Welcome to Loot.co.za!
Sign in / Register |Wishlists & Gift Vouchers |Help | Advanced search
|
Your cart is empty |
|||
Books > Arts & Architecture > Music > Other types of music > Vocal music > Choral music
for SSAATTBB and piano Rebecca Dale's reimagining of Cesar Franck's Panis Angelicus was commissioned for the second instalment of Sonoro's Choral Inspirations project. Dale has drawn upon the harmonic framework of the original setting, as well as playing with fragments of the well-known melodies. She cleverly sets this within a modern sound-world, supported by a rippling, arpeggiated piano accompaniment, original melodic material, and subtle layering of the divisi vocal lines.
Known for his orchestral, operatic and choral works, James MacMillan (b. 1959) appeals across the spectrum of contemporary music making. James MacMillan appeals across the spectrum of contemporary music making and is particularly celebrated for his orchestral, operatic and choral pieces. This book, published in time to mark the composer's sixtieth birthday, is thefirst in-depth look at his life, work and aesthetic. From his beginnings in rural Ayrshire and his early work with Sir Peter Maxwell Davies, through the international breakthrough success of The Confession of Isobel Gowdie,the continuing success of works such as the percussion concerto Veni, Veni, Emmaneul and his choral pieces, to his current position as one of the most prominent British composers of his generation, the book explores MacMillan's compositional influences over time. It looks closely at his most significant works and sets them in a wider context defined by contemporary composition, culture and the arts in general. The book also considers MacMillan's strong Catholic faith and how this has influenced his work, along with his politics and his on-going relationship with Scottish nationalism. With the support of the composer and his publisher and unprecedented access to interviews and previously unpublished materials, the book not only provides an appraisal of MacMillan's work but also insights into what it means to be a prominent composer and artist in the twenty-first century. PHILLIP A. COOKE is a Composer and Senior Lecturer and Head of Music at the University of Aberdeen. He has previously co-edited The Music of Herbert Howells for Boydell.
for SATB choir and organ This appealing motet for SATB choir and organ accompaniment was written in aid of Macmillan Cancer Support. Although the prevailing mood of the gently flowing music is lyrical, with an atmosphere of loving peacefulness, William Blake's Lullaby is not without its darker undertones, and they too are explored, with one or two bold harmonic touches.
Becoming a Choral Music Teacher: A Field Experience Workbook, Second Edition is a choral methods textbook that prepares students in Music Education to become middle school and high school choral music teachers. It emphasizes important musical skills, vocal pedagogy and repertoire suitable for secondary school choirs in order to provide future teachers with the critical experiences to be effective. Focusing equally on rehearsal strategies, auditions and classroom management, the book is also a "workbook" that requires the students' active learning through participation in fieldwork. Students learn in a sequential and practical manner, beginning with the study of the middle school voice and progressing to the high school voice, through practice of theory with adolescents, followed by class reflection on common problems and solutions, and then continued practice. NEW to this Edition Updated references to NAfME, and new national and state standards and licensing rules More on the needs of Special Learners in the choral classroom Latest resources on classroom management theories and practice Expanded vocal warm-ups that incorporate body movement and aural skills training More on gender issues (including LGBT awareness), sociological impact and meanings of choral singing, and emerging knowledge of multicultural choral music Becoming a Choral Music Teacher: A Field Experience Workbook, Second Edition fully integrates the choral field experience for hands-on learning and reflection and allows the student to observe and teach the book's principles.
An easy anthem for unison children's and/or SATB choir, with piano/organ or orchestra. This German translation of Look at the world is suitable for Harvest or for any occasion where God is praised for his creation. Also available in English in John Rutter Anthems and in German in Glory to God. An orchestral accompaniment is available on hire.
First published in 2007. Routledge is an imprint of Taylor & Francis, an informa company.
Choral Music: A Research and Information Guide, Third Edition, offers a comprehensive guide to the literature on choral music in the Western tradition. Clearly annotated bibliographic entries guide readers to resources on key topics within choral music, individual choral composers, regional and sacred choral traditions, choral techniques, choral music education, genre studies, and more, providing an essential reference for researchers and practitioners. Covering monographs, bibliographies, selected dissertations, reference works, journals, electronic databases, and websites, this research guide makes it easy to locate relevant sources. Comprehensive indices of authors, titles, and subjects keep the volume user-friendly. The new edition has been brought up to date with entries encompassing the latest scholarship, and updated references and annotations throughout, capturing the continued growth of literature on choral music since the publication of the second edition.
