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Harald Lander (1905-71) was the most important figure in the history of the Royal Danish Ballet in the 20th century. During his 19 years as Artistic Director (1932-51) he laid the foundations for the world-wide fame which the company gained in the second part of the century. He changed the training system, choreographed a series of ballets and nursed the Bournonville heritage. In 1951, in the infamous 'Ballet Affair', Lander also became the most controversial figure in the Danish ballet world of the time, when he was accused of sexual harassment of female dancers and of wielding absolute and unpleasant power as Artistic Director of the Royal Danish Ballet. The affair split the Danish ballet world between Lander's supporters and detractors, and the repercussions from the rift are still evident today. As a result of the affair, Lander left Denmark to work internationally, becoming maitre de ballet and choreographer at the Paris Opera Ballet for 11 years, where for a time he was also head of the Ballet School. This book, the first biography of Lander to bepublished in English, tells the story of this remarkable man, dispels many of the myths and rumours about him, and chronicles his fall from grace and ultimate rehabilitation.
?The Bayou is a world of its own - a marshy, sometimes treacherous, oft-times sinister land of creeping darkness and living shadows, secret legends and vivid mythology. It is that darkness and those shadows that permeate Bayou Underground, the first study of the Louisiana music scene ever to leave behind the bright lights of big city New Orleans, and plunge instead into the wilderness that not only surrounds the Big Easy, but which stretches for hundreds of miles on either side, from Houston, Texas, to Mobile, Alabama. Bayou Underground explores the music of the region from the House of the Rising Sun to gator hunting with Amos Moses (the one-armed Cajun backwoodsman created by country songwriter Jerry Reed) to artists like Bo Diddley, Nick Cave, Bob Dylan, and Creedence Clearwater Revival, who were influenced by unsung heroes of the Bayou. In Bayou Underground, the people and the cultures that have called the bayou home are unearthed through their words and lives, but most of all through the music that has, over the last century, either arisen from the swamplands themselves, or been drawn from fellow visitors to the region, as they seek to set down for posterity the emotions, dreams, and enchantments that the area instilled in them. Part social history, part epic travelogue, and partly a lament for a way of life that has now all but disappeared, Bayou Underground is the gripping story of American music's forgotten childhood, and the parentage it barely even knows about. By comparison, the Big Easy had it easy.
This fascinating history charts the struggles and triumphs of Irish folk, trad, and blues musicians before the Irish music industry, and acts like U2, existed. Forgotten heroes and latter-day legends intertwine with honorary visitors who took a bit of Ireland with them, like Bob Dylan and Arlo Guthrie. The main focus of the book, however, is on the influence of homegrown pioneers, from Sweeney's Men in the 1960s to Horslips, De Danann, Anne Briggs, Rory Gallagher, and current groundbreakers like Martin Hayes. Anyone who owns even one Irish record will appreciate this book; anyone who owns a lot of Irish records will no doubt treasure it.
In The Ultimate Musical Theatre College Audition Guide, author, acting teacher, and musical theatre program director Amy Rogers offers an honest, no-nonsense guide to the musical theatre audition. Written for high school students and their parents, teachers, and mentors, the book demystifies what can be an overwhelming process with step-by-step explanations of audition checkpoints to answer every student's question, "where do I begin?" Chapters explore degree types, summer programs and intensives, audition coaches, what to sing, what to wear, headshots, how to prepare your monologue, the dance call, the university and program applications, prescreens, on-campus auditions, Unifides, resumes, acceptances/waitlists/rejections, and more. The book also includes advice from over 10 top-tier program directors and faculty, as well as examples from students, parents, and experts currently working on Broadway. Written with compassion, experience, and a love of the industry, Rogers' essential all-in-one guide is guaranteed to prevent surprise throughout the audition process.
Voted second on Modern Drummer's list of 25 Greatest Drum Books in 1993, Progressive Steps to Syncopation for the Modern Drummer is one of the most versatile and practical works ever written for drums. Created exclusively to address syncopation, it has earned its place as a standard tool for teaching beginning drummers syncopation and strengthening reading skills. This book includes many accented eighths, dotted eighths and sixteenths, eighth-note triplets and sixteenth notes for extended solos. In addition, teachers can develop many of their own examples from it.
Anthology for Music in the Eighteenth Century, part of the Western Music in Context series, is the ideal companion to Music in the Eighteenth Century. Twenty-nine carefully chosen works including a piano sonata by Anna Bon, liturgical music by Ignacio de Jerusalem, and movements from Haydn symphonies offer representative examples of genres and composers of the period. Commentaries following each score present a careful analysis of the music, and online links to purchase and download recordings make listening easier than ever."
