Symposium on Hate Wayne Downey, M.D. Notes on Hate and Hating Linda Mayes, M.D. Discussion of Downey's Notes on Hate and Hating Ernst Prelinger, Ph.D. Thoughts on Hate Edward R. Shapiro, M.D. Discussion of Prelinger's Thoughts on Hate Clinical papers Susan Sherkow, M.D. Further Reflections on the Watched Play State, Play Interruptions, and the Capacity to Play Alone Barbara Novak From Chaos to Developmental Growth Silvia M. Bell, Ph.D. Early Vulnerability in the Development in the Phallic Narcissistic Phase Howard M. Katz, M.D. Motor Action, Emotion, and Motive Papers on Technique M. Barrie Richmond, M.D. Counter Responses as Organizers in Adolescent Analysis and Therapy Lawrence N. Levenson, M.D. Resistance to Self-observation in Psychoanalytic Treatment Papers on Theory A. Scott Dowling, M.D. A Reconsideration of the Concept of Regression John M. Jemerin, M.D. Latency and the Capacity to Reflect on Mental States Harold Blum, M.D. Two Principles of Mental Functioning Contributions from Developmental Psychology Golan Shahar, Ph.D., et al. Representations in Action Susan A. Bers, Ph.D., et al. The Sense of Self in Anorexia Nervosa Patients
George Szell was the Cleveland Orchestra's towering presence for over a quarter of a century. From the boardroom to the stage, Szell's powerful personality affected every aspect of a musical institution he reshaped in his own perfectionist image. Marcia Hansen Kraus's participation in Cleveland's classical musical scene allowed her an intimate view of Szell and his achievements. As a musician herself, and married to an oboist who worked under Szell, Kraus pulls back the curtain on this storied era through fascinating interviews with orchestra musicians and patrons. Their recollections combine with Kraus's own to paint a portrait of a multifaceted individual who both earned and transcended his tyrannical reputation. If some musicians hated Szell, others loved him or at the least respected his fair-minded toughness. A great many remember playing under his difficult leadership as the high point in their lives. Filled with vivid backstage stories, George Szell's Reign reveals the human side of a great orchestra ”and how one visionary built a premier classical music institution.
Die Reformation veränderte nicht nur Theologie und Kirche, sondern setzte einen alle Bereiche der Gesellschaft erfassenden Transformationsprozess in Gang. So beeinflusste der Protestantismus nachhaltig soziale Strukturen, kulturelle Wahrnehmungsmuster, Rechtsnormen, Wissenschaftsideale, künstlerische Ausdrucksmittel und Identitätsbildungen. Die beiden gewichtigen Bände dokumentieren den internationalen und interdisziplinären Kongress "Kulturelle Wirkungen der Reformation", der im August 2017 von den Universitäten Halle-Wittenberg, Jena und Leipzig an der Stiftung LEUCOREA in Lutherstadt Wittenberg durchgeführt wurde. Dessen Beiträge – u. a. von Udo Sträter, Charlotte Methuen, Martin Heckel, Herman Selderhuis, Rudolf von Sinner, Daniel Jeyaraj und Jochen Hörisch – machen deutlich, wie die protestantischen Konfessionsmilieus seit 500 Jahren kulturell wirksam sind, aber auch, wie sie ihrerseits auf gesellschaftliche Herausforderungen reagieren. The Reformation not only changed theology and the church, but set in motion a fundamental transformation, which encompassed every aspect of society. Thus, Protestantism had an enduring influence on social structures, patterns of perception, normative ideas, scientific concepts, scopes for artistic expression and cultural identities. The announced proceedings document the international and interdisciplinary congress "Cultural Impacts of the Reformation" held in August 2017 by the universities of Halle-Wittenberg, Jena and Leipzig at the LEUCOREA Foundation in Lutherstadt Wittenberg. The contributions – amongst others by Udo Sträter, Charlotte Methuen, Martin Heckel, Herman Selderhuis, Rudolf von Sinner, Daniel Jeyaraj und Jochen Hörisch – show precisely both the ways the Protestant confessional milieus have been influential for 500 years and how they themselves have reacted to cultural challenges.
