What happens when a girl finds herself attracted to a guy who already has a girlfriend, and said guy finds himself distracted from his (almost) perfect relationship and turns his attention to her? The inevitable – they cross the line, right? Serena and Paul meet through Paul’s cousins, Kai and Kristina Hansen, but barely speak until one night at his New Year’s Eve house party when they run into each other in the corridor. Following the events that occur that night, Serena and Paul find it difficult to ignore the growing attraction they feel for each other. The problem is Paul already has a girlfriend, his first love, Eloise. Serena and Paul do their best to avoid each other until Kris brings them together to perform a song at her brother Kai’s 18th birthday party. Serena learns that the course of teenage love doesn’t always run smooth, while Paul discovers that his first love will not necessarily be his last. Two versions of the same song is a contemporary young adult romance about attraction, distraction, temptation and the inevitable.

The relationship between language and music has much in common - rhythm, structure, sound, metaphor. Exploring the phenomena of song and performance, this book presents a sociolinguistic model for analysing them. Based on ethnomusicologist John Blacking's contention that any song performed communally is a 'folk song' regardless of its generic origins, it argues that folk song to a far greater extent than other song genres displays 'communal' or 'inclusive' types of performance. The defining feature of folk song as a multi-modal instantiation of music and language is its participatory nature, making it ideal for sociolinguistic analysis. In this sense, a folk song is the product of specific types of developing social interaction whose major purpose is the construction of a temporally and locally based community. Through repeated instantiations, this can lead to disparate communities of practice, which, over time, develop sociocultural registers and a communal stance towards aspects of meaningful events in everyday lives that become typical of a discourse community.

This collection of articles clarifies problems of style and chronology in the music Schubert composed during the last decade of his life.

Frustrated by the lack of instructions and documentation that came with your new iPod? Don't throw it out the window! Instead, consultEasy iPod and iTunes,a full-color, visually oriented book that covers iPod and iTunes usage from the beginner's point of view. With step-by-step instructions and visual elements on every page, you will go from opening the iPod box and installing its software, to ripping music in iTunes, syncing with the iPod and beyond. You will learn to work with music files, podcasts, audio books and Internet radio, and you'll discover the iTunes Music Store and how it works with iTunes and iPod. As long as you have a current model iPod (including the new Nano and video models), this book will work for you.

The complete history of one of the most long-lived and legendary bands in rock history, written by its official historian and publicist—a must-have chronicle for all Dead Heads, and for students of rock and the 1960s’ counterculture. From 1965 to 1995, the Grateful Dead flourished as one of the most beloved, unusual, and accomplished musical entities to ever grace American culture. The creative synchronicity among Jerry Garcia, Bob Weir, Phil Lesh, Bill Kreutzmann, Mickey Hart, and Ron “Pigpen” McKernan exploded out of the artistic ferment of the early sixties’ roots and folk scene, providing the soundtrack for the Dionysian revels of the counterculture. To those in the know, the Dead was an ongoing tour de force: a band whose constant commitment to exploring new realms lay at the center of a thirty-year journey through an ever-shifting array of musical, cultural, and mental landscapes. Dennis McNally, the band’s historian and publicist for more than twenty years, takes readers back through the Dead’s history in A Long Strange Trip. In a kaleidoscopic narrative, McNally not only chronicles their experiences in a fascinatingly detailed fashion, but veers off into side trips on the band’s intricate stage setup, the magic of the Grateful Dead concert experience, or metaphysical musings excerpted from a conversation among band members. He brings to vivid life the Dead’s early days in late-sixties San Francisco—an era of astounding creativity and change that reverberates to this day. Here we see the group at its most raw and powerful, playing as the house band at Ken Kesey’s acid tests, mingling with such legendary psychonauts as Neal Cassady and Owsley “Bear” Stanley, and performing the alchemical experiments, both live and in the studio, that produced some of their most searing and evocative music. But McNally carries the Dead’s saga through the seventies and into the more recent years of constant touring and incessant musical exploration, which have cemented a unique bond between performers and audience, and created the business enterprise that is much more a family than a corporation. Written with the same zeal and spirit that the Grateful Dead brought to its music for more than thirty years, the book takes readers on a personal tour through the band’s inner circle, highlighting its frenetic and very human faces. A Long Strange Trip is not only a wide-ranging cultural history, it is a definitive musical biography.

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

New Testament scholars routinely claim that verbal agreement among parallel Synoptic pericopae is a reliable indicator of literary borrowing by the Synoptic Evangelists. In Oral Tradition and Synoptic Verbal Agreement, T. M. Derico presents a critical assessment of that claim through a consideration of the most recent empirical evidence concerning the kinds and amounts of verbal agreement that can be produced among independent performances of oral traditions.