A former military recruit recounts her time in service and her decision to become a conscientious objector in the wake of 9/11.

Cadence is a comprehensive examination of how formal units in European art music of the tonal era achieve closure. The book brings together the author's decades-long investigations into cadence, a compositional device that is readily experienced both by musicians and non-musicians, but one that has proven intractable to clear and precise theoretical formulation. Rooted in Caplin's broader theory of formal functions, the book first develops concepts of cadence for music of the high classical style and then extends these ideas to gauge cadential practice in earlier and later style periods. Throughout the study, various manifestations of cadence are defined in terms of their morphology (their harmonic and melodic profiles) as well as their function (the specific formal contexts in which they are deployed). Cadence introduces a host of theoretical concepts illustrated by copious musical examples, all of which contain extensive analytical annotations of harmony, melody and form. Though the book is addressed primarily to music theorists, the many issues of compositional practice raised in this study will resonate with the interests of composers, historians, and performers alike.

The closest he will ever come to happiness is when he's hurting her. Will she let him? A beautiful and twisted story of first love and innocence lost -- written when the author was just eighteen. Sphinxie and Cadence. Promised to each other in childhood. Drawn together again as teens. Sphinxie is sweet, compassionate, and plain. Cadence is brilliant, charismatic. Damaged. And diseased. When they were kids, he scarred her with a knife. Now, as his illness progresses, he becomes increasingly demanding. She wants to be loyal -- but fears for her life. Only the ultimate sacrifice will give this love an ending.

Cadence explores the many ways in which the component parts of a classical composition achieve a sense of ending. The book examines cadential practice in a wide variety of musical styles in the eighteenth and nineteenth centuries, including works by well-known composers such as Bach, Mozart, Beethoven, Schubert, Chopin, and Brahms.

Ezekiel-Amadeus is the eldest of nine children, all raised by a single mother, and tends to show total independence a lot younger than expected. An enigmatic change in his body compared to his fellow teenagers and a past life he cannot remember, he rises to prove himself capable of standing up for those he wishes to protect. Hildegard is an orphan raised by an abusive aunt, who wishes to one day become a singer and actress. But the more she learns about her parents, the more of a target she becomes. But when things get tough, she will do what she can to stand up for herself. Cadence is an incredibly intelligent, yet shy, young woman who has ideas to advance humanity’s understanding of science, all the while a stranger to true affection. And yet, beyond going through school, they encounter more than what most people know. Secrets, such as an underground nation comprised of Neo Nazis, the mysterious society of the Knights of the Peace Equation, the experimental city of Mega, among the fate of the race of Elfs, among other mythological creatures. About the Author About the time he reached middle school, G.B. Chavez began thinking of ideas for a television series he’d wish to someday create. By the time he graduated high school in 2019, he had begun to reinvent the story upon realizing how much of a challenge it would be, but still wished to get a version of the story out. In March of 2021, Chavez began to write Heromaker: A British Story Written By An American, which he plans to eventually be the first installment of an extensive series of books surrounding the main protagonist(s). Chavez has always had a fascination with culture affiliated with the United Kingdom, which has stemmed from watching Peter Pan as a child. This fascination is not only what inspired for this story to take place in the United Kingdom, but has him wishing to one day travel to the European nation.

John Birchensha (c.1605-?1681) is chiefly remembered for the impression that his theories about music made on the mathematicians, natural philosophers and virtuosi of the Royal Society in the 1660s and 1670s, and for inventing a system that he claimed would enable even those without practical experience of music to learn to compose in a short time by means of 'a few easy, certain, and perfect Rules'-his most famous composition pupil being Samuel Pepys in 1662. His great aim was to publish a treatise on music in its philosophical, mathematical and practical aspects (which would have included a definitive summary of his rules of composition), entitled Syntagma music Subscriptions for this book were invited in 1672-3, and it was due to be published by March 1675; but it never appeared, and no final manuscript of it survives. Consequently knowledge about his work has hitherto remained extremely sketchy. Recent research, however, has brought to light a number of manuscripts which allow us at last to form a more complete view of Birchensha's ideas. Almost none of this material has been previously published. The new items include an autograph treatise of c.1664 ('A Compendious Discourse of the Principles of the Practicall & Mathematicall Partes of Musick') which Birchensha presented to the natural philosopher Robert Boyle, and which covers concisely much of the ground that he intended to cover in Syntagma music a detailed synopsis for Syntagma music hich he prepared for a meeting of the Royal Society in February 1676; and an autograph notebook (now in Brussels) containing his six rules of composition with music examples, presumably written for a pupil. Bringing all this material together in a single volume will allow scholars to see how Birchensha's rules and theories developed over a period of fifteen years, and to gain at least a flavour of the lost Syntagma music