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In German, the word Choral may as well refer to Protestant congregational singing as to other forms of vocal (church) music, including Gregorian chant. [1] The English word which derived from this German term, that is chorale, however almost exclusively refers to the musical forms that originated in the German Reformation.
Plainchant, associated with the Catholic Church, was largely replaced with choral music sung in the vernacular language—usually German—and the corresponding musical forms from Catholic countries, such as the motet, were replaced with forms that used as their basis the chorales instead of the plainsong from which much of the motet repertory ...
The third stanza of the eponymous chorale in Johann Sebastian Bach's setting as the final movement of his chorale cantata Wachet auf, ruft uns die Stimme, BWV 140. A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant Church service.
[6] or SSATB, with divided sopranos, is a typical scoring in English church music. [ 5 ] : 322 [ 7 ] A listing for Bach's Mass in B minor includes the maximum of SSATB soloists and SSAATTBB eight-part choir and also indicates that it contains choral movements for SATB, SSATB, SSATBB and SATB/SATB, as well as arias for individual soloists, and ...
[1] Within choral music, singers voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB). As a result, the typical choral situation affords many opportunities for misclassification to occur. [1]
Musical literacy is the reading, writing, and playing of music, as well an understanding of cultural practice and historical and social contexts.. Music literacy and music education are frequently talked about relationally and causatively, however, they are not interchangeable terms, as complete musical literacy also concerns an understanding of the diverse practices involved in teaching music ...
Seven countries, an ocean and over a thousand miles stand between them and their dreams for a future
In music, one voice per part (OVPP) is the practice of performing choral music with a single voice on each vocal line. In the specific context of Johann Sebastian Bach's works it is also known as the Rifkin hypothesis, set forth in Joshua Rifkin's 1982 article and expanded in Andrew Parrott's book The Essential Bach Choir. [1]