Download Free The Piano Woman Book in PDF and EPUB Free Download. You can read online The Piano Woman and write the review.

A young woman goes missing… On the threshold of World War II, a young woman from a titled family in the south of England disappears, seemingly without trace. An unexpected inheritance… In 2016 on the outskirts of Melbourne, Australia, Maddison Browne is a romantic fiction writer who is lucked out in love and scared that her best days as an author are over. When she learns that she is to inherit an antique piano from a woman she’s never heard of, she wonders why and is driven to find out. A family secret… In England, Maddison unearths a century-old secret that leads her to a family she never knew she had and an entanglement in affairs of state. And she meets someone who might turn her life around. The Piano Woman highlights the fragility of family, the price of love, and the importance of traditions that can sometimes save us from ourselves. ‘A real page turner in terms of story and plot. The gradual unravelling of ancestral secrets across four generations is skilfully executed.’ – Chandani Lokuge, author of My Van Gogh ‘As a fan of dual-timeline novels, this one hit the right notes. There is mystery and some romance and a well written, compelling tale of families, tradition, and personal growth. Highly recommended.’ – Phillipa Nefri Clark, author of The Station Master’s Cottage ‘The structure of the book was very well executed, maintaining the suspense throughout. I was hooked until the end.’ – Goodreads ‘The Piano Woman has all the elements of a great contemporary fiction read, laced with detailed historical links.’ – HappyValley_Reads
This entertaining memoir provides a glimpse into the comedies, tragedies, and mundane miracles witnessed from the business perspective of a world-traveling lounge musician.
A renowned concert pianist traces the instrument's design, manufacture, and music in a delightful "piano's eye-view" of the social history of Western Europe and the United States from the 16th to the 20th centuries.
(Faber Piano Adventures ). The appeal of popular music spans generations and genres. In this collection of 27 hits, enjoy folk tunes like "Ashokan Farewell" and "Bridge Over Troubled Water," movie themes from James Bond and Batman , Broadway numbers from Evita and A Little Night Music , and chart-toppers performed by Michael Jackson, Adele, Billy Joel, and more. Adult Piano Adventures Popular Book 2 provides this variety, yet with accessible arrangements for the progressing pianist. Students may advance through the book alongside method studies, or jump to all their favorites. Optional chord symbols above the staff guide understanding and personal expression.
Women are an essential part of the history of the piano--but how many women pianists can you name? Throughout most of the piano's history, women pianists lacked access to formal training and were excluded from male-dominated performance spaces. Even the modern piano's keys were designed without consideration of women's typically smaller hands. Yet despite their music being largely confined to the domestic sphere, women continued to play, perform, and compose on their own terms. Celebrated pianist and author Susan Tomes traces fifty such women across the piano's history. Including now-famous names such as Clara Schumann and Fanny Mendelssohn, Tomes also highlights overlooked women: from Hélène de Montgeroult, whose playing saved her life during the French Revolution, to Leopoldine Wittgenstein, influential Viennese salonnière, and Hazel Scott, the first Black performer in the United States to have a nationally syndicated TV show. From Maria Szymanowska to Nina Simone, and including interviews with women performing today, this is a much-needed corrective to our understanding of the piano--and a timely testament to women's musical lives.
Women are an essential part of the history of the piano—but how many women pianists can you name? Throughout most of the piano’s history, women pianists lacked access to formal training and were excluded from male-dominated performance spaces. Even the modern piano’s keys were designed without consideration of women’s typically smaller hands. Yet despite their music being largely confined to the domestic sphere, women continued to play, perform, and compose on their own terms. Celebrated pianist and author Susan Tomes traces fifty such women across the piano’s history. Including now-famous names such as Clara Schumann and Fanny Mendelssohn, Tomes also highlights overlooked women: from Hélène de Montgeroult, whose playing saved her life during the French Revolution, to Leopoldine Wittgenstein, influential Viennese salonnière, and Hazel Scott, the first Black performer in the United States to have a nationally syndicated TV show. From Maria Szymanowska to Nina Simone, and including interviews with women performing today, this is a much-needed corrective to our understanding of the piano—and a timely testament to women’s musical lives.
