Relevant bibliographies by topics / Choral songs

Academic literature on the topic 'Choral songs'

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Published: 11 March 2023

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Journal articles on the topic "Choral songs"

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Apter, Ronnie, and Mark Herman. "Translating Art Songs for Performance: Rachmaninoff'sSix Choral Songs." Translation Review 84, no. 1 (November 2012): 27–42. http://dx.doi.org/10.1080/07374836.2012.730315.

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Sifakis, G. M. "The structure of Aristophanic comedy." Journal of Hellenic Studies 112 (November 1992): 123–40. http://dx.doi.org/10.2307/632156.

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The structure which is generally taken to underlie the composition of the plays of Aristophanes is made up of a number of quantitative parts which have been abstracted by dividing the comedies into broad sections. It roughly corresponds to the quantitative division of tragedy offered by the twelfth chapter of Aristotle'sPoetics (viz.prologue, episode,exodos, khorikonor choral song, the last-named subdivided intoparodosandstasimon), and includes prologue,parodos, ‘proagon’or ‘battle scene,’ ‘epirrhematicagon,’ parabasis, iambic scenes, choral songs orstasimo, exodos.
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Strolonga, Polyxeni. "From Choral to Monodic Hymns: Some Evidence from theHomeric Hymns." Trends in Classics 12, no. 1 (June 25, 2020): 16–47. http://dx.doi.org/10.1515/tc-2020-0003.

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AbstractThis paper investigates internal evidence from the Homeric Hymns in order to trace the development from choral to monodic hymns. A study of the words humneo and humnos and the analysis of the embedded choral theogonic songs in the corpus of the Homeric Hymns show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the Homeric Hymn to Apollo, in which the poet, representing a different genre, addresses and praises the Delian Maidens – the choral singers par excellence. As the Homeric Hymns evolve from cultic, choral hymns, they turn the local praise of gods into panhellenic encomia. Such transition is also alluded to in other sources, in which hymns are disseminated and adapted by male performers, as a result of a female chorus’ instruction.
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Walton, Patrick. "Using Singing and Movement to Teach Pre-reading Skills and Word Reading to Kindergarten Children: An Exploratory Study." Language and Literacy 16, no. 3 (November 24, 2014): 54. http://dx.doi.org/10.20360/g2k88j.

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Kindergarten classrooms were randomly assigned to a songs group (n = 44) that used choral singing and movement to teach phonological skills, letter-sounds, and word reading, or to a control group (n = 49) where children received their regular language and literacy programs for equal amounts of time. The songs group teaching involved choral singing and movements created for the project to teach phonological skills, letter-sounds, and word reading. Children preferred songs that were quick to learn, had strong or soothing rhythms, and incorporated movements. Children in the songs group had increased letter-sounds, medial phoneme identity and word reading compared to children in the control group. Children in both groups made equal gains in rhyming and identifying phonemes in initial and final positions. Songs group children also read new words not presented in the songs program. Initial and medial phoneme identity and letter-sound knowledge made independent contributions to word reading.
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Prickett, Carol A., and Madeline S. Bridges. "A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors." Journal of Research in Music Education 48, no. 1 (April 2000): 5–9. http://dx.doi.org/10.2307/3345452.

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Following up on an earlier study, an audiotape of the tunes of 25 standard songs, assumed to be known by everyone who has finished 6th grade, was played for 135 undergraduate instrumental music education students and 79 undergraduate vocal/choral music education students. There was no significant difference in the ability of either group to identify the songs. The means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.
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Lawrence, Mark. "Ancient song re-employed: The use of Regilaul in the music of Veljo Tormis." Studia Musicologica 56, no. 4 (December 2015): 343–53. http://dx.doi.org/10.1556/6.2015.56.4.4.

