Small Graces

In twenty elegant pieces, writer, sculptor, and theologian Kent Nerburn celebrates the daily rituals that reveal our deeper truths. A companion piece to Kent Nerburn?s book Simple Truths, Small Graces is a journey into the sacred moments that illuminate our everyday lives. Through the exploration of simple acts, he reminds us to chart a course each day that nourishes the soul, honors the body, and engages the mind. Small Graces asks us to observe life?s quiet rhythms, the subtle shifts in perception and changes in light, the warm comfort of family voices; to feel the blessing of birdsong, the solitude of a falling leaf, the echo of footfall in snow-covered woods. By inviting us to recognize the hidden power of the ordinary, Small Graces reveals the mystical alchemy of the mundane made profound by the artistry of a well-lived life.

Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period. The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.

These have been called the most famous and beloved letters of the 20th century. Rainer Maria Rilke himself said that much of his creative expression went into his correspondence, and here he touches upon subjects that will interest writers, artists, and thinkers. Letters to a Young Poet is a classic that should be read by everyone who dreams of expressing themselves creatively. This luminous translation offers inspiration to all people who seek to know and express their inner truth. This edition features a new foreword by Kent Nerburn, author of Small Graces and Letters to My Son.

“The Graces demands to be read twice: The first time for the suspense; the second for the subtleties you missed initially.” —The New York Times Book Review Everyone loves the Graces. Fenrin, Thalia, and Summer Grace are attractive, rich, and glamorous, and they’ve cast a spell over their high school—and their entire town. They’re also rumored to have powerful connections all over the world. If you’re not in love with one of them, you want to be one of them. This is especially true for River, the new girl at school. River’s different from the rest of the horde that both revere and fear the Grace family. She’s dark, aloof, and just maybe . . . magical. And she wants to be a Grace more than anything. But what the Graces don’t know is that River’s presence in their town is no accident. The first rule of witchcraft is that if you want something bad enough, you can get it . . . no matter who has to pay. “A teenage girl becomes obsessed with a family of reputed witches . . . vivid . . . powerful.” —Kirkus Reviews (starred review) “Eve conjures up an intriguing vision of small-town mystique, with the Grace family depicted as unknowable and otherworldly—the mystery of whether magic is at play hangs over much of the story—and self-involved, obsessive River’s less-than-trustworthy narration adds to the air of uncertainty.” —Publishers Weekly

This volume brings together a group of leading international researchers and practitioners in voice pedagogy alongside emerging academics and practitioners. Encompassing research across voice science and pedagogy, this innovative collection transcends genre boundaries and provides new knowledge about vocal styles and approaches from classical and musical theatre to contemporary commercial music. The work is sure to be valuable in tertiary institutions, schools and community music associations, suitable for use by private studio teachers, and will appeal to choral leaders and music educators interested in vocal pedagogy. “I thoroughly enjoyed reading this book and I am confident it will help bring all aspects of vocal pedagogy firmly into the 21st century. Refreshingly, many different areas of pedagogy are included in the text so we can all work together to more fully understand the singing voice. Up to the moment research is included along with an exploration of the evolving contemporary styles of singing. Further, areas regarding teaching and curriculum in higher education are also reviewed. All in all, this text a crucial addition to a professional's vocal library.” Jeanne Goffi-Fynn, Teachers College, Columbia University, USA.