Educational: Music

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Book SynopsisA John Steptoe New Talent Award WinnerBefore there was hip hop, there was DJ Kool Herc. On a hot day at the end of summer in 1973 Cindy Campbell threw a back-to-school party at a park in the South Bronx. Her brother, Clive Campbell, spun the records. He had a new way of playing the music to make the breaksthe musical interludes between verseslonger for dancing. He called himself DJ Kool Herc and this is When the Beat Was Born. From his childhood in Jamaica to his youth in the Bronx, Laban Carrick Hill''s book tells how Kool Herc came to be a DJ, how kids in gangs stopped fighting in order to breakdance, and how the music he invented went on to define a culture and transform the world.

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Book SynopsisChronicling a young superstar’s rise to fame, this account details how Texas teenager Austin Mahone went from anonymous high school student to Billboard charter. Readers learn about the early life of this budding singing sensation; how he got his start covering pop songs and posting them on YouTube, eventually receiving more than 100 million views; and his promising future with Chase Records, who recently signed him to a record deal worth more than $3 million. With full-color photographs and an intimate look at the life of the up-and-coming pop star, this book is the inside source for all self-proclaimed “Mahomies.”

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Book SynopsisWith Multicultural Perspectives in Music Education, you can explore musics from around the world with your students in a meaningful way. Broadly based and practically oriented, the book will help you develop curriculum for an increasingly multicultural society. Ready-to-use lesson plans make it easy to bring many different but equally logical musical systems into your classroom. The authors-a variety of music educators and ethnomusicologists-provide plans and resources to broaden your students' perspectives on music as an important aspect of culture both within the United States and globally.

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Book SynopsisAn engaging introduction to the art of listening, starting with folk music familiar to all, and proceeding to the ways musical pieces are constructed from parts. Using a conversational style, the author draws out from the reader the points he wants to make, illustrating them with short musical pieces that appeal to a broad audience. Along the way he gives tips of what to listen for, strengthening his reader''s listening skills by such games as ''Camouflaged Tunes.'' In the course of the book, Scholes gives a brief history of classical music and introduces many of the noted composers, whetting appetite for further listening opportunities. Musical terms are introduced only as needed, with a full glossary at the end of the book of terms the student is likely to encounter.

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Book SynopsisFlorence loved her mother?s piano playing and wanted to be just like her. When she was just four years old she played her first piano concert and as she grew up she studied and wrote music hoping one day to hear her own music performed by an orchestra.This is the story of a brilliant musician who prevailed against race and gender prejudices to become the first Black woman to be recognised as a symphonic composer and be performed by a major American orchestra in 1933.

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Book SynopsisThis much-loved book is a collection of over one hundred songs, some well known, some less known, collected over the years by experienced Waldorf teacher Brien Masters.They are graded for different ages from Class 3 (age 8) to Class 8 (age 14) and grouped into festivals and seasons. They include rounds and four-part songs, and musical notation for recorders and other instruments.This is a wonderful resource for Steiner-Waldorf class teachers, and any teacher or parent looking to introduce music to their classroom or home.Trade Review'This book is brilliant. It's perfect for Waldorf teachers, homeschoolers, and students alike. It is chock-full of simple, haunting pentatontic songs to sing or play on the recorder.'-- Amazon.com reader review

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Book SynopsisSinging Sherlock is the acclaimed, practical and easy-to-use resource for classroom teachers, specialist music teachers, and children's choir directors.Each volume is packed full of enjoyable songs and fun vocal activities designed to equip and enable children to sing to their full potential, and is presented in clear, progressive steps, with invaluable teaching notes suitable for teachers of all musical abilities.Demonstration and backing audio tracks are available online for teaching and performance.Ideal for use in delivering the Department of Education Music Programmes of Study: key stages 1 and 2.Written by highly experienced and successful singing teachers, Singing Sherlock provides tried and tested resources to bring your singing sessions to life.Book 2 is now available in a refreshed and repackaged edition with updated text and newly engraved music.Instrumentation:children''s choir