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The music of Veljo Tormis (b. 1930) became well-established in Estonia during the 1960s yet remained little known in the West until the fall of Communism. By incorporating traditional Estonian folk song, regilaul, into his works, Tormis’s name became closely associated for Estonians with upholding a sense of national identity against the Soviet regime. It is his vast output of some 500 choral songs for which he is most immediately recognised; indeed, once regilaul had come to dominate the ‘Tormis style’, he dedicated himself almost exclusively to choral composition. This paper examines regilaul, its impact on Tormis during his formative years, and its integration into his mature compositional style, leading him to claim that he had ‘found his voice’ as a composer.
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Yagovets, Natalia. "СПЕЦИФИКА ХОРОВОЙ АРАНЖИРОВКИ РУССКИХ НАРОДНЫХ ПЕСЕН РЕБРИХИНСКОГО РАЙОНА АЛТАЙСКОГО КРАЯ (РОССИЯ) ДЛЯ СЦЕНИЧЕСКИХ НАРОДНО-ПЕВЧЕСКИХ КОЛЛЕКТИВОВ." Proceedings of Altai State Academy of Culture and Arts, no. 2 (2021): 68–72. http://dx.doi.org/10.32340/2414-9101-2021-2-68-72.

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Based on long-term experience of vocalic-choir work with academic ensembles of the Altai State Institute of Culture (Barnaul, Altai Krai, Russia) on pieces of local music folklore, the author discloses some theoretic and instructional aspect of adaptation of people's song material to people's vocal ensembles of various team compositions, and also describes specifics of choral arrangement of Russian people's songs that reflect stylistic peculiarities of ethnic song tradition of Russian areas of the South of Western Siberia (Rebrikhinsky District of Altai Krai, Russia).
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Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music." ICONI, no. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.

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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.
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Gao, Chiling. "Genre context of Ihor Shamo’s choral creativity." Culture of Ukraine, no. 75 (March 21, 2022): 109–14. http://dx.doi.org/10.31516/2410-5325.075.14.

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The purpose of this paper. The purpose of the study involves a thorough study on the genre system of choral heritage I. Shamo, as understanding the genre essence of choral work is an essential component of performing interpretation. The methodology. Methodological principles are the principle of historicism, historical-contextual method, genre-style analysis and acmeological method in musicology, used to understand the top achievements of I. Shamo in the context of the evolution of artistic thinking of the artist. The results. The genre system of I. Shamo’s choral heritage consists of the genres of choral song, suite, choral cycle, cantata, cantata-poem, cantata-oratorio, choral opera a cappella, oratorio (concert-performance). The directions of the composer’s creative search in the genre of choral song are connected with the usage of different choral compositions, appeal to the genres of lyrical song, stylization of ritual songs, romanticization of patriotic song. It is determined that the semantics of the first cycle of choirs a cappella by I. Shamo in the poem by I. Franko reveals the theme of the cycle of the seasons, drawing a parallel with the stages of human life. For the choral cycle “Flying Cranes”, the name of which is a symbol of unattainable happiness and, at the same time hope, the composer improves the techniques of sound recording, creates expansive melodic lines based on a synthesis of folk and romantic intonations. The third cycle of I. Shamo “10 choirs on the poems of Ukrainian poets” demonstrates the latest achievements of the artist in choral writing, timbre drama, the implementation of the principles of working with folk poetic sources, characteristic of the “second wave of folklore”. It is substantiated that the unity of the “Carpathian Suite” of the composer is promoted by: tonal plan, contrasting tempo drama and artistic sound images, intonational unity based on the theme of Ukrainian folk models. Based on the author’s genre definitions of the “Yatran Games”, it is determined that in I. Shamo’s choral opera a cappella there is a synthesis of genres: suite, choral scenes originated from folk life and ceremonial action under the auspices of the opera genre. It was found that among the genres of orchestral and choral compositions of the artist — cantata, cantata-poem, cantata-oratorio, which is dominated by civic themes. Innovative is the work of I. Shamo “Skomoroshyny”, which synthesizes the genres of oratorio and concert, with theatricalization of these genres. The choral opuses showed such features of the artist’s style as the synthesis of genres, the tendency to cyclicality, reliance on national roots, the creation of author’s melodies, where deep folklore manifestations, sprechstimme, sonorism, aleatorics. The scientific creativity lies in the analysis of the components of the genre system of I. Shamo’s choral heritage, in the awareness of the genre phenomenon of each choral work and in the identification of the evolution of the artist’s style. The practical significance of the obtained results is due to the need to determine the genre of choral work to create a performing interpretation.
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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.

