Relevant bibliographies by topics / Composition (Music) Choral music

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Academic literature on the topic 'Composition (Music) Choral music'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Composition (Music) Choral music"

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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 works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.
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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 (November 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 connection between the text and music and its implications in the choral interpretation. The morphological and syntactic analysis also highlights certain characteristics of Tudor Jarda`s choral writing.
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BRADY, MARTIN. "Paul Dessau and the Hard Work of Socialist Music in the German Democratic Republic." Twentieth-Century Music 16, no. 1 (February 2019): 51–66. http://dx.doi.org/10.1017/s1478572219000094.

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AbstractThis article examines the labour of socialist music in the German Democratic Republic, focusing on composer Paul Dessau's use of political cryptography and quotation in a number of compositions from the opera The Condemnation of Lukullus (1950) through to Choral Music No. 5 (1976). Most famous for his collaborations with Bertolt Brecht, Dessau was the leading avant-garde composer of the GDR and its chief practitioner of serialism. He believed that only difficult, progressive New Music could convey the struggle(s) of socialism. This brought him into conflict with the authorities, who accused him of formalism. Choral Music No. 5 is a setting of a poem by Heiner Müller based on a speech by Erich Honecker (Žižek refers to the text as an ‘obscenity’). Dessau's composition is complex and dialectical, abrasive in its rhythms and counterpoint, and pluralistic in style. It is the embodiment of Dessau's belief in socialist music as rewarding hard work.
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GREAVU, Elena-Laura, and Roxana PEPELEA. "Stylistic aspects reflected in the musical choral volume Cântece pentru copii/Songs for children, signed by Dan Voiculescu." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 85–92. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.9.

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In Dan Voiculescu's choral compositions, music and poetry are particularly intertwined, the syncretism of the arts being a fundamental feature in the composer's approach to this type of repertoire. The more detailed analysis, with examples of excerpts from works from the volume Songs for Children, are convincing proof of the compositional mastery that is necessary for the succesful creation of a deep connection between musical construction and text. Even the choice of certain elements related to the mode of musical composition (subordinated to the melodic, harmonic, polyphonic, rhythmic, metrical, dynamic, formal structure, etc.) demonstrates the intrinsic nature of the connection between music and the message of poetic lyrics. At the same time, the capitalization of the Romanian folklore resources, the incorporation in certain works of some underlying influence from baroque music and the preoccupation of introducing innovations related to the singing technique of the choral repertoire on equal voices represent some of the multiple stylistic features reflected in this volume.
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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 (March 10, 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 peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Olwage, Grant. "John Knox Bokwe, Colonial Composer: Tales about Race and Music." Journal of the Royal Musical Association 131, no. 1 (2006): 1–37. http://dx.doi.org/10.1093/jrma/fki010.

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This article intervenes in debates on the status of ‘race’ in ethno/musicological writings. It does so through an examination of the compositional discourse of colonial black South African choral music, particularly detailed analyses of the work of John Knox Bokwe (1855–1922) and their metropolitan sources such as late nineteenth-century gospel hymnody, exploring both how Bokwe's compositional practice enacted a politics that became anticolonial and how early black choral music became ‘black’ in its receptions. The article concludes that ethno/musicological claims that colonial black choral music contains ‘African’ musical content conflate race and culture under a double imperative: in the names of a decolonizing politics and a postcolonial epistemology in which hybridity as resistance is racialized.
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Stucky, Steven, and Istvan Anhalt. "Alternative Voices: Essays on Contemporary Vocal and Choral Composition." Journal of Music Theory 31, no. 1 (1987): 121. http://dx.doi.org/10.2307/843548.

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BC and Istvan Anhalt. "Alternative Voices. Essays on Contemporary Vocal and Choral Composition." Yearbook for Traditional Music 17 (1985): 221. http://dx.doi.org/10.2307/768452.

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Lawrence, Mark. "Ancient song re-employed: The use of Regilaul in the music of Veljo Tormis." Studia Musicologica 56, no. 4 (December 2015): 343–53. http://dx.doi.org/10.1556/6.2015.56.4.4.

