Entertainment Books

Book SynopsisGabriel T. Saxton-Ruiz is the Chair of Cultural Studies and Professor of Latin American Literature & Culture at the University of the Incarnate Word in San Antonio, Texas. He is interested in twentieth and twenty-first century Latin American literature, literary translation, and popular culture. He is the author of Forasteros en Tierra Extraña (2012) and editor of La Narrativa de Jorge Eduardo Benavides: Textos Críticos (2018) and Paciencia Perdida, An Anthology of Peruvian Fiction (2022).

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Book SynopsisGina Waggott is a writer, editor, and former BBC professional with a background spanning broadcasting, journalism, and disability advocacy. Her work has been published in The Times, The Sunday Times, The Independent, Reader's Digest, Significance Magazine, and over a hundred different websites for companies such as Microsoft and Amazon UK. A covert stutterer, she is active in several nonprofits serving the global stuttering community and its allies. Visit ginawaggott.com/

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Book SynopsisIn 1956, photographer Alfred Wertheimer was asked to photograph the then twenty-one-year-old Elvis Presley just as his career was about to explode. This book features the collection of photos taken by Wertheimer, offering a snapshot of the young Elvis Presley?s remarkable rise to fame and his permanent status as the ?King of Rock ?n? Roll.? In 1956, Alfred Wertheimer was asked by Presley?s new label, RCA Victor, to photograph Elvis Presley?s budding career just as it was about to take off in a way the world had never seen. With unimpeded access to the young performer, Wertheimer captured unguarded and everyday moments in Elvis?s life during that crucial year. It was a year that took him from Tupelo, Mississippi, to the silver screen, the verge of international stardom, and his crowning as the ?King of Rock ''n'' Roll.? As Wertheimer photographed Elvis during 1956, and again in 1958, he created classic images that are spontaneous, unrehearsed, and without artifice. A PIVOTAL YEAR: Dubbed the ?King of Rock ?n? Roll? in 1956, 21-year-old Elvis, placed 17 songs on Billboard?s Top 100 singles chart, including 3 singles that reached #1, appeared multiple prime-time TV variety shows, performed 143 times in 79 different cities, and released his first film, Love Me Tender EXCLUSIVE PHOTOS: Dive into the complete collection of Alfred Wertheimer?s photos of the young Elvis Presley as he tours from New York to Memphis, Tennessee PERFECT FOR ALL ELVIS FANS: Fans of all ages will enjoy this exclusive deep dive into Elvis?s early life as he builds his career and shakes up the world of music GO BEHIND THE STAGE: Explore intimate and candid images captured after Elvis has left the building?backstage, writing, or reading fan mail from his admirers RENOWNED PHOTOGRAPHER AND AUTHOR: Experience the King of Rock ?n? Roll through the lens of famed Alfred Wertheimer, the photographer who captured every moment of the young star?s early career

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Book SynopsisCapture the dreams that you wish will come true in this beautifully illustrated, year-long guided journal inspired by Disney’s Wish!Harness the strength, hope, and joy of Disney’s Wish with guided prompts inspired by the film. This year-long journal includes full color illustrations from the film that will provide a beautiful backdrop for your deepest wishes. GUIDED PROMPTS: Asha, Star—and sometimes even Valentino!—guide you with a new prompt or exercise each week. Write, color, make lists, draw, fill in the blanks, create connections, and so much more as you explore and manifest your thoughts and wishes over an entire year. JOURNAL WITH WISH: This beautiful journal brings the magic of Wish to every dreamer. A YEAR OF WISHING: Featuring daily writing exercises, free-writing prompts, creative/drawing prompts, quotes from the film, list-making activities, coloring meditations, and more, this journal will guide you toward making your wishes come true.

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Book SynopsisChion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.Trade Review[A] creative look at sound in the cinema. -- R. Blackwood ChoiceTable of ContentsI. Mabuse: Magic and Powers of Acousmetre1. The Acousmetre2. The Silences of Mabuse3. The I-VoiceII. Tamaki: Tales of the Voice4. The Voice Connection5. The Screaming Point6. The Master of Voices7. The Mute Character's Final Words8. The Siren's SongIII. Norman; Or The Impossible Anacousmetre9. The Voice that Seeks a Body10. The ConfessionEpilogue: Cinema's Voices of the 80's and 90's

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Book SynopsisExplores the shifting perceptions and conceptions of historical time that have emerged over the past two centuries. This book argues that the past and the future have become 'relocated' in relation to each other, and that 'history' has emerged as a kind of temporality with distinct characteristics and ways of assimilating experience.Trade Review"Koselleck turns the procedures of 'conceptual historiography' to the study of the concept of history itself, (providing) original, erudite, and illuminating insights into concepts that have informed the modern idea of historical being: event, chance, progress, revolution, modernity... Koselleck's work augurs a new era in the conceptualization not only of what 'history' means to Western culture but also of what Western culture means for 'history.'" -- Hayden White American Historical ReviewTable of ContentsIntroduction, by Keith Tribe Part I. On the Relation of Past and Future in Modern History 1. Modernity and the Planes of Historicity 2. Historia Magistra Vitae: The Dissolution of the Topos Into the Perspective of a Modernized Historical Process 3. Historical Criteria of the Modern Concept of Revolution 4. Historical Prognosis in Lorenz von Stein's Essay on the Prussian Constitution Part II. Theory and Method of the Historical Determination of Time 5. Begriffsgeschichte and Social History 6. History, Histories, and Formal Time Structures 7. Representation, Event, and Structure 8. Chance as Motivational Trace in Historical Writing 9. Perspective and Temporality: A Contribution to the Historiographical Exposure of the Historical World Part III. Semantic Remarks on the Mutation of Historical Experience 10. The Historical-Political Semantics of Asymmetric Counterconcepts 11. On the Disposability of History 12. Terror and Dream: Methodological Remarks on the Experience of Time During the Third Reich 13. Neuzeit: Remarks on the Semantics of Modern Concepts of Movement 15. Space of Experience and Horizon of Expectation: Two Historical Categories Notes

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Book SynopsisA progressive reading of the history of the unknown that projects a hopeful future.Trade ReviewA sizzling, citable line on every page, this is Catherine Keller at her poetic, theopoetic, theological best. She meditates not the fire of the apocalypse, nor the water of the deep, but the cloud-of the impossible which precipitates the possible itself, the entanglement of knowing and nonknowing, of the relational and what overflows relation, of the enfolding and the unfolding. For her, the name of God is not the name of a cause or a guarantee but the lure of something that needs to be made and done. From philosophy and theology to physics and ecology-a sensational tour de force from a major theological voice. -- John D. Caputo, Syracuse University and Villanova University At last! A negative theology that plies the complex requirements of planetary life. Long intent on crafting ways of thinking theologically that resist common and oversimplified oppositions between divine and fleshy things, Catherine Keller leads us via ancient, medieval, and recent traditions of unsaying certainties into a rich understanding of divine entanglement as a basis for communal thriving and just democracy. This is a monumental contribution to Christian theology, especially regarding its foundational claims of divine embodiment and love. -- Laurel C. Schneider, Vanderbilt University Catherine Keller is our most creative and profound theologian today, and this book is her richest to date, tracking the enfolding and unfolding relation of everything to everything with theopoetic brilliance. -- Gary Dorrien, author of Kantian Reason and Hegelian Spirit: The Idealistic Logic of Modern Theology Catherine Keller's nuanced consideration of the apophatic cloud is both true to its subject and marvelously lucid. Tracing unexpected connections in the thought of medieval theologians, process philosophers, environmental activists, quantum physicists, and more, the book enfolds and unfolds, each line of thought traced with delicate precision, each intersection marked. Out of impossibility itself, enfolded in each and every relation, a new and open possible emerges. Through folds and mirrors, holograms and entanglements, poetry and theology, trauma and joy, this possible-impossible, this luminous darkness, entice us to follow-and to be glad that we did. -- Karmen MacKendrick, Le Moyne College Facing the complex majesty of Cloud of the Impossible, one cannot help but feel like some Moses-manque before a literary Sinai. The prose is finely wrought, tracing the inter- and indeterminacies of a provisionally named 'apophatic entanglement.' This is a beautiful and important book, which traces the contours of a transfigured, queerly-theological discourse and practice--precisely where such a thing might seem impossible. -- Mary-Jane Rubenstein, Wesleyan University With this work, Catherine Keller has produced a masterpiece on the level of her Face of the Deep: A Theology of Becoming. There is something of James Joyce in these pages. Readers are taken through core Hebrew and Greek debates, the emergence of infinity in Patristic theology, Christian and non-Christian mysticism, quantum physics, contemporary poststructuralist philosophy, the plight of theology today, nineteenth-century poetry, the environmental crisis... and that is only a start. Many critics will say that this is her best book yet. -- Philip Clayton, Ingraham Professor, Claremont School of Theology Keller's bewildering and creatively beautiful body of work is often more poetry than prose... It is always worth the effort. Christian Century An impressive and astonishing work. Syndicate Theology This is an extraordinary book... Readers will engage an astounding sweep of resources and conversation partners in this book. InterpretationTable of ContentsBefore Part 1: Complications 1. The Dark Nuance of Beginning 2. Cloud-Writing: A Genealogy of the Luminous Dark 3. Enfolding and Unfolding God: Cusanic Complicatio Part 2: Explications 4. Spooky Entanglements: The Physics of Nonseparability 5. The Fold in Process: Deleuze and Whitehead 6. "Unfolded Out of the Folds": Walt Whitman and the Apophatic Sex of the Earth 7. Unsaying and Undoing: Judith Butler and the Ethics of Relational Ontology Part 3: Implications 8. Crusade, Capital, and Cosmopolis: Ambiguous Entanglements 9. Broken Touch: Ecology of the Im/possible 10. In Questionable Love After: Theopoetics of the Cloud Notes Acknowledments Index

