This catalogue of the music of Charles Ives contains 728 entries covering all of the prolific composer's works. James Sinclair's book presents information produced by recent Ives scholarship and generous commentary on each of Ives's compositions. It completes the work begun by musicologist John Kirkpatrick in 1955, when Ives's music manuscripts were deposited in the Yale Music Library. Ives's works are arranged alphabetically by title within genres. Whenever possible, each entry includes the main title and any other titles the composer may have used; the forces required; the duration; headings of movements; publication history; citation of the first known performance and first recording; the derivation of the work, listing music on which it may be modeled or from which it may borrow material; the principal literature treating the piece; and commentary on these and other matters. The catalogue also provides musical incipits for all Ives's extant works, seven appendixes (covering his work lists, 'Quality Photo' lists, his songbooks, a chronology of his life, recordings made by Ives, and his private publications and commercial publishers), three concordances, and four extensive indexes (addresses, names, titles, and musical borrowings).

Reprint of the original, first published in 1877.

In 1809 the little-known artist William Blake held an exhibition of 16 paintings in a private house in Soho in the west end of London. Works inspired by Chaucer's "Canterbury Tales" and John Milton's "Paradise Lost" sat alongside biblical scenes and Arthurian legend. The exhibition was not a success; the only review in the press was extremely unfavourable and few of the public came. One of those who did was the poet Charles Lamb, who later described the pictures as 'hard, dry, yet with grace', and the catalogue that accompanied the show as 'mystical and full of vision'. It is this catalogue that Tate Publishing are once again making available. In it, the scale and range of Blake's ambition are made plain, along with his theories on painting, his unsparing critiques of other artists and some extraordinary insights into the working of his mind. The only detailed writing on art that remains to us by Blake, it throws light on all his subsequent artistic enterprises, including the illuminated books for which he is perhaps most famous. Part commentary and part manifesto, his catalogue is as radical as it is in places eccentric (he claims at one point to have been transported in a "vision" back to the classical world). Fully illustrated in colour with reproductions of surviving works originally in the exhibition, the book includes an illuminating essay by leading authority on British art Martin Myrone, Lead Curator of Pre-1800 Art at Tate Britain, making it an essential purchase for all of those wanting to know more.

This volume offers a selection of papers presented during the 14th International Conference on the History of the Language Sciences (ICHoLS XIV, Paris, 2017). Part I brings together studies dealing with descriptive concepts. First examined is the notion of “accidens” in Latin grammar and its Greek counterparts. Other papers address questions with a strong echo in today’s linguistics: localism and its revival in recent semantics and syntax, the origin of the term “polysemy” and its adoption through Bréal, and the difficulties attending the description of prefabs, idioms and other “fixed expressions”. This first part also includes studies dealing with representations of linguistic phenomena, whether these concern the treatment of local varieties (so-called patois) in French research, or the import and epistemological function of spatial representations in descriptions of linguistic time. Or again, now taking the word “representation” literally, the visual display of grammatical relations, in the form of the first syntactic diagrams. Part II presents case studies which involve wider concerns, of a social nature: the “from below” approach to the history of Chinese Pidgin English underlines the social roles of speakers and the diversity of speech situations, while the scrutiny of Lhomond’s Latin and French textbooks demonstrates the interplay of pedagogical practice, cross-linguistic comparison and descriptive innovation. An overview of early descriptions of Central Australian languages reveals a whole spectrum of humanist to positivist and antihumanist stances during the colonial age. An overarching framework is also at play in the anthropological perspective championed by Meillet, whose socially and culturally oriented semantics is shown to live on in Benveniste. The volume ends with a paper on Trần Đức Thảo, whose work is an original synthesis between phenomenology and Marxist semiology, wielded against the “idealistic” doctrine of Saussure.