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

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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

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2

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

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3

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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4

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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5

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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6

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

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7

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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8

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

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9

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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10

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

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11

How to write songs on guitar. San Francisco, CA: Backbeat Books, 2000.

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12

Society, Canadian Musical Heritage. Sacred choral music III [music]. Ottawa, Ont: Canadian Musical Heritage Society, 1999.

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13

Teaching choral music. 2nd ed. Upper Saddle River, N.J: Prentice Hall, 1999.

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14

Conducting choral music. 6th ed. Englewood Cliffs, N.J: Prentice Hall, 1988.

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15

Garretson, Robert L. Conducting choral music. 8th ed. Upper Saddle River, N.J: Prentice Hall, 1998.

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16

Garretson, Robert L. Conducting choral music. 5th ed. Englewood Cliffs, N.J: Prentice-Hall, 1986.

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17

Garretson, Robert L. Conducting choral music. 7th ed. Englewood Cliffs, N.J: Prentice-Hall, 1993.

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18

Teaching choral music. Englewood Cliffs, NJ: Prentice Hall, 1993.

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19

Education, Alberta Alberta. Junior high choral music. Edmonton: Alberta Education, 1988.

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20

World of choral music. Lexington, MA: Silver Burdett & Ginn, 1988.

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21

Centre, Canadian Music. Canadian choral music catalogue. 4th ed. Toronto: Canadian Music Centre = Centre de musique canadienne, 1993.

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22

Comprehensive choral music education. Englewood Cliffs, N.J: Prentice Hall, 1995.

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23

Dana, Wilson, ed. Contemporary choral arranging. Englewood Cliffs, N.J: Prentice-Hall, 1986.

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24

Directing the choral music program. New York: Oxford University Press, 2004.

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25

Complete secondary choral music guide. West Nyack, N.Y: Parker Pub. Co., 1989.

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26

Starer, Robert. Choral music of Robert Starer. Milwaukee, Wis: MCA Music Publishing, 1993.

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27

Anderson, Tom. Sing choral music at sight. Reston, Va: Music Educators National Conference, 1992.

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28

Segaloff, Benjamin. Jewish choral music in Victoria. Victoria, Australia: B. Segaloff, 1993.

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29

Ulrich, Homer. A survey of choral music. Belmont: Wadsworth Group/Thompson Learning, 2002.

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30

Daugherty, F. Mark. Sacred choral music in print. Philadelphia: Musicdata, 1996.

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31

Historical dictionary of choral music. Lanham, Md: Scarecrow Press, 2010.

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32

1951-, Daugherty F. Mark, ed. Sacred choral music in print. 2nd ed. Philadelphia: Musicdata, 1985.

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33

Simon, Susan H. Sacred choral music in print. Philadelphia: Musicdata, Inc., 1988.

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34

Daugherty, F. Mark. Secular choral music in print. 2nd ed. Philadelphia: Musicdata, 1987.

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35

Shaw, Julia T. Culturally Responsive Choral Music Education. Edited by Vicki R. Lind and Constance McKoy. New York : Routledge, 2019. | Series: Culturally responsive teaching in music: Routledge, 2019. http://dx.doi.org/10.4324/9780429503900.

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36

Daugherty, F. Mark. Secular choral music in print. Philadelphia: Musicdata, 1991.

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37

Winsor, Phil. Automated music composition. Denton, Tex: University of North Texas Press, 1989.

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38

Automated music composition. Denton, Tex: University of North Texas Press, 1989.

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39

Forsyth, Cecil. Choral Orchestration. Library Reprints, 2001.

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40

Choral Composition: A Handbook for Composers, Arrangers, Conductors, and Singers. Greenwood Press, 2001.

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41

Beatty, Rodger James. Unison Canadian choral compositions: Selection and analysis for schools. 1999.

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42

Composers on Composing for Choir. G I a Pubns, 2007.

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43

Fleser, Jim. The Chord Wheel: The Ultimate Tool for All Musicians. Hal Leonard Corporation, 2000.

