|
Books > Music > Other types of music
Following Roy Newsome's highly acclaimed study Brass Roots: One
Hundred Years of Brass Bands and their Music, this book takes up
the story of bands and their development from the 1930s to the
start of the new millennium. Brass band contests continued to play
a significant role in the twentieth century, and this new book
contains a detailed consideration of both local and regional
contests and larger-scale national events such as the British Open
and the National Brass Band Championships. As in previous times,
the repertoire of bands has been greatly influenced by these
contests. Newsome explores competition works, but also the
development of an increasing number of concerto-style works
intended for concert performance. One of the keys to the continuing
popularity and success of the banding movement has been the
creation of school and youth brass bands. Sections of the book
devoted to younger generations of band players examine the changes
that have taken place in such bands. There is also an investigation
of the impact of radio, television and commercial recording on the
brass band industry. The book also contains a wealth of information
about leading bands and band personalities, and concludes with an
overview of the spread of interest in British-style banding
overseas.
Known for his orchestral, operatic and choral works, James
MacMillan (b. 1959) appeals across the spectrum of contemporary
music making. James MacMillan appeals across the spectrum of
contemporary music making and is particularly celebrated for his
orchestral, operatic and choral pieces. This book, published in
time to mark the composer's sixtieth birthday, is thefirst in-depth
look at his life, work and aesthetic. From his beginnings in rural
Ayrshire and his early work with Sir Peter Maxwell Davies, through
the international breakthrough success of The Confession of Isobel
Gowdie,the continuing success of works such as the percussion
concerto Veni, Veni, Emmaneul and his choral pieces, to his current
position as one of the most prominent British composers of his
generation, the book explores MacMillan's compositional influences
over time. It looks closely at his most significant works and sets
them in a wider context defined by contemporary composition,
culture and the arts in general. The book also considers
MacMillan's strong Catholic faith and how this has influenced his
work, along with his politics and his on-going relationship with
Scottish nationalism. With the support of the composer and his
publisher and unprecedented access to interviews and previously
unpublished materials, the book not only provides an appraisal of
MacMillan's work but also insights into what it means to be a
prominent composer and artist in the twenty-first century. PHILLIP
A. COOKE is a Composer and Senior Lecturer and Head of Music at the
University of Aberdeen. He has previously co-edited The Music of
Herbert Howells for Boydell.
There can be no doubt as to the authenticity of BWV 143 as a
genuine cantata by Johann Sebastian Bach. While the originals are
lost, there are second and third "generation" copies. This study
considers all known facts since the work's composition in the 18th
century and discusses in detail the criteria for judging the
authenticity of the work.
For Stacy Horn, regardless of what is going on in the world or
her life, singing in an amateur choir the Choral Society of Grace
Church in New York never fails to take her to a place where hope
reigns and everything good is possible. She s not particularly
religious, and her voice is not exceptional (so she says), but like
the 32.5 million other chorus members throughout this country,
singing makes her happy. Horn brings us along as she sings some of
the greatest music humanity has ever produced, delves into the
dramatic stories of conductors and composers, unearths
thefascinating history of group singing, and explores remarkable
discoveries from the new science of singing, including all the
unexpected health benefits. "Imperfect Harmony" is the story of one
woman who has found joy and strength in the weekly ritual of
singing and in the irresistible power of song."
The fifteen studies assembled here grew out of research on
south-Italian ordinary chants and tropes for the multi-volume
series Beneventanum Troporum Corpus II, edited by John Boe in
collaboration with Alejandro Planchart. In the present essays,
clerical and ordinary chants and tropes of the Mass (especially
when derived from paraliturgical hymns and poems), certain aspects
of chant notation and particular facets of the old Beneventan and
the old Roman chant repertories are examined in relation to the
three main cultic centres of the Italian south - Benevento,
Montecassino and Rome - and as they relate to their European
context, namely Frankish and Norman chant and the varieties of
chant sung in Italy north of Rome. The volume includes one
previously unpublished study, on the Roman introit Salus Populi.
