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Unlike many current approaches, this book looks at trust relations
in order to understand schooling and other social practices. Trust
relations include both what an individual is prepared to trust in
the circumstances, and what a competent practitioner in an evolving
tradition should trust. It is therefore considered whether trust
relations are more fundamental in society than those of truth or
power. Schooling has a social, as well as an education, role. As a
result, the scope of the trust relations under investigation must
range beyond the pedagogical. By expanding our understanding of the
trust relations required to create and maintain effective schooling
in particular circumstances, it may be possible for a greater
section of society to receive a good education. Issues including
curriculum, classroom management, and community relations may be
understood in a different way and help enable currently intractable
problems to be tackled more effectively. This book presents the
initial investigations of a number of authors who collaborated on
this project and was originally published as a special issue of the
journal, Educational Philosophy and Theory.
This is the first complete survey of the historical pitch standards
used by musicians during the last four centuries. Written from a
practical perspective and addressed to performers it is the first
book to attach frequency values to pitch names and describe where,
when, and why various historical pitch levels were used. It surveys
a period from the 16th century to the present and focuses on Italy,
France, Germany, the northern and southern Netherlands, and the
Habsburg Lands, following the developments in the design and
function of instruments and how they influenced and were influenced
by pitch changes. The History of Performing Pitch explores the
relationships between pitches like Chorton, Cammerton, and
Consort-Pitch and what pitch frequencies they represented at
various times and places. It also examines what effect pitch
differences had on musical notation and choice of key, and
discusses practical considerations musicians would have had to make
when transposing, especially with regards to the range of singers'
voices. What distinguishes this book from previous pitch studies is
that it has been written since the rise of the early music revival
within the context of the growing understanding of how "early"
instruments work. This development has provided a new source of
empirical information not previously available, which allows this
book to base its conclusions on a much larger and more relevant
sample than has ever been possible before. It refers to the
original pitches of some 1,382 historical instruments, including
cornetts, Renaissance flutes, traversos, recorders, clarinets,
organs, pitchpipes, and automatic instruments from all over Europe
and compares this information with music and written texts. While
this study avoids categorical answers where historical information
is not yet sufficient to justify them, it locates a number of
historical pitch levels, discovers several that were previously
unnoticed, and disproves several common myths about pitch.
Down the Up Staircase tells the story of one Harlem family across
three generations, connecting its journey to the historical and
social forces that transformed Harlem over the past century. Bruce
D. Haynes and Syma Solovitch capture the tides of change that
pushed blacks forward through the twentieth century-the Great
Migration, the Harlem Renaissance, the early civil rights
victories, the Black Power and Black Arts movements-as well as the
many forces that ravaged black communities, including Haynes's own.
As an authority on race and urban communities, Haynes brings unique
sociological insights to the American mobility saga and the tenuous
nature of status and success among the black middle class. In many
ways, Haynes's family defied the odds. All four great-grandparents
on his father's side owned land in the South as early as 1880. His
grandfather, George Edmund Haynes, was the founder of the National
Urban League and a protege of eminent black sociologist W. E. B. Du
Bois; his grandmother, Elizabeth Ross Haynes, was a noted
children's author of the Harlem Renaissance and a prominent social
scientist. Yet these early advances and gains provided little
anchor to the succeeding generations. This story is told against
the backdrop of a crumbling three-story brownstone in Sugar Hill
that once hosted Harlem Renaissance elites and later became an
embodiment of the family's rise and demise. Down the Up Staircase
is a stirring portrait of this family, each generation walking a
tightrope, one misstep from free fall.
Down the Up Staircase tells the story of one Harlem family across
three generations, connecting its journey to the historical and
social forces that transformed Harlem over the past century. Bruce
D. Haynes and Syma Solovitch capture the tides of change that
pushed blacks forward through the twentieth century-the Great
Migration, the Harlem Renaissance, the early civil rights
victories, the Black Power and Black Arts movements-as well as the
many forces that ravaged black communities, including Haynes's own.
