Both a life story and a portrait of public higher education during the twentieth century, Harry Huntt Ransom captures the spirit of a dynamic individual who dedicated his talents to nurturing intellectual life in Texas and beyond. Tracing the details of Ransom's youth in Galveston and Tennessee and his education at Yale, where he earned a doctorate, Alan Gribben provides new insight into the factors that shaped Ransom's future as a renowned administrator and defender of the humanities.

Ransom's career at the University of Texas began in 1935, when he was hired as an instructor of English. He rose through the ranks to become chancellor, stepping down in 1971 during a volatile period when debates about the University's central mission raged—particularly over the question of commercializing higher education. The development of Ransom's lasting legacy, the Humanities Research Center bearing his name, is explored in depth as well. Bringing to life a legendary figure, Harry Huntt Ransom is a colorful testament to a singular man of letters who had the audacity to propose "that there be established somewhere in Texas—let's say in the capital city—a center of our cultural compass, a research center to be the Bibliothèque Nationale of the only state that started out as an independent nation."

Long argues that higher education is a moral enterprise and that, as such, it must be guided by a commitments to what is morally right and fundamentally good, not just by what is necessary in intellectual or financial endeavors.

Excellence. Originality. Intelligence. Everyone in academia stresses quality. But what exactly is it, and how do professors identify it?

In the academic evaluation system known as “peer review,” highly respected professors pass judgment, usually confidentially, on the work of others. But only those present in the deliberative chambers know exactly what is said. Michèle Lamont observed deliberations for fellowships and research grants, and interviewed panel members at length. In How Professors Think, she reveals what she discovered about this secretive, powerful, peculiar world.

Anthropologists, political scientists, literary scholars, economists, historians, and philosophers don’t share the same standards. Economists prefer mathematical models, historians favor different kinds of evidence, and philosophers don’t care much if only other philosophers understand them. But when they come together for peer assessment, academics are expected to explain their criteria, respect each other’s expertise, and guard against admiring only work that resembles their own. They must decide: Is the research original and important? Brave, or glib? Timely, or merely trendy? Pro-diversity or interdisciplinary enough?

Judging quality isn’t robotically rational; it’s emotional, cognitive, and social, too. Yet most academics’ self-respect is rooted in their ability to analyze complexity and recognize quality, in order to come to the fairest decisions about that elusive god, “excellence.” In How Professors Think, Lamont aims to illuminate the confidential process of evaluation and to push the gatekeepers to both better understand and perform their role.

Current Arguments in Composition Series

The Hidden Inequities in Labor-Based Contract Grading intervenes in the increasingly popular practice of labor-based grading by expanding the scope of this assessment practice to include students who are disabled and multiply marginalized. Through the lens of disability studies, the book critiques the assumption that labor is a neutral measure by which to assess students and explores how labor-based grading contracts put certain groups of students at a disadvantage. Ellen C. Carillo offers engagement-based grading contracts as an alternative that would provide a more equitable assessment model for students of color, those with disabilities, and students who are multiply marginalized.
 
This short book explores the history of labor-based grading contracts, reviews the scholarship on this assessment tool, highlights the ways in which it normalizes labor as an unbiased tool, and demonstrates how to extend the conversation in new and generative ways both in research and in classrooms. Carillo encourages instructors to reflect on their assessment practices by demonstrating how even assessment methods that are designed through a social-justice lens may unintentionally privilege some students over others.
 

Performance accountability has been the dominant trend in education policy reform since the 1970s. State and federal policies set standards for what students should learn; require students to take “high-stakes” tests to measure what they have learned; and then hold students, schools, and school districts accountable for their performance. The goal of these policies is to push public school districts to ensure that all students reach a common threshold of knowledge and skills.

High-Stakes Reform analyzes the political processes and historical context that led to the enactment of state-level education accountability policies across the country. It also situates the education accountability movement in the broader context of public administration research, emphasizing the relationships among equity, accountability, and intergovernmental relations. The book then focuses on three in-depth case studies of policy development in Massachusetts, New Jersey, and Connecticut. Kathryn McDermott zeroes in on the most controversial and politically charged forms of state performance accountability sanctions, including graduation tests, direct state intervention in or closing of schools, and state takeovers of school districts.

Public debate casts performance accountability as either a cure for the problems of US public education or a destructive mistake. Kathryn McDermott expertly navigates both sides of the debate detailing why particular policies became popular, how the assumptions behind the policies influenced the forms they took, and what practitioners and scholars can learn from the successes and failures of education accountability policies.

