Estranged husband and wife Jesse Gordon, a Christian songwriter, and Elena Breen, a beautiful singer, are reunited after Elena damages her voice and tries to commit suicide and Jesse rebuilds her faith in their marriage and in God.

Music in the Role-Playing Game: Heroes & Harmonies offers the first scholarly approach focusing on music in the broad class of video games known as role-playing games, or RPGs. Known for their narrative sophistication and long playtimes, RPGs have long been celebrated by players for the quality of their cinematic musical scores, which have taken on a life of their own, drawing large audiences to live orchestral performances. The chapters in this volume address the role of music in popular RPGs such as Final Fantasy and World of Warcraft, delving into how music interacts with the gaming environment to shape players’ perceptions and engagement. The contributors apply a range of methodologies to the study of music in this genre, exploring topics such as genre conventions around music, differences between music in Japanese and Western role-playing games, cultural representation, nostalgia, and how music can shape deeply personal game experiences. Music in the Role-Playing Game expands the growing field of studies of music in video games, detailing the considerable role that music plays in this modern storytelling medium, and breaking new ground in considering the role of genre. Combining deep analysis with accessible personal accounts of authors’ experiences as players, it will be of interest to students and scholars of music, gaming, and media studies.

This major essay collection takes a fresh look at how differences among people matter for music and musical thought.

"Focusing on Anglo-American novels of the past two decades, Write in Tune explores the dynamic intersection between popular music and fiction"--

Step outside of the IEPs and behavioral paperwork currently generated in schools, go where disabled people are thriving today, and see the results in learning, growth, and expression. This authoritative book offers readers alternative ways to think about learning and behavior in special education. Through illustrative case studies and a disability studies lens, author Erin McCloskey uses the voices of people with disabilities to show how these students progress creatively outside the classroom and school building--at the dojo, the riding arena, the theater stage, the music studio, and other community-centered spaces where disabled students can make choices about their learning, their bodies, and their goals. Balancing theory and practice, the book describes alternative learning spaces, demonstrates how disabled students learn there, and passes on the important lessons learned in each space. The ideas apply to students of all ages with a wide variety of disabilities. Book Features: Uses the voices of people with disabilities to promote alternative ways to think about learning and behavior in special education. Presents rich case studies and briefer interludes to illustrate how disabled students are learning and thriving in surprising ways outside of school where they have opportunities to explore. Distills important key takeaways from each case study through chapter sections of "lessons learned." Promotes informed discussion of the concepts in the book with questions at the end of each chapter. Combines theory and practice to help readers put the concepts into action in a variety of settings with a variety of disabled students.

Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns--that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.

This volume explores the significations and developments of the Salsa consciente movement, a Latino musico-poetic and political discourse that exploded in the 1970s but then dwindled in momentum into the early 1990s. This movement is largely linked to the development of Nuyolatino popular music brought about in part by the mass Latino migration to New York City beginning in the 1950s and the subsequent social movements that were tied to the shifting political landscapes. Defined by its lyrical content alongside specific sonic markers and political and social issues facing U.S. Latinos and Latin Americans, Salsa consciente evokes the overarching cultural-nationalist idea of Latinidad (Latin-ness). Through the analysis of over 120 different Salsa songs from lyrical and musical perspectives that span a period of over sixty years, the author makes the argument that the urban Latino identity expressed in Salsa consciente was constructed largely from diasporic, deterritorialized, and at times imagined cultural memory, and furthermore proposes that the Latino/Latin American identity is in part based on African and Indigenous experience, especially as it relates to Spanish colonialism. A unique study on the intersection of Salsa and Latino and Latin American identity, this volume will be especially interesting to scholars of ethnic studies and musicology alike.