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Book SynopsisMany children with autism feel a natural connection with music, but don't always find it easy to participate in musical activities. Packed with tips, advice and activities, this book shows how music and rhythm can help with brain development and quality of life, and how to encourage a genuine enjoyment of music.Dr Berger draws on her many years of experience in music-based clinical work, teaching and coaching, to answer common questions regarding musical interactions for children with autism. From what instrument to choose, how to find the right teacher, how to get your child to practice music, and even taking children to public music events, this book has all the essential information for you to dip into as and when needed. With practical information to help you solve problems that may arise, such as sensory overload, let this book guide you and your child towards positive interactions with music, regardless of whether or not they have prior musical abilities.Trade ReviewAs the parent of a teen with autism, I can say first-hand how important music has been in his life, from learning to speak to now socializing in the marching band. This book has practical tips on how to choose an instrument, find a teacher, and even keep up with practice - a must-read for anyone who wishes to expose their child to the benefits of music. -- Angela Scarpa, Ph.D., Associate Professor of Psychology and Director of the Virginia Tech Center for Autism Research, Virginia Tech, USAThis is another great book from Dorita Berger, which is a must-have for every music therapist, educator and parent. Easy to read, it gives a wealth of information on the neuroscience of music, and explains the "why's" and "how's" of music learning. As a parent, I learned a lot myself! -- Aksana Kavaliova-Moussi, MMT, BMT, MTA, Neurologic Music TherapistTable of ContentsOverture: About the Book: A Letter to Parents. Part One: Music is Important for the Developing Child. 1. How and Why to Think 'Beyond the Spectrum'. 2. The Sense-ability of The Musical Brain. 3. Music for All Ages and Functions. Part Two: Providing Music in a Child's Life. 4. Music Lessons, Music Therapy, or Both? 5. What Instrument Should I Choose For My Child? 6. Lessons, Practice and Penalties. 7. Taking Your Child to a Concert. Part Three. Additional Considerations. 8. Music and Exceptional Needs. 9. Useful Information and Helpful Resources. Finale.

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Book SynopsisYou'll need the Rockschool Guitar Grade 4 from 2024 to master the more sophisticated techniques introduced at this level, which include wider stretches, scales in different fingering positions and more.

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Book SynopsisRockschool is the original way to study, learn, and become qualified in rock, pop, and contemporary music. Started in 1991, the books are now better than ever! The specially written arrangements for each syllabus develop the skills and techniques you need to play some of the world's most popular songs on your guitar and help you achieve your musical goals. Each Graded publication contains 9 tracks, expertly arranged and benchmarked per grade. Get ready for your Grade 5 exam with the new Rockschool guitar syllabus now.

