Debut author Arnée Flores spins an exciting and original tale about hope in even the darkest of places, perfect for fans of Shannon Hale. The Kingdom of Lyrica was once warm and thriving, kept safe by the Firebird, whose feather and song was a blessing of peace and prosperity. But the Firebird disappeared, and Lyrica is now terrorized by the evil Spectress who wields her powers from within a volcano. All that remains is a mysterious message scrawled on the castle wall in the Queen's own hand: Wind. Woman. Thief. Young Prewitt has only known time without the Firebird, a life of constant cold, as his village is afraid to tempt the volcano monsters with even the feeblest fire. But he has heard whispers that the kingdom's princess survived the attack . . . and he is certain that if he can find her, together they can save Lyrica. Princess Calliope has no memories beyond living on her barge on the underground lake. But as she nears her twelfth birthday, she is certain there is more to life than the walls of a cave. When Prewitt finds her, he realizes that she is the missing princess: the only hope for Lyrica. Determined to decipher the meaning of her mother's strange message and find the Firebird, Calliope and Prewitt set off on a quest that puts them in more danger than either of them ever anticipated.

In this fantasy adventure, Fletcher and Scoop are Apprentice Adventurers from the ancient establishment of Blotting's Academy on Fullstop Island. This is the place where all story characters are trained. The trouble is, they can't remember how they got there. It's the first day of term, but the two apprentices soon realise something is wrong. Things are going missing, including their own memories, and Scoop has the unsettling feeling that something is creeping in the shadows. As the children search for answers, they become entangled with the life of the Storyteller, the islands creator and king. They journey to his wedding banquet and find themselves uncovering a hidden past. What is their connection to this mysterious man? And is there more to him than meets the eye? ,

“These Feathered Flames is a stunning debut as dark, lush, and captivating as the best fairy tales.”—Nina Varela, author of the Crier's War duology When twin heirs are born in Tourin, their fates are decided at a young age. While Izaveta remained at court to learn the skills she’d need as the future queen, Asya was taken away to train with her aunt, the mysterious Firebird, who ensured magic remained balanced in the realm. But before Asya’s training is completed, the ancient power blooms inside her, which can mean only one thing: the queen is dead, and a new ruler must be crowned. As the princesses come to understand everything their roles entail, they’ll discover who they can trust, who they can love—and who killed their mother. Books in the These Feathered Flames duology: These Feathered Flames This Cursed Crown

This edited collection offers a range of critical, analytic and personal reflections on how music provides a container and a medium for experiencing, processing and integrating embodied encounters with death. It showcases interdisciplinary case studies written by authors from across Australia, France, The Netherlands, Poland and the UK.

This book is about music education in the elementary school. Its major purpose is to develop an understanding of why music education is important, how music education works, and how music can be a powerful force for the classroom teacher. It has realistic expectations for the classroom teacher. Music theory and performance skill are kept to a minimum; they are not a prerequisite for understanding the content of the book. A major emphasis of the text is that classroom teachers can utilize music to enhance the overall learning environment of their classrooms. Suggestions, class descriptions, and lesson plans are given for using music for routine activities, whole language, integrating music into language arts and social studies, and using music to develop the cultural literacy of students. The second edition includes contemporary thought on the philosophical rationales for music education, results of recent research in music education, and an expanded Chapter 5 on Music to Enhance the Learning Environment. Chapter 5 includes new greeting songs, a section on using music to teach topics and concepts throughout the elementary curriculum, and more suggestions for music and language arts. New songs are also included in the folk song appendix.

This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturity—Petrushka, The Rite of Spring, and Les Noces. Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"—the professional appropriation of motifs and style characteristics from folk art—and how Stravinsky realized this ideal in his music. Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed. Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky.

Now available in paperback and with over 10,000 entries, the Oxford Dictionary of Music (previously the Concise Oxford Dictionary of Music) offers broad coverage of a wide range of musical categories spanning many eras, including composers, librettists, singers, orchestras, important ballets and operas, and musical instruments and their history. The Oxford Dictionary of Music is the most up-to-date and accessible dictionaryof musical terms available and an essential point of reference for music students, teachers, lecturers, professional musicians, as well as music enthusiasts.

This Year 4 Teacher's Book provides structured whole class lesson plans, with practical ideas for group, individual and follow-up activities. A clear, straightforward approach offers comprehensive support for the specialist and non-specialist alike.

History on a grand scale--an enchanting masterpiece that explores the making of one of the world's most vibrant civilizations A People's Tragedy, wrote Eric Hobsbawm, did "more to help us understand the Russian Revolution than any other book I know." Now, in Natasha's Dance, internationally renowned historian Orlando Figes does the same for Russian culture, summoning the myriad elements that formed a nation and held it together. Beginning in the eighteenth century with the building of St. Petersburg--a "window on the West"--and culminating with the challenges posed to Russian identity by the Soviet regime, Figes examines how writers, artists, and musicians grappled with the idea of Russia itself--its character, spiritual essence, and destiny. He skillfully interweaves the great works--by Dostoevsky, Stravinsky, and Chagall--with folk embroidery, peasant songs, religious icons, and all the customs of daily life, from food and drink to bathing habits to beliefs about the spirit world. Figes's characters range high and low: the revered Tolstoy, who left his deathbed to search for the Kingdom of God, as well as the serf girl Praskovya, who became Russian opera's first superstar and shocked society by becoming her owner's wife. Like the European-schooled countess Natasha performing an impromptu folk dance in Tolstoy's War and Peace, the spirit of "Russianness" is revealed by Figes as rich and uplifting, complex and contradictory--a powerful force that unified a vast country and proved more lasting than any Russian ruler or state.

Nicolas Slonimsky (1894-1995) was an influential and celebrated writer on music. Born in St. Petersburg, Russia in 1894, in his 101 years he taught and coached music; conducted the premieres of several 20th century masterpieces; composed works for piano and voice; and oversaw the 5th-8th editions of the classic "Baker's Biographical Dictionary of Musicians." Beginning in 1926, Slonimsky resided in the United States. From his arrival, he wrote provocative articles on contemporary music and musicians, many of whom were his personal friends. Working as a freelance author, he built a large file of reviews, articles, and even manuscripts for books that were never published. This is the second volume of a 4 volume collection on the best of this material.