for SATB and piano or orchestra Let's begin again is the finale from John Rutter's 'musical fable' The Reluctant Dragon, and makes a perfect gentle encore or leave-taking piece. Also available in Encores for Choirs 1. Instrumental material is available on hire.

The only book to consider Oi! as a distinct genre within punk rock, What Have We Got? is the story of a musical movement that became a national concern in the eighties and still divides opinion today. Drawing on new interviews with Sham 69, Angelic Upstarts, Cockney Rejects, Crown Court, Lion’s Law, The Templars and many more, Simon Spence considers the genre’s inception and noble intentions, how it fell into infamy, and where it lies now. With a growing and formidable audience in the US, Europe, Asia, South America and the UK, Oi! is as alive as it has ever been, and without the far-right associations that plagued its past.

In this unique text, ten cases of music therapy with autistic children (tamariki takiwatanga) are critiqued through the eyes of family members and other autism experts. Rickson uses her wealth of experience to contextualise their rich observations in a thorough review of research and practice literature, to illustrate the ways music therapists engage autistic children in the music therapy process, highlight the various ways music therapy can support their health and well-being, and demonstrate how music therapy processes align with good practice as outlined in the New Zealand Autism Spectrum Disorder Guideline.

The hugely popular Gareth Malone recounts the heart-warming stories and transformations behind the award-winning BBC2 series The Choir, including the new series Sing While You Work. For the first time, Gareth reveals everything he has learned from working with so many groups of memorable people, including the record-breaking Military Wives and latest series of The Choir being shown this Autumn. Gareth was an unknown Choirmaster when he arrived on British TV screens five years ago. Boyish, irrepressible and determined, Gareth took on a collection of kids from the most unlikely comprehensive and turned them into a talented performing choir. This was the beginning of a national love affair with a bow-tied and undeniably charming young man, and it was also the start of a national rediscovery of the joy to be found in choirs. Since then, each series of The Choir has gone on to even more demanding challenges, taking young offenders to Glyndebourne, regenerating disparate and far from affluent communities, and finally in an extraordinarily emotional journey, Gareth took a group of women whose partners were serving in Afghanistan to a Christmas Number One. This Autumn, in a new four-part series, Gareth will be challenging four new Choirs to compete against each other. This is his memoir of a period in which he transformed the lives of thousands but also gained a lifetime’s worth of experience in human frailty and strength. Written with real joy, emotion and amusement, the twenty chapters each deal with an individual moment – both break-throughs and disasters – or an individual character that has contributed to this extraordinary adventure. Whether he is explaining the importance of biscuits or the role of the elderly in a community undertaking, remembering the scrappy kid who never quite delivered or the mother who had most to prove this is an incredibly moving journey. It is his adventure… and ours.

Five songs for SATB chorus and piano on texts by twentieth-century women poets. Each has a unique perspective on love, ranging from reflections on loss, to the delights of everyday familiarity, and the thrill of spring and new passions.

A setting of a melancholy text by Phineas Fletcher for unaccompanied SATB voices.

Working with Sound is an exploration of the ever-changing working practices of audio development in the era of hybrid collaboration in the games industry. Through learnings from the pre-pandemic remote and isolated worlds of audio work, sound designers, composers and dialogue designers find themselves equipped uniquely to thrive in the hybrid, remote, and studio-based realms of today's fast-evolving working landscapes. With unique insights into navigating the worlds of isolation and collaboration, this book explores ways of thinking and working in this world, equipping the reader with inspiration to sustainably tackle the many stages of the development process. Working with Sound is an essential guide for professionals working in dynamic audio teams of all sizes, as well as the designers, producers, artists, animators and programmers who collaborate closely with their colleagues working on game audio and sound.

Anthem for the Feast of any Apostle, for SATB soli, SATB choir, and organ or orchestra Orchestral material is available on hire.

The first extended account of the Associated Board of the Royal Schools of Music. The Associated Board of the Royal Schools of Music, better known as ABRSM, has influenced the musical lives and tastes of millions of people since it conducted its first exams in 1890. This ground-breaking history explores how ABRSM became such a formative influence and looks at some of the consequences resulting from its pre-eminent position in British musical life. Particular emphasis is given to how free ABRSM has been to impose its musical view of things and to what extent its exams respond to the circumstances and musical preferences of its customers. The book's exploration of how ABRSM has negotiated music's changing social, educational and cultural landscape casts fresh light on the challenges facing music education today. David Wright's comprehensive history of the Board from its origins in 1889 to the present day represents a significant and original investigation. Not only is it the first extended account of ABRSM, but it sets the institution and its work firmly within its historical and cultural context. ABRSM's exams were exported all across the Empire, and this study shows how both exams and examiners made a telling cultural contribution to the idea of the 'British World'. It relates the exams to changing historical perceptions about musical education as well as to attitudes about the value of music as a social and recreational activity. By demonstrating the impact of the Board's commercial success in dominating the grade exam market, the book shows how this has had significant consequences for the organization of British musical training and for the formation andsustaining of a particular sort of British musical culture. Before his retirement, David Wright was Reader in the Social History of Music at the Royal College of Music, London.

