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Viola Time Joggers is compatible with Fiddle Time Joggers: 44 of the 47 tunes may be played together by viola and violin, either in unison, in unison with simple octave transposition, or with the ensemble parts provided. The book uses open string pieces and tunes using the finger pattern 0-1-23-4, including 'C string specials'; extra pieces to give plenty of practice on the C string. Easy duets and a CD with performances of all of the pieces - bass and drums added for the jazz and rock numbers - make learning the viola fun. Piano accompaniments are provided in Joggers Piano Book.
for SATB and organ or brass and percussion A beautiful setting (to an English translation) of verses by the French poet Paul Eluard. Chilcott combines the gentleness of the vision of the poem with a cast-iron strength that comes out of its message - a message which is as poignant today as it was then. Accompaniments for brass and percussion (2 horns, 2 trumpets, 2 trombones, bass trombone, timpani, and suspended cymbal), or brass quintet are available on hire.
At the heart of "The Republic of Love" are the voices of three
musicians--queer nightclub star Zeki Muren, "arabesk" originator
Orhan Gencebay, and pop diva Sezen Aksu--who collectively have
dominated mass media in Turkey since the early 1950s. Their fame
and ubiquity have made them national icons--but, Martin Stokes here
contends, they do not represent the official version of Turkish
identity propagated by anthems or flags; instead they evoke a much
more intimate and ambivalent conception of Turkishness.
Brenda - Story of an African queen is a pen picture of one of Africa's greatest singers. Compared with Billie Holliday and Nina Simone, Brenda's rise from the ghetto to continental superstar is a journey of luminous and troubled intensity. By the time of her death in May 2004, Brenda had been etched into the national consciousness. Her songs were emblematic of a country going through torment, then transition and seeking a balance. Her see-saw lifestyle mirrored a people who were also struggling to find meaning and identity. Fans loved and reviled her; lovers came and went; she was caring and cruel; but the talent, even when she was down and out, never deserted her - and South Africans love talent!
From Edison's invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the twentieth and twenty-first centuries, philosophers and sonic artists have explored this "sonic flux." Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general.
Suitable for SSA and piano, this arrangement combines the traditional Australian folksong with different words and music.
This latest addition to the Sound At Sight series provides a wealth of approachable and attractive sight-reading pieces for the cello. Each piece has been carefully graded to match exam requirements and is presented in a clear attractive layout. This book offers invaluable practice material for cellists and is vital in preparation for examinations.
Jingle Bells is suitable for SATB and piano.
A Change is Gonna Come chronicles more than forty years of black music: from the hopeful, angry refrains of the Freedom movement to the slick pop of Motown; from Woodstock and the 'Summer of Love' to Vietnam and the race riots; from disco inferno to the Million Man March. This is an insightful and riveting study which looks at the place black music occupies in social history, its battle for the desegregation of popular music and its contribution to social change outside the recording studio
for SATB, baritone solo, and organ I Saw Him Standing sets a text by Archbishop of Canterbury, Rowan Williams, who was inspired by the poetry of Ann Griffiths. The poem is full of rich imagery, prompting a correspondingly imaginative musical treatment from O'Regan.
Suitable for soprano and tenor soli, mixed chorus (with divisions) and organ (in the Gloria only).
Rejoice in the Lord Alway is suitable for SATB and optional organ. It is taken from Philippians 4:4-7.
"The Name of the Band is The Limit, From Mexico to Sheffield" was Laureana toledo's addition to Art Sheffield 05. The context of the event was "Spectator T," a fictitious art goer without exposure to contemporary aesthetics, and he idea was to present artworks that would challenge this person's preconceived ideas about art. Thus, Toledo created a cover band that sang songs by local Sheffield groups, and named it after the cult Sheffield nightclub, The Limit, which closed in 1992. The band was created in Mexico, with musicians from four of the best known bands in the Mexican rock scene 0 where is played one local concert, then came to Sheffield, where it played one local concert before disbanding. Like most of Toledo's work, "The Limit" appropriates and reinterprets a pre-existing entity. With this volume, Toledo continues to play with the idea of authorship by pirating an already iconic magazine layout - The Face - and turning it into a labyrinth of information that leaves the reader unsure if he of she is reading about music, a band's story, an artist, Mexico or even just pop culture. Contributor to this volume include Eduardo Abaroa, Frances Richard, Monica de la Torre, Gavin Wade, David Byrne, Catherine Lampert, Cuauhtemoc Medina, Pablo Vargas Lugo and Dr. Lakra.
Suitable for SATB and organ or piano or orchestra. This work is a chorus from Messiah.
The definitive, lavishly illustrated, history of one of the major record labels of all time; Decca is one of the great global names in recorded music. From pioneering techniques that revolutionised classical recording, to the 1960s and 70s pop explosion, through to the classical revival in the 1990s and 2000s, the sheer diversity and range of Decca's story and its influence on 20th- and 21st-century music is unparalleled: from Vera Lynn to the Rolling Stones, David Bowie, Luciano Pavarotti and the Three Tenors, to today's crossover superstars such as Andrea Bocelli and Sheku Kanneh-Mason.; Featuring rare photography and never-seen-before archival material, this sumptuously produced history includes twelve chapters covering: Decca's Foundation (Andrew Stewart); American Decca (Lois Wilson); Decca and the Second World War (Dr Tony Wakeford); The Decca Sound (Michael Gray); Decca's Golden Years (Paul Moseley); The Pop Years 1956-68 (Jon Savage); Decca Beyond Pop and Classical (Louis Barfe); Stones, Smurfs, Splodgenessabounds (Daryl Easlea); The Three Tenors (Adam Sweeting); Russell Watson and the 21st Century (Sam Jackson); Decca Today and Tomorrow (Tom Lewis); Essential Recordings.; Full of lively anecdotes and insights into the label's broader contribution to culture, Decca: The Supreme Record Company is a treat for collectors, aficionados, and anyone fascinated by the development of modern music.
John Mayall has played with them all; Eric Clapton, Peter Green, Jack Bruce, Mick Fleetwood, Mick Taylor, Andy Fraser... the list goes on. Now, in his 80's, John continues to tour all over the world and perform to sell-out crowds. With an incredible blues career spanning over sixty years, which rightly earning him the title "The Godfather of British Blues," John shares his experiences and encounters in what will be a must read autobiography for any true blues fans.
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