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A choir ( // KWIRE; also known as a chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm, hand, and facial 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 choir) and the second to groups that perform in theatres or concert halls, but this distinction is not rigid. Choirs may sing without instrumental accompaniment, with the accompaniment of a piano or pipe organ, a small ensemble, or an orchestra.
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 polychoral composition. In typical 18th- to 21st-century oratorios and masses, 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.
Choirs are often led by a conductor 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: Thomas Tallis wrote a 40-part motet entitled Spem in alium , for eight choirs of five parts each; Krzysztof Penderecki'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 a cappella singing (although the American Choral Directors Associationdiscourages this usage in favor of "unaccompanied", since a cappella denotes singing "as in the chapel" and much unaccompanied music today is secular). Accompanying instruments vary widely, from only one instrument (a piano or pipe organ) to a full orchestra of 70 to 100 musicians; for rehearsals a piano or organ 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.
Conducting is the art of directing a musical performance, such as a choral concert, by way of visible gestures with the hands, arms, face and head. The primary duties of the conductor or choirmaster are to unify performers, set the tempo, execute clear preparations and beats (meter), and to listen critically and shape the sound of the ensemble.
In most choirs, the same individual acts as musical director (responsible for deciding the repertoire and engaging soloists and accompanists), chorus master (or répétiteur) (responsible for training and rehearsing the singers), and conductor (responsible for directing the performance). However, these roles may be divided, especially when the choir is combined with other forces, for example in opera.
The conductor or choral director typically stands on a raised platform and he or she may or may not use a baton; 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 classical music history, leading an ensemble while playing an instrument was common. In Baroque music from the 1600s to the 1750s, conductors performing in the 2010s may lead an ensemble while playing a harpsichord or the violin (see Concertmaster). Conducting while playing a piano may also be done with musical theatre pit orchestras. Communication is typically non-verbal during a performance (this is strictly the case in art music, but in jazz big bands or large pop ensembles, there may be occasional spoken instructions). However, in rehearsals, 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 scores, 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 orchestras 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 auditions, and promoting their ensemble in the media.
Historically, the sung repertoire divides into sacred or religious music and secular music. While much religious music has been written with concert performance in mind, its origin lies in its role within the context of liturgy.
Most Eastern Orthodox Christian churches, some American Protestant groups, and traditional Jewish synagogues do not accompany their songs with musical instruments. In churches of the Western Rite the accompanying instrument is usually the organ, although in colonial America, the Moravian Church 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.
In addition to leading of singing in which the congregation participates, such as hymns and service music, some church choirs sing full liturgies, including propers (introit, gradual, communion antiphons appropriate for the different times of the liturgical year). Chief among these are the Anglican and Roman Catholic churches; far more common however is the performance of anthems or motets at designated times in the service.
One of the main classifications of choirs is by gender and age since these factors greatly affect how a choir sounds and what music it performs. The types are listed here in approximate descending order of prevalence at the professional and advanced amateur or semi-professional levels.
The women's, mixed children's, and all-girls' choirs tend to be professionally less prevalent than the high voiced boys' choirs, the lower voiced men's choruses, or the full SATB choirs.
Choirs are also categorized by the institutions in which they operate:
Some choirs are categorized by the type of music they perform, such as
This section needs expansionwith: British cathedral choirs are usually also made from pupils enrolled in schools... This section is otherwise very US-centric.. You can help by adding to it. (April 2020)
In the United States, middle schools and high schools often offer choir as a class or activity for students. Some choirs participate in competitions. One kind of choir popular in high schools is show choir. Middle school and high school is an important time, as it is when students' voices are changing. Although girls experience voice change, it is much more drastic in boys. A lot of literature in music education has been focused on how male voice change works and how to help adolescent male singers.Research done by John Cooksey categorizes male voice change into five stages, and most middle school boys are in the early stages of change. The vocal range of both male and female students may be limited while their voice is changing, and choir teachers must be able to adapt, which can be a challenge to teaching this age range.