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Book SynopsisDeparting from the conventional association of modernism with the city, this book reveals the beach as a surprisingly generative setting for twentieth-century literature and art. Interweaving environmental humanities, queer and feminist theory, and cultural history, Hannah Freed-Thall offers new ways of understanding modernism.Trade ReviewField-changing books are ones that offer a new mode of thinking, way of seeing, or practice of reading—a clearly original or powerfully reimagined method. Modernism at the Beach does just that, shifting the ground of our critical assumptions and perspectives by encouraging us to encounter the modernist beach much like William Blake might: "To see a world in a grain of sand." -- Diana Fuss, author of Dying Modern: A Meditation on ElegyHannah Freed-Thall has written an exquisite book about the modernist beach, a liminal space where queer ecology guides literary history. An itinerary featuring Virginia Woolf, Rachel Carson, Claude McKay, and Samuel Beckett recreates on a structural level the “offbeat intimacies” and wayward encounters that each of Freed-Thall’s close readings so vividly illuminates. You’ll feel the ocean breeze, but you won’t think of beach-reading the same way again. -- Aarthi Vadde, author of Chimeras of Form: Modernist Internationalism Beyond Europe, 1914-2014By spotlighting a common yet neglected setting of twentieth-century literature, this revelatory book lights up modernism anew. The seashore, Freed-Thall shows us, is at once a cultural fantasy of commodified leisure, an emblem of ecological violence, and an experimental site of nonnormative modes of being. To the country and the city we must now add the beach. -- Dora Zhang, author of Strange Likeness: Description and the Modernist NovelModernism at the Beach offers a marvelous, tenacious, imaginative, revelatory discussion of the place of the beach in modern culture. In its energetic, all-encompassing writing, its wide erudition, its advocacy and sensitivity, the book is gorgeous to read. It changes how the shoreline is felt and known. -- Emma Wilson, author of Love, Mortality, and the Moving ImageNeither home nor away, land nor water, city nor countryside, war-torn nor peaceful, private nor public, the beach is a territory where a different kind of sunlight falls on social, corporeal, and emotional realities. Freed-Thall shows us how and why modernists were drawn to the in-between realm of the beach, a place where they could, perhaps more than anywhere else, fully interrogate and reimagine the world in all its aspects. -- Barry McCrea, author of Languages of the Night: Minor Languages and the Literary Imagination in Twentieth-Century Ireland and EuropeModernism at the Beach is an outstanding book. Freed-Thall covers expansive ground - and coast - yet chooses her critical texts carefully and concisely, weaving a range of literature, art, culture, and critical theory together effortlessly. Timely and original, creative and profound, Modernism at the Beach is essential reading for modernists and ecocritics alike. -- Annie Williams * The British Society for Literature and Science *This exceptionally lucid, elegantly written book elaborates an innovative argument about the role of the beach in modernist literary and artistic works. Drawing on and interrelating queer studies, ecocriticism, aesthetic theory, and modernist criticism, Freed-Thall’s luminous and incisive readings move gracefully across scales and between aesthetic objects to produce a kaleidoscopic, shifting portrait of shores and beaches. -- Margaret Ronda, author of Remainders: American Poetry at Nature's End Welding queer theory to ecological philosophy, and drawing on a unique archive of modernist art and literature . . . Freed-Thall argues convincingly for a timely reconceptualization of the modernist beach as a multitudinous ‘stage’ for reimagining non-hierarchical social structures, for inventing new modes of sexuality and gender identity, and for attuning oneself to more-than-human and multi-scalar environmental forces. -- James Reath * Modernist Cultures *This gorgeously written book, interspersed with arresting photographs, has much to offer those interested in modernism, oceanic studies, queer studies, and ecocriticism. -- Sari Edelstein * H-Environment, H-Net Reviews *These works provide a timely reminder that we all remain at the mercy of the riptide currents rising inexorably around us. -- Ian Ellison * Times Literary Supplement *Modernism at the Beach creates important inroads between modernist studies and environmental humanities. It offers a rich archive that documents beaches’ many, often contradictory faces and histories. Perhaps its greatest strength lies in the difficult, sometimes unresolved questions it raises about queer ecologies and environmental commons; such questions are a gift to scholars seeking new ground in these blossoming fields. -- Austin Lillywhite * ISLE: Interdisciplinary Studies in Literature and Environment *Table of ContentsAcknowledgmentsIntroduction: The Beach Effect1. Proust’s Leap 2. Intertidal Woolf3. Carson’s Quiet Bower4. McKay’s Dream Port5. Tidewrack, Beckett to SundeNotesWorks CitedIndex

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Book SynopsisApplying lessons from the success of community banks, Kirk S. Bowman and Jon R. Wilcox develop and implement a new model that significantly raises philanthropic efficacy. Their straightforward and rigorously tested approach calls for community members to take the lead while outside partners play a supporting role.Trade ReviewReimagining Global Philanthropy takes a tried-and-true model—one based on the industry I work in every day—and brings the lessons of community banking to the global stage of international philanthropy. Now, more than ever, philanthropy must maximize returns on investment. A trailblazing book that provides a formula that really works. -- John DeCero, president and CEO, Mechanics BankThis book offers a highly original take on global philanthropy and the high failure rate of many of its projects, accompanied by compelling advocacy for a new model that relies on local leadership and insists on cost-effectiveness. The authors build on evidence from failures big and small and on their own decades-long experience with both failures and successes. They present their lucid analyses in highly accessible language. I cannot remember having seen a serious book with an important policy message that is such a pleasure to read. -- Evelyne Huber, Morehead Alumni Professor of Political Science, University of North Carolina, Chapel HillBowman and Wilcox's core thesis is that philanthropists should avoid casting themselves as the heroes and instead serve as supportive sidekicks to effective neighborhood leaders. At once, they pinpoint the problem with so much global philanthropy and offer a meaningful solution. -- Kentaro Toyama, W. K. Kellogg Professor of Community Information, University of Michigan, and author of Geek Heresy: Rescuing Social Change from the Cult of TechnologyThis is an eye-opening and pathbreaking book offering concrete advice for those of us who want to do good in the developing world. Instead of yet another “new” twist on the usual humanitarian colonialism in which we of the West put ourselves in the driving seat of the civilized, educated know-it-alls that should plan for the poor primitives in the South how to become rich and developed like us, Reimagining Global Philanthropy offers a new model, where we are just the sidekick, playing the important but secondary role of allowing local activists and social entrepreneurs to scale-up successful programs they and their community built, tested, and preerected. Bowman and Wilcox put forward a bold new model and present it in a crisp engaging way. A must read. -- Dan Breznitz, codirector of the Innovation Policy Lab and Munk Chair of Innovation Studies, University of TorontoBowman and Wilcox turn their expertise in international affairs and banking to reforming international philanthropy, giving important advice to those who want to help in the most efficient way. Anyone who wants to participate in making a difference for the better in the world would be wise to read this book. -- Jon-Claude Zucconi, managing director, investment bankReimagining Global Philanthropy provides the critical analysis we have needed for decades, but not had until now, explaining why global philanthropy so often fails, and why dropping the ego and instead identifying and supporting grassroots actors will always be the most impactful, empowering and cost-effective way to make change. If our goal is really a world where everyone is able to lead a healthy and fulfilling life, ensuring our collective well-being in ways that preserve diversity and that promote belonging and care for our communities and ecosystems, not only reimagining, but actually realizing, a decolonial approach to philanthropy is imperative. Everyone interested in making change should read this book. -- Theresa Williamson, executive director, Catalytic CommunitiesI often think about how different my own life might have been if I had not grown up with heroes. Young people need outstanding role models – so does “global philanthropy” assert Kirk Bowman and Jon Wilcox in Reimagining Global Philanthropy. They prove their point with powerful examples of local role models and “super heroes” who lead in the most challenging neighborhoods. How do we identify them, replicate and scale their work, and combine powerful economic lessons from community banking to increase the efficiency and impact of global philanthropy? Read on if you want to be both informed and inspired by the heroes and the windows and doors they open for effective philanthropy. -- Former U.S. Senator Sam Nunn, co-chair, Nuclear Threat InitiativeTable of ContentsPreface1. Reassessing the Philanthropist’s Burden2. Everybody Wants to Change the World: The Boom in International Philanthropy3. Lessons from the Contemporary Global Philanthropy Practice4. The Community Bank Model of International Philanthropy5. Rise Up and Care: The Demonstration Project6. Reimagining Impact Assessment7. Actors of Resistance8. A Call to ActionNotesBibliographyIndex

