Entertainment Books

Book SynopsisIn The Musician's Way, veteran performer and educator Gerald Klickstein draws on the latest research and his 30 years of professional experience to provide aspiring musicians with a roadmap to artistic excellence. Written in a conversational style, the text articulates landmark strategies that equip readers to advance their musical abilities and succeed as performing artists.Trade ReviewThis book is a rare example of clear, concise and useable information on music practice... If I read a better book on practice this year I'll be surprised!! * Mike Saville, HowToPractice.com *the main strength of this book lies in the depth with which the author engages with the processes of practising and performing. The comprehensive way in which these topics are covered provides students with clear guidance to support many aspects of their musicianship. * Noola Griffiths, British Journal of Music Education *One of the most important books on musicianship in recent decades. * Joseph Docksey, Director, Lamont School of Music *A masterful work, which I believe will quickly be recognized as the finest guide to the art of musical performance produced by our generation. * Kevin Lawrence, Artistic Director, Green Mountain Chamber Music Festival, Professor of Violin, University of North Carolina School of the Arts *I predict that The Musician's Way will be an instant classic. It is the most useful, comprehensive book I have ever read on developing the skills of a successful performer. Every music lover - student, professional, amateur, and teacher alike - should own this book. * Jeffrey Solow, Professor of Cello, Temple University President, American String Teachers Association *An outstanding accomplishment... The Musician's Way should be on the shelf of every aspiring professional musician and every serious music educator. * Clavier Companion *Klickstein covers the gamut of issues, tips, and ideas that make up the world of the serious musician... Students hunger for this kind of knowledge. * Notes *Klickstein takes a common-sense approach and works his way through techniques for improving every aspect of a performer's life, from ways to memorise a piece to dealing with performance anxiety... It's all very well thought through and an interesting read. * The Strad *A comprehensive guidebook from an experienced, insightful musician... You must read this book. * Stringendo *A wonderful tool for all aspiring musicians * Chad Criswell, MusicEdMagic.com *You owe it to yourself to read this book. * Christopher Davis, ClassicalGuitarBlog.net *Written in a light, conversational style...the many case examples bring reality to the text... A comprehensive guidebook from an experienced, insightful musician. If you think you know it all, you must read his book. * Mary Nemet, Stringendo. *Table of ContentsINTRODUCTION; PART I: ARTFUL PRACTICE; PART II: FEARLESS PERFORMANCE; PART III: LIFELONG CREATIVITY; NOTES; SELECTED BIBLIOGRAPHY; INDEX

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Book SynopsisDevoted to the history of this jazz movement, the study combines a narrative of the evolution of hard bop - from its beginnings as an amalgam of bebop and rhythm and blues to its experimental breakthroughs in the 1960s - with close analyses of the musicians' styles and recordings.Trade Review'very good overview of the genesis and development of that music which flourished from 1955 to 1965' Peter Hepple, Stage & Television Today

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Book SynopsisThe authors'' new approach to learning two playing techniques offers a systematic method for mastering the modern, legato technique needed for organ music composed arter 1750, as well as an articulated technique for earlier works. The authors also present useful information on accompanying anthems and solos and on adapting piano and orchestral accompaniments to the organ.Trade Reviewfor students with eyes (and ears) wide open to the whole of the field, in a position to understand the instrument and its music as historical artefacts - indeed, as a magnificent legacy from the past - and not merely as vehicles for self-promotion, this book will be a wonderful resource. * Musical Letters, vol. 82, no. 3 *insightful comparisons of the organ and the piano - which are frequent and to the point - certainly should reach students at the level where they are. ... Especially convincing is the brief overview of the twentieth-century American organ. * Musical Letters, vol. 82, no. 3 *Their first two chapters ... provide a particularly elegant presentation of this tradition, enriched by an impressive musicological rigour that in itself sets a new standard for such an undertaking. * Musical Letters, vol. 82, no. 3 *a new and provocative way of teaching organ performance ... With an appealing tone that is both serious and optimistic, yet includes occasional asides of homespun advice, they juxtapose a detailed discussion of the standard way the organ has been taught for the last century or so ... with an equally systematic method for playing early music. * Musical Letters, vol. 82, no. 3 *

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Book SynopsisA deep dive into the music and songwriting of the world''s greatest heavy metal band: Metallica.A must-read for any metalhead, Metallica: The Stories Behind the Songs breaks down the writing and recording of every track from each of the band''s studio albums, including classic records such as Master of Puppets (1986) and Metallica (''The Black Album'') (1991), right through to 2023''s 72 Seasons.Written by former Metal Hammer publisher Chris Ingham and Illustrated with hundreds of stunning photos spanning more than 40 years, this updated entry in the bestselling Stories Behind the Songs series explores the influences behind more than 100 of the band''s most celebrated tracks, offering fans a unique perspective into the creation, evolution and performance of their favourite songs.Packed with insight and analysis, this is a revealing guide to Metallica''s discography from a true authority on the band, and an essential read for any fan.

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Book Synopsis*THE INSTANT SUNDAY TIMES BESTSELLER!*Champion dancer and Strictly Come Dancing professional Johannes Radebe has captured our hearts with his mesmerising talent, bringing joy to millions of fans and wowing the most critical of judges. He is loved not only for his dancing, but for his beautiful, infectious spirit and energy.Jojo: Finally Home is his never-before-told story, where he shares the experiences and challenges he''s faced - from growing up in Zamdela, a township in South Africa, as a young boy with a passion for dance (and playing with Barbies), to becoming the star he is today. Dance transformed Jojo''s future, giving him a tool to express himself - but as you will learn, this was not always easy.Captivating and moving, these are Jojo''s tales of euphoric highs and all-time lows, of making history, of grief, love, family and opportunity. It is a celebration of him finally feeling at home in his own skin. These are the per

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Book SynopsisIn The 50th Law, hip hop and pop culture icon 50 Cent (aka Curtis Jackson) joins forces with Robert Greene, bestselling author of The 48 Laws of Power, to write a “bible” for success in life and work based on a single principle: fear nothing. With stories from 50 Cent''s life on the streets and in the boardroom as he rose to fame after the release of his album Get Rich or Die Tryin’, as well as examples of others who have overcome adversity through understanding and practicing the 50th Law, this deeply inspirational book is perfect for entrepreneurs as well as anyone interested in the extraordinary life of Curtis Jackson.

