Relevant bibliographies by topics / Choral writing for Samba

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Academic literature on the topic 'Choral writing for Samba'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Choral writing for Samba"

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Ryzhinsky, Alexander S. "Karlheinz Stockhausen’s Choral Writing in his Heptalogy Licht." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2020): 84–97. http://dx.doi.org/10.33779/2587-6341.2020.2.084-097.

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Ryzhinskii, Aleksandr. "Characteristics of Choral Writing in György Ligeti’s Late Works." Vestnik of Saint Petersburg University. Arts 8, no. 4 (2018): 578–92. http://dx.doi.org/10.21638/spbu15.2018.403.

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Lupu, Anamaria. "The Influence of Luther's View of Music on the Emergence of the Concepts of Musica poetica and Musical Rhetoric." Musicology Papers 35, no. 1 (2020): 41–51. http://dx.doi.org/10.47809/mp.2020.35.01.03.

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La casa di peste drum [At the House across the Road] is, perhaps, Tudor Jarda`s most emblematic choral work, being the first composition of the 10 carols for mixed choir included in the volume Coruri [Choral Works] (1981). Dedicated to Maestro Dorin Pop and the Cappella Transylvanica choir, this work has been part of the ensemble`s repertoire since the publication of the collection, being also found in the repertoire of the most important Cluj and Transylvanian choirs. This paper aims to detail aspects of musical grammar in the choral work La casa di peste drum, highlighting the close connecti
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Drew, David. "CHRISTOPHER SHAW (1963)." Tempo 64, no. 252 (2010): 21–24. http://dx.doi.org/10.1017/s0040298210000148.

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This article appeared in the July 1963 issue of Musical Times, whose regular choral music supplement of that month was Christopher Shaw's anthem for chorus and organ A Lesson from Ecclesiastes. It was the first writing of substance to appear about this composer, and very nearly the last to date.
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Варакута, М. І., and Ю. О. Черненко. "To the problem of interpreting the genre of choral miniatures in the work of the Ukrainian composers (on the example of choral miniatures V. Stetsenko)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 5–15. http://dx.doi.org/10.33287/22191.

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The purpose of the article is to focus on the features of theUkrainian choral miniature genre and to identify the main aspects of theirimplementation in choral works by V. Stetsenko. The article deals with thestyle of writing of choral miniatures of the composer, influenced by thetraditions coming from M. Lysenko, K. Stetsenko, M. Leontovich. Themethods of the research are based on historical-typological, genre,stylistic and functional methods of analysis. The structurally analytical investigative method have had weighty significance into process theregularization of scientific material and im
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Savelieva, Hanna. "“LUX AURUMQUE” BY ERIC WHITACRE IN TERMS OF COMPARATIVE ANALYSIS OF PERFORMANCE INTERPRETATION." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 143–57. http://dx.doi.org/10.34064/khnum1-58.09.

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The purpose of the article is to study the creative aspects of the performance interpretation of the choral work “Lux Aurumque” by the modern American composer E. Whitacre in the perspective of comparative analysis of performance versions. The research methodology includes classical musicological methods – analytical, interpretive and comparative methods. The concept of the article was created in the process of developing the ideas of I. Polusmyak and K. Timofeyeva. The scientific novelty is based on the fact of virtualization of choral singing that has not become the subject of a separate sci
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Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music." ICONI, no. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.

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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral wor
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Fartushka, O. "Semantic function of the choral counterpoint in Canticum sacrum by Igor Stravinsky." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 188–97. http://dx.doi.org/10.34064/khnum2-49.13.

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Background. The substantiation of the logic of stylistic synthesis in the light of the choral component of the dramaturgy of this composition opens up the prospect of studying choral counterpoint of the twentieth century as universals and also helps to identify patterns of artistic thinking. Objectives. The article is devoted to the identification of semantic function of the choral counterpoint in the context of the overall dramaturgy in Canticum Sacrum ad honorem Sancti Marci Nominis by Stravinsky. Methods. The author used hermeneutic, structural-functional, semantic research methods. The per
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari
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Romenskaya, Lyudmila, Aleksandr Golovin, Sergey Kurganskiy, and Olga Bezuglova. "Spiritual Concert “Glory Be to This Day” of S. A. Degtyarev: Compositional and Stylistic Features of Choral Writing." Journal of History Culture and Art Research 7, no. 4 (2018): 387. http://dx.doi.org/10.7596/taksad.v7i4.1861.

