This study explores the relationship between the poetic language of Donne, Herbert, Milton and other British poets, and the choral music and part-songs of composers including Tallis, Byrd, Gibbons, Weelkes and Tomkins. The seventeenth century was the time in English literary history when music was most consciously linked to words, and when the mingling of Renaissance and 'new' philosophy opened new discovery routes for the interpretation of art. McColley offers close readings of poems and the musical settings of analogous texts, and discusses the philosophy, performance, and disputed political and ecclesiastical implications of polyphony. She also enters into the discourse about the nature of language, relating poets' use of language and composers' use of music to larger questions concerning the arts, politics and theology.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

Studying the role of music within religious congregations has become an increasingly complex exercise. The significant variations in musical style and content between different congregations require an interdisciplinary methodology that enables an accurate analysis, while also allowing for nuance in interpretation. This book is the first to help scholars think through the complexities of interdisciplinary research on congregational music-making by critically examining the theories and methods used by leading scholars in the field. An international and interdisciplinary panel of contributors introduces readers to a variety of research methodologies within the emerging field of congregational music studies. Utilizing insights from fields such as communications studies, ethnomusicology, history, liturgical studies, popular music studies, religious studies, and theology, it examines and models methodologies and theoretical perspectives that are grounded in each of these disciplines. In addition, this volume presents several "key issues" to ground these interpretive frameworks in the context of congregational music studies. These include topics like diaspora, ethics, gender, and migration. This book is a new milestone in the study of music amongst congregations, detailing the very latest in best academic practice. As such, it will be of great use to scholars of religious studies, music, and theology, as well as anyone engaging in ethnomusicological studies more generally.

for SATB choir and organ or piano, or orchestra, or strings only, or brass

Flourishing in Music Education: Lessons from Positive Psychology presents research, theory, and best practices about potential pitfalls, as well as strategies for how successful music teachers can negotiate issues in the wake of the COVID-19 climate, both on a daily and long-term basis. Masked and physically distanced classes have been particularly challenging for studio practice and group rehearsals, leading to virtual and digitally edited performances. This concise book is an essential read for those faced with such challenges, addressing key topics including engagement, relationships, meaning, accomplishment, resilience, and hope. Readers are provided with vignettes of struggling and successful music educators, which are then used to examine and consider new techniques and classic reminders for healthy enjoyment of work and life.

Drawing on a wide context of bookmaking, this sweeping study traces fundamental changes in books made to support musical practice during the Carolingian Renaissance. During the late eighth and ninth centuries, there were dramatic changes in the way European medieval scribes made books for singers, moving from heavy reliance on unwritten knowledge to the introduction of musical notation into manuscripts. Well-made liturgical books were vital to the success of the Carolingian fight for Christian salvation: these were the basis for carrying out worship correctly, rendering it most effective in petitions to the Christian God. In Sounding the Word of God, Susan Rankin explores Carolingian concern with the expression and control of sound in writing—discernible through instructions for readers and singers visible in liturgical books. Her central focus is on books made for singers, including those made for priests. The emergence of musical notations for ecclesiastical chant and of books designed to accommodate those notations, Rankin concludes, are important aspects of the impact of Carolingian reforming zeal on material culture. The book has three sections. Part 1 considers late antique and early medieval texts, which deal with the value of singing and its necessary regulation. Part 2 describes and investigates techniques used by Carolingian scribes to provide instructions for readers and singers. The extant books themselves are the focus of part 3. Rankin’s analysis of over two hundred manuscripts and extensive supporting images represents the work of a scholar who has spent a lifetime with the sources; her explication of the images, particularly those of the earlier manuscripts, changes the way in which musicologists and liturgical scholars will view the images. Indeed, it will change the way in which they approach the unfolding history of chant and liturgy in the Carolingian period.

This volume of primary source material examines music and society in Britian during the ninteenth century. Sources explore religion, politics, class, and gender. The collection of materials are accompanied by an introduction by Rosemary Golding, as well as headnotes contextualising the pieces. This collection will be of great value to students and scholars.

This volume of primary source material examines music and British national identity during the ninteenth century. Sources explore the reception of British music, continental and other foreign music, English, Scottish, Welsh and Irish music, and Empire. The collection of materials are accompanied by an introduction by Rosemary Golding, as well as headnotes contextualising the pieces. This collection will be of great value to students and scholars.

This volume of primary source material examine the thoughts and ideas behind music in Britian during the ninteenth century. Sources explore music critics, listening to music, music education, and philosophy. The collection of materials are accompanied by an introduction by Rosemary Golding, as well as headnotes contextualising the pieces. This collection will be of great value to students and scholars.

- Includes candid conversations with well-known composers from film, tv and gaming offering career and industry insights - Complements existing practical guides by looking into the industry, rather than music editing/scoring techniques - Highly interdisciplinary applications for film, TV, gaming and new media

- Includes candid conversations with well-known composers from film, tv and gaming offering career and industry insights - Complements existing practical guides by looking into the industry, rather than music editing/scoring techniques - Highly interdisciplinary applications for film, TV, gaming and new media

Ave Maria, is suitable for SATB unaccompanied.