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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.
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Dissertations / Theses on the topic "Choral songs"

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Johnstone, Jennifer Lynn. "Reinterpreting Welshness: Songs and Choral Membership in Cultural Identity." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334520975.

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Zosel, Heather. "Four Part-Songs by Herbert Howells (1892-1983)." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242453.

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Herbert Howells (1892-1983), an English composer, was an influential teacher and composer. He wrote in many genres including orchestral works, string quartets, and sacred and secular choral works. As Howells matured into his final compositional period (1945-1983) his style coalesced. Modal inflections were more prevalent, dissonance was harsher with fewer releases of tension, and rhythmic language was increasingly more complex. The four part-songs, Walking in the Snow (1950), The Scribe (1952), Inheritance (1953), and The Summer is Coming (1964), represent Howells' compositional approach in his secular output from this time period, and, through study of the sacred motet Take Him, Earth, for Cherishing (1964), it is evident that the melodic, harmonic, and rhythmic complexities found in his sacred works pervade the secular works as well. This document provides in-depth analysis of the four part-songs mentioned above, while paying special attention to specific melodic, harmonic, and rhythmic characteristics found in his sacred music from the same time period.
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Woods, Timothy Erickson 1958. "Leonard de Paur's arrangements of spirituals, work songs, and African songs as contributions to choral music: A black choral musician in the mid-twentieth century." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282726.

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This study discusses the artistic career of Leonard de Paur, particularly his work in choral music where he has been an important figure as an arranger, and founder and conductor of the de Paur Infantry Chorus and the de Paur Chorus. His arrangements of African-American and African folk music illustrate de Paur's artistic links and progression from two of the important leaders of the African-American folk tradition, Frederick Work of the Fisk Jubilee tradition, and Hall Johnson. With his musical training from these men and from Columbia University, the Juilliard School of Music, and private study with Pierre Monteux, de Paur and his arrangements exhibit what W. E. B. Du Bois described in The Souls of Black Folk as the duality of the black American. This study analyzes seven of de Paur's spiritual and work songs arrangements, and four African song arrangements, and reveals the duality of Western and African musical elements in de Paur and his arrangements.
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Hammond, Philip Alexander. "'Psalms and songs from the Hebrew' & choral and orchestral works 1993-2001." Thesis, Queen's University Belfast, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273139.

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Choh, Sun Ug. "A Study of Selected Choral Compositions Based on Korean Traditional Children's Songs by Jung Sun Park." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195491.

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The purpose of this study is to introduce Korean choral repertoire to the United States and to help American choral conductors understand and prepare Korean choral music. I chose the selected choral compositions of Jung Sun Park because they are based on Korean traditional children's songs. Jung Sun Park was one of the pioneers in the use of Korean children's songs in choral compositions, merging them with twentieth-century compositional techniques. Recognizing the artistic value of Korean traditional children's songs and their intimate place in the heart of Korean culture, Jung Sun Park integrated Korean traditional children's songs into highly sophisticated choral compositions for professional performance by musically trained choirs. In these compositions, He merges Korean traditional tunes and rhythms with twentieth century compositional techniques and is the first to create such new music.I selected four of his choral works as the subject of this study: Sum Bag Ggog Jil [hide and go seek], Rope Skipping Song, Wal Wa Ri Cheong Cheong [a welcoming song of the first full moon of the new year], and Mom and Sister. In this study, I analyze and examine his music both from Korean and twentieth-century western theoretical perspectives. In addition to my own analysis of these choral works based on children's songs, I conducted a phone interview with Jung Sun Park to obtain his motivations, insights, and personal thoughts for his works.The intent of the study is to analyze the four selected pieces to determine how Jung Sun Park combines his unique musical language with the melodies and rhythms of children's songs. As part of the analysis, I examine the general characteristics of Korean children's songs. In addition, I analyze Jung Sun Park's integration of representative Korean music and cultural expression into his choral works, and observe the characteristics of the original children's songs in his compositions. I also provide performance suggestions for the four choral compositions, focusing on intonation, melodic structure, rhythmic accentuation, and pronunciation.
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Hathaway, Christopher M. "Themes of Social Justice in the Choral Music of Jake Runestad." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248404/.

