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In this unique book about the major religious traditions of the world, a practitioner from each tradition—Hinduism, Judaism, Buddhism, Christianity, and Islam—introduces the basics of his or her faith and participates in a conversation about the challenges of being faithful in the modern world. Each essay and conversation is followed by a list of suggestions for further reading. Written for the non–specialist, Five Voices Five Faiths is an accessible book in which neighbors honor both our differences and our common bonds. Some may say that my only obligation to other non-Christian believers is to preach the good news of God in Christ Jesus. They may also believe that participating in interfaith dialogue and relationship, by the very nature of the task, causes me to disobey the gospel mandate to go into the world and make disciples of all people. I understand the position, and for much of my life subscribed to it. But today, as a middle-aged woman, with grown children and aging parents, another line from the Christian gospels compels me. Today, I reflect more deeply on the new commandment Jesus gave, to love one another as he has loved us. In order to be obedient to that commandment, I understand myself to be required to participate in conversations in which I am not afforded the last word or the luxury of full agreement, compliance, or conversion. This love requires that I involve myself in the lives of others, even when my most basic human instinct is to run, to hide, and to avoid the unfamiliar. The love that Jesus commands of me requires that I, as he has done before me, kindle and engender deep relationships with those others: the outcast, the unfamiliar, the different, and the very ones that we presume constitute the greatest threat to our institutional and cultural norms. —from the Introduction, by Amanda Millay Hughes
For the first time in paperback, a new solo novel by a fantasy great. Set in the same world as Bardic Voices, Book I: The Lark and the Wren, this fantasy novel is "deft and readable . . . as lively as one might wish, and the reappearances of the Skull Hill Ghost from The Lark and the Wren are especially well-rendered" (Dragon).
Francesco Gasparini composed his Mass for Five Treble Voices for the figlie di coro (a famous all-female ensemble) at the Ospedale della Pietà in Venice. Gasparini had become the Pietà’s first full-time maestro di coro in 1701, and the mass was likely written early in his tenure. It is unusual in its lack of a bass part (scored for CCCAA with organ) and its inclusion of all five parts of the mass Ordinary (by 1700 most Venetian concerted masses fit the profile of the missa brevis, consisting solely of a Kyrie and Gloria). The work offers valuable insight into the ospedale repertoire, since a great deal of Venetian sacred music from this period has been lost. Based on an autograph manuscript, this edition makes Gasparini’s mass available to scholars interested in sacred music of the late seventeenth and early eighteenth centuries and enriches the repertoire for treble and women’s choruses.
In this, the first of a three-volume study of Byrd's complete output, under the general title The Music of William Byrd, the author essays a first full-scale historical and critical assessment of Byrd's sacred music to Latin words - one of the great glories of the Elizabethan Age. Each of the approximately 175 compositions is considered, at least briefly, with fuller appreciation accorded to such masterpieces as Emendemus in Melius, Tristitia et anxietas, Iusorum animae, Ave verum corpus, the lamentations and the three famous masses. There are more than sixty musical examples, some of considerable length. In critical prose that slights neither technicalities nor the intense emotional qualities of his subject matter, the author sheds fresh and often unexpected illumination on Byrd's musical rhetoric and on his powerful, endlessly inventive musical structures. Re-examining the known facts of Byrd's life in relation to the patronage and politics of the time, the author boldly argues that while the impetus behind Byrd's early motets was primarily traditionalist and technical, that behind his Cantiones sacrae motets of the 1580s was essentially political: they were covert laments and protests on behalf of the embattled recusant community.
This book develops an innovative approach for understanding the relationship between music and words in the works of five major composers of the English Renaissance: John Taverner, Christopher Tye, John Sheppard, Thomas Tallis, and William Byrd. Focusing on these composers’ settings of the Latin Credo, the author shows how musical and linguistic emphasis can be used to understand the composers’ theological interpretations of the text. By combining markedness theory with style analysis, this study demonstrates that the composers used their musical skills to not only create beautiful music but also raise certain elements of the text to the foreground of perception and relegate others to supporting roles, inviting listeners to experience the familiar words of the liturgy in unique ways. Providing new insights into the changing musical and religious world of the sixteenth century, this book is relevant to anyone researching music or religion in early modern England, while offering a flexible and widely adaptable tool for the analysis of musical-textual relationships.
The purpose of this series is to provide a large repertory 17th century Italian sacred music in clear modern editions that are both practical and faithful to the original sources.