"The definitive history of The Office. Spills all of the tea on NBC's iconic sitcom." -E! News Join the entire Dunder Mifflin gang on a journey back to Scranton: here's the hilarious and improbable inside story behind the beloved series. Based on hundreds of hours of exclusive interviews with the cast and creators and illustrated with 100 behind-the-scenes photographs, here, at last, is the untold inside story of The Office, featuring a foreword by Greg Daniels, who adapted the series for the U.S. and was its guiding creative force, and narrated by star Brian Baumgartner (aka "Kevin Malone") and executive producer Ben Silverman.. In Welcome to Dunder Mifflin, the entire Office gang reunite after nearly a decade to share their favorite inside stories, spill untold secrets, and reveal how a little show that barely survived its first season became the most watched series in the universe. This ultimate fan companion pulls back the curtain as never before on all the absurdity, genius, love, passion, and dumb luck that went into creating America's beloved The Office. Featuring the memories of Steve Carell, John Krasinkski, Jenna Fischer, Greg Daniels, Ricky Gervais, Rainn Wilson, Angela Kinsey, Craig Robinson, Brian Baumgartner, Phyllis Smith, Kate Flannery, Ed Helms, Oscar Nunez, Amy Ryan, Ellie Kemper, Creed Bratton, Paul Lieberstein, Ben Silverman, Mike Schur, and many more.

(Vocal Selections). 13 piano/vocal selections from the 1957, 1965, and 1997 television productions of Cinderella , including: Cinderella Waltz * Do I Love You Because You're Beautiful * Falling in Love with Love * Impossible * In My Own Little Corner * Stepsister's Lament * Ten Minutes Ago * and more. Extra features include a Rodgers & Hammerstein biography, plot synopsis, a history of the show, and photos from all three productions.

More than a sing-along, these selections present hop-alongs, turn-alongs, count- and spell-alongs, chime-ins and rhyme-alongs, in a lot of different ways. The 22 songs reinforce concepts from disciplines including math, grammar and foreign languages, and include: The Ants Go Marching * Big Ol' Cat * Head and Shoulders * Little Bunny Foo-Foo * Rosie Wrong Rhyme * Wiggle Your Finger.

(Applause Libretto Library). Broadway's biggest musical comedy hit of the 1940s, this was one for the ages and built by a "dream team" songwriter Irving Berlin, librettists Dorothy and Herbert Fields, producers Rodgers & Hammerstein, and star Ethel Merman telling the improbable but true story of sharpshooter Annie Oakley. A staple of the touring and summer stock circuit for years, Annie Get Your Gun kept hitting bull's-eyes, with a film version, two television productions, and thousands of stage revivals over the years. This book presents, for the first time in print, the original libretto. Included are essays describing the fascinating history of the musical's productions, right up to the Tony Award-winning 1999 revival starring Bernadette Peters and then in 2001, in a star-blazing Broadway debut, Reba McEntire.

Book Size: 8 1/2 x 11" * * * * * * From the introductory: AN APPRECIATION FELIX MENDELSSOHN-BARTHOLDY (1809-1847) is usually regarded as belonging to that Romantic School or period in musical history in which the names of Schumann and Chopin are of similar prominence. This customary classification of Mendelssohn, however, is not altogether just, inasmuch as it applies to one side only in the wide compass of his musical personality, and not even to its strongest side, for it emphasizes unduly that romanticism which was only an incidental feature in his many-sided genius. The classification is somewhat unjust to Mendelssohn's other and far more pronounced characteristics; especially to those which so markedly differentiate him from his great contemporaries and which entitle him to be regarded as a "Classic-Romantic'* -- in fact, the Classic- Romantic. While he could not -- and evidently had no desire to -- keep altogether aloof from the strong wave of romanticism that swept over Germany at the beginning of the nineteenth century, he came within its range only occasionally: when the text of a song called for it or the drama which he either introduced or enlivened with his music. Thus we find him almost transcendentally romantic in some of his Overtures (Fingal's Cave, Hebrides), also in his '*Walpurgis Night," and above all in his music to Shakespeare's "Midsummer Night's Dream," the elf-like texture and fairy-tale mood of which frequently -- but also plainly -- recur in some of his piano compositions (Scherzo a capriccio, Rondo capriccioso, and others). And yet, when we enquire into the tendencies which were predominantly sympathetic to him and which he championed with all the strength of his personality, position and influence, we find them linked with the names of Bach and Beethoven. These were the masters for whose works he acted as an enthusiastic and energetic propagandist; it was their purity of form, their clarity of thought which impressed him far more strongly than the mysticism and fancy of the Romantics. With the farseeing' eye of a divinely appointed prophet he perceived that these masters had spoken not for their time only but for all times, that their fundamentality would outlast every transient fashion; and it was in their path rather than with the Romantics that his genius compelled him to pursue his way. That his works had lately to suffer somewhat from neglect is undoubtedly due to his so-called "followers," who -- as usual with Epigones -- had caught only the external qualities of his work (form, manner of workmanship, etc.), without its delightful and refined spirit; who imitated rather than followed him and who, by aping his style and by diluting his fine spirituality into a platitudinous conventionality, have wearied the music-lover. In the same degree, however, as these imitators fall more and more into oblivion (Sterndale Bennett is now completely forgotten), the true genius of their great model breaks forth anew in unimpeded light and reasserts it's great, masterly qualities....