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With his thought-provoking and socially relevant music, American composer Jake Runestad has quickly become one of the most performed choral composers of the 21st century. Although music and social justice have been tied together for centuries, there is a new movement bringing social justice to American choral music in a noticeably increased manor, and Jake Runestad is a leading composer in this movement. In this paper, I provide a detailed analysis into the social justice themes employed by Runestad, interviews with him and several well-respected American choral directors programming and commissioning his music, as well as compositional devices employed within his compositions. The purpose of this study is to show Jake Runestad's place as an American choral composer by offering a historical overview of the social justice themes in American music and Western choral music separately. I will then narrow the scope to Jake Runestad, who since 2013 has been using his choral music to bring awareness to human inequalities within the United States today.
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Ward, Perry K. "A SELECT SURVEY OF CHORAL ARRANGEMENTS BASED ON THE SONGS OF STEPHEN FOSTER TRACING DEVELOPMENTS IN MUSIC AND TEXTUAL CHANGES THROUGH THE TWENTIETH AND TWENTY-FIRST CENTURIES." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/103.

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Stephen Foster is acknowledged as America’s first composer of popular music. His legacy can be seen in the number of songs that are embedded in our cultural heritage – “Oh! Susanna,” “Beautiful Dreamer,” and “My Old Kentucky Home,” are but a very few of his most popular works. Stephen Foster’s songs have been incorporated into every facet of American culture including both popular and classical musical culture, television, and film. However, his legacy is complicated as it is tainted by connections to blackface minstrelsy in some works. This document seeks to trace the threads of racial sensitivity and cultural appropriation in works arranged for choral ensembles based on Foster’s songs. The arrangements chosen for this document provide a glimpse into three distinct periods of American history – pre-Civil Rights, the Civil Rights Era, and post-Civil Rights. Using a process of comparative analysis of the music and text of the originals to that of the arrangements, this document traces expected and unexpected changes in music and text associated with each period. Perhaps through the continued study of one of America’s first purveyors of popular culture, we can begin to understand our national legacy of racism more clearly and find a path towards reconciliation.
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Kleinig, John Wilfred. "The Lord's song : the basis, function and significance of choral music in Chronicles." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359843.

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Barlow, Rachelle Louise. "The 'land of song' : gender and identity in Welsh choral music, 1872-1918." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/91290/.

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This thesis concerns Wales as the ‘land of song’. In particular, it looks at choral singing in Wales which has long been considered a male tradition. From definitions of Welsh musical traditions featured in encyclopaedias to the continued use of male voice choirs at cultural events (such as rugby matches), men are continually promoted as the only bearers of the Welsh choral tradition. By contrast, this thesis questions such an assertion by arguing that women were also key players in its development in the late nineteenth and early twentieth centuries. In this matter, I interrogate two gendered stereotypes: Wales as ‘the land of my mothers’ (with reference to the suffrage movement) and Wales as ‘the land of my fathers’ (with reference to music, sport and nationhood). Conceived as a historical ethnography, this thesis draws upon extensive primary and secondary sources to provide the first in-depth study of gender and identity in Welsh choirs. The core of the thesis is comprised of historical narratives of four case study choirs from the period under study, namely the South Wales Choral Union (led by ‘Caradog’), the Rhondda Glee Society (led by Tom Stephens) and the two Royal Welsh Ladies’ Choirs (led by Clara Novello Davies and Hannah Hughes-Thomas respectively). In each case, I provide a discussion of the choir’s origin and the social context in which it developed, details about performance practice, membership, social class, repertoire and each choir’s relationship to notions of gender and identity in Wales. Moreover, I present a new understanding of the choirs’ conductors through biographical accounts; information regarding Clara Novello Davies and Hannah Hughes-Thomas especially has not been featured in previous scholarly studies. Informed by my perspective as a Welsh woman, I present a nuanced reading of Wales as ‘the land of song’ by considering both historical narratives and personal ethnographic experiences today. In this manner, this thesis contributes to ethnomusicological literature on gendered discourse and concepts of nationhood.
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Jilek, Dean. "The Re-Unification of Dr. Edwin Fissinger's Prairie Scenes: A Choral Cycle." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862777/.

