When his music fills your heart, note by note, beat by beat, and your harmonies entwine, effortless, complete. That’s how you’ll know you’ve found the perfect tenor. A cosy festive romance set in the world of Hiding Behind The Couch.

There’s no way he’ll shake this off... Trevor Daniels is feeling aimless. A recent college grad, he’s not sure what to do with his useless degree, and his family all but abandoned him after he revealed the truth about himself. But a friend’s suggestion that he take his chances on a reality show aimed at finding the next big boy band strikes a chord with him—until the show’s producers convince him to act like he’s in a relationship with a guy who’s not at all his type. It isn’t exactly love at first sight for Jalen Smith either—but lust just might push them in an unexpected direction. If only their secrets weren’t even more twisted than their sheets, threatening to cost them the win—and each other... Praise for the Portland Heat series “Tremendously charming and sexy.”—RT Book Reviews on Served Hot “A really enjoyable story.”—Joyfully Jay on Baked Fresh “Sometimes an author just gets everything right...Absolutely perfect.”—Guilty Pleasures Book Reviews on Delivered Fast

00 Prelims 1672 -- 01 Chapter 1672 -- 02 Chapter 1672 -- 03 Chapter 1672 -- 04 Chapter 1672 -- 05 Chapter 1672 -- 06 Chapter 1672 -- 07 Chapter 1672 -- 08 Chapter 1672 -- 09 Chapter 1672 -- 10 Chapter 1672 -- 11 Chapter 1672 -- 12 Notes 1672 -- 13 Tenog 1672 -- 14 Audio 1672 -- 15 Biblio 1672 -- 16 Index 1672

The main function of western musical notation is incidental: it prescribes and records sound. But during the fourteenth and fifteenth centuries, notation began to take on an aesthetic life all its own. In the early fifteenth century, a musician might be asked to sing a line slower, faster, or starting on a different pitch than what is written. By the end of the century composers had begun tasking singers with solving elaborate puzzles to produce sounds whose relationship to the written notes is anything but obvious. These instructions, which appear by turns unnecessary and confounding, challenge traditional conceptions of music writing that understand notation as an incidental consequence of the desire to record sound. This book explores innovations in late-medieval music writing as well as how modern scholarship on notation has informedsometimes erroneouslyideas about the premodern era. Drawing on both musical and music-theoretical evidence, this book reframes our understanding of late-medieval musical notation as a system that was innovative, cutting-edge, and dynamicone that could be used to generate music, not just preserve it.

Reels for 1973- include Time index, 1973-