"Do you have a favorite sound?" little Yoshio asks. The musician answers, "The most beautiful sound is the sound of ma, of silence." But Yoshio lives in Tokyo, Japan: a giant, noisy, busy city. He hears shoes squishing through puddles, trains whooshing, cars beeping, and families laughing. Tokyo is like a symphony hall! Where is silence? Join Yoshio on his journey through the hustle and bustle of the city to find the most beautiful sound of all.
(Glory Sound). More than just a re-telling of the nativity, this work explores both the mystery and the majesty of Christ's birth. Filled with original sacred songs and beloved carols, this innovative cantata is not only a beautiful concert moment, but it is a true worship experience. The richness of both contemporary and traditional elements, along with thoughtful narrations, make this work an excellent choice for blended worship styles, and Keith Christopher's stunning orchestrations complete the package. The perfect blending of artistry and ministry! Songs include: Let All Mortal Flesh Keep Silence; Come to Us; Luke 2 (with "Silent Night"); Sleeping Adonai; Angels Sing; Unto Us; Shout! Sing Hallelujah!; Worship Christ the King; A Tribute of Carols.
Ajahn Sumedho gives insights into some key Buddhist themes like awareness, consciousness, identity, relief from suffering, and mindfulness of the body.
Marion Shilling began her career as a silent film ingenue for MGM and went on to play heroines in Westerns of the 1930s. Stage actress Esther Muir made the transition from Broadway to Hollywood just as talkies became popular. Hugh Allan was a leading man in the last years of the silents only to leave the film business in 1930 because of the uncertainty surrounding his transition to sound films and his disgust with studio politics. These three performers and thirteen others (Barbara Barondess, Thomas Beck, Mary Brian, Pauline Curley, Billie Dove, Edith Fellows, Rose Hobart, William Janney, Marcia Mae Jones, Barbara Kent, Anita Page, Lupita Tovar, and Barbara Weeks) reminisce here about Hollywood and the movie business as it made the transition.
In this poetic exploration of the auditory imagination, the third in his series on sonic aesthetics, Seán Street peoples silence with sound, travelling through time and space to the distant past, the infinite future and the shadow lands of the inner psyche. Our mind is a canvas on which the colours of the sound world leave permanent impressions. It is the root of all listening.
The experimentalist phenomenon of 'noise' as constituting 'art' in much twentieth-century music (paradoxically) reached its zenith in Cage’s (’silent’ piece) 4’33 . But much post-1970s musical endeavour with an experimentalist telos, collectively known as 'sound art', has displayed a postmodern need to ’load’ modernism’s ’degree zero’. After contextualizing experimentalism from its inception in the early twentieth century, Dr Linda Kouvaras’s Loading the Silence: Australian Sound Art in the Post-Digital Age explores the ways in which selected sound art works demonstrate creatively how sound is embedded within local, national, gendered and historical environments. Taking Australian music as its primary - but not sole - focus, the book not only covers discussions of technological advancement, but also engages with aesthetic standpoints, through numerous interviews, theoretical developments, analysis and cultural milieux for a contemporary Australian, and wider postmodern, context. Developing new methodologies for synergies between musicology and cultural studies, the book uncovers a new post-postmodern aesthetic trajectory, which Kouvaras locates as developing over the past two decades - the altermodern. Australian sound art is here put firmly on the map of international debates about contemporary music, providing a standard reference and valuable resource for practitioners in the artform, music critics, scholars and educators.
For twenty-two years, Katherine Bouton had a secret that grew harder to keep every day. An editor at The New York Times, at daily editorial meetings she couldn't hear what her colleagues were saying. She had gone profoundly deaf in her left ear; her right was getting worse. As she once put it, she was "the kind of person who might have used an ear trumpet in the nineteenth century." Audiologists agree that we're experiencing a national epidemic of hearing impairment. At present, 50 million Americans suffer some degree of hearing loss—17 percent of the population. And hearing loss is not exclusively a product of growing old. The usual onset is between the ages of nineteen and forty-four, and in many cases the cause is unknown. Shouting Won't Help is a deftly written, deeply felt look at a widespread and misunderstood phenomenon. In the style of Jerome Groopman and Atul Gawande, and using her experience as a guide, Bouton examines the problem personally, psychologically, and physiologically. She speaks with doctors, audiologists, and neurobiologists, and with a variety of people afflicted with midlife hearing loss, braiding their stories with her own to illuminate the startling effects of the condition. The result is a surprisingly engaging account of what it's like to live with an invisible disability—and a robust prescription for our nation's increasing problem with deafness. A Kirkus Reviews Best Nonfiction Book of 2013
(Faber Piano Adventures ). The appeal of popular music spans generations and genres. In this collection of 27 hits, enjoy folk tunes like "Ashokan Farewell" and "Bridge Over Troubled Water," movie themes from James Bond and Batman , Broadway numbers from Evita and A Little Night Music , and chart-toppers performed by Michael Jackson, Adele, Billy Joel, and more. Adult Piano Adventures Popular Book 2 provides this variety, yet with accessible arrangements for the progressing pianist. Students may advance through the book alongside method studies, or jump to all their favorites. Optional chord symbols above the staff guide understanding and personal expression.
A Bridge Across Two Worlds "Nan Umrigar's astonishing and well-illustrated story will certainly open up many minds. It asks many questions and provides some answers that give new insights of life's greatest mysteries." - Reincarnation International Magazine, U. K. "I had absolutely no leanings towards spirituality or spiritualism for that matter," says Nan Umrigar. "And I must admit that the space for God remained restricted to simple visits to the Zoroastrian fire temple on birthdays and auspicious occasions. But all of this changed with the death of my son Karl, a champion jockey, whose accident on the race track of Mumbai cut short a brilliant career. After Karl's death, we felt betrayed and gave up God and religion and the belief that if you were good, kind and truthful, nothing would go wrong. My grieving family questioned the unjust hand of fate, and nothing could fill the void, till the time I met some people who communicated with their loved ones from the spirit world." Soon, Nan also began communicating with her son and received messages that were to change her life forever. Karl was determined to show his mother the way to happiness. Sounds came in from the silence - conquering the great divide and proving that there is something far beyond the life we live. Sounds of Silence traces in moving detail her joy at coming in touch with Karl once again, and her gradual introduction to Meher Baba, her son's guru in the afterlife. In Sounds of Silence Nan bares her soul, reflecting her own initial scepticism and doubts, until the weight of the evidence left her in no doubt about the reality of the messages. This is a book that challenges many concepts about life and death and particularly life after death. Originally self-published, Sounds of Silence fast became an 'underground' bestseller, and a tremendous source of strength for thousands who were drawn to it. This is a story of a mother's unrelenting hope, and of a love that never dies.
