Unaccompanied

Music performed a cappella ( , , ; ), less commonly spelled acapella in English, is music performed by a singer or a singing group without instrumental accompaniment. The term ''a cappella'' was originally intended to differentiate between Renaissance polyphony and Baroque concertato musical styles. 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. The term is also used, rarely, as a synonym for ''alla breve''.

Early history

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

Religious origins

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; the use of instruments has subsequently increased within both of these religions as well as in Islam.

Christian

The polyphony of Christian (predominantly Catholic) a cappella music began to develop in Europe around the 9th century AD with the practice of organum, reaching its height between the 14th and 16th centuries with compositions by composers of the Franco-Flemish school (such as Guillaume Du Fay, Johannes Ockeghem, and Josquin des Prez). The early a cappella polyphonies were sometimes doubled with other instruments, which were often wind or string instruments, or organs. By the 16th century, a cappella polyphony had further developed, but gradually, the cantata began to take the place of a cappella forms. 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" for some or all of the voices.

Other composers that utilized the a cappella style, if only for the occasional piece, were Claudio Monteverdi and his ''Lagrime d'amante al sepolcro dell'amata'' (A lover's tears at his beloved's grave), which was composed in 1610, and Andrea Gabrieli when upon his death many choral pieces were discovered, one of which was in the unaccompanied style. Learning from the preceding two composers, 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 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. 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.

In the Byzantine Rite of the Eastern Orthodox Church, Eastern Lutheran Churches and the Eastern Catholic Churches, the music performed in the liturgies is exclusively sung without instrumental accompaniment. 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. Divine Liturgies and Western Rite Masses composed by famous composers such as Peter Tchaikovsky, Sergei Rachmaninoff, Alexander Arkhangelsky, and Mykola Leontovych are examples.

Instruments have divided Christendom since their introduction into worship. They were considered a Roman Catholic innovation, not widely practiced until the 18th century, and were opposed vigorously in worship by a number of Protestant Reformers, including Martin Luther, Ulrich Zwingli, John Calvin, and John Wesley. Opponents of musical instruments in the Christian worship believe that such opposition is supported by the Christian scriptures and Church history. 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. Several reasons have been posited throughout church history for the absence of instrumental music in church worship.

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 (33–180 AD). 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. Those who oppose instruments today believe these Church Fathers had a better understanding of God's desire for the church, 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. Since the New Testament never condemns instruments themselves, much less in any of these settings, author Everett Ferguson wrote that "the church Fathers go beyond the New Testament in pronouncing a negative judgment on musical instruments."
* Written opposition to instruments in worship began near the turn of the 5th century. Modern opponents of instruments typically do not make the same assessment of instruments as these writers, who argued that God had allowed David the "evil" of using musical instruments in praise. While the Old Testament teaches that God specifically asked for musical instruments, 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. While Zwingli was destroying organs in Switzerland – Luther called him a fanatic – the Church of England was burning books of polyphony.

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.
Present-day Christian religious bodies known for conducting their worship services without musical accompaniment include many Oriental Orthodox Churches (such as the Coptic Orthodox Church), many Anabaptist communities (including Old Order Anabaptist groups—such as the Amish, Old German Baptist Brethren, Old Order Mennonites, as well as Conservative Anabaptist groups—such as the Dunkard Brethren Church and Conservative Mennonites), some Presbyterian churches devoted to the regulative principle of worship, Old Regular Baptists, Primitive Baptists, Plymouth Brethren, Churches of Christ, Church of God, the Reformed Free Methodists, Doukhobors, and the Byzantine Rite of Eastern Christianity. 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.

Jewish

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

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. This view parted with the Jewish scriptures, where Israel offered praise with instruments by God's own command The shofar is the only temple instrument still being used today in the synagogue, 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. However, silver trumpets, as described in Numbers 10:1-18, have been made in recent years and used in prayer services at the Western Wall.

In the United States

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."

An a cappella tradition was begun 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 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.

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.

The Contemporary A Cappella Society (CASA) is a membership option for former students, whose funds support hosted competitions and events.

A cappella music was popularized between the late 2000s and the early to mid-2010s with media hits such as the 2009–2014 TV show ''The Sing-Off'' and the musical comedy film series ''Pitch Perfect''.

Recording artists

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. Frank Zappa loved doo wop and a cappella, so Zappa released The Persuasions' first album from his label in 1970. Judy Collins recorded "Amazing Grace" a cappella. 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, Boyz II Men, and *NSYNC.

Contemporary a cappella includes many vocal groups and bands who add vocal percussion or beatboxing

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