A cappella

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For other uses, see A cappella (disambiguation).

A cappella (Italian for "in the manner of the church" or "in the manner of the chapel")[1] music is specifically group, or solo, singing without instrumental sound, or a piece intended to be performed in this way. The name "a Capella" refers to palestrina's chapel choir, which was skilled enough to perform music with just voices. Thus, the name a Capella refers to performing something in the manner of palestrina's chapel choir. It contrasts with cantata, which is accompanied singing. A cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato style. In the 19th century a renewed interest in Renaissance polyphony coupled with an ignorance of the fact that vocal parts were often doubled by instrumentalists led to the term coming to mean unaccompanied vocal music.[1] A rare use of the term synonymizes with alla breve.[2]

These days, many a cappella groups can be found in high schools and colleges. There are amateur Barbershop Harmony Society and professional groups that sing a cappella exclusively. Although a cappella is technically defined as singing without instrumental accompaniment, some groups use their voices to emulate instruments; others are more traditional and focus on harmonizing. A cappella styles range from gospel music to contemporary to barbershop quartets and choruses.

An increased interest in a cappella music is evident with the 2009–2013 TV show The Sing-Off, the musical Perfect Harmony, and the musical comedy film Pitch Perfect.

Religious inclusion[edit]

A cappella music originally was used in religious music, especially church music as well as anasheed and zemirot. Gregorian chant is an example of a cappella singing, as is the majority of secular vocal music from the Renaissance. The madrigal, up until its development in the early Baroque into an instrumentally-accompanied form, is also usually in a cappella form. Jewish and Christian music were originally a cappella,[citation needed] and this practice has continued in both of these religions as well as in Islam.

Christian[edit]

The polyphony of Christian a cappella music began to develop in Europe around the late 15th century, with compositions by Josquin des Prez.[3] The early a cappella polyphonies may have had an accompanying instrument, although this instrument would merely double the singers' parts and was not independent. By the 16th century, a cappella polyphony had further developed, but gradually, the cantata began to take the place of a cappella forms.[3] 16th century a cappella polyphony, nonetheless, continued to influence church composers throughout this period and to the present day. Recent evidence has shown that some of the early pieces by Palestrina, such as what was written for the Sistine Chapel was intended to be accompanied by an organ "doubling" some or all of the voices.[3] Such is seen in the life of Palestrina becoming a major influence on Bach, most notably in the aforementioned Mass in B Minor. Other composers that utilized the a cappella style, if only for the occasional piece, were Claudio Monteverdi and his masterpiece, Lagrime d'amante al sepolcro dell'amata (A lover's tears at his beloved's grave), which was composed in 1610,[4] and Andrea Gabrieli when upon his death it was discovered many choral pieces, one of which was in the unaccompanied style.[5] Learning from the preceding two composeres, Heinrich Schütz utilized the a cappella style in numerous pieces, chief among these were the pieces in the oratorio style, which were traditionally performed during the Easter week and dealt with the religious subject matter of that week, such as Christ's suffering and the Passion. Five of Schutz's Historien were Easter pieces, and of these the latter three, which dealt with the passion from three different viewpoints, those of Matthew, Luke and John, were all done a cappella style. This was a near requirement for this type of piece, and the parts of the crowd were sung while the solo parts which were the quoted parts from either Christ or the authors were performed in a plainchant.[6]

Eastern Orthodox Christianity[edit]

In Eastern Europe, the music performed in the Eastern Orthodox cathedrals and monasteries is exclusively sung without instrumental accompaniment. Bishop Kallistos Ware says, "The service is sung, even though there may be no choir... In the Orthodox Church today, as in the early Church, singing is unaccompanied and instrumental music is not found."[7] This was done in response the strict interpretation of Psalms 150, which states, Let every thing that hath breath praise the Lord. Praise ye the Lord.[8] In keeping with this philosophy, early Russian musika which started appearing in the late 17th century, in what was known as khorovïye kontsertï (choral concertos) made a cappella adaptations of Venetian-styled pieces, such as the treatise, Grammatika musikiyskaya (1675), by Nikolai Diletsky.[9] Divine Liturgies and Western Rite masses composed by famous composers such as Peter Tchaikovsky, Sergei Rachmaninoff, Alexander Arkhangelsky, and Mykola Leontovych are fine examples of this.

