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So You Want to Sing Sacred Music: A Guide for Performers [Mīkstie vāki]

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  • Formāts: Paperback / softback, 252 pages, height x width x depth: 227x151x14 mm, weight: 340 g, 5 BW Illustrations, 27 BW Photos, 1 Tables
  • Sērija : So You Want to Sing
  • Izdošanas datums: 14-Dec-2016
  • Izdevniecība: Rowman & Littlefield Publishers
  • ISBN-10: 1442256990
  • ISBN-13: 9781442256996
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  • Cena: 54,72 €
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  • Formāts: Paperback / softback, 252 pages, height x width x depth: 227x151x14 mm, weight: 340 g, 5 BW Illustrations, 27 BW Photos, 1 Tables
  • Sērija : So You Want to Sing
  • Izdošanas datums: 14-Dec-2016
  • Izdevniecība: Rowman & Littlefield Publishers
  • ISBN-10: 1442256990
  • ISBN-13: 9781442256996
Citas grāmatas par šo tēmu:
Sacred music traditions vary profoundly from one religion to the next. Even within the Christian faith, one can hear a wide variety of music among and within different denominations. Catholics, mainline Protestants, and Evangelicals have all developed unique traditions. Many people are not exposed to multiple faith experiences in their upbringings, which can make exploring an unfamiliar sacred music style challenging. Because of this, singers and teachers regularly encounter religious singing styles to which they have not yet been exposed.

In So You Want to Sing Sacred Music, multiple contributors offer a broad overview of sacred singing in the Judeo-Christian tradition. Evan Kent, Anthony Ruff, Matthew Hoch, and Sharon L. Radionoff share their expertise on topics as diverse as Jewish cantorial music, Gregorian chant, post-Vatican II Catholic music, choral traditions, and contemporary Christian music. This plethora of styles represents the most common traditions encountered by amateur and emerging professional singers when exploring sacred performance opportunities. In each chapter, contributors consider liturgical origins, musical characteristics, training requirements, repertoire, and resources for each of these traditions. The writersall professional singers and teachers with rich experience singing these stylesalso discuss vocal technique as it relates to each style. Contributors also offer professional advice for singers seeking work within each traditions institutional settings, surveying the skills needed while offering practical advice for auditioning and performing successfully in the world of sacred music.

So You Want to Sing Sacred Music is a helpful resource for any singer looking to add sacred performance to their portfolio or seeking opportunities and employment where sacred music is practiced and performed. Additional chapters by Scott McCoy, Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy, vocal health, and audio enhancement technology.

The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Sacred Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

Recenzijas

So You Want to Sing Sacred Music covers a wide spectrum of music in regard to both style and historical context. It is an excellent overview of the liturgical music of the Judeo- Christian tradition, and singers will find it a helpful reference. * Journal of Singing *

