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.

for SA (with descant) and piano An easy but rousing arrangement of a favourite spiritual, with an exceptionally good piano part and a concluding descant.

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.

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.

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.

Suitable for SATB unaccompanied, this is a piece that makes use of the delicious fleeting harmonies and close-written sonorities of its flowing melodic lines. It sets a Sequence for Advent Sunday that looks forward to Christ's coming and subsequent judgement of all things.

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.

The book presents selected papers at the 8th Conference on Sound and Music Technology (CSMT) held in November 2020, at Taiyuan, Shanxi, China. CSMT is a multidisciplinary conference focusing on audio processing and understanding with bias on music and acoustic signals. The primary aim of the conference is to promote the collaboration between art society and technical society in China. In this proceeding, the paper included covers a wide range topic from speech, signal processing, music understanding, machine learning and signal processing for advanced medical diagnosis and treatment applications; which demonstrates the target of CSMT merging arts and science research together.its content caters to scholars, researchers, engineers, artists, and education practitioners not only from academia but also industry, who are interested in audio/acoustics analysis signal processing, music, sound, and artificial intelligence (AI).

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.

Set for SSAA unaccompanied, this piece is Larsen's take on the famous witches' incantation, 'Double, double, toil and trouble, ' from Shakespeare's Macbeth. It features lurid word-painting and rhythmic tricks

This book from Jürgen Claus is a milestone among the books dedicated to the planet sea A knowledgeable overview of marine architectures from both the Pacific and Atlantic regions Discusses the seascape as a fluid studio for visual artists

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

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.

Tom Waits's distinctive persona, his bourbon-soaked growl, and his incorporation of musical styles from blues to experimental to vaudeville have secured for him a top-shelf cult following and an extraordinary critical respect. His raw form of expression and his evocative lyrics work together to form an emotional chronicle of society's misfits, outcasts, and lowlifes. He is not the sort of composer to chase after shiny red fire trucks to awesome blazing fires, but instead looks after the intangible dreams found dissipating in the last wisp of smoke from a cigarette, held in the weathered hands of a broken soul. Here, author Corinne Kessel pursues Waits into this distinctly murky and unsettled atmosphere to address in particular Waits's enduring questions of reality, landscape, and identity. The idea of the Wanderer - someone who seeks an escape from all of life's problems and dreams himself into oblivion - serves as the fundamental personality type around which all Waits's music revolves. Ten years of producing and touring across Canada and the U.S. with The Black Rider, Waits's macabre folktale adaptation, has given author Corinne Kessel direct access to this American genius's creative process and his associates. In this comprehensive analysis, Kessel examines all of the many characters that have appeared throughout the course of Waits's musical career, from Closing Time (1973) to Orphans: Brawlers, Bawlers, and Bastards (2006). Also included are appendices listing Internet resources, tribute albums and covers, and Waits's own extensive contributions to film and theatre.

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.

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'.

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

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 SATB (with divisions) unaccompanied, this setting is composed for the Feast of Corpus Christi.

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.

The Cover Art of Blue Note Records is Graham Marsh and Glyn Callingham's classic collection of the unparalleled record sleeves produced by the celebrated Blue Note record label. Around January 1956 the photographer Francis Wolff and Alfred Lion of Blue Note Records met Reid Miles, a commercial artists and a devout classical music fan. After establishing a rapport, Reid Miles became the designer for the Blue Note label for the next eleven years creating wonderful graphic covers that were both unique and also retaining the indefinable Blue Note look. Featuring iconic covers for artists such as Herbie Hancock, Thelonious Monk, Miles Davis, John Coltrane, Sonny Rollins and Art Blakey, this anthology is an evocative piece of Jazz history. Alongside over 400 of the record label's best album covers is a selection of short essays written by leading industry figures. Both a comprehensive guide to an acclaimed label, and an insightful snapshot of graphic design history, The Cover Art of Blue Note Records is a must-have for all Jazz fans.

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.