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This work describes in accessible language the technical foundations of the Old Italian School of Singing. It enables the reader to grasp the teachings of the old masters theoretically and practically. The research for this book used not only the old treatises from the 1700's onwards but also firsthand testimonies, biographies and recordings from historical singers. The author systematically takes us through the basic elements of historical singing with practical hints and exercises tested by extensive teaching experience.
This classic work of research published by Advaita Ashrama, a Publication centre of Ramakrishna Math, Belur Math, India, brings under a single volume around 600 persons inspired by the ideals of Sri Ramakrishna and his disciples. Notable personalities whose connection with the Vedanta Movement in the West is delineated include Aldous Huxley, Arnold Toynbee, Albert Einstein, Ralph Waldo Emerson, Carl Jung, Mark Twain, J D Salinger and Joseph Campbell among others. For the scholars it is a mine of information presented precisely, and for the devotees of Ramakrishna, it is an inspiring account of western admiration for Ramakrishna and his disciples. (Pdf version).
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Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds. Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began t...
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An annual biographical dictionary, with which is incorporated "Men and women of the time."
Pagination: xl + 179 pp.
This book aims to explore which plays were deemed ‘suitable’ to be reworked for foreign or local stages; what transformations – linguistic, semiotic, theatrical – were undertaken so as to accommodate international audiences; how national literary traditions are forged, altered, and diluted by means of transnational adapting techniques; and, finally, to what extent the categorical boundaries between original plays and adaptations may be blurred on the account of such adjusting textual strategies. It brings together ten articles that scrutinise the linguistic, social, political and theatrical complexities inherent in the intercultural transference of plays. The approaches presented by ...