Opposition to instruments in worship[edit]

Present-day Christian religious bodies known for conducting their worship services without musical accompaniment include some Presbyterian churches devoted to the regulative principle of worship, Old Regular Baptists, Primitive Baptists, Plymouth Brethren, Churches of Christ, the Old German Baptist Brethren, the Eastern Orthodox Christian Church and the Amish, Old Order Mennonites and Conservative Mennonites. Certain high church services and other musical events in liturgical churches (such as the Roman Catholic Mass and the Lutheran Divine Service) may be a cappella, a practice remaining from apostolic times. Many Mennonites also conduct some or all of their services without instruments. Sacred Harp, a type of folk music, is an a cappella style of religious singing with shape notes, usually sung at singing conventions.

Opponents of musical instruments in the Christian worship believe that such opposition is supported by the Christian scriptures and Church history. The scriptures typically referenced are Matthew 26:30; Acts 16:25; Romans 15:9; 1 Corinthians 14:15; Ephesians 5:19; Colossians 3:16; Hebrews 2:12, 13:15; James 5:13, which show examples and exhortations for Christians to sing.[10]

There is no reference to instrumental music in early church worship in the New Testament, or in the worship of churches for the first six centuries.[11][12] Several reasons have been posited throughout church history for the absence of instrumental music in church worship.[nb 1]

Christians who believe in a cappella music today believe that in the Israelite worship assembly during Temple worship only the Priests of Levi sang, played, and offered animal sacrifices, whereas in the church era, all Christians are commanded to sing praises to God. They believe that if God wanted instrumental music in New Testament worship, He would have commanded not just singing, but singing and playing like he did in the Hebrew scriptures.

The first recorded example of a musical instrument in Roman Catholic worship was a pipe organ introduced by Pope Vitalian into a cathedral in Rome around 670.[14][nb 2]

Instruments have divided Christendom since their introduction into worship. They were considered a Catholic innovation, not widely practiced until the 18th century, and were opposed vigorously in worship by a number of Protestant Reformers, including Martin Luther (1483–1546),[16] Ulrich Zwingli, John Calvin (1509–1564)[17] and John Wesley (1703–1791).[18] Alexander Campbell referred to the use of an instrument in worship as "a cow bell in a concert".[19] In Sir Walter Scott's The Heart of Midlothian, the heroine, Jeanie Deans, a Scottish Presbyterian, writes to her father about the church situation she has found in England (bold added):

The folk here are civil, and, like the barbarians unto the holy apostle, have shown me much kindness; and there are a sort of chosen people in the land, for they have some kirks without organs that are like ours, and are called meeting-houses, where the minister preaches without a gown.[20]

Acceptance of instruments in worship[edit]

Those who do not adhere to the regulative principle of interpreting Christian scripture, believe that limiting praise to the unaccompanied chant of the early church is not commanded in scripture, and that churches in any age are free to offer their songs with or without musical instruments.

Those who subscribe to this interpretation believe that since the Christian scriptures never counter instrumental language with any negative judgment on instruments, opposition to instruments instead comes from an interpretation of history. There is no written opposition to musical instruments in any setting in the first century and a half of Christian churches (33 AD to 180AD).[21] The use of instruments for Christian worship during this period is also undocumented. Toward the end of the 2nd century, Christians began condemning the instruments themselves.[22] Those who oppose instruments today believe these Church Fathers had a better understanding of God's desire for the church,[citation needed] but there are significant differences between the teachings of these Church Fathers and Christian opposition to instruments today.

  • Modern Christians typically believe it is acceptable to play instruments or to attend weddings, funerals, banquets, etc., where instruments are heard playing religious music. The Church Fathers made no exceptions.[22] Since the New Testament never condemns instruments themselves, much less in any of these settings, it is believed[by whom?] that "the church Fathers go beyond the New Testament in pronouncing a negative judgment on musical instruments."[23]
  • Written opposition to instruments in worship began near the turn of the 5th century.[24] Modern opponents of instruments do not make the same assessment of instruments as these writers,[nb 3] who argued that God had allowed David the "evil" of using musical instruments in praise.[27] While the Old Testament teaches that God specifically asked for musical instruments,[28] modern concern is for worship based on the New Testament.

Since "a cappella" singing brought a new polyphony (more than one note at a time) with instrumental accompaniment, it is not surprising that Protestant reformers who opposed the instruments (such as Calvin and Zwingli) also opposed the polyphony.[29] While Zwingli was burning organs in Switzerland – Luther called him a fanatic – the Church of England was burning books of polyphony.[30]

Some Holiness Churches such as the Free Methodist Church opposed the use of musical instrument in church worship until fairly the mid-20th century. The Free Methodist Church allowed for local church decision on the use of either an organ or piano in the 1943 Conference before lifting the ban entirely in 1955.

