A cappella

<h2 id="early-history">Early history</h2>
Research suggests that singing and vocables may have been what early humans used to communicate before the invention of language.<a class="footnote-ref" id="fnref:5" href="#fn:5">5</a> The earliest piece of <a href="/facts/Sheet_music/P1rGJt0t">sheet music</a> is thought to have originated from times as early as 2000 BC,<a class="footnote-ref" id="fnref:6" href="#fn:6">6</a> while the earliest that has survived in its entirety is from the first century AD: a piece from <a href="/facts/Greece/lqHw8bTB">Greece</a> called the <a href="/facts/Seikilos_epitaph/8N9eGQ01">Seikilos epitaph</a>.<a class="footnote-ref" id="fnref:7" href="#fn:7">7</a>

<h2 id="religious-origins">Religious origins</h2>
A cappella music was originally used in religious music, especially <a href="/facts/Church_music/g4Apvzd6">church music</a> as well as <a href="/facts/Anasheed/X5zUAQ5g">anasheed</a> and <a href="/facts/Zemirot/oazYNocb">zemirot</a>. <a href="/facts/Gregorian_chant/hMPR367a">Gregorian chant</a> is an example of a cappella singing, as is the majority of secular vocal music from the <a href="/facts/Renaissance_music/MvSjNt2G">Renaissance</a>. The <a href="/facts/Madrigal_(music)/PKtjQcBu">madrigal</a>, up until its development in the early <a href="/facts/Baroque_music/UgrJnyTq">Baroque</a> into an instrumentally accompanied form, is also usually in a cappella form. The <a href="/facts/Psalms/QbfaqRCY">Psalms</a> note that some early songs were accompanied by string instruments, though Jewish and Early Christian music was largely a cappella;<a class="footnote-ref" id="fnref:8" href="#fn:8">8</a> the use of instruments has subsequently increased within both of these religions as well as in Islam.

<h3>Christian</h3>
The <a href="/facts/Polyphony/obub59bA">polyphony</a> of Christian (predominantly Catholic) a cappella music began to develop in Europe around the 9th century AD with the practice of <a href="/facts/Organum/3rNpzgu3">organum</a>, reaching its height between the 14th and 16th centuries with compositions by composers of the <a href="/facts/Franco-Flemish_school/bSYdK4R3">Franco-Flemish school</a> (such as <a href="/facts/Guillaume_Du_Fay/SwVFfY6y">Guillaume Du Fay</a>, <a href="/facts/Johannes_Ockeghem/vXB1h11n">Johannes Ockeghem</a>, and <a href="/facts/Josquin_des_Prez/F7U2U0rx">Josquin des Prez</a>).<a class="footnote-ref" id="fnref:9" href="#fn:9">9</a> 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 <a href="/facts/Polyphony/obub59bA">polyphony</a> had further developed, but gradually, the <a href="/facts/Cantata/hLyyqTjV">cantata</a> began to take the place of a cappella forms.<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a> 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 <a href="/facts/Giovanni_Pierluigi_da_Palestrina/hThgXfff">Palestrina</a>, such as those written for the Sistine Chapel, were intended to be accompanied by an organ "doubling" for some or all of the voices.<a class="footnote-ref" id="fnref:11" href="#fn:11">11</a>
Other composers that utilized the a cappella style, if only for the occasional piece, were <a href="/facts/Claudio_Monteverdi/RwJG9mgH">Claudio Monteverdi</a> and his Lagrime d'amante al sepolcro dell'amata (A lover's tears at his beloved's grave), which was composed in 1610,<a class="footnote-ref" id="fnref:12" href="#fn:12">12</a> and <a href="/facts/Andrea_Gabrieli/AvUNc2nW">Andrea Gabrieli</a> when upon his death many choral pieces were discovered, one of which was in the unaccompanied style.<a class="footnote-ref" id="fnref:13" href="#fn:13">13</a> Learning from the preceding two composers, <a href="/facts/Heinrich_Sch%25C3%25BCtz/BVDyEP86">Heinrich Schütz</a> utilized the a cappella style in numerous pieces; chief among these were the pieces in the <a href="/facts/Oratorio/2BHDyCEp">oratorio</a> style, which were traditionally performed during the Easter week and dealt with the religious subject matter of that week, such as <a href="/facts/Passion_(Christianity)/zHxtCPQd">the Passion</a>. 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 <a href="/facts/Matthew_the_Apostle/yvFpP3KF">Matthew</a>, <a href="/facts/Luke_the_Evangelist/6wFIkqtC">Luke</a> and <a href="/facts/John_the_Evangelist/kqBBEGyk">John</a>, 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 <a href="/facts/Plainchant/C1WHYKJp">plainchant</a>.<a class="footnote-ref" id="fnref:14" href="#fn:14">14</a>
In the Byzantine Rite of the <a href="/facts/Eastern_Orthodox_Church/5n20Akh5">Eastern Orthodox Church</a> and the <a href="/facts/Eastern_Catholic_Churches/TEupXfEm">Eastern Catholic Churches</a>, 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 <a href="/facts/Nikolai_Diletsky/doQUYQd3">Nikolai Diletsky</a>.<a class="footnote-ref" id="fnref:15" href="#fn:15">15</a> Divine Liturgies and Western Rite Masses composed by famous composers such as <a href="/facts/Liturgy_of_St._John_Chrysostom_(Tchaikovsky)/8QFxmbAl">Peter Tchaikovsky</a>, <a href="/facts/Liturgy_of_St._John_Chrysostom_(Rachmaninoff)/m1WneInX">Sergei Rachmaninoff</a>, <a href="/facts/Alexander_Arkhangelsky_(composer)/TF9HJPa4">Alexander Arkhangelsky</a>, and <a href="/facts/Liturgy_of_St._John_Chrysostom_(Leontovych)/K2Roy7LE">Mykola Leontovych</a> 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 <a href="/facts/Protestant_Reformers/Y25HB3Ey">Protestant Reformers</a>, including <a href="/facts/Martin_Luther/7nwEeL0L">Martin Luther</a>,<a class="footnote-ref" id="fnref:16" href="#fn:16">16</a> <a href="/facts/Ulrich_Zwingli/VhLR7udA">Ulrich Zwingli</a>, <a href="/facts/John_Calvin/CrUIG3p3">John Calvin</a>,<a class="footnote-ref" id="fnref:17" href="#fn:17">17</a> and <a href="/facts/John_Wesley/vm9oeMF6">John Wesley</a>.<a class="footnote-ref" id="fnref:18" href="#fn:18">18</a> Opponents of <a href="/facts/Musical_instruments_in_the_Christian_worship/d3q7aqQ1">musical instruments in the Christian worship</a> believe that such opposition is supported by the Christian scriptures and Church history.<a class="footnote-ref" id="fnref:19" href="#fn:19">19</a> 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.<a class="footnote-ref" id="fnref:20" href="#fn:20">20</a><a class="footnote-ref" id="fnref:21" href="#fn:21">21</a> Several reasons have been posited throughout church history for the absence of instrumental music in church worship.<a class="footnote-ref" id="fnref:22" href="#fn:22">22</a>
Those who do not adhere to the <a href="/facts/Regulative_principle/4fPQhUQr">regulative principle</a> 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).<a class="footnote-ref" id="fnref:23" href="#fn:23">23</a> 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.<a class="footnote-ref" id="fnref:24" href="#fn:24">24</a> Those who oppose instruments today believe these Church Fathers had a better understanding of God's desire for the church,<a class="footnote-ref" id="fnref:25" href="#fn:25">25</a> but there are significant differences between the teachings of these Church Fathers and Christian opposition to instruments today.

<ul><li>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.<a class="footnote-ref" id="fnref:26" href="#fn:26">26</a> Since the New Testament never condemns instruments themselves, much less in any of these settings, it is believed that "the church Fathers go beyond the New Testament in pronouncing a negative judgment on musical instruments."<a class="footnote-ref" id="fnref:27" href="#fn:27">27</a></li>
<li>Written opposition to instruments in worship began near the turn of the 5th century.<a class="footnote-ref" id="fnref:28" href="#fn:28">28</a> Modern opponents of instruments typically do not make the same assessment of instruments as these writers,<a class="footnote-ref" id="fnref:29" href="#fn:29">29</a> who argued that God had allowed David the "evil" of using musical instruments in praise.<a class="footnote-ref" id="fnref:30" href="#fn:30">30</a> While the Old Testament teaches that God specifically asked for musical instruments,<a class="footnote-ref" id="fnref:31" href="#fn:31">31</a> modern concern is for worship based on the New Testament.</li></ul>
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.<a class="footnote-ref" id="fnref:32" href="#fn:32">32</a> While Zwingli was destroying organs in Switzerland – Luther called him a fanatic – the Church of England was burning books of polyphony.<a class="footnote-ref" id="fnref:33" href="#fn:33">33</a>
Some <a href="/facts/Holiness_Churches/IqQWHPeF">Holiness Churches</a> such as the <a href="/facts/Free_Methodist_Church/NcnCA5Qb">Free Methodist Church</a> 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 <a href="/facts/Reformed_Free_Methodist_Church/hoDDxche">Reformed Free Methodist Church</a> and <a href="/facts/Evangelical_Wesleyan_Church/PvqdKRCE">Evangelical Wesleyan Church</a> 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.<a class="footnote-ref" id="fnref:34" href="#fn:34">34</a>
Present-day Christian religious bodies known for conducting their worship services without musical accompaniment include many <a href="/facts/Oriental_Orthodox_Church/Hr4jF7La">Oriental Orthodox Churches</a> (such as the <a href="/facts/Coptic_Orthodox_Church/zL5NVSga">Coptic Orthodox Church</a>),<a class="footnote-ref" id="fnref:35" href="#fn:35">35</a> many <a href="/facts/Anabaptist/hznb5ped">Anabaptist</a> communities (including <a href="/facts/Old_Order_Movement/toSML5hp">Old Order Anabaptist groups</a>—such as the <a href="/facts/Amish/5MX4wRT3">Amish</a>, <a href="/facts/Old_German_Baptist_Brethren/wFJllzVI">Old German Baptist Brethren</a>, <a href="/facts/Old_Order_Mennonites/9Wuz2o5E">Old Order Mennonites</a>, as well as Conservative Anabaptist groups—such as the <a href="/facts/Dunkard_Brethren_Church/uaW4SaNm">Dunkard Brethren Church</a> and <a href="/facts/Conservative_Mennonites/jptITMN8">Conservative Mennonites</a>),<a class="footnote-ref" id="fnref:36" href="#fn:36">36</a> some <a href="/facts/Presbyterian/LdbUk62a">Presbyterian</a> churches devoted to the <a href="/facts/Regulative_principle_of_worship/4fPQhUQr">regulative principle of worship</a>, <a href="/facts/Old_Regular_Baptist/tCS5SubG">Old Regular Baptists</a>, <a href="/facts/Primitive_Baptist/u9BK6Gkj">Primitive Baptists</a>, <a href="/facts/Plymouth_Brethren/VbC6vsUX">Plymouth Brethren</a>, <a href="/facts/Churches_of_Christ/RmpYgnkV">Churches of Christ</a>, Church of God, the <a href="/facts/Reformed_Free_Methodist_Church/hoDDxche">Reformed Free Methodists</a>,<a class="footnote-ref" id="fnref:37" href="#fn:37">37</a> <a href="/facts/Doukhobor/212wUpzy">Doukhobors</a>, and the <a href="/facts/Byzantine_Rite/A0TWNNfl">Byzantine Rite</a> of Eastern Christianity.<a class="footnote-ref" id="fnref:38" href="#fn:38">38</a> Certain <a href="/facts/High_church/BdItxFdt">high church</a> services and other musical events in liturgical churches (such as the Roman Catholic <a href="/facts/Mass_in_the_Catholic_Church/bsLQyMVM">Mass</a> and the <a href="/facts/Lutheranism/L4pMlRcS">Lutheran</a> <a href="/facts/Divine_Service_(Lutheran)/WNrmQ8Nd">Divine Service</a>) may be a cappella, a practice remaining from apostolic times. Many <a href="/facts/Mennonite/pFLcS0Pg">Mennonites</a> also conduct some or all of their services without instruments. <a href="/facts/Sacred_Harp/7pbaucxv">Sacred Harp</a>, a type of <a href="/facts/Folk_music/yFHpeE7k">folk music</a>, is an a cappella style of religious singing with <a href="/facts/Shape_notes/3sP0lPfT">shape notes</a>, usually sung at singing conventions.

