This book is the first full-length treatment of Walter Hussey's work as a patron between 1943 and 1978, first for the Anglican parish church of St Matthew in Northampton, and then at Chichester Cathedral. He was responsible for the most significant sequence of works of art commissioned for the British churches in the twentieth century. They included music by Benjamin Britten, Leonard Bernstein and William Walton, visual art by Henry Moore, Graham Sutherland and Marc Chagall, and poetry by W. H. Auden. Placing Hussey in theological context and in a period of rapid cultural change, it explores the making and reception of the commissions, and the longer-term influence of his work, still felt today. As well as contributing to the religious and cultural history of Britain, and of Anglo-Catholicism and the cathedrals in particular, the book will be of interest to all those concerned with the relationship between theology and the arts, and to historians of music and the visual arts.

Archbishop Michael Ramsey's archiepiscopate from 1961 to 1974 saw profound renegotiations of the relationship of the Church of England with its own flock, with the nation more widely, with the Anglican church worldwide, and with the other Christian churches. Drawing from unique source material in the Lambeth Palace Library archives and reproducing many original writings of Ramsey for the first time, this book explores key questions which surround Ramsey's tenure. How did Ramsey react to the rapid hollowing-out of the regular constituency of the church whilst at the same time seeing sweeping changes in the manner in which the church tried to minister to those members? What was his role in the widening of the church's global vision, and the growing porousness of its borders with other denominations? And how did the nature of the role of archbishop as figurehead change in this period?

This book is the first full-length treatment of Walter Hussey's work as a patron between 1943 and 1978, first for the Anglican parish church of St Matthew in Northampton, and then at Chichester Cathedral. He was responsible for the most significant sequence of works of art commissioned for the British churches in the twentieth century. They included music by Benjamin Britten, Leonard Bernstein and William Walton, visual art by Henry Moore, Graham Sutherland and Marc Chagall, and poetry by W. H. Auden. Placing Hussey in theological context and in a period of rapid cultural change, it explores the making and reception of the commissions, and the longer-term influence of his work, still felt today. As well as contributing to the religious and cultural history of Britain, and of Anglo-Catholicism and the cathedrals in particular, the book will be of interest to all those concerned with the relationship between theology and the arts, and to historians of music and the visual arts.

The authors (a mycologist, chemist, and classics scholar, each respected in his field) make an informed and plausible case that the famed Mysteries conducted at Eleusis in Greece for a period of nearly two millennia in antiquity entailed psychoactive substances in a ritual context. In so doing, they find valuable lessons for the modern world in the solution of an ancient mystery. Although controversial when first published, the book's hypothesis has got much more serious attention in recent years, as scholars have increasingly come to realize the prime importance of entheogenic substances in religious rituals worldwide.All three authors have written significant books and papers relating to entheogens, and this book presents an authoritative exposition of their discoveries. This will be the first popularly accessible edition of a work that has acquired a cult reputation in the three decades since its first publication, and will attract an audience of open-minded students of earth-based spiritual practices as well as those familiar with the authors in related contexts. Its underlying theme of the universality of experiential religion, and its suppression by forces of exploitation and repression, should give it a receptive audience among many who are interested in earth religions and the reconciliation of the human and natural worlds.

The MENC Handbook of Research on Music Learning, Volume 2: Applications brings together the best and most current research on best practice for music learning, focusing squarely on the profession's empirical and conceptual knowledge of how students gain competence in music at various ages and in different contexts. The collection of chapters, written by the foremost figures active in the field, addresses a range of best practices for approaching current and important areas in the field, including cognition and perception, music listening, vocal/choral learning, and the needs of special learners. The book's companion volume, Strategies, provides the solid theoretical framework and extensive research upon which these practices stand.
Throughout both volumes in this essential set, focus is placed on the musical knowledge and musical skills needed to perform, create, understand, reflect on, enjoy, value, and respond to music. A key point of emphasis rests on the relationship between music learning and finding meaning in music, and as music technology plays an increasingly important role in learning today, chapters move beyond exclusively formal classroom instruction into other forms of systematic learning and informal instruction.
Either individually or paired with its companion Volume 1: Strategies, this indispensable overview of this growing area of inquiry will appeal to students and scholars in Music Education, as well as front-line music educators in the classroom.

