Subject Area: Music-Sacred + Hymns
Rogal, Samuel J.2010 0-7734-1474-6 668 pages
Rogal, Samuel J.
2009 0-7734-3846-7 508 pages
Rogal, Samuel J.
2010 0-7734-1391-X 752 pages
This sixth volume of the “New Edition” of George Osborn’s nineteenth-century collection of The Poetry of John and Charles Wesley cont en volumes of Osborn’s edition might justifiably be considered by the scholarly world as “outdated,” it cannot be termed “obsolete,” since, nonetheless, it remains as the largest collection of the Wesleys’ poetic productions yet published.
Rogal, Samuel
2010 0-7734-1310-3 760 pages
This fifth volume of the “New Edition” of George Osborn’s nineteenth-century collection of The Poetry of John and Charles Wesley continues to widen the access of the original poems of the eighteenth-century Wesleys, as well as their translations and altered versions of others’ poetical works. Although the total of thirteen volumes of Osborn’s edition might justifiably be considered by the scholarly world as “outdated,” it cannot be termed “obsolete,” since, nonetheless, it remains as the largest collection of the Wesleys’ poetic productions yet published.
Rogal, Samuel J.
2009 0-7734-4678-8 544 pages
Volume one of the “New Edition” of George Osborn’s nineteenth-century collection of The Poetry of John and Charles Wesley provides access to the original poems of the eighteenth-century Wesleys, as well as their translations and altered versions of others’ poetical works. It provides necessary background information relative to those poems–details historical, bibliographical, and biographical that Osborn omitted or of which he had no knowledge.
Rogal, Samuel J.
2010 0-7734-3875-0 60 pages
These works are presentations and studies of well-known Protestant hymns.
Rogal, Samuel J.
2010 0-7734-3869-6 60 pages
These works are presentations and studies of well-known Protestant hymns.
Rogal, Samuel
2012 0-7734-2605-1 72 pages
“America the Beautiful,” written in 1893 by Wellesley College English Professor and Poet, Katharine Lee Bates (1859-1929), revised and first published in 1895 and revised again in 1904 and 1911, stands among the classic pieces of American National hymnody. The poem reflects not only the natural grandeur of the United States in the late nineteenth century—from sky to earth, and from sea to another—but it depicts the ideal vision of a poet, writing only three decades removed from the American Civil War, who strived extremely hard to communicate to her readers the necessity to preserve the fundamental principles of her nation: freedom and brotherhood. The crowning moment for the poem arrived, at some point during World War I, when an unidentified person or group determined to set Katharine Bates’ words to a tune, “Materna,” written by Samuel Augustus Ward (1847-1903), a now forgotten New Jersey organist, choir director, and music store owner, first published in 1888. Following that “marriage,” “America the Beautiful” then occupied the enviable three-tiered pedestal of poem, patriotic song, and national hymn, and there it remains to this day.
Rogal, Samuel J.
2003 0-7734-6885-4 264 pages
In an investigation of historical American hymnals, it was discovered that of the 267 most frequently published hymns, A. M. Toplady’s “Rock of Ages” ranked ninth, included in 114 of the 175 hymnals. This study examines 130 versions of that hymn text, beginning with its earliest periodical publications in 1774 and extending up through to a hymnal published in 2001, noting changes in its language, substance, structure, orthography, punctuation, and capitalization. Numerous editorial notes and comments offer explanations and explications concerning how editors altered the original version as well as biographical and historical commentary on books, editors, tune composers, publishing houses, and even pricing information. The sheer variety of hymnals and collections of hymns that have housed “Rock of Ages” broadens the discussion, particularly after the examination of those books intended to generate financial profit as well as to promote spiritual welfare. The hymnals chosen represent a wide range of denominational and commercial endeavors.
Kelly, Columba
2006 0-7734-5993-6 364 pages
This translation of Volume One of the two-volume work of Agustoni and Göschl has brought together the most accepted and recent scholarship in the field of Gregorian chant. It is a thorough and systematic presentation of this material for the very purpose of aiding those who wish to bring this music to life in actual performance and in a manner that is more faithful to its very nature as the musical enhancement of a sacred text. Such an aid to performance has only been available since 1987 in the original German and then in 2001, in a French translation of Volume I by Dom Daniel Saulnier. The French translation by Dom Saulnier has been used as the basis of this translation, since it contains material on the Tironian notes that was not available at the time of the original German work. This English translation begins to answer the need of English-speaking directors and singers of Gregorian chant for performance guidelines that are based on solid scholarship.
