The origin and development of Western plainchant, and of the genres of liturgical book in which it is recorded, have occupied Michel Huglo throughout his long career, which has taken him to libraries in every corner of Europe and the United States. This volume, the first in a set of four to appear in the Variorum series, brings together analyses of manuscripts dating from the 9th to the 13th century, including Huglo's pathbreaking studies of the antiphoner of Compiegne, the first troper-prosers, and of alleluia lists as clues to place of origin. The consequences of the Treaty of Verdun (843) for the diffusion of the plainchant repertory, research in medieval musicology in the 20th century, the utility of codicology for musicological manuscript studies, and the critical edition of the Gregorian antiphoner are addressed in other studies included here. Les origines et le developpement du plain-chant en Occident et l'etude des genres de livres liturgiques qui le contiennent ont occupe Michel Huglo durant sa longue carriere et l'ont conduit A visiter des bibliotheques partout en Europe et aux Etats-Unis. Ce volume, le premier d'une serie de quatre dans la collection Variorum, comprend des analyses de manuscrits du neuvieme au treizieme siecle, notamment des etudes novatrices relanAant les recherches sur l'antiphonaire de Compiegne, les premiers tropaires-prosaires et les listes d'alleluias comme moyen d'identification des manuscrits de chant. Les consequences du traite de Verdun (843) pour la diffusion du repertoire de plain-chant, les recherches en musicologie medievale au XXe siecle, l'application des methodes de la codicologie A l'etude des manuscrits notes, et l'edition critique de l'Antiphonaire gregorien forment les sujets d'autres etudes reunies dans ce volume.

In this special seasonal edition, bestselling author Robert J. Morgan shares the incredible stories behind traditional holiday hymns of faith, including Christmas, Easter, and more. Is there a festive season of the year that is complete without one of your favorite hymns? Not only do hymns connect you to great memories, but they also reveal the faith of those who lived throughout history. As Robert Morgan explored the stories behind some of the best-loved hymns, he found fascinating accounts of tribulations, triumphs, struggles, and hope-ordinary people who connected with God in amazing ways, sharing their experiences through song. Included inside this special edition are: 150 devotional-style stories with the words and music to each hymn Includes hymns for holidays including Christmas, Easter, Thanksgiving, and more Jagged edged paper, giving it a classic feel Includes a complete hymn index by title, first line, and songwriter Perfect for use as a daily devotional, teaching illustration, or for song leaders and music ministers Discover the inspiration behind your favorite hymns. Find new favorites as you relate to the people whose walk of faith led them to write these classic songs of praise. Share these stories with your family, friends, and church, and find more depth and meaning as you worship God through song.

Twenty-five beautiful songs from the World Church with an emphasis on Africa. Contents: GloriaSanto, santo santoSenhor tempiedade de nosHe came downStand firmHalle, halle, halleMay God draw nearThe Lord is my lightKyrie eleisonJesus Christ our living LordJesus saranamLet the world in concert singSara shristeImelaWa wa wa emimimoBlessed be GodAmen, Alleluia!Amen siakudumisaNdingen' endumisweniMayenziweMany and greatAgios o TheosKyrie eleisonYour kingdom comeJesu tawa pano

The musica secreta or concerto delle dame of Duke Alfonso II d'Este, an ensemble of virtuoso female musicians that performed behind closed doors at the castello in Ferrara, is well-known to music history. Their story is often told by focussing on the Duke's obsessive patronage and the exclusivity of their music. This book examines the music-making of four generations of princesses, noblewomen and nuns in Ferrara, as performers, creators, and patrons from a new perspective. It rethinks the relationships between polyphony and song, sacred and secular, performer and composer, patron and musician, court and convent. With new archival evidence and analysis of music, people, and events over the course of the century, from the role of the princess nun musician, Leonora d'Este, to the fate of the musica secreta's jealously guarded repertoire, this radical approach will appeal to musicians and scholars alike.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Born in New Orleans before migrating to Chicago, Mahalia Jackson (1911-72) is undoubtedly the most widely known black gospel singer, having achieved fame among African American communities in the 1940s then finding a wide audience among non-black U.S. and international audiences after she signed with major label Columbia Records in 1954. The newest entry in OUP's celebrated Readers on American Musicians series,The Mahalia Jackson Readerplaces Jackson's musical performances and their reception against key changes in 20th-century America, changes that include transformations of the recorded music industry, the increasing visibility of the civil rights movement, a florescence of Cold War-era religiosity, and an explosion of popularity of black gospel music itself. Jackson's career combines parallel tracks as a black church singer and as a national pop celebrity, and makes her one of the most complex and important black artists of the postwar decades. Gospel is a particularly challenging genre to study because of the paucity of sources. Becauseof Jackson's celebrity, there is more substantial coverage of her life and work than other gospel artists, but Jackson scholarship is still largely dependent on trade biographies from the 1970s for source material. For this reader, Mark Burford has gone beyond the standard biographies and has drawn from extensive archival research, including in the volume interview transcripts and the largely-untouched papers of Jackson's associate Bill Russell, who kept a journal tracking Jackson's activities from 1951 to 1955. The new sources - in particular Russell's notes - uniquely enable an assessment of the reciprocal relationship between the two careers Jackson pursued, essentially simultaneously: as an in-demand church singer in Chicago, and as a media star for a major network and recording label.

