While the world outside the classroom has developed, classroom instruction has remained stagnant. Students are encouraged to just cover the curriculum and the power of purpose and meaningful contribution are absent. Furthermore this old way of doing things doesn't credit students' natural curiosity to direct their own learning. In Who Owns the Learning?, author Alan November uses his Digital Learning Farm education model to show teachers how technology allows students to take ownership of their learning, create their own learning tools, and participate in work that has meaning to them and others. In this model, every student is a teacher and a global publisher.

In chapter one, readers will learn what a Digital Learning Farm is and how it can optimize learning. Chapters two through five each focus on a specific job for students in the digital learning farm and provide examples of students working through them. November also offers a story about how the job is being utilized in classrooms, techniques for educators to leverage the work in their classrooms, and questions for discussion in each chapter. Finally, November offers an example of students owning their learning through technology in chapter six. This book is a guide to teachers who want to move teaching and learning into the 21st century incorporating technology and opportunities for students to direct their own learning into instruction.

The first detailed contextual study of chamber music in Beethoven's Vienna, at a time when the string quartet reigned supreme among the different chamber genres This book is the first detailed contextual study of string quartets in Beethoven's Vienna, at a time when that genre reigned supreme among the different chamber genres. Focusing on a key transition period in the early nineteenth century, which bore witness to fundamental shifts in the 'private' sphere of music-making, it explores the 'cultivation' of string quartets by composers, critics, listeners, performers, publishers and patrons. The book highlights these parties' interactions, ideas and ideals, which were central to defining the unique cultures of chamber music arising at this time. We gain fresh insights into publishing and marketing, performance venues and practices, review culture, listening theories and practices, and composition in early nineteenth-century Vienna. Until now, the unique theatricality of chamber music, and the 'social' nature of its discourse, has been poorly appreciated. Cultivating String Quartets in Beethoven's Vienna addresses this misconception and enriches our understanding of this crucial period of change, in which concert life began and previously 'private' music was moved out onto the stage. NANCY NOVEMBER is Associate Professor in Musicology at the University of Auckland.

This book provides a detailed reconstruction of the origins of Schopenhauer's philosophy and its inherent aporias. It is divided into four parts. The first section delves into the pietistic upbringing of young Schopenhauer and his introduction to philosophy through the teachings of G.E. Schulze, as well as his study of Plato, Schelling, and Kant. Faced with the "negative" outcomes of Kant's criticism, particularly the unknowability of the thing-in-itself, young Schopenhauer initially engaged with Fichte and Schelling (this is covered in the second part of the volume). However, Schopenhauer formed the opinion that these two philosophers, instead of upholding and expanding upon Kant's ideas, ultimately diverge from them. That notwithstanding, he implicitly inherited certain pivotal concepts from Fichte and Schelling. The third part explores Schopenhauer's initial endeavor to formulate a new metaphysics after Kant, known as the theory of "better consciousness." In the fourth part, the book demonstrates how the internal contradictions within that theory and Schopenhauer's transformative encounter with Indian wisdom (Hinduism and Buddhism) lead him to abandon his first attempt at a system and develop his metaphysics of will. The last and most substantial chapter of the book focuses on the author's analysis of the inherent aporias within Schopenhauer's mature system, approaching them from a genetic perspective.

In the field of risks and crises, both the access to relevant information and its circulation are seen as crucial factors. Based on a new integrated theoretical model focusing on the stakeholder, the book proposes analysis of information reformulation and circulation in risk environments and crisis situations. Simply circulating the information does not mean that it will be picked up by those who could benefit from it. This has been amply demonstrated by the various crises and catastrophes that have shaken the planet in recent years. In order to be able to deal with risk situations and crises, it must be possible for information – when it circulates – to be understood and interpreted by a wide range of stakeholders, working in fields such as health and natural or environmental risks. By observing closely, in three very different situations, the way in which information is gathered, processed, distributed and used, this book examines the countless reformulations, redefinitions and even reorientations to which all information is subjected. This multiple reformatting, at least according to the hypothesis put forward in this book, is an important element in ensuring that the information produced circulates and reaches those for whom it is intended. The intention is then to analyze the way in which information circulates in situations of risk and crisis. In order to do it, the authors propose a new theoretical model based on different approaches. This model is anchored in the trend of research that has been oriented towards a wider understanding of risks and their territorial and social consequences. These ideas question the approach to risk which focuses primarily on technical aspects and probability. The model also draws from approaches to risk that focus on the stakeholders involved in the debates and the need for an integrated vision of risks. Risks are thus considered heterogeneous, plural and transcalar. The information flow about risks was studied first in the SHOC Room of the World Health Organization (WHO) in Geneva, a central place through which passes all information destined to managing world-wide epidemic risks. Then the research team monitored the constitution and the reception of a field library about risks management and reduction sent to Madagascar, an island systematically hit by cyclones. This following process has permitted the analysis of information dissemination during a crisis situation. The third field work was done in Cameroun to observe the use and transmission of information in two NGO specializing in sanitary risks prevention using traditional and biomedical conceptualization of health and illness. The book ends with a practical tool to assess and help the information circulation in risk and crisis situations.

In the field of risks and crises, both the access to relevant information and its circulation are seen as crucial factors. Based on a new integrated theoretical model focusing on the stakeholder, the book proposes analysis of information reformulation and circulation in risk environments and crisis situations.

