Hollywood film music is often mocked as a disreputably 'applied' branch of the art of composition that lacks both the seriousness and the quality of the classical or late-romantic concert and operatic music from which it derives. Its composers in the 1930s and '40s were themselves often scornful of it and aspired to produce more 'serious' works that would enhance their artistic reputation.
In fact the criticism of film music as slavishly descriptive or manipulatively over-emotional has a history that is older than film - it had even been directed at the relatively popular operatic and concert music written by some of the emigre Hollywood composers themselves before they had left Europe. There, as subsequently in America, such criticism was promoted by the developing project of Modernism, whose often high-minded opposition to mass culture used polarizing language that drew, intentionally or not, upon that of gender difference. Regressive, late-romantic music, the old argument ran, was -- as women were believed to be -- emotional, irrational, and lacking in logic.
This book seeks to level the critical playing field between film music and "serious music," reflecting upon gender-related ideas about music and modernism as much as about film. Peter Franklin broaches the possibility of a history of twentieth-century music that would include, rather than marginalize, film music -- and, indeed, the scores of a number of the major Hollywood movies discussed here, like The Bride of Frankenstein, King Kong, Rebecca, Gone With The Wind, Citizen Kane and Psycho. In doing so, he brings more detailed music-historical knowledge to bear upon cinema music, often discussed as a unique and special product of film, and also offers conclusions about the problematic aspects of musical modernism and some arguably liberating aspects of "late-romanticism."

Experience-based Communication is a powerful tool. Companies can use it to bring their values to life and to make their messages accessible and credible. By communicating in a way that can be both sensed and felt, companies can increase their influence on internal and external stakeholders - and existing and potential customers.

This book teaches you how to architect the way your company is experienced at every real-life touchpoint. How to use physical meetings and locations to create an affinity with a given market segment. And how to engage your audience mentally, physically and socially in order to transform them into loyal customers and willing ambassadors.

If you want to get closer to your target groups, you will find no greater source of inspiration than the methods presented in this book.

"Experience-based Communication fills a much-neglected hole of knowledge in the Experience Economy, simultaneously making the point that proper staging and drama can make experiences more, not less, authentic. As the authors make clear, the Experience Medium IS the communicated message. This book is a very valuable addition to the pantheon of the Experience Economy."

B. Joseph Pine II and James H. Gilmore, co-authors, The Experience Economy and Authenticity: What Consumers Really Want

"I normally dislike business books, and books on communication are often the worst. This book, however, has real personality and is an experience in itself to read. Would that Chief Executives of today's organisations, with their wretched, dismembered, irritating, time-consuming, soul-destroying a ~We value your calla (TM) systems would spare some of their time to read this book, all our liveswould be enriched as a result. It is worth remembering that there are only 100 cents in a Euro, so cost cutting is finite, whereas creating value for customers is infinite and is limited only by our own creativity and imagination. Buy this book. Enjoy it."

Malcolm McDonald, Emeritus Professor at the Cranfield University School of Management

"The book, Experience-Based Communication, highlights some of the most important issues regarding the embodiment of cultural artefacts and manifestos. The architectural utterance is itself experience-based. Setting the stage for human interaction it adds to both history and social behaviour. Read the book. It is an inspirational source to everyone engaged with experience-based communication!"

Mette Kynne Frandsen, CEO and Architect MAA at HENNINGLARSENARCHITECTS

"This book is a must-read for marketers seeking to find alternative ways to engage their target audiences in a deeper dialogue in order to build customer loyalty. In a world where the "new influencers" preside over the all important word-of-mouth, brands need to be able to offer enduring and valuable experiences that are capable of transforming ordinary customers into willing ambassadors. Charting a companya (TM)s experience architecture offers the ability to gauge where they stand and score in their consumersa (TM) hearts, minds and most importantly, lives"

Joseph Jaffe, President and Chief Interruptor, crayon and author of "Join the Conversation"

Written in a highly accessible style and in four parts, this book provides rapid and authoritative access to current ideas and practice in intercultural communication. It draws on concepts and findings from a range of different disciplines and uses authentic examples of intercultural interaction to illustrate points.

