Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.

Male-centered theology, a dearth of men in the pews, and an overrepresentation of queer males in music ministry: these elements coexist within the spaces of historically black Protestant churches, creating an atmosphere where simultaneous heteropatriarchy and "real" masculinity anxieties, archetypes of the "alpha-male preacher", the "effeminate choir director" and homo-antagonism, are all in play. The "flamboyant" male vocalists formed in the black Pentecostal music ministry tradition, through their vocal styles, gestures, and attire in church services, display a spectrum of gender performances - from "hyper-masculine" to feminine masculine - to their fellow worshippers, subtly protesting and critiquing the otherwise heteronormative theology in which the service is entrenched. And while the performativity of these men is characterized by cynics as "flaming," a similar musicalized "fire" - that of the Holy Spirit - moves through the bodies of Pentecostal worshippers, endowing them religio-culturally, physically, and spiritually like "fire shut up in their bones". Using the lenses of ethnomusicology, musicology, anthropology, men's studies, queer studies, and theology, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes how male vocalists traverse their tightly-knit social networks and negotiate their identities through and beyond the worship experience. Author Alisha Jones ultimately addresses the ways in which gospel music and performance can afford African American men not only greater visibility, but also an affirmation of their fitness to minister through speech and song.

for soprano soloist, mixed choir, and orchestra or ensemble (with organ) This is one of the best-loved and most widely performed choral works of the twentieth century. The texts (in Latin and English) are from the Missa pro Defunctis, the Book of Common Prayer, and the Psalms. The seven sections form an arch-like meditation on the themes of life and death: prayers on behalf of all humanity, psalms, personal prayers to Christ, and in the central Sanctus an affirmation of divine glory. The full scores have been edited and engraved by the composer himself and are presented in handsome, cloth-bound editions. Vocal and orchestral material is available on hire.

Tonal consciousness, in the sense of a clear intuition about which note or chord a piece of music will finish on, is as much a part of our everyday experience of music as it is of contemporary music theory. This book asks to what extent such tonal consciousness might have operated in the minds of musicians of the Middle Ages, given the different tone world found in the modes of Gregorian chant, in troubadour and trouvere music, in Minnesang and in the early polyphony based upon chant. The author's approach is analytical, focusing on modality and balancing up-to-date concepts and methods of music analysis with those insights into their own compositional needs and processes that the people of the Middle Ages provided themselves through their writings about music. The book examines a range of both music sources and theoretical sources from the ninth to the thirteenth centuries. This is a ground-breaking contribution both to the study of medieval music and to music analysis.

The offertory has played a crucial role in recent vigorous debates about the origins of Gregorian chant. Its elaborate solo verses are among the most splendid of chant melodies, yet the verses ceased to be performed in the twelfth and thirteenth centuries, making them among the least known and studied members of the repertory. Rebecca Maloy now offers the first comprehensive investigation of the offertory, drawing upon its music, lyrics, and liturgical history to shed new light on its origins and chronology. Maloy addresses issues that are at the very heart of chant scholarship, such as the relationship between the Gregorian and Old Roman melodies, the nature of oral transmission, the presence of non-Roman pieces in the Gregorian repertory, and the influence of theoretical thought on the transmission of the melodies. Although the Old Roman chant versions were not recorded in writing until the eleventh century, it has long been assumed that they closely reflect the eighth-century state of the melodies. Maloy illustrates, however, that rather than preserving a pristine earlier version of the melodies, the prolonged period of oral transmission from the eighth to the eleventh centuries instead enforced a formulaic trend. Demonstrating that certain musical and textual traits of the offertory are distributed in distinct patterns by liturgical season, she outlines new chronological layers within the repertory, and along the way, explores the presence and implications of foreign imports into the Roman and Gregorian repertories. Carefully weighing questions surrounding the origins of elaborate verse melodies, Maloy deftly establishes that these melodies reached their final form at a relatively late date. Available for the first time as a complete critical edition, ninety-four Gregorian and Old Roman offertories are presented here in side-by-side transcriptions. A companion web site provides music examples and essays which elucidate these transcriptions with significant insights into their similarities and differences. Inside the Offertory will be an important and longstanding resource for all students and scholars of early liturgical music, as well as performers of early music and medievalists interested in music.

