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Books > Music > Other types of music > Vocal music > Choral music
Now in paperback. This innovative survey of large choral-orchestral
works written between 1900 and 1972 and containing some English
text examines eighty-nine works, from Elgar's Dream of Gerontius to
Bernstein's Mass. For each work, the author provides a biography of
the composer, complete instrumentation, text sources, editions,
availability of performing materials, performance issues,
discography, and bibliographies of the composer and the work. Based
upon direct score study, each work has been evaluated in terms of
potential performance problems, rehearsal issues, and level of
difficulty for both choir and orchestra. When present, solo roles
are described. The forty-nine composers represented include Samuel
Barber, Arthur Bliss, Benjamin Britten, Henry Cowell, Frederick
Delius, R. Nathaniel Dett, Gerald Finzi, Howard Hanson, Roy Harris,
Paul Hindemith, Ulysses Kay, Constant Lambert, Peter Mennin,
Gunther Schuller, William Schumann, Michael Tippett, Ralph Vaughan
Williams, William Walton, and Healey Willan. Written as a field
guide for conductors and anyone else involved in programming
concerts for choir and orchestra, this text should prove a useful
source of new repertoire ideas and an invaluable aid to rehearsal
preparation. Cloth edition first published in 1994.
The Glagolitic Mass, written between 1926 and 1927, is not only one
of Janacek's most important works: it is also a masterpiece of the
twentieth-century choral repertoire. In this fascinating account of
the work and its history, Paul Wingfield brings together material
from early articles and reviews, letters and manuscripts which form
a comprehensive account of the work's genesis and performance
history. The author also provides a thorough revision of the Old
Church Slavonic text along with English translation, and
reconstructs Janacek's 'ideal' version of the work - far more
exciting than the less adventurous rearrangement currently
performed. Chapters on the music itself offer a full synopsis of
the Glagolitic Mass, an in-depth discussion of its musical
organisation and a selection of key interpretations of the piece by
Janacek and others.
The Glagolitic Mass, written between 1926 and 1927, is not only one
of Janacek's most important works: it is also a masterpiece of the
twentieth-century choral repertoire. In this fascinating account of
the work and its history, Paul Wingfield brings together material
from early articles and reviews, letters and manuscripts which form
a comprehensive account of the work's genesis and performance
history. The author also provides a thorough revision of the Old
Church Slavonic text along with English translation, and
reconstructs Janacek's 'ideal' version of the work - far more
exciting than the less adventurous rearrangement currently
performed. Chapters on the music itself offer a full synopsis of
the Glagolitic Mass, an in-depth discussion of its musical
organisation and a selection of key interpretations of the piece by
Janacek and others.
This is a critical bibliography of choral compositions accessible
to the high school choir, representing major composers and
stylistic trends during this century. The 1990 edition of the
bibliography includes over 360 titles, providing a convenient
sourcebook for secondary school choral directors, choral methods
classes, and collegiate choral directors to use in building
repertoire for their programs.
A collection of essays by 20th-century American, English, and
European composers in which each composer discusses a large choral
work or works he has written, along with the principles that guided
the composition.
Performance is a forum for social action, embodied interaction and
shared authority. Recently, as the various acts and agencies
surrounding a performance have become the target of scholarly
interest, the complex split between theory and practice has been
challenged, as has the idea of a singular, disembodied authorial
ownership of the socio-material meanings surrounding performance.
The Embodiment of Authority approaches performance, issues of
authority and negotiated knowledge production through
multi-material research data and interdisciplinary methods. The
book discusses the relationship between authorial questions and
performances via the following topics: shared authorities,
ontologies of art work, diverse roles of rehearsals in the
performance process, and embodied knowledge.
Choral music is now undoubtedly the foremost genre of participatory
music making, with more people singing in choirs than ever before.
Written by a team of leading international practitioners and
scholars, this Companion addresses the history of choral music, its
emergence and growth worldwide and its professional practice. The
volume sets out a historical survey of the genre and follows with a
kaleidoscopic bird's eye view of choral music from all over the
world. Chapters vividly portray the emergence and growth of choral
music from its Quranic antecedents in West and Central Asia to the
baroque churches of Latin America, representing its global
diversity. Uniquely, the book includes a pedagogical section where
several leading choral musicians write about the voice and the
inner workings of a choir and give their professional insights into
choral practice. This Companion will appeal to choral scholars,
directors and performers alike.
