1-3 of 3 results  for:

  • Peoples and Music Cultures x
Clear all

Article

Donna Arnold

(b Makaryev, Kostroma Province, Russia, 20 March/1 April 1896; d Lakewood, NJ, 9 Oct 1985). Russian émigré choral conductor, founder of the Don Cossack Choir. He studied at Moscow’s Synodal School of Church Singing, and afterwards joined a Don Cossack regiment in the Russian Civil War. Defeated by Bolsheviks and exiled from Russia in 1920, his regiment was interned at a miserable camp near Istanbul. Ordered to found a choir to raise morale, he arranged repertoire from memory and, remarkably, transformed 36 amateur singers into a world-class ensemble. Once liberated, the Don Cossack Choir began a high-profile international career that spanned six decades.

Its concerts, sung in Russian, comprised Russian Orthodox liturgical works and folk, traditional, and soldier songs. Jaroff arranged most of the music. Conducting with minimal hand movements and penetrating facial expressions, he evoked extremely expressive rubatos and dynamic changes that enthralled audiences. The Don Cossacks were particularly renowned for their brilliant technique and superb octavists (whose vocal range extended to an octave below the bass) and falsettists. Jaroff’s unusual inclusion of falsettists was crucial to the choir’s compelling signature sonority and made mixed-choir masterpieces from the Russian canon feasible. Extra-musical factors, especially the very short Jaroff’s strict control of his Cossack giants, fascinated and delighted their fans....

Article

Nigun  

(Heb.: ‘melody’; pl. nigunim

In the liturgical music of the Ashkenazi Jews, an early form of centonized chant, also known as nusa . Among the East European Ḥasidic Jews, the term refers to a type of vocal music, often sung to nonsense syllables and accompanied by dancing, of which one of the important forms is the ...

Article

Singing  

Owen Jander, Ellen T. Harris, David Fallows and John Potter

Singing is a fundamental mode of musical expression. It is especially suited to the expression of specific ideas, since it is almost always linked to a text; even without words, the voice is capable of personal and identifiale utterances. It is arguably the most subtle and flexible of musical instruments, and therein lies much of the fascination of the art of singing.

Because it imparts to words a heightened expression that they do not have when merely spoken, or even declaimed in a dramatic manner without musical pitch, singing (or incantation) played a vital role in many early forms of religious ritual, and in the early theatre. Even outside religion, singing has long been held to have moral and cultural value. Aristotle quoted the bard Musaeus, ‘Song is man's sweetest joy’, and went on to warn against using musical instruments, such as the aulos, which interfere with or prevent the act of singing. Athenaeus (...