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Books > Music > Other types of music > Vocal music
Now in its second edition, Choral Repertoire is the definitive and
comprehensive one-volume presentation of the canon of the Western
choral tradition. Designed for conductors and directors, students
and teachers of choral music, amateur and professional singers,
scholars, and interested vocal enthusiasts alike, it is an account
of the complete choral output of the most significant composers of
this genre throughout recorded history. Organized by era (Medieval,
Renaissance, Baroque, Classical, Romantic, and Modern), Choral
Repertoire covers general characteristics of each historical era;
trends and styles unique to various countries; biographical
sketches of over 500 composers; and performance annotations of more
than 5,000 individual works. This book has been an essential guide
to programming, a reference tool for program notes and other
research, and, most importantly, a key resource for conductors,
instructors, scholars, and students of choral music. This new
edition features dozens of additional composers, updated
biographical data, and broadly expanded scholarship that brings new
life to this essential text.
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.
Contains two versions of the vocal parts - for SATB and piano or
orchestra, or SS or SA and piano or orchestra.
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.
Discussion of original performance conventions of Bach's sacred
works - cantatas, Passions, masses - by practising musician and
director of Taverner choir. What type of choir did Bach have in
mind as he created his cantatas, Passions and Masses? How many
singers were at his disposal in Leipzig, and in what ways did he
deploy them in his own music? Seeking to understand the verymedium
of Bach's incomparable choral output, Andrew Parrott investigates a
wide range of sources: Bach's own writings, and the scores and
parts he used in performance, but also a variety of theoretical,
pictorial and archival documents, together with the musical
testimony of the composer's forerunners and contemporaries. Many of
the findings shed a surprising, even disturbing, light on
conventions we have long taken for granted. A whole world away
from, say, the typical oratorio choir of Handel's London with which
we are reasonably familiar, the essential Bach choir was in fact an
expert vocal quartet (or quintet), whose members were also
responsible for all solos and duets. (In a mere handful of Bach's
works, this solo team was selectively supported by a second rank of
singers - also one per part - whose contribution was all but
optional). Parrott shows that this use of aone-per-part choir was
mainstream practice in the Lutheran Germany of Bach's time: Bach
chose to use single voices not because a larger group was
unavailable, but because they were the natural vehicle of elaborate
concerted music. As one of several valuable appendices, this book
includes the text of Joshua Rifkin's explosive 1981 lecture, never
before published, which first set out this line of thinking and
launched a controversy that is long overduefor resolution. ANDREW
PARROTT has made a close study of historical performing practices
in the music of six centuries, and for over twenty-five years he
has been putting research into practice with his own professional
ensembles, the Taverner Consort, Taverner Players and Taverner
Choir.
Described as the "life and soul of British contemporary music",
Jane Manning is an internationally celebrated English concert and
opera soprano. In this new follow-up to her highly regarded New
Vocal Repertory, Volumes I and II, she provides a seasoned expert's
guidance and insight into the vocal genre she calls home. Vocal
Repertoire for the Twenty-First Century spans the late middle-20th
century through the second decade of the 21st. Manning's
comprehensive selection of contemporary art songs ranges from the
avant-garde to the more easily accessible, including substantial
song cycles, shorter encore pieces, and songs suitable for
auditions and competitions. The two-volume guide presents
expertly-informed selections tailored to particular voice types.
Each of the 160 selections is accompanied by a highly detailed
performance guide, music examples, levels of difficulty, and a
brief encapsulation of vocal characteristics or challenges
contained in the piece. A supplemental companion website provides
composer biographies and an up-to-date list of recommended
recordings. With a focus on younger composers in addition to
prominent figures, Manning encourages singers to refresh and expand
their recital repertoire into less familiar territory, and discover
the rewards therein. Volume 2 features works written from 2000
onwards, including pieces from contemporary composers Mohammed
Fairouz ("Annabel Lee"), Missy Mazzoli ("As Long as We Live"),
Judith Weir ("The Voice of Desire"), and Raymond Yiu ("The Earth
and Every Common Sight").
As the landscape of choral education changes - disrupted by Glee,
YouTube, and increasingly cheap audio production software -
teachers of choral conducting need current research in the field
that charts scholarly paths through contemporary debates and sets
an agenda for new critical thought and practice. Where, in the
digitizing world, is the field of choral pedagogy moving? Editor
Frank Abrahams and Paul D. Head, both experienced choral conductors
and teachers, offer here a comprehensive handbook of
newly-commissioned chapters that provide key scholarly-critical
perspectives on teaching and learning in the field of choral music,
written by academic scholars and researchers in tandem with active
choral conductors. As chapters in this book demonstrate, choral
pedagogy encompasses everything from conductors' gestures to the
administrative management of the choir. The contributors to The
Oxford Handbook of Choral Pedagogy address the full range of issues
in contemporary choral pedagogy, from repertoire to voice science
to the social and political aspects of choral singing. They also
cover the construction of a choral singer's personal identity, the
gendering of choral ensembles, social justice in choral education,
and the role of the choral art in society more generally. Included
scholarship focuses on both the United States and international
perspectives in five sections that address traditional paradigms of
the field and challenges to them; critical case studies on teaching
and conducting specific populations (such as international, school,
or barbershop choirs); the pedagogical functions of repertoire;
teaching as a way to construct identity; and new scholarly
methodologies in pedagogy and the voice.
The Sixteen have become a household name. They are the Voices of
Classic FM, and stars of the BBC Four series Sacred Music,
presented by Simon Russell Beale. Every year since the millennium,
they have undertaken a Choral Pilgrimage, bringing a programme of a
cappella vocal music to around thirty cathedrals the length and
breadth of the country. They are prolific recording artists, and
perform at festivals and venues all over the world. Harry
Christophers is a unique figure in music. With The Sixteen,
Christophers has succeeded in nurturing a choir of exceptional
calibre, establishing a business model that includes a record label
and extensive tours to capacity audiences, mining a rich variety of
repertoire, and combining enormous popular appeal with the stamp of
approval from experts. This book will be accessible to everyone,
regardless of musical experience or knowledge. It will appeal to
anyone interested in classical music, to those who sing in amateur
or professional choirs, and those who love the sound of the human
voice.
Marvelous Rise of Superheroes in Cinema: Evolution of the Genre
from Sequels to Universes addresses the superhero movie genre's
transformation between 1978 and 2019. To emphasize and illustrate
the conceptual and thematic transformation, the main conventions of
the genre are scanned through several periods, focusing on the
developmental age of the genre, including the dominant period of DC
Comics-based superhero movies (1978-1997) and the Marvel "boom"
(2000-2007), and the contemporary age. For this purpose, the book
traces the fundamentals of superheroes from the first appearance of
Superman in Action Comics #1 (1938) to the final installment of the
MCU's Phase 3, Spider-Man: Far From Home (2019). The transformation
has two significant points. First, the genre's main conventions
have been in a change. Second, the genre's focus has changed from
sequel filmmaking to the universe concept. The study investigates
the Marvel Cinematic Universe's dominant, leading, and major role
in the genre's evolutionary process. Besides, the future of the
superhero movie genre is questioned through the multiverse concept
to broaden an understanding of the genre's following directions.
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