Unaccountably, Percy Grainger has remained on the margins of both American music history and twentieth-century modernism. This volume reveals the well-known composer of popular gems to be a self-described ’hyper-modernist’ who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with ’ego-less’ composition and designed electronic machines intended to supersede human application. Grainger was far from being a self-sufficient maverick working in isolation. Through contact with innovators such as Ferrucio Busoni, Léon Theremin and Henry Cowell; promotion of the music of modern French and Spanish schools; appreciation of vernacular, jazz and folk musics; as well as with the study and transcription of non-Western music; he contested received ideas and proposed many radical new approaches. By reappraising Grainger’s social and historical connectedness and exploring the variety of aspects of modernity seen in his activities in the British, American and Australian contexts, the authors create a profile of a composer, propagandist and visionary whose modernist aesthetic paralleled that of the most advanced composers of his day, and, in some cases, anticipated their practical experiments.

Percy Grainger has remained on the margins of American music history and twentieth-century modernism. This volume reveals him to be a self-described ‘hyper-modernist’ who composed works of uncompromising dissonance, challenged the conventions of folk song collection and adaptation, re-visioned the modern orchestra, experimented with ‘ego-less’ composition and designed machines intended to supersede human application. By reappraising Grainger’s social and historical connectedness and exploring the variety of aspects of modernity seen in his activities, the authors create a profile of a composer whose modernist aesthetic paralleled that of the most advanced composers of his day.

The Modernist World is an accessible yet cutting edge volume which redraws the boundaries and connections among interdisciplinary and transnational modernisms. The 61 new essays address literature, visual arts, theatre, dance, architecture, music, film, and intellectual currents. The book also examines modernist histories and practices around the globe, including East and Southeast Asia, South Asia, Sub-Saharan Africa, Australia and Oceania, Europe, Latin America, the Middle East and the Arab World, as well as the United States and Canada. A detailed introduction provides an overview of the scholarly terrain, and highlights different themes and concerns that emerge in the volume. The Modernist World is essential reading for those new to the subject as well as more advanced scholars in the area – offering clear introductions alongside new and refreshing insights.

In this powerful, panoramic novel set in the late 1890s, in a sliver of rugged western wilderness, a fourteen-year-old girl named Davey—too young to be given a chance at creating her own life—finds herself raised by a group of eccentrics, hostile misfits who rescued her as an infant on a bloody battlefield. She roams the countryside with them, led by Reverend Brown, a charismatic false prophet, hosting revivals for unsuspecting believers while lingering on the cusp of unimaginable events. Davey tries to locate a semblance of peace in this harrowing, beautiful place, but what she finds instead is an astonishing panoply of falsehoods and depravity, a vicious world comprised of murderers, thieves, and dancing bears. And in this unforgiving landscape of craggy beauty and singular resoluteness, she wages a fight against truth while traversing the delicate line between destiny and fate as she comes to understand the role Reverend Brown plays in her life. No Man’s Land is part classic coming-of-age story, part unwavering portrait of the bloody price of power, a raw and bold novel about the search for family, and a grand story about an education in the pull of predestination and the responsibility of freewill. Haunting on every page, filled with sorrow and awe, and stunning in the tonality of its vision, No Man’s Land is an unflinching meditation on the legacy of violence, its senseless destructiveness, and the fearless dignity and tenderness required to rise above it. This publication meets the EPUB Accessibility requirements and it also meets the Web Content Accessibility Guidelines (WCAG-AA). It is screen-reader friendly and is accessible to persons with disabilities. A Simple book with few images, which is defined with accessible structural markup. This book contains various accessibility features such as alternative text for images, table of contents, page-list, landmark, reading order and semantic structure.

A religious studies scholar argues that in antebellum America, evangelicals, not Transcendentalists, connected ordinary Americans with their spiritual roots in the natural world. We have long credited Emerson and his fellow Transcendentalists with revolutionizing religious life in America and introducing a new appreciation of nature. Breaking with Protestant orthodoxy, these New Englanders claimed that God could be found not in church but in forest, fields, and streams. Their spiritual nonconformity had thrilling implications but never traveled far beyond their circle. In this essential reconsideration of American faith in the years leading up to the Civil War, Brett Malcolm Grainger argues that it was not the Transcendentalists but the evangelical revivalists who transformed the everyday religious life of Americans and spiritualized the natural environment. Evangelical Christianity won believers from the rural South to the industrial North: this was the true popular religion of the antebellum years. Revivalists went to the woods not to free themselves from the constraints of Christianity but to renew their ties to God. Evangelical Christianity provided a sense of enchantment for those alienated by a rapidly industrializing world. In forested camp meetings and riverside baptisms, in private contemplation and public water cures, in electrotherapy and mesmerism, American evangelicals communed with nature, God, and one another. A distinctive spirituality emerged pairing personal piety with a mystical relation to nature. As Church in the Wild reveals, the revivalist attitude toward nature and the material world, which echoed that of Catholicism, spread like wildfire among Christians of all backgrounds during the years leading up to the Civil War.

The Story of Garum recounts the convoluted journey of that notorious Roman fish sauce, known as garum, from a smelly Greek fish paste to an expensive luxury at the heart of Roman cuisine and back to obscurity as the Roman empire declines. This book is a unique attempt to meld the very disparate disciplines of ancient history, classical literature, archaeology, zooarchaeology, experimental archaeology, ethnographic studies and modern sciences to illuminate this little understood commodity. Currently Roman fish sauce has many identities depending on which discipline engages with it, in what era and at what level. These identities are often contradictory and confused and as yet no one has attempted a holistic approach where fish sauce has been given centre stage. Roman fish sauce, along with oil and wine, formed a triad of commodities which dominated Mediterranean trade and while oil and wine can be understood, fish sauce was until now a mystery. Students and specialists in the archaeology of ancient Mediterranean trade whether through amphora studies, shipwrecks or zooarchaeology will find this invaluable. Scholars of ancient history and classics wishing to understand the nuances of Roman dining literature and the wider food history discipline will also benefit from this volume.

In the last decade of the 19th century, modernist sensibilities reached a critical mass and emerged more frequently in music as composers began employing dissonance, polyrhythm, atonality, and densities. Conversely, many 20th-century composers eschewed modernist devices and wrote accessible works in a tonal idiom, which drew chiefly on classical, romantic, and folk models. Then the postmodern sensibility followed, with its enthusiasm for the unprecedented availability of virtually every type of music, and it engendered numerous sub-groups, including multiculturalism, minimalism, multimedia, and free improvisation. Historical Dictionary of Modern and Contemporary Classical Music focuses on modernist and postmodern classical music worldwide from 1890 to the present. This is done through a chronology, an introductory essay, an extensive bibliography, and over 400 cross-referenced dictionary entries, with more than 60 entries explaining the methods, styles, and acoustic and electronic media peculiar to new music, and over 350 entries giving essential information on the lives and work of the people who have composed and performed that music. Those entries also include pop, jazz, and rock composer/musicians whose work either overlaps the realm of classical music or else is so radical within its own field that it merits discussion in this context. This book is a must for anyone, musician or non-musician, student or professional, who seeks to research and learn more about any significant aspect of modern and contemporary classical music worldwide.

This updated edition includes: coverage of power-system estimation, including current developments in the field; discussion of system control, which is a key topic covering economic factors of line losses and penalty factors; and new problems and examples throughout.

This book is the standard work on the subject of practical and decorative knots and ropework.

Explores the cuisine of the Mediterranean in ancient times from 750 B.C. to A.D. 450.