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Relevant bibliographies by topics / Church music Orchestral music

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Academic literature on the topic 'Church music Orchestral music'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Church music Orchestral music"

1

Polzonetti, Pierpaolo. "Tartini and the Tongue of Saint Anthony." Journal of the American Musicological Society 67, no. 2 (2014): 429–86. http://dx.doi.org/10.1525/jams.2014.67.2.429.

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This article explores the nexus between Giuseppe Tartini's concertos for violin and orchestra, written for the Franciscan Basilica of Saint Anthony in Padua, and the devotion to this Saint's tongue, still preserved as a relic. Anthony's tongue, hagiographers write, was the instrument of a rhetoric that transcended verbal signification, able to move people of different languages and even animals. Soon, the tongue of Saint Anthony became a powerful symbol of universal language. In the eighteenth century, the Catholic Church, and especially the followers of Saint Anthony, revitalized their global mission to overcome cultural and linguistic barriers. Commissioning orchestral church music was part of this strategy. Like Anthony's preaching, Tartini's music was informed by the utopian goal to reach out to a pluralist community. His music and ideas attracted the attention of Jean-Jacques Rousseau and Charles Burney, both engaged in contemporary debates on the quest for universality of music in a multicultural world. Newly discovered evidence sheds light on the liturgical context of Tartini's violin concertos, as well as on religious rituals of music making and listening that left long-lasting traces of sacrality in the secular rites of production and consumption of instrumental music.

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Dingle, Christopher. "FORGOTTEN OFFERINGS: MESSIAEN'S FIRST ORCHESTRAL WORKS." Tempo 61, no. 241 (July 2007): 2–21. http://dx.doi.org/10.1017/s0040298207000174.

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The prevailing image of Messiaen in the 1930s is of an organist-composer. One of the first things learnt about him is that he was organist at the church of the Trinité in Paris, having been appointed at the spectacularly young age of 22. As the earliest (though not the first) of Messiaen's works to have been published, the short organ piece Le Banquet céleste (1928) is, quite rightly, the focus of close examination for its precocious assurance. The 1930s were punctuated by the substantial organ cycles La Nativité du Seigneur (1935) and Les Corps glorieux (1939), so it is no surprise to find Felix Aprahamian's article for the fifth edition of Grove describing Messiaen as being a ‘French organist and composer”, and later observing that ‘although it was as a composer of organ music that in pre-war years Messiaen's name first attracted attention, he had already composed a quantity of vocal music’. Fifty years later, Paul Griffiths similarly observed that ‘Organ works featured prominently in his output of the next decade [1930s], but so did music about his family’. According to Harry Halbreich, ‘one can say that before 1940, Messiaen was essentially an organist-composer’, while, Malcolm Hayes concludes his chapter on the early orchestral music in The Messiaen Companion by stating that ‘to judge from the idiom of his works written in the 1930s, he had once seemed destined to spend his creative life within the narrow confines of the organ loft’.

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ZASLAW, NEAL. "THE NON-CANONIC STATUS OF MOZART’S CANONS." Eighteenth Century Music 3, no. 1 (March 2006): 109–23. http://dx.doi.org/10.1017/s1478570606000510.

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Mozart's canons are rather inadequately represented in the Köchel catalogue and the Neue Mozart Ausgabe. The same may be said about other music for his immediate circle of friends, colleagues and patrons, as well as his dance music and his contributions to pasticcios. Neglect of these ‘minor’ genres perhaps arises at least in part from anachronistic paradigms, for instance ‘masterpieces for posterity’. And the canons suffer additionally from the peculiar nature of their sources and transmission, from uncertainty about the position of canons in the ‘canon’ of Western art music and probably also from embarrassment over some of Mozart’s texts. Mozart’s canons have been studied not only less often than his operatic, church, chamber and orchestral music, but also less well.

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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (July 9, 2019): 285. http://dx.doi.org/10.31192/np.17.2.3.

