This book is an auto-ethnographic account of the development of a charismatic community choir leader. It brings together management literature and a survey of the community choir scene with the development of community choir leadership. It provides a useful introduction to the sustaining of community choirs, including the use of English folksong material in this context. Some useful arrangements of folk songs are included. Community singing events are described with helpful advice on setting up and managing these. It presents a useful model of the range of skills necessary for aspiring community choir leaders. This is linked with the formation of a community that contains spiritual elements; this is theorized in relation to the role of the parish church in communal singing. It also discusses the two aesthetics of choral singing and the relationship between oral and literate traditions. The book arises from the engagement of the University of Winchester in partnership with the local community, which is theorized.

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

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.

Proceedings from The Nordic Festival and Conference of Gregorian Chant

This book surveys North German church music from the period of one of the most well-known of J.S. Bach's immediate German predecessors, Dietrich Buxtehude (c.1637-1707). Particular emphasis is placed on composers whose work has suffered unjust neglect, and on the influence of contemporary Italian church music. As well as providing a detailed study of the music itself, Geoffrey Webber also examines the religious and social background, and aspects of performance practice.

This collection of studies presents unpublished material from the book Isobel Woods Preece was planning at the time of her death. It contains articles published by her and extracts from her dissertation on the Carvor Choirbook. There are also newly written chapters on medieval chant and polyphony by Warwick Edwards and on the music of the Reformed Church by Gordon Munro. Both scholarly and accessible, this work will be of importance to all with an interest in Scotland's Christian musical heritage. ISOBEL WOODS PREECE (1956-1997) was a major pioneer within Scottish music research. A graduate of the University of Glasgow, she subsequently become a Rotary International Graduate Fellow at Princeton University, where she wrote her doctoral dissertation under the supervision of Margaret Bent. She held the posts of lecturer, and later senior lecturer, in the Music Department at the University of Newcastle, where she was greatly respected as a scholar, teacher, administrator, conductor and performer.

Five hundred years ago a monk nailed his theses to a church gate in Wittenberg. The sound of Luther's mythical hammer, however, was by no means the only aural manifestation of the religious Reformations. This book describes the birth of Lutheran Chorales and Calvinist Psalmody; of how music was practised by Catholic nuns, Lutheran schoolchildren, battling Huguenots, missionaries and martyrs, cardinals at Trent and heretics in hiding, at a time when Palestrina, Lasso and Tallis were composing their masterpieces, and forbidden songs were concealed, smuggled and sung in taverns and princely courts alike. Music expressed faith in the Evangelicals' emerging worships and in the Catholics' ancient rites; through it new beliefs were spread and heresy countered; analysed by humanist theorists, it comforted and consoled miners, housewives and persecuted preachers; it was both the symbol of new, conflicting identities and the only surviving trace of a lost unity of faith. The music of the Reformations, thus, was music reformed, music reforming and the reform of music: this book shows what the Reformations sounded like, and how music became one of the protagonists in the religious conflicts of the sixteenth century.

