Weitere Bücher, die Sie mögen werden

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  Fibber McGee & Molly - Volume 1...

  Don Quinn

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  When a programme runs for years, and sometimes decades, it is a proven mark of quality and popularity that would be hard to dispel. 
  The situation comedy ‘Fibber McGee and Molly’ ran from 1935 to 1959 on the NBC Red network and was often the most popular and eagerly awaited show of the week.  
  Fibber was a story-teller prone to mad-cap schemes who was gently eased back into reality by his ever-loving wife Molly.  
  The comic duo, played by the real-life married couple of Jim & Marion Jordan, lived in the working-class community of Wistful Vista.  Here, they played out their adventures amongst neighbours, friends and acquaintances.  Comedy and life came together in an almost perfect blend of American life.  
  79 Wistful Vista was their home visited weekly by an audience that sought refuge from a long line of exhausting real-life events that stretched from the Great Depression, World War 2, Korea and even Rock N Roll.  Here they could find cheer and comfort in the middle of their struggles.  
  With it’s lovable cast, it’s recurring characters, appealing storylines and interludes of music, it was a world that the airwaves and audiences loved.

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  A Farewell to Arms

  Hollywood Stage Productions

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  Hollywood is indelibly printed in our minds as the ‘go-to’ place for entertainment and has been for decades.  When there really did seem to be more stars in Hollywood than in Heaven Hollywood Stage had them performing films as radio plays – on the sponsors dime of course.  Classic films now become audiobooks with many featuring the original stars from way back when. Here's A Farewell To Arms starring Clark Gable & Josephine Hurchinson.

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  Ready for a Brand New Beat - How...

  Mark Kurlansky

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  Can a song change a nation? In 1964, Marvin Gaye, record producer William "Mickey" Stevenson, and Motown songwriter Ivy Jo Hunter wrote "Dancing in the Street." The song was recorded at Motown's Hitsville USA Studio by Martha and the Vandellas, with lead singer Martha Reeves arranging her own vocals. Released on July 31, the song was supposed to be an upbeat dance recording—a precursor to disco, and a song about the joyousness of dance. But events overtook it, and the song became one of the icons of American pop culture. 
    
  The Beatles had landed in the U.S. in early 1964. By the summer, the sixties were in full swing. The summer of 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the beginning of the Vietnam War, the passage of the Civil Rights Act, and the lead-up to a dramatic election. As the country grew more radicalized in those few months, "Dancing in the Street" gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all changing as the country changed. 
    
  Told by the writer who is legendary for finding the big story in unlikely places, Ready for a Brand New Beat chronicles that extraordinary summer of 1964 and showcases the momentous role that a simple song about dancing played in history.

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  The Ukrainian Icon 11th - 18th...

  Liudmila Miliayeva

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  Icon painting, the ultimate expression of Orthodox Christian art, reached its zenith in Ukraine between the 11th and 18th centuries. This book spans the entire period, showing the development of the style. The Ukrainian icon is a surprising synthesis of the traditions of Eastern Byzantine art and the stylistic characteristics of Russian icon painting. The introduction of this book explains the stages of development of icon-painting over five centuries in Ukraine’s major Centres of art - Kyiv, Chernihiv, Transcarpathia, Galicia, and Volhynia - and discusses the life and work of the masters of icon-painting. Despite the strict stylistic considerations imposed by the genre, Ukrainian icons display a striking range and variety of backgrounds and contexts. The author has been awarded the Ukrainian Medal of Arts, the Order of Princess Olga.

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  Deep Refrains - Music Philosophy...

  Michael Gallope

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  We often say that music is ineffable, that it does not refer to anything outside of itself. But if music, in all its sensuous flux, does not mean anything in particular, might it still have a special kind of philosophical significance?   In Deep Refrains, Michael Gallope draws together the writings of Arthur Schopenhauer, Friedrich Nietzsche, Ernst Bloch, Theodor Adorno, Vladimir Jankélévitch, Gilles Deleuze, and Félix Guattari in order to revisit the age-old question of music’s ineffability from a modern perspective. For these nineteenth- and twentieth-century European philosophers, music’s ineffability is a complex phenomenon that engenders an intellectually productive sense of perplexity. Through careful examination of their historical contexts and philosophical orientations, close attention to their use of language, and new interpretations of musical compositions that proved influential for their work, Deep Refrains forges the first panoptic view of their writings on music. Gallope concludes that music’s ineffability is neither a conservative phenomenon nor a pious call to silence. Instead, these philosophers ask us to think through the ways in which music’s stunning force might address, in an ethical fashion, intricate philosophical questions specific to the modern world.    

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  The Italian Cantata in Vienna -...

  Lawrence Bennett

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  A history of music for the imperial court “from a professor, choral director, and professional tenor who has studied Viennese cantatas for half a century” (Lowell Lindgren, Massachusetts Institute of Technology). 
   
  Lawrence Bennett provides a comprehensive study of the rich repertoire of accompanied vocal chamber music that entertained the imperial family in Vienna and their guests throughout the seventeenth and early eighteenth centuries. The cantata became a form of elite entertainment composed to amuse listeners during banquets or pay homage to members of the royal family during special occasions. Concentrating on Baroque cantatas composed in the Habsburg court, Bennett draws extensively on primary source material to explore the stylistic changes that occurred within the genre in the generations before Haydn and Mozart. 
   
  “An important book. It deserves to be warmly welcomed not only by scholars but also by performers of Baroque vocal chamber music.” —Early Music 
   
  “Shed[s] light on an important yet seldom-discussed repertory, written by someone whose expertise is unquestionable.” —Music and Letters 
   
  “By taking multiple analytical approaches, Bennett establishes an overall understanding while also demonstrating how individual composers approached the genre. . . . Recommended.” —Choice 
   
  “An important tool for understanding the context in which cantatas were composed and performed, and in which the Hapsburgs’ important music collection . . . was created.” —Notes 
   
  “A wealth of new information . . . from a scholar who writes clearly and perceptively, and who has devoted decades of attention to the material.” —Steven Saunders, Charles A. Dana Professor of Music, Colby College

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