<h3>Jewish</h3>
While worship in the <a href="/facts/Temple_in_Jerusalem/WHsJ2e2Y">Temple in Jerusalem</a> included musical instruments,<a class="footnote-ref" id="fnref:39" href="#fn:39">39</a> traditional Jewish religious services in the Synagogue, both before and after the last destruction of the Temple, did not include musical instruments<a class="footnote-ref" id="fnref:40" href="#fn:40">40</a> given the practice of scriptural <a href="/facts/Hebrew_cantillation/dflpRumf">cantillation</a>.<a class="footnote-ref" id="fnref:41" href="#fn:41">41</a> 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 <a href="/facts/Zemirot/oazYNocb">zemirot</a> 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 <a href="/facts/The_Three_Weeks/wuYQLuYU">the Three Weeks</a> musical instruments are prohibited. Many Jews consider a portion of the 49-day period of the <a href="/facts/Counting_of_the_Omer/E3BVzHYR">counting of the omer</a> between Passover and Shavuot to be a time of semi-mourning and instrumental music is not allowed during that time.<a class="footnote-ref" id="fnref:42" href="#fn:42">42</a> This has led to a tradition of a cappella singing sometimes known as sefirah music.<a class="footnote-ref" id="fnref:43" href="#fn:43">43</a>
The popularization of the Jewish chant may be found in the writings of the Jewish philosopher <a href="/facts/Philo/Ieyu5Igv">Philo</a>, 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.<a class="footnote-ref" id="fnref:44" href="#fn:44">44</a> This view parted with the Jewish scriptures, where Israel offered praise with instruments by God's own command<a class="footnote-ref" id="fnref:45" href="#fn:45">45</a> The <a href="/facts/Shofar/orfE8PAJ">shofar</a> is the only temple instrument still being used today in the synagogue,<a class="footnote-ref" id="fnref:46" href="#fn:46">46</a> and it is only used from <a href="/facts/Rosh_Chodesh/XcPHfTY1">Rosh Chodesh</a> <a href="/facts/Elul/tqSXWcQc">Elul</a> through the end of <a href="/facts/Yom_Kippur/2STbQGjN">Yom Kippur</a>. 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.<a class="footnote-ref" id="fnref:47" href="#fn:47">47</a> However, silver <a href="/facts/Trumpet/QzvHkd6V">trumpets</a>, as described in Numbers 10:1-18,<a class="footnote-ref" id="fnref:48" href="#fn:48">48</a> have been made in recent years and used in prayer services at the <a href="/facts/Western_Wall/6CA11mxN">Western Wall</a>.<a class="footnote-ref" id="fnref:49" href="#fn:49">49</a>

<h2 id="in-the-united-states">In the United States</h2>

Peter Christian Lutkin, dean of the <a href="/facts/Bienen_School_of_Music/934FazIN">Northwestern University School of Music</a>, 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."<a class="footnote-ref" id="fnref:50" href="#fn:50">50</a><a class="footnote-ref" id="fnref:51" href="#fn:51">51</a>
An a cappella tradition was begun in 1911 by <a href="/facts/F._Melius_Christiansen/e6jLzpRJ">F. Melius Christiansen</a>, a music faculty member at <a href="/facts/St._Olaf_College/u5C6YxLE">St. Olaf College</a> in <a href="/facts/Northfield%2c_Minnesota/lAgjWwUc">Northfield, Minnesota</a>.<a class="footnote-ref" id="fnref:52" href="#fn:52">52</a> The <a href="/facts/St._Olaf_Choir/DGHPqU4T">St. Olaf College Choir</a> was established as an outgrowth of the local <a href="/facts/St._John%2527s_Lutheran_Church_(Northfield%2c_Minnesota)/a8NIxbhx">St. John's Lutheran Church</a>, 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 <a href="/facts/Concordia_College%2c_Moorhead/NStx0jg3">Concordia College</a> (Moorhead, Minnesota), <a href="/facts/Augustana_College_(Illinois)/cr5CYxLs">Augustana College</a> (Rock Island, Illinois), <a href="/facts/Waldorf_University/p0tU7lXm">Waldorf University</a> (Forest City, Iowa), <a href="/facts/Luther_College_(Iowa)/EW6FJwmB">Luther College</a> (Decorah, Iowa), <a href="/facts/Gustavus_Adolphus_College/7TTw3c7c">Gustavus Adolphus College</a> (St. Peter, Minnesota), <a href="/facts/Augustana_College_(South_Dakota)/0hz3kKGJ">Augustana College</a> (Sioux Falls, South Dakota), and <a href="/facts/Augsburg_University/V4zUaIA3">Augsburg University</a> (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.<a class="footnote-ref" id="fnref:53" href="#fn:53">53</a><a class="footnote-ref" id="fnref:54" href="#fn:54">54</a>
Movements in modern a cappella over the past century include <a href="/facts/Barbershop_music/uzlTPXur">barbershop</a> and <a href="/facts/Doo_wop/cxtG8zn8">doo wop</a>. The <a href="/facts/Barbershop_Harmony_Society/q5rQfqqp">Barbershop Harmony Society</a>, <a href="/facts/Sweet_Adelines_International/EBK61p8M">Sweet Adelines International</a>, and Harmony Inc. host educational events including Harmony University, Directors University, and the International Educational Symposium, and international contests and conventions, recognizing international champion <a href="/facts/List_of_chorus_champions_by_year/nyq3P0kN">choruses</a> and <a href="/facts/List_of_quartet_champions_by_year/NGIbPocj">quartets</a>.
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 <a href="/facts/Contemporary_A_Cappella_Society/9HbsDsxl">Contemporary A Cappella Society</a> (CASA) is a membership option for former students, whose funds support hosted competitions and events.<a class="footnote-ref" id="fnref:55" href="#fn:55">55</a><a class="footnote-ref" id="fnref:56" href="#fn:56">56</a>
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 <a href="/facts/The_Sing-Off/BcUX0m4q">The Sing-Off</a> and the musical comedy film series <a href="/facts/Pitch_Perfect_(film_series)/Fcdlfzfa">Pitch Perfect</a>.

