The U.S. incarceration machine imprisons more people than in any other country. Music-Making in U.S. Prisons looks at the role music-making can play in achieving goals of accountability and healing that challenge the widespread assumption that prisons and punishment keep societies safe. The book's synthesis of historical research, contemporary practices, and pedagogies of music-making inside prisons reveals that, prior to the 1970s tough-on-crime era, choirs, instrumental ensembles, and radio shows bridged lives inside and outside prisons. Mass incarceration had a significant negative impact on music programs. Despite this setback, current programs testify to the potency of music education to support personal and social growth for people experiencing incarceration and deepen social awareness of the humanity found behind prison walls. Cohen and Duncan argue that music-making creates opportunities to humanize the complexity of crime, sustain meaningful relationships between incarcerated individuals and their families, and build social awareness of the prison industrial complex. The authors combine scholarship and personal experience to guide music educators, music aficionados, and social activists to create restorative social practices through music-making.

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.

for SATB and organ or brass ensemble This arrangement of Rimsky-Korsakov's 'Glory' (Slava, Op.21) by Terry Price brings this popular Russian anthem to a wider audience. The original Russian text has been replaced with a hymn by the arranger that draws inspiration from words by Reginald Heber, verses from Revelation, and the liturgy, and is particularly suitable for Easter, as well as for general use. Price's arrangement of this rousing tune may be accompanied by organ or brass ensemble, allowing for performance in both church and concert settings.

for SSATB unaccompanied Written to commemorate the centenary of the foundation of the International Federation of the Red Cross and Red Crescent Societies, Brightest Star sets a powerful text by Sean Street. The poem describes the call for assistance made by the occupied Channel Islands in 1944 and the response of the Red Cross ship, the Vega, which came to their aid, drawing parallels between this story and the light and hope of the seasons of Christmas and Epiphany. The bleak wartime conditions are portrayed by dissonant harmony and downward sliding phrases, and extracts from the Bailiff of Jersey's letter of appeal, sung by the lower voices, draw attention to the gravity of the situation. In contrast, the upper voices bring an ethereal quality to the texture, with closing phrases that are suggestive of the traditional French carol Les anges dans nos campagnes ('Angels, from the realms of glory').

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.

for SATB accompanied or unaccompanied Offprinted from Carols for Choirs 5, this exquisite setting of a familiar text by Isaac Watts has flexible scoring, with choirs encouraged to explore different options for each of the four verses. The music is gentle, flowing, and peaceful, perfectly reflecting the nativity scene the poet so vividly depicts.

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.

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.

for SATBarBarB unaccompanied Chilcott's arrangement of the popular American folksong Shenandoah is atmospheric and expressive, with the traditional melody moving seamlessly between voice parts and resting on a cushion of rich harmonies. Shenandoah has been recorded by The King's Singers on the album GOLD (Signum, SIGCD500).

Shows how Charles V used music and ritual to reinforce his image and status as the most important and powerful sovereign in Europe. The presentation of Charles V as universal monarch, defender of the faith, magnanimous peacemaker, and reborn Roman Emperor became the mission of artists, poets, and chroniclers, who shaped contemporary perceptions of him and engaged in his political promotion. Music was equally essential to the making of his image, as this book shows. It reconstructs musical life at his court, by examining the compositions which emanated from it, the ordinances prescribing its rituals and ceremonies, and his prestigious chapel, which reflected his power and influence. A major contribution, offering new documentary material and bringing together the widely dispersed information on the music composed to mark the major events of Charles's life. It offers.a very useful insight into music as one of many elements that served to convey the notion of the emperor-monarch in the Renaissance. TESS KNIGHTON Mary Ferer is Associate Professor at the College of Creative Arts, West Virginia University.

for SATB and organ, with optional congregation This hymn-anthem of thanksgiving begins gently and tenderly, but builds to a rousing climax. It culminates with a verse of the hymn Now thank we all our God (which may be sung by the congregation in addition to the choir), underlaid by a powerful organ part and with a soaring descant line above.

Taking up questions and issues in early chant studies, this volume of essays addresses some of the topics raised in James McKinnon's The Advent Project: The Later Seventh-Century Creation of the Roman Mass, the last book before his untimely death in February 1999. A distinguished group of chant scholars examine the formation of the liturgy, issues of theory and notation, and Carolingian and post-Carolingian chant. Special studies include the origins of musical notations, nuances of early chant performance (with accompanying downloadable resources), musical style and liturgical structure in the early Divine Office, and new sources for Old-Roman chant. Western Plainchant in the First Millenium offers new information and new insights about a period of crucial importance in the growth of the liturgy and music of the Western Church.

for SATB and organ Setting a section from The Blessed Virgin Compared to the Air we Breathe by Gerard Manley Hopkins, this Marian piece opens with an extended soprano passage, underpinned by soft yet characterful organ writing. Several hallmarks of Jackson's style are evident, including soaring, melismatic soprano lines, sonorous harmonies, and repeated organ motifs. The result is a captivating and emotive work for church and concert use.

