Suitable for SSAA and harp or piano, this title features a setting of a Japanese pastoral folksong with Japanese and English texts.

for SATB and organ or string orchestra This is the violin 2 part in the accompaniment for string orchestra. Each string part is available separately.

for SATB and organ or string orchestra This is the cello part in the accompaniment for string orchestra. Each string part is available separately.

for SATB and organ or string orchestra This is the bass part to the accompaniment for string orchestra in an accessible setting.

The first general reference work on Latin American choral music, this research guide catalogs composers and their works from 1550 to the present. It provides bio-bibliographical and stylistic information about composers and detailed information about specific works, including choral and instrumental requirements, and duration and source information such as publishers, manuscripts, locations, and recordings. In addition to the main catalog, the volume offers a brief history of music in Latin America emphasizing choral music; a guide to research in the field; bibliographies of literature on the subject, of biographies, and of periodicals; and a discography with library holdings. Useful appendixes list music publishers and recording companies of Latin American classical music; scholars, research institutions, and schools of music in the United States with a special interest in Latin American music; scholars, research institutions, and schools of music in Latin America; and music archives in Latin America. A comprehensive research tool for Latin American choral music, this volume will also serve scholars and researchers as a basic guide to sources for Latin American classical music. Both scholarly and practical, it will be valuable for choruses, orchestras, and other performing groups.

two settings for SS and piano or orchestra Both are rhythmically exuberant settings of colourful medieval texts, sparkling with vitality and humour. Orchestral material is available on hire separately for each setting.

This book examines Electronic Dance Music (EDM) scenes in 18 cities across Africa, the Middle East, Europe, Asia, North America and Australia. It focuses on the historical development of these scenes, with an emphasis on the post-2000 context, including the COVID-19 pandemic and its far-reaching effects. Expert contributors highlight the influence of geographical contexts, as well as cultural and political histories, in the development of mainstream EDM scenes and underground Electronic Dance Music Cultures. This expansive work offers additional insights on cultural and creative policies, planning interventions and regulations associated with nightlife management, and provides a detailed analysis of current challenges inherent to the governance of EDM scenes in contemporary cities.

for SAATB unaccompanied This is amongst the best-known works of the Tudor period, and holds an important place in the choral repertoire as a liturgical item for use in Holy Week and as a concert work. Includes an English singing translation.

This book examines the domestic evolution and international connections of post-war fascists in the UK. It argues that post-war British fascism became transnational as the radicals increasingly exchanged ideas, money and culture with like-minded foreigners. Using interviews with key figures in several countries, this book traces the history of the National Front (NF) and British National Party (BNP), focusing on the political parties' youth, music and international outreach. It explores how British fascism grew into an international movement, how fascist youth developed skinhead music as a conduit for their ideas, and how some of those key figures made international connections with people in Iraq, Libya, Syria and the United States. Moreover, it also draws from rare internal party documents, law enforcement records and membership lists to track foreign funding and the parties' domestic electoral growth. For the first time, this book gained access to both the leadership and rank-and-file of the BNP and NF to explore its culture and international connections. In doing so, it shows the successes, failures and changes that have made British fascism a force in the international extremist subculture.

Hermann von Helmholtz (1821-94) was a leading scientist who made important contributions to physiology, psychology, physics, philosophy and early neuroscience. Following his foundational work in ophthalmics during the 1850s, he became Professor of Physiology at Heidelberg and, in 1863, published On the Sensations of Tone. This investigation into the physical theory of music remains a central text for the study of physiological acoustics and aesthetics. In it, Helmholtz applies physics, anatomy and physiology. He explains how tones are built from a base tone with upper partial tones, and his later discussions on consonance and musical scales develop this theory and discuss how the ear perceives these tones. His work on consonance and dissonance was of particular interest to composers and musicologists well into the twentieth century. This English translation, published in 1875 from the third German edition, retains the original's straightforward language, making this classic work accessible to non-specialists.

for flute, clarinet, and piano Barn Dances is a set of four abstract pieces drawing their titles from the name of a particular dance step used in cowboy dances. Taking the name of the step as a point of departure, Larsen's idea was to take a flight of fancy in each movement and to create the musical equivalent of a character drawing. Thus this lively set encompasses various styles including hoedown jig, swing, and a waltz. Suitable for concert use by conservatory students and accomplished school musicians.

for soloist, SSA, and piano This setting of one of the most enduringly popular Christmas carols is an ideal piece for a school Christmas concert or nativity play. German and English singing texts are included. There is also a version for SATB.

