Expertly arranged Choral for SATB with SATB Soli by George Frideric Handel from the Kalmus Edition series. This Choral is from the Baroque era.

Anthropologists of the senses have long argued that cultures differ in their sensory registers. This groundbreaking volume applies this idea to material culture and the social practices that endow objects with meanings in both colonial and postcolonial relationships. It challenges the privileged position of the sense of vision in the analysis of material culture. Contributors argue that vision can only be understood in relation to the other senses. In this they present another challenge to the assumed western five-sense model, and show how our understanding of material culture in both historical and contemporary contexts might be reconfigured if we consider the role of smell, taste, touch and sound, as well as sight, in making meanings about objects.

This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire. In so doing, it provides a wide range of subject-based scholarship. It also reveals a fascinating window upon the historical performance debate of the last few decades in music where such matters still stimulate controversy.

Covers four texts from the 1890s that helped to crystallize the idea of the 'New Woman' during a period where the role of women was increasingly debated and challenged, not least due to the growth of the suffrage movement.

Eighteenth-century England was a place of enlightenment and revolution: new ideas abounded in science, politics, transportation, commerce, religion, and the arts. But even as England propelled itself into the future, it was preoccupied with notions of its past. Jeremy Black considers the interaction of history with knowledge and culture in eighteenth-century England and shows how this engagement with the past influenced English historical writing. The past was used as a tool to illustrate the contemporary religious, social, and political debates that shaped the revolutionary advances of the era. Black reveals this "present-centered" historical writing to be so valued and influential in the eighteenth-century that its importance is greatly underappreciated in current considerations of the period. In his customarily vivid and sweeping approach, Black takes readers from print shop to church pew, courtroom to painter's studio to show how historical writing influenced the era, which in turn gave birth to the modern world.

The Hutchinson Concise Dictionary of Music, in 7,500 entries, retains the breadth of coverage, clarity, and accessibility of the highly acclaimed Hutchinson Encyclopedia of Music, from which it is derived. Tracing its lineage to the Everyman Dictionary of Music, now out of print, it boasts a distinguished heritage of the finest musical scholarship. This book provides comprehensive coverage of theoretical and technical music terminology, embracing the many genres and forms of classical music, clearly illustrated with examples. It also provides core information on composers and comprehensive lists of works from the earliest exponents of polyphony to present-day composers.

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 even provided for their preservation on his death, very little of an intimate nature survives. One document—Handel’s will—offers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handel’s music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handel’s friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.

Great works and authors of the world are introduced and reviewed artistically, intellectually, and theologically. Persons discussed include Plato, Milton, Dickens, Shakespeare, Charlotte Bronte, Mark Twain, and C. S. Lewis.