Containing 296 classics, revival songs, general worship songs, and special day favorites, this worship resource also features responsive readings indexed by topic. *Hardcover.

Sing! has grown from Keith and Kristyn Getty's passion for congregational singing; it's been formed by their traveling and playing and listening and discussing and learning and teaching all over the world. And in writing it, they have five key aims: to discover why we sing and the overwhelming joy and holy privilege that comes with singing ; to consider how singing impacts our hearts and minds and all of our lives; to cultivate a culture of family singing in our daily home life; to equip our churches for wholeheartedly singing to the Lord and one another as an expression of unity; to inspire us to see congregational singing as a radical witness to the world. They have also added a few "bonus tracks" at the end with some more practical suggestions for different groups who are more deeply involved with church singing. God intends for this compelling vision of His people singing -- a people joyfully joining together in song with brothers and sisters around the world and around his heavenly throne -- to include you. He wants you,he wants us, to sing.

Faure was not drawn to compose a Requiem because of the death of a loved one, even though his mother had died during the early stages of composition and his father had passed away two years before. Faure's composition does not set his Requiem to the standard liturgical text, instead adding a lyrical Pie Jesu and transcendent Paradisum, and omitting the Dies Irae and Tuba Mirum - which, for most composers, are opportunities to demonstrate the dramatic possibilities available with the choral and orchestral forces. As a result the mood of the Requiem is relatively calm and peaceful and often referred to as a lullaby of death. Faure's unconventional composition has become a firm favourite in the repertoire and available here is the vocal score, for soloists and SATB choir with piano accompaniment, as edited by Desmond Ratcliffe.

England in the fifteenth century was the cradle of much that would have a profound impact on European music for the next several hundred years. Perhaps the greatest such development was the cyclic cantus firmus Mass, and scholarly attention has therefore often been drawn to identifying potentially English examples within the many anonymous Mass cycles that survive in continental sources. Nonetheless, to understand English music in this period is to understand it within a changing nexus of two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. Indeed, the question of 'what is English' cannot truly be answered without also answering the question of 'what is continental'. This book seeks, initially, to answer both of these questions. Perhaps more importantly, it argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and that the great binary divide of provenance can, in many cases, productively be broken down. A great many of these works, though often written on the continent, can, it seems, only be understood in relation to English practice - a practice which has had, and will continue to have, major importance in the ongoing history of European Art Music.

The normative edition for all who sing, choir and congregation alike, containing all hymns and service music.

This is the standard Book of Common Prayer (BCP) and Administration of the Sacraments and Other Rites and Ceremonies of the Church together with The Psalter or Psalms of David according to use in the Episcopal Church in the United States as authorized in 1979. Included is the normative edition of The Hymnal 1982 for all who sing -choir and congregation alike -containing all hymns and service music. Genuine leather, gold edges, ribbon markers, gift box. IMPRINTABLE BUT NOT BY PUBLISHER"

for SATB and brass ensemble or full orchestra Gloria was written in 1974 in response to a commission from The Voices of Mel Olson, a choir based in the USA. The division of the work into three movements a respectively proclamatory, prayerful, and joyfully affirmative a corresponds to the divisions in the text. Most of the melodic material derives from a Gregorian chant associated with this text. An accompaniment for orchestra without organ is also available. Full scores, vocal scores, and instrumental parts are available on hire. The first movement of Gloria is available separately under the title Gloria 1.

The music of the sixteenth century has been "rediscovered" regularly since its composition. It was an especially fertile period for English music in particular, and to put the century in a historical and musicological perspective, this volume spans the era from 1485 to 1625, although in order to provide context and perspective the contributors range back to the middle of the fifteenth century and towards the end on the seventeenth.

The book opens with a history of music and musicians in Tudor England, covering composition and performance, as well as the changing functions of music over the period. Two chapters are dedicated to sacred and church music. They cover the last years of Pre-Reformation England (especially the music of Fayrfax, Ashwell, Taverner, and the organ music of Redford, Preston and Rhys), the composers who span the charge to Anglicanism (for example Sheppard and Tallis) and those (such as Tye, Byrd, Morley, Weelkes, Hooper and Gibbons) who helped lay the foundations for the rich heritage of Anglian church music that remains so vibrant a part of the church today. These chapters also consider the particular problems of those who continued to write Latin music after the Reformation (in particular Parsons, White and Byrd). The final three chapters of the book are devoted respectively to secular vocal music, to keyboard music, and to ensemble and lute music. These chapters include a detailed discusson of Tudor partsong, of the consort song, of English Madrigalists, the English Virginal School, the English lutenists and the rich variety of muic for ensemble. The book concludes with full bibliographies and with a comprehensive index.

