Pirito is a utopia protected by the mechanical goddess Marie, who looms large as she orbits the skies above. Down in the factory town of Gil, Pipi's heart yearns for Kai, but as the only one who can hear Marie's ever-present music, will he be able to accept Pipi's affection? Delve into the beginnings of Usamaru Furuya's soaring fantastical worldview with this masterful, early work from the prolific creator who brought you Lychee Light Club, Genkaku Picasso, No Longer Human, and more! Now collected as one volume, The Music of Marie, a story of sublime love, will pluck at your heartstrings until the very end.

"A dreamy summer rom-com that'll make you believe in love again." --Bustle "Full of not only sigh-inducing swoons but the social commentary [Thorne] is talented at writing." --Paste Music was Ruby's first love, but did it ever love her back? After a nightmare audition at the music school where her famous father teaches, the answer to this question is unavoidable. And so, it seems, is Oscar Bell. Musical genius, YouTube sensation, and her dad's new protégé, Oscar is the last person Ruby needs in her life. Being around him feels dangerously like being with her first love again--except music never kissed her like this. Oscar is falling for Ruby too, but he knows how it'll look to the ultra-privileged, ultra-white world of classical music--a Black guy dating his mentor's white daughter. As the New York City summer heats up, though, so does the spark between them. Can two people still figuring themselves out figure out how to be together? And will Ruby get over her first love in time to save what she has with her second? "Delightful...Hits all the right notes." --Mackenzi Lee, author of The Gentleman's Guide to Vice and Virtue "Seriously swoony...I loved it." --Rachel Hawkins, author of Royals "Sweet and intense...[An] engrossing romance with a social conscience." --Kirkus "Utterly romantic." --Tanaz Bhathena, author of A Girl Like That "Full of heart and humor. It crackles with energy." --Kelly Loy Gilbert, author of Picture Us in the Light "Timely and romantic." --Publishers Weekly "Beautiful, heartfelt, aware, and raw." --Lauren Gibaldi, author of This Tiny Perfect World "Thoughtful, nuanced." --Booklist

“If you've been looking for your newest horror obsession after The Haunting of Hill House, read this one next.”—BuzzFeed She didn't run from her dark past. She moved in. For the lucky among us, life is what you make of it; but for Dixie Wheeler, the theme music for her story was chosen by another long ago, on the day her father butchered her mother and brothers and then slashed a knife across his own throat. Only one-year-old Dixie was spared, becoming infamously known as Baby Blue for the song left playing in the aftermath of the slaughter. Twenty-five years later, Dixie is still desperate for a connection to the family she can’t remember. So when her childhood home goes up for sale, Dixie sets aside all reason and moves in. But as the ghosts of her family seemingly begin to take up residence in the house that was once theirs, Dixie starts to question her sanity and wonders if the evil force menacing her is that of her father or a demon of her own making. In order to make sense of her present, Dixie becomes determined to unravel the truth of her past and seeks out the detective who originally investigated the murders. But the more she learns, the more she opens up the uncomfortable possibility that the sins of her father may belong to another. As bodies begin to pile up around her, Dixie must find a way to expose the lunacy behind her family’s massacre to save her few loved ones who are still alive—and whatever scrap of sanity she has left.

Kathleen Higgins argues that the arguments that Plato used to defend the ethical value of music are still applicable today. Music encourages ethically valuable attitudes and behavior, provides practice in skills that are valuable in ethical life, and symbolizes ethical ideals.

Lyric theater in ancien régime France was an eminently political art, tied to the demands of court spectacle. This was true not only of tragic opera (tragédie lyrique) but also its comic counterpart, opéra comique, a form tracing its roots to the seasonal trade fairs of Paris. While historians have long privileged the genre’s popular origins, opéra comique was brought under the protection of the French crown in 1762, thus consolidating a new venue where national music might be debated and defined. In The Comedians of the King, Julia Doe traces the impact of Bourbon patronage on the development of opéra comique in the turbulent prerevolutionary years. Drawing on both musical and archival evidence, the book presents the history of this understudied genre and unpacks the material structures that supported its rapid evolution at the royally sponsored Comédie-Italienne. Doe demonstrates how comic theater was exploited in, and worked against, the monarchy’s carefully cultivated public image—a negotiation that became especially fraught after the accession of the music-loving queen, Marie Antoinette. The Comedians of the King examines the aesthetic and political tensions that arose when a genre with popular foundations was folded into the Bourbon propaganda machine, and when a group of actors trained at the Parisian fairs became official representatives of the sovereign, or comédiens ordinaires du roi.

This controversial book is the first-ever exploration of music censorship on a worldside level

“Higgins’ love of music and cultural variety is evident throughout. She writes in a relaxed, accessible, sophisticated style…Highly recommended.”—Choice From our first social bonding as infants to the funeral rites that mark our passing, music plays an important role in our lives, bringing us closer to one another. In this book, philosopher Kathleen Marie Higgins investigates this role, examining the features of human perception that enable music’s uncanny ability to provoke—despite its myriad forms across continents and throughout centuries—the sense of a shared human experience. Drawing on disciplines such as philosophy, psychology, musicology, linguistics, and anthropology, Higgins’s richly researched study showcases the ways music is used in rituals, education, work, and healing, and as a source of security and—perhaps most importantly—joy. By participating so integrally in such meaningful facets of society, Higgins argues, music situates itself as one of the most fundamental bridges between people, a truly cross-cultural form of communication that can create solidarity across political divides. Moving beyond the well-worn takes on music’s universality, The Music between Us provides a new understanding of what it means to be musical and, in turn, human. “Those who, like Higgins, deeply love music, actually know something about it, have open minds and ears, and are willing to look beyond the confines of Western aesthetics…will find much to learn in The Music between Us.”—Journalof Aesthetics and Art Criticism