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Relevant bibliographies by topics / Jewish composers Choral music

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Academic literature on the topic 'Jewish composers Choral music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Jewish composers Choral music"

1

Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff

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Specht, R. John. "Americana: Choral Masterworks of American Composers." American Music 5, no. 2 (1987): 230. http://dx.doi.org/10.2307/3052176.

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Beckwith, John. "Choral Music in Montreal Circa 1900: Three Composers." University of Toronto Quarterly 63, no. 4 (1994): 504–17. http://dx.doi.org/10.3138/utq.63.4.504.

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Almăşanu, Carmen. "Values of neo-protestant choral works in Romania." Artes. Journal of Musicology 20, no. 1 (2019): 265–79. http://dx.doi.org/10.2478/ajm-2019-0016.

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Abstract Borne from the relevant and efficient expression in the context of contemporary culture, neo-protestant choral spirituality uses a diversified and meaningful language. From the very beginning of the existence of neo-protestant cults on the territory of our country, the establishment of a liturgical repertoire intended for common intonation or by various choral or vocal-instrumental bands has been one of the primordial preoccupations. Along with choral creations translated from the universal literature, there is a significant number of original works created by Romanian composers withi

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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and

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Roberts, John H. "False Messiah." Journal of the American Musicological Society 63, no. 1 (2010): 45–97. http://dx.doi.org/10.1525/jams.2010.63.1.45.

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In closely connected studies Tassilo Erhardt and Michael Marissen have suggested that Handel's Messiah is fundamentally anti-Jewish. Erhardt, who based his conclusions on books thought to have been in the library of Charles Jennens, compiler of the Messiah libretto, argues that the text was intended as a defense of orthodox Christianity against Judaism as well as Deism; Marissen contends it “was designed to teach contempt for Jews and Judaism.” Closer examination of the theological literature of Jennens's day shows that the theories of both scholars are founded on selective and tendentious rea

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Allphin, Penrose M. "Trans Sonorities in Grey Grant's “Drones for the In-Between Times”." TSQ: Transgender Studies Quarterly 8, no. 3 (2021): 394–402. http://dx.doi.org/10.1215/23289252-9009010.

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Abstract Composer intent has generally been downplayed by contemporary music analysts, often being regarded as an example of an intentional fallacy at best and misleading at worst. This analysis of Grey Grant's choral work posits that such a dismissal not only ignores the potential for an enhanced expressive context afforded by composers' own assessments, but it also contributes to the silencing of already marginalized voices, such as in the case of transgender composers. The author proposes a methodology that incorporates the voices of living composers while circumventing concerns about confi

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Housewright, Wiley L., and Evelyn Davidson White. "Choral Music by Afro-American Composers: A Selected, Annotated Bibliography." American Music 4, no. 3 (1986): 355. http://dx.doi.org/10.2307/3051620.

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Drakeford, Richard. "Choral Conundrum. Choirs versus Composers: Choirs and Composers: Are They Really Compatible? Richard Drakeford Charts the Rise and Fall of the Modern Choral Tradition." Musical Times 134, no. 1806 (1993): 441. http://dx.doi.org/10.2307/1003012.

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Sokolova, Alla. "FORMATION OF NATIONAL SELF-CONSCIOUSNESS OF FUTURE MUSIC ART TEACHERS IN «CHORAL CLASS»." 1 1, no. 1 (2020): 30–35. http://dx.doi.org/10.34142/27091805.2020.1.01.05.

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Object. The article addresses issues of educating future music teachers, the formation of their national worldview, in which professional knowledge and professional responsibility are formed, are of great importance. The leading role in this direction belongs to the discipline “Choral Class” and the widespread use of choral works written in poetry by Taras Shevchenko. Methods. Traditional historical and pedagogical research methods were used in the work: analytical, historical, and comparative, retrospective, comparative analysis of scientific and pedagogical literature, educational materials.

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Dissertations / Theses on the topic "Jewish composers Choral music"

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CHOI, YOUNG JU. "SURVEY OF CHORAL MUSIC BY SELECTED TWENTIETH-CENTURY KOREAN COMPOSERS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116369655.

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Soderberg, Karen Amelia Phillips. "A survey of selected contemporary Swedish choral composers and literature." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185410.

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This study presents a survey of selected Contemporary Swedish Choral Composers and Literature representative of the trends in contemporary Swedish choral music. The varied compositional styles and techniques of composers Sven-David Sandstrom, Thomas Jennefelt, Karin Rehnqvist and Andres Hillborg exemplify these trends. Little information is readily available about the current generation of choral composers outside of Sweden. Most of the available materials concentrate on the music of composers of the 1940s Monday Group such as Sven-Erik Back and Ingvar Lidholm and Karl-Birger Blomdahl, the wor

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Strommen, Campbell Jonathan Daniel. "The Choral Music of Frederick Delius (1862-1934) and its Influence on the Choral Music of Early Twentieth-Century British Composers." Diss., North Dakota State University, 2015. https://hdl.handle.net/10365/27840.

