Music

This popular collection of 280 musical pieces from both the African American and gospel traditions has been compiled under the supervision of the Office of Black Ministries of the Episcopal Church. It includes service music and several psalm settings in addition to the Negro spirituals, Gospel songs, and hymns.

The authorized hymnal for the Episcopal Church with durable, beautiful, covered spiral binding especially created for music stands, organ, and piano music racks. This edition provides accompaniment for all hymns and service music and contains an appendix of additional service music. It comes in two volumes — one of hymns and one of service music.

A new edition of the comprehensive resource linking hymns and anthems to lectionary readings.

Liturgical Music for the Revised Common Lectionary, Year B is the second of three volumes in a series of planning guides for church musicians and clergy, identifying hymns and anthems that are connected to the scripture appointed for Sundays and feast days. In addition to identifying hymns and anthems appropriate for each Sunday of the church year, this volume also offers suggestions about where in the liturgy each selection can best be used. Featuring hymns from hymnals authorized for use in the Episcopal Church, the Evangelical Lutheran Church in America, and the Moravian Church in America, as well as anthems from a variety of sources, Liturgical Music for the Revised Common Lectionary helps liturgical planners add musical variety to services and links congregational and choral singing to the lectionary.

Stories about new musical instruments are often told as quests for new kinds of sounds. The Composer's Black Box asks, What happens when new musical instruments produce not only new sounds but also new dynamics of musical agency and control? And what consequences do those new dynamics have for musicality beyond sound? With a focus on five key figures—Morton Subotnick, Pauline Oliveros, Donald Buchla, Alvin Lucier, and Sun Ra—this book explores how scientific and technological developments in mid-twentieth-century America galvanized musicians to reconfigure their conceptions of sociality, freedom, and the creative self. Theodore Gordon shows how cybernetic thinking in a range of disciplines, from experimental music to jazz and electrical engineering, has shaped musical techniques and technologies and changed what it means to be a composer—or, more broadly, a music-making human—in an increasingly informational world.

A new edition of the comprehensive resource linking hymns and anthems to lectionary readings.

The final volume in a three-volume series of planning guides for church musicians and clergy, this resource identifies hymns and anthems that are connected to the scripture appointed for Sundays and feast days. In addition to identifying hymns and anthems appropriate for each Sunday of the church year, this volume also offers suggestions about where in the liturgy each selection can best be used. Featuring hymns from hymnals authorized for use in the Episcopal Church, the Evangelical Lutheran Church in America, and the Moravian Church in America, as well as anthems from a variety of sources, Liturgical Music for the Revised Common Lectionary helps liturgical planners add musical variety to services and links congregational and choral singing to the lectionary.

The U.S. incarceration machine imprisons more people than in any other country. Music-Making in U.S. Prisons looks at the role music-making can play in achieving goals of accountability and healing that challenge the widespread assumption that prisons and punishment keep societies safe.

The book’s synthesis of historical research, contemporary practices, and pedagogies of music-making inside prisons reveals that, prior to the 1970s tough-on-crime era, choirs, instrumental ensembles, and radio shows bridged lives inside and outside prisons. Mass incarceration had a significant negative impact on music programs. Despite this setback, current programs testify to the potency of music education to support personal and social growth for people experiencing incarceration and deepen social awareness of the humanity found behind prison walls.

Cohen and Duncan argue that music-making creates opportunities to humanize the complexity of crime, sustain meaningful relationships between incarcerated individuals and their families, and build social awareness of the prison industrial complex. The authors combine scholarship and personal experience to guide music educators, music aficionados, and social activists to create restorative social practices through music-making.

This pew edition (also called basic singers edition) contains all hymns and service music for all who sing, choir and congregation alike. It is the current official Episcopal Hymnal.

This is an indispensable companion to the pew edition of Wonder, Love, and Praise. Written specifically for the musician, clergy person, worship planner, and accompanist, this volume contains all the music from the pew edition plus interesting background information on each selection. It also includes performance and teaching suggestions, ideas for liturgical use, additional instrumental parts, and a layout designed for ease in accompanying.

This popular collection of 280 musical pieces from both the African American and gospel traditions has been compiled under the supervision of the Office of Black Ministries of the Episcopal Church. It includes service music and several psalm settings in addition to the Negro spirituals, gospel songs, and hymns.

