Voices Found: Leader's Guide presents the music from Voices Found in a spiral bound format, easy for an accompanist to use. There are alternate harmonizations, guitar chords, descants, and expanded arrangements of the basic hymns and songs. The Scriptural and Topical Indices along with the Three-Year Lectionary Index (including the Revised Common Lectionary) provide excellent guidance for service planning. The Leader's Guide is not designed just for musicians and clergy. The Guide presents a great deal of background information about the composers, text writers, and arrangers who contributed to the volume. Many parishioners, as well as church professionals, will want to read about the fascinating women who contributed to the Church's Song for over 13 centuries, from the 8th Century to the present.

Voices Found: Women in the Church's Song is a rich collection of hymns and spiritual songs by, for, and about women. The music is written overall in congregational hymn style and is intended for normal parish use. Some music is arranged for women's voices and is useful for women's groups or small choirs of treble voices. The book is a unique compilation of contemporary and historical materials that crosses boundaries of geography, time, and culture as it represents the diversity of the gifts of women and seeks to affirm and expand the spirituality of all women and men as they find new voices in the church's song. Table of Contents Saints and Mystics Women in Scripture Morning and Evening Advent, Christmas, Epiphany Lent, Holy Week, Easter Holy Spirit, Pentecost Holy Days and Various Occasions Baptism Eucharist Healing, Reconciliation Ordination Praise The Christian Life Psalms and Canticles Children Leader's guide item #9780898693683

Voices Found: Free Jazz and Singing contributes to a wave of voice studies scholarship with the first book-length study of free jazz voice. It pieces together a history of free jazz voice that spans from sound poetry and scat in the 1950s to the more recent wave of free jazz choirs. The author traces the developments and offers a theory, derived from interviews with many of the most important singers in the history of free jazz voice, of how listeners have experienced and evaluated the often unconventional vocal sounds these vocalists employed. This theory explains that even audiences willing to enjoy harsh sounds from saxophones or guitars often resist when voices make sounds that audiences understand as not-human. Experimental poetry and scat were combined and transformed in free jazz spaces in the 1960s and 1970s by vocalists like Yoko Ono (in solo work and her work with Ornette Coleman and John Stevens), Jeanne Lee (in her solo work and her work with Archie Shepp and Gunter Hampel), Leon Thomas (in his solo work as well as his work with Pharoah Sanders and Carlos Santana), and Phil Minton and Maggie Nicols (who devoted much of their energy to creating unaccompanied free jazz vocal music). By studying free jazz voice we can learn important lessons about what we expect from the voice and what happens when those expectations are violated. This book doesn't only trace histories of free jazz voice, it makes an attempt to understand why this story hasn't been told before, with an impressive breadth of scope in terms of the artists covered, drawing on research from the US, Canada, Wales, Scotland, France, The Netherlands, and Japan.

A comprehensive exploration of the history, phenomenology, meanings and causes of hearing voices that others cannot hear (auditory verbal hallucinations).

Verbal performances are often encountered in the media where they are used to embody characters or social archetypes. Performed voices define the norm as well as the linguistic Others and by doing so circulate associated values and linguistic ideologies. This book explores the idea that, far from simply being exercises in verbal skill and flair, performances of social, ethnic or gendered voices in the media not only have the power to accomplish ideological work, they are also sites of linguistic tension and negotiation. Critically examining performances of French voices in the media, this book raises the following questions: - How are repertoires of voices constructed and subsequently perpetuated in the media? - How do the stereotypic personae these voices contribute to build become familiar to national as well as transnational audiences? - How do such performed voices reproduce hegemonic ideologies of standard and non-standard languages and participate in the perpetuation of social discriminations? - How are these performed voices commodified into cultural products of otherness that may later be reclaimed by stigmatized communities? Following an innovative framework which allows for analysis of performances of varied voices and their impact in the media sphere, Voices in the Media offers a new approach to the linguistics of media performance.