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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensamble, composing procedures and use of musical expression elements, their purpose, and finally, their artistic range and significance. Created at the time of predominance of small, chamber music forms, especially solo songs, piano miniatures and reveilles, Livadić’s masses, among a multitude of works of the composers of the time, and especially within the Croatian church musical heritage, mean the continuity of a multi-Century tradition of that music genre. While Missa croatica pastoralis is related to the pastoral (folk) one voice masses with the organ accompaniment (with inserted text/extensions of the Kajkavian dialect), the concerto vocal-orchestral Missa in C, with its musical features and its base on the international music vocabulary, manifests a compound of Classicist simplicity and early Romantic lyricism, representing the essence of Livadić’s creativity in the area of sacral music.

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Jankovic-Begus, Jelena. "Chanting of the inner space: on symphonic and concertante works by Milorad Marinkovic." Muzikologija, no. 19 (2015): 83–117. http://dx.doi.org/10.2298/muz1519083j.

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The opus of contemporary Serbian composer Milorad Marinkovic (b. 1976), which encompasses works of choral, chamber, concertante and symphony music, leans towards classical forms of artistic music, Serbian folklore music, and Serbian Orthodox church chant. This paper deals with pieces composed for larger instrumental ensembles: Herojska uvertira (Heroic Overture) for symphony orchestra, Psalmodija (Psalmody) for symphony orchestra, Koncert za klavir i orkestar (Piano concerto) and Mala opera (Little Opera) for chamber ensemble (septet) with prominent soloist parts of flute and clarinet. Special attention is placed on different procedures used by Marinkovic to accomplish wholeness and integration of the musical tissue. This paper observes these pieces as examples of religious music, having in mind the composer?s own understanding of the notion. Among common characteristics of the observed works that justify this point of view are specific single movement forms and the prominent role of main thematic materials, a cyclic principle, and programmatic elements. References to Serbian church chant observed in Marinkovic?s instrumental works are also discussed, especially in parallel with the analogue procedures used by Ljubica Maric (1909- 2003), one of the composer?s role models. Although Marinkovic?s works for instrumental ensembles do not fall into the category of spiritual music in its narrow sense (as defined by the composer himself), in this paper they are nevertheless considered as ?spiritual? in a broader sense, as an expression of the composer?s desire to spiritualize his entire artistic output.

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이가영. "Music for the Church and Orchestre, and the Dresden Court." journal of Ewha Music Research Institute 20, no. 4 (December 2016): 37–64. http://dx.doi.org/10.17254/jemri.2016.20.4.002.

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Teohari, Georgiana, and Nicolae Bibu. "Innovations in Managing Traditional Organizations: German Classic Professional Orchestras, Specific Nature and Innovative Aspects." Timisoara Journal of Economics and Business 12, no. 2 (December 1, 2019): 187–202. http://dx.doi.org/10.2478/tjeb-2019-0010.

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Abstract The armed forces, the state and the church are multiple-stakeholders organizations, designed according to very specific characteristics that describe their mission and their objectives. Alongside with them, the classic professional orchestra is one of one the oldest and traditional organizations, with distinguished features that describe its organizational culture, its mission and goals, namely: to present the classical music at the highest level of performance, to meet the public’s expectations, to represent their communities as cultural ambassadors and to protect the cultural patrimony. Innovations represent a response to new challenges of today’s society, such as multi culturality, digitalization, the new physical and social setting in which people live. German orchestras dominate by number and by high musical performance level the world’s orchestra market. Contrary to the strictness of the musical service provided by the classical professional orchestra’s “sound organism”, is there room for innovations? According to Forbes magazine, “innovation is crucial to the continuing success of any organization”. Are there any management innovations, and if there are, what is their impact upon the stakeholders’ satisfaction? This article is part of a complex research upon specific and innovative aspects in managing a classic professional orchestra for maximizing the satisfaction of multiple stakeholders.

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Johnson, Bret. "ARCHITECT OF CATHEDRAL MUSIC: AN INTERVIEW WITH PHILIP MOORE." Tempo 65, no. 257 (July 2011): 63–67. http://dx.doi.org/10.1017/s0040298211000271.