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Book SynopsisIn Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. In place of the conventional documentary, she advocates for a postrealist cinema.Trade ReviewKill the Documentary is a brilliant, angry book. An honest book. A brave book. Guggenheim Fellow and award-winning filmmaker Jill Godmilow has written a stirring call to arms. -- Cynthia Close * Documentary Magazine *Creatively curious pages -- Ezra Winton * Cineaste *Jill Godmilow marshals a pantheon of hard-hitting, tough-minded films that refuse to be herded into the realist corral. Godmilow’s letter, or manifesto, like most manifestos, draws a line in the sand. Which side are you on becomes the question. Stay put and miss the point, or step on through to the other side and restore for yourself some of the nuance and subtlety that is foreign to the spirit of a manifesto. -- Bill Nichols, from the ForewordThis provocative and engaging book by acclaimed filmmaker Jill Godmilow raises important questions for anyone concerned about the future of political documentary. She maps out an original approach to “postrealist” documentary that champions moral engagement, social activism, aesthetic daring, historical grounding, and intersectional participation for bold twenty-first-century filmmaking. -- Deirdre Boyle, author of Ferryman of Memories: The Films of Rithy PanhIn her captivating and original Kill the Documentary, filmmaker and critic Jill Godmilow offers a plea—in the form of a letter, which is a manifesto, and forty propositions, and a tool kit—for making postrealist nonfiction, for making film useful and fruitful. In her scathing critique of “great” documentaries, and her offering up of her own counter-canon, she insists that filmmakers and viewers can begin again by refusing the pedigree, pornography, and cultural imperialism of the real, and by supporting postrealist strategies: interventionist and interactive, performative and formal. Honestly, I don’t agree with all she says, or every one of the 144 films she honors, and that’s her urgent book’s point and purpose: I can and should make my own. -- Alexandra Juhasz, Brooklyn College, CUNYKill the Documentary is a provocative manifesto for rethinking the documentary. Godmilow provides a shield against the tear-soaked sentimentality and nostalgia of the Ken Burns style of packaging history. A new tool in the film teacher's kit, this book is useful beyond discussions of documentary. The passion of her prose is infectious—a welcome relief for student reading assignments. -- DeeDee Halleck, professor emerita, University of California, San DiegoThis book will be a gold mine for any instructors putting together an “Introduction to Documentary Filmmaking” syllabus or for cinematic autodidacts hungry to experiment with alternative modes of nonfictional filmmaking. -- Jaimie Baron * Film Quarterly *Herein lies the specificity and refreshing nonconformity of [this] book: it pushes the reader not only to see through the ideological premises of conventional formats, but also to delve into the multiple configurations that generate subversive experiences . . . [Godmilow's] persistent faith in the importance of developing critical awareness and in the agency of art to intervene into reality despite the omnipresent ‘capitalist realism’ in the global neoliberal society radiates a compelling force. -- Stefanie Baumann * Radical Philosophy *Table of ContentsManifestly Radical: A Foreword, by Bill NicholsAcknowledgmentsI Call This Book a LetterIntroduction—a Letter to Filmmakers1. Abandon the Conventional Documentary—Reject Realism as the Only Authentic Nonfiction Form2. Take Action—Make Useful Postrealist Films3. Forty Postrealist Strategies to Learn from and Borrow4. The ToolkitNotes BibliographyIndex

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Book SynopsisLarry S. Sherman, a neuroscientist and lifelong musician, and Dennis Plies, a professional musician and teacher, collaborate to show how our brains and music work in harmony. Written for both musical and nonmusical people, including newcomers to brain science, this book is a lively and easy-to-read exploration of the neuroscience of music.Trade ReviewEngaging and insightful, Every Brain Needs Music illuminates the connection between art and science and shows us the miraculous way our bodies and brains listen to, practice, and create music. From the architecture of music and the brain to the artistry of a transcendent musical performance, each chapter reveals why, for many of us, music is as essential as breathing or eating. -- Valerie Day, lead singer of Nu Shooz and Grammy nomineeWitty and brilliantly informative, Every Brain Needs Music evokes the love of music in all ways, and is the first book I will recommend to everyone who wants a deeper appreciation of music and life. From the deeply detailed description of our brains to concrete examples and strategies of improvement and learning, this book will benefit beginners and seasoned musicians alike. -- Mei-Ting Sun, professor of piano, Royal Academy of Music, and winner of the first Piano-e competition and the National Chopin CompetitionEvery Brain Needs Music shares priceless information garnered from the life experiences of the authors as artists, scientists, and educators and provides unique insights and a treasure trove of knowledge that all readers can benefit from. This valuable and informative book will help readers recognize the critical need for music education and the role it serves by enriching our aesthetic and cognitive lives. -- Yakov Bergman, music director/conductor of the Portland Chamber Orchestra, the Walla Walla Symphony, the Siletz Bay Music Festival, and the McCall SummerFestEvery Brain Needs Music is a thorough, but approachable primer for music lovers, music students, music teachers, and music therapists looking to understand how music is processed in the brain. The book presents a wide scope of music neuroscience literature, but in a way that makes it feel understandable. The complex topics are presented in a way that keeps readers’ attention, and helps readers make connections to their own inherent musicality. Music students and teachers will find this book helpful, and so will music therapists as a great refresher and quick-access guide for clear explanations to communicate to others the neuroscientific mechanisms underlying our clinical work. -- Brea Murakami, director of the Music Therapy Program, Pacific UniversityEvery chapter became my favourite and this is one of my favourite books! It’s a five out of five on the enJOYment scale, highly recommended, and I hope I get to read these authors again. * Moonglo Texas *A work of scientific popularization drawing on brain-mapping studies, insights culled from composers and performers, and the authors’ own experience with music making. Illustrators often go unheralded, but Susi B. Davis makes following the anatomical connections much easier; all due props, then. * Inside Higher Ed *Witty and informative, Every Brain Needs Music evokes the love of music in more ways than one. * The Hindu *Table of ContentsPreludeOverture1. What Is Music, and Why Does It Exist?2. How Your Brain Composes Music3. Practicing Music, Part I: The Partnership of Motivated Music Students and Motivated Music Teachers4. Practicing Music, Part II: Understanding the Neuroscience5. Practicing Music, Part III: Changing Your Brain to Get It Right6. How Your Brain Performs Music7. How Your Brain Listens to Music8. Why Your Brain Likes MusicCoda: The Final Jam with Dennis and Larry—Reflective ImprovisationAcknowledgmentsAppendix A: First SurveyAppendix B: Second SurveyNotesBibliographyIndex

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Book SynopsisThis book presents Edward W. Said’s insightful and elegant analyses of four major operas—originally delivered as the Empson Lectures at Cambridge University in 1997—showcasing the power of his critical acumen to unsettle canonical interpretations.Trade ReviewIndispensable for serious lovers of opera. The essays are complete and fresh and as meaningful today as a quarter century ago. * Library Journal (starred review) *These essays on major works in the opera repertoire are provocative and penetrating. They are eloquent testimony to Edward W. Said’s understanding of how music, both written and performed, intersects with politics, history, and literature. Said’s interpretive imagination and his conviction that music is a vital dimension of history and culture will captivate musicians, scholars, students, and all operagoers. -- Leon Botstein, conductor, editor of the Musical Quarterly, and president of Bard CollegeThe opposition between historical authority and its transgression was central to Edward Said’s thinking in later life. But his exploration of it in these four operas offers a strikingly new perspective on how contemporary audiences—and stagings—can interrogate the operatic works’ historical power structures in deeply resonant, present-day terms. -- Linda Hutcheon, coauthor of Opera: The Art of DyingThe trenchant literary and cultural critic Edward W. Said was also deeply devoted to the masterpieces of Western classical music. Said on Opera offers his thoughts on four major operas: by Mozart, Beethoven, Berlioz, and Wagner. These rich, challenging chapters will be debated for years to come. -- Ralph P. Locke, author of Music and the Exotic from the Renaissance to MozartTable of ContentsEdward Said's Inner Music, by Peter SellarsIntroduction1. Così fan tutte at the Limits2. Fidelio’s Difficulties with the Past3. Les Troyens and the Obligation to Empire4. Creation and Coherence in Die MeistersingerNotesIndex

