The rock and roll music that dominated airwaves across the country during the 1950s and early 1960s is often described as a triumph for integration. Black and white musicians alike, including Chuck Berry, Little Richard, Elvis Presley, and Jerry Lee Lewis, scored hit records with young audiences from different racial groups, blending sonic traditions from R&B, country, and pop. This so-called "desegregation of the charts" seemed particularly resonant since major civil rights groups were waging major battles for desegregation in public places at the same time. And yet the centering of integration, as well as the supposition that democratic rights largely based in consumerism should be available to everyone regardless of race, has resulted in very distinct responses to both music and movement among Black and white listeners who grew up during this period. This book traces these distinctions using archival research, musical performances, and original oral histories to determine the uncertain legacies of the civil rights movement and early rock and roll music in a supposedly post-civil rights era.

for SSATB and organ The hymn Come, Holy Ghost lies at the heart of Celestial Fire. Here, McDowall has woven the exquisite poetry of Denise Levertov into this expressive and uplifting piece. At times quietly meditative, Celestial Fire unfolds to a most joyous, affirmative conclusion. Celestial Fire was commissioned as part of a trilogy suitable for significant occasions during the church calendar year by Oakham School; the two other Oakham anthems for organ and mixed chorus are Light Eternal and Candlemas.

for SATB wordless chorus, viola solo, and orchestra A suite for solo viola, wordless chorus (SATB), and small orchestra, Flos Campi is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon, the chorus never articulates a single word. Instead, it serves as a section of the orchestra, creating an elegant vocal texture and backdrop to the viola's haunting solo lines. The work was premiered in October 1925 by the violist Lionel Tertis, singers from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry Wood.

for SATB, organ, and optional handbells Through luminous choral harmonies, images of a winter night, and echoes of scripture, Advent Moon evokes deep human longing as well as the promise of the coming of light. The delicate organ accompaniment and optional handbells underscore both the haunting opening and the radiant conclusion of this piece.

for SSAA unaccompanied Originally written for SATB, this hymn to the 'Queen of the Heavens' is a glorious work, replete with dramatic changes of mood and texture. The majestic chords of the opening bars quickly give way to a spirited exchange between the voices. This pattern of contrasts is repeated throughout the piece before the final jubilant chords fade away to pianissimo. This is an approachable and rewarding motet, appropriate for any time of the year and in particular, the Feast of the Blessed Virgin Mary and Eastertide. The original SATB version of Regina Caeli has also been recorded by the renowned American choir, the Phoenix Chorale, and released on a Grammy award-winning CD by Chandos (Spotless Rose CHSA 5066).

This first full biography of Edward J. Dent (1876-1957), Cambridge Professor of Music and foremost musicologist, tells the story of a remarkable man who played a crucial role in the formation of twentieth-century culture and cultural institutions. Operating at both personal and international levels, Dent knew and quietly influenced musicians, poets, artists, writers, politicians, theatrical producers and designers, including Busoni, E.M. Forster, Sassoon and Maynard Keynes. The book covers not only his pioneering music scholarship and cultural activities but also his personal crusades on behalf of music and opera, gays, refugees and the culturally destitute. Drawn from a wide variety of unpublished sources, from behind Dent's carefully constructed public persona of a cosmopolitan gentleman scholar the picture emerges of a more complex and fascinating human being: a lifelong pacifist and agnostic; a scion of the upper classes who voted Labour; 'the kindest heart and the wickedest tongue in Cambridge', who always helped friends in need; a natural rebel and iconoclast; an English internationalist. His seminal books and articles remain fresh and vital and his writing hugely entertaining, while his ideas on the importance of the arts in everyday life are as relevant as ever. Dent's fundamental belief in 'training the imagination' and in personal friendships, along with his lifelong quest to 'understand all music', kept music and the arts alive through the most dire periods in the last century and into our own.