Cosmopolitanism and Transatlantic Circles in Music and Literature traces the transatlantic networks that were constructed between a select group of composers, including Edvard Grieg, Edward MacDowell, and Percy Grainger, and the writers with whom they shared cosmopolitan affinities, including Arne Garborg, Hamlin Garland, Madison Grant, and Lathrop Stoddard. Each overlapping case study surveys the diachronic transmission of cosmopolitanism as well as the synchronic practices that animated these modernist ideas. Instead of taking a strictly chronological approach to organization, each chapter offers an examination of the different layers of identity that expanded and contracted in relation to a mutual interest in Nordic culture. From the burgeoning "universal" ambitions around 1900 to the darker racialized discourse of the 1920s, this study offers a critical analysis of both the idea and practice of cosmopolitanism in order to expose its common foundations as well as the limits of its application.

How are our personal soundtracks of life devised? What makes some pieces of music more meaningful to us than others? This book explores the role of memory, both personal and cultural, in imbuing music with the power to move us. Focusing on the relationship between music and key life moments from birth to death, the text takes a cross-disciplinary approach, combining perspectives from a 'history of emotions' with modern day psychology, empirical surveys of modern-day listeners and analysis of musical works. The book traces the trajectory of emotional response to music over the past 500 years, illuminating the interaction between personal, historical and contextual variables that influence our hard-wired emotional responses to music, and the key role of memory and nostalgia in the mechanisms of emotional response.

This illustrated dictionary, written by the prolific Victorian composer Sir John Stainer (1840-1901) - best remembered today for his oratorio The Crucifixion - and W. A. Barrett, was first published by Novello in 1876. It provides definitions for 'the chief musical terms met with in scientific, theoretical, and practical treatises, and in the more common annotated programmes and newspaper criticisms', ranging from short explanations of the Italian words for tempi, through descriptions of ancient instruments to expansive articles on such topics as acoustics, copyright, hymn tunes, the larynx and temperament. That it subsequently ran to several further editions suggests that it provided welcome guidance for the concert-going public in the nineteenth century.

The Royal Academy of Music in London was founded in 1822 by Lord Burghersh (later the 11th Earl of Westmorland), a soldier and keen amateur musician, to whom this book is dedicated. He was supported by the French harpist and composer Nicolas-Charles Bochsa, who had fled to London to avoid prosecution in France for fraud and forgery. In 1854, the Rev. William Wahab Cazalet (1808 75) wrote a history of the Royal Academy 'compiled from authentic sources' and beginning with an adulatory short biography of the Earl. Cazalet remarks in his preface that 'the history comprises only about eleven years of the life of the Institution; but it is this portion alone that has any interest, for when all the struggles and troubles attending its establishment are at an end, the records of a mere routine of business give no material for publication'.

C. F. Abdy Williams (1855 1923), a noted music scholar, traced the history of the discipline at Oxford and Cambridge from the fifteenth century to the late Victorian period in this 1894 book. He discusses the earliest records of degrees in the subject, the establishment of professorships, the requirements for degrees and the ceremonies associated with their conferral. He provides biographical information for graduates from as early as 1463, noting that English music of this early period was in a very advanced stage compared to that of the rest of Europe. He also includes, in an appendix, the names of those persons who are mentioned as graduates but whose names do not appear in the university records. His book reveals the importance attached to the cultivation of music at the ancient British universities and the prestige attached to their scholars over several centuries.