The history of theater in New York is captured in the images of the Billy Rose Theatre Division of the New York Public Library for the Performing Arts. From this valuable archive, author Leonard Jacobs spotlights the evolution of the world’s most storied dramatic community. Reaching from the 1850s to the recent past, these images give insight into the passion and character of the theaters, the performers, and the performances that have made Broadway the iconic cultural capital of theater. With hundreds of images, many never before published, Historic Photos of Broadway provides an intriguing look behind the scenes at the Booths and the Barrymores and every subject from the Alvin Theatre to the Ziegfeld Follies, giving those passionate about theater an irreplaceable glimpse into its humble beginnings and rise to greatness over the last two centuries.

This book develops a comprehensive understanding of the unique sound worlds of key regions in the Global South, through an auto-ethnographic method of self-reflective conversations with prominent sound practitioners from South Asia, Africa, the Middle East and Latin America. The conversations navigate various trajectories of sound practices, illuminating intricate sonic processes of listening, thinking through sounds, ideating, exposing, and performing with sound. This collection of conversations constitutes the main body of the book, including critical and scholarly commentaries on aural cultures, sound theory and production. The book builds a ground-up approach to nurturing knowledge about aural cultures and sonic aesthetics, moving beyond the Eurocentric focus of contemporary sound studies. Instead of understanding sound practices through consumption and entertainment, they are explored as complex cultural and aesthetic systems, working directly with the practitioners themselves, who largely contribute to the development of the sonic methodologies. Refocusing on the working methods of practitioners, the book reveals a tension between the West's predominant colonial-consumerist cultures, and the collective desires of practitioners to resist colonial models of listening by expressing themselves in terms of their arts and craft, and their critical faculties. Conversations with: Clarence Barlow, Sandeep Bhagwati, Rajesh K. Mehta, Sharif Sehnaoui, Ximena Alarco n Di az, Hardi Kurda, Mario de Vega, Luka Mukhavele, Khyam Allami, Cedrik Fermont, Khaled Kaddal, David Velez, Juan Duarte, Youmna Saba, Abdellah M. Hassak, Mariana Marcassa, Amanda Gutie rrez, Syma Tariq, Alma Laprida, Siamak Anvari, Mohamad Safa, Debashis Sinha, Zouheir Atbane, Constanza Bizraelli, Jatin Vidyarthi, Joseph Kamaru, Surabhi Saraf, Isuru Kumarasinghe, Hemant Sreekumar.

Over the last three decades Slavoj Zizek has become an iconic figure of intellectuel engage and his works have engendered ongoing reflection within as different academic disciplines as philosophy, literature or cultural, gender, postcolonial and film studies. But when it comes to music, things look different. With an emphasis on the German modernist tradition from Wagner to Schoenberg, a whole range of references to music are scattered throughout Zizek's copious body of works. However, these efforts seem to go almost unnoticed within academia - at least on first glance. Looking more closely, one notices a subtle but nevertheless consistent adoption of Zizek's theories within musicology, spreading across a broad range of topics and approaches. So, Zizek has become part of musicology, even if his presence is still uncharted territory. The present volume, which appeals to musicologists and philosophers alike, intends to map different ways in which Zizek's philosophy has been adopted in order to approach many of musicology's core questions, from musical analysis to the opera studies, from contemporary music to the history of the discipline itself. At the same time it both reflects on and questions Zizek's positions on musical aesthetics as expressed in his writings. Last but not least, the volume also features two essays by Zizek himself, reflecting his different approaches to writing about music.

This is the true story of a standout artist in the field of pop and sentimental song; a star entertainer who rose to fame in Cape Town, South Africa. The world reflected in this book has several genealogical strands reaching back to other histories – to the nineteenth century theatre, to the rise of racism in South Africa, and the ways people were forced to negotiate the contradictions of being human against impossible odds. We encounter a biographer with a subject which is close to him, and which he has meticulously researched over a course of time. The book offers insights into the musical world of the phonograph, of the global popular culture after the Second World War and how this was absorbed into Cape Town’s popular culture.

Two of Stanford's finest partsongs for unaccompanied SATB voices

In the late 80s, three self-described "total freak" high school girls from Brooklyn found salvation in the sisterhood of friendship, refuge in the East Village. Soon after graduation, The Lunachicks signed with Blast First Records; Kim Gordon and Thurston Moore whisked them into the studio (it did not go well). And yet the Lunachicks fought for their space in the virtually boys-only world of punk and rock throughout the 90s. Their unforgettable costume-critiques of pop culture were as loud as their "Marsha[ll]" amps, the ferocity of their feminism as lasting as their pre-internet mythology. They toured with bands like Marilyn Manson, No Doubt, Rancid, and The Offspring. The played the Reading Festival with Nirvana and did the testosterone-fueled Warped tour (twice). Lauded by critics and feared by men, The Lunachicks annihilated social conventions from Brooklyn to Tokyo and somehow managed to survive, but not unscathed. Fallopian Rhapsody chronicles becoming an established band and hearing industry dudes say, "We're not booking you because we already had a girl band play here this month," or "We're not playing your song on our radio show because we already have No Doubt in the rotation." Their group memoir will also recount their collapse, drug abuse and intervention, survival and reinvention. Filled with never-before-seen photos, illustrations, and ephemera from the band's private archive, this book will be a must-have for new and old fans alike. For readers of Carrie Brownstein's Hunger Makes me a Modern Girl, Kim Gordon's Girl in a Band, and Chrissie Hynde's Reckless, Fallopian Rhapsody is the literary equivalent of diving headfirst into a moshpit and, slowly but surely, venturing up to the front of the stage.

