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Set includes revised editions of some issues.
Thomas Tugwell (1630-1684) was born in England, probably in Somersetshire. He arrived in York County, Virginia in 1654, settling in Lancaster County. He married Mary Tarrant and they had five children. Their great-grandson, Joseph Tugwell (1739-1779) moved to Hertford County, North Carolina ca. 1771. Thomas Finch (ca. 1639-ca. 1700) immigrated from England to New Kent County, Virginia in 1663. He had at least one son, Edward (ca. 1660-ca. 1704). He and his wife, Martha had five children. Their descendant Benanna Alice Finch married Robert Rufus Tugwell (1847-1907) and they had eight children. Descendants live throughout the United States.
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This book contains 45 chapters divided into four sections, i.e. classical biocontrol programmes, inundative (or augmentative) biocontrol programmes (using nematodes, bacteria, fungi and viruses), conservation biocontrol programmes and networking in biocontrol. It describes the personal experiences of scientists from the initial search for suitable control agents against weeds and pests, to the release of these biological control agents into ecosystems and finally to the beneficial outcomes demonstrating the success of biological control across diverse agroecosystems. This book is intended for researchers and students interested in crop science, pest management, biotechnology, ecology and policy analysis.
This book traces the role played by music within asylums, the participation of staff and patients in musical activity, and the links drawn between music, health, and wellbeing. In the first part of the book, the author draws on a wide range of sources to investigate the debates around moral management, entertainment, and music for patients, as well as the wider context of music and mental health. In the second part, a series of case studies bring to life the characters and contexts involved in asylum music, selected from a range of public and private institutions. From asylum bands to chapel choirs, smoking concerts to orchestras, the rich variety of musical activity presents new perspectives on music in everyday life. Aspects such as employment practices, musicians’ networks and the purchase and maintenance of musical instruments illuminate the ‘business’ of music as part of moral management. As a source of entertainment and occupation, a means of solace and self-control, and as a device for social gatherings and contact with the outside world, the place of music in the asylum offers valuable insight into its uses and meanings in nineteenth-century England.
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