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Philip Moore (b. 1943) has had a distinguished career as a cathedral musician, organist and, increasingly in recent years, as a composer. He began his career as a music master at Eton College and subsequently held a number of important positions, firstly at Canterbury and Guildford Cathedrals and latterly as Master of the Music at York Minster (1983–2008). His impressive catalogue of 400 works contains a substantial body of church music, but he has also written instrumental music and some larger works with orchestra including an organ concerto. His music draws on a wide sphere of influences with a strong tilt towards Vaughan Williams, Howells and Britten, plainchant and Duruflé and those whom he regards as the great classical architects of music: Bach, Brahms, Mozart and Hindemith amongst many others. On 20 November 2010 his new cantata Ode to St Cecilia was premièred in Guildford Cathedral. The composer has said that the genesis and design of the work derives from Britten's St Nicholas to which he hopes it will be seen as complementary. This interview took place in October 2009 before a recital devoted entirely to Moore's organ music at St Paul's Cathedral in London.

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Conway, Paul. "John Tavener round-up." Tempo 59, no. 234 (September 21, 2005): 55–56. http://dx.doi.org/10.1017/s004029820521032x.

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JOHN TAVENER: The Veil of the Temple. Choir of the Temple Church, Holst Singers, Patricia Rozaro (sop) c. Stephen Layton. RCA 82876661542.TAVENER: Lament for Jerusalem. Patricia Rozario (sop), Christopher Joey (counter-ten), Sydney Philharmonic Chorus, Australian Youth Orchestra c. Thomas Woods. ABC Classics 476 160–5.TAVENER: Birthday Sleep; Butterfly Dreams; The Second Coming; Schuon Hymen; As one who has slept; The Bridal Chamber; Exhortation and Kohima; Shunya. Polyphony c. Stephen Layton. Hyperion CDA67475.

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Owen, Barbara. "The Maturation of The Secular Organ Recital In America's Gilded Age." Nineteenth-Century Music Review 12, no. 1 (June 2015): 95–117. http://dx.doi.org/10.1017/s1479409815000063.

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While organs had been built in the United States since the eighteenth century, until the middle of the nineteenth century what passed as an ‘organ concert’ consisted of a mélange of transcriptions from choral music and simple improvisations, interspersed with choral music and vocal solos. As larger organs began to appear by the middle of the nineteenth century, solo organ recitals by players such as George W. Morgan were occasionally performed. In the 1850s Americans such as Dudley Buck and John K. Paine travelled to Germany to study organ performance and composition, and others followed. The opening of a large organ in Boston's Music Hall in 1863 and the building of large churches in the post-war period gave impetus to public organ recitals, which along with compositions by Bach, Mendelssohn, Rinck and Batiste etc. usually included transcriptions from operas and orchestral works, and compositions by the performers. At first, the emphasis was on Germanic music, but as the second half of the century progressed and more organists were studying abroad, works by British and French composers began to appear. By the end of the century the emphasis had become strongly French, particularly after the concert tours of Parisian virtuoso Alexandre Guilmant, and America's first true concert organist, Clarence Eddy, began making tours to European countries. By this time many large organs had been built for concert halls, cathedrals, colleges, and urban churches, providing excellent venues for solo organ recitals as the twentieth century opened.

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Dissertations / Theses on the topic "Church music Orchestral music"

1

Noland, Thomas E. "Developing a strategy to strengthen the adult choir and orchestra of the Eastern Shore Baptist Church, Daphne, Alabama, as biblical lead worshipers." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p053-0304.

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Noland, Thomas E. "Developing a strategy to strengthen the adult choir and orchestra of the Eastern Shore Baptist Church, Daphine, Alabama, as biblical lead worshipers." Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.053-0304.

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Doerfler, Amy M. "Part I: Mass for Full Orchestra and SATB Chorus Part II: Joseph Funk's A Compilation of Genuine Church Music (1832): An Analysis of Music and Methods." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310584998.