Jewish[edit]

While worship in the Temple in Jerusalem included musical instruments (2 Chronicles 29:25–27), traditional Jewish religious services in the Synagogue, both before and after the last destruction of the Temple, did not include musical instruments[31] given the practice of scriptural cantillation.[32] The use of musical instruments is traditionally forbidden on the Sabbath out of concern that players would be tempted to repair (or tune) their instruments, which is forbidden on those days. (This prohibition has been relaxed in many Reform and some Conservative congregations.) Similarly, when Jewish families and larger groups sing traditional Sabbath songs known as zemirot outside the context of formal religious services, they usually do so a cappella, and Bar and Bat Mitzvah celebrations on the Sabbath sometimes feature entertainment by a cappella ensembles. During the Three Weeks musical instruments are prohibited. Many Jews consider a portion of the 49-day period of the counting of the omer between Passover and Shavuot to be a time of semi-mourning and instrumental music is not allowed during that time.[33] This has led to a tradition of a cappella singing sometimes known as sefirah music.[34]

The popularization of the Jewish chant may be found in the writings of the Jewish philosopher Philo, born 20 BCE. Weaving together Jewish and Greek thought, Philo promoted praise without instruments, and taught that "silent singing" (without even vocal chords) was better still.[35] This view parted with the Jewish scriptures, where Israel offered praise with instruments by God's own command (2 Chronicles 29:25). The shofar or keren (horn) is the only temple instrument still being used today in the synagogue,[36] and it is only used from Rosh Chodesh Elul through the end of Yom Kippur. The shofar is used by itself, without any vocal accompaniment, and is limited to a very strictly defined set of sounds and specific places in the synagogue service.[37]

Muslim[edit]

Many Muslim musicians also perform a form of a cappella music called nasheed or Tawasheeh. Some well known composers in the western world include Kamal Uddin, Labbayk, Alaa Wardi, Abdullah Rolle, Hafiz Mizan, Naseeha and Musa Yasin amongst others.[citation needed] Some Nasheed singers avoid instruments in the background due to the opinion of certain scholars that their use is prohibited.

In the United States[edit]

Peter Christian Lutkin, dean of the Northwestern University School of Music, helped popularize a cappella music in the United States by founding the Northwestern A Cappella Choir in 1906. The A Cappella Choir was "the first permanent organization of its kind in America."[38][39]

A strong and prominent a cappella tradition was begun in the midwest part of the United States in 1911 by F. Melius Christiansen, a music faculty member at St. Olaf College in Northfield, Minnesota. The St. Olaf College Choir was established as an outgrowth of the local St. John's Lutheran Church, where Christiansen was organist and the choir was composed, at least partially, of students from the nearby St. Olaf campus. The success of the ensemble was emulated by other regional conductors, and a rich tradition of a cappella choral music was born in the region at colleges like Concordia College (Moorhead, Minnesota), Augustana College (Rock Island, Illinois), Wartburg College (Waverly, Iowa), Luther College (Decorah, Iowa), Gustavus Adolphus College (St. Peter, Minnesota), Augustana College (Sioux Falls, South Dakota), and Augsburg College (Minneapolis, Minnesota). The choirs typically range from 40 to 80 singers and are recognized for their efforts to perfect blend, intonation, phrasing and pitch in a large choral setting.

Major movements in modern a cappella over the past century include Barbershop and doo wop. The Barbershop Harmony Society, Sweet Adelines International, and Harmony Inc. host educational events including Harmony University, Directors University, and the International Educational Symposium, and international contests and conventions, recognizing international champion choruses and quartets.

Recording artists[edit]

In July 1943, as a result of the American Federation of Musicians boycott of US recording studios, the a cappella vocal group The Song Spinners had a best-seller with "Comin' In On A Wing And A Prayer". In the 1950s several recording groups, notably The Hi-Los and the Four Freshmen, introduced complex jazz harmonies to a cappella performances. The King's Singers are credited with promoting interest in small-group a cappella performances in the 1960s. In 1983 an a cappella group known as The Flying Pickets had a Christmas 'number one' in the UK with a cover of Yazoo's (known in the US as Yaz) "Only You". A cappella music attained renewed prominence from the late 1980s onward, spurred by the success of Top 40 recordings by artists such as The Manhattan Transfer, Bobby McFerrin, Huey Lewis and the News, All-4-One, The Nylons, Backstreet Boys and Boyz II Men.[citation needed]

Contemporary a cappella includes many vocal groups and bands who add vocal percussion or beatboxing to create a pop/rock sound, in some cases very similar to bands with instruments. Examples of such professional groups include Straight No Chaser, Pentatonix, The House Jacks, Rockapella, Mosaic, and M-pact. There also remains a strong a cappella presence within Christian music, as some denominations purposefully do not use instruments during worship. Examples of such groups are Take 6, Glad and Acappella. Arrangements of popular music for small a cappella ensembles typically include one voice singing the lead melody, one singing a rhythmic bass line, and the remaining voices contributing chordal or polyphonic accompaniment.