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Edwin Fissinger (1920-1990) was a conductor and prolific choral composer. His compositional techniques, settings of text, jazz-influenced harmonies, and melodic propulsion fulfill an important role in each of his compositions. In the eight choral cycles he composed, Fissinger unified each cycle through thematic and textual elements. Although this resulted in a logical progression of poetry and music, Fissinger's final choral cycle, Prairie Scenes, was not published as he intended. Rather, individual selections from the cycle were published by two different publishing houses, out of sequence, and sixteen years apart. Consequently, the eight pieces are not currently performed together. Today's choral conductors, singers, and audience do not fully appreciate the value of this choral cycle and cannot understand its intended context. It is necessary to provide an in-depth investigation of the original eight-piece work Prairie Scenes: A Choral Cycle to place the appropriate organizational set together. This study illustrates the importance of the unification of Fissinger's Prairie Scenes: A Choral Cycle through a study of the poetry, the thematic material as it relates to the natural elements of the prairies, the manuscripts, and interviews with Fissinger's publishers and colleagues. An examination of Fissinger's compositional technique to convey the meaning of the text reveals a clear link between Prairie Scenes and the North Dakota prairies and its seasons. A description of the development of the choral cycle throughout music history and a biography of Edwin Fissinger and his compositional style are also included.
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Books on the topic "Choral songs"

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Madrid, Renato E. Handumanan: Choral works in Cebuano. Cebu City, [Philippines]: Diamond Press, 1995.

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Daashni︠a︡m, Lu̇ndėgiĭn. Kherlengiĭn bar"i︠a︡a: Dan naĭral duu. Ulaanbaatar: Soyombo Printing Co., 2003.

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Daniel, Rebecca. Biblical Christmas performances: Plays, poems, choral readings, stories and songs. Carthage IL: Shining Star Publications, 1988.

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Bradley, Ellingboe, ed. Choral literature for Sundays and seasons. Minneapolis: Augsburg Fortress, 2004.

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Siddika, Ābubakara. Rudrapadābalī, gaṇamānushera gāna. Ḍhākā: Jātīẏa Sāhitya Prakāśa, 2008.

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Prokofiev, Sergey. Two choral songs: Opus 7 (1909-11) for women's chorus and orchestra. London: Boosey & Hawkes, 1998.

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Music Educators National Conference (U.S.). Selective music lists: vocal solos, vocal ensembles. Reston, Va: The Conference, 1985.

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Choral arrangements of the African-American spirituals: Historical overview and annotated listings. Westport, Conn: Greenwood Press, 1998.

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Arro, Elmar. Vana aja muusikud. Tartu: Ilmamaa, 2003.

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Keller, Marcello Sorce. Tradizione orale e canto corale: Ricerca musicologica in Trentino. Sala Bolognese, BO: A. Forni, 1991.

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Book chapters on the topic "Choral songs"

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Houlahan, Micheál, and Philip Tacka. "Laying the Foundation of Choral Singing Through Folk Songs and Folk Song Arrangements." In Choral Artistry, 64–81. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550489.003.0003.

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Abstract The chapter aims to demonstrate how singing folk songs and folk song arrangements can strengthen the multiple dimensions of choral singers’ musicianship. Students entering a choral program often already know a selection of folk songs. The choral director can use this repertoire to develop vocal production, part-work, music literacy, improvisation, composition, and arranging and listening skills. The chapter ends with an overview of Kodaly’s choral legacy: The Kodály Choral Library, two- and three-part repertoire composed by Kodály based on folk stylistic elements, his classical art music, and his unaccompanied choral compositions. This repertoire can be used to develop sight-reading, part-hearing and part-singing skills and as an introduction to choral repertoire in general.
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"Chapter Five. Choral Intermezzo (Song 3:6–11)." In Song of Songs, 141–65. BRILL, 2011. http://dx.doi.org/10.1163/ej.9789004203259.i-542.29.

