Graham Griffiths - Böcker

Although the Partial Differential Equations (PDE) models that are now studied are usually beyond traditional mathematical analysis, the numerical methods that are being developed and used require testing and validation. This is often done with PDEs that have known, exact, analytical solutions. The development of analytical solutions is also an active area of research, with many advances being reported recently, particularly traveling wave solutions for nonlinear evolutionary PDEs. Thus, the current development of analytical solutions directly supports the development of numerical methods by providing a spectrum of test problems that can be used to evaluate numerical methods.

This book surveys some of these new developments in analytical and numerical methods, and relates the two through a series of PDE examples. The PDEs that have been selected are largely "named'' since they carry the names of their original contributors. These names usually signify that the PDEs are widely recognized and used in many application areas. The authors' intention is to provide a set of numerical and analytical methods based on the concept of a traveling wave, with a central feature of conversion of the PDEs to ODEs.

�The Matlab and Maple software will be available for download from this website shortly.

www.pdecomp.net

Includes a spectrum of applications in science, engineering, applied mathematics Presents a combination of numerical and analytical methods Provides transportable computer codes in Matlab and Maple

This book offers friendly guidance on how to work with adult learners to develop their numeracy and mathematics skills. It brings together current research and practice on teaching adult numeracy into one handy volume and covers the major issues faced by teachers of adult numeracy such as current policy perspectives and implications for teaching practice. There are reflective tasks throughout, which encourage you to develop and apply your theoretical knowledge to your own experiences.

Key features include:

Reviews of existing policy and research and implications for practiceReflective tasks with commentary, encouraging you to develop and apply your knowledgeCase studies of real student experiencesPractical activities and ideas to support the planning, teaching and assessment of adult numeracyDrawing on the substantial experience of the contributors, who have a wealth of experience as practitioners and researchers in the field, this book is an essential resource for trainee and practising teachers of adult numeracy and mathematics. It is also an ideal textbook to support teacher training courses leading to a subject specific qualification in teaching numeracy to adults.

Contributors: Jackie Ashton, John Barton, Carolyn Brooks, Martyn Edwards, Janette Gibney, David Holloway, David Kaye, Beth Kelly, Barbara Newmarch, Helen Oughton, David Prinn, Diana Spurr, Rebecca Woolley

"This is a quite unique book about teaching adult numeracy, which will be invaluable to the many practitioners in this field. The chapters, contributed by a group of experienced and successful lecturers and practitioners, include all aspects of this field, from methods of teaching specific mathematical topics to more general explorations of dyscalculia and emotional factors in adult learners. Each chapter includes research findings and thoughtful presentation of ideas with practical ideas for teaching, and tasks for the reader. This is a market which has not been served well in the past, so it is good to see the gap filled at last."Margaret Brown, Emeritus Professor of Mathematics Education, King's College London, UK

"The editors of this book set out to produce a text that would support teacher-education programmes for adult numeracy, and their book does that and more. The content covers different types of learners, different settings, different understandings of what numeracy actually is; and ranges from commentary on research through case studies to "how to" hints and tips for teaching. Chapters 7 (on provoking mathematical thinking) and 8 (attitudes, beliefs and teaching) should be a required read for any adult numeracy teacher. The book would be at home on any numeracy teacher's desk, and would make an excellent set text for numeracy teacher training courses."Carol Randall, course co-ordinator for numeracy in the department of Lifelong Learning Teacher Education, University of Greenwich, UK

"This book is a welcome addition to the growing literature on adult numeracy. It should be essential reading for trainee and practising adult numeracy educators. It brings together relevant research and professional wisdom on a wide variety of aspects of adult numeracy teaching and learning in an accessible way, with well-focussed tasks for readers to extend their knowledge and understanding. While the book is born out of UK concerns and issues, it is also relevant to international readers. Highly recommended."Professor Diana Coben PhD, Director, National Centre of Literacy & Numeracy for Adults, University of Waikato, New Zealand, and Hon. Trustee, Adults Learning Mathematics - A Research Forum (ALM -- www.alm-online.net/)

Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.

Leokadiya Kashperova's romantic compositions were highly regarded by Rimsky-Korsakov, César Cui, and by Balakirev whose works she premiered and recorded. In 1907, Kashperova performed her own compositions to critical acclaim in Leipzig, Berlin and London. After the 1917 Revolution following her death in 1940, her name joined her fine music in historical anonymity and oblivion. This Element is the result of twenty years' research culminating in eight study-visits by the author to St Petersburg, Moscow and the Yaroslavl/Kostroma region. The Biography (section 1) is the first ever written about this composer. Kashperova's Memoirs (section 2) and her Recollections of Anton Rubinstein (section 3) are made available in translation for the first time. Together with a new edition of her compositions (Boosey & Hawkes, London) this Element aims to support the restoration of Kashperova to her rightful place in music history as Russia's foremost female composer of the early twentieth century.

Stravinsky in Context offers an alternative to chronological biography. Thirty-five short, specially commissioned essays explore the eventful life-tapestry from which Stravinsky's compositions emerged. The opening chapters draw on new research into the composer's childhood in St. Petersburg. Stravinsky's early, often traumatic upbringing is examined in depth, particularly in the context of his brother Roman's death, and religious sensibilities within the family. Further essays consider Stravinsky's years in exile at the centre of dynamic and ever-evolving cultural environments, the composer constantly refining his idiom and re-defining his aesthetics against a backdrop of world events and personal tragedy. The closing chapters review new material regarding Stravinsky's complicated relationship with the Soviet Union, whilst also anticipating his legacy from the varied perspectives of publishing, research and even - in the iconic example of The Rite of Spring - space exploration. The book includes previously unpublished images of the composer and his family.

Stravinsky in Context offers an alternative to chronological biography. Thirty-five short, specially commissioned essays explore the eventful life-tapestry from which Stravinsky's compositions emerged. The opening chapters draw on new research into the composer's childhood in St. Petersburg. Stravinsky's early, often traumatic upbringing is examined in depth, particularly in the context of his brother Roman's death, and religious sensibilities within the family. Further essays consider Stravinsky's years in exile at the centre of dynamic and ever-evolving cultural environments, the composer constantly refining his idiom and re-defining his aesthetics against a backdrop of world events and personal tragedy. The closing chapters review new material regarding Stravinsky's complicated relationship with the Soviet Union, whilst also anticipating his legacy from the varied perspectives of publishing, research and even - in the iconic example of The Rite of Spring - space exploration. The book includes previously unpublished images of the composer and his family.

Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, is here placed at the centre of a fundamental reconsideration of his whole output - viewed from the unprecedented perspective of his relationship with the piano. Graham Griffiths assesses Stravinsky's musical upbringing in St Petersburg with emphasis on his education at the hands of two extraordinary teachers whom he later either ignored or denounced: Leokadiya Kashperova, for piano and Rimsky-Korsakov, for instrumentation. Their message, Griffiths argues, enabled Stravinsky to formulate from that intensely Russian experience an internationalist brand of neoclassicism founded upon the premises of objectivity and craft. Drawing directly on the composer's manuscripts, Griffiths addresses Stravinsky's lifelong fascination with counterpoint and with pianism's constructive processes. Stravinsky's Piano presents both of these as recurring features of the compositional attitudes that Stravinsky consistently applied to his works, whether Russian, neoclassical or serial, and regardless of idiom and genre.