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Books > Music > Other types of music > Vocal music
A third collection of 50 carols, mostly for SATB, some
unaccompanied, and some having accompaniments for piano or organ or
orchestra. The carols reflect a diversity of styles and periods,
while remaining within the capacity of an average group of amateur
performers. Includes compositions and arrangements by Britten,
Holst, Howells, Hurford, Vaughan Williams, and Walton.
Orchestral and brass accompaniments for many of the items are
available on hire.
The Oxford Book of Easy Flexible Anthems caters for church choirs
of all types and sizes, enabling them to have at their fingertips
easy music for every occasion. The collection presents flexibility
of scoring in a constructive and realistic way, with particular
provision for unison or two-part singing, while not forgetting SATB
choirs, and a focus on ease of learning and performance. With
complete coverage of the Church's year, and a fabulous range of
accessible, quality material, this is a vital resource for all
church choirs. Also available as a spiral-bound paperback.
for SATB and organ, with optional congregation This hymn-anthem of
thanksgiving begins gently and tenderly, but builds to a rousing
climax. It culminates with a verse of the hymn Now thank we all our
God (which may be sung by the congregation in addition to the
choir), underlaid by a powerful organ part and with a soaring
descant line above.
Taking up questions and issues in early chant studies, this volume
of essays addresses some of the topics raised in James McKinnon's
The Advent Project: The Later Seventh-Century Creation of the Roman
Mass, the last book before his untimely death in February 1999. A
distinguished group of chant scholars examine the formation of the
liturgy, issues of theory and notation, and Carolingian and
post-Carolingian chant. Special studies include the origins of
musical notations, nuances of early chant performance (with
accompanying downloadable resources), musical style and liturgical
structure in the early Divine Office, and new sources for Old-Roman
chant. Western Plainchant in the First Millenium offers new
information and new insights about a period of crucial importance
in the growth of the liturgy and music of the Western Church.
for SATB and small orchestra Full score for Rutter's arrangement of
this buoyant Cornish carol. With its combination of pagan and
Christian imagery and references to the Crucifixion and
Resurrection, this carol is well suited to performance at
Passiontide and Easter, as well as at Christmas.
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.
for CCBar, piano, and opt. alto sax Red Boots On is a funky setting
of a poem by Kit Wright, brought to life by Chilcott's jazzy chords
and groovy syncopated rhythms. The melody begins in unison and
grows in texture throughout the piece, and is accompanied by a
characterful piano part. This new arrangement for cambiata voices
also includes an optional alto saxophone part. Also available in a
version for upper voices and piano.
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 SATB and organ Setting a section from The Blessed Virgin
Compared to the Air we Breathe by Gerard Manley Hopkins, this
Marian piece opens with an extended soprano passage, underpinned by
soft yet characterful organ writing. Several hallmarks of Jackson's
style are evident, including soaring, melismatic soprano lines,
sonorous harmonies, and repeated organ motifs. The result is a
captivating and emotive work for church and concert use.
First Published in 2000. Routledge is an imprint of Taylor &
Francis, an informa company.
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.
Multivocality frames vocality as a way to investigate the voice in
music, as a concept encompassing all the implications with which
voice is inscribed-the negotiation of sound and Self, individual
and culture, medium and meaning, ontology and embodiment. Like
identity, vocality is fluid and constructed continually; even the
most iconic of singers do not simply exercise a static voice
throughout a lifetime. As 21st century singers habitually perform
across styles, genres, cultural contexts, histories, and
identities, the author suggests that they are not only performing
in multiple vocalities, but more critically, they are performing
multivocality-creating and recreating identity through the process
of singing with many voices. Multivocality constitutes an effort
toward a fuller understanding of how the singing voice figures in
the negotiation of identity. Author Katherine Meizel recovers the
idea of multivocality from its previously abstract treatment, and
re-embodies it in the lived experiences of singers who work on and
across the fluid borders of identity. Highlighting singers in vocal
motion, Multivocality focuses on their transitions and
transgressions across genre and gender boundaries, cultural
borders, the lines between body and technology, between religious
contexts, between found voices and lost ones.
for SSA and piano or orchestra This tender piece was composed in
memory of the victims of Fukushima in 2011. It is both reflective
and heartfelt, with a simple, appealing melody, rich harmonies, and
a flowing accompaniment. It is a dual language publication,
allowing for performance in both Japanese and English. Orchestral
material is available on hire/rental.
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.
Now in paperback. This innovative survey of large choral-orchestral
works written between 1900 and 1972 and containing some English
text examines eighty-nine works, from Elgar's Dream of Gerontius to
Bernstein's Mass. For each work, the author provides a biography of
the composer, complete instrumentation, text sources, editions,
availability of performing materials, performance issues,
discography, and bibliographies of the composer and the work. Based
upon direct score study, each work has been evaluated in terms of
potential performance problems, rehearsal issues, and level of
difficulty for both choir and orchestra. When present, solo roles
are described. The forty-nine composers represented include Samuel
Barber, Arthur Bliss, Benjamin Britten, Henry Cowell, Frederick
Delius, R. Nathaniel Dett, Gerald Finzi, Howard Hanson, Roy Harris,
Paul Hindemith, Ulysses Kay, Constant Lambert, Peter Mennin,
Gunther Schuller, William Schumann, Michael Tippett, Ralph Vaughan
Williams, William Walton, and Healey Willan. Written as a field
guide for conductors and anyone else involved in programming
concerts for choir and orchestra, this text should prove a useful
source of new repertoire ideas and an invaluable aid to rehearsal
preparation. Cloth edition first published in 1994.