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The music of Veljo Tormis (b. 1930) became well-established in Estonia during the 1960s yet remained little known in the West until the fall of Communism. By incorporating traditional Estonian folk song, regilaul, into his works, Tormis’s name became closely associated for Estonians with upholding a sense of national identity against the Soviet regime. It is his vast output of some 500 choral songs for which he is most immediately recognised; indeed, once regilaul had come to dominate the ‘Tormis style’, he dedicated himself almost exclusively to choral composition. This paper examines regilaul, its impact on Tormis during his formative years, and its integration into his mature compositional style, leading him to claim that he had ‘found his voice’ as a composer.
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Göncz, Zoltán. "In search of the lost parts of Bach’s cantata Singet dem Herrn ein neues Lied (bwv190)." Early Music 47, no. 4 (November 2019): 515–32. http://dx.doi.org/10.1093/em/caz068.

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Abstract The surviving manuscript score of Bach’s first cantata for New Year’s Day in Leipzig (bwv190) does not contain the first two movements of the composition; only the choral parts and the two violin parts have survived. The parts for the three trumpets, timpani, three oboes, bassoon, viola and continuo are all lost. What is left is so incomplete and the loss of information so dramatic that we might think a performance of the first movement would be out of the question. This article appraises previous scholarly reconstructions of the movement and introduces the author’s own reconstruction, which is published in full in an online appendix. In the process of reconstruction, many insights arise into Bach’s compositional technique for large-scale choral movements and his preferred instrumentation.
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Dissertations / Theses on the topic "Composition (Music) Choral music"

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Rimkus, Sarah. "A portfolio of original compositions." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=240028.

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This thesis, A Portfolio of Original Compositions, contains six musical compositions and an accompanying commentary presented for the degree of Doctor of Philosophy in Music Composition at the University of Aberdeen in 2018. The focus of my research at the University is sacred choral music composition, though not exclusively; many instrumental works and secular choral and vocal works have contributed to the development of my compositional technique. The portfolio contains two large-form sacred works: the St Andrew's Mass, a setting of the mass ordinary for chorus and quartet, and Babylon, a 30-minute work for large choir and percussion on themes of journeying and solitude, excerpting texts from both sacred and American folk sources. This commentary will focus on these works, as they have been the focal point of my research at the University, with supplementary examples of techniques and ideas from the other shorter works in the portfolio. The individual chapters of the accompanying commentary will discuss various aspects of research-based composition found throughout the portfolio, with particular focus on my use of text, texture, and harmony. I will examine how these elements are used in the St Andrew's Mass and Babylon, whereas these two works comprise the bulk of my research. Additionally, I will discuss the contributions of influences from works by other composers of the past and present, as well as folk and traditional sources, to my compositional outlook and research.
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SCOTT, L. BRETT. "WHEN WORDS SING: THE CHORAL MUSIC OF R. MURRAY SCHAFER." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021408652.

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Medley, Susan Annette. "THE CHORAL MUSIC OF NORMAN DELLO JOIO." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin962990468.

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Hintze, Richard Robert. "Kent A. Newbury: A Study of His Choral Works." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596086.

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Kent Alan Newbury is an American composer who was born in Chicago in 1925, and currently resides in Scottsdale, Arizona. He has composed over 550 works and has had 282 choral works published. His first published piece was Psalm 150 (1955) and his latest publication was Praise the Lord, All Ye People (2013). Thirty-nine of his published choral pieces are still in print. At this time, the unpublished manuscripts include 204 choral pieces, four solo works, four instrumental works for dance, thirty-seven brass or band works, six woodwind pieces, and nineteen string or orchestra works. Newbury's complete catalog is included as Appendix B. During his Initial Period (1955-1965), Newbury had eighteen pieces published. In his Developmental Period (1966-1985), 247 pieces were published. That is an average of twelve pieces published per year. During his Mature Period (1986-present), he has had seventeen pieces published. This is the first published work documenting Newbury's life and music. It is hoped this study will introduce more choral directors to Newbury's music and encourage the performance of his music by more college, church, and school choirs. Analysis of Newbury's published choral works reveals the consistent inclusion of four stylistic traits: syncopation, text painting, parallelism, and textural layering. This study demonstrates how the use of these stylistic traits develops through his compositional career, both in terms of the frequency of usage and the progression of the technique. Syncopation is plentiful throughout Newbury's three periods. Syncopation and rhythmic displacement are found in 37% of published pieces in his Developmental Period and in 100% of published pieces in his Mature Period. The syncopation ranges from simple to complex, and it is sewn into the inner fabric of his compositional style. Text painting is used a great deal in Newbury's Initial Period, but the frequency diminishes in his later periods. Instead, he approaches his composition as he is inspired by the text, and the music reflects the text, in its totality if not in detail. Parallelism is a favored stylistic trait. Newbury composes with parallel fifths and fourths, and parallel chords moving in similar motion (planing) as well as contrary motion (the omnibus progression). Despite his teachers' objections to the use of parallel fifths, this is a consistent element throughout his career. Textural layering is a technique in which notes are added or repeated to call attention to the text or to build harmonic structures. As with text painting, the frequency of usage is most prevalent in his earlier periods.
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Collins, Andrew S. "Poetic Structural Devices as a Consideration When Analyzing and Interpreting Choral Scores." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299005782.

