The summer of 1967 was a turbulent time. In the middle of the hippie-filled “Summer of Love,” war broke out in the Middle East and the US escalated its bombing of Vietnam. That June also saw the most famous rock band in the world release their magnum opus and change music history and American pop culture forever.
Conjecture and supposition tend to dog public figures who avoid the press. But the attention paid to Trump’s embattled Chief Strategist Steve Bannon is uncanny. Bannon’s reluctance to speak with the media—combined with a steady stream of commentary on him from anonymous associates and friends—is fueling speculation about his agenda and ideology.
It’s that time of year again for the unique, bizarre, extravagant and often politically charged spectacle that is the Eurovision Song Contest. The contest which began in 1956 is popular worldwide, with viewer ratings increasing each year (reaching over 200 million in 2016).
On Friday, 19 May 1967, British newspapers carried the announcement that the British Broadcasting Corporation had chosen the Beatles to represent the UK in the first global television broadcast.
One day we stumbled upon something that would end up helping Johnny on this twice daily haul. Given our shared history as musicians, it’ll come as no surprise that Johnny and I often talked about music. As Johnny was prepping to take the first step, we joked about singing a march so he could march his way down the hall. It was Johnny’s idea to use Sousa’s Stars and Stripes, a march he liked.
Recent research on African-American jazz icon Duke Ellington (1899-1974) has increasingly focused on the composer-pianist-bandleader’s post-World War II achievements: a torrent of creativity across film, theater, and dance perhaps unrivaled in American music. But the unleashing of Ellington’s “late career” genius was not a foregone conclusion. It would take an ambitious — if not a […]
Many small choral groups struggle with a range of problems such as ageing choruses, dwindling membership and audience, unsuitable repertoire, a recently retired musical director, poor finances, weak administrative infrastructure, and inadequate publicity. Simon Ible reflects on how to revitalize your choir.
Students on the autism spectrum have a natural ability to perceive pitch and to reproduce melodic patterns. These natural inclinations become building blocks to learning in music.
Louder isn’t better, it’s just louder: what eighteenth-century performance practice teaches about dynamics
To the modern player, when dynamic indications are found in the score, the typical reaction is to think in terms of changes in volume. Not entirely true for the eighteenth-century musician – dynamic indications mean much more than loud or soft. Volume shift was only part of the story and was a rather new and […]
This is the time of year at which you are most likely to hear J. S. Bach’s St. John Passion, which tends to be performed in accordance with the Christian liturgical calendar even when it is programmed in a secular concert.
Congregations have historically been limited to singing hymns and worship songs, with supplementary music performed by the choir. In light of this, it is interesting to compare choral works suitable for Holy Week that specifically include music for the congregation.
The harp is an ancient instrument found in a wide variety of sizes, shapes, and tunings in musical cultures throughout the world. In the West, the harp has been used to accompany singing in religious rituals and court music.
Why isn’t religious music allowed at a civil marriage ceremony, and what advice is there for couples wanting a choir at their Registry Office ceremony where only non-religious music is permitted? Before civil marriage was introduced on 17 August 1836, couples could only marry legally in a Church of England ceremony. The revolutionary new ‘Act for Marriages in England’ meant that a marriage could take place in any licensed venue (religious or not) with no restrictions on the choice of music.
Albert Rice, author of the recently released Notes for Clarinetists sat down with Oxford University Press to answer a few questions about his love for music from an early age, musical influences, and his dedication to research on the history of the clarinet.
A group of colleagues from OUP recently attended the American Choral Directors Association Conference in Minneapolis. Ben Selby, Director of Publishing at OUP reflects on the value of the connections made at the event.
Today we celebrate what would have been American composer Samuel Barber’s 107th birthday. Upon the composer’s death in 1981, New York Times music critic Donal Henahan, penned an obituary that asserted “probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim.”