Covering a period from the Ancient World to the present day, the book suggests that until very recently, falsettists and counter-tenors have been distinct vocal genres. `The use of high male voices in the past has long been one of the most seriously misunderstood areas of musical scholarship and practice. In opening up this rich subject (to readers of all sorts) with refreshingly clear perspectives and plenty of new material, Simon Ravens' well-researched book goes a very long way to rectifying matters. Ravens writes damnably well, and if the story that emerges is necessarily a complex one, his treatment of it is always engagingly comprehensible.' ANDREW PARROTT Tracing the origins, influences and development of falsetto singing in Western music, Simon Ravens offers a revisionist history of high male singing from the Ancient Greeks to Michael Jackson. This history embraces not just singers of counter-tenor and alto parts up to and including our own time but the castrati of the Ancient world, the male sopranists of late Medieval and Renaissance Europe, and the dual-register tenors of the Baroque and Classical periods. Musical aesthetics aside, to understand the changing ways men have sung high, it is also vital to address extra-musical factors - which are themselves in a state of flux. Tothis end, Ravens illuminates his chronological survey by exploring topics as diverse as human physiology, the stereotyping of national characters, gender identity, and the changing of boys' voices. The result is a complex and fascinating history sure to appeal not only to music scholars but to performers and all those with an interest particularly in early music. Simon Ravens is a performer, writer, and director of Musica Contexta, with whom hehas performed in Britain and Europe, regularly broadcast, and made numerous acclaimed recordings. Ravens had previously founded and directed Australasia's foremost early music choir, the Tudor Consort. Between 2002 and 2007 his regular monthly column Ravens View appeared in the Early Music Review, to which he still regularly contributes.

'Each of the novels in Alms for Oblivion is an elegant morality tale, beautifully composed, sparkling with appreciation of the sheer limitless variety of human wickedness' TLS Simon Raven's sequence of colourful and funny novels about the English upper-class misbehaving continues against a backdrop of intrigue in Athens, radicalism in Cambridge, turmoil in India and movie-making in Corfu. Dazzlingly witty and thoroughly depraved, Raven's world is also a dark mirror to our times - one that is sure to make you blush, shriek, laugh out loud and always read on. Volume 2: The Judas Boy, Places Where they Sing, Sound the Retreat and Come Like Shadows 'The Alms for Oblivion series steers its way its stylish course somewhere between Fleming and Waugh' Guardian

'Cracking entertainment... Dangerously, deliciously addictive' Daily Telegraph '[Raven is] a freak writer, he defies classification. In wilder moments he suggests a loose, lunatic collaboration of Trollope, Ouida and Waugh' Observer Enter Alms for Oblivion, Simon Raven's dazzling cycle of ten novels, all telling separate stories but at the same time linked together by the characters they have in common: schoolboys and businessmen, writers and soldiers, prostitutes and patient wives, actresses and models. In the first four novels Raven's wayward band of upper-class anti-heroes lurch from debauched parties to rehearsals for nuclear war; from blackmail to murder; from marriage to adultery and back again. Volume 1: The Rich Pay Late, Friends in Low Places, The Sabre Squadron and Fielding Gray 'There are some people who consider the greatest cycle of twentieth-century novels to be Anthony Powell's A Dance to the Music of Time. These people are wrong. Widmerpool and his joyless accomplices are as nothing compared to the characters in Simon Raven's majestic, scurrilous and scabrous Alms for Oblivion cycle' Guardian

'Brisk, bawdy and reckless' Evening Standard 'A freak writer, he defies classification. In wilder moments he suggests a loose, lunatic collaboration of Trollope, Ouida and Waugh' Observer The Alms for Oblivion sequence - an extraordinary series of murders, suicides, affairs, fighting, fires and at least one explosion, blackmail, gambling, illness, madness, lots of parties and plenty of sex - draws to a close with two novels about death and retribution. But Simon Raven's achievement and the conflicted, colourful or uniquely vile characters he created are not easily forgotten after the last page is turned. Volume III includes Bring Forth the Body and The Survivors 'There are some people who consider the greatest cycle of twentieth-century novels to be Anthony Powell's A Dance to the Music of Time. These people are wrong. Widmerpool and his joyless accomplices are as nothing compared to the characters in Simon Raven's majestic, scurrilous and scabrous Alms for Oblivion cycle' Guardian