scholarly journals METHODICAL PERSPECTIVE OF THE MODERN CHORAL REPERTOIRE

10.23856/3930 ◽  
2020 ◽  
Vol 39 (2) ◽  
pp. 223-228
Author(s):  
Wang Yajun
Keyword(s):  
Choral Repertoire

scholarly journals Conception and Origination of folk tune in Long March Cantata(长征组歌)

2020 ◽  
Author(s):  
Siyu Tian ◽  
Huibing Tan
Keyword(s):  
Folk Music ◽  
Large Scale ◽  
Symphony Orchestra ◽  
Historical Context ◽  
Bel Canto ◽  
Narrative Poetry ◽  
Mountain Ranges ◽  
Choral Repertoire ◽  
Northern Shaanxi ◽  
Instrumental Accompaniment

Thoughtful introduction of Chinese choral repertoire, the Long March cantata is contemporarily highly recognized music heritage of large-scale choral work of 10 movements last century in China. The cantata is composed to commemorate 30th anniversary of Long March. The journey of the Long March covered 11 provinces over 4,000 miles and crossed 24 rivers and 18 mountain ranges for over 370 days. The libretto is a set of narrative poetry by General Hua Xiao in Sept, 1964. "Long March Cantata" is conceptually composed based on "Where to go and where to say, when you hear the melody, the audiences will realize that it’s Guizhou, Yunnan, North Shaanxi ... Wherever the music is performed, it should restore the imaging of local feeling". This article mainly discusses its absorption of Chinese folk music based on Chinese pentatonic scales in music composition. Among them, movement one "Farewell (Leave the Base Area)" uses Jiangxi folk tunes, and the movement three "The Zunyi Conference, the Brilliance" use Guizhou tunes according to composers. For examples, in the movement four " Raid of Four times Cross Red Water ", Yunnan tunes are used, and in the movement seven "Arrive Wuqi Town", the northern Shaanxi tunes are used. In movement eight “Cheers" and movement nine "Annunciation", the tune of Changsha in Hunan and Northeast Jiangxi were selected to salute the southeast soldiers respectively. With the instrumental accompaniment of the full western orchestra, bel canto and national folk style signing (non-classical voicing) are well balanced. In order to match folk tune and regional congruency, Chinese traditional musical instruments, erhu (二胡), pipa (三弦), zhudi (bamboo flute, 笛子), suona (Chinese trumpet唢呐), kuaiban (bamboo castanets, 快板) as well as other Chinese percussion etc. were used with the western symphony orchestra according to historical context.

Intonation and Staying in Tune in A Cappella Choral Singing

2015 ◽  
pp. 850-864
Author(s):  
David M. Howard
Keyword(s):  
A Cappella ◽  
Experimental Measurements ◽  
Choral Singing ◽  
Fundamental Frequencies ◽  
Equal Temperament ◽  
Choral Repertoire

The tendency for singers to use non-equal temperament when singing unaccompanied or a cappella can have a large effect on the overall pitch stability of a piece of music, especially if there are several modulations. This chapter describes the background to this effect in terms of the temperament that is naturally adopted in a cappella singing and demonstrates how it can be predicted in practice. Results are presented from experimental measurements of the pitches used by a four-part SATB (soprano, alto, tenor, bass) quartet when they sing specially composed exercises and items from the a cappella choral repertoire, and these demonstrate the effect in practice. These experiments make use of four electrolaryngographs to measure the fundamental frequencies from each singer with an absence of cross interference. Pitch shifts that follow the trends suggested by the predictions are demonstrated for both the exercises and items from the a cappella choral repertoire.

Russian Church Music, Conundrums of Style, and the Politics of Preservation in the Emigre Diaspora of New York

2015 ◽  
Author(s):  
Natalie K. Zelensky
Keyword(s):  
New York ◽  
Russian Orthodox ◽  
Russian Orthodox Church ◽  
Musical Practice ◽  
Symbolic Resources ◽  
Russian Immigrants ◽  
Diasporic Identity ◽  
Choral Repertoire ◽  
Point Of Departure ◽  
Made In

This chapter explores the long process by which musical meanings are made in the choral repertoire of a Russian diasporic church, the ROCOR Russian Orthodox church, in its mid-Atlantic U.S. diaspora. Its point of departure is not meanings held in common by these church members, but instead the disjunctive meanings assigned to musical practice (and the consequent differences in preferred musical practice) by multiple generations of Russian immigrants. Common meanings emerge from this process through the reconstruction of a Russian diasporic identity that both draws on the symbolic resources of musical institutions characterizing different factions of Russian church musicians and on the positionality of being “Russian abroad” that unifies members by a common idea of preserving prerevolutionary Russian culture.

scholarly journals SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS

2021 ◽  
Vol 1 (195) ◽  
pp. 96-101
Author(s):  
Lyubov Martyniuk ◽  
Keyword(s):  
Professional Training ◽  
Music Teachers ◽  
Main Task ◽  
Organizational Skills ◽  
Deep Knowledge ◽  
Choral Ensembles ◽  
Choral Repertoire ◽  
Level Of Knowledge ◽  
High Level ◽  
Relationship Of

The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.

scholarly journals Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text

2021 ◽  
pp. 167-181
Author(s):  
Dmytro Savon
Keyword(s):  
Comparative Analysis ◽  
Johann Sebastian Bach ◽  
Historical Reconstruction ◽  
The Third ◽  
Choral Repertoire ◽  
History Of ◽  
Baroque Era ◽  
The One ◽  
First Time

Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology, three edited versions of the motet “Jesu, meine Freude” are analyzed from the standpoint of historically oriented performance. Based on the study of editors’ comments and source literature (mostly German), the question of compliance of the musical text with the task of performing reconstruction of the baroque vocal and choral style was studied. The aim of the article lies in the need to find out specificity of the editors’ interpretation of motet “Jesu, meine Freude” written by Johann Bach and suitability extent of different edited versions for the historical reconstruction of the vocal-choral style of the German Baroque. During the development of particular article, such methods were utilized: historical — the history of edited versions of “Jesu, meine Freude” motet was traced, comparative — the comparative analysis of three edited versions of motet “Jesu, meine Freude” written by Johann Bach (Franz Wulner, Konrad Ameln and Mykhailo Berdennykov) was completed. Main results and conclusions. According to the completed comparative analysis, the first two of the three considered edited versions are textual, while the third one is adopted for performing. Textual versions are characterized by the preservation of the composer’s text in the smallest details, including comments to clearly identify the extent of changes made by the editor in the text. The peculiarities of the version adopted for performing contain the large amount of remarks added by the editor, covering dynamic shades, strokes, tempo notation, etc. It is noted that the choice of version type is determined by performance goals: to perform the works of Johann Bach in an authentic manner, the conductor should focus on facsimile versions, and if they are absent (as in the case of the “Jesu, meine Freude” motet), the one should use textual type of edited versions. The version developed for performing cannot correspond to the authentic performing, as the first does not reflect specific tendencies of the time when it was created. It is specified that the conductor should be familiar with the peculiarities of fixing the means of performance in the musical text of the Baroque era.

Adult Community Choruses

2017 ◽  
Author(s):  
Susan Avery
Keyword(s):  
Learning Styles ◽  
The United States ◽  
Social Needs ◽  
Learning Theories ◽  
Community Members ◽  
Adult Learning Theories ◽  
Choral Repertoire ◽  
History Of ◽  
Group Members ◽  
The Many

When considering teaching and conducting diverse populations in community choirs, one must begin with discussions of the phenomenon itself: a description of the term, a brief history of adult singing ensembles in the United States, and an exploration into the many types of community choirs and issues such as age, gender, exclusivity, purpose, and goals. Examined research on these issues is organized into large topics such as adult learning theories (music literacy and learning styles) and adult physiological concerns (untrained adult singers’ vocal mechanisms and aging voice issues). Personal identity growth or creation as individual musicians must be taken into account, as well as social implications of ensemble identity (among group members and by external community members). Finally motivation for joining and remaining in community choirs will be part of this chapter. That necessary phenomenon is examined through lenses such as choral repertoire preference, social needs, and personal goals fulfillment.

Stylistic aspects reflected in the musical choral volume Cântece pentru copii/Songs for children, signed by Dan Voiculescu

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 85-92
Author(s):  
Elena-Laura GREAVU ◽  
Roxana PEPELEA
Keyword(s):  
Detailed Analysis ◽  
Formal Structure ◽  
Musical Composition ◽  
Fundamental Feature ◽  
Intrinsic Nature ◽  
The Arts ◽  
Baroque Music ◽  
Choral Repertoire ◽  
Romanian Folklore

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.

Patriquin, Donald (1938--)

2018 ◽  
Author(s):  
Jeremy Strachan
Keyword(s):  
Cultural Awareness ◽  
Henry David Thoreau ◽  
William Blake ◽  
Folk Songs ◽  
String Orchestra ◽  
Choral Repertoire ◽  
The World ◽  
Global Peace ◽  
Songs Of Innocence ◽  
Walden Pond

Donald Patriquin is a composer known chiefly for contributing to choral repertoire in Canada. Born in Sherbrooke, Quebec, he studied composition as a teenager with Jean Papineau-Couture, and later in Montreal with Istvan Anhalt, as well as in Toronto with John Weinzweig. Patriquin’s prolific catalogue of work includes expanded tonal settings of texts by Shakespeare (A Lover and His Lass, 1968), Henry David Thoreau (Reflections on Walden Pond for choir, violin, cello, and piano, 2000), and William Blake (Songs of Innocence for choirs, harp, and flute, 1984). His main compositional activities have focused on arranging folk songs from around the world, especially various regions of Canada. Representative of these are Six Songs of Early Canada (1980) and Six Noëls Anciens (1982), which are frequently performed. Patriquin’s many compositions for children’s choirs make use of non-lexical sounds in imitating the soundscape, drawing on the timbral, percussive, and expressive possibilities of voices. Of his non-vocal works, Hangman’s Reel for fiddle and string orchestra (1978), commissioned by the Grand Ballets Canadiens, remains one of the most significant, assembling jigs, reels, airs, and other vernacular dances into a thirty-minute suite. Issues of cultural awareness, humanitarianism, and global peace provide thematic foundations for Patriquin’s music around 1985.

Emerging Considerations

2019 ◽  
pp. 161-192
Author(s):  
Bridget Sweet
Keyword(s):  
Classification Systems ◽  
Professional Musicians ◽  
Voice Change ◽  
Choral Repertoire ◽  
Personal Needs ◽  
Female Singers ◽  
Adolescent Voice ◽  
Choral Programs ◽  
Insight Into ◽  
Changing Voice

The chapter discusses emerging considerations of adolescent voice change beyond classification systems and provides new food for thought about working with the adolescent changing voice. A section of the chapter specifically addresses female singers, for while it is common to have more females than males in choral programs, enrollment numbers do not ensure that choral programs are meeting females’ musical, developmental, and personal needs. In addition, discussion of the documentary Riot Acts provides insight into voice change from the perspective of professional musicians who identify as transgender. The chapter ends with ideas for working with changing voices, especially with regard to approaching choral repertoire.

Choral repertoire

2009 ◽  
Vol 47 (03) ◽  
pp. 47-1336-47-1336
Keyword(s):  
Choral Repertoire
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