55 Sentences With "sacred song" | Random Sentence Generator

It is a sacred song, more resonant for me than any hymn I learned in my churchgoing childhood.

"Psalm" is defined as a "sacred song," and father Kanye West has been hosting invitation-only "Sunday services" of late that have become one of the hottest tickets in town.

" Crystal Mulvey, a parent who accompanied her daughter on the trip, said she was shocked that the guard interrupted the national anthem because "it's kind of a sacred song to us.

Poetry of Sacred Song: A Short-Title List Supplementing Childhood in Poetry – A Catalogue. 1972.

"Nessun Dorma" (Italian- Opera Aria) 6\. "Two Different Worlds" (English- Pop) 7\. "Panis Angelicus" (Latin- Sacred Song) 8\. "Non Ti Scordar Di Me" (Italian- Traditional Song) 9\.

The Brethren introduced the sacred song in the vernacular language as a basic element of the church service. Although the Unity of the Brethren was just a small religious group, its contribution for the development of the Czech monophonic sacred song is indisputable. Their first hymnal (in Czech) was printed in 1501 as the first printed hymnal in the whole Christian world (containing 89 hymns without tunes). During the 16th and early 17th century, the Unity became the foremost producer of hymns in Czech lands.

Bruce's writings include Oxford Verses (1896), Men and Women of Soho (1900), The Common Hope ( 1904), The Clifton Book (1906), Prayers for Daily Use (1913) God and the Allies (1925), Sussex Sacred Song (1927) and Herstmonceux Church (1951).

Willow Smith and Harrison present a unique, first-time collaboration. Surrender (Krishna Keshava) is an ancient sacred song from India. The Sanskrit lyrics invoke divine peace, protection and grace. Harrison shared the release exclusively with Zoe Ball on BBC Radio 2.

The sacred song "O Ewigkeit, du Donnerwort", BWV 513, No. 42 in the second Notebook, is a setting of the chorale melody with the same name, for voice and continuo:Bach Digital Work 750px BWV 397 is the four-part realisation of this song.

It was the only sacred song to make the charts, and it was translated into 25 languages. "Ein Schiff, das sich Gemeinde nennt" (second prize in 1963) is also well known. Schneider's songbook Sieben Leben möcht ich haben appeared in 1975. Organ improvisations and choral music with Schneider are available on CDs.

Psalmbooks and hymnbooks descended from the Lobwasser psalter continue in use today in the worldwide communities of faith descended from Anabaptism, including many branches of the Amish and Mennonite faiths of the US and Canada. Lobwasser also published contemporary hymns, including a sacred song composed by the evangelical Princess Sophie Hedwig of Brunswick-Wolfenbüttel.

It has even been performed by groups and singers who are not affiliated with churches, such as Die Ärzte, Normahl and Mickie Krause. "Danke für diesen guten Morgen" has been included in the hymnal Evangelisches Gesangbuch as EG 334. "Danke" has been called the best-known German sacred song, according to who analyzed its rhetoric.

It is the recollections of clever comments during tours, camps and practice sessions and that mystical bond between them that share a sacred song that denotes the choir's worth. It is to be deeply touched by the words and music during a revered moment that brings amazing change in their life. In 2018, Yolanda Botha took over as conductor.

The lauda (Italian pl. laude) or lauda spirituale was the most important form of vernacular sacred song in Italy in the late medieval era and Renaissance. Laude remained popular into the nineteenth century. The lauda was often associated with Christmas, and so is in part equivalent to the English carol, French noel, Spanish villancico,Viola Luther Hagopian.

This dance was also recently revived.Richard Keeling, Cry for Luck: Sacred Song and Speech Among the Yurok, Hupa, and Karok Indians of Northwestern California. Berkeley: University of California Press, 1993: 80-90. Tribal members also engage in the traditions of storytelling, gathering seaweed, mussels and other marine resources for basket making, and subsistence fishing for salmon, trout and eel and other species.

On the buckskin First Man lay the turquoise figure of a girl with her head to the west. Then placed another perfect buckskin over the figure, with its head facing East. The Holy People began to sing the sacred song of , and , the Wind entered between the buckskin blankets. The upper blanket was removed, and beneath it was a living baby girl.