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The composer Frederick Delius wrote a large body of choral music including choral/orchestral works and part songs. This body of choral music had an important influence on the younger generation of British choral composers, including Philip Heseltine (Peter Warlock) (1894-1930), E. J. Moeran (1894-1950), Constant Lambert (1905-1951), and Patrick Hadley (1899-1973). To date, only one dissertation in the United States has been devoted to the choral music of Delius. While several books have been published on Heseltine (Warlock), the others?Moeran, Lambert, and Hadley?are underrepresented in schola

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Grases, Cristian. "Nine Venezuelan Composers and a Catalogue of their Choral Works." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/215.

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This document represents an initial endeavor in a long-lasting aspiration to pursue the study and collection of Latin American choral literature. This essay compiles the most complete and current catalogue possible of choral works written by nine Venezuelan composers born in the twentieth century and presents it in a simple and accessible format so it can be used by a variety of school teachers, choral conductors, church musicians, college directors, and professional musicians. Each composer entry presents a brief biographical note and a list of works organized in alphabetical order. The annot

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Bauchspies, Cynthia. "Teaching high school students the best choral repertoire from the great composers| Masterworks available for immediate, free access from the choral public domain library." Thesis, University of Maryland, College Park, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712082.

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<p> Studying the choral works of the great composers of the past is always a worthy endeavor. For those aspiring to create an excellent high school choral program, it is critical to a student's musical foundation and heritage. Choral educators who teach high school are often bombarded with the most recently published new choral works, when they have a trove of excellent pieces right at their fingertips through websites like the Choral Public Domain Library (CPDL), all available at no cost. This project will explore the pedagogical reasons why this canon of public domain choral music should be

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Speer, Randall C. "THE AMERICAN COMPOSERS FORUM AND ITS IMPACT ON CHORAL MUSIC IN THE UNITED STATES." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991236396.

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Haecker, Allyss Angela. "Post-Apartheid South African choral music: an analysis of integrated musical styles with specific examples by contemporary South African composers." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3461.

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Barber, Holly. "Women in the Spotlight| A Survey of Female Choral Composers for Middle and High School Choirs." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618445.

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<p> This project report presents a set of criteria for choosing a balanced program of repertoire for choirs, specifically focusing on increasing the representation of female composers in programming for middle and high school choirs. The recital given in conjunction with this report represents these criteria in action.</p><p> In addition to providing a biography of each composer and analyzing the text and musical structure of each song, the author includes her rationale for choosing each piece based on the criteria, as well as teaching strategies and conducting techniques employed. The proje

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Wahl, Shelbie L. "By women, for women choral works for women's voices composed and texted by women, with an annotated repertoire list /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/788.

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Dungee, Jason A., and Jason A. Dungee. "A Socio-Pedagogical Analysis of Five Short Choral Works by Adolphus Hailstork." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621093.

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The focus of the present research is to examine the socio-pedagogical aspects of Adolphus Hailstork's Five Short Choral Works. The socio-pedagogical benefits of these and similar compositions stem from their potential to encourage more critical cultural engagement of the choral contributions of Black composers in both the classroom and rehearsal hall. While the music on its own merit is worthy of deeper study and analysis, the added benefit to students, teachers and conductors is that the inclusion of diverse groups in music education has proven sociological benefits. Therefore, these five

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Books on the topic "Jewish composers Choral music"

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

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White, Evelyn Davidson. Choral music by African American composers: A selected, annotated bibliography. 2nd ed. Scarecrow Press, 1996.

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Hollfelder, Waldram. 7500 Chor-Komponisten: Lebensdaten als Arbeitshilfe zur Programmgesteltung. 2nd ed. Saaleck-Verlag, 1988.

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1937-, STEVENS LEWIS. Composers of classical music of Jewish descent. Vallentine Mitchell, 2003.

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Osborne, William. American singing societies and their partsongs: Ten prominent American composers of the genre (1860-1940) and the seminal singing societies that performed the repertory. American Choral Directors Association, 1994.

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Solo vocal works on Jewish themes: A bibliography of Jewish composers. Scarecrow Press, 2010.

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Jaffe, Kenneth. Solo vocal works on Jewish themes: A bibliography of Jewish composers. Scarecrow Press, 2010.

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Wiśniewska-Salamon, Iwona. Twórczość chóralna współczesnych kompozytorów szczecińskich w aspekcie problematyki wykonawczej. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego, 2010.

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Starer, Robert. Gratitude and praise: Organ works by Jewish-American composers. Vivace Press, 1994.

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A day for dancing: The life and music of Lloyd Pfautsch. University of North Texas Press, 2014.

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Book chapters on the topic "Jewish composers Choral music"

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"Studies of Individual Composers and Works." In Choral Music. Routledge, 2012. http://dx.doi.org/10.4324/9780203891216-11.

