part-song


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part′-song`


n.
a song with parts for several voices, esp. one meant to be sung without accompaniment.
[1590–1600]
References in periodicals archive ?
It intrigues me to hear ensembles tackle the familiar part of Palestrina's Sicut Cervus, which is quite difficult to sustain, when it might be more appropriate for them to sing a madrigal or part-song from the same era.
Amongst all of the fine soloists, a special word for Bethany Partridge, who stood far above the choir to perform a faultless top soprano in Stanford's mesmerizing part-song The Bluebird.
His first hit was Der Kommissar, from the 1982 album Einzelhaft, which reached number one in many countries with its part-rap, part-song message about drug consumption.
Finally, in a book on the "unknown" Schubert it would have been nice to find some discussion of the genre of his compositions most frequently heard during his lifetime by Viennese concert audiences and most foreign to audiences today: the male-voice part-song.
Emanuel Rubin's claim that the Georgian part-song repertory will "undoubtedly bring pleasure" (p.
Indeed, an assessment of the part-song edition is possible only against the age's genial predilection.
Chapter 5 mounts a similar defense of the eighteen sacred solo ballads and eight part-songs, parlor genres whose popularity peaked in the Victorian period and whose often "morbid sentiment" (p.
Austern has interesting things to say about the importance of public and private spaces (that only the male head of the household had access to all spaces in the home, for example, and that the line between the home and the neighbourhood was extremely thin, necessitating firm mastery over the first) and about the disruptive potential of catches, or part-songs sung in canon by three or more voices, a genre associated with men.
Unaccompanied part-songs by Maxwell Davies, Finzi, Parry, and Walford Davies were decently sung by BFCS under Larley's look-at-me direction; the European premiere of Ben van Tienen's Find My Way injected a short-lived splash of music theatre; and the finale of Minoru Miki's Marimba Spiritual demonstrated Rebello's virtuosity.
The union and part-songs were rendered with spontaneity and accuracy of pitch under the direction of Mr William Scott, the accompaniments being provided on the organ by Mr Herbert Ellingford.
In atmospheric complement to Britten's piece, “Seven Part-Songs for Female Voices and Strings,” by Gustav Holst (1874-1934) is an ethereal and deeply haunting work set to the poetry of Robert Bridges (1844-1930).
The Ilkley choir was formed in 1995 to specialise in mainly unaccompanied choral music, from Renaissance and Baroque periods, to modern, sacred, and secular music, madrigals part-songs, and motets and anthems.