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.
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.
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.
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.
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.)
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.
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.
Forsyth discusses general principles in terms of their application to everyday orchestral necessities. He further presents a complete composition and explores each note, forming a friendly critical conversation with readers. Together the author and reader examine the work's musical difficulties, balance the orchestral possibilities of each passage, and explore the details of orchestral execution. Pianists and composers as well as organists will appreciate this accessible and complete study of orchestration.
For the third edition, the authors have completely revised the text, updating the medical information and expanding the exercises. They have also added three new chapters:A chapter entitled "Singing in the 21st Century" that considers the vocal/choral demands of the choral repertoire being written in this century.A chapter on teaching young boys to sing written by Vic Oakes, the conductor of the Chattanooga Boys Choir.A chapter entitled "The Value of Lifelong Singing."
With its updates and additions, Choral Pedagogy, Third Edition, is a valuable resource for students of choral conducting, music education, church music, and choral singing.
In the second edition of English and German Diction for Singers, Amanda Johnston continues her comparative, modernized approach to lyric diction. This comprehensive resource offers a thorough analysis of the German and English languages and includes extensive oral drills, word lists, tables, charts, musical examples, and even tongue twisters. Unique to this publication is the illustration of the rhythmic timing and release of consonants within the International Phonetic Alphabet transcriptions in all musical examples.
This book is designed for both undergraduate and graduate courses in German and English lyric diction and is an invaluable resource for classical singers, vocal coaches, and voice teachers alike.
Improvements to the second edition include:
An online workbook that includes extensive written exercises suitable for classroom or independent useChapter-by-chapter video clips that demonstrate the concepts addressed in the text Expanded chapters address the schwa, the treatment of monosyllabic incidental words, the use of R, and the correct formation of the elusive upsilon and extended epsilonConsideration of loan words and stressed vs. unstressed closed German vowelsIntegrated practice drills for mastering challenging and unfamiliar phonemesEnlarged musical examples show the rhythmic timing and release of voiced and voiceless consonantsAn expanded appendix on suggested repertoire for diction studyInclusion of specific diction choices suitable for musical theatre repertoireExpanded discussion of healthy glottal onsets, including the concept of junctureUse of the latest resources, namely Deutsche Rechtschreibung (2014) and Cambridge Pronouncing Dictionary, 18th edition (2011)For all users, there is a WORKBOOK. Access the workbook here.The ANSWER KEY is available for instructors. Contact firstname.lastname@example.org for details.
In an effort to conquer one of the greatest challenges facing choral directors and their choirs, contributors explore the use of the IPA system in a vast range of languages. Readers will find essays devoted to the use of IPA on matters of lyric diction for the following tongues: Baltic Languages, Basque, Brazilian Portuguese, Chinese, Dutch, Ecclesiastical Latin, English, Finnish, French, Georgian, German, Germanic Latin, Greek, Hawaiian, Hebrew, Hungarian, Italian, Japanese, Korean, Norwegian, Polish, Romanian, Russian, Spanish, Swahili, and Swedish. Holding firmly to the belief that basic instruction in IPA character is part of a choir's training, Karna and his contributors see enormous potential for choirs to expand considerably their foreign-language repertoire and save considerable rehearsal time.
The Use of the International Phonetic Alphabet in the Choral Rehearsal is the ideal primer for choral directors and choirmasters as well as choir members.
Choral writing—so much part of the operatic tradition, also germane to religious music, and integral to the public music of celebration—is fundamental to the next genre Meyerbeer wrote for, the part-song, a typical German tradition. Meyerbeer’s part-songs for male chorus, most of which were provided for the Liedertafel Friends of the Berlin Singakademie, use the age-old themes of unity, friendship, patriotism, homeland, hunting: Bundeslied (1835), Freundschaft (1842), Dem Vaterlande (1842), and Die lustigen Jägersleut (1842). This set of four illustrates the composer’s harmonic richness, his imaginative use of all the variants of vocal timbre and tessitura, in part-writing, textured unison and homophony.
