The approach to language and grammar that motivates this book is unabashedly functional; grammar is not just a system of empty rules, it is a means to an end, an instrument for constructing concise coherent communication. In grammar as in music, good expression rides on good form. Figuratively and literally, grammar like musical form must make sense. But for the instrument to serve its purpose, it must first exist; the rules must be real, they can be explicitly described and taught. This book is intended for both students and teachers, at college level, for both native and nonnative speakers.
The Musical Instrument Desk Reference: A Guide to How Band and Orchestral Instruments Work
The Musical Instrument Desk Reference includes general information on fingering, the anatomy of musical instruments, sound production, amplification, and control, as well as the science of sound. Readers will find individual chapters on woodwinds, brass instruments, non-fretted string instruments, and percussion instruments.
Young. Ravishing. Exquisitely marriageable. From the moment he spies Lady Morgan Bedwyn across the glittering ballroom, Gervase Ashford, Earl of Rosthorn, knows he has found the perfect instrument of his revenge. But wedlock is not on the mind of the continent's most notorious rake. Nor is it of interest to the fiercely independent Lady Morgan herself...
Music lovers who have watched the "authenticity" (period instrument) wars of the 1980s and 1990s could be excused for forgetting that Richard Taruskin is a musicologist and professor by trade, not a professional critic. For it is as an essayist and critic (if not a professional gadfly) that he has made a real impact on American musical culture. Indeed, in early-music circles, and even in the marketing of period-instrument performances by record labels, the word authentic has been abandoned almost entirely--and this is due largely to Taruskin's impassioned arguments (and his ability to get them published in places like The New York Times).
None of the 3 cases herein occur during the same year, one each occurring in 1960, 1961, and 1962. The common factor is, of course, that in each case a blunt instrument (speaking loosely) serves as a murder weapon.