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Book SynopsisThis groundbreaking book is an incisive and comprehensive analysis of Harun Farocki's oeuvre, shedding new light on his media experimentation and writings across platforms and venues.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisFrom the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and shouts of freedmen, in Sinful Tunes and Spirituals Dena J. Epstein traces the course of early black folk music in all its guises. This classic work is being reissued with a new author's preface on the silver anniversary of its original publication.Trade ReviewWinner of the Simkins Prize of the Southern Historical Association, 1979. "No previous scholar has told more about the manner of diffusion of African music and dance in the New World . . . . No one else has related with more telling effect the impact that Afro-American musical patterns had upon the sensibilities of the white public."--Lawrence W. Levine, Journal of American History"Epstein has uncovered far more about early black music than anyone thought possible. Her luxuriant quotations and definitive treatments of a wide variety of musical subtopics make the book an essential reference volume and a marvelous storehouse of information."--John B. Boles, Journal of Southern History"Sinful Tunes ensures that we will never again be able to sing or listen to a spiritual in quite the same way. We can now see more clearly than ever before what has shaped it; we have been taken nearer the soul of the music."--Hugh Brogan, Times Literary Supplement"[A] definitive, indeed monumental study of black slave music in America."--Guthrie P. Ramsey Jr., Musical QuarterlyTable of ContentsPreface to the 2003 Paperback xiii Preface to the 1977 Edition xvii Prologue: The African Heritage and the Middle Passage 3Part One: Development of Black Folk Music to 1800 19 1. Early Reports of African Music in British and French America 21 La Calinda and the Banza 30 Other African Dancing 38 2. More Black Instruments and Early White Reaction 47 Drums and Other African Instruments 47 The Balafo 55 Legal Restrictions on Instruments 58 3. The Role of Music in Daily Life 63 Funerals 63 Pinkster and Other African Celebrations in the North 66 Worksongs and Other Kinds of African Singing 68 4. The Acculturation of African Music in the New World 77 The Arrival of Africans and Their Music 78 Acculaturation in New Orleans 90 5. Conversion to Christianity 100 6. Acculturated Black Musicians in the Thirteen Colonies 112 The African Jig, a Black-to-White Exchange 120 Part Two: Secular and Sacred Black Folk Music, 1800-1867 125 7. African Survivals 127 Persisting Musical and Cultural Patterns 128 Black Music in New Orleans, 1820-67 132 8. Acculturated Dancing and Associated Instruments 139 Patting Juba 141 Drums, Quills, Banjo, Bones, Triangle, Tambourine 144 Fiddlers 147 Instrumental Combinations 155 9. Worksongs 161 Field Work and Domestic Chores 161 Industrial and Steamboat Workers 164 Boat Songs 166 Corn, Cane, and Other Harvest Songs 172 Singing on the March 176 Street Cries and Field Hollers 181 10. Distinctive Characteristics of Secular Black Folk Music 184 Whistling 184 Improvisation 184 Satire 187 Style of Singing 188 Other Secular Music 189 11. The Religious Background of Sacred Black Folk Music, 1801-67 191 Opposition to Religious Instruction of Slaves 192 Camp Meetings 197 Missions to the Slaves 199 Black Religious Groups 202 Opposition to Secular Music and Dancing 207 12. Distinctive Black Religious Music 217 Spirituals 217 Attempts to Suppress Black Religious Singing 229 The Shout 232 Funerals 234 Part Three: The Emergence of Black Folk Music during the Civil War 239 13. Early Wartime Reports and the First Publication of a Spiritual with Its Music 241 14. The Port Royal Experiment 252 Historical Background 252 Earliest Published Reports 256 Wartime Publication of Song Texts and Music 260 15. Reports of Black Folk Music, 1863-67 274 Criticism of "This Barbaric Music" 274 Recognition of a Distinctive Folk Music 275 The Shout 278 Worksongs 287 Performance Style 290 Introduction of "New" Songs by the Teachers 296 16. Slave Songs of the United States: Its Editors 303 William Francis Allen 304 Charles Pickard Ware 310 Lucy McKim Garrison 314 17. Slave Songs of the United States: Its Publication 321 The Contributors 321 Problems of Notation 326 Assembling the Collection 329 Publication and Reception 331 Conclusion 343 Appendices 349 I. Musical Excerpts from the Manuscript Diaries of William Francis Allen 349 II. Table of Sources for the Banjo, Chronologically Arranged 359 III. Earliest Published Versions of "Go Down, Moses" 363 Bibliography 374 Index 416

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Book SynopsisTrade Review"For those who have never studied with Wibb or have worked with him only a little, this book brings to light the best of his teaching methods in a detailed manual of approach. Bravo, Roderick, and thank you." —Abigail Sperling, The Flutist Quarterly -- Abigail Sperling * The Flutist Quarterly *Covering topics such as sound production, intonation, embouchure and phrasing, this volume offers an invaluable insight into how to achieve the hallmark [William] Bennett-school sound. * Pan *There is something here for every flute player and the book is nothing short of masterful! * Just Flutes * Mastering the Flute with William Bennett is an extremely valuable resource for flute players, covering a wide range of technical and musical issues and revealing the ideas developed over Bennett's decades-long career. * Music Teacher *Table of ContentsForeword / William Bennett AcknowledgmentsIntroduction 1. Finding a Sound2. "Harmonics in Tune" Tone3. Reaction in the Sound4. Attacks, Articulation and Repeated Notes5. Prosody: "Elephants And Taxis" 6. Harmonics Exercises 7. Shakuhachi Exercise for Embouchure Control8. Intonation Exercises9. Flexibility Exercises10. Other Exercises: Whistle Tones and Vocalises11. Approaching MelodiesBibliographyIndex

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Book SynopsisTrade Review"The Worlds of John Wick is a brilliant, wide-ranging, interdisciplinary, and theoretically savvy collection on one of the most compelling and successful phenomena of action cinema in recent years: the John Wick franchise. Using approaches ranging from the discussion of 'world-building' in the 'Wickverse,' to the films' striking use of games and play, and allusions to forms such as folklore and fairy tales, the contributors present a stellar case for (re-) engaging with these remarkable movies. The chapters offer groundbreaking readings referencing Frankfurt School 'Culture Industry,' gender performance and masculinity, and much more. Caitlin G. Watt and Stephen Watt are to be applauded for their bold, original, and exciting work."—Oliver Buckton, author of The World is Not Enough: A Biography of Ian Fleming, Florida Atlantic University"Especially because the John Wick franchise is largely viewed by the critical establishment as well-made, but fundamentally inconsequential, this volume is important in revealing the layers of meaning and significance."—James Kendrick, author of A Companion to the Action Film"This wide-ranging and thought-provoking collection of essays is essential reading. Its breadth and accessibility will appeal not only to fans of the John Wick franchise but also to anyone interested in film, gender studies, architecture, and popular culture as a whole."—David Schmid, Professor of English, University at Buffalo"The Worlds of John Wick explores the (first) three John Wick films. In fifteen richly referential essays, Caitlin and Stephen Watt and their contributors discuss the balletic fight choreography, allusive storytelling, underlying philosophies, folkloric roots, and more. An illuminating academic examination of one of the very best – and most popular – contemporary action film franchises."—Chris Holmlund, University of Tennessee, Knoxville"Through an inventive array of critical lenses, methodologies, and theoretical perspectives on gender, the body, and space and time, Watt and Watt's collection explicates the crucial importance of the John Wick franchise within contemporary action cinema, confirming its place alongside the enduring legacies of action cinema icons James Bond, Ellen Ripley, Sarah Connor, and John Rambo."—Ian Kinane, editor of the International Journal of James Bond StudiesTable of ContentsAcknowledgmentsIntroduction: The Worlds of John Wick, by Caitlin G. Watt and Stephen WattPart I: John Wick and Action Cinema1. Red Circle of Revenge: Anatomy of the Fight Sequence in John Wick, by Lisa Coulthard and Lindsay Steenberg2. Hidden in Plain Sight: Stunt-Craft Work in John Wick and the Networked Worlds of 87Eleven Action Design, by Lauren Steimer3. Killing in Equanimity: Theorizing John Wick's Action Aesthetics, by Wayne WongPart II: The Economies and Phenomenology of the Wickverse4. The Continental Abyss: John Wick vs. the Frankfurt School, by Skip Willman5. Bitcoin, Shitcoin, Wickcoin: The Hidden Phenomenology of John Wick, by Aaron JaffePart III: John Wick: Other Cultural Forms and Genres6. Fortune Favors the Bold: The State of Games and Play in the John Wick Films, by Edward P. Dallis-Comentale7. 'The One You Sent to Kill the Boogeyman': Folklore and Identity Deconstruction in the John Wick Universe, by Caitlin G. Watt8. Captain Dead Wick: Grief and the Monstrous in the John Wick and Deadpool Films, by Mary NestorPart IV: John Wick's Matrix: Space and Time9. Classical Orders, Modernist Revisions, Fantastical Expansions: Reading the Architecture of the John Wick Franchise, by Andrew Battaglia and Marleen Newman10. Out of Time and Going Sideways: John Wick, Time Traveler, by Charles M. Tung11. John Wick's Blank Cosmopolitanism and the Global Spatiality of the Wickverse, by Mi Jeong LeePart V: Gender and the Body in John Wick12. John Wick's Multiply Signifying Dogs, by Karalyn Kendall-Morwick13. Masculinity, Isolation, and Revenge: John Wick's Liminal Body, by Owen R. Horton14. Professionalism and Gender Performance in the John Wickverse, by Vivian Nun Halloran15. Style and the Sacrificial Body in John Wick 3, by Stephen WattBibliographyIndex

