This volume examines the stories of Genesis in music, showing how musical settings can illuminate many of the Bible's most noted tales. Helen Leneman studies oratorios, operas and songs (as well as their librettos) to shed light on how Genesis has been understood and experienced over time. Examining an extensive range of musical settings of stories from the book of Genesis, Leneman offers an overview of chiefly 19th and 20th century musical engagements with this biblical text. Leneman first discusses how Eve's inner thoughts are explored by noted French composers Jules Massenet and Gabriel Faure. The text then enters the deep waters of Noah's flood in examination of several compositions, including two unusual settings by Igor Stravinsky and Benjamin Britten, as well as more conventional settings by Saint-Saens and Donizetti. Two major 19th century oratorio settings of Abraham's story by lesserknown German composers Martin Blumner and Karl Mangold provide fascinating illuminations of the Abraham narratives, whereas parts of Rebecca's story are found in works by Cesar Franck, Ferdinand Hiller, and most unusually, by a French woman composer, Celanie Carissan. Finally, Leneman shows how Joseph's story was set in numerous oratorios (including by Handel) but that one of the most important works based on his story is an opera by 18th century French composer Etienne Mehul. In addition to discussing these larger 19th century works, Leneman also examines several interesting atonal 20th century works based on the stories of Eve and the Flood, shedding new light on the history of the interpretation of the Book of Genesis.

Top music writer Steve Turner traces the biography of 'Amazing Grace', the world's most recorded song. Versions of this hymn have been performed by artists as diverse as Elvis Presley, Ladysmith Black Mambazo, Johnny Cash, Rod Stewart and Destiny's Child. The book begins with the dramatic story of John Newton and his participation in the African slave trade through to his writing of 'Amazing Grace' and his campaigning against slavery. The second part of the book - picking up the thread in the years following Newton's death - tells the story of the song itself as it has spread and developed over the past 280 years and its recordings by artists from a wide variety of musical backgrounds. This includes the aftermath of September 11th when the hymn became an international anthem of hope and solidarity.

Christian metal has always defined itself in contrast to its non-Christian, secular counterpart, yet it stands out from nearly all other forms of contemporary Christian music through its unreserved use of metal's main musical, visual, and aesthetic traits. Christian metal is a rare example of a direct combination between evangelical Christianity and an aggressive and highly controversial form of popular music and its culture."Christian Metal: History, Ideology, Scene" is the first full exploration of the phenomenon of Christian metal music, its history, main characteristics, development, diversification, and key ideological traits from its formative years in the early 1980s to the present day. Marcus Moberg situates it in a wider international evangelical cultural environment, accounts for its diffusion on a transnational scale, and explores what religious meanings and functions Christian metal holds for its own musicians and followers. Engaging with wider debates on religion, media and popular culture, "Christian Metal: History, Ideology and Scene" is a much-needed resource in the study of religion and popular music.

Gregory of Nazianzus, a 4th-century bishop of Constantinople, receives relatively little attention from modern Western scholars, yet he is one of the most influential theologians in the history of Christian doctrine. Many modern Christians understand their religious beliefs through ideas originally expounded by Gregory, yet probably would not recognize his name. As an advocate for the conceptual understanding of the Trinity, Gregory set precedents for the way his fellow and future Christians would perceive and worship God. Holding that Jesus was both fully divine and fully human, Gregory added new complexity to Christianitys grasp of the mysterious relationship between the Son and the Father. He also explored the nature of the Holy Spirit by means of scriptural analysis, both in the Hebrew Scriptures and the New Testament. Gregorys enlightening revelations resonate throughout the varied religious landscape of Christian creed, cult, and code. Christopher A. Beeley examines Gregorys doctrine of the Trinity in the full range of his theological and practical vision of the Christian life. Beeley examines and analyzes Gregorys teachings on the purification, illumination, and limitations of the theologian; the saving work of Christ within the context of Gregorys understanding of salvation; the place of the Holy Spirit in the work of the Trinity; and the Trinitarian purpose of pastoral ministry. This book combines expansive coverage of Gregorys works with meticulous close-readings and analyses to impart new interpretations in the areas of Christology, Pneumatology, and Christian ministry.

