These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki MethodA(R), or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.

These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki MethodA(R), or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.

These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki MethodA(R), or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.

These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki MethodA(R), or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.

Festive Strings is a collection of well-known Christmas and Chanukah melodies arranged to meet the needs of individuals, groups and orchestras. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are compatible with each other. Accessible keys have been used and shifting is kept to a minimum. Titles are: Jingle Bells in D Major * Joy to the World * Chanukah * Away in a Manger * Jolly Old Saint Nicholas * God Rest Ye Merry, Gentlemen * S'Vivon * Jingle Bells in A Major * Lo, How a Rose * O Christmas Tree.

Playing with Style is a set of colorful concert pieces in a variety of styles, including tango, ragtime, and jazz. These audience-pleasing pieces are enjoyable to play and will broaden the musical horizons of young players. The pieces use effects such as glissando and tremolo and allow opportunities to explore chromaticisms, swing rhythms, and syncopation. Available for string quartet or string orchestra, violin duet, or viola duet. Titles are: Chromatic Tango * Soft Shoe * Hoedown * April Rag * Hopak * Mellow Moment.

These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki MethodA(R), or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.

More Festive Strings is a collection of well-known Christmas and Chanukah melodies arranged to meet the needs of individuals, groups and orchestras. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are compatible with each other. Accessible keys have been used and shifting is kept to a minimum. Titles are: O Chanukah * Angels We Have Heard on High * We Three Kings * Silent Night in D Major * We Wish You a Merry Christmas * O Come All Ye Faithful * Dreydl * Silent Night in G Major * Good King Wenceslas * What Child Is This (Greensleeves).

Folk Strings is a collection of folk melodies from around the world arranged for strings. Unlike classical music, which normally has an "authentic" version, folk music often exists in many versions, with differences in the melody or lyrics. Sometimes several countries lay claim to a melody because a group of people moved to a new country and took their music with them. Most folk songs were sung and played for many years before they were written down, and their original composer is usually unknown. This collection includes melodies in a variety of moods and with rhythmic patterns which are representative of their country of origin. The arrangements in Folk Strings can be effective with players at a variety of levels. In order to provide maximum flexibility, the collection is available in a number of instrumentations.

More Festive Strings is a collection of well-known Christmas and Chanukah melodies arranged to meet the needs of individuals, groups and orchestras. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are compatible with each other. Accessible keys have been used and shifting is kept to a minimum. Titles are: O Chanukah * Angels We Have Heard on High * We Three Kings * Silent Night in D Major * We Wish You a Merry Christmas * O Come All Ye Faithful * Dreydl * Silent Night in G Major * Good King Wenceslas * What Child Is This (Greensleeves).

Tort reform is a favorite cause for many business leaders and right-leaning politicians, who contend that out-ofcontrol lawsuits throttle growth and inflate costs, particularly in healthcare. Less is said about how such reforms might affect the ability of individuals to recover damages for injuries suffered through another party's negligence. On that count, Texas-where efforts at tort reform have been energetic and successful-provides an opportunity to appraise the outcome for plaintiffs and their lawyers, an opportunity that Stephen Daniels and Joanne Martin take full advantage of in this timely and provocative work. Because much of the action on tort reform takes place on the state level, a look at the experience of Texas, a large and important state with a very active plaintiff's bar, is especially instructive. Plaintiffs' lawyers work on a contingency fee basis, collecting compensation for themselves as a percentage only if they win. Reduce lawyers' ability to use contingency fees as compensation, as tort reform inevitably does, and you reduce their economic incentive to do this work. Daniels' and Martin's study bears this out. Drawing on over 20 years of research, extensive surveys and interviews, the authors explore the impact the tort reform movement in Texas has had on the ability of plaintiffs to obtain judgments-in short on private citizens' meaningful access to the full power of the law. In the course of their analysis, the authors explain the history and economics behind the workings of the plaintiffs' bar. They explore how lawyers select cases and clients, as well as the referral process that moves cases among lawyers and allows for specialization. They also examine the effects of medical malpractice reforms on plaintiffs' lawyers-reforms that often close the courthouse doors to certain types of people-tort reform's "hidden victims." Plaintiffs' lawyers are the civil justice system's gatekeepers, providing meaningful access to the rights the law provides. Daniels's and Martin's thorough and fair-minded work offers a unique and sobering perspective on how tort reform can curtail this access-and thus, the legal rights of American citizens.

More Festive Strings is a collection of well-known Christmas and Chanukah melodies arranged to meet the needs of individuals, groups and orchestras. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are compatible with each other. Accessible keys have been used and shifting is kept to a minimum. Titles are: O Chanukah * Angels We Have Heard on High * We Three Kings * Silent Night in D Major * We Wish You a Merry Christmas * O Come All Ye Faithful * Dreydl * Silent Night in G Major * Good King Wenceslas * What Child Is This (Greensleeves).