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Book SynopsisTrade ReviewColin Burnett's The Invention of Robert Bresson is a breathtaking act of scholarship. The portrait of Bresson that emerges here, in biographical, cultural and aesthetic terms, is the most complete one that we have to date and will likely ever see. Burnett is as concerned to trace Bresson's relation to figures like Max Ernst as he is to show us just how deep Bresson's involvement was with Coco Chanel and the world of advertising. This is not the Bresson most of us have imagined. But even beyond the book's contribution to Bresson scholarship and French film studies, which is already considerable, Burnett offers us a new way of thinking about what he calls "a cultural marketplace," a mode of inquiry that will invigorate single author studies by way of the painstaking detail Burnett's model gives to the aesthetic and industrial forces at work at the various stages in an auteur's development, which inform, but do not determine in any simple way, the kind of decisions that a filmmaker is forced to make. For those of us who believe in the importance of single author studies, this book comes as a massive breath of fresh air. For those of you who believe auteurism has run its course, I dare you to read The Invention of Robert Bresson. It will not be easy, I predict, to maintain your resistance. -- Brian PriceColin Burnett keeps historical questions front and center as he explains Bresson's creative role within the lively cultural marketplace of post-WWII French cinema. The Invention of Robert Bresson goes beyond the confines of the usual auteur study, revealing the many innovative ways that Bresson promoted his personal style, while also participating fully in the artistic and critical context of his era. Burnett re-energizes our interest in this rewarding auteur and his place within a rich, unprecedented cinéphilia. -- Richard NeupertAn essential book for those interested in cinema authorship, French film and visual culture, and the iconoclastic Robert Bresson. Burnett's bold intervention takes Bresson down off his marble plinth and makes him a flesh-and-blood practitioner once again, in fierce conversation with the artistic and industrial situations that nourished his work. Burnett's real achievement is to make us look at Bresson—and postwar French cinema in all its troubled creative ferment—profoundly anew again. -- Tim PalmerFrench director Robert Bresson is celebrated among cinephiles for his distinctively spare films, and with this volume Burnett contributes considerably to the scholarship on this auteur. . . . Essential. * Choice *Burnett offers us an important contribution to work on Bresson, which signicantly expands and complements existing, more tex trather-than-context-bound studies. * French Studies *Table of ContentsAcknowledgmentsIntroductionPart One: Alternative Institutions1. Under the Aegis of Surrealism: How a Publicity Artist Became the Manager of an Independent Film Company2. The Rise of the Accursed: When Bresson was Co-President of an Avant-Garde Ciné-ClubPart Two: Vanguard Forms3. Purifying Cinema: The Provocations of Faithful Adaptation and First-Person Storytelling in "Ignace de Loyola" (1948) and Journal d'un curé de campagne (1951)4. Theorizing the Image: Bresson's Challenge to the Realists—Sparse Set Design, Acting and Photography from Les anges du péché (1943) to Une femme douce (1969)5. Vernacularizing Rhythm: Bresson and the Shift Toward Dionysian Temporalities—Plot Structure and Editing from Journal d'un curé de campagne (1951) to L'argent (1983)AfterwordSelected BibliographyIndex

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Book SynopsisTrade ReviewDocumentary film has never been more popular - nor creatively complex - and Bill Nichols's book gives a concise over-view of the genre while tackling the important ideas, issues, and conundrums that we as filmmakers all face. -- Mark Lewis * Filmmaker *This new edition of Introduction to Documentary is incisive and magisterial, a brilliantly organized and ambitious analysis of that enigmatic, open-ended, and vital are of cinema in which reality is not so much documented as transformed. Nichols addresses with ambition and humility all the key questions about what happens — ethically, aesthetically, and politically — when real people agree to play themselves, and collaborate with the filmmaker to transform their lives for the screen. -- Joshua Oppenheimer * Director, Producer, Filmmaker *Table of ContentsAcknowledgmentsIntroduction1. How Can We Define Documentary Film?2. Why Are Ethical Issues Central to Documentary Filmmaking?3. What Gives Documentaries a Voice of Their Own?4. What Makes Documentaries Engaging and Persuasive?5. How Did Documentary Filmmaking Get Started?6. How Can We Differentiate among Documentary Models and Modes? What Are the Poetic, Expository, and Reflexive Modes?7. How Can We Describe the Observational, Participatory, and Performative Modes of Documentary Film?8. How Have Documentaries Addressed Social and Political Issues?9. How Can We Write Effectively about Documentary?10. I Want to Make a Documentary. Where Do I Start?Appendix A: Sample Film Project Proposal: Sex with SamNotes on Source MaterialIndex

