Following the success of the two Popular Voiceworks volumes, Popular Voiceworks at Christmas presents a fantastic collection of seasonal songs and carols in a highly practical format. Singers can explore a huge range of styles and find exciting new material by the authors, as well as arrangements of traditional carols such as 'Away in a manger' and 'In the bleak midwinter' and popular songs such as 'Jingle Bell Rock' and 'Get Together'. Stylish demos are available on a companion website and backing tracks for performance or rehearsal are included on the accompanying CD. A fabulous festive resource!

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 SSAA and piano This is a beautiful piece setting an evocative text by Anne Bronte that explores natural imagery on a blustery day and the feelings they inspire. Supported by the piano acccompaniment, Quartel's soaring melodies, rich harmonies, and syncopated rhythms illustrate the power of the wind, while its unpredictable nature is hinted by the hemiolas and cross-rhythms throughout the texture. This is suitable for festival and concert performance.

for SATB and organ Written for the 2018 BBC Advent broadcast sung by the choir of St John's College, Cambridge, A Prayer to St John the Baptist sets an artfully crafted text that combines Guido d'Arezzo's Ut queant laxis (itself a Hymn to John the Baptist, as well as a medieval music-teaching mnemonic) with Thomas Merton's poem on the same subject. The organ's flowing quavers represent Merton's baptismal 'rivers of water', while the largely octatonic melodies conjure a tellingly mysterious atmosphere.

for SSATBarB unaccompanied Setting words by the composer, Swept Away is a beautiful and haunting piece with pop-inspired rhythms and harmonies. The scat syllables of the insistent lower parts are combined with a flowing melody in the soprano line to create a powerful work exploring the journey of the singers and the ability of the wind to carry them to their destination.

for SSA and piano or harp This anthem sets a powerful poem by John Henry Newman that reflects on the spirituality of solitude. An imaginative interplay between voices and instrumental accompaniment is prevalent throughout, with effective contrasts between tranquillo and animato sections and delicate ostinato patterns. An alternative accompaniment for harp is available for purchase. The anthem is also available in a version for SATB and guitar or piano.

for SATB and organ or orchestra This bright and exultant arrangement of Michael Praetorius's melody 'Puer nobis nascitur' is presented with two text options: 'O splendor of God's glory bright' for general worship and 'That Easter day with joy was bright' for use at Easter. Sparkling organ interludes, characterised by flutes and piccolos in the orchestral accompaniment, punctuate the lilting melody, which is given contrasting treatment in each of the verses, from presentation in unison to rich four-part harmony.

for SATB unaccompanied Alan Bullard's simple, uplifting setting of words by eighteenth-century writer and Calvinist minister Joseph Hart is perfectly suited to the Every Voice Rejoice series. The anthem is characterized by flexible rhythms that sensitively complement the metre of the text and a beautifully reflective set of Amens at its close.

for SATB and piano Tarney's setting of this traditional Scottish text offers catchy melodies and folk-inspired harmonies, driven by a rhythmic piano accompaniment. The ballad is framed by a repeating, haunting, and ethereal a cappella phrase that hints at the unearthly nature of the subject. Also available for cambiata voices in the Emerging Voices series.

for SSAA and hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come. Also available in a version for SATB and hand drum.

for SSA and piano Setting a moving text inspired by Chief Seattle, Quartel appeals for better stewardship of the planet through gentle flowing lines and expansive textures. The melodies are accessible throughout and well supported by the piano accompaniment, while the swells and falls in dynamics offer a sense of organicity. 'This we know' was originally published as part of the Songbird collection As you sing.

for SATB (with divisions) unaccompanied With a text by the composer, 'My Love has Died for Me' is taken from Passion Music, a concert and liturgical work that epitomizes Todd's love of blending jazz and choral music. Recurring melodies, changing metres, and extended harmonies combine to explore the theme of loss in this powerful and expressive lament.

for SSAATTBB unaccompanied When spring comes walking is a warm and optimistic setting of an evocative poem by Charles Bennett that explores themes of rebirth, nature, and celebration. Chilcott embraces the return of spring with gentle sustained melodies, rich harmonies, and a quote from the traditional carol 'O come, O come, Emmanuel'. This piece is suitable for both advent and Easter.

for SSAA unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this carol for upper voices. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, through each of the voice parts, with each verse ending in the lilting refrain 'Lully, by by, lullay'. The carol may be sung unaccompanied, though for added sparkle there is an optional part for handbells (or percussion or organ).

for unison voices, with optional second part, and piano This is the key is a dramatic, narrative piece, perfect for children's and youth choirs. It can be sung in unison throughout, or the score contains options for two parts, sometimes singing alternating phrases and at other times singing together in two-part harmony. Sections in different tempos and keys create a variety of moods, and the continuous piano part features running quavers, a rhythmic bass line, and shimmering spread chords.

for SATB (with divisions) and piano or orchestra Thornett's setting of this Epiphany text, also known as 'Brightest and best', makes effective use of arching melodies and a variety of choral textures. The piece builds to a dramatic final verse with a soprano/tenor descant, before a gentle ending. The accompaniment features bell effects and quotations of Gruber's famous 'Silent night' melody. For choirs who are low on male numbers, there are options for omitting tenor and bass divisi parts.