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"Studies of Individual Composers and Works." In Choral Music. Routledge, 2012. http://dx.doi.org/10.4324/9780203891216-11.

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Trochimczyk, Maja. "Jewish Composers of Polish Music after 1939." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0020.

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This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in Poland. It discusses the inclusion of Jewish composers in the world of Polish music by its post-1945 historians. It also examines the presence of Jewish composers in Poland's musical world before 1939 and the disappearance of these composers as shown by official publications, dictionaries, and music histories up until 1989. The chapter reviews all the composers of Jewish origin who were alive in September 1939, regardless of their attitude and relationship with Judaism. It mentions the most important composers of Jewish descent but not of Jewish faith, such as Józef Koffler, who gave up his official Jewish religious allegiance in May 1939, and Roman Palester, who was baptized Catholic as a baby.

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Haas, Michael. "Wagner and German Jewish Composers in the Nineteenth Century." In Forbidden Music. Yale University Press, 2013. http://dx.doi.org/10.12987/yale/9780300154306.003.0003.

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TROCHIMCZYK, MAJA. "Jewish Composers of Polish Music after 1939:." In Polin: Studies in Polish Jewry Volume 32. The Littman Library of Jewish Civilization, 2020. http://dx.doi.org/10.2307/j.ctv1198tg3.25.

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Frühauf, Tina. "Regenerating a Choral Music Culture." In Transcending Dystopia. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532973.003.0012.

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In the course of the 1950s and 1960s, different trends emerged with regard to choral music culture in the Jewish communities (and continued thereafter): New synagogue choirs formed and there were several children’s and youth choirs which sang during liturgy and nonritual contexts. If this suggests a lively choral music soundscape in the Jewish communities, the opposite was the case. Choral music held a complicated stance therein. Due to the difficulties of establishing and maintaining synagogue choirs, some communities relied on visiting choirs that operated as independent (concert) choirs and on local secular and even church choirs. The repertoire largely reveals an adherence to prewar aesthetics. As such, choral music culture offered an opportunity to approach and define the communities’ musical identity both in the context of worship and in relation to mainstream society.

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Aylward, Michael. "Early Recordings of Jewish Music in Poland." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0004.

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This chapter examines a discography of commercial recordings of Jewish music made in Europe on cylinders and shellac records. The range of musical genres covered by the discography is wide, but may be broadly defined as applying to traditional Jewish music. For example, it excludes works by Jewish composers working in the European classical tradition; art music, even if specifically Jewish in tone and content; and non-Jewish music performed by Jewish artists. It does, however, extend to non-musical recordings such as comic monologues and dramatic recitals. In addition, there are separate appendices dealing with categories such as ‘Jewish’ music performed by non-Jewish artists and Jewish parodies performed by non-Jewish artists, the latter a fairly common genre among pre-revolutionary Russian recordings, but rare in Polish ones of the same era. The chapter then looks at those aspects of the discography that apply especially to Poland.

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Riegel, Julia. "‘Jewish Musicians are the Crowning Achievements of Foreign Nations’." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0017.

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This chapter discusses the treatment of the Jewish identity of various composers by the Yiddish folklorist and music critic, Menachem Kipnis. It describes Kipnis as a small, energetic man with a soft but beautiful singing voice and considered one of the most popular Jewish folklorists of interwar Poland. It also looks into Kipnis' book World-Famous Jewish Musicians, a collection of biographies of nineteenth-century composers with a Jewish background. The chapter examines the contradictions and idiosyncrasies of World-Famous Jewish Musicians compared with Kipnis's other works. It seeks to understand the balance Kipnis struck between praise for Jewish composers and quasi-nationalist emphasis on their Jewishness on the one hand, and his work as a folklorist in Poland, collecting songs from traditional, Yiddish-speaking Jews on the other.

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"Chapter 3. Of Maestros and Minstrels: American Jewish Composers between Black Vernacular and European Art Music." In The Art of Being Jewish in Modern Times. University of Pennsylvania Press, 2008. http://dx.doi.org/10.9783/9780812208863.57.

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Rothstein, Robert A. "The Polish Tin Pan Alley, a Jewish Street." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0009.

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This chapter highlights the 28th Street, between Fifth and Sixth Avenues in Manhattan, that became the home of several music publishers. It looks into the various accounts of how 28th Street came to be called “Tin Pan Alley,” pointing out the observation that the pianos played by song “pluggers” produced a cacophony reminiscent of the clatter of tin pans. It also mentions how the name “Tin Pan Alley” was eventually used as a metonym for the American popular-music industry. The chapter explores the pre-eminent role of Jewish composers, poets, songwriters, and performers in the Polish popular music industry of the 1920s and 1930s. It also focuses on Adam Aston, who was credited with popularizing the first Polish rumba, and Mieczysław Fogg, the most popular Polish singer of the twentieth century.

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