This book explores the way in which singing can foster experiences of belonging through ritual performance. Based on more than two decades of ethnographic, pedagogical and musical research, it is set against the backdrop of "the new Ireland" of the late 20th and early 21st centuries. Charting Ireland's growing multiculturalism, changing patterns of migration, the diminished influence of Catholicism, and synergies between indigenous and global forms of cultural expression, it explores rights and rites of belonging in contemporary Ireland. Helen Phelan examines a range of religious, educational, civic and community-based rituals including religious rituals of new migrant communities in "borrowed" rituals spaces; baptismal rituals in the context of the Irish citizenship referendum; rituals that mythologize the core values of an educational institution; a ritual laboratory for students of singing; and community-based festivals and performances. Her investigation peels back the physiological, emotional and cultural layers of singing to illuminate how it functions as a potential agent of belonging. Each chapter engages theoretically with one of five core characteristic of singing (resonance, somatics, performance, temporality, and tacitness) in the context of particular performed rituals. Phelan offers a persuasive proposal for ritually-framed singing as a valuable and potent tool in the creation of inclusive, creative and integrated communities of belonging.

The approval and publication of the document Sing to the Lord: Music in Divine Worship, developed by the United States Bishops' Committee on Divine Worship, paves the way for further and more comprehensive application of the Church's norms and directives for the sung celebration of the Sacred Liturgy in our country. Music in Catholic Liturgy: A Pastoral and Theological Companion to Sing to the Lord is is an essential, practical, and theological resource for all involved in the preparation of the sung celebration of the Sacred Liturgy, especially parish priests and liturgical music ministers, with an easily accessible way to read, to more completely understand, and make excellent pastoral use of the direction now given to US parishes in Sing to the Lord: Music in Divine Worship.

Scholars of Vedic religion have long recognized the centrality of ritual categories to Indian thought. There have been few successful attempts, however, to bring the same systematic rigor of Vedic Scholarship to bear on later "Hindu" ritual. Excavating the deep history of a prominent ritual category in "classical" Hindu texts, Geslani traces the emergence of a class of rituals known as santi, or appeasement. This ritual, intended to counteract ominous omens, developed from the intersection of the fourth Veda - the oft-neglected Atharvaveda - and the emergent tradition of astral science (Jyotisastra) sometime in the early first millennium, CE. Its development would come to have far-reaching consequences on the ideal ritual life of the king in early-medieval Brahmanical society. The mantric transformations involved in the history of santi led to the emergence of a politicized ritual culture that could encompass both traditional Vedic and newer Hindu performers and practices. From astrological appeasement to gift-giving, coronation, and image worship, Rites of the God-King chronicles the multiple lives and afterlives of a single ritual mode, unveiling the always-inventive work of the priesthood to imagine and enrich royal power. Along the way, Geslani reveals the surprising role of astrologers in Hindu history, elaborates conceptions of sin and misfortune, and forges new connections between medieval texts and modern practices. In a work that details ritual forms that were dispersed widely across Asia, he concludes with a reflection on the nature of orthopraxy, ritual change, and the problem of presence in the Hindu tradition.

In The Heart of Our Music, master practitioners of the art of liturgical music come together to offer enriching insights, a stirring vision, and practical new ideas that will change the way you think about liturgy and liturgical ministry. These reflections are written with the needs of parish liturgists and liturgical musicians in mind. This volume includes reflections on the role of composition, the role of music, the kind of language we use, the missionary dimension of our texts and music, whether esthetic beauty is the only quality needed, and how we think about and name God in the songs we sing. Contributors and their articles include: "A Sacrifice of Praise: Musical Composition as Kenosis" by Alan J. Hommerding; "'The Word Is Near You, in Your Mouth and in Your Heart' Music as Servant of the Word" by Bob Hurd; "The Songs We Sing: The Two Languages of Worship" by Tony Barr; "Moving to Metamelos: A New Heart, a New Church, a New Song" by Rory Cooney; "Beauty and Suitability in Music in the Liturgy" by Paul Inwood; and "From 'God Beyond All Names' to 'O Agape' Images of God in Liturgical Music" by Jan Michael Joncas.

Meeting House Essays in a series of papers reflecting on the mystery, beauty and practicalities of the place of worship. This popular series was begun in 1991, and each resource focuses on a particular aspect of space, design or materials and how they relate to the liturgy.

The celebration of infant Baptism stirs joy within a community and reminds those who have gathered that God has called each of us to be missionary disciples. Celebrating Baptism well has the potential to evangelize and transform a parish community so that their faith will be stirred, deepened, and renewed. This resource provides pastoral guidance for preparing joyful and communal celebrations of infant Baptism within or outside Mass. It provides guidance for selecting Scripture readings, prayer texts, and music; arranging the environment; scheduling ministers; and preparing liturgies that engage and evangelize.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition

This book engages with the question of how music expresses and responds to the profound existential disturbance that death and loss present to the living. Singing Death ranges across genres from medieval love song to twenty-first-century horror film music. Each chapter offers readers an encounter with music as a distinct way of speaking or responding to human mortality. The chapters cover a wide range of disciplines: musicology, ethnomusicology, literature, history, philosophy, film studies, psychology and psychoanalysis. The collection is accompanied by a website including some of the music associated with each of its chapters.

Skillfully blending painstaking research, telling anecdotes, and astute analysis, Carpenter - a scholar who has spent twenty years studying American evangelicalism reveals that, contrary to the popular opinion of the day, fundamentalism was alive and well in America in the late 1920s, and used its isolation over the next two decades to build new strength from within. The book describes how fundamentalists developed a pervasive network of organizations outside of the church setting and quietly strengthened the movement by creating their own schools and oragnizations, may of which are prominent today, including Fuller Theological Seminary and the publishing and radio enterprises of the Moody Bible Institute. Fundamentalists also used youth movements, missionary work and, perhaps most significantly, the burgeoning mass media industry to spread their message, especially through the powerful new medium of radio. Indeed, starting locally and growing to national broadcasts, evangelical preachers reached millions of listeners over the airwaves, in much the same way evangelists preach through television today. All this activity received no publicity outside of fundamentalist channels until Billy Graham burst on the scene in 1949. Carpenter vividly recounts how the charismatic preacher began packing stadiums with tens of thousands of listeners daily, drawing fundamentalism firmly back into the American consciousness after twenty years of public indifference. Alongside this vibrant history, Carpenter also offers many insights into fundamentalism during this period, and he describes many of the heated internal debates over issues of scholarship, separatism, and the role of women in leadership. Perhaps most important, he shows that the movement has never been stagnant or purely reactionary. It is based on an evolving ideology subject to debate, and dissension: a theology that adapts to changing times.