The sudden and spectacular growth in Dante's popularity in England at the end of the eighteenth century was immensely influential for English writers of the period. But the impact of Dante on English writers has rarely been analysed and its history has been little understood. Byron, Shelley, Keats, Coleridge, Blake, and Wordsworth all wrote and painted while Dante's work - its style, project, and achievement - commanded their attention and provoked their disagreement. The Circle of Our Vision discusses each of these writers in detail, assessing the nature of their engagement with the Divine Comedy and the consequences for their own writing. It explores how these Romantic poets understood Dante, what they valued in his poetry and why, setting them in the context of contemporary commentators, translators, and illustrators, (including Fuseli, Flaxman, and Reynolds) both in England and Europe. Romantic readings of the Divine Comedy are shown to disturb our own ideas about Dante, which are based on Victorian and Modernist assumptions. Pite also presents a reconsideration of the concept of 'influence' in general, using the example of Dante's presence in Romantic poetry to challenge Harold Bloom's belief that the relations between poets are invariably a fight to the death.

Composer, pianist, and critic Claude Debussy's musical aesthetic represents the single most powerful influence on international musical developments during the long fin de siecle period. The development of Debussy's musical language and style was affected by the international political pressures of his time, beginning with the Franco-Prussian War of 1871 and the rise of the new Republic in France, and was also related to the contemporary philosophical conceptualization of what constituted art. The Debussy idiom exemplifies the ways in which various disciplines - musical, literary, artistic, philosophical, and psychological - can be incorporated into a single, highly-integrated artistic conception. Rethinking Debussy draws together separate areas of Debussy research into a lucid perspective that reveals the full significance of the composer's music and thought in relation to the broader cultural, intellectual, and artistic issues of the twentieth century. Ranging from new biographical information to detailed interpretations of Debussy's music, the volume offers significant multidisciplinary insight into Debussy's music and musical life, as well as the composer's influence on the artistic developments that followed. Chapters include: "Russian Imprints in Debussy's Piano Music"; "Music as Encoder of the Unconscious in Pelleas et Melisande"; "An Artist High and Low, or Debussy and Money"; "Debussy's Ideal Pelleas and the Limits of Authorial Intent"; "Debussy in Daleville: Toward Early Modernist Hearing in the United States"; and more. Rethinking Debussy will appeal to students and scholars of French music, opera, and modernism, and literary and French studies scholars, particularly concerned with Symbolism and theatre. General readers will be drawn to the book as well, particularly to chapters focusing on Debussy's finances, dramatic works, and reception.

Music Projects contains a collection of projects based on music applications. Components are widely available and the circuits form the basis for further experiments. Circuit diagrams are provided, as are photographs of the main circuits. Parts lists are also given.

Robert Penfold's reputation for innovative circuit designs and well-thought out projects is firmly established. His work has been featured regularly in the popular 'Bob's Mini Circuits' section of Electronics, the Maplin magazine. This is a collection of his best ideas from the magazine. Projects include an accented metronome, a tremolo unit, a guitar compressor, a bass fuzz, and a chorus unit.

Since the mid-twentieth century, Zoltan Kodaly's child-developmental philosophy for teaching music has had significant positive impact on music education around the world, and is now at the core of music teaching in the United States and other English speaking countries. The Kodaly Today handbook series is the first comprehensive system to update and apply the Kodaly concepts to teaching music in elementary school classrooms. Kodaly in the Fourth Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Through six years of field-testing with music teachers in the United States, Great Britain, and Hungary (the home country of Zoltan Kodaly), authors Micheal Houlahan and Philip Tacka have developed a methodology specifically for 21st century classrooms. Houlahan and Tacka use the latest research findings in cognition and perception to create a system not only appropriate for the developmental stages of fourth graders but also one which integrates vertically between elementary music classes. The methods outlined in this volume encourage greater musical ability and creativity in children by teaching them to sing, move, play instruments, and develop music literacy skills. In addition, Kodaly in the Fourth Grade Classroom promotes critical thinking, problem solving, and collaboration skills. Although the book uses the Kodaly philosophy, its methodology has also been tested by teachers certified in Orff and Dalcroze, and has proven an essential guide for teachers no matter what their personal philosophy and specific training might be. Over 100 children's books are incorporated into Kodaly in the Fourth Grade Classroom, as well as 35 detailed lesson plans that demonstrate how music and literacy curriculum goals are transformed into tangible musical objectives. Scholarly yet practical and accessible, this volume is sure to be an essential guide for elementary music teachers everywhere.

