What did Tallis and Byrd mean to convey by their use of the word "argument" in their title, Cantiones, quae ab argumento sacrae vocantur? Thomas Tallis's and William Byrd's Cantiones, quae ab argumento sacrae vocantur (songs, which by their argument are called sacred) of 1575 is one of the first sets of sacred music printed in England. It is widely recognized as a landmark achievement in English music history. Dedicated to Queen Elizabeth I to mark the seventeenth year of her reign, each composer contributed seventeen motets to the collection, which proved to be greatly influential among the era's composers. But what did Tallis and Byrd mean to convey by their use of the word "argument" in their title? The current view is that they treated their project as an opportunity to pull together a grand compendium of musical accomplishment that drew on the past, but looked to the future, and that the texts functioned as mere vehicles for musical display. In contrast, this book claims that these very texts were chosen by the composers to develop a theme, or argument, on the topic of sacred judgment. In offering a new interpretation of the song collection Smith employs a carefully constructed musical, literary, theological, and political argumentation. The book will encourage new ways of approaching and interpreting Tudor and Elizabethan sacred music.

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.

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

A brand new edition of the ultimate combination of traditional hymns and modern worship songs. 'Mission Praise' is a much-loved hymn book, and has remained so since its outset in 1984. Initially used for Billy Graham's Mission England rallies - where thousands of people converted to Christianity - it has become a staple of worship throughout the UK and across the world. It was the first hymn book of its kind, introducing more modern styles of music into worship yet retaining the best of traditional hymnody loved by churchgoers of every age. This new, expanded edition of 'Complete Mission Praise' includes the whole of the existing collection of over 1000 songs and hymns, and adds the best new songs in various styles from the past few years. This brand new edition has been put together by 'Mission Praise''s original editorial team of Peter Horrobin and Greg Leavers, and contains - in this 30th anniversary year - over 100 new songs and has, by popular request, been split into two volumes in order to be more user-friendly.

Andrew Gant's compelling account traces English church music from Anglo-Saxon origins to the present. It is a history of the music and of the people who made, sang and listened to it. It shows the role church music has played in ordinary lives and how it reflects those lives back to us. The author considers why church music remains so popular and frequently tops the classical charts and why the BBC's Choral Evensong remains the longest-running radio series ever. He shows how England's church music follows the contours of its history and is the soundtrack of its changing politics and culture, from the mysteries of the Mass to the elegant decorum of the Restoration anthem, from stern Puritanism to Victorian bombast, and thence to the fractured worlds of the twentieth century as heard in the music of Vaughan Williams and Britten. This is a book for everyone interested in the history of English music, culture and society.

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.

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.

An essential guide for anyone who plans, performs, or takes part in the music and worship of the church. Includes helpful planning forms and extensive indices for The Hymnal 1982 not found elsewhere. (250 pp)

for SATB (with divisions) unaccompanied Helvey's skilful arrangement of the popular hymn by American Baptist minister Robert Wadsworth Lowry is joyous and affirmatory. The anthem is suitable for performance throughout the liturgical year, and the sweeping melodies, contrasting textures, and rich harmonies complement the celebratory nature of the text.

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.

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.

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

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.

This sensitive study is a historical, cultural, and musical exploration of Christian religious music among the Logooli of Western Kenya. It describes how new musical styles developed through contact with popular radio and other media from abroad and became markers of the Logooli identity and culture. Jean Ngoya Kidula narrates this history of a community through music and religious expression in local, national, and global settings. The book is generously enhanced by audiovisual material on the Ethnomusicology Multimedia website.

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.

