Abstract This chapter investigates the influence of both the preludes and the fugues on later composition and pedagogy. Composers whose works show significant influence from The Well-Tempered Clavier include Mozart in the eighteenth century, Mendelssohn and Schumann in the nineteenth, and Hindemith and Shostakovich in the twentieth. Although the Paris Conservatory has, since its founding, relied on its own in-house model for the teaching of fugue (the so-called fugue d’école), Bach’s fugues were taken as the standard in the Leipzig Conservatory under Mendelssohn’s directorship around the middle of the nineteenth century and quickly became the universal authority for most of the musical world, a status they enjoy to this day. The preludes served as models for keyboard études in the first half of the nineteenth century, but since that time have exerted less influence than the fugues.

Abstract Chapter 5 traces the history of public performance of The Well-Tempered Clavier from ca. 1800 to today. At first, complex music of this sort was spurned by the concert-going public, but in the second half of the nineteenth century interest began to grow, thanks in large part to the half century of advocacy shown by Clara Schumann. The first important performer to prefer performances on harpsichord was Wanda Landowska in the early twentieth century. By mid-century, Bach’s preludes and fugues could be heard in concert halls worldwide, and the collection’s most important performance legacy since that time has been established in the recording studio, for which it is particularly well suited. The chapter also incorporates an essay on the performance issues involved in presenting this music, including not just choice of instrument but also all kinds of interpretational decisions. Electronic and jazz-tinged performances close out the book.

Command and Creation: A Shiʿi Cosmological Treatise. A Persian Edition and English Translation of Muḥammad al-Shahrastānī’s Majlis-i maktūb. Edited and translated by Daryoush Mohammad Poor. London: I. B. Tauris, in association with The Institute of Ismaili Studies, 2021. Pp. xvi + 135 (Eng.), 84 (Pers.).

This paper traces the influence that pioneering Australian architectural historian David Saunders (1928-1986) exerted over the development of the University of Melbourne's Cross Street Co-operative Housing Development in Carlton designed by Earle, Shaw & Partners (1970-1971). Cross Street is one of a number of public-private medium-density housing developments that were constructed on large sites resumed by the Housing Commission of Victoria after World War II. While the Housing Commission was demolishing large areas of inner Melbourne for tabula rasa high-rise modernist development, Saunders argued for the retention, adaptation, and acculturation of urban form, exemplified in the house he and architect wife Doreen designed for themselves in Parkville (1962). Saunders took an active role in commissioning Cross Street and his influence meant that it became the first large-scale urban project in Australia that consciously articulated an understanding of its historic environment. The project demonstrates many of his key urban ideas such as the importance of the nineteenth-century terrace form and shared pedestrianised spaces. This paper argues that the project presaged the so-called rediscovery of the city in Australia, emerged amidst the rise of local architectural history as a discipline, heritage activism, and an institution positioning itself for expansion.

The chapters of this volume contain a series of detailed studies of various aspects of Fatimid rule in the regions of its Mediterranean and Near Eastern empire, 909 to 1171 AD, including separately the role of the imam-caliph, wazīr, chief qāḍī and dāʿī, and other political and public offices of this Shīʿī caliphate. Geographically it covers North Africa, Sicily, the Levant, Hijaz, Cairo and Egypt in the medieval period, with special attention to books, science and libraries, court society, festivals, intellectual traditions and Ismaili doctrines, its religious appeal, military, enemies and rivals, among them the Abbasids, Umayyads, and Ibadis.

perspective, generally receive recognition for the founding of Cairo and for the glory of having established the oldest continuously operating university in the world, al-Azhar. But, in the course of various exaggerations about al-Azhar, Fatimid institutions of learning have become disconnected from the meager evidence for them in the surviving historical records. A kind of boosterism has taken over the story of al-Azhar under the Fatimids and made of it a mythic prototype of the madrasa, at the minimum, or even the modern university, at the most outrageous.1 The false fame of al-Azhar has not, unfortunately, done the study of the Fatimids as much good as harm. Unchecked and unexamined, these legends hinder the evaluation of critical information concerning the relationship of state policy particularly in reference to religious ideology and the methods and efforts, or lack thereof, employed for its propagation. As a Shiite dynasty, the Fatimids presumably maintained an interest in establishing and fostering educational institutions that could promote their religious cause, or at the least, could ensure some measure of public loyalty. If al-Azhar actually possessed even a small portion of the eminence often accorded it, what explains Fatimid failure to attract scholars, or to build a solid record of academic conversions among those attached to it? Ismaili scholars, with few exceptions, are not known to have had any connection with such an institution. Al-Azhar was simply neither a major educational institution in the broader sense nor

Constructed from 1904 to 1931 in Guangzhou, Lingnan University was among the thirteen Christian universities founded by Western missionaries in China. It featured a hybrid campus with 'Chinese-style' buildings disposed on a Beaux-Arts planning scheme. This article argues that the campus planning and architectural design of Lingnan University was shaped by the unique quasicolonial power interactions in Guangzhou involving both cooperation and conflict between multiple forces - Western missionaries and architects, local governments, merchants both local and overseas, and ordinary people in Guangzhou. Responding to the shifting social contexts, Lingnan contributed to the modernization of Guangzhou's city plan in the early twentieth century. The architectural design of Lingnan University exemplified a re-invention of Chinese architectural styles in response to Guangzhou's quasicolonial context, achieved through the efforts of its American architects to learn and adapt 'Chinese-ness' in their building designs, and the political and financial support of local Chinese people and overseas Chinese merchants. The concept of Chinese architecture was not settled at Lingnan, but nevertheless the Beaux-Arts campus and its building designs were interpreted by multiple groups and were later adopted and modified by Chinese architects, illuminating a broader cross-cultural dialogue between China and the West.

In the literature on New Zealand architectural history, three propositions are typically made about modern architecture there. Firstly, it arrived 'late'; secondly, it came from Europe; thirdly, a local version emerges around 1950 in the work of the Auckland Group. Each of these three propositions is reasonable, but not adequate, and to present a brief critical account of modern architecture in New Zealand it is usefol to review and complicate them.