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Through the hidden or lost Stories of composers, scholars, patrons, performers, audiences, repertoire, venues, and specific works, this volume explores points of intersection between music and queerness in Europe and the United States from 1870 to 1950 - a period during which dramatic changes in musical expression and in the expression of individual sexual identity played similar roles in washing away the certainties of the past."--BOOK JACKET.
The volume for the 50th season, 1940/41, includes "Repertoire, 1891-1941" [62] p. and "Solists, 1891-1941" [5] p.
What is a fugue? What is the difference between a saxophone and a saxhorn? Who besides Puccini wrote an opera called La Boheme? In what year, was the National Broadcasting Company Orchestra formed under Arturo Toscanini's direction? These and thousands of similar questions are answered in this comprehensive dictionary that remains unrivaled as a single-volume summary. A New Dictionary of Music is a basic reference work for anyone interested in music, whether performer or layman.It covers orchestral, solo, choral and chamber music, opera, and (in its musical aspects) the ballet. There are entries for composers (with biographies and details of compositions); works well known by their titles, such as operas and symphonic poems; orchestras, performers and conductors of importance today; musical instruments (including those of the dance and brass bands); and, technical terms. English names and terms are used whenever possible, but foreign terms in general use are cross-referenced. Particular importance has been attached to bringing the reader abreast of new musical developments.The composers and musical works chosen were those most likely to be encountered. Where an opera is given an entry, a brief explanation of the title follows. Similarly explication is provided for other works bearing literary or otherwise allusive titles. Among performers and conductors, only the following are included: those who, although dead, continue to be prominent through recorded performances (e.g. Gigli); the highest-ranking international artists of today, plus a very few apparently on the verge of attaining that rank; and, a few who, though not necessarily at the very head of their profession, are closely associated with composers in bringing out new works, or are conductors in charge of important orchestras.
MEMOIRS OF A PIANO is a whimsical chronicle of the vicissitudes of fortune of a French piano during more than a century of historical upheavals. In its own voice Piano regales us with many stories, thus joining some of its famous predecessors such as Voltaire’s bed or Jonathan Swift’s tub, or even Gogol’s nose and Kafka’s cockroach, who all talked! And what stories piano tells! It tells us how it had almost ended up on the barricades during the French Commune. It describes Franz Liszt who had used it at a concert. It meets young prodigy Claude Debussy and travels with him to Russia where it becomes a house piano of the wealthy patroness of Tchaikovsky. Fate interferes with piano’s happy collaboration with Debussy, sending the young man back to France to become eventually world famous composer and the founder of the Impressionism, while piano becomes a witness to the mutiny on the battleship Potemkin on the Black Sea in 1905. Piano’s adventures continue with the dramatic escape from the Red Revolution aboard the yacht Renaissance belonging to a Russian Count. Safe in Turkey, the Count sells the yacht along with the piano to an eccentric American millionaire who renames the boat and sails her among the Greek Islands, buying antiquities. The yacht and the piano barely survive vicious Atlantic storms on their way to New Orleans, where the ruined piano is discarded and abandoned on the beach. It is rescued by a group of black musicians, who repair it and move it to a club where it has to learn the new music- Jazz! The saga of the French piano continues in America, eventually leading to piano’s vainglorious participation in the cruelest sport of the Great Depression-Marathon Dancing. The piano survives it all. Finally, when it ends up among the props at the MGM Movie Studio, and is sold at the famous MGM auction in 1970, piano is an old and wise instrument, which views its history with a touch of nostalgia. It still wants to serve Apollo, the god of light and music, but it has a secret desire to work with young musicians on the threshold of their fame, as it did once with Debussy, at the start of his life. And at last, the great piano’s desire is fulfilled.
Cubism and futurism were closely related movements that vied with each other in the economy of renown. Perception, dynamism, and the dynamism of perception—these were the issues that passed back and forth between the two. Cubism and Futurism: Spiritual Machines and the Cinematic Effect shows how movement became, in the traditional visual arts, a central factor with the advent of the cinema: gone were the days when an artwork strived merely to lift experience out the realm of change and flow. The cinema at this time was understood as an electric art, akin to X-rays, coloured light, and sonic energy. In this book, celebrated filmmaker and author Bruce Elder connects the dynamism that the cinema made an essential feature of the new artwork to the new science of electromagnetism. Cubism is a movement on the cusp of the transition from the Cartesian world of standardized Cartesian coordinates and interchangeable machine parts to a Galvanic world of continuities and flows. In contrast, futurism embraced completely the emerging electromagnetic view of reality. Cubism and Futurism examines the similarity and differences between the two movements’ engagement with the new science of energy and shows that the notion of energy made central to the new artwork by the cinema assumed a spiritual dimension, as the cinema itself came to be seen as a pneumatic machine.