The Lancashire Oaks winner Sacred Song started favourite ahead of the Irish Oaks runner-up Mot Juste with Super Tassa starting the 25/1 outsider in a nine-runner field. The other runners were Head In The Clouds, Karsavina (third in the Irish Oaks), Snowflake (second in the Nassau Stakes), Zanzibar (Oaks d'Italia), Nafisa (Ballymacoll Stud Stakes) and Rockerlong (Cheshire Oaks). Super Tassa was held up by Darley in the early stages as first Mot Juste and then Snowflake set the pace before the Italian mare began to move forward half a mile from the finish. Sacred Song took the lead in the straight but Super Tassa went to the front approaching the final furlong and held on to win by a length from the favourite, with Rockerlong two and a half lengths back in third place.

As a writer, she was quite as kindly received there as in America. In collaboration with Ida Scott Taylor McKinney, she published several juvenile books in verse, entitled The Story of Columbus, In Slavery Days, and The Far West. She also gave some attention to sacred song and hymn writing. Oliver was skilled in all the arts of home-making and was an active church member.

The dancers wear elaborate outfits, including headdresses with 70 redheaded woodpecker scalps. In addition to the headdress, the dancers also wear dentalia shell necklaces and a deerskin skirt and they carry a Jump Dance basket in the right hand.Richard Keeling, Cry for Luck: Sacred Song and Speech Among the Yurok, Hupa, and Karok Indians of Northwestern California. Berkeley: University of California Press, 1993: 80-90.

Aurilla Furber (October 19, 1847 – April 13, 1898) was a 19th-century American author, editor, and activist from Minnesota. Furber is remembered as an author of poetry from the Mississippi Valley. Her poems were included in publications such as the Magazine of Poetry and Women in Sacred Song. She also contributed articles of prose for the Pioneer Press and Church Work, and was a contributing editor for the Woman's Record.

Billings was also a prolific writer for northern journals and periodicals, denominational and secular. These productions were both in prose and verse, and from each, certain works were compiled in book form for literary readers. Among these compilations may be mentioned "Poets and Poetry of Printerdom," "Women in Sacred Song," and "Our Women Workers". Billings was a member of The Texas Woman's Press Association, and of The Woman's State Council.

The group was established in 1978, and has twelve full-length recordings. Nine recordings were published by Titanic Records, a leading publisher of early music. The book "Sacred Song in America" by Stephen Marini contains a detailed history of the group, including the story of how Wachs (who comes from an Ashkenazic Jewish background) first came to be interested in Sephardic music. Music by Voice of the Turtle is often described as unusual.

The Engelberg Codex contains early examples of German sacred song, an Easter drama, tropes, sequences and motets. A full facsimile edition was published in 1986 by Amadeus Verlag (Bernhard Päuler), Winterthur (Switzerland), for the Société Suisse de Musicologie. A recording with 18 pieces from the codex entitled Engelberg 314 by the Schola Cantorum Basiliensis (SCB) was published in 1990 by Deutsche Harmonia Mundi (DHM), the label of Sony BMG predominantly devoted to preclassical music.

"Wir pflügen und wir streuen" (We plow and sow) is a sacred song about thanksgiving for harvest, with text by Matthias Claudius. It was first published in 1783 as Das Bauernlied (The peasants' song). It became a hymn, with melodies by Johann André and Johann Abraham Peter Schulz. It appears in the current German Protestant hymnal Evangelisches Gesangbuch as EG 508 with the latter melody, and is used mostly for the German Erntedankfest.

Surat is "attention" or "face", that is, an outward expression of the soul;Singh, Kirpal. Morning Talks, chapter 25, page 1, ("Righteousness - Detachment - Self-restraint.") , Ruhani Satsang, (7th ed., 2003): "The whole thing depends upon your attention, or surat as it is called, which is the outward expression of your soul." Shabd or Shabda has multiple meanings including ‘sacred song’, ‘word’, ‘voice’, ‘hymn’, ‘verse’, or ‘sound current, ‘audible life stream’, and the ‘essence of the Absolute Supreme Being’.

However, Furber was not, in a broad sense of the term, a scholar. Her limited opportunities for schooling in youth and her continued ill-health in later years made it impossible for her to become well-educated. Her verse was described as "telling the story of a soul that had not trodden dusty, common highways, but was alone in the sunlight and darkness with itself, nature and God." Selections from her poems were included in the Magazine of Poetryand Women in Sacred Song.

Her unpublished poems were numerous. Graves contributed to different periodicals, mostly fugitive poems, and two prose tales, and a prize tale. "Ruined Lives," published in the Southern Repository, in Memphis, Tennessee, and the drama of Jephthah's Daughter, were some of her other published works. Graves is mentioned in Woman in Sacred Song, and Southland Poets, as well as in the Successful Men of Tennessee for her extraordinary financial ability, having managed a business of per year for years at a time.