Foreword xi
Allen Henderson
Acknowledgments xiii
Introduction: Singing Sacred Music xv
Matthew Hoch
Online Supplement Note xix
1 Jewish Traditions
1(22)
Evan Kent
Liturgical Origins
2(3)
Music in the Bible
2(1)
Beyond Biblical Times
3(1)
The Modern Cantor
4(1)
Musical Characteristics
5(2)
What Is Cantorial Music?
5(1)
Three Categories of Music
5(1)
Three Major Ethnic Groups
6(1)
Training Requirements
7(2)
The Basics of Cantorial Education
7(1)
Admissions: General Information
7(1)
Some First Steps
8(1)
Seminaries Offering Cantorial Education
9(7)
General Course of Study for Cantorial Education
9(1)
Training Programs for Cantors: The Six Seminaries
10(6)
Non-Cantorial Opportunities to Sing Jewish Music
16(1)
Repertoire and Resources
17(3)
Online Sound Archives
17(1)
Jewish Music Publishers
18(1)
Basic Repertoire Suggestions
19(1)
Final Thoughts
20(3)
2 Gregorian Chant and Polyphony
23(32)
Anthony Ruff
Liturgical Origins
24(16)
Textbox: Key Dates in the Development of the Liturgy and Its Chant
25(1)
Textbox: The Liturgical Calendar
26(3)
Textbox: Some Basic Liturgy Terms
29(3)
Textbox: Names of the Offices
32(2)
Table: Structure of the Mass
34(6)
Musical Characteristics
40(6)
Modality
41(4)
Treatment of Text
45(1)
Training Requirements
46(5)
Vocal Technique
47(1)
Interpretation
47(1)
Pronunciation
48(1)
Translation
48(1)
Tempo, Note Lengthening, and Breathing
49(1)
Men and Women Singing Together
50(1)
Conducting
50(1)
Repertoire and Resources
51(1)
Introductory and Scholarly Books about Gregorian Chant
52(1)
Final Thoughts
52(3)
3 Contemporary Catholic Directions
55(36)
Anthony Ruff
Liturgical Origins
55(6)
From Trent to Vatican II
55(1)
The Catholic Reformation and the Birth of the Baroque
56(1)
Two Streams of Catholic Sacred Choral Music
57(2)
A Catholic Ethos of Sacred Music?
59(2)
Musical Characteristics and Repertoire
61(8)
Navigating the Choral Repertoire
61(1)
Musical Performance within the Liturgy
61(1)
The Mass
62(1)
The Requiem
63(1)
Liturgy of the Hours (Office)
64(1)
Sacred Choral Music alongside the Liturgy
65(1)
High Mass, Low Mass, and Vernacular Hymnody
66(1)
Sacred Music in Concert
67(2)
The Second Vatican Council (1962--1965)
69(15)
The Liturgy Constitution: Sacrosanctum Concilium
72(2)
Chapter VI of the Liturgy Constitution
74(1)
The Liturgy of the Second Vatican Council
75(2)
Sing to the Lord: Basic Orientation
77(1)
Sacred Music, Liturgical Music, or Pastoral Music?
77(1)
Congregation versus Choir?
78(2)
Schools of Thought in Catholic Liturgical Music
80(3)
A Step into the Past: Summorum Pontificum and the "Extraordinary Form"
83(1)
Performance Skills for Music in the Liturgy
84(2)
Structures and Organizations
86(1)
Repertoire and Resources
87(2)
Official Church Documents and Studies of Them
87(1)
History and Theory of Worship Music
88(1)
Practical Guides
88(1)
Final Thoughts
89(2)
4 Sacred Choral Traditions
91(28)
Matthew Hoch
Liturgical Origins, Musical Characteristics, and Repertoire
92(6)
Historical Overview
92(2)
Protestant Choral Genres
94(2)
Liturgical Considerations
96(1)
The Organ
96(2)
Training Requirements and Choral Technique
98(9)
Training to Be a Professional Chorister
98(2)
Technical and Stylistic Differences between Choral and Solo Singing
100(3)
Some Thoughts on Vibrato
103(2)
Sight Reading and Musicianship
105(1)
Diction and Language
106(1)
Coping with Vocal Fatigue
107(1)
Church Jobs: Securing Work as a Professional Chorister
107(7)
Auditioning
107(2)
Practical Skills: It's Not Just about How Well You Sing!
109(2)
Diversify Your Skill Set
111(1)
Do I Have to Be Religious?
112(1)
Summer Work: Where to Sing (and Make Money) When Choirs Aren't in Session
113(1)
Additional Resources
114(2)
Listening to Church Music
114(1)
Where to Experience Sacred Choral Music
115(1)
Professional Organizations
115(1)
Further Reading
116(1)
Final Thoughts
116(3)
5 Contemporary Christian Music
119(26)
Sharon L. Radionoff
Liturgical Origins
122(12)
Historical Context
122(1)
Group 1 1940--1960
123(1)
Textbox: Ralph Carmichael
124(3)
Group 2 1961--1989
127(1)
Group 3 1990--present
128(1)
Textbox: Bill Gaither
129(2)
Megachurches
131(1)
Table: American Megachurches
131(1)
Houseplant Churches
132(2)
Mainstream Rock
134(1)
Musical Characteristics
134(1)
Training Requirements
135(1)
Vocal Technique and Contemporary Christian Music
136(3)
Repertoire and Resources
139(3)
Final Thoughts
142(3)
6 Singing and Voice Science
145(18)
Scott McCoy
Pulmonary System: The Power Source of Your Voice
146(5)
Larynx: The Vibrator of Your Voice
151(5)
Vocal Tract: Your Source of Resonance
156(4)
Mouth, Lips, and Tongue: Your Articulators
160(2)
Final Thoughts
162(1)
7 Vocal Health and the Singer of Sacred Music
163(22)
Wendy LeBorgne
General Physical Well-Being
163(1)
Considerations for Whole Body Wellness
164(10)
Nutrition
164(1)
Hydration
165(3)
Tea, Honey, and Gargle to Keep the Throat Healthy
168(1)
Medications and the Voice
169(1)
Reflux and the Voice
170(1)
Physical Exercise
171(1)
Mental Wellness
172(2)
Vocal Wellness: Injury Prevention
174(4)
Train Like an Athlete for Vocal Longevity
174(1)
Vocal Fitness Program
175(1)
Speak Well, Sing Well
176(2)
Avoid Environmental Irritants: Alcohol, Smoking, Drugs
178(1)
Smart Practice Strategies for Skill Development and Voice Conservation
178(2)
Practice Your Mental Focus
179(1)
Specific Vocal Wellness Concerns for the Sacred Music Vocalist
180(2)
Vocal Wellness Tips for Traditional Worship
180(1)
Contemporary Christian Singers
181(1)
Final Thoughts
182(3)
8 Using Audio Enhancement Technology
185(24)
Matthew Edwards
The Fundamentals of Sound
186(2)
Frequency
186(1)
Amplitude
186(1)
Harmonics
187(1)
Resonance
187(1)
Signal Chain
188(16)
Microphones
189(7)
Equalization (EQ)
196(3)
Compression
199(2)
Reverb
201(1)
Delay
202(1)
Auto-Tune
203(1)
Digital Voice Processors
204(1)
The Basics of Live Sound Systems
204(2)
Microphone Technique
206(1)
Final Thoughts
207(2)
Glossary 209(6)
Index 215(14)
About the Editor and Contributors 229
Matthew Hoch is associate professor of voice and coordinator of voice studies at Auburn University. He is the author of several books, including A Dictionary for the Modern Singer. He holds the BM from Ithaca College, MM from the Hartt School, and DMA from the New England Conservatory. Dr. Hoch is the 2016 winner of the Van L. Lawrence Fellowship, awarded jointly by the Voice Foundation and NATS. He actively performs art song, opera, chamber music, and in professional choral settings.

