Suitable for SATB unaccompanied, this setting of the Tenebrae Responsories captures the sense of anguish and tension inherent in the text. Emotive chromatic harmonies and brief passages of strong unison writing combine to create a poignantly expressive Lenten anthem.

Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. The volume is organized into four main sections: I Art and Improvisation: Theoretical Perspectives II Art and Improvisation: Aesthetical, Ethical, and Political Perspectives III Improvisation in Musical Practices IV Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts Key Features: Treats improvisation not only as a stylistic feature, but also as an aesthetic property of artworks and performances as well as a core element of artistic creativity. Spells out multiple aspects of the concept of improvisation, emphasizing its relevance in understanding the nature of art. Covers improvisation in a wide spectrum of artistic domains, including unexpected ones such as literature, visual arts, games, and cooking. Addresses key questions, such as: - How can improvisation be defined and what is its role in different art forms? - Can improvisation be perceived as such, and how can it be aesthetically evaluated? - What is the relationship between improvisation and notions such as action, composition, expressivity, and authenticity? - What is the ethical and political significance of improvisation?

This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction. Applied to the study of music, this approach enables us to reconcile the human, social, factual, and technological aspects of the musical world, and opens the prospect of new areas of inquiry in musicology and sound studies. Rethinking Music through Science and Technology Studies draws together a wide range of both leading and emerging scholars to offer a critical survey of STS applications to music studies, considering topics ranging from classical music instrument-making to the ethos of DIY in punk music. The book's four sections focus on key areas of music study that are impacted by STS: organology, sound studies, music history, and epistemology. Raising crucial methodological and epistemological questions about the study of music, this book will be relevant to scholars studying the interactions between music, culture, and technology from many disciplinary perspectives.

Provides a wide range of case studies of music in film scenes, allowing instructors to pick and choose examples to focus on. Each case study is accessibly written and follows the same format, breaking down elements of the scene for students in a clear manner that invites comparisons. Organized by the type of musical use, allowing instructors to readily find examples of different types of music functions, and compare across different films.

Words, Music, and the Popular: Global Perspectives on Intermedial Relations opens up the notion of the popular, drawing useful links between wide-ranging aspects of popular culture, through the lens of the interaction between words and music. This collection of essays explores the relation of words and music to issues of the popular. It asks: What is popularity or 'the' popular and what role(s) does music play in it? What is the function of the popular, and is 'pop' a system? How can popularity be explained in certain historical and political contexts? How do class, gender, race, and ethnicity contribute to and complicate an understanding of the 'popular'? What of the popularity of verbal art forms? How do they interact with music at particular times and throughout different media?

Sound and Action in Music Performance addresses how auditory feedback influences the planning and execution of our movements. Focusing specifically on auditory feedback in music, including instrumental and vocal production, the book also gives substantial coverage to its role in speech. Both of these behaviors are the primary means by which people communicate their thoughts and feelings through the auditory modality, with auditory feedback being critical in each case. The book proposes that the role of auditory feedback emerges from the broader theme of coordination as our brain coordinates planned actions with concurrent perceptual events, including auditory feedback and other intrusive sounds. Critically reviewing the existing literature and proposing hypotheses for future research, this book tackles a topic that has intrigued researchers for decades.

A new edition of Johan Bakker's biography on musician Eva Cassidy. The Eva Cassidy phenomenon began too late for the woman herself to enjoy the fame, although whether she would have enjoyed it is another matter. This shy and sensitive singer preferred drawing and painting to performing in front of audiences and seemed disenchanted by the music business before she truly cracked it. What is beyond doubt, however, is the power of the recordings she left behind. In this thoughtful and probing biography, Johan Bakker explored her brief performing career and the recognition that came after her death at the age of 33. Before she became famous in the UK and Europe, Eva Cassidy had been a local performer in and around Washington DC. Including interviews with Eva's friends, colleagues and family, this book traces her life, idealism and eventual disillusionment. Combined, their stories confirm that while everyone who knew Eva loved her in some way, few truly understood her. Through it all her musical spirit still shines, making this biography both a searching analysis and a warm commemoration of a uniquely talented young woman.