It is a truism in teaching choral conducting that the director should look like s/he wishes the choir to sound. The conductor's physical demeanour has a direct effect on how the choir sings, at a level that is largely unconscious and involuntary. It is also a matter of simple observation that different choral traditions exhibit not only different styles of vocal production and delivery, but also different gestural vocabularies which are shared not only between conductors within that tradition, but also with the singers. It is as possible to distinguish a gospel choir from a barbershop chorus or a cathedral choir by visual cues alone as it is simply by listening. But how can these forms of physical communication be explained? Do they belong to a pre-cultural realm of primate social bonding, or do they rely on the context and conventions of a particular choral culture? Is body language an inherent part of musical performance styles, or does it come afterwards, in response to music? At a practical level, to what extent can a practitioner from one tradition mandate an approach as 'good practice', and to what extent can another refuse it on the grounds that 'we don't do it that way'? This book explores these questions at both theoretical and practical levels. It examines textual and ethnographic sources, and draws on theories from critical musicology and nonverbal communication studies to analyse them. By comparing a variety of choral traditions, it investigates the extent to which the connections between conductor demeanour and choral sound operate at a general level, and in what ways they are constructed within a specific idiom. Its findings will be of interest both to those engaged in the study of music as a cultural practice, and to practitioners involved in a choral conducting context that increasingly demands fluency in a variety of styles.
The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.
Michael Ewans explores how classical Greek tragedy and epic poetry have been appropriated in opera, through eight selected case studies. These range from Monteverdi's Il ritorno d'Ulisse in patria, drawn from Homer's Odyssey, to Mark-Antony Turnage's Greek, based on Sophocles's Oedipus the King. Choices have been based on an understanding that the relationship between each of the operas and their Greek source texts raise significant issues, involving an examination of the process by which the librettist creates a new text for the opera, and the crucial insights into the nature of the drama that are bestowed by the composer's musical setting. Ewans examines the issues through a comparative analysis of significant divergences of plot, character and dramatic strategy between source text, libretto and opera.
This directory is the most comprehensive index of music written for orchestra with chorus in print today. Offering performance information about choral works by more than 900 conductors, the more than 3,500 entries include such details as instrumentation, languages, timings, publishers, and composer information in an easy-to-follow reference style. Users can also browse categorized appendices of works, composers, and popular and original titles.
Focus: Choral Music in Global Perspective introduces the little-known traditions and repertoires of the world's choral diversity, from prison choirs in Thailand and gay and lesbian choruses of the Western world to community choruses in the Middle East and youth choirs in the United States. The book weaves together the stories of diverse individuals and organizations, examining their music and pedagogical practices while presenting the author's research on how choral cultures around the world interact with societies and transform the lives of their members. Through an engaging series of portraits that pushes beyond the scope of extant texts and studies, the author explores the dynamic realm of world choral activity and repertoire. These personal portraits of musical communities are enriched by sample repertoire lists, performance details, and research findings that reposition a once Western phenomenon as a global concept. Focus: Choral Music in Global Perspective is an accessible, engaging, and provocative study of one of the world's most ubiquitous and socially significant forms of music-making.
Focus: Choral Music in Global Perspective introduces the little-known traditions and repertoires of the world's choral diversity, from prison choirs in Thailand and gay and lesbian choruses of the Western world to community choruses in the Middle East and youth choirs in the United States. The book weaves together the stories of diverse individuals and organizations, examining their music and pedagogical practices while presenting the author's research on how choral cultures around the world interact with societies and transform the lives of their members. Through an engaging series of portraits that pushes beyond the scope of extant texts and studies, the author explores the dynamic realm of world choral activity and repertoire. These personal portraits of musical communities are enriched by sample repertoire lists, performance details, and research findings that reposition a once Western phenomenon as a global concept. Focus: Choral Music in Global Perspective is an accessible, engaging, and provocative study of one of the world's most ubiquitous and socially significant forms of music-making.
