A Jovial Crew, or the Merry Beggars, is a comedy about four noble lovers who join the beggar community for a pastoral life of dance and song. Or is it? Whilst maintaining its unremitting good humour, A Jovial Crew shows that the literary depiction of beggar life, and real beggar life, are profoundly different. Daily aspects of life in the beggar world – poverty, dirt, licentiousness – come as a surprise to the well-born, who are ultimately led to question their own values. The last production mounted before theatres were closed for the English Civil War, A Jovial Crew's exploration of class, commonwealth, kinship and kingship shows an intense engagement with contemporary politics. This edition, with dedicated sections on music and language in the play, argues that A Jovial Crew also offers a nostalgic farewell to English theatre. It explores Brome's attitude to performance and print, and follows A Jovial Crew from its first, Caroline staging, to its later manifestations as a Restoration comedy, an eighteenth-century opera, and a twentieth-century proto-Marxist tragicomedy.
This authoritative reference work investigates the roots of the Sacred Harp, the central collection of the deeply influential and long-lived southern tradition of shape-note singing. Where other studies of the Sacred Harp have focused on the sociology of present-day singers and their activities, David Warren Steel and Richard H. Hulan concentrate on the regional culture that produced the Sacred Harp in the nineteenth century and delve deeply into history of its authors and composers. They trace the sources of every tune and text in the Sacred Harp, from the work of B. F. White, E. J. King, and their west Georgia contemporaries who helped compile the original collection in 1844 to the contributions by various composers to the 1936 to 1991 editions. The Makers of the Sacred Harp also includes analyses of the textual influences on the music--including metrical psalmody, English evangelical poets, American frontier preachers, camp meeting hymnody, and revival choruses--and essays placing the Sacred Harp as a product of the antebellum period with roots in religious revivalism. Drawing on census reports, local histories, family Bibles and other records, rich oral interviews with descendants, and Sacred Harp Publishing Company records, this volume reveals new details and insights about the history of this enduring American musical tradition.
Ligon's True and Exact History of the Island of Barbados is the most significant book-length English text written about the Caribbean in the seventeenth century. [It] allows one to see the contested process behind the making of the Caribbean sugar/African slavery complex. Kupperman is one of the leading scholars of the early modern Atlantic world. . . . I cannot think of any scholar better prepared to write an Introduction that places Ligon, his text, and Barbados in an Atlantic historical context. The Introduction is quite thorough, readable, and accurate; the notes [are] exemplary! --Susan Parrish, University of Michigan
This book presents an argument rather than a review: that the frontal lobes as a whole are specialized for voluntary action. For each area within the frontal lobes, a specific role in the execution of voluntary action is proposed. Topics covered include the control of movement in the motor cortex and premotor areas, decision-making in the pre-frontal cortex, response learning in the basal ganglia, and the mental trial and error that forms the basis of future responses. This analysis is based on the author's own work using the most up-to-date imaging techniques. Controversial and thought-provoking, it will serve as the basis for future work and debate on the subject.
How does popular music produce its subject? How does it produce us as subjects? More specifically, how does it do this through voice--through "giving voice"? And how should we understand this subject--"the people"--that it voices into existence? Is it singular or plural? What is its history and what is its future? Voicing the Popular draws on approaches from musical interpretation, cultural history, social theory and psychoanalysis to explore key topics in the field, including race, gender, authenticity and repetition. Taking most of his examples from across the past hundred years of popular music development--but relating them to the eighteenth- and nineteenth-century "pre-history"--Richard Middleton constructs an argument that relates "the popular" to the unfolding of modernity itself. Voicing the Popular renews the case for ambitious theory in musical and cultural studies, and, against the grain of much contemporary thought, insists on the progressive potential of a politics of the Low.
This book challenges what are, for many people, deep-rooted expectations regarding the routine arming of police and compares jurisdictions in which police are routinely armed (Toronto, Canada and Brisbane, Australia) and those where police are not routinely armed (Manchester, England and Auckland, New Zealand). With a focus on Western jurisdictions and by examining a range of documentary, media and data sources, this book provides an evidence-based examination of the question: Do police really need guns? This book first provides detailed insight into the armed policing tradition and perceptions/expectations with respect to police and firearms. A range of theoretical concepts regarding policing, state power and the use of force is applied to an examination of what makes the police powerful. This is set against the minimum force tradition, which is typified by policing in England and Wales. Consideration is also given to the role played by key tropes and constructs of popular culture. Drawing on Surette’s model of symbolic reality, the book considers contrasting media traditions and the positioning of firearms within narrative arcs, especially the role of heroes. The book concludes by drawing together the key themes and findings, and considering the viability of retaining and/or moving towards non-routinely armed police.
An illustrated history of America's musical heritage ranges from the earliest examples of Native American traditional song to the innovative sound of contemporary rock and jazz.
