Song Of Locke

"Just think LEGEND OF ZELDA meets GAME OF THRONES." -- Nathan Tucker, Numinous Locke loves stories--they fill him with a longing he can never quite describe--but he's not the sort of kid who actually lives adventures himself. That is, until a bloodthirsty band of marauders passes near his home and Picke, a musical sylfe, dares him to follow. In hopes of fulfilling his longing, Locke accepts the dare. This leads him on a quest where he must face snarling wolves, wield a magic blade, and risk his life to rescue a Goddess--a girl he hardly knows but who he can't stop thinking about. In the spirit of Legend of Zelda and Peter Pan, SONG OF LOCKE portrays a detailed fantasy world, somewhat grittier than its forebears and drenched in human emotion. The tale has swordfights, witty banter, crushes, and even some subtle philosophy smuggled in. It's an epic for everyone who loves good stories--for anyone who has longed for something that seemed forever out of reach.

SONG OF LOCKE is a story made up for 4 parts called scrolls. This is the first two, yours to read for FREE. “Just think LEGEND OF ZELDA meets GAME OF THRONES.” — Nathan Tucker, Numinous Locke loves stories—they fill him with a longing he can never quite describe—but he’s not the sort of kid who actually lives adventures himself. That is, until a bloodthirsty band of marauders passes near his home and Picke, a musical sylfe, dares him to follow. In hopes of fulfilling his longing, Locke accepts the dare. This leads him on a quest where he must face snarling wolves, wield a magic blade, and risk his life to rescue a Goddess—a girl he hardly knows but who he can’t stop thinking about. In the spirit of Legend of Zelda and Peter Pan, SONG OF LOCKE portrays a detailed fantasy world, somewhat grittier than its forebears and drenched in human emotion. The tale has swordfights, witty banter, crushes, and even some subtle philosophy smuggled in. It’s an epic for everyone who loves good stories—for anyone who has longed for something that seemed forever out of reach.

Locke loves stories--they fill him with a longing he can never quite describe--but he's not the sort of kid who actually lives adventures himself. That is, until a bloodthirsty band of marauders passes near his home and Picke, a musical sylfe, dares him to follow. In hopes of fulfilling his longing, Locke accepts the dare. This leads him on a quest where he must face snarling wolves, wield a magic blade, and risk his life to rescue a Goddess--a girl he hardly knows but who he can't stop thinking about.In the spirit of Legend of Zelda and Peter Pan, SONG OF LOCKE portrays a detailed fantasy world, somewhat grittier than its forebears and drenched in human emotion. The tale has swordfights, witty banter, crushes, and even some subtle philosophy smuggled in. It's an epic for everyone who loves good stories--for anyone who has longed for something that seemed forever out of reach.

The Saint-Simonians, whose movement flourished in France between 1825 and 1835, are widely recognized for their contributions to history and social thought. Until now, however, no full account has been made of the central role of the arts in their program. In this skillful interdisciplinary study, Ralph P. Locke describes and documents the Saint-Simonians' view of music as an ideological tool and the influence of this view on musical figures of the day. The disciples of Claude Henri de Rouvroy, comte de Saint-Simon, believed that increased industrial production would play a crucial role in improving the condition of the working masses and in shifting power from the aristocratic "drones" to the enterprising men of talent then rising in the French middle class. As a powerful means of winning support for their views, music became an integral part of the Saint-Simonians' writings and ceremonial activities. Among the musicians Locke discusses are Berlioz, Liszt, and Mendelssohn, whose tangential association with the Saint-Simonians reveals new aspects of their social and aesthetic views. Other musicians became the Saint-Simonians' faithful followers, among them Jules Vinçard, Dominique Tajan-Rogé, and particularly Félicien David, the movement's principal composer. Many of these composers' works, reconstructed by Locke from authentic sources, are printed here, including the "Premier Chant des industriels," written at Saint-Simon's request by Rouget de Lisle, composer of the "Marseillaise."