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McKern, Brett M. "The compositions of Brett M. McKern to the greater glory of God /." Access electronically, 2005. http://ro.uow.edu.au/theses/289.

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Rogers, Brent. "The Messe de Requiem op. 54 of Camille Saint-Saëns: An Amalgamation of Contrasting Stylistic Trends in Requiem Composition in Nineteenth-Century Paris." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/581253.

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Camille Saint-Saëns's (1835–1921) Messe de Requiem op. 54 (1878) is among the many works by that composer that are all but forgotten by contemporary musicians. As is the case with most of Saint-Saëns's forgotten works, it is of remarkably high quality, possessing numerous features that make it desirable and accessible to a variety of ensembles. This study seeks to bring greater awareness of the piece to a wider audience, to provide a framework for understanding the most prominent style features of the work, and to ascertain its relationship to other well-known French Requiems of the nineteenth century. To this end, this study identifies and summarizes two trends in French Requiem composition in the nineteenth century: the dramatic trend, exemplified by the Grande Messe des morts op. 5 (1837) of Hector Berlioz, and the conservative trend, exemplified by the second and third of Charles Gounod's four Requiem settings: the Messe breve pour les morts (1873), and the Messe funèbre (1883). Salient style features of these three works are discussed in order to determine how their respective composers bring about the dramatic and conservative affects of their respective works. An analysis of the form, text setting, expressive elements (including dynamics, articulation, and orchestration), harmonic practice, and choral voice leading of Saint-Saëns's Requiem is also given, including a discussion of the relationship of the style features of this work to those of the Berlioz and Gounod Requiems.
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Reese, Janette E. "In Memoriam H.W. Reese." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc1038832/.

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In Memoriam H. W. Reese is written for chamber orchestra and small mixed chorus, in honor of the composer's father, Hardy W. Reese (March 22, 1926-Nov. 23, 1982). The piece is written in one continuous movement with a total duration of approximately fifteen minutes. Within the work there are three distinct sections, each on texts dealing with a different stage in the process of reconciliation with death.
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Lopez, Christine Sotomayor. "The choral compositions of Richard Faith: An exploration of general compositional characteristics as an annotated resource of repertoire suitable for various choral forces." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185868.

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There exists a need to explore the music of living composers--to acknowledge and advocate the merit of his or her own culture as evidenced in musical composition. Richard Bruce Faith is a living American composer who served a tenured position at The University of Arizona from 1961-1988, in the School of Music. The merit of Faith's music has been established through discussion of his compositions in professional music journals, bibliographical reviews, newspaper reviews, and graduate research documents. Many of his songs, piano works and orchestral compositions have been published. His operas have been and are continuing to be performed. Publication of Faith's compositions has historically been achieved after continuing discussion in professional journals and after regular performances have created a demand for his product. The choral works of Richard Faith are not published at this time. The choral compositions are an interesting and varied group. Their quality is consistent within the composer's compositional whole. Seventeen of the eighteen choral works were commissioned by or composed with a specific performing choir in mind. The suitability of these compositions for distinct types of choral forces is an obvious result of Faith's pre-defined compositional strictures. For instance, the four anthems for church choir are less demanding than the Three Songs for Male Chorus, which were written for a semi-professional community chorus. The compositional tools which define Faith's unique style also characterize the musical requirements necessary for a successful performance of the individual works. This measure of requisite musicianship is clear in the choral works. In fact, their origin as commissioned works and the intention of specific musicians to perform the works, determined how Faith would use his compositional tools. The search for new music suited to the abilities of singers and accompanists is an ongoing challenge for many choral conductors. Publication of Richard Faith's choral works would answer the need for new music among the great diversity of choirs. Publication of this interesting compositional body would also acknowledge a fine American composer.
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Mayhall, Ronald Bruce. "Tempo fluctuation in the Romantic Era as revealed by nineteenth-century sources and applied to selected choral compositions /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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Books on the topic "Composition (Music) Choral music"

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Forsyth, Cecil. Choral orchestration. Mineola, N.Y: Dover Publications, 2013.

