The analytic-theoretical approach to Stravinsky’s music introduced in the opening four chapters of this volume became the standard in theoretical and musicological circles during the past several decades. The features of the approach were adopted and expanded upon by numerous scholars: see Richard Taruskin, Stravinsky and the Russian Period (1996); Jonathan Cross, The Stravinsky Legacy (1998); and Stephen Walsh. Working independently from an historical perspective, Richard Taruskin came to many of the same conclusions regarding Stravinsky’s musical language. Entirely unique is the discussion of the rhythmic emphasis of Stravinsky’s music, the metrical displacement of repeated themes and chords, and the disruptive effect of displacement on the listener. Brought into play is the evolutionary history of meter and its entrainment by the listener; the concept of "sensorimotor synchronization" as advanced by the psychologist Bruno Repp, and that in turn of the "contrametric" nature of Stravinsky’s music as introduced by David Huron. Explored is the relationship between African polyrhythm, as discussed by Kofi Agawu, David Locke, and Steve Reich, to the polyrhythmic stratifications in Stravinsky’s The Rite of Spring. Of major concern are the critical and aesthetic issues arising from the interpretation and performance of Stravinsky’s music. The aesthetic views not only of Stravinsky himself but also of critics such as Theodor Adorno, Richard Taruskin, and Robert Craft are discussed at length. Accompanying the essays are over 100 musical illustrations and analytical designs, set and processed with consummate skill by Andre Mount. The essays are prefaced by a newly composed Introduction and then concluded with a lengthy unpublished chapter on the individual work and its classification; "Reflections on the Post-War years of Babbitt, Schoenberg, and Stravinsky". Interactions between the three composers are discussed, as is the relocation, by the early 1940s, of the Paris-Vienna split between Stravinsky and Schoenberg to Los Angeles, California. Even in the twilight years of their respective careers, Stravinsky and Schoenberg remained at a distance from one another.

This book addresses the ways in which individualised, market-based models of disability support provision have been mobilised in and across different countries through cross-national investigation of individualised funding (IF) as an object of neoliberal policy mobility. Combining rich theoretical and interdisciplinary perspectives with extensive empirical research, the book provides a timely examination of the policy processes and mechanisms driving the spread of IF amongst countries at the forefront of disability policy reform. It is argued that IF's mobility is not attributable to neoliberalism alone but to the complex intersections between neoliberal and emancipatory agendas and to the transnational networks that have blended the two agendas in new ways in different institutional contexts. The book shows how disability rights struggles have synchronised with neoliberal agendas, which explains IF's propensity to move and mutate between different jurisdictions. Featuring first-hand accounts of the activists and advocates engaged in these struggles, the book illuminates the consequences and risks of the dangerous liaisons and political trade-offs that seemed necessary to get individualised funding on the policy agenda for disabled people. It will be of interest to all scholars and students working in disability studies, social policy, sociology and political science more generally.

This book addresses the ways in which individualised, market-based models of disability support provision have been mobilised in and across different countries through cross-national investigation of individualised funding (IF) as an object of neoliberal policy mobility. Combining rich theoretical and interdisciplinary perspectives with extensive empirical research, the book provides a timely examination of the policy processes and mechanisms driving the spread of IF amongst countries at the forefront of disability policy reform. It is argued that IF's mobility is not attributable to neoliberalism alone but to the complex intersections between neoliberal and emancipatory agendas and to the transnational networks that have blended the two agendas in new ways in different institutional contexts. The book shows how disability rights struggles have synchronised with neoliberal agendas, which explains IF's propensity to move and mutate between different jurisdictions. Featuring first-hand accounts of the activists and advocates engaged in these struggles, the book illuminates the consequences and risks of the dangerous liaisons and political trade-offs that seemed necessary to get individualised funding on the policy agenda for disabled people. It will be of interest to all scholars and students working in disability studies, social policy, sociology and political science more generally.

