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Academy Award-nominated animated feature following the attempts of
a pirate captain to outdo his rivals, featuring the vocal talents
of Hugh Grant, David Tennant and Salma Hayek. Pirate Captain (voice
of Grant) is determined to win the coveted 'Pirate of the Year'
award. He is aware, however, that he will face stiff competition
from other buccaneers including Black Bellamy (Jeremy Piven) and
Cutlass Liz (Hayek). But the Captain has other issues as well.
Queen Victoria (Imelda Staunton) is determined to capture him and
hold him to account for his pirating, while the weight of history
hangs over his encounter with a young man named Charles Darwin
(Tennant).
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
The Annual Review of Jazz Studies is dedicated to scholarly
research on jazz and its related musical forms. It recognizes the
growing awareness of jazz as a cultural phenomenon. All volumes
include numerous musical examples, a book review section, a
portfolio of jazz photographs, and bibliographic surveys. This
volume contains a particularly broad range of articles, both
technical and non-technical, which should appeal to both the jazz
fan and the scholar. ARJS 10 introduces a new feature: "Jazz
Fiction: A Bibliography from Nonjazz Journals," which identifies
many important jazz publications that might otherwise elude
researchers. Researchers will find "Using e-commerce Music Sites
for Discographical Research" a useful survey of Internet resources.
The Louis Armstrong Centennial is heralded by a warm reminiscence
by Dan Morgenstern and a gallery of rare photos from the files of
the Institute of Jazz Studies. Musicological treatments include
articles on McCoy Tyner, Bill Evans, Charlie Parker, and Jimmy
Smith. Several articles examine Thelonious Monk's unique body of
work from different perspectives. In addition, there are reviews of
three recent works about this singular figure. Other book reviews
cover such important contributions as Scott DeVeaux's The Birth of
Bebop and Ingrid Monson's Saying Something: Jazz Improvisation and
Interaction. " The 'Stardust' File" traces the evolution of one of
the music's most enduring standards. Finally, "Busted" tells the
full story of Gene Krupa's arrest in 1943.
The Annual Review of Jazz Studies (ARJS) is a journal providing a
forum for the ever expanding range and depth of jazz scholarship,
from technical analyses to oral history to cultural interpretation.
Addressed to specialists and fans alike, all volumes include
feature articles, book reviews, and unpublished photographs. This
14th issue contains four intriguing articles that to some degree
contravene accepted precepts of jazz orthodoxy. John Howland traces
the connection between Duke Ellington's extended works and the
'symphonic jazz' model of the 1920s as exemplified by Paul Whiteman
and his chief arranger, Ferde GrofZ. Horace J. Maxile Jr. takes an
unfashionably broad perspective of Charles Mingus's 'Ecclusiastics,
' applying recent developments in cultural theory as well as the
formal tools of traditional music theory. Brian Priestley's
exploration of the ties between Charlie Parker and popular music
challenges the canonical depiction of Parker as a lone
revolutionary genius, instead underscoring the saxophonist's ties
to the popular music of his time. Finally, John Wriggle presents an
extensive examination of the life and work of arranger Chappie
Willet, an unsung hero of the Swing Era. The book reviews cover a
cross-section of the burgeoning jazz literature, and Vincent Pelote
has again compiled a list of books received at the Institute of
Jazz Studies.
Counterpoint is a textbook for use as a stand-alone text in a
course on species counterpoint or as a supplementary text for
standard college-level courses in music theory. It is based on
Heinrich Schenker's (1868-1935) two-volume study of counterpoint.
It is intended to help all students of theory or composition to
improve their musicianship by examining the voice-leading that
underlies Western tonal music. The book proceeds by developing
species counterpoint in the tradition of Johann Joseph Fux and his
famous Gradus ad Parnassum (1725), but with attention to Schenker's
more in-depth study. For the sake of brevity, musical examples are
available on the Scarecrow Press website (www.scarecrowpress.com),
rather than within the text itself. Everyone from beginning music
theory students to composers to graduate composition students will
greatly benefit from the methods presented here. Rather than
actually teaching a student to compose, working through these
exercises will improve musicianship as it applies to both
composition and understanding music theory.
Now in paperback! Showcases professional work in the arena of jazz
theory. Among the contributors are scholars of jazz theory as well
as musicians, including four of the founding members of the jazz
section of the Society for Music Theory. The articles offer a close
analysis of a wide variety of jazz styles and span the years from
the 1920s to the 1960s. Feature articles include analyses of the
music of Johnny Dodds, Charlie Parker, Herbie Hancock, Thelonious
Monk and John Coltrane, an overview of jazz theory that examines
its history and purpose, a discussion of linear intervallic
patterns in the jazz repertory, and a review of scientific analyses
of jazz microrhythms. Of great interest to jazz theorists,
performers, educators and critics.
Martin provides a new overall assessment of the importance of
Charlie Parker through an analysis of his improvisations in a
variety of genres. Earlier studies of Parker argue that his style
is based on an extensive network of melodic formulas that are
combined to create solos. Because the same formulas appear
throughout his improvisations regardless of the theme, these
studies concluded that the solos do not usually relate to the
original melodies. Charlie Parker and Thematic Improvisation
provides a much-needed reassessment by showing that Parker's solos
are often related to the original themes in unexpected and
sometimes ingenious ways. The conclusion sums up features of
Parker's style and discusses his contribution in the context of
Western music history. Numerous transcriptions are provided. This
groundbreaking technical study will be of interest to musicologists
and serious students of jazz.
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More William (Paperback)
Richmal Crompton; Illustrated by Thomas Henry; Introduction by Martin Jarvis
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R220
R172
Discovery Miles 1 720
Save R48 (22%)
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Ships in 5 - 10 working days
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William Brown is back in this 100th anniversary edition of More
William, featuring fourteen funny, classic Just William adventures
by Richmal Crompton - updated for a new generation of readers. This
edition featurres timeless original artwork from Thomas Henry, and
an introduction by Martin Jarvis. 'William is as fresh and funny as
ever' - Chris Riddell 'Gloriously funny' - Sue Townsend, author of
The Secret Diary of Adrian Mole Aged 13 3/4 There is only one
William. This tousle-headed, snub-nosed, hearty, lovable ball of
mischief has been harassing his unfortunate family and delighting
his hundreds of thousands of admirers since 1922. William Brown and
the Outlaws are up to their old tricks with more hilarious
mischief, mayhem and muddles. When Aunt Lucy says that 'a busy day
is a happy day', William does his best to keep himself very busy
indeed. Unfortunately, not everyone appreciates his efforts.
Including fourteen fantastic stories, More William is as funny as
ever. This delightful children's classic features the original
inside illustrations by Thomas Henry. Enjoy more of William's
adventures in Just William, William Again, William the Outlaw and
William at Christmas.
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