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Thadeus
Choir,
Groningen - Saramacca
Voices as clear
as bells
A
children’s choir
of mixed
gender
Founded in 2006
by
volunteers of the Thadeus parish in Groningen,
Saramacca,
Suriname
Because of respect
for humanity: the work of God
If you are
interested, send your e-mail to: ve-na@hotmail.com
mentioning:
“Thadeus Choir”
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Literatuur referenties
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Hieronder worden literatuurreferenties geïndexeerd weergegeven. Sommige referenties zijn gelinkt naar het betreffende artikel of een samenvatting.
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* Arulappan, F.X.; A.R. van Beuningen; J.H.J. Derks; B. Wullings; N.N.A. Tjou-Tam-Sin and J.D. Janse (1996).
Comparison of the indirect and
BBBBB B B B B B
Inleiding in de biotecnology en moleculaire biologie, en de toepassing in moderne genetische modificatie
CCCCC C C C C C
Certificering en kwaliteitssystemen
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* OEPP/EPPO, Bulletin OEPP/EPPO Bulletin 34, 155-157; (2004)
EPPO Standards, Normes OEPP; Diagnostic protocols for regulated pests, Protocols de diagnostic pour les organismes réglementés; Ralstonia solanacearum
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IIIII I I I I I
International Agricultural Modelling and Information Technology (INAMIT) - promoting research, exchange, and application of modelling and information technology in agricultural production.
ISITA - Irish Association for Information Technology in Agriculture
JJJJJ J J J J J
* Janse, J.D.; H.E. van den Beld; J. Elphinstone; S. Simpkins; N.N.A. Tjou-Tam-Sin and J. van Vaerenbergh (2004)
Introduction to Europe of Ralstonia solanacearum biovar 2, race 3 in Pelargonium zonale cuttings
* Janse, J.D.; J.H.J. Derks; B.E. Spit; W. Westerhuis and N.N.A. Tjou-Tam-Sin (1997)
Pseudomonas (Ralstonia) solanacearum biovar 2, race 3 in (seed) potato and National survey for the prescence of the brown rot bacterium in surface water and bitter-sweet.
Annual Report Diagnostic Center 1996 (Verslagen en Mededelingen 186, 1997): 19-20.
KKKKK K K K K K
Kwaliteitssystemen en certificering
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Beschrijving van Latijns Amerikaanse (Zuid Amerikaanse) landen door "LANIC" (Latin American Network Information Center)
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* Pastrik, K.H.; J.G. Elphinstone and R. Pukall (2002)
Sequence analyses and detection of Ralstonia solanacearum by multiplex PCR amplification of 16S-23S ribosomal intergenic spacer region with internal positive control
* Pastrik, K.H. and E. Maiss (2000)
Detection of Ralstonia solanacearum in potato tubers by Polymerase Chain Reaction
The United States Patent and Trademark Office.
Plant diseases page.
Fecap for our fouture.
General Information About 35 U.S.C. 161 Plant Patents- from the U.S. Patent and Trademark Office.
Plaag beheersing technologie (Pest Control TechnologY) (PCT) - waarin behandelend worden: de ontwikkelingen de "PCO" business, en informatie over plaag beheersing industrie (pest control industry)
QQQQQ Q Q Q Q Q
RRRRR R R R R R
SSSSS S S S S S
Beknopte inleiding over Suriname
Beschrijving van Suriname door (LANIC) "Latin American Network Information Center
Schematische topografische kaarten van Suriname door (UT) de universiteitsbibliotheek van Texas
Homepage voor Suriname, toeristische informatie
Wekelijkse samenvatting van nieuws uit Suriname door "Zorg en Hoop"
TTTTT T T T T T
UUUUU U U U U U
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Geldermalsen-TuttiFrutti
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Gorinchem-0183
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FDA CFSAN; het Amerikaanse (V.S) bureau voor voedingsmiddelen en medicijnen - Centrum voor voedselveiligheid en toegepaste voeding; the U.S. Food and Drug Administration - Center for Food Safety and Applied Nutrition
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* Wenneker, M.; M.S.W. Verdel; R.M.W. Groeneveld; C. Kempenaar; A.R. van Beuningen and J.D. Janse (1999)
Ralstonia (Pseudomonas) solanacearum race 3 (biovar 2) in surface water and natural weed hosts: first report on stinging nettle (Urtica dioica)
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Choir
The Vienna Boys' ChoirA choir is a group of people who sing together. They rehearse together and sing at concerts or for religious services. Some choirs are professional (the singers are paid for their work in the choir). Other choirs are amateur choirs. Some amateur choirs let anyone who is interested sing with them, others may ask people to audition to see whether they are good enough before allowing them to join.