A cappella can also describe the isolated vocal track(s) from a multitrack recording that originally included instrumentation.[citation needed] These vocal tracks may be remixed or put onto vinyl records for DJs, or released to the public so that fans can remix them. One such example is the a cappella release of Jay-Z's Black Album, which Danger Mouse mixed with The Beatles' White Album to create The Grey Album.

A cappella's growth is not limited to live performance, with hundreds of recorded a cappella albums produced over the past decade. As of December 2006, the Recorded A Cappella Review Board (RARB) had reviewed over 660 a cappella albums since 1994, and its popular discussion forum had over 900 users and 19,000 articles.[citation needed]

Recording artist Brandy Norwood included a song on her 2008 album Human titled "A Capella (Something's Missing)". Brandy uses her voice for background music in this song, showing her capabilities of using her voice as an instrument.[40] No other instruments are used, except for an electric guitar.[41]

In 2010, American dance recording artist Kelis released a song called "Acapella" as the first single from her album Flesh Tone. The song is not actually performed a cappella, but rather explains that before her son was born, her life was without music.[42]

In 2013, an artist by the name Smooth McGroove rose to prominence with his style of a cappella music.[43] He is best known for his a cappella covers of video game music tracks on YouTube.[44]

Musical theater[edit]

A cappella has been used as the sole orchestration for original works of musical theater that have had commercial runs Off-Broadway (theaters in New York City with 99 to 500 seats) only four times. The first was Avenue X which opened on 28 January 1994 and ran for 77 performances. It was produced by Playwrights Horizons with book by John Jiler, music and lyrics by Ray Leslee. The musical style of the show's score was primarily Doo-Wop as the plot revolved around Doo-Wop group singers of the 1960s.[45][46]

In 2001, The Kinsey Sicks, produced and starred in the critically acclaimed off-Broadway hit, "DRAGAPELLA! Starring the Kinsey Sicks" at New York's legendary Studio 54. That production received a nomination for a Lucille Lortel award as Best Musical and a Drama Desk nomination for Best Lyrics. It was directed by Glenn Casale with original music and lyrics by Ben Schatz.[47]

The a cappella musical Perfect Harmony, a comedy about two high school a cappella groups vying to win the National championship, made its Off Broadway debut at Theatre Row’s Acorn Theatre on 42nd Street in New York City in October, 2010 after a successful out-of-town run at the Stoneham Theatre, in Stoneham, Massachusetts. Perfect Harmony features the hit music of The Jackson 5, Pat Benatar, Billy Idol, Marvin Gaye, Scandal, Tiffany, The Romantics, The Pretenders, The Temptations, The Contours, The Commodores, Tommy James & the Shondells and The Partridge Family, and has been compared to a cross between Altar Boyz and The 25th Annual Putnam County Spelling Bee.[48][49]

The fourth a cappella musical to appear Off-Broadway, In Transit, premiered 5 October 2010 and was produced by Primary Stages with book, music, and lyrics by Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, and Sara Wordsworth. Set primarily in the New York City subway system its score features an eclectic mix of musical genres (including jazz, hip hop, Latin, rock, and country). In Transit incorporates vocal beat boxing into its contemporary a cappella arrangements through the use of a subway beat boxer character. Beat boxer and actor Chesney Snow performed this role for the 2010 Primary Stages production.[50] According to the show's website, it is scheduled to reopen for an open-ended commercial run in the Fall of 2011. In 2011 the production received four Lucille Lortel Award nominations including Outstanding Musical, Outer Critics Circle and Drama League nominations, as well as five Drama Desk nominations including Outstanding Musical and won for Outstanding Ensemble Performance.

As of April 2013, no show with a cappella orchestrations has ever run on Broadway.

