Music does not make itself. It is made by people: professionals and amateurs, singers and instrumentalists, composers and publishers, performers and audiences, entrepreneurs and consumers. In turn, making music shapes those who make it-spiritually, emotionally, physically, mentally, socially, politically, economically-for good or ill, harming and healing. This volume considers the social practice of music from a Christian point of view. Using a variety of methodological perspectives, the essays explore the ethical and doctrinal implications of music-making. The reflections are grouped according to the traditional threefold ministry of Christ: prophet, priest, and shepherd: the prophetic role of music, as a means of articulating protest against injustice, offering consolation, and embodying a harmonious order; the pastoral role of music: creating and sustaining community, building peace, fostering harmony with the whole of creation; and the priestly role of music: in service of reconciliation and restoration, for individuals and communities, offering prayers of praise and intercession to God. Using music in priestly, prophetic, and pastoral ways, Christians pray for and rehearse the coming of God's kingdom-whether in formal worship, social protest, concert performance, interfaith sharing, or peacebuilding. Whereas temperance was of prime importance in relation to the ethics of music from antiquity to the early modern period, justice has become central to contemporary debates. This book seeks to contribute to those debates by means of Christian theological reflection on a wide range of musics: including monastic chant, death metal, protest songs, psalms and worship music, punk rock, musical drama, interfaith choral singing, Sting, and Daft Punk.

Ein reiches Programm mit Konzerten und Gottesdiensten, Referaten und Diskussionen pragte den 5. Internationalen Kirchenmusikkongress, der Ende Oktober 2015 in Bern stattfand. Dabei wurde das Verhaltnis von Religion, Kirche und Liturgie zur Musik aus musikwissenschaftlicher, historischer und theologischer Sicht betrachtet. Der Kongressband enthalt die Hauptreferate, aber auch Beitrage zu einigen der Workshops, die zwischen Reflexion und Praxis vermittelten - von Perspektiven des zukunftigen Orgelbaus bis zu Moeglichkeiten des Zusammenwirkens von Musik und Liturgie. Aufgenommen wurde auch eine Auswahl von Einblicken in die Arbeitsgebiete von Doktorandinnen und Doktoranden, die diese im Rahmen eines Forschungskolloquiums prasentiert hatten; zudem wird der Schlussgottesdienst des Kongresses im Berner Munster dokumentiert - mit der Predigt, Beitragen zur Zusammenarbeit und zum Entstehungsprozess der Neukomposition von Lukas Langlotz und Gedanken von Teilnehmenden. Erganzt wird der Band durch eine UEbersicht uber alle Veranstaltungen und einen Bericht zu den vorhergehenden Kongressen.

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.

This essay collection celebrates the richness of Christian musical tradition across its two thousand year history and across the globe. Opening with a consideration of the fourth-century lamp-lighting hymn Phos hilaron and closing with reflections on contemporary efforts of Ghanaian composers to create Christian worship music in African idioms, the ten contributors engage with a broad ecumenical array of sacred music. Topics encompass Roman Catholic sacred music in medieval and Renaissance Europe, German Lutheran song in the eighteenth century, English hymnody in colonial America, Methodist hymnody adopted by Southern Baptists in the nineteenth century, and Genevan psalmody adapted to respond to the post-war tribulations of the Hungarian Reformed Church. The scope of the volume is further diversified by the inclusion of contemporary Christian topics that address the evangelical methods of a unique Orthodox Christian composer's language, the shared aims and methods of African-American preaching and gospel music, and the affective didactic power of American evangelical "praise and worship" music. New material on several key composers, including Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach, Zoltan Kodaly, and Arvo Part, appears within the book. Taken together, these essays embrace a stimulating variety of interdisciplinary analytical and methodological approaches, drawing on cultural, literary critical, theological, ritual, ethnographical, and media studies. The collection contributes to discussions of spirituality in music and, in particular, to the unifying aspects of Christian sacred music across time, space, and faith traditions. This collection celebrates the fifteenth anniversary of the Society for Christian Scholarship in Music.

