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.

The popularity of Celtic music has soared over the last decade due to the resurgence of folk instruments, Celtic dancing, and Irish culture overall. This amazing collection assembles over 400 songs from Ireland, Scotland and Wales - complete with Gaelic lyrics where applicable - and a pronunciation guide. Titles include: Across the Western Ocean * Along with My Love I'll Go * Altar Isle O' the Sea * Auld Lang Syne * Avondale * The Band Played On * Barbara Allen * Blessing of the Road * The Blue Bells of Scotland * The Bonniest Lass * A Bunch of Thyme * The Chanty That Beguiled the Witch * Columbus Was an Irishman * Danny Boy * Duffy's Blunders * Erin! Oh Erin! * Father Murphy * Finnegan's Wake * The Galway Piper * The Girl I Left Behind Me * Has Anybody Here Seen Kelly * I Know Where I'm Goin' * Irish Rover * Loch Lomond * Molly Malone * My Bonnie Lies Over the Ocean * My Wild Irish Rose * The Shores of Amerikay * The Sons of Liberty * That's an Irish Lullaby * When Irish Eyes Are Smiling * Who Threw the Overalls in Mistress Murphy's Chowder * and hundreds more. Also includes many Irish popular songs as a bonus.

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?

Part of a growing group of works that addresses the burgeoning field of sound studies, this book attends not only to theoretical and empirical examinations, but also to methodological and philosophical considerations at the intersection of sound and education. Gershon theoretically advances the rapidly expanding field of sound studies and simultaneously deepens conceptualizations and educational understandings across the fields of curriculum studies and foundations of education. A feature of this work is the novel use of audio files aligned with the arguments within the book as well as the discussion and application of cutting-edge qualitative research methods.

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.

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.

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.

Rich Redmond, drummer for superstar Jason Aldean, provides a shot of inspiration for those interested in jump-starting a music career. Any successful musician will tell you the most common question asked of them is, “What does it take to make it?” Rich Redmond is no different. He moved to Nashville more than twenty-five years ago with his drums, a cat, and a vision, and he’s made his dreams come true. Over one too many lattes, he decided to put all of his advice in one place. Making It in Country Music is filled with practical advice, stories of how Redmond did it himself, and insights from a chorus of other musicians. This is the ultimate behind-the-scenes and fun-to-read book looking at the country music industry and music careers. Redmond takes you on a tour of Nashville and many other country music meccas: from the massive stadiums to the honky-tonks and the wide variety of jobs that make the industry go. You’ll learn the various skill sets needed to become successful in the industry as well as predictions for the future of country music among many other things. There is no better guide to the country music business than Redmond with his unique blend of encouragement, detailed advice, humor, and experience.

THE MAKING AND MEANING OF RADIOHEAD'S GROUNDBREAKING, CONTROVERSIAL, EPOCHDEFINING ALBUM, KID A. In 1999, as the end of an old century loomed, five musicians entered a recording studio in Paris without a deadline. Their band was widely recognized as the best and most forward-thinking in rock, a rarefied status granting them the time, money, and space to make a masterpiece. But Radiohead didn't want to make another rock record. Instead, they set out to create the future. For more than a year, they battled writer's block, intra-band disagreements, and crippling self-doubt. In the end, however, they produced an album that was not only a complete departure from their prior guitar-based rock sound, it was the sound of a new era-and it embodied widespread changes catalyzed by emerging technologies just beginning to take hold of the culture. What they created was Kid A. Upon its release in 2000, Radiohead's fourth album divided critics. Some called it an instant classic; others, such as the UK music magazine Melody Maker, deemed it "tubby, ostentatious, self-congratulatory... whiny old rubbish." But two decades later, Kid A sounds like nothing less than an overture for the chaos and confusion of the twenty-first century. Acclaimed rock critic Steven Hyden digs deep into the songs, history, legacy, and mystique of Kid A, outlining the album's pervasive influence and impact on culture in time for its twentieth anniversary in 2020. Deploying a mix of criticism, journalism, and personal memoir, Hyden skillfully revisits this enigmatic, alluring LP and investigates the many ways in which Kid A shaped and foreshadowed our world.

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.

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.

Suitable for SATB (with divisions) unaccompanied, this setting of the Vesper Responsory exudes a confident radiance and sure belief that the 'Lord he shall be with you'.

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