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Book SynopsisA collection of essays analyzing ecohorror motifs in literature, manga, film, and television, illuminating ambiguities that arise from human encounters with nonhuman nature and examining the scale and effect of ecohorror in, and of, the Anthropocene.Trade Review“Fear and Nature expansively defines eco-horror as not only a sub-genre of literature but as a cohesive mode operating across genres and media. Whether talking about Algernon Blackwood or Algernon Swinburne, Bong Joon Ho or Junji Ito, this volume explores the rhizomatic connections that make eco-criticism something that transcends genre, and makes a convincing case for its relevance not only today but as a way of reconsidering what has come before.”—Brian Evenson,author of Song for the Unraveling of the World “Fear and Nature straddles popular culture studies, horror and gothic studies, film and literary studies, and cultural studies. It is an expansive, ambitious, and exploratory book that is working to move the field beyond earlier works of ecohorror criticism by considering fresh approaches to the subject.”—Bernice Murphy,author of The Rural Gothic in American Popular Culture: Backwoods Horror and Terror in the Wilderness“This foundational text is an optimistic thrust of possible reimagination, one that does not “foreclose the future or discourage activism.””—ISLE: Interdisciplinary Studies in Literature and Environment“This representative and symbolic book is highly recommended to readers as it can offer them the ethics and responsibilities towards nature.”—Tohidur Rahaman Journal of Ecohumanism“This book is definitely going to be one of the more authoritative texts in the field for a while, due to its sharp, language-building introduction, the chapters’ wide applications of ecohorror theory, and the scholars’ tendency to use their work to open up conversations rather than simply proving a statement and walking away.”—Jonathan W. Thurston-Torres SFRA ReviewTable of ContentsAcknowledgementsIntroduction: Ecohorror in the AnthropoceneChristy Tidwell and Carter SolesPart 1: Expanding Horror1. Tentacular Ecohorror and the Agency of Trees in Algernon Blackwood’s “The Man Whom the Trees Loved” and Lorcan Finnegan’s Without NameDawn Keetley2. Spiraling Inward and Outward: Junji Ito’s Uzumaki and the Scope of EcohorrorChristy Tidwell3. “The Hand of Deadly Decay”: The Rotting Corpse, America’s Religious Tradition, and the Ethics of Green Burial in Poe’s “The Colloquy of Monos and Una”Ashley KnissPart 2: Haunted and Unhaunted Landscapes4. The Death of Birdsong, the Birdsong of Death: Algernon Charles Swinburne and the Horror of ErosionKeri Stevenson5. An Unhaunted Landscape: The Anti-Gothic Impulse in Ambrose Bierce’s “A Tough Tussle”Chelsea Davis6. The Extinction-Haunted Salton Sea in The Monster That Challenged the WorldBridgitte BarclayPart 3: The Ecohorror of Intimacy7. From the Bedroom to the Bathroom: Stephen King’s Scatology and the Emergence of an Urban Environmental GothicMarisol Cortez8. “This Bird Made an Art of Being Vile”: Ontological Difference and Uncomfortable Intimacies in Stephen Gregory’s The CormorantBrittany R. Roberts9. The Shape of Water and Post-pastoral EcohorrorRobin L. Murray and Joseph K. HeumannPart 4: Being Prey, Being Food10. Superpig Blues: Agribusiness Ecohorror in Bong Joon-ho’s OkjaKristen Angierski11. Zoo: Television Ecohorror On and Off the ScreenSharon Sharp12. Naturalizing White Supremacy in The ShallowsCarter SolesContributorsIndex

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Book SynopsisThe book of the brilliant BBC Radio 4 series, Three Vicars Talking, in which the Reverends Richard Coles, Kate Bottley and Giles Fraser discuss birth, marriage, funerals, Christmas - and Easter in a time of coronavirus.Trade ReviewI am not at all religious (I thought) but Three Vicars Talking on @BBCRadio4 was beautiful. -- Bryony Gordon on TwitterThere are no preens here. Each seems genuinely engaged with the others’ experiences. All are funny, wise, thoughtful, occasionally confessional. They listen to each other. There is even the odd pearl of wisdom . . . This is good stuff . . . The clever producer is Christine Morgan. -- Gillian Reynolds, The Sunday TimesThree Vicars Talking is a meditation on priesthood, wrapped up as a stocking filler . . . Bottley radiates warmth and relatability . . . Coles plays the familiar entertainment part of host struggling to control his effervescent guests . . . Fraser goes in to bat for muscular Christianity. * Church Times *It was heartening to hear a Church of England priest - Canon Fraser in this instance - state unashamed, "We're good at funerals", and he can also lay claim to the most affecting story of the half-hour, when he admitted to a temporary loss of faith after officiating at the funeral of a child. * Church Times *Entertaining * Daily Telegraph *

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Book SynopsisTrade Review“Absorbing . . . Nichols gives an assured overview of Poulenc’s life and work, applying a light touch that is appropriate to the subject’s man-about-town façade.”—Alex Ross, New Yorker“Roger Nichols examines Poulenc’s life and charming music . . . An accessible biography for the common reader.”—John Check, Wall Street Journal“I don't think anyone writes better about classical music than Nichols, his wry humour and gift for surprising connections never losing touch with scholarly erudition.”—Duncan Fallowell, Spectator“Nichols interweaves life and works in a narrative richly informed by his long immersion in modern French music.”—Rupert Christiansen, Literary Review“True to form, Nichols presents the life of Poulenc in a scholarly, clear and authoritative style…This beautifully produced, meticulously researched book will certainly grace the shelves of music lovers, especially those with a keen interest in French music.”—Stephen Greenbank, MusicWeb International“Refreshingly open about the limits of the evidence, especially for the composer’s various flings, Nichols provides rich context making this essential reading for anyone interested in the French musical culture of Poulenc’s time. This is the biography the composer deserves.”—Christopher Dingle, BBC Music Magazine 'Best Books of 2020'“This expertly researched, well-written volume contains a surprising recent discovery about its subject's private life.”—George Hall, Opera“Expertly details how music drama was an essential part of [Poulenc’s] life and achievement, almost from birth...Nichols presents the full background information needed to understand just how Poulenc became passionate about opera.”—Benjamin Ivry, Opera NowCHOICE 2021 Outstanding Academic Title“Nichols is the perfect biographer for Poulenc. He has the same light touch, the same urbane charm and wit, and he knows everything there is to know about French music, its sources, its context and its psychology.”—Stephen Walsh, author of Debussy“Packed with entertaining detail and engagingly written, Nichols’ biography is essential reading for anyone interested in French music of the 20th century.”—Caroline Potter, author of Erik Satie“A fluent biography, written with sensitivity and compelling enthusiasm for the composer's music. Readers are guided to the poetry behind the music and the theology behind his Carmelites, all in the context of the highs and lows of the life of this fascinating man.”—Professor Richard Langham Smith, Royal College of Music“It is with great expectation that we should welcome the release of this book about the quintessential French musician Francis Poulenc; all the more so for being written by Nichols who is such an authority on the subject.”—Yan Pascal Tortelier, conductor and violinist

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Book SynopsisThe only writing guide a film student will ever need.

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Book SynopsisPresents an innovative perspective that looks beyond the simple category of “kids” media to consider how entertainment industry strategies invite producers and consumers alike to cross boundaries between adulthood and childhood, professional and amateur, new media and old.

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Book SynopsisSuitable for the players of the one-keyed flute, this book includes music drawn from early treatises along with solo flute literature and instructional text and fingering charts. It addresses topics ranging from the basics of choosing a flute and assembling it to advanced concepts such as tone color and eighteenth-century articulation patterns.Table of ContentsPREFACE ACKNOWLEDGMENTS CHAPTER I ABOUT THE ONE-KEYED FLUTE On the Flute A bit of history Names Materials used Range Concerning the highest notes On the Parts of the Flute Three-piece flute Four-piece flute The tenon The cork The screw cap The foot register On Pitch Modern replicas Corps de rechange On Choosing a Flute Pitch Style Woods Used flutes On Care Checklist Oiling the flute CHAPTER II LEARNING TO PLAY THE ONE-KEYED FLUTE On Getting Started How to proceed Assembly On Holding the Flute Physical problems Left hand Right hand Checklist An interesting side line On Tone Checklist Embouchure Amusing side line CHAPTER III On Homogeneity of Sound (Tone Color Tendencies) Strong notes Weak notes Changes at century's end On Key (Tonality) On Vibrato The flattement How is the flattement executed? How is the flattement used? The flattement with the messa di voce Notation Are we certain that breath vibrato was not used? Recommended readings On Intonation How to tune Playing "in tune" Enharmonic notes Practical application Practicing good intonation Adjusting for intonation On Playing Forte and Piano Using the screw cap On Rhythmic Hierarchy "Good" notes, "bad" notes Practical application Quick notes Beating time Recommended readings On Articulation Articulation silences Unslurred notes Eighteenth-century patterns for quick notes Double tonguing Recommended readings On Further Readings CHAPTER III FINGERINGS FOR THE ONE-KEYED FLUTE On Fingerings Why so many choices? Lowering the pitch Use of the key Extending the range Alternate f sharp How many fingerings? On Trills Wide Trills Execution Recommended readings Explanation of the Charts Basic Fingering Chart Complete Fingering Chart Table of Trills Flattement Chart CHAPTER IV EXERCISES AND TUNES TO PLAY About the Music Duet playing Exercises and Tunes (Eighteenth-Century Sources) D Major G Major e mmor A Major CHAPTER V MODERN STUDIES FOR ONE-KEYED FLUTE Introduction to Modern Studies Practice Routine Modern Exercises Major sequences for the one-keyed flute Broken chord studies in the major keys Broken chord studies in minor keys APPENDIX A THE "TOP 13" EIGHTEENTH-CENTURY FLUTE TUTORS APPENDIX B ON REPERTOIRE FOR THE BEGINNING ONE-KEYED FLUTIST Easy solos Collections Studies Easy Duets ANNOTATED BIBLIOGRAPHY: BEFORE 1853 AFTER 1853

