The Romance Anonimo ("Anonymous Romance") is one of the most popular pieces in the classical guitar repertoire. Also known as Spanish Romance, Romance de Amor, Jeux interdits and Estudio de Rubira, this 19th century work has continually delighted lovers of the instrument around the world and has become a standard part of guitar pedagogy. In this Mel Bay publication guitarist/composer Rico Stover offers his original composition Romance Variations in a 25 page score of the work with accompanying audio. Different "flavors" of guitar styles are heard in these variations which are inspired by guitarists/composers whom Rico admires: Mateo Carcassi, Joe Pass, Heitor Villalobos, Luiz Bonfa, Chet Atkins and Atahualpa Yupanqui. After a short introduction, the Romance theme is heard, after which the variations commence. Each variation follows the minor/major pattern: Variation 1: Arpegiado - classical arpeggios Variation 2: Bordoneo - bass line textures Variation 3: Villalobosiana - in the style of the master Variation 4: Bossa nova - Brazilian syncopations Variation 5: Chet's Pick - country style fingerpicking Variation 6: Aire de Danza - Latin American dance rhythms The essay "Romance Anonimo: Who Composed It?" explores the different theories regarding the question of authorship, including an analysis of seven different editions of the Romance that date from 1900 to 1958.

The author of the acclaimed memoir The Suicide Index returns with a virtuosic collection of stories, each a stirring parable of the power of love and the impossibility of understanding it. Spanning centuries and continents, from eighteenth-century Vienna to contemporary America, Joan Wickersham shows, with uncanny exactitude, how we never really know what’s in someone else’s heart—or in our own.

Current theoretical approaches to language devote great attention to macro- and micro-variation and show an ever-increasing interest in minority languages. In this respect, few empirical domains are as rich and lively as the Italo-Romance languages, which together with Albanian were the main research domain of Leonardo M. Savoia. The volume covers areas as different as phonology, morphology, syntax and the lexicon. A broad range of Romance languages is considered, as well as Albanian, Greek and Hungarian, shedding new light on many classical topics. The first section focuses on morphosyntax, both in the narrow sense and with regard to its interfaces. The second section focuses on clitics and pronouns. The third section deals with a number of issues in phonology and syntax-phonology interface. The last section turns the reader’s attention beyond formal linguistics itself and examines variation in the light of neurosciences, pathology, historical linguistics and political discourse.

Lucy Beck-Moreau once had a promising future as a concert pianist. The right people knew her name, her performances were booked months in advance, and her future seemed certain. That was all before she turned fourteen. Now, at sixteen, it's over. A death, and a betrayal, led her to walk away. That leaves her talented ten-year-old brother, Gus, to shoulder the full weight of the Beck-Moreau family expectations. Then Gus gets a new piano teacher who is young, kind, and interested in helping Lucy rekindle her love of piano -- on her own terms. But when you're used to performing for sold-out audiences and world-famous critics, can you ever learn to play just for yourself? National Book Award finalist Sara Zarr takes readers inside one girl's struggle to reclaim her love of music and herself. To find joy again, even when things don't go according to plan. Because life isn't a performance, and everyone deserves the chance to make a few mistakes along the way.

One of the recurrent questions in historical linguistics is to what extent languages can borrow grammar from other languages. It seems for instance hardly likely that each 'average European' language developed a definite article all by itself, without any influence from neighbouring languages. It is, on the other hand, by no means clear what exactly was borrowed, since the way in which definiteness is expressed differs greatly among the various Germanic and Romance languages and dialects. One of the main aims of this volume is to shed some light on the question of what is similar and what is different in the structure of the noun phrase of the various Romance and Germanic languages and dialects, and what causes this similarity or difference.

