Chorale

developed over a century of time. Of the many genres of musical composition developed in historical Baroque time period the “baroque chorale” is regularly performed today in sacred and secular performances

controlled and systematic.” This may be seen particularly in Bach’s Orgel-Buchlein, more commonly known as “The Little Organ Book,” which contains 46 chorale preludes for organ which has been argued to be “a key to understanding his music as a whole.” Each of these chorales within the ‘Orgel-Buchlein’ takes an original Lutheran chorale and develops it by adding a motivic development. Further, throughout Bach’s Orgel-Buchlein, he explores diverse range of expressive techniques, techniques

Chorale and Alleluia                 Howard Hanson (1896 - 1981) Dr. Howard Hanson enjoyed a celebrated international music career including becoming the first composer to enter the American Academy in Rome in 1921, an appointment as director of the Eastman School of Music in 1924, and winning a Pulitzer Prize in 1944 for his Symphony No. 4. Chorale and Alleluia was Dr. Hanson's first of five works for wind band, commissioned in 1954 by Edwin Franko Goldman for the American Bandmasters Association

Group conformity is also found in this ensemble. When performing, everyone in St. Elizabeth’s Chorale is expected to wear the same black dress, pearls, tights, and black flats. Hair must be a natural color and tied back out of the face. Some people find this troubling; they believe that not letting members express themselves decreases the functioning of the group. In actuality, by making the women dress the same for performances, the focus is kept on the mission of the choir, to make beautiful music

Concert Review The concert was Singer’s Choice performed by the Temple College Chorale. It took place on the fourth of April at 7:30 PM in the Temple College Auditorium PAC. The compositions performed were as follows: Zadok the Priest by George Frideric Handel, How Lovely Are the Messengers by Felix Mendelssohn, Daemon Irrepit Callidus by György Orbán, Open Thou Mine Eyes by John Rutter, Cantique De Jean Racine by Gabriel Fauré, The Awakening by Joseph M. Martin, Elijah Rock arranged by Moses

revolutionary, for it cements the ranks of the people; it arouses them and leads them onward,” claimed Dmitri Shostakovitch. Composers create music to influence but also to entertain people. On November 4, 2017, I attended the Midland-Odessa Symphony & Chorale concert at Wagner Noël Performing Arts Center, which was conducted by Gary Lewis. During the performance, the orchestra performed works by several composers: Giuseppe Verdi’s Overture to La forza del destino, Dmitri Shostakovich’s Cello Concerto No

what he was writing for? And how were these techniques used in his music? In this paper, I will discover what Baroque era techniques Bach used in some of his music, what kind of compositional models Bach used, and how Bach’s Great Eighteen organ chorales were received. An example of one of these techniques is the parody technique. The parody technique is when a composer takes an existing piece of music and creates a new piece based off of the original piece (Mann, Alfred, Bach’s parody techniques

Prelude, Chorale and Fugue, was composed in 1884. His exploration in the complete piano resources clearly shown in this grand work, as presented in Prelude—lyrical, Choral—chordal, and Fugue—contrapuntal. The essence of this piece lies in the theme which is “Cross motive” referring to the birth, death, and the resurrection of Jesus Christ. And presenting the goodness overcoming the evil, in the dark key and solemn, painful character of prelude, jointed the two by the serenity of chorale and ended

The first one is a Baroque chorale-prelude style which is a liturgical works for organ with chorale tune. This style generally includes polyphonic setting with chorale melody, and obbligato is occasionally appeared at above or below of the melody line. For example, Brahms sets low strings, two horns and organ (ad lib.) at the short orchestral introduction

Oratorio and cantata were two genres that re-emerged in the first half of the eighteenth century. They were already important musical alternatives to opera by the mid-seventeenth century, but differed in nearly every respect from the genres of the same names found in the early eighteenth century. As genres late in the period, they both bespoke the traditions from which they originally sprang and permitted new recombination of the musical elements of these same traditions. The oratorio and cantata