This second supplement to The Hymnal 1982 is an eclectic collection of two hundred hymns and spiritual songs, including a large selection of service music and devotional pieces. It is a valuable resource for worship, parish functions, and home use. The sturdy paperback pew edition contains all necessary accompaniments.

There are additional hymns for Advent, Holy Week, Baptism, Ordinations, and Funerals as well as for healing, mission, unity, and peace. There are a dozen bilingual hymns and another dozen from Lift Every Voice and Sing II. The service music section contains twenty-nine new canticle settings including six Glorias, two Te Deums, A Song of Wisdom and A Song of Pilgrimage from Supplemental Liturgical Materials. There are two sets of Gospel Acclamations based on hymn tunes for the seasons of Easter and Epiphany. In addition there are twenty-nine selections of other liturgical and devotional music that includes table graces, rounds, acclamations, and selections of Music from Taize.

This is the first of two collections from the Standing Commission on Liturgy and Music of additional service music for the church with eleven settings for the eucharist and two settings each of Canticles A-K from Enriching Our Worship 1.

This book contains the one hundred fifty psalms of David set to plainsong psalm tones with antiphons as selected and compiled by Howard E. Galley, Jr. Originally, they were published in The Psalter section of his The Prayer Book Office. Where no antiphons exist in that resource, editor James Litton has followed the work of Dr. Richard Crocker and Ronald Haizlip in the Gradual Psalms both in choice of psalm tone and method of pointing or other current resources.

This psalter is intended for use in the Daily Office. Contains a preface, an introduction and performance notes. The Appendix also contains examples of the psalm tones and their various endings.

In Cosmos, Liturgy, and the Arts in the Twelfth Century, Margot E. Fassler takes readers into the rich, complex world of Hildegard of Bingen’s Scivias (meaning “Know the ways”) to explore how medieval thinkers understood and imagined the universe. Hildegard, renowned for her contributions to theology, music, literature, and art, developed unique methods for integrating these forms of thought and expression into a complete vision of the cosmos and of the human journey. Scivias was Hildegard’s first major theological work and the only one of her writings that was both illuminated and copied by scribes from her monastery during her lifetime. It contains not just religious visions and theological commentary, but also a shortened version of Hildegard’s play Ordo virtutum (“Play of the virtues”), plus the texts of fourteen musical compositions.

These elements of Scivias, Fassler contends, form a coherent whole demonstrating how Hildegard used theology and the liturgical arts to lead and to teach the nuns of her community. Hildegard’s visual and sonic images unfold slowly and deliberately, opening up varied paths of knowing. Hildegard and her nuns adapted forms of singing that they believed to be crucial to the reform of the Church in their day and central to the ongoing turning of the heavens and to the nature of time itself. Hildegard’s vision of the universe is a “Cosmic Egg,” as described in Scivias, filled with strife and striving, and at its center unfolds the epic drama of every human soul, embodied through sound and singing. Though Hildegard’s view of the cosmos is far removed from modern understanding, Fassler’s analysis reveals how this dynamic cosmological framework from the Middle Ages resonates with contemporary thinking in surprising ways, and underscores the vitality of the arts as embodied modes of theological expression and knowledge.

This second volume of canticles and settings for the eucharist contains music for the remaining new canticles found in "Enriching Our Worship 1" and more compositions for the eucharist by a wide variety of composers. The varied styles will satisfy many tastes and worship needs.

The HymnTune Psalter, an immediate success throughout the church when it debuted in 1998, has now been revised and reorganized for the Revised Common Lectionary. Book 1 contains all the psalms for Sunday worship from Advent through the Day of Pentecost.

These settings are ideal for congregations new to psalm singing because the refrains are based on familiar hymn tunes. The chants are in the Simplified Anglican Chant style which may be sung by the choir or a cantor. Explore the ancient practice of singing psalmody; enjoy unity with other mainline denominations who follow this lectionary.

Winner, 2024 Greg Tate Prize, given by the International Association for the Study of Popular Music-US Branch

Winner, 2024 International Association for the Study of Popular Music Canada Book Prize

Honorable Mention, 2024 Alan Merriam Prize, given by the Society for Ethnomusicology

What does sovereignty sound like?

