(Piano/Vocal/Guitar Songbook). Show your praise of God through this collection of 40 Christian favorites from the 2010s! It features 40 arrangements for piano, voice and guitar, including: Blessings (Laura Story) * Chain Breaker (Zach Williams) * Come to the Table (Sidewalk Prophets) * Greater (MercyMe) * Hills and Valleys (Tauren Wells) * Hope in Front of Me (Danny Gokey) * Lift My Life Up (Unspoken) * The Lion and the Lamb (Big Daddy Weave) * O' Lord (Lauren Daigle) * and more.

The relationship between musical activity and ethical significance occupies long traditions of thought and reflection both within Christianity and beyond. From concerns regarding music and the passions in early Christian writings through to moral panics regarding rock music in the 20th century, Christians have often gravitated to the view that music can become morally weighted, building a range of normative practices and prescriptions upon particular modes of ethical judgment. But how should we think about ethics and Christian musical activity in the contemporary world? As studies of Christian musicking have moved to incorporate the experiences, agencies, and relationships of congregations, ethical questions have become implicit in new ways in a range of recent research - how do communities negotiate questions of value in music? How are processes of encounter with a variety of different others negotiated through musical activity? What responsibilities arise within musical communities? This volume seeks to expand this conversation. Divided into four sections, the book covers the relationship of Christian musicking to the body; responsibilities and values; identity and encounter; and notions of the self. The result is a wide-ranging perspective on music as an ethical practice, particularly as it relates to contemporary religious and spiritual communities. This collection is an important milestone at the intersection of ethnomusicology, musicology, religious studies and theology. It will be a vital reference for scholars and practitioners reflecting on the values and practices of worshipping communities in the contemporary world.

The Spirit and the Song:Pneumatological Reflections on Popular Music explores pertinent pneumatological issues that arise in music. It offers three distinct contributions: first, it asks what, if anything, music tells listeners about God’s Spiritedness. Can the experience of music speak to human spiritedness, the world’s transcendentality, or a person’s own self-transcendence in ways nothing else does or can? Second, this book explores how the Spirit functions within, and even determines, culture through music. Because music is a profound human expression, it can find itself in a rich dialogue with the Spirit. Third and finally, this book explores the contested status of music in Christian spiritual traditions. It deals with music as inspired by the Spirit, music as participation in Spiritedness, and music as temptation of “the flesh.” As such, this book also engages music’s placement in Christian spiritual traditions. The contributors of this book ask how Christian convictions about and experiences of the Spirit might shape the way one thinks about music.

This collection gathers the best in contemporary Christian music from the 2000s and 2010s, including songs by Billboard-charting and GRAMMY(R) Award-winning artists like Amy Grant, Laura Story, and Steven Curtis Chapman, as well as current hits from Casting Crowns, Newsboys, TobyMac, and more. All arrangements include full lyrics and guitar chords for added versatility. Titles: All the People Said Amen (Matt Maher) * All You've Ever Wanted (Casting Crowns) * Back to You (Mandisa) * Better Than a Hallelujah (Amy Grant) * Blessings (Laura Story) * Cinderella (Steven Curtis Chapman) * City on Our Knees (TobyMac) * Courageous (Casting Crowns) * East to West (Casting Crowns) * Glorious Day (Living He Loved Me) (Casting Crowns) * God Is on the Move (7eventh Time Down) * Greater (MercyMe) * How He Loves (David Crowder Band) * I Am (Crowder) * I Can Only Imagine (MercyMe) * Jesus Loves Me (Chris Tomlin) * Just Be Held (Casting Crowns) * Like a Lion (God's Not Dead) (Newsboys) * Made New (Lincoln Brewster) * More of You (Colton Dixon) * Need You Now (How Many Times) (Plumb) * Overcomer (Mandisa) * Overwhelmed (Big Daddy Weave) * Redeemed (Big Daddy Weave) * Shake (MercyMe) * Speak Life (TobyMac) * Start a Fire (Unspoken) * Stronger (Mandisa) * Tell Your Heart to Beat Again (Danny Gokey) * Touch the Sky (Hillsong UNITED) * Waiting for Tomorrow (Mandisa) * You Amaze Us (Selah) * Your Great Name (Natalie Grant) * Your Love Awakens Me (Phil Wickham).

(Big Note Songbook). 30 of the decade's most enduring hits in accessible Big-Note Piano arrangements for beginning pianists. Includes: All About That Bass (Meghan Trainor) * Call Me Maybe (Carly Rae Jepsen) * Happy (Pharrell) * Havana (Camila Cabello) * Hey, Soul Sister (Train) * I Knew You Were Trouble (Taylor Swift) * Love Yourself (Justin Bieber) * Perfect (Ed Sheeran) * Rolling in the Deep (Adele) * 7 Years (Lukas Graham) * Shallow (Lady Gaga & Bradley Cooper) * A Thousand Years (Christina Perri) * and more.

(Piano/Vocal/Guitar Songbook). 75 more contemporary worship favorites are contained in this updated second edition, including: Amazing Grace (My Chains Are Gone) * Blessed Be Your Name * Cornerstone * Everlasting God * Glorious Day * How Great Is Our God * In Christ Alone * Jesus Messiah * The Lion and the Lamb * Mighty to Save * O Come to the Altar * Reckless Love * Surrender * 10,000 Reasons (Bless the Lord) * What a Beautiful Name * Your Grace Is Enough * and more.

Starting as a single congregation in Australia, Hillsong Church now has campuses worldwide, releases worship music that sells millions of albums and its ministers regularly appear in mainstream media. So, how has a single church gained such international prominence? This book offers an ethnographic exploration of the ways in which music and marketing have been utilised in the pursuit and production of spiritual experience for members of Hillsong Church. An experience that has proven to be incredibly popular. The main theme of this book is that marketing, specifically branding, is not just a way to "sell" religion, but rather an integral part of spiritual experience in consumer society. Focussing on the London Hillsong church as a case study, the use of its own music in tandem with strong branding is shown to be a co- and re-productive method of organizing, patterning, and communicating information. The church provides the branded material and cultural context in which participants’ sacred experience of self unfolds. However, this requires participants to "do the work" to properly understand, and ultimately embody, the values associated with the brand. This book raises important questions about the role of branding and music in forming modern scared identities. As such, it will be of great interest to scholars of Religious Studies, Ethnomusicology and Media Studies.