When rock 'n' roll emerged in the 1950s, ministers denounced it from their pulpits and Sunday school teachers warned of the music's demonic origins. The big beat, said Billy Graham, was "ever working in the world for evil." Yet by the early 2000s Christian rock had become a billion-dollar industry. The Devil's Music tells the story of this transformation. Rock's origins lie in part with the energetic Southern Pentecostal churches where Elvis, Little Richard, James Brown, and other pioneers of the genre worshipped as children. Randall J. Stephens shows that the music, styles, and ideas of tongue-speaking churches powerfully influenced these early performers. As rock 'n' roll's popularity grew, white preachers tried to distance their flock from this "blasphemous jungle music," with little success. By the 1960s, Christian leaders feared the Beatles really were more popular than Jesus, as John Lennon claimed. Stephens argues that in the early days of rock 'n' roll, faith served as a vehicle for whites' racial fears. A decade later, evangelical Christians were at odds with the counterculture and the antiwar movement. By associating the music of blacks and hippies with godlessness, believers used their faith to justify racism and conservative politics. But in a reversal of strategy in the early 1970s, the same evangelicals embraced Christian rock as a way to express Jesus's message within their own religious community and project it into a secular world. In Stephens's compelling narrative, the result was a powerful fusion of conservatism and popular culture whose effects are still felt today.

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.

Joshua Jacobson's masterpiece?a comprehensive 1000-page guide to cantillation?is now available in this condensed, user-friendly paperback edition. It is an ideal instructional guide for adult and young-adult students of Torah, for b?nai mitzvah students; and for cantors, rabbis, and Jewish educators of all denominations. Like the original edition, it includes an explanation of the tradition and a description of the practice of chanting, with all its regional variations and grammatical rules. There is detailed instruction, with musical notation, on chanting of Torah, and shorter instructions for chanting the haftarah, Lamentations, the megillot, and readings for the High Holy Days. Over 85 links to the audio CD throughout make it easy for readers to follow examples in sound as well as in print and is invaluable for those who cannot read music. Charts, helpful hints, pronunciation guide, glossary, and indexes to the book and the CD complete the book. Joshua Jacobson, professor of music and conductor of the acclaimed Boston-based Zamir Chorale, has been Torah chanting since he was 10 years old. That life-long experience, combined with the an unquenchable desire to reconnect the art of cantillation with the most convincing and accurate treatment of the ancient text possible, led him to create this indispensable teaching tool, . Using Jacobson's highly acclaimed approach, the ancient words come alive in a new, deeply emotional and most accurate way.

Analysis of Latin sacred music written during the century illustrates the rapid and marked change in style and sophistication. Winner of the 2007 AMS Robert M. Stevenson prize The arrival of Francisco de Penalosa at the Aragonese court in May 1498 marks something of an epoch in the history of Spanish music: Penalosa wrote in a mature, northern-oriented style, and his sacred music influenced Iberian composers for generations after his death. Kenneth Kreitner looks at the church music sung by Spaniards in the decades before Penalosa, a repertory that has long been ignoredbecause much of it is anonymous and because it is scattered through manuscripts better known for something else. He identifies sixty-seven pieces of surviving Latin sacred music that were written in Spain between 1400 and the early 1500s, and he discusses them source by source, revealing the rapid and dramatic change, not only in the style and sophistication of these pieces, but in the level of composerly self-consciousness shown in the manuscripts. Withina generation or so at the end of the fifteenth century, Spanish musicians created a new national music just as Ferdinand and Isabella were creating a new nation. KENNETH KREITNER teaches at the University of Memphis.

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.

