Books on the topic 'Church music composition'
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1
Yin yue chuang zuo zai Aomen. Aomen: Aomen ri bao chu ban she, 2007.
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2
Kügle, Karl. The manuscript Ivrea, Biblioteca capitolare 115: Studies in the transmission and composition of Ars Nova polyphony. Ottawa, Canada: Institute of Mediaeval Music, 1997.
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3
Planyavsky, Peter. Moritz Reger und andere Schrägheiten. Sankt Augustin: Dr. J. Butz, 2005.
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4
Konet︠s︡ vremeni kompozitorov. Moskva: Russkiĭ putʹ, 2002.
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5
Fann al-tasbīḥ. [Cairo?]: al-Farīq, 1998.
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The German choral church compositions of Johann David Heinichen, 1683-1729. New York: P. Lang, 1990.
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Cooper, Timothy G. Church music in nineteenth-century Canada as represented by the choral compositions of John Medley. Ann Arbor, Mich: University Microfilms International, 1989.
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8
Felipe Gorriti, compositor, maestro de capilla y organista. Pamplona: Gobierno de Navarra, 2011.
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9
Shaw, Martin. Principles of Church Music Composition. Library Reprints, 2001.
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10
Messiah: The composition and afterlife of Handel's masterpiece. New York, NY: Basic Books, 2017.
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11
Marovich, Robert M. “If It’s in Music—We Have It”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0010.
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This chapter examines the roles played by Thomas A. Dorsey, Roberta Martin, Theodore R.Frye, Kenneth Morris, and Sallie Martin in transforming Bronzeville into the “fertile crescent” of gospel sheet music publishing, sales, and distribution for the entire nation during the period 1945–1960. As gospel music became more accepted in the church, the demand for new songs and arrangements increased. If the gospelization of spirituals and hymns represented the 1930s, the 1940s represented a renaissance of more sophisticated gospel songwriting. The new gospel songs were prayers and sermonettes set to music, with the vernacular lyrics speaking the language and articulating the worldview of disenfranchised African Americans throughout the nation. This chapter considers the gospel songwriting, publishing and composition, and performing of Dorsey et al. that led to the establishment of what historians call the Chicago School of Gospel. It also looks at the contributions of the Roberta Martin Studio of Music, Martin and Morris Music Studio, and Theodore R. Frye Publishers.
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Cron, Matthew. Music from Heaven. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0006.
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This chapter provides an eighteenth-century context for Johann Sebastian Bach’s cantatas with obbligato organ by showing how their various components engage in a larger discourse about the German Baroque organ: namely, its intimation of Heaven. There are almost 200 surviving church cantatas by Bach, eighteen of which contain movements where the organist transitions from a continuo player to a concertist. Modern scholarship has considered such compositions primarily from two perspectives: a historiographical perspective, which places them in the larger context of the history of the keyboard concerto; and a compositional perspective, which considers them as examples of the arrangement and reworking of previous musical material. This chapters examines how a particular yet widespread way of thinking about the organ gave rise to a fruitful context for the obbligato organ cantata in the early eighteenth century by analyzing Bach’s works from the perspective of an original listener—that is, as a member of the congregation. It argues that Bach’s libretto guided his instrumentation and that he often took advantage of the longstanding identification of the organ with Heaven.
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Butler, Gregory. The Choir Loft as Chamber. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0005.
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This chapter examines concerted movements written by Johann Sebastian Bach from the mid- to late 1720s and how he adopted a “choir loft as chamber” approach to organ performance—performing different versions of the same concerted instrumental movements for the chamber and for the church. Bach worked as composer and performer not only for the Collegium Musicum in Leipzig, but also for its principal churches. In addition to parodying secular vocal compositions, transforming them into church cantatas, however, Bach was also adapting for church performances preexisting instrumental concerted movements, using obbligato organ as solo melody instrument in various sinfonias, arias, and choruses. Using the Concerto in E Major for harpsichord and strings, BWV 1053, as reference, this chapter demonstrates the connection between two spheres of activity that occurred after late May 1725, when the steady flow of new cantata compositions by Bach ceased: the secular arena of the ordinaire and extraordinaire performances of the Collegium, especially during the Leipzig fairs, and the weekly performances of concerted vocal music at the Haupgottesdienst in Leipzig’s St. Nicholas and St. Thomas Churches.
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Marovich, Robert M. Sweeping through the City. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0006.
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This chapter examines the contributions of Thomas A. Dorsey and the gospel nexus to the development of gospel music in Chicago during the years 1932–1933. Pilgrim Baptist Church is often cited as the birthplace of gospel music because Dorsey served as its music director. However, it was actually Ebenezer Baptist Church that provided the creative spark that propelled gospel to the forefront of black sacred music. This chapter first discusses the political infighting endured by Ebenezer over two turbulent years before turning to its gospel programs, along with the establishment of the Ebenezer Gospel Chorus and the Pilgrim Gospel Chorus. It then considers the roles played by Dorsey, Theodore R. Frye, and Magnolia Lewis Butts in the advancement of the gospel chorus movement in Chicago; how gospel choruses became a means for African American churches to attract new members and more revenue; and Dorsey's composition of the gospel song “Take My Hand, Precious Lord.” The chapter concludes with a look at the Martin and Frye Quartette, renamed the Roberta Martin Singers.