Barbershop style[edit]

Main article: Barbershop music

Barbershop music is one of several uniquely American art forms. The earliest reports of this style of a cappella music involved African Americans. The earliest documented quartets all began in barbershops. In 1938, the first formal men's barbershop organization was formed, known as the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (S.P.E.B.S.Q.S.A), and in 2004 rebranded itself and officially changed its public name to the Barbershop Harmony Society (BHS). Today the BHS has over 22,000 members in approximately 800 chapters across the United States, and the barbershop style has spread around the world with organizations in many other countries. The Barbershop Harmony Society provides a highly organized competition structure for a cappella quartets and choruses singing in the barbershop style.

In 1945, the first formal women's barbershop organization, Sweet Adelines, was formed. In 1953 Sweet Adelines became an international organization, although it didn't change its name to Sweet Adelines International until 1991. The membership of nearly 25,000 women, all singing in English, includes choruses in most of the fifty United States as well as in Australia, Canada, England, Finland, Germany, Ireland, Japan, New Zealand, Scotland, Sweden, Wales and the Netherlands. Headquartered in Tulsa, Oklahoma, the organization encompasses more than 1,200 registered quartets and 600 choruses.

In 1959, a second women's barbershop organization started as a break off from Sweet Adelines due to ideological differences. Based on democratic principles which continue to this day, Harmony, Inc. is smaller than its counterpart, but has an atmosphere of friendship and competition. With about 2,500 members in the United States and Canada, Harmony, Inc. uses the same rules in contest that the Barbershop Harmony Society uses. Harmony, Inc. is registered in Providence, Rhode Island.

Outside the U.S.[edit]

Australia[edit]

In Australia, there is a growing trend of people returning to singing due to the influence of TV shows such as Glee. As a result, a cappella singing is once again growing, with a handful of internationally acclaimed groups (The Idea Of North, Suade, Coco's Lunch, Akasa), and a growing local scene. In 2010, the Australian a cappella Quartet The Idea of North won a Best Jazz Album ARIA for their seventh studio album, "Feels Like Spring",[51] bringing a cappella music back into pop culture. Like the U.S., Australia has an a cappella association (Vocal Australia) which organizes events, education and resources for the vocal music community.

Sri Lanka[edit]

Composer Dinesh Subasinghe became the first Sri Lankan to write a cappella pieces for SATB choirs. He wrote "The Princes of the Lost Tribe" and "Ancient Queen of Somawathee" for Menaka De Shabandu and Bridget Halpe's choirs, respectively, based on historical incidents in ancient Sri Lanka.[52][53][54]

Sweden[edit]

The European a cappella tradition is especially strong in the countries around the Baltic and perhaps most so in Sweden as described by Richard Sparks in his doctoral thesis The Swedish Choral Miracle in 2000.[55] Swedish a cappella choirs have over the last 25 years won around 25% of the annual prestigious European Grand Prix for Choral Singing (EGP) that despite its name is open to choirs from all over the world (see list of laureates in the Wikipedia article on the EGP competition).

The reasons for the strong Swedish dominance are as explained by Richard Sparks manifold; suffice to say here that there is a long-standing tradition, an unsusually large proportion of the populations (5% is often cited) regularly sing in choirs, the Swedish choral director Eric Ericson had an enormous impact on a cappella choral development not only in Sweden but around the world, and finally there are a large number of very popular junior och senior high schools (music schools) with high admission standards based on auditions that combine a rigid academic regimen with high level choral singing on every school day, a system that started with Adolf Fredrik's Music School in Stockholm in 1939 but has spread over the country.

United Kingdom[edit]

The Oxford Alternotives, the oldest a cappella group at the University of Oxford in the UK

A cappella has gained attention in the UK in recent years, with many groups forming at British universities by students seeking an alternative singing pursuit to traditional choral and chapel singing. This movement has been bolstered by organisations such as The Voice Festival UK.

Collegiate[edit]

