DOCSLIB.ORG

Female Composers Choral Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Female Composers Choral Works Choral Works About Women BY Women Larger Works Jocelyn Hagen Songs for Muska (SATB, chamber ensemble) JH Music Linda Tutas Haugen The Diary of Anne Frank (Treble Choir + String Quartet) Ephraim Bay Music Publishing Libby Larsen The Witches Trio (SSAA) Oxford University Press Andrea Ramsey Suffrage Songs and Verses - ongoing Gwyneth Walker Mother Earth: Songs of Strong Women - contact composer Judith Lang Zaimont Life Cycle (SSAA, piano, perc., 5 movements - ongoing) Alice Parker, Libby Larsen, Quilt Songs: Women Weaving the Fabric of Life Gabriela Lena Frank, VocalEssence Music Press Ysaye Barnwell, Carol Barnett Octavos Elizabeth Alexander Why I Pity the Woman Who Never Spills (SSAA) Seafarer Press Jocelyn Hagen Give Joan a Sword (SATB, piano, cello, perc.) Hands Upon the Plow (SSA, piano, alto sax) Vespertilians (SATB div.) G. Schirmer Ruth Huber Joan of Arc (Nobody’s Fool Publishing - contact composer) Set Her Free The Voice of Conscience Libby Larsen The Womanly Song of God A Young Nun Singing Rosephanye Powell Still I Rise (SATB/SSA) Joan Szymko Malala (SSAA speaker & doumbek) Joan Szymko Music She Who Makes Her Meaning Clear (SATBB/SSAA, perc.) Water Women (SSAA, piano) Gwyneth Walker The Right to Vote (SATB) - contact composer Female Composers - Choral Works Larger Works Carol Barnett The World Beloved: A Bluegrass Mass (SATB + bluegrass band) Maura Bosch The Turning (TB div.) Cantus Melissa Dunphy American DREAMers (SATB) Mormolyke Press The Gonzales Cantata (SSAT, soloists, chamber ensemble) Jocelyn Hagen amass (SATB, chamber ensemble, soloists) The Notebooks of Leonardo da Vinci (SATB, orch/chamber ens., video projections) Linda Tutas Haugen Breath of the Mountains: A Folk Suite (SATB + orchestra) Edie Hill A Sound Like This (TTBB div/SATB) Hummingbird Press Sungji Hong Missa Lumen de Lumine (SSA) Libby Larsen Encircling Skies (SATB, narrator, orchestra) contact composer The Settling Years (SATB, woodwind quintet, piano) ECS Publishing Caroline Shaw Partita for 8 Voices Sarah Kirkland Snider Mass for the Endangered (SATB + orchestra) Joan Szymko Shadow and Light (SATB + orchestra) Dale Trumbore How to Go On (SATB) Dale Trumbore Julia Wolfe Anthracite Fields (SATB, chamber ens.) Octavos Elizabeth Alexander Faith Is the Bird That Feels the Light (SSA) Seafarer Press I Write This Poem Out of Darkness (SSAA) If You Can Walk You Can Dance (SATB/SAB/SSA/TBB, pno, perc.) Abbie Betinis Bar Xizam (SATB) Abbie Betinis Music Co. Blessed Be the Lord, My Rock (SAB) Graphite Publishing Jerusalem Luminosa (SA) Neil A. Kjos Music Publishing Dessa/Hagen Controlled Burn (SATB/SSAA, orch/chamb. ens. string quartet + piano) Graphite Publishing Into the Spin Look Out Above (SATB, TTBB) Poor Atlas Christine Donkin Autumn Colours in the Canal (SSAA, piano) Graphite Publishing In Flanders Fields (SATB, TTBB) In Paradisum (SATB div.) Martha Hill Duncan Step to the Fiddle (SA, piano) Graphite Publishing Jocelyn Hagen I Started Out Singing (SSA/SAB, piano) Graphite Publishing needle & thread (SATB div.) To See the Sky (SATB, piano) We Are the Stars (SATB, string quartet) Linda Tutas Haugen Black is the Color (SSA) Rosephanye Powell Non Nobis Domine (SATB/SAB/SSAA/TTBB) Shruthi Rajasekar Devotee (SSA + Carnatic vocalist) - contact composer Numbers (SATB) Raw Heart (SATB) Sangeetham (TTBB) VocalEssence Music Press Caroline Shaw Dolce Cantavi (SSA) Moira Smiley arr. Bring Me Little Water, Silvy (SSAA) Sarah Kirkland Snider Psalm of the Soul (TB div.) You Must Feel with Certainty (SATB + perc.) Dale Trumbore Breathe in Hope (SATB/SSAA/TTBB, piano) Closer to Home (SATB/SSAA/TTBB) In the Middle (SATB, piano) Returning (SATB).