From Harvard University, one of the world’s preeminent institutions of
liberal education, comes a collection of essays sampling topics at the forefront of academia in the twenty-first century. Written by faculty members at the cutting edge of their fields, including such luminaries as Steven Pinker, Laurel Thatcher Ulrich, and Harry R. Lewis, these essays offer a clear and accessible overview of disciplines that are shaping the culture, and even the world.

The authors, among the most respected members of Harvard’s faculty, invite readers to explore subjects as diverse as religious literacy and Islam, liberty and security in cyberspace, medical science and epidemiology, energy resources, evolution, morality, human rights, global history, the dark side of the American Revolution, American literature and the environment, interracial literature, and the human mind. They summarize key developments in their fields in ways that will both entertain and edify those who seek an education beyond the confines of the classroom.

It is sometimes said that youth is wasted on the young. It could also be said that college, too often, is wasted on college students—that only after graduating does a former student come to appreciate learning. To those wishing to revisit the college classroom—as well as to those who never had the opportunity in the first place—this book gives a taste of the modern course at Harvard. The essays are stimulating and informative, and the annotated bibliographies accompanying each chapter provide invaluable guidance to the life-long learner who wants to pursue these fascinating topics in depth.

As a significant term, inclusion came into use relatively recently in the long history of special education in the United States. Since the 1800s, when children with disabilities first were segregated for instruction in public schools, professionals and parents have called for more equitable, “normal” treatment of these students, and for closer contact with their nondisabled peers. Through the years, the central issues of the discussions between educators and parents have focused on who should be considered disabled and who should bear responsibility for planning and providing for their education. The History of Inclusion in the United States traces the antecedents of this ongoing debate to answer questions about what inclusion is, how it came to be, and where it might go.

In this comprehensive study, author Robert L. Osgood reveals how the idea of inclusion has evolved into broader realms of thought and practice. In its earliest manifestations, educators dwelled upon the classroom setting itself, wondering whether “disabled” children belonged there; if not, why not; and if so, how this could be accomplished? By the late 1960s, the scope of the discussion had shifted to assess the comprehensive structures of special education and its relationship with general education. The History of Inclusion seamlessly follows this progression into the present decade, in which current educational policy questions the need for any sort of separate “special education” in principle and structure.

Winner of the Jackie Kirk Award
Winner of the AESA Critics’ Choice Award

“Blazes new trails in the study of the lives of girls, challenging all of us who care about justice and gender equity not only to create just and inclusive educational institutions but to be unapologetically feminist in doing so. Seamlessly merging research with the stories and voices of girls and those who educate them, this book reminds us that we should do better and inspires the belief that we can. It is the blueprint we’ve been waiting for.”
—Brittney C. Cooper, author of Eloquent Rage

“Nuamah makes a compelling and convincing case for the development of the type of school that can not only teach girls but also transform them…An essential read for all educators, policymakers, and parents invested in a better future.”
—Joyce Banda, former President of the Republic of Malawi

This bold and necessary book points out a simple and overlooked truth: most schools never had girls in mind to begin with. That is why the world needs what Sally Nuamah calls “feminist schools,” deliberately designed to provide girls with achievement-oriented identities. And she shows how these schools would help all students, regardless of their gender.

Educated women raise healthier families, build stronger communities, and generate economic opportunities for themselves and their children. Yet millions of disadvantaged girls never make it to school—and too many others drop out or fail. Upending decades of advice and billions of dollars in aid, Nuamah argues that this happens because so many challenges girls confront—from sexual abuse to unequal access to materials and opportunities—go unaddressed. But it isn’t enough just to go to school. What you learn there has to prepare you for the world where you’ll put that knowledge to work.

A compelling and inspiring scholar who has founded a nonprofit to test her ideas, Nuamah reveals that developing resilience is not a gender-neutral undertaking. Preaching grit doesn’t help girls; it actively harms them. Drawing on her deep immersion in classrooms in the United States, Ghana, and South Africa, Nuamah calls for a new approach: creating feminist schools that will actively teach girls how and when to challenge society’s norms, and allow them to carve out their own paths to success.