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Bradley, Ian. Arthur Sullivan. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.001.0001.
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Arthur Sullivan is almost certainly the best loved and most widely performed British composer in history. Although best known for his comic opera collaborations with W.S. Gilbert, it was his substantial corpus of sacred music which meant most to him and for which he wanted to be remembered. Both his upbringing and training in church music and his own religious beliefs substantially affected both his compositions for the theatre and his more serious work, which included oratorios, cantatas, sacred ballads, liturgical pieces, and hymn tunes. Focusing on the spiritual aspects of Sullivan’s life, which included several years as a church organist, involvement in Freemasonry, and an undying attachment to Anglican church music, Ian Bradley uses hitherto undiscovered or un-noticed letters, diary entries, and other sources to reveal the important influences on his faith and his work. No saint and certainly no ascetic, Sullivan was a lover of life and enjoyed its pleasures to the full. At the same time he had a rare spiritual sensitivity, a simple and sincere Christian faith, an unusually generous disposition, and a unique ability to uplift, soften, and assure through both his character and his music that can best be described as a quality of divine emollient.
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Shrock, Dennis. Igor Stravinsky – Mass. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0010.
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This chapter begins with a survey of the vast amount of European choral music Stravinsky was exposed to in his youth and his fascination with the sounds of language in the Russian Orthodox Church. This is followed by a survey of the many modern-era Masses based on historic models as well as a survey of the many Stravinsky compositions so based. The music of the Mass is discussed in terms of its neo-Gothic and neo-Renaissance attributes and its mirror formal structures. Performance practice issues address the cubist-like setting of text and its close relationship to the text setting of Francis Poulenc, and Stravinsky’s unique motor-like rhythmic textures.
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Melamed, Daniel R. The Musical Topic of the Mass in B Minor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0003.
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If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.
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Hicks, Michael, and Christian Asplund. Vast, Sparse Areas of Possibility: 1960–1969. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037061.003.0003.
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This chapter documents more experimental changes in Wolff's compositional oeuvre, as well as certain new milestones in his life. While working in the army, Wolff continued to develop his musicianship through prose polemics and new compositional strategies. In 1962, he reached a new threshold in his experimental evolution, as he began a two-year span of writing only pieces with unspecified instrumentation. In addition, Wolff's academic and family moorings had begun to shift. Family-wise, he would marry Hope (“Holly”) Nash at St. Paul's Episcopal Church in Royalton in 1965, develop an interest in electric guitar, and witness the birth of his firstborn, Christian Mayhew (“Hew”). Career-wise, Wolff's teaching contract with Harvard would not be renewed, which later provided him with the opportunity to apply for a position teaching classics and music at Dartmouth.
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Gann, Kyle. “Emerson” The Essay. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252040856.003.0004.
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Ives’s essay on Emerson is less a description of that writer than an apologia for Ives’s compositional method, which is intentionally disunified and based on the discontinuous way in which humans perceive reality. The idea that Ives was a Transcendentalist himself (like Emerson) is difficult to maintain given the other, more conventional religious influences evident in Ives’s thinking. But there is a strong parallel between the way Emerson left the church at age 29, and Ives left the music world at page 27, both because they could no longer carry on the conventions of those worlds in good conscience.
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White, Harry. The Musical Discourse of Servitude. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190903879.001.0001.
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The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.
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Meconi, Honey. Hildegard of Bingen. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252033155.001.0001.
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The book provides a short but thorough introduction to twelfth-century composer and visionary St. Hildegard of Bingen, creator of seventy-seven plainchant melodies (her Symphonia armonie celestium revelationum) as well as a complete play set to music, the Ordo virtutum. Six chapters chronicle her eventful life, incorporating information about her compositions in the Dendermonde and Riesencodex manuscripts as appropriate: enclosure at the monastery of Disibodenberg; the catalytic vision that spurred her multifaceted creativity; her founding of the convent at Rupertsberg; preaching tours and exorcisms; clashes with priests, prelates, popes, and the Holy Roman Emperor; punishment by interdict; and final vindication. These chapters also explore her many nonmusical creations (three major theological treatises, Gospel homilies and smaller religious writings, scientific and medical works, two hagiographies, an invented language and accompanying alphabet, and her extensive correspondence). A seventh chapter traces continued awareness of her achievement after her death, her canonization and recognition as Doctor of the Church, and the belated rebirth of her music. The final three chapters are devoted to her music, beginning with a general overview and followed by a chapter each on shorter and longer genres, with the former providing basic liturgical information. Ancillary material includes a dozen illustrations (including several iconic images), a works list, and a selected bibliography and discography.