Weitere Bücher, die Sie mögen werden

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  Duet - An Artful History of Music

  Eleanor Chan

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  When, how, where, does a mark become a musical note? What alchemy occurs to transform a symbol into sound: a song; a symphony; a chorus? 
   
  Music is interwoven into the fabric of our lives. We listen to it, some of us play it, but throughout history, humans have also attempted to capture it visually, from the musical images of Ancient Sumer, to Frozen's Elsa standing on the side of a mountain, her voice making crystals in the air. In this startlingly original history of music, Eleanor Chan takes us on a journey through sound that encompasses the 35,000-year-old flute found in a German cave, Kandinsky's kaleidoscopic paintings, illuminated manuscripts, and haute couture. 
   
  Classically trained musician and art historian Dr. Eleanor Chan opens up a world of sound and vision, exploring different ways to think about listening and seeing. Ultimately, this book asks the listener what it is, and what it might mean, to truly see music.

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  Bern Minster

  Jürg Schweizer, Bernd Nicolai,...

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  Bern Minster, the most important late Gothic church building in Switzerland, together with the new town hall, represents the remarkable awakening of the free city of Bern in the 15th century. The prerequisite for this were the favourable political and economic circumstances, promoted by an upwardly mobile class of merchants who rose to the ranks of the city’s patrician class. At the laying of the foundation stone in 1421, the mighty aspirations associated with the building project were already manifest in terms of size and expense. The city commissioned Matthäus Ensinger, son of the famous Strasbourg and Ulm cathedral master builder. Despite the lengthy construction period, Ensinger’s plans resulted in a church building of great harmony, with superb features including the medieval stained-glass windows, the opulently decorated vaults spanning the period from late Gothic to Renaissance and the Portal of the Last Judgement with its rich array of figures.

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  Run It Like a Business -...

  Aubrey Bergauer

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  In the US alone, the arts are a $763 billion sector whose 100,000+ organizations serve almost every community in the nation. There's no reason arts organizations should struggle to make ends meet. Running your arts organization like a business is your path forward to: 
   
   
   
  ● Grow audiences and keep them coming back again 
   
   
   
  ● Make our organizations more inclusive 
   
   
   
  ● Get younger attendees in the seats and on the donor rolls 
   
   
   
  ● Continue to create the art we love—without the stress of figuring out how to afford it 
   
   
   
  Just because arts organizations are non-profits doesn't mean they shouldn't make money; it means the money they make goes back to fund the mission—whether that's music, visual arts, theatre, dance, or one of many other mediums that enrich our lives. 
   
   
   
  The for-profit world knows how to achieve success across customer engagement, user experience, company culture, the subscription economy, technology and media, new revenue streams, and brand relevance. Run It Like a Business provides a powerful, proven framework to help all arts organizations revitalize their economic engines and ultimately serve the arts and its patrons.

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  A Streetcar Named Desire

  Tennessee Williams

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  Tennessee Williams’s Pulitzer Prize-winning masterpiece is one of the most enduring, explosive works in theater. Blanche DuBois, once a well-heeled Southern belle but now alcoholic and destitute, arrives in New Orleans to stay with her sister Stella and her brutish brother-in-law Stanley. And as Stanley terrorizes the fragile Blanche, reality slips slowly away from her. 
   
  
   
  Recorded at KCRW, Santa Monica in May 1998.
   
  
   
  Directed by Martin Jenkins
   
  Producing Director: Susan Albert Loewenberg
   
  
   
  An L.A. Theatre Works full-cast recording, starring:
   
  
   
  Amy Brenneman as Stella
   
  Fred Coffin as Steve and The Man
   
  Vincent D'Onofrio as Stanley
   
  Jamie Hanes as the Doctor
   
  Glenne Headly as Blanche
   
  Lyvingston Holmes as the Matron and others 
   
  Armando Molina as Pablo and the Sailor
   
  Rondi Reed as Eunice and others
   
  David Selby as Mitch
   
  Danny Strauss as the Young Man
   
  
   
  Stage Manager and Live Sound Effects: Tilo Ponder
   
  Recording Engineer: John McCarthy
   
  
   
  Music composed by John Robey, and performed by John Robey, Steve McDade and Jack Zaza.
   
  
   
  A co-production with the BBC and the CBC.

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  Window into My World

  Shivani Rangole

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  Window Into My World is a medley of short stories and poems. A poetess sitting by a window in her favourite café feels inspired by all the happenings around her. When she sees people, she doesn't just see what they are doing but how they must be feeling. Each short story is a prelude to a beautiful poem inspired by someone's presence. 'Window Into My World ' is dedicated to everyone and anyone who might find themselves in my stories.

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  Schoenberg - Why He Matters

  Harvey Sachs

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  An astonishingly lyrical biography that rescues Schoenberg from notoriety, restoring him to his rightful place in the pantheon of twentieth-century composers. 
   
   
   
  In his time, the Austrian American composer Arnold Schoenberg (1874–1951) was an international icon. His twelve-tone system was considered the future of music itself. Today, however, leading orchestras rarely play his works, and his name is met with apathy, if not antipathy. With this interpretative account, the acclaimed biographer of Toscanini finally restores Schoenberg to his rightful place in the canon, revealing him as one of the twentieth century's most influential composers and teachers. Sachs shows how Schoenberg, a thorny character who composed thorny works, raged against the "Procrustean bed" of tradition. Defying his critics—among them the Nazis, who described his music as "degenerate"—he constantly battled the anti-Semitism that eventually precipitated his flight from Europe to Los Angeles. Yet Schoenberg, synthesizing Wagnerian excess with Brahmsian restraint, created a shock wave that never quite subsided, and, as Sachs powerfully argues, his compositions must be confronted by anyone interested in the past, present, or future of Western music.

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