Inspired by the legendary cyclists of the Tour de France, Yellow Jersey is a short wind sprint for two saxophones, originally composed for two clarinets. The form of the piece follows how the sprint would go as the cyclists move through the different stages of the race.

for SATB and organ Archer's setting of this well-known Christmas text is lilting and buoyant, with a memorable melody and charming organ interludes. Suitable for liturgical or concert use, the carol features great textual variety, building to a rousing finish that is sure to fill audiences with Christmas cheer!

for SATB (with divisions), S. and T. solos, and 10 players Commissioned by Merton College, Oxford, this hour-long work for soloists, choir, and 10 players is divided into seven movements, beginning with Palm Sunday. Jackson's setting takes material from each of the four Gospel narratives, interspersed with Latin hymns and English texts by poets associated with Merton College over the centuries including Edmund Blunden and T. S. Eliot. The vocal score includes a piano reduction for rehearsal purposes.

for soloists, SATB, and organ Written for the Choir of Wells Cathedral, of which Matthew Owens is Organist and Master of the Choristers, this setting of the St Matthew Passion is ideally suited to liturgical performance during Holy Week. The principal role of the Evangelist is taken by a baritone soloist, who narrates the story of Christ's trial and Crucifixion in unaccompanied chant. The other, smaller, solo roles of Judas (tenor), Pilate (tenor), Jesus (bass), and Pilate's wife (alto) continue in the same vein, with four-part choral interspersions from the crowds, soldiers, and priests providing a contrast in texture. The hymn 'When I survey the wondrous cross', set to the Rockingham hymn tune, appears twice throughout the work, and the congregation are encouraged to join in on both occasions. The simple organ part supports the voices for the hymn, and may also optionally double the choir during the narrative.

This is the third in a trilogy of organ works inspired by the metaphysical poet, George Herbert. This piece and the first of the three, Sounding heaven and earth, draw their titles from George Herbert's Prayer (I). The second of the group, Sacred and hallowed fire, takes its inspiration from the sequence of poems by George Herbert entitled he Temple.

for solo soprano and SSATB Written for the wedding of the composer's niece in 2012, this piece affectionately sets a poem of the same title by Robert Burns. It was first performed by Chantage in London's Church of Scotland, St Columba's, conducted by James Davey. With something intrinsically Scottish about it, this tender setting of the well-loved poem, although written specifically for a wedding, would suit almost any occasion.

Among major 20th-century composers whose music is poorly understood, Sergei Prokofiev stands out conspicuously. The turbulent times in which Prokofiev lived and the chronology of his travels-he left Russia in the wake of Revolution, and returned at the height of the Stalinist purges-have caused unusually polarized appraisals of his music. While individual, distinctive, and instantly recognizable, Prokofiev's music was also idiosyncratically tonal in an age when tonality was largely passe. Prokofiev's output therefore has been largely elusive and difficult to assess against contemporary trends. More than sixty years after the composer's death, editors Rita McAllister and Christina Guillaumier offer Rethinking Prokofiev as an assessment that redresses this enigmatic composer's legacy. Often more political than artistic, these appraisals have depended not only upon the date of publication but also the geographical location of the writer. Commissioned from some of the most distinguished and rising scholars in the field, this collection highlights the background and context of Prokofiev's work. Contributors delve into the composer's relationship to nineteenth-century Russian traditions, Silver-Age and Symbolist composers and poets, the culture of Paris in the 1920s and '30s, and to his later Soviet colleagues and younger contemporaries. They also investigate his reception in the West, his return to Russia, and the effect of his music on contemporary popular culture. Still, the main focus of the book is on the music itself: his early, experimental piano and vocal works, as well as his piano concertos, operas, film scores, early ballets, and late symphonies. Through an empirical examination of his characteristic harmonies, melodies, cadences, and musical gestures-and through an analysis of the newly uncovered contents of his sketch-books-contributors reveal much of what makes Prokofiev an idiosyncratic genius and his music intriguing, often dramatic, and almost always beguiling.

for SAA and piano The quirky style of The Look perfectly complements the nature of Sara Teasdale's poem, which reminisces on past romances. The melody is catchy and colourful, with a stylistic ornament that gives the piece a carefree feel, and there are effective contrasts of tonality and texture. The voices are accompanied by a jazzy, characterful piano part with driving syncopations.

for SAA and piano Exhibiting Chydenius's unique style, this contemplative ballad sets a wistful text by American lyrical poet Sara Teasdale. The close harmonies, persuasive melodies, and appealing syncopations in the voices are underpinned by a stylistic piano part with a rhythmic chord pattern that creates a sense of build and drive. The Kiss is ideal for upper-voice choirs looking for an evocative concert piece.