This book looks at the musical culture of death in early modern England. This book looks at the musical culture of death in early modern England. In particular, it examines musical funeral elegies and the people related to commemorative tribute - the departed, the composer, potential patrons, and friends and family of the deceased - to determine the place these musical-poetic texts held in a society in which issues of death were discussed regularly, producing a constant, pervasive shadow over everyday life. The composition of these songs reached a peak at the end of the sixteenth and the beginning of the seventeenth centuries. Thomas Weelkes and Thomas Morley both composed musical elegies, as did William Byrd, Thomas Campion, John Coprario, and many others. Like the literary genre from which these musical gems emerged, there was wide variety in form, style, length, and vocabulary used. Embedded within them are clear messages regarding the social expectations, patronage traditions, and class hierarchy of late Elizabethan and early Jacobean England. En masse, they offer a glimpse into the complex relationship that existed between those who died, those who grieved, and attitudes toward both death and life. K. DAWN GRAPES is Assistant Professor of Music History at Colorado State University.

This book charts the life of Arthur Sullivan-the best loved and most widely performed British composer in history. While he is best known for his comic opera collaborations with W. S. Gilbert, it was his substantial corpus of sacred music which meant most to him and for which he wanted to be remembered. His upbringing and training in church music, and his own religious beliefs, substantially affected both his compositions for the theatre and his more serious work, which included oratorios, cantatas, sacred ballads, liturgical pieces, and hymns. Focusing on the spiritual aspects of Sullivan's life-which included several years as a church organist, involvement in Freemasonry, and an undying attachment to Anglican church music-Ian Bradley uses hitherto undiscovered letters, diary entries, and other sources to reveal the important influences on his faith and his work. No saint and certainly no ascetic, he was a lover of life and enjoyed its pleasures to the full. At the same time, he had a rare spiritual sensitivity, a sincere Christian faith, and a unique ability to uplift through both his character and his music that can best be described as a quality of divine emollient.

Includes CD with 40 selections of music and chants. See Table of Contents for CD track playlist.

This innovative book explores religion through music, one of the most universally recognized forms of human experience. The only art form named after a divinity, music has been documented from prehistory to the present age in virtually all known cultures. For many, music is a vehicle for spiritual growth and community empowerment, whether it's understood as a gift of the gods or simply a practice for achieving mental states conducive to enlightenment.

Traditionally, when religious scholars talk about music, it's as a kind of aesthetic supplement to the important spiritual content of a religion, analogous to stained-glass windows or temple paintings. In contrast, "Sacred Sound: Experiencing Music in World Religions" acknowledges the critical role of musical activity in religious life. Music, including chant and vocal utterance, is not incidental in religious practice but a sacred treasure that is central to the growth and sustenance of religions throughout the world. Musical sound is sacred in most religions because it embodies the divine and can be shared by all participants, enduring among diverse communities of people despite theological differences.

Covering six of the major world religionsJudaism, Christianity, Islam, Hinduism, Sikhism, and Buddhism--the book is accompanied by a CD of forty selections of music and chant. Contributors are respected scholars in religious studies and musicology and provide insight from both disciplines. The first book of its kind, "Sacred Sound" is a milestone in the growing cross-disciplinary study of religion and music.

The theme of the essays in this volume is the identification of the resources which between c.1320 and 1642 the English church saw fit to provide for the performance of the music of its liturgy. Individual essays describe the music and the choirs of Canterbury and Lincoln Cathedrals, Winchester Cathedral Priory and the private chapel of Cardinal Wolsey, while the personnel of the chapels of Edward III, the Black Prince and John of Gaunt emerge from study of the texts of compositions of the 14th century. From the alignment of contemporary musical and archival sources there arises a web of conclusions relating to the size of ensemble, vocal scoring and sounding pitch envisaged by its composers for English church polyphony of the period c.1320-1559. These essays thus encompass the two most profound of the revolutions to which the music of the English church was subject at this period: the inauguration and widespread adoption of choral polyphony in the years c.1455-85 and the liturgical and doctrinal Reformation of 1547 to 1563.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. In the 1990s, Los Angeles was home to numerous radical social and environmental eruptions. In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop-a movement merging Christianity and hip hop culture-to "save" themselves and the city. Converting street corners to airborne churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated social and spiritual realities and to transform the Southland's fractured terrains into musical Zions. Armed with beats, rhymes, and bibles, they journeyed through black Lutheran congregations, prison ministries, African churches, reggae dancehalls, hip hop clubs, Nation of Islam meetings, and Black Lives Matter marches. Zanfagna's fascinating ethnography provides a contemporary and unique view of black LA, offering a much-needed perspective on how music and religion intertwine in people's everyday experiences.