Some of the most popular works of nineteenth-century music were labeled either "Hungarian" or "Gypsy" in style, including many of the best-known and least-respected of Liszt's compositions. In the early twentieth century, Bela Bartok and his colleagues questioned not only the Hungarianness but also the good taste of that style. Bartok argued that it should be discarded in favor of a national style based in the "genuine" folk music of the rural peasantry. Between the heyday of the nineteenth-century Hungarian-Gypsy style and its replacement by a new paradigm of "authentic" national style was a vigorous decades-long debate-one little known inside or outside Hungary-over what it meant to be Hungarian, European, and modern.
Redefining Hungarian Music from Liszt to Bartok traces the historical process that defined the conventions of Hungarian-Gypsy style. Author Lynn M. Hooker frames her study around the 1911 celebration of Liszt's centennial. In so doing, she analyzes Liszt's problematic role as a Hungarian-born composer and leader of Hungarian art music who spent most of his life outside of Hungary and questioned whether Hungary's national music was more the creation of Hungarians or Roma (Gypsies). The themes of race and nation that emerge in the discussion of Liszt are further developed in an analysis of discourse on Hungarian national music throughout the Hungarian press in the late nineteenth and early twentieth centuries. Showing how the "discovery" of "genuine" folk music by Bartok and Kodaly, often depicted as a purely "scientific" matter, responds directly to concerns raised by earlier writers about the "problem of Hungarian music," Hooker argues that the innovations of Bartok and Kodaly and their circle are not so much in correcting a flawed concept of the national as in using the idea of national authenticity to open up freedom for composers to explore more stylistic options, including the exploration of modernist musical language. Meticulously researched and elegantly written, Redefining Hungarian Music from Liszt to Bartok is essential reading for musicologists, musicians, and concertgoers alike."

Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes. The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.

Photographer Otis Hairston's camera snapped nearly forty years of fond memories and historic Greensboro events- from community gatherings and North Carolina A&T Aggie homecomings to celebrations of the historic 1960 sit-in. This stunning photo collection depicts ordinary people, local heroes and national celebrities as it captures the strength of Greensboro s African American community. "Picturing Greensboro" is a landmark volume of spectacular images that will be cherished for years to come.

Adaptation persists as a major area of inquiry in both film and literary studies. Over the past two decades, scholars have extended the debate well beyond George Bluestone's influential Novels into Film (1957) by taking into account such concerns as intertextuality and different forms of narrative enabled through new media. A dominant trend has been to dispense straight away with questions of fidelity and "faithfulness," the assumption being that such views are naive, moralistic, and rooted in a cultural prejudice against the audiovisual. While acknowledging the merits of this position-namely its complication of the one-way "page-to-screen" perspective-this collection seeks to put the question of fidelity back into play. The essays explore the ways in which the newer, more sophisticated approaches can still accommodate forms of fidelity between two or more texts without having to reinscribe untenable distinctions between "original" and "copy," and without having to argue from a strict media essentialist position that stages an impasse between linguistic and cinematic means of articulation. In addition, the scholars in this volume seek to recognize and account for fidelity's cultural currency among filmmakers and audiences alike, no matter how impossible fidelity might be in a literal sense. The selected essays offer an opportunity to showcase both well established adaptation scholars (Laura Mulvey, Dudley Andrew, Tom Gunning and James Naremore) and emerging voices in the field.

The Society of the Faith was founded in 1905 to promote a catholic (and ecumenical) understanding of the Church of England. In 1916, the Society created Faith Craft, a subsidiary company dedicated to the best design in every area of church furnishing. Its products were also meant to be affordable by ordinary parishes - unlike the extravagances of craftsmen like William Burges. Faith Craft used a wide variety of designers in wood, metal, textiles, and stained glass. This work became ubiquitous in the Church of England, but has never before been chronicled. The chapters of this book grew out of a symposium sponsored by the Society of the Faith in 2013, the first ever attempt to study Faith Craft and its works. Beautifully illustrated, this book provides the first scholarly examination of Faith Craft - its work, and also its place.

The Compendium of Building Codes is a practical guide designed for residential property owners, commercial facility managers, SMME contractors and built environment students, offering clear and accessible insights into building codes and standards. Whether you are a homeowner planning a renovation, a facility manager ensuring compliance, a contractor wishing to stay abreast of industry standards, or a student learning about codes for the first time, this guide simplifies the task. The Compendium of Building Codes provides essential information on structural integrity, safety and sustainability. This guide empowers you to navigate building requirements with confidence, ensuring that your property remains safe, compliant and up to code.

