History of Copyright: a Chronology in Relation to Music

[1455-2001 (later updated to 2006, then to 2015), and as applicable in Britain, unless otherwise stated

Gloria, Op.18 ("Et in Arcadia ego: An Apotheosis") (from 'Missa Temporis Perditi')

For a cappella SATB Double Choir, with 2 x SA Soloists (completed November 2016): 1. SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) + 2. SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) + 3. Gallery/Distant Soloists 1: 1xS + 1xA (2) (SA) (at a distance or in a gallery, and set antiphonally to:) 4. Gallery/Distant Soloists 2: 1xS + 1xA (2) (SA) (at a distance or in a gallery) The solo parts may be doubled, if necessary. = 1. SSAATTBB + 2. SSAATTBB + 3. SA + 4. SA; or a minimum of 20 singers: 6 sopranos; 6 altos; 4 tenors, 4 basses (* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 4 solo parts [also doubled] = 40 singers). This Gloria is a companion piece to the previous Kyrie, Op.5 – both of which are part of a large-scale mass setting (as yet uncompleted) – and its main section is founded on related material. As with all other works, while sometimes archaic sounding, the materials are entirely original, though here with the one exception of the incorporation of a very short sequence of chords, heard at the commencement of the final “Amen” section. These chords derive from an anonymous 14th-century three-part setting of Ave maris stella (“Hail, Star of the Sea”) – a Vespers hymn to the Virgin Mary, itself based on a chant harking back at least to the 9th century. Gloria in excelsis Deo. Et in terra pax hominibus bonæ voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dextram Patris, O miserere nobis. Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen. (DURATION: ca.10 to 11+ minutes) First recorded in January 2017, in Futura Studios, Boston, USA, by Vox Futura, directed by Dr. Andrew Shenton. [Part of a large-scale, contemporary, "Polychoral Music Composition and Recording Project"] ISMN PENDING. ASCAP/MCPS Registered

That Time of Year, Op.2 (thou mayst in me behold)

The choral version of That Time of Year was given a special workshop performance by the BBC Singers at BBC Maida Vale Studios, London, on 4th October 2016, led by Judith Weir, CBE, Master of the Queen’s Music, and conducted by James Morgan – under the auspices of the British Academy of Composers, Authors and Songwriters (BASCA)

Terpsichore, Op.7: "The Whirler", or Muse of Dance (from "The Nine Muses" - No.7 of 9)

