Creating a Policed Society? Provides an analysis of the evolution of policing and its impact on society in the West Riding of Yorkshire during the Victorian era. Unlike many previous police histories, which have focussed on specific (mainly urban) forces, it looks at developments across a region and brings out the complex and ongoing debates about policing, the diversity of police provision and the varied impact and responses that took place. As well as drawing on earlier works devoted to specific towns, the book offers a wide-ranging approach that utilises a range of hitherto underused sources that provide important insights into the details of police experience, both individual and collective.

The book is structured around three major problem areas that have a relevance beyond the bounds of the West Riding. They are: (1) the extent to which the various police forces can be seen to be efficient; (2) the extent to which the Victorian West Riding can be seen as a policed society; and (3) the extent to which the policing in the county can be described as consensual. The author argues, firstly, that, despite ongoing problems retention, discipline and ill-health, most late-Victorian forces in the West Riding satisfied their local and national masters of their efficiency and were significantly less inefficient than their mid-century counterparts. Secondly, it is argued that notwithstanding the limitations to police powers, the Victorian West Riding was recognisably a policed society (or more accurately, a collection of policed societies), not least in the eyes of the majority of the local community. Finally, despite clear demonstrations of popular hostility to the police, in towns and country, in the third quarter of the nineteenth century and the persistence of anti-police sentiments, particularly in certain districts and among certain social groups, it is argued that, by a realistic and dynamic (rather than absolutist) definition of policing by consent, the Victorian West Riding was policed more by  consensus than coercion.

David Taylor is emeritus professor of history at the University of Huddersfield and is the author of numerous books and articles on Victorian policing, including Policing the Victorian Town: The Development of the Police in Middlesbrough, c.1840-1914, Basingstoke, Palgrave Macmillan, 2002 and Beerhouses, Brothels and Bobbies: Policing by consent in Huddersfield and the Huddersfield District in the mid-nineteenth century, Huddersfield University Press, 2016.

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There are strong links between music and mathematics dating back to Pythagoras and beyond. This book draws together the two disciplines outlining the key methods and concepts that underpin the subjects from one of the earliest uses of a musical cryptogram to computer music in the twenty-first century.

Maths and Music is divided into sections, each one exploring a different mathematical aspect of music: rhythm; symmetry; scales; form and structure; and finally some musical curiosities. Musical examples are taken from across the world, from ancient and medieval music through to popular music of the twenty-first century. In all, the book covers over 200 pieces of music ranging from classical symphonies to electronic dance music with numerous musical excerpts given. There are clear explanations throughout along with glossaries of musical and mathematical terms.

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Cultures of Sound is a celebratory showcase of research  exhibitions, installations, performances, workshops, talks and discussion about sound. Produced by the School of Arts and Humanities, University of Huddersfield.

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This publication was inspired by the work of two Dutch teacher educators, Peter Lorist and Anja Swennen, who have done so much to promote understanding of the lives and work of teacher educators. What is distinctive about this booklet is that it exclusively focuses on one type of teacher educator working in one country: further education (FE) based teacher educators in England. Building on Noel’s research into the ‘secret life’ of the FE based teacher educator, this booklet incorporates the directly told stories of 12 FE based teacher educators together with discussion and analysis which explores how they became teachers and then teacher educators. It considers the context of their work and explicates some common themes. Petrie asserted that ‘writing about FE is…to draw a map’ of it. As such, this booklet adds new detail to the still largely underdeveloped ‘map’ of FE initial teacher education. It is both an invitation to researchers to identify ‘areas of the map for exploration’ and a resource for teacher educators, particularly, those inducting and working with FE’s new teacher educators.

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Cultures of Place is a celebratory showcase of research exhibitions, installations, performances, workshops, podcasts, talks and discussion about place. Produced by the School of Arts and Humanities, University of Huddersfield.

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This album was recorded during the final year of Inja Stanović’s Leverhulme-funded research project (Re)constructing Early Recordings: a guide for historically-informed performance. As the title suggests, this project focused upon the technologies used to produce early recordings and, more specifically, the ways in which those recordings reveal performance practices of the past. The project was highly practical: a series of performing musicians were invited to produce brand new recordings, albeit using early recording technologies, period instruments, and historically-informed performance practices. The aim was to reconstruct and study the circumstances in which historic recordings were originally produced, in order that we might better understand what they reliably preserve of past performing musicians that are, nowadays, a rich source of inspiration for musicians of the present.

