Get ready to be pitch slapped.
The roots of unaccompanied vocal music stretch all the way back to Gregorian chants of the Middle Ages, and collegiate a cappella is over a century old. But what was once largely an Ivy League phenomenon has, in the past twenty years, exploded. And it’s not what you think. Though the blue blazers and khakis may remain, a cappella groups at colleges across the country have become downright funky.
In Pitch Perfect, journalist Mickey Rapkin follows a season in a cappella through all its twists and turns, covering the breathtaking displays of vocal talent, the groupies (yes, there are a cappella groupies), the rock-star partying, and all the bitter rivalries. Rapkin brings you into the world of collegiate a cappella characters—from movie-star looks and celebrity-size egos to a troubled new singer with the megawatt voice. Including encounters with a cappella alums like John Legend and Diane Sawyer and fans from Prince to presidents, Rapkin shows that a cappella isn’t for the faint of heart—or lungs.
Sure to strike a chord with fans of Glee and The Sing-Off, this raucous story of a cappella rock stars shows that sometimes, to get that perfect harmony, you have to embrace a little discord.
From the Trade Paperback edition.
The artist holds a B.S. degree and M.Ed. (Educational Administration)degree from Texas Southern University. While attending Texas Southern University Mr. Bell studied piano with Mrs. Thelma O. Bell and studied voice with Mrs. Ruth Schmoll for three years. Mr. Bell successfully attended the Harvard Principal Academy Institute in 1993. Mr. Bell studied church music at University of Houston in the mid 1990’s. In 2011 Mr. Bell became a member of the National Society of Collegiate Scholars- Phi Theta Kappa chapter at Houston Community College while pursuing a music degree at Texas Southern University. Mr. Bell sang with the Houston Symphnoy Chorale for two seasons under the direction of Mrs. Virginia Babikian, and Dr. Charles Hauseman during the early 1990’s.
Mr. Bell taught for over twenty-five and has been an elementary classroom teacher, music teacher, Chapter I Coordinator, Assistant Principal and Principal all in the Houston Independent School District. Currently is Director of Bel-Lin's Music Studio in Houston, Texas. Mr. Bell’s avocation and passion for church music has been around four decades where he has served in the Houston and neighboring communities, and frequently serves as musical consultant for local, state and regional religious and civic organizations. He also is the author of an semi-autobiography about growing up in Houston entitled Kid’s Can’t Be Kids Anymore. He has recorded two CD recordings of inspirational music. He has composed one major religious easter cantata work entitled ‘Hear The Word of The Lord' premeire ecumenical performance in 1987 at the Saint Francis Xavier Catholic Church-Houston, Texas and in 1992 at the Good Hope Missionary Baptist Church-Houston. He also is the composer of many songs sung in the black worship service. His favorite and most well-liked is The Lord Is My Shepherd. He has sung with the Houston Symphony Chorale-Chorus under the direction of the late Virgina Babikian and Dr. Charles Hauseman. He received the National Reading is Fundamental Award...Leaders in Literacy Award in 1994 in Houston, Texas.
Those who know the author have often described him as being very talented, inquisitive, very ambitious, a computer whiz-enthuiast, an outgoing fellow, very diligent, and energetic. He always wears an incesasant smile, is quite humorous, and is always willing to help others whenever he can. He is very versatile. Mrs. Elnoir Walton of Houston, Texas, says of Mr. Bell, "the author presents himself as a Christian person who has the love of God in him and reflects this in his conversation and actions. He has a pleasing personality that everyone who is around him enjoys."
The author is married to the former Linda Joyce Fuller of Houston, Texas, and is the father of RaKeisha Monet’(Son-Inlaw Cedric) and John (II)Jr.. They reside in Southeast Houston. Mr. Bell enjoys several hobbies for both relaxation and inspiration; they are oil painting, cooking, reading, socializing, and traveling. Some of his future aspirations are to have a showing of his oil paintings, to publish a piano course book, and to establish an urban music academy, utilizing some of the latest developments in the music wor
J.J. Johnson, known as the spiritual father of modern trombone, has been a notable figure in the history of jazz. His career has embodied virtually every innovation and development in jazz over the past half-century. In this first comprehensive biography, filmography, catalog of compositions, and discography, the authors explore Johnson's childhood and early education, document his first compositions, and examine his classical roots, thereby creating a unique and powerful illustration of the composer's technical and stylistic development.
