In 1970, John M. Allegro published The Sacred Mushroom and the Cross, arguing that the early Christians belonged to a drug cult, their sacrament consisting of hallucinogenic mushrooms. The book contained a large amount of linguistic data to support Allegro's speculations. In his follow-up book, The End of a Road, Allegro considered the philosophical ramifications of having undermined Christianity and hence, for many people, religion altogether. He argued that abandoning religion is not tantamount to abandoning morality; rather, it should enable a more honest and straightforward approach to morality. This new edition includes a new foreword by Judith Anne Brown, author of John Marco Allegro: The Maverick of the Dead Sea Scrolls, as well as two new essays. These are an essay by Franco Fabbro discussing a mushroom mosaic in an early Christian church in Aquileia; and an essay by John Bolender discussing the vagueness of the concept of religion, which raises questions about the precise target of Allegro's polemic and challenges attempts to defend religion as a biological adaptation.
The Chosen People tells the history of the Jews from the conquest of Jersualem by Nebuchadnezzar of Babylon in 587 B.C.E. to the Second Jewish Revolt of C.E. 132. John Allegro bases his account on traditional texts — books of the Old Testament, Josephus, Philo Judaeus, Dio Cassius, and others — and sets out the complicated parade of plots, counter-plots, betrayals, and insurrections in a brisk and highly readable sequence. His main theme is how the conception of the Jewish nation as a divinely chosen race was planted as a political ambition among the exiled Jews. Bringing together old customs and stories, the idea was fired by the longing of the Babylonian Jews for their traditional homeland. Many of them grew prosperous outside Palestine, and their wealthy communities manipulated the wish for identity in the idea of an exclusive Judaism embodied as a political state and fighting for autonomy against local and imperial neighbors — more dream than fact. The author writes that “When the ‘new Judaism' came to be hammered out after the return from captivity, it was around these ancient customs and a historicized mythology that it was fashioned.” The religion was devised not, as popularly presented, by gift of the desert god Yahweh who had manifested himself in opposition to the Canaanite fertility god Baal but by reinterpreting the Sumerian idea of a life-giving god over many generations. For there was no fundamental opposition — the god-names originally meant the same. This second edition features a new introduction by James M. Donovan.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1988.
Many Christians are afraid to talk about their faith for fear of not knowing what to say. How can they prepare themselves? That's the purpose of "Handbook of Bible Evidences"--written by two bestselling apologetics experts, John Ankerberg and John Weldon. They provide clear and thoughtful responses to the tough questions seekers are most likely to ask--questions such as... "Hasn't evolution proved that Genesis is wrong?" "Isn't the Bible filled with historical and scientific errors?" "What evidence is there that Jesus rose from the dead?" Focused on topics related to the Bible, Jesus Christ, and creation, this powerful resource deals head-on with false assumptions and frequent misconceptions people have. And it's based on more than 30 years of apologetics research and ministry to unbelievers. A superb tool for helping readers know how to share their faith with confidence! Formerly titled "Ready with an Answer.
Ludwig Van Beethoven's nine symphonies stand as towering masterworks at the core of the classical canon. In Beethoven's hands, the symphony expanded dramatically in scope and power in a way that would revolutionise both the form itself and music in general. The impact of Beethoven's nine was such that composers long after him would write their own symphonies in his shadow. In this book, acclaimed Pianist and critic John Bell Young explores each of the nine symphonies, always looking beneath the surface for what makes the music so compelling. He places them in their historical and cultural context, and he describes how the Russian concept of intonatsiia, a way of perceiving relationships "between the notes," can help deepen our appreciation of these pieces. The accompanying CD contains selections from all of the symphonies, each performance conducted by the legendary Wilhelm Furtwangler.
More than 60 years’ experience in playing the clarinet has led to a very personal and idiosyncratic review of the repertoire. From the point of view of being both a player and a programmer the author has endeavoured to find works for unusual combinations involving the clarinet. This book includes a few orchestral solos and several vocal works (both chamber and operatic), but it is focussed on chamber music and includes gems from the repertoire for the standard wind quintet. The clarinet features as a solo instrument, in duos with a surprisingly large variety of instruments and in mixed trios, quartets and so on to larger ensembles. During the course of one year the reader will be exposed to 366 works, probably some unfamiliar, by 245 different composers. The author hopes it will whet the appetites of students, teachers and concert organizers alike.
This anthology brings together representative examples of the most significant and engaging scholarly writing on Chopin by a wide range of authors. The essays selected for the volume portray a rounded picture of Chopin as composer, pianist and teacher of his music, and of his overall achievement and legacy. Historical perspectives are offered on Chopin’s biography ’as cultural discourse’, on the evolution and origins of his style, and on the contexts of given works. A fascinating contemporary overview of Chopin’s oeuvre is also provided. Seven source studies assess the status and role of Chopin’s notational practices as well as some enigmatic sketch material. Essays in the field of performance studies scrutinise the ’cultural work’ carried out by Chopin’s performances and discuss his playing style along with that of his contemporaries and students. This paves the way for a body of essays on analysis, aesthetics and reception, considering aspects of genre and including an overview of analytical approaches to select works. The remaining essays address Chopin’s handling of form, rhythm and other musical elements, as well as the ’meaning’ of his msuic. The collection as a whole underscores one of the most important aspects of Chopin’s legacy, namely the paradoxical manner in which he drew from the past - in particular, certain eighteenth-century traditions - while stretching inherited conventions and practices to such an extent that a highly original ’music of the future’ was heralded.
