Glycosis


Book Description

Can true love triumph in a world of sweetness that is often false, and sometimes fatal? This is the essential question of Glycosis, the debut novel of author Laurence D. Chalem that probes the natural and man-made worlds to chart a rare romantic union that is in grave and gripping danger. Expanding the lexicon, Glycosis is a tastefully told love story set on a San Diego campus that surges with suspense and intelligence. It's certain to absorb anyone taken by the mysteries of the human heart-and intricate life of the mind-whether lovers of legal or medical thrillers, or anyone who relishes a well-crafted, smart read. On the sunny campus of the University of California, San Diego, Michelle, a stunning, witty undergraduate from Korea, along with her two fine and fun-loving friends, find their destinies crossed with David when Michelle discovers him playing some of her favorite classical compositions. A brilliant, gifted doctoral student in evolutionary biology, David, and his mentor, Professor Ross, are making new strides in evolutionary theory. Just as David and Michelle deepen their connection, a dashing ex-Berkeley man threatens their premature demise. Sporting a yellow Hummer, John invites the four of them to his house in the hills to have a drink, enjoy the view, and meet his pets. It will change them all for the rest of their lives. Can David and Michelle surmount the grave obstacles that may upend their uncommon bond? In Glycosis, the science is real, the story compelling, and the food delicious. Subtly shaded with symbolism, the novel transitions from the celestial to the oceanic, and from a sports bar to the ICU and beyond. Throughout, sensory detail of music and food will immerse you in the world of these characters, from piano concertos to pop music, from junk food to fine wine. To battle evil, the lovers must learn new skills. Join them on a thought-provoking, thoroughly surprising journey.




Quartet no. 15 in A minor


Book Description







Extraordinary Measures


Book Description

Approaching disability as a cultural construction rather than a medical pathology, this book studies the impact of disability and concepts of disability on composers, performers, and listeners with disabilities, as well as on discourse about music and works of music themselves. For composers with disabilities--like Beethoven, Delius, and Schumann--awareness of the disability sharply inflects critical reception. For performers with disabilities--such as Itzhak Perlman and Evelyn Glennie--the performance of disability and the performance of music are deeply intertwined. For listeners with disabilities, extraordinary bodies and minds may give rise to new ways of making sense of music. In the stories that people tell about music, and in the stories that music itself tells, disability has long played a central but unrecognized role. Some of these stories are narratives of overcoming-the triumph of the human spirit over adversity-but others are more nuanced tales of accommodation and acceptance of life with a non-normative body or mind. In all of these ways, music both reflects and constructs disability.







Roots of the Classical


Book Description

Roots of the Classical identifies and traces to their sources the patterns that make Western classical music unique, setting out the fundamental laws of melody and harmony, and sketching the development of tonality between the fifteenth and eighteenth centuries. The author then focuses on the years 1770-1910, treating the Western music of this period - folk, popular, and classical - as a single, organically developing, interconnected unit in which the popular idiom was constantly feeding into 'serious' music, showing how the same patterns underlay music of all kinds.










Nineteenth-Century Chamber Music


Book Description

Nineteenth Century Chamber Music proceeds chronologically by composer, beginning with the majestic works of Beethoven, and continuing through Schubert, Spohr and Weber, Mendelssohn, Schumann, Brahms, the French composers, Smetana and Dvorák, and the end-of-the-century pre-modernists. Each chapter is written by a noted authority in the field. The book serves as a general introduction to Romantic chamber music, and would be ideal for a seminar course on the subject or as an adjunct text for Introduction to Romantic Music courses. Plus, musicologists and students of 19th century music will find this to be an invaluable resource.