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Book SynopsisThis book provides a manuscript-megaphone for a variety of perspectives on popular music education, including those we do not usually hear from, but who are doing far and away the coolest, most relevant and most interesting things. It includes rants, manifestos, and pieces that are pithy and punchy and poignant, which have resulted in a wide tonal variety among chapters, from more traditionally scholarly pieces replete with citations and references, through descriptions of practice, to straight-up polemics. It is more about beliefs, experiences and motivation, about frustrations, aspirations and celebrations. The chapters are intended to whet appetites, prime pumps, open eyes, and keep cogs turning. This book is organized into four parts: Beyond the Classroom, Identity and Purpose, Higher Education and Politics and Ideology. This book is intended for academics of all ages and stages, but the writing is often deliberately non-academic in tone. The book will appeal to those working in popular music studies, communication studies, education research, and should be of interest to those involved in policy decisions at national and regional levels. It is also directly relevant to researchers looking music industry and music ecosystems nationally, regionally and internationally, as education and popular music industry, DIY and community sectors continue to enmesh in complex and evolving ways.Table of ContentsAcknowledgements xi Introduction xiii Gareth Dylan Smith and Bryan Powell PART I: BEYOND THE CLASSROOM 1 1. ‘Something to Talk About’: Intersections of Music, Memory, Dialogue and Pedagogy at the Rock and Roll Hall of Fame 5 Jason Hanley 2. Learning to be Active: The Formative Power of Music as a Catalyst for Political Activism 11 Stuart Moir 3. Mariachi Master-Apprentice Program: Familia During the COVID-19 Pandemic 17 Sergio Alonso 4. People and Popular Music in an English Prison: Transforming Criminal Justice 24 Natalie Betts 5. Popular Music Pedagogy in a United States Prison: Lessons from a Western Rural Facility 30 Tiger Robison 6. Developing a Certifiable and Relevant Popular Music Curriculum for Early School-Leavers in Ireland 34 Martin Ryan 7. Project Gametime: Hip-Hop and After-School Programmes 40 Kenrick Wagner 8. In Conversation with Eleanor Rashid, Music Practitioner 43 Eleanor Rashid and Gareth Dylan Smith 9. Reciprocal Benefits of Music Cities and Modern Band 46 Bryce Merril and Tom Scharf 10. Berklee City Music Programme: Teaching and Learning Through Contemporary Popular Music 52 Krystal Prime Banfield 11. A New Generation: An Intrinsic Case Study of a Club DJ’s Formal Learning Experiences 58 Eva J. Egolf 12. Playing with Vocal Processing Technologies: Fostering Interaction with Children with Special Educational Needs 63 Roshi Nasehi 13. The Oneonta Hip Hop Collective: Students Owning the Moment 68 Joseph Michael Pignato 14. Rockway and Formal–Informal Online Music Learning in Finland 74 Niklas Lindholm 15. How Do We Get Girls and Non-Binary Students to Play Guitar Solos? 79 Kayla Rush 16. Learning to Become a Band, Learning Popular Music 85 Tobias Malm 17. Popular Music is Not the Answer 90 Abigail D’Amore PART II: IDENTITY AND PURPOSE 97 18. Life as a Cabaret: Singing Our Ideal Self into Being 101 Felix Graham 19. My Therapist Said It’s FINE: The Duality of Being a Music(ian) Teacher 107 Sheena Dhamsania 20. Pursuing Popular Music Shapes Me as a Scholar, Musician and Human 110 Christopher Cayari 21. I’ve Learned Three Chords. Now What? 115 Roger Mantie 22. Intersections and Roundabouts: Connecting In-School and Out-of-School Experiences to Teaching Practices 120 Steve Holley 23. Different from the Norm: Teaching Band in Alabama 126 Shane Colquhoun 24. Popular Music Education as a Place for Emergent Pedagogies 131 Meghan K. Sheehy 25. Think Big, Start Small: Enacting Change in Higher Education 137 Martina Vasil 26. Becoming a Popular Music Educator: A Personal Journey 142 Matthew Clauhs 27. Confessions of a Deadhead Music Educator: Connecting Worlds 148 James