In The Heart of Our Music, master practitioners of the art of liturgical music come together to offer enriching insights, a stirring vision, and practical new ideas that will change the way you think about liturgy and liturgical ministry. These reflections are written with the needs of parish liturgists and liturgical musicians in mind. This volume includes reflections on who sings, the kind of music they sing, the acoustic qualities of our worship spaces, the act of singing itself, the sort of idioms we use, the challenges of multicultural music, how we might better evaluate what we do, and music in the US church today. Contributors and their articles include: “With One Voice: The Voice of the Church, the Body of Christ” by Columba Kelly, OSB; “Vox populi: Voice of People, Voice of Thunder” by Steven C. Warner; “Essentially Vocal Music for the Liturgy” by Cyprian Consiglio, OSB Cam; “The Spirit Breathes in the Multiplicity of Liturgical Music Styles” by Lynn Trapp; “Reflections on Multicultural Celebrations and the Composition of Their Music” by Jaime Cortez; “Three Judgments, One Evaluation” by John Foley, SJ; and “Composing for the American Church” by Tom Kendzia.

In The Heart of Our Music, master practitioners of the art of liturgical music come together to offer enriching insights, a stirring vision, and practical new ideas that will change the way you think about liturgy and liturgical ministry. These reflections are written with the needs of parish liturgists and liturgical musicians in mind. This volume includes reflections on who sings, the kind of music they sing, the acoustic qualities of our worship spaces, the act of singing itself, the sort of idioms we use, the challenges of multicultural music, how we might better evaluate what we do, and music in the US church today. Contributors and their articles include: "With One Voice: The Voice of the Church, the Body of Christ" by Columba Kelly, OSB; "Vox populi: Voice of People, Voice of Thunder" by Steven C. Warner; "Essentially Vocal Music for the Liturgy" by Cyprian Consiglio, OSB Cam; "The Spirit Breathes in the Multiplicity of Liturgical Music Styles" by Lynn Trapp; "Reflections on Multicultural Celebrations and the Composition of Their Music" by Jaime Cortez; "Three Judgments, One Evaluation" by John Foley, SJ; and "Composing for the American Church" by Tom Kendzia.

An in-depth account of the Black locals within the American Federation of Musicians In the 1910s and 1920s, Black musicians organized more than fifty independent locals within the American Federation of Musicians (AFM) in an attempt to control audition criteria, set competitive wages, and secure a voice in national decision-making. Leta Miller follows the AFM’s history of Black locals, which competed directly with white locals in the same territories, from their origins and successes in the 1920s through Depression-era crises to the fraught process of dismantling segregated AFM organizations in the 1960s and 70s. Like any union, Black AFM locals sought to ensure employment and competitive wages for members with always-evolving solutions to problems. Miller’s account of these efforts includes the voices of the musicians themselves and interviews with former union members who took part in the difficult integration of Black and white locals. She also analyzes the fundamental question of how musicians benefitted from membership in a labor organization. Broad in scope and rich in detail, Union Divided illuminates the complex working world of unionized Black musicians and the AFM’s journey to racial inclusion.

This volume brings together academics, executives and practitioners to provide readers with an extensive and authoritative overview of the classical music industry. The central practices, theories and debates that empower and regulate the industry are explored through the lens of classical music-making, business, and associated spheres such as politics, education, media and copyright. The Classical Music Industry maps the industry’s key networks, principles and practices across such sectors as recording, live, management and marketing: essentially, how the cultural and economic practice of classical music is kept mobile and alive. The book examining pathways to professionalism, traditional and new forms of engagement, and the consequences of related issues—ethics, prestige, gender and class—for anyone aspiring to ‘make it’ in the industry today. This book examines a diverse and fast-changing sector that animates deep feelings. The Classical Music Industry acknowledges debates that have long encircled the sector but today have a fresh face, as the industry adjusts to the new economics of funding, policy-making and retail The first volume of its kind, The Classical Music Industry is a significant point of reference and piece of critical scholarship, written for the benefit of practitioners, music-lovers, students and scholars alike offering a balanced and rigorous account of the manifold ways in which the industry operates.