Los Angeles Harbour is one of the world's busiest ports. It's also where the ocean, in the words of Dinko Babich, meets the ghetto and a locus for theft, extortion, drug smuggling and human trafficking. Dinko is a third generation longshoreman, and while no stranger to a little extra-legal activity himself, he's simply got used to looking the other way. Until he's paid to transport Lita – a beautiful and surprisingly sweet Mexican dancer – from the harbour front to a Hollywood club. Lita's seen something she shouldn't have, something that links her to a shipping container filled with 13 corpses. Can Dinko keep Lita safe while the LAPD catch up? Or will the lethal predators who stalk the docks prove too powerful to escape? Inventive, razor-sharp, and with an unflinching eye for detail, Joseph Wambaugh intertwines suspense, tragedy and humour into the everyday life of the cops and residents of Los Angeles Harbour and Hollywood. Starring a host of colourful characters from the Hollywood Station series – the surfer cops known as 'Flotsam and Jetsam', aspiring actor 'Hollywood Nate' Weiss, young Britney Small – Harbour Nocturne is the brilliant new novel from the grandmaster of crime.

Larry Pruden (1925-1982) is one of a handful of New Zealand composers who studied under Benjamin Frankel at London’s Guildhall School of Music. Pruden’s significant contribution to the establishment of a genuine New Zealand vernacular lives on in the works for which he is best known. This sixth volume contains Pruden’s quintessential works Overture: The Antipodes (1950), Harbour Nocturne (1956) and Lambton Quay: March (1959), each of which reveals the voice of a composer celebrating the direct and open experience of life.

Eldon Davis Rathburn (1916-2008), one of the most multi-dimensional, prolific, and endlessly fascinating composers of the twentieth century, wrote more music than any other Canadian composer of his generation. During a long and productive career that spanned seventy-five years, Rathburn served for thirty years as a staff composer with the National Film Board of Canada (1947-76), scored the first generation of IMAX films, and created a diverse catalogue of orchestral and chamber works. With the aid of extensive archival and documentary materials, They Shot, He Scored chronicles Rathburn's life and works, beginning with his formative years in Saint John, New Brunswick, and his breakthrough in Los Angeles in connection with Arnold Schoenberg and the LA Philharmonic Orchestra. The book follows his work at the NFB, his close encounters with some of the most celebrated international figures in his field, and his collaboration with the team of innovators who launched the IMAX film corporation. James Wright undertakes a close analytical reading of Rathburn's film and concert scores to outline his methods, compositional techniques, influences, and idiosyncratic approach to instrumentation, as well as his proto-postmodern proclivity for borrowing from diverse styles and genres. Authoritative and insightful, They Shot, He Scored illuminates the extraordinary career of an unsung creative force in the film and music industry.

Larry Pruden (1925-1982) is one of a handful of New Zealand composers who studied under Benjamin Frankel at London’s Guildhall School of Music. Pruden’s significant contribution to the establishment of a genuine New Zealand vernacular lives on in the works for which he is best known. The early piano works appended to this volume reveal the scope of Pruden’s musical influences, ranging from Ivanovic to Rachmaninoff and Verdi.

Using landscape as its unifying concept, this engaging book explores orchestral music that represents real and imagined physical and cultural spaces, natural forces, and humans and wildlife. Spanning continents and centuries, David Knight links contrasting forms of music through unifying themes of time and space; waterscapes; imagined and mythic spaces; the search for meaning in extreme landscapes; and realms of death, survival, and remembrance. The author also underscores the importance of the physical spaces in which music is performed. Orchestral works are rarely perceived in geographical terms, but Knight, himself an accomplished geographer and musician, offers a deeply satisfying approach to interpreting and appreciating a wide range of music. Comparing classic masterworks from Europe and Russia alongside more recent compositions from the United States, Canada, New Zealand, Japan, and China, this innovative study offers a fresh understanding of the links between music and the worlds around us.

Larry Pruden (1925-1982) is one of a handful of New Zealand composers who studied under Benjamin Frankel at London’s Guildhall School of Music. Pruden’s significant contribution to the establishment of a genuine New Zealand vernacular lives on in the works for which he is best known. The three works gathered in this collection show Pruden embracing a distinct regionalist style with his response to the beauty and grandeur of the physical landscape.

Australia’s Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s–c. 1960). These composers sought to establish a uniquely Australian identity through the evocation of the country’s landscape and environment, including notably the use of Aboriginal elements or imagery in their music, texts, dramatic scenarios or ‘programmes’. Nevertheless, it must be observed that this word was originally adopted as a manifesto for an Australian literary movement, and was, for the most part, only retrospectively applied by commentators (rather than the composers themselves) to art music that was seen to share similar aesthetic aims. Chapter One demonstrates to what extent a meaningful relationship may or may not be discernible between the artistic tenets of Jindyworobak writers and apparently likeminded composers. In doing so, it establishes the context for a full exploration of the music of Australian composers to whom ‘Jindyworobak’ has come to be popularly applied. The following chapters explore the music of composers writing within the Jindyworobak period itself and, finally, the later twentieth-century afterlife of Jindyworobakism. This will be of particular interest to scholars and researchers of Ethnomusicology, Australian Music and Music History.

Fated to Fall in Love... Luke Mars doesn’t believe in fate. Especially when ‘Fate’ is supposedly a gorgeous goddess named Aurora who claims to be his guardian, assigned from birth to watch over him.