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Books > Music > Other types of music
John Murray said of him, "Dr. Vos is, in my judgment, the most
penetrating exegete it has been my privilege to know, and I
believe, the most incisive exegete that has appeared in the
English-speaking world in this century." The uniqueness of Vos's
emphasis on the centrality of the covenantal work of Jesus Christ
in history and our possession of that work through His mediation
draws us back time and again to his powerful and passionate
sermons. Translated to the realm of glory itself through the
proclamation of the accomplished work of our covenant Lord, and by
the gift of His Spirit, we partake of unparalleled communion with
God and possess Him as our highest treasure presently in Christ as
our covenant God. Short of the consummation we have made His glory
and joy in His people our chief end in this pilgrim life.
This book charts the life of Arthur Sullivan-the best loved and
most widely performed British composer in history. While he is best
known for his comic opera collaborations with W. S. Gilbert, it was
his substantial corpus of sacred music which meant most to him and
for which he wanted to be remembered. His upbringing and training
in church music, and his own religious beliefs, substantially
affected both his compositions for the theatre and his more serious
work, which included oratorios, cantatas, sacred ballads,
liturgical pieces, and hymns. Focusing on the spiritual aspects of
Sullivan's life-which included several years as a church organist,
involvement in Freemasonry, and an undying attachment to Anglican
church music-Ian Bradley uses hitherto undiscovered letters, diary
entries, and other sources to reveal the important influences on
his faith and his work. No saint and certainly no ascetic, he was a
lover of life and enjoyed its pleasures to the full. At the same
time, he had a rare spiritual sensitivity, a sincere Christian
faith, and a unique ability to uplift through both his character
and his music that can best be described as a quality of divine
emollient.
Choral Music: A Research and Information Guide, Third Edition,
offers a comprehensive guide to the literature on choral music in
the Western tradition. Clearly annotated bibliographic entries
guide readers to resources on key topics within choral music,
individual choral composers, regional and sacred choral traditions,
choral techniques, choral music education, genre studies, and more,
providing an essential reference for researchers and practitioners.
Covering monographs, bibliographies, selected dissertations,
reference works, journals, electronic databases, and websites, this
research guide makes it easy to locate relevant sources.
Comprehensive indices of authors, titles, and subjects keep the
volume user-friendly. The new edition has been brought up to date
with entries encompassing the latest scholarship, and updated
references and annotations throughout, capturing the continued
growth of literature on choral music since the publication of the
second edition.
Choral music is now undoubtedly the foremost genre of participatory
music making, with more people singing in choirs than ever before.
Written by a team of leading international practitioners and
scholars, this Companion addresses the history of choral music, its
emergence and growth worldwide and its professional practice. The
volume sets out a historical survey of the genre and follows with a
kaleidoscopic bird's eye view of choral music from all over the
world. Chapters vividly portray the emergence and growth of choral
music from its Quranic antecedents in West and Central Asia to the
baroque churches of Latin America, representing its global
diversity. Uniquely, the book includes a pedagogical section where
several leading choral musicians write about the voice and the
inner workings of a choir and give their professional insights into
choral practice. This Companion will appeal to choral scholars,
directors and performers alike.
The theme of the essays in this volume is the identification of the
resources which between c.1320 and 1642 the English church saw fit
to provide for the performance of the music of its liturgy.
Individual essays describe the music and the choirs of Canterbury
and Lincoln Cathedrals, Winchester Cathedral Priory and the private
chapel of Cardinal Wolsey, while the personnel of the chapels of
Edward III, the Black Prince and John of Gaunt emerge from study of
the texts of compositions of the 14th century. From the alignment
of contemporary musical and archival sources there arises a web of
conclusions relating to the size of ensemble, vocal scoring and
sounding pitch envisaged by its composers for English church
polyphony of the period c.1320-1559. These essays thus encompass
the two most profound of the revolutions to which the music of the
English church was subject at this period: the inauguration and
widespread adoption of choral polyphony in the years c.1455-85 and
the liturgical and doctrinal Reformation of 1547 to 1563.