A pianist in lounges and lobbies around the world, Robin Meloy Goldsby tells her warm-hearted stories by linking people she has met with places she has played. Along the way, she connects the humanity of her audiences—princes and paupers, dreamers and doers, moguls, mobsters, wanna-bes, and has-beens—with the quiet soundtrack of her peripatetic, melodic life. Goldsby's autobiographical stories and essays deliver insights into the art and craft of piano playing, the merits of live music, and how the right song at the right moment can add color and depth to a drab, one dimensional world. Music, it turns out, connects us in unpredictable ways.
Hazel Scott was a champion for civil and women's rights. Born in Trinidad in 1920, she moved with her family to the United States in 1924. She was a musical wonder-- studying and performing on the piano from the time she was a child. She became an accomplished singer as well, and appeared in Broadway musicals, films, and recorded her own albums. She also made headlines by standing up for the rights of women and African Americans, and she refused to play for segregated audiences. When Dr. Martin Luther King, Jr. led the March on Washington, Hazel led a march in Paris, where she was living, in front of the American Embassy. She learned about the Bahá'í Faith from Dizzy Gillespie and became a Bahá'í on December 1, 1968. She passed away in 1981. We invite you to learn more about this "Change Maker" and the enduring impact she had on race relations through her performing arts.
Charles Rosen is one of the world's most talented pianists -- and one of music's most astute commentators. Known as a performer of Bach, Beethoven, Stravinsky, and Elliott Carter, he has also written highly acclaimed criticism for sophisticated students and professionals. In Piano Notes, he writes for a broader audience about an old friend -- the piano itself. Drawing upon a lifetime of wisdom and the accumulated lore of many great performers of the past, Rosen shows why the instrument demands such a stark combination of mental and physical prowess. Readers will gather many little-known insights -- from how pianists vary their posture, to how splicings and microphone placements can ruin recordings, to how the history of composition was dominated by the piano for two centuries. Stories of many great musicians abound. Rosen reveals Nadia Boulanger's favorite way to avoid commenting on the performances of her friends ("You know what I think," spoken with utmost earnestness), why Glenn Gould's recordings suffer from "double-strike" touches, and how even Vladimir Horowitz became enamored of splicing multiple performances into a single recording. Rosen's explanation of the piano's physical pleasures, demands, and discontents will delight and instruct anyone who has ever sat at a keyboard, as well as everyone who loves to listen to the instrument. In the end, he strikes a contemplative note. Western music was built around the piano from the classical era until recently, and for a good part of that time the instrument was an essential acquisition for every middle-class household. Music making was part of the fabric of social life. Yet those days have ended. Fewer people learn the instrument today. The rise of recorded music has homogenized performance styles and greatly reduced the frequency of public concerts. Music will undoubtedly survive, but will the supremely physical experience of playing the piano ever be the same?
Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos explores the many-layered relationships female fans build with feminist musicians in general and with Tori Amos, in particular. Using original interview research with more than forty fans of Tori Amos, multiple observer-participant experiences at Amos’s concerts, and critical content analysis of Amos’s lyrics and larger body of work, Adrienne Trier-Bieniek utilizes a combination of gender, emotions, music, and activism to unravel the typecasts plaguing female fans. Trier-Bieniek aggressively challenges the popular culture stereotypes that have painted all female fans as screaming, crying teenage girls who are unable to control themselves when a favorite (generally male) performer occupies the stage. In stunning contrast, admirers of Tori Amos comprise a more introspective category of fan. Sing Us a Son, Piano Woman examines the wide range of stories from these listeners, exploring how Amos’s female fans are unique because Amos places the experiences of women at the center of her music. Tori Amos’s fan base is considered devoted because of the deeply emotional, often healing, connection they have to her music, an aspect that has been overlooked, particularly in sociological and cultural research on gender, emotions and music. Tori Amos’s female fans as a social phenomenon are vital for understanding the multi-layered relationships women can have with female singer/songwriters. At a time when superficial women dominate public media presentations, from the Kardashians to the “Real Housewives,” the relationship between Tori Amos and her fans illustrates the continuous search by women for female performers who challenge patriarchal standards in popular culture. Trier-Bieniek’s research serves as a springboard for further study of women in pop culture whose purpose is empower and provoke their fans, as well as change society.