Music played an exceptionally important role in the late Middle Ages - articulating people's social, psychological and eschatological needs. The process began with the training of choirboys whose skill was key to institutional identity. That skill was closely cultivated and directly sought by kings and emperors, who intervened directly in recruitment of choirboys and older singers in order to build and articulate their self-image and perceived status. Using the documentation of an exceptionally well preserved archive, this book focuses on music's functioning in an important church in late Medieval Northern France. It explores a period when musicians from this region set the agenda across Europe, developing what is still some of the most sophisticated music in the Western musical tradition. The book allows a close focus not on the great achievements of those who cultivated this music, but on the personal motivations that shaped their life and work.
Choral Artistry provides a practical and organic approach to teaching choral singing and sight-reading. The text is grounded in current research from the fields of choral pedagogy, music theory, music perception and cognition. Topics include framing a choral curriculum based on the Kodaly concept; launching the academic year for beginning, intermediate, and advanced choirs; building partwork skills; sight-reading; progressive music theory sequences for middle to college level choirs; teaching strategies; choral rehearsal plans as well as samples of how to teach specific repertoire from medieval to contemporary choral composers. As part of the Kodaly philosophy's practical approach, authors Micheal Houlahan and Philip Tacka employ two models for learning choral literature: Performance Through Sound Analysis Pedagogy (PTSA) and Performance through Sound Analysis and Notation (PTSAN). Both models delineate an approach to teaching a choral work that significantly improves students' musicianship while engaging the ensemble in learning the overall composition in partnership with the conductor. The final chapter of the book includes rubrics to assess the effectiveness of a choral program. This book does not purport to be a comprehensive choral pedagogy text. It is a detailed guide to helping choral directors at all levels improve the choral singing and musicianship of their students from a Kodaly perspective.
First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
Becoming a Choral Music Teacher: A Field Experience Workbook, Second Edition is a choral methods textbook that prepares students in Music Education to become middle school and high school choral music teachers. It emphasizes important musical skills, vocal pedagogy and repertoire suitable for secondary school choirs in order to provide future teachers with the critical experiences to be effective. Focusing equally on rehearsal strategies, auditions and classroom management, the book is also a "workbook" that requires the students' active learning through participation in fieldwork. Students learn in a sequential and practical manner, beginning with the study of the middle school voice and progressing to the high school voice, through practice of theory with adolescents, followed by class reflection on common problems and solutions, and then continued practice. NEW to this Edition Updated references to NAfME, and new national and state standards and licensing rules More on the needs of Special Learners in the choral classroom Latest resources on classroom management theories and practice Expanded vocal warm-ups that incorporate body movement and aural skills training More on gender issues (including LGBT awareness), sociological impact and meanings of choral singing, and emerging knowledge of multicultural choral music Becoming a Choral Music Teacher: A Field Experience Workbook, Second Edition fully integrates the choral field experience for hands-on learning and reflection and allows the student to observe and teach the book's principles.
This study of the Bach Choir provides a much-needed overview of one of the major choral societies in London. Dr Basil Keen examines the background that led to the formation of an ad hoc body to give the first performance in England of J.S. Bach's B minor Mass. The musical and organizational effects of a permanent choral society drawn from one social group are traced during the first twenty years, after such time the pressures of social change led to a complete review followed by a restructuring of the methods of recruitment and internal organization. The rebuilding of the choir at the opening of the twentieth century, the expansion of the repertoire, the upheaval resulting from the First World War and the impact of these events on preparation and performance, are all considered. The book is essentially structured around the tenure of successive Musical Directors: Otto Goldschmidt, Charles Villiers Stanford, Walford Davies, Hugh Allen, Ralph Vaughan Williams, Adrian Boult, Reginald Jacques and David Willcocks, since their varied tastes and interests inevitably had a decisive influence on policy. Keen draws upon previously unpublished material, including minutes and correspondence of the Bach Choir, interviews with relatives and descendants, and examination of family records and correspondence. To date, there has been no survey of a major London choir that encompasses the full history of the organization in context. In this study, Dr Basil Keen provides a thorough examination of the Bach Choir, including the response of the choir to social changes; the influence of conductors and officials; changes in musical taste; relationships with composers and composition; major national and international events; and the effect of these matters on organization and repertoire.
