Singing in Hebrew Jacobson, Joshua R.
The Choral journal,
10/2021, Volume:
62, Issue:
3
Journal Article
Peer reviewed
Kabbalat Shabbat is a setting of the Friday night service for choir and chamber orchestra. * Leonard Bernstein (American, 1918-1990). Bloch's hour-long Sacred Service for choir, baritone, and large ...orchestra is the most magnificent setting of the synagogue liturgy. Best known for his satiric musical theater masterpieces, his bluesy setting of the Sabbath Kiddush (sanctification over the wine), for chorus and soloist and piano (or organ), was dedicated to his father, who had been the chief cantor of Dessau. * Stephan Wolpe (German American, 1902-1972). For many observant Jews, singing the name of God as Adónai in a concert or anywhere outside of a prayer service is considered to be a violation of the third commandment of the Decalogue, "You shall not take the name of the Lord your God in vain." ...in concert performances, it is common practice among observant Jews (or when the audience includes observant Jews) to avoid singing the word Adónai.
A-cappella-Musik hat sich seit den 1990er Jahren grundlegend erneuert: Innovative Elemente wie das Beatboxing sowie der Fokus auf populäre Musik führen zur Entstehung neuer Gruppenformate und zu ...weltweit wachsender Popularität. Diese Arbeit setzt sich in zwei Teilen mit jeweils unterschiedlichem Ansatz mit dem Phänomen der A-cappella-Popmusik auseinander: Im ersten Teil wird anhand von Gruppen- und Künstleranalysen sowie Auswertungen von Interviews und recherchierten Daten ein entwicklungsgeschichtlicher Strang etabliert. Ergänzend dazu werden inhaltliche Disziplinen wie das Arrangieren und die A-cappella-spezifische Musikproduktion qualitativ untersucht und in einen Gesamtkontext eingebettet.Der zweite Teil der Arbeit beinhaltet im Rahmen einer „Artistic Research“-Philosophie künstlerische Projekte, die in thematischem Zusammenhang mit dem ersten Teil stehen. Dazu zählen Analysen von Beatboxing-Lauten, der Einsatz von Klangsilben-Patterns, welche live von einer Vocal-Band eingesungen wurden, sowie die Durchführung einer A-cappella-Studioproduktion anhand einer Eigenkomposition.
A cappella is a musical performance genre with a long history. Although many people compose and arrange a cappella works, the connection between a cappella and musical creativity has not yet been ...considered. This study examines the background of the musical creativities framework Burnard, P. 2012. Musical Creativities in Practice. Oxford: Oxford University Press.. Based on interviews conducted with two professional cappella groups in Hong Kong and the United Kingdom, it uses this framework to map the creative process of a cappella. Furthermore, it provides insights to music teachers, a cappella lovers and performance group members, and especially to those who compose and arrange a cappella pieces and organise a cappella groups in both schools and communities.
In his commentary on Schotanus 2020 "Singing and Accompaniment Support the Processing of Song Lyrics and Change the Lyrics", Lee (2020) discusses several methodological issues related to this ...article, proposes a reanalysis of part the data, and asks for additional research. This reaction provides the reanalysis asked for, and briefly discusses additional research, and further issues.
Contemporary/Commercial Choirs (Show Choir Kelsey D. Burkett National R&R Co-Chair kelsey_burkett@hboe.org "I Want to Be Part of That!" After three years of Covid protocols, the constant thrum of ...impending doom and the real question of "will choir ever be the same?" seem to have somewhat melted away. For many ensembles, it is a requirement to be a part of a curricular choir in order to participate in the show choir or a cappella group. There was something so energizing about performing the music that surrounded me every day: on the radio, in my earbuds, and on TV Eventually, I realized that contemporary a cappella was the space where my love of choral singing and my love of pop singing could not only meet but amplify one another. Because you definitely have kids like me in your community.
The poetry of Andrej Sládkovič (1820 – 1872) has become a strong source of inspiration for several Slovak musical composers. Their motivation, choice of poems and compositional approaches varied in ...time. In the 19th century, adaptations of Sládkovič’s shorter poems for a cappella choirs were popular (J. L. Bella, A. H. Krčméry, M. Francisci). The ideas of national emancipation formed the background for these. In the 20th century, greater variance in compositional approaches can be observed. However, these were based on a smaller number of the poems. The article analyses concretisations of various musical genres from the musical adaptation (of the long poem Marína) for an a cappella choir (Andrej Očenáš, 1957) and vocal-instrumental oratorio (Cyril a Metod – Constantine and Methodius, Tibor Andrašovan, 1987) through musical theatre and scenic music to multimedia composition. It takes a closer look at three adaptations of Detvan and describes the different authorial handlings of the poem. While Viliam Figuš-Bystrý’s opera (premiered 1928) illustrates the musical thinking of the late 19th century on a representative genre, the further two point to the use of progressive compositional techniques of the second half of the 20th century and represent utility music (Bartolomej Urbanec, 1963; Tadeáš Salva, 1975).
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