Rhapsody In Black

RHAPSODY IN BLACK: THE LIFE AND MUSIC OF ROY ORBISON

An indigenous poet of the Nuosu (Yi) people of mountainous southwestern China, Jidi Majia is well known and celebrated among the Chinese. But his lyrical and worldly work, though widely published and honored, has not found its voice in English translation in the West. The poems in Rhapsody in Black, presented in Chinese and deftly translated by the gifted and respected Denis Mair, at long last introduce the English-speaking world to this remarkable Chinese writer. The poetry of Jidi Majia is deeply grounded in the myths and oral traditions of the Nuosu minority. It evokes times past but also speaks with eloquence of our global moment. Replete with cultural textures and local idiom, the poems provide an exquisite opening into the Nuosu world. In their ethnic richness, they also resonate with the voices of the indigenous and the dispossessed, from Native American and South American Indian poets to the African American and aboriginal Australian writers preserving and reshaping cultural identity. Jidi Majia’s voice sounds the depths of natural, cultural, and spiritual reality. In his poem “Voice of the Bimo,” the power of a Nuosu ritualist’s expression is reflected in his own: In tones both human and divine, it utters A praise song for birth and death When it invokes sun, stars, rivers, and ancient heroes When it summons deities and surreal powers Departed beings commence their resurrection! The poems in this volume broaden and deepen our experience of the world—Jidi Majia’s and our own.

George Gershwin only has a few weeks to compose a concerto. His piece is supposed to exemplify American music and premiere at a concert entitled "An Experiment in Modern Music." Homesick for New York while rehearsing for a musical in Boston, he soon realizes that American music is much like its people, a great melting pot of sounds, rhythms, and harmonies. JoAnn Kitchel's illustrations capture the 1920s in all their art deco majesty.

First published in the 1970s, this is the album of the legendary Sierra Domino Studio of Craig Calvin Andersen, famous for his erotic magazines using only black models. Based in San Francisco, he photographed and published many very successful series of images, never pornographic, and always in his own aesthetic style. His main concern was the artistic value of his pictures. Illustrated with 120 b/w and full-colour photos.

Rhapsody, n, (1542) 1: a portion of an epic poem adapted for recitation 2 archaic: a miscellaneous collection 3 a (1): a highly emotional utterance (2): a highly emotional literary work (3): effusively rapturous or extravagant discourse b: Rapture, Ecstasy 4: a musical composition of irregular form having an improvisatory character. Elizabeth Haydon is a major new force in fantasy. Equipped with a quick wit, Haydon has a sharp ear for dialogue, panache with characters, and that essential ability to transport her readers into her own fantastical world-a world so real you can hear the sweet music of Rhapsody's aubade and smell the smoldering forges within the Cauldron. Rhapsody is a woman, a Singer of some talent, who is swept up into events of world-shattering import. On the run from an old romantic interest who won't take no for an answer, Rhapsody literally bumps into a couple of shady characters: half-breeds who come to her rescue in the nick of time. Only the rescue turns into an abduction, and Rhapsody soon finds herself dragged along on an epic voyage, one that spans centuries and ranges across a wonder-filled fantasy world. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Junior Library Guild Selection Booklist Editors' Top 10 Arts Books for Youth California Reading Association Eureka! Gold Award CBC Notable Social Studies Trade Books for Young Readers Parents' Choice Gold Award Paterson Prize for Books for Young Readers Bank Street College of Education Best Book of the Year Golden Kite Award for Picture Book Illustration Meet the famous composer George Gershwin and learn about his remarkabke composition "Rhapsody In Blue" in this engaging nonficftion picture book biography. George Gershwin heard music all the time—at home, at school, even on New York City's busy streets. Classical, ragtime, blues, and jazz—George's head was filled with a whole lot of razzmatazz! With rhythmic swirls of words and pictures, author Suzanne Slade and illustrator Stacy Innerst beautifully reveal just how brilliantly Gershwin combined various kinds of music to create his masterpiece, Rhapsody in Blue, a surprising and whirlwind composition of notes, sounds, and one long wail of a clarinet. Includes author's note, timeline, and bibliography.

A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”