New in the paperback edition is an Epilogue containing vital information about Johnson's suicide as well as an Index of Discography Titles.
Drawing on decades of work observing and researching the Mormon Tabernacle Choir, Michael Hicks examines the personalities, decisions, and controversies that shaped "America's choir." Here is the miraculous story behind the Tabernacle's world-famous acoustics, the anti-Mormonism that greeted early tours, the clashes with Church leaders over repertoire and presentation, the radio-driven boom in popularity, the competing visions of rival conductors, and the Choir's aspiration to be accepted within classical music even as Mormons sought acceptance within American culture at large. Everything from Billboard hits to TV appearances to White House performances paved the way for Mormonism's crossover triumph. Yet, as Hicks shows, such success raised fundamental concerns regarding the Choir's mission, functions, and image.
How is music made sacred? Is it sacred already? Is all dance divine? Does all poetry reflect the divine muse within? Do all works of art speak of the highest realization? Does it really matter, or is all realization, like beauty, in “the eye of the beholder?” Possibly some of these questions may find answers in the following pages. But if not, suffice to say that where the medium is purified — where a lustral regimen has been adhered to — there, spiritualized expression will reach its zenith. When sensitive artists, seeking the highest, place their gifts and talents in action and offer the fruits of such before the world, they must first and necessarily have subjected them to purification and intensification. Any instrument, whether it be a metal tube or a fleshy tube, a wooden box with strings or a metal box containing film, a tome of writings, a paintbrush, or the human body, is always under the control of consciousness. Like different conditions of water — some fit for drinking, some for swimming, some for washing dishes and some only for carrying waste — the consciousness of human minds is also pure or impure, as the case may be. In artistic endeavor, then, as in spiritual practice, purification of what is limited or impure renders the medium fit to emanate the truth or essence of any given expression, such as inspired choreography, a masterpiece on canvas, an original composition, a unique film, or a work of literary genius — all which have the ability to transform lives. So here is the acid test with regards to true artforms, at least for the discriminating person. As is consistent with all modes of existence — with work, dreams, visions, relative experiences of all types — if they help reveal the divine essence in human nature and assist human character by way of positive accretion, then they can be said to be real, authentic, and ultimately meaningful. Otherwise, too much distraction and wasted energy plague them, as well as their host, all amounting to “vanity and vexation of human spirit."
Little Voices - Classic Pops brings together five well-known pop tunes, specially selected and arranged in two parts for young groups and choirs.
This book includes the favourites I Have A Dream, Mr. Blue Sky, Morning Has Broken, Nowhere Man and Wouldn't It Be Nice.
Little Voices - Abba brings together five hits by the Swedish pop group, specially selected and arranged in two parts for young groups and choirs.
This book includes the songs Chiquitita, Dancing Queen, Mamma Mia, Super Trouper and Thank you for the Music.
This book by music expert Calvin Stapert will greatly increase understanding and appreciation of Handel s majestic Messiah, whether readers are old friends of this remarkable work or have only just discovered its magnificence.
Stapert provides fascinating historical background, tracing not only Messiah s unlikely inception but also its amazing reception throughout history. The bulk of the book offers scene-by-scene musical and theological commentary on the whole work, focusing on the way Handel s music beautifully interprets and illuminates the biblical text.
For anyone seeking to appreciate Handel s Messiah more, this informed yet accessible guide is the book to have and read.
(Handel s Messiah: Comfort for God s People is the newest volume in the flourishing Calvin Institute of Christian Worship Liturgical Studies Series, edited by John D. Witvliet.)
This book is Scripture based and Scripture oriented. All the worship materials are compatible with the Revised Common Lectionary, but can also be used in churches that do not use the RCL. Additional features include a Scripture index, a topical index listing items that can be used on other occasions during the church year, and a searchable CD-ROM.
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.
