Katrina Yoder loves to sing, but her Amish parents view singing as vainglory and a sin. Katrina's best friend, Bekka, is convinced Katrina should try out for American Star, a televised singing competition that Bekka has been secretly watching. Katrina resists the temptation until her father's health worsens. He desperately needs a surgery the family cannot afford. Katrina decides she must go against her parents' wishes to win the money needed to help her father. But how will she handle herself as an Amish teenager out in the world? Teen girls will be swept into the excitement as Katrina ventures out of her quiet Amish world to become a reality television star. Will she be successful? And will she be accepted back into her community when it's over?

From the time she was old enough to understand the musical gift she was given, Ana knew the life she wanted to lead. Hopeful to draw the attention of adoring crowds of millions and a perfectly matched prince once she got her one big break, Ana kept her mind only on her fairy-tale dreams, despite changes in the world suggesting that something much bigger was on its way. Although her family tried warning her of the signs surrounding her, Ana left herself vulnerable and unprepared for the new world she was suddenly thrust into, a world that challenged everything she knew about her strength and will to survive, yet one in which through her trials she found herself on a path to understanding the woman she was truly meant to be.

A Simple Song of Praise Anthem

Level 1 The response to John Cumberlands first piano book, Simple Worship (70/1650L), made clear a need for tasteful but simple piano arrangements of contemporary worship songs. We asked him to assemble another set of current worship favorites, and he responded with the twelve titles in A Simple Song of Praise. The list of songwriters includes such favorites as Chris Tomlin, Matt Redman, Keith Getty, Stuart Townend, Tim Hughes, and Brenton Brown. As in the first book, the settings here are designed to suit smaller hands, and some tricky rhythms have been straightened out for easier reading. Words are provided in the score if youd like to sing along as you play!

Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. In part one of this two-part book, Bolden undertakes a theoretical examination of the development of funk and the historical conditions in which black artists reimagined their music. In part two, he provides historical and biographical studies of key funk artists, all of whom transfigured elements of blues tradition into new styles and visions. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.

Leonard Bernstein was the quintessential American musician. Through his careers as conductor, pianist, teacher and television personality he became known across the US and the world, his flamboyance and theatricality making him a favourite with audiences, if not with critics. However, he is perhaps best remembered as a composer, particularly of the musical West Side Story, and for songs such as 'America', 'Tonight' and 'Somewhere'. Dr Helen Smith takes an in-depth look at all eight of Bernstein's musical theatre works, from the early On the Town written by the 26-year-old composer at the start of his career, to his second and last opera A Quiet Place in 1983; in between these two pieces he composed music for Trouble in Tahiti, Wonderful Town, Candide, West Side Story, Mass and 1600 Pennsylvania Avenue. These works are analysed and considered against a background of musical and social context, as well as looking at Bernstein's other orchestral, choral and chamber works. One important aspect examined is Bernstein's use of motifs in his theatre compositions, which takes them out of the realms of Broadway and into the sphere of symphonic writing. Smith provides an indispensable overview of the musical theatre works of an eclectic composer, and shows what it is that constitutes the Bernstein 'sound'.