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  • Inside the Offertoryby Rebecca Maloy

    Oxford University Press, USA 2010; US$ 54.99

    The offertory has played a crucial role in recent vigorous debates about the origins of Gregorian chant. Its elaborate solo verses are among the most splendid of chant melodies, yet the verses ceased to be performed in the twelfth and thirteenth centuries, making them among the least known and studied members of the repertory. Rebecca Maloy now offers... more...

  • Downhome Gospelby Jerrilyn McGregory

    University Press of Mississippi 2010; US$ 50.00

    Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs.... more...

  • Music and Patronage in Sixteenth-Century Mantua, Volume 2by Iain Fenlon

    Cambridge University Press 1982; US$ 28.00

    This book is a companion volume to Music and Patronage in Sixteenth-Century Mantua I. more...

  • Medieval Liturgical Chant and Patristic Exegesisby Emma Hornby

    Boydell & Brewer 2009; US$ 99.00

    How do text and melody relate in western liturgical chant? Is the music simply an abstract vehicle for the text, or does it articulate textual structure and meaning? These questions are addressed here through a case study of the second-mode tracts, length more...

  • The Music of the Moravian Church in Americaby Nola Reed Knouse

    Boydell & Brewer 2008; US$ 65.00

    The Moravians, or Bohemian Brethren, early Protestants who settled in Pennsylvania and North Carolina in the eighteenth century, brought a musical repertoire that included hymns, sacred vocal works accompanied by chamber orchestra, and instrumental music more...

  • No Sympathy for the Devilby David W. Stowe

    The University of North Carolina Press 2011; US$ 27.95

    In this cultural history of evangelical Christianity and popular music, David Stowe demonstrates how mainstream rock of the 1960s and 1970s has influenced conservative evangelical Christianity through the development of Christian pop music. For an earlier generation, the idea of combining conservative Christianity with rock--and its connotations of... more...

  • Vodou Songs in Haitian Creole and Englishby Benjamin Hebblethwaite; Joanne Bartley

    Temple University Press 2011; US$ 39.95

    Vodou songs constitute the living memory of Haitian Vodou communities, and song texts are key elements to understanding Haitian culture. Vodou songs form a profound religious and cultural heritage that traverses the past and refreshes the present. Offering a one-of-a-kind research tool on Vodou and its cultural roots in Haiti and pre-Haitian regions, ... more...

  • Music and Theology in Nineteenth-Century Britainby Martin Clark

    Ashgate Publishing Ltd 2012; US$ 114.95

    This collection of essays explores the interrelationship of music and theology in relation to the religious, musical and social history of nineteenth-century Britain. The book examines the role of music in the diverse religious life of a century that encompassed the Oxford Movement, Catholic Emancipation, religious revivals involving many different... more...

  • Sonic Spaces of the Karooby Marie Jorritsma

    Temple University Press 2011; US$ 64.50

    Sonic Spaces of the Karoo is a pioneering study of the sacred music of three coloured (the apartheid designation for people "not white or native") people's church congregations in the rural town of Graaff-Reinet, South Africa. Jorritsma's fieldwork involves an investigation of the choruses, choir music, and hymns of the Karoo region to... more...

  • I Belong to This Band, Hallelujah!by Laura Clawson

    University of Chicago Press 2011; US$ 24.00

    The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp isn’t performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take... more...