The first study of the performance practice, repertoire and context
of the modern 'brass ensemble' in the musical world. Whereas the
British 'brass band' originated in the nineteenth century and
rapidly developed into a nationwide working-class movement, the
perceived modern 'brass ensemble' has a less clear foundation and
identity. This book is the first to focus exclusively on the
performance, practice, repertoire and context of the 'brass
ensemble' in the musical world. Following World War II, the brass
quintet and other orchestral groupings emerged in the United States
and Europe, with musical customs established by professional
players playing orchestral instruments. These groups initially
played a combination of the music of Gabrieli and his
contemporaries as well as newly commissioned works. By the late
twentieth century, however, repertory spanned works by Elliott
Carter, Maxwell Davies and Lutoslawski, together with music that
integrated jazz, commercial elements, and landmark transcriptions.
At the book's heart is the story of the London-based,
internationally acclaimed, Philip Jones Brass Ensemble. But this is
not a story of one ensemble, as the 'brass ensemble' can be defined
in several forms. The Modern Brass Ensemble in Twentieth-Century
Britain offers a comprehensive account by an author and performer
who was involved in many of the key developments of the modern
'brass ensemble'.
A survey of gospel singing, with attention to the relationship
between gospel and other black musical forms such as jazz and
rhythm and blues.
There are few works in existence that teach gospel singing and even
fewer that focus on what gospel soloists need to know. In So You
Want to Sing Gospel, Trineice Robinson-Martin offers the first
resource to help individual gospel singers at all levels make the
most of their primary instrument-their voice. Robinson-Martin
gathers together key information on gospel music history, vocal
pedagogy, musical style and performance, and its place in music
ministry. So You Want to Sing Gospel covers such vital matters as
historical, cultural and spiritual perspectives on the gospel music
tradition, training one's voice, understanding the dynamic of sound
production, grasping gospel style, and bringing together vocal
performance with ministerial imperatives. She also includes in her
discussion such matters as voice type, repertoire selection, and
gospel sub-genres. Additional chapters by Scott McCoy and Wendy
LeBorgne, and Matthew Edwards address universal questions of voice
science and pedagogy, vocal health, and audio enhancement
technology. The So You Want to Sing series is produced in
partnership with the National Association of Teachers of Singing.
Like all books in the series, So You Want to Sing Gospel features
online supplemental material on the NATS website. Please visit
www.nats.org to access style-specific exercises, audio and video
files, and additional resources.
Whilst Contemporary Worship Music arose out of a desire to relate
the music of the church to the music of everyday life, this
function can quickly be called into question by the diversity of
musical lives present in contemporary society. Mark Porter examines
the relationship between individuals' musical lives away from a
Contemporary Worship Music environment and their diverse
experiences of music within it, presenting important insights into
the complex and sometimes contradictory relationships between
congregants' musical lives within and outside of religious worship.
Through detailed ethnographic investigation Porter challenges
common evangelical ideals of musical neutrality, suggesting the
importance of considering musical tastes and preferences through an
ethical lens. He employs cosmopolitanism as an interpretative
framework for understanding the dynamics of diverse musical
communities, positioning it as a stronger alternative to common
assimilationist and multiculturalist models.
The first edition of this book is the classic study of one of the
most popular musical forms in early eighteenth-century France, not
only because it documents and examines its considerable repertoire
for the first time, but also because it places the genre in the
wider context of both French and Italian baroque music styles. In
uniting the two national styles the cantata was one of the major
influences in transforming the seventeenth-century French classical
tradition in music into a style that owed much to the Italian
baroque, yet retained a distinctive gallic expression. As well as
its musical interest, the French cantata provides an arresting
example of the influence of society upon music, and the book
commences with a chapter that views the emergence of the form in
its social setting. Cantata texts enjoyed a vogue as poetry and
this literary aspect is also dealt with in a separate chapter. This
new edition incorporates research by the author and other scholars
over the twenty years since the first edition, reflecting today's
growing interest in French baroque music. It also features a new
chapter dealing with the French cantata in performance.
