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.

The fascinating story of music in the United States, from the sacred music of its earliest days to the jazz and rock that enliven the turn of the millennium.

America's Musical Life: A History tells the fascinating story of music in the United States, from the sacred music of its earliest days to the jazz and rock that enliven the turn of the millennium. Beginning with the music of Native Americans and continuing with traditions introduced by European colonizers and Africans brought here as slaves, the book reveals how this bountiful heritage was developed and enhanced in the nineteenth and twentieth centuries to produce the music we hear today.

As author Richard Crawford points out, American musical activity has taken place in three spheres: the traditional (folk music), which emphasizes continuity and the preservation of community custom; the popular, which seeks most of all to find paying audiences; and the classical (Western art music), which places priority on the musical works themselves. We observe American music making in each of these spheres and see, for the first time, how they have continually crossed over, interacted, and combined to shape the rich tapestry of sounds of the twenty-first century. Most important, the narrative is always set in its proper historical context—we cannot, for instance, truly understand Civil War music without knowing the social and political factors that precipitated the conflict. In juggling political, social, and musical history, the author strikes a happy balance between general background and specific accounts of individual composers, performers, and pieces of music.

For the earliest period, America's Musical Life records activity in all domains of music. We learn of attempts by Europeans to describe the songs they heard Native Americans perform, of sacred music making among the colonists that existed side by side with secular song and dance, of Spanish Catholic missionaries who brought their own music to the New World a full century before the Pilgrims landed, of the first book printed in New England, and of the robust theater and concert life that Colonial America nourished.

The nineteenth century saw commercial interests gain a strong foothold, with parlor music making money for performers and publishers, though not always for the composer. Stephen Foster wrote songs that became wildly popular while he himself was scratching out a meager living. There were idealists, such as the quirky Anthony Philip Heinrich, who moved to the "wilds" of Kentucky; show-offs, such as the enormously talented pianist Louis Moreau Gottschalk; "serious" academic composers, including John Knowles Paine at Harvard and Horatio Parker at Yale; and talented women composer/performers, including Amy Marcy Cheney, who performed and published as Mrs. H. H. A. Beach. Thrown into the mix are ethnic musics, slave songs, American musical nationalism, band music, the advent of the phonograph, Tin Pan Alley, and a host of other influences.

However wide American tastes ranged before 1900, the twentieth century offered an even broader array of musical genres, encompassing blues, jazz, musicals, movie soundtracks, folk-revival music, swing, classical music, and rock, to name just a few. Musicians discussed in this section include Charles Ives, George Gershwin, Duke Ellington, the Beatles, the Roberta Martin Singers, Philip Glass—the list is almost endless.

Bringing order to this cacophony, America's Musical Life gives us a highly readable and informative account of this country's rich musical traditions.

"A highly readable and wonderful book that brings together classical, folk, and popular music. No lover of American music should be without it." —Beverly Sills, chairman, Lincoln Center for the Performing Arts

"In the scope of its chronology and the range of its examined musics—from the popular, the ethnic, the regional, and the vernacular to the most 'cultivated'—America's Musical Life may seem encyclopedic, but it is in no sense an encyclopedia in style or in spirit. Rather, it is a distinguished music historian's considered overview of five centuries of our richly multiple musical culture, addressed to general readers, who—when they emerge from reading the book—will be general readers no longer." —Milton Babbitt, composer, The Juilliard School, and William Shubael Conant Professor of Music Emeritus, Princeton University

"Covering everything from early hymnody to the latest hip-hop, Richard Crawford roves with an easy authority through the nation's musical life. His telling of the history of music in America is animated by his command of the social context of music making and the breadth of his musical sympathies. I cannot imagine a more engagingly written account of the country's music." —Stanley Sadie, editor, The New Grove Dictionary of Music and Musicians

"This monolith is the culmination of Richard Crawford's forty years of profound, enthusiastic immersion in America's music, past and present. It is a book for the twenty-first century and beyond. It illuminates brilliantly all facets of the music and, unprecedentedly, its social, political, economic, intellectual, and multicultural contexts. It is the work of a superb scholar and master teacher who is generous with compelling perceptions of what has made American music 'sing,' communicated in crystalline prose with humanity, humility, and humor." —H. Wiley Hitchcock, Distinguished Professor of Music Emeritus, City University of New York

Richard Crawford is Hans T. David Distinguished University Professor at the University of Michigan. A past president of the American Musicological Society, Crawford has published ten books on American music and won numerous honors, fellowships, and awards, including election to the American Academy of Arts and Sciences.