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Book SynopsisTrade Review"Unique in its scope and breadth, and thus stands alone as a general history of reed making pedagogy." -Dennis Michel, Bassoonist, The Chicago Symphony Orchestra and Head of Woodwinds in the Chicago College of Performing Arts at Roosevelt UniversityTable of ContentsIntroductionPart I: The History of Bassoon Pedagogy1. Pedagogic Methods 1687-1803An Oral TraditionThe Performer/Author: Cugnier and OziThe Founding of the Paris Conservatoire2. Pedagogic Methods 1803-1887Ozi's Nouvelle méthode de basson (1803) and Fröhlich's Vollständige theoretisch-praktische Musikschule (1811)Almenraeder's Die Kunst des Fagottblasens, oder, Vollständige theoretische praktische, Fagottschule (1843) and Jancourt's Méthode théorique et pratique pour le basson (1845)Weissenborn's Praktische Fagott-Schule (1887)Part II: The History of Bassoon Reed Making3. Instrument Maker/Reed MakerThe Era of Long Lasting ReedsChanging Demands: The Performer/Reed Maker Emerges4. Performer/Reed MakerEtienne Ozi: Transitional FigureThe Standardization of the BassoonPart III: The History of Bassoon Reed-Making Pedagogy5. Pedagogic Methods 1687-1787A LineageCugnier's "Le Basson" (1780) and Ozi's Méthode nouvelle et raisonnée pour le bassoon (1787)6. The Birth of Reed-Making PedagogyOzi's Nouvelle méthode (1803)7. Pedagogic Methods 1803-1843Fröhlich's Vollständige theoretisch-praktische Musikschule (1811)Almenraeder's Die Kunst des Fagottblasens oder Vollständige theoretisch praktische Fagottschule (1843)8. Pedagogic Methods 1844-1887Willent-Bordogni's Méthode complète pour le bassoon (1844) and Jancourt's Méthode theorique et pratique pour le basson (1847)International PedagogiesWeissenborn's Praktische Fagott-Schule (1887)Part IV: Bassoon Reed-Making Pedagogy in Twentieth Century America9. The Modern Era: The Secrecy of Reed Making10. Researcher/Pedagogue: Louis Skinner11. Reed Maker/Innovator: Don Christlieb12. Artist/Scholar I: Norman Herzberg13: Artist/Scholar II: Lewis Hugh CooperConclusionAppendix 1. Reed Notes: Don Christlieb (1945)Appendix 2. Herzberg Bassoon Reed ExamAppendix 3. Cooper's Reed Contribution SystemAppendix 4. Timeline of Relevant Publications and Events in the History of Bassoon Reed Making PedagogyBibliographyNotesIndex

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Book Synopsis*Offers invaluable insight into the issues of historically informed performanceTrade ReviewIn a climate where marketing and convenient practicalities have increasingly tended to overwhelm historical evidence, Kuijken's book is timely and worthwhile. * Performance Practice Review *Table of ContentsPreface Acknowledgements1. The Underlying Philosophy2. My Way Towards Research3. The Limits of Notation4. The Notation, Its Perception and Rendering5. OutlookBibliography

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Book SynopsisA book on left-hand violin technique that addresses common problems in shifting by advocating the study of the glissando technique. It asserts that re-incorporating this technique will not only aid violinists in developing a better-trained ear, but also provide them with "shortcuts" to playing some of Paganini's most difficult passages.Trade ReviewGiven that the legendary Ricci 'has played more concerts and made more recordings than any [other] violinist, past or present,' anything he has to say concerning violin playing should be of interest to every string player. May 2010 * American String Teacher *Table of ContentsPreface1. The Old and New Systems of Violin Playing2. One-finger, or Glissando, Technique Introduction Glissando Scales Guidelines for Practicing Glissando Scales3. Exercises, Études, and Cadenzas Glissando Scales Flexibility Studies Ear-training Studies Coordination Studies Crawling Studies Étude in Thirds Étude in Sixths Étude in Octaves Cantabile and Waltz Cadenza to Brahms Concerto Cadenza to Paganini Concerto No. 4 Cadenza to Paganini Concerto No. 64. Miscellaneous Aspects of Technique Fingering Guidelines Vibrato Tone Production Bowing Articulation and Evenness in Slurred Passages Grouping Tuning Ear Training Practicing Instrument Setup Hand Development Holding the Violin Hand Position Shoulder Rests Shifting GuidelinesNotesIndex

