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An opera with instrumental parts for strings, keyboard continuo, plus optional guitar for dances This edition, with English and German texts, is based on that by Edward Dent (first published in 1925), but includes more recent scholarship. The preface presents a history of the work. The score is both scholarly and practical for performers.
Suitable for SS(A) and piano or organ. This is a setting of the sixteenth-century poem by George Herbert, with a gently syncopated accompaniment. The simple melody is coloured by subtle harmonic gestures mirroring the sentiments of the text.
Suitable for SSS and keyboard. This tune, supported by a distinctive organ ostinato in 5/8 time, combines the immediacy and freshness of a folksong with the spiritual sincerity of an anthem.
Salvator Mundi, is suitable for SAATB and optional organ.
Joys Seven is suitable for SSAATT(or Bar)BB and organ.
for SATB and piano This is the fruit of a collaboration between the American poet and storyteller Brian Andreas and Bob Chilcott. It seeks to celebrate the essential good of humanity, expressed in the healing power of song. This is a piece of rare power and beauty that stands both as a heartfelt tribute to the victims of September 11, and a testament to the resilience of the human spirit worldwide.
for SATB and organ Words by Peter Abelard.
for SATB and organ or chamber orchestra with words from Psalm 121 Orchestral material is available on hire
Hampton Hawes [1928-1977] was one of jazz's greatest pianists. Among his peers from California the self-taught Hawes was second only to Oscar Peterson. At the time of his celebration as New Star of the Year by downbeat magazine (1956), Hawes was already struggling with a heroin addiction that would lead to his arrest and imprisonment, and the interruption of a brilliant career. In 1963 President John F. Kennedy granted Hawes an Executive Pardon. In eloquent and humorous language Hampton Hawes tells of a life of suffering and redemption that reads like an improbable novel. Gary Giddins has called it "a major contribution to the literature of jazz." This book includes a complete discography and eight pages of photographs.
Suitable for SATB and organ or orchestra, this title includes words from Psalm 100.
for unaccompanied SATB choir Andrew Carter's setting matches in its powerful simplicity the text attributed to the French Quaker missionary, Stephen Grellet: 'I expect to pass through this world but once; any good thing therefore that I can do, or any kindness I can show, or any service I can render to any soul of man or animal, let me do it now; let me not defer or neglect it, for I shall not pass this way again.'
for SATB and piano or organ Scott employs his considerable arranging skills to stylish effect by contrasting unison verse sections with mellifluous wordless choruses. All is underpinned by an idiomatic and supportive accompaniment for piano or organ. Also available in an upper voice version.
Covering one of the most musically diverse regions in the world, Musics of Latin America emphasizes music as a means of understanding culture and society: each author balances an analysis of musical genres with discussion of the historical and cultural trends that have shaped them. Chapters cover traditional, popular, and classical repertoire, and in-text listening guides ensure that students walk away with a solid understanding of the music.
for SATB and organ or strings This well-known, ever-popular Polish carol-lullaby has been set by Wilberg in a beautifully simple style, incorporating rich harmonies into the organ part. Orchestral material is available on hire.
for soprano or mezzo-soprano solo, mixed chorus, and orchestra This spirited and attractive work is a setting of the Latin version of Psalm 148, one of the most celebrated and joyful hymns of praise to the Lord of heaven. Conjuring a rich tapestry of sonorities and textures, Andrew Carter has created a highly tuneful work in eight well-contrasted movements full of joy and vivid in colour. Laudate Dominum is original and approachable - suitable for all choral societies. Full scores and orchestral material are available on hire.
for SATB and piano or brass quintet, or brass a 8, or orchestra Material for brass and for orchestra is available on hire.
An easy anthem with words and music by the composer. There are four different versions of the vocal parts - unison (or two-part) with keyboard, upper voices with keyboard, SA and Men with piano or SATB unaccompanied or with keyboard. An orchestral accompaniment compatible with the SATB version, SAMen version and the unison version (although the orchestral parts are a semitone higher in the latter two) is available on hire. Also available in John Rutter Anthems.
Alan Krueger, a former chairman of the president's Council of Economic Advisers, uses the music industry, from superstar artists to music executives, from managers to promoters, as a way in to explain key principles of economics, and the forces shaping our economic lives.
The music industry is a leading indicator of today's economy; it is among the first to be disrupted by the latest wave of technology, and examining the ins and outs of how musicians create and sell new songs and plan concert tours offers valuable lessons for what is in store for businesses and employees in other industries that are struggling to adapt.
Drawing on interviews with leading band members, music executives, managers, promoters, and using the latest data on revenues, royalties, streaming tour dates, and merchandise sales, Rockonomics takes readers backstage to show how the music industry really works--who makes money and how much, and how the economics of the music industry has undergone a radical transformation during recent decades.
Before digitalization and the ability to stream music over the Internet, rock stars made much of their income from record sales. Today, income from selling songs has plummeted, even for superstars like James Taylor and Taylor Swift. The real money nowadays is derived from concert sales. In 2017, for example, Billy Joel earned $27.4 million from his live performances, and less than $2 million from record sales and streaming. Even Paul McCartney, who has written and recorded more number one songs than anyone in music history, today, earns 80 percent of his income from live concerts. Krueger tackles commonly asked questions: How does a song become popular? And how does a new artist break out in today's winner-take-all economy? How can musicians and everyday workers earn a living in the digital economy?
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