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"Few American musicians have touched more people in more ways than has Robert Shaw. A minister's son whose early preparation and temperament seemed to destine him for the pulpit, Shaw instead turned his faith and eloquence to the service of music. From his days as a youthful member of the Fred Waring Glee Club, he went on to achieve fame as conductor of the Robert Shaw Chorale. Today he is the musical director of the Atlanta Symphony. Joseph Mussulman deftly places Shaw and his career against the backdrop of developments in American musical history. He documents the renaissance of the choral tradition, the flowering of the community orchestra, the rise of the recording industry, the role of live radio broadcasts, and the widening recognition of twentieth-century American composers--whose music Shaw has always courageously championed. Mussulman also describes the problems involved in developing new avenues of artistic patronage, and the delights and difficulties of touring. Part III, 'A phoenix in Atlanta,' has a dual focus: it examines the south's reentry into the mainstream of American musical life and reports on Shaw's often stormy tenure in Atlanta. But what emerges most powerfully from this biography is the character of Shaw himself. In his capacity as director of numerous ensembles, Shaw has addressed his musicians--many of them part-time non-professionals--in hortative letters that open with the salutation 'Dear people.' These messages not only express his deeply held beliefs about the spiritual values of great music but also reveal his warmth, wit, and irrepressible humor. Dear People ... Robert Shaw chronicles the career of a remarkable man and a gifted musician, whose foremost conviction is that 'to be an artist is not the privilege of a few but the necessity of us all.'"--Dust jacket.
"Few American musicians have touched more people in more ways than has Robert Shaw. A minister's son whose early preparation and temperament seemed to destine him for the pulpit, Shaw instead turned his faith and eloquence to the service of music. From his days as a youthful member of the Fred Waring Glee Club, he went on to achieve fame as conductor of the Robert Shaw Chorale. Today he is the musical director of the Atlanta Symphony. Joseph Mussulman deftly places Shaw and his career against the backdrop of developments in American musical history. He documents the renaissance of the choral tradition, the flowering of the community orchestra, the rise of the recording industry, the role of live radio broadcasts, and the widening recognition of twentieth-century American composers--whose music Shaw has always courageously championed. Mussulman also describes the problems involved in developing new avenues of artistic patronage, and the delights and difficulties of touring. Part III, 'A phoenix in Atlanta,' has a dual focus: it examines the south's reentry into the mainstream of American musical life and reports on Shaw's often stormy tenure in Atlanta. But what emerges most powerfully from this biography is the character of Shaw himself. In his capacity as director of numerous ensembles, Shaw has addressed his musicians--many of them part-time non-professionals--in hortative letters that open with the salutation 'Dear people.' These messages not only express his deeply held beliefs about the spiritual values of great music but also reveal his warmth, wit, and irrepressible humor. Dear People ... Robert Shaw chronicles the career of a remarkable man and a gifted musician, whose foremost conviction is that 'to be an artist is not the privilege of a few but the necessity of us all.'"--Dust jacket.
Robert Shaw is considered to be the most influential choral conductor in American history. This is the first collection of his letters and notes about music ever published--at another time, it is the book Shaw would have written himself. The letters are an invigorating mix of music history and analysis, philosophy, inspiration, and practical advice. Shaw examines technique, but only as a means to an end--he moves beyond that, delving into the essence of what music is and what it has to say to us. The heart of the book is composed of Shaw's previously unpublished notes on fifteen major choral works, ranging from Bach's B Minor Mass to Stravinsky's Symphony of Psalms. Often inspiring and sometime hilarious, these writings reveal the full breadth of Shaw's knowledge, intensity, and humor.
