This fully updated second edition is a selective annotated bibliography of all relevant published resources relating to church and worship music in the United States. Over the past decade, there has been a growth of literature covering everything from traditional subject matter such as the organ works of J.S. Bach to newer areas of inquiry including folk hymnology, women and African-American composers, music as a spiritual healer, to the music of Mormon, Shaker, Moravian, and other smaller sects. With multiple indices, this book will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.

for Oboe and Piano John Rutter creates a peaceful and contemplative atmosphere in this new arrangement of the traditional German carol, Lo, how a Rose e'er blooming.

The average listener may be unaware of the many links between rock music and the classics. One might remember a few examples, such as Walter Murphy's chart-topping "A Fifth of Beethoven" or Eric Carmen's "All by Myself," but pass them off as interesting anomalies. However, the influence of the classics on rock music is pervasive and grows from a long line of precedents. This supplement to Janell R. Duxbury's original 1985 discography, Rockin' the Classics and Classicizin' the Rock, brings the earlier work up-to-date with hundreds of new entries documenting recently released or newly discovered examples of the interconnection between these musical genres. Duxbury details more than 300 new examples of recorded rock instrumentals and songs that borrow musical themes from the classics. Variations range from contemporary renditions of complete classical works to brief classical quotes or phrases subtly incorporated into rock compositions. Duxbury also gives additional examples of recorded orchestral versions of songs originally composed and/or written by rock artists. In these examples, the musical style varies from strict classical interpretations to pop-style orchestral renditions. The supplement then expands Duxbury's original compilation of sound recordings and live performances of rock groups performing with established orchestras and choruses, selected samples of recorded rock music that simulates baroque or classical sound/structure, examples of the manifest influence of rock on classical music, and instances of rock artists and classical artists switching roles. Lastly, this discography updates the 1985 version with new information, expanded details, and minor corrections to theearlier work. An extended list of selected nonrock background examples is included in several new appendixes. The Introduction and Preface is also updated. A general index includes the names of classical composers, rock artists and groups, orchestras, choruses, orchestra conductors, sound recording producers, and song or instrumental titles. With its incomparable scope and content, this supplement, together with Duxbury's previous discography, will be appreciated by students, researchers, record collectors, trivia buffs, music industry employees, and fans of rock music and the classics.

O.E.Deutsch's documentary biography of Mozart, first published in German in 1961 and translated into English in 1965, presented all the contemporary documentation on Mozart then known to scholars. During three decades of research more have come to light, and Dr Eisen himself has substantially augmented their number with a methodical search through contemporary research material - newspapers, diaries, memoirs, books and many others. This new edition presents all the material discovered since the English edition of the Deutsch volume, with full description and documentation. This book is essential reading for anyone concerned with the basic information on Mozart's life, his activities and the reception of his music.

for SATB accompanied (piano or organ) and unaccompanied The Oxford Book of Choral Music by Black Composers is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.

The genius of Johann Sebastian Bach transcends the boundaries of time, geography, and discipline. This collection of essays, the outgrowth of a conference held at Hofstra University, celebrates the tercentenary of the composer's birth. The contributors contend that Bach's influence extends far beyond his own life time and art form. They show the often unanticipated impact of his works in such diverse areas as literature, film, religion, and psychology.

The wide-ranging articles offer theoretical analysis, biographical-musical interpretation, literary and religious explorations, and analyses of performance practice. They range from Howard Adams' discussion of how Bach contemporized scripture in his cantatas to Richard Spurgeon Hall's consideration of how Bach and Edwards viewed religious affections. Stephen Gottlieb assesses Bach's "Musical Offering" as an autobiographical work. Fritz Sammern-Frankenegg explores the expression of Bach's messages in the film work of Ingmar Bergman while the unlikely coupling of Bach and English author Aldous Huxley is reviewed by Sister Ann Edward Bennis. Charles M. Joseph suggests that the structure and pacing of selected Bach "Praeludia" reflect previously unseen architectural influences. The convergence of musical expression and musical rhetoric in Bach's keyboard works are the subject of David Schulenberg while Don L. Smithers reconstructs the circumstances surrounding a performance of Bach's "Leipzig Church CantataS." This unique appeal of this volume lies in its presentation of a wide range of new and provocative scholarship. The exploration of new aspects of the genius of Johann Sebastian Bach is certain to interest anyone interested in his life, work, and influence.

In Off Key, Kay Dickinson offers a compelling study of how certain alliances of music and film are judged aesthetic failures. Based on a fascinating and wide-ranging body of film-music mismatches, and using contemporary reviews and histories of the turn to post-industrialization, the book expands the ways in which the union of the film and music businesses can be understood.
Moving beyond the typical understanding of film music that privileges the score, Off Key also incorporates analyses of rock 'n' roll movies, composer biopics, and pop singers crossing over into acting. By doing this, it provides a fuller picture of how two successful entertainment sectors have sought out synergistic strategies, ones whose alleged "failures" have much to tell about the labor practices of the creative industries, as well as our own relationship to them and to work itself. A provocative and politically-conscious look at music-image relations, Off Key will appeal to students and scholars of film music, cinema studies, media studies, cultural studies, and labor history.

