scholarly journals Choral Societies

1920 ◽  
Vol 61 (924) ◽  
pp. 118
Author(s):  
J. J. Rowden
Keyword(s):  
Choral Societies

scholarly journals Choral Societies and Nationalism in Europe

2019 ◽  
Author(s):  
Krisztina Lajosi ◽  
Andreas Stynen
Keyword(s):  
Choral Societies

Liberal Religion, Artistic Autonomy, and the Culture of Secular Choral Societies

2010 ◽  
Vol 4 (3) ◽  
pp. 339-367
Author(s):  
DUNCAN VINSON
Keyword(s):  
New England ◽  
Choral Works ◽  
Religious Music ◽  
Religious Traditions ◽  
Choral Singing ◽  
Liberal Religion ◽  
Faith Traditions ◽  
Choral Societies ◽  
Almost All ◽  
Liberal Christians

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.

The Framing of Choirs and Their Conductors

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.

scholarly journals Glasbeno delovanje Heriberta Svetela v Ljubljani / Heribert Svetel’s Music Activities in Ljubljana

2021 ◽  
Vol 16 (33) ◽  
pp. 131-155
Author(s):  
Anja Ivec
Keyword(s):  
20Th Century ◽  
Turning Points ◽  
Choral Societies ◽  
Music Activities

Composer, teacher, and conductor Heribert Svetel (1895−1962) lived and worked in Ljubljana in the first half of the 20th century. The article is mainly based on documents from family archives, owned by his granddaughter Marjeta Keršič Svetel, and provides an outline of his life with the major turning points, musical involvement in Choral Societies (Slavec, Sloga), and composition oeuvre in Ljubljana until 1946, when he left the capital and moved to Maribor.

scholarly journals "Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

2021 ◽  
Author(s):  
◽  
Dianne Halliday
Keyword(s):  
New Zealand ◽  
World War I ◽  
Primary Source ◽  
Sheet Music ◽  
Musical Life ◽  
Study Approach ◽  
Regular Employment ◽  
Pipe Organs ◽  
Choral Societies ◽  
Primary Focus

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences.  New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue.  The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise.  Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations.  Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

scholarly journals "Moonlight and Roses", and other things they played: Organ Recitals in New Zealand, 1870-1920

2021 ◽  
Author(s):  
◽  
Dianne Halliday
Keyword(s):  
New Zealand ◽  
World War I ◽  
Primary Source ◽  
Sheet Music ◽  
Musical Life ◽  
Study Approach ◽  
Regular Employment ◽  
Pipe Organs ◽  
Choral Societies ◽  
Primary Focus

<p>The early history of pipe organs in New Zealand, and the music which was played on them, has long been of interest to organists and domestic organ builders alike. The primary focus of this exegesis is the performers themselves and the repertoire they chose to present to the public through the medium of the organ recital during a fifty-year period from 1870–1920. A case study approach is adopted, where two centres, one metropolitan and one provincial, have been selected from each of the two main island of New Zealand. Using primary source materials, including contemporary newspapers and concert programmes, details of a significant selection of organ recitals held in Wellington, Christchurch, Southland, and Hawke’s Bay can be tabulated. This allows for some discernment of trends in musical preferences.  New Zealand was no exception to the world wide practice by organists of utilising in their performances works not originally written for their instrument. In a wider Australasian context, organ recitals were conduits for the dissemination of symphonic, operatic and chamber music, particularly on larger instruments. The balance between transcriptions and works for the organ in these recitals is one of the study’s areas of investigation. This also requires some discussion of the instruments themselves. Another is the extent to which music was considered a formative social influence, particularly since most nineteenth-century recitals were played in churches, rather than civic (secular) auditoria, and were considered to take on the character of the venue.  The research also uncovers details about the origins and career paths of the performers. Some were private teachers, choral and/or instrumental conductors or accompanists. Still others had regular employment as schoolteachers or purveyors of instruments and sheet music, and a third group found primary employment outside the musical sphere either as civil servants or in private enterprise.  Analysis of the wealth of surviving information (concerning organists and their performances) demonstrates that the organ recital was a ubiquitous and popular event in New Zealand prior to World War I. Alongside other musical activities these programmes play a role in the development of society’s musical life, both in its own right and as the accompanying instrument for various choral societies (before the development of fully-fledged orchestral groups). Society was changed with the advent of hostilities; after they ended, there were new norms and expectations.  Outside the main text, the collations of raw data are provided on an accompanying CD, along with biographical details of those who made small contributions to the recital scene, or were present in New Zealand for only a limited time.</p>

Sign in / Sign up

Export Citation Format

Share Document