Renaissance Music for the Choral Conductor: A Practical Guide addresses the study and performance of Renaissance music in a way that is understandable to the musician at any level. It describes how to find a good edition, mark scores, rehearse, and conduct this type of music. It explains complex ideas from proportion to linear analysis and supplies step-by-step instructions on presenting madrigal dinners ideal vehicles for the presentation of Renaissance music. This guide contains traditional toasts, stage directions, lists of appropriate music, and even instruction on selected Renaissance dances. Summer also includes a large number of musical scores to aid in his explanations on marking scores, conducting, and analyzing polyphonic music. Renaissance Music for the Choral Conductor is the ideal textbook for choral literature and choral conducting classes at the undergraduate and graduate levels. It can serve as a reference for anyone who wishes to program and explore music from this period in greater depth, including church musicians and conductors of professional ensembles. The book concludes with a bibliography, glossary, and selected discography.

Each of the six movements of this fine suite is an exquisite character sketch based on a Psalm text. The movements are easily diverse enough to make the entire suite a very satisfying, and indeed virtuosic, recital piece. The highly original language is replete with piquant harmonies and bracing rhythms, and the composer explores a wide variety of organ texture with great deftness.

for SATB unaccompanied The graceful and playful melody begins with a soprano solo followed by mixed voices. Mostly unaccompanied, the organ may enter on the third verse if needed.

The 20th century, especially the latter decades, was a time of explosive growth and importance in hymnody, and yet published material about the hymnody of this period has been scattered and difficult to come by. The present volume catalogues and categorizes the available writings to guide students and scholars in their research. Furthermore, this reference does not depend primarily on the view of the author/compiler, but guides users toward a broad spectrum of viewpoints about 20th-century hymnody. Listing the principal writings on the repertory, language, practice, and people of hymnody during the last century, this annotated bibliography offers students and researchers alike a handy reference for a vast and varied field.

Beginning with a unique introduction to and summary of hymnody in the 20th century, Music arranges the entries by topic, dividing each chapter by helpful subject headings. The repertory of the twentieth century, and language issues are discussed. Practical elements of hymnody are covered, while the final chapter lists writings about individual hymn writers and other influential persons in the field. Music provides a brief annotation for each entry and uses numerous cross-references, guiding the reader to relevant material in other sections of the book. A comprehensive index concludes this essential reference.

There have been numerous publications in the last decades on the Bible in literature, film, and art. But until now, no reference work has yet appeared on the Bible as it appears in Western music. In The Bible in Music: A Dictionary of Songs, Works, and More, scholars Siobhan Dowling Long and John F. A. Sawyer correct this gap in Biblical reference literature, providing for the first time a convenient guide to musical interpretations of the Bible. Alongside examples of classical music from the Middle Ages through modern times, Dowling Long and Sawyer also bring attention to the Bible's impact on popular culture with numerous entries on hymns, spirituals, musicals, film music, and contemporary popular music. Each entry contains essential information about the original context of the work (date, composer, etc.) and, where relevant, its afterlife in literature, film, politics, and liturgy. It includes an index of biblical references and an index of biblical names, as well as a detailed timeline that brings to the fore key events, works, and publications, placing them in their historical context. There is also a bibliography, a glossary of technical terms, and an index of artists, authors, and composers. The Bible in Music will fascinate anyone familiar with the Bible, but it is also designed to encourage choirs, musicians, musicologists, lecturers, teachers, and students of music and religious education to discover and perform some less well-known pieces, as well as helping them to listen to familiar music with a fresh awareness of what it is about.

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.

Unique yet diverse in its approach, The Crucifixion in Music examines how text is set in music through the specific musicological period from 1680 to 1800. The treatise focuses specifically on the literary text of the Crucifixus from the Credo of the Ordinary of the Roman Catholic Mass. Combining analytical theory and method to address musical rhetoric, semiotics, and theory, author Jasmin Cameron follows the Crucifixion through many settings in Baroque and Classical music. In this first title in Scarecrow Press's new series, Contextual Bach Studies, Cameron studies musical representations of the text, first through a discussion that establishes a theoretical framework, then by applying the framework to individual case studies, such as Johann Sebastian Bach's B Minor Mass. By studying the musical representation of the text, and the concepts and contexts to which the words refer, Cameron examines the way the treatment of a literary text fuses into a recognizable musical tradition that composers can follow, develop, modify, or ignore. With equal time given to the settings of the Crucifixus by composers before and after Bach's time, the reader is provided with a fuller historical context for Bach's genius. Cameron also combines the beliefs of past theorists with those of today, reaching a common ground among them, and providing a basis and analytical framework for further study.

for SATB with keyboard Setting a 15th century text, this popular carol on the birth of Jesus is flowing and expressive. It has been recorded by the Cambridge Singers (directed by John Rutter) on the Collegium CD Christmas Night (COLCD 106). Full scores and parts for John Rutters accompaniment for string orchestra are available on sale.

Full score for John Rutter's joyful, sprightly carol Rejoice and sing!, which has been offprinted from Sir David Willcocks: A Celebration in Carols. With its uplifting 7/8 time signature, memorable melody, rich and diverse textures, and delightful orchestral accompaniment, this carol is a fitting tribute to one of the great names synonymous with Christmas: David Willcocks.

for SATB (with divisions) and piano or organ The third movement of McDowall's powerful Da Vinci Requiem, I obey thee, O Lord is a compelling pairing of the 'Lacrimosa' text from the Latin Missa pro defunctis with extracts from the Notebooks of Leonardo da Vinci, and has a poignant, tender simplicity. The composer has reworked the keyboard part from the parent work to facilitate performance by piano or organ.

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 book defines and describes the relationships between Chopin's music and one of the oldest but still used monastic rules, the Rule of Saint Benedict. Its goal is to construct bridges between music and spirituality. Since these two realms both refer to human life, the chapters of the book deal with current and existential issues such as beginnings, authority, weakness, interactions, emotions and others. The Rule of Saint Benedict and Chopin's music appear to belong to the same stylistic category of human culture, characterized by nobleness, moderation and high sensibility. In this way two seemingly incompatible realities reveal their affinity to each other, and the one may explain the other. The book is situated at the boundary of musicology and theology. Its discourse is illustrated by many examples, carefully chosen from Chopin's music.