Hymns are lasting expressions of faith and worship. Hymns in German piety were written to serve as meditations and to teach individuals how to become better followers of Jesus. This volume examines the thinking and influences which shaped the hymns which the Brethren chose to write and sing, revealing a great deal to the modern reader about their journey of faith and the spiritual progress of the movement from its beginnings to the present day. Specific attention is given to examples of hymn texts which highlight the distinctive themes and characteristics of Brethren spirituality in the various eras of Brethren life and thought.
Educated men in Song-dynasty China (960–1279) traveled frequently in search of scholarly and bureaucratic success. These extensive periods of physical mobility took them away from their families, homes, and native places for long periods of time, preventing them from fulfilling their most sacred domestic duty: filial piety to their parents. In this deeply grounded work, Cong Ellen Zhang locates the tension between worldly ambition and family duty at the heart of elite social and cultural life. Drawing on more than two thousand funerary biographies and other official and private writing, Zhang argues that the predicament in which Song literati found themselves diminished neither the importance of filial piety nor the appeal of participating in examinations and government service. On the contrary, the Northern Song witnessed unprecedented literati activity and state involvement in the bolstering of ancient forms of filial performances and the promotion of new ones. The result was the triumph of a new filial ideal: luyang. By labeling highly coveted honors and privileges attainable solely through scholarly and official accomplishments as the most celebrated filial acts, the luyang rhetoric elevated office-holding men to be the most filial of sons. Consequently, the proper performance of filiality became essential to scholar-official identity and self-representation. Zhang convincingly demonstrates that this reconfiguration of elite male filiality transformed filial piety into a status- and gender-based virtue, a change that had wide implications for elite family life and relationships in the Northern Song. The separation of elite men from their parents and homes also made the idea of “native place” increasingly fluid. This development in turn generated an interest in family preservation as filial performance. Individually initiated, kinship- and native place-based projects flourished and coalesced with the moral and cultural visions of leading scholar-intellectuals, providing the social and familial foundations for the ascendancy of Neo-Confucianism as well as new cultural norms that transformed Chinese society in the Song and beyond.
Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria explores the nature of sound as a powerful yet ambivalent force in the religious struggles that permeated Germany during the Counter-Reformation. Author Alexander J. Fisher goes beyond a musicological treatment of composers, styles, and genres to examine how music, and more broadly sound itself, shaped the aural landscape of Bavaria as the duchy emerged as a militant Catholic bulwark. Fisher focuses particularly on the ways in which sound—including bell-ringing, gunfire, and popular song, as well as cultivated polyphony—not only was deployed by Catholic secular and clerical elites to shape the religious identities of Bavarian subjects, but also carried the potential to challenge and undermine confessional boundaries. Surviving literature, archival documents, and music illustrate the ways in which Bavarian authorities and their allies in the Catholic clergy and orders deployed sound to underline crucial theological differences with their Protestant antagonists, notably the cults of the Virgin Mary, the Eucharist, and the saints. Official and popular rituals like divine worship, processions, and pilgrimages all featured distinctive sounds and music that shaped and reflected an emerging Catholic identity. Although officials imposed a severe regime of religious surveillance, the Catholic state's dominance of the soundscape was hardly assured. Fisher traces archival sources that show the resilience of Protestant vernacular song in Bavaria, the dissemination and performance of forbidden, anti-Catholic songs, the presence of Lutheran chorales in nominally Catholic church services into the late 16th century, and the persistence of popular "noise" more generally. Music, Piety, and Propaganda thus reveals historical, theological, and cultural issues of the period through the piercing dimension of its sounds, bringing into focus the import of sound as a strategic cultural tool with significant impact on the flow of history.
For students and scholars in American music and religious studies, as well as for church musicians, this book is the first to study the ways in which music shapes the distinctive presence of religion in the United States. The sixteen essayists' contributions to this book address the fullness of music's presence in American religion and religious history.
The author offers close examination of the English-language songs of Byrd published in the late 1580s, looking at the music, texts, politics, and other aspects of the songs.
