Orchestral Technique, a Manual for Students (1931); How to Read a Score (1944); The Composer and his Art (1955); and The Elements of Orchestration (1962). In 1959 a BBC television documentary about Jacob was directed by Ken Russell; in the following years, under its controller of music William Glock, the BBC was seen as increasingly hostile to living composers who wrote tonal music. It was always denied that Glock had a blacklist, but music by non avant-garde composers, including Edmund Rubbra, Arnold Bax, John Ireland and even William Walton, was demonstrably out of favour with the BBC during the 1960s. By this decade a large proportion of a composer's income came from royalties for broadcasts, and like others of his generation, Jacob suffered from the BBC's disinclination to play his music. He was fortunate in having a steady stream of commissions from the US, where his music was popular with university wind bands. He never retired from composing, and went on writing until shortly before his death. Jacob was twice married, first in 1924 to Sydney Gray, elder daughter of the Rev Arthur Gray of Ipswich. She died in 1958, and the following year he married Margaret Sidney Hannah Gray, the niece of his first wife. There were a son and daughter of the second marriage. Jacob died at his home in Saffron Walden, Essex, in 1984, aged 88. Awards and honours While a student at the RCM Jacob won the Arthur Sullivan composition prize. He was awarded a doctorate (DMus) by the University of London in 1935, and the John Collard Fellowship by the Worshipful Company of Musicians in 1943. He was elected as a Fellow of the Royal College of Music in 1946, and was made an honorary Fellow of the Royal Academy of Music the following year. In 1968 he was appointed CBE. Music Compositions Jacob was a prolific composer. Grove lists 16 concertos by him for a wide variety of solo instruments, including trombone and timpani. A website dedicated to Jacob lists more than 700 original compositions or arrangements of existing music. His biographer (and former pupil) Eric Wetherell writes that as a composer, Jacob was influenced more by early 20th-century French and Russian examples rather than the German tradition. Wetherell writes of Jacob's "clarity of structure and instrumental writing that shows a keen awareness of the capabilities and limitations of every instrument". Reviewing a concert