A keen critic of culture in modern Indonesia, Andrew N. Weintraub shows how a genre of Indonesian music called dangdut evolved from a denigrated form of urban popular music to a prominent role in Indonesian cultural politics and the commercial music industry. Dangdut--named onomatopoetically for the music's characteristic drum sounds "dang" and "dut"--is Indonesia's most popular music, heard in streets and homes, public parks and narrow alleyways, stores and restaurants, and all forms of public transportation. Despite dangdut's tremendous popularity in Indonesia and other parts of Asia, it has seldom received the serious critical attention it deserves.
Dangdut Stories is a social and musical history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post-independence Indonesia (1945-present). Quoted material from interviews, detailed analysis of music and song texts, and ethnography of performance illuminate the stylistic nature of the music and its centrality in public debates about Islam, social class relations, and the role of women in postcolonial Indonesia.
Dangdut Stories is the first musicological study to examine the stylistic development of dangdut music itself, using vocal style, melody, rhythm, form, and song texts to articulate symbolic struggles over meaning. Throughout the book the voices and experiences of musicians take center stage in shaping the book's narrative. Dangdut was first developed during the early 1970s, and an historical treatment of the genre's musical style, performance practice, and social meanings is long overdue.

Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of world cinema. Drawing on newly available sources, Composing for the Red Screen examines-for the first time-the full extent of this prodigious cinematic career. Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole-with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects-reveals that there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility.

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 Fifth 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 first 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 Fifth 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 Fifth 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.

Through popular movies starring Bruce Lee and songs like the disco hit "Kung Fu Fighting," martial arts have found a central place in the Western cultural imagination. But what would 'martial arts' be without the explosion of media texts and images that brought it to a wide audience in the late 1960s and early 1970s? In this examination of the media history of what we now call martial arts, author Paul Bowman makes the bold case that the phenomenon of martial arts is chiefly an invention of media representations. Rather than passively taking up a preexisting history of martial arts practices-some of which, of course, predated the martial arts boom in popular culture-media images and narratives actively constructed martial arts. Grounded in a historical survey of the British media history of martial arts such as Bartitsu, jujutsu, judo, karate, tai chi, and MMA across a range of media, this book thoroughly recasts our understanding of the history of martial arts. By interweaving theories of key thinkers on historiography, such as Foucault and Hobsbawm, and Said's ideas on Orientalism with analyses of both mainstream and marginal media texts, Bowman arrives at the surprising insight that media representations created martial arts rather than the other way around. In this way, he not only deepens our understanding of martial arts but also demonstrates the productive power of media discourses.

This study explores the dynamic relations between cultural forms and political formations in some urban cultural movements. The analysis is based on a detailed study of the structure and development of the London Notting Hill Carnival, widely described as Europe's biggest street festival. Started in 1966 as a small-scale, multi-ethnic local festival, it grew into a massive West-Indian dominated affair that over the years occasioned violent confrontations between black youth and the police. The carnival developed and mobilized a homogenous and communal West-Indian culture that helped in the struggle against rampant racism. The celebration is contrasted with other carnival movements, such as California's 'Renaissance Pleasure Faire'. Analytically, this is a follow-up to Cohen's earlier studies of the relations between drama and politics in some urban religious, ethnic and elitist movements in Africa. The conclusion focuses on the processes underlying the transformation of rational political strategies into non-rational cultural forms.

The relationship between the practice of dance and the technologies of representation have excited artists since the advent of film. Dancers, choreographers, and directors are increasingly drawn to screendance, the practice of capturing dance as a moving image mediated by a camera. While the interest in screendance has grown in importance and influence amongst artists, it has until now flown under the academic radar. Emmy-nominated director and auteur Douglas Rosenberg's groundbreaking book considers screendance as both a visual art form as well as an extension of modern and post-modern dance without drawing artificial boundaries between the two. Both a history and a critical framework, Screendance: Inscribing the Ephemeral Image is a new and important look at the subject. As he reconstructs the history and influences of screendance, Rosenberg presents a theoretical guide to navigating the boundaries of an inherently collaborative art form. Drawing on psycho-analytic, literary, materialist, queer, and feminist modes of analysis, Rosenberg explores the relationships between camera and subject, director and dancer, and the ephemeral nature of dance and the fixed nature of film. This interdisciplinary approach allows for a broader discussion of issues of hybridity and mediatized representation as they apply to dance on film. Rosenberg also discusses the audiences and venues of screendance and the tensions between commercial and fine-art cultures that the form has confronted in recent years. The surge of screendance festivals and courses at universities around the world has exposed the friction that exists between art, which is generally curated, and dance, which is generally programmed. Rosenberg explores the cultural implications of both methods of reaching audiences, and ultimately calls for a radical new way of thinking of both dance and film that engages with critical issues rather than simple advocacy.

Posthuman Rap listens for the ways contemporary rap maps an existence outside the traditional boundaries of what it means to be human. Contemporary humanity is shaped in neoliberal terms, where being human means being viable in a capitalist marketplace that favors whiteness, masculinity, heterosexuality, and fixed gender identities. But musicians from Nicki Minaj to Future to Rae Sremmurd deploy queerness and sonic blackness as they imagine different ways of being human. Building on the work of Sylvia Wynter, Alexander Weheliye, Lester Spence, LH Stallings, and a broad swath of queer and critical race theory, Posthuman Rap turns an ear especially toward hip hop that is often read as apolitical in order to hear its posthuman possibilities, its construction of a humanity that is blacker, queerer, more feminine than the norm.

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.

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.

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 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.