This Student Book uses the Pearson Checkpoint learning approach, which has been designed to help students to develop the skills required for the exams. The Checkpoint Teaching and Learning approach will help students to remember the key learning points from each topic, and to use their learning to apply, analyse and evaluate in new contexts. This support will help to develop the full range of skills that will be assessed in the exam. Other key features of the Student Book include: a Preparing for the Exam section at the end of every Topic, to help students understand how six mark questions will be assessed worked examples for Physics Equations to support students in the recall and application Physics equations Core Practical pages that give students the opportunity to practice answering practical-based exam questions Questions that are all rated on a scale of 1 to 12 using the Pearson Steps system, encouraging students to answer increasingly difficult questions as they progress through the course.

The aim of this study is to increase understanding of folk music within an historical, European framework, and to show the genre as a dynamic and changing art form. The book addresses a plethora of questions through its detailed examination of a wide range of music from vastly different national and cultural identities. It attempts to elucidate the connections between, and the varying development of, the music of peoples throughout Europe, firstly by examining the ways in which scholars of different ideological and artistic ambitions have collected, studied and performed folk music, then by investigating the relationship between folk and popular music. Jan Ling is Professor of Musicology at Goteborg University, Sweden.

This Student Book uses the Pearson Checkpoint learning approach, which has been designed to help students to develop the skills required for the exams. The Checkpoint Teaching and Learning approach will help students to remember the key learning points from each topic, and to use their learning to apply, analyse and evaluate in new contexts. This support will help to develop the full range of skills that will be assessed in the exam. Other key features of the Student Book include: a Preparing for the Exam section at the end of every Topic, to help students understand how six mark questions will be assessed Core Practical pages that give students the opportunity to practice answering practical-based exam questions Questions that are all rated on a scale of 1 to 12 using the Pearson Steps system, encouraging students to answer increasingly difficult questions as they progress through the course.

Significantly revised and updated, the second edition of Smart Talent Management presents a fresh perspective on two important areas of emphasis for current research and practice: talent management (TM) and knowledge management (KM). It identifies, defines, and explores the implementation of talent management strategies aimed at facilitating effective knowledge management in an organization. A valuable hybrid, this book integrates the field of knowledge management with talent management areas of specialization focusing in particular on staffing, training, professional development, and organizational learning and change. This book identifies obstacles to talent management’s success, providing new perspectives associated with the ongoing debate on ‘inclusive’ versus ‘exclusive’ models of talent management. Taking a fresh new look at an organization’s human talent as a repository of knowledge – both tacit and explicit – the second edition of Smart Talent Management will appeal to advanced undergraduate and graduate students, scholars, practicing managers and consultants in the field of human resources.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Touch is our first sense. Through touch we make art, stake a claim to what we own and those we love, express our faith, our belief, our anger. Touch is how we leave our mark and find our place in the world; touch is how we connect. Drawing on works of art spanning four thousand years and from across the globe, this book explores the fundamental role of touch in human experience, and offers new ways of looking. In a series of lavishly illustrated essays, the authors explore anatomy and skin; the relationship between the brain, hand, and creativity; touch, desire and possession; ideological touch; reverence and iconoclasm. A final section collects a range of reflections, historic and contemporary, on touch. Objects range from anonymous ancient Egyptian limestone sculpture, to medieval manuscripts and panel paintings, to devotional and spiritual objects from across the world, to love tokens and fede rings. Drawings, paintings, prints and sculpture by Raphael, Michelangelo, Rembrandt, Carracci, Hogarth, Turner, Rodin, Degas, and Kollwitz are explored, along with work by contemporary artists Judy Chicago, Frank Auerbach, Richard Long, the Chapman Brothers, and Richard Rawlins. The events of 2020 have made us newly alive to the preciousness and the dangers of touch, making this exploration of our most fundamental sense particularly timely and resonant.