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Musical Illusions and Phantom Words
Diana Deutsch
Musical Emotions Explained
Patrik N. Juslin
Mari Riess Jones
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Applied Musicology: Using Zygonic Theory to Inform Music Education, Therapy and Psychology Research
Adam Ockelford
Psychology, Music Psychology, Developmental Psychology
Although research in music psychology, education and therapy has expanded exponentially in the 21st century, there is something of a 'black hole' around which much of the discourse circles: music ... More
Although research in music psychology, education and therapy has expanded exponentially in the 21st century, there is something of a 'black hole' around which much of the discourse circles: music itself. While writers have largely been occupied with what people think about musical engagement, the little musical analysis that exists has tended to be at a low level compared to the sophisticated non-musical exploration that is present. This highlights the tenuous connection between musical enquiry in the context of the humanities and that occurring within the social sciences, the one exception being the partial intersection of music theory and psychology. Here, however, progress has largely been in one direction, with something of the objectivity that characterizes psychological research reading across to music analysis, and taking the form of what has been called 'empirical musicology'. This book takes a further, reciprocal step, in which certain of the techniques of empirical musicology (in particular, the author's 'zygonic' theory) are used to inform thinking in the domains of music-psychological, educational and therapeutic research. A new, interdisciplinary sphere of endeavour is sketched out, for which the term 'applied musicology' is coined. The book adopts a phenomenological, inductive approach, using the analysis of hundreds of real-life examples of musical engagement and interaction to build new theories of musical intentionality and influence, and to shed new light on our understanding of aspects of music perception and cognition. This book is intended to lay the foundations upon which a new category of interdisciplinary work will be built.Less
Applied Musicology : Using Zygonic Theory to Inform Music Education, Therapy and Psychology Research
Although research in music psychology, education and therapy has expanded exponentially in the 21st century, there is something of a 'black hole' around which much of the discourse circles: music itself. While writers have largely been occupied with what people think about musical engagement, the little musical analysis that exists has tended to be at a low level compared to the sophisticated non-musical exploration that is present. This highlights the tenuous connection between musical enquiry in the context of the humanities and that occurring within the social sciences, the one exception being the partial intersection of music theory and psychology. Here, however, progress has largely been in one direction, with something of the objectivity that characterizes psychological research reading across to music analysis, and taking the form of what has been called 'empirical musicology'. This book takes a further, reciprocal step, in which certain of the techniques of empirical musicology (in particular, the author's 'zygonic' theory) are used to inform thinking in the domains of music-psychological, educational and therapeutic research. A new, interdisciplinary sphere of endeavour is sketched out, for which the term 'applied musicology' is coined. The book adopts a phenomenological, inductive approach, using the analysis of hundreds of real-life examples of musical engagement and interaction to build new theories of musical intentionality and influence, and to shed new light on our understanding of aspects of music perception and cognition. This book is intended to lay the foundations upon which a new category of interdisciplinary work will be built.
Keywords: applied musicology, zygonic theory, music education, music psychology, music therapy, music analysis
Arts in Health: Designing and researching interventions
Daisy Fancourt
Psychology, Music Psychology
Arts in Health: Designing and Researching Interventions provides a complete overview of how to go about undertaking research and practice in the field of arts in health. Part I explores the context ... More
Arts in Health: Designing and Researching Interventions provides a complete overview of how to go about undertaking research and practice in the field of arts in health. Part I explores the context for arts in health interventions, including the history of the use of arts in health and the theoretical and political developments that have laid the foundations for its flourishing. It also considers what 'arts in health' encompasses and the range of disciplines involved. Part II examines how to design an arts in health intervention, develop partnerships, and find funding, and considers the sensitivities around working in health care. Part III considers the value of research for the field of arts in health and how to design and undertake a research project. Finally, Part IV provides a fact file of arts in health research and practice, showing how the arts can be applied and the benefits they can bring across a range of medical disciplines. The title is aimed at researchers, practitioners, healthcare professionals, and those interested in learning more about the field.Less
Arts in Health : Designing and researching interventions
Arts in Health: Designing and Researching Interventions provides a complete overview of how to go about undertaking research and practice in the field of arts in health. Part I explores the context for arts in health interventions, including the history of the use of arts in health and the theoretical and political developments that have laid the foundations for its flourishing. It also considers what 'arts in health' encompasses and the range of disciplines involved. Part II examines how to design an arts in health intervention, develop partnerships, and find funding, and considers the sensitivities around working in health care. Part III considers the value of research for the field of arts in health and how to design and undertake a research project. Finally, Part IV provides a fact file of arts in health research and practice, showing how the arts can be applied and the benefits they can bring across a range of medical disciplines. The title is aimed at researchers, practitioners, healthcare professionals, and those interested in learning more about the field.
Keywords: Arts in health, arts interventions, research, practice, history, policy, theory, design, funding, ethics
The Child as Musician: A handbook of musical development
Gary McPherson (ed.)
This book is a handbook of musical development from conception to late adolescence. Within twenty-four chapters it celebrates the richness and diversity of the many ... More
This book is a handbook of musical development from conception to late adolescence. Within twenty-four chapters it celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. Arranged in five sections, the first section examines the critical months and years from conception to the end of infancy. It looks at how the musical brain develops, ways of understanding musical development, and the nature of musicality. Section two scrutinizes claims about the non-musical benefit of exposure to music, for example that music makes you smarter. Section three focuses on those issues that help explain and identify individual differences. It includes chapters examining how children develop their motivation to study music, and two chapters on children with special needs. Section four covers skills that can develop as a result of exposure to music. The final section of the book discusses five different contexts and includes: a chapter on historical perspectives providing information for making comparisons between how children have learned and developed their musical capacities in the past, with current opportunities; two additional chapters that focus on children's involvement in music in non-Western cultures; and two final chapters focusing on youth musical engagement and the transition from child to adult.Less
The Child as Musician : A handbook of musical development
This book is a handbook of musical development from conception to late adolescence. Within twenty-four chapters it celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. Arranged in five sections, the first section examines the critical months and years from conception to the end of infancy. It looks at how the musical brain develops, ways of understanding musical development, and the nature of musicality. Section two scrutinizes claims about the non-musical benefit of exposure to music, for example that music makes you smarter. Section three focuses on those issues that help explain and identify individual differences. It includes chapters examining how children develop their motivation to study music, and two chapters on children with special needs. Section four covers skills that can develop as a result of exposure to music. The final section of the book discusses five different contexts and includes: a chapter on historical perspectives providing information for making comparisons between how children have learned and developed their musical capacities in the past, with current opportunities; two additional chapters that focus on children's involvement in music in non-Western cultures; and two final chapters focusing on youth musical engagement and the transition from child to adult.
Keywords: musical development, music, conception, adolescence, musicality, special needs, children and music, non-Western music, youth musical engagement
Gary E. McPherson (ed.)
This book celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. It presents theory both cutting edge and classic in an accessible ... More
This book celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. It presents theory both cutting edge and classic in an accessible way for readers by explaining research concerned with the development and acquisition of musical skills. The focus is on musical development from conception to late adolescence, although the bulk of the coverage concentrates on the period when children are able to begin formal music instruction (from around age 3) until the final year of formal schooling (around age 18). The 35 chapters are organized according to five sections: Development, Engagement, Differences, Skills, and Contexts. It will also help those who need to defend music education to articulate even more precisely why all children deserve to have access to music throughout their childhood.Less
This book celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. It presents theory both cutting edge and classic in an accessible way for readers by explaining research concerned with the development and acquisition of musical skills. The focus is on musical development from conception to late adolescence, although the bulk of the coverage concentrates on the period when children are able to begin formal music instruction (from around age 3) until the final year of formal schooling (around age 18). The 35 chapters are organized according to five sections: Development, Engagement, Differences, Skills, and Contexts. It will also help those who need to defend music education to articulate even more precisely why all children deserve to have access to music throughout their childhood.
Keywords: musical development, music education, musical engagement, music instruction, musical skills, formal schooling, music, child, musical contexts, music instruction
The Cognitive Neuroscience of Music
Isabelle Peretz and Robert J. Zatorre (eds)
Music offers a unique opportunity to understand better the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed ... More
Music offers a unique opportunity to understand better the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain — and unlike language — music is a skill at which only a minority of people become proficient. The study of music as a major brain function has for some time been relatively neglected. Just recently, however, we have witnessed an explosion in research activities on music perception and performance and their correlates in the human brain. This volume brings together a collection of authorities — from the fields of music, neuroscience, psychology, and neurology — to describe the advances being made in understanding the complex relationship between music and the brain. It is a book that will lay the foundations for a cognitive neuroscience of music.Less
Music offers a unique opportunity to understand better the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain — and unlike language — music is a skill at which only a minority of people become proficient. The study of music as a major brain function has for some time been relatively neglected. Just recently, however, we have witnessed an explosion in research activities on music perception and performance and their correlates in the human brain. This volume brings together a collection of authorities — from the fields of music, neuroscience, psychology, and neurology — to describe the advances being made in understanding the complex relationship between music and the brain. It is a book that will lay the foundations for a cognitive neuroscience of music.
Keywords: music, human brain, human societies, language, brain architecture, skill, brain function, neuroscience, psychology, neurology
A Cultural Psychology of Music Education
Margaret S. Barrett (ed.)
Psychology, Social Psychology, Music Psychology
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book ... More
