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Silence, John Cage's first book and epic masterpiece, was published in October 1961. In these lectures, scores, and writings, Cage tries, as he says, to find a way of writing that comes from ideas, is not about them, but that produces them. Often these writings include mesostics and essays created by subjecting the work of other writers to chance procedures using the I Ching. Fifty years later comes a beautiful new edition with a foreword by eminent music critic Kyle Gann. A landmark book in American arts and culture, Silence has been translated into more than forty languages and has sold over half a million copies worldwide. Wesleyan University Press is proud to celebrate the fiftieth anniversary of the book's publication with this special hardcover edition.
A gorgeous, lavish history of silent movies - with more than 400 amazing images - captures the birth of film and icons like Chaplin, Garbo, Clara Bow, and Valentino. Drawing on the extraordinary collection of The Library of Congress, one of the greatest repositories for silent film and memorabilia, Peter Kobel has created the definitive visual history of silent film. From its birth in the 1890s, with the earliest narrative shorts, through the brilliant full-length features of the 1920s, SILENT MOVIES captures the greatest directors and actors and their immortal films. SILENT MOVIES also looks at the technology of early film, the use of color photography, and the restoration work being spearheaded by some of Hollywood's most important directors, such as Martin Scorsese and Francis Ford Coppola. Richly illustrated from the Library of Congress's extensive collection of posters, paper prints, film stills, and memorabilia-most of which have never been in print-SILENT MOVIES is an important work of history that will also be a sought-after gift book for all lovers of film.
Silver Burdett Making Music provides developmentally appropriate music learning activities for students to build students' knowledge and skills within and across grade levels and engages all students in the music making process.
This resourceful text on Music contains lessons on Steps to Making Music and Paths to Making Music.
The text contains (Texas Musical Heritage) In the Beginning, Texas Likes Swing, Texas Goes Gospel, Outstanding in Their Field, Listening Map: Malaguena, Listening: Marche Joyeuse Lone Star Pride, etc.
Sinatra fans will relish this biography, though they should prepare to learn about Frank's darker side. Much material is included on the singer's marriages, Mafia connections, Rat Pack years, the Kennedys, and his later career, richly told with excerpts and quotes from interviews and other sources. Annotation ©2004 Book News, Inc. , Portland, OR (booknews. com)
From the book's Preface... Although he has been dead for twenty years, Hank Williams and his music live on in a manner unparalleled in American popular culture. His own recordings, reissued time and again, continue to sell to a body of fans and followers that has swelled to an estimated fifteen million. His songs, which Mitch Miller describes as "so indelible, so timeless they can take any kind of musical treatment," continue to take every kind, including jazz and soul. His popularity is so enduring and his influence so pronounced that many people express surprise when told Hank Williams is no longer living. The life, intertwined with the music, has become legend.
For fans and scholars of American Folk Music, particularly the folk song movement, this has some essential reading, much of which has previously not been published. Lee Hays (1914--1981) is remembered today as the bass singer of the Weavers, the popular folksinging quartet that included Pete Seeger and was blacklisted during the early years of the cold war. Hays is especially well known for his collaborations with Seeger on a number of political songs, including "The Hammer Song," and for his central role in producing Wasn't That a Time!, the 1981 film documentary about the Weavers. But he was also a talented, multifaceted writer of prose. In "Sing Out, Warning! Sing Out, Love!" Robert S. Koppelman brings together a selection of Hays's published and unpublished literary output and places the author and his work in historical context. In these writings, Hays emerges as a learned, incisive, and witty advocate of a new aesthetic that he helped introduce to American culture--an aesthetic grounded in the music of both the Methodist church of his father and the black churches of his Arkansas neighbors. Hays honed his participatory, inspirational musical style and his skills as a song leader while working in the southern labor movement, where he became acquainted with the left-wing notion of "Art as a Weapon." Yet as the autobiographical pieces in this collection make clear, it was not until he moved to New York City, teamed up with such iconic folk figures as Woody Guthrie and Seeger, and began performing before a mass public that he fully matured as a musical artist with a political message. In addition to documenting the trajectory of Hays's career, the volume includes samples of his well-crafted work as a writer of fiction and creative nonfiction. Together these writings reveal Hays to be an artist of diverse personal talents and deep social commitment. Robert S. Koppelman is assistant professor of English at Broward Community College and a banjo player and singer.
