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Winner of the seventh annual Arkansas Poetry Award, William Aberg presents in The Listening Chamber a gallery of poetic forms, from short free-verse lyrics and crafted prose poems to original forms skillfully matched with their subjects. He writes comfortably of cats or derringers, the idylls of childhood, or of patients in mental hospitals. Throughout his poetry there runs a proletarian strain of dissatisfaction, an unrest coupled with dexterous wit and a remarkable sense of wonder. Convincingly, he populates these poems with farm workers, romantics, fugitives, lovers, beeches, elms, and constellations. With influences as wide ranging as William Stafford, Miklos Radnoti, and René Magritte, Aberg has fashioned a first collection in which every poem is a unique and haunting experience.
Winner of the seventh annual Arkansas Poetry Award, William Aberg presents in The Listening Chamber a gallery of poetic forms, from short free-verse lyrics and crafted prose poems to original forms skillfully matched with their subjects. He writes comfortably of cats or derringers, the idylls of childhood, or of patients in mental hospitals. Throughout his poetry there runs a proletarian strain of dissatisfaction, an unrest coupled with dexterous wit and a remarkable sense of wonder. Convincingly, he populates these poems with farm workers, romantics, fugitives, lovers, beeches, elms, and constellations. With influences as wide ranging as William Stafford, Miklos Radnoti, and René Magritte, Aberg has fashioned a first collection in which every poem is a unique and haunting experience.
Fiction. The house is haunted but nobody's home. Only us chickens, standing still as sculpture while Loulou, the immortal Pomeranian, and Georgette, Magritte's guardian angel, take us on a tour of the asylum. The rooms in Kathleen Rooney's THE LISTENING ROOM are always listening, always watching. The walls have ears. The tears have eyes. Sometimes the screams are silent. Sometimes the silence is deafening. Stark and hard-edged as the paintings themselves, this novel in poems and flashes inhabits a world much like our own -- suspended in a glazed animation of doomed hope and hopeful doom, where the virtual is realer than reality, where the muse and the bemused are confused, where the funny is wedded to the sad in unholy matrimony. "Mystery," Magritte wrote late in life, "is not one of the possibilities of reality. Mystery is what is absolutely necessary for reality to exist." Take a load off. Escape is not an option. There are no windows and no doors, only holes through which the sky or an oncoming train pours in. The stairs dead end. The clouds are voodoo dolls, sweet enough to eat. But who, Georgette and Loulou forever wonder, will devour whom?
Authoritative guide presents 231 of the most frequently performed pieces by 55 composers. A must for music lovers and musicians alike. "No lover of chamber music should be without this Guide." ? John Barkham Reviews.
The acoustics of a space can have a real impact on the sounds you create and capture. Acoustics and Psychoacoustics, Fifth Edition provides supportive tools and exercises to help you understand how music sounds and behaves in different spaces, whether during a performance or a recording, when planning a control room or listening space, and how it is perceived by performers, listeners, and recording engineers. With their clear and simple style, Howard and Angus cover both theory and practice by addressing the science of sound engineering and music production, the acoustics of musical instruments, the ways in which we hear musical sounds, the underlying principles of sound processing, and the application of these concepts to music spaces to create professional sound. This new edition is fully revised to reflect new psychoacoustic information related to timbre and temporal perception, including an updated discussion of vocal fold vibration principles, samples of recent acoustic treatments, and a description of variable acoustics in spaces, as well as coverage of the environment’s effect on production listening, sonification, and other topics. Devoted to the teaching of musical understanding, an accompanying website (www.routledge.com/cw/howard) features various audio clips, tutorial sheets, questions and answers, and trainings that will take your perception of sound to the next level. This book will help you: Gain a basic grounding in acoustics and psychoacoustics with respect to music audio technology systems Incorporate knowledge of psychoacoustics in future music technology system designs as appropriate Understand how we hear pitch, loudness, and timbre Learn to influence the acoustics of an enclosed space through designed physical modifications
The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds and for making music, we can awaken and release our full creative powers. Mathieu offers suggestions and encouragement on many aspects of music-making, and provides playful exercises to help readers appreciate the connection between sound, music, and everyday life.
Chamber Music: A Listener's Guide brings together acclaimed program annotator James Keller's essays on the essential chamber-music repertoire. Written to be meaningful to non-professional music-lovers while also providing enrichment for chamber-music professionals, these notes offer generous historical background for 193 works by 56 composers from the 18th century to the present.
A room’s acoustic character seems at once the most technical and the most mystical of concerns. Since the early Enlightenment, European architects have systematically endeavored to represent and control the propagation of sound in large interior spaces. Their work has been informed by the science of sound but has also been entangled with debates on style, visualization techniques, performance practices, and the expansion of the listening public. Echo’s Chambers explores how architectural experimentation from the seventeenth through the mid-twentieth centuries laid the groundwork for concepts of acoustic space that are widely embraced in contemporary culture. It focuses on the role of echo and reverberation in the architecture of Pierre Patte, Claude-Nicolas Ledoux, Carl Ferdinand Langhans, and Le Corbusier, as well as the influential acoustic ideas of Athanasius Kircher, Richard Wagner, and Marshall McLuhan. Drawing on interdisciplinary theories of media and auditory culture, Joseph L. Clarke reveals how architecture has impacted the ways we continue to listen to, talk about, and creatively manipulate sound in the physical environment.
In The Art of Listening, Anthony Arnone interviews 13 of the top cello teachers of our time, sharing valuable insights about performing, teaching, music, and life. While almost every other aspect of twenty-first-century life has been changed by technological advancements, the art of playing and teaching the cello has largely remained the same. Our instruments are still made exactly the same way and much of what we learn is passed on by demonstration and word of mouth from generation to generation. We are as much historians of music as we are teachers of the instrument. The teaching lineage in the classical music world has formed a family tree of sorts with a select number of iconic names at the top of the tree, such as Pablo Casals, Gregor Piatigorsky, and Leonard Rose. A large percentage of professional cellists working today studied with these giants of the cello world, or with their students. In addition to discussing the impact of these masters and their personal experience as their students, the renowned cellists interviewed in this book touch on a variety of topics from teaching philosophies to how technology has changed classical music.
How do you practice real conversation with God? How can you make your experience of God 's presence part of everyday life? In this six-session LifeGuide® Bible Study, Jan Johnson covers the disciplines of prayer and of practicing God's presence. Going deeper in these areas will help you to draw closer to God in everything you do.