for SATB and organ The Mass for All Saints is a captivating setting of the Latin Missa brevis. The accessible choral lines, idiomatic organ part, and colourful harmonies make this an ideal work for choirs looking for a fresh take on familiar words.

While there are many similarities between solo and choral singing, they are not the same discipline, and it is important to realize the different approaches necessary for each. In The Solo Singer in the Choral Setting: A Handbook for Achieving Vocal Health, Olson presents the unique perspective of choral singing from a soloist's viewpoint, providing a clear outline of several issues facing the solo singer in the choral setting. She discusses concepts as diverse as body position in rehearsal and acoustic sound production, and she offers practical ideas for solving these challenges. Teaching examples and case studies help illustrate the problems and offer potential solutions for handling the challenges of the choral environment. After a general overview of vocal technique, the chapters address the physiological, psychological, pedagogical, acoustic, and interpretive issues facing the solo singer in the choral setting. Concepts, such as phonation; resonation and timbre; approaches to diction; voice classification; choral blend; interpreting emotion; relationships among choral conductor, singer, and teacher of singing; and the use of vibrato are examined in detail. Concluding with a conversation with two choral conductors, as well as a glossary, bibliography, and index, this volume is beneficial to singers, teachers, and conductors alike.

for SATB (with divisions) unaccompanied In this atmospheric piece Gabriel Jackson sets a text by the Victorian poet Christina Rossetti. The first stanza is sung by sopranos only, with expressive chromatic lines evoking the 'darkness' and 'chillness' referred to in the text. The music flowers into four parts for the contrasting second stanza, with rich harmonies and flowing melismas creating a sumptuous texture.

The human voice an incredibly beautiful and expressive instrument, and when multiple voices are unified in tone and purpose a powerful statement is realized. No wonder people have always wanted to sing in a communal context-a desire apparently stemming from a deeply rooted human instinct. Consequently, choral performance has often been related historically to human rituals and ceremonies, especially rites of a religious nature. This Historical Dictionary of Choral Music examines choral music and practice in the Western world from the Medieval era to the 21st century, focusing mostly on familiar figures like Bach, Beethoven, Brahms, and Britten. But its scope is considerably broader, and it includes all sorts of music-religious, secular, and popular-from sources throughout the world. It contains a chronology, an introduction, a bibliography, and more than 1,000 cross-referenced dictionary entries on important composers, genres, conductors, institutions, styles, and technical terms of choral music.

Coronations are the grandest of all state occasions. This is the first comprehensive in-depth study of the music that was performed at British coronations from 1603 to the present, encompassing the sixteen coronations that have taken place in Westminster Abbey and the last two Scottish coronations. Range describes how music played a crucial role at the coronations and how the practical requirements of the ceremonial proceedings affected its structure and performance. The programme of music at each coronation is reconstructed, accompanied by a wealth of transcriptions of newly discovered primary source material, revealing findings that lead to fresh conclusions about performance practices. The coronation ceremonies are placed in their historical context, including the political background and the concept of invented traditions. The study is an invaluable resource not only for musicologists and historians, but also for performers, providing a fascinating insight into the greatest of all Royal events.

The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.

It is a truism in teaching choral conducting that the director should look like s/he wishes the choir to sound. The conductor's physical demeanour has a direct effect on how the choir sings, at a level that is largely unconscious and involuntary. It is also a matter of simple observation that different choral traditions exhibit not only different styles of vocal production and delivery, but also different gestural vocabularies which are shared not only between conductors within that tradition, but also with the singers. It is as possible to distinguish a gospel choir from a barbershop chorus or a cathedral choir by visual cues alone as it is simply by listening. But how can these forms of physical communication be explained? Do they belong to a pre-cultural realm of primate social bonding, or do they rely on the context and conventions of a particular choral culture? Is body language an inherent part of musical performance styles, or does it come afterwards, in response to music? At a practical level, to what extent can a practitioner from one tradition mandate an approach as 'good practice', and to what extent can another refuse it on the grounds that 'we don't do it that way'? This book explores these questions at both theoretical and practical levels. It examines textual and ethnographic sources, and draws on theories from critical musicology and nonverbal communication studies to analyse them. By comparing a variety of choral traditions, it investigates the extent to which the connections between conductor demeanour and choral sound operate at a general level, and in what ways they are constructed within a specific idiom. Its findings will be of interest both to those engaged in the study of music as a cultural practice, and to practitioners involved in a choral conducting context that increasingly demands fluency in a variety of styles.