Being one in a series of intense and ethereal or (as here) kaleidoscopically vibrant and sparkling symphonic portraits of the nine muses, Terpsichore (a showpiece for large orchestra) is itself divided into nine dance scenes: 1. The precocious Muse begins her wild, whirling dance 2. Entrancing Terpsichore dazzles all those who behold her 3. A most majestic and dramatic solo performer 4. The beguiling Muse slows and strikes a pose 5. Her frenzied dance resumes 6. The Muse displays her hypnotic, swaying gracefulness 7. She pauses one last time 8. Her recollection of past glories, and homage to the ancient circular dances 9. The capricious Terpsichore’s Finale! Duration is ca. 14'30" A Note on Dissemination: The recording featuring this work was officially released on 7th January 2008. (See Amazon.com: http://www.amazon.com/Terpsichore-Other-Jonathan-Little-Composer/dp/B0018O3MMA/ref=sr_1_1?ie=UTF8&qid=1378159518&sr=8-1&keywords=%22jonathan+little%22+%3D+terpsichore) Terpsichore was later re-released on the album POLYHYMNIA in 2011, and then on the “Digital Only” classical compilation album, FINE MUSIC, VOL. 4, on Navona (USA) NV5916, with a release date of 7th May, 2013 (distributed by Amazon, iTunes, ClassicsOnline, Spotify and Naxos Music Library). COMMENTARY Terpsichore explores the concept of how one might construct a vibrant and colourful latter-day orchestral “showpiece” (in the same spirit as works such as Chabrier’s España) yet here by drawing together an incredibly diverse array of musical influences that would sit quite comfortably within a modern plural society and worldview, all set within a dance-inspired framework (containing nine programmatic episodes – as described above).1 Thus, the work is intended (as reviewers did in fact respond to it) as orchestral tour-de-force consisting of a set of “aural pictures” that aim to maximise variety of orchestral colour and mood, ultimately rising to ecstatic frenzy by its conclusion.2 Rhythm – just as much as texture and orchestration – is a key element in this dance-based piece, and indeed it treats the percussion section in a democratic way as a full and equal partner with all other sections of the orchestra. (The string section does not in this work, therefore, occupy the pre-eminent position that it does in many 19th-century works, for instance – where the strings tend to play a good proportion of the time). Terpsichore indeed was the work that launched the composer’s series of epic orchestral tone pictures inspired by the “Nine Muses” of Greek myth, and was the first work where critics began to pick up on its subtle use of newer types of minimalism blended with elements of the British pastoral tradition, as well as the fact that it conveyed a sense of orchestral brilliance and “ecstasy” at climactic points. Terpsichore set out to capture a great array of moods, all in a relatively short time frame, while also referencing other musics and challenging players and listeners alike with its various performance and aural demands – yet in a wry, spirited, quirky, accessible and enjoyable way. 3 NOTES: 1. Typical of the comments of several reviewers, Simon Thomas drew attention to the “whirling kaleidoscope of sounds … ending on something like the succulent grandeur of a Respighi tone poem. … An extraordinary range of sensations.” (Music OMH, Nov. 2008). And of its dance inspiration, Tempo concluded: "[Terpsichore unleashes] a positively dynamic musical palette, portraying the wild behaviour and dancing of Terpsichore in an astonishingly hypnotic range of musical sketches … moving the listener irrevocably onward to a brightly illuminated plain of poetic splendour, rhythm and ecstasy. Could this be a 21st-century version of Maurice Ravel’s choreographic symphony, Daphnis et Chloe?" See: Tempo, Vol. 62, Issue 243 (Jan. 2008), Cambridge University Press. 2. Tempo (January 2008) further described Terpsichore as a “ground-breaking tour de force … incandescent”, while, in America, Fanfare magazine (May-June 2008) admired its “music of tremendous power … [and] astonishing range of colors and moods”. By December, this debut album was being featured in Fanfare Magazine's "Want List 2008" as one of the top worldwide recordings of the year, showcasing what it called "a major new, original and quite brilliant classical voice". 3. Australia’s Music Forum several times paid particular attention to the composer’s “finely honed” crafting and “command of orchestration … lush and at ease with the tropes of modernist tonal music” (see the issues of Feb-April 2009, and May-July 2009), and the UK’s Music and Vision (25th September, 2012) likewise spoke of the work’s “dazzling displays”. RECORDING supported by the Kenneth Leighton Trust (UK) and the Foundation for New Music (USA). FIRST PERFORMANCE SCORE reproduced with the aid of a grant from the Society for the Promotion of New Music's "Francis Chagrin Fund" (UK). ISMN M720072234. ASCAP/MCPS Registered

Exoticism Globalised in a New Century: The Forgotten Roots of World Music

Since the 1840's, the so-called "Third World" has played a significant and often understated role in the development of the global music industry, but its impact has been more that of a cultural and spiritual donor than as a commercial exporter deriving benefit from products originating from strongly developing economies

Woefully Arrayed, Op.13 ["Wofully Araide"], or "Crucifixus pro vobis"

