The writings of Sulzer and Koch represent a significant confluence of philosophical and musical thought from the German Enlightenment. Koch creatively adapted many of Sulzer's abstract philosophical ideas to concrete questions of musical pedagogy, showing how they could be usefully applied to the teaching and analysis of musical composition. This collaborative study and translation of the texts will be of interest to all historians of music, music theory, and historians of eighteenth-century German aesthetic thought.

Musquon must overcome her impatience while learning to distinguish sweetgrass from other salt marsh grasses, but slowly the spirit and peace of her surroundings speak to her, and she gathers sweetgrass as her ancestors have done for centuries, leaving the first blade she sees to grow for future generations. This sweet, authentic story from a Maliseet mother and her Passamaquoddy husband includes backmatter about traditional basket making and a Wabanaki glossary.

Can an abstract theory of Empfindsamkeit aesthetics have any value to a musician wishing to study composition in the classical style? The eighteenth-century German theorist and pedagogue Heinrich Koch showed how this question could be answered with a resounding yes. Starting with the systematic aesthetic theory of the Swiss encyclopedist Johann Sulzer, Koch was creatively able to adapt Sulzer's conservative ideas on ethical mimesis and rhetoric to concrete problems of music analysis and composition. In this collaborative study, Thomas Christensen and Nancy Baker have translated and analysed selected writings of Sulzer and Koch respectively, bringing to life a little-known confluence of philosophical and musical thought from the German Enlightenment. Koch's appropriation of Sulzer's ideas to the service of music represents an important development in the evolution of Western musical thought.

The Shimmering Is All There Is: On Nature, God, Science, and More is a collection of essays and poems by the late Heather Catto Kohout. A native of San Antonio, Heather was a disciplined and original thinker and writer. Her education, experience, and temperament-as a loving wife, mother, and daughter; a proud Texan; a teacher and scholar with graduate degrees in English literature and religion; and the founder of a residency program for environmental writers and artists at a ranch in the Texas Hill Country-permeate every word she wrote. She had a unique combination of empathetic imagination, profound spirituality, cosmic sensibility, and an ability to laugh-gently-at her fellow creatures and, especially, herself.Heather Kohout's essays and poems are thoughtful, profound, and generous, shifting constantly between the specific and the universal and carrying throughout a message of stewardship. She was an environmentalist at heart, but her writing explores so much more: nature, art, theology, science, food, and family. She wrote about Mexican teenagers who dress as angels in an attempt to halt drug-related violence; the perils of industrial agriculture; the pleasure of letting the chickens out of their coop in the morning; and the battle to save the Georgetown salamander. Always, she wrote about what it means to try to live an ethical life and to be fully human as a part of, not in opposition to, nature. These essays and poems exemplify the best of Texas womanhood: stubborn independence, fierce conviction, good humor, and instinctive generosity and kindness.

When Nikki R. Van Hightower stepped into the position of Women's Advocate for the City of Houston in 1976, she quickly discovered that she had very little real power. And when the all-male city council cut her salary to $1 a year after she spoke at a women's rights rally, she gained full appreciation for just what she was up against.Nonetheless, before the job was abolished altogether two years later, Van Hightower went on to help orchestrate the enormously successful 1975 US National Women's Conference in Houston as part of the International Woman's Year, to help found the Houston Area Women's Center and establish its rape crisis and shelter programs, and to host a radio show where she publicly discussed issues of gender, race, and human rights. This eye-opening memoir offers a window into the world of Texas history and politics in the 1970s, where sexual harassment was not considered discrimination, where women's shelters did not exist, where no women were elected to city government, where women in the parks department were prohibited from working outdoors, and where women paid to use airport toilets while men did not. That world that may seem distant and slightly unreal today, so all the more reason to read Van Hightower's journey as a feminist. Her story will remind us that while much has been achieved in gender relations and women's rights, there is much that remains to be done.

This collection by Teresa Palomo Acosta-poet, historian, author, and activist-spans three decades of her writing, from 1988 through 2018. The collection is divided into four parts: poems, essays, a children's story, and plays. Each work addresses cultural, historical, political, and gender realities that she experienced from her childhood to the present.The plays, set in the Central Texas Blackland Prairies where Acosta was raised, provide a unique Latina vision of memory, identity, and experience and are a vital contribution to Chicana feminist thought. The essays focus on Acosta's literary heroes Jovita GonzAlez de Mireles, Sara Estela RamIrez, and Elena Zamora O'Shea, important writers who contributed significantly to Tejana literature and to Texas letters. The children's story, "Colchas, Colchitas," is based on Acosta's most notable poem, "My Mother Pieced Quilts," which pays homage to her mother and the many women of her generation who employed needles and thread, creating both practical and symbolic artifacts. This collection is a creative and, indeed, essential expansion of boundaries for what we think of as history, offering a unique and compelling look into the lived experiences and interior contemplations of a Texas artist well worth knowing. Readers will increase their understanding of Tejana experience in the late twentieth and early twenty-first centuries. Tejanaland promises to become an important addition to the cultural record, informing historical perspectives on the experiences of Tejana women and contributing significantly to the existing body of work from Tejana writers.

The Art of the Woman explores the life of GermanbornElisabet Ney, a flamboyant sculptor who transfixed the philosopher Arthur Schopenhauer and left the court of the half-mad Ludwig of Bavaria SAILING TIMES AT Mfor America to put down new roots in Texas.Born in 1833, Ney gained notoriety in Europe by sculpting the busts of such figures as Ludwig II, Schopenhauer, Garibaldi, and Bismarck. In 1871 she abruptly emigrated to America and becamesomething of a recluse until resuming her sculptingcareer two decades later. In Texas, she was knownfor stormy relationships with officials, patrons,and women's organizations. Her works includedsculptures of Sam Houston and Stephen F. Austinand are exhibited in the state and US capitols as wellas the Smithsonian. Emily Fourmy Cutrer's biography of Ney makesextensive use of primary sources and was the firstto appraise both Ney's legend and individual worksof art. Cutrer argues that Ney was an accomplishedsculptor coming out of a neglected Germanneoclassical tradition and that, whatever her failuresand eccentricities, she was an important catalyst tocultural activity in Texas.

In "The Texas Right: The Radical Roots of Lone Star Conservatism," some of our most accomplished and readable historians push the origins of present-day Texas conservatism back to the decade preceding the twentieth century. They illuminate the initial factors that began moving Texas to the far right, even before the arrival of the New Deal.
By demonstrating that Texas politics foreshadowed the partisan realignment of the erstwhile Solid South, the studies in this book challenge the traditional narrative that emphasizes the right-wing critique of modern America voiced by, among others, radical conservatives of the state's Democratic Party, beginning in the 1930s. As the contributors show, it is impossible to understand the Jeffersonian Democrats of 1936, the Texas Regular movement of 1944, the Dixiecrat Party of 1948, the Shivercrats of the 1950s, state members of the John Birch Society, Texas members of Young Americans for Freedom, Reagan Democrats, and most recently, even, the Tea Party movement without first understanding the underlying impulses that produced their formation.