Sabtu, 20 September 2014

>> PDF Ebook The A to Z of American Theater: Modernism (The A to Z Guide Series), by James Fisher, Felicia Hardison Londré

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The A to Z of American Theater: Modernism (The A to Z Guide Series), by James Fisher, Felicia Hardison Londré

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The A to Z of American Theater: Modernism (The A to Z Guide Series), by James Fisher, Felicia Hardison Londré

The 50-year period from 1880 to 1929 is the richest era for theater in American history, certainly in the great number of plays produced and artists who contributed significantly, but also in the centrality of theater in the lives of Americans. As the impact of European modernism began to gradually seep into American theater during the 1880s and quite importantly in the 1890s, more traditional forms of theater gave way to futurism, symbolism, surrealism, and expressionism. American playwrights like Eugene O'Neill, George Kelly, Elmer Rice, Philip Barry, and George S. Kaufman ushered in the Golden Age of American drama. The A to Z of American Theater: Modernism focuses on legitimate drama, both as influenced by European modernism and as impacted by the popular entertainment that also enlivened the era. This is accomplished through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on plays; music; playwrights; great performers like Maude Adams, Otis Skinner, Julia Marlowe, and E. H. Sothern; producers like David Belasco, Daniel Frohman, and Florenz Ziegfeld; critics; architects; designers; and costumes.

  • Sales Rank: #6333374 in Books
  • Brand: Brand: Scarecrow Press
  • Published on: 2009-09-02
  • Released on: 2009-09-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.57" h x 1.44" w x 5.72" l, 1.87 pounds
  • Binding: Paperback
  • 616 pages
Features
  • Used Book in Good Condition

About the Author
James Fisher is professor of theater and head of the theatre department at the University of North Carolina at Greensboro. Felicia Hardison Londré is Curators' Professor of Theater at the University of Missouri-Kansas City and Honorary co-founder of Heart of America Shakespeare Festival.

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0 of 0 people found the following review helpful.
Much needed American theatrical resource. Review written from former student of Professor Londre in Graduate Am. Theater Class
By Dave75
I must admit that though I have not read this particular volume, Professor Londre was my teacher in graduate school on the history of American Theater. We used her then-unpublished manuscripts of the history of American theater as our material, and she is a master on the subject. I'm only too ready to recommend this much-needed dictionary as a compendium to her rich knowledge of American Theater history, and am excited to see it in Kindle form. Particularly, I am tutoring an International Baccalaureate student in "Literature and Performance: SL" right now, and have been looking for reference material to explain certain dramatic material. So even though not having utilized this particular reference guide, I am more than qualified to recommend personally the knowledge, depth, and passion for American theater history Professor Londre's possesses. Further, she was recently recognized by the Lincoln Center's prestigious and unparalleled Performing Arts Library for her continuing contribution to American Theater Scholarship. I am unfortunately less familiar with the work of James Fisher, but I can unequivocally state that a mutual collaboration between Professor Londre can only mean one with a serious, engaged, and knowledgeable scholar. Excellent source, exactly what I was looking for, and will be invaluable to me in my own teaching from now on.

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Kamis, 18 September 2014

! Free PDF Paul Clayton and the Folksong Revival (American Folk Music and Musicians Series), by Bob Coltman

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Paul Clayton and the Folksong Revival (American Folk Music and Musicians Series), by Bob Coltman

A scholar and a balladeer, Paul Clayton (1931-1967) is credited with the Top-Ten hit "Gotta Travel On" and was a key figure in the mid-1950s rise of folksong to media popularity. Clayton single-handedly brought hundreds of obscure folksongs to the mainstream radio and recording market, and he influenced listeners and friends from Dave Van Ronk to Bob Dylan, who considered Clayton a mentor, "mindguard," and well of folksong. Paul Clayton and the Folksong Revival is the first biography of the folk singer and song collector.

Using accounts from friends, family, and fellow musicians, author Bob Coltman relates the breadth and depth of Clayton's extraordinary life, from his birth into a singing family and his teenage years as a radio singer and folksong collector, to his establishment in New York as a folk performer and recording artist, to his tragic early suicide. Clayton's recordings are also examined, interspersed with his insights and adventures as a performer and songwriter in the folk world. Gradually, Clayton's achievements become overwhelmed by his disintegration as a drug user, failing musician, and bipolar gay man, culminating in eyewitness accounts relating to his tragic end.

Presenting an in-depth look at folk music in the 1950s, Coltman illuminates what it meant to be a working, but not starring, folksinger in this period. With quotes from a number of folksongs, a discographic summary, and a bibliography, this volume brings to life this intelligent, perceptive, and largely unknown scholar-folksinger.