The modern day musical theatre phenomenon Matilda is the multiple Olivier Award-winning adaptation of Roald Dahl’s classic children’s novel, performed by the Royal Shakespeare Company.
This book contains the songs Naughty, School Song, When I Grow Up, My House and Revolting Children.
Stapert draws parallels between the pagan cultures of the early Christian era and our own multicultural realities, enabling readers to comprehend the musical ideas of early Christian thinkers, from Clement and Tertullian to John Chrysostom and Augustine. Stapert's expert treatment of the attitudes of the early church toward psalms and hymns on the one hand, and pagan music on the other, is ideal for scholars of early Christianity, church musicians, and all Christians seeking an ancient yet relevant perspective on music in their worship and lives today.
Written by knowledgeable church historians, Wonderful Words of Life explores the significance of hymn-singing in many dimensions of American Protestant and evangelical life. The book focuses mainly on church life in the United States but also discusses the foundational contributions of Isaac Watts and other British hymn writers, the use of gospel songs in English Canada, and the powerful attraction of African-American gospel music for whites of several religious persuasions. Includes appendixes on the American Protestant Hymn Project and on hymns in Roman Catholic hymnals.
Susan Wise Bauer
Thomas E. Bergler
Virginia Lieson Brereton
Esther Rothenbusch Crookshank
Richard J. Mouw
Mark A. Noll
Robert A. Schneider
Rochelle A. Stackhouse
This book is Scripture based and Scripture oriented. All the worship materials are compatible with the Revised Common Lectionary, but can also be used in churches that do not use the RCL. Additional features include a Scripture index and a topical index listing items that can be used on other occasions during the church year.
Entries are arranged from Genesis through Revelation. Each main entry citation provides the biblical reference (book, chapter, and verse), as well as a reference to additional passages from Scripture used in the anthem. The composer, arranger, or editor and the title are listed as they appear on the octavo. Information on voicing, solos, and instrumental accompaniment is noted; the name of the publisher, the most recent date of publication and the octavo number appear at the end of each citation, where information on instrumental parts, other versions of the same title, and collections where the work might appear are also listed. Composer and title indexes round off the work.
and Paul Inwood.
* Away in a Manger
* God Rest You Merry, Gentlemen
* Hark! The Herald Angels Sing
* In Dulci Jubilo
* Lo, How a Rose E'er Blooming
* Puer Natus (A Child Was Born)
* What Child Is This?
* While Shepherds Watched
Skill Level: Grade1 to Grade 3.
1. Ding Dong Merrily on High
2. I Saw Three Ships
3. Jingle Bells
4. O Christmas Tree
5. We Three Kings
6. Away In A Manger
7. Silent Night
8. Good King Wenceslas
9. Hark The Herald Angels Sing
10. Deck The Halls
The digital sheet music in this book can be viewed on all tablet devices and computers.
My name is Michael Shaw, I hope you enjoy the sheet music in this book.
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Skill Level: Grade1 to Grade 3.
1. Angels From The Realms Of Glory
2. Angels We Have Heard On High
3. Come, All Ye Shepherds
4. Go Tell It On The Mountain
5. I Heard The Bells On Christmas Day
6. It Came Upon The Midnight Clear
7. O Holy Night
8. See Amid The Winter's Snow
9. The Gloucestershire Wassail
10. The Wassail Song
The digital sheet music in this book can be viewed on all tablet devices.
My name is Michael Shaw, I hope you enjoy playing the Christmas Carols in this book.
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After reviewing the subject's historical setting, and describing the main sources, the author discusses music at the Jerusalem Temple and in a variety of spheres of Jewish life away from it. His subsequent discussion of early Christian music covers music in private devotion, monasticism, the Eucharist, and gnostic literature. He concludes with an examination of the question of the relationship between Jewish and early Christian music, and a consideration of the musical environments that are likely to have influenced the formation of the earliest Christian chant. The scant remains of notated music from the period are discussed and placed in their respective contexts.
The numerous sources that are the foundation of the book are evaluated objectively and critically in the light of modern scholarship. Due attention is given to where their limitations lie, and to what they cannot tell us as well as to what they can. The book serves as a reliable introduction as well as being an invaluable guide through one of the most complex periods of music history.