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Dissertations / Theses on the topic "Choral writing for Samba"

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Machado, Selma Borhagian. "O samba em arranjos para coral: três olhares sobre a cidade de São Paulo." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-21032019-160000/.

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A dissertação tem como objetivo apresentar o estudo dos elementos rítmicos do samba e propor uma forma de escrita desse gênero para coro. Apresentamos a análise de sambas de compositores paulistas, a elaboração de arranjos corais para três obras selecionadas e a leitura e apresentação dos arranjos por coros com diversos perfis, domínios musicais e níveis de performance. Os autores representantes do samba paulista selecionados foram: Adoniran Barbosa, Eduardo Gudin e Paulo Vanzolini. Depoimentos, entrevistas e outros meios foram utilizados para contextualizar vida e obra dos compositores durant
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Books on the topic "Choral writing for Samba"

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Barbara, Harlow. How to get your choral composition published: The composer as artist, the composer as business person. Santa Barbara Music Pub., 1995.

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Para tudo não se acabar na quarta-feira: A linguagem do samba-enredo. Litteris Editora, 2002.

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Hall, Robert George. César Geoffray and "À coeur joie": A study of Geoffray's choral writing including an English adaptation of the cantata "Salut au monde". UMI Research Press, 1992.

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Cacavas, John. The art of writing music: A practical book for composers and arrangers of instrumental, choral, and electronic music as applied to publication, films, television, recordings, and schools. Alfred Pub. Co, 1993.

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Cacavas, John. The art of writing music: A practical book for composers and arrangers of instrumental, choral, and electronic music as applied to publication, films, television, recordings, and schools. Alfred Pub. Co., 1993.

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6

Paul, Sharon J. Art & Science in the Choral Rehearsal. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.001.0001.

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In recent decades, cognitive neuroscience research has increased our understanding of how the brain learns, retains, and recalls information. At the same time, social psychology researchers have developed insights into group dynamics, exploring what motivates individuals in a group to give their full effort, or conversely, what might instead inspire them to become freeloaders. This book explores the idea that choral conductors who better understand how the brain learns, and how individuals within groups function, can lead more efficient, productive, and enjoyable rehearsals. Armed with this kn
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Watt, Gary. Trusts & Equity. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198804697.001.0001.

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This book provides a detailed and conceptual analysis of trusts and equity; concentrating on those areas of the subject that are most relevant in the contemporary arena, such as the commercial context. It utilizes expertise in teaching, writing, and researching to enliven the text with helpful analogies and memorable references to extra-legal sources such as history, literature, and film. In this way, the book also stimulates students to engage critically with concepts. This new edition includes coverage of significant recent cases, including decisions of the Supreme Court on the nature of a t
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Shrock, Dennis. George Frideric Handel – Messiah. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0004.

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Messiah is discussed in reference to Handel’s operas, other choral works in general, and other oratorios in specific, with focus on the librettos. Additional historic information covers the premiere of Messiah, audience reactions, and subsequent performances, including the beginning of its popularity after performances in the Foundling Hospital Chapel and large-scale and re-orchestrated festival performances in the 1780s. Musical topics address Handel’s compositional process (e.g., speed of writing, parody of previously composed works, and revision of works from performance to performance) and
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Schiff, David. Musician, Wrestling (1935–1946). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0005.

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After his return from Paris, Carter embarked on a composing career, writing a variety of pieces, most of which he soon discarded. Carter’s remaining early works (“pre-Carter”) reflect the opposed influences of Walter Piston (objectivity, craftsmanship) and the poet Hart Crane (experimentation, rebellion). These contravening tendencies appear in the short choral works of the period, most of them written for college choruses, and more ambitious works like the score for the ballet, Pocahontas, and the Symphony no. 1. Balancing craft and expression proved difficult and Carter was often dismayed to
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Miller, Leta E. Family Matters (2002–2009). University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0007.