Johann Sebastian Bach's two surviving passions-St. John and St. Matthew-are an essential part of the modern repertory, performed regularly both by professional ensembles and amateur groups. These large, complex pieces are well loved, but due to our distance from the original context in which they were performed, questions and problems emerge. Bach scholar Daniel Melamed examines the issues we encounter when we hear the passions performed today, and offers unique insight into Bach's passion settings. Rather than providing a movement-by-movement analysis, Melamed uses the Bach repertory to introduce readers to some of the intriguing issues in the study and performance of older music, and explores what it means to listen to this music today. For instance, Bach wrote the passions for a particular liturgical event at a specific time and place; we hear them hundreds of years later, often a world away and usually in concert performances. They were performed with vocal and instrumental forces deployed according to early 18th-century conceptions; we usually hear them now as the pinnacle of the choral/orchestral repertory, adapted to modern forces and conventions. In Bach's time, passion settings were revised, altered, and tampered with both by their composers and by other musicians who used them; today we tend to regard them as having fixed texts to be treated mith respect. Their music was sometimes recycled from other compositions or reused itself for other purposes; we have trouble imagining the familiar material of Bach's passion settings in any other guise. Melamed takes on these issues, exploring everything from the sources that transmit Bach's passion settings today to the issues surrounding performance practice (including the question of the size of Bach's ensemble). He delves into the passions as dramatic music, examines the problem of multiple versions of a work and the reconstruction of lost pieces, explores the other passions in Bach's performing repertory, and sifts through the puzzle of authorship. Highly accessible to the non-specialist, the book assumes no technical musical knowledge and does not rely on printed musical examples. Based on the most recent scholarship and using lucid prose, the book opens up the debates surrounding this repertory to music lovers, choral singers, church musicians, and students of Bach's music.

In A Singing Approach to Horn Playing, author and renowned teacher-musician Natalie Douglass Grana develops the fundamental sense of pitch that is essential to play the horn. The book begins with simple songs to sing on solfege, buzz on the mouthpiece, and play on the horn, followed by inner hearing, transposition, and polyphonic exercises. Readers learn to fluidly hear the notes on the page before playing them, through sequential exercises with songs, improvisation, stick notation, and duets. Training continues with progressively challenging melodies, including canons as well as vocal etudes (solfeggi) like those of Giuseppe Concone. Finally, hornists apply their musicianship skills to standard etude, solo, and orchestral horn repertoire. Horn parts are provided with important lines from the orchestra or accompaniment, transposed to also be sung and played on the horn. Accompanying rhythmic and harmonic exercises enable performers to learn to hear the parts together as they play. Through a wide-ranging synthesis of theory, practical advice, and exercises, Douglass Grana puts forth a crucial guide for a new generation of horn players and burgeoning musicians seeking to improve and perfect their sense of pitch.

Contains two versions of the vocal parts - for SATB and piano or orchestra, or SS or SA and piano or orchestra.

50 carols for sopranos and altos (suitable for boys', girls', or women's choirs). It contains mostly simple arrangements of the best-loved carols, some less well-known ones, and four original pieces by Britten (2), Rutter, and Hadley. Most of the Christmas hymns are presented in two versions; for choirs only, unaccompanied, and for choir and audience/congregation, with accompaniment.
Orchestral accompaniments for many of the carols are available on hire.

This study investigates an almost unknown musical culture: that of cloistered nuns in one of the major cities of early modern Europe. These women were the most famous musicians of Milan, and the music composed for them opens up a hitherto unstudied musical repertory, which allows insight into the symbolic world of the city. Even more importantly, the music actually composed by four such nuns, Claudia Scossa, Claudia Rusca, Chiara Margarita Cozzollani, and Rosa Giacinta Badalla - reveals the musical expression of women's devotional life. The two centuries' worth of battles over nuns' singing of polyphony, studies here for the first time on the basis of massive archival documentation, also suggest that the implementation of reform in the major centre of post-Tridentine Catholic renewal was far more varied; incomplete, subject to local political pressure and individual interpretation, and short-lived than any religious historian has ever suggested. Other factors that marked nuns' musical lives and creative output - liturgical traditions of the religious orders, the problems of performance practice attendant upon all-female singing ensembles - are here addressed for the first time in the musicological literature.