" Bowman became instrumental in the publication in 1987 of a new Catholic hymnal, Lead Me, Guide Me: The African American Catholic Hymnal, the first such work directed to the Black community. James P. Lyke, Auxiliary Bishop of Cleveland (also an African-American), coordinated the hymnal project, saying it was born of the needs and aspirations of Black Catholics. Bowman was actively involved in helping select hymns to be included. The hymnal includes an essay that she wrote, titled "The Gift of African American Sacred Song.

"Louise Jarrett Shropshire", African American Registry. Retrieved 27 April 2016 In his 2012 book We Shall Overcome: Sacred Song on the Devil's Tongue, music producer Isaias Gamboa presented a theory suggesting that Shropshire's hymn "If My Jesus Wills" was the basis for the iconic protest song "We Shall Overcome", contrasting a more popular theory that linked the song to a hymn by Rev. Dr. Charles Albert Tindley, "I'll Overcome Some Day". In 2013, Shropshire was inducted into the Ohio Civil Rights Hall of Fame.

A natural evolution from the UNLIT concept, in 2019 Jont started performing Sacred Song Ceremonies in keeping with his newfound direction of tapping into the power of music to heal. Described as "gatherings of song and ceremony where the music serves as a unifying energy for connection, celebration and healing", they are held in conscious spaces such as yoga studios and often feature collaborators who offer meditation, mantras or other forms of healing sound. Ceremony tours have taken place across Eastern Canada and Europe.

In France, Le Grand Parler. Mythes et chants sacrés des Indiens Guaraní was published by Éditions du Seuil in 1974. The book was never officially translated into English; Moyn calls it The Great Speech: Myths and Sacred Chants of the Guarani Indians, while The Routledge Dictionary of Anthropologists referred to it as The Oral Treasury: Myths and Sacred Song of the Guarani Indians. Clastres had the help of Paraguayan ethnologist León Cadogan to come in contact with the Guaraní and to translate his ethnographic material.

Mary Gardiner Brainard was born in New London, Connecticut. She was daughter of William Fowler Brainard (1784-1844), a New London lawyer, whose younger brother was the poet John Gardiner Calkins Brainard, and his second wife Sarah Ann Prentis.Horder, William Garrett, The Treasury of American Sacred Song, 1900, p. 383Dexter, F. B., Biographical sketches of the graduates of Yale College, 6 vols, 1885-1912 Her poem "Not Knowing" first appeared in The Congregationalist, March 1869, and was set to music as a hymn by Philip Paul Bliss in the 1870s.

The poem was written by the Protestant theologian and minister Eugen Eckert from Frankfurt, who has taken care of students, the football arena, and persons outcast by society. He wrote the text when he, as minister of a home for girls in difficult circumstances, was unable to help one of the girls. The topic is bringing one's shortcomings before God and praying for a broader perspective. Eckert and Heurich are regarded as prolific authors of songs of Neues Geistliches Lied (New sacred song), and "Meine engen Grenzen" as one of their most successful songs.

Along the way the procession takes steps to confuse the evil spirits. This includes stopping, changing course frequently and disposing of the torch before the burial site is reached (“Death”). The final ritual before burial is the second sacred song, “The Song of Expiring Life” and informs the deceased they have passed on and need to begin the journey to the placental jacket and into the spirit world (Cha 73). The traditional burial site is on the side of a mountain where the body is placed facing west.

The tune was first a secular song, "Der reich Mann war geritten aus" (The rich man went on a ride), known in Bohemia from the 15th century but possibly even older. It was printed as a five-part setting by Jobst vom Brandt in the fifth part of Georg Forster's song collection Schöner fröhlicher neuer und alter deutscher Liedlein in Nuremberg in 1556. The melody was used for a sacred song first in 1561, in a Czech hymnal of Bohemian Brethren. In 1566 it appeared with a German text of the Brethren, "Mensch, erheb dein Herz zu Gott" (Raise your heart to God).

From 1992 to 1997 he was regional cantor in Saarbrücken. Since 1998, he has been cantor for the Regional Institute of Sacred Music in the Diocese of Mainz with a focus on "" (New sacred song), for the deaneries Offenbach, Rodgau and Seligenstadt, at the church ). Gabriel gives many concerts as an organist, harpsichordist and pianist, particularly as a member of the Thomas Gabriel Trio, whose artistic focus is on jazz arrangements of the music of Johann Sebastian Bach. The final service ', 15 August 2005, Bruchwegstadion, Mainz As a composer, Gabriel tries to combine traditional church music with elements from jazz and pop.

