Sketch Of A New Esthetic Of Music (Classic Reprint)

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Sketch of a New Esthetic of Music

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Kolorowanka Gigant Spiderman 2 [2 szt.]

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Opis - Opakowanie zawiera 2 duże kolorowanki o wymiarach: 100x70 cm Nazwa - Kolorowanka Gigant Spiderman 2 [2 szt.] Wydawca - VERTE Kod ISBN - 9990000023691 Kod EAN - 9990000023691 Podatek VAT - 23% Premiera - 2015-03-30

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Spalona Żywcem Wyd. Kieszonkowe - Souad

Książki & Multimedia > Książki

Opis - Pierwsze na świecie świadectwo ofiary zbrodni honorowej. Miała siedemnaście lat i zakochała się: zhańbiła rodzinę. Więc rodzina wydała na nią wyrok śmierci... Pokochała go pierwszą miłością. Myślała, że się z nią ożeni. Ale ukochany zniknął, a ona odkryła, że jest w ciąży. A w jej świecie to najcięższa zbrodnia... W zapomnianej przez Boga wiosce w Cisjordanii kobiety są warte mniej niż zwierzęta domowe. Tu mężczyzna jest panem życia i śmierci żony, córki, siostry. Brat może bezkarnie zabić siostrę, matka - córkę, kolejną bezużyteczną dziewczynkę, jaka się urodzi. Tu kobiecie odbiera się godność, a nawet życie zgodnie z odwiecznym obyczajem i uświęconą tradycją. A śmierć jest karą dla dziewczyny, która zhańbi rodzinę. Tak jak Souad. Wyrok wydaje jej ojciec. Szwagier dokonuje egzekucji. Oblewa Souad benzyną i podpala... SOUAD przeżyła - cudem, ale rodzina usiłowała zabić ją nawet w szpitalu. Na zawsze jednak pozostanie straszliwie okaleczona - na ciele i duszy. I wciąż musi się ukrywać; dopóki żyje, jej rodzinę okrywa hańba. Spalona żywcem, opublikowana pod pseudonimem szokująca opowieść o piekle, jakim było jej dzieciństwo i młodość, stała się międzynarodowym bestsellerem. Wydana w 37 w krajach książka przerywa tabu milczenia wobec istniejącej nadal w krajach muzułmańskich barbarzyńskiej tradycji. Nieludzkiego obyczaju, prawa mężczyzn, na mocy którego co najmniej pięć tysięcy kobiet pada co roku ofiarą zbrodni honorowej. Nazwa - Spalona Żywcem Wyd. Kieszonkowe Autor - Souad Oprawa - Miękka Wydawca - Amber Kod ISBN - 9788324159406 Kod EAN - 9788324159406 Wydanie - 1 Rok wydania - 2016 Tłumacz - 31182,maria rostworowska; Format - 110 x 175 x 14 Ilość stron - 224 Podatek VAT - 5% Premiera - 2016-06-23

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Giganci Tańczą - Budka Suflera (Płyta CD)

Książki & Multimedia > Muzyka

Opis - "Giganci" w roku 1986 mieli za zadanie utrzymanie dobrej opinii po powrocie do zespołu Krzysztofa Cugowskiego i dobrze przyjętej ponownie nagranej z nim płycie "Czas czekania, czas olśnienia". Tytułowy utwór stał się nawet, choć krótkotrwałym, ale przebojem. Płyta niezwykła również z powodu składu personalnego Budki. Olbrzymi młody talent, czyli Piotr Płecha (gitara basowa) oraz najbardziej stylowy z bluesowych polskich gitarzystów Krzysztof Mandziara nadali zespołowi barwę dotąd niespotykaną. Kompozycyjnie nadal autorsko Lipko, Cugowski. Słowa Marek Dutkiewicz oraz Tomasz Zeliszewski. Realizatorem dźwięku był Józef Nowakowski, postać w branży muzycznej legendarna, wręcz "baśniowa". Niespotykaną oprawę graficzną stworzył nieżyjący już artysta fotograf Antonii Zdebiak. Nazwa - Giganci Tańczą Autor - Budka Suflera Wydawca - Universal Music Kod EAN - 5907996081288 Rok wydania - 2016 Nośnik - Płyta CD Ilość elementów - 1 Podatek VAT - 23% Premiera - 2016-03-18

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Folk Music: A Very Short Introduction Oxford University Press Inc