Frankel 28. A Personal Journey with Popular Music in Paraguay 153 Sol Elisa Martinez Missena 29. From Bowing my Double Bass to Pushing My Push: A Swedish Journey from Music Education to Popular Music Educator 157 Erik Lundahl 30. From A. R. Rahman to Ed Sheeran: How Informal Learning Practices can Inform Music Teaching 162 Shree Lakshmi Vaidyanathan 31. What’s Words Worth: A Short Polemic on the Citation of Lyric 168 Andy West 32. Inclusion or Exclusion? The Disconnect Between School Music Programmes and Students’ Lived Musical Experiences 171 Aixa Burgos 33. Finding Her Voice: A Female DIY Musician’s Pedagogical Spaces and Practices for Popular Tamil Film Music in Chennai, South India 175 Nina Menezes 34. Teaching Queer 182 Mia Ibrahim 35. Computer Science && Popular Music Education 187 Jared O’Leary 36. We Are Music Technology (and How to Change Us) 192 adam patrick bell 37. Connecting Black Youth to Critical Media Literacy Through Hip-Hop Making in the Music Classroom 198 Jabari Evans PART III: HIGHER EDUCATION 203 38. Crushed by the Wheels of Industry 207 Martin Isherwood 39. Towards Popular Music Education as an Institutional Norm 213 Lloyd McArton 40. Ideological Extrojection: The De-Neoliberalization of UK Music Education 219 Jason Huxtable 41. On the Pulse of Change Through Popular Music Nourishing Teachers’ Professional Identities 225 Siew Ling Chua 42. The Conservatory as Exploratory 230 Richard Smith 43. Is Higher Popular Music Education Still Relevant? 235 Gemma Hill 44. Music Teacher Education in the United States is Failing its Students 239 Candice Davenport Mattio 45. Imagining a Credential for Music Technology Education 245 Daniel Walzer 46. The Price of Admission: Amateurism, Serious Leisure and the Faculty Band 250 Virginia Wayman Davis 47. Vocal Diversity and Evolving Contemporary Voice Pedagogy 256 Ana Flavia Zuim 48. Student and Tutor Life Worlds and Impossible Standards in Higher Popular Music Education 261 Hussein Boon 49. Places and Spaces of Popular Music Production Pedagogy in Higher Education 267 Brendan Anthony 50. Fostering a Sense of Belonging in the Recruitment of Underrepresented Students at Purdue University 273 James Dekle 51. Awakening Spirituality in Brazilian Higher Music Education 279 Heloisa Feichas 52. Embracing Innocence, Uncertainty and Presence in Popular Music Performance 285 Jay Stapley 53. How I Relearned to Give a Shit 290 David Knapp PART IV: POLITICS AND IDEOLOGY 297 54. We Are Not Neutral: Popular Music Education, Creativity and the Active Creation of a Graduate Precariat 301 Zack Moir 55. Toward the Political Philosophy of Hip-Hop Education and Positive Energy in China 307 Wai-Chung Ho 56. Structural and Cultural Barriers to Relevant Popular Music Education in India 314 Nilesh Thomas and Saurav Ghosh 57. Popular Music Education as a Liberating Education 320 Flávia Narita 58. Young, Gifted and Black Q.U.E.E.N.: Nuancing Black Feminist Thought within Music Education 326 Jasmine Hines 59. Decolonizing Higher Music Education: Person Versus Persona 332 Adriel E. Miles 60. My Vision for Popular Music Education 338 Nathan Holder 61. External Examining: An Insider Perspective on a Neocolonial Practice 343 Gareth Dylan Smith 62. Cripping Popular Music Education 349 Jesse Rathgeber 63. Excessive Pedagogical Moments: A Deaf-Gay Intersectional Duet 355 Warren Churchill 64. Race, Caste, American Democracy and Popular Music Education 361 David Wish 65. The Problem of Conversion in Music Teacher Education in the United States 367 Radio Cremata 66. Expanding the Reach of Music Education through Modern Band 373 Scott R. Sheehan 67. Lessons from Community Music and Music Therapy: Beyond Familiar Comparisons 378 Bryan Powell 68. Adolescence, Education and Citizenship: Tracing Intersecting Histories and Reimagining Popular Music Pedagogies 383 Noah Karvelis 69. #SongsOfBlackLivesMatter: Co-creating and Developing an Activist Music Education Praxis Alongside Youth 389 Martin Urbach 70. From Black Lives Matter to Black Music Matters: Crossing the Rhetorical Divide 396 Ed Sarath Notes on Contributors 399 Index 411