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Decker, Harold A., and Colleen J. Kirk. Choral Conducting: Focus on Communication. Prospect Heights, IL: Waveland Press, 1995.

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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. Los Angeles: 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. Van Nuys, CA: Alfred Pub. Co., 1993.

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McCormick, James Patrick. A selective guide of Canadian choral compositions appropriate for the senior school choir. Ann Arbor, Mich: UMI Dissertation Information Service, 1990.

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Tiemstra, Suzanne Spicer. The choral music of Latin America: A guide to compositions and research. New York: Greenwood Press, 1992.

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

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The German choral church compositions of Johann David Heinichen, 1683-1729. New York: P. Lang, 1990.

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Cooper, Timothy G. Church music in nineteenth-century Canada as represented by the choral compositions of John Medley. Ann Arbor, Mich: University Microfilms International, 1989.

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Almada, Carlos. Harmonia funcional. Campinas, SP, Brasil: Editora Unicamp, 2012.

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Book chapters on the topic "Composition (Music) Choral music"

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Taylor, Benedict. "Choral and Liturgical Music." In Arthur Sullivan, 196–215. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-9.

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Mazey, Paul. "Choral Music: Christian and Pantheistic Mysticism." In British Film Music, 115–47. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33550-2_5.

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Rosenbaum, Harold. "Performing Modern Music." In A Practical Guide to Choral Conducting, 99–103. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315164281-18.

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Manzo, V. J. "Algorithmic Composition." In Teaching Electronic Music, 103–19. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-8.

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Dostál, Martin. "Evolutionary Music Composition." In Handbook of Optimization, 935–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-30504-7_37.

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Cope, David. "Algorithmic Music Composition." In Patterns of Intuition, 405–16. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9561-6_19.

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Barrett, Natasha. "Spatial music composition." In 3D Audio, 175–91. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429491214-9.

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Zattra, Laura. "Collaborating on composition." In Live Electronic Music, 59–80. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-4.

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Manzo, V. J. "Informal Music Learning Instruments." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0024.

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In 2010, I was involved in a research project called the Interactive Music Technology Curriculum Project (Manzo & Dammers, 2010), or IMTCP; its goal was to teach music composition and performance to students who have no musical training by using soft ware instruments that allow them to play chord functions. In this chapter, we will examine the patches developed for this project. As you will see, even though each patch facilitates a different musical activity, the patches themselves use similar chunks of code neatly organized in bpatchers. These patches allow students to play chords, at first, with the number keys (1–8) from a computer keyboard as they learn about diatonic scale degrees and chord functions. Students in this project were asked to go online and get the YouTube links to their 10 favorite songs. The faculty for this project took those songs and reduced each part of the form (verse, chorus, bridge, etc.) to a set of numerical chord functions within a key. For example, the verse would be referred to as a The project was influenced by the Manhattanville Music Curriculum Project (MMCP; Thomas, 1970) and Lucy Green’s research on Informal Music Learning (Green, 2008). “1 5 6 4” in C Major while the chorus was a “2 4 1 5.” Students would then use a patch to play back the chord functions using the ASCII keyboard. 1. Open the file E001.maxpat from within the folder E001 located in the Chapter 19 Examples folder 2. Press the number keys on your computer keyboard (1–8) to play back the C Major scale. Use the space bar to end the sustain 3. Click the toggles 3 and 5 to add a third and a fifth to the output. Notice that the name of the triad is now displayed on the right We’ve looked at patches similar to this in the EAMIR SDK. Let’s take a look at some of the more interesting and novel features of this patch.
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Weiss, Naomi A. "Introduction." In Music of Tragedy. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520295902.003.0001.

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Greek tragedy was musical theater, but only silent texts remain. The introduction demonstrates the central role of music and dance within this art form, and in doing so, it offers a critical rethinking of Aristotle’s apparent disregard for choral song in the Poetics. Discussing the tendency to link the language of Euripides’s late plays to contemporary musical trends (the “New Music”), it urges a reevaluation of his mousikē, one that both takes more account of the traditional aspects of his lyric compositions and considers them within the dramatic context of the plays themselves. Outlining the different types of evidence available for the analysis of tragedy’s musical element, it also explains the book’s focus on the interplay of text and performance.
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Conference papers on the topic "Composition (Music) Choral music"

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Hung, Yun-Ning, I.-Tung Chiang, Yi-An Chen, and Yi-Hsuan Yang. "Musical Composition Style Transfer via Disentangled Timbre Representations." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/652.