Nearly a half century after her death in 1972, Mahalia Jackson remains the most esteemed figure in black gospel music history. Born in the backstreets of New Orleans in 1911, Jackson during the Great Depression joined the Great Migration to Chicago, where she became an highly regarded church singer and, by the mid-fifties, a coveted recording artist for Apollo and Columbia Records, lauded as the "World's Greatest Gospel Singer." This "Louisiana Cinderella" narrative of Jackson's career during the decade following World War II carried important meanings for African Americans, though it remains a story half told. Jackson was gospel's first multi-mediated artist, with a nationally broadcast radio program, a Chicago-based television show, and early recordings that introduced straight-out-of-the-church black gospel to American and European audiences while also tapping the vogue for religious pop in the early Cold War. In some ways, Jackson's successes made her an exceptional case, though she is perhaps best understood as part of broader developments in the black gospel field. Built upon foundations laid by pioneering Chicago organizers in the 1930s, black gospel singing, with Jackson as its most visible representative, began to circulate in novel ways as a form of popular culture in the 1940s and 1950s, its practitioners accruing prestige not only through devout integrity but also from their charismatic artistry, public recognition, and pop-cultural cachet. These years also saw shifting strategies in the black freedom struggle that gave new cultural-political significance to African American vernacular culture. The first book on Jackson in 25 years, Mahalia Jackson and the Black Gospel Field draws on a trove of previously unexamined archival sources that illuminate Jackson's childhood in New Orleans and her negotiation of parallel careers as a singing Baptist evangelist and a mass media entertainer, documenting the unfolding material and symbolic influence of Jackson and black gospel music in postwar American society.

Specifically designed for congregational use, this contains 255 songs for straightforward arrangements, either four-part harmony or with piano accompaniment.

for SATB unaccompanied Setting a well-known Latin text from the Liber Usualis, Michael Austin Miller combines expressive harmony and flowing polyphony to create a gentle and touching anthem. The opening and closing sections develop the chant-like opening motif, enclosing an 'Alleluia' section comprising joyously interweaving lines.

Music is an intrinsic part of Jewish expression, reaching back to the biblical "Song of the Sea," which appears in Exodus, and the Psalms composed by King David. Employing the tools of Jewish mysticism, Music and Kabbalah examines the spiritual connection between God and music. The holy aspects of the musical scale, musical terminology, and instruments named in the Psalms are deciphered by using the gematria (interpretive numeric value) of their Hebrew names. Rabbi Glazerson employs music as a vehicle with which to teach that "Judaism and the Hebrew language, the holy tongue, are vast and deep, embracing incomprehensible knowledge of every aspect and sphere of life."

The source readings in Hymnology are primary documents illustrating the philosophy and practice of congregational singing during various historical periods of the Christian church. They are drawn from a wide variety of sources including letters, diaries, periodicals, hymnal and tunebook prefaces, theological treatises, certain controversial books and pamphlets, and deliberations of church councils. The material ranges in date from the beginning of the second century to the 1960s. All the major streams of Christian song are covered, including early Greek and Latin hymnody, pre-Reformation vernacular hymnody, the Lutheran chorale, Reformed psalmody, and English and American hymnody from the sixteenth to the twentieth century. The book is suitable for use as a text or supplementary text for courses in hymnology, a professional reference work for ministers and church musicians, and a book for laymen interested in the history of church music.

Shirley describes her family, and their early struggles, the trials and tribulations she went through during the Civil Rights movement, her early singing career, and her callilng to become a pastor and concert performer. With a combination of music, ministry, and the message in all of her performances, all who hear her know that she listens to God every step of the way. Shirley introduces each chapter of The Lady, the Melody, and the Word with just that: the melody (lyrics to her inspiring songs) and the word (Scriptures that have inspired her), and along the way she will introduce you to her own inspiring story.

Emphasizes the English hymn as a literary entity within denominational and historical contexts. The author sets forth a number of definitions for hymnody and congregational song, and then examines the development of the various forms in England and the United States. With a listing of works for further reading, an index to all hymns discussed, and chronology.

