Upon completion of a Kodaly certification program, the need for plans to develop a method of PREPARING, PRESENTING, and PRACTICING a concept was still a challenge.  The following lessons were developed as a means to provide a solution to the problem.  Consideration had to be given to teacher grade assignment and previous music study by students.

The plans were taught to fourth and fifth grade students at Ogden Elementary school in Beaumont, Texas.  These students had no previous knowledge of Kodaly method.  Classes were held twice a week for forty-five minutes.  Success of the program was apparent by the students’ participation in Middle and High School music organizations.

This is a story about a teenager that's moved with her family from Connecticut to Long Island, NY.

Runs into a mean girl, and called her a geek. report to the Princpal.

 

Then Joan met Katie, in her class, and they started to talked about  the music and foming a band..

Katie, mention about her friends, Paul, Sally and Rick.

 

Joan told Katie that she was forming a band and needed some musician and singers.

when they met, Joan set- up a practicing session, at Joan''s House.

 

Joan and the band came up with the name for the band ,White satin Rock.

also Joan tried out for the American Idol and when to < s t 1 : C i t y > Hollywood.

White satin Rock songbook!

The BodySpeak^TM Manual is a selection of writings, essays, poems, stories, teaching situations, and new exercises for the sole purpose of developing kinesthetic intelligence, and exploring the philosophy, theory, and the intention of the practice of the BodySpeak™ method of training.

"Move freely, but with full attention, as you make your way into the multi-layers of this marvelous book. Spend time with it, study the illustrations, read and re-read key phrases until they reveal their deeper message. Above all, do the exercises. Do them many times, alone or with others. And if you are lucky, you will one day find yourself, as I did, enjoying the fruits of Samuel’s teaching and perhaps planting a few seeds of your own." - From the forward by Mark Olsen

Here is a unique collection of satirical skits, monologues and short plays that help illustrate Biblical principles and ideas.  This book is just right for youth or young adult ministry and for your production ministry, or it can be used for sermon illustrations.  Funny, dramatic and insightful with simple Scripture references, this book is a great addition to your drama library. 

Juan Trigos escribió esta monumental obra de Hemoficción para aquellos que gozan de la imaginación sin censura. Jóvenes y adultos que están interesados en conocer dónde y cómo viven, poniendo en tela de juicio los cánones existentes de relación social en el más amplio sentido.

Yo digo que soy yo, pero quién sabe, abre una puerta por encima de convenciones y clichés. Quien atraviesa esta puerta imaginaria que introduce en  una realidad delirante, accede a una dimensión lateral que golpea. La puerta desaparece cuando el oyente está dentro del teatro y es envuelto por esta originalidad contundente que carece de retorno.

¿Qué busca Juan Trigos en Yo digo que soy yo, pero quién sabe? Identidad. De ahí el título que abre la duda y al mismo tiempo afirma sobre la posibilidad de conceptualizar sin en seguida arrepentirse de lo asegurado sobre sí mismo momentos antes. Se trata de hallar, a lo largo de infinidad de páginas plenas de poesía y profundidad, el ser verdadero del autor y por reflexión expansiva la del lector.

En esta búsqueda, como Strinberg que iba en pos de Dios y sólo encontraba al diablo, el autor busca claridad de conciencia y siempre encuentra confusión e inconsciencia.

 Juan Trigos escribe esta gigantesca obra de Hemoficción a la manera de la comedia del arte. Cuatro personajes se convierten en muchos más. Dos de ellos, los Siameses, son producto de la ilusión de los otros, padre y madre, Juansonrisa y Primancianita. Desdoblamiento que hurga en pos de sentido en el presente y en el pasado para revelar la identidad volátil de los dos personajes vivos y los dos imaginarios.

Juansonrisa y Primancianita son marido y mujer realmente, pero se comportan como si sus lazos fuesen mentira. Ambos son adictos al alcohol y a la marihuana, modo de permanecer juntos y en supuesta armonía, siempre inventando historias dramáticas que interpretan de modo doméstico. Juansonrisa quizá ama a su esposa pese al odio que vacía su alma. Está atado en una relación emocional que no le permite respirar libertad.