Sonic Sovereignty considers how contemporary Indigenous musicians champion self-determination through musical expression in Canada and the United States. The framework of “sonic sovereignty” connects self-definition, collective determination, and Indigenous land rematriation to the immediate and long-lasting effects of expressive culture. Liz Przybylski covers online and offline media spaces, following musicians and producers as they, and their music, circulate across broadcast and online networks.

Przybylski documents and reflects on shifts in both the music industry and political landscape over the course of a decade: as the ways in which people listen to, consume, and interact with popular music have radically changed, extensive public conversations have flourished around contemporary Indigenous culture, settler responsibility, Indigenous leadership, and decolonial futures.

Sonic Sovereignty encourages us to experiment with temporal possibilities of listening by detailing moments when a sample, lyric, or musical reference moves a listener out of normative time. Nonlinear storytelling practices from hip hop music and other North American Indigenous sonic practices inform these generative listenings. The musical readings presented in this book thus explore how musicians use tools to help listeners embrace rupture, and how out-of-time listening creates decolonial possibilities.

Simple, beautiful songs for worship, readily accessible to singers in any size congregation.The contributors to this songbook are committed to encouraging a new sacred folk music - music that we can teach to and sing with one another without a hymnal or a piece of paper in our hands. This original music is simple and repetitive, yet holds incredible depth. It allows congregations to become communal music-makers, learning to sing and improvise together in a vital way.
Music by the Heart includes songs in unison, simple harmony parts, and rounds; most can be sung unaccompanied. It is specifically geared to evening and night-time liturgies, often the times of choice for alternative worship, though many can be used at other times. There is original music by variety of composers, written to be taught by rote and sung without printed music. It also includes teaching notes to help the lead musician be successful.

The HymnTune Psalter, an immediate success throughout the church when it debuted in 1998, has now been revised and reorganized for the Revised Common Lectionary. Book 2 contains all the psalms for Sunday worship during the Season after Pentecost.

These settings are ideal for congregations new to psalm singing because the refrains are based on familiar hymn tunes. The chants are in the Simplified Anglican Chant style which may be sung by the choir or a cantor. Explore the ancient practice of singing psalmody; enjoy unity with other mainline denominations who follow this lectionary.

My Heart Sings Out is a hymnal designed for all-age worship, with the aim of the full inclusion of children in weekly worship.

It is organized in two main sections, the eucharistic liturgy and the church year, with additional thematic sections including songs for baptism and confirmation, songs of thanks and praise, and songs of suffering, healing and assurance. Among its features:

• It will enable you to fully incorporate children into your worship
• Pieces have been carefully selected to represent the best of congregational church music from the last 25 years
• Christian educators will find resources for all their needs, from church school to vacation programs
• As children learn these new songs, adults will learn unaccompanied part-singing alongside them
• This hymnal will provide your child with a life-long Christian education through music.

In the time-honored tradition of church musicians who compose music for local use, Robert A. Hawthorne created these beautiful new settings of the psalms for his congregation in Oregon. They proved so singable, so sensitively rendered, and so liturgically appropriate that many who heard them felt this music should be more widely available.

The Portland Psalter: Book One, brings the first part of Hawthorne's psalter to the larger church. It contains settings for all psalms appointed for the Sunday Eucharist according to the Book of Common Prayer lectionary and the Revised Common Lectionary. Book Two contains the balance of psalm settings for the church year together with pastoral offices and ordination rites and the Easter Vigil.

These hymns have been simplified for use by anyone with at least three years training in piano. In addition, guitar chords accessible to amateur players have been included for many of the selections, and there are suggestions for using familiar tunes found here with other hymns texts. These accompaniments are also a useful resource for teaching beginning piano students who are not ready for the full accompaniments in The Hymnal 1982.

The pew edition is for all who sing, choir and congregation alike, and contains all hymns and service music.

Stories about new musical instruments are often told as quests for new kinds of sounds. The Composer's Black Box asks, What happens when new musical instruments produce not only new sounds but also new dynamics of musical agency and control? And what consequences do those new dynamics have for musicality beyond sound? With a focus on five key figures—Morton Subotnick, Pauline Oliveros, Donald Buchla, Alvin Lucier, and Sun Ra—this book explores how scientific and technological developments in mid-twentieth-century America galvanized musicians to reconfigure their conceptions of sociality, freedom, and the creative self. Theodore Gordon shows how cybernetic thinking in a range of disciplines, from experimental music to jazz and electrical engineering, has shaped musical techniques and technologies and changed what it means to be a composer—or, more broadly, a music-making human—in an increasingly informational world.