Social Functions of Synagogue Song: A Durkheimian Approach by Jonathan L. Friedmann paints a detailed picture of the important role sacred music plays in Jewish religious communities. This study explores one possible way to approach the subject of music s intimate connection with public worship: applying sociologist Emile Durkeim s understanding of ceremonial ritual to synagogue music. Durkheim observed that religious ceremonies serve disciplinary, cohesive, revitalizing, and euphoric functions within religious communities. Drawing upon musical examples from different composers, regions, periods, rites, and services, Friedmann demonstrates how Jewish sacred music performs these functions.

for SATB, piano, and optional guitar, bass, and drum kit Samba Mass is a joyous and colourful setting of the Latin Missa brevis. The work is framed by the gentle bossa nova style of the warm Kyrie and relaxed Agnus Dei, which is prefaced by a funky Benedictus. The compelling rhythms of samba come to the fore in the second movement, a vivacious Gloria, which is followed by a beautiful Sanctus that offsets a steady flow of quavers with rhythmic syncopations. The stylistic piano part can be played as written or serve as a guide, and an optional guitar, bass, and drum kit part is available separately for band accompaniment. Performers will enjoy exploring the interplay between voices and the rich, warm colours of the samba and bossa nova styles. This work was originally commissioned in a version for upper voices by the New Orleans Children's Chorus, Cheryl Dupont, Director, in celebration of the 20th anniversary of the Crescent City Choral Festival, June 2019.

Am Ende des 19. Jahrhunderts setzt sich die tschechische Gesellschaft intensiv mit neuen spirituellen Stroemungen wie Theosophie, Anthroposophie und Okkultismus auseinander. Durch die UEbersetzungen der Werke von Huysmans, Strauss, Nietzsche, Steiner und anderen einflussreichen europaischen Denkern gerat der Katholizismus immer starker in den Konflikt mit der Moderne. Die Bewegung Katolicka moderna versucht in Boehmen den Katholizismus zu erneuern. Zu den Mitarbeitern der Zeitschrift Novy zivot zahlen wichtige tschechische Kunstlerpersoenlichkeiten. Auch die Autoren der Zeitschrift Moderni revue streben eine entsprechende Reform religioes ausgerichteter Kunst an. Die tschechische Musik dieser Zeit widerspiegelt die vielfaltige Auseinandersetzung mit den neuen Denkrichtungen. Charakteristisch fur die betreffenden Werke ist der Synkretismus in Form einer persoenlichen Synthese aus verschiedenen Formen der Spiritualitat. In diesem Kongressband werden neben den Beitragen zu diesen Fragen bislang unbekannte Dokumente zur tschechischen Musik der Jahrhundertwende veroeffentlicht und die Rezeptionswege von massgebenden Komponisten der Zeit (Dvorak, Janacek, Haba, Schulhoff, Novak, Martinu) untersucht. At the end of the 19th century, Czech society was preoccupied with new spiritual trends such as theosophy, anthroposophy, pantheism and occultism. The ideas of Schure, Huysmans, Peladan, Renan, Strauss, Nietzsche, Steiner, Blavatsky and other influential European thinkers were compiled and made available thanks to numerous translations. At the same time, Catholicism was coming into increasing conflict with modernism. One of the attempts at its revival in Bohemia was represented by the movement Catholic Modernism. The contributors to the review Novy zivot (New Life) were distinct personalities of Czech cultural life. The authors of the magazine Moderni revue (Modern Review) strove for reform of religion-oriented arts too. Czech music of that period reflects the multifaceted encounters with the new intellectual trends. Works are characterised by syncretism, in the form of a personal synthesis of various types of spirituality. In addition, the congress proceedings comprise research into hitherto unknown documents dealing with Czech music at the turn of the 19th and 20th centuries, as well as the paths of reception of the foremost composers of the time (Dvorak, Janacek, Haba, Schulhoff, Novak, Martinu).

During the Reformation, the Book of Psalms became one of the most well-known books of the Bible. This was particularly true in Britain, where people of all ages, social classes and educational abilities memorized and sang poetic versifications of the psalms. Those written by Thomas Sternhold and John Hopkins became the most popular, and the simple tunes developed and used by English and Scottish churches to accompany these texts were carried by soldiers, sailors and colonists throughout the English-speaking world. Among these tunes were a number that are still used today, including 'Old Hundredth', 'Martyrs', and 'French'. This book is the first to consider both English and Scottish metrical psalmody, comparing the two traditions in print and practice. It combines theological literary and musical analysis to reveal new and ground-breaking connections between the psalm texts and their tunes, which it traces in the English and Scottish psalters printed through 1640. Using this new analysis in combination with a more thorough evaluation of extant church records, Duguid contends that Britain developed and maintained two distinct psalm cultures, one in England and the other in Scotland.

