Nine piano arrangements, including Pass It On, The Love Of Jesus Medley, Once To Every Man And Nation, It Is Well With My Soul, and more.

The sequel to the international best-selling novel The Art of Hearing Heartbeats. Almost ten years have passed since Julia Win came back from Burma, her father’s native country. Though she is a successful Manhattan lawyer, her private life is at a crossroads; her boyfriend has recently left her and she is, despite her wealth, unhappy with her professional life. Julia is lost and exhausted. One day, in the middle of an important business meeting, she hears a stranger’s voice in her head that causes her to leave the office without explanation. In the following days, her crisis only deepens. Not only does the female voice refuse to disappear, but it starts to ask questions Julia has been trying to avoid. Why do you live alone? To whom do you feel close? What do you want in life? Interwoven with Julia’s story is that of a Burmese woman named Nu Nu who finds her world turned upside down when Burma goes to war and calls on her two young sons to be child soldiers. This spirited sequel, like The Art of Hearing Heartbeats, explores the most inspiring and passionate terrain: the human heart.

Reyner Banham was a pioneer in arguing that technology, human needs, and environmental concerns must be considered an integral part of architecture. No historian before him had so systematically explored the impact of environmental engineering on the design of buildings and on the minds of architects. In this revision of his classic work, Banham has added considerable new material on the use of energy, particularly solar energy, in human environments. Included in the new material are discussions of Indian pueblos and solar architecture, the Centre Pompidou and other high-tech buildings, and the environmental wisdom of many current architectural vernaculars.

All 48 preludes and fugues in all major and minor keys. Authoritative Bach-Gesellschaft edition. Explanation of ornaments in English, tempo indications, music corrections.

In this richly illustrated study, Carol Mattingly examines the rhetoric of the temperance movement, the largest political movement of women in the nineteenth century. Tapping previously unexplored sources, Mattingly uncovers new voices and different perspectives, thus greatly expanding our knowledge of temperance women in particular and of nineteenth-century women and women's rhetoric in general. Her scope is broad: she looks at temperance fiction, newspaper accounts of meetings and speeches, autobiographical and biographical accounts, and minutes of national and state temperance meetings. The women's temperance movement was first and foremost an effort by women to improve the lives of women. Twentieth-centuty scholars often dismiss temperance women as conservative and complicit in their own oppression. As Mattingly demonstrate, however, the opposite is true: temperance women made purposeful rhetorical choices in their efforts to improve the lives of women. They carefully considered the life circumstances of all women and sought to raise consciousness and achieve reform in an effective manner. And they were effective, gaining legal, political, and social improvements for women as they became the most influential and most successful group of women reformers in the nineteenth and early twentieth centuries. Mattingly finds that, for a large number of women who were unhappy with their status in the nineteenth century, the temperance movement provided an avenue for change. Examining the choices these women made in their efforts to better conditions for women, Mattingly looks first at oral rhetoric among nineteenth-century temperance women. She examines the early temperance speeches of activists like Susan B. Anthony and Elizabeth Cady Stanton, who later chose to concentrate their effort in the suffrage organizations, and those who continued to work on behalf of women primarily through the temperance topic, such as Amelia Bloomer and Clarina Howard Nichols. Finally, she examines the rhetoric of members of the Woman’s Christian Temperance Union—the largest organization of women in the nineteenth century. Mattingly then turns to the rhetoric from perspectives outside those of mainstream, middle-class women. She focuses on racial conflicts and alliances as an increasingly diverse membership threatened the unity and harmony in the WCTU. Her primary source for this discussion is contemporary newspaper accounts of temperance speeches. Fiction by temperance writers also proves to be a fertile source for Mattingly's investigation. Insisting on greater equality between men and women, this fiction candidly portrayed injustice toward women. Through the temperance issue, Mattingly discovers, women could broach otherwise clandestine topics openly. She also finds that many of the concerns of nineteenth-century temperance women are remarkably similar to concerns of today’s feminists.

The basic rules governing the use of periods, semicolons, hyphens, commas, and other punctuation marks are illustrated by original explanations and humorous sample sentences. Reprint.

A poignant and inspirational love story set in Burma, The Art of Hearing Heartbeats spans the decades between the 1950s and the present. When a successful New York lawyer suddenly disappears without a trace, neither his wife nor his daughter Julia has any idea where he might be…until they find a love letter he wrote many years ago, to a Burmese woman they have never heard of. Intent on solving the mystery and coming to terms with her father’s past, Julia decides to travel to the village where the woman lived. There she uncovers a tale of unimaginable hardship, resilience, and passion that will reaffirm the reader’s belief in the power of love to move mountains.