Solo Vocal Works on Jewish Themes: A Bibliography of Jewish Composers is a comprehensive and annotated compendium of stage, concert, and liturgical compositions written by Jewish composers from every known time period and country. Kenneth Jaffe has amassed nearly 3,000 large-scale musical works for solo voice(s) on Jewish themes, written by Jewish composers. The works include over 400 cantatas, 150 oratorios, almost 300 operas, more than 100 sacred services, 20 symphonies, and more than 350 stage works, including Yiddish theatre, Purim and sacred plays, multi-media pieces, and musical theatre. In addition, original song cycles and liturgical services arranged for a modest to large complement of instruments are also included. The works are organized by composer and subdivided by genre, and each entry is fully annotated, detailing the title, opus, voicing and instrumentation, text source, commission, year completed, year and location of the premiere, the year of publication and the publisher (if any), the location of scores, and the duration of the work. The works are then broken down by theme, such as Biblical themes, works for children, works of the Holocaust or Jewish suffering and persecution, interfaith works, and wedding music. They are then cross-referenced by voice type, arrangement, and by title. A list of libraries and publishing houses of Jewish music rounds out this invaluable reference.

Christian churches and groups within Anglo-American contexts have increasingly used popular music as a way to connect with young people. This book investigates the relationships between evangelical Christianity and popular music, focusing particularly on electronic dance music in the last twenty years. Author Stella Lau illustrates how electronic dance music is legitimized in evangelical activities by Christians' discourses, and how the discourses challenge the divide between the 'secular' and the 'sacred' in the Western culture. Unlike other existing books on the relationships between music cultures and religion, which predominantly discuss the cultural implications of such phenomenon, Popular Music in Evangelical Youth Culture examines the notion of 'spirituality' in contemporary popular electronic dance music. Lau's emphasis on the sonic qualities of electronic dance music opens the door for future research about the relationships between aural properties of electronic dance music and religious discourses. With three case studies conducted in the cultural hubs of electronic dance music - Bristol, Ibiza and New York - the monograph can also be used as a guidebook for ethnographic research in popular music.

This popular collection of 280 musical pieces from both the African American and Gospel traditions has been compiled under the supervision of the Office of Black Ministries of the Episcopal Church. It includes service music and several psalm settings in addition to the Negro spirituals, gospel songs, and hymns.

In early modern Europe, music - particularly singing - was the arena where body and soul came together, embodied in the notion of musica humana. Kim uses this concept to examine the framework within which music and song were used to promote moral education and addresses Renaissance ideas of religion, education and music.

Ferdinand III played a crucial role both in helping to end the Thirty Years' War and in re-establishing Habsburg sovereignty within his hereditary lands, and yet he remains one of the most neglected of all Habsburg emperors. The underlying premise of Sacred Music as Public Image for Holy Roman Emperor Ferdinand III is that Ferdinand's accomplishments came not through diplomacy or strong leadership but primarily through a skillful manipulation of the arts, through which he communicated important messages to his subjects and secured their allegiance to the Catholic Church. An important locus for cultural activity at court, especially as related to the Habsburgs' political power, was the Emperor's public image. Ferdinand III offers a fascinating case study in monarchical representation, for the war necessitated that he revise the image he had cultivated at the beginning of his reign, that of a powerful, victorious warrior. Weaver argues that by focusing on the patronage of sacred music (rather than the more traditional visual and theatrical means of representation), Ferdinand III was able to uphold his reputation as a pious Catholic reformer and subtly revise his triumphant martial image without sacrificing his power, while also achieving his Counter-Reformation goal of unifying his hereditary lands under the Catholic church. Drawing upon recent methodological approaches to the representation of other early modern monarchs, as well as upon the theory of confessionalization, this book places the sacred vocal music composed by imperial musicians into the rich cultural, political, and religious contexts of mid-seventeenth-century Central Europe. The book incorporates dramatic productions such as opera, oratorio, and Jesuit drama (as well as works in other media), but the primary focus is the more numerous and more frequently performed Latin-texted paraliturgical genre of the motet, which has generally not been considered by scholars as a vehicle for monarchical representation. By examining the representation of this little-studied emperor during a crucial time in European history, this book opens a window into the unique world view of the Habsburgs, allowing for a previously untold narrative of the end of the Thirty Years' War as seen through the eyes of this important ruling family.

