First Start French introduces your child to the lifetime joy of speaking a foreign language. This program gives students in grade levels 3-8 a terrific foundation in grammar and develops a large beginning vocabulary. The step by step teacher guide lays out everything you need to know to help the student, even if you've never studied French before or your skills are rusty. You'll enjoy learning along with them, as they practice conversation, reading and translation, and are introduced to French culture.

The seventeenth and eighteenth centuries witnessed the growth of a unique relationship between the French organ and the music written for it. Until recently, however, the roots of this precise musical tradition lay hidden in the sixteenth century. Illuminating these mysteries for the modern audience, Mr. Douglass has traced the development of the French organ from the sixteenth century through the Classical Period (1655-1770).For the first time in English, an explanation is given of the role of mixtures in the plenum of the French instrument of the Classical Period. Because the plenum determines the very character of the organ, and because the mixtures exert the strongest influence upon its sonority, the reader will be able to understand why French composers were writing music for the plenum sharply different from that of their contemporaries in northern Europe. Especially useful is the first complete compilation of known sources of information about French classical organ restriction. Having assimilated the historical facts about the instrument, the reader will be ready to interpret the music of this period on a modern organ.Mr. Douglass is professor organ at the Oberlin College Conservatory of Music. This authoritative study of the French classical organ is a major source for the interpretation of early French organ music. For this new edition, the author has added a chapter on touch in early French organs and its importance for practice. The bibliography has also been extensively revised. Reviews of the previous edition: "The extensive and valuable materials assembled in this study will make it indispensable to both the performer and the scholar of French organ literature."—Almonte C. Howell, Jr., Notes "The only work of its kind in English. . . . Bringing together all of the sources into one volume was alone a task of considerable proportions, and the many conclusions drawn from a careful study of the sources make it a necessary reference for any further study. It should be not only on the shelves but also in the mind of every organ devotee."—Rudolph Kremer, Journal of the American Musicological Society "Douglass has shown us the way that organ studies ought to develop over the next few decades."—Music and Letters

French cuisine can seem daunting, but it offers one of life's great pleasures. French cooking offers the step by step kitchen techniques that are the secret to success.

NEW YORK TIMES BESTSELLER • The definitive cookbook on French cuisine for American readers: "What a cookbook should be: packed with sumptuous recipes, detailed instructions, and precise line drawings. Some of the instructions look daunting, but as Child herself says in the introduction, 'If you can read, you can cook.'" —Entertainment Weekly “I only wish that I had written it myself.” —James Beard Featuring 524 delicious recipes and over 100 instructive illustrations to guide readers every step of the way, Mastering the Art of French Cooking offers something for everyone, from seasoned experts to beginners who love good food and long to reproduce the savory delights of French cuisine. Julia Child, Simone Beck, and Louisette Bertholle break down the classic foods of France into a logical sequence of themes and variations rather than presenting an endless and diffuse catalogue of dishes—from historic Gallic masterpieces to the seemingly artless perfection of a dish of spring-green peas. Throughout, the focus is on key recipes that form the backbone of French cookery and lend themselves to an infinite number of elaborations—bound to increase anyone’s culinary repertoire. “Julia has slowly but surely altered our way of thinking about food. She has taken the fear out of the term ‘haute cuisine.’ She has increased gastronomic awareness a thousandfold by stressing the importance of good foundation and technique, and she has elevated our consciousness to the refined pleasures of dining." —Thomas Keller, The French Laundry

Offering an overall insight into the French tradition of philosophy of technology, this volume is meant to make French-speaking contributions more accessible to the international philosophical community. The first section, “Negotiating a Cultural Heritage,” presents a number of leading 20th century philosophical figures (from Bergson and Canguilhem to Simondon, Dagognet or Ellul) and intellectual movements (from Personalism to French Cybernetics and political ecology) that help shape philosophy of technology in the Francophone area, and feed into contemporary debates (ecology of technology, politics of technology, game studies). The second section, “Coining and Reconfiguring Technoscience,” traces the genealogy of this controversial concept and discusses its meanings and relevance. A third section, “Revisiting Anthropological Categories,” focuses on the relationships of technology with the natural and the human worlds from various perspectives that include anthropotechnology, Anthropocene, technological and vital norms and temporalities. The final section, “Innovating in Ethics, Design and Aesthetics,” brings together contributions that draw on various French traditions to afford fresh insights on ethics of technology, philosophy of design, techno-aesthetics and digital studies. The contributions in this volume are vivid and rich in original approaches that can spur exchanges and debates with other philosophical traditions.

The Black Horn: The Story of Classical French Hornist Robert Lee Watt tells the story of the first African American French Hornist hired by a major symphony in the United States. Today, few African Americans hold chairs in major American symphony orchestras, and Watt is the first in many years to write about this uniquely exhilarating—and at times painful—experience. The Black Horn chronicles the upbringing of a young boy fascinated by the sound of the French horn. Watt walks readers through the many obstacles of the racial climate in the United States, both on and off stage, and his efforts to learn and eventually master an instrument little considered in the African American community. Even the author’s own father, who played trumpet, sought to dissuade the young classical musician in the making. He faced opposition from within the community—where the instrument was deemed by Watt’s father a “middle instrument suited only for thin-lipped white boys”—and from without. Watt also documented his struggles as a student at a nearly all-white major music conservatory, as well as his first job in a major symphony orchestra after the conservatory canceled his scholarship. Watt subsequently chronicles his triumphs and travails as a musician when confronting the realities of race in America and the world of classical music. This book will surely interest any classical musician and student, particularly those of color, seeking to grasp the sometimes troubled history of being the only “black horn.”