|
Books > Arts & Architecture > Music > Other types of music > Vocal music > Choral music
Transformation of the Industry in a Brand New Normal: Media, Music,
and Performing Arts is a collection of contemporary research and
interpretation that aims to discover the industrial transformation
in media, music, and performing arts. Featuring coverage of a broad
range of topics, including film studies, narrative theory, digital
streaming platforms, subscription video-on-demand services,
marketing, promotional strategies of video games, distant music
practices, music ecosystems, contemporary orchestras, alternative
music scenes, new voice-over techniques, changing conservatory
education methods, and visual arts, this manuscript of selected
chapters is designed for academics, researchers, media
professionals, and students who intend to enhance their
understanding of transformation in media, music, and performing
arts.
The Choral-Orchestral Works of Ralph Vaughan Williams: Autographs,
Context, Discourse combines contextual knowledge, a musical
commentary, an inventory of the holograph manuscripts, and a
critical assessment of the opus to create substantial and
meticulous examinations of Ralph Vaughan Williams'
choral-orchestral works. The contents include an equitable choice
of pieces from the various stages in the life of the composer and
an analysis of pieces from the various stages of Williams' life.
The earliest are taken from the pre-World War I years, when Vaughan
Williams was constructing his identity as an academic and
musician-Vexilla Regis (1894), Mass (1899), and A Sea Symphony
(1910). The middle group are chosen from the interwar period-Sancta
Civitas (1925), Benedicite (1929), Magnificat (1932), Five Tudor
Portraits (1935), Dona nobis pacem (1936)-written after Vaughan
Williams had found his mature voice. The last cluster-Thanksgiving
for Victory (1944), Fantasia (Quasi Variazione) on the 'Old 104'
Psalm Tune (1949), Sons of Light (1950), Hodie (1954), The Bridal
Day/Epithalamion (1938/1957)-typify the works finished or revisited
during the final years of the composer's life, near the end of the
Second World War and immediately before or after his second
marriage (1953).
The Campaign Choirs Network is a loose affiliation of like-minded
choirs across the UK sharing a belief in a better world for all and
dedicated to taking action by singing about it; the Campaign Choirs
Writing Collective is a part of that network. The book intends to
inspire the reader to engage with this world: to find out more, to
join a choir in their community, to enlist their local street choir
to support campaigns for social change and, more generally, to
mobilize artistic creativity in progressive social movements. It is
an introduction to street choirs and their history, exploring
origins in and connections with other social movements, for example
the Workers Education Association, the Clarion movement, Big Flame
and the Social Forum movement. The book identifies the political
nodes where choir histories intersect, notably Greenham Common, the
Miners' Strike, anti-apartheid and Palestinian struggles. The title
of the book is taken from a song by the respected American musician
and activist Holly Near, and is popular in the repertoire of many
street choirs. Exploring the role of street choirs in political
culture, Singing For Our Lives introduces this neglected world to a
wider public, including activists and academics. Signing for Our
Lives also elaborates the personal stories and experiences of
people who participate in street choirs, and the unique social
practices created within them. The book tells the important, if
often overlooked, story of how making music can contribute to
non-violent, just and sustainable social transitions.
www.singing4ourlives.net/about.html
|
|