  • Sales Rank: #3598147 in Books
  • Published on: 2008-09-05
  • Released on: 2008-09-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.10" h x .79" w x 6.05" l, 1.20 pounds
  • Binding: Paperback
  • 336 pages

Review
Well-researched tome. (Craig Harris Dirty Linen, June 2009)

Coltman's book is thoroughly detailed and annotated, with interviews with colleagues, family, friends, lovers and creative collaborators. . . . Bob Coltman's friendly prose, eye for detail and exceptional research capture a significant, if overlooked, player in the mid-century folk revival. . . . Recommended. (Sing Out!, July 1, 2009)

Coltman's book was published in 2008, and it is a fine study of a nearly forgotten but still significant figure in the folksong revival of the 1950s and 1960s. The discography is useful, especially in its listing of non-commercial recordings, but equally fascinatingis the appendix of Clayton's copyrighted songs, divided into original compositions hybrids, and traditional songs. While there may not be many who have been longing for a book-length biography of Paul Clayton exists, there may be more people discovering the song and voice that I have respected for over twenty years. (Morris S. Levy, December, 2009)

Coltman, writing with obvious love for the time, the music, and the people who made the folk music revival of the mid-1900s a resource for all of us, provides a glimpse into the story of a man often walking the thin line between genius and insanity. As one who lived that era, I relived many times, places, and feelings reading this book. A must-read for old folkies, scholars of the folk revival, and indeed anyone who wants to read a vivid portrait of a man possessed with immeasurable talent and demons who left an indelible footprint on the folk music of his time." (Ed Trickett, folk recording artist)

About the Author
Bob Coltman is a traditional folksinger, writer, and composer of several folk standards, and has published articles in Old Time Music and JEMFQ. He is a contributor to Exploring Roots Music: Twenty Years of the JEMF Quarterly (Porterfield, ed., Scarecrow Press, 2004).

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6 of 6 people found the following review helpful.
The Folk Revival--It's ups and downs
By Arthur Thieme
Bob Coltman's book on Paul Clayton and his era of the Folk Song Revival in the USA is right on. From where I sat within the revival, he was a valued finder/collector of these songs. As a singer of traditional ballads and story songs, Paul Clayton put the tale in the songs first---even before himself--possibly partially because of his own vocal limitations. --- After reading this illuminating and sad story of his life, I come away feeling that his life might've been happier if he had been satisfied with being what he did best, a singer and interpreter of traditional material. As Bob Coltman analyzes here quite eloquently, the changing musical times and tastes, the intrusion of pop/Beatles/rock/Dylan and all that that entails (made vibrant in these pages) created a gestalt that Paul could not deal with adequately at all. His guilt and self recrimination from being gay in a time when it was not at all accepted in American life, is poignant, tragic, and sadly ironic as we in the 21st century try to live our ideals in a more enlightened way than our forebears ever would consider. His frustrations with the tremendous successes of his "friend" Bob Dylan -- combined with the fact that many who were there felt Bobby had "taken" one of Paul's found songs and made a million selling song when Peter Paul and Mary recorded it. Paul Clayton's life is filled with the ups and deep downs that flesh is heir to---and it's all in this fine biography of a very sensitive bipolar man who, after hitting bottom, saw the only way to end his pain was to end his own life.

Another sad irony is that, in our time, we now have psychiatric drugs to alleviate many of Paul Clayton's symptoms. ---- I met him only once---and he taught me a song -- a vivid and transporting folk song lyric that I sang for the next 30 years. --- Also, listen to Bob Coltman's fine recordings of folk songs -- and especuially his own composed songs like "Lonesome Robin" and "Before They Close The Minstrel Show." You won't be sorry. (I just had to toss that in.---A.T. ;-)