Everyone loves a Christmas carol - in the end, even Scrooge. They have the power to summon up a special kind of midwinter mood, like the aroma of mince pies and mulled wine and the twinkle of lights on a tree. It's a kind of magic. But how did they get that magic? In Christmas Carols Andrew Gant tells the story of some twenty carols, each accompanied by lyrics and music, unravelling a captivating - and often surprising - tale of great musicians and thinkers, saints and pagans, shepherd boys, choirboys, monks and drunks. We delve into the history of such favourites as 'Good King Wenceslas', 'Away in a Manger' and 'The Twelve Days of Christmas', discovering along the way how 'Hark, the Herald angels sing' came to replace 'Hark, how all the welkin ring' and how Ralph Vaughan Williams bolted the tune of an English folk song about a dead ox to a poem by a nineteenth-century American pilgrim to make 'O little town of Bethlehem'. Christmas Carols brims with anecdote, expert knowledge and Christmas spirit. It is a fittingly joyous account of one of our best-loved musical traditions.

for SATB (with divisions) and organ Set to Ursula Vaughan Williams's celebrated paean to the patron saint of music, this work is by turns joyous and reflective. Rich harmonies, shifting tonalities, and expressive melodies combine to evoke the changing moods explored within the text. The poignant Andante section midway through the piece, sung by a solo soprano, is a pivotal moment; it gives way to increasingly jubilant and powerful writing that brings the work to an ecstatic conclusion.

Whilst Contemporary Worship Music arose out of a desire to relate the music of the church to the music of everyday life, this function can quickly be called into question by the diversity of musical lives present in contemporary society. Mark Porter examines the relationship between individuals' musical lives away from a Contemporary Worship Music environment and their diverse experiences of music within it, presenting important insights into the complex and sometimes contradictory relationships between congregants' musical lives within and outside of religious worship. Through detailed ethnographic investigation Porter challenges common evangelical ideals of musical neutrality, suggesting the importance of considering musical tastes and preferences through an ethical lens. He employs cosmopolitanism as an interpretative framework for understanding the dynamics of diverse musical communities, positioning it as a stronger alternative to common assimilationist and multiculturalist models.

The first edition of this book is the classic study of one of the most popular musical forms in early eighteenth-century France, not only because it documents and examines its considerable repertoire for the first time, but also because it places the genre in the wider context of both French and Italian baroque music styles. In uniting the two national styles the cantata was one of the major influences in transforming the seventeenth-century French classical tradition in music into a style that owed much to the Italian baroque, yet retained a distinctive gallic expression. As well as its musical interest, the French cantata provides an arresting example of the influence of society upon music, and the book commences with a chapter that views the emergence of the form in its social setting. Cantata texts enjoyed a vogue as poetry and this literary aspect is also dealt with in a separate chapter. This new edition incorporates research by the author and other scholars over the twenty years since the first edition, reflecting today's growing interest in French baroque music. It also features a new chapter dealing with the French cantata in performance.

In the realm of Armenian sacred and folk music the name which towers above all others is that of Komitas Vardapet (1869-1935). He not only notated the music from oral tradition but also analyzed the music of the service, the chants, the psalmody and presented us with its theoretical basis as practised today. More significant still are his painstaking studies concerning neumes. Eight of Komitas's principle musicological studies have been selected from his collected works published in Erevan in 1941. Of these, four are on folk music and four published in German and one in French. These have been reproduced in this volume in the original. The papers on folk music describe Armenian folk/country music and dances together with the important plough song of Lori (in north eastern Armenia). The papers on sacred music discuss the liturgy and tunes sung in the Armenian church. The studies were first published between the years 1894 and 1914.

for SATB and organ or brass ensemble This arrangement of Rimsky-Korsakov's 'Glory' (Slava, Op.21) by Terry Price brings this popular Russian anthem to a wider audience. The original Russian text has been replaced with a hymn by the arranger that draws inspiration from words by Reginald Heber, verses from Revelation, and the liturgy, and is particularly suitable for Easter, as well as for general use. Price's arrangement of this rousing tune may be accompanied by organ or brass ensemble, allowing for performance in both church and concert settings.

The Politics of Verdi's Cantica treats a singular case study of the use of music to resist oppression, combat evil, and fight injustice. Cantica, better known as Inno delle nazioni / Hymn of the Nations, commissioned from Italy's foremost composer to represent the newly independent nation at the 1862 London International Exhibition, served as a national voice of pride and of protest for Italy across two centuries and in two very different political situations. The book unpacks, for the first time, the full history of Verdi's composition from its creation, performance, and publication in the 1860s through its appropriation as purposeful social and political commentary and its perception by American broadcast media as a 'weapon of art' in the mid twentieth century. Based on largely untapped primary archival and other documentary sources, journalistic writings, and radio and film scripts, the project discusses the changing meanings of the composition over time. It not only unravels the complex history of the work in the nineteenth century, of greater significance it offers the first fully documented study of the performances, radio broadcast, and filming of the work by the renowned Italian conductor Arturo Toscanini during World War II. In presenting new evidence about ways in which Verdi's music was appropriated by expatriate Italians and the US government for cross-cultural propaganda in America and Italy, it addresses the intertwining of Italian and American culture with regard to art, politics, and history; and investigates the ways in which the press and broadcast media helped construct a musical weapon that traversed ethnic, aesthetic, and temporal boundaries to make a strong political statement.