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Book SynopsisAn engaging overview of dance from the Medieval era through the BaroqueTrade ReviewA big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. She manages to weave an introduction into the book, and each of its six subsections make the promise of its lofty title (and the ideas it appears to embrace) within her grasp. Given the book's vast chronological sweep-rather more than the 500 years suggested in the title, since the very useful essay on 'Plato's Philosophy of Dance' by Graham Pont increases the range substantially-it was my guess, when I embarked on my journey through its pages, that I would find some themes on spectacle or the carnivalesque that would override chronology. Or maybe there would be a sociological/anthropological approach to the embodiment of status relationships (politics) through dance that would render chronology secondary to social configurations. With excited anticipation I dove in, expecting to find something along these lines. Although I was not disappointed, I discovered something quite different. The book features a nice selection of generally excellent essays by some leading authorities in historical dance. Each essay offers information situated in its own time frame, and each presents a secure control of primary and secondary sources and includes a very useful list of recommended reading at its conclusion. Some essays provide tantalizing new details (John S. Powell's piece on Beauchamps and public theaters in 17th-century France and David R. Wilson's review of the basse danse are good examples). Some interpret well-known material in new and promising ways. Jennifer Thorp's piece on 'Dance in the London Theatres c.1700-1750' makes me look forward to her important new work. Two essays review material the authors have already addressed, but nevertheless do so here in a compellingly compact way; Ken Pierce's offering on the choreographic structure of Barouque dance and Margaret M. McGowan's essay on court dancing in 16th and 17th-century France. Only a pair of essays (not counting the deceptively erudite and versatile 'Introduction and Overview' by Nevile herself) really fit the themes of bodies, politics, and spectacle announced by the title. Julia Prest's offering on politics and ballet in Louis XIV's France is pretty perfunctory. But Linda J. Tomko's essay on 'Mr. Issac's The Pastorall and Issues of "Party"' really does embrace the kind of inquiry I was expecting. Tomko's is a truly analytical study that responds with vibrancy to the themes called for by the volume's editor. Most of the authors represented here undertake their tasks with precision and skill. Many succeed, and all should be acknowledged for their contribution: those not already mentioned include Alessandro Arcangeli; Katherine Tucker McGinnis, and Karen Silen. Jennifer Nevile's multiple contributions to the volume cannot be praised sufficiently; her essays on Renaissance dance are impressive, her introduction to the volume full of perception. I suppose we must await some future in which an individual truly finds a connection among the various manifestations of social, stage, and court dancing over the ages. But I wonder if this is really important. Dance, after all, is body, is spectacle, is 'politik' (however we configure it). I'm just not sure that Guglielmo Ebreo (15th century), Cesare Negri (c. 1535-after 1604), or Mr. Isaac (late 17th, early 18th century) shared some common agenda (let alone believed they did) when they created their splendid dances. Nevile, nevertheless, would have us believe that something like the same bodies, the same spectacles, the same kinds of politics were enacted (perhaps unintentionally) over and over again across the centuries addressed in this volume. Maybe she is right. The scholars she has brought together, however, do not appear to espouse such a grandiose vision but appear more concerned with a narrower, well-informed view of dancing in a given place at a given time. Congratulations to them all, and to Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. -- Richard Semmens * Early Music America : Mag Historical Perf *Jennifer Nevile's accessibly written anthology seeks to explore many now obscure aspects of early dance: contributions by twelve scholars elucidate the fascinating, multifarious nature of dance from the thirteenth to the eighteenth century. . . . contributors demonstrate a high scholarly standard and pursue their chosen themes with assurance and passion. The great forte of this collection is its ambitious, multidisciplinary range, and the authors' practical insight, honed by years of performance experience, represents a rare feat indeed. The book should be required reading in dance studies.62 Summer 2009 -- Barbara Ravelhofer * Univeristy of Dunham *A big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. . . . Congratulations to . . . Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. Spring 2009 -- Richard Semmens * University of Western Ontario, Professor of Music History *Nevile . . . has assembled an intriguing book that in many ways serves as an encyclopedia of early dance—a feat not easily accomplished in one volume. . . . [T]his is a fine resource for those who research this specialized period of dance history. An excellent glossary and bibliography and a 'list of dance treatises, manuscripts, modern editions, and translations' complete the book. Summing Up: Recommended. Graduate students and researchers.March 2009 * Choice *This is a great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe. It is filled with a whole cosmology of ideas. How the arc of five centuries connect, are enmeshed, develop and flow into our own day. This book is a treasure.Winter 2008 -- Paul-James Dwyer * Toronto Early Music Quarterly *The balanced assortment of general introductions and detailed case studies makes Dance, Spectacle, and the Body Politick, 1250-1750 a useful collection and an engaging 'read' for dance enthusiasts, reconstructors, and scholars alike. -- Emily Winerock * Dance Chronicle *[This] collection more than fulfills its goal of opening up pre-1750 dance studies to a general readership, but will also be of interest to the more informed dance historian. * Historical Dance *Dance, Spectacle, and the Body Politick makes an important contribution to existing dance scholarship ... The essays in Nevile's collection add significantly to this diligent work. Every essay is both informative and interesting, and each author provides a valuable list of further readings on the topic.Volume 16 Issue 2 2011 * European Legacy *This well-researched and original collection of essays on early dance addresses the picture of dance in society from 1250 to 1750. The interdisciplinary and wide-ranging approach of the book makes it very valuable for dance historians, musicologists and historians of ideas alike, as well as anyone interested in dance history. Issue 78, Autumn 2010 * Cahiers Elisabethains *. . . this ambitious anthology . . . manages to fill an academic void . . . .Vol. 35.1 2010 -- Nicole Haitzinger * University of Salzburg *An important book for any musician, theatrical performer, dancer, historian, reconstructor or anyone involved in recreating the work of this time period. Essays with detailed notes, glossary, bibliography and a list of dance treatises, manuscripts, modern editions and published translations are worth the price of the book alone. A great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe.Summer 2009 -- Paul-James Dwyer * Dance International *Table of ContentsPart 1. Introduction and Overview1. Dance in Europe 1250–1750Part 2. Dance at Court and in the City2. Dance in Late Thirteenth-Century Paris3. Dance and Society in Quattrocento Italy4. Dance in Sixteenth- and Early Seventeenth-Century FrancePart 3. Dance and the Public Theater5. Pierre Beauchamps and the Public Theater6. Dance in the London Theaters c. 1700–1750Part 4. Choreographic Structure and Music7. The Relationship between Dance and Music in Fifteenth-Century Italian Dance Practice 8. The Basse Dance c. 1445–c. 15459. Choreographic Structure in Baroque DancePart 5. Dance and the State10. Your Most Humble Subject, Cesare Negri Milanese11. The Politics of Ballet at the Court of Louis XIV12. Mr. Isaac's The Pastorall and Issues of "Party"Part 6. Dance, Society, and the Cosmos13. Plato's Philosophy of Dance14. Moral Views on Dance15. Order, Proportion, and Geometric Forms: The Cosmic Structure of Dance, Grand Gardens, and Architecture during the RenaissanceList of Dance Treatises, Manuscripts, Modern Editions, and TranslationsGlossaryBibliographyList of ContributorsIndex

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Book SynopsisPresents information on rhythm from the interrelated fields of music, dance, poetry, rhetoric, and philosophy.Trade Review" ... an extremely valuable resource." Early Keyboard Journal "This is a fascinating, stimulating and challenging book." Music Journal " ... exceptionally thorough job ... quite effective in its blend of wide-ranging research and practical information ..." Continuo "This is a most useful book." Early Music "... belongs on the shelf of anyone seriously interested in Baroque dance and music. Mather and Karns have done a great service by making so much important information easily accessible ..." Dance Research JournalTable of ContentsIntroduction; Prologue: The King's Grand BallPart I: Features of the Dance Rythms 1 Reason and the Passions; 2 Arbeau's Dance Rythms; 3 Dance Rhythms from Early Guitar Sources; 4 Rythmic Movements in Mersenne's and Later Dance Music; 5 The Musical Measure; 6 Correspondence of Melodic and Poetic Rhythms in Lullian Dance Songs; 7 Rhetorial Proportions; 8 Step-units of la belle danse; 9 Symmetrical, Poetic, and Rhetorical Proportions of la belle danse; 10 Tempos and General Affects; 11 Marking the Musical Meter; 12 Lullian Bowing of Dance Rhythms; 13 Forceful Articulation of Lullian Dance Lyrics; 14 Articulation of Dance Rhythms in Concert Pieces; 15 Ornamenting Dance Rhythms; 16 Grouping Unslurred Quick Notes; 17 Summing Up--The Many Apsects of MovementPart II: Rhythmic Characteristics of Fifteen Dance Types 18 Allemandes; 19 Bourrees; 20 Canaries; 21 Chaconnes; 22 Courantes; 23 Folies; 24 Forlanes; 25 Gavottes; 26 Gigues; 27 Loure; 28 Menuets; 29 Passacailles; 30 Passepieds; 31 Rigaudons; 32 SarabandesAppendix: Six Complete Dance Songs