In both video games and animated films, worlds are constructed through a combination of animation, which defines what players see on the screen, and music and sound, which provide essential cues to action, emotion, and narrative. This book offers a rich exploration of the intersections between animation, video games, and music and sound, bringing together a range of multidisciplinary lenses. In fourteen chapters, the contributors consider similarities and differences in how music and sound structure video games and animation, as well as the animation within video games, and explore core topics of nostalgia, adaptation, gender and sexuality. Offering fresh insights into the aesthetic interplay of animation, video games, and sound, this volume provides a gateway into new areas of study that will be of interest to scholars and students across musicology, animation studies, game studies, and media studies more broadly.

This work catalogs commercially produced recordings of spirituals composed for solo concert vocalists. More than 5,000 tracks are listed, with entries sourced from a variety of recording formats. The featured recordings enhance the study of concert spiritual performance in studio, concert, worship service or competition settings. Arranged alphabetically, entries identify the accompaniment played in each recording, including chorus, piano, orchestra, guitar, flute, violin, and others. The vocal range of each soloist is included, as is the level of dialect used by the performer. The composers, publishers and format information are also listed for each recording. While structured like a discography, this guide extends beyond simply providing historical context and encourages the use of the recordings themselves.

Many people will be familiar with the beautiful music of Hildegard von Bingen. Suitable for SSA and piano ad lib, this title pays homage to Bingen's twelfth-century sequence.

Suitable for SATB (with divisions) unaccompanied, this setting is composed for the Feast of Corpus Christi.

Suitable for SATB unaccompanied, this setting of the Matin Responsory includes drama and varied choral textures, from its declamatory opening in G minor until its unexpected but thrilling conclusion in B major.

Suitable for SSAATB unaccompanied, this short piece sets a fifteenth-century penitential poem.

A setting of an early Shaker text, this work is suitable for SATB and organ.

This book provides cutting-edge research in the growing areas of Audio Education and Popular Music Pedagogy Offers an ideal blend of theory and practice as well as acknowledging the practical elements of music production pedagogy A variety of international viewpoints are included, making it accessible to educators in the US, UK, Australia and beyond

Earshot: Perspectives on Sound awakens an understanding of the decisive role that sound has played in history and culture. Although beginning with reference to antiquity, the primary focus is the changing status of sound and hearing in Western culture over the last six hundred years, covering the transition from the medieval period to the contemporary world. Since mythic times, sound has been an essential element in the formation of belief systems, personal and community identities and the negotiations between them. The varied case studies included in the book cover major reference points in the changing politics of sound, particularly in relation to the status of the other major conduit of social transactions, vision. Earshot is not a work of cultural theory but is anchored in social practices and material culture and is therefore a valuable resource for conveying sound to both undergraduate students as well as the general reader.

Earshot: Perspectives on Sound awakens an understanding of the decisive role that sound has played in history and culture. Although beginning with reference to antiquity, the primary focus is the changing status of sound and hearing in Western culture over the last six hundred years, covering the transition from the medieval period to the contemporary world. Since mythic times, sound has been an essential element in the formation of belief systems, personal and community identities and the negotiations between them. The varied case studies included in the book cover major reference points in the changing politics of sound, particularly in relation to the status of the other major conduit of social transactions, vision. Earshot is not a work of cultural theory but is anchored in social practices and material culture and is therefore a valuable resource for conveying sound to both undergraduate students as well as the general reader.

for SSAATTBB choir unaccompanied with SAATB soloists He That Dwelleth evokes Holst and Vaughan Williams in their more visionary modes. This is especially true of the opening and closing passages with their gently bitonal effect that surrounds the highly varied and often quite passionate inner verses. The harmonies are bracing and the work is technically demanding.

for SATB unaccompanied O fear the Lord sets two verses from Psalm 34. A controlled organum-style opening gives way to a more fervent, harmonic middle section. An approachable and beautiful piece.

for unaccompanied SATB to words by from 'Twelfth Night' by William Shakespeare. Taken at a slow processional tempo this work has a predominantly canonic texture. The syncopated passages are at once sombre and sensual, and the balancing homphonic phrases achieve real power. A short, fairly easy piece that establishes a compelling mood, it is suitable for school and adult choirs.

Set for unaccompanied SATB to words by Shelley, this piece combines aspects of nineteenth-century English pastoral style with some of the tonal adventurousness of Vaughan Williams's Shakespeare settings.