• Program De Cantat La Tastatura
• Program De Cantat La Orga
• Program De Cantat La Orga Pe Pc

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Rehearsal in the of, showing carved choirstalls A choir ( ) (also known as a quire, chorale or chorus) is a of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the repertoire, which spans from the Medieval era to the present, or repertoire.

Most choirs are led by a, who leads the performances with arm and face gestures. A body of singers who perform together as a group is called a choir or chorus.

The former term is very often applied to groups affiliated with a church (whether or not they actually occupy the ) and the second to groups that perform in theatres or concert halls, but this distinction is far from rigid. Choirs may sing without instrumental accompaniment, with the accompaniment of a or, with a small ensemble (e.g., and for a piece), or with a full of 70 to 100 musicians.

The term 'Choir' has the secondary definition of a subset of an ensemble; thus one speaks of the 'woodwind choir' of an orchestra, or different 'choirs' of voices or instruments in a composition. In typical 18th- to 21st-century and, chorus or choir is usually understood to imply more than one singer per part, in contrast to the quartet of soloists also featured in these works.

Contents. Structure Choirs are often led by a or choirmaster. Most often choirs consist of four sections intended to sing in four part harmony, but there is no limit to the number of possible parts as long as there is a singer available to sing the part: wrote a 40-part entitled, for eight choirs of five parts each; 's Stabat Mater is for three choirs of 16 voices each, a total of 48 parts. Other than four, the most common number of parts are three, five, six, and eight. Choirs can sing with or without instrumental accompaniment. Singing without accompaniment is called singing (although the discourages this usage in favor of 'unaccompanied,' since a cappella denotes singing 'as in the chapel' and much unaccompanied music today is ). Accompanying instruments vary widely, from only one instrument (a piano or pipe organ) to a full of 70 to 100 musicians; for rehearsals a or accompaniment is often used, even if a different instrumentation is planned for performance, or if the choir is rehearsing unaccompanied music.

Many choirs perform in one or many locations such as a church, opera house, or school hall. In some cases choirs join up to become one 'mass' choir that performs for a special concert.

In this case they provide a series of songs or musical works to celebrate and provide entertainment to others. Role of conductor is the art of directing a performance, such as a choral, by way of visible gestures with the hands, arms, face and head. The primary duties of the conductor or choirmaster are to unify, set the, execute clear preparations and beats , and to listen critically and shape the sound of the ensemble. The conductor or choral director typically stands on a raised platform and he or she may or may not use a; using a baton gives the conductor's gestures greater visibility, but many choral conductors prefer conducting with their hands for greater expressiveness, particularly when working with a smaller ensemble.

In the 2010s, most conductors do not play an instrument when conducting, although in earlier periods of history, leading an ensemble while playing an instrument was common. In from the 1600s to the 1750s, conductors performing in the 2010s may lead an ensemble while playing a or the violin (see ).

Conducting while playing a may also be done with. Communication is typically non-verbal during a performance (this is strictly the case in, but in jazz or large pop ensembles, there may be occasional spoken instructions). However, in, the conductor will often give verbal instructions to the ensemble, since they generally also serve as an artistic director who crafts the ensemble's interpretation of the music. Conductors act as guides to the choirs they conduct. They choose the works to be performed and study their, to which they may make certain adjustments (e.g., regarding tempo, repetitions of sections, assignment of vocal solos and so on), work out their interpretation, and relay their vision to the singers. Choral conductors may also have to conduct instrumental ensembles such as if the choir is singing a piece for choir and orchestra.

They may also attend to organizational matters, such as scheduling rehearsals, planning a concert season, hearing, and promoting their ensemble in the media. In worship services Accompaniment. Egyptian Alexandria Jewish choir of Rabbin Moshe Cohen at Samuel Menashe synagogue, Egypt churches, some American Protestant groups, and traditional do not use instruments. In churches of the the accompanying instrument is usually the organ, although in, the used groups of strings and winds. Many churches which use a contemporary worship format use a small amplified band to accompany the singing, and Roman Catholic Churches may use, at their discretion, additional orchestral accompaniment.

Liturgical function In addition to leading of singing in which the participates, such as and service music, some church choirs sing full liturgies, including (introit, gradual, communion antiphons appropriate for the different times of the ). Chief among these are the and churches; far more common however is the performance of or at designated times in the service. Types. Mixed choirs (with male and female voices). This is perhaps the most common type, usually consisting of, and voices, often abbreviated as. Often one or more voices is divided into two, e.g., SSAATTBB, where each voice is divided into two parts, and SATBSATB, where the choir is divided into two semi-independent four-part choirs. Occasionally voice is also used (e.g., SATBarB), often sung by the higher basses.

