Following on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) tthis collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history-notably c.1759-c.1800-which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.

Following James Tyler's earlier introduction to the history, repertory, and playing techniques of the four- and five-course guitar (The Early Guitar, OUP 1980), which performers and scholars of Renaissance and Baroque guitar and lute music and classical guitarists found valuable and enlightening, this new book, written in collaboration with Paul Sparks and incorporating the latest ideas and research, is an authoritative guide to the history and repertory of the guitar from the Renaissance to the dawn of the Classical era.

A career-spanning collection of published and unpublished writings Catherine Malabou is one of the foremost, most innovative intelligences working in contemporary French philosophy today. Her work articulates a coherent conceptualisation of 'plasticity' by merging recent neurobiology and medicinal sciences with the history of philosophy and political theory.Across the essays gathered in Plasticity: The Promise of Explosion, Malabou carves a philosophical space between structuralism, deconstruction, cognitive psychology, psychoanalysis and speculative realism. By demonstrating the plastic transformability at the heart of these disciplines, a change that always promises future explosion, Malabou, as a female philosopher, also articulates the need to 'change difference' within patriarchal concepts of tradition itself.The collection is divided into four thematic parts, each of which showcases a major aspect of Malabou's conceptualisation of plasticity. In his introduction, Ian James situates Malabou's work within contemporary philosophy and navigates the contours of her unique work.

The name "mandolin" was used to refer to two quite different instruments: the gut-stringed mandolino, played with the fingers, and the later metal-stringed Neapolitan mandoline, which was played with a plectrum. This is the first book devoted exclusively to these two early instruments about which information in reference books is scant and often erroneous. The authors uncover their rich and varied musical history, examining contemporary playing techniques and revealing the full extent of the instruments' individual repertories, which include works by Vivaldi, Sammartini, Stamitz, and Beethoven. The book's ultimate aim is to help today's players to produce artistically satisfying performances through an understanding of the nature and historical playing style of these unjustly neglected instruments.

An Unabridged, Digitally Enlarged Edition To Include Lectures: The Sick - The Ideal Cure - What The Physician Must Perceive - Fixed Principles - Law And Government From Center - Discrimination As To Maintaining External Causes And Surgical Cases - The Unprejudiced Observer - Indispositions - On Simple Substance - Disorder First In Vital Force - Materialism In Medicine - Sickness And Cure On Dynamic Plane - The Removal Of The Totality Of Symptoms Means The Removal Of The Cause - The Law Of Similars - Susceptibility - Protection From Sickness - Oversensitive Patients - The Science And The Art - Chronic Diseases - (Psora, Syphilis, Sycosis) - Disease And Drug Study In General - The Examination Of The Patient - Homeopathic Catechism (Refers To The Organon, 100 questions) (Julia C. Loos)

A career-spanning collection of published and unpublished writings Catherine Malabou is one of the foremost, most innovative intelligences working in contemporary French philosophy today. Her work articulates a coherent conceptualisation of 'plasticity' by merging recent neurobiology and medicinal sciences with the history of philosophy and political theory.Across the essays gathered in Plasticity: The Promise of Explosion, Malabou carves a philosophical space between structuralism, deconstruction, cognitive psychology, psychoanalysis and speculative realism. By demonstrating the plastic transformability at the heart of these disciplines, a change that always promises future explosion, Malabou, as a female philosopher, also articulates the need to 'change difference' within patriarchal concepts of tradition itself.The collection is divided into four thematic parts, each of which showcases a major aspect of Malabou's conceptualisation of plasticity. In his introduction, Ian James situates Malabou's work within contemporary philosophy and navigates the contours of her unique work.

James Tyler offers a practical manual to aid guitar players and lutenists in transitioning from modern stringed instruments to the baroque guitar. He begins with the physical aspects of the instrument, addressing tuning and stringing arrangements and technique before considering the fundamentals of baroque guitar tablature. In the second part of the book Tyler provides an anthology of representative works from the repertoire. Each piece is introduced with an explanation of the idiosyncrasies of the particular manuscript or source and information regarding any performance practice issues related to the piece itself represented in both tablature and staff notation. Tyler s thorough yet practical approach facilitates access to this complex body of work."