This book is a study of music inculturation in Indonesia. It shows how religious expression can be made relevant in an indigenous context and how grassroots Christianity is being realized by means of music. Through the discussion of indigenous expressions of Christianity, the book presents multiple ways in which Indonesians reiterate their identity through music by creatively forging Christian and indigenous elements. This study moves beyond the discussion (and charge) of syncretism, showing that the inclusion of local cultural manifestations is an answer to creating a truly indigenous Christian expression. Marzanna Poplawska, while telling the story of Indonesian Christians and the multiple ways in which they live Christianity through music, emphasizes the creative energy and agency of local people. In their practices she finds optimism for the continuing existence of many traditional genres and styles. Indonesian Christians perform their Christian faith through music, dance, and theater, generating innovative cultural products that enrich the global Christian heritage. The book is addressed to a broad spectrum of readers: scholars from a variety of disciplines - music, religion, anthropology, especially those interested in interactions between Christianity and indigenous cultures; general music lovers and World Music enthusiasts eager to discover musics outside of European realm; as well as Christian believers, church musicians, and choir directors curious to learn about Christian music beyond Euro-American context. Students of religion, sacred music, (ethno)musicology, theater, and dance will also benefit from learning about a variety of indigenous arts employed in Christian churches in Indonesia.

Felix Mendelssohn is one of the most celebrated figures of the early Romantic period. As a composer of sacred texts, he is chiefly remembered today for the oratorios Paulus (1836) and Elijah (1846). In this groundbreaking study, Siegwart Reichwald offers a meticulous analysis of Paulus, beginning with a general overview of the oratorio traditions of the early nineteenth century. He details the phases of the compositional process of Paulus as well as principles governing its development. Numerous musical examples, figures, and tables accompany the text. This thorough treatment of Paulus, while shedding light on Mendelssohn's approach to the oratorio and to sacred music in general, will be of interest to students of musicology.

It may seem unexpected to assert that controversy surrounds the introduction of hymns in religious life in England. Though many scholars have worked to catalog and index hymns, few have investigated the evolution of hymns, and their proposed meaning to religious celebration. A historical as well as a critical project, The Matter and Manner of Praise undermines the compulsion to assume that hymn-making and religion were always considered to coexist effortlessly. Most histories of hymnody and evangelical movements in England have elided the depth of feeling and concern that surrounded the debate over hymns and their use during liturgy. McCart uncovers, reexamines, and comments upon this debate. He illuminates a partly unexplored topic in English church history, by tracing the controversial shift from metrical psalms to hymnody, and also takes into account legal issues and litigation that developed over the introduction of hymns into church life. An insightful study that should be fascinating reading for anyone interested in teasing apart the historical nature of religious ceremonies and hymns.

Since time immemorial, the response of the living to death has been to commemorate the life of the departed through ceremonies and rituals. For nearly two millennia, the Christian quest for eternal peace has been expressed in a poetic-musical structure known as the requiem. Traditional requiem texts, among them the anonymous medieval Latin poem Dies Irae ("Day of Wrath"), have inspired an untold number of composers in different ages and serving different religions, Western and Eastern. This book, the first comprehensive survey of requiem music for nearly half a century, provides a great deal of diverse and detailed information that will be of use to the professional musician, the musical scholar, the choral conductor, the theologian and liturgist, and the general reader. The main body of the guide is a description of some 250 requiems. Each entry includes a concise biography of the composer and a description of the composition. Details of voicing, orchestration, editions, and discography are given. An extensive bibliography includes dictionaries, encyclopedias, prayer books, monographs, and articles. An appendix lists more than 1700 requiems not discussed within the main text.