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"Discussions of the poems that form Benjamin Britten's John Donne, Thomas Hardy and William Blake solo song cycles have focused almost exclusively on qualities of individual texts. Here, Gordon Sly presents a first analytical study that looks at these cycles' overarching designs. By questioning when a group of songs ought to be understood not merely as a collection, but as a cycle, Sly shows that Britten's personal selection and arrangement is indispensable to understanding these cycles' extra-musical communication. The Holy Sonnets of John Donne, Winter Words (poems by Hardy) and Songs and Proverbs of William Blake - composed in 1945, 1953 and 1965 respectively - each represent a philosophical exploration. The terrains set out by the three poets are distinct, but also engage one another in important and unexpected ways. Their cyclic architectures are expressed not only in their poetic arrangement, but in their musical settings. Key relationships and motive remain central for Britten. Keys convey a network of interconnections, create groupings of songs, and establish levels of tonal affinity or distance. Motive - often intervals that can fit into any melodic, harmonic or rhythmic context - is used to create aural affinities between or among individual songs. This book also offers a broader narrative revealing Britten's evolving philosophical convictions in post-war Britain. While it may not be the case that Britten intended any broader philosophical comment, the works together outline the cold and brittle state that emerges from loss and aligns with their composer's increasingly stark outlook on humanity."--Page 4 of cover.

Brian Wilson and The Beach Boys, Bob Dylan, Bruce Springsteen, and Paul Simon-these familiar figures have written road music for half a century and continue to remain highly-regarded artists. But there is so much more to say about road music. This book fills a glaring hole in scholarship about the road and music. In a collection of 13 essays, Music and the Road explores the origins of road music in the blues, country-western, and rock 'n' roll; the themes of adventure, freedom, mobility, camaraderie, and love, and much more in this music; the mystique and reality of touring as an important part of getting away from home, creating community among performers, and building audiences across the country from the 1930s to the present; and the contribution of music to popular road films such as Bonnie and Clyde, Easy Rider, Thelma and Louise, and On the Road.

This starts with the early post WWII years when Robert and Gordon, as young men, were first attracted to the outdoors. They hiked and climbed in the mountains of the Scottish Highlands and often slept in caves, barns, bothies and tents in both summer and winter. They made friends and climbed with many of the emerging group of mainly working class rock climbers who were pioneering ascents of the cliffs and gullies in Glencoe and Ben Nevis at that time. Their week-end adventures had them ranging across the wild moors, glens and mountains in all seasons and in all weathers. As the years passed, their lives changed. One became a youth hostel warden in N.W. Scotland, later becoming a gamekeeper and ghillie on an estate in Assynt. The other went overseas as a teacher, first to Algeria then to Saudi Arabia and finally Brunei S.E. Asia, where he stayed for nearly thirty years. The two men lost touch with each other for over forty years. At that point they met again and, while re-calling their youthful ramblings and catching up on one another’s later adventures, came to realise the uniqueness of their lives. From these two kinds of rambling comes this fascinating book.

Moving from a standard clinical reference, this third edition is now modelled to be both a scientific research tool and a quick reference option for the practicing ophthalmologist, ophthalmic pathologist, optometrist and vision scientist. With the addition of ten new chapters this edition focuses its attention on the acuses, and mechanisms of ocular disease and is on the forefront of the latest discovered, research methods and on-going research in ocular disease.

"Discussions of the poems that form Benjamin Britten's John Donne, Thomas Hardy and William Blake solo song cycles have focused almost exclusively on qualities of individual texts. Here, Gordon Sly presents a first analytical study that looks at these cycles' overarching designs. By questioning when a group of songs ought to be understood not merely as a collection, but as a cycle, Sly shows that Britten's personal selection and arrangement is indispensable to understanding these cycles' extra-musical communication. The Holy Sonnets of John Donne, Winter Words (poems by Hardy) and Songs and Proverbs of William Blake - composed in 1945, 1953 and 1965 respectively - each represent a philosophical exploration. The terrains set out by the three poets are distinct, but also engage one another in important and unexpected ways. Their cyclic architectures are expressed not only in their poetic arrangement, but in their musical settings. Key relationships and motive remain central for Britten. Keys convey a network of interconnections, create groupings of songs, and establish levels of tonal affinity or distance. Motive - often intervals that can fit into any melodic, harmonic or rhythmic context - is used to create aural affinities between or among individual songs. This book also offers a broader narrative revealing Britten's evolving philosophical convictions in post-war Britain. While it may not be the case that Britten intended any broader philosophical comment, the works together outline the cold and brittle state that emerges from loss and aligns with their composer's increasingly stark outlook on humanity."--Page 4 of cover.