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Books > Music > Other types of music > Vocal music
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.
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.
Laura Clawson's research took her to Alabama and Georgia, to
Chicago and Minneapolis, and to Hollywood for a Sacred Harp
performance at the Academy Awards, a potent symbol of the
conflicting forces at play in the twenty-first-century incarnation
of this old genre. Clawson finds that in order for Sacred Harp
singers to maintain the bond forged by their love of music, they
must grapple with a host of difficult issues, including how to
maintain the authenticity of their tradition and how to carefully
negotiate the tensions created by their disparate cultural,
religious, and political beliefs.
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.
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