Study of musical manuscripts from the fifteenth and sixteenth
centuries, opening a window on piety, liturgy and musical life in
late medieval society. The musical culture of the Low Countries in
the early modern period was a flourishing one, apparent beyond the
big cathedrals and monasteries, and reaching down to smaller parish
churches. Unfortunately, very few manuscripts containing the music
have survived from the period, and what we know rests to a huge
extent on six music books preserved from St Peter's Church, Leiden.
This book describes the manuscripts, their provenance, history and
repertory, and the zeven-getijdencollege, the ecclesiastical
organisations which ordered the music books, in detail. These
organisations have their roots in fifteenth-century piety, founded
on the initiative of individuals and townadministrators throughout
Holland, principally to ensure that prayers and Masses were said
for those in the afterlife. Music, both chant and polyphony, played
an important part in these commemorative practices; the volume also
looks at the choristers and choirmasters, and how such services
were organised. ERIC JAS is a lecturer in music at the university
of Utrecht.
This study represents a thorough investigation of a polyphonic
vocal village tradition in Bistritsa, Bulgaria. Outsiders describe
the narrow intervals of these songs as being "maximally rough",
while the singers themselves experience their performance as
smooth, beautiful and pleasant. Almost identical polyphonic
traditions can be found in places sometimes thousands of kilometers
apart. This inquiry is carried out within a very broad and
comparative context, whereby historical sources, the origin of
different constituents and etymologies as well as electronic sound
analysis are taken into account. The results are stunning and ever
more relevant - and not just for ethnomusicologists: The babi or
grannies of Bistritsa and their songs have been inscribed on
UNESCO's List of Intangible Cultural Heritage of Mankind in 2008.
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.
The Oxford Book of Easy Flexible Anthems caters for church choirs
of all types and sizes, enabling them to have at their fingertips
easy music for every occasion. The collection presents flexibility
of scoring in a constructive and realistic way, with particular
provision for unison or two-part singing, while not forgetting SATB
choirs, and a focus on ease of learning and performance. With
complete coverage of the Church's year, and a fabulous range of
accessible, quality material, this is a vital resource for all
church choirs.
Oxford Choral Classics: English Church Music assembles in two
volumes around 100 of the finest examples of English sacred choral
music. The second volume presents a wealth of service material
suitable for use throughout the year. The evening canticles are
given due space, with seventeen settings, including those by Byrd,
Gibbons, Purcell, Walmisley, Stanford, Noble, Howells, Walton, and
Tippett. Also included are settings of the Te Deum and Jubilate
Deo, alongside seven settings of the Preces and Responses and two
additional early Lord's Prayers. The selection is completed with
three supplementary items: a set of previously unpublished Psalm
chants by Howells, John Sanders's Good Friday Reproaches, and a
written-out Order for Compline. Robert King has prepared completely
new editions of all the pre-twentieth-century works, going back to
the earliest and most reliable manuscripts or printed sources.
Playable keyboard reductions have been added for the majority of
unaccompanied items.
for SATB chorus and orchestra This arrangement for choir and
orchestra of a traditional American spiritual conjures a deep
fervency, belying its simple appearance. The opening instruction is
'With hushed awe', and that encapsulates perfectly the gentle
radiance of the tender lyrics and the music's highly singable
lines.
Performance is a forum for social action, embodied interaction and
shared authority. Recently, as the various acts and agencies
surrounding a performance have become the target of scholarly
interest, the complex split between theory and practice has been
challenged, as has the idea of a singular, disembodied authorial
ownership of the socio-material meanings surrounding performance.
The Embodiment of Authority approaches performance, issues of
authority and negotiated knowledge production through
multi-material research data and interdisciplinary methods. The
book discusses the relationship between authorial questions and
performances via the following topics: shared authorities,
ontologies of art work, diverse roles of rehearsals in the
performance process, and embodied knowledge.
Lawrence Bennett provides a comprehensive study of the rich
repertoire of accompanied vocal chamber music that entertained the
imperial family in Vienna and their guests throughout the 17th and
early 18th centuries. The cantata became a form of elite
entertainment composed to amuse listeners during banquets or pay
homage to members of the royal family during special occasions.
Concentrating on Baroque cantatas composed in the Habsburg court,
Bennett draws extensively on primary source material to explore the
stylistic changes that occurred within the genre in the generations
before Haydn and Mozart.The cantata became a form of elite
entertainment composed to amuse listeners during banquets or pay
homage to members of the royal family during special occasions.
Concentrating on Baroque cantatas composed in the Habsburg court,
Bennett draws extensively on primary source material to explore the
stylistic changes that occurred within the genre in the generations
before Haydn and Mozart.
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