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.

Focusing on empathy as a key tool, this book examines the impact of hybrid working on staff mental health and how business leaders, managers, coaches and mentors can create a positive and motivated hybrid workforce. Part of the Business in Mind series, it is for anyone who is managing remote workers, whether individuals or teams. As the world of work has changed drastically since the Covid-19 pandemic with more staff working from home, the importance of nurturing staff well-being is more important than ever. Even though businesses are seeing the benefits of working at home, it can also create challenges. With the latest research and studies, this book explores practical ideas for finding the right working model and how to develop an appropriate leadership style. Uniquely, it discusses the neuroscience of stress to identify ways to improve workers' mental health and inform how managers can use this to create a positive work environment.

On any given day, "Wisdom Collectors," which can include scholars, poets and general enthusiasts, are lined up awaiting the next nuggets of wisdom. Each word of wisdom builds on previous words of wisdom whether spoken or written by such individuals as Abigail Adams, Abraham Lincoln, Andy Rooney, Angela Lansbury, Ann Richards, Aristotle or Audrey Hepburn. These are just a few of the A's. The B's through Z's are just as impressive. Nancy Hopkins Reily has now dealt with these words of wisdom, sometimes in rhyme, metered, and narrative verse, and presented them in a musical beat that not everyone will recognize-all done with an uncanny imagination that cuts through to the core of every issue and includes the youth and adults. Wisdom Collectors also delve into the living of life such as traveling, cooking, photographing, retiring and preparing for emergencies. "These selective nuggets," Nancy says, "are welcome to all members and non-members of the Wisdom Collectors whose current membership, by the way, is one person-me." Nancy's wisdom began when she was a young native Dallas, Texan and learned that it was okay to say, "I don't know." Graduated from Southern Methodist University, she claimed that she wasn't very sexy if her high heel shoes hurt her feet. As a beginning homemaker, there was nothing like the sound of scraping burnt toast. In raising two children, Nancy realized that each age came in the right sequence. And just as she finished her work as a mother, she became a grandmother. One grandson taught her that Louisiana doesn't drain very well. When she began her writing career, she declared that fifty percent of writing is just showing up to write and to surround yourself with talented people. Nancy says that the best advice she has been given is, "Drink very little liquid, if any, after six pm." And, upon reflection she wonders, "Do I want to be a pioneer woman and be among the first women to stop cooking?" Nancy Reily is also the author of "Classic Outdoor Color Portraits, A Guide for Photographers"; "Georgia O'Keeffe, A Private Friendship, Part I, Walking the Sun Prairie Land"; "Georgia O'Keeffe, A Private Friendship, Part II, Walking the Abiquiu and Ghost Ranch Land"; and "Joseph Imhof, Artist of the Pueblos" with Lucille Enix, all from Sunstone Press.

The time is 1946. From Georgia O'Keeffe's old hacienda sitting on a bluff in Abiquiu, New Mexico, she could see my aunt and uncle, Helen and Winfield Morten's property across the Chama River. Georgia had begun the restoration of her property. The Mortens, in the final stages of purchasing land along the Chama River, had recently completed their restoration of another old hacienda they called Rancho de Abiquiu. As one of few Anglos in the Chama River valley, Georgia ventured over to Rancho de Abiquiu to introduce herself and a private friendship resulted with the Mortens and their family. In this close family circle, Georgia revealed herself and proved that beneath her bare face there was more to her than just an artist of legendary proportions. Nancy Hopkins Reily spent many of her childhood days walking the Abiquiu and Ghost Ranch land. She explored the canyons, the White Place, Echo Amphitheater, the mountains, and the Chama River by walking the trails worn by earlier moccasined feet. In a seamless, clear, and straightforward narrative of excerpts from their lives, Reily presents Georgia in a time-window of her age. The book features Reily's youthful experiences, letters from Georgia, glimpses of the family's memorabilia and photographic snapshots-all gracefully woven into the forces of the contemporaneous scene that shaped their friendship. In addition, there are insights into the land's beauty, times, culture, history and the people who surrounded Georgia, as well as many minute details that should be remembered and which are often overlooked by others when they speak of Georgia O'Keeffe. Nancy Hopkins Reily was born in Dallas, Texas, and attended Gulf Park College in Gulfport, Mississippi, for one year. She graduated from Southern Methodist University with a B.B.A. in Retail Merchandising. Since childhood she has divided her time between Texas, Colorado and New Mexico. At a young age, the colorful New Mexico landscape captured her heart and gave her a sense of place. She continues to enjoy its beauty. Reily makes her home in Lufkin, Texas.

