Bøker utgitt av Kendall/Hunt Publishing Company

Surrealism from its inception in 1919 has been an interarts movement encom-passing the visual arts, film, theater, literature, and music. Many people can point to the surrealist paintings of Dali, Magritte, and de Chirico, the poetry and prose of Apollonaire and Breton, the films of Cocteau and Bufmel--but music is a different matter. How does one create music that sounds like melting clocks or has the dreamlike structure of automatic writing? In this book the authors provide a theory for understanding surrealism in music by focusing on the works of Catalan-American composer Leonardo Balada, whose creative style has been labelled "Dali's surrealism in music." By examining in historical and cultural context Balada's core compositional technique of sound transformation and demonstrating congruent practices among composers ranging from Satie to Takemitsu, the authors demonstrate that Balada is not only a consummate com-poser but also a reliable guide to understanding surrealism in music across the 20th and 21st centuries.

Doug Johnson was enjoying retired life with his wife when his laid-back and unencumbered routine was interrupted by an unexpected request by his city's political and civic leadership to help them in a time of need. Doug, and wife Emily would have to evaluate all the adjustments they would have to make in their current existence plus weigh how the opportunity might be affected by certain factors that they weren't sure could be controlled. After a career in management Doug's experience would certainly qualify him to handle the city's request, but could he do what would be necessary in the timeframe allotted? Was the personnel he would have available be up to the task and would certain political rumblings add even more uncertainty to the process? In addition Doug would also be drawn into another separate endeavor when an acquaintance asked for his help to rekindle the fire in a local band that had been derailed by the pandemic and its related effects. While he might have preferred to dodge this additional demand of his time, he was excited by the challenges this side job offered. Could he balance all of what was being pushed in his direction? How would he be able to effectively juggle the responsibility and very tight timeline? He would need a plan, and not just any plan, but one that could accommodate staff and management development, construction process savvy, political uncertainty and also at least a general understanding of the local music business. Maybe he would need an unconventional plan?