"Earth Sound Earth Signal "is a study of energies in aesthetics and the arts, from the birth of modern communications in the nineteenth century to the global transmissions of the present day. Douglas Kahn begins by evoking the Aeolian sphere music that Henry David Thoreau heard blowing along telegraph lines and the Aelectrosonic sounds of natural radio that Thomas Watson heard through the first telephone; he then traces the histories of science, media, music, and the arts to the 1960s and beyond. "Earth Sound Earth Signal "rethinks energy at a global scale, from brainwaves to outer space, through detailed discussions of musicians, artists and scientists such as Alvin Lucier, Edmond Dewan, Pauline Oliveros, John Cage, James Turrell, Robert Barry, Joyce Hinterding, and many others.
This book questions the de facto dominance of narrative when watching films. Using the film musical as a case study, this book explores whether an alternative spatial understanding of film can offer alternative readings to narrative. For instance, how do film aesthetics influence our interaction with the film? Can camera movement and music make us `feel' cinema? Can the film world bleed into our own? Utilising film musicals ranging from those by Fred Astaire and Ginger Rogers to von Trier's Dancer in the Dark (2000), Feeling Film: A Spatial Approach investigates how we might go about understanding the audience's spatial relationship with film aesthetics, what it might look like, and the tools needed to conduct analysis.
To fans and critics alike, the years 1973 to 1980 the Bon Scott era are the most significant of AC/DC s five-decade career. In a prolific and frequently brilliant run, they recorded six studio albums, established a diehard fan base that stretched from Australia to the UK, Europe to North America, toured relentlessly, and created no small amount of controversy and chaos. At one low point in Australia, the band s records were banned, their shows were cancelled, and they were hounded by police all because Angus Young dared bare his spotty backside at a press conference. In the midst of the mayhem, however, they were building a body of work that remains unmatched in hard rock. Many of AC/DC s classic songs were cut during this time `Dirty Deeds , `Rock And Roll Damnation , `High Voltage , `If You Want Blood (You Got It) , `Whole Lotta Rosie , `Long Way To The Top , `Let There Be Rock , and more and it says plenty that these fan favorites are still staples of the band s current live sets today. Illustrated throughout with rare photographs from the era, this book documents all the key events of this frenetic time, beginning with the band s very first shows in the bloodhouses of suburban Sydney even before the name AC/DC had been dreamed up by Margaret Young, Malcolm and Angus s big sister and culminating with 1979 s Highway To Hell, the album that paved the way for the mammoth success of Back In Black and all that was to follow, and the untimely death of Bon Scott, both an end and a new beginning for the band.
Instrumental and singing teachers will welcome The ABRSM Practice Notebook. Filled with useful hints and advice on practising, it allows teachers to record their students' progress and set goals. Also useful for parents when guiding their children's practice.
This volume is a comprehensive encyclopedia of musical instruments, covering all sections of the orchestra, strings, woodwind and brass, percussion, keyboards and the voice, as well as historical, rare and non-Western instruments.
This bold narrative written by the drummer and lyricist for the band Rush shows how Peart tried to stay alive by staying on the move after the loss of his 19-year-old daughter and his wife. The book will be sold as part of the band's official merchandise during its 47-city American tour. 20 photos. 15 maps.
Karol Szymanowski (1882-1937) is now widely acknowledged to be the most important Polish composer since Chopin. He was also a considerable thinker on musical topics: the role of music in society, the goal of musical education, the purpose of criticism, the nature of Romanticism, the hallmarks of national identity - indeed, he was passionately concerned with the emergence of the Polish voice in music, and the role of Chopin in particular. Szymanowski on Music is the first comprehensive selection of his writings to be published in English. It contains all the most important of the composer's essays and interviews, throws light on the trying conditions under which he was obliged to work in the 1920s and '30s, especially in education, and gives perceptive assessments of the work of some of the major composers of the nineteenth and early twentieth centuries - Wagner, Strauss, Stravinsky, Ravel, Satie and others - and the trends they embodied. A number of pieces of a more biographical nature are also included. Overall it provides, in the words of the translator Alistair Wightman, abundant evidence of the breadth and depth of Szymanowski's personal culture, and at the same time a telling demonstration of his search for an all-embracing humanistic synthesis'. Dr Wightman faces his pioneering translations from Szymanowski's Polish originals with an extensive introductory essay that places his literary activities in the context of his life and career. This book will be a vital element in the rediscovery of the music of one of the twentieth century's most appealing composers.