<h3>Recording artists</h3>
In <a href="/facts/Number-one_hits_of_1943_(United_States)/7IXBdA1c">July 1943</a>, as a result of the <a href="/facts/American_Federation_of_Musicians/YgLQ3HKc">American Federation of Musicians</a> 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 <a href="/facts/The_Hi-Los/gyRsLcK9">The Hi-Los</a> and the <a href="/facts/Four_Freshmen/jfBft3lf">Four Freshmen</a>, introduced complex jazz harmonies to a cappella performances. The <a href="/facts/King%2527s_Singers/wlxd3p6t">King's Singers</a> 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 <a href="/facts/The_Persuasions/lFsmsUy5">The Persuasions</a>' first album from his label in 1970.<a class="footnote-ref" id="fnref:57" href="#fn:57">57</a> <a href="/facts/Judy_Collins/cNz06TeN">Judy Collins</a> recorded "<a href="/facts/Amazing_Grace/S451j4yJ">Amazing Grace</a>" a cappella.<a class="footnote-ref" id="fnref:58" href="#fn:58">58</a> In 1983, an a cappella group known as <a href="/facts/The_Flying_Pickets/qyeKdcRV">The Flying Pickets</a> had a Christmas 'number one' in the UK with a cover of <a href="/facts/Yazoo_(band)/F1R85zk7">Yazoo</a>'s (known in the US as <a href="/facts/Yazoo_(band)/F1R85zk7">Yaz</a>) "<a href="/facts/Only_You_(Yazoo_song)/r5xCXvLo">Only You</a>". A cappella music attained renewed prominence from the late 1980s onward, spurred by the success of Top 40 recordings by artists such as <a href="/facts/The_Manhattan_Transfer/5SWXFR9h">The Manhattan Transfer</a>, <a href="/facts/Bobby_McFerrin/Hp4l8wIN">Bobby McFerrin</a>, <a href="/facts/Huey_Lewis_and_the_News/2zUzCI0j">Huey Lewis and the News</a>, <a href="/facts/All-4-One/1d4VGm04">All-4-One</a>, <a href="/facts/The_Nylons/IzyHytfw">The Nylons</a>, <a href="/facts/Backstreet_Boys/nFr95WQp">Backstreet Boys</a>, <a href="/facts/Boyz_II_Men/XAbKTVKY">Boyz II Men</a>, and <a href="/facts/*NSYNC/2HKbWJQT">*NSYNC</a>.
Contemporary a cappella includes many vocal groups and bands who add <a href="/facts/Vocal_percussion/GDpykls9">vocal percussion</a> or <a href="/facts/Beatboxing/PhueepPz">beatboxing</a> to create a pop/rock/gospel sound, in some cases very similar to bands with instruments. Examples of such professional groups include <a href="/facts/Straight_No_Chaser_(group)/KY8uxEe2">Straight No Chaser</a>, <a href="/facts/Pentatonix/TjEAaFly">Pentatonix</a>, <a href="/facts/The_House_Jacks/gECmWCz6">The House Jacks</a>, <a href="/facts/Rockapella/PWhVwaGT">Rockapella</a>, <a href="/facts/Mosaic_(vocal_band)/eJg0AQgB">Mosaic</a>, <a href="/facts/Home_Free_(group)/ITTfGBU2">Home Free</a> and <a href="/facts/M-pact/PG6vHbPc">M-pact</a>. There also remains a strong a cappella presence within Christian music, as some denominations purposefully do not use instruments during worship. Examples of such groups are <a href="/facts/Take_6/6pSmE793">Take 6</a>, <a href="/facts/Glad_(band)/7sm0mprN">Glad</a> and <a href="/facts/Acappella_(group)/h3F25Wyu">Acappella</a>. Arrangements of popular music for small a cappella ensembles typically include one voice singing the lead melody, one singing a rhythmic bass line, and the remaining voices contributing chordal or <a href="/facts/Polyphony/obub59bA">polyphonic</a> accompaniment.
A cappella can also describe the isolated vocal track(s) from a <a href="/facts/Multitrack_recording/PPtToh16">multitrack recording</a> that originally included instrumentation. These vocal tracks may be <a href="/facts/Remix/l1MW7Xke">remixed</a> or put onto vinyl records for DJs, or released to the public so that fans can remix them. One such example is the a cappella release of <a href="/facts/Jay-Z/8j905fCC">Jay-Z</a>'s <a href="/facts/The_Black_Album_(Jay-Z_album)/Hf24SnTX">Black Album</a>, which <a href="/facts/Danger_Mouse_(artist)/2S4ypR7o">Danger Mouse</a> mixed with <a href="/facts/The_Beatles/2syHWLcM">the Beatles</a>' <a href="/facts/The_Beatles_(album)/lU1K0HNV">White Album</a> to create <a href="/facts/The_Grey_Album/h8xx1GV0">The Grey Album</a>.<a class="footnote-ref" id="fnref:59" href="#fn:59">59</a>
On their 1966 album titled Album, <a href="/facts/Peter%2c_Paul_and_Mary/kusEgbhl">Peter, Paul and Mary</a> included the song "Norman Normal". All the sounds on that song, both vocals and instruments, were created by Paul's voice, with no actual instruments used.<a class="footnote-ref" id="fnref:60" href="#fn:60">60</a>
In 2013, an artist by the name <a href="/facts/Smooth_McGroove/1MMkmgAm">Smooth McGroove</a> rose to prominence with his style of a cappella music.<a class="footnote-ref" id="fnref:61" href="#fn:61">61</a> He is best known for his a cappella covers of <a href="/facts/Video_game/vmTdNASJ">video game</a> music tracks on <a href="/facts/YouTube/db276jst">YouTube</a>.<a class="footnote-ref" id="fnref:62" href="#fn:62">62</a>
in 2015, an a cappella version of Jerusalem by multi-instrumentalist <a href="/facts/Jacob_Collier/UjKcgr1r">Jacob Collier</a> was selected for <a href="/facts/Beats_Electronics/CJTdsweQ">Beats by Dre</a> "The Game Starts Here" for the <a href="/facts/England_at_the_Rugby_World_Cup/bjQaqb5x">England Rugby World Cup</a> campaign.<a class="footnote-ref" id="fnref:63" href="#fn:63">63</a><a class="footnote-ref" id="fnref:64" href="#fn:64">64</a>

<h3>Musical theatre</h3>
A cappella has been used as the sole orchestration for original works of <a href="/facts/Musical_theatre/KQ2Y35SQ">musical theatre</a> that have had commercial runs <a href="/facts/Off-Broadway/hQbbror7">Off-Broadway</a> (theatres in New York City with 99 to 500 seats) only four times. The first was Avenue X which opened on 28 January 1994, and ran for 77 performances. It was produced by <a href="/facts/Playwrights_Horizons/PTTv9I2c">Playwrights Horizons</a> with book by John Jiler, music and lyrics by Ray Leslee. The musical style of the show's score was primarily <a href="/facts/Doo-Wop/cxtG8zn8">doo-wop</a> as the plot revolved around doo-wop group singers of the 1960s.<a class="footnote-ref" id="fnref:65" href="#fn:65">65</a><a class="footnote-ref" id="fnref:66" href="#fn:66">66</a>
In 2001, <a href="/facts/The_Kinsey_Sicks/q498lYIy">The Kinsey Sicks</a>, produced and starred in the critically acclaimed <a href="/facts/Off-Broadway/hQbbror7">off-Broadway</a> hit, DRAGAPELLA! Starring the Kinsey Sicks at New York's <a href="/facts/Studio_54/LqCJSojH">Studio 54</a>. That production received a nomination for a <a href="/facts/Lucille_Lortel/8R0gQuPe">Lucille Lortel</a> award as Best Musical and a Drama Desk nomination for Best Lyrics. It was directed by Glenn Casale with original music and lyrics by Ben Schatz.<a class="footnote-ref" id="fnref:67" href="#fn:67">67</a>
The a cappella musical <a href="/facts/Perfect_Harmony_(musical)/I2P4kbwM">Perfect Harmony</a>, a comedy about two high school a cappella groups vying to win the national championship, made its Off Broadway debut at <a href="/facts/Theatre_Row_Building/QDmtjsrh">Theatre Row</a>'s Acorn Theatre on 42nd Street in New York City in October 2010 after a successful out-of-town run at the Stoneham Theatre, in Stoneham, Massachusetts. Perfect Harmony features the hit music of <a href="/facts/The_Jackson_5/pMAVrKL8">The Jackson 5</a>, <a href="/facts/Pat_Benatar/sYXeajfq">Pat Benatar</a>, <a href="/facts/Billy_Idol/qul928JX">Billy Idol</a>, <a href="/facts/Marvin_Gaye/NLquREXY">Marvin Gaye</a>, <a href="/facts/Scandal_(American_band)/hg3P8ukG">Scandal</a>, <a href="/facts/Tiffany_Darwish/pz2cqKkH">Tiffany</a>, <a href="/facts/The_Romantics/aP5aICnE">The Romantics</a>, <a href="/facts/The_Pretenders/2RPcXGyw">The Pretenders</a>, <a href="/facts/The_Temptations/9kGnjkNI">The Temptations</a>, <a href="/facts/The_Contours/gv8QzA4o">The Contours</a>, <a href="/facts/The_Commodores/WP0LVGaJ">The Commodores</a>, <a href="/facts/Tommy_James_%2526_the_Shondells/FN2U5qwS">Tommy James & the Shondells</a> and <a href="/facts/The_Partridge_Family/HT3nxFN7">The Partridge Family</a>, and has been compared to a cross between <a href="/facts/Altar_Boyz/2ssxTmTU">Altar Boyz</a> and <a href="/facts/The_25th_Annual_Putnam_County_Spelling_Bee/yaf52ySR">The 25th Annual Putnam County Spelling Bee</a>.<a class="footnote-ref" id="fnref:68" href="#fn:68">68</a><a class="footnote-ref" id="fnref:69" href="#fn:69">69</a>
The fourth a cappella musical to appear Off-Broadway, In Transit, premiered October 5, 2010, and was produced by <a href="/facts/Primary_Stages/0UsWHaYc">Primary Stages</a> with book, music, and lyrics by Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, and <a href="/facts/Sara_Wordsworth/wK4aDLFM">Sara Wordsworth</a>. Set primarily in the New York City subway system its score features an eclectic mix of musical genres (including jazz, hip hop, Latin, rock, and country). In Transit incorporates vocal beat boxing into its contemporary a cappella arrangements through the use of a subway beat boxer character. Beat boxer and actor <a href="/facts/Chesney_Snow/tEG0jVVk">Chesney Snow</a> performed this role for the 2010 Primary Stages production.<a class="footnote-ref" id="fnref:70" href="#fn:70">70</a> According to the show's website, it is scheduled to reopen for an open-ended commercial run in the Fall of 2011. In 2011, the production received four Lucille Lortel Award nominations including Outstanding Musical, Outer Critics Circle and Drama League nominations, as well as five Drama Desk nominations including Outstanding Musical and won for Outstanding Ensemble Performance. In December 2016, In Transit became the first a cappella musical on Broadway.<a class="footnote-ref" id="fnref:71" href="#fn:71">71</a>

<h3>Barbershop style</h3>
Main article: <a href="/facts/Barbershop_music/uzlTPXur">Barbershop music</a>

<a href="/facts/Barbershop_music/uzlTPXur">Barbershop music</a> is one of several uniquely American art forms. The earliest reports of this style of a cappella music involved African Americans. The earliest documented quartets all began in <a href="/facts/Barber/gnvPGY14">barber</a> shops. In 1938, the first formal men's barbershop organization was formed, known as the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (S.P.E.B.S.Q.S.A), and in 2004 rebranded itself and officially changed its public name to the <a href="/facts/Barbershop_Harmony_Society/q5rQfqqp">Barbershop Harmony Society</a> (BHS). Today the BHS has about 22,000 members in approximately 800 chapters across the United States and Canada,<a class="footnote-ref" id="fnref:72" href="#fn:72">72</a><a class="footnote-ref" id="fnref:73" href="#fn:73">73</a> and the barbershop style has spread around the world with organizations in many other countries.<a class="footnote-ref" id="fnref:74" href="#fn:74">74</a> The Barbershop Harmony Society provides a highly organized competition structure for a cappella quartets and choruses singing in the barbershop style.
In 1945, the first formal women's barbershop organization, Sweet Adelines, was formed. In 1953, Sweet Adelines became an international organization, although it did not change its name to <a href="/facts/Sweet_Adelines_International/EBK61p8M">Sweet Adelines International</a> until 1991. The membership of nearly 25,000 women, all singing in English, includes choruses in most of the fifty United States as well as in Australia, Canada, Finland, Germany, Ireland, Japan, New Zealand, Spain, Sweden, the United Kingdom, and the Netherlands. Headquartered in Tulsa, Oklahoma, the organization encompasses more than 1,200 registered quartets and 600 choruses.
In 1959, a second women's barbershop organization started as a break off from Sweet Adelines due to ideological differences. Based on democratic principles which continue to this day, <a href="http://www.harmonyinc.org">Harmony, Inc.</a> is smaller than its counterpart, but has an atmosphere of friendship and competition. With about 2,500 members in the United States and Canada, Harmony, Inc. uses the same rules in contest that the Barbershop Harmony Society uses. Harmony, Inc. is registered in Providence, Rhode Island.

