Thematische Bibliographien / Songs, secular (Mixed voices), Unaccompanied

Auswahl der wissenschaftlichen Literatur zum Thema „Songs, secular (Mixed voices), Unaccompanied“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Songs, secular (Mixed voices), Unaccompanied"

Akatrini, V. „“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY“. Aesthetics and Ethics of Pedagogical Action, Nr. 26 (25.12.2022): 116–29. http://dx.doi.org/10.33989/2226-4051.2022.26.273126.

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The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life. It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc. On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.

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Murray, David. „Controlling Voices in Fourteenth-Century Salzburg: Singing and Identity in the ‘Mönch von Salzburg’ Songs“. Music and Letters, 05.08.2022. http://dx.doi.org/10.1093/ml/gcac062.

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ABSTRACT The songs attributed to the so-called ‘Mönch von Salzburg’ offer a vivid picture of the late fourteenth-century ecclesiastical court of Archbishop Pilgrim von Pucheim. Against the background of historical and legal documentation from Salzburg, this article explores the way these songs negotiate the desires and anxieties of a mixed clerical-courtly milieu with a particular concern for regulating the human voice in both artistic and social senses. Taking as my central example Dy trumpet, one of the earliest pieces of recorded secular polyphony in the German world, I examine how both the singing and composition of song at Pilgrim’s court offered ways to certify one’s vocal interventions as positive and thereby to assure curial kudos. In a final section, I consider how later, non-curial recipients of these songs were able to vehicularize these courtly voices to their own advantage.

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Dissertationen zum Thema "Songs, secular (Mixed voices), Unaccompanied"

Woodward, Mark E. McNeil Ryan Woodward Mark E. Aubuchon Rachel McKenney W. Thomas. „Three songs for unaccompanied choir“. Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6259.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 26, 2010 Thesis advisor: Dr. W. Thomas McKenney. Includes bibliographical references.

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Amstutz, Scott A. „The bells for eight-part mixed choir : text, Edgar Allan Poe /“. Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/835.

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Smith, Steven Lyle. „Haiku Seasons“. Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2695/.

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Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.

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Norris, Thomas B. „In the Midst of Spoils: A Composition for Mixed Chorus (SATB) and Small Instrumental Ensemble“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935835/.

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In the Midst of Spoils is a setting, for SATB choir and small instrumental ensemble, of the poem "Blight," by Ralph Waldo Emerson. Emerson's poem contrasts modern man's exploitative attitude toward nature with the more reverent attitude assumed by ancient or primitive cultures. This setting is in a single movement, approximately twenty minutes in duration, consisting of fifteen distinct sections.

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Schindler, Karl W. (Karl Wayne). „The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus“. Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.

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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

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Wallace, Frank James. „Graduation recital compositions“. Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

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Bolden, Benjamin. „Opus 25“. Thesis, 1997. http://hdl.handle.net/2429/5905.

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Opus 25 is a collection of compositions which I created between September 1995 and April 1997. Instrumentation varies; there are works for choirs, chamber ensembles, solo voice, solo harp, solo piano, and orchestra. All the works included in this collection have been performed at some point during this same period, and recordings of these performances can be found on the accompanying cassette.

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Johnson, Julie. „A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /“. 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.

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Cawrse, Anne Rebecca Goldsworthy Peter Rossetti Christina Georgina. „Portfolio of original compositions and exegesis a personal exploration of modal processes /“. 2007. http://digital.library.adelaide.edu.au/dspace/handle/2440/49470.

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Cawrse, Anne Rebecca. „Portfolio of original compositions and exegesis: a personal exploration of modal processes“. Thesis, 2008. http://hdl.handle.net/2440/49470.

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This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works.
Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008

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Bücher zum Thema "Songs, secular (Mixed voices), Unaccompanied"

Dubravin, I͡Akov. 10 evreĭskikh melodiĭ: Dli͡a smeshannogo khora bez soporvozhdenii͡a. St. Petersburg: Kompozitor, 2000.

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Chen, Yi. A set of Chinese folk songs: For S.A.T.B. chorus and optional piano. Bryn Mawr, Pa: T. Presser, 1998.

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Nicol, Matt, und Chamber Choir of Europe, Hrsg. Works for choir a capella: Vol. 3. Leeuwarden, The Netherlands]: Brilliant Classics, 2008.

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Jens, Wollenschlager, Matt Nicol und Chamber Choir of Europe, Hrsg. Works for choir a capella: Vol. 7. Leeuwarden, The Netherlands]: Brilliant Classics, 2008.

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Jens, Wollenschlager, Matt Nicol und Chamber Choir of Europe, Hrsg. Works for choir a capella: Vol. 6. Leeuwarden, The Netherlands]: Brilliant Classics, 2008.

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Nicol, Matt, und Amadeus-Chor, Hrsg. Works for choir a capella: Vol. 4. Leeuwarden, The Netherlands]: Brilliant Classics, 2008.

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Jens, Wollenschlager, Schrott Martina, Schindler Sebastian, Schorr Sebastian, Matt Nicol und Chamber Choir of Europe, Hrsg. Works for choir a capella: Vol. 8. Leeuwarden, The Netherlands]: Brilliant Classics, 2008.

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Salvador, Teresa Crespo de. Rondas y canciones. Quito: Ediciones Qitumbe, 2000.

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Górecki, Henryk Mikołaj. Miserere. New York: Elektra Nonesuch, 1994.

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Beyer, Johanna Magdalena. The Federal Music Project: SATB chorus. Lebanon, NH: Frog Peak Music, 1994.

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Buchteile zum Thema "Songs, secular (Mixed voices), Unaccompanied"

Shrock, Dennis. „The Medieval Era“. In Choral Repertoire, 1—C1.P99. 2. Aufl. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622407.003.0001.

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Abstract The Medieval era spans the time from approximately 900 to 1500, or from the beginning of musical notation in a format that indicated pitches and rhythms on a staff to the end of polyphonic music treated as a series of unrelated or nonintegrated separate voice parts. Medieval genres consisted of monophonic chants, laude, and songs during the earlier years of the era, and polyphonic mass movements, mass cycles, motets, and secular songs during the later years. The era is generally divided into four separate periods—Saint Martial (1100–1180), Notre Dame (1180–1260), Ars Antiqua (1260–1320), and Ars Nova (1320–1500), and the genres of composition include sacred works (chants, laude, mass movements and cycles, and motets) that were generally sung by solo voices in combination with each other or by multiple voices per part, and secular works (songs by the troubadours and trouvères, and the ballades, rondeaux, and virelais of the formes fixes) that were performed in a variety of manners—by an unaccompanied solo voice (the monophonic songs), by a solo voice accompanied by instruments (the polyphonic compositions with only one texted voice part), or by an ensemble of solo voices with or without instrumental participation (the multitexted polyphonic compositions).

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Caldwell, John. „Secular Vocal Music, 1575—1625“. In The Oxford History of English Music, 389–459. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198161295.003.0007.

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Abstract THE secular music of Elizabethan and Jacobean England does not fall into such neatly defined categories as was once supposed. Even the word ‘secular’ is not very helpful for the purpose of definition, since much that was written for domestic use was unambiguously sacred in content.’ Consort-song, lute-song, and part-song (embracing the madrigal), are all interrelated. In addition, there are the various genres of domestic psalmody and sacred songs, including those for voice or voices with the accompaniment of’whole’ or mixed consort.

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