Welcome to Loot.co.za!
Sign in / Register |Wishlists & Gift Vouchers |Help | Advanced search
|
Your cart is empty |
|||
Books > Arts & Architecture > Music > Other types of music > Vocal music
Includes twelve arrangements for unaccompanied SATB of folk-songs from the British Isles and North America.
A ground-breaking study of the rise of the catch and glee in Georgian England. The rise of the catch and glee in Georgian England represents a rare example of indigenous forms establishing themselves within a wide musical and social context. This study examines a phenomenon that has to date been largely overlooked by historians. Taking the 17th-century background as a starting point, it moves on to a detailed account of the clubs formed to propagate the two genres, placing them within the ambiance of the thriving club life of Londonand the provinces. The success of the London Catch Club and its emulators in encouraging the creation of a large and popular repertoire that would come to assume nationalistic significance is reflected by the incursion of the catch and glee into mainstream concert life and the theatre. The volume concludes with a discussion of the glee in relation to the aesthetics of the period and a brief survey of its subsequent reputation among musicians and historians.
Christ Church cathedral is an Anglican cathedral in a catholic country. Musical and archival sources (the most extensive for any Irish cathedral) provide a unique perspective on the history of music in Ireland. Christ Church has had a complex and varied history as the cathedral church of Dublin, one of two Anglican cathedrals in the capital of a predominantly Catholic country and the church of the British administration in Ireland before1922. An Irish cathedral within the English tradition, yet through much of its history it was essentially an English cathedral in a foreign land. With close musical links to cathedrals in England, to St Patrick's cathedral in Dublin, and to the city's wider political and cultural life, Christ Church has the longest documented music history of any Irish institution, providing a unique perspective on the history of music in Ireland. Barra Boydell, a leading authority on Irish music history, has written a detailed study drawing on the most extensive musical and archival sources existing for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are discussed within the wider context of city and state, and of the religious and political dynamics which have shaped Anglo-Irish relationships since medieval times. More than just a history of music at one cathedral, this book makesan important contribution to English cathedral music studies as well as to Irish musical and cultural history. BARRA BOYDELL is Senior Lecturer in Music, National University of Ireland, Maynooth.
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.
This book presents a comprehensive view of children's musical artistry and how to develop it in both the music classroom and children's chorus. Presenting the musical mind as the gateway to children's artistry, and addressing the power of movement in its embodiment and advancement, author Mary Ellen Pinzino shows how song-rhythm, melody, and text, independently and together-influence children's developing artistry musically, expressively, and vocally at every level. Accordingly, she also offers a multitude of specific songs that inspire children's artistry, all in various tonalities and meters and on a continuum of increasing difficulty. Keeping the need for practical application in mind, Pinzino offers materials for implementation with children from kindergarten through seventh grade, as well as guidance for professional development. Content can be applied alongside any pedagogical methodology, as well as with older singers in the process of developing their own artistry. In short, this book makes the intangibles of children's artistry more tangible. It enables music teachers and choral conductors to draw artistry out of every child and draw every child into the choral art. It summons music teachers and choral conductors to bring artistry to the forefront of every music class and choral rehearsal-and to the forefront of the field of music education as a whole.
First performed under the composer's direction on Easter Sunday of 1779 in Salzburg Cathedral, the 'Coronation' Mass has become a staple of the choral repertoire. This newly engraved score, completely compatible with the widely available orchestra parts originally issued by Breitkopf und Hartel and reissued by Kalmus and others, employs Otto Taubmann's piano reduction in an easy-to-read A4 size.