<h3>Amateur and high school</h3>
The popularity of a cappella among high schools and amateurs was revived by television shows and movies such as <a href="/facts/Glee_(TV_series)/tBNbRYns">Glee</a> and <a href="/facts/Pitch_Perfect_(film_series)/Fcdlfzfa">Pitch Perfect</a>. High school groups may have conductors or student leaders who keep the tempo for the group, or beatboxers/vocal percussionists.
Since 2013, summer training programs have appeared, such as A Cappella Academy in Los Angeles, California (founded by Ben Bram, Rob Dietz, and <a href="/facts/Avi_Kaplan/rJWIglQb">Avi Kaplan</a>) and Camp A Cappella in Dayton, Ohio (founded by <a href="/facts/Deke_Sharon/jJC2t2qw">Deke Sharon</a> and Brody McDonald).<a class="footnote-ref" id="fnref:75" href="#fn:75">75</a> These programs teach about different aspects of a cappella music, including vocal performance, arranging, and beatboxing/vocal percussion.

<h2 id="in-other-countries">In other countries</h2>

<h3>Afghanistan</h3>
The <a href="/facts/Islamic_Emirate_of_Afghanistan/gtud8bFE">Islamic Emirate of Afghanistan</a> has no official anthem because of views by the Taliban of music as un-Islamic.<a class="footnote-ref" id="fnref:76" href="#fn:76">76</a> However, the de facto <a href="/facts/This_Is_the_Home_of_the_Brave/bGdsUy7I">national anthem of Afghanistan</a> is an a cappella <a href="/facts/Nasheed/X5zUAQ5g">nasheed</a>, as musical instruments are virtually banned as corrupting and un-Islamic.<a class="footnote-ref" id="fnref:77" href="#fn:77">77</a>

<h3>Iran</h3>
The first a cappella group in Iran is the Damour Vocal Band, which was able to perform on national television despite a ban on women singing.<a class="footnote-ref" id="fnref:78" href="#fn:78">78</a>

<h3>Pakistan</h3>
The musical show Strepsils Stereo is credited for introducing the art of a cappella in <a href="/facts/Pakistan/cbIsvJy1">Pakistan</a>.<a class="footnote-ref" id="fnref:79" href="#fn:79">79</a>

<h3>Sri Lanka</h3>
Composer <a href="/facts/Dinesh_Subasinghe/WtRwFFfo">Dinesh Subasinghe</a> became the first <a href="/facts/Sri_Lanka/VtTBmysE">Sri Lankan</a> to write a cappella pieces for <a href="/facts/SATB/H5sRjsYH">SATB</a> choirs. He wrote "The Princes of the Lost Tribe" and "Ancient Queen of Somawathee" for Menaka De Sahabandu and Bridget Helpe's choirs, respectively, based on historical incidents in ancient Sri Lanka.<a class="footnote-ref" id="fnref:80" href="#fn:80">80</a><a class="footnote-ref" id="fnref:81" href="#fn:81">81</a><a class="footnote-ref" id="fnref:82" href="#fn:82">82</a> Voice Print is also a professional a cappella music group in <a href="/facts/Sri_Lanka/VtTBmysE">Sri Lanka</a>.<a class="footnote-ref" id="fnref:83" href="#fn:83">83</a>

<h3>Sweden</h3>

The European a cappella tradition is especially strong in the countries around the Baltic and perhaps most so in Sweden as described by <a href="/facts/Richard_Sparks/41kqw2W2">Richard Sparks</a> in his doctoral thesis The Swedish Choral Miracle in 2000.<a class="footnote-ref" id="fnref:84" href="#fn:84">84</a>
Swedish a cappella choirs have over the last 25 years won around 25% of the annual prestigious <a href="/facts/European_Grand_Prix_for_Choral_Singing/8ScXIWgl">European Grand Prix for Choral Singing</a> (EGP) that despite its name is open to choirs from all over the world (see list of laureates in the Wikipedia article on the EGP competition).
The reasons for the strong Swedish dominance are as explained by Richard Sparks manifold; suffice to say here that there is a long-standing tradition, an unusually large proportion of the populations (5% is often cited) regularly sing in choirs, the Swedish choral director <a href="/facts/Eric_Ericson/ouHJSshr">Eric Ericson</a> had an enormous impact on a cappella choral development not only in Sweden but around the world, and finally there are a large number of very popular primary and secondary schools ('music schools') with high admission standards based on auditions that combine a rigid academic regimen with high level choral singing on every school day, a system that started with <a href="/facts/Adolf_Fredrik%2527s_Music_School/qtq6VQke">Adolf Fredrik's Music School</a> in <a href="/facts/Stockholm/sD74W4Pm">Stockholm</a> in 1939 but has spread over the country.

<h3>United Kingdom</h3>

A cappella has gained attention in the UK in recent years, with many groups forming at British universities by students seeking an alternative singing pursuit to traditional choral and chapel singing. This movement has been bolstered by organisations such as <a href="/facts/The_Voice_Festival_UK/4Tf4a7ym">The Voice Festival UK</a> and the integration of the United Kingdom into the <a href="/facts/International_Championship_of_Collegiate_A_Cappella/PLM3GSjv">International Championship of Collegiate A Cappella</a>.

<h2 id="western-collegiate">Western collegiate</h2>
Main articles: <a href="/facts/Collegiate_a_cappella/nBv8KEwG">Collegiate a cappella</a>, <a href="/facts/List_of_collegiate_a_cappella_groups_in_the_United_States/D2KvBM9N">List of collegiate a cappella groups in the United States</a>, and <a href="/facts/List_of_university_a_cappella_groups_in_the_United_Kingdom/1VsRENPt">List of university a cappella groups in the United Kingdom</a>