At publication date, a free ebook version of this title will be
available through Luminos, University of California Press's Open
Access publishing program for monographs. Visit www.luminosoa.org
to learn more. In the 1990s, Los Angeles was home to numerous
radical social and environmental eruptions. In the face of several
major earthquakes and floods, riots and economic insecurity, police
brutality and mass incarceration, some young black Angelenos turned
to holy hip hop-a movement merging Christianity and hip hop
culture-to "save" themselves and the city. Converting street
corners to airborne churches and gangsta rap beats into anthems of
praise, holy hip hoppers used gospel rap to navigate complicated
social and spiritual realities and to transform the Southland's
fractured terrains into musical Zions. Armed with beats, rhymes,
and bibles, they journeyed through black Lutheran congregations,
prison ministries, African churches, reggae dancehalls, hip hop
clubs, Nation of Islam meetings, and Black Lives Matter marches.
Zanfagna's fascinating ethnography provides a contemporary and
unique view of black LA, offering a much-needed perspective on how
music and religion intertwine in people's everyday experiences.
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Vocalise
(Sheet music)
Sergej Wassiljewitsch Rachmaninow; Arranged by Stephen Jackson
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R122
Discovery Miles 1 220
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Ships in 9 - 15 working days
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Un analisis del muy conoci-do lider de adoracion respecto al
ministerio de la musica.
Dance Music of the French Baroque brings together information on
rhythm from the interrelated fields of music, dance, poetry,
rhetoric, and philosophy. Part I is devoted to the various factors
involved in dance rhythms, including tempos, rhythmic feet, dance
steps, declamation of lyrics, instrumental articulation, and
performance of ornaments.
Part II describes in alphabetic order the fifteen most
frequently encountered dances of the period and identifies the most
typical performance of each in relation to the factors discussed in
Part I. With reference to numerous illustrations and musical
examples, it clearly conveys the manner in which the allemandes,
bourees, chaconnes, gigues, etc., may be executed. This practical
book presents a myriad of information in a form that is easy to use
yet as graceful as the dances it describes."
How can a traditional music with little apparent historical
connection to Berlin become a way of hearing and making sense of
the bustling German capital in the twenty-first century? In
Sounding Jewish in Berlin, author Phil Alexander explores the
dialogue between the city's contemporary klezmer scene and the
street-level creativity that has become a hallmark of Berlin's
decidedly modern urbanity and cosmopolitanism. By tracing how
klezmer music engages with the spaces and symbolic meanings of the
city, Alexander sheds light on how this Eastern European Jewish
folk music has become not just a product but also a producer of
Berlin. This engaging study of Berlin's dynamic Yiddish music scene
brings together ethnomusicology, cultural studies, and urban
geography to evoke the sounds, atmospheres, and performance spaces
through which klezmer musicians have built a lively set of musical
networks in the city. Transcending a restrictive framework that
considers this music solely in the context of troubled
German-Jewish history and notions of guilt and absence, Alexander
shows how Berlin's current klezmer community-a diverse group of
Jewish and non-Jewish performers-imaginatively blend the genre's
traditional musical language with characteristically local tones to
forge an adaptable and distinctively twenty-first-century version
of klezmer. Ultimately, the music's vital presence in Berlin is
powerful evidence that if traditional music is to remain audible
amid the noise of the urban, it must become a meaningful part of
that noise.
SPANISH EDITION.This is one of the most popular hymnals, used by
million of believers because it contains traditional hymns as well
as praise and worship songs.
for SATB (with divisions) and piano This dazzling work presents an
exploration of light in its many forms and uses, from starlight and
sunlight to electricity, photosynthesis, or guiding ships to
safety. Both piano and voices are used pictorially, conjuring the
beautifully descriptive images from Charles Bennett's text in a
musical setting that contrasts moments of high energy and
tranquility. Lightwaves is sure to capture the imagination and
provide an illuminating take on this fascinating subject.
Michael Tippett's oratorio A Child of Our Time was written at the beginning of the second world war as an expression of "man's inhumanity to man." This Handbook discusses the significant musical and literary features of this remarkable work within its specific historical, social and stylistic context. Attention is given to the shaping of Tippett's own text as well as its musical representation. Also of importance is the initial critical reception of the work, a reception that defined certain responses that still surround the work today.
