The first study to focus exclusively on the use in the Hebrew Bible of soundplay to allude to and interpret earlier literary traditions This book focuses on the way the biblical writers used allusive soundplay to construct theological discourse, that is, in service of their efforts to describe the nature of God and God's relationship to humanity. By showing that a variety of biblical books contain examples of allusive soundplay employed for this purpose, Kline demonstrates that this literary device played an important role in the growth of the biblical text as a whole and in the development of ancient Israelite and early Jewish theological traditions. Features: Demonstrates that allusive soundplay was a productive compositional technique in ancient Israel Identifies examples of innerbiblical allusion that have not been identified before A robust methodology for identifying soundplay in innerbiblical allusions

Video games open portals to fantastical worlds where imaginative play and enchantment prevail. These virtual settings afford us considerable freedom to act out with relative impunity. Or do they? Sound Play explores the aesthetic, ethical, and sociopolitical stakes of people's creative engagements with gaming's audio phenomena-from sonorous violence to synthesized operas, from democratic music-making to vocal sexual harassment. William Cheng shows how video games empower their designers, composers, players, critics, and scholars to tinker (often transgressively) with practices and discourses of music, noise, speech, and silence. Faced with collisions between utopian and alarmist stereotypes of video games, Sound Play synthesizes insights across musicology, sociology, anthropology, communications, literary theory, philosophy, and additional disciplines. With case studies spanning Final Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online, and Team Fortress 2, this book insists that what we do in there-in the safe, sound spaces of games-can ultimately teach us a great deal about who we are and what we value (musically, culturally, humanly) out here. Foreword by Richard Leppert Video Games Live cover image printed with permission from Tommy Tallarico

Forty-seven lessons, with accompanying synthesizer music on CD, to help children ages three to eight grow in their understanding of music by using body movement. Each lesson includes a list of related national standards for PreK and K-4 in music education.

This fun and engaging guide invites you to use sound-making as a collaborative, play-based practice in your early childhood classroom—first to transform tricky transition times and ultimately to support your children’s executive functioning development and social-emotional learning. The book offers techniques and ideas for every teacher to reach every child in their classroom including verbal, nonverbal, and special needs children. Easy to integrate into all standard early years curricula, it focuses on three basic elements of sound: pitch, volume, and duration. The book features an "overview of the school year" calendar and an implementation guide, in addition to a variety of suggested sound-making activities that start out simply and, through the course of the book, expand to engage children’s creativity in more dynamic ways. Creative Sound Play for Young Learners is key reading for any preschool teacher, leader, or parent.

Video games open portals into fantastical worlds where imaginative play prevails. The virtual medium seemingly provides us with ample opportunities to behave and act out with relative safety and impunity. Or does it? Sound Play explores the aesthetic, ethical, and sociopolitical stakes of our engagements with gaming's audio phenomena-from sonic violence to synthesized operas, from democratic music-making to vocal sexual harassment. Author William Cheng shows how the simulated environments of games empower designers, composers, players, and scholars to test and tinker with music, noise, speech, and silence in ways that might not be prudent or possible in the real world. In negotiating utopian and alarmist stereotypes of video games, Sound Play synthesizes insights from across musicology, sociology, anthropology, communications, literary theory, and philosophy. With case studies that span Final Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online, and Team Fortress 2, this book insists that what we do in there - in the safe, sound spaces of games - can ultimately teach us a great deal about who we are and what we value (musically, culturally, humanly) out here.

Flash MX Studio takes your raw Flash talent and multiplies its potency by focusing it on real-world web design situations. In the heady days of the late 1990s, designers were trying their hand at anything and everything they could lay their hands on. Now the marketplace is seriously focused, and serious Flash designers have to know exactly what they're doing and why. These days, it's all about functionality over experimentation, justification over style. It's all about maturity. The design must fit the job specs, and this book shows the reader how to fulfill these requirements and more. This book examines all the avenues open to professional or aspiring professional Flash MX designers. It takes a look at advanced uses of the new MX features, such as components and the Drawing API, and gives guidance on building whole new structures for animation, Dynamic Content, PHP, ColdFusion MX, XML, video, audio and audiovisual formats. Never before has so much power been so accessible to the web designer. This book is designed to put that power in your hands. Flash MX Studio has been broken into four sections to address the most common needs for the Flash designer. First off, Jamie McDonald provides five chapters on site presentation and the principles of web design. These opening chapters take a look at how to create slick, professional-level sites, involving Flash MX's new drawing and motion capabilities and interactive techniques. The second section concentrates on ActionScript. Flash's resident coding environment is crucial to master, and taps into Flash's great strength—intuitive and interactive applications. Keith Peters and Todd Yard have buddied up on this section, and examine some of the most advanced ActionScript techniques around. Be warned—this section is not for the faint-hearted! Section three takes a look at Flash MX's greatly improved visual, audio and audiovisual capabilities. Its three chapters, written by Jez Turner and Alex White, concentrate on building a single site aimed at displaying rich media content. The final section is devoted to expounding a few myths about dynamic content using Flash. Its four chapters talk about general practice, before focusing in on specific areas, including introductions to PHP and XML, together with a look at Macromedia's brand new ColdFusion MX.