Wedding - Bridal - Bridesmaid - Groom
Wedding - Reception - Bridal Dance - Wedding Music
The musical genre of taarab is played for entertainment at weddings and other festive occasions all along the Swahili Coast in East Africa. Taarab contains all the features of a typical 'Indian Ocean' music, combining influences from Egypt, the Arabian Peninsula, India and the West with local musical practices. In Taarab, Music in Zanzibar, Janet Topp Fargion traces the development of the genre in Zanzibar, from the late nineteenth century to the end of the twentieth. Of special interest is the role of women. Although men play the main role in the composition and performance of the genre, Topp Fargion argues that the modernization of the genre owes a debt to the participation of women - as audiences and primary consumers, but also as poets and innovators of musical concepts. The book weaves together the historical, social, economic, religious and political dynamics involved in the development of the genre, and investigates how these are played out in the performance of taarab music on Zanzibar.
Relive the magical moments of each Disney Princess's wedding day! From the flowers, to the magical guests, to the first dance, children ages 3 to 7 will enjoy this hardcover, full-color book featuring Cinderella, Rapunzel, Tiana, Aurora, Ariel, Belle, Jasmine, and Snow White.
From the FOREWORD
THE present manual treats of the structural designs of musical composition, not of the styles or species of music. Read our AFTERWORD.
It undertakes the thorough explanation of each design or form, from the smallest to the largest; and such comparison as serves to demonstrate the principle of natural evolution, in the operation of which the entire system originates.
This explanation - be it well understood - is conducted solely with a view to the Analysis of musical works, and is not calculated to prepare the student for the application of form in practical composition. For the exhaustive exposition of the technical apparatus, the student must be referred to my "Homophonic Forms."
The present aim is to enable the student to recognize and trace the mental process of the composer in executing his task; to define each factor of the structural design, and its relation to every other factor and to the whole; to determine thus the synthetic meaning of the work, and thereby to increase not only his own appreciation, interest, and enjoyment of the very real beauties of good music, but also his power to interpret, intelligently and adequately, the works that engage his attention.
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The choice of classic literature to which most frequent reference is made, and which the student is therefore expected to procure before beginning his lessons, includes :-
The Songs Without Words of Mendelssohn; the Jugend Album, Op. 68, of Schumann; the pianoforte sonatas of Mozart (Peters edition); the pianoforte sonatas of Beethoven.
Besides these, incidental reference is made to the symphonies of Beethoven, the sonatas of Schubert, the mazurkas of Chopin, and other pianoforte compositions of Mendelssohn, Beethoven, Chopin, and Brahms.
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