This is a collection of twelve sacred pieces from the classical repertory, arranged for cello solo with piano accompaniment. All time favorites like the Pachelbel Kanon, Jesu, Joy of Man's Desiring and Ave Maria are included. the cello part is intermediate level, never going higher than G on the A string. This is a very valuable source of solos that can be used for weddings, memorial services and worship gatherings.
Anthony Ruff, O.S.B., has written a brilliant, comprehensive, well-researched book about the treasures of the Church's musical tradition, and about the transformations brought about by liturgical reform. The liturgy constitution Sacrosanctum Concilium stated many revolutionary principles of liturgical reform. Regarding liturgical music, the Council's decrees mandated, on the one hand, the preservation of the inherited treasury of sacred music, and on the other hand, advocated adaptation and expansion of this treasury to meet the changed requirements of the reformed liturgy. In clear, precise language, he retrieves the Council's neglected teachings on the preservation of the inherited music treasury. He clearly shows that this task is not at odds with good pastoral practice, but is rather an integral part of it. The book proposes an alternate hermeneutic for understanding the Second Vatican Council's teachings on worship music.
This essay collection celebrates the richness of Christian musical tradition across its two thousand year history and across the globe. Opening with a consideration of the fourth-century lamp-lighting hymn Phos hilaron and closing with reflections on contemporary efforts of Ghanaian composers to create Christian worship music in African idioms, the ten contributors engage with a broad ecumenical array of sacred music. Topics encompass Roman Catholic sacred music in medieval and Renaissance Europe, German Lutheran song in the eighteenth century, English hymnody in colonial America, Methodist hymnody adopted by Southern Baptists in the nineteenth century, and Genevan psalmody adapted to respond to the post-war tribulations of the Hungarian Reformed Church. The scope of the volume is further diversified by the inclusion of contemporary Christian topics that address the evangelical methods of a unique Orthodox Christian composer’s language, the shared aims and methods of African-American preaching and gospel music, and the affective didactic power of American evangelical “praise and worship” music. New material on several key composers, including Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach, Zoltan Kodály, and Arvo Pärt, appears within the book. Taken together, these essays embrace a stimulating variety of interdisciplinary analytical and methodological approaches, drawing on cultural, literary critical, theological, ritual, ethnographical, and media studies. The collection contributes to discussions of spirituality in music and, in particular, to the unifying aspects of Christian sacred music across time, space, and faith traditions. This collection celebrates the fifteenth anniversary of the Society for Christian Scholarship in Music.
Easter Sunday, 2009, was the Sunday heard ‘round the evangelical internet: NewSpring Church, the second-largest church in the Southern Baptist Convention and among the top one hundred largest churches in the US, had begun their service with the song “Highway to Hell” by hard rock band AC/DC. They had brazenly crossed the sacred/secular musical divide on the most important Sunday of the year, and commentary abounded on the value of such a step. Many were offended at the “desecration” of such a holy day, deriding Newspring as the “theater of the absurd.” Others cheered NewSpring’s engagement with “the culture” and suggested that music could be used to convert non-Christians. No mere debate over stylistic preferences, many expressed that foundational aspects of evangelical identity were at stake. While many books have been written about religious music that utilizes popular music styles (a.k.a. “contemporary Christian music”), there has yet to be a scholarly treatment of how and why popular, secular music is utilized by churches. This book addresses that lacuna by examining this emerging trend in evangelical and “emerging” churches in America. What is the motivation behind using music that seemingly has no connection to Christian theology, values, or themes—such as music by Katy Perry, AC/DC, or Van Halen—and what can we learn about post-denominational evangelical churches in America by uncovering these motives? In this book, April Stace uncovers several themes from an ethnographic study of these churches: the increasingly-porous boundary between the sacred and the secular, the importance placed on “authenticity” in contemporary American culture, how evangelicals are responding to what they perceive is an increasingly-secular society, the “turn to the subject” of contemporary culture, the desire to leave a space for expression of doubt in the worship service without fully authorizing that doubt, and the individualization of the construction of religious identity in the modern era.
