Traces and comments upon the sources, history, and development of each of the rites and formularies of the book from the earliest known forms until the present day.

Commentary on the American Prayer Book

Religion & Spirituality

Hatchett, Marion J.

Christian Books & Bibles

HarperOne

Seabury Pr

The making of the first American Book of common prayer, 1776-1789

Seabury Press

Dr. Hatchett has assembled a remarkable amount of data which will serve both to illuminate those who are beginning the study of liturgy and also to correct the often naive assumptions of those who too easily read back in to the early ages of Christian history of understanding of liturgy and sacraments which reflects a much later period.. It will serve as a splendid point of departure in working with persons at the beginning of their preparation for the church's ministry. - Louis Weil in Worship

Sanctifying Life, Time and Space: An Introduction to Liturgical Study

Hymn suggestions for the complete lectionary. (343 pp)

A Liturgical Index to the Hymnal 1982

Arts & Photography

Church Publishing Incorporated

Music

The Church Hymnal

An essential guide for anyone who plans, performs, or takes part in the music and worship of the church. Includes helpful planning forms and extensive indices for The Hymnal 1982 not found elsewhere. (250 pp)

A Guide to the Practice of Church Music

Church Publishing

Meticulous in its research, encyclopedic in its detail, this reference volume is the first such work written for a shape-note songbook. Modeled on the various guidebooks to contemporary denominational hymnals, it provides commentary on every text, tune, author, and composer represented in M. L. Swan’s New Harp of Columbia, a shape-note book originally published in Knoxville, Tennessee, in 1867. The shape-note tradition first flourished in the small towns and rural areas of early America. Church-sponsored “singing schools” taught a form of musical notation in which the notes were assigned different shapes to indicate variations in pitch; this method worked well with congregants who had little knowledge of standard musical notation. Today many enthusiasts carry on the shape-note tradition, and The New Harp of Columbia (recently published in a “restored edition” by the University of Tennessee Press) is one of five shape-note singing manuals still in use. In the opening sections of this Companion, Marion J. Hatchett provides fascinating historical background about early American composers and folk-hymn compilers and the rise of the shape-note tradition. He then discusses earlier East Tennessee tunebooks before turning to The New Harp of Columbia and its 1848 predecessor, W. H. Swan and M. L. Swan’s Harp of Columbia. In the commentaries that follow, Hatchett traces each text and tune to its origin and notes significant changes between the original publication and the subsequent New Harp. His discussions draw on the latest research and uncover earlier sources for a number of tunes and texts than have been previously cited. This work will be of great value for music scholars and folklorists as well as for the singers who keep the New Harp performance tradition alive. Also, because many of the songs overlap with those contained in other extant shape-note books, this Companion will also interest those who study and use The Christian Harmony, The Sacred Harp, The Southern Harmony, and Harmonica Sacra. The Author: Before his retirement in 1999, Marion J. Hatchett was professor of liturgics and music in the School of Theology at the University of the South in Sewanee, Tennessee. He has published numerous books on church music and was a member of the drafting committee for the 1979 Book of Common Prayer.

Companion To The New Harp Of Columbia

Univ Tennessee Press

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