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“Each wears his cynicism like a bulletproof jockstrap—each has his horror story, his bad dream, his nightshriek. He is afraid of his friends—he is afraid of himself.”—New York Times Partners in the Los Angeles Police Department, they’re haunted by terrifying dark secrets of the nightwatch–shared predawn drink and sex sessions they call choir practice. “A master storyteller . . . authenticity oozes from this book . . . freewheeling and chilling and certainly Wambaugh's best.”—Houston Chronicle
What role does contemporary choral activity play in the construction of social and musical meaning? How can historical knowledge and analysis shed light on contemporary choral problems and possibilities? And how can choral research promote the development and expansion of new music today? Questions like these are addressed in this anthology from a wide range of disciplines and perspectives. The book comprises a selection of papers presented at the International Conference on the Concepts and Practices of Choral Singing in Lund, Sweden, in October 2012. The aim of the conference was to highlight the contemporary dynamic developments in choral research, and to explore interdisciplinary investigations and interaction between practice-based and historical approaches. The conference was also the fourth meeting of the network “Choir in Focus”, which was initiated in 2009 at Southern Choral Centre (Körcentrum Syd), a joint venture between Malmö Academy of Music, the Department of Musicology, Odeum (all at Lund University), Malmö Symphony Orchestra and Music South (Musik i Syd), Sweden. The continuous ambition of the network has been to provide a forum for co-operation across national and disciplinary borders and to encourage debates around the musical and social function of choirs in modern society as mirroring collective and individual needs for meaning, music-making and well-being. In the introductory chapter, the editors describe choral practice as a field of simultaneous (re)presentation, (re)production and (re)creation, and suggest that these three aspects may be seen as umbrella themes for the fifteen chapters of the anthology. The authors come from Sweden, Norway, Finland, Estonia, Germany, United Kingdom, Portugal and Belgium, and explore choral practice from differing theoretical and methodological starting points. Together, they contribute to a transdisciplinary discussion about the origins, functions and meanings of choral singing.
Now in its Fourth Edition, A New Approach to Sight Singing continues to lead the pack with its innovative and class-tested method of teaching the four-semester sight singing sequence. The authors "new approach" places the act of singing melodies at sight within the context of musicianship as a whole.
Choral Conducting is a resource for singers, teachers, and choral conductors, and a college-level text for students of choral conducting. It also includes an overview of what is involved in leading a choral group and examines theories of learning and human behaviour and the history of choral music together with conductor's role. The book also discusses issues of the conductor-vocalist relationship, the mechanics of singing, rehearsal strategies, and more.
Takes the reader through an enlightening tour of choral music, emphasizing on the musical style performance practice of different historical periods. The reference provides guidelines on the numerous aspects of performance practice for choral music based on the Renaissance Period, the Baroque Period, the Classical period, the Romantic period, and the Modern Period, with special emphasis on meter and stress, tempo, dynamics, tone quality, pitch, texture, and expressive aspects of the music of each period. Appropriate for Junior/Graduate-level courses in Choral Conducting and Literature..
A complete sourcebook for choral directors of all levels, as well as choral methods classes. Contains 211 warm-ups with information on usage, photos illustrating correct posture and vowel formation, and a well organized index to make finding the right warm-up a snap. Belongs in every choral director's library.
These nine essays consider for the first time the day-to-day performing practice of English composers of choral music of the period 1440-1650.
“Each wears his cynicism like a bulletproof jockstrap—each has his horror story, his bad dream, his nightshriek. He is afraid of his friends—he is afraid of himself.”—New York Times Partners in the Los Angeles Police Department, they’re haunted by terrifying dark secrets of the nightwatch–shared predawn drink and sex sessions they call choir practice. “A master storyteller . . . authenticity oozes from this book . . . freewheeling and chilling and certainly Wambaugh's best.”—Houston Chronicle
In The Use of the International Phonetic Alphabet in the Choral Rehearsal, Duane R. Karna brings together 30 essays by experts from around the world to describe how the character symbols of the International Phonetic Alphabet (IPA) can be used by singers in the choral rehearsal. 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.