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Concert of Voices combines poetry, fiction, drama, and essays in an anthology of world literature in English. This second edition preserves the first edition’s breadth and its balance of established and less widely known authors, while including a large selection of exciting new material. Biographical information and explanatory notes have been updated and expanded, and new pieces by Cyril Dabydeen, Vikram Seth, Wole Soyinka, Pauline Johnson, Rudy Wiebe, and many other authors have been added.
Paul Robeson's Voices is a meditation on Robeson's singing, a study of the artist's life in song. Music historian Grant Olwage examines Robeson's voice as it exists in two broad and intersecting domains: as sound object and sounding gesture, specifically how it was fashioned in the contexts of singing practices, in recital, concert, and recorded performance, and as subject of identification. Olwage asks: how does the voice encapsulate modes of subjectivity, of being? Combining deep archival research with musicological theory, this book is a study of voice as central to Robeson's sense of self and his politics. Paul Robeson's Voices charts the dialectal process of Robeson's vocal and self-discovery, documenting some of the ways Robeson's practice revised the traditions of concert singing in the first half of the twentieth century and how his voice manifested as resistance.
As any middle school choir director knows, change is the name of the game! A changing voice is just one of countless physiological and emotional changes that middle school students experience. Knowing the general limits of male and female changing voices, as well as the specific capabilities of your students, are two keys to building healthy -- and happy! -- middle school singers. This book is an accessible, must-read resource for any middle-school choir director looking to foster stronger, more capable musicians, and offers 25 warm-up exercises along with customized grade-specific tips for using them along with free access to accompanying audio recordings--Publisher's description.
Text for college classrooms, private voice studios and those who are currently in the choral classroom. A concise, yet comprehensive study of vocal technique along with an extensive collection of related vocalises. The vocalises are presented in a manner that is "user-friendly," complete with accompaniments and numerous transpositions. This book contains more than 60 different exercises each designed to address specific vocal concepts. Whether you are a student of choral/vocal pedagogy, a beginning director or a veteran of many years in the classroom in need of new and fresh warm-ups to begin your daily rehearsals, this is the text that you have been waiting for. There is an accompanying student book so that every student can see the exercises, making introduction of new material much easier and more efficient.
London, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city’s tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever. It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category—voice—and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city’s importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available—and sometimes unavoidable—to residents at the time, London Voices, 1820–1840 sheds new light on music in Britain and the richness of London culture during this period.
Music. Love won, lost, regained. Festivals. Tours. Legends. Welcome to Voices. Legendary rock and roll singer/songwriter Tom Timoreaux, who like many began during San Francisco’s epochal Summer of Love, emerges from a long retirement with his band, The Fever. When his backup singer cannot tour, he brings on his estranged daughter, Christine. As they sing together and heal their relationship, The Fever tours to national acclaim—and Christine becomes a star. Meanwhile, in Italy, Tom’s long-lost “love child,” Annalisa, views a Fever concert streamcast and must decide whether to reach out to a man she thought dead. Voices is a father-daughter-daughter relationship journey set against a half-century of rock and roll, where love and healing are always possible and music speaks louder than words. Advance Praise for Voices “Voices captures the echoes of an historic time beautifully through characters who lived it—and then embedded its greatest stories and lifestyle elements through their music and lives.” —San Francisco Chronicle “A story that reminds me of a great time, and also captures being a songwriter and the power our songs possess.” —Marty Balin, Jefferson Airplane and Jefferson Starship; Member, Rock & Roll Hall of Fame
(Choral Collection). Rounds are wonderful ways to introduce harmony to young singers! However, traditional rounds are often too wide of a range for the changing voice, hence this collection was created with the young male voice in mind. Easy-to-sing ostinatos for the changing male voice accompany 10 familiar rounds sung by treble voices. Each round is presented in two keys to accommodate both the cambiata, mid-voice and new baritone range comfortably. Experiment with other keys until you find your choirs' "sweet spot" vocally. This will give you a good idea of the range and tessitura that will be effective when choosing your choral literature. These unaccompanied rounds may be taught entirely by ear, or duplicated for sight reading purposes. Songs include: Dona Nobis Pacem, Down by the Bay, Heigh Ho Nobody's Home, Jubilate Deo, London's Burning, Music Alone Shall Live, and more. Suggested for grades 6-9.
Exploring body and place in ways that are expansive, intimate and playful, Viva the Realcelebrates resilience and continuity in everyday life. Jones' poems offer us a strong, vital voice, charged with her effortlessly rhythmic and resonant lyricism. This collection is both haunted and visceral, and will resonate long after reading.
Poets have been inspired by music for centuries, but with the arrival of recordings and the possibility of repeated listening there was an extraordinary upsurge in verse about specific pieces, particular composers. There followed a century of pithy, perceptive responses, fascinating to the poetry lover, delightful to the music lover, and irresistible to those who are both. John Greening's new anthology draws especially on this exciting hoard of forgotten material. ACCOMPANIED VOICES is a unique book: not only is it a highly readable anthology of some of the most memorable and accessible international writing about classical music, and a moving commentary by one set of practising artists on the work of another. It is also something of a guide in verse to the great composers. There have been several anthologies of 'music poems', but never one which follows the story of western music through from the Renaissance to the twenty-first century, a fact which gives John Greening's 250-pages an encyclopaedic value. This is in effect a chronological guide to the major composers of the last four hundred years, written in the language which comes closest to music itself - poetry. Readers unaccustomed to poetry anthologies will find in ACCOMPANIED VOICES the same pleasure that they might find in simply putting on a CD and listening. Every page brings something to arrest or transport and an there is extraordinary diversity of response. Ancedote, epiphany, portrait, meditation... but many of these poets offer intellectual insights too and even critiques - there is far more variety here than any straightforward music essay can manage. But readers who feel that they do not know enough about classical music will find that these poems, while informing them, move beyond the mere names of composers and their works, reaching for more universal concerns. . JOHN GREENING is a poet and received a Cholmondeley Award in 2008. He is also a Hawthornden Fellow and a Fellow of the English Association. He has published studies of the Poets of the First World War, Yeats, Hardy, Edward Thomas and Elizabethan Love Poets.