Coronations are the grandest of all state occasions. This is the first comprehensive in-depth study of the music that was performed at British coronations from 1603 to the present, encompassing the sixteen coronations that have taken place in Westminster Abbey and the last two Scottish coronations. Range describes how music played a crucial role at the coronations and how the practical requirements of the ceremonial proceedings affected its structure and performance. The programme of music at each coronation is reconstructed, accompanied by a wealth of transcriptions of newly discovered primary source material, revealing findings that lead to fresh conclusions about performance practices. The coronation ceremonies are placed in their historical context, including the political background and the concept of invented traditions. The study is an invaluable resource not only for musicologists and historians, but also for performers, providing a fascinating insight into the greatest of all Royal events.

Now available on CD, fifteen powerful a cappella songs from the South African church, including the acclaimed 'We Are Marching in the Light of God' (Siyahamba). Recorded in 1984. Songs collected and edited by Anders Nyberg. Freedom is comingAsikhatali (It Doesn't Matter)Gabi (Praise the Father)IpharadisiSingabahambayo (On Earth an Army is Marching)Siph'amandla (O God, Give Us Power)Akanamandla (He Has No Power)Bamthatha (He's Locked Up)Vula, Botha (Open, Botha)Shumayela (Come, Let Us Preach)Nkosi, Nkosi (Lord, Have Mercy)Siyahamba (We Are Marching)Haleluya! Pelo Tsa Rona (Haleluya! We Sing Your Praises)Thuma Mina (Send Me Jesus)We shall not give up the fight

Sacred music traditions vary profoundly from one religion to the next. Even within the Christian faith, one can hear a wide variety of music among and within different denominations. Catholics, mainline Protestants, and Evangelicals have all developed unique traditions. Many people are not exposed to multiple faith experiences in their upbringings, which can make exploring an unfamiliar sacred music style challenging. Because of this, singers and teachers regularly encounter religious singing styles to which they have not yet been exposed. In So You Want to Sing Sacred Music, multiple contributors offer a broad overview of sacred singing in the Judeo-Christian tradition. Evan Kent, Anthony Ruff, Matthew Hoch, and Sharon L. Radionoff share their expertise on topics as diverse as Jewish cantorial music, Gregorian chant, post-Vatican II Catholic music, choral traditions, and contemporary Christian music. This plethora of styles represents the most common traditions encountered by amateur and emerging professional singers when exploring sacred performance opportunities. In each chapter, contributors consider liturgical origins, musical characteristics, training requirements, repertoire, and resources for each of these traditions. The writers-all professional singers and teachers with rich experience singing these styles-also discuss vocal technique as it relates to each style. Contributors also offer professional advice for singers seeking work within each tradition's institutional settings, surveying the skills needed while offering practical advice for auditioning and performing successfully in the world of sacred music. So You Want to Sing Sacred Music is a helpful resource for any singer looking to add sacred performance to their portfolio or seeking opportunities and employment where sacred music is practiced and performed. Additional chapters by Scott McCoy, 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 Sacred Music 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.

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 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.

The flourishing of religious or spiritually-inspired music in the late twentieth and early twenty-first centuries remains largely unexplored. The engagement and tensions between modernism and tradition, and institutionalized religion and spirituality are inherent issues for many composers who have sought to invoke spirituality and Otherness through contemporary music. Contemporary Music and Spirituality provides a detailed exploration of the recent and current state of contemporary spiritual music in its religious, musical, cultural and conceptual-philosophical aspects. At the heart of the book are issues that consider the role of secularization, the claims of modernity concerning the status of art, and subjective responses such as faith and experience. The contributors provide a new critical lens through which it is possible to see the music and thought of Cage, Ligeti, Messiaen, Stockhausen as spiritual music. The book surrounds these composers with studies of and by other composers directly associated with the idea of spiritual music (Harvey, Gubaidulina, MacMillan, Part, Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw, Ferneyhough, Ustvolskaya, and Vivier) who have created original engagements with the idea of spirituality. Contemporary Music and Spirituality is essential reading for humanities scholars and students working in the areas of musicology, music theory, theology, religious studies, philosophy of culture, and the history of twentieth-century culture.

