This is a 1961 biography by distinguished historian and author, Dr. Robert D. Bass, of the elusive American general Thomas Sumter—nicknamed the “Carolina Gamecock,” for his fierce fighting style—and his campaigns against the British Army in the South during the American Revolution. Thomas Sumter (August 14, 1734 - June 1, 1832) was a soldier in the Colony of Virginia militia, a brigadier general in the South Carolina militia during the American War of Independence, a planter, and a politician. After the United States gained independence, he was elected to the United States House of Representatives and to the United States Senate, where he served from 1801-1810, when he retired.
One of the most fascinating figures of the American Revolution, General Francis Marion slipped in and out of the Carolina swamps to strike sudden, devastating blows against the British. Cutting through the Swamp Fox legend, Robert D. Bass has arrived at a realistic and fascinating appraisal of this military genius with this 1959 literary work. “[A] close but spirited chronology of the raids and routs [General Francis Marion] led against the British. A humane man, a dedicated soldier with a devotion to duty and a worship of liberty, [he] was also a taciturn, moody and introverted character. With an intuitive sense of strategy, particularly that of the swift advance and the rapid retreat, he became a sound and savage fighter [...] rose from the ranks as an unknown captain to become a Brigadier General. Here, bivouac by bivouac, are the lashes and the sieges in which he engaged; the daring rescue of 150 Rebel prisoners from Sumter’s house; the bedevilment and the destruction of the British is small diversionary actions; and the indefatigable endurance of that gaunt, ill-kempt, gallant fighter who became a nemesis to Cornwallis and the entire British Army....”—Kirkus Review
Having received the invitation from Springer-Verlag to produce a volume on drug-induced birth defects for the Handbook of Experimental Pharmacology, we asked ourselves what new approach could we offer that would capture the state of the science and bring a new synthesis of the information on this topic to the world's literature. We chose a three-pronged approach, centered around those particular drugs for which we have a relatively well established basis for understanding how they exert their unwanted effects on the human embryo. We then supplemented this information with a series of reviews of critical biological processes involved in the established normal developmental patterns, with emphasis on what happens to the embryo when the processes are perturbed by experimental means. Knowing that the search for mechanisms in teratology has often been inhibited by the lack of understanding of how normal development proceeds, we also included chapters describing the amazing new discoveries related to the molecular control of normal morphogenesis for several organ systems in the hope that experimental toxicologists and molecular biologists will begin to better appreciate each others questions and progress. Several times during the last two years of developing outlines, issuing invitations, reviewing chapters, and cajoling belated contributors, we have wondered whether we made the correct decision to undertake this effort.
Telling the compelling story of the seventeenth century Naples orphans who emerged from the city's conservatori as masters of the European musical world, Child Composers in the Old Conservatory explores their training in the partimento tradition, and advocates for its revival in modern music education.
A standard source on one of the most enigmatic colonies in North America In this modern and complete history, Robert Weir explicates the apparent paradoxes that defined colonial South Carolina. In doing so he offers provocative observations about its ascension to the pinnacle of mid-eighteenth-century prosperity, escalating racial tension, struggles for political control, and push toward revolution.
The composer Ludwig Minkus represents one of music’s biggest mysteries. Who was he? Hardly anything is known about him, and yet he occupied an influential position in the theatres of the Imperial ballet in late nineteenth-century Russia. He has been recognised as a predecessor of Tchaikovsky, but as a musician is commonly held to have been so feeble as to be beneath contempt. Yet despite the scorn heaped on him, and his consequent obscurity, Minkus is far from being forgotten. Since the early 1960s his name has slowly begun to re-surface. Two works, Don Quixote (1869) and La Bayadère (1877), have been presented in their entirety for the first time to new audiences all over the world. The musical and dramatic power of both ballets has taken people by surprise. The stories have a very real human appeal, the choreography attracts the admiration of balletomanes, and the music, with its rhythm, verve, and beauty of melody, holds attention and engages the heart wherever it is heard. This introduction seeks to discover something more behind the blank façade of Minkus’s life and work. What do we actually know about him as a man and as an artist? Are we able to apprehend his oeuvre as a whole, and how much can we establish from the available material? What is the nature of the music he created for those few works that have survived the years, and that have come to the fore again recently to delight those who have ears to hear? This study includes iconography from the life and times of the composer, many musical examples from his works, and a comprehensive bibliography and discography.
After 20 years of playing professionally in all the musical genres, Robert Kaye presents a compilation of his notes in his new book, The Classical Method: Structure and the art of Piano Classical Improvisation Compositional Theory and Poetic Harmony, revealing the secrets of the great composers throughout history. Kaye’s instrument of choice is the piano. The Classical Method is attuned to myriad styles and instruments which determine his method, but his basis and the foundation of his method rests in the piano. His method focuses on target and sight, revolutionizing the way that musicians play and composers create music. Developed from years of experience as a career pianist, Kaye takes the reader behind the closed doors of the creative process and unveils the methodology behind great, profound music: " How coincidental the peak of the Classical era was 1776. It became clear that my deprivation, frustration and lack of education not only was overwhelmed with too much information. But it was only going to become real and rewarding by sheer experience of playing the piano and with quick results. ... Using your mind in conjunction with geometry and the very Freedom that the founding fathers intended for us to have. I think I found the many secrets to it, especially by targeting. And it has given me an enormous relief. I am now enriched with more music than one lifetime can accomplish. I live in contentedness by the proof of the freedom of the mind. Can understand and accept it spiritually as well as scientifically and have an array of pages accumulating everyday in composition. Never frustrated what to play, improvise, compose, display or demonstrate “The Classical Method.” The Classical Method: is user-friendly and helps to unlock the mysteries behind musical genius, giving advanced musicians the keys to a promising methodology for improvisation and original composition. Current issue is - 12th. Edition Completed - 9/12/12
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