Alfred is pleased to present the album-matching folio for Barbra Streisand's CD, Guilty Pleasures. Guilty Pleasures is Barbra Streisand's 2005 collaborative album with producer/songwriter/vocalist Barry Gibb. The release of Guilty Pleasures comes 25 years after the pair's first multi-platinum album, Guilty, which made pop music history as a worldwide chart-topping smash released in 1980. This book provides the lyrics with piano and chord arrangements for all the songs on the record. Titles are: Come Tomrrow * Stranger in a Strange Land * Hideaway * It's Up to You * Night of My Life * Above the Law * Without Your Love * All the Children * Golden Dawn * (Our Love) Don't Throw It All Away * Letting Go.

(Transcontinental Music Folios). 50 worship, holiday, life-cycle, educational and Israel solo songs from one of the most respected Jewish composers today. Includes translations, annotations and a history of Isaacson's wonderful career.

Sheet music, lyrics, stories and images for 56 original Ben Sidran compositions. Ben Sidran is widely recognized as the host of National Public Radio's landmark jazz series "Jazz Alive", which received a Peabody Award, and as the host of VH-1 television's "New Visions" series, which received the Ace Award for best music series. A pianist, producer, singer and composer, he has recorded more than thirty solo albums, including the Grammy nominated Concert for Garcia Lorca, and produced recordings for such noted artists as Van Morrison, Diana Ross, Michael Franks, Rickie Lee Jones, Mose Allison and Steve Miller (with whom he co-wrote the hit song "Space Cowboy"). He is the composer of the soundtrack for the acclaimed film Hoop Dreams, and scored the documentary Vietnam: Long Time Coming, which won both the Aspen Film Festival audience award and an Emmy. Sidran has authored two books on the subject of jazz, Black Talk, a cultural history of the music, and Talking Jazz, a series of conversations with inspirational musicians. He holds a PhD. in American Studies from Sussex University, Brighton, England, but has studiously avoided the academic life, preferring instead to spend his time performing, producing and writing. His latest works include the memoir, A Life in the Music, the groundbreaking text There Was a Fire: Jews, Music and the American Dream, and The Ballad of Tommy LiPuma, along with the recordings Picture Him Happy and Swing State.

New York's fascinating history as presented in song.

(Vocal Collection). Four songs on texts by Toni Morrison. Composed for Jessye Norman.

Gentlemen, Be Seated! is a musical history of the War Between the States. Music was composed by Jerome Moross with lyrics by Edward Eager. It was completed in 1956 and produced and presented by New York City Opera in 1963. This is the complete vocal score.

Anton Rubinstein's Gedankenkorb (1897) ist eine Sammlung von Essays und Vortr�����gen des ber�����hmten russischen Pianisten und Komponisten Anton Rubinstein. Das Buch enth�����lt eine Vielzahl von Themen, darunter Musik, Kunst, Literatur, Geschichte und Philosophie. Rubinstein diskutiert die Bedeutung von Musik in der Gesellschaft und ihre Auswirkungen auf das menschliche Leben. Er analysiert auch die Werke einiger der ber�����hmtesten Komponisten der Welt, darunter Beethoven, Mozart und Chopin. Rubinstein teilt auch seine eigenen Erfahrungen als Musiker und Komponist und gibt Einblicke in seine kreative Prozesse. Das Buch bietet einen faszinierenden Einblick in das Denken eines der gr�����������ten Musiker des 19. Jahrhunderts und ist ein unverzichtbares Werk f�����r alle, die sich f�����r Musik und Kunst interessieren.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.