305:. About half a century before the advent of a party part song, the old hook notation began to be replaced by a non-linear one, close to the modern one. Orthodox fraternities initiated the introduction of party singing. They opened schools at monasteries and introduced the study of part song in fraternal and church choirs. The first mention of such a study is associated with the Lviv Stauropean Brotherhood and dates back to the 1590s. The theoretical foundations of part song have been set out in a number of treatises. The most famous of them and the only surviving (in several editions) - "Musical Grammar" by
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or less voices. Seven-part works have not yet been found, so they are not included in this classification, but most likely they must also be included in concerts. According to the themes of the texts and the predominant musical means, the part songs are divided into two large groups: vivatno-panegyric (glorious) and lyrical-dramatic (repentant).
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According to the number of voices and the nature of polyphony, Ukrainian part songs are divided into three groups: party concerts, party motets and party works with constant polyphony. Party concerts include all works with 8 or more voices, and motets include party works of variable polyphony with 6
94:
describes the Glee as "a uniquely
English creation...the convivial music of all-male musical societies". The classic Glee is "essentially a work for unaccompanied men's voices, in not less than three parts...simpler in texture, less sophisticated in design, and generally based on the simplest kind
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The part song was soon established as more suitable for mixed-voice choirs, its development marked by increasing complexity of form and contrapuntal content. It gradually attracted the attention of a wider range of composers. One of these was
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were the principal exponents, often bringing a high-minded seriousness to their settings of great
English poetry both contemporary and from earlier epochs. More recent major contributors to the genre include
111:, already influential in the English choral tradition through his oratorios. Translated into English, his part songs became very popular in England. Mendelssohn was familiar with Glees, his teacher
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included a simple piece of choral music (alternating secular and sacred) inside every issue, which choral society members subscribed to collectively for the sake of the music.
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of 1950). Interest declined rapidly from the 1950s as more specialist choirs began to champion the madrigal tradition.
155:, who was renowned for his Shakespearean settings. Around the turn of the 20th century in the heyday of the part song,
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wrote examples for male voices only. These were followed by mixed-voiced pieces setting German romantic poetry by
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273:. Similarly in France, the first Orphéons choral societies for men were established in the mid-19th century.
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Composers have also successfully used the part song medium to make contemporary arrangements of traditional
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Part songs were quickly seen as a commercial opportunity by music publishers. From the early 1840s
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choir, but sometimes for an all-male or all-female ensemble. Part songs are intended to be sung
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325:. Part songs flourished in the USA from 1860 well into the 1930s. Examples were composed by
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The
Mendelssohn Glee Club was founded in New York in 1866. Its second musical director was
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219:. Part songs can sometimes be sacred as well as secular. The unaccompanied
688:, Vol. 85, No. 1216, Centenary Number 1844-1944 (June, 1944), pp. 173-176
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51:
47:
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Richard Franko
Goldman. 'After Handel - in Britain and America', in
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The part song was created in Great
Britain, growing out of the
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of diatonic harmony". One of the most famous examples is
245:male-voice music society, was founded in Berlin by
78:tradition (though initially with more emphasis on
710:, Vol. 94, No. 1330 (December 1953), pp. 562-563
139:Early British composers of part songs include
617:, ed. N. Temperley (London, 1981), pp. 242–65
615:Music in Britain: the Romantic Age, 1800–1914
552:Cooper, John Michael; Kinnett, Randy (2013).
54:sacred text, written or arranged for several
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558:. Lanham, MD: Scarecrow Press. p. 449.
223:can be closely related in form and texture.
293:all wrote examples for mixed-voice choirs.
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721:Sing, Hear: the German Romantic Partsong
555:Historical Dictiionary of Romantic Music
133:Musical Times and Singing Class Circular
727:Vol. 134, No. 1803, May 1993, pp. 254–5
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658:
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613:: 'Glees, Madrigals and Partsongs', in
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746:Encyclopedia of the History of Ukraine
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119:in 1808, the German equivalent of the
58:. Part songs are commonly sung by an
7:
742:"Партесний спів [Partsong]"
86:part writing) and the 18th century
518:, texts by four authors, music by
25:
759:William Osborne. 'Partsong (USA)'
703:The Disappearance of the Partsong
506:, texts by six authors, music by
633:, Oxford University Press (1986)
530:– text by Shakespeare, music by
399:, text by Shakespeare, music by
301:In Ukraine part song replaced a
1:
682:'The 'Musical Times' Century'
588:A Dictionary of Musical Terms
46:that consists of a song to a
650:(Pelican, 1963), pp. 192-194
665:Judith Blezzard, 'Partsong'
803:
631:English Romantic Partsongs
629:Hillier, Paul. Preface to
401:George Alexander Macfarren
335:George Whitefield Chadwick
153:George Alexander Macfarren
484:Charles Villiers Stanford
438:, Op. 62, No. 3, text by
161:Charles Villiers Stanford
231:were published in 1871.