The International Who's Who in Classical Music 2016 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2016 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who's Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: - over 8,000 detailed biographical entries - covers the classical and light classical fields - includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

for SSAATTBB unaccompanied A reflection on the plainchant antiphon 'Pulchra es et decora', this hauntingly beautiful piece was commissioned by ORA100 for Suzi Digby and ORA Singers. The original antiphon has been transcribed and included at the beginning, and may be used as an introduction. Porter's use of rich harmonies and rippling melismatic vocal lines make this an impassioned setting of a Marian text.

This comprehensive study treats the wind works of Anton Bruckner as a complete genre and uses them to illustrate how the composer evolved in style throughout his career. A major nineteenth-century composer, organist, and church musician, Bruckner's compositional style changed dramatically in the early 1860s, dividing his career into two distinct parts. During his early career he immersed himself in the study of traditional musical principles including form, harmony, counterpoint, and orchestration. The second phase of his career, in which he composed the symphonies upon which much of his current reputation rests, was marked by his experimental approaches to harmony and tonality. Many of his early compositions exhibit landmarks of his later style. The wind instrument pieces incorporate the best aspects of both of Bruckner's styles and reflect the progress of his professional life.

Organized chronologically, the music is studied and classified within set time periods. Each wind work of a particular period is reviewed according to the historical circumstances contributing to its creation, its specific musical content, and its success as a musical work in relation to wind music and specifically to Bruckner's development. The analyses of Bruckner's compositions are enhanced by musical examples throughout the text.

for SSA and piano Setting words by Chief Dan George, this optimistic work reminds us that there is still beauty to be found in times of trouble and that difficult days will not last forever. Quartel's sensitive setting uses triplets against duplets to give a sense of fluidity to the melodic phrasing. The balanced vocal lines will be enjoyed by youth and adult upper-voice choirs.

The Kalevala, or runic, songs is a tradition at least a few thousand years old. It was shared by Finns, Estonians and other speakers of smaller Baltic-Finnic languages inhabiting the eastern side of the Baltic Sea in North-Eastern Europe. This book offers a combined perspective of a musicologist and a linguist to the structure of the runic songs. Archival recordings of the songs originating mostly from the first half of the 20th century were used as source material for this study. The results reveal a complex interaction between three different processes participating in singing: speech prosody, metre, and musical rhythm.

This comprehensive study of the evolution of Finnish art music from continental predecessors and native folk music traces the development of Sibelius's musical language from his first major work, Kullervo, the first genuine Finnish recitative, to the last tone poem, Tapiola. De Gorog asserts the importance of En Saga, Sibelius's first major, purely orchestral work, as a composition that affirms the composer's belief in both rhythm and in the variation method (the germ motif technique). The impact of folk music on the germ motif technique as well as on melody, phrase construction, and harmony are also analyzed. Although Sibelius's use of rhythm was more restrained than that of Bartok, Stravinsky, or Prokofiev, similarities in basic trends and folk music influences are noted by de Gorog. From Sibelius to Sallinen emphasizes the importance of various aspects of Finnish culture, the historical events that shaped that culture, and Finnish nationalism in the evolution of Finnish music in general. It also delineates the major sources of inspiration for Sibelius's unique musical idiom. The volume clarifies Sibelius's position as founder of Finnish art music and considers the evolution of trends established by him in the works of younger Finnish composers. The first three chapters provide an historical prism through which to view Finnish culture and music, discuss Finnish music prior to Sibelius, and relate Finnish nationalism to the composer's philosophy and music. Chapters 4 through 7 focus on Sibelius, his compositions, and their lasting impact. Two final chapters address instrumental music after Sibelius and stage and vocal music in Finland. A discography provides ready access and fullinformation on the works and completes the volume as an informative resource for students, teachers, researchers, musicologists, and performers as well as a valuable addition to university music libraries and conservatories.

The life of a great musician is always interesting, but the story of Hazel Harrison is exceptional. Her achievement was particularly impressive because she had been schooled entirely at home and was the first black pianist, male or female, to perform with a major European orchestra. Harrison's extraordinarily long and impressive performing career spanned more than half a century, from the days when Brahms was still alive and Stravinsky had not yet composed The Rite of Spring to the time of the civil rights struggle in the deep South.

for SATB unaccompanied 'Ya basta!' is a Spanish saying that roughly translates to 'Enough is enough!'. Regan has combined this with text from a poem by the Spanish poet Antonio Machado. Ya Basta! has an exuberant and carefree energy, expressing the freedom to walk wherever you choose and to make your own path. The song easy to teach and learn; the score includes helpful tips on pronunciation and improvisation at the break section. Offprinted from Community Voiceworks, ed. Alison Burns and Gitika Partington.

