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      • Trusted Partner
        The Arts
        May 2019

        Partners in suspense

        Critical essays on Bernard Herrmann and Alfred Hitchcock

        by Steven Rawle, Kevin J. Donnelly

        This volume of new, spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, featuring new perspectives on their collaboration. Featuring essays by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships.

      • Trusted Partner
        Literature & Literary Studies
        December 2016

        Partners in suspense

        Critical essays on Bernard Herrmann and Alfred Hitchcock

        by Steven Rawle, Kevin J. Donnelly

        Introduction - K. J. Donnelly and Steven Rawle 1. Bernard Herrmann: Hitchcock's secret sharer - Jack Sullivan 2. Hitchcock, music and the mathematics of editing - Charles Barr 3. The anatomy of aural suspense in Rope and Vertigo - Kevin Clifton 4. The therapeutic power of music in Hitchcock's films - Sidney Gottlieb 5. A Lacanian take on Herrmann/Hitchcock - Royal S. Brown 6. Portentous arrangements: Bernard Herrmann and The Man Who Knew Too Much - Murray Pomerance 7. On the road with Hitchcock and Herrmann: sound, music and the car journey in Vertigo (1958) and Psycho(1960) - Pasquale Iannone 8. A dance to the music of Herrmann: a figurative dance suite - David Cooper 9. The sound of The Birds - Richard Allen 10. Musical romanticism v. the sexual aberrations of the criminal female: Marnie (1964) - K. J. Donnelly 11. The murder of Gromek: theme and variations - Tomas Williams 12. Mending the Torn Curtain: a rejected score's place in a discography - Gergely Hubai 13. The Herrmann-Hitchcock murder mysteries: post-mortem - William H. Rosar 14. How could you possibly be a Hitchcocko-Herrmannian?: Digitally re-narrativising collaborative authorship - Steven Rawle Index

      • The Arts

        The Guitar in Tango / La Guitarra en el Tango

        Fundamental method for playing tango music

        by Sebastián Henríquez

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina.This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS» Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE GUITAR IN TANGO CONTENTS » Rhythmic melody. Different ways to articulate and accentuate a rhythmic melody in tango. » Expressive melody. Fraseo and ornamentation as essential expressive devices. » Milonga and vals, connecting passages, guidelines for playing in a tango ensemble, the history of the guitar in tango, tango orchestra styles, and more. » 8 original works for guitar and ensemble. » 350 audio & video tracks.

      • The Arts

        The Bandoneon in Tango / El Bandoneón en el Tango

        Fundamental method for playing tango music

        by Eva Wolff

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina. This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS » Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE BANDONEON IN TANGO CONTENTS » Rhythmic melody. Different ways to articulate and accentuate a rhythmic tango melody. » Expressive melody. Fraseo as a fundamental constituent element of the tango language. » Time-marking models. The role of the bandoneon as part of the rhythmic base. » Ornaments and variations. Melodic embellishments and their use. » Milonga and vals, the use of percussive effects, guidelines to play in a tango ensemble, the history of the bandoneon in tango, the different styles of the genre. » 7 original works for ensemble. » 350 audio examples.

      • The Arts
        2010

        Die flote im Tango / Le flute dans le Tango

        Grundlegende schule des tangospiels

        by Paulina Fain

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina. This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS » Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises. » 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert. » Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE FLUTE IN TANGO CONTENTS » Expressive melody. The art of fraseo, the authentic shaping of the expressive melodies. » Rhythmic melody. The performance of rhythmic melodies and the articulation specific to tango. » Use of ornaments and extended techniques applied to tango, guidelines to playing in a tango ensemble, the history of the flute in tango, the different styles of the genre and more. » 5 original works for flute and piano. » 105 audio examples.

