Attention closet maestros! This lighthearted course in conducting--complete with baton--will teach you how to strike up the band like a pro. Even if you can't read a note of music, you can make hours of podium pandemonium at home with this delightful guide. Photographs and line drawings throughout.
This educational, captivating kit for kids and adults alike includes a book, a baton and a full-length CD -- everything you need to conduct an orchestra without leaving the comfort of your living room. You'll learn: -- The painless history of conducting. -- How to start and stop the orchestra -- and what to do in between. -- Why conducting is good for your health (it's a combination of art and aerobics). -- What to do if you lose your baton (vegetarians can grab a carrot and not miss a beat). -- Tips and commentary from the great conductors (podium wit, wisdom and sarcasm). -- How to pronounce Mstislav Rostropovich -- and so much more! The specially compiled CD of great orchestral classics -- keyed to the text throughout -- provides both hours of raw material for practice and a course in music appreciation. The high-quality baton will have you conducting like a pro, even if you can't read a note. Bravo!
Celebrating 5 Years of The Armchair Detective... In this very special collection, I have chosen 5 of my favourite Armchair Detective scripts, one to represent each published year of cosy mystery phenomenon that has sold in its thousands all over the world. The Armchair Detective The Cosy Mystery Series
Composition and the Rhetoric of Science: Engaging the Dominant Discourse calls for instructors of first-year writing courses to employ primary scientific discourse in their teaching and for rhetoricians of science to think about teaching scientific discourse as a literacy skill. Author Michael J. Zerbe argues that inclusion of scientific discourse is crucial because of this rhetoric’s status as the dominant discourse in western culture. The volume draws on Lyotard, Žižek, Foucault, and Althusser to argue that while important theorists such as these have recognized the dominance of scientific discourse, rhetoric and composition has not—to its detriment. The textillustrates that scientific discourse remains a miniscule part of the enterprise of rhetoric and composition and thus the field is not fulfilling its mission of providing students with the writing and reading skills they need to live and work in a science- and technology-dependent society. Zerbe provides an analysis of science popularizations and demonstrates how these works can be used to contextualize primary scientific research. He also presents three pedagogical scenarios, each built around a carefully chosen, accessible example of scientific discourse, that demonstrate how articles from scientific journals can be used in writing courses. Only by gaining a meaningful fluency in this discourse—one that is not offered by science textbooks—can a more sophisticated scientific literacy be assured. Composition and the Rhetoric of Science effectively explores the relatively limited amount of work done in rhetoric and composition on scientific discourse and questions this state of affairs. Zerbe presents for the first time cultural studies and science literacy as gateways for incorporating scientific discourse into first-year writing courses.
Among the major changes that swept through the music industry during the mid-nineteenth century, one that has received little attention is how musical performances were managed and directed. Yet this was arguably the most radical change of all: from a loose control shared between the violin-leader, musical director and maestro al cembalo to a system of tight and unified control under a professional conductor-manager. This process brought with it not only baton conducting in its modern form, but also higher standards of training and discipline, a new orchestral lay-out and a more focused rehearsal regime. The resulting rise in standards of performance was arguably the greatest achievement of English music in the otherwise rather barren mid-Victorian period. The key figure in this process was Michael Costa, who built for himself unprecedented contractual powers and used his awesome personal authority to impose reform on the three main institutions of mid-Victorian music: the opera houses, the Philharmonic and the Sacred Harmonic Society. He was a central figure in the battles between the two rival opera houses, between the Philharmonic and the New Philharmonic, and between the venerable Ancient Concerts and the mass festival events of the Sacred Harmonic Society. Costa’s uniquely powerful position in the operatic, symphonic and choral world and the rapidity with which he was forgotten after his death provide a fascinating insight into the politics and changing aesthetics of the Victorian musical world.
By dwelling on the need for the convergence of business, innovation and the arts, this book highlights the value of lowering the psychological, organizational and institutional barriers that keep them apart. For educators and practitioners, this is an in-depth discussion designed to stimulate awareness of the issues facing business education.
Jack Webster is one of the most popular journalists writing in Scotland today. Voted Columnist of the Year in 1996, his first collection of Herald columns was a bestseller. This book presents another collection of his writings.