Given the below 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...  Guess a valid title for it!
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Answer: Choral symphony


Q: Given the below context:  On 1 March 1849, Brown was charged with the murder of "unknown aboriginal natives". In late March or early April he appeared before a local magistrate in the district, Captain G. V. Butler, who committed him for trial. In May, Butler wrote a letter to Charles Hervey Bagot, a member of the South Australian Legislative Council, in which he listed the victims as one "old man blind and infirm", three female adults, two teenage girls (aged 15 and 12 years), and three female children (aged two years, 18 months, and a baby). Butler added that there was "little question of the butchery or the butcher".Brown's trial came before the Supreme Court in Adelaide on 11 June 1849. The presiding judge considered that the evidence presented was insufficient, and gave the prosecution another week to investigate. The weakness of the case was directly related to the provisions of the Aboriginal Witnesses Act of 1848 regarding testimony given by Aboriginal witnesses. It was generally believed that Aboriginal people could not understand the oath, but the Act allowed unsworn testimony to be offered by Aboriginal witnesses, with two significant limitations. The court could determine the weight and credibility to be given to Aboriginal testimony, but even more telling was the restriction that when the punishment for a crime was death or transportation, the evidence of an "uncivilised person or persons" was considered insufficient unless corroborated by other evidence. A week later, the judge remained unconvinced about the strength of the prosecution, but given "great suspicion rested on the case", he gave the prosecution a further extension of time, and released Brown on bail of ₤500.In July 1849, the South Australian Advocate General produced a summary of the investigation to date. Several difficulties were detailed, including the fact that Parker denied any knowledge of the crime, as did others who were believed to have heard the incident, discussed in Brown's presence. Brown's co-accused, Eastwood, alias "Yorkie", had fled when the...  Guess a valid title for it!
A: Avenue Range Station massacre


Given the below context:  For a French composer of the 19th century, opera was seen as the most important type of music. Saint-Saëns's younger contemporary and rival, Massenet, was beginning to gain a reputation as an operatic composer, but Saint-Saëns, with only the short and unsuccessful La princesse jaune staged, had made no mark in that sphere. In February 1877, he finally had a full-length opera staged. His four-act "drame lyricque", Le timbre d'argent ("The Silver Bell"), to Jules Barbier's and Michel Carré's libretto, reminiscent of the Faust legend, had been in rehearsal in 1870, but the outbreak of war halted the production. The work was eventually presented by the Théâtre Lyrique company of Paris; it ran for eighteen performances.The dedicatee of the opera, Albert Libon, died three months after the premiere, leaving Saint-Saëns a large legacy "To free him from the slavery of the organ of the Madeleine and to enable him to devote himself entirely to composition". Saint-Saëns, unaware of the imminent bequest, had resigned his position shortly before his friend died. He was not a conventional Christian, and found religious dogma increasingly irksome; he had become tired of the clerical authorities' interference and musical insensitivity; and he wanted to be free to accept more engagements as a piano soloist in other cities. After this he never played the organ professionally in a church service, and rarely played the instrument at all. He composed a Messe de Requiem in memory of his friend, which was performed at Saint-Sulpice to mark the first anniversary of Libon's death; Charles-Marie Widor played the organ and Saint-Saëns conducted. In December 1877, Saint-Saëns had a more solid operatic success, with Samson et Dalila, his one opera to gain and keep a place in the international repertoire. Because of its biblical subject, the composer had met many obstacles to its presentation in France, and through Liszt's influence the premiere was given at Weimar in a German translation. Although the work eventually became an...  Guess a valid title for it!
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Answer:
Camille Saint-Saëns