Co-authored by James D. Brown (also known for A Biographical Dictionary of Musicians) and Stephen S. Stratton, British Musical Biography is an alphabetical reference work to the key achievements of British musical artists, composers and authors from as early as 1042 AD to the end of the nineteenth century. It first appeared in 1897 as an experiment in publishing and was motivated partly by patriotism on the part of the authors. It includes the names of British composers and performers, their dates of birth and death, brief biographies, and details of important works, their first performance, and date of first publication. Interpreting their brief to include the whole of the British empire, the authors have included the names of well over 2,500 famous and lesser-known musicians born in Britain and its colonies.

This 1874 account of the music of ancient Greece, Egypt and Rome was the only volume of the author's proposed history of music to be published. William Chappell, eldest son of the founder of Chappell's the music publishers, was noted for his interest in ancient and traditional music and was the founder of the Musical Antiquarian Society in 1840. Best remembered for his Popular Music of the Olden Time, Chappell justifies the need for his study of ancient music in a long introduction to the volume which criticises the approaches of Charles Burney and Sir John Hawkins and attacks the validity of Helmholtz's work on acoustics. The work explores theory, practice, science, philosophy and the instruments of the time through analysis of ancient sources such as Aristotle, Pythagoras, Boethius and Vetruvius and of iconographical materials. A comprehensive glossary-cum-index is included together with topic summaries for each chapter.

The publisher John Sainsbury produced this two-volume biographical dictionary of musicians in 1824. The book, as he acknowledges on his title page, borrows from the previously published works of Choron and Fayolle (in French), Gerber (in German), Orloff (Russian, writing in French), and his two notable English predecessors, Dr Burney and Sir John Hawkings. It contains a 'summary of the history of music', as well as biographies and memoirs of musicians. The range of the information provided is immense, including the most obscure as well as the most famous: fourteen pages on Mozart are followed by paragraphs on his wife Constanza and on the now completely forgotten B. F. Mozin, a French piano teacher and composer, while Beethoven is described when still living and composing, albeit afflicted by deafness. This work is a mine of information on musical life and perceptions of music history in the early nineteenth century.

The publisher John Sainsbury produced this two-volume biographical dictionary of musicians in 1824. The book, as he acknowledges on his title page, borrows from the previously published works of Choron and Fayolle (in French), Gerber (in German), Orloff (Russian, writing in French), and his two notable English predecessors, Dr Burney and Sir John Hawkings. It contains a 'summary of the history of music', as well as biographies and memoirs of musicians. The range of the information provided is immense, including the most obscure as well as the most famous: fourteen pages on Mozart are followed by paragraphs on his wife Constanza and on the now completely forgotten B. F. Mozin, a French piano teacher and composer, while Beethoven is described when still living and composing, albeit afflicted by deafness. This work is a mine of information on musical life and perceptions of music history in the early nineteenth century.

The British musicologist Henry Davey (1853 1929) was a noted scholar of the manuscript sources of Tudor music. He published the first edition of History of English Music in 1895 with the aim of providing his fellow-musicians with the first clear scholarly account of the full range of English musical achievements. His main focus is the fifteenth, sixteenth and seventeenth centuries, which he considered the heyday of English music, and he claims that the earliest known free instrumental compositions, as well as the polyphonic style, originated in England during the fifteenth century. In Davey's view, these controversial findings were his most important contribution to general musical knowledge. His work was widely discussed in his own time, attracting both praise and aggressive criticism, and continues to be read with great critical interest today, not least because of its parallels with the socialist utopianism of Ruskin and Morris.

This is a reissue of the first edition of George Grove's Dictionary of Music and Musicians, which has since evolved to become the largest and most authoritative work of its kind in English. The project grew in the making: the title page of Volume 1 (1879) refers to 'two volumes', but by the time Volume 4 appeared in 1889 there was also a 300-page appendix and a separate index volume. The dictionary was an international undertaking, with contributors from Paris, Leipzig, Berlin, Vienna and Boston alongside those based in Britain. It was 'intended to supply a great and long acknowledged want' arising from the increased interest in all aspects of music, which was 'rapidly becoming an essential branch of education', and to cater for the professional while being accessible to the amateur. It is a fascinating document of musical tastes and values in the late Victorian period.