Nationally, male students are enrolled in choir at much lower numbers than their female students.The music education field has had a longtime interest in the "missing males" in music programs. Speculation as to why there aren't as many boys in choir, and possible solutions vary widely. One researcher found that boys who enjoy choir in middle school may not always go on to high school choir because it simply doesn't fit into their schedules. Some research speculates that one reason that boys' participation in choir is so low is because the U.S. does not encourage male singers. Often, schools will have a women's choir, which helps the balance issues mixed choirs face by taking on extra female singers. However, without a men's choir also, this could be making the problem worse by not giving boys as many opportunities to sing as girls. Other researchers have noted that having an ensemble or even a workshop dedicated to male singers can help with their confidence and singing abilities.
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 Venetian polychoral style). Some composers actually specify that choirs should be separated, such as in Benjamin Britten's War Requiem . 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.
The origins of choral music are found in traditional music, as singing in big groups is extremely widely spread in traditional cultures (both singing in one part, or in unison, like in Ancient Greece, as well as singing in parts, or in harmony, like in contemporary European choral music).
The oldest unambiguously choral repertory that survives is that of ancient Greece, of which the 2nd century BC Delphic hymns and the 2nd century AD. hymns of Mesomedes are the most complete. The original Greek chorus sang its part in Greek drama, and fragments of works by Euripides ( Orestes ) and Sophocles ( Ajax ) are known from papyri. The Seikilos epitaph (2c BC) is a complete song (although possibly for solo voice). One of the latest examples, Oxyrhynchus hymn (3c) is also of interest as the earliest Christian music.
Of the Roman drama's music a single line of Terence surfaced in the 18th century. However, musicologist Thomas J. Mathiesencomments that it is no longer believed to be authentic.
The earliest notated music of western Europe is Gregorian chant, 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 St. Ambrose (4th century) and Gregory the Great (6th century) up to the present. During the later Middle Ages, a new type of singing involving multiple melodic parts, called organum, became predominant for certain functions, but initially this polyphony was only sung by soloists. Further developments of this technique included clausulae, conductus and the motet (most notably the isorhythmic motet), which, unlike the Renaissance 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 Old Hall Manuscript (1420, though containing music from the late 14th century), in which there are apparent divisi, one part dividing into two simultaneously sounding notes.
During the Renaissance, sacred choral music was the principal type of formally notated music in Western Europe. Throughout the era, hundreds of masses and motets (as well as various other forms) were composed for a cappella 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 Guillaume Dufay, Josquin des Prez, Giovanni Pierluigi da Palestrina, John Dunstable, and William Byrd; the glories of Renaissance polyphony were choral, sung by choirs of great skill and distinction all over Europe. Choral music from this period continues to be popular withmany choirs throughout the world today.
The madrigal, a partsong 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 balletto, 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 18th century music theorist Johann Joseph Fux. Composers of the early 20th century also wrote in Renaissance-inspired styles. Herbert Howells wrote a Mass in the Dorian mode entirely in strict Renaissance style, and Ralph Vaughan Williams's Mass in G minor is an extension of this style. Anton Webern wrote his dissertation on the Choralis Constantinus of Heinrich Isaac and the contrapuntal techniques of his serial music may be informed by this study.
The Baroque period in music is associated with the development around 1600 of the figured bass and the basso continuo system. The figured bass part was performed by the basso continuo group, which at minimum included a chord-playing instrument (e.g., pipe organ, harpsichord, lute) and a bass instrument (e.g., violone). Baroque vocal music explored dramatic implications in the realm of solo vocal music such as the monodies of the Florentine Camerata and the development of early opera. 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 concertato, combining voices and instruments; its origins may be sought in the polychoral music of the Venetian school. Claudio Monteverdi (1567–1643) brought it to perfection with his Vespers and his Eighth Book of Madrigals, which call for great virtuosity on the part of singers and instruments alike. (His Fifth Book includes a basso continuo "for harpsichord or lute".) His pupil Heinrich Schütz (1585–1672) (who had earlier studied with Giovanni Gabrieli) introduced the new style to Germany. Alongside the new music of the seconda pratica , contrapuntal motets in the stile antico 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 classified 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. Verse anthems alternated accompanied solos with choral sections; the best-known composers of this genre were Orlando Gibbons and Henry Purcell. Grands motets (such as those of Lully and Delalande) separated these sections into separate movements. Oratorios (of which Giacomo Carissimi was a pioneer) extended this concept into concert-length works, usually based on Biblical or moral stories.
