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Books > Arts & Architecture > Music > Other types of music
Cantique de Jean Racine was written in 1865 during Faure's final
year at the Ecole Niedermeyer, winning him the first prize for
composition, and this elegant work now holds a cherished place in
the choral repertory for both sacred and secular occasions.
Presented with an English singing translation in addition to the
original French, John Rutter's edition includes an accompaniment
for organ or piano, and the work may also be performed with the
transcription for harp and strings (available separately),
compatible with the instrumentation for the OUP edition of the
Faure Requiem in its 1893 version. Complete orchestral and vocal
material is available on hire/rental and on sale. In addition, an
arrangement for upper voices (SSAA) with Faure's original keyboard
accompaniment is available on sale.
As a young, up and coming electrical engineer living in England,
Ray Brooks had everything he could want a high paying job, late
nights, and fast cars. All he was missing in his life was the
meaning. A series of events brought him to Japan, where he met a
man who played the shakuhachi, an ancient Japanese flute. That
fortuitous interaction motivated Brooks to embark on a journey to
learn this very difficult instrument. Through playing the
shakuhachi, he began to understand the Zen discipline that is a
crucial aspect of Japanese culture. This understanding greatly
changed his outlook on life, putting him in touch with his
authentic self. Blowing Zen s humor and its irresistible story of
cultures converging lets the underlying message come through
without preachiness: life is about finding your true calling, not
just what brings you superficial joy. Brooks spontaneous approach
to the collaboration of art, mind, body, and spirit is inspiring
and instructive. This uplifting memoir has been entrancing readers
since its release in 2000, and it is now being re-released with a
new chapter and lots of photographs. This is the expanded and
revised edition with photos.
This popular collection of 280 musical pieces from both the African
American and Gospel traditions has been compiled under the
supervision of the Office of Black Ministries of the Episcopal
Church. It includes service music and several psalm settings in
addition to the Negro spirituals, gospel songs, and hymns.
In "Subculture to Clubcultures" Steve Redhead responds to the
separation of 'youth' and 'pop' in the 1980s and the fragmentation
of the audience for popular music in the 1990s, arguing for a
redefinition of the conceptual apparatus needed to explain the most
recent developments in popular music culture - from the rise of
'Clubcultures' to the future of the popular music scene. The
coverage in this book includes: the dance pop culture of the 1980s
and 1990s; global youth culture as it was dynamized in this period
by Garage, House, Electro, Techno and other contemporary dance
music forms; and, the consequences of this for the continued
importance of various forms of rock and pop music and a range of
theoretical approaches to the economic and cultural condition of
the postmodern.
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.
Tracing the connections between music making and built space in
both historical and contemporary times, Music, Sound, and
Architecture in Islam brings together domains of intellectual
reflection that have rarely been in dialogue to promote a greater
understanding of the centrality of sound production in constructed
environments in Muslim religious and cultural expression.
Representing the fields of ethnomusicology, anthropology, art
history, architecture, history of architecture, religious studies,
and Islamic studies, the volume's contributors consider sonic
performances ranging from poetry recitation to art, folk, popular,
and ritual musics-as well as religious expressions that are not
usually labeled as "music" from an Islamic perspective-in relation
to monumental, vernacular, ephemeral, and landscape architectures;
interior design; decoration and furniture; urban planning; and
geography. Underscoring the intimate relationship between
traditional Muslim sonic performances, such as the recitation of
the Qur'an or devotional songs, and conventional Muslim
architectural spaces, from mosques and Sufi shrines to historic
aristocratic villas, gardens, and gymnasiums, the book reveals
Islam as an ideal site for investigating the relationship between
sound and architecture, which in turn proves to be an innovative
and significant angle from which to explore Muslim cultures.
Book & DVD. This book presents for the first time the complete
chant repertory of an orally transmitted repertory of church hymns
for the celebration of the Byzantine Rite in Sicily. This body of
chant has been cultivated by the Albanian-speaking minorities since
their predecessors from Albania and northern Greece arrived in
Sicily as refugees in the late fifteenth century, as a result of
the Turkish invasion of the Balkan region. Bartolomeo di Salvo
(19161986), a Basilean monk from the monastery of Grottaferrata,
prepared the transcriptions for the series Monumenta Musicae
Byzantinae in the 1950s, but they were never published. Girolamo
Garofalo, ethnomusicologist from Palermo, and Christian Troelsgard,
secretary of the Monumenta Musicae Byzantinae, Copenhagen, have
discovered the transcriptions and related documents in archives in
Sicily, Grottaferrata, Rome and Copenhagen. As a result of their
findings, this unique chant collection is now being made available
for the first time. The languages used in the book are English /
Italian (front matter and indices) and Greek (the chant texts).
This is a selection of the best-loved carols and hymns for Advent, Christmas, Epiphany, and Easter: 74 of the most popular titles from Carols for Choirs 1, 2 and 3, plus 26 titles new to the series. There are carols suitable for both sacred and secular occasions, and both accompanied and unaccompanied material. The Order of Service for a Festival of Nine Lessons and Carols is included.
for organ
Part of the progressive series for manuals, this third book
includes 12 titles for the advanced organist.
This collection of dances includes detailed diagrams for ease of
learning the steps. The dances originate from the island of Barra.
A second collection of 50 carols, mostly for SATB, some
unaccompanied, and some having accompaniments for piano, organ,
orchestra, or brass ensemble. Many of the carols are from
traditional sources, rearranged, as well as carols written
especially for this volume by composers including William Walton,
Benjamin Britten, Richard Rodney Bennett, and William Mathias.
Instrumental material for most of the accompanied items is
available on hire. Eight Carols for Brass for 5 and 8 part brass
(to accompany carols from Carols for Choirs 1 and Carols for Choirs
2) are also on sale.
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.
A new method of music theory education for undergraduate music
students, Harmony, Counterpoint, Partimento is grounded in schema
theory and partimento, and takes an integrated, hands-on approach
to the teaching of harmony and counterpoint in today's classrooms
and studios. A textbook in three parts, the package includes: * the
hardcopy text, providing essential stylistic and technical
information and repertoire discussion; * an online workbook with a
full range of exercises, including partimenti by Fenaroli, Sala,
and others, along with arrangements of eighteenth- and
nineteenth-century compositions; * an online instructor's manual
providing additional information and realizations of all exercises.
Linking theoretical knowledge with aural perception and aesthetic
experience, the exercises encompass various activities, such as
singing, playing, improvising, and notation, which challenge and
develop the student's harmonic, melodic, and rhythmic imagination.
Covering the common-practice period (Corelli to Brahms), Harmony,
Counterpoint, Partimento is a core component of practice-oriented
training of musicianship skills, in conjunction with solfeggio,
analysis, and modal or tonal counterpoint.
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.
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