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Houlahan, Micheál, and Philip Tacka. "Phrase and Form." In Choral Sight Reading, 1—C1.P32. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550533.003.0001.

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Abstract This unit introduces students to the concept of the musical phrase and, using several common songs as examples, show how to determine the form of compositions that are eight to sixteen measures in length. Using the sound-to-symbol approach, it has students learn a song aurally before attempting to read it from staff notation. This step is preceded by audiation, or hearing the song with the inner ear. Finally, a sight-reading exercise is given.
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Shrock, Dennis. "The Medieval Era." In Choral Repertoire, 1—C1.P99. 2nd ed. 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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Pinzino, Mary Ellen. "Inspiring Artistry." In Giving Voice to Children's Artistry, 28–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197606520.003.0004.

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Chapter 3 examines song and its role in the development of children’s artistry. It addresses the need for songs of increasing musical difficulty throughout childhood, and how rhythm, melody, and text, individually and together, affect the development of children’s artistry musically, expressively, and vocally. This chapter offers musical examples and songs that demonstrate the progression of children’s artistry in song with children as young as five through advanced choristers. Chapter 3 presents the findings of many years of classroom research on song as it relates to both music learning and the choral art in the development of children’s artistry. It brings together research on music learning and the process of choral development to highlight the need for songs for the development of children’s artistry that compel the musical mind, prompt artistic expression, and enable vocal technique throughout childhood. It applies concepts presented in the first chapter and practices presented in the second chapter in the context of song, the vehicle for the expression of children’s artistry in both the music classroom and children’s chorus. Songs and principles presented in this chapter can also be used with older singers.
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Milsom, John. "Sacred songs in the chamber." In English Choral Practice, 1400–1650, 161–79. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511552410.009.

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Houlahan, Micheál, and Philip Tacka. "Getting Started." In Choral Artistry, 19–63. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550489.003.0002.

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Abstract The chapter provides ideas, procedures, and techniques for laying the foundations of choral singing during the first few weeks of choral rehearsals for middle school, high school, and college-level choirs. It discusses recruiting and auditioning potential choir members and offers criteria for evaluating the rehearsals the occur in the beginning weeks of the term. It focuses on the aspects that best promote and maintain the choral music curriculum’s learning objectives. This chapter defines two models for teaching folk songs and canons, Performance Through Sound Analysis (PTSA) and Performance Through Sound Analysis and Notation (PTSAN). It also provides several choral rehearsal templates and rehearsal plans.
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Houlahan, Micheál, and Philip Tacka. "Music Theory and Sight-Reading Sequence for Level 2 Choirs." In Choral Artistry, 182–217. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550489.003.0007.

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Abstract This chapter aims to continue developing students’ ability to think in sound and learn more advanced rhythmic, melodic, and harmonic elements. The Level 2A intermediate theory sequence is intended for high school and college-level non-auditioned choirs, and Level 2B intermediate theory sequence is intended for auditioned high school and collegiate groups. The chapter offers detailed strategies for teaching triads and their inversions, functional harmony, cadences, modes, and figured bass, with numerous musical examples. Kinesthetic, aural, and written activities engage students with the material and aid in its absorption. Helpful tables suggest specific songs that demonstrate key elements in addition to the full gamut of scales, intervals, and chord spellings.
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Houlahan, Micheál, and Philip Tacka. "Orientation to the Pentatonic Scale." In Choral Sight Reading, 37—C5.P69. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550533.003.0005.

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Abstract In this unit and the next, students will learn about the l-s-m subset of the pentatonic scale. This trichord forms the basis of many simple folk songs, some of which are presented as exercises in the chapter. The music theory sections introduce students to the placement of pitches on the staff as well as dynamic markings found in scores.
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Fuller, Sophie. "The songs and shorter secular choral works." In The Cambridge Companion to Vaughan Williams, 106–20. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cco9781139043243.009.