The time is 1887. From any window in Georgia O'Keeffe's Sun Prairie, Wisconsin birthplace home she only saw the Wisconsin prairie with its traces of roads veering around the flat marshlands and a vast sky that lifted her soul. At twelve years of age Georgia had a defining moment when she declared, "I want to be an artist." Years later from her east-facing window in Canyon, Texas she observed the Texas Panhandle sky with its focus points on the plains and a great canyon of earth history colors streaking across the flat land. Georgia's love of the vast, colorful prairie, plains and sky again gave definition to her life when she discovered Ghost Ranch north of Abiquiu, New Mexico. She fell prey to its charms which were not long removed from the echoes of the "Wild West." These views of prairie, plains and sky became Georgia's muses as she embarked on her step-by-step path with her role models--Alon Bement, Arthur Jerome Dow and Wassily Kandinsky. In this two-part biography of which this is Part I covering the period 1887-1945, Nancy Hopkins Reily "walks the Sun Prairie Land," as if in Georgia's day as a prologue to her family's friendship with Georgia in the 1940s and 1950s. Reily chronicles Georgia's defining days within the arenas of landscape, culture, people and the history surrounding each, a discourse level that Georgia would easily recognize. The book includes bibliographical references and indes. NANCY HOPKINS REILY was a classic outdoor color portraitist for more than twenty years and has taught portrait workshops at Angelina College in Lufkin, Texas where she had a one-woman show of her portraits. Her advance studies included an invitational workshop with Ansel Adams. Reily graduated from Southern Methodist University and lives in Lufkin, Texas. She is also the author of "Classic Outdoor Color Portraits" and "Joseph Imhof, Artist of the Pueblos," both from Sunstone Press.

Inflammatory Breast Cancer (IBC) is a highly aggressive and thankfully rare type of breast cancer, which is not yet widely recognised both by the public and the medical profession. When a patient presents to her GP, there is often a misdiagnosis in the first instance. This is because the symptoms include swelling, redness and heat in the breast, but often no discernible lump. Consequently the condition may be only diagnosed as a less serious dermatological problem. The author is herself a survivor of breast cancer and can therefore write with expert knowledge and experience. She discusses with compassion, insight and humour everything a person ought to know about IBC - the patient's initial fears, the diagnosis, best place for treatment, the operation itself, and post-op care. She discusses the different forms of treatment, and also the side issues - where to find support from carers and friends, what to eat, how/where to go on holiday - a valuable resource of information both for the patient and the professionals involved. Of course the book also tackles the scientific and medical issues and the various drugs used in the treatment, but Verite writes throughout in a clear, simple style that enables easy understanding of the more complex details. There are many books on breast cancer, but this is the first to specifically discuss inflammatory breast cancer. It is a guide book that will be immensely valuable to IBC sufferers, their carers, family and friends, and to GPs and oncologists around the world.

WINNER OF THE 2019 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZE FOR EDITED COLLECTIONS The Routledge Companion to the Study of Local Musicking provides a reference to how, cross-culturally, musicking constructs locality and how locality is constructed by the musicking that takes place within it, that is, how people engage with ideas of community and place through music. The term "musicking" has gained currency in music studies, and refers to the diverse ways in which people engage with music, regardless of the nature of this engagement. By linking musicking to the local, this book highlights the ways in which musical practices and discourses interact with people's everyday experiences and understandings of their immediate environment, their connections and commitment to that locality, and the people who exist within it. It explores what makes local musicking "local." By viewing musicking from the perspective of where it takes place, the contributions in this collection engage with debates on the processes of musicking, identity construction, community-building and network formation, competitions and rivalries, place and space making, and local-global dynamics.

The musical human: without a doubt, this vision of the human species as naturally musical has become the most enduring legacy John Blacking bequeathed to ethnomusicology. The image aptly embodies his preoccupations, which integrated theoretical and methodological issues within the discipline with a deep concern for the physical and psychological well-being of humanity. Blacking believed sincerely in the power of music, and he contended that people's general health depended upon the musical opportunities made available to them. For this reason, he placed great importance upon ethnomusicology, the discipline that investigates the way different societies around the world organize their musical activities, and the impact of these diverse alternatives upon the people involved in them. Each essay draws upon distinct aspects of Blacking's writings but complements them with quite different sets of sources. Themes include the role of fieldwork in the postmodern era; the role of music amongst subaltern communities existing in a rapidly changing social environment with particular reference to Vendaland; the manipulation of traditional performance settings in pursuit of political or social strategies; children's music acquisition as an indicator of the innate musical capacity of humans; the biology of music making; the creation of pleasure, pain and power during dance; cognitive processes and the social consequences of the power of music, and a consideration of the method of applying ethnomusicological research methods to Western art music. In this way, the volume provides fresh assessments of Blacking's work, taking up his challenge to push the boundaries of ethnomusicology into new territories.

