for SATB and piano (with opt bass and drums) Optional parts for bass and drum set enliven this joyous arrangement for choir and piano of a traditional spiritual. Propelled by a light swing tempo, the mood grows more and more euphoric with each succeeding stanza of text, and the uplifting music surges towards an opulent conclusion.

The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. London, New York, Paris, and Vienna feature prominently as cities in which the challenge to the classical tradition was strongest, and in which original and influential forms of popular music arose, from Viennese waltz and polka to vaudeville and cabaret.
Scott explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious.
A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds ofthe Metropolis will appeal to students of music, cultural sociology, and history.

for SSA unaccompanied Clemens composed two settings of the Marian text Ego flos campi, one scored for mixed choir of seven voices and this other, more intimate, setting for three voices. Here the voices weave beautiful counterpoint with attractive independent melodies.

No index can claim to be complete, but this one covers the major works of 220 composers from the Middle Ages to the present, listing each composition under its variant names, and giving the composer's last name. Some 6,000 entries are included in this compact volume. A list of the principal sources consulted will help users locate printed editions, recordings of a work, and bibliographical and biographical information about the composers. Music Educators Journal This comprehensive reference guide will serve as a much-needed companion volume to music dictionaries, to the literature of music history, and to composer monographs. Concentrating on major composers from the Middle Ages to the twentieth century, it contains over 6,000 entries, listing each composition under its variant names, and giving the composer's last name. A section listing the principal sources consulted will aid the user in locating printed editions, recordings of a work, and biographical and bibliographical information about the composers. Compiled with both the professional and the amateur in mind, this guide will be found useful to an ever-increasing number of music devotees.

John Philip Sousa's The Washington Post March was written in 1889 for the newspaper's essay-writing competition award ceremony, and very swiftly gained the wide popularity it has retained to this day. Robert Gower's well-crafted and playable arrangement will work well on pretty much any size of instrument, and will make a welcome addition to the organist's repertoire of ceremonial voluntaries for grand occasions.

The International Who s Who in Classical Music 2009 is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world.

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 invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

for soprano solo and SATB (with divisions) unaccompanied In this gentle lullaby, poet Charles Bennett reflects upon the promise held in the dreams of a sleeping child, a life that has just begun. The choir opens and closes the carol, providing a rich cushion of harmony on which the soprano soloist sits as they narrate the central section through an arching, soaring melody.

for SSAA unaccompanied Setting the modernized words of an Anglo-Saxon metrical charm, this thrilling piece is unusual, dramatic, and beguiling. Featuring a whispered list of potion ingredients for the intro and outro, it also includes whistling, modal touches, and some very funky riffs-to be performed with freedom, energy, and imagination!

This inventive work, composed in 2019, owes its title to that year's two great anniversaries connected to manned flight: the 50th anniversary of the first moon landing and the 500th anniversary of the death of Leonardo da Vinci. A wide range of highly effective textures and atmospheric harmonies draws the player and the listener through a journey that eventually reaches D major for the gloriously affirmative ending.

for SATB and piano Written for the BBC Last night of the Proms, this sensitive setting of the well-known Irish folk song does justice to the beauty of the original melody. Chilcott's harmonic subtleties add to the poignancy of the lyrics, expressing and elevating the sentiments of loss and longing.

for solo viola Conceived as a set, these eight songs are drawn from several Chinese regions (Shaanbei, Shaanxi, Yunnan, Jiangsu, Sichuan, Hunan, and Shanxi) and represent the three main genres of mountain song, work song, and the more structured performance song aimed at professional singers. In this new arrangement for solo viola the music has been carefully refashioned for Western instruments, with writing that includes stylistic bowing and fingering to match the original style. Suitable for students at early to intermediate level, these compelling short pieces are accompanied by illuminating programme notes with a synoposis of each song.

for solo violin Conceived as a set, these eight songs are drawn from several Chinese regions (Shaanbei, Shaanxi, Yunnan, Jiangsu, Sichuan, Hunan, and Shanxi) and represent the three main genres of mountain song, work song, and the more structured performance song aimed at professional singers. In this new arrangement for solo violin the music has been carefully refashioned for Western instruments, with writing that includes stylistic bowing and fingering to match the original style. Suitable for students at early to intermediate level, these compelling short pieces are accompanied by illuminating programme notes with a synoposis of each song.

for SATB and piano (with opt bass and drums) Optional parts for bass and drum set enliven this joyous arrangement for choir and piano of a traditional spiritual. Propelled by a light swing tempo, the mood grows more and more euphoric with each succeeding stanza of text, and the uplifting music surges towards an opulent conclusion.

for SATB and piano or orchestra This arrangement for choir and piano 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.

for SATB and piano or orchestra Pulsating rhythms in the piano part underpin this energetic arrangement of a traditional spiritual. The voice parts progress from a forthright rendition of the famous tune at the beginning to bold and exciting harmonies by the end. The arrangement would provide a high-spirited and rousing climax for any Christmas concert.

for SATB 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 2010-11; 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.

