Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

In the theatre world, ‘off book’ signifies a deadline in the creative process: the date by which performers are to have memorised their lines and will no longer be allowed to carry their play script – the ‘book’ – on stage. As such, Off Book makes a strangely appropriate title for a book about devised performance in higher education. In its usual context, ‘off book’ captures the tension between ephemeral, live performance and durable, author-ized literature: in one sense, the book – the written play – is the essential core, the seed that gives the performance life and meaning. Yet the opposite could be equally true: an ‘on book’ performance would not really be a play at all, and an actor reciting lines out of a script in hand is not really acting. A play is only realised in, or through, a performance. We cannot really learn, or play, our part until we can put the book down and enter the stage without it.    Devised performance might be described as ‘theatre without the book.’ Yet devisors also often use books – books like this one, practical guidebooks and how-to manuals, as well as a myriad of literature outside the discipline mined for inspiration. This is particularly manifest when devising in the context of higher education - a milieu, like theatre, wherein books traditionally signify authority, status, and meaning. So, to the extent that theatres and campuses are places where one expects everything to be done ‘by the book,’ devising on campuses is rebellious, even sacrilegious. But on the other hand, both the theatre and the university are expected to challenge tradition, defy expectations, and conduct experiments. The book is presented in four sections reflecting the range of roles devising plays in higher education. The first section, Devising Pedagogy: Teaching Transferable Tools, examines how and why practitioners, educators, and programs conceptualise and plan for devising with adult learners in a range of higher education contexts. The second, Devising Friction: Ensembles, Individuals, and the Institution, shifts the discussion to the classroom, where abstract, pedagogical rubber meets the road of concrete reality. The third, Devising (by) Degrees, Practice-led postgraduate devising projects features contributions by emerging scholar-practitioners who engage with devising as both an object and method of creative scholarship. Finally, the chapters in Devising Bridges: University-Community Engagement explore how devising connects higher education institutions with the public they are intended to serve — particularly in populations and communities that are marginalised within, or even explicitly excluded from participating in, higher education, such as children and people with intellectual disabilities. A valuable and unique resource for drama educators in universities, university students in education, drama, and arts managements, graduate students conducting research, theatre historians, practicing devised theatre artists.

The articles here deal with liturgical music. Two topics receive special attention: the curiously negative role that musical instruments play in ancient cult music and the development of ecclesiastical song in early Christianity. The first series of articles treats classical Greek ethical notions of instruments, the status of instruments in Temple and Synagogue, and the absence of instruments from early Christian and medieval church music. The next parts trace the psalmody and hymnody of the Christian tradition, from its roots in Judaism to the origins of Gregorian chant in 7th-century Rome. Throughout, the writings of the Christian Church fathers such as Augustine, Ambrose, Basil and John Chrysostom underpin the author's analysis and presentation.

From the series examining the development of music in specific places during particular times, this book looks at ancient and medieval music, from Classical and Christian antiquity to the emergence of the Gregorian chant and the medieval town and Court.

An excellent starting point for graduate-level econometrics, this comprehensive, well-organized and well-written introductory text includes all of the major topic areas of the subject, clearly explained through concepts rather than relying on complex algebra, and carefully pitched at the right level for students who may not already have a strong background in the subject. The text also includes discussion of bootstrap inference in order to aid students in understanding inference based on exact and asymptotic distributions.