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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.
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.
The musical, whether on stage or screen, is undoubtedly one of
the most recognizable musical genres, yet one of the most
perplexing. What are its defining features? How does it negotiate
multiple socio-cultural-economic spaces? Is it a popular tradition?
Is it a commercial enterprise? Is it a sophisticated cultural
product and signifier?
This research guide includes more than 1,400 annotated entries
related to the genre as it appears on stage and screen. It includes
reference works, monographs, articles, anthologies, and websites
related to the musical. Separate sections are devoted to sub-genres
(such as operetta and megamusical), non-English language musical
genres in the U.S., traditions outside the U.S., individual shows,
creators, performers, and performance. The second edition reflects
the notable increase in musical theater scholarship since 2000. In
addition to printed materials, it includes multimedia and
electronic resources.
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Sound Pedagogy - Radical Care in Music
Colleen Renihan, John Spilker, Trudi Wright; Foreword by William Cheng; Contributions by Molly M Breckling, …
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R704
Discovery Miles 7 040
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Ships in 12 - 17 working days
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Music education today requires an approach rooted in care and
kindness that coexists alongside the dismantling of systems that
fail to serve our communities in higher education. But, as the
essayists in Sound Pedagogy show, the structural aspects of music
study in higher education present obstacles to caring and kindness
like the entrenched master-student model, a neoliberal
individualist and competitive mindset, and classical music’s
white patriarchal roots. The editors of this volume curate essays
that use a broad definition of care pedagogy, one informed by
interdisciplinary scholarship and aimed at providing practical
strategies for bringing transformative learning and engaged
pedagogies to music classrooms. The contributors draw from personal
experience to address issues including radical kindness through
universal design; listening to non-human musicality; public
musicology as a forum for social justice discourse; and radical
approaches to teaching about race through music. Contributors:
Molly M. Breckling, William A. Everett, Kate Galloway, Sara
Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A.
Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark,
Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John
Spilker, Reba A. Wissner, and Trudi Wright
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
++++ The below data was compiled from various identification fields
in the bibliographic record of this title. This data is provided as
an additional tool in helping to ensure edition identification:
++++ Town Life In Ancient Italy: A Translation Of Professor Ludwig
Friedlander's "Stadtewesen In Italien Im Ersten Jahrhundert" Ludwig
Friedlaender, William Everett Waters B.H. Sanborn, 1908 Cities and
towns, Ancient; Italy
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Sound Pedagogy - Radical Care in Music
Colleen Renihan, John Spilker, Trudi Wright; Foreword by William Cheng; Contributions by Molly M Breckling, …
|
R2,922
Discovery Miles 29 220
|
Ships in 12 - 17 working days
|
Music education today requires an approach rooted in care and
kindness that coexists alongside the dismantling of systems that
fail to serve our communities in higher education. But, as the
essayists in Sound Pedagogy show, the structural aspects of music
study in higher education present obstacles to caring and kindness
like the entrenched master-student model, a neoliberal
individualist and competitive mindset, and classical music’s
white patriarchal roots. The editors of this volume curate essays
that use a broad definition of care pedagogy, one informed by
interdisciplinary scholarship and aimed at providing practical
strategies for bringing transformative learning and engaged
pedagogies to music classrooms. The contributors draw from personal
experience to address issues including radical kindness through
universal design; listening to non-human musicality; public
musicology as a forum for social justice discourse; and radical
approaches to teaching about race through music. Contributors:
Molly M. Breckling, William A. Everett, Kate Galloway, Sara
Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A.
Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark,
Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John
Spilker, Reba A. Wissner, and Trudi Wright
|
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