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A 2021 Kirkus Reviews' Best Indie Book of the Year 2021 Sarton Book Awards: Gold Medal Winner in Contemporary Women's Fiction The highly anticipated new novel from the multiple award-winning author of Queen of the Owls . . . What if you had a second chance at the very thing you thought you’d renounced forever? How steep a price would you be willing to pay? Susannah’s career as a pianist has been on hold for nearly sixteen years, ever since her son was born. An adoptee who’s never forgiven her birth mother for not putting her first, Susannah vowed to put her own child first, no matter what. And she did. But now, suddenly, she has a chance to vault into that elite tier of “chosen” musicians. There’s just one problem: somewhere along the way, she lost the power and the magic that used to be hers at the keyboard. She needs to get them back. Now. Her quest—what her husband calls her obsession—turns out to have a cost Susannah couldn’t have anticipated. Even her hand betrays her, as Susannah learns that she has a progressive hereditary disease that’s making her fingers cramp and curl—a curse waiting in her genes, legacy of a birth family that gave her little else. As her now-or-never concert draws near, Susannah is catapulted back to memories she’s never been able to purge—and forward, to choices she never thought she would have to make. Told through the unique perspective of a musician, The Sound Between the Notes draws the reader deeper and deeper into the question Susannah can no longer silence: Who am I, and where do I belong?
After Ivy is forced to move to "the wrong side of the tracks" due to economic hard times, she discovers that not everything—or everyone—is what they seem, even herself. Fans of Jenny Han and Sarah Dessen will love this funny, poignant, and relatable story. When Ivy Emerson's family loses their house—complete with her beloved piano—the fear of what's to come seizes her like a bad case of stage fright. Forced to give up her allowance, her cell phone, and the window seat in her lilac-colored bedroom, Ivy moves with her family from her affluent neighborhood to Lakeside, aka "the wrong side of the tracks." Hiding the truth from her friends—and the cute new guy in school, who may have secrets of his own—seems like a good idea at first. But when the bad-boy-next door threatens to ruin everything, Ivy's carefully crafted lies begin to unravel . . . and there is no way to stop them. Once things get to the breaking point, Ivy turns to her music, some surprising new friends, and the trusting heart of her disabled little brother. And she may be surprised that not everyone is who she thought they were . . . including herself.
A chance meeting with a charismatic photographer will forever change Elizabeth’s life. Until she met Richard, Elizabeth's relationship with Georgia O’Keeffe and her little-known Hawaii paintings was purely academic. Now it’s personal. Richard tells Elizabeth that the only way she can truly understand O’Keeffe isn’t with her mind—it’s by getting into O’Keeffe’s skin and reenacting her famous nude photos. In the intimacy of Richard’s studio, Elizabeth experiences a new, intoxicating abandon and fullness. It never occurs to her that the photographs might be made public, especially without her consent. Desperate to avoid exposure—she’s a rising star in the academic world and the mother of young children—Elizabeth demands that Richard dismantle the exhibit. But he refuses. The pictures are his art. His property, not hers. As word of the photos spreads, Elizabeth unwittingly becomes a feminist heroine to her students, who misunderstand her motives in posing. To the university, however, her actions are a public scandal. To her husband, they’re a public humiliation. Yet Richard has reawakened an awareness that’s haunted Elizabeth since she was a child—the truth that cerebral knowledge will never be enough. Now she must face the question: How much is she willing to risk to be truly seen and known?
"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.
Told in their separate voices, sixteen-year-old Prince Oliver, who wants to break free of his fairy-tale existence, and fifteen-year-old Delilah, a loner obsessed with Prince Oliver and the book in which he exists, work together to seek his freedom.
