Reasons, Rationalities, and Procreative Beneficence: Need Häyry Stand Politely By While Savulescu and Herissone-Kelly Disagree?

The claim that the answers we give to many of the central questions in genethics will depend crucially upon the particular rationality we adopt in addressing them is central to Matti Häyry’s thorough and admirably fair-minded book, Rationality and the Genetic Challenge. That claim implies, of course, that there exists a plurality of rationalities, or discrete styles of reasoning, that can be deployed when considering concrete moral problems. This, indeed, is Häyry’s position. Although he believes that there are certain features definitive of any type of thinking that can accurately be labeled rational, he maintains that nothing about that set of features compels us to conclude that there is a single rationality. What is more, and significantly for the way in which Häyry’s book develops, there is no Archimedean point from which we are licensed to pronounce one flavor of rational deliberation to be intrinsically superior to any other or to be justified to the exclusion of all others. To this belief that “there are many divergent rationalities, all of which can be simultaneously valid,” we can perhaps give the name “the Doctrine of the Plurality of Rationalities” or, for short, “DPR.

Habermas, Human Agency, and Human Genetic Enhancement: The Grown, the Made, and Responsibility for Actions

Recent developments in genomic science hold out the tantalizing prospect of soon being able to treat and prevent a wide variety of medical conditions through gene therapy. In time, it may be possible to use similar techniques not simply to combat disease but also to enhance, or improve on, normal human functioning

The Theory and Practice of Composition in the English Restoration Period

The second half of the seventeenth century was a period of considerable upheaval in English music, not only because the political instability of the time altered the way musicians were employed, but also because the era saw fundamental changes in the construction and perception of music. The most important of these was a transition between music conceived primarily according to horizontal (imitative) principles and that founded on vertical (tonal) principles, which in turn allowed for vastly expanded formal dimensions. The seventeenth century also witnessed the gradual replacement of the remaining elements of mensural notation and proportional metrical relationships in favour of free tempo with contrasts between duple and triple units, again influencing the way in which works were structured. These elements are examined from the viewpoint of the music theorist, by analysing the thirty-seven treatises which were in circulation in manuscript or printed form during the century. However, the greater part of the dissertation seeks to assess the impact of such profound alterations on the composer himself, through detailed analysis of the music's notation and its development in response to the changing styles and techniques; in order to be as certain as possible that such developments were genuine attempts to communicate new attitudes to music and its construction rather than simply the results of mistakes or misunderstandings by copyists, the analysis is restricted to the ninety-four extant autograph manuscripts of composers' own music copied during the period. These primary sources include several previously unidentified sketches and working drafts of pieces which reveal elements of the processes used by composers in the conception of new pieces, as well as finished copies from which has been drawn information on the status of metre, tonality and structure during the period

The Evidence for the Pharmaceutical Strengthening of Attachment: What, Precisely, Would Love Drugs Enhance?

In recent decades, scientists have begun to identify the brain processes and neurochemicals associated with the different stages of love, including the all-important stage of attachment. Experimental findings-readily seized upon by those bioethicists who want to urge that we sometimes have good reason pharmaceutically to enhance flagging relationships-are presented as demonstrating that attachment is regulated and strengthened by the neuropeptides oxytocin and vasopressin. I shall argue, however, that often what the experimental data in fact show is only that exogenous administration of such chemicals can control and intensify the trappings of attachment, not attachment itself. That this is sometimes overlooked by both scientists and ethicists, is due to attachment being miscategorised as a set of feelings or a drive, rather than as a disposition to think about, feel toward, and behave toward its object in certain distinctive ways

Anarchism and Health

This article looks at what anarchism has to offer in debates concerning health and healthcare. I present the case that anarchism’s interest in supporting the poor, sick, and marginalized, and rejection of state and corporate power, places it in a good position to offer creative ways to address health problems. I maintain that anarchistic values of autonomy, responsibility, solidarity, and community are central to this endeavor. Rather than presenting a case that follows one particular anarchist theory, my main goal is to raise issues and initiate debate in this underresearched field in mainstream bioethics

