This chapter examines ways of working as a composer for screen, explaining every step of the process – from reading through a script or treatment to the final recordings and edits – and offers advice on how to approach collaboration and networking in the film industry.

This chapter seeks to understand ‘legal science’ from the internal point of view of each tradition and society, in order to avoid a conception too heavily influenced by contemporary views. To do so, reference is made both to the set of activities carried out by ‘legal experts’ in the whole domain of law (legislation, adjudication, legal counseling and education), and to the legal experts themselves, as far as they were regarded as such by their own societies. This approach requires first to establish the extent to which, in each society under consideration, knowledge of law was considered as autonomous knowledge. A sociological perspective is then adopted, identifying who in each society were considered legal experts, i.e. persons deemed to possess the legal knowledge to such a degree that it characterized their social position and/or function. The chapter then proceeds in a progressively more content-oriented manner towards a comparative description of legal science, focusing on how legal training took place in each society under consideration and in what literary forms the legal experts expressed themselves, to finally arrive at the core question, namely the description of the respective forms of legal reasoning.

This chapter examines the kinds of legal procedure adopted by various ancient legal systems to conduct legal proceedings in a court. The areas covered include the constitution of courts, preliminary court proceedings, valid evidence, presentation and evaluation of evidence, and the final verdict, including the possibility of appeals. Discussions include judges and court personnel, the physical space of courts, distinctions between civil and criminal cases, plaint and plea, sureties, and legal representation. Under evidence there is examination of witnesses, documents, oaths, ordeals, torture for evidentiary purposes, and forensic investigation, and punishment for perjury. Once a verdict is reached by the court, there are issues relating to the recording and the enforcement of the verdict. There is wide diversity in the legal procedure recorded in the sources from different legal traditions. Some deal with the topic explicitly, while in others we have to deduce the procedure from material on court cases.

Our knowledge and understanding of Western classical music – its history, culture, criticism, and analysis, and our encounters with music directly as performers and listeners – rest on a number of fundamental resources: dictionaries and encyclopaedias, histories of music, analytical and critical studies, and repertoire in editions as well as cultivated in performance, whether live or recorded. This rich, interlocking array of resources has traditionally and systematically either sidelined or ignored totally the contribution of women as composers to the musical culture it represents. This volume builds on the remarkable transformation in musical scholarship since the 1970s that has, on the one hand, sought to create for women the kinds of resources formerly assembled exclusively for male composers, and, on the other hand, applied feminist thinking to the institutions, discourses, values, and silences that have characterized music history itself.

In most ancient cultures, what we now call religion was interwoven throughout all aspects of life and did not always form a discrete cultural domain. Nevertheless, its principal symbols and traditions can be sufficiently distinguished to allow for a fruitful examination of the relationship of law and religion in antiquity. This chapter pursues that endeavour, with particular attention to instances when the sources at our disposal indicate, explicitly or implicitly, that law was relying on religious ideas to achieve legal ends. The chapter considers the role of religion in legitimizing law, in public law and governance, in legal transactions and proceedings, and in the determination and punishment of wrongdoing. It ultimately seeks to add clarity and specificity to the scholarly description of how law and religion interacted in the ancient world.

Writers and scholars define the period of first-wave feminism in the Western world in various ways. For some the first ‘wave’ grew out of the demands for equality from women during the French Revolution, for others it had its roots in the Women’s Rights Convention in New York, United States, in 1848. However, it is generally agreed that the period 1880–1920 saw the height of feminist activity from a wide variety of women in Britain, Europe, and the United States.1

Women organized together to demand rights to employment and education, and most agreed that the right to suffrage, being able to vote and take part in political power, was fundamentally important. By 1920, certain women in Canada, Germany, Russia, the UK, and the United States, had been granted the right to vote. But full suffrage was not granted to women in the UK until 1928, in France not until 1944, and Italy not until 1945, for example.2

This chapter explores the importance of adapting for a composer, whether that be in their own creative practice (for example by adapting stories for the stage or screen) or in their engagement with others’ works through arrangements or orchestrations. It considers what a suitable definition of adaptation might be, and where the boundaries of originality might lie in adapting someone else’s work, before arguing that adaption necessitates a valuable set of composition skills that require us to think actively and conscientiously about our role in history and society.

This chapter considers the relationship between composing and nationality, examining what happens when musical influence and practice are reimagined across traditions and cultures. It looks at several case studies to unpick geographical, social, political, and racial musical associations, and reflects critically on composing outside the colonial dominance of Western-centric musical practices.

Musical composition in the Middle Ages involved many processes far removed from what is understood to constitute the subject in the twenty-first century. Whether one considers men or women in the medieval period, it makes the greatest sense to speak about musical production across a broad spectrum of activities including: singing within communities; teaching and learning music (most often through singing); copying and/or commissioning musical, theoretical, and liturgical texts; setting preexisting pieces with new texts (the most common compositional process in Western Europe); recombining older musical materials in new ways; adapting new music or texts (or both) to preexisting circumstances; and lastly introducing completely new pieces or bits of pieces, usually within the context of preexisting materials.1 Scholars have known for decades that women had agency in all these categories; each of them required musical knowledge and creativity.2