This book is an ethnographic study of a HIV/AIDS choir who use music to articulate their individual and collective experiences of the disease. The study interrogates as to understand the bigger picture of HIV/AIDS using the approach of microanalysis of music event. It places the choir, and the cultural and political issues addressed in their music in the broader context of South Africa's public health and political history, and the global culture and politics of AIDS.

for CCBar and piano This is an imaginative and modern-sounding setting of John Masefield's popular poem (2017 marks the 50th anniversary of Masefield's death). This expressive piece ebbs and flows, and provides imitative textures and well-crafted narrative.

In Voice Secrets: 100 Performance Strategies for the Advanced Singer, Matthew Hoch and Linda Lister create order out of the chaotic world of singing. They examine all aspects of singing, including nontechnical matters, such as auditioning, performance anxiety, score preparation, practice performance tips, business etiquette, and many other important topics for the advanced singer. Voice Secrets provides singers with a quick and efficient path to significant improvement, both technically and musically. It is the perfect resource for advanced students of singing, professional performers, music educators, and avid amateur musicians. The Music Secrets for the Advanced Musician series is designed for instrumentalists, singers, conductors, composers, and other instructors and professionals seeking a quick set of pointers to improve their work as performers and producers of music. Easy to use and intended for the advanced musician, contributions to Music Secrets fill a niche for those who have moved beyond what beginners and intermediate practitioners need.

for SATB and piano or harp In his setting of the German hymn Wir pflugen und wir streuen, with a text translated by Jane Campbell, Rutter keeps the voices largely in rhythmic unison, skilfully bringing variety through variations to the timbre and dynamics from verse to verse. The text's focus on praise and thankfulness for a successful harvest makes it especially suitable for Thanksgiving and Harvest services, though it is equally effective as a general song of praise for other religious ceremonies. The piece is part of a wider collection of hymn arrangements, which have been recorded by the Cambridge Singers, directed by John Rutter, on the Collegium CD Sing, ye heavens (COLCD 126).

for SA and piano or orchestra With a simple, appealing melody and a flowing accompaniment, The Colours of Christmas evokes a touching sense of longing for the joys of the festive season. An accompaniment for orchestra is available on hire/rental.

First published in 2007. Routledge is an imprint of Taylor & Francis, an informa company.

for SATB, clarinet, and piano Every Thing That Grows is an meaningful and uplifting setting of Shakespeare's Sonnet 15. Chilcott employs captivating vocal lines, a flowing piano part, and expressive clarinet interludes to reflect on the text's theme of mortality, with a profound closing section calling the listener to reflect upon the immortalising couplet 'And all in war with Time for love of you, As he takes from you, I engraft you new'.

This book offers an overview of issues related to the regulated, formal organization of sound and speech in verse intended for singing. Particularly, it is concerned with the structural properties and underlying mechanisms involved in the association of lyrics and music. While in spoken verse the underlying metrical scheme is grounded in the prosody of the language in which it is composed, in sung verse the structure is created by the mapping of specific prosodic units of the text (syllables, moras, tones, etc.) onto the rhythmic-melodic structure provided by the tune. Studying how this mapping procedure takes place across different musical genres and styles is valuable for what it can add to our knowledge of language and music in general, and also for what it can teach us about individual languages and poetic traditions. In terms of empirical coverage, the collection includes a wide variety of (Western) languages and metrical/musical forms, ranging from the Latin hexameter to the Norwegian stev, from the French chant courtois to the Sardinian mutetu longu. Readers interested in formal analyses of vocal music, or in metrics and linguistics, will find useful insights here.

A History of the Handel Choir of Baltimore (1935-2013): Music, Spread Thy Voice Around chronicles the history of one of America's longstanding volunteer choral organizations, one that has followed in the footsteps of venerable ensembles such as the Handel and Haydn Society (Boston), the Bethlehem Bach Choir, and the Handel Society of Dartmouth College. It begins by considering music in the city of Baltimore, and establishing the reasons surrounding the choir's formation. Substantial coverage is given to the influence of Katharine M. Lucke, one of Baltimore's grandes dames-as a composer, mover, and shaker-and a vital force in Baltimore's National Music Week from her position on the faculty of the Peabody Conservatory of Music. Subsequently the book focuses on the contributions of each of the ten conductor/music directors, the vicissitudes of funding a volunteer choir, the choir's contributions to music education in the greater Baltimore metropolitan area, and the choir's repertoire. The book contains extensive appendices describing the choir's repertoire, its presidents, and its unbroken string of Messiah performances. Throughout more than seventy-five years, the Handel Choir of Baltimore has remained true to its original charter as an amateur choral organization that aspires to the highest standards of artistic excellence. A History of the Handel Choir of Baltimore is an invaluable resource to those interested in choral music studies, the running of an amateur, volunteer choir, and other disciplines of music studies.

