The history of American church music is a particularly fascinating and challenging subject, if for no other reason than because of the variety of diverse religious groups that have immigrated and movements that have sprung up in American. Indeed, for the first time in modern history-possibly the only time since the rule of medieval Iberia under the Moors-different faiths have co-existed here with a measure of peace- sometimes ill-humored, occasionally hostile, but more often amicable or at least tolerant-influencing and even weaving their traditions into the fabric of one another's worship practices even as they competed for converts in the free market of American religion. This overview traces the musical practices of several of those groups from their arrival on these shores up to the present, and the way in which those practices and traditions influenced each other, leading to the diverse and multi-hued pattern that is American church music at the beginning of the twenty-first century. The tone is non-technical; there are no musical examples, and the musical descriptions are clear and concise. In short, it is a book for interested laymen as well as professional church musicians, for pastors and seminarians as well as students of American religious culture and its history.

Originally published in 1927. This book recounts the story of the long development of Christian Hymnody, so far as it is illustrated by the contents of the revised Church Hymnary. It provides a continuous narrative setting out its contetnts in historical perspective. Contents include: The Church's First Heritage of Song: The Psalms - Hymns of The New Testament - Hymns From The Days of The Great Persecutions - A New Hymnody Is Born Of Controversy In The East - Ambrose Of Milan And The Pioneers of The West - Gregory of the Great And his Contemporaries - The Monasteries And Some Immortal Hymns We Owe To Them - Nameless Poets And Musicians Of The Cloisters - What The Friars Bequeathed to Us - How Martin Luther Started The Popular Hymn - How German Religious Life After Luther Is reflected In Its Hymns - Why The Reformed Church Did Not Use Hymns - The Battle of The Psalters In England - The Metrical Psalters Of Scotland - How The Psalters Led The Way To Paraphrases And Hymns - The Gathering Stream of English Hymnody - How Isaac Watts Opened the Sluice Gartes To Let The Stream Flow Free - The Great Revival: The Wesleys and Their New Song - The great Revival: The Hymns of the Calvinists - The Romantic Revival - The Oxford movement - Main Currents in Nineteenth Century Hymnody - The American Contribution - Some Distinctive Notes In Twentieth Century Hymnody.

The only sourcebook that provides information necessary to make "Gospel Hymns Nos. 1 to 6 Complete" a useful research tool and an aid to the study of popular culture in the United States during the last half of the 19th century. For the first time, students and scholars will have access, in a single source, to biographical, historical, and bibliographical data concerning the writers of the hymn texts, the composers of the hymn tunes, and the various routes by which the hymns found their way onto the pages of that large collection of gospel and traditional hymnody. DEGREES"Gospel Hymns Nos. 1 to 6 Complete" contains 739 songs gathered from a series of six earlier published works.

The data in this volume will add to the breadth and depth of "Gospel Hymns Nos. 1 to 6 Complete" and thus, for the first time, identify the significance of its contributions to the history of American culture. A strong introduction establishes the historical significance of the collection of gospel hymns and songs. The entries for both the authors of the words and the composers of the music are arranged alphabetically, followed by the dates of birth and death (if known), a biographical sketch, and references to the number of the hymn, its title, first line, and accompanying tune. Dates of composition and initial publication are included where possible.

Exploring the parallel development of the brass band movement and religious fervor in late 19th-century America, this work includes illustrations from original materials as well as scores for 22 works. While the choral tradition has remained strong in churches, in this earlier period both choral and instrumental forms were equally popular. This study begins with solo cornet parts, used by men like George Ives to lead the singing at revival meetings, and ends with an extensive band arrangement of Pleyel's Hymn. Extensive historical notes, old-time illustrations, and sacred music make this a most interesting and useful reference book. An enormous amount of music was written and arranged for the popular brasswinds at the time, some of which was sacred music for the church. Changing taste and secularism resulted in the loss of the entire body of written and arranged sacred music for brass, once as cherished in church performance as the choral tradition is today. For scholars and performers interested in the variety of music produced in the United States during the 19th century.

