During his lifetime, the sounds of Handel’s music reached from court to theater, echoed in cathedrals, and filled crowded taverns, but the man himself—known to most as the composer of Messiah—is a bit of a mystery. Though he took meticulous care of his musical manuscripts and even provided for their preservation on his death, very little of an intimate nature survives. One document—Handel’s will—offers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handel’s music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handel’s friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.
Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery. The date and place of its first performance cannot be fixed with precision, and the absolute accuracy of the surviving scores, which date from almost 100 years after the work was written, cannot be assumed. In this thirtieth-anniversary new edition of her book, Ellen Harris closely examines the many theories that have been proposed for the opera's origin and chronology, considering the opera both as political allegory and as a positive exemplar for young women. Her study explores the work's historical position in the Restoration theater, revealing its roots in seventeenth-century English theatrical and musical traditions, and carefully evaluates the surviving sources for the various readings they offer-of line designations in the text (who sings what), the vocal ranges of the soloists, the use of dance and chorus, and overall layout. It goes on to provide substantive analysis of Purcell's musical declamation and use of ground bass. In tracing the performance history of Dido and Aeneas, Harris presents an in-depth examination of the adaptations made by the Academy of Ancient Music at the end of the eighteenth century based on the surviving manuscripts. She then follows the growing interest in the creation of an "authentic" version in the nineteenth and early twentieth centuries through published editions and performance reviews, and considers the opera as an important factor in the so-called English Musical Renaissance. To a significant degree, the continuing fascination with Purcell's Dido and Aeneas rests on its apparent mutability, and Harris shows this has been inherent in the opera effectively from its origin.
This brief examines the influence and prestige of scholars and works in the field of Criminology and Criminal Justice, as well as changes in influence and prestige over a period of 25 years, based on citation analysis. Methods of measuring scholarly influence can be highly controversial, but the authors of this work clearly outline their methodology, developed over years of experience working with this area of study. Through their expertise in Criminology and Criminal Justice, they are able to solve problems that affect or confound many traditional forms of citation analysis, such as irregularly cited references or self-citations. It includes 25 years of data (1986 through 2010) on the most-cited scholars and works in major American and international Criminology and Criminal Justice journals, and provides an objective measure of influence and prestige. Through an analysis of the data, the authors also document the intellectual development of criminology and criminal justice as a field of study since 1986. They highlight the development of research trends and indicate areas for future research. This book is designed for use by scholars and academics in the fields of Criminology and Criminal Justice, and the methodology will be of interest to researchers in related disciplines, including Sociology and Social Psychology. -- Cohn, Farrington, and Iratzoqui provide an invaluable service in unpacking the criminological enterprise. Using systematic citational analysis, they illuminate the core patterns of scholarly influence that have shaped the field’s development. This volume is an essential resource for all those wishing to understand which scholars and writings have done most—within and across time periods—to affect thinking about crime and justice. Francis T. Cullen Distinguished Research Professor University of Cincinnati - Citation analyses have become one of the most significant measures of scholarly influence. They are especially useful for revealing major trends over time regarding authors and the topics of interest to the wider field. Cohn, Farrington, and Iratzoqui's Most Cited Scholars in Criminology and Criminal Justice, 1986-2010 provides the most up-to-date, comprehensive, and longitudinal investigation of scholarly influence in criminology/criminal justice. This resource is a most interesting read, one that supplies not a mere counting of citations but clear ideas about where the field has been centered and where it is trending into the future. Alex R. Piquero Ashbel Smith Professor of Criminology University of Texas at Dallas
Since its beginnings at the turn of the 20th century, the science of education has been regarded as a poor relation, reluctantly tolerated at the margins of academe. In this history of education research, Condliffe explains how this came to be.
Ellen Tucker Emerson's biography of her mother, Lidian Jackson Emerson, provides important insights into the life of Ralph Waldo Emerson's wife of 46 years. Delores Bird Carpenter has carefully edited this narrative to enhance continuity and to ensure completeness.
This is Volume 2 of a 2-part genealogy of the Harris family, tracing the lineage of Robert Harris Sr. (1702-1788). This work is part of The Families of Old Harrisburg Series, compiled and published by The Harris Depot Project. (Compact, Hardbound Edition)
With just this single reference, you're getting an entire library of specialized word books. There's no need to buy separate books to cover all the specialties with which you may be less familiar. Sloane's Medical Word Book includes the terms that medical transcriptionists encounter most frequently — all in a convenient, user-friendly format. Terms are organized by specialty, so you can always select the correct word with accuracy. A must-have for students and practicing transcriptionists! - Organization of terms by specialty allows you to accurately identify the correct word. - A 16-page full-color insert shows anatomy by body systems and region. - Three convenient sections provide a quick reference: - General Terms includes general medical terms, general surgical terms, and laboratory, pathology, and chemistry terms - Specialties includes terms from 18 different specialties - Guide to Terminology includes abbreviations, anatomy plates, combining forms, and rules for forming plurals - Selected entries include both the correct spelling and a phonetic spelling for terms that may be difficult to spell. - 100 commonly misspelled English words frequently used in dictation. - Unique! All forms of words are listed, including adjectives and adverbs, plus the "s" form of verbs. - Unique! Includes slang, physician-coined words, and brief forms along with their expansions. - Unique! Phrases can be found under the adjective and under the noun main entry. - Author Ellen Drake is a nationally known speaker and expert in medical transcription. - New terms ensure that you have the most up-to-date information available.
Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery. The date and place of its first performance cannot be fixed with precision, and the absolute accuracy of the surviving scores, which date from almost 100 years after the work was written, cannot be assumed. In this thirtieth-anniversary new edition of her book, Ellen Harris closely examines the many theories that have been proposed for the opera's origin and chronology, considering the opera both as political allegory and as a positive exemplar for young women. Her study explores the work's historical position in the Restoration theater, revealing its roots in seventeenth-century English theatrical and musical traditions, and carefully evaluates the surviving sources for the various readings they offer-of line designations in the text (who sings what), the vocal ranges of the soloists, the use of dance and chorus, and overall layout. It goes on to provide substantive analysis of Purcell's musical declamation and use of ground bass. In tracing the performance history of Dido and Aeneas, Harris presents an in-depth examination of the adaptations made by the Academy of Ancient Music at the end of the eighteenth century based on the surviving manuscripts. She then follows the growing interest in the creation of an "authentic" version in the nineteenth and early twentieth centuries through published editions and performance reviews, and considers the opera as an important factor in the so-called English Musical Renaissance. To a significant degree, the continuing fascination with Purcell's Dido and Aeneas rests on its apparent mutability, and Harris shows this has been inherent in the opera effectively from its origin.
During his lifetime, the sounds of Handel’s music reached from court to theater, echoed in cathedrals, and filled crowded taverns, but the man himself—known to most as the composer of Messiah—is a bit of a mystery. Though he took meticulous care of his musical manuscripts and even provided for their preservation on his death, very little of an intimate nature survives. One document—Handel’s will—offers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handel’s music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handel’s friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.
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