Load more

Recommended publications
  • CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
    *141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital).
    [Show full text]
  • The Evolution of American Choral Music: Roots, Trends, and Composers Before the 20Th Century James Mccray
    The Evolution of American Choral Music: Roots, Trends, and Composers before the 20th Century James McCray I hear America singing, the varied car- such as Chester, A Virgin Unspotted, ols I hear. David’s Lamentation, Kittery, I Am the —Walt Whitman Rose of Sharon, and The Lord Is Ris’n Leaves of Grass1 Indeed received numerous performanc- es in concerts by church, school, com- Prologue munity, and professional choirs. Billings Unlike political history, American cho- generally is acknowledged to be the most ral music did not immediately burst forth gifted of the “singing school” composers with signifi cant people and events. Choral of eighteenth-century America. His style, music certainly existed in America since somewhat typical of the period, employs the Colonial Period, but it was not until fuguing tunes, unorthodox voice lead- the twentieth century that its impact was ing, open-fi fth cadences, melodic writing signifi cant. The last half of the twentieth in each of the parts, and some surpris- century saw an explosion of interest in ing harmonies.11 By 1787 his music was choral music unprecedented in the his- widely known across America. tory of the country. American choral mu- Billings was an interesting personal- sic came of age on a truly national level, ity as well. Because out-of-tune singing and through the expansion of music edu- was a serious problem, he added a ’cello cation, technology, professional organiza- to double the lowest part.12 He had a tions, and available materials, the interest “church choir,” but that policy met re- in choral singing escalated dramatically.
    [Show full text]
  • III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
    III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
    [Show full text]
  • JOB TITLE: Tenor Lay Clerk LOCATION
    JOB TITLE: Tenor Lay Clerk LOCATION: Durham Cathedral and other locations outside the Cathedral ACCOUNTABLE TO: The Master of the Choristers and Organist RESPONSIBLE FOR: This post has no supervisory responsibilities. KEY RELATIONSHIPS: Organist, Sub-Organist, Organ Scholars, Canon Precentor, Music Administrator, Lay Clerks, Choral Scholars, Choristers, Members of Chapter, Vergers, and other members of Cathedral staff and volunteers. BACKGROUND: Durham Cathedral Choir consists of up to 48 Choristers, (boys and girls singing in alternation), 6 Choral Scholars and 6 Lay Clerks. The Choir sings the daily Cathedral services during Choir term. The Choir performs a wide, exciting and varying repertoire extending from plainsong works written in Durham eight centuries ago to works written in the last ten years, including works commissioned especially for the Cathedral. It also appears regularly in concerts, in both the Cathedral and elsewhere. The Choir also tours from time to time. JOB SUMMARY: To sing the daily Cathedral services during Choir term and participate in additional services sometimes arranged at short notice as well as participating in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs in Newcastle and Edinburgh. Lay Clerks also participate in recordings, broadcasts, and other Cathedral concerts from time to time. MAIN DUTIES AND RESPONSIBILITIES: 1. To participate in the weekly timetable of services 2. To participate in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs. 3. To participate in diocesan services or concerts as directed by the Organist. 4. To participate in recordings, broadcasts and other concerts in Durham Cathedral as directed by the Organist. 5. To take an active part in the worship of the Cathedral including full support for and commitment to the Cathedral’s Christian ethos.