Książki / Literatura obcojęzyczna

This stimulating Very Short Introduction throws open the doors on a remarkably diverse musical genre, with a world-wide reach that goes far beyond America's shores to discuss folk music of every possible kind and in every corner of the globe. Written by award-winning ethnomusicologist Mark Slobin this is the first compact introduction to folk music that offers a truly global perspective. Slobin offers an extraordinarily generous portrait of folk music, one that embraces a Russian wedding near the Arctic Circle, a group song in a small rainforest village in Brazil, and an Uzbek dance tune in Afghanistan. He looks in detail at three poignant songs from three widely separated regions-northern Afghanistan, Jewish Eastern Europe, and the Anglo-American world-with musical notation and lyrics included. He goes on to sketch out the turbulent times of folk music today and tomorrow, confronting new possibilities, frameworks, and challenges. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly.Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

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Dance to the Music of Time The University of Chicago Press

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Anthony Powell's universally acclaimed epic encompasses a four-volume panorama of twentieth century London. Hailed by Time as "brilliant literary comedy as well as a brilliant sketch of the times," A Dance to the Music of Time opens just after World War I. Amid the fever of the 1920s and the first chill of the 1930s, Nick Jenkins and his friends confront sex, society, business, and art. In the second volume they move to London in a whirl of marriage and adulteries, fashions and frivolities, personal triumphs and failures. These books "provide an unsurpassed picture, at once gay and melancholy, of social and artistic life in Britain between the wars" (Arthur Schlesinger, Jr.). The third volume follows Nick into army life and evokes London during the blitz. In the climactic final volume, England has won the war and must now count the losses. In the background of this second volume of "A Dance to the Music of Time," the rumble of distant events in Germany and Spain presages the storm of World War II. In England, even as the whirl of marriages and adulteries, fashions and frivolities, personal triumphs and failures gathers speed, men and women find themselves on the brink of fateful choices. Includes these novels: "At Lady Molly's ""Casanova's Chinese Restaurant ""The Kindly Ones" "Anthony Powell is the best living English novelist by far. His admirers are addicts, let us face it, held in thrall by a magician."--"Chicago Tribune" "A book which creates a world and explores it in depth, which ponders changing relationships and values, which creates brilliantly living and diverse characters and then watches them grow and change in their milieu. . . . Powell's world is as large and as complex as Proust's."--Elizabeth Janeway, "New York Times" "One of the most important works of fiction since the Second World War. . . . The novel looked, as it began, something like a comedy of manners; then, for a while, like a tragedy of manners; now like a vastly entertaining, deeply melancholy, yet somehow courageous statement about human experience."--Naomi Bliven, "New Yorker"

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SCHUMANN: PIANO MUSIC Brilliant Classics

Nagrania muzyczneMuzyka poważna

Robert Schumann, ?a dreamer, a [?] tone poet and writer whose inner voices were those of childhood, of wonder, of love, of turmoil, even of madness? was renowned for the passion with which he accorded many of his compositions. The works on this disc contain the outpourings of his imagination and soul, particularly in relation to his beloved Clara.His Fantasiestücke Op.12 were a favourite of Franz Liszt, the title taken from E.T.A. Hoffmann?s Fantasiestücke in Gallots Manier ? a collection of writings in the style of the 17th-century French engraver Jacques Callot. Among the pieces are depictions of Schumann regulars such as Eusebius and Florestan, but many reflect Schumann?s long fight to wed the young Clara Wieck. No.5, In der Nacht, likens their plight to that of Hero and Leander. The disc also contains the mysterious and atmospheric Waldszenen Op.82, the playful Kinderszenen Op.18 and Arabeske Op.18One of Brilliant Classics? most prolific artists, Hungarian pianist Klára Würtz is enjoying an international career. Having won prizes in Dublin and Milan, she signed to a New York-based management company, leading to performances at Carnegie Hall and other prestigious concert venues throughout the U.S. and Canada. She currently teaches at the Conservatory of Arts in Utrecht.Other information:- Recorded in 1999 & 2007, The Netherlands.- Robert Schumann was the master of the miniature, the small form, the sketch characterising a person, a landscape, a mood or an idea. The three piano cycles presented on this CD offer a wide variety of emotions, from the sublime calm of a summer evening (Des Abends), the intimacy of a dream (Träumerei), the soaring of young passion (Aufschwung) to the sinister atmosphere of a pitch dark night (In der Nacht).- Hungarian-born pianist Klára Würtz is the ideal guide in this Schumannesque fancy world: ?poetry and sweep.. poignant lyricism..the finest complete Schumann cycle to have been recorded by one pianist??(Jed Distler, Classics Today).- Contains liner notes on the works and artist biography.

