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Records of the Chicheley Plowdens A. D. 1590-1913. With four alphabetical indices, four pedigree sheets, and a portrait of Edmund, the great Elizabethan lawyer
Excerpt from Records of the Chicheley Plowdens, A. D. 1590-1913: With Four Alphabetical Indices, Four Pedigree Sheets, and a Portrait of Edmund, the Great Elizabethan Lawyer There are many oil paintings of great merit in Plowden Hall, chie y portraits of members of the family by various eminent artists. In the chapel is a portrait of St Francis of Assisi, attributed to Michelangelo; and there are three portraits by Sir Peter Lely, one by Van Dyck, and another by Angelica Kauffmann; and several beautiful miniatures. The Plowden estate in Shropshire is very greatly woodland, and Plowden Wood in particular is very large, a six-mile walk round, and has much wild game in it. The Records of the Plowden Family by Barbara M. Plowden, contains the history of the elder branch, and much of the above has been extracted from it, with the kind permission of the present squire. The present work, there fore, only aims at giving concisely the leading facts connected with the elder branch in the form of an alphabetical index brought up to date. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
Assembles a range of women's letters from the former British Empire. These letters 'written home' are not only historical sources; they are also representations of the state of the Empire in far-off lands sent home to Britain and, occasionally, other centres established as 'home'.
Assembles a range of women's letters from the former British Empire. These letters 'written home' are not only historical sources; they are also representations of the state of the Empire in far-off lands sent home to Britain and, occasionally, other centres established as 'home'.
Based on a vast, virtually unstudied archive of Indian writings alongside visual sources, this book presents the first history of music and musicians in late Mughal India c.1748–1858 and takes the lives of nine musicians as entry points into six prominent types of writing on music in Persian, Brajbhasha, Urdu and English, moving from Delhi to Lucknow, Hyderabad, Jaipur and among the British. It shows how a key Mughal cultural field responded to the political, economic and social upheaval of the transition to British rule, while addressing a central philosophical question: can we ever recapture the ephemeral experience of music once the performance is over? These rich, diverse sources shine new light on the wider historical processes of this pivotal transitional period, and provide a new history of music, musicians and their audiences during the precise period in which North Indian classical music coalesced in its modern form.
This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright’s work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers’ reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright’s major publications. The central chapters cover the geographical regions and historical periods addressed in Wright’s publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright’s own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.
Vol 1 905p Vol 2 961p.