The International Who's Who in Classical Music 2015 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2015 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: - over 8,000 detailed biographical entries - covers the classical and light classical fields - includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

for SA and piano In this beautiful setting of words by the composer, based on a quote by Brian Palmer, singers are encouraged to listen to the sounds and people around them in order to learn and grow: 'one act of love, I know, for sure, is to listen.' Listen is suitable for upper-voice or children's choirs, and its memorable melodies are accompanied by a simple and supportive rippling piano accompaniment.

for SABar unaccompanied The Parting Glass is a traditional Scottish song, often sung as a farewell at the end of a get-together. Sarah Quartel's arrangement features close harmonies, idiomatic Scotch snap rhythms, and effective interjectory moments in what is a largely homophonic setting. The arrangement was made for the composer's friend Matt Jones, who served with the Canadian Military in Afghanistan in 2010-2011; his deployment and eventual safe return inspired the setting of the piece. With its valedictory message, The Parting Glass would make a fitting end to a performance, perhaps as an encore item. Also available in versions for SATB and TTBB.

Revolutionary approaches to compositional practice and musicological research have been associated with Otto Laske's work for over a quarter of a century. Laske's scientific understanding of the compositional process has made it possible to systematically formalize computer-assisted and computer synthesized music. In this book, international scholars survey new directions in compositional and musicological practices as influenced by Laske's pioneering work. These two seemingly independent areas of inquiry, composition, and musicology, are presented as a comprehensive integration. The essays offer an interdisciplinary examination of issues imbued with ethnographic considerations of the musical experience, research in perception and brain functions, the design of computer-based neural networks that emulate human musical activities, investigations into the psychological make-up of artists, and a unique perspective on how computers are used in many different areas of music. Compositional and cognitive musicological research are placed in a historical perspective and accompanied with contemporary issues surrounding this research. An interview with Otto Laske and two of his own essays are also included.

This study of Otto Laske will appeal to musicologists and students of music theory and composition. Its interdisciplinary content will also interest scholars in a variety of fields including electronic music, ethnomusicology, computer science, artificial intelligence and other cognitive sciences, psychology, and philosophy. Researchers will appreciate the comprehensive bibliography of Laske's compositions and writings.

In 1959, the Bolshoi Ballet arrived in New York for its first ever performances in the United States. The tour was part of the Soviet-American cultural exchange, arranged by the governments of the US and USSR as part of their Cold War strategies. This book explores the first tours of the exchange, by the Bolshoi in 1959 and 1962, by American Ballet Theatre in 1960, and by New York City Ballet in 1962. The tours opened up space for genuine appreciation of foreign ballet. American fans lined up overnight to buy tickets to the Bolshoi, and Soviet audiences packed massive theaters to see American companies. Political leaders, including Khrushchev and Kennedy, met with the dancers. The audience reaction, screaming and crying, was overwhelming. But the tours also began a series of deep misunderstandings. American and Soviet audiences did not view ballet in the same way. Each group experienced the other's ballet through the lens of their own aesthetics. Americans loved Soviet dancers but believed that Soviet ballets were old-fashioned and vulgar. Soviet audiences and critics likewise appreciated American technique and innovation but saw American choreography as empty and dry. Drawing on both Russian- and English-language archival sources, this book demonstrates that the separation between Soviet and American ballet lies less in how the ballets look and sound, and more in the ways that Soviet and American viewers were trained to see and hear. It suggests new ways to understand both Cold War cultural diplomacy and twentieth-century ballet.

Going to concerts is becoming, for large numbers of Americans, an increasingly frequent pleasure. For those who encounter unfamiliar traditions and terms in the concert hall, here is information and advice which tells all listeners what they need to know to be comfortable at an orchestral concert. Includes background, biographies, and discussions of 200 masterpieces. Drawings.

The International Who's Who in Classical Music 2014 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2014 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: over 8,000 detailed biographical entries covers the classical and light classical fields includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

George Gershwin is perhaps the most popular American composer of the twentieth century, and his short and dramatic life has been the subject of much attention. His music, however, has never been scrutinized as closely as his life, and the composer known for his show tunes has had difficulty finding a niche in the world of "serious" music. This book is the first in-depth analysis of Gershwin's entire compositional oeuvre, including his concert music. Weaving biographical material with musical analysis, Steven Gilbert presents a chronological study of the highlights of Gershwin's career. He discusses the well-known Rhapsody in Blue, Concerto in F, An American in Paris, and Porgy and Bess, as well as such popular songs as "Swanee." "S'Wonderful," "I Got Rhythm," "Love Walked In," and "Love Is Here to Stay." But he also examines relatively neglected works that are no less deserving, such as Second Rhapsody, Cuban Overture, and Pardon My English, the last of which, says Gilbert, was a failure on Broadway but was one of George and Ira Gershwin's finest collaborations. Written in a fluid, conversational style and illustrated with numerous musical examples, some of which have never before been published, this book will be enjoyed by general readers and appreciated by professional musicians and musical scholars alike.