This book is a journey—a journey from minds to mysteries; a curtain you can peek through, not to peek in my life, but your own; a bite into the most luscious of treats, one that may fade, but not before leaving you with a vivid taste in your mouth. From moments of pain borne to moments of pain caused, from smiling faces to sadistic eyes; you have all of it, and so do these poems. This is a melody that was left unheard for far too long—a memory that stains through every piece of stone. This is not just poetry, it is a life—a breathing, talking, weeping life that begs of you to listen. Because this isn’t poetry about me, it is about you.
A group of supernatural beings use music as a powerful form of magic to protect their hidden realm from dark forces seeking to control their harmonious world. An AI music producer gains sentience and challenges the boundaries of creativity and ethics in the music industry as it blurs the line between man and machine. music has become the key to unlocking ancient technology that could save humanity, as a group of survivors races against time to decipher musical codes left behind by a lost civilization. An aspiring musician discovers a portal to a parallel universe where music reigns supreme but soon realizes that the price of fame and success in this otherworldly realm comes at a dangerous cost. A group of alien beings arrives on Earth with a universal language of music that transcends cultural barriers and unites humanity in harmony, but their presence threatens to unravel the fabric of society as we know it. An artificial intelligence program designed to create the perfect music composition begins to exhibit human emotions and desires, leading to a conflict between its programmed purpose and newfound sense of individuality.
Working Across Modalities in the Arts Therapies: Creative Collaborations offers an in-depth insight into cross-modality and transdisciplinary practice in the arts therapies. Including contributions from drama, music, dance movement and art therapists, as well as professionals from related disciplines, it vividly demonstrates how the alchemy of these collaborations produces innovative interventions and new approaches to working with clients. Compelling examples of collaborative practice cover a variety of client groups, ranging from Syrian refugee children and women with eating disorders, to homeless war veterans and sex offenders.?Together, the authors make the case for the effectiveness of cross-modal and transdisciplinary approaches when working with otherwise hard-to-reach and complex populations. This book is a guide to good practice and an invaluable resource for both experienced arts therapists and those new to the field. It will also be of benefit to healthcare and education professionals, arts practitioners, and anyone with an interest in the subject.
In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music-heard, imagined, or remembered-to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical sound; the questionable status of audible, earthly music as an echo of celestial harmonies; and one writer's allusions to another. Minear argues that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics. Analyzing Milton's account of Shakespeare's 'warbled notes,' she demonstrates that he saw Shakespeare as a peculiarly musical poet, deeply and obscurely moving his audience with language that has ceased to mean, but nonetheless lingers hauntingly in the mind. Obsessed with the relationship between words and music for reasons of his own, including his father's profession as a composer, Milton would adopt, adapt, and finally reject Shakespeare's form of musical poetics in his own quest to 'join the angel choir.' Offering a new way of looking at the work of two major authors, this study engages and challenges scholars of Shakespeare, Milton, and early modern culture.
Mystery girl. On her twelfth birthday, Kahlara Apella ponders the enigma that is her. Why is she the only one in her overprotective family who can read thoughts (not that she spies on her siblings or anything), heal injuries, demolish bad guys (a terrifying experience), and tap into her silver core? The answers elude her. Enough already! Kahlara is determined to change her sheltered life. She pleads for and gains her freedom. Kahlara explores the woods, builds a tree house, swims in a hidden pond, and encounters a young stranger. Shy boy. Shay, a lonely village kid, sings like an angel and plays the lute like a troubadour. Over the summer, Shay befriends this odd girl who can change the color of her eyes. Parents on a mission. Myles and Elara Apella organize a rebellion against the Rzash Empire. Fearful of their family's safety, especially their amazing daughter, they move cautiously through the dark secrets of their cause. Gentle giant. Sebastian is an injured Crad slave. Simple and loving, Seb watches over the Apella children. Elara grows certain there is more to the alien than meets the eye. Kahlara and Shay. Compelled, Kahlara touches Shay transferring her silver abilities. An unseen spy reports them. Soon, tragedy tears them apart. Like a pebble dropped in their beloved pond, the ripples spawn a tsunami of rebellion, intrigue, ecological weapons, alien metamorphosis, silver abilities, and interstellar warfare. Will Kahlara's strange purpose save them? It begins with the Song who would be human.
The essays in this volume were all written by David Kaplan in conjunction with the Provincetown Tennessee Williams Theater Festival, of which he is the curator and a co-founder. They are organized in two sections. The first section consists of ten essays written for each year of the Provincetown Festival, most included in the Festival catalogue for the year indicated. Those essays focus on each year’s thematic selection of Williams plays—and other dance, music, and theater events—as well as some aspect of Williams’ plays not always obvious in the text but essential to understanding the plays in production. The second section includes seven occasional essays, written for productions of Williams plays associated with the Festival. All the essays relate, in one way or another, to the story of what happened to the playwright during the last twenty years of his life and how his reputation is evolving since his death.
