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Life in Malibu
"The real Malibu, the one beyond the tabloid stories and the mega-mansions, is a continually surprising place where incredible natural beauty has made it one of the most desired, fought over, and storied coastlines on earth. This book offers a look at the history and nature of this famous seaside community"--back cover.
Hearts of Oak
From country dances to ballads and lovesongs, from sea shanties to drinking songs, this collection contains twenty-seven English folksongs and dances dating from the sixteen through the nineteenth centuries. The music is arranged for small harp, but can also be played on a larger harp, or on any melody instrument. Each piece includes fingering, lyrics, chord symbols, and historical notes. Illustrated by the author. This is the revised, third edition of the 2002 book, republished in 2023.
The King's Delight
From the earliest known complete piece of western music to the songs of the medieval troubadours and the dances of the Renaissance, this collection of early music contains 21 songs, airs and dances from England, France, Germany, Italy, Spain and ancient Greece. The music is arranged for small harp, but it can also be played on a larger harp, or on any melody instrument. Each piece includes fingering, lyrics, chord symbols, and historical notes. Illustrated by the author.
Cold December Winds
Twenty-five medieval, Renaissance, and traditional Christmas carols from throughout Europe and America, arranged for harp. All of the pieces can be played on a lap harp with a range of just two and a half octaves, or on a larger harp. They can also be played on flute, violin, guitar, or any melody instrument. The book includes lyrics, historical notes, and is illustrated by the author. The pieces are in the key of C, or in sharp keys. All of the pieces include fingerings and chord symbols. This is the revised third edition of the book.
The Three Ravens and Other Ballads
A collection of 34 English and Scottish ballads arranged for harp. The ballads date from the fifteenth through the nineteenth centuries, and range from the well known to the rare and unusual. They can be played on a lap harp with a range of just two and a half octaves, or on larger harps. They can also be played on flute, violin, guitar, or any melody instrument. The book includes lyrics, historical notes, and illustrations. The pieces are in the key of C, or in sharp keys. All of the pieces include fingerings and chord symbols.
Green Grows the Holly
Suzanne Guldimann has researched and arranged for lap harp 25 medieval and Renaissance Christmas carols. All of the pieces can be played on a harp with a range of just two and a half octaves. They can also be played on larger harps, or on any melody instrument. The book includes lyrics and historical notes, as well as illustrations. The pieces are fingered and are in the key of C, or in sharp keys. All of the pieces include chord symbols. This is the revised, third edition of the original 1998 book.
Pastime with Good Company
A beautiful and haunting collection of 27 Elizabethan songs and dances, arranged for harp. All of the pieces can be played on a lap harp with a range of just two and a half octaves, or on a larger harp. They can also be played on flute, violin, guitar, or any melody instrument. The book includes lyrics, historical notes, and is illustrated by the author. The pieces are in the key of C, or in sharp keys. All of the pieces include fingerings and chord symbols. This is the revised third edition of the book.
Music for the Netherfield Ball
For her ninth book of Celtic harp music, Suzanne Guldimann has researched and arranged 18 historic pieces of music drawn from and inspired by Jane Austen's personal collection of music. As a bonus, the not-quite-period English country dance popularized by the 1995 A&E version of Pride and Prejudice is included. The collection features classical pieces by Mozart, Handel and Gluck; and a haunting and romantic selection of the French, Italian, Scottish and Irish traditional airs that were tremendously popular during the late 18th/early 19th century, including several with lyrics by Robert Burns, and two pieces reported to have been among Jane Austen's personal favorites.All of the pieces in the collection are arranged to fit on a small harp with just three octaves, but can also be played on larger harps or on any melody instrument. Each arrangement includes fingering, chord symbols, lyrics when available and historic notes.
Music for the Netherfield Ball
For her ninth book of Celtic harp music, Suzanne Guldimann has researched and arranged 18 historic pieces of music drawn from and inspired by Jane Austen's personal collection of music. As a bonus, the not-quite-period English country dance popularized by the 1995 A&E version of Pride and Prejudice is included. The collection features classical pieces by Mozart, Handel and Gluck; and a haunting and romantic selection of the French, Italian, Scottish and Irish traditional airs that were tremendously popular during the late 18th/early 19th century, including several with lyrics by Robert Burns, and two pieces reported to have been among Jane Austen's personal favorites.All of the pieces in the collection are arranged to fit on a small harp with just three octaves, but can also be played on larger harps or on any melody instrument. Each arrangement includes fingering, chord symbols, lyrics when available and historic notes. This is the revised, second edition.
The Othering of Women in Silent Film
In The Othering of Women in Silent Film: Cultural, Historical, and Literary Contexts, Barbara Tepa Lupackexplores the rampant racial and gender stereotyping depicted in early cinema, demonstrating how those stereotypes helped shape American attitudes and practices. Using social, cultural, literary, and cinema history as a focus, this book offers insights into issues of Othering, including discrimination, exclusion, and sexism, that are as timely today as they were a century ago. Lupack not only examines the ways that dominant cinema of the era imprinted indelible and pejorative images of women—including African Americans, Native Americans, Asians, Hispanics, and New Women/Suffragists—but also reveals the ways in which a number of pioneering early filmmakers and performers attempted to counter those depictions by challenging the imagery, interrogating the stereotypes, and re-politicizing the familiar narratives. Scholars of film, gender, history, and race studies will find this book of particular interest.