The discovery and imparting of knowledge are the essential undertakings of any university. Such purposes determined John Carroll, SJ's modest and surprisingly ecumenical proposal to establish an academy on the banks of the Potomac for the education of the young in the early republic. What began earnestly in 1789 still continues today: the idea of Georgetown University as a Catholic university situated squarely in the American experience.

Beautifully designed with over 300 illustrations and photographs, A History of Georgetown University tells the remarkable story of the administrators, boards, faculty, students, and programs that have made Georgetown a leading institution of higher education. With a keen eye for detail, historian Robert Emmett Curran—a member of the Georgetown community for over three decades—explores the broader perspective of Georgetown's sense of identity and its place in American culture.

Volume One traces Georgetown’s evolution during its first century, from its beginnings as an academy within the American Catholic community of the Revolutionary War era through its flowering as a college before the Civil War to its postbellum achievements as a university. Volume Two highlights the efforts of administrators and faculty over the next seventy-five years to make Georgetown an ascending and increasingly diverse institution with a range of graduate programs and professional schools. Volume Three examines Georgetown’s remarkable rise to prominence as an internationally recognized research university—both culturally engaged and cosmopolitan while remaining grounded in its Catholic and Jesuit character.

Each volume features numerous illustrations, photographs, and appendices that include student demographics, enrollments, and lists of board members.

The discovery and imparting of knowledge are the essential undertakings of any university. Such purposes determined John Carroll, SJ's modest and surprisingly ecumenical proposal to establish an academy on the banks of the Potomac for the education of the young in the early republic. What began earnestly in 1789 still continues today: the idea of Georgetown University as a Catholic university situated squarely in the American experience.

Beautifully designed with over 300 illustrations and photographs, A History of Georgetown University tells the remarkable story of the administrators, boards, faculty, students, and programs that have made Georgetown a leading institution of higher education. With a keen eye for detail, historian Robert Emmett Curran—a member of the Georgetown community for over three decades—explores the broader perspective of Georgetown's sense of identity and its place in American culture.

Volume One traces Georgetown’s evolution during its first century, from its beginnings as an academy within the American Catholic community of the Revolutionary War era through its flowering as a college before the Civil War to its postbellum achievements as a university. Volume Two highlights the efforts of administrators and faculty over the next seventy-five years to make Georgetown an ascending and increasingly diverse institution with a range of graduate programs and professional schools. Volume Three examines Georgetown’s remarkable rise to prominence as an internationally recognized research university—both culturally engaged and cosmopolitan while remaining grounded in its Catholic and Jesuit character.

Each volume features numerous illustrations, photographs, and appendices that include student demographics, enrollments, and lists of board members.

The discovery and imparting of knowledge are the essential undertakings of any university. Such purposes determined John Carroll, SJ's modest and surprisingly ecumenical proposal to establish an academy on the banks of the Potomac for the education of the young in the early republic. What began earnestly in 1789 still continues today: the idea of Georgetown University as a Catholic university situated squarely in the American experience.

Beautifully designed with over 300 illustrations and photographs, A History of Georgetown University tells the remarkable story of the administrators, boards, faculty, students, and programs that have made Georgetown a leading institution of higher education. With a keen eye for detail, historian Robert Emmett Curran—a member of the Georgetown community for over three decades—explores the broader perspective of Georgetown's sense of identity and its place in American culture.

Volume One traces Georgetown’s evolution during its first century, from its beginnings as an academy within the American Catholic community of the Revolutionary War era through its flowering as a college before the Civil War to its postbellum achievements as a university. Volume Two highlights the efforts of administrators and faculty over the next seventy-five years to make Georgetown an ascending and increasingly diverse institution with a range of graduate programs and professional schools. Volume Three examines Georgetown’s remarkable rise to prominence as an internationally recognized research university—both culturally engaged and cosmopolitan while remaining grounded in its Catholic and Jesuit character.

Each volume features numerous illustrations, photographs, and appendices that include student demographics, enrollments, and lists of board members.

The discovery and imparting of knowledge are the essential undertakings of any university. Such purposes determined John Carroll, SJ's modest and surprisingly ecumenical proposal to establish an academy on the banks of the Potomac for the education of the young in the early republic. What began earnestly in 1789 still continues today: the idea of Georgetown University as a Catholic university situated squarely in the American experience.

Beautifully designed with over 300 illustrations and photographs, A History of Georgetown University tells the remarkable story of the administrators, boards, faculty, students, and programs that have made Georgetown a leading institution of higher education. With a keen eye for detail, historian Robert Emmett Curran—a member of the Georgetown community for over three decades—explores the broader perspective of Georgetown's sense of identity and its place in American culture.

