Many Voices One Song is a detailed manual for implementing sociocracy, an egalitarian form of governance also known as dynamic governance. The book includes step-by-step descriptions for structuring organizations, making decisions by consent, and generating feedback. The content is illustrated by diagrams, examples and stories from the field.
We all sing with the same voice, And we sing in harmony! The familiar words to this joyful song combine with vibrant illustrations to celebrate the idea that no matter where children live, what they look like, or what they do, they're all the same where it counts -- at heart. "We All Sing with the Same Voice" was aired and continues to be seen on Sesame Street, the celebrated educational children's television show produced by Sesame Workshop, the nonprofit educational organization. Paul Meisel is the illustrator of many popular books for children, including how to talk to your cat by Jean Craighead George.
Through experiential exercises and careful reasoning, Uncovering the Voice provides a new, spiritually enlivened interpretation of the processes involved in singing. It develops knowledge of the essential nature of song, and summons us to work for the purity and preservation of true singing. First published in Germany in 1938, Uncovering the Voice disappeared under the weight of political events and the Second World War and was not republished until the 1970s. The new English edition of this classic work includes a biographical account of the author by Jürgen Schriefer, as well as previously unpublished photographs.
Since 1968, Bernie Krause has traveled the world recording the sounds of remote landscapes, endangered habitats, and rare animal species. Through his organization, Wild Sanctuary, he has collected the soundscapes of more than 2,000 different habitat types, marine and terrestrial. With powerful illustrations and compelling stories, Krause provides a manifesto for the appreciation and protection of natural soundscapes. In his previous book, The Great Animal Orchestra, Krause drew readers’ attention to what Jane Goodall described as “the harmonies of nature . . . [that are being] one by one by one, snuffed out by human actions.” He now explains that the secrets hidden in the natural world’s shrinking sonic environment must be preserved, not only for our scientific understanding, but for our cultural heritage and humanity’s physical and spiritual welfare. Krause’s narrative—supplemented by exclusive access to field recordings from the wild—draws on a compelling range of personal anecdotes, histories, and examples to document his early exploration of this field and to lay the groundwork for future generations.
In this unique and readable study, Jon Finson views the mores and values of nineteenth-century Americans as they appear in their popular songs. The author sets forth lyricists' and composers' notions of courtship, technology, death, African Americans, Native Americans, and European ethnicity by grouping songs topically. He goes on to explore the interaction between musical style and lyrics within each topic. The lyrics and changing musical styles present a vivid portrait of nineteenth-century America. The composers discussed in the book range from Henry Russell ("Woodman, Spare That Tree"), Stephen Foster ("Oh! Susanna"), and Dan Emmett ("I Wish I Was in Dixie's Land"), to George M. Cohan and Maude Nugent ("Sweet Rosie O'Grady"), and Gussie Lord Davis ("In the Baggage Coach Ahead"). Readers will recognize songs like "Pop Goes the Weasel," "The Yellow Rose of Texas," "The Fountain in the Park," "After the Ball," "A Bicycle Built for Two," and many others which gain significance by being placed in the larger context of American history.
The FULL VOICE(R) Workbooks have been researched and developed for the young vocal student. Every workbook includes technical exercises, music theory, rhythm reading, ear-training, sight singing, performance assessments and MORE! FULL VOICE WORKBOOKS are a comprehensive, all-in-one musical supplement for your repertoire studies. "My books arrived! Starting my kiddos next week. I am a 35-year veteran teacher and I wish I had written these. Bravo and thank you!" K. Lollar, Odessa, TX "...Since incorporating Full Voice curriculum and suggested repertoire in our school, our retention of vocal students has more than doubled! The students love the lesson plans, weekly worksheets, the warm-ups and sight reading. Full Voice makes voice lessons fun!" Rachael Richter, Director Gulf Breeze School of Music, Florida. FULL VOICE(R) Introductory level was specifically developed for young students ages 6-8 who are new to music lessons. This level is a perfect fit for private voice lessons and Introductory small group vocal classes. This level includes: introduction to tonic sol-fa introduction to reading and writing notes clapping and counting basic rhythms singing steps and skips
While indigenous languages have become prominent in global political and educational discourses, limited attention has been given to indigenous children’s everyday communication. Voices of Play is a study of multilingual play and performance among Miskitu children growing up on Corn Island, part of a multi-ethnic autonomous region on the Atlantic Coast of Nicaragua. Corn Island is historically home to Afro-Caribbean Creole people, but increasing numbers of Miskitu people began moving there from the mainland during the Contra War, and many Spanish-speaking mestizos from western Nicaragua have also settled there. Miskitu kids on Corn Island often gain some competence speaking Miskitu, Spanish, and Kriol English. As the children of migrants and the first generation of their families to grow up with television, they develop creative forms of expression that combine languages and genres, shaping intercultural senses of belonging. Voices of Play is the first ethnography to focus on the interaction between music and language in children’s discourse. Minks skillfully weaves together Latin American, North American, and European theories of culture and communication, creating a transdisciplinary dialogue that moves across intellectual geographies. Her analysis shows how music and language involve a wide range of communicative resources that create new forms of belonging and enable dialogue across differences. Miskitu children’s voices reveal the intertwining of speech and song, the emergence of “self” and “other,” and the centrality of aesthetics to social struggle.
"An elegant anthology. The specialist will not miss the quiet sophistication with which the music has been selected and prepared. Some of it is printed here for the first time, and much of it has been edited anew." "Notes" This treasury of 47 vocal works edited by Noah Greenberg, founder and former director of the New York Pro Musica Antiqua will delight all lovers of medieval and Renaissance music. Containing a wealth of both religious and secular music from the 12th to the 17th centuries, the collection covers a broad range of moods, from the hearty "Blow Thy Horne Thou Jolly Hunter" by William Cornysh to the reflective and elegiac "Cease Mine Eyes" by Thomas Morley. Of the religious works, nine were written for church services, including "Sanctus" by Henry IV and "Angus Dei" from a beautiful four-part mass by Thomas Tallis. Other religious songs in the collection come from England's rich tradition of popular religious lyric poetry, and include William Byrd's "Susanna Farye," the anonymously written "Deo Gracias Anglia" (The Agincort Carol), and Thomas Ravenscroft's "O Lord, Turne Now Away Thy Face" and "Remember O Thou Man." Approximately half of the songs are secular, some from the popular tradition and others from the courtly poets and musicians surrounding such musically inclined monarchs as Henry VIII who himself is represented in this collection with two charming songs, "With Owt Dyscorde" and "O My Hart." Among the notable composers of Tudor and Elizabethan England represented here are Orlando Gibbons, John Dowland, and Thomas Weelkes. "
Songs for Young Singers, a careful review of more than 2,000 songs printed in over 70 anthologies, has been written to address the needs of choir directors and voice teachers of junior high and high school age students. Section I lists songs by title as well as the anthologies in which they are found. Teachers wishing to explore the works of a particular composer will turn to section II, where songs are listed by composer.