Research on dubbing in audiovisual productions has been prolific in the past few decades, which has helped to expand our understanding of the history and impact of dubbing worldwide. Much of this work, however, has been concerned with the linguistic aspects of audiovisual productions, whereas studies emphasizing the importance of visual and acoustic dimensions are few and far between. Against this background, Dubbing, Film and Performance attempts to fill a gap in Audiovisual Translation (AVT) research by investigating dubbing from the point of view of film and sound studies. The author argues that dubbing ought to be viewed and analysed holistically in terms of its visual, acoustic and linguistic composition. The ultimate goal is to raise further awareness of the changes dubbing brings about by showing its impact on characterization. To this end, a tripartite model has been devised to investigate how visual, aural and linguistic elements combine to construct characters and their performance in the original productions and how these are deconstructed and reconstructed in translation through dubbing. To test the model, the author analyses extracts of the US television series Buffy the Vampire Slayer and its French dubbed version.

From the Jim Crow world of 1920s Greenville, South Carolina, to Greenwich Village's Café Society in the '40s, to their 1974 Grammy-winning collaboration on "Loves Me Like a Rock," the Dixie Hummingbirds have been one of gospel's most durable and inspiring groups. Now, Jerry Zolten tells the Hummingbirds' fascinating story and with it the story of a changing music industry and a changing nation. When James Davis and his high-school friends starting singing together in a rural South Carolina church they could not have foreseen the road that was about to unfold before them. They began a ten-year jaunt of "wildcatting," traveling from town to town, working local radio stations, schools, and churches, struggling to make a name for themselves. By 1939 the a cappella singers were recording their four-part harmony spirituals on the prestigious Decca label. By 1942 they had moved north to Philadelphia and then New York where, backed by Lester Young's band, they regularly brought the house down at the city's first integrated nightclub, Café Society. From there the group rode a wave of popularity that would propel them to nation-wide tours, major record contracts, collaborations with Stevie Wonder and Paul Simon, and a career still vibrant today as they approach their seventy-fifth anniversary. Drawing generously on interviews with Hank Ballard, Otis Williams, and other artists who worked with the Hummingbirds, as well as with members James Davis, Ira Tucker, Howard Carroll, and many others, The Dixie Hummingbirds brings vividly to life the growth of a gospel group and of gospel music itself.

for SSA or SSS and organ or strings Originally published in a version for mixed voices, this much-loved Rutter carol has been adapted by the composer for performance by upper-voice choirs. Full scores and sets of parts, specially composed for the upper-voice version, are available on sale and on hire/rental.

In Singing in Greek: A Guide to Greek Lyric Diction and Vocal Repertoire, Lydia Zervanos reveals to singers the vast riches of Greek vocal music. Dating back to 1770, Greek art music-following the Western European styles, often drawing on themes from folk music and motifs-long awaits its rightful place in a truly international vocal repertoire. Modern singers in search of new musical opportunities will find in Singing in Greek the necessary tools to locate and perform art songs and arias from this extensive national vocal repertoire. Concisely written and full of practical advice, the book opens with an introduction to the Greek alphabet and pronunciation, navigating the assignment of International Phonetic Alphabet symbols. Zervanos covers such topics as Greek vowels, digraphs, consonants, binary consonants, consonant combinations, palatalization, basic Greek grammatical concepts and their role in stress and length, syllabification, and punctuation-all separated into easily referenced chapters and supported by online recordings of native Greek opera singers. In the second half of Singing in Greek, Zervanos offers a short history of Greek art music, biographies of prominent Greek composers, texts of their most representative works with IPA transcriptions, and word-for-word and poetic translations, with arias and art songs chosen for all voice types and levels. This book also includes indexes of direct vowel-to-IPA and consonant-to-IPA transcriptions, as well as useful appendixes on publications, organizations, and famous Greek poets. Singing in Greek is a must-have resource for every singer, voice teacher, vocal coach, collaborative pianist, and opera and choral conductor seeking to perform and teach in this unique language, explore the wealth of music available, and expand their knowledge of Greek repertoire.