In the two decades prior to the Civil War, the Hutchinson Family Singers of New Hampshire became America's most popular musical act. Out of a Baptist revival upbringing, John, Asa, Judson, and Abby Hutchinson transformed themselves in the 1840s into national icons, taking up the reform issues of their age and singing out especially for temperance and antislavery reform. This engaging book is the first to tell the full story of the Hutchinsons, how they contributed to the transformation of American culture, and how they originated the marketable American protest song. Through concerts, writings, sheet music publications, and books of lyrics, the Hutchinson Family Singers established a new space for civic action, a place at the intersection of culture, reform, religion, and politics. The book documents the Hutchinsons' impact on abolition and other reform projects and offers an original conception of the rising importance of popular culture in antebellum America.
Nick Salvatore's Singing in a Strange Land tells the story of C. L. Franklin (1915-1984), one of the greatest black preachers in American history. The father of Aretha Franklin, C. L. was a spellbinding preacher who channeled his charisma into his gospel music and compelling sermons which spoke through faith to the personal and social problems rural African Americans encountered in their migration north. Stressing unity between the sacred and the profane allowed him to embrace all aspects of African American culture, and jazz, blues, and gospel performers mingled in his Detroit home. Franklin also embraced the night life that surrounded his musician friends, even as he served on the Executive Board of the Southern Christian Leadership Council and organized the 1963 "Walk Toward Freedom" march with his close friend, Martin Luther King, Jr. In June of 1979, Franklin was shot during a robbery of his home, and died five years later. Over 10,000 people attended his funeral at the Detroit church he made famous, the New Bethel Baptist Church. Nick Salvatore spent over eight years doing research and conducting interviews to present Franklin's biography in amazing detail. Singing in a Strange Land tells the story of black migration and activism, alongside the rise of gospel, blues, and soul music, with a cast of characters including Martin Luther King, Jr., B. B. King, Art Tatum, Coleman Young, Jesse Jackson, Clara Ward, Mahalia Jackson, and many others.
What does it take to be a musical theatre performer? What kind of training is required to do eight shows a weekacting, dancing, and singing in a wide variety of vocal styles? This insider's look into the unique demands of musical theatre performance establishes connecting links between voice training for the singer and drama school training for the actor. By reading these revealing interviews, performers in every area of theatre can: * Discover what it takes to go from a first lesson to a solid professional technique* Consider the requirements for singers in musical theatre today, how they have changed, and where they are going* See how different teachers approach six aspects of voice training: alignment, breathing, range resonance, articulation, and connection* Understand the interconnectedness of musical theatre and theatre voiceA foreword by leading Australian actor Angela Punch McGregor personalizes the connective links among trainings as she describes her preparation for Sunset Boulevard. A must-read for anyone who is serious about voice and the theatre.
In this complete and sequential program students will embark on a fantastic journey into the wonderful world of musicianship and discover many musical adventures.
One night while on patrol, The Slayer and her friends are outnumbered and receive aid from a totally unexpected source: Buffy's old flame, Pike. He and Buffy had a complex relationship back in Los Angeles, when the Chosen One was first called. Now, Pike has arrived in Sunnydale, on the run from a stone demon with a grudge. Faced with this blast from the past, Buffy finds herself caught between her history with Pike... and her future with Angel. But there's little time to contemplate this situation as vamp activity rises and Giles, in particular, becomes the target of mysterious, brutal attacks. Buffy suspects a deeper connection between old friends and new enemies. With the help of her friends, Buffy unmasks the evil entities -- and discovers that even a Watcher can be watched.
autumn 1980: all seems well as the Collins family welcome David's fiancee, Lauren Chandler, into their midst. But when Lauren mysteriously disappears , it is only the first clue to unravelling a greater, more terrifying mystery confronting Barnabas and Julia - a mystery that spans two centuries and threatens the lives and security of everyone at Collinwood. It becomes evident that an unusual vampire has been let loose on the estate--one with the power to destroy everything Barnabas has so longed to have. Eventually, the fate of the entire family hangs in the balance as Julia follows a spirit's cryptic clues in a desperate effort to save them. Yet even that may not be enough, for Julia realizes that she has experienced some things before.
