Re-examining the long-held belief that the Sixties in Britain were dominated mainly by 'youth' and 'protest', the authors in the collection argue that innovation was everywhere shadowed by conservatism. A decade fascinated by itself and, especially, by the future, it also was tormented by self-doubt and accompanied by a fear of losing the past.

Fresh and innovative takes on the dissemination of music in manuscript, print, and, now, electronic formats, revealing how the world has experienced music from the sixteenth century to the present. This collection of essays examines the diverse ways in which music and ideas about music have been disseminated in print and other media from the sixteenth century onward. Contributors look afresh at unfamiliar facets of the sixteenth-century book trade and the circulation of manuscript and printed music in the seventeenth to nineteenth centuries. They also analyze and critique new media forms, showing how a dizzying array of changing technologies has influenced what we hear, whom we hear, and how we hear. The repertoires considered include Western art music -- from medieval to contemporary -- as well as popular music and jazz. Assembling contributions from experts in a wide range of fields, such as musicology, music theory, music history, and jazz and popular music studies, Music in Print and Beyond: Hildegard von Bingen to The Beatles sets new standards for the discussion of music's place in Western cultural life. Contributors: Joseph Auner, Bonnie J. Blackburn, Gabriela Cruz, Bonnie Gordon, Ellen T. Harris, Lewis Lockwood, Paul S. Machlin, Roberta Montemorra Marvin, Honey Meconi, Craig A. Monson, Kate van Orden, Sousan L. Youens. Roberta Montemorra Marvin teaches at the University of Iowa and is the author of Verdi the Student -- Verdi the Teacher (Istituto Nazionale di Studi Verdiani, 2010) and editor of The Cambridge Verdi Encyclopedia (Cambridge University Press, 2013). Craig A. Monson is Professor of Musicology at Washington University (St Louis, Missouri) and is the author of Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy (University of Chicago Press, 2012).

Saints, Sinners, Saviors: Strong Black Women in African American Literature explores the idea of strength as a frequently contradictory and damaging trait for black women characters in major literary works of the 20th century. Looking at work by Hansberry, Morrison, Bambara, West, Gaines, Reed, and others, Trudier Harris shows how writers draw upon popular images of African American women in producing what they believe to be safe literary representations. She argues forcefully that the portrayal of women characters as strong is problematic in African American literature, and this pattern has become so pronounced that it has stifled the literature.

The ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Scenery, machinery, music, dance, and texts transformed one another, both enriching and complicating generic distinctions. Artists were alive to the power of the arts to reflect and shape reality, and their audience was quick to turn to the arts as performative pleasures and critical lenses through which to understand a changing world. This collection's eminent authors discuss estate design, musicalized theater, the visual spectacle of musical performance, stage machinery and set designs, the social uses of painting and singing, drama’s reflection of a transformed military infrastructure, and the arts of memory and of laughter.

The first half of this book provides an outline of the structure and function of a voice clinic, a review of the structure and function of the vocal tract and an outline of the most common forms of voice disorder likely to be encountered in a clinic. It also provides brief descriptions of the various forms of therapy available for the treatment of non-cancerous voice disorder and suggests appropriate treatment modalities.

The second half of the book is based in science and contains an overview of the instrumentation available for the investigation and documentation of voicing.

Seventeen studies by noted experts that demonstrate recent approaches toward the creative interpretation of primary sources regarding Renaissance and Baroque music, Mozart, Beethoven, Mendelssohn, Verdi, Debussy, and beyond. How do we know what notes a composer intended in a given piece? -- how those notes should be played and sung? -- the nature of musical life in Bach's Leipzig, Schubert's Vienna? -- how music related to literature and other arts and social currents in different times and places? -- what attitudes musicians and music lovers had toward the music that they heard and made? We know all this from musical manuscripts and prints, opera libretti, composers'letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources are the bedrock of music history and musicology. Others havebegun to be examined only in recent years. Furthermore, musicologists -- including biographers of famous composers -- now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting and novel. These seventeen essays, all newly written, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries. The resulting, pluralistic profile of current musicology will prove welcome to anyone fascinated by the problems of reconstructing -- reimagining, sometimes -- the evanescent musical art of the past and pondering its implications for musical life today and in the future. Roberta Montemorra Marvin is a Research Fellow at the Obermann Center for Advanced Studies at the University of Iowa where she is also Director of the Institute for Italian Opera Studies; Stephen A. Crist is associate professor and chair of the Music Department at Emory University.