It is not clear exactly where collegiate a cappella began. The Rensselyrics of Rensselaer Polytechnic Institute (formerly known as the RPI Glee Club), established in 1873 is perhaps the oldest known collegiate a cappella group.[citation needed] However the longest continuously-singing group is probably The Whiffenpoofs of Yale University,[56] which was formed in 1909 and once included Cole Porter as a member.[56] Collegiate a cappella groups grew throughout the 20th century. Some notable historical groups formed along the way include Princeton University's Tigertones (1946), Colgate University's The Colgate 13 (1942), Dartmouth College's Aires (1946), Cornell University's Cayuga's Waiters (1949) and The Hangovers (1968), the University of Maine Maine Steiners (1958), the Columbia University Kingsmen (1949), the Jabberwocks of Brown University (1949), and the University of Rochester YellowJackets (1956). All-women a cappella groups followed shortly, frequently as a parody of the men's groups: the Smiffenpoofs of Smith College (1936), The Shwiffs of Connecticut College (The She-Whiffenpoofs, 1944), and The Chattertocks of Brown University (1951). A cappella groups exploded in popularity beginning in the 1990s, fueled in part by a change in style popularized by the Tufts University Beelzebubs and the Boston University Dear Abbeys. The new style used voices to emulate modern rock instruments, including vocal percussion/"beatboxing". Some larger universities now have multiple groups. Groups often join one another in on-campus concerts, such as the Georgetown Chimes' Cherry Tree Massacre, a 3-weekend a cappella festival held each February since 1975, where over a hundred collegiate groups have appeared, as well as International Quartet Champions The Boston Common and the contemporary commercial a cappella group Rockapella. Co-ed groups have produced many up-and-coming and major artists, including John Legend, an alumnus of the Counterparts at the University of Pennsylvania, and Sara Bareilles, an alumna of Awaken A Cappella at University of California, Los Angeles. Mira Sorvino is an alumna of the Veritones of Harvard College where she had the solo on Only You by Yaz.

A cappella is gaining popularity among South Asians with the emergence of primarily Hindi-English College groups. The first South Asian a cappella group was Penn Masala, founded in 1996 at the University of Pennsylvania. Other groups include: Case Western Reserve University's Dhamakapella, Carnegie Mellon University's Deewane, Northwestern University's Brown Sugar, Chai-Town from the University of Illinois, Raagapella from Stanford University, Andaaz from the University of California, Irvine, and Maize Mirchi from University of Michigan. Co-ed South Asian a cappella groups are also gaining in popularity. The first co-ed south Asian a cappella was Anokha, from the University of Maryland, formed in 2001. Also, Dil se, another co-ed a cappella from UC Berkeley, hosts the "Anahat" competition at the University of California, Berkeley annually. Maize Mirchi, the co-ed a cappella group from the University of Michigan hosts "Sa Re Ga Ma Pella", an annual South Asian a cappella invitational with various groups from the Midwest. Other co-ed groups include Asli Baat, from University of Southern California, Sitaare from University of California, San Diego, Jhankaar from University of California, Davis, Taal Tadka from Georgia Institute of Technology, RAAG (Rutgers Asian A cappella Group) from Rutgers University, Sur et Veritaal from Yale University, Naya Zamaana from UCLA, UW Awaaz from the University of Washington, BU Suno from Boston University, the MIT Ohms, Hum A Cappella from The University of Texas at Austin, Samaa from The University of North Carolina at Chapel Hill and Dhunki A Cappella from The University of Texas at Dallas.

Jewish-interest groups such as Tufts University's Shir Appeal, University of Chicago's Shircago, Ohio State University's Meshuganotes, Rutgers University's Kol Halayla, New York University's Ani V'Ata and Yale University's Magevet are also gaining popularity across the U.S.

Increased interest in modern a cappella (particularly collegiate a cappella) can be seen in the growth of awards such as the Contemporary A Cappella Recording Awards (overseen by the Contemporary A Cappella Society) and competitions such as the International Championship of Collegiate A Cappella for college groups and the Harmony Sweepstakes for all groups. In December 2009, a new television competition series called The Sing-Off aired on NBC. The show featured eight a cappella groups from the United States and Puerto Rico vying for the prize of $100,000 and a recording contract with Epic Records/Sony Music. The show was judged by Ben Folds, Shawn Stockman, and Nicole Scherzinger and was won by an all-male group from Puerto Rico called Nota. The show returned for a second and third season, won by Committed and Pentatonix, respectively.

Each year, hundreds of Collegiate a cappella groups submit their strongest songs in a competition to be on The Best of College A Cappella (BOCA), an album compilation of tracks from the best college a cappella groups around the world. The album is produced by Varsity Vocals, which also produces the International Championship of Collegiate A Cappella. A group chosen to be on the BOCA album earns much credibility among the a cappella community.[citation needed]

Along with BOCA, Collegiate a cappella groups may submit their tracks to Voices Only, a two-disc series released at the beginning of each school year. This album is known internationally for its award winning sound and prestigious title. Some featured groups on the album series include the USC SoCal VoCals, Tufts Beelzebubs, BYU Noteworthy, and the University of Michigan G-Men. A Voices Only album has been released every year since 2005.[57]

Another successful a cappella group is Straight No Chaser (SNC), which was formed as a collegiate a cappella group in 1996 at Indiana University in Bloomington, IN. In 2007, their arrangement of 12 Days of Christmas went viral on YouTube, catching the attention of Atlantic Records Chairman and CEO, Craig Kallman. The group signed to a 5-record deal with Atlantic in March 2008, and has released three albums to date.

