Originally published in 1988, this collection of essays was the first attempt by population scientists to incorporate some of the methods and materials of anthropologists into their work. The essays bridge the gap in the conceptualisation and organisation of field research by 2 sets of social scientists – demographers and social anthropologists – who share an interest in the explanation of particular patterns of population composition and change.

The first book-length study of musical education and culture in twentieth-century Oxford. Music has always played a central role in the life of Oxford, in both the city and university, through the great collegiate choral foundations, the many amateur choirs and instrumentalists, and the professional musicians regularly drawn to perform there. Oxford, with its collegiate system and centuries-long tradition of musical activity, presents a distinctive and multi-layered picture of the role of music in urban culture and university life. The chapters in this book shed light on music's unique ability to link 'town and gown', as shown by the Oxford Bach Choir, the city's many churches, and the major choral foundations. The twentieth century saw the emergence of new musical initiatives and the book traces the development of these, including the University's Faculty of Music and the University Opera Club. Further, it explores music in the newly-founded women's colleges, contrasted with the musical society formed in 1930 at University College, an ancient men's college. The work of Oxford composers, including George Butterworth, Nicola Lefanu, Edmund Rubbra, and William Walton, as well as the composer for several 'Carry on' films, Bruce Montgomery, is surveyed. Two remarkable figures, Sir Hugh Allen and Sir Jack Westrup, recur throughout the book in a variety of contexts. The volume is indispensable reading for scholars and students of musical life in twentieth-century Britain, as well as those interested generally in the history of Oxford's thriving cultural life.

Originally published in 1978, Medieval Music explores the fascinating development of medieval western music from its often obscure origins in the Jewish synagogue and early Church, to the mid-fifteenth century. The book is intended as a straightforward survey of medieval music and emphases the technical aspects such as form, style and notation. It is illustrated by nearly one hundred musical examples, the majority of which have been transcribed from original sources and many of which contains chapters on Latin chant and other forms of sacred monophony, secular song, early polyphony, the ars antiqua, French and Italian fourteenth-century music, English music, and fifteenth-century music. Each chapter is followed by a classified bibliography divided into musical sources, literary sources and modern studies; in addition to a comprehensive bibliography.

Originally published in 1978, Medieval Music explores the fascinating development of medieval western music from its often obscure origins in the Jewish synagogue and early Church, to the mid-fifteenth century. The book is intended as a straightforward survey of medieval music and emphases the technical aspects such as form, style and notation. It is illustrated by nearly one hundred musical examples, the majority of which have been transcribed from original sources and many of which contains chapters on Latin chant and other forms of sacred monophony, secular song, early polyphony, the ars antiqua, French and Italian fourteenth-century music, English music, and fifteenth-century music. Each chapter is followed by a classified bibliography divided into musical sources, literary sources and modern studies; in addition to a comprehensive bibliography.

Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions. British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.

This updated edition includes fatigue and sleep definitions as well as strategies for the measurement and assessment of fatigue. The aviation performance, mood, and safety problems associated with sleep restriction and circadian disruptions in operational settings are highlighted. The biological bases of fatigue are discussed so that the reader can understand that it is a real physiological phenomenon and not 'just a state of mind'. Both traditional and newly-developed scientifically-valid countermeasures are presented, and a variety of data from diverse sources are included to provide readers with a 'toolbox' from which they can choose the best solutions for the fatigue-related problems that exist in their unique operational context. In addition, an essential overview of Fatigue Risk Management Systems is included to provide the basic structure necessary to build and validate a modern, integrated approach to successful fatigue management. The book is of interest to aviation crews in both civilian and military sectors--managers as well as pilots, flight crews, and maintainers. It aims to be user-friendly, although scientific information is included to help the reader fully understand the 'fatigue phenomenon' from an evidence-based perspective as well as to enhance the reader's appreciation for the manner in which various counter-fatigue interventions are helpful.

Long considered a leading literary figure of the Old South, William Gilmore Simms (1806-1870) wrote letters, novels, short fiction, drama, essays, and poetry in his prolific career. Born in Charleston to an old South Carolina family of modest means and raised by a grandmother with whom his father left him after his mother's death, Simms felt a simultaneous sense of loyalty to and alienation from his native region. He was a major intellectual figure on the East Coast before the Civil War but saw his New York publishers abandon him after secession, of which he was a vocal supporter.

Simms's novels and poetry have been published in modern editions, and he has been the subject of numerous biographies and critical studies, but until now there has been no collection covering the broad spectrum of his writings. The Simms Reader presents a selection of his nonnovelistic work--letters, short fiction, essays, historical writings, poetry, and epigrams--chosen and introduced by the preeminent Simms scholar John Caldwell Guilds.