This book provides a convenient starting point for information about over 13,500 composers living today, deceased since 1950, or born since 1900, regardless of date of death. The new Volume III indexes 98 reference works in numerous languages (almost all of them published since the appearance of Volume II).

Commemorating the centenary of Tchaikovsky's death, these essays reassess the life and work of the composer from a variety of perspectives, ranging from the musicological and biographical to broader ones addressing his place in the development of the arts in Europe and America. As they make clear, there is much about Tchaikovsky's achievement that has been taken for granted, and the essays included in this collection represent as much acts of reevaluation as of celebration.

After a broad synthesis of Tchaikovsky's relation to the literature, music, and theater of the 18th and 19th centuries, there are sections devoted to Tchaikovsky and his musical contemporaries; Tchaikovsky's lost opera, "The Oprichnik"; Tchaikovsky's mature operatic work; his place in Russian Orthodoxy and nationalism; and contemporary perspectives on his life and works. The volume concludes with discussions on Tchaikovsky scholarship, the place of the composer in American and Russian musical education, and the interpretation and performance of his ballets. It is an important collection for scholars and other researchers involved in Russian music and ballet.

The International Who's Who in Classical Music 2008 is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world. 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. Among those listed in this new edition are Philip Glass, Lang Lang, George Crumb, Evelyn Glennie, Yo-Yo Ma and Inga Nielsen. 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 invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