There are many kinds of choir:
A mixed choir is a choir with men and women.
A male-voiced choir is a choir for men.
A ladies’ choir is a choir for ladies.
A children’s choir or treble choir is a choir for boys and girls.
There are also boys’ choirs and girls’ choirs .
A male choir may just be for men or for boys and men.
Children and adults do not often mix as adults have more powerful voices, but some mixed choirs may have children as well, especially if the choir is a more social group,e.g. a choir choir.
Choirs usually sing in several parts, most often in four parts. This means that there are two or more singers who are singing the same notes. The parts are called soprano, alto, tenor and bass. This is shown as SATB. If the music divides into more than four parts this can be shown in the same way, e.g. SSAATTBB (for music in eight parts: two soprano lines, two alto lines etc) or SSATB (music in five parts with just the sopranos divided into two groups). Young children’s choirs may be unison choirs (all singing the same line), but older children will sing in two (SS) or three (SSA) parts or more.
The word chorus is used for the choir in an opera or oratorio or similar large work where there are also soloists (Soloists and chorus). The word “chorus” can also be used for the name of a choir.
The word choral means “sung”. A “choral society” is a choir of adults. They usually sing music for large choruses, often with an orchestra accompanying. Beethoven’s “Choral Symphony” is the one which needs a choir as well as an orchestra.
An a cappella choir is a choir which sings without any instrumental accompaniment.
A small choir is often called a chamber choir .
In popular music a group of singers may be simply called a vocal group .
[change] Architectural part of a church
The word choir can also mean the part of a church or cathedral where the choir sit. The choir is between the nave (the main body of the church) and the sanctuary (where the altar is). The singers will divide into two groups and sit facing one another on either side of the choir area in the “choir stalls”. In cathedrals the singers on the left (when facing the altar) are called “cantoris” and those on the right are called “decani” (pronounce: dee-CAY-nye).
[change] Choir of an organ
A large pipe organ may have three or more manuals (keyboards). The third keyboard is called the "choir". Traditionally the sound from the choir organ comes from pipes in a separate box behind the organist, facing the choir (the singers). It is often used to accompany them. Originally it was a separate instrument so that the organist had to turn round to play it. Later it became possible for the organist to play it from the main console.
[change] Some famous choirs
Some famous choirs include:
San Francisco Symphony Chorus
Mormon Tabernacle Choir
Huddersfield Choral Society
BBC Symphony Chorus
BBC Singers
Red Army Choir
National Youth Choir of Great Britain
Vienna Boys’ Choir (German: Wiener Sängerknaben)
Harlem Boys’ Choir
Choir of Kings’ College, Cambridge
The Philippine Madrigal Singers (Madz)
Choir
For other uses, see Choir (disambiguation).
A choir, chorale, or chorus is a musical ensemble of singers.
Melbourne Chorale (back of stage)A body of singers who perform together 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 far from rigid. "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 and/or instruments in a polychoral composition. In typical 18th to 20 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.
Contents [hide]
1 Structure of choirs
1.1 Layout on stage
2 Skills involved in choral singing
3 Historical overview of choral music
3.1 Medieval music
3.2 Renaissance music
3.3 Baroque music
3.4 Classical and Romantic music
3.5 20th and 21st centuries
4 See also
5 References
6 External links
[edit] Structure of choirs
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 Association[1] discourages this usage in favor of "unaccompanied," since "a cappella" denotes singing "as in the chapel" and much unaccompanied music is secular). Accompanying instruments can consist of practically any instruments, from one to a full orchestra; for rehearsals a piano or organ accompaniment is often used even if a different instrumentation is planned for performance, or for rehearsing a cappella music. While Eastern Orthodox churches and some synagogues ban the use of instruments, in churches of the western rite the accompanying instrument is almost always an organ, although in colonial America, the Moravian Church used a string quartet.
Beside the leading of singing in which the congregation participates such as hymns and service music, choirs still sing the full propers (introit, gradual, communion antiphons appropriate for the different times of the liturgical year) at a few churches, chiefly those of the Anglican or Roman Catholic churches; far more common however is the performance of an anthem at the offertory. Roman Catholic Churches use, at their discretion, additional orchestral accompaniment. The most noted Roman Catholic Church in the world to use an orchestral accompaniment is Saint Patrick's Cathedral in New York City.[citation needed]
Choirs can be categorized by the voices they include:
Mixed choirs (i.e., with male and female voices). This is perhaps the most common type, usually consisting of soprano, alto, tenor and bass voices, often abbreviated as SATB. 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 baritone 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 treble or boy soprano) and men singing alto (in falsetto), also known as countertenor. This format is typical of the British cathedral choir.
