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.