Intercultural Interaction provides rapid and authoritative access to current ideas and practice in intercultural communication. Drawing on concepts and findings from a range of different disciplines and using authentic examples of intercultural interaction to illustrate points, it offers a wealth of insights into the process. Part I explores conceptual issues: the nature of culture and intercultural interaction competence; the impact of language and culture on understanding, rapport and impression management; cultural and adaptation processes. Part II deals with practical applications: how competence in intercultural interaction can be assessed and developed. Part III focuses on research: topic areas that can be investigated and methods and approaches for doing so. Part IV provides a rich list of resources for further study. Written in a highly accessible style, the book will appeal to anyone interested in the complex field of intercultural interaction, including students, researchers, professional and practitioners. A multidiscipinary approach to the field of intercultural communication Extensive discussion of authentic examples of intercultural interaction State-of-the-art descriptions of key issues and current practice Rich source of references and resources

'... a person should remain a 'person' and not be frozen into a legend' (Alma Mahler). As a leading European conductor, and the composer of enormous and controversial symphonies, Gustav Mahler (1860-1911) inspired mythologisers in his own lifetime. Some of them were personal friends, concerned to counter biased criticism of him in which German-nationalist, hide-bound traditionalist or anti-semitic elements were often mixed. In this 1997 biography, Peter Franklin re-confronts the myth of Mahler the misunderstood hero and attempts to find the person, or persons, behind the legends: the profoundly sensitive thinker and composer, the dictatorial conductor and husband, the iconoclast, the traditionalist. Mahler's life and work emerge as a battle-ground for some of the major conflicting currents and impulses of his period, in which Empires and ideals struggled with the spectre of their own destruction.

Mahler's Third Symphony was conceived as a musical picture of the natural world. This handbook describes the composition of Mahler's grandiose piece of philosophical program music in the context of the ideas that inspired it and the artistic debates and social conflicts that it reflects. In this original and wide-ranging account, Peter Franklin takes the Third Symphony as a representative modern European symphony of its period and evaluates the work as both the culmination of Mahler's early symphonic style and a work whose contradictory effects mirror the complexity of contemporary social and musical manners. The music is described in detail, movement by movement, with chapters on the genesis, early performance, and subsequent reception of the work.

The Mindful International Manager tackles the management situations that international managers have to handle every day. Accessible and jargon-free it explains how to clarify local vs. international roles, support and develop a team, organize and coordinate boundaries of time and distance, and win commitment toward common goals. The authors, both interculturalists, include exercises and best practice advice and the experiences and insights of practising international managers. They combine their practical approach with great depth of insight into the challenges of working and managing internationally and include the results of new research findings and cutting-edge case studies on topics such as leadership, global nomads, virtual teams, coaching and mentoring across cultures and decision-making.

As a leading European conductor and the composer of enormous and controversial symphonies, Gustav Mahler (1860-1911) inspired mythologizers in his own lifetime. Some of them were personal friends, concerned with countering biased criticism of him in which German-nationalist, hide-bound traditionalist or anti-Semitic elements were often mixed. In this new biography, Peter Franklin reconfronts the myth of Mahler-the-misunderstood-hero and attempts to find the person, or persons, behind the legends. His illuminating biography shows Mahler to be a profoundly sensitive thinker and composer, a dictatorial conductor and husband, an iconoclast and paradoxically, a traditionalist.

Hollywood film music is often mocked as a disreputably "applied" branch of the art of composition that lacks both the seriousness and the quality of the classical or late-romantic concert and operatic music from which it derives. Its composers in the 1930s and '40s were themselves often scornful of it and aspired to produce more 'serious' works that would enhance their artistic reputation. In fact the criticism of film music as slavishly descriptive or manipulatively over-emotional has a history that is older than film - it had even been directed at the relatively popular operatic and concert music written by some of the emigre Hollywood composers themselves before they had left Europe. There, as subsequently in America, such criticism was promoted by the developing project of Modernism, whose often high-minded opposition to mass culture used polarizing language that drew, intentionally or not, upon that of gender difference. Regressive, late-romantic music, the old argument ran, was - as women were believed to be - emotional, irrational, and lacking in logic. This book seeks to level the critical playing field between film music and "serious music," reflecting upon gender-related ideas about music and modernism as much as about film. Peter Franklin broaches the possibility of a history of twentieth-century music that would include, rather than marginalize, film music - and, indeed, the scores of a number of the major Hollywood movies discussed here, like The Bride of Frankenstein, King Kong, Rebecca, Gone With The Wind, Citizen Kane and Psycho. In doing so, he brings more detailed music-historical knowledge to bear upon cinema music, often discussed as a unique and special product of film, and also offers conclusions about the problematic aspects of musical modernism and some arguably liberating aspects of "late-romanticism."