Simply circulating the information does not mean that it will be picked up by those who could benefit from it. This has been amply demonstrated by the various crises and catastrophes that have shaken the planet in recent years. In order to be able to deal with risk situations and crises, it must be possible for information when it circulates to be understood and interpreted by a wide range of stakeholders, working in fields such as health and natural or environmental risks. By observing closely, in three very different situations, the way in which information is gathered, processed, distributed and used, this book examines the countless reformulations, redefinitions and even reorientations to which all information is subjected. This multiple reformatting, at least according to the hypothesis put forward in this book, is an important element in ensuring that the information produced circulates and reaches those for whom it is intended. The intention is then to analyze the way in which information circulates in situations of risk and crisis. In order to do it, the authors propose a new theoretical model based on different approaches. This model is anchored in the trend of research that has been oriented towards a wider understanding of risks and their territorial and social consequences. These ideas question the approach to risk which focuses primarily on technical aspects and probability. The model also draws from approaches to risk that focus on the stakeholders involved in the debates and the need for an integrated vision of risks. Risks are thus considered heterogeneous, plural and transcalar. The information flow about risks was studied first in the SHOC Room of the World Health Organization (WHO) in Geneva, a central place through which passes all information destined to managing world-wide epidemic risks. Then the research team monitored the constitution and the reception of a field library about risks management and reduction sent to Madagascar, an island systematically hit by cyclones. This following process has permitted the analysis of information dissemination during a crisis situation. The third field work was done in Cameroun to observe the use and transmission of information in two NGO specializing in sanitary risks prevention using traditional and biomedical conceptualization of health and illness. The book ends with a practical tool to assess and help the information circulation in risk and crisis situations."

Elmo tries to decide what his favorite letter of the alphabet might be. There are so many letters - so much to love He takes readers on a tour of the ABCs, naming the things he loves that begin with each letter, and decides that they're all special in their own way.

This Companion provides orientation for those embarking on the study of Beethoven's much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally. The book addresses the symphony in three thematic sections, on genesis, analysis and reception history, and covers key topics including political context, dedication, sources of the Symphony's inspiration, 'heroism' and the idea of a 'watershed' work. Critical studies of writings and analyses from Beethoven's day to ours are included, as well as a range of other relevant responses to the work, including compositions, recordings, images and film. The Companion draws on previous literature but also illuminates the work from new angles, based on new evidence and a range of approaches by twelve leading scholars in Beethoven research.

"While raising our three children, we learned a parenting secret: that bringing up a child transforms us and transforms our world. We discovered that being parents is a spiritual journey that begins in an act of love and continues through intentional actions. The Holy One bequeaths to us minimally formed creatures, all potential, morally neutral. As parents we transform those children into compassionate, loving human beings. We become partners with God."
―from the Introduction

Parenting has never been easy―but in a culture that encourages more screen time than face time, how can you make sure that your children stay connected to what really matters in life?

In this guidebook for building a strong framework for a Jewish life, Rabbi Paul Kipnes and Michelle November, MSSW, reveal the spiritual wisdom they have learned and the hard-won parenting techniques they developed that shaped their children as individuals and their family as a whole. Together, they explore spiritually nourishing approaches to help you foster essential Jewish values like gratitude, joy and honesty in your children. Kipnes and November also share timeless teachings and spirit-filled activities, rituals and prayers that will help you cultivate strong Jewish values and cherished spiritual memories in your own family

This Element considers the art and culture of arranging music in Europe in the period 1780–1830, using Haydn's London symphonies and Mozart's operas as its principal examples. The degree to which musical arrangements shaped the social, musical, and ideological landscape in this era deserves further attention. This Element focuses on Vienna, and an important era in the culture of arrangements in which they were widely and variously cultivated, and in which canon formation and the conception of musical works underwent crucial development. Piano transcriptions (for two hands, four hands, and two pianos) became ever more prominent, completely taking over the field after 1850. For various reasons, principal composers of the era under consideration, including Haydn, Mozart, and Beethoven, participated directly in the practice of arrangement. Motivations to produce arrangements included learning the art of composition, getting one's name known more widely, financial gain, and pedagogical aims.

String Quartets in Beethoven's Europe is the first detailed study of string quartets in late-eighteenth- and early-nineteenth-century Europe. It brings together the work of nine scholars who explore little-studied aspects of this multi-faceted genre. Together, this book's chapters deal with compositional responses to Beethoven's string quartets and the prestige of the genre; varied compositional practices in string quartet writing, with a particular emphasis on texture and performance elements; and the reception of Beethoven's string quartets ca. 1800. They include discussions of quartets composed for the amateur and connoisseur markets in Beethoven's Europe; virtuosity, the French Violin School, and the quatuor brillant; the relationship between quartet composers and their audiences during Beethoven's era; and the cross-pollination of quartet styles in Europe's musical centers such as Vienna, Paris, and St. Petersburg.

The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology.

Beethoven's String Quartet in C-sharp minor Op. 131 (1826) is not only firmly a part of the scholarly canon, the performing canon, and the pedagogical canon, but also makes its presence felt in popular culture. Yet in recent times, the terms in which the C-sharp minor quartet is discussed and presented tend to undermine the multivalent nature of the work. Although it is held up as a masterpiece, Op. 131 has often been understood in monochrome terms as a work portraying tragedy, struggle, and loss. In Beethoven's String Quartet in C-sharp Minor, Op. 13, author Nancy November takes the modern-day listener well beyond these categories of adversity or deficit. The book goes back to early reception documents, including Beethoven's own writings about the work, to help the listener reinterpret and re-hear it. This book reveals the diverse musical ideas present in Op. 131 and places the work in the context of an emerging ideology of silent or 'serious' listening in Beethoven's Europe. It considers how this particular 'late' quartet could speak with special eloquence to a highly select but passionately enthusiastic audience and examines how and why the reception of Op. 131 has changed so profoundly from Beethoven's time to our own.