Alastair Williams – författare

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Music in Germany since 1968 modifies the dominant historiography of music in post-war Germany by shifting its axis from the years of reconstruction after 1945 to the era following the events of 1968. Arguing that the social transformations of 1968 led to a new phase of music in Germany, Alastair Williams examines the key topics, including responses to serialism, music and politics, and the re-evaluation of tradition. The book devotes central chapters to Helmut Lachenmann and Wolfgang Rihm, as focal points for areas such as postmodernism, musical semiotics and action-based gestures. Further chapters widen the scope by considering the precursors and contemporaries of Rihm and Lachenmann, especially in relation to the idea of historical inclusion. Williams's study also assesses the development of the Darmstadt summer courses, addresses the significance of German reunification, and considers the role of Germany in a new stage of musical modernism.

'Understanding the Hospitality Consumer' presents a unique perspective on consumer behaviour in the hospitality sector. It seeks to focus on the role of consumption in hospitality and to investigate our understanding of its place in the contemporary industry.Taking the view that successful marketing demands focusing on the customer, this text concentrates on understanding and determining customer needs, relevant factors in consumer buying behaviour and the effectiveness of today's marketing techniques.Using industry based case studies and examples 'Understanding the Hospitality Consumer' :* Introduces and explores the role of consumer behaviour theory in the context of hospitality management* Discusses the principles and research of consumer behaviour and illustrates how they are used in the hospitality industry today* Examines the value of consumer behaviour research as applied to the contemporary hospitality industry* Explores the challenges to traditional approaches to consumption posed by the postmodern hospitality consumerThe book's targeted focus and practical application ensures that it is well suited for both students and practising managers in the hospitality field.

This title was first published in 2001: Unlike many other academic disciplines, musicology has been somewhat reluctant to explore the possibilities that critical theory might offer to our understanding of music and the ways in which we study it. In recent years, however, both the general impact of theory on humanities research and the wider repertoires now studied on music degree courses have urged a paradigm shift in musicology. Looking at both these trends, Alastair Williams examines and explains the theoretical issues raised by different musics, including the Western canon, popular music, folk music and music by women. A theoretically informed musicology, he argues, can reflect on its own procedures and create strategies for particular problems as they arise. In this sense the book offers a musicology under construction. To appreciate how theoretical discourses function and the interests they serve, it is important to understand their roots. Chapter One begins with a presentation of traditional musicology in the context of Joseph Kerman's call for a shift from fact-finding to critical interpretation. Discussion then moves to the scrutiny of the bourgeois tradition by Adorno and Dahlhaus. Chapter Two explores Kerman's critique of structural analysis, together with the impact of poststructuralism on musicology. Awareness of new repertoire and its consequences becomes evident as the book unfolds, with Chapter Three considering music by women and examining how gender is constructed in music. Chapter Four extends this discussion to the field of popular music and the ways in which this genre negotiates identity. Challenges to the dominant values are further explored as Chapter Five looks at how non-European cultures are presented in European music and reflects on perceptions of self and other in ethnomusicology. Chapter Six charts the emergence of modern subjectivity and its formations in music, arguing that musicology should not lose sight of modernity's critical resources.

This title was first published in 2001: Unlike many other academic disciplines, musicology has been somewhat reluctant to explore the possibilities that critical theory might offer to our understanding of music and the ways in which we study it. In recent years, however, both the general impact of theory on humanities research and the wider repertoires now studied on music degree courses have urged a paradigm shift in musicology. Looking at both these trends, Alastair Williams examines and explains the theoretical issues raised by different musics, including the Western canon, popular music, folk music and music by women. A theoretically informed musicology, he argues, can reflect on its own procedures and create strategies for particular problems as they arise. In this sense the book offers a musicology under construction. To appreciate how theoretical discourses function and the interests they serve, it is important to understand their roots. Chapter One begins with a presentation of traditional musicology in the context of Joseph Kerman''s call for a shift from fact-finding to critical interpretation. Discussion then moves to the scrutiny of the bourgeois tradition by Adorno and Dahlhaus. Chapter Two explores Kerman''s critique of structural analysis, together with the impact of poststructuralism on musicology. Awareness of new repertoire and its consequences becomes evident as the book unfolds, with Chapter Three considering music by women and examining how gender is constructed in music. Chapter Four extends this discussion to the field of popular music and the ways in which this genre negotiates identity. Challenges to the dominant values are further explored as Chapter Five looks at how non-European cultures are presented in European music and reflects on perceptions of self and other in ethnomusicology. Chapter Six charts the emergence of modern subjectivity and its formations in music, arguing that musicology should not lose sight of modernity''s critical resources.

