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Books > Music > Other types of music
Faure was not drawn to compose a Requiem because of the death of a
loved one, even though his mother had died during the early stages
of composition and his father had passed away two years before.
Faure's composition does not set his Requiem to the standard
liturgical text, instead adding a lyrical Pie Jesu and transcendent
Paradisum, and omitting the Dies Irae and Tuba Mirum - which, for
most composers, are opportunities to demonstrate the dramatic
possibilities available with the choral and orchestral forces. As a
result the mood of the Requiem is relatively calm and peaceful and
often referred to as a lullaby of death. Faure's unconventional
composition has become a firm favourite in the repertoire and
available here is the vocal score, for soloists and SATB choir with
piano accompaniment, as edited by Desmond Ratcliffe.
England in the fifteenth century was the cradle of much that would
have a profound impact on European music for the next several
hundred years. Perhaps the greatest such development was the cyclic
cantus firmus Mass, and scholarly attention has therefore often
been drawn to identifying potentially English examples within the
many anonymous Mass cycles that survive in continental sources.
Nonetheless, to understand English music in this period is to
understand it within a changing nexus of two-way cultural exchange
with the continent, and the genre of the Mass cycle is very much at
the forefront of this. Indeed, the question of 'what is English'
cannot truly be answered without also answering the question of
'what is continental'. This book seeks, initially, to answer both
of these questions. Perhaps more importantly, it argues that a
number of the works that have induced the most scholarly debate are
best seen through the lens of intensive and long-term cultural
exchange and that the great binary divide of provenance can, in
many cases, productively be broken down. A great many of these
works, though often written on the continent, can, it seems, only
be understood in relation to English practice - a practice which
has had, and will continue to have, major importance in the ongoing
history of European Art Music.
(Piano Method). The great Baroque master composer Johann Sebastian
Bach (1685-1750) wrote music for every combination of instruments
and voices. His simplest and purest work are four-part chorale
compositions and settings, so perfectly constructed that they evoke
meditative spirituality. "Figured bass" was a Baroque system of
notating harmony. In addition 371 chorales, this collection
includes 69 melodies with figured bass. This classic Schirmer
edition, edited by Albert Riemenschneider, has sold over 1,000,000
copies since its release in the early 20th century. Primarily for
keyboard, the chorales can also be played by other instruments.
The normative edition for all who sing, choir and congregation
alike, containing all hymns and service music.
This is the standard Book of Common Prayer (BCP) and Administration
of the Sacraments and Other Rites and Ceremonies of the Church
together with The Psalter or Psalms of David according to use in
the Episcopal Church in the United States as authorized in 1979.
Included is the normative edition of The Hymnal 1982 for all who
sing -choir and congregation alike -containing all hymns and
service music. Genuine leather, gold edges, ribbon markers, gift
box. IMPRINTABLE BUT NOT BY PUBLISHER"
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.
In " Subculture to Clubculture " Steve Redhead responds to the
separation of 'youth' and 'pop' in the 1980's and the fragmentation
of the audience for popular music in the 1990's.
The B-minor Mass has always represented a fascinating challenge to
musical scholarship. Composed over the course of Johann Sebastian
Bach's life, it is considered by many to be the composer's greatest
and most complex work. The fourteen essays assembled in this volume
originate from the International Symposium 'Understanding Bach's
B-minor mass' at which scholars from eighteen countries gathered to
debate the latest topics in the field. In revised and updated form,
they comprise a thorough and systematic study of Bach's Opus
Ultimum, including a wide range of discussions relating to the
Mass's historical background and contexts, structure and
proportion, sources and editions, and the reception of the work in
the late eighteenth and early nineteenth centuries. In the light of
important new developments in the study of the piece, this
collection demonstrates the innovation and rigour for which Bach
scholarship has become known.
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.
The music of the sixteenth century has been "rediscovered"
regularly since its composition. It was an especially fertile
period for English music in particular, and to put the century in a
historical and musicological perspective, this volume spans the era
from 1485 to 1625, although in order to provide context and
perspective the contributors range back to the middle of the
fifteenth century and towards the end on the seventeenth.
The book opens with a history of music and musicians in Tudor
England, covering composition and performance, as well as the
changing functions of music over the period. Two chapters are
dedicated to sacred and church music. They cover the last years of
Pre-Reformation England (especially the music of Fayrfax, Ashwell,
Taverner, and the organ music of Redford, Preston and Rhys), the
composers who span the charge to Anglicanism (for example Sheppard
and Tallis) and those (such as Tye, Byrd, Morley, Weelkes, Hooper
and Gibbons) who helped lay the foundations for the rich heritage
of Anglian church music that remains so vibrant a part of the
church today. These chapters also consider the particular problems
of those who continued to write Latin music after the Reformation
(in particular Parsons, White and Byrd). The final three chapters
of the book are devoted respectively to secular vocal music, to
keyboard music, and to ensemble and lute music. These chapters
include a detailed discusson of Tudor partsong, of the consort
song, of English Madrigalists, the English Virginal School, the
English lutenists and the rich variety of muic for ensemble. The
book concludes with full bibliographies and with a comprehensive
index.