Augustine's conceptualizing of memory as verbal has been used to elucidate the Western tradition of poetry and its shared origins with sacred song and magical incantation (see also carmen), and is less a departure from Roman usage than a recognition of the original relation between formula and memory in a pre- literate world.For instance, Karla Taylor, Chaucer Reads "The Divine Comedy" (Stanford University Press, 1989), p. 27 online. For an overview of the Indo- European background regarding the relation of memory to poetry, charm, and formulaic utterance, see Calvert Watkins, How to Kill a Dragon: Aspects of Indo-European Poetics (Oxford University Press, 1995), passim, especially pp.

From 2002 to 2010, the Outback Tour brought some of the best music in the world to some of the most isolated places in the world. In 2006 enthusiastic music lovers, join six musicians (including didgeridoo player William Barton) in a five-day tour of Outback Australia, visiting Cloncurry, Ernest Henry Mine, Mount Isa, Normanton and Karumba focusing on fine food and music and masterclasses with hands on experience of the Queensland mining industry and communities. Works included; Peter Sculthorpe – String Quartet No. 9; Philip Glass – String Quartet No. 2 Company; Hardin (aka Moondog) – Synchrony No. 2; Lee – Morango – Like a Tango; Barton – Sacred Song and Hindson – Technologic.

Huntley, p. 53. While acknowledging the similarity with "He's So Fine", music critic David Fricke describes Harrison's composition as "the honest child of black American sacred song". Writing for Rolling Stone around the time of All Things Must Passs 2001 reissue, Anthony DeCurtis described "My Sweet Lord" as "capturing the sweet satisfactions of faith",Anthony DeCurtis, , Rolling Stone, 12 October 2000 (retrieved 1 April 2012). while to Mikal Gilmore, it is an "irresistible devotional". At the end of 1971, "My Sweet Lord" topped the Melody Maker reader's polls for both "Single of the Year" and "World's Single of the Year";Artist: George Harrison, UMD Music (retrieved 14 September 2012).

The Introit Gaudeamus omnes, scripted in square notation in the 14th–15th century Graduale Aboense, honors Henry, patron saint of Finland Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes.

These songs are often about clan or family history or other historical events of the area, social relationships and love, and are frequently updated to take into account popular films and music. Manikay have been described as the "sacred song tradition performed by the Yolŋu when conducting public ceremonies...a medium through which the Yolŋu interpret reality, define their humanity, reckon their ancestral lineages, and evidence ownership of their hereditary homelands through their ability to sing in the tradition of their ancestors". Manikay is often used to describe the song component of the Arnhem Land ceremony, while bunggul (see below) refers to the dance, although each word on its own is also sometimes used to refer to both components.

In addition to programming arrangements and transcriptions, Mecklem occasionally performed original compositions for saxophone. E. A. Lefebre’s Grand Easter Concert, given at the Academy of Music in Brooklyn on 6 April 1890, concluded with Harry Rowe Shelley’s (1858-1947) Quartet “The Resurrection,” featuring Lefebre and Mecklem on alto saxophone, with piano and organ accompaniment.Noyes, pp. 79-80, 239. Another notable sacred song in Mecklem's repertoire was Chant Religieux by Jules Demersseman, which she performed on 2 July 1891 at the convention of the New York State Teachers’ Musical Association, held in Utica, New York. Mecklem and many other Gilded-Age musicians frequently programmed Jean Fauré’s (1830-1914) The Palms, also known as Palm Branches.

The text was first published in Hymns for Little Children (1848), and the profound but simple text reflects well on this original purpose. The hymn would become popular after its publication in the 1868 appendix to the first edition of Hymns Ancient and Modern, paired with the tune "Horsley". The writer's husband considered it among the best of those written by his wife, with later assessments agreeing on the matter, one early 20th century noting the fine poetic skill of the poet and proclaiming that "she surpassed all other writers of sacred song in meeting a growing demand for children’s hymns". French composer Charles Gounod, who composed a musical setting on the hymn's text in 1871,For the sheet music of this, see: .

