This collection of essays celebrates the life and work of Dr. Charles Kevin Stuart. For more than three decades, Kevin Stuart has quietly exerted considerable influence on scholarship on Tibet, China, and Mongolia, demonstrating a particular sensitivity to emic voices, facilitating collaborations between etic-emic viewpoints, but always striving to preserve and privilege the latter. It is possible when reading Kevin's writings, and the contributions gathered here, to 'center the local' by thinking within local horizons of meaning. Introduction by Benedict Copps An Introduction to Amdo Tibetan Love Songs, or La gzhas by Skal bzang nor bu A Bibliographic Note and Table on Mid-19th to Mid-20th Century Western Travelogues and Research Reports on Gansu and Qinghai by Bianca Horrleman The Last Outstanding Mongghul Folksong Singer by Limusishiden Slinking Between Realms: Musk Deer as Prey in Yi Oral Literature by Mark Bender Describing and Transcribing the Phonologies of the Amdo Sprachbund by Juha Janhunen Animals Good for Healing: On Experiences with Folk Healers in Inner Mongolia (China) by Peter Knecht Ethnicity and Cultural Diversity on the Northeast Tibetan Plateau: Sanchuan's Weather Management Rituals in Comparative Context by Gerald Roche Herds on the Move: Transformations in Tibetan Nomadic Pastoral Systems by Daniel Miller 'Zomia': New Constructions of the Southeast Asian Highlands and Their Tibetan Implications by Geoffrey Samuel Witness to Change: A Tibetan Woman Recalls her Life by Nangchukja A Group of Mural Paintings from the 1930s in A mdo Reb gong by Rob Linrothe Kevin Stuart among Mongolian English-learners in Huhhot in the Mid-1980s by Mandula Borjigin, Narisu Narisu, and Chuluu Ujiyediin མདོ་སྨད་ཡུལ་གྱི་བོད་དབྱིན་སློབ་གསོའི་གནས་བབ་གླེང་བ - བུན་ཁྲང་རྒྱལ

"In 1908, Maria and her husband, music critic and writer Pierre d'Alheim, established the House of Song (Dom pesni in Russia, La Maison du Lied in France). Through her performances, his lectures, their publishing activities and by hosting international competitions, the House of Song influenced the musical climate of Europe.".

“An exceptionally fine book: erudite, digressive, urbane and deeply moving.” —Wall Street Journal Chopin’s Piano traces the history of Frédéric Chopin’s twenty-four Preludes through the instruments on which they were played, the pianists who interpreted them, and the traditions they came to represent. Yet it begins and ends with Chopin’s Mallorquin pianino, which the great keyboard player Wanda Landowska rescued from an abandoned monastery at Valldemossa in 1913—and which assumed an astonishing cultural potency during the Second World War as it became, for the Nazis, a symbol of the man and music they were determined to appropriate as their own. In scintillating prose, and with an eye for exquisite detail, Paul Kildea beautifully interweaves these narratives, which comprise a journey through musical Romanticism—one that illuminates how art is transmitted, interpreted, and appropriated over the ages.