La musica napoletana conosce uno straordinario successo europeo fin dai primi decenni del Settecento. I contributi raccolti in questo volume presentano le fonti e la fortuna dei Napoletani, e di Pergolesi in particolare, a Dresda, in Boemia e in Slesia. Le fonti pergolesiane vengono esaminate fin nei dettagli di scrittura, tanto in vista della nuova edizione critica quanto nella prospettiva della prassi esecutiva storicamente informata. La corrispondenza diplomatica tra Dresda e Napoli si rivela un canale ricchissimo di scambi di informazioni e di partiture. Lontano dalla corte sassone, per la diffusione della musica napoletana giocano un ruolo essenziale alcune famiglie nobiliari boeme. Le case di ordini religiosi (cistercensi, gesuiti) si scambiano tra Boemia e Slesia moltissime composizioni sacre, variamente adattate secondo i bisogni locali. Le opere napoletane sono popolarizzate dalle compagnie girovaghe di cantanti, che solitamente provengono dall'Italia settentrionale. Nuovi elementi biografici e analisi di opere arricchiscono la nostra conoscenza di conterranei o contemporanei di Pergolesi come Giovanni Alberto Ristori, Nicola Porpora, Domenico de Micco e Leonardo Leo. Neapolitan music enjoyed an extraordinary European success starting with the first decades of the 18th century. The contributions to the present volume illustrate the sources and the reception of the Neapolitans, and foremost of Pergolesi, in Dresden, in Bohemia and in Silesia. Pergolesi sources are described down to details of writing, with an eye both to the new critical edition and to historically informed performing practice. Diplomatical correspondence between Dresden and Naples was widely used as a source of musical information and a means of exchanging scores. Far from the Saxon court, the Neapolitan music is encouraged by some prominent Bohemian aristocrats. Different religious houses (cistercians, jesuits) exchange sacred music, variously adapted to local needs. Neapolitan opera is popularised through wandering troupes, coming mostly from Northern Italy. New biographical data and work analyses enrich our knowledge of contemporaries or fellow countrymen of Pergolesi's such as Giovanni Alberto Ristori, Nicola Porpora, Domenico de Micco and Leonardo Leo.

The most popular and powerful praise songs are represented in this outstanding collection The piano arrangements closely follow what's played on each song's iconic original recording, giving the pianist an authentic experience while providing a true accompaniment to sing along to. Whether in church, at a ceremony or by living room piano, this book offers wonderful songs to inspire yourself and others. Basic guitar chord grids are included for optional guitar accompaniment. Titles: Amazing Grace (My Chains Are Gone) * Blessings * 10,000 Reasons (Bless the Lord) * God's Not Dead (Like a Lion) * How Beautiful * How Great Is Our God * How He Loves * I Can Only Imagine * In Christ Alone (My Hope Is Found) * Shout to the Lord * Mighty to Save * Need You Now (How Many Times) * One Thing Remains (Your Love Never Fails) * The Prayer * Revelation Song * You Raise Me Up.

The Oxford Choral Classics gathers together over three hundred of the world's choral masterpieces into a unique series of seven volumes that span the whole of Western choral literature. Each volume contains all of the established classics of its genre under a single cover, in authoritative new editions and at a budget price. European Sacred Music is the second volume in the series and a fabulous value for money. From the Allegri Misereri to the Victora O vos omnes, John Rutter and co-editor Clifford Bartlett have researched the best available sources and provided excellent new English singing translations and sensible, practical keyboard reductions.

Urban God Talk: Constructing a Hip Hop Spirituality, edited by Andre Johnson, is a collection of essays that examine the religious and spiritual in hip hop. The contributors argue that the prevailing narrative that hip hop offers nothing in the way of religion and spirituality is false. From its beginning, hip hop has had a profound spirituality and advocates religious views-and while not orthodox or systemic, nevertheless, many in traditional orthodox religions would find the theological and spiritual underpinnings in hip hop comforting, empowering, and liberating. In addition, this volume demonstrates how scholars in different disciplines approach the study of hip hop, religion, and spirituality. Whether it is a close reading of a hip hop text, ethnography, a critical studies approach or even a mixed method approach, this study is a pedagogical tool for students and scholars in various disciplines to use and appropriate for their own research and understanding. Urban God Talk will inspire not only scholars to further their research, but will also encourage publishers to print more in this field. The contributors to this in-depth study show how this subject is an underrepresented area within hip hop studies, and that the field is broad enough for numerous monographs, edited works, and journal publications in the future.

The definitive collection of 27 of the most popular classics of the wedding repertoire in simplified arrangements for manuals only. All the best-loved processionals, marches, and more reflective pieces are included.

John Milsom's selection of 17 of Tallis's shorter anthems and motets includes new editions by Alan Brown and Jason Smart as well as many by himself. The collection is designed to give singers and students alike a useful cross-section of Tallis's output, and includes some of his best-known pieces (freshly edited or revised) together with others that are less familiar. All have general-purpose texts. Critical commentaries are included for each piece, and there is an introduction by the editor.