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music learning and development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice of music education. The book opens with an overview of the theoretical underpinnings of a cultural psychology of music education. Ten music education scholars and researchers provide chapters that illustrate the application of this approach to key issues in music education; its theory and practice. These chapters provide opportunities to look more deeply into the practices of music education in order to understand the role culture plays in shaping children's musical learning and thinking, the learning and teaching of music teachers, the formal and informal institutions and structures within and through which learning and teaching occur, and, the intersection of these processes and structures in the development of musical thought and practice.Less
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music learning and development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice of music education. The book opens with an overview of the theoretical underpinnings of a cultural psychology of music education. Ten music education scholars and researchers provide chapters that illustrate the application of this approach to key issues in music education; its theory and practice. These chapters provide opportunities to look more deeply into the practices of music education in order to understand the role culture plays in shaping children's musical learning and thinking, the learning and teaching of music teachers, the formal and informal institutions and structures within and through which learning and teaching occur, and, the intersection of these processes and structures in the development of musical thought and practice.
Keywords: music education, cultural psychology, music learning, theory, practice, children, teaching
Discovering the Musical Mind: A view of creativity as learning
Jeanne Bamberger
The book is a collection of the author's papers from 1970 to 2010, bringing together a body of research currently scattered across a range of journals, or simply no longer available. It includes her ... More
The book is a collection of the author's papers from 1970 to 2010, bringing together a body of research currently scattered across a range of journals, or simply no longer available. It includes her first study of Beethoven's original fingerings, her beginning work with children's invented notations, close observations and analysis of children in the Laboratory for Making Things, studies of musically gifted children, and the emergent musical development of students in elementary-secondary school and university undergraduate and graduate studies. The observations and research lead to the development of an interactive computer music environment based on and contributing to her pragmatic theory of musical development as a generative process of learning. Unlike other collections, the book is clearly interdisciplinary and strongly practical. It brings together and integrates music theory, research in music perception and music education, performance, cognitive development, artificial intelligence, and procedural composition. Her multi-faceted approach to music theory and music pedagogy is guided throughout by commitment to an understanding and respect for an individual's natural, creative musical intelligence. This natural competence becomes the formative ground on which to help people of all ages build an ever growing engagement and fascination with the myriad, evolving organic structures of the world's music.Less
Discovering the Musical Mind : A view of creativity as learning
The book is a collection of the author's papers from 1970 to 2010, bringing together a body of research currently scattered across a range of journals, or simply no longer available. It includes her first study of Beethoven's original fingerings, her beginning work with children's invented notations, close observations and analysis of children in the Laboratory for Making Things, studies of musically gifted children, and the emergent musical development of students in elementary-secondary school and university undergraduate and graduate studies. The observations and research lead to the development of an interactive computer music environment based on and contributing to her pragmatic theory of musical development as a generative process of learning. Unlike other collections, the book is clearly interdisciplinary and strongly practical. It brings together and integrates music theory, research in music perception and music education, performance, cognitive development, artificial intelligence, and procedural composition. Her multi-faceted approach to music theory and music pedagogy is guided throughout by commitment to an understanding and respect for an individual's natural, creative musical intelligence. This natural competence becomes the formative ground on which to help people of all ages build an ever growing engagement and fascination with the myriad, evolving organic structures of the world's music.
Keywords: development, music, educational, psychology, learning
The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control
Tom Cochrane, Bernardino Fantini, and Klaus R. Scherer (eds)
Psychology, Music Psychology, Social Psychology
In this multidisciplinary volume, the capacity of music to express and arouse emotions is explored by musicians and composers, philosophers, musicologists, historians, sociologists, psychologists and ... More
In this multidisciplinary volume, the capacity of music to express and arouse emotions is explored by musicians and composers, philosophers, musicologists, historians, sociologists, psychologists and neuroscientists. Contributors present new insights and approaches into issues such as; How can an abstract sequence of sounds be so intensely expressive of emotional states? How does music elicit or arouse our emotions? What happens at the physiological and neural level when we listen to music? How do composers and performers practically manage the expressive powers of music? How have societies sought to harness the powers of music for social or therapeutic purposes? The volume presents both theoretical perspectives and in-depth explorations of particular musical works, as well as first-hand reports from music performers and composers. This volume is suited for both academic professionals interested in the latest developments in the field, and students wishing to get an introduction to these fascinating questions.Less
The Emotional Power of Music : Multidisciplinary perspectives on musical arousal, expression, and social control
In this multidisciplinary volume, the capacity of music to express and arouse emotions is explored by musicians and composers, philosophers, musicologists, historians, sociologists, psychologists and neuroscientists. Contributors present new insights and approaches into issues such as; How can an abstract sequence of sounds be so intensely expressive of emotional states? How does music elicit or arouse our emotions? What happens at the physiological and neural level when we listen to music? How do composers and performers practically manage the expressive powers of music? How have societies sought to harness the powers of music for social or therapeutic purposes? The volume presents both theoretical perspectives and in-depth explorations of particular musical works, as well as first-hand reports from music performers and composers. This volume is suited for both academic professionals interested in the latest developments in the field, and students wishing to get an introduction to these fascinating questions.
Keywords: Music, emotion, affect, powers, expression, performance, musicology, philosophy, psychology, neuroscience
Exploring the Musical Mind: Cognition, emotion, ability, function
John Sloboda
Since the publication in 1986 of the book The Musical Mind, music psychology has developed as a vibrant area of research, exerting influence on areas as diverse as music education and cognitive ... More
Since the publication in 1986 of the book The Musical Mind, music psychology has developed as a vibrant area of research, exerting influence on areas as diverse as music education and cognitive neuroscience. This new book brings together twenty-three chapters and reviews on music and the mind, focusing on ideas, interpretation, argument and application rather than on technical issues.Less
Exploring the Musical Mind : Cognition, emotion, ability, function
Since the publication in 1986 of the book The Musical Mind, music psychology has developed as a vibrant area of research, exerting influence on areas as diverse as music education and cognitive neuroscience. This new book brings together twenty-three chapters and reviews on music and the mind, focusing on ideas, interpretation, argument and application rather than on technical issues.
Keywords: The Musical Mind, music psychology, music, mind, interpretation, cognitive neuroscience, music education
Expressiveness in music performance: Empirical approaches across styles and cultures
Dorottya Fabian, Renee Timmers, and Emery Schubert (eds)
What does it mean to be expressive in music performance in diverse historical and cultural domains? What are the means at the disposal of a performer in various time periods and musical practice ... More
What does it mean to be expressive in music performance in diverse historical and cultural domains? What are the means at the disposal of a performer in various time periods and musical practice conventions? And what are the conceptualizations of expression and the roles of performers that shape expressive performance? For the first time, a wide variety of perspectives are assembled in one volume investigating expressiveness in performance in various styles and cultures, including the ways in which the improvisations of Louis Armstrong, studio-fashioned electronic dance music, and the songs of Bedzan Pygmies can be considered expressive. The volume is unique in combining historical, systematic, computational, and phenomenological approaches to performance, and in including empirical investigations of western and non-western classical music as well as western and non-western popular and folk music. The highlighted conceptualizations and materializations of expressiveness in performance are as diverse as one would hope them to be. More awareness of and focus on oral traditions and player interaction are needed for performance research to break away from the dogma of notation. While this challenges existing methods, computational and empirical approaches are nevertheless not only crucial, but also may become central to furthering our understanding of what makes music performance expressive.Less
Expressiveness in music performance : Empirical approaches across styles and cultures
What does it mean to be expressive in music performance in diverse historical and cultural domains? What are the means at the disposal of a performer in various time periods and musical practice conventions? And what are the conceptualizations of expression and the roles of performers that shape expressive performance? For the first time, a wide variety of perspectives are assembled in one volume investigating expressiveness in performance in various styles and cultures, including the ways in which the improvisations of Louis Armstrong, studio-fashioned electronic dance music, and the songs of Bedzan Pygmies can be considered expressive. The volume is unique in combining historical, systematic, computational, and phenomenological approaches to performance, and in including empirical investigations of western and non-western classical music as well as western and non-western popular and folk music. The highlighted conceptualizations and materializations of expressiveness in performance are as diverse as one would hope them to be. More awareness of and focus on oral traditions and player interaction are needed for performance research to break away from the dogma of notation. While this challenges existing methods, computational and empirical approaches are nevertheless not only crucial, but also may become central to furthering our understanding of what makes music performance expressive.
Keywords: expressivity, performance, traditions, computational methods, music history, contemporary culture, non-western cultures, empirical musicology, music psychology, philosophy
Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition
John Sloboda (ed.)
Whereas most of the literature in the psychology of music has focused on the processes involved when listening to music, little has been written about the processes involved in making music. This ... More
Whereas most of the literature in the psychology of music has focused on the processes involved when listening to music, little has been written about the processes involved in making music. This reissued book brings together figures in music psychology to present studies of the processes by which music is generated. The book looks at the generation of expression in musical performance, the problems of synchrony in ensemble performance, the development of children's song, rehearsal strategies of pianists, improvisational skill in trained and untrained musicians, children's spontaneous notations for music, formal constraints on compositional systems, and compositional strategies of music students.Less
Generative Processes in Music : The Psychology of Performance, Improvisation, and Composition
Whereas most of the literature in the psychology of music has focused on the processes involved when listening to music, little has been written about the processes involved in making music. This reissued book brings together figures in music psychology to present studies of the processes by which music is generated. The book looks at the generation of expression in musical performance, the problems of synchrony in ensemble performance, the development of children's song, rehearsal strategies of pianists, improvisational skill in trained and untrained musicians, children's spontaneous notations for music, formal constraints on compositional systems, and compositional strategies of music students.