Why couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.
Gillespie discusses 350 composers and their works for harpsichord and piano, including Bach, Handel, Mozart, Beethoven, and Debussy. Includes 116 musical examples, illustrations, and a glossary of musical terms.
Mendelssohn, Goethe, and the Walpurgis Night is a book about tolerance and acceptance in the face of cultural, political, and religious strife. Its point of departure is the Walpurgis Night. The Night, also known as Beltane or May Eve, was supposedly an annual witches' Sabbath that centered around the Brocken, the highest peak of the Harz Mountains. After exploring how a notoriously pagan celebration came to be named after the Christian missionary St. Walpurgis (ca. 710-79), John Michael Cooper discusses the Night's treatments in several closely interwoven works by Goethe and Mendelssohn. His book situates those works in their immediate personal and professional contexts, as well as among treatments by a wide array of other artists, philosophers, and political thinkers, including Voltaire, Lessing, Shelley, Heine, Delacroix, and Berlioz. In an age of decisive political and religious conflict, Walpurgis Night became a heathen muse: a source of inspiration that was neither specifically Christian, nor Jewish, nor Muslim. And Mendelssohn's and Goethe's engagements with it offer new insights into its role in European cultural history, as well as into issues of political, religious, and social identity -- and the relations between cultural groups -- in today's world. John Michael Cooper (Southwestern University) is the author of Mendelssohn's "Italian" Symphony (Oxford University Press).
This book reflects the increasing significance of musical performance studies in recent decades. Originally published as separate essays over thirty years, the twelve chapters have been refashioned as a monograph which is both scholarly in nature and intensely personal, building on the author's extensive musical experience, most notably as a pianist. Hence the primary focus on piano music by Chopin, Schubert, Liszt, Brahms and Rachmaninoff. The book's cross-cutting themes nevertheless apply to diverse performance idioms and domains. By exploring themes in complementary ways, the book offers broad insights into musical ontology, epistemology and semantics while demonstrating various methodologies now used to study performance. Among other things, it highlights the powerful effects that experiencing music in performance can have on those who take part in it, in any capacity. There are many practical insights too. The volume has four sections, focusing on 'performance and performance studies', historical performance, analysis and performance, and artistic research. Case studies of romantic masterpieces for the piano feature throughout"--
William Alwyn: A Research and Information Guide is a catalogue, discography and annotated bibliography of the nearly 500 works of this twentieth-century British composer. It will be invaluable to twentieth-century British composer researchers and aficionados, music history courses, and film music courses.
Mozart's piano sonatas are among the most familiar of his works and stand alongside those of Haydn and Beethoven as staples of the pianist's repertoire. In this study, John Irving looks at a wide selection of contextual situations for Mozart's sonatas, focusing on the variety of ways in which they assume identities and achieve meanings. In particular, the book seeks to establish the provisionality of the sonatas' notated texts, suggesting that the texts are not so much identifiers as possibilities and that their identity resides in the usage. Close attention is paid to reception matters, analytical approaches, organology, the role of autograph manuscripts, early editions and editors, and aspects of historical performance practice - all of which go beyond the texts in opening windows onto Mozart's sonatas. Treating the sonatas collectively as a repertoire, rather than as individual works, the book surveys broad thematic issues such as the role of historical writing about music in defining a generic space for Mozart's sonatas, their construction within pedagogical traditions, the significance of sound as opposed to sight in these works (and in particular their sound on fortepianos of the later eighteenth-century) , and the creative role of the performer in their representation beyond the frame of the text. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.
Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the ’workbench’ of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.
Using the teaching of John Milton as a case study, this book describes how a university English professor teaches an undergraduate course over a semester. Employing a 'situated learning' model, the author describes the details of literary learning and student development.
Inspector Troy of Scotland Yard returns in “one of the best thrillers of the year” (Marilyn Stasio, The New York Times Book Review). Spanning the tumultuous years 1934 to 1948, John Lawton’s A Lily of the Field is a brilliant historical thriller from a master of the form. The book follows two characters—Méret Voytek, a talented young cellist living in Vienna at the novel’s start, and Dr. Karel Szabo, a Hungarian physicist interned in a camp on the Isle of Man. In his seventh Inspector Troy novel, Lawton moves seamlessly from Vienna and Auschwitz to the deserts of New Mexico and the rubble-strewn streets of postwar London, following the fascinating parallels of the physicist Szabo and musician Voytek as fate takes each far from home and across the untraditional battlefields of a destructive war to an unexpected intersection at the novel’s close. The result, A Lily of the Field, is Lawton’s best book yet, a historically accurate and remarkably written novel that explores the diaspora of two Europeans from the rise of Hitler to the post-atomic age. “Lawton’s thrillers provide a vivid, moving and wonderfully absorbing way to experience life in London and on the Continent before, during and after World War II.” —The Washington Post
Best known for his epic masterpiece Paradise Lost, Milton is also a master of subtle lyric harmony. He is one of the greatest writers of the 17th century, and of all time.
