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When a jazz-loving rooster sets his sights on winning a barnyard talent show, he realizes he can't do it as a solo act. He's up against the talents of Mules Davis's cool duo and Ella Finchgerald's singing group. Acoustic Rooster calls on friends like pianist Duck Ellington, singer Bee Holiday, and percussionist piggy Pepe Ernesto Cruz. Together, the foursome makes beautiful music as they rock the barnyard. And while they may not win first prize, Acoustic Rooster realizes he has the world's best jazz band and that's all that matters. Colorful artwork from artist Tim Bowers (Memoirs of a Goldfish) ensures this story doesn't miss a beat. A glossary of musical terms and instruments rounds out this perfect introduction to jazz for young readers. Kwame Alexander is a poet, publisher, and an award-winning producer of literary programs. He has written for television, the stage, and authored 13 books. He conducts writing/publishing workshops at schools and conferences throughout the country. Kwame lives in the Washington, D.C. area. Tim Bowers has illustrated more than 25 children's books, garnering such awards as the Chicago Public Library's "Best of the Best" list. His work for Sleeping Bear includes First Dog and First Dog's White House Christmas. Tim lives in Granville, Ohio.
So, what in thunder is Barnyard Music, anyway? Simply put, it is music for funmusic for amateursmusic for people who love music, but think they have no talent for singing or playing an instrument. Here comes Barnyard Music, to get you past the idea that because you think you have no talent, you cannot enjoy anything beyond listening. Within the pages of this little book, you will find at the very least, one inspiration to encourage you to go ahead and sing, or learn to play at the least, in some simple form, a musical instrument. This is not a book to teach you the mechanics of playing. It is not a book for those who wish to be rich and famous. It is not a book for those who wish to play refined, note perfect music. It is not a book about singing in perfect pitch, or even being able to carry a tune. What it is about, hopefully, is a book of inspirational stories, and Barnyard Music Theory that will encourage you to go ahead and enjoy musicyour own personal, internal musicat whatever level of talent you possess. And it is my belief that anyone who can set aside any tendencies towards perfectionism, can enjoy making their own music, and just about everybody has a song inside. Hopefully you will find something in the pages of this book that will help you to set that song free.
String band music is most commonly associated with the mountains of North Carolina and other rural areas of the Blue Ridge and Appalachian mountains, but it was just as abundant in Piedmont region of North Carolina, albeit with different influences and stylistic conventions. This work focuses exclusively on the history and culture of the area, the music's development and the changes within traditional communities of the Piedmont. It begins with a discussion of the settlement of the Piedmont in the mid-1700s and early references to secular folk music, including the attitudes the various ethnic and religious groups had on music and dance, the introduction of the fiddle and the banjo, and outside influences such as minstrel shows, Hawaiian music and classical banjo. It then goes on to cover African-Americans and string band music; the societal functions of square dances held at private homes and community centers; the ways in which musicians learned to play the music and bought their instruments; fiddler's conventions and their history as community fundraisers; the recording industry and Piedmont musicians who cut recordings, including Ernest Thompson and the North Carolina Cooper Boys; Bascom Lamar Lunsford and the Carolina Folk Festival; the influence of live radio stations, including WPTF in Raleigh, WGWR in Asheboro, WSJS in Winston-Salem, WBIG in Greensboro and WBT in Charlotte; the first generation of locally-bred country entertainers, including Charlie Monroe's Kentucky Partners, Gurney Thomas and Glenn Thompson; and bluegrass and musical change following World War II.
This is a little tale of barnyard animals and the fun they have twiddling their tails on the Cranky Cricket Ranch. Everyone is not created the same, and this book is an enjoyable illustration of the fact that it is okay to be a little different. All the animals learn a special lesson that will influence them for the rest of their days.
Music programs have been scaled back or eliminated altogether from the curricula of many schools. Luckily, storytimes offer ideal opportunities for music and songs. In this collection of easy-to-use, easy-to-adapt library programs for children in grades K-3, Brown connects songs and musical activities directly to books kids love to read. Offering several thematic programs, complete with stories, songs, and flannelboard and other activities, her book includes Music activities, lists of music-related books, mix-and-match activities, and additional web resources Terrific tips on how to teach songs to young children Ways to develop original songs and rhythms to enliven children’s books Even if you can’t carry a tune in a bushel basket, this handy resource has everything you need to start the music in your storytimes.
The Magic Kingdom sheds new light on the cultural icon of "Uncle Walt." Watts digs deeply into Disney's private life, investigating his roles as husband, father, and brother and providing fresh insight into his peculiar psyche-his genuine folksiness and warmth, his domineering treatment of colleagues and friends, his deepest prejudices and passions. Full of colorful sketches of daily life at the Disney Studio and tales about the creation of Disneyland and Disney World, The Magic Kingdom offers a definitive view of one of the most influential Americans of the twentieth century.
Lucy Goose and her sidekick duckling love life in the barnyard. There is always so much to do, and Lucy takes full advantage of all the fun in this collection of sweet stories. From making a barnyard band to playing hide-and-seek, Lucy stays busy and loves her life.
"A fresh new perspective that will be a true revolution to readers and will open new lines of discussion on . . . the importance of the city of New Orleans for generations to come." —Dr. Michael White, jazz clarinetist, composer, and Keller Endowed Chair at Xavier University of LA An untold authentic counter-narrative blues history and the first written by an African American blues artist All prior histories on the blues have alleged it originated on plantations in the Mississippi Delta. Not true, says author Chris Thomas King. In The Blues, King present facts to disprove such myths. This book is the first to argue the blues began as a cosmopolitan art form, not a rural one. As early as 1900, the sound of the blues was ubiquitous in New Orleans. The Mississippi Delta, meanwhile, was an unpopulated sportsman's paradise—the frontier was still in the process of being cleared and drained for cultivation.? Expecting these findings to be controversial in some circles, King has buttressed his conclusions with primary sources and years of extensive research, including a sojourn to West Africa and interviews with surviving folklorists and blues researchers from the 1960s folk-rediscovery epoch.? New Orleans, King states, was the only place in the Deep South where the sacred and profane could party together without fear of persecution, creating the blues.