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Music creation involves not only composing the different parts (e.g., melody, chords) of a musical work but also arranging/selecting the instruments to play the different parts. While the former has received increasing attention, the latter has not been much investigated. This paper presents, to the best of our knowledge, the first deep learning models for rearranging music of arbitrary genres. Specifically, we build encoders and decoders that take a piece of polyphonic musical audio as input, and predict as output its musical score. We investigate disentanglement techniques such as adversarial training to separate latent factors that are related to the musical content (pitch) of different parts of the piece, and that are related to the instrumentation (timbre) of the parts per short-time segment. By disentangling pitch and timbre, our models have an idea of how each piece was composed and arranged. Moreover, the models can realize “composition style transfer” by rearranging a musical piece without much affecting its pitch content. We validate the effectiveness of the models by experiments on instrument activity detection and composition style transfer. To facilitate follow-up research, we open source our code at https://github.com/biboamy/instrument-disentangle.
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Perez, Mauricio, Rodolfo Coelho De Souza, and Regis Rossi Alves Faria. "Digital Design of Audio Signal Processing Using Time Delay." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10449.

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This poster describes the design in PureData of some audio signals processes in real time like delay, echo, reverb, chorus, flanger e phaser. We analyze the technical characteristics of each process and the psychoacoustic effects produced by them in human perception and audio applications. A deeper comprehension of the consequences of sound processes based on delay lines helps the decision-making in professional audio applications such as the audio recording, mixing, besides music composition that employs sound effects in preprocessed or real-time.
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Armitage, Joanne, and Ng Kia. "Multimodal Music Composition." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.7.

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Dutica, Luminita. "STRUCTURES AND ARCHETYPAL SYMBOLS IN ROMANIAN CONTEMPORARY CHORAL MUSIC." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.048.

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Seipelt, Agnes. "Digitale Edition und Harmonische Analyse mit MEI von Anton Bruckners Studienbuch." 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/10.25366/2020.100.

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The poster shows the results obtained in the project “Digital Music Analysis with the Techniques of the Music Encoding Initiative (MEI) using Anton Bruckner’s compositional studies as an example” (2017 to 2019). On the one hand, the project had the goal of presenting a digital edition of Anton Bruckner’s study book, which he produced during his lessons with Otto Kitzler from 1861 to 1863. An edition of the music in the textbook encoded with MEI and displayed using Verovio and the facsimile can be displayed simultaneously. On the other hand, an automated harmonic analysis of this music was to be designed. For this purpose, keys are recognized using the Krumhansl-Schmuckler algorithm that is based on a resource of pitch classes which are compared with reference values and thus their similarity is calculated. Based on this, chord recognitions are carried out, which are then linked to the keys in the last step and converted to a roman numeral analysis.
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Chiu, Shih-Chuan, and Man-Kwan Shan. "Computer Music Composition Based on Discovered Music Patterns." In 2006 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2006. http://dx.doi.org/10.1109/icsmc.2006.384827.

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Fox, Jason, Leslie A. North, and Matthew Herman. "THE VOICE OF ICELAND: COMMUNICATING CLIMATE SCIENCE THROUGH CHORAL MUSIC." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-323404.

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Wiriyachaiporn, Panida, Kankawee Chanasit, Atiwong Suchato, Proadpran Punyabukkana, and Ekapol Chuangsuwanich. "Algorithmic Music Composition Comparison." In 2018 15th International Joint Conference on Computer Science and Software Engineering (JCSSE). IEEE, 2018. http://dx.doi.org/10.1109/jcsse.2018.8457397.

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Fu, Tao-yang, Tsu-yu Wu, Chin-te Chen, Kai-chu Wu, and Ying-ping Chen. "Evolutionary interactive music composition." In the 8th annual conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1143997.1144301.

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Kikuchi, Junki, Hidekatsu Yanagi, and Yoshiaki Mima. "Music Composition with Recommendation." In the 29th Annual Symposium. New York, New York, USA: ACM Press, 2016. http://dx.doi.org/10.1145/2984751.2985733.

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Reports on the topic "Composition (Music) Choral music"

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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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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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