This title was first published in 2001: Unlike many other academic disciplines, musicology has been somewhat reluctant to explore the possibilities that critical theory might offer to our understanding of music and the ways in which we study it. In recent years, however, both the general impact of theory on humanities research and the wider repertoires now studied on music degree courses have urged a paradigm shift in musicology. Looking at both these trends, Alastair Williams examines and explains the theoretical issues raised by different musics, including the Western canon, popular music, folk music and music by women. A theoretically informed musicology, he argues, can reflect on its own procedures and create strategies for particular problems as they arise. In this sense the book offers a musicology under construction. To appreciate how theoretical discourses function and the interests they serve, it is important to understand their roots. Chapter One begins with a presentation of traditional musicology in the context of Joseph Kerman''s call for a shift from fact-finding to critical interpretation. Discussion then moves to the scrutiny of the bourgeois tradition by Adorno and Dahlhaus. Chapter Two explores Kerman''s critique of structural analysis, together with the impact of poststructuralism on musicology. Awareness of new repertoire and its consequences becomes evident as the book unfolds, with Chapter Three considering music by women and examining how gender is constructed in music. Chapter Four extends this discussion to the field of popular music and the ways in which this genre negotiates identity. Challenges to the dominant values are further explored as Chapter Five looks at how non-European cultures are presented in European music and reflects on perceptions of self and other in ethnomusicology. Chapter Six charts the emergence of modern subjectivity and its formations in music, arguing that musicology should not lose sight of modernity''s critical resources.

''Understanding the Hospitality Consumer'' presents a unique perspective on consumer behaviour in the hospitality sector. It seeks to focus on the role of consumption in hospitality and to investigate our understanding of its place in the contemporary industry.Taking the view that successful marketing demands focusing on the customer, this text concentrates on understanding and determining customer needs, relevant factors in consumer buying behaviour and the effectiveness of today''s marketing techniques.Using industry based case studies and examples ''Understanding the Hospitality Consumer'' :* Introduces and explores the role of consumer behaviour theory in the context of hospitality management* Discusses the principles and research of consumer behaviour and illustrates how they are used in the hospitality industry today* Examines the value of consumer behaviour research as applied to the contemporary hospitality industry* Explores the challenges to traditional approaches to consumption posed by the postmodern hospitality consumerThe book''s targeted focus and practical application ensures that it is well suited for both students and practising managers in the hospitality field.

''Understanding the Hospitality Consumer'' presents a unique perspective on consumer behaviour in the hospitality sector. It seeks to focus on the role of consumption in hospitality and to investigate our understanding of its place in the contemporary industry.Taking the view that successful marketing demands focusing on the customer, this text concentrates on understanding and determining customer needs, relevant factors in consumer buying behaviour and the effectiveness of today''s marketing techniques.Using industry based case studies and examples ''Understanding the Hospitality Consumer'' :* Introduces and explores the role of consumer behaviour theory in the context of hospitality management* Discusses the principles and research of consumer behaviour and illustrates how they are used in the hospitality industry today* Examines the value of consumer behaviour research as applied to the contemporary hospitality industry* Explores the challenges to traditional approaches to consumption posed by the postmodern hospitality consumerThe book''s targeted focus and practical application ensures that it is well suited for both students and practising managers in the hospitality field.

'Understanding the Hospitality Consumer' presents a unique perspective on consumer behaviour in the hospitality sector. It seeks to focus on the role of consumption in hospitality and to investigate our understanding of its place in the contemporary industry.Taking the view that successful marketing demands focusing on the customer, this text concentrates on understanding and determining customer needs, relevant factors in consumer buying behaviour and the effectiveness of today's marketing techniques.Using industry based case studies and examples 'Understanding the Hospitality Consumer' :* Introduces and explores the role of consumer behaviour theory in the context of hospitality management* Discusses the principles and research of consumer behaviour and illustrates how they are used in the hospitality industry today* Examines the value of consumer behaviour research as applied to the contemporary hospitality industry* Explores the challenges to traditional approaches to consumption posed by the postmodern hospitality consumerThe book's targeted focus and practical application ensures that it is well suited for both students and practising managers in the hospitality field.

