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This product is not a traditionally bound book. Many ProQuest UMI products are black-and-white reproductions of original publications produced through the Books On Demand ® program. Alternately, this product may be a photocopy of a dissertation or it may be a collection reproduced on microfiche or microfilm if it is intended for library purchase.

Weissenborn Baritone style 4 Herrmann GuitarsExcellent tat Weissenborn r alis par le luthier Ermanno Pasqualato ann e 2020 style 4 : dot d'une...

This 2 CD set features carefully selected themes from 48 film scores. Highlights include "Twisted Nerve (Kill Bill)," "Psycho," "Taxi Driver" and more.

Madame Adelaide Herrmann (1853-1932) was a superstar of the Golden Age of Magic and now her story is finally told, and what a story it is! Entitled "Sixty-Five Years of Magic," Madame takes us on an amazing adventure, from her beginnings as a dancer and trick bicyclist, to her marriage to Alexander Herrmann and their subsequent tours of the U.S., Mexico, South America and Europe. She peppers her memoir with hilarious anecdotes, misadventures, accidents and the continuous outrageous antics of the husband she adored. She describes their show in minute detail, including her husband's magic repertoire and their baffling illusions which drew standing-room only audiences wherever they went. In heartrending detail, she tells the story of her husband's death. She then reinvents herself into the first great female magician, and takes us through yet another thirty years of solo adventures.

Madame Adelaide Herrmann (1853-1932) was a superstar of the Golden Age of Magic and now her story is finally told, and what a story it is! Entitled "Sixty-Five Years of Magic," Madame takes us on an amazing adventure, from her beginnings as a dancer and trick bicyclist, to her marriage to Alexander Herrmann and their subsequent tours of the U.S., Mexico, South America and Europe. She peppers her memoir with hilarious anecdotes, misadventures, accidents and the continuous outrageous antics of the husband she adored. She describes their show in minute detail, including her husband's magic repertoire and their baffling illusions which drew standing-room only audiences wherever they went. In heartrending detail, she tells the story of her husband's death. She then reinvents herself into the first great female magician, and takes us through yet another thirty years of solo adventures.

This in-depth musicological and critical study examines how Bernard Herrmann's score for Alfred Hitchcock's Vertigo plays a crucial role in the articulation and development of the film's narrative and how it affects readings of the film. Herrmann's collaboration with Hitchcock spanned eleven years and nine films, and Herrmann's film score for Vertigo is widely regarded as being one of his finest. Cooper considers the development of Herrmann's career up to 1958, providing a detailed discussion of his musical style. The explicit information about the structure of Herrmann's music is based on a study of Herrmann's autograph score.Cooper examines not only the context of the film's production, but also its reception and critical readings of the film. In addition, this study explores how the effects track co-operates with Herrmann's non-diegetic and diegetic score and concludes with a detailed musicological study. The author advances a new theory, in his discussion of signification, about the establishment of meaning in film music through association with images on the screen. This sophisticated musicological approach will appeal to film music and film communication scholars.

This in-depth musicological and critical study examines how Bernard Herrmann's score for Alfred Hitchcock's Vertigo plays a crucial role in the articulation and development of the film's narrative and how it affects readings of the film. Herrmann's collaboration with Hitchcock spanned eleven years and nine films, and Herrmann's film score for Vertigo is widely regarded as being one of his finest. Cooper considers the development of Herrmann's career up to 1958, providing a detailed discussion of his musical style. The explicit information about the structure of Herrmann's music is based on a study of Herrmann's autograph score.Cooper examines not only the context of the film's production, but also its reception and critical readings of the film. In addition, this study explores how the effects track co-operates with Herrmann's non-diegetic and diegetic score and concludes with a detailed musicological study. The author advances a new theory, in his discussion of signification, about the establishment of meaning in film music through association with images on the screen. This sophisticated musicological approach will appeal to film music and film communication scholars.

UK collection. Film is the twentieth century's own art form and music played a vital part in its development. Bernard Herrmann's music, again and again, underscored the emotional impact of key moments in a series of classics. The mid-century was the era of the film fantasy in Hollywood. The genre called for a composer with the musical literacy to match the films' wildly imaginative concepts. The impish Bernard Herrmann stepped forward to create the bold scores featured in this anthology, which w

Brent W. Sockness takes as his point of departure the judgment frequently encountered in twentieth-century theological literature that the last great German liberal Protestant systematic theologians prior to the rise of dialectical theology, Wilhelm Herrmann (1846-1922) and Ernst Troeltsch (1865-1923), represent antithetical and paradigmatic alternatives in modern Christian theology. Going beyond the usual 'explanations' which invoke abstract allegiances (Kant vs. Schleiermacher, Marburg vs. Heidelberg neo-Kantianism, Ritschlianism vs. the History-of-Religions School), the author undertakes an exhaustive analysis of the nearly thirty years of mutual commentary, critique, and polemic which transpired between Herrmann and Troeltsch in both published and unpublished sources. Sockness charts the contours of their relations from their first encounters among the 'Friends of the Christian World,' through their increasingly hostile exchanges in the first decade of the century, to their personal reconciliation after the War.

