In Opera at the Bandstand: Then and Now, George W. Martin surveys the role of concert bands during the nineteenth and early twentieth centuries in making contemporary opera popular. He also chronicles how in part they lost their audience in the second half of the twentieth century by abandoning operatic repertory. Martin begins with the Dodworth bands in New York City from the 1850s and moves to the American tour of French conductor and composer Louis Antoine Jullien, bandmaster Patrick S. Gilmore’s jubilee festivals, the era of John Philip Sousa from 1892 to 1932, performances of the Goldman Band of New York City from 1920 to 2005, and finally the wind ensembles sparked by Frederick Fennell. He illustrates the degree to which operatic material comprised these bands’ overall repertory and provides detailed programs in the appendixes. Opera at the Bandstand describes how the technological advancements sweeping the country, such as radio, automobiles, recordings, television, and air conditioning, along with changes in demographics, affected the country’s musical life. It will appeal to bandmasters and their players, as well as those with an interest in American history, music, popular culture, and opera.
First published in 1960, this is the autobiography of George Freeman Pollock, a young Washington, D.C. man who in 1895 founded, built and managed the Skyland Resort, originally called Stony Man Camp, in Virginia. “The Blue Ridge Mountains of Virginia, separating the eastern or Piedmont and Tidewater sections from the Shenandoah Valley, commence at the south side of the gap at Harper’s Ferry. Thence, stretching out in a southwestwardly direction, they become substantially higher near Front Royal (at the beginning of the Shenandoah National Park) and further on in the Park, in the vicinity of Sperryville to the east and Luray to the west, they reach an apex in lofty Hawksbill Mountain and in the slightly lower though more imposing Stony Man Mountain. “In 1886, fifty years before the establishment of the Shenandoah National Park, a young man came to Stony Man Mountain and in 1894 (on one of its shoulders, a plateau) he founded a summer resort. Soon known far and wide as ‘Skyland,’ this resort was and, to a degree, still is the heart of Stony Man Mountain as well as of the area surrounding it and until 1937, the young man (he never grew old) was the soul of Skyland.”—STUART E. BROWN, JR.
Searching through journals, almanacs, sermons, tracts, orations, and volumes of verse, Professor Sensabaugh traces Milton's influence on Americans of widely differing talents, interests, and tastes: Cotton Mather, Jonathan Mayhew, John Adams, and Thomas Jefferson, as well as scores of others. Originally published in 1964. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This long-awaited study explores the creation of NBC-TV's landmark 1952-53 WWII documentary series, with particular attention to its evocative Rodgers-Bennett score. Victory at Sea, NBC-TV's innovative 1952-53 WWII documentary, was eventually broadcast to more than 100 million viewers worldwide. Its episodes chronicled the war's conflicts while highlighting the US Navy's contributions, NBC having sourced footage from the military, governments, and newsreel agencies of fourteen nations. Victory's special distinction was its music, with each episode's nonstop score recorded by the acclaimed NBC Symphony Orchestra. The music was credited to Richard Rodgers-then at the height of his fame-as composer, and Robert Russell Bennett as arranger and conductor. In fact, Rodgers composed twelve piano themes; Bennett developed these endlessly for orchestra and, in addition, composed many hours of the score outright. Part One chronicles Victory's gestation and production at NBC, its reception, the series' afterlife in syndication and home video, and the score's "Gold Record" sales success on RCA records. Part Two examines each episode in turn, focusing on how the Bennett-scored music pairs with screen action. Every transformation of the much-used Rodgers themes is cited, along with the episodes' musical inter-relationships. The hundreds of musical examples generously sample the score's 111/2 hours of music. NBC's Victory has been neglected by Richard Rodgers's biographers and by film historians. As the series celebrates its 70th anniversary, the Rodgers-Bennett score here finally receives recognition for its artistry and power.
The study of anosognosia has witnessed an unprecedented increase in interest over the last 20 years. This has resulted in numerous empirical investigations as well as theoretical writings on the nature of human consciousness and how disorders of the brain may influence the person's subjective awareness of a disturbed neurological or neuropsychological function. This edited text summarizes many of the advances that have taken place in the field of anosognosia. It reviews research findings on anosognosia for hemiplegia following stroke, Anton's syndrome, and a variety of disorders in which impaired self-awareness is common. It also provides suggestive guidelines for the management and rehabilitation of persons who have anosognosia or impaired self-awareness.
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