In 1974, Maurice Zeitlin published a seminal article in The American Journal of Sociology, criticizing managerial theory and evidence, which ended one era in the analysis of the large corporation's ownership and control and began a new one. He called for research on the capitalist class that would reveal its inner structure--particularly the interaction of family ties, property, and business leadership in the large corporation. But, despite the subsequent blossoming of studies of intercorporate and class power, no one else has yet done the systematic empirical analysis he outlined. This work is thus the first to explore the full panoply of intraclass relations--interorganizational, kinship, economic, and political--within an actually existing dominant class. Theoretically sensitive, methodologically precise, and historically grounded, it aims to fill in the blank spots in our knowledge about how "economic classes" become "social classes" and how the latter in turn connect with other social forms. This work is a sustained empirical analysis of Chile's dominant class. But it does more than reveal that class's specific internal structure; it also provides a coherent theory of the inner relations constituting any dominant class in a highly concentrated capitalist economy, a methodological paradigm, and an exemplary body of findings, which can closely guide the study of other dominant classes, especially in the "advanced" societies of the West. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
For more than three decades Richard Charteris has researched European music, sources and collections, focusing particularly on late Renaissance England, Germany and Italy. This group of essays, many concerning previously unknown or unexplored works and materials, covers the 16th and early to mid 17th centuries. The studies involve variously 'new' compositions, music manuscripts and editions, and documents that relate to figures such as the Italians Giovanni Gabrieli, Claudio Monteverdi and Alfonso Ferrabosco the Elder, the Germans Hans Leo Hassler and Adam Gumpelzhaimer, as well as the Englishmen John Coprario, John Dowland, John Jenkins, Henry Lawes, William Lawes, Peter Philips, and the French composer Marin Marais. In addition, Charteris elucidates contemporary performance practice in relation to works by Gabrieli, investigates printed music editions that originated from the Church of St Anna, Augsburg, and evaluates materials in collections, inlcuding ones in Berlin, Hamburg, Kraków, London, Regensburg and Warsaw.
Volume three of a bibliography documenting all that has been written in the English language on the history of sport and physical education in Britain. It lists all secondary source material including reference works, in a classified order to meet the needs of the sports historian.
Tells the story of the Gepps Cross abattoirs and saleyard complex, from its utopian concept through its years of growth and operation to its eventual ruin as a victim of competing interests. A comprehensive and abundantly illustrated history.
This book reflects a breakthrough in American music studies, an unrecognized field among traditional musicologists until the past few decades, during which enormous progress has been made in documenting three centuries of American musical activities and figures. Time and effort had to be expended exclusively on the development of basic historical studies. The time has come for a new phase, one that can take a creative, interpretive approach. Professor Crawford's study will introduce this higher level of scholarship into the field of American music studies."—Vivian Perlis, author of Charles Ives Remembered "A major statement by a senior scholar on what American musicology is all about. . . These themes are also topical; they come at a time when much more research is being done in American music, but little thought is being given to the big picture, the vision, the philosophy, and the implications of historical research. Now is the time for a synthesis, and there are few scholars better equipped to do that in American music than Richard Crawford."—Michael Broyles, author of Music of the Highest Class
The conversion to Christianity of the Anglo-Saxon kingdom of East Anglia left huge marks on the area, both metaphorical and literal. Drawing on both the surviving documentary sources, and on the eastern region's rich archaeological record, this book presents the first multi-disciplinary synthesis of the process. It begins with an analysis of the historical framework, followed by an examination of the archaeological evidence for the establishment of missionary stations within the region's ruinous Roman forts and earthwork enclosures. It argues that the effectiveness of the Christian mission is clearly visible in the region's burial record, which exhibits a number of significant changes, including the cessation of cremation. The conversion can also be seen in the dramatic upheavals which occurred in the East Anglian landscape, including changes in the relationship between settlements and cemeteries, and the foundation of a number of different types of Christian cemetery. Ultimately, it shows that far from being the preserve of kings, the East Anglian conversion was widespread at a grassroots level, changing the nature of the Anglo-Saxon landscape forever. Dr Richard Hoggett is currently Coastal Heritage Officer with Norfolk County Council.
Prayer was regarded as an essential arm of the State and even a method of 'thought control' in early modern England. In the seventeenth Century, the period covered by Richard Ginn's study, Common Prayer dominated people's everyday lives at a national level, in communities and congregations, as well as privately in households. Ginn demonstrates how prayer represented the search for pattern, order and purpose in and between these different layers of society in a period when England was struggling to come to terms with political and social turbulence, rocked by the violence of the Civil War, unease over the Commonwealth and the uncertainties of the Restoration. Ginn argues that the importance of Prayer as a stabilizing force during these times of instability cannot be underestimated; it fostered a sense of national identity, an integrating principle at a vulnerable time for England, putting the social order in a greater context under a sovereign God.
How African American Christian music influenced Western cultural history and forever changed the world of song. What do blues, jazz, soul, R&B, rock'n'roll, folk, country, rock, pop and hip hop have in common? Their origin, their fire! Holy Blues (Gospel Blues) is the source of all the roots music we love. The history of gospel music is 400 years old; its spirit even much older, and without it we simply would not be able to be enchanted by soulful music today. Reason enough to trace this good spirit, Holy Spirit. The award-winning Swiss musician and book author Richard Koechli embarks on an adventurous journey through American cultural history and shows with countless concrete examples how high the influence of faith on the music and its producers has been throughout the centuries, how decisive and mysterious the divine dimension shapes the music at every moment. Koechli does this in a double package: as a book author with a soul stirring history trip, and as a blues artist with very personal interpretations of timeless Holy Blues songs (free download).
The essays in Sound Judgment span the full career of Richard Leppert, from his earliest to work that appears here for the first time, on subjects drawn from early modernity to the present concerning music both popular and classical, European and North American. Noted for his path-breaking interdisciplinary scholarship on music and visual culture, the collection includes key essays on music's visualization in art practices in virtually all visual media, including film. The fourteen essays comprising this volume demonstrate Leppert's many contributions to critical musicology, particularly in the areas of aesthetics as well as social and intellectual history, all of it grounded in a heterodox body of critical and cultural theory, with the work of Theodor W. Adorno particularly noteworthy. The collection is preceded by an introduction in which Leppert traces his intellectual development, defined in large part by the social, cultural, and political upheavals of the 1960s and their aftermath both in the academy and in society at large.
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