Volume One traces Georgetown’s evolution during its first century, from its beginnings as an academy within the American Catholic community of the Revolutionary War era through its flowering as a college before the Civil War to its postbellum achievements as a university. Volume Two highlights the efforts of administrators and faculty over the next seventy-five years to make Georgetown an ascending and increasingly diverse institution with a range of graduate programs and professional schools. Volume Three examines Georgetown’s remarkable rise to prominence as an internationally recognized research university—both culturally engaged and cosmopolitan while remaining grounded in its Catholic and Jesuit character.

Each volume features numerous illustrations, photographs, and appendices that include student demographics, enrollments, and lists of board members.

If Harvard can be said to have a literature all its own, then few universities can equal it in scope. Here lies the reason for this anthology—a collection of what Harvard men (teachers, students, graduates) have written about Harvard in the more than three centuries of its history. The emphasis is upon entertainment, upon readability; and the selections have been arranged to show something of the many variations of Harvard life.

For all Harvard men—and that part of the general public which is interested in American college life—here is a rich treasury. In such a Harvard collection one may expect to find the giants of Harvard’s last 75 years—Eliot, Lowell, and Conant—attempting a definition of what Harvard means. But there are many other familiar names—Henry Dunster, Oliver Wendell Holmes, James Russell Lowell, Henry Adams, Charles M. Flandrau, William and Henry James, Owen Wister, Thomas Wolfe, John P. Marquaud. Here is Mistress Eaton’s confession about the bad fish served to the wretched students of Harvard’s early years; here too is President Holyoke’s account of the burning of Harvard Hall; a student’s description of his trip to Portsmouth with that aged and Johnsonian character, Tutor Henry Flynt; Cleveland Amory’s retelling of the murder of Dr. George Parkman; Mayor Quiney’s story of what happened in Cambridge when Andrew Jackson came to get an honorary degree; Alistair Cooke’s commentary on the great Harvard–Yale cricket match of 1951. There are many sorts of Harvard men in this book—popular fellows like Hammersmith, snobs like Bertie and Billy, the sensitive and the lonely like Edwin Arlington Robinson and Thomas Wolfe, and independent thinkers like John Reed. Teachers and pupils, scholars and sports, heroes and rogues pass across the Harvard stage through the struggles and the tragedies to the moments of triumph like the Bicentennial or the visit of Winston Churchill.

And speaking of visits, there are the visitors too—the first impressions of Harvard set down by an assortment of travelers as various as Dickens, Trollope, Rupert Brooke, Harriet Martineau, and Francisco de Miranda, the “precursor of Latin American independence.”

For the Harvard addict this volume is indispensable. For the general reader it is the sort of book that goes with a good living-room fire or the blissful moments of early to bed.

In the early years of the twentieth century, President Charles William Eliot fought to keep Harvard from becoming a refuge for “the stupid sons of the rich.” A. Lawrence Lowell, a tireless builder, gave the modern University its physical structure. James Conant helped forge a wartime alliance of universities, industry, and government that sustained an astonishingly prosperous postwar epoch.

Their successors saw Harvard through the turbulent 1960s and 1970s, adapting the University’s programs and policies to the needs of a rapidly changing society, strengthening longstanding bonds with international institutions, and creating new ties to the cultures of Japan, China, and other Eastern nations.

In words and pictures, Harvard Observed documents the shaping of the singular institution that poet and essayist David McCord, a former Harvard Alumni Bulletin editor, called “the haven of scholars and teachers, the laboratory of scientists and technicians, the church of the theologian, the crow’s nest of the visionary, the courtroom of the law, the forum of the public servant. It is gallery, concert hall, and stage; the out-patient ward for the medical student, counting-house of the businessman, classroom of the nation, lecture platform for the visitor, library to the world; and…‘on of the great achievements of American democracy.’”

Depicting the evolution of twentieth-century Harvard in the broader context of national and world events, Harvard Observed has much to say and show about the academic rites, intellectual arguments, sexual mores, fads, and folklore that became touchstones for successive generations of Harvardians. Photographs, drawings, and paintings from the University’s vast archival collections and museums add a compelling visual dimension.