Hendrickson Worship presents the first non-denominational hymnal for children in many years. "The Kids Hymnal Piano Accompaniment "book is organized by hymn number and includes the piano score for each song in large, readable print. The "Kids Hymnal "features: - 80 hymns and songs - Melody lines, lyrics and guitar chords on each typeset page - Beautiful illustrations to reinforce the meaning of the song - An application lesson and child affirmation for each song - Stories behind the writing of the hymns - Indexes by title and by topic - Large print for easy reading and singing Topics include: - Hymns (40 songs) - The Teachings of Jesus (8 songs) - Sunday School Classics (9 songs) - Scripture (8 songs) - Praise and Worship (10 songs) - Seasonal (Christmas, Advent, Lent/Easter) (5 songs) For ages 5-10 SONG LIST HYMNS - Amazing Grace - Be Thou My Vision - When the Roll Is Called Up Yonder - The Old Rugged Cross - Holy, Holy, Holy - Come, Christians, Join to Sing - Blessed Assurance - Standing on the Promises - Fairest Lord Jesus - Near The Cross - Count Your Blessings - When We All Get to Heaven - O How I Love Jesus - What a Friend We Have in Jesus - I Have Decided To Follow Jesus - All Creatures of Our God and King - He's Got The Whole World in His Hands - Joyful Joyful We Adore Thee - O Happy Day! - Leaning on the Everlasting Arms - At the Cross - Stand Up, Stand Up for Jesus - Come Thou Almighty King! - Crown Him with Many Crowns - For the Beauty of the Earth - How Great Thou Art - God Will Take Care of You - He Keeps Me Singing As I Go - Have Thine Own Way, Lord - This Is My Father's World THE TEACHINGS OF JESUS - The Mustard Seed - You Must Be Born Again - Do To Others - Do Not Judge - I Am the Way - Love Your Neighbor - I Will Make You Fishers of Men SUNDAY SCHOOL CLASSICS - Jesus Loves Me - Deep and Wide - Jesus Loves the Little Children - Isn't He Wonderful - I've Got Joy, Joy, Joy, Joy - Father Abraham - I Love Him Better Every D-A-Y - I Am A C-H-R-I-S-T-I-A-N - We Are Climbing Jacob's Ladder - My God Is So Big - This Little Light of Mine - Do Lord SCRIPTURE SONGS - Children, Obey Your Parents - The Lord Is My Shepherd - In The Beginning - The Lord's Prayer - I Know The Plans I Have For You - I Have Hidden Your Word In My Heart - For God So Loved The World - The Roman's Road PRAISE & WORSHIP - Shout to the Lord - Open The Eyes of My Heart Lord - Our God Is An Awesome God - Give Thanks With A Grateful Heart - The Lord Is My Rock - Blessed Be The Name of the Lord - J-O-Y - I Could Sing of Your Love Forever - Lord, I Lift Your Name on High - I Will Sing of the Mercies FOURTH OF JULY - The Star Spangled Banner - God Bless America - America the Beautiful EASTER - Christ the Lord Has Risen Today - Do Remember - Hosanna CHRISTMAS - Go Tell It on The Mountain - The First Noel - Away in a Manger - Joy to the World - O Come All Ye Faithful - Children Go Where I Send Thee - Silent Night
Composed in 1892 as he he was working on his Ninth Symphony, Psalm 150 is Bruckner's final sacred work. The composer had set various psalms over the course of his career before finally turning to the very last of the Book of Psalms, No. 150. It is one of the most musical of all, invoking a veritable orchestra of percussion, wind, and string instruments to join the people's voices in praise of God with music and dance.
The Oxford Book of Flexible Choral Songs is the perfect resource for secular choirs and singing groups who like the flexibility to perform songs in a range of combinations from unison to SATB. Each piece may be performed by a mixed choir, but is also presented with flexible scoring options, clearly explained throughout, enabling performance by various combinations of singers, including upper voices or men's voices alone. As well as new arrangements of existing repertoire, the collection also features newly commissioned original works, specially written for flexible forces.
Singing has been a characteristic behaviour of humanity across several millennia. Chorus America (2009) estimated that 42.6 million adults and children regularly sing in one of 270,000 choruses in the US, representing more than 1:5 households. Similarly, recent European-based data suggest that more than 37 million adults take part in group singing. The Oxford Handbook of Singing is a landmark text on this topic. It is a comprehensive resource for anyone who wishes to know more about the pluralistic nature of singing. In part, the narrative adopts a lifespan approach, pre-cradle to senescence, to illustrate that singing is a commonplace behaviour which is an essential characteristic of our humanity. In the overall design of the Handbook, the chapter contents have been clustered into eight main sections, embracing fifty-three chapters by seventy-two authors, drawn from across the world, with each chapter illustrating and illuminating a particular aspect of singing. Offering a multi-disciplinary perspective embracing the arts and humanities, physical, social and clinical sciences, the book will be valuable for a broad audience within those fields.
Shows how Charles V used music and ritual to reinforce his image and status as the most important and powerful sovereign in Europe. The presentation of Charles V as universal monarch, defender of the faith, magnanimous peacemaker, and reborn Roman Emperor became the mission of artists, poets, and chroniclers, who shaped contemporary perceptions of him and engaged in his political promotion. Music was equally essential to the making of his image, as this book shows. It reconstructs musical life at his court, by examining the compositions which emanated from it, the ordinances prescribing its rituals and ceremonies, and his prestigious chapel, which reflected his power and influence. A major contribution, offering new documentary material and bringing together the widely dispersed information on the music composed to mark the major events of Charles's life. It offers.a very useful insight into music as one of many elements that served to convey the notion of the emperor-monarch in the Renaissance. TESS KNIGHTON Mary Ferer is Associate Professor at the College of Creative Arts, West Virginia University.
The Sacred Harp choral singing tradition originated in the
American South in the mid-nineteenth century, spread widely across
the country, and continues to thrive today. Sacred Harp isn't
performed but participated in, ideally in large gatherings where,
as the a cappella singers face each other around a hollow square,
the massed voices take on a moving and almost physical power. "I
Belong to This Band, Hallelujah " is a vivid portrait of several
Sacred Harp groups and an insightful exploration of how they manage
to maintain a sense of community despite their members' often
profound differences.
