The Soul Of Tone

(Book). From the same "dream team" that created The Fender Stratocaster Chronicles ( Vintage Guitar magazine's 2004 Book of the Year) comes this new publication covering the other side of Fender's legacy, the instrument amplifier. Revered as much as one's guitar, the Fender amplifier gets its due in this full-color, richly illustrated book. Features over 400 images, including legendary guitarists such as Eric Clapton, B.B. King, Neil Young, Pete Townshend, Stevie Ray Vaughan, Muddy Waters, and Dick Dale, and over 120 audio tracks that make terms and topics come alive.

Carl Stumpf (1848-1936) was a German philosopher and psychologist and a visionary and important academic. During his lifetime, he ranked among the most prominent scientists of his time. Stumpf's intention, as evident in his book, Tone Psychology, was to investigate the phenomenon of tone sensation in order to understand the general psychic functions and processes underlying the perception of sound and music. It could be argued that modern music psychology has lost or perhaps ignored the epistemological basis that Carl Stumpf developed in his Tone Psychology. To gain a confident psychological basis, the relevance of Stumpf's deliberations on music psychology cannot be overestimated. Analyses of the essence of tones, complex tones and sounds are fundamental topics for general psychology and epistemology. By the end of this two-volume work, Stumpf had established an epistemology of hearing. The subject of Volume I is the sensation of successive single tones. Stumpf demonstrates that analysis leads to the realisation of a plurality (is there only one tone or are there several tones?), which is then followed by a comparison: an increase may be observed (one tone is higher than the other) or a similarity may be realised (both tones have the same pitch or the same loudness). With almost mathematical stringency, Stumpf developed a topology of tones. Volume II deals with the sensation of two simultaneous tones (musical intervals). The books are stimulating, rewarding and provocative and will appeal to music psychologists, music theorists, general psychologists, philosophers, epistemologists and neuroscientists.

The art of movement called eurythmy began about eighty years ago, based on Rudolf Steiner's knowledge of spiritual beings and meanings behind various human movements, as well as knowledge of the inner spiritual qualities of human beings when we move. Eurythmy performance is choreographed according to "forms" drawn to reflect the inner nature of spoken language (speech eurythmy) or a musical piece (tone eurythmy), which is the subject of Eurythmy Forms for Tone Eurythmy. Steiner produced about 1500 forms for speech and tone eurythmy to be performed in Dornach and other locations. Many of his forms for tone eurythmy arose spontaneously in response to requests for forms from eurythmists. Steiner's spontaneity is readily apparent in the sketches themselves, with some drawn at rehearsals as he listened to the music. Steiner sketched others in the evening after hearing the music once, making them available for rehearsal the next day. When he was confined to bed during his final illness, he drew forms simply by looking at the sheet music. Eurythmy Forms for Tone Eurythmy contains facsimiles of the Rudolf Steiner's original drawings and, in many cases, instructions for performing them. Included are forms for compositions by Bach, Beethoven, Brahms, Chopin, Franck, Grieg, Handel, Lewerenz, Liszt, Mozart, Reger, Schubert, Schumann, Scriabin, van Stuten, Tartini, and many more. This is a valuable resource for all eurythmists, as well as for those who wish to gain a better understanding of eurythmy forms. This book is intended primarily for eurythmy students, performers, and teachers, and is also useful to anyone who would like to study eurythmy movements and better appreciate eurythmy performances.

Karena Dawn and Katrina Scott, the founders of the Tone It Up fitness and health brand, have taken the world by storm with their fun, energetic, girlfriend-to-girlfriend approach to getting fit. In their Tone It Up book, the girls' genuine, relatable philosophy is boiled down to a 28-day program that incorporates fitness routines, nutritional advice, and mental and spiritual practices to transform readers' bodies, attitudes, and lives. Dawn and Scott take a holistic approach to fitness, including the same principles in their book that make their brand so popular--a sense of community, empowerment, and lightheartedness in every healthy, feel-good technique they recommend. Dawn and Scott will help readers get: • FIT. With daily fitness challenges, workout plans, healthy-eating tips, and delicious recipes, readers will be on their way to the strong, sexy body they're after. • FIERCE. Dawn and Scott will empower readers to be their best self-motivators by aligning their minds and bodies with their intentions through visualization exercises, daily meditations, confidence-boosting tips, and dares to move outside their comfort zones. • FABULOUS. This is the fun stuff: beauty, sparkle, friendship, inspiration, joy, and all the things that give readers that unmistakable glow so they radiate from the inside out!

Let verse be free wherever you (be) is the writer's use of (be) as an optional address to champion, and or convey, his free will. It reflects a secular idiom that the writer employs, enabling a grammatical shift that conveys choice, as it is to embrace the good the bad and the ugly to determine as mordant irreligious stance. "The Humbling" as the subtitle suggests, substantiates spirituality in the verse that conveys a secular motif for "In a Hollowed Tone" that depicts, if not heightens the spirituality of the faithful as sacrosanct. The writer use words to heighten the rhythm and sound of free verse to express his unconventional ideas. He uses words to convey his original and eccentric views, all of which is devoid of accepted usage of language, mealy to convey a view and his usage of free verse. Thus, it speaks of one who believes completely in the majesty of Jesus Christ, and one who has no desire to disobey Gods lawsthe Ten Commandments. Loyalty to his reverence demands that he remains loyal to the sacred teachings of Jesus Christ and against that of the profane, as Satans plot to induce someone to his earthly view of the world and faiths abound. To be sure, (be) is used also as a substitute of the plural verb (are) as grammatically incorrect, equally as it presents a calculated opposition to the other side of Eden as related in the good book, upholds to the laws of man and his rationale. The rational id to point to the other side of Heaven, as it is here on earth. The poem, in its totality, reflects a view that reorients the faithful that evil is never good; it is an abomination to the Lord. The writer acquires this dictum as mans easy way out into doing evil deeds, while the other is an accepted fact of man willing to save himself to attain the kingdom of Heaven and embrace the God given Heaven of his congregation. (This free verse, written in the desirable third person) With a theme that reflects the Good, the Bad and ultimately, the denouement or conclusion and resolution between good and evil. The result of which speaks to a Senator, as Yes, I can do my job, and to the Representatives as no can do, give them hell. Which occasions a prayer to ask God for his forbearance and his blessings, and to give God praise for his holiness that? Moves onto his creation in free verse as His giving life to all Which progresses one of the recipients, the good the bad and the indifferent congressman, as well as the good senator, right unto a mother and her young child in his childish behavior to his mom and ultimately to the world as a whole. The theme, stretched out into the core of the poem, reveals the seamy side of life as that of the devils delights to manipulate a woman, the woman of the night, to do his biddings by soliciting her Dear Johns. It is a theme stretched out when invitations are offered to a meal given by the devil that is as much a reaction for rich and poor sinners to attend and be Satan's mimicking the blessing of the Lords Supper, while he wrestles with God by way of free will of which he challenges man.

The Relentless Pursuit of Tone: Timbre in Popular Music assembles a broad spectrum of contemporary perspectives on how "sound" functions in an equally wide array of popular music. Ranging from the twang of country banjoes and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume bridges the gap between timbre, our name for the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. Essays engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. "Genre" asks how sonic signatures define musical identities and publics; "Voice" considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; "Instrument" tells stories of the way some iconic pop music machines-guitars, strings, synthesizers-got (or lost) their distinctive sounds; "Production" then puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons? rockist authenticity? empty space?) and what it all might mean.