Art Thieme

7 of 7 people found the following review helpful.
A spellbinding read,and lingering mistery revealed
By Bill Clifton
An extraordinarily well-documented and insightful view into the life and times of, perhaps, the finest interpreter of traditional folksong in the 20th century...and the movement that gave birth to the 1960s folk revival. Coltman writes with creativity and enthusiasm and an uncanny ability to interpret the life of a very complex character who dominated the folk scene in the U.S. in the 1950s...a truly gifted genius in the field of songwriting and performance, as well as a seer (he foresaw in early 1961 that Bob Dylan was destined to be a superstar!).
Through extensive interviews with both sides of Paul's family, we learn of the impact on him that came from his mother's side, and of the old ballads he learned orally from members of the Hardy family...most particularly the whaling ballads that had gained prominence in his hometown of New Bedford, Massachusetts. He listened eagerly and learned well...and shared his knowledge as widely as possible through radio (establishing his own program on a station in Charlotte Town, Prince Edward island, Canada, at the tender age of 16) and live performances and recording (not only of himself).
When Dylan responded to New York Times writer Robert Shelton's question as to which folksingers he admired, by saying "There's only one...and that's Paul Clayton...he's a spell", it encouraged Clayton to consider Dylan a disciple. And, while there is no hard evidence to support it (and Coltman does not prognosticate), there are those of us who had Paul as a personal friend for many years prior to his association with Dylan...as well as during those years) who believe that Paul's deep depression and eventual suicide were in some way connected to a cross-country tour that they (along with a couple of others) took together in early 1964...a trip which was described to me by Clayton as a "LOOK-SEE TOUR of AMERICA". Bob Coltman surmises that Paul became excess baggage, more or less, a position that would never have been acceptable to him.
For those of us who were not living or working in New York City in the mid 60s, Coltman has put together a fascinating word-picture of the events that occurred during the days leading up to Clayton's suicide, by electrocution, just a few short weeks after his 36h birthday in March 1967.
Coltman concludes his excellent book with an Appendix of Paul Clayton's copyrighted songs. And if this reviewer is to find any shortcoming at all in Coltman's work, I shall have to find it here. While he admits that he has not heard all of the songs, he still cannot resist making educated guesses. For example: He describes LAZY COURTSHIP as "maybe a takeoff on courting ballads like DEAF WOMAN'S COURTSHIP, whereas it is simply an alternative title to THE YOUNG MAN WHO WOULDN'T HOE CORN. JIM HARFIELD'S SON, he correctly concludes may be an original. Paul based the text of the song on documents from the trial in Frankfort, KY...something which Coltman could hardly be expected to know. So...the Appendix may not provide all the information about every single song, but it is an invaluable reference to the complete catalog of Clayton's copyrighted material.
Following the Appendix, a DISCOGRAPHIC provides complete and accurate information about Clayton's incredibly long list of recorded projects (Most-Recorded Folk Singer in the 1950s) including non-commercial transcriptions that can be heard at The Library of Congress, the Flanders Archive, or Kenneth Goldstein Archive, University of Massachusetts, Dartmouth.
NOTES, GENERAL INDEX, and INDEX OF SONG TITLES completes this "labor of love"...a treasure-trove of valuable information that deserves a special place in out hearts, and a place of honor on your bookshelf.

Bill Clifton

2 of 2 people found the following review helpful.
a long time comin'
By larry hoffman
Mr. Coltman's book is insightful, thoughtful, and probing-- replete with a professional scholar's assessment of Mr. Clayton's achievements and history. This academic orientation does not temper the author's empathetic and all-encompassing look at the artist/scholar's ebullient and tragic personal life, however.

Having known Paul Clayton at the University of Virginia while a young aspiring guitarist/folksinger/English major back in the 1960's, I can attest to the accurate nature of this portrait. I was amazed to read of the many Paul Clayton's I did NOT know, however. Clayton was perhaps the most hypnotic,enigmatic person I have ever known--certainly among the most unforgettable.

On another count, this work is essential reading for anyone interested in the confluence of people and events that shaped and motivated the revolutionary folk music revival of the 1960's --especially as it unfolded in the streets, apartments, and clubs of Greenwich Village (Paul had already been there for over a decade!)

Dave Van Ronk, Bob Dylan, Phil Ochs, Carolyn Hester-all --and so many more--"came up" in one way or another under the influence and mentoring of the under-heralded composer of "Don't Think Twice" and "Gotta Travel On"---the singular Paul Clayton. Perhaps this stunning volume will help give Mr. Clayton his rightful, long-awaited, albeit posthumous place in the history of American folk music.

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^^ Free Ebook The A to Z of Islam (The A to Z Guide Series), by Ludwig W. Adamec

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There is both unity and variety in the Islamic world. Muslims are not a homogeneous people who can be explained solely by their normative texts: the Koran and the Sunnah. Muslims differ vastly in their interpretation of Islam: modernists want to reinterpret Islam to adapt to the requirements of modern times while traditionalists tend to look to the classical and medieval periods of Islam as their model of the Islamic state. The A to Z of Islam presents a concise overview of Islamic history, religion, philosophy, and Islamic political movements. This is done through a chronology, an introductory essay, a bibliography, and cross-referenced dictionary entries, which include the biographies and thoughts of medieval thinkers, as well as those of modern members of the religious and political establishments. Articles describe the major sects, schools of theology, and jurisprudence, as well as aspects of Islamic culture. Together, this book represents a brief introduction to the field of Islamic studies.

  • Sales Rank: #4344260 in Books
  • Brand: Brand: Scarecrow Press
  • Published on: 2009-09-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.53" h x 1.20" w x 5.65" l, 1.55 pounds
  • Binding: Paperback
  • 520 pages
Features
  • Used Book in Good Condition

