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This book presents, for the first time, a history of English liturgical chant as performed in the Church of England and its transmission to churches in Scotland and the United States. In the mid-sixteenth century Reformation, the complex ritual of the latin rite was replaced by a one-volume Book of ...

This book presents, for the first time, a history of English liturgical chant as performed in the Church of England and its transmission to churches in Scotland and the United States. In the mid-sixteenth century Reformation, the complex ritual of the latin rite was replaced by a one-volume Book of Common Prayer, in English. The general nature of the new rubrics, expecially for music, left many of the details of performance to be worked out in traditional ways. Thus the music evolved from its Latin roots in oral, and later, written practice. The body of music that makes up the chanting practice of Anglican and related churches around the world is indeed diversified. Some texts of the liturgy are harmonized in four or more voive parts, often with organ accompaniment, and others are sung in plainsong. The largest group of chants, those for the psalms and canticles, has an idiosyncratic written form and a performance practice that continues to evolve in oral tradition. This music is commonly known as Anglican chant. Its origins in the seventeenth century and its codification in the eighteenth are explored in the choral establishments of the Church of England and parish churches in England, Scotland, and the United States.

Soka Gakkai--a movement of Japanese Buddhism--is one of the world's most rapidly expanding religious movements, especially in the West. The movement sponsors a variety of cultural and educational causes, and is active in promoting world peace and preservation of the environment; as such it has ...

Soka Gakkai--a movement of Japanese Buddhism--is one of the world's most rapidly expanding religious movements, especially in the West. The movement sponsors a variety of cultural and educational causes, and is active in promoting world peace and preservation of the environment; as such it has established a high profile in world affairs. Soka Gakkai is also a significant social phenomenon in its own right. This study documents this in its thorough survey of the United Kingdom membership that traces the sources of the movement's appeal to its socially diverse constituency. The combination of a questionnaire survey and personal interviews bring illuminating detail to this sociological analysis. The authors suggest that Soka Gakkai is consistent with modern thought that places a growing emphasis on the essentially private nature of belief and on personal autonomy, and less emphasis on traditional religious institutions. It is for these reasons that Soka Gakkai is a faith in tune with the times and has widening appeal to young people.

This is the first-ever in-depth study of the Soka Gakkai Buddhists in the United States of America (SGI-USA). Drawing on unprecedented access to the organization through surveys and interviews, it provides a definitive and revealing picture of one of the fastest-growing religions in the world. The ...

This is the first-ever in-depth study of the Soka Gakkai Buddhists in the United States of America (SGI-USA). Drawing on unprecedented access to the organization through surveys and interviews, it provides a definitive and revealing picture of one of the fastest-growing religions in the world. The authors shed light on contemporary American society and show how many members of SGI-USA are drawn from a growing `transmodern' subculture in America. In addition the book traces the development of the organization in the USA, examining how it adapted to the peculiar circumstances of America's cultural life and showing how SGI-USA became a very American phenomenon.

Buddhism during the Kamakura era (1192-1333) has long been compared in the West to Christianity during the European Reformation. This popular view is reinforced by a retrospectivist historiography that regards all prior events as a prelude to the present. From this perspective, because today's ...

Buddhism during the Kamakura era (1192-1333) has long been compared in the West to Christianity during the European Reformation. This popular view is reinforced by a retrospectivist historiography that regards all prior events as a prelude to the present. From this perspective, because today's predominant forms of Japanese Buddhism (Zen, Pure Land, and Nichiren) were founded during the Kamakura, the only important events of the era are those directly related to the establishment of these three forms of Buddhism. Both the simplistic reading of the Kamakura as a Japanese Reformation and retrospectivist historiography obscure the complexity of the religious situation. While it is true that these new movements were established in the Kamakura era, it is also true that they were marginal to mainstream Buddhism during the period, gaining prominence only in the following Muromachi era (1335-1573). Despite a rhetoric of organic growth, it was hardly a foregone conclusion that these forms would even survive the era -- several similar movements of the time did not.

The essays in this collection are an interdisciplinary examination of various aspects of Buddhism during the Kamakura era, including religious practice, literature, and institutional history. They work toward a synchronic historiography and thus provide a broader understanding and appreciation of the complexity and richness of Buddhism during the Kamakura era and of Japanese Buddhism as a whole.

In Frame Structures, Susan Howe brings together those of her earliest poems she wishes to remain in print, and in the forms in which she cares to have them last. Gathered here are versions of Hinge Picture (1974), Chanting at the Crystal Sea (1975), Cabbage Gardens (1979), and Secret History of the ...

In Frame Structures, Susan Howe brings together those of her earliest poems she wishes to remain in print, and in the forms in which she cares to have them last. Gathered here are versions of Hinge Picture (1974), Chanting at the Crystal Sea (1975), Cabbage Gardens (1979), and Secret History of the Dividing Line (1978) that differ in some respects from their original small-press editions. In a long preface, "Frame Structures", written especially for this volume, Howe suggests the autobiographical, familial, literary, and historical motifs that suffuse these early works. Taken together, the preface and poems reflect her rediscovered sense of her own beginnings as a poet, her movement from the visual arts into the iconography of the written word.