Presents an collection of curious, postmodern tales filled with magical realism and the playful fusion of science, history, and art.

Magic enjoyed a vigorous revival in sixteenth-century Europe, attaining a prestige lost for over a millennium and becoming, for some, a kind of universal philosophy. Renaissance music also suggested a form of universal knowledge through renewed interest in two ancient themes: the Pythagorean and Platonic "harmony of the celestial spheres" and the legendary effects of the music of bards like Orpheus, Arion, and David. In this climate, Renaissance philosophers drew many new and provocative connections between music and the occult sciences. In Music in Renaissance Magic, Gary Tomlinson describes some of these connections and offers a fresh view of the development of early modern thought in Italy. Raising issues essential to postmodern historiography—issues of cultural distance and our relationship to the others who inhabit our constructions of the past —Tomlinson provides a rich store of ideas for students of early modern culture, for musicologists, and for historians of philosophy, science, and religion. "A scholarly step toward a goal that many composers have aimed for: to rescue the idea of New Age Music—that music can promote spiritual well-being—from the New Ageists who have reduced it to a level of sonic wallpaper."—Kyle Gann, Village Voice "An exemplary piece of musical and intellectual history, of interest to all students of the Renaissance as well as musicologists. . . . The author deserves congratulations for introducing this new approach to the study of Renaissance music."—Peter Burke, NOTES "Gary Tomlinson's Music in Renaissance Magic: Toward a Historiography of Others examines the 'otherness' of magical cosmology. . . . [A] passionate, eloquently melancholy, and important book."—Anne Lake Prescott, Studies in English Literature

A new and groundbreaking historical narrative, Grand Illusion: Phantasmagoria in Nineteenth-Century Opera explores how technical innovations in Paris transformed the grand opera into a transcendent, dream-like audio-visual spectacle.

Have you always wondered how to be an illusionist? Do you wish to perform on a large stage for thousands of people? Maybe you are a working magician specializing in close up or stage magic and are looking to put together a bigger show for a special event? "How to be an Illusionist" is a first-of-its kind introductory reference guide on performing a modern illusion show in today's entertainment & pop culture market. In this comprehensive guide, you will learn step by step how to put an illusion show together, regardless of whether you perform illusions for fun, as a hobby, part-time or professionally. You will receive a goldmine of information that will empower you with practical knowledge to take on the world of grand illusions; including a primer on over 100 well-known illusions performed today with credits. The reference guide consists of 10 modules of information that is worth thousands of dollars' to the performing illusionist and has taken years of experience to learn and develop. It features over 80 full-colour photographs of a dozen international illusionists in performance including David DaVinci (USA), David & Abi Haines (USA), Kyle Knight & Mistie (USA), Miguel Gavilan (Spain), Hector Ruiz (Spain), Remy Savary (France), Adeline Ng (Singapore), Daniel Ka (Spain), Sam Powers (Australia), Jason Bishop (USA), Jay Mattioli (USA) and Sean Alexander (U.K.)."

“Beneath this buoyant tale of down-market entertainers in Victorian London rumbles a heavyweight novel . . . Intricate and thrilling” (The New York Times). A young, beautiful woman of limited means, Eliza is modern before her time. Not for her the stifling—if respectable—conventionality of marriage, children, domestic drudgery. She longs for more. Through her work as an artist’s model, she meets the magnetic and irascible Devil—a born showman whose dream is to run his own theater company. Devil’s right-hand man is the improbably named Carlo Boldoni, an ill-tempered dwarf with an enormous talent for all things magic and illusion. Carlo and Devil clash at every opportunity and it constantly falls upon Eliza to broker an uneasy peace between them. And then there is Jasper Button. Mild-mannered and a family man at heart, it is his gift as an artist that makes him the unlikely final member of the motley crew. Thrown together by a twist of fate, their lives are inextricably linked: The fortune of one depends on the fortune of the other. And as Eliza gets sucked into the seductive and dangerous world her strange companions inhabit, she risks not only her heart, but also her life, which is soon thrown into peril. “Love, seduction, magic and illusion collide . . . A spellbinding journey through an extremely shadowy world.” —Daily Express “A brilliant Gothic mix of glitter and grime.” —Daily Mail “Thomas’s sprawling follow-up to The Kashmir Shawl . . . A story of a theater company, a thriller, and, most successfully, a portrait of a woman trying to create an equal partnership with a man.” —Publishers Weekly

Bored and lonely, 15 year old Helene decides to pay a visit to her father's mistress. Within days, she is captivated by Tamara, a Russian emigre whose arts of enchantment include lingering kisses, sudden dismissals and savage, rapturous reunions. As long as she submits to Tamara, Helene is permitted to stay near her. A contemplative, beautifully written book, originally published in 1951, The Illusionist includes dark undercurrents of desire and is reminiscent of Madame Bovary and the novels of Colette.

French composer Maurice Ravel was described by critics as a magician, conjurer, and illusionist. Scholars have been aware of this historical curiosity, but none so far have explained why Ravel attracted such critiques or what they might tell us about how to interpret his music. Magician of Sound examines Ravel's music through the lens of illusory experience, considering how timbre, orchestral effects, figure/ground relationships, and impressions of motion and stasis might be experienced as if they were conjuring tricks. Applying concepts from music theory, psychology, philosophy, and the history of magic, Jessie Fillerup develops an approach to musical illusion that newly illuminates Ravel's fascination with machines and creates compelling links between his music and other forms of aesthetic illusion, from painting and poetry to fiction and phantasmagoria. Fillerup analyzes scenes of enchantment and illusory effects in Ravel's most popular works, including Boléro, La Valse, Daphnis et Chloé, and Rapsodie espagnole, relating his methods and musical effects to the practice of theatrical conjurers. Drawing on a rich well of primary sources, Magician of Sound provides a new interdisciplinary framework for interpreting this enigmatic composer, linking magic and music.