Sing Romantic Music Romantically

There is a paucity of material regarding how choral music specifically was performed in the 1800s. The Historically Informed Performance (HIP) movement has made remarkable advancements in choral music of the Renaissance, Baroque, and Classical periods, with modest forays into the music of Beethoven, Schubert, Mendelssohn, and other early nineteenth-century composers; however, there are no sources with a comprehensive examination of how choral music was performed. Using more than one-hundred musical examples, illustrations, tables, and photographs and relying on influential, contemporaneous sources, David Friddle details the performance practices of the time, including expressive devices such as articulation, ornamentation, phrasing, tempo, and vibrato, along with an in-depth discussion of period pronunciation, instruments, and orchestral/choral placement. Sing Romantic Music Romantically: Nineteenth-Century Choral Performance Practices fills a gap in choral scholarship and moves forward our knowledge of how choral music sounded and was performed in the nineteenth century. The depth of research and abundance of source material makes this work a must-have for choral professionals everywhere.

David Friddle explores choral methods and community choral ensembles that originated in the nineteenth century. Using more than one hundred musical examples, illustrations, tables, and photographs, he documents the expansion of choral singing beginning in the early 1800s.

Music industry insiders on the nature of fame Our cultural darlings make music; we make them mythic. Every musical genre begets a community of listeners, performers, and critics, and quite often those categories are blurred. From the principled punk refusal of celebrity to hip-hop's celebration of its power, the music world is self-obsessed. Stars Don't Stand Still in the Sky assembles scholars, music writers, industry workers, and musicians, who offer a range of opinions and experience of the nature of fame. The collection focuses on commerce, the crowd, performance and image, history and memory, and romance. Contributors discuss black women icons, love-songs, the legacy of the blues, the image of the tortured rock star, MTV, the politics of the Rock and Roll Hall of Fame, the joy of line-dancing, and more. The contributors are James Bernard, Anthony DeCurtis, Katherine Dieckmann, Chuck Eddy, Paul Gilroy, Daniel Glass, Lawrence Grossberg, Jessica Hagedorn, Kathleen Hanna, James Hannaham, Dave Hickey, Jon Langford, Greil Marcus, Angela McRobbie, Paul D. Miller (a.k.a. DJ Spooky), Barbara O'Dair, Ann Powers, Toshi Reagon, Simon Reynolds, Robert Santelli, Jon Savage, Danyel Smith, Arlene Stein, Deena Weinstein, and Ellen Willis.

Katja Stoltz is used to tough times--an abusive stepfather, life on the streets, a musical dream that keeps shattering--but it's hard to compete with the ghost in Micah Sturm's mysterious closet. The Baroque beauty of Dresden Germany can be breathtaking, but it can also be bitterly cold. After being tossed onto the streets by her unfeeling roommates, Katja fears there's only one recourse left for her. The oldest profession on earth. Micah's the one to pick her up, but he surprises her with his no strings offer -- a place to stay until she gets on her feet. If only it weren't for this undeniable attraction between them, a gravitational pull they both struggle to resist. Katja can't help but fall in love. But Micah has a secret that could ruin everything. Will Katja find happiness on her quest for the truth about Micah? Or will she miss out on her Love Song? * * * **This second edition has been edited to fit into the sweet romance genre. Previously published as Sun & Moon as Hope Franke Strauss.

Why are some of the most beloved and frequently performed works of the late-romantic periodÑMahler, Delius, Debussy, Sibelius, PucciniÑregarded by many critics as perhaps not quite of the first rank? Why has modernist discourse continued to brand these works as overly sentimental and emotionally self-indulgent? Peter Franklin takes a close and even-handed look at how and why late-romantic symphonies and operas steered a complex course between modernism and mass culture in the period leading up to the Second World War. The styleÕs continuing popularity and its domination of the film music idiom (via work by composers such as Max Steiner, Erich Wolfgang Korngold, and their successors) bring late-romantic music to thousands of listeners who have never set foot in a concert hall. Reclaiming Late-Romantic Music sheds new light on these often unfairly disparaged works and explores the historical dimension of their continuing role in the contemporary sound world.

Megan Jackson Hall has struggled with her mental health for decades. Faith, Romance, and Creations through Psychosis is her powerful memoir that delves into a range of personal topics, including the author's continued distrust of her ex-husband and her belief in his connections to the mafia. It also explores her dream of a free worldwide online JK-doctorate institute, her ideas for revolutionizing the Catholic Church, and creating a healing ranch for people suffering from mental health issues. Faith, Romance, and Creations through Psychosis delves into how the author learns about her past and the connections of her family to the mafia. She recounts recurring dreams of a romantic relationship with a man named Gary Barlow, whom she believes communicates with her through his songs. She provides comfort for Catholics who want a church to come home to, and a clarion call for all who believe in access for everyone to free education and an easier way to receive treatment for mental health. The innovations that swirl through her head offer the promise of a brighter, more efficient future.

As both a distinct genre and a particular mode of filmmaking, the idea of the epic has been central to the history of cinema. Including contributions from both established and emerging film music scholars, the ten essays in Music in Epic Film: Listening to Spectacle provide a cross-section of contemporary scholarship on the subject. They explore diverse topics, including the function of music in epic narratives, the socio-political implications of cinematic music, and the use of pre-existing music in epic films. Intended for students and scholars in film music, film appreciation, and media studies, the wide range of topics and the diversity of the films that the authors discuss make Music in Epic Film: Listening to Spectacle an ideal introduction to the field of music in epic film.