Fall is here and the Camdens are each going on an adventure! Ruthie is off to Hollywood. She's won a walk-on role in her favorite television show and an all-expenses-paid trip, but her mother seems bent on spoiling all the fun. Simon and Robbie are off to spend a weekend in the mountains. Will they stop bickering long enough to find their way out of the woods? Meanwhile, Lucy and Mary are testing their survival skills in New York City! A Christmas shopping trip sounds harmless enough, but it's easy to find trouble if you go looking for it!
Sit, Ubu, Sit: How I Went from Brooklyn to Hollywood with the Same Woman, the Same Dog, and a Lot Less Hairby Gary David Goldberg
A sports-crazed kid from Bensonhurst, Brooklyn, Gary David Goldberg never imagined he'd end up in Hollywood, let alone make it big there. But as a twenty-five-year-old waiter in Greenwich Village he met Diana, the love of his life; followed her out to Northern California; then moved in and never moved out. He also, without realizing it, put himself on track to found UBU Productions (named after his beloved Labrador retriever) and become a successful creator of such family sitcoms asFamily Ties,Brooklyn Bridge, andSpin City. * InSit, Ubu, Sit, award-winning writer/producer Goldberg tells the mostly upbeat, sometimes difficult, and frequently hilarious tale of his improbable career and the people who have filled it. A love story and a rare behind-the-scenes look at the entertainment industry,Sit, Ubu, Sitproves that it is possible to be creative and successful while holding on to your integrity, your family, and your sense of humor. *with Bill Lawrence From the Hardcover edition.
Setting opera within a variety of contexts - social, aesthetic, historical - Lindenberger illuminates a form that has persisted in recognizable shape for over four centuries. The study examines the social entanglements of opera, for example the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its initial and later audiences. It shows how modernist opera rethought the nature of theatricality and often challenged its viewers by means of both musical and theatrical shock effects. Using recent experiments in neuroscience, the book demonstrates how different operatic forms developed at different periods to create new ways of exciting a public. Lindenberger considers selected moments of operatic history from Monteverdi's Orfeo to the present to study how the form has communicated with its diverse audiences. Of interest to scholars and operagoers alike, this book advocates and exemplifies opera studies as an active, emerging area of interdisciplinary study.
A collection of modern--yet timeless--plays: "The Glass Menagerie," by Tennessee Williams; "All My Sons," by Arthur Miller; "Three Sisters," by Anton Chekhov; "The Master Builder," by Henrik Ibsen; "Mrs. Warren's Profession," by George Bernard Shaw; and "Red Roses for Me," by Sean O'Casey.
These six plays span nearly twenty years of theatre and display the range of Lillian Hellman's dramatic gifts. The Children's Hour (1934), her first play, was considered shocking at the time; it concerns the devastating effects of a child's malicious charge of lesbianism against two of her teachers. Days to Come (1936) is about the tragic consequences of strike-breaking in a small Midwestern community. The Little Foxes (1939) and Another Part of the Forest (1946) together constitute a chilling study of the financial and psychological conflicts within the Hubbards, a wealthy and rapacious Southern family. Watch on the Rhine (1941), the story of how fascism affects an American family and the refugees they harbor, won the New York Drama Critics Circle Award. The Autumn Garden (1951) is a poignant yet humorous drama set at a summer resort near New Orleans.