Emulating instruments[edit]

In addition to singing words, some a cappella singers also emulate instrumentation by reproducing instrumental sounds with their vocal cords and mouth. One of the earliest 20th century practitioners of this method was The Mills Brothers whose early recordings of the 1930s clearly stated on the label that all instrumentation was done vocally. More recently, "Twilight Zone" by 2 Unlimited was sung a cappella to the instrumentation on the comedy television series Tompkins Square. Another famous example of emulating instrumentation instead of singing the words is the theme song for The New Addams Family series on Fox Family Channel (now ABC Family). Groups such as Vocal Sampling and Undivided emulate Latin rhythms a cappella. In the 1960s, the Swingle Singers used their voices to emulate musical instruments to Baroque and Classical music. Vocal artist Bobby McFerrin is famous for his instrumental emulation. A cappella group Naturally Seven recreates entire songs using vocal tones for every instrument.

The Swingle Singers used nonsense words to sound like instruments, but have been known to produce non-verbal versions of musical instruments. Like the other groups, examples of their music can be found on YouTube. Beatboxing is a form of a cappella music popular in the hip-hop community, where rap is often performed a cappella also. Petra Haden used a four-track recorder to produce an a cappella version of The Who Sell Out including the instruments and fake advertisements on her album Petra Haden Sings: The Who Sell Out in 2005. Haden has also released a cappella versions of Journey's "Don't Stop Believin'", The Beach Boys' "God Only Knows" and Michael Jackson's "Thriller". In 2009, Toyota commissioned Haden to perform three songs for television commercials for the third-generation Toyota Prius, including an a cappella version of the Bellamy Brothers 1970s song "Let Your Love Flow".[citation needed]

Christian rock group Relient K recorded the song "Plead the Fifth" a cappella on its album Five Score and Seven Years Ago. The group recorded lead singer Matt Thiessen making drum noises and played them with an electronic drum machine to record the song.

The German metal band van Canto uses vocal noises to imitate guitars on covers of well-known rock and metal songs (such as "Master of Puppets" by Metallica) as well as original compositions. Although they are generally classified as a cappella metal, the band also includes a drummer, and uses amplifiers on some songs to distort the voice to sound more like an electric guitar.

See also[edit]

Notes[edit]

  1. ^ The absence of instrumental music is rooted in various hermeneutic principles (ways of interpreting the Bible) which determine what is appropriate for worship. Among such principles are the regulative principle of worship (Ulrich Zwingli), Sola scriptura (Martin Luther and Ulrich Zwingli), and the history of hymn in "Christianity". Dispensationalism emphasizes the differences between the old (Law of Moses) and the new (Jesus and the Apostles) covenants, emphasizing that the majority of the practices from the Law of Moses were been replaced by the teachings of Jesus and the Apostles. The absence of instrumental music in early church worship is significant given the abundance of Hebrew Bible references and commands to worship God with harp, lyre and cymbal. After several hundred years of Tabernacle worship without references to instrumental music, King David (ca 1500 BCE) introduced musical instruments into Temple worship reportedly because of a commandment from God, complete with who was to sing, who was to play, and what instruments were to be used.[13]
  2. ^ McKinnon maintained that the organ was the first instrument to be introduced into worship and the next was the trumpet. He noted accounts of an organ being sent from Byzantium to Pippin in 757, and another to Charlemagne in 812.[15]
  3. ^ Rather than calling the use of instruments "evil", modern opposition uses terms like "unspiritual"[25] or an Old Testament "shadow".[26]

Footnotes[edit]

References[edit]