Limited double 180gm vinyl LP pressing pressed at 45rpm. Bernard Herrmann is known for breathing life into movies through his wonderful compositions. One of Herrmann's most popular collection of film scores, The Mysterious Film World Of Bernard Herrmann, is now available on audiophile quality 180 gram vinyl. This 1975 Phase 4 recording, originally released on London Records, pairs Bernard Hermann with the National Philharmonic Orchestra. Produced by Tim McDonald, this recording contains three st

In this rare World War II memoir, Lothar Herrmann, a soldier from the Wehrmacht, details his unimaginable experience as a German Prisoner-of-War in the Soviet Union.Hermann grew up in Bavaria, going through the RAD (Nazi Labor Service) before being conscripted into a Wehrmacht Mountain Division (the Gebirgsdivision) in 1940. He participated in Germany’s advance through southern Ukraine in 1941 and, in 1944, was arrested in Romania while retreating to Germany. The Romanians passed him onto the Soviets, who placed him in a forced labor camp, where he watched two-thirds of prisoners around him die. In 1949, Herrmann was finally released to Germany and returned to Bavaria.Three million German troops were taken prisoner by the Red Army and around two-thirds of them survived to return to Germany in 1949, but their stories are little known. Klaus Willmann draws on interviews he conducted with Herrmann, to recount these astonishing recollections in the first-person. Depicting the challenges of growing up in Nazi Bavaria to becoming a Soviet prisoner-of-war, this is a gripping and enlightening account from a necessary but rarely explored perspective.

August Garry Herrmann entered the murky waters of 19th century machine politics in Cincinnati, serving as a trusted lieutenant to one of the most powerful political bosses in the country, George B. Cox. Herrmann, a gifted man who introduced modern management principles to municipal government and oversaw the committee that built Cincinnati's modern water works system, eventually did for baseball what he did for his home town, guiding it into a new century. Along with George B. Cox and Cincinnati mayor Julius Fleischmann, Herrmann bought the Cincinnati Reds from John T. Brush in 1902. By 1903 he had chaired the peace conference between the leagues that ushered in the modern game. With the leagues united, Herrmann was selected to head up the National Commission, a three-person ruling body that governed major league baseball in the years before the commissionership.

No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact.From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre on the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony.Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored―a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love.Films scored by Bernard Herrmann: Citizen Kane, The Ghost and Mrs. Muir, Vertigo, Psycho, Fahrenheit 451, Taxi Driver, The Magnificent Ambersons, The Man Who Knew Too Much, North By Northwest, The Birds, The Snows of Kilimanjaro, Cape Fear, Marnie, Torn Curtain, among others

No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact.From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre of the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony.Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored―a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love.

No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact.From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre on the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony.Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored―a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love.Films scored by Bernard Herrmann: Citizen Kane, The Ghost and Mrs. Muir, Vertigo, Psycho, Fahrenheit 451, Taxi Driver, The Magnificent Ambersons, The Man Who Knew Too Much, North By Northwest, The Birds, The Snows of Kilimanjaro, Cape Fear, Marnie, Torn Curtain, among others

Book by Loomis, Susan Herrmann

Hardcover Leinen mit Schutzumsachlag, kleine Standspuren, wie ungelesen

This guide offers the lowdown on these three former Soviet republics. It provides detailed coverage of national parks and nature reserves, regional cuisine for all tastes and budgets.

Piano Trios Rachmaninov / De La Salle / Herrmann - CD 7640165881071

Moscow Symphony Orchestra conducted by William Stromberg. Music reconstruction and preparation by John Morgan, Anna Bonn and William Stromberg. The Tribute Film Classics team delivers a knockout recording of a great Bernard Herrmann find, the complete score for the 1969 WWII drama, Battle of Neretva. For this film, Herrmann (1911 - 1975), composer of the music for such films as Citizen Kane, Taxi Driver, and numerous Alfred Hitchcock thrillers, delivered one of his most powerful, yet most over