xxii + 89 pp.

Excerpt from Orpheus Britannicus: A Collection of Choice Songs for One, Two, and Three Voices, With a Through Bass for the Harpsicord Love thou carry} hear lpagic. 198 Let the dreadful Engines Eternal Will 222 1' Let Sullen Difiordfm 189 No, Ref/lance is but vain MI20. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.

Part ancient Greek chorus, part Southern Baptist revival, Songs for Two Voices is an explosive showcase for Bruce Smith's jazz-like variations on sonnets and couplets, offering twenty-five duets: poems of call and response, song and countersong. In poems that groove and break, shimmy and dance, Smith filters his Miles Davis-like riffs through a post-World War II American sensibility to deliver verse without platitudes. As Smith's speakers wander through the detritus of American materialism-encountering jazz, football, drag, class war, Reaganomics, and Vietnam-the poems dramatize the contradictions and peculiarities of growing up male in Cold War America, both sensing promise and suffering disillusion. Each poem here speaks in two voices: one that attacks and one that cowers, one voice that leads while the other follows. But Smith's subjects are unencumbered by form, and their voices blossom in duet: the idealized lover is also a betrayer, the man is also a girl. These binaries of statement and contradiction give birth to a third voice in the unrealized possibilities of the two. A mesmerizing follow-up to 2000's The Other Lover, Smith's Songs for Two Voices is carnal yet fiercely intellectual, laid out with the self-confidence of a poet who can invoke Mozart and Coltrane, Anna Akhmatova and John Wayne, Teddy Roosevelt and Augustine in the same incendiary breath.