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Book Synopsis10 SATB carols, accompanied and unaccompaniedFull of joy and tenderness, John Rutter's carols illuminate and celebrate the Christmas story in works of great imagination and variety. This selection of his most popular carols forms an essential collection for all choirs. Instrumental material for individual carols is available on hire.Table of ContentsAngels' Carol ; Candlelight Carol ; Dormi, Jesu ; Love came down at Christmas ; Mary's Lullaby ; Nativity Carol ; Shepherd's Pipe Carol ; Star Carol ; There is a flower ; What sweeter music

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Book Synopsis50 Christmas carolsOrchestrations for several of the carols from this collection are available on sale or hire under the titles Three Carol Orchestrations and Five Christmas Carols. Eight Carols for Brass for 5 and 8 part brass (to accompany carols from Carols for Choirs 1 and Carols for Choirs 2) are also on sale.Table of ContentsA boy was born ; A Christmas Carol ; A great and mighty wonder ; A merry Christmas ; A virgin most pure ; Adeste fideles ; And there were shepherds ; Angels, from the realms of glory ; As with gladness men of old ; Away in a manger ; Away in a manger ; Blessed be that maid Mary ; The Blessed son of God ; The Boar's head carol ; Carol, with lullaby ; Coventry Carol ; Coventry Carol ; Ding dong! merrily on high ; The first nowell ; Gallery carol ; Gloucestershire wassail ; God rest you merry, gentlemen ; Good King Wenceslas ; Hark! the herald angels sing ; The holly and the ivy ; I saw three ships ; I saw three ships ; In dulci jubilo ; Infant holy, infant lowly ; It came upon the midnight clear ; King Jesus hath a garden ; The linden tree carol ; Lute-book lullaby ; No sad thought his soul affright ; O come, all ye faithful ; O little one sweet ; O little town of Bethlehem ; O men from the fields ; Once in royal David's city ; Past three a clock ; Rejoice and be merry ; Rocking ; See amid the winter's snow ; The Shepherd's farewell ; Sussex Carol ; The three kings ; Torches ; Unto us is born a son ; Up! good Christen folk, and listen ; We've been a while a-wandering ; What cheer? ; When Christ was born ; While shepherds watched their flocks ; While the shepherds were watching ; Zither Carol

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Book Synopsisfor SSA soli, SATB and chamber orchestraThe memorable tunes and infectious optimism of Vivaldi''s Gloria have made it one of the most popular choral works in the repertoire. For this edition, the distinguished Vivaldi scholar Paul Everett has returned to the autograph manuscript as the most authoritative source. Both full and vocal scores make clear distinction between original and editorial markings, and information on performance practice is relevant without being prescriptive. The vocal score includes an orchestral reduction for rehearsal purposes, and the full score is supplemented by a comprehensive critical commentary and continuo realization. It also includes a unique transcription of Ruggieri''s ''Cum Sancto Spiritu'', on which Vivaldi based his own setting.Complete orchestral material and vocal scores are available on hire/rental, and full and vocal scores are also available on sale.

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Book Synopsisfor SATB, accompanied and unaccompaniedTo celebrate the 50th anniversary of the publication of Carols for Choirs 1, OUP presents a new volume in this ground-breaking series. Carols for Choirs 5 continues the tradition of its predecessors by providing a complete resource for choirs from Advent through to Epiphany. Featuring brand new carols and arrangements of classic tunes, the collection showcases the very best established and new names in choral composition today, both in the UK and world-wide.Trade ReviewWith the publication of Carols for Choirs 5 there has never been a better time to consider upgrading those worn-out green copies to shiny new gold ones . . . The collection successfully captures a balance of choral styles indicative of this decade with nothing out of place. While messrs Rutter and Willcocks are represented, nothing is reproduced from earlier volumes; CC5 represents excellent value for money. * Rupert Gough, Choir & Organ November 2011 *It is a wonderful collection: order a copy right away! * Philip Brunelle , The American Organist, December 2011 *The number of choral directors who can remember Christmas before Carols for Choirs is dwindling fast. The series was born in 1961, and fifty years on the fifth volume has appeared. Its pedigree is impeccable, and it fully maintains the high standards of its predecessors . . . This treasure chest of new and old carols should be in every choir library. If you need any further persuasion, turn to the end and play Thomas Hewitt Jones's haunting setting of What child is this? The carol is alive and well. * Rosemary Broadbent, Church Music Quarterly, December 2011 *There are some snazzy descants, which may not displace the best of Willcocks but are nice alternatives to have, and striking new versions of carols one had imagined done to death, such as Andrew Simpsons engaging take on I saw three ships. If anything, the balance by comparison with Carols 1 to 4 seems to favour new composition, with a whole fresh roster of composers brought on board there are outstanding pieces by Howard Skempton (Adam lay ybounden) and Gabriel Jackson (The Christ Child), among others . . . Carols for Choirs 5 is a high quality publication that fully maintains the standards of this illustrious series. * Matthew Greenall, Classical Music, November 2011 *Table of ContentsA Heavenly Song ; A little child there is yborn ; A Patre Unigenitus ; Adam lay ybounden ; Away in a manger (UK tune) ; Away in a manger (US tune) ; Blest Mary wanders through the thorn ; Candlelight Carol ; Carol ; Ding dong! merrily on high ; Glory to the Christ Child ; God rest you merry, gentlemen ; Good King Wenceslas ; Hark! the herald-angels sing ; Hush! my dear ; I saw a stable ; I saw three ships ; I sing of a maiden ; In dulci jubilo ; It came upon the midnight clear (UK tune) ; It came upon the midnight clear (US tune) ; Joy to the world! ; Lo, how a Rose e'er blooming ; Lullay, my liking ; My Lord has Come ; New Year ; O come, all ye faithful ; O come, O come, Emmanuel ; O little town ; Old Christmas Returned (or Hospitality Revived) ; Out of the Orient crystal skies ; Pilgrim Jesus ; Scots Nativity ; See amid the winter's snow ; Silent night ; Sussex Carol ; The Bell Carol ; The Christ-child ; The holly and the ivy ; The Sparrows' Carol ; The Virgin's Song ; There is no rose ; There is no rose ; There's a song in the air! ; This endris night ; Voices in the Mist ; Wassail ; We three kings of Orient are ; What child is this? ; While shepherds watched their flocks