Female choirs, usually consisting of soprano and alto voices, two parts in each, often abbreviated as SSAA, or as soprano, soprano II, and alto, abbreviated SSA
Men's choirs, usually consisting of two tenors, baritone, and bass, often abbreviated as TTBB (or ATBB if the upper part sings falsetto in alto range like barbershop music, even though this notation is not normally used in barbershop music). Occasionally, a men's choir will have Basso Profondo, the lowest of all male vocal ranges.
Children's choirs, often two-part SA or three-part SSA, sometimes more voices.
Choirs are also categorized by the institutions in which they operate:
Church choirs
College choirs
School choirs
Community choirs (of children or adults)
Professional choirs, either independent (e.g., Chanticleer) or state-supported (e.g., National Chamber Choir of Ireland, Canadian Chamber Choir, Swedish Radio Choir etc.)
Finally, some choirs are categorized by the type of music they perform, such as
Symphonic choirs
Vocal jazz choirs
Show choirs, in which the members sing and dance, often in performances somewhat like musicals
[edit] Layout on stage
One possible layoutThere are various schools of thought regarding how the various sections should be arranged on stage. In symphonic choirs it is common (though by no means universal) to order the choir 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 often sing with the voices all mixed together. 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. Some composers actually specify that choirs should be separated, such as in Benjamin Britten's War Requiem.
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) affect the perception of sound by choristers and auditors. [1]
[edit] Skills involved in choral singing
Choral singers vary greatly in their ability and performance. The best choral singers possess (among others) the following abilities:
to sing precisely in tune and with a vocal timbre which complements the other singers;
to sing at precisely controlled levels of volume, matching the dynamics and expression marked in the score or prescribed by the conductor, and not sing so loudly as to be markedly detectable as an individual voice within the section;
to sight-read music fluently;
to read and pronounce the lyrics accurately and in the pronunciation style specified by the leader, whatever the language may be;
to remain completely alert for long periods, monitoring closely what is going on in a rehearsal or performance;
to monitor one's own singing and detect errors.
to accept direction from others for the good of the group as a whole, even when the singer disagrees esthetically with the instructions;
Singers who have perfect pitch require yet other skills:
to sing music in keys other than that in which it is written, since choirs often sing music in transposed form.
to stay in tune with the ensemble, even in the event the ensemble modulates slightly away from "perfect" pitch
[edit] Historical overview of choral music
[edit] Medieval music
Main article: Medieval music
Church singing, Tacuinum Sanitatis Casanatensis (XIV century)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 1300s), in which there is occasional divisi (where one part divides into two different notes, something a solo singer obviously couldn't handle).
[edit] Renaissance music
Main article: Renaissance music
During the Renaissance, sacred choral music was the principal type of (formal or 'serious') 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 Dufay, Josquin des Prez, Giovanni Pierluigi da Palestrina, 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 with many choirs throughout the world today.
Madrigals are another particularly popular form dating from 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 upbeat balletto, celebrating often silly songs of spring, 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 Johann Joseph Fux. Composers of the early twentieth century also endeavored to extend and develop the Renaissance 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 von Webern wrote his dissertation on the Choralis Constantinus of Heinrich Isaac and the contrapuntal techniques of his serial music seems informed by this study.
[edit] Baroque music
The sudden developments which mark the beginning of the Baroque period around 1600 (instrumental music, opera, chords) were only introduced gradually into choral music. Madrigals continued to be written for the first few decades of the 17th century. Contrapuntal motets continued to be written for the Catholic church in the Renaissance style well into the 18th century.
One of the first innovative choral composers of the Baroque was Claudio Monteverdi (1567-1643), a master of counterpoint, who extended the new techniques pioneered by the Venetian School and the Florentine Camerata. Monteverdi, together with Heinrich Schütz (1585-1672), used the new harmonic techniques to support and reinforce the meaning of the text. They both composed a large amount of music for both a cappella choir as well as choirs accompanied by different ensembles.
