This small, striking book commemorates the career of experimental music composer Alvin Lucier, and features an interview with Lucier and curator Andrea Miller-Keller, essays by Nicolas Collins, Ronald Kuivila, Michael Roth and Pamela Tatge, and details of a symposium, exhibit and special performances of Lucier's work held at Wesleyan University, November 4-6, 2011. Lucier has pioneered in many areas of music composition and performance, including the notation of performers' physical gestures, the use of brain waves in live performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. From 1970 to 2011 he taught at Wesleyan University where he was John Spencer Camp Professor of Music. Lucier performs, lectures and exhibits his sound installations extensively in the United States, Europe and Asia.

Gervase Wheeler was an English-born architect who designed such important American works as the Henry Boody House in Brunswick, Maine; the Patrick Barry House in Rochester, New York; and the chapels at Bowdoin and Williams colleges. But he was perhaps best known as the author of two influential architecture books, Rural Homes (1851) and Homes for the People (1855). Yet Wheeler has remained a little known, enigmatic figure. Renée Tribert and James F. O'Gorman's study sheds new light on the course of Wheeler's career in the states, and brings crucial issues to the fore-the international movement of ideas, the development of the American architectural profession, the influence of architectural publications on popular taste, and social history as expressed in the changing nature of the American house. Wheeler's career is traced chronologically and geographically and the book is lavishly illustrated with over fifty images, including building plans and historical photographs.

The Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists. They involve the collaboration of a commercial art dealership, Piano Nobile Works of Art and the University at Bristol's History of Art Department; bringing together academic and commercial expertise on the artists for the benefit of those with an interest in their work. They are funded by the generosity of a private benefactor. The studies are confined to analyses of auction results over the last 21 years. Although largely from UK sales, data supplied by international salerooms are also included. Graphs and interpretations of these figures are analysed and significant trends and buying patterns revealed. It is envisaged that this data will be of growing value to private and corporate clients, museums and fine art funds. Accurate commercial appraisal has always played an important role in the consideration of new acquisitions throughout the history of art. No more so than today is this seen with the fluctuating, but ever more significant rise in value commanded by the best of many 20th-century artists' work. Written by Dr Louise Hughes as part of her doctoral studies at the University of Bristol, this publication establishes the art market fortunes of one of Britain's foremost modern artists, Walter Sickert. Examining factors such as general and specific market trends, media, genres and biography, Dr Hughes' analysis of sales prices provides an invaluable research tool in assessing the commercial positioning of Sickert's work. The publication consists of two sections - biography, results and analysis and an insert with an appendices of works sold between 1990 and 2011.

Castles, both ruined and occupied, are amongst the most deeply evocative buildings in the Scottish landscape. This book considers the history of the conservation and restoration of a number of those buildings against the background of what the idea of the castle has meant to Scots over the centuries. The authors draw on their extensive knowledge of castles across Scotland, as well as on their practical experience in advising on recent conservation and restoration projects. They begin by briefly considering the history of castles and by exploring their role in Scottish society, before moving on to consider the ways in which they were absorbed within later building complexes as domestic requirements and social aspirations changed. A series of detailed case studies then examines the issues surrounding the conservation and restoration of castles in modern times, which it is hoped will be of value for everyone with an interest in castles, including those who might be considering undertaking work on one.

In the 1470s, one of the most innovative artists working in Bruges illuminated a Book of Hours for Jean Carpentin, lord of Gravile and prominent citizen of Normandy. Known as the Master of the Dresden Prayer Book after one of his other masterpieces, this artist and members of his workshop enriched the pages of Carpentin’s manuscript with miniatures, historiated initials and boldly colored borders in which human figures, monsters and monkeys are framed by twisting branches of acanthus.

Listening and Longing explores the emergence of music listening in the United States, from its early stages in the antebellum era, when entrepreneurs first packaged and sold the experience of hearing musical performance, to the Gilded Age, when genteel critics began to successfully redefine the cultural value of listening to music. In a series of interconnected stories, American studies scholar Daniel Cavicchi focuses on the impact of industrialization, urbanization, and commercialization in shaping practices of music audiences in America. Grounding our contemporary culture of listening in its seminal historical moment-before the iPod, stereo system, or phonograph-Cavicchi offers a fresh understanding of the role of listening in the history of music.

Proceedings from the British Archaeological Association contain music studies from 150 years ago. Lawson raises a historiographical concern for these early discussions, as many of the authors are forgotten.

Hickmann describes a 17th century work by Guaman Poma chronicling the first period of the Conquista. Details from this book are comparable to archaeological finds of musical instruments that have since disappeared. The author provides illustrations of ancient Andean instruments.

Lund describes the development of Scandinavian music history from 1797 with the first discovery of lurs in Denmark to the modern discipline as it is established in research during the 19th and 20th centuries. Systematic orientation came in the 1970s.

This paper contains an overview of Pre-Columbian music research between 1880 and 1920. Figures and the interdisciplinary direction of the research movement are discussed in detail. Many of these early studies remain ignored, which is a concern for music historiography.