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Book SynopsisSuitable for those interested in contemporary musicology or media history, this title offers translation of the author's pioneering work - at once a journal of his experiments in sound composition and a treatise on the raison d'etre of concrete music.Trade Review"Collects Schaeffer's journals and other writings about his musique concrete, which he created by manipulating recorded sounds." Harper's "One of the postwar period's most significant (and readable) grapplings with new artistic paradigms." -- Rob Young Frieze "Completely changed how I hear the world and, after more than 30 years, I am still living with the consequences." -- John Dack The Wire "One striking impression that emerges from reading this book is that [Schaeffer's] work merits a perspective with greater nuance." Times Higher Education "Captures these uneven rhythms of intuition and perplexity, and his imagination and wit." Los Angeles Review Of Books "Recommended." -- J. Behrens, Wolf Museum of Music and Art ChoiceTable of ContentsTranslators' Note I. First Journal of Concrete Music (1948--1949) Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 II. Second Journal of Concrete Music (195--1951) Chapter 8 Chapter 9 Chapter 1 Chapter 11 Chapter 12 Chapter 13 III. The Concrete Experiment in Music (1952) Chapter 14. The Concrete Approach Chapter 15. The Experimental Method Chapter 16. The Musical Object Chapter 17. From the Object to Language Chapter 18. From the Object to the Subject Chapter 19. Inventory Chapter 2. Farewells to Concrete Music IV. Outline of a Concrete Musical Training Index

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Book SynopsisOffering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this book addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film.Trade Review"Recommended." CHOICETable of ContentsAcknowledgments Foreword (Kate Mondloch) Preface: Abstract Video Art (Gabrielle Jennings) 1. Introduction: On the Horizon (Gabrielle Jennings) PART ONE. TRANSMISSION 2. Film Image / Electronic Image: The Construction of Abstraction, 1960- 1990 (John G. Hanhardt) 3. Joseph Kosuth's The Second Investigation in Vancouver (1969): Art on TV (John C. Welchman) 4. Abstract Transmissions: Other Trajectories for Feminist Video (Siona Wilson) 5. Abstract Video (Jeremy Gilbert-Rolfe) PART TWO. INTERFERENCE 6. Visual Music's Influence on Contemporary Abstraction (Cindy Keefer) 7. Getting Messy: Chance and Glitch in Contemporary Video Art (Gregory Zinman) 8. Delirious Architectures: Notes on Jeremy Blake, Liquid Crystal Palace, and Digital Materialism (Michael Connor and Johanna Gosse) 9. Abstract Video: net.video.abstraction (Tilman Baumgartel, Sarah Cook, Charlotte Frost, and Caitlin Jones) 10. Interactive Abstractions: Between Embodied Exploration and Instrumental Control "Underneath Your Fingertips" (Katja Kwastek) PART THREE. RECEPTION 11. Real Time, Screen Time (Lumi Tan) 12. The Spreadability of Video (Christine Ross) 13. Spectral Projections: Color, Race, and Abstraction in the Moving Image (Maria-Christina Villasenor) 14. Go with the (Unregulated) Flow: Fluidity, Abjection, and Abstraction (Trinie Dalton and Stanya Kahn) 15. Sine Qua Son: Considering the Sine Wave Tone in Electronic Art (Philip Brophy) Mediography Bibliography List of Illustrations Contributors Index

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Book SynopsisIn his iconic musical travelogue Heavy Metal Islam, Mark LeVine first brought the views and experiences of a still-young generation to the world. In We'll Play till We Die, he joins with this generation's leading voices to write a definitive history of the era, closing with a cowritten epilogue that explores the meanings and futures of youth music from North Africa to Southeast Asia. We'll Play till We Die dives into the revolutionary music cultures of the Middle East and larger Muslim world before, during, and beyond the waves of resistance that shook the region from Morocco to Pakistan. This sequel to Mark LeVine's celebrated Heavy Metal Islam shows how some of the world's most extreme music not only helped inspire and define region-wide protests, but also exemplifies the beauty and diversity of youth cultures throughout the Muslim world. Two years after Heavy Metal Islamwas published in 2008, uprisings and revolutions spread like wildfire. The young people organizing and proteTrade Review"Seen from one angle, Mark LeVine is a respected professor of Middle Eastern history at the University of California, Irvine, not far from Los Angeles. . . . But LeVine is also a rock guitarist gifted enough to perform in the shadow of Mick Jagger or Doctor John. . . . In fact, LeVine combines his academic methods and his passion for music in his solid investigations of the alternative scene in the Middle East . . . His last book, We'll Play Till We Die, deals with material gathered during, as the book's subtitle puts it, his Journeys across a Decade of Revolutionary Music in the Muslim World." * Le Monde * "The fresh and original perspective LeVine shows in Heavy Metal Islam and We’ll Play Till We Die opens our eyes to the power of music to create an audience, engage it and encourage it to act." * Oriente Moderno *Table of ContentsContents List of Illustrations Author’s Note: Revolutionary Auras and Phantasms Acknowledgments Note on Transliteration Introduction From Uprisings to Plagues 1 • Morocco Finding Harmonies in a Land of Dissidence 2 • Yalla, “Let’s Play!” Egypt from the Pharaoh to the General 3 • Palestine/Israel Uprisings in Music 4 • Lebanon Remixed but Never Remastered 5 • Iran Living in the Upside Down and Inside Out 6 • Pakistan Shredding the Funk from the Valleys to the Sea By Way of an Epilogue The Joys of Resistance References by Chapter List of Contributors Index

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Book SynopsisTable of ContentsContents List of Illustrations Acknowledgments Introduction: Stereo Front and Center 1. Widescreens, Headphones, and Concert Halls: Film Stereo’s Identity Crisis 2. Fantasia and Failure on a Theme by Bell Telephone 3. The Cinerama Experience 83 4. The Triple-Track Disruption and the CinemaScope Solution 5. Perspecta, Todd-AO, and the Emergence of Monocentrism 6. Dolby Stereo: The End of an Era Conclusion: Life’s the Same, Movies in Stereo Notes Bibliography Illustration Credits Index

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Book SynopsisTrade Review"A gust of fresh air blowing across a stage. . . . As a compilation of source texts, On Minimalism is unparalleled, containing prescient, critical writings from many commentators and participants. . . . Organized in 21 accessible chunks (not only the expected ones, but also others covering spirituality, multimedia and altered states), each headed by an introduction that synthesizes the coming information, this is a breeze to navigate and, for all its scholarly chops, relaxed in its learning." * The Wire *Table of ContentsContents Foreword by Joan La Barbara Introduction PART ONE 1. Improvisation and Experimentation 2. Dream Music 3. Loops and Process 4. Altered States 5. Gurus and Teachers 6. Cultural Fusion 7. Across the Arts 8. Ensembles PART TWO 9. 1976 10. The New Downtown 11. Instruments and Environments 12. Ambient and New Age 13. Canons 14. Backlash 15. Politics, Identity, and Expression 16. Postminimalists 17. Spiritual Minimalism 18. Popular Culture PART THREE 19. Histories 20. Silences 21. Futures Acknowledgments Listening Guide Notes Bibliography Index

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Book SynopsisLiving Genres in Late Modernityrehears the American 1970s through the workings of its musical genres. Exploring stylistic developments from the late 1960s through the early 1980s, including soul, funk, disco, pop, the nocturne, and the concerto, Charles Kronengold treats genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, forms, ideas, and multisensory experiences. What these genres share is a significant cultural moment: they arrive just after the sixties and are haunted by a sense of belatedness, loss, or doubt, even as they embrace narratives of progress or abundance. These genres give us reasonsand meansto examine our culture's self-understandings. Through close readings and large-scale mappings of cultural and stylistic patterns, the book's five linked studies reveal how genres help construct personal and cultural identities that are both partial and overlapping, that exist in tension with one another, and that we experienTable of ContentsContents List of Musical Examples Note on Musical Examples Introduction: Listening for Genres 1 1 • Unengaging Histories: The Pop Song’s “More” and Melancholy Democracy, 1968–69 2 • Space Issues: The Seventies-Soul Complex 3 • Exchange Theories: Disco, New Wave, and Album-Oriented Rock 4 • Senses: Nocturnes among the Smaller Genres 5 • Forces: The Late-Modern Concerto Afterword Acknowledgments Notes Index