A classic Episcopal hymnal which includes the Supplemental Liturgical Index and collection of service music from 1961.

Following the critical success of The Portland Psalter: Book One, composer Robert Hawthorne has written additional settings of the alternate psalms and canticles appointed for the Revised Common Lectionary and for other liturgical occasions in the Book of Common Prayer lectionary. Included is the full psalmody appointed for the Easter Vigil, All Saints, the Annunciation, the Visitation, Baptism, Burial of the Dead, Ordinations, and the Celebration of a New Ministry. With this volume, the church is provided with a complete musical psalm resource and more of the fresh and singable settings for which Hawthorne is noted.

This is the first extensive collection of descants on hymns in Episcopal sources that do not appear in the published hymnals. It contains descants by twenty-two composers on one hundred one hymn texts set to eighty-one hymn tunes. An added bonus is that twenty-seven of the tunes have alternate harmonizations. In addition to dramatic descants on triumphal and celebrative hymns, several hymns are included that require the descant to be reflective and quiet. Many may be played by instruments rather than sung by sopranos and/or tenors.

These descants, harvested from working Episcopal church musicians, are examples of the useful day-to-day work in the local church. Even though they are small musical gems and greatly enjoyed by congregations, such practical compositions rarely obtain exposure beyond the local parish or diocese. The theme of the 2005 Annual Conference of the Association of Anglican Musicians in Baltimore, MD was "Come to us, Creative Spirit: The Art and Craft of the Church Musician." The vision embodied in that conference title echoes a hymn text by David Mowbray (Come to us, creative Spirit) which honors the creativity of those who speak their faith artistically and seeks to make such voices available to all. It is in that spirit that this book of descants is published.

This is the companion volume to My Heart Sings Out, a collection of hymns, songs, and service music chosen for their particular usefulness in liturgy that is designed intentionally to include children. Intergenerational participation in the liturgy is essential for growing churches.

In addition to all of the music from the singer's edition, the Teacher's Guide includes:

• Brief essays on choosing music and texts appropriate for children; teaching music to children; the importance of a cantor as music leader; and planning worship using the "multiple intelligences" theory to better engage both children and adults.
• Suggestions for performance, including additional rhythmic and instrumental parts, ideas for use of multiple voice parts, and ways to make performance simpler or more complex depending on resources.
• Scriptural and lectionary material, including teaching ideas about understanding the story or theme of the day.
• Guidelines for planning children's chapel services, and for organizing musical content in church school classes and other special learning events.
• Musical concerns when teaching, including a breakdown of teaching methods for each piece: points of difficulty, patterns of rhythm or melody, etc. to make the music readily accessible to children and adults.
• Extensive indexes that list the types of accompanying instrumentation, that categorize selections by age level, that list which selections have harmony parts, that match scripture to texts, plus a liturgical index and a topical index.

"What I particularly appreciated as I read through these texts is that each one is an engaging meditation that combines sound theology with poetic skill. I think they would be an enrichment to any worshiping community and certainly food for personal reflection and prayer."
The Most Rev. Frank T. Griswold, Presiding Bishop of the Episcopal Church

Before Michael Hudson was ordained, he was a successful songwriter in the Contemporary Christian field with 75 hymns to his credit. As his journey led him to become a liberal Anglican, he turned his considerable skill at matching text and tune to writing hymn texts. He began a spiritual discipline of writing a text for each of the gospels of the three-year cycle of Scripture readings. The result is a collection of 153 beautiful, evocative, and very singable poetic hymn texts.

Each text can be sung to at least one familiar hymn tune, making the material easily accessible to congregations. A hymn tune index and a thematic index provide additional planning possibilities. Based on the Episcopal lectionary in the Book of Common Prayer, hymn tunes are suggested for each text and are indexed metrically so that substitutions may be made when necessary.

Songs may be reproduced for congregational use.

The story of The Who’s momentous first tours of America told through fabulous photos by the band’s official photographer and tour manager Tom Wright.