In smaller choirs with fewer men, SAB, or Soprano, Alto, and Baritone arrangements allow the few men to share the role of both the tenor and bass in a single part. Male choirs, with the same SATB voicing as mixed choirs, but with boys singing the upper part (often called or ) and men singing alto (in ), also known as. This format is typical of the British cathedral choir (e.g., ). Female choirs, usually consisting of soprano and alto voices, two parts in each, often abbreviated as SSAA, or as soprano I, soprano II, and alto, abbreviated SSA.

Men's choirs, or Male Chorale, usually consisting of two tenors, baritone, and bass, often abbreviated as TTBB (or ATBB if the upper part sings in range). ATBB may be seen in some music. Children's choirs, often two-part SA or three-part SSA, sometimes more voices. This includes. Boy choirs typically sing SSA or SSAA, sometimes including a tenor part for boys whose voices are changing. Indian music choral group, takes the elements of western music in Indian music. Is a pioneer in this.

Choirs are also categorized by the institutions in which they operate. Choir in front of the orchestra There are various schools of thought regarding how the various sections should be arranged on stage. It is the conductor's decision on where the different voice types are placed.

In symphonic choirs it is common (though by no means universal) to order the choir behind the orchestra from highest to lowest voices from left to right, corresponding to the typical string layout. In a cappella or piano-accompanied situations it is not unusual for the men to be in the back and the women in front; some conductors prefer to place the basses behind the sopranos, arguing that the outer voices need to tune to each other. More experienced choirs may sing with the voices all mixed. Sometimes singers of the same voice are grouped in pairs or threes. Proponents of this method argue that it makes it easier for each individual singer to hear and tune to the other parts, but it requires more independence from each singer. Opponents argue that this method loses the spatial separation of individual voice lines, an otherwise valuable feature for the audience, and that it eliminates sectional resonance, which lessens the effective volume of the chorus.

For music with double (or multiple) choirs, usually the members of each choir are together, sometimes significantly separated, especially in performances of 16th-century music (such as works in the ). Some composers actually specify that choirs should be separated, such as in 's. Some composers use separated choirs to create 'antiphonal' effects, in which one choir seems to 'answer' the other choir in a musical dialogue. Consideration is also given to the spacing of the singers. Studies have found that not only the actual formation, but the amount of space (both laterally and circumambiently) affects the perception of sound by choristers and auditors. History Antiquity. Relief, now in, showing with actresses (possibly from ) carrying masks and drums The origins of choral music are found in, as singing in big groups is extremely widely spread in traditional cultures (both singing in one part, or in, like in Ancient Greece, as well as singing in parts, or in, like in contemporary European choral music).

The oldest unambiguously choral repertory that survives is that of, of which the 2nd century BC and the 2nd century AD. Hymns of are the most complete. The original sang its part in, and fragments of works by and are known from. The (2c BC) is a complete song (although possibly for solo voice).

One of the latest examples, (3c) is also of interest as the earliest. Of the drama's music of surfaced in the 18c. However, musicologist Thomas J. Mathiesen comments that it is no longer believed to be authentic.

Medieval music. Church singing, Casanatensis (14th century) The earliest notated music of western Europe is, along with a few other types of chant which were later subsumed (or sometimes suppressed) by the Catholic Church. This tradition of unison choir singing lasted from sometime between the times of (4th century) and (6th century) up to the present.

During the later Middle Ages, a new type of singing involving multiple melodic parts, called, became predominant for certain functions, but initially this was only sung by soloists. Further developments of this technique included, and the (most notably the motet), which, unlike the motet, describes a composition with different texts sung simultaneously in different voices. The first evidence of polyphony with more than one singer per part comes in the (1420, though containing music from the late 14th century), in which there are apparent divisi, one part dividing into two simultaneously sounding notes. Renaissance music. 's Cantoria, Florence During the, sacred choral music was the principal type of formally notated music in Western Europe.