527:Three Shakespeare Songs
452:, Op 68 No 1, music by
353:, and more recently by
349:, Edward MacDowell and
170:Ralph Vaughan Williams
460:As Torrents in Summer
397:Orpheus with his lute
391:Robert Lucas Pearsall
347:Margaret Ruthven Lang
247:Carl Friedrich Zelter
229:Five Sacred Partsongs
203:, including those of
113:Carl Friedrich Zelter
117:Berliner Liedertafel
103:, composed in 1790.
82:harmony and less on
27:Form of choral music
504:Songs of Springtime
421:The Long Day Closes
141:John Liptrot Hatton
763:Grove Music Online
740:Korniy L. (2011).
719:Judith Blezzard: '
680:Scholes, Percy.A.
669:Grove Music Online
494:Christina Rossetti
251:Heinrich Marschner
725:The Musical Times
708:The Musical Times
698:Herbert Antcliffe
686:The Musical Times
597:978-1-4067-6292-1
515:Five Flower Songs
371:Ye spotted snakes
239:The first German
221:liturgical anthem
194:Five Flower Songs
174:Granville Bantock
109:Felix Mendelssohn
16:(Redirected from
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323:Edward MacDowell
190:Benjamin Britten
145:R. J. S. Stevens
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450:Calme des nuits
430:Arthur Sullivan
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267:Peter Cornelius
265:, Mendelssohn,
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101:Glorious Apollo
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590:. Read Books.
586:Baker (2007).
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490:Twilight Night
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406:Sweet and Low
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42:is a form of
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648:Choral Music
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611:Michael Hurd
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569:. Retrieved
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498:John Ireland
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475:The Bluebird
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468:Edward Elgar
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343:Henry Hadley
339:Arthur Foote
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186:Gustav Holst
165:Edward Elgar
157:Hubert Parry
138:
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115:founded the
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100:
97:Samuel Webbe
92:Paul Hillier
73:
44:choral music
39:
35:
31:
29:
496:, music by
482:, music by
466:, music by
454:Saint Saens
442:, music by
436:Waldesnacht
428:, music by
412:, music by
389:, music by
377:, music by
375:Shakespeare
331:Dudley Buck
279:Saint-Saëns
242:Liedertafel
149:Henry Smart
56:vocal parts
787:Part songs
782:Song forms
776:Categories
539:References
508:E J Moeran
492:, text by
478:, text by
464:Longfellow
462:, text by
440:Paul Heyse
424:, text by
408:, text by
373:, text by
317:In the USA
297:In Ukraine
255:Carl Weber
201:folk songs
178:Arnold Bax
84:polyphonic
80:homophonic
70:In Britain
64:a cappella
52:liturgical
327:Amy Beach
249:in 1808.
235:In Europe
121:Glee club
36:part-song
32:part song
18:Partsongs
571:3 August
410:Tennyson
365:Examples
263:Schumann
259:Schubert
225:Sullivan
205:Scotland
76:madrigal
40:partsong
646:(ed.),
287:Debussy
283:Delibes
217:Ireland
209:England
50:or non-
48:secular
765:(2001)
723:', in
671:(2001)
594:
562:
534:(1951)
522:(1950)
510:(1930)
500:(1922)
486:(1910)
470:(1896)
456:(1883)
446:(1874)
444:Brahms
432:(1868)
416:(1865)
393:(1854)
381:(1782)
275:Gounod
271:Brahms
761:, in
706:, in
684:, in
667:, in
291:Ravel
213:Wales
192:(his
592:ISBN
573:2022
560:ISBN
357:and
289:and
269:and
253:and
215:and
188:and
163:and
151:and
88:Glee
60:SATB
227:'s
130:'s
99:'s
38:or
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123:.
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34:,
30:A
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575:.
20:)
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