Symposium on Hate Wayne Downey, M.D. Notes on Hate and Hating Linda Mayes, M.D. Discussion of Downey's Notes on Hate and Hating Ernst Prelinger, Ph.D. Thoughts on Hate Edward R. Shapiro, M.D. Discussion of Prelinger's Thoughts on Hate Clinical papers Susan Sherkow, M.D. Further Reflections on the Watched Play State, Play Interruptions, and the Capacity to Play Alone Barbara Novak From Chaos to Developmental Growth Silvia M. Bell, Ph.D. Early Vulnerability in the Development in the Phallic Narcissistic Phase Howard M. Katz, M.D. Motor Action, Emotion, and Motive Papers on Technique M. Barrie Richmond, M.D. Counter Responses as Organizers in Adolescent Analysis and Therapy Lawrence N. Levenson, M.D. Resistance to Self-observation in Psychoanalytic Treatment Papers on Theory A. Scott Dowling, M.D. A Reconsideration of the Concept of Regression John M. Jemerin, M.D. Latency and the Capacity to Reflect on Mental States Harold Blum, M.D. Two Principles of Mental Functioning Contributions from Developmental Psychology Golan Shahar, Ph.D., et al. Representations in Action Susan A. Bers, Ph.D., et al. The Sense of Self in Anorexia Nervosa Patients
Robert Shaw is most celebrated today as the Oscar-nominated star in movies like From Russia with Love, A Man For All Seasons, The Sting and - most memorably of all - as Quint in the record-breaking Jaws. His breakthrough came when Hollywood was experiencing something of a British Invasion. Sean Connery, Peter O'Toole, Vanessa Redgrave and Richard Burton were among the new stars. But Shaw was arguably more talented than any, a figure of extraordinary and wide-ranging promise. More than just a mesmerising actor on stage and screen, he was also a gifted writer. He wrote no less than six published novels (winning the Hawthornden Prize), while his plays include the acclaimed Man in The Glass Booth. The flipside to Shaw's diverse abilities was his well-earned reputation as a hellraiser. A fiercely competitive man in all areas of his life, whether playing table tennis or drinking whisky, he emptied mini-bars, crashed Aston Martins, fathered nine children by three different women, made (and spent) a fortune, and set fire to Orson Welles' house. He died at 51, having driven himself too hard, too fast, but unable to get over his father's suicide when Shaw was just 11. John French, Shaw's biographer, knew him well, professionally and personally. Robert Shaw: The Price of Success is a perceptive, sympathetic, but unsparing portrait of the blessings and curses endowing this mercurial, enigmatic and deeply engaging man. This edition features a new foreword written by Richard Dreyfuss. Praise 'Both impressive and immaculate, a tremendously skilled biography... chillingly well told.' Sheridan Morley 'I liked Robert Shaw: The Price of Success tremendously, and applaud its digital rebirth.' Robert Sellers, author of Hellraisers and Don't Let The Bastards Grind You Down
Music has played an important role in Ohio's cultural vitality. This work offers a comprehensive look at music as it has been practised in Ohio from the 18th century onwards, from folk to jazz to rock to the polka. It also examines the music of the Moravians, Mormons, and Welsh.
Titles in the Dictionaries for the Modern Musician series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Each dictionary covers topics from instrument parts to technique, major works to key figures—a must-have for any musician’s personal library! A Dictionary for the Modern Singer is an indispensable guide for students of singing, voice pedagogues, and lovers of the art of singing. In addition to classical singing, genres, and styles, musical theatre and popular and global styles are addressed. With an emphasis on contemporary practice, this work includes terms and figures that influenced modern singing styles. Topics include voice pedagogy, voice science, vocal health, styles, genres, performers, diction, and other relevant topics. The dictionary will help students to more fully understand the concepts articulated by their teachers. Matthew Hoch’s book fills a gap in the singer’s library as the only one-volume general reference geared toward today’s student of singing. An extensive bibliography is invaluable for students seeking to explore a particular subject in greater depth. Illustrations and charts further illuminate particular concepts, while appendixes address stage fright, tips on practicing, repertoire selection, audio technology, and contemporary commercial music styles. A Dictionary for the Modern Singer will appeal to students of singing at all levels. For professionals, it will serve as a quick and handy reference guide, useful in the high school or college library and the home teaching studio alike; students and amateurs will find it accessible and full of fascinating information about the world of the singing.