 Ambos viven la fantasía de que son actores y en realidad se trata de doblajeros. Inventan que son padres y ella da a luz a dos siameses también ilusorios. Los cuatro representan la vida cotidiana en un teatro también ficticio, teatro de Hemoficción. El tiempo madura en Yo digo que soy yo, pero quién sabe como manzana que permanece verde y amarga. 

 

Philosophy, prose, poems, and songs are expressed with passionate and romantic as well as political zest. The author covers a wide variety of subjects, dealing with the sheer beauty of our natural world to comical political jabs at some of the so-called political leaders of our country. It also reflects a true love of the animals, plants, rivers, people, trees, and seas of this great planet we all live upon. There is humor, beauty, love, and sarcasm, as well as history within these pages of hope, promise, and love.

This book is an allegorical tale about finding the nature of your true self. Filled with humor and wisdom, it is a story for people of all ages.

We all know how much more comfortable we are when we discuss topics we know about…. This book offers kids just that opportunity.  Up to date and current topics make it so much easier for them to relate to the subject matter and give a much better reading.  I love the age appropriate breakdowns as well.  Bravo!

–Daureen Castonguay

Wilhelmina Models Inc.

 

 

As professionals we tend to hear the same monologues and copy over and over again.  How great to have something new and fresh out there!

–Michael Guy

Atlas Talent Agency, Inc.

Preface

This handbook offers a different approach toward achieving a wider variety of jazz technique. It presents an alternative to what is currently being taught in jazz curriculums (such as the over-used "chord-scale" system). Building upon the original work of Arnold Schõnberg in his Structural Functions of Harmony (1954; 1969) this work takes Schõnberg''s "monotonality" approach and broadens it for use in the jazz medium.

To Schõnberg, the concept of "monotonality" held that every digression from the tonic chord would still be considered related--whether directly or indirectly. With the central chord becoming the primary tonal "personality" of a work, all melodic and chordal deviations from that prime become but related "regions" branching off from, but controlled or dominated by, the established tonality. In this handbook the concept of the sixth degree of the scale, and other substitute intervals, is given emphasis as a starting point of melodic improvisation.

This handbook offers an expanded system of progressive alternatives for the performer, thus widening both the harmonic and melodic possibilities of creative improvisation. Commercial jazz is the music of the future, and the techniques offered here utilize scientific principles of universal and fundamental implication. Volume I discovers different intervals to play while improvising, using specially outlined solo techniques.

The preparation of this handbook has been a most exciting undertaking. It is hoped that you will find it likewise rewarding, while expanding your own creative horizons.

Derrick Coles, Author

Hidden in a theater’s orchestra-level wall is the pass door. Step through it, and you will enter the backstage area, but beware, once you enter, you will encounter the realities dwelling in the kingdom of make-believe.

In this seriocomical look at life, with a who’s who in the theater during the 1960s and 70s, attend the final days of the Golden Age of Theater and the beginnings of its new sounds – Hair and Company.

You will read about Carol Channing prior to her acclaim in Hello, Dolly! Liza Minnelli’s stage debut and Judy Garland’s final stage appearance. Be a spectator during Hair’s first year. Reach for something other than a glass of Remy Martin as you watch cognac shatter a relationship with Maggie Smith. Observe a coterie of distinguished Broadwayites destroy a gift from the United States Government. Be a witness to Deborah Kerr’s strength knowing that she’s in a failed play, and Billy Dee Williams, the then hot-hunk with the chiseled body, take on the role of the Reverend Martin Luther King, Jr.

Also appearing (in order of appearance) are Lucille Ball, Gene Kelly, Barbra Streisand, Barbara Cook, Stan Getz, Ethel Merman, Fred Astaire, Elaine Stritch, Paul Newman and Joanne Woodward, James Baldwin, Kim Stanley, Henry Fonda, Jimmy Stewart, Fidel Castro, Doris Day, and Mae West.

Fly to 1960s Havana; drive through France; experience the London of 1974, and visit Venice Beach, CA before it became an in-place.

You’ll see reality warp into illusion, then comprehend how a young boy, whose own family turned to illusion during World War II, spiraled to drugs and alcohol at adulthood. You’ll also view that young gay man, who ignored reality in favor of illusion, immerse himself into a dark hole whose force of gravity was so intense that escape seemed improbable.

