Bonnie C. Wade
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780226085210
- eISBN:
- 9780226085494
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226085494.003.0007
- Subject:
- Music, Ethnomusicology, World Music
Chapter Six, with Chapter Five, focuses on opportunities for composers in the environment of Japanese modernity characterized by the presence of European spheres of musical participation. Chapter Six ...
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Chapter Six, with Chapter Five, focuses on opportunities for composers in the environment of Japanese modernity characterized by the presence of European spheres of musical participation. Chapter Six addresses choral singing, a popular, primarily amateur sphere. Its is situated in Japan by chronological tracking from school music in the modern era, to choruses formed for political reasons, in response to post-war conditions, or in the interest of expressing Japanese sentiments. Motivations for the abundant practice of commissioning of new works from Japanese composers are explored. Intersections are noted of song and choral music, for children and adults. Some composer’s choices for texts and settings are analyzed, including works for chorus and orchestra.Less
Chapter Six, with Chapter Five, focuses on opportunities for composers in the environment of Japanese modernity characterized by the presence of European spheres of musical participation. Chapter Six addresses choral singing, a popular, primarily amateur sphere. Its is situated in Japan by chronological tracking from school music in the modern era, to choruses formed for political reasons, in response to post-war conditions, or in the interest of expressing Japanese sentiments. Motivations for the abundant practice of commissioning of new works from Japanese composers are explored. Intersections are noted of song and choral music, for children and adults. Some composer’s choices for texts and settings are analyzed, including works for chorus and orchestra.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0021
- Subject:
- Music, History, Western
The formula in choral singing is strongly is emphasized in the village choral festivals, wherein each choir singing by itself sounds feeble and tentative, but when combined in one big choir suddenly ...
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The formula in choral singing is strongly is emphasized in the village choral festivals, wherein each choir singing by itself sounds feeble and tentative, but when combined in one big choir suddenly finds its powers increased tenfold. This chapter describes the early Leith Hill Festivals in the opening passages of Charles Wood's “Full Fathom Five,” where the rather poor efforts of six shy singers by themselves were converted into a sonorous confident crowd. Choral singing is a great art, but to become so it has to imbibe some of the qualities of a great game, and it is those very characteristics that go to make a good footballer or a good cricketer. So it is with a good choral singer. These qualities, it is true, refer more to the craftsman than to the artist, but if craft without art is dead, art without craft is impotent.Less
The formula in choral singing is strongly is emphasized in the village choral festivals, wherein each choir singing by itself sounds feeble and tentative, but when combined in one big choir suddenly finds its powers increased tenfold. This chapter describes the early Leith Hill Festivals in the opening passages of Charles Wood's “Full Fathom Five,” where the rather poor efforts of six shy singers by themselves were converted into a sonorous confident crowd. Choral singing is a great art, but to become so it has to imbibe some of the qualities of a great game, and it is those very characteristics that go to make a good footballer or a good cricketer. So it is with a good choral singer. These qualities, it is true, refer more to the craftsman than to the artist, but if craft without art is dead, art without craft is impotent.
Caroline Bithell
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199354542
- eISBN:
- 9780199354580
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199354542.003.0008
- Subject:
- Music, Ethnomusicology, World Music
Chapter 7 investigates the world of natural-voice-style community choirs, set within the broader context of amateur choirs and choral singing, both contemporary and historical, and of more generic ...
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Chapter 7 investigates the world of natural-voice-style community choirs, set within the broader context of amateur choirs and choral singing, both contemporary and historical, and of more generic considerations of the ways in which singing may be construed in relation to happiness, health, and wellbeing. Particular attention is paid to notions of community and to the ways in which personal rewards intersect with social impact. The discussion here includes short, contrasting case studies of Bangor Community Choir and the London Georgian choir Maspindzeli. The chapter further explores the dynamics of performance and offers an overview of the varied locations and settings in which community choirs may share their repertoire with the wider community. Additional short case studies include Cambridge’s Good Vibrations choir and its engagement with asylum seekers at Oakington Immigration Reception Centre.Less
Chapter 7 investigates the world of natural-voice-style community choirs, set within the broader context of amateur choirs and choral singing, both contemporary and historical, and of more generic considerations of the ways in which singing may be construed in relation to happiness, health, and wellbeing. Particular attention is paid to notions of community and to the ways in which personal rewards intersect with social impact. The discussion here includes short, contrasting case studies of Bangor Community Choir and the London Georgian choir Maspindzeli. The chapter further explores the dynamics of performance and offers an overview of the varied locations and settings in which community choirs may share their repertoire with the wider community. Additional short case studies include Cambridge’s Good Vibrations choir and its engagement with asylum seekers at Oakington Immigration Reception Centre.