As an authority on race and urban communities, Haynes brings unique
sociological insights to the American mobility saga and the tenuous
nature of status and success among the black middle class. In many
ways, Haynes's family defied the odds. All four great-grandparents
on his father's side owned land in the South as early as 1880. His
grandfather, George Edmund Haynes, was the founder of the National
Urban League and a protege of eminent black sociologist W. E. B. Du
Bois; his grandmother, Elizabeth Ross Haynes, was a noted
children's author of the Harlem Renaissance and a prominent social
scientist. Yet these early advances and gains provided little
anchor to the succeeding generations. This story is told against
the backdrop of a crumbling three-story brownstone in Sugar Hill
that once hosted Harlem Renaissance elites and later became an
embodiment of the family's rise and demise. Down the Up Staircase
is a stirring portrait of this family, each generation walking a
tightrope, one misstep from free fall.
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The Oboe (Paperback)
Geoffrey Burgess, Bruce Haynes
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R841
Discovery Miles 8 410
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Ships in 12 - 17 working days
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The oboe, including its earlier forms the shawm and the hautboy, is
an instrument with a long and rich history. In this book two
distinguished oboist-musicologists trace that history from its
beginnings to the present time, discussing how and why the oboe
evolved, what music was written for it, and which players were
prominent. Geoffrey Burgess and Bruce Haynes begin by describing
the oboe's prehistory and subsequent development out of the shawm
in the mid-seventeenth century. They then examine later stages of
the instrument, from the classical hautboy to the transition to a
keyed oboe and eventually the Conservatoire-system oboe. The
authors consider the instrument's place in Romantic and Modernist
music and analyze traditional and avant-garde developments after
World War II. Noting the oboe's appearance in paintings and other
iconography, as well as in distinctive musical contexts, they
examine what this reveals about the instrument's social function in
different eras. Throughout the book they discuss the great
performers, from the pioneers of the seventeenth century to the
traveling virtuosi of the eighteenth, the masters of the romantic
period and the legends of the twentieth century such as Gillet,
Goossens, Tabuteau, and Holliger. With its extensive illustrations,
useful technical appendices, and discography, this is a
comprehensive and authoritative volume that will be the essential
companion for every woodwind student and performer.
Part history, part explanation of early music, this book also plays
devil's advocate, criticizing current practices and urging
experimentation. Haynes, a veteran of the movement, describes a
vision of the future that involves improvisation, rhetorical
expression, and composition. Written for musicians and
non-musicians alike.
What is rhetorical music? In The Pathetick Musician, Bruce Haynes
and Geoffrey Burgess illustrate the vital place of rhetoric and
eloquent expression in the creation and performance of Baroque
music. Through engaging explorations of the cantatas of J.S. Bach,
the authors explode the conventional notion of historical
authenticity in music, proposing adventurous new directions to
reinvigorate the performance of early music in the modern setting.
Along the way, Haynes and Burgess investigate intersections between
music and oratory, dance, gesture, poetry, painting and sculpture,
and offer insights into figural elaboration, articulation, nuance
and temporality. Aimed primarily at performers of Baroque music,
the book situates the study of performance practice in a broader
cultural context, and as much as an invaluable resource for
advanced study, it contains a wealth of information that pertains
directly to anyone working in the field of early music. Based on a
draft sketched by celebrated Baroque oboist and early music scholar
Bruce Haynes before his death in 2011, The Pathetick Musician is
the fruit of the combined wisdom of two musicians renowned equally
for their contributions as performers and scholars. Drawing on an
impressive array of Classical treatises on oratory, musical
autographs and performance accounts, it is an essential companion
to Haynes' controversial The End of Early Music. Geoffrey Burgess
has taken up the broader claims of Haynes' philosophy to create a
practical, accessible text that will be stimulating for all
musicians interested in the rediscovery of early music. With
copious musical examples, contemporaneous works of art, and a
companion website with supplementary audio recordings, The
Pathetick Musician is an invaluable resource for all interested in
exploring new expressive possibilities in the performance and study
of Baroque music.
The Eloquent Oboe is a history of the hautboy, the oboe of the
Baroque period. It reflects recent interest in this instrument,
which was the first of the woodwinds to join with strings in
creating the new orchestra, and had by the end of the 20th century
again become a regular presence on the concert scene. Between 1640
and 1760 this type of oboe underwent dramatic changes in both
function and physical form, and the majority of its solo and
chamber repertoire appeared. Haynes examines in detail the
hautboy's structure, its players, makers, and composers, issues of
performing style and period techniques, how and where the
instrument was played, and who listened to it.
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