Original Christian Songs

Based on the classic 1989 film, Westerberg High is ruled by a shoulder-padded, scrunchie-wearing junta: Heather, Heather and Heather, the hottest and cruelest girls in all of Ohio. But misfit Veronica Sawyer rejects their evil regime for a new boyfriend, the dark and sexy stranger J.D., who plans to put the Heathers in their place - six feet under.

Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music’s illegibility rather than come to terms with its actual effects. In Broken Harmony Joseph M. Ortiz revises our understanding of music’s relationship to language in Renaissance England. In the process he shows the degree to which discussions of music were ideologically and politically charged. Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare’s plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter’s Tale) and Milton’s A Maske, Ortiz challenges the consensus that music’s affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare more than any other early modern poet exposed the fault lines in the debate about music’s function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.

Newly married, Marie and Alaster Reidhaven's life seems idyllic. But things start to fall apart when the Duke's sister's curses and spells start to plague them. Alaster dies and again Marie is widowed. Marie returns to Canada to visit her dying father. The reunion is tender and healing for them both. Unexpectedly months later, Marie is astonished to learn that back in Scotland, her deceased husband Alaster never signed their pre-nup and had instead undertaken the legalities necessary to insure his estate would indeed go to Marie. Olivia is furious and full of threats and attempts to kill Marie and then disappears. Marie inherits and again assumes the title and role of duchess. But now the other half of her former "love triangle" bubbles up from out of her past. Marie and Grahm begin seeing each other "as friends" awaiting God's leading. Olivia reappears and again tries to kill Marie. Olivia eventually dies of cancer, unrepentant. The Reidhaven family line is at an end, the legacy of their memory to be carried forward by Marie who loved, in the end, all of them.

Harmony Rae... With her long, blonde hair, body made for sin, and the voice of a mythical siren; Harmony is the epitome of a ROCK STAR. The mother of two beautiful sons, the wife of a supportive, handsome man. It would seem that the world is her's for the taking...that is until her past comes crashing back in the form of a brooding, sexy ROCK STAR... Adrian Gillette... Leaving the love of his life behind to become a ROCK GOD...he can't take watching Harmony from a far anymore. So moving back to The City of Angels, he plans to win back her heart...and to finally find out what's hiding behind her eyes...

Music, whether performed or heard, has been seen as therapeutic in the history of many cultures. How have its therapeutic properties been conceptualized and explained? Which cultures have used music therapy? What were their aims and techniques, and how much continuity is there between ancient, medieval and modern practice? These are the questions addressed by the essays in this volume. They focus on the place of music therapy in European intellectual, medical and musical traditions, from their classical roots to the development of the music therapy profession since the Second World War. Chapters covering the Judaic, Islamic, Indian and South-East Asian traditions add global, comparative perspectives. Music as Medicine is the first book to establish the whole shape of the history of music therapy in a systematic and scholarly way. It addresses the problem of defining what music therapy has meant in different cultures and periods, and sets the agenda for future research in the subject. It will appeal to a diverse readership of historians, musicologists, anthropologists, and practitioners.