This is a book guaranteed to make waves. It skilfully weaves the story of one key musical figure into the story of one key institution, which it then weaves into the general story of music in eighteenth-century England. Anyone reading it will come away with fresh knowledge and perceptions - plus a great urge to hear Cooke's music.' Michael Talbot, Emeritus Professor of Music at the University of Liverpool and Fellow of the British Academy. Amidst the cosmopolitan, fashion obsessed concert life of later eighteenth century London there existed a discrete musical counterculture centred round a club known as the Academy of Ancient Music. Now largely forgotten, this enlightened school of musical thinkers sought to further music by proffering an alternative vision based on a high minded intellectual curiosity. Perceiving only ear-tickling ostentation in the showy styles that delighted London audiences, they aspired to raise the status of music as an art of profound expression, informed by its past and founded on universal harmonic principles. Central to this group of musical thinkers was the modest yet highly accomplished musician-scholar Benjamin Cooke, who both embodied and reflected this counterculture. As organist of Westminster Abbey and conductor of the Academy of Ancient Music for much of the second half of the eighteenth century, Cooke enjoyed prominence in his day as a composer, organist, teacher, and theorist. This book shows how, through his creativity, historicism and theorising, Cooke was instrumental in proffering an Enlightenment-inspired reassessment of musical composition and thinking at the Academy. The picture portrayed counters the current tendency to dismiss eighteenth-century English musicians as conservative and provincial. Casting new and valuable light on English musical history and on Enlightenment culture more generally, this book reveals how the agenda for musical advancement shared by Cooke and his Academy associates foreshadowed key developments that would mould European music of the nineteenth century and after. It includes an extensive bibliography, a detailed overview of the Cooke Collection at the Royal College of Music and a complete list of Cooke's works. TIM EGGINGTON is College Librarian at Queens' College, Cambridge.
This is a book guaranteed to make waves. It skilfully weaves the story of one key musical figure into the story of one key institution, which it then weaves into the general story of music in eighteenth-century England. Anyone reading it will come away with fresh knowledge and perceptions - plus a great urge to hear Cooke's music.' Michael Talbot, Emeritus Professor of Music at the University of Liverpool and Fellow of the British Academy. Amidst the cosmopolitan, fashion obsessed concert life of later eighteenth century London there existed a discrete musical counterculture centred round a club known as the Academy of Ancient Music. Now largely forgotten, this enlightened school of musical thinkers sought to further music by proffering an alternative vision based on a high minded intellectual curiosity. Perceiving only ear-tickling ostentation in the showy styles that delighted London audiences, they aspired to raise the status of music as an art of profound expression, informed by its past and founded on universal harmonic principles. Central to this group of musical thinkers was the modest yet highly accomplished musician-scholar Benjamin Cooke, who both embodied and reflected this counterculture. As organist of Westminster Abbey and conductor of the Academy of Ancient Music for much of the second half of the eighteenth century, Cooke enjoyed prominence in his day as a composer, organist, teacher, and theorist. This book shows how, through his creativity, historicism and theorising, Cooke was instrumental in proffering an Enlightenment-inspired reassessment of musical composition and thinking at the Academy. The picture portrayed counters the current tendency to dismiss eighteenth-century English musicians as conservative and provincial. Casting new and valuable light on English musical history and on Enlightenment culture more generally, this book reveals how the agenda for musical advancement shared by Cooke and his Academy associates foreshadowed key developments that would mould European music of the nineteenth century and after. It includes an extensive bibliography, a detailed overview of the Cooke Collection at the Royal College of Music and a complete list of Cooke's works. TIM EGGINGTON is College Librarian at Queens' College, Cambridge.
In recent years increasing attention has been paid to issues of social exclusion and the problematic transition from youthful dependence to adult independence. Often this has had severe consequences, ranging from under achievement and disruptive behaviour in school, through the misuse of alcohol and drugs, to serious or persistent offending. Seeking to address these issues has become a major focus of public policy and a variety of forms of intervention with disaffected youth have been set up. One of the most talked about forms of intervention with disaffected youth has been 'mentoring'. This book, based on a large-scale research study, examines the lives of a large group of 'disaffected' young people, and considers the impact that involvement in a mentoring programme had on them. In doing so it fills a large gap, providing empirical evidence on the effectiveness of mentoring programmes, providing at the same time a vivid insight into the nature of such disaffection, the realities of contemporary social exclusion among young people and the experience and outcome of mentoring.
