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This book is a snapshot pictorial performance history of what is possibly George Dreyfus's most frequently played composition, "The Adventures of Sebastian the Fox". The music first appeared in 1963 as accompaniment to Tim Burstall's 13-episode children's television series, for which Dreyfus wrote some 120 minutes of music. In 1968 he made a suite consisting of eight of the main musical pieces which he subsequently arranged for a dozen different ensembles, many of which have been recorded. The movements of the Suite are connected by short descriptive narrations, particularly suitable for children. These exist in English, German, Chinese, Russian, Hebrew and Yiddish, indicating the performances the Suite has had throughout the world, within Australia, throughout Europe, and from China to Paraguay. Dreyfus (a bassoon player) has personally used the Suite over the 60 years since it was created as a vehicle for making music with and for young people in a variety of educational situations: in metropolitan, regional and outback Australia, on tours and in residencies in Europe and China.In 2005, Dreyfus and his composer son Jonathan created arrangements, for small ensemble, of the music for four episodes of the original TV series, which were then performed 'live' to film to youth theatre audiences and school groups throughout Australia, in Germany and in Switzerland."The Adventures of Sebastian the Fox" has represented Australian music in many countries, has brought enjoyment to hundreds (if not thousands) of listeners, appeals across generations, and has proved uniquely durable. The photographs capture a selection of many different performance situations. They are at once a celebration of music making and a tribute to the joyous, democratic resourcefulness of the composer.
This book is volume 2 of a 4 volume series, the first 3 of which have been published by Xlibris and the 4th almost complete for imminent delivery. In its entirety this work is the most comprehensive and accurate account of Australian Classical Music making ever undertaken. Its scope is from 1901-2012 and includes more than 800 composers, famous and obscure, with more than 30,000 compositions including details of their premieres (where, when and by whom). Individual performers, ensembles, orchestras, opera and ballet companies, music educators, instrument makers, academics, entrepreneurs, philanthropists and critics are included as part of the story. The foundation and demise of music institutions, venues and festivals is recorded chronologically. Altogether an extensive picture of Australian Classical Music production and performance can be gleaned in any given year. This book is distinct insofar as it can be read conventionally (from cover to cover); or one may choose a composer/performer and follow his/her career year by year; or one may open the book at random and delight in the unusual and esoteric information therein. This book, and its companion volumes, are valuable and indispensable works for the serious music student, professional musician, performing amateur, cultural aficionado and inquisitive lay person.
Never cross a master of the bow . . . A young archer bent on revenge against the knight who impoverished his family encounters an enigmatic stranger who promises him a far more potent form of retribution. But when Thomas finds himself hurled by magic to fight battles in faraway lands, he soon discovers that the vengeance his mysterious benefactor offers could change not only one archer’s destiny, but that of the entire world. A masterful short historical fantasy full of magic, archery, and intrigue by the author of the acclaimed Greatcoats and Spellslinger series.
"Sebastian is one handsome fox--and he really, really loves to take selfies. But somehow, no matter how camera-ready he is, his pictures always lack a certain something. And he can't put his paw on exactly what. So Sebastian sets off on an elaborate quest to take the perfect selfie ..."--Amazon.com.
Community music around the world reflects the growing and diverse ways humans collectivise and express themselves in ways that articulate our cultural, social, and environmental complexity. Revisiting, redevising, and reimagining some of the field’s approaches, ideologies, and contexts, this co-edited volume investigates beyond generalist intercultural and internationalist concepts to reveal the complexity of social ways people come together to make music and to making music be central to this sociality. The authors explore the role community music plays out around the world and how various instrumentally based music-making communities operate as ecologies that allow notions of social, political, and cultural agency and identity/ies. Chapters cover various instrumental community music ensembles, observing how they, as social microcosms of change and stasis, provide working methods new and old, extol values, and model ethical behaviours that are fluid and dynamic, steadfast and unyielding, and that contribute to the ebb and flow of people and their agency that remains under-researched. Insights are provided on variously functioning ensembles throughout the world, showing how myriad instrumental music communities act as drivers, complex environments, and apparati for musical and social expression that accommodates the musical aspirations of their members. Taken as a whole, this book explores community music as local, glocal, global phenomena, critically discussing the redefinition of community music and what music-making means to people in the twenty-first century.