Acapela Group Voice

[Tisham Candella]

A cappella could be as old as humanity itself. Research suggests that singing and vocables may have been what early humans used to communicate before the invention of language.[4] The earliest piece of sheet music is thought to have originated from times as early as 2000 BC,[5] while the earliest that has survived in its entirety is from the first century AD: a piece from Greece called the Seikilos epitaph.[5]

A cappella music was originally 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. The Psalms note that some early songs were accompanied by string instruments, though Jewish and Early Christian music was largely a cappella;[6] the use of instruments has subsequently increased within both of these religions as well as in Islam.

The polyphony of Christian a cappella music began to develop in Europe around the late 15th century AD, with compositions by Josquin des Prez.[7] 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.[7] Sixteenth-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 those written for the Sistine Chapel, were intended to be accompanied by an organ "doubling" some or all of the voices.[7] Such is seen in the life of Palestrina becoming a major influence on Bach, most notably in the 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,[8] and Andrea Gabrieli when upon his death many choral pieces were discovered, one of which was in the unaccompanied style.[9] Learning from the preceding two composers, Heinrich Schtz 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.[10]

In the Byzantine Rite of the Eastern Orthodox Church and the Eastern Catholic Churches, the music performed in the liturgies 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."[11] This a cappella behavior arises from strict interpretation of Psalm 150, which states, Let every thing that hath breath praise the Lord. Praise ye the Lord.[12] In keeping with this philosophy, early Russian musika which started appearing in the late 17th century, in what was known as khorovye kontsert (choral concertos) made a cappella adaptations of Venetian-styled pieces, such as the treatise, Grammatika musikiyskaya (1675), by Nikolai Diletsky.[13] 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.

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.

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.[19][20] 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.

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.

Some Holiness Churches such as the Free Methodist Church opposed the use of musical instruments in church worship until 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. The Reformed Free Methodist Church and Evangelical Wesleyan Church were formed as a result of a schism with the Free Methodist Church, with the former retaining a cappella worship and the latter retaining the rule limiting the number of instruments in the church to the piano and organ.[16]

While worship in the Temple in Jerusalem included musical instruments,[38] traditional Jewish religious services in the Synagogue, both before and after the last destruction of the Temple, did not include musical instruments[39] given the practice of scriptural cantillation.[40] 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.[41] This has led to a tradition of a cappella singing sometimes known as sefirah music.[42]

The popularization of the Jewish chant may be found in the writings of the Jewish philosopher Philo, born 20 BC. Weaving together Jewish and Greek thought, Philo promoted praise without instruments, and taught that "silent singing" (without even vocal chords) was better still.[43] This view parted with the Jewish scriptures, where Israel offered praise with instruments by God's own command[35] The shofar is the only temple instrument still being used today in the synagogue,[44] 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.[45] However, silver trumpets, as described in Numbers 10:1-18,[46] have been made in recent years and used in prayer services at the Western Wall.[47]

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."[48][49]

An a cappella tradition was begun in 1911 by F. Melius Christiansen, a music faculty member at St. Olaf College in Northfield, Minnesota.[50] 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 tradition of a cappella choral music was born in the region at colleges like Concordia College (Moorhead, Minnesota), Augustana College (Rock Island, Illinois), Waldorf University (Forest City, Iowa), Luther College (Decorah, Iowa), Gustavus Adolphus College (St. Peter, Minnesota), Augustana College (Sioux Falls, South Dakota), and Augsburg University (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.[51][52]

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.

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.

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