More Folk Strings is a collection of melodies from around the world, in a variety of moods and with rhythmic patterns and harmonies that are representative of their country of origin. Because of the flexible scoring used in More Folk Strings, players at a variety of levels can make music together and less experienced players can play the solo (melody) parts, which use little or no shifting and are in accessible keys. Some pieces in the collection are easier than others. The collection is available in a number of instrumentations for string quartet or string orchestra, for violin ensemble, viola ensemble, cello ensemble, for two, three, or four violin, viola or cello players in any combination of these instruments, and for solo violin, solo viola, and solo cello. The piano accompaniment may be used with any of the combinations. In More Folk Strings for String Quartet or String Orchestra, the melody is passed around so that all members of the ensemble can have the opportunity to play the tune. Score and parts are marked with "melody" and "harmony" to help players bring out the melody at the appropriate moment. Teachers' notes provide lyrics and background information on each folk song in addition to rehearsal and performance suggestions.

"The Paths to Terror" offers a new and refreshing perspective on sociopolitical violence: one that highlights the human experience of domination, resistance, and terror as they are woven into the fabric of everyday life. These innovative essays take the reader from the Americas, through Europe and the Middle East, and to Asia to capture the cultural construction of sociopolitical violence. The authors expand our view of the ethnographic reality, revealing the complex interplay among local, national, and international actors in the perpetuation of violence and terror. The organization of the essays along a continuum from domination, through the emergence of resistance, to the development of cultures of conflict and terror underlines the value of understanding the growth and resolution of violence as cultural dynamics.

Once again setting the standard for the field, the editors of Organizational Culture (Sage, 1985) have reassembled to create a new exploration in Reframing Organizational Culture. In this engaging volume, the contributors continue the ongoing process of discovery and invention, the interaction between investigator and the subject of inquiry. The editors have included a variety of frames as tools that allow readers to examine any empirical piece on organizational culture on its own merits--as good research--while at the same time, permit viewing it from other perspectives as well. How is organizational culture studied? To further understanding of what goes into studying organizational culture, an early, well-known exemplar of cultural research by William Foote Whyte is presented, along with commentaries by four currently active researchers plus a final rebuttal by Whyte. Enlightening and stimulating, the exploration of epistemology, rather than specific methods in Reframing Organizational Culture, allows for discovery and further research into organizational culture. Combined with a unique emphasis on process, this volume also includes reflections from the editors, pointing out their values, biases, beliefs, perceptions, and experiences in research, and lending a human dimension to the research process. This creative synthesis is essential reading for academics, researchers, and professionals in the areas of organization studies and management. "The editors of Reframing Organizational Culture skillfully concocted a spicy and satisfying entrée that goes beyond their first effort (Organizational Culture, Sage, 1985) to evaluate their topic and its contributions, to date and potentially. . . . The examples are generally colorful and well displayed, ranging from Barley's look at funeral homes ('Semiotics and The Study of Occupational and Organizational Culture') to Van Maanen's reflections on The Magic Kingdom ('The Smile Factory: Work at Disneyworld'). . . . Part One . . . presents a thorough bibliography. . . . Trice's 'Comments and Discussion' provides balance and argues for quantification as a means of 'keeping the flame alive.' . . . Part Three, 'An Epilogue And a Closing.' is reflective and inspirational. . . . Reframing Organizational Culture left me nourished, stimulated, and encouraged. The book's numerous components flow smoothly and logically, aided by strong transitions and integrative passages. Given the editors' objective to 'reframe' rather than 'revisit' organizational culture, I contend they succeeded. The content and extensive bibliography render it an excellent supplement for the academic audience: For those already in the field, the book provides a thorough update and challenge to the cutting edge; for those new to the field, the book offers a balanced and encouraging overview without intimidation. . . . The merits of Reframing Organizational Culture to the practitioner audience stem from the concise writing and vivid examples, particularly in Part One and most of Part Two." --Journal of Management

Organizational Culture provides a sweeping interdisciplinary overview of the organizational culture literature, showing how and why researchers have disagreed about such fundamental questions as: What is organizational culture? What are the major theoretical perspectives used to understand cultures in organizations? How can a researcher decipher the political interests inherent in research that claims to be political neutral -- merely "descriptive"?

Expert author Joanne Martin examines a variety of conflicting ways to study cultures in organizations, including different theoretical orientations, political ideologies (managerial, critical, and apparently neutral); methods (qualitative, quantitative, and hybrid approaches), and styles of writing about culture (ranging from traditional to postmodern and experimental). In addition, she offers a guide for those who might want to study culture themselves, addressing such issues as: What qualitative, quantitative, and hybrid methods can be used to study culture? What standards are used when reviewers evaluate these various types of research? What innovative ways of writing about culture have been introduced? And finally, what are the most important unanswered questions for future organizational culture researchers?

Intended for graduate students and established scholars who need to understand, value, and utilize highly divergent approaches to the study of culture. The book will also be useful for researchers who do not study culture, but who are interested in the ways political interests affect scholarly writing, the ways critical and managerial approaches to theory differ, the use and justification of qualitative methods in domains where quantitative methods are the norm.

Trio Tapestry is an original collection of multi-level pieces by Joanne Martin with flexible scoring that can be played by any combination of violin, viola, and cello. Each trio has two easy parts and one part for a teacher or advanced student. The optional piano accompaniments provide additional musical color to the ensemble.