Industrial and business economics is a very important field with a great deal of relevance to the commercial world and to business studies students as well as to economists. It is a rapidly developing field in which many new research advances have been made in recent years. This book, first published in 1986, considers many aspects of both the theory of and the evidence on economic behaviour, and in particular the operations of firms and markets. The book was written in honour of Basil Yamey by his former research students.
The interrelations between accounting and food have been hitherto neglected at an international level. This regret is particularly meaningful with regards to Italy, where 'Food', besides being a physiological need to satisfy, is one of the main pillars of the 'Made in Italy' Industry, and the so-called Italian life-style, which has become a part of the popular culture. Accounting and Food seeks to explore the accounting, business and financial history of some of the most prestigious Italian food producers. Moreover, given that "Food" has been at the center of production and trade throughout the history of mankind, food production and commerce will be investigated from the critical angles of accounting, accountants and merchants. Relatedly, the interconnected history of the Food fairs and expositions of the major Italian trade centers will be also unveiled. Accounting and Food examines the role of accounting, accountants and merchants in food production and international trade (e.g., grain, wine, etc...) as well as considering the history of food producers, paying particular attention to the role played by women entrepreneurs over time. Finally the book explores the interrelations of accounting, food and state, local authorities and social institutions, in particular in so far these latter institutions were involved in the Political economy, regulation, allocation and distribution of food to populations and societies. Accounting and Food will be of particular interest to researches and scholars in the field of accounting history but also to those working in the areas of regional development, regional economics, food and sociology and other related disciplines.
Keyboard artists in the time of J.S. Bach were simultaneously performers, composers, and improvisers. By the twentieth century, however, the art of improvisation was all but lost. Today, vanishingly few classically-trained musicians can improvise with fluent, stylistic integrity. Many now question the system of training that leaves players dependent upon the printed page, and would welcome a new approach to musicianship that would enable modern performers to recapture the remarkable creative freedom of a bygone era. The Pianist's Guide to Historic Improvisation opens a pathway of musical discovery as the reader learns to improvise with confidence and joy. Useful as either a college-level textbook or a guide for independent study, the book is eminently practical. Author John Mortensen explains even the most complex ideas in a lucid, conversational tone, accompanied by hundreds of musical examples. Mortensen pairs every concept with hands-on exercises for step-by-step practice of each skill. Professional-level virtuosity is not required; players of moderate skill can manage the material. Suitable for professionals, conservatory students, and avid amateurs, The Pianist's Guide leads to mastery of improvisational techniques at the Baroque keyboard.
Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style."
This book is an edition, with commentary, of Handel's exercises for continuo playing, which he wrote for the daughters of George II. The exercises, which until now have not been readily available, are supplemented by clear and concise commentary. Remaining faithful to his source, Ledbetter, who lectures in keyboard studies, has prepared an edition that will prove invaluable to students and performers of the music of Handel and his contemporaries.
At the height of the Enlightenment, four conservatories in Naples stood at the center of European composition. Maestros taught their students to compose with unprecedented swiftness and elegance using the partimento, an instructional tool derived from the basso continuo that encouraged improvisation as the path to musical fluency. Although the practice vanished in the early nineteenth century, its legacy lived on in the music of the next generation. In The Art of Partimento, performer and music-historian Giorgio Sanguinetti chronicles the history of this long-forgotten Neapolitan art. Sanguinetti has painstakingly reconstructed the oral tradition that accompanied these partimento manuscripts, now scattered throughout Europe. Beginning with the origins of the partimento in the circles of Corelli, Pasquini, and Alessandro Scarlatti in Rome and tracing it through the peak of the tradition in Naples, The Art of Partimento gives a glimpse into the daily life and work of an eighteenth century composer. The Art of the Partimento is also a complete practical handbook to reviving the tradition today. Step by step, Sanguinetti guides the aspiring composer through elementary realization to more advanced exercises in diminution, imitation, and motivic coherence. Based on the teachings of the original masters, Sanguinetti challenges the reader to become a part of history, providing a variety of original partimenti in a range of genres, forms, styles, and difficulty levels along the way and allowing the student to learn the art of the partimento for themselves at their own pace. As both history and practical guide, The Art of Partimento presents a new and innovative way of thinking about music theory. Sanguinetti's unique approach unites musicology and music theory with performance, which allows for a richer and deeper understanding than any one method alone, and offers students and scholars of composition and music theory the opportunity not only to understand the life of this fascinating tradition, but to participate in it as well.
In this first-ever book on the solfeggio tradition, one of the pillars of eighteenth-century music education, author Nicholas Baragwanath illuminates how performers and composers developed their exceptional skills in improvising and inventing melodies.