Drain, Susan
1989 0-88946-829-X 552 pages
Discusses the theory and function of hymnody, Anglican hymnody, compilation, printing, and circulation, with an eye to proving that each hymn within a collection had its own purpose and its own intended use.
Rogal, Samuel
2009 0-7734-4825-4 1748 pages
The 1858 Sabbath Hymn Book stands as an important and significant historical product of nineteenth-century American hymnody, as well as a by-product of nineteenth-century American Protestant culture, that, outside of the boundaries marked off by a small number of specialists in the field, lies practically forgotten.
Rogal, Samuel
2009 0-7734-4797-0 188 pages
The 1858 Sabbath Hymn Book stands as an important and significant historical product of nineteenth-century American hymnody, as well as a by-product of nineteenth-century American Protestant culture, that, outside of the boundaries marked off by a small number of specialists in the field, lies practically forgotten.
Rogal, Samuel
2009 0-7734-4795-4 464 pages
The 1858 Sabbath Hymn Book stands as an important and significant historical product of nineteenth-century American hymnody, as well as a by-product of nineteenth-century American Protestant culture, that, outside of the boundaries marked off by a small number of specialists in the field, lies practically forgotten.
Rogal, Samuel
2009 0-7734-4793-8 556 pages
The 1858 Sabbath Hymn Book stands as an important and significant historical product of nineteenth-century American hymnody, as well as a by-product of nineteenth-century American Protestant culture, that, outside of the boundaries marked off by a small number of specialists in the field, lies practically forgotten.
Rogal, Samuel
2009 0-7734-4791-1 540 pages
The 1858 Sabbath Hymn Book stands as an important and significant historical product of nineteenth-century American hymnody, as well as a by-product of nineteenth-century American Protestant culture, that, outside of the boundaries marked off by a small number of specialists in the field, lies practically forgotten.
Rogal, Samuel J.
2010 0-7734-3865-3 60 pages
These works are presentations and studies of well-known Protestant hymns.
Kelly, Columba
2002 0-7734-6872-2 236 pages
With Accompanying CD
This study provides instruction to perform or conduct Gregorian chant in an historically informed way. It provides the reader with a Schenker style analysis of individual chant pieces, identifies the structure pitches of the composition and shows how these are then elaborated by ornamental figures. It also shows, for the first time, how the same creative tradition can be carried on in the English language. A CD with short examples is included with the book. This is the first volume in an exciting new series on Gregorian chant, edited by Father Columba Kelly.
Hsieh, Fang-Lan
2010 0-7734-3816-5 296 pages
This work examines the important hymnals that shaped Chinese hymnody and the hymnists who made significant contributions. The hymns written by Chinese authors and composers are discussed in the light of their Christian context, poetic forms, imagery, Chinese music styles and musical idiom.
Duncan, Stephen
2004 0-7734-6479-4 177 pages
This is the musical chronicle of Saints Constantine and Helen Serbian Orthodox Church, established more than 100 years ago by Tsar Nicholas, II. Founded by Serbian and Greek immigrants, it has had Syrro-Arabian, Russian, Greek and Serbian pastors and music from each of these cultures. With American, Serbian, Greek, Arab, and Russian parishioners, the multi-lingual approach used here may serve as a model for other Orthodox Churches in America.
DiPaolo, Lawrence
2008 0-7734-4923-X 204 pages
This study investigates the three main images of Christ in the material normally designated as hymnic in the New Testament (Phil 2:6-11, 1 Cor 8:6, Col 1:15-20, John 1:1-18, Heb 1:3-4, 1 Tim 3:16), specifically the images of Christ the pre-existent divinity, Christ the Creator and Christ the Incarnate god. It is the position of the author that the closest literary antecedents for the first two images can be found in the literary world of Hellenistic Jewish wisdom speculation, specifically that subset of Hellenistic Jewish wisdom speculation influenced by Middle Platonic thought and exemplified by the works of Philo of Alexandria. The final image, that of Christ the Incarnate god, finds its’ most compelling literary antecedents in works of Greco-Roman religious thought and philosophy, specifically those myths which deal with gods taking human form and serving as slaves. The image of the god as flesh, a subset of those images which deal with Christ as an incarnate god, however, fails to be easily classified as deriving from either Hellenistic Jewish or Greco-Roman literary images.