    [Show full text]
  • Lay Clerkships at Bristol Cathedral
    Bristol Cathedral Choir L A Y C L E R K S Revised April 2019, TP Lay Clerkships at Bristol Cathedral Bristol Cathedral is one of the city’s most beautiful buildings, containing architecture from the 12th century (most famously in the stunning Chapter House) right through to the 19th (the Nave). It has perfect acoustics for the singing of choral music and is possessed of one of the finest Edwardian Cathedral Organs in the country (built in 1907 by the prestigious firm of J W Walker, and completely restored in 1990). Further information about the Cathedral and its life can be found by visiting bristol-cathedral.co.uk There has been a choir at Bristol Cathedral since its foundation in 1542, and probably since the days of the Augustinians (from 1140). Services are sung six times a week during term time by either the Cathedral Choir (Lay Clerks & Choral Scholars and boys/girls) or the Cathedral Consort. The Choir The Cathedral Choir consists of up to 28 choristers (14 boys and 14 girls), probationary choristers, six Lay Clerks, and four Choral Scholars. The Cathedral Choir encourages singers from the University of Bristol and UWE through the Choral Scholarship scheme. The current pattern for sung worship in the Cathedral (as it affects Lay Clerks) is as follows: Monday, Tuesday rehearsal (4.45pm) for Evensong (5.15 pm) sung by the full Choir Friday rehearsal (4.45pm) for Evensong (5.15pm) sung by the Lay Clerks Saturday rehearsal (2.30pm) for Evensong (3.30pm) sung by the full Choir. There is a Saturday off once a month.
    [Show full text]
  • Choral Secular Music Through the Ages
    Choral Secular Music through the ages The Naxos catalogue for secular choral music is such a rich collection of treasures, it almost defi es description. All periods are represented, from Adam de la Halle’s medieval romp Le Jeu de Robin et Marion, the earliest known opera, to the extraordinary fusion of ethnic and avant-garde styles in Leonardo Balada’s María Sabina. Core repertoire includes cantatas by J.S. Bach, Beethoven’s glorious Symphony No. 9, and a “must have” (Classic FM) version of Carl Orff’s famous Carmina Burana conducted by Marin Alsop. You can explore national styles and traditions from the British clarity of Elgar, Finzi, Britten and Tippett, to the stateside eloquence of Eric Whitacre’s “superb” (Gramophone) choral program, William Bolcom’s ‘Best Classical Album’ Grammy award winning William Blake songs, and Samuel Barber’s much loved choral music. Staggering emotional range extends from the anguish and passion in Gesualdo’s and Monteverdi’s Madrigals, through the stern intensity of Shostakovich’s Execution of Stepan Razin to the riot of color and wit which is Maurice Saylor’s The Hunting of the Snark. Grand narratives such as Handel’s Hercules and Martinů’s Epic of Gilgamesh can be found alongside tender miniatures by Schubert and Webern. The Naxos promise of uncompromising standards of quality at affordable prices is upheld both in performances and recordings. You will fi nd leading soloists and choirs conducted by familiar names such as Antoni Wit, Gerard Schwarz, Leonard Slatkin and Robert Craft. There is also a vast resource of collections available, from Elizabethan, Renaissance and Flemish songs and French chansons to American choral works, music for children, Red Army Choruses, singing nuns, and Broadway favorites – indeed, something for everyone.
    [Show full text]
  • Choir Spacing and Choral Sound: Physical, Pedagogical and Philosophical Dimensions
    Choir spacing and choral sound: Physical, pedagogical and philosophical dimensions James F.Daugherty University of Kansas Music and music-making are commonly defined in relation to time, as temporal or chrononomic activities. Morgan (1980), however, reminds us that" anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear" (p 259). Similarly, John Dewey (1934) suggests that space is a quality inherent in every art, including music. Just as art intensifies other areas of ordinary experience, says Dewey, so does art express the experience of spatiality more energetically. The purpose of this paper is to explore the idea of space as it relates to activities associated with choral sound, that is, the complex, composite sound experienced when a number of vocal sound sources sing in ensemble. To that end, this exploration addresses three dimensions or areas of concern: (a) physical, (b) pedagogical, and (c) philosophi- cal. It is offered as a prolegomena, for its intent is not to be exhaustive, but rather to identify broadly some potentially key concepts that merit further consideration. The idea of space, of course, is a historied concept prominent in both physics and philosophy. As he examines space in the context of the history of physics, for instance, Jammer (1969) finds that philosophy and theology frequently interact with experimental research to define theories of physical space within the natural sciences. By their nature, concepts of space typically carry with them not only physical referents, but larger perspec- tives of value and meaning as well.
