This book discusses WWI-era music in a historical context, explaining music's importance at home and abroad during WWI as well as examining what music was being sung, played, and danced to during the years prior to America's involvement in the Great War. Why was music so important to soldiers abroad during World War I? What role did music-ranging from classical to theater music, rags, and early jazz-play on the American homefront? Music of the First World War explores the tremendous importance of music during the years of the Great War-when communication technologies were extremely limited and music often took the place of connecting directly with loved ones or reminiscing via recorded images. The book's chapters cover music's contribution to the war effort; the variety of war-related songs, popular hits, and top recording artists of the war years; the music of Broadway shows and other theater productions; and important composers and lyricists. The author also explores the development of the fledgling recording industry at this time. Provides an excellent resource for students investigating music during the First World War as well as for adults interested in WWI-era history or music of the pre-twenties Documents the variety of reasons songs were sung by soldiers in wartime-to cheer themselves up, boost courage, poke fun at or stimulate hatred of their enemies, or express grievances or protest against the war or against authority Covers stage music of the WWI era, including music hall (British), vaudeville, revues, operettas, and musicals

Designed for use with the Guitar Cards Chord Starter Pack, this pack of 55 cards gives you over 50 of the coolest chords known to man. Small enough to fit into your back pocket or guitar case, they are an easy way to learn new chords - suitable for beginners, songwriters and teachers.

The soundtrack to Nintendo's Wii is for advanced intermediate to advanced pianists.

Robert Lachmann's letters to Henry George Farmer, from the years 1923-38, provide insightful glimpses into his life and his progressive research projects. From an historical perspective, they offer critical data concerning the development of comparative musicology as it evolved in Germany during the early decades of the twentieth century. The fact that Lachmann sought contact with Farmer can be explained from their mutual, yet diverse interests in Arab music, particularly as they were then considered to be the foremost European scholars in the field. During the 1932 Cairo International Congress on Arab Music, they were selected as presidents of their respective committees.

Say the words "evangelical worship" to anyone in the United States - even if they are not particularly religious - and a picture will likely spring to mind unbidden: a mass of white, middle-class worshippers with eyes closed, faces tilted upward, and hands raised to the sky. Yet despite the centrality of this image, many scholars have underestimated evangelical worship as little more than a manipulative effort to arouse devotional exhilaration. It is frequently dismissed as a reiteration of nineteenth-century revivalism or a derivative imitation of secular entertainment - three Christian rock songs and a spiritual TED talk. But by failing to engage this worship seriously, we miss vital insights into a form of Protestantism that exerts widespread influence in the United States and around the world. Evangelical Worship offers a new way forward in the study of American evangelical Christianity. Weaving together insights from American religious history and liturgical studies, and drawing on extensive fieldwork in seven congregations, Melanie C. Ross brings contemporary evangelical worship to life. She argues that corporate worship is not a peripheral "extra" tacked on to a fully-formed spiritual, political, and cultural movement, but rather the crucible through which congregations forge, argue over, and enact their unique contributions to the American mosaic known as evangelicalism.