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. Grand motets (such as those of Michel-Richard Delalande) separated these sections into separate movements. Oratorios extended this concept into concert-length works, usually loosely based on Biblical stories. Giacomo Carissimi was the principal early composer of oratorios, but most opera composers of the Baroque also wrote oratorios, generally in the same musical style as the operas. George Frideric Handel is the best-known composer of Baroque oratorios, most notably Messiah and Israel in Egypt.
Lutheran composers wrote instrumentally-accompanied cantatas, often based on chorales (hymns). While Dieterich Buxtehude was a significant composer of such works, Johann Sebastian Bach (1685-1750) made the most prominent mark in this style, writing cantatas, motets, passions and other music. While Bach was little-known as a composer in his time, and for almost a century after his death, composers such as Mozart and Mendelssohn assiduously studied and learned from his contrapuntal and harmonic techniques, and his music is regularly performed and admired in the present day.
Hallelujah Chorus
The Hallelujah Chorus, from George Frideric Handel's Messiah, is one of the most famous choruses of all time
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[edit] 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. Mozart's choral music generally does not represent his best work, with a few exceptions (such as the "Great" Mass in C minor and Requiem in D minor). 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 suitable only for the grandest ceremonies. He also pioneered the use of chorus as part of symphonic texture with his Ninth Symphony.
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.
"Wie lieblich sind deine Wohnungen"
(How lovely is thy dwelling place) from Ein deutsches Requiem (A German Requiem) by Johannes Brahms
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[edit] 20th and 21st centuries
As in other genres of music, choral music underwent a period of experimentation and development during the 20th century. While few well-known composers focused primarily on choral music, most significant composers of the early century wrote at least a small amount.
The early late-Romantic composers, such as Richard Strauss and Sergei Rachmaninoff, contributed to the genre, but it was Ralph Vaughan Williams who made one of the greatest contributions of this type, writing new a new Mass in G minor harking back to the Renaissance style, but displaying the vibrancy of the new harmonic languages. He also arranged English and Scottish folk songs. Arnold Schoenberg's Friede auf Erden represents the culmination of the late Romantic style, a tonal kaleidoscope whose tonal centers are constantly shifting (similar to his Verklärte Nacht for strings dating from the same period).
At around this time, at the tail end of the nineteenth century and the start of the twentieth, male voice choirs attained a particular popularity amongst the coal miners of South Wales, with numerous choirs being established at this time, such as the Treorchy Male Choir. Although the mining communities which birthed these choirs largely died out in the 1970s and 1980s with the decline of the Welsh coal industry, many of these choirs have gone from strength to strength and are seen as a 'traditional' part of Welsh culture.
As the century progressed, modernist techniques found their expression in choral music, including serial compositions by Schoenberg, Anton von Webern, and Stravinsky; eclectic compositions by Charles Ives; dissonant counterpoint by Olivier Messiaen (Cinq Rechants) and Paul Hindemith (When Lilacs Last in the Dooryard Bloom'd). Because of the difficulty of singing atonal music, these compositions are rarely performed today, although enjoyed by specialists.
More accessible styles found an enduring legacy in choral music. Benjamin Britten wrote a number of well-known choral works, including the War Requiem, Five Flower Songs, and Rejoice in the Lamb. Francis Poulenc's Motets pour le temps de noël, Gloria, and Mass in G are often performed. A primitivist approach is represented by Carl Orff's widely performed Carmina Burana. In the United States, Aaron Copland, Samuel Barber, and Randall Thompson wrote signature American pieces. In Eastern Europe, Béla Bartók and Zoltán Kodály wrote a small amount of choral music.
Post-World War II music took experimentation to its logical extreme. Sinfonia by Luciano Berio includes a chorus. Krzysztof Penderecki's St. Luke Passion includes choral shouting, clusters, and aleatoric techniques. Richard Felciano wrote for chorus and electronic tape.
Minimalism is represented by Arvo Pärt, whose Johannespassion and Magnificat have received regular performances.
Avant-garde techniques:
Shouting
Fry tones (lowest possible note)
Tone clusters
Wordless chorus, spearheaded by Tchaikovsky's The Nutcracker and Holst's The Planets, was expanded by Schoenberg, Darius Milhaud, and others.
Multiple choirs (two or more choral works performed simultaneously, such as in works by Evgeni Kostitsyn).
Black Spirituals came into greater prominence and arrangements of such spirituals became part of the standard choral repertoire. Notable composers and arrangers of choral music in this tradition include Jester Hairston and Moses Hogan.
During the mid 20th century, barbershop 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.