Keywords: music psychology, expression, musical performance, ensemble performance, children's song, rehearsal, pianists, improvisation, spontaneous notation, compositional systems
Handbook of Music and Emotion: Theory, Research, Applications
Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. This book offers an account of this domain. It provides coverage ... More
Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. This book offers an account of this domain. It provides coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically oriented chapters on the measurement of emotions via different channels (e.g., self-report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behaviour, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, and propose future directions for the field.Less
Music's ability to express and arouse emotions is a mystery that has fascinated both experts and laymen at least since ancient Greece. This book offers an account of this domain. It provides coverage of the many approaches that may be said to define the field of music and emotion, in all its breadth and depth. The first section offers multi-disciplinary perspectives on musical emotions from philosophy, musicology, psychology, neurobiology, anthropology, and sociology. The second section features methodologically oriented chapters on the measurement of emotions via different channels (e.g., self-report, psychophysiology, neuroimaging). Sections three and four address how emotion enters into different aspects of musical behaviour, both the making of music and its consumption. Section five covers developmental, personality, and social factors. Section six describes the most important applications involving the relationship between music and emotion. In a final commentary, the editors comment on the history of the field, summarize the current state of affairs, and propose future directions for the field.
Keywords: musical emotion, musicology, neurobiology, self-report, psychophysiology, neuroimaging, musical behaviour
Handbook of Music, Adolescents, and Wellbeing
Katrina McFerran, Philippa Derrington, and Suvi Saarikallio (eds)
Psychology, Music Psychology, Clinical Child Psychology / School Psychology
The Handbook of Music, Adolescents, and Wellbeing explores how young people use music to work with emotions, identity construction, and connectedness, drawing on perspectives from music therapy, ... More
The Handbook of Music, Adolescents, and Wellbeing explores how young people use music to work with emotions, identity construction, and connectedness, drawing on perspectives from music therapy, music psychology, music education, and music sociology. Authors provide examples of how theory and research is applied in the practice of music therapists working with groups of adolescents and individuals in schools, communities, hospitals, and other institutions. Research into music and emotions is synthesized, and theories about music and identity construction are provided. The ways that young people use music for connections is explored with a particular emphasis on technology, as well as traditional face-to-face connectedness. The Handbook is written for those interested in promoting adolescent wellbeing using music.Less
The Handbook of Music, Adolescents, and Wellbeing explores how young people use music to work with emotions, identity construction, and connectedness, drawing on perspectives from music therapy, music psychology, music education, and music sociology. Authors provide examples of how theory and research is applied in the practice of music therapists working with groups of adolescents and individuals in schools, communities, hospitals, and other institutions. Research into music and emotions is synthesized, and theories about music and identity construction are provided. The ways that young people use music for connections is explored with a particular emphasis on technology, as well as traditional face-to-face connectedness. The Handbook is written for those interested in promoting adolescent wellbeing using music.
Keywords: adolescents, youth, music, musicians, emotions, identity, connectedness, peers
Handbook of Musical Identities
Raymond MacDonald, David J. Hargreaves, and Dorothy Miell (eds)
This book documents the remarkable expansion and growth in the study of musical identities since the publication of our book Musical identities. We identify three main features of current ... More
This book documents the remarkable expansion and growth in the study of musical identities since the publication of our book Musical identities. We identify three main features of current psychological approaches to musical identities, which concern their definition, development, and the identification of individual differences, as well as four main real-life contexts in which musical identities have been investigated, namely in music and musical institutions, specific geographical communities, education, and in health and well-being. This conceptual framework provides our rationale for the structure of the Handbook, which is divided into seven main sections. The first, "Sociological, discursive, and narrative approaches," includes several general theoretical accounts of musical identities from this perspective, as well as some more specific investigations. The second and third main sections deal in depth with two of the three psychological topics described above, namely the development of and individual differences in musical identities. The fourth, fifth, and sixth main sections pursue three of the real-life contexts identified above, namely "Musical institutions and practitioners," "Education," and "Health and well-being." The seventh and final main section of the Handbook, which we have described as "Case studies," includes chapters, which look at particular musical identities in specific times, places, or contexts. The multidisciplinary range and breadth of the Handbook's contents may well reflect the rapid changes that are taking place in music, in digital technology, and in their role in society as a whole, such that the study of musical identity is likely to proliferate even further in the future.Less
This book documents the remarkable expansion and growth in the study of musical identities since the publication of our book Musical identities. We identify three main features of current psychological approaches to musical identities, which concern their definition, development, and the identification of individual differences, as well as four main real-life contexts in which musical identities have been investigated, namely in music and musical institutions, specific geographical communities, education, and in health and well-being. This conceptual framework provides our rationale for the structure of the Handbook, which is divided into seven main sections. The first, "Sociological, discursive, and narrative approaches," includes several general theoretical accounts of musical identities from this perspective, as well as some more specific investigations. The second and third main sections deal in depth with two of the three psychological topics described above, namely the development of and individual differences in musical identities. The fourth, fifth, and sixth main sections pursue three of the real-life contexts identified above, namely "Musical institutions and practitioners," "Education," and "Health and well-being." The seventh and final main section of the Handbook, which we have described as "Case studies," includes chapters, which look at particular musical identities in specific times, places, or contexts. The multidisciplinary range and breadth of the Handbook's contents may well reflect the rapid changes that are taking place in music, in digital technology, and in their role in society as a whole, such that the study of musical identity is likely to proliferate even further in the future.
Keywords: identity, development, individual differences, musicians, musical institutions, communities, education, health, well-being
The Improvising Mind: Cognition and Creativity in the Musical Moment
Aaron Berkowitz
Psychology, Cognitive Psychology, Music Psychology
The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able spontaneously to invent stylistically ... More
The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able spontaneously to invent stylistically idiomatic compositions in the moment. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? This book explores these questions through an interdisciplinary approach that draws on the study of pedagogical treatises on improvisation, interviews with improvisers, musical analysis of improvised performances, and cognitive neuroscience. Findings from the treatises, interviews, and analyses are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise, as well as data from functional brain imaging studies of improvisation. Pedagogy, learning, and performance in improvisation are explored in a cross-cultural context, demonstrating universal features across a wide variety of musical traditions. Though disparate, these sources provide a convergent picture of the improvising mind, suggesting that musical improvisation draws on some of the very same cognitive processes and neural resources as the more mundane but equally infinitely creative faculties of language and movement. Improvisation therefore provides a new focus for comparisons of music and language cognition: while past research comparing music and language cognition has focused almost exclusively on perception of the two sound systems, the cognitive processes underlying the acquisition and production of music and language have not been systematically explored. Here, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives.Less
The Improvising Mind : Cognition and Creativity in the Musical Moment
The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able spontaneously to invent stylistically idiomatic compositions in the moment. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? This book explores these questions through an interdisciplinary approach that draws on the study of pedagogical treatises on improvisation, interviews with improvisers, musical analysis of improvised performances, and cognitive neuroscience. Findings from the treatises, interviews, and analyses are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise, as well as data from functional brain imaging studies of improvisation. Pedagogy, learning, and performance in improvisation are explored in a cross-cultural context, demonstrating universal features across a wide variety of musical traditions. Though disparate, these sources provide a convergent picture of the improvising mind, suggesting that musical improvisation draws on some of the very same cognitive processes and neural resources as the more mundane but equally infinitely creative faculties of language and movement. Improvisation therefore provides a new focus for comparisons of music and language cognition: while past research comparing music and language cognition has focused almost exclusively on perception of the two sound systems, the cognitive processes underlying the acquisition and production of music and language have not been systematically explored. Here, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives.
Keywords: improvisation, music cognition, music learning, music pedagogy, creativity, psychology of creativity, historical treatises, classical period improvisation, music and language cognition, Robert Levin
Language and Music as Cognitive Systems
Patrick Rebuschat, Martin Rohmeier, John A. Hawkins, and Ian Cross (eds)
Psychology, Music Psychology, Cognitive Psychology
The past fifteen years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. Language and music are uniquely human traits, so it is not surprising ... More
The past fifteen years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. Language and music are uniquely human traits, so it is not surprising that this interest spans practically all branches of cognitive science, including psychology, computer science, linguistics, cognitive neuroscience, and education. Underlying the study of language and music is the assumption that the comparison of these two domains can shed light on the structural and functional properties of each, while also serving as a test case for theories of how the mind and, ultimately, the brain work. This book presents an interdisciplinary study of language and music, bringing together a team of leading specialists across these fields. The volume is structured around four core areas in which the study of music and language has been particularly fruitful: structural comparisons, evolution, learning and processing, and neuroscience. As such it provides a snapshot of the different research strands that have focused on language and music, identifying current trends and methodologies that have been (or could be) applied to the study of both domains, and outlining future research directions.Less
The past fifteen years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. Language and music are uniquely human traits, so it is not surprising that this interest spans practically all branches of cognitive science, including psychology, computer science, linguistics, cognitive neuroscience, and education. Underlying the study of language and music is the assumption that the comparison of these two domains can shed light on the structural and functional properties of each, while also serving as a test case for theories of how the mind and, ultimately, the brain work. This book presents an interdisciplinary study of language and music, bringing together a team of leading specialists across these fields. The volume is structured around four core areas in which the study of music and language has been particularly fruitful: structural comparisons, evolution, learning and processing, and neuroscience. As such it provides a snapshot of the different research strands that have focused on language and music, identifying current trends and methodologies that have been (or could be) applied to the study of both domains, and outlining future research directions.
