This chapter gives a practical overview of writing for a variety of chamber music scenarios, from the traditional (e.g. string quartet) to the unusual (e.g. tuba trio). It describes how to respond to the existing canon of music for ensemble, as well as being creatively inspired by performers in rehearsal situations.

Through the lens of Peter Ornstein’s work, this chapter traces the history of research on the development of deliberate memory. With particular emphasis on two mnemonic strategies, rehearsal and organization, we describe the methodological tools and research designs that have provided insight into the universal and individual patterns of development. Considerations are given to contextual factors, such as task conditions and instructions, types of materials to be remembered, and capacity demands, as well as to the individual factors, such as knowledge base, metamemory, age, and experience that influence the likelihood that a child will use strategies effectively in the service of memory. We conclude with an overview of the ways in which longitudinal research has provided greater insight into how intentional memory develops.

The white female planter is an understudied figure in Caribbean history and literature. This essay follows the idea of the gendered responsibility to memory using the methodology of feminist rehearsal to examine representations of white women plantation owners in a range of contemporary Caribbean novels. The essay recounts the heated debates among the region’s literary critics and writers around the status of the white woman as author and character, while also looking at the literary characterization of women who had titular (or representative) plantation power and others who owned plantations outright. Most of the novels deploy intertextuality and multiple timelines to recuperate and consciously rehearse experiences missing or invisible in official chronicles. These novels explore the intersectional ideological negotiations that shaped the imperial spaces of the plantation and the lives that were lived within that terrain.

In this essay I consider how an early modern understanding of the passions might inform the practice and analysis of acting in the theatre today. Taking the idea of being ‘moved’ quite literally, I argue that early modern subjects were ‘moved’ when the humours moved through the body, and the body moved passionately about the world. ‘A woman moved is like a fountain troubled’, says Kate in her final, notorious speech of gendered conformity in The Taming of the Shrew, in which she describes men moving about in the world while women must stay, unmoved, at home. I argue that recent, inward, and static conceptions of the emotions tend to occlude the relationship between the emotional and the political in the theatre now. I suggest instead that rehearsal room consideration of early modern ideas about dynamic emotion/motion might recuperate the political agency and import of emotional life in the plays of Shakespeare and his contemporaries. In making this argument, I move between analysis of a Shakespearean comedy and a tragedy (The Taming of the Shrew and Coriolanus), considering both plays in performance and making suggestions for rehearsal practices.