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Jedi Master Mace Windu leads a battle against Separatist forces for
control of the planet Simocadia! While the Confederacy of
Independent Systems battles for the planet's rare fuel source, and
the Republic tries to repel the invaders, the rulers of Simocadia
choose a different option to save the planet: awakening the Ardana
Shadex, an indestructible mechanized giant that has been sleeping
for centuries under the planet's surface! But awakening the
colossus could cost many lives and cause more destruction than the
current war. Mace Windu races against time and across a dangerous
landscape to prevent his onetime friend, Prince Yojan, from causing
disaster.
Behind enemy lines, Jedi Knight Aayla Secura's covert mission is
threatened by an encounter with Shon-Ju-a former Padawan turned
cult leader. Shon-Ju claims to be after the same Separatist warlord
that Aayla was sent to capture, but he also has plenty of reasons
to hate the Republic and the Jedi. The Force is with Aayla, but she
may need more than her lightsaber against The Deadly Hands of
Shon-JuA"!
More than 70 works of Hogarth include musical references, and
Jeremy Barlow's book is the first full-length work devoted to this
aspect of his imagery. The first two chapters examine the evidence
for Hogarth's interest in music and the problems of assessing
accuracy, realism and symbolic meaning in his musical
representations. Subsequent chapters show how musical details in
his works may often be interpreted as part of his satirical
weaponry; the starting point seems to have been his illustrations
of the clamorous 'rough music' protest in Samuel Butler's immensely
popular poem Hudibras. Hogarth's use of music for satirical
purposes also has connections with a particular type of burlesque
music in 18th-century England. It may be seen too in the roles
played by his humiliated fiddlers or abject ballad singers. Each of
the final two chapters focuses on a particular Hogarth subject: his
paintings of a scene from a theatrical satire of music and society,
The Beggar's Opera, and the print The Enraged Musician itself. The
latter work draws together uses of musical imagery discussed
previously and the book concludes with an analysis of its internal
relations from a musical perspective. The book is lavishly
illustrated with Hogarth's drawings, prints and paintings. Many
other images are reproduced to provide contextual background.
Several indices and appendices enhance the book's value as a
reference tool: these include an annotated index of Hogarth's
instruments, with photographs or other representations of the
instruments he depicts; a detailed index of Hogarth's works with
musical imagery; the texts and music for broadside ballads and
single-sheet songs related to Hogarth's titles; 18th-century texts
and street cries related to Hogarth's The Enraged Musician, and
other musical examples indicated in the text. Also included is a
facsimile of Bonnell Thornton's burlesque Ode on St CA|cilia's Day.
More than 70 works of Hogarth include musical references, and
Jeremy Barlow's book is the first full-length work devoted to this
aspect of his imagery. The first two chapters examine the evidence
for Hogarth's interest in music and the problems of assessing
accuracy, realism and symbolic meaning in his musical
representations. Subsequent chapters show how musical details in
his works may often be interpreted as part of his satirical
weaponry; the starting point seems to have been his illustrations
of the clamorous 'rough music' protest in Samuel Butler's immensely
popular poem Hudibras. Hogarth's use of music for satirical
purposes also has connections with a particular type of burlesque
music in 18th-century England. It may be seen too in the roles
played by his humiliated fiddlers or abject ballad singers. Each of
the final two chapters focuses on a particular Hogarth subject: his
paintings of a scene from a theatrical satire of music and society,
The Beggar's Opera, and the print The Enraged Musician itself. The
latter work draws together uses of musical imagery discussed
previously and the book concludes with an analysis of its internal
relations from a musical perspective. The book is lavishly
illustrated with Hogarth's drawings, prints and paintings. Many
other images are reproduced to provide contextual background.
Several indices and appendices enhance the book's value as a
reference tool: these include an annotated index of Hogarth's
instruments, with photographs or other representations of the
instruments he depicts; a detailed index of Hogarth's works with
musical imagery; the texts and music for broadside ballads and
single-sheet songs related to Hogarth's titles; 18th-century texts
and street cries related to Hogarth's The Enraged Musician, and
other musical examples indicated in the text. Also included is a
facsimile of Bonnell Thornton's burlesque Ode on St CA|cilia's Day.
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Star Wars: Rebels (Paperback)
Martin Fisher, Jeremy Barlow, Alec Worley; Illustrated by Bob Molesworth, Ingo Roemling
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R937
R782
Discovery Miles 7 820
Save R155 (17%)
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Ships in 10 - 15 working days
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The war against the Empire continues! Months after the Death Star's destruction, the Rebel Alliance has begun the fi ght to take apart the Empire piece by piece. Rebel strategist Jorin Sol has been rescued from the enemy's clutches - but is he now friend or foe? And Luke Skywalker's childhood friend, Imperial Lieutenant Janek "Tank" Sunber, claims he wants to join the Rebellion - but Princess Leia thinks it's a trap. Can Luke still trust his old friend? Plus: The cross-time "Vector" saga continues! Bounty hunter Boba Fett takes on a series of deadly assignments! Lando Calrissian moves to Cloud City - and much more!
COLLECTING: STAR WARS: REBELLION (2006) 1-16; STAR WARS: BOBA FETT - OVERKILL (2006) 1; STAR WARS: BOBA FETT (1997) 1/2; MATERIAL FROM STAR WARS: KNIGHTS OF THE OLD REPUBLIC/REBELLION (2006) 0; STAR WARS TALES (1999) 3, 15, 17, 21
The Complete Country Dance Tunes from Playford's The Dancing Master
is the classic compendium of English country dance tunes. First
published in 1651 it went through eighteen editions in almost 80
years. In its day it was the most popular collection of its kind
and engendered numerous imitations. The tunes selected by Playford
and his successors were taken from many sources and demonstrate the
extraordinary richness and vitality of popular melody in England
during the late 17th and early 18th centuries. This book brings
together, for the first time under one cover, 535 tunes and their
variants from the eighteen original editions. It provides a fund of
musical material for performers, whether folk musicians or baroque
instrumentalists, and for class and instrumental music teachers. It
is also an invaluable reference book for anyone interested in the
history of English music.
John Rich (1692-1761) was a profoundly influential figure of the
eighteenth-century London stage. As producer, manager, and
performer, he transformed the urban entertainment market, creating
genres and promotional methods still with us today. This volume
gives the first comprehensive overview of Rich's multifaceted
career, appreciation of which has suffered from his performing
identity as Lun, London's most celebrated Harlequin. Far from the
lightweight buffoon that this stereotype has suggested, Rich-the
first producer of The Beggar's Opera, the founder of Covent Garden,
the dauntless backer of Handel, and the promoter of the principal
dancers from the Parisian opera-is revealed as an agent of changes
much more enduring than those of his younger contemporary, David
Garrick. Contributions by leading scholars from a range of
disciplines-theatre, dance, music, art, and cultural
history-provide detailed analyses of Rich's productions and
representations. These findings complement Robert D. Hume's lead
article, a study that radically alters our perception of Rich.
Published by University of Delaware Press. Distributed worldwide by
Rutgers University Press.
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