Keywords: language and music, cognitive systems, mind, psychology, computer science, linguistics, cognitive neuroscience, education
Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives
David Clarke and Eric Clarke (eds)
Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree what it is, or ... More
Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree what it is, or why it is that the whole rich panoply of human experience seems to emerge from a lump of squishy grey matter in our heads. Most agree, though, that consciousness represents a Hard Problem, and consciousness studies has emerged as a quasi-discipline over recent years, as a multidisciplinary discourse seeking to address these and other fascinating and perplexing questions. While the arts and humanities have joined the sciences at the debating table, music has been relatively under-represented-until now. This book redresses this balance. Its twenty chapters offer different takes on issues around music and consciousness, both addressing existing agendas, and introducing new ones. No single view emerges, but what the collection as a whole makes clear is that to understand consciousness we need to do much more than look at brains. Studying music makes it clear that consciousness is as much to do with minds, bodies, culture, and history. The book, which includes several chapters drawing from Eastern philosophies, also provides a corrective to any perception that the study of consciousness is a purely Western preoccupation. In addition to what it says about consciousness, the book also — and perhaps primarily — represents a new configuration of writings about music.Less
Music and Consciousness : Philosophical, Psychological, and Cultural Perspectives
Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree what it is, or why it is that the whole rich panoply of human experience seems to emerge from a lump of squishy grey matter in our heads. Most agree, though, that consciousness represents a Hard Problem, and consciousness studies has emerged as a quasi-discipline over recent years, as a multidisciplinary discourse seeking to address these and other fascinating and perplexing questions. While the arts and humanities have joined the sciences at the debating table, music has been relatively under-represented-until now. This book redresses this balance. Its twenty chapters offer different takes on issues around music and consciousness, both addressing existing agendas, and introducing new ones. No single view emerges, but what the collection as a whole makes clear is that to understand consciousness we need to do much more than look at brains. Studying music makes it clear that consciousness is as much to do with minds, bodies, culture, and history. The book, which includes several chapters drawing from Eastern philosophies, also provides a corrective to any perception that the study of consciousness is a purely Western preoccupation. In addition to what it says about consciousness, the book also — and perhaps primarily — represents a new configuration of writings about music.
Keywords: consciousness, human experience, music, minds, culture, perception, Western, Eastern
Music and Consciousness 2: Worlds, Practices, Modalities
Ruth Herbert, David Clarke, and Eric Clarke (eds)
Complementing the 2011 publication Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, this edited volume of 17 essays is organized into three parts. The chapters in ... More
Complementing the 2011 publication Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, this edited volume of 17 essays is organized into three parts. The chapters in Part I ('Music, consciousness, and the four Es') question the assumption that consciousness is a matter of what is going on in individual brains, and investigate the ways in which musical consciousness arises through our embodied experience, is embedded in our social and cultural existence, extends out into world, and is manifested as we enact our relationships with and within it. Part II ('Consciousness in musical practice') engages with music as a corporeal and culturally embedded practice, conjoining individuals in the social sphere, and extending consciousness across actual and virtual spaces. The chapters in this part explore composition, improvisation, performance, and listening as practices, and consider how music, a paradigmatic example of meaningful action, reveals consciousness as grounded in doing, as well as being. Part III ('Kinds of musical consciousness') considers the nature of consciousness under a wide range of musical situations. The chapters in this part seek to deconstruct any invidious distinction between everyday and altered states of consciousness, suggesting that, through the manifold range of experiences it affords, music discloses consciousness across a phenomenological continuum encompassing multiple modalities. Taken as a whole, the volume exemplifies many fertile ways in which music studies can draw upon and contribute to larger debates about consciousness more generally.Less
Music and Consciousness 2 : Worlds, Practices, Modalities
Complementing the 2011 publication Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, this edited volume of 17 essays is organized into three parts. The chapters in Part I ('Music, consciousness, and the four Es') question the assumption that consciousness is a matter of what is going on in individual brains, and investigate the ways in which musical consciousness arises through our embodied experience, is embedded in our social and cultural existence, extends out into world, and is manifested as we enact our relationships with and within it. Part II ('Consciousness in musical practice') engages with music as a corporeal and culturally embedded practice, conjoining individuals in the social sphere, and extending consciousness across actual and virtual spaces. The chapters in this part explore composition, improvisation, performance, and listening as practices, and consider how music, a paradigmatic example of meaningful action, reveals consciousness as grounded in doing, as well as being. Part III ('Kinds of musical consciousness') considers the nature of consciousness under a wide range of musical situations. The chapters in this part seek to deconstruct any invidious distinction between everyday and altered states of consciousness, suggesting that, through the manifold range of experiences it affords, music discloses consciousness across a phenomenological continuum encompassing multiple modalities. Taken as a whole, the volume exemplifies many fertile ways in which music studies can draw upon and contribute to larger debates about consciousness more generally.
Keywords: extended mind, embodied consciousness, enactive consciousness, subjectivity, musical performance, improvisation, phenomenology, psychoanalysis, states of consciousness, culture
Music and mind in everyday life
Eric Clarke, Nicola Dibben, and Stephanie Pitts
Music pervades everyday life. In so many ways, music marks and orchestrates the ways in which people experience the world together. What is it that makes people want to live their lives to the sound ... More
Music pervades everyday life. In so many ways, music marks and orchestrates the ways in which people experience the world together. What is it that makes people want to live their lives to the sound of music, and why do so many of our most private experiences and most public spectacles incorporate — or even depend on — music? This book uses psychology to understand musical behaviour and experience in a range of circumstances, including composing and performing, listening and persuading, and teaching and learning. Starting from 'real world' examples of musical experiences, it critically examines the ways in which psychology can explain people's diverse experience of, and engagement with music, focusing on how music is used, acquired, and made in a range of familiar musical contexts. Using a framework of real and imagined musical scenarios, the book draws on a wide range of research in the psychology of music and music education. The book is organized into three central sections. Firstly, it tackles the psychology of playing, improvising, and composing music, understood as closely related and integrated activities. Next, it addresses the ways in which people listen to music, manage their emotions, moods, and identities with music, and use music for therapy, persuasion, and social control. Finally, it considers music in human development, and in a range of more formal and informal educational contexts. The final chapter provides an overview of the history and preoccupations of music psychology as a discipline.Less
Eric ClarkeNicola DibbenStephanie Pitts
Music pervades everyday life. In so many ways, music marks and orchestrates the ways in which people experience the world together. What is it that makes people want to live their lives to the sound of music, and why do so many of our most private experiences and most public spectacles incorporate — or even depend on — music? This book uses psychology to understand musical behaviour and experience in a range of circumstances, including composing and performing, listening and persuading, and teaching and learning. Starting from 'real world' examples of musical experiences, it critically examines the ways in which psychology can explain people's diverse experience of, and engagement with music, focusing on how music is used, acquired, and made in a range of familiar musical contexts. Using a framework of real and imagined musical scenarios, the book draws on a wide range of research in the psychology of music and music education. The book is organized into three central sections. Firstly, it tackles the psychology of playing, improvising, and composing music, understood as closely related and integrated activities. Next, it addresses the ways in which people listen to music, manage their emotions, moods, and identities with music, and use music for therapy, persuasion, and social control. Finally, it considers music in human development, and in a range of more formal and informal educational contexts. The final chapter provides an overview of the history and preoccupations of music psychology as a discipline.
Keywords: psychology of music, music education, musical behaviour, musical experience, composing, performing, listening, persuading, improvising, playing music
Music and the Mind: Essays in honour of John Sloboda
Irène Deliège and Jane Davidson (eds)
10.1093/acprof:osobl/9780199581566.001.0001
The Musical Mind, published in 1985, was written by the relatively unknown John Sloboda. It made ground-breaking inroads in raising crucial questions relating to music's status as a form of human ... More
The Musical Mind, published in 1985, was written by the relatively unknown John Sloboda. It made ground-breaking inroads in raising crucial questions relating to music's status as a form of human expression and has become the seminal text in the field of music psychology. The scope of that book was impressive: from music perception to production, embracing topics as diverse as music's origin and the circumstances that encourage its skill acquisition. Musical structure, grouping, and perceptual processing, including memory, were key areas where John Sloboda had made early empirical investigations. Discussion of emotional responses and creative processes were far more inductively written, based on personal experiences. The Musical Mind laid a research agenda in asking those crucial 'how' and 'why' questions that have since occupied a growing body of researchers from all over the world. Following a quarter of a century after that seminal work, this book celebrates the life and work of John Sloboda whilst taking stock of where the field of music psychology stands 25 years after The Musical Mind first appeared. It reviews key areas of current research in the field. Offering a review of the field of music psychology in the twenty-first century, the chapters here also reflect on how the field has been significantly stimulated by the influential work of John Sloboda.Less
Music and the Mind : Essays in honour of John Sloboda
The Musical Mind, published in 1985, was written by the relatively unknown John Sloboda. It made ground-breaking inroads in raising crucial questions relating to music's status as a form of human expression and has become the seminal text in the field of music psychology. The scope of that book was impressive: from music perception to production, embracing topics as diverse as music's origin and the circumstances that encourage its skill acquisition. Musical structure, grouping, and perceptual processing, including memory, were key areas where John Sloboda had made early empirical investigations. Discussion of emotional responses and creative processes were far more inductively written, based on personal experiences. The Musical Mind laid a research agenda in asking those crucial 'how' and 'why' questions that have since occupied a growing body of researchers from all over the world. Following a quarter of a century after that seminal work, this book celebrates the life and work of John Sloboda whilst taking stock of where the field of music psychology stands 25 years after The Musical Mind first appeared. It reviews key areas of current research in the field. Offering a review of the field of music psychology in the twenty-first century, the chapters here also reflect on how the field has been significantly stimulated by the influential work of John Sloboda.
Keywords: music psychology, The Musical Mind, John Sloboda, human expression, music perception, musical structure, perceptual processing, memory


