for soprano solo, SATB, piano, bass, drums and optional alto saxophone Will Todd's Mass in Blue is a dynamic, uplifting, and highly popular jazz setting of the Latin mass. The work features driving grooves and blues harmonies, with provision for short piano solos (notated or improvised) and great moments of musical interplay between soprano soloist and choir. The Jazz Trio Set includes parts for piano (with chord symbols), bass (with chord symbols), drum kit (fully notated), and optional alto saxophone.

for SATB, piano, and optional guitar, bass, and drum kit Samba Mass is a joyous and colourful setting of the Latin Missa brevis. The work is framed by the gentle bossa nova style of the warm Kyrie and relaxed Agnus Dei, which is prefaced by a funky Benedictus. The compelling rhythms of samba come to the fore in the second movement, a vivacious Gloria, which is followed by a beautiful Sanctus that offsets a steady flow of quavers with rhythmic syncopations. The stylistic piano part can be played as written or serve as a guide, and an optional guitar, bass, and drum kit part is available separately for band accompaniment. Performers will enjoy exploring the interplay between voices and the rich, warm colours of the samba and bossa nova styles. This work was originally commissioned in a version for upper voices by the New Orleans Children's Chorus, Cheryl Dupont, Director, in celebration of the 20th anniversary of the Crescent City Choral Festival, June 2019.

There is a paucity of material regarding how choral music specifically was performed in the 1800s. The Historically Informed Performance (HIP) movement has made remarkable advancements in choral music of the Renaissance, Baroque, and Classical periods, with modest forays into the music of Beethoven, Schubert, Mendelssohn, and other early nineteenth-century composers; however, there are no sources with a comprehensive examination of how choral music was performed. Using more than one-hundred musical examples, illustrations, tables, and photographs and relying on influential, contemporaneous sources, David Friddle details the performance practices of the time, including expressive devices such as articulation, ornamentation, phrasing, tempo, and vibrato, along with an in-depth discussion of period pronunciation, instruments, and orchestral/choral placement. Sing Romantic Music Romantically: Nineteenth-Century Choral Performance Practices fills a gap in choral scholarship and moves forward our knowledge of how choral music sounded and was performed in the nineteenth century. The depth of research and abundance of source material makes this work a must-have for choral professionals everywhere.

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.

An insteresting case of self-borrowing. Bach took music from this work for his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum sancto spiritu). This unusual cantata, the only one with a Latin text, may have been written to celebrate the Peace of Dresden (which ended the 2nd Silesian war) and first performed on Christmas day, 1745. This vocal score is a reissue of the one which was originally published to coincide with Bach Gessellschaft edition. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

Choral Sight Reading 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. This volume includes basic and advanced music theory concepts to develop fluent sight-reading skills for reading standard choral repertoire, providing examples for the process outlined in Chapters 6-8 of Volume 1 (Choral Artistry). This guide provides choral directors with a choral curriculum and choral rehearsal models that place performance, audiation, partwork, music theory, and sight-signing skills at the heart of the choral experience, through a 'sound thinking' approach to teaching that results in greater efficiency in creating independent choral singers with a well-rounded repertoire.

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.

Designed for both the practicing choral director and the choral methods student, this is a compact and comprehensive overview of the many teaching methods, strategies, materials, and assessments available for choral sight-singing instruction. Sight-singing is an important, if sometimes neglected, facet of choral music education that often inspires fear and uncertainty in student and teacher alike. Written in an accessible style, this book takes the mystery out of teaching music reading. Topics covered include the history of sight-singing pedagogy and research, prominent methods and materials, and practical strategies for teaching and assessment. This is the only book to provide such a wealth of information under one cover and will become an essential part of every choral conductor's library.

for SATB unaccompanied Skempton's setting of the Preces and Responses is simple, well-crafted, and harmonically rewarding, and is perfect for choirs seeking new material for the liturgy.

for SATB and organ The Mass for All Saints is a captivating setting of the Latin Missa brevis. The accessible choral lines, idiomatic organ part, and colourful harmonies make this an ideal work for choirs looking for a fresh take on familiar words.

Research on dubbing in audiovisual productions has been prolific in the past few decades, which has helped to expand our understanding of the history and impact of dubbing worldwide. Much of this work, however, has been concerned with the linguistic aspects of audiovisual productions, whereas studies emphasizing the importance of visual and acoustic dimensions are few and far between. Against this background, Dubbing, Film and Performance attempts to fill a gap in Audiovisual Translation (AVT) research by investigating dubbing from the point of view of film and sound studies. The author argues that dubbing ought to be viewed and analysed holistically in terms of its visual, acoustic and linguistic composition. The ultimate goal is to raise further awareness of the changes dubbing brings about by showing its impact on characterization. To this end, a tripartite model has been devised to investigate how visual, aural and linguistic elements combine to construct characters and their performance in the original productions and how these are deconstructed and reconstructed in translation through dubbing. To test the model, the author analyses extracts of the US television series Buffy the Vampire Slayer and its French dubbed version.

