Venerated for his lyrics, Bob Dylan in fact is a songwriting musician with a unique mastery of merging his words with music and performance. Larry Starr cuts through pretention and myth to provide a refreshingly holistic appreciation of Dylan's music. Ranging from celebrated classics to less familiar compositions, Starr invites readers to reinvigorate their listening experiences by sharing his own—sometimes approaching a song from a fresh perspective, sometimes reeling in surprise at discoveries found in well-known favorites. Starr breaks down often-overlooked aspects of the works, from Dylan's many vocal styles to his evocative harmonica playing to his choices as a composer. The result is a guide that allows listeners to follow their own passionate love of music into hearing these songs—and personal favorites—in new ways. Reader-friendly and revealing, Listening to Bob Dylan encourages hardcore fans and Dylan-curious seekers alike to rediscover the music legend.
In this welcome addition to the immensely popular Yale Broadway Masters series, Larry Starr focuses fresh attention on George Gershwin’s Broadway contributions and examines their centrality to the composer’s entire career. Starr presents Gershwin as a composer with a unified musical vision—a vision developed on Broadway and used as a source of strength in his well-known concert music. In turn, Gershwin’s concert-hall experience enriched and strengthened his musicals, leading eventually to his great “Broadway opera,” Porgy and Bess. Through the prism of three major shows—Lady Be Good (1924), Of Thee I Sing (1931), and Porgy and Bess (1935)—Starr highlights Gershwin’s distinctive contributions to the evolution of the Broadway musical. In addition, the author considers Gershwin’s musical language, his compositions for the concert hall, and his movie scores for Hollywood in the light of his Broadway experience.
Commentary on the original version for soprano and piano is supplemented by information on Copland's later orchestrations of selected songs, a discussion of performance and interpretation, and an annotated discography."--BOOK JACKET.
I didn't want to write this book. I been searching the or gin of aids for years. I knew it was going to kill millions of people. To know something was going to happen and not do anything about it, you are as guilty as the people who committed the act. I spent twenty years in prison. Why should I risk my life to save the very people who kept me locked up all those years. The reason was; it was the right thing to do. I had written some letters informing government officials, but the FBI traced me down anyway. I went in a secret service office in LA. Not expecting to come back out. There were 2 secret service with rifles on the roof, and there we four others walking around with rifles. They don't send secret service with sniper rifles to arrest someone like me. They were going to kill me. If you enjoy action based book I guarantee your new favorite book will be this one.
This teacher's resource manual, designed for use with Starr and McMillan's Human Biology (4th edition) textbook, includes chapter outlines, objectives, key terms, lecture outlines, suggestions for presenting the material, classroom and laboratory enrichment, ideas for classroom discussion, and sections on term paper topics, library activities, and special projects.
This collection, designed for use with Starr and McMillan's Human Biology (4th edition) textbook, provides a test bank of 2400 test items, ranked according to level of difficulty (easy, moderate, difficult), including multiple choice questions, matching questions, classification questions, and "select the exception" questions. For the genetics chapters, there are also problems.
An essential work for rock fans and scholars, Before Elvis: The Prehistory of Rock 'n' Roll surveys the origins of rock 'n' roll from the minstrel era to the emergence of Bill Haley and Elvis Presley. Unlike other histories of rock, Before Elvis offers a far broader and deeper analysis of the influences on rock music. Dispelling common misconceptions, it examines rock's origins in hokum songs and big-band boogies as well as Delta blues, detailing the embrace by white artists of African-American styles long before rock 'n' roll appeared. This unique study ranges far and wide, highlighting not only the contributions of obscure but key precursors like Hardrock Gunter and Sam Theard but also the influence of celebrity performers like Gene Autry and Ella Fitzgerald. Too often, rock historians treat the genesis of rock 'n' roll as a bolt from the blue, an overnight revolution provoked by the bland pop music that immediately preceded it and created through the white appropriation of music till then played only by and for black audiences. In Before Elvis, Birnbaum daringly argues a more complicated history of rock's evolution from a heady mix of ragtime, boogie-woogie, swing, country music, mainstream pop, and rhythm-and-blues--a melange that influenced one another along the way, from the absorption of blues and boogies into jazz and pop to the integration of country and Caribbean music into rhythm-and-blues. Written in an easy style, Before Elvis presents a bold argument about rock's origins and required reading for fans and scholars of rock 'n' roll history.
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