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Books on the topic 'The Hermit Songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Dominic, Gloria. Song of the hermit thrush: An Iroquois legend. Vero Beach, Fla: The Rourke Corporation, 1996.

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2

Sacred song of the hermit thrush: A Native American legend. Summertown, Tenn: Book Pub. Co., 1993.

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3

Lowenthal, Rita. One-way ticket: Our son's addiction to heroin. New York: Beaufort Books, 2007.

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4

Zeuch, Christa. Das Jahr hat bunte Socken an: Ein Mitmachbuch für Frühling, Sommer, Herbst und Winter. Würzburg: Benzinger Ed. im Arena Verlag, 1994.

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5

Maufort, Marc. Songs of American experience: The vision of O'Neill and Melville. New York: P. Lang, 1990.

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6

Hovey, Roy A. The Hermle service manual. [Richmond, KY]: R.A. Hovey, 1994.

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7

Clarke, Jane. Sherman swaps shells. New York, NY: Crabtree Pub. Co., 2004.

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8

Barber, Samuel. Hermit Songs: High Voice. G. Schirmer, Inc., 1987.

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9

The song in the dream of the hermit: Selections from the Kanginshu. Seattle, Wash: Broken Moon Press, 1994.

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10

Tehanetorens, David, and David Fadden. Sacred Song of the Hermit Thrush: A Mohawk Story. Book Publishing Company, 2020.

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11

Lucado, Max. Scripture Memory Songs: Verses About Being Special (Hermie & Friends). Thomas Nelson, 2006.

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12

Lucado, Max. Scripture Memory Songs: Verses About Christmas (Max Lucado's Hermie & Friends). Thomas Nelson, 2006.

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13

Lucado, Max. Scripture Memory Songs: Verses About Sharing (Max Lucado's Hermie & Friends). Thomas Nelson, 2006.

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14

Lucado, Max. Scripture Memory Songs: Verses About Following the Rules (Hermie & Friends). Thomas Nelson, 2006.

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15

Lucado, Max. Scripture Memory Songs: Verses About Behaving (Max Lucado's Hermie & Friends). Thomas Nelson, 2007.

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16

Lucado, Max. Scripture Memory Songs: Verses About Praying (Max Lucado's Hermie & Friends). Thomas Nelson, 2007.

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17

Dominic. Song of the Hermit Thrush: An Iroquois Legend (Native American Legends). Troll Communications, 1998.

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18

Lucado, Max. Scripture Memory Songs: Verses About Being Truthful (Max Lucado's Hermie & Friends). Thomas Nelson, 2006.

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19

Lucado, Max. Scripture Memory Songs: Verses About Being Brave (Max Lucado's Hermie & Friends). Thomas Nelson, 2006.

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20

Thomas, Oliver. Hermetically Unsealed. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805823.003.0008.

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The Hymn to Hermes offers a late archaic or early classical viewpoint on genre in lyric poetry. It compares hymns and theogonies to bantering songs at symposia, apparently in a paradox grounded in Hermes’ ability to control transfers across firm boundaries. However, the comparisons have a latent logic: the Hymn to Hermes is itself bantering intertextually with the Homeric Hymn to Apollo; it alludes to the fact that a komos can involve both praise-poetry and (post-)sympotic erotic songs. Moreover, Apollo’s first interaction with the lyre leads him to engage Hermes in a game of verbal banter, which suggests that this ability of the lyre to unite contrasting performance types will continue under his patronage. In this sense, the Hymn implicitly reflects on its own power to reshape the audience’s attitudes towards music.

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21

Song of the Hermit Thrush: An Iroquois Legend (Native American Legends & Lore). Rebound by Sagebrush, 2001.

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22

Lucado, Max. Scripture Memory Songs: Verses About Being a Friend (Max Lucado's Hermie & Friends). Thomas Nelson, 2006.

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23

Dominic, Gloria. Song of the Hermit Thrush: An Iroquois Legend (Native American Lore and Legends). Rourke Publishing, 1997.

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24

Moriguchi, Yasuhiko. The Song in the Dream of the Hermit: Selections from the Kanginshu (International). White Pine Press (NY), 1996.

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25

One-Way Ticket: Our Son's Addiction to Heroin. Beaufort Books, 2007.

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26

Clarke, Jane, and Ant Parker. Sherman Swaps Shells (Flying Foxes). Heinemann Educational Books - Library Division, 2001.

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27

Newman, Ian, Oskar Cox Jensen, and David Kennerley. Introducing Mr Dibdin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0001.

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The introduction provides an overview of Charles Dibdin’s life and work through a reading of his memoir, The Professional Life. This is a particularly problematic text, directed towards an early-nineteenth-century audience for whom Dibdin was best known as a writer of sentimental songs about heroic sailors. It consequently obscures the more diverse, miscellaneous aspects of his career, which can provide an index for the wide-ranging but overlapping cultural productions of the period. The introduction makes a case for the importance of resisting the narrative of specialization in order to appreciate both the range of Dibdin’s achievements, and the breadth of possibilities available in late Georgian culture. The introduction confronts a series of methodological problems which Dibdin’s self-fashioning raises, and gives an account of how each of the subsequent chapters helps us to reconceive of Dibdin’s importance by focusing on the interrelated networks in which he operated.

