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This pocket-sized collection of helpful guidance and satisfying
recipes will help students eat well and affordably Every student
needs to fill their belly as well as their brain. But even if you
can barely make toast, this starter guide to killing it in the
kitchen will give you what you need to succeed. From the very
basics through to more adventurous dishes, whether you're a vegan
or an omnivore, these recipes are budget-friendly, super tasty and
easy to make. Inside, along with plenty of vegetarian and
vegan-friendly options, you'll find: - Basic, easy-to-follow advice
on what you need to start cooking - Breakfast recipes and smoothies
- Soups and starters - Mains and salads - Snacks and midnight
cravings - Sweet treats and desserts And the reliable recipes in
these pages include the following dishes and many more: - Spaghetti
Bolognese - Garlic bread - Pork or vegetable stir-fry - Teriyaki
salmon - Chicken curry - Avocado salad - Chocolate brownies -
Low-fat banana muffins
Since 1945 the emphasis in new music has lain in a desire for
progress, a concept challenged by postmodernist aesthetics. In this
study, Alastair Williams identifies and explores the recurring
issues and problems presented by post-war music. Part one examines
the German philosopher, Theodor Adorno's portrayal of modernity and
his understanding of modernism in music. This is followed by a
survey of the developments in music from late Beethoven to
Schoenberg, the two composers whose works provided the main anchor
points for Adorno's philosophy of music. Parts two and three
indicate the ways in which Adorno's aesthetics are pertinent to an
understanding of new music. Part two comprises a close examination
of the music of Pierre Boulez and John Cage, composers who
represent extreme, though related, aspects of contemporary music
thought: the primacy of structure versus dissolution. Williams'
views the music of Ligeti as an exploration of the interface
between these two extremes, personifying Adorno's advocation of an
aesthetic which attempts to embrace all its dissimilar parts. In
part three the consequences of modernism and the aesthetic
approaches of Derrida and de Mann are considered, together with the
music of Wolfgang Rihm. Williams concludes with a survey of
contemporary music and the postmodernist desire to include a range
of compositional references.
'Understanding the Hospitality Consumer' presents a unique
perspective on consumer behaviour in the hospitality sector. It
seeks to focus on the role of consumption in hospitality and to
investigate our understanding of its place in the contemporary
industry. Taking the view that successful marketing demands
focusing on the customer, this text concentrates on understanding
and determining customer needs, relevant factors in consumer buying
behaviour and the effectiveness of today's marketing techniques.
Using industry based case studies and examples 'Understanding the
Hospitality Consumer' : * Introduces and explores the role of
consumer behaviour theory in the context of hospitality management
* Discusses the principles and research of consumer behaviour and
illustrates how they are used in the hospitality industry today *
Examines the value of consumer behaviour research as applied to the
contemporary hospitality industry * Explores the challenges to
traditional approaches to consumption posed by the postmodern
hospitality consumer The book's targeted focus and practical
application ensures that it is well suited for both students and
practising managers in the hospitality field.
Since 1945 the emphasis in new music has lain in a desire for
progress, a concept challenged by postmodernist aesthetics. In this
study, Alastair Williams identifies and explores the recurring
issues and problems presented by post-war music. Part one examines
the German philosopher, Theodor Adorno's portrayal of modernity and
his understanding of modernism in music. This is followed by a
survey of the developments in music from late Beethoven to
Schoenberg, the two composers whose works provided the main anchor
points for Adorno's philosophy of music. Parts two and three
indicate the ways in which Adorno's aesthetics are pertinent to an
understanding of new music. Part two comprises a close examination
of the music of Pierre Boulez and John Cage, composers who
represent extreme, though related, aspects of contemporary music
thought: the primacy of structure versus dissolution. Williams'
views the music of Ligeti as an exploration of the interface
between these two extremes, personifying Adorno's advocation of an
aesthetic which attempts to embrace all its dissimilar parts. In
part three the consequences of modernism and the aesthetic
approaches of Derrida and de Mann are considered, together with the
music of Wolfgang Rihm. Williams concludes with a survey of
contemporary music and the postmodernist desire to include a range
of compositional references.
