The Chants of The Roman Missal: Study Edition is for celebrants, cantors, scholars, musicians, and everyone interested in the English chant of the newly translated Roman Missal. Introductory articles on the place of English chant in worship, the value of chanting the dialogues and acclamations, and the challenges involved in adapting Latin chant to English are included. Also featured is commentary on every English chant in the new missal by genre 'the Order of Mass, acclamations, prefaces, hymns, and antiphons. This work will prove indispensible to presbyters, deacons, and cantors who hope to be prepared to chant the Mass, for music and liturgy directors, and for anyone interested in singing the English chant in our missal with greater understanding and prayerfulness.

The Mundelein Psalter is the first complete psalter containing the approved English texts of the divine office pointed for singing chant and available for public use. It is approved for use in the dioceses of the United States of America by the United States Conference of Catholic Bishops.

Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during a seventh-century cultural and educational program aimed at creating a society unified in the Nicene faith, built on twin pillars of church and kingdom. Led by Isidore of Seville and subsequent generations of bishops, this cultural renewal effort began with a project of clerical education, facilitated through a distinctive culture of textual production. Rebecca Maloy's Songs of Sacrifice argues that liturgical music--both texts and melodies--played a central role in the cultural renewal of early Medieval Iberia, with a chant repertory that was carefully designed to promote the goals of this cultural renewal. Through extensive reworking of the Old Testament, the creators of the chant texts fashioned scripture in ways designed to teach biblical exegesis, linking both to patristic traditions--distilled through the works of Isidore of Seville and other Iberian bishops--and to Visigothic anti-Jewish discourse. Through musical rhetoric, the melodies shaped the delivery of the texts to underline these messages. In these ways, the chants worked toward the formation of individual Christian souls and a communal Nicene identity. Examining the crucial influence of these chants, Songs of Sacrifice addresses a plethora of long-debated issues in musicology, history, and liturgical studies, and reveals the potential for Old Hispanic chant to shed light on fundamental questions about how early chant repertories were formed, why their creators selected particular passages of scripture, and why they set them to certain kinds of music.

Among the prayers of the Mass that vary from day to day (the propers), the Roman Missal includes an entrance antiphon and communion antiphon. English Proper Chants is a collection of beautiful, simple chant settings for these antiphons, with English texts, for all of the Sundays and solemnities of the liturgical year. The project's composer John Ainslie, an internationally respected liturgist and musician, believes that chant is a musical idiom that continues to have an important (but not exclusive) role in the Catholic liturgy. English Proper Chants reflects his conviction that the use of chant in English requires sensitive handling in order to respect and reflect the particular rhythms of the language. Both melody (5-line modern notation) and accompaniment editions are available. The accompaniment edition is printed in a convenient, coil-bound format that allows it to lie flat on music stands, while the melody edition is perfect-bound (paperback). Indices of antiphons and of psalms are included in each. Pagination is identical in both editions for easy combined use. Purchase includes permission to reprint antiphon texts and music from melody edition on one-time copies (e.g., newsletters) for congregational use.

"The Church has always sought a dynamic balance between the expressive and the formative attributes of liturgical music. (This book) traces the development of the Church's music through the ages and is a chronicle of the music we have used in the earthly Liturgy of the Church. .... " [from back cover]