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44

Payne, William Gwinn. Stylistic characteristics of short sacred choral compositions published and performed in the United States, 1960-1985. 1986.

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45

Shrock, Dennis. Choral Monuments. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.001.0001.

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This book provides extensive and in-depth material about eleven epoch-making choral masterworks that span the history of Western culture from the Renaissance to the modern era. Included are Missa Pange lingua (Josquin Desprez); Missa Papae Marcelli (G. P. da Palestrina); B Minor Mass (J. S. Bach); Messiah (G. F. Handel); The Creation (Joseph Haydn); Symphony no. 9 (Ludwig van Beethoven); St. Paul (Felix Mendelssohn); Ein deutsches Requiem (Johannes Brahms); Messa da Requiem (Giuseppe Verdi); Mass (Igor Stravinsky); and War Requiem (Benjamin Britten). The works are presented in separate chapters, with each chapter divided into three basic sections—history, analysis, and performance practice. Discussions of history include biographical information about composers related to the work at hand, historical perspectives, and text sources. Analyses are focused on formal and musical structures, salient compositional techniques, and elements of music particular to the work being discussed, including parody and motivic organization. The discussion of performance practices includes primary source quotations about a wide range of topics, from performing forces, tempo, and phrasing of each work to specific issues such as tactus, text underlay, musica ficta, metric accentuation, rhythmic alteration, recitative, fermatas, and ornamentation. Musical examples and primary source quotes illuminate the material.

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46

Fitzsimmons, Lorna, and Charles McKnight, eds. The Oxford Handbook of Faust in Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780199935185.001.0001.

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The Oxford Handbook of Faust in Music comprises twenty-five chapters examining representative works in the history of the Faust theme in music from the nineteenth century to the present in Europe, North America, Australia, and the United Kingdom. Since its emergence in sixteenth-century Germany, the magician Faust has become one of the most profound themes in Western history. Though variants are found across all media, few adaptations have met with greater acclaim than in music. Bringing together more than two dozen authors in a foundational volume, The Oxford Handbook of Faust in Music testifies to the spectacular impact the Faust theme has exerted over the centuries. The Handbook’s three-part organization enables readers to follow the evolution of Faust in music across time and stylistic periods. Part I explores symphonic, choral, chamber, and solo Faust works by composers from Beethoven to Schnittke. Part II discusses the range of Faustian operas, and Part III examines Faust’s presence in ballet and musical theater. Illustrating the interdisciplinary relationships between music and literature and the fascinating tapestry of intertextual relationships among the works of Faustian music themselves, the volume suggests that rather than merely retelling the story of Faust, these musical compositions contribute significant insights on the tale and its unrivaled cultural impact.

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47

Cousens, Mary Annette. The influence of choral works by Canadian women on senior female secondary students in Ontario. 1997.

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48

The Songwriting Sourcebook: How to Turn Chords into Great SongsÞFully (Reference). Hal Leonard Corporation, 2011.

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49

Mirchandani, Sharon. Fragments. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0003.

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This chapter focuses on Marga Richter's shorter, more fragmented works that had little or no development and were not as expansive as her earlier (and later) pieces. Unlike other U.S. composers in the 1960s such as Edgard Varèse and Milton Babbitt, Richter did not gravitate toward total serialism, electronic music, or chance music, although she reluctantly responded to the trend of composing sparse, economical, and atonal works. An encounter with composer William Sydeman at the Bennington Composers Conference was influential in steering Richter toward the prevailing attitudes of the day. This chapter discusses some of Richter's more concise compositions during the 1960s, including short solo and chamber music scores such as Fragments for solo piano; choral works like Psalm 91 for mixed chorus for mixed chorus; and the modern ballet score, Abyss for the Harkness Ballet. It also considers Richter's compositional retreat at a family residence in Shrewsbury, Vermont, and her self-admitted tendency to suffer from a letdown following elation from a performance or completion of a major work.

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50

Stanford, Charles Villiers. Choral music. 2017.

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