heavens adore him will be a welcome addition to repertory of all church choirs.

Following the success of Hymn Miniatures 1, Rebecca Groom te Velde presents a second collection of twenty-eight practical arrangements for organ. These short pieces, each based on a well-known hymn tune, are ideal for use as service interludes, hymn introductions, communion meditations, and short preludes, offertories, and postludes. Suitable for use throughout the year, te Velde's accessible arrangements will prove invaluable to the church musician looking for fresh repertoire to enhance services.

The B-minor Mass has always represented a fascinating challenge to musical scholarship. Composed over the course of Johann Sebastian Bach's life, it is considered by many to be the composer's greatest and most complex work. The fourteen essays assembled in this volume originate from the International Symposium 'Understanding Bach's B-minor mass' at which scholars from eighteen countries gathered to debate the latest topics in the field. In revised and updated form, they comprise a thorough and systematic study of Bach's Opus Ultimum, including a wide range of discussions relating to the Mass's historical background and contexts, structure and proportion, sources and editions, and the reception of the work in the late eighteenth and early nineteenth centuries. In the light of important new developments in the study of the piece, this collection demonstrates the innovation and rigour for which Bach scholarship has become known.

With a host of accessible, quality new settings, and with pieces based on all the major hymn tunes, these volumes are a must for every church organistas library.

Gregory of Nazianzus (329-390 CE), "the Theologian," is the premier teacher on the Holy Trinity in Eastern Christian tradition, yet for over a century historians and theologians have largely neglected his work. Christopher Beeley's groundbreaking study - the first comprehensive treatment in modern scholarship - examines Gregory's doctrine of the Trinity within the full range of his theological and practical vision. Following an overview of Gregory's life and major works, Beeley traces the central soteriological meaning of Gregory's doctrine in the spiritual dialectic of purification and illumination; the dynamic process of divinization (theosis); the singular identity of Jesus Christ as the eternal Son of God; the divinity and essential presence of the Holy Spirit; and the interpretation of Scripture "according to the Spirit." The book culminates in Gregory's understanding of the Trinity as a whole - which is "theology" in the fullest sense - rooted in the monarchy of God the Father and uniquely known in the divine economy of salvation. Finally, Beeley identifies the Trinitarian shape of pastoral ministry, on which Gregory is also the foundational teacher for later Christian tradition. Beeley offers new insights in several key areas, reinterpreting the famous Theological Orations and Christological epistles within the full corpus of Gregory's orations, poems, and letters. Gregory stands out as the leading ecclesiastical figure in the Eastern Roman Empire and the most powerful theologian of his age, who produced the definitive expression of Trinitarian orthodoxy from a characteristically Eastern tradition of Origenist theology, independent of the work of Athanasius and in several respects more insightful than his Cappadocian contemporaries. Long eclipsed in modern scholarship, Gregory Nazianzen is now brought into full view as the major witness to the Trinity among the Greek fathers of the Church.

Nearly a half century after her death in 1972, Mahalia Jackson remains the most esteemed figure in black gospel music history. Born in the backstreets of New Orleans in 1911, Jackson during the Great Depression joined the Great Migration to Chicago, where she became an highly regarded church singer and, by the mid-fifties, a coveted recording artist for Apollo and Columbia Records, lauded as the "World's Greatest Gospel Singer." This "Louisiana Cinderella" narrative of Jackson's career during the decade following World War II carried important meanings for African Americans, though it remains a story half told. Jackson was gospel's first multi-mediated artist, with a nationally broadcast radio program, a Chicago-based television show, and early recordings that introduced straight-out-of-the-church black gospel to American and European audiences while also tapping the vogue for religious pop in the early Cold War. In some ways, Jackson's successes made her an exceptional case, though she is perhaps best understood as part of broader developments in the black gospel field. Built upon foundations laid by pioneering Chicago organizers in the 1930s, black gospel singing, with Jackson as its most visible representative, began to circulate in novel ways as a form of popular culture in the 1940s and 1950s, its practitioners accruing prestige not only through devout integrity but also from their charismatic artistry, public recognition, and pop-cultural cachet. These years also saw shifting strategies in the black freedom struggle that gave new cultural-political significance to African American vernacular culture. The first book on Jackson in 25 years, Mahalia Jackson and the Black Gospel Field draws on a trove of previously unexamined archival sources that illuminate Jackson's childhood in New Orleans and her negotiation of parallel careers as a singing Baptist evangelist and a mass media entertainer, documenting the unfolding material and symbolic influence of Jackson and black gospel music in postwar American society.