The sweetness of music is something that has puzzled Christian theologians for centuries. In this study, Luther's theology of music is approached from the point of view of pleasure. It examines the significance of joy, beauty and pleasure in relationship with music and Luther's theology. The notion of music as the supreme gift of God requires also a discussion about the idea of 'gift'. Music opens up new perspectives into Luther's thinking. Luther has seldom been reckoned among aesthetic theologians. Nevertheless, Luther has a peculiar view on beauty, understanding faith as a kind of aesthetic contemplation.

This is the only thoroughgoing study of the Monteverdi Vespers, vastly expanding on the author's 1978 set of essays on the subject, long since out of print. The volume studies the Vespers from the standpoint of its musical and liturgical origins and context, contains analytical essays on the music, and examines 17th-century performance practice as it pertains to the Vespers. Appendices include bibliographies and an analytical discography.

for soprano soloist, mixed choir, and orchestra or ensemble (with organ) This is one of the best-loved and most widely performed choral works of the twentieth century. The texts (in Latin and English) are from the Missa pro Defunctis, the Book of Common Prayer, and the Psalms. The seven sections form an arch-like meditation on the themes of life and death: prayers on behalf of all humanity, psalms, personal prayers to Christ, and in the central Sanctus an affirmation of divine glory. The full scores have been edited and engraved by the composer himself and are presented in handsome, cloth-bound editions. Vocal and orchestral material is available on hire.

Tonal consciousness, in the sense of a clear intuition about which note or chord a piece of music will finish on, is as much a part of our everyday experience of music as it is of contemporary music theory. This book asks to what extent such tonal consciousness might have operated in the minds of musicians of the Middle Ages, given the different tone world found in the modes of Gregorian chant, in troubadour and trouvere music, in Minnesang and in the early polyphony based upon chant. The author's approach is analytical, focusing on modality and balancing up-to-date concepts and methods of music analysis with those insights into their own compositional needs and processes that the people of the Middle Ages provided themselves through their writings about music. The book examines a range of both music sources and theoretical sources from the ninth to the thirteenth centuries. This is a ground-breaking contribution both to the study of medieval music and to music analysis.

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"

Margot E. Fassler's richly documented history-winner of the Otto Kinkeldey Award from the American Musicological Society and the John Nicholas Brown Prize from the Medieval Academy of America-demonstrates how the Augustinians of St. Victor, Paris, used an art of memory to build sonic models of the church. This musical art developed over time, inspired by the religious ideals of Hugh and Richard of St. Victor and their understandings of image and the spiritual journey. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris demonstrates the centrality of sequences to western medieval Christian liturgical and artistic experience, and to our understanding of change and continuity in medieval culture. Fassler examines the figure of Adam of St. Victor and the possible layers within the repertories created at various churches in Paris, probes the ways the Victorine sequences worked musically and exegetically, and situates this repertory within the intellectual and spiritual ideals of the Augustinian canons regular, especially those of the Abbey of St. Victor. Originally published in hardover in 1993, this paperback edition includes a new introduction by Fassler, in which she reviews the state of scholarship on late sequences since the original publication of Gothic Song. Her notes to the introduction provide the bibliography necessary for situating the Victorine sequences, and the late sequences in general, in contemporary thought.

"Mary, Did You Know?" the classic song continues to be a seasonal favorite on airplay.

Author and music artist Mark Lowery offers an expanded view of his highly successful Christmas song, ""Mary, Did You Know?"" in this classic gift book. This perennial seller will have a wonderful new and updated design, as well as refreshed text including a new foreword with inspirational insights by Gloria Gaither. CD includes song sung by Lowry and the Gaither Vocal Band plus reflections from Lowry about his sentiments as he wrote about Mary's view, heartbreak, and unwavering faith as the mother of the Savior.