This study examines the hundreds of secular and religious buildings, urban residential and commercial foundations, and public monuments commissioned in Lucknow and Oudh between 1722 and 1856 by the fabulously rich Nawabs of Oudh and their Court, the English East India Company, and others.

As one of the most popular classical composers in the performance repertoire of professional and amateur orchestras and choirs across the world, Gustav Mahler continues to generate significant interest, and the global appetite for his music, and for discussions of it, remains large. Editor Jeremy Barham brings together leading and emerging scholars in the field to explore Mahler's relationship with music, media, and ideas past and present, addressing issues in structural analysis, performance, genres of stage, screen and literature, cultural movements, aesthetics, history/historiography and temporal experience. Rethinking Mahler counterbalances prevailing scholarly assumptions and preferences that configure Mahler as proto-modernist, with hitherto neglected consideration of his debt to, and his re-imagining of, the legacies of his own historical past. Over the course of 17 chapters drawing from a variety of disciplinary perspectives, the book pursues ideas of nostalgia, historicism and 'pastness' in relation to an emergent modernity and subsequent musical-cultural developments, yielding a wide-ranging exploration and re-evaluation of Mahler's works, their historical reception and understanding, and their resounding impact within diverse cultural contexts. Rethinking Mahler will be an essential resource for scholars and students of Mahler and late Romantic era music more generally, and will also find an audience among the many devotees of Mahler's music.

The illustrated biography of a Scottish country house, set beside the River Clyde, and of the people who made it their home over the past 850 years Written by four brothers, their sister and the eldest member of the next generation, Finlaystone offers an insidersa view of the house, its beautiful gardens and the surrounding estate. They tell about the lives of its former owners, many of whom played prominent roles in Scottish military, political, religious and cultural affairs. As Scotland moved forward from centuries of feuds between large feudal landowners to the reformation, the age of enlightenment and the industrial revolution, the building evolved from a fortress to a modest but attractive family home in 1746. Its present form as an imposing late Victorian mansion dates from when it was modernised and extended in 1900 by George Jardine Kidston, the great-grandfather of the older authors, who had grown wealthy from running one of the worlda s earliest steamship companies. In its hey-day, Finlaystone was managed for the comfort and leisure of its owners by a bevy of household servants living in a wing of the house, and by an army of workers, including gardeners, foresters, game-keepers, joiners and a laundry-maid. The prosperity that had made such a lavish life possible, however, soon started to decline, with George Kidstona s death in 1909, followed just 5 years later by war, the economic depression in the 1930s, and then World War II. Unlike many other large country houses, Finlaystone remains a family home, kept afloat largely by the hard work and adaptability of the members of the family who reflect in this book on the joys and travails that this implied.

This book tells the story of Vicky and Anthony and life in the glamorous world of ballroom dancing. All proceeds from sales will go to a homeless charity.

Long-time art critic Richard Dorment reveals the corruption and lies of the art world and its mystifying authentication process. Late one afternoon in the winter of 2003 art critic Richard Dorment answered a telephone call from a stranger. The caller was Joe Simon, an American film producer and art collector. He was ringing at the suggestion of David Hockney, his neighbour in Malibu. A committee of experts called the Andy Warhol Art Authentication Board had declared the two Warhols in his collection to be fake. He wanted to know why and thought Dorment could help. This call would mark the beginning of an extraordinary story that would play out over the next ten years and would involve a cast of characters straight out of fiction. From rock icons and film stars; art dealers and art forgers; to a murdered Russian oligarch and a lawyer for the mob; from courtrooms to auction houses: all took part in a bitter struggle to prove the authenticity of a series of paintings by the most famous American artist of the twentieth century. Part detective story, part art history, part memoir, part courtroom drama, Warhol After Warhol is a spellbinding account of the dark connection between money, power and art.

General music is informed by a variety of teaching approaches and methods. These pedagogical frameworks guide teachers in planning and implementing instruction. Established approaches to teaching general music must be understood, critically examined, and possibly re-imagined for their potential in school and community music education programs. Teaching General Music brings together the top scholars and practitioners in general music education to create a panoramic view of general music pedagogy and to provide critical lenses through which to view these frameworks. The collection includes an examination of the most prevalent approaches to teaching general music, including Dalcroze, Informal Learning, Interdisciplinary, Kodaly, Music Learning Theory, Orff Schulwerk, Social Constructivism, and World Music Pedagogy. In addition, it provides critical analyses of general music and teaching systems, in light of the ways children around the world experience music in their lives. Rather than promoting or advocating for any single approach to teaching music, this book presents the various approaches in conversation with one another. Highlighting the perceived and documented benefits, limits, challenges, and potentials of each, Teaching General Music offers myriad lenses through which to re-read, re-think, and re-practice these approaches.

The Universal Edition is designed for all English-speaking countries outside of the United States, including Canada, the U. K. and Australia. This edition uses the British system of terminology for rhythmic values such as "crotchet" for quarter note. This course is most effective when used under the direction of a piano teacher or experienced musician.

These discussions between legendary painter, film-maker, and poet Marcus Reichert and Edward Rozzo, professor of photographic semantics and visual culture and renowned professional photographer, are a revelation for their intimacy and honesty. Reflecting on subjects as diverse as technique, eroticism, spirituality, and the dictates of an increasingly powerful bureaucracy of galleries and museums, Reichert and Rozzo come to some startling and compelling conclusions. Generously illustrated in colour with works by such visionary artists as Antonin Artaud, Francis Bacon, Nan Goldin, and William Eggleston, ART & EGO is essential reading for anyone drawn to confessional writing of a disarming and amusing nature.