A survey of secular, sacred, folk-influenced, and jazz-influenced choral music from: Argentina, Armenia, Australia, Austria, Azerbaijan, Belgium, Bolivia, Brazil, Bulgaria, Canada, Chile, China, Colombia, Costa Rica, Croatia, Cuba, Czech Republic, Denmark, Dominican Republic, Ecuador, Egypt, El Salvador, England, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Mexico, Netherlands, New Zealand, Nigeria, Norway, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Russia, Scotland, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, Turkey, Uganda, Ukraine, United States, Uruguay, Venezuela, Wales, Yugoslavia.
This book deals less with physical techniques of conducting and more with human relationships: how the conductor functions with his or her ensembles.
Music played an exceptionally important role in the late Middle Ages - articulating people's social, psychological and eschatological needs. The process began with the training of choirboys whose skill was key to institutional identity. That skill was closely cultivated and directly sought by kings and emperors, who intervened directly in recruitment of choirboys and older singers in order to build and articulate their self-image and perceived status. Using the documentation of an exceptionally well preserved archive, this book focuses on music's functioning in an important church in late Medieval Northern France. It explores a period when musicians from this region set the agenda across Europe, developing what is still some of the most sophisticated music in the Western musical tradition. The book allows a close focus not on the great achievements of those who cultivated this music, but on the personal motivations that shaped their life and work.
The Choral-Orchestral Works of Ralph Vaughan Williams: Autographs, Context, Discourse combines contextual knowledge, a musical commentary, an inventory of the holograph manuscripts, and a critical assessment of the opus to create substantial and meticulous examinations of Ralph Vaughan Williams's choral-orchestral works. The contents include an equitable choice of pieces from the various stages in the life of the composer and an analysis of pieces from the various stages of Williams's life. The earliest are taken from the pre-World War I years, when Vaughan Williams was constructing his identity as an academic and musician-Vexilla Regis (1894), Mass (1899), and A Sea Symphony (1910). The middle group are chosen from the interwar period-Sancta Civitas (1925), Benedicite (1929), Magnificat (1932), Five Tudor Portraits (1935), Dona nobis pacem (1936)-written after Vaughan Williams had found his mature voice. The last cluster-Thanksgiving for Victory (1944), Fantasia (Quasi Variazione) on the 'Old 104' Psalm Tune (1949), Sons of Light (1950), Hodie (1954), The Bridal Day/Epithalamion (1938/1957)-typify the works finished or revisited during the final years of the composer's life, near the end of the Second World War and immediately before or after his second marriage (1953).
Choral Treatises and Singing Societies in the Romantic Age charts the interrelated beginning and development of choral methods and community choruses beginning in the early nineteenth century. Using more than one-hundred musical examples, illustrations, tables, and photographs to document this phenomenon, author David Friddle writes persuasively about this unusual tandem expansion. Beginning in 1781, with the establishment of the first secular singing group in Germany, Friddle shows how as more and more choral ensembles were founded throughout Germany, then Europe, Scandinavia, and North America, the need for singing treatises quickly became apparent. Music pedagogues Hans Georg Nageli, Michael Traugott Pfeiffer, and Johann Heinrich Pestalozzi invented the genre that became modern choral methods; initially these books were combinations of music fundamental primers, with frequent inclusion of choral works intended for performance. Eventually authors branched out into choral conducting textbooks, detailed instructions on how to found such a community-based organization, and eventually classroom music instruction. The author argues that one of the greatest legacies of this movement was the introduction of vocal music education into public schools, which led to greater musical literacy as well as the proliferation of volunteer choirs. All modern choral professionals can find the roots their career during this century.
There is a paucity of material regarding how choral music specifically was performed in the 1800s. The Historically Informed Performance (HIP) movement has made remarkable advancements in choral music of the Renaissance, Baroque, and Classical periods, with modest forays into the music of Beethoven, Schubert, Mendelssohn, and other early nineteenth-century composers; however, there are no sources with a comprehensive examination of how choral music was performed. Using more than one-hundred musical examples, illustrations, tables, and photographs and relying on influential, contemporaneous sources, David Friddle details the performance practices of the time, including expressive devices such as articulation, ornamentation, phrasing, tempo, and vibrato, along with an in-depth discussion of period pronunciation, instruments, and orchestral/choral placement. Sing Romantic Music Romantically: Nineteenth-Century Choral Performance Practices fills a gap in choral scholarship and moves forward our knowledge of how choral music sounded and was performed in the nineteenth century. The depth of research and abundance of source material makes this work a must-have for choral professionals everywhere.
|
You may like...
Becoming a Choral Music Teacher - A…
Patrice Madura Ward-Steinman
Paperback
R1,450
Discovery Miles 14 500
Choral Music - A Research and…
James Michael Floyd, Avery T. Sharp
Paperback
R1,301
Discovery Miles 13 010
|