The Essence of the Blues by Jim Snidero provides beginners and moderately advanced musicians with an introduction to the language of the blues. In 10 etudes focusing on various types of the blues, the musician learns to master the essential basics step by step. Each piece comes with an in-depth analysis of blues styles and music theory, appropriate scale exercises, tips for studying and practicing, suggestions for improvising, recommended listening, and specific techniques used by some of the all-time best jazz/blues musicians, including Miles Davis, Charlie Parker, B.B. King, Stanley Turrentine, and others. The accompanying play-along CD features world famous New York recording artists including Eric Alexander, Jeremy Pelt, Jim Snidero, Steve Davis, Mike LeDonne, Peter Washington, and others. Recorded at a world-class studio, these play alongs are deeply authentic, giving the musician a real-life playing experience to learn and enjoy the blues.

Do you think that some slug who looks very professional who “whispers” an occasional interpretation to you five times a week for 7 years can make one bit of difference in your life or does such a psychotoxic slug called a psychoanalyst merely stick you in an emotional toilet bowl for seven years having the cumulative result of turning you into a hopeless bastard who will never turn the tragic corner in his or her life? Can your analyst analyze an archaic liquid symbiotic or an osmotic transference, or can they even recognize this phenomena in order to analyze it? If the psychoanalyst cannot analyze these transferences they can’t do an analysis! I used to get “good faith” patients who had the balls to work on the cutting edge at the same time I did because they had had combinations of twenty years of two seven year analyses plus several briefer psychotheraphies, only to be as crazy as the day they walked in! (-$200,000.00) As Dr. Donald Rinsley, M.D., fellow-American College of Psychoanalysts wrote about me, my work has both a healing effect and affect. Patients used to pay me six months in advance to hold the time open because I was irreplaceable; I was the only one who could analyze the psychotic core of the personality and I was the only who could actually do what Dr. Wilfred R. Bion, MRCS (Medical Royal College of Surgeons) wrote about analyzing the psychotic core of the personality. As I am seventy-nine years old, I have written five books that must be read and digested in their entirety. As these books are the thing-in-itself they will transform the reader into the kinds of analyst, patient and psychotherapist who can make a difference in helping people turn the tragic corner in their lives! In other words, these five books are analysis! These books were written to be around for a few hundred years and were directly guided by the Almighty! By: Dr. LEN BERGANTINO, Ed. D. (USC), Ph.D., A.B.P.P. The Essence of Music: Musicality, Pure Sound, the Art of Melody and Inner Peace They say that music is the international language, but what is music? For the Bergantino-Bredice family, music was the family business. www.drlenbergantino.com https://tinyurl.com/bddsanf4 -Falling In Love by: Dr. Len Bergantino featuring Joe Diorio world renown guitarist. https://www.youtube.com/channel/UCto3H5xeJBwN9fqqWu8OSQA/featuredDr.Len Bergantino Music and Books in Youtube Channel The Reverend Dr. Len Bergantino Professional Musician from 1996–2012 (Age: 56-70) Musician’s Local 47 Los Angeles, California American Federation of Musicians

Chilly Gonzales is one of the most exciting, original, hard-to-pin-down musicians of our time. Filling halls worldwide at the piano in his slippers and a bathrobe—in any one night he can be dissecting the musicology of an Oasis hit, giving a sublime solo recital, and displaying his lyrical dexterity as a rapper. In his book about Enya, he asks: Does music have to be smart or does it just have to go to the heart? In dazzling, erudite prose Gonzales delves beyond her innumerable gold discs and millions of fans to excavate his own enthusiasm for Enya's singular music as well as the mysterious musician herself, and along the way uncovers new truths about the nature of music, fame, success and the artistic endeavour.

A translation of the only book that focuses solely on the pianistic aspect of Busoni's wide-ranging career.

Essence magazine is the most popular, well respected, and largest circulated black women’s magazine in history. Largely unknown is the remarkable story of what it took to earn that distinction. The Man from Essence depicts with candor and insight how Edward Lewis, CEO and publisher of Essence, started a magazine with three black men who would transform the lives of millions of black American women and alter the American marketplace. Throughout Essence’s storied history, Ed Lewis remained the cool and constant presence, a quiet-talking corporate captain and business strategist who prevailed against the odds and the naysayers. He would emerge to become the last man standing—the only partner to survive the battles that raged before the magazine was sold to Time, Inc. in the largest buyout of a black-owned publication by the world’s largest publishing company. By the time Lewis did the deal with Time, the little magazine that limped from the starting gate in 1970 with a national circulation of 50,000, had grown into a powerhouse with a readership of eight million. The story of Essence is ultimately the story of American business, black style. From constant battles with a racist advertising community to hostile takeover attempts, warring partners packing heat, mass firings, and mass defections—all of which revealed inherent challenges in running a black business—the saga is as riveting as any thriller. In this engaging business memoir, Ed Lewis tells the inspiring story of how his own rise from humble South Bronx beginnings to media titan was shaped by the black women and men in his life. This in turn helped shape a magazine that has changed the face of American media.

