A dictionary containing 3500 biographical entries, each representing a composer whose work has been used within the worship of the church in Britain and Ireland.

Throughout the western classical tradition, composers have influenced and been influenced by their students and teachers. Many musicians frequently add to their personal acclaim by naming their teachers and the lineage through which they were taught. Until now, the relationships between composers have remained uncataloged and understudied, but with enough research, it is possible to document entire schools of composition. Composer Genealogies: A Compendium of Composers, Their Teachers, and Their Students is the first volume to gather the genealogies of more than seventeen thousand classical composers in a single volume. Functioning as its own fully cross-referenced index, this volume lists composers and their dates, followed by their teachers and notable students. A short introduction presents the parameters by which composers were selected and provides a survey of the literature available for further study. Gathering records and information from reference books, university websites, obituaries, articles, composers’ websites, and even direct contact with some composers, Pfitzinger creates a valuable resource for music researchers, composers, and performers.

In 1825, an enterprising Canterbury newsagent by the name of Henry Ward raised a subscription to commission a lasting tribute to his beloved musical society. The result was a fine lithograph showing 100 gentlemen in assured poses, carefully placed in surroundings eloquently freighted with classical allusion, cultural literacy, deep-rooted patriotism, and strictly masculine politics. That image is the subject of this book. With insights gleaned from a unique collection of music, papers, and artefacts in the archives of the city and the cathedral, this study considers not only the accomplished performance of bourgeois status which is clearly visible in the print, but other characteristics of the Club which are either less pictorially privileged or entirely omitted. Deploying iconographical, cultural, and musicological analysis, the book discusses this curiously contradictory slice of British social history in which the respectable apparently coexisted happily with the libertine. What emerges is an unusually clear view of the production, performance and consumption of music in a provincial city at a fascinating time: a period when cultural activity was a strategic assertion of socio-political identity.

This informative resource provides a brief history of each hymn in the popular hymnal Glory to God. Written by one of the foremost hymn scholars today, the Companion explains when and why each hymn was written and provides biographical information about the hymn writers. Church leaders will benefit from this book when choosing hymn texts for every worship occasion. Several indexes will be included, making this a valuable reference tool for pastors, worship planners, scholars, and students, as well as an interesting and engaging resource for music lovers.

A comprehensive history of Christianity in the century when it truly became a global religion.

Professionalisation was a key feature of the changing nature of work and society in the nineteenth century, with formal accreditation, registration and organisation becoming increasingly common. Trades and occupations sought protection and improved status via alignment with the professions: an attempt to impose order and standards amid rapid social change, urbanisation and technological development. The structures and expectations governing the music profession were no exception, and were central to changing perceptions of musicians and music itself during the long nineteenth century. The central themes of status and identity run throughout this book, charting ways in which the music profession engaged with its place in society. Contributors investigate the ways in which musicians viewed their own identities, public perceptions of the working musician, the statuses of different sectors of the profession and attempts to manipulate both status and identity. Ten chapters examine a range of sectors of the music profession, from publishers and performers to teachers and military musicians, and overall themes include class, gender and formal accreditation. The chapters demonstrate the wide range of sectors within the music profession, the different ways in which these took on status and identity, and the unique position of professional musicians both to adopt and to challenge social norms.

The purpose and scope of this bibliography is to survey the literature concerning church music, primarily in publications from 1980 to the present, while including materials that have been published and serve as primary resources earlier than that. The emphasis is on Protestant church music, largely those published in the English language. The selected lists include over 700 titles, and contain citations with annotations of reference works and bibliographies. The annotations offer an indication of the scope, content, and special features of each work. This study will fill the research and reference needs of music students, scholars, and church musicians, as well as providing research and college libraries with a reference for building their church music collections.