The Romance Anonimo ("Anonymous Romance") is one of the most popular pieces in the classical guitar repertoire. Also known as Spanish Romance, Romance de Amor, Jeux interdits and Estudio de Rubira, this 19th century work has continually delighted lovers of the instrument around the world and has become a standard part of guitar pedagogy. In this Mel Bay publication guitarist/composer Rico Stover offers his original composition Romance Variations in a 25 page score of the work with accompanying audio. Different "flavors" of guitar styles are heard in these variations which are inspired by guitarists/composers whom Rico admires: Mateo Carcassi, Joe Pass, Heitor Villalobos, Luiz Bonfa, Chet Atkins and Atahualpa Yupanqui. After a short introduction, the Romance theme is heard, after which the variations commence. Each variation follows the minor/major pattern: Variation 1: Arpegiado - classical arpeggios Variation 2: Bordoneo - bass line textures Variation 3: Villalobosiana - in the style of the master Variation 4: Bossa nova - Brazilian syncopations Variation 5: Chet's Pick - country style fingerpicking Variation 6: Aire de Danza - Latin American dance rhythms The essay "Romance Anonimo: Who Composed It?" explores the different theories regarding the question of authorship, including an analysis of seven different editions of the Romance that date from 1900 to 1958.

“In luminous prose that effortlessly portrays the intimate and familiar pangs of growing up, Funk captivates from the get-go, and the ’80s nostalgia will hit the spot for those who came of age amid skyscraper bangs, acid-washed jeans, and the ubiquity of teen heartthrob Kirk Cameron. These small-town stories are big on charm.” —Publishers Weekly A funny and whip-smart memoir about a feisty young woman’s quest for independence in an isolated Mennonite community. Carla Funk is a teenager with her hands on the church piano keys and her feet edging ever closer to the flames. Coming of age in a remote and forested valley—a place rich in Mennonites, loggers, and dutiful wives who submit to their husbands—she knows her destiny is to marry, have babies, and join the church ladies’ sewing circle. But she feels an increasing urge to push the limits of her religion and the small town that cannot contain her desires for much longer. Teenage (Mennonite) angst at its finest: Carla questions the patriarchal norms of Mennonite society and yearns to break free. She’ll start by lighting her driveway on fire …. A family story: the perfect gift for mothers, daughters, sisters, and fathers and sons. Pitch-perfect 1980s nostalgia: remember Jordache jeans? For readers of Miriam Toews: heart wrenching and humorous descriptions of Mennonite life. At once a coming-of-age story, a contemplation on meaning, morality, and destiny, and a hilarious time capsule of 1980s adolescence, Mennonite Valley Girl offers the best kind of escapist reading for anyone who loves small towns, or who was lucky enough to grow up in one.

This new study draws on analysis, literary criticism, and source studies to propose a new conception of the nineteenth-century romantic cycle. Rather than a unified whole, the cycle is seen as a fragmentary and open-ended form, which enables Schumann to express the romantic themes of transcendence and ineffability in musical terms.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2001.The standard work on its subject, this resource includes every traceable British entertainment film from the inception of the "silent cinema" to the present day. Now, this new edition includes a wholly original second volume devoted to non-fiction and documentary film--an area in which the British film industry has particularly excelled. All entries throughout this third edition have been revised, and coverage has been extended through 1994.Together, these two volumes provide a unique, authoritative source of information for historians, archivists, librarians, and film scholars.

Variation is a fundamental musical principle, yet its most naked expression - variation form - resists all but the broadest of descriptions. This book offers listener, performer, analyst and composer an eclectic array of approaches to `Theme and Variations', including: patterns of departure and return; real versus perceived time; strategies of propulsion and closure in an intrinsically cyclic and open-ended form; the interplay of authorial voices deriving from dialogue between the `self' of variations and the `other' of their theme; critique of a theme through a set's generic references; drama and narrative achieved through textural and tonal control; and the intrinsic sound of a variation, so different from that of a freely composed work. These topics are introduced through a general survey of the form, seen through the prisms of the provenance of themes and the ideologies of sets, before being developed through close study of Brahms's variation sets and movements. Brahms was supremely aware of his place in music history and was uncommonly self-conscious in his manipulation of different techniques of composition. His variation sets - some of the most well-crafted and beloved examples - place the interplay of forms and styles at the heart of their identity. Moreover, in their stunning breadth and diversity they offer a microcosm of Brahms's entire output, a succinct revelation of his life-long concerns. Through them we marvel at his technical and poetic mastery, and journey to the heart of his creative character.