Otros libros que te pueden interesar

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  Greatest Mystery Shows Volume 9...

  Various Various

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  OASIS AUDIO CLASSIC RADIO SHOWCASE SERIES   Oasis Audio has gone into the vaults and dusted off the very earliest form of audio book, old time radio shows, for our listeners. Introduced episode by episode by Jim Engel, old time radio authority and board member of the Museum of Broadcast Communications in Chicago, this series of classic radio shows is sure to have something for everyone. Celebrity casts and top-notch writers made the 1920s through the early 1950s, the golden era of radio. The series features seven exciting themes with 100 episodes in each. That is 700 classic radio programs in all.   Greatest Mystery Shows   Before TV’s The Twilight Zone, there was radio’s The Inner Sanctum Mystery, Lights Out!, The Weird Circle, and so many other great mysteries starring Orson Welles, Jane Wyman, Dana Andrews, Edmond O’Brien, James Cagney and more. 100 great Mystery classics in ten volumes. Volume 9 Suspense 11-11-48 Muddy Track with Edmond Obrien & Ann BlythSuspense 9-2-42 The Hitch-Hiker with Orson WellesSuspense 12-16-48 No Escape with James CagneySuspense 1-20-49 If the Death Could Talk with Dana AndrewsSuspense 2-17-49 Catch Me If You Can with Jane WymanSuspense 10-13-51 A Murderous Revision with Howard DuffThe Weird Circle 1-16-44 The 415 ExpressThe Weird Circle 1-23-44 A Terrible NightThe Weird Circle 4-23-44 FalklandThe Weird Circle 4-30-44 The Trial of Murder

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  Close Encounters Of The Third...

  Film Trivia Metaverse

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  CLOSE ENCOUNTERS OF THE THIRD KIND 
  THE ULTIMATE TRIVIA COLLECTION 
    
  FROM THE MOVIE DIRECTED BY STEVEN SPIELBERG 
    
  CREATED BY FILM TRIVIA METAVERSE 
    
  ABOUT THE FILM 
  Close Encounters of the Third Kind is a 1977 science fiction film directed by Steven Spielberg, which explores the theme of human contact with extraterrestrial life. The story follows Roy Neary, an ordinary man who experiences a close encounter with a UFO, leading him to become obsessed with understanding the phenomenon. As he and others search for answers, they are drawn to a mysterious location, Devil's Tower, where a series of strange events unfold. The film focuses on themes of wonder, communication, and the search for truth, blending human drama with awe-inspiring depictions of UFO encounters. 
    
  TRIVIA SAMPLES: 
    
  “Director Steven Spielberg stated that nothing in his life had been more difficult than editing the final 35 minutes of this film.” 
    
  “The words that the crowd in India chants are "Aaya Re! Aaya," which means "He has come" in Hindi.” 
    
  “For the scene in which Barry says "toys!" as he looks out the window and spots the UFOs, Steven Spielberg actually pulled out a toy car behind the camera to cause Barry's reaction.” 
    
  “This film is shown every night at the Devil's Tower KOA Campground, thereby making it one of the most screened movies ever.” 
    
  “The film became one of the first to have a "Special Edition" director's cut made when Steven Spielberg wanted to improve his original vision.” 
   

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  Every Brain Needs Music - The...

  Dennis Plies, Larry S. Sherman

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  Whenever a person engages with music―when a piano student practices a scale, a jazz saxophonist riffs on a melody, a teenager sobs to a sad song, or a wedding guest gets down on the dance floor—countless neurons are firing. Playing an instrument requires all of the resources of the nervous system, including cognitive, sensory, and motor functions. Composition and improvisation are remarkable demonstrations of the brain's capacity for creativity. Something as seemingly simple as listening to a tune involves mental faculties most of us don't even realize we have. 
   
   
   
  Larry S. Sherman, a neuroscientist and lifelong musician, and Dennis Plies, a professional musician and teacher, collaborate to show how our brains and music work in harmony. They consider music in all the ways we encounter it—teaching, learning, practicing, listening, composing, improvising, and performing—in terms of neuroscience as well as music pedagogy, showing how the brain functions and even changes in the process. Every Brain Needs Music draws on leading behavioral, cellular, and molecular neuroscience research as well as surveys of more than a hundred musical people. It provides new perspectives on learning to play, teaching, how to practice and perform, the ways we react to music, and why the brain benefits from musical experiences.

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  PIANO & Keyboard Exercises for...

