Hat and boot in hand, a boy and a bear set off on a delicious and raucous romp through Berryland. They frolic in strawberry fields forever, rumble and ramble in blackberry brambles, and topple their canoeberry with blueberries. Silly rhymes and a musical beat practically beg to be read aloud, preferably accompanied by dancing.
Give your Child A head start in learning to Read with this 24 Page Book filled with full-color illustrations and Audio (Read-Along Record). Each Book and Audio combination is fun-filled experience in music and Story adventure featuring: Word for Word Story NARRATION. Dramatic Character dialogue. Authentic sound Effects. Musical Backgrounds. Favorite Songs to Sing. See the Pictures – Hear the Records – Read the Books!
Six Plays for Children by Aurand Harris brings together a variety of dramatic forms that have enormously enriched the literature of children's theatre in this country and around the world. These works by this respected children's theatre playwright show Harris's great versatility: in the commedia dell'arte of Androcles and the Lion; the musical melodrama Rags to Riches; the sober, absurd comedy Punch and Judy; the realistic historical drama Steal Away Home; the farce Peck's Bad Boy; and the musical review Yankee Doodle. Each of the six plays exhibits a vital theatricality which is sure to win a child's attention and response.
Blending insights from linguistic and social theories of speech, ritual and narrative with music-analytic and historical criticism,Britten's Musical Language offers fresh perspectives on the composer's fusion of verbal and musical utterance in opera and song. It provides close interpretative studies of the major scores (including Peter Grimes, Billy Budd, The Turn of the Screw, War Requiem, Curlew River and Death in Venice) and explores Britten's ability to fashion complex and mysterious symbolic dramas from the interplay of texted song and wordless discourse of motives and themes.
«Music is no mere play of sound, no mere tonal texture, but has a significant psychic, spiritual/intellectual and social dimension. In other words: a musical art work is not merely an autonomous artifact but also document humain.» With this thesis - and with a view to the question as to the meaning of music as such - the author opens his broadly designed plea for a «humane music.» Based on interdisciplinary researches, and making use of partly unfamiliar documents, he demonstrates on musical works from Monteverdi to Alban Berg how and why they can be heard and understood as a tonal language specifically of love.