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Book Synopsisfor soprano and baritone soloists, SATB chorus, and the composer''s original chamber instrumentationThis edition presents Fauré''s masterpiece in a form which accords with his original intention that it should be a liturgical Requiem with accompaniment of organ and chamber ensemble. The 1893 version is an expansion of Fauré''s original, prepared by the composer for a performance at the Church of the Madeleine in Paris and containing two additional movements, the Offertoire and the Libera me. In contrast to the fully orchestrated version that was published in 1900, this edition preserves the original chamber instrumentation, and it also contains a full English translation by John Rutter. Complete orchestral and vocal material is available on hire/rental, and the vocal score, full score, and parts are also available on sale.Trade ReviewThe simplified, pared-down textures of this revived Requiem were a revelation, and seemed to add, rather than detract from the work's power to move. The Oxford University Press Choral Classics series has continued to be a vehicle for Rutter's work as editor and to showcase interesting historical curiosities . . . Fauré's economical interweaving of the vocal lines seems only to magnify the music's poignancy and limpid purpose. * Matthew Greenall, The Singer, April 2004 *Table of ContentsIntroit et Kyrie ; Offertoire ; Sanctus ; Pie Jesu ; Agnus Dei ; Libera me ; In paradisum

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Book SynopsisPiano Time Pieces 2 presents a sparkling selection of pieces in all styles. Here are classical and jazzy pieces, folksongs and specially written tunes, and songs and character pieces of all kinds. Practising the range of techniques and keys introduced in Piano Time 2, these pieces provide a wealth of enjoyable practice and repertoire material for all young pianists.Table of ContentsMinuet ; Breakfast time ; Waltzing Matilda ; Tarantella ; The little hedgehog ; Russian carol ; My bonnies lies over the ocean ; The wise elephant ; Feeling fine ; Allegretto grazioso ; Gavotte ; Auld lang syne ; Gypsy tango ; Rattlesnake rag ; Climbing high ; I hear a guitar ; Five little frogs ; Quadrille ; Gigue ; Russian winter ; Swing low, sweet chariot ; Grandmother's footsteps ; You can't keep a horse in a lighthouse ; The princess and the spinning-wheel ; Holiday mood ; Alabama bound ; Valse triste ; Rollercoaster ride

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Book SynopsisJournalist, presenter, broadcaster, husband, father, vigorous all-rounder: Alan Partridge. Star of action blockbuster Alpha Papa; a man with a fascinating past and an amazing future.Gregarious and popular, yet Alan's never happier than when relaxing in his own five-bedroom, south-built house with three acres of land and access to a private stream. But who is this mysterious enigma?Alan Gordon Partridge is the best and best-loved radio presenter in the region. Born into a changing world of rationing, Teddy Boys, apes in space and the launch of ITV, Alan's broadcasting career began as chief DJ of Radio Smile at St. Luke's Hospital in Norwich. After replacing Peter Flint as the presenter of Scout About, he entered the top 8 of BBC sports presenters.But Alan's big break came with his primetime BBC chat show Knowing Me, Knowing You. Sadly, the show battled against poor scheduling, having been put up against News at Ten, then in its heyday. Due to declining ratings, a single catastrophic hitch (the killing of a guest on air) and the dumbing down of network TV, Alan's show was cancelled. Not to be dissuaded, he embraced this opportunity to wind up his production company, leave London and fulfil a lifelong ambition to return to his roots in local radio.Now single, Alan is an intensely private man but he opens up, for the second time, in this candid, entertaining, often deeply emotional and of course compelling memoir, written entirely in his own words. (Alan quickly dispelled the idea of using a ghost writer. With a grade B English Language O-Level, he knew he was up to the task.)He speaks touchingly about his tragic Toblerone addiction, and the painful moment when unsold copies of his first autobiography, Bouncing Back, were pulped like word porridge'. He reveals all about his relationship with his ex-Ukrainian girlfriend, Sonja, with whom he had sex at least twice a day, and the truth about the thick people who make key decisions at the BBC.A literary tour de force, I, Partridge: We Need to Talk About Alan charts the incredible journey of one of our greatest broadcasters.Trade Review‘The funniest book of the year and possibly all time.’ *****Heat ‘This book is a genuinely hilarious read’ Shortlist ‘A rare treat… painfully funny in that inimitable Alan way.’ **** Sunday Express ‘As a parody of celebrity autobiography, it’s sound; but as a sustained piece of comic writing, it’s outstanding.’ **** Time Out ‘Brilliantly witty’ The Times ‘This should be nominated for the Booker prize…it’s a really funny book but it’s actually more than that…it blows my post-modern mind’ David Baddiel 'I, Partridge might just be the funniest book I've ever read. Proper laugh out load moment on every page.' Richard Bacon ‘This fictional memoir … could be the antidote to the celeb biographies that clog the Christmas book market. It's as acute a spoof of the publishing sub-genre as the Alan Partridge character is of a whole tranche of crassly opinionated lowbrow broadcasters…brilliantly sustained wit.’ Evening Standard ‘I, Partridge is an indispensable guide to what it’s like to be an all-round media personality in the 21st Century. In this, it compares very well with the finest in the genre.’ **** Mail on Sunday ***** The Telegraph ‘Extremely funny’ Word Magazine ‘Pure comic genius’ The Independent ‘The best book of the year… without peer… I urge people to go out and buy it.’ Danny Baker ‘An acutely observed mock-memoir, touching on the great man's highs (receiving a Burton's Gold Card) and lows (Toblerone addiction) in equally self-regarding manner.’ Independent on Sunday ‘A magnificent comedy creation’; ‘The significant celebrity book this year.’ The Guardian

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Book SynopsisFewartists can legitimately claim to have created truly groundbreaking popularmusic, but Talking Heads is one of them..All eight of the band's studio albums had chart success in the UK. The band's concert film Stop Making Sense is considered one of the greatest of all time.