During the late 20th century, one of the major areas of growth in the choral movement has been in the areas of LGBT choruses. Starting around 1979, gay men's choruses were founded within a period of months in major U.S. cities such as New York, Los Angeles, Seattle and Dallas. Over the last quarter century the number of such groups, men's, women's and mixed, has exploded. GALA Choruses, an associative group, now has well-over 100 member choruses throughout the world.
At the turn of the century, choral music has received a small resurgence of interest due in no small part to a renewed emphasis and interest in multi-cultural music. Ethnomusicology often focuses on vocal music because of the unique combination of both text and music. Although it is too soon to discern trends in the 21st century, the spirit of more practical music which dominated the last decades of the 20th century, most notably represented by John Rutter, Karl Jenkins, and Morten Lauridsen, seems to be continuing in the works of composers like Eric Whitacre and Kentaro Sato.
See also
List of choirs
Come and sing
References
Daugherty, J. Spacing, Formation, and Choral Sound: Preferences and Perceptions of Auditors and Choristers. Journal of Research in Music Education. Vol. 47, Num. 3. 1999.
[edit] External links
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African Children's Choir
African Children's Choir
Origin Uganda
Instrument(s) Drums, A cappella
Years active 29
The African Children's Choir is a large choir made up of children ages 7 to 12 from several African nations. Since its inception, the choir has included children from Uganda, Kenya, Rwanda, South Africa, Nigeria, and Ghana. Many of the children have lost one or both parents to AIDS and other poverty-related diseases, and all of them are victims of extreme poverty.
The Choir was founded in 1984 in Uganda and has expanded since. For each new tour, new children are selected for the choir, which each tour lasting from a year to a year and a half. The choir serves as the main fund raising branch for its parent organization, Music For Life Institute, with proceeds from the choir's work used to fund education and relief efforts for African children affected by poverty and disease. Over 7000 children in several African nations are currently being supported through the program.
The Choir has released a number of albums and DVDs over the years, and has performed at major events and venues around the world. The Choir has appeared at the British House of Commons and the Pentagon, at some of the world's most prestigious halls, including the Royal Albert Hall, the London Palladium, the International Club of Berlin and the Palais des Beaux Arts in Brussels, Belgium.
In 2005 the Choir achieved increased worldwide visibility through several highly publicized performances. They performed at the Live 8 concert in London with Mariah Carey and Paul McCartney, and were featured on The Tonight Show, The Ellen DeGeneres Show. In 2006, they performed at an event for one.org and before the United Nations for its UNAIDS summit. In December of 2006, they made a second appearance on The Tonight Show.
The Choir has also recorded songs for the soundtracks of major motion pictures including Hotel Rwanda and Blood Diamond.
The African Children's Choir currently has two choirs touring the United States, the 28th and 29th choirs in the organization's history. The current choirs are comprised of children from Uganda.
In early 2007, the Choir stayed for a second time at Jubilee High School, performing in the school's new theatre a number of times. The children reportedly enjoyed their stay as rather than be separated and sent to a numeber of households, they stayed together in one area: the sports centre during their first visit and the art room during their second.
The Choir sang during the Canadian Idol season 4 finale.
On April 25, 2007 they performed as part of American Idol's Idol Gives Back singing "You Raise Me Up" with Josh Groban. They also performed on the finale of American Idol Season 6 at the Kodak Theatre on May 23, 2007.
They performed with Dispatch for three sold out concerts at Madison Square Garden in 2007.
[edit] External links
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If you wish to buy books or CDs visit the orders page. Click on the thumbnail pictures for more details on each item, and click to view a detailed brochure of songs for choirs & groups books and CDs.