The Supplement continues the tradition of the Catalogue in that it is designed as an aid for the church musician and or pastor seeking to plan unified worship services. It will also be of use to those church musicians who follow the Liturgical Calender and plan music appropriate to the appointed lessons, as well as a source for non-church choir directors who would like to locate choral settings based on a particular passage from Scripture. The Supplement emphasizes music published since 1995, or titles that were overlooked in the previous editions. Entries are arranged from Genesis through Revelation. Each main entry citation provides the biblical reference (book, chapter, and verse), as well as a reference to additional passages from Scripture used in the anthem. The composer, arranger, or editor and the title are listed as they appear on the octavo. Information on voicing, solos, and instrumental accompaniment is noted; the name of the publisher, the most recent date of publication and the octavo number appear at the end of each citation, where information on instrumental parts, other versions of the same title, and collections where the work might appear are also listed. Composer and title indexes round off the work.

Sing Carols! is a collection of traditional carols and Christmas songs for carol singers of all ages, compiled and arranged by composer Harry Escott. Featuring all your favourites, every song in this collection can be sung as a single unison line, with easy-to-learn second and third parts provided for some. Additionally, there are some accompaniment suggestions for all the carols that are easy to perform outside and accompanying backing tracks are available to download.

for solo violin, upper-voice choir (women's and/or advanced children's choir), with harp, and strings or organ This four-movement work is inspired by the idea of 'Jerusalem' both as a Holy City and a utopian ideal of heavenly peace and seraphic bliss. The composer has selected four biblical texts, in English and Latin, that express different aspects of this vision. This organ part is for use with the reduced instrumentation.

A History of the Handel Choir of Baltimore (1935-2013): Music, Spread Thy Voice Around chronicles the history of one of America's longstanding volunteer choral organizations, one that has followed in the footsteps of venerable ensembles such as the Handel and Haydn Society (Boston), the Bethlehem Bach Choir, and the Handel Society of Dartmouth College. It begins by considering music in the city of Baltimore, and establishing the reasons surrounding the choir's formation. Substantial coverage is given to the influence of Katharine M. Lucke, one of Baltimore's grandes dames-as a composer, mover, and shaker-and a vital force in Baltimore's National Music Week from her position on the faculty of the Peabody Conservatory of Music. Subsequently the book focuses on the contributions of each of the ten conductor/music directors, the vicissitudes of funding a volunteer choir, the choir's contributions to music education in the greater Baltimore metropolitan area, and the choir's repertoire. The book contains extensive appendices describing the choir's repertoire, its presidents, and its unbroken string of Messiah performances. Throughout more than seventy-five years, the Handel Choir of Baltimore has remained true to its original charter as an amateur choral organization that aspires to the highest standards of artistic excellence. A History of the Handel Choir of Baltimore is an invaluable resource to those interested in choral music studies, the running of an amateur, volunteer choir, and other disciplines of music studies.

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.

for women's chorus and piano. This cantata features sixteen highly-varied folk song settings, bound together in seasonal groupings to take the listener on an engaging journey through the year from Spring to Winter. The prologue implores us to 'sing and be merry', and many of the songs facilitate this with their charmingly light-hearted melodies and imaginative orchestral accompaniment. There are also darker moments, such as the haunting and heart-rending setting of 'The Unquiet Grave' in 'Autumn'. For this comprehensive new edition, the editor Graham Parlett has drawn on all available sources, providing an authoritative full score with critical commentary. This edition also makes available new materials for the version for string orchestra and piano, and a new vocal score.

An insteresting case of self-borrowing. Bach took music from this work for his own Mass in B-minor (BWV 191/1 corresponds to the Gloria in excelsis Deo, BWV 191/2 to the Domine Deus, BWV 191/3 to the Cum sancto spiritu). This unusual cantata, the only one with a Latin text, may have been written to celebrate the Peace of Dresden (which ended the 2nd Silesian war) and first performed on Christmas day, 1745. This newly engraved, carefully edited vocal score is based on the Bach Gessellschaft edition. The convenient A4 size is ideal for vocalists, choruses, and rehearsal pianists.

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.

for SSATB and cello Night Flight was written to mark the centenary of Harriet Quimby's pioneering flight across the English channel. Setting texts by Sheila Bryer on the mysterious powers of the sea, earth, and air, McDowall uses vocal clusters and haunting solo cello lines to highlight the sense of fear, awe, and majesty experienced by an individual pitted against the elements. Cecilia McDowall was awarded the 2014 British Composer Award in the Choral category for Night Flight.

Composed for an Easter Sunday performance in 1715 during Bach's tenure as court composer at Weimar, this cantata has long been a favorite among the more than 250 he wrote. Unabridged electronically enhanced reprint of the vocal score first issued by C. F. Peters in ca. 1880.
1. Sonata
2. Coro: Die Himmel lacht, die Erde jubilieret
3. Recitativo: Erwunschter Tag Sei, Seele, wieder froh
4. Aria: Furst des Lebens, starker Streiter
5. Recitativo: So stehe denn, du Gott ergebne Seele
6. Aria: Adam muss in uns verwesen
7. Recitativo: Weil denn das Haupt sein Glied, nat rlich nach sich zieht
8. Aria: Letzte Stunde, brich herein
9. Chorale: So fahr ich hin zu Jesu Christ