Open this book and step into the storied corridors of the nation’s oldest university; encounter the historic landmarks and curiosities; and among them, meet the famous dropouts and former students, the world-class scholars, eccentrics, and prodigies who have given the institution its incomparable character.

An alphabetical compendium of short but substantial essays about Harvard University—its undergraduate college and nine professional schools—this volume traverses the gamut of Harvardiana from Aab and Admissions to X Cage and Z Closet. In between are some two hundred entries written by three Harvard veterans who bring to the task over 125 years of experience within the university. The entries range from essential facts to no less interesting ephemera, from the Arnold Arboretum designed by Frederick Law Olmsted to the peculiar medical specimens of the Warren Museum; from Arts and Athletics to Towers and Tuition: from the very real environs (Cambridge, Charles River, and Quincy Street) to the Harvard of Hollywood and fiction.

Harvard A to Z is a browser’s delight, offering readers the chance to dip into the history and lore, the character and culture of America’s foremost institution of higher learning.

In the first work to examine both nazification and denazification of a major German university, Steven Remy offers a sobering account of the German academic community from 1933 to 1957. Deeply researched in university archives, newly opened denazification records, occupation reports, and contemporary publications, The Heidelberg Myth starkly details how extensively the university's professors were engaged with National Socialism and how effectively they frustrated postwar efforts to ascertain the truth.

Many scholars directly justified or implemented Nazi policies, forming a crucial element in the social consensus supporting Hitler and willingly embracing the Nazis' "German spirit," a concept encompassing aggressive nationalism, anti-Semitism, and the rejection of objectivity in scholarship. In elaborate postwar self-defense narratives, they portrayed themselves as unpolitical and uncorrupted by Nazism. This "Heidelberg myth" provided justification for widespread resistance to denazification and the restoration of compromised scholars to their positions, and set the remarkably long-lasting consensus that German academic culture had remained untainted by Nazi ideology.

The Heidelberg Myth is a valuable contribution to German social, intellectual, and political history, as well as to works on collective memory in societies emerging from dictatorship.

Since 1892, Harvard University, like many distinguished academic institutions, has compiled a hymnal for use in its own worship services. The fourth edition of The Harvard University Hymn Book represents the culmination of a ten-year process of revision and re-creation based on the 1964 third edition. Containing over 370 hymns, over 100 more than its predecessor, the book includes many that have become a regular part of worship at The Memorial Church in the years since the publication of the previous edition.

In addition to many familiar hymns old and new, the fourth edition includes selections that were unique to the previous editions, hymns previously unpublished, and other noteworthy “discoveries” that have not appeared in print for many years.

A classic and invaluable reference work. Soon after its initial publication, the Harvard Dictionary of Music by Willi Apel was firmly established as a standard and essential resource for everyone concerned with music. The product of exceptional scholarship, it was praised as being comprehensive, concise, authoritative, scholarly, and enjoyable. Leopold Stokowski wrote, “I so often consult your dictionary of music, and with such never failing enlightenment, that I must offer you my thanks for your unique book, so profound and so broad in scope… The vast scholarship…is of immeasurable value to the whole world of music.”

For this second edition the dictionary has been thoroughly revised, updated, and substantially enlarged. Apel and eighty-eight other eminent music scholars have contributed new articles and revised old ones completely. The already comprehensive list of accurate definitions has grown measurably and it now even includes nothus, pyiba, and merengue.

In the greatly expanded coverage of ethnomusicology, cumbia—an Afro-Panamanian dance form—and Vietnam are only two of the new entries. Additionally, all the general information about individual countries has been revised and the discussion of both theory and history has been amply increased. Developments of the last two decades are given special attention with particular emphasis on compositional techniques, including electronic music and serial music. Individual compositions, representative of every type from every era, are described. The bibliography following each article, a unique feature of the first edition, has been updated and expanded. There are fifty percent more illustrations than in the first edition, including explicit drawings of instruments, clear music examples, diagrams, charts and a full-page outline of the history of music.

An extensive list of the most important music libraries and collections throughout the world with summaries of their significant musical holdings is a valuable part of the dictionary. The section on historical editions now lists fifty-three collections of music and briefly describes each volume within each collection.

The Harvard Dictionary of Music, Second Edition, Revised and Enlarged, is the result of imaginative, specialized, modern, and reliable music scholarship. Containing nearly 1,000 pages of precise and accessible information on all musical subjects, it offers over fifty percent more material than the first edition. It is essential not only to the scholar of music, the professional performer, and the practicing amateur, but to everyone who has ever anticipated the pleasure of a weekly musical broadcast, purchased a favorite recording, or truly enjoyed a concert.