For sixteen years, Daisy has been good. A good daughter, helping out with her autistic younger brother uncomplainingly. A good friend, even when her best friend makes her feel like a third wheel. When her parents announce they’re sending her brother to an institution—without consulting her—Daisy’s furious, and decides the best way to be a good sister is to start being bad. She quits jazz band and orchestra, slacks in school, and falls for bad-boy Dave. But one person won’t let Daisy forget who she used to be: Irish exchange student and brilliant musician Cal. Does she want the bad boy or the prodigy? Should she side with her parents or protect her brother? How do you know when to hold on and when—and how—to let go? “The Sound of Letting Go is deeply moving, fiercely honest, and always surprising. Stasia Ward Kehoe’s characters are so real and complex, you won’t want to let them go at the end. I loved this book!”—Barbara Dee, author of Solving Zoe, This is Me From Now On, Just Another Day in My Insanely Real Life, and Trauma Queen “Achingly beautiful, The Sound of Letting Go takes readers down a dangerous path while touching the heart and encouraging hope.”—Elana Johnson, author of Possession, Surrender, and Abandon “Told in verse that is at once delicate and strong, lyrical and honest, Stasia Kehoe’s The Sound of Letting Go is a moving contemporary story of the intense push and pull between the responsibility of family and the freedom of dreams.”—Jessi Kirby, author of Moonglass, In Honor, and Golden “With captivating verse and a lyrical love story to match, The Sound of Letting Go will keep you hanging on, breathless and enchanted, until the very last page.”—Gretchen McNeil, author of Possess, Ten and the forthcoming 3:59 and the “Don’t Get Mad” series “Soulful and stunning, this book has captured my heart. It’s one of those tragic melodies you never want to end, a tribute to the damning and redemptive power of music.”—Jessica Martinez, author of Virtuosity and The Space Between Us “The Sound of Letting Go draws you honestly into the turbulent ambivalence of life with a severely challenged sibling, while never short-shrifting Daisy's individual coming-of-age journey. The music of Stasia Kehoe's beautifully flawed characters will resonate in your mind long after you finish reading her book.”—Elise Allen, author of Populazzi, co-author of the Elixir series with Hilary Duff
Now a USA TODAY BEST-SELLER, The Sound of Wings is a masterfully crafted tale of love, friendship, betrayal, and the risks we take in the pursuit of justice. Seventy-year-old Goldie Sparrows faces declining finances, questionable health, and a late husband who torments her from the beyond. She seeks refuge in her butterfly garden, which is filled with voices and memories from long ago. Jocelyn Anderson is a struggling writer who finds escape from her custody battle in the journal of her late mother-in-law. As she gets pulled through the pages of time, Jocelyn discovers her own husband has a hidden history she knows nothing about. Is this secret now Jocelyn’s to keep? Krystal Axelrod is living a life she never dreamed she could have. And yet the demons of a dysfunctional childhood and mean girl culture from her cheerleading days cast their shadow over her ability to feel whole, capable, and worthy. Does Goldie hold the key to Krystal’s path to freedom?
Marion Shilling began her career as a silent film ingenue for MGM and went on to play heroines in Westerns of the 1930s. Stage actress Esther Muir made the transition from Broadway to Hollywood just as talkies became popular. Hugh Allan was a leading man in the last years of the silents only to leave the film business in 1930 because of the uncertainty surrounding his transition to sound films and his disgust with studio politics. These three performers and thirteen others (Barbara Barondess, Thomas Beck, Mary Brian, Pauline Curley, Billie Dove, Edith Fellows, Rose Hobart, William Janney, Marcia Mae Jones, Barbara Kent, Anita Page, Lupita Tovar, and Barbara Weeks) reminisce here about Hollywood and the movie business as it made the transition.
After Sound considers contemporary art practices that reconceive music beyond the limitation of sound. This book is called After Sound because music and sound are, in Barrett's account, different entities. While musicology and sound art theory alike typically equate music with pure instrumental sound, or absolute music, Barrett posits music as an expanded field of artistic practice encompassing a range of different media and symbolic relationships. The works discussed in After Sound thus use performance, text scores, musical automata, video, social practice, and installation while they articulate a novel aesthetic space for a radically engaged musical practice. Coining the term "critical music," this book examines a diverse collection of art projects which intervene into specific political and philosophical conflicts by exploring music's unique historical forms. Through a series of intimate studies of artworks surveyed from the visual and performing arts of the past ten years-Pussy Riot, Ultra-red, Hong-Kai Wang, Peter Ablinger, Pauline Boudry and Renate Lorenz, and others-After Sound offers a significant revision to the way we think about music. The book as a whole offers a way out of one of the most vexing deadlocks of contemporary cultural criticism: the choice between a sound art effectively divorced from the formal-historical coordinates of musical practice and the hermetic music that dominates new music circles today.
Broadway's top orchestrators - Robert Russell Bennett, Don Walker, Philip J. Lang, Jonathan Tunick - are names well known to musical theatre fans, but few people understand precisely what the orchestrator does. The Sound of Broadway Music is the first book ever written about these unsung stars of the Broadway musical whose work is so vital to each show's success. The book examines the careers of Broadway's major orchestrators and follows the song as it travels from the composer's piano to the orchestra pit. Steven Suskin has meticulously tracked down thousands of original orchestral scores, piecing together enigmatic notes and notations with long-forgotten documents and current interviews with dozens of composers, producers, conductors and arrangers. The information is separated into three main parts: a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; a lively discussion of the art of orchestration, written for musical theatre enthusiasts (including those who do not read music); a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; and an impressive show-by-show listing of more than seven hundred musicals, in many cases including a song-by-song listing of precisely who orchestrated what along with relevant comments from people involved with the productions. Stocked with intriguing facts and juicy anecdotes, many of which have never before appeared in print, The Sound of Broadway Music brings fascinating and often surprising new insight into the world of musical theatre.