Foreword by Pete Townshend

Tom Wright first met Pete Townshend at Ealing Art School in the early 60s. He became The Who’s official tour photographer and manager from 1967 in the US, also managing the Grande Ballroom in Detroit where The Who’s rock opera Tommy premiered. He was much more than the band’s photographer, he was a friend and photographed them right up to their farewell tour in 1991. Tom’s vast record collection and musical influences had a big impact on the band in their early years.

Their Generation covers The Who’s first tours of North America, a hugely creative time with explosive performances both on and off stage, the time of their US hit ‘I Can See for Miles’ and much more.

Through the fabulous photographs, many of which have never been seen before, we see the band backstage, onstage, on tour, at rehearsal, at ease, in studio, at home. The photos will be accompanied by extended captions providing background details of the time, the people and the places.

As well as The Who, Tom Wright toured with the Rolling Stones, the Faces, The James Gang, J. D. Elvis Costello, The Eagles and many more, documenting their performances and life on the road.

“One thing is certain, had I not met Tom Wright, The Who would never have become successful.” Pete Townshend

Winner of the 2022-2023 New York City Book Awards!

SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular Music

SHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis Institute

Unearths the queer aesthetic origins of NYC hip hop

Hip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.

To illustrate New York City as a place of experimental aesthetic collaboration, Smalls brings four cultural moments to the forefront: the life and work of the gay Chinese American visual and graffiti artist Martin Wong, who brokered the relationship between New York City graffiti artists and gallery and museum spaces; the Brooklyn-based rapper-singer-writer-producer Jean Grae, one of the most prolific and underrated emcees of the last two decades; the iconic 1980s film The Last Dragon, which exemplifies the experimental and queer Black masculinity possible in early formal hip hop culture; and finally queer- and trans-identified hip hop artists and groups like BQE, Deepdickollective, and Hanifah Walidah, and the documentary Pick Up the Mic.

Hip Hop Heresies transforms the landscape of hip hop scholarship, Black studies, and queer studies by bringing together these fields through the hermeneutic of aesthetics. Providing a guidepost for future scholarship on queer, trans, and feminist hip hop studies, Hip Hop Heresies takes seriously the work that New York City hip hop cultural production has done and will do, and advocates a form of hip hop that eschews authenticity in favor of performativity, bricolage, and pastiche.

Hymn suggestions for the complete lectionary. (343 pp)

Who are "the folk" in folk music? This book traces the musical culture of these elusive figures in Britain and the US during a crucial period of industrialization from 1870 to 1930, and beyond to the contemporary alt-right. Drawing on a broad, interdisciplinary range of scholarship, The Folk examines the political dimensions of a recurrent longing for folk culture and how it was called upon for radical and reactionary ends at the apex of empire. It follows an insistent set of disputes surrounding the practice of collecting, ideas of racial belonging, nationality, the poetics of nostalgia, and the pre-history of European fascism. Deeply researched and beautifully written, Ross Cole provides us with a biography of a people who exist only as a symptom of the modern imagination, and the archaeology of a landscape directing flows of global populism to this day.

A sustained engagement with Theodor Adorno, Jazz As Critique looks to jazz for ways of understanding the inadequacies of contemporary life. Adorno's writings on jazz are notoriously dismissive. Nevertheless, Adorno does have faith in the critical potential of some musical traditions. Music, he suggests, can provide insight into the controlling, destructive nature of modern society while offering a glimpse of more empathetic and less violent ways of being together in the world. Taking Adorno down a path he did not go, this book calls attention to an alternative sociality made manifest in jazz. In response to writing that tends to portray it as a mirror of American individualism and democracy, Fumi Okiji makes the case for jazz as a model of "gathering in difference."Noting that this mode of subjectivity emerged in response to the distinctive history of black America, she reveals that the music cannot but call the integrity of the world into question.

This collection of liturgical music for congregations represents Euro-Anglicanism as well as American Anglican and African styles, along with Caribbean, gospel, blues, and jazz. The set consists of the score settings of the two masses (“The St. Mary Mass” and “St. Luke Mass for Healing”), Morning Prayer, and Evensong.

Choral and congregational parts along with a full score are included. The accompaniments are fully notated for organ and/or piano.

