Apart from the fact that John Field invented the nocturne, very little has been known about the composer and his strange and colorful life. Although is compositions were once widely popular, they are now neglected and misunderstood and even his beautiful nocturnes are seldom played. The author makes the first important reassessment of the composer's life and music, following Field's career from his childhood as an infant prodigy in Dublin and then as Clementi's pupil in London, through his brilliantly successfully years as the favorite of St. Petersburg and Moscow society, the vicissitudes of his love life, his final appearance in London and Paris, his unhappy years of wandering through Europe, to his eventual return to Moscow where he died in 1837. The nature of Field's greatness as a pianist is extensively discussed and the accounts of his teaching and playing methods are based on the numerous and detailed impressions of the composer's pupils and friends. All Field's known compositions are fully considered, including several works recently discovered by the author. Together with the many illustrations and music examples, this is a brilliant study of a composer whose music is at last put into perspective.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1973.

The Field is John B. Keane's fierce and tender study of the love a man can have for land and the ruthless lengths he will go to in order to obtain the object of his desire. It is dominated by Bull McCabe, one of the most famous characters in Irish writing today. An Oscar-nominated adaptation of The Field proved highly successful and popular worldwide, and starred Richard Harris, John Hurt, Brenda Fricker and Tom Berenger.

The Chopin nocturnes constitute 21 pieces for solo piano written by Frédéric Chopin between 1827 and 1846. They are generally considered among the finest short solo works for the instrument and hold an important place in contemporary concert repertoire. Although Chopin did not invent the nocturne, he popularized and expanded on it, building on the form developed by Irish composer John Field.Chopin's nocturnes numbered 1 to 18 were published during his lifetime, in twos or threes, in the order of composition. However, numbers 19 and 20 were actually written first, prior to Chopin's departure from Poland, but published posthumously. Number 20 was not originally entitled "nocturne" at all, but since its publication in 1870 as such, it is generally included with publications and recordings of the set.

This book challenges the orthodox approach to the teaching of second language listening, which is based upon the asking and answering of comprehension questions. The book's central argument is that a preoccupation with the notion of 'comprehension' has led teachers to focus upon the product of listening, in the form of answers to questions, ignoring the listening process itself. The author provides an informed account of the psychological processes which make up the skill of listening, and analyses the characteristics of the speech signal from which listeners have to construct a message. Drawing upon this information, the book proposes a radical alternative to the comprehension approach and provides for intensive small-scale practice in aspects of listening that are perceptually or cognitively demanding for the learner. Listening in the Language Classroom was winner of the Ben Warren International Trust House Prize in 2008.

English keyboard art from Robertsbridge Codex (c. 1325) to John Field. Illuminating coverage of organ, harpsichord, pianoforte, other instruments; works of Tallis, Byrd, Gibbons, Tomkins, many others. Bibliography.

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