Listen to Coronavirus Patient Zero
Learn about the music industry and publishing your music in the new digital age. With the advancement of online sales and distribution channels, self publishing opportunities and social networking, the future is golden for the independent music publisher. The author of this book has worked with artists in various businesses including, Bob Dylan, Keith Richards, U2, Reba, Celine Dion, Metallica, Seal, Merritt Mountain Music festival, Indiefest 2010, and many others, too numerous to mention.
A Short Account of the Destruction of the Indies is an account written by the Spanish Dominican friar Bartolome de las Casas in 1542 (published in 1552) about the mistreatment of the indigenous peoples of the Americas in colonial times and sent to then Prince Philip II of Spain. Bartolome de las Casas (circa 1484 - 18 July 1566) was a 16th-century Spanish historian, social reformer and Dominican friar. He became the first resident Bishop of Chiapas, and the first officially appointed "Protector of the Indians." His extensive writings, the most famous being "A Short Account of the Destruction of the Indies" and "Historia de Las Indias," chronicle the first decades of colonization of the West Indies and focus particularly on the atrocities committed by the colonizers against the indigenous peoples.
A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that have been traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression.
Lewisham Hotel Articles
Lewisham Hotel Books