Suitable for SSA and piano, this work contains an exploration of friendship's many facets. The work is in two linked sections.

Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies. Through a diverse range of case studies from Oceania, Asia, and Europe, and interdisciplinary approaches, this edited collection offers new critical and ethnographic frameworks for understanding and experiencing practices of music and dance across the globe.

Suitable for SSATB, with strings and continuo.

Makis Solomos explores the ecologies of music and sound, inspired by Felix Guattari, for whom environmental destruction caused by capitalism goes hand in hand with deteriorating ways of living and feeling, and for whom an ecosophical stance, combining various ecological registers, offers a glimpse of emancipation, a position strengthened today by intersectional approaches. Solomos explores environmental, mental and social ecologies through the lens of the history of music and current artivisms - especially in the fields of acoustic ecology, contemporary music and sound art. Several theoretical and analytical debates are put forward, including a theory of sound milieus and the biopolitics of sound; the relationships between music and the living world; soundscape compositions, field recording, ecomusicology, and the creation of sound biotopes; the use of sound and music to violent ends as well as considering the social and political functions of music and the autonomy of art, sonic ecofeminism, degrowth in music, and much more.

Milton and Music is the first study to juxtapose John Milton’s poetry on music with later musical adaptations of his work. In Part I: Milton on Music, Seth Herbst shows that writing about music galvanized Milton’s intellectual development towards animist materialism, the belief that everything in the universe—even the human soul—is made of matter. The Milton who emerges is a forward-thinking visionary who leaped past his contemporaries in conceiving music as a material phenomenon that exists simultaneously as sound and metaphor. Part II: Milton in Music follows two daring composers in investigating whether Milton’s visionary concept of music can be realized in actual musical sound. In Samson, an oratorio adaptation of Milton’s Samson Agonistes, Handel resists Miltonic music theory, suggesting that music struggles to function as both sound and metaphor. By contrast, the twentieth-century Polish composer Krzysztof Penderecki composes an iconoclastic opera of Paradise Lost that develops a soundworld of fractured dissonance in which music acts as both sound and metaphor. Recovering Milton’s own high estimation of music from a critical tradition that has subordinated it to the poet’s political and religious convictions, Herbst reveals Milton as an interdisciplinary thinker and overlooked figure in the study of words and music. Driven by bold claims about the comparative treatment of literature and music, Milton and Music revises our understanding of what makes this canonical poet an intellectual revolutionary.

Suitable for unaccompanied trumpet in C. Here, the music is composed to create layers of tonality which overlap in space, especially in a vast space with a long acoustic decay.

This book explores art song as an emblem of musical modernity in early twentieth-century East Asia and Australia. It appraises the lyrical power of art song – a solo song set to a poem in the local language in Western art music style accompanied by piano – as a vehicle for creating a localized musical identity, while embracing cosmopolitan visions. The study of art song reveals both the tension and the intimacy between cosmopolitanism and local politics and culture. In 20 essays, the book includes overviews of art song development written by scholars from each of the five locales of Japan, Korea, China, Taiwan, and Australia, reflecting perspectives of both established narratives and uncharted historiography. The Art Song in East Asia and Australia, 1900 to 1950 proposes listening to the songs of our neighbours across cultural and linguistic boundaries. Recognizing the colonial constraints experienced by art song composers, it hears trans-colonial expressions addressing musical modernity, both in earlier times and now. Readers of this volume will include musicologists, ethnomusicologists, singers, musicians, and researchers concerned with modernity in the fields of poetry and history, working within local, regional, and transnational contexts.

Vocal Traditions: Training in the Performing Arts explores the 18 most influential voice training techniques and methodologies of the past 100 years. This extensive international collection highlights historically important voice teachers, contemporary leaders in the field, and rising schools of thought. Each vocal tradition showcases its instructional perspective, offering backgrounds on the founder(s), key concepts, example exercises, and further resources. The text's systematic approach allows a unique pedagogical evaluation of the vast voice training field, which not only includes university and conservatory training but also private session and workshop coaching as well. Covering a global range of voice training systems, this book will be of interest to those studying voice, singing, speech, and accents, as well as researchers from the fields of communication, music education, and performance. This book was originally published as a series in the Voice and Speech Review journal.

The purpose of this book, through its very creation, is to strengthen the dialogue between practitioner and theorist. To that end, a film academic and musicologist have collaborated as editors on this book, which is in turn comprised of interviews with composers alongside complementary chapters that focus on a particular feature of the composer's approach or style. These chapters are written by a fellow composer, musicologist, or film academic who specializes in that element of the composer's output. In the interview portions of this book, six major film composers discuss their work from the early 1980s to the present day: Carter Burwell, Mychael Danna, Dario Marianelli, Rachel Portman, Zbigniew Preisner, and A.R. Rahman. The focus is on the practical considerations of film composition, the relationship each composer has with the moving image, narrative, technical considerations, personal motivations in composing, the relationships composers have with their directors, and their own creative processes. Contemporary Film Music also explores the contemporary influence of electronic music, issues surrounding the mixing of soundtracks, music theory, and the evolution of each composer's musical voice.