Becken, Hans-Jürgen
2005 0-7734-6058-6 240 pages
This is the fifth and final volume of the Sacred History and Traditions of the amaNazaretha series published by The Edwin Mellen Press. All five volumes were translated from the Zulu by Dr. Hans-Jürgen Becken at the request of his friend, Bishop Johannes Galilee Shembe (1904-1975) and approved by his successor, Bishop Amos Shembe (1907-1995). Like the earlier volumes in this series, the present book contains texts that are part of a common amaNazarite tradition preserved by Bishop J.G. Shembe and handed down to all members of the amaNazarite movement.
James, Nancy Carol
2010 0-7734-3630-8 124 pages
In this study Dr. Nancy C. James analyzes the symbolism in Josiah Conder's poetic hymn, the expression of his beliefs and the notion of prevenient theology that motivated Conder.
Proskurknya, Oleg
2011 0-7734-1509-2 448 pages
The author analyzes the phenomenon of the temporal interval (or time-lag) between a conductor’s action and appearance of the sound. The temperal internal is either ignored or only vaguely recognized by the generally accepted conducting methods.
Demaray, Donald
1988 0-88946-824-9 392 pages
Surveys the message, homiletical method, and the effect of Newton's preaching during the Olney and London periods, along with Newton as hymnwriter and the influence of his Olney hymns. Includes many previously unpublished photographs and new data.
Little, Jonathan David
2011 0-7734-1553-X 468 pages
This volume is the first of its type to comprehensively survey the major sources of literary inspiration for western composers who sought to depict in their musical works on “Eastern” flavor.
Barton, Paulette E.
2009 0-7734-4841-1 320 pages
This work examines medieval cathedral practice through the analysis of choir stalls. The author demonstrates that far from being merely decorative, these seats reveal much about Medieval society, law and feudal responsibility. This book contains forty black and white photographs and two diagrams.
Rogal, Samuel J.
2016 1-4955-0510-3 72 pages
This is a close study of both the poetic elements and musical setting for Glorious Things of Thee Are Spoken. This hymn, written by John Newton in 1779, on a broader level proves an example of a rhythmical argument in its attempt to promote the evangelical revival within a rural English parish as well as promoting Newton’s inspirational desire to perpetuate the faith while comforting sincere Christians.
This book is volume 17 in the series called Sung Prayers of the Christian Tradition.
Rogal, Samuel J.
2014 0-7734-4283-9 84 pages
“The Church’s One Foundation” established itself, early and firmly, among those nineteenth-century English hymns known for their poetic excellence. Thus, the piece not only “sings” well, it reads well.
History of Christian Hymnody Volume 14
Rogal, Samuel J.
2016 1-4955-0467-0 61 pages
This is a close study of the poem and musical setting for Holy Holy Holy Lord God Almighty. This hymn, written in 1826, is one of the most sung hymns of the Protestant and Episcopal traditions. The author of the hymn, Bishop Reginald Heber was the Bishop of Calcutta, India.
This book is Volume 16 in the Mellen Series called The Sung Prayers of the Christian Tradition.
Fitzpatrick, Marjorie
2016 1-4955-0449-2 612 pages
Examines music and power in eighteenth-century court society. It focuses on Händel’s Messiah and the Protestant Ascendancy society. Its aims are to find out if music reflects cultural changes and whether music is an indicator of power positions within court society utilizing the theoretical framework of Norbert Elias' social theory.
Rogal, Samuel J.
2010 0-7734-3871-8 68 pages
These works are presentations and studies of well-known Protestant hymns.
Rogal, Samuel J.
2011 0-7734-1527-0 76 pages
Rogal, Samuel J.
2010 0-7734-3873-4 60 pages
These works are presentations and studies of well-known Protestant hymns.
Rogal, Samuel J.
2010 0-7734-3889-7 60 pages
These works are presentations and studies of well-known Protestant hymns.
Rogal, Samuel J.
2010 0-7734-3891-2 72 pages
These works are presentations and studies of well-known Protestant hymns.
Rogal, Samuel J.
2010 0-7734-3820-3 60 pages
These works are presentations and studies of well-known Protestant hymns.
