Four musical case studies elucidate this theory, each shedding light on a different compositional technique used in the service of mourning. Together, these analyses offer a comprehensive examination of musical mourning in the GDR and position this practice within artistic responses to the multiple traumas that shaped postwar Europe.
Elder Martha Z. Garkpi was born on December 15, 1949, in Zia, Lower Nimba County, Liberia. She was known to be a major pillar in every community in which she lived. She was very skilled and had many trades and titles to prove it. She was a wonderful mother, evangelist, and educator, striving to serve her people as God called her to do. She was an elder at Living Word Ministries International (Houston, Texas) and was also the matriarch of the church family. She taught at all of the Calvary Baptist Schools and Living Word Academy in Monrovia, Liberia, as well as the Alpha Child Development Center in Houston. Ms. Marthas love for her people was apparent and a blessing in many lives. She spread her wings and flew home June 17, 2017, leaving behind this legacy and many people who loved her. As a result of her hard work, she was posthumously awarded a proclamation from Congresswoman Sheila Jackson (Texas) in July of 2017.
The Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato’s comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy—involving teachers, patrons, colleagues, and relatives—whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers—from Cavalli and Pergolesi to Handel, Mozart, and Rossini—were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.
Political and literary journalist Austin Harrison became editor of the English Review in 1910. While holding that chair, he expanded the publication's literary scope by publishing articles on such issues as women's suffrage, parliamentary reform, the German threat, and Irish home rule. But although he edited the Review far longer than did its celebrated founder, Ford Madox Ford, history has long confined him to the shadows of not only his predecessor but also his father, the English Positivist Frederic Harrison. This first scholarly assessment of Harrison's tenure at the English Review from 1910 to 1923 shows him courting controversy, establishing reputations, winning and losing authors, and pushing the limits of the publishable as he made his "Great Adult Review" the most consistently intelligent and challenging monthly of its day. Martha Vogeler offers a compelling personal and family narrative and a new perspective on British literary culture and political journalism in the years just before, during, and after the First World War. Vogeler provides a revealing account of Harrison the editor his writings and opinions, his public life and relations as she also traces the complex relationship between a son and his famous father. Balancing a scholar's attention to detail and a fine writer's eye for style, she relates Harrison's improbable friendships with the notorious Frank Harris and the outrageous Aleister Crowley. And she has mined Harrison's correspondence to lend insight into the careers of such writers as Ford Madox Ford, D. H. Lawrence, H. G. Wells, Joseph Conrad, John Masefield, Bernard Shaw, Arnold Bennett, and Marie Stopes. Other figures such as George Gissing, Bertrand Russell, Lord Northcliffe, and important Irish revolutionaries appear in new contexts. Ranging widely across literature, foreign relations, national politics, the women's movement, censorship, and sexuality, Vogeler captures the themes of Harrison's era. She describes his transformation from Germanophobe before and during World War I to an outspoken critic of the punitive measures against Germany in the Treaty of Versailles. She explores the ambiguities in his engagement with modernist aesthetics and in his attempt to escape the shadow of his father while benefiting from his family's wealth and connections. Vogeler's assessment of Harrison's books further sharpens our understanding of his ideas about Germany, women, education, and Victorian family life notably his underappreciated tribute/rebuke to his father, Frederic Harrison: Thoughts and Memories. This account of Austin Harrison's career allows us to observe a journalist making his way in a highly competitive world and opens up a new window on Britain in the era of the Great War.
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