This updated second edition of A Practical Guide to Teaching Music in the Secondary School provides valuable support, guidance and creative new ideas for students and practising teachers who want to develop their music teaching practice. Written to accompany the successful textbook Learning to Teach Music in the Secondary School, it explores a range of current issues, developments and opportunities within music education. The book supports the reader in undertaking practical enquiries across the breadth of the subject to support their critical reflection and the development of their own context-relevant strategies and understandings. Key themes explored include the pedagogy of: * singing; * composing; * improvising; * performing; * responding; * musical literacy; * music and cross-curricular learning. Using practical examples and reflective activities, this book will help you critically examine ways in which you can place pupils at the centre of learning music. It is an invaluable resource for those involved in teaching music who are seeking to develop their practical and theoretical understanding, whether at a trainee or practising music teacher level.

This book is the first major study that explores the intrinsic connection between music and myth, as Nietzsche conceived of it in The Birth of Tragedy (1872), in three great works of modern literature: Romain Rolland's Nobel Prize winning novel Jean-Christophe (1904-12), James Joyce's modernist epic Ulysses (1922), and Thomas Mann's late masterpiece Doctor Faustus (1947). Juxtaposing Nietzsche's conception of the Apollonian and Dionysian with narrative depictions of music and myth, Josh Torabi challenges the common view that the latter half of The Birth of Tragedy is of secondary importance to the first. Informed by a deep knowledge of Nietzsche's early aesthetics, the book goes on to offer a fresh and original perspective on Ulysses and Doctor Faustus, two world-famous novels that are rarely discussed together, and makes the case for the significance of Jean-Christophe, which has been unfairly neglected in the Anglophone world, despite Rolland's status as a major figure in twentieth-century intellectual and literary history. This unique study reveals new depths to the work of our most enduring writers and thinkers.

Relevance and Marginalisation in Scandinavian and European Performing Arts 1770-1860: Questioning Canons reveals how various cultural processes have influenced what has been included, and what has been marginalised from canons of European music, dance, and theatre around the turn of the nineteenth century and the following decades. This collection of essays includes discussion of the piano repertory for young ladies in England; canonisation of the French minuet; marginalisation of the popular German dramatist Kotzebue from the dramatic canon; dance repertory and social life in Christiania (Oslo); informal cultural activities in Trondheim; repertory of Norwegian musical clocks; female itinerant performers in the Nordic sphere; preconditions, dissemination, and popularity of equestrian drama; marginalisation and amateur staging of a Singspiel by the renowned Danish playwright Oehlenschlager, also with perspectives on the music and its composers; and the perceived relevance of Henrik Ibsen's staged theatre repertory and early dramas. By questioning established notions about canon, marginalisation, and relevance within the performing arts in the period 1770-1860, this book asserts itself as an intriguing text both to the culturally interested public and to scholars and students of musicology, dance research, and theatre studies.

Urban Sensographies views the human body as a highly nuanced sensor to explore how various performance-based methods can be implemented to gather usable 'felt data' about the environment of the city as the basis for creating embodied mappings. The contributors to this fascinating volume seek to draw conclusions about the constitution, character and morphology of urban space as public, habitable and sustainable by monitoring the reactions of the human body as a form of urban sensor. This co-authored book is centrally concerned, as a symptom of the degree to which cities are evolving in the 21st century, to examine the effects of this change on the practices and behaviours of urban dwellers. This takes into account such factors as: defensible, retail and consumer space; legacies of modernist design in the built environment; the effects of surveillance technologies, motorised traffic and smart phone use; the integration of 'wild' as well as 'domesticated' nature in urban planning and living; and the effects of urban pollution on the earth's climate. Drawing on three years of funded practical research carried out by a multi-medial team of researchers and artists, this book analyses the presence and movement of the human body in urban space, which is essential reading for academics and practitioners in the fields of dance, film, visual art, sound technology, digital media and performance studies.

Knowledge and Music Education: A Social Realist Account explores current challenges for music education in relation to wider philosophical and political debates. Seeks to find a way forward for the field by rethinking the nature and value of epistemic knowledge in the wake of postmodern critiques. Focusing on secondary school music, and considering changes in approaches to teaching over time, this book seeks to understand the forces at play that enhance or undermine music's contribution to a socially just curriculum for all. The author argues that the unique nature of disciplinary-derived knowledge provides students with essential cognitive development, and must be integrated with the turn to more inclusive, student-centred, and culturally responsive teaching. Connecting theoretical issues with concrete curriculum design, the book considers how we can give music students the benefits of specialized subject knowledge without returning to a traditional past.

takes a retrospective look at the theories of media and mass culture which were elaborated during Adorno's exile; a historical approach is used to reconstruct the philosophical and sociological origins of the texts that Adorno dedicated to these topics.

Intended for SATB choir and baritone solo, with piano or orchestra, this carol is taken from The Wind in the Willows.

This collection of essays delves into the historiographical traditions that have dominated how the stories of European postwar avant-garde music are told, seeking to approach commonplaces of that history writing from new perspectives. The contributors revisit subjects as varied as the impact of long-playing records on the emergence of open works, Messiaen’s interest in non-European musical traditions, Xenakis’s turn to information theory, Kagel’s strategic invention of a new genre, Berio’s dependence on funding from American foundations, and the ways in which figures like Boulez, Stockhausen, Pousseur, and Nono constructed their musical ancestries. Leading experts in their respective fields, the volume’s authors have sought to rethink the historiography of European experimental music of the 1950s, 1960s, and 1970s in ways that resituate that small but influential milieu in broader historical and cultural contexts. In doing so, they suggest new directions and insights for students and specialists of twentieth-century music and music historiography.