This study of the Bach Choir provides a much-needed overview of one
of the major choral societies in London. Dr Basil Keen examines the
background that led to the formation of an ad hoc body to give the
first performance in England of J.S. Bach's B minor Mass. The
musical and organizational effects of a permanent choral society
drawn from one social group are traced during the first twenty
years, after such time the pressures of social change led to a
complete review followed by a restructuring of the methods of
recruitment and internal organization. The rebuilding of the choir
at the opening of the twentieth century, the expansion of the
repertoire, the upheaval resulting from the First World War and the
impact of these events on preparation and performance, are all
considered. The book is essentially structured around the tenure of
successive Musical Directors: Otto Goldschmidt, Charles Villiers
Stanford, Walford Davies, Hugh Allen, Ralph Vaughan Williams,
Adrian Boult, Reginald Jacques and David Willcocks, since their
varied tastes and interests inevitably had a decisive influence on
policy. Keen draws upon previously unpublished material, including
minutes and correspondence of the Bach Choir, interviews with
relatives and descendants, and examination of family records and
correspondence. To date, there has been no survey of a major London
choir that encompasses the full history of the organization in
context. In this study, Dr Basil Keen provides a thorough
examination of the Bach Choir, including the response of the choir
to social changes; the influence of conductors and officials;
changes in musical taste; relationships with composers and
composition; major national and international events; and the
effect of these matters on organization and repertoire.
for SA and piano or orchestra With a simple, appealing melody and a
flowing accompaniment, The Colours of Christmas evokes a touching
sense of longing for the joys of the festive season. An
accompaniment for orchestra is available on hire/rental.
Choral Sight Reading provides a practical and organic approach to
teaching choral singing and sight-reading. The text is grounded in
current research from the fields of choral pedagogy, music theory,
music perception and cognition. Topics include framing a choral
curriculum based on the Kodaly concept; launching the academic year
for beginning, intermediate, and advanced choirs; building partwork
skills; sight-reading; progressive music theory sequences for
middle to college level choirs; teaching strategies; choral
rehearsal plans as well as samples of how to teach specific
repertoire from medieval to contemporary choral composers. This
volume includes basic and advanced music theory concepts to develop
fluent sight-reading skills for reading standard choral repertoire,
providing examples for the process outlined in Chapters 6-8 of
Volume 1 (Choral Artistry). This guide provides choral directors
with a choral curriculum and choral rehearsal models that place
performance, audiation, partwork, music theory, and sight-signing
skills at the heart of the choral experience, through a 'sound
thinking' approach to teaching that results in greater efficiency
in creating independent choral singers with a well-rounded
repertoire.
The scholar Robin A. Leaver holds a unique place in sacred music
scholarship because of his training in both music and theology. He
has written widely, bringing acute insights on a variety of musical
repertories and topics related to Martin Luther, sixteenth-century
psalmody, hymnody, and the sacred music of Johann Sebastian Bach.
In Music and Theology, twelve scholars influenced by Leaver's work
contribute essays in diverse areas of sacred music history and
philosophy, focusing on the intersection of music and theology.
Ranging chronologically from the twelfth-century writer and
composer Hildegard of Bingen (1098-1179) to present-day
considerations of American church music and worship, the volume
provides thought-provoking new work for all who study church music.
Reflecting the prominent emphasis in Leaver's own scholarship,
eight chapters deal with the music of Johann Sebastian Bach,
including his organ music, sacred cantatas, and passion settings. A
final chapter provides a chronological listing of Leaver's own
voluminous writings on music and theology.
In the seventeenth century Bologna developed a rich and diverse
musical culture through the enterprise of musicians attached to the
Basilica of S. Petronio and affiliated to the Accademia
de'Filarmonici. Their achievements in the field of instrumental
music (sonata, concerto) and festive church music (concerted mass)
are well documented, but little of their output in the fields of
oratorio, amounting to 300 performances in the period 1659-1730,
has been subjected to critical scrutiny. This book relates the
genesis and development of oratorio in Bologna to the city's
religious, political, and cultural aspirations. The oratorio
repertory is surveyed in three historical phases: under Cazzati
(1657-74), Colonna (1675-95), and Perti (1696-1730), and eight
oratorios by the city's leading composers are analysed in detail. A
chronological list of performances is given in the Appendix.