A pinnacle of baroque choral music, (particularly oratorio), may be found in George Frideric Handel's works, notably Messiah and Israel in Egypt . 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 Chandos Anthems to larger groups (whose proportions are still quite different from modern orchestra choruses):
Yesterday [Oct. 6] there was a Rehearsal of the Coronation Anthem in Westminster-Abby, set to musick by the famous Mr Hendall: there being 40 voices, and about 160 violins, Trumpets, Hautboys, Kettle-Drums and Bass' proportionable..!— Norwich Gazette, October 14, 1727
Lutheran composers wrote instrumentally accompanied cantatas, often based on chorale tunes. Substantial late 17th-century sacred choral works in the emerging German tradition exist (the cantatas of Dietrich Buxtehude being a prime example), though the Lutheran church cantata did not assume its more codified, recognizable form until the early 18th century. Georg Philipp Telemann (based in Frankfurt) wrote over 1000 cantatas, many of which were engraved and published (e.g. his Harmonische Gottesdienst) and Christoph Graupner (based in Darmstadt) over 1400. The cantatas of Johann Sebastian Bach (1685–1750) are perhaps the most recognizable (and often-performed) contribution to this repertoire: his obituary mentions five complete cycles of his cantatas, of which three, comprising some 200 works, are known today, in addition to motets. Bach himself rarely used the term cantata. Motet refers to his church music without orchestra accompaniment, but instruments playing colla parte with the voices. His works with accompaniment consists of his Passions, Masses, the Magnificat and the cantatas.
A point of hot controversy today is the so-called "Rifkin hypothesis," which re-examines the famous "Entwurff" Bach's 1730 memo to the Leipzig 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, Joshua Rifkin concludes that Bach's music was normally written with one voice per part in mind. A few sets of original performing parts include ripieni who reinforce rather than slavishly double the vocal quartet.
Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. Mozart's mostly sacred choral works stand out as some of his greatest (such as the "Great" Mass in C minor and Requiem in D minor, the latter of which is highly regarded). Haydn 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 The Creation and The Seasons . Beethoven wrote only two masses, both intended for liturgical use, although his Missa solemnis 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 Ninth Symphony and Choral Fantasia.
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 Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem . Rossini's Stabat mater, Schubert's masses, and Verdi's Requiem also exploited the grandeur offered by instrumental accompaniment. Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's L'enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nänie .
A few composers developed a cappella music, especially Bruckner, 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, Schumann, 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 "part-song") and either a cappella or with simple instrumentation. At the same time, the Cecilian movement attempted a restoration of the pure Renaissance style in Catholic churches.
Apart from their roles in liturgy and entertainment, choirs and choruses may also have social-service functions,including for mental health treatment or as therapy for homeless and disadvantaged people, like the Choir of Hard Knocks.
A cappella music is a performance by a singer or a singing group without instrumental accompaniment, or a piece intended to be performed in this way. The term a cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato musical styles. In the 19th century, a renewed interest in Renaissance polyphony, coupled with an ignorance of the fact that vocal parts were often doubled by instrumentalists, led to the term coming to mean unaccompanied vocal music. The term is also used, rarely, as a synonym for alla breve.
A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir.
Bella Voce is a Chicago-based chamber chorus specializing in classical a cappella music. It has been called "Chicago's premier professional chamber choir."
Igor Stravinsky composed his Mass between 1944 and 1948. This 19-minute setting of the Roman Catholic Mass exhibits the austere, Neoclassic, anti-Romantic aesthetic that characterizes his work from about 1923 to 1951. The Mass also represents one of only a handful of extant pieces by Stravinsky that was not commissioned. Part of the motivation behind its composition has been cited by Robert Craft and others as the product of a spiritual necessity, as Stravinsky intended the work to be used functionally.