Evan Kent is an oleh chadash ("new immigrant) to Israel, having moved in the summer of 2013. Previously, he was the cantor at Temple Isaiah in Los Angeles for 25 years, also serving on the faculty of Hebrew Union College (the seminary for the Reform movement of Judaism) for 15 years. Dr. Kents publications have appeared in the Journal of Reform Judaism, Shma Magazine, and Conservative Judaism. He also holds a doctorate in music education from Boston University. He is currently on the faculty of Hebrew Union College in Jerusalem, where he teaches classes in both contemporary and historic Jewish music. In addition to his musical and educational pursuits, Evan is an avid runner, having completed multiple marathons and ultra-marathons.

Sharon L. Radionoff is director of the Sound Singing Institute, as well as singing voice specialist/voice technologist at the Texas Voice Center in Houston. She is an active clinician, lecturer, researcher and author. She is the author of two booksThe Vocal Instrument (Plural Publishing) and Faith and Voice (Inkwater Books)as well as many articles and book chapters. Dr. Radionoff earned a BME from Eastern Michigan University, a MM from Southern Methodist University, and a Ph.D. from Michigan State University. She also completed a professional fellowship at the American Institute for Voice and Ear Research Center in Philadelphia under Dr. Robert T. Sataloff.

Fr. Anthony Ruff, OSB is a monk of St Johns Abbey and associate professor of theology at St Johns University/School of Theology and Seminary in Collegeville, Minnesota. He is the founding director of the National Catholic Youth Choir. He chaired the international committee that wrote the English chant for the 2011 Roman Missal. He has published several books and articles in his specialties of hymnody, Gregorian chant, liturgy, and liturgical music. He is moderator of the popular liturgy blog Pray Tell.