Mozart's piano concertos stand alongside his operas and symphonies as his most frequently performed and best loved music. They have attracted the attention of generations of musicologists who have explored their manifold meanings from a variety of viewpoints. In this study, John Irving brings together the various strands of scholarship surrounding Mozart's concertos including analytical approaches, aspects of performance practice and issues of compositional genesis based on investigation of manuscript and early printed editions. Treating the concertos collectively as a repertoire, rather than as individual works, the first section of the book tackles broad thematic issues such as the role of the piano concerto in Mozart's quasi-freelance life in late eighteenth-century Vienna, the origin of his concertos in earlier traditions of concerto writing; eighteenth-century theoretical frameworks for the understanding of movement forms, subsequent historical shifts in the perception of the concerto's form, listening strategies and performance practices. This is followed by a 'documentary register' which proceeds through all 23 original works, drawing together information on the source materials. Accounts of the concertos' compositional genesis, early performance history and reception are also included here, drawing extensively on the Mozart family correspondence and other contemporary reports. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.
The first comprehensive study of the late music of one of the most influential composers of the last half century, this book places Elliott Carter's music from 1995 to 2012 in the broader context of post-war contemporary concert music, including his own earlier work. It addresses Carter's reception history, his aesthetics, and his harmonic and rhythmic practice, and includes detailed essays on all of Carter's major works after 1995. Special emphasis is placed on Carter's settings of contemporary modernist poetry from John Ashbery to Louis Zukofsky. In readable and engaging prose, Elliott Carter's Late Music illuminates a body of late work that stands at the forefront of the composer's achievements.
This work constitutes the largest and most comprehensive research guide ever published about Benjamin Britten. Entries survey the most significant published materials relating to the composer, including bibliographies, catalogs, letters and documents, conference reports, biographies, and studies of Britten's music.
First published by Odyssey Press in 1957, this classic edition provides Milton's poetry and major prose works, richly annotated, in a sturdy and affordable clothbound volume.
Know What You Believe Why You Believe It & How to Explain It. This powerful sourcebook answers the most important questions skeptics ask about God & Christianity. Along with the authors you'll examine a wide range of evidence for the truth of biblical Christianity & become equipped to evaluate the validity of: Jesus Christ—what sets Him entirely apart from founders of other religions; the resurrection—why lawyers & former skeptics believe it & why skeptics' theories fall short; the reliability of the Bible—how it is proven by the science of archaeology & our manuscript evidence; the miracle of origins—why both creation & evolution require a miracle & why evolution can't be true; reincarnation & Christianity—why they can't coexist; why biblical prophecy proves who the true God is & why the Bible is the only revelation from God; atheists & skeptics—why even they agree they have knowledge about God; & why the biblical evidence strongly argues for an inerrant Bible. Find answers to the toughest questions from creation to salvation & discover the uniqueness of Christianity & man's universal need for the one true God.
Music is surrounded by movement, from the arching back of the guitarist to the violinist swaying with each bow stroke. To John Paul Ito, these actions are not just a visual display; rather, they reveal what it really means for musicians to move with the beat, organizing the flow of notes from beat to beat and shaping the sound produced. By developing "focal impulse theory," Ito shows how a performer's choices of how to move with the meter can transform the music's expressive contours. Change the dance of the performer's body, and you change the dance of the notes. As Focal Impulse Theory deftly illustrates, bodily movements carry musical meaning and, in a very real sense, are meaning.
What is it about sports that turns otherwise sane people into raving lunatics? Why does winning compel people to tear down goal posts, and losing, to drown themselves in bad keg beer? In short, why do fans care? In search of answers, Warren St. John seeks out the roving community of RVers who follow the Alabama Crimson Tide from game to game. A movable feast of Weber grills and Igloo coolers, these are hard-core football fans who arrive on Wednesday for Saturday’s game: The Reeses, who skipped their own daughter’s wedding because it coincided with a Bama game; Ray Pradat, the Episcopal minister who watches the games on a television beside his altar while performing weddings; and John Ed, the wheeling and dealing ticket scalper whose access to good seats gives him power on par with the governor. In no time at all, St. John buys an RV (a $5,500 beater named The Hawg) and joins the caravan for a full football season, chronicling the world of the extreme fan and learning that in the shadow of the stadium, it can all begin to seem strangely normal. Rammer Jammer Yellow Hammer is not only a hilarious travel story, but a cultural anthropology of fans that goes a long way toward demystifying the universal urge to take sides and to win.
Telemann for Mandolin presents over 70 pieces composed by Georg Philipp Telemann (1681-1767) that are particularly suitable for playing on unaccompanied mandolin. the pieces are easy to intermediate in difficulty and are presented both in standard notation and tablature. the book includes excellent material for students as well as many pieces suitable for weddings, recitals and other occasions.
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