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The focus of this Special Issue is language translation in the process of localizing religious musical practice. As an alternative to related concepts (such as contextualization and indigenization), musical localization is presented by ethnomusicologists Monique Ingalls, Muriel Swijghuisen Reigersberg, and Zoe Sherinian in Making Congregational Music Local in Christian Communities Worldwide (Routledge, 2018) as an effective way to account for the complex, diverse, and shifting ways in which religious communities embody what it means to be local through their musical practices: "Musical localization is the process by which Christian communities take a variety of musical practices - some considered 'indigenous, ' some 'foreign, ' some shared across spatial and cultural divides; some linked to past practice, some innovative - and make them locally meaningful and useful in the construction of Christian beliefs, theology, practice, and identity." (13) This Special Issue shows the balance of translation priorities that local congregations can weigh as they work, between externally prescribed guidelines and exclusively local realities; between translations more oriented to the source language and culture, making that reality more plain, or to the recipients, ensuring that the meaning is adequately transferred to a new context; and between even the decision to translate or not, perhaps choosing to sing the songs of another culture and language as they are while risking appropriation.

Church music. --- Church music --- Pastoral music (Sacred) --- Religious music --- Sacred vocal music --- Devotional exercises --- Liturgics --- Music --- Music in churches --- Psalmody --- History and criticism --- Religious aspects --- Christianity

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Das Jahrbuch für Liturgik und Hymnologie (JLH) wird von Jörg Neijenhuis, Daniela Wissemann-Garbe, Alexander Deeg, Michael Meyer-Blanck, Irmgard Scheitler, Matthias Schneider und Helmut Schwier in Verbindung mit der Internationalen Arbeitsgemeinschaft für Hymnologie und dem Interdisziplinären Arbeitskreis Gesangbuchforschung Mainz, dem Liturgiewissenschaftlichen Institut Leipzig und der Liturgischen Konferenz herausgegeben. 1955 wurde es von Konrad Ameln, Christhard Mahrenholz und Karl Ferdinand Müller begründet.

Church music --- Lutheran Church --- Church music. --- Liturgie. --- Pastoral music (Sacred) --- Religious music --- Sacred vocal music --- Devotional exercises --- Liturgics --- Music --- Music in churches --- Psalmody --- Lutheranism --- Christian sects --- Liturgy --- Hymns --- History and criticism --- Lutheran Church. --- Hymns. --- Liturgy. --- Religious aspects --- Christianity

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Christian church history --- History of civilization --- History of Europe --- anno 1700-1799 --- anno 1600-1699 --- Sacred music --- Music in churches --- Musique religieuse --- Musique dans les églises --- History and criticism --- History and criticism. --- Histoire et critique --- Musique dans les eglises --- Musique dans les églises --- 78.16 Clermont-Ferrand --- 78.25 --- Culte --- Colloque --- Musique --- XVIIe-XVIIIe s., 1601-1800 --- Puy-en-Velay

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Church music --- Pastoral music (Sacred) --- Religious music --- Sacred vocal music --- Devotional exercises --- Liturgics --- Music --- Music in churches --- Psalmody --- 17th century --- History and criticism --- Religious aspects --- Christianity --- Ferdinand --- Holy Roman Empire --- Heiliges Römisches Reich Deutscher Nation --- Heiliges Römisches Reich --- Svi︠a︡shchennai︠a︡ Rimskai︠a︡ Imperii︠a︡ --- Imperium Romano Germanicum --- S.R.I. --- Sacrum Romanum Imperium --- Austria --- Germany --- Court and courtiers. --- 78.25

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A survey of the huge importance of Thomas Tallis, the `Father of Church Music', on Victorian musical life. A survey of the huge importance of Thomas Tallis, the `Father of Church Music', on Victorian musical life. This book examines in detail the reception of two works that lie at the stylistic extremes of his output: 'Spem in alium', revived in the 1830s, though generally not greatly admired, and the 'Responses', which were very popular. In Victorian England, Tallis was ever-present: in performances of his music, in accounts of his biography, and through his representation in physical monuments. Known in the nineteenth century as the 'Father of English Church Music', Tallis occupies a central position in the history of the music of the Anglican Church. Dr SUE COLE is a research associate at the Faculty of Music, University of Melbourne.

Church music --- Anglican Communion. --- Tallis, Thomas, --- England --- Church history --- Pastoral music (Sacred) --- Religious music --- Sacred vocal music --- Devotional exercises --- Liturgics --- Music --- Music in churches --- Psalmody --- History and criticism --- Religious aspects --- Christianity --- Talles, Thomas, --- Tallys, Thomas, --- Talys, Thomas, --- Anglican Church. --- Anglican identity. --- English Church Music. --- English identity. --- Englishness. --- Thomas Tallis. --- Victorian England. --- liturgical and aesthetic goals. --- music history.