'Understanding the Hospitality Consumer' presents a unique
perspective on consumer behaviour in the hospitality sector. It
seeks to focus on the role of consumption in hospitality and to
investigate our understanding of its place in the contemporary
industry. Taking the view that successful marketing demands
focusing on the customer, this text concentrates on understanding
and determining customer needs, relevant factors in consumer buying
behaviour and the effectiveness of today's marketing
techniques.Using industry based case studies and examples
'Understanding the Hospitality Consumer': * Introduces and explores
the role of consumer behaviour theory in the context of hospitality
management* Discusses the principles and research of consumer
behaviour and illustrates how they are used in the hospitality
industry today* Examines the value of consumer behaviour research
as applied to the contemporary hospitality industry* Explores the
challenges to traditional approaches to consumption posed by the
postmodern hospitality consumerThe book's targeted focus and
practical application ensures that it is well suited for both
students and practising managers in the hospitality field.
This title was first published in 2001: Unlike many other academic
disciplines, musicology has been somewhat reluctant to explore the
possibilities that critical theory might offer to our understanding
of music and the ways in which we study it. In recent years,
however, both the general impact of theory on humanities research
and the wider repertoires now studied on music degree courses have
urged a paradigm shift in musicology. Looking at both these trends,
Alastair Williams examines and explains the theoretical issues
raised by different musics, including the Western canon, popular
music, folk music and music by women. A theoretically informed
musicology, he argues, can reflect on its own procedures and create
strategies for particular problems as they arise. In this sense the
book offers a musicology under construction. To appreciate how
theoretical discourses function and the interests they serve, it is
important to understand their roots. Chapter One begins with a
presentation of traditional musicology in the context of Joseph
Kerman's call for a shift from fact-finding to critical
interpretation. Discussion then moves to the scrutiny of the
bourgeois tradition by Adorno and Dahlhaus. Chapter Two explores
Kerman's critique of structural analysis, together with the impact
of poststructuralism on musicology. Awareness of new repertoire and
its consequences becomes evident as the book unfolds, with Chapter
Three considering music by women and examining how gender is
constructed in music. Chapter Four extends this discussion to the
field of popular music and the ways in which this genre negotiates
identity. Challenges to the dominant values are further explored as
Chapter Five looks at how non-European cultures are presented in
European music and reflects on perceptions of self and other in
ethnomusicology. Chapter Six charts the emergence of modern
subjectivity and its formations in music, arguing that musicology
should not lose sight of modernity's critical resources.
Crammed full of fabulous foodie facts and seasoned liberally with
the choicest quotes from classic and contemporary writing, this is
an ideal gift to be savoured between meals or tucked into as a
bedtime treat.
Music in Germany since 1968 modifies the dominant historiography of
music in post-war Germany by shifting its axis from the years of
reconstruction after 1945 to the era following the events of 1968.
Arguing that the social transformations of 1968 led to a new phase
of music in Germany, Alastair Williams examines the key topics,
including responses to serialism, music and politics, and the
re-evaluation of tradition. The book devotes central chapters to
Helmut Lachenmann and Wolfgang Rihm, as focal points for areas such
as postmodernism, musical semiotics and action-based gestures.
Further chapters widen the scope by considering the precursors and
contemporaries of Rihm and Lachenmann, especially in relation to
the idea of historical inclusion. Williams's study also assesses
the development of the Darmstadt summer courses, addresses the
significance of German reunification, and considers the role of
Germany in a new stage of musical modernism.
Music in Germany since 1968 modifies the dominant historiography of
music in post-war Germany by shifting its axis from the years of
reconstruction after 1945 to the era following the events of 1968.
Arguing that the social transformations of 1968 led to a new phase
of music in Germany, Alastair Williams examines the key topics,
including responses to serialism, music and politics, and the
re-evaluation of tradition. The book devotes central chapters to
Helmut Lachenmann and Wolfgang Rihm, as focal points for areas such
as postmodernism, musical semiotics and action-based gestures.
Further chapters widen the scope by considering the precursors and
contemporaries of Rihm and Lachenmann, especially in relation to
the idea of historical inclusion. Williams's study also assesses
the development of the Darmstadt summer courses, addresses the
significance of German reunification, and considers the role of
Germany in a new stage of musical modernism.
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