In Service is the tale of one person's journey into manhood, ultimately finding himself in the theatre of war. It is a journey littered with colourful anecdotes and diverse experience: from military training in the Guards Depot to Trooping the Colour; from academic failure to intelligence work in Northern Ireland; from helping Rudolf Hess out of an ambulance to being tasked with taking the Queen's portrait. Tim Rees colours every experience with profound and often idiosyncratic observations that offer the reader a taste of the sometimes humorous, often arduous and, on too many occasions, brutal reality of service. But, as Tim says, 'The positive effect is the bond of common experience I share with men with whom I served in the army' - a type of bond that, in his opinion, is in danger of being lost in the modern age.
AMERICA’S #1 BESTSELLING TELEVISION BOOK WITH MORE THAN HALF A MILLION COPIES IN PRINT– NOW REVISED AND UPDATED! PROGRAMS FROM ALL SEVEN COMMERCIAL BROADCAST NETWORKS, MORE THAN ONE HUNDRED CABLE NETWORKS, PLUS ALL MAJOR SYNDICATED SHOWS! This is the must-have book for TV viewers in the new millennium–the entire history of primetime programs in one convenient volume. It’s a guide you’ll turn to again and again for information on every series ever telecast. There are entries for all the great shows, from evergreens like The Honeymooners, All in the Family, and Happy Days to modern classics like 24, The Office, and Desperate Housewives; all the gripping sci-fi series, from Captain Video and the new Battle Star Galactica to all versions of Star Trek; the popular serials, from Peyton Place and Dallas to Dawson’s Creek and Ugly Betty; the reality show phenomena American Idol, Survivor, and The Amazing Race; and the hits on cable, including The Daily Show with Jon Stewart, Top Chef, The Sopranos, Curb Your Enthusiasm, Project Runway, and SpongeBob SquarePants. This comprehensive guide lists every program alphabetically and includes a complete broadcast history, cast, and engaging plot summary–along with exciting behind-the-scenes stories about the shows and the stars. MORE THAN 500 ALL-NEW LISTINGS from Heroes and Grey’s Anatomy to 30 Rock and Nip/Tuck UPDATES ON CONTINUING SHOWS such as CSI, Gilmore Girls, The Simpsons, and The Real World EXTENSIVE CABLE COVERAGE with more than 1,000 entries, including a description of the programming on each major cable network AND DON’T MISS the exclusive and updated “Ph.D. Trivia Quiz” of 200 questions that will challenge even the most ardent TV fan, plus a streamlined guide to TV-related websites for those who want to be constantly up-to-date SPECIAL FEATURES! • Annual program schedules at a glance for the past 61 years • Top-rated shows of each season • Emmy Award winners • Longest-running series • Spin-off series • Theme songs • A fascinating history of TV “This is the Guinness Book of World Records . . . the Encyclopedia Britannica of television!” –TV Guide
England is well known as the only Protestant state not to introduce divorce in the sixteenth-century Reformation. Only at the end of the seventeenth century did divorce by private act of parliament become available for a select few men and only in 1857 did the Divorce Act and its creation of judicial divorces extend the possibility more broadly. Aspects of the history of divorce are well known from studies which typically privilege the records of the church courts that claimed a monopoly on marriage. But why did England alone of all Protestant jurisdictions not allow divorce with remarriage in the era of the Reformation, and how did people in failed marriages cope with this absence? One part of the answer to the first question, Kesselring and Stretton argue, and a factor that shaped people's responses to the second, lay in another distinctive aspect of English law: its common-law formulation of coverture, the umbrella term for married women's legal status and property rights. The bonds of marriage stayed tightly tied in post-Reformation England in part because marriage was as much about wealth as it was about salvation or sexuality, and English society had deeply invested in a system that subordinated a wife's identity and property to those of the man she married. To understand this dimension of divorce's history, this study looks beyond the church courts to the records of other judicial bodies, the secular courts of common law and equity, to bring fresh perspective to a history that remains relevant today.
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