It is not clear exactly where collegiate a cappella began. The Rensselyrics of <a href="/facts/Rensselaer_Polytechnic_Institute/e3smoUMm">Rensselaer Polytechnic Institute</a> (formerly known as the RPI Glee Club), established in 1873 is perhaps the oldest known collegiate a cappella group.<a class="footnote-ref" id="fnref:85" href="#fn:85">85</a>[additional citation(s) needed] The longest continuously singing group is probably <a href="/facts/The_Whiffenpoofs/Ptlech5U">The Whiffenpoofs</a> of <a href="/facts/Yale_University/KUdS6jt1">Yale University</a>,<a class="footnote-ref" id="fnref:86" href="#fn:86">86</a> which was formed in 1909 and once included <a href="/facts/Cole_Porter/qVcdskjW">Cole Porter</a> as a member.<a class="footnote-ref" id="fnref:87" href="#fn:87">87</a> Collegiate a cappella groups grew throughout the 20th century. Some notable historical groups formed along the way include <a href="/facts/Colgate_University/lmUsfsby">Colgate University</a>'s <a href="/facts/The_Colgate_Thirteen/aaoWhxLv">The Colgate 13</a> (1942), <a href="/facts/Dartmouth_College/JLk2nNaN">Dartmouth College</a>'s Aires (1946), <a href="/facts/Harvard_University/Lhy9L1cx">Harvard University</a>'s <a href="/facts/Krokodiloes/n7NdKs23">Krokodiloes</a> (1946), <a href="/facts/Cornell_University/FGyXuXeI">Cornell University</a>'s <a href="/facts/Cayuga%2527s_Waiters/fzH6RCvR">Cayuga's Waiters</a> (1949) and <a href="/facts/The_Hangovers_(Cornell_University)/bqqmxmHl">The Hangovers</a> (1968), the <a href="/facts/University_of_Maine/BzoaYVDd">University of Maine</a> Maine Steiners (1958), the <a href="/facts/Columbia_University/Hlf1gw53">Columbia University</a> Kingsmen (1949), the <a href="http://www.jabberwocks.com">Jabberwocks</a> of <a href="/facts/Brown_University/o9MRu4jx">Brown University</a> (1949), and the <a href="/facts/University_of_Rochester/RT7TWLzd">University of Rochester</a> <a href="/facts/University_of_Rochester_YellowJackets/cr9YnjxM">YellowJackets</a> (1956).
All-women a cappella groups followed shortly, frequently as a <a href="/facts/Parody/xDs59sgV">parody</a> of the men's groups: the <a href="/facts/Smiffenpoofs/QncrYg2y">Smiffenpoofs</a> of <a href="/facts/Smith_College/BqGRElj9">Smith College</a> (1936), the Night Owls of Vassar College (1942), The Shwiffs of Connecticut College (The She-Whiffenpoofs, 1944), and The Chattertocks of Brown University (1951). A cappella groups exploded in popularity beginning in the 1990s, fueled in part by a change in style popularized by the <a href="/facts/Beelzebubs/NuKmMbr1">Tufts University Beelzebubs</a> and the Boston University Dear Abbeys. The new style used voices to emulate modern rock instruments, including <a href="/facts/Vocal_percussion/GDpykls9">vocal percussion</a>/"<a href="/facts/Beatboxing/PhueepPz">beatboxing</a>". Some larger universities now have multiple groups. Groups often join one another in on-campus concerts, such as the Georgetown Chimes' Cherry Tree Massacre, a 3-weekend a cappella festival held each February since 1975, where over a hundred collegiate groups have appeared, as well as <a href="/facts/List_of_quartet_champions_by_year/NGIbPocj">International Quartet Champions</a> <a href="/facts/Boston_Common_(quartet)/Qsf8pBD9">The Boston Common</a> and the contemporary commercial a cappella group <a href="/facts/Rockapella/PWhVwaGT">Rockapella</a>. Co-ed groups have produced many up-and-coming and major artists, including <a href="/facts/John_Legend/DsueJ1aP">John Legend</a>, an alumnus of the Counterparts at the <a href="/facts/University_of_Pennsylvania/LBBBULox">University of Pennsylvania</a>, <a href="/facts/Sara_Bareilles/2bPBCA1F">Sara Bareilles</a>, an alumna of Awaken A Cappella at <a href="/facts/University_of_California%2c_Los_Angeles/KwPz7AK1">University of California, Los Angeles</a>, <a href="/facts/Mindy_Kaling/etEoVMRA">Mindy Kaling</a>, an alumna of the Rockapellas at <a href="/facts/Dartmouth_College/JLk2nNaN">Dartmouth College</a>, and <a href="/facts/Mira_Sorvino/0K15we53">Mira Sorvino</a>, an alumna of <a href="/facts/The_Harvard-Radcliffe_Veritones/qJTmawfj">the Harvard-Radcliffe Veritones</a> of <a href="/facts/Harvard_College/XU29Atef">Harvard College</a>.
Jewish-interest groups such as <a href="/facts/Queens_College/HArzyImw">Queens College</a>'s Tizmoret, <a href="/facts/Tufts_University/yglpUbAL">Tufts University</a>'s <a href="/facts/Shir_Appeal/DvY4Kj0g">Shir Appeal</a>, <a href="/facts/University_of_Chicago/z6zRMUmV">University of Chicago</a>'s Rhythm and Jews, <a href="/facts/Binghamton_University/zqumysQb">Binghamton University</a>'s Kaskeset, <a href="/facts/Ohio_State_University/jfSr6u6u">Ohio State University</a>'s Meshuganotes, <a href="/facts/Rutgers_University/dC8074a9">Rutgers University</a>'s Kol Halayla, <a href="/facts/New_York_University/4UnIkThy">New York University</a>'s Ani V'Ata, <a href="/facts/University_of_California%2c_Los_Angeles/KwPz7AK1">University of California, Los Angeles</a>'s Jewkbox, and <a href="/facts/Yale_University/KUdS6jt1">Yale University</a>'s Magevet are also gaining popularity across the U.S.<a class="footnote-ref" id="fnref:88" href="#fn:88">88</a><a class="footnote-ref" id="fnref:89" href="#fn:89">89</a><a class="footnote-ref" id="fnref:90" href="#fn:90">90</a>
Increased interest in modern a cappella (particularly collegiate a cappella) can be seen in the growth of awards such as the Contemporary A Cappella Recording Awards (overseen by the <a href="/facts/Contemporary_A_Cappella_Society/9HbsDsxl">Contemporary A Cappella Society</a>) and competitions such as the <a href="/facts/International_Championship_of_Collegiate_A_Cappella/PLM3GSjv">International Championship of Collegiate A Cappella</a> for college groups and the <a href="/facts/Harmony_Sweepstakes/sxsz5jL3">Harmony Sweepstakes</a> for all groups. In December 2009, a new television competition series called <a href="/facts/The_Sing-Off/BcUX0m4q">The Sing-Off</a> aired on <a href="/facts/NBC/zyfTYCvW">NBC</a>. The show featured eight a cappella groups from the United States and Puerto Rico vying for the prize of $100,000 and a recording contract with <a href="/facts/Epic_Records/FYuvCn2y">Epic Records</a>/<a href="/facts/Sony_Music/G2expBwI">Sony Music</a>. The show was judged by <a href="/facts/Ben_Folds/fgCQughp">Ben Folds</a>, <a href="/facts/Shawn_Stockman/QymY8W6R">Shawn Stockman</a>, and <a href="/facts/Nicole_Scherzinger/JN4aeyXv">Nicole Scherzinger</a> and was won by an all-male group from Puerto Rico called <a href="/facts/Nota_(group)/HvPJb4j7">Nota</a>. The show returned for a second, third, fourth, and fifth season, won by <a href="/facts/Committed_(group)/KhKqxzB6">Committed</a>, <a href="/facts/Pentatonix/TjEAaFly">Pentatonix</a>, <a href="/facts/Home_Free_(group)/ITTfGBU2">Home Free</a>, and The Melodores from <a href="/facts/Vanderbilt_University/xut8ASAf">Vanderbilt University</a> respectively.
Each year, hundreds of collegiate a cappella groups submit their strongest songs in a competition to be on The Best of College A Cappella (BOCA), an album compilation of tracks from the best college a cappella groups around the world. The album is produced by Varsity Vocals –which also produces the International Championship of Collegiate A Cappella – and <a href="/facts/Deke_Sharon/jJC2t2qw">Deke Sharon</a>.). According to ethnomusicologist Joshua S. Dunchan, "BOCA carries considerable cache and respect within the field despite the appearance of other compilations in part, perhaps, because of its longevity and the prestige of the individuals behind it."<a class="footnote-ref" id="fnref:91" href="#fn:91">91</a>
Collegiate a cappella groups may also submit their tracks to Voices Only, a two-disc series released at the beginning of each school year. A Voices Only album has been released every year since 2005.<a class="footnote-ref" id="fnref:92" href="#fn:92">92</a>
In addition, from 2014 to 2019, female-identifying a cappella groups had the opportunity to send their strongest song tracks to the Women's A Cappella Association (WACA) for its annual best of women's a cappella album. WACA offered another medium for women's voices to receive recognition and released an album every year from 2014 to 2019, featuring female-identifying groups from across the United States.<a class="footnote-ref" id="fnref:93" href="#fn:93">93</a> The Women's A Cappella Association hosted seven annual festivals in California before ending operations in 2019.<a class="footnote-ref" id="fnref:94" href="#fn:94">94</a>

<h3>South Asian</h3>
South Asian a cappella features a fusion of music from the Indian subcontinent, which places it in the category of South Asian fusion music. A cappella is gaining popularity among South Asians with the emergence of primarily Hindi-English college groups. The first South Asian a cappella group was <a href="/facts/Penn_Masala/2o24V2Jj">Penn Masala</a>, an all-male group founded in 1996 at the <a href="/facts/University_of_Pennsylvania/LBBBULox">University of Pennsylvania</a>.<a class="footnote-ref" id="fnref:95" href="#fn:95">95</a> The first co-ed South Asian a cappella was Anokha, from the <a href="/facts/University_of_Maryland/Wmc5R1kM">University of Maryland</a>, formed in 2001. The first South Asian A Cappella competition was "Anahat," hosted by the Indus student organization at <a href="/facts/UC_Berkeley/MXVEjklr">UC Berkeley</a>. Maize Mirchi, the co-ed a cappella group from the <a href="/facts/University_of_Michigan/6e1Ea5xh">University of Michigan</a> became the first South Asian group to advance to ICCA finals in 2023.<a class="footnote-ref" id="fnref:96" href="#fn:96">96</a>
The South Asian a cappella competitive circuit is governed by the Association of South-Asian A Cappella (ASA),<a class="footnote-ref" id="fnref:97" href="#fn:97">97</a> a non-profit organization formed in 2016. The competitive circuit consists of qualifier "bid" competitions all over the United States, as well as the national championship, All-American Awaaz.<a class="footnote-ref" id="fnref:98" href="#fn:98">98</a> The first winner of the championship title was Swaram A Cappella at <a href="/facts/Texas_A%2526M_University/s1zDpnxa">Texas A&M University</a>, who won 1st place at All-American Awaaz in 2017 in New York City<a class="footnote-ref" id="fnref:99" href="#fn:99">99</a> as well as in 2018 in Chicago.<a class="footnote-ref" id="fnref:100" href="#fn:100">100</a> <a href="/facts/Dhamakapella/2Q5XStt8">Dhamakapella</a> currently holds the record for most All-American Awaaz championships, winning three consecutive championships in 2022, 2023, and 2024.<a class="footnote-ref" id="fnref:101" href="#fn:101">101</a>

<h2 id="emulating-instruments">Emulating instruments</h2>

In addition to singing words, some a cappella singers also emulate instrumentation by reproducing instrumental sounds with their <a href="/facts/Vocal_cords/H1K7NPo2">vocal cords</a> and mouth, often pitched using specialised pitch pipes. One of the earliest 20th century practitioners of this method were <a href="/facts/The_Mills_Brothers/pj1eJA2X">The Mills Brothers</a> whose early recordings of the 1930s clearly stated on the label that all instrumentation was done vocally. More recently, "<a href="/facts/Twilight_Zone_(dance_song)/HdP7qoz7">Twilight Zone</a>" by <a href="/facts/2_Unlimited/CFCEkMPX">2 Unlimited</a> was sung a cappella to the instrumentation on the comedy television series Tompkins Square. Another famous example of emulating instrumentation instead of singing the words is the theme song for <a href="/facts/The_New_Addams_Family/a91XJvhy">The New Addams Family</a> series on <a href="/facts/Fox_Family_Channel/Fhxu3vst">Fox Family Channel</a> (now <a href="/facts/Freeform_(TV_channel)/4NFgDxGG">Freeform</a>). Groups such as <a href="/facts/Vocal_Sampling/wUw5zPFd">Vocal Sampling</a> and Undivided emulate Latin rhythms a cappella. In the 1960s, the Swingle Singers used their voices to emulate musical instruments to Baroque and Classical music. Vocal artist <a href="/facts/Bobby_McFerrin/Hp4l8wIN">Bobby McFerrin</a> is famous for his instrumental emulation. A cappella group <a href="/facts/Naturally_Seven/L3rmQS1k">Naturally Seven</a> recreates entire songs using vocal tones for every instrument.<a class="footnote-ref" id="fnref:102" href="#fn:102">102</a>
<a href="/facts/Beatboxing/PhueepPz">Beatboxing</a>, more accurately known as vocal percussion, is a technique used in a cappella music popularized by the <a href="/facts/Hip-hop/7HjAPIEh">hip-hop</a> community, where <a href="/facts/Rapping/I61JCune">rap</a> is often performed a cappella. The advent of vocal percussion added new dimensions to the a cappella genre and has become very prevalent in modern arrangements.<a class="footnote-ref" id="fnref:103" href="#fn:103">103</a> Beatboxing is performed often by shaping the mouth, making pops and clicks as pseudo-drum sounds.