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CABANILLES: MORTALES QUE AMAIS, COMPLETE VOCAL MUSIC Brilliant Classics

Nagrania muzyczneMuzyka poważna

Hailed in his time as Spain?s greatest living composer, Joan Baptista Cabanilles is today considered by many to be the greatest of all Spanish Baroque composers, one whose wealth of ideas, mastery of counterpoint and command of form represent the climax of the Iberian tradition of organ music that stretched as far back as Cabezón. That Cabanilles was held in high esteem by his contemporaries is shown by his music?s wide distribution in manuscripts. Though the vast majority is for keyboard, there do exist some 10 sacred choral works ? precious remnants of what must have been a much larger repertory, probably conceived for the cathedral of Valencia in which the composer spent most of his working life.All of the works are assembled on this charming release, recorded by the chamber choir and musicological society Amystis, and a significant addition the Spanish Baroque discography that follows the completion of the critical edition by José Duce Chenoll of Cabanilles? entire vocal music output. Chenoll, who directs and provides the intonation, postulates in the liner notes that not all of the compositions ? which include a Mass and Magnificat as well as works honouring the Blessed Sacrament ? were performed in Cabanilles? lifetime, given that many are written on sketch paper (and possibly, too, in the composer?s hand), but this should not detract from their masterful quality. Revealing the composer?s great expertise in the use of musical rhetoric as well as his concern regarding varied rhythmic and harmonic effects, they are performed with aplomb by an ensemble that have made it their special task to research and promote, always via novel means, unpublished repertoire from the late 16th to early 18th centuries.Other information:- Recorded June & October 2012, El Puig de Santa Maria Royal Monastery, Valencia, Spain.- Juan Cabanilles (1644-1712) was one of the most important Spanish Baroque composers. He served for 45 years as Maestro di Cappella and organist of the Cathedral of Valencia.He wrote a substantial oeuvre for keyboard (organ and harpsichord), and a fine body of choral works, of which this new issue presents the first complete recording.- Cabanilles? choral works are grand scale, virtuoso and festive, composed for filling the vast spaces of the Valencia Cathedral.- Beautifully sung by the Coro Amystis, who did extensive research into the works of this neglected Spanish composer.-An important release, a valuable discovery of a treasure from the Spanish Baroque!

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SCHUMANN: PIANO MUSIC brilliant classics

Książki naukowe>Sztuka>Muzyka, śpiew i taniec>Muzyka poważna

Robert Schumann,

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CABANILLES: MORTALES QUE AMAIS, COMPLETE VOCAL MUSIC brilliant classics

Książki naukowe>Sztuka>Muzyka, śpiew i taniec>Muzyka poważna

Hailed in his time as Spain

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New York Girls 20th anniversary TASCHEN

Książki / Literatura obcojęzyczna

New York Girls, first released in 1995, and published by TASCHEN Books in 1996, defined a time, a place, and the raw esthetic of the artist Richard Kern. Kern was a leading figure in the 1980s Cinema of Transgression, director of the iconic films You Killed Me First, Fingered and Submit to Me Now; producer of Sonic Youth

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Comedy: A Very Short Introduction Oxford University Press

Książki / Literatura obcojęzyczna

To consider comedy in its many incarnations is to raise diverse but related questions: what, for instance, is humour, and how may it be used (or abused)? When do we laugh, and why? What is it that writers and speakers enjoy - and risk - when they tell a joke, indulge in bathos, talk nonsense, or encourage irony? This Very Short Introduction explores comedy both as a literary genre, and as a range of non-literary phenomena, experiences and events. Matthew Bevis studies the classics of comic drama, prose fiction and poetry, alongside forms of pantomime, comic opera, silent cinema, popular music, Broadway shows, music-hall, stand-up and circus acts, rom-coms, sketch shows, sit-coms, caricatures, and cartoons. Taking in scenes from Aristophanes to The Office, from the Roman Saturnalia to Groundhog Day, Bevis also considers comic theory from Aristotle to Freud and beyond, tracing how comic achievements have resisted as well as confirmed theory across the ages. This book takes comedy seriously without taking it solemnly, and offers an engaging study of the comic spirit which lies at the heart of our shared social and cultural life.ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

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Módl się i zwyciężaj - Ks. Krystian Wilczyński

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Nazwa - Módl się i zwyciężaj Autor - Ks. Krystian Wilczyński Oprawa - Miękka Wydawca - Emmanuel Kod ISBN - 9788363757625 Kod EAN - 9788363757625 Rok wydania - 2014 Format - 105x145 Ilość stron - 31 Podatek VAT - 5%

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Letter from America Penguin

Powieści i opowiadania

When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

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