Dance Of The Dryad Dream

Mother Earth takes on human form as Mother Nature to walk among us in observation of how mankind cares for and how wisely he uses the bounty of natural resources she has blessed him with. Mankind, being a product of creation is therefore under her charge along with all the flora and fauna that exists upon the earth. Things haven’t been going so well these days and man has fallen into a cycle of waste and abuse that threatens the health of every organism that lives. Although Mother Nature has provided many warning signs, man has become complacent and self-centered, ignoring that he has become a threat to even his own existence. Mother Earth can heal herself and evolve, but at what cost? A mother will always try to protect her offspring from bringing harm upon themselves through intervention. She now calls upon the dark creatures of the Dreaming to come forth to give mankind one final chance to change the error of his ways. Man must be made to see the devastation he brings upon lives unseen, but from a different angle, so that he may see what lies ahead in his own future. A select number of Dryads have been called upon to leave their sacred trees in an effort to enlist mankind in a universal effort to not only save himself, but repair the damage that he has brought upon nature. If he refuses to do so, he will suffer the ultimate and immediate consequences.

In the early years of the twentieth century, O.G. Sonneck, the father of American musicology, decried the state of musical bibliography in this country, encouraging musical scholars to dedicate themselves to preserving, cataloging, and promoting the use of America’s musical ephemera, especially newspapers and magazines. Despite his century-old calls, much work in this area remains undone. This volume responds to Sonneck’s call for action by creating a bibliography of periodicals that document the use and place of the guitar in a little-known segment of America’s musical culture in the final decades of the nineteenth century through the first third of the twentieth century. Between 1880 and the mid-1930s, a unique musical movement grew and flourished in this country. Focused on the promotion of so-called “plectral instruments,” this movement promoted the banjo, the mandolin, and the guitar as cultivated instruments on a par with the classical violin or piano. The Banjo, Mandolin and Guitar (BMG) community consisted of instrument manufacturers, music publishers, professional teachers and composers, and amateur students. While some professional soloists achieved national recognition, the performing focus of the movement was ensemble work, with bands of banjos, mandolins and guitars ranging from quartets and quintets (modeled on the violin-family string ensembles) to festival orchestras of up to 400 players (mimicking the late romantic symphony orchestra). The repertoire of most ensembles included popular dances of the day as well as light classics, but more ambitious ensembles tackled Mozart, Haydn, Beethoven, and even Wagner. Although this movement straddled both popular and cultivated (classical) music-making, its elitist pretensions contributed to its demise in the wake of the explosive growth of modern American popular music linked to Tin Pan Alley or the blues. While the movement’s heyday spanned the early years of audio recording, only a handful of active BMG performers made recordings. As a result few musical scholars are aware of the BMG movement and its contribution to American musical culture, especially its influence on the physical and technical development of America’s instrument, the guitar The movement did, however, leave extensive traces of itself in periodicals produced by manufacturing and publishing concerns. Beginning in 1882, the leadership of the BMG movement fell to the publishers, editors, and contributors from these promotional journals, which were dedicated to the “interests of Banjoists, Mandolinists and Guitarists” While advertising dominated the pages of most of these periodicals, nearly all offered product and publication reviews, historical surveys, biographical sketches, and technical advice. In addition, the BMG magazines not only documented performances with reviews and program lists but also contained musical scores for solo instruments and plucked-string ensembles. These magazines are the primary sources which document this vibrant expression of America’s musical life. While one or two of the BMG magazines have been known by guitar scholars, most have not seen the light of day in decades. Similarly, a few of the leading guitar figures of the BMG movement—principally William Foden, Vahdah Olcott-Bickford, and George C. Krick—have been acknowledged and documented but many more remain completely anonymous. This bibliography offers access to the periodicals which help document the story of the guitar in America’s progressive era—a story of tradition and transformation—as lived and told by the guitar’s players, teachers, manufacturers, composers, and fans in the BMG movement. The bibliography consists of two large sections. The first contains a chronological list of articles, news items, advertisements, illustrations, and photographs as well as a list of musical works for guitar published in the BMG magazines. The second section of the bibliography is a series of indices which link names and subjects to the lists. With nearly 5500 entries and over 100 pages of indices, this bibliography offers researchers access to a musical world that has been locked away on library shelves for the past century.

Enchant Your Life through the Friendship of Tree Spirits Revel in the beauty of nature and rediscover your sense of wonder as you build a profound magical relationship with a dryad—the spirit or life force of a tree. Through meditations, exercises, writing prompts, and art projects, Penny Billington shows how to connect with some of the greatest teachers and healers of the natural world. Anyone, regardless of background or belief system, can discover how to sense a tree's aura, breathe with the landscape, and explore the secrets of exchanging gifts. Filled with whimsical drawings by Meraylah Allwood, this delightful guide also provides options for people with outdoor or mobility restrictions. Whether you want to live a more enchanted life or learn from the resilience of our wise companions, Nine Ways to Charm a Dryad will help you manifest the energy of the trees from roots to crown.

Daniels’ Orchestral Music is the gold standard reference for conductors, music programmers, librarians, and any other music professional researching an orchestral program. This sixth edition, celebrating the fiftieth anniversary of the original work, includes over 14,000 entries with a vast number of new listings and updates.

Bruce Gewirz has studied sonnets written over the last 600 years, and has written over a thousand sonnets and a number of other poems to his muses over the last 36 years. He presently resides in Mt. Rainier, Maryland.

First published in 2005. The Victorian and Edwardian music hall ballet has been a neglected facet of dance historiography, falling prey principally to the misguided assumption that any ballet not performed at the Opera House or 'legitimate' theatre necessarily meant it was of low cultural and artistic merit. Here Alexandra Carter identifies the traditional marginalization of the working class female participants in ballet historiography, and moves on to reinstate the 'lost' period of the music hall ballet and to apply a critical account of that period. Carter examines the working conditions of the dancers, the identities and professional lives of the ballet girls and the ways in which the ballet of the music hall embodied the sexual psyche of the period, particularly in its representations of the ballet girl and the ballerina. By drawing on newspapers, journals, theatre programmes, contemporary fiction, poetry and autobiography, Carter firmly locates the period in its social, economic and artistic context. The book culminates in the argument that there are direct links between the music hall ballet and what has been termed the 'birth' of British ballet in the 1930s; a link so long ignored by dance historians. This work will appeal not only to those interested in nineteenth century studies, but also to those working in the fields of dance studies, gender studies, cultural studies and the performing arts.

This book is concerned mostly with the ballet of both the Russian and English schools. Where other dance styles are mentioned they are considered with reference to ballet. Several famous ballerinas are mentioned, such as Anna Pavlova. There are also illustrations.

Anna Pavlova's revolutionary debut in 1910 at the Metropolitan Opera House captivated the nation and introduced Americans to the charms of modern ballet. Willa Cather was among the first intellectuals to recognize that dance had suddenly been elevated into a new art form, and she quickly trained herself to become one of the leading balletomanes of her era. Willa Cather and the Dance: "A Most Satisfying Elegance" traces the writer's dance education, starting with the ten-page explication she wrote in 1913 for McClure's magazine called "Training for the Ballet." Cather's interest was sustained through her entire canon as she utilized characters, scenes, and images from almost all of the important dance productions that played in New York.