This book is the first-ever study of Malta's major
eighteenth-century composer, Benigno Zerafa (1726 - 1804), a
specialist in sacred music composition. This book is the first-ever
study of Malta's major eighteenth-century composer, Benigno Zerafa
(1726-1804), a specialist in sacred music composition. Zerafa's
large-scale and small-scale vocal and choral works, mostly written
during his long service as musical director at the Cathedral of
Mdina, have been winning increased recognition in recent years. In
addition to describing and analysing this extensive corpus, the
book gives an account of Zerafa's sometimes eventful career against
the wider background of the rich musical and cultural life in
Malta, especial attention being paid to its strong links with
Italy, and particularly Naples, where Zerafa was a student for six
years. Itexamines in detail the complex relationship of music to
Catholic liturgy and investigates the distinctive characteristics
of the musical style, intermediate between baroque and classical,
in which Zerafa was trained and always composed: one that today is
commonly labelled "galant". Well stocked with music examples, the
book makes copious reference to Italian and Maltese composers from
Zerafa's time and to modern analytical studies of Italian music
from the middle decades of the eighteenth century, thereby offering
a useful general commentary on the galant period. Its central aim,
however, is to stimulate further interest in, and revival of,
Zerafa's music. To this end the book contains a complete work-list
with supplementary indexes. Scholars and students of
eighteenth-century music, in particular sacred music, the galant
style and Italian music, will find it invaluable. FREDERICK
AQUILINAis Senior Lecturer in Music Studies at the University of
Malta.
Lists and describes approximately 1,600 published and unpublished
choral works by more than 100 African-American composers and
arrangers, 600 more works than the first edition. Many of these
works, representing all styles from simple four-part settings to
avant-garde pieces, have not been performed before because of the
difficulty in locating them. White's bibliography provides a useful
tool for busy conductors wishing to perform music by
African-American composers, and serves as an incentive to choral
conductors to program little-known composers as well as unknown
works by established musicians. Arrangement is by composer. Entries
list number of pages; voicing and solo requirements; vocal ranges;
degree of difficulty; a cappella or type of accompaniment;
publishers; and catalog number. Also included are a title index; a
listing of selected collections of Negro spirituals; biographical
sketches of African-American composers and arrangers; and three
appendixes: selected source readings, selected discography, and
addresses of publishers and composers.
It has been said that the quickest way to God's innermost ear is
through niggunim - Jewish tunes chanted or sung as prayers.
Thousands of niggunim have been composed over the centuries, and
they remain an active part of Jewish life today. Sung in the
synagogue, around the Shabbos table, at farbrengenchasidic
get-togethers - at work, in solitude, to express joy or sorrow,
niggunim allow Jews to find that which is hidden deep within their
souls, to connect with God and their own spiritually without the
use of words. In Niggun: Stories behind the Chasidic Songs that
Inspire Jews, Mordechai Staiman relates thirty-eight tales in which
niggunim affect the lives of Jews. The stories range from those
about great chasidic rebbes of the past, such as "The Purpose of
Life", in which the Baal Shem Tov binds a Jew to the world of music
to help him find his way; through those from recent history, such
as "David without the Slingshot" and "Embers midst the Ruins",
where niggunim helped to save people from certain death at the
hands of the Nazis, and "Jerusalem on Her Mind", about
Soviet-Jewish emigres; to contemporary situations, as in "Jail
House Rock", in which the singing of a niggun helps to bring
holiday magic to Jewish prisoners on Riker's Island in New York
City, and "Leonard Bernstein Unbound", in which the great conductor
is so moved by a tune that he is prompted to wrap tefillin for the
first time. This wonderfully moving collection contains stories of
faith, of miracles and transformations, and of daily life, all
connected through the beauty of niggunim. According to the author,
the stories, or "prayers", as he calls them, contained in Niggun
will teach us about our deep, rich, Jewishheritage, helping us to
reclaim our inheritance and share in the Jewish legacy.
for SATB and organ or brass ensemble This arrangement of
Rimsky-Korsakov's 'Glory' (Slava, Op.21) by Terry Price brings this
popular Russian anthem to a wider audience. The original Russian
text has been replaced with a hymn by the arranger that draws
inspiration from words by Reginald Heber, verses from Revelation,
and the liturgy, and is particularly suitable for Easter, as well
as for general use. Price's arrangement of this rousing tune may be
accompanied by organ or brass ensemble, allowing for performance in
both church and concert settings.