Irish-born and Irish-descended soldiers and sailors were involved
in every major engagement of the American Civil War. Throughout the
conflict, they shared their wartime experiences through songs and
song lyrics, leaving behind a vast trove of ballads in songbooks,
letters, newspaper publications, wartime diaries, and other
accounts. Taken together, these songs and lyrics offer an
underappreciated source of contemporary feelings and opinions about
the war. Catherine V. Bateson's Irish American Civil War Songs
provides the first in-depth exploration of Irish Americans' use of
balladry to portray and comment on virtually every aspect of the
war as witnessed by the Irish on the front line and home front.
Bateson considers the lyrics, themes, and sentiments of wartime
songs produced in America but often originating with those born
across the Atlantic in Ireland and Britain. Her analysis gives new
insight into views held by the Irish migrant diaspora about the
conflict and the ways those of Irish descent identified with and
fought to defend their adopted homeland. Bateson's investigation of
Irish American song lyrics within the context of broader wartime
experiences enhances our understanding of the Irish contribution to
the American Civil War. At the same time, it demonstrates how Irish
songs shaped many American balladry traditions as they laid the
foundation of the Civil War's musical soundscape.
Jane Dolby fell in love with a fisherman - the most dangerous
peacetime occupation that exists - leading her to find a place in a
traditional British world that many have forgotten. Jane was not
expecting to fall in love, but she did with Colin, a local
fisherman in her hometown. Then one day she faces the loss every
fisherman's wife fears: the disappearance of her husband when his
boat overturns at sea. Three days later, the boat is finally
dredged up, without Colin. At the same time as Jane struggles with
her grief, she must fight to keep a roof over her family's heads.
With the help and kindness of friends and strangers, the fishing
world rallies around one of their own and in time, Jane forms a
plan to give something back to the community that has helped her.
Jane brings together 40 women from fishing communities up and down
the country to release a charity single, founding The Fishwives
Choir, and gives a voice to women previously unheard. SONG OF THE
SEA is the true story of one woman's love and loss, and after years
in which grief stole her ability to sing, she finds her own voice
again.
Sing Carols! is a collection of traditional carols and Christmas
songs for carol singers of all ages, compiled and arranged by
composer Harry Escott. Featuring all your favourites, every song in
this collection can be sung as a single unison line, with
easy-to-learn second and third parts provided for some.
Additionally, there are some accompaniment suggestions for all the
carols that are easy to perform outside and accompanying backing
tracks are available to download.
The endless wars of the seventeenth century took their toll in the
lives of millions of soldiers and crushing taxes. To legitimise
war, Europe s rulers turned to the Church: O God, we praise you ,
Te Deum Laudamus, was sung in the churches of France and Sweden to
celebrate victory in battle. It was a way of thanking God, but also
an opportunity for congregations to learn what had happened -- and
an occasion for festivities. In this book, the historian Anna Maria
Forssberg applies a narrative and ritual perspective to the Te
Deum, looking at specific wars such as the Thirty Years War and at
themes such as peace and enmity. This is a unique, comparative
study of war propaganda in early modern times, and how it defined
the roles of ruler and ruled alike. There were national
differences, but ultimately all war stories were highly selective.
Bloody defeat and uneventful everyday life were glossed over; what
mattered were spectacular victories and royal glory. Yet in the
end, the war stories peddled in both Sweden and France were
profoundly challenged by the crisis of 1709.
In Book 1 of "The Singing Thing", John Bell explored the reasons
why people sing. In Book 2 he is concerned with learning and
teaching. How do people pick up new music? How do you encourage a
congregation to learn a new song? How can you breathe new life into
quality hymnody which has gone stale? With both tact and
irreverence, John Bell shares insights culled from over 20 years of
experience in this field.
Most choirs spend their rehearsal time focusing on notes, rhythms,
and precision. They rarely, if ever, discuss a song s meaning and
feeling, even though those elements are precisely what draws people
to the music in the first place. Thousands of books have been
written about choral technique, teaching people how to sing
technically well. What sets The Heart of Vocal Harmony apart is its
focus on honest unified expression and the process of delivering an
emotionally compelling performance. It delves into an
underdeveloped vocal topic the heart of the music and the process
involved with expressing it. The Heart of Vocal Harmony is not just
for a cappella groups it is also for vocal harmony groups,
ensembles, and choirs at all levels, with or without instruments.
In addition to the process, the book features discussions with some
of the biggest luminaries in vocal harmony: composers, arrangers,
directors, singers, and groups including Eric Whitacre, Pentatonix,
the Manhattan Transfer, and more!
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