This is a major collection of organ music for students, players, and church musicians of all levels and abilities. Compiler and editor Anne Marsden Thomas has drawn on her long experience of teaching and playing to select the most attractive, tuneful repertoire in two sets of graded anthologies, one set (3 volumes) for manuals only, the second set (3 volumes) for manuals and pedals. Within each book the pieces are grouped according to service needs into Preludes, Interludes, Processionals, and Postludes. The repertoire spans the 16th to the 21st century, with some new pieces written especially for the collection. A number of pieces throughout the collection have been selected for the ABRSM organ syllabus. The result is a wonderful collection of repertoire for all players, containing a wealth of attractive and varied pieces that will offer much practical support for church musicians and enrich and develop their playing.

The foremost American musician of the eighteenth century, William Billings wrote more than three hundred compositions and six musical collections at a time when Americans were singing almost nothing but British music. In this study, David McKay and Richard Crawford depict the man, his music, and his place in the tradition of American psalmody. The authors examine Billings' methods, innovations, and interaction with the Boston society in which he lived, placing overall emphasis on his influence on American Protestant sacred music. David McKay is Associate Professor of English at Worcester Polytechnic Institute. Richard Crawford is Associate Professor of Music at the University of Michigan. He is the author of Andrew Law, American Psalmodist (Northwestern, 1968). Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Sense and Sadness is an innovative study of music modality in relation to human emotion and the aesthetics of perception. It is also a musical story of survival through difficulty and pain. Focusing on chant at St George's Syrian Orthodox Church of Aleppo, author Tala Jarjour puts forward the concept of the emotional economy of aesthetics, which enables a new understanding of modal musicality in general and of Syriac musicality in particular. Jarjour combines insights from musicology and ethnomusicology, sound and religious studies, anthropology, history, East Christian and Middle Eastern studies, and the study of emotion, to seamlessly weave together multiple strands of a narrative which then becomes the very story it tells. Drawing on imagination and metaphor, she brings to the fore overlapping, at times contradictory, modes of sense and sense making. At once intimate and analytical, this ethnographic text entwines academic thinking with its subject(s) and subjectivities, portraying events, writing, people, and music as they unfold together through ritual commemorations and a devastating, ongoing war.

A leading historian of the early church and the best-selling author of Misquoting Jesus, Bart Ehrman offers the first comprehensive account of the newly discovered Gospel of Judas, revealing what this legendary lost gospel contains and why it is so important for our understanding of Christianity. Ehrman recounts the fascinating story of where and how this ancient papyrus document was discovered, how it moved around among antiquities dealers in Egypt, the United States, and Switzerland, and how it came to be restored and translated. More important, Ehrman gives the reader a complete and clear account of what the book teaches and he shows how it relates to other Gospel texts--both those inside the New Testament and those outside of it, most notably, the Gnostic texts of early Christianity. Finally, he describes what we now can say about the historical Judas himself as well as his relationship with Jesus, suggesting that one needs to read between the lines of the early Gospels to see exactly what Judas did and why he did it. The Gospel of Judas presents an entirely new view of Jesus, his disciples, and the man who allegedly betrayed him. It raises many questions and Bart Ehrman provides illuminating and authoritative answers, in a book that will interest anyone curious about the New Testament, the life of Jesus, and the history of Christianity after his death.
"A must for those interested in the subject of early Christianity, this volume will also attract readers intrigued by all the hoopla arising from the discovery of the lost Gospel."
--Booklist
"In typically brilliant fashion, Ehrman tells the lively tale of the modern discovery of the Gospel of Judas and its significance for us today."
--Publishers Weekly

The Ivy and the Holly is a superb collection of carols and motets for Advent, Christmas, and Epiphany by contemporary composers. Scored for mixed voices - a cappella and with organ - the anthology embraces a range of styles and sonorities. Here are plainchant lines, lilting melodies, and overlapping phrases; lively, energetic settings and soft, reflective ones; dancing rhythms and rich, sumptuous harmonies. Encompassing a variety of texts, with settings of medieval English verse and biblical passages alongside poems by celebrated writers, this collection will be welcomed by concert and church choirs alike.

Handel's English church music spans the complete period of his active career in London: his first anthem and the Utrecht Te Deum were composed soon after his arrival in London, and his last works nearly 40 years later. The repertory, which includes the Coronation Anthem Zadok the Priest, forms one of the most impressive and engaging areas of Baroque church music. Most of it was stimulated by Handel's creative contact with the English Chapel Royal, a group of professional singers in a different tradition from the opera stars with whom he worked in the theatre.
Appearing in paperback for the first time, this first full-length study of Handel's English Church music traces the background to the diverse items in the repertory, which relates directly to Handel's constant but changing relationship with the Hanoverian British royal family, and was affected by political and dynastic events. It also examines the circumstances of Handel's performances, the building which (unlike his theatres) still survives in London today.