Josef Locke (1917-1999) was one of the most popular singers of the 20th century, achieving phenomenal fame and fortune in his heyday. His strong tenor voice and matinée idol looks made him Columbia Records' biggest selling UK artist in the 1950s, when he was the first entertainer to earn over 1,000 a week on his variety circuit.

A Japanese geisha, a Middle Eastern caravan, a Hungarian-'Gypsy' fiddler, Carmen flinging a rose at Don José - portrayals of people and places that are considered somehow 'exotic' have been ubiquitous from 1700 to today, whether in opera, Broadway musicals, instrumental music, film scores, or in jazz and popular song. Often these portrayals are highly stereotypical but also powerful, indelible and touching - or troubling. Musical Exoticism surveys the vast and varied repertoire of Western musical works that evoke exotic locales. It relates trends in musical exoticism to other trends in music, such as programme music and avant-garde experimentation, as well as to broader historical developments such as nationalism and empire. Ralph P. Locke outlines major trends in exotic depiction from the Baroque era onward, and illustrates these trends through close study of numerous exotic works, including operas by Handel and Rameau, Mozart's 'Rondo alla turca', 'Madame Butterfly' and 'West Side Story'.

DIVA critical and historical study of the debate over early African-American music that draws on the views of W.E.B. Du Bois, Alain Locke, Langston Hughes, Zora Neal Hurston, and others to show competing notions of how this music relates to cultural inherita/div

In this "captivating" crime novel (People), Texas Ranger Darren Mathews is on the hunt for a missing child -- but it's the boy's family of white supremacists who are his real target. 9-year-old Levi King knew he should have left for home sooner; now he's alone in the darkness of vast Caddo Lake, in a boat whose motor just died. A sudden noise distracts him - and all goes dark. Darren Mathews is trying to emerge from another kind of darkness; after the events of his previous investigation, his marriage is in a precarious state of re-building, and his career and reputation lie in the hands of his mother, who's never exactly had his best interests at heart. Now she holds the key to his freedom, and she's not above a little maternal blackmail to press her advantage. An unlikely possibility of rescue arrives in the form of a case down Highway 59, in a small lakeside town where the local economy thrives on nostalgia for ante-bellum Texas - and some of the era's racial attitudes still thrive as well. Levi's disappearance has links to Darren's last case, and to a wealthy businesswoman, the boy's grandmother, who seems more concerned about the fate of her business than that of her grandson. Darren has to battle centuries-old suspicions and prejudices, as well as threats that have been reignited in the current political climate, as he races to find the boy, and to save himself. A Best Book of the Year New York TimesHouston ChronicleNPRWall Street JournalMilwaukee Journal-SentinelBook PageFinancial TimesKirkusSheReadsSunday TimesLitHubGuardianBook RiotSouth Florida Sun SentinelLonglisted for the Orwell Political Fiction Book Prize

This new study of the intersection of romance novels with vocal music records a society on the cusp of modernisation, with a printing industry emerging to serve people’s growing appetites for entertainment amidst their changing views of religion and the occult. No mere diversion, fiction was integral to musical culture and together both art forms reveal key intellectual currents that circulated in the early nineteenth-century British home and were shared by many consumers. Roger Hansford explores relationships between music produced in the early 1800s for domestic consumption and the fictional genre of romance, offering a new view of romanticism in British print culture. He surveys romance novels by Ann Radcliffe, Matthew Lewis, Sir Walter Scott, James Hogg, Edward Bulwer and Charles Kingsley in the period 1790–1850, interrogating the ways that music served to create mood and atmosphere, enlivened social scenes and contributed to plot developments. He explores the connections between musical scenes in romance fiction and the domestic song literature, treating both types of source and their intersection as examples of material culture. Hansford’s intersectional reading revolves around a series of imaginative figures – including the minstrel, fairies, mermaids, ghosts, and witches, and Christians engaged both in virtue and vice – the identities of which remained consistent as influence passed between the art forms. While romance authors quoted song lyrics and included musical descriptions and characters, their novels recorded and modelled the performance of songs by the middle and upper classes, influencing the work of composers and the actions of performers who read romance fiction.