text:
BTS může být:

 základnová převodní stanice v systému základnových stanic
 mezinárodní kód Letiště Bratislava
 BTS (hudební skupina) – jihokorejský boy band
 zkratka názvu americké indie rockové kapely Built to Spill
 zkratka 'Behind the scenes'

redpajama_set_name: RedPajamaWikipedia


Local authorities and constructors cannot agree on what currency should be used for payment.
Local authorities have put off the construction of tube in New Moscow. This was inevitable measure due to increasing dollar exchange rate. The information has been provided by "Interfax".
The government has planned to make all payments in accordance with ruble equivalent. On the other hand Chinese constructors are eager to be paid in accordance with dollar exchange rate. That is why both parties can't still find the agreement. The project will be reviewed one more time. The total cost of the project was expected to be 60 billion rubles which is 2 billion dollars in accordance with exchange rate in May 2014.
"We provided our partners with all necessary documentation, tracing and price agreements. The total price of the project has been determined. It is 2 billion dollars. However the situation with the exchange rate is changing rapidly. That is why we decided to put off construction works", - said Minister of Moscow Urban Policy and Development Marat Husnullin.
Earlier we have already informed you that Central Bank decided to establish limits on providing liquidity of ruble with the help of special operation called "currency swap". This made it possible to decrease dollar and euro exchange rate a bit.


text:
Health human resources 4
Population health/ health equity/ public health 10
Parliamentary submission 1
Policy document 1
Non-Insured Health Benefits Plan and fees
Population health/ health equity/ public health
BD99-05-89
That the Canadian Medical Association examine the Health Canada's Non-Insured Health Benefits Plan's refusal to remunerate physicians for completing pre-authorization request forms.
Access to quality health care
That access to quality health care must be available to all Canadians, in a manner consistent with provincial/territorial human rights legislation and the Canadian Charter of Rights and Freedoms.
Expansion of the health care system through new funding
That expansions or broadening of the health care system should be done with new funding and not through reallocations from medical care budgets.
Consequences of decreasing physical activity among Canadians
That the Canadian Medical Association warns that Canadians will face medical and psychological consequences as a result of decreasing physical activity.
Health effects of air pollution
That the Canadian Medical Association work with provincial and territorial Divisions in carrying out the federal coordination of activities to identify and disseminate information on health effects of air pollution.
Fees for on call service
That the Canadian Medical Association support in principle that fees be paid to physicians for the service of being on call.
Frequency of on-call services
That the Canadian Medical Association recommend that in principle Canadian physicians not be required to provide on-call services more frequently than 1 night in 5.
Health information privacy and medical school curricula and training programs
That the Canadian Medical Association encourage Canadian medical schools to incorporate the principles and details of the CMA Principles for the Protection of Patients' Personal Health Information into their undergraduate curricula and postgraduate training programs.
Equal treatment for physicians
BD98-05-93 -That the Canadian Medical Association support the principle of equal treatment for all qualified licensed physicians in Canada, based on training and competence.
That the Canadian Medical Association support the principle of equal treatment for all qualified licensed physicians in Canada, based on training and competence.
Canadian Immunization Awareness Program Coalition
That the Canadian Medical Association participate in the Canadian Coalition for Immunization Awareness and Promotion as a full member.
Part time and shared postgraduate residency training programs
That the Canadian Medical Association support the practice of developing part time and shared postgraduate residency training programs.
Continuing medical education in obstetrical care for family physicians
It is recommended that university continuing medical education departments develop programs designed to continue the education of family physicians in the delivery of obstetrical care.
Replacement services for physicians in rural and remote areas
That physicians be encouraged to provide replacement services in their area of expertise to rural and remote areas, as part of their pattern of practice.
Physician involvement in organ donation
Ethics and medical professionalism
That in conjunction with its provincial/territorial divisions, provincial health insurance programs be encouraged to include a specific listing for physician involvement in organ donation.
The Canadian Medical Association recommends that the divisions continue their efforts to develop relativity within fee schedules.
Prescription of heroin for the treatment of drug abuse
That the Canadian Medical Association recommend that methadone maintenance and counselling programs be more widely available across the country with appropriate education and remuneration of professionals delivering such programs. This recommendation applies also to correctional institutions.
Health care is a provincial responsibility
That the Canadian Medical Association develop and adopt policies, lobby the Government of Canada and at the federal/provincial/territorial government interface, and encourage its provincial/territorial divisions to lobby provincial/territorial governments to realize recognition that all health care matters are an explicit provincial/territorial prerogative and responsibility (as recognized in the Constitution).