Thomas Balinger, Lena Eckhoff The Big Kalimba Songbook 100+ Songs for Kalimba in C (10 and 17 key) This collection of more than 100 famous songs is guaranteed to contain lots of popular favorites you'll just love playing. Written for the beginning player, this book features * easy arrangements and * large notation * plus an extra line of kalimba tablature to make playing as easy as possible. All songs have been arranged for easy playing on either a 10 key or a 17 key kalimba (mbira, marimba) in C tuning. Plus short sections on tuning your kalimba and the playing basics to get you playing as fast as possible. Songs: 1. A beautiful life 2. All the good times are past and gone 3. Amazing grace 4. Auld lang syne 5. Aura Lee 6. Banks of Sacramento 7. Banks of the Ohio 8. Barbara Allen 9. Beautiful brown eyes 10. Billy Boy 11. Billy the kid 12. Blood on the saddle 13. Boil them cabbage down 14. Botany Bay 15. Brahms' Lullaby 16. Brennan on the moor 17. Buffalo gals 18. Bury me not on the lone prairie 19. Camptown races 20. Cindy 21. Colorado trail 22. Cotton-eyed Joe 23. Cumberland Gap 24. Don't this road look rough and rocky 25. Down by the riverside 26. Down the road 27. East Virginia Blues 28. Engine 143 29. Finnegan's wake 30. Foggy mountain top 31. Footprints in the snow 32. Frankie and Johnny 33. Git along little dogies 34. Give me that old time religion 35. Goin' across the mountain 36. Going down this road 37. Good night, ladies 38. Go, tell it on the mountain 39. He's got the whole world 40. Hickory dickory dock 41. Home! Sweet home! 42. House of the Rising Sun 43. How firm a foundation 44. Humpty Dumpty 45. I ain't gonna work tomorrow 46. I ride an old paint 47. Jack of diamonds 48. James Connolly 49. Jesse James 50. Jingle Bells 51. John Brown's body 52. Jolly good fellow 53. Joyful, joyful, we adore Thee 54. Joy to the world 55. Kum ba yah 56. Little Bessie 57. Little brown jug 58. London Bridge is falling down 59. Long journey home 60. Make me down a pallet 61. Mary had a little lamb 62. Michael, row the boat ashore 63. Midnight on the stormy deep 64. Midnight train 65. Molly and Tenbrooks 66. Morning has broken 67. My Bonnie lies over the ocean 68. My home's across the smoky mountains 69. New river train 70. Nine pound hammer 71. Oh! Susanna 72. Old Black Joe 73. Old Dan Tucker 74. Old folks at home 75. Old Mac Donald had a farm 76. On top of Old Smokey 77. Over the river and through the woods 78. Poor Paddy works on the railway 79. Pop! Goes the weasel 80. Roll in my sweet baby's arms 81. Roving gambler 82. Row, row, row your boat 83. Salty dog Blues 84. Scarborough Fair 85. Shenandoah 86. Swing low, sweet chariot 87. The farmer in the dell 88. The first Noel 89. The last rose of summer 90. The minstrel boy 91. The Sally Gardens 92. This old man 93. Tom Dooley 94. Twinkle, twinkle, little star 95. Up on the housetop 96. Way down the old plank road 97. What shall we do with the drunken sailor 98. When the saints go marchin' in 99. Whiskey in the jar 100. Wildwood flower 101. Will the circle be unbroken 102. Wreck of the old 97
In this book, Robert L. Stone follows the sound of steel guitar into the music-driven Pentecostal worship of two related churches: the House of God and the Church of the Living God. A rare outsider who has gained the trust of members and musicians inside the church, Stone uses nearly two decades of research, interviews, and fieldwork to tell the story of a vibrant musical tradition that straddles sacred and secular contexts. Most often identified with country and western bands, steel guitar is almost unheard of in African American churches--except for the House of God and the Church of the Living God, where it has been part of worship since the 1930s. Sacred Steel traces the tradition through four generations of musicians and in some two hundred churches extending across the country from Florida to California, Michigan to Alabama. Presenting detailed portraits of musical pioneers such as brothers Troman and Willie Eason and contemporary masters such as Chuck Campbell, Glenn Lee, and Robert Randolph, Stone expertly outlines the fundamental tensions between sacred steel musicians and church hierarchy. In this thorough analysis of the tradition, Stone explores the function of the music in church meetings and its effect on the congregations. He also examines recent developments such as the growing number of female performers, the commercial appeal of the music, and younger musicians' controversial move of the music from the church to secular contexts.