In a wide-ranging study of sentimentalism's significance for styles, practices and meanings of music in the nineteenth and twentieth centuries, a series of interpretations scrutinizes musical expressions of sympathetic responses to suffering and the longing to belong. The book challenges hierarchies of artistic value and the associated denigration of sentimental feeling in gendered discourses. Fresh insights are thereby developed into sentimentalism's place in musical constructions of emotion, taste, genre, gender, desire, and authenticity. The contexts encompass diverse musical communities, performing spaces, and listening practices, including the nineteenth-century salon and concert hall, the cinema, the intimate stage persona of the singer-songwriter, and the homely ambiguities of 'easy' listening. Interdisciplinary insights inform discussions of musical form, affect, appropriation, nationalisms, psychologies, eco-sentimentalism, humanitarianism, consumerism, and subject positions, with a particular emphasis on masculine sentimentalities. Music is drawn from violin repertory associated with Joseph Joachim, the piano music of Chopin, Schumann, and Liszt, sentimental waltzes from Schubert to Ravel, concert music by Bartok, Szymanowski and Gorecki, the Merchant-Ivory adaptation of The Remains of the Day, Antonio Carlos Jobim's bossa nova, and songs by Duke Ellington, Burt Bacharach, Carole King, Barry Manilow and Jimmy Webb. The book will attract readers interested in both the role of music in the history of emotion and the persistence and diversity of sentimental arts after their flowering in the eighteenth-century age of sensibility.

Some of the most popular works of nineteenth-century music were labeled either "Hungarian" or "Gypsy" in style, including many of the best-known and least-respected of Liszt's compositions. In the early twentieth century, Bela Bartok and his colleagues questioned not only the Hungarianness but also the good taste of that style. Bartok argued that it should be discarded in favor of a national style based in the "genuine" folk music of the rural peasantry. Between the heyday of the nineteenth-century Hungarian-Gypsy style and its replacement by a new paradigm of "authentic" national style was a vigorous decades-long debate-one little known inside or outside Hungary-over what it meant to be Hungarian, European, and modern.
Redefining Hungarian Music from Liszt to Bartok traces the historical process that defined the conventions of Hungarian-Gypsy style. Author Lynn M. Hooker frames her study around the 1911 celebration of Liszt's centennial. In so doing, she analyzes Liszt's problematic role as a Hungarian-born composer and leader of Hungarian art music who spent most of his life outside of Hungary and questioned whether Hungary's national music was more the creation of Hungarians or Roma (Gypsies). The themes of race and nation that emerge in the discussion of Liszt are further developed in an analysis of discourse on Hungarian national music throughout the Hungarian press in the late nineteenth and early twentieth centuries. Showing how the "discovery" of "genuine" folk music by Bartok and Kodaly, often depicted as a purely "scientific" matter, responds directly to concerns raised by earlier writers about the "problem of Hungarian music," Hooker argues that the innovations of Bartok and Kodaly and their circle are not so much in correcting a flawed concept of the national as in using the idea of national authenticity to open up freedom for composers to explore more stylistic options, including the exploration of modernist musical language. Meticulously researched and elegantly written, Redefining Hungarian Music from Liszt to Bartok is essential reading for musicologists, musicians, and concertgoers alike."

for SAATB unaccompanied A piece made famous by the award-winning a cappella group Vocado, Coffee Time is an upbeat dedication to the down time we all crave, for sharing thoughts, silence, and that aroma! Founded on classic a cappella style and sense of fun, the piece boasts an infectious melody and bossa nova rhythm, with sumptuous key changes, scat rhythms, and contrasting sections. The piece is perfect for vocal groups or small- to medium-size choirs, and has the makings of a great encore or competition piece.