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Conference papers on the topic "Choral songs"

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Almada, Carlos, João Penchel, Igor Chagas, Max Kühn, Claudia Usai, Eduardo Cabral, Vinicius Braga, and Ana Miccolis. "J-Analyzer: A Software for Computer-Assisted Analysis of Antônio Carlos Jobims Songs." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10416.

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The present paper describes structure and functioning of J-Analyzer, a computational tool for assistedanalysis. It integrates a research project intended to investigate the complete song collection by Brazilian composer Antônio Carlos Jobim, focusing on the aspect of harmonic transformation. The program is used to determine the nature of transformational relations between any chordal pair of chords present in a song, as well as the structure of the chords themselves.
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Zhang, Jiaxuan, and Yu Sun. "An Intelligent System to Assist Piano Composition and Chords Generation using AI and Machine Learning." In 7th International Conference on Software Engineering and Applications (SOFEA 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111615.

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As a musician and producer, I’ve always struggled with finding chords when I first started writing music [5]. It sometimes goes to the extent of me forgetting my melody because I take so long trying to figure out the chords. So I came up with an idea for this app, that will help amateur and beginner musicians save time and provide chord suggestions to them as a booster to start writing songs [6]. It features a recording or a midi input feature, then the app will carefully analyze the given melody and give a selection of the best chord progressions using intelligent AI. As an output, it is able to present it as guitar chords, piano chords, and ukulele chords, enabling more different musicians to use this app.
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Pereira, Rodolfo Miranda, and Carlos N. Silla. "Using simplified chords sequences to classify songs genres." In 2017 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2017. http://dx.doi.org/10.1109/icme.2017.8019531.

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Wang, Chih-Li, Qian Zhong, Szu-Ying Wang, and Vwani Roychowdhury. "Data-Driven Chord-Sequence Representations of Songs and Applications." In Signal and Image Processing. Calgary,AB,Canada: ACTAPRESS, 2011. http://dx.doi.org/10.2316/p.2011.759-109.

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Wang, Chih-Li, Qian Zhong, Szu-Ying Wang, and Vwani Roychowdhury. "Data-Driven Chord-Sequence Representations of Songs and Applications." In Signal and Image Processing. Calgary,AB,Canada: ACTAPRESS, 2012. http://dx.doi.org/10.2316/p.2012.759-109.

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Silva, Valter Jorge da, and Giordano Ribeiro Eulalio Cabral. "Evaluating the Automatic Chord Estimation and Alignments tasks needs using metrics from a code challenge." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19425.

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Automatic Chord Estimation is a subject of Music Information Retrieval who tries to extract the chords of a song in an usable manner. In the last year, many reseachers tried to overperform the quantitative metrics, but the results lack reprodutibility by who needs them, musicians. In this article, we reviewed the state of art of some of this areas and performed a code Challenge who was evaluated by some of the MIREX metrics and by musicians. Then, with this results, we evaluated the need of evolution on the Estimation task and on the Alignment Task of the MIR area.
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Kuusi, Tuire, Ivan Jimenez, and Matthew D. Schulkind. "Identifying Beatles songs from their chord progressions: New evidence of the effect of specialized harmonic familiarity, melodic cues, and transposition on the identification of songs from chord progressions." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0035.

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Gao, Sheng, and Haizhou Li. "Popular song summarization using chorus section detection from audio signal." In 2015 IEEE 17th International Workshop on Multimedia Signal Processing (MMSP). IEEE, 2015. http://dx.doi.org/10.1109/mmsp.2015.7340798.

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Arevalo, Camilo, Gerardo M. Sarria M., Mario Julian Mora, and Carlos Arce-Lopera. "Towards an Efficient Algorithm to Get the Chorus of a Salsa Song." In 2015 IEEE International Symposium on Multimedia (ISM). IEEE, 2015. http://dx.doi.org/10.1109/ism.2015.42.

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Gao, Sheng, and Haizhou Li. "Octave-dependent Probabilistic Latent Semantic Analysis to Chorus Detection of Popular Song." In MM '15: ACM Multimedia Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2733373.2806379.

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