redpajama_set_name: RedPajamaCommonCrawl


"This book addresses, in a comprehensive and practical manner, the increasingly important topic of preventing youth violence. The scope of the book is broad, incorporating psychological, social, and cultural factors. The emphasis on a gender analysis in understanding violent behavior by male youth in relationships with young women is apt and timely. Used together with the treatment manual, The Youth Relationships Manual, this book provides a sound basis for a prevention program."
"Alternatives to Violence challenges each of us to reexamine our assumptions about youth violence and society's efforts to reduce it. David A. Wolfe and his colleagues make a convincing argument for a preventive and health--promoting response that empowers youth to make changes in their daily world. The contents of this book obliges those of us who work with youth to also make changes in the way we practice in the field. This book provides the most in-depth and up-to-date view of the problem of youth violence in North America and what it will take to reduce it. As one who works on the issue of children and violence, I found this book both powerful in its analysis and hopeful in the solutions it offers."
"Alternatives to Violence . . . is well, clearly, and interestingly written. The concepts are solid and laid out systematically. The authors present a strong foundation and empirically support their premises. The book meets my need academically and holds my interest as a reader. I agree so strongly with their hypotheses and ideas that I found myself thinking ''Great,'' ''Well thought out,'' ''Nicely written,'' and so on as I read. I whole-heartedly endorse this book."
Instead of looking for ways to contain, deter, or punish violence, Alternatives to Violence explores how to develop practical means of promoting healthy, nonviolent relationships. Drawing from recent studies concerned with the formation of healthy relationships, this book examines how youths can form connections that will reduce not only the risk of violence against women and children but also the potential of men to become abusive. This clearly articulated model suggests that adolescents, who are beginning to build intimate relationships outside of the family, can learn to break patterns of male entitlement, dominance and aggression, and female passivity and deference with the help of preventive programs. The Youth Relationships Project is a program that grew out of the model created in this book and is detailed with instructions for application in a companion volume, The Youth Relationships Manual. The project helps youths build relationship skills and learn how to act socially within the community. The authors actively support a health promotion paradigm as the foundation for issues and solutions raised in these books and look toward future changes in policy and programs that embrace this new prevention model.
Bold and timely, Alternatives to Violence and its companion volume, The Youth Relationships Manual, offer a new approach to preventing violence that will appeal to a wide audience of practitioners, community agency workers, administrators, policymakers, and interns. In addition, students preparing to work in the fields of mental health, education, social work, sociology, and public health, as well as professionals in these areas, will find the book innovative and informative.


text:
An explosion at a courthouse in Punjab, India, killed two
At least two people have been killed in an explosion at a courthouse in India's Punjab district of Ludhiana. The accident took place around 12:30 pm on Thursday.
At least four people were seriously injured in the blast, according to Indian media NDTV. The blast took place in a toilet of the building.
Police have cordoned off the building. However, the cause of the explosion was not known. The police have not yet informed about this.
Police said the blast took place on the third floor. The walls and glass of the building were broken. Firefighters are on the scene.
The court building is next to the district commissioner's office in Ludhiana, Punjab. The court building and the commissioner's office are in the city center.
The news agency ANI reported that court proceedings were underway at the time of the blast. The building where the blast took place has eight courtrooms.
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During the last two decades, Palletways have established themselves as the market leader in palletised freight, with more Members, depots and hubs than any other network. Palletways now have 100 UK and 235 mainland Europe member depots all of which are expert providers of local transport services.
And they haven't stopped growing, they want to continue to strengthen their network through increasing membership numbers and attracting more business. We have been enlisted to help with a new digital marketing campaign to acquire prospective members and create a suite of supporting digital assets to help support the newly appointed members develop their business.
We have created digital material that promotes the benefits of members; an email campaign template, landing page for lead generation as well as an 'explainer' video to help sell the concept to would-be members.
As part of Palletways on-going commitment, commercial support and development they offer to both new and existing members, we have also produced a white label website that we can be quickly and easily branded for the new members. The new site includes; a request a quote feature, branded imagery and photography and full copywriting, all of which is designed to help the new members realise their potential and promote their new association with Palletways.


Be the first to review this childcare provider. Write a review about Creative Connections Play School. Let other families know what's great, or what could be improved. Please read our brief review guidelines to make your review as helpful as possible.


State Enterprise Pieno Tyrimai is an accredited central laboratory of milk testing in Lithuania. It performs all the compulsory composition and quality testing of purchased cow milk for payment purposes as well as all the necessary testing of raw milk for dairy herd improvement.
Since the very beginning company is using plastic containers for samples of raw milk transportation. There was no troube while the samples had to be transported only in larger containers, which hold up to 80 vessels.
In case of direct milk sample collection when the samples are brought directly from dairy farms caused lower demand for container capacity, which may have been transported in 4 cups. Unfortunately, our containers were inconvenient – they took a lot of space and we often had to use them to transport just one sample, containers were also prone to breaking and ruining actual samples.
UAB "Vertybių sauga" has offered us much more convenient solution – security bags, that are not just more compact than plastic containers, but also more secure - even a slightest breach of bag is visible for laboratory technician, this allows to assess the representativeness of the sample.
In 2007 SE "Pieno tyrimai" started using security bags as an experimental alternative, but in 2008 they chose to cease using containers and relies on security bags only.
Any unauthorised access after sealing a bag is visible – marks appear on the tape, showing attempts of opening or trying to affect the protective tape.
Various documents, investigations, material evidence, cash collection/depositing.
Solution, proposed by UAB "Vertybių sauga", allowed us not only to improve the quality of our service but also to reduce the costs of transported samples protection.


I've known these 2 for awhile now, when they told me they got engaged I was giddy! I love a good love story! Wyndham has a heart of gold and Ryan is one of the wittiest and funniest people I've met, together they are such a beautiful couple. These college sweethearts make me swoon. So blessed to have been the one to capture their sweet engagement pictures!


Welcome to issue #82 of the Bootleggers Buzz!
This week we thought not much was going to happen, but we were proven wrong. We wrote about the rise and fall of Sapientia and about La Onda being extremely lucky. A player named Swept wiped Jailbreak Paradise and The Chicago Outfit of the statistics page and joined Sapientia. This resulted in Sapientia getting wiped themselves and making room for other crews to resurface. After these events we had to wait a few days for something else to happen. It all started with AnthonyHopkins killing 8 members of La Onda when stopping abruptly, but why? It seems, the killer got killed himself by a player named IpMan, who decided to shoot on the same evening as AnthonyHopkins did. It was a coincidence that he was on IpMan's list, but when he saw La Onda getting wiped, he acted upon it and saved the day! After saving the day he continued wiping The Inmates and taking control of several bullet factories.
What else have we got in store for you. Of course we have got a few columns written by Bootleggers finest. Rob_Stark wrote about the life as a Buzz writer. He wrote a brief description of our day to day lives. So if you ever wondered what it is the Buzz writers actually do, then by all means, read that article! We also wrote a column about the available language package on Bootleggers; Dutch or English. We found out that this feature is not only bugged, but also not completed. The bugs are receiving some invites in another language then you'd like!
And of course, we have got the weekly returning articles; something old, something gold this week is about how to do a 'PI power search', behind the name with LilBoldyJB, the weekly joke about a long flight with a programmer and an engineer, and last but not least; Once Upon A Time.
La Onda got very lucky this week by only losing 8 of their members in stead of losing a crew spot. The Inmates weren't so lucky.
Dalton heeft een goederenruil met je gestart. Op de Goederenruil pagina kun je dit verzoek accepteren of weigeren.
A long flight with a Programmer and an Engineer.
No fewer than three crews were wiped from our statistics page this week, however, who was the culprit behind it all?
Have you ever wondered what it is the Buzz writers actually do? Well here is a brief description of our day to day lives, with regards to our weekly articles brought to you for your own entertainment!
Each week we interview a random player to find out what exactly is behind his or her name. The victim of this week's issue: LilBoldyJB.
Lucky La Onda, not so lucky Inmates?
Column: Life as a Buzz writer!
Help Desk Operators on vacation?
This week we witnessed both RatFaceRay and ShyGuide going into vacation mode, maybe they went together?