In the Yogyakarta kraton, where the dance is no longer performed as ritual, the complete gamelan was used as accompaniment, sometimes even featuring cornets.Kunst, 128, 279-281 The pieces used to accompany the dances are traditionally gendhing with long structures (originally designated at least kethuk 4 arang; see gendhing for an explanation); however, shorter gendhings were also used later (such as kethuk 4 kerep or kethuk 2). The most ancient and sacred song is the Bedhaya Ketawang. When the bedhaya dancers appear on stage, in Yogyakarta it was accompanied by an ayak-ayakan; in Surakarta, it is only accompanied by a pathetan known as pathetan bedhaya, which has lost much of the rhythmic freedom associated with pathetans to fit better the stride of the dancers.

His Handbook to the Fine Arts Collection, International Exhibition, 1862, and his Essays on Art (1866), though flawed, were full of striking judgments strikingly expressed. His Landscape in Poetry (1897) showed wide knowledge and critical appreciation of one of the most attractive aspects of poetic interpretation. But Palgrave's principal contribution to the development of literary taste was contained in his Golden Treasury of English Songs and Lyrics (1861), an anthology of the best poetry in the language constructed upon a plan sound and spacious, and followed out with a delicacy of feeling which could scarcely be surpassed. Palgrave followed it with a Treasury of Sacred Song (1889), and a second series of the Golden Treasury (1897), including the work of later poets, but in neither of these was quite the same exquisiteness of judgment preserved.

Katharine and Nanny engage in Covenanting discourse. At the neighbouring Riskinhope farm, where she has taken refuge, Nanny joins the inhabitants in prayer (led with peculiar eloquence by the shepherd Davie Tait) and sacred song, after the inadvertent raising of a spirit. Ch. 13: Davie Tait discovers that the Brownie has been carrying out part of the reaping, and a week later it is discovered that the job has been completed, and then that the dirty and laborious job of smearing the sheep has also been accomplished. Ch. 14: At the end of his trial in Edinburgh, Walter is released on bail, after he defies his accusers in the king's name, following advice given by Sergeant Macpherson who now happily maintains that the Laidlaws and Macphersons are related.

Cappella Regia Musicalis is a massive collection of hymns, sacred and festive songs, and all manner of musical settings of almost all central parts of the Roman Catholic liturgy, all printed primarily in the Czech language. It is difficult to tell just how much of the collection was composed by Holan himself (though it is clear that many other composers are represented), and some of the songs and other pieces are clearly much older, such as the anonymous fifteenth century Czech settings of the Passion. Curiously, the collection also contains many earlier Protestant and even Hussite songs, making it something of a survey of Czech sacred song to date. Unlike most other Czech hymnals, many pieces in Holan's collection also included basso continuo and even obbligato instruments such as violins, viols, and trumpets.

Among other composers who adopted the format and style of Arianna's lament were Francesco Cavalli, whose opera Le nozze di Teti e di Peleo contains three such pieces; Francesco Costa, who included a setting of Rinuccini's text in his madrigal collection Pianta d'Arianna; and Sigismondo d'India, who wrote several laments in the 1620s after the monodic version of Arianna's lament was published in 1623. Monteverdi himself used the expressive lament format in each of his two late operas, Il ritorno d'Ulisse in patria and L'incoronazione di Poppea, for the respective characters of Penelope and Ottavia. In 1641 Monteverdi adapted Arianna's lament into a sacred song with a Latin text "Pianto della Madonna" (incipit: "Iam moriar, mi fili"), which he included in Selva morale e spirituale, the last of his works published during his lifetime.

Crazy Horse put no make-up on his forehead and did not wear a war bonnet. Lastly, he was given a sacred song that is still sung by the Oglala people today and he was told he would be a protector of his people. Black Elk, a contemporary and cousin of Crazy Horse, related the vision in Black Elk Speaks: Being the Life Story of a Holy Man of the Oglala Sioux, from talks with John G. Neihardt: Crazy Horse received a black stone from a medicine man named Horn Chips to protect his horse, a black-and-white pinto he named Inyan (rock or stone). He placed the stone behind the horse's ear so that the medicine from his vision quest and Horn Chips would combine—he and his horse would be one in battle.

This ministry which began in 1968 with the campus ministry community at Sacred Heart University, gave birth to a vibrant sacred song ensemble Anima Schola; that lives on in recordings since the closing of the Benedictine Grange in 2018. As a member of the Congregation of Notre Dame, founded by Saint Marguerite Bourgeoys, she is also engaged in the mission of liberating education, which at times is expressed in peace and social/ecological justice concerns, and also spiritual animation. She initiated and formerly directed the Iona College Institute for Peace and Justice Studies in Ireland and the Iona College Spirituality Institute's Celtic Spirituality Pilgrimage to Ireland which has fostered and focused her scholarly and creative interests on the richness of her Celtic inheritance. One of her current projects is exploring the images and metaphors of Celtic ways of prayer and song.

