The Acoustics of the Choir in Spanish Cathedrals

One of the most significant enclosures in worship spaces is that of the choir. Generally, from a historical point of view, the choir is a semi-enclosed and privileged area reserved for the clergy, whose position and configuration gives it a private character. Regarding the generation and transformation of ecclesial interior spaces, the choir commands a role of the first magnitude. Its shape and location produce, on occasions, major modifications that significantly affect the acoustics of these indoor spaces. In the case of Spanish cathedrals, whose design responds to the so-called “Spanish type”, the central position of the choir, enclosed by high stonework walls on three of its sides and with numerous wooden stalls inside, breaks up the space in the main nave, thereby generating other new spaces, such as the trascoro. The aim of this work was to analyse the acoustic evolution of the choir as one of the main elements that configure the sound space of Spanish cathedrals. By means of in situ measurements and simulation models, the main acoustic parameters were evaluated, both in their current state and in their original configurations that have since disappeared. This analysis enabled the various acoustic conditions existing between the choir itself and the area of the faithful to be verified, and the significant improvement of the acoustic quality in the choir space to become apparent. The effect on the acoustic parameters is highly significant, with slight differences in the choir, where the values are appropriate for Gregorian chants, and suitable intelligibility of sung text. High values are also obtained in the area of the faithful, which lacked specific acoustic requirements at the time of construction

Boston University Concert Choir, Marsh Chapel Choir, and Boston University Symphony Orchestra, December 4, 1985

This is the concert program of the Boston University Concert Choir, Marsh Chapel Choir, and Boston University Symphony Orchestra performance on Wednesday, December 4, 1985 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Hidden in Plain Sight: Remembering the Upbeat

“He would tell us we were like a fat lady on a stool hanging over!” According to Barbara Tuceling, Gettysburg College Class of 1970, that was what Professor Parker B. Wagnild would say to the Gettysburg College Choir when they did not stop singing on his cue. It was one of many sayings that Professor Wagnild, affectionately known as “Wags,” used with the Choir. He founded the College’s premiere vocal ensemble in 1935 and directed it for forty-one years. During his long tenure, he also founded the Music Department and earned the respect of scores of students. His impact on campus was so significant that he was memorialized in October of 2010 with a bronze statue outside of Schmucker Hall. Though many people dislike or are indifferent to the statue, Wagnild earned the right to be memorialized because of his founding of the Choir and the Music Department, the reputation and prestige of the Choir under his direction, and the impact he had on the lives of his students. [excerpt

Anything goes: 2011: A concert of Cole Porter Songs (additional material)

Develop new material for concert for the Orpheus Choir Wellington for performance at the Wellington Town Hall on Oct 7, 2011. The project requires researching, devising and arranging 2 new extended medleys, "You're Sensational Medley" and "It's Too Darn Hot Medley" (a total of around 18 minutes,for Concert Choir and small orchestra editing and preparing score and parts for printing, and adapting existing concert format

The Limitations of Welcome: An Interview with Amy Jacober

Excerpt: Amy Jacober remembers well the anger she felt when, in her early 20s, she saw a first-grade girl get kicked out of her church’s youth choir. The girl, a daughter of close friends, had Down syndrome, and the choir’s director decided since there was no one to help the child navigate her time in choir, she would be banned from participating

Boston University Brass Ensemble, February 15, 1984

This is the concert program of the Boston University Brass Ensemble performance on Wednesday, February 15, 1984 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Fanfare in Five by Robert Starer, Triptych for Brass Choir by Russell Woolen, Annapolis Suite by R. Starer, and Concert Music for piano, brass choir and harps by Paul Hindemith. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

The Trombone Choir of Boston University, April 20, 2009

This is the concert program of the The Trombone Choir of Boston University performance on Monday, April 20, 2009 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Conversation for Tenor and Bass Trombone by Charles Small, Sonata for Bass Trombone and Piano by Alec Wilder, Aria and Polonaise by Joseph Jongen, Couldn't say how from the "Spinning Song" from the opera Phaust for Tenor Trombone, Bass Trombone, Piano Trio by Tony Schemmer, The Trombone According to Hoyle by Eddie Bass, Minstel Man for Solo Bass Trombone, Bass Drum and Hi-Hat by T.D. Anderson, Southern Jazz Duets by David Wilborn, Fantasia for solo Tenor Trombone and Trombone Choir by Fritz Velke, and The Chief for Solo Bass Trombone and Trombone Choir by John Stevens. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Composition of New Zealand themed choral work 'Summer Christmas'

'Summer Christmas’ (dur. 6:20) with music and lyrics composed by Wayne Senior, speaks in evocative settings of things relevant to New Zealand referencing beach scenes, the warmth of the summer sun, native birds, the mighty Kauri and ‘our very own Christmas tree’ the iconic Pohutukawa, whilst drawing comparisons with winter Christmas in ‘cooler climes’ (e.g. 'no chestnuts roasting on an open fire’ and a new setting of ‘O Magnum Mysterium’) closing with a choral representation of church bells. My original text is a combination of English, Te reo Māori and Latin, incorporating translations by Honi Rawhiti (George Lusty). The setting of ‘O Magnum Mysterium’ is in Latin with alternating lines in English and Te Reo Māori. Scored for choir and piano, it is envisioned that an enhanced accompaniment will be added for possible future performances with orchestral resources if and when required. Also that it will be re-scored in other versions for young students' choir and a less advanced version for community choir

Hitting the Right Chord

The choral music program grows and thrives under director Anna Song, who believes choir can teach about life

Inaugural GospelFest 2012 Spreads Hope Through Song

GospelFest 2012 features the Prism of Praise Community Gospel Choir and the Roger Williams University Chorus for performance and workshop