Manwaring, Randle
2004 0-7734-6330-5 160 pages
Fashions in hymn-writing have fluctuated widely since Issac Watts, as a young man in the 17th century, pioneered the art. Until then, churches only sang psalms, later paraphrases, to be followed by the vast output of thousands of hymns by Watts and then by Charles Wesley. Both men became poets in their own right. Later, Victorians took up hymn-writing on a huge scale and in recent times excellent new hymns have been written, often referred to as songs although, sadly, some strong in devotion and sentiment, have been weak in poetry. The contention of this book, the author’s second on the subject, is that hymnody should always be sound in poetic construction and that as, Wesley declared, it should reflect the strength and purity of the English language.
Greene, David B.
2012 0-7734-2591-8 136 pages
This book is based around reports from people who have listened to certain pieces of sacred music (that is, pieces with a liturgical text or biblical allusions) and have said that hearing the music is itself an encounter with the divine. While relating to the music, these people find that relating to the music is a relation to God. The music as such becomes inaudible, and disappears into an encounter in which they address and are addressed by God, or the Risen Christ, or the Eternal Infinite. The book’s project is to elaborate on these reports, first by dwelling on the meaning of “relation” then by drawing parallels between the reports and the writings of Martin Buber on the I-Thou relation and its contrast to the I-It experience, and finally by describing the salient aspects of the music in order to specify just what is this hearing that is a relating, an encounter. Although many pieces could have been chosen as examples of this kind of hearing and this kind of spirituality, the book takes only three so that it can describe them in considerable detail and depth. These pieces : Three Movements from Mozart’s Mass in C Minor, the resurrection music from Bach’s Mass in B Minor, and Oliver Messiaen’s Quartet for the End of Time.
2010 0-7734-3650-2 56 pages
Richard Wilbur’s lyric “A Stable-Lamp is Lighted,” originally written to be sung chorally at a candlelight service at Wesleyan University in 1958, is both a much admired poem sung by church choirs in Advent and Christmas concerts and a successful hymn text. Wilbur’s text combines the attributes of a text for congregational and choral singing with those of a Modernist poem.
Manwaring, Randle
1990 0-88946-798-6 188 pages
Traces the continuing story of hymn-writing and hymn-singing in the Christian church and follows the golden thread through successive generations of Christians. Sets out to trace the development of English hymnody and the continuing link between the muse of poetry and the inspiration required in hymnody.
Shonekan, Stephanie
2011 0-7734-1483-5 304 pages
This book is the memoir of an African-American operatic soprano. It is co-written by a Nigerian ethnomusicalogist, and relates Williams’ early life, education and subsequent career as an artist and educator. This book contains 3 color plates and seven black and white photographs.
Rogal, Samuel J.
2014 0-7734-0903-3 64 pages
Although “Come, ye thankful people, come” (1844), by Henry Alford (1810-1871), as set to the tune “St. George’s, Windsor” (1858), by George Job Elvey (1816-1893), remains among the most popular congregational hymns in both Great Britain and the United States, negative criticism of Alford’s overall hymnodic production has diminished severely his reputation as poet and hymnodist. To assist students and scholars of Victorian hymnody in understanding the success of one and the failings of the other, this monograph looks into the life and the work of Alfred, especially as it applies to congregational song and worship; examines the music and the language of “Come, ye thankful people, come”; and calls attention to specific remarks issued by critical commentators.. The answers might well lie in the realization that faith alone does not always produce quality poetry.
Greene, David B.
2012 0-7734-2589-6 120 pages
In pieces of music set to biblical or liturgical texts, the musical connections of one passage or one movement to one another. In a musical sense, these texts have a meaning and significance that can be and often distinct from the meanings achieved by syntactic relationships. Sometimes the syntactic meanings are lost in the musical repetitions and overlapping entries of many voices; in the case of texts for different movements, syntactic relations often simply do not exist. Consequently, the music does not merely parallel or illustrates the text’s theological meaning or guide an affective response to an already familiar contemplation of God and the Divine presence in the world. Rather, it relates the texts’ images to one another in a specific and particular way and achieves a theological coherence that is distinctive to the particular piece. The book carries out this approach in analyzing three works of sacred music: The Christmas portion of Handel’s Messiah, the Credo of Beethoven’s Mass in D, and the Dies Irae of Verdi’s Requiem. The analyses show how the composers’ melodic, harmonic, and structural events work on and determine the ideas and images in the texts. The goal is to point to the “heard analogy” that becomes available when listeners pay attention to the musical relationships and their impact on the contemplation of God.