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Wee Sing Around the World by Pamela Conn Beall,Susan Hagen Nipp Pdf
A collection of children's songs from around the world--sung first in the native language and then again in English--helps children of all ages feel a little closer to other cultures.
WEE SING AROUND THE WORLD(CD포함) by Pamela Conn Beall,Susan Hagen Nipp Pdf
Contains over 40 international songs, sung in their native languages with English translations. Includes songs from North America, South America, Europe, Africa, Australia, Asia and Oceania.
Wee Sing for Christmas by Pamela Conn Beall,Susan Hagen Nipp Pdf
This reissue of a classic Wee Sing collection provides hours of interactive holiday fun for parents and children. Seasonal favorites on CD include "The First Noel" and "Here Comes Santa Claus." Full color. Consumable.
Wee Sing Animals, Animals, Animals by Pamela Conn Beall,Susan Hagen Nipp Pdf
An hour-long CD from the Wee Sing series that includes action songs, fun sing-alongs, silly poems, and fingerplays about animals comes packaged with a read-along paperback.
Popular music and its listeners are strongly associated with newness and youth. Young people can stay up late dancing to the latest hits and use cutting-edge technology for listening to and sharing fresh music. Many young people incorporate their devotion to new artists and styles into their own developing personalities. However, if popular music is a genre meant for the youthful, what are listeners to make of the widespread sampling of music from decades-old R&B tracks, sold-out anniversary tours by aging musicians, retrospective box sets of vintage recordings, museum exhibits, and performances by current pop stars invoking music and images of the past? In Same Old Song: The Enduring Past in Popular Music, John Paul Meyers argues that these phenomena are part of what he calls “historical consciousness in popular music.” These deep relationships with the past are an important but underexamined aspect of how musicians and listeners engage with this key cultural form. In chapters ranging across the landscape of twentieth- and twenty-first-century music, Meyers finds indications of historical consciousness at work in multiple genres. Rock music canonizes its history in tribute performances and museums. Jazz and pop musicians cover tunes from the “Great American Songbook.” Hip-hop and contemporary R&B singers invoke Black popular music from the 1960s and 1970s. Examining the work of influential artists like Ella Fitzgerald, Bob Dylan, Miles Davis, Kanye West, Prince, D’Angelo, and Janelle Monáe, Meyers argues that contemporary artists’ homage to the past is key for understanding how music-lovers make meaning of popular music in the present.
This collects the photographs of legendary musician Les McCann; he documented the jazz scene and its players―Nina Simone, John Coltrane, Count Basie, and many others―from the inside, across several decades. Throughout Les McCann’s incredible jazz career, he took hundreds of photos―at clubs, studios, and festivals around the world―and documented the vibrant cultural life of jazz and soul between 1960 and 1980. These photos include a very young Stevie Wonder, Nina Simone, Sammy Davis Jr., John Coltrane, Aretha Franklin, Nancy Wilson, Richard Pryor, Quincy Jones, Tina Turner, Miles Davis, Cannonball Adderly, Louis Armstrong, Count Basie, B.B. King, Errol Garner, Stanley Clarke, Bill Evans, Lionel Hampton, and other black celebrities, such as Bill Cosby, Muhammed Ali, and Stokely Carmichael to name but a few. These photos are characterized by their intimacy, and the cross-section of names listed is merely the tip of the iceberg. The book features candid commentary by McCann himself and is curated by Pat Thomas (Listen, Whitey!: The Sights and Sounds of Black Power 1965-1975) and maverick music producer Alan Abrahams (Pure Prairie League, Joan Baez, Stanley Turrentine, Kris Kristofferson, Taj Mahal).
'Speak to Me': The Legacy of Pink Floyd's The Dark Side of the Moon by Russell Reising Pdf
The endurance of Pink Floyd's The Dark Side of the Moon on the Billboard Top 100 Chart is legendary, and its continuing sales and ongoing radio airplay ensure its inclusion on almost every conceivable list of rock's greatest albums. This collection of essays provides indispensable studies of the monumental 1973 album from a variety of musical, cultural, literary and social perspectives. The development and change of the songs is considered closely, from the earliest recordings through to the live, filmed performance at London's Earls Court in 1994. The band became almost synonymous with audio-visual innovations, and the performances of the album at live shows were spectacular moments of mass-culture although Roger Waters himself spoke out against such mass spectacles. The band's stage performances of the album serve to illustrate the multifaceted and complicated relationship between modern culture and technology. The album is therefore placed within the context of developments in late 1960s/early 1970s popular music, with particular focus on the use of a variety of segues between tracks which give the album a multidimensional unity that is lacking in Pink Floyd's later concept albums. Beginning with 'Breathe' and culminating in 'Eclipse', a tonal and motivic coherence unifies the structure of this modern song cycle. The album is also considered in the light of modern day 'tribute' bands, with a discussion of the social groups who have the strongest response to the music being elaborated alongside the status of mediated representations and their relation to the 'real' Pink Floyd.