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Book SynopsisIn a world facing multiple existential crises, music might be seen as little more than a distraction. However, in this synthesis of ideas developed over a decade, a timely re-appraisal of the potential of musicing for human flourishing is presented, emphasising its role in the history of human evolution alongside its potential as a resource for sustainable development. A holistic philosophy of music is outlined which recognises the complex web of meaning which spreads across complementary musical dimensions of performance and participation, whilst emphasising the ‘paramusical’ benefits which arise from both. Highlighting the notion that the social bonds which arise from musicing share much of the neurobiological underpinnings of attachment and love, musicing is presented as a resource with the potential for facilitating ethical human connection. The humanistic values which are thereby materialised during musicing – love, reciprocity and justice – form the experiential grounds for inhabiting alternative social realities. The book addresses how such a holistic philosophy of music might be implemented in practice, drawing on the author’s professional praxis as a performer, educator, community musician, composer and researcher, in particular their experience of musician education at Sage Gateshead, Royal College of Music and Trinity-Laban Conservatoire in the UK.Trade ReviewCamlin has an uncanny ability to uncover and make visible the fundamental truths about musicing that we intuit from practice. Camlin’s quest to understand the phenomenon of musicing has led him to read widely from many different disciplines, which moves us towards a consilient understanding of why music is of such tremendous value now, more than ever. This book is a tremendous contribution to the discourse on what it means 'to music' and what music can mean for the survival of our species, and the planet. -- Melissa Forbes, Associate Professor in Contemporary Singing, University of Southern Queensland, on Giabal and Jarowair Country, AustraliaTable of ContentsForeword Acknowledgements PART 1 INTRODUCTION 1. Music in an Uncertain World - An uncertain future - The value of musicing - Hysteresis - Changing value of music - Key themes - Musicing, musicking, ‘musicians’ and musician–researchers - Musician-as-researcher - Being human - Diffraction/waveform interference - Terrapolis - Bumps in the road - Inequalities of cultural access - Devaluation of music - Summary - Who is this book for? - Structure and contents 2. Libraries Gave Us Power - This is my truth… - Sage Gateshead and beyond - Praxis - Thinking about music PART 2 THINKING ABOUT MUSIC 3. Music as a Complex Adaptive System - 600+ Mechanisms - Complex adaptive systems (CAS) - Music as a polyvalent system - The advocacy trap - All roads lead to complexity - Music as gestalt - Music in human evolution - Music as communicative medium - Entrainment - Communicative musicality - What’s love got to do with it? - What is love anyway? - The limbic system - Interpersonal neurobiology - Feeling felt - What’s music got to do with it? - Agential realism - Entanglement and intra-action - Diffraction - Apparatus - The aesthetic ‘cut’ - Music as a vitality - ‘Affect’ attunement - Conclusion 4. Performing Works, Performing Relationships - Background - Sage Gateshead - Praxis - Music in three dimensions - Dimensions - Musical dimensions - Aesthetic – The performance of musical ‘Works’ - Participatory – The ‘Performance’ of relationships - Musical continuum - Paramusical dimension - Assumptions - Reflective questions - Holistic - Holistic assumptions - Reflective questions - Implications - Holistic philosophy of music - Quality is contingent - Dialogue - Dissensus - Epistemology - Praxis - Conclusion 5. Music, Politics and Society - Honourable and dishonourable traditions - The ‘polis’ - Bonding and bridging social capital - Feeling felt - Musical citizens - Music and the family - Music and the community - Limits of human cooperation - Music and the people - Music and the nation-state - Music and national identity - Estonian singing revolution - Music as a national political resource - Injustice and the difference principle - Vigilance - Rational communities of music - Doxa - Intervention - The community of those who have nothing in common - Addressing cultural inequalities - Application of knowledge - The word ‘cope’ and the word ‘change’ 6. Music Making and Civic Imagination - Citizens of the planet 126 - Cosmopolitanism 127 - Critics of cosmopolitanism 128 - Post-nationalism 129 - Terrapolitanism 130 - What is civic imagination? 132 - Dialects of civic imagination 133 - Disavowal of politics 136 - Sovereignty of the states 137 - European project as civic imagination 139 - Music making and civic imagination 141 - Music and the dialects of civic imagination 142 - Disavowal of politics through artistic expression 143 - Vigilance as qualifier 145 - Music’s floating intentionality 146 - Mobilization of terrapolitan identity 147 - Intertextuality 148 - Terrapolitanism is not a competition 149 - The performance of values 151 - Nationalist/capitalist values 152 - Humanist values 152 - Performing love 153 - Performing reciprocity 154 - Performing justice 154 - Performance of virtue 155 - Problems of humanism 156 - Musicing in a post-human world 156 - Musical citizens of the planet 158 - Music and the universe next door 159 - Practical applications 161 PART 3 PRACTICAL APPLICATIONS 7. This Musician - Socially engaged student performances at Sage Gateshead - Example 1: We are who we can be - Example 2: Big about Corby - Example 3: Fram fest - Example 4: Disability dilemmas - Assessing quality - Student encounters with participatory music at the Royal College of Music - Participatory projects - This place - These people 8. Musician Education - What are we educating musicians for? - What is music for? - Portfolio careers in music - Praxis - Skills, attributes and values - Authenticity - Diffractive pedagogy - Organizational dynamics - Situational music education pedagogy - Situational leadership - Limitations - Conclusions References Index

