for SSA and organ or piano Paul Drayton's setting of three stanzas from Laurence Binyon's poem 'For the Fallen' is poignant, dignified, and atmospheric. A serene and expressive refrain for unison voices (which the congregation may join in if desired) is interposed between evocatively turbulent passages for SSA choir. The accompaniment should ideally be played on the organ, but may be performed on the piano if organ is not available. Also available in a version for mixed voices.

for SATB unaccompanied This is a declamatory setting of a popular Easter text by Gerard Manley Hopkins in an upbeat 7/8 metre. Featuring compelling interplay between choral sections, a slower reflective passage, and a rousing conclusion, this anthem will bring a fresh sound to Easter services and concerts.

Throughout history, two books have accompanied the advancement of Christianity: the Bible and the Hymnal. We may easily forget words that we read, or even memorize, but the melodies that we hear and sing remain in our thoughts, our minds, and our hearts forever. When Biblical truths are stated in a musical form we enjoy, the result is a penetration into our lives that has lasting spiritual benefits. These enduring songs convey a message that never grows old! So sing the hymns. Sing them over and over again. Seek out some of the great traditional songs that are rarely heard today. Purposefully learn hymns you do not know -- you will discover some gems. Whatever your musical tastes, discover anew the joy of singing the hymns! Pass this great tradition on to your children, and to the generations to follow.

for SATB unaccompanied Let all mortal flesh keep silence is a reflective, homophonic setting of text from the fourth-century Orthodox Liturgy of St James. Sheehan's setting, an original rather than the customary pairing with the hymn tune 'Picardy', is steeped in the Orthodox tradition, and has pure harmonies and a beautiful stillness.

for SATB (with divisions) unaccompanied This is a beautiful and dynamic setting of well-known words from the Song of Songs (or Song of Solomon). With a soaring soprano melody, McGlade's fluid vocal lines drive harmonic twists within an immediately accessible sound-world. Perfect for concert performance.

(Piano Method). Contents: Arabesque No. 2 * Ave Maria * Ballade * Barcarolle * Consolation, Op. 33, No. 1 (Karg-Elert) * Douce Plainte * Innocence * Inquietude No. 18 * L'adieu * L'harmonie des Anges * L'hirondelle * La Babillarde * La Bergeronnette * La Candeur * La Chasse * La Chevaleresque * La Gracieuse * La Petite Reunion * La Styrienne * La Tarentelle * Le Courant Limpide * Le Retour * Pastorale No. 3 * Progres * Tendre Fleur.

for SATB and organ or piano This Easter carol is based on J. M. Neale's translation of the Latin Piae Cantiones and occupies a captivatingly exotic soundworld. Sheehan's setting is in strophic form, with a texture that builds from verse to verse and with varying harmonizations, culminating in a dramatic cadence.

for SATB and organ, with optional congregation This congregational mass setting is short and accessible, with a congregational part that may be intuitively learnt. The organ plays a supportive role throughout, while the choral parts are of melodic and harmonic interest, but always keeping the discernibility of the text at the fore. The congregational part, which may be photocopied, is available at the back of the vocal score.

Megawattage sound systems have blasted the electronically enhanced riddims and tongue twisting lyrics of Jamaica's dancehall DJs across the globe. This high energy raggamuffin music is often dismissed by old school roots reggae fans as a raucous degeneration of classic Jamaican popular music. In this provocative study of dancehall culture, Cooper offers a sympathetic account of the philosophy of a wide range of dancehall DJs: Shabba Ranks, Lady Saw, Ninjaman, Capleton, Buju Banton, Anthony B and Apache Indian. She demonstrates the ways in which the language of dancehall culture, often devalued as mere 'noise, ' articulates a complex understanding of the border clashes that characterize Jamaican society. Cooper also analyzes the sound clashes that erupt in the movement of Jamaican dancehall culture across national borders. MARKET 1: Media and Cultural Studies; Afro-Caribbean Studies; Popular and Youth Culture; Music; Linguistic

for SATB and organ This Easter anthem sets an evocative text by J. M. C. Crum. Stately, expressive vocal lines are underpinned by a lively organ part, with crisp staccato melismas that pop out of the texture.

for TTBB and piano This sensitive arrangement of a well-known Yiddish folksong introduces singers to the harmonic characteristics of Yiddish music. Clapping and body percussion is employed to great effect, and a pronunciation guide and English translation are included, along with a fascinating contextual note.