  Jessica Gilbert

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  When you’re learning to play the piano or electric keyboard, knowing what the lines and spaces on a staff represent and how the notes on your instrument correspond to those on sheet music isn’t enough to become a proficient musician. Although you’re a beginner, you can improve your abilities in many ways. You don’t only need to know the correct keys to press and when to play them. A vast world of music theory and compositional variety greatly changes certain aspects of a song and ways to craft and play musical pieces to express yourself more freely. 
  Having the knowledge to reproduce what you read on sheet music is a wonderful skill, but music isn’t about rigidly following directions. Every composer and musician should develop their style and form. You can hand a piece of sheet music to a dozen talented piano players, and each will perform it uniquely. The song’s structure is the same, but there will be little techniques and flourishes that set them apart from the others. How music feels when you play is as important as hitting the right notes in the correct order.  
  Everybody has to start somewhere when learning a new instrument. Thanks to the simplicity of the piano’s layout, there is intuitiveness to each key moving from one note to the next. They span from A to G♯ (A♭) and reset back to A so the cycle of notes can repeat. With practice, you will locate the correct notes without looking at the W 2 keyboard. It helps with reading sheet music since you can focus on it instead of constantly looking down at the keys. Once you have a handle on reading sheet music, you can play songs tailored to novice musicians in no time. 

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  The Secret Garden

  Frances Hodgson Burnett, Jeanne...

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  In this L.A. Theatre Works original commission, playwright Jeanne Sakata has created a new audio adaptation of Frances Hodgson Burnett’s beloved classic. Mary Lennox is an orphaned 10-year-old who is sent to live with her uncle in his country house on the moors. Her new life is almost unbearable, but when she hears stories of the estate’s mysterious, abandoned garden she’s determined to discover its secrets.
   
  
   
  Recorded at The Invisible Studios, West Hollywood in June 2024.
   
  
   
  Directed by Jessica Kubzansky
   
  Producing Director: Susan Albert Loewenberg
   
  
   
  An L.A. Theatre Works full-cast recording, starring:
   
  
   
  Jonathan Charles as Colin Craven, British Army Officer
   
  Shannon Cochran as Mrs. Medlock, Regina Crawford, Susan Sowerby
   
  Adhir Kalyan as Archibald Craven, Servant Ramji
   
  Alma Marian as Mary Lennox
   
  Cerris Morgan-Moyer as Martha Sowerby, Rose Lennox, Lily Craven and second Crawford Child
   
  Alastair James Murden as Dickon Sowerby, Captain Lennox, and first Crawford Child
   
  Ian Ogilvy as Ben Weatherstaff, Doctor, Innskeeper, British Army Officer, Pastor Edward Crawford
   
  Lina Patel as Ayah Lakshmi
   
  
   
  Senior Producer: Anna Lyse Erikson
   
  Technical Producer: Mark Holden
   
  Recorded and edited by Neil Wogenson at The Invisible Studios, West Hollywood
   
  Designed and Mixed by: Charles Carroll
   
  Assistant Designer: Chloe Foster
   
  Foley Artist: Mark Holden
   
  Foley Engineer: Chloe Foster
   
  Senior Radio Producer: Ronn Lipkin
   
  Cultural Consultant: Lina Patel

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  La La Land - Oxford Guides to...

  Hannah Lewis

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  In this Oxford Guide to Film Musicals, author Hannah Lewis gives listeners fascinating new insights into the development, style, and reception of the 2016 film musical La La Land. Directed by Damien Chazelle with music by Justin Hurwitz, the film tells the story of a romance between an aspiring actress and jazz pianist as the two pursue their dreams in Los Angeles. It uses a vintage form to tell a modern story and its blend of nostalgia and realism made it an instant classic even as it prompted a range of critical and audience responses. Drawing on extensive personal interviews with director Damien Chazelle, composer Justin Hurwitz, choreographer Mandy Moore, and lyricists Benj Pasek and Justin Paul, the book explores La La Land's aesthetic approach to the film musical genre, particularly its engagement with and subversion of the classic Hollywood musical's stylistic and narrative expectations. 
   
   
   
  Lewis offers audiences ways of listening to the film's depiction of jazz, focusing especially on how race and genre intersect in its narrative. She also reveals new insights into the film's reception, showing how the critical response from its premiere to its place at the Academy Awards reflected broader cultural expectations and understandings of the film musical and its continued appeal for twenty-first century audiences.

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