Compared to the Roman Rite, the other Western liturgical rites have little following. Hence, the Vatican department that deals with forms of worship (including music) in the Western Church often issues documents that deal only with the Roman Rite.E.g. see Musicam Sacram and Redemptionis Sacramentum Jan Michael Joncas, 1997 From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music Liturgical Press page 6Donald Boccardi, 2001 The history of American Catholic hymnals: since Vatican II GIA Press page 115 Any involvement by the Holy See in questions of Eastern liturgies is handled by a different department. Some of the writers who draw a contrast between "Roman Catholics" and "Eastern Catholics" may perhaps be distinguishing Eastern Catholics not from Latin or Western Catholics in general, but only from those (the majority of Latin Catholics) who use the Roman liturgical rite.

Rostomyan studied in Yerevan Komitas State Conservatory composition faculty in classes of Professor Ghazaros Saryan and Avet Terteryan. He became one of the most well known post Soviet Union composers who commissioned pieces for leading soloists and ensembles such as Oleg Kogan, Yuri Bashmet, David Geringas, London Sinfonietta, Ensemble Modern, Paragon Ensemble, among others. Four times the Scottish Arts Council funded commissions to Rostomyan, and each of the premieres and performances according to Herald was rated as “sensational success” or a “smash hit”. Stepan Rostomyan is an author of chamber and symphony pieces, mono opera, vocal and instrumental compositions. Many of his pieces, according to Leonardo US magazine “became popular in the West”. One of his recent pieces “Tagh of Angels” a triple of Taghs (medieval form of Armenian sacred song) has been numerously performed in Switzerland, UK and America to the highest acclaim.

George's son Leonard disputed the claim of adoption, noting that he had never met Nash until long after his father's death,"A Juno loss is in their prayers: Non-native nominee criticized for recording sacred family song". The Globe and Mail, March 19, 1994. and insisted that she did not have the right to record "The Prayer Song". Under conventional copyright law, as long as the song is properly credited and the appropriate royalties are paid a singer does not need permission to record a cover version of another musician's song — however, "The Prayer Song" is considered a sacred song to the Tsleil-Waututh First Nation, and according to Leonard George it could not be performed or recorded by a musician who is not a member of the First Nation unless it was explicitly given to that musician as a gift by Dan George or his surviving heirs.

Reagon states that her role models in terms of music are Harriet Tubman, Sojourner Truth, and Bessie Jones, because they assisted her understanding of traditional singing and the fight for justice. She also sees Deacon Reardon as an importance to her work as a historian studying African American sacred worship traditions, and she states that he impacted both her spiritual and musical development. Reagon's work as a scholar and composer is reflected in her publications on African-American culture and history, including: a collection of essays entitled If You Don’t Go, Don’t Hinder Me: The African American Sacred Song Tradition (University of Nebraska Press, 2001); We Who Believe In Freedom: Sweet Honey In The Rock: Still on the Journey, (Anchor Books, 1993); and We'll Understand It Better By And By: Pioneering African American Gospel Composers (Smithsonian Press, 1992). Reagon has recorded several albums on Folkways Records including Folk Songs: The South, Wade in the Water, and Lest We Forget, Vol.

A musicologist, disciple and collaborator of Dom Prosper Guéranger, Dom Pothier contributed to the reconstitution, the restoration and the renewal of the Gregorian chant, a form of monophonic, unaccompanied sacred song of the Roman Catholic Church. Besides being the composer of many Gregorian songs (Officium Defunctorum, 1887) and the writer of a huge number of articles, Dom Pothier was also the head and editor of the Revue du Chant Grégorien (1892–1914) - supervising the publication of several works (Hymnes, Christmas office, Antifonario, Cantus mariales) -, the founder of the Paléographie Musicale publication for the dissemination of medieval liturgical manuscripts, and the author of a new edition of the choir books based on manuscripts of the Gregorian chant and of several studies on the plainchant, including Les mélodies grégoriennes d'après la tradition (Gregorian Melodies According to the Tradition), 1880, his chief work which became the standard work on the subject. Dom Pothier was appointed president of the newly created Pontifical Commission on the Vatican Edition of the Gregorian Liturgical Books by Pope Pius X in 1904. As chairman of this commission for the reconstitution of the music of the Roman Catholic Mass, Dom Pothier lived in Rome from 1904 till 1913.