This Book Represents A Compilation Of Selected Essays, All Centered Around The Theme Of Baul Music In The Context Of Man`S Continous Endeavour For Realisation Of The Highest Truth.

"A book of landmark importance. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music. No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one. For in miniature, it contains everything one needs: a collection of exceptionally important writings on all the principal aspects of music and musical life with which Adorno dealt; totally reliable scholarship; and powerfully illuminating commentary that will help readers at all levels read and re-read the essays in question."—Rose Rosengard Subotnik, author of Deconstructive Variations: Music and Reason in Western Society "An invaluable contribution to Adorno scholarship, with well chosen essays on composers, works, the culture industry, popular music, kitsch, and technology. Leppert's introduction and commentaries are consistently useful; his attention to secondary literature remarkable; his interpretation responsible. The new translations by Susan Gillespie (and others) are outstanding not only for their care and readability, but also for their sensitivity to Adorno's forms and styles."—Lydia Goehr, author of The Quest for Voice: Music, Politics and the Limits of Philosophy "With its careful, full edition of Adorno's important musical texts and its exhaustive yet eminently readable commentaries, Richard Leppert's magisterial book represents a brilliant solution to the age-old dilemma of bringing together primary text and interpretation in one volume."—James Deaville, Director, School of the Arts, McMaster University "The developing variations of Adorno's life-long involvement with musical themes are fully audible in this remarkable collection. What might be called his 'literature on notes' brilliantly complements the 'notes to literature' he devoted to the written word. Richard Leppert's superb commentaries constitute a book-length contribution in their own right, which will enlighten and challenge even the most learned of Adorno scholars."—Martin Jay, author of The Dialectical Imagination: A History of The Frankfurt School and the Institute of Social Research "There is afoot in Anglo-American musicology today the first wholesale reconsideration of Adorno's thought since the pioneering work of Rose Rosengard Subotnik around 1980. Essays on Music will play a central role in this effort. It will do so because Richard Leppert has culled Adorno's writings so as to make clear to musicologists the place of music in the broad critique of modernity that was Adorno's overarching project; and it will do so because Leppert has explained these writings, in commentaries that amount to a book-length study, so as to reveal to non-musicologists the essentially musical foundation of this project. No one interested in Adorno from any perspective—or, for that matter, in modernity and music all told—can afford to ignore Essays on Music."—Gary Tomlinson, author of Metaphysical Song: An Essay on Opera "This book is both a major achievement by its author-editor and a remarkable act of scholarly generosity for the rest of us. Until now, English translations of Adorno's major essays on music have been scattered and often unreliable. Until now, there has been no comprehensive scholarly treatment of Adorno's musical thinking. This volume remedies both problems at a single stroke. It will be read equally—and eagerly—for Adorno's texts and for Richard Leppert's commentary on them, both of which will continue to be essential resources as musical scholarship seeks increasingly to come to grips with the social contexts and effects of music. No one knows Adorno better than Leppert, and no one is better equipped to clarify the complex interweaving of sociology, philosophy, and musical aesthetics that is central to Adorno's work. From now on, everyone who reads Adorno on music, whether a beginner or an expert, is in Richard Leppert's debt for devoting his exceptional gifts of learning and lucidity to this project."—Lawrence Kramer, author of Musical Meaning: Toward a Critical History

In the first musicological study of Kurt Weill’s complete stage works, Stephen Hinton charts the full range of theatrical achievements by one of twentieth-century musical theater’s key figures. Hinton shows how Weill’s experiments with a range of genres—from one-act operas and plays with music to Broadway musicals and film-opera—became an indispensable part of the reforms he promoted during his brief but intense career. Confronting the divisive notion of "two Weills"—one European, the other American—Hinton adopts a broad and inclusive perspective, establishing criteria that allow aspects of continuity to emerge, particularly in matters of dramaturgy. Tracing his extraordinary journey as a composer, the book shows how Weill’s artistic ambitions led to his working with a remarkably heterogeneous collection of authors, such as Georg Kaiser, Bertolt Brecht, Moss Hart, Alan Jay Lerner, and Maxwell Anderson.