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Excerpt from The Music of the Modern World, Vol. 1 of 2: Illustrated in the Lives and Works of the Greatest Modern Musicians and in Reproductions of Famous Paintings, Etc Scheffer, Eugene Delacroix, and Paul Delaroche, members of circles where music held a supreme interest. Music is SO nearly allied to painting and sculpture that a picture is Often a better guide to the meaning of a piece than any words - even words Of poetry. The pictorial suggestions Offered in our music pages are only suggestions, but as such may prove stimulating to the imagination of the pianist and singer, especially when they express motion or grace in repose. They Should not be taken too seriously. It is hardly necessary to add that the music OF the modern world is in no sense an encyclopaedia. Quite as many great artists are unmentioned in its pages as find a place there, quite as many very great composers remain unquoted as are repre sented in its music pages. In the case Of Wagner and Berlioz, the narrow excerpt of a melody, or a Short transcription from works so massive, grand, and full of detail, affords no example Of the genius or style Of those immense contours, whereas the tuneful num bers of Rossini, Gounod, or even Meyerbeer are easily separated from their original environment because they are complete in themselves. Much of the music selected is cameo-like in its dimensions and finish, because only cameos could be contained in SO small a compass as the number of pages at our disposal. The editors have collected a group of melodies that will never become Old while civilization endures. Those culled from Russia, Bohemia, and Hungary are as yet scarcely known in America; they will sur prise as much by their congeniality to American temperament as by their exquisite fresh ness. The illustrations of Hunyady Laszlo, by Pennell, are the fruit Of a season's wan dering in Hungary in search of gipsy music. It is needless to say that the author of the great national opera Of Hungary was not a gipsy, and that the patriotic themes that form the context Of the opera are of the purest Hungarian character. Special acknowledgments are due to Gunther co. For the care with which they have type-set the piano music. We believe that such feats as the pedal phrasing in Vogel als Prophet have never before been accomplished with music type. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
“America’s story from 1898 to 1945 is nothing less than the triumph of American exceptionalism over liberal progressivism, despite a few temporary victories by the latter.” Conservative historian Larry Schweikart has won wide acclaim for his number one New York Times bestseller, A Patriot’s History of the United States. It proved that, contrary to the liberal biases in countless other his­tory books, America had not really been founded on racism, sexism, greed, and oppression. Schweikart and coauthor Michael Allen restored the truly great achievements of America’s patriots, founders, and heroes to their rightful place of honor. Now Schweikart and coauthor Dave Dougherty are back with a new perspective on America’s half-century rise to the center of the world stage. This all-new volume corrects many of the biases that cloud the way people view the Treaty of Versailles, the Roaring Twenties, the Crash of 1929, the deployment of the atomic bomb, and other critical events in global history. Beginning with the Spanish-American War— which introduced the United States as a global military power that could no longer be ignored—and con­tinuing through the end of World War II, this book shows how a free, capitalist nation could thrive when put face-to-face with tyrannical and socialist powers. Schweikart and Dougherty narrate the many times America proved its dominance by upholding the prin­ciples on which it was founded—and struggled on the rare occasions when it strayed from those principles. The authors make a convincing case that America has constantly been a force for good in the world, improving standards of living, introducing innova­tions, guaranteeing liberty, and offering opportunities to those who had none elsewhere. They also illustrate how the country ascended to superpower status at the same time it was figuring out its own identity. While American ideals were defeating tyrants abroad, a con­stant struggle against progressivism was being waged at home, leading to the stumbles of the Great Depression, the New Deal, and the attack on Pearl Harbor. Despite this rocky entrance on the world stage, it was during this half century that the world came to embrace all things American, from its innovations and businesses to its political system and popular culture. The United States began to define what the rest of the world could emulate as the new global ideal. A Patriot’s History of the Modern World provides a new perspective on our extraordinary past—and offers lessons we can apply to preserve American exceptional­ism today and tomorrow.