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0 of 0 people found the following review helpful.
Muslim Islam encyclopedia dictionary
By William Garrison Jr.
"The A to Z of Islam" by Ludwig Adamec (2nd ed. 2009), in English, 459 pgs. CAUTION!! Besides having different intro press-release info & ISBNs, this book is EXACTLY the same as the author's "Historical Dictionary of Islam" (2nd ed. 2009)!!! "A-Z" ISBN is 978-0-8108-7160-1 (paperback), whereas "Dictionary" is 978-0-8108-6161-9 (cloth) - SAME # of pages, SAME text !!! Highly Recommended. What I really like about this (encyclopedia) book is its many pages (343 pages) of wide-breadth scope of Islamic-related topics. Sadly, only 75% of the pages are devoted to Islamic-encyclopedic use; with the remaining quarter being a `Bibliography' of books pertaining to many Islamic-related topics - nonetheless, this book would still be useful even if its Bibliography had been excluded. Sadly, many other `popular' Islamic-related encyclopedias are short (less than 200 pages). This book covers many (short) topics: ghazw, muhtasib, economics, wahy, Nizariyyah, 'Year of Deputations', politics: Mirza Sultan-Galiev, history, Wasil ibn Ata, legal, government, millat, individuals, mihna, 'the White Streak', Islamist groups, even `Londonistan'. Other likeable aspects include that whatever topic is discussed it will very frequently include the appropriate Arabic word. If I recall my youthful Sunday School teachings, Jews consider the Prophet Abraham (Ibrahim) as being Jewish; the author contends that Abraham was not (p. 10) - but that he was just a monotheist. Of relevance here is that the author does not state that Muslims consider Abraham to be a Muslim, and the entire Issac/Ishmael "oldest son" dispute is overlooked as to whether the Jews or Muslims are to have primary ownership of Israel-Palestine. The author sees `devshirme' of Christian boys as a `levy' rather than enslavement (p. 82). The author maintains that Muhammad married Jewish and Christian female captives for `political reasons' rather than lustful (p.330). Doesn't really `critique' Islamic beliefs. Still -- informative. [Also worthy: "Islamic Desk Reference" by van Donzel; "A Glossary of Islamic Terminology" by B.S. Abughosh.]

0 of 0 people found the following review helpful.
Islam - Muslim encyclopedia & bibliography
By William Garrison Jr.
"The A to Z of Islam" by Ludwig Adamec (2nd ed. 2009), in English, 459 pgs. CAUTION!! Besides having different intro press-release info & ISBNs, this book is EXACTLY the same as the author's "Historical Dictionary of Islam" (2nd ed. 2009)!!! "A-Z" ISBN is 978-0-8108-7160-1 (paperback), whereas "Dictionary" is 978-0-8108-6161-9 (cloth) - SAME # of pages, SAME text !!! Highly Recommended. What I really like about this (encyclopedia) book is its many pages (343 pages) of wide-breadth scope of Islamic-related topics. Sadly, only 75% of the pages are devoted to Islamic-encyclopedic use; with the remaining quarter being a `Bibliography' of books pertaining to many Islamic-related topics - nonetheless, this book would still be useful even if its Bibliography had been excluded. Sadly, many other `popular' Islamic-related encyclopedias are short (less than 200 pages). This book covers many (short) topics: ghazw, muhtasib, economics, wahy, Nizariyyah, 'Year of Deputations', politics: Mirza Sultan-Galiev, history, Wasil ibn Ata, legal, government, millat, individuals, mihna, 'the White Streak', Islamist groups, even `Londonistan'. Other likeable aspects include that whatever topic is discussed it will very frequently include the appropriate Arabic word. If I recall my youthful Sunday School teachings, Jews consider the Prophet Abraham (Ibrahim) as being Jewish; the author contends that Abraham was not (p. 10) - but that he was just a monotheist. Of relevance here is that the author does not state that Muslims consider Abraham to be a Muslim, and the entire Issac/Ishmael "oldest son" dispute is overlooked as to whether the Jews or Muslims are to have primary ownership of Israel-Palestine. The author sees `devshirme' of Christian boys as a `levy' rather than enslavement (p. 82). The author maintains that Muhammad married Jewish and Christian female captives for `political reasons' rather than lustful (p.330). Doesn't really `critique' Islamic beliefs. Still -- informative. [Also worthy: "Islamic Desk Reference" by van Donzel; "A Glossary of Islamic Terminology" by B.S. Abughosh.]

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Senin, 15 September 2014

? Ebook The A to Z of Utopianism (The A to Z Guide Series), by Andrea L Kross

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This reference contains more than 600 cross-referenced dictionary entries on utopian thought and experimentation that span the centuries from ancient times to the present. The text not only covers utopian communities worldwide, but also its ideas from the well known such as those expounded in Thomas More's Utopia and the ideas of philosophers and reformers from ancient times, the Middle Ages, the Renaissance, the Enlightenment, and from notable 20th-century figures. Included are the descriptions of utopian experiments attempted in the United Sates, like those of the Shakers, Oneida, Robert Owen, and the Fourierists, and elsewhere throughout the world from Europe to Australia, Latin America, and the Far East. Major utopian literary works and their literary counterparts and dystopian novels are also profiled because these have fueled the fires of time-honored arguments about the feasibility of creating a perfect society. From the early theoreticians and thinkers who proposed republican, democratic, and authoritarian innovations; to those who sought equality of classes, races, and genders; to those who insisted on hierarchy under a supreme leader, or god; and to those who had more practical economic, social, and ethical plans, this reference enables the reader to explore the Western mind's desire to improve the world and the lives of the people within it as utopianism has persisted over the centuries.

