How do children learn music? And how can music teachers help children to become independent and self-sufficient musical thinkers? Author Eric Bluestine sheds light on these issues in music education.
SHE'S ALWAYS BEEN THE PROTECTOR. —THAT WILL NEVER CHANGE. Former homicide detective Melody Beck has always taken care of her younger sisters. But lately…that was the one area in which she’d failed. Her younger sister has just barely escaped a band of vicious killers. And the threat wasn’t over yet. Melody is still searching for answers. All signs now point to the richest man in Texas being the mastermind behind the attacks. That billionaire is still out there. Watching. Watching them all. Melody is going to see he pays for what he did… Except there is one small complication she hadn’t told her family about. The billionaire’s son. The one man she couldn’t forget. The man she had loved before. HIS FATHER ISN'T A KILLER. —HE NEEDS A WAY TO PROVE IT. Houghton Barratt knows there is no way his father would have harmed an innocent family. The only way Houghton can fix this is by going after the woman accusing his father and convince her to tell the truth to the media outlets. Even if his own plans for her older sister aren't exactly on the up and up. A different Beck sister is Houghton’s real target now. MELODY IS COMING WITH HIM. —WHETHER SHE WANTS TO OR NOT. He has a daring plot to fix everything. And it all hinges on Melody. Houghton is right there in front of her before Melody can even begin to escape. Now, she is a hostage, a pawn in his game. A game he intends to win. But as Houghton tangles with Melody, the real mastermind is getting closer. Closer than they could imagine. Only this time the killer’s focusing on Melody—and the sisters she'll do anything to protect. Houghton makes Melody a vow he would willingly die to keep: Melody will never be the price Houghton pays for his father…
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div
Vs. is the sound of a band on fire. The same confluence of talent, passion, timing, and fate that made “grunge” the world's soundtrack also lit a short fuse beneath Pearl Jam. The band combusted between late 1992 and mid-1994, the span during which they planned, recorded, and supported their sophomore record. The spotlight, the pressure, the pace-it all nearly turned the thriving act to ash. Eddie Vedder, the reluctant public face of the band, responded by lashing out lyrically. Jeff Ament, Mike McCready, and Stone Gossard, who beheld success with varying degrees of anxious satisfaction, attacked their instruments in solidarity. Dave Abbruzzese welcomed the rock-star lifestyle, and left his mark on the record with more than just potent percussion. Vs. roils with fury-and at times, gently steams-over the trappings of fame, human faults, and societal injustice. The record is a thrashing testament to Pearl Jam's urgent creativity and greater-good interests, and the band's logistical calculations behind it drew a career-defining line in the sand. It promised the world that Pearl Jam would neither burn out nor fade away. This book weaves research, little-known details, and band members' memories into a definitive account of how Vs. set them on a path toward enduring integrity and relevance.
Botticelli’s Muse peels back layers of history to tell a fictionalized version of the life of Sandro Botticelli, his conflicts with the Medici family of Florence, and the woman at the heart of his paintings. In 1477, Botticelli is suddenly fired by his prestigious patron and friend Lorenzo de’ Medici. In the villa of his irritating new patron, the artist’s creative well runs dry—until the day he sees Floriana, a Jewish weaver imprisoned in his sister’s convent. But events threaten to keep his unlikely muse out of reach. So begins a tale of one of the art world’s most beloved paintings, La Primavera, as Sandro, a confirmed bachelor, and Floriana, a headstrong artist in her own right, enter into a turbulent relationship.
From the beloved host and creator of NPR’s All Songs Considered and Tiny Desk Concerts comes an essential oral history of modern music, told in the voices of iconic and up-and-coming musicians, including Dave Grohl, Jimmy Page, Michael Stipe, Carrie Brownstein, Smokey Robinson, and Jeff Tweedy, among others—published in association with NPR Music. Is there a unforgettable song that changed your life? NPR’s renowned music authority Bob Boilen posed this question to some of today’s best-loved musical legends and rising stars. In Your Song Changed My Life, Jimmy Page (Led Zeppelin), St. Vincent, Jónsi (Sigur Rós), Justin Vernon (Bon Iver), Cat Power, David Byrne (Talking Heads), Dave Grohl (Nirvana, Foo Fighters), Jeff Tweedy (Wilco), Jenny Lewis, Carrie Brownstein (Portlandia, Sleater-Kinney), Yusuf Islam (Cat Stevens), Colin Meloy (The Decemberists), Trey Anastasio (Phish), Jackson Browne, Valerie June, Philip Glass, James Blake, and other artists reflect on pivotal moments that inspired their work. For Wilco’s Jeff Tweedy, it was discovering his sister’s 45 of The Byrds’ “Turn, Turn, Turn.” A young St. Vincent’s life changed the day a box of CDs literally fell off a delivery truck in front of her house. Cat Stevens was transformed when he heard John Lennon cover “Twist and Shout.” These are the momentous yet unmarked events that have shaped these and many other musical talents, and ultimately the sound of modern music. A diverse collection of personal experiences, both ordinary and extraordinary, Your Song Changed My Life illustrates the ways in which music is revived, restored, and revolutionized. It is also a testament to the power of music in our lives, and an inspiration for future artists and music lovers. Amazing contributors include: Jimmy Page (Led Zeppelin), Carrie Brownstein (Sleater-Kinney, Portlandia, Wild Flag), Smokey Robinson, David Byrne (Talking Heads), St. Vincent, Jeff Tweedy (Wilco), James Blake, Colin Meloy (The Decemberists), Trey Anastasio (Phish), Jenny Lewis (Rilo Kiley), Dave Grohl (Nirvana, Foo Fighters), Yusuf Islam (Cat Stevens), Sturgill Simpson, Justin Vernon (Bon Iver), Cat Power, Jackson Browne, Michael Stipe (R.E.M.), Philip Glass, Jónsi (Sigur Rós), Hozier, Regina Carter, Conor Oberst (Bright Eyes, and others), Courtney Barnett, Chris Thile (Nickel Creek, Punch Brothers), Leon Bridges, Sharon Van Etten, and many more.
The classic work on the philosophy of music—now available in English to a new generation of readers Vladimir Jankélévitch left behind a remarkable body of work steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is "ineffable," as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world.
Handel wrote over 100 cantatas, compositions for voice and instruments decsribing the joy and pain of love. In the first comprehensive study of the cantatas, Harris investigates their place in Handel's life as well as their extraordinary beauty.