Edited collections are widely supposed to contain lesser work than scholarly journals; to be incoherent as volumes, no more than the sum of their parts; and to be less visible to potential readers once published. It is also often taken as axiomatic that those who make decisions in relation to hiring, promotion, tenure, and funding do so agree. To publish in or edit an essay collection is thought to risk being penalised for the format before even a word is read. After examining the origins of this critique, this Element explores the modern history of the edited collection and the particular roles it has played. It examines each component part of the critique, showing that they are either largely unfounded or susceptible of solution. It proposes the edited collection as a model of one possible idea of scholarly community: collaboration, trust, and mutual obligation in pursuit of a wider good.

The MENC Handbook of Research on Music Learning, Volume 2: Applications brings together the best and most current research on best practice for music learning, focusing squarely on the profession's empirical and conceptual knowledge of how students gain competence in music at various ages and in different contexts. The collection of chapters, written by the foremost figures active in the field, addresses a range of best practices for approaching current and important areas in the field, including cognition and perception, music listening, vocal/choral learning, and the needs of special learners. The book's companion volume, Strategies, provides the solid theoretical framework and extensive research upon which these practices stand.
Throughout both volumes in this essential set, focus is placed on the musical knowledge and musical skills needed to perform, create, understand, reflect on, enjoy, value, and respond to music. A key point of emphasis rests on the relationship between music learning and finding meaning in music, and as music technology plays an increasingly important role in learning today, chapters move beyond exclusively formal classroom instruction into other forms of systematic learning and informal instruction.
Either individually or paired with its companion Volume 1: Strategies, this indispensable overview of this growing area of inquiry will appeal to students and scholars in Music Education, as well as front-line music educators in the classroom.

This selection of poems represent a collective meander of thought and observations created over a long period of time. What If? is anyone's decision made and the reflection, at any given moment in time, which led to the now in life. The 'what ifs' are with us every day. ...What if a man was penniless? What if each dream he earned? I could talk to him in confidence And be richer for the lessons learned...

The harsh reality of life in a working rock band at the turn of the millennium. Full of the joy, creativity and horror of life on the road. This ain't rock and roll; this is genocide.

Pursuit, life, love and revenge in the English countryside. Captain Mark Wynstanley, ex SAS, is a man on the run pursued by the Provisional IRA. He finds a safe house in rural Kent, where he tries to realise his vision of Arcadia and recuperate through the healing powers of love and nature. However, unexpected encounters and events, linked to his past, play havoc with his new found tranquillity, and he becomes increasingly disillusioned . . .

Archaeologists excavate structures and objects, but they can and should aim to reconstruct the societies of the past and seek to understand them. Artefacts and Archaeology brings together essays written by leading scholars in the fields of Iron Age and Roman archaeology and material finds in Britain in order to examine the ways in which the study of sites, artefacts and ancient societies are interdependent. Artefacts and Archaeology deals with the wide range of objects produced by the Iron Age and Roman cultures, from ironwork, defences and the Roman army and Roman finds. It emphasises the role of the archaeologist as interpreter of people, not things, and shows how object studies can move beyond pure description and instead attempt to communicate with the past. Individual essays discuss Iron Age and Romano-British religion, the Roman army in Wales, Roman bronze, pottery and glass objects, the Roman economy and museum objects, and the collection as a whole offers a fascinating overview of the material culture of Iron Age and Roman western Europe.

Archbishop Michael Ramsey's archiepiscopate from 1961 to 1974 saw profound renegotiations of the relationship of the Church of England with its own flock, with the nation more widely, with the Anglican church worldwide, and with the other Christian churches. Drawing from unique source material in the Lambeth Palace Library archives and reproducing many original writings of Ramsey for the first time, this book explores key questions which surround Ramsey's tenure. How did Ramsey react to the rapid hollowing-out of the regular constituency of the church whilst at the same time seeing sweeping changes in the manner in which the church tried to minister to those members? What was his role in the widening of the church's global vision, and the growing porousness of its borders with other denominations? And how did the nature of the role of archbishop as figurehead change in this period?