  • Sales Rank: #3881537 in Books
  • Published on: 2009-06-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.57" h x 1.01" w x 5.60" l, 1.30 pounds
  • Binding: Paperback
  • 432 pages

About the Author
James M. Morris is professor emeritus at Christopher Newport University where he taught American history, American military history, and Russian history. Andrea L. Kross is a freelance writer and former implementation consultant at Innovative Interfaces, Inc., a company that provides data profiling and indexing services to libraries across the nation.

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~~ Download PDF The Pianist's Craft: Mastering the Works of Great ComposersFrom Scarecrow Press

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No pianist can experience the full flowering of her art without eventually grappling with those great musical minds who composed specifically for piano. In The Pianist's Craft, Richard Anderson collects from his fellow pianist-scholars 19 articles on the teaching, preparation, and performance of works by the greatest composers in the standard piano repertoire. This collection ranges in subject matter from Inge Rosar's meditation on playing Bach on the modern keyboard to Gary Amato's assessment of Haydn's sonatas, from Christie Skousen's review of tone production in Chopin to GwenolynMok's foray into recreating Ravel's works on an Erard piano, the same used by Ravel himself.

Readers will find essays as well on Mozart's piano compositions, Beethoven's sonatas, the influence of Schubert's lieder on his piano works, and works by Schumann, Liszt, Brahms, Debussy, Rachmaninoff, Scriabin, Prokofiev, Shostakovich, Bartók, Gershwin, and Crumb. The contributors—all recognized nationally and internationally for their contributions as performing artists, teachers, recording artists, and clinicians—write thoughtfully about the composers whose work they have studied and played for years. Each author addresses issues unique to the individual composer they have chosen to explore, examining questions of phrasing, tempo, articulation, dynamics, rhythm, color, gesture, lyricism, instrumentation, and genre. Valuable insight is provided into teaching, performing, and preparing these great works.

In The Pianist's Craft these great artists and teachers answer questions for readers that are otherwise only addressed in conferences, master classes, and private lessons. In this collection of essays, key points of information and instruction are offered with over 200 musical examples included as illustration. The Pianist's Craft is intended for teachers and students of the intermediate and advanced levels of piano, instructors and performers at the university level, and those who love piano and piano music generally.

  • Sales Rank: #1030484 in Books
  • Published on: 2011-12-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.47" h x .97" w x 6.38" l, 1.30 pounds
  • Binding: Hardcover
  • 304 pages

Review
Each of this collection's 19 essays--all written by concert pianists, recording artists, college professors, scholars, mostly from the US but a few with international credentials--deals with the music of a single famous composer. Anderson (Brigham Young Univ.) did not impose a particular format for the essays and so they vary significantly in length and the depth with which the contributors discuss their assigned composer. Though each essay provides interesting information on the performance practices for the composer (tempi, phrasing, articulation, rhythm, and so on) and an overall survey of the composer's output, essays by Susan Duehlmeier (on Franz Shubert), Barbara Nissman (Sergei Prokofiev), and Jeffrey Jacob (George Crumb) rise above the rest. Louis Nagel's contribution proved to be the most fun, with the question and answer format so closely connected to the writings and music of Robert Schumann, the subject of his essay. The 250 musical illustrations throughout the essays are helpful in clarifying the concepts presented. The audience for this book is those who already have significant piano background and who might gain from the master-teacher experience and knowledge of these writers on their specialty. Summing Up: Recommended. (CHOICE)

The Pianist's Craft is a collection of 19 essays discussing the teaching, preparation, and performance of some of the most accomplished piano composers. Included are works by Bach, Haydn, Gershwin, Brahms, Liszt, and Chopin. The contributors are all recognized contributors to piano composition and include artists, teachers, recording artists, and clinicians. They discuss in depth such topics as the composer's tempo, articulation, dynamics, lyricism, and instrumentation. This book is meant for those studying piano at the advanced level, including pianists, instructors, and music scholars. (American Reference Books Annual)

The book is a wonderful resource for teachers and students at the intermediate to advanced level of performance. Each chapter is devoted to a single composer; one author writes about the preparation, teaching and performing of that composer's works with regard to tempo, articulation, dynamics, ornamentation, repetitions and pedaling. More that 250 musical examples are included in the book.

