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"Luffy continues his clash with General Katakuri, one of the toughest enemies he's ever faced. What can Luffy do against a foe who dodges his every move? Meanwhile, the other Straw Hats are on the verge of total destruction as an angry Big Mom bears down on them!"--Page [4] of cover.
Join Monkey D. Luffy and his swashbuckling crew in their search for the ultimate treasure, the One Piece. As a child, Monkey D. Luffy dreamed of becoming King of the Pirates. But his life changed when he accidentally ate the Gum-Gum Fruit, an enchanted Devil Fruit that gave him the ability to stretch like rubber. Its only drawback? He’ll never be able to swim again—a serious handicap for an aspiring sea dog! Years later, Luffy sets off on his quest to find the “One Piece,” said to be the greatest treasure in the world… Luffy clashes with General Katakuri, one of the toughest enemies he's ever faced. Meanwhile, the other Straw Hats are on the verge of total destruction when an angry Big Mom bears down on them! Will the Straw Hats and their ship survive intact and move on to the next chapter of their quest?
This volume brings together twenty original essays by distinguished scholars of late medieval music on the life, works, and cultural context of the composer Antoine Busnoys (c.1430-1492), musician to Charles the Bold, Duke of Burgundy, and one of the most celebrated composers of the fifteenth century. The essays present the results of much new research on music, ceremony, and ritual in the late Middle Ages; intertextual, contextual, and hermeneutic approaches to the music of Busnoys andhis contemporaries; methods for assessing issues of authorship and anonymity; readings of theorists on compositional procedures and the performance of fifteenth-century music; and assessments of Busnoys's legacy to the musical culture of the late Middle Ages. Particularly noteworthy are the studies providing new light on the origins of L'homme arme mass tradition; unpublished documents on Busnoys's activity in churches in Poitiers and Brussels; previously unidentified liturgical sources forhis plainchant cantus firmi; and studies and complete editions of several anonymous works newly attributed to Busnoys. These widely ranging essays offer a wealth of novel approaches to the study of musical culture in the late Middle Ages that is of interest not only to medievalists, but to students of all fields of music historical inquiry.

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