1969 war ein Jahr wie kein anderes. Der Mensch setzte das erste Mal seinen Fuß auf den Mond. Die New York Mets gewannen entgegen aller Wahrscheinlichkeit die World Series. Und drei Tage lang erlebte eine halbe Million Menschen in der Kleinstadt Bethel, New York den Augenblick, der diese Generation am meisten definierte - ein Konzert, das in Ausmaß und Einfluss unerreicht ist, eine Zusammenkunft aus Menschen aller Schichten mit einem gemeinsamen Ziel: Frieden und Musik. Sie nannten es Woodstock. Ein Jahr später fing eine historische, mit einem Oscar® ausgezeichnete Dokumentation die Essenz der Musik, die elektrisierenden Darbietungen und die Erfahrungen Derjenigen ein, die das Ereignis erlebt haben. In einer neuen, vollständig digital überarbeiteten, Version zeigt der vorliegende Directors Cut die legendären Darbietungen von 17 heute weltbekannten Künstlern sowie zahlreiche Hintergrundberichte. Die Wiederauferstehung eines der größten Momente des 20. Jahrhunderts. Das bekannteste Rockereignis aller Zeiten. 1969 versammelten sich eine halbe Million Menschen in der Nähe des kleinen Ortes Woodstock, um den bedeutendsten Musikern ihrer Generation zuzuhören. Drei Tage des Friedens, der Musik und der Liebe. Drei Stunden unvergessene Bilder und faszinierende Musik einer Zeit, die heute noch genauso lebendig ist wie damals. The Who We´re Not Gonna Take It´´, Ten Years After ´´I´m Going Home´´, Joe Cocker ´´With A Little Help From My Friends´´, Crosby, Stills, Nash & Young ´´Wooden Ships´´, Jimi Hendrix ´´Purple Haze´´, Sly & The Family Stone ´´I Want To Take You Higher´´, Santana ´´Soul Sacrifice´´, Richie Havens ´´Freedom´´, Sha-Na-Na ´´At The Hope´´, Joan Baez ´´Joe Hill´´... Hinweis: Durch die unterschiedlichen Quellen des Bildmaterials erscheinen die Szenen in verschiedenen Bildformaten. Sie variieren von 1.33:1 bis zu 2.36:1.´´
A boxed set of 5 favourite ´´Winnie´´ picture books, and a special edition CD, presented in a slipcase.
Carl Orff devoted much of his life to the development of a philosophy of ´´Music for Children´´, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of ´´Music for Children´´ by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff´s fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils´ creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the ´Mozarteum´, in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: ´I have done my part, now do yours.´ That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this first volume: speech and rhythmic exercises, nursery rhymes, songs, instrumental pieces and melodic exercises using only the five note scale, with instructions and notes. Illustrated. Instrumentation: voice, recorder and percussionSprech- und Rhythmusübungen, Kinderreime, Lieder, Instrumentalstücke und Übungen zur Melodik unter ausschließlicher Verwendung des Fünftonraums. Mit Anweisungen, Anmerkungen und Abbildungen.
A special anniversary edition of Gayle Forman´s breakout bestseller, If I Stay, in a brand new look and with an additional chapter to Mia´s story! Everything can change in an instant. For Mia, the day started like any other, surrounded by a loving family, an adoring boyfriend, and a bright future filled with music and infinite possibilities. What she never expected is the choice before her now. Caught between life and death, between a happy past and an uncertain future, Mia has to contemplate everything she holds dear and make a choice: to go or to stay. Heartwrenchingly raw and heartbreakingly romantic, Gayle Forman´s international bestseller asks the ultimate question: What would you do if you had to choose?
Gut drei Jahre nach seinem Debütalbum In The Lonely Hour veröffentlicht Sam Smith sein zweites Werk The Thrill of It All. Abermals hat der britische Singer/Songwriter hierfür mit seinem langjährigen Freund und Kreativpartner Jimmy Napes zusammengearbeitet. Außerdem an dem neuen Album mitgewirkt haben Timbaland, Malay, Jason Poo Bear Boyd und Stargate sowie die noch bei keinem Label unter Vertrag stehende UK-Sängerin YEBBA, mit der Sam Smith den umwerfenden Song No Peace eingesungen hat. Die erste Singleauskopplung Too Good At Goodbyes ist bereits ein Hit und die sechste #1-Single in den offiziellen UK-Singlecharts für den Briten. Mit In The Lonely Hour wurde Sam Smith schlagartig zum globalen Superstar: 12 Millionen verkaufte Alben, #1 in den britischen Albumcharts, fünf #1-Singles in UK. Er gewann seither u.a. einen Academy Award, einen Golden Globe, drei BRIT Awards, vier GRAMMY Awards, drei Billboard Music Awards und sechs MOBO Awards.
