Understanding International Law through Moot Courts: Genocide, Torture, Habeas Corpus, Chemical Weapons, and the Responsibility to Protect consists of five sets of opposing legal briefs and judge's decisions for five moot court cases held before the International Court of Justice and the International Criminal Court. Each moot court brief included in the book addresses contemporary controversies in international affairs; issues ranging from the application of the newly emerging Responsibility to Protect (R2P) doctrine, to the torture of detainees, to the derogation from international due process protections. These moot court briefs and case judgments help students formulate legal arguments that will be applicable to other similar cases. They also provide students with excellent sources of international and domestic law, as well as greater comprehension of topics ranging from jurisdictional disputes to matters of evidence. Chapter 1 of the book provides an overview of the book as well as instructions regarding the construction of a moot court. Chapter two, by George Andreopoulos discusses the interrelationship between human rights and international criminal law. Chapters 3 through 7 are the cases. The introduction to each chapter (and subsequently each case) lays out the facts of the case in question, discusses (where applicable) issues associated with the material and contextual elements of the crimes(s) in question, provides additional topics for classroom discussion, and also places the issues of contention between the parties within the broader context of foreign affairs and international relations. After each set of briefs and legal judgments is an appendix which includes an example moot court, as well as an appendix that includes a set of alterable facts that students and faculty could adopt to change the general legal argument of the particular case.

George Gershwin blossomed as an accompanist before his talent as a songwriter opened the way to Broadway where he fashioned his own brand of American music. He composed a run of musical comedies, with his brother Ira as lyricist, and several classical works while he became a favoured guest in New York social circles. His 1924 Rhapsody in Blue was an instant classic rooted in his absorption of African American music. A decade later came Porgy and Bess, his magnum opus. The brothers left New York to write songs for Hollywood-but their work was cut short when George developed a brain tumour and died at thirty-eight. Richard Crawford traces the arc of Gershwin's remarkable life, seamlessly blending colourful anecdotes with a discussion of Gershwin's unforgettable oeuvre.

George Gershwin blossomed as an accompanist before his talent as a songwriter opened the way to Broadway where he fashioned his own brand of American music. He composed a run of musical comedies, with his brother Ira as lyricist, and several classical works while he became a favoured guest in New York social circles. His 1924 Rhapsody in Blue was an instant classic rooted in in his absorption of African American music. A decade later came Porgy and Bess, his magnum opus. The brothers left New York to write songs for Hollywood-but their work was cut short when George developed a brain tumour and died at thirty-eight. Richard Crawford traces the arc of Gershwin's remarkable life, seamlessly blending colourful anecdotes with a discussion of Gershwin's unforgettable oeuvre.

When it comes to American music, America's Musical Life is "the best one-volume history yet on the subject for musicians and enthusiasts, professional or amateur" (Kirkus Reviews). "Well-researched and sensitively constructed" (Library Journal) and "a book that welcomes the reader, who is happy to keep returning for more" (Music Library Association Notes), America's Musical Life tells the story of American music making in rich detail. In chronicling American music's bountiful heritage, this "superb book presents the whole sweep of U.S. cultivated and traditional music—from 16th-century Native American music through late 20th-century hiphop culture." A substantial cultural achievement, "this definitive history of music in the U.S. is sure to delight music aficionados and history buffs alike, and is a must for anyone interested in what music has meant to America and what America has meant to music" (Publishers Weekly).

The foremost American musician of the eighteenth century, William Billings wrote more than three hundred compositions and six musical collections at a time when Americans were singing almost nothing but British music. In this study, David McKay and Richard Crawford depict the man, his music, and his place in the tradition of American psalmody. The authors examine Billings' methods, innovations, and interaction with the Boston society in which he lived, placing overall emphasis on his influence on American Protestant sacred music. David McKay is Associate Professor of English at Worcester Polytechnic Institute. Richard Crawford is Associate Professor of Music at the University of Michigan. He is the author of Andrew Law, American Psalmodist (Northwestern, 1968). Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The foremost American musician of the eighteenth century, William Billings wrote more than three hundred compositions and six musical collections at a time when Americans were singing almost nothing but British music. In this study, David McKay and Richard Crawford depict the man, his music, and his place in the tradition of American psalmody. The authors examine Billings' methods, innovations, and interaction with the Boston society in which he lived, placing overall emphasis on his influence on American Protestant sacred music. David McKay is Associate Professor of English at Worcester Polytechnic Institute. Richard Crawford is Associate Professor of Music at the University of Michigan. He is the author of Andrew Law, American Psalmodist (Northwestern, 1968). Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Recording A Successful Experience With A Philosophy Of Life Adaptable To The Evolutionary Status Of Any Man Or Woman Desirous Of Karmic Improvement.

Understanding International Law through Moot Courts: Genocide, Torture, Habeas Corpus, Chemical Weapons, and the Responsibility to Protect consists of five sets of opposing legal briefs and judge's decisions for five moot court cases held before the International Court of Justice and the International Criminal Court. Each moot court brief included in the book addresses contemporary controversies in international affairs; issues ranging from the application of the newly emerging Responsibility to Protect (R2P) doctrine, to the torture of detainees, to the derogation from international due process protections. These moot court briefs and case judgments help students formulate legal arguments that will be applicable to other similar cases. They also provide students with excellent sources of international and domestic law, as well as greater comprehension of topics ranging from jurisdictional disputes to matters of evidence. Chapter 1 of the book provides an overview of the book as well as instructions regarding the construction of a moot court. Chapter two, by George Andreopoulos discusses the interrelationship between human rights and international criminal law. Chapters 3 through 7 are the cases. The introduction to each chapter (and subsequently each case) lays out the facts of the case in question, discusses (where applicable) issues associated with the material and contextual elements of the crimes(s) in question, provides additional topics for classroom discussion, and also places the issues of contention between the parties within the broader context of foreign affairs and international relations. After each set of briefs and legal judgments is an appendix which includes an example moot court, as well as an appendix that includes a set of alterable facts that students and faculty could adopt to change the general legal argument of the particular case.

In this refreshingly direct and engaging historical treatment of American music and musicology, Richard Crawford argues for the recognition of the distinct and vital character of American music. What is that character? How has musical life been supported in the United States and how have Americans understood their music? Exploring the conditions within which music has been made since the time of the American Revolution, Crawford suggests some answers to these questions.
Surveying the history of several musical professions in the United States--composing, performing, teaching, and distributing music--Crawford highlights the importance of where the money for music comes from and where it goes. This economic context is one of his book's key features and gives a real-life view that is both fascinating and provocative. Crawford discusses interconnections between classical and popular music, using New England psalmody, nineteenth-century songs, Duke Ellington, and George Gershwin to illustrate his points.
Because broad cultural forces are included in this unique study, anyone interested in American history and American Studies will find it as appealing as will students and scholars of American music.