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Green, Richard T. (Richard Thurmond). "Remembrance of the Fiftieth Anniversary of the Dedication of the Moravian Church at Lititz, Pennsylvania, 13 August 1837: An Edition of Moravian Music." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500942/.

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This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-century Moravian tunebooks. The special texts come from an original set of orders of service.

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Neikirk, Anne L. "SYMPHONIC PRAYERS FOR ORCHESTRA AND SOPRANO SOLOIST." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252939.

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Music Composition
D.M.A.
Symphonic Prayers is a work for orchestra and soprano soloist in four movements. The work uses four poems from Rainer Maria Rilke's collection Das Stundenbuch (The Book of Hours), written between 1895 and 1903. Rilke was a Bohemian poet, mystic, traveler, and lover of art and nature. He narrates The Book of Hours through a fictional Russian monk who converses with God and reflects upon the nature of the world through the poetry. Rilke's poems delicately weave together the joys and struggles of a faith journey and of finding one's place in the world and in eternity. Equally striking is the beauty with which he utilizes the German language. There is an irresistible rhythm and nuance to his words. The four poems I chose each reflect a different category of prayer derived from the Christian faith tradition. A common prayer model utilized in the Protestant church is abbreviated by the acronym "ACTS," which stands for adoration, confession, thanksgiving and supplication. The ACTS prayers guide the worshipper through four methods of praying: expressing adoration for God, confessing sins and shortcomings, showing gratitude and thanksgiving, and asking for help for oneself and others. I modeled each movement of Symphonic Prayers after these categories and chose poems from Das Stundenbuch that mirrored the sentiments of each prayer. Adoration is a proclamation of faith, a statement of unrelenting praise and prayer. The narrator unapologetically declares that even if it begets arrogance, nothing will diminish his drive to reach out to God. Even through this bold statement, the poem maintains reverence and a sense of wonder toward its subject. Confession is a statement of the brokenness of the world, recounting how murder has ripped through God's call for us to love life, and how our attempts to atone for this brokenness fall short. Thanksgiving is a boisterous statement of praise to God. The speaker analogizes her praise to trumpet calls, her words to sweet wine, and her music to a northern spring day, each preparing the way for God. Supplication returns to the reverence of the first movement. The narrator contemplates her life that is ever circling around God. The accompanying monograph explains the ACTS prayers in the context of the Reformed Church of America, both historically and currently. It presents an analysis of the four Rilke poems selected to represent the ACTS prayers, including their narrative meaning, their relationship to Das Stundenbuch, their translations, and a close examination of their poetic features, such as prosody, meter, and rhyme. The discussion of the poems also required some background on Rilke's faith journey and artistic maturation. The monograph also addresses musical text setting in a broader sense by recounting some historical philosophies of textual and musical relationships and explaining where the composer's ideologies fall within the larger framework. Finally, it presents a musical analysis of Symphonic Prayers in relation to the text setting of the four poems, including an explanation of its harmonic structure, which is derived from Olivier Messiaen's modes of limited transposition. The compositional goal of Symphonic Prayers was to create a work that would honor the ACTS prayers through the elegant words of a mystic poet. The music reinforces the messages behind Rilke's honest conversations with God, and in doing so offers a new lens through which to experience the arc of the ACTS prayers.
Temple University--Theses

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Neikirk, Anne L. "SYMPHONIC PRAYERS [SCORE]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252873.

