In the spring of 2013, seventeen people gathered at the North Carolina state legislature to protest extreme legislation passed by the General Assembly attacking health insurance, unemployment insurance, labor, and voting rights. The ministers, labor, and human rights activists began praying, singing, and chanting, and were ultimately arrested. That group grew into crowds of thousands at successive "Moral Mondays" rallies, and by summer's end nearly 1,000 people had been arrested, making this sustained moral protest one of the largest acts of civil disobedience in U.S. history. The effort grew out of seven years of organizing with more than 160 groups. Rallies continued in 2014, with a "Moral March" of 80,000 people in February. Rev. Dr. William Barber II, a pastor and president of the North Carolina Conference of the NAACP, now the largest in the South, became one of the architects of the Forward Together Moral Movement. In a new book, Forward Together, Rev. Barber tells the story of a new fusion civil rights movement, a "big tent," in which black and white, gay and straight, rich and poor, old and young, Republicans and Democrats are all welcome. Rev. Barber's sermons/speeches at the protests, many of them collected in Forward Together, became the inspiration and rallying cry for a new civil rights movement. North Carolina today is at the epicenter of the political and spiritual crisis affecting 21st-century America. What happens here, says Barber, can shift the center of gravity in the American political discourse. Similar movements are now growing in states around the country. Forward Together captures the essence of what it means to preach in the public square.
North Carolina's Moral Monday protests have drawn tens of thousands of protestors in what has been called the new Civil Rights Movement. Forward Together: A Moral Message for the Nation shares the theological foundation for the Moral Monday movement, serving as a proclamation of a new American movement seeking equal treatment and opportunity for all regardless of economic status, sexual preference, belief, race, geography, and any other discriminatory bases. The book will also serve as a model for other movements across the country and around the world using North Carolina as a case study, providing useful, practical tips about grassroots organizing and transformative leadership.
Renowned Israeli-American scholar Harshav presents the first comprehensive investigation of Marc Chagall's life and consciousness after the classic 1961 biography by Chagall's son-in-law Franz Meyer.
Sounds of Ethnicity takes us into the linguistic, cultural, and geographical borderlands of German North America in the Great Lakes region between 1850 and 1914. Drawing connections between immigrant groups in Buffalo, New York, and Berlin (now Kitchener), Ontario, Barbara Lorenzkowski examines the interactions of language and music—specifically German-language education, choral groups, and music festivals—and their roles in creating both an ethnic sense of self and opportunities for cultural exchanges at the local, ethnic, and transnational levels. She exposes the tensions between the self-declared ethnic leadership that extolled the virtues of the German mother tongue as preserver of ethnic identity and gateway to scholarship and high culture, and the hybrid realities of German North America where the lives of migrants were shaped by two languages, English and German. Theirs was a song not of cultural purity, but of cultural fusion that gave meaning to the way German migrants made a home for themselves in North America.Written in lively and elegant prose, Sounds of Ethnicity is a new and exciting approach to the history of immigration and identity in North America.
The impact of Hegelian philosophy on 19th-century music criticism Music’s status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music’s autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music.
Fungi research and knowledge grew rapidly following recent advances in genetics and genomics. This book synthesizes new knowledge with existing information to stimulate new scientific questions and propel fungal scientists on to the next stages of research. This book is a comprehensive guide on fungi, environmental sensing, genetics, genomics, interactions with microbes, plants, insects, and humans, technological applications, and natural product development.
An indispensable resource on Samuel Barber's complete oeuvre-more than 100 published and nearly twice as many unpublished compositions-with an abundance of information on song texts, first performances, genesis of composition, duration, revisions, editions, arrangements, selected discography of historical and contemporary recordings, and detailed description of the hundreds of holograph manuscripts, sketches, drafts, and significant publisher's proofs founded in libraries and private collections throughout the United States. Illuminating quotations drawn from Barber's letters and diaries will be of special interest not only to scholars but conductors, composers, performers, and the general music enthusiast.
An indispensable study of nineteenth-century German music, history and nationalism. Music played a central role in the self-conception of middle-class Germans between the March Revolution of 1848 and the First World War. Although German music was widely held to be 'universal' and thus apolitical, it participated- like the other arts - in the historicist project of shaping the nation's future by calling on the national heritage. Compositions based on - often heavily mythologised - historical events and heroes, such as the Battle of the Teutoburg Forest or the medieval Emperor Barbarossa, invited individual as well as collective identification and brought alive a past that compared favourably with contemporary conditions. History in Mighty Sounds mapsout a varied picture of these 'invented traditions' and the manifold ideas of 'Germanness' to which they gave rise, exemplified through works by familiar composers like Max Bruch or Carl Reinecke as well as their nowadays little-known contemporaries. The whole gamut of musical genres, ranging from pre- and post-Wagnerian opera to popular choruses to symphonic poems, contributes to a novel view of the many ways in which national identities were constructed, shaped and celebrated in and through music. How did artists adapt historical or literary sources to their purpose, how did they negotiate the precarious balance of aesthetic autonomy and political relevance, and how did notions of gender, landscape and religion influence artistic choices? All musical works are placed within their broader historical and biographical contexts, with frequent nods to other arts and popular culture. History in Mighty Sounds will be indispensable reading for anyone interested in nineteenth-century German music, history and nationalism. Barbara Eichner is Senior Lecturer in Musicology at Oxford Brookes University.
Inside the 3rd edition of this esteemed masterwork, hundreds of the most distinguished authorities from around the world provide today's best answers to every question that arises in your practice. They deliver in-depth guidance on new diagnostic approaches, operative technique, and treatment option, as well as cogent explanations of every new scientific concept and its clinical importance. With its new streamlined, more user-friendly, full-color format, this 3rd edition makes reference much faster, easier, and more versatile. More than ever, it's the source you need to efficiently and confidently overcome any clinical challenge you may face. Comprehensive, authoritative, and richly illustrated coverage of every scientific and clinical principle in ophthalmology ensures that you will always be able to find the guidance you need to diagnose and manage your patients' ocular problems and meet today's standards of care. Updates include completely new sections on "Refractive Surgery" and "Ethics and Professionalism"... an updated and expanded "Geneitcs" section... an updated "Retina" section featuring OCT imaging and new drug therapies for macular degeneration... and many other important new developments that affect your patient care. A streamlined format and a new, more user-friendly full-color design - with many at-a-glance summary tables, algorithms, boxes, diagrams, and thousands of phenomenal color illustrations - allows you to locate the assistance you need more rapidly than ever.
The Philosopher's Stone is a collection of case studies in compositional process; not so much about how the music was arrived at through its sketch stages, but more are construction of issues of form as the defining features of a genre, and structure as the individual realization in a particular work. Great musical movements and works are seen as highly creative solutions to problem-solving. The contexts of the works differ considerably. Some were written against the background of a specific precedent or model, as with Mozart's Haydn quartets via Haydn's Op. 33 set. In other cases, as with Beethoven's middle period style, the composer reconsiders a comprehensive range of implications about style and construction, of how, after earlier successes now outworn, to make a new and significant contribution to the genre without duplicating earlier solutions. The essays are grouped into three sections: on Beethoven studies, Mozart in retrospect, and nineteenth-century music. All the movements and works in these chapters pose in their different ways these issues of structural reinterpretation and re-formation, where the reworking of the form leads to a distinctive and higher level transformation
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