This collection is an inexpensive, words-only edition of favorite hymns and songs from El Himnario, together with translations of other hymns that are familiar to Hispanic congregations.

The full-music edition of El Himnario was an ecumenical project sponsored by the Episcopal Church and several other mainline denominations. It is available for use by musicians who accompany worship.

Key is one of the simplest building blocks of music and is among the foundational properties of a work’s musical identity—so why isn’t it a standard parameter in discussing film music? Key Constellations: Interpreting Tonality in Film is the first book to investigate film soundtracks—including original scoring, preexisting music, and sound effects—through the lens of large-scale tonality. Exploring compelling analytical examples from numerous popular films, Táhirih Motazedian shows how key and pitch analysis of film music can reveal hidden layers of narrative meaning, giving readers exciting new ways to engage with their favorite films and soundtracks.

A galvanizing history of how jazz and jazz musicians flourished despite rampant cultural exploitation

The music we call “jazz” arose in late nineteenth century North America—most likely in New Orleans—based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the “blues,” which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US—and Black American—contribution to global arts and culture.

Horne assembles a galvanic story depicting what may have been the era’s most virulent economic—and racist—exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration.

Lectionary scripture citations with corresponding hymns. This is also a handy reference for locating the liturgical day when each scripture text is used.

"Brian Wilson. SMILE: Excellent! The man is my hero. I love him. I weep when I hear his band, I hear him sing. I love him." —Paul McCartney

The story of the Brian Wilson's legendary SMiLE album from Beach Boys authority David Leaf. The story of SMiLE is a story without precedent, appropriate for music that was and remains groundbreaking.

This is the first book to tell the full story of Brian Wilson and SMiLE, including the details of the original SMiLE recording sessions and their increasingly legendary status as well as the final release of the album, the accompanying concerts and film, and its afterlife.

With over two dozen new interviews as well as generous excerpts from his extended 2004 interviews with Brian Wilson and SMiLE collaborator Van Dyke Parks, the book tells the story of SMiLE by those who were there in 1966 and from the participants in its 2004 resurrection, including all the members of Brian Wilson’s band. It also features fan memories of what it was like to see Brian Wilson Presents SMiLE and what it meant to them.

With a foreword by Melinda Wilson and an anthology of essays from SMiLE historians, devotees, and music professors, this book promises to be the definitive word on the subject.

“If I had to select one living genius of popular music, I would choose Brian Wilson.” —George Martin

"He's a modern-day Stravinsky, the way he constructs his music." —Questlove

"I don't think there is anyone his equal in pop music." —Linda Ronstadt

"The only real pop genius in the world..." —Elton John

Celebrated singer-songwriter and guitarist Dave Alvin is, first and foremost, a storyteller. The Grammy winning artist's disarmingly well-crafted lyrics represent just one of the many expressions of his unique ability to capture the gritty and beautiful moments of life with the written word. This anthology of his writing is a companion piece to Dave's considerable musical output, and presents a staggering cross section of his work.

New Highway includes a generous selection of his celebrated poetry; excerpts of his moving prose; newspaper articles and essays on artists including Frank Zappa, Bo Diddley, and Ray Charles (which earned Dave a Grammy nomination); tributes to influences such as Merle Haggard; a long-lost interview with Buck Owens; and, of course, a carefully curated representation of his inimitable lyrics. Packed with rich imagery and poignant observations, New Highway follows Dave's previous collections Nana, Big Joe & the Fourth of July, and Any Rough Times Are Now Behind You: Selected Poems & Writings: 1979-1995.

If you know Dave Alvin for his music, this collection will give you deeper insight into the heart of an artist whose pen knows no boundaries.

The On Record series presents rare archival images and insightful interviews by long-time popular-music journalist and radio personality G. Brown.

"In his On Record series, G. Brown makes stories of recorded music come alive by digging into the experiences of the artists – and through his writing, he reveals their humanity. What a gift these books are to music lovers.” – Jesse Colin Young, singer, songwriter and founding member of the Youngbloods

In Volume 12 – 1996 of G. Brown’s extraordinary On Record series, G. chronicles the biggest artists in pop music (Celine Dion, Kenny G, the Artist Formerly Known as Prince), legacy-defining records from alternative rockers (Beck, Weezer, Sublime, Rage Against the Machine) and a wealth of up-and comers (Dave Matthews Band, the Roots, Wilco), in addition to the year’s top releases in hip-hop, classic rock, country, jazz and new age genres.