Experience-based Communication is a powerful tool. Companies can use it to bring their values to life and to make their messages accessible and credible. By communicating in a way that can be both sensed and felt, companies can increase their influence on internal and external stakeholders - and existing and potential customers. This book teaches you how to architect the way your company is experienced at every real-life touchpoint. How to use physical meetings and locations to create an affinity with a given market segment. And how to engage your audience mentally, physically and socially in order to transform them into loyal customers and willing ambassadors. If you want to get closer to your target groups, you will find no greater source of inspiration than the methods presented in this book. "Experience-based Communication fills a much-neglected hole of knowledge in the Experience Economy, simultaneously making the point that proper staging and drama can make experiences more, not less, authentic. As the authors make clear, the Experience Medium IS the communicated message. This book is a very valuable addition to the pantheon of the Experience Economy." B. Joseph Pine II and James H. Gilmore, co-authors, The Experience Economy and Authenticity: What Consumers Really Want "I normally dislike business books, and books on communication are often the worst. This book, however, has real personality and is an experience in itself to read. Would that Chief Executives of today's organisations, with their wretched, dismembered, irritating, time-consuming, soul-destroying 'We value your call' systems would spare some of their time to read this book, all our lives would be enriched as a result. It is worth remembering that there are only 100 cents in a Euro, so cost cutting is finite, whereas creating value for customers is infinite and is limited only by our own creativity and imagination. Buy this book. Enjoy it." Malcolm McDonald, Emeritus Professor at the Cranfield University School of Management "The book, Experience-Based Communication, highlights some of the most important issues regarding the embodiment of cultural artefacts and manifestos. The architectural utterance is itself experience-based. Setting the stage for human interaction it adds to both history and social behaviour. Read the book. It is an inspirational source to everyone engaged with experience-based communication!" Mette Kynne Frandsen, CEO and Architect MAA at HENNINGLARSENARCHITECTS "This book is a must-read for marketers seeking to find alternative ways to engage their target audiences in a deeper dialogue in order to build customer loyalty. In a world where the "new influencers" preside over the all important word-of-mouth, brands need to be able to offer enduring and valuable experiences that are capable of transforming ordinary customers into willing ambassadors. Charting a company's experience architecture offers the ability to gauge where they stand and score in their consumers' hearts, minds and most importantly, lives" Joseph Jaffe, President and Chief Interruptor, crayon and author of "Join the Conversation"

The only information we have on Atlantis is from a very ancient Egyptian account that describes it as bigger than all their neighbours combined. Why is this fact ignored by most of the fanciful theories? From Atlantis to our current scientific predictions, the truth about so many things becomes clear and obvious only if all the facts are collected and examined, yet many people just select those that agree with their thinking. The resulting conflict between experience and belief, truth and distortion or good and bad, is only resolved when science, philosophy and theology are harmonized and examined as aspects of one universal truth.

The only information we have on Atlantis is from a very ancient Egyptian account that describes it as bigger than all their neighbours combined. Why is this fact ignored by most of the fanciful theories? From Atlantis to our current scientific predictions, the truth about so many things becomes clear and obvious only if all the facts are collected and examined, yet many people just select those that agree with their thinking. The resulting conflict between experience and belief, truth and distortion or good and bad, is only resolved when science, philosophy and theology are harmonized and examined as aspects of one universal truth.

Why are some of the most beloved and frequently performed works of the late-romantic period--Mahler, Delius, Debussy, Sibelius, Puccini--regarded by many critics as perhaps not quite of the first rank? Why has modernist discourse continued to brand these works as overly sentimental and emotionally self-indulgent? Peter Franklin takes a close and even-handed look at how and why late-romantic symphonies and operas steered a complex course between modernism and mass culture in the period leading up to the Second World War. The style's continuing popularity and its domination of the film music idiom (via work by composers such as Max Steiner, Erich Wolfgang Korngold, and their successors) bring late-romantic music to thousands of listeners who have never set foot in a concert hall. "Reclaiming Late-Romantic Music" sheds new light on these often unfairly disparaged works and explores the historical dimension of their continuing role in the contemporary sound world.