This volume offers a range of synchronic and diachronic case studies in comparative Germanic and Romance morphosyntax. These two language families, spoken by over a billion people today, have played a central role in linguistic research, but many significant questions remain about the relationship between them. Following an introduction that sets out the methodological, empirical, and theoretical background to the book, the volume is divided into three parts that deal with the morphosyntax of subjects and the inflectional layer; inversion, discourse pragmatics, and the left periphery; and continuity and variation beyond the clause. The contributors adopt a diverse range of approaches, making use of the latest digitized corpora and presenting a mixture of well-known and under-studied data from standard and non-standard Germanic and Romance languages. Many of the chapters challenge received wisdom about the relationship between these two important language families. The volume will be an indispensable resource for researchers and students in the fields of Germanic and Romance linguistics, historical and comparative linguistics, and morphosyntax.

This volume offers a range of synchronic and diachronic case studies in comparative Germanic and Romance morphosyntax. These two language families, spoken by over a billion people today, have played a central role in linguistic research, but many significant questions remain about the relationship between them. Following an introduction that sets out the methodological, empirical, and theoretical background to the book, the volume is divided into three parts that deal with the morphosyntax of subjects and the inflectional layer; inversion, discourse pragmatics, and the left periphery; and continuity and variation beyond the clause. The contributors adopt a diverse range of approaches, making use of the latest digitized corpora and presenting a mixture of well-known and under-studied data from standard and non-standard Germanic and Romance languages. Many of the chapters challenge received wisdom about the relationship between these two important language families. The volume will be an indispensable resource for researchers and students in the fields of Germanic and Romance linguistics, historical and comparative linguistics, and morphosyntax.

This volume offers a wide-range of case studies on variation and change in the sub-family of the Romance languages that includes French and Occitan: Gallo-Romance. Both standard and non-standard Gallo-Romance data can be of enormous value to studies of morphosyntactic variation and change, yet, as the volume demonstrates, non-standard and comparative Gallo-Romance data have often been lacking in both synchronic and diachronic studies. Following an introduction that sets out the conceptual background, the volume is divided into three parts whose chapters explore a variety of topics in the domains of sentence structure, the verb complex, and word structure. The empirical foundation of the volume is exceptionally rich, drawing on standard and non-standard data from French, Occitan, Francoprovençal, Picard, Wallon, and Norman. This diversity is also reflected in the theoretical and conceptual approaches adopted, which span traditional philology, sociolinguistics, formal morphological and syntactic theory, semantics, and discourse-pragmatics. The volume will thus be an indispensable tool for researchers and students in French and (Gallo-) Romance linguistics as well as for readers interested in grammatical theory, sociolinguistics, and historical linguistics.

Meryton is atwitter with the arrival of Mr. Bingley and his friends, but Mr. Darcy leaves a bad first impression on the attendees of the Assembly ball. It's almost enough to detract from the theft that occurs while everyone is inside dancing. Soon enough, other thefts occur throughout the village. Ever curious, Lizzy ventures to find the thief, acquiring an unexpected ally in the endeavor in Fitzwilliam Darcy. As they work together, she gains a more favorable impression of him, but he is the last man with whom she would ever want to solve another mystery. This is part one of the completed five-book "Crime & Courtship" series. They are intended to be read in order and follow roughly the same timeline and locations as J.A.'s masterpiece. The first mystery takes place in Meryton. The next will be at Netherfield, followed by Hunsford, then London, and finally Pemberley. The story arc will continue throughout all five parts, compromising one long read broken into five sections. A mystery is central to each installment, so you could call this a cozy mystery sweet Regency romance. While Abbey sometimes writes sensual JAFF, this series is strictly SWEET.

AN EDUCATION IN PLEASURE Married young to a man hand-picked by her father, Elizabeth Petre is an ideal Victorian lady. She has borne two sons and endured sixteen years of selfless duty in a passionless marriage. Craving a man's loving touch yet loyal to her wedding vows, Elizabeth is determined to seduce her coldly indifferent husband. She knows of only one man who can teach her the erotic secrets of love. A LESSON IN LOVE The bastard son of an English countess and an Arab sheik, Ramiel Devington was reared to embrace both Western culture and Eastern pleasure. Scorned by society and challenged by prim Elizabeth's request, he undertakes her instruction in the art of sensual delight. But when the lessons become a temptation neither can resist, Elizabeth is forced to choose between obligation and a bold, forbidden passion...