Theodoret of Cyrus (c.393-c.466) was the most able Antiochene theologian in the defence of Nestorius from the Council of Ephesus in 431 to the Council of Chalcedon in 451. While the works of Theodore of Mopsuestia and Nestorius are extant today only in translations or in fragments, Theodoret's voluminous works are largely available in their original Greek. This study of his writings throws considerable light on the theology of those councils and the final evolution and content of Antiochene Christology. Clayton demonstrates that Antiochene Christology was rooted in the concern to maintain the impassibility of God the Word and is consequently a two-subject Christology. Its fundamental philosophical assumptions about the natures of God and humanity compelled the Antiochenes to assert that there are two subjects in the Incarnation: the Word himself and a distinct human personality. This Christology is not the hypostatic union of the Councils of Ephesus and Chalcedon.

This book is primarily a catalogue of those nearly-intact extant books containing the full music of the Mass made between the date of the Bohemian Revolution (July 1419) and the Battle of the White Mountain (November 1620). Two principal religious factions were active in Bohemia and Moravia during the period. The larger, the Utraquists, took communion in both bread and wine. The Roman Catholics, fewer but still numerous, followed the then relatively recent practice of using bread only. While graduals are important sources for the liturgy practised by Utraquists and Roman Catholics, many of them are also of great interest artistically and historically. Some of the more beautiful books were produced for use by the literary societies, later incorporated as guilds, which were responsible for the music in their churches. The information the books contain about the membership of the guilds, containing as it did most of the social strata of the towns, gives important information about the contemporary social structure and about the strength of Utraquism. Individual guild members often sponsored a page at the beginning of a mass set which was profusely decorated. The quality of the art and the evolution in the iconography can be appreciated in the book's 50 colour plates.

Near the end of the third decade of the sixteenth century, a five-volume set of madrigal and motet partbooks was assembled in Florence and sent as a gift--or "musical embassy"--to the English court of Henry VIII. The manuscript set--minus the missing altus part--has been owned since 1935 by the Newberry Library in Chicago; but until H. Colin Slim's exhaustive efforts, no thorough study of the history or contents of the partbooks had been undertaken.
At first encounter, these partbooks yield no clues concerning their provenance, their composers' names, or the reasons for their dispatch to England. In his search for this information, Professor Slim used the musicologists' customary tools, namely, biobibliography, concordances, and textual and musical analysis. But he also used bibliographers' tools not always employed by musicologists: watermarks, bindings, script, orthography, and illuminations.
As a result of his efforts, the author was able to identify nearly all the works' composers and the manuscripts' expert illuminator. He also presents a detailed description of the binding process and the probably background of the scribe, places the political and social references in the works, and determines the route the volumes may have taken after they left Henry's library.
By placing the date of the partbooks' arrival in England around 1528, Professor Slim suggests that the musical culture of the early Tudor court was less French than has hitherto been thought. Indeed, the presence of the partbooks in Henry's library makes them the earliest evidence of the Italian madrigal in England. The author also provides new and significant data on the artistic and historical position ofPhilippe Verdelot, the partbooks' most extensively represented composer.
In Volume II, Professor Slim has transcribed the music of the thirty motets and thirty madrigals for modern performance. The parts are cantus, tenor, bassus, and quintus et VI; the altus partbook is missing. Concordant sources provide the altus parts for all but four of the motets and six of the madrigals. These ten have been composed by Professor Slim. Notes at the end of each selection provide variant readings for both music and text. The Latin texts of the motets, the Italian of the madrigals, and an English translation of each appear at the end of the volume.

Of all the things we can know about J. S. Bach's Mass in B Minor and Christmas Oratorio, the most profound come from things we can hear. Listening to Bach explores musical style as it was understood in the early eighteenth century. It encourages ways of listening that take eighteenth-century musical sensibilities into account and that recognize our place as inheritors of a long tradition of performance and interpretation. Daniel R. Melamed shows how to recognize old and new styles in sacred music of Bach's time, and how movements in these styles are constructed. This opens the possibility of listening to the Mass in B Minor as Bach's demonstration of the possibilities of contrasting, combining, and reconciling old and new styles. It also shows how to listen for elements that would have been heard as most significant in the early eighteenth century, including markers of sleep arias, love duets, secular choral arias, and other movement types. This offers a musical starting point for listening for the ways Bach put these types to use in the Mass in B Minor and the Christmas Oratorio. The book also offers ways to listen to and think about works created by parody, the re-use of music for new words and a new purpose, like almost all of the Mass in B Minor and Christmas Oratorio. And it shows that modern performances of these works are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and Oratorio, part of the legacy of their performance and interpretation, affect the way the work is understood and heard today. All these topics are illustrated with copious audio examples on a companion Web site, offering new ways of listening to some of Bach's greatest music.

Focusing on the earliest and most extensive collection of tropes we now possess, those associated with the abbey of Saint Martial de Limoges in the tenth and early eleventh centuries, Professor Evans offers new conclusions about the nature and early development of the trope. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.