Geistliche Lieder und Psalmen, 1567, was compiled and published by Johann Leisentrit, a Roman Catholic priest who from 1559 to the time of his death in 1586, was Dean at the Cathedral of St. Peter's in Bautzen, a town in southeastern Germany. His hymnbook appeared in three complete editions (1567, 1573, 1584), and in abridged editions in 1575, 1576, and 1589. By adapting the vernacular hymn, a genre created by Protestant reformers, Leisentrit hoped to bring back to the "true church" (wahrglaubiger Christlicher Kirchen) those who had defected to Lutheranism. This was a formidable ambition because his diocese was located adjacent to the Moravian-Bohemian regions where the Protestant movement was born and remained vital. Containing approximately 260 texts set to 175 notated melodies, many borrowed from Protestant sources and adapted to serve Roman Catholic objectives, Leisentrit's book was the second Catholic hymnbook to be published in the sixteenth century. It surpassed its Protestant and Catholic precursors in scope and provided a model for the profusion of hymnbooks of numerous confessions that appeared in Germany in the seventeenth and eighteenth centuries . Wetzel and Heitmeyer present their study in two parts: The first comprises six contextual chapters that survey earlier German achievements in hymnody, provide analyses of the texts and music in Leisentrit's book, and assess his achievement within the volatile environment of the Counter Reformation. The second gives the melodies in modern notation along with the first stanzas of the texts; provides detailed concordances and references to sources that identify textual and musical provenances; and concludes with six appendixes to facilitate scholarly cross-references. Fourteen of the seventy wood engravings from Leisentrit's book, many of which are visual representations of the prevailing confessional conflicts, are given in enlarged reproductions. The authors provide the only comprehensive study in English of a unique religious figure and his efforts to achieve confessional reconciliation in the decades following the Council of Trent. They add to a more accurate interpretation of the relationship between Lutherans and Catholics in the sixteenth century and support the hypothesis that some Lutherans remained more liturgically formal than their Catholic contemporaries.

Tawa considers the musical and social ramifications influencing the American composer between 1950 and 1985. He draws information from composers, music reviewers, and from his own listening experiences. Tawa's common theme is the gulf between what the composer (or critic) says about the music and how the public experiences it. . . . More than 50 composers are considered. . . . Tawa . . . goes beyond biographical detail to help the reader to `understand the reasons for the deep abyss separating contemporary composer and listener'. Choice The decades following World War II witnessed an explosion of musical creativity in America. Unfortunately, they also witnessed a widening abyss between the contemporary composer and his or her audience. Confusion on the part of the modern listener is an all-too-frequent phenomenon when he or she is confronted by the extraordinary profusion of contemporary musical styles. This useful volume is intended to relieve some of that confusion. Insightful commentaries and a highly readable text combine to focus on all contemporary musical styles from the most traditional to the most experimental in relation to modern American life. Taking the position that music is a transaction between creator/composer and listener, the author considers ways in which each faction may become more aware of the other's imperatives, thereby sponsoring a new and mutually meaningful music.

In life he was larger than life. He made an immediate and memorable impact on those he met and with whom he worked. He was incredibly industrious in all his teaching, speaking, lecturing, composing, and above all in his writing. In the time others would take to think through the possibility of authoring a book, Erik would have gone to his longsuffering and slightly dyslexic typewriter and completed the manuscript. Gathering with his family at Westminster Abbey for his memorial service, the idea of a random collection of essays or a series of personal anecdotes was discarded by the editors. To appropriately honor this substantial life, something more systematic was required. Thus the idea for this volume was born. Each of the contributors, who has benefited in some way from his friendship, teaching and writing, has examined an area or a subject in which Erik Rowley has made his mark. Significantly, it has taken seventeen authors to cover some of the ground where his footprints are still fresh and the clarity of his voice still rings.

This first volume of a two volume edition contains letters written between 1727 and 1756 by the famous hymn writer, poet, and co-founder of Methodism, Charles Wesley (1707-1788), Volume 2 will contain letters written between 1757 and 1788. The edition brings together texts which are located in libraries and archives from across the globe and here presents them as a complete collection for the first time - many of the letters have never been previously published. The appended notes help the reader locate the letters in their proper historical and literary context and provide full information regarding the location of the original source and, where possible, something of its provenance.
These texts provide an intimate glimpse into the world of early Methodism and Charles' own struggles and triumphs as a central figure within it. They collectively document the story of Charles Wesley's early experiences as he sought to find his own place in Methodism and, of key importance for Charles, Methodism's place in the wider purposes of God. Here are letters of a theological kind, letters that reflect on his experiences as an itinerant preacher, letters that show something of his rather unsettled personality and letters that relate to his own personal and domestic circumstances. Here we see something of the inner workings of a nascent religious group. These are not sanitised accounts written by those looking back, but first-hand accounts written from the heart of a lived experience.
While this book will naturally appeal to those who have a specialist interest in the early history of Methodism, for others there is much to be gained from the picture it gives of the wider eighteenth-century world in which Charles and his co-religionists worked and lived.