Easter Sunday, 2009, was the Sunday heard 'round the evangelical
internet: NewSpring Church, the second-largest church in the
Southern Baptist Convention and among the top one hundred largest
churches in the US, had begun their service with the song "Highway
to Hell" by hard rock band AC/DC. They had brazenly crossed the
sacred/secular musical divide on the most important Sunday of the
year, and commentary abounded on the value of such a step. Many
were offended at the "desecration" of such a holy day, deriding
Newspring as the "theater of the absurd." Others cheered
NewSpring's engagement with "the culture" and suggested that music
could be used to convert non-Christians. No mere debate over
stylistic preferences, many expressed that foundational aspects of
evangelical identity were at stake. While many books have been
written about religious music that utilizes popular music styles
(a.k.a. "contemporary Christian music"), there has yet to be a
scholarly treatment of how and why popular, secular music is
utilized by churches. This book addresses that lacuna by examining
this emerging trend in evangelical and "emerging" churches in
America. What is the motivation behind using music that seemingly
has no connection to Christian theology, values, or themes-such as
music by Katy Perry, AC/DC, or Van Halen-and what can we learn
about post-denominational evangelical churches in America by
uncovering these motives? In this book, April Stace uncovers
several themes from an ethnographic study of these churches: the
increasingly-porous boundary between the sacred and the secular,
the importance placed on "authenticity" in contemporary American
culture, how evangelicals are responding to what they perceive is
an increasingly-secular society, the "turn to the subject" of
contemporary culture, the desire to leave a space for expression of
doubt in the worship service without fully authorizing that doubt,
and the individualization of the construction of religious identity
in the modern era.
This is the third volume in an on-going series of books surveying
the choral-orchestral repertoire. In this study, Green reviews
Bach's entire oeuvre, including the more than two hundred works
that are rarely performed and therefore rarely discussed. All
Bach's works from BWV1 to BWV249 are analyzed, making this volume
one of the most useful handbooks on this repertoire. Green reviews
each work in great detail, providing information such as an
instrumentation list, performance times, publishers, availability
of materials, manuscript location (when possible), the hand of the
copyist(s), text sources, a discography, and bibliographies
specific to each composition. Most importantly, for each work there
is a detailed description of the performance issues within the
score. This includes evaluations of each solo vocal role, an
evaluation of the choral and orchestral parts, along with an
estimation of their respective difficulties. There are a number of
indexes that provide brief biographical or historical information
about each text source indexed back to the works themselves. There
is also an index of works by type, vocal solos, choral voicing,
instrumentation, liturgical calendar, performance chronology,
title, and chorale usage.
The Politics of Verdi's Cantica treats a singular case study of the
use of music to resist oppression, combat evil, and fight
injustice. Cantica, better known as Inno delle nazioni / Hymn of
the Nations, commissioned from Italy's foremost composer to
represent the newly independent nation at the 1862 London
International Exhibition, served as a national voice of pride and
of protest for Italy across two centuries and in two very different
political situations. The book unpacks, for the first time, the
full history of Verdi's composition from its creation, performance,
and publication in the 1860s through its appropriation as
purposeful social and political commentary and its perception by
American broadcast media as a 'weapon of art' in the mid twentieth
century. Based on largely untapped primary archival and other
documentary sources, journalistic writings, and radio and film
scripts, the project discusses the changing meanings of the
composition over time. It not only unravels the complex history of
the work in the nineteenth century, of greater significance it
offers the first fully documented study of the performances, radio
broadcast, and filming of the work by the renowned Italian
conductor Arturo Toscanini during World War II. In presenting new
evidence about ways in which Verdi's music was appropriated by
expatriate Italians and the US government for cross-cultural
propaganda in America and Italy, it addresses the intertwining of
Italian and American culture with regard to art, politics, and
history; and investigates the ways in which the press and broadcast
media helped construct a musical weapon that traversed ethnic,
aesthetic, and temporal boundaries to make a strong political
statement.
for upper voices, SATB, and piano In this beautifully expressive
setting, Bob Chilcott has adapted the Prayer of Saint Francis, with
its focus on peace and unity. A semi-chorus, which may be taken
from within the choir or sung by an additional upper-voice or
children's choir, weaves Beethoven's iconic 'Ode to Joy' melody
into the texture to create a powerful presentation of the unifying
power of song.
|
You may like...
Fangirl Down
Tessa Bailey
Paperback
R295
R264
Discovery Miles 2 640
Vrydagaand
Elsa Winckler
Paperback
R339
Discovery Miles 3 390
Nagreisiger
Leon van Nierop
Paperback
R240
Discovery Miles 2 400
|