Rather different were two later numbers, Der Wanderer und die Geister an Beethovens Grabe (1845), and Das Lied vom blinden Hessen (1862). The first is a personal tribute to the memory of Beethoven, for bass solo and chorus, that uses the Platonic imagery of the music of the spheres as the transcendent ideal of beauty. The late Song of the Blind Hessian, requiring a tenor soloist and chorus, is a deeply felt lament in which the protagonist’s blindness becomes the metaphor for a series of variations on loneliness, exile and loss, and eventually a correlative of disenfranchisement and yearning for freedom—political and spiritual. In both songs the chorus has a more dramatic role than in the part-songs, reflecting on the situation presented in the soloist’s manifesto, sometimes serene and supporting, at others adding to the sense of anguish and aspiration.
Throughout his career Meyerbeer wrote songs. These reflected the circumstances of his life, the various cultural milieux he moved in—particularly, of course, the German, Italian and French worlds. The majority of Meyerbeer’s songs were composed between 1828 and 1860, in tandem with his illustrious operatic career and socially prestigious musical posts in Berlin. Meyerbeer’s songs in whatever genre show the influence of the Lied, especially in his subtle use of the piano parts. Unique among Meyerbeer’s songs are two written with instrumental obbligatos: “Hier oben” (Des Schäfers Lied or Hirtenlied) (Ludwig Rellstab) (1842) (for tenor, clarinet and piano, published in Paris in 1857), and “Près de toi” (“Neben Dir”) (Gustav Roger, translated by the poet and historian Joseph Duesberg) (1857) (for tenor with violoncello and piano, published in Paris in the same year). Meyerbeer adapted a strong sense of local colour in two songs composed in the 1850s: the Spanish bolero in the mélodie written for the incidental music to Aylic-Langlé’s play Murillo (Ballade dans la comédie Murillo, ou Le Peintre mendiant un modèle) (Paris, 1853); and the Italian barcarole in the canzonetta “A Venezia” (Pietro Beltrame) (1856) [Paris: Brandus, 1856; Cologne: Schloss, n.d.].
In addition to providing historical information, each chapter highlights significant aspects—such as the theology of love—of a particular piece. This penetrating volume is the first to treat the vocal works as a whole, showing how the compositions were embedded in their original performative context within the liturgy as well as discussing Bach’s musical style, from the detailed level of individual movements to the overarching aspects of each work. Published in the approach to Easter when many of these vocal works are performed, this outstanding volume will appeal to casual concertgoers and scholars alike.
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.
The ornate complexity of pre-Reformation Catholic liturgies revealed the exclusive nature of this form of worship. By contrast, simple English psalms, set to well-known folk songs, summed up the aims of the Reformation with its music for everyone. The Enlightenment brought hymns, the Methodists and Victorians a new delight in the beauty and emotion of worship. Today, church music mirrors our multifaceted worldview, embracing the sounds of pop and jazz along with the more traditional music of choir and organ. And reflecting its truly global reach, the influence of English church music can be found in everything from masses sung in Korean to American Sacred Harp singing.
From medieval chorales to “Amazing Grace,” West Gallery music to Christmas carols, English church music has broken through the boundaries of time, place, and denomination to remain familiar and cherished everywhere. Expansive and sure to appeal to all music lovers, O Sing unto the Lord is the biography of a tradition, a book about people, and a celebration of one of the most important sides to our cultural heritage.
This 10-minute revue includes:
*Ding Dong! The Witch Is Dead
*The Lullaby League
*We're Off to See the Wizard
*If I Only Had a Brain
*The Merry Old Land of Oz
*Over the Rainbow
The Pete Schmutte orchestration adds that 'MGM' style extravaganza sound to make every performance of this review a real event! Bring the incredible story to life by adding this revue to your next concert.