<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/Lists_of_a_cappella_groups/tLW1tuUI">Lists of a cappella groups</a>
<ul><li><a href="/facts/List_of_professional_a_cappella_groups/nd36aIzK">List of professional a cappella groups</a></li>
<li><a href="/facts/List_of_collegiate_a_cappella_groups_in_the_United_States/D2KvBM9N">List of collegiate a cappella groups in the United States</a></li>
<li><a href="/facts/List_of_university_a_cappella_groups_in_the_United_Kingdom/1VsRENPt">List of university a cappella groups in the United Kingdom</a></li></ul></li></ul>
<h2 id="notes">Notes</h2>

<h2 id="footnotes">Footnotes</h2>

<ul><li>Alleman, Annie (2011). <a href="https://web.archive.org/web/20120124121724/http://heraldnews.suntimes.com/entertainment/8071132-421/chicago-a-cappella-sings-music-of-high-holidays.html">"Chicago a cappella sings music of high holidays"</a>. Chicago Sun times. Chicago, Illinois. Archived from <a href="http://heraldnews.suntimes.com/entertainment/8071132-421/chicago-a-cappella-sings-music-of-high-holidays.html">the original</a> on 24 January 2012.</li>
<li>Altshuler, George (3 January 2013). <a href="http://www.jweekly.com/article/full/67365/singers-find-sure-appeal-of-jewish-a-cappella-groups/">"Singers find sure appeal of Jewish a cappella groups"</a>. <a href="/facts/J._(newspaper)/tmj88AFq">Jweekly</a>. Retrieved 18 January 2016.</li>
<li>Anon (11 June 1993). <a href="https://www.nytimes.com/1993/06/11/theater/last-chance.html">"Last Chance"</a>. The New York Times.</li>
<li>Anon (1999). <a href="http://www.singers.com/collegiate/whiffenpoofs.html">"The Yale Whiffenpoofs"</a>. United Singers International. Retrieved 14 September 2007.</li>
<li>Anon (2002). <a href="https://web.archive.org/web/20120321112452/http://www.lortel.org/lla_archive/index.cfm?search_by=show&title=Avenue%20X">"Avenue X"</a>. Lortel Archives-The Internet Off-Broadway Database. Lortel.org. Archived from <a href="http://www.lortel.org/lla_archive/index.cfm?search_by=show&title=Avenue%20X">the original</a> on 21 March 2012. Retrieved 28 May 2011.</li>
<li>Anon (2008). <a href="http://www.kinseysicks.com/about">"Who are the Kinsey Sicks?"</a>. Retrieved 11 May 2013.</li>
<li>Anon (28 September 2010). <a href="https://web.archive.org/web/20101002004145/http://www.take40.com/news/20335/2010-aria-nominations-announced---full-list-here%21">"2010 ARIA Nominations Announced – Full List Here!"</a>. MCM Entertainment. Take 40. Archived from <a href="http://www.take40.com/news/20335/2010-ARIA-Nominations-Announced---Full-List-Here!">the original</a> on 2 October 2010. Retrieved 28 May 2011.</li>
<li>Anon (2010a). <a href="https://web.archive.org/web/20120321073747/http://www.lortel.org/lla_archive/index.cfm?search_by=show&title=In%20Transit">"In Transit"</a>. Lortel Archives-The Internet Off-Broadway Database. Lortel.org. Archived from <a href="http://www.lortel.org/lla_archive/index.cfm?search_by=show&title=In%20Transit">the original</a> on 21 March 2012. Retrieved 28 May 2011.</li>
<li>Anon (2010b). <a href="http://sundaytimes.lk/100822/Plus/plus_22.html">"Manaka Singers on song"</a>. <a href="/facts/The_Sunday_Times_(Sri_Lanka)/BDarrfva">The Sunday Times</a>. Colombo, Sri Lanka. Retrieved 27 April 2012.</li>
<li>Anon (2014). <a href="http://www.voicesonlyacappella.com/VO/">"Voices Only A Cappella"</a>. Retrieved 31 July 2014.</li>
<li>Arnold, Denis, ed. (1998). "Cappella". The New Oxford Companion to Music. Vol. I: A-J. Oxford, UK: Oxford University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-19-311316-3.</li>
<li>Bales, James D. (1973). Instrumental Music and New Testament Worship. Searcy, AR: Truth for Today World Mision School. <a href="/facts/ASIN_(identifier)/twP2MtLk">ASIN</a> <a href="https://www.amazon.com/dp/B0006CBMTU">B0006CBMTU</a>.</li>
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<li><a href="/facts/Adam_Clarke/j4SFIrHq">Clarke, Adam</a> (1844). The New Testament of Our Lord and Saviour Jesus Christ, the Text Carefully Printed From the Most Correct Copies of the Present Authorized Version Including the Marginal Readings and Parallel Texts with a Commentary and Critical Notes With a Commentary and Critical Notes Designed As a Help to a Better Understanding of the Sacred Writings (Clarke's Commentary). Vol. VI. Nashville, TN: Abingdon Press, n.d.</li>
<li>Ferguson, Everett (1972). A Cappella Music in the Public Worship of the Church. The Way of Life Series. Abilene, TX: Biblical Research Press. <a href="/facts/ASIN_(identifier)/twP2MtLk">ASIN</a> <a href="https://www.amazon.com/dp/B001D08SDM">B001D08SDM</a>.</li>
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<li>Finkle, David; Bacalzo, Dan (22 August 2006). <a href="https://www.theatermania.com/new-york-city-theater/reviews/08-2006/fringenyc-2006-roundup-3_8876.html">"FringeNYC 2006 Roundup 3: Reports on Perfect Harmony, t.l.c., The Infliction of Cruelty, and Don't Ask"</a>. TheaterMania. Retrieved 30 January 2013.</li>
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<li>Hoiberg, Dale H., ed. (2010). <a href="https://archive.org/details/newencyclopaedia2009ency">"A Cappella"</a>. Encyclopædia Britannica. Vol. I: A–Ak – Bayes (15th ed.). Chicago: Encyclopædia Britannica, Inc. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-59339-837-8.</li>
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<li>Kurfees, Marshall C. (1911). Instrumental music in the worship or the Greek verb psallo philologically and historically examined together with a full discussion of kindred matters relating to music in Christian worship. Nashville: McQuiddy Print Co. <a href="/facts/ASIN_(identifier)/twP2MtLk">ASIN</a> <a href="https://www.amazon.com/dp/B00088QFHQ">B00088QFHQ</a>.</li>
<li>Levin, Nick (16 April 2010). <a href="http://www.digitalspy.co.uk/music/singlesreviews/a214731/kelis-acapella.html">"Music Reviews: Kelis Acapella"</a>. <a href="/facts/Digital_Spy/4v0n6K9W">Digital Spy</a>. <a href="https://web.archive.org/web/20100418203740/http://www.digitalspy.co.uk/music/singlesreviews/a214731/kelis-acapella.html">Archived</a> from the original on 18 April 2010. Retrieved 17 April 2010.</li>
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<li>McKinnon, James William (1965). The Church Fathers and Musical Instruments. Columbia University Dissertations. Columbia University. <a href="/facts/ASIN_(identifier)/twP2MtLk">ASIN</a> <a href="https://www.amazon.com/dp/B001F2LQJ6">B001F2LQJ6</a>.</li>
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<li>McKinnon, James (1998). The Temple, the Church Fathers, and Early Western Chant. Aldershot: Ashgate Publishing Limited. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0860786887.</li>
<li>M'Clintock, John; Strong, James, eds. (1894). "Music". Cyclopaedia of Biblical, Theological, and Ecclesiastical Literature. Vol. VI: Me-Nev. New York, NY: Harper and Brothers Publishers.</li>
<li>Melamed, Rabbi Eliezer (2013). <a href="https://web.archive.org/web/20070614114259/http://www.yeshiva.org.il/midrash/shiur.asp?id=2262">"Mourning Customs During the Omer"</a>. yeshiva.org.il. Bet El Yeshiva Center. Archived from <a href="http://www.yeshiva.org.il/midrash/Shiur.asp?id=2262">the original</a> on 14 June 2007. Retrieved 3 January 2009.</li>
<li>Olson, Lee G. (1967). <a href="https://archive.org/details/zondervanpictori00tenn">"Music and Musical Instruments of the Bible"</a>. In <a href="/facts/Merrill_C._Tenney/9rxCDyXA">Tenney, Merrill C.</a> (ed.). Zondervan Pictorial Bible Dictionary. Grand Rapids, MI: Zondervan Publishing House. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0310331605.</li>
<li>Pareles, Jon (2008). <a href="https://www.nytimes.com/2008/12/29/arts/music/29choi.html">"Critic's Choice – Brandy (Human)"</a>. <a href="/facts/The_New_York_Times/T9marWVX">The New York Times</a>. Retrieved 2 January 2010.</li>
<li>Pauley, Jared (10 July 2012). <a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224354?q=beatboxing&search=quick&pos=2&_start=1">"Freestyle rap [Freestyling]"</a>. oxfordmusiconline. <a href="https://archive.today/20240527040754/https://www.webcitation.org/6TWK0wE3K?url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224354%3Fq=beatboxing&search=quick&pos=2&_start=1">Archived</a> from the original on 27 May 2024. Retrieved 22 October 2014.</li>
<li>Perera, Mahes (29 August 2010). <a href="https://archives.sundayobserver.lk/2010/08/29/mon50.asp">"September Song"</a>. Sunday Observer. Colombo, Sri Lanka. <a href="https://web.archive.org/web/20121120214247/http://www.sundayobserver.lk/2010/08/29/mon50.asp">Archived</a> from the original on 20 November 2012. Retrieved 27 April 2012.</li>
<li>Price, John (2005). Old Light on New Worship: Musical Instruments and The Worship of God, A Theological, Historical, and Psychological Study. Avinger, TX: Simpson Publishing Company. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1881095019.</li>
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<li>Shircago (2013). <a href="https://web.archive.org/web/20130201084421/http://shircago.com/jewish-a-cappella-omer.php">"Jewish A Cappella and Sefirat Omer"</a>. Shircago. Archived from <a href="http://www.shircago.com/jewish-a-cappella-omer.php">the original</a> on 1 February 2013. Retrieved 11 May 2013.</li>
<li><a href="/facts/Richard_Sparks/41kqw2W2">Sparks, Richard</a> (2000). The Swedish Choral Miracle: Swedish A Capella Music Since 1945. Chapel Hill, NC: Walton Music. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-9703134-0-9.</li>
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<li>van Camp, Leonard (1965). "The Formation of A Cappella Choirs at Northwestern University, St. Olaf College, and Westminster College". Journal of Research in Music Education. 13 (4): 227–238. <a href="/facts/Doi_(identifier)/muM9Etpq">doi</a>:<a href="https://doi.org/10.2307%2F3344375">10.2307/3344375</a>. <a href="/facts/JSTOR_(identifier)/YTeVmaJ7">JSTOR</a> <a href="https://www.jstor.org/stable/3344375">3344375</a>. <a href="/facts/S2CID_(identifier)/ldJsHa2Y">S2CID</a> <a href="https://api.semanticscholar.org/CorpusID:220635936">220635936</a>.</li>
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<h2 id="external-links">External links</h2>

Wikimedia Commons has media related to A cappella music.

Look up a cappella in Wiktionary, the free dictionary.