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This chapter studies Kernis's music in the years 2002–2009. If in the 1990s Kernis's works had been stimulated, to a large degree, by public happenings, those of the first decade of the twenty-first century drew primarily on private experiences—the most important being the birth of his twins and the death of his parents. At the time of his twins' birth, Kernis was in the midst of writing a choral work for the Dale Warland Singers, a three-movement composition, The Wheel of Time, and the Dance. In addition to the personal events that stimulated Kernis's change in direction during this period, h
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Book chapters on the topic "Choral writing for Samba"

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Vice, Sue. "Choral Narration." In Children Writing the Holocaust. Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230505896_3.

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"Writing the ‘Cradle of Samba’:." In Porous City. Liverpool University Press, 2017. http://dx.doi.org/10.2307/j.ctt5vjb45.12.

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"Choreo-graphy: Choreia and Alphabetic Writing." In Choral Constructions in Greek Culture. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781316275436.010.

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Irwin, Elizabeth. "‘Lest the things done by men become exitēla’: Writing up Aegina in a Late Fifth-Century Context." In Aegina: Contexts for Choral Lyric Poetry. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199546510.003.0012.

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"Chapter Two. Comentarios Reales: From Choral Writing to Foundational Discourse." In Incan Insights. Vervuert Verlagsgesellschaft, 2008. http://dx.doi.org/10.31819/9783964564030-005.

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Paul, Sharon J. "The Write Choice." In Art & Science in the Choral Rehearsal. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0008.

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This chapter examines the use of writing as a tool for learning and retention in the choral rehearsal. Writing ensures a level of participation in analytical exercises not guaranteed during discussions, where students can easily disengage without notice. This chapter also notes the opportunity that writing can afford to the more introverted students, or those less likely to speak up to share their insights. The author suggests numerous ways to incorporate writing into various points of a rehearsal, such as during the opening minutes, at midway points, as exit cards at the conclusion, those occasions when singers need to sit out, or as journal entries written during or outside of rehearsal. No matter the type of writing activity, whether reflective, predictive, analytical, or summative, the chapter investigates exercises that keep students mentally engaged, encouraging creative and active participation in rehearsal.
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Carvalho, Bruno. "Writing the ‘Cradle of Samba’: Race, Radio, and the Price of Progress." In Porous City. Liverpool University Press, 2013. http://dx.doi.org/10.5949/liverpool/9781846319754.003.0006.

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"Chapter One. Dimensions of Interference: From Andean Oral Discourse to Choral Writing." In Incan Insights. Vervuert Verlagsgesellschaft, 2008. http://dx.doi.org/10.31819/9783964564030-004.

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Cross, Brian. "From Bahianas to the King of Pop …" In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0012.

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This chapter traces the history of Brazilian music in Los Angeles, covering the journey of the collation of rhythms known as samba into the rest of the Americas, to the emergence of bossa nova as a major cultural force, to the post-bossa Brazilian sound in the United States. It argues that as music moves, it operates according to its own logic. Influences are fluid: a bossa nova rhythm can morph easily into a second line, a two step can slide into a samba, and writing music is, thankfully, a far more interesting way to write history than history writing. But it is undeniable that, since the late 1930s, the language, swing, and palette of Brazilian music have influenced the world and changed music in the city of Los Angeles profoundly, while very few of us noticed.
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Azoulay, Vincent, and Paulin Ismard. "The City in Chorus: For a Choral History of Athenian Society." In Ancient Greek History and Contemporary Social Science. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421775.003.0003.

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This chapter specifically aims to find a path that traverses — or a midway point between — both approaches to the study of the Greek world influenced by Actor-Network Theory and more traditional Durkheimian approaches centered on the city. It considers the model of the choros (as it was conceptualized by classical authors) as capable of offering a productive paradigm for understanding the mechanisms of belonging at work within Athenian civic society during the classical period. The choral reference also refers to a certain way of writing history—one inspired by the models of the novel and the choral film— that seems particularly fitting for describing the complex way in which the Athenian social sphere functioned. The article formulates the following hypothesis: a choral approach, at the crossroads between the specifically Greek conception of the chorus and the contemporary conceptualization of the chorus in the field of fiction, makes it possible to stay as close as possible to the ways in which the social sphere was composed, the formation of groups, and the identities at the various levels of community life. This hypothesis to put to the test by examining a unique moment in Athenian history: the years between 404 and 400.
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