It has been said that the quickest way to God's innermost ear is through niggunim - Jewish tunes chanted or sung as prayers. Thousands of niggunim have been composed over the centuries, and they remain an active part of Jewish life today. Sung in the synagogue, around the Shabbos table, at farbrengenchasidic get-togethers - at work, in solitude, to express joy or sorrow, niggunim allow Jews to find that which is hidden deep within their souls, to connect with God and their own spiritually without the use of words. In Niggun: Stories behind the Chasidic Songs that Inspire Jews, Mordechai Staiman relates thirty-eight tales in which niggunim affect the lives of Jews. The stories range from those about great chasidic rebbes of the past, such as "The Purpose of Life", in which the Baal Shem Tov binds a Jew to the world of music to help him find his way; through those from recent history, such as "David without the Slingshot" and "Embers midst the Ruins", where niggunim helped to save people from certain death at the hands of the Nazis, and "Jerusalem on Her Mind", about Soviet-Jewish emigres; to contemporary situations, as in "Jail House Rock", in which the singing of a niggun helps to bring holiday magic to Jewish prisoners on Riker's Island in New York City, and "Leonard Bernstein Unbound", in which the great conductor is so moved by a tune that he is prompted to wrap tefillin for the first time. This wonderfully moving collection contains stories of faith, of miracles and transformations, and of daily life, all connected through the beauty of niggunim. According to the author, the stories, or "prayers", as he calls them, contained in Niggun will teach us about our deep, rich, Jewishheritage, helping us to reclaim our inheritance and share in the Jewish legacy.

Although he is often identified as a Monteverdi scholar (Approaches to Monteverdi: Aesthetic, Psychological, Analytical and Historical Studies, published in the Variorum series in 2013), the majority of Jeffrey Kurtzman's work has focused on other sixteenth- and seventeenth-century Italian sacred music. Organized into three sections, part one begins with a chapter on the Monteverdi Mass and Vespers of 1610 which spotlights the other major work in Monteverdi's first prominent sacred print, the Missa in illo tempore, followed by examples of Kurtzman's work on the sacred music of other composers such as Giovanni Francesco Capello and Palestrina. The section concludes with a piece on polyphonic psalm structures in seventeenth-century Italian Office music. Part two includes pieces which explore the relationship between the standard clef set, the high clef set, specific Magnificat tones and sounding pitch in the Magnificats of Roman composers; the issue of polyphonic psalm antiphons and the question of vocal and instrumental substitutes for plainchant antiphons in the Vespers service; and the use of instruments in the performance of sacred music, demonstrating that the concertato style of the seventeenth century had its origins in the practice of substituting instruments for voices and doubling voices with instruments, thereby introducing multifaceted possibilities for varying sonorities through the course of a composition. Part 3 contains two articles: the first surveying various styles in the Office repertoire of the seventeenth-century based on the approximately 1500 prints of Italian Office music in Kurtzman's and Anne Schnoebelen's catalogue of Mass, Office and Holy Week Music Printed in Italy, 1516-1770. The second article, published for the first time in this volume, assesses the impact on Italian liturgical music of the Catholic reform of the second half of the sixteenth-century.

for SATB and organ This setting of Psalm 139 by Chilcott is warm and mesmerizing. The chant-like texture and shifting tonalities impart the sensation of being entranced in prayer. The words offer respite, as one is safe in the omnipresence of God. Tranquil yet powerful, this work captures a sense of the total stillness after a storm. The sustained chords in the organ swell and fall, binding and supporting the choir's phrases while adding to the magical atmosphere of the anthem.

Dapha, or dapha bhajan, is a genre of Hindu-Buddhist devotional singing, performed by male, non-professional musicians of the farmer and other castes belonging to the Newar ethnic group, in the towns and villages of the Kathmandu Valley, Nepal. The songs, their texts, and their characteristic responsorial performance-style represent an extension of pan-South Asian traditions of raga- and tala-based devotional song, but at the same time embody distinctive characteristics of Newar culture. This culture is of unique importance as an urban South Asian society in which many traditional models survive into the modern age. There are few book-length studies of non-classical vocal music in South Asia, and none of dapha. Richard Widdess describes the music and musical practices of dapha, accounts for their historical origins and later transformations, investigates links with other South Asian traditions, and describes a cultural world in which music is an integral part of everyday social and religious life. The book focusses particularly on the musical system and structures of dapha, but aims to integrate their analysis with that of the cultural and historical context of the music, in order to address the question of what music means in a traditional South Asian society.