Additionally, unique influences on each composer are discovered, creating better understanding and interpretation of the music

One will be grateful for the advice given on how to approach the technical demands found in the compositions of Rachmanioff and Scriabin and will be rewarded with information satisfying one's curiosity about Scriabin's synesthesia

...an imperative read, and an indispensable aid to the pianist (American Music Teacher)

Although most of the authors focus on the advanced literature, many of the fine ideas can be applied to the intermediate-level teaching repertoire. This book would be most helpful for experienced teachers or performers wishing to expand their understanding of the keyboard repertoire under the guidance of expert scholars and master teachers. (Clavier Companion)

About the Author
Richard Paul Anderson is associate professor in the School of Music at Brigham Young University, where he has served for 39 years as a member of piano faculty. An author, teacher and composer, he also teaches theory and composition and coordinates the Group Piano programs for music majors and non-music majors. Anderson is the author of Beginning Piano Techniques (2006) and Ensemble: Keyboard Proficiency for the Music Major (2002), and he is also the co-author of Simple Steps to Playing the Piano (1999).

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17 of 21 people found the following review helpful.
a definite mixed bag with its own problems
By Donald Manildi
Editor Anderson has rounded up 19 colleagues, most of them academicians, a few being recognized performers, each of whom deals in their own fashion with a single composer. The 19 composers chosen (ranging from Bach to Crumb) represent the bulk of the standard piano repertoire. The essays run from about 8 to 15 pages, and most include some musical examples.

The book does not begin promisingly. Hilary Demske writes about the many diverse elements of Scarlatti's keyboard writing. She emphasizes how those elements invite similar diversity of approach from pianists--who she encourages to develop "deeply personal" interpretations, based on clean, unedited editions. All well and good, but she does not identify any such editions whatsoever, thus missing a major opportunity to assist her readers by comparing and evaluating the many available. Nor does she seem aware of Ralph Kirkpatrick's extensive, highly illuminating preface to his urtext of 60 Scarlatti sonatas (Schirmer), which aims at producing just the kind of informed interpretation that Ms. Demske advocates.

Next, Inge Rosar discusses Bach interpretation. She is a disciple of the late Walter Blankenheim (not well-known outside Germany), and she makes the astonishing statement that "I must thank [him] for all that I have learned about Bach." Apparently no other scholars, performers, recordings, written sources, personal discussions, or individual experiences have had any influence on her! She describes Blankenheim's ideas on such topics as phrasing and articulation (some worthy of consideration, others debatable), but as far as further references are concerned, which would again enlighten the interested reader, she mentions none (not even Paul Badura-Skoda's widely-praised book).

A chapter on Schubert's solo piano works by Susan Duehlmeier swarms with so many factual errors that it cannot be relied upon. A few examples (there are still more): she claims that Moment Musical No.4 contains "flowing triplet motion." (There are no triplets at all in that work.) She says the first Impromptu of Op.90 is "in C Major" (it's C Minor), and the fourth Impromptu is "in A-Flat Minor" (it's A-Flat Major). Duehlmeier believes that the Wanderer Fantasy is derived from a song called "Der Wandern", apparently confusing the actual source ("Der Wanderer") with "Das Wandern," which is completely unrelated. Her shaky command of German is also revealed in her mention of the cycle that Schubert titled simply "Winterreise," which she calls "Der Winterreise." In an aside, she claims that Ravel's "Les [sic] Tombeau de Couperin" is based on a Forlane by Couperin, when in fact only one of the six movements of the Ravel work has any such remote connection. In addition, example 6.19, from the Wanderer Fantasy, is missing a crucial d-natural on the third beat.

(In a recent email communication, Duehlmeier hopes that these (and other) mistakes can be corrected if there is a second edition of the book. The time to catch errors--especially ones so profuse and egregious as these--is before, not after, publication.)

Fortunately, matters are better in the chapters on Haydn, Mozart, and Beethoven. Gary Amano delves into many aspects of Haydn's writing by examining an early sonata. This approach could be useful to students. The Mozart section, by Norman Krieger, contains valid observations on the differences between modern pianos and the instruments of Mozart's day. (Once again, however, no suggestions for further reading, listening, or investigation are provided.) Beethoven is discussed by Timothy Ehlen who is recording all the sonatas. Although again, additional sources of information are almost unmentioned, he does offer many pertinent examples of how vocal, instrumental and genre references invaded Beethoven's pianistic thinking.

An intriguing question-and-answer format is chosen by Louis Nagel to introduce inexperienced performers to Schumann's output for the piano. I do wonder, however, about the source for his claim that Schumann explicitly stated that the "Sphinxes" section of Carnaval should not be played. The following chapter is by Christie Peery Skousen, who examines the technical means of handling issues of tone and phrasing in Chopin.

Little need be said about the remaining chapters, all of which contain some worthwhile insight within their imposed limitations of space. However, a reasonable question should be asked as to how much an aspiring pianist can actually apply by reading a book. This volume deals with advanced concert repertoire that most players will presumably be preparing under the supervision of a teacher or coach. If, however, they are working entirely independently (for whatever reason), it remains unclear how a perusal of one person's condensed written thoughts on the composer in question--and with few or no additional references given--will actually produce a significant outcome in the act of performance.