Throughout the era, hundreds of and (as well as various other forms) were composed for choir, though there is some dispute over the role of instruments during certain periods and in certain areas. Some of the better-known composers of this time include, and; the glories of Renaissance were choral, sung by choirs of great skill and distinction all over Europe. Choral music from this period continues to be popular with many choirs throughout the world today. The, a conceived for amateurs to sing in a chamber setting, originated at this period. Although madrigals were initially dramatic settings of unrequited-love poetry or mythological stories in Italy, they were imported into England and merged with the more dancelike, celebrating carefree songs of the seasons, or eating and drinking. To most English speakers, the word madrigal now refers to the latter, rather than to madrigals proper, which refers to a poetic form of lines consisting of seven and eleven syllables each.

The interaction of sung voices in Renaissance polyphony influenced Western music for centuries. Composers are routinely trained in the 'Palestrina style' to this day, especially as codified by the 18c music theorist.

Composers of the early 20th century also wrote in Renaissance-inspired styles. Wrote a Mass in the Dorian mode entirely in strict Renaissance style, and 's is an extension of this style. Wrote his dissertation on the of and the contrapuntal techniques of his may be informed by this study.

Program De Cantat La Tastatura

Baroque music The in music is associated with the development around 1600 of the and the system. The use of figured bass was a dramatic change in the way composers thought of musical pieces. Unlike a typical Renaissance piece, which was based around, a Baroque composer using figured bass thought of a piece as a. The figured bass part was performed by the basso continuo group, which at minimum included a chord-playing instrument (e.g., ) and a bass instrument (e.g., ).

Baroque vocal music explored dramatic implications in the realm of solo vocal music such as the of the and the development of early. This innovation was in fact an extension of established practice of accompanying choral music at the organ, either from a skeletal reduced score (from which otherwise lost pieces can sometimes be reconstructed) or from a basso seguente, a part on a single staff containing the lowest sounding part (the bass part). A new genre was the vocal, combining voices and instruments; its origins may be sought in the music of the. (1567–1643) brought it to perfection with his and his Eighth Book of Madrigals, which call for great virtuosity on the part of singers and instruments alike. His pupil (1585–1672) (who had earlier studied with ) introduced the new style to Germany. Alongside the new music of the, contrapuntal motets in the or old style continued to be written well into the 19th century. Choirs at this time were usually quite small and that singers could be as suited to church or to chamber singing.

Monteverdi, himself a singer, is documented as taking part in performances of his Magnificat with one voice per part. Independent instrumental accompaniment opened up new possibilities for choral music. Alternated accompanied solos with choral sections; the best-known composers of this genre were and. (such as those of and ) separated these sections into separate movements., pioneered by, extended this concept into concert-length works, usually loosely based on Biblical stories. The pinnacle of the oratorio is found in 's works, notably and.

While the modern chorus of hundreds had to await the growth of Choral Societies and his centennial commemoration concert, we find Handel already using a variety of performing forces, from the soloists of the to larger groups (whose proportions are still quite different from modern orchestra choruses): Yesterday Oct. 6 there was a Rehearsal of the in, set to musick by the famous Mr Hendall: there being 40 voices, and about 160, and Bass' proportionable.! — Norwich Gazette, October 14, 1727 Lutheran composers wrote instrumentally accompanied, often based on.

While was a significant composer of such works, it was largely up to the next generation to undertake cantata cycles on texts for the entire. Wrote choral cantatas for Frankfurt (later published in solo versions as the Harmonische Gottesdienst) and cycles for Darmstadt, but (1685–1750) made a truly monumental contribution: his obituary mentions five complete cycles of, of which three, comprising some 200 works, are known today, in addition to.

Bach himself rarely used the term cantata. Motet refers to his church music without orchestra accompaniment, but instruments playing with the voices. His works with accompaniment consists of his, the and the cantatas. Baroque cantata with one voice per part A point of hot controversy today is the so-called 'Rifkin hypothesis,' which re-examines the famous ' Entwurff' Bach's 1730 memo to the City Council ( A Short but Most Necessary Draft for a Well Appointed Church Music) calling for at least 12 singers.

In light of Bach's responsibility to provide music to four churches and be able to perform double choir compositions with a substitute for each voice, concludes that Bach's music was normally written with in mind. A few sets of original performing parts include ripieni who reinforce rather than slavishly double the vocal quartet.

The Hallelujah Chorus, from 's, is one of the most famous choruses of all time Problems playing this file? Classical and Romantic music Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. 's choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the 'Great' Mass in C minor and in D minor, the latter of which is often considered the greatest Requiem Mass of all time).

Became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios and. Wrote only two masses, both intended for liturgical use, although his is probably suitable only for the grandest ceremonies due to its length, difficulty and large-scale scoring. He also pioneered the use of chorus as part of symphonic texture with his and.