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Book SynopsisThere is no more powerful message in the twenty-first century than climate change. There is no more powerful vehicle for communicating and delivering such a message to children than the performing/creative arts. Ava Goes Green, a unique fusion of fiction and non-fiction, delivers issues surrounding plastic pollution told through the eyes of children, animals and birds, via an integration of music, art, stories and differentiated creative tasks. The unique short stories will captivate and allow them to relate to the characters/creatures explaining about the dangers they face every day from human pollution. The stunning illustrations by Stu McLellan create a magical world which will stimulate children’s imagination. And the novel songs create a fun reinforcement of the learning through interaction and inclusive participation. Creative music, art, dance and drama tasks suggest how all children of all abilities can contribute and empathize with the animals and birds endangered by pollution: activities to stimulate imagination, social interaction, confidence and wellbeing. The attitudes and actions of our children towards the world they are inheriting are crucial if we are to make a difference and maintain our ecosystem. So… Inspire—Create—Enjoy!

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Book SynopsisAva Gets Active, a sequel to Ava Goes Green, follows Ava, Jamal and their friends, as they explore the effects of air pollution on climate change. See how they learn about birds and animals endangered by the chemicals and gases in our air. See how they get active to find solutions and turn climate fears into climate fun! The stunning illustrations by Stu McLellan create a magical world which will stimulate children's imagination. The unique short stories will captivate as creatures explain about the danger they face every day. Novel songs create a fun reinforcement of learning through interaction and inclusive creative participation in music/art tasks. QR codes in the book allow access to free music accompaniment WAV files, and teaching guides linked to national curriculum objectives and outcomes. The attitudes and actions of our children towards this planet are crucial if we are to make a difference and maintain our ecosystem. There is no more powerful message in the twenty-first century than climate change. There is no more powerful vehicle for communicating and delivering such a message to children than the performing and creative arts. So InspireCreateEnjoy!

