A one-volume reference work designed to aid worship planners in the selection of contemporary song. Organized by the three- year lectionary cycle, this book also contains integrated scriptural, seasonal, and topical indexes. Song collections indexed include With One Voice; This Far by Faith; Worship & Praise; The Celebration Hymnal; Gather Comprehensive; Glory & Praise; Maranatha! Music Praise; Renew!; Spirit Calls, Rejoice!; and Worship Songs of the Vineyard.
This well-researched study explains what attracts teenagers to church and keeps them there. It provides a helpful description of the most effective ways that congregations and parents can build a faith in early teens that is not anti-institutional and that helps them value the church.
Music Supervision, or matching music to TV, film, new media, video games, live events, brands, and a host of other media, is a fast-growing career path. This book guides you through real-world scenarios and legal landmines, profiles key players, explores mixing and sound design, and provides time-saving project form templates. For those who want to break into the field of music supervision, this book tells you how to get the job. Artists, publishers and labels seeking more effective sync licensing for their catalogues will also benefit from the unique insights of Music Supervision “The definitive guide to music supervision.” - Brad Hatfield, Associate Professor, Berklee College of Music
This Handbook summarizes the latest research on music learning consisting of new topics and up-dates from the New Handbook of Music Teaching and Learning (Oxford, 2002). Chapters are written by expert researchers in music teaching and learning, creating research summaries that will be useful for practitioners as well as beginning and advanced researchers.
Ten essays about what churches are doing that is not "business as usual" in their music ministry. Includes theological and liturgical rationale, basic "how-to" information, and personal testimony to the communal advantages of each ministry, as well as descriptions of alternative/additional worship services that are flourishing across the country. Includes material about contemporary ensembles, jazz, handbells, guitars, synthesizers, electronic music and the emerging church, organs and choirs, youth, amateur, professional instrumentalists, cantors, Taize services, Compline, and the Hip Hop eMass.
This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have made highly significant interventions in the debates around music today, both through their compositions and through their writings on music. The contributions from Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, Wolfgang Rihm, and Jonathan Harvey, and also the opening essay of the volume by the French spectralist composer and philosopher Hugues Dufourt, address issues of chance, control, freedom, intuition, ambiguity, technology, time, and meaning in contemporary music. A concluding essay by Alastair Williams on advanced contemporary music and the Austro-German tradition post-1968 provides a postlude to the book, while the whole collection is prefaced by an extended introductory chapter by Max Paddison which provides a context of ideas, and traces many of the issues discussed back to Adorno's seminal notion of une musique informelle.
Increasingly, it is becoming evident that those involved in socio-musical studies must focus their investigative lens on musical practice and articulation of the self, on music and community involvement and on music as a social medium for social relationships. What motivates people to be involved in musical performance, and how do they articulate these needs and drives? What do performers gain from their involvement in musical activities? How do audience members perceive their relationship to the performer, the music and the event? These questions and many more are addressed here with the benefit of detailed empirical work, including case studies of a chamber music festival and a contemporary music summer school. Pitts investigates the value of musical participation for performers and audience members in a range of contexts, using a multi-disciplinary approach to place new empirical data in the framework of existing theory and literature. Themes examined include: the shared musical experience; the social structures of performing societies; how people identify with music; the values implicit in musical preferences; the social responsibilities of the performer; the audience view of concerts and festivals; the social power of music and educational implications and responsibilities. Pitts draws upon literature from musicology, sociology and psychology of music, ethnomusicology, music education and community music to demonstrate the diversity of enquiry about musical behaviours. The conclusions of the book are based upon empirical evidence gleaned through case studies, with the data integrated thematically throughout, to enable a greater depth of discussion than individual studies usually permit.
Profound reflections on the cross that help you to meditate on and marvel at the sacrificial love of Jesus. This book can be used as a devotional, especially during Lent and Easter. These profound reflections on the cross from David Mathis, author of The Christmas We Didn’t Expect, will help you to meditate on and marvel at Jesus’ life, sacrificial death, and spectacular resurrection-enabling you to treasure anew who Jesus is and what he has done. Many of us are so familiar with the Easter story that it becomes easy to miss subtle details and difficult to really enjoy its meaning. This book will help you to pause and marvel at Jesus, whose now-glorified wounds are a sign of his unfailing love and the decisive victory that he has won: “He was pierced for our transgressions, he was crushed for our iniquities; the punishment that brought us peace was on him, and by his wounds we are healed.” (Isaiah 53:5) This book can be used as a devotional. The chapters on Holy Week make it especially helpful during the Lent season and at Easter.