  • Anon (1999). "The Yale Whiffenpoofs". United Singers International. United Singers International. Retrieved 14 September 2007. 
  • Anon (2002). "Avenue X". Lortel Archives-The Internet Off-Broadway Database. Lortel.org. Retrieved 28 May 2011. 
  • www.cgiscript.net, LLC. (2010a). "In Transit". Lortel Archives-The Internet Off-Broadway Database. Lortel.org. Retrieved 28 May 2011. 
  • Arnold, Denis, ed. (1998). "Cappella". The New Oxford Companion to Music. I: A-J. Oxford, UK: Oxford University Press. ISBN 0-19-311316-3. 
  • Bales, James D. (1973). Instrumental Music and New Testament Worship. Searcy, AR: Truth for Today World Mision School. ASIN B0006CBMTU. 
  • Clarke, Adam (1844). The New Testament of Our Lord and Saviour Jesus Christ, the Text Carefully Printed From the Most Correct Copies of the Present Authorized Version Including the Marginal Readings and Parallel Texts with a Commentary and Critical Notes With a Commentary and Critical Notes Designed As a Help to a Better Understanding of the Sacred Writings (Clarke's Commentary) VI. Nashville, TN: Abingdon Press, n.d. 
  • Ferguson, Everett (1972). A Cappella Music in the Public Worship of the Church. The Way of Life Series (125). Abilene, TX: Biblical Research Press. ASIN B001D08SDM. 
  • Ferguson, Everett (2004). "Instrumental Music". In Foster, Douglas A.; Blowers, Paul M.; Dunnavant, Anthony L.; Williams, D. Newell. The Encyclopedia of the Stone-Campbell Movement. Grand Rapids, MI: Eerdmans. ISBN 0-8028-3898-7. 
  • Ferguson, Everett; Lewis, Jack P.; West, Earl (1984). The Instrumental Music Issue. Gospel Advocate Co. ISBN 978-0892252954. 
  • Hoiberg, Dale H., ed. (2010). "A Cappella". Encyclopædia Britannica. I: A–Ak – Bayes (15th ed.). Chicago, IL: Encyclopædia Britannica, Inc. ISBN 978-1-59339-837-8. 
  • Holmes, William C. (2007). A cappella. Grove Music Online. Oxford Music Online. Retrieved 21 September 2008. 
  • Jacobs, Leonard (24 August 2006). "Perfect Harmony". Backstage. Retrieved 17 April 2013. 
  • Kurfees, Marshall C. (1911). Instrumental music in the worship or the Greek verb psallo philologically and historically examined together with a full discussion of kindred matters relating to music in Christian worship. Nashville: McQuiddy Print Co. ASIN B00088QFHQ. 
  • McKinnon, James William (1965). The Church Fathers and Musical Instruments. Columbia University Dissertations. Columbia University. ASIN B001F2LQJ6. 
  • McKinnon, James (1989) [1987]. Music in Early Christian Literature. Cambridge: Cambridge University Press. ISBN 0-521-37624-6. 
  • McKinnon, James (1998). The Temple, the Church Fathers, and Early Western Chant. Aldershot: Ashgate Publishing Limited. ISBN 978-0860786887. 
  • M'Clintock, John; Strong, James, eds. (1894). "Music". Cyclopaedia of Biblical, Theological, and Ecclesiastical Literature. VI: Me-Nev. New York, NY: Harper and Brothers Publishers. 
  • Olson, Lee G. (1967). "Music and Musical Instruments of the Bible". In Tenney, Merrill C.. Zondervan Pictoral Bible Dictionary. Grand Rapids, MI: Zondervan Publishing House. ISBN 978-0310331605. 
  • Perera, Mahes (29 August 2010). "September Song". Sunday Observer (Colombo, Sri Lanka). Retrieved 27 April 2012. 
  • Price, John (2005). Old Light on New Worship: Musical Instruments and The Worship of God, A Theological, Historical, and Psychological Study. Avinger, TX: Simpson Publishing Company. ISBN 978-1881095019. 
  • Taruskin, Richard (2005). The Oxford History of Western Music 1. New York, NY: Oxford University Press. ISBN 0-19-522270-9. 
  • Taruskin, Richard (2005a). The Oxford History of Western Music 2. New York, NY: Oxford University Press. ISBN 0-19-522271-7. 
  • Taruskin, Richard (2005b). The Oxford History of Western Music 3. New York, NY: Oxford University Press. ISBN 0-19-522272-5. 
  • van Camp, Leonard (1965). "The Formation of A Cappella Choirs at Northwestern University, St. Olaf College, and Westminster College". Journal of Research in Music Education 13 (4): 227–238. doi:10.2307/3344375. 
  • Ware, Timothy (1997). The Orthodox Church: New Edition (2nd ed.). London: Penguin Books. ISBN 978-0140146561. 
  • Weiss, Piero; Taruskin, Richard (1984). Music in the Western World. New York, NY: Shirmer Books. ISBN 978-0028729008. 

External links[edit]