Music publishing and compositional activity in England, 1650-1700

This thesis focuses on the flourishing music-publishing industry in England in the second half of the seventeenth century, and examines its relationship to and influence on the activities of professional musicians. Music publishing as a commercial entity developed in England during this period, particularly, but not exclusively, through the endeavours of the Playford family. By placing the printed music books within the social and cultural contexts in which they were produced, this thesis explores the consequences of printing on the musical text, understanding the purposes for which the printed book was created and how different functions of print affected the musical texts that they contained. A detailed examination of the printed music sources sheds light on how publication (including posthumous publication) related to the image and status of the composer, and draws attention to the interaction between public music-making, compositional activity and music publishing during this period. Through an investigation of the contemporary printed outputs of five case-study composers - William Lawes, Henry Lawes, Matthew Locke, Henry Purcell and John Blow - this thesis explores the individual nature of the composers' relationships with the printed music book trade and how their contemporary printed outputs relate to their overall compositional output. This is followed by a detailed analytical study of specific compositions by the five case-study composers, examining both contemporary manuscript and printed sources, in order to determine to what extent the commercial print market influenced professional musical creativity. Different versions of compositions of certain genres, particularly secular vocal works, were disseminated via print as opposed to manuscript, and these alternative versions appear to have been instigated by both composers and stationers. This approach to examination of contemporary sources calls for the contextual consideration of sources and the musical texts within them.EThOS - Electronic Theses Online ServiceAHRCGBUnited Kingdo

Music publishing and compositional activity in England, 1650-1700

This thesis focuses on the flourishing music-publishing industry in England in the second half of the seventeenth century, and examines its relationship to and influence on the activities of professional musicians. Music publishing as a commercial entity developed in England during this period, particularly, but not exclusively, through the endeavours of the Playford family. By placing the printed music books within the social and cultural contexts in which they were produced, this thesis explores the consequences of printing on the musical text, understanding the purposes for which the printed book was created and how different functions of print affected the musical texts that they contained. A detailed examination of the printed music sources sheds light on how publication (including posthumous publication) related to the image and status of the composer, and draws attention to the interaction between public music-making, compositional activity and music publishing during this period. Through an investigation of the contemporary printed outputs of five case-study composers - William Lawes, Henry Lawes, Matthew Locke, Henry Purcell and John Blow - this thesis explores the individual nature of the composers' relationships with the printed music book trade and how their contemporary printed outputs relate to their overall compositional output. This is followed by a detailed analytical study of specific compositions by the five case-study composers, examining both contemporary manuscript and printed sources, in order to determine to what extent the commercial print market influenced professional musical creativity. Different versions of compositions of certain genres, particularly secular vocal works, were disseminated via print as opposed to manuscript, and these alternative versions appear to have been instigated by both composers and stationers. This approach to examination of contemporary sources calls for the contextual consideration of sources and the musical texts within them.EThOS - Electronic Theses Online ServiceAHRCGBUnited Kingdo

Equitable Research Partnerships A Global Code of Conduct to Counter Ethics Dumping

This open access book offers insights into the development of the ground-breaking Global Code of Conduct for Research in Resource-Poor Settings (GCC) and the San Code of Research Ethics. Using a new, intuitive moral framework predicated on fairness, respect, care and honesty, both codes target ethics dumping – the export of unethical research practices from a high-income setting to a lower- or middle-income setting. The book is a rich resource of information and argument for any research stakeholder who opposes double standards in research. It will be indispensable for applicants to European Union framework programmes, as the GCC is now a mandatory reference document for EU funding

Samuel Howard and the Music for the Installation of the Duke of Grafton as Chancellor of Cambridge University, 1769

Samuel Howard (?1710–1782) has long been a familiar inhabitant of the diligent footnotes of Handel biographers. A choirboy in the Chapel Royal, he was a member of Handel’s chorus and the composer of much theatre music of his own; he later became organist of both St Bride’s, Fleet Street and nearby St Clement Danes, Strand, where he was buried in 1782. His most significant and ambitious work is his fine orchestrally accompanied anthem ‘This is the day which the Lord hath made’, published posthumously in 1792 with an impressive title page detailing the performance of the work ‘at St Margaret’s Church before the governors of the Westminster Infirmary, in the Two Universities, and upon many other Publick Occasions in different parts of the Kingdom’. This article confirms for the first time that this work originated as Howard’s doctoral exercise, drawing on contemporary press reports and information in the University archives; together these make clear that the composer’s doctorate was linked to the provision of music for the Duke of Grafton’s installation as Chancellor in 1769. Surviving information about this event offers a glimpse of musical life in Cambridge on a comparable scale to the much better reported proceedings upon similar occasions in Oxford. This evidence then serves as a starting point from which to consider Howard’s later prominence as a director of high-profile public performances in London and the provinces