Margot E. Fassler's richly documented history-winner of the Otto Kinkeldey Award from the American Musicological Society and the John Nicholas Brown Prize from the Medieval Academy of America-demonstrates how the Augustinians of St. Victor, Paris, used an art of memory to build sonic models of the church. This musical art developed over time, inspired by the religious ideals of Hugh and Richard of St. Victor and their understandings of image and the spiritual journey. Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris demonstrates the centrality of sequences to western medieval Christian liturgical and artistic experience, and to our understanding of change and continuity in medieval culture. Fassler examines the figure of Adam of St. Victor and the possible layers within the repertories created at various churches in Paris, probes the ways the Victorine sequences worked musically and exegetically, and situates this repertory within the intellectual and spiritual ideals of the Augustinian canons regular, especially those of the Abbey of St. Victor. Originally published in hardover in 1993, this paperback edition includes a new introduction by Fassler, in which she reviews the state of scholarship on late sequences since the original publication of Gothic Song. Her notes to the introduction provide the bibliography necessary for situating the Victorine sequences, and the late sequences in general, in contemporary thought.

The long-awaited third installment

In 2003, Robert Morgan released what would become a future classic for over a million readers, a unique book entitled "Then Sings My Soul. "This collection of the world's greatest hymns and the stories behind them stirred an entire generation to better understand the heritage of our faith through song.

Now, in the long-awaited third volume of this series, Morgan expands his material to include the great history of worship, the first biblical hymns, biographical sketches of the most interesting composers, and almost 60 generations of hymn singing. The new book also includes a collection of the greatest hymns you've never heard, with lead-sheets included.

All of this is in addition to even more standard hymns and the stories of the composers behind them.

Morgan's conclusion guides the reader into enjoying all of God's music, blending the old and the new into a symphony of praise that keeps the worship alive for a new generation.

Since her death in 1179, Hildegard of Bingen has commanded attention in every century. In this book Jennifer Bain traces the historical reception of Hildegard, focusing particularly on the moment in the modern era when she began to be considered as a composer. Bain examines how the activities of clergy in nineteenth-century Eibingen resulted in increased veneration of Hildegard, an authentication of her relics, and a rediscovery of her music. The book goes on to situate the emergence of Hildegard's music both within the French chant restoration movement driven by Solesmes and the German chant revival supported by Cecilianism, the German movement to reform Church music more generally. Engaging with the complex political and religious environment in German speaking areas, Bain places the more recent Anglophone revival of Hildegard's music in a broader historical perspective and reveals the important intersections amongst local devotion, popular culture, and intellectual activities.

for SATB and brass ensemble or full orchestra Gloria was written in 1974 in response to a commission from The Voices of Mel Olson, a choir based in the USA. The division of the work into three movements a respectively proclamatory, prayerful, and joyfully affirmative a corresponds to the divisions in the text. Most of the melodic material derives from a Gregorian chant associated with this text. An accompaniment for orchestra without organ is also available. Full scores, vocal scores, and instrumental parts are available on hire. The first movement of Gloria is available separately under the title Gloria 1.

Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.

The lyrics of our favorite hymns are rich in images that can help us in our daily walk with God--they are miniature Bible studies that lead us effortlessly toward worship, testimony, exhortation, prayer, and praise. Bestselling author Robert J. Morgan has gathered 366 hymns, including favorites such as "Amazing Grace" and "Rock of Ages," as well as classic, lesser-known gems. Each devotional begins with Scripture, includes a story about the hymn or its writer, along with the lyrics to the hymn, and ends with a prayer. Includes an index of hymn titles and first lines.

Camille Saint-Saens is a memorable figure not only for his successes as a composer of choral and orchestral works, and the eternally popular opera Samson et Dalila, but also because he was a keen observer of the musical culture in which he lived. A composer of vast intelligence and erudition, Saint-Saens was at the same time one of the foremost writers on music in his day. From Wagner, Liszt and Debussy to Milhaud and Stravinsky, Saint-Saens was at the center of the elite musical and cultural fin de siecle and early 20th Century world. He championed Schumann and Wagner in France at a period when these composers were regarded as dangerous subversives whose music should be kept well away from the impressionable student. Yet Saint-Saens himself had no aspirations to being a revolutionary, and his appreciation of Wagner the composer was tempered by his reservations over Wagner the philosopher and dramatist, suspicious as he was of what he called the Germanic preoccupation with going beyond reality. Whether defending Meyerbeer against charges of facility or Berlioz against those who questioned his harmonic grasp, Saint-Saens was always his own man: in both cases, he claimed, it was not the absence of faults but the presence of virtues that distinguishes the good composer. Saint-Saens's writings provide a well-argued counter-discourse to the strong modernist music critics who rallied around Debussy and Ravel during the fin de siecle. And above all, they demonstrate a brilliantly sharp and active brain, expressing itself through prose of a Classical purity and balance, enlivened throughout with flashes of wit and, at times, of sheer malice. In this generously annotated volume, renowned scholar, seasoned translator and radio broadcaster Roger Nichols brings some of the composer's most striking and evocative writings brilliantly to life in English translation, many for the first time. Nichols has carefully chosen these selections for their intrinsic interest as historical documents to create a well-balanced and engaging view of the man, the music, and the age.

