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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.
Third in the heartfelt and charming Magnolia Brides series from Lynnette Austin
One mistake can change everything...forever
Beck Elliot and Tansy Calhoun were inseparable-until Tansy left Misty Bottoms, Georgia, promising to come back after she finished school. Beck stayed behind to save the family business, dreaming of the day when Tansy would return. Instead, his trust and his heart were broken when she inexplicably married another man and bore his child.
Five years later, Tansy comes home, a sadder and wiser woman. Despite his anger, Beck finds it hard to avoid her and her adorable little daughter-especially with all the busybodies of Misty Bottoms going out of their way to throw him and Tansy together, hoping a lingering spark will reignite their enduring flame...
Praise for The Best Laid Wedding Plans:
Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances.
The book's four large parts are given over to Music and the Silent Film (1894-1927), Music and the Early Sound Film (1895-1933), Music in the Classical-Style Hollywood Film (1933-1960), and Film Music in the Post-Classic Period (1958-2008). Whereas most treatments of the subject are simply chronicles of great film scores and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals-logically and thoroughly-with the complex 'machine' whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music's path.
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