<ul><li><a href="https://ACappellaMusicAwards.com">A Cappella Music Awards</a></li></ul>

<h2 id="references">References</h2>

<ol>
<li id="fn:1">Holmes 2007 - Holmes, William C. (2007). A cappella. Grove Music Online. Oxford Music Online. Retrieved 21 September 2008. <a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/00091" target="_blank">http://www.oxfordmusiconline.com/subscriber/article/grove/music/00091</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></li>
<li id="fn:2">"A cappella" in Merriam-Webster.com Dictionary, accessed 5 December 2023. <a href="https://www.merriam-webster.com/dictionary/a%20cappella" target="_blank">https://www.merriam-webster.com/dictionary/a%20cappella</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></li>
<li id="fn:3">Holmes 2007 - Holmes, William C. (2007). A cappella. Grove Music Online. Oxford Music Online. Retrieved 21 September 2008. <a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/00091" target="_blank">http://www.oxfordmusiconline.com/subscriber/article/grove/music/00091</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></li>
<li id="fn:4">Arnold 1998, p. 314 - Arnold, Denis, ed. (1998). "Cappella". The New Oxford Companion to Music. Vol. I: A-J. Oxford, UK: Oxford University Press. ISBN 0-19-311316-3. <a href="#fnref:4" class="footnote-back-ref">↩</a></li>
<li id="fn:5">Barras, Colin (7 September 2014). "Did early humans, or even animals, invent music?". bbc.com. Retrieved 23 April 2020. <a href="https://www.bbc.com/earth/story/20140907-does-music-pre-date-modern-man" target="_blank">https://www.bbc.com/earth/story/20140907-does-music-pre-date-modern-man</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></li>
<li id="fn:6">Andrews, Evan (18 December 2015). "What is the oldest known piece of music?". HISTORY. Retrieved 21 April 2020. <a href="https://www.history.com/news/what-is-the-oldest-known-piece-of-music" target="_blank">https://www.history.com/news/what-is-the-oldest-known-piece-of-music</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></li>
<li id="fn:7">Andrews, Evan (18 December 2015). "What is the oldest known piece of music?". HISTORY. Retrieved 21 April 2020. <a href="https://www.history.com/news/what-is-the-oldest-known-piece-of-music" target="_blank">https://www.history.com/news/what-is-the-oldest-known-piece-of-music</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></li>
<li id="fn:8">Smith, John Arthur. Music in ancient Judaism and early Christianity. Farnham, Surrey. ISBN 978-1409421610. OCLC 715159344. <a href="978-1409421610" target="_blank">978-1409421610</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></li>
<li id="fn:9">Hoiberg 2010, p. 1 - Hoiberg, Dale H., ed. (2010). "A Cappella". Encyclopædia Britannica. Vol. I: A–Ak – Bayes (15th ed.). Chicago: Encyclopædia Britannica, Inc. ISBN 978-1-59339-837-8. <a href="https://archive.org/details/newencyclopaedia2009ency" target="_blank">https://archive.org/details/newencyclopaedia2009ency</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></li>
<li id="fn:10">Hoiberg 2010, p. 1 - Hoiberg, Dale H., ed. (2010). "A Cappella". Encyclopædia Britannica. Vol. I: A–Ak – Bayes (15th ed.). Chicago: Encyclopædia Britannica, Inc. ISBN 978-1-59339-837-8. <a href="https://archive.org/details/newencyclopaedia2009ency" target="_blank">https://archive.org/details/newencyclopaedia2009ency</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></li>
<li id="fn:11">Hoiberg 2010, p. 1 - Hoiberg, Dale H., ed. (2010). "A Cappella". Encyclopædia Britannica. Vol. I: A–Ak – Bayes (15th ed.). Chicago: Encyclopædia Britannica, Inc. ISBN 978-1-59339-837-8. <a href="https://archive.org/details/newencyclopaedia2009ency" target="_blank">https://archive.org/details/newencyclopaedia2009ency</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></li>
<li id="fn:12">Taruskin 2005a, p. 6 - Taruskin, Richard (2005a). The Oxford History of Western Music. Vol. 2. New York: Oxford University Press. ISBN 0-19-522271-7. <a href="#fnref:12" class="footnote-back-ref">↩</a></li>
<li id="fn:13">Taruskin 2005, p. 780 - Taruskin, Richard (2005). The Oxford History of Western Music. Vol. 1. New York: Oxford University Press. ISBN 0-19-522270-9. <a href="#fnref:13" class="footnote-back-ref">↩</a></li>
<li id="fn:14">Taruskin 2005a, p. 73 - Taruskin, Richard (2005a). The Oxford History of Western Music. Vol. 2. New York: Oxford University Press. ISBN 0-19-522271-7. <a href="#fnref:14" class="footnote-back-ref">↩</a></li>
<li id="fn:15">Taruskin 2005b, p. 234 - Taruskin, Richard (2005b). The Oxford History of Western Music. Vol. 3. New York: Oxford University Press. ISBN 0-19-522272-5. <a href="#fnref:15" class="footnote-back-ref">↩</a></li>
<li id="fn:16">M'Clintock & Strong 1894, p. 762 - M'Clintock, John; Strong, James, eds. (1894). "Music". Cyclopaedia of Biblical, Theological, and Ecclesiastical Literature. Vol. VI: Me-Nev. New York, NY: Harper and Brothers Publishers. <a href="#fnref:16" class="footnote-back-ref">↩</a></li>
<li id="fn:17">Calvin 2009 - Calvin, John (2009) [16th century]. "Psalms 33:2". Calvin's Commentaries. Vol. 8. ISBN 978-0801013317. <a href="#fnref:17" class="footnote-back-ref">↩</a></li>
<li id="fn:18">Clarke 1844, p. 684 - Clarke, Adam (1844). The New Testament of Our Lord and Saviour Jesus Christ, the Text Carefully Printed From the Most Correct Copies of the Present Authorized Version Including the Marginal Readings and Parallel Texts with a Commentary and Critical Notes With a Commentary and Critical Notes Designed As a Help to a Better Understanding of the Sacred Writings (Clarke's Commentary). Vol. VI. Nashville, TN: Abingdon Press, n.d. <a href="#fnref:18" class="footnote-back-ref">↩</a></li>
<li id="fn:19">Kurfees 1911 - Kurfees, Marshall C. (1911). Instrumental music in the worship or the Greek verb psallo philologically and historically examined together with a full discussion of kindred matters relating to music in Christian worship. Nashville: McQuiddy Print Co. ASIN B00088QFHQ. <a href="https://www.amazon.com/dp/B00088QFHQ" target="_blank">https://www.amazon.com/dp/B00088QFHQ</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></li>
<li id="fn:20">McKinnon 1965, pp. 263, 265 - McKinnon, James William (1965). The Church Fathers and Musical Instruments. Columbia University Dissertations. Columbia University. ASIN B001F2LQJ6. <a href="https://www.amazon.com/dp/B001F2LQJ6" target="_blank">https://www.amazon.com/dp/B001F2LQJ6</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></li>
<li id="fn:21">Bales 1973, p. 351 - Bales, James D. (1973). Instrumental Music and New Testament Worship. Searcy, AR: Truth for Today World Mision School. ASIN B0006CBMTU. <a href="https://www.amazon.com/dp/B0006CBMTU" target="_blank">https://www.amazon.com/dp/B0006CBMTU</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></li>
<li id="fn:22">The absence of instrumental music is rooted in various hermeneutic principles (ways of interpreting the Bible) which determine what is appropriate for worship. Among such principles are the regulative principle of worship (Ulrich Zwingli), Sola scriptura (Martin Luther and Ulrich Zwingli), and the history of hymn in "Christianity". Dispensationalism emphasizes the differences between the old (Law of Moses) and the new (Jesus and the Apostles) covenants, emphasizing that the majority of the practices from the Law of Moses were replaced by the teachings of Jesus and the Apostles. The absence of instrumental music in early church worship is significant given the abundance of Hebrew Bible references and commands to worship God with harp, lyre and cymbal. After several hundred years of Tabernacle worship without references to instrumental music, King David (c. 1500 BC) introduced musical instruments into Temple worship reportedly because of a commandment from God, complete with who was to sing, who was to play, and what instruments were to be used.[18] <a href="/wiki/Regulative_principle_of_worship" target="_blank">/wiki/Regulative_principle_of_worship</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></li>
<li id="fn:23">McKinnon 1989, p. 2 - McKinnon, James (1989) [1987]. Music in Early Christian Literature. Cambridge: Cambridge University Press. ISBN 0-521-37624-6. <a href="#fnref:23" class="footnote-back-ref">↩</a></li>
<li id="fn:24">McKinnon 1998, p. 72 - McKinnon, James (1998). The Temple, the Church Fathers, and Early Western Chant. Aldershot: Ashgate Publishing Limited. ISBN 978-0860786887. <a href="#fnref:24" class="footnote-back-ref">↩</a></li>
<li id="fn:25">"Library : The Meaning of the Patristic Polemic Against Musical Instruments". www.catholicculture.org. Retrieved 19 May 2024. <a href="https://www.catholicculture.org/culture/library/view.cfm?recnum=9134" target="_blank">https://www.catholicculture.org/culture/library/view.cfm?recnum=9134</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></li>
<li id="fn:26">McKinnon 1998, p. 72 - McKinnon, James (1998). The Temple, the Church Fathers, and Early Western Chant. Aldershot: Ashgate Publishing Limited. ISBN 978-0860786887. <a href="#fnref:26" class="footnote-back-ref">↩</a></li>
<li id="fn:27">Ferguson 1972, p. 74 - Ferguson, Everett (1972). A Cappella Music in the Public Worship of the Church. The Way of Life Series. Abilene, TX: Biblical Research Press. ASIN B001D08SDM. <a href="https://www.amazon.com/dp/B001D08SDM" target="_blank">https://www.amazon.com/dp/B001D08SDM</a> <a href="#fnref:27" class="footnote-back-ref">↩</a></li>
