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Poetry. Jeffrey Morgan's new poetry collection THE LAST NOTE BECOMES ITS LISTENER, was selected as the winner of the first annual Minds on Fire Open Book Prize. This book is concerned with a brother's epilepsy, his disability, how living with the poet's family affects them all, and especially the limits of empathy. It's about how we make meaning out of memory, particularly when faced with the stark limitations of memory's veracity. Morgan's greatest talent lies in his ability to render the quotidian into the extraordinary with ease and sincerity. "This is a wise and playful and moving book--startling in its powers of observation, lush with postmodern shimmering."--Wayne Miller "Turn after remarkable turn, Morgan's poems fill the page with music and the longing for music in the spaces between."--Oliver de la Paz
The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 december, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.In 1950,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artistS. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 22-03-1938 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 72 VOLUME NUMBER: Vol. III, No. 07. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 434-488 ARTICLE: 1. New Stations On Old Receivers by "Trouble Shooter" 2. Indian Music : Classical Or Modern? 3. A Russian Women's Point Of View (A Talk Recently Broadcast From Calcutta) AUTHOR: 1. Unknown 2. B. R. Kabad 3. Kyra Svetlova KEYWORDS: 1. Radio Experimenter, Bombay, Harmonics, Transmission Problems 2. Sangit Ratnakar, Thumri, The Indian Orchestra, Lord Ronaldshay, Classical Music, Dhrupad, Khayal, Musician, The Bengal School 3. Status Of Women, Russian Revolution, Physical Culture, Motherhood, Kahin-Ki-Peshgoi, Russian Woman Document ID: INL - 1938 ( J-D) Vol -I (07)
(Music Pro Guide Books & DVDs). Making the instrument and vocal tracks sound their best, then making them all work together- everything you need to know to make the perfect mix is in this book. You'll then learn how to take that perfect mix and create the perfect stereo master recording, ready for CD replication or digital distribution online. Detailed illustrations, photographs, plus audio and video examples on DVD make sure you understand everything you need to know to mix and master like the pros.
Morton Feldman was one of the most original and important American composeres of the 20th century. His work has never been analyzed in detail (nor systematically) until this book.
Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.
Education is your foundation. If you want to sing, you must educate yourself on how to sing well. If you want to rap, it takes more than a pen and a pad, and a few rounds of freestyle in back of the school. If you want to really be a successful athlete, you must learn the science of the sport, know it as though you breathe it. Whatever it is you want to do, you must educate yourself on how to do it. You must learn, and you must plan. If you do not plan, you will fail.
Just Beyond Listening asks how we might think about encounters with sound that complicate standard accounts of aurality. In a series of essays, Michael C. Heller considers how sound functions in dialogue with a range of sensory and affective modalities, including physical co-presence, textual interference, and spectral haunting. The text investigates sound that is experienced in other parts of the body, altered by cross-wirings of the senses, weaponized by the military, or mediated and changed by cultural practices and memory. Building on recent scholarship in sound studies and affect theory, Heller questions not only how sound propagates acoustically but how sonic presences temper our total experience of the world around us.
An English translation with commentary of an important first treatise on singing by Agricola.
Notes Become Music: A Guidebook from the Viennese Piano Tradition addresses the many unwritten nuances of dynamics, articulation and agogics as an expression of fundamental principles of a common European musical language. It treats the score as an incomplete musical shorthand that outlines the compositional and interpretive imperatives implicit within it, drawing on historical records from the eighteenth and nineteenth centuries and detailed comparisons of works to underline the author’s presentation of Viennese tradition. This book is not primarily concerned with questions of style or interpretation. Rather, it explains the many facets of musical notation that were taken for granted by composers who assumed a knowledge of the piano tradition of their day. Notes Become Music informs not only those students in countries where the central European music tradition is still unfamiliar, but also a younger generation of Europeans who have grown up without a living connection to their musical past.
'Even the biographical individual is a social category', wrote Adorno. ‘It can only be defined in a living context together with others.’ In this major new biography, Stefan Müller-Doohm turns this maxim back on Adorno himself and provides a rich and comprehensive account of the life and work of one of the most brilliant minds of the twentieth century. This authoritative biography ranges across the whole of Adorno's life and career, from his childhood and student years to his years in emigration in the United States and his return to postwar Germany. At the same time, Muller-Doohm examines the full range of Adorno's writings on philosophy, sociology, literary theory, music theory and cultural criticism. Drawing on an array of sources from Adorno's personal correspondence with Horkheimer, Benjamin, Berg, Marcuse, Kracauer and Mann to interviews, notes and both published and unpublished writings, Muller-Doohm situates Adorno's contributions in the context of his times and provides a rich and balanced appraisal of his significance in the 20th Century as a whole. Müller-Doohm's clear prose succeeds in making accessible some of the most complex areas of Adorno's thought. This outstanding biography will be the standard work on Adorno for years to come.