25 NATURALLY SWEET DRINKS TO DETOX FROM SUGARY BEVERAGES.
For some of us, soda can be a really difficult addiction to break. The sugar, the flavors, the fizziness…and when we try to stop, water tastes far too plain or the caffeine withdrawal headaches take us right back to our vice. Healthy soda-like drinks can make the detox easier. They taste delicious, they're fizzy, and they're healthy enough that you can drink them every day (although some of these recipes are more of an treat). These soda detox recipes are naturally flavored and are either naturally sweet without anything added, for very gently sweetened with a small amount of a natural sweetener, like honey or maple syrup.
Made with pomegranate juice and sparkling seltzer water, this homemade soda-like drink is naturally sweet with no additional sweetener needed! You'll want to add a bit of fresh pomegranate, some fresh lime juice, and a handful of ice of this refreshing drink.
I am absolutely in love with this simple strawberry and basil-mint soda. All you need is fresh strawberries, basil leaves, mint leaves, a touch of maple syrup, sparkling water, and ice. The maple syrup serves as a minimally-processed, low GI natural sweetener.
This is the dessert cream soda of your healthy-eating dreams. You'll need chamomile tea, frozen raspberries, coconut milk, club soda, ice, and optional booze. The recipe calls for honey to sweeten, but this drink is flavorful enough that you may be able to cut it back.
This recipe takes some off-time to prepare, but its worth it. If you've never made water kefir before, you need to try it! Water kefir is a probiotic beverage that tastes a bit sweet, a bit fermented, and is plenty bubbly. You can flavor it with fruits, like in this strawberry version.
Tea can make a great healthy drink as an alternative to soda, but if you're trying to get yourself off the sweet stuff, you may want something a little more soda-like. This sparkling green tea is served iced, made with sparkling water, lemon, and a tiny bit of optional honey to sweeten it.
You've probably heard of kombucha, and maybe you've even tasted it, but have you ever made it? Making your own kombucha is rewarding because you can control so much about the flavors. Because this drink is slightly fizzy, it's a great alternative to soda pop.
This delicious and simple soda has absolutely no sugar—not even natural sugars! The sweetness comes from vanilla stevia drops and the extra herbal flavor from an infusion of fresh rosemary. This soda is delicious, refreshing, and perfectly healthy and hydrating.
Once you've made your kombucha, you can flavor it with elderberries, ginger, and lavender with a little honey to make a soda-like drink that's perfect for cold and flu season—all those immune boosting properties, plus the probiotics from the kombucha? Yes please!
This spunky lemonade drink is made with fresh grapefruit, sparkling water, and pomegranate seeds. It's more of a grapefruit-ade with a soda pop twist from the sparkles. This would make an elegant party drink as well as a simple soda replacement for adults and kids!
Shrubs are drinking vinegars, which can be medicinal for your body! This version is made with sweet cherries, vanilla bean, maple syrup, apple cider vinegar, and balsamic vinegar. You mix a small amount of this mixture with sparkling water for a delicious drink that tastes like cherry vanilla soda.
Made with mineral and brewed tea (your choice of flavors!) this "soda" is sugar-free and hydrating for your body. You can add chopped fruit and if you feel it needs a bit of sweetening, you can use liquid stevia drops—even flavored ones if you'd like!
This simple soda is a bit fancy and deliciously deliciously sweet without any sweetener besides the fruit juices. You'll need mandarin juice (or orange juice), pomegranate juice, a sprig of rosemary, pomegranate seeds, and sparkling water or soda water.
This is such a cool recipe, you're going to want to try it right away. It's sweetened with just a touch of coconut sugar (you can also use honey or maple syrup) and stevia and uses brewer's yeast, vanilla extract, cream of tartar, and lemon zest. So yummy! The sweetener is to feed the yeast, so this drink isn't at all sugary.
Okay, I know this sounds weird. But it's not weird—its' actually incredibly delicious and super healthy, with just a little honey syrup to sweeten it. You'll need red bell pepper juice, lemon juice, basil leaves, seltzer water, and that homemade honey syrup (or agave if you want).
Pomegranate seems to be a popular flavor for homemade sodas, but what about with Hibiscus tea? This version combines those two delicious and naturally-sweet flavors with lime juice and club soda for a drink that doesn't even need a natural sweetener added.
Muddling is a technique that bruises and slightly mushes fruits and sometimes other ingredients—in this case, fresh basil—to release the juices and flavors. Sometimes, like with this recipe, all you need to do is then add seltzer water and you've got a simple sugar-free soda.
You know orangina, that delicious and sugary orange soda? This recipe will teach you how to make homemade orangina, which is essentially fermented orange juice. You'll need oranges, orange extract, sea salt, and liquid whey. No extra sweetened necessary!
This grapefruit soda tastes like my childhood—store-bought grapefruit sodas were my dad's favorite, and I tend to prefer this yummy version made with agave or a honey-based simple syrup, lemon juice, fresh pink grapefruit, seltzer water, and ice. A pinch of kosher salt helps bring out the flavors.
This recipe is for a simple flavoring agent you can add to already-brewed kombucha for a light and delicious flavor. It would also work for water kefir! All you need is dried orange peel (minced or ground roughly), dried ginger root or fresh ginger, and hibiscus flowers.
If you find that yummy and probiotic water kefir is for you, this ultimate guide will explain everything from how to make it to how to flavor it in different ways. You'll have dozens of homemade soda flavors at your fingertips in just a few days of getting your brew started.
Did you know you can brew water kefir in coconut water? You can! And it gives it a lovely coconut flavor, too. This recipe teaches you how to do it with either fresh or packaged coconut water along with Ceylon cinnamon sticks, which lend a sweetly spicy flavor.
Also made with ginger bug, this pineapple ginger soda is absolutely delicious and has a tropical island feel to it. Not to mention it's super refreshing, and ginger has powerful healing properties for your body. It'll boost your immune function and help you fight off illnesses.
Ever heard of ginger bug? It's another fermented probiotic concoction you can make in your own kitchen, like kombucha or water kefir. Once you've brewed it (there's a link on the page) you can flavor and sweeten it with apple juice for a yummy apple ginger soda.
No, my friends, this is not ginger plus sparkling water. This is the real-deal ginger ale. You need to have patience, but if you're the kind of person who loves making things from scratch, you'll have to try it. Check out the kit and ingredients list on this page.
Here's a simple and kid-friendly tutorial on making homemade soda. It's instant and doesn't require any fermentation or special ingredients—just fresh fruit, mineral water, and natural sweetener of choice—and the recipe is for a single serving, so no math!
Previous PostPrevious HOMEMADE REJUVENATING ROSE WATER RECIPE FOR CLEAR SKIN AND STRESS.


Thanks to Karl for this!
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Lawmaker Retirement Season Starts Ahead Of 2014 Midterm Elections It's the start of retirement season in the House as members head home after a long, difficult year. Three House members — two Republicans and a Democrat — announced their retirements from Congress this week, ahead of the 2014 midterm elections.
It's the start of retirement season in the House as members head home after a long, difficult year. Three House members — two Republicans and a Democrat — announced their retirements from Congress this week, ahead of the 2014 midterm elections.
So with approval ratings so low, if you are a member of Congress, it might not be a bad time to retire. And, in fact, three House veterans - two Republicans and one Democrat - announced this week they will not run for reelection next year. And with more retirements expected to follow, what does it mean for the upcoming midterm elections?
NPR political editor Charlie Mahtesian joins us to look ahead to the 2014. Hey there, Charlie.
CHARLES MAHTESIAN, BYLINE: Hi, Audie.
CORNISH: So let's do the rundown here, the House members who are stepping down: Virginia Republican Frank Wolf, Iowa Republican Tom Latham and Utah Democrat Jim Matheson. Each has been in Washington for at least a decade. But, you know, what else do they have in common? Is this just about the dysfunction in Washington?
MAHTESIAN: Well, one thing they have in common is that they're more institutionalists than bomb throwers. So they're the kind of people that are very familiar with the system and Congress. And they're very serious about the profession of lawmaking. So I think in one sense that tells you something about the environment that they're operating in right now. And they didn't point to the poisonous environment or blame it for their departures.
There's no question that it played some kind of role in the decision-making process because, after all, this is a very tough job that requires long hours, lots of travel, lots of time away from their families. And at a certain point, if you're a member of Congress, you have to begin to wonder if it's all worth it - given everything you've sacrificed to serve, given the fact that Congress is loathed by the public and you can't accomplish anything.
CORNISH: So given that, is this just of the iceberg? I mean, do you expect to see more retirements in the next few weeks or months?
MAHTESIAN: I do think we'll see a bunch more retirements over the next few months, and maybe even in the next few weeks. The yearend recess, typically for Congress at least, marks the beginning of retirement season because it's this rare time of self-reflection for members. When they go home, they spend time with their families, and it's time for them to begin to take stock of their careers.
And the political calendar also plays a role here, because you've got filing deadlines coming up pretty quickly next year. And national parties want their members to give them plenty of time to recruit candidates or allow potential successors to set up campaign infrastructures. Because there's nothing worse for the national parties than to be caught off guard by the retirement that comes out of the blue fairly deep into the election cycle.
CORNISH: And, of course, national parties always looking ahead to the next election. How do these retirements alter the election math, say, for the House next year, when Democrats need a net gain of something like 17 seats to win a majority?
MAHTESIAN: Two of these districts, the Virginia district in the Iowa district, are fairly competitive for both parties. So that's pretty promising news for Democrats in a year when they're going to need to climb up a fairly steep hill. But the Utah district that's held by Jim Matheson is so strongly Republican and nearly everyone, including Democrats, have pretty much written that seats off.
It's the kind of thing that only a unique kind of Democrat - somebody like Matheson, a unique family brand. It's the kind of see that only someone like him could hold.
CORNISH: So let's get into that a little more, right, because in that Utah district, it does look like Mia Love, who was a big star of the 2012 Republican National Convention, is a frontrunner. Tell us more about her.
MAHTESIAN: By political standards, Mia Love is something of a Republican rock star. Though she lost to Matheson in a squeaker of a race in 2012, she's a mayor who gave a dynamic speech at the Republican convention that year. And she's an African-American conservative in a party that desperately needs to diversify and expand its base.
So, all of that makes her this rare House candidate who already has a national profile before actually winning the House seat. So I think she'll begin this race with a real edge in the Utah.
CORNISH: NPR political editor Charlie Mahtesian, thanks so much, Charlie.


