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Books > Music > Other types of music
Now with a new cover! This book offers the inspiring true stories
behind 101 of your favorite hymns. It is excellent for devotional
reading, sermon illustrations, and bulletin inserts, as well as for
historical or biographical research.
The liturgical chant sung in the churches of Southern Italy between
the ninth and thirteenth centuries reflects the multiculturalism of
a territory in which Romans, Franks, Lombards, Byzantines, Normans,
Jews, and Muslims were all present with various titles and
political roles. Chants, Hypertext, and Prosulas examines a
specific genre, the prosulas that were composed to embellish and
expand pre-existing liturgical chants. Widespread in medieval
Europe, prosulas were highly cultivated in southern Italy,
especially by the nuns, monks, and clerics of the city of
Benevento. These texts shed light on the creativity of local
cantors to provide new meanings to the liturgy in accordance with
contemporary waves of religious spirituality, and to experiment
with a novel musical style in which a syllabic setting is paired
with the free-flowing melody of the parent chant. In their
representing an epistemological 'beyond', and in their
interconnectedness with the parent chant, these prosulas can be
likened to modern hypertexts. In this book, author Luisa Nardini
presents the first comprehensive study to integrate textual and
musical analyses of liturgical prosulas as they were recorded in
Beneventan manuscripts. Discussing general features of prosulas in
southern Italy and their relation to contemporary liturgical genres
(e.g., tropes, sequences, hymns), Nardini firmly situates
Beneventan prosulas within the broader context of European musical
history. An invaluable reference for the field, Chants, Hypertext,
and Prosulas provides a new understanding of the phonetic and
morphological transformations of the Latin language in medieval
Italy, and clarifies the use of perennially puzzling features of
Beneventan notation.
Described as the "life and soul of British contemporary music",
Jane Manning is an internationally celebrated English concert and
opera soprano. In this new follow-up to her highly regarded New
Vocal Repertory, Volumes I and II, she provides a seasoned expert's
guidance and insight into the vocal genre she calls home. Vocal
Repertoire for the Twenty-First Century spans the late middle-20th
century through the second decade of the 21st. Manning's
comprehensive selection of contemporary art songs ranges from the
avant-garde to the more easily accessible, including substantial
song cycles, shorter encore pieces, and songs suitable for
auditions and competitions. The two-volume guide presents
expertly-informed selections tailored to particular voice types.
Each of the 160 selections is accompanied by a highly detailed
performance guide, music examples, levels of difficulty, and a
brief encapsulation of vocal characteristics or challenges
contained in the piece. A supplemental companion website provides
composer biographies and an up-to-date list of recommended
recordings. With a focus on younger composers in addition to
prominent figures, Manning encourages singers to refresh and expand
their recital repertoire into less familiar territory, and discover
the rewards therein. Volume 2 features works written from 2000
onwards, including pieces from contemporary composers Mohammed
Fairouz ("Annabel Lee"), Missy Mazzoli ("As Long as We Live"),
Judith Weir ("The Voice of Desire"), and Raymond Yiu ("The Earth
and Every Common Sight").
The foremost American musician of the eighteenth century, William
Billings wrote more than three hundred compositions and six musical
collections at a time when Americans were singing almost nothing
but British music. In this study, David McKay and Richard Crawford
depict the man, his music, and his place in the tradition of
American psalmody. The authors examine Billings' methods,
innovations, and interaction with the Boston society in which he
lived, placing overall emphasis on his influence on American
Protestant sacred music. David McKay is Associate Professor of
English at Worcester Polytechnic Institute. Richard Crawford is
Associate Professor of Music at the University of Michigan. He is
the author of Andrew Law, American Psalmodist (Northwestern, 1968).
Originally published in 1975. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
What should we consider when thinking about the relationship
between an onstage performance and the story the performance tells?
A Poetics of Handel's Operas explores this question by analyzing
the narratives of Handel's operas in relation to the rich
representational fabric of performance used to convey them. Nathan
Link notes that in most storytelling genres, the audience can
naturally discern between a story and the way that story is
represented: with film, for example, the viewer would recognize
that a character hears neither her own voiceover nor the ambient
music that accompanies it, whereas in discussions of opera, some
audiences may be distracted by the seemingly artificial nature of
such conventions as characters singing their dialogue. Link
proposes that when engaging with opera, distinguishing between the
performance we see and hear on the stage and the story represented
offers a meaningful approach to engaging with and interpreting the
work. Handel's operas are today the most-performed works in the
Baroque opera seria tradition. This genre, with its intricate
dramaturgy and esoteric conventions, stands to gain much from an
investigation into the relationships between the onstage
performance and the story to which that performance directs us. In
his analysis, Link offers theoretical studies on opera and
narratological theories of literature, drama, and film, providing
rich engagement with Handel's work and what it conveys about the
relationship between text, story, and performance.
Popular music in the twenty-first century is increasingly divided
into niche markets. How do fans, musicians, and music industry
executives define their markets' boundaries? What happens when
musicians cross those boundaries? What can Christian music teach us
about commercial popular music? In God Rock, Inc., Andrew Mall
considers the aesthetic, commercial, ethical, and social boundaries
of Christian popular music, from the late 1960s, when it emerged,
through the 2010s. Drawing on ethnographic research, historical
archives, interviews with music industry executives, and critical
analyses of recordings, concerts, and music festival performances,
Mall explores the tensions that have shaped this evolving market
and frames broader questions about commerce, ethics, resistance,
and crossover in music that defines itself as outside the
mainstream.