Interview-based profiles of more than 100 artists and bands include:

• Beck
• Weezer
• Fiona Apple
• The Roots
• The Cardigans
• Marilyn Manson
• Jamiroquai
• Eels
• Wilco
• Social Distortion
• Tool
• Rage Against the Machine
• Kula Shaker
• Cibo Matto
• Stone Temple Pilots
• Tori Amos
• Tony Toni Tone
• New Edition
• Counting Crows
• Celine Dion

About the Series:

Colorado Music Experience founding director and author G. Brown covered popular music at The Denver Post for 26 years, interviewing well over 3,200 musicians, including Paul McCartney, Bruce Springsteen, Mick Jagger, and Kurt Cobain, all of whom recounted their escapades and reminisced about what their time on the charts meant to them personally and musically. Over the decades, G. also amassed an archive of close to 15,000 rare promotional photos.

Each volume of the On Record series presents nearly 200 rare archival images and 100 interviews with an array of performers from that year. To date, Colorado Music Experience has released 10 volumes in this year-by-year, comprehensive look at the evolution of popular music from 1978 to 1998. 

Proceeds from book sales benefit Colorado Music Experience.

Musicians have access to an ever-growing array of technological tools, creating a world rich with new artistic possibilities. Yet the incursion of automation technology into creative pursuits has long sparked panic about the threat to human creativity and authenticity. Relating a 120-year history of automation in music, this book provides a timely historical demonstration of how older technologies of automation gave rise to initial unease, which was then followed by integration and exploration of their generative potentials. Journeying from the player piano at the turn of the twentieth century, through the introduction of drum machines and synthesizers, to the holographic pop stars of the twenty-first century, Alyssa Michaud shows how musical subcultures have shifted the parameters of debate around the meaning of automation and creativity. In riveting prose, Automatic Artistry directly addresses the choices we now face as we adapt to the newest wave of automated musical tools.

Reading hymns as poetry for meditation and understanding has long been an Anglican practice. Some hymnals in England print one stanza with music and the rest as poetry. Americans have preferred that texts be interlined with music for ease and instruction in singing.

This text-only edition of The Hymnal 1982 brings out the beauty and meaning of the poetry that has moved Christians to ministry for hundreds of years. This handsome red book is a companion to the study edition of the Book of Common Prayer and is an ideal accompaniment to A Closer Walk: Meditating on Hymns for Year A and Awake, My Soul: Meditating on Hymns for Year B by Nancy Roth.

• Analyzes Nicks's craft—the grain of her voice, the poetry of her lyrics, the melodic and harmonic syntax of her songs.
• Identifies the American folk and country influences on her musical imagination that place her within a distinctly American tradition of women songwriters.
• Draws from oral histories and surprising archival discoveries to connect Nicks's story to those of California's above- and underground music industries, innovations in recording technology, and gendered restrictions.

Hands, Wrists, Fingers invites musicians to explore a new way of thinking about good health. The physical dimensions of hands are certainly important and merit close study, encompassing coordination, relaxation, dexterity, speed, accuracy, and freedom from pain. While acknowledging these dimensions, Hands, Wrists, Fingers focuses on a broader perspective that includes cultural dimensions both conscious and unconscious, involving language, symbol, ritual, curiosity, playfulness, and mindfulness. Through a wealth of original insights, anecdotes, exercises, and games, musicians will be able to transform their hands into sensitive and intelligent agents of joyful creativity, in which the linguistic and symbolic dimensions of hands become inseparable from their physical and material existence.
Hands, Wrists, Fingers is organized in four parts: Culture, The Language of Hands, Sensitivity and Creativity, and Knowledge and Mystery. Behind the physical gestures and movements of your daily life and your music-making, there are the stories that you tell about your own hands—thoughts and feelings, memories, experiences, judgments, hopes, and fears. Hands, Wrists, Fingers argues that the way you use your hands is inseparable from these stories, in which you tell yourself “what you can and cannot do, what you should and should not do, what you’re allowed to do and what you’re prevented from doing.” If your inner stories aren’t healthy in themselves, it’s very difficult for your hands to behave in a healthy manner.
Hands, Wrists, Fingers is a practical book brimming with exercises and suggestions. Every chapter is supported by video clips illustrating and demonstrating its exercises. Among other things, you’ll explore the skills of rotation and of spiral movements, the mastery of textures and gradations, the playful manipulation of objects, and the use of your hands as agents of expressive language. Your hands will become creative, intelligent, and sensitive, and you’ll develop a new understanding of the true meaning of good health.