    [Show full text]
  • The Vocal Music Workshop Changing Lives Through Choir
    The Vocal Music Workshop Changing Lives Through Choir The Vocal Music Workshop is multicultural and inclusive, a creative company with diversity as one of its core aesthetics. And we BELIEVE in the power of music. Everything we do has the goal of changing lives in mind. We've seen the positive effects of singing in our own lives and of others'. Everyone in the organization is deeply committed to the cause of enriching the lives of our family members and community through music. Because music changes lives. This energetic and innovative community organization teaches music and singing fundamentals, and produces fun, imaginative and educational performances with youth starting in grade 3, all the up through adults. These choirs stage unique and exciting performances for all ages throughout the year. Programs are grouped into 4 main areas, Community Wide After School Choirs, In School Choirs, After School Intensive Programs, and Summer Programming. These choirs perform together, separately, and with other performing groups as partners. Together these programs reach 400 children and families throughout the year. In addition we have a small vocal ensemble for adults. These students are exposed to the history and culture of music performed. They meet and work with industry professionals, attend concerts and other cultural events such as the GR Public Museum, Art Prize, Hitsville USA, and other Detroit arts institutions. And our students travel outside of the state and internationally. The life lessons and skills learned through singing in a choir are unparalleled and priceless. We are dedicated to providing choral music experiences to as many children, youth and adults in the Grand Rapids area as we possibly can.
    [Show full text]
  • Choir Scholarships Full Or Partial Tuition (In-State) Scholarships Are Available to All Students Having Auditioned and Enrolled in the University Choir
    Winston-Salem State University Winston-Salem, NC Department of Music – Choir Scholarship Requirements/Criteria Choir Scholarships Full or partial tuition (in-state) scholarships are available to all students having auditioned and enrolled in the University Choir. Applicants must audition by March 30 to be considered for a scholarship for the following academic year. The following criteria are required of all students auditioning for the Choir Scholarship: Requirements 1. Officially accepted by the Admissions Office and have received a letter of acceptance. 2. Completion of the Federal Student Aid Application with results forwarded to Winston- Salem State University. 3. Must have a 2.5 grade point average to qualify for the scholarship. 4. (2) Letters of Recommendations forwarded to Winston-Salem State University Choir Director (from high school or church choral directors, private instructors, etc.). Persons completing the "Music Teacher Recommendation" CANNOT be related to the applicant in any way. See mailing address below. 5. Must maintain a 2.7 cumulative grade point average to keep the scholarship during your tenure at the university. 6. Must abide by the class syllabus given at the beginning of the semester. WSSU CHOIR AUDITION CRITERIA FOR CHORAL SCHOLARSHIP (All pieces must be memorized and have music scores to accompany) 1. Perform one (1) memorized Foreign Language solo piece: Latin, Italian, French or German. 2. Perform one (1) memorized English solo piece: Folk Song/Negro Spiritual, Broadway, Arts Song. 3. Perform one (1) memorized piece of the student’s choosing that best displays your talent. 4. Sight-Reading. 5. Personal conference with auditioner (s). 6.