Sound Advice is a valuable resource for college students, beginning
teachers, and experienced conductors of children's choirs. It
covers the vast array of skills needed by today's conductor and
will benefit all choir directors who want their choirs to reach a
higher level of artistry. This book will be useful on many levels:
for the college student studying the child voice and elementary
teaching methods; for the teacher beginning to direct choirs in
schools, synagogues, churches and communities; for experienced
children's choir directors who wish to know more about orchestral
repertoire for treble voices, conducting an orchestra, and
preparing a children's choir to sing a major work with a
professional orchestra. The underlying educational philosophy is
sound; the author sees development of musicianship through singing
as the primary goal of a children's choir program. This philosophy
differs dramatically from the traditional concept of the conductor
as all-knowing and the singers as receptacles. An outstanding
aspect of the book is how the author leads the reader to an
understanding of how to teach musicianship. Developing literacy in
the choral setting is a mysterious, amorphous process to many
conductors, but the author clearly outlines this important process
with practical suggestions, well-documented examples, and a clear
reading style which will reach readers on many levels. The
comprehensive repertoire, skill-building sheets, and programs for
all types of children's choirs will provide teachers with immediate
and highly valuable resources.
This authoritative reference work investigates the roots of the
Sacred Harp, the central collection of the deeply influential and
long-lived southern tradition of shape-note singing. Where other
studies of the Sacred Harp have focused on the sociology of
present-day singers and their activities, David Warren Steel and
Richard H. Hulan concentrate on the regional culture that produced
the Sacred Harp in the nineteenth century and delve deeply into
history of its authors and composers. They trace the sources of
every tune and text in the Sacred Harp, from the work of B. F.
White, E. J. King, and their west Georgia contemporaries who helped
compile the original collection in 1844 to the contributions by
various composers to the 1936 to 1991 editions. The Makers of the
Sacred Harp also includes analyses of the textual influences on the
music--including metrical psalmody, English evangelical poets,
American frontier preachers, camp meeting hymnody, and revival
choruses--and essays placing the Sacred Harp as a product of the
antebellum period with roots in religious revivalism. Drawing on
census reports, local histories, family Bibles and other records,
rich oral interviews with descendants, and Sacred Harp Publishing
Company records, this volume reveals new details and insights about
the history of this enduring American musical tradition.
(Amadeus). By the author of the critically acclaimed Choral Music
in the Twentieth Century, this volume is an indispensable resource
for choral conductors, a valuable guide for choral singers and
other music lovers, and an essential text for educators and their
students. As with his first book, Nick Strimple reviews 100 years
of choral music literature, offering a straightforward text that is
gratifying and enlightening. Strimple covers repertory by
Beethoven, Brahms, Verdi, Faure, Mendelssohn, Dvorak, Bruch,
Mahler, and lesser figures. The text is illustrated with photos and
musical examples, and appendices include works lists organized by
type of chorus and accompaniment.
Michael Steinberg's highly successful listener's guides--The
Symphony and The Concerto--have been universally praised for their
blend of captivating biography, crystal clear musical analysis, and
delightful humor. Now Steinberg follows these two greatly admired
volumes with Choral Masterworks, the only such guide available to
this most popular of musical forms.
Here are more than fifty illuminating essays on the classic choral
masterworks, ranging from Handel's Messiah, Bach's Mass in B Minor,
and Beethoven's Missa solemnis, to works by Haydn, Brahms,
Mendelssohn, and many others. Steinberg spans the entire history of
classical music, from such giants of the Romantic era as Verdi and
Berlioz, to leading modern composers such as Elgar, Rachmaninoff,
Vaughan Williams, and Stravinsky, to contemporary masters such as
John Adams and Charles Wuorinen. For each piece, Steinberg includes
a fascinating biographical account of the work's genesis, often
spiced with wonderful asides. The author includes an astute musical
analysis of each piece, one that casual music lovers can easily
appreciate and that more serious fans will find invaluable. The
book also provides basic information such as the various movements
of the work, the organization of the chorus and orchestra, and
brief historical notes on early performances.
More than twenty million Americans perform regularly in choirs or
choruses. Choral Masterworks will appeal not only to concert goers
and CD collectors, but also to this vast multitude of choral
performers, an especially engaged and active community.
"What sets Steinberg's writing apart is its appealing mixture of
impregnable authority (he knows this music) and purelypersonal
asides (by the end of the book, we know this man). Choral
Masterworks can be read by anybody, from a professional musician to
any young listener newly braced by the stoic pessimism of the
Brahms 'German Requiem.'" --Washington Post Book World
In this book George B. Stauffer explores the music and complex
history of Bach's last and possibly greatest masterpiece. Stauffer
examines the B-Minor Mass in greater detail than ever before,
demonstrating for the first time Bach's reliance on contemporary
models from the Dresden Mass repertory and his brilliantly
innovative methods of unifying his immense composition. Musicians,
music scholars, students, and music lovers will find in this
engagingly written book a wealth of information about Bach's
extraordinary choral work. Stauffer surveys the roots of the Mass
Ordinary text and its treatment in settings known to Bach. He looks
at the events that led to the writing of the B-Minor Mass and
places the work within the context of the composer's late style. In
three deeply informed chapters, Stauffer considers the individual
sections of the Mass--the Kyrie and Gloria, the Credo, and the
Sanctus and Agnus Dei. The book also traces the history of the work
after Bach's death, addresses specific issues of performance
practice, and investigates the qualities that give the B-Minor Mass
its universal appeal.
