Given the following context:  A few composers have written symphonies for unaccompanied chorus, in which the choir performs both vocal and instrumental functions. Granville Bantock composed three such works—Atalanta in Calydon (1911), Vanity of Vanities (1913) and A Pageant of Human Life (1913). His Atalanta, called by musicologist Herbert Antcliffe "the most important [work of the three] alike in technical experiment and in inspiration", was written for a choir of at least 200, the composer specifying "'not less than 10 voices for each part,'" a work with 20 separate vocal parts. Using these forces, Bantock formed groups "of different weights and colors to get something of the varied play of tints and perspective [of an orchestra]". In addition, the choir is generally divided into three sections, approximating the timbres of woodwinds, brass and strings. Within these divisions, Antcliffe writes, Almost every possible means of vocal expression is employed separately or in combination with others. To hear the different parts of the choir describing in word and tone "laughter" and "tears" respectively at the same time is to realize how little the possibilities of choral singing have as yet been grasped by the ordinary conductor and composer. Such combinations are extremely effective when properly achieved, but they are very difficult to achieve. Roy Harris wrote his Symphony for Voices in 1935 for a cappella choir split into eight parts. Harris focused on harmony, rhythm and dynamics, allowing the text by Walt Whitman to dictate the choral writing. "In a real sense, the human strivings so vividly portrayed in Whitman's poetry find a musical analog to the trials to which the singers are subjected", John Profitt writes both of the music's difficulty for performers and of its highly evocative quality. Malcolm Williamson wrote his Symphony for Voices between 1960 and 1962, setting texts by Australian poet James McAuley. Lewis Mitchell writes that the work is not a symphony in any true sense, but rather a four-movement work preceded by an...  answer the following question:  What work did Lewis Mitchell claim was not a symphony, but rather a four-movement work?
Ans: Symphony for Voices

Given the following context:  Title TK begins with "Little Fury", named after a kind of pocketknife sold at truck stops with the word "fury" written along the side of the blade. On the call and response track, the Deal sisters sing over a heavy bassline, a funky drumbeat, and guitar sounds influenced by surf music and grunge. J.R. Moores wrote for Drowned in Sound that "Somebody considers unleashing a guitar solo, yet its notes are few and the vocals kick back in before it has the chance to go anywhere. Is it a solo or a riff? Whatever it is, it flicks its middle finger at other solos and riffs, exposing them as absurd, flamboyant, shallow fripperies. I'm not part of that club, it says." For PopMatters's Matt Cibula, the repeated line "Hold what you've got" is the Deals' reminder to themselves to keep the Breeders intact henceforth.On "London Song", Jim Abbott at The Orlando Sentinel said the syncopated guitar performance complements Title TK's "world-weary attitude," just as the sisters' "tough lost years ... [are] obvious from Kim's disconnected delivery on songs about hard times". By contrast, NY Rock's Jeanne Fury noted the track's upbeat, quirky energy. In the Japanese release's liner notes, critic Mia Clarke described the slow ballad "Off You" as having a lackadaisical feel; Pitchfork Media's Will Bryant was struck by the song's creepy quality, and compared it to the mood of the Pink Floyd album The Wall. Rolling Stone's Arion Berger said "Off You" is "as direct and heartbreaking as an eighty-five-year-old blues recording, and Kim, her voice clear and full of hope, can't help sounding like a young woman who's lived ten awful lifetimes.""The She", named after a nightclub that the Deals' brother used to visit, has been described as having a funky feel, with a start-and-stop rhythm of bass and drums. Bryant found the track's keyboard part reminiscent of Stereolab's music, while AllMusic's Heather Phares likened the entire song to Jefferson Airplane's "White Rabbit". Cibula mentioned that the "creepy/cool ... sound [fits] the...  answer the following question:  What is the last name of the individual whose voice, according to Arion Berger, "can't help sounding like a young woman who's lived ten awful lifetimes"?
Ans: Deal

Given the following context:  Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act: The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons. As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written."  answer the following question:  What was the full name of the band that Jim Wetherington was the bass singer of?
Ans: the Statesmen Quartet