Cuckoo Song by Frances Hardinge, the Costa Award-winning author of The Lie Tree, is a fantastically eerie and beautifully written novel, and was shortlisted for the prestigious Carnegie Medal. The first things to shift were the doll's eyes, the beautiful grey-green glass eyes. Slowly they swivelled, until their gaze was resting on Triss's face. Then the tiny mouth moved, opened to speak. 'What are you doing here?' It was uttered in tones of outrage and surprise, and in a voice as cold and musical as the clinking of cups. 'Who do you think you are? This is my family.' When Triss wakes up after an accident, she knows that something is very wrong. She is insatiably hungry; her sister seems scared of her and her parents whisper behind closed doors. She looks through her diary to try to remember, but the pages have been ripped out. Soon Triss discovers that what happened to her is more strange and terrible than she could ever have imagined, and that she is quite literally not herself. In a quest to find the truth she must travel into the terrifying Underbelly of the city to meet a twisted architect who has dark designs on her family – before it's too late . . . 'Everyone should read Frances Hardinge. Everyone. Right now' - Patrick Ness, author of A Monster Calls.
With Special Reference to Shakespeare and Chaucer, Containing an Investigation of the Correspondence of Writing with Speech in England from the Anglosaxon Period to the Present Day, Preceded by a Systematic Notation of All Spoken Sounds by Means of the Ordinary Printing Types. Including a Rearrangement of Prof. F.J. Child's Memoirs on the Language of Chaucer and Gower, and Reprints of the Rare Tracts by Salesburv on English, 1547, and Welch, 1567, and by Barclay on French, 1521
The cuckoos are the most variable birds in social behavior and parental care: a few cuckoos are among the most social of all birds and rear their young in a common nest; most cuckoos are caring parents that rear their own young with some females laying a few eggs in the nests of others; while many cuckoo species are brood parasites who leave their eggs in the nests of other birds to rear, with their young maturing to kill their foster nestmates. In The Cuckoos, Robert B. Payne presents a new evolutionary history of the family based on molecular genetics, and uses the family tree to explore the origins and diversity of their behaviour. He traces details of the cuckoos' biology to their original sources, includes descriptions of previously unpublished field observations, and reveals new comparisons of songs showing previously overlooked cuckoo species. Lavishly illustrated with specially commissioned colour plates and numerous maps, halftones, and line drawings, The Cuckoos provides the most comprehensive and up-to-date account of this family yet available.
Music, Nature, and Poetry in the Later Middle Ages
Author: Christine E. Jackson
Publisher: Cornell University Press
Is birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound was not music for medieval thinkers and then goes on to consider the ontology of music, the significance of comparisons between singers and birds, and the relationship between art and nature as enacted by the musical performance of late-medieval poetry. If birdsong was not music, how should we interpret the musical depiction of birdsong in human music-making? What does it tell us about the singers, their listeners, and the moral status of secular polyphony? Why was it the fourteenth century that saw the beginnings of this practice, continued to this day in the music of Messiaen and others? Leach explores medieval arguments about song, language, and rationality whose basic terms survive undiminished into the present. She considers not only lyrics that have their singers voice the songs or speech of birds but also those that represent other natural, nonmusical, sounds such as human cries or the barks of dogs. The dangerous sweetness of birdsong was invoked in discussions of musical ethics, which, because of the potential slippage between irrational beast and less rational woman in comparisons with rational human masculinity, depict women's singing as less than fully human. Leach's argument comes full circle with the advent of sound recording. This technological revolution-like its medieval equivalent, the invention of the music book-once again made the relationship between music and nature an acute preoccupation of Western culture.
Described by The Times as 'the national children's dramatist', David Wood has been writing, adapting, directing and acting in plays for children for more than twenty-five years. His best known work, from his play The Gingerbread Man to his adaptations of Roald Dahl's The BFG and The Witches have enjoyed national and international professional success and entered the repertory of amateur companies and school dramatic societies. Now David has written the definitive book on theatre for children. He analyses the skills involved in entertaining audiences of children everywhere and reveals his special techniques for catching and holding a child's attention. This practical, step-by-step comprehensive guide is essential reading for professionals and amateurs alike, and anyone wanting to be involved in theatre for children.
The happy little Cuckoo flies from her perch on the cuckoo clock one day. She meets new bird friends on her journey and listens to their songs. The music that Cuckoo hears is printed in the story and the audio is available on youtube. A wonderful introduction to singing for children.