This book examines the profound legacy of Johnny Clegg (1953-2019), the South African musician, anthropologist and cultural activist who revolutionised the nation's musical landscape. From his groundbreaking collaboration with Sipho Mchunu in the 1970s through to his success with Juluka and Savuka, and as a solo artist, Clegg navigated apartheid-era censorship while reshaping South African cultural politics.

Drawing on unprecedented access to archival materials and band member interviews, this interdisciplinary research analyses Clegg's unique position as both scholar and performer. The study presents three critical interventions: an examination of his synthesis of music, dance and political philosophy as embodied resistance to apartheid; an analysis of his transnational impact and navigation of the global cultural boycott; and an investigation of cultural appropriation and decolonial practice through his engagement with, and reinterpretation of Zulu traditions.

Situated at the intersection of ethnomusicology, anthropology and African studies, this volume offers fresh theoretical frameworks for understanding cultural hybridity and postcolonial performance. It positions Clegg's work within broader discussions of race, power and cultural production in the Global South.

In Cosmos, Liturgy, and the Arts in the Twelfth Century, Margot E. Fassler takes readers into the rich, complex world of Hildegard of Bingen’s Scivias (meaning “Know the ways”) to explore how medieval thinkers understood and imagined the universe. Hildegard, renowned for her contributions to theology, music, literature, and art, developed unique methods for integrating these forms of thought and expression into a complete vision of the cosmos and of the human journey. Scivias was Hildegard’s first major theological work and the only one of her writings that was both illuminated and copied by scribes from her monastery during her lifetime. It contains not just religious visions and theological commentary, but also a shortened version of Hildegard’s play Ordo virtutum (“Play of the virtues”), plus the texts of fourteen musical compositions.

These elements of Scivias, Fassler contends, form a coherent whole demonstrating how Hildegard used theology and the liturgical arts to lead and to teach the nuns of her community. Hildegard’s visual and sonic images unfold slowly and deliberately, opening up varied paths of knowing. Hildegard and her nuns adapted forms of singing that they believed to be crucial to the reform of the Church in their day and central to the ongoing turning of the heavens and to the nature of time itself. Hildegard’s vision of the universe is a “Cosmic Egg,” as described in Scivias, filled with strife and striving, and at its center unfolds the epic drama of every human soul, embodied through sound and singing. Though Hildegard’s view of the cosmos is far removed from modern understanding, Fassler’s analysis reveals how this dynamic cosmological framework from the Middle Ages resonates with contemporary thinking in surprising ways, and underscores the vitality of the arts as embodied modes of theological expression and knowledge.

In 1862, a group of undergraduates at the University of Pennsylvania put the University's colors of red and blue in their buttonholes and gave the first performance of the University of Pennsylvania Glee Club. Ninety-four years later, in 1956, Bruce Montgomery became the Glee Club's director and brought the Club to new heights of musicianship and international acclaim. In his forty-four-year tenure, "Monty" made the Glee Club the premier musical voice of the University and brought Penn and the spirit of Philadelphia to audiences around the world.

The Glee Club has performed on five continents in thirty countries and countless times in Philadelphia. In Brothers, Sing On! Monty shares his stories and experiences. From an impromptu photo op on a Wisconsin highway during a blizzard in 1977 to singing for U.S. presidents, this exhilarating memoir is filled with the Glee Club's farflung adventures. Backstage anecdotes let the reader step behind the scenes of such performances at home, abroad, and on worldwide television.

A reflection of Monty's boundless energy and flair for showmanship, this volume also includes stories of the students with whom the Glee Club director worked in other clubs—the Penn Singers, the Marching Band, the Penn Players, and the Mask & Wig Club, to name a few. Throughout his memoir, Montgomery reflects fondly on the development of the Glee Club. It is a testament to his immeasurable contribution to its success and renown.