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Book SynopsisTrade Review"Beethoven, A Life continues the journey towards a more complex and nuanced picture of the great composer. . . . Caeyers seeks to unravel the networks that influenced Beethoven’s career, to paint portraits of those who supported him, and to outline the many interests that were at play in forming Beethoven both as a man and an artist. . . . The result is a very readable book that, as a byproduct, offers a generous supply of scene-setting detail. This ranges from life in Vienna in the early 19th century to the grinding economic impact of the French revolution and its aftermath, and even the bathing customs in Bohemian spa towns." FT Books of the Year 2020 * Financial Times *"Among the books about the legend . . . in this anniversary year, the most substantial is Jan Caeyers’s Beethoven: A Life, a magisterial account, rich in archival findings, translated with revisions from the German edition of 2009." Books of the Year 2020 * Times Literary Supplement *Notable Music Books of 2020 -- Alex Ross, * The Rest is Noise *"Detailed and engaging, this fitting tribute to the iconic composer will enrich anyone’s enjoyment and appreciation of his great music." * Library Journal *Table of ContentsForeword by Daniel Hope Prologue Part One: The Artist as a Young Man (1770–1792) 1 • Louis van Beethoven: A Grandfather Figure 2 • Jean van Beethoven: The Absent Father? 3 • The Early Years 4 • Christian Gottlob Neefe: The Mentor 5 • The Young Professional 6 • Bonn Turns to Vienna 7 • Beethoven’s First Crisis 8 • A Second Home, and New Horizons 9 • Renewed Vigor and the First Major Works 10 • Farewell to Bonn Part Two: A Time of Proving (1792–1802) 11 • Vienna in 1792 12 • Beethoven’s First Patron: Karl von Lichnowsky 13 • Haydn and Albrechtsberger 14 • Career Plans 15 • Family, Friends, and Loves in Vienna 16 • In Anticipation of Greater Things 17 • Lobkowitz’s “Center of Excellence” 18 • The Immortal Beloved: Episode One 19 • The Road to a Broader Public 20 • A Word from the Critics 21 • The Disciples: Carl Czerny and Ferdinand Ries 22 • The Heiligenstadt Testament Part Three: The Master (1802–1809) 23 • A “New Way” Forward 24 • The Laboratorium Artificiosum 25 • Publishing Pains and the “Warehouse of the Arts” 26 • Composer in Residence 27 • Salieri’s Opera Lessons 28 • The Mystery of the Eroica 29 • The Immortal Beloved: Episode Two 30 • In Search of the Perfect Piano 31 • Leonore: A Work in Progress 32 • The Golden Years Part Four: Crowds and Power (1809–1816) 33 • A New Social Status 34 • New Prospects 35 • An Imperial Pupil 36 • Beethoven and Goethe 37 • The Immortal Beloved: Episode Three 38 • Se non è vero . . . 39 • The End of the Classical Symphony 40 • Music for the Masses 41 • A Lucrative Sideline 42 • From Leonore to Fidelio 43 • From Coffee and Cake to Congress and Kitsch 44 • The Fight for a Child 45 • From the “Immortal Beloved” to a “Distant Beloved” Part Five: The Lonely Way (1816–1827) 46 • Longing for Greater Things 47 • Post-Congress Vienna 48 • London Plans 49 • A Faustian Sonata and a Diabolical Contraption 50 • The Missa solemnis: A Mass for Peace 51 • The Circle Is Complete: The Late Piano Works 52 • Estrangement 53 • Encounters with the Younger Generation 54 • An Ode to Joy 55 • Decline 56 • Karl’s Emancipation 57 • Money Matters 58 • The Discovery of Heaven: The Late String Quartets 59 • Comoedia finita est Acknowledgments Notes Bibliography Illustration Credits Index of Works Index of People

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Book SynopsisTable of ContentsContents In Lieu of Dedication: Fine Friends, Presiding Spirits—László Somfai, Lyudmila Kovnatskaya, Richard L. Crocker 1. The Many Dangers of Music LACI RESZE (LACI'S PART) 2. Liszt and Bad Taste 3. Goldmark’s Queen: On Signifiers 4. Why You Cannot Leave Bartók Out 5. Liszt’s Problems, Bartók’s Problems, My Problems 6. Kodály’s Pitiful Lament—and Mine милина часть (MILA'S PART) 7. Russian Responses to Bach 8. So Much More Than a Composer 9. Rimsky-Korsakov Catches Up 10. Prokofieff’s Problems—and Ours 11. Коле посвящается (for Kolya) 12. In from the Cold 13. Flesh and Blood Juke Box 14. Tales of Push and Pull 15. Was Shostakovich a Martyr, or Is That Just Fiction? 16. How to Win a Stalin Prize: Shostakovich and His Quintet PARS RICARDI PRIMI (RICARDUS PRIMUS'S PART) 17. Shooting a White Elephant 18. Is This a Thing? 19. Exoticism and Authenticity 20. Pathos Is Banned 21. Everybody Gotta Be Someplace: On Context 22. Alluring Failure, Exhilarating Defeat 23. Envoi: All Was Foreseen; Nothing Was Foreseen Acknowledgments Index

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Book SynopsisTracing the development of the Moog synthesizer from its conception to its stardom, from its contribution to the San Francisco psychedelic sound, to its adoption by film and advertising, this book conveys the excitement, uncertainties, and consequences of a technology that would provide the soundtrack for a critical chapter of our cultural history.Trade ReviewHow many retrowavey, electroclashy hipsters really know the true roots of the sound they’re preening and prancing to? We’re not talking about ’80s swill like Human League or Erasure—we’re referring to Robert Moog, the inventor of the eponymous sound-generating device that, more than any other single contraption, made the whole electronic-music world possible. Analog Days, penned by Trevor Pinch and Frank Trocco, is a richly detailed look at the early days of synthesized sounds, and is quite fascinating. * Time Out New York *On the subject of discovery, Analog Days covers with polished authority the invention of the electronic music synthesizer by Robert Moog and its usage, between 1964 and the mid-’70s by such sonic explorers as Wendy Carlos, the Beatles and Emerson, Lake and Palmer, as well as the work done by electronic music pioneers Morton Subotnik, Don Buchla and Vladimir Ussachevsky, detailing the battle to use or not use the keyboard which so affected popular music. -- Brad Schreiber * Entertainment Today *Through a series of detailed interviews with people associated with the Moog’s development, ranging from Bob Moog himself to assorted technicians, sound gurus, marketing people and musicians who had input into the Moog’s development, they reconstruct, with the care of anthropologists studying the habits of some obscure tribe, how exactly it was that the Moog became a significant force in musical culture in the 1960s. -- Marcus Boon * The Wire *Pinch and Trocco interview the engineers and musicians who fashioned the new devices, and build up a satisfying picture of the one technology that caught the imagination of the ‘counterculture’ of the 1960s and 1970s… [The authors] have a fascinating story to tell. Today, it is hard to recall what music was like when sounds were restricted to those made by blowing, plucking or hitting things. Music is ubiquitous as never before, and so are synthesized sounds: the two facts go together. So Analog Days is more than a chronicle of an encounter between old arts and new technology: it illuminates a defining technology of our culture. -- Jon Turney * New Scientist *In Analog Days, Trevor Pinch and Frank Trocco tell the story of how the Moog synthesizer came about. They discuss how synthesizers reflected and reinforced cultural aspirations for transformation and transcendence, which were so prevalent in the 1960s. And they explore how this particular synthesizer—developed by Robert Moog and colleagues in a funky storefront in Trumansburg, New York…managed to beat out a host of competitors for commercial success and popular acceptance… Pinch and Trocco have crafted an informative and entertaining account of the complex process by which new instruments and inventions come about, and they analyze the relationship among inventor, user, and general public that leads to widespread acceptance of a new medium or tool… The book is crammed with wonderful stories and details about the many colorful scientists, musicians, salesmen, and cult figures…whose lives intersected through the lure of new musical possibilities… This is a story well worth telling, and Pinch and Trocco do it well. -- Tod Machover * Science *A compelling narrative presented in a thoroughly readable style and told with real affection for its subject matter, the book tells the reader pretty much everything they could want to know about the topic, and if it didn’t make even the most unmusical reader desperate to get their hands on an analogue synth and a set of patch cords, I’d be very surprised. -- Jeremy Gilbert * Year’s Work in Critical and Cultural Theory *The sleek digital synthesizer of today is so easy to play and so ubiquitous in the world of popular music that its presence is often taken for granted. In this well-researched, entertaining, and immensely readable book, Pinch…and Trocco…chronicle the analog synthesizer’s early, heady years, from the mid-1960s through the mid-1970s… Throughout their prose is engagingly anecdotal and accessible, and readers are never asked to wade through dense, technological jargon. Yet there are enough details to enlighten those trying to understand this multidisciplinary field of music, acoustics, physics, and electronics. Highly recommended. -- Larry Lipkis * Library Journal *You have to be as dedicated as the musicians who played, or play, the early Moog, to write a book like this. Trevor Pinch and Frank Trocco are two such people. This book is full of interesting facts and anecdotes involving many pioneers of sound and prominent musicians, who in their quest to creat something new became stubbornly devoted to their contraptions held together with wire and solder. Oscillate between the pages and envelop yourself in Analog Days because you don’t need a Ph.D. in electrical engineering to enjoy this book. -- Keith Emerson[An] unusually intelligent and straightforward cultural history. -- Sir George Martin, C.B.E.Table of ContentsForeword by Robert Moog Preface Introduction: Sculpting Sound 1. Subterranean Homesick Blues 2. Buchla's Box 3. Shaping the Synthesizer 4. The Funky Factory in Trumansburg 5. Haight-Asbury's Psychedelic Sound 6. An Odd Couple in the Summer of Love 7. Switched-On Bach 8. In Love with a Machine 9. Music of My Mind 10. Live! 11. Hard-Wired-the Minimoog 12. Inventing the Market 13. Close Encounters with the ARP 14. From Daleks to the Dark Side of the Moon Conclusion: Performance Discography Sources Notes Glossary Index