Coronations are the grandest of all state occasions. This is the first comprehensive in-depth study of the music that was performed at British coronations from 1603 to the present, encompassing the sixteen coronations that have taken place in Westminster Abbey and the last two Scottish coronations. Range describes how music played a crucial role at the coronations and how the practical requirements of the ceremonial proceedings affected its structure and performance. The programme of music at each coronation is reconstructed, accompanied by a wealth of transcriptions of newly discovered primary source material, revealing findings that lead to fresh conclusions about performance practices. The coronation ceremonies are placed in their historical context, including the political background and the concept of invented traditions. The study is an invaluable resource not only for musicologists and historians, but also for performers, providing a fascinating insight into the greatest of all Royal events.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Study of musical manuscripts from the fifteenth and sixteenth centuries, opening a window on piety, liturgy and musical life in late medieval society. The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries, and reaching down to smaller parish churches. Unfortunately, very few manuscripts containing the music have survived from the period, and what we know rests to a huge extent on six music books preserved from St Peter's Church, Leiden. This book describes the manuscripts, their provenance, history and repertory, and the zeven-getijdencollege, the ecclesiastical organisations which ordered the music books, in detail. These organisations have their roots in fifteenth-century piety, founded on the initiative of individuals and townadministrators throughout Holland, principally to ensure that prayers and Masses were said for those in the afterlife. Music, both chant and polyphony, played an important part in these commemorative practices; the volume also looks at the choristers and choirmasters, and how such services were organised. ERIC JAS is a lecturer in music at the university of Utrecht.

This study represents a thorough investigation of a polyphonic vocal village tradition in Bistritsa, Bulgaria. Outsiders describe the narrow intervals of these songs as being "maximally rough", while the singers themselves experience their performance as smooth, beautiful and pleasant. Almost identical polyphonic traditions can be found in places sometimes thousands of kilometers apart. This inquiry is carried out within a very broad and comparative context, whereby historical sources, the origin of different constituents and etymologies as well as electronic sound analysis are taken into account. The results are stunning and ever more relevant - and not just for ethnomusicologists: The babi or grannies of Bistritsa and their songs have been inscribed on UNESCO's List of Intangible Cultural Heritage of Mankind in 2008.

Oxford Choral Classics: English Church Music assembles in two volumes around 100 of the finest examples of English sacred choral music. The second volume presents a wealth of service material suitable for use throughout the year. The evening canticles are given due space, with seventeen settings, including those by Byrd, Gibbons, Purcell, Walmisley, Stanford, Noble, Howells, Walton, and Tippett. Also included are settings of the Te Deum and Jubilate Deo, alongside seven settings of the Preces and Responses and two additional early Lord's Prayers. The selection is completed with three supplementary items: a set of previously unpublished Psalm chants by Howells, John Sanders's Good Friday Reproaches, and a written-out Order for Compline. Robert King has prepared completely new editions of all the pre-twentieth-century works, going back to the earliest and most reliable manuscripts or printed sources. Playable keyboard reductions have been added for the majority of unaccompanied items.

for SATB chorus and orchestra This arrangement for choir and orchestra of a traditional American spiritual conjures a deep fervency, belying its simple appearance. The opening instruction is 'With hushed awe', and that encapsulates perfectly the gentle radiance of the tender lyrics and the music's highly singable lines.

Lawrence Bennett provides a comprehensive study of the rich repertoire of accompanied vocal chamber music that entertained the imperial family in Vienna and their guests throughout the 17th and early 18th centuries. The cantata became a form of elite entertainment composed to amuse listeners during banquets or pay homage to members of the royal family during special occasions. Concentrating on Baroque cantatas composed in the Habsburg court, Bennett draws extensively on primary source material to explore the stylistic changes that occurred within the genre in the generations before Haydn and Mozart.The cantata became a form of elite entertainment composed to amuse listeners during banquets or pay homage to members of the royal family during special occasions. Concentrating on Baroque cantatas composed in the Habsburg court, Bennett draws extensively on primary source material to explore the stylistic changes that occurred within the genre in the generations before Haydn and Mozart.

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.