Dancing About Architecture Is A Reasonable Thing To Do

Writing about music, far from being the specialized domain of the rock critic with encyclopedic knowledge of micro-genres or the fancy-pants star journalist flying on private planes with Led Zeppelin, has become something almost any music lover can do—and does. It’s been said, however, that writing about music is a difficult, even pointless enterprise—an absurd impossibility, like “dancing about architecture.” But aside from the fact that dancing about architecture would be awesome, what is that ineffable something that drives people to write about music at all? In this short, insightful book, Joel Heng Hartse unpacks the rock writer Richard Meltzer’s assertion that writing about music should be a “parallel artistic effort” with music itself—and argues that music and the impulse to write about it is part of the eminently mysterious desire for meaning-making that makes us human. Touching on the close resonances between music, language, love, and belief, Dancing about Architecture is a Reasonable Thing to Do is relevant to anyone who finds deep human and spiritual meaning in music, writing, and the mysterious connections between them.

Writing about music, far from being the specialized domain of the rock critic with encyclopedic knowledge of micro-genres or the fancy-pants star journalist flying on private planes with Led Zeppelin, has become something almost any music lover can do--and does. It's been said, however, that writing about music is a difficult, even pointless enterprise--an absurd impossibility, like "dancing about architecture." But aside from the fact that dancing about architecture would be awesome, what is that ineffable something that drives people to write about music at all? In this short, insightful book, Joel Heng Hartse unpacks the rock writer Richard Meltzer's assertion that writing about music should be a "parallel artistic effort" with music itself--and argues that music and the impulse to write about it is part of the eminently mysterious desire for meaning-making that makes us human. Touching on the close resonances between music, language, love, and belief, Dancing about Architecture is a Reasonable Thing to Do is relevant to anyone who finds deep human and spiritual meaning in music, writing, and the mysterious connections between them.

Beauty is oxygen because it comes from the lungs of God. Isolating individualism, rank injustice, and everyday monotony threaten to suffocate our souls. But Wesley Vander Lugt shows how beauty can breathe life back into us. Written in a graceful cadence that invites readers to turn these pages slowly, Beauty Is Oxygen weaves together theological reflection, poetry, cultural criticism, and Scripture. Throughout, Vander Lugt shows how beauty can break us out of self-centered malaise, promote healing and hope for our broken world, and reenchant our lives. Beauty is about more than positive feelings or pleasing aesthetics. Beauty is as essential to our souls as oxygen is to our bodies. As readers encounter these traces of divine glory in Vander Lugt’s finely crafted meditations, they will find how Christ will “make all things new.”

Dancing about Architecture: A Little Book of Creativity is a compendium of outrageous ideas: ideas about how to take more risks, and about how to go about coming up with better ideas. Ideas about how to plan experiences that leave people who are in the same room as those ideas awestruck, and ideas to help you avoid the textbook, the worksheet the barely stifled yawn. From using The Book of Revelation as a planning device; to seeing every experience through the prism of physical activity or song; to measuring a poem to find its real heart; it outlines a methodology that, if you use it, will make you an even greater creative force than you already are.

What do the world's most prominent oboists have to say about their musical ideas, performance techniques, and teaching strategies? Michele L. Fiala and Martin Schuring, themselves skilled oboists, undertook the project of asking twenty-six of them about their musicianship and pedagogy. The results are collected in Great Oboists on Music and Musicianship, which provides a unique window into how these virtuosi of wind instruments think about their craft. Each chapter paints an engaging portrait of a leading oboist that allows them to share--in their own words--their insights on the performance techniques, learning strategies, and career moves that propelled them to their current stature. The captivating prose chapters that Fiala and Schuring composed from the interviews allow each artist's personality to shine through as they convey their hard-won wisdom on topics such as musical interpretation, the relationship between vocal and instrumental music, being a good ensemble player, and warm-up routines. The diverse array of musicians portrayed in this book includes orchestral and solo performers from across North America, Europe, and Australia. Their practical advice will resonate not just with oboists but also with players and teachers of other instruments as they pursue their own musical journeys.

Dancing About Architecture reveals how J&P's very first song, "Love Me Do," showcased from the start their individual songwriting fingerprints; how John contributed to the quintessential Paulson, "Yesterday"; what makes a Johnsong a Johnsong and a Paulsong a Paulsong; and, among other things, what such different songs as "She Said She Said" and "Good Day Sunshine" have in common, or "Lucy in the Sky with Diamonds" and "She's Leaving Home," or "Martha My Dear" and "I'm So Tired" and "Sexy Sadie." Dancing About Architecture traces the individual fingerprints of J&P on each of their 162 collaborations from "Love Me Do" to "The Long and Winding Road," and "I Saw Her Standing There") to the more complex ("Getting Better" and "Happiness Is a Warm Gun") to their culmination in the Abbey Road medley; and provides thumbnails for the structures of each song. Dancing About Architecture is about songwriting more than songwriters and for songwriters more than fans, tracking as it does the expansion of their repertoire through each musical discover from song to song, album to album, and triumph to triumph until elanem were sitting on top of the world.

Joseph Rykwert is one of the major architectural historians of this century. THE DANCING COLUMN is his most controversial and challenging work to date. A decade in preparation, it is a deeply erudite, clearly written, and wide-ranging deconstruction of the system of column and beam known as the "orders of architecture". Rykwert traces the analogy between columns and/or buildings and the human body. 315 illustrations.

Though some of the more overt, political colonialist practices have been abandoned, colonial ways of thinking, thinking about thinking, and training in how to think, are still practiced, and these in turn, through the education of each nation-state's children, affect every aspect of economics, politics, and social development in the global village that our world has become. It is critical to examine the basic assumptions of Western education in order to trace their effects on local ways of knowing in many areas which may not share these assumptions, and which may be threatened and destroyed by them as global interaction in politics, economics, and education increases.".