(Glory Sound). More than just a re-telling of the nativity, this work explores both the mystery and the majesty of Christ's birth. Filled with original sacred songs and beloved carols, this innovative cantata is not only a beautiful concert moment, but it is a true worship experience. The richness of both contemporary and traditional elements, along with thoughtful narrations, make this work an excellent choice for blended worship styles, and Keith Christopher's stunning orchestrations complete the package. The perfect blending of artistry and ministry! Songs include: Let All Mortal Flesh Keep Silence; Come to Us; Luke 2 (with "Silent Night"); Sleeping Adonai; Angels Sing; Unto Us; Shout! Sing Hallelujah!; Worship Christ the King; A Tribute of Carols.

"Do you have a favorite sound?" little Yoshio asks. The musician answers, "The most beautiful sound is the sound of ma, of silence." But Yoshio lives in Tokyo, Japan: a giant, noisy, busy city. He hears shoes squishing through puddles, trains whooshing, cars beeping, and families laughing. Tokyo is like a symphony hall! Where is silence? Join Yoshio on his journey through the hustle and bustle of the city to find the most beautiful sound of all.

Ajahn Sumedho gives insights into some key Buddhist themes like awareness, consciousness, identity, relief from suffering, and mindfulness of the body.

Marion Shilling began her career as a silent film ingenue for MGM and went on to play heroines in Westerns of the 1930s. Stage actress Esther Muir made the transition from Broadway to Hollywood just as talkies became popular. Hugh Allan was a leading man in the last years of the silents only to leave the film business in 1930 because of the uncertainty surrounding his transition to sound films and his disgust with studio politics. These three performers and thirteen others (Barbara Barondess, Thomas Beck, Mary Brian, Pauline Curley, Billie Dove, Edith Fellows, Rose Hobart, William Janney, Marcia Mae Jones, Barbara Kent, Anita Page, Lupita Tovar, and Barbara Weeks) reminisce here about Hollywood and the movie business as it made the transition.

In this poetic exploration of the auditory imagination, the third in his series on sonic aesthetics, Seán Street peoples silence with sound, travelling through time and space to the distant past, the infinite future and the shadow lands of the inner psyche. Our mind is a canvas on which the colours of the sound world leave permanent impressions. It is the root of all listening.

A fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau-Ponty and others.

The experimentalist phenomenon of 'noise' as constituting 'art' in much twentieth-century music (paradoxically) reached its zenith in Cage’s (’silent’ piece) 4’33 . But much post-1970s musical endeavour with an experimentalist telos, collectively known as 'sound art', has displayed a postmodern need to ’load’ modernism’s ’degree zero’. After contextualizing experimentalism from its inception in the early twentieth century, Dr Linda Kouvaras’s Loading the Silence: Australian Sound Art in the Post-Digital Age explores the ways in which selected sound art works demonstrate creatively how sound is embedded within local, national, gendered and historical environments. Taking Australian music as its primary - but not sole - focus, the book not only covers discussions of technological advancement, but also engages with aesthetic standpoints, through numerous interviews, theoretical developments, analysis and cultural milieux for a contemporary Australian, and wider postmodern, context. Developing new methodologies for synergies between musicology and cultural studies, the book uncovers a new post-postmodern aesthetic trajectory, which Kouvaras locates as developing over the past two decades - the altermodern. Australian sound art is here put firmly on the map of international debates about contemporary music, providing a standard reference and valuable resource for practitioners in the artform, music critics, scholars and educators.