A History of the Handel Choir of Baltimore (1935-2013): Music, Spread Thy Voice Around chronicles the history of one of America’s longstanding volunteer choral organizations, one that has followed in the footsteps of venerable ensembles such as the Handel and Haydn Society (Boston), the Bethlehem Bach Choir, and the Handel Society of Dartmouth College. It begins by considering music in the city of Baltimore, and establishing the reasons surrounding the choir’s formation. Substantial coverage is given to the influence of Katharine M. Lucke, one of Baltimore’s grandes dames—as a composer, mover, and shaker—and a vital force in Baltimore’s National Music Week from her position on the faculty of the Peabody Conservatory of Music. Subsequently the book focuses on the contributions of each of the ten conductor/music directors, the vicissitudes of funding a volunteer choir, the choir’s contributions to music education in the greater Baltimore metropolitan area, and the choir’s repertoire. The book contains extensive appendices describing the choir’s repertoire, its presidents, and its unbroken string of Messiah performances. Throughout more than seventy-five years, the Handel Choir of Baltimore has remained true to its original charter as an amateur choral organization that aspires to the highest standards of artistic excellence. A History of the Handel Choir of Baltimore is an invaluable resource to those interested in choral music studies, the running of an amateur, volunteer choir, and other disciplines of music studies.

A History of the Handel Choir of Baltimore (1935-2013): Music, Spread Thy Voice Around highlights the work of a not-for-profit choir that has weathered the vicissitudes of wars, civil unrest, and economic downturns that have closed all too many volunteer musical organizations. It provides an indication of the sorts of repertory such a group performs, discusses issues concerning fundraising, and provides liberal quotations from the local press concerning the group's important outreach to the greater Baltimore community. The choir, in existence more than seventy-five years, is a steadfast element of the city's and region's cultural landscape and this book will be a valuable resource to many disciplines in music studies.

The human voice an incredibly beautiful and expressive instrument, and when multiple voices are unified in tone and purpose a powerful statement is realized. No wonder people have always wanted to sing in a communal context-a desire apparently stemming from a deeply rooted human instinct. Consequently, choral performance has often been related historically to human rituals and ceremonies, especially rites of a religious nature. This Historical Dictionary of Choral Music examines choral music and practice in the Western world from the Medieval era to the 21st century, focusing mostly on familiar figures like Bach, Beethoven, Brahms, and Britten. But its scope is considerably broader, and it includes all sorts of music-religious, secular, and popular-from sources throughout the world. It contains a chronology, an introduction, a bibliography, and more than 1,000 cross-referenced dictionary entries on important composers, genres, conductors, institutions, styles, and technical terms of choral music.

A New Perspective for the Use of Dialect in African American Spirituals: History, Context, and Linguistics investigates the use of the African American English (AAE) dialect in the musical genre of the spiritual. Perfect for conductors and performers alike, this book traces the history of the dialect, its use in early performance practice, and the sociolinguistic impact of the AAE dialect in the United States. Felicia Barber explores AAE’s development during the African Diaspora and its correlations with Southern States White English (SSWE) and examines the dialect’s perception and how its weaponization has impacted the performance of the genre itself. She provides a synopsis of research on the use of dialect in spirituals from the past century through the analysis of written scores, recordings, and research. She identifies common elements of early performance practice and provides the phonological and grammatical features identified in early practice. This book contains practical guide for application of her findings on ten popular spiritual texts using the International Phonetic Alphabet (IPA). It concludes with insights by leading arrangers on their use of AAE dialect as a part of the genre and practice.

French Vocal Literature: Repertoire in Context introduces singers to the history and performance concerns of a vast body of French songs from the twelfth century to the present, focusing on works for solo voice or small vocal ensembles with piano or organ accompaniment, suitable for recitals, concerts, and church performances. Georgine Resick presents vocal repertoire within the context of trends and movements of other artistic disciplines, such as poetry, literature, dance, painting, and decorative arts, as well as political and social currents pertinent to musical evolution. Developments in French style and genre—and comparisons among individual composers and national styles—are traced through a network of musical influence. French Vocal Literature is ideally suited for voice teachers and coaches as well as student and professional performers. The companion website, frenchvocalliterature.com, provides publication information, a discography, links to online recordings and scores, a chronology of events pertinent to music, a genealogy of royal dynasties, and a list of governmental regimes.

Often underestimated, lyric diction is a portal to powerful performance. It is through lyric diction that singers are able to communicate the wishes and desires of the poet, as well as the composer. Amanda Johnston takes a modernized approach in English and German Diction for Singers, making German increasingly accessible through the recognition that English and German are related languages, and thus have many things in common with regard to lyric diction. This comprehensive resource includes a thorough analysis of the German and English languages, as well as lists, tables, charts, musical examples, and even tongue twisters. Designed for both undergraduate and graduate courses in German and English lyric diction, this book is an invaluable resource for classical singers, vocal coaches, and voice teachers alike.

Choral-Orchestral Repertoire: A Conductor’s Guide, Omnibus Edition offers an expansive compilation of choral-orchestral works from 1600 to the present. Synthesizing Jonathan D. Green’s earlier six volumes on this repertoire, this edition updates and adds to the over 750 oratorios, cantatas, choral symphonies, masses, secular works for large and small ensembles, and numerous settings of liturgical and biblical texts for a wide variety of vocal and instrumental combinations. Each entry includes a brief biographical sketch of the composer, approximate duration, text sources, performing forces, available editions, and locations of manuscript materials, as well as descriptive commentary, a discography, and a bibliography. Unique to this edition are practitioner’s evaluations of the performance issues presented in each score. These include the range, tessitura, and nature of each solo role and a determination of the difficulty of the choral and orchestral portions of each composition. There is also a description of the specific challenges, staffing, and rehearsal expectations related to the performance of each work. Choral-Orchestral Repertoire is an essential resource for conductors and students of conducting as they search for repertoire appropriate to their needs and the abilities of their ensembles.