Again and again people turn to music in order to assist them make sense of traumatic life events. Music can help process emotions, interpret memories, and create a sense of collective identity. While the last decade has seen a surge in academic studies on trauma and loss in both the humanities and social sciences, how music engages suffering has not often been explored. Performing Pain uncovers music's relationships to trauma and grief by focusing upon the late 20th century in Eastern Europe. The 1970s and 1980s witnessed a cultural preoccupation with the meanings of historical suffering, particularly surrounding the Second World War and the Stalinist era. Journalists, historians, writers, artists, and filmmakers repeatedly negotiated themes related to pain and memory, truth and history, morality and spirituality both during glasnost and the years prior. In the copious amount of scholarship devoted to cultural politics during this era, the activities of avant-garde composers stands largely silent. Performing Pain considers how works by Alfred Schnittke, Galina Ustvolskaya, Arvo Part, and Henryk Gorecki musically address contemporary concerns regarding history and suffering through composition, performance, and reception. Drawing upon theories from psychology, sociology, literary and cultural studies, this book offers a set of hermeneutic essays that demonstrate the ways in which people employ music in order to make sense of historical traumas and losses. Seemingly postmodern compositional choices-such as quotation, fragmentation, and stasis-provide musical analogies to psychological and emotional responses to trauma and grief. The physical realities of embodied performance focus attention on the ethics of pain and representation while these works' inclusion as film music interprets contemporary debates regarding memory and trauma. Performing Pain promises to garner wide attention from academic professionals in music studies as well as an interdisciplinary audience interested in Eastern Europe and aesthetic articulations of suffering.

Sound Advice is a valuable resource for college students, beginning teachers, and experienced conductors of children's choirs. It covers the vast array of skills needed by today's conductor of children's choirs. In a clear and direct style, Bartle outlines everything from the development of musicianship through singing and literacy in the choral setting, to the challenges of conducting an orchestra, working with staff, parents, and a Board of Directors.

Since the mid-twentieth century, Zoltan Kodaly's child-developmental philosophy for teaching music has had significant positive impact on music education around the world, and is now at the core of music teaching in the United States and other English speaking countries. The Kodaly Today handbook series is the first comprehensive system to update and apply the Kodaly concepts to teaching music in elementary school classrooms. Kodaly in the Third Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Through six years of field-testing with music kindergarten teachers in the United States, Great Britain, and Hungary (the home country of Zoltan Kodaly), authors Micheal Houlahan and Philip Tacka have developed a methodology specifically for 21st century classrooms. Houlahan and Tacka use the latest research findings in cognition and perception to create a system not only appropriate for the developmental stages of third grade students but also one which integrates vertically between elementary music classes. The methods outlined in this volume encourage greater musical ability and creativity in children by teaching them to sing, move, play instruments, and develop music literacy skills. In addition, Kodaly in the Third Grade Classroom promotes critical thinking, problem solving, and collaboration skills. Although the book uses the Kodaly philosophy, its methodology has also been tested by teachers certified in Orff and Dalcroze, and has proven an essential guide for teachers no matter what their personal philosophy and specific training might be. Numerous children's songs are incorporated into Kodaly in the Third Grade Classroom, as well as over 35 detailed lesson plans that demonstrate how music and literacy curriculum goals are transformed into tangible musical objectives. Scholarly yet practical and accessible, this volume is sure to be an essential guide for kindergarten and early childhood music teachers everywhere.

To dramatize a story using moving images, a director must have a full understanding of the meaning and emotional effect of all the various types of shots and cuts that are available to advance the story. Drawing upon his extensive experience as a storyboard artist who has worked with over 200 directors and cinematographers on television series and movies, author Kelly Gordon Brine provides a practical and accessible introduction to the design of shots, cuts, and transitions for film, television, animation, video, and game design. With hundreds of illustrations and diagrams, concise explanations of essential storytelling concepts, and vivid examples, The Art of Cinematic Storytelling demystifies the visual design choices that are fundamental to directing and editing. The author delves deeply into the techniques that visual storytellers use to captivate their audience, including blocking, camera positioning, transitions, and planning shots with continuity editing in mind. Practical advice on how to clarify time, space, and motion in many common situations - such as dialogue, pursuits, and driving sequences - makes this book an invaluable guide for all aspiring filmmakers.

Although Berg decided immediately after seeing Buchner's play Woyzeck in May 1914 to set it to music, he did not complete his opera until 1922, with the Berlin premiere taking place in 1925. Berg's Wozzeck traces the composer's slow but determined progress. Using compositional sketches, diaries, notebooks and other archival material, author Patricia Hall reveals the challenges Berg faced--from his induction as a soldier in World War I, to the hyperinflation of the twenties. In addition to the precise chronology of the opera, the sketches show how Berg derived large-scale form from the Buchner text, and how his compositional style evolved during the nine years in which he composed the opera. A comprehensive visual database on the book's companion website of the extant sketches from seven archives in the United States, Germany and Austria allows the reader to examine, for the first time, Berg's sketches in high resolution color scans.

