James Cook – författare

Exploring how music is used to portray the past in a variety of media, this book probes the relationship between history and fantasy in the imagination of the musical past. The volume brings together essays from multidisciplinary perspectives, addressing the use of music to convey a sense of the past in a wide range of multimedia contexts, including television, documentaries, opera, musical theatre, contemporary and historical film, videogames, and virtual reality. With a focus on early music and medievalism, the contributors theorise the role of music and sound in constructing ideas of the past. In three interrelated sections, the chapters problematise notions of historical authenticity on the stage and screen; theorise the future of musical histories in immersive and virtual media; and explore sound’s role in more fantastical appropriations of history in television and videogames. Together, they pose

provocative questions regarding our perceptions of ‘early’ music and the sensory experience of distant history. Offering new ways to understand the past at the crossroads of musical and visual culture, this collection is relevant to researchers across music, media, and historical and cultural studies.

Exploring how music is used to portray the past in a variety of media, this book probes the relationship between history and fantasy in the imagination of the musical past. The volume brings together essays from multidisciplinary perspectives, addressing the use of music to convey a sense of the past in a wide range of multimedia contexts, including television, documentaries, opera, musical theatre, contemporary and historical film, videogames, and virtual reality. With a focus on early music and medievalism, the contributors theorise the role of music and sound in constructing ideas of the past. In three interrelated sections, the chapters problematise notions of historical authenticity on the stage and screen; theorise the future of musical histories in immersive and virtual media; and explore sound’s role in more fantastical appropriations of history in television and videogames. Together, they pose

provocative questions regarding our perceptions of ‘early’ music and the sensory experience of distant history. Offering new ways to understand the past at the crossroads of musical and visual culture, this collection is relevant to researchers across music, media, and historical and cultural studies.

Being able to read and write with ease does not just open up imagination and learning, it also helps us to thrive and cope in a world increasingly based on complex information from coding to utility bills. Everyone wants children to make the best start with literacy, but despite the existence of evidence-based programmes of instruction, some do not respond as hoped at first, or show a fade in learning in later school years. This book is about why that happens, and what we can do about it.

Drawing on research and the wide expertise of its authors, it sets out how lifelong literacy is based on crucial aspects of early child development and how these can be assessed and improved in classrooms. The book focuses on five core emerging literacy skills that underpin successful learning for children: concepts of print; phonological awareness; oral language; working memory and executive function; and pencil control. Chapters:

Educators who use this book and reflect on and adapt its ideas, will be more confident in what they are doing, with an enriched understanding of why it fits the children they are educating. It will be crucial reading for early years educators, primary classroom practitioners, educational psychologists, and speech and language therapists.

Being able to read and write with ease does not just open up imagination and learning, it also helps us to thrive and cope in a world increasingly based on complex information from coding to utility bills. Everyone wants children to make the best start with literacy, but despite the existence of evidence-based programmes of instruction, some do not respond as hoped at first, or show a fade in learning in later school years. This book is about why that happens, and what we can do about it.

Drawing on research and the wide expertise of its authors, it sets out how lifelong literacy is based on crucial aspects of early child development and how these can be assessed and improved in classrooms. The book focuses on five core emerging literacy skills that underpin successful learning for children: concepts of print; phonological awareness; oral language; working memory and executive function; and pencil control. Chapters:

Educators who use this book and reflect on and adapt its ideas, will be more confident in what they are doing, with an enriched understanding of why it fits the children they are educating. It will be crucial reading for early years educators, primary classroom practitioners, educational psychologists, and speech and language therapists.

England in the fifteenth century was the cradle of much that would have a profound impact on European music for the next several hundred years. Perhaps the greatest such development was the cyclic cantus firmus Mass, and scholarly attention has therefore often been drawn to identifying potentially English examples within the many anonymous Mass cycles that survive in continental sources. Nonetheless, to understand English music in this period is to understand it within a changing nexus of two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. Indeed, the question of ‘what is English’ cannot truly be answered without also answering the question of ‘what is continental’. This book seeks, initially, to answer both of these questions. Perhaps more importantly, it argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and that the great binary divide of provenance can, in many cases, productively be broken down. A great many of these works, though often written on the continent, can, it seems, only be understood in relation to English practice – a practice which has had, and will continue to have, major importance in the ongoing history of European Art Music.