This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music.

The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture.

Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.

This new compact guide to the history and performance of music is both authoritative and a pleasure to use. With entries drawn and condensed from the widely acclaimed The New Harvard Dictionary of Music and its companion The Harvard Biographical Dictionary of Music, it is a dependable reference for home and classroom and for professional and amateur musicians.

This concise dictionary offers definitions of musical terms; succinct characterizations of the various forms of musical composition; entries that identify individual operas, oratorios, symphonic poems, and other works; illustrated descriptions of instruments; and capsule summaries of the lives and careers of composers, performers, and theorists. Like its distinguished parent volumes, The Harvard Concise Dictionary of Music and Musicians provides information on all periods in music history, with particularly comprehensive coverage of the twentieth century.

Clearly written and based on vast expertise, The Harvard Concise Dictionary of Music and Musicians is an invaluable handbook for everyone who cares about music.

An incomparable guide to the thousands of characters, from humble artisan to lofty genius, who people the unfolding history of music, this volume brings together all the pertinent biographical information about composers, performers, music theorists, and instrument makers from the days of praise chants to the bop and pop of today. A long-awaited companion to The Harvard Dictionary of Music, and compiled with the same meticulous scholarship and delight in detail, this biographical dictionary emphasizes classical and art music, but also gives ample attention to jazz and blues, rock and pop, and hymns and show tunes across the ages—with unusual care devoted to coverage of the twentieth century.

That the Belgian composer Jean Absil was professor of fugue at the Brussels Conservatory is a little-known fact. And few are aware that Roy Acuff began his country-and-western career in medicine shows. The writings of the seventeenth-century organist Jakob Adlung may be obscure, while Theodor Adorno’s are widely read and studied. But they can all be found in the As, along with 218 more entries, from Herb Alpert and the Andrews Sisters to Carl Friedrich Abel and Emanuel Ax. And this is only the beginning.

Here then is the information you need about 5,500 figures in the world of music—the major, the minor, the famous, the nearly forgotten, from Bach and Beethoven to Irving Berlin, Benny Goodman, and Bruce Springsteen—capsule summaries of the lives and careers behind the music enjoyed in every era. The volume is enlivened with illustrations, some revelations in themselves. A compendium that no music lover should be without, this rich volume, along with The Harvard Dictionary of Music, constitutes the standard reference work for the musically inclined, the curious, the informed, and the expert.

Handel wrote over 100 cantatas, compositions for voice and instruments that describe the joy and pain of love. In Handel as Orpheus, the first comprehensive study of the cantatas, Ellen Harris investigates their place in Handel's life as well as their extraordinary beauty.

The cantatas were written between 1706 and 1723--from the time Handel left his home in Germany, through the years he spent in Florence and Rome, and into the early part of his London career. In this period he lived as a guest in aristocratic homes, and composed these chamber works for his patrons and hosts, primarily for private entertainments. In both Italy and England his patrons moved in circles in which same-sex desire was commonplace--a fact that is not without significance, Harris reveals, for the cantatas exhibit a clear homosexual subtext.

Addressing questions about style and form, dating, the relation of music to text, rhythmic and tonal devices, and voicing, Handel as Orpheus is an invaluable resource for the study and enjoyment of the cantatas, which have too long been neglected. This innovative study brings greater understanding of Handel, especially his development as a composer, and new insight into the role of sexuality in artistic expression.

Honey Meconi draws on her own experience as a scholar and performer of Hildegard's music to explore the life and work of this foundational figure. Combining historical detail with musical analysis, Meconi delves into Hildegard's mastery of plainchant, her innovative musical drama, and her voluminous writings. Hildegard's distinctive musical style still excites modern listeners through wide-ranging, sinuous melodies set to her own evocative poetry. Together with her passionate religious texts, her music reveals a holistic understanding of the medieval world still relevant to today's readers.

Clear-eyed and revealing, Homer Rodeheaver and the Rise of the Gospel Music Industry is an overdue consideration of a pioneering figure in American music.

