Search

The article discusses the gender issues pertaining to organ playing. Topics covered include the British organist Anna Lapwood's social media campaign regarding playing like a girl, what the instruction to play like a man for organists mean and the need for teachers to help students find their own voice and express their own musicianship.

The article focuses on the role of publishers in publishing music compositions and hymns for online accessibility by choral directors. It highlights the impact of COVID-19 pandemic on small independent publishers. It offers suggestions on several independent British publishers who specialize in choral and organ music of contemporary composers and church musicians, as of July 2021.

The author challenges contemporary composers to write liturgical choral music amid the global pandemic. She discusses the renaissance of choral composition with the emergence of ecstatic style including its use of consonance. She also talks about composers' deployment of harmonies with added-chord notes influenced by jazz. A list is presented of contemporary female composers who write sacred liturgical choral and/or organ music and have performed in music or have personal knowledge of it.

The article reports on the changes that expert organists observe regarding the music background and understanding of new organ scholars in Great Britain in 2012. It says that most young organists spend their early years learning solo repertoire in music schools. According to the author, they will improve their skills if they prioritize accompaniments more than solo playing.

A personal narrative is presented which explores the author's experiences of recording her organ music.

The article discusses the life of undergraduate students of organ music course at Cambridge University in England. The undergraduate students reportedly felt the pressure of the Eastern term because they were required to pass examinations worth 100 percent. They participated in small teaching sessions with the help of a leading scholar. Those students who have extracurricular activities were required to show flexibility. Information on the celebration of May Week in Cambridge is provided.

The article offers information on the possibility of holding an organ scholarship while completing a master's or doctoral degree at Cambridge. Topics covered include the change in the musical and academic application processes, international funding opportunities available for postgraduate studies, and the varied musical experience that an organ scholar receives.

The article focuses on the significance of gestures in teaching choral conducting and organ music in Great Britain. Topics discussed include an outline on the historical background of choral music in the country, the rarity of the study of choral conducting as a technical practice, and the expression of music.

The author discusses developments in the organ music sector, particularly in Great Britain, as of May 2014. She cites the recordings that she made along with her two choirs including the Chapel Choir of Selwyn College and the Ely Cathedral Girls' Choir. Their recordings involved the composition of Welsh composer John Hosking.

The article discusses the setting of Victorian Britain in the second half of the 19th century, with a particular emphasis on the revitalization of development and building of organs during the period. It highlights the establishment of the Royal College of Organists in London, England in March 1864, conceived by organist Richard Limpus. The celebration of the 150th anniversary of the College is noted.

In the article, the author discusses the latest developments in the music industry, particularly on organists, in Great Britain as of September 2011. He cites the documentary film featuring composer Charles Hubert Hastings Parry and was presented by Prince Charles of Wales. He also examines the role of the media in popularizing music.

The author talks about several topics related to organ music in Great Britain. She mentioned the introduction of a new master's degree, the one-year Master of Music (MMus) in Choral Studies, by the University of Cambridge. According to her, an awareness of current literature as well as the ability to verbalize are just as important as the hands-on training that the English system provided. She recommended one technique that prevents retraction of the tongue root during choir practices.