Michael Ewans explores how classical Greek tragedy and epic poetry have been appropriated in opera, through eight selected case studies. These range from Monteverdi's Il ritorno d'Ulisse in patria, drawn from Homer's Odyssey, to Mark-Antony Turnage's Greek, based on Sophocles's Oedipus the King. Choices have been based on an understanding that the relationship between each of the operas and their Greek source texts raise significant issues, involving an examination of the process by which the librettist creates a new text for the opera, and the crucial insights into the nature of the drama that are bestowed by the composer's musical setting. Ewans examines the issues through a comparative analysis of significant divergences of plot, character and dramatic strategy between source text, libretto and opera.
Andrew Gant's compelling account traces English church music from Anglo-Saxon origins to the present. It is a history of the music and of the people who made, sang and listened to it. It shows the role church music has played in ordinary lives and how it reflects those lives back to us. The author considers why church music remains so popular and frequently tops the classical charts and why the BBC's Choral Evensong remains the longest-running radio series ever. He shows how England's church music follows the contours of its history and is the soundtrack of its changing politics and culture, from the mysteries of the Mass to the elegant decorum of the Restoration anthem, from stern Puritanism to Victorian bombast, and thence to the fractured worlds of the twentieth century as heard in the music of Vaughan Williams and Britten. This is a book for everyone interested in the history of English music, culture and society.
It is a truism in teaching choral conducting that the director should look like s/he wishes the choir to sound. The conductor's physical demeanour has a direct effect on how the choir sings, at a level that is largely unconscious and involuntary. It is also a matter of simple observation that different choral traditions exhibit not only different styles of vocal production and delivery, but also different gestural vocabularies which are shared not only between conductors within that tradition, but also with the singers. It is as possible to distinguish a gospel choir from a barbershop chorus or a cathedral choir by visual cues alone as it is simply by listening. But how can these forms of physical communication be explained? Do they belong to a pre-cultural realm of primate social bonding, or do they rely on the context and conventions of a particular choral culture? Is body language an inherent part of musical performance styles, or does it come afterwards, in response to music? At a practical level, to what extent can a practitioner from one tradition mandate an approach as 'good practice', and to what extent can another refuse it on the grounds that 'we don't do it that way'? This book explores these questions at both theoretical and practical levels. It examines textual and ethnographic sources, and draws on theories from critical musicology and nonverbal communication studies to analyse them. By comparing a variety of choral traditions, it investigates the extent to which the connections between conductor demeanour and choral sound operate at a general level, and in what ways they are constructed within a specific idiom. Its findings will be of interest both to those engaged in the study of music as a cultural practice, and to practitioners involved in a choral conducting context that increasingly demands fluency in a variety of styles.
The two lead choir mentors from BBC's The Naked Choir. which airs autumn 2015, provide a practical dip-in book of tips and techniques to get choirs to excel. Perfect for all choral leaders, enthusiasts and singers, Dominic and Mark explain how to raise your game and take your choir to the next level, with advice on technical excellence, creating a good working environment, and managing people. The two lead choir mentors from BBC's The Naked Choir. which airs autumn 2015, provide a practical dip-in book of tips and techniques to get choirs to excel. Perfect for all choral leaders, enthusiasts and singers, Dominic and Mark explain how to raise your game and take your choir to the next level, with advice on technical excellence, creating a good working environment, and managing people. With over 25,000 choirs in the UK and the numbers growing, Mark De-Lisser (vocal coach on BBC's 'The Voice' and mentor on 'The Naked Choir') and Dominic Peckham (leading choral director & ambassador and mentor on 'The Naked Choir') provide 100 ideas on how to take choirs to the next level. Sharing their wealth of knowledge and experience, Dominic and Mark's advice will get great groups started, keep choirs moving forward and encourage the best from individual singers, keeping it fun along the way. With advice on how to start a choir from scratch, develop your own musicianship, rehearse effectively, and excel in performance, this pocket-sized guide is an essential resource and its practical guidance will get all choirs on the right track! |
You may like...
Western Plainchant in the First…
Sean Gallagher, James Haar, …
Hardcover
R3,963
Discovery Miles 39 630
Choral Sight Reading - A Kodaly…
Micheal Houlahan, Philip Tacka
Paperback
R775
Discovery Miles 7 750
Bakhmetev to Lyapunov - Music of the…
Carolyn C. Dunlop
Hardcover
|