for 6S 6A 6T 6B unaccompanied This expansive piece requiring 24 singers sets an anonymous 16th-century text of supplication to St Cecilia. From the cascading imitation of its opening to the monolithic triads of its close, it remains spellbinding and invokes a powerful sense of the divine. Inspired by the great motets of the Eton Choir Book, this is seriously beautiful music with particular appeal for committed choirs.

for SATB and organ This mellifluous Advent setting opens in a still and contemplative mood reminiscent of plainsong before a thrilling section heralded by the first entry of the organ. The piece finishes as it began - a perfect Advent blend of meditation and drama.

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.

Suitable for SATB unaccompanied, this miniature sets an intimate prayer by St Augustine of Hippo asking for God's grace to know and serve Him. It is infused with Jackson's characteristic passion and luminosity and would be useful as a general purpose introit or used specifically within a Service of Light.

for SATB and organ Inspired by a 16th-century Scots text, Jackson has composed a memorable carol full of character and beauty. The choir is serenaded throughout by the organ, which imitates the haunting qualities of the bagpipes - full of ornamentation and extemporized flourishes. In contrast, the vocal lines are written with daring purity of the kind found in the earliest forms of melody. Choirs will relish this very special carol.

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.

Unfreezing Music Education argues that discussing the conflicting meanings of music should occupy a more central role in formal music education and music teacher preparation programs than is currently the case. Drawing on the critical theory of the Frankfurt School, the author seeks to take a dialectical approach to musical meaning, rooted in critical formalism, that avoids the pitfalls of both traditional aesthetic arguments and radical subjectivity. This book makes the case for helping students understand that the meaning of musical forms is socially constructed through a process of reification, and argues that encouraging greater awareness of the processes through which music's fluid meanings become hidden will help students to think more critically about music. Connecting this philosophical argument with concrete, practical challenges faced by students and educators, this study will be of interest to researchers across music education and philosophy, as well as post-secondary music educators and all others interested in aesthetic philosophy, critical theory, cultural studies, or the sociology of music and music education.

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.

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.

Suitable for SSAATTBB unaccompanied. This work is adapted from Pearsall's own eight-part madrigal 'Lay a garland', 'Tu es Petrus' is replete with fine polyphonic writing and rich, expressive sonorities, reflecting his enduring interest in early music and the Renaissance style.

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

The Group Theatre was perhaps the most significant experiment in the history of American theatre. Producing plays that reflected topical issues of the decade and giving a creative chance to actors, directors, and playwrights who were either fed up with or shut out of commercial theatre, the "Group" remains a permanent influence on American drama despite its brief ten-year life. It was here that method acting, native realism, and political language had their tryouts in front of audiences who anticipated,indeed demanded,a departure from the Broadway "show-biz" tradition. In this now classic account, Harold Clurman, founder of the Group Theatre and a dynamic force as producer-director-critic for fifty years, here re-creates history he helped make with Lee Strasberg, Elia Kazan, Irwin Shaw, Clifford Odets, Cheryl Crawford, Morris Carnovsky, and William Saroyan. Stella Adler contributed a new introduction to this edition which remembers Clurman, the thirties, and the heady atmosphere of a tumultuous decade.

Uniquely bridges the aesthetics of imperfection with areas of philosophy, music, literature, urban environment, architecture, art theory, and cultural studies. Divided into seven thematic sections to offer a comprehensive study of how imperfectionist aesthetics connect to art and everyday life. As an interdisciplinary study, this book will appeal to a broad range of scholars and advanced students working in philosophical aesthetics, cultural studies, and across the humanities.

Ya-Hui Cheng examines the emergence of popular music genres – jazz, rock, and hip-hop – in Chinese society, covering the social underpinnings that shaped the development of popular music in China and Taiwan, from imperialism to westernization and from modernization to globalization. The political sensitivities across the strait have long eclipsed the discussion of these shared sonic intimacies. It was not until the rise of the digital age, when entertainment programs from China and Taiwan reached social media on a global scale, that audiences realized the existence of this sonic reciprocation. Analyzing Chinese pentatonicism and popular songs published from 1927 to the present, this book discusses structural elements in Chinese popular music to show how they aligned closely with Chinese folk traditions. While the influences from Western genres are inevitable under the phenomenon of globalization, Chinese songwriters utilized these Western inspirations to modernize their musical traditions. It is a sensitivity for exhibiting cultural identities that enabled popular music to present a unique Chinese global image while transcending political discord and unifying mass cultures across the strait.

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.

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.