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

Mystical Love in the German Baroque: Theology, Poetry, Music identifies the cultural and devotional conventions underlying expressions of mystical love in poetry and music of the German baroque. It sheds new light on the seemingly erotic overtones in settings of the Song of Songs and dialogues between Christ and the faithful soul in late 17th- and early 18th-century cantatas by Heinrich Schutz, Dieterich Buxtehude, and Johann Sebastian Bach. While these compositions have been interpreted solely as a secularizing tendency within devotional music of the baroque period, Isabella van Elferen demonstrates that they need to be viewed instead as intensifications of the sacred. Based on a wide selection of previously unedited or translated 17th- and 18th-century sources, van Elferen describes the history and development of baroque poetic and musical love discourses, from Schutz's early works through Buxtehude's cantatas and Bach's cantatas and Passions. This long and multilayered discursive history of these compositions considers the love poetry of Petrarch, European reception of petrarchan imagery and traditions, its effect on the madrigal in Germany, and the role of Catholic medieval mystics in baroque Lutheranism. Van Elferen shows that Bach's compositional technique, based on the emotional characteristics of text and music rather than on the depiction of single words, allows the musical expression of mystical love to correspond closely to contemporary literary and theological conceptions of this affect."

African American spirituals comprise one of the world's greatest and best-loved bodies of music. The Oxford Book of Spirituals is the first anthology to present a comprehensive survey of the genre's repertoire -- its principal composers, themes, and forms -- in a way that is at once stylistically authentic, historically meaningful, and intended for practical use both in worship and in concert. This collection features a rich array of songs, both familiar and less familiar, arranged for SATB choir by twenty-eight of the most significant American composers and presented in chronological order from the beginning of the twentieth century to the present.

This book explores the part played by music, especially group singing, in the Protestant reforms in Strasbourg. It considers both ecclesiastical and 'popular' songs in the city, how both genres fitted into people's lives during this time of strife and how the provision and dissemination of music affected the new ecclesiastical arrangement.

This book concerns an examination of the totality of the musical experience with a view to restoring the soul within it. It starts with an analysis of the strands in the landscape of contemporary spirituality. It examines the descriptors spiritual but not religious, and spiritual and religious, looking in particular at the place of faith narratives in various spiritualities. These strands are linked with the domains of the musicking experience: Materials, Expression, Construction and Values. The book sets out a model of the spiritual experience as a negotiated relationship between the musicker and the music. It looks in detail at various models of musicking drawn from music therapy, ethnomusicology, musicology and cultural studies. It examines the relationship between Christianity and music as well as examining some practical projects showing the effect of various Value systems in musicking, particularly in intercultural dialogue. It finally proposes an ecclesiology of musical events that includes both orate and literate traditions and so is supportive of inclusive community.

Congregational music can be an act of praise, a vehicle for theology, an action of embodied community, as well as a means to a divine encounter. This multidisciplinary anthology approaches congregational music as media in the widest sense - as a multivalent communication action with technological, commercial, political, ideological and theological implications, where processes of mediated communication produce shared worlds and beliefs. Bringing together a range of voices, promoting dialogue across a range of disciplines, each author approaches the topic of congregational music from his or her own perspective, facilitating cross-disciplinary connections while also showcasing a diversity of outlooks on the roles that music and media play in Christian experience. The authors break important new ground in understanding the ways that music, media and religious belief and praxis become 'lived theology' in our media age, revealing the rich and diverse ways that people are living, experiencing and negotiating faith and community through music.

