Bøker av Asa Briggs

¿This major new book provides a sparkling and detailed account of classical, modern, and popular music throughout Queen Victoria's long reign. It completes the acclaimed series of classic studies by Professor Briggs, published as Victorian Cities, Victorian People, and Victorian Things. Lord Briggs has written the work with the music specialist Janet Lovegrove. The approach is deliberately chronological. It observes the music scene - both metropolitan and provincial - at twenty-year intervals. It particularly shows how contemporaries themselves perceived music in 1837, 1857, 1877 and 1897. These twenty-year intervals bring out the scale of change and the balance between continuities and contrasts at each point in the story. The intervening decades are more briefly explored. An Epilogue (1901) completes the picture. The authors trace the repertory of opera, of orchestral, choral, chamber and popular music. They show the performers, theatres, halls and rooms. They provide many illuminating stories of the lives and work of the composers, writers and critics, publishers, teachers and lecturers, who were keen to bring music to the many rather the few. London was linked to the provinces by cathedral, church or festival, and education. Key factors were the dissemination of printed music, the musical evangelism of the sight-singing movement, the national distribution achieved by the railways, and the implementation of a national educational system from 1870 onwards. An important element in this was the contribution made to 'progress' by provincial cities, most often through the proliferation of Festivals. No less important were the efforts of English musicians, composers, performers and teachers alike, to achieve status in a country where there was a strong amateur presence. There was also pressure from below, and a difference - often an indifference - in the role and interests of government, local and national. However, the dynamic steps taken to found modern music institutions are traced. Comparisons are made (as did the Victorians) between English and foreign performers and composers, the 'giants' of the past and present. The last chapters show the breaking away, never complete, from 'foreign domination' and the identification of an English musical 'renaissance.' The book is well illustrated. These pictures complete the overwhelming impression of an era teeming with energy and ambition, in music as in all else. The era laid the foundations of the musical heritage and standards we enjoy today.

"The classic text for historians and media scholars, updated throughout and with a new chapter on social media and big data"--

This history is a narrative of big events that have shaped the Europe of today. It traces the emergence, from the French Revolution onwards, of a distinctive sense of Europe and Europeanness. It also explores the growth and impact of the new phenomenon of the nation state.

Long established as a classic of modern historical writing, The Age of Improvement has had a unique influence on teaching and research.

ΓÇïThis major new book provides a sparkling and detailed account of classical, modern, and popular music throughout Queen Victoria’s long reign.It completes the acclaimed series of classic studies by Professor Briggs, published as Victorian Cities, Victorian People, and Victorian Things.  Lord Briggs has written the work with the music specialist Janet Lovegrove.The approach is deliberately chronological. It observes the music scene - both metropolitan and provincial - at twenty-year intervals. It particularly shows how contemporaries themselves perceived music in 1837, 1857, 1877 and 1897.  These twenty-year intervals bring out the scale of change and the balance between continuities and contrasts at each point in the story. The intervening decades are more briefly explored.  An Epilogue (1901) completes the picture.The authors trace the repertory of opera, of orchestral, choral, chamber and popular music. They show the performers, theatres, halls and rooms. They provide many illuminating stories of the lives and work of the composers, writers and critics, publishers, teachers and lecturers, who were keen to bring music to the many rather the few.London was linked to the provinces by cathedral, church or festival, and education. Key factors were the dissemination of printed music, the musical evangelism of the sight-singing movement, the national distribution achieved by the railways, and the implementation of a national educational system from 1870 onwards.  An important element in this was the contribution made to ‘progress’ by provincial cities, most often through the proliferation of Festivals.No less important were the efforts of English musicians, composers, performers and teachers alike, to achieve status in a country where there was a strong amateur presence.There was also pressure from below, and a difference - often an indifference - in the role and interests of government, local and national.  However, the dynamic steps taken to found modern music institutions are traced.  Comparisons are made (as did the Victorians) between English and foreign performers and composers, the ‘giants’ of the past and present.  The last chapters show the breaking away, never complete, from ‘foreign domination’ and the identification of an English musical ‘renaissance.’The book is well illustrated. These pictures complete the overwhelming impression of an era teeming with energy and ambition, in music as in all else. The era laid the foundations of the musical heritage and standards we enjoy today.

Exploring the final decade of each century from the 15th to the 20th, this work investigates factors such as cultural and economic attitudes, and artistic, scientific and political change. It finds that a consciousness of time has influenced the way people perceive their place in history.

Marx lived in London as a political exile from 1849 until his death in 1883. This book links the story of Marx's life in London to the places he lived and worked, and is aimed at visitors who are interested in seeing the places with which he was particularly associated. It is fully illustrated with photographs, maps and illustrations, and includes transport details to places of interest. Marx spent most of the first years in London in Soho, before moving to Kentish Town in 1856. Other places of significance to his life include the British Museum Reading Room, where he worked on Capital, Covent Garden, where the meetings of the First International took place, and Hampstead Heath, where Marx and his friends spent family Sundays.

Focuses on the cities of Manchester, Leeds, Birmingham, Middlesbrough, Melbourne and London, comparing and contrasting their social, political and topographical development.