George Pratt – författare

“Code to Joy offers a simple, powerful, and brilliant method for experiencing authentic happiness from the inside out . . . the basis of outer success.” —Marci Shimoff, New York Times-bestselling author of Happy for No ReasonWe are meant to be happy. Instinctively, we all know this, somewhere deep inside. We all know what it’s like to feel a burst of delight. Every one of us has at some point in our lives experienced a sense of ecstatic joy, of euphoria at the sheer sensation of being alive.Have you ever wondered why that experience has to be so rare and fleeting?The answer is, it doesn’t. —from Code to JoyAll the positive thinking, affirmations, talk therapy, and pharmaceuticals in the world will never be enough to make us as happy as we were designed to be, according to acclaimed clinical psychologists George Pratt, PhD, and Peter Lambrou, PhD. That’s because those approaches fail to address a third aspect of the human organism, one that bridges the gap between mind and body: the biofield.Combining six decades of clinical experience with cutting-edge research, Drs. Pratt and Lambrou have developed a revolutionary program for rediscovering (and then never again letting go of) your innate happiness in four simple, proven steps.Pratt and Lambrou’s program has already transformed the lives of more than 45,000 clients, including professional athletes, top executives, and celebrities. Code to Joy can transform yours, too, with all the science-based tools and guidance you need to complete the process of becoming a more focused, more powerful, and more deeply joyful you.“Drs. Lambrou and Pratt’s work has had a fabulous impact on my life.” —Ken Blanchard, Ph.D., #1 New York Times–bestselling author

Larry King wrote the foreword. Beneath the surface-undiagnosed, untreated, and often unspoken-there is a pervasive cloud of unease affecting virtually everyone. According to Drs. George Pratt and Peter Lambrou, this fog of distress is the result of events in our past that have left psychological impressions. They're the reason so many people feel unloved, guilty, ashamed, fearful, and unsafe. It's the basis of addictions, sleeplessness, bad habits, conflict and unsatisfying relationships. It is why so many can't seem to be able get out of their own way. These impressions are so deeply embedded in our psyche that often we're not consciously aware of them. The revolutionary four-step solution helps readers identify the negative blocking beliefs and defuse them in a matter of minutes. The four-step process forms the heart of "Code to Joy". Identify: Identify the underlying negative beliefs at the root of our distress, and locate the events in our past that may have triggered them. Clear: Rebalance the body's energy system to prepare it for the reorganization to follow-a sort of clearing the decks in anticipation for repatterning.Repattern: Release those long-standing blocking beliefs and encode a new set of positive beliefs in their place. Anchor: Create a stable foundation so that the effects of the first three steps will be deeply felt and long lasting. Through this proven approach, "Code to Joy" helps eliminate the fears, anxieties, and buried emotional debris that prevent us from living life to the fullest, and, more importantly, helps us rediscover our innate happiness.

This is a readable and imaginative book presenting, with infectious enthusiasm, a sensible simplification of the main processes of classical harmony in the Bach-Schubert period. George Pratt's explanations of concepts such as 'real' and 'substitute' chords. of false distinctions between 'major' and 'minor' and of the simple basis of seemingly complex chromatic harmony enables readers to grasp the principles of harmonic progression, and to see most progressions as a form of 'dominant-powered' movement.He focuses his study on Bach chorales, Mozart piano sonatas, and a Schubert song cycle, thereby providing depth, variety and a realistic sense of a context of 'real music' to his explanations and to the exercises. But he also offers the reader an immediate invitation to apply the same principles to an immense range of musical literature from Monteverdi to Scott Joplin.

Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of other musical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics and articulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them into coherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges, conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible for pupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used by individuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down the un-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. So the book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture.

Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of other musical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics and articulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them into coherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges, conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible for pupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used by individuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down the un-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. So the book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture.

The revolutionary, highly effective technique that allows you to free yourself from emotional hang-ups—forever!Does your fear of flying make travel with friends and family impossible? Are you having trouble coping with the loss of a loved one or forgiving yourself for a mistake you made long ago? For the millions of people who suffer from phobias, anxieties, or distressing emotions such as anger, guilt, and grief, the breakthrough science of Thought Field Therapy—an easy-to-use practice often referred to as “acupressure for the emotions”—can make a remarkable difference. In this groundbreaking book, psychologists Peter Lambrou and George Pratt make their highly successful techniques available to everyone through simple exercises that anyone can use to treat everyday emotional roadblocks with immediate and permanent results.A blend of Western psychotherapy and Chinese medicine, Thought Field Therapy (or TFT) uses the body’s meridian energy systems to treat emotional issues that can take years to unravel through traditional, talk-based therapy. A combination of breathing and relaxation exercises, affirmations, and tapping on specific pressure points on the body, TFT can instantly eliminate problems such as a fear of flying or public speaking, addictive urges, or painful emotions such as embarrassment or regret. Used on thousands of people with a 95 percent success rate, the step-by-step methods in Instant Emotional Healing now allow you to master this amazingly simple, astonishingly effective practice for yourself—and open the door to a lifetime of emotional control and well-being.

This stimulating guide will help students and their teachers to achieve stylish performances of music of the Baroque period. Individual chapters from leading experts focus on historical background, notation and interpretation, and sources and editions, presenting the latest thinking on performance in a clear, helpful and practical way. There are also dedicated chapters of specialist advice for keyboard, string and wind players, and singers, plus a recommended playlist of illustrative, authoritative recordings. Fully illustrated throughout with many music examples, facsimiles and pictures, this is a valuable resource for students of the Baroque period which will also add to the knowledge and understanding of amateur and professional musicians.