Includes biographies of selected American women choral conductors.
On the Boston Common stands one of the great Civil War memorials, a magnificent bronze sculpture by Augustus Saint-Gaudens. It depicts the black soldiers of the Fifty-fourth Massachusetts Infantry marching alongside their young white commander, Colonel Robert Gould Shaw. When the philosopher William James dedicated the memorial in May 1897, he stirred the assembled crowd with these words: "There they march, warm-blooded champions of a better day for man. There on horseback among them, in the very habit as he lived, sits the blue-eyed child of fortune." In this book Shaw speaks for himself with equal eloquence through nearly two hundred letters he wrote to his family and friends during the Civil War. The portrait that emerges is of a man more divided and complex--though no less heroic--than the Shaw depicted in the celebrated film Glory. The pampered son of wealthy Boston abolitionists, Shaw was no abolitionist himself, but he was among the first patriots to respond to Lincoln's call for troops after the attack on Fort Sumter. After Cedar Mountain and Antietam, Shaw knew the carnage of war firsthand. Describing nightfall on the Antietam battlefield, he wrote, "the crickets chirped, and the frogs croaked, just as if nothing unusual had happened all day long, and presently the stars came out bright, and we lay down among the dead, and slept soundly until daylight. There were twenty dead bodies within a rod of me." When Federal war aims shifted from an emphasis on restoring the Union to the higher goal of emancipation for four million slaves, Shaw's mother pressured her son into accepting the command of the North's vanguard black regiment, the Fifty-fourth Massachusetts. A paternalist who never fully reconciled his own prejudices about black inferiority, Shaw assumed the command with great reluctance. Yet, as he trained his recruits in Readville, Massachusetts, during the early months of 1963, he came to respect their pluck and dedication. "There is not the least doubt," he wrote his mother, "that we shall leave the state, with as good a regiment, as any that has marched." Despite such expressions of confidence, Shaw in fact continued to worry about how well his troops would perform under fire. The ultimate test came in South Carolina in July 1863, when the Fifty-fourth led a brave but ill-fated charge on Fort Wagner, at the approach to Charleston Harbor. As Shaw waved his sword and urged his men forward, an enemy bullet felled him on the fort's parapet. A few hours later the Confederates dumped his body into a mass grave with the bodies of twenty of his men. Although the assault was a failure from a military standpoint, it proved the proposition to which Shaw had reluctantly dedicated himself when he took command of the Fifty-fourth: that black soldiers could indeed be fighting men. By year's end, sixty new black regiments were being organized. A previous selection of Shaw's correspondence was privately published by his family in 1864. For this volume, Russell Duncan has restored many passages omitted from the earlier edition and has provided detailed explanatory notes to the letters. In addition he has written a lengthy biographical essay that places the young colonel and his regiment in historical context.
Choral-Orchestral Repertoire: A Conductor’s Guide, Omnibus Edition offers an expansive compilation of choral-orchestral works from 1600 to the present. Synthesizing Jonathan D. Green’s earlier six volumes on this repertoire, this edition updates and adds to the over 750 oratorios, cantatas, choral symphonies, masses, secular works for large and small ensembles, and numerous settings of liturgical and biblical texts for a wide variety of vocal and instrumental combinations. Each entry includes a brief biographical sketch of the composer, approximate duration, text sources, performing forces, available editions, and locations of manuscript materials, as well as descriptive commentary, a discography, and a bibliography. Unique to this edition are practitioner’s evaluations of the performance issues presented in each score. These include the range, tessitura, and nature of each solo role and a determination of the difficulty of the choral and orchestral portions of each composition. There is also a description of the specific challenges, staffing, and rehearsal expectations related to the performance of each work. Choral-Orchestral Repertoire is an essential resource for conductors and students of conducting as they search for repertoire appropriate to their needs and the abilities of their ensembles.