Les Cinquantes Sonnets is the first book by poet
Kelechukwu Brnfre (www.kelechukwubrnfre.com)

This is my first book of poetry that includes my signature poem "Zero."
I wrote this book as a gift to my fiancee at the time for her birthday. I wrote 34 poems for her 34th birthday in the form of Sonnets. I was reading Shakespeare at the time and I was inspired by his sonnets but I formed all of these poems in 16 lines because her favorite number was 16. The first 34 poems were influenced by her and the last 17 poems were influenced by a mixture of people, emotions and situations.

I am very thankful for Erica Walker reading it over and encouraging me to make all of last 17 stay consistent with a theme of love, a subject I struggle to write about because it is so subjective. Loving a family member or your children is different from a person you are involved with intimately in a relationship.


The format of this book starts with zero and goes to fifty. I used French because I am bilingual French and it seemed to fit the scheme and format of the subject matter in the book.

When people think of blues they usually don’t think of Boston. The Mississippi Delta, Chicago, Memphis, New Orleans, Kansas City and Texas all have deeper roots in the blues.

Yet Boston -- and New England in general -- has nurtured scores of national blues musicians, executives, producers and advocates of the music. Not only have they flourished here, their legacy has created a breadth of quality in the blues genre that rivals any city or region.

So this is a collection of their struggles and triumphs in the business -- about what they do and why they’ve chosen this music. In many cases, it wasn’t their choice at all because the blues chose them.

Today’s musicians’ tales of love lost and found, jealousy, revenge, happiness and sorrow may be told in different ways as they bend and reshape the notes of the masters before them. But really, it’s always been about us -- as humans. That’s the common thread.

Blues invites the listener to understand the past, to question the present and to respect the history and founders of this great American music.

The seven plays in this collection, dealing with various subjects and issues, are arranged in chronological order – from Sidewalk Gurus, set in India in the late 12th century to The Storytellers, set in Iran in the early 20th century.  These Plays, although different in settings, subject matters, characters and religious beliefs, present indigenous dramatic elements which have played an important part in the cultural life of the non-Western countries.

In writing these plays, which are set in different historical, religious, and cultural backgrounds, I tried to show how topical and relevant the subjects and themes – arranged marriages, woman’s rights, tribal wars, the caste system, family relationships, and western impacts – are to the contemporary society.

Some of the subjects in this anthology are drawn from popular, literary, religious and historical sources.  The Golden Canary was inspired by Japanese Kyogen (comic interlude), Return of the Shadows by Turkish Karagöz (shadow-puppet theater), The Storytellers by Persian Naqqali (storytelling), and Three Wishes by The Arabian Nights (or A Thousand and One Nights).  Sidewalk Gurus focuses on the Indian caste system; Lost in the Bush is based on slavery and tribal wars; and The Way of Yu Pay-foo depicts family relationships and Western influence.

The traditional non-Western theater forms have declined since the 19th century in favor of Western-style Theater.  Rituals, festivals and masquerades are still performed in some parts of Africa in honor of local gods and spirits despite western influence.  In Asia, the traditional theaters and folk tales are studied and performed along with modern drama.  Passion plays, puppet theater, and storytelling are being revived and appreciated in the Middle Eastern countries.  The richness and popularity of the earlier traditional theaters have continued to influence and inspire modern drama.

In addition, this unique anthology of non-Western plays provides excellent materials for family entertainment, professional theater groups, and high school and university theaters that want to explore various cultures and traditions. Faculties, students, theater personalities, and the public, throughout the country, are displaying an increasing awareness and interest in non-Western drama and multi-culturalism.

Ali Kiani

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Pete Battistini released "American Top 40 with Casey Kasem (The 1970's)" in 2005.  Now comes the follow-up, "American Top 40 with Casey Kasem (The 1980's)."

Battistini painstakingly documented approximately 425 weekly, Casey Kasem-hosted countdown programs from the 80s, and compiled individual program summaries for each week exclusively for this book.  In addition, the text includes a complete list of all radio stations, in the U.S. and around the world, that carried the program.  Coupled with numerous testimonials of both AT40 insiders and listeners, and more than a hundred illustrations from the 80s, this book is brimming with highlights of the greatest radio program ever!