Ukrainian folk music includes a number of varieties of traditional, folkloric, folk-inspired popular music, and folk-inspired European classical music traditions.
The choirs at Brigham Young University (BYU) consist of four auditioned groups: BYU Singers, BYU Concert Choir, BYU Men's Chorus, and BYU Women's Chorus. Each choir is highly accomplished and performs from an extensive repertoire. Together, the choirs have recorded and released over 30 albums. The choirs perform frequently throughout the academic year, both as individual ensembles as well as a combined group.
The Mass No. 2 in E minor, WAB 27 is a setting of the mass ordinary for eight-part mixed choir and fifteen wind instruments, that Anton Bruckner composed in 1866.
Axel Theimer is a conductor, composer, singer, author and professor at the College of Saint Benedict/Saint John's University (CSB/SJU) in Minnesota. He conducts the professional a cappella choir Kantorei, the National Catholic Youth Choir and the Amadeus Chamber Symphony, and as of 2020 is in his 52nd year as a music faculty member at CSB/SJU, where he conducts CSB/SJU Chamber Choir and the SJU Men's Chorus. He is on the faculty and is executive director of the VoiceCare Network. He is an acknowledged expert on healthy vocal production for solo and choral singing, and the effect of conducting gesture on vocalists and instrumentalists. His choirs are known and praised for their particularly warm, natural, expressive and efficient sound.
Notable recordings of Johann Sebastian Bach's St Matthew Passion (Matthäus-Passion) are shown below in a sortable table.
The listing shows recordings of the Mass in B minor, BWV 232, by Johann Sebastian Bach. The selection is taken from the 281 recordings listed on the Bach Cantatas Website as of 2018, beginning with the first recording by a symphony orchestra and choir to match, conducted by Albert Coates. Beginning in the late 1960s, historically informed performances paved the way for recordings with smaller groups, boys choirs and ensembles playing period instruments, and eventually to recordings using the one-voice-on-a-vocal-part scoring first argued for by Joshua Rifkin in 1982.
Recordings of the St John Passion are shown as a sortable table of selected notable recordings of Johann Sebastian Bach's St John Passion, BWV 245. The selection is taken from the 241 recordings listed on bach-cantatas as of 2015.
Charles James Kennedy Osborne Scott was an English organist and choral conductor who played an important part in developing the performance of choral and polyphonic music in England, especially of early and modern English music.
Cantores Minores is a choir of the Helsinki Cathedral, and Finland's oldest and most successful boys' choir. The patron of the choir is the President of Finland. The choir consists of around three hundred 4- to 25-year-old boys and young men.
Siegfried Strohbach was a German composer and conductor. He founded and directed choirs and the vocal ensemble Collegium Cantorum and is notable for the composition of choral music. He was a conductor of major theaters of Lower Saxony and a professor of the Musikhochschule Hannover as well as a composer.
The Fest-Kantate Preiset den Herrn, WAB 16, is a festive cantata composed by Anton Bruckner in 1862 for the celebration of the laying of the foundation stone of the new Mariä-Empfängnis-Dom of Linz.
O Jesu Christ, meins Lebens Licht, BWV 118, is a sacred motet composed by Johann Sebastian Bach. It is known to have been performed at a funeral, and was possibly a generic work intended for funerals. When the work was first published in the nineteenth century it was called a cantata, perhaps because it has an instrumental accompaniment. While it is not an a cappella work, modern scholarship accepts it is a motet.
Washington, D.C. and its environs are home to an unusually large and vibrant choral music scene, including choirs and choruses of many sizes and types.
Cantores Minores is a Polish male voice choir established in 1990 and affiliated with St. John’s Archcathedral in Warsaw.
This article includes a list of commercial recordings of the motets of Johann Sebastian Bach. Bach motets have often been recorded as a set. However, other motets are attributed to Bach and there is some doubt about the authorship of Lobet den Herrn, alle Heiden, BWV 230, one of the BWV "six".
This descriptive study is an investigation into the history of the formation of the nation's first gay men's chorus, and its relevance to the lesbigay community as a social service.
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