Choral music Books

Book SynopsisWith the popularity of television shows such as Glee, American Idol, and The Voice, show choirs have become a vibrant component of college and high school music programs. Music teachers must not only know how to teach choral singing for popular music, but also be versed in show design and production. In The Show Choir Handbook, Alan L. Alder and Thalia M. Mulvihill address both song technique and show presentation, giving show choir directors the full set of tools they need for successful performances.The Show Choir Handbook is a resource for current and future music educators who administer show choirs. With most literature on the topic either out of date or focused on the teaching techniques limited to vocal jazz (drawing on the choral genre's origins as swing choirs), instructors are in dire need of a resource that addresses music produced by publishers and choral arrangers.Table of ContentsChapter 1: Introduction and History of Show Choir Chapter 2: Budget, Short and Long-term Fundraising, and the Ultimate Fundraiser: Hosting a Show Choir Competition Chapter 3: Vocal Auditions Chapter 4: Dance Auditions Chapter 5: The Interview Chapter 6: Vocal Technique, Production, The Rehearsal, and the Physical Aspects of Singing Chapter 7: Choosing & Working With a Choreographer, and Dance Rehearsal Without the Choreographer Chapter 8: Designing a Show Choir Show Chapter 9: Costume Design and Selection, and Make up and Grooming Chapter 10: Accompaniment and Sound Reinforcement Chapter 11: Other Considerations Chapter 12: Conclusion

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Book SynopsisMost choirs spend their rehearsal time focusing on notes rhythms and precision. They rarely if ever discuss a song''s meaning and feeling even though those elements are precisely what draws people to the music in the first place. Thousands of books have been written about choral technique teaching people how to sing technically well. What sets ÊThe Heart of Vocal HarmonyÊ apart is its focus on honest unified expression and the process of delivering an emotionally compelling performance. It delves into an underdeveloped vocal topic ä the heart of the music and the process involved with expressing it.ÞÊThe Heart of Vocal HarmonyÊ is not just for a cappella groups ä it is also for vocal harmony groups ensembles and choirs at all levels with or without instruments. In addition to the process the book features discussions with some of the biggest luminaries in vocal harmony: composers arrangers directors singers and groups ä including Eric Whitacre Pentatonix the Manhattan T

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Book SynopsisChoral Voices: Ethnographic Imaginations of Sound and Sacrality is about sacred and secular choirs in Goa and Shillong across churches, seminaries, schools, auditoriums, classrooms, reality TV shows, and festivals. Voice and genre emerge as social objects annotated by tradition, nostalgia, and innovation. Piety literally and metaphorically shapes the Christian lifeworld, predominantly those belonging to the Presbyterian and Catholic denominations. Indigeneity structures the political and cultural motifs in the making of the Christian musical traditions. Located at the intersection of Sociology, Anthropology, and Ethnomusicology, the choral voices emplace affect' and the visual-aural dispatch. Thus, sonic spectrum holds space for indigenous and global musicality.This ethnographic work will be useful for scholars researching music and sound studies, religious studies, cultural anthropology, and sociology of India.Trade ReviewChoral Voices is fantastic! In destabilizing notions of culture, colonization, and sound, Sebanti Chatterjee weaves a compelling story of belonging and faith. Through aural participation and multi-sited ethnography readers are transported to the overlooked arenas of identity and indigeneity in contemporary India, with crucial insights for worlds beyond. * Duncan McDuie-Ra, Professor of Urban Sociology, The University of Newcastle, Australia *Choral Voices is an important addition to the growing body of work that challenges fondly held notions of 'East' and 'West.' * Naresh Fernandes, author of Taj Mahal Foxtrot: The Story of Bombay's Jazz Age *This excellent study brings together an understanding of music, sound, voice, indigeneity, sacrality, and the ways in which these are knitted together in the choral music of Shillong and Goa. The book is also a moving personal account of crossing given religious, linguistic, regional, and cultural identities through the practice of music. * Vidya Rao, singer, writer, and editor, Orient BlackSwan publishers *Sebanti Chatterjee constructs a beautifully detailed and captivating ethnographic account of Christian choral singing within contrasting locales in India. Highlighting colonial influence as well as indigenous agency, Chatterjee's account demonstrates the intertwining roles of faith and musical genre in creating a people's sacred imagination. Her book is an important addition to anthropological and ethnomusicological studies of Christian communities. * Monique Ingalls, Associate Professor of Music, Baylor University, USA, and author of Singing the Congregation: How Contemporary Worship Music Forms Evangelical Community (2018) *Sebanti Chatterjee’s work is a significant contribution to the emerging field of voice studies in South Asia. Backed by a rich ethnography, it parses choral voices in multiple sites to revisit questions of repertoire, indigeneity and faith practice and in the process indexes a complex set of social relations and meaning making. * Lakshmi Subramanian, Visiting professor of History, BITS Pilani Goa, India *Table of ContentsListofIllustrations Prologue: Warming Up 1 Introduction: Choral beginnings: Inside the chapel and a home studio 1.1 A biography of community- delineating the Sacred and the Heritage 1.2 Establishing a musical cadence 1.3 Framing choral music within Christian landscapes 1.4 Aural Intentions: Summary of chapters 2 Making of the Indigenous 2.1 Interrogating the Indigenous 2.2 Emplacing the Indigenous 2.3 Understanding Indigeneity, Inculturality and Decoloniality 2.4 Music and Decoloniality 2.5 Exploring the relationship between Indigeneity and Sacrality 2.6 Indigenous Possibilities in curricula and performance: Field narratives 2.7 Towards Sonic Interculturality 3 From Loft to the Recording Studio: Shillong Diaries 3.1 What brings you to Shillong? Introduction 3.2 Cusp of Sacrality, new Technologies and Creative Processes 3.3 Choral Voices as ethnographic objects 3.4 Short Historical Snippets about Christianity and Musicality in Khasi and Lushai Hills 3.5 Discussing Genre, Intertextuality and Territorialisation 3.6 Shillong Chamber Choir 3.7 Repertoire- Medleys/Crossovers 3.8 Beyond performance 3.9 Aroha Choir 3.10 Conclusion 4 The Language of Music: Notes from a Goan Seminary 4.1 Inhabiting the Seminary 4.2 Outlining Goan Sacred Music 4.3 A brief history of music and language in Goa 4.4 Entering the field site 4.5 Rachol Seminary 4.6 Introducing the seminarians 4.7 Syncretic musical experimentations in Goan Sacred music 4.8 Goan Sacred music- Motets 4.9 Conclusion 5 Mapping Choral Voices: Role of People and Places 5.1 Introduction 5.2 Hierarchization of voices 5.3 Indigeneity and Christian Music Tradition 5.4 Music Performance 5.5 Conclusion 6 Tutti: Concluding Section 6.1 The Musical Clef Notating Certainty- Uncertainty 6.2 Positing the Vocal Phrasing Acknowledgments Bibliography Glossary Appendix Documentary – Da Capo Index

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Book Synopsis

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