John Harley's Thomas Tallis is the first full-length book to deal comprehensively with the composer's life and works. Tallis entered the Chapel Royal in the middle of a long life, and remained there for over 40 years. During a colourful period of English history he famously served King Henry VIII and the three of Henry's children who followed him to the throne. His importance for English music during the second half of the sixteenth century is equalled only by that of his pupil, colleague and friend William Byrd. In a series of chronological chapters, Harley describes Tallis's career before and after he entered the Chapel. The fully considered biography is placed in the context of larger political and cultural changes of the period. Each monarch's reign is treated with an examination of the ways in which Tallis met its particular musical needs. Consideration is given to all of Tallis's surviving compositions, including those probably intended for patrons and amateurs beyond the court, and attention is paid to the context within which they were written. Tallis emerges as a composer whose music displays his special ability in setting words and creating ingenious musical patterns. A table places most of Tallis's compositions in a broad chronological order.

In The Shofar, Jeremy Montagu offers a detailed study of the ram's horn of the Bible, describing its history and use-both ritual and secular-from biblical times to the present. Because the same person normally blows the shofar each year during the Jewish High Holy Days, few are aware of the wide differences among communities around the world: the varying points in the Jewish liturgical service when the shofar is blown, what sound combinations exist, and the many varieties of the instrument. This is the first work of its kind to detail the full range of historical, musical, antiquarian, and religious issues surrounding the ancient instrument with all relevant citations from the Bible, the Talmud, and key post-Talmudic sources. Jeremy Montagu carefully examines horn types, sound characteristics, liturgical uses, and community functions to illustrate how the shofar has reflected local custom, regional needs, and religious practice. Chapters provide difficult-to-find information on how shofars are made; advice on how to choose, prepare, and maintain shofars; and instructions for aspiring blowers on a variety of traditions. With more than sixty photographs from the author's personal collection, this is an ideal work for Jews and Christians, religious scholars and musicologists, and even practicing musicians seeking to understand the crucial role of this instrument in the life of a people.

For nearly eight centuries - from the Muslim conquest of Spain in 711 to the final expulsion of the Jews in 1492 - Muslims, Jews and Christians shared a common Andalusian culture under alternating Muslim and Christian rule. Following their expulsion, the Spanish and Arabic- speaking Jews joined pre-existing diasporic communities and established new ones across the Mediterranean and beyond. In the twentieth century, radical social and political upheavals in the former Ottoman and European-occupied territories led to the mass exodus of Jews from Turkey and the Arab Mediterranean, with the majority settling in Israel. Following a trajectory from medieval Al-Andalus to present-day Israel via North Africa, Italy, Turkey and Syria, pausing for perspectives from Enlightenment Europe, Musical Exodus: Al-Andalus and its Jewish Diasporas tells of diverse song and instrumental traditions born of the multiple musical encounters between Jews and their Muslim and Christian neighbors in different Mediterranean diasporas, and the revival and renewal of those traditions in present-day Israel. In this collection of essays from Philip V. Bohlman, Daniel Jutte, Tony Langlois, Piergabriele Mancuso, John O'Connell, Vanessa Paloma, Carmel Raz, Dwight Reynolds, Edwin Seroussi, and Jonathan Shannon, with opening and closing contributions by Ruth F. Davis and Stephen Blum, distinguished ethnomusicologists, cultural historians, linguists and performers explore from multidisciplinary perspectives the complex and diverse processes and conditions of intercultural and intracultural musical encounters. The authors consider how musical traditions acquired new functions and meanings in different social, political and diasporic contexts; explore the historical role of Jewish musicians as cultural intermediaries between the different faith communities; and examine how music is implicated in projects of remembering and forgetting as societies come to terms with mass exodus by reconstructing their narratives of the past. The essays in Musical Exodus: Al-Andalus and its Jewish Diasporas extend beyond the music of medieval Iberia and its Mediterranean Jewish diasporas to wider aspects of Jewish-Christian and Jewish-Muslim relations. The authors offer new perspectives on theories of musical interaction, hybridization, and the cultural meaning of musical expression in diasporic and minority communities. The essays address how music is implicated in constructions of ethnicity and nationhood and of myth and history, while also examining the resurgence of Al-Andalus as a symbol in musical projects that claim to promote cross-cultural understanding and peace. The diverse scholarship in Musical Exodus makes a vital contribution to scholars of music and European and Jewish history.