From one of the greatest rock guitarists of our era comes a memoir that redefines sex, drugs, and rock 'n' roll He was born in England but reared in L.A., surrounded by the leading artists of the day amidst the vibrant hotbed of music and culture that was the early seventies. Slash spent his adolescence on the streets of Hollywood, discovering drugs, drinking, rock music, and girls, all while achieving notable status as a BMX rider. But everything changed in his world the day he first held the beat-up one-string guitar his grandmother had discarded in a closet. The instrument became his voice and it triggered a lifelong passion that made everything else irrelevant. As soon as he could string chords and a solo together, Slash wanted to be in a band and sought out friends with similar interests. His closest friend, Steven Adler, proved to be a conspirator for the long haul. As hairmetal bands exploded onto the L.A. scene and topped the charts, Slash sought his niche and a band that suited his raw and gritty sensibility. He found salvation in the form of four young men of equal mind: Axl Rose, Izzy Stradlin, Steven Adler, and Duff McKagan. Together they became Guns N' Roses, one of the greatest rock 'n' roll bands of all time. Dirty, volatile, and as authentic as the streets that weaned them, they fought their way to the top with groundbreaking albums such as the iconic Appetite for Destruction and Use Your Illusion I and II. Here, for the first time ever, Slash tells the tale that has yet to be told from the inside: how the band came together, how they wrote the music that defined an era, how they survived insane, never-ending tours, how they survived themselves, and, ultimately, how it all fell apart. This is a window onto the world of the notoriously private guitarist and a seat on the roller-coaster ride that was one of history's greatest rock 'n' roll machines, always on the edge of self-destruction, even at the pinnacle of its success. This is a candid recollection and reflection of Slash's friendships past and present, from easygoing Izzy to ever-steady Duff to wild-child Steven and complicated Axl. It is also an intensely personal account of struggle and triumph: as Guns N' Roses journeyed to the top, Slash battled his demons, escaping the overwhelming reality with women, heroin, coke, crack, vodka, and whatever else came along. He survived it all: lawsuits, rehab, riots, notoriety, debauchery, and destruction, and ultimately found his creative evolution. From Slash's Snakepit to his current band, the massively successful Velvet Revolver, Slash found an even keel by sticking to his guns. Slash is everything the man, the myth, the legend, inspires: it's funny, honest, inspiring, jaw-dropping . . . and, in a word, excessive.
This fascinating collection of fairy tales includes Beauty and the Beast, Snow White and the Seven Dwarfs etc., retold in simple English.
In 1999 the Maryinsky (formerly Kirov) Ballet and Theater in St. Petersburg re-created its 1890 production of Sleeping Beauty. The revival showed the classic work in its original sets and costumes and restored pantomime and choreography that had been eliminated over the past century. Nevertheless, the work proved unexpectedly controversial, with many Russian dance professionals and historians denouncing it. In order to understand how a historically informed performance could be ridiculed by those responsible for writing the history of Russian and Soviet ballet, Tim Scholl discusses the tradition, ideology, and popular legend that have shaped the development of Sleeping Beauty. " "Drawing on a wide range of sources, most of which have never appeared in English, Scholl describes the artistic controversies surrounding the early production and the debates it fostered about the future of dance during the formative years of the Soviet Union. He shows that the 1999 revival brought to the surface a collision of imperial, Soviet, and official, and popular histories that mirrored many of the rifts felt more generally in post-Soviet society. A fascinating slice of cultural history, the book will appeal not only to dance historians but also to those interested in the arts and cultural policies of the Soviet and post-Soviet periods.
In his energetic, funny, and intelligent memoir, Peter Coyote relives his fifteen-year ride through the heart of the counterculture -- a journey that took him from the quiet rooms of privilege as the son of an East Coast stockbroker to the riotous life of political street theater and the self-imposed poverty of the West Coast communal movement known as The Diggers. With this innovative collective of artist-anarchists who had assumed as their task nothing less than the re-creation of the nation's political and social soul, Coyote and his companions soon became power players. In prose both graphic and unsentimental, Coyote reveals the corrosive side of love that was once called "free"; the anxieties and occasional terrors of late-night, drug-fueled visits of biker gangs looking to party; and his own quest for the next high. His road through revolution brought him to adulthood and to his major role as a political strategist: from radical communard to the chairman of the California Arts Council, from a street theater apprentice to a motion-picture star.
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