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Almost all Anglican church music is written for choir with or without organ accompaniment. Adult singers in a cathedral choir are often referred to as lay clerks, while children may be referred to as choristers or trebles. [8] In certain places of worship, such as Winchester College in England, the more archaic spelling quirister is used. [9]
Choirs are often led by a conductor or choirmaster/mistress or a choir director. 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: Thomas Tallis wrote a 40-part motet entitled Spem in alium, for eight choirs of five parts each; Krzysztof Penderecki's ...
The Guild of Church Musicians is a charity to help encourage high standards in church music. [1] [2] It offers members examinations, courses, and awards.The guild is a fellowship of those who sincerely desire to offer the best in music to the service of the church: amateur and professional musicians unified in a common ideal.
Indeed, the church choir, as I once knew it, seems to be on the way out. Which is why the Rev. Gene Townsel, a longtime preacher, vocal coach, and choir director has organized the “3-Night Choir ...
The place where the singers are based is sometimes called the ritual choir, as opposed to the architectural choir or constructional choir. [ 4 ] The back-choir or retroquire is a space behind the high altar in the choir of a church, in which there may be a small altar standing back to back with the other.
Stalls assigned to Decanus (left) and Praecentor (right) at Lincoln Cathedrals's St Hugh's Choir . Decani (/ d ɪ ˈ k eɪ n aɪ /; Latin: 'of the dean') is the side of a church choir occupied by the Dean. [1] In English churches, this is typically the choir stalls on the south side of the chancel. The opposite side is known as Cantoris. [2]
The church features a Gospel choir where members sign and sing. Marsh said they play the music extremely loud so the choir can feel the sound’s reverberations to learn their songs and hymns.
Vocal church music of this period also contained other types of chorale settings, the general format of which is indicated as chorale fantasia: one voice, not necessarily the voice with the highest pitch, carries the chorale tune, with the other voices rather contrapuntal than homorhythmic, often with other melodies than the chorale tune, and ...