David Milsom, violin (Fernardo Solar González, 1976).

Inja Stanović, piano (Broadwood, c.1915).

Recorded at the University of Huddersfield and Stanović’s home studio, 2021.

Duncan Miller: Acoustic recording.

Adam Stanović: Digital recording and audio post-production.

Nicola Matić, Inja Stanović and Adam Stanović: Album design.

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When the Stockton & Darlington Railway opened in 1825, it was the first steam-powered railway to carry passengers. Since then there has been no shortage of music connected with trains and railways: orchestral pieces and popular songs describing railway journeys; those that celebrate the opening of a new line; worksongs and blues describing the hardship of building the railroads, even the first use of sampled music used railway sounds as its source. The railway has inspired countless pieces of music from the pastoral serenity of the Flanders and Swann song ‘Slow train’ to the shrieking horror of holocaust trains in Steve Reich’s Different Trains. This is the first book to give a comprehensive coverage of music connected with the railways.

In the nineteenth century, thousands of miles of railway lines transformed time, space and distance. Across Europe composers celebrated with music such as waltzes and polkas, cantatas, piano pieces and saucy music hall songs. Moving into the twentieth century, iconic twentieth-century works, such as Britten’s Night Mail and Honegger’s Pacific 231, captured the sounds of locomotives. Railways and trains are so deeply ingrained in the popular imagination that they feature in hundreds, possibly thousands, of popular songs. In North America, early railroad songs told of hoboes, heroes, villains, and train wrecks and the sounds of the railroad were heard in boogie-woogie, blues, gospel, jazz, and rock music. In total, this book describes over 50 pieces of classical music and covers more than 250 popular songs. 

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Professor Taylor is a social historian who for many years taught at the polytechnics, later universities, of Teesside and Huddersfield and, more recently, at the Huddersfield & District University of the Third Age. He is best known for his publications on crime and policing, most recently Beerhouses, Brothels and Bobbies: Policing by Consent in Huddersfield and the Huddersfield District in the mid-nineteenth century but has a long-standing professional interest in popular leisure in general and popular music in particular, lecturing on the subject to a wide range of audiences.

In addition, he has a life-long personal engagement with a range of popular music from music-hall and folksong to rock n roll and reggae. From Mummers to Madness considers developments in the production and consumption of popular music in England over a period of some two hundred years, which saw dramatic changes in the socio-economic, demographic and cultural life of the country. Popular music, it is argued, was not simply a response to the wider developments that were taking place but contributed to the ongoing process of adaptation and change.

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Gear Acquisition Syndrome, also known as GAS, is commonly understood as the musicians’ unrelenting urge to buy and own instruments and equipment as an anticipated catalyst of creative energy and bringer of happiness. For many musicians, it involves the unavoidable compulsion to spend money one does not have on gear perhaps not even needed. The urge is directed by the belief that acquiring another instrument will make one a better player.

This book pioneers research into the complex phenomenon named GAS from a variety of disciplines, including popular music studies and music technology, cultural and leisure studies, consumption research, sociology, psychology and psychiatry. The newly created theoretical framework and empirical studies of online communities and offline music stores allow the study to consider musical, social and personal motives, which influence the way musicians think about and deal with equipment. As is shown, GAS encompasses a variety of practices and psychological processes. In an often life-long endeavour, upgrading the rig is accompanied by musical learning processes in popular music.

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The modern hospital is at once the site of healing, the locus of medical learning and a cornerstone of the welfare state. Its technological and infrastructural costs have transformed health services into one of today's fastest growing sectors, absorbing substantial proportions of national income in both developed and emerging economies. The aim of this book is to examine this growth in different countries, with a main focus on the twentieth century, and also with a backward glance to earlier shaping forces. It will explore the hospital's economic history, the relationship between public and private forms of provision, and the political context in which health systems were constructed. The collection advances the historical world map of different hospital models, ranging across Spain, Brazil, Germany, East and Central Europe, Britain, the United States and China. Collectively, these comparative cases illuminate the complexities involved in each country and bring new historical evidence to current debates on health care organisation, financing and reform.

