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Winner of the ASCAP Deems Taylor Award and Society of Music Theory's Wallace Berry Award This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.
Ballads and other kinds of American folksongs have been widely collected and studied, but most Americans are unaware that in the time between the Revolution and the Civil War the singing of folk spirituals was as common among rural whites as among blacks. This was the music of the Methodist camp meeting and the Baptist revival, and white spirituals in fact are known chiefly because homebred composers sometimes wrote them down, gave them harmonic settings, and published them in songbooks.
One of the rarest of these country songbooks, John McCurry's "The Social Harp" (1855) contains 222 pieces, mostly folktune settings, half of which were composed by McCurry and others in Hart County, Georgia. This facsimile reprinting is provided with appendices useful for the study of its sources and with an introduction containing information that throws light on the men who wrote for nineteenth-century American songsters and the reasons for the eventual neglect of their music.
Presents a simple setting of the Magnificat for SATB and organ with optional brass quintet (2 trumpets, horn, 2 trombones).
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for SATB, brass ensemble, timpani, optional handbells, and optional organ OR SATB and piano This is a joyful carol in which John Rutter sets a traditional English text to a bold and straightforward melody and creates an uplifting work replete with forthright Christmas cheer. Instrumental parts are available on hire. The handbell part is also printed in the vocal score.
for SSA and organ or strings A setting of haunting lyrical simplicity. An SATB version is also available. The accompaniment for strings is available on hire.
Available for violin, viola, and cello, this book includes a CD featuring performances of all the pieces and exercises with piano.
Features a rock and roll style setting for SATB or two-part upper voices and either piano, drums (optional) and double bass/bass guitar, or orchestra.
Suitable for unaccompanied SSATB voices with SSAB soloists.
Cantique de Jean Racine was written in 1865 during Faure's final year at the Ecole Niedermeyer, winning him the first prize for composition, and this elegant work now holds a cherished place in the choral repertory for both sacred and secular occasions. Presented with an English singing translation in addition to the original French, John Rutter's edition includes an accompaniment for organ or piano, and the work may also be performed with the transcription for harp and strings (available separately), compatible with the instrumentation for the OUP edition of the Faure Requiem in its 1893 version. Complete orchestral and vocal material is available on hire/rental and on sale. This arrangement for upper voices remains as faithful to the original as possible.
Mascagni's first produced opera (1890), and ultimately his most successful, Cavalleria Rusticana is a tempestuous drama of adultery and revenge set in a remote Italian village. Its earthy passions, bold confrontational scenes and richly melodic score set a fashion for so-called verismo opera that would endure for more than a decade. It is still a great repertoire favorite, almost always double-billed with Ruggiero Leoncavallo's Pagliacci (also available in a Dover edition.) Reprinted from the authoritative edition issued by the German publishers Bote & Bock.
With its piano accompaniment, this piece is suitable for SATB and piano or orchestra.
for SATB and organ or chamber orchestra This pretty and effortless carol has a winning melody and good variety of texture. Words paraphrased from the Venerable Bede. A version for SSA is also available. An instrumental accompaniment is available on hire.
This interdisciplinary anthology explores the complex relationships in an artist's life between fact and fiction, presentation and existence, and critique and creation, and examines the work that ultimately results from these tensions. Using a combination of critical and personal essays and interviews, MASKS presents Bowie as the key exemplifier of the concept of the "mask," then further applies the same framework to other liminal artists and thinkers who challenged the established boundaries of the art/pop academic worlds, such as Friedrich Nietzsche, Oscar Wilde, S ren Kierkegaard, Yukio Mishima, and Hunter S. Thompson. Featuring contributions from John Gray and Slavoj Zizek and interviews with Gary Lachman and Davide De Angelis, this book will appeal to scholars and students of cultural criticism, aesthetics, and the philosophy of art; practicing artists; and fans of Bowie and other artists whose work enacts experiments in identity.
The "I Want to Be..." series gives young children a realistic insight into the working day of adults. Easy-to-read captions and color photographs of women and men from different cultures help children understand what's involved in each occupation. Young readers learn to respect the importance of doing a job well and appreciate the contributions these workers make to our life and the world around us.
These books are perfect for reading alone or in group story times. They are certain to spark questions and encourage dialogue and prompt children to learn more about these occupations.
I Want to Be a Musician is a behind-the-scenes look at the professional musicians who compose and perform the live and recorded music we hear everyday.
for SAA and piano This pretty and effortless carol has a winning melody and good variety of texture - a classic carol and an ideal showcase for young voices. A version for SATB is also available.
An easy anthem with words and music by John Rutter. There are three different versions of the vocal parts - unison (or two-part) with keyboard, upper voices with keyboard, or SATB unaccompanied or with keyboard.
for SSA and piano This gentle and expressive setting of John Donne's 'Catch a falling star' once again demonstrates Chilcott's ability to 'get inside' a text. His wistful melody, varied vocal textures, and rich harmony combine with the poet's powerful imagery to create a setting of great beauty.
Suitable for SSA, and harp or piano, this title is taken from the carol cycle Dancing Day, and also in Carols for Choirs 4.
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