Suitable for SSA and piano or orchestra, this work contains one of five songs to texts from Shakespeare's plays which may be performed as a sequence under the title 'The Glories of Shakespeare', or individually. It includes suggestions for linking narrations between the songs.

for SATB, solo soprano, brass quintet, piano, and percussion A brilliant choral celebration of seven American legends (Phillis Wheatley, George Washington, Jenny Lind, Harriet Beecher Stowe, Clyde William Thornbaugh, Charles Lindbergh, Louis Armstrong). Energetic and appealing, the music culminates in a wordless finale which celebrates Louis Armstrong and the jazz clubs of the 1930s by mixing up six familiar classics.

Jazz and Death: Reception, Rituals, and Representations critically examines the myriad and complex interactions between jazz and death, from the New Orleans "jazz funeral" to jazz in heaven or hell, final recordings, jazz monuments, and the music’s own presumed death. It looks at how fans, critics, journalists, historians, writers, the media, and musicians have narrated, mythologized, and relayed those stories. What causes the fascination of the jazz world with its deaths? What does it say about how our culture views jazz and its practitioners? Is jazz somehow a fatal culture? The narratives surrounding jazz and death cast a light on how the music and its creators are perceived. Stories of jazz musicians typically bring up different tropes, ranging from the tragic, misunderstood genius to the notion that virtuosity somehow comes at a price. Many of these narratives tend to perpetuate the gendered and racialized stereotypes that have been part of jazz’s history. In the end, the ideas that encompass jazz and death help audiences find meaning in a complex musical practice and come to grips with the passing of their revered musical heroes -- and possibly with their own mortality.

for SATB and organ Music of the utmost intensity and brilliance makes for an unusual and striking setting of the Pentecost (or Golden) Sequence.

Wallace Stevens's musicality is so profound that scholars have only begun to grasp his ties to the art of music or the music of his own poetry. In this study, two long-time specialists present a polyphonic composition in which they pursue various interlocking perspectives. Their case studies demonstrate how music as a temporal art form may affect a poetic of ephemerality, sensuous experience, and affective intensification. Such a poetic, they argue, invites flexible interpretations that respond to poetry as an art of textual performance. How did Stevens enact the relation between music and memory? How can we hear his verse as a form of melody-making? What was specific to his ways of recording birdsong? Have we been missing the latent music of Richard Strauss, Gustav Mahler, and Claude Debussy in particular poems? What were the musical poetics he shared with Igor Stravinsky? And how is our experience of the late poetry transformed when we listen to a musical setting by Ned Rorem? The Poetic Music of Wallace Stevens will appeal to experts in the poet's work, students of Modernism in the arts, and a wider audience fascinated by the dynamics of exchange between music and poetry.

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.

To celebrate its 30th anniversary of publication, a brand new edition of the ultimate combination of traditional hymns and modern worship songs. ‘Mission Praise’ is a much-loved hymn book, and has remained so since its outset in 1984. Initially used for Billy Graham’s Mission England rallies – where thousands of people converted to Christianity – it has become a staple of worship throughout the UK and across the world. It was the first hymn book of its kind, introducing more modern styles of music into worship yet retaining the best of traditional hymnody loved by churchgoers of every age. This new, expanded edition of the complete ‘Mission Praise’ includes the whole of the existing collection of over 1000 songs and hymns, and adds the best new songs in various styles from the past few years. This brand new edition has been put together by ‘Mission Praise’’s original editorial team of Peter Horrobin and Greg Leavers, and contains – in this 30th anniversary year – over 100 new songs and has, by popular request, been split into two volumes in order to be more user-friendly.

As traditional music career paths become increasingly scarce, 21st-century musicians must reach out to new and diverse audiences to ensure career success and sustainability. Many universities and conservatories now offer entrepreneurship courses for their students, but musicians already in the working world must also learn to build relationships with their communities, jumpstart and fund new initiatives, engage new audiences, and ultimately create successful and meaningful careers. Creating the Revolutionary Artist challenges performers to build increased audiences through creative action and community involvement. Based on Mark Rabideau's revolutionary online text The 21CM Introduction to Music Entrepreneurship, this book will jumpstart the careers of musicians and artists in all styles and at all levels as it lays out business and project management acumen within a talent-driven spirit of civic-mindfulness. Drawing together the real-world wisdom of world-class musicians and educators, the book includes strength identification and idea creation exercises, inspiring case studies, and a toolkit of how-to guides to lead the reader through a successful community-based project and on to a rewarding career in the arts.