The pioneers who contributed towards the formative period of Scandinavian musicology (ca. 1915–1940) were highly interested in ancient music. Kolltveit describes approaches by pioneers Hammerich, Panum, Andersson, Norlind, Leden and Tveitt in their cultural, political, and academic contexts.

Now in its eleventh year of publication, Ceramics in America is considered the journal of record for historical ceramic scholarship in the American context.Included in 2011 edition:• The Chinese Scholar Pattern: Style, Merchant Identity, and the English Imagination-Sarah Fayen Scarlett• Digging Up Salem's Golden Age: Ceramic Use among the Merchant Class-George Schwartz• Ceramic Treasures among Seventeenth-Century Trash: A 1660s Cellar Deposit-Al Luckenbach and John E. Kille• The Stoneware Years of the Thompson Potters of Morgantown, West Virginia, 1854-1890-Richard Duez and Don Horvath with Brenda Hornsby Heindl• Cap-Hole Oyster Jars: A Racial Message In The Mud; or Shipping Crassostrea Virginica-Ivor Noël Hume• Mind Mud: Ai Weiwei's Conceptual Ceramics-Garth ClarkPlus ten New Discoveries and six new book reviews

A collection of 16 essays on the artist’s painting and works for the theatre between 1910 and 1924. The essays explore the colour theories that gave rise to her abstract painting and the basic laws of structure that gave order to her Cubist, Simultaneist, Non-Objective painting and her stage and costume design. Contemporary accounts of her three plays, Famira Kifared, Salome, and Romeo and Juliet are included together with extracts from Alexander Tairov’s, Notes of a Director (1921). The book closes with a detailed and illustrated Chronology of Exter’s exhibitions and paintings.

The San Vincenzo Project began in 1980 as a collaboration with the Soprintendenza Archaeologica del Molise. Its initial focus was the small frescoed crypt of 'San Lorenzo' (later known as the Crypt Church), which was in urgent need of conservation. Over the following eighteen years, a large multidisciplinary project was undertaken involving archaeologists, historians and art historians. This consisted of major open-area excavations of the early medieval monastery, of which the celebrated crypt proved to be a modest funerary oratory at the northern limits of the site. The project also involved a study of settlement history in the Upper Volturno valley. This book presents the finds of this excavation.

This publication is the only available English-language monograph to date on sixteenth-century sculptor Pier Jacopo Alari Bonacolsi (c. 1455–1528), who earned the nickname 'Antico' with his highly refined reductions of Greco-Roman antiquities. His bronzes – many of which were produced at the brilliant court of Isabella d'Este at Mantua – were remarkable for being meticulously cast and finely cleaned and finished, designed for close appreciation in the privacy of a courtly studio. His black patination and exquisite detailing, such as gilded hair and silver-inlaid eyes, are characteristic. Given Antico's importance for the history of sculpture, this book is a much needed resource in the field, presenting new scientific research and the results of technical studies undertaken at the National Gallery of Art, Washington. A series of essays places Antico's life, work and technique in a contextual framework useful for understanding his body of work. In addition to providing an overview of the artist's career, the catalogue will address key topics from his workmanship and craft to his relationship with the court of Mantua. Eleonora Luciano, associate curator of sculpture at the National Gallery of Art, provides a biography of the artist; Claudia Kryza-Gersch, curator of Italian sculpture at the Kunsthistorisches Museum, Vienna, discusses Antico as a pioneer of Renaissance sculpture; Stephen Campbell, professor and chair of the department of the history of art at John Hopkins University, writes about 'Antico and Humanism at the Court of Mantua'; Davide Gasparotto, curator at the Galleria Nazionale di Parma, considers Antico's portraiture; Denise Allen, curator at the Frick Collection, New York, writes about 'Materials, Workmanship and Meaning' in the artist's work. Two appendices present new scientific work: Dylan Smith and Shelley Sturman, both conservators at the National Gallery of Art, explore the technology of Antico's bronzes, and Richard Stone, conservator emeritus at the Metropolitan Museum of Art, New York, examines Antico's patinas. Exhibition held at National Gallery of Art, Washington.

Sharing Knowledge & Cultural Heritage (SK&CH), First Nations of the Americas, testifies to the growing commitment of museum professionals in the twenty-first century to share collections with the descendants of people and communities from whom the collections originated. Thanks to collection histories and the documenting of relations with particular indigenous communities, it is well known that until as recently as the 1970s, museum doors - except for a handful of cases - were shut to indigenous peoples.This volume is the result of an "expert meeting" held in November 2007 at the National Museum of Ethnology (NME) in Leiden, the Netherlands. Since then SK&CH projects have developed. The NME invited leading indigenous as well as non-native professional experts in the field from the Americas and Europe to explore and discuss case studies based on fieldwork, collecting material culture and/or work with indigenous communities in Greenland, the Canadian Arctic, North America and Central and South America.