A collection of 3 classic Hungarian folk songs originally published in 1908. Songs include: 1. The Peacock, 2. At the Jánoshida Fairground, 3. White Lily. Classic Folk Music Collection constitutes an extensive library of the most well-known and universally-enjoyed works of folk music ever composed, reproduced from authoritative editions for the enjoyment of musicians and music students the world over.

A collection of 3 classic Hungarian folk songs originally published in 1908. Songs include: 1. The Peacock, 2. At the Jánoshida Fairground, 3. White Lily. Classic Folk Music Collection constitutes an extensive library of the most well-known and universally-enjoyed works of folk music ever composed, reproduced from authoritative editions for the enjoyment of musicians and music students the world over.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

The third volume of the collected works of Mihaly Csikszentmihalyi covers his work on the application of flow in areas that go beyond the field of leisure where the concept was first applied. Based on his personal experience with schooling and learning, as well as that of many others and contrary to what Cicero claimed, Csikszentmihalyi arrived at the conclusion that instead of taking pride in making the roots of knowledge as bitter as possible, we should try to make them sweeter. Just as flow became a popular and useful concept in voluntary activities, it could likewise be applied in education with the end result of young people being more likely to continue learning not just because they have to but because they want to. This volume brings together a number of articles in which Csikszentmihalyi develops ideas about how to make education and more generally the process of learning to live a good life, more enjoyable. Since theory is the mother of good practice, the first eleven chapters are devoted to theoretical reflections. Some are general and explore what it means to be a human being, what it means to be a person, when we look at life from the perspective of flow. Others are more narrowly focused on such topics as consumption, education, teaching and learning. They help laypeople reflect how they can arrange their lives in such a way as to leave a small ecological footprint while getting the most enjoyment. The second section of the volume contains a dozen empirical articles on similar topics. They deal with the development of identity and self-worth; with the formation of goals and motivation; with loneliness and family life.

This long-awaited, authoritative account of Bartók's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music. For Bèla Bartók, composition often began with improvisation at the piano. Làszló Somfai maintains that Bartók composed without preconceived musical theories and refused to teach composition precisely for this reason. He was not an analytical composer but a musical creator for whom intuition played a central role. These conclusions are the result of Somfai's three decades of work with Bartók's oeuvre; of careful analysis of some 3,600 pages of sketches, drafts, and autograph manuscripts; and of the study of documents reflecting the development of Bartók's compositions. Included as well are corrections preserved only on recordings of Bartók's performances of his own works. Somfai also provides the first comprehensive catalog of every known work of Bartók, published and unpublished, and of all extant draft, sketch, and preparatory material. His book will be basic to all future scholarly work on Bartók and will assist performers in clarifying the problems of Bartók notation. Moreover, it will be a model for future work on other major composers.