    [Show full text]
  • Amsterdam Baroque Orchestra & Choir
    CAL PERFORMANCES PRESENTS Saturday, March 10, 2012, 8pm Zellerbach Hall Amsterdam Baroque Orchestra & Choir Ton Koopman, conductor soloists Teresa Wakim, soprano Bogna Bartosz, alto Tilman Lichdi, tenor Klaus Mertens, bass PROGRAM Johann Sebastian Bach (1685–1750) Mass in B minor, BWV 232 for soprano, alto, tenor and bass soloists, chorus and orchestra i. missa Crucifixus Kyrie Et resurrexit Christe Et in Spiritum Sanctum Kyrie Confiteor Gloria Et expecto Laudamus te Gratias INTERMISSION Domine Deus Qui tollis iii. sanctus Qui sedes Sanctus Quoniam Cum Sancto Spiritu iv. osanna, benedictus, agnus dei Osanna ii. symbolum nicenum Benedictus Credo Osanna Et in unum Dominum Agnus Dei Et incarnatus est Dona nobis pacem This performance is made possible, in part, by Patron Sponsors Michele and Kwei Ü. Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. CAL PERFORMANCES 11 ORCHESTRA ROSTER CHOIR ROSTER AMSTERDAM BAROQUE ORCHESTRA AMSTERDAM BAROQUE CHOIR Ton Koopman, conductor soloists Teresa Wakim, soprano Catherine Manson concertmaster Bogna Bartosz, alto Joseph Tan violin 1 Tilman Lichdi, tenor John Meyer violin 1 Klaus Mertens, bass Anna Eunjung Ryu violin 1 soprano Persephone Gibbs violin 1 Caroline Stam David Rabinovich violin 2 Dorothee Wohlgemuth Marc Cooper violin 2 Andrea Van Beek Ann Roux violin 2 Els Bongers Liesbeth Nijs violin 2 Vera Lansink Esther Ebbinge Emilia Benjamin viola Gela Birckenstaedt Laura Johnson viola Isabel Delemarre Werner Matzke cello Margareth Iping (doubling alto) Robert Smith cello Michele Zeoli
    [Show full text]
  • Choir Practice by the Team — in Life As in Art — of Stephen Chatman and Tara Wohlberg
    With the premiere a few weeks ago of the Stokes/Atwood collaboration Pauline and the building hype about Weisensel and Koyczan’s forthcoming Stickboy, the Vancouver opera scene is on a roll. Although we will have to wait for it until next year, another new work is underway: the comic opera Choir Practice by the team — in life as in art — of Stephen Chatman and Tara Wohlberg. Choir Practice promises to be a significant event: a major work from one of our pre- eminent composers, and one of the very few comic operas in the Canadian repertoire. Chatman, the senior composition professor at the University of British Columbia’s School of Music, came to Vancouver in the mid-1970s, and made an international career composing music in almost all the big classical genres. Choir Practice isn’t his first go-’round with opera. There was a 1985 project at the Banff Centre, The Crazy Horse Suite, which got a concert performance but no staged production. Then a couple of projects for Vancouver Opera and Pacific Opera Victoria never got beyond the talking stage. “So I’ve turned down two fairly big opportunities, because I didn’t feel right about them,” says Chatman. “I’ve always wanted to do another opera, but have been waiting for just the right opportunity, because if I don’t believe in it, it won’t work.” From the outset, Choir Practice has been a completely self-directed proposition. “This opera was our joint idea. We’re dealing with UBC Opera, director Nancy Hermiston and conductor Jonathan Girard, and the collaboration is going really well.
    [Show full text]
  • J.S. Bach's Performance Environment in the Nikolaikirche from 1723 to 1750
    Johann Sebastian Bach’s Performance Environment in the Nikolaikirche from 1723 to 1750 Thomas Braatz © 2009 In order to present information pertinent to establishing the possible arrangement and placement of the choir and other musicians who performed under J. S. Bach’s direction in the Nikolaikirche1 and the probable acoustical properties of his performance environment, it will be necessary to review the history of construction and modification that this church underwent over the course of many centuries up to its current state. Numerous contrasting elements between and Nikolaikirche and the Thomaskirche2 will serve to highlight some of the major differences that Bach experienced between these two most important performance venues in Leipzig during his tenure there. The Nikolaikirche has variously been described as Leipzig’s main, principal, municipal church which ‘has long been one of the most famous, oldest, greatest3 churches in Leipzig’. In reality the Thomaskirche is older than the Nikolaikirche with the latter having been founded in 1176 as ‘the second city church’ and being named after Saint Nicholas, the bishop of Myra and patron saint of merchants and wholesalers. Both the Thomaskirche and the Nikolaikirche were originally built in the Romanesque style; however, at the time of the Reformation they were transformed into Late Gothic structures with the Thomaskirche undergoing a complete transformation to this style while the Nikolaikirche retained some of its Romanesque features4. This is still visible today at the west end of the Nikolaikirche where the organ is now the dominating feature but where originally Bach must have placed most, if not all, of his musicians.
    [Show full text]