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Music Composition
D.M.A.
Symphonic Prayers is a work for orchestra and soprano soloist in four movements. The work uses four poems from Rainer Maria Rilke's collection Das Stundenbuch (The Book of Hours), written between 1895 and 1903. Rilke was a Bohemian poet, mystic, traveler, and lover of art and nature. He narrates The Book of Hours through a fictional Russian monk who converses with God and reflects upon the nature of the world through the poetry. Rilke's poems delicately weave together the joys and struggles of a faith journey and of finding one's place in the world and in eternity. Equally striking is the beauty with which he utilizes the German language. There is an irresistible rhythm and nuance to his words. The four poems I chose each reflect a different category of prayer derived from the Christian faith tradition. A common prayer model utilized in the Protestant church is abbreviated by the acronym "ACTS," which stands for adoration, confession, thanksgiving and supplication. The ACTS prayers guide the worshipper through four methods of praying: expressing adoration for God, confessing sins and shortcomings, showing gratitude and thanksgiving, and asking for help for oneself and others. I modeled each movement of Symphonic Prayers after these categories and chose poems from Das Stundenbuch that mirrored the sentiments of each prayer. Adoration is a proclamation of faith, a statement of unrelenting praise and prayer. The narrator unapologetically declares that even if it begets arrogance, nothing will diminish his drive to reach out to God. Even through this bold statement, the poem maintains reverence and a sense of wonder toward its subject. Confession is a statement of the brokenness of the world, recounting how murder has ripped through God's call for us to love life, and how our attempts to atone for this brokenness fall short. Thanksgiving is a boisterous statement of praise to God. The speaker analogizes her praise to trumpet calls, her words to sweet wine, and her music to a northern spring day, each preparing the way for God. Supplication returns to the reverence of the first movement. The narrator contemplates her life that is ever circling around God. The accompanying monograph explains the ACTS prayers in the context of the Reformed Church of America, both historically and currently. It presents an analysis of the four Rilke poems selected to represent the ACTS prayers, including their narrative meaning, their relationship to Das Stundenbuch, their translations, and a close examination of their poetic features, such as prosody, meter, and rhyme. The discussion of the poems also required some background on Rilke's faith journey and artistic maturation. The monograph also addresses musical text setting in a broader sense by recounting some historical philosophies of textual and musical relationships and explaining where the composer's ideologies fall within the larger framework. Finally, it presents a musical analysis of Symphonic Prayers in relation to the text setting of the four poems, including an explanation of its harmonic structure, which is derived from Olivier Messiaen's modes of limited transposition. The compositional goal of Symphonic Prayers was to create a work that would honor the ACTS prayers through the elegant words of a mystic poet. The music reinforces the messages behind Rilke's honest conversations with God, and in doing so offers a new lens through which to experience the arc of the ACTS prayers.
Temple University--Theses

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Weimer, Steven M. "Monoliths, an orchestral work." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1399624092.

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Nakao, Maiko Mobberley James. "Music at will." Diss., UMK access, 2006.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
"A thesis in music composition." Advisor: James Mobberley Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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Page, Isaac. "Orchestral Music of the Canadian Centennial." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586955294987414.

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Buck, Wayne A. "Triad fantasy : score and analysis /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131527718.pdf.

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Books on the topic "Church music Orchestral music"

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Finnish orchestral music. Helsinki: Foundation for the Promotion of Finish Music, Finnish Music Information Centre, 1995.

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Debussy orchestral music. London: BBC Books, 1987.

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Korhonen, Kimmo. Finnish orchestral music. Helsinki: Foundation for the Promotion of Finnish Music, Finnish Music Information Centre, 1995.

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Orchestral music: A handbook. 4th ed. Lanham, Md: Scarecrow Press, 2005.

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David, Daniels. Orchestral music: A handbook. 3rd ed. Lanham, Md: Scarecrow Press, 1996.

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Centre, Canadian Music. Canadian orchestral music catalogue. Toronto: Canadian Music Centre = Centre de musique canadienne, 1994.

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Daniels, David. Orchestral music: A handbook. 4th ed. Lanham, MD: Scarecrow Press, 2006.

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Handel, the orchestral music: Orchestral concertos, organ concertos, Water music, Music for the royal fireworks. New York: Schirmer Books, 1996.

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Mann, Alfred. Handel: The orchestral music : orchestral concertos, organ concertos, Water music, Music for the royal fireworks. New York: Schirmer Books, 1995.