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This CD comprises Brahms’ op 120 viola sonatas, and the op. 108 violin sonata, performed on modern instruments, but acting as a creative interface between the relatively new research and performance field of ‘romantic’ string performing practices, and the use of modern instruments: a fusion, so to speak, between current ‘conservatoire normative’ practices, and avowedly ‘historically-informed’ ones. Dr Milsom is joined by his long-time chamber music partner, Jonathan Gooing, who is currently undertaking a PhD in historical chamber music performing practices at the University of Huddersfield. Whilst the works are very well-known, the manner of performance seeks to relax and modify a number of ‘modernist’ performance style elements, and is receptive to a range of nineteenth-century practices (such as some rhythmic freedom, piano arpeggiation, and string portamento) usually confined to much more specialist audiences and environments of scholarly research. This CD hopes to offer colourful and personal readings of these three seminal sonatas by Johannes Brahms.

Performed by: David Milsom; violin (Fernando Gonzalez Solar, 1976), viola (John Cockburn, 2012) and Jonathan Gooing; piano (Bösendorfer ‘Imperial’ fitted with Phoenix bridge agraffe system).

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In 1542 William Ramsden bought his wife’s family home at Longley and so began a long association between the Ramsdens and Huddersfield which lasted until Sir John Frecheville Ramsden sold his greatly increased Huddersfield estate to the Corporation in 1920. This collection of essays is published to commemorate the centenary of that event. Seven local historians examine different aspects of the Ramsden family’s relationship with the town and its inhabitants, especially in the nineteenth century.  The book incorporates new research and gives fresh insights into the events which led to Huddersfield becoming ‘the town that bought itself’ a century ago.

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This book is a special collectors’ edition of a chapter from Walking the Invisible: Following in the Brontës’ Footsteps which was published by HaperCollins in June 2021. A limited number of 200 copies have been published, signed and numbered, to celebrate 200 years since the birth of Anne Brontë.

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This is the first book that documents and reflects on an aspect of the Temporary Contemporary initiative. Launching in 2018, Temporary Contemporary is a collaboration between the School of Art, Design and Architecture at the University of Huddersfield and Kirklees Council. This collaboration, in the form of an action research project, has sought to reflect on the efficacy, meanings and wider contribution of cultural activity in Huddersfield town and beyond. It is one small part of a bigger project about the future cultural heart of Huddersfield. 

The title Creating Vibrant Spaces to Support the Conditions for Creative and Cultural Activity refers to the aims of Temporary Contemporary in its entirety. The initiative achieves these aims through populating former retail spaces in the town with exhibitions and events, fostering partnerships and creating networking opportunities for cultural and creative producers, repurposing fine historic buildings and making connections with rich cultural traditions in the town including music, theatre and textiles.

This book provides one contribution to the many discussions about the role of culture in towns and cities. The insights of our collaborative research may be of interest and use to policy makers, academics, artists, curators and anyone else with a concern about the cultural and social future of towns and cities in the UK and beyond. 

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The ROTOЯ programme, launched in 2012, was a partnership between the University of Huddersfield and Huddersfield Art Gallery, funded by Arts Council England. Its aim was to provide opportunities for engaging with art, design and architecture research outside of the University. ROTOЯ Review II is a sequel to ROTOЯ Review (published 2014), focussing on the second phase of the programme with beautifully written and thoughtful reviews of the exhibitions: Thought Positions in Sculpture, China East-West, Open House: A Collaboration of Experts, Migrations and Discursive Documents by international academics and art journalists.

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This new edition of Núñez’s Anthropocosmic Theatre contains the text of the original English translation plus additional contributions from Núñez and others. In part one, Núñez traces his researches in Nahuatlan, Tibetan and western theatre, to arrive at his design for a theatre of the human in the cosmos. Part Two explores how this work has developed, during the last three decades, into an approach to performance training and production that uniquely combines ritual and contemplative influences. New and previously untranslated writing from Núñez presents his idiosyncratic view of an awakened and expansive role for theatre today.

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This collection of essays has been assembled and developed from papers given at the Ambient@40 International Conference held in February 2018 at the University of Huddersfield. The original premise of the conference was not merely to celebrate Eno’s work and the landmark release of Music for Airports in 1978, but to consider the development of the genre, how it has permeated our wider musical culture, and what the role of such music is today given the societal changes that have occurred since the release of that album.

In the context of the conference, ambient was considered from the perspectives of aesthetic, influence, appropriation, process, strategy and activity. A detailed consideration of each of these topics could fill many volumes. With that in mind, this book does not seek to provide an in-depth analysis of each of these topics or a comprehensive history of the last 40 years of ambient music. Rather it provides a series of provocations, observations and reflections that each open up seams for further discussion. As such, this book should be read as a starting point for future research, one that seeks to critically interrogate the very meaning of ‘ambient’, how it creates its effect, and how the genre can remain vital and relevant in twenty-first century music-making.