To prosper and thrive in an increasingly unpredictable national and global environment, U.S. higher education will need to adapt, innovate, and evolve once again, as it has during every major societal change over the past four centuries. The purpose of this new edition, published a turbulent decade after the first, is to provide institutional leaders -- from department chairs to trustees -- with a broad understanding of the academic enterprise, strategic guidance, and key principles, to assist them in navigating the future and drive the success of their institutions as they confront the unimagined. Recognizing that the hallmark of higher education in the U.S. is the diversity of institution types, each of which is affected differently by external and internal influences, the authors provide examples and ideas drawn from the spectrum of colleges and universities in the not-for-profit sector. This book covers the major functions and constituent departments and units within institutions; the stakeholders from students and faculty through the echelons of administration; the external environment of elected officials, foundations, philanthropists, and the new changing media; and innovations in teaching, technology, data analytics, legal frameworks, as well as economic, demographic, and political pressures. The book is informed by the proposition that adhering to four principles, that the authors identify as having enabled institutions of higher education to successfully navigate ever-changing and volatile pasts, will enable them to flourish in the coming decades. The four principles are: 1. Be mission centric by making all key decisions based on a core mission and set of values. 2. Be able to adapt to environmental change in alignment with the mission and core values. 3. Be committed to democratic ideals by seeking to promote them and modeling democratic practices on and off campus. 4. Be models for inclusion, equity, and positive social change.

To prosper and thrive in an increasingly unpredictable national and global environment, U.S. higher education will need to adapt, innovate, and evolve once again, as it has during every major societal change over the past four centuries. The purpose of this new edition, published a turbulent decade after the first, is to provide institutional leaders -- from department chairs to trustees -- with a broad understanding of the academic enterprise, strategic guidance, and key principles, to assist them in navigating the future and drive the success of their institutions as they confront the unimagined. Recognizing that the hallmark of higher education in the U.S. is the diversity of institution types, each of which is affected differently by external and internal influences, the authors provide examples and ideas drawn from the spectrum of colleges and universities in the not-for-profit sector. This book covers the major functions and constituent departments and units within institutions; the stakeholders from students and faculty through the echelons of administration; the external environment of elected officials, foundations, philanthropists, and the new changing media; and innovations in teaching, technology, data analytics, legal frameworks, as well as economic, demographic, and political pressures. The book is informed by the proposition that adhering to four principles, that the authors identify as having enabled institutions of higher education to successfully navigate ever-changing and volatile pasts, will enable them to flourish in the coming decades. The four principles are: 1. Be mission centric by making all key decisions based on a core mission and set of values. 2. Be able to adapt to environmental change in alignment with the mission and core values. 3. Be committed to democratic ideals by seeking to promote them and modeling democratic practices on and off campus. 4. Be models for inclusion, equity, and positive social change.

The entire gang from the original movie is back in breakin' action, and this time they're up against a greedy developer who wants to turn their community center into a shopping mall.

The only comprehensive reference work of its kind, this book provides complete coverage of everything that a fund raiser must know when preparing for an international fund-raising campaign. Offers an overview of a country's tax and regulatory system, an examination of its not-for-profit sector, what sources of funding are available, and what fund-raising methods are considered acceptable by the culture and the government.

Saints, Sinners, Saviors: Strong Black Women in African American Literature explores the idea of strength as a frequently contradictory and damaging trait for black women characters in major literary works of the 20th century. Looking at work by Hansberry, Morrison, Bambara, West, Gaines, Reed, and others, Trudier Harris shows how writers draw upon popular images of African American women in producing what they believe to be safe literary representations. She argues forcefully that the portrayal of women's character as strong is problematic in African American literature, and this pattern has become so pronounced that it has stifled the literature.

The ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Scenery, machinery, music, dance, and texts transformed one another, both enriching and complicating generic distinctions. Artists were alive to the power of the arts to reflect and shape reality, and their audience was quick to turn to the arts as performative pleasures and critical lenses through which to understand a changing world. This collection's eminent authors discuss estate design, musicalized theater, the visual spectacle of musical performance, stage machinery and set designs, the social uses of painting and singing, drama’s reflection of a transformed military infrastructure, and the arts of memory and of laughter.

During his lifetime, the sounds of Handel s music reached from court to theater, echoed in cathedrals, and filled crowded taverns. But the man himself known to most as the composer of Messiah is a bit of a mystery. Though he took meticulous care of his musical manuscripts and provided for their preservation in his will, very little of an intimate nature survives. In search of the private man behind the public persona, Ellen T. Harris has tracked down the letters, diaries, financial accounts, court cases, and other documents connected with the composer s closest friends. The result is a tightly woven tapestry of London life in the first half of the eighteenth century, one that weaves together vibrant descriptions of Handel s music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man."

Winner of the Pulitzer Prize and the National Book Award, this work describes the life of one of the most extraordinary figures in American political history.

Applies the notion of musical "voice" to diverse repertoires, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild. The concept of musical voice has been a subject of controversy in recent decades, as the primacy of the composer's place in the creation of the work has been called into question. The essays in Word, Image, and Song: Essays onMusical Voices take the notion of musical voice as a starting point, and apply it in varying ways to diverse repertoires and music-historical circumstances, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild. Rather than attributing interpretive control to the composer, performer, or audience alone, these essays present a range of interpretive strategies with respect to the various voices that one might hear and understand as emerging from a musical work: the composer's voice, the performer's voice, the patron's voice, the collector's voice, and the social or receptive voice. Contributors: Bathia Churgin, Rebecca Cypess, Roger Freitas, Philip Gossett, Ellen T. Harris, Joseph Kerman, Nathan Link, Daniel R. Melamed, Giovanni Morelli, Kristina Muxfeldt, Ruth Smith, Ruth A. Solie. Rebecca Cypess is Assistant Professor of Music at the Mason Gross School of the Arts at Rutgers, the State University of New Jersey. Beth L. Glixon is instructor in musicology at the University of Kentucky School of Music. Nathan Link is NEH Associate Professor of Music at Centre College.

Although it takes little more than an hour to perform, Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England. This book demonstrates the opera's deep roots in the theatrical and musical traditions of its day, summarizing the cultural climate in which the opera was composed and analyzing Nahum Tate's libretto in light of seventeenth-century English music text conventions. Harris also evaluates the surviving sources, comparing them with the original libretto, and discusses the work's performance history and critical reception from the first performance through the revivals of the nineteenth and twentieth centuries.

Re-examining the long-held belief that the Sixties in Britain were dominated mainly by 'youth' and 'protest', the authors in the collection argue that innovation was everywhere shadowed by conservatism. A decade fascinated by itself and, especially, by the future, it also was tormented by self-doubt and accompanied by a fear of losing the past.

The transition to adulthood is a complex process, and college is pivotal to this experience. The Science of College aids entering college students-and the people who support them-in navigating college successfully, with up-to-date recommendations based upon real student situations, sound social science research, and the collective experiences of faculty, lecturers, advisors, and student support staff. The stories captured in this book highlight how the challenges that college students encounter vary in important ways based on demographics and social backgrounds. Despite these varied backgrounds, all students are more likely to have successful college experiences if they invest in their communities. Universities have many resources available, but as this book will show, students need to learn when to access which resources and how best to engage with people serving students. This includes having a better awareness of the different roles held by university faculty and staff, and navigating who to go to for what, based upon understanding their distinct sets of expertise and approaches to support. There is no single template for student success. Yet, this book highlights common issues that many students face and provides science-based advice for how to navigate college. Each topic covered is geared towards the life stage that most college students are in: emerging adulthood. In addition to the student-focused chapters, the book includes appendixes with activities for students, tips for parents, and methods information for faculty. Supplemental website materials suggest classroom activities for instructors who adopt this book within first-year seminars and general education courses. This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.