Meredith Little

Awakening through the stillness into the living lightFi Sutherland's inspirational memoir of her recovery from a near-death experience in Peru in 2009, guides readers in the awakening process through personal development, spirituality and meditation. Fi emerged from a coma in the enlightened state of unconditional love, joy and inner peace. In this blissful state and free from fear, she was present in each moment, and only that moment mattered. The luminous experience strengthened Fi's resolve to follow her heart and help others to consciously achieve the awakened state. A qualified therapeutic counsellor and teacher at the Scotland-based ISIS School of Holistic Health. Fi charts her journey from ignorance to self-awareness and shares techniques to mentor readers to set aside old mindsets, gain awareness and move into a heart-centred approach to living. Coming Home rouses the inner calling to live life in an authentic, meaningful and inclusive way, and helps each reader reveal their hidden gifts and find joy.

Stylized dance music and music based on dance rhythms pervade Bach's compositions. Although the music of this very special genre has long been a part of every serious musician's repertoire, little has been written about it. The original edition of this addressed works that bore the names of dances—a considerable corpus. In this expanded version of their practical and insightful study, Meredith Little and Natalie Jenne apply the same principals to the study of a great number of Bach's works that use identifiable dance rhythms but do not bear dance-specific titles. Part I describes French dance practices in the cities and courts most familiar to Bach. The terminology and analytical tools necessary for discussing dance music of Bach's time are laid out. Part II presents the dance forms that Bach used, annotating all of his named dances. Little and Jenne draw on choreographies, harmony, theorists' writings, and the music of many seventeenth- and eighteenth-century composers in order to arrive at a model for each dance type. In Appendix A all of Bach's named dances are listed in convenient tabular form; included are the BWV number for each piece, the date of composition, the larger work in which it appears, the instrumentation, and the meter. Appendix B supplies the same data for pieces recognizable as dance types but not named as such. More than ever, this book will stimulate both the musical scholar and the performer with a new perspective at the rhythmic workings of Bach's remarkable repertoire of dance-based music.