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The latest Grist Anthology is an innovative blend of some of the most exciting and freshest voices in prose today. Protest is the distillation of a simple human experience - to witness a wrong being done, and to do something about it. The stories featured in Trouble celebrate protest, rebellion, disobedience and general bloody-mindedness in all of its forms.

The best writing about protest should inspire, educate, motivate, compel and of course, entertain. And that’s what this collection is all about. There are historical protest stories here – The Flag, Happy Harpies – stories set in the future – Money Bank, Last of Them – stories of personal protest against sexual and racial discrimination – Meet Me, The Walk of Blood – and the closing story, The Calling, which embodies the simple truth that sometimes all you can do in protest is to make a lot of noise.

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This book draws on the lived experience of sound’s capacity to move and shake us in direct, subtle and profound ways through speech, location sound, and music in documentary film.

The associative, connotative and sheer emotive power of sound has the capacity to move and shake us in a myriad of direct, subtle and often profound ways. The implications of this for its role as speech, location sound, and music in documentary film are far-reaching. The writers in this book draw on the lived experience of sound’s resounding capacity as primary motivation for exploring these implications, united by the overarching theme of how listening is connected with acts of making sense both on its own terms and in conjunction with viewing.

The resulting thirteen essays of Soundings: Documentary Film and the Listening Experience cover films made from WWII to the present day in locations across Europe and the Americas, and in styles ranging from political propaganda, industrial promotion and educative exposition, to more aesthetically-driven films taking their bearings from avant-garde art. The authors draw on their experience in scholarly research, practice-as-research, and in the aesthetic and technical practice of documentary filmmaking. This mix of perspectives aims to widen and deepen the outlook of the recent and growing academic interest in the topic of documentary film sound.

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The latest Grist Anthology is an innovative blend of some of the most exciting and freshest voices in prose and poetry today. It features five sections written from five distinct narrative viewpoints.

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Professor David Taylor has established a fine reputation for his books and articles on the history of policing in England. This new book on Huddersfield policing looks at the mid-nineteenth century and issues facing the local area in relation to policing a centre of West Riding textile production.

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This book is a record of the development of an institution with a remarkable history. Its foundations go back to the early part of the nineteenth century when the local Huddersfield community decided it wanted a place of learning to promote the education of the working classes. Since 1825 development has encompassed a mechanics institution, a female educational institute, a college of technology and a polytechnic, before becoming the University of Huddersfield we know today. The author, the late John O'Connell, was a Professor at Huddersfield and this book draws upon his research which now resides in the University archives.

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The ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and beyond and the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design.

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Bhangra: Mystics, Music and Migration explores the origins of this folk song and dance from the Panjab in South Asia and its development into part of modern British culture in the hybrid soundscape of British Bhangra and beyond.

This book originated in academic research and the Heritage-lottery funded Bhangra Renaissance project. Through ethnographic research, oral history interviews, performances, photography, story-telling and community activity it celebrates the past contribution of all those involved in Bhangra.

This ground-breaking work provides an in-depth history of the spiritualism of performance and song, and an overview of the artists involved in influencing its development, as well as contemporaries leading the way of Bhangra’s renaissance amongst the South Asian diaspora in the UK and around the world.

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Huddersfield’s Roll of Honour 1914-1922 is a detailed account of 3,439 service personnel from Huddersfield who lost their lives during the First World War. In the Preface, HRH The Duke of York KG writes: “This publication represents the lifetime work of Margaret Stansfield who sadly passed away in 2012. Margaret spent 30 years compiling the 3,439 biographical entries giving a poignant insight into the background, working lives and families of those who selflessly left Huddersfield to fight for their country never to return.” Along with the biographical accounts there are many moving letters to the families of soldiers who lost their lives reflecting an attempt to bring comfort amid the darkness that their loss brought to both families and comrades alike.

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This short collection of essays focuses on four areas of immersive sound environments: repetition, sustained tones, performed installations and approaches to extended forms. Through in depth exploration of the experiential nature of these subjects, the authors offer reflections upon the materials used for these environments, how they are organised, and the consequences of this on how we listen.

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One hundred years after Luigi Russolo’s “The Art of Noises,” this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book’s focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material—as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving.

Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pàmies, and James Whitehead (JLIAT).

The book also features a collection of short responses to a two-question “interview”—“what is noise (music) to you?” and “why do you make it?”—by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay.

