The biggest challenges in public health today are often related to attitudes, diet and exercise. In many ways, this marks a return to the state of medicine in the eighteenth century, when ideals of healthy living were a much more central part of the European consciousness than they have become since the advent of modern clinical medicine. Enlightenment advice on healthy lifestyle was often still discussed in terms of the six non-naturals - airs and places, food and drink, exercise, excretion and retention, and sleep and emotions. This volume examines what it meant to live healthily in the Enlightenment in the context of those non-naturals, showing both the profound continuities from Antiquity and the impact of newer conceptions of the body. Chapter 8 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com/books/e/9780429465642

In recent decades, the relationship between music, emotions, health and well-being has become a hot topic. Scientific research and new neuro-imaging technologies have provided extraordinary new insights into how music affects our brains and bodies, and researchers in fields ranging from psychology and music therapy to history and sociology have turned their attention to the question of how music relates to mind, body, feelings and health, generating a wealth of insights as well as new challenges. Yet this work is often divided by discipline and methodology, resulting in parallel, yet separate discourses. In this context, The Routledge Companion to Music, Mind and Well-being seeks to foster truly interdisciplinary approaches to key questions about the nature of musical experience and to demonstrate the importance of the conceptual and ideological frameworks underlying research in this field. Incorporating perspectives from musicology, history, psychology, neuroscience, music education, philosophy, sociology, linguistics and music therapy, this volume opens the way for a generative dialogue across both scientific and humanistic scholarship. The Companion is divided into two sections. The chapters in the first, historical section consider the varied ways in which music, the emotions, well-being and their interactions have been understood in the past, from Antiquity to the twentieth century, shedding light on the intellectual origins of debates that continue today. The chapters in the second, contemporary section offer a variety of current scientific perspectives on these topics and engage wider philosophical problems. The Companion ends with chapters that explore the practical application of music in healthcare, education and welfare, drawing on work on music as a social and ecological phenomenon. Contextualising contemporary scientific research on music within the history of ideas, this volume provides a unique overview of what it means to study music in relation to the mind and well-being.

Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.

Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.

The biggest challenges in public health today are often related to attitudes, diet and exercise. In many ways, this marks a return to the state of medicine in the eighteenth century, when ideals of healthy living were a much more central part of the European consciousness than they have become since the advent of modern clinical medicine. Enlightenment advice on healthy lifestyle was often still discussed in terms of the six non-naturals - airs and places, food and drink, exercise, excretion and retention, and sleep and emotions. This volume examines what it meant to live healthily in the Enlightenment in the context of those non-naturals, showing both the profound continuities from Antiquity and the impact of newer conceptions of the body. Chapter 8 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com/books/e/9780429465642

In recent decades, the relationship between music, emotions, health and well-being has become a hot topic. Scientific research and new neuro-imaging technologies have provided extraordinary new insights into how music affects our brains and bodies, and researchers in fields ranging from psychology and music therapy to history and sociology have turned their attention to the question of how music relates to mind, body, feelings and health, generating a wealth of insights as well as new challenges. Yet this work is often divided by discipline and methodology, resulting in parallel, yet separate discourses. In this context, The Routledge Companion to Music, Mind and Well-being seeks to foster truly interdisciplinary approaches to key questions about the nature of musical experience and to demonstrate the importance of the conceptual and ideological frameworks underlying research in this field. Incorporating perspectives from musicology, history, psychology, neuroscience, music education, philosophy, sociology, linguistics and music therapy, this volume opens the way for a generative dialogue across both scientific and humanistic scholarship. The Companion is divided into two sections. The chapters in the first, historical section consider the varied ways in which music, the emotions, well-being and their interactions have been understood in the past, from Antiquity to the twentieth century, shedding light on the intellectual origins of debates that continue today. The chapters in the second, contemporary section offer a variety of current scientific perspectives on these topics and engage wider philosophical problems. The Companion ends with chapters that explore the practical application of music in healthcare, education and welfare, drawing on work on music as a social and ecological phenomenon. Contextualising contemporary scientific research on music within the history of ideas, this volume provides a unique overview of what it means to study music in relation to the mind and well-being.

Guy Hamilton's classic war film looks at how England defended itself from the German aerial onslaught of the summer of 1940. Laurence Olivier plays Sir Hugh Dowding, the air chief marshal whose fleet outmanouevre the Luftwaffe, despite a numerical disadvantage; and those few to whom so many owed so much are portrayed by an all-star cast including Michael Caine, Kenneth More and Ralph Richardson. Despite its pro-British slant, the authenticity of the film's impressive flying sequences was guaranteed by the technical advice of Adolf Galland, one of the Nazi's most celebrated World War 2 pilots.

Lt. Colonel Jock Sinclair is a rough talking, whisky drinking soldier's soldier, a hero of the desert campaign who rose to his position through the ranks. Colonel Barrow, an officer graduate of Oxford and Sandhurst, had a wretched war in Japanese prison camps. But he has come to take command of the Battalion he has long admired, the one that Jock Sinclair has served in since he was a boy. In the claustrophobic world of Campbell barracks, a conflict is inevitable between the two men and a tragedy unfolds with concentrated and ferocious power. James Kennaway served in a Highland regiment himself, and his feeling for 'tunes of glory, for the glamour and brutality of army life gives added authenticity and humour to this, his first and most famous novel. He died in a car crash at the tragically early age of forty.