Hold the Cracks

My medicine has its own special place in our downstairs bathroom. It rests on a little metal shelf by the shower, standing among the bright orange bottles of multivitamins, B12, vitamin C, and calcium chews. My mother is obsessed with natural healing practices – she slathers on bitter goldenseal for infections, feeds us capsules of powdery white willow bark for headaches, and strange clay mixed with water for stomach aches. My little bottle of pink goo looks lost and confused amidst the hand-written labels and bottles of earth-colored liquids. I feel guilty taking it, but almost proud at the same time. It feels so official, taking “real” medicine. It\u27s like the feeling of eating “real” cereal, as opposed to the hot mush my mother always makes when we’re home. It’s like going to tae kwon do class and being a “real” student as opposed to one who learns everything at home. I never felt quite real, quite normal. I knew that I wasn\u27t. As I swallow the thick, candy-flavored substance, I try to block out the voices seeping in from the kitchen. There is nothing more upsetting than those voices – the low, fearful, angry ones that mean they are either displeased with us (my siblings and I), or talking about money

Eighteenth-century Arts Education Research Network

No abstract available

Women and education in the long Eighteenth Century Glasgow Women's Library, 8 September 2016

No abstract available

Christina Fuhrmann, Foreign Operas at the London Playhouse: From Mozart to Bellini (Cambridge: Cambridge University Press, 2015)

No abstract available

Four pieces of music with critical commentary

This thesis was submitted for the degree of Master of Philosophy and awarded by Brunel University.The commentaries contained in this volume supplement the four pieces of chamber music I composed in my research toward the Master of Philosophy degree. Those pieces, in chronological order of completion, are It Plays You for saxophone quartet, I Am the Rose of Sharon for six voices and string trio, The Opposite of the World for eleven instruments, and Trying to get the feeling back that I had in 1972 for solo viola. The commentaries aim to establish the cultural suppositions on whose basis these pieces were conceived, the technical and aesthetic considerations that informed their composition, and the strategies by which they advance the author's critical project