The Rise of American Choral Music and The A Cappella “Bandwagon”

1980 ◽  
Vol 67 (3) ◽  
pp. 36-39
Author(s):  
Leonard Van Camp
Keyword(s):  
Choral Music ◽  
A Cappella ◽  
American Choral Music

THE INFLUENCE OF TANEYEV’S STYLISTIC PRINCIPLES ON RUSSIAN CHORAL MUSIC OF THE XXTH CENTURY

2020 ◽  
Vol 1 (2) ◽  
pp. 75-80
Author(s):  
V. P. Tereshchenko ◽  
Keyword(s):  
Choral Music ◽  
Compositional Style ◽  
Rational Approach ◽  
A Cappella ◽  
Unique Combination ◽  
Xxth Century ◽  
Leading Role ◽  
Baroque Music ◽  
Special Area

The article touches upon the unique combination of Taneyev’s stylistic principles, which consists in an organic synthesis of protective and innovative features. Taneyev consciously turns to the polyphony of strictly writing, Baroque music and Viennese classicism in forming his own individual compositional style. The paradox is that Taneyev acted as an innovator who foresaw a vision for the future of music through the prism of the distant past. Stylistic principles such as historicism of thinking, rational approach to creativity and leading role of counterpoint forms became the basis of new trends in music art of the XXth century. A special area of the composer's innovative achievements is choral music. Taneyev founded of a number of genre trends that developed in the XXth century, among them a lyrical-philosophical cantata, "spiritual concert" vocal-instrumental and symphonic music, a choral a cappella cycle to secular text.

American Choral Music: 1870–1923

2012 ◽  
Vol 15 (2) ◽  
pp. 124-126
Author(s):  
Anne E. Shelley
Keyword(s):  
Choral Music ◽  
American Choral Music

American Choral Music Since 1920: An Annotated Guide

Notes ◽  
1995 ◽  
Vol 51 (4) ◽  
pp. 1336
Author(s):  
Avery T. Sharp ◽  
David P. De-Venney
Keyword(s):  
Choral Music ◽  
American Choral Music ◽  
Annotated Guide

American Choral Music

1989 ◽  
Vol 130 (1759) ◽  
pp. 519
Author(s):  
Philip Gilbert
Keyword(s):  
Choral Music ◽  
American Choral Music

Choral Works by Rodion Shchedrin. 21 Century

10.34690/119 ◽  
2020 ◽  
pp. 158-171
Author(s):  
Евгения Давидовна Кривицкая
Keyword(s):  
Choral Music ◽  
Sacred Music ◽  
A Cappella ◽  
The Novel ◽  
Chronological Order ◽  
Vladimir Mayakovsky ◽  
Choral Works ◽  
Anna Karenina ◽  
Chamber Choir ◽  
Biblical Texts

Статья представляет собой обзор сочинений для хора a cappeLLa, созданных Родионом Щедриным в XXI веке. Произведения рассматриваются в хронологическом порядке, многие из них вдохновлены творческими контактами с Камерным хором Московской консерватории и с его руководителями - основателем коллектива Борисом Тевлиным и его преемником Александром Соловьёвым. Среди хоровых сочинений композитора есть и произведения на стихи российских поэтов - Андрея Вознесенского, Владимира Маяковского, Велимира Хлебникова, и опусы, написанные на библейские тексты, - «Эпиграф графа Толстого к роману “Анна Каренина”», «Месса поминовения»; последние можно отнести к области духовной музыки. Ряд сочинений отмечен гражданским пафосом (Диптих, «Два последних хора»). В партитурах 2020 года, созданных в период пандемии, в самоизоляции, автор размышляет о смысле бытия (Триптих). Щедрин постоянно экспериментирует с жанрами хоровой музыки. Ярким примером его изобретательности в творчестве последних лет являются Русские народные пословицы. В более ранней Серенаде (2003) традиционный жанр трактован новаторски: текст произведения целиком основан на междометиях. The article is a review of compositions for a cappella choir, written by Rodion Shchedrin in the 21 century. The works are viewed in chronological order, many of them are inspired by creative reLationships with the Chamber Choir of Moscow Conservatory and with its Leaders-the founder of the collective Boris TevLin and his successor Aleksandr Solovyov. Among the composer's choral works, there are music on verses by Russian poets-Andrei Voznesensky, Vladimir Mayakovsky, VeLimir Khlebnikov, and opuses written on bibLicaL texts-“Count ToLstoy's Epigraph to the NoveL ‘Anna Karenina'”, Mass of Commemoration; the Latters can be attributed to the fieLd of sacred music. A number of works are marked by civic pathos (Diptych, “The Last Two Choirs”). In the 2020 scores, created during the pandemic, in self-isolation, the author reflects on the meaning of being (Triptych). Shchedrin constantLy experiments with genres of choraL music. A striking exampLe of his ingenuity in the current oeuvre is the “Russian FoLk Proverbs”. In the earLier Serenade (2003), the traditionaL genre is interpreted in an innovative way: the text of the work is entireLy based on interjections.

Antecedents, and Development of the Sacred Choral Concerto in Russia

2020 ◽  
Vol 65 (2) ◽  
pp. 173-192
Author(s):  
Mónika Végh
Keyword(s):  
Choral Music ◽  
18Th Century ◽  
Church Music ◽  
Vocal Music ◽  
Historical Background ◽  
A Cappella ◽  
Russian Music ◽  
Choral Repertoire ◽  
Russian Composers

"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"

Assessment Practices of American Choral Music Educators

2019 ◽  
pp. 378-400
Author(s):  
Al Holcomb
Keyword(s):  
Choral Music ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Multiple Sources ◽  
Music Educator ◽  
Student Centered ◽  
Choral Ensembles ◽  
American Choral Music ◽  
Improving Teaching And Learning

This chapter describes traditional and student-centered assessment practices used in American school choral settings. It presents choral assessment as a means for communicating expectations to students, improving teaching and learning, evaluating achievement with objectivity, and providing multiple sources of feedback toward improvement. Technology-assisted assessment, student-constructed portfolios, and Model Cornerstone Assessments are highlighted as efficient ways to demonstrate accountability of standards-based learning in the choral ensembles. The chapter provides a rationale for choral music educators to explore student-centered assessment practices, including student-developed rubrics, ongoing opportunities for reflection and revision, and use of multiple sources of feedback to promote critical thinking, problem-solving, and musical independence. It suggests that increased emphasis on emerging assessment practices in choral music educator preparation and professional development is needed to influence choral music educators’ practice of meaningful assessment.

Choral Tapestries: An Anthology of Contemporary American Choral Music

1995 ◽  
Vol 13 (2) ◽  
pp. 258
Author(s):  
Laura Dankner ◽  
Emily Lowe Singers
Keyword(s):  
Choral Music ◽  
American Choral Music
Sign in / Sign up

Export Citation Format

Share Document