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From singing to the postman when she was less than two years old to her annual sell-out tours in the 2000s, Barbara Dickson has been captivating her fans for the best part of sixty years. In her autobiography she describes the joys of growing up in Fife in the fifties, of moving to Edinburgh at seventeen to find her place in the world and the struggles of trying to make a living on the Scottish folk scene.
Despite becoming Scotland's bestselling solo artist in the seventies and eighties and having huge hits such as 'I Know Him So Well' and 'Caravan Song', Barbara was not content to have just a successful singing career. She turned to another: acting. A regular on prime-time television, Barbara also took to musicals, making Blood Brothers and Spend, Spend, Spend her own. Her time onstage earned her many acting accolades but her pursuit of perfection lead to complete exhaustion from which she fought hard to recover.
Barbara's is a warm, fascinating story that encompasses the best of British music, stage and television and above all tells the story of an ordinary woman with an extraordinary voice.
Ruth met Bob when she was eighteen. They felt their meeting was meant to be. But both of them had a great deal of inner growth to accomplish. After eight years of marriage they divorced. In the next sixteen years they did the work it took to grow - separately. When they remarried, their gratefulness knew no bounds. They knew how very fortunate they were and lived together with a deep appreciation for having a second chance in life. When Bob died twenty years later, Ruth put her grief into the words that are this book. For me poetry is a spiritual unfolding of the essence of relationships through words. Below is the title poem of my book of poetry, dedicated to my husband Bob: Days of Together We knew days of together then, humbled away from us we knew life alone. As though by no reason our beings played a seemingly magical game, Our course designed by the Master in kindness and in beauty is our daily graduation in eternal search for Truth. Ruth won the American Pen Women Award for her short story, "Locked Inside," which she read at the new San Francisco Library.
Music as a Science of Mankind offers a philosophical and historical perspective on the intellectual representation of music in British eighteenth-century culture. From the field of natural philosophy, involving the science of sounds and acoustics, to the realm of imagination, involving resounding music and art, the branches of modern culture that were involved in the intellectual tradition of the science of music proved to be variously appealing to men of letters. Among these, a particularly rich field of investigation was the British philosophy of the mind and of human understanding, developed between the seventeenth and eighteenth centuries, which looked at music and found in its realm a way of understanding human experience. Focussing on the world of sensation Ã¢" trying to describe how the human mind could develop ideas and emotions by its means Ã¢" philosophers and physicians often took their cases from art's products, be it music (sounds), painting (colours) or poetry (words as signs of sound conveying a meaning), thus looking at art from a particular point of view: that of the perceiving mind. The relationship between music and the philosophies of mind is presented here as a significant part of the construction of a Science of Man: a huge and impressive 'project' involving both the study of man's nature, to which Ã¢" in David Hume's words Ã¢" 'all sciences have a relation', and the creation of an ideal of what Man should be. Maria Semi sheds light on how these reflections moved towards a Science of Music: a complex and articulated vision of the discipline that was later to be known as 'musicology'; or Musikwissenschaft.
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