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In Poppy and the Orchestra, children will travel along with Poppy the dog as she discovers the sounds of orchestral instruments. Perfect for young music lovers and musicians! Go on a musical adventure to the symphony with Poppy, the most adorable and friendliest dog you'd ever meet! On this adventure Poppy will meet new friends who introduce her to the sounds of orchestral instruments. With 16 buttons to push and hear, kids will love listening to the sounds of the different instruments as they follow along with the story. Poppy and the Orchestra is filled with colorful illustrations by Magali Le Huche, and features a new sound to discover on each page, making it a book that both kids and parents will be entertained by and engaged with from one reading to the next. Poppy and the Orchestra offers an opportunity to teach kids about classical music and the instruments of the orchestra. Now that is truly unique!
Poppy, the third volume in the series Medicinal and Aromatic Plants - Industrial Profiles presents up-to-date information on Poppy and related species. The introduction emphasizes the importance of Poppy, giving a historical evaluation. in the chapters describing the botany and taxonomy of the genus some novel aspects are discussed, e.g., special m
Introducing little children to five of Mozart's greatest tunes. Children can discover the magic of Mozart by pressing the buttons in this enchanting sound book. The animal orchestra travel through the forest playing five different pieces of Mozart's music and telling the other animals a little bit about the extraordinary man who wrote them. The beautiful illustrations and spellbinding music are a perfect introduction to one of the greatest composers of all time. WARNING! This product contains button or coin cell batteries which are dangerous. Dispose of used batteries immediately. Keep new and used batteries away from children. Batteries can cause serious injuries if they are swallowed or placed inside any part of the body. If you think batteries may have been swallowed or placed inside any part of the body, seek immediate medical attention. Different types of batteries (i.e. Alkaline and Zinc) or new and used batteries are not to be mixed. Only batteries of the same or equivalent type as recommended are to be used. Batteries are to be inserted with the correct polarity. Exhausted batteries are to be removed from the product. The supply terminals are not to be short-circuited. Do not throw batteries into a fire. Batteries should never be left in the product when not in use for long periods of time. Non rechargeable batteries are not to be recharged. Rechargeable batteries are to be removed from the product before being charged. Rechargeable batteries are only to be charged under adult supervision. This product contains batteries and electronics that may be harmful to the environment; they should not be discarded with normal household waste but taken to your local collection centre for recycling. Please retain this information for future reference.Battery removal and installation instructions: With a screwdriver, loosen the captive screw and remove the lid to the battery compartment keeping it away from children. Insert the new button cell batteries as shown in the polarity diagram (+/-) inside the battery compartment. Lower the lid back onto the compartment and re-tighten the captive screw.
Daniels’ Orchestral Music is the gold standard for all orchestral professionals—from conductors, librarians, programmers, students, administrators, and publishers, to even instructors—seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.
August 1939: Thirteen-year-old Poppy Brown is evacuated to a village in Dorset. Tired and frightened, she arrives with nothing but her gas mask and a change of clothes to her name. Billeted at a grand country house, Poppy is received with cold indifference above stairs and gets little better treatment from the servants. Lonely and missing the family she left behind in London, Poppy is devastated when she hears that they have been killed in the Blitz. Circumstances soon force Poppy to move to the suburbs and into the company of strangers once more. Earning a meagre income as a hospital cleaner, as the war continues to rage, Poppy longs to do her duty. And as soon as she is able to, she starts her training as a nurse. While the man she loves is fighting in the skies above Europe, Poppy battles to survive the day-to-day hardships and dangers of wartime, wondering if she'll ever see him again...