Anthem for AATTBB Choir and 2 x SSA Soloists (or Choirs) – with optional Organ and Instrumental accompaniment (reinforcing and/or vocal part replacement): 1. AATTBB Choir [Choir 1] (minimum 2 voices per line) (stage middle front) + 2. SSA Soloists [or Choir 2, if doubling parts]* (stage left back, or left gallery) + 3. SSA Soloists [or Choir 3, if doubling parts]* (stage right back, or right gallery) = 1. AAAATTTTBBBB + 2. SSA + 3. SSA; or a minimum of 18 singers: 4 sopranos; 6 altos; 4 tenors, 4 basses (* If treating 2 & 3 as Choirs rather than Soloists, min.6 per choir = 2. SSSSAA + 3. SSSSAA: thus 24 overall – being effectively a 12-part ‘Triple Choir’) (From excerpts of text attributed to John Skelton) (composed June-August, 2016) Written to commemorate the 50th Anniversary of the National Boys’ Choir of Australia (founded 1964), and dedicated to the memory of Harold Bird, OAM (1922-2015). The score is marked, “Slow and Spacious”, and “Maestoso (In Wonder)” – with the refrain becoming ever-more decorated on each return. Despite the subject matter, the mood of the refrain is more one of glory and awe, rather than mere dolefuleness. The intimate verses, by contrast, are marked, “Teneramente e sostenuto” (“Tenderly and sustained”). Abridged versions of Woefully Arrayed can be performed by commencing the work from either the Second or Third Refrains. This allows for performances of approximately 26 minutes (in full), 19 minutes (from the Second Refrain), or 12 minutes 30 seconds (from the Third Refrain). FIRST REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. VERSE ONE Beholde me, I pray thee, with all thine whole reson, And be not hard-herted for this encheson, That I for thy saule sake was slaine in good seson, Begylde and betraide by Judas fals treson; Unkyndly entretid, With sharpe corde sore fretid, The Jewis me thretid, They mowid, they grynned, they scornyd me, Condempnyd to deth, as thou maist se, Wofully araide. SECOND REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. VERSE TWO Thus nakyd am I nailid, O man, for thy sake! I love thee, then love me; why slepist thou? awake! Remembir my tendir hart rote for thee brake, With panys my vaynys constreyned to crake; Thus toggid to and fro, Thus wrappid all in woo, Whereas neuer man was so, Entretid thus in most cruell wyse, Was like a lombe in sacrifice, Wofully araide. THIRD REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. VERSE THREE Of sharpe thorne I haue worne a crowne on my hede, So paynyd, so straynyd, so rufull, so red; Thus bobbid, thus robbid, thus for thy loue ded, Onfaynyd, not deynyd my blod for to shed; My fete and handes sore The sturdy nailis bore; What might I suffir more Than I haue don, O man, for thee? Cum when thou list, wellcum to me, Wofully araide. FINAL (expanded) REFRAIN Wofully araide, My blode, man, For thee ran, It may not be naide; My body blo and wanne, Wofully araide. Attributed to John Skelton (ca.1463-1529) ISMN PENDING. ASCAP/MCPS Registered. First recorded 19th November 2016 in the Romanesque Revival “Church of the Holy Name”, West Roxbury (Archdiocese of Boston), USA, by Vox Futura, directed by Dr. Andrew Shenton, with the historic Wicks 1938 3-manual pipe organ (designed by Henry Vincent Willis), played by Heinrich Christensen. [Part of a large-scale, contemporary, "Polychoral Music Composition and Recording Project"

The Complete Songwriter: An Antidote to Industry Short-Termism [or, The Complete Songwriter/Producer]

ABOUT THIS CHAPTER: "This section considers some of the consequences of the present-day short-termism of major record labels and publishers, who, in all fairness, are beset by increasingly substantial development and marketing costs whenever they sign new talent. Technology has, once again, enabled several traditionally separate functions to be undertaken by a single individual, so that the truly competent songwriter/producer, for instance, can now potentially do everything from create new sounds to master a demo recording, or even produce the final master recording itself. But the demands on such individuals, or songwriting teams, are clearly heavier than ever. ... The era of the single musical specialism seems to be passing, with the truly successful and long-lived composer-musicians of tomorrow likely to be multi-specialists within their chosen field." ABOUT THIS BOOK: Published in celebration of the 50th anniversary of the Ivor Novello Awards, being an Official Guide to Songwriting, commissioned by the British Academy of Composers and Songwriters. With contributions from leading songwriters worldwide [invited contribution]. Offering unique access to the words and wisdom of some of the most successful songwriters of the last 50 years, "Heart & Soul - Revealing the Craft of Songwriting" is both a collection of songwriting secrets and an intriguing look into the minds of professional songwriters. Containing everything an aspiring songwriter needs to know, from how to find inspiration to writing effective lyrics and melodies, and including essential information on the music industry, advice on publishing contracts, as well as the history and future of songwriting. Over 200 No.1 songs have been written between the book’s contributors, making Heart & Soul the most authoritative guide to the craft of songwriting. With a foreword by Guy Chambers (Robbie Williams’ co-writing partner), the book features exclusive interviews with top songwriters including Don Black, Wayne Hector, Rob Davis and The Darkness and also includes the first published UK joint interview with Holland, Dozier & Holland. The only songwriting book to be compiled and endorsed by The British Academy of Composers & Songwriters, "Heart & Soul" is being published as part of the 50th Anniversary of the prestigious Ivor Novello Awards. "By songwriters for songwriters, this book offers a glimpse into the mind of the professional songwriter. I highly recommend it." -- Sir Tim Rice, Lyricist "Crammed with songwriting tips from those who really know what they are talking about." -- Pete Kirtley, Ivor Novello winning songwriter and producer "I loved reading this book. Really helpful to everyone in the music business. A must for your library!" -- Ray Davies, Songwriter "This songwriting book is such a great idea and will inspire any would be songwriters to give it a go." -- Barry Mason, Ivor Novello winning songwriter of “Delilah” All royalties are donated to The Academy Music Foundation charity