""This is one of the best books to have emerged from South
African musicology in the last decadeIt opens up a new level of
discourse about music during the apartheid era: a level on which
the theoretical, the ethical, the historical and the aesthetic play
against each other in newly meaningful ways.""
""Composing Apartheid endeavors to trace the relationships
between names, concepts and realities as they variously interacted,
and continue to interact, on the musical landscape, and it does so
as historically and socially responsible scholarship.""
"Composing Apartheid" is the first book ever to chart the musical world of a notorious period in world history, apartheid South Africa. It explores how music was produced through, and was productive of, key features of apartheid's social and political topography. The collection of essays is intentionally broad, and, the contributors include historians, sociologists, and anthropologists, as well as ethnomusicologists, music theorists, and historical musicologists.
The essays focus on a variety of music (jazz, music in the Western art tradition, popular music), major composers (such as Kevin Volans) and works (Handel's "Messiah"). Musical institutions and previously little-researched performers (such as the African National Congress's troupe-in-exile Amandla) are explored. The writers move well beyond their subject matter, intervening in debates on race, historiography, and postcolonial epistemologies and pedagogies.
This book includes contributions by Lara Allen, University of the Witwatersrand, Johannesburg; Gary Baines, Rhodes University (South Africa); Ingrid Byerly, Duke University; Christopher Cockburn, University of KwaZulu-Natal; David Coplan, University of the Witwatersrand, Johannesburg (South Africa); Michael Drewett, Rhodes University; Shirli Gilbert, University of Southampton; Bennetta Jules-Rosette, University of California, San Diego; Christine Lucia, University of the Witwatersrand, Johannesburg; Carol A. Muller, University of Pennsylvania; Stephanus Muller, University of Stellenbosch (South Africa); Brett Pyper, New York University; and Martin Scherzinger, Princeton University.
"Grant Olwage" is a senior lecturer at the School of Arts at the University of the Witwatersrand, Johannesburg.
This book presents old-time Michigan, its songs and their tunes, collected and edited by Emelyn E. Gardner, a folklorist of wide experience, the author of Folklore from the Schoharie Hills, with the aid of Geraldine Jencks Chickering. Michigan's early settlers, coming from the older eastern states, both north and south, with many from England, Scotland, and the British North American possessions, brought with them their songs, which they sang happily at work and play, handing them down from generation to generation, and often adapting centuries-old ballads to their new environment. Many worked for a time in the woods and picked up the mournful, or jolly, ballads that were circulated through the camps by lumberjacks drifting in from the Maine and Canadian forests. There are old folks still alive who treasure these ancient songs, and young people who have learned them from their parents and grandparents or even from the radio. Ballads and Songs of Southern Michigan collects and preserves these cherished possessions of the old frontier. With scholarly accuracy their history is recounted; the names of those who sang them are reported. The tunes of many are reproduced; there are ample indices and bibliography. Wilfred B. Shaw's ink drawings add much to the charm of the book. It is a worthy addition both to the literature of folklore and balladry, and to that of pioneer American history.
Music was one of the first casualties of the Iranian Revolution. It was banned in 1979, but it quickly crept back into Iranian culture and politics. The state made use of music for its propaganda during the Iran-Iraq war. Over time music provided an important political space where artists and audiences could engage in social and political debate. Now, more than thirty-five years on, both the children of the revolution and their music have come of age. Soundtrack of the Revolution offers a striking account of Iranian culture, politics, and social change to provide an alternative history of the Islamic Republic. Drawing on over five years of research in Iran, including during the 2009 protests, Nahid Siamdoust introduces a full cast of characters, from musicians and audience members to state officials, and takes readers into concert halls and underground performances, as well as the state licensing and censorship offices. She closely follows the work of four musicians-a giant of Persian classical music, a government-supported pop star, a rebel rock-and-roller, and an underground rapper-each with markedly different political views and relations with the Iranian government. Taken together, these examinations of musicians and their music shed light on issues at the heart of debates in Iran-about its future and identity, changing notions of religious belief, and the quest for political freedom. Siamdoust shows that even as state authorities resolve, for now, to allow greater freedoms to Iran's majority young population, they retain control and can punish those who stray too far. But music will continue to offer an opening for debate and defiance. As the 2009 Green Uprising and the 1979 Revolution before it have proven, the invocation of a potent melody or musical verse can unite strangers into a powerful public.
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