Uncle Zumpa's Bumper Book of Acapella Belters Book £8
Abasundu Nabamhlope / Ai Da Idem Jano / Akhanamandla / Amazing Grace / Dame Durden/ Down in the River to Pray / E Malama / Give me a Clean heart / Go Placidly / Haere Mai/ Hakuna Mungu Kama Wewe / Hambani Gahle / He Pele / Heke Hau / Helele Mama Afrika / Hey Ho to the Greenwood/ Hey Tswana / Highway to Heaven / I Feel Like Going On / Isileyi Sam / Kyrie Eleison (Byrd) / Lyke Wake Dirge / Mabawuyeke / Oonomothotholo / Rivers of Babylon / Sometimes I feel Like a Motherless Child / Soyilwela / Tahi Nei Tarukino / Te Arawa E / The Voice of the Bard / UQongQot'hwane / Wade in the Water
Uncle Zumpa's Acapella Belters Workdisc £10
Amazing Grace / Dame Durden / Down in the River to Pray / Go Placidly / Haere Mai / Lyke Wake Dirge / Rivers of Babylon / Tahi Nei Tarukino / The Voice of the Bard / Wade in the Water
Audio samples - click on to hear mp3 files:
Amazing Grace - ensemble
Soprano Alto Tenor Bass
Original Songs for Community Choirs
by Nickomo Book & Double Workdisc £20
Caravan of Dreams / Carpe Diem (Choir Version) / Dona Nobis Pacem (Choir Version) / Hallelu / I Can Hear a Train a-Coming / Keep on Singing / May the Road / Open Your Heart (by Colin Harrison & Nickomo) / Shine Your Light / The Tree of Life
Original Songs for Community Choirs
by Nickomo Double Workdisc Package with book above
Audio samples - click on to hear mp3 files:
May the Road
Shine Your Light
Uncle Gumbo's Global Gallery of Performance Pieces for Community Choirs Book & Double Workdisc £20
Careless Love / Haere Mai Nga Iwi / Hana Ava Babanot / Hard Times Come Again No More / Hine E Hine / In The Pines / Jovano Jovanke / The Lady and the Serving Man / Misirlou / My Mother Sang / Ol’ Riley / The Parting Glass / The Great Silkie of Sule Skerry / That Will Never Happen No More / Trgnala Rumjana / Van Diemen’s Land
Uncle Gumbo's Global Gallery of Performance Pieces for Community Choirs Double Workdisc Package with book above
Audio samples - click on to hear mp3 files:
The Great Silkie of Sule Skerry - ensemble
Soprano Alto Tenor Bass
Acappella Christmas Carols Workdisc £10
Angels from the Realms of Glory / Away in a Manger / Boar’s Head Carol / Coventry Carol / Deck the Halls / Ding Dong! Merrily on High / Gaudete / Hark the Herald Angels Sing / In the Bleak Midwinter / O Come All Ye Faithful / O Come, O Come Emmanuel / O Little Town of Bethlehem / Once in Royal David’s City / See Amid the Winter’s Snow / Silent Night / The Angel Gabriel / The Holly and the Ivy / Gloucestershire Wassail / We Three Kings / We Wish You a Merry Christmas
Songs from South Africa - Volume 1 Workdisc £10
Singabahambayo Thina / Hamba Lulu / Noyana / Dimpho Tsarona / Freedom is Coming / Thuma Mina / Somagwaza / Zincinci Nkosi / Lashon Ilang’ / O Nkosi Jesu / Skhanda Mayeza / Puleng Wee / Bawo Wethu / Thanda Ummelwane / Maria
Songs from South Africa - Volume 2 Workdisc £10
Nkosi Sikelel’ iAfrika / Uthixo Uluthando / Jesu Ukukhanya / Asikhatali / Makhe Siyenze / Masithi / Ukrestu Uvukhile / Sibulela Kuthixo / Nkosi Yiba Nenceba / Bonke Bazaliswa Ngomoya / Mafu Zuluvulekani / Prayer of St. Francis
Audio samples - click on to hear mp3 files:
Nkosi Sikelel’ iAfrika - ensemble
Soprano Alto Tenor Bass
Songs from South Africa - Volume 3 Workdisc £10
Asbasundu Nabamhlope / Akhanamandla / Babevuya / Bayandoyika / ‘Click’ Song / Hamba Natil / Hambani Gahle / Hey Tswana / Helele Mama / Isileyi Sam / Mabuyeke / Onnomot’hot’holo / Senzenina
Songs from South Africa - The Book Book £8
The Book contains nearly all of the songs on the first two ‘Songs from South Africa’ Workdiscs (Volumess 1 & 2 as above). The music for most of the Volume 3 songs can be found in ‘Uncle Zumpa’s Bumper Book of Acappella Belters’.
Asikhatali / Bawo Wethu / Bonke Bazaliswa ngoMoya / Dimpho Tsarona / Guhyetu / Hamba Lulu / Jesu Ukukhanya / Lashon’ Ilang’ Umam’ Akabuyi / Mafuzulu Vulekani / Makhe Siyenze / Maria / Masithi / Nkosi Sikelel’ iAfrika / Nkosi Yiba Nenceba / Noyana / O Nkosi Jesu / Prayer of St. Francis / Puleng Wee / Sibulela kuThixo / Singabahambayo Thina / Skhanda Mayeza / Thanda / Thuma Mina / Ukrestu Uvukile / Uthixo Uluthando / Zincincinkosi
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