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Tips are presented for creating a general music class lesson teaching the pentatonic scale by having students play only on a piano's black keys in the A-flat Dorian mode. Using the Dorian mode, in which the seventh scale degree is a whole step below the tonal center, makes the sound more contemporary.

  Passacaglia, as can be heard from the very opening phrase with its sighing rests, suspensions and chromatic colouring. Webber seeks to consider further the implications of viewing Dieterich Buxtehude's organ music from the perspective of modal theory, particularly with regard to the church tones.

It was with surprise and delight that, whilst on a research trip to Paris about a year ago, I accidentally discovered a score dating from Henri Dutilleux's Conservatoire period in the 1930s. What I stumbled upon was a song, titled Barque d'Or, written for soprano and piano. Dutilleux's father, Paul Dutilleux, who owned his own printing firm in Douai, published Barque d'Or in 1937. Roger Nichols has quoted Dutilleux's recollection of his father's work: All that ties in too with the craftsmanship I witnessed in my father's workshop, especially at the bench of one old engraver. We had a great respect for him, he looked like Brahms. On Sundays it was at that bench that my father sat me down to do my harmony exercises, without the piano. During the week my ears were full of the rumbling of the machines, but at those moments the absolute silence seemed to me to have an extraordinary quality — it was a very unusual feeling, which I often think about, and it was a great encouragement to the formation of my inner ear.

In a letter to Paul Fréart de Chantelou dated 24 November 1647 Poussin outlined several aesthetic notions with musical significance, notably his adoption of the theory of musical modes and their application to painting. The significance of Poussin's statements lies not only in the use of modes in visual terms that are directly parallel to their use in music, but also in the wider implications regarding the dissemination of musical theory outside specifically musical circles. Poussin's references to concepts of affect and meaning, and his allusions to classical sources concerning the relationship of modal and poetic affects and textual rhythms to subject matter are of particular importance. Analyses of Poussin's A Dance to the Music of Time (c. 1638-40) and other paintings, statements made by the artist, and evidence drawn from texts on music theory, are used as evidence to support a new view of Poussin's concept of mode that is viable in both musical and visual terms, and supported by contemporary theory.

The one-day workshops examine all elements of writing, from grammar to character development. [Dorian Mode], 39, a keen fisherman who lives in Erina, said he adopted a relaxed approach when he was searching for his own ideas.

The murder committed by Katherine Knight is dissected in the third instalment of the Never To Be Released series. The extreme case of Knight, who skinned her husband before cooking his organs for dinner, is examined to answer the question why fear of prison doesn't deter evil behaviour. Other cases include the serial killer whose victim turned up during his murder trial and a murderer who managed to convince his victims to trust him completely. The death of James Dean, the jean-wearing king of cool, has been raked over since he died in 1955. This revives Dean and wonders what would have happened had the young Rebel Without a Cause actor survived. In a piece of extreme whimsy, [Jack Dann] has the brooding star pop up at 1960s events -- marching for civil rights, sharing secrets with Marilyn Monroe and rubbing shoulders with Elvis and the Kennedys. Not everyone's cup of tea. Former child psychologist turned best-seller writer [Jonathan Kellerman] spins a tale about the lover's lane murder of two college students, one impaled with a metal spike and shot in the head. It looks simple but there are layers of deception and confrontations. Protagonist psychologist Alex Delaware goes head-on with a celebrity psychologist who protects her patients' privacy.

Miraculously, they mellow as the narrative evolves and succeed as the ironic reflections of Gordon B. Shoesmith, a dysfunctional jazz musician-cum advertising copywriter who chances to drop out in a crusty little SA desert town called Venice.

Sibelius began planning his Sixth Symphony, op. 104, in 1918, before the Fifth reached its final, definitive version: the Sixth took virtually five years to complete, and was first performed in 1923. It immediately attracted attention, and critics began at once to explore its structure. Sibelius seems to have been genuinely surprised at some of the revelations of the analysts and is recorded as saying that though investigators might find several interesting things going on in the work, ‘most people forget that it is, above all, a poem’. Sibelius's warning – typical of most composers, who generally seem content to forget the scaffolding of a work once it is completed – has done nothing to prevent analysts from probing into the Symphony.

Taking the dispute over the seriousness of Poussin's use of the theory of the modes as a starting point, examines the way that the concept was introduced into the Academy's discourses by Charles Le Brun in 1668, and how it developed for the next 200 years.