MUSIC in the BAROQUE ERA FROM Monteverdi TO Bach By MANFRED R BUKOFZER PROFESSOR OF MUSIC, THE UNIVERSITY OF CALIFORNIA. New York NORTON tf COMPANY INO COPYRIGHT, 1947, BY W. W. NORTON COMPANY, INC. NEW YORK, N. Y. IN THE tmiTED STATES OB AMERICA FOR THE PUBLISHERS BY THE VAIL-BALLOXJ PRESS MCE IVEO R. Y CMF 1869 1943 . A. I ion. eer o CONTENTS PREFACE xiii Chapter One RENAISSANCE versus BAROQUE MUSIC i Disintegration of Stylistic Unity i Stylistic Comparison between Renaissance and Baroque Music 9 The Phases of Baroque Music 16 Chapter Two EARLY BAROQUE IN ITALY 20 The Beginnings of the Concertato Style Gabriel 20 The Monody Peri and Caccini 25 Transformation of the Madrigal Monteverdi 33 The Influence of the Dance on Vocal Music 38 Emancipation of Instrumental Music Frcscobaldi 43 The Rise of the Opera Monteverdi 55 Tradition and Progress in Sacred Music 64 Chapter Three EARLY AND MIDDLE BAROQUE IN THE NORTHERN COUNTRIES 71 The Netherlands School and Its English Background 71 English Antecedents the Abstract Instrumental Style 72 The Netherlands Sweelinck 74 Germany and Austria in the 17th Century 78 Chorale and Devotional Song 79 Chorale Motet and Chorale Concertato Schein 83 The Dramatic Concertato Schiitz 88 Continue Lied, Opera, and Oratorio 97 Instrumental Music Scheldt, Froberger, and Biber 104 Chapter Four ITALIAN MUSIC OF THE MIDDLE BAROQUE 118 The Bel-Canto Style 118 The Chamber Cantata Luigi Rossi and Carissimi 120 vii viii Contents The Oratorio Carissimi and Stradella 123 The Venetian Opera School 128 Instrumental Music the Bologna School 136 Chapter Five FRENCH MUSIC UNDER THE ABSOLUTISM 141 The Ballet de Cour 141 French Reactions to Italian Opera 147 Comedie-Ballet andTragedie Lyrique Lully 151 Cantata, Oratorio, and Church Music 161 Lute Miniatures and Keyboard Music Gaultier and Chambon niires 164 Music in the Iberian Peninsula, New Spain, and Colonial America 174 Chapter Six ENGLISH MUSIC DURING THE COM MONWEALTH AND RESTORATION 180 The Masque and the English Opera Lawes and Blow 180 Consort Music Jenkins and Simpson 190 Anglican Church Music Porter, Humfrcy, and Blow 198 Henry Purcell, the Restoration Genius 203 Chapter Seven LATE BAROQUE LUXURIANT COUN TERPOINT AND CONCERTO STYLE 219 The Culmination of Late Baroque Music in Italy 219 The Rise of Tonality 219 Concerto Grosso and Solo Concerto 222 Ensemble Sonata and Solo Sonata 232 Opera Seria and Opera B Cantata and Sacred Music 239 Late Baroque and Rococo Style in France 247 Ensemble and Clavecin Music 247 Opera and Cantata in France 253 Chapter Eight FUSION OF NATIONAL STYLES BACH 260 The State of Instrumental Music in Germany before Bach 260 The State of Protestant Church Music before Bach 268 Bach The Early Period 270 Bach the Organist Weimar 275 Bach the Mentor C5then 282 Contents ix Bach the Cantor Leipzig 291 Bach, the Past Master 300 Chapter Nine COORDINATION OF NATIONAL STYLES HANDEL 306 The State of Secular Vocal Music in Germany before Handel 306 Handel German Apprentice Period 314 Italian Journeyman Period 318 English Master Period Operas Oratorios Instrumental Music 3 2 4 Bach and Handel, a Comparison 345 Chapter Ten FORM IN BAROQUE MUSIC 35 Formal Principles and Formal Schemes 350 Style and Form 362 Audible Form and Inaudible Order 365 Chapter Eleven MUSICAL THOUGHT OF THE BAROQUE ERA 37 Code of Performance Composer and Performer 371 Theory and Practice of Composition 382 MusicalSpeculation 39 Chapter Twelve SOCIOLOGY OF BAROQUE MUSIC 394 Courtly Musical Institutions of State and Church Private Patronage 394 Civic Musical Institutions Collective Patronage 401 Social and Economic Aspects of Music and Musicians 404 APPENDICES List of Abbreviations 4 5 Checklist of Baroque Books on Music 4 X 7 Bibliography 433 List of Editions 4 i List of Musical Examples 47 1 INDEX 475 ILLUSTRATIONS Facing page PLATE i. Claudio Monteverdi 80 PLATE 2. Schutz among his Choristers 81 PLATE 3. Carissimis The Deluge 112 PLATE 4...

In the First World War, civilian life played a fundamental part in the war effort; and music was no exception. Performing Propaganda looks at musical life in Paris during the First World War. This conflict was one in which civilian life played a fundamental part in the war effort; and music was no exception. The book examines how Western art music became a central part of the home-front war effort, employed by both musicians and government as a powerful tool of propaganda. It situates French art music of the First World War within its social, cultural and political context, and within the wider temporal framework of the Franco-Prussian and Second World Wars. Drawing on a diverse range of archival material, including concert and operatic programmes, the musical and daily press, documents detailing government involvement in musical activity, and police records, it explores how various facets of French musical life served, in very different ways, as propaganda. In short, it explores why music mattered during a period of prolonged conflict, whether as emotional catalyst, weapon, or tool. This book will be of interest to musicologists, to cultural historians working on early twentieth-century France, and to scholars of the First World War,as well as to a more general readership with an interest in music during times of adversity. RACHEL MOORE is a Leverhulme Early Career Fellow in Music, University of Oxford.

The Oxford Book of Upper-Voice Polyphony is a collection of carefully curated and edited Renaissance works. Scholarly yet practical, this volume is an invaluable addition to the library of any choir looking to explore this rich genre in liturgical or concert settings.

for SATB choir unaccompanied With a text by John Henry Newman, Lead, kindly Light is a short, moving piece perfectly suited for our current times. Step-like movement in the melody reflects the speaker seeking light in the darkness, slow but steady in their way out of the 'encircling gloom'.

for SATB unaccompanied Setting a beautiful text by Rabindranath Tagore, Wake, love, wake explores evocative imagery and metaphors through sonorous harmonies and freedom in tempo. The resulting piece is romantic, stirring, and atmospheric-perfect for concert performance. Also published in Breath of Song.