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| Series Preface | |
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| List of Musical Examples and Figures | |
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| Preface | |
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| From Center to Spectrum: Praying and Singing Globally | |
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| Center versus Periphery Dichotomy | |
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| Singing and Praying for the Sake of the World | |
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| A Starting Place: Distinguishing between Bias and Prejudice | |
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| Liturgical Plurality: Diversity of Songs--Unity of Spirit | |
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| Purpose, Delimitations, and Methodology | |
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| The Road to Meaning in Music: Related Literature | |
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| Music and Semiology: Asking New Questions | |
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| A Liturgical Trilemma | |
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| The Fiesta of the Faithful: Pablo Sosa and the Contextualization of Latin American Hymnody | |
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| Growing up in Argentina | |
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| Argentine Ethnic Demographics | |
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| Argentine Politics | |
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| A Heritage of Popular Argentine Poetry | |
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| Pablo Sosa: Pastoral Musician | |
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| Pablo Sosa: Poet | |
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| Pablo Sosa: The Contextual Theologian | |
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| Pablo Sosa: Hymnal Editor and Recording Producer | |
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| Pablo Sosa: The Ecumenical Liturgist | |
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| Decontextualizing Pablo Sosa | |
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| Recontextualizing the Work of Pablo Sosa for the United States | |
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| Sounds of Bamboo: I-to Loh and the Development of Asian Hymns | |
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| A Brief Biography | |
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| Life as a Teacher, Hymnologist, and Ethnomusicologist | |
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| An Analysis of Sound the Bamboo (1990) | |
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| Asian Hymns in Western Hymnals | |
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| Guidelines for the Publication of Cross-Cultural Music in the West | |
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| The Process of Musical Inculturation and Sound the Bamboo (1990) | |
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| I-to Loh's Contributions to Sound the Bamboo (1990) | |
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| Sound the Bamboo (2000) | |
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| I-to Loh's Work Today | |
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| The Impact of I-to Loh's Work in Asia | |
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| Singing Freedom: David Dargie and South African Liberation Song | |
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| Introduction to Recent South African Politics | |
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| Father Dargie: A Vocational Response to Vatican II in Liturgy and Song | |
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| The Making of a Musical Liberator | |
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| Andrew Tracey and Ethnomusicological Study | |
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| Church Music Composition Workshops | |
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| Church Music from South Africa | |
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| The Hymns of Ntsikana | |
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| What Is Liberation Hymnody? | |
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| Conclusion | |
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| The Spirit of Ngoma: Patrick Matsikenyiri and Indigenous Song in Zimbabwe | |
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| Brief History of Zimbabwe | |
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| Living in Old Mutare and Modern Mutare | |
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| From Local Church Musician to Global Animateur | |
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| Music in African Culture and Worship | |
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| Ngoma: An African Conceptual Framework for Music | |
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| The Songs | |
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| Conclusion | |
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| The Wild Goose Sings: John Bell and the Music of the Iona Community | |
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| The Iona of Saint Columba (521-97 C.E.) | |
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| The Iona of George MacLeod (1895-1991) | |
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| John Bell and Graham Maule and the Formation of the Wild Goose Worship Group | |
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| Themes of Iona Liturgy and Music | |
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| Conclusion | |
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| Form and Ritual: Sequential and Cyclic Musical Structures and Their Use in Liturgy | |
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| Characteristics of Sequential Musical Structures | |
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| Characteristics of Cyclic Musical Structures | |
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| Musical Structures and Ritual | |
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| The Church Musician as Enlivener | |
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| Mapping the Liturgical and Musical Field of the Enlivener: Living in Liminality | |
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| The Office of the Enlivener | |
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| A North American Enlivener: Mary Oyer | |
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| Polyrhythmic Worship | |
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| Bibliography | |
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| Index of Names | |
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| Index of Subjects | |
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| Index of Hymns, Hymn Tunes, and Musical Works | |