First National Preventive Health Research Programme  YELP Holistic First Business Plan    YELP Holistic First Business Plan Defined Terms   SWOT Analysis   Executive Summary   Deliverables And Costs   Snapshot Page To 10 Benchmark Techniques   Defined Terms for Five YELP Business Plans

Second National Preventive Health Research Programme

First BTAAP Business Plan      Bohémian Teenagers Show Choir Programme        Defined Terms BTSCP

Second BTAAP Business Plan    Bohémian Teenagers Symphony Orchestras Programme    Defined Terms - Bohémian Teenager Symphony Orchestra Programme

Third BTAAP Business Plan    Bohémian Teenager Ballet & Modern Dance Programme        Defined Terms BTB&MDCP

Classical and Romantic Music means composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. Mozart's choral music generally does not represent his best work, with a few exceptions (such as the "Great" Mass in C minor and Requiem in D minor). Haydn became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios The Creation and The Seasons. Beethoven wrote only two masses, both intended for liturgical use, although his Missa solemnis is suitable only for the grandest ceremonies. He also pioneered the use of chorus as part of symphonic texture with his Ninth Symphony.

In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem. Rossini's Stabat mater, Schubert's masses, and Verdi's Requiem also exploited the grandeur offered by instrumental accompaniment.

Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's L'Enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nänie.

A few composers developed a cappella music, especially Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets.

The amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert, Schumann, Mendelssohn, Brahms, and others. These 'singing clubs' were often for women or men separately, and the music was typically in four-part (hence the name "part-song") and either a cappella or with simple instrumentation. At the same time, the Cecilian movement attempted a restoration of the pure Renaissance style in Catholic churches.

Black Spirituals came into greater prominence and arrangements of such spirituals became part of the standard choral repertoire. Notable composers and arrangers of choral music in this tradition include Jester Hairston and Moses Hogan.

During the mid 20th century, barbershop quartets began experimenting with combining larger ensembles together into choruses which sing barbershop music in 4 parts, often with staging, choreography and costumes. The first international barbershop chorus contest was held in 1953 and continues to this day, the most recent one being held in Denver, CO, with the Westminster Chorus winning the gold medal.

During the late 20th century, one of the major areas of growth in the choral movement has been in the areas of GLBT choruses. Starting around 1979, gay men's choruses were founded within a period of months in major U.S. cities such as New York, Los Angeles, Seattle and Dallas. Over the last quarter century the number of such groups, men's, women's and mixed, has exploded. GALA Choruses, an associative group, now has well-over 100 member choruses throughout the world.

At the turn of the century, choral music has received a small resurgence of interest due in no small part to a renewed emphasis and interest in multi-cultural music. Ethnomusicology often focuses on vocal music because of the unique combination of both text and music. Although it is too soon to discern trends in the 21st century, the spirit of more practical music which dominated the last decades of the 20th century, most notably represented by John Rutter, Karl Jenkins, and Morten Lauridsen, seems to be continuing in the works of composers like Eric Whitacre and Kentaro Sato.