Murder In G Major

A musician stranded in the Irish countryside becomes a reluctant P.I. with a ghost for her client!

To discover the truth about her mother’s death, a young woman fights to decode the secrets contained in a mysterious poem Sam Waller, an independent young cellist, needs to know what really happened to her mother, Kirsten, who was found electrocuted in the bath of her Cornwall cottage. The police declared it suicide, but Sam is convinced they’re wrong. Her mother, an acclaimed poet, had been at work on a new project, and she had sounded fine while talking to Sam a few days prior—nothing suggested desperation. But Raph, Kirsten’s estranged barrister husband, says that the poem, ending with the line “I take my leave and go,” demonstrates her dark intention. Now the poem and Kirsten’s journal are missing, and Raph obstructs all of Sam’s efforts to find them. As she searches for answers, Sam finds herself in the midst of her family’s web of deceit, where she’ll have to risk everything to find the truth.

Gessie Chapel has left a bad relationship and her career as a software engineer in California behind to pursue her love of music. As a budding singer/songwriter, Gessie is now busking in Nashville. When she meets an up-and-coming country star named Cole Trammel, Gessie finds herself drawn to the man and makes it her mission to prove he is innocent in the murder of his friend. Will Gessie find the murderer and a relationship with the charming country singer, or will the handsome Nashville detective, Dax Warner, have something to say about that?

The Encyclopaedia of Australian Metal presents pictures, biographies and discographical information on more than 2000 metal and heavy rock bands from all parts of Australia - from the early 70s pioneers like AC/DC, Buffalo and Rose Tattoo to the current breed: Psycroptic, Parkway Drive, Ne Obliviscaris and more.

Gay activist and accused murderer Billy Blount's missing, but Albany PI Donald Strachey doubts Billy's guilt. The 1981 book that launched Richard Stevenson's pioneering series is a cracking mystery and a fascinating trip into bygone gay culture - before HIV, in the bad old days of bath houses and gay disco, police corruption and tacit policies of harassment. (Originally published 1981.)

Music gives specific meanings to our lives, but also to how we experience death; it forms a central part of death rituals, consoles survivors, and celebrates the deceased. Music & Death investigates different musical engagements with death. Its eleven essays examine a broad range of genres, styles and periods of Western music from the Middle Ages until the present day. This volume brings a variety of methodological approaches to bear on a broad, but non-exhaustive, range of music. These include musical rituals and intercessions on behalf of the departed. Chapters also focus on musicians' reactions to death, their ways of engaging with grief, anger and acceptance, and the public's reaction to the death of musicians. The genres covered include requiem settings, operas and ballets, arts songs, songs by Leonard Cohen and the B-52s, and instrumental music. There are also broader reflections regarding the psychological links between creative musical practice and the overcoming of grief, music's central role in shaping a specific lifestyle (of psychobillies) and the supposed universalism of Western art music (as exemplified by Brahms). The volume adds many new facets to the area of death studies, highlighting different aspects of "musical thanatology". It will appeal to those interested in the intersections between western music and theology, as well as scholars of anthropology and cultural studies. CONTRIBUTORS: Matt BaileyShea, Alexandra Buckle, Peter Edwards, Richard Elliott, Nicole Grimes, Mieko Kanno, Kimberly Kattari, Wolfgang Marx, Fred E. Maus, Jillian C. Rogers, UtaSailer and Miriam Wendling.

Filmmakers' fascination with opera dates back to the silent era but it was not until the late 1980s that critical enquiries into the intersection of opera and cinema began to emerge. Jeongwon Joe focusses primarily on the role of opera as soundtrack by exploring the distinct effects opera produces in film, effects which differ from other types of soundtrack music, such as jazz or symphony. These effects are examined from three perspectives: peculiar qualities of the operatic voice; various properties commonly associated with opera, such as excess, otherness or death; and multifaceted tensions between opera and cinema - for instance, opera as live, embodied, high art and cinema as technologically mediated, popular entertainment. Joe argues that when opera excerpts are employed on soundtracks they tend to appear at critical moments of the film, usually associated with the protagonists, and the author explores why it is opera, not symphony or jazz, that accompanies poignant scenes like these. Joe's film analysis focuses on the time period of the post-1970s, which is distinguished by an increase of opera excerpts on soundtracks to blockbuster titles, the commercial recognition of which promoted the production of numerous opera soundtrack CDs in the following years. Joe incorporates an empirical methodology by examining primary sources such as production files, cue-sheets and unpublished interviews with film directors and composers to enhance the traditional hermeneutic approach. The films analysed in her book include Woody Allen’s Match Point, David Cronenberg’s M. Butterfly, and Wong Kar-wai’s 2046.