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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.
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.
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 . . .
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.
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?
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.
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