On December 15, 1944, Maj. Alton Glenn Miller, commanding officer
of the Army Air Force Band (Special), boarded a plane in England
bound for France with Lt. Col. Norman Francis Baessell. Somewhere
over the English Channel the plane vanished. No trace of the
aircraft or its occupants has ever been found. To this day Miller,
Baessell, and the pilot, John Robert Stuart Morgan, are classified
as missing in action. Weaving together cultural and military
history, Glenn Miller Declassified tells the story of the musical
legend Miller and his military career as commanding officer of the
Army Air Force Band during World War II. After a brief assignment
to the Army Specialist Corps, Miller was assigned to the Army Air
Forces Training Command and soon thereafter to Supreme
Headquarters, Allied Expeditionary Force, in the UK. Later that
year Miller and his band were to be transferred to Paris to expand
the Allied Expeditionary Forces Programme, but Miller never made
it. Miller's disappearance resulted in numerous conspiracy
theories, especially since much of the information surrounding his
military service had been classified, restricted, or, in some
cases, lost. Dennis M. Spragg has gained unprecedented access to
the Miller family archives as well as military and government
documents to lay such theories to rest and to demonstrate the
lasting legacy and importance of Miller's life, career, and service
to his country.
for SATB chorus and orchestra This joyous arrangement of a
traditional spiritual for choir and orchestra is propelled by a
light swing tempo. The mood grows more and more euphoric with each
succeeding stanza of text, and the uplifting music surges towards
an opulent conclusion.
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O Albion
(Sheet music)
Thomas Ades; Arranged by Jim Clements
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Discovery Miles 730
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Ever since its premiere in 1994, Thomas Ades' first string quartet,
Arcadiana has been captivating audiences with its evocations of
vanishing, vanished, and imaginary idylls. Of all the work's
movements it is O Albion that has most captured the imagination of
listeners: seventeen sighing, devotissimo bars that, in only three
minutes, conjure a whole emotional world. This arrangement for
SSAATTBB voices was created by Jim Clements for vocal group Voces8,
who recorded it for Decca in 2018. It sets a line from William
Blake's Visions of the Daughters of Albion: 'The Daughters of
Albion hear her woes, and echo back her sighs.' A piano part is
included for rehearsal.
When rock 'n' roll emerged in the 1950s, ministers denounced it
from their pulpits and Sunday school teachers warned of the music's
demonic origins. The big beat, said Billy Graham, was "ever working
in the world for evil." Yet by the early 2000s Christian rock had
become a billion-dollar industry. The Devil's Music tells the story
of this transformation. Rock's origins lie in part with the
energetic Southern Pentecostal churches where Elvis, Little
Richard, James Brown, and other pioneers of the genre worshipped as
children. Randall J. Stephens shows that the music, styles, and
ideas of tongue-speaking churches powerfully influenced these early
performers. As rock 'n' roll's popularity grew, white preachers
tried to distance their flock from this "blasphemous jungle music,"
with little success. By the 1960s, Christian leaders feared the
Beatles really were more popular than Jesus, as John Lennon
claimed. Stephens argues that in the early days of rock 'n' roll,
faith served as a vehicle for whites' racial fears. A decade later,
evangelical Christians were at odds with the counterculture and the
antiwar movement. By associating the music of blacks and hippies
with godlessness, believers used their faith to justify racism and
conservative politics. But in a reversal of strategy in the early
1970s, the same evangelicals embraced Christian rock as a way to
express Jesus's message within their own religious community and
project it into a secular world. In Stephens's compelling
narrative, the result was a powerful fusion of conservatism and
popular culture whose effects are still felt today.
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.
50 Christmas carols
The volumes of Carols for Choirs have established themselves as the
quintessential carol books for carol-singers around the world. Each
volume presents a wide rage of carols to suit every occasion, from
well-known tunes superbly arranged to be the best original
compositions. Carols for Choirs 1 includes carols for audience and
congregation with varied harmonizations and festive descants, the
full text of the traditional Nine Lessons printed in the appendix,
and a detailed list of the carol orchestrations available on
rental.
Orchestrations for several of the carols from this collection are
available on sale or hire under the titles Three Carol
Orchestrations and Five Christmas Carols.
Eight Carol Accompaniments for 5 and 8 part brass (to accompany
carols from CfC1 and CfC2) are also on sale.
The world's most famous hymn book has undergone a complete revision
and now offers the broadest ever range of traditional hymns and the
best from today's composers and hymn/song writers. 150 years since
its first publication and after sales of 170 million copies, this
brand new edition contains over 840 items, ranging from the Psalms
to John Bell, Bernadette Farrell and Stuart Townend. The guiding
principles behind this collection are: * congregational singability
* biblical and theological richness * musical excellence *
liturgical versatility * relevance to today's worship styles and to
today's concerns New features include added provision for all the
seasons of the Church year, new items for carol services and other
popular occasions where the repertoire is in need of refreshing,
more choices for all-age worship, fresh translations of some
ancient hymnody, beautiful new tunes, short songs and chants -
alleluias, kyries, blessings etc. and music from the world church.
A full range of indexes (including biblical and thematic) and a
helpful guide to choosing hymns for every occasion will help to
make Ancient & Modern the premier hymn collection of choice.
This is the Full Music edition.
This book is a pioneering attempt to explore the fascinating and
hardly known realm of reciting poetry in medieval and Renaissance
Italy. The study of more than 50 treatises on both music and
poetry, as well as other literary sources and documents from the
period between 1300 and 1600, highlights above all the practice of
parlar cantando («speaking through singing - the term found in De
li contrasti, a fourteenth-century treatise on poetry) as rooted in
the art of reciting verses. Situating the practice of parlar
cantando in the context of late medieval poetic delivery, the
author sheds new light on the origin and history of late
Renaissance opera style, which their inventors called stile
recitativo, rappresentativo or, exactly, parlar cantando. The
deepest roots of the Italian tradition of parlar cantando are thus
revealed, and the cultural background of the birth of opera is
reinterpreted and revisited from the much broader perspective of
what appears to be the most important Italian mode of music making
between the age of Dante and Petrarch and the beginning of Italian
opera around 1600.
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