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story, beginning with a new setting of 'Greater love has no man' and including an evocative Stabat Mater, a movement focusing on the seven last words of Christ, and a setting of 'Were you there when they crucified my Lord?'. While some sections are reflective, Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom, singing both with the choir and independently to achieve the characteristic jazz-soul style. The seven-piece jazz accompaniment, which is presented in the vocal score as a piano reduction for rehearsal only, completes the ensemble. The vocal score is available on sale and hire. A complete backing track and individual rehearsal tracks for the vocal parts are also available to download.

In Choral Masterpieces: Major and Minor, historian Nicholas Tarling surveys the landscape of choral works, some standard masterpieces that are commonly performed by choruses around the world, others deserving a second, closer look. As noted in the foreword by Uwe Grodd , music director of the Auckland Choral Society, this work "is a collection of essays about a number of outstanding works, including Beethoven's Miss Solemnis and Britten's War Requiem, but he also invites attention to lesser masterpieces. If the choral movement, which includes both singers and listeners, is to survive, new works must be created and repertory expanded. The book is an easy and captivating read even if you are not a chorister." Choral Masterpieces: Major and Minor features short essays on over 28 works, from major masterpieces such as Handel's Messiah and Bach's St. Matthew's Passion to off-the-beaten path choral works such as Samuel Coleridge-Taylor's Hiawatha and Frederick Delius' A Mass of Life. Throughout, Tarling offers assessments that sparkle with unique insights and at the same time ground listener's in the historical contexts of the work's production and performance. Each work is transformed in Tarling's able hands from musical work into a window into the mind and milieu of the composer. Choral Masterpieces: Major and Minor mixes choral mainstays with works that demand revisiting. Choral singers and their audiences, as well as choral societies and their directions and promoters, will find ample food for thoughts in these meditations on the choral tradition.

In Choral Masterpieces: Major and Minor, historian Nicholas Tarling surveys the landscape of choral works, some standard masterpieces that are commonly performed by choruses around the world, others deserving a second, closer look. As noted in the foreword by Uwe Grodd , music director of the Auckland Choral Society, this work "is a collection of essays about a number of outstanding works, including Beethoven's Miss Solemnis and Britten's War Requiem, but he also invites attention to lesser masterpieces. If the choral movement, which includes both singers and listeners, is to survive, new works must be created and repertory expanded. The book is an easy and captivating read even if you are not a chorister." Choral Masterpieces: Major and Minor features short essays on over 28 works, from major masterpieces such as Handel's Messiah and Bach's St. Matthew's Passion to off-the-beaten path choral works such as Samuel Coleridge-Taylor's Hiawatha and Frederick Delius' A Mass of Life. Throughout, Tarling offers assessments that sparkle with unique insights and at the same time ground listener's in the historical contexts of the work's production and performance. Each work is transformed in Tarling's able hands from musical work into a window into the mind and milieu of the composer. Choral Masterpieces: Major and Minor mixes choral mainstays with works that demand revisiting. Choral singers and their audiences, as well as choral societies and their directions and promoters, will find ample food for thoughts in these meditations on the choral tradition.

In A Conductor s Guide to Selected Baroque Choral-Orchestral Works, Jonathan D. Green's sixth book-length contribution of guides for conductors, he offers this companion to his critically acclaimed A Conductor s Guide to the Choral-Orchestral Works of J. S. Bach. In this volume, Green addresses works of the Baroque era from Monteverdi through Bach's contemporaries. In addition to brief biographical sketches for each composer, Green includes for each work the approximate duration, text sources, performing forces, currently available editions, locations of manuscript materials, notes, performance issues, evaluation of solo roles, evaluation of difficulty, and a discography and bibliography. Duration information comes from a variety of sources, but Green turns to actual recording times of performances. The purpose of this book is to aid conductors in selecting repertoire appropriate to their needs and the abilities of their ensembles. The discographies and bibliographies, while not exhaustive, serve as helpful starting points for further research. A Conductor s Guide to Selected Baroque Choral-Orchestral Works should appeal to conductors in supporting their concert programming. Librarians and music student will also find this work an ideal reference title for the study of Baroque repertoire."