England in the fifteenth century was the cradle of much that would have a profound impact on European music for the next several hundred years. Perhaps the greatest such development was the cyclic cantus firmus Mass, and scholarly attention has therefore often been drawn to identifying potentially English examples within the many anonymous Mass cycles that survive in continental sources. Nonetheless, to understand English music in this period is to understand it within a changing nexus of two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. Indeed, the question of ‘what is English’ cannot truly be answered without also answering the question of ‘what is continental’. This book seeks, initially, to answer both of these questions. Perhaps more importantly, it argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and that the great binary divide of provenance can, in many cases, productively be broken down. A great many of these works, though often written on the continent, can, it seems, only be understood in relation to English practice – a practice which has had, and will continue to have, major importance in the ongoing history of European Art Music.

Recomposing the Past is a book concerned with the complex but important ways in which we engage with the past in modern times. Contributors examine how media on stage and screen uses music, and in particular early music, to evoke and recompose a distant past. Culture, popular and otherwise, is awash with a stylise - sometimes contradictory - musical history. And yet for all its complexities, these representations of the past through music are integral to how our contemporary and collective imaginations understand history. More importantly, they offer a valuable insight into how we understand our musical present. Such representative strategies, the book argues, cross generic boundaries, and as such it brings together a range of multimedia discussion on the subjects of film (Lord of the Rings, Dangerous Liasions), television (Game of Thrones, The Borgias), videogame (Dragon Warrior, Gauntlet), and opera (Written on Skin, Taverner, English ‘dramatick opera’). This collection constitutes a significant, and interdisciplinary, contribution to a growing literature which is unpacking our ongoing creative dialogue with the past. Divided into three complementary sections, grouped not by genre or media but by theme, it considers: ‘Authenticity, Appropriateness, and Recomposing the Past’, ‘Music, Space, and Place: Geography as History’, and ‘Presentness and the Past: Dialogues between Old and New’. Like the musical collage that is our shared multimedia historical soundscape, it is hoped that this collection is, in its eclecticism, more than the sum of its parts.

Recomposing the Past is a book concerned with the complex but important ways in which we engage with the past in modern times. Contributors examine how media on stage and screen uses music, and in particular early music, to evoke and recompose a distant past. Culture, popular and otherwise, is awash with a stylise - sometimes contradictory - musical history. And yet for all its complexities, these representations of the past through music are integral to how our contemporary and collective imaginations understand history. More importantly, they offer a valuable insight into how we understand our musical present. Such representative strategies, the book argues, cross generic boundaries, and as such it brings together a range of multimedia discussion on the subjects of film (Lord of the Rings, Dangerous Liasions), television (Game of Thrones, The Borgias), videogame (Dragon Warrior, Gauntlet), and opera (Written on Skin, Taverner, English ‘dramatick opera’). This collection constitutes a significant, and interdisciplinary, contribution to a growing literature which is unpacking our ongoing creative dialogue with the past. Divided into three complementary sections, grouped not by genre or media but by theme, it considers: ‘Authenticity, Appropriateness, and Recomposing the Past’, ‘Music, Space, and Place: Geography as History’, and ‘Presentness and the Past: Dialogues between Old and New’. Like the musical collage that is our shared multimedia historical soundscape, it is hoped that this collection is, in its eclecticism, more than the sum of its parts.

According to Wikipedia: "Captain James Cook, FRS, RN (7 November 1728 – 14 February 1779) was a British explorer, navigator, cartographer, and captain in the Royal Navy. Cook made detailed maps of Newfoundland prior to making three voyages to the Pacific Ocean, during which he achieved the first recorded European contact with the eastern coastline of Australia and the Hawaiian Islands, and the first recorded circumnavigation of New Zealand. Cook joined the British merchant navy as a teenager and joined the Royal Navy in 1755. He saw action in the Seven Years'' War, and subsequently surveyed and mapped much of the entrance to the Saint Lawrence River during the siege of Quebec. This helped bring Cook to the attention of the Admiralty and Royal Society. This notice came at a crucial moment in both Cook''s career and the direction of British overseas exploration, and led to his commission in 1766 as commander of HM Bark Endeavour for the first of three Pacific voyages.In three voyages Cook sailed thousands of miles across largely uncharted areas of the globe. He mapped lands from New Zealand to Hawaii in the Pacific Ocean in greater detail and on a scale not previously achieved. As he progressed on his voyages of discovery he surveyed and named features, and recorded islands and coastlines on European maps for the first time. He displayed a combination of seamanship, superior surveying and cartographic skills, physical courage and an ability to lead men in adverse conditions.Cook was killed in Hawaii in a fight with Hawaiians during his third exploratory voyage in the Pacific in 1779. He left a legacy of scientific and geographical knowledge which was to influence his successors well into the 20th century and numerous memorials worldwide have been dedicated to him."