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Morley Paul: Far Above The World / LF

Far Above The World

The Time and Space of David Bowie

Musical Composition in Max/MSP: Strategies for Digital Creativity offers a music-centered introduction to the widely used music programming language Max/MSP. Placing creative results at the core of its approach, this book guides readers through the process of composing a complete musical work.

Musical Composition in Max/MSP: Strategies for Digital Creativity offers a music-centered introduction to the widely used music programming language Max/MSP. Placing creative results at the core of its approach, this book guides readers through the process of composing a complete musical work.

Strategies for Digital Creativity

Musical Composition in Max/MSP

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

The Theatre of Kander and Ebb

Painter Man

In Normally Weird and Weirdly Normal, radio favourite and author Robin Ince uses his own late-stage diagnosis of ADHD to explore neurodivergence and anxiety.

In Normally Weird and Weirdly Normal, author and host of Radio 4's Infinite Monkey Cage Robin Ince uses his own late-stage diagnosis of ADHD to explore neurodivergence and anxiety.

My Adventures in Neurodiversity

Normally Weird and Weirdly Normal

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Opera and Drama

Making the Rules

Elevator Repair Service

Unti Nonfiction

Focus on Dramaturgy

Drawing upon miscellaneous theories from Eugenio Barba, Friedrich Nietzsche and contemporary sound studies, Sonorous Dramaturgy: The Polyphony of Postdramatic Theatre looks into emerging, cutting-edge theatre artists who employ musicality as the driving force behind their creativity. Celebrating the polyphony of postdramatic theatre, this book incorporates diverse companies and artists from all over the world, including Song of the Goat Theatre company, Marta Górnicka's Chorus of Women, Complicite, Tan Dun, among others.

Drawing upon miscellaneous theories from Eugenio Barba, Friedrich Nietzsche and contemporary sound studies, Sonorous Dramaturgy: The Polyphony of Postdramatic Theatre looks into emerging, cutting-edge theatre artists who employ musicality as the driving force behind their creativity. Celebrating the polyphony of postdramatic theatre, this book incorporates diverse companies and artists from all over the world, including Song of the Goat Theatre company, Marta Górnicka’s Chorus of Women, Complicite, Tan Dun, among others.

The Polyphony of Postdramatic Theatre

Sonorous Dramaturgy

Charlie Chaplin rose from the hard streets of Edwardian London to worldwide fame. But his work and outlook were always shaped by the world he came from, a place of cheap entertainments and the threat of the workhouse, radical politics and desperate poverty. Framed through the life of this iconic success story, acclaimed historian Jacqueline Riding reveals working-class London at the turn of the twentieth century. Breathing life into forgotten stories of mothers and sons, labourers and actors, vagrants and sex workers, of suffering, survival and success against the odds, this compelling social history paints a striking portrait of a vanished city.

Working-Class Lives in Charlie Chaplin’s London, 1843-1913

Hard Streets

Ashgate Contemporary Thinkers on Critical Musicology Series

This collection of studies represents the range of Rosand's contribution to the history and criticism of music of the seventeenth and eighteenth centuries. Varied in focus and scope, each of these studies is directed toward developing an understanding of the ways in which music works. Taken together, the articles demonstrate how Rosand has opened entirely new prospects on seventeenth-century music and offered new insight into the more canonical repertoire of the eighteenth century.

This collection of studies by Ellen Rosand represents the range of her contribution to the history and criticism of music of the seventeenth and eighteenth centuries.  Varied in focus and scope, each of these studies is directed toward developing an understanding of the ways in which music works--from its function in representing the ideals of the Republic of Venice through its essential role in the emerging genre of opera, from the expressive mechanics of Monteverdi and Cavalli to those of Handel and Vivaldi.  With methodological flexibility, Rosand's analyses are responsive to the works themselves.  Exploring the mimetic significance of particular formal motifs and scenic conventions, the intimate relationship of music and text, or a composer's dramatic choices, discovering a new musical personality (Barbara Strozzi) or the historical and cultural circumstances, the practical and creative dynamics of an emerging dramatic art (opera in Venice), she has opened entirely new prospects on seventeenth-century music and offered new insight into the more canonical repertoire of the eighteenth century.

Selected Essays

Baroque Resonances

Ashgate Interdisciplinary Studies in Opera

Although Gustav Holst is rarely thought of as an opera composer, his operatic works provide a gateway to the exploration of how a budding opera composer negotiated the British operatic world across his career and how his synthesis of a myriad of cultural influences in his operatic works affected his reputation and success as a composer. This interdisciplinary study provides a kaleidoscopic view of how overlapping and often contradictory cultural influences such as imperialism, religion, literature, indigenous theatre, philosophy, folk culture, nationalism, and historiography are reflected in Holst's operas and figure into his reception as a composer of operas.

Although Gustav Holst is rarely thought of as an opera composer, his operatic works provide a gateway to the exploration of how a budding opera composer negotiated the British operatic world across his career and how his synthesis of a myriad of cultural influences in his operatic works affected his reputation and success as a composer. This interdisciplinary study provides a kaleidoscopic view of how overlapping and often contradictory cultural influences such as imperialism, religion, literature, indigenous theatre, philosophy, folk culture, nationalism, and historiography are reflected in Holst’s operas and figure into his reception as a composer of operas.

From Bayreuth to Aldeburgh

Gustav Holst and British Operatic Culture

Far Above The World

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