This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms. In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective. This entails revisiting key moments in the canonical history of the music video, exploring its articulations of sexuality and gender, examining its functioning as a form of artistic expression between music, film and video art, and following the music video´s dissemination into the digital domain, considering how digital media and social media have come to re-invent the forms and functions of the music video, well beyond the limits of ´´music television´´.
With camera in hand, master photographer Robert Doisneau crisscrossed Paris to capture intimate moments with star musicians such as Eartha Kitt in a jazz club, Django Reinhardt at home, and Yehudi Menuhin backstage, or with locals at a neighborhood dance or jamming together in a brass band. He was commissioned for portraits of Georges Brassens, Juliette Gréco, Charles Aznavour, or Claude François, and he immortalized a new generation of musicians in the 1980s including Rita Mitsouko, Les Négresses Vertes, Pierre Schaeffer, and Pierre Boulez. Doisneau´s lifelong friend Maurice Baquet with his cello formed a photogenic duo on impromptu outings that gave rise to iconic images. Doisneau´s passion for the energy and joy inherent in the music world comes alive on the page in images that cover the musical spectrum, from classical and jazz to be-bop to the roots of modern rap and alternative rock. This book-curated by the photographer´s granddaughter to accompany an exhibition at the Philharmonie de Paris that will include music by Moriarty and scenography by Stephan Zimmerli- features more than one hundred photographs, many previously unpublished, that showcase the artist´s mastery in editing, special effects, photomontage, collage, photo distortions, and splits.
GEO SPECIAL ´´Thailand´´: JIM THOMPSON - Die Geschichte des CIA-Agenten, dem Thailand die Seidenindustrie verdankt. / THAILANDS ELEFANTEN - Im Elephantstay in Ayutthaya, eineinhalb Autostunden nördlich von Bangkok können Besucher einige Tage mit Elefanten verbringen und dort etwas über die mißliche Lage der Tiere in Thailand und über ´´Wiedergutmachungs-Projekte´´ erfahren. / MOVERS UND SHAKERS - Porträts von fünf Thais, die in ihren Bereichen Film, Kunst, Design, Musik, Architektur, Mode und Umweltschutz ganz vorne sind. / THAI FOLK MUSIC - Pailletten, Whiskey und jeden Tag Oktoberfest - die schrille Welt der thailändischen Volksmusik. / DIE 12 SCHÖNSTEN STRANDRESORTS MIT: GEO-SPECIAL-Routen 1 und 2.
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Linguistics, Justus-Liebig-University Giessen (Anglistik), language: English, abstract: As a topic for this term paper I chose an interesting and currently discussed accent in the south of Great Britain: The so-called ´´Estuary English´´. I was motivated to write about it because of its special role among the accents in the U.K. Some believe it to be ´´tomorrow?s RP´´. As there are a lot of varieties of English in the media and popular music, even foreign language learners get in contact with different pronunciations and accents. Apparently, as a future language teacher, it is important for me to teach students a right pronunciation of British English and moreover to be a role model in this respect. Therefore it will certainly help me to know something about the most popular accents in Great Britain and I believe Estuary English (EE) to be one of them. What are the aims of the following term paper? At first, I will define some basic terms that are important for this topic and explain the special role of EE. Second, I am going to describe the linguistic features and variables of EE in detail by referring to linguistic studies and research that has been done. After that I will talk about the status and prestige of EE and explain the role of the media in this context. Finally I am going to finish with a short summary of what has been said. Estuary English is currently one of the most interesting accents in Great Britain. It was first scientifically looked at in 1984 by David Rosewarne, who coined the term. Since then, EE has spread quickly from its original area, the Thames Estuary, to the north and west. It is widely accepted and even famous people are heard speaking EE. The most important features are the glottal stop and the l-vocalization. These are also the features that could be taken over as the future standard, as they are widely used and not only in EE. The importance of EE for the English Language as such is rather overestimated, especially in the media; still it is noteworthy that at least some features are significant for the future.