4 of 6 people found the following review helpful.
A must-have!
By Mozart
Richard Anderson's "The Pianist's Craft: Mastering the Works of Great Composers" is a must-have for anyone interested in learning more about interpretation, ornamentation, articulation, keyboards, singing tone, rubato, rhythm, color, lyricism, technical demands, and more about 19 composers from 19 authorities on the subjects.

I have found Jeffrey Jacob's comments on George Crumb extremely beneficial as I was learning a piece by Crumb the past few months. I love the chapter on Scriabin's 10th sonata. Scott Holden demonstrates extreme understanding in a fun and descriptive way. Neil Rutman discusses how to master pedaling in the works of Debussy, which some teachers would find very useful. Barbara Nissman is an authority on Prokofiev and her chapter is not to be missed. Irene Peery-Fox and Christie Skousen's chapters are phenomenal with idea on how to help students play, practice, and perform better the works of Rachmaninoff and Chopin.

This book is full of wonderful ideas and is a great resource for any serious piano teacher and student. I love how each chapter is concise and can be thought about and returned to as needed.

Don't miss out on this wonderful opportunity to read so many wonderful ideas about top works by different composers. Richard Anderson has done a phenomenal job putting it all together and letting the writers of each article speak for themselves. I appreciate the uniqueness of this book.

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Minggu, 14 September 2014

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Iraq's Modern Arabic Literature: A Guide to English Translations Since 1950, by Salih J. Altoma

Covering 60 years of materials, this bibliography cites translations, studies, and other writings, which represent Iraq's national literature, including recent works of numerous Iraqi writers living in Western exile. The volume serves as a guide to three interrelated data:

o Translations that have appeared since 1950, as books or as individual items (poems, short stories, novel extracts, plays, diaries) in print-and non-print publications in Iraq and other Arab and English-speaking countries, including Australia, Canada, the United Kingdom, and the United States.
o Relevant studies and other secondary sources including selected reviews and author interviews, which cover Iraqi literature and writers.
o The scope of displacement or dispersion of Iraqi writers, artists, and other intellectuals who have been uprooted and are now living in exile in Arab or other Western countries.

By drawing attention to a largely overlooked but relevant and extensive literature accessible in English, this first of its kind book will serve as an invaluable guide to students of contemporary Iraq, modern Arabic literature, and other fields such as women's studies, postcolonial studies, third world literature, American-Arab/Muslim Relations, and Diaspora studies.

  • Sales Rank: #4862951 in Books
  • Published on: 2010-10-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.01" h x .71" w x 5.82" l, .35 pounds
  • Binding: Hardcover
  • 184 pages

Review
Many thanks are due to Salih J Altoma for his relentless tracking down of translations. (Libyan Fiction)

Altoma has achieved what he has set out to do: he has provided a thorough guide to English translations of Iraq’s modern Arabic literature. In so doing, he has also brought to light important trends in the field....His solid guide invites people from across fields to participate in the promotion of Iraq’s cultural production. Altoma has laid an outstanding foundation for such work. Iraq’s Modern Arabic Literature: A Guide to English Translations Since 1950 benefits from the author’s extensive background in Arabic literature and translation studies, and his past work compiling bibliographical guides. In fact, as an expert in these fields and in Iraqi literature, Altoma is uniquely positioned to write this book. More importantly, though, his dedication to the subject comes through in each page that he writes. It is especially evident in the amount of work and attention to detail that no doubt went into compiling this guide. Anyone interested in Arabic literature in general or Iraqi literature specifically will find this book to be nothing short of a treasure trove. It is also a valuable resource for those interested in the study of diaspora, postcolonial, gender, and translation studies. For the general reader, this guide serves as a timely and important antithesis to the dehumanizing images of Iraq with which the English-speaking world is constantly bombarded. Altoma has masterfully demonstrated that an expanding world of more human representations exists for the English reader. (Digest of Middle East Studies)

About the Author
Salih J. Altoma is professor emeritus of Arabic and Comparative Literature at Indiana University. His publications include The Problem of Diglossia in Arabic: A Comparative Study of Classical and Iraqi Arabic (1969), Modern Arabic Literature: A Bibliography of Articles, Books, Dissertations, and Translation in English (1975), Modern Arabic Poetry in English Translation: A Bibliography (1993), and Modern Arabic Literature in Translation: A Companion (2005).