Since 1945 the emphasis in new music has lain in a desire for progress, a concept challenged by postmodernist aesthetics. In this study, Alastair Williams identifies and explores the recurring issues and problems presented by post-war music. Part one examines the German philosopher, Theodor Adorno's portrayal of modernity and his understanding of modernism in music. This is followed by a survey of the developments in music from late Beethoven to Schoenberg, the two composers whose works provided the main anchor points for Adorno's philosophy of music. Parts two and three indicate the ways in which Adorno's aesthetics are pertinent to an understanding of new music. Part two comprises a close examination of the music of Pierre Boulez and John Cage, composers who represent extreme, though related, aspects of contemporary music thought: the primacy of structure versus dissolution. Williams' views the music of Ligeti as an exploration of the interface between these two extremes, personifying Adorno's advocation of an aesthetic which attempts to embrace all its dissimilar parts. In part three the consequences of modernism and the aesthetic approaches of Derrida and de Mann are considered, together with the music of Wolfgang Rihm. Williams concludes with a survey of contemporary music and the postmodernist desire to include a range of compositional references.

Music in Germany since 1968 modifies the dominant historiography of music in post-war Germany by shifting its axis from the years of reconstruction after 1945 to the era following the events of 1968. Arguing that the social transformations of 1968 led to a new phase of music in Germany, Alastair Williams examines the key topics, including responses to serialism, music and politics, and the re-evaluation of tradition. The book devotes central chapters to Helmut Lachenmann and Wolfgang Rihm, as focal points for areas such as postmodernism, musical semiotics and action-based gestures. Further chapters widen the scope by considering the precursors and contemporaries of Rihm and Lachenmann, especially in relation to the idea of historical inclusion. Williams's study also assesses the development of the Darmstadt summer courses, addresses the significance of German reunification, and considers the role of Germany in a new stage of musical modernism.

Since 1945 the emphasis in new music has lain in a desire for progress, a concept challenged by postmodernist aesthetics. In this study, Alastair Williams identifies and explores the recurring issues and problems presented by post-war music. Part one examines the German philosopher, Theodor Adorno''s portrayal of modernity and his understanding of modernism in music. This is followed by a survey of the developments in music from late Beethoven to Schoenberg, the two composers whose works provided the main anchor points for Adorno''s philosophy of music. Parts two and three indicate the ways in which Adorno''s aesthetics are pertinent to an understanding of new music. Part two comprises a close examination of the music of Pierre Boulez and John Cage, composers who represent extreme, though related, aspects of contemporary music thought: the primacy of structure versus dissolution. Williams'' views the music of Ligeti as an exploration of the interface between these two extremes, personifying Adorno''s advocation of an aesthetic which attempts to embrace all its dissimilar parts. In part three the consequences of modernism and the aesthetic approaches of Derrida and de Mann are considered, together with the music of Wolfgang Rihm. Williams concludes with a survey of contemporary music and the postmodernist desire to include a range of compositional references.

Since 1945 the emphasis in new music has lain in a desire for progress, a concept challenged by postmodernist aesthetics. In this study, Alastair Williams identifies and explores the recurring issues and problems presented by post-war music. Part one examines the German philosopher, Theodor Adorno''s portrayal of modernity and his understanding of modernism in music. This is followed by a survey of the developments in music from late Beethoven to Schoenberg, the two composers whose works provided the main anchor points for Adorno''s philosophy of music. Parts two and three indicate the ways in which Adorno''s aesthetics are pertinent to an understanding of new music. Part two comprises a close examination of the music of Pierre Boulez and John Cage, composers who represent extreme, though related, aspects of contemporary music thought: the primacy of structure versus dissolution. Williams'' views the music of Ligeti as an exploration of the interface between these two extremes, personifying Adorno''s advocation of an aesthetic which attempts to embrace all its dissimilar parts. In part three the consequences of modernism and the aesthetic approaches of Derrida and de Mann are considered, together with the music of Wolfgang Rihm. Williams concludes with a survey of contemporary music and the postmodernist desire to include a range of compositional references.

This pocket-sized collection of helpful guidance and satisfying recipes will help students eat well and affordablyEvery student needs to fill their belly as well as their brain. But even if you can barely make toast, this starter guide to killing it in the kitchen will give you what you need to succeed.From the very basics through to more adventurous dishes, whether you're a vegan or an omnivore, these recipes are budget-friendly, super tasty and easy to make.Inside, along with plenty of vegetarian and vegan-friendly options, you'll find:- Basic, easy-to-follow advice on what you need to start cooking- Breakfast recipes and smoothies- Soups and starters- Mains and salads- Snacks and midnight cravings- Sweet treats and dessertsAnd the reliable recipes in these pages include the following dishes and many more:- Spaghetti Bolognese- Garlic bread- Pork or vegetable stir-fry- Teriyaki salmon- Chicken curry- Avocado salad- Chocolate brownies- Low-fat banana muffins