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This MUSA volume makes an important contribution to American music studies by presenting a scholarly edition of selected choral works by Dudley Buck (18391909). Buck was arguably the finest composer of choral music among the group of musicians who had come of age by the end of the Civil War. The works chosen for this volume, some of which became icons of American Victorian culture, represent the three most popular choral genres during the Guilded Age: the anthem, the sacred and secular cantata, and the partsong. All of the works included here found immediate publication and stayed in print well into the twentieth century. Buck's works became the standards, not only by their intrinsic merit, but owing to their widespread performance throughout the country. His services, canticles, anthems, and hymnsmusically engaging, well-crafted, and often genuinely movingwere considerably more professional than the homegrown music in use when he began his work. Included here are three works, a hymn anthem ("Rock of Ages"), a liturgical text ("Festival Te Deum No. 7 in E-flat"), and a late, through-composed work ("Grant to Us Thy Grace"). Buck's sacred and secular cantatas along with his partsongs also enjoyed widespread success among the growing number of church choirs and community choral groups. The two partsongs come from his earliest and latest periods. "In Absence" represents the early Victorian partsong, and the second, "The Signal Resounds from Afar" is both Buck's longest partsong and the one showing the greatest contrapuntal complexity. Both The Centennial Meditation of Columbia, written for the 1876 Centennial Exhibition, and the Forty-Sixth Psalm, from 1872, are in full score and typify some of the finest cantata writing in Victorian America.
The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.