This book draws on clinical research findings from the last three decades to offer a review of current psychological theories and therapeutic approaches to understanding and treating auditory hallucinations, addressing key methodological issues that need to be considered in evaluating interventions. Mark Hayward, Clara Strauss and Simon McCarthy-Jones present a historical narrative on lessons learnt, the evolution of evidence bases, and an agenda for the future. The text also provides a critique of varying therapeutic techniques, enabling practice and treatment decisions to be grounded in a balanced view of differing approaches. Chapters cover topics including: behavioural and coping approaches cognitive models of voice hearing the role of self-esteem and identity acceptance-based and mindfulness approaches interpersonal theory. Psychological Approaches to Understanding and Treating Auditory Hallucinations brings together and evaluates diffuse literature in an accessible and objective manner, making it a valuable resource for clinical researchers and postgraduate students. It will also be of significant interest to academic and clinical psychologists working within the field of psychotic experiences.

The Open Access version of this book, available at www.taylorfrancis.com/books/9781472453983, has been made available under a Creative Commons Attribution-Non Commercial-No Derivative 4.0 license. Experiences of hearing the voice of God (or angels, demons, or other spiritual beings) have generally been understood either as religious experiences or else as a feature of mental illness. Some critics of traditional religious faith have dismissed the visions and voices attributed to biblical characters and saints as evidence of mental disorder. However, it is now known that many ordinary people, with no other evidence of mental disorder, also hear voices and that these voices not infrequently include spiritual or religious content. Psychological and interdisciplinary research has shed a revealing light on these experiences in recent years, so that we now know much more about the phenomenon of "hearing voices" than ever before. The present work considers biblical, historical, and scientific accounts of spiritual and mystical experiences of voice hearing in the Christian tradition in order to explore how some voices may be understood theologically as revelatory. It is proposed that in the incarnation, Christian faith finds both an understanding of what it is to be fully human (a theological anthropology), and God’s perfect self-disclosure (revelation). Within such an understanding, revelatory voices represent a key point of interpersonal encounter between human beings and God.

This volume is a collection of articles concerned with the typology of valency and valence change in a large and diversified sample of languages that display ergative alignment in their grammar. The sample of languages represented in these descriptive contributions covers most of the geographical areas and linguistic families in which ergativity has been known to exist jointly with well-developed morphological voice, and some languages belonging to families in which ergativity or voice were not previously recognized or adequately described up to now.

The traditional haftarah cycle, read on Shabbat and holidays during the Torah service, contains a wealth of prophetic wisdom, yet today it is too often forgotten or ignored. Prophetic Voices gives new life to these ancient texts. A diverse group of contributors--including rabbis, cantors, scholars, educators, activists, and poets--provide short commentaries on each haftarah, demonstrating their profound relevance to the present. Moreover, the volume boldly invites us to rethink the haftarah canon. Going beyond the Prophets, it presents alternative readings from Jewish texts biblical to contemporary. New haftarot for each Shabbat and holiday are included, plus haftarot for the Jewish American calendar, from Yom HaShoah to Pride Month to Martin Luther King Jr. Day. The readings are enhanced by scholarly essays placing the Prophets in historical context and examining the role of prophecy in Reform Judaism. Prophetic Voices summons us to listen, study, think, and teach--as well as to sing, pray, and march. Published by CCAR Press, a division of the Central Conference of American Rabbis

This is a complete revision of a detailed resource which has been the essential guide for church musicians working in the Episcopal church for over 20 years. A Guide to the Practice of Church Music (1989) was originally written by Marion J. Hatchett, who taught for many years at the Episcopal seminary at Sewanee, was key in developing materials for The Hymnal 1982. This updated revision contains brief, but articulate discussions of the role of music in the church, the variety and nature of music ministries (people, cantor, choirs, organists, directors, instrumentalists, clergy, and music committees); principles for the selection of hymns, psalms, canticles, and other service music and their sources in materials from CPI and beyond; guidance for planning services for all rites of the church in the BCP and the Book of Occasional Services. Updated revision includes hymnals, electronic resources, and materials published since The Hymnal 1982.