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ROTOЯ is a two-year programme of exhibitions, public events and talks at Huddersfield Art Gallery featuring the transdisciplinary work of art and design staff from the University of Huddersfield. Now in its second year, ROTOЯ showcases a community of artists, designers and curators whose ideas and connective practices migrate and span artistic production, techno-design research, craft and cultural studies. ROTOЯ is located at the pivot between art and design disciplines and society, where points of intersection and engagement are considered and debated from multiple perspectives. The programme signals a unique partnership between Huddersfield Art Gallery and the University of Huddersfield to present a broad spectrum of practices and dialogues. Each exhibition features a number of public events in the form of artist/designer and curator talks.

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This new collection of essays based upon a conference at the University of Huddersfield, generously supported by the Heritage Lottery Fund, explores the links between Richard Oastler’s extraordinarily influential campaign against child labour in Yorkshire after 1830 and the remarkably successful campaign to abolish the transatlantic slave trade led by Yorkshire MP William Wilberforce before 1807.

With contributions from D. Colin Dews, Dr John Halstead, Dr John A. Hargreaves, Dr Janette Martin, Professor Edward Royle and Professor James Walvin, it evaluates the distinctively Yorkshire context of both movements and offers a re-assessment of Oastler’s contribution to their success. It reveals how Oastler’s associations with both evangelical Anglicanism and Nonconformity, especially Methodism, stimulated and sustained his involvement in the ten-hour factory movement and examines the role of the regional press, local grass-roots organisation and Oastler’s powerful oratory in helping to secure a successful outcome to the campaign. In a foreword, the Revd Dr Inderjit Bhogal, a leading figure in both the regional and national commemoration of the abolition of the transatlantic slave trade in 2007, commends this wide-ranging historical study ‘with its broad perspective as an important contribution to making us all more informed on the whole theme of slavery today’.

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Performance and recital repertoire for the aspiring guitarist. Comprising of original music with fully annotated scores and CD backing tracks with and without click tracks. Ideal for the intermediate or graduate level popular music performer, or for those just wanting a new and exciting musical challenge. Contains one CD.

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Shibusa – Extracting Beauty celebrates a number of artistic endeavours: music, painting and the skill of making in general with particular reflection upon Japanese aesthetics.

Composer, Monty Adkins and visual artist, Pip Dickens (through a Leverhulme Trust Award collaboration) investigate commonality and difference between the visual arts and music exploring aspects of rhythm, pattern, colour and vibration as well as outlining processes utilised to evolve new works within these practices.

The hand-cut paper Katagami stencil: a beautiful utilitarian object once used to apply decoration on to Japanese kimonos, is used as a poignant symbol – the ‘hand-made machine’ - by Adkins and Dickens both within the production of paintings and sound compositions and as a thematic link throughout the book.

The book reviews examples of a number of contemporary artists and craftspeople and their individual approaches to ‘making things well’. It explores the balance between hand skills and technology within a work’s production with particular reference to Richard Sennett’s review of material culture in The Craftsman.

Shibusa – Extracting Beauty includes contributing essays by arts writer, Roy Exley, who examines convergence and crossover within the arts and an in-depth history, and review, of the kimono making industry by Kyoto designer, Makoto Mori.

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ROTOЯ is a two-year programme of exhibitions, public events and talks at Huddersfield Art Gallery featuring the transdisciplinary work of art and design staff from the University of Huddersfield. ROTOЯ showcases a community of artists, designers and curators whose ideas and connective practices migrate and span artistic production, techno-design research, craft and cultural studies. ROTOЯ is located at the pivot between art and design disciplines and society, where points of intersection and engagement are considered and debated from multiple perspectives. The programme signals a unique partnership between Huddersfield Art Gallery and the University of Huddersfield to present a broad spectrum of practices and dialogues. Each exhibition features a number of public events in the form of artist/designer and curator talks, student ambassador tours, reading groups and film screenings. A publication of critical essays reviewing the ROTOЯ programme will be available from winter 2012. Please see the penultimate page of this brochure for further details.

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Performance and recital repertoire for tomorrow’s rhythm section. Comprising of original music for drummers and bass players, with fully annotated scores and CD backing tracks with and without click tracks. Ideal for the graduate level popular music performer, or for those just wanting a new and exciting musical challenge.

Drum and Bass presents pieces that are of level 4 -6, and can be used in conjunction with diploma or undergraduate performance studies.

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