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This comprehensive handbook details the fundamentals and forms of choral composition and expands upon the coverage and number of topics in Archibald T. Davison's 1945 classic text Choral Composition . Historical trends in choral composition are traced with a special emphasis on the profusion of changes that occurred throughout the twentieth century, particularly since 1950. Early chapters focus on characteristics of voice, notation, text, devices, part writing, a cappella and instrumental accompaniments, and choral forms. Hines goes on to analyze the utilization of soloists and choruses with instrumental chamber ensembles, orchestra, and the role of the chorus in opera, operetta, musicals, and music theater. A final chapter addresses practical concerns: music publication and how the artist can function effectively in that world.

Tabla de contenidos provista por Syndetics

• Music Examples(p. ix)
• Preface(p. xiii)
• 1. Introduction(p. 1)
• 2. Choral Notation(p. 17)
• 3. Text and Textual Devices(p. 35)
• 4. Choral Composition Devices(p. 63)
• 5. Choral Part Writing, Voicings, Accompaniments, and Forms(p. 95)
• 6. Types of Choruses(p. 125)
• 7. Soloists with Chorus(p. 159)
• 8. Keyboard Instruments and Instrumental Ensembles with Chorus(p. 187)
• 9. Orchestra with Chorus and Soloists(p. 205)
• 10. Chorus in Music Dramas: Opera, Operetta, Musical Comedy, and Music Theater(p. 229)
• 11. Publication(p. 255)
• Bibliography(p. 265)
• Index(p. 271)

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CHOICE Review

Hines seeks to provide "a comprehensive manual on the art and craft of choral composition" for a broad audience, but particularly for aspiring composers and arrangers. Ten chapters address such topics as notation, text, varied chorus voicings, and accompaniment. Some information is useful, including the helpful score illustrations; however, much of the advice is formulaic or overly restrictive. In an effort to produce clear categories and all-encompassing lists, the author falsifies the range of creative possibilities. He overgeneralizes (presenting ideas as absolute) and discusses many compositional techniques in terms of practical considerations, detached from signification or aesthetic issues. The book needs more material about how voices work and sound within a choral context so that composers can make independent, informed musical decisions. Women's choruses receive minimal attention; they are collapsed with children's choirs under the heading for treble chorus. Women composers are virtually absent from the lengthy lists of examples at the end of each chapter, even the one for treble voices. The book is marred by some basic factual inaccuracies and typographical and grammatical errors. University libraries with large budgets may wish to acquire this title, since so little is available on the topic, but in general is it not recommended. J. M. Edwards emerita, Macalester College

Notas de autor provistas por Syndetics

ROBERT STEPHAN HINES has authored or co-authored five books on twentieth-century choral and orchestral music, Singers' Liturgical Latin , and freshman and sophomore ear training. He has held teaching or administrative posts at Southern Illinois University, Wichita State University. and the University of Hawaii at Manoa. In Hawaii, he served as choral director, department chairman and a decade as dean of the College of Arts and Humanities.