Van den Toorn and McGinness take a fresh look at the dynamics of Stravinsky's musical style from a variety of analytical, critical and aesthetic angles. Starting with processes of juxtaposition and stratification, the book offers an in-depth analysis of works such as The Rite of Spring, Les Noces and Renard. Characteristic features of style, melody and harmony are traced to rhythmic forces, including those of metrical displacement. Along with Stravinsky's formalist aesthetics, the strict performing style he favoured is also traced to rhythmic factors, thus reversing the direction of the traditional causal relationship. Here, aesthetic belief and performance practice are seen as flowing directly from the musical invention. The book provides a counter-argument to the criticism and aesthetics of T. W. Adorno and Richard Taruskin, and will appeal to composers, critics and performers as well as scholars of Stravinsky's music.

We think of the Hebrew Bible as the Book--and yet it was produced by a largely nonliterate culture in which writing, editing, copying, interpretation, and public reading were the work of a professional elite. The scribes of ancient Israel are indeed the main figures behind the Hebrew Bible, and in this book Karel van der Toorn tells their story for the first time. His book considers the Bible in very specific historical terms, as the output of the scribal workshop of the Second Temple active in the period 500-200 BCE. Drawing comparisons with the scribal practices of ancient Egypt and Mesopotamia, van der Toorn clearly details the methods, the assumptions, and the material means of production that gave rise to biblical texts; then he brings his observations to bear on two important texts, Deuteronomy and Jeremiah.

Traditionally seen as the copycats of antiquity, the scribes emerge here as the literate elite who held the key to the production as well as the transmission of texts. Van der Toorn's account of scribal culture opens a new perspective on the origins of the Hebrew Bible, revealing how the individual books of the Bible and the authors associated with them were products of the social and intellectual world of the scribes. By taking us inside that world, this book yields a new and arresting appreciation of the Hebrew Scriptures.

Based on a previously unexplored source, this book transforms the way we think about the formation of Jewish identity This book tells the story of the earliest Jewish diaspora in Egypt in a way it has never been told before. In the fifth century BCE there was a Jewish community on Elephantine Island. Why they spoke Aramaic, venerated Aramean gods besides Yaho, and identified as Arameans is a mystery, but a previously little explored papyrus from Egypt sheds new light on their history. The papyrus shows that the ancestors of the Elephantine Jews came originally from Samaria. Due to political circumstances, they left Israel and lived for a century in an Aramean environment. Around 600 BCE, they moved to Egypt. These migrants to Egypt did not claim a Jewish identity when they arrived, but after the destruction of their temple on the island they chose to deploy their Jewish identity to raise sympathy for their cause. Their story-a typical diaspora tale-is not about remaining Jews in the diaspora, but rather about becoming Jews through the diaspora.

Van den Toorn and McGinness take a fresh look at the dynamics of Stravinsky's musical style from a variety of analytical, critical and aesthetic angles. Starting with processes of juxtaposition and stratification, the book offers an in-depth analysis of works such as The Rite of Spring, Les Noces and Renard. Characteristic features of style, melody and harmony are traced to rhythmic forces, including those of metrical displacement. Along with Stravinsky's formalist aesthetics, the strict performing style he favoured is also traced to rhythmic factors, thus reversing the direction of the traditional causal relationship. Here, aesthetic belief and performance practice are seen as flowing directly from the musical invention. The book provides a counter-argument to the criticism and aesthetics of T. W. Adorno and Richard Taruskin, and will appeal to composers, critics and performers as well as scholars of Stravinsky's music.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Advocates of "new musicology" claim that technical methods of music analysis are conservative, elitist, positivist, and emotionally arid. This text challenges those claims, asking why cultural, socio-political or gender-studies approaches to music should be deemed more democratic or expressive of music's content or impact. Why should music analysis be thought incapable of serving larger aesthetic ends??;pVan den Toorn confronts Susan McClary, Leo Treitler, and Joseph Kerman in particular, arguing that hands-on music analysis can penetrate the complexity of music and speak to our experience of it. He criticises new musicologists for retreating from issues of musical immediacy by focusing on cultural issues. In later chapters van den Toorn defends Schenkerian methods and demonstrates the usefulness of technical analysis in the appreciation of Beethoven, Debussy, Schoenberg and Stravinsky.