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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
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Kapwani Kiwanga (Paperback)
Kapwani Kiwanga; Edited by Clement Dirie; Text written by Omar Berrada, Amzat Boukari-Yabara, Emanuele Coccia, …
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R1,433
R1,162
Discovery Miles 11 620
Save R271 (19%)
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Ships in 10 - 15 working days
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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.
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Blow - Part One
November Sweets
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R498
Discovery Miles 4 980
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Ships in 10 - 15 working days
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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.
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