for SATB and organ or orchestra This radiant anthem is an arrangement of William F. Smith's hymn tune 'Lattimer', frequently paired with the popular gospel song 'This little light of mine'. Wilberg gives each section of the choir a presentation of the melody, beginning with the sopranos, before building towards a climactic finish with new harmony and texture as light spreads 'across the land'.

for SATB unaccompanied This is an energetic setting of a text by Jennifer Thorp that celebrates and encourages festivities during Christmas time. With a fast tempo, Young's lively melodies are full of syncopated rhythms and supported by colourful harmonies in the accompanying voices. A rhythmic ostinato throughout reinforces an alternative Christmas message from the poet: 'oh come and dance'!

for SATB and piano or organ or trio A lilting 3/4 metre carries the listener through this familiar Christmas story, beautifully depicted in a text by the composer. Rutter employs artful word-painting throughout, and the verse-refrain structure enables the compelling melody to soon become as familiar as any traditional carol of the season. Christ our Emmanuel may be accompanied by piano or organ, or by flute, oboe, and harp. Two versions of the vocal score are available: one with piano accompaniment and one with organ accompaniment. Full scores and parts are available for purchase.

for SATB and piano Ring the bells is a joyful setting of a text by Frances Crosby that celebrates the coming of Christmas. Written in a lively compound time, the carol explores one melodic refrain through numerous keys and textures, giving each verse a different energy. The voices are supported by resonant harmonies in the piano that cheerfully mimic the 'bells' and 'harps' in the text.

for SATB (with divisions) and piano This is a high energy, foot-tap inducing setting of a well-known text. The bluesy melodies, jazzy harmonies, and swung rhythms give the piece a gospel feel and fill you with the infectious urge to boogie along to the music. Powerful voices and enthusiasm required. An optional bass and drum kit part is available as a free PDF download from the OUP website. Also available in a version for SSA and piano.

for SSA and piano This is a high energy, foot-tap inducing setting of a well-known text. The bluesy melodies, jazzy harmonies, and swung rhythms give the piece a gospel feel and fill you with the infectious urge to boogie along to the music. Powerful voices and enthusiasm required. Also available in a version for SATB and piano. An optional bass and drum kit part is available as a free PDF download from the OUP website.

for SATB unaccompanied Poems of Love and War sets a sequence of nine poems from 'Viking Poetry of Love and War' by Judith Jesch. The war poems are formal and celebratory, making vivid use of figures of speech known as 'kennings', while the love poems are more direct, and sometimes playful. Skempton's imaginative settings bring these striking texts to life, artfully using changing metres to evoke the sound of spoken word.

for SATB (with divisions) and organ Setting his own text, Archer's new carol is specifically dedicated to Mary. 'Ave Maria's are interspersed between flowing melodies that rock gently in 3/4 time, while the central section offers brief introspection in the tonic minor. Accompanied by a supportive organ part throughout, the voices finish with a jazzy chord progression, leaving behind a warm, Christmassy feeling.

Stephen Sondheim is one of the best-known and most-loved musical theatre composers, but also one of the most misunderstood, often being labelled as 'distant' or 'cynical'. Careful the Spell You Cast instead argues that Sondheim firmly belongs to the Broadway aspirational tradition, in that many of his characters are defined by their dreams: to abandon one's dream (as Ben does in Follies, Frank does in Merrily We Roll Along, and Addison does in Road Show) is to lose one's soul. Rather than take the established view of Sondheim as a cynic, this book contends that throughout Sondheim's work, letting go of one's illusions is a process that his characters need to go through, that they must cast off illusions and false dreams, without becoming cynical and destroying their genuine dreams in the process. In turn this view aligns Sondheim's work as being aspirational and a logical continuation from the work of his mentor, Oscar Hammerstein II. Following the trajectory of Sondheim's career, Careful the Spell You Cast shows how Sondheim has dramatized this process throughout his writing life alongside different collaborators. From his work as a lyricist with the musicals Gypsy and West Side Story through to his later collaborations with Hal Prince (Company, Follies) and James Lapine (Into the Woods, Sunday in the Park with George), this book reframes the established view through lyrical and structural analysis in relation to the characters within each of these celebrated works of musical theatre, arguing that Sondheim is, in the popular sense of the word, a romantic within the tradition of the Broadway musical.