In the early years of the twentieth century, O.G. Sonneck, the father of American musicology, decried the state of musical bibliography in this country, encouraging musical scholars to dedicate themselves to preserving, cataloging, and promoting the use of America’s musical ephemera, especially newspapers and magazines. Despite his century-old calls, much work in this area remains undone. This volume responds to Sonneck’s call for action by creating a bibliography of periodicals that document the use and place of the guitar in a little-known segment of America’s musical culture in the final decades of the nineteenth century through the first third of the twentieth century. Between 1880 and the mid-1930s, a unique musical movement grew and flourished in this country. Focused on the promotion of so-called “plectral instruments,” this movement promoted the banjo, the mandolin, and the guitar as cultivated instruments on a par with the classical violin or piano. The Banjo, Mandolin and Guitar (BMG) community consisted of instrument manufacturers, music publishers, professional teachers and composers, and amateur students. While some professional soloists achieved national recognition, the performing focus of the movement was ensemble work, with bands of banjos, mandolins and guitars ranging from quartets and quintets (modeled on the violin-family string ensembles) to festival orchestras of up to 400 players (mimicking the late romantic symphony orchestra). The repertoire of most ensembles included popular dances of the day as well as light classics, but more ambitious ensembles tackled Mozart, Haydn, Beethoven, and even Wagner. Although this movement straddled both popular and cultivated (classical) music-making, its elitist pretensions contributed to its demise in the wake of the explosive growth of modern American popular music linked to Tin Pan Alley or the blues. While the movement’s heyday spanned the early years of audio recording, only a handful of active BMG performers made recordings. As a result few musical scholars are aware of the BMG movement and its contribution to American musical culture, especially its influence on the physical and technical development of America’s instrument, the guitar The movement did, however, leave extensive traces of itself in periodicals produced by manufacturing and publishing concerns. Beginning in 1882, the leadership of the BMG movement fell to the publishers, editors, and contributors from these promotional journals, which were dedicated to the “interests of Banjoists, Mandolinists and Guitarists” While advertising dominated the pages of most of these periodicals, nearly all offered product and publication reviews, historical surveys, biographical sketches, and technical advice. In addition, the BMG magazines not only documented performances with reviews and program lists but also contained musical scores for solo instruments and plucked-string ensembles. These magazines are the primary sources which document this vibrant expression of America’s musical life. While one or two of the BMG magazines have been known by guitar scholars, most have not seen the light of day in decades. Similarly, a few of the leading guitar figures of the BMG movement—principally William Foden, Vahdah Olcott-Bickford, and George C. Krick—have been acknowledged and documented but many more remain completely anonymous. This bibliography offers access to the periodicals which help document the story of the guitar in America’s progressive era—a story of tradition and transformation—as lived and told by the guitar’s players, teachers, manufacturers, composers, and fans in the BMG movement. The bibliography consists of two large sections. The first contains a chronological list of articles, news items, advertisements, illustrations, and photographs as well as a list of musical works for guitar published in the BMG magazines. The second section of the bibliography is a series of indices which link names and subjects to the lists. With nearly 5500 entries and over 100 pages of indices, this bibliography offers researchers access to a musical world that has been locked away on library shelves for the past century.
Poppy decides she must travel to Yorkshire to see her father, George, who is dying of cancer. She is thrown into the role of carer, but also into her own tumult. How long can her life be on hold? And what will happen when she returns home?
A society belle. A tenacious newshound. A scandal to destroy their lives. Sydney, 1868. Poppy Barclay's privileged life shatters when her father's investment firm collapses amid shocking allegations of fraud. Jilted by her fiancé and shunned by the elite, the beautiful heiress finds herself an outcast, her dreams of a perfect marriage in ruins. She’s determined to fight back, but Poppy's quest for justice pits her against the tenacious journalist Thomas Yates, who is bent on exposing the truth behind the Barclay disgrace. As the former Police Commissioner’s son digs behind lies spun by powerful men, he confronts an agonizing dilemma: pursue the facts and endanger his career, or believe in a woman who rejects his help and dismisses him as a potential suitor. As the conspiracy against Poppy’s family erupts into violence, the former deb is forced to question whether her hostility toward the persistent scribe is justified? Is he an enemy or an unlikely ally? With time running out and dangerous forces closing in, can the mismatched pair overcome their antagonism, or will they allow dirty politics to shatter their dreams and cost them their love? Poppy's Dilemma is the captivating first book in the Sisters of Barclay Square historical mystery series. If you like strong heroines, intriguing sweet romance, and a glimpse behind the glittering façade of colonial high society, then you'll adore Jenny Wheeler’s fast-paced tale of deception and courage. Buy Poppy's Dilemma to uncover the shocking truths today!
The Last White Witch begins to chronicle the life of a seemingly average British schoolgirl from South London, called Poppy, who possesses such weird magical powers that she is suspended from school. She learns that her Aunt Emily is her biological mother and her mum is actually her aunt, and is double whammied with the news that she is a witch. Poppy leaves home, changes her world and starts a new school at the Three Sisters School of Witchery for Black Witches. Poppy forges new friendships, comes face-to-face with her arch nemesis, experiences fantastical events and meets mythical monsters, like the Medusa, whom she must defeat on her first night at the boarding school. Blindly unaware that she is in fact the last White Witch and heiress to the White Witch kingdom, she will have to be the toughest young witch you have ever met. She will have to be the new female badass version of Harry Potter who’s more than willing to take on the bullies, ultimately save the White Witches from extinction and bring about a new world order. A big ask for someone who is just a geek-freak from Croydon.