Horatio Parker and the English Choral Societies, 1899-1902

AbstractU.S. choral societies typically formalize themselves as secular organizations analogous to symphony orchestras and opera companies. Yet choral societies differ from symphonic or operatic organizations because almost all choruses depend on volunteer singers. Part of what attracts singers into choruses is a sometimes unacknowledged affinity between the religious traditions of liberal Christians and Jews and the culture of choral singing as practiced in formally secular choral societies. The liberal tradition in religion encourages a habitus toward music that might be called a “sense of liturgy”: The interpretation of musical works historically and collectively, rather than as didactic works addressed to an individual. Although many canonical choral works are Christian in content, liberal religion encourages distancing mechanisms that allow people from other faith traditions, or none at all, to engage with these works. In short, the posture of artistic autonomy often found within formally secular choral societies, in which there is no overt religious test for membership, owes part of its genesis to the religious habits of liberal Christians and Jews. The present article explores this affinity by drawing on ethnomusicological fieldwork among choral singers in New England, as well as published accounts of a 1996 controversy over the performance of religious music by a public school choir in Utah.

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Horatio Parker, 1863-1919: his life, music, and ideas

Choice Reviews Online ◽

10.5860/choice.28-0887 ◽

1990 ◽

Vol 28 (02) ◽

pp. 28-0887-28-0887

Keyword(s):

Horatio Parker

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The Framing of Choirs and Their Conductors

10.1093/oxfordhb/9780199373369.013.12 ◽

2017 ◽

Author(s):

Colin Durrant

Keyword(s):

United Kingdom ◽

20Th Century ◽

Choral Music ◽

Choral Conducting ◽

Choral Singing ◽

The United Kingdom ◽

Choral Societies

The British choral tradition is rooted in its ancient cathedrals and chapels, where the office of Evensong is sung, often daily. In addition, choral societies are to be found in most localities where singers come together and perform some of the major works in the western canon. Although singing itself occurs in a variety of forms this chapter looks at conductor-led choral singing. It does not give a fulsome picture of UK choral conducting and singing. Nonetheless, through a brief history starting from the John Curwen’s tonic sol-fa ideas for singing and culminating in a 20th century choral music renaissance; through an analysis of the English choral tradition; through a consideration of revivals of UK singing such as “Sing Up”; and through questionnaires and interviews with conductors and singers, the chapter explores some of the personal, cultural and sociological, educational, and musical issues and interests that can be found in the United Kingdom now.

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