The God of Abraham, Isaac, and Jacob brings readers on a surprising journey from the dawn of divine-human communion to the present, showing how this mysterious, ongoing relationship holds the keys to true worship. Laying a new foundation for understanding worship, the book makes a compelling case for distinguishing the church's practices from those of the world. Recognizing the holiness of worship, the author observes that music itself, apart from language, conveys its own theological meaning; that, similar to Scripture, there is an evolving canon of sacred music; and that, to mitigate idolatry, the spirit of worship must be tested to ensure that it addresses the God of Abraham, Isaac, and Jacob. When this timeless liturgical journey with God is honored with vital commitment, worship will be compelling and transfiguring to all people, at all levels of religious experience.
This book reveals the influences of modern history and psychology on British drama; the all-important influence of Irish dramatists like Wilde, Shaw, O’Casey, and Beckett; the significance of the Independent Theatre of J. T. Grein and the early Royal Court Theatre; the gay community’s contribution to the British theater; the powerful new feminist drama; and the British festival theater. Auseful tool for readers wishing to know more about Britain’s great dramatic tradition and vital contemporary theater, for students pursuing drama studies, and for libraries in need of an accessible reference work.
The Historical Dictionary of Choral Music focuses on choral music and practice in the Western world from the medieval era to the 21st century. This is done through a chronology, introduction, bibliography, and over 1000 cross-referenced dictionary entries on important composers, genres, conductors, institutions, styles, and technical terms of choral music.
As the landscape of choral education changes - disrupted by Glee, YouTube, and increasingly cheap audio production software - teachers of choral conducting need current research in the field that charts scholarly paths through contemporary debates and sets an agenda for new critical thought and practice. Where, in the digitizing world, is the field of choral pedagogy moving? Editor Frank Abrahams and Paul D. Head, both experienced choral conductors and teachers, offer here a comprehensive handbook of newly-commissioned chapters that provide key scholarly-critical perspectives on teaching and learning in the field of choral music, written by academic scholars and researchers in tandem with active choral conductors. As chapters in this book demonstrate, choral pedagogy encompasses everything from conductors' gestures to the administrative management of the choir. The contributors to The Oxford Handbook of Choral Pedagogy address the full range of issues in contemporary choral pedagogy, from repertoire to voice science to the social and political aspects of choral singing. They also cover the construction of a choral singer's personal identity, the gendering of choral ensembles, social justice in choral education, and the role of the choral art in society more generally. Included scholarship focuses on both the United States and international perspectives in five sections that address traditional paradigms of the field and challenges to them; critical case studies on teaching and conducting specific populations (such as international, school, or barbershop choirs); the pedagogical functions of repertoire; teaching as a way to construct identity; and new scholarly methodologies in pedagogy and the voice.
This book explores how making and listening to music can be an act of prayer. From an impressive range of perspectives, theologians, poets, musicians, even scientists all give witness to the deeper dimensions of music.
Choral Music: A Research and Information Guide, Third Edition, offers a comprehensive guide to the literature on choral music in the Western tradition. Clearly annotated bibliographic entries guide readers to resources on key topics within choral music, individual choral composers, regional and sacred choral traditions, choral techniques, choral music education, genre studies, and more, providing an essential reference for researchers and practitioners. Covering monographs, bibliographies, selected dissertations, reference works, journals, electronic databases, and websites, this research guide makes it easy to locate relevant sources. Comprehensive indices of authors, titles, and subjects keep the volume user-friendly. The new edition has been brought up to date with entries encompassing the latest scholarship, and updated references and annotations throughout, capturing the continued growth of literature on choral music since the publication of the second edition.
Titles in the Dictionaries for the Modern Musician series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Each dictionary covers topics from instrument parts to technique, major works to key figures—a must-have for any musician’s personal library! A Dictionary for the Modern Singer is an indispensable guide for students of singing, voice pedagogues, and lovers of the art of singing. In addition to classical singing, genres, and styles, musical theatre and popular and global styles are addressed. With an emphasis on contemporary practice, this work includes terms and figures that influenced modern singing styles. Topics include voice pedagogy, voice science, vocal health, styles, genres, performers, diction, and other relevant topics. The dictionary will help students to more fully understand the concepts articulated by their teachers. Matthew Hoch’s book fills a gap in the singer’s library as the only one-volume general reference geared toward today’s student of singing. An extensive bibliography is invaluable for students seeking to explore a particular subject in greater depth. Illustrations and charts further illuminate particular concepts, while appendixes address stage fright, tips on practicing, repertoire selection, audio technology, and contemporary commercial music styles. A Dictionary for the Modern Singer will appeal to students of singing at all levels. For professionals, it will serve as a quick and handy reference guide, useful in the high school or college library and the home teaching studio alike; students and amateurs will find it accessible and full of fascinating information about the world of the singing.