In every year since the formation of The Royal Corps of Signals in 1920, its officers and soldiers have been formally recognised for their gallantry and distinguished services on operations across the globe and their vital contribution to the wider tasks undertaken by the British Army. Published by the Royal Signals Institution in celebration of the 2020 centennial this volume records all honours, decorations, and medals awarded since 1920. It includes a wealth of long-forgotten and rarely-seen material and it also records many hundreds of awards that acknowledge the complexity of Royal Signals in its early years-its inextricable link to the Indian Signal Corps; the interweaving of units and personnel from across the Commonwealth during the Second World War and in Korea, Malaya, and Borneo; the role played by Queen's Gurkha Signals and by locally recruited personnel from Palestine, Malaya, Hong Kong, and Malta; and the crucial contribution made by women from the Auxiliary Territorial Service during the Second World War and the Women's Royal Army Corps in the post-Second World War period. The volume comprises three parts. To put the operational awards in context, Section One takes a chronological tour through the history of Royal Signals in three eras-the campaigns of the inter-war years, the Second World War, and global conflict and insurgency since 1945. Other chapters deal with non-combatant gallantry and exploration. With many awards no longer available and unfamiliar to many readers in the present-day, Section Two describes the various honours, decorations, and medals in three sub-sections-awards for bravery, awards for distinguished service, and the Mention in Despatches and the various King's and Queen's commendations for bravery and valuable service. The origin and use of each award are explained briefly, and detail is given about the number conferred; many of these chapters contain biographical details of the recipients. Section Three comprises the Register of Awards. It includes 682 honours, decorations, and medals for gallantry (the recommendations or citations for which are replicated in full), and 2,582 appointments to the various orders of chivalry and awards of the British Empire Medal, the Queen's Volunteer Reserves Medal, and the Polar Medal. It also records the recipients of a little under 6,200 mentions in despatches, 36 King's and Queen's Commendations for Bravery or Brave Conduct, 109 Queen's Commendations for Valuable Service, and a multitude of foreign awards. The Register is supported by ten appendices. Six record recipients from the various Empire and Commonwealth signal units linked to Royal Signals in time of conflict or war. The others document awards to personnel of the various women's services; to Queen's Gurkha Signals and to locally enlisted personnel from Malaya, Hong Kong and Malta; to military and civilian personnel attached to Royal Signals; and those recognised by the Royal Signals Institution.

Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage and Gertrude Stein. The films discussed span the sixty years since the Second World War. With three chapters each devoted to Stan Brakhage and Robert Beavers, two each to Hollis Frampton and Jonas Mekas, and single chapters on Marie Menken, Ian Hugo, Andrew Noren, Warren Sonbert, Su Friedrich, Ernie Gehr, and Abigail Child, Eyes Upside Down is the fruit of Sitney's lifelong study of visionary aspirations of the American avant-garde cinema. Sitney's earlier book and critical essays defined the field of serious criticism of the American film avant-garde. He supplies a unique approach, critical, formal and intellectual, rather than sociological, ideological or institutional. Like his earlier book, Eyes Upside Down is a dense, sustained blast of convincing criticism which unfolds through a compelling personal vision. It makes a serious contribution to cinema studies and it is sure to remain in circulation for many years to come.

The Great American Songbooks shows how popular music shapes and permeates a host of modernism's hallmark texts. Austin Graham begins his study of 20th-century texts with a discussion of American popular music and literature in the 19th century. He posits Walt Whitman as a proto-modernist who drew on his love of opera to create the epic free-verse poetry that would heavily influence his bardic successors. One can witness this in T. S. Eliot, whose poem The Waste Land relies on Whitman's verse style to emphasize how 19th-century structures of feeling regarding music persist into the 20th century. From opera and standards of the Victorian musical hall, Graham moves to the blues to reveal the multifaceted ways it shaped works in the Harlem Renaissance, most notably in the verse of Langston Hughes and Jean Toomer's stream-of-consciousness masterpiece, Cane. The second half of Songbooks advances an argument for a musical eclecticism that arose alongside rapid industrialization. Writers like Scott Fitzgerald and John Dos Passos, Graham argues, developed a notion of musical eclecticism to help them process-or cope-with the unprecedented invasiveness of popular music, particularly in major cities. This eclecticism runs counter to critics like Adorno who equate popular music with mass produced mechanisms such as the phonograph and radio, and thus with degraded, cultural forms. In conclusion, Graham suggests how modernist writers experienced, and sometimes theorized, a more nuanced, sophisticated, and fluid mode of interaction with popular music.

The recording includes the title song, one of the Group's best known.

The career of a Fleet Street photographer can be made or stalled in an instant...the millisecond it takes for the camera shutter to capture an iconic image that speaks a thousand words or just yet another frame destined to be discarded on the darkroom floor. Stephen allows the photographs to speak for themselves but brilliantly lets us in on some of the circumstances, opportunities and fortune that framed the story behind the story. Charles Wilson Editor of The Times 1985-1990 Stephen Markeson is, undoubtedly, one of the legendary photojournalists of the golden era of Fleet Street and his lens a witness to the making of history. Ron Morgans Picture editor Daily Express 1967-73, Today 1985-93, Daily Mirror 1993-2000.