Sound Tapestry

This romantic rouse crosses the Pond from Ireland to America. It's 1985. Rich American Businessman Bradford Thompson is at Dublin's Trinity College to interpret the message of The Book of Kells. When he collides with Mary Grace Clooney, she turnes his world upside down and inside out. A twist of fate? Perhaps. Bradford, enraptured with the young girls's Irish seductiveness, needs to bring Mary Grace to America as his mistress. But Mary Grace has a secret scheme of her own... Has Bradford fallen into her trap? This Dublin game player is blessed with gypsy power, clever allies, and the guidance of her Grandmum Clooney, who spouts Irish wit and Irish warnings. When Mary Grace threatens Bradford's world, the game turns vicious. These prime players will stop at nothing to triumph. But alas! There can only be one winner left dancing!

This dissertation presents the history of space in the musical thought of the 20th­ century (from Kurth to Clifton, from Varese to Xenakis) and outlines the development of spatialization in the theory and practice of contemporary music (after 1950). The text emphasizes perceptual and temporal aspects of musical spatiality, thus reflecting the close connection of space and time in human experience. A new definition of spatialization draws from Ingarden's notion of the musical work; a typology of spatial designs embraces music for different acoustic environments, movements of performers and audiences, various positions of musicians in space, etc. The study of spatialization includes a survey of the composers's writings (lves, Boulez, Stockhausen, Cage, etc.) and an examination of their works. The final part presents three unique approaches to spatialization: Brant's simultaneity of sound layers, Xenakis's movement of sound, and Schafer's music of ritual and soundscape.

Doing Research in Sound Design gathers chapters on the wide range of research methodologies used in sound design. Editor Michael Filimowicz and a diverse group of contributors provide an overview of cross-disciplinary inquiry into sound design that transcends discursive and practical divides. The book covers Qualitative, Quantitative and Mixed Methods inquiry. For those new to sound design research, each chapter covers specific research methods that can be utilized directly in order to begin to integrate the methodology into their practice. More experienced researchers will find the scope of topics comprehensive and rich in ideas for new lines of inquiry. Students and teachers in sound design graduate programs, industry-based R&D experts and audio professionals will find the volume to be a useful guide in developing their skills of inquiry into sound design for any particular application area.

Written by one of the leading experts in content management systems (CMS), this newly revised bestseller guides readers through the confusing-and often intimidating-task of building, implementing, running, and managing a CMS Updated to cover recent developments in online delivery systems, as well as XML and related technologies Reflects valuable input from CMS users who attended the author's workshops, conferences, and courses An essential reference showing anyone involved in information delivery systems how to plan and implement a system that can handle large amounts of information and help achieve an organization's overall goals

"Johnson and Petrie have produced an admirable book. Anyone who wants to make sense of Tarkovsky's films—a very difficult task in any case—must read it." —The Russian Review "This book is a model of contextual and textual analysis. . . . the Tarkovsky myth is stripped of many of its shibboleths and the thematic structure and coherence of his work is revealed in a fresh and stimulating manner." —Europe-Asia Studies "[This book,] with its wealth of new research and critical insight, has set the standard and should certainly inspire other writers to keep on trying to collectively explore the possible meanings of Tarkovsky's film world." —Canadian Journal of Film Studies "For Tarkovsky lovers as well as haters, this is an essential book. It might make even the haters reconsider." —Cineaste This definitive study, set in the context of Russian cultural history, throws new light on one of the greatest—and most misunderstood—filmmakers of the past three decades. The text is enhanced by more than 60 frame enlargements from the films.

Thirteen specialists on the history of tapestry offer a detailed survey of the lives and works of the Flemish weavers and of their relations with foreign patrons and artists.

This wide-ranging, ambitiously interdisciplinary study traces jazz's influence on African American poetry from the Harlem Renaissance to contemporary spoken word poetry. Examining established poets such as Langston Hughes, Ntozake Shange, and Nathaniel Mackey as well as a generation of up-and-coming contemporary writers and performers, Meta DuEwa Jones highlights the intersections of race, gender, and sexuality within the jazz tradition and its representation in poetry. Applying prosodic analysis to emphasize the musicality of African American poetic performance, she examines the gendered meanings evident in collaborative performances and in the criticism, images, and sounds circulating within jazz cultures. Jones also considers poets who participated in contemporary venues for black writing such as the Dark Room Collective and the Cave Canem Foundation, including Harryette Mullen, Elizabeth Alexander, and Carl Phillips. Incorporating a finely honed discussion of the Black Arts Movement, the poetry-jazz fusion of the late 1950s, and slam and spoken word performance milieus such as Def Poetry Jam, she focuses on jazz and hip hop-influenced performance artists including Tracie Morris, Saul Williams, and Jessica Care Moore. Through attention to cadence, rhythm, and structure, The Muse is Music fills a gap in literary scholarship by attending to issues of gender in jazz and poetry and by analyzing recordings of poets both with and without musical accompaniment. Applying the methodology of textual close reading to a critical "close listening" of American poetry's resonant soundscape, Jones's analyses include exploring the formal innovation and queer performance of Langston Hughes's recorded collaboration with jazz musicians, delineating the relationship between punctuation and performance in the post-soul John Coltrane poem, and closely examining jazz improvisation and hip-hop stylization. An elaborate articulation of the connections between jazz, poetry and spoken word, and gender, The Muse Is Music offers valuable criticism of specific texts and performances and a convincing argument about the shape of jazz and African-American poetic performance in the contemporary era.