James Saunders – författare

This issue of Otolaryngologic Clinics, guest edited by Drs. James E. Saunders, Susan R. Cordes and Mark E. Zafereo, is devoted to Global Health in Otolaryngology. Articles in this outstanding issue include: Surgical Care and Otolaryngology in Global Health; Otolaryngology and the Global Burden of Disease; Health Organization and Otolaryngology; Otolaryngology in Low-Resource Settings: Practical and Ethical Considerations; Using Technology in Global Otolaryngology; Educational Resources for Global Health in Otolaryngology; Global Hearing Loss Prevention and Services; Management of Chronic Ear Disease and Otosclerosis; An Evidenced-Based Practical Approach to Pediatric Otolaryngology in the Developing World; Outcome of Head Neck Squamous Cell Cancers in Low Resource Settings: Challenges and Opportunities; Thyroid Disease Around the World; Workforce Considerations, Training and Diseases in Africa; Workforce Considerations, Training and Diseases in Latin America; Workforce Considerations, Training and Diseases in Asia/Pacific; Workforce Considerations, Training and Diseases in the Middle East; Workforce Considerations, Training and Diseases in Europe; and Overview of Otolaryngology-related Disorders in Underserved Populations, Otolaryngology Training, and Workforce Considerations in North America.

A collection of literature anthologies and reference books for Key Stage 3 onwards. These short plays illustrate different forms of drama and provide a useful link between improvisation and longer scripted plays at upper secondary level. They give students an opportunity to discover and unravel stylistic conventions in a creative and immediately rewarding manner.

The recent resurgence of experimental music has given rise to a more divergent range of practices than has previously been the case. The Ashgate Research Companion to Experimental Music reflects these recent developments by providing examples of current thinking and presenting detailed case studies that document the work of contemporary figures. The book examines fourteen current practitioners by interrogating their artistic practices through annotated interviews, contextualized by nine authored chapters which explore central issues that emerge from and inform these discussions. Whilst focusing on composition, the book also encompasses related aspects of performance, improvisation and sonic art. The interviews all explore how the selected artists work, focusing on the processes involved in developing their recent projects, set against more general aesthetic concerns. They aim to shed light on the disparate nature of current work whilst seeking to find possible points of contact. Many of the practitioners are active in areas that span disciplines, such as composition and improvisation, and the book explores the interaction of these activities in the context of their work. The other chapters consider a range of issues pertinent to recent developments in the genre, including: definitions of experimentalism and its relationship with a broader avant garde; experimentalism and cultural change; notation and its effect on composition; realising open scores; issues of notation and interpretation in live electronic music; performing experimental music; improvisation and technology; improvisation and social meaning; instrumentalizing objects; visual artists' relationships to experimental music; working across interdisciplinary boundaries; listening and the soundscape; working methods, techniques and aesthetics of recent experimental music.

This is an outstanding collection of text scores from key composers and artists, as well as original essays and interviews offering guidance and lucid analysis. "Word Events" focuses on an approach to notation that uses the written word, as opposed to symbols, to convey information to whoever chooses to interpret the notation. Verbal notation is commonly used in experimental music, as well as related areas of arts practice involving performance or object making. Practitioners point to a number of reasons for using it: notation with written words is accessible to a wide range of people, including those who cannot read traditional Western stave notation; it can express temporal relationships between elements of a composition in a flexible way; it makes association with other writing contexts, such as poetry, prose, instructions, recipes, koans and aphorisms; it can express ideas with great precision; it can express generalities; it can determine many different types of relationships between the scorer and reader; and, it can express ideas and concepts as well as providing prescriptions for action.The aim of this book is to present a broad range of perspectives on how and why scorers use verbal notation.