In the early 20th century, there was no better example of a classic American downtown than Los Angeles. Since World War II, Los Angeles's Historic Core has been "passively preserved," with most of its historic buildings left intact. Recent renovations of the area for residential use and the construction of Disney Hall and the Staples Center are shining a new spotlight on its many pre-1930s Beaux Arts, Art Deco, and Spanish Baroque buildings.

Sandra Blow (1925-2006) is among the most important British artists of the later twentieth century. During a time of rapid change in the art world, her commitment to abstract painting resulted in a large and diverse body of work of distinctive power and subtlety. Michael Bird's fascinating survey of Sandra Blow's life and art is now available for the first time in a handsome paperback edition. Compiled in collaboration with the artist during the last years of her life, it provides a definitive overview of her career. The book is lavishly illustrated throughout with a fully representative selection of Blow's work. In this highly readable account, Michael Bird looks in depth at Blow's evolving studio practice and the personal nature of her abstract vision. He places Blow's achievement firmly within the wider context of British and international art movements of the post-war period and late twentieth century. He also casts new light on the role played in her life by Alberto Burri and Roger Hilton, two influences she acknowledged to be crucial to her art. Through close attention to Blow's working methods, this book provides a unique insight into her creative process. It reveals the intensity of emotional engagement and technical experimentation that lie behind the apparent spontaneity of her vivid handling of materials, colour and form.

The Book of Small is a collection of thirty-six short stories about a childhood in a town that still had vestiges of its pioneer past. Emily Carr tells stories about her family, neighbours, friends and strangers-who run the gamut from genteel people in high society to disreputable frequenters of saloons-as well as an array of beloved pets. All are observed through the sharp eyes and ears of a young and ever-curious girl. Carr's writing is a disarming combination of charm and devastating frankness.

In this book, readers will learn practical tips and strategies to teach music appreciation online. As online education is a growing field, an increasing number of teachers trained in traditional/live methods find themselves now teaching online and potentially without mentors to assist them. Students are also changing, seeking highly engaged, relevant, and interactive learning opportunities that connect to their lives. Here, readers will find helpful guidance in planning curriculum, integrating multimedia assets, designing forum discussions, developing assignments, preparing rubrics, engaging in forum discussions, preparing, managing, and teaching, the course, providing feedback and grading, and following up with struggling and challenging students. The book can serve as a resource to those already teaching music appreciation online or as a comprehensive guide to those new to the field. Additionally, it may serve as a resource to instructors in other disciplines who seek to shift live-courses to the online format, as well as music appreciation instructors who would like to integrate digital or online components into traditional face-to-face courses. The book is organized into five major sections, designed to guide the novice online educator in depth while also appealing to the seasoned veteran through the ability to review each section as a stand-alone resource. Although some readers will desire to read from cover to cover, they will also be able to move in a non-linear manner from chapter to chapter, using chapters in modular form, in order to benefit from the sections that most apply to them at any given time.

This is the first of two volumes of the only English edition of Hegel's Aesthetics, the work in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world through to the end of the eighteenth century, probing the meaning and significance of major works. Part III (in the second volume) deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory.

Since the mid-twentieth century, Zoltan Kodaly's child-developmental philosophy for teaching music has had significant positive impact on music education around the world, and is now at the core of music teaching in the United States and other English speaking countries. The Kodaly Today handbook series is the first comprehensive system to update and apply the Kodaly concepts to teaching music in elementary school classrooms. Kodaly in the Second Grade Classroom provides teachers with a step-by-step road map for developing children's performance, creative movement, and literacy skills in an organic and thoughtful manner. Through six years of field-testing with music kindergarten teachers in the United States, Great Britain, and Hungary (the home country of Zoltan Kodaly), authors Micheal Houlahan and Philip Tacka have developed a methodology specifically for 21st century classrooms. Houlahan and Tacka use the latest research findings in cognition and perception to create a system not only appropriate for the developmental stages of second grade students but also one which integrates vertically between elementary music classes. The methods outlined in this volume encourage greater musical ability and creativity in children by teaching them to sing, move, play instruments, and develop music literacy skills. In addition, Kodaly in the Second Grade Classroom promotes critical thinking, problem solving, and collaboration skills. Although the book uses the Kodaly philosophy, its methodology has also been tested by teachers certified in Orff and Dalcroze, and has proven an essential guide for teachers no matter what their personal philosophy and specific training might be. Numerous children's songs are incorporated into Kodaly in the Second Grade Classroom, as well as over 35 detailed lesson plans that demonstrate how music and literacy curriculum goals are transformed into tangible musical objectives. Scholarly yet practical and accessible, this volume is sure to be an essential guide for kindergarten and early childhood music teachers everywhere.