Bands structured around western wind instruments are among the most widespread instrumental ensembles in the world. Although these ensembles draw upon European military traditions that spread globally through colonialism, militarism and missionary work, local musicians have adapted the brass band prototype to their home settings, and today these ensembles are found in religious processions and funerals, military manoeuvres and parades, and popular music genres throughout the world. Based on their expertise in ethnographic and archival research, the contributors to this volume present a series of essays that examine wind band cultures from a range of disciplinary perspectives, allowing for a comparison of band cultures across geographic and historical fields. The themes addressed encompass the military heritage of band cultures; local appropriations of the military prototype; links between bands and their local communities; the spheres of local band activities and the modes of sociability within them; and the role of bands in trajectories toward professional musicianship. This book will appeal to readers with an interest in ethnomusicology, colonial and post-colonial studies, community music practices, as well as anyone who has played with or listened to their local band.

Bands structured around western wind instruments are among the most widespread instrumental ensembles in the world. Although these ensembles draw upon European military traditions that spread globally through colonialism, militarism and missionary work, local musicians have adapted the brass band prototype to their home settings, and today these ensembles are found in religious processions and funerals, military manoeuvres and parades, and popular music genres throughout the world. Based on their expertise in ethnographic and archival research, the contributors to this volume present a series of essays that examine wind band cultures from a range of disciplinary perspectives, allowing for a comparison of band cultures across geographic and historical fields. The themes addressed encompass the military heritage of band cultures; local appropriations of the military prototype; links between bands and their local communities; the spheres of local band activities and the modes of sociability within them; and the role of bands in trajectories toward professional musicianship. This book will appeal to readers with an interest in ethnomusicology, colonial and post-colonial studies, community music practices, as well as anyone who has played with or listened to their local band.

The musical human: without a doubt, this vision of the human species as naturally musical has become the most enduring legacy John Blacking bequeathed to ethnomusicology. The image aptly embodies his preoccupations, which integrated theoretical and methodological issues within the discipline with a deep concern for the physical and psychological well-being of humanity. Blacking believed sincerely in the power of music, and he contended that people's general health depended upon the musical opportunities made available to them. For this reason, he placed great importance upon ethnomusicology, the discipline that investigates the way different societies around the world organize their musical activities, and the impact of these diverse alternatives upon the people involved in them. Each essay draws upon distinct aspects of Blacking's writings but complements them with quite different sets of sources. Themes include the role of fieldwork in the postmodern era; the role of music amongst subaltern communities existing in a rapidly changing social environment with particular reference to Vendaland; the manipulation of traditional performance settings in pursuit of political or social strategies; children's music acquisition as an indicator of the innate musical capacity of humans; the biology of music making; the creation of pleasure, pain and power during dance; cognitive processes and the social consequences of the power of music, and a consideration of the method of applying ethnomusicological research methods to Western art music. In this way, the volume provides fresh assessments of Blacking's work, taking up his challenge to push the boundaries of ethnomusicology into new territories.

WINNER OF THE 2019 SOCIETY OF ETHNOMUSICLOGY ELLEN KOSKOFF PRIZE FOR EDITED COLLECTIONS The Routledge Companion to the Study of Local Musicking provides a reference to how, cross-culturally, musicking constructs locality and how locality is constructed by the musicking that takes place within it, that is, how people engage with ideas of community and place through music. The term "musicking" has gained currency in music studies, and refers to the diverse ways in which people engage with music, regardless of the nature of this engagement. By linking musicking to the local, this book highlights the ways in which musical practices and discourses interact with people's everyday experiences and understandings of their immediate environment, their connections and commitment to that locality, and the people who exist within it. It explores what makes local musicking "local." By viewing musicking from the perspective of where it takes place, the contributions in this collection engage with debates on the processes of musicking, identity construction, community-building and network formation, competitions and rivalries, place and space making, and local-global dynamics.

The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.