Reconstructs the socio-political history of the heroic in music through case studies spanning the middle ages to the twenty-first century The first part of this volume reconstructs the various musical strategies that composers of medieval chant, Renaissance madrigals, and Baroque operas, cantatas or oratorios employed when referring to heroic ideas exemplifying their personal moral and political values. A second part investigating the eighteenth and nineteenth centuries expands the previous narrow focus on Beethoven's heroic middle period and the cult of the virtuoso. It demonstrates the wide spectrum of heroic positions - national, ethnic, revolutionary, bourgeois and spiritual - that filtered not only into 'classical' large-scale heroic symphonies and virtuoso solo concerts, but also into chamber music and vernacular dance music. The third part documents the forced heroization of music in twentieth-century totalitarian regimes such as Nazi-Germany and the Soviet Union and its consequences for heroic thinking and musical styles in the time thereafter. Final chapters show how recent rock-folk and avant-garde musicians in North America and Europe feature new heroic models such as the everyday hero and the scientific heroine revealing new confidence in the idea of the heroic.

Sacred and hallowed fire was commissioned by Harrison & Harrison as part of their 150 years celebration of organ building. It is one of a trilogy of works for organ by McDowall which draws from the poetry of George Herbert; the first of the three (commissioned by Christopher Batchelor for the London Festival of Contemporary Church Music) is Sounding heaven and earth; the last of the trilogy, Church bells beyond the stars, has been commissioned to celebrate the centenary of the Edinburgh Society of Organists, May 2013.

Rethinking Britten offers a fresh portrait of one of the most widely performed composers of the 20th century. In twelve essays, a diverse group of contributors--both established authorities and leading younger voices--explore a significant portion of Benjamin Britten's extensive oeuvre across a range of genres, including opera, song cycle, and concert music. Well informed by earlier writings on the composer's professional career and private life, Rethinking Britten also uncovers many fresh lines of inquiry, from the Lord Chamberlain's last-minute censorship of the Rape of Lucretia libretto to psychoanalytic understandings of Britten's staging of gender roles; from the composer's delight in schoolboy humor to his operatic revival of Purcellian dance rhythms; from his creative responses to Cold-War-era internationalism to his dealings with BBC Television. Each essay blends awareness of overarching contexts with insights into particular expressive achievements. Balancing biographical, archival, and analytic commentary with cultural and historical criticism, Rethinking Britten broadens the interpretive context surrounding all phases of Britten's career and is essential reading for scholars and fans alike.

The 1960s saw the emergence in the Netherlands of a generation of avant-garde musicians (including figures such as Louis Andriessen, Willem Breuker, Reinbert de Leeuw and Misha Mengelberg) who were to gain international standing and influence as composers, performers and teachers, and who had a defining impact upon Dutch musical life. Fundamental to their activities in the sixties was a pronounced commitment to social and political engagement. The lively culture of activism and dissent on the streets of Amsterdam prompted an array of vigorous responses from these musicians, including collaborations with countercultural and protest groups, campaigns and direct action against established musical institutions, new grassroots performing associations, political concerts, polemicising within musical works, and the advocacy of new, more 'democratic' relationships with both performers and audiences. These activities laid the basis for the unique new music scene that emerged in the Netherlands in the 1970s and which has been influential upon performers and composers worldwide. This book is the first sustained scholarly examination of this subject. It presents the Dutch experience as an exemplary case study in the complex and conflictual encounter of the musical avant-garde with the decade's currents of social change. The narrative is structured around a number of the decade's defining topoi: modernisation and 'the new'; anarchy; participation; politics; self-management; and popular music. Dutch avant-garde musicians engaged actively with each of these themes, but in so doing they found themselves faced with distinct and sometimes intractable challenges, caused by the chafing of their political and aesthetic commitments. In charting a broad chronological progress from the commencement of work on Peter Schat's Labyrint in 1961 to the premiere of Louis Andriessen's Volkslied in 1971, this book traces the successive attempts of Dutch avant-garde musicians to reconcile the era's evolving social agendas with their own adventurous musical practice.