The effects of low and high glycemic index meals on metabolism and performance during soccer-specific intermittent exercise

The glycemic index (GI) of a pre-exercise meal has been shown to affect substrate oxidation during exercise and may influence exercise performance. Previous research in this area has focused on continuous, moderate intensity exercise. The purpose of this study was to examine the effects of low and high glycemic index (GI) pre-exercise meals on metabolism and performance during soccer-specific intermittent exercise. Thirteen trained male soccer players (22.3 ± 3.3 yrs) participated in four experimental trials in a repeated crossover design. Isocaloric low GI-high protein (lentils), high GI-high protein (potato + egg whites), or high GI-low protein (potato) meals were consumed two hours before a 90-minute treadmill soccer match simulation. A fasted control condition was also employed. Blood and expired gas samples were collected before and during exercise to assess markers of carbohydrate and fat metabolism. The distance covered on five 1-minute sprints (separated by 2.5 minutes of recovery) performed during the last 15 minutes of the match was used to assess performance. Serum insulin concentration at the start of exercise was higher in the high GI-low protein condition compared to all other conditions (

Kyrie, Op.5

SECOND PERFORMANCE For a cappella SATB Double Choir, with SSA and SA Soloists: SATB Choir 1: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage left side) + SATB Choir 2: 2xS, 2xA, 2xT, 2xB (8) = min.2 voices per line for divisi (SSAATTBB)* (stage right side) + Gallery/Offstage Soloists 1: 2xS (for divisi) + 1xA (3) (SSA) (at a distance or offstage, and set antiphonally to:) Gallery/Offstage Soloists 2: 1xS + 1xA (2) (SA) (in a high and more distant gallery or offstage) = 1. SSAATTBB + 2. SSAATTBB + 3. SSA + 4. SA; or minimum of 21 singers: 7 sopranos; 6 altos; 4 tenors, 4 basses (* But ideally at least double these forces: 16 per choir, or 32 for the two choirs + 5 soloists = 37 singers) This a cappella setting for SATB double choir and soloists of the first section of the traditional Latin Mass – “Kyrie eleison” – is based around permutations of one central motif. The eight main vocal lines are sometimes further divided for fullness of texture and motivic completeness. At least 21 voices are required to perform the work (choir: SSAATTBB, SSAATTBB + soloists: SSA, SA). The short central section of this ternary form composition (“Christe eleison”) features high C's in both treble parts, and requires extra soprano and alto soloists to be present offstage (or situated in a gallery), a little removed from the main body of the choir. Kyrie was first sketched out in 1985 – and only completed, published, and recorded, two decades later. It was first performed in November 2005, during the historic Thomas Tallis 500th anniversary concerts held at Waltham Abbey, Essex (where Tallis worked) and St. Alfege, Greenwich (his burial place). It is appropriate, perhaps, that this work should first have been heard alongside such grand, 40-part polychoral motets as Tallis’s Spem in alium and Striggio’s Ecce beatam lucem. Kyrie eleison. Christe eleison. Kyrie eleison

On Western Travellers who described and drew inspiration from "Eastern" instruments and music, ca.1830s-1850s

This concise article samples and distills, in overview, some essential descriptions, line drawings, and musical transcriptions, which ultimately came to inspire Western composers entranced by the concept of the "Orient" in the mid nineteenth century - as documented by two intrepid early "ethnomusicologist-travellers": the British Egyptologist/Orientalist, Edward William Lane (1801-76), and the influential French composer-explorer, Felicien David (1810-76)