This book, originally published in 1995, is about ability, not disability. It is about what children can do and how they can progress. All children have the moral, ethical and legal right to be educated, no matter what barriers society puts in their way because of their physical disabilities. Dual sensory impaired children, like all others, have the right under the Education Reform Act, 1988, to a broadly-based and balanced curriculum that is appropriate to their needs since they, like any children, will not develop educationally unless that curriculum is appropriate to their needs. This book aims to show some of the ways in which individual children can demonstrate and develop their individual abilities.

This book, originally published in 1995, is about ability, not disability. It is about what children can do and how they can progress. All children have the moral, ethical and legal right to be educated, no matter what barriers society puts in their way because of their physical disabilities. Dual sensory impaired children, like all others, have the right under the Education Reform Act, 1988, to a broadly-based and balanced curriculum that is appropriate to their needs since they, like any children, will not develop educationally unless that curriculum is appropriate to their needs. This book aims to show some of the ways in which individual children can demonstrate and develop their individual abilities.

Mozart's Clarinet Concerto, written in 1791 during the last month of the famous composer's life, is the most frequently performed and highly revered concerto in clarinet literature. This insightful book examines the concerto in detail and analyzes the musical theories and performance techniques of eight of the world's greatest clarinetist's: Stanley Hasty, Robert Marcellus, Anthony Gigliotti, Harold Wright, Rudolf Jettel, Ulysse Delecluse, Jack Brymer, and Michel Incenzo. The author's introductory chapter offers historical perspective on the most significant points of each interpretation, highlighting both the striking number of similarities and also the important differences in each artist's approach to the concerto. The insight into the musical thinking of these renowned artists will be of interest to all musical performers and to all lovers of music. David E. Etheridge, vice-president of the International Clarinetists Society, and a former player in the Oklahoma Symphony Orchestra, is a professor of clarinet at the University of Oklahoma. He holds a doctorate in musical arts from the Eastman School of Music.