The Confident Choir is an exploration of conditions affecting the
confidence levels in singers of all levels to create an accessible
synthesis of the psychological models and offer practical
confidence-building strategies for conductors, teachers, community
musicians, and workshop leaders. Michael Bonshor combines his
experience as a singing teacher and choral director with a series
of in-depth interviews that give an intimate depiction of the
challenges faced by the contemporary choral singer. These insights
provide the basis for a range of suggested techniques to bolster
confidence and reduce anxiety in the group-singing context. This
book is primarily designed as a guide for leaders of amateur group
singing activities and is relevant to choirs of all sizes and
genres. The content will appeal to singers, teachers, and choir
leaders; students and scholars in the fields of choral research,
community music, music psychology, and adult education; and
educators training the musical leaders of the future.
The Confident Choir is an exploration of conditions affecting the
confidence levels in singers of all levels to create an accessible
synthesis of the psychological models and offer practical
confidence-building strategies for conductors, teachers, community
musicians, and workshop leaders. Michael Bonshor combines his
experience as a singing teacher and choral director with a series
of in-depth interviews that give an intimate depiction of the
challenges faced by the contemporary choral singer. These insights
provide the basis for a range of suggested techniques to bolster
confidence and reduce anxiety in the group-singing context. This
book is primarily designed as a guide for leaders of amateur group
singing activities and is relevant to choirs of all sizes and
genres. The content will appeal to singers, teachers, and choir
leaders; students and scholars in the fields of choral research,
community music, music psychology, and adult education; and
educators training the musical leaders of the future.
With the popularity of television shows such as Glee, American
Idol, and The Voice, show choirs have become a vibrant component of
college and high school music programs. Music teachers must not
only know how to teach choral singing for popular music, but also
be versed in show design and production. In The Show Choir
Handbook, Alan L. Alder and Thalia M. Mulvihill address both song
technique and show presentation, giving show choir directors the
full set of tools they need for successful performances. The Show
Choir Handbook is a resource for current and future music educators
who administer show choirs. With most literature on the topic
either out of date or focused on the teaching techniques limited to
vocal jazz (drawing on the choral genre's origins as "swing
choirs"), instructors are in dire need of a resource that addresses
music produced by publishers and choral arrangers.
All children must have an opportunity to share the joy of choral
music participation - whether in school, church, or community
choirs. What happens before the singing begins, is critical to
supporting, sustaining, and nurturing choirs to give every child
the opportunity to experience the wonder of choral singing. Based
on years of experience conducting and teaching, Barbara Tagg brings
a wealth of practical information about ways of organizing choirs.
From classroom choirs, to mission statements, boards of directors,
commissioning, auditioning, and repertoire, Before the Singing will
inspire new ways of thinking about how choirs organize their daily
tasks. The collaborative community that surrounds a choir includes
conductors, music educators, church choir directors, board members,
volunteers, staff, administrators, and university students in music
education and nonprofit arts management degree programs. For all
these, Tagg offers a wealth of knowledge about creating a positive
environment to support artistry, creativity, dedication, and a
commitment to striving for excellence.
Anhand der Entfuhrung aus dem Serail wird systematisch aufgezeigt,
wie sich das markante Stimmprofil der Besetzung der Urauffuhrung
1782 am Nationaltheater in Wien darstellt. Indem Mozart der
Virtuositat und dem Stimmumfang seiner Erstbesetzung (Catarina
Cavalieri, Valentin Adamberger, Ernst Dauer, Therese Teyber und
Ludwig Fischer) in ausserordentlichem Masse entgegenkommt, sprengt
er gleichermassen den musikalischen Rahmen der Gattung des
Singspiels. Das musikalisch-kunstlerische Ergebnis des
Zusammentreffens von Mozart und "seinen" Sangern ist eine
gluckliche Synthese zwischen der Leistungsfahigkeit der Sanger und
der Inspiration des Komponisten. Die Partitur wird sichtbares
Zeugnis von Mozarts Kunst, fur Stimmen zu schreiben. So kann das
Werk als Musterbeispiel fur eine gegenseitige kunstlerische
Befruchtung gelten.
This is the first book to survey the performing practices in
English choral music in the fifteenth, sixteenth and seventeenth
centuries, including the period of the English Reformation. The
essays, all written by specialists in the field, consider in depth
such areas as the growth and development of the 'church' choir,
related issues of vocal tessitura, performing pitch, the systems of
pronunciation appropriate for Latin- and English-texted music, and
the day-to-day training of choristers. There is also an
investigation of the local circumstances under which many of the
important manuscripts of the period were compiled, which reveals an
unsuspectedly close interrelationship between domestic music and
music for the church. In addition, a study of surviving sources
reveals that they give little more than a general guide as to their
composers' and copyists' intentions.
for unison voices and piano with optional descant recorders and
optional chime bars
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