Barbara M. Tagg
- Published in print:
- 2013
- Published Online:
- May 2015
- ISBN:
- 9780199920686
- eISBN:
- 9780190268350
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199920686.003.0014
- Subject:
- Music, Performing Practice/Studies
This chapter features essays written by composers, conductors, symphony orchestra conductors, an organizational consultant, and leaders in the choral field regarding children’s choirs. Two topics are ...
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This chapter features essays written by composers, conductors, symphony orchestra conductors, an organizational consultant, and leaders in the choral field regarding children’s choirs. Two topics are discussed: why organizational excellence is as important as striving for musical excellence, and the importance of children’s choirs for the future of choral singing in America. The chapter also includes biographies of the contributors.Less
This chapter features essays written by composers, conductors, symphony orchestra conductors, an organizational consultant, and leaders in the choral field regarding children’s choirs. Two topics are discussed: why organizational excellence is as important as striving for musical excellence, and the importance of children’s choirs for the future of choral singing in America. The chapter also includes biographies of the contributors.
Barbara Tagg
- Published in print:
- 2013
- Published Online:
- May 2015
- ISBN:
- 9780199920686
- eISBN:
- 9780190268350
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199920686.001.0001
- Subject:
- Music, Performing Practice/Studies
All children must have an opportunity to share the joy of choral music participation—whether in school, church, or community choirs. What happens before the singing begins is critical to supporting, ...
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All children must have an opportunity to share the joy of choral music participation—whether in school, church, or community choirs. What happens before the singing begins is critical to supporting, sustaining, and nurturing choirs to give every child the opportunity to experience the wonder of choral singing. Based on years of experience conducting and teaching, this book brings practical information about ways of organizing choirs. From classroom choirs, to mission statements, boards of directors, commissioning, auditioning, and repertoire, the book aims to inspire new ways of thinking about how choirs organize their daily tasks. The collaborative community that surrounds a choir includes conductors, music educators, church choir directors, board members, volunteers, staff, administrators, and university students in music education and nonprofit arts management degree programs.Less
All children must have an opportunity to share the joy of choral music participation—whether in school, church, or community choirs. What happens before the singing begins is critical to supporting, sustaining, and nurturing choirs to give every child the opportunity to experience the wonder of choral singing. Based on years of experience conducting and teaching, this book brings practical information about ways of organizing choirs. From classroom choirs, to mission statements, boards of directors, commissioning, auditioning, and repertoire, the book aims to inspire new ways of thinking about how choirs organize their daily tasks. The collaborative community that surrounds a choir includes conductors, music educators, church choir directors, board members, volunteers, staff, administrators, and university students in music education and nonprofit arts management degree programs.
Laura Clawson
- Published in print:
- 2011
- Published Online:
- March 2013
- ISBN:
- 9780226109589
- eISBN:
- 9780226109633
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226109633.001.0001
- Subject:
- Music, History, American
The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp is not performed ...
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The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp is not performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. This book portrays several Sacred Harp groups and looks at how they manage to maintain a sense of community despite their members' often profound differences. The author's research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. She finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs.Less
The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp is not performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. This book portrays several Sacred Harp groups and looks at how they manage to maintain a sense of community despite their members' often profound differences. The author's research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. She finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs.
Anne E. McLaren
- Published in print:
- 2008
- Published Online:
- November 2016
- ISBN:
- 9780824832322
- eISBN:
- 9780824869366
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824832322.003.0005
- Subject:
- Anthropology, Asian Cultural Anthropology
This chapter argues that the lament form known today in south and coastal China originated from the conflation of two ancient traditions: on the one hand, performances of weeping and wailing known as ...
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This chapter argues that the lament form known today in south and coastal China originated from the conflation of two ancient traditions: on the one hand, performances of weeping and wailing known as ku prevalent in the Yellow River region in antiquity; and, on the other hand, a tradition of dialogic and choral singing known south of the Yangzi. Ancient performances of weeping and wailing had gendered attributes and were understood to reflect female virtue and talent. In cases of injustice or extreme filiality, weeping and wailing could so move the heavens that a miracle would be performed. Over time, this performance tradition blended with popular beliefs in the dangers of female pollution and the need to exorcise these at the point of marriage. In this way the belief arose that exemplary lamenting could mitigate the disasters attendant on the bride's departure.Less
This chapter argues that the lament form known today in south and coastal China originated from the conflation of two ancient traditions: on the one hand, performances of weeping and wailing known as ku prevalent in the Yellow River region in antiquity; and, on the other hand, a tradition of dialogic and choral singing known south of the Yangzi. Ancient performances of weeping and wailing had gendered attributes and were understood to reflect female virtue and talent. In cases of injustice or extreme filiality, weeping and wailing could so move the heavens that a miracle would be performed. Over time, this performance tradition blended with popular beliefs in the dangers of female pollution and the need to exorcise these at the point of marriage. In this way the belief arose that exemplary lamenting could mitigate the disasters attendant on the bride's departure.
