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Dying was by far the most interesting thing that ever happened to Jimmy Henderson. His life had been a 0-0 draw, a dull grind, a 25-year stalemate of few highs and few lows which neither triumph nor disaster seemed to want to get involved with. Death was a blessed relief. Or it would have been, were it not for the fact that there was now the little matter of an eternal afterlife to struggle through. Jimmy's mediocre life was just about sufficient to scrape into the 'paradise' of heaven, but far from feeling blissful and free, he soon finds himself just as awkward, out of place and useless as he did on Earth and his numerous disappointments and failures - notably his inability to fully capture the heart of his soulmate, the magical but agonisingly elusive, Mary - follow him around Heaven like a black cloud. The good news for Jimmy, though, is he now has somebody other than himself to blame. The bad news is that somebody is the Lord God Almighty. And he doesn't take criticism very well.
"In Sound Authorities, Edward J. Gillin shows how experiences of music and sound played a crucial role in nineteenth-century scientific inquiry in Britain. Where other studies have focused on vision in Victorian England, Gillin focuses on hearing and aurality, making the claim that the development of the natural sciences in Britain in this era cannot be understood without attending to how the study of sound and music contributed to the fashioning of new scientific knowledge. Gillin's book is about how scientific practitioners attempted to fashion themselves as authorities on sonorous phenomena, coming into conflict with traditional musical elites as well as religious bodies. Gillin pays attention to not only musical sound but also the phenomenon of sound in non-musical contexts, specifically, the cacophony of British industrialization, and he analyzes the debates between figures from disparate fields over the proper account of musical experience. Gillin's story begins with the place of acoustics in early nineteenth-century London, examining scientific exhibitions, lectures, and spectacles, as well as workshops, laboratories, and showrooms. He goes on to explore how mathematicians mobilized sound in their understanding of natural laws and their vision of a harmonious order, as well as the convergence of aesthetic and scientific approaches to pitch standardization. In closing, Gillin delves into the era's religious and metaphysical debates over the place of music (and humanity) in nature, the relationship between music and the divine, and the tension between religious/spiritualist understandings of sound and scientific/materialist ones"--
Position Pieces for Cello is designed to give students a logical and fun way to learn their way around the fingerboard. Each hand position is introduced with exercises called "Target Practice," "Geography Quiz," and "Names and Numbers." Following these exercises are tuneful cello duets which have been specifically composed to require students to play in that hand position. In this way, students gain a thorough knowledge of how to find the hand positions and, once there, which notes are possible to play. Using these pieces (with names like "I Was a Teenage Monster," "The Irish Tenor," and "I've Got the Blues, Baby"), position study on the cello has never been so much fun!