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Sabtu, 13 September 2014

!! Download PDF Get the Callback: The Art of Auditioning for Musical Theatre, by Jonathan Flom

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Get the Callback: The Art of Auditioning for Musical Theatre, by Jonathan Flom

Get the Callback: The Art of Auditioning for Musical Theatre, by Jonathan Flom



Get the Callback: The Art of Auditioning for Musical Theatre, by Jonathan Flom

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Get the Callback: The Art of Auditioning for Musical Theatre, by Jonathan Flom

The easy-to-use handbook Get the Callback: The Art of Auditioning for Musical Theatre offers practical advice on all the facets of auditioning, walking the reader step by step through the audition process, explaining what to expect, how to behave, and how to prepare for a winning audition. It also coaches the actor through the ins and outs of pursuing a career in musical theatre. Through his professional and teaching experience, Jonathan Flom presents the material in an easily accessible way. Get the Callback proceeds chronologically through the audition process, beginning with finding auditions and reading and interpreting casting calls. Flom discusses many facets of preparation, including selecting songs and monologues to suit your voice and the audition, organizing and arranging your music, working with the accompanist, and presenting yourself to the directors. He gives a detailed description of the actual audition performance and even offers advice on how non-dancers can survive a dance audition. The book includes valuable information on callbacks and how to field job offers, providing advice on contracts and negotiations. Further information on getting professional headshots, designing a quality resume, and writing winning cover letters is also included, each with examples. Unique to this volume is a chapter on auditioning for college training programs. The book concludes with three appendixes: a list of recommended dos and don'ts, and two lists of appropriate audition repertoire by genre and by actor type, as well as a glossary of terms.

  • Sales Rank: #1150969 in Books
  • Brand: Brand: Scarecrow Press
  • Published on: 2009-07-01
  • Released on: 2009-07-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.14" h x .41" w x 6.09" l, .60 pounds
  • Binding: Paperback
  • 162 pages
Features
  • Used Book in Good Condition

Review
You could sign in and do the auditions, one after another, hoping and wishing and spending month after month, perhaps year after year, wondering why you are getting close but no closer, running in place and not getting callbacks, not getting cast. Or, you could read Jonathan's book and start auditioning like a pro. (Mark Olsen, professor of Acting and Movement, Penn State University School of Theatre)

Jonathan Flom has put together the perfect resource for performers ready to enter the audition circuit. Whether you are a high school student ready to audition for college theatre programs, or a college student entering the professional world, this book is a must read. What a wonderful and much needed resource. It will be an integral part of my curriculum. (Lori Sessions, Theatre Director, JP Taravella High School, Coral Springs, FL)

This handbook offers practical advice on all the facets of auditioning for musical theater in high school and college students, with an entire chapter devoted to auditioning for college training programs. (Reference and Research Book News, November 2009)

Those beginning a career in musical theater will be served by the discussions of preparation for, performance in, the process of, and departure from auditions. Flom provides real-world insight into this truly unique, often-neglected performance area. Recommended. (CHOICE, January 2010)

Jonathan Flom has written from his heart and vast experience an easy-to-read, user-friendly book. . . . The book offers practical and immediately usable advice on all facets of auditioning. . . . The audition tips Flom gives in the book are universal to all artists. . . . Advice and tips are offered in great detail as he takes the reader through every aspect of an audition. (Movie Memories Magazine, January 2010)

Listening is one of the greatest gifts we can give each other. Listen to what Jonathan Flom has to say in this book. He's offering you the gifts of his own first hand experiences, education, and expertise in his field. Please read, listen, and learn from what he has carefully put down on paper and the joy of auditioning is easily yours! Well, maybe not easily. But this book is his gift to you so that you can give your gifts to audiences. And isn't that ultimately what auditioning's about?! (Ed Linderman, Composer, Musical Director)

Get the Callback offers a methodic guide to the audition process, from preparation to culmination, whether a curt 'thank you' or a contract. . . . Writes in a straightforward manner with a touch of humor. The format will not intimidate students, but is detailed enough to be useful for the aspiring professional. . . . The style is direct, the writing is economical, and the counsel. . . is practical. . . . A useful and reasonably priced reference source. (Journal of Singing, January/February 2010)

About the Author
Jonathan Flom is assistant professor of Musical Theatre at Shenandoah Conservatory.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Essential and incredibly helpful book!
By History Lover in VA
I purchased this book for my daughter who eats, sleeps, breathes and dreams about being a performer on stage one day. She has learned more by reading the first three chapters of this book than she has from any other!! If you believe you have the talent to be a "triple threat" - or just want to perform on stage, this book will give you the tools, the essentials, and the raw reality-check you need for mastering the audition - and achieve your goal: to get the callback!

1 of 1 people found the following review helpful.
Great Book, Great Concepts
By John D.
We met Mr. Flom at a high school workshop for theatre students and were so impressed with his talk that we went out and bought the book. The preface and conclusion alone offer great advice for the aspiring actor. I'd recommend this book to any actor so they can understand that the audition process is a show itself and they can perform it every day.

1 of 1 people found the following review helpful.
Fabulous resource
By birdmanfl
I'm a newbie, and have found this book to be ideal for guidance about ALL aspects of auditioning. I wish there were books this good, this practical, this comprehensive, this concise in every other endeavor in life!

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