Saffron-robed monks and long-haired gurus have become familiar characters on the American popular culture scene. Jane Iwamura examines the contemporary fascination with Eastern spirituality and provides a cultural history of the representation of Asian religions in American mass media. Encounters with monks, gurus, bhikkhus, sages, sifus, healers, and masters from a wide variety of ethnic backgrounds and religious traditions provided initial engagements with Asian spiritual traditions. Virtual Orientalism shows the evolution of these interactions, from direct engagements with specific individuals to mediated relations with a conventionalized icon: the Oriental Monk. Visually and psychically compelling, the Oriental Monk becomes for Americans a ''figure of translation''--a convenient symbol for alternative spiritualities and modes of being. Through the figure of the solitary Monk, who generously and purposefully shares his wisdom with the West, Asian religiosity is made manageable-psychologically, socially, and politically--for popular culture consumption. Iwamura's insightful study shows that though popular engagement with Asian religions in the United States has increased, the fact that much of this has taken virtual form makes stereotypical constructions of "the spiritual East" obdurate and especially difficult to challenge.

The United States is considered the world's foremost refuge for foreigners, and no place in the nation symbolizes this better than Ellis Island. Through Ellis Island's halls and corridors more than twelve million immigrants-of nearly every nationality and race-entered the country on their way to new experiences in North America. With an astonishing array of nineteenth- and twentieth-century photographs, Ellis Island leads the reader through the fascinating history of this small island in New York harbor from its pre-immigration days as one of the harbor's oyster islands to its spectacular years as the flagship station of the U.S. Bureau of Immigration to its current incarnation as the National Park Service's largest museum.

The Enlightenment saw a critical engagement with the ancient idea that music carries certain powers - it heals and pacifies, civilizes and educates. Yet this interest in musical utility seems to conflict with larger notions of aesthetic autonomy that emerged at the same time. In Enlightenment Orpheus, Vanessa Agnew examines this apparent conflict, and provocatively questions the notion of an aesthetic-philosophical break between the eighteenth and nineteenth centuries. Agnew persuasively connects the English traveler and music scholar Charles Burney with the ancient myth of Orpheus. She uses Burney as a guide through wide-ranging discussions of eighteenth-century musical travel, views on music's curative powers, interest in non-European music, and concerns about cultural identity. Arguing that what people said about music was central to some of the great Enlightenment debates surrounding such issues as human agency, cultural difference, and national identity, Agnew adds a new dimension to postcolonial studies, which has typically emphasized the literary and visual at the expense of the aural. She also demonstrates that these discussions must be viewed in context at the era's broad and well-entrenched transnational network, and emphasizes the importance of travel literature in generating knowledge at the time. A new and radically interdisciplinary approach to the question of the power of music - its aesthetic and historical interpretations and political uses - Enlightenment Orpheus will appeal to students and scholars in historical musicology, ethnomusicology, German studies, eighteenth-century history, and comparative studies.

In Bewitching Russian Opera: The Tsarina from State to Stage, Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century - Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Bewitching Russian Opera ultimately demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and enacted on the musical stage political ambitions and international conquests which they would later carry out on the world stage itself.
Beginning with the eighteenth-century imperial court, Naroditskaya illustrates the increased theatricality of the court and the popularity of musical theater among nobles, which occurred alongside an appropriation of folk and court ceremonies into the theater. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions - from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame - illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state.

This is a sequel to Richard Viladesau's well-received study, The Beauty of the Cross: The Passion of Christ in Theology and the Arts from the Catacombs to the Eve of the Renaissance. It continues his project of presenting theological history by using art as both an independent religious or theological "text" and as a means of understanding the cultural context for academic theology. Viladesau argues that art and symbolism function as alternative strands of theological expression sometimes parallel to, sometimes interwoven with, and sometimes in tension with formal theological reflection on the meaning of crucifixion and its role in salvation history.
This book examines the two great revolutionary movements that gave birth to the modern West: the Renaissance and the Protestant Reformation. This period was eventful for both theology and art, and thus particularly fruitful for Viladesau's project.
Using individual works of art, over sixty of which are reproduced in this book, to epitomize particular artistic and theological models, he explores the contours of each paradigm through the works of representative theologians as well as liturgical, poetic, artistic, and musical sources. To name a few examples, the theologies of Savonarola, Luther, Calvin, and the Council of Trent, are examined in correlation to the new situation of art in the era of Fra Angelico, Leonardo, Michelangelo, Durer, Cranach, and the Mannerists.
In this book, Viladesau continues to deepen our understanding of the foremost symbol of Christianity.