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Book SynopsisThe Joy of Playing, the Joy of Thinking brings together two sensitive minds in an exhilarating conversation on the arts. Charles Rosen, concert pianist and pioneering musicologist, and writer Catherine Temerson range widely—from musical aesthetics to tales of the great composers, the development of modernism, and the need to play.Trade ReviewHere one really finds oneself in Rosen’s presence, as he starts to spin a line of thought as elegant as any Bellini cantilena. -- Simon Callow * New York Review of Books *Rosen shares absorbing anecdotes relating to his studies with Moriz Rosenthal, who had been a student of Liszt, and the time that he inadvertently offended Stravinsky by asking about an assumed printer’s error in a score…It is just the thing for those missing the camaraderie of post-concert chat. -- Claire Jackson * BBC Music Magazine *Charles Rosen was a rarity among musicians; he excelled equally at the highest levels of performance and scholarship. This book presents the best kind of intellectual conversation: elevated, wide-ranging, impossible to predict, and sometimes very funny indeed. You’ll wish you could have joined in. -- Tim Page, Professor at the Annenberg School of Journalism and Thornton School of Music, University of Southern California, and winner of the 1997 Pulitzer Prize for CriticismI devoured this scintillating little book with pleasure. What I most appreciate is Charles Rosen’s keen awareness of history—not just of music, but of concurrent literature and visual art. His capacity and readiness to apply the past to understandings of the present is a gift increasingly rare today. -- Joseph Horowitz, author of Classical Music in America and Conversations with ArrauFew could produce such lucid formulations as Charles Rosen, especially in the course of dialogue. A spellbinding conversationalist, he exemplifies the well-rounded humanist no longer common in public discourse. His colleague Catherine Temerson asks carefully crafted questions. No one else could have created this exquisite book. -- Susan McClary, author of Feminine Endings: Music, Gender, and Sexuality and Conventional Wisdom: The Content of Musical FormA surprising treasure. Catherine Temerson’s perceptive questions reveal new insights from Charles Rosen. One comes away from reading the book with the same sense of intellectual excitement and energy that defined an evening’s conversation with the master pianist himself. -- Jeffrey Kallberg, author of Chopin at the Boundaries: Sex, History, and Musical Genre

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Book SynopsisTrade Review“The thesis of this unusually interesting book is that the German films of the twenties were filled with premonitions of the German totalitarianism of the thirties.”—Nation“One of the great works of film history, this look at early German cinema, first published in 1947, is still a must-have for cineastes and scholars alike.”—H. J. Kirchhoff, Toronto Globe and Mail“The book is an invaluable guide to a golden period of cinema.”—Christopher Wood, Times

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Book SynopsisTrade Review"Shortlisted for the Royal Philharmonic Society Music Awards""The most comprehensive [biography] to date. . . . Dweller in Shadows has many virtues. . . . The deepest impress of [the] book, however, is that it grows into the portrait of a hero."---Anthony Lane, New Yorker"Kate Kennedy finally does justice to the neglected poet, whose musician’s ear for the sounds of the war captures the reality of trench life like no other . . . . Enthralling, meticulously researched and deeply sympathetic."---Andrew Motion, The Spectator"[A] poignant biography of Gurney. . . . [Kennedy] captures not only her subject’s melancholy and angst but also his unique artistic accomplishments. For this Ms. Kennedy is particularly well-suited. . . . Her longtime interest in the intersection of words and music is evident in her sensitive analysis of Gurney’s songs and her careful, probing readings of his verse."---David Yezzi, Wall Street Journal"This substantial and, for the most part, unusually readable biography gives us a rich picture of the world and terrible existence of an astonishing, multitalented artist whose true time is long overdue."---Lachlan Mackinnon, Times Literary Supplement"Compelling and extraordinary."---Sean Rafferty, BBC Radio 3 ‘In Tune’"[A] fine, well-researched and intelligent biography. . . . This painstaking biography will do much to enhance [Gurney's] reputation."---Simon Heffer, Literary Review ​​​​​​​"[An] admirably detailed and perceptive biography. . . . [Kennedy] examines in some detail the extraordinary depth and talent of Gurney’s creative genius—she is particularly illuminating in talking about his poetry—while being candid about his erratic behaviour and impractical approach to adult life."---Daniel Jaffé, BBC Music Magazine ​​​​​​​"A particularly rich and detailed account. . . . This will certainly prove to be a valuable reference tool."---Jeremy Dibble, Gramophone"This is an impeccably and thoroughly researched biography, carefully analytical and elegantly presented. Kate Kennedy has left no stone unturned in her endeavours. It certainly makes for rewarding reading. Although Gurney has long dwelt on the shadowy periphery of musical life, this outstanding biography does much to redress the balance. It has to be one of the most heart-rending books I’ve ever read."---Stephen Greenbank, MusicWeb International"Written with enormous empathy, Kennedy’s account is heart-wrenching in places. A compelling work"---Elizabeth Fitzherbert, The Lady"Gurney deserved much better treatment. He deserved a much better society. His work began to give expression to his incipient sense of the need for social change. It’s to be hoped this thorough, sympathetic book will bring him the attention he was denied while he lived, and perhaps also prevent today’s or tomorrow’s Gurney suffering a similar fate."---Alan Dent, Penniless Press"This is a wonderful book that is an affectionate tribute to a truly great man."---Candia McKormack, Cotswold Life"The book deftly sheds light on how Gurney produced his much respected work." * Library Journal *"Kate Kennedy’s comprehensive biography of the early-20th-century British poet and composer Ivor Gurney, Dweller in Shadows, is an enormous feat of meticulously detailed scholarship. No stone has been left unturned and no aspect of his life has been left untouched (or at least not speculated upon) by Kennedy.. . . . In Dweller in Shadows Kennedy has created a fully realized portrayal of a complex historical figure’s life and reclaimed it for the good of historians and laypeople alike."---Walter Holland, Rain Taxi Review of Books"A stunning contribution to the fields of psychiatric historiography, musicology, literary studies, psychoanalytical scholarship, and many more disciplines, I learned a great deal from this beautifully constructed text, and I hope that Dr. Kennedy will continue to produce other such gripping biographies in years to come."---Brett Kahr, Confer"Authoritative and exhaustively researched"---Roger Ebbatson, Journal of the Friends of the Dymock Poets

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Book SynopsisThis absorbing and award-winning biography tells the story of the tragedies and triumphs of Clara Wieck Schumann (1819–1896)—at once artist, composer, editor, teacher, wife, and mother of eight children.Trade ReviewClara Schumann was one of the remarkable women of the nineteenth century, and she deserves this well-documented biography.... This is the best modern study of Clara Schumann available in English. * New York Times Book Review *Foremost among the strengths of this book is the delineation of Schumann's character. While pointing out the overwhelming challenges and devastating losses that dogged her entire life, Reich makes no attempt to paint her as a saint or hero.... The first edition of this book has gained acceptance as a standard resource on Clara Schumann. This revised edition preserves the strengths of the first edition while adding additional information and a fine-tuning of the presentation, assuring that Reich's work will remain central to the subject for the foreseeable future. * Notes: Journal of the Music Library Association *In addition to telling us the story of Clara Schumann's life, Nancy B. Reich... includes chapters on Clara Schumann's children, her work as editor, performing artist, and teacher, and her relationships with Brahms, Joachim, Liszt, and other major figures of the era.... There is also a list and analysis of Clara Schumann's compositions.... Reich has written an eminently readable, well-researched, and thoughtful book that gives historical and psychological insights into one of the major artists of the nineteenth century. * Classical Music Guide Forums *Reich's first edition contributed to the increase in interest in Clara Schumann and in the performances and recordings of her music. The publication of this revised edition will continue to stir interest with the availability of new documents, letters and the extensive list of newly published music; further, this new edition offers a much more detailed look at Clara Schumann's life and music. * Journal of the International Association of Women in Music *The marvelous originality of Reich's book lies in the way she places the marriage and the celebrated friendship with Brahms in perspective among other critical factors in Clara's life. Reich's painstaking, scholarly detail and feminist insight recover not merely the events in the life, dramatic as they were, but its major themes, movements and connecting threads. * Women's Review of Books *Table of ContentsList of Illustrations Preface to the Revised Edition Preface to the First Edition Acknowledgments to the Revised Edition Acknowledgments to the First EditionPart I. The Life of Clara Schumann 1. Prelude: The Wiecks of Leipzig 2. Career Begins 3. Robert Schumann and the Wiecks 4. The Break with Wieck 5. Marriage 6. The Dresden Years 7. Düsseldorf and the Death of Robert Schumann 8. The Later YearsPart II. Themes from the Life of Clara Schumann 9. Schumann and Johannes Brahms 10. Friends and Contemporaries 11. Clara Schumann as Composer and Editor 12. The Concert Artist 13. Clara Schumann as Student and TeacherCatalogue of WorksNotes Bibliography Index

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