Reprint of the original, first published in 1841.

795 hymns without music.

Is there a way to do the prescribed or suggested orders of worship from denominational worship resources—such as the United Methodist Book of Worship, Evangelical Lutheran Book of Worship, the Book of Common Worship of the Presbyterian Church (U.S.A.), or the Book of Common Prayer—in a way that feels legitimately and authentically contemporary? This practical, how-to book will help churches plan and implement passionate and invigorating worship. Step by step, author Lester Ruth and contributors Zachary Barnes, Andrew Eastes, Jonathan Ottaway, Adam Perez, Glenn Stallsmith and Deborah Wong break down the process of re-thinking what the official or recommended order of worship is truly suggesting, so pastors and worship leaders can plan and lead a service of Word and Table that feels genuinely relevant and attuned to the congregation’s culture. With this goal, Flow casts a new, but classic, understanding of traditional worship as well as spurs a reconsideration of how contemporary worship can be done by honoring the traditions of denominational congregations.

Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!

The period covered by this volume is one of the most eventful and fruitful in the history of English music. This selection - embracing the motet, festal psalm, anthem, canticle and devotional song - has been edited according to modern scholarly standards, but with the needs of practical performance in mind. The choice of music gives a comprehensive picture of the period, with many well-known works included as outstanding examples of their kind. Less familiar compositions are also featured, and they fill important gaps in the available repertory - notably settings of the Nunc dimittis by Tye, Robert Parsons and Thomas Tomkins, a festal psalm by Tallis, verse anthems by William Mundy and Walter Porter, and full anthems by Amner, Batten, Thomas Tomkins and William Child. A general historical introduction and a calendar of events are supplied, together with notes on each piece and a list of the sources used.

Nicholas Temperley has pioneered the history of popular church music in England, as expounded in his classic 1979 study, The Music of the English Parish Church; his Hymn Tune Index of 1998; and his magisterial articles in The New Grove. This volume brings together fourteen shorter essays from various journals and symposia, both British and American, that are often hard to find and may be less familiar to many scholars and students in the field. Here we have studies of how singing in church strayed from artistic control during its neglect in the 16th and 17th centuries, how the vernacular 'fuging tune' of West Gallery choirs grew up, and how individuals like Playford, Croft, Madan, and Stainer set about raising artistic standards. There are also assessments of the part played by charity in the improvement of church music, the effect of the English organ and the reasons why it never inspired anything resembling the German organ chorale, and the origins of congregational psalm chanting in late Georgian York. Whatever the topic, Temperley takes a fresh approach based on careful research, while refusing to adopt artistic or religious preconceptions.

Includes its Report, 1896-1945.