The undergraduate years are a special time of life for many students. They are a time for study, yes, but also a time for making independent decisions over what to do beyond formal education. This book is based on a nine-year study of collegiate a cappella — a socio-musical practice that has exploded on college campuses since the 1990s. A defining feature of collegiate a cappella is that it is a student-run leisure activity undertaken by undergraduate students at institutions both large and small, prestigious and lower-status. With rare exceptions, participants are not music majors yet many participants interviewed had previous musical experience both in and out of school settings. Motivations for staying musically involved varied considerably — from those who felt they could not imagine life without a musical outlet to those who joined on a whim. Collegiate a cappella is about much more than singing cover songs. It sustains multiple forms of inequality through its audition practices and its performative enactment of gender and heteronormativity. This book sheds light on how undergraduates conceptualize vocation and avocation within the context of formal education, holding implications for educators at all levels.

Many countries now use agencies rather than ministries to deliver central government services. There have been many claims about the benefits of organizing and delivering government in this way, but there has been little research into how they work in practice. Agencies both reviews existing theories and models of 'agentification' and adds detailed analysis of major new empirical evidence. Based partly on a major international research project and partly on a reinterpretation of the existing literature, this book gets inside the world of agencies and ministries. An in-depth analysis of agencies in four EU countries serves as a basis for testing alternative theoretical models and developing a new approach to the complexities of contemporary government.

Marginalized Voices in Music Education explores the American culture of music teachers by looking at marginalization and privilege in music education as a means to critique prevailing assumptions and paradigms. In fifteen contributed essays, authors set out to expand notions of who we believe we are as music educators -- and who we want to become. This book is a collection of perspectives by some of the leading and emerging thinkers in the profession, and identifies cases of individuals or groups who had experienced marginalization. It shares the diverse stories in a struggle for inclusion, with the goal to begin or expand conversation in undergraduate and graduate courses in music teacher education. Through the telling of these stores, authors hope to recast music education as fertile ground for transformation, experimentation and renewal.

Many countries now use agencies rather than ministries to deliver central government services. There have been many claims about the benefits of organizing and delivering government in this way, but there has been little research into how they work in practice. Agencies both reviews existing theories and models of 'agentification' and adds detailed analysis of major new empirical evidence. Based partly on a major international research project and partly on a reinterpretation of the existing literature, this book gets inside the world of agencies and ministries. An in-depth analysis of agencies in four EU countries serves as a basis for testing alternative theoretical models and developing a new approach to the complexities of contemporary government.

Marginalized Voices in Music Education explores the American culture of music teachers by looking at marginalization and privilege in music education as a means to critique prevailing assumptions and paradigms. In fifteen contributed essays, authors set out to expand notions of who we believe we are as music educators -- and who we want to become. This book is a collection of perspectives by some of the leading and emerging thinkers in the profession, and identifies cases of individuals or groups who had experienced marginalization. It shares the diverse stories in a struggle for inclusion, with the goal to begin or expand conversation in undergraduate and graduate courses in music teacher education. Through the telling of these stores, authors hope to recast music education as fertile ground for transformation, experimentation and renewal.

This year book offers abstracts of the articles that reported the year's breakthrough developments in psychiatry and mental health, carefully selected from more than 500 journals worldwide. Expert commentaries evaluate the clinical importance of each article and discuss its application to your practice.

"Tres" exciting When ten-year-old Emmaleigh Teagarden moves across the state, she leaves behind her friends, her school, and her beloved title of Tea Party Hostess. Once she starts school, she quickly makes two new friends who share her curiosity and love of learning. But between the scary hall monitor and a classmate with a strong opinion on what makes a good lunch, Emmaleigh isn't so sure she fits in. When she goes looking for fairies in the forest behind her house, she discovers some mysterious black goo. Can Emmaleigh and her Clue Crew discover the goo's secrets in time to save their ecology project-and Emmaleigh's pink boots?

Extending approaches in music education and ethnomusicology, Brent C. Talbot outlines a theoretical and methodological approach for analyzing discourse in settings of music transmission that takes into consideration who we are, what we do, and how we do it. Drawing upon Foucault, Blommaert, Scollon and Scollon, discourse was defined as meaningful, mediated language-in-place. To demonstrate this approach, Talbot analyzes the discourse of music transmission in the three settings comprising Gamelan Eka Sruti Illini in the Robert E. Brown Center for World Music at the University of Illinois. By analyzing acts of speech as well as cultural objects (such as instruments and mallets) and concepts (such as conducting gestures or solfege syllables) used as mediational means in situ, Talbot reveals how discursive sources of power dominance, inequality, and bias are initiated, perpetuated, (re)produced, and transformed in sites of music transmission. By engaging in this type of research, Talbot suggests we may develop a more flexible way of understanding and visioning music education-one that blurs boundaries between musics, ways of knowing music, and spaces where musicking takes place.

By using positive methods of discipline, parents can provide their children with an optimal opportunity for healthy emotional growth and development.

The undergraduate years are a special time of life for many students. They are a time for study, yes, but also a time for making independent decisions over what to do beyond formal education. This book is based on a nine-year study of collegiate a cappella - a socio-musical practice that has exploded on college campuses since the 1990s. A defining feature of collegiate a cappella is that it is a student-run leisure activity undertaken by undergraduate students at institutions both large and small, prestigious and lower-status. With rare exceptions, participants are not music majors yet many participants interviewed had previous musical experience both in and out of school settings. Motivations for staying musically involved varied considerably - from those who felt they could not imagine life without a musical outlet to those who joined on a whim. Collegiate a cappella is about much more than singing cover songs. It sustains multiple forms of inequality through its audition practices and its performative enactment of gender and heteronormativity. This book sheds light on how undergraduates conceptualize vocation and avocation within the context of formal education, holding implications for educators at all levels.