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“Wolf’s dynamic, multifaceted characters come vividly alive through their distinct speaking voices, and their struggle to come to terms with not only their guilt but the senselessness of the universe is deeply affecting.” — Booklist (starred review)Everybody in the small town of Goldsburg, Virginia, likes Chris Goodman, which makes it especially shocking when he’s murdered. Here, in a stunning multi-voiced narrative — including the perspective of the fifteen-year-old killer — and based on a true and terrible crime that occurred when the author was in high school, Allan Wolf sets out to answer the first question that comes to mind in moments of unthinkable tragedy: How could a thing like this happen?

The gripping life story of the Nelson's most fearless and renowned frigate captain.Popularly known as "The Sea Wolf" for his daring, skill, and enterprise, Thomas Cochrane, Earl of Dundonald, was one of the finest frigate captains to fight in Nelson's navy. Christopher Lloyd's vivid biography paints a memorable portrait of the leader, inventor, and reformer whose courageous actions inspired the works of Frederick Marryat, C. S. Forester, and Patrick O'Brian.

Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.

Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.