In" Culture on the Margins, "Jon Cruz recounts the "discovery"
of black music by white elites in the nineteenth century, boldly
revealing how the episode shaped modern approaches to studying
racial and ethnic cultures. Slave owners had long heard black song
making as meaningless "noise." Abolitionists began to attribute
social and political meaning to the music, inspired, as many were,
by Frederick Douglass's invitation to hear slaves' songs as
testimonies to their inner, subjective worlds. This interpretive
shift--which Cruz calls "ethnosympathy"--marks the beginning of a
mainstream American interest in the country's cultural margins. In
tracing the emergence of a new interpretive framework for black
music, Cruz shows how the concept of "cultural authenticity" is
constantly redefined by critics for a variety of purposes--from
easing anxieties arising from contested social relations to
furthering debates about modern ethics and egalitarianism.
In focusing on the spiritual aspect of black music,
abolitionists, for example, pivoted toward an idealized religious
singing subject at the expense of absorbing the more socially and
politically elaborate issues presented in the slave narratives and
other black writings. By the end of the century, Cruz maintains,
modern social science also annexed much of this cultural turn. The
result was a fully modern tension-ridden interest in culture on the
racial margins of American society that has long had the effect of
divorcing black culture from politics.
As the landscape of choral education changes - disrupted by Glee,
YouTube, and increasingly cheap audio production software -
teachers of choral conducting need current research in the field
that charts scholarly paths through contemporary debates and sets
an agenda for new critical thought and practice. Where, in the
digitizing world, is the field of choral pedagogy moving? Editor
Frank Abrahams and Paul D. Head, both experienced choral conductors
and teachers, offer here a comprehensive handbook of
newly-commissioned chapters that provide key scholarly-critical
perspectives on teaching and learning in the field of choral music,
written by academic scholars and researchers in tandem with active
choral conductors. As chapters in this book demonstrate, choral
pedagogy encompasses everything from conductors' gestures to the
administrative management of the choir. The contributors to The
Oxford Handbook of Choral Pedagogy address the full range of issues
in contemporary choral pedagogy, from repertoire to voice science
to the social and political aspects of choral singing. They also
cover the construction of a choral singer's personal identity, the
gendering of choral ensembles, social justice in choral education,
and the role of the choral art in society more generally. Included
scholarship focuses on both the United States and international
perspectives in five sections that address traditional paradigms of
the field and challenges to them; critical case studies on teaching
and conducting specific populations (such as international, school,
or barbershop choirs); the pedagogical functions of repertoire;
teaching as a way to construct identity; and new scholarly
methodologies in pedagogy and the voice.
Winner of the 2004 ARSC Award for Best Research in Recorded
Rock, Rhythm & Blues or Soul, The Holy Profane explores the
strong presence of religion in the secular music of
twentieth-century African American artists as diverse as Rosetta
Tharpe, Sam Cooke, Stevie Wonder, Marvin Gaye, Earth, Wind &
Fire, and Tupac Shakur. Analyzing lyrics and the historical
contexts which shaped those lyrics, Teresa L. Reed examines the
link between West-African musical and religious culture and the way
African Americans convey religious sentiment in styles such as the
blues, rhythm and blues, soul, funk, and gangsta rap. She looks at
Pentecostalism and black secular music, minstrelsy and its
portrayal of black religion, the black church, "crossing over" from
gospel to R&B, images of the black preacher, and the salience
of God in the rap of Tupac Shakur.
Traditionally, west European culture has drawn distinct
divisions between the secular and the sacred in music. Liturgical
music belongs in church, not on pop radio, and artists who fuse the
two are guilty of sacrilege. In the West-African worldview,
however, both music and the divine permeate every imaginable part
of life -- so much so that concepts like sacred and secular were
entirely foreign to African slaves arriving in the colonies. The
Western influence on African Americans eventually resulted in more
polarization between these two musical forms, and black musicians
who grew up singing in church were often lamented as hellbound once
they found popular success. Even these artists, however, never
completely left behind their West-African musical ancestry. Reed's
exploration of this trend in African American music connects the
work of today's artists to their West-African ancestry -- a
tradition that over two-hundred years of Western influence could
not completely stamp out.
This is a major collection of organ music for students, players,
and church musicians of all levels and abilities. Compiler and
editor Anne Marsden Thomas has drawn on her long experience of
teaching and playing to select the most attractive, tuneful
repertoire in two sets of graded anthologies, one set (3 volumes)
for manuals only, the second set (3 volumes) for manuals and
pedals. Within each book the pieces are grouped according to
service needs into Preludes, Interludes, Processionals, and
Postludes. The repertoire spans the 16th to the 21st century, with
some new pieces written especially for the collection. A number of
pieces throughout the collection have been selected for the ABRSM
organ syllabus. The result is a wonderful collection of repertoire
for all players, containing a wealth of attractive and varied
pieces that will offer much practical support for church musicians
and enrich and develop their playing.
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