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Robles, Germán Tejerizo. Villancicos barrocos en la Capilla Real de Granada: 500 letrillas cantadas la noche de Navidad (1673 a 1830). [Sevilla]: Junta de Andalucía, Consejería de Cultura, 1989.

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Book chapters on the topic "Church music Orchestral music"

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Taylor, Benedict. "Orchestral Music." In Arthur Sullivan, 30–56. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-3.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Baroque Orchestral Music." In Anthology to Accompany Gateways to Understanding Music, 60–65. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-20.

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Doyle, Jenna. "Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral Sound." In Innovation in Music, 226–47. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781351016711-15.

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Steuernagel, Marcell Silva. "Performing church music." In Church Music Through the Lens of Performance, 162–85. [1.] | New York : Routledge, 2021. | Series: Congregational music studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781003080329-1g.

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Gjerdingen, Robert O. "Masters Take Up the Challenge." In Child Composers in the Old Conservatories, 33–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0003.

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The early conservatories were trade schools. Over a period of about ten years they needed to transform orphans, then thought of as social outcasts, into skilled craftsmen who could earn a productive income and become self-supporting. So they developed practical methods to give boys the skills needed to become professional church organists, court composers, opera singers, orchestral musicians, or choir directors. The chapter surveys the historically most important music masters in Italy and the types of innovative lessons that they developed.

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Bradley, Ian. "The 1860s." In Arthur Sullivan, 52–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0004.

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On his return from Leipzig, Arthur Sullivan earned his living as a church organist while making his way as a composer of anthems and serious orchestral works. In the mid-1860s he began a close, life-long friendship with George Grove, founder of the music dictionary which still bears his name and a leading Biblical scholar. As well as promoting Sullivan’s music and securing its performance at the Crystal Palace, Grove introduced him to leading figures in the world of Victorian culture and religion, and influenced his spiritual development and beliefs. He also played a key role in Sullivan’s first and rather tortuous love affair. The death of Sullivan’s father inspired his In Memoriam overture and he put much of his own faith into his first oratorio, The Prodigal Son (1869), which drew on an eclectic selection of Biblical texts and emphasized the themes of repentance, forgiveness, and reassurance that would recur in many of his sacred works.

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Rice, Albert R. "Baroque Clarinet in Society." In The Baroque Clarinet and Chalumeau, 190–220. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0006.

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The evidence for the acceptance and use of the Baroque clarinet in 18th-century society is discussed: in iconographical representations (engravings, paintings, etchings, mezzotints, stucco); by traveling musicians (August Freudenfeld, Francis Rosenberg, Mr. Charles); in court and aristocratic music (Stuttgart, Rastaat, Koblenz, Merseburg, Berleburg, Gotha, Karlsruhe, Mainz, Rudolstadt, Cologne, Paris, Olmütz, Darmstadt, Würzburg, Zweibrücken); in church and civic music (Nuremberg, Venice, Antwerp, Kremsmünster, Greiz, Kempten, London, Frankfurt, Salzburg, Schlosshof, Marienberg); and military music (Rastatt, London, New York, Paris, Stockholm, Salzburg). Newspaper advertisements include clarinet concerts; archival documents indicate the dates of clarinetists in court and monastery orchestras, and clarinets purchased by aristocrats and courts.

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Heyman, Barbara B. "Searches." In Samuel Barber, 384–408. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0014.

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In Rome, Barber attended a Gregorian Mass sung by Benedictine monks at St. Anselmo church and was inspired to write a grand-scaled religious work, Prayers of Kierkegaard, for orchestra, mixed chorus, a soprano solo written with Leontyne Price’s voice in mind, and incidental contralto and tenor solos. It was premiered by the Boston Symphony Orchestra under the baton of Charles Munch, with Price as soloist. Barber wrote about the music to his beloved mentor and uncle, Sidney Homer, who at the time was coming toward the end of his life. Homer’s guidance was unwavering, and he encouraged Barber to listen to his inner voice and follow his instincts. As a result, his Roman-inspired pieces were performed throughout Europe. In America, a commission from the Detroit Chamber Music Society led to Barber’s composing the woodwind quintet Summer Music, a collaboration with the New York Woodwind Quintet.