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Book SynopsisCriminal Justice: Local and Global and its sister text Crime: Local and Global are two new teaching texts that aim to equip the reader with a critical understanding of the globally contested nature of 'crime' and'justice'. Through an examination of key concepts and criminological approaches, the books illuminate the different ways in which crime is constructed, conceived and controlled. International case studies are used to demonstrate how 'crime' and 'justice' are historically and geographically located in terms of the global/local context, and how processes of criminalisation and punishment are mediated in contemporary societies. Criminal Justice: Local and Global covers the way the 'local' can be widened out to look at international, transnational and supranational aspects of justice. This means that issues such as corporate crime and human rights can be discussed in a comparative and critical way, examining the possibility, for example of an International Criminal Court, cross-national jurisdictions of regulation and control (such as Interpol) and so on. Each chapter covers a different area of regulation, punishment and process. Unlike previous texts, the book's approach will be an innovative approach to widen 'justice' to encompass considerations beyond simple, local jurisdictions. The book will take instances of 'justice' in one jurisdiction and use global examples to illustrate how ambiguous the concept of 'justice' can be.Trade Review'Criminal Justice: Local and Global is another excellent and unique contribution to the criminological literature. This is more than another textbook. In melding together contemporary debates on the relationship between globalisation and the local context covering key issues such as policing, punishment, risk assessment, surveillance, restorative justice and human rights, this book not only delivers up to date and insightful material, it will also act as a catalyst for pushing the at the boundaries of the criminological agenda on these issues. This is a remarkable achievement and constitutes a timely and significant intervention for the discipline. A must read for the student and lecturer alike.' Sandra Walklate, University of Liverpool, UK'Criminal Justice: Local and Global is an intellectual travel guide to criminal justice in the twenty-first century. Ambitiously crafted, this volume focuses on theory and values instead of the usual 'nuts and bolts' approach to explaining criminal justice. Examples are taken from around the globe to illustrate common themes. The text is unrelenting in its critical analysis. Students will appreciate its creative and futuristic qualities.' Rosemary Barberet, John Jay College of Criminal Justice, UK 'Criminal Justice: Local and Global is strong on critical analysis and rich in materials... .' 'Both students and lecturers will find this book clear, comprehensive, up to date and thought provoking. It is a must read for anyone seeking to make sense of the subject of criminal justice.' Rona Epstein, Coventry Law School, Coventry University, UK'...the book achieves instant topicality through its examination of the strengths and weaknesses of informal as well as formal systems of justice.''It is provocative and informative, constantly encouraging the reader to link the global with the local whilst making the case for criminology to have a much wider global reach in order to address the issues of harm, power, violence and retribution that are covered so well in this volume.'-Neil Stone, Wales Probation TrustTable of Contents1. Interrogating Criminal Justice2. Punitiveness and Cultures of Control 3. Conflict Resolution, Restoration and Informal Justice 4. Risk Prediction, Assessment and Management 5. Surveillance and Social Ordering 6. Transnational Policing and Security 7. Justice, Globalisation and Human Rights

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Book SynopsisThe Music Handbook Level 1 builds on the skills the children learned at Beginner's Level, while still supporting the teacher every step of the way. 30 clear, structured and sequenced lesson plans Builds on the work begun at Beginner's level Includes five new rhymes and 14 new songs as well as lots of old favourites Introduces the children to pitch names, pitch handsigns, rhythm names and notation Resources section with songs, rhymes, actions and games Templates for puppets and rhythm activities The Handbook has 192 pages and includes seven CDs with all teaching and song tracks Suitable for children aged 5-8 who have completed Beginner's level

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Book SynopsisThe Music Handbook Level 2 builds on the skills the children learned at Level 1, while still supporting the teacher every step of the way. 30 clear, structured and sequenced lesson plans Builds on the work begun at Beginner's level and Level 1 Includes two new rhymes and 8 new songs as well as lots of old favourites Reinforces the children's knowledge of pitch names and handsigns and introduces lots of new rhythms Resources section with songs, rhymes, actions and games Templates for puppets and rhythm activities The Handbook has 208 pages and includes seven CDs with all teaching and song tracks Suitable for children aged 6-9 who have completed Level 1

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Book SynopsisThe Music Handbook Level 3 builds on the skills the children learned at Level 1 & 2, while still supporting the teacher every step of the way. 30 clear, structured and sequenced lesson plans Builds on the work begun at Beginner's level and Level 1 and 2 Includes four rhymes and 25 songs, including lots of old favourites Reinforces the children's knowledge of pitch names and handsigns and introduces lots of new rhythms Resources section with songs, rhymes, actions and games Templates for puppets and rhythm activities The Handbook has 212 pages and includes seven CDs with all teaching and song tracks Suitable for children aged 7-10 who have completed Level 2

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