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Eleven units organized to progress in difficulty; featuring arrangements of classical music, traditional pieces, and popular and jazz pieces, by various composers.
A study of the fundamentals of reading musical notation that will teach the reader to read music in 4 hours.
A Paperback Original. The author who has taught tens of thousands of people to love opera now introduces readers to the rich and soul-stirring world of classical music. For anyone who is aching to discover classical music, this comprehensive and accessible book is the ideal teacher. Writing in the clear and highly entertaining prose that made Opera 101 the standard text in its field, Fred Plotkin -- music expert, teacher, lecturer, and famous author -- presents classical music in a way that respects both the reader and the art form. In Classical Music 101: --The reader will discover how to become an expert listener, which is essential for learning to love classical music. --A thousand years of music are explored, with emphasis on great works in all styles. Significant composers will be profiled in depth, including Beethoven, Mozart, Bach, Tchaikovsky, Dvorak, and many more. --Important musicians, such as pianist Emanuel Ax, singer Marilyn Horne, and conductor James Levine, speak about their art in interviews. Classical Music 101, the newest addition to a highly successful series intended for readers who don't consider themselves dummies or idiots, will help the person drawn to the finer things in life (and readers who don't know how to approach them) discover the glories of music.
Leading figures working in the philosophy of action debate foundational issues relating to the causal theory of action. The causal theory of action (CTA) is widely recognized in the literature of the philosophy of action as the "standard story" of human action and agency—the nearest approximation in the field to a theoretical orthodoxy. This volume brings together leading figures working in action theory today to discuss issues relating to the CTA and its applications, which range from experimental philosophy to moral psychology. Some of the contributors defend the theory while others criticize it; some draw from historical sources while others focus on recent developments; some rely on the tools of analytic philosophy while others cite the latest empirical research on human action. All agree, however, on the centrality of the CTA in the philosophy of action. The contributors first consider metaphysical issues, then reasons-explanations of action, and, finally, new directions for thinking about the CTA. They discuss such topics as the tenability of some alternatives to the CTA; basic causal deviance; the etiology of action; teleologism and anticausalism; and the compatibility of the CTA with theories of embodied cognition. Two contributors engage in an exchange of views on intentional omissions that stretches over four essays, directly responding to each other in their follow-up essays. As the action-oriented perspective becomes more influential in philosophy of mind and philosophy of cognitive science, this volume offers a long-needed debate over foundational issues. Contributors Fred Adams, Jesús H. Aguilar, John Bishop, Andrei A. Buckareff, Randolph Clarke, Jennifer Hornsby, Alicia Juarrero, Alfred R. Mele, Michael S. Moore, Thomas Nadelhoffer, Josef Perner, Johannes Roessler, David-Hillel Ruben, Carolina Sartorio, Michael Smith, Rowland Stout
What exactly are the reasons we do things, and how are they related to the resulting actions? Bittner explores this question and proposes an answer: a reason is a response to that state of affairs. Elegantly written, this work is a substantial contribution to the fields of rationality, ethics, and action theory.
The Idea of Music in Victorian Fiction seeks to address fundamental questions about the function, meaning and understanding of music in nineteenth-century culture and society, as mediated through works of fiction. The eleven essays here, written by musicologists and literary scholars, range over a wide selection of works by both canonical writers such as Austen, Benson, Carlyle, Collins, Gaskell, Gissing, Eliot, Hardy, du Maurier and Wilde, and less-well-known figures such as Gertrude Hudson and Elizabeth Sara Sheppard. Each essay explores different strategies for interpreting the idea of music in the Victorian novel. Some focus on the degree to which scenes involving music illuminate what music meant to the writer and contemporary performers and listeners, and signify musical tastes of the time and the reception of particular composers. Other essays in the volume examine aspects of gender, race, sexuality and class that are illuminated by the deployment of music by the novelist. Together with its companion volume, The Figure of Music in Nineteenth-Century British Poetry edited by Phyllis Weliver (Ashgate, 2005), this collection suggests a new network of methodologies for the continuing cultural and social investigation of nineteenth-century music as reflected in that period's literary output.
Vols. for 1957-61 include an additional (mid-January) no. called Directory issue, 1st-5th ed. The 6th ed. was published as the Dec. 1961 issue.
A New York Times Notable Book A San Francisco Chronicle, San Jose Mercury News, and Los Angeles Times Best Book of the Year “A gripping and resonant novel. . . . It immerses the reader in a distant world with startling immediacy and ardor. . . . Riveting.” —Michiko Kakutani, The New York Times In 1886 a shy, middle-aged piano tuner named Edgar Drake receives an unusual commission from the British War Office: to travel to the remote jungles of northeast Burma and there repair a rare piano belonging to an eccentric army surgeon who has proven mysteriously indispensable to the imperial design. From this irresistible beginning, The Piano Tuner launches readers into a world of seductive, vibrantly rendered characters, and enmeshes them in an unbreakable spell of storytelling.