Afro-Colombian Hip-Hop uncovers ways in which young Afro-Colombian performers are attempting to use hip-hop and digital media to bring the perspectives, histories, and expressive forms of their marginalized communities into national and international public consciousness.
Little Voices - Film Songs brings together five film favourites, specially selected and arranged in two parts for young groups and choirs.
This book includes the songs The Best Day Ever, Breaking Free, Hallelujah, I Believe I Can Fly and My Heart Will Go On.
"Filled with real tools and overflowing with inspiration, this comprehensive how-to manual examines the art and craft of rap. . . . Both newcomers to rap and more experienced listeners and artists can gain insights in the time-honored tradition of learning from the past, as told straight from the artists’ mouths. . . . Highly recommended." --Library Journal
Featuring an array of rap techniques never before explained or cataloged--such as flams, triplets, lazy tails, and vibrato--HOW TO RAP 2 is a must-read for MCs looking to take their craft to the next level, as well as anyone fascinated by rapping and its complexity. Filled with exclusive insights from hip-hop's most innovative artists, such as Tech N9ne, Crooked I, The Pharcyde, Das EFX, Del the Funky Homosapien, and Big Daddy Kane, this book takes you through the intricacies of rhythm, rhyme, and vocal delivery, delving into the art form in unprecedented detail.
Paul Edwards is a writer and researcher of hip-hop. He is regarded as a leading expert on hip-hop and rap, and has been referred to as "the Aristotle of hip-hop poetics" by internationally acclaimed and award-winning poet Dana Gioia. He is the author of How to Rap. Gift of Gab, of the group Blackalicious, is noted as one of the most dexterous and versatile MCs of all time.
Music can be released, distributed, and promoted for a fraction of traditional costs. Veteran author and music-business consultant Daylle Deanna Schwartz (who started and ran her own label) has rewritten and expanded her classic, Start & Run Your Own Record Label, to reflect industry changes and new opportunities for marketing music in today’s climate.
Start & Run Your Own Record Label is a comprehensive guidebook to building a record label, packed with how-to information about market trends and revenue streams for music releases. In addition to updated information on physical distribution, generating publicity, marketing, and promotion, it also has new information about key issues including:
•Balancing on and offline promotion and marketing
•Making the most of online resources (social-networking sites, blogs, ringtones, videos, radio, and more)
•Using digital distribution profitably
•Licensing your recordings for use in the media
•Marketing music overseas
Ms. Schwartz has compiled new interviews with top industry professionals and independent labels–including recording artist CJ Baran (Push Play), Jed Carlson (founder, ReverbNation), Daniel Glass (founder, Glassnote Entertainment), blogger Perez Hilton, Scott Lapatine (founder, Stereogum), recording artist Ingrid Michaelson, Jeff Price (founder, Tunecore), MP3 bloggers, music-magazine editors, publicists, and others–for the most up-to-date, authoritative, and practical compendium available.
From the Trade Paperback edition.
From Mozart to Motown and beyond, this “racily written, learned, and often shrewdly insightful” social history reveals music’s role in our societies as well as its power to affect us on a personal level (The Daily Telegraph).
Once a building block of communication and social ritual, today music is also a worldwide tangle of genres, industries, and identities. But how did we get from single notes to multilayered orchestration, from prehistoric instruments like bone flutes to modern-day pop? In this dynamic tour, acclaimed composer and broadcaster Howard Goodall leads us through the development of music as it happened, idea by idea. In Goodall’s telling, each innovation that we now take for granted―harmony, notation, dance music, recording―strikes us anew. And along the way, Goodall gives listeners a crash course in how music works on a technical level.
The story of music is the story of human ambition: the urge to invent, to connect, to rebel. Offering “a lively zip through some forty-five millennia, jumping back and forth between classical, folk, and pop,” Howard Goodall’s beautifully accessible and entertaining ode to joy is a groundbreaking look at just how far we’ve come (The Sunday Times, London).