This book investigates Australia's relationship with the Eurovision Song Contest over time and place, from its first screening on SBS in 1983 to Australia's inaugural national selection in 2019. Beginning with an overview of Australia's Eurovision history, the contributions explore the contest's role in Australian political participation and international relations; its significance for Australia's diverse communities, including migrants and the LGBTQIA+ community; racialised and gendered representations of Australianness; changing ideas of liveness in watching the event; and a reflection on teaching Australia's first undergraduate course dedicated to the Eurovision Song Contest. The collection brings together a group of scholar-fans from a variety of interdisciplinary perspectives - including history, politics, cultural studies, performance studies, and musicology - to explore Australia's transition from observer to participant in the first thirty-six years of its love affair with the Eurovision Song Contest.

This book lays bare the dialogue between Shakespeare and critics of the stage, and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators. In so doing, the book makes a substantial contribution both to the study of representations of theatre in Shakespeare's plays and to the understanding of ethical concerns about acting and spectating-then, and now. The book opens with a comprehensive and coherent analysis of the main early modern English anxieties about theatre and its power. These are read against 20th- and 21st-century theories of acting, interviews with actors, and research into the effects of media representation on spectator behaviour, all of which demonstrate the lingering relevance of antitheatrical claims and the personal and philosophical implications of acting and spectating. The main part of the book reveals Shakespeare's responses to major antitheatrical claims about the powerful effects of poetry, music, playacting, and playgoing. It also demonstrates the evolution of Shakespeare's view of these claims over the course of his career: from light-hearted parody in A Midsummer Night's Dream, through systematic contemplation in Hamlet, to acceptance and dramatization in The Tempest. This study will be of great interest to scholars and students of theatre, English literature, history, and culture.

Suitable for SATB, this text is devotional. The music aims to evoke the still atmosphere of the first Easter morning.

Fifty-five short pieces, the earliest of which dates from 1967, the most recent from 1993. Taken as a whole, this selection of pieces (chosen by the composer) provides a rich overview of the keyboard music of one of Britain's most original and fascinating composers.

for SATB and organ This short setting of a popular text provides church choirs with an attractive, contemporary alternative to the widely sung settings by Byrd, Mozart, and Elgar.

Suitable for SATB unaccompanied, this setting lurches from pious, a cappella textures to musical mayhem and back again with some musical puns and pitfalls along the way.

The future is a contested terrain and one that has in recent years been debated, theorized and imaginatively constructed with an unprecedented, albeit unsurprising, sense of urgency. The recent Afrofuturist imaginary is an increasingly noticeable field in these debates and manifestations, requesting as it does the envisioning of a future through an artistic, scientific and technological African or Black lens. Afrofuturism is not a new term, but it seems to have broadened and developed in different directions. The recent Afrofuturist engagements, which oscillate between narratives of empowerment and tech-wise superheroes on the one hand and dystopian agendas on the other, raise questions about earlier futurist accounts, about historical Black visions of the future that precede the establishment even of the term "Afrofuturism". This volume contextualizes Afrofuturism's diverse approaches in the past and present through investigations into overlapping horizons between Afrofuturist agendas and other intellectual and/or artistic movements (e.g., Pan-Africanism, debates about Civil Rights, decolonial debates and transcultural modernisms), as well as through explorations of Afrofuturist approaches in the 21st century across media cultures and in a transcultural perspective. This book was originally published as a special issue of the journal Critical Studies in Media Communication.

This anthology has been compiled from the best-known and most frequently sung songs in the five volumes previously published by OUP. It includes songs to suit both male and female voices, although most of the poems are more suitable for a male singer.

This book examines the trope of echo in early modern literature and drama, exploring the musical, sonic, and verbal effects generated by forms of repetition on stage and in print. Focusing on examples where Echo herself appears as a character, this study shows how echoic techniques permeated literary, dramatic, and musical performance in the period, and puts forward echo as a model for engaging with sounds and texts from the past. Starting with sixteenth century translations of myths of Echo from Ovid and Longus, the book moves through the uses of echo in Elizabethan progress entertainments, commercial and court drama, Jacobean court masques, and prose romance. It places the work of well-known dramatists, such as Ben Jonson and John Webster, in the context of broader cultures of performance. The book will be of interest to scholars and students of early modern drama, music, and dance.

- One of the first titles to be published on the state-of-the-art of Soundwalking as a practice - This book offers a unique, interdisciplinary approach which considers cultural studies, environmental studies, politics, as well as sound studies - Brings together voices from both academic and professional spheres

- One of the first titles to be published on the state-of-the-art of Soundwalking as a practice - This book offers a unique, interdisciplinary approach which considers cultural studies, environmental studies, politics, as well as sound studies - Brings together voices from both academic and professional spheres

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.