for SSA and piano or orchestra This tender piece was composed in memory of the victims of Fukushima in 2011. It is both reflective and heartfelt, with a simple, appealing melody, rich harmonies, and a flowing accompaniment. It is a dual language publication, allowing for performance in both Japanese and English. Orchestral material is available on hire/rental.

An advertisement in the sheet music of the song "Goodbye Broadway, Hello France" (1917) announces: "Music will help win the war!" This ad hits upon an American sentiment expressed not just in advertising, but heard from other sectors of society during the American engagement in the First World War. It was an idea both imagined and practiced, from military culture to sheet music writers, about the power of music to help create a strong military and national community in the face of the conflict; it appears straightforward. Nevertheless, the published sheet music, in addition to discourse about gender, soldiering and music, evince a more complex picture of society. This book presents a study of sheet music and military singing practices in America during the First World War that critically situates them in the social discourses, including issues of segregation and suffrage, and the historical context of the war. The transfer of musical styles between the civilian and military realm was fluid because so many men were enlisted from homes with the sheet music while they were also singing songs in their military training. Close musical analysis brings the meaningful musical and lyrical expressions of this time period to the forefront of our understanding of soldier and civilian music making at this time.

How do the temporal features of sacred music affect social life in South Asia? Due to new time constraints in commercial contexts, devotional musicians in Bengal have adapted longstanding features of musical time linked with religious practice to promote their own musical careers. The Politics of Musical Time traces a lineage of singers performing a Hindu devotional song known as kirtan in the Bengal region of India over the past century to demonstrate the shifting meanings and practices of devotional performance. Focusing on padabali kirtan, a type of devotional sung poetry that uses long-duration forms and combines song and storytelling, Eben Graves examines how expressions of religious affect and political belonging linked with the genre become strained in contemporary, shortened performance time frames. To illustrate the political economy of performance in South Asia, Graves also explores how religious performances and texts interact with issues of nationalism, gender, and economic exchange. Combining ethnography, history, and performance analysis, including videos from the author's fieldwork, The Politics of Musical Time reveals how ideas about the sacred and the modern have been expressed and contested through features of musical time found in devotional performance.

A unique record of Poulenc (1899-1963) who is considered the greatest composer of melodies of his period, a period that opened with the aftermath of the First World War and closed as recently as 1960. He set to music poetry by all the greatest French twentieth century poets as well as others from earlier times. He wrote this diary of songs as an answer to what he felt were the frequent misinterpretations of his work. It describes the origins of each song, comments on performances he heard and offers guidelines for interpretation. The diary is filled out with explanatory notes, a collection of unfamiliar photographs and the English translation to the text written opposite the French original. It will appeal to singers who include French song in his or her repertoire and also to those who have an interest in music of this period. The translator, Winifred Radford is also the singer who gave the first performance in England of Poulenc's song cycle Fiancailles pour rire in 1945. She was coached by Poulenc and Pierre Bernac with whom she later translated The Interpretation of French Song and Francis Poulenc - The Man and his Songs.

This rhythmic and spirited setting of the familiar hymn starts off with men's voices split into three- to six-part harmony in homophony. The women join and the texture thickens and varies producing a broad and spacious sound, decorated with syncopation and dramatic pauses. This compelling arrangement is certain to gain standing ovations and is a 'must have' for larger church, concert, and university choirs.

Janet K. Page explores the interaction of music and piety, court and church, as seen through the relationship between the Habsburg court and Vienna's convents. For a period of some twenty-five years, encompassing the end of the reign of Emperor Leopold I and that of his elder son, Joseph I, the court's emphasis on piety and music meshed perfectly with the musical practices of Viennese convents. This mutually beneficial association disintegrated during the eighteenth century, and the changing relationship of court and convents reveals something of the complex connections among the Habsburg court, the Roman Catholic Church, and Viennese society. Identifying and discussing many musical works performed in convents, including oratorios, plays with music, feste teatrali, sepolcri, and other church music, Page reveals a golden age of convent music in Vienna and sheds light on the convents' surprising engagement with contemporary politics.