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"ORCHESTRAL MUSIC." In Music in the 20th Century (3 Vol Set), 458–61. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-349.

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Rushton, Julian. "Orchestral Music." In The Master Musicians: Mozart, 85–101. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195182644.003.0010.

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Conference papers on the topic "Church music Orchestral music"

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Zhang, YanXiang, Li Tao, YiRun Shen, Elieisar Clayton, and Fangbemi Abassin. "Interactive virtual reality orchestral music." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306214.3338547.

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Janer, Jordi, Emilia Gomez, Agustin Martorell, Marius Miron, and Benjamin de Wit. "Immersive Orchestras: Audio Processing for Orchestral Music VR Content." In 2016 8th International Conference on Games and Virtual Worlds for Serious Applications (VS-Games). IEEE, 2016. http://dx.doi.org/10.1109/vs-games.2016.7590352.

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Solis, Catherine, Fahimeh Rajabiyazdi, and Fanny Chevalier. "Designing Visual Guides for Casual Listeners of Live Orchestral Music." In 2019 IEEE Visualization Conference (VIS). IEEE, 2019. http://dx.doi.org/10.1109/visual.2019.8933734.

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Li, You, Christoph M. Wilk, Takeshi Hori, and Shigeki Sagayama. "Automatic Piano Reduction of Orchestral Music Based on Musical Entropy." In 2019 53rd Annual Conference on Information Sciences and Systems (CISS). IEEE, 2019. http://dx.doi.org/10.1109/ciss.2019.8693036.

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Lapian, Alrik. "Music and Testifying in Congregational Church: Faith Testimony (Marturia) in the Context of Church Music Festival at GMIM Territory." In Proceedings of the First International Conference on Christian and Inter Religious Studies, ICCIRS 2019, December 11-14 2019, Manado, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.11-12-2019.2302143.

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Li, Zhiming. "The Construction and Significance of "Spatial Thinking" in the Orchestral Music Creation." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.81.

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Рidhorbunskyi, M. A. "South-eastern influences the formation and establishment of church music in Kievan Rus." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-23-27.

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.

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Simanjuntak, Robert. "Exploration Of Children's Music Talents As A Solution For The Development Of Millennial Generations In The Church Of Bethany Tanjung Anom Deli Serdang." In Proceedings of the 1st International Conference of Global Education and Society Science, ICOGESS 2019,14 March, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.14-3-2019.2292033.

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Ribichini, Luca. "Notre Dame du Haut, Ronchamp, the shape of a listening. A whole other generative hypothesis." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.719.

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Abstract: The article will examin one of Le Corbusier's more emblematic works: the Ronchamp Chapel. The aim is to discover some of the intentionalities hidden within the design of this work by the swiss architect. It will start with the following considerations of Le Corbusier about the Ronchamp chapel:“it began with the acoustics of the landscape taking the four horizons as a reference...to respond to these horizons, to accomodate them, shapes were created…” And: “ Shapes make noise and silence; some speak and others listen...”And again: “ Ear can see proportions. It's possibile to hear the music of visual proportion” (Le Corbusier). The article sustains that the church is nothing but a giant acoustic machine dedicated to Virgin Mary which main purpose is the listening of the prayers. Infact in the Christian religion Mary is the very vehicle between God and man , she has a human but also divine nature since she is the mother of Jesus. To get in contact with the divine it is necessary to pray Mary, she can listen to man's prayers but she can also pass down God's word to man. In support of this hypothesis there stands an analogy between the chapel's map and the image section of a human ear, highlighting the coincidence between the altar position and that of cochlea, which shape is so dear to le Corbusier that he makes use of it very often in his work. Keywords: Ronchamp; acoustic landscape; human ear, architecture as chrystallized music. DOI: http://dx.doi.org/10.4995/LC2015.2015.719

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Reports on the topic "Church music Orchestral music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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