By Robert B. Parker
They have been the Sheridan males, governed via ardour, betrayed through love, heirs to a legacy of violence and forbidden desire. Gus, Boston's most sensible murder cop: he knew both good the backroom politics of urban corridor and the non-public passions of the very wealthy, a guy haunted by means of the wanton braveness and threatening obsessions he inherited from his father... Conn, the patriarch, a lawless cop who spawned a circle of vengeance and betrayal that may span part a century... and Chris, Gus's cherished son, a Harvard legal professional and criminologist, fated to threat every little thing to damage the chain of obsession and rage... Three generations associated by way of crime and punishment--cops and heroes, fathers, sons, and fanatics united finally via revelations which can carry a family members to its knees...
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Extra info for All Our Yesterdays
Though in music an inﬂection is usually a change in pitch, this deﬁnition must be expanded to include alterations of all sorts in a sound. Not just pitch, but timbre, rhythm, voicing, tempo are all inﬂections and must be inﬂected to compose, perform, or hear a piece of music. Inﬂection shapes words to express gender, number, mood, and tense, twisting their vowels, preﬁxes, sufﬁxes, so that they point to the words and world around them. Even this broad deﬁnition is too restrictive, for every word is inﬂected by its context; else we would need a different word for every difference of meaning.
The result of these timing errors is a kind of distortion called jitter, which is now blamed for most of the poor sound audiophiles have heard in CDs for the past ten years. This analysis of the problems of the CD format only begins to suggest an explanation for the impaired expression that discriminating listeners hear Sound and Noise O U T T H E O R Y in the CD. Undoubtedly, musical expression is a matter of some subtlety, as the difference between a great performer and a merely good one is not often primarily a question of technical proﬁciency, nor even of dynamics or pace, but rather a question of touch or feeling, vague and subtle notions that point to something one cannot quite put one’s ﬁnger on but that make all the difference.
Expression is this ethics of implication, a question of ﬁnding the right balance, of explicating just enough, so as to tease the implicated depth into perception, to make the unhearable heard. ”29 To afﬁrm the lowest is to embrace the accidental, the fuzzy edges where timbre becomes noise, where music wraps itself around the world and the listener. Not to explicate too much is the maxim for the performer. ” The musician must “modulate” the score. It is not enough to play the correct notes; a great performance molds something new out of the same old notes, choosing just the right passages of crescendo and diminuendo, ritardando and accelerando, legato and staccato, in order to implicate a different world, bringing as yet unheard Sound and Noise T H E O R Y percepts and affects to perception.
All Our Yesterdays by Robert B. Parker