A definitive publication of the songs of Michael Flanders and Donald Swann containing 41 of their best known melodies. Lyrics written out in full before each song. The introduction was written by Donald Swann and the book also includes numerous illustrations by distinguished artists and cartoonists. Titles: In the Bath * Design for Living * Misalliance * The Gas-Man Cometh * A Song of the Weather * Pillar to Post * Rain on the Plage * Motor Perpetuo * Slow Train * A Transport of Delight (Omnibus) * Last of the Line * Twenty Tons of TNT * The Reluctant Cannibal * Pee-Po-Belly-Bum-Drawers * Budget Song * Ballad for the Rich * All Gall * Philological Waltz (Tonga) * Song of Patriotic Prejudice * The Lord Chamberlain's Regulations * The Album * Ill Wind * Guide to Britten * Song of Reproduction * Bedstead Men * Excelsior * Vanessa * Twice Shy * Madeira, M'dear? * The Armadillo * The Hippopatamus * The Ostrich * The Elephant * The Gnu * The Rhinoceros * The Sloth * The Spider * The Wild Boar * The Whale (Mopy Dick) * The Warthog * The Wompom.

Bilbo’s Last Song is considered by many to be Tolkien’s epilogue to his classic work The Lord of the Rings. As Bilbo Baggins takes his final voyage to the Undying Lands, he must say goodbye to Middle-earth. Poignant and lyrical, the song is both a longing to set forth on his ultimate journey and a tender farewell to friends left behind. Pauline Baynes’s jewel-like illustrations lushly depict both this final voyage and scenes from The Hobbit, as Bilbo remembers his first journey while he prepares for his last.

From the author of Richard and Judy Book Club choice, THE ROSE OF SEBASTOPOL 'A first-rate historical romance: it's hard to think it will be bettered this year' INDEPENDENT ON SUNDAY When two strangers enters the manor of a brilliant alchemist and his talented young daughter, nothing will remain the same... Dark secrets haunt the manor house at Selden in Buckinghamshire, where Emilie Selden, motherless, fiercely intelligent and beautiful, has been raised in near isolation by her father. John Selden, student of Isaac Newton, is conducting a secret experiment. He aims to turn Emilie into a brilliant natural philosopher and alchemist and fills her with knowledge while recording every step she takes. In the spring of 1725, when Emilie is eighteen, father and daughter begin their most daring adventure - an attempt to breathe life into dead matter. But they are interrupted by the arrival of two strangers. During the course of a sultry August, Emilie is caught up in the passion of first love and, listening for the first time to her heart rather than her head, she makes her choice - with consequences that are far-reaching and tumultuous.

We live in a moment of high anxiety around digital transformation. Computers are blamed for generating toxic forms of culture and ways of life. Once part of future imaginaries that were optimistic or even utopian, today there is a sense that things have turned out very differently. Anti-computing is widespread. This book seeks to understand its cultural and material logics, its forms, and its operations. Anti-Computing critically investigates forgotten histories of dissent – moments when the imposition of computational technologies, logics, techniques, imaginaries, utopias have been questioned, disputed, or refused. It asks why dissent is forgotten and how - under what circumstances - it revives. Constituting an engagement with media archaeology/medium theory and working through a series of case studies, this book is compelling reading for scholars in digital media, literary, cultural history, digital humanities and associated fields at all levels.

In his first book, actor and musician John Lithgow introduces a memorable character, a fickle yet lovable child prodigy who brings the sounds and rhythms of an orchestra to sprawling visual life. With a double gatefold showing the entire orchestra, this is the ultimate book for the music lover in all of us.

"Humorous tweets from God, Lord Nelson, John Lennon and many more"--Cover.

This melody is the most popular to come from Oscar Straus' 1907 operetta of the same name, although it was called Ein Walzertraum in the original German. It has here been simplified for young alto saxophonists (with piano accompaniment) in this arrangement by Floyd Harris.