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If you're a disgraced cricketer, accused of match-fixing and other dodgy activities and resigned to a life of ignominy, fret no more. Even if your cricketing career is over, there's always a second chance to make it as a reality show star thanks to Jhalak Dikkhla Jaa, which seems to believe that everybody deserves a second chance. The first season had Ajay Jadeja in it. And this season has the towel-friendly lachrymally-verbose Sreesanth.
The new season of Jhalak Dikhhla Jaa – no I didn't get an aneurysm while keying in, the name really does have that many Hs and As – has begun. The premiere episode spanned two nights of over an hour each. So what's in Jhalak Dikhhla Jaa this time around that we haven't seen earlier?
Madhuri Dixit performing in the Jhalak Dikhla Jaa premiere.
The judges, for one, are the same. There's the choreographer Remo, Madhuri Dixit and Karan Johar. All of whom shook a leg in the first episode. The less said about that the better. Everything's a little too glitzy and gaudy this time, or maybe I'm just getting old. There are two new hosts – Ranvir Sheorey, who seems to have also been given a second lease of life on reality TV (he was in Khatron Ke Khiladi just a month back) and Drashti – who won the last season and is very easy on the eye, but seems to have difficulty reading the teleprompter.
The thing with celebrity reality shows is that they always start off really well in the first season. Because that's when they get the pick of the celebrity litter. By the seventh season they're left with celebrities who aren't even the Snookis of Indian reality TV.
This time's contestants - in order of fame are – Palak (Kiku Sharda from Comedy Nights is taking part in the show in character and not as himself), Sukhvinder Singh (the singer of Chhaiya Chhaiya fame who also sang the BJP's anthem this election), Sreesanth (more infamy than fame), the actor – Asish Sharma - from Rangrasiya who abducts a girl and ties her up in his jeep and then proceeds to marry her and have her fall in love with him (that's what I get from the promo), another TV actor with an unfortunate surname - Karan Tacker, ex-VJ and sometime actor Purab Kohli, sometime singer Sophie Chowdhury, ex-VJ and current career reality star Andy (he's taken part in 4 reality shows at last count), Akshat Singh (the cute rotund 10-year-old boy who was called on Ellen to dance), and three TV stars I've never seen or heard of but who might be more popular than all the others – Mouni, Kritika and Shakti.
The first episode was to feature dances which were "never seen before". So you had trapeze acts, people on harnesses, dancing in the middle of a lake, even with a hologram though not the 3D Modi one which could have been entertaining. The dances didn't really rock my world, but then again just like the contestants who are career reality stars, I've become a career reality TV watcher. So I'm more jaded than others.
Sreesanth in the Jhalak Dikhlaa Jaa promo. Screengrab from YouTube.
What I do like about Jhalak Dikhhla Jaa is that the choreographers are centre-stage here. They are considered to be as much of a celebrity as the celebrity they're dancing with. Which is what makes it a show worth watching.
The choreographers are the ones with all the talent, but always relegated to the background – so it's nice to see them get their much-deserved moment of fame and recognition. It's thanks to shows like Jhalak that choreographers like Salman have become celebrities in their own right.
So what were the sideshows of the premiere episode? Madhuri Dixit decided to do a samba or some such which was a little heart-breaking. While it's great to try new things, maybe it's a better idea not to try them for the first time on national television. Gone was the grace and dignity. It was like watching Elton John gamely attempt rap. They also had two films which were promoted on the show – Humpty Sharma Ki Dulhania with Varun Dhawan and Alia Bhatt, and Holiday with Akshay Kumar (who had one pant leg rolled up to his knee for some reason) and Sonakshi. There's also a challenger couple in the form of Lauren Gottlieb and Salman who will dance each weekend and decide the next week's challenge for the contestants.
What's interesting to see is how Indian television is now following in the footsteps of American television. Reality television is where it's at. And it seems celebrities (faux and otherwise) seem to be aspiring to be reality stars. Hell, that's the only "acting" some of them seem to be doing. Only problem is that our desi Snookis (read - Rakhi Sawant and Payal Rohatgi) and desi Situations (read – Rahul Mahajan and KRK) have already been put out to pasture. So we have to make do with the second rung of Snookis and Situations. Which doesn't make for very thrilling entertainment TV. Also, I know I sound like an old school ma'am, but shouldn't that little 10-year-old be in school, studying?
The next episode of Jhalak will be coming up against the premiere episode of another reality show. The ever-classy Splitsvilla, hosted by Sunny Leone. So next weekend is worth watching out for – the Clash of B-grade Reality TV. I simply cannot wait. My cup of jadedness will surely runneth over.
Jhalak Dikhhla Jaa airs on Colors at 9pm every Saturday and Sunday night.


The Sea of Cortez and Baja's Pacific Coast are famous for a vast array of shark and manta species. Sadly, in recent days, the elasmobranch species in the region are frequently referenced because of their declines in abundance due to overfishing. At Cortez Expeditions, we are driven to show the world that these apex species are more valuable (and beautiful) in their natural environment than when they are sold in fish markets.
For the last 15 years the team at Cortez Expeditions has been actively involved in shark research and conservation, assisting NGOs that aid shark fishermen and their communities in finding viable economic alternatives to shark fishing. This experience, when coupled with leading expeditions for BBC, Nat Geo and Discovery Networks, has given us insight into providing the best interactions with sharks for film makers, photographers, and divers alike. We strive to ensure the safety of not only our guests but the sharks, exposing divers and snorkelers to some of the most beautiful and mysterious creatures of the underwater world.
A glimmer of hope: the Mexican government now operates a shark fishing ban for certain times of the year, including complete protection of and a total finning ban on Great Whites, Whale Sharks and Mantas. Although there is still much work to be done to grant all species complete protection, we are seeing progress and a greater understanding of the importance of these animals from both governmental decision makers and commercial fishers.
What species might I see?
Our encounters will either be freediving/snorkeling or scuba diving depending on the species. Our encounters are cage-free and some encounters will involve chumming to attract sharks to the area.
At least one of our trained staff will be present in the water at all times to keep control of the encounter, ensuring our guests are well-looked after. In addition, for encounters that involve chumming, only trained staff are allowed to handle chum/bait to maintain the safest possible encounter.
We tailor each trip to the individual or group.
For certain species of shark (specifically the blue sharks, silky sharks, and mako sharks) we will be chumming, but we do not feed on any excursion. We chum to bring sharks near, but no one is allowed in the water until one of our guides is able to ensure a safe encounter. It is crucial to us to express that there will be no feeding (by hand or any other method) of sharks on any excursion.
Our Shark Safaris uphold the rigorous professional protocols of the shark diving industry, with tested and reliable safety measures. We deliberately do not allow groups bigger than 4-6 people on each excursion, with a limit to only three people in the water at any given time. Only when one of our staff have deemed it safe to enter the water with the sharks will our guests be able to jump in!
While we take every measure to ensure that no accidents occur, we recognize we are working with wild animals and certain things are outside of our control. For this reason, we are fully equipped with DAN Cardiac Kits, satellite phones, and a full trauma kit to cover any potential medical scenarios. Our staff are trained DAN & EFR Instructors, Instructor Trainers (Luke Inman being trained as an HSE Diver medic) and are qualified to use all medical equipment onboard.