      • The Arts
        2011

        Die Violine im Tango / Le violon dans le Tango

        Grundlegende schule des tangospiels

        by Ramiro Gallo

        “Método de Tango” (Spanish for “Tango Method”) is the first fundamental book series that teaches how to play tango music, published in English and Spanish since 2014 by Tango Sin Fin in Buenos Aires, Argentina.This book series is the only collection which provides any musician, arranger, composer or ethnomusicologist from around the world a methodological and pedagogical approach to tango language, using academic terms, exercises and musical studies.   CONTENTS» Each volume is focused on one instrument: violin, bass, bandoneon, piano, flute and guitar. » All the tools and techniques for playing tango music are covered throughout specific chapters and exercises.» 5 to 8 original works for ensemble are included in each book. Parts for other instruments are included on a separate insert.» Audio and video recordings and play-along tracks for each exercise and pieces are available for free on Tango Sin Fin’s YouTube channel.   THE VIOLIN IN TANGO CONTENTS» Rhythmic melody. Different ways to articulate and accentuate a rhythmic tango melody.» Expressive melody. The art of phrasing, the tools to express tango music.» The rhythmic base. The typical marking models and the role of the violin as a part of the rhythmic base.» The use of ornaments and percussion effects, guidelines to play in a tango ensemble, the history of the violin in tango, the different styles of the genre.» 7 original works for violin and other instruments.» 130 audio and video examples.

      • Musical scores, lyrics & libretti

        The Scots Fiddle

        Tunes, Tales & Traditions of the North-east & Central Highlands

        by J. Murray. Neil

        The first of a three-volume extended edition of "The Scots Fiddle", this text combines an extensive collection of traditional fiddle music (over 160 tunes) with background narratives and anecdotes on the history, legends and traditions associated with the music, and biographical sketches on composers and song-writers, and instruction on playing, through the provision of bowings and finger-board positions. The book is also illustrated throughout with steel engravings. The music provided includes slow airs, pastorals, strathspeys, reels, jigs, hornpipes and marches, tunes from the 18th and 19th centuries as well as new compositions.

      • Music

        Keep On Pumping It Baby

        by D J Cooke

        Keep On Pumping It Baby: Take Two

      • Music

        Keep On Pumping It Baby

        Takes One and Two

        by D J Cooke

        Keep On Pumping Keep On Pumping Baby Yer Yer Yer: Of the Totally Sane Album: Take One: The word totally on the cover To keep On Pumping Baby Of The Totally Sane Album is spelt wrong on purpose to give an atmosphere of the song. The Words To Keep On Pumping Baby: Keep on pumping, That crazy sound, Yer yer yer, Keep on pumping now, That crazed sound, Keep keep on, Yer yer yer yer yeer yer, That crazy sound,

      • Musical scores, lyrics & libretti
        November 2003

        Complete Libretti of Giacomo Meyerbeer, in the Original and in Translation, in Five Volumes, The

        by Author(s): Giacomo Meyerbeer Editor(s): Richard Arsenty

        Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeer’s grands opéras, and his final work. By 1860 long-imposed labor had started to tell upon the composer’s health: he knew that he must concentrate on the “navigator project” which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and César-Victor Perrin, the director of the Opéra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph Fétis, while the libretto was revised by Mélesville. The original title of L’Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story.While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. L’Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.

      • Music
        February 2022

        Les lyrics de kharYsma Arafat NZABA (2006-2019)

        Inattendu, Des rimes en or,Que ta volonté se fasse

        by NZABA Arafat

        Artiste, Entrepreneur et fonctionnaire d’état ; ce livre retrace les lyrics de celui que l’on appelle musicalement et affectueusement : kharYsma Arafat NZABA. De son vrai nom de naissance : NZABA MOUNGUENGUE Bouesse Arafat, né en 1989 au Congo Brazzaville, les mélomanes qui se sont souvent trompé sur les paroles de ses titres cultes auront l’occasion de revisiter l’essentiel de ses textes de 2006 à 2019.

      • The Arts
        January 2016

        PANSOPHISTES

        The Man Who Knows

        by Humphrey Truman

        Cover.  :       Size A5             Plain Yellow Background                           Wording  :   centralised   :                                                                                            PANSOPHISTES                                                                                 The Man Who Knows                                                                                      A Film by                                                                                 Humphrey Truman                                                                         Reflections on the Culture of our Society

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