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Book SynopsisBritain''s Got Talent is BACK . . . so it''s time to get serious with Britain''s favourite funny man.Famous comedian and actor, funniest judge on Britain''s Got Talent, high-achieving sportsman and BESTSELLING AUTHOR of The World''s Worst Children series, David Walliams is a man of many talents . . . Launched to fame with the record-breaking Little Britain, his characters - Lou, Florence, Emily, amongst others - became embedded in our shared popular culture. You couldn''t enter a playground for a long while without hearing eh, eh, eh or computer says no.And Walliams is a mystery. Often described as a bundle of contradictions, he is disarming and enigmatic, playing up his campness one minute and hinting about his depression the next.To read Camp David is to be truly shocked, as well as tickled pink: David Walliams bares his soul like never before and reveals a fascinating and complex mind.

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Book SynopsisDirected by Robert Siodmak and Edgar G. Ulmer, and with a script by Billy Wilder, People on Sunday (Menschen am Sonntag) (1930) is now widely recognised as a landmark of Weimar cinema, which influenced Italian Neorealism and the New Wave cinemas of the 1960s, and set the template for indie' filmmaking as we now know it. This is the first study in English of this multi-faceted film, which not only launched the careers of renowned filmmakers, but which continues to influence contemporary culture, with references to it in popular television (Babylon Berlin), a playful remake, and a new score by experimental pop group Múm. Jon Hughes' study places the film in its historical context Berlin in the Weimar Republic and untangles the fascinating story of the making of People on Sunday, drawing on new archival research to challenge some of the misconceptions that surround it. Hughes provides fresh interpretations of the film's depiction of space and its play with contemporary gender and sexual politics, and situates it within both Weimar cinema and the later output of the filmmakers.

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Book SynopsisThe moving, gripping and tell all autobiography of Traci Lords, a former child porn queen, electronica maven and cult movie and TV star.Trade Review"Frank, opinionated, intelligent, drenched in emotion...Will have readers cheering Lords on as they speed through its gritty, big-souled pages." -- Publishers Weekly

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Book SynopsisThe music of J.S.Bach has a unique power and attraction some 300 years after it was written. From annual performances of the great Passions and BBC Radio 3''s hugely successful Bach Christmas, to its use in adverts, films and popular arrangements, the imaginative strength of Bach''s music continues to draw listeners to explore its mysteries.This new Pocket Guide looks at all Bach''s music, sacred and secular, and explores why he speaks so profoundly to our age about both the spiritual and the sensual in life.Among the features of this easy-to-use book:The Bach Top TenBach: The music work by workPerforming Bach today Bach: The life year by yearWhat people said about Bach

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Book SynopsisWild Tales by Graham Nash - a classic rock memoir of the legendary Hollies front man and member of Crosby, Stills, Nash & YoungIn this candid and riveting autobiography Graham Nash tells it all: the love, the sex, the jealousy, the drugs, and the magical music-making.This is one of the great rock and roll stories: growing up in poverty in postwar Manchester, where Nash founded the Hollies with schoolfriend Allan Clarke and the incredible success that followed, friendships with all the great British bands of the 60s including the Beatles, the Stones and the Kinks, decamping to America and becoming the lover of Joni Mitchell (for whom he wrote ''Our House'') and achieving superstardom with David Crosby, Stephen Stills and Neil Young.This book will be adored by Graham Nash fans and takes its rightful place in the pantheon of classic music memoirs alongside Book Dylan''s Chronicles, Keith Richards'' Life and Neil Young''s Waging Heavy Peace.Graham Nash was born in Blackpool in 1942 and brought up in Salford. He was cofounder with his schoolfriend Allan Clarke of the Hollies - one of the most successful British pop groups of the 1960s for whom he was lead-singer and one of the principal songwriters. In 1968 he left the UK to live in California, where he became part of the supergroup Crosby, Stills & Nash (later, after Neil Young joined, Crosby, Stills, Nash & Young). Unusually he has been inducted twice into the Rock and Roll Hall of Fame, for the Hollies and for CSNY, and in 2010 he received the OBE. He is noted for his political and charity work (he played Occupy Wall Street in 2011), is a serious photographer, and has homes in California and Hawaii.Trade ReviewA fascinating memoir tells of life on the other side of the ampersand... optimistic, charming and terribly British * Mojo *

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Book SynopsisHelps young guitarists to start at beginner level and progresses to Initial/Preparatory Grade. This work explains the method in 15 stages and contains original pieces and traditional tunes in different styles including classical, folk and world music as well as favourite film and TV themes such as "James Bond", "Batman" and "The Flintstones".Trade ReviewDescribing yourself as 'landmark', as this edition does, might seem presumptuous – but there is much to recommend this new book. It is full of effective graphics, songs and clapping games, jokes that work and well-known movie and rock tunes (some using tab); in short, it does everything to engage the young pupil. Music Teacher, July 2010 Touted on the cover as a ‘landmark method for individual and group learning’ and aims to take young learners from absolute beginner to initial/preparatory grade for classical guitar. The book, which is attractively illustrated and moves with ease through the lessons, getting to grips with rhythm and then simple notation, building to the beginnings of repertoire, featuring original and selected tunes. MI Pro Magazine, May 2010Table of ContentsMulberry Boogie; Shaky; Totem Pole; Buzzing Bee; Spanish Bee; Open All Strings; Big Blue Bear; Easy Bees; The Dance Of The Clowns; Blues 'n' Shoes; Walking In The Rain; Groovy; On 'n' Off; Reggae GAGA; The Irish Washerwoman; Joe Cool; The House Of Doom; Spooky; I Spied A Spy; Mild Thing; Salsa Verde; Bees At Sea; Turkish Delight; The Soldier's March; The Finger Song; Rhyme Time; Hear The Train A-Comin'; Up And Down The Ladder; Rock The Boat; The Windmill Song; Hi D Hi; Chunk Of Funk; Batman; Falling Leaves; Canon; Sunday Morning; Run, Don't Walk; La Colombina; The Star; Beware Of Bears; It's So Easy; Calypso; Push And Shove; Bossy Nova; Easy Peasy; Safari; Cool Cat; Hannah's Mouse; My Grandad's Dog; Brother John's A Miner; Blue Who?; Scaly Fish; Skater Kid; Swing The Cat; In The Bleak Midwinter; Melody's Song; High In The Rockies; Up, Down, Flying Around; E For Elephant; Rock E And A; LemonADE; Rock School; Smoke On The Water; The Keystone Cops; Zoo Blues; Chinatown; D Rex; Hannibal's Elephants; The Lonesome Cowboy; The Irate Pirate; Shark Attack; Cool Cat; Turn It Up; Batman Riff; Tango Hideaway; Meet The Flintsones; James Bond Theme; Giulini And Aunty; Pig Jig; Fiesta; Guitar Basics.