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28

Doubleday, Veronica. Zainab Herawi. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037245.003.0011.

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This chapter deals with the life and career of Zainab Herawi. She began her singing career as a child apprentice in the Herat region of Afghanistan in the 1940s, within the context of a class-based society, where singing by women was considered to be morally questionable. Zainab's is a story of unfulfilled fame because, although she was invited to sing for Kabul Radio when twenty-seven, family and background pressures and constraints led to her returning home, where she continued to sing for wedding celebrations. As a series of choices and struggles involving the interfacing domains of family, location, religion, and vocality, her life as a local singer with a large family was one of frequent anguish and frustration; yet her songs live on in the narratives and performances of musician and scholar Veronica Doubleday.

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29

Ezell, Margaret J. M. ‘Adventurous Song’: Samuel Butler, Abraham Cowley, Katherine Philips, John Milton, and 1660s Verse. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0012.

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The decade after the Restoration saw the publication of several important works and collections of verse. Samuel Butler’s mock-heroic Hudibras satirized the civil war conflict, and although Abraham Cowley’s reputation was at its height, he lamented in his Pindaric odes the lack of reward and recognition for his hardships in the service of the royal family in exile. Katherine Philips’s poems were printed without her consent, and she was preparing an authorized edition when she died from smallpox. John Milton published his epic poem Paradise Lost in 1667, divided in 1674 to form twelve books, followed by Paradise Regain’d and Samson Agonistes in 1671.

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30

Songs of American Experience: The Vision of O'Neill and Melville (American University Studies Series Xxiv, American Literature). Peter Lang Pub Inc, 1991.

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31

Carney, Elizabeth Donnelly. Eurydice and the Birth of Macedonian Power. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190280536.001.0001.

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Eurydice (c. 410–340s BCE) played a part in the public life of ancient Macedonia, the first royal Macedonian woman known to have done so. She was the wife of Amyntas III, the mother of Philip II (and two other short-lived kings of Macedonia), and grandmother of Alexander the Great. Her career marked a turning point in the role of royal women in Macedonian monarchy, one that coincided with the emergence of Macedonia as a great power in the Hellenic world. This study examines the nature of her public role as well as the factors that contributed its expansion and the expansion of Macedonia. Some ancient sources picture Eurydice as a murderous adulteress willing to attempt the elimination of her husband and her three sons for the sake of her lover, whereas others portray her as a doting and heroic mother whose actions led to the preservation of the throne for her sons. Both traditions describe her as the leader of a faction, as well as an active figure at court and in international affairs. Eurydice also participated in the construction of the public image of the dynasty. Archaeological discoveries since the 1980s enable us to better understand this development.

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32

Scully, Stephen. Hesiodic Poetics. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.10.

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In terms of poetics, the contest between Hesiod and Homer seems simultaneously natural and surprising: natural because both of them composed in the artificial “song dialect” and highly formulaic medium of epea, and surprising because Homer’s long, heroic poetry differed so greatly in voice, theme, length, structure, and style from Hesiod’s much shorter, catalogic narrative poetry or from his didactic poetry. This chapter examines Hesiod’s poetry alongside Homer’s in terms of voice and theme, length and form, and style and genealogical lists. With examples from both singers, I propose that it may be a stylistic feature of catalogic poetry to interweave the personified names in a list with the corresponding lowercase words (nouns, verbs, adjectives) in the surrounding narrative. I also propose that, to a greater extent than Homer, Hesiod, with his fondness for word play and etymological punning, draws attention upon individual words.

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33

Waters, Keith. Postbop Jazz in the 1960s. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190604578.001.0001.

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Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, including harmony, form, and melody. Postbop jazz composers such as Wayne Shorter, Herbie Hancock, Chick Corea, along with others (Booker Little, Joe Henderson, Woody Shaw) broke with earlier tonal jazz traditions. Their compositions marked a departure from the techniques of jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms), and tonal harmonic progressions. The book develops analytical pathways through a number of compositions, including “El Gaucho,” “Penelope,” “Pinocchio,” “Face of the Deep” (Shorter); “King Cobra,” “Dolphin Dance,” “Jessica” (Hancock); “Windows,” “Inner Space,” “Song of the Wind” (Corea); as well as “We Speak” (Little); “Punjab” (Henderson); and “Beyond All Limits” (Shaw). These case studies offer ways to understand the works’ harmonic syntax, melodic and formal designs, and general principles of harmonic substitution. By locating points of contact among these postbop techniques—and by describing their evolution from previous tonal jazz practices—the book illustrates the syntactic changes that emerged during the 1960s.

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34

Pennypacker, Sara. Pax: Un historia de paz y amistad. 2016.

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