<li id="fn:28">Ferguson 1972, pp. 52, 53 - Ferguson, Everett (1972). A Cappella Music in the Public Worship of the Church. The Way of Life Series. Abilene, TX: Biblical Research Press. ASIN B001D08SDM. <a href="https://www.amazon.com/dp/B001D08SDM" target="_blank">https://www.amazon.com/dp/B001D08SDM</a> <a href="#fnref:28" class="footnote-back-ref">↩</a></li>
<li id="fn:29">Rather than calling the use of instruments "evil", modern opposition typically uses terms like "unspiritual"[24] or an Old Testament "shadow".[25] <a href="#fnref:29" class="footnote-back-ref">↩</a></li>
<li id="fn:30">McKinnon 1989, p. 7 - McKinnon, James (1989) [1987]. Music in Early Christian Literature. Cambridge: Cambridge University Press. ISBN 0-521-37624-6. <a href="#fnref:30" class="footnote-back-ref">↩</a></li>
<li id="fn:31">2 Chronicles 29:25 <a href="https://bible.oremus.org/?passage=2%20Chronicles%2029:25&version=nrsv" target="_blank">https://bible.oremus.org/?passage=2%20Chronicles%2029:25&version=nrsv</a> <a href="#fnref:31" class="footnote-back-ref">↩</a></li>
<li id="fn:32">Weiss & Taruskin 1984, p. 107 - Weiss, Piero; Taruskin, Richard (1984). Music in the Western World. New York: Shirmer Books. ISBN 978-0028729008. <a href="https://archive.org/details/musicinwesternwo0000unse" target="_blank">https://archive.org/details/musicinwesternwo0000unse</a> <a href="#fnref:32" class="footnote-back-ref">↩</a></li>
<li id="fn:33">Weiss & Taruskin 1984, p. 109 - Weiss, Piero; Taruskin, Richard (1984). Music in the Western World. New York: Shirmer Books. ISBN 978-0028729008. <a href="https://archive.org/details/musicinwesternwo0000unse" target="_blank">https://archive.org/details/musicinwesternwo0000unse</a> <a href="#fnref:33" class="footnote-back-ref">↩</a></li>
<li id="fn:34">Jones, Charles Edwin (1974). A guide to the study of the holiness movement. Scarecrow Press. p. 685. ISBN 978-0810807037. <a href="978-0810807037" target="_blank">978-0810807037</a> <a href="#fnref:34" class="footnote-back-ref">↩</a></li>
<li id="fn:35">"Frequently Asked Questions". St. Paul American Coptic Orthodox Church. Retrieved 28 July 2020. <a href="https://www.stpauloc.org/New-Visitors" target="_blank">https://www.stpauloc.org/New-Visitors</a> <a href="#fnref:35" class="footnote-back-ref">↩</a></li>
<li id="fn:36">Dunkard Brethren Church Polity. Dunkard Brethren Church. 1 November 2021. p. 9. <a href="/wiki/Dunkard_Brethren_Church" target="_blank">/wiki/Dunkard_Brethren_Church</a> <a href="#fnref:36" class="footnote-back-ref">↩</a></li>
<li id="fn:37">Jones, Charles Edwin (1974). A guide to the study of the holiness movement. Scarecrow Press. p. 685. ISBN 978-0810807037. <a href="978-0810807037" target="_blank">978-0810807037</a> <a href="#fnref:37" class="footnote-back-ref">↩</a></li>
<li id="fn:38">Ware 1997, p. 268 - Ware, Timothy (1997). The Orthodox Church: New Edition (2nd ed.). London: Penguin Books. ISBN 978-0140146561. <a href="#fnref:38" class="footnote-back-ref">↩</a></li>
<li id="fn:39">2 Chronicles 29:25–29:27 <a href="https://bible.oremus.org/?passage=2%20Chronicles%2029:25–27&version=nrsv" target="_blank">https://bible.oremus.org/?passage=2%20Chronicles%2029:25–27&version=nrsv</a> <a href="#fnref:39" class="footnote-back-ref">↩</a></li>
<li id="fn:40">Price 2005, p. 68 - Price, John (2005). Old Light on New Worship: Musical Instruments and The Worship of God, A Theological, Historical, and Psychological Study. Avinger, TX: Simpson Publishing Company. ISBN 978-1881095019. <a href="#fnref:40" class="footnote-back-ref">↩</a></li>
<li id="fn:41">McKinnon 1998, p. 85 - McKinnon, James (1998). The Temple, the Church Fathers, and Early Western Chant. Aldershot: Ashgate Publishing Limited. ISBN 978-0860786887. <a href="#fnref:41" class="footnote-back-ref">↩</a></li>
<li id="fn:42">Melamed 2013 - Melamed, Rabbi Eliezer (2013). "Mourning Customs During the Omer". yeshiva.org.il. Bet El Yeshiva Center. Archived from the original on 14 June 2007. Retrieved 3 January 2009. <a href="https://web.archive.org/web/20070614114259/http://www.yeshiva.org.il/midrash/shiur.asp?id=2262" target="_blank">https://web.archive.org/web/20070614114259/http://www.yeshiva.org.il/midrash/shiur.asp?id=2262</a> <a href="#fnref:42" class="footnote-back-ref">↩</a></li>
<li id="fn:43">Shircago 2013 - Shircago (2013). "Jewish A Cappella and Sefirat Omer". Shircago. Archived from the original on 1 February 2013. Retrieved 11 May 2013. <a href="https://web.archive.org/web/20130201084421/http://shircago.com/jewish-a-cappella-omer.php" target="_blank">https://web.archive.org/web/20130201084421/http://shircago.com/jewish-a-cappella-omer.php</a> <a href="#fnref:43" class="footnote-back-ref">↩</a></li>
<li id="fn:44">Ferguson 1972, pp. 39–41 - Ferguson, Everett (1972). A Cappella Music in the Public Worship of the Church. The Way of Life Series. Abilene, TX: Biblical Research Press. ASIN B001D08SDM. <a href="https://www.amazon.com/dp/B001D08SDM" target="_blank">https://www.amazon.com/dp/B001D08SDM</a> <a href="#fnref:44" class="footnote-back-ref">↩</a></li>
<li id="fn:45">2 Chronicles 29:25 <a href="https://bible.oremus.org/?passage=2%20Chronicles%2029:25&version=nrsv" target="_blank">https://bible.oremus.org/?passage=2%20Chronicles%2029:25&version=nrsv</a> <a href="#fnref:45" class="footnote-back-ref">↩</a></li>
<li id="fn:46">Olson 1967, p. 562 - Olson, Lee G. (1967). "Music and Musical Instruments of the Bible". In Tenney, Merrill C. (ed.). Zondervan Pictorial Bible Dictionary. Grand Rapids, MI: Zondervan Publishing House. ISBN 978-0310331605. <a href="https://archive.org/details/zondervanpictori00tenn" target="_blank">https://archive.org/details/zondervanpictori00tenn</a> <a href="#fnref:46" class="footnote-back-ref">↩</a></li>
<li id="fn:47">Alleman 2011 - Alleman, Annie (2011). "Chicago a cappella sings music of high holidays". Chicago Sun times. Chicago, Illinois. Archived from the original on 24 January 2012. <a href="https://web.archive.org/web/20120124121724/http://heraldnews.suntimes.com/entertainment/8071132-421/chicago-a-cappella-sings-music-of-high-holidays.html" target="_blank">https://web.archive.org/web/20120124121724/http://heraldnews.suntimes.com/entertainment/8071132-421/chicago-a-cappella-sings-music-of-high-holidays.html</a> <a href="#fnref:47" class="footnote-back-ref">↩</a></li>
<li id="fn:48">Numbers 10:1–10 <a href="https://bible.oremus.org/?passage=Numbers%2010:1–10&version=nrsv" target="_blank">https://bible.oremus.org/?passage=Numbers%2010:1–10&version=nrsv</a> <a href="#fnref:48" class="footnote-back-ref">↩</a></li>
<li id="fn:49">"Silver Trumpets Pierce the Heavens in Prayer Rally Opposite Temple Mount". JewishPress.com. 23 March 2016. <a href="http://www.jewishpress.com/news/silver-trumpets-pierce-the-heavens-in-prayer-rally-opposite-temple-mount/2016/03/23/" target="_blank">http://www.jewishpress.com/news/silver-trumpets-pierce-the-heavens-in-prayer-rally-opposite-temple-mount/2016/03/23/</a> <a href="#fnref:49" class="footnote-back-ref">↩</a></li>
<li id="fn:50">Wittman 1978 - Wittman, Elisabeth (1978), Biography of Peter Christian Lutkin (PDF), Peter Christian Lutkin Papers, Evanston, IL: Northwestern University, archived (PDF) from the original on 9 October 2022 <a href="http://files.library.northwestern.edu/findingaids/lutkin_papers.pdf" target="_blank">http://files.library.northwestern.edu/findingaids/lutkin_papers.pdf</a> <a href="#fnref:50" class="footnote-back-ref">↩</a></li>
<li id="fn:51">van Camp 1965 - van Camp, Leonard (1965). "The Formation of A Cappella Choirs at Northwestern University, St. Olaf College, and Westminster College". Journal of Research in Music Education. 13 (4): 227–238. doi:10.2307/3344375. JSTOR 3344375. S2CID 220635936. <a href="https://doi.org/10.2307%2F3344375" target="_blank">https://doi.org/10.2307%2F3344375</a> <a href="#fnref:51" class="footnote-back-ref">↩</a></li>
<li id="fn:52">"Americas". Norwegian Americans. Worldmark Encyclopedia of Cultures and Daily Life. Vol. 2 (3rd ed.). Farmington Hills, Michigan: Gale. 2017. pp. 477–481. Retrieved 24 September 2018 – via Minneapolis Community & Technical College Library. <a href="http://link.galegroup.com.mctproxy.mnpals.net/apps/doc/CX3648200207/GVRL?u%3Dmnaminncom&sid%3DGVRL&xid%3Dcecfcc81" target="_blank">http://link.galegroup.com.mctproxy.mnpals.net/apps/doc/CX3648200207/GVRL?u%3Dmnaminncom&sid%3DGVRL&xid%3Dcecfcc81</a> <a href="#fnref:52" class="footnote-back-ref">↩</a></li>
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<li id="fn:54">"Vocal Area Network Choir Auditions". www.van.org. Retrieved 14 June 2019. <a href="https://www.van.org/choirauditions.htm" target="_blank">https://www.van.org/choirauditions.htm</a> <a href="#fnref:54" class="footnote-back-ref">↩</a></li>
<li id="fn:55">Schluntz, Roger L. (1982). "Design Competitions: For Whose Benefit Now?". Journal of Architectural Education. 35 (4): 2–9. doi:10.2307/1424700. ISSN 0149-2993. JSTOR 1424700. <a href="/wiki/Doi_(identifier)" target="_blank">/wiki/Doi_(identifier)</a> <a href="#fnref:55" class="footnote-back-ref">↩</a></li>
<li id="fn:56">"The Contemporary A Cappella Society (CASA)". www.music.org. Retrieved 14 June 2019. <a href="https://www.music.org/index.php?option=com_content&view=article&id=1059:the-contemporary-a-cappella-society-casa&catid=109&Itemid=101" target="_blank">https://www.music.org/index.php?option=com_content&view=article&id=1059:the-contemporary-a-cappella-society-casa&catid=109&Itemid=101</a> <a href="#fnref:56" class="footnote-back-ref">↩</a></li>
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</ol>

A cappella open-in-new

A cappella