Templi carmina; songs of the temple, or, Bridgewater collection of sacred music.

For 2-4 voices; the bass voice is figured.

Templi carmina; songs of the temple, or, Bridgewater collection of sacred music.

Compiled by Bartholomew Brown, Benjamin Holt and Nahum Mitchell.

Templi carmina; songs of the temple, or, Bridgewater collection of sacred music.

Compiled by Bartholomew Brown, Benjamin Holt and Nahum Mitchell.

Sacred duets. [music] : a collection of two-part songs by the best composers /

v. 1. For two high voices -- v. 2. For high and low voices.

Echoes from Moravia = Klänge aus Mähren : op. 32 : thirteen two-part songs for soprano and alto, with pianoforte accompaniment /

Label mounted on t. p. reads: English translations by Th. Baker.

Breton folk-songs : set to music (for soprano, contralto, tenor and bass) /

English words also printed as text.

A list of all the songs & passages in Shakspere which have been set to music.

Mode of access: Internet.

Tech songs : the M.I.T. kommers book /

For 1-4 men's voices with and without piano acc.

Old mammy's lullaby songs [music] : With an instrumental medley.

Mode of access: Internet.

Organ repertoire : a book of pipe organ music for church and concert /

(cont.): Cradle song : berceuse / Walter Spinney -- Andantino from Fantasia in C minor / W.A. Mozart -- Marche de fête / Edgar A. Barrell -- Minster march : from Lohengrin / R. Wagner -- Sunrise : op. 7, no. 1 / Sigfrid Karg-Elert -- Song without words = Chant sans paroles : op. 2, no. 3 / P. Tschaikowsky -- Prayer on motives from R. Wagner's Lohengrin : op. 54 / B. Sulze -- Festal march : op. 67, no. 8 / E.R. Kroeger -- Christmas march / G. Merkel -- Duke Street : postlude II / Geo. E. Whiting -- Canzonetta from the Raymond overture / A. Thomas -- Anniversary march : introducing Auld lang syne : op. 10 / J. Lawrence Ebb -- Two cradle songs = Zwei Wiegenliedchen / Herbert Botting -- Minuet from the overture to Berenice / G.F. Handel -- Funeral march = Marche funèbre : op. 35 / Franz Chopin -- March in B♭ / Wm. Faulkes -- The Son of God goes forth to war : postlude VI / Geo. E. Whiting -- Nocturne des anges : op. 18, no. 1 / George F. Vincent -- Hosanna! / Paul Wachs -- Roumanian bridal march / Herbert W. Wareing.

Learning English is Fun! Incidental vocabulary acquisition of music and traditional class ninth graders via listening to pop songs

Finnish youth are constantly exposed to music and lyrics in English in their free time. It is likely that this has a positive effect on vocabulary learning. Learning vocabulary while simultaneously accompanied with melodies is likely to result in better learning outcomes. The present thesis covers a study on the vocabulary learning of traditional and music class ninth graders in a south-western upper comprehensive school in Finland, mainly concentrating on vocabulary learning as a by-product of listening to pop music and learning vocabulary through semantic priming. The theoretical background presents viable linguistic arguments and theories, which provide clarity for why it would be possible to learn English vocabulary via listening to pop songs. There is conflicting evidence on the benefits of music on vocabulary learning, and this thesis sets out to shed light on the situation. Additionally, incorporating pop music in English classes could assist in decreasing the gap between real world English and school English. The thesis is a mixed method research study consisting of both quantitative and qualitative research materials. The methodology comprises vocabulary tests both before and after pop music samples and a background questionnaire filled by students. According to the results, all students reported liking listening to music and they clearly listened to English pop music the most. A statistically significant difference was found when analysing the results of the differences in pre- and post-vocabulary tests. However, the traditional class appeared to listen to mainstream pop music more than the students in the music class, and thus it seems likely that the traditional class benefited more from vocabulary learning occurring via listening to pop songs. In conclusion, it can be established that it is possible to learn English vocabulary via listening to pop songs and that students wish their English lectures would involve more music-related vocabulary exercises in the future. Thus, when it comes to school learning, pop songs should be utilised in vocabulary learning, which could also in turn result in more diverse learning and the students could, more easily than before, relate to the themes and topics of the lectures. Furthermore, with the help of pop songs it would be possible to decrease the gap between school English and real-world English.

Voices of the Unheard

Adversity has the effect of eliciting talents, which, in prosperous circumstances, would have lain dormant. Horace - Roman lyric poet and satirist 65BC – 8 BC This quotation from Horace could well be the chorus to a medley of songs sung by people who face extraordinary adversity and have gained emotional resilience through music making. In this chapter we present three composition ventures that are stories or verses in a new song and whose chorus summarises the nature of the resilience factors present in the narratives. We are aware that words on a page like this can have the effect of filtering out the engaging nature of musical experience and reduce music to a critique or an evaluation of its aesthetic value. This disjuncture between language and the ephemeral, embodied experience is a problem for those who use these creative processes in therapeutic and salutogenic ways (Antonovsky, 1996) for public health. The notion of salutogenic health, put simply, delineates it from therapy in that the processes focus upon wellness rather than therapy. Whilst we include evidence from the fields of community music therapy (Pavlicevic, 2004; Leitschuh et al., 1991), neuroscience (Bittman et al., 2001) and community music (Bartleet et al., 2009) the framework for a salutogenic health outcome in community music is one which seeks to employ music practices and the qualities of music making that provide positive health benefit to communities –to enhance health and well being rather than the “treatment” of disorders. It is essentially a holistic and interdisciplinary study. Therapy and salutogenic health are not mutually exclusive as both depend upon the qualities of music experience to affect change. Collecting, analysing and presenting evidence of change in human behaviour that can be directly attributed to creative music making is a problem of evaluation.

Collaborative digital media performance with generative music systems

Music is inherently active and interactive. Like technologies before them, digital systems provide a range of enhanced music performance opportunities. In this paper we outline the educational advantages of ensemble performance in which generative media systems are integrated. As a concrete example, we focus on our work with the jam2jam system which uses generative music processes to enhance collaborative music making. We suggest that our research points toward a new class of activities that maintain the well established benefits of ensemble performance while adding cultural and pedagogical value by leveraging the capabilities and cachet of digital media practices.

Songs of Resilience

The chapters of this book form a persuasive chorus of social practices that advocate the use of music to build a capacity for resilience in individuals and groups. As a whole they exemplify music projects that share common features aligned with an ecological view of reform in health, education and social work systems. Internationally renowned and early career academics have collaborated with practitioners to sing ‘Songs of Resilience’; some of which are narratives that report on the effects of music practices for a general population, and some are based on a specific approach, genre or service. Others are quite literally ‘songs’ that demonstrate aspects of resilience in action. The book makes the connection between music and resilience explicit by posing the following questions—Do music projects in education, health and social services build a measurable capacity for resilience amongst individuals? Can we replicate these projects’ outcomes to develop a capacity for resilience in diverse cultural groups? Does shared use of the term ‘resilience’ help to secure funding for innovative musical activities that provide tangible health, education and social outcomes?