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Audio Books Library Of Congress
audio books - An audiobook is a recording that is primarily spoken word. It is often based on a recording of commercial printed material. It is not necessarily an exact audio version of a book.
- Works produced for distribution on audio media, typically audiotape cassette or audio compact disk (CD). Audio books are usually spoken-word adaptations of works originally created and produced in print.
congress - The national legislative body of the US, meeting at the Capitol in Washington, DC. It was established by the Constitution of 1787 and is composed of the Senate and the House of Representatives
- a meeting of elected or appointed representatives
- A particular session of the US Congress
library - A collection of books and periodicals held in such a building or room
- A building or room containing collections of books, periodicals, and sometimes films and recorded music for people to read, borrow, or refer to
- A collection of films, recorded music, genetic material, etc., organized systematically and kept for research or borrowing
- a room where books are kept; 'they had brandy in the library'
- a collection of literary documents or records kept for reference or borrowing
- a depository built to contain books and other materials for reading and study
audio books library of congress - Library of
No Description Available.
Genre: Folk Music
Media Format: Compact Disk
Rating:
Release Date: 20-JUN-1989
In was in March 1940 that Alan Lomax, then a young folklorist at the Library of Congress in Washington, D.C., brought Woody Guthrie into a recording studio at the Department of the Interior. What emerged from three days of sessions is one of the purest documents of Americana ever released. Originally appearing as a three-LP set, this collection of 'songs and conversation' features Guthrie classics such as 'Do Re Mi,' 'Pretty Boy Floyd,' 'They Laid Jesus Christ in His Grave,' and 'I Ain't Got No Home.' Interspersed are autobiographical reminiscences of his boyhood in Oklahoma and his freight-train-riding hobo days as well as his biting, wry observations of the effects on the common man of everything from the Depression to crooked politicians. That the U.S. government paid for this is as ironic as it is miraculous. --Billy Altman
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On the other Hand : Congress Door
It is election time in India. Painted walls tells stories of political loyalty. India is rich with political symbols some more obvious than others. Congress' symbol -- THE HAND
Constitution Draft1
This is the first draft of my design for the CD package for the U.S. Constitution. The background image is a 1920s crowd from the Library of Congress.
audio books library of congress
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The Budapest Quartet was formed in 1917 by three Hungarians and a Dutchman. When the group arrived in America in 1934, all four players were Russians. The Budapest became this country's first string quartet able to live entirely on performing; it owed its meteoric rise to fame in part to the nationwide broadcasts of its concerts. The players were also the first to hold residencies, one at the University of Buffalo, where they established an annual Beethoven cycle, and one lasting 22 years at the Library of Congress, where these three discs were recorded in live performance. Their style, which long set the standard for quartet playing and influenced generations of chamber musicians, was distinguished by its immaculate perfection of technique, tone, and ensemble, and by its aristocratic elegance and moderation. All these qualities are fully in evidence here: the scrupulous observance of Beethoven's markings; the beauty and purity of the individual and collective sound; the balance, clarity, and uncannily smooth taking over of voices; the supple steadiness of the rhythm. Their contrasts are subtle, they take almost no liberties, and they avoid outward effects, such as slides, and all extremes of tempo and dynamics. Their playing is noble, austere, and restrained, with a certain cool, impersonal detachment, but they can also get involved and carried away. The slow movements have great warmth, depth, and intensity of expression. The Scherzo of Op. 74 is tempestuous and sweeping, Op. 95 is headlong and menacing, the fast Codas take off like the wild wind. --Edith Eisler