Most studies of the history of interpretation of Song of Songs focus on its interpretation from late antiquity to modernity. In My Perfect One, Jonathan Kaplan examines earlier rabbinic interpretation of this work by investigating an underappreciated collection of works of rabbinic literature from the first few centuries of the Common Era, known as the tannaitic midrashim. In a departure from earlier scholarship that too quickly classified rabbinic interpretation of Song of Songs as allegorical, Kaplan advocates a more nuanced reading of the approach of the early sages, who read Song of Songs through a mode of typological interpretation concerned with the correspondence between Scripture and ideal events in Israel's history. Throughout the book Kaplan explores ways in which this portrayal helped shape a model vision of rabbinic piety as well as of an idealized vision of their beloved, God, in the wake of the destruction, dislocation, and loss the Jewish community experienced in the first two centuries of the Common Era. The archetypal and idealized language of Song of Songs provided, as Kaplan argues, a textual landscape in which to imagine an idyllic construction of Israel's relationship to her beloved, marked by mutual devotion and fidelity. Through this approach to Song of Songs, the Tannaim helped lay the foundations for later Jewish thought of a robust theology of intimacy in God's relationship with the Jewish people.
The last decade has seen widespread Islamic religious revitalization in Southeast Asia, a region with a Muslim population almost as large as that of the entire Arabic-speaking Middle East. One such movement in 1990s Indonesia promoted engagement with the Qurân through memorization, reading, skilled performance, and popular competitions in recitation. This movement drew on longstanding structures of Islamic education and piety, social interests, Southeast Asian patterns of performance and aesthetics, and unique features of the Qurân itself. Based on fieldwork in South Sulawesi and elsewhere in Indonesia, Perfection Makes Practice vividly portrays Indonesian Muslims' committed practice of perfecting their own (and others') Qurânic piety.
Throughout the history of Christianity, Mary has been a beacon of hope to many who look to her. While Christians have always prayed to Mary, they have also sung to her in times of joy and sorrow. Sing of Mary analyzes Marian hymnody throughout Christianity—and particularly in the Roman Catholic Church in the United States from 1854 to today—focusing not only on the texts and music but also on the contexts out of which these hymns came. By using a holistic methodology—drawing from anthropology, history, liturgy, musicology, psychology, sociology, and theology—this study takes an interdisciplinary approach toward studying Marian theology and devotion through the lens of hymnody. This volume, accessible to both laypeople and academics, provides readers with a clear and full understanding of Marian hymnody by looking at many examples throughout the history of Christianity up through the present, thus shedding light on the history of Marian devotion and theology. The work concludes by providing hope for the future of Marian congregational song, particularly by exploring how the Magnificat can help Marian congregational song be meaningful to a wide range of Christians.
Studying the role of music within religious congregations has become an increasingly complex exercise. The significant variations in musical style and content between different congregations require an interdisciplinary methodology that enables an accurate analysis, while also allowing for nuance in interpretation. This book is the first to help scholars think through the complexities of interdisciplinary research on congregational music-making by critically examining the theories and methods used by leading scholars in the field. An international and interdisciplinary panel of contributors introduces readers to a variety of research methodologies within the emerging field of congregational music studies. Utilizing insights from fields such as communications studies, ethnomusicology, history, liturgical studies, popular music studies, religious studies, and theology, it examines and models methodologies and theoretical perspectives that are grounded in each of these disciplines. In addition, this volume presents several “key issues” to ground these interpretive frameworks in the context of congregational music studies. These include topics like diaspora, ethics, gender, and migration. This book is a new milestone in the study of music amongst congregations, detailing the very latest in best academic practice. As such, it will be of great use to scholars of religious studies, music, and theology, as well as anyone engaging in ethnomusicological studies more generally.
Originally published in 1957, The Flower Drum Song was a groundbreaking work of popular literature. An immediate bestseller, it inspired the classic Rodgers and Hammerstein musical. This charming, bittersweet tale of romance and the powerful bonds of family tells the story of Wang Ta, who wants what every young American man wants: a great career and a woman to love. Living in San Francisco's Chinatown-with his widowed father, Old Master Wang, who misses the old way of life in China, and his younger brother, who just wants to be a normal American teenager-Wang Ta becomes involved with a series of women as he searches for love and the American dream. Comic, poignant, and sexy, The Flower Drum Song is an astute portrayal of immigrants struggling with assimilation. This edition features a new introduction by David Henry Hwang.