In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as 's and, and 's. 's Stabat mater, 's masses, and 's also exploited the grandeur offered by instrumental accompaniment.

Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's and and are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's and. A few composers developed a cappella music, especially, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets. The amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert, Mendelssohn, Brahms, and others. These 'singing clubs' were often for women or men separately, and the music was typically in four-part (hence the name ') and either a cappella or with simple instrumentation.

At the same time, the attempted a restoration of the pure Renaissance style in Catholic churches. A choir of more than 30,000 participants performing to an audience of 80,000 on the 25th At the turn of the 21st century, choral music has received a resurgence of interest partly due to a renewed interest in accessible choral idioms.

Multi-cultural influences are found in 's St. Mark Passion, which melds the Bach-style passion form with Latin American street music, and 's Chinese Myths Cantata melds atonal idioms with traditional Chinese melodies played on traditional Chinese instruments. Some composers began to earn their reputation based foremost on their choral output, including the highly popular and.

The large scale dramatic works of seem to hearken back to the theatricality of Orff, and the music of continues the tradition of boundary-pushing choral works from the United Kingdom begun by Britten, and. Meanwhile, composers such as, known primarily for film scores, and prominent concert orchestral composers such as, and also contribute vital additions to the choral repertoire. A number of traditions originating outside of classical concert music have enriched the choral repertoire as well as provided new outlets to composers:. At the end of the 19th century, male voice choirs became popular with the of, and numerous choirs were established including the, and Cor Meibion.

Program De Cantat La Orga

Although the mining communities which gave rise to these choirs largely died out in the 1970s and 1980s with the decline of the Welsh coal industry, many of these choirs continue, and are seen as a traditional part of and perform worldwide. Not all of the choirs were based on coal – some started in the rugby clubs, such as and Morriston Rugby Choir, while others such as were formed out of a youth choir. Black entered the concert repertoire with the tours of the, and arrangements of such spirituals are now part of the standard choral repertoire. Notable composers and arrangers of choral music in this tradition include, and.

During the mid 20th century, quartets began experimenting with combining larger ensembles together into choruses which sing barbershop music in 4 parts, often with staging, choreography and costumes. The first international barbershop chorus contest was held in 1953 and continues to this day.

Contemporary choirs, such as and London Contemporary Voices in the United Kingdom, have become popular since the beginning of the 21st century. They usually perform rock, pop, soul and songs in close-part vocal harmony, often incorporating dance moves.

See also., a festive song or hymn often sung by a choir or a few singers with or without instrumental accompaniment. References.; Joyce Bourne Kennedy (2007).

Oxford Concise Dictionary of Music (Fifth ed.). Oxford University Press, Oxford. Conducting. Archived from the original on April 15, 2013. Retrieved 2016-08-30. CS1 maint: BOT: original-url status unknown.

^ Fisher, Ryan A. Journal of Research in Music Education. 62 (3): 277–290. Robinson, Russell L. (September 2007). 'Junior High/Middle School Choirs'. Choral Journal.

48 (3): 41–48. ^ Elpus, Kenneth (2015-01-02). Music Education Research. 17 (1): 88–102. ^ Sweet, Bridget (2010-02-25). Update: Applications of Research in Music Education. 28 (2): 5–12.

^ Demorest, Steven M. 'Encouraging male participation in chorus'. Music Educators Journal.

Daugherty, J. 'Spacing, Formation, and Choral Sound: Preferences and Perceptions of Auditors and Choristers.' Journal of Research in Music Education. Logos. Warren Anderson and Thomas J.

'Terence', The New Grove Dictionary of Music and Musicians, ed. Tyrrell (London: Macmillan, 2001), xxv, 296. Bent, Margaret. Grove Music Online. Oxford University Press.

His Fifth Book includes a basso continuo 'for harpsichord or lute'. Richard Wistreich: in Early Music, February 1994 External links. Databases. – choral repertoire database.

– Gregorian and plainchant Professional organizations. (Europe). (Scotland). (UK). (UK). (North America).

(Canada). (US). (Brazil) Resources. (UK). ( chorus association). (international choir network). (Pilot research on Collective singing in Europe) Media., online choral music radio stream., weekly choral music radio program Reading.

Page, Anne, B mus. Chisholm, Hugh, ed. 6 (11th ed.).

Program De Cantat La Orga Pe Pc

Cambridge University Press. Chisholm, Hugh, ed. 6 (11th ed.). Cambridge University Press.