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.

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.

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.

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.

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.

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.

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.