Musical expression is at the heart of the American spiritual experience. And nowhere can you gauge the depth of spiritual belief and practice more than through the music that fills America's houses of worship. Most amazing is how sacred music has been shaped by the exchanges of diverse peoples over time. How Sweet the Sound traces the evolution of sacred music from colonial times to the present, from the Puritans to Sun Ra, and shows how these cultural encounters have produced a rich harvest of song and faith.

Pursuing the intimate relationship between music and spirituality in America, Stowe focuses on the central creative moments in the unfolding life of sacred song. He fills his pages with the religious music of Indians, Shakers, Mormons, Moravians, African-Americans, Jews, Buddhists, and others. Juxtaposing music cultures across region, ethnicity, and time, he suggests the range and cross-fertilization of religious beliefs and musical practices that have formed the spiritual customs of the United States, producing a multireligious, multicultural brew.

Stowe traces the evolution of sacred music from hymns to hip-hop, finding Christian psalms deeply accented by the traditions of Judaism, and Native American and Buddhist customs influenced by Protestant Christianity. He shows how the creativity and malleability of sacred music can explain the proliferation of various forms of faith and the high rates of participation they've sustained. Its evolution truly parallels the evolution of American pluralism.

Before Austin became the “live music capital of the world” and attracted tens of thousands of music fans, it had a vibrant local music scene that spanned late sixties psychedelic and avant-garde rock to early eighties punk. Venues such as the Vulcan Gas Company and the Armadillo World Headquarters hosted both innovative local musicians and big-name touring acts. Poster artists not only advertised the performances—they visually defined the music and culture of Austin during this pivotal period. Their posters promoted an alternative lifestyle that permeated the city and reflected Austin’s transformation from a sleepy university town into a veritable oasis of underground artistic and cultural activity in the state of Texas.

This book presents a definitive survey of music poster art produced in Austin between 1967 and 1982. It vividly illustrates four distinct generations of posters—psychedelic art of the Vulcan Gas Company, early works from the Armadillo World Headquarters, an emerging variety of styles from the mid-1970s, and the radical visual aesthetic of punk—produced by such renowned artists as Gilbert Shelton, Jim Franklin, Kerry Awn, Micael Priest, Guy Juke, Ken Featherston, NOXX, and Danny Garrett. Setting the posters in context, Texas music and pop-culture authority Joe Nick Patoski details the history of music posters in Austin, and artist and poster art scholar Nels Jacobson explores the lives and techniques of the artists.

The Hayloft Gang draws on the colorful commentary of performers and former listeners to analyze the National Barn Dance, its audience, and its impact. Contributors trace the history of barn dance radio, explore the paradox of a foundational country music program broadcast from a major city, investigate notions of authenticity in the presentation of country music and entertainment, and delve into provocative issues raised by the barn dance phenomenon.

Contributors: Chad Berry, Michael T. Bertrand, Lisa Krissoff Boehm, Don Cusic, Wayne W. Daniel, Loyal Jones, Kristine M. McCusker, Stephen Parry, Susan Smulyan, Paul L. Tyler, and Michael Ann Williams.

The neighborhoods of Fifth Ward, Fourth Ward, Third Ward, and the Southside of Houston, Texas, gave birth to Houston rap, a vibrant music scene that has produced globally recognized artists such as Geto Boys, DJ Screw, Pimp C and Bun B of UGK, Fat Pat, Big Moe, Z-Ro, Lil’ Troy, and Paul Wall. Lance Scott Walker and photographer Peter Beste spent a decade documenting Houston’s scene, interviewing and photographing the people—rappers, DJs, producers, promoters, record label owners—and places that give rap music from the Bayou City its distinctive character. Their collaboration produced the books Houston Rap and Houston Rap Tapes.

This second edition of Houston Rap Tapes amplifies the city’s hip-hop history through new interviews with Scarface, Slim Thug, Lez Moné, B L A C K I E, Lil’ Keke, and Sire Jukebox of the original Ghetto Boys. Walker groups the interviews into sections that track the different eras and movements in Houston rap, with new photographs and album art that reveal the evolution of the scene from the 1970s to today’s hip-hop generation. The interviews range from the specifics of making music to the passions, regrets, memories, and hopes that give it life. While offering a view from some of Houston’s most marginalized areas, these intimate conversations lay out universal struggles and feelings. As Willie D of Geto Boys writes in the foreword, “Houston Rap Tapes flows more like a bunch of fellows who haven’t seen each other for ages, hanging out on the block reminiscing, rather than a calculated literary guide to Houston’s history.”