Excerpt from The Music of the Modern World, Vol. 1 of 2: Illustrated in the Lives and Works of the Greatest Modern Musicians and in Reproductions of Famous Paintings, Etc The Music of the Modern World originated in a desire to create a book which should possess a distinct flavour of the life in which musicians feel, think, and act a life in which temperament, imagination, and suffering rule supreme a life of incessant mental activity and exertion, prosecuted too often under the burden of care, anxiety, and privation. It is the province of music to give the most precise and yet vivid expression possible to all the feelings and emotions incident to human life. As nations and individuals differ widely in temperament, the world of music in which they express themselves is full of divergent theories, instincts, and idiosyncrasies. The Music of the Modern World has sought to open the door of this intense and passionate musical life to the lovers of music. No theory, no school of art, or national animus has been prosecuted at the expense of rival theories, schools, or nationalities. On the contrary, the partisan known to be most enthusiastic in his cause has been chosen to exploit each special subject; each writers name makes him and no one else responsible for his opinions advanced, and nothing has been altered or softened to meet the personal views of the editors. Thus, when brought together, the various articles give a birds-eye view of the musical life as a whole, as it is being lived to-day, and a hint of the causes which have been at work to make it what it is. The many pens that have been busy in the preparation of The Music of the Modern World are without exception those of practical and often very famous musicians, artists, and critics. Everything contained in its pages is the utterance of people who live in music and by music. Even the artists whose paintings are reproduced in its pages usually turned out on investigation to be passionate lovers of music, and, like Ary Scheffer, Eugene Delacroix, and Paul Delaroche, members of circles where music held a supreme interest. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The second volume of The Cambridge Economic History of the Modern World explores the development of modern economic growth from 1870 to the present. Leading experts in economic history offer a series of regional studies from around the world, as well as thematic analyses of key factors governing the differential outcomes in different parts of the global economy. Topics covered include human capital, capital and technology, geography and institutions, living standards and inequality, trade and immigration, international finance, and warfare and empire.
For the past three decades, many history professors have allowed their biases to distort the way America’s past is taught. These intellectuals have searched for instances of racism, sexism, and bigotry in our history while downplaying the greatness of America’s patriots and the achievements of “dead white men.” As a result, more emphasis is placed on Harriet Tubman than on George Washington; more about the internment of Japanese Americans during World War II than about D-Day or Iwo Jima; more on the dangers we faced from Joseph McCarthy than those we faced from Josef Stalin. A Patriot’s History of the United States corrects those doctrinaire biases. In this groundbreaking book, America’s discovery, founding, and development are reexamined with an appreciation for the elements of public virtue, personal liberty, and private property that make this nation uniquely successful. This book offers a long-overdue acknowledgment of America’s true and proud history.
"[This book] is a contribution of considerable substance because it takes a holistic view of the field of folk music and the scholarship that has dealt with it." -- Bruno Nettl "... a praiseworthy combination of solid scholarship, penetrating discussion, and global relevance." -- Asian Folklore Studies "... successfully ties the history and development of folk music scholarship with contemporary concepts, issues, and shifts, and which treats varied folk musics of the world cultures within the rubric of folklore and ethnomusicology with subtle generalizations making sense to serious minds... " -- Folklore Forum "... [this book] challenges many carefully-nurtured sacred cows. Bohlman has executed an intellectual challenge of major significance by successfully organizing a welter of unruly data and ideas into a single, appropriately complex but coherent, system." -- Folk Music Journal Bohlman examines folk music as a genre of folklore from a broadly cross-cultural perspective and espouses a more expansive view of folk music, stressing its vitality in non-Western cultures as well as Western, in the present as well as the past.
Scholars have long known that world music was not merely the globalized product of modern media, but rather that it connected religions, cultures, languages and nations throughout world history. The chapters in this History take readers to foundational historical moments – in Europe, Oceania, China, India, the Muslim world, North and South America – in search of the connections provided by a truly world music. Historically, world music emerged from ritual and religion, labor and life-cycles, which occupy chapters on Native American musicians, religious practices in India and Indonesia, and nationalism in Argentina and Portugal. The contributors critically examine music in cultural encounter and conflict, and as the critical core of scientific theories from the Arabic Middle Ages through the Enlightenment to postmodernism. Overall, the book contains the histories of the music of diverse cultures, which increasingly become the folk, popular and classical music of our own era.