Sacred music is a universal phenomenon of humanity. Where there is faith, there is music to express it. Every major religious tradition and most minor ones have music and have it in abundance and variety. There is music to accompany ritual and music purely for devotion, music for large congregations and music for trained soloists, music that sets holy words and music without words at all. In some traditions-Islamic and many Native American, to name just two--the relation between music and religious ritual is so intimate that it is inaccurate to speak of the music accompanying the ritual. Rather, to perform the ritual is to sing, and to sing the ritual is to perform it. This second edition of Historical Dictionary of Sacred Music contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 800 cross-referenced entries on major types of music, composers, key religious figures, specialized positions, genres of composition, technical terms, instruments, fundamental documents and sources, significant places, and important musical compositions. This book is an excellent access point for students, researchers, and anyone wanting to know more about sacred music.

A collection of 230 hymns, with music, drawn from a wide range of liberal religious sources, all written in the 20th or 21st century; many were composed by Unitarian and Unitarian Universalist writers, often drawing their imagery from other faith traditions. The collection includes songs for blessing partnerships and relationships. The compilers have drawn on a wide range of musical styles, using keys in keeping with current group vocal range.

The purpose of this book is to bring together in one convenient volume some of the best devotional verse the English language affords, and thus to make available to present day Christians a rich spiritual heritage which the greater number of them for various reasons do not now enjoy. I have not hesitated to apply the term "mystical" to the material I have collected here, though I readily admit that fewer than half a dozen of the men and women who would be called true mystics in the strict classical sense will be found here. Such names as Eckhart, Ruysbroeck, John of the Cross, Teresa, Rolle, Tauler, Hilton, Francis of Assisi, for instance, are not represented in this volume at all. On the other hand the frequent appearance of such a man as Watts might cause the reader to lift a questioning eyebrow and ask, "Is Watts also among the mystics?" Well, the answer must be, Of course he is, and so are John Newton and James Montgomery and Reginald Heber and Charles Wesley, as well as many others who might have balked at being called mystics but whose writings, nevertheless, reveal unmistakable traces of purest mysticism and are the better for it. And for that matter the same thing may be said of the inspired writings of such men as Moses and David and Isaiah and Daniel and Paul and John, the works of the latter showing more than traces of the mystical spirit, being indeed charged full with it. Wilder Publications is a green publisher. All of our books are printed to order. This reduces waste and helps us keep prices low while greatly reducing our impact on the environment.

Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria explores the nature of sound as a powerful yet ambivalent force in the religious struggles that permeated Germany during the Counter-Reformation. Author Alexander J. Fisher goes beyond a musicological treatment of composers, styles, and genres to examine how music, and more broadly sound itself, shaped the aural landscape of Bavaria as the duchy emerged as a militant Catholic bulwark. Fisher focuses particularly on the ways in which sound-including bell-ringing, gunfire, and popular song, as well as cultivated polyphony-not only was deployed by Catholic secular and clerical elites to shape the religious identities of Bavarian subjects, but also carried the potential to challenge and undermine confessional boundaries. Surviving literature, archival documents, and music illustrate the ways in which Bavarian authorities and their allies in the Catholic clergy and orders deployed sound to underline crucial theological differences with their Protestant antagonists, notably the cults of the Virgin Mary, the Eucharist, and the saints. Official and popular rituals like divine worship, processions, and pilgrimages all featured distinctive sounds and music that shaped and reflected an emerging Catholic identity. Although officials imposed a severe regime of religious surveillance, the Catholic state's dominance of the soundscape was hardly assured. Fisher traces archival sources that show the resilience of Protestant vernacular song in Bavaria, the dissemination and performance of forbidden, anti-Catholic songs, the presence of Lutheran chorales in nominally Catholic church services into the late 16th century, and the persistence of popular "noise" more generally. Music, Piety, and Propaganda thus reveals historical, theological, and cultural issues of the period through the piercing dimension of its sounds, bringing into focus the import of sound as a strategic cultural tool with significant impact on the flow of history.

Holy Chord Within Sacred Walls examines musical culture both inside and outside seventeenth-century Sienese convents. In contrast to earlier studies of Italian convent music, this book draws upon archival sources to reconstruct an ecclesiastical culture that celebrated music internally and shared music freely with the community outside the convent walls. Colleen Reardon argues that cloistered women in Siena enjoyed a significant degree of freedom to engage in musical pursuits. The nuns produced a remarkable body of work including motets, lamentations, theatrical plays and even an opera. As a result, the convent became an important cultural centre in Siena that enjoyed the support and encouragement of its clergy and lay community.