I grew up on the tales I heard around my Grandma Frank's kitchen, of life in Kentucky, as told by my mother, Nora, Aunt Lucille, Aunt Annie, Cousin Etta and Grandma. They told ghost stories about Indian princesses and big stallions, funny stories about the big ol' sway back white horse, Dollar. Scary stories, told by the kids as they walked to school, about the wolves following them on the edge of the woods. They fed them biscuits from their shortening can lunch buckets, thinking they were dogs. Stories of fireballs racing through the house at night. Little people, romance, magic, herbs, medicine men and women, witches and Indian kidnappings. I didn't want these stories to be forgotten so I wrote 'The Cumberland Witch' for my grandchildren. But there were so many stories that I couldn't fit into the novel that I began a sequel, 'Cumberland Music'. I named the heroine Music for the 105-year-od midwife that delivered my father in 1912, one week after the Titanic sank.
Our specialist times have left little room for the age-old view that, however transfigured, the issues of art and life belong together, or that, for all their differences, the arts have shared concerns: yet realism demands just such an outlook. Towards a Poetics of Music and the Arts is an informal attempt to re-open the closed borders by an established writer on music, Christopher Wintle. Through a host of aphorisms and thoughts it first probes people, politics, learning and the Gods. It then sketches out a Poetics in terms of style and idea, artists, listeners and critics, theory, performers, ethics, opera, sculpture, cinema, and art and sport, before ending with a pair of Urban Fables (after Leonardo da Vinci). The volume includes a collection of Works with Music by the well-known Brazilian artist Ana Maria Pacheco.
The Fiddle: A Research and Information Guide is the first large-scale annotated bibliography and research guide on the fiddle traditions of the United States and Canada. These countries, both of which have large immigrant populations as well as Native populations, have maintained fiddle traditions that, while sometimes faithful to old-world or Native styles, often feature blended elements from various traditions. Therefore, researchers of the fiddle traditions in these two countries can not only explore elements of fiddling practices drawn from various regions of the world, but also look at how different fiddle traditions can interact and change. In addition to including short essays and listings of resources about the full range of fiddle traditions in those two countries, it also discusses selected resources about fiddle traditions in other countries that have influenced the traditions in the United States and Canada.
The third in a series of true short stories from foster carer Mia Marconi. Brody had been on the at-risk register since birth but was only removed from his alcoholic parents when he reached the age of six. Foster carer Mia Marconi was thrilled when he first arrived – a boy the same age as her son.It can be so bewildering for foster children when they arrive. The older ones are usually withdrawn and sullen. The younger ones will be screaming, spitting at you, making themselves sick and throwing themselves on the floor.For Mia, it's normally her boisterous, happy children who provide the comfort at the beginning, because why should they trust another adult. Children always feel safe and secure when there are other children about. Mia believes it's through making relationships with other children that they begin to trust adults again. But little did she know that six-year-old Brody was actually taking his anger and frustration out on her son. She quickly begins to realise the heavy price her family has had to pay.
How did medieval musicians learn to perform? How did they compose? What was their sense of the history and purpose of music? The Summa musice, a treatise on practical music from c. 1200, sheds light on all these questions. It is a manual for young singers who are learning Gregorian chant for the first time, and provides a compact but comprehensive introduction to notation, performance, and composition, written in a mixture of Latin prose and verse. More than that, however, it is also an introduction to medieval culture: what educated people believed to be worth knowing about music, how they reasoned when they discussed musical questions, the nature of musical thought and how it was expressed. There has been no edition of the Summa musice since 1784, when Gerbert published a very faulty text. Christopher Page's book provides a completely new edition of the Latin text taken from the only surviving original copy, together with an English translation. Both texts are copiously annotated and introduced by an authoritative and illuminating editorial commentary.
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