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Book SynopsisDiverse perspectives and alternate takes on musical improvisationTrade Review"Valuable not only to researchers but also to performers, who will find their minds opened to how music different from their own can help them improvise better in their chosen genre. . . . Recommended."--Choice"A goldmine of information ... that is relevant to the amateur and scholar alike."--Ethnomusicology"An impressive and often sophisticated collection of essays. . . . it certainly constitutes a welcome addition to the field."--The World of Music"Cutting across traditional subject boundaries in music and cultural studies, this admirably comprehensive work adopts a welcome interdisciplinary ideal and makes a truly significant contribution to our knowledge of musical improvisation."--Robert Witmer, professor emeritus of music, York UniversityTable of ContentsPreface ix Bruno NettlIntroduction 1 Gabriel SolisPART ONE: SOCIETY 1. Jazz as Political and Musical Practice 21 Ingrid Monson 2. John Cage and Improvisation: An Unresolved Relationship 38 Sabine M. Feisst 3. When Traditional Improvisation Is Prohibited: Contemporary Ukrainian Funeral Laments and Burial Practices 52 Natalie Kononenko 4. The Juncture between Creation and Re-creation among Indonesian Reciters of the Qur'an 72 Anne K. Rasmussen 5. Genius, Improvisation, and the Narratives of Jazz History 90 Gabriel Solis 6. Formulas and Improvisation in Participatory Music 103 Thomas TurinoPART TWO: EDUCATION 7. Learning to Improvise Music, Improvising to Learn Music 119 Patricia Shehan Campbell 8. Improvising Mozart 143 Robert Levin 9. Keyboard Improvisation in the Baroque Period 150 Charlotte Mattax Moersch 10. Beyond the Improvisation Class: Learning to Improvise in a University Jazz Studies Program 171 John P. Murphy 11. On Learning the Radif and Improvisation in Iran 185 Bruno Nettl 12. Hindustani Sitar and Jazz Guitar Music: A Foray into Comparative Improvology 200 Stephen Slawek 13. Musical Improvisation in the Modern Dance Class: Techniques and Approaches in Fulfilling a Multi-Layered Role 221 John ToenjesPART THREE: CREATION 14. Representations of Music Making 239 Stephen Blum 15. Improvisation and Related Terms in Middle-Period Jazz 263 Lawrence Gushee 16. Opening the Museum Window: Improvisation and Its Inscribed Values in Canonic Works by Chopin and Schumann 281 Robert S. Hatten 17. Improvisation in Beethoven's Creative Process 296 William Kinderman 18. Why Do They Improvise? Reflections on Meaning and Experience 313 Ali Jihad Racy 19. Preluding at the Piano 323 Nicholas Temperley Contributors 343 Index 349

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Book SynopsisBernard Herrmann is a music composer who in over 40 scores enriched the work of directors like Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese. He scored for "Fahrenheit 451", "The Day the Earth Stood Still", and "Psycho". This title is his biography exploring the inter-relationships between his music and his personal life.Trade Review"An exceptional work. I stand in awe of anyone who can piece together the puzzle of a man's life so fully, especially a man as odd and contradictory as Herrmann. A brilliant job."-Leonard Maltin; "Bernard Herrmann was a master of psychology. His incredibly innovative music 'inhabited' the film it was in, creating moods that stayed with the audience long after the film was over."-Esa-Pekka Salonen, Music Director, Los Angeles PhilharmonicTable of ContentsPreface to the 2002 Edition Acknowledgments Prelude PART ONE: NEW YORK, 1911-1951 PART TWO: HOLLYWOOD, 1951-1971 PART THREE: LONDON, 1971-1975 Postlude Appendix: The Music of Bernard Herrmann Notes Selected Bibliography Index Photographs

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Book SynopsisThis is the screenplay for the acclaimed film, directed by Wes Anderson. There were three extraordinary children in the Tenenbaum family; Chas Tenenbaum (Ben Stiller) was a financial expert and started buying real estate in his early teens; Margot Tenenbaum (Gwyneth Paltrow) was an acclaimed playwright and won a Pulitzer Prize in the 9th grade; Richie Tenenbaum (Luke Wilson) was a champion tennis player ranked 2nd in the world by the age 17. They were brilliant. They were famous. They were unlucky enough to be the children of a man named Royal Tenenbaum (Gene Hackman). Now for the first time in 25 years, they''re all living together under the same roof. After having largely gone their separate ways they''re looking to mend fencesand themselves in the process.Trade Review'The film of the year... The Royal Tenenbaums speaks in its own singular voice: at once tender and probing, mindful of New York